https://tinyurl.com/vscjud53

--validates JM Kenoyer's thesis of textile dyeing at Harappa on circular worker platforms; 

--mañjiṣṭhā 'Indian madder, saffron/red dye for garments' is 1) archaeologically attested from Mohenjo-daro and 2) on an Indus Script inscription on an Anthromorph;

--reaffirms the possibility of vats used on circular worker platforms of Harappa to dye textiles with red/saffron madder dye and also possibly, indigo dye; the 'granary' or 'warehouse' may have been used to dry and store the dyed textiles.

 The 'warehouse' compares with a hieroglyh used on a Dholavira two-sided tablet.

Central pit of circular working platform indicates working with indigo? -- a hypothesis of JM Kenoyer.

The slides are sourced from, courtesy Dennys Frenez (2021): 

https://www.academia.edu/48933836/THE_INDUS_CIVILIZATION_4_Integration_Era_The_Urban_Centres

This is an addendum to: 

1. Brāhmī inscription on Indus Script anthropomorph reads: symbol of मांझीथा Majhīthā sadya 'member of mã̄jhī boat people assembly (community)' https://tinyurl.com/y85lflto

2. Indus Script solves the mysteries of stupa, circular platforms, archaeology identifies in Mohenjo-daro karaṇaśāle 'office of writers' https://tinyurl.com/s6qq46m

3. Dholavira tablet text message: koṭṭhāra 'warehouse' (of) kuṭila sal 'bronze workshop' PLUS dul khaṇḍa 'cast metal implements' https://tinyurl.com/ydhrb74c

The professional calling card used by metal merchants of Sindhu-Sarasvati Civilization is overlayed with Brāhmī inscription (at a later date) by a goldsmith guild (mã̄jhī) working with madder, red saffron dye source for textiles. The reference to मांझीथा Majhīthā is significant and indicates the continuing tradition of dyeing textiles, from the days of Sindhu-Sarasvati Civilization.

samjñā 'symbol, sign' 

kī ma jhi tha 'of Majhitha'

Sha (ta?) Da Ya (Gha?) Line 3 is read as taDagha. The word attested by Pāṇini is tāḍa—gha m. a kind of artificer (blacksmith?), Pāṇ. 3-2, 55. Thus, the later-day holder of the professional calling card (a possible descendant from the days of Sindhu-Sarasvati Civilization) proclaims himself as Majhitha  tāḍagha'Textile dyer, goldsmith'

I submit that this decipherment of the anthropomorph mentioning मांझीथा Majhīthā ‘madder or red/saffron dye for textiles’ validates – in a later-day Brāhmī inscription, 1) the discovery by HARP team of possible indigo vats in the central pits of circular working platforms and 2) the hypothesis that the ‘granary’ of Harappa was indeed a “building for dyeing and drying fabrics” (JM Kenoyer).

माञ्जिष्ठं, क्ली, (मञ्जिष्ठया रक्तम् । “तेन रक्तंरागात् ।” ४ । २ । ४ । इत्यण् ।) लोहितवर्णः ।(यथा, बृहत्संहितायाम् । ३० । १२ ।“कल्माषबभ्रुकपिलाविचित्रमाञ्जिष्ठहरितशव-लाभाः ।”तद्वति, त्रि । इति हेमचन्द्रः ॥.—शब्दकल्पद्रुमः

माञ्जिष्ठ न०मञ्जिष्ठयारक्तमणे।१रक्तवर्णे२तद्वतित्रि०—वाचस्पत्यम्

mañjiṣṭhā f. ʻ the Indian madder (Rubia cordifolia and its dye) ʼ Kauś. [mañjiṣṭha -- ]
Pa. mañjeṭṭhī -- f. ʻ madder ʼ, Pk. maṁjiṭṭhā -- f.; K. mazēṭh, dat. ˚ṭhi f. ʻ madder plant and dye (R. cordifolia or its substitute Geranium nepalense) ʼ; S. mañuṭha, maĩṭha f. ʻ madder ʼ; P. majīṭ(h), mãj˚ f. ʻ root of R. cordifolia ʼ; N. majiṭho ʻ R. cordifolia ʼ, A. mezāṭhi, maz˚, OAw. maṁjīṭha f.; H. mãjīṭ(h), maj˚ f. ʻ madder ʼ, G. majīṭh f., Ko. mañjūṭi; -- Si. madaṭa ʻ a small red berry ʼ, madaṭiya ʻ the tree with red wood Adenanthera pavonina (Leguminosae) ʼ; Md. madoři ʻ a weight ʼ.māñjiṣṭha -- .Addenda: mañjiṣṭhā -- [Cf. Drav. Kan. mañcaṭige, 

mañjāḍi, mañjeṭṭi S. M. Katre]: S.kcch. majīṭh f. ʻ madder ʼ.(CDIAL 9718) K. mönzü, maĩz,

 mö̃z f. ʻ henna (a red -- orange dye), madder ʼ (< *mañjukā -- ).(CDIAL 9720) māñjiṣṭha ʻ bright red ʼ Gr̥S., ˚aka -- R. [mañjiṣṭhā -- ]S. māñuṭho ʻ dyed with madder ʼ, P. majīṭhā, majīṭhuṛ; OM. mājiṭheṁ n. ʻ bright red garment ʼ.(CDIAL 9995)Ta. mañcāṭi red-wood, Adenanthera pavonina Lin., Adenanthera seed weighing two kuṉṟi-maṇi used by goldsmiths as a weight; mañcāḷi Adenanthera seed used by goldsmiths as a weight. Ma. mañcāṭi id., weighing four grains. Ka. mañcaṭige, mañjāḍi, mañjeṭṭi A. pavonina. Tu. mañjeṭṭi arnetto tree, Bixa orellana; the seed of it used as a weight by goldsmiths. Te. manjāḍi, manjāḷi a certain weight used in weighing diamonds. / Cf. Sgh. madaṭiya A. pavonina; madaṭa its seed. (DEDR4636)

Madder. Rubia tinctorum, the rose madder or common madder or dyer's madder, is a herbaceous perennial plant species belonging to the bedstraw and coffee family Rubiaceae…

The roots can be over a metre long, up to 12 mm thick and the source of red dyes known as rose madder and Turkey red… It has been used since ancient times as a vegetable red dye for leather, wool, cotton and silk. For dye production, the roots are harvested after two years. The outer red layer gives the common variety of the dye, the inner yellow layer the refined variety. The dye is fixed to the cloth with help of a mordant, most commonly alum. Madder can be fermented for dyeing as well (Fleurs de garance)… The pulverised roots can be dissolved in sulfuric acid, which leaves a dye called garance (the French name for madder) after drying… Early evidence of dyeing comes from India where a piece of cotton dyed with madder has been recovered from the archaeological site at Mohenjo-daro (3rd millennium BCE). H. C. Bhardwaj & K. K. Jain (1982). "Indian dyes and dyeing industry during 18th–19th century" (PDF). Indian Journal of History of Science. New Delhi: Indian National Science Academy. 17 (11): 70–81. ()

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

Rubia tinctorum

Naturally dyed skeins made with madder root, Colonial Williamsburg, VA

“In India the earliest evidence of dyeing comes from Indus civilization (2300-1750 BCE) from where a piece of cotton at Mohenjo-daro, dyed with madder – a vegetable dye has been found. (Marshall, John, ed., Mohenjodaro and the Indus Civilization, Indological Book House, Delhi, 1973, p.32-33; reprint of 1931 edition. ” https://archive.org/details/in.ernet.dli.2015.722

Marshall reports that Messrs. Gulati and Turner opined that the purple dye on a scrap of cotton material found in Mohenjo-daro could be of the madder class.

This is further evaluated in an article by HC Bhardwaj and Kamal K. Jain in Indian Journal of History of Science, 17(1): 70-81. Bhardwaj and Kamal Jain note: "In fact, some of the dyes namely Indigo, Madder and Kermes were introduced all over the world by the Indians during very early periods. A red dye obtained either from Madder or Kermes was tactfully used by Alexander the Great, as probably the first important use of camouflage in war to win the battle against Persians. Similarly, Indigo was the dye selected for colouring the uniforms of British navy." (p. 70 ibid.)

This is the context in which the hypothesis of James Kenoyer becomes validated. Kenoyer found 

The earliest evidence for normal weave textiles at Harappa is found in this impression on a Ravi Phase bead from Harappa, dating to around 3300 BC and discovered between 1995 and 1998.

https://www.harappa.com/answers/what-did-indus-people-wear-and-what-material-were-their-clothes-made

Mystery platforms

https://www.harappa.com/sites/default/files/pdf/Kenoyer2004%20IndusTextilesfinal.pdf

Circular platforms in the southwestern part of Mound F excavated by M.S. Vats in the 1920s and 1930s, as conserved by the Department of Archaeology and Museums, Government of Pakistan.

"What about the platforms? Another perplexing Indus mystery concerns the so-called workingmen's platforms at Harappa, next to the "granary" whose purpose also eludes us. Photographs from the excavations by the Harappa Archaeological Research Project following M.S. Vats work in the 1920's and 1930's led to at least one interesting clue. Additionally, the direction of the bricks suggests water was used here. "

https://www.harappa.com/blog/mystery-platforms

At Harappa a series of circular brick platform was possibly utilized in the preparation of indigo dye or dyeing (Kenoyer, J. M. 1998. Ancient Cities of the Indus Valley Civilizatiion. Oxford American Institute of Pakistan Studies.)

“What was going on atop these baked-brick, circular platforms inside enclosed structures? At Harappan sites, platforms of closely fitted bricks laid on edge are usually associated with the use of water. Perhaps these circular platform installations were used to prepare indigo dye, which in South Asia traditionally involved fermentation in a darkened room. Sediment taken from between the bricks and in the center cavity of the HARP platform is being analyzed to test this hypothesis.” (Richard H. Meadow and Jonathan Mark Kenoyer, 2000, The Indus Valley Mystery, One of the world’s first great civilizations is still a puzzle, in: Scientific American, March/April 2000, pp.42-43; discoveringarchaeology.com)

https://www.harappa.com/sites/default/files/pdf/Kenoyer2000_The%20Indus%20Valley%20Mystery.pdf

https://www.harappa.com/slide/vs-area-section-block-i-house-ii-room-23-showing-brick-floor-dyeing-troughs

"What was the so-called granary used for? There are twelve rooms in this 50 by 40 meter building. It was built on a giant mud-brick platform between 2200 and 2300 BCE, but there is an earlier building under at least one section. Between the rooms are sleeper walls. Excavations in 1998-2000 of this area led to no discovery of grain or pots. At Harappa this structure is next to the equally mysterious "workingmen's platforms" where we think some sort of labor involving water took place (but no traces of indigo dye are found). At Mohenjo-daro, this structure is next to the Great Bath. What purpose do you think it could have served?"

VS Area, Section A. Block I, House II: Room 23, showing brick floor with dyeing troughs 15

[Original 1931 caption] "House II. - Rooms 1 to 26, covering a rectangular area of 86 ft. 10 in. by 64 ft. 5 in. to the north of the building just described, appear originally to have belonged to one and the same house, which had two entrances opening into the main street on the east and another into Lane I on the north. At a subsequent date the building appears to have been divided into four separate dwellings. . .. Noteworthy features of this room are five conical pits or holes dug into the floor and lined with wedge-shaped bricks, apparently meant to hold the pointed bases of large storage jars, and what seems to have been a very narrow well in the S.E. corner. Room 2 has a small chamber screened off in its N.W. corner and a paved bath or floor for cleaning utensils in the other corner, with a covered drain to carry of waste water into the cesspit in front of Room I." [Marshall, Vol. I. p. 216]

https://www.harappa.com/slide/vs-area-section-block-i-house-ii-room-23-showing-brick-floor-dyeing-troughs

[quote] "This room in VS area was made with bricks set on edge to create a watertight floor. A small well was located in the southeast corner (top right) and circular brick depressions were set into the floor, presumably to hold pottery vessels. The early excavators suggested that the room might have been a dyer's workshop" (Mark Kenoyer).

Sir Mortimer Wheeler, the early excavator, wrote: "Of another kind is a building fronting upon one of the main streets, 'First Street', in VR Area (Mohenjo-daro). Its outside dimensions are 87 by 64.5 feet, but within that considerable framework are included not only residential quarters around the courtyard but also, towards the street, industrial or commercial premises of some note: in particular, three rooms neatly paved with bricks on edge, one room with five conical pits or holes sunk in the floor and lined with wedge-shaped bricks, apparently to hold the pointed bases of large jars. In a corner of the room is a well, and nearby is the usual brick staircase. The premises may have been a public restaurant, but it is alternatively possible that the implied jars were, rather, dyeing vats." (The Indus Civilization, p. 51)[unquote]

https://www.harappa.com/blog/dyers-workshop

In an article (2004) ‘Ancient Textiles of the Indus Valley Region, in Tana Bana: The woven soul of Pakistan, edited by Noorjehan Bilgrami, pp.18-31, Koel Publications, Karachi, Jonathan Mark Kenoyer notes: “The most common fibres used in the Indua Valley appear to have been cotton, but various types of wool and possibly jute or hemp fibres were also used. Most recently, the discovery of silk thread inside copper beads from the site of Harappa indicates that wild silk was also known to the ancient inhabitants of the region, though there is no evidence to suggest that it was woven into fabric…One of the most famous examples of a textile from the site of Mohenjo-Daro is seen on a small stone sculpture with a cloak thrown over the left shoulder. Often referred to as the ‘Priest-King’ this sculpture shows the use of circular designs comprised of circles, double circles and trefoils. When the sculpture was first discovered, the trefoils and circles were filled with red pigment and the background was filled with a dark pigment that may have originally been green or blue. The white color of the original stone would hve been visible in the form of the circle, resulting in a striking pattern made of green or blue with red and white designs. This type of patterning, using indigo, madder and bleached cotton, is still commonly used in the priting of ajrak block prints in modern Sindh, Gujarat and Rajasthan. Due to the lack of repetition in the design, the cloak worn by the ‘priest-king’ probably is not a block printed textile, but may have been made with large embroidered designs or by tie dyeing… ”

https://www.harappa.com/sites/default/files/pdf/Kenoyer2004%20IndusTextilesfinal.pdf

[quote] There is no hard and fast proof yet that indigo was an important dye during Indus times, but it is quite possible. Hobson-Jobson (1903) defines indigo as: "The plant Indigofera tinctoria, L. (N.O. Leguminosao), and the dark blue dye made from it. Greek [xxxx]. This word appears from Hippocrates to have been applied in his time to Pepper. It is also applied by Dioscorides to the mineral substance (a variety of the red oxide of iron) called Indian red (F. Adams, Appendix to Dunbar's LexiconLiddell & Scott call it "a dark blue dye, indigo." The dye was used in Egyptian mummy cloths (Wilkinson, Ancient Egypt, ed. 1878, ii. 163).]

The earliest reference Hobson-Jobson gives is "a.D. c. 60.–"Of that which is called [xxxx] one kind is produced spontaneously, being as it were a scum thrown out by the Indian reeds; but that used for dyeing is purple efflorescence which flots on the brazen cauldrons, which the craftsmen skim off and dry. That is deemed best which is blue in colour, succulent, and smooth to the touch. Dioscorides, v. cap. 107. (Henry Yule and A.C. Burnell, Hobson-Jobson, John Murray, 1903 [1994], p. 437).

Wikipedia defines indigo asa "Species of Indigofera were cultivated in India, East Asia and Egypt in antiquity. Pliny mentions India as the source of the dye, imported in small quantities via the Silk Road. The Greek term for the dye was Ἰνδικὸν φάρμακον ("Indian dye"), which, adopted to Latin as indicum and via Portuguese gave rise to the modern word indigo."

Gregory Possehl writes in one of the few references by an Indus scholar, "Indigo and Lathyrus odoratus, both legumes, the root nodules of which help in the natural fertilization of the soil, were once widely cultivated in the western region of the subcontinent. Their cultiuvation was stopped by the British and this adversely affected soil fertility (Harappan Civilization, p. 35).[unquote]https://www.harappa.com/blog/night-indigo

https://insa.nic.in/writereaddata/UpLoadedFiles/IJHS/Vol17_1_6_HCBhardwaj.pdf Full text embedded below:

This text message on Dholavira tablet includes a hieroglyph which compares with Sign 244 (Mahadevan Concordance, ASI 1987):

I suggest that this Sign 244 is descriptive orthograph of a warehouse or granary of the type seen in Harappa archaeological site.

