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Tvaṣṭṛ takṣa 'engraver' is creator of takṣat vAk 'engraved speech'. Takṣa has made a significant contribution to the abhyudayam, 'welfare' of people: by creating a writing system which revolutionized and intensified peoples' contacts and resulted in exchanges of ideas and archaeometallurgical and other technological inventions for the benefit of mankind.
There is a synonym for Tvaṣṭṛ 'artificer' in Meluhha (mleccha). He is baḍhi, 'a carpenter-smith'.
Work, metalwork in particular, of Tvaṣṭṛ as Viśvakarma 'artificer' is celebrated on Indus Script Corpora and sculptural tradition of Ancient Near East deploying hieroglyphs and in the continuing traditions of cire perdue techniques of lost-wax casting -- evidenced in Nahal Mishmar, Dong Son bronze drums, lamp-bearer lady of Mohenjo-daro or leopard bronze weight of Shahi-Tump (Baluchistan) -- for utsava bera (e.g Nataraja in Metmuseum) for celebrations in Hindu temples.
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Rigveda explains that Tvaṣṭṛ makes not only vajra sanghAta (cementite, adamantine glue) as thunderbolt weapon for Indra, but also tools and vessels --yagna Ayudha--needed for the performance of yajna.
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http://bharatkalyan97.blogspot.in/2015/05/identity-of-soma-as-apri-divinity-in.html Identification of Soma as Apri divinity. Tools and implements used for Soma yajna.
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Bolsena, Italy ( Etruscan, 700 BCE. Svastika, hamsa, dotted circles as hieroglyphs on a gold plaque.
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A ‘Sheffield of Ancient India’: Chanhu-Daro’s Metal working Industry. Illustrated London News 1936 – November 21st, p.909. 10 x photos of copper knives, spears , razors, axes and dishes.
As takṣa'engraver', he is he originator --using rebus-metonymy-layered cipher -- for writing systems.
As weapon-maker he should not be viewed as a participant in warfare. He should be viewed as an metals artificer. As Gitacharya explains to Arjuna in Bhagavadgita, war is prosecuted not as a denial of ahimsa as the eminent principle of a samajam, but as an affirmation of the vidhi, the natural laws and for protection of dharma. The creation of weapons also provides the seeds of a philosophical thought on the essential unity of all creative phenomena: metalwork was but a manifestation of the cosmic dance of the paramaatman, providing means for use of pancabhuta-s, 'five elements or dhatus' to produce artifacts of utility for living. Thus Tvaṣṭṛ as Viśvakarma mimics the artifice of the Creator. Hence, the work in a smithy --kole.l -- gets represented as a mirror image of veneration of the Creator and his creative genius in a temple -- kole.l
Metal artifice is central to the performance of yajna which may include animal sacrifices for obtaining bone ash explained in making crucibles for creating alloys or hardening iron creating carbides. Crucibles made with bone ash remain stable --without melting or cracking--upto temperature of 1670 degrees C. This explains how crucible steel was produced in ancient Bharatam.
Weapons such as axes, hatchets are used to sacrifice animals to obtain bone ash for metallurgical processes. Bone ash is like cementite used as moulding or sealant for seams or cracks in metalwork. Bone ash has a melting point of 1670 degrees centigrade and is produced by calcining bones. It contains about 55.82% calcium oxide, 42.39% phosphorus pentoxide, and 1.79% water. ca2(OH)(PO4)3. Bone ash is a protective coating for metal equipment, tools The powder adheres to metal, has high thermal stability and does not cause much corrosion. For example, in bone china, 50% bone ash is derived from animal bones heated to 1000 degrees C.
With the following spectrum of Meluhha glosses providing hieroglyphs used on Indus Script Corpora, it should be possible to explain why specific glyphs or rhinoceros, tiger, ibex (markhor) etc. were used on metalwork such as Bactrian bronze or metal alloy axes.
In Indus Script Corpora, hieroglyph rhinoceros/boar signifies: kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.
baḍhia = a castrated boar, a hog (Santali) Rebus-metonymy-layered cipher
provides the signified, artificer: baḍhi ‘a caste who work both in iron and
wood’ (Santali) baṟea ‘merchant’.
kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil)
ib'elephant' Rebus: ib'iron'
mindal markhor (Tor.wali) medho a ram, a sheep (G.)(
barad, barat 'ox' Rebus: भरत (p. 603) [bharata] n A factitious metal compounded of copper, pewter, tin &c.(Marathi)
कुठारु, kuThAru, m. monkey. Rebus: कुठारु, kuThAru, m. armourer.
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Rudra Shilpa text –Sanathkumara Samhita (shiva-175-178) provides slightly different iconographic details of Rudra: as having a pearl, moon or jasmine like soothing–bright complexion; four arms; three eyes glowing like embers; and having a coiled mop of hair (jata-makuta) decorated with crescent moon. He is clad in tiger skin and garlands of Arka flowers and snakes. His front two hands bestow blessing (varada) and assurance or protection (abhaya).His upper two hands hold battle axe (parashu) and deer. See Amsumad bheda agama for 5 faced Rudra.
http://sreenivasaraos.com/category/iconography/
![Bronze Age bowl with Mesopotamian bull decoration, Tepe Fullol. 2200–1900 BC. Source: Thierry Ollivier. Afghanistan: Hidden Treasures is at Queensland Museum 5 Sept 2013 - 27 Jan 2014. It tells the story of Afghanistan's place at the heart of the ancient Silk Road and showcases over 200 objects including beautiful gold work and jewellery. It also reveals the story of a small group of men who risked their lives to protect these objects and preserve their nation's cultural history.]()
Bronze Age bowl with Mesopotamian bull decoration, Tepe Fullol. 2200–1900 BC. Source: Thierry Ollivier. Afghanistan: Hidden Treasures is at Queensland Museum 5 Sept 2013 - 27 Jan 2014.
