Three geometric hierolyphs on Priest-guild-leader statue of Mohenjo-daro are: 1. trefoil or clover (embroidered on the robe); 2. hole or dotted circle (deployed together with trefoils); 3. dotted circle (on the fillet). In the Egyptian hieroglyphic tradition, trefoil is associated with veneration of ancestors.
There are three distinct geometric glyphs which are used to compose the hieroglyphs deployed on the 17.5 cm. high statuette of a reverenced person with a smooth hair-do and a neatly trimmed beard. This is clearly indicative of the possible use of a metal or stone razor to trim the hair on the face. That reverence is the intended message is reinforced by the deployment of trefoil hieroglyph on the based used for sacred Sivalinga in Mohenjo-daro.It is possible to decipher the hieroglyphs using the rebus-metonymy layered cipher of Indus writing system.
The Meluhha semantics of objects signified by these three hieroglyphs are related to metalwork guild.
Trefoil hieroglyph or three 'beads, orifice'
kolom 'three' (Munda) Rebus: kolami 'smithy, forge'. The triplicate composing the trefoil is a semantic determinant of the signified object: smithy, forge.
*pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1 .(CDIAL 8403) பொத்தல் pottal , n. < id. [K. poṭṭare, M. pottu, Tu. potre.] 1. Hole, orifice.
Rebus: Soma priest, jeweller's polishing stone
पोतृ pōtṛ " Purifier " , Name of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman (Rigveda) pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū ] Bi. pot ʻ jeweller's polishing stone ʼ? -- Rather < *pōttī -- .(CDIAL 8404) pōtṛ पोतृ m. 1 One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्). -2 An epithet of Viṣṇu. pōtram पोत्रम् [पू-त्र] 1 The snout of a hog; धृतविधुरधरं महा- वराहं गिरिगुरुपोत्रमपीहितैर्जयन्तम् Bk.1.6; Ki.13.53. -2 A boat, ship. -3 A plough share. -4 The thunderbolt. -5 A garment. -6 The office of the Potṛi. -Comp. -आयुधः a hog, boar. (Samskritam. Apte)
Hieroglyph: fillet on the forehead
பட்டம்² paṭṭam , n. < paṭṭa. 1. Plate of gold worn on the forehead, as an ornament or badge of distinction; சிறப்புக்கு அறிகுறியாக நெற்றி யிலணியும் பொற்றகடு. பட்டமுங் குழையு மின்ன (சீவக. 472). 2. An ornament worn on the forehead by women; மாதர் நுதலணி. பட்டங் கட்டிப்பொற்றோடு பெய்து (திவ். பெரியாழ். 3, 7, 6). 3. Title, appellation of dignity, title of office; பட்டப்பெயர். பட்டமும் பசும்பொற் பூணும் பரந்து (சீவக. 112). 4. Regency; reign; ஆட்சி. 5. Fasteners, metal clasp; சட்டங்களை இணைக்க உதவும் தகடு. ஆணிகளும் பட்டங்களுமாகிய பரிய இரும்பாலேகட்டி (நெடுநல். 80, உரை). 6. Flat or level surface of anything; பட்டைவடிவு. 7. Flat piece, as of bamboo; பட்டையான துண்டு. 8. Cut of a gem; மணிகளில் தீரும் பட்டை. 9. Paper-kite; காற்றாடி. பிள்ளைகள் பற்பலவுயர் பட்டம் விடல்போல் (திருப்போ. சந். பிள்ளைத். சப்பாணி. 8). 10. Cloth; சீலை. (அக. நி.) 11. Large banner; பெருங்கொடி. (பிங்.) 12. High position; உயர் பதவி. (பிங்.) 13. Gold; பொன். (சங். அக.)
Rebus: smithy, forge
பட்டடை¹ paṭṭaṭai, [K.paṭṭaḍi.] Smithy, forge; கொல்லன் களரி. n. prob. படு¹- + அடை¹-. [T. paṭṭika, K. paṭṭaḍe.] Anvil; அடைகல். (பிங்.) சீரிடங்காணி னெறிதற்குப் பட்ட டை (குறள், 821). பட்டறை² paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம். பட்டடையார் paṭṭaṭaiyār, n. < id. (W. G .) 1. Master of a shop; கடையின் எசமானர். 2. Overseer; மேற்பார்ப்போர். பட்டக்காரன்¹ paṭṭa-k-kāraṉ, n. < பட்டம்² +. Title of the headman of the Toṭṭiyar and Koṅkuvēḷāḷa castes; தொட்டியர், கொங்குவேளாளர் சாதித்தலைவரின் சிறப்புப்பெயர். பட்டகசாலை paṭṭaka-cālai , n. < T. paṭa- šāla. [K. paṭṭasāle.] 1. Central or principal hall in a house; கூடம்.
பட்டங்கட்டு-தல் paṭṭaṅ-kaṭṭu-, v. intr. < id. +. 1. To confer a title; பட்டப்பெயர் சூட்டுதல். நன்னெறிப் பட்டங்கட்டி நல்கினான் பரிவட்டங்கள் (திருவாலவா. 39, 27). 2. To invest with office, dignity, authority; to install, crown; அரசு முதலிய பதவி யளித்தல். இராவ ணனை வென்று . . . அவன்றம்பிக்குப் பட்டங்கட்டிய ராமா (தனிப்பா. i, 391, 48). 3. To fasten a gold band on the foreheads of the bridal pair in a marriage; கலியாணத்தில் மணமக்கள் நெற்றியிற் பொற்பட்டம் கட்டுதல். 4. To perform the ceremony of indicating the succession to the estate of deceased person among Maṟavas, wherein, before the corpse is removed, the chief heir and his wife take two balls of cow- dung mixed with various kinds of grain and stick them on to the wall of their house and throw them in water on the eighth day after death; மறவர் சாதியில் இறந்தோனது சவத்தை எடுப்பதற்குமுன் அவனுடைய முக்கிய வாரி சும் அவ்வாரிசின் மனைவியும் தானியங்களோடு கலந்த இரண்டு சாணவுண்டையை வீட்டின் சுவரில் ஒட்டி யும் பிறகு எட்டாநாள் அதனை நீரிற் கரைத்துந் தாமே இறந்தோன் சொத்துக்கு உரிமையுடையவரென்று தெரிவிக்குஞ் சடங்கு செய்தல். (E. T . v, 42.) 5. To perform the ceremony of going round the deceased during cremation; தகனக்கிரியையிற் பிரேதத்தைச் சுற்றிவருதல். Nāñ.
The tradition in Indian sprachbund records coronation ceremony also to confer a title ācārya, 'teacher' or ācariyakula 'teacher's family' or head of a artisan guild:
ஆசாரி ācāri , n. < ā-cārya. [T. K. Tu. ācāri.] 1. A title adopted by Mādhva and Šrī Vaiṣṇava Brāhmans; மாத்துவ ?வைஷ்ண வப்பிராமணர் பட்டப்பெயர். 2. [M. āšāri.] Title of the five artisan castes; கம்மாளர்பட்டப்பெயர்.
ācāríya -- , ācāryà -- m. ʻ teacher ʼ AV. [ācāra -- ]Pa. ācariya -- , °aka -- , ācēra -- m., KharI. ayariasa gen., Pk. āyariya -- m., Si. brāhmi inscr. ajara, 10th cent. äjara, mod. ädurā. *ācāriyakula ʻ teacher's family ʼ. [ācāríya -- , kúla -- ] Pa. ācariyakula -- n. ʻ the teacher's clan ʼ; Si. ädurol ʻ line of teachers, tradition ʼ(CDIAL 1072, 1073)Sarasvati-Sindhu Valley potters shaped clay pots on a wheel, like this one used by an Indian potter today.