"The so-called "granary" of Harappa is found on Mound F. It is a brick structure that was built on a massive brick foundation over 45 meters north south and 45 meters east-west. Two rows of six rooms that appear to be foundations are arranged along a central passageway that is about 7 meters wide and partly paved with baked bricks. Each room measures 15.2 by 6.1 meters and has three sleeper walls with air space between them. A wooden superstructure supported in some places by large columns would have been built on top of the brick foundations, with stairs leading up from the central passage area. Small triangular opening may have served as air ducts to allow the flow of fresh air beneath the hollow floors.

No special concentrations of burned grain or storage containers were discovered by the earlier excavators and the interpretation of these structures as granaries is based on comparisons with Roman buildings and has no parallels with any building tradition in South Asia. Most scholars agree that there is little evidence for the construction of massive granaries at either Mohenjo-daro or Harappa and that these structures should only be seen as evidence for large public buildings. Rulers and state officials probably did meet in such large public buildings and many of them may have been used for specific religious functions, but their specific function will always remain a mystery." https://www.harappa.com/slide/granary-harappa

The Meluhha word to signify a warehouse: kṓṣṭha2 n. ʻ pot ʼ Kauś., ʻ granary, storeroom ʼ MBh., ʻ inner apartment ʼ lex., ˚aka -- n. ʻ treasury ʼ, ˚ikā f. ʻ pan ʼ Bhpr. [Cf. *kōttha -- , *kōtthala -- : same as prec.?]Pa. koṭṭha -- n. ʻ monk's cell, storeroom ʼ, ˚aka<-> n. ʻ storeroom ʼ; Pk. koṭṭha -- , kuṭ˚, koṭṭhaya -- m. ʻ granary, storeroom ʼ; Sv. dāntar -- kuṭha ʻ fire -- place ʼ; Sh. (Lor.) kōti(ṭh?) ʻ wooden vessel for mixing yeast ʼ; K. kōṭha m. ʻ granary ʼ, kuṭhu m. ʻ room ʼ, kuṭhü f. ʻ granary, storehouse ʼ; S. koṭho m. ʻ large room ʼ, ˚ṭhī f. ʻ storeroom ʼ; L. koṭhā m. ʻ hut, room, house ʼ, ˚ṭhī f. ʻ shop, brothel ʼ, awāṇ. koṭhā ʻ house ʼ; P. koṭṭhā, koṭhā m. ʻ house with mud roof and walls, granary ʼ, koṭṭhī, koṭhī f. ʻ big well -- built house, house for married women to prostitute themselves in ʼ; WPah. pāḍ. kuṭhī ʻ house ʼ; Ku. koṭho ʻ large square house ʼ, gng. kōṭhi ʻ room, building ʼ; N. koṭho ʻ chamber ʼ, ˚ṭhi ʻ shop ʼ; A. koṭhā, kõṭhā ʻ room ʼ, kuṭhī ʻ factory ʼ; B. koṭhā ʻ brick -- built house ʼ, kuṭhī ʻ bank, granary ʼ; Or. koṭhā ʻ brick -- built house ʼ, ˚ṭhī ʻ factory, granary ʼ; Bi. koṭhī ʻ granary of straw or brushwood in the open ʼ; Mth. koṭhī ʻ grain -- chest ʼ; OAw. koṭha ʻ storeroom ʼ; H. koṭhā m. ʻ granary ʼ, ˚ṭhī f. ʻ granary, large house ʼ, Marw. koṭho m. ʻ room ʼ; G. koṭhɔ m. ʻ jar in which indigo is stored, warehouse ʼ, ˚ṭhī f. ʻ large earthen jar, factory ʼ; M. koṭhā m. ʻ large granary ʼ, ˚ṭhī f. ʻ granary, factory ʼ; Si. koṭa ʻ storehouse ʼ. -- Ext. with -- ḍa -- : K. kūṭhürü f. ʻ small room ʼ; L. koṭhṛī f. ʻ small side room ʼ; P. koṭhṛī f. ʻ room, house ʼ; Ku. koṭheṛī ʻ small room ʼ; H. koṭhrī f. ʻ room, granary ʼ; M. koṭhḍī f. ʻ room ʼ; -- with -- ra -- : A. kuṭharī ʻ chamber ʼ, B. kuṭhrī, Or. koṭhari; -- with -- lla -- : Sh. (Lor.) kotul (ṭh?) ʻ wattle and mud erection for storing grain ʼ; H. koṭhlā m., ˚lī f. ʻ room, granary ʼ; G. koṭhlɔ m. ʻ wooden box ʼ. kōṣṭhapāla -- , *kōṣṭharūpa -- , *kōṣṭhāṁśa -- , kōṣṭhāgāra -- ; *kajjalakōṣṭha -- , *duvārakōṣṭha -- , *dēvakōṣṭha -- , dvārakōṣṭhaka -- .Addenda: kṓṣṭha -- 2: WPah.kṭg. kóṭṭhi f. ʻ house, quarters, temple treasury, name of a partic. temple ʼ, J. koṭhā m. ʻ granary ʼ, koṭhī f. ʻ granary, bungalow ʼ; Garh. koṭhu ʻ house surrounded by a wall ʼ; Md. koḍi ʻ frame ʼ, <-> koři ʻ cage ʼ (X kōṭṭa -- ). -- with ext.: OP. koṭhārī f. ʻ crucible ʼ, P. kuṭhālī f., H. kuṭhārī f.; -- Md. koṭari ʻ room ʼ.3547 kōṣṭhapāla m. ʻ storekeeper ʼ W. [kṓṣṭha -- 2, pāla -- ]M. koṭhvaḷā m.   3548 *kōṣṭharūpa ʻ like a room ʼ. [kṓṣṭha -- 2, rūpá -- ]B. kuṭru ʻ tent ʼ.   3549 *kōṣṭhāṁśa ʻ share of store ʼ. [kṓṣṭha -- 2, áṁśa -- ]Pa. koṭṭhāsa -- m. ʻ share, portion ʼ, adj. ʻ divided into ʼ (ā felt as contraction of a -- a and preserved before ṁs; consequent āṁs > ās: cf. re -- establishment of prefix ā before MIA. double consonant, e.g. Pk. āṇavēdi < *āṇṇ˚ replacing aṇṇ -- < Sk. ājñ -- ); Si. koṭasa, kohoṭa ʻ share, part, piece ʼ.   3550 kōṣṭhāgāra n. ʻ storeroom, store ʼ Mn. [kṓṣṭha -- 2, agāra -- ]Pa. koṭṭhāgāra -- n. ʻ storehouse, granary ʼ; Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhār ʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- ˚rī f. ʻ small one ʼ; Si. koṭāra ʻ granary, store ʼ.kōṣṭhāgārika -- .Addenda: kōṣṭhāgāra -- : WPah.kṭg. kəṭhāˊr, kc. kuṭhār m. ʻ granary, storeroom ʼ, J. kuṭhār, kṭhār m.; -- Md. kořāru ʻ storehouse ʼ ← Ind.

   3551 kōṣṭhāgārika m. ʻ storekeeper ʼ BHSk. [Cf. kōṣṭhā- gārin -- m. ʻ wasp ʼ Suśr.: kōṣṭhāgāra -- ]Pa. koṭṭhāgārika -- m. ʻ storekeeper ʼ; S. koṭhārī m. ʻ one who in a body of faqirs looks after the provision store ʼ; Or. koṭhārī ʻ treasurer ʼ; Bhoj. koṭhārī ʻ storekeeper ʼ, H. kuṭhiyārī m.Addenda: kōṣṭhāgārika -- : G. koṭhārī m. ʻ storekeeper ʼ.CDIAL 3546 to 3551)

Thus, the entire text message of inscription of the Dholavira tablet reads:

koṭṭhāra 'warehouse' (of) kuṭila  sal 'bronze workshop' PLUS dul khaṇḍa 'cast metal implements'.

These are the wealth artifacts created by dhokra kamar 'cire perddue metal caster' of pola 'zebu' rebus: pola 'ferrite,magnetite ore' PLUS kod 'horn' rebus: kod 'workshop' (using) kol 'tiger' rebus: kol 'working in iron' PLUS panja 'feline paw' rebus: panja 'kiln' PLUS kuti 'jump' rebus: kuṭhi 'smelter'

Ta. kuti (-pp-, -tt-) to jump, leap, bound, frolic, leap over, escape from, splash (as water), spurt out; n. jump, leap; kutippuleaping. Ma. kuti leap, gallop; kutikka to jump, skip, boil, bubble up; kutukkuka to take a spring in order to leap. Ka. gudi to jump, stamp, make a noise with the feet; kudukuto trot; n. trotting; (Hav. S.) gudiku to jump. Tu. guttu a leap, jump; a stride. Te. kudupu to shake (tr.), agitate, jolt; n. shaking, jolting; kudulu to be shaken, jolt. (K. also) shake while walking, flutter in agony; kudilincu to shake (tr.); kudilika shaking, agitation, jolting. Konḍa gudlis- (-t-) to shake violently. Kur. kuddnā to move about; kudāba'ānā to make run; kudākudī in hot haste; kuduṛ-kuduṛ at a trot. (DEDR 1705) Dholavira tablet text message: koṭṭhāra 'warehouse' (of) kuṭila sal 'bronze workshop' PLUS dul khaṇḍa 'cast metal implements'

(CDIAL 3411, 3412) Rebus: kuṭhi 'smelter'

Sign 244: koṭṭhāra -- n. ʻ storehouse ʼ(Pkt.)(CDIAL 3550).

 kuṭilika 'bent, curved' rebus: कुटिल kuṭila, katthīl = bronze (8 parts copper and 2 parts tin); " sal 'splinter' rebus: sal'workshop'. Thus, together, 'bronze workshop'

kaṇḍa 'arrow' rebus: khaṇḍa 'implements' PLUS dula 'pair' rebus: dul 'metalcasting'. Thus the pair of 'arrows' signify, cast metal implements.

karṇika 'rim of jar' rebus: karṇī 'supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale'; कर्णिक having a helm; a steersman (Monier-Williams)

Side B of the tablet: 

Hieroglyph: dhokra ‘decrepit woman with breasts hanging down’. Rebus: dhokra kamar 'artisan metalcaster using lost-wax technique'. Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ, Or. ḍokarā; H. ḍokrā ʻ decrepit ʼ; G. ḍokɔ m. ʻ penis ʼ, ḍokrɔ m. ʻ old man ʼ, M. ḍokrā m. -- Kho. (Lor.) duk ʻ hunched up, hump of camel ʼ; K. ḍọ̆ku ʻ humpbacked ʼ perh. < *ḍōkka -- 2. Or. dhokaṛa ʻ decrepit, hanging down (of breasts) ʼ.(CDIAL 5567). M. ḍhẽg n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). (The decrepit woman is ligatured to the hindpart of a bovine).

kāruvu ‘crocodile’ Rebus: khār ‘blacksmith’ (Kashmiri)  PLUS dula 'pair' rebus; dul 'metal casting'. Thus, the pair of crocodiles signify metalcaster smith.

Heroglyph: Person with upraised arms: eraka 'upraised arm' rebus: eraka 'moltencast, copper'. Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion. Tu. eraka molten, cast (as metal); eraguni to melt. Kur. ecchnā to dash a liquid out or over (by scooping, splashing, besprinkling). (DEDR 866).

ḇã̄bhaṇ (Sindhi) bām(h)uṇī (Oriya) ബ്രഹ്മം brahmam'the power of praying' (Malayalam)

 (Kannada)

 బ్రాహ్మణము [Skt. from బ్రహ్మ.] n. An assembly of Brahmins. The Brahmanas of the Vedas. వేదభాగము. బ్రాహ్మణ్యము brāhmaṇyamu. n. An assembly of Brahmins, బ్రాహ్మణసమూహము. The state, quality, or business of a Brahmin, Brahminhood. బ్రాహ్మణభావము. బ్రాహ్మము brāhmamu. n. The rite of marriage performed in accordance with the Vedas by Brahmins, కన్యాదానము. adj. Pertaining to Brahma. బ్రహ్మసంబంధమైనది. బ్రాహ్మణుడు or బ్రాహ్మడు brāhmaṇuḍu. n. A Brahmin. విప్రుడు. బ్రాహ్మణాయనుడు brāhmn-āyanuḍu. n. A Brahmin of a good family. (Telugu)

Brāhmaṇa1 [fr. brahma; cp. Vedic brāhmaṇa, der. fr. brahmán] a member of the Brahman caste; a Br. teacher. In the Buddhist terminology also used for a man leading a pure, sinless & ascetic life, often even syn. with arahant. — On brāhmaṇas as a caste & their representation in the Jātaka collection see Fick, Sociale Gliederung; esp. ch. 8, pp. 117-162. — Var. fanciful etymologies, consisting of a word-play, in P. definitions are e. g. "sattannaŋ dhammānaŋ bāhitattā br." (like def. of bhikkhu) Nd1 86=Nd2 464a (cp. Sn 519); ye keci bho-vādikā Nd1 249=Nd2 464b; brahā-sukhavihāra-jhāna-jhāyin Miln 226; pāpaŋ bāhesuŋ D iii.94; bāhita-pāpattā br. DhA iii.84; ariyā bāhita-pāpattā br. DA i.244. — pl. brāhmaṇāse Sn 1079 sq. — Var. ref8 in the Canon to all meanings of the term: D i.90, 94, 104, 119 sq., 136 (mahāsālā), 150 (˚dūta), 247; iii.44 sq., 61, 83 sq., 94 sq. (origin of), 147, 170, 258 (˚mahāsālā), 270; M i.271 (˚karaṇā dhammā), 280; ii.84, 148, 177; iii.60, 270 (a bhikkhu addressed as br.); S i.47, 54, 94 sq., 99 (˚kumāra), 117, 125, 160 sq.; ii.77, 259; iv.157; v.194; A i.66, 110, 163 (tevijjā); 166; ii.176; iii.221 sq. (brāhmaṇa-vagga); It 57 sq., 60, 98, 101; J iii.194; iv.9; vi.521 sq.; Vbh 393 sq. For br. with the meaning "arahant" see also: Vin i.3; ii.156 (br. parinibbuta); Th 1, 140, 221 (brahma-bandhu pure āsiŋ, idāni kho 'mhi brāhmaṇo); Dh 383 sq.; Sn passim (e.g. v. 142 kammanā hoti brāhmaṇo; 284 sq.); J iv.302 sq.; Miln 225. Ten kinds of Br. are pronounced to be apetā brahmaññā degraded fr. brahmanship J iv.361 sq. Diff. schools of br. teachers are enumd at D i.237 sq. (Tevijja Sutta). —brāhmaṇānaŋ pubbakā isayo mantānaŋ kattāro "the ten inspired Seers of old times, who composed the Vedic hymns"; their names are Aṭṭhaka, Vāmaka, Vāmadeva, Vessāmitta, Yamataggi, Angirasa, Bhāradvāja, Vāseṭṭha, Kassapa, Bhagu Vin i.245; D i.104; A iii.224; iv.61; cp. VvA 265.(Pali)

ব্রাহ্মণ Brāhmaṇa -- Rabindranath Tagore

Executive Summary

If the society in our country is to be preserved in the Oriental spirit, if it is not possible or not desirable to radically change this long-standing vast society in the European way, then the existence of a true Brahmin community is crucial. They will be a people of modest means, they will be scholarly; they will be devoted to Dharma, and they will be the standard and shelter of all kinds of Ashrama-Dharma, and they will be gurus. 

Who are the people who can steadfastly defend those ideals? Only those – who have hereditarily stayed aloof from the conflicts arising out of a pursuit of self-interest; only those who have found glory in economic deprivation, who do not see good deeds as a commodity, whose minds, permeated with pure knowledge and upright virtue, dwell in the lofty regions beyond the skies, and who have attained holiness and reverence by abandoning all else to accept the noble duty of protecting the highest ideals of the society.

Translated into English by Sreejit Datta

Everyone knows that recently [c. 1902 – translator] one Marathi Brahmin was beaten up with a shoe by his English employer; the matter was taken to the highest court for hearing – finally, the judge has dismissed the matter as trifle.

The incident is so shameful that we had decided not to mention it in our monthly magazine. Having been beaten up by another, whether one should retaliate or cry or complain – the papers have carried out all such tittle-tattle; we don’t intend to bring up such discussions either. However, it is time we express certain matters deserving of serious consideration that have occurred to us.