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A Bactrian bronze axehead Circa 2300-1900 B.C.E
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Condition: a flattening blow to the boar's backside where the tail curled out and another to the hair between the front of his ears, his spine worn with traces of slight hatching still visible, a slight flattening and wear to his left tusk and lower left hind leg. A flattening and wear to the left side of the lion's face, ear, cheek, eye, nose and jaw and a flattening blow to the whole right forepaw and paw. Nicks to the lion's tail. The surface with traces of silver chloride under the lion's stomach and around the shaft opening." https://www.flickr.com/photos/antiquitiesproject/4616778973
See: Metropolitan Museum, Harris Brisbane Dick Fund, James N. Spear and Schimmel Foundation, Inc. Gifts, 1982.5 (L: 15 cm): Pittman, H.: Art of the Bronze Age, Southeastern Iran, Western Central Asia and the Indus Valley. The Metropolitan Museum of Art (New York, 1984), p. 66 ff., fig. 36. Amiet, P.: L'âge des échanges inter-iraniens 3500-1700 avant J.-C. (Paris, 1986),
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Tell AsmarCylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. ibha 'elephant' Rebus: ib 'iron'. kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri)
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Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')
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The makara sculptures which adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish: ibha 'elephant' rebus: ib 'iron'; mahAkara, karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda). It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l![]()
Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BC; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant.
![A LURISTAN BRONZE AXE HEAD CIRCA LATE 2ND-EARLY 1ST MILLENNIUM B.C. The flaring downward-curving blade with central relief arrow emerging from stylised lion's jaw, the ribbed shaft with four butt-spikes 8¼ in. (20.9 cm.) long]()
A LURISTAN BRONZE AXE HEAD CIRCA LATE 2ND-EARLY 1ST MILLENNIUM B.C. The flaring downward-curving blade with central relief arrow emerging from stylised lion's jaw, the ribbed shaft with four butt-spikes 8¼ in. (20.9 cm.) long khaNDa 'arrow' Rebus: khaNDA 'metalware'.
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Ceremonial axe (inscribed with name) of king Untash-Napirisha, from his capital Tchoga Zambil. Back of the axe adorned with an electrum boar; the blade issues from a lion's mouth. Silver and electrum, H: 5,9 cm Sb 3973 Louvre, Departement des Antiquites Orientales, Paris, France
![Shaft-hole axe head with bird-headed demon, boar, and dragon.Bronze Age, ca. late 3rd–early 2nd millennium B.C.,Bactria-Margiana]()
Shaft-hole axe head with bird-headed demon, boar, and dragon.Bronze Age, ca. late 3rd–early 2nd millennium B.C.,Bactria-Margiana metmuseum.org
See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html
The pattern of double-heading in artistic representation and duplication of signs or glyphs (e.g. two bulls facing each other) in an inscription have been explained in decoded Indus script as connoting dula 'pair'; rebus: dul 'casting (metal)'. If the eagle is read rebus using a lexems of Indian linguistic area to connote pajhar 'eagle' (rebus: pasra 'smithy'), the double-headed eagle can be read as: dul pajhar = metal casting smithy. The body of a person ligatured to the double-headed eagle can denote the smith whose metalworking trade is related to casting of metals.
See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html
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Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7 in). Weight: 675.5 g (23.82 oz). British Museum.ME 123268 (1913,0314.11913,0314.1) R. Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia Institute, NS I (1987), pp. 17-26
Curator's comments: See RL file 6616 (29/6/1995); also Research Lab file 4992 of 12/09/1983 where XRF analysis of surface indicates composition as tin bronze with approx 10% tin and traces of arsenic, nickel, silver and lead. Dalton's inclusion in the 'Catalogue of the Oxus Treasure' among a small group of comparative items has unfortunately led to recurrent confusion over the date and provenance of this piece. It was first believed to be Achaemenid in date (Dalton, 'Catalogue of the Oxus Treasure', p. 48), labelled as such in 1975 in the former Iranian Room and thus suggested to be an Achaemenid scabbard chape (P R S Moorey CORRES 1975, based on an example said to have been excavated by P. Bernard at Ai Khanoum or seen by him in Kabul Bazaar, cf. P. Bernard CORRES 1976). It has also been assigned a 4th-5th century AD Sasanian date (P. Amiet, 1967, in 'Revue du Louvre' 17, pp. 281-82). However, its considerably earlier - late 3rd mill. BC Bronze Age - date has now been clearly demonstrated following the discovery of large numbers of objects of related form in south-east Iran and Bactria, and it has since been recognised and/or cited as such, for instance by H. Pittmann (hence archaeometallurgical analysis in 1983; R. Maxwell-Hyslop, 1988a, "British Museum axe no. 123628: a Bactrian bronze", 'Bulletin of the Asia Institute' 1 (NS), pp. 17-26; F. Hiebert & C.C. Lamberg-Karlovsky 1992a, "Central Asia and the Indo-Iranian Borderlands",' Iran' 30, p. 5; B. Brentjes, 1991a, "Ein tierkampfszene in bronze", 'Archäologische Mitteilungen aus Iran' 24 (NS), p. 1, taf. 1).
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=367862&partId=1
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Eagle incised on a ceremonial axe made of chlorite. Tepe Yahya. (After Fig. 9.6 in Philip H. Kohl, 2001, opcit.)
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BACTRIAN BRONZE AXE HEAD
The narrow blade decorated with incised chevrons, cut-away socket with banded edges, the shaft decorated with two squatting figures each wearing short tunic, one wrestling a seated feline the other with arms around the feline and a standing quadruped.
2nd Millennium BC
L. 6 3/4 in. (17.2 cm.)
Ex London art market, late 1990s.
Published: J. Eisenberg, Art of the Ancient World, 2012, no. 251.
CLT168
$27,500 http://www.royalathena.com/PAGES/NearEasternCatalog/Bronze/CLT168.html
http://bharatkalyan97.blogspot.in/2015/06/tvastr-is-metaphor-for-veneration-of.html
http://bharatkalyan97.blogspot.in/2015/06/ancient-weapons-and-soldiers-of-bharatam.html http://bharatkalyan97.blogspot.in/2015/06/ancient-weapons-and-soldiers-of-bharatam.html
http://bharatkalyan97.blogspot.in/2015/06/tvastr-as-visvakarma-karu-smith-cire_17.html
http://bharatkalyan97.blogspot.in/2015/06/vajra-ayasam-vajram-metal-weapon-rv.html Vajra, Ayasam vajram, 'metal weapon' (RV 10.48.3), a metaphor for vajrasanghAta cementite on iron carbide used in Art traditions of Bharatam and Ancient Near East.
http://bharatkalyan97.blogspot.in/2015/06/iron-age-of-bharatam-janam-dates-to-3rd.html Iron age of Bhāratam Janam dates to 3rd millennium BCE. Researches on cementite, carbide nanotube technologies validate the ancient writing system
http://bharatkalyan97.blogspot.in/2015/04/two-newly-discovered-seals-from.html Two newly discovered seals from Dholavira; decipherment as metalwork catalogues
वज्र[p= 913,1] a kind of hard mortar or cement (कल्क) VarBr2S. (cf. -लेप) mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषि दधीच or दधीचि
त्वष्टा वज्रम् अतक्षद आयसम्(RV 10.48.3)-- metal vajra weapon in a smithy-forge.