Discussion
While it may be debated if a 'temple priest' of the civilization was called pōtti as the gloss is used today in Malayalam, or pōtṛ as the gloss is used today in the performance of a vedic-soma yajña, there seems to be a substantial semantic evidence to relate to the other characteristics of the artifacts deployed in the context of the trefoil symbol: cloth (shawl or upper garment, leaving the right-shoulder bare), young animal.
Both symbols -- cloth and young animal -- have pottu as word signifiers. If pōṟṟi or pottu is the word signifier, there is a rebus reading possible: pot 'boat' or pot 'bead' or pote 'long straight bar of jewelry'.
We seem to be looking at trefoil as a hieroglyph to be read rebus.
1. Shown pota 'cloth' worn as a shawl by the important person, the trefoil hieroglyph can be read rebus as the homonymous phonetic-determinant word: pōtṛ 'Soma purification priest'.
2. Shown on pota 'young animal or heifer', or on beads, the trefoil hieroglyph can be read either as a phonetic determinant for pot 'boat' or pote 'long straight bar of jewelry or bead' or pot 'jeweller's polishing stone'.
There are other statuettes displaying fillet worn on forehead and upper garment (shawl) on a meditating person leaving the right-shoulder bear -- a traditional pattern of uttariyam-wearing by teachers (AcArya and temple-priests in the Hindu tradition traceable to the Sarasvati-Sindhu (Hindu) Civilization).
Fillet worn on the forehead of a person with a neat hair-style and a hair-bun. 40. Head (back), Mohenjo-daroMale head probably broken from a seated sculpture. Finely braided or wavy combed hair tied into a double bun on the back of the head and a plain fillet or headband with two hanging ribbons falling down the back (40).
The upper lip is shaved and a closely cropped and combed beard lines the pronounced lower jaw. The stylized almond shaped eyes are framed by long eyebrows. The wide mouth is very similar to that on the "Priest-King" sculpture. Stylized ears are made of a double curve with a central knob.
Material: sandstoneDimensions: 13.5 cm heightMohenjo-daro, DK-B 1057Mohenjo-daro Museum, MM 431Dales 1985: pl. IIb; Ardeleanu-Jansen 1984: 139-157 http://www.harappa.com/indus/40.html
Seated male figure with head missing (45, 46). On the back of the figure, the hair style can be partially reconstructed by a wide swath of hair and a braided lock of hair or ribbon hanging along the right side of the back.
A cloak is draped over the edge of the left shoulder and covers the folded legs and lower body, leaving the right shoulder and chest bare. The left arm is clasping the left knee and the hand is visible peeking out from underneath the cloak. The right hand is resting on the right knee which is folded beneath the body.
Material: limestone
Dimensions: 28 cm height, 22 cm width
Mohenjo-daro, L 950
Islamabad Museum
Marshall 1931:358-9, pl. C, 1-3 http://www.harappa.com/indus/46.html
S. KalyanaramanSarasvati Research CenterJune 8, 2015
பட்டாபிஷேகம் paṭṭāpiṣēkam , n. < paṭ- ṭābhiṣēka. 1. Coronation, as preceded by anointing and bathing; முடிசூடுகை. 2. Ordination, consecration to the ministry; போதகரின் நியமனச்சடங்கு. Chr. பட்டாசாரி paṭṭācāri , n. < bhaṭṭa பட்டாசாரியன் paṭṭācāriyaṉ , n. < id. +. 1. See பட்டன், 1, 2. (W .) 2. founder of a sub-sect of Mīmāṁsakas; மீமாஞ்ச மதத்தினுள் ஒரு பகுதிக்கு ஆசிரியன். (சி. போ. பா. பக். 44.)பட்டனம் paṭṭaṉam, n. < paṭṭaṇa. Sea-port town; கடற்கரையின் பலதீவுப்பண்டம் விற்கும் ஊர். (சூடா.) பட்டன் paṭṭaṉ , n. < bhaṭṭa. 1. Learned man, scholar; புலவன். மறைநான்கு முன் னோதிய பட்டனை (திவ். பெரியதி. 7, 3, 6). 2. Brāhmin-priest of a temple; கோயிலருச்சகன். 3. Spiritual master, god; சுவாமி. ஆலநிழலமர் பட்டனை (தேவா. 926, 1). 4. See பட்டர்பிரான். தண்புது வைப்பட்டன் சொன்ன (திவ். பெரியாழ். 3, 8, 10).பட்டாமணியம் paṭṭā-maṇiyam , n. < U. paṭṭā பட்டாரகன் paṭṭārakaṉ , n. < bhaṭṭāraka. 1. Deity; கடவுள். (பிங்.) திருநந்திக்கரை பட் டாரகர் (T. A. S . iii, 206). 2. One who attained the stage of Arhat; அருகபதவி பெற்றோர். நமி பட்டாரகர் (தக்கயாகப். 375, உரை). 3. Spiritual preceptor; ஞானகுரு. (பிங்.) முகுந்தோத்தம பட் டாரகர் (T. A. S . iii, 44). பட்டாமணியகாரன் paṭṭāmaṇiya-kāraṉ , n. < பட்டாமணியம் +. Village munsif; கிராம முனிசீபு. Colloq.
Seated male sculpture, or "Priest King" from Mohenjo-daro (41, 42, 43). Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress.
Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.
Material: white, low fired steatiteDimensions: 17.5 cm height, 11 cm widthMohenjo-daro, DK 1909National Museum, Karachi, 50.852Marshall 1931: 356-7, pl. XCVIII
Varuna's tArpya garment is used to invest a yajamana during royal consecration and is decorated with dhiSNya, 'stars' or 'fire-altars'. Ahura Mazda is said to wear such a garment. ‘The sky …which the Wise One is wearing as His garment, is decorated with stars made of heavenly substance' (Yast, 13, 3). धिष्ण्य[p= 516,3] m. (f(आ). only RV. iv , 3 , 6 ; n. MBh. i , 7944) a sort of subordinate or side-altar (generally a heap of earth covered with sand on which the fire is placed , and of which 8 are enumerated , viz. besides the आग्नीध्रीय[in the आग्नीध्र] those in the सदस् [see s.v.] belonging to the होतृ , the मैत्रा-वरुण or प्र-शस्तृ , the ब्राह्मणाच्छंसिन् , the पोतृ , नेष्टृ and अच्छा-वाक ; and the मार्जालीय) Br. S3rS. &c (cf. कॢप्त-) &c. m. N. of उशनस् i.e. the planet Venus L. (cf. धिषण)तार्प्य [p=444,3] n. a garment made of a particular vegetable substance (तृपा Sa1y. on S3Br. ) AV. xviii , 4 , 31 (°प्य्/अ) TS. iiTBr. i , iii S3Br. v , 3 , 5 , 20 Ta1n2d2yaBr. xxi Ka1tyS3r. xv S3a1n3khS3r.Mesopotamian lama deity, a bull with a human head, kind, protective spirits associated with the great sun god Shamash. In one inscription, an Assyrian king called upon lama deities to "turn back an evil person, guard the steps, and secure the path of the king who fashioned them." 2100-2000 BCE Serpentine, a smooth green stone the color of life-giving water in a desert area. The hollowed-out shapes on the body originally were inlaid with pearly shell or lapis lazuli.
"Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes dating from the late third millennium BC show a bearded creature wearing the divine horned headdress, lying down with its head turned to the side. They have been found at various Sumerian sites, the majority from Telloh.