The judge has dubbed it a trivial incident – in reality, it has turned out to be a trivial matter as well, and therefore he hasn’t spoken unfairly. But the very fact that this incident is being regarded as trifle indicates that the deterioration of our samāja is happening at breakneck speed.

The English deeply value what they call ‘prestige’, i.e., the esteem that the people have for their government. Because, the might of this prestige often works like the might of the army. One must gain prestige from those who one wishes to command. The British Empire has never felt so embarrassed as it did in India when during the initial days of the Boer war it had to face repeated humiliations at the hands of a small band of peasants. At that time, we could all feel that the click-clack of Englishmen’s boots aren’t so loud in this country as it earlier used to be.

Once upon a time, the Brahmin used to enjoy such prestige in our country. Because the responsibility of directing the samāja was bestowed upon the Brahmin. Whether or not the Brahmin are properly conserving the samāja, whether or not they have the unselfish virtues that are necessary to conserve the samāja – these questions never occurred to anybody as long as the Brahmin had their prestige. As the Englishman prizes his prestige, so did the Brahmin.

The way the samāja is formed in our country makes such prestige of the Brahmin necessary for the samāja as well. And it is precisely out of that necessity that the samāja had offered so much reverence to the Brahmin.

The functioning of the social system of our country is a very vast and complex affair. It is this system that has kept order in the country and has thus sustained it. It is this very system that has constantly attempted to protect the masses from sinking into crime and degeneration. Had it not been so, the British would not have been able to maintain order so remarkably well by depending solely upon its police force and its army. Even during the reign of the Nawabs and the Badshah-s, tranquillity had continued to prevail in the social sphere despite various upheavals at the political sphere – even during that period one did not see any slackening of civility and general good conduct of the people, integrity used to be maintained in transactions, perjury was looked upon with contempt, the debtor did not swindle the creditor and everyone honoured the principles of common virtuous conduct out of plain trust.

The responsibility of preserving the ideals of that vast society and reminding it of its principles and codes of conduct lay with the Brahmin. The Brahmin is the driver and superintendent of this society. He was given due respect for executing these tasks, too.

If this kind of social order, which is in keeping with the Oriental spirit, is not considered reprehensible, then the task of keeping its ideals pure and disciplined forever must be entrusted to a particular community. It is to be hoped that by simplifying and purifying their lifestyle, minimising their wants, vowing to dedicate themselves to studying, teaching, conducting, and overseeing the sacred rituals, and by protecting the highest ideals of the country from the muck of all sorts of trading, they will be truly entitled to the social respect they have been receiving.

People are deprived of their rightful prerogatives due to their own fault. We see that happening with the British too. When a Britisher, having done injustice to some native, seeks to escape punishment by appealing to his prestige, he then deprives himself of his claim to the rightful prestige. The prestige of uprightness is the greatest among all forms of prestige – our hearts voluntarily bow before it. Terror holds us by the neck and makes us bow before it, our minds cannot help but inwardly rebel against such humiliation of obeisance.

Even the Brahmin, when he has given up his duty, can no longer maintain his position in the highest seat of the society just by bullying people into fearing the afterlife.

No prestige is without a price – prestige cannot be maintained by doing whatever you want. The king who sits on the throne cannot open a shop and run a business. He who is worthy of respect must always curb his desire on all counts. In our country, the master and the mistress of the household end up being more deprived in worldly matters compared to the other members of the household – the mistress of the house gets to eat at the very end when everyone else has had their share. Without this, authority cannot be maintained for too long by depending solely on arrogance. You will continue to demand respect, but will not pay any price for it – such an arrangement will never be tolerated forever.

Our modern Brahmins resorted to the practice of exacting prestige without paying a price for it. As a result, their prestige in our society is becoming more and more a mere lip service. Not only that, due to the slackening of the high work of the society in which the Brahmins were engaged, the cohesion of the society is also becoming weaker with every passing day.  

If the society in our country is to be preserved in the Oriental spirit, if it is not possible or not desirable to radically change this long-standing vast society in the European way, then the existence of a true Brahmin community is crucial. They will be a people of modest means, they will be scholarly; they will be devoted to Dharma, and they will be the standard and shelter of all kinds of Ashrama-Dharma, and they will be gurus.

For that society, there is no humiliation in poverty or even in subordination to a foreign power, in which a particular group knows how to neglect wealth and fame, and hates luxury; whose conduct is unblemished, who are deeply committed to Dharma, who are selflessly engaged in acquiring knowledge and who equally selflessly participate in imparting knowledge. A society is honoured by the very souls whom it truly honours.

In every society, the respectable people – the best people of a particular society – are the true representatives of that society’s quality and nature. When we call England rich, we do not take into account the countless poor who belong to the English society. When we call Europe free, we do not consider the unbearable subordination of her vast masses. There, only a handful at the top are rich, only a few at the top are independent, only a few at the top are free from bestiality. A civilised society has nothing to fear as long as the few at the top continually apply their will and regularise their happiness to impart knowledge, religion, happiness and health to the majority of the people at the bottom.

A discussion on whether the European society is indeed operating this way may seem unnecessary, but it is not entirely futile.

It is difficult to uphold the ideal of duty in a set-up where each moment every man has to fight under the compulsion of competition, driven by the urge to surpass the man standing next to him. And within such a set-up, it becomes truly difficult for people to draw a limit to their aspirations.             

Presently, the great empires of Europe are desperately trying to outdo each other. Amidst such a state of affairs, no one can really utter things like “I would rather accept a fall from the first class to the second class, but I will never act unjustly.” Neither does anyone think such things as: “we would rather reduce the armament on the land and on the seas and thus accept a status inferior to our neighbours in terms of royal power, but our focus should be on spreading comfort, happiness, enlightenment, and piety within the society.” The momentum generated by the pull of competition drives one recklessly – and running at this great pace is called progress in Europe; we too have learned to call it progress.

But the movement which is not regulated by pauses at measured steps cannot be called progress. The metre that does not have punctuation is no metre at all. Day and night the sea may be turbulent with plunging waves constantly seething and crashing at the foot of the society, but at its highest peak, the society must maintain the eternal ideals of peace and stability forever.

Who are the people who can steadfastly defend those ideals? Only those – who have hereditarily stayed aloof from the conflicts arising out of a pursuit of self-interest; only those who have found glory in economic deprivation, who do not see good deeds as a commodity, whose minds, permeated with pure knowledge and upright virtue, dwell in the lofty regions beyond the skies, and who have attained holiness and reverence by abandoning all else to accept the noble duty of protecting the highest ideals of the society.

In Europe, too, a few sages appear in the scene from time to time in the midst of relentless turbulences of action, and upholds the ideals of stability, ultimate goal, and ultimate end. But who cares to stand a while and listen to them? How can one or two such individuals stop the tremendous momentum of this aggregate self-interest of gigantic proportions? Fifty-nine sails of the merchant ship have caught the wind; on the outstretched field of Europe, surrounded by frenzied spectators, rows of war-horses are racing against each other –who will now stop for a moment?

The argument that spirituality may arise even amidst such frenzy, even from within such desperate and excessive churning of one’s own power, does arise in our mind too. The attraction of this momentum is too great; it tempts us, and we fail to suspect that it can lead to catastrophe.

What sort of temptation is it? It is like a group of bark-clad men who identify themselves as sadhus and sādhaka-s and take their cannabis addiction to be a pursuit of spiritual bliss. Intoxication increases one’s concentration, generates excitement; but it reduces spiritual independence and vigour. And though all else can be abandoned, one cannot quit the excitement generated by this addiction – in fact, one is compelled to go on increasing the level of intoxication as one’s willpower gradually decreases. It is also artificial to indulge in the luxuries of religious fanaticism by dancing round and round or by playing loud instruments, thus exciting oneself and almost fainting. When such a habit takes root in us, it continues to haunt us like the intoxication of opium at our moments of depression. Without self-absorbed, quiet, and single-pointedly steadfast devotional pursuits, nothing of truly lasting value can be achieved and neither can anything of enduring worth be preserved.

But no work can happen without passionate motivation and no society can function without work. That is why India had attempted to bring about harmony of movement and stability in its society. The Kshatriyas, the Vaishyas, etc., who carry out, first-hand, the works of society, had a definite boundary for the domain of their actions. That is why Kshatriyas could consider their duty as a religion by defending the ideals of Kṣātra Dharma. When duty is placed on a foundation of Dharma way above the petty self-interests and instincts, one finds room for respite and spiritual gains even in work.

The ways in which the European society functions push most people towards a particular tendency to keep moving. There, the intellectuals tend to get attracted to the affairs of the state, and the common people are drawn towards the tendency to make money. At present, imperialist greed has possessed everyone and there’s an ongoing scramble for colonies all over the world. It will not be strange to soon stumble upon a time when the quest for pure knowledge will not attract enough people. Similarly, there may come a time when troops will not be available even when they are necessary. For, who will check this instinctive tendency? If the Germany that was a scholar till the other day becomes a merchant now, who will preserve her erudition? The Englishman, who had once upon a time taken the vow of the Kshatriya to protect the afflicted, is presently rushing to set up and run his shop all around the world by brute force. What power could now possibly bring him back to his old generous spirit of the Kshatriya?

Instead of conceding all authority to this tendency, the Indian social system confers the burden of authority upon restrained and well-ordered provisions of duty. If the society is alive, if it is not overwhelmed by external attacks, then, in accordance with the provisions of this system, there will be harmony in the society at all times – there will be no sudden rush to any one direction and a total evacuation from the other. Everyone would defend their ideals and would be proud of what they do.

But work does have a momentum of its own. Due to this momentum, work obscures the outcomes that it produces. And then work becomes an end in itself. There’s a certain kind of bliss in letting go of oneself with the flow of work’s momentum. The ghost of action often possesses the man of action.

And that is not all. When the accomplishment of an action becomes too pre-eminent an end, the discernment of the means wears off. Then the one who acts has to make various compromises with the world and with the exigencies of his times.

Therefore, any society where there is action must also have a set of provisions to regulate action. There has to be an ever-vigilant watch such that humanity does not come under the sway of blind action. To always show the right path to the men of action, to hold on to the pure note in the midst of the cacophony of actions, we need a group of people who will keep themselves free from actions and interests as much as possible. These are the Brahmins.

These Brahmins are truly independent. They are the ones who devotedly and sternly defend the ideal of true freedom in the society. Society gives them the leisure, the capacity, and the prestige to that end. This freedom of theirs is but the freedom of the society itself. The society in which they are able to keep themselves free (from the compulsions of actions and interests), is a society that has no fear or danger in mere foreign subjugation. Such a society can always experience the freedom of its mind – the freedom of its very soul – within its Brahmin section. If the present Brahmins of our country had defended this greatest treasure of the society in a firm, upright, and uncovetous manner, the society would never have allowed any insult to the Brahmin; and neither could such a thing have ever come out of the mouth of a judge that that beating up a decent Brahmin with a shoe is a trivial matter. Even being a foreigner, the judge could have understood the prestige of the esteemed Brahmin.

But the Brahmin who works in the office of a sahib with his head bowed in obedience, the Brahmin who sells his leisure and abandons his great authority, the Brahmin who becomes a merchant of knowledge in the university and a trader of justice in the court of law, the Brahmin who insults his own Brahminhood for money – how will such a Brahmin uphold his ideal? How will he preserve the society? Why would we go to him with due deference in order to obtain the provisions of Dharma? After all, he has mingled with the crowd in the scrimmage and his sweaty body is now indistinguishable from those others who participate in the daily fracas! Such a Brahmin does not pull the society upwards by virtue of the reverence for him, he takes it to the pit.

http://swatantramag.com/braḥmaṇa-by-rabindranath-tagore-part-ii/

https://rashtram.org/braḥmaṇa-by-rabindranath-tagore-part-ii/

https://tinyurl.com/y6bv2zrn

I submit that the one-horned young bull hypertext signifies a guild of ornament-gold- and fine-gold-smiths.

This is an addendum to:

Bronze bezel ring with Indus Script hieroglyphs of a mint accountant-scribe, lathe worker in ingots, metalware, bell-metal, fine gold https://tinyurl.com/3v6s6ajs 

Adding a spiny, forward-thrusting horn to the young bull, the reading is smith working in ornament gold (in addition to working inkundana‘fine gold’.Added semantic reading is rebus: कोंडण kōṇḍaṇa f A fold or pen.

Rebus: śr̥ṅgín ʻ horned ʼ RV. [śŕ̊ṅga -- ]Pa. siṅgin -- , siṅgika -- ʻ horned ʼ, Pk. siṁgi -- , N. siṅe, G. sĩgī; -- ext. -- l -- : Pa. siṅgila -- m. ʻ a kind of horned bird ʼ; S. siṅiru ʻ horned ʼ. OMarw. (Vīsaḷa) sīṁgī f.adj. ʻ horned (of cow) ʼ.(CDIAL 12595) शृङ्गिन् śṛṅgin a. (-णी f.) [शृङ्गमस्त्यस्य इनि] Horned (Apte)

Rebus:  शृङ्गी śṛṅgī  Gold used for ornaments. (In goldsmithy, this 18-carat gold is distinguished from 24-carat kundan 'fine gold').

खोंड khōṇḍa m A young bull, a bullcalf.

खोंड khōṇḍa young bull  shown on the chest of the anthropomorph has a spiny, forward-thrusting horn which is: singhin rebus: singi 'ornament gold'. Thus, the rebus reading of hieroglyph खोंड khōṇḍa 'young bull' is: कोंड kōṇḍa 'a circular hamlet (of a guild) of singi 'ornament goldsmiths'.

कोंड kōṇḍa m C A circular hedge or field-fence. 2 A circle described around a person under adjuration. 3 The circle at marbles. 4 A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. 5 Grounds under one occupancy or tenancy. 6 f R A deep part of a river. 7 f (Or कोंडी q. v.) A confined place gen.; a lock-up house &c.कोंडण kōṇḍaṇa f A fold or pen.कोंडवाड kōṇḍavāḍa n f C (कोंडणें & वाडा) A pen or fold for cattle.कोंडी kōṇḍī f (कोंडणें) A confined place gen.; a lock-up house, a pen, fold, pound; a receiving apartment or court for Bráhmans gathering for दक्षिणा; a prison at the play of आट्यापाट्या; a dammed up part of a stream &c. &c.

Other hieroglyphs:

खोंड khōṇḍa a variety of जोंधळा.खुंडी khuṇḍī A species or variety of जोंधळा |

"The conjectured past existence of the Sarasvati river between the drainage divide of the rivers Sutlej in the west and Yamuna in the east in the northwest Indo‐Gangetic plains has been a major focus of research. As early as in 1788, Surveyor General James Rennel marked the monsoon‐fed Ghaggar (Figure 1) as“Sursooty” in his Memoir of a Map of Hindoostan (1788)...French geographer L. Vivien de Saint‐Martin (1860) suggested that the dry river bed occupied by the Ghaggar River must be the relic of the Sarasvati River described in the Vedic hymns. The Nadistuti Sukta (“hymn in praise of rivers”) of Rigveda (75.5 & 6) mentions the geographical position of the River Sarasvati between the Yamuna and the Sutlej. (Vivien de Saint‐Martin L. 1860. Étude sur la géographie et les populations primitives du nord‐ouest de l'Inde, d'après les hymnes védiques Imprimerie Impériale: Paris.)"