The Meluhha gloss is kole.l; the same gloss also means 'temple' -- Smithy is a temple.
Hence, divinities in temples are adorned with weapons made in the smithy as armoury.
To engrave: त्वक्ष, त्वष्ट are synonyums in Samskritam: தச்சன் taccaṉ, n. < takṣa. 1. Carpenter; மரத்தில் வேலை செய்பவன். மரங்கொஃ றச்சரும் (மணி. 28, 37). 2. Person of carpenter caste; தச்சுவேலைசெய்யும் சாதியான். 3. The 14th nakṣatra, as pertaining to Višvakarma; [விசுவ கர்மாவுக் குரியது] சித்திரை நாள். (பிங்.) தச்சாசாரியம் taccācāriyam, n. < id. +. Status or position of a master-carpenter; தச் சத் தலைமை. (S. I. I . ii, 278, 17.)தச்சு taccu , n. < takṣa. 1. Carpenter's work; தச்சன்றொழில். தச்சு விடுத்தலும் (திருவாச. 14, 3). 2. Day's work of a carpenter; தச்சனது ஒருநால் வேலையளவு.கல்லுளித்தச்சன் kal-l-uḷi-t-taccaṉ, n. < id. +. Sculptor, stone-cutter; கல்வேலை செய் யுந் தச்சன். (W .)ترکانړ tarkāṟṟṉ, s.m. (5th) A carpenter. Pl. ترکانړان tarkāṟṟṉān. (Panjābī).دروزګر darūz-gar, s.m. (5th) A carpenter, a joiner. Pl. دروزګران darūzgarān (corrup. of P درود گر ). (Pashto) त्वक्ष् 1 P. (त्वक्षति, त्वष्ट) 1 To pare, hew, peel -2 To make thin. -3 To cover. त्वष्ट p. p. Made thin, pared, peeled &c. त्वष्टिः f. Carpentry. -m. N. of a mixed tribe (?).त्वाष्ट्र a. [त्वष्टा देवता अस्य अण्] Belonging to Tvaṣṭṛi; U.6.3. (v. l.). -ष्ट्री 1 The asterism चित्रा. -2 A small car. -ष्ट्रम् The creative power.(Samskritam) Synonym of lekha: त्वष्टा
विवस्वन्तमिवोल्लिलेख Ki.17.48.-4 To carve. (Samskritam) <uzra> {V} ``to ^engrave (cut incised designs)''. !literally. @V0282. #25401.Gu<uzra> {V} ``to ^engrave (cut incised designs)''. !literally (Munda) Taccha1 [Vedic takṣan, cp. taṣṭṛ, to takṣati (see taccheti), Lat. textor, Gr. te/ktwn
carpenter (cp. architect),te/xnh art] a carpenter, usually as ˚ka: otherwise only in cpd. ˚sūkarathe carpenter -- pig (=a boar, so called from felling trees), title & hero of Jātaka No. 492 (iv. 342 sq.). Cp. vaḍḍhakin. Tacchati [fr. taccha1 , cp. taccheti] to build, construct; maggaŋ t. to construct or repair a road J vi. 348.Taccheti [probably a denom. fr. taccha1 =Lat. texo to weave (orig. to plait, work together, work artistically), cp. Sk. taṣṭṛ architect =Lat. textor; Sk. takṣan, etc., Gr. te/xnh craft, handiwork (cp. technique), Ohg. dehsa hatchet. Cp. also orig. meaning of karoti & kamma] to do wood -- work, to square, frame, chip J i. 201; Miln 372, 383. (Pali) Konḍa (BB) taṟh- (i.e. taR-) to scrape. Pe.treh- (trest-) id., plane, cut with adze Manḍ. teh- (-t-) to shave. Kui tahpa (taht-) to smooth off, level down, chip, scrape; n. act of smoothing off. Kuwi (Su.) tah- (tast-) to scrape, plane; (S.) tah'nai to engrave. (DEDR 3146) takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S., vṛkṣa -- takṣaka -- m. ʻ tree -- feller ʼ R. [√takṣ ] Pa. tacchaka -- m. ʻ carpenter ʼ, taccha -- sūkara -- m. ʻ boar ʼ; Pk. takkha -- , °aya -- m. ʻ carpenter, artisan ʼ; Bshk. sum -- tac̣h ʻ hoe ʼ (< ʻ *earth -- scratcher ʼ), tec̣h ʻ adze ʼ (< *takṣī -- ?); Sh. tac̣i f. ʻ adze ʼ; -- Phal. tērc̣hi ʻ adze ʼ (with "intrusive" r).(CDIAL 5618) takṣaṇa n. ʻ cutting, paring ʼ KātyŚr. [√takṣ ]Pa. tacchanī -- f. ʻ hatchet ʼ; Pk. tacchaṇa -- n., °ṇā -- f. ʻ act of cutting or scraping ʼ; Kal. tēčin ʻ chip ʼ (< *takṣaṇī -- ?); K. tȧchyunu (dat. tȧchinis) m. ʻ wood -- shavings ʼ; Ku. gng. taċhaṇ ʻ cutting (of wood) ʼ; M. tāsṇī f. ʻ act of chipping &c., adze ʼ.Pk. tacchaṇa -- n. ʻ cutting ʼ; Kmd.barg. taċə̃ři ʻ chips (on roof) ʼ GM 22.6.71.(CDIAL 5619) tákṣati (3 pl. tákṣati RV.) ʻ forms by cutting, chisels ʼ MBh. [√takṣ ]Pa. tacchati ʻ builds ʼ, tacchēti ʻ does woodwork, chips ʼ; Pk. takkhaï, tacchaï, cacchaï, caṁchaï ʻ cuts, scrapes, peels ʼ; Gy. pers. tetchkani ʻ knife ʼ, wel. tax -- ʻ to paint ʼ (?); Dm. taċ -- ʻ to cut ʼ (ċ < IE. k̂s NTS xii 128), Kal. tã̄č -- ; Kho. točhik ʻ to cut with an axe ʼ; Phal. tac̣<-> ʻ to cut, chop, whittle ʼ; Sh. (Lor.) thačoiki ʻ to fashion (wood) ʼ; K.tachun ʻ to shave, pare, scratch ʼ, S. tachaṇu; L. tachaṇ ʻ to scrape ʼ, (Ju.) ʻ to rough hew ʼ, P. tacchṇā, ludh. taccha nā ʻ to hew ʼ; Ku. tāchṇo ʻ to square out ʼ; N. tāchnu ʻ to scrape, peel, chip off ʼ (whence tachuwā ʻ chopped square ʼ, tachārnu ʻ to lop, chop ʼ); B. cã̄chā ʻ to scrape ʼ; Or. tã̄chibā, cã̄chibā, chã̄cibā ʻ to scrape off, clip, peel ʼ; Bhoj.cã̄chal ʻ to smoothe with an adze ʼ; H. cã̄chnā ʻ to scrape up ʼ; G. tāchvũ ʻ to scrape, carve, peel ʼ, M. tāsṇẽ; Si. sahinavā, ha° ʻ to cut with an adze ʼ. <-> Kho. troc̣ik ʻ to hew ʼ with "intrusive" r.Kmd. taċ -- ʻ to cut, pare, clip ʼ GM 22.6.71; A. cã̄ciba (phonet. sãsibɔ) ʻ to scrape ʼ AFD 216, 217, ʻ to smoothe with an adze ʼ 331.(CDIAL 5620) tákṣan (acc. tákṣaṇam RV., takṣāṇam
