Mirror: http://tinyurl.com/nwbgd6c

Use of hieroglyphs to communicate metalwork messages was a common practice along the Maritime Tin Route which existed earlier than the Silk Route stretching from the tin belt of Mekong delta (Hanoi, Vietnam) to the Fertile Crescent (Haifa, Israel). The note traces the etymological and archaeometallurgical journey of seafaring Meluhha merchants using the Indus Script inscriptions as the compass to guide the research vessel of Bronze Age civilizations.

This note explains the rebus readings of hieroglyphs (allographs): crane, one eye, comb in the context of Bronze Age metalwork.

kanga 'crane, one-eye, comb' rebus: kang'brazier, firplace'; ranku'antelope' rebus: ranku'tin'

The lexis of Proto-Prakritam or Meluhha includes a word for crane in the maritime region of Indian Ocean. The word kokku and cognates occur in all the ancient languages of the region extending from India to Vietnam. The Dong Son bronze drums show a hieroglyph of crane or egret engraved using cire perdue lost-wax casting technique. The rebus readings of Indus Script are a pointer to the interpretation of this hieroglyph of the Bronze Age from the tin belt of the globe.

śyenaciti 'falcon altar' or kankaciti 'heron altar' are variant bird-shaped sacred spaces and structures described in the Śulbasūtras related to Vedic Yajnas. Such structures are also attested in archaeometallurgy. Many sites with such altars are also associated with coin-mints and metalwork [as for example, in Sanghol and sites such as Purola (Uttarakashi) linked with Kunindas in northern Bharatam]. 

It is suggested that kanka, kanga were the Proto-Prakritam words which signified a crane.

kang 'crane' Rebus: kang 'brazier, fireplace'; ranku 'antelope' Rebus: ranku 'tin'

Hieroglyphs of kanka 'heron' on Dong Son bronze drums.

https://www.behance.net/gallery/13022597/Lac-Bird Nam TrangDang's blog

Gadd seal 6. (cut down into Ur III mausolea from Larsa level; U. 16220), enstatite; Legrain, 1951, No. 632; Collon, 1987, Fig. 611 Cylinder seal; BM 122947;humped bull stands before a palm-tree, a thorny stone(?), tabernae montana (five-petalled fragrant flower); snake; person with long legs; behind the bull a scorpion ... Deciphered Indus writing: pola 'zebu, bos indicus'; pola ‘magnetite ore’ (Munda. Asuri); bichi 'scorpion'; 'hematite ore'; tagaraka 'tabernae montana'; tagara 'tin'; ranga 'thorny'; Rebus: pewter, alloy of tin and antimony;  kankar., kankur. = very tall and thin, large hands and feet; kankar dare = a high tree with few branches (Santali) Rebus: kanka, kanaka = gold (Samskritam); kan = copper (Tamil) nAga 'snake' nAga 'lead' (Samskritam).

The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. 

The glyph is tabernae montana, ‘mountain tulip’. A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier, M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions Recherche sur les Civilisations: plate 20.150) Two flowers are similar to those shown on the comb from Tell Abraq. Ivory comb with Mountain Tulip motif and dotted circles. TA 1649 Tell Abraq. [D.T. Potts, South and Central Asian elements at Tell Abraq (Emirate of Umm al-Qaiwain, United Arab Emirates), c. 2200 BC—AD 400, in Asko Parpola and Petteri Koskikallio, South Asian Archaeology 1993: , pp. 615-666] Tell Abraq comb and axe with epigraph After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30].

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

two late bronze age tin ingots from the harbor of Haifa, Israel contain glyphs used in epigraphs with Indus Writing of Sarasvati 

civilization!See:http://bharatkalyan97.blogspot.in/2011/11/archaeological-mystery-solved-site-of.htmlThe inscriptions on two pure tin ingots found in a shipwreck in Haifa have been discussed in: Journal of Indo-Judaic Studies, Vol. 1, Number 11 (2010) -- The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman (Editor of JIJS: Prof. Nathan Katz)http://www.indojudaic.com/index.php?option=com_contact&view=contact&id=1&Itemid=8 

Fig. 4 Inscribed tin ingot with a moulded head, from Haifa (Artzy, 1983: 53). (Michal Artzy, 1983, Arethusa of the Tin Ingot, Bulletin of the American Schools of Oriental Research, BASOR 250, pp. 51-55) https://www.academia.edu/5476188/Artzy-1983-Tin-Ignot Face on this tin ingot: mũhe ‘face’ (Santali) Rebus: mũh ‘ingot’ (Santali). The three hieroglyphs are: ranku 'antelope' Rebus: ranku 'tin' (Santali) ranku 'liquid measure' Rebus: ranku 'tin' (Santali). dāṭu = cross (Te.); dhatu = mineral (Santali) Hindi. dhāṭnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). [The 'cross' or X hieroglyph is incised on all three tin ingots found in a shipweck in Haifa.]