Memoir of a Map of Hindoostan -- James Rennel (1788)

 May 20, 2021 @LostTemple7

https://tinyurl.com/2536ammr

In my opinion, MM Pandit ji brilliantly resolves the confusion caused by references to Rohiṇi and Viśākha in the context of Saturn/Jupiter on skymaps and explains succinctly the concept of pīḍa in Jyotiṣa.

https://tinyurl.com/4z44zws

चतुरङ्गं 1 a complete army consisting of elephants, chariots, cavalry and infantry; चतुरङ्गसमायुक्तं मया सह च तं नय Rām.1.20. 10; एको हि खञ्जनवरो नलिनीदलस्थो दृष्टः करोति चतुरङ्गबलाधिपत्यम् Ś. Til.4; चतुरङ्गबलो राजा जगतीं वशमानयेत् । अहं पञ्चाङ्गबलवाना- काशं वशमानये ॥ Subhāṣ. -2 a sort of chess.(Apte) cáturaṅga ʻ having four limbs ʼ RV., ʻ consisting of four parts (of an army) ʼ MBh., n. ʻ a kind of chess ʼ Tithyād. [catur -- , áṅga -- ]

Pa. caturaṅga -- , ˚gin -- , ˚gika -- ʻ fourfold ʼ; Pk. caüraṁga -- , ˚gi -- , cāuraṁga -- ʻ having four divisions ʼ; K. ċŏrongu m. ʻ chessman ʼ; P. curaṅg m. ʻ tying the four limbs together (before cutting off a goat's head) ʼ; H. cauraṅg m. ʻ cutting off four legs of an animal at one blow ʼ, c˚ mārnā ʻ to hamstring ʼ; M. ċaurãg m. ʻ square stool ʼ, ċaurãgṇẽ ʻ to lop off hands and feet ʼ; Si. sivran̆ga -- keli ʻ chess ʼ.Addenda: cáturaṅga -- : A. caurāṅgi (phonet. s -- ) ʻ prostration (i.e. with arms and legs on the ground) ʼ.(CDIAL 4596)

चतुरङ्गं, क्ली, (चत्वारि अङ्गानि यस्य ।) हस्त्यश्व-रथपदातिरूपं सैन्यम् । यथा, रामायणे ।“चतुरङ्गं ह्यपि बलं सुमहत् प्रसहेमहि ।”अक्षक्रीडाविशेषः । चौरंखेला इति भाषा ॥यथा, --युधिष्ठिर उवाच ।“अष्टकोष्ठ्याञ्च या क्रीडा तां मे ब्रूहि तपोधन ! ।प्रकर्षेणैव मे नाथ चतूराजी यतो भवेत् ॥व्यास उवाच ।अष्टो कोष्ठान् समालिख्य प्रदक्षिणक्रमेण तु ।अरुणं पूर्ब्बतः कृत्वा दक्षिणे हरितं बलम् ॥पार्थ ! पश्चिमतः पीतमुत्तरे श्यामलं बलम् ।राज्ञो वामे गजं कुर्य्यात् तस्मादश्वं ततस्तरिम् ॥कुर्य्यात् कौन्तेय ! पुरतो युद्धे पत्तिचतुष्टयम् ।कोणे नौका द्वितीयेऽश्वस्तृतीये तु गजो वसेत् ॥तुरीये च वसेद्राजा वटिकाः पुरतः स्थिताः ॥पञ्चकेन वटी राजा चतुष्केणैव कुञ्जरः ॥त्रिकेण तु चलत्यश्वः पार्थ ! नौकाद्वयेन तु ॥कोष्ठमेकं विलङ्घ्याथ सर्व्वतो याति भूपतिः ।अग्र एव वटी याति बलं हन्त्यग्रकोणगम् ।यथेष्टं कुञ्जरो याति चतुर्द्दक्षु महीपते ! ॥तिर्य्यक् तुरङ्गमो याति लङ्घयित्वा त्रिकोष्ठकम् ।कोणकोष्ठद्वयं लङ्घ्य व्रजेन्नौका युधिष्ठिर ! ॥सिंहासनं चतूराजी नृपाकृष्टन्तु षट्पदम् ।काककाष्ठं बृहन्नौका नौकाकृष्टप्रकारकम् ॥घाताघाते वटी नौका बलं हन्ति युधिष्ठिर ! ।राजा गजो हयश्चापि त्यक्त्वा घातं निहन्ति च ॥अत्यन्तं स्वबलं रक्षेत् स्वराजा बलमुत्तमम् ।अल्पस्यारक्षया पार्थं ! हन्तव्यं बलमुत्तम् ॥नौकायाश्चत्वारि पदानि अश्वस्याष्टौ पदानिइत्याधिक्यमश्वस्य ॥मतङ्गजस्य गर्व्वेण राजा क्रीडति निर्भरम् ।तस्मात् सर्व्वबलं दत्त्वारक्ष कौन्तेय ! कुञ्जरम् ॥सिंहासनं चतूराजी यदवस्थानतो भवेत् ।सर्व्वसैन्यैर्गजैर्वापि रक्षितव्यो महीपतिः ॥अन्यद्राजपदं राजा यदाक्रान्तो युधिष्ठिर ! ।तदा सिंहासनं तस्य भण्यते नृपसत्तम् ! ॥राजा च नृपतिं हत्वा कुर्य्यात् सिंहासनं यदा ।द्विगुणं वाहयेत् पण्यमन्यथैकगुणं भवेत् ॥द्विगुणं पण्यं दातव्यत्वेन प्रापयेत् ॥मित्रसिंहासनं पार्थ यदारोहति भूपतिः ।तदा सिंहासनं नाम सर्व्वं नयति तद्बलम् ॥यदा सिंहासनं कर्त्तुं राजा षष्ठपदाश्रितः ।तदा घातेऽपि हन्तव्यो बलेनापि सुरक्षितः ॥विद्यमाने नृपे यत्र स्वकीये च नृपत्रयम् ।प्राप्नोति च तदा तस्य चतूराजी यदा भवेत् ॥नृपेणैव नृपं हत्वा चतूराजी यदा भवेत् ।द्विगुणं वाहयेत् पण्यमन्यथैकगुणं भवेत् ॥स्वपदस्थं यदा राजा राजानं हन्ति पार्थिव ।चतुरङ्गे तदा भूप ! वाहयेच्च चतुर्गुणम् ॥यदा सिंहासने काले चतूराजी समुत्थिता ।चतूराजी भवत्येव न तु सिंहासनं नृप ! ॥अत्रेदं बीजं उभयथा जयेऽपि परसिंहासनाधि-कारात् परराजवधे शौर्य्याधिक्यनिष्कण्टकत्व-दर्शनात् । क्रीडायामपि तथा कल्प्यते ॥ * ॥राजद्वयं यदा हस्ते आत्मनो राज्ञि संस्थिते ।परेण संहृतश्चैको बलेनाप्यपहार्य्यते ॥राजद्वयं यदा हस्ते न स्यादन्यकरे परः ।तदा राजा हि राजानं घातेऽपि तं हनिष्यति ॥नृपाकृष्टे यदा राजा गमिष्यति युधिष्ठिर ! ।घाताघातेऽपि हन्तव्यो राजा तत्र न रक्षकः ॥कोणं राजपदं त्यक्त्वा वटिकान्तं यदा व्रजेत् ।वटी नयेत् पदं नाम तदा कोष्टबलं च षट् ॥यदि तस्य भवेत् पार्थ ! चतूराजी च षट्पदम् ।तदापि च चतूराजी भवत्येव न संशयः ॥पदातेः षट्पदे विद्धे राज्ञा वा हस्तिना तथा ।षट्पदं न भवेत्तस्य अवश्यं शृणु पार्थिव ॥मप्तमे कोष्ठके या स्याद्बटिका दशकेन वै ।तदान्योन्यञ्च हन्तव्यं सुखाय दुर्ब्बलं बलम् ॥त्रिवटीकस्य कौन्तेय ! पुरुषस्य कदाचन ।षटपदं न भवत्येव इति गोतमभाषितम् ॥नौकैका वटिका यस्य विद्यते खेलने यदि ।गाढावटीति विख्याता पदं तस्य न दुष्यति ॥गाढाघात्यापदं राजपदं कोणपदञ्च तत् ।हस्ते रङ्गे बलं नास्ति काककाष्ठं तदा भवेत् ॥वदन्ति राक्षसाः सर्व्वे तस्य न स्तो जयाजयौ ।प्रार्थिते पञ्चमे राज्ञि मृतवट्याञ्च षट्पदे ॥अशौचं स्यात्तदा राजन् ! चलित्वा चालितंपदम् ।द्बिरावृत्त्या गतौ तस्माद्धन्यात् परबलं जयी ॥सिंहासनं भवत्येव काककाष्ठं न भण्यते ॥उपविष्टञ्च यत् स्थानं तस्योपरिचतुष्टये ।नौकाचतुष्टयं यत्र क्रियते यस्य नौकया ॥नौकाचतुष्टयं तत्र बृहन्नौकेति भण्यते ।न कुर्य्यादेकदा राजन् ! गजस्याभिमुखं गजम् ॥यदि कुर्व्वीत धर्म्मज्ञ ! पापग्रस्तो भविष्यति ।स्थानाभावे यदा पार्थ ! हस्तिनं हस्तिसम्मुखम् ॥करिष्यति तदा राजन्निति गोतमभाषितम् ।प्राप्ते गजद्वये राजन् ! हन्तव्यो वामतो गजः ॥”इति तिथ्यादितत्त्वे चतुरङ्गक्रीडनम् ॥--शब्दकल्पद्रुमः

Checkmate From India

Aditi Shah March 20th 2018

For the last 30 years, from the time he became India’s first grandmaster in 1988, Viswanathan Anand has been the face of chess, here in India and perhaps the world. Always popular, few however realise that this game of cool calculated moves and patience originated in India over 1600 years ago.

Sir William Jones identified India as the birthplace of Chess and linked it to Chaturanga.

Sir William Jones, founder of the Asiatic Society of Bengal, is popular among chess players as the author of ‘Caissa’ (The Goddess of Chess), a poem composed in 1763. An accomplished linguist who knew Arabic, Persian, and Sanskrit; it was he who first identified India as the birthplace of chess and linked its origins to a 4th century game ‘Chaturanga’ popular during the Gupta Empire. While evidence of board game pieces have been found in Harappan sites as well, there is a fair amount of debate on whether they are in any way ‘prototypes’ of chess.

The renowned historian, Will Durant in his book ‘The Story of Civilization’ recounts an interesting legend he heard on the origins of Chaturanga. According to this, there was once a king named Balhait, who considered war as a great way of teaching valuable traits such as valour, decision making, endurance, and circumspection. Disapproving of the existing games based on luck and fate, emanating from the ‘roll of a dice’, he asked a sage named Sissa to invent a new war based game. The sage designed the Chaturanga.

The name Chatruranga refers to the four (Chatur) divisions (anga) of ancient Indian armies – infantry, cavalry, elephantry and chariotry. The pieces that evolved into pawn, knight, bishop and rook, represented these divisions. It was played on an 8×8 board called Ashtapada. However, beyond this, we know little of the rules of the game or how it was played.

The early references to chess in Indian literature are only in passing and the earliest can be found in Banabhatta’s text Harsha Charita, a biography of King Harshavardhana of Kannuaj composed between 625 to 640 CE. A verse states –

During the 6th century, close trade ties between India and Persia took the game to Iran where it became popular as ‘Chatrang’. Apparently, the Persian text ‘Chatrang Nama’ composed around 620 CE, states that a King of Kannauj sent Chaturanga as a gift to King Norshirwan of Persia, with chessmen comprising of 16 pieces of rubies and 16 pieces of emeralds.

The oldest known Chess pieces ever discovered date back to 700 CE

Following the conquest of Persia in the mid-7th century, the game began to be called ‘Shatranj’ as the Arabs could not pronounce the ‘Ch’ and ‘Ng’ sounds. With the Arabs, the game travelled to Egypt, Morocco and then Spain. By 1000 CE, it had spread to most of Europe as well as Russia. In Persia, when the King or ‘Shah’ was threatened and could not make a move, there was a practice to shout out ‘Shah Maat’ or the ‘King is defeated’. Curiously, the practice travelled with the game of Chess across regions, and soon became ‘Shakmaty’ in Russian and ‘Checkmate’ in English!

Interestingly, the oldest known Chess pieces ever discovered date back to 700 CE. They were found in 1977, during an excavation carried out at Afrasiyab, near Samarkhand in Uzbekistan.

In the East, Chaturanga was taken to China by the Buddhist monks through the Silk route. Around 800 CE, the Chinese adapted Chaturanga to create their own form of Chess, called the Shang-Chi also called the Chinese River Game, as there is a river in the middle of the Chess board. The main difference between this and chess, is that the Chinese version is played with discs instead of Chessmen and the pieces are kept on the intersection of lines, instead of within the squares like Chaturanga. From China, the game moved to Korea and Japan where it was called Shogi. Similarly, the Indian Buddhist monks had also taken Chaturanga to Burma and Thailand.

It is incredible that each culture interpreted the game in its own way. The ways an elephant could move differed in the Indian, Burmese and Thai versions depending on the relative importance of war elephants in these countries. In China, the Indian chariot (or camel) became a boat. In Persia and the Arab world, Islamic prohibition on the depiction of animals and humans in art, led to the use of abstract forms as chess pieces, which we still use to this day. In Medieval Europe and Russia, the Mantri or Vizier became the Queen, camels became Bishops representing the power of the Church and pawns originally stood for serfs. The rules of the game kept changing and evolving across the regions and across time.

Today, chess is a truly global game and there are super computers playing it! What a long road it has traversed from its origins in Gupta era India or the mythical sage Sissa. What has endured, through its long journey and many moves, is its eternal appeal!

https://www.livehistoryindia.com/story/snapshort-histories/checkmate-from-india/

Devakulāni

Inscription from Mathurā (palaeographically assigned to early Kuṣāṇa period, c. 1st century CE).

"Gotīputra, grandson of Rāhila, erected a tank (Puṣkariṇī), a garden (Ārāma), an assembly hall (Sabhā), stone slabs (Śilāpaṭṭa) and (Devakula). May Bhagvān Maheśvara be pleased."

https://tinyurl.com/c7m5jy7s

--candrasūryāv ubhau grastāv ekamāse trayodaśīm (MBh 6.3.29);

This text reference has made some MBh astronomers lose temper, get mad, come up with bizarre explanations. Some MBh astronomers flaunt their jyotiṣa expertise explaining this jyotiṣa pramāṇa; build up theories that the 13-day tithi pair of eclipses is BOGUS, simply loss of tithi and mere aberrations on the moon caused by some celestial event on the skymap, such as cosmic showers. 

Well, anything goes with some MBh astronomers who have ended up  with an absurd range of dates spanning 5 millennia  between 2nd and 6th millenniuim BCE.  What credibility? 

What an affront on Vyāsa, MBh epic  intellectual  tradition or knowledge systems !!!

caturdaśīṁ pañcadaśīṁ bhūtapūrvāṁ ca ṣoḍaśīm
imāṁ tu nābhijānāmi amāvāsyāṁ trayodaśīm (Bhīṣmaparvan 6.3.28)

“We corroborate the lunar eclipse of Sept 29^th at Plaeides (Kartika Purnima) followed by the Solar eclipse of October 14^th at Jyestha followed by the third eclipse at Mrigasira of October 28^th 3067 BCE.” (MM Pandit, p. 187 ibid.)

"In the 3067BCE proposal for the Mahabharata war, we can corroborate the lunar eclipse of Oct 20th 3031 BCE at Rohini/ Aldebaran followed by the solar eclipse of November 5th 3031 BCE followed by the third eclipse of Nov 19th 3031 BCE."  (ibid., p.188)

Visibility of Solar eclipse in 3067 BCE: (p.190)

Are they all visible? The sofware informs us that all three eclipses are indeed visible. Tis is shown in the colour screenshots from Redshiftt... (ibid., p.188)

The expression used is: grastāv in 6.3.29. The meaning is simple, straightforward; why spin stories about loss of tithi and deny two eclipses? grasta eclipsed, MBh. iii, 2667 ; R. (Monier-Williams)ग्रस्त grasta 'eclipsed';  -अस्तम् the setting of the sun or moon while eclipsed (Apte)

Vedavyāsa does not leave any room for doubt that he is referring to two eclipses involving ubhau BOTH the moon and the sun in one month, on 13th tithi: candrasūryāv ubhau grastāv ekamāse  trayodaśīm

https://tinyurl.com/4pnuk4yt

Tallapaka village

 Kirtanas Engraved on a Copper Plates

Replica of a copper plate found in the sankeertana bhandagaram

https://te.wikisource.org/wiki/వర్గం:అన్నమయ్య_పాటలు

Sankeertana Bhandaram. His Son, Peda Tirumalacharya and Grandson, Chinatirumalacharya got the Sankeertanas of Annamacharya engraved on copper-plates and Treasured those Copper Plates in "Sankeertana Bhandaram" (a rock-built-cell at TIRUMALA temple).

