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Four hieroglyph-multiplexes on ancient Bronze Age artifacts are interlinked: 1. Mohenjo-daro seal showing a person seated in penance surrounded by hieroglyphs; 2. Gundestrup Cauldron showing Cernunnos; 3. Pillar of Boatment (Pilier des nautes) showing Cernunnos; and 4. triskeles on chariot linch-pins of Kirkburn. All the hieroglyph-multiplexes relate to metalcasting, metalwork and consistent with the decipherment of Indus Script Corpora as catalogus catalogorum of metalwork. Just as an inquiry proceeds to construct a Proto-Indo-European lexis, it will be apposite to construct a Proto-Prakritam lexis of metalwork of Indian sprachbund (speech union or linguistic area).

Triskele decoration on bronze linchpins of a celtic war chariot is an elaborated trefoil hieroglyph of Indus Script.

Chariot burial at Wetwang and pair of linchpins of a chariot -- 3rd cent. BCE -- at Kirkburn are explained as 'celtic' heritage. Yes, celtic which is also linked with the Gundestrup cauldron with hieroglyph-multiplexes which closely resemble those and related hypertexts on Indus Script Corpora.

The chariot linch-pin found at Kirkburn has a triskele hieroglyph-multiplex with an orthography of hierolyph components signifying associated semantics of metalwork. The circular edge of the ends of the linch-pin is embossed with raised circles signifying ingots out of the three sets of crucibles.

Copper alloy and iron linch pin; exposed iron shank, rectangular in section and markedly off-centre to the upper terminal. Upper terminal slightly lop-sided, its perforation is clear of corrosion, and there are wear facets at two points on the edge of th

In this hieroglyph-multiplex, the central hieroglyph component is three curved (crucibles) emanating from the centre. At the tip of each of the three cuve-endings, an explanatory hieroglyph component signifies: 1. crucible; and 2. a round ingot emanating from the crucible. Orthography clearly signifies metalwork by a Celtic artisan. The bend in the curved legs emanating from the centre in the triskele is relatable to: कोट or bend, कोटः kōṭḥ Crookedness. A beard (Samskritam. Apte)

Hieroglyph: koṭhārī f. ʻ crucible (Old Punjabi)(CDIAL 3546) Rebus: Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhār ʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- °rī f. ʻ small one ʼ; Si.koṭāra ʻ granary, store ʼ.(CDIAL 3550).

*gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf. Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED 1722] K. goṭh f., dat. °ṭi f. ʻ chequer or chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco ready for hookah ʼ, °ṭī f. ʻ small do. ʼ; P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goṭo ʻ piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, goṭi ʻ small ball, cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ seed ʼ; Mth. goṭa ʻ numerative particle ʼ; H. goṭ f. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of smoke ʼ, °ṭɔm. ʻ kernel of coconut, nosegay ʼ, °ṭī f. ʻ lump of silver, clot of blood ʼ, °ṭilɔ m. ʻ hard ball of cloth ʼ; M. goṭā m. ʻ roundish stone ʼ, °ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ; Si. guṭiya ʻ lump, ball ʼ; -- prob. also P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.*gōḍḍ -- ʻ dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271) Rebus: खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge.(Marathi)

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

kōṣṭhāgārika -- : G. koṭhārī m. ʻ storekeeper ʼ.(CDIAL 3551)

The semantics of khōṭa 'mass of metal, ingot' may also be signified by the trefoil -- three dotted circles -- shown on the Mohenjo-daro statuette, thus intimating that the eminent person is koṭhārī 'treasurer'(Oriya). Three dotted-circles combined: kolom 'three' Rebus: kolimi 'smithy, forge'. kole.l 'smithy, temple' (Kota).

The trefoil may be read as pōt- PLUS -ti signifying 'hollow PLUS three' yielding the rebus rendering : போத்தி pōtti, n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன்.

ti- 'three' is a phonetic form in Pali of Samskritam: tri- 'three': Tikkhattuŋ (adv.) [Sk. trikṛtvaḥ] three times (cp. tayo II. C 2), esp. in phrase vanditvā t. padakkhiṇaŋ katvā "having performed the reverent parting salutation 3 times" VvA 173, 219; t. sāvesi he announced it 3 times J ii.352; DhA ii.4; t. paggaṇhāpesi offered 3 times PvA 74. See also J iv.267; v.382; vi.71; DhA ii.5, 42, 65, 338; iv.122 & passim.(Pali)

Pillar of the Boatmen includes a vivid portrayal of Cernunnos of the Gundestrup cauldron.Cernunnos celebrated on the Gundestrup cauldron is also identified unambiguously on a Pillar of Boatmen of 1st cent (French Pilier des nautes) with bas-relief depictions.

I suggest that the Cernannos or Cernunnos is a phonetic derivative, cognate/variant of kāraṇīka'boatman, guardian, teacher, judge, arrow-maker, state-prime minister, supercargo of a ship, scribe, accountant.'' The hieroglyph-multiplex on Indus Script Corpora which signifies this semantic spectrum is: rim-of-narrow-necked-jar. This hieroglyph-multiplex is the most frequently occurring 'sign 342' of the Corpora with ca. 7000 inscriptions.

Sign 342 (Mahadevan Concordance) and variants.

karnövi कर्ना; । कैवर्तः m. the boatman of a free ferry boat, see kar-nāv 1, p. 465a, l. 47 (El. karanāv). कर् in kar-nāv 1 कर््-नाव् । तरणनौका f. (for 2, see s.v. karnāv 2) a large ferry boat, established and supported by some public-spirited person for carrying people free across a river (El. karanáv, a ferryman)(Kashmiri).कारणी or कारणीक [ kāraṇī or kāraṇīka ] a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &c. (Marathi) kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ]Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻvillage accountantʼ (CDIAL 3058) కర్ణము (p. 0253) [ karṇamu ] karṇamu. [Skt.] n. The ear. The helm of a ship చుక్కాని. కర్ణధారుడు karṇa-dhāruḍu. A helmsman or steers-man. ఓడనడుపువాడు. కరణము (p. 0250) [ karaṇamu ] karaṇamu. [Skt.] n. A village clerk, a writer, an accountant. వాడు కూత కరణముగాని వ్రాతకరణముకాడు he has talents for speaking but not for writing.స్థలకరణము the registrar of a district. కరణికము or కరణీకము karanikamu. Clerkship: the office of a Karanam or clerk. கர்ணம்² karṇam, n. < karaṇa. 1. Village accountantship; கிராமக்கணக்குவேலை. 2. Village accountant; கிராமக்கணக்கன். கரணிகம் karaṇikam, n. < karaṇa. [T. karaṇikamu.] Office of accountant. See கருணீகம். Loc.கருணீகம் karuṇīkam, n. < karaṇa. [T. karaṇikamu.] Office of village accountant or karṇam; கிராமக்கணக்குவேலை.கருணீகன் karuṇīkaṉ, n. < id. 1. Village accountant; கிராமக்கணக்கன். கடுகை யொருமலை யாகக் . . . காட்டுவோன் கருணீகனாம் (அறப். சத. 86). 2. A South Indian caste of accountants; கணக்குவேலைபார்க்கும் ஒருசாதி.காரணிக்கம் kāraṇikkam, n. perh. kāra- ṇika. 1. History; சரித்திரம். (W.) 2. Rosary; செபமாலை. R. C.காரணிக்கன் kāraṇikkaṉ, n. < id. Accountant; கணக்கன். (Insc.)காரணிக்கஜோடி kāraṇikka-jōṭi, n. < id. +. Quit-rent paid by the accountant; கணக் கன் செலுத்தும் வரி. (I.M.P. Tj. 1302.)காரணிகன் kāraṇikaṉ, n. < id. Judge; arbitrator, umpire; நியாயமத்தியஸ்தன். நமக்கோர் காரணிகனைத் தரல்வேண்டும் (இறை. 1, உரை).(Indian sprachbund).

A key hieroglyph on the chariot parts and horse fittings of Wetwang and Kirkburn, including a horse-grooming tool is triskele.

What was stylized as trefoil, a vivid hieroglyph on Indus Script Corpora of 3rd millennium BCE, elaborates into. triskele and into triple spirals along the Maritime Tin Route traversed by Meluhha seafaring merchants and artisans from Hanoi to Haifa and beyond in Eurasia. See: Indus Script priest [pōtṛ, 'purifier' (Rigveda)] with trefoil-decorations on shawl: kolimi pottha-kara'smithy-forge modeller in clay (metalcaster)', pō̃ta 'casting in metal' http://bharatkalyan97.blogspot.in/2015/09/indus-script-priest-with-trefoil.html Trefoil is a hieroglyph-multiplex on Indus Script Corpora. This hieroglyph also occurs in Egypt and in the Ancient Near East artifacts. A modified form is the celtic triskele or trile spirals signifying metalwork contexts. In the vedic tradition, PotR is purifier priest: 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 शोधयिट्रिSa1y. ) RV. Br. S3rS. Hariv. पैत्र a. (-त्री f.) [पितुरिदम् अण्] 1 Relating to a father or ancestors generally, paternal, ancestral. -2 Sacred to the Manes. -त्रम् pōtṛ पोतृ m. 1 One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्). -2 An epithet of Viṣṇu. पोत्या pōtyāपोत्या A multitude of boats. पोत्रम् pōtram [पू-त्र] A boat, ship. A plough share. The thunderbolt. A garment. The office of the Potṛi. In the Vedic tradition, the Rigveda Suktas 10.8 and 10.9 are by tvaṣṭṛ त्वष्टृ the metalcaster, chariot-maker, artisan. The abiding memory of this divine form tvaṣṭṛ त्वष्टृ is celebrated as Cernunnos in the Celtic tradition of metalwork and chariotry. The decipherment of the Mohenjo-daro seal m0304 which signifies the hieroglyph of three-headed tvaṣṭṛ त्वष्टृ or Kubera -- as the creative power of wealth -- links the Gundestrup cauldron hieroglyphs to the celebration and veneration of metalcasting work by Purve yajnikas, forefathers, ancestors; अभिजनाः पूर्वे बान्धवाः

dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ; dhāū, dhāv a particular red stone (Marathi) PLUS tri- 'three' read together as tridhā might have signified working with three minerals, metals esp. of red colour like iron ore, copper and zinc sulphate. And, hence, perhaps the representation of three conjoined circles constituting a trefoil. This is a conjecture subject to falsification by further researches. Thus, the statuette of the robed person wearing a fillet of authority may have signified PotR, 'purifier priest' or tri-dhā̆v 'metalworker worker working with three redstone metals, minerals'. I have not found any attestation for this reconstructed expression in the metalwork lexis of languages of Indian sprachbund.

The trefoil is perhaps a signifier of tridhā त्रिधा ind. In three ways, or in three parts; एकैव मूर्तिर्बिभिदे त्रिधा सा Ku.7.44; ज्ञानं कर्म च कर्ता च त्रिधैव गुणभेदतः Bg.18.19. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ strand of rope ʼ (cf. tridhāˊtu* -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā] Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a particular red stoneʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)

Triple spiral visible on entrance stone at Newgrange "The triple spiral or triskele is a Celtic and pre-Celtic symbol found on a number of IrishMegalithic and Neolithic sites, most notably inside the

Newgrange passage tomb, on the entrance stone, and on some of the curbstones surrounding the mound."

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

Auspicious carved stone from the hill-fort of Santa Tegra (A Guarda, Galicia)

"Coin: Rainbow Cup, 2nd century BC ~ shows a triskelion, a spiral symbol; Its original symbolism is unknown; it is supposed, however (like with all spirals), that it stood for the cycle of life or for the sun. It appeared in many early cultures, and in different forms that were always made up of 3 symmetrically arranged spirals, triangles, or bent human legs. On Roman coins triskele stood for Sicily, also known as Trinacria because of its triangular shape, until the Celts adopted it..."https://www.pinterest.com/pin/531635930983929026/

Rhine Celts, electrum 'regenboogschoteltje' or rainbow cup with triskele

Cernunnos, wild god of the forest. By Robert Clarke Found on fuckyeahpaganism.tumblr.com

ore at tourismebretagne.com

Bretagne des druides, Brittany, France

ancient.net

Another ancient triskel find from archaeology in Britain Pinned from artancient.net

Celtic triskele of three stylized bird heads with whorl in the centre Hieroglyph: maraka'peacock' rebus: makara loha'copper alloy calcining metal'.

"A triskelion or triskele (which invariably has rotational symmetry) is a motif consisting of three interlocked spirals, three bent human legs, or three bent/curved lines extending from the center of the symbol. Both words are from Greek "τρισκέλιον" (triskelion) or "τρισκελής" (triskeles), "three-legged", from prefix "τρι-" (tri-), "three times" + "σκέλος" (skelos), "leg". A triskelion is the symbol of Sicily, where it is called trinacria, as well as of the Isle of Man...The triskelion symbol appears in many early cultures, the first in Malta (4400–3600 BCE) and in the astronomical calendar at the famous megalithic tomb of Newgrange in Ireland built around 3200 BC, Mycenaean vessels, on coinage in Lycia, and on staters of Pamphylia (at Aspendos, 370–333 BCE) and Pisidia. It appears as a heraldic emblem on warriors' shields depicted on Greek pottery...The Celtic symbol of three conjoined spirals may have had triple significance similar to the imagery that lies behind the triskelion. The triple spiral motif is a Neolithic symbol in Western Europe. It is considered a Celtic symbol but is in fact a pre-Celtic symbol. It is carved into the rock of a stone lozenge near the main entrance of the prehistoric Newgrange monument in County Meath, Ireland. Newgrange, which was built around 3200 BCE, predating the Celtic arrival in Ireland but has long since been incorporated into Celtic culture."

Ancient Greek beaked jug decorated with triple spirals

Gold cup from Mycenae decorated with triskelions, in the National Archaeological Museum of Athens.

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

British Museum Pair of linchpins

Copper alloy and iron linch pin; iron shank, rectangular in section; two copper alloy terminals, lower terminal slopes; upper terminal perforated, hole being defined at each end by an arch in high relief. Between the two arches, on one side only, is outline of pelta-like motif with a central raised ring enclosing seven dots- a 'berried rosette'. On top of upper terminal is relief triskele motif, terminating in 'bird heads', surrounded by a raised beaded border. Lower terminal ends in decorated disc, a smaller version of the design on the top; bottom of upper terminal is very slightly worn.

Object type linch-pin
Museum number
1987,0404.12

Museum number

1987,0404.13

Description

Full: Front

Length: 119.7 millimetres
Length: 55 millimetres (shank)
Width: 12.9 millimetres (shank)
Width: 30 millimetres (head)
Length: 27.7 millimetres (head)
Width: 22.1 millimetres (foot)
Length: 35.4 millimetres (foot)
Weight: 197 grammes

Museum number

1987,0404.13

Description

Front:Top

Museum number

1987,0404.13

Description

Full: Front

End-on view of a copper alloy and iron linch pin, from Kirkburn.

Museum number

1987,0404.13

Description

Full: Front

End-on view of a copper alloy and iron linch pin, from Kirkburn.

Museum number

1987,0404.13

Description

Detail

Copper alloy and iron linch pin; exposed iron shank, rectangular in section and markedly off-centre to the upper terminal. Upper terminal slightly lop-sided, its perforation is clear of corrosion, and there are wear facets at two points on the edge of the upper disc. Terminals are decorated like 1987,0404.12: between the two arches, on one side only, is the outline of a pelta-like motif with a central raised ring enclosing seven dots, a 'berried rosette'. On top of upper terminal is relief triskele motif, terminating in 'bird heads', surrounded by a raised beaded border. The lower terminal ends in decorated disc, a smaller version of the design on the top. There is a strip of mineral preserved animal skin with fibres/fur round top of iron shank.

Iron Age, 3rd century BC
From a burial at Kirkburn, East Yorkshire, England
These decorated objects held the wheels of a cart or chariot on their axles. The main parts are made of iron,
while both ends have been decorated with a bronze cap, cast onto the iron bar.
he elaborate decoration shows the great skill and care of the bronze workers.
Each end is decorated with a three-armed motif, known as a triskele.
Two-wheeled carts or chariots were placed in the graves of a very few of the most important people
who lived in East Yorkshire at this time. These lynch pins came from a cart that was found in Grave K5
at Kirkburn. The cart had been taken to pieces to place it in the grave, before its owner was laid on top.
The owner was a man, aged between 25 and 35, the same age as the man buried with the elaborate
Kirkburn Sword only ten metres away in the same cemetery. They were probably relatives,
as they share the same slight deformity of the skull.

Full: Front
Front:Top
Side
Unknown
Group of Objects
Group of Objects
Group of Objects
Group of Objects
Full: Front
Full: Front
Group of Objects
Full: Front
Group of Objects
Group of Objects
Full: Front
Group of Objects
Full: Front
Full: Front
Detail
Group of Objects

http://www.britishmuseum.org/explore/highlights/highlight_objects/pe_prb/p/pair_of_linchpins.aspx

The Kirkburn Sword

Iron Age, 300-200 BC
From a burial at Kirkburn, East Yorkshire, England

Proabably the finest Iron Age sword in Europe

At this time in the Iron Age (300-200 BC) few people were buried in graves when they died. However, East Yorkshire was an exception and this sword was found in a grave excavated by British Museum archaeologists in 1987. The sword was found in Grave 3. It was buried with a man who was in his late 20s or early 30s when he died. He was an old man; very few Iron Age men lived to be older than 35 to 40. After the dead man was placed in the grave, three spears were thrust into his chest as part of the funeral ritual. Another man, of similar age, was buried in the same small cemetery, but with a chariot or cart.
The iron blade of a sword needed great time and skill to make
and the sword as a whole is an incredibly complicated weapon and piece of art.
The handle of this sword is unusually elaborate. It is made of thirty-seven
different pieces of iron, bronze and horn. After it was assembled, the handle was decorated with red glass. The sword was carried in a scabbard made from iron and bronze. The polished bronze front plate was decorated with a
La Tène style scroll pattern, and with red glass studs and insets.
The sword was clearly a valued object. The scabbard had been damaged
and was repaired some time after it had been made, which might have
been many years before it was placed in the grave with its final owner.
http://www.britishmuseum.org/explore/highlights/highlight_objects/pe_prb/t/the_kirkburn_sword.aspx

Photos: Bronze Remains of an Iron-Age Chariot

By Live Science Staff | October 14, 2014 12:06am ET

Archaeologists have discovered the remains of a 2,000-year-old bronze chariot at the Burrough Hill Iron Age Hillfortthat, a fortified hilltop. The remains include bronze chariot fittings, decorated linch pins and other artifacts. Here's a look at some of the remains found in the treasure trove, with photos courtesy of the University of Leicester. [Read full story on Iron Age chariot discovery]
Linch pins

Four archaeology students who participated in a field project at Burrough Hill first discovered a bronze piece of chariot near an Iron Age house in the hillfort. More bronze remains were found nearby. Here, a chariot linch pin shown from three angles, revealing the intricate decoration at the ends of the piece.

Decorated endcaps

The chariot linch pin with an intricate metalworked design on each end found as part of an Iron Age burnt offering at Burrough Hill in Leicestershire, England. Here, decoration at the lower end of the linch pin can be seen.

Ornate pin

Here, a linch pin, showing the overall "J" shape and decoration toward the top that once belonged to the Iron Age chariot.

Isle of Man decoration

The bronze-fitted chariot once belonged to a warrior or noble, University of Leicester archaeologists said. One linch pin they found is decorated with a "triskele," or three wavy lines that radiate from a single point, similar to the modern flag for the Isle of Man. Here, an oblique view of the triskele decoration on the upper end of the linch pin.

Lots of fittings

Selection of chariot fittings - chariot linch pin

The hoard of decorated bronze chariot fittings were burned as part of some sort of ritual during the second or third century B.C. This miniature terret ring (upper left), larger terret ring (upper right), strap junction (lower left) and harness fitting (lower right) are examples of bronze metalworking in the Iron Age.

Strap junction

A close look at a strap junction from the Iron Age chariot hoard. The remains were found in a chaff layer that may have been fuel for a burning ritual, the archaeologists said. After being set on fire, the chariot pieces had been placed in a box and covered with cinder and slag, something that may have been a ritual to mark the closing of the fort home, or possibly to honor the change of seasons, the archaeologists noted.

The ring

Miniature terret ring - chariot linch pin

Detail of the miniature terret ring found with the remains of the Iron Age chariot.

Lipped ring

Details of one of the large terret rings showing the "lipped" decoration.

Horse grooming

Alongside the bronze chariot fittings were a set of iron tools. Archaeologists aren't sure what these tools were for, but this one looks like a curry comb used for horse grooming.

http://www.livescience.com/48279-iron-age-chariot-photos.html

Bronze Warrior Chariot Discovery Is 'Find of a Lifetime'

by Stephanie Pappas, Live Science Contributor | October 14, 2014 09:08am ET

A linch pin (shown from three angles) from an Iron Age chariot that were discovered at the Burrough Hill Iron Age Hillfort in Leicestershire, EnglandCredit: University of Leicester

View full size image

More than 2,000 years ago, pieces of an Iron Age chariot were burnt and buried, perhaps as a religious offering. Now, archaeologists have discovered the bronze remains of this sacrifice.
Digging near Melton Mowbray in Leicestershire, England, an archaeology team discovered a trove of bronze chariot fittingsdating back to the second or third century B.C. The remains were discovered at the Burrough HillIron Age Hillfort, a fortified hilltop structure that was once surrounded by farms and settlements. Though humans lived in the area beginning around 4000 B.C., it was used most heavily between about 100 B.C. and A.D. 50, according to the University of Leicester.
"This is the most remarkable discovery of material we made at Burrough Hill in the five years we worked on the site," University of Leicester archaeologist Jeremy Taylor said in a statement. "This is a very rare discovery and a strong sign of the prestige of the site." [See Images of the Iron Age Chariot's Remains]

Burnt offering
Taylor co-directs the field project at Burrough Hill, which is used to train archaeology students. It was four of these archaeology students who first found a piece of bronze near an Iron Age house within the Burrough Hill fort. More bronze pieces were found nearby.
The pieces are the metal remains of a chariot that once belonged to a warrior or noble, according to university archaeologists. They include linchpins with decorated end caps, as well as rings and fittings that would have held harnesses. One linchpin is decorated with three wavy lines radiating from a single point, almost like the modern flag for the Isle of Man, a British dependency in the Irish Sea. The Isle of Man's flag is decorated with an odd symbol called a triskelion, or three half-bent legs converging at the thigh.
"The atmosphere at the dig on the day was a mix of 'tremendously excited' and 'slightly shell-shocked,'" Taylor said. "I have been excavating for 25 years, and I have never found one of these pieces — let alone a whole set. It is a once-in-a-career discovery."
The pieces were found upon a layer of chaff, which may have provided fuel for the burning ritual. The chariot pieces were put into a box and then covered with cinder and slag after being set on fire. This may have been a ritual marking the dismantling or closing of a home at the fort, or it could have honored the change of seasons, University of Leicester archaeologists suspect.
Bronze and iron
Alongside the chariot pieces, the researchers found a set of iron tools, which were placed around the parts before they were burned.
"The function of the iron tools is a bit of a mystery, but given the equestrian nature of the hoard, it is possible that they were associated with horse grooming," Burrough Hill project co-director John Thomassaid in a statement. "One piece, in particular, has characteristics of a modern curry comb, while two curved blades may have been used to maintain horses' hooves or manufacture harness parts."
The pieces will be on display temporarily at the Melton Carnegie Museum in Melton Mowbray from Oct. 18 to Dec. 13.
"Realizing that I was actually uncovering a hoard that was carefully placed there hundreds of years ago made it the find of a lifetime," University of Leicester student Nora Battermann, who was one of the four students to make the find, said in a statement. "Looking at the objects now that they have been cleaned makes me even more proud, and I can't wait for them to go on display."
Follow Stephanie Pappas on Twitter and Google+. Follow us@livescience, Facebook& Google+. Original article on Live Science.

http://www.livescience.com/48281-iron-age-chariot-discovered.html

Archaeologists have unearthed the remains of a 2,000-year-old “warrior” chariot at an Iron Age dig site in Leicestershire.

University of Leicester student Nora Battermann and ULAS project officer John Thomas with the finds

View gallery: http://www.leicestermercury.co.uk/Archaeologists-uncover-remains-Iron-Age-Celtic/story-23134680-detail/story.html#2

A team from the University of Leicester have labelled the find a “once-in-a-career” discovery, after finding a hoard of rare bronze fittings from a 2nd or 3rd century BC Celtic chariot.

The ancient artefacts were uncovered by a group of students taking part in a dig at Burrough Hill, in Melton Mowbray - the site of an Iron Age hillfort which has been excavated for the past four years.

The chariot remains were believed to have belonged to a warrior or a noble, experts have said, and was buried as a religious offering.

After careful cleaning, the team revealed an array of decorative patterns in the bronze metalwork, including a triskele motif showing three waving lines, similar to the flag of the Isle of Man.

Dr Jeremy Taylor, lecturer in landscape archaeology at the University’s School of Archaeology and Ancient History and co-director of the Burrough Hill field project, said: “This is a matching set of highly-decorated bronze fittings from an Iron Age chariot – probably from the 2nd or 3rd century BC.

“This is the most remarkable discovery of material we made at Burrough Hill in the five years we worked on the site.

“This is a very rare discovery, and a strong sign of the prestige of the site.

“The atmosphere at the dig on the day was a mix of ‘tremendously excited’ and ‘slightly shell-shocked’.

“I have been excavating for 25 years and I have never found one of these pieces - let alone a whole set. It is a once-in-a-career discovery.”

The bronze chariot parts are believed to have been placed in a box and then burned on top of a layer of cereal chaff.

The charred ceremonial remains were then covered burnt cinder and slag, where they lay undisturbed for more than 2,200 years.

John Thomas, co-director of the project, said: “It looks like it was a matching set of parts that was collected and placed in a box as an offering, before being placed in the ground.

“Iron tools were placed around the box before it was then burnt, and covered in a thick layer of cinder and slag.

“The function of the iron tools is a bit of a mystery, but given the equestrian nature of the hoard, it is possible that they were associated with horse grooming.

“One piece in particular has characteristics of a modern curry comb, while two curved blades may have been used to maintain horses hooves or manufacture harness parts.”

The parts have been taken to the University of Leicester’s School of Archaeology and Ancient History for further analysis – and are expected to be put on public display in the future.

However, before that, they will be on temporary display at the Melton Carnegie Museum, in Melton, from Saturday, October 18, until Saturday, December 13.

Nora Battermann, 20, one of the students who made the discovery, said: “Realising that I was actually uncovering a hoard that was carefully placed there hundreds of years ago made it the find of a lifetime.

“Looking at the objects now they have been cleaned makes me even more proud, and I can’t wait for them to go on display.”

http://www.leicestermercury.co.uk/Archaeologists-uncover-remains-Iron-Age-Celtic/story-23134680-detail/story.html

Atlantic Bronze Age communities

Geography of the Castro Culture, and location of major oppida (urban fortified town). "From the Mondego river up to the Minho river, along the coastal areas of northern Portugal, during the last two centuries of the second millennium BCE a series of settlements were established in high, well communicated places, irradiating from a core area north of the Mondego, and usually specializing themselves in the production of Atlantic Bronze Age metallurgy: cauldrons, knives, bronze vases, roasting spits, flesh-hooks, swords, axes and jewelry, related to a noble elite who celebrated ritual banquets and who participated in an extensive network of interchange of prestige items, from the Mediterranean and up to the British Isles...Mining was an integral part of the culture, and it attracted Mediterranean merchants, first Phoenicians, later Carthaginians andRomans. Gold, iron, copper, tin and lead were the most common ores mined. Castro metallurgy refined the metals from ores and cast them to make various tools.During the initial centuries of the first millennium BC bronze was still the most used metal, although iron was progressively introduced. Main products include tools (sickles, hoes, ploughs, axes), domestic items (knives and cauldrons), and weapons (antenna swords, spearheads)."

Metallurgy
Bronze swords Torcs from northern Galicia Torc terminal from the oppidum of Santa Tegra, A Guarda Castro style pendant earrings from the "Tesouro Bedoya", found near Ferrol Torque de Foxados, Museo de Pontevedra, Galicia

Stonework
Back of a sitting statue Triskelion of the oppidum ofCoeliobriga A 'severed head' carving A fragmentary warrior statue A selection of motifs and carvings from the oppidaregion

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

flickr.com

Sicilian Triskelion by NatalieMaynor, via Flickr

by NatalieMaynor

https://www.pinterest.com/Bee1970/~-triskelion-and-spirals-~/

Hill of Tara is one of the most revered spiritual sites in Ireland. Tens of centuries ago the kings of Ireland were anointed on a hill - it was place where spirituality met with royalty, and mythical traditions began. A place where druids held festivals, priestesses were trained and shaman’s rites were performed. Dating back to about 4000 B.C.Associated with the early legends of the most powerful Celtic god, Lub, and the goddess Medb, Tara was believed to be the entrance to the otherworld

Found on sacredland.org

Cernunnos (Gundestrap cauldron, Denmark)

Ref: Sat_ACE108PN

Stone sculpture from the representation of Cernunnos on this cauldron Gundestrap, Denmark

Cernunnos (or Carnunnos, Cernunnus) "The Horned One" is the god of virility, wealth, woodlands, animals, regeneration of life and the guardian of the gates of another world (Annwn). It seems that the name is more an epithet that his real name

Cernunnos wearing antlers, which connects to the sky and a torque by which he mastered the snake, symbol of the subterranean forces. It is often accompanied by a ram-headed serpent and a stag

As god of the regeneration of life, he knows a cyclical nature: appears at the winter solstice, marries Beltane (early summer) and dies at the summer solstice. Samhain then it leaves the underworld to get into the "Wild Hunt"

Dimensions: Height 34cm x Length 25cm x 6cm Depth

Cernunnos (chaudron de Gundestrap, Danemark);

Cernunnos (Gundestrap cauldron, Denmark) ;

http://www.echoppemedievale.com/cernunnos_(gundestrap_cauldron/2366-2-2-c.html

"This plate from the Gundestrup Cauldron (200 BC–300 AD), discovered in Denmark, probably of Gaulish or Thracian origin, depicting an antlered figure holding a serpent and a torc, flanked by animals (including a stag), and seated under, or adorned with disputed depictions of the pipal leafis remarkably similar to the depictions on the Mohenjo-daro (Pashupati) Seal."

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

Taylor, Timothy (1992), “The Gundestrup cauldron”, Scientific American, 266: 84-89.

Ross, Ann (1967), “The Horned God in Britain ”, Pagan Celtic Britain: 10-24.

Cernunnos. Twigs as horns with rings.

Hieroglyph: spathe, buds flanked by molluscs -- atop a ring flanked by two petas, dala 'petal'. DhALako 'ingot'. Sanchi sculptural bas-relief.

ஆர் ār, n. < āraara. 1. Spoke of a wheel; ஆரக்கால். ஆர்கெழு குறடுசூட்டாழி போன்று (சீவக. 828). 2. Axle-tree; அச்சு மரம். வீணாதண்டென் னாரின் (ஞானா. 7, 15). 3. Central bolt of a car; தேரினகத்திற்செறிகதிர். (பிங்.) ஆரம்² āram , n. < āra. 1. Spoke of a wheel. See ஆரக்கால். ஆரஞ் சூழ்ந்த வயில்வாய் நேமியொடு (சிறுபாண். 253).

ஆரம்³ āram, n. < hāra. 1. Necklace of pearls or gems; மணிவடம். (பிங்.) 2. Garland of flowers; பூமாலை. (சூடா.) 3. Pearl; முத்து. (பிங்.) 4. Pendant; பதக்கம். (திவா.) 5. Ornament; ஆபரணம். (பிங்.) 6. Ring round the neck of doves, lines on the necks of parrots and other birds; பறவைக்கழுத்துவரி. ஆரமோககிளி (திருப்பு. 748). 7. Membrane hanging from the neck of cattle and goats; ஆடுமாடுகளின் கழுத்தில் தொங் கும் தசை. (W.)

ará m. ʻ spoke of a wheel ʼ RV. 2. āra -- 2 MBh. v.l. [√r̥] 1. Pa. ara -- m., Pk. ara -- , °ga -- , °ya -- m.; S. aro m. ʻ spoke, cog ʼ; P. arm. ʻ one of the crosspieces in a cartwheel ʼ; Or. ara ʻ felloe of a wheel ʼ; Si. ara ʻ spoke ʼ. 2. Or. āra ʻ spoke ʼ; Bi. ārā ʻ first pair of spokes in a cartwheel ʼ; H. ārā m. ʻ spoke ʼ, G. ārɔ m.(CDIAL 594)

Rebus: āra Brass; பித்தளை. (அக. நி.)

कूटी [p= 299,3]v.l. for कूद्/ई. कूदी [p= 300,1]f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. , Sch. = बदरी, "Christ's thorn".

Rebus: kuThi 'smelter'

Hieroglyph: ring: पेंढें [ pēṇḍhēṃ ] पेंडकें [ pēṇḍakēṃ ] n Weaver's term. A cord-loop or metal ring (as attached to the गुलडा of the बैली and to certain other fixtures). पेंडें [ pēṇḍēṃ ] n (पेड) A necklace composed of strings of pearls. 2 A loop or ring. Rebus: पेढी (Gujaráthí word.) A shop (Marathi) Alternative: koṭiyum [koṭ, koṭī neck] a wooden circle put round the neck of an animal (Gujarati) Rebus: ācāri koṭṭya = forge, kammārasāle (Tulu)

Cernunnos is shown seated in penance (comparable to the sitting posture of the seated person on the Mohenjo-daro seal m0304).

Hieroglyph: kamaḍha ‘penance’ (Prakritam) Rebus: kammaṭa ‘mint, coiner’(Telugu).

Cernunnos is named in an inscription on the 1st cent. CE Pillar of the Boatmen (French Pilier des nautes) with bas-relief depictions. " Dating to the first quarter of the 1st century AD, it originally stood in a temple in the Gallo-Romancivitas of Lutetia (modern Paris, France) and is one of the earliest pieces of representational Gaulish art to carry a written inscription...It is displayed in the frigidarium of the Thermes de Cluny...Cernunnos has stag's antlers from which hang two torcs. From the amount of the body in the top half, Cernunnos is assumed to have been depicted in a cross-legged seated position...Smertrios is shown kneeling, brandishing a club and attacking a snake. Castor and Pollus are shown standing beside their horses, each holding a spear...Jupiter is shown standing, holding a spear and a thunderbolt. Esus is shown standing beside a willow tree, which he is cutting down with an axe. Tarvos Trigaranus is depicted as a large, heavy-set bull standing in front of a willow tree. Two cranes stand on his back and a third on his head. Vulcan is shown standing, with hammer and tongs."

One panel shows three warriors (who were perhaps also boatmen who accompanied to guard the treasures of seafaring merchants.).

https://en.wikipedia.org/wiki/Pillar_of_the_Boatmen On this Pillar of the Boatmen, Cernunnos is shown as a horned person flanked by two rings (torcs). The message is: ancient seafaring metalworkers.

"Religious Union: the Pillar of Nautes

The most extraordinary testimony is, as such, the famous pillar called "the Nautes", although it is initially dedicated to Jupiter.

He had to reach a height of about 6 meters and be located in the island, where it was discovered. Probably reused in the Lower Empire, it remains only 5 blocks, which nevertheless provide valuable indications: early urbanism of the City, the powers Nautes, loyalty to Rome and especially religious information. Indeed, next to gods and goddesses of the Roman Pantheon (Jupiter, Mercury, Mars, Fortuna, Castor and Pollux), we see typical Gallic deities as: Esus, Tarvos, Trigaranus, Eurises, smertrios or Cernannos. This official monument dedicated so good understanding of different beliefs and a real syncretism: for example we know that Jupiter is located Gallic equivalent Taranis, God of heaven, for Mercury, it is integrated with the image of several native divinities mainly lug "Prince of multiple sciences" usually accompanied by symbols of balance and prosperity of the world, this protector God of travel and trade, as well as arts and crafts, is the favorite of the Gallo-Romans."

(Translation from French: http://www.fdn.fr/~rebours/dieux.htm)

Some conjectures on the semantics related to the divinities adored in the Pillar of Boatmen are made; these may or may be relevant in the context of the overall semantics of the pillar dedicated to Jupiter and Vulcan, the divinities associated with metalwork and fire:

Samattha (adj.) [cp. Sk. samartha, saŋ+artha] able, strong J i.179; 187; SnA 143. (Pali) samarthayatē ʻ resolves ʼ RV., ʻ perceives ʼ Kāv., ʻ comforts ʼ Kathās. [ártha -- ]
Wg. samaṭ -- ʻ to guard, herd, graze ʼ; Pr. sumoṭə -- ʻ to guard, keep ʼ; Phal. samaṭ -- ʻ to collect, send off, pasture ʼ: semant. difficult (NTS xv 299 with?). Addenda: sámarthayatē

also ʻ considers, takes for ʼ MBh. (CDIAL 13190) సామర్థ్యము [ sāmarthyamu ] sām-arthyamu. [Skt. from సమర్థము.] n. Skill, ability, capacity, adequacy, power, నేర్పు, బలము, శక్తి, యోగ్యత,

Polus: poLa 'zebu' Rebus: poLa 'magnetite'.

Castor: kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984)

The pillar provides the only undisputed instance of the divine name Cernunnos.(John Koch, editor, Celtic Culture: A Historical Encyclopedia (ABC-Clio, 2006), p.396).

This boatman, Cernunnos is the boatman from Meluhha shown on a Mohenjo-daro seal

त्रि--शिरस् [p= 460,3] mfn. n. कुबेर L.; three-pointed MBh. xiii R. iv; three-headed (त्वाष्ट्र , author of RV. x , 8.) Ta1n2d2yaBr. xvii Br2ih. KaushUp. MBh. Ka1m. (Monier-Williams)

tvāṣṭra त्वाष्ट्र 'copper' This meaning is significant if tvaṣṭṛ remembered as Cernunnos as a boatman from Meluhha. The seafaring boatman from Meluhha was a metalworker, worker in copper. He was also a chariot-maker celebrated in harosheth haggoyim'smithy of nations' (Old Bible. The Judges).

The author of Sukta RV 10.8 and 10.9 is tvaṣṭṛ त्वष्टृ m. [त्वक्ष्-तृच्] 1 A carpenter, builder, workman, त्वष्ट्रेव विहितं यन्त्रम् Mb.12.33.22. -2 Viśvakarman, the architect of the gods. [Tvaṣtṛi is the Vulcan of the Hindu mythology. He had a son named Triśiras and a daughter called संज्ञा, who was given in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore Tvaṣtṛi mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf. आरोप्य चक्रभ्रमिमुष्णतेजास्त्वष्ट्रेव यत्नो- ल्लिखितो विभाति R.6.32. The part trimmed off is said to have been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of the gods.] पर्वतं चापि जग्राह क्रुद्धस्त्वष्टा महाबलः Mb.1.227. 34. -3 Prajāpati (the creator); यां चकार स्वयं त्वष्टा रामस्य महिषीं प्रियाम् Mb.3.274.9. -4 Āditya, a form of the sun; निर्भिन्ने अक्षिणी त्वष्टा लोकपालो$विशद्विभोः Bhāg.3.6.15.

tvāṣṭra

त्वाष्ट्र a. Belonging or coming from त्वष्टृ; त्वाष्ट्रं यद् दस्रावपिकक्ष्यं वाम् Rv.1.117.22. -ष्ट्रः Vṛitra; येनावृता इमे लोकास्तमसा त्वाष्ट्रमूर्तिना । स वै वृत्र इति प्रोक्तः पापः परमदारुणः ॥ Bhāg.6.9.18;11.12.5. -ष्ट्री 1 The asterism Chitra. -2 A small car. -ष्ट्रम् 1 Creative power; तपःसारमयं त्वाष्ट्रं वृत्रो येन विपाटितः Bhāg.8.11.35. -2 Copper.

r.s.i: tris'ira_ tvas.t.ra; devata_: agni, 7-9 indra; chanda: tris.t.up

RV 10.8

10.008.01 Agni traverses heaven and earth with a vast banner; he roars (like) a bull; he spreads aloft over the remote and proximate (regions) of the sky; mighty, he increases in the lap of the water. [Agni traverses: as the lightning in the firmament].
10.008.02 THe embryo (of heaven and earth), the showerer (of benefits), the glorious, rejoices; the excellent child (of morn and eve), the celebrator of holy rites calls aloud; assiduous in exertions at the worship of the gods, he moves chief in his own abodes.
10.008.03 They have placed in the sacrifice the radiance of the powerful Agni, who seizes hold of the forehead of his parents, gratifying his cherished, radiant, and expanding limbs, in their course, in their chamber of sacrifice. [His parents: the parents are either heaven or earth, or the two pieces of touchwood; gratifying...of sacrifice: as'vabudhna_h = vya_ptamu_la_H, with outspread bases, i.e., broad at the bottom and tapering to the top, the usual shape of a fire; in his fight the dawns, drawn by horses, rejoice their bodies in the source of truth (i.e., the sun)].
10.008.04 Opulent Agni, you precede dawn after dawn. You are the illuminator of the twin (day and night); engendering Mitra from your own person, you retain seven places for sacrifice. [Mitra: the sun; seven places: the seven altars for the fire: dhisn.ya_ etc.]
10.008.05 You are the eye, the protector of the great sacrifice; when you proceed to the rite, you are Varun.a; you are the grandson of the waters, Ja_tavedas; you are the messenger (of him) whose oblation you enjoy.
10.008.06 You are the leader of the sacrifice and sacrificial water to the place in which you are associated with the auspicious steeds of the wind; you sustain the all-enjoying (sun) as chief in heaven; you, Agni, make your tongue the bearer of the oblation. [The place: i.e., the firmament; you sustain in heaven: you raise your glorious head in heaven; you make...oblation: yada_; when, Agni, you have so done, you are the leader...; you are the leader of the sacrifice and of water (rain) in the firmament and in heaven (Yajus. 13.15)].
10.008.07 Trita by (his own), desiring a share (of the sacrifice), for the sake of taking part in the exploit of the supreme protector (of the world), chose (Indra as his friend); attended (by the priests) in the proximity of the parental heaven and earth, and reciting appropriate praise, he takes up his weapons. [Legend: Indra said to Trita, 'You are skiled in the weapons of all; aid me in killing Tris'iras the son of Tvas.t.a_'. Trita agreed on condition of having a share in the sacrifices offered to Indra. Indra gave him water to wash his hands with and a share in the sacrifice, whereby Trita's strength increased; seven-rayed: i.e., seven-tongued, seven-rayed, like the sun, or seven-handed].
10.008.08 He, the son of the waters, incited by Indra, skilled in his paternal weapons, fought against (the enemy), and slew the seven-rayed, three-headed (asura); then Trita set free the cows of the son of Tvas.t.a_.
10.008.09 Indra, the protector of the virtuous, crushed the arrogant (foe), attaining vast strenth; shouting, he cut off the three heads of the multiform son of Tvas.t.a_ (the lord) of cattle. [Shouting: s'abdam kurvan; gona_m acakra_n.ah, appropriating the cattle].

r.s.i: tris'ira_ tvas.t.ra or sindhudvi_pa a_mbari_s.a; devata_: a_po devata_ (jalam); chanda: ga_yatri_, 5 vardhama_na_ ga_yatri_, 7 pratis.t.ha_ ga_yatri_, 7-9 anus.t.up

RV 10.9

10.009.01 Since, waters, you are the sources of happiness, grant to us to enjoy abundance, and great and delightful perception. [Great and delightful perception: mahe ran.a_ya caks.ase = samyajn~a_nam, perfect knowledge of brahman; the r.ca solicits happiness both in this world and in the next; the rapturous sight of the supreme god; to behold great joy].
10.009.02 Give us to partake in this world of your most auspicious Soma, like affectionate mothers.
10.009.03 Let us quickly have recourse to you, for that your (faculty) of removing (sin) by which you gladden us; waters, bestow upon us progeny. [Let us go to you at once for him to whose house you are hastening; waters, reinvogorate us; faculty of removing sin: ks.aya = niva_sa, abode; aram = parya_ptim, sufficiency; perhaps a recommendation to be regular in practising ablution].
10.009.04 May the divine water be propitious to our worship, (may they be good) for our drinking; may they flow round us, and be our health and safety. [This and previous three r.cas are repeated at the daily ablutions of the bra_hman.as].
10.009.05 Waters, sovereigns of precious (treasures), granters of habitations to men, I solicit of you medicine (for my infirmities). [Precious: va_rya_n.a_m = va_riprabhava_na_m vri_hiyava_dina_m, the products of the water, rice, barley etc.; bhes.ajam = happiness driving away sin].
10.009.06 Soma has declared to me; all medicaments, as well as Agni, the benefactor of the universe, are in the waters. [This and the following r.cas of the su_kta are repetitions from RV.1. 23, 20-23; in man.d.ala 1, Soma speaks to Kan.va; in this present man.d.ala, Soma speaks to A_mbari_s.a Sindhudvi_pa, a ra_ja_].
10.009.07 Waters, bring to perfection, all disease-dispelling medicaments for the good of my body, that I may behold the Sun.
10.009.08 Waters, take away whatever sin has been (found) in me, whether I have (knowingly) done wrong, or have pronounced imprecations (against holy men), or have spoken untruth.
10.009.09 I have this day entered into the waters; we have mingled with their essence. Agni, abiding in the waters approach, and fill me (thus bathed) with vigour. ["I invoke for protection the divine (waters) of excellent wisdom, discharging their functions (tadapasah), flowing by day and flowing by night": supplementary khila 1.2.3: sasrus'is tada_paso diva_ naktam ca sasrus'ih! varen.yakratur ahama devir avase huve].

त्रिस् [p=461,3] ind. ( Pa1n2. 5-4 , 18) thrice , 3 times RV. (सप्त्/अ , 3 x 7 , i , iv , vii ff. ; /अह्नस् or /अहन् , " thrice a day " , i , iii f. , ix f. ; cf. Pa1n2. 2-3 , 64) S3Br. Ka1tyS3r. Mn. (अब्दस्य , " thrice a year " , iii , xi) &c before gutturals and palatals ([cf. RV. viii , 91 , 7]) ः may be substituted by ष् Pa1n2. 8-3 , 43.

See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-evidence-pasupati-seal.html

Indus Script evidence Pasupati seal deciphered. Bronze-age metalwork technology transfers from ancient India to Japan & Slovakia reinforced by Japanese and Slavic word

m 304. Mohenjo-daro seal. DK 5175, now in the National Museum of India, New Delhi. Seated person with buffalo horns.
Head gear: Hieroglyph: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker'; Hieroglyph: goṇḍe ʻ cluster ʼ (Kannada) Rebus: kuṇḍi-a = village headman; leader of a village (Prakritam)

mũh 'face'; rebus: metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.)

Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.) The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883).Rebus: cūḷai 'furnace, kiln, funeral pile' (Te.)(CDIAL 4879; DEDR 2709). Thus the composite glyphic composition: 'bristled (tiger's mane) face' is read rebus as: sodagor mũh cūḷa 'furnace (of) ingot merchant'.

kamarasāla = waist-zone, waist-band, belt (Te.) karmāraśāla = workshop of blacksmith (Skt.) kamar ‘blacksmith’ (Santali)

The person on platform is seated in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭa ‘mint, coiner’ (Malayalam)

Hieroglyph: arms with bangles: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)(CDIAL 2779) Rebus: khār खार् 'blacksmith' (Kashmiri)

khār खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b,l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta
khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु‍&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू‍&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.(Kashmiri)

Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali.lex.) kuntam 'haystack' (Te.)(DEDR 1236) Rebus: kuṇḍamu 'a pit for receiving and preserving consecrated fire' (Te.)

A pair of hayricks, a pair of antelopes: kundavum = manger, a hayrick (G.) Rebus: kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295)
Decoding a pair: dula दुल । युग्मम् m. a pair, a couple, esp. of two similar things (Rām. 966) (Kashmiri); dol ‘likeness, picture, form’ (Santali) Rebus: dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali)
Antelope: miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Glyph: krammara ‘look back’ (Te.); Rebus: kamar ‘smith’ (Santali) Vikalpa 1: mlekh ‘antelope’(Br.); milakkhu ‘copper’ (Pali) Vikalpa 2: kala stag, buck (Ma.) Rebus: kallan mason (Ma.); kalla glass beads (Ma.); kalu stone (Kond.a); xal id., boulder (Br.)(DEDR 1298). Rebus: kallan ‘stone-bead-maker’.

Thus, together, the glyphs on the base of the platform are decoded rebus:meḍ kamar dul meṛeḍ kũdār,'iron(metal)smith, casting (and) turner'.
Animal glyphs around the seated person: buffalo, boar (rhinoceros), elephant, tiger (jumping).

ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku), lead (nāga) and antimony (añjana)’(Santali)
kANDa 'rhinoceros' Rebus: khaNDa 'metal implements'
ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Santali) karibha ‘trunk of elephant’ (Pali); rebus: karb ‘iron’ (Ka.)
kolo, koleā 'jackal' (Kon.Santali); kola kukur 'white tiger' (A.); dāṭu ‘leap’ (Te.); rebus: kol pañcaloha 'five metals'(Ta.); kol 'furnace, forge' (Kuwi) dāṭu 'jump' (Te.). Rebus: dhātu ‘mineral’ (Skt.) Vikalpa: puṭi 'to jump'; puṭa 'calcining of metals'. Thus the glyph 'jumping tiger' read rebus: 'furnace for calcining of metals'.

Decoding the text of the inscription
Text 2420 on m0304

Line 2 (bottom): 'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)

Line 1 (top):

'Body' glyph plus ligature of 'splinter' shown between the legs: mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) sal ‘splinter’; Rebus: sal ‘workshop’ (Santali) Thus, the ligatured glyph is read rebus as: meḍ sal 'iron (metal) workshop'.

Sign 216 (Mahadevan). ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu ‘mineral’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. Allograph: kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Skt.)

Sign 229. sannī, sannhī = pincers, smith’s vice (P.) śannī f. ʻ small room in a house to keep sheep in ‘ (WPah.) Bshk. šan, Phal.šān ‘roof’ (Bshk.)(CDIAL 12326). seṇi (f.) [Class. Sk. śreṇi in meaning "guild"; Vedic= row] 1. a guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). -- 2. a division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. senā and seniya). (Pali)

Sign 342. kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account) karNI 'supercargo' (Marathi)

Sign 344. Ligatured glyph: 'rim of jar' ligature + splinter (infixed); 'rim of jar' ligature is read rebus: kaṇḍa karṇaka 'furnace scribe (account)'.

sal stake, spike, splinter, thorn, difficulty (H.); Rebus: sal ‘workshop’ (Santali) ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93). 2. To move, toss, as a ship; அலைவுறுதல். (R.) 3. To be undecided, vacillating; மனஞ் சுழலுதல். நெஞ்ச மாலைபாய்ந் துள்ள மழிகின்றேன் (அருட்பா,) Vikalpa: sal ‘splinter’; rebus: workshop (sal)’ ālai ‘workshop’ (Ta.) ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93) Thus, together with the 'splinter' glyph, the entire ligature 'rim of jar + splinter/splice' is read rebus as: furnace scribe (account workshop). Sign 59. ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) Sign 342. kaṇḍa karṇaka 'rim of jar'; rebus: 'furnace scribe (account)'. Thus the inscription reads rebus: iron, iron (metal) workshop, copper (mineral) guild, fire-altar (furnace) scribe (account workshop), metal furnace scribe (account) As the decoding of m0304 seal demonstrates, the Indus hieroglyphs are the professional repertoire of an artisan (miners'/metalworkers') guild detailing the stone/mineral/metal resources/furnaces/smelters of workshops (smithy/forge/turners' shops). Comparble to m0304 showing a seated person in penance, is a seal showing a scarfed person in penance:

Mohenjo-daro seal m 305 (DK 3884.

He also has scarf as a pigtail, is horned with two stars shown within the horn-curves.

kuThi 'twig' Rebus: kuThi 'smelter' karA 'arm with bangles' Rebus: khAr 'blacksmith' dhatu 'scarf' Rebus: dhatu 'mineral'; taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker' meDhA 'polar star' Rebus: meD 'iron' (Mu.Ho.) gaNda 'four' Rebus: khaNDa 'metal imlements' aya 'fish' Rebus: aya 'iron' ayas 'metal' (Rigveda) See: http://tinyurl.com/ozyobnc

kamaḍha 'penance' (Pkt.) Rebus: kampaṭṭam ‘mint’ (Ta.) Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali)
ḍato = claws of crab (Santali); dhātu = mineral (Skt.), dhatu id. (Santali)
kūdī, kūṭī bunch of twigs (Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177). Rebus: kuṭhi 'smelting furnace‘ (Santali) koṭe ‘forged (metal) (Santali)
mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.)
ḍabe, ḍabea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali)

Thus, the entire glyphic composition of the seated, horned person is decoded rebus: meḍ dhatu kampaṭṭa ḍab kuṭhi kaṇḍ iron, mineral, mint (copper casting, forging workshop)furnace.

The text of the inscription shows two types of 'fish' glyphs: one fish + fish with scaled circumscribed by four short-strokes: aya 'fish' (Mu.); rebus: aya 'metal' (Samskritam)
gaṇḍa set of four (Santali) kaṇḍa ‘fire-altar’ cf. ayaskāṇḍa a quantity of iron, excellent iron (Pāṇ.gaṇ) The reading is consistent with the entire glyphic composition related to the mineral, mint forge.

Another comparable glyphic composition is provided by seal m1181.

m1181. Seal. Mohenjo-daro. Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated on a hoofed platform.
m1181 Text of inscription.

Each glyphic element on this composition and text of inscription is decoded rebus:
Two glyphs 'cross-road' glyph + 'splice' glyph -- which start from right the inscription of Text on Seal m1181.The pair of glyphs on the inscription is decoded: dhatu adaru bāṭa 'furnace (for) mineral, native metal’. dāṭu 'cross'(Telugu); bāṭa 'road' (Telugu). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)

Other glyphic elements: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.

the person is seated on a hoofed platform (representing a bull): decoding of glyphics read rebus: ḍangar ‘bull’; ḍhangar ‘blacksmith’ (H.); koṇḍo ‘stool’; rebus: koḍ ‘workshop’. The glyphics show that the seal relates to a blacksmith's workshop.

the seated person's hair-dress includes a horned twig. aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali)

tiger's mane on face: The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883)Rebus: cuḷḷai = potter’s kiln, furnace (Ta.); cūḷai furnace, kiln, funeral pile (Ta.); cuḷḷa potter’s furnace; cūḷa brick kiln (Ma.); cullī fireplace (Skt.); cullī, ullī id. (Pkt.)(CDIAL 4879; DEDR 2709). sulgao, salgao to light a fire; sen:gel, sokol fire (Santali.lex.) hollu, holu = fireplace (Kuwi); soḍu fireplace, stones set up as a fireplace (Mand.); ule furnace (Tu.)(DEDR 2857).

bangles on arms cūḍā ‘bracelets’ (H.); rebus: soḍu 'fireplace'. Vikalpa: sekeseke, sekseke covered, as the arms with ornaments; sekra those who work in brass and bell metal; sekra sakom a kind of armlet of bell metal (Santali)

fish + splinter glyph ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.)sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) Vikalpa: Glyph: ḍhāḷiyum = adj. sloping, inclining; rebus: ḍhāḷako = a large metal ingot (G.) H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). Thus, the ligatured 'fish + sloping (stroke)' is read rebus: metal ingot.

...
meď* 'copper' (Slovak)

Santali glosses:
Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:

Sa. mE~R~hE~'d `iron'. ! mE~RhE~d(M).
Ma. mErhE'd `iron'.
Mu. mERE'd `iron'.
~ mE~R~E~'d `iron'. ! mENhEd(M).
Ho meD `iron'.
Bj. merhd(Hunter) `iron'.
KW mENhEd
@(V168,M080)
http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda

— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
http://www.vanderkrogt.net/elements/element.php?sym=Cu
Miedź, med' (Northern Slavic, Altaic) 'copper'.

One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.

Georges Pinault observed ancu of Tocharian as a cognate of अंशु amśu of Rigveda. ("Aspects of Vedic semantics and etymology", communication au colloque international 14th World Sanskrit Conference, Kyoto University, 1er-5 septembre 2009, section de linguistique.) अंशु [p= 1,1] a kind of सोम libation S3Br. m. a filament (especially of the सोम plant), a ray , sunbeam a point , end; end of a thread , a minute particle (Monier-Williams). Tocharian word for "iron," A **ancu* (adj. ancwasi "made of iron"), B encuwo (adj. encuwanne), taken from the rusty color of iron.

MB Emeneau observed an Indian linguistic area (Indian sprachbund). (Emeneau, Murray Barnson, 1980,Language and Linguistic Area: Essays, Stanford University Press, pp. 197-249).

That the Indian sprachbund dates back to the Chalcolithic-Bronze Age is shown in the decipherment of inscriptions in Indus Script Corpora which date from ca. 3300 BCE. (The earliest date of a potsherd from Harappa discovered by HARP -- Harvard Archaeology Project -- with three hieroglyphs which later become frequently used component of hieroglyh-multiplex corpora).
Potsherd h1522 discovered in Harappa on the banks of River Ravi by archaeologists of HARP (Harvard Archaeology Project) is dated to ca. 3300 BCE.

That the Rigveda dates to an epoch earlier than 8th millennium BCE is shown by the discovery of Bhirrana, an archaeological site with continuous settlements from this date on the banks of River Sarasvati (Drishadvati tributary) and a deduction made by archaeologists BR Mani, KN Dikshit, BB Lal and Prof. Shivaji Singh who see the Sarasvati-Sindhu civilization as one side of the heritage coin and Rigvedic culture as the other side of the heritage coin. The civilization had about one million people in about 2,600 settlements. Of these settlements, about 2000 (i.e. 80%) were on the banks of Rigvedic River Sarasvati. Some of the settlements had 50,000 inhabitants. The area covered is about a million square kilometers. The contact areas were extensive ranging from Hanoi to Haifa, spanning the globe like a measuring rod the way the great poet Kalidasa describes the Himalayan ranges which stretch from Teheran to Hanoi. The culture evidenced by the civilization is present even today in the Indian Ocean region where people celebrate and live by the eternal, cosmic principle: dharma-dhamma.
https://friendsofasi.wordpress.com/writings/the-8th-millennium-bc-in-the-lost-river-valley/ Mani, BR, 2013, The 8th millennium BCE in the 'Lost' river valley -- Indian civilization evolved in the 8th millennium BCE in the 'Lost' River valley.
Potsherd. Bhirrana. Hieroglyph. dance-step.meṭṭu 'step' (Telugu)(DEDR 5058) Rebus: meD 'iron' (Mu.Ho.)

•dāṭu = cross (Te.); dhatu = mineral (Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.)H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). aṭar a splinter; aṭaruka to burst, crack, slit off, fly open; aṭarcca splitting, a crack; aṭarttuka to split, tear off, open (an oyster)(Ma.); aḍaruni to crack (Tu.)(DEDR 66). dāravum = to tear, to break (G.) dar = a fissure, a rent, a trench; darkao = to crack,to break; bhit darkaoena = the wall is cracked (Santali) Rebus: aduru 'native (unsmelted) metl' (Kannada).

Seated person in penance: kamaḍha ‘penance’ (Pkt.); rebus: kampaṭṭa ‘mint’(Ma.) Glyphics of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.)

Glyph: clump between the two horns: kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundār turner (A.)(CDIAL 3295). kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] Pk. kuṁḍa-- n. ʻ heap of crushed sugarcane stalks ʼ (CDIAL 3266) Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko.goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft. (DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jet.t.ha chief of metal-worker guild. koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of hieroglyphs on m1185 seal is a message conveyed from a sodagor 'merchant, trader'. The bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.
Playing the tutari, 'trumpet'.

Use of buffalo horns on a tiger-woman toy: kola 'woman' kola'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kolle 'blacksmith'

If the buffalo horns were attached, the hieroglyphs would have been pronounced in Meluhha speech as taTThAr, 'buffalo horn' Rebus: taTTAr 'goldsmith guild'; ṭhaṭherā 'brass worker' (Punjabi)

Copper plate m1457 The set of hieroglyphs deciphered as: 1. zinc-pewter and 2. bronze:1. jasta, sattva and 2. kuṭila

Hieroglyph: sattva 'svastika hieroglyph'; j̈asta, dasta 'five' (Kafiri) Rebus: jasta, sattva 'zinc'

Hieroglyph: kuṛuk 'coil' Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. kastilla -- .1. H. kathīr* m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ.(CDIAL 2984)

kuṭhi 'smelter' (Santali)

3229a †kuṭala -- n. ʻ roof, thatch ʼ lex., kuṭaṅka -- m. ib.
WPah.poet. kuraḍ m. ʻ long beam along the ridge of the roof of a temple ʼ, J. kur -- ṛ m. ʻ timber log placed over the joint of the roof of a village deity's temple ʼ (Him.I 26)?
kuṭi 3230 kuṭi in cmpd. ʻ curve ʼ, kuṭika -- ʻ bent ʼ MBh. [√kuṭ1]
Ext. in H. kuṛuk f. ʻ coil of string or rope ʼ; M. kuḍċā m. ʻ palm contracted and hollowed ʼ, kuḍapṇẽ ʻ to curl over, crisp, contract ʼ.
trikuṭī -- , bhrūkuṭi -- .

kuṭilá 3231 kuṭilá ʻ bent, crooked ʼ KātyŚr., °aka* -- Pañcat., n. ʻ a partic. plant ʼ lex. [√kuṭ1]
Pa. kuṭila -- ʻ bent ʼ, n. ʻ bend ʼ; Pk. kuḍila -- ʻ crooked ʼ, °illa -- ʻ humpbacked ʼ, °illaya -- ʻ bent ʼ; N. kurilo ʻ Asparagus plumosus ʼ.
kauṭilya --

kuṇḍalá 3268 kuṇḍalá1 n. ʻ ring, ear -- ring ʼ ĀśvGr̥., ʻ bracelet ʼ Śiś., ʻ coil of a rope ʼ lex. 2. kōṇḍala -- . 3. guṇḍala -- . 4. gundala -- . [← Drav. Burrow BSOAS xii 374, EWA i 226]
1. Pa. kuṇḍala* -- n. ʻ ring, esp. ear -- ring ʼ; Pk. kuṁḍala<-> m.n. ʻ ear -- ring ʼ, m. ʻ circle ʼ; K. kŏnḍul, °ḍolu ʻ ring -- shaped, annular ʼ; S. kuniru m. ʻ ear -- ornament of yogis, round piece of wood in a donkey's saddle ʼ, °ri f. ʻ sitting in a circle ʼ; Ku. kunlo ʻ horoscope ʼ (from the circular form in which drawn), gng.kunaw; N. kũṛulo ʻ circle, coil ʼ (k° pārera basnu ʻ to lie curled up ʼ), °li ʻ fold of a snake ʼ, °linu ʻ to be curled up ʼ, kũṛar ʻ coil ʼ (← Bi.); Or. kuṇḍaḷa ʻ ear -- ring, coil of a rope ʼ, °ḷiā ʻ wearing ear -- drops, spiral ʼ; OAw. kuṁḍara ʻ ear -- ring ʼ; H. kũṛrā m. ʻ line drawn in a circle, magic circle from the centre of which one curses ʼ; G. kũḍaḷ n. ʻ ear -- ring ʼ, °ḍā̆ḷī f. ʻ small ring or circle ʼ, °ḍāḷũ n. ʻ large circle ʼ; M. kũḍaḷī f. ʻ circle, ring ʼ; OSi. koḍulu ʻ ear -- ornament ʼ, Si. kon̆ḍola ʻ ear -- ring ʼ, °lā ʻ snake ʼ; -- prob. ← E: L. kuṇḍal m. ʻ rim ʼ, awāṇ. kuṇḍul ʻ coil ʼ; P. kuṇḍal m. ʻ iron ring round an ox's neck, coil, ear -- ring ʼ,°lī f. ʻ ring, coil, curl ʼ; Ku. kuṇḍalī ʻ head of a drum ʼ. -- Poss. Tor. (Biddulph) koror, f. kerer ʻ round ʼ.
2. Pk. koṁḍala -- = kuṁḍala -- ; M. kõḍḷẽ n. ʻ circle, enclosure ʼ; -- H. kõṛarā m. ʻ iron ring round the mouth of a bucket ʼ, °rī f. ʻ wooden ring holding the leather of a huṛuk drum ʼ or poss. < kauṇḍalá -- ; -- H. koṛār m. ʻ circular band round the wood of an oil -- press ʼ with -- āl<-> as in G. forms above or <kuṇḍalākāra -- .
3. N. gũṛulo, °li, °linu = kũṛulo, &c. above; H. gõṛarā = kõṛarā above, gũḍlī, gẽṛulī, gẽṛurī f. ʻ a round mat to place pots on ʼ.
4. H. gū̃dlā ʻ round, circular ʼ, m. ʻ ring, circle, coil ʼ.
kauṇḍalá -- ; kuṇḍalākāra -- ; upakuṇḍala -- .
kuṇḍala -- 2 ʻ mountain ebony ʼ see kuddāla -- 2.
Addenda: kuṇḍala -- 1: S.kcch. kūṇḍāṛo* m. ʻ circle ʼ, tūṅgal m. ʻ a kind of ear -- ring ʼ.

kṓṣṭha 3546 kṓṣṭha2 n. ʻ pot ʼ Kauś., ʻ granary, storeroom ʼ MBh., ʻ inner apartment ʼ lex., °aka -- n. ʻ treasury ʼ, °ikā f. ʻ pan ʼ Bhpr. [Cf. kōttha -- , kōtthala -- : same as prec.?]
Pa. koṭṭha -- n. ʻ monk's cell, storeroom ʼ, °aka<-> n. ʻ storeroom ʼ; Pk. koṭṭha -- , kuṭ°, koṭṭhaya -- m. ʻ granary, storeroom ʼ; Sv. dāntar -- kuṭha ʻ fire -- place ʼ; Sh. (Lor.) kōti (ṭh?) ʻ wooden vessel for mixing yeast ʼ; K. kōṭha m. ʻ granary ʼ, kuṭhu m. ʻ room ʼ, kuṭhü f. ʻ granary, storehouse ʼ; S. koṭho m. ʻ large room ʼ,°ṭhī f. ʻ storeroom ʼ; L. koṭhā m. ʻ hut, room, house ʼ, °ṭhī f. ʻ shop, brothel ʼ, awāṇ. koṭhā ʻ house ʼ; P. koṭṭhā, koṭhā m. ʻ house with mud roof and walls, granary ʼ, koṭṭhī, koṭhī f. ʻ big well -- built house, house for married women to prostitute themselves in ʼ; WPah. pāḍ. kuṭhī ʻ house ʼ; Ku. koṭho ʻ large square house ʼ, gng. kōṭhi ʻ room, building ʼ; N. koṭho ʻ chamber ʼ, °ṭhi ʻ shop ʼ; A. koṭhā, kõṭhā ʻ room ʼ, kuṭhī ʻ factory ʼ; B. koṭhā ʻ brick -- built house ʼ, kuṭhī ʻ bank, granary ʼ; Or. koṭhā ʻ brick -- built house ʼ, °ṭhī ʻ factory, granary ʼ; Bi. koṭhī ʻ granary of straw or brushwood in the open ʼ; Mth. koṭhī ʻ grain -- chest ʼ; OAw. koṭha ʻ storeroom ʼ; H. koṭhā m. ʻ granary ʼ, °ṭhī f. ʻ granary, large house ʼ, Marw. koṭho m. ʻ room ʼ; G. koṭhɔ m. ʻ jar in which indigo is stored, warehouse ʼ, °ṭhī f. ʻ large earthen jar, factory ʼ; M. koṭhā m. ʻ large granary ʼ, °ṭhī f. ʻ granary, factory ʼ; Si. koṭa ʻ storehouse ʼ. -- Ext. with -- ḍa -- : K. kūṭhürüf. ʻ small room ʼ; L. koṭhṛī f. ʻ small side room ʼ; P. koṭhṛī f. ʻ room, house ʼ; Ku. koṭheṛī ʻ small room ʼ; H. koṭhrī f. ʻ room, granary ʼ; M. koṭhḍī f. ʻ room ʼ; -- with -- ra -- : A. kuṭharī ʻ chamber ʼ, B. kuṭhrī, Or. koṭhari; -- with -- lla -- : Sh. (Lor.) kotul (ṭh?) ʻ wattle and mud erection for storing grain ʼ; H. koṭhlā m., °līf. ʻ room, granary ʼ; G. koṭhlɔ m. ʻ wooden box ʼ.
kōṣṭhapāla -- , kōṣṭharūpa -- , kōṣṭhāṁśa -- , kōṣṭhāgāra -- ; kajjalakōṣṭha -- , duvārakōṣṭha -- , dēvakōṣṭha -- , dvārakōṣṭhaka -- .
Addenda: kṓṣṭha -- 2: WPah.kṭg. kóṭṭhi* f. ʻ house, quarters, temple treasury, name of a partic. temple ʼ, J. koṭhā m. ʻ granary ʼ, koṭhī f. ʻ granary, bungalow ʼ; Garh. koṭhu ʻ house surrounded by a wall ʼ; Md. koḍi ʻ frame ʼ, <-> koři ʻ cage ʼ (X kōṭṭa -- ). -- with ext.: OP. koṭhārī f. ʻ crucible ʼ, P. kuṭhālī f., H. kuṭhārī f.; -- Md. koṭari ʻ room ʼ.

kōṣṭhāgāra 3550 kōṣṭhāgāra n. ʻ storeroom, store ʼ Mn. [kṓṣṭha -- 2, agāra -- ]
Pa. koṭṭhāgāra -- n. ʻ storehouse, granary ʼ; Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B.kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhār ʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- °rī f. ʻ small one ʼ; Si. koṭāra ʻ granary, store ʼ.
kōṣṭhāgārika -- .
Addenda: kōṣṭhāgāra -- : WPah.kṭg. kəṭhāˊr, kc. kuṭhār m. ʻ granary, storeroom ʼ, J. kuṭhār, kṭhār m.; -- Md. kořāru ʻ storehouse ʼ ← Ind.

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

kuThi 'smelter'. mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). dula 'pair' rebus: dul 'cast metal'. mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali)

Hieroglyph: मेड [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake (Marathi, Molesworth lexicon p.662). Rebus: meḍ 'iron, metal' (Ho. Munda). See: Hieroglyph: Medhi (f.) [Vedic methī pillar, post (to bind cattle to); BSk. medhi Divy 244; Prk. meḍhi Pischel Gr. § 221. See for etym. Walde, Lat. Wtb. s. v. meta] pillar, part of a stūpa [not in the Canon?] (Pali) मेढ a stake; मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece.(Marathi) mḗḍhra-

(mēṇḍhra-- BhP.) n. ʻ penis ʼ AV. in mēdra-- n. ʻ penis, lower belly ʼ (Samskritam. Apte).

Rebus: mu_ha ‘smelted ingot’ [mũh opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing)(Bi.)]

mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit loss mleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mu~h, as a suffix. See used in cmpds. (Telugu): మ్లేచ్ఛముఖము mlēchha-mukhamu. n. Copper, రాగి. మ్లేచ్ఛము mlēchhamu. n. Cinnabar. ఇంగిలీకము.

muṇḍa 'head' rebus: muḍadāra 'litharge'.

H. mẽṛā, mẽḍā m. ʻ ram with curling horns ʼ (CDIAL 10120). Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

kuṛī f. ʻ girl (Punjabi) Rebus: kuṭhi 'smelter'; dula 'pair' Rebus: dul 'cast metal'. Thus, the two young girls denote dul kuṭhi 'smelter for cast metal'.

मेढा [ mēḍhā ] 'polar star' Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) ayo 'fish' Rebus: ayo 'iron' (Gujarati); ayas 'alloyed metal' (Sanskrit) eruvai 'eagle' Rebus: eruvai 'copper'.
miṇḍāl 'markhor' (Tor.wali) meḍho 'a ram, a sheep' (G.)(CDIAL 10120)mēṇḍhaʻramʼ(CDIAL 9606).मेंढा [mēṇḍhā] m (मेष S through H) A male sheep, a ram or tup. मेंढका or क्या [ mēṇḍhakā or kyā ] a (मेंढा) A shepherd (Marathi) Rebus: meḍ 'iron' (Ho.) mēṇḍh 'gold' as in: मेंढसर [ mēṇḍhasara ] m A bracelet of gold thread. (Marathi)

मेढ [mēḍha] f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr. हातीं लागली चेड आणि धर मांडवाची मेढ.

kulai ‘a hare’ (Santali) Allograph: kul ‘tiger’ (Santali) Rebus: kolhe‘smelter’. kōlupuli = Bengal tiger (Te.); kol = tiger (Santali) kōla = woman (Nahali) •kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.)

Rebus: kol metal (Ta.) kol = pan~calōkam (five metals) (Ta.lex.)

The bunch of twigs = kūdi_, kūṭī (Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).

kut.i, kut.hi, kut.a, kut.ha a tree (Kaus'.); rebus: kut.hi ‘smelter furnace’ (Mu.Santali)

Pk. ḍhaṁkhara -- m.n. ʻ branch without leaves or fruit ʼ (CDIAL 5524)

Rebus: ḍān:ro = a term of contempt for a blacksmith (N.)(CDIAL 5524). ṭhākur = blacksmith (Mth.) (CDIAL 5488).

Hieroglyph: धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu strand of rope ʼ (cf. tridhāˊtu* -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) http://tinyurl.com/orfr5wf

Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; (CDIAL 6773) धातु primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam).

Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html

Worship of Shiva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625 - Government Museum - Mathura

kuThi 'smelter' lokhaNDa 'metal implements' (lo 'penis' -- Munda)

Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi)

मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda)

See: http://bharatkalyan97.blogspot.in/2015/02/a-critique-of-general-theory-of-images.html for the sculpture of three stakes on Sit Shamshi bronze.

Ziziphur Jojoba, badari twig

Hieroglyph components on the head-gear of the person on cylinder seal impression are: twig, crucible, buffalo horns: kuThI 'badari ziziphus jojoba' twig Rebus: kuThi 'smelter'; koThAri 'crucible' Rebus: koThAri 'treasurer'; tattAru 'buffalo horn' Rebus: ṭhã̄ṭhāro 'brassworker'.
Tree shown on a tablet from Harappa. kuTi 'tree' Rebus: kuThi 'smelter'
[Pl. 39, Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many Indus script tablets and seals.

kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛI f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232)

kuṭhe = leg of bedstead or chair (Santali.lex.) Rebus: kuṭhi ‘a furnace for smelting iron ore, to smelt iron’;koṭe ‘forged (metal)(Santali)

http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-scarf-hieroglyph-on.html

kuṭhi ‘smelter, furnace’.
kuṭire bica duljad.ko talkena, ‘they were feeding the furnace with ore’. (Santali) This use of bica in the context of feeding a smelter clearly defines bica as ‘stone ore, mineral’, in general.

kuṭhi ‘vagina’; rebus: kuṭhi ‘smelting furnace bichā 'scorpion' (Assamese). Rebus: bica 'stone ore' as in meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.) dul 'pair, likeness' Rebus: dul 'cast metal' (Santali) Thus the hieroglyphs connote a smelter for smelting and casting metal stone ore.
Seal impession from Ur showing a squatting female. L. Legrain, 1936, Ur excavations, Vol. 3, Archaic Seal Impressions. [cf. Rahmandheri seal with two scorpions flanking a similar glyph with legs apart – also looks like a frog]. kuṭhi ‘pudendum muliebre’ (Mu.) khoḍu m. ‘vulva’ (CDIAL 3947). Rebus: kuṭhi ‘smelter furnace’ (Mu.) khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947),

Glyph: kuṭhi = pubes. Hieroglyph: kuṭhi pubes (lower down than paṇḍe) (Santali), pudendum muliebre (Munda, Santali) Cognates: koṭṭha (m. nt.) [Sk. koṣṭha abdomen, any cavity for holding food, cp. kuṣṭa groin, and also Gr.ku/tos cavity, ku/sdos pudendum muliebre, ku/stis bladder = E. cyst, chest; Lat. cunnus pudendum. kuṭhi = the womb, the female sexual organ; sorrege kuṭhi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. koṭhī, the womb) (Santali.Bodding) kōṣṭha = anyone of the large viscera (MBh.); koṭṭha = stomach (Pali.Pkt.); kuṭṭha (Pkt.); koṭhī heart, breast (L.); koṭṭhā, koṭhābelly (P.); koṭho (G.); koṭhā (M.)(CDIAL 3545). kottha pertaining to the belly (Pkt.); kothā corpulent (Or.)(CDIAL 3510). koṭho [Skt. koṣṭha inner part] the stomach, the belly (Gujarat) kūti = pudendum muliebre (Ta.); posteriors, membrum muliebre (Ma.); ku.0y anus, region of buttocks in general (To.); kūdi = anus, posteriors, membrum muliebre (Tu.)(DEDR 188). kūṭu = hip (Tu.); kuṭa = thigh (Pe.); kuṭe id. (Mand.); kūṭi hip (Kui)(DEDR 1885). gūde prolapsus of the anus (Ka.Tu.); gūda, gudda id. (Te.)(DEDR 1891).

Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu)

Rebus: kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuṭhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (Santali. Bodding) kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhābrick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati)

See: http://bharatkalyan97.blogspot.in/2015/06/meluhha-hieroglyph-on-indus-script.html

The squatting woman on the Ur cylinder seal impression may be showing dishevelled hair providing for rebus reading: <rabca?>(D) {ADJ} ``with ^dishevelled ^hair''. Rebus: రాచ (adj.) Pertaining to a stone. bicha, bichā ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.) sambr.o bica = gold ore (Mundarica) Thus, the reading of the Ur cylinder seal impression may depict: meṛed-bica ‘iron stone-ore’ kuṭhi‘smelter, furnace’.

Rahman-dheri seal. Obverse: Two scorpions. Two holes. One T glyph. One frog in the middle. Reverse: two rams.
1.mūxā ‘frog’. Rebus: mũh ‘(copper) ingot’ (Santali) Allograph: mũhe ‘face’ (Santali)
2.bicha ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.)
3.tagaru ‘ram’ (Tulu) Rebus: tagarm ‘tin’ (Kota). damgar ‘merchant’ (Akk.)
4.T-glyph may denote a fire altar like the two fire-altars shown on Warrka vase below two animals: antelope and tiger. kand ‘fire-altar’ (Santali)
5.Two holes may denote ingots. dula ‘pair’ Rebus: dul ‘cast’ (Santali)
kola ‘woman’ Rebus: kol ‘working in iron’
kuṛī f. ʻ girl’ Rebus: kuṭhi ‘smelter’
Brass-worker catalog of implements and repertoire:There are five hieroglyphs on the cylinder seal (Figure 270): ‘dishevelled hair’, ‘pudendum muliebre’, ‘lizard’, ‘scorpion’, ‘woman’. The accent is on the sting of the scorpion: koṭṭu (koṭṭi-) to sting (as a scorpion, wasp) (Tamil) Rebus: Pk. koṭṭaga -- m. ʻ carpenter ʼ, koṭṭila -- , °illa -- m. ʻ mallet ʼ. (DEDR 3236). koṭṭu-k-kaṉṉār brass-workers. the woman is shown with disheveled hair. A lizard is also shown in the field together with a scorpion (bica). <raca>(D) {ADJ} ``^dishevelled'' (Munda) rasāṇẽ n. ʻglowing embersʼ (Marathi). rabca ‘dishevelled’ Rebus: రాచ rāca (adj.) Pertaining to a stone (ore) (bica).
A symbolism of a woman spreading her legs apart, which recurs on an SSVC inscribed object. Cylinder-seal impression from Ur showing a squatting female. L. Legrain, 1936, Ur excavations, Vol. 3, Archaic Seal Impressions.
[cf. Rahmandheri seal with two scorpions flanking a similar glyph with legs apart. This glyphic composition depicts a smelting furnace for stone ore as distinguished from a smelting furnace for sand ore. meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda).

See: http://bharatkalyan97.blogspot.in/2015/01/celtic-meluhha-contacts-during-early.html

Meluhha links to the treasures of Tuatha Dé Danann of Celtic-Irish tradition are relatable to Bronze Age metalwork of Meluhha artisans and traders evidenced by the Indus script hieroglyphs and artifacts of Sarasvati-Sindhu civilization.

The Tuatha Dé Danann also brought four magical treasures with them to Ireland, one apiece from their Four Cities:
The Dagda's Cauldron
The Spear of Lugh
The Stone of Fal
The Sword of Light of Nuada

Lugh is a hero skilled in the use of spear.

Claíomh Solais means in Irish, 'sword of light' held by Nuada or Nuadu (modern spelling: Nuadha), known by the epithet Airgetlám (modern spelling: Airgeadlámh, meaning "silver hand/arm"), who was the first king of the Tuatha Dé Danann,"people(s)/tribe(s) of the goddess Danu".

Dagda's cauldron. "The name Dagda may ultimately be derived from the Proto-Indo-European Dhagho-deiwos "shining divinity", the first element being cognate with the English word "day", and possibly a byword for a deification of a notion such as "splendour". This etymology would tie in well with Dagda's mythic association with the sun and the earth, with kingship and excellence in general. Dhago-deiwos would have been inherited into Proto-Celtic as Dago-deiwos, thereby punning with the Proto-Celtic word dago-s "good".http://en.wikipedia.org/wiki/The_Dagda In some texts, Dagda is a father-figure and a protector of the tribe; his mother is Danu.
This is an inner plate of the Gundestrup cauldron.

Exterior plate f

Detail from interior plate A

Interior plate C

Interior plate E

Base plate

The circular base plate depicts a bull. Above the back of the bull is a female figure wielding a sword, as well as two dogs, one over the bull's head and another under its hooves.

Exterior plates

Each of the seven exterior plates centrally depicts a bust. Plates a, b, c, and d show bearded male figures, and the remaining three are female.
On plate a, the bearded man holds in each hand a much smaller figure by the arm. Each of those two reach upward toward a small boar. Under the feet of the figures (on the shoulders of the larger man) are a dog on the left side and a winged horse on the right side.
The figure on plate b holds in each hand a sea-horse or dragon.
On plate c, a male figure raises his empty fists. On his right shoulder is a man in a "boxing" position, and on his left shoulder, there is a leaping figure with a small horseman underneath.
Plate d shows a bearded figure holding a stag by the hind quarters in each hand.
The female figure on plate e is flanked by two smaller male busts.
A female figure holds a bird in her upraised right hand on plate f. Her left arm is horizontal, supporting a man and a dog lying on its back. Two birds of prey are situated on either side of her head. Her hair is being plaited by a small woman on the right.
On plate g, the female figure has her arms crossed. On her right shoulder, a scene of a man fighting a lion is shown. On her left shoulder is a leaping figure similar to the one on plate c.

Interior plates

Plate A shows an antlered male figure seated in a central position, likely Cernunnos. In his right hand, the figure is holding a torc, and with his left hand, he grips a horned serpent by the head. To the left is a stag with antlers that are very similar to the humanoid. Surrounding the scene are other canine, feline, and bovine figures, as well as a human figure riding a fish or a dolphin. Between his antlers, is an unknown image, possibly a plant or a tree, the identity of which is currently disputed.
On plate B, the bust of a female is flanked by two six-spoked wheels, two elephant-like creatures, and two griffins. A large hound resides underneath the bust.
The bust of a bearded figure holding on to a broken wheel is the main constituent of plate C. A smaller, leaping figure with a horned helmet is also holding the rim of the wheel. Under the leaping figure is a horned serpent. The group is surrounded by griffins and other creatures, some similar to those on plate B. The wheel's spokes are rendered asymmetrical, but judging from the lower half, the wheel may have had twelve spokes.
Plate D depicts a bull-slaying scene. Three bulls are arranged in a row, facing right, and each of them is attacked by a man with a sword. A cat and a dog, both running to the left, appear respectively over and below each bull.
On the lower half of plate E, a line of warriors bearing spears and shields march to the left accompanied by carnyx players. On the left side, a large figure is immersing a smaller man in a cauldron. On the upper half, facing away from the cauldron are warriors on horseback.

"For many years, scholars have interpreted the cauldron's images in terms of the Celtic pantheon. The antlered figure in plate A has been commonly identified as Cernunnos, and the figure holding the broken wheel in plate C is more tentatively thought to be Taranis. There is no consensus regarding the other figures. Some Celticists have explained the elephants depicted on plate B as a reference to Hannibal's crossing of the Alps"
http://en.wikipedia.org/wiki/Gundestrup_cauldron

(base)

    Each plate of the cauldron is labeled after Klindt-Jensen
    whose labeling is generally adopted by the other scholars.
    Five inner plates are labeled in capitalized letters,
    and seven outer plates are labeled in small letters.

(A) (B) (C) (D) (E)

(a) (b) (c) (d) (e) (f) (g)

"This seal from the Indus Valley Civilization. is remarkably similar to the antlered figure of plate A."

(Taylor, Timothy (1992), “The Gundestrup cauldron”, Scientific American, 266: 84-89; Ross, Ann (1967), “The Horned God in Britain ”, Pagan Celtic Britain.)

See: http://www.hindunet.org/saraswati/gundestrup1.pdf for a bibliographical account of sources related to hieroglyphs on the gundestrup cauldron compared with Indus writing hieroglyphs. The comparable hieroglyphs could not have occurred merely by chance. It is reasonable to hypothesize 1. that Meluhhan artisans and traders of the Bronze Age had contacts with ancient Celts who created the hieroglyphs on the Gundestrup cauldron and 2. that these hieroglyphs are read rebus in Meluhha with glosses related to metalwork.

S. Kalyanaraman

Sarasvati Research Center

September 12, 2015

Mirror: http://tinyurl.com/p4cp7hn

Triskele decoration on bronze linchpins of a celtic war chariot is an elaborated trefoil hieroglyph of Indus Script.

Chariot burial at Wetwang and pair of linchpins of a chariot -- 3rd cent. BCE -- at Kirkburn are explained as 'celtic' heritage. Yes, celtic which is also linked with the Gundestrup cauldron with hieroglyph-multiplexes which closely resemble those and related hypertexts on Indus Script Corpora.

Pillar of the Boatmen includes a vivid portrayal of Cernunnos of the Gundestrup cauldron.Cernunnos celebrated on the Gundestrup cauldron is also identified unambiguously on a Pillar of Boatmen of 1st cent (French Pilier des nautes) with bas-relief depictions.

A key hieroglyph on the chariot parts and horse fittings of Wetwang and Kirkburn, including a horse-grooming tool is triskele.

Gold cup from Mycenae decorated with triskelions, in the National Archaeological Museum of Athens.

British Museum Pair of linchpins

Object type linch-pin

Museum number

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Description

Museum number

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The Kirkburn Sword

Iron Age, 300-200 BCFrom a burial at Kirkburn, East Yorkshire, England

Proabably the finest Iron Age sword in Europe

Photos: Bronze Remains of an Iron-Age Chariot

Base plate

The circular base plate depicts a bull. Above the back of the bull is a female figure wielding a sword, as well as two dogs, one over the bull's head and another under its hooves.

Exterior plates

Interior plates

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Iron Age, 300-200 BC
From a burial at Kirkburn, East Yorkshire, England