The gopuram of the mandiram is like a conical pillar of light  enveloped with flames.

Vinayaka in the garbhagrihaBrahma in the garbhagriha

Parvati in the garbhagrihsMahakala sivalinga being adorned with a face using bitumen, coloured clays, turmeric and bhang

bhaṅgá2 m. ʻ hemp ʼ AV., bhaṅgā -- f. ŚārṅgS.
Pa. bhaṅga -- n. ʻ hemp, coarse hempen cloth ʼ; Pk. bhaṁgā -- , °gī -- f. ʻ hemp ʼ; Kho. boṅ ʻ hemp, bhang ʼ; K. banga f. ʻ hemp ʼ, S. bhaṅga f., P. bhaṅg f.; WPah.bhal. bhaṅg ʻ bhang ʼ; Ku. bhāṅ ʻ hemp, bhang ʼ, bhāṅo ʻ hempseed ʼ; N. A. B. bhāṅ ʻ hemp ʼ, Or. bhāṅga, Bi. Mth. bhã̄g, Bhoj. bhāṅ; H. bhã̄g, bhaṅg f. ʻ hemp, bhang ʼ; G. M. bhã̄g f. ʻ hemp ʼ; Si. ban̆gahara ʻ intoxicating drink, arak ʼ, Md. ba(n)gurā ( -- hara, -- rā < rása -- ). -- Deriv.: S. H. bhaṅgī; m. ʻ hemp addict ʼ; -- A. bhaṅuwā ʻ addicted to hemp ʼ; -- Ku. bhaṅelo ʻ coarse hempen cloth ʼ, H. bhaṅgelā m.*bhaṅgakara -- .Addenda: bhaṅgá -- 2: S.kcch. bhaṅg f. ʻ a drink made from hemp ʼ; WPah.kṭg. bhāˋṅg f. ʻ hemp plant and drug produced from it ʼ, J. bhāṅg f. (CDIAL 9354)

Sringara Mahakala

Forhead and nose smeared with red ochre (?). Three eyes. 

The hieroglyph-multiplex connotes: smithy with brazier PLUS smelting process producing ingots of smelted metal.

Hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh 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 of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) 

kolmo 'three' Rebus: kolimi 'smithy, forge' kole.l 'smithy' rebus: kole.l 'temple'.  Pe. kaṇga (pl. -ŋ, kaṇku) 'eye'; (a) Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud. Ko. kaṇ eye. To. koṇ eye, loop in string. Ka.kaṇ eye, small hole, orifice. Koḍ. kaṇṇï id. Tu. kaṇṇů eye, nipple, star in peacock's feather, rent, tear. Te. kanu, kannu eye, small hole, orifice, mesh of net, eye in peacock's feather. Kol. kan (pl. kanḍl) eye, small hole in ground, cave. Nk. kan (pl. kanḍḷ) eye, spot in peacock's tail. Nk. (Ch.) kan (pl. -l) eye. Pa. (S. only) kan (pl. kanul) eye. Ga. (Oll.) kaṇ (pl. kaṇkul) id.; kaṇul maṭṭa eyebrow; kaṇa (pl. kaṇul) hole; (S.) kanu (pl. kankul) eye. Go. (Tr.) kan (pl. kank) id.; (A.) kaṛ (pl.kaṛk) id. Konḍa kaṇ id. Pe. kaṇga (pl. -ŋ, kaṇku) id. Manḍ. kan (pl. -ke) id. Kui kanu (pl. kan-ga), (K.) kanu (pl. kaṛka) id. Kuwi (F.) kannū (pl.kar&nangle;ka), (S.) kannu (pl. kanka), (Su. P. Isr.) kanu (pl. kaṇka) id. Kur. xann eye, eye of tuber; xannērnā (of newly born babies or animals) to begin to see, have the use of one's eyesight (for ērnā, see 903). Malt. qanu eye. Br. xan id., bud.(DEDR 1159a). Rebus: kāgni m. ʻ a small fire ʼ Vop. [ka -- 3 or kā -- , agní -- ]

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

Fully decorated face of Mahakala, covered with a hempen cloth.

 bhasmārati

Redecoration after  bhasmārati 

 Procession of utsava bera and festivities.

Remains of three stupas were found at Ujjain, close to a village called Kanipura. (ASI, 1938-39, p.14). Vaisya tekari is the biggest known stupa, 350 ft. dia at the base and about 100 ft. high. Brick masonry laid in mud mortar constitutes the facing. This stupa is perhaps earlier than Sanchi stupa and may be Pre-Mauryan.  