Copper plates with sankIrtanas of tāḷḷapāka annamācārya are in Sankeertana Bhandagaram in Tirumala. On both sides of the entrance door are carvings of Annamacharya and his son Peda Tirumalacharya. "Peda Tirumalacharya was friends with Achyuta Devaraya who was brother of Sri Krishna Devaraya. There is inscriptional evidence that Achyuta Devaraya gifted the villages of Poondi and Sangamakota to Peda Tirumalacharya and he in turn gave them back to Lord Venkateswara. Because of his love for Lord Venkateswara and his literary skills, he became a very influential person in Tirumala. He was credited with several important construction works in Tirumala. The list of activities undertaken by Peda Tirumalacharya is bewildering to say the least."

https://sohamtimes.org/2011/05/tallapaka-family/

"Sankeertana Bhandagaram, is a rock built cell in the Tirupati temple complex across from the hundi, the donation box. For several hundreds of years millions of people passed along this path. The doors of the Bhandagaram may have been opened several times but the treasures in it were completely ignored for centuries. Majority of Annamacharya compositions and several literary works of the Tallapaka family were found hidden in this Sankeertana Bhandagaram. In all there are about 2701 copper plates of various sizes. About 14000 compositions were inscribed on these copper plates. Many copper plates were also found in Ahobilam in Kurnool district in Andhra Pradesh. Ahobilam is believed to be the place where Lord Vishnu killed Hiranyakasipu and saved Prahalada. A number of them were also found in Srirangam temple which is considered to be the foremost of the eight self-manifested shrines of Lord Vishnu.

...

What’s on the copper plates

The copper plates were of various sizes and there was no uniformity on the inscriptions. It is very puzzling, nay baffling, to understand how scholars agreed on the contents of the copper plates. First, these plates did not convey clearly the authorship of each of the compositions inscribed on them. Second, the language and notations used are from over 400 years back. The words and notations are either outdated, not in use any more or have a different meaning in the current context. Third, many of the plates are missing and therefore it was impossible to arrive at the original sequencing of the copper plates. In the mean time there were reports of discovery of copper plates and palmleaf manuscripts from various locations across entire Southern India. In addition what’s found on the copper plates must be corroborated with the findings from history of the region as well as with the inscriptions across various temples. In short the amount of research needed to understand the complete landscape of the new findings is humongous . The challenge of fully understanding the contents will continue for decades to come. While the scholars continue to pour in their brilliance on these research topics, the common man happily bathes in the new spirituality and philosophy offered by the compositions of Annamacharya.

Tallapaka Pada Sahityam

The assertion made was that these plates contained compositions of Tallapaka poets and not just Annamacharya’s compositions. It is understood, however, that the most revered and predominant figure is Annamacharya. After the copper plates were discovered in 1922, Tirumala Tirupati Devastanam(TTD) acted on them promptly. However, the work of decoding the contents continued at snail’s pace for a long time. It was not until 1978 a semblance was achieved in putting together the contents into a book format. It was in that year that TTD launched the Annamacharya Project. Prior to that several attempts were made by various literary giants of the time to bring out a book format. Books were released intermittently under the aegis of TTD. Earlier scholars who worked on this included Veturi Prabhakara Sastry, Rallapalli Ananta Krishna Sharma, Vijaya Raghavachary and Gauripedda Ramasubba Sharma. The entire work was revisited again starting from 1978 and finally in 1998 TTD released 29 volumes in Telugu with the title “Tallapaka Pada Sahityam”. The final versions would not have been possible if not for the tremendous amount of work put in by the earlier scholars. Notice that the name Annmacharya does not appear in the new title. Elaborate introduction was written for each of these volumes. Author’s analysis on how the information on the plates was decoded provides deep insights into the challenges faced by the early explorers of this vast literature. An index at the end identifies all the compositions in an alphabetical order. An index of ragas used in the compositions of the volume are also provided.

All the compositions published in the 29 volumes are divided into these major sections

• Adhyatmic(Spiritual) Compositions of Annamacharya(Volumes 1-4)
• Sringara(Romantic) Compositions of Annamacharya(Volumes 5-9, 11-14, 16, 18-29)
• Compositions of Chinna Tirumalacharya(Volume 10)
• Compositions of Pedda Tirumalacharya(Volumes 15 and 17)

As one can see, a total of 26 volumes are dedicated exclusively to the compositions of Annamacharya. Two volumes are reserved for Pedda Tirumalacharya, his son, and one volume for Annamacharya’s grandson Chinna Tirumalacharya. It must be noted that the categorization of adhyatmic and sringara compositions are found on the copper plates. It is generally believed that this categorization was adopted by the poets and scholars who helped create the copper plates. Annamacharya himself, it was noted, may not have categorized his compositions that way. In many cases the authorship of the compositions were determined based on the information on the copper plates. Where such information is lacking, the determination is made using the comparative styles of the authors and other corroborative evidences.

Thanks to these 29 volumes we now have a way to identify each of Annamacharya compositions using a volume to song number format. For example, the famous composition brahma kadigina paadamu is identified as Song 191 in Volume 1. Once you reach out to volume 1 and song number 191, you will know that Annamacharya originally composed this song using mukhaari raga. There you will find the complete original lyrics of this composition.

All the 29 volumes are available for download from various internet sites. I downloaded these volumes and made them available on this site for you to review and enjoy. Please click here to see a list of these volumes. --Tallapaka Pada Sahityam"

https://sohamtimes.org/2011/01/annamayya-decoding-the-inscriptions-on-the-copper-plates/

"Alexander Duncan Campbell was a British Civil Servant who wrote the book A Grammar of the Teloogoo Language. This book was published in 1816. Thanks to Google, we now have a digitized version of this book. In this book Campbell refers to the existence of hymns on the Lord of seven hills. He mentions that he had heard that a number of poems engraved on some thousand sheets of copper had been preserved in the pious care of a family of brahmins in the temple on the sacred hill at Tirupati. He deputed a native for the purpose of examining them. In his own words “but with the exception of a treatise on grammar, of which a copy was taken, the whole collection was found to contain nothing but voluminous hymns in praise of the deity“. This is the earliest and perhaps the only reference we find about the existing of the copper plates on hymns composed by Annamacharya. It is interesting to note that this reference is made as a footnote in the introduction chapter of this book. It is this reference that led to the discovery of the numerous copper plates with inscriptions of the compositions of Annamacharya. It is not clear who the deputed native was or how Mr. Campbell had heard of the poems. It is unimportant, but if Mr. Campbell heard of these copper plates, can it be assumed that their existence was a common knowledge? The copper plates were not discovered until 100 years later in 1922. Several years later, in the year 1949, Tirumala Tirupati Devastanams, TTD, finally took possession of all the available copper plates."

https://sohamtimes.org/2011/01/annamayya-story-of-copper-plates/

You can download and listen to nearly 8 kirtanas here at the official website of Tirumala Temple.

by MS Subbulakshmi

https://www.youtube.com/watch?v=gsjHwzibQkc (4:40) 

Bhavayami Gopalabalam by MS Subbulakshmi

https://tinyurl.com/26jd9d6n

This question has to be answered. 

Searching for the reasons why we are in such a mess, I find that one contentious issue among astronomers is the resolution of the two eclipse dates on a trayodaśī. This is one reason why the absurd situation has resulted, rendering us as a laughing stock in the academic community that we cannot chronologically narrate Itihāsa of Bhāratam. 

MBh astronomers who are in denial of Kali Yuga are doing disservice to Vyāsa tradition. Astronomers who torture Vyāsa's words about, say, eclipse pairs are also doing disservice to Vyāsa tradition and the tradition of intellectual inquiry. Why torture the text rendered in such an expressive, precise language of Samskrtam with absurd jyotiṣa interpretations and mis-reading of the text? 

In an extraordinary summary of Bhīṣmaparvan 6.3.28 and 6.3.29, Kisari Mohan Ganguly introduces the graha Rahu, though this graha is NOT specifically named in the MBh texts. Clearly, KM Ganguly is referring to the Jyotiṣa tradition explaining lunar-solar eclipses using the metaphors of Rāhu-ketu."Rahu and Ketu have an orbital cycle of 18 years and are always 180 degrees from each other orbitally (as well as in the birth charts). This coincides with the precessional orbit of the moon or the ~18 year rotational cycle of the lunar ascending and descending nodes on the earth's ecliptic plane. This also corresponds to a saros, a period of approximately 223 synodic months (approximately 6585.3211 days, or 18 years, 11 days, 8 hours), that can be used to predict eclipses of the Sun and Moon. Rahu rules the zodiac sign of Aquarius together with Shani." https://en.wikipedia.org/wiki/Rahu

Metaphors 

Astronomically, Rahu and Ketu denote the points of intersection of the paths of the Sun and the Moon as they move on the celestial sphere. Therefore, Rahu and Ketu are respectively called the north and the south lunar nodes.

Lunar eclipses, South Lunar Node Body of Svarbhanu

Member of Navagraha

Ketu Dev: Tail of Demon Snake. When Moon moves from North to South in its orbit and crosses Sun's path – the incis

Rahu
Solar eclipses and North Lunar Node; Head of Svarbhanu
Member of Navagraha
Rahu Dev: Head of Demon Snake, Konark Idol, British Museum

caturdaśīṁ pañcadaśīṁ bhūtapūrvāṁ ca ṣoḍaśīm

imāṁ tu nābhijānāmi amāvāsyāṁ trayodaśīm (Bhīṣmaparvan 6.3.28)

candrasūryāv ubhau grastāv ekamāse trayodaśīm

aparvaṇi grahāv etau prajāḥ saṃkṣapayiṣyataḥ (Bhīṣmaparvan 6.3.29)

Executive summary by Kisari Mohan Ganguly: Three lunations twice meeting together in course of the same lunar fortnight, the duration of the latter is shortened by two days. On the thirteenth day therefore, from the first lunation, according as it is the day of the full moon or the new moon, the moon and the sun are afflicted by Rahu. Such strange eclipses, both lunar and solar, forebode a great slaughter. (Aparvaṇi, i.e., not on Parva days or days of full-moon and new-moon as ordinarily coming. The Bombay edition, after aparvaṇi, reads graheṇau tau. A better reading unquestionably grastavetau, as many Bengal texts have.) https://www.sacred-texts.com/hin/m06/m06003.htm Thus, KM Ganguly's translation clearly refers to two strange eclipses both lunar and solar.

ग्रहः grahaḥ A planet, (sometimes more particularly 'Rāhu'; वध्यमाने ग्रहेणाथ आदित्ये मन्युराविशत् Mb.1.24.7.) (the planets are nine :-- सूर्यश्चन्द्रो मङ्गलश्च बुधश्चापि बृहस्पतिः । शुक्रः शनैश्चरो राहुः केतुश्चेति ग्रहा नव ॥); नक्षत्रताराग्रहसंकुलापि (रात्रिः) R.6.22;3.13;12.28; गुरुणा स्तनभारेण मुखचन्द्रेण भास्वता । शनैश्चराभ्यां पादाभ्यां रेजे ग्रहमयीव सा ॥ Bh.1.17.; -अवमर्दनः an epithet of Rāhu; -कल्लोलः an epithet of Rāhu...केतुः ketuḥ  A comet, meteor; Bhāg.2.6.15; Ms.1.38The descending node considered as the ninth planet, and the body or trunk of the demon सैंहिकेय (the head being regarded as Rāhu); क्रूर- ग्रहः स केतुश्चन्द्रं संपूर्णमण्डलमिदानीम् Mu.1.6; -तारा a comet.-ग्रहः the descending node.कृष्ण kṛṣṇa -वर्णः 1 black colour. -2 N. of Rāhu.-वर्त्मन् m. 1 fire; श्रद्दधे त्रिदशगोपमात्रके दाहशक्तिमिव कृष्णवर्त्मनि R.11.42; Ms.2.94. -2 N. of Rāhu. ..धूमः dhūmaḥ -ग्रहः Rāhu; दुर्दर्शनेन घटतामियमप्यनेन धूमग्रहेण विमला शशिनः कलेव Māl.2.8...धूमनम् dhūmanam (in astrol.) The obscuration (of a comet)...राहुः rāhuḥ [रह्-उण् Uṇ.1.3] 1 N. of a demon, son of Viprachitti and Siṁhikā and hence often called Saiṁhikeya; ग्रसते हि तमोपहं मुहुर्ननु राह्वाह्वमहर्पतिं तमः Śi.16.57; विधुरपि विधियोगाद् ग्रस्यते राहुणासौ H. [When the nectar, that was churned out of the ocean, was being served to the gods, Rāhu disguised himself and attempted to drink it along with them. But he was detected by the sun and the moon who informed Viṣṇu of the fraud. Visnu, thereupon, severed his head from the body; but as he had tasted a little quantity of nectar the head became immortal, and is supposed to wreak its vengeance on the sun and moon at the time of conjunction and opposition; cf. Bh.2.34. In astronomy Rāhu is regarded, like Ketu, as one of the nine planets, or only as the ascending node of the moon.] -2 An eclipse, or rather the moment of occultation. -3 Abandoning. -4 One who abandons. -5 The regent of the southwest quarter. -Comp. -उच्छिष्टम्, -उत्सृष्टम् = लशुन q. v. -गतः a. darkened, eclipsed; also राहुग्रस्त. -ग्रसनम्, -ग्रासः, -दर्शनम्, -पीडा, -संस्पर्शः an eclipse (of the sun or moon). -छत्रम् green ginger. -पीडा an eclipse. -भेदिन् m. N. of Viṣṇu. -रत्नम् a kind of gem (= गोमेद). -शत्रुः the moon; राहुशत्रोः प्रियां पत्नीं ...... ग्रहेणाभ्युदितेनैकां रोहिणीमिव पीडिताम् Rām.2.114.3. -सूतकम् 'the birth of Rāhu', i. e. an eclipse (of the sun or moon); Y.1.146; cf. Ms.4.110. -हन् m. N. of Kriṣṇa (Apte)

rāhu m. (fr. √rabh; cf. graha and √grah) ‘the Seizer’, N. of a Daitya or demon who is supposed to seize the sun and moon and thus cause eclipses (he is fabled as a son of Vipra-citti and Siṉhikā and as having a dragon's tail; when the gods had churned the ocean for the Amṛta or nectar of immortality, he disguised himself like one of them and drank a portion; but the Sun and Moon revealed the fraud to Viṣṇu, who cut off Rāhu's head, which thereupon became fixed in the stellar sphere, and having become immortal through drinking the Amṛta, has ever since wreaked its vengeance on the Sun and Moon by occasionally swallowing them; while at the same time the tail of the demon became Ketu [q.v.] and gave birth to a numerous progeny of comets and fiery meteors; in astron. Rāhu is variously regarded as a dragon's head, as the ascending node of the moon [or point where the moon intersects the ecliptic in passing northwards], as one of the planets [cf. graha], and as the regent of the south-west quarter [Laghuj. ] ; among Buddhists many demons are called Rāhu), AV.; an eclipse or (rather) the moment of the beginning of an occultation or obscuration, VarBṛS.   (Monier-Williams)

राहुग्राहः, पुं, (राहोर्ग्राहो ग्रहणं यत्र ।)चन्द्रसूर्य्ययोर्ग्रहणम् । यथा, --“राहुग्राहोऽर्केन्दोर्ग्रह उपराग उपप्लवः ॥”इति हेमचन्द्रः । २ । ३९ ॥(अत्र राहुग्रास इत्यपि पाठो दृश्यते ॥),,,केतुः, पुं, नवग्रहान्तग्रहविशेषः । स तु राहोःशरीरम् । तत्पर्य्यायः । शिखी २ । इति दीपिका ॥अयं पापग्रहः । यथा, --“अर्द्धो नेन्द्वर्कसौराराः पापाः सौम्यास्तथापरे ।पापयुक्तो बुधः पापो राहुकेतू च पापदौ” ॥ इति ॥अयन्तु जन्मराश्यपेक्षया षष्ठत्रिदशमैकादश-स्थानस्थितश्चेत् शुभः । यथा, --“केतूपप्लवभौममन्दगतयः षष्ठत्रिसंस्थाः शुभा-श्चन्द्रार्कावपि ते च तौ च दशमौ चन्द्रः पुनः सप्तमः ।जीवः सप्तनवद्विपञ्चमगतो युग्मेषु सोमात्मजःशुक्रः षड्दशसप्तवर्जमितरे सर्व्वेऽप्युपान्त्ये शुभाः” ॥इति ॥ * ॥ अस्य त्रिकोण उच्चस्वगृहशत्रुमित्र-समनीचा यथा, --“सिंहस्त्रिकोणं धनुरुच्चसंज्ञंमीनो गृहं शुक्रशनी विपक्षौ ।सूर्य्यारचन्द्राः सुहृदः समानौजीवेन्दुजौ षट् शिखिनः परांशाः” ॥ इति ॥ (Note: a very elaborate description continues)...--शब्दकल्पद्रुमः

--Vedic Index

राहु पु० रह--उण् । १ त्यक्तरि, ज्योतिश्चक्रस्थे सूर्य्य-किरणसम्पर्काभावेन जायमानपृथिवीच्छायारूपे ३ तमसितदधिष्ठातरि ४ ग्रहभेदे, ५ सिंहिकासुते दानवे च ।तमःशब्दे दृश्यम् ।...