Pāṇ.) m. ʻ carpenter ʼ. [√takṣ ]Pk. takkhāṇa -- m., Paš. ar. tac̣an -- kṓr, weg. taṣāˊn, Kal. kaṭ -- tačon, Kho. (Lor.) tačon, Sh. thac̣&oarcacute;ṇ m., kaṭ -- th°, K. chān m., chöñü f., P. takhāṇ m., °ṇī f., H. takhānm.; Si. sasa ʻ carpenter, wheelwright ʼ < nom. tákṣā. -- With "intrusive" r: Kho. (Lor.) tračon ʻ carpenter ʼ, P. tarkhāṇ m. (→ H. tarkhān m.), WPah. jaun. tarkhāṇ. -- With unexpl.d -- or dh -- (X dāˊru -- ?): S. ḍrakhaṇu m. ʻ carpenter ʼ; L. drakhāṇ, (Ju.) darkhāṇ m. ʻ carpenter ʼ (darkhāṇ pakkhī m. ʻ woodpecker ʼ), mult. dhrikkhāṇ m., dhrikkhaṇī f., awāṇ.dhirkhāṇ m.(CDIAL 5621)
S. Kalyanaraman
Sarasvati Research Center
June 19, 2015
Addendum: Semantics of cutting, sharpening, forging, armour. Sumerian: nangar'carpenter'; Akkadian: naggaru, najar, nagoro
త్వష్ట [ tvaṣṭa ] tvashṭa. [Skt.] n. A carpenter, వడ్లవాడు. The maker of the universe. విశ్వకర్త. One of the 12 Adityas, ద్వాదశాదిత్యులలో నొకడు.వడ్రంగి, వడ్లంగి, వడ్లవాడు [ vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu ] or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. వర్ధకి [ vardhaki ] vardhaki. [Skt.] n. A carpenter. వడ్లవాడు.
Ta. taṭṭu (taṭṭi-) to knock, tap, pat, strike against, dash against, strike, beat, hammer, thresh; n. knocking, patting, breaking, striking against, collision; taṭṭam clapping of the hands; taṭṭal knocking, striking, clapping, tapping, beating time; taṭṭāṉ gold or silver smith; fem. taṭṭātti. Ma. taṭṭu a blow, knock; taṭṭuka to tap, dash, hit, strike against, knock; taṭṭān goldsmith;
fem. taṭṭātti; taṭṭāran washerman; taṭṭikka to cause to hit; taṭṭippu beating.
Ko. taṭ- (tac-) to pat, strike, kill, (curse) affects, sharpen, disregard (words); taṭ a·ṛ- (a·c) to stagger from fatigue. To. toṭ a slap; toṭ- (toṭy-) to strike (with hammer), pat, (sin) strikes; toṛ- (toṭ-) to bump foot; toṭxn, toṭxïn goldsmith; fem. toṭty, toṭxity; toṭk ïn- (ïḏ-) to be tired, exhausted. Ka. taṭṭu to tap, touch, come close, pat, strike, beat, clap, slap, knock, clap on a thing (as cowdung on a wall), drive, beat off or back, remove; n. slap or pat, blow, blow or knock of disease, danger, death, fatigue, exhaustion. Koḍ. taṭṭ- (taṭṭi-) to touch, pat, ward off, strike off, (curse) effects; taṭṭë goldsmith; fem. taṭṭati (Shanmugam). Tu. taṭṭāvuni to cause to hit, strike. Te. taṭṭu to strike, beat, knock, pat, clap, slap; n. stripe, welt; taṭravã̄ḍu goldsmith or silversmith.Kur. taṛnā (taṛcas) to flog, lash, whip. Malt. taṛce to slap. Cf. 3156 Ka. tāṭu. / Cf. Turner, CDIAL, no. 5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow; no. 5752, tāḍáyati strikes. (DEDR 3039)
vr̥ddhi1 f. ʻ cutting off ʼ W. [√vardh ]Or. buṛiā ʻ small axe ʼ: very doubtful. -- P. vāḍh, bāḍh f. ʻ cutting, killing ʼ, vāḍhī, bā° f. ʻ harvesting, harvest ʼ prob. P. derivatives of vaḍḍhṇā < vardhayati 1 or poss. < *vārddhrī -- s.v. *varddhr̥ -(CDIAL 12075)
*varddhr̥ ʻ cutter, knife ʼ. [√vardh ] *varddhrī -- : N. bāṛ ʻ blade of khukri ʼ; Bi. bāṛh ʻ bookbinder's papercutter ʼ; H. bāṛh, bāṛ f. ʻ edge of knife ʼ, G. vāḍh f.; -- P. vāḍh, bāḍh f. ʻ cutting edge ʼ poss. < *vārddhrī -- . *vardharī -- , *vardhā̆ra -- : Bi. badhrī, °riyā, °rā, badhārū ʻ knife with a heavy blade for reaping with ʼ; <-> WPah.bhad. bardhāṇū ʻ to shear sheep ʼ < *badhār -- ṇū? (CDIAL 11371) VARDH ʻ cut ʼ: vardha1 m. ʻ a cutting ʼ W. [√vardh ] S. vaḍhu m. ʻ a cut ʼ; L. vaḍḍh m. ʻ ears of corn remaining in a field after sheaves have been removed ʼ; P. vaḍḍh, ba° m. ʻ a cut in a piece of wood, chip, stubble of grain (wheat, maize, &c.) ʼ, vaḍḍhā, ba° m. ʻ cut, mark ʼ; G. vāḍh m. ʻ cut, wound, reaping a field ʼ; Si. vaḍa -- ya ʻ act of cutting off ʼ; -- K. broḍu m. ʻ septum of nose ʼ?(CDIAL 11372) vardhaka in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ R. [√vardh ] Pa. cīvara -- vaḍḍhaka -- m. ʻ tailor ʼ; Kho. bardog , °ox ʻ axe ʼ (early → Kal. wadók before v -- > b -- in Kho.); <-> Wg. wāṭ ʻ axe ʼ, Paš.dar. wāˊṭak (ṭ?).(CDIAL 11374) vardhaki m. ʻ carpenter ʼ MBh. [√vardh ] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛa hī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā. WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ; kṭg. bəṛhe\ i , báṛhi , kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi, Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīn, vaḍin pl. (CDIAL 11375)†*vardhakikarman -- ʻ carpentry ʼ. [vardhaki -- , kár- man -- ] Md. vaḍām ʻ carpentry ʼ. (CDIAL 11375a) vardhana1 n. ʻ cutting, slaughter ʼ Mn. [√vardh ]S. vaḍhiṇī f. ʻ cutting ʼ, Si. väḍun.(CDIAL 13377)*vardhira ʻ axe, hammer ʼ. [Cf. *varddhr̥ -- . - √vardh ]Kho. bəḍīˊr ʻ sledgehammer (?) ʼ (→ Gaw. bäḍíl), Bshk. baḍīˊr; Phal. baḍhīˊr ʻ axe (?), sledgehammer ʼ AO xviii 227: very doubtful.(CDIAL 11385) cf. várdhra m. ʻ leather thong ʼ AV., vardhrī -- f. lex., vadhra -- m.n. MBh. 2. badhra -- (v.l.) MBh. (X √bandh?). [√vardh ]1. Pa. Pk. vaddha -- m.n. ʻ thong ʼ; S. vaḍhī, vāḍhĭ̄ f.; L. vaddhar m., vadhrī f., (Shahpur) vadhar m. ʻ shoulder -- strap ʼ; P. vahdar, vaddhrī, baddharī f., ludh. baddhī f. ʻ leather thong ʼ; Or. badhī ʻ dog's collar, leather thong round a drum ʼ; Bi. bādhā ʻ strings of a balance ʼ, bādhī ʻ ties fastening bamboo poles to body of cart ʼ; Bhoj. Aw.lakh. bādh ʻ rope, string ʼ; OG. vādhra n. ʻ leather ʼ, . varadhi , vādhar,
vādhrī, vādharṛī f. ʻ leather strap ʼ; M. vād, vād(h)ī f. ʻ strap ʼ, vādā m. ʻ whiplash ʼ; Si. vada ʻ leather strap ʼ; -- Kal.badrí ʻ leather belt ʼ, Phal. ḍāk -- badhrḗi (rather than with NOPhal 34 < *baddhrikā -- ); -- Paš.weg. wal āˊ ʻ tie, band ʼ IIFL iii 3, 185 (< *vardh -- tra -- ?). 2. Pa. baddha -- n. ʻ thong ʼ. [< IE. *werdhro -- ~ vārdhrī -- f. ʻ strap ʼ < IE. *wordhrī -- T. Burrow BSOAS xxxviii 65, but rather like vāˊrdhra -- ʻ fit for strap ʼ Pāṇ., n. ʻ strap ʼ vr̥ddhi of várdhra -- ]Md. vadu ʻ strap ʼ.(CDIAL 11387) cf. várman n. ʻ armour ʼ RV. [√vr̥ 1 ]
Pa. Pk. vamma -- n. (Pk. also m.) ʻ armour ʼ; WPah. kiũth. bāmū ʻ clothes ʼ, roh. bamṇõ ʻ to dress ʼ; Si. vam -- a ʻ armour ʼ.WPah.poet. bamṇo, bamhṇo ʻ to wear ʼ, J. bāmṇu.(CDIAL 11389) Cf. vaṭāraka -- , varāṭaka -- m. ʻ string ʼ MBh. [vaṭa -- 2 Pa. sa -- vaṭākara -- ʻ having a cable ʼ; Bi. baral -- rassī ʻ twisted string ʼ; H. barrā m. ʻ rope ʼ, barārā m. ʻ thong ʼ.(CDIAL 11217)
bāḍhōī ʻ carpenter ʼ, (WPah.) toṭxn, toṭxïn goldsmith (Toda) వడ్లబత్తుడు, వడ్రంగి (Telugu); vardhaki (Samskritam): All three glosses are ultimately derivable from the root: Tvaṣṭṛ Taccha1 [Vedic takṣan, cp. taṣṭṛ, to takṣati (see taccheti), Lat. textor, Gr. te/ktwn carpenter (cp. architect), te/xnh art] a carpenter, usually as ˚ka: otherwise only in cpd. ˚sūkarathe carpenter -- pig (=a boar, so called from felling trees), title & hero of Jātaka No. 492 (iv. 342 sq.). Cp. vaḍḍhakin. (Pali)
cf. வார்த்திகம்³ vārttikam , n. < vārttaka. Loc. 1. Trade; வியாபாரம். 2. Means of livelihood; சீவனம். (Tamil) baRea 'merchant' (Munda)
The ancient Meluhha (Indian sprachbund, speech) form could be Bi. baṛa hī, Bhoj. H. baṛhaī m., signified by the hieroglyph: baḍhi 'boar, rhinoceros'; variant: varAha 'boar' (Samskritam) वराह [p= 923,2] m. (derivation doubtful) a boar , hog , pig , wild boar RV. &c (ifc. it denotes , " superiority , pre-eminence " ; » g. व्याघ्रा*दि) varāhá -- , varāˊhu -- m. ʻ wild boar ʼ RV Pa. Pk. varāha -- m. ʻ boar ʼ; A. B. barā ʻ boar ʼ (A. also ʻ sow, pig ʼ), Or. barāha, (Sambhalpur) barhā, (other dial.) bā̆rihā, bāriā, H. bā̆rāh m., Si. varā. varāhamūla n. ʻ name of a place in Kashmir ʼ Rājat. [varāhá -- , mūˊla -- ?] K. warahmul ʻ a town at west end of the valley of Kashmir ʼ.(CDIAL 11325, 11326)
Kalyanaraman
Tvaṣṭṛ takṣa 'engraver' is creator of takṣat vAk 'engraved speech'. Takṣa has made a significant contribution to the abhyudayam, 'welfare' of people: by creating a writing system which revolutionized and intensified peoples' contacts and resulted in exchanges of ideas and archaeometallurgical and other technological inventions for the benefit of mankind.
There is a synonym for Tvaṣṭṛ 'artificer' in Meluhha (mleccha). He is baḍhi, 'a carpenter-smith'.
Work, metalwork in particular, of Tvaṣṭṛ as Viśvakarma 'artificer' is celebrated on Indus Script Corpora and sculptural tradition of Ancient Near East deploying hieroglyphs and in the continuing traditions of cire perdue techniques of lost-wax casting -- evidenced in Nahal Mishmar, Dong Son bronze drums, lamp-bearer lady of Mohenjo-daro or leopard bronze weight of Shahi-Tump (Baluchistan) -- for utsava bera (e.g Nataraja in Metmuseum) for celebrations in Hindu temples.
Rigveda explains that Tvaṣṭṛ makes not only vajra sanghAta (cementite, adamantine glue) as thunderbolt weapon for Indra, but also tools and vessels --yagna Ayudha--needed for the performance of yajna.
http://bharatkalyan97.blogspot.in/2015/05/identity-of-soma-as-apri-divinity-in.html Identification of Soma as Apri divinity. Tools and implements used for Soma yajna.
Bolsena, Italy ( Etruscan, 700 BCE. Svastika, hamsa, dotted circles as hieroglyphs on a gold plaque. 
A ‘Sheffield of Ancient India’: Chanhu-Daro’s Metal working Industry. Illustrated London News 1936 – November 21st, p.909. 10 x photos of copper knives, spears , razors, axes and dishes.As takṣa'engraver', he is he originator --using rebus-metonymy-layered cipher -- for writing systems.
As weapon-maker he should not be viewed as a participant in warfare. He should be viewed as an metals artificer. As Gitacharya explains to Arjuna in Bhagavadgita, war is prosecuted not as a denial of ahimsa as the eminent principle of a samajam, but as an affirmation of the vidhi, the natural laws and for protection of dharma. The creation of weapons also provides the seeds of a philosophical thought on the essential unity of all creative phenomena: metalwork was but a manifestation of the cosmic dance of the paramaatman, providing means for use of pancabhuta-s, 'five elements or dhatus' to produce artifacts of utility for living. Thus Tvaṣṭṛ as Viśvakarma mimics the artifice of the Creator. Hence, the work in a smithy --kole.l -- gets represented as a mirror image of veneration of the Creator and his creative genius in a temple -- kole.l
Metal artifice is central to the performance of yajna which may include animal sacrifices for obtaining bone ash explained in making crucibles for creating alloys or hardening iron creating carbides. Crucibles made with bone ash remain stable --without melting or cracking--upto temperature of 1670 degrees C. This explains how crucible steel was produced in ancient Bharatam.
Weapons such as axes, hatchets are used to sacrifice animals to obtain bone ash for metallurgical processes. Bone ash is like cementite used as moulding or sealant for seams or cracks in metalwork. Bone ash has a melting point of 1670 degrees centigrade and is produced by calcining bones. It contains about 55.82% calcium oxide, 42.39% phosphorus pentoxide, and 1.79% water. ca2(OH)(PO4)3. Bone ash is a protective coating for metal equipment, tools The powder adheres to metal, has high thermal stability and does not cause much corrosion. For example, in bone china, 50% bone ash is derived from animal bones heated to 1000 degrees C.
With the following spectrum of Meluhha glosses providing hieroglyphs used on Indus Script Corpora, it should be possible to explain why specific glyphs or rhinoceros, tiger, ibex (markhor) etc. were used on metalwork such as Bactrian bronze or metal alloy axes.
In Indus Script Corpora, hieroglyph rhinoceros/boar signifies: kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.
baḍhia = a castrated boar, a hog (Santali) Rebus-metonymy-layered cipher
provides the signified, artificer: baḍhi ‘a caste who work both in iron and
wood’ (Santali) baṟea ‘merchant’.
kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil)
ib'elephant' Rebus: ib'iron'
mindal markhor (Tor.wali) medho a ram, a sheep (G.)(
barad, barat 'ox' Rebus: भरत (p. 603) [bharata] n A factitious metal compounded of copper, pewter, tin &c.(Marathi)
कुठारु, kuThAru, m. monkey. Rebus: कुठारु, kuThAru, m. armourer.
Rudra Shilpa text –Sanathkumara Samhita (shiva-175-178) provides slightly different iconographic details of Rudra: as having a pearl, moon or jasmine like soothing–bright complexion; four arms; three eyes glowing like embers; and having a coiled mop of hair (jata-makuta) decorated with crescent moon. He is clad in tiger skin and garlands of Arka flowers and snakes. His front two hands bestow blessing (varada) and assurance or protection (abhaya).His upper two hands hold battle axe (parashu) and deer. See Amsumad bheda agama for 5 faced Rudra. http://sreenivasaraos.com/category/iconography/
Bronze Age bowl with Mesopotamian bull decoration, Tepe Fullol. 2200–1900 BC. Source: Thierry Ollivier. Afghanistan: Hidden Treasures is at Queensland Museum 5 Sept 2013 - 27 Jan 2014.
A Bactrian bronze axehead Circa 2300-1900 B.C.E
Ceremonial axe from Daulatabad,Baktria,northern Afghanistan
Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E.
L. 12.68 cm. Ceremonial Axe Baktria,Northern Afghanistan http://www.lessingimages.com/search.asp?a=L&lc=202020207EE6&ln=Collection+George+Ortiz%2C+Geneva%2C+Switzerland&p=1 "The whole cast by the lost wax process. The boar covered with a sheet of gold annealed and hammered on, some 3/10-6/10 mm in thickness, almost all the joins covered up with silver. At the base of the mane between the shoulders an oval motif with irregular indents. The lion and the boar hammered, elaborately chased and polished. A shaft opening - 22 holes around its edge laced with gold wire some 7/10-8/10 mm in diameter - centred under the lion's shoulder; between these a hole (diam: some 6.5 mm) front and back for insertion of a dowel to hold the shaft in place, both now missing.Condition: a flattening blow to the boar's backside where the tail curled out and another to the hair between the front of his ears, his spine worn with traces of slight hatching still visible, a slight flattening and wear to his left tusk and lower left hind leg. A flattening and wear to the left side of the lion's face, ear, cheek, eye, nose and jaw and a flattening blow to the whole right forepaw and paw. Nicks to the lion's tail. The surface with traces of silver chloride under the lion's stomach and around the shaft opening." https://www.flickr.com/photos/antiquitiesproject/4616778973
See: Metropolitan Museum, Harris Brisbane Dick Fund, James N. Spear and Schimmel Foundation, Inc. Gifts, 1982.5 (L: 15 cm): Pittman, H.: Art of the Bronze Age, Southeastern Iran, Western Central Asia and the Indus Valley. The Metropolitan Museum of Art (New York, 1984), p. 66 ff., fig. 36. Amiet, P.: L'âge des échanges inter-iraniens 3500-1700 avant J.-C. (Paris, 1986),
pp. 195 ff., 317 fig. 173. Potts, T.: Mesopotamia and the East. An Archaeological and Historical Study of Foreign Relations 3400-2000 BC. Oxford Committee for Archaeology Monograph 37 (Oxford, 1994), p. 170 ff., fig 27.
Shaft-hole axe head Date: ca. late 3rd–early 2nd millennium B.C.E Culture: Bactria-Margiana Archaeological Complex Medium: Copper alloy Dimensions: 6.3 in. (16 cm) Classification: Metalwork-Implements. Metmuseum.
Tell AsmarCylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. ibha 'elephant' Rebus: ib 'iron'. kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri)
Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')
The makara sculptures which adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish: ibha 'elephant' rebus: ib 'iron'; mahAkara, karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda). It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.lpuccha 'fish tail' Rebus: puja 'worship'.
Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BC; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant.
A LURISTAN BRONZE AXE HEAD CIRCA LATE 2ND-EARLY 1ST MILLENNIUM B.C. The flaring downward-curving blade with central relief arrow emerging from stylised lion's jaw, the ribbed shaft with four butt-spikes 8¼ in. (20.9 cm.) long khaNDa 'arrow' Rebus: khaNDA 'metalware'.
Ceremonial axe (inscribed with name) of king Untash-Napirisha, from his capital Tchoga Zambil. Back of the axe adorned with an electrum boar; the blade issues from a lion's mouth. Silver and electrum, H: 5,9 cm Sb 3973 Louvre, Departement des Antiquites Orientales, Paris, France
Shaft-hole axe head with bird-headed demon, boar, and dragon.Bronze Age, ca. late 3rd–early 2nd millennium B.C.,Bactria-Margiana metmuseum.orgSee: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html
The pattern of double-heading in artistic representation and duplication of signs or glyphs (e.g. two bulls facing each other) in an inscription have been explained in decoded Indus script as connoting dula 'pair'; rebus: dul 'casting (metal)'. If the eagle is read rebus using a lexems of Indian linguistic area to connote pajhar 'eagle' (rebus: pasra 'smithy'), the double-headed eagle can be read as: dul pajhar = metal casting smithy. The body of a person ligatured to the double-headed eagle can denote the smith whose metalworking trade is related to casting of metals.
See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html
Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7 in). Weight: 675.5 g (23.82 oz). British Museum.ME 123268 (1913,0314.11913,0314.1) R. Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia Institute, NS I (1987), pp. 17-26
Curator's comments: See RL file 6616 (29/6/1995); also Research Lab file 4992 of 12/09/1983 where XRF analysis of surface indicates composition as tin bronze with approx 10% tin and traces of arsenic, nickel, silver and lead. Dalton's inclusion in the 'Catalogue of the Oxus Treasure' among a small group of comparative items has unfortunately led to recurrent confusion over the date and provenance of this piece. It was first believed to be Achaemenid in date (Dalton, 'Catalogue of the Oxus Treasure', p. 48), labelled as such in 1975 in the former Iranian Room and thus suggested to be an Achaemenid scabbard chape (P R S Moorey CORRES 1975, based on an example said to have been excavated by P. Bernard at Ai Khanoum or seen by him in Kabul Bazaar, cf. P. Bernard CORRES 1976). It has also been assigned a 4th-5th century AD Sasanian date (P. Amiet, 1967, in 'Revue du Louvre' 17, pp. 281-82). However, its considerably earlier - late 3rd mill. BC Bronze Age - date has now been clearly demonstrated following the discovery of large numbers of objects of related form in south-east Iran and Bactria, and it has since been recognised and/or cited as such, for instance by H. Pittmann (hence archaeometallurgical analysis in 1983; R. Maxwell-Hyslop, 1988a, "British Museum axe no. 123628: a Bactrian bronze", 'Bulletin of the Asia Institute' 1 (NS), pp. 17-26; F. Hiebert & C.C. Lamberg-Karlovsky 1992a, "Central Asia and the Indo-Iranian Borderlands",' Iran' 30, p. 5; B. Brentjes, 1991a, "Ein tierkampfszene in bronze", 'Archäologische Mitteilungen aus Iran' 24 (NS), p. 1, taf. 1).
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=367862&partId=1
BACTRIAN BRONZE AXE HEADThe narrow blade decorated with incised chevrons, cut-away socket with banded edges, the shaft decorated with two squatting figures each wearing short tunic, one wrestling a seated feline the other with arms around the feline and a standing quadruped.
2nd Millennium BC
L. 6 3/4 in. (17.2 cm.)
Ex London art market, late 1990s.
Published: J. Eisenberg, Art of the Ancient World, 2012, no. 251.
CLT168
$27,500 http://www.royalathena.com/PAGES/NearEasternCatalog/Bronze/CLT168.html
http://bharatkalyan97.blogspot.in/2015/06/tvastr-is-metaphor-for-veneration-of.html
Tvaṣṭr̥ is a metaphor for veneration of metalwork artificers, Bhāratam Janam, in Rigveda
http://bharatkalyan97.blogspot.in/2015/06/tvastr-meluhha-of-bharatam-janam.html Tvaṣṭr̥, Meluhha of Bhāratam Janam (Rigveda) is Tuisto, divine ancestor of Germanic peoples (Tacitus), legacy of Proto-Indo-Aryan superstrate & Mitanni Treatyhttp://bharatkalyan97.blogspot.in/2015/06/ancient-weapons-and-soldiers-of-bharatam.html http://bharatkalyan97.blogspot.in/2015/06/ancient-weapons-and-soldiers-of-bharatam.html
http://bharatkalyan97.blogspot.in/2015/06/tvastr-as-visvakarma-karu-smith-cire_17.html
Tvaṣṭṛ as Viśvákarma, kāru 'smith', cire perdue metalcaster. Continuing traditions of utsava bera in Bharatam.
http://bharatkalyan97.blogspot.in/2015/06/tvastr-as-visvakarma-karu-smith-cire.html Tvaṣṭṛ as Viśvákarma, kāru 'smith', cire perdue metalcaster, revealer of sthApatyaveda. Role of scribes, architects in Hindu civilization.http://bharatkalyan97.blogspot.in/2015/06/iron-age-of-bharatam-janam-dates-to-3rd.html Iron age of Bhāratam Janam dates to 3rd millennium BCE. Researches on cementite, carbide nanotube technologies validate the ancient writing system
http://bharatkalyan97.blogspot.in/2015/04/two-newly-discovered-seals-from.html Two newly discovered seals from Dholavira; decipherment as metalwork catalogues
वज्र[p= 913,1] a kind of hard mortar or cement (कल्क) VarBr2S. (cf. -लेप) mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषि दधीच or दधीचि
त्वष्टा वज्रम् अतक्षद आयसम्(RV 10.48.3)-- metal vajra weapon in a smithy-forge.
The Meluhha gloss is kole.l; the same gloss also means 'temple' -- Smithy is a temple.
Hence, divinities in temples are adorned with weapons made in the smithy as armoury.
विवस्वन्तमिवोल्लिलेख Ki.17.48.-4 To carve. (Samskritam) <uzra> {V} ``to ^engrave (cut incised designs)''. !literally. @V0282. #25401.Gu<uzra> {V} ``to ^engrave (cut incised designs)''. !literally (Munda) Taccha
carpenter (cp. architect),
Pāṇ.) m. ʻ carpenter ʼ. [√
S. Kalyanaraman
Sarasvati Research Center
June 19, 2015
Addendum: Semantics of cutting, sharpening, forging, armour. Sumerian: nangar'carpenter'; Akkadian: naggaru, najar, nagoro
త్వష్ట [ tvaṣṭa ] tvashṭa. [Skt.] n. A carpenter, వడ్లవాడు. The maker of the universe. విశ్వకర్త. One of the 12 Adityas, ద్వాదశాదిత్యులలో నొకడు.వడ్రంగి, వడ్లంగి, వడ్లవాడు [ vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu ] or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. వర్ధకి [ vardhaki ] vardhaki. [Skt.] n. A carpenter. వడ్లవాడు.
Ta. taṭṭu (taṭṭi-) to knock, tap, pat, strike against, dash against, strike, beat, hammer, thresh; n. knocking, patting, breaking, striking against, collision; taṭṭam clapping of the hands; taṭṭal knocking, striking, clapping, tapping, beating time; taṭṭāṉ gold or silver smith; fem. taṭṭātti. Ma. taṭṭu a blow, knock; taṭṭuka to tap, dash, hit, strike against, knock; taṭṭān goldsmith;
fem. taṭṭātti; taṭṭāran washerman; taṭṭikka to cause to hit; taṭṭippu beating.
Ko. taṭ- (tac-) to pat, strike, kill, (curse) affects, sharpen, disregard (words); taṭ a·ṛ- (a·c) to stagger from fatigue. To. toṭ a slap; toṭ- (toṭy-) to strike (with hammer), pat, (sin) strikes; toṛ- (toṭ-) to bump foot; toṭxn, toṭxïn goldsmith; fem. toṭty, toṭxity; toṭk ïn- (ïḏ-) to be tired, exhausted. Ka. taṭṭu to tap, touch, come close, pat, strike, beat, clap, slap, knock, clap on a thing (as cowdung on a wall), drive, beat off or back, remove; n. slap or pat, blow, blow or knock of disease, danger, death, fatigue, exhaustion. Koḍ. taṭṭ- (taṭṭi-) to touch, pat, ward off, strike off, (curse) effects; taṭṭë goldsmith; fem. taṭṭati (Shanmugam). Tu. taṭṭāvuni to cause to hit, strike. Te. taṭṭu to strike, beat, knock, pat, clap, slap; n. stripe, welt; taṭravã̄ḍu goldsmith or silversmith.Kur. taṛnā (taṛcas) to flog, lash, whip. Malt. taṛce to slap. Cf. 3156 Ka. tāṭu. / Cf. Turner, CDIAL, no. 5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow; no. 5752, tāḍáyati strikes. (DEDR 3039)
vr̥ddhi
vādhrī, vādharṛī f. ʻ leather strap ʼ; M. vād, vād(h)ī f. ʻ strap ʼ, vādā m. ʻ whiplash ʼ; Si. vada ʻ leather strap ʼ; -- Kal.badrí ʻ leather belt ʼ, Phal. ḍāk -- badhrḗi (rather than with NOPhal 34 < *
Pa. Pk. vamma -- n. (Pk. also m.) ʻ armour ʼ; WPah. kiũth. bāmū ʻ clothes ʼ, roh. bamṇõ ʻ to dress ʼ; Si. vam -- a ʻ armour ʼ.WPah.poet. bamṇo, bamhṇo ʻ to wear ʼ, J. bāmṇu.(CDIAL 11389) Cf. vaṭāraka -- , varāṭaka -- m. ʻ string ʼ MBh. [
bāḍhōī ʻ carpenter ʼ, (WPah.) toṭxn, toṭxïn goldsmith (Toda) వడ్లబత్తుడు, వడ్రంగి (Telugu); vardhaki (Samskritam): All three glosses are ultimately derivable from the root: Tvaṣṭṛ Taccha
cf. வார்த்திகம்³ vārttikam , n. < vārttaka. Loc. 1. Trade; வியாபாரம். 2. Means of livelihood; சீவனம். (Tamil) baRea 'merchant' (Munda)
The ancient Meluhha (Indian sprachbund, speech) form could be Bi. baṛ
Kalyanaraman