Thus, the Indus Script hieroglyphs technically describe and catalogue the nature of the metalwork involved in creating the pure tin ingots.

kaṇga 'eye' (Pe.) Rebus: kang m. ʻ brazier, fireplace ʼ?(Kashmiri)(CDIAL 2999)

"The demoiselle crane (Anthropoides virgo) is a species of crane found in central Eurasia, ranging from the Black Sea to Mongolia and North Eastern China. There is also a small breeding population in Turkey. These cranes are migratory birds. Birds from western Eurasia will spend the winter in Africa whilst the birds from Asia, Mongolia and China will spend the winter in the Indian subcontinent. The bird is symbolically significant in the culture of North India, where it is known as thekoonj." (R. K. Gaur, Indian birds, Brijbasi Printers, 1994, ... The smallest member of the crane family, the demoiselle crane (Anthropoides virgo ) is a distinctive looking bird, with ashy grey ... The local name for this crane — koonj — is onomatopoeic, deriving from the Sanskrit 'kraunch', the origin of the word crane itself ...)

S. kaṅgu m. ʻ crane, heron ʼ (→ Bal. kang);  kaṅká m. ʻ heron ʼ VS. [← Drav. T. Burrow TPS 1945, 87; onomat. Mayrhofer EWA i 137. Drav. influence certain in o of M. and Si.: Tam. Kan. Mal. kokku ʻ crane ʼ, Tu. korṅgu, Tel. koṅga, Kuvi koṅgi, Kui kohko]Pa. kaṅka -- m. ʻ heron ʼ, Pk. kaṁka -- m., S. kaṅgu m. ʻ crane, heron ʼ (→ Bal. kang); B. kã̄k ʻ heron ʼ, Or. kāṅka; G. kã̄kṛũ n. ʻ a partic. ravenous bird ʼ; -- witho from Drav.: M. kõkā m. ʻ heron ʼ; Si. kokā, pl. kokku ʻ various kinds of crane or heron ʼ, kekī ʻ female crane ʼ, kēki ʻ a species of crane, the paddy bird ʼ (ē?).(CDIAL 2595) कोकणघार [ kōkaṇaghāra ] f (Nashik &c.) Konkan̤-kite. A term for the Damoiselle crane or Ardea virgo. Commonly करकोची.(Marathi) 280 *kuk; *kuək egret. A: (Khmer, South Bahnaric) Ta. kokku common crane, Grus cinerea; stork, paddy bird; kuruku heron, stork, crane, bird, gallinaceous fowl, aṉṟil bird. Ma. kokku, kokkan, kocca, kuriyan paddy bird, heron; kuru heron. To. košk heron. Ka. kokku, kokkare crane; kukku heron, crane. Tu. korṅgu crane, stork. Te. koṅga, kokkera, kokkarāyi crane; pegguru, begguru (< peru-kuru) adjutant crane. Kol. (Kin.) koŋga crane. Pa. kokkal (pl. kokkacil) id. Ga. (S) kokkāle (pl. kokkāsil) heron; (S.2) koŋalin (pl. koŋasil), (S.3) kokalin crane. Go. (L.) koruku id. (Voc. 921); (Mu.) kokoḍal heron, duck (Voc. 870); (Ma. Ko.) koŋga crane (Voc. 874). Kui kohko paddy bird. Kuwi (S.) kongi, (Ṭ.) kokoṛa crane. Br. xāxūr demoiselle crane. / Cf. Skt. kaṅka- heron; Turner, CDIAL, no. 2595. (DEDR 2125) Khmer kok heron, egret, Biat kok egret.B: (Bahnaric) Chrau kɔːʔ cattle egret, Bahnar [klaːŋ] kɔːk generic term for egrets &c. (GUILLEMINET 1959-63); probably → Cham kɔːʔ; Vietnamese cò. (Sidwell, Paul, 2007, Proto-Mon-Khmer vocalism: moving on from short's 'alternances', Centre for Research in computational linguistics & Australian National University)  http://sealang.net/monkhmer/sidwell2007proto.pdf

Rebus: kāgni m. ʻ a small fire ʼ Vop. [ka -- 3 or kā -- , agní -- ]K. kang m. ʻ brazier, fireplace ʼ?(CDIAL 2999) *kāṅgārikā ʻ poor or small brazier ʼ. [Cf. kāgni -- m. ʻ a small fire ʼ Vop.: ka -- 3 or kā -- , aṅgāri -- ]K. kã̄gürü, kã̄gar f. ʻ portable brazier ʼ whence kangar m. ʻ large do. ʼ (or < *kāṅgāra -- ?); H. kã̄grī f. ʻ small portable brazier ʼ.(CDIAL 3006)

Hieroglyph: कंकर [ kaṅkara ](Commonly कांकर) A brace of a drum. (Marathi)
Hieroglyph: kaṅká m. ʻ heron ʼ VS

Bird, boat hieroglyphs on Dong Son drums 

http://bharatkalyan97.blogspot.in/2015/02/hieroglyphs-on-dong-son-drums-relate-to.html

Indus Script deciphered: crane or egret on Dong Son bronze drums & kankachiti, fire-altar in Vedic tradition

Sutra 12.4 Baudhayana Srautasutra on Kankaciti



Vyayamena sapradesna paksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat adhyardhavasisyate vyayamena sapradesnapaksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat adhyardhavasisyate



(by vyayama measure with the pradesa the wings bent with the pancami and adhyardha six and six wing cuts as stated an adhyardha will be balanced)






Table 1: Area of Kankacit



Sutra 12.7


athestakanam vikarah  pancamabhagiyah savayavah  padestakam caturbhih parigrhniyadardhapradesenadhyardhapradesena







http://bharatkalyan97.blogspot.in/2015/05/identity-of-soma-as-apri-divinity-in.html