केतु पु० चाय--तु क्यादेशः । १ प्रज्ञायां निरु० २ राहोरर्द्ध-देहात्मके ग्रहभेदे ज्यो० ३ दीप्तौ हेमच० ४ पताकायांचिह्ने ५ ज्योतिषे प्रसिद्धे ६ उत्पातभेदे च वा ब० व०मेदि० तद्भेदश्च वृ० सं० ११ अ० उक्तो यथा“गार्गीयं शिखिचारं पाराशरमसितदेवलकृतं च ।अन्यांश्च बहून्दृष्ट्वा क्रियतेऽयमनाकुलश्चारः । दर्शनमस्तमयोवा न गणितविधिर्नास्य शक्यते ज्ञातुम् । दिव्यान्तरिक्ष-भौमास्त्रिविधाः स्युः केतवो यस्मात् । अहुताशेऽनल-रूपं यस्मिंस्तत् केतुरूपमेवोक्तम् । खद्योतपिशाचालयमणिरत्नादीन् परित्यज्य । ध्वजशस्त्रभवनतरुतुरगकुञ्ज-राद्येष्वथान्तरिक्षास्ते । दिव्या नक्षत्रोत्था भौमाः स्युर-तोऽन्यथा शिखिनः ।--वाचस्पत्यम्

Garuda Purana (by Manmatha Nath Dutt)

Baudhayana Dharmasutra (by Georg Bühler)

Rāhu is mentioned explicitly in a pair of scriptures from the Samyutta Nikaya of the Pali Canon. In the Candima Sutta (https://www.accesstoinsight.org/tipitaka/sn/sn02/sn02.009.piya.html) and the Suriya Sutta, Rahu attacks Surya, the Sun deity and Candra, the Moon deity before being compelled to release them by their recitation of a brief stanza conveying their reverence for the Buddha. The Buddha responds by enjoining Rāhu to release them, which Rāhu does rather than have his "head split into seven pieces".

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

https://tinyurl.com/5m9d43b8

--Meluhha rebus renderings of kol, kul 'tiger' rebus kole.l 'temple of divinities; smithy, forge'

This is an addendum to: Five plano-convex molded tablets of Harappa Indus Script hypertexts detail alloy metal, copper, spelter, brass mintwork, smithy/forge blacksmith, smelter of iron and other minerals https://tinyurl.com/y84px7xr

Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan concordance treates the hieroglyph as a text 'sign'.

Signs (Hieroglphs) 45, 46Hieroglyphs of two leaping tigers: kol, kul 'tiger' PLUS kudi 'leap, jump'; kūtī = bunch of twigs (AV 5.19.12) render rebus: kole.l 'temple' rebus: kole.l 'smithy, forge' PLUS kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse. To reinforce the semantics of kole.l 'smithy, forge', the tiger has its head turned looking back: krammara 'look back' rebus: kamar 'blacksmith'.
  
Hieroglyph: gudi 'to jump': Ta. kuti (-pp-, -tt-) to jump, leap, bound, frolic, leap over, escape from, splash (as water), spurt out; n. jump, leap; kutippu leaping. Ma. kuti leap, gallop; kutikka to jump, skip, boil, bubble up; kutukkuka to take a spring in order to leap. Ka. gudi to jump, stamp, make a noise with the feet; kuduku to trot; n. trotting; (Hav. S.) gudiku to jump. Tu. guttu a leap, jump; a stride. Te. kudupu to shake (tr.), agitate, jolt; n. shaking, jolting; kudulu to be shaken, jolt. (K. also) shake while walking, flutter in agony; kudilincu to shake (tr.); kudilika shaking, agitation, jolting. Konḍa gudlis- (-t-) to shake violently. Kur. kuddnā to move about; kudāba'ānā to make run; kudākudī in hot haste; kuduṛ-kuduṛ at a trot.(DEDR 1705) Rebus:குடி⁴ kuṭi , n. cf. kuṭi. [M. kuṭi.]  [T. K. kuṭi.] Abode,residence; வாழ்விடம். அடியாருள்ளத்தன்பு மீதூரக் குடியாக்கொண்ட (திருவாச. 2, 8).గుడి [Tel.] n. A circle. A temple. A halo round the sun or moon.

गुढीपाडवा guḍhīpāḍavā m The festival of गुढी.

m487 ABC m488 ABC

Field symbols 111, 112, 113 (Mahadevan ASI 1977 Concordance)

Field Symbol Figure 112 From R. - a tiger; a goat: a seated personage on a pedestal; a person seated on a Iree with a tiger below. (Source: ASI 1977 Indus Script Concordance of Mahadevan)

The hieroglyphs are:

1. tiger kol 'tiger' rebus: kol 'working in iron' kolhe 'smelter'
2. tiger looks back kolā krammara 'tiger looks back' rebus kolhe kammāra iron smelter smith artisan
3. tree kuṭi 'tree' rebus: kuṭhi 'smelter'
4. spy on tree heraka = spy (Skt.); eraka, hero = a messenger; a spy (Gujarati); er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Tamil) eraka, er-aka = any metal infusion (Ka.Tu.) eraka‘copper’ (Kannada)
5. person seated in penance kamaḍha 'penance', rebus: kammaṭa = mint, gold furnace (Te.) 'mint, coiner, coinage' Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)
6. person wears scarf as pigtail dhatu 'scarf' rebus: dhatu 'mineral ore'
7. Person seated on platform pāṭa ʻthroneʼ rebus फड phaḍa 'metals manufactory guild', పట్టడ paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.
8. goat melh,mr̤eka 'goat or antelope' rebus: milakkhu, mleccha 'copper'.

Side A of tablet is a pictorial narrative of metalwork catalogues, account books

Field symbol 110

Field symbol 109

Field symbol 108

Text on m0309: 6120 dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771) PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा (p. 116) khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). khaṇḍa 'implements'. Thus, ingots and implements. dula ‘two’ rebus: dul ‘metalcasting’ PLUS kāru pincers, tongs. PLUS rebus: khār खार् 'blacksmith' PLUS koḍa 'one' rebus: koḍ 'workshop'

kanka, karṇika 'rim of jar'rebus: karṇī 'supercargo, scribe'.

dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS dula ‘two’ rebus: dul ‘metal csting’. kuṭi 'water-carrier' rebus: kuṭhi 'smelter' PLUS kanka, karṇika 'rim of jar'rebus: karṇī 'supercargo, scribe'. Thus supercargo of smelter metal product output. kuṭi 'tree' Rebus: kuṭhi 'smelting furnace' (Semantic determinative)

dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771)

kola 'tiger' rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’; kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith; kol‘to kill’ (Tamil) me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali

Field symbol 106

The object between the outspread legs of the woman lying upside down is comparable orthography of a crocodile holding fiish in its jaws shown on tablets h705B and h172B. The snout of the crocodile is shown in copulation with the lying-in woman (as seen from the enlarged portion of h180 Harappa tablet). kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ) kuThi 'vagina' rebus: kuThi 'smnelter' karA 'crocodile' rebus: khAr 'blacksmith' khamDa 'copulation' rebus: kammaTa 'coin, mint' The glyphic elements shown on the tablet are: copulation, vagina, crocodile.

67

Gyphic: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa: kaṇḍa ‘stone (ore)’. Glyph: vagina: kuṭhi ‘vagina’; rebus: kuṭhi ‘smelting furnace’. The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore. Glyph: ‘crocodile’: karā ‘crocodile’. Rebus: khar ‘blacksmith’. kāru a wild crocodile or alligator (Te.) Rebus: kāruvu ‘artisan’ kāru a wild crocodile or alligator (Te.) mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ, Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422) ைைவு² karavu

, n. < ைைா. cf. grāha. Alligator; முதலை. ைைவாை்தடம் (திவ். திருவாய். 8, 9, 9). ைைா karā , n. prob. grāha. 1. A species of alligator; முதலை. ைைாவதே் ைாலிலேை்ைதுவ (திவ். தபைியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) ைைாம் karām , n. prob. grāha. 1. A species of alligator; முதலைவலை. முதலையு மிடங்ைருங் ைைாமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.)ைைவா karavā , n. A sea-fish of vermilion colour, Upeneus cinnabarinus; ைடை்மீே்வலை. Rebus: khAr 'blacksmith' (Kashmiri) కారుమొసలి a wild crocodile or alligator (Telugu). Rebus: khār ‘blacksmith’ khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खार-बि्््त । चमिप्रिेर्वका f. the skin bellows of a blacksmith. -büṭhü -; । लोहकारर्िर्तः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;र्ज&below; or । लोहकारचुस्तलः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकनदुः f. (sg. dat. -höjü ), a blacksmith's smelting furnace; cf. hāl 5. -kūrü; । लोहकारकन्मा f. a blacksmith's daughter. -koṭu; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;िू&below; । लोहकारकन्मा f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 ; । लोहकारमृर्तका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्मर्चवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनार्लका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारिान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारर्िला m. (sg. dat. -waṭas -वर्ि), the large stone used by a blacksmith as an anvil. kuṭhi = pubes. kola ‘foetus’ [Glyph of a foetus emerging from pudendum muliebre on a Harappa tablet.] kuṭhi = the pubes (lower down than paṇḍe) (Santali) kuṭhi = the womb, the female sexual organ; sorrege kuṭhi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. koṭhī, the womb) (Santali.Bodding) kōṣṭha = anyone of the large viscera (MBh.); koṭṭha = stomach (Pali.Pkt.); kuṭṭha (Pkt.); koṭhī heart, breast (L.); koṭṭhā, koṭhā belly (P.); koṭho (G.); koṭhā (M.)(CDIAL 3545). kottha pertaining to the belly (Pkt.); kothā corpulent (Or.)(CDIAL 3510). koṭho [Skt. koṣṭha inner part] the stomach, the belly (Gujarat)  kūti = pudendum muliebre (Ta.); posteriors, membrum muliebre (Ma.); ku.0y anus, region of buttocks in general (To.); kūdi = anus, posteriors, membrum muliebre (Tu.)(DEDR 188). kūṭu = hip (Tu.); kuṭa = thigh (Pe.); kuṭe id. (Mand.); kūṭi hip (Kui)(DEDR 1885). gūde prolapsus of the anus (Ka.Tu.); gūda, gudda id. (Te.)(DEDR 1891).

Glosses: Indian sprachbund

kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) 

kola ‘tiger’ Rebus: kol ‘working in iron’. 

Dholavira molded terracotta tablet with Meluhha hieroglyphs written on two sides. Hieroglyphs: dhokaṛa ʻdecrepit, hanging down (of breasts)' (Oriya)(CDIAL 5567).  

M. ḍhẽg n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). Glyph: Br. kōnḍō on all fours, bent double. (DEDR 204a) 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) Tiger has head turned backwards. క్రమ్మర krammara. adv. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు (Telugu). Rebus: krəm backʼ(Kho.)(CDIAL 3145) karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali) 

Field symbol 103 Horned (female) personage with a tail and bovine legs

standing near a kino tree attacking a horned tiger rearing on its hindlegs.

Dhokra 'cire perdue' metal casting artisans classifier

Horned (female with breasts hanging down?) person with a tail and bovine legs standing near a tree fisting a horned tiger rearing on its hindlegs. 

Text 1357 of inscription: gō̃ṭu an ornamental appendage to the border of a cloth, fringe' (Telugu) Rebus 1: gota (laterite, ferrite ore) Rebus 2: goṭā 'gold-braid' 3: khoṭa 'ingot, wedge' Rebus: गोटी [ gōṭī ] f (Dim. of गोटा)  A lump of silver: as obtained by melting down lace or fringe. 

kāru pincers, tongs. Rebus: khār खार् 'blacksmith'PLUS xolā 'fish tail' rebus: kolhe 'smelter', 

kol 'working in iron' 

dula ‘two’ rebus: dul‘metal casting’

Field symbol: eraka ‘upraised hand’ rebus: eraka ‘moltencast copper’ PLUS dhangar ‘bovine’ rebus: dhangar ‘backsmith’ PLUS ḍŏkuru-ḍŏkuru ; । कुब्जावस्था m. (sg. dat. ḍŏkaris-ḍŏkaris ड्वकरिस््-ड्वकरिस्), the condition of a bent or humpbacked person (from old age, injury to the spine, or the like). Cf. ḍŏkhürü and dọ̆ku. -- dyunu --  । कार्श्ये&1;पि कार्यविधानम् m.inf. to do a little work as best one can when one is bent by old age. (Kashmiri) 1. Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ(CDIAL 5567) rebus; dhokra kamar‘cire Perdue metal caster’

kola 'tiger' rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’; kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith; kol‘to kill’ (Tamil) me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali) 

krammara ‘look back’ rebus; kamar ‘artisan, smith’

*ut -- śāla ʻ leaping up ʼ. [√śal]L. ucchāl m. ʻ swelling or running over of a river ʼ; P. uchālī f. ʻ vomiting ʼ; Ku. uchāl ʻ leap, stride, vomit ʼ; H. uchāl f. ʻ tossing up, motion up ʼ; G. uchāḷɔ m. ʻ leap ʼ; M. usā̆ḷī f. ʻ splashing, spurting up ʼ. (CDIAL 1846) WPah.kṭg. ċhāˊḷ f. (obl. -- i) ʻ jump, leap ʼ (CDIAL 5002) Gujarati. jhāl f. ʻ sudden leap ʼ, (CDIAL 5351) Rebus: śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- a, ha° ʻ hall, market -- hall ʼ.(CDIAL 12414)

kuṭi 'tree' Rebus: kuṭhi 'smelting furnace'

Dhokra kamar as a Meluhha hieroglyph: Dholavira, Mohenjo-daro seals Rebus: lost-wax casting

On both the seals (Mohenjodaro and Dholavira), a decrepit woman is signified with breasts hanging down to convey the semantics 'decrepit'. The decrepit woman on both seals is ligatured to the back of a bovine (buttock). On both the seals the woman is shown with her arm upraised signifying semantics of 'striking':P. ṭhokṇā ʻ to strike ʼ; Ku. ṭhokṇo ʻ to wield ʼ; N. ṭhoknu ʻ to knock ʼ; A. ṭhūkiba ʻ to strike ʼ, B. ṭhokā, ṭhukā, Or. ṭhukibā; H. ṭhoknā ʻ to knock, make firm ʼ; G. ṭhokvũ ʻ to strike ʼ, M. ṭhokṇẽ (CDIAL 5513) The rebus rendering is a phonetic determinant: dhokra/dokra 'cire perdue, lost-wax metalcaster'

Plate II. Chlorite artifacts referred to as 'handbags' f-g (w 24 cm, thks 4.8 cm.); h (w 19.5 cm, h 19.4 cm, thks 4 cm); j (2 28 cm; h 24 cm, thks 3 cm); k (w 18.5, h 18.3, thks 3.2) Jiroft IV. Iconography of chlorite artifacts. http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts

An allograph to signify dhokra/dokra is a dhokra 'basket or wallet.' This hieroglyph is shown on a number of 'basket-shaped or wallet-shaped' stone sculptures from Bactria Margiana Archaeological Complex. Hieroglyph: N. dhokro ʻ large jute bag ʼ, B. dhokaṛ; Or. dhokaṛa ʻ cloth bag ʼ; Bi. dhŏkrā ʻ jute bag ʼ; Mth. dhokṛā ʻ bag, vessel, receptacle ʼ; H. dhukṛīf. ʻ small bag ʼ; G. dhokṛũ n. ʻ bale of cotton ʼ; -- with -- ṭṭ -- : M. dhokṭī f. ʻ wallet ʼ; -- with -- n -- : G. dhokṇũ n. ʻ bale of cotton ʼ; -- with -- s -- : N. (Tarai) dhokse ʻ place covered with a mat to store rice in ʼ.2. L. dhohẽ (pl. dhūhī˜) m. ʻ large thatched shed ʼ.3. M. dhõgḍā m. ʻ coarse cloth ʼ, dhõgṭī f. ʻ wallet ʼ.4. L. ḍhok f. ʻ hut in the fields ʼ; Ku. ḍhwākā m. pl. ʻ gates of a city. or market ʼ; N. ḍhokā (pl. of *ḍhoko) ʻ door ʼ; -- OMarw. ḍhokaro m. ʻ basket ʼ; -- N.ḍhokse ʻ place covered with a mat to store rice in, large basket ʼ.(CDIAL 6880) Rebus: dhokra ‘cire perdue’ casting metalsmith. 

The hieroglyph of dhokaṛa 'an old female with breasts hanging down' and ligatured to the ḍhōṅgā 'buttock' of a bovine is also deployed on a Mohenjo-daro seal; rebus: dhokra.dokra 'cire-perdue lost-wax metal casting artifice' PLUS dhangar'bull' rebus: dhangar 'blacksmith'; thus, the hypertext signifies: cire-perdue metalcaster smith. On a Mohenjo0daro seal this is reinforced by two hieroglyphs: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'. kuṭhi 'tree' rebus: kuṭhi'smelter'. On a Dholavira seal, the reinforcing hieroglyphs are a pair of crocodiles: karā 'crocodile' rebus: khār'blacksmith' (Kashmiri) PLUS dula 'pair' rebus; dul 'metal casting' Thus, together, metalcaster blacksmith.

Field symbol 104

FS 104 Fencing. Fabulous personage with a composite body of a human (female) being in the upper half and of a tiger in the lower half. having horns. and a trident-like head·dress facing a group of three persons consisting of a woman in the middle flanked by two men on e either side throwing a spear at each other over her head.

Text 8024 on cylinder seal kor̤u 'sprout' rebus: kor̤u 'bar of metal'  

karat.i, karut.i, kerut.i fencing, school or gymnasium where wrestling and fencing are taught (Tamil); garad.i, garud.i fencing school (Kannada) rebus: karaḍa‘hard alloy’

Rebus 1: करडा [ karaḍā ] Hard from alloy--iron, silver &c. Rebus 2: kharādī = turner (G.) Rebus 3: खरड  kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch. 2 Vehement reviling or abusing. v काढ g. of o. निघ g. of s. 3 The ashes and earth which gather about an ingot of metal during its formation. So called because to be detached they must be scraped off. खरडा  kharaḍā m (खरडणें) Scrapings (as from a culinary utensil). 2 Bruised or coarsely broken peppercorns &c.: a mass of bruised मेथ्या &c. 3 also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. 4 also खरडें n A rude sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book.

kolom'three' rebus; kolimi 'smithy, forge'. kolmo'riceplant' rebus; kolimi'smithy, forge'.

dhaṭu  m.  (also dhaṭhu)  m. ‘scarf’  (WPah.) (CDIAL 6707); 

Rebus: dhātu ‘mineral (Pali).

kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelter'

kūtī = bunch of twigs (Skt.)The bunch of twigs = kūdī, kūṭī(Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda(AV 5.19.12) and KauśikaSūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield,American Journal of Philology, 11, 355; 12,416; Roth, Festgruss anBohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)

kuṭi 'tree' Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)(Phonetic determinant of the twig on the horns of the woman ligatured to the tiger'

koDu 'horn' Rebus: koD 'workshop'

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

tagaraka, tabernae montana 'flower', 'hair fragrance' Rebus: tagara 'tin'

Hieroglyph: karã̄ n. pl. ʻ wristlets, bangles ʼ (Gujarati) Rebus: khAr 'blacksmith' kola 'woman' Rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kolimi 'smithy, forge'.

Field symbol 105

m0308

Text 2075 on m0308[The third sign from left may be a stylized ‘standard device’?]

I submit that the fully stretched arms signify kāḍ काड्  'stretched arms' rebus kāḍ ‘stone’ (WPah), khaḍ 'iron stone mine'. See: kāḍ काड्'stretched arms' rebus kāḍ ‘stone’ (WPah), khaḍ 'iron stone mine' Indus Script hieroglyph signifies 'iron smelter' 

https://tinyurl.com/y7z8358c

Tiger is read rebus: kola 'tiger' rebus: kol 'working in iron, blacksmith' kolhe 'smelter'.

śrētrī ʻladderʼ rebus: seṭṭha 'guild-master'

baṭa 'rimless, wide-mouthed pot' rebus: bhaṭa 'furnace PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus: khaṇḍa 'implements'

ayo, aya'fish' rebus: aya'iron'ayas 'metal alloy' (Rigveda)

kāṇḍa, kã̄ṛ ʻstalk, arrow’(CDIAL 3023) rebus: kaṇḍa 'implements'.(Oriya)

कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi) Rebus: kuṇṭha munda (loha) 'hard iron (native metal)'. Rebus: Bos taurus indicus adapted to tropical environments, domesticated in Bharat over 10,000 years ago. It is allowed to roam free in many parts of Bharat, considered a sacred bull; this may have led to the name Brahmani. adar, adar ḍangra a brahmini bull, a bull kept for breeding purposes and not put to work (Santali) It is also called khunt, khūṭ Brahmani bull (Kathiawar G.); khūṭṛo entire bull used for agriculture, not for breeding (G.)(CDIAL 3899). Decoded rebus: khūṭ ˜community (Guild). Cf. khūṭ a community, sect, society, division, clique, schism, stock (Santali) 

dula 'two' rebus: dul 'metal casting' PLUS kola 'tiger' rebus: kolhe 'smelter', kol 'working in iron' kolle 'blacksmith. Thus, dul kolhe,'metal casting smelter'. kola 'woman' rebus:kol 'working in iron' (Semantic determinative). baṭa 'six' (knots on hairstyle) rebus: bhaṭa 'furnace'.goṭa 'pellets' rebus: gota 'laterite, ferrite ore'.

The note has recorded evidence that கண்வட்டம் kaṇ-vaṭṭam 'mint' has a synonym (demonstrably, a phonetic variant in mleccha/meluhha):  khambhaṛā 'fin' (Lahnda) rebus: kammaTa 'mint' and these two expressions are combined in the Begram ivory (Plate 389) 

Glyph:kuṭi ‘tree’; kuṭi, kuṭhi, kuṭa, kuṭha a tree (Kaus'.); kud.a tree (Pkt.); kuṛā tree; kaṛek tree, oak (Pas;.)(CDIAL 3228). kuṭha, kuṭa (Ka.), kudal (Go.)     kudar. (Go.)  kuṭha_ra, kuṭha, kuṭaka = a tree (Skt.lex.) kuṭ, kurun: = stump of a tree (Bond.a); khut. = id. (Or.) kuṭamu = a tree (Te.lex.) Glyph: tree, rebus: smelting furnace

kuṭhi kuṭa, kuṭi, kuṭha a tree (Kaus’.); kuḍa tree (Pkt.); kuṛā tree; kaṛek tree, oak (Pas;.)(CDIAL 3228). Kuṭha, kuṭa (Ka.), kudal (Go.) kudar. (Go.) kuṭhāra, kuṭha, kuṭaka = a tree (Skt.lex.) kuṭ, kurun: = stump of a tree (Bond.a); khuṭ = id. (Or.) kuṭa, kuṭha = a tree (Ka.lex.) guṇḍra = a stump; khuṇṭut = a stump of a tree left in the ground (Santali.lex.) kuṭamu = a tree (Telugu)

Field symbol 101 m1430A.

Person throwing a spear at a buffalo and placing one foot on its head; three persons standing near a tree at the center. Field symbol: rango 'buffalo' Rebus: rango 'pewter' raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1]Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562)

kuṭhāru 'tree' Rebus:  kuṭhāru ‘armourer or weapons maker’(metal-worker)

melh 'goat' Rebus: milakkhu 'copper'

kolom‘three’ rebus: kolimi‘smithy, forge’ PLUS meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du‘iron’ mr̥id‘earth, clay, loam’ (Samskrtam)
(Deśīnāmamālā)

మేడెము [ mēḍemu ] or మేడియము mēḍemu. [Tel.] n. A spear or dagger. Rebus: meḍ  ‘iron’

Alternative: குந்தம் kuntam, n. < kunta. 1. Javelin for throwing; barbed dart; எறிகோல். வைவா ளிருஞ்சிலை குந்தம் (சீவக. 1678). 2. Spear, lance; வேல். குந்தமலியும் புரவி யான் (பு. வெ. 4, 7). Rebus: kundana ‘fine gold’

Another side of the tablet m1430c 

Field symbol 100

Field symbol 99

m310 A

m1431 ABCE 

m1431 ABCE (rendered in colour)

h1970 AB

h1971 AB, h1972 AB

h1973 AB

Molded terracotta tablet (H2001-5075/2922-01) with a narrative scene of a man in a tree with a tiger looking back over its shoulder. The tablet, found in the Trench 54 area on the west side of Mound E, is broken, but was made with the same mold as ones found on the eastern side of Mound E and also in other parts of the site (see slide 89 for the right hand portion of the same scene). The reverse of the same molded terra cotta tablet shows a deity grappling with two tigers and standing above an elephant (see slide 90 for a clearer example from the same mold). https://www.harappa.com/indus3/185.html heraka 'spy' rebus: eraka 'moltencast copper' kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr 'blacksmith' barad 'bull' rebus: baraDo 'alloy of pewter, copper, tin'.

Note: Wims Borsboom presents a reconstruction of the h1973AB broken tablet.

Ochre coloured tablet H-2001ab. The dark burgundy colored tablet fragment, both faces (length: 3.91 cm, width: 1.5 to 1.62 cm)

Wim Borsboom suggests a reconstructed narrative on one side of the burgundy colored tablet. http://paradigm-update.blogspot.in/2012/03/harapp-culture-pictures.html?m=1 

Although neither of these specific molded terracotta tablet pieces comes from Trench 11, four less well preserved examples from the same mold(s) were found in debris outside of the perimeter wall in that area, clearly establishing a second half of Period 3B date for these tablets. Note the rear of the buffalo and the front of the gharial in the left tablet which overlaps with the iconography of the right tablet, although in this case they do not seem to come from the same mold. (See also Images 89 and 90.

https://www.harappa.com/indus5/80.html

h1974 AB

Veneration of tree

m478a tablet

The hieroglyphs on m478a tablet are read rebus:

kuTi 'tree'Rebus: kuThi 'smelter'

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati) This hieroglyph is a phonetic deterinant of the 'rimless pot': baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) bhaṭa 'a furnace'.  Hence, the hieroglyph-multiplex of an adorant with rimless pot signifies: 'iron furnace' bhaTa. 

bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) The narrative of a worshipper offering to a tree is thus interpretable as a smelting of three minerals: copper, zinc and tin.

Numeral four: gaNDa 'four' Rebus: kand 'fire-altar'; Four 'ones': koḍa ‘one’ (Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the pair of 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's wrkshop'. 

Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the circumscript signifies 'cast metal workshop'. meD 'body' Rebus: meD 'iron'.

khareḍo = a currycomb (G.) Rebus: wealth-accounting ledgers -- kharada खरडें 'daybooks'  kharādī ‘turner’ (Gujarati)

m0478b tablet (Inscriptions m1425 AB tablets are identical to m0478a,b)

erga = act of clearing jungle (Kui) [Note image showing two men carrying 

uprooted trees] thwarted by a person in the middle with outstretched hands

Aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). Aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali) ḍhaṁkhara — m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524)

Hieroglyph: era female, applied to women only, and generally as a mark of respect, wife; hopon era a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku era a Hindu woman (Santali)

•Rebus: er-r-a = red; eraka = copper (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) erako molten cast (Tu.lex.)  agasa_le, agasa_li, agasa_lava_d.u = a goldsmith (Te.lex.)

kuTi 'tree' Rebus: kuṭhi = (smelter) furnace (Santali) 

heraka = spy (Skt.); eraka, hero = a messenger; a spy (Gujarati); er to look at or for (Pkt.); er uk- to play 'peeping tom' (Ko.) Rebus: 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.) eraka ‘copper’ (Kannada) 

kōṭu  branch of tree, Rebus: खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. 

Hieroglyph: Looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali)

kola ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’ (Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Telugu) 

^  Inverted V, m478 (lid above rim of narrow-necked jar) The rimmed jar next to the tiger with turned head has a lid. Lid ‘ad.aren’; rebus: aduru ‘native metal’ karnika 'rim of jar' Rebus: karni 'supercargo' (Marathi) Thus, together, the jar with lid composite hieroglyhph denotes 'native metal supercargo'. karn.aka = handle of a vessel; ka_n.a_, kanna_ = rim, edge; kan.t.u = rim of a vessel; kan.t.ud.iyo = a small earthen vessel; kan.d.a kanka = rim of a water-pot; kan:kha, kankha = rim of a vessel

Comparable hieroglyph of kneeling adorant with outstretched hands occurs on a Mohenjo-daro seal m1186, m478A tablet and on Harappa tablet h177B:

Rebus readings: maṇḍa ‘ some sort of framework (?) ʼ. [In nau - maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. Rebus: M. mã̄ḍ m. ʻ array of instruments &c. ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ. (CDIAL 9736) kamaḍha 'penance' (Pkt.)Rebus: kampaṭṭam 'mint' (Tamil) battuḍu. n. A worshipper (Telugu) Rebus: pattar merchants (Tamil), perh. Vartaka (Skt.)

Dhruva II Inscription Gujarat Rashtrakuta 884 CE (H. Sarkar & BM Pande)

A new copper plate of Dhruva II of the Gujarat Rashtrakuta branch, datedsaka 806 (AS Altekar, Epigraphia INdica, Vol. XXII, 1933-34, pp. 64-76).Note the signature of the king on line 69 in Kannada while the inscription is in Samskrtam.  After the signature and before the word लिखितं 'likhitam' is engraved an ornamental design. It is an Indus Script hieroglyph: 'endless knot' which occurs on a number of inscriptions which is deciphered in this monograph: .मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ  'iron' (Munda). Rebus: medha 'yajna'.मेध [p= 832,3] an animal-sacrifice , offering , oblation , any sacrifice (esp. ifc.) ib. MBh. &c मेधाa symbolical N. of the letter ध् Up.= धन Naigh. ii , 10. any valued object , (esp.) wealth , riches , (movable) property , money , treasure , gift RV. &c.

Consistent with Naighantuka, the word medhA also means 'कविधानम्' according to s'abdakalpadruma: I assume that medhA = dhAnam means (in the context of the hieroglyph on Dhruva II inscription): धानम् dhānam नी nī धानम् नी [धा भावे-ल्युट्] 1 A receptacle, seat; as in मसीधानी, राजधानी, यमधानी; रविं दधाने$प्यरविन्दधाने Śi.4.12. -2 Nourishing, nourishment. -नी 1 The site of a habitation.

मेधा, स्त्री, (मेधते सङ्गच्छते अस्यामिति । मेध् + “षिद्भिदादिभ्योऽङ् ।” ३ । ३ । १०४ । इत्यङ् । टाप् ।) धारणावती बुद्धिः । इत्यमरः । १ । ५ । २ ॥ धारणाशक्तियुक्ता धीर्मेधा मेधते सङ्गच्छतेऽस्यां सर्व्वं बहुश्रुतं विषयीकरोति इति वा मेधा मेधृ-ञ सङ्गे मेधायां सेमक्तात् सरोरित्यः आपबहु- श्रुतविषयीकरणं धारणा यदुक्तं धारणा बुद्धे- र्गुणविशेषः इति ॥ इति भरतः ॥ * ॥ (यथा, मुण्डकोपनिषदि । ३ । २ । ३ । “नायमात्मा प्रवचनेन लभ्यो न मेधया न बहुना श्रुतेन । यमेवैष वृणुते तेन लभ्य- स्तस्यैष आत्मा विवृणुते तनूं स्वाम् ॥”) मेधाकरं औषधं यथा, -- “शङ्खपुष्पी वचा सोमा ब्राह्मी ब्रह्मसुवर्च्चला । अभया च गुडूची च अटरूषकवाकुची । एतैरक्षसमैर्भागैर्घृतं प्रस्थं विपाचयेत् ॥ कण्टकार्य्या रस प्रस्थं बृहत्या च समन्वितम् । एतद्ब्राह्मीघृतं नाम स्मृतिमेधाकरं परम् ॥”ति गारुडे १९८ अध्यायः ॥ * ॥ मेधाकरगणो यथा । सतताध्ययनम् । तत्त्व- ज्ञानकथा । श्रेष्ठतन्त्रशास्त्रावलोकनम् । सद्द्वि- जाचार्य्यसेवा च । इति पुराणम् ॥ (दक्षप्रजा- पतिकन्याविशेषः । यथा, -- “कीर्त्तिलक्ष्मी र्धृतिर्मेघा पुष्टिः श्रद्धा क्रिया मतिः ॥” इति वह्निपुराणे गणभेदनामाध्याये ॥ धनम् । इति निघण्टुः । २ । १० ॥ “मिधृ मेधृ सङ्गमे च । चकारात् हिंसामेधयोश्च । मिधिः सङ्गत्यर्थः । इति माधवः । घज् । सङ्गच्छतेऽनेन सर्व्वं तद्बता हिंस्यते वा तद्वान् चौरादिभिः घ्नन्ति चैवार्थकारणात् इति महाभारतम् ॥ यद्वा, मतौ धीयते अर्जयितव्यं रक्षितव्यं दातव्य- मिति धनवता बुद्धौ धनं धार्य्यते । तत्र मति- शब्द उपपदे धातोः घञर्थे कविधानम् इति कः । पृषोदरादित्वात् मतिशब्दस्य मेभावः ।” इति तद्भाष्ये देवराजयज्वा ॥)

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

The dAna referred in the grant signed by Dhruva II also includes dhana 'property, gift' signified by mēḍhā 'twist' rebus: medhA, and hence, the use of the Indus Script hieroglyph. 