The human-headed bull
The animal is shown lying, its head turned to the side and its tail underneath its right hoof. On its head is the divine headdress with three pairs of horns. It has a man's face with large elongated eyes, a beard covering half its cheeks and joining with the mustache before cascading down over its breast, where it ends in small curls, and long ringlets framing its face. The ears, however, are a bull's, though fleecy areas at the shoulders and hindquarters seem to suggest the animal is actually a bison. Another example in the Louvre displays particularly fine workmanship, the eyes and the whole body being enriched with decorative elements, applied or inlaid in trilobate and lozenge-shaped cavities (in the hooves). There is a small group of these recumbent bulls dating from the Neo-Sumerian period (around 2150-2000 BC), one of which is inscribed with the name of Gudea, the Second Dynasty ruler of Lagash. In the Neo-Assyrian period (9th-6th centuries BC), the human-headed bull, now with a pair of wings, becomes the guardian of the royal palace, flanking the doors through which visitors entered. This creature was a lamassu, a benevolent protective spirit generally associated with the sun-god Shamash." http://www.louvre.fr/en/oeuvre-notices/recumbent-bull-man-s-head
Three geometric hierolyphs on Priest-guild-leader statue of Mohenjo-daro are: 1. trefoil or clover (embroidered on the robe); 2. hole or dotted circle (deployed together with trefoils); 3. dotted circle (on the fillet). In the Egyptian hieroglyphic tradition, trefoil is associated with veneration of ancestors.
There are three distinct geometric glyphs which are used to compose the hieroglyphs deployed on the 17.5 cm. high statuette of a reverenced person with a smooth hair-do and a neatly trimmed beard. This is clearly indicative of the possible use of a metal or stone razor to trim the hair on the face. That reverence is the intended message is reinforced by the deployment of trefoil hieroglyph on the based used for sacred Sivalinga in Mohenjo-daro.
It is possible to decipher the hieroglyphs using the rebus-metonymy layered cipher of Indus writing system.
The Meluhha semantics of objects signified by these three hieroglyphs are related to metalwork guild.
Trefoil hieroglyph or three 'beads, orifice'
kolom 'three' (Munda) Rebus: kolami 'smithy, forge'. The triplicate composing the trefoil is a semantic determinant of the signified object: smithy, forge.
*pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1 .(CDIAL 8403) பொத்தல் pottal , n. < id. [K. poṭṭare, M. pottu, Tu. potre.] 1. Hole, orifice.
Rebus: Soma priest, jeweller's polishing stone
Rebus: Soma priest, jeweller's polishing stone
पोतृ pōtṛ " Purifier " , Name of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman (Rigveda) pōtrá
Hieroglyph: fillet on the forehead
பட்டம்² paṭṭam , n. < paṭṭa. 1. Plate of gold worn on the forehead, as an ornament or badge of distinction; சிறப்புக்கு அறிகுறியாக நெற்றி யிலணியும் பொற்றகடு. பட்டமுங் குழையு மின்ன (சீவக. 472). 2. An ornament worn on the forehead by women; மாதர் நுதலணி. பட்டங் கட்டிப்பொற்றோடு பெய்து (திவ். பெரியாழ். 3, 7, 6). 3. Title, appellation of dignity, title of office; பட்டப்பெயர். பட்டமும் பசும்பொற் பூணும் பரந்து (சீவக. 112). 4. Regency; reign; ஆட்சி. 5. Fasteners, metal clasp; சட்டங்களை இணைக்க உதவும் தகடு. ஆணிகளும் பட்டங்களுமாகிய பரிய இரும்பாலேகட்டி (நெடுநல். 80, உரை). 6. Flat or level surface of anything; பட்டைவடிவு. 7. Flat piece, as of bamboo; பட்டையான துண்டு. 8. Cut of a gem; மணிகளில் தீரும் பட்டை. 9. Paper-kite; காற்றாடி. பிள்ளைகள் பற்பலவுயர் பட்டம் விடல்போல் (திருப்போ. சந். பிள்ளைத். சப்பாணி. 8). 10. Cloth; சீலை. (அக. நி.) 11. Large banner; பெருங்கொடி. (பிங்.) 12. High position; உயர் பதவி. (பிங்.) 13. Gold; பொன். (சங். அக.)
Rebus: smithy, forge
பட்டடை¹ paṭṭaṭai, [K.paṭṭaḍi.] Smithy, forge; கொல்லன் களரி. n. prob. படு¹- + அடை¹-. [T. paṭṭika, K. paṭṭaḍe.] Anvil; அடைகல். (பிங்.) சீரிடங்காணி னெறிதற்குப் பட்ட டை (குறள், 821). பட்டறை² paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம். பட்டடையார் paṭṭaṭaiyār, n. < id. (W. G .) 1. Master of a shop; கடையின் எசமானர். 2. Overseer; மேற்பார்ப்போர். பட்டக்காரன்¹ paṭṭa-k-kāraṉ, n. < பட்டம்² +. Title of the headman of the Toṭṭiyar and Koṅkuvēḷāḷa castes; தொட்டியர், கொங்குவேளாளர் சாதித்தலைவரின் சிறப்புப்பெயர். பட்டகசாலை paṭṭaka-cālai , n. < T. paṭa- šāla. [K. paṭṭasāle.] 1. Central or principal hall in a house; கூடம்.
பட்டங்கட்டு-தல் paṭṭaṅ-kaṭṭu-, v. intr. < id. +. 1. To confer a title; பட்டப்பெயர் சூட்டுதல். நன்னெறிப் பட்டங்கட்டி நல்கினான் பரிவட்டங்கள் (திருவாலவா. 39, 27). 2. To invest with office, dignity, authority; to install, crown; அரசு முதலிய பதவி யளித்தல். இராவ ணனை வென்று . . . அவன்றம்பிக்குப் பட்டங்கட்டிய ராமா (தனிப்பா. i, 391, 48). 3. To fasten a gold band on the foreheads of the bridal pair in a marriage; கலியாணத்தில் மணமக்கள் நெற்றியிற் பொற்பட்டம் கட்டுதல். 4. To perform the ceremony of indicating the succession to the estate of deceased person among Maṟavas, wherein, before the corpse is removed, the chief heir and his wife take two balls of cow- dung mixed with various kinds of grain and stick them on to the wall of their house and throw them in water on the eighth day after death; மறவர் சாதியில் இறந்தோனது சவத்தை எடுப்பதற்குமுன் அவனுடைய முக்கிய வாரி சும் அவ்வாரிசின் மனைவியும் தானியங்களோடு கலந்த இரண்டு சாணவுண்டையை வீட்டின் சுவரில் ஒட்டி யும் பிறகு எட்டாநாள் அதனை நீரிற் கரைத்துந் தாமே இறந்தோன் சொத்துக்கு உரிமையுடையவரென்று தெரிவிக்குஞ் சடங்கு செய்தல். (E. T . v, 42.) 5. To perform the ceremony of going round the deceased during cremation; தகனக்கிரியையிற் பிரேதத்தைச் சுற்றிவருதல். Nāñ.
The tradition in Indian sprachbund records coronation ceremony also to confer a title ācārya, 'teacher' or ācariyakula 'teacher's family' or head of a artisan guild:
ஆசாரி ācāri , n. < ā-cārya. [T. K. Tu. ācāri.] 1. A title adopted by Mādhva and Šrī Vaiṣṇava Brāhmans; மாத்துவ ?வைஷ்ண வப்பிராமணர் பட்டப்பெயர். 2. [M. āšāri.] Title of the five artisan castes; கம்மாளர்பட்டப்பெயர்.
Sarasvati-Sindhu Valley potters shaped clay pots on a wheel, like this one used by an Indian potter today.
Discussion
While it may be debated if a 'temple priest' of the civilization was called pōtti as the gloss is used today in Malayalam, or pōtṛ as the gloss is used today in the performance of a vedic-soma yajña, there seems to be a substantial semantic evidence to relate to the other characteristics of the artifacts deployed in the context of the trefoil symbol: cloth (shawl or upper garment, leaving the right-shoulder bare), young animal.