The name Kanipura rings a bell. It may be a region with mineral resources; a geological exploration to identify ancient mine-workings is suggested: 3873 khāni -- , °nī -- f. ʻ *digging instrument ʼ. 2. ʻ mine ʼ lex. [For twofold meaning ʻ digging and result of digging ʼ cf. khaní -- and khātra -- . -- √khan]
1. Kho. khen ʻ mattock, hoe ʼ.
2. Pk. khāṇĭ̄ -- f. ʻ mine ʼ; Gy. as. xani, eur. sp. xaní f., boh. xaníg f., gr. xaníng f. ʻ well ʼ; K. khān f. ʻ mine ʼ; S. khāṇi f. ʻ mine, quarry, water in a pit ʼ; L. khāṇ f. ʻ mine ʼ, P. khāṇī f., Ku. khāṇ, N. khāni; A. khāni ʻ quantity ʼ; B. khānī ʻ mine ʼ; Bi. khān ʻ cavity in oil or sugar mill ʼ, maṭi -- khān ʻ clay pit ʼ; Bhoj. Aw. lakh. khāni ʻ mine ʼ; H. khān f. ʻ mine, quarry, abundance ʼ; G. khāṇi, °ṇī f. ʻ mine, source ʼ, M. khāṇ, °ṇī f.; OSi. kani ʻ cave, cell ʼ, Si. käna ʻ bunch (of fruit), multitude ʼ. -- Kho.ken ʻ cave, hollow in cliff ʼ, Phal. kēṇ ← Ir.? <-> X *gaḍḍa q.v.
khānita -- see khánati.

khānya 3874 khānya ʻ anything being dug out ʼ Pāṇ. [Cf. khánya- ʻ coming from excavations ʼ TS. -- √khan]
Pk. khaṇṇa -- ʻ fit for digging ʼ, n. ʻ ditch ʼ; B. khānā ʻ pit, pond, ravine ʼ.

“Seals and amulets. Some seals and amulets found at Ujjain, Vidisa, Avra and Mahesvara are noreworthy from an artistic point of view. Two seals of ivory from Ujjain inscribed in early Brahmi script, are attributable to the third or second century BCE. One of the seals reads ‘Gosahitakasa’ and the other, possibly, ‘Pattilasa’. One jar found in the excavations at Ujjain contained a clay seal probably inscribed with the name of the person whose remains are among the contents. The seal also bears a figure of a seated bull, or Nandi. The same jar also contained a small clay seal resembling a small coin with a human head on the obverse, and a lotus flower on the reverse. A circular terracotta seal showing a tree in a railing on left, a crescent above at the top, and the Brahmi letters, ‘Paraya’, of the third-second century BCE was discovered at Avra. As the first letter is broken and missing, it is tentatively presumed to have been Aparaya, meaning the city of Apara. In this case, the name of the once flourishing city might have been Apara, which may later on have been corrupted into Avra. One ivory seal of this place representes the Mother-goddess, and another is inscribed in Mauryan Brahmi characters ‘Jidhavasa’. A copper amulet found at Vidisa is of a much earlier period. A couchant lion profile is the most artistic piece. Cylindrical copper tubes were used as amulets. One glass seal with an elephant impression was found at Mahesvara. BEADS. Beads of different shapes, sizes, and designs, were obtained from Ujjain, Mahesvara, Avra and Eran, and some of them are important from an artistic point of view. These are made of agate, carnelian, faience, steatite, terracotta, shell, glass, paste, etc. As unfinished beads have been found at Avra and Ujjain, this proves that there were local industries for the manufacture of beads…METAL OBJECTS> Different kinds of metal objects recovered from the old sites in the excavations, give an idea of the state of art during this period. Some objects were used for ornament, while others served domestic purposes. One small gold ornament found at Kasrawad (IHQ, XXV, p.1f.) is four inches in diameter, and it weighs seven grains. It is in the form of a wheel with eight spokes, with a hole in the centre. The workmanship is beautiful and delicate. At Avra, people used copper in manufacturing antimony rods, bangles and rings. Ivory bangles and rings were worn by the people, and a miniature dagger shaped object was used for decoration. Glass discs were popular at Nagda, Ujjain, and Mahesvara, during the Maurya period…Steatite lids, circular in shape and pinkish red in colour, discovered at Avra and Mahesvara, were objects of luxury, probably used for keeping precious articles.Copper was used for the manufacture of bars, rods, and hooks, as known from Avra. The use of iron increased greatly and it generally replaced the stone and copper objects. The iron objects recovered from the different sites are arrowheads, spearheads, nails, looped hooks, sickles, chisels etc. They were used as implements for agriculture and weapons for war. (Jain, Kailash Chand, 1972, .Malwa through the Ages from the earliest times to 1305 AD, Delhi, Motilal Banarsidas Publ., pp.131-134).

A precise note on the coinage of Eran is at http://coinindia.com/galleries-eran1.html

śakamayaṃ dhūmam ārād apaśyaṃ viṣūvatā para enāvareṇa |
ukṣāṇam pṛśnim apacanta vīrās tāni dharmāṇi prathamāny āsan ||RV 1.164.43 I beheld near (me) the smoke of burning cow-dung; and by that tall-pervading mean (effect, discovered the cause (fire); the priests have the Soma ox, for such are their first duties. [The Soma ox: uks.a_n.am pr.s'nim apacanta: pr.s'ni = Soma; uks.a_n.am =  the shedder or bestower of the reward of the sacrifice]. 

oṁ pūrṇam adaḥ pūrṇam idaṁ
pūrṇāt pūrṇam udacyate
pūrṇasya pūrṇam ādāya
pūrṇam evāvaśiṣyate Isopanishad Invocation

The Personality of Godhead is perfect and complete. And because He is completely perfect, all emanations from Him, such as this phenomenal world, are perfectly equipped as a complete whole. Whatever is produced of the Complete Whole is also complete by itself. And because He is the Complete Whole, even though so many complete units emanate from Him, He remains the complete balance.

īśāvāsyam idam sarvaṁ
yat kiñca jagatyāṁ jagat
tena tyaktena bhuñjīthā
mā gṛdhaḥ kasya svid dhanam (Verse 1)

Everything animate or inanimate that is within the universe is controlled and owned by the Lord. One should therefore accept only those things necessary for himself, which are set aside as his quota, and one must not accept other things, knowing well to Whom they belong.

hiraṇmayena pātreṇa
satyasyāpihitaṁ mukham
tat tvaṁ pūṣann apāvṛṇu
satya-dharmāya dṛṣṭaye (Verse 15)

O my Lord, Sustainer of all that lives, Your real face is covered by Your dazzling effulgence. Kindly remove that covering and exhibit Yourself to Your pure devotee.

http://theharekrishnamovement.org/2012/12/01/sri-isopani%E1%B9%A3ad-mantras/#more-4748  

http://www.archive.org/stream/bhilsatopesorbud00cunn#page/258/mode/2up 
Alexander Cunningham notes: “Chhod-ten, means simply an ‘offering’ to the Deity; the latter, Dung-ten, is emphatically a ‘bone,’ or relic-receptacle…The same distinction is preserved in the Sanskrit terms, Chaitya and Dhatugarbha or Dhagoba. The former is properly a religious edifice, dedicated to Adi-Buddha, while the latter is only a ‘relic-shrine’, or repository of ashes. The word Chaitya, however, means any sacred object—as a tree, an altar, a temple—as well as any monument raised at the site of a funeral pile, as a mound or a pillar: Chaitya may therefore, perhaps, be only a general term for both kinds of mound; while Dhatugarbha or Dhagoba is particularly restricted to the ‘relic’ shrine. The word TOPE is derived from Afghanistan, where it is used to designate all the solid mounds of masonry…The same term is also applied to the massive tower of Manikyaloa in the Panjab, as well as to all the smaller towers in its neighbourhood. There can be no doubt therefore that the name of Tope is the same as the Pali Thupo, and the Sanskrit Stupa, a ‘mound’ or ‘tumulus’, both of which terms are of constant use in the Buddhist books. Stupa or Tope, is therefore a name common to each kind of tumulus; whether it be the solid temple mound erected over the relics of sakya, or of one of his more eminent followers…From several passages in the Pali Buddhistical annals, it would appear that Topes were in existence prior to Sakya advent; and that they were objects of much reverence to the people. Sakya himself especially inculcated the maintenance of these ancient Chaityas, and the continuance of the accustomed offerings and worship…It appears also that Stupas had been erected over Supreme Monarchs prior to Sakya’s advent, for Sakya particularly informs his disciple Ananda that, over the remains of Chakravarti Raja, ‘they build the thupa at a spot where four principal roads meet…” (pp.9-11) Topes are of ashes of those who had reached the rank of Bodhisatva. The aim of each successive existence was to win reabsorption with the divine essence of God which was the original source of the aatman. “...man is the united production of both – a compound of mind and matter, or soul and body. According to the Aiswarikas, the human body, as well as the material universe, was compounded of the five elements: earth, water, fire, air and ether. The soul, which animates it, was an emanation from the self-existent God. Man was, therefore, esmphatically the ‘Union’ (Sangha) of material essence (dharma) with a portion of the ‘divine intelligence’ (Buddha).” (p.17)

Archaeological sites of the civilization on Sindhu, Sarasvati river basins.https://sites.google.com/site/kalyan97/indus-writing

A tablet from Mohenjo-daro, excavation number HR 4161, now in the National Museum of India, New Delhi.

h097 Text 4251 h097 Pict-95: Seven robed figures (with stylized twigs on their head and pig-tails) standing in a row.

A group of six or seven women wearing twigs may not represent Pleiades, bagaḷā). The groups of such glyphs occur on four inscribed objects of Indus writing. (See four pictorial compositions on: m1186A, h097, m0442At m0442Bt). Glyph (seven women): bahula_ = Pleiades (Skt.) bagaḷā = name of a certain godess (Te.) bagaḷā ,bagaḷe, vagalā (Ka.); baka , bagaḷlā , vagaḷā (Te.) bakkula = a demon, uttering horrible cries, a form assumed by the Yakkha Ajakalāpaka, to terrify the Buddha (Pali.lex.) bahulā f. pl. the Pleiades VarBr̥S., likā -- f. pl. lex. [bahulá -- ] Kal. bahul the Pleiades , Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle (CDIAL 9195) bahulegal. = the Pleiades or Kṛittikā-s (Ka.lex.) bahula_ (VarBr.S.); bahul (Kal.) six presiding female deities: vahulā the six presiding female deities of the Pleiades (Skt.); vākulai id. (Ta.)(Ta.lex.) Pleiades: bahulikā pl. pleiades; bahula born under the pleiades; the pleiades (Skt.lex.) bahule, bahulegal. the pleiades or kr.ttikās (Ka.)(Ka.lex.) Image: female deities of the pleiades: vākulēyan- < va_kulēya Skanda (Ta.lex.) பாகுளி pākuḷi, n. perh. bāhulī. Full moon in the month of Puraṭṭāci; புரட்டாசி மாதத்துப் பெளர்ணமி. அதைப் பாகுளி யென்று (விநாயகபு. 37, 81). Glyph (twig on head on seven women): adaru ‘twig’; rebus: aduru ‘native metal’. Thus, the seven women ligatured with twigs on their heads can be read as: bahulā + adaru; rebus: bangala ‘goldsmith’s portable furnace’ + aduru ‘native metal’. bāhulēya Kārttikēya, son of S'iva; bāhula the month kārttika (Skt.Ka.)(Ka.lex.) வாகுலை vākulai, n. < Vahulā. The six presiding female deities of the Pleiades. Rebus: bagalo = an Arabian merchant vessel (G.lex.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.) bagalo = an Arabian merchant vessel (G.lex.) cf. m1429 seal. बहुल Born under the Pleiades; P.IV.3.33. An epithet of fire. -ला 1 A cow; कस्मात् समाने बहुलाप्रदाने सद्भिः प्रशस्तं कपिलाप्रदानम् Mb.13.77.9. The Pleiades (pl.) -लम् 1 The sky. बहुलिका (pl.) The Pleiades. बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. बाहुलेयः An epithet of Kārtikeya.बाहुल्यम् 1 Abundance, plenty, copiousness. -2 Manifoldness, multiplicity, variety. -3 The usual course or common order of things. (बाहुल्यात्, -ल्येन 1 usually, commonly. -2 in all probability.) बाह्लिः N. of a country (Balkh). -Comp. -ज, -जात a. bred in the Balkh country, of the Balkh breed.बाह्लकाः बाह्लिकाः बाह्लीकाः m. (pl.) N. of a people.-कम् 1 Saffron; ... प्रियाङ्गसंगव्यालुप्तस्तनतटबाह्लिक- श्रियो$पि दृश्यन्ते बहिरबलाः Rām. Ch.7.64. Amarakosha makes references to the Saffron of Bahlika and Kashmira countries (Amarkosha, p 159, Amarsimha.) 

https://www.youtube.com/watch?v=JuIQ57qswb0 Bhasmarti Ujjain Mahakaleshwar 1.26.53

[Pleiades, (twigs as headdress) scarfed, framework,  scarfed person, worshipper, markhor, ficus religiosa] Brief memoranda:

Hieroglyph: మండ [ maṇḍa ] manḍa. [Tel.] n. A twig with leaves on it. Rebus: mã̄ḍ m. ʻ array of instruments &c. (CDIAL 9736) maṇḍa 'iron dross, slag' Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M). Ma. <i>mErhE'd</i> `iron'.Mu. <i>mERE'd</i> `iron'.  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).Ho <i>meD</i> `iron'.Bj. <i>merhd</i>(Hunter) `iron'.KW <i>mENhEd</i> (Munda)

bahulā f. pl. ʻ the Pleiades ʼ VarBr̥S., °likā -- f. pl. lex. [bahulá -- ]Kal. bahul ʻ the Pleiades ʼ, Kho. ból, (Lor.) boul, bolh, Sh. (Lor.) b*lle.(CDIAL 9195) பாகுலம் pākulam , n. < bāhula. The month of Kārttikai = November-December; கார்த்திகை மாதம். (W.) పావడము [ pāvaḍamu ] pāvaḍamu. [Tel.] n. A present, gift. కానుక. बाहुल्य [ bāhulya ] n (S) Abundance, copiousness, plenty.

Rebus: Manifold: bāhula बाहुल a. Manifold. -लः Fire; शीतरुजं समये च परस्मिन् बाहुलतो रसिका