The earlier rebus rendering of the hieroglyph mēḍhā 'twist' is a commodity: med 'iron' med 'copper' (Slavic) and hence, its occurrence together with svastika hieroglyph which signifies: jasta, sattva, 'zinc' in the context of trade by seafaring merchants of Meluhha.

It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.

Reverse side glyphs:

eraka ‘nave of wheel’. Rebus: era ‘copper’.

Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’.

Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers + nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul ‘casting (metal)’ + kũdā kol (tiger jumping) + era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’; kan ‘brazier, bell-metal worker’;

The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.

Glypg: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)

Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

Rebus readings of Hieroglyphs on two Meluhha tablets: Crocodile, tiger looking back, spy on tree

H1974B and h1971/h1970 B

Although neither of these specific molded terracotta tablet pieces comes from Trench 11, four less well preserved examples from the same mold(s) were found in debris outside of the perimeter wall in that area, clearly establishing a second half of Period 3B date for these tablets. Note the rear of the buffalo and the front of the gharial in the left tablet which overlaps with the iconography of the right tablet, although in this case they do not seem to come from the same mold. 

https://www.harappa.com/indus5/80.html

Photo of tablet flipped horizontally

h1973B h1974B Harappa Two tablets. One side shows a person seated on a tree branch, a tiger looking up, a crocodile on the top register and other animals in procession in the bottom register. Obverse side (comparable to h1970, h1971 and h1972) shows an elephant, a person strangling two tigers (jackals or foxes) and a six-spoked wheel.

The glyphic which is common to both set 1 (h1970B, h1971B and h1972B) and set 2: (h1973B and h1974B) is: crocodile on the top register. 

karā ‘crocodile’ (Telugu). Rebus: khara ‘blacksmith’ (Kashmiri)

Set 1: crocodile + person with foot on head of animal + spearing + bison + horned (with twig) seated person in penance

h1971B Harappa. Three tablets with identical glyphic compositions on both sides: h1970, h1971 and h1972. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487.

Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” (JM Kenoyer, 1998, Ancient cities of the Indus Valley, Oxford University Press, p. 115.)

The following glyphics of m1431 prism tablet show the association between the tiger + person on tree glyphic set and crocile + 3 animal glyphic set.

Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]

One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a rhinoceros (with fishes (or perhaps, crocodile) on top?).

koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.)कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)

ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.  Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa  'rhimpceros'   Rebus:khāṇḍa ‘tools, pots and pans, and metal-ware’.  The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

m0489A One side of a prism tablet shows: crocodile + fish glyphic on the top register. Glyphs: crocodile + fish Rebus: ayakāra ‘blacksmith’ (Pali)

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.

Reverse side glyphs:

eraka ‘nave of wheel’. Rebus: era ‘copper’. āra 'spokes' Rebus: āra  'brass'.

Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’ (Gujarati).

Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers (jackals)+ nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul‘casting (metal)’ + kũdā kol (tiger jumping) or lo ‘fox’ (WPah.) rebus: lōha ʻmetalʼ (Pali) + era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’;kan ‘brazier, bell-metal worker’; ibbo ‘merchant’.

The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.

lōpāka m. ʻa kind of jackalʼ Suśr., lōpākikā -- f. lex. 1. H. lowā m. ʻfoxʼ.2.  Ash.  ẓōki, žōkī  ʻfoxʼ, Kt. ŕwēki, Bashg. wrikī, Kal.rumb. lawák: < *raupākya -- NTS ii 228; -- Dm. rɔ̈̄pak ← Ir.? lōpāśá m. ʻfox, jackalʼ RV., lōpāśikā -- f. lex. [Cf. lōpāka -- . -- *lōpi -- ] Wg. liwášä, laúša ʻfoxʼ, Paš.kch. lowóċ, ar. lṓeč ʻjackalʼ (→ Shum.  lṓeč NTS xiii 269), kuṛ. lwāinč; K. lośu, lōh, lohu, lôhu ʻporcupine, foxʼ.1. Kho.  lōw  ʻfoxʼ, Sh.gil. lótilde;i f., pales. lṓi f., lṓo m., WPah.bhal. lōī f.,  lo m.2. Pr. ẓūwī  ʻfoxʼ.(CDIAL 11140-2).Rebus:lōhá ʻred, copper -- colouredʼ ŚrS., ʻmade of copperʼ ŚBr., m.n. ʻcopperʼ VS., ʻironʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻmetal, esp. copper or bronzeʼ; Pk. lōha -- m. ʻironʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻsteelʼ; Kho. loh ʻcopperʼ; S. lohu m. ʻironʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper lōhá -- : WPah.kṭg. (kc.) lóɔ ʻironʼ, J. lohā m., Garh. loho; Md. lō ʻmetalʼ. (CDIAL 11158).

Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)

Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

Allograph: ‘notch’: Marathi: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon).

Glyph: ‘full stretch of one’s arms’: kāḍ 2 काड् । पौरुषम् m. a man's length, the stature of a man (as a measure of length) (Rām. 632, zangan kaḍun kāḍ, to stretch oneself the whole length of one's body. So K. 119). Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). mayponḍi kanḍ whetstone;  (Ga.)(DEDR 4628). (खडा) Pebbles or small stones: also stones broken up (as for a road), metal. खडा [ khaḍā ] m A small stone, a pebble. 2 A nodule (of lime &c.): a lump or bit (as of gum, assafœtida, catechu, sugar-candy): the gem or stone of a ring or trinket: a lump of hardened fæces or scybala: a nodule or lump gen. CDIAL 3018 kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.] Bshk. kōr ʻ large stone ʼ AO xviii 239. கண்டு³ kaṇṭu , n. < gaṇḍa. 1. Clod, lump; கட்டி. (தைலவ. தைல.99.) 2. Wen; கழலைக்கட்டி. 3. Bead or something like a pendant in an ornament for the neck; ஓர் ஆபரணவுரு. புல்லிகைக்கண்ட நாண் ஒன்றிற் கட்டின கண்டு ஒன்றும் (S.I.I. ii, 429). (CDIAL 3023) kāṇḍa cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Pa. kaṇḍa -- m.n. joint of stalk, lump. काठः A rock, stone. kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.]Bshk. kōr ʻ large stone ʼ AO xviii 239.(CDIAL 3018). অয়সঠন [ aẏaskaṭhina ] as hard as iron; extremely hard (Bengali)

Glyph: ‘one-eyed’: काण a. [कण् निमीलने कर्तरि घञ् Tv.] 1 One-eyed; अक्ष्णा काणः Sk; काणेन चक्षुषा किं वा H. Pr.12; Ms.3.155. -2 Perforated, broken (as a cowrie) <kaNa>(Z)  {ADJ} ``^one-^eyed, ^blind''. Ju<kaNa>(DP),,<kana>(K)  {ADJ} ``^blind, blind in one eye''.   (Munda) Go. (Ma.) kanḍ reppa eyebrow (Voc. 3047(a))(DEDR 5169). Ka. kāṇ (kaṇḍ-) to see; Ko. kaṇ-/ka·ṇ- (kaḍ-) to see; Koḍ. ka·ṇ- (ka·mb-, kaṇḍ-) to see; Ta. kāṇ (kāṇp-, kaṇṭ-) to see; Kol.kanḍt, kanḍakt seen, visible. (DEDR 1443). Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. (DEDR 1159a) Rebus ‘brazier, bell-metal worker’: கன்னான் kaṉṉāṉ , n. < கன்¹. [M. kannān.] Brazier, bell-metal worker, one of the divisions of the Kammāḷa caste; செம்புகொட்டி. (திவா.)  Ta. kaṉ copper work, copper, workmanship;  kaṉṉāṉ brazier. Ma. kannān id.  (DEDR 1402).  கன்¹ kaṉ , n. perh. கன்மம். 1. Workmanship; வேலைப்பாடு. கன்னார் மதில்சூழ் குடந்தை (திவ். திருவாய். 5, 8, 3). 2. Copper work; கன்னார் தொழில். (W.) 3. Copper; செம்பு. (ஈடு, 5, 8, 3.) 4. See கன்னத்தட்டு. (நன். 217, விருத்.) கன்² kaṉ , n. < கல். 1. Stone; கல். (சூடா.) 2. Firmness; உறுதிப்பாடு. (ஈடு, 5, 8, 3.)

kã̄ḍ 2 काँड् m. a section, part in general; a cluster, bundle, multitude (Śiv. 32). kã̄ḍ 1 काँड् । काण्डः m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan 5 (p. 221a, l. 13) the word is spelt kāḍ.

kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist.

kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) 

Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

Ochre coloured tablet H-2001ab. The dark burgundy colored tablet fragment, both faces (H-95ab)

(length: 3.91 cm, width: 1.5 to 1.62 cm)

Wim Borsboom suggests a reconstructed narrative on one side of the burgundy colored tablet. http://paradigm-update.blogspot.in/2012/03/harapp-culture-pictures.html?m=1 

Although neither of these specific molded terracotta tablet pieces comes from Trench 11, four less well preserved examples from the same mold(s) were found in debris outside of the perimeter wall in that area, clearly establishing a second half of Period 3B date for these tablets. Note the rear of the buffalo and the front of the gharial in the left tablet which overlaps with the iconography of the right tablet, although in this case they do not seem to come from the same mold. (See also Images 89 and 90.

https://www.harappa.com/indus5/80.html

Ochre coloured tablet H-2001ab. The dark burgundy colored tablet fragment, both faces (H-95ab)

(length: 3.91 cm, width: 1.5 to 1.62 cm) 

http://www.sindhishaan.com/gallery/manuscripts.html Such narratives get repeated on inmultiple Harappa tablets.Slide 80

https://www.harappa.com/slideshows/harappa-excavations1995-2000

[quote]Gregory L. Possehl

There are at least 18 examples of a "human and tiger" motif in Indus glyptic art. This short paper by one of the most prolific writers on ancient Indus themes, the late Dr. Gregory Possehl, wonders how we might read this visual artifact. "The ‘human and tiger’ scene,' he writes, "is a dynamic moment, suggesting that we have here a narrative of Indus folklore. It occurs with sufficient regularity that I feel it is appropriate to consider it a theme of Mature Harappan society. The human and the tiger are looking at one another. The human is in a squatting, or kneeling posture and is ‘beckoning’ the tiger. The seal has captured a moment when this ‘Harappan person’ and the tiger are engaged; but there is no violence. The tiger is just looking and the person is gesturing in a non-threatening way, toward it. This scene can be repeated in a context with other forest scenes and writing" (p. 141).

The first image above is of a molded terracotta tablet (H2001-5075/2922-01) from Harappa which, while broken, is one for which other parts made from the same mold were found in other parts of the site. The second, from a seal from Mohenjo-daro (Mackay 1937-38, Pl. XCVI.522) is perhaps the most well-known example of the scene. The third, also a seal, is from Chanhu-daro (Mackay 1943: Pl. LI.18) and might be the most interesting as it seems to show the human figure in much the same pose as up in the tree, but this time on the ground, next to the tiger, which seems to be licking his face. Possehl writes: "We still do not know the story told on the ‘human and tiger’ glyptics, or what it meant to the Harappan peoples. If I may speculate, it seems to be about a person in the forest who is in a tree, possibly to avoid a tiger passing by. Rather than being mauled and eaten by this beast, the human reaches an accommodation with it and they end- up ‘friends’" (p. 141).

An interesting paper that draws attention to a confrontation in shared Indus culture that seems to have been well-represented on objects of value and purpose.[unquote]

https://www.harappa.com/content/indus-folklore-unknown-story-some-harappan-objects

Full text: https://www.academia.edu/36019851/19_GREGORY_L_POSSEHL_Indus_Folklore_An_Unknown_Story_on_Some_Harappan_Objects

heraka 'spy' rebus: eraka 'moltencast copper' kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr 'blacksmith' barad 'bull' rebus: baraDo 'alloy of pewter, copper, tin'. Another animal (perhaps bovine) is signified in a procession together with the tiger. This may signify barad, balad 'ox' rebus: bharat 'alloy of pewter, copper, tin'. Thus the products shown as from smithy (blacksmith).with a smelter.
m489Am489B
Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.

On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.

Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)

kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'

kUtI 'twigs' Rebus: kuThi 'smelter'

muh 'face' Rebus: muhe 'ingot' (Santali)

--deva 'lancer' rebus: deva 'divinity'

--kul 'tiger' rebus: Ta. kol working in iron, blacksmith; kollaṉ blacksmith.

 Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village (DEDR 2133)

--kuti 'jump, leap' rebus: kuṭhī 'warehouse, factory'

āre ‘potter's wheel’ rebus: āra ‘brass’; څرخ ṯs̱arḵẖ, 'potter's wheel'; eraka 'knave of wheel' rebus: arka, aka 'gold, copper'; eraka 'metal infusion'.

m0306 Person grappling with two tigers standing on either side of him and rearing on their hindlegs.  2086 Field symbol: kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Telugu) 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) PLUS B. uchal ʻ flowing over ʼ; Or. uchāḷa ʻ vomiting ʼ; H. uchāl f. ʻ tossing up, motion up ʼ; G. uchāḷɔ m. ʻ leap ʼ; M. usā̆ḷī f. ʻ splashing, spurting up ʼ.Addenda: *ut -- śāla -- : WPah.kṭg. śwáḷɔ m. ʻ great noise (from excitement) ʼ, J. śwāḷā m. ʻ a great cry ʼ. -- WPah.kṭg. ċhāˊḷ f. ʻ leap, jump ʼ rather with Him.I 65 < *chāla<-> or ← H. chāl f. ʻ wave ʼ, K. ċhāl f. ʻ jump ʼ. (CDIAL 1846) rebus: sal ‘workshop, school’ rebus śālikā'village of artisans, shop' PLUS dula ‘duplicated’ rebus: dul ‘metal casting’

kanac ‘corner’ rebus: kancu ‘bell-metal’ sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the

same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild. sangara ‘trade’

kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon).  khaṇḍa 'implements'

(lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge. 

kamaḍha 'crab' Rebus: kammaṭa 'mint, coiner, coinage'. ḍato = claws of crab (Santali) Rebus: dhātu 'mineral ore' (Rigveda)

kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman,

kole.l 'temple' rebus: kole.l 'smithy, forge'  Or, warehouse  kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse. 

m0307 Person grappling with two tigers  standing on either side of him and  rearing on their hindlegs. 2122

kāru pincers, tongs. Rebus: khār खार् 'blacksmith' PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा (p. 116) khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon).  khaṇḍa 'implements'. Thus, ingots and implements.

dula ‘two’ rebus: dul ‘metal casting’

kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥ

कौटिलिकः 1 A hunter.-2 A blacksmith  PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings.

kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'

Plano convex molded tablet showing a female deity battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.

On the reverse an individual is spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial [crocodile] is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.

Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997 

https://www.harappa.com/slide/molded-tablet

karibha,ibha'elephant' rebus: karba, ib 'iron'

Spoked wheel in Meluhha is tsarkh 'potter's wheel'अर्क 'the sun, copper', agasāla 'goldsmith

workshop' https://tinyurl.com/y2jq5okl