Both symbols -- cloth and young animal -- have pottu as word signifiers. If pōṟṟi or pottu is the word signifier, there is a rebus reading possible: pot 'boat' or pot 'bead' or pote 'long straight bar of jewelry'.
We seem to be looking at trefoil as a hieroglyph to be read rebus.
1. Shown pota 'cloth' worn as a shawl by the important person, the trefoil hieroglyph can be read rebus as the homonymous phonetic-determinant word: pōtṛ 'Soma purification priest'.
2. Shown on pota 'young animal or heifer', or on beads, the trefoil hieroglyph can be read either as a phonetic determinant for pot 'boat' or pote 'long straight bar of jewelry or bead' or pot 'jeweller's polishing stone'.
While it may be debated if a 'temple priest' of the civilization was called pōtti as the gloss is used today in Malayalam, or pōtṛ as the gloss is used today in the performance of a vedic-soma yajña, there seems to be a substantial semantic evidence to relate to the other characteristics of the artifacts deployed in the context of the trefoil symbol: cloth (shawl or upper garment, leaving the right-shoulder bare), young animal.
Both symbols -- cloth and young animal -- have pottu as word signifiers. If pōṟṟi or pottu is the word signifier, there is a rebus reading possible: pot 'boat' or pot 'bead' or pote 'long straight bar of jewelry'.
We seem to be looking at trefoil as a hieroglyph to be read rebus.
1. Shown pota 'cloth' worn as a shawl by the important person, the trefoil hieroglyph can be read rebus as the homonymous phonetic-determinant word: pōtṛ 'Soma purification priest'.
2. Shown on pota 'young animal or heifer', or on beads, the trefoil hieroglyph can be read either as a phonetic determinant for pot 'boat' or pote 'long straight bar of jewelry or bead' or pot 'jeweller's polishing stone'.
There are other statuettes displaying fillet worn on forehead and upper garment (shawl) on a meditating person leaving the right-shoulder bear -- a traditional pattern of uttariyam-wearing by teachers (AcArya and temple-priests in the Hindu tradition traceable to the Sarasvati-Sindhu (Hindu) Civilization).
Fillet worn on the forehead of a person with a neat hair-style and a hair-bun. 40. Head (back), Mohenjo-daro
Male head probably broken from a seated sculpture. Finely braided or wavy combed hair tied into a double bun on the back of the head and a plain fillet or headband with two hanging ribbons falling down the back (40).
The upper lip is shaved and a closely cropped and combed beard lines the pronounced lower jaw. The stylized almond shaped eyes are framed by long eyebrows. The wide mouth is very similar to that on the "Priest-King" sculpture. Stylized ears are made of a double curve with a central knob.
Material: sandstone
Dimensions: 13.5 cm height
Mohenjo-daro, DK-B 1057
Mohenjo-daro Museum, MM 431
Dales 1985: pl. IIb; Ardeleanu-Jansen 1984: 139-157 http://www.harappa.com/indus/40.html
Seated male figure with head missing (45, 46). On the back of the figure, the hair style can be partially reconstructed by a wide swath of hair and a braided lock of hair or ribbon hanging along the right side of the back.
A cloak is draped over the edge of the left shoulder and covers the folded legs and lower body, leaving the right shoulder and chest bare. The left arm is clasping the left knee and the hand is visible peeking out from underneath the cloak. The right hand is resting on the right knee which is folded beneath the body.
Material: limestone
Dimensions: 28 cm height, 22 cm width
Mohenjo-daro, L 950
Islamabad Museum
Marshall 1931:358-9, pl. C, 1-3 http://www.harappa.com/indus/46.html
S. Kalyanaraman
Sarasvati Research Center
June 8, 2015
, n. < paṭ- ṭābhiṣēka. 1. Coronation, as preceded by anointing and bathing; முடிசூடுகை. 2. Ordination, consecration to the ministry; போதகரின் நியமனச்சடங்கு. Chr.
, n. < பட்டாமணியம் +. Village munsif; கிராம முனிசீபு. Colloq.
Seated male sculpture, or "Priest King" from Mohenjo-daro (41, 42, 43). Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm. The two ends of the fillet fall along the back and though the hair is carefully combed towards the back of the head, no bun is present. The flat back of the head may have held a separately carved bun as is traditional on the other seated figures, or it could have held a more elaborate horn and plumed headdress.
Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short combed beard frames the face. The large crack in the face is the result of weathering or it may be due to original firing of this object.
Material: white, low fired steatite
Dimensions: 17.5 cm height, 11 cm width
Mohenjo-daro, DK 1909
National Museum, Karachi, 50.852
Marshall 1931: 356-7, pl. XCVIII
Varuna's tArpya garment is used to invest a yajamana during royal consecration and is decorated with dhiSNya, 'stars' or 'fire-altars'. Ahura Mazda is said to wear such a garment. ‘The sky …which the Wise One is wearing as His garment, is decorated with stars made of heavenly substance' (Yast, 13, 3). धिष्ण्य[p= 516,3] m. (f(आ). only RV. iv , 3 , 6 ; n. MBh. i , 7944) a sort of subordinate or side-altar (generally a heap of earth covered with sand on which the fire is placed , and of which 8 are enumerated , viz. besides the आग्नीध्रीय[in the आग्नीध्र] those in the सदस् [see s.v.] belonging to the होतृ , the मैत्रा-वरुण or प्र-शस्तृ , the ब्राह्मणाच्छंसिन् , the पोतृ , नेष्टृ and अच्छा-वाक ; and the मार्जालीय) Br. S3rS. &c (cf. कॢप्त-) &c. m. N. of उशनस् i.e. the planet Venus L. (cf. धिषण)
तार्प्य [p=444,3] n. a garment made of a particular vegetable substance (तृपा Sa1y. on S3Br. ) AV. xviii , 4 , 31 (°प्य्/अ) TS. iiTBr. i , iii S3Br. v , 3 , 5 , 20 Ta1n2d2yaBr. xxi Ka1tyS3r. xv S3a1n3khS3r.
Mesopotamian lama deity, a bull with a human head, kind, protective spirits associated with the great sun god Shamash. In one inscription, an Assyrian king called upon lama deities to "turn back an evil person, guard the steps, and secure the path of the king who fashioned them." 2100-2000 BCE Serpentine, a smooth green stone the color of life-giving water in a desert area. The hollowed-out shapes on the body originally were inlaid with pearly shell or lapis lazuli.
"Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes dating from the late third millennium BC show a bearded creature wearing the divine horned headdress, lying down with its head turned to the side. They have been found at various Sumerian sites, the majority from Telloh.
The human-headed bull
The animal is shown lying, its head turned to the side and its tail underneath its right hoof. On its head is the divine headdress with three pairs of horns. It has a man's face with large elongated eyes, a beard covering half its cheeks and joining with the mustache before cascading down over its breast, where it ends in small curls, and long ringlets framing its face. The ears, however, are a bull's, though fleecy areas at the shoulders and hindquarters seem to suggest the animal is actually a bison. Another example in the Louvre displays particularly fine workmanship, the eyes and the whole body being enriched with decorative elements, applied or inlaid in trilobate and lozenge-shaped cavities (in the hooves). There is a small group of these recumbent bulls dating from the Neo-Sumerian period (around 2150-2000 BC), one of which is inscribed with the name of Gudea, the Second Dynasty ruler of Lagash. In the Neo-Assyrian period (9th-6th centuries BC), the human-headed bull, now with a pair of wings, becomes the guardian of the royal palace, flanking the doors through which visitors entered. This creature was a lamassu, a benevolent protective spirit generally associated with the sun-god Shamash." http://www.louvre.fr/en/oeuvre-notices/recumbent-bull-man-s-head
Sumerian. lapis lazuli amulet of a bull Early Dynastic III Period, 2650-2350 BCERecumbent bull with man’s head. Mesopotamia, c. 2350–2000 BCE. LouvreSumerian Shell Plaque of Gilgamesh with Bull of Heaven Human-headed bull statuette dedicated by w:Gudea, prince of w:Lagash. Chlorite, Neo-Sumerian Period (ca. 2120 BC). Found in Telloh (ancient city of w:Girsu).The LouvreLuristan Bronze | Early Iron Age, ca. 1250 to 700 BCE.
"The trefoil pattern is found in Mesopotamia, Egypt and Crete in comparable associations, and seems likely to represent a common symbolism which may have extended to the Indus valley. The earliest occurrences appear to have been in Mesopotamia: a man-headed 'bull of heaven', probably of late Akkadian period in the Louvre, is carved for trefoil incrustations (1), and others similarly ornamented come from Warka (2) and from Ur (3). The last is of the IIIrd Dynasty, perhaps about 2200 BCE. It bears the symbols of Shamash the Sun-god, Sin the Moon-god, and Ishtar the Morning and Evening Star, together with trefoils which probably represent stars. With similar intent trefoils appear (with quatrefoils) in Egypt on Hathor the Mother-goddess as Lady of Heaven, and are well-exemplified by the Hathor cows which sustain couches in Tutankhamun's tomb (c. 1350 BCE) and by a painted figure of the XVIIIth Dynasty from Deir el-Bahari (4). In Crete the symbol recurs on bull-head (of cow-head) 'rhythons' of about the same period (5). The analogues from Egypt and Mesopotamia at least combine to suggest a religious and in particular an astral connotation for the motif and support the conjecture that the Mohenjo-daro bust may portray a deity or perhaps a priest-king."(Wheeler, Mortimer, 1968, The Indus civilization: suppl. volume to the Cambridge History of India, CUP, p.87)
Cylinder-seal depiction (ME 89128). Dating from about 1400BC, it shows the seated Babylonian sun-god Shamash with a Cross and Rosette, "...both probably Sun symbols" according to the British Museum description.
The hieroglyphs shown together with Shamash on this cylinder seal are: 1. Fire-altar: kanda 'trench' (Pego) 2. karaDa 'safflower' Rebus: 'hard alloy'(Marathi) karNDi 'fire-god' (Remo).Irregular rectangular-sided monument recording Esarhaddon's restoration of Babylon; possibly black basalt; carved symbols on the upper surface. Esarhaddon's Succession Treaty is the longest Assyrian treaty known. It sets out in detail the many actions required of his subjects, secured by a long list of fearful curses for anyone who might dare to break their oath. The full text and translation is available online (SAA 2: 006). 672 BCE.
Utu, dieu sumérien, - devenu Shamash, en akkadien. SIPPAR.
Crete. Cow-head rhython with trefoil decor.
1 G. Contenau, Manual d'archeologie orientale, II, Paris, 1931, p. 698-9.2 ibid. and A. Evans, the Palace of Mines, II, 1928, p. 2613 The Babylonian Legends of the Creation (Brit. Mus. 1931), p. 59; Antiquaries Journal, III, 1923, p.3314 Evans, op cit. I, 1921, pp. 513-145 ibid. IV, 1935, p. 315
miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120)
Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda)
"Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period,dating after 1900 BC.The Late Harappan Period at Harappa is represented by the Cemetery H culture (190-1300 BC) which is named after the discovery of a large cemetery filled with painted burial urns and some extended inhumations. The earlier burials in this cemetery were laid out much like Harappan coffin burials, but in the later burials, adults were cremated and the bones placed in large urns (164). The change in burial customs represents a major shift in religion and can also be correlated to important changes in economic and political organization. Cemetery H pottery and related ceramics have been found throughout northern Pakistan, even as far north as Swat, where they mix with distinctive local traditions. In the east, numerous sites in the Ganga-Yamuna Doab provide evidence for the gradual expansion of settlements into this heavily forested region. One impetus for this expansion may have been the increasing use of rice and other summer (kharif) crops that could be grown using monsoon stimulated rains. Until late in the Harappan Period (after 2200 BC) the agricultural foundation of the Harappan cities was largely winter (rabi) crops that included wheat and barley. Although the Cemetery H culture encompassed a relatively large area, the trade connections with thewestern highlands began to break down as did the trade with the coast. Lapis lazuli and turquoise beads are rarely found in the settlements, and marine shell for ornaments and ritual objects gradually disappeared. On the other hand the technology of faience manufacture becomes more refined, possibly in order to compensate for the lack of raw materials such as shell, faience and possibly even carnelian." (Kenoyer in harappa.com slide description) http://www.harappa.com/indus2/162.html
Sumerian. lapis lazuli amulet of a bull Early Dynastic III Period, 2650-2350 BCE
Recumbent bull with man’s head. Mesopotamia, c. 2350–2000 BCE. Louvre
Sumerian Shell Plaque of Gilgamesh with Bull of Heaven
Human-headed bull statuette dedicated by w:Gudea, prince of w:Lagash. Chlorite, Neo-Sumerian Period (ca. 2120 BC). Found in Telloh (ancient city of w:Girsu).The Louvre
Luristan Bronze | Early Iron Age, ca. 1250 to 700 BCE.
"The trefoil pattern is found in Mesopotamia, Egypt and Crete in comparable associations, and seems likely to represent a common symbolism which may have extended to the Indus valley. The earliest occurrences appear to have been in Mesopotamia: a man-headed 'bull of heaven', probably of late Akkadian period in the Louvre, is carved for trefoil incrustations (1), and others similarly ornamented come from Warka (2) and from Ur (3). The last is of the IIIrd Dynasty, perhaps about 2200 BCE. It bears the symbols of Shamash the Sun-god, Sin the Moon-god, and Ishtar the Morning and Evening Star, together with trefoils which probably represent stars. With similar intent trefoils appear (with quatrefoils) in Egypt on Hathor the Mother-goddess as Lady of Heaven, and are well-exemplified by the Hathor cows which sustain couches in Tutankhamun's tomb (c. 1350 BCE) and by a painted figure of the XVIIIth Dynasty from Deir el-Bahari (4). In Crete the symbol recurs on bull-head (of cow-head) 'rhythons' of about the same period (5). The analogues from Egypt and Mesopotamia at least combine to suggest a religious and in particular an astral connotation for the motif and support the conjecture that the Mohenjo-daro bust may portray a deity or perhaps a priest-king."(Wheeler, Mortimer, 1968, The Indus civilization: suppl. volume to the Cambridge History of India, CUP, p.87)
Cylinder-seal depiction (ME 89128). Dating from about 1400BC, it shows the seated Babylonian sun-god Shamash with a Cross and Rosette, "...both probably Sun symbols" according to the British Museum description.
The hieroglyphs shown together with Shamash on this cylinder seal are: 1. Fire-altar: kanda 'trench' (Pego) 2. karaDa 'safflower' Rebus: 'hard alloy'(Marathi) karNDi 'fire-god' (Remo).
Irregular rectangular-sided monument recording Esarhaddon's restoration of Babylon; possibly black basalt; carved symbols on the upper surface. Esarhaddon's Succession Treaty is the longest Assyrian treaty known. It sets out in detail the many actions required of his subjects, secured by a long list of fearful curses for anyone who might dare to break their oath. The full text and translation is available online (SAA 2: 006). 672 BCE.
Utu, dieu sumérien, - devenu Shamash, en akkadien. SIPPAR.
Crete. Cow-head rhython with trefoil decor.
1 G. Contenau, Manual d'archeologie orientale, II, Paris, 1931, p. 698-9.
2 ibid. and A. Evans, the Palace of Mines, II, 1928, p. 261
3 The Babylonian Legends of the Creation (Brit. Mus. 1931), p. 59; Antiquaries Journal, III, 1923, p.331
4 Evans, op cit. I, 1921, pp. 513-14
5 ibid. IV, 1935, p. 315
"Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period,dating after 1900 BC.The Late Harappan Period at Harappa is represented by the Cemetery H culture (190-1300 BC) which is named after the discovery of a large cemetery filled with painted burial urns and some extended inhumations. The earlier burials in this cemetery were laid out much like Harappan coffin burials, but in the later burials, adults were cremated and the bones placed in large urns (164). The change in burial customs represents a major shift in religion and can also be correlated to important changes in economic and political organization. Cemetery H pottery and related ceramics have been found throughout northern Pakistan, even as far north as Swat, where they mix with distinctive local traditions. In the east, numerous sites in the Ganga-Yamuna Doab provide evidence for the gradual expansion of settlements into this heavily forested region. One impetus for this expansion may have been the increasing use of rice and other summer (kharif) crops that could be grown using monsoon stimulated rains. Until late in the Harappan Period (after 2200 BC) the agricultural foundation of the Harappan cities was largely winter (rabi) crops that included wheat and barley. Although the Cemetery H culture encompassed a relatively large area, the trade connections with thewestern highlands began to break down as did the trade with the coast. Lapis lazuli and turquoise beads are rarely found in the settlements, and marine shell for ornaments and ritual objects gradually disappeared. On the other hand the technology of faience manufacture becomes more refined, possibly in order to compensate for the lack of raw materials such as shell, faience and possibly even carnelian." (Kenoyer in harappa.com slide description) http://www.harappa.com/indus2/162.html
Lingam, grey sandstone in situ, Harappa.
Terracotta sivalinga, Kalibangan.Shape of polished lingam found at Harappa is like the summit of Mt. Kailas, Himalayas. Plate X(c), Lingam in situ in trench Ai (MS Vats, 1940, Exxcavations at Harappa, Vol. II, Calcutta). In trenches III and IV two more stone lingams were found. (MS Vats, opcit., Vol. I, pp. 51-52). The Hindu traditional metaphor of s'iva is the glacial river Ganga emerging from locks of his hair as he sits in penance on summit of Mt. Kailas, Himalayas. The metaphor results in Kailas in Ellora, showing Ravana lifting up the mountain.
Two decorated bases and a lingam, Mohenjodaro.
Trefoil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218. "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I"
Trefoil designs on the shawl garment of the 'priest' Mohenjo-daro statue. The left shoulder is covered with a cloak decorated with trefoil, double circle and single circle designs that were originally filled with red pigment. Drill holes in the center of each circle indicate they were made with a specialized drill and then touched up with a chisel. Material: white, low fired steatiteDimensions: 17.5 cm height, 11 cm width Mohenjo-daro, DK 1909 National Museum, Karachi, 50.852 Marshall 1931: 356-7, pl. XCVIII
The trefoil hieroglyph on the priest's shawl, on the body of a bull calf and on the base pedestal of a s'ivalinga is comparable to the hieroglyph which appears on painted lid or dish -- in the context of venerating the dead. This points to reverence for ancestors.Sumerian marble calf with inlaid trefoils of blue stone. From the late Uruk era, Jemdet Nasr cira 3300 - 2900 B.C.E 5.3 cm. long; Vorderasiatisches Museum, Berlin; Parpola, 1994, p. 213.
Steatite statue fragment; Mohenjodaro (Sd 767); trefoil-decorated bull; traces of red pigment remain inside the trefoils. After Ardeleanu-Jansen 1989: 196, fig. 1; Parpola, 1994, p. 213.
Trefoils painted on steatite beads, Harappa (After Vats, Pl. CXXXIII, Fig.2)
Harry Burton photograph taken during the excavation of the tomb in 1922 in pharaoh's Antechamber, Treasury and Burial chamber.
Funeral couch of Tutankhamen (1336 BC - 1327 BCE) features cow with solar disc and inlay blue glass trefoils decorating the body. Said to represent Goddess Hathor.
"An inscription from The Book of the divine cow found in the Burial chamber alludes to its sacred function as a solar barque for bearing the pharaoh to the heavens...Hieroglyphs carved on the footboard promise the protection of Isis and the endurance of Osiris."http://www.kingtutexhibit.com/catalogs/tutankhamun_catalog.pdf
<pitaraku> {N} ``^spirits of dead ^ancestors, ^relatives who must be worshipped or appeased''. @6216. #28481.
पितृ[p= 626,2] m. (irreg. acc. pl. पितरस् MBh. ; gen. pl. पित्रिणाम् BhP. ) a father RV. &c &c (in the वेद N. of बृहस्-पति , वरुण , प्रजा-पति , and esp. of heaven or the sky ; अन्तरा पितरं मातरं च , " between heaven and earth " RV. x , 88 , 15)m. pl. (°तरस्) the fathers , forefathers , ancestors , (esp.) the पितृs or deceased ancestors (they are of 2 classes , viz. the deceased father , grandfathers and great-grandfathers of any partic. person , and the progenitors of mankind generally ; in honour of both these classes rites called श्राद्धs are performed and oblations called पिण्डs [q.v.] are presented ; they inhabit a peculiar region , which , according to some , is theभुवस् or region of the air , according to others , the orbit of the moon , and are considered as the regents of the नक्षत्रs मघा and मूल ; cf. RTL. 10 &c ) RV. &c (Monier-Williams) pitŕ̊ (nom. sg. pitāˊ, acc. pitáram, gen. pitúḥ, nom. pl. pitáraḥ) m. ʻ father ʼ RV., pitárā du. ʻ father and mother ʼ RV.
Pa. pitā nom., pitaraṁ, pituṁ acc. ʻ father ʼ, Aś. pitā nom., man. shah. pituna inst., Dhp. pidara acc., KharI. pitaraṁ, pidara acc., pidu gen.,(CDIAL 8179)*vaḍradaṇḍa ʻ large pole ʼ. [vaḍra -- , daṇḍá -- ]Bi. baṛẽṛā, °ṛī ʻ upper iron bar of pillars supporting a smith's bellows ʼ, bẽriyā (< *baṛẽṛiyā? (CDIAL 11227) *vaḍratara ʻ larger ʼ. [vaḍra -- ]
Pk. vaḍḍayara -- ʻ very big ʼ, Ap. vaḍḍāra -- ; S. vaḍ̠ero ʻ too large ʼ, m. ʻ headman, ancestor ʼ; P. vaḍerā, ba° ʻ large ʼ, m. ʻ ancestor ʼ; H. baṛerā ʻ large, principal ʼ; G. vaṛerũ ʻ elderly ʼ.(CDIAL 11226) पोतृ [p= 650,1]प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. ) RV. Br. S3rS. Hariv.
Kal. rumb. gaṇḍau (st. °ḍāl -- ) ʻ ancestor image ʼ(CDIAL 3998)
Dotted circle hieroglyph on the bottom of the sacred device, lathe, sangaḍa
kolom 'three' Rebus: kolami'smithy'
kŕ̊tā -- ʻgirlʼ (RV); kuṛäˊ ʻgirlʼ (Ash.); kola ‘woman’ (Nahali); ‘wife’(Assamese). *kuḍa1 ʻ boy, son ʼ, °ḍī ʻ girl, daughter ʼ. [Prob. ← Mu. (Sant. Muṇḍari koṛa ʻ boy ʼ, kuṛi ʻ girl ʼ, Ho koa, kui, Kūrkū kōn, kōnjē); or ← Drav. (Tam. kur̤a ʻ young ʼ, Kan.koḍa ʻ youth ʼ) T. Burrow BSOAS xii 373. Prob. separate from RV. kŕ̊tā -- ʻ girl ʼ H. W. Bailey TPS 1955, 65. -- Cf. kuḍáti ʻ acts like a child ʼ Dhātup.] NiDoc. kuḍ'aǵa ʻ boy ʼ, kuḍ'i ʻ girl ʼ; Ash. kūˊṛə ʻ child, foetus ʼ, istrimalī -- kuṛäˊ ʻ girl ʼ; Kt. kŕū, kuŕuk ʻ young of animals ʼ; Pr. kyútru ʻ young of animals, child ʼ, kyurú ʻ boy ʼ,kurīˊ ʻ colt, calf ʼ; Dm. kúŕa ʻ child ʼ, Shum. kuṛ; Kal. kūŕ*lk ʻ young of animals ʼ; Phal. kuṛĭ̄ ʻ woman, wife ʼ; K. kūrü f. ʻ young girl ʼ, kash. kōṛī, ram. kuṛhī; L. kuṛā m. ʻ bridegroom ʼ,kuṛī f. ʻ girl, virgin, bride ʼ, awāṇ. kuṛī f. ʻ woman ʼ; P. kuṛī f. ʻ girl, daughter ʼ, P. bhaṭ. WPah. khaś. kuṛi, cur. kuḷī, cam. kǒḷā ʻ boy ʼ, kuṛī ʻ girl ʼ; -- B. ã̄ṭ -- kuṛā ʻ childless ʼ (ã̄ṭa ʻ tight ʼ)? -- X pṓta -- 1: WPah. bhad. kō ʻ son ʼ, kūī ʻ daughter ʼ, bhal. ko m., koi f., pāḍ.kuā, kōī, paṅ. koā, kūī. (CDIAL 3245)
kōla1 m. ʻ name of a degraded tribe ʼ Hariv. Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribeʼ(CDIAL 3532). kol 'kolhe, smelters' (Santali); kol 'working in iron' (Tamil).
Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith.Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmismithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133)
What gloss connoted a trefoil in Indian sprachbund?
I find a word in Malayalam which may provide the word as a signifier which matches with trefoil as a 'symbol'.
These examples may provide signifiers of cloth, of someone of importance, or young animal as may be seen from these artifacts displaying the trefoil.
These artifacts evoke the following glosses from Indian sprachbund with literal meanings of 'trefoil' signifiers:
Glosses (words and semantics):
I find a word in Malayalam which may provide the word as a signifier which matches with trefoil as a 'symbol'.
These examples may provide signifiers of cloth, of someone of importance, or young animal as may be seen from these artifacts displaying the trefoil.
These artifacts evoke the following glosses from Indian sprachbund with literal meanings of 'trefoil' signifiers:
Glosses (words and semantics):
போற்றி pōṟṟi , < id. n. 1. Praise, applause, commendation; புகழ்மொழி. (W.) 2.Brahman temple-priest of Malabar; கோயிற் பூசைசெய்யும் மலையாளநாட்டுப் பிராமணன். (W.) 3. See போத்தி, 1.--int. Exclamation of praise; துதிச்சொல்வகை. பொய்தீர் காட்சிப் புரையோய் போற்றி (சிலப். 13, 92).
potṛ. pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū]
Bi. pot ʻ jeweller's polishing stone ʼ (CDIAL 8404)
pṓta, pōtalaka, pōtalikā young animal, heifer; pōāla -- m. ʻ child, bull ʼ
potṛā m. ʻ baby clothes ʼpotrẽ n. ʻ rag for smearing cowdung ʼ. pōta ʻ covering (?) ʼ RV., ʻ rough hempen cloth ʼ AV pusta --2 n. ʻ working in clay ʼ (prob. ← Drav., Tam. pūcu &c. Pkt. potta -- , °taga -- , °tia -- n. ʻ cotton cloth ʼ செம்பொத்தி cem-potti, n. prob. id. +. A kind of cloth.
Te. poṭṭi, poṭṭiya scorpion;
Tu. poṭṭè tender ear of corn; Pa. poṭ grain in embryonic stage.
Ta. poṭṭu chaff
Ta. poṭṭu drop, spot, round mark worn on forehead. Ma. poṭṭu, poṟṟu a circular mark on the forehead, mostly red. Ka. boṭṭu, baṭṭu drop, mark on the forehead. Koḍ. boṭṭï round mark worn on the forehead. Tu. boṭṭa a spot, mark, a drop; (B-K.) buṭṭe a dot. Te. boṭṭu a drop, the sectarian mark worn on the forehead. Kol. (SR.) boṭla drop. Pa. boṭ id. Ga. (P.)boṭu drop, spot. Konḍa boṭu drop of water, mark on forehead. Kuwi (F.) būttū, (Isr.) buṭu tattoo.
Rebus readings:
pōta ʻ boat ʼ
H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ; Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ
kõda ’young bull calf’ (Bengali) kõdār ’turner’ (Bengali)
pola (magnetite)
pōḷī, ‘dewlap, honeycomb’
पोळी [ pōḷī ] dewlap. Rebus: Russian gloss, bulat is cognate pola 'magnetite' iron in Asuri (Meluhha). Magnetite is the most magnetic of all the naturally occurring igneous and metamorphic rocks with black or brownish-black with a metallic luster. These magnetite ore stones could have been identified as pola iron by Meluhha speakers. Kannada gloss pola meaning 'point of the compass' may link with the characteristic of magnetite iron used to create a compass.pŏlāduwu made of steel; pŏlād प्वलाद् or phōlād फोलाद् मृदुलोहविशेषः ] m. steel (Gr.M.; Rām. 431, 635, phōlād). pŏlödi pōlödi phōlödi लोहविशेषमयः adj. c.g. of steel, steel (Kashmiri) urukku what is melted, fused metal, steel.(Malayalam); ukk 'steel' (Telugu)(DEDR 661) This is cognate with famed 'wootz'steel. "Polad, Faulad" for steel in late Indian languages is traceable to Pokkhalavat, Polahvad. Pokkhalavat is the name of Pushkalavati, capital of Gandhara famed for iron and steel products.
पोळ [ pōḷa ] m A bull dedicated to the gods, marked with a trident and discus, and set at large (Marathi).
(a) Ta. pōṟai hole, hollow in tree, cavern; pōr hollow of a tree. Ko. bo·r vagina. To. o·ṟ (obl. o·ṯ-) hole, wound. Ka. pōr hole. Te. boṟiya, boṟṟe hole, burrow, hollow, pit; boṟṟa hole, hollow, cavity in a tree. Ga. (S.2 ) borra hole in tree. Konḍa boṟo hole of a crab, etc. Kuwi (P.) borra hole in tree. DED(S) 3765.
(b) Ta. pōl hollow object, (Koll.) hollowness in a tree. Te. bōlu hollow.(DEDR 4604) போறை pōṟai , n. cf. புரை&sup5;. [T. borre, K. por.] 1. Hole; hollow in a tree; பொந்து. Colloq. 2. Cavity in the side of a well; cavern; கிணறு முதலியவற்றின் வங்கு. (W .)
Ta. poṭṭu drop, spot, round mark worn on forehead. Ma. poṭṭu, poṟṟu a circular mark on the forehead, mostly red. Ka. boṭṭu, baṭṭu drop, mark on the forehead. Koḍ. boṭṭï round mark worn on the forehead. Tu. boṭṭa a spot, mark, a drop; (B-K.) buṭṭe a dot. Te. boṭṭu a drop, the sectarian mark worn on the forehead. Kol. (SR.) boṭla drop. Pa. boṭ id. Ga. (P.) boṭu drop, spot. Konḍa boṭu drop of water, mark on forehead. Kuwi (F.) būttū, (Isr.) buṭu tattoo. (DEDR 4492)
போற்றன் pōṟṟaṉ , n. prob. id. Grandfather; பாட்டன். (நாமதீப. 189.) போற்றுநர் pōṟṟunar , n. < போற்று-. 1. Relatives, kinsmen; சுற்றத்தார். போற்றா ருயிரினும் போற்றுந ருயிரினும் (பரிபா. 4, 52). 2. Those who understand; நன்குணர்வார். வேற்றுமை யின்றது போற்றுநர்ப் பெறினே (பரிபா. 4, 55).
போத்தி pōtti , n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன். पोतृ [p= 650,1] प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. ) RV. Br. S3rS. Hariv.போற்றி pōṟṟi , < id. n. 1. Praise, applause, commendation; புகழ்மொழி. (W .) 2.Brahman temple-priest of Malabar; கோயிற் பூசைசெய்யும் மலையாளநாட்டுப் பிராமணன். (W .) 3. See போத்தி, 1.--int. Exclamation of praise; துதிச்சொல்வகை. பொய்தீர் காட்சிப் புரையோய் போற்றி (சிலப். 13, 92).போற்றிசெய்-தல் pōṟṟi-cey-
, v. tr. < போற்றி +. To praise, worship, adore; துதித் தல். பரமனை. . . போற்றிசெய்வேனே (திருமந். 3).போற்றிமை pōṟṟimai , n. < id. Honour, reverence; வணக்கம். (W .)
Ta. pōṟṟu (pōṟṟi-) to praise, applaud, worship, protect, cherish, nourish, entertain; n. protection, praise; pōṟṟi praise, applause; pōṟṟimai honour, reverence. Ma. pōṟṟuka to preserve, protect, adore; pōṟṟi nourisher, protector. (DEDR 4605)
kolom 'three' (Munda) Rebus: kolami'smithy, forge' (Telugu)
कण्टक [p=245,2] anything pointed , the point of a pin or needle , a prickle , sting R. Pa. kandi (pl. -l) necklace, beads. Ga. (P.) kandi (pl. -l) bead, (pl.) necklace; (S.2 ) kandiṭ bead (DEDR 1215) கண்டு³ kaṇṭu, n. < gaṇḍa. Bead or something like a pendent in an ornament for the neck; ஓர் ஆபரணவுரு. புல்லிகைக்கண்ட நாண் ஒன்றிற் கட்டின கண்டு ஒன்றும் (S.I.I . ii, 429). गण्ड [p=344,1] a mark , spot L. a bubble , boil , pimple Sus3r. S3ak. ii (Prakrit) Mudr. Vop.
कण्टक workshop , manufactory L. Tu. kandůka, kandaka ditch, trench. Te. kandakamu id.
Konḍa kanda trench made as a fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214) கண்டகம்¹ kaṇṭakam
, n. < kaṇṭaka. Smithy; கம்மாலை. (யாழ். அக.)
Ga. kaṇa (pl. kaṇul) hole Te. kanu, kannu eye, small hole, orifice, mesh of net, eye in peacock's feather. Kol. kan (pl. kanḍl) eye, small hole in ground, cave. Nk. kan (pl. kanḍḷ) eye, spot in peacock's tail. Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. (DEDR 1159)
(b) Ta. kaṇ ṇīr tears. Ma. kaṇ ṇīr. Ko. ka(ṇ) ṇi·r. To. keṇi·r. Ka. kaṇ ṇīr. Tu. kaṇṇů nīr. Te. kan nīru. Pa. (S.) kan nīr. Ga. (Oll.) kanīr. Go. (Mu.)kanner, (A.) kaṛel, (Tr. Ph.) kānēr (pl. kānehk), (Ko.) kanḍēr, (Ma. Ko.) kannīr (Voc. 506). Konḍa kaṇer(u). Pe. kaṇer, kāṇel. Kui kanḍru (pl. -ka). Kuwi (F.) kandrū (pl. -ŋa), (S. Su.) kanḍru, (Mah.) kanˀeri. Kur. xańjalxō. Malt. qan amu. Br. xaṛīnk.
Pk. kāṇa -- ʻ full of holes ʼ, G. kāṇũ ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ? Cf. ã̄dhḷũ n. ʻ hole ʼ < andhala -- ).(CDIAL 3019)
khá -- n. ʻ hole, hole in the nave of a wheel to take the axle ʼ RV., ʻ open space, sky ʼ ŚBr. [√khan ](CDIAL 3760)
3. S. see 2; L. polā ʻ hollow, porous, loose (of soil) ʼ; M. see 1.
4. Pk. polla -- , °aḍa -- , pulla -- ʻ hollow ʼ; P. pollā ʻ hollow ʼ, pol m., pulāī f. ʻ hollowness ʼ; Or. pola ʻ hollow ʼ, sb. ʻ puffed -- up pastry ʼ, polā ʻ empty ʼ; G.poli f. ʻ cavity ʼ, polũ, polrũ ʻ hollow ʼ, polāṇ n. ʻ hollowness ʼ; M. pol n. ʻ empty tube or grain ʼ, polā ʻ hollow ʼ; -- altern. < 3: Woṭ. pōl, f. pyēl ʻ light (in weight) ʼ; Gaw. pōlá, f. pōlī ʻ small ʼ; K. pọ̆lu ʻ weak ʼ, pŏluru ʻ plump but unsubstantial ʼ; Ku. polo ʻ hollow, weak ʼ, m. ʻ beehive ʼ (l or ḷ?); N. pol, pwāl ʻhole ʼ, polo,
4. Pk. polla -- , °aḍa -- , pulla -- ʻ hollow ʼ; P. pollā ʻ hollow ʼ, pol m., pulāī f. ʻ hollowness ʼ; Or. pola ʻ hollow ʼ, sb. ʻ puffed -- up pastry ʼ, polā ʻ empty ʼ; G.pol
pwālo ʻ beehive ʼ; A. pola -- kaṭā ʻ burglar ʼ; B. polo ʻ basket open at both ends for catching fish ʼ; H. pol f. ʻ hollowness ʼ, polā ʻ hollow, empty, flabby ʼ.
5. B. Or. phorā ʻ hollow ʼ.6. P. pholuṛ m. ʻ chaff ʼ; H. pholā m. ʻ blister ʼ; G. pholvũ ʻ to husk ʼ; M. phol n. ʻ hollow grain ʼ.Addenda: *pōḍa -- ʻ hollow ʼ. [~ Drav. DED 3726]4. *pōlla -- : WPah.kṭg. pollɔ ʻ hollow ʼ, J. polā.
Pk. paṭṭaïl(l)a -- m. ʻ village headman ʼ; G. paṭ
Pa. paṭa -- m., °ṭi -- , °ṭikā -- f. ʻ cloth, garment ʼ; Pk. paḍa<-> m. ʻ cloth ʼ, °ḍī -- , °ḍiyā -- f. ʻ a kind of garment ʼ; Wg. paṛīk ʻ shawl ʼ; S. paṛu m. ʻ covering of cloth for a saint's grave ʼ, paṛo m. ʻ petticoat ʼ; Si. paḷa, pala ʻ cloth, garment ʼ, piḷiya ʻ cloth, clothes ʼ; Md. feli ʻ cotton cloth ʼ.
Pa. paṭṭa -- m. ʻ slab, tablet ʼ; Pk. paṭṭa -- , °ṭaya -- m., °ṭiyā<-> f. ʻ slab of stone, board ʼ; NiDoc. paṭami loc. sg., paṭi ʻ tablet ʼ; K. paṭa m. ʻ slab, tablet, metal plate ʼ, poṭ
See: http://karava.org/karava_kings notes on Karava, continuing traditions of coronation of royalty.
Tri-foliate bilva leaves (aegle marmelos) held sacred for worship of Sivalinga; Clover (trifolium sp.) short-lived herbaceous plants.
See: http://www.mushroomstone.com/fleurdelisorigin.htm Decoding the Fleur de lis -- Carl de Borhegyi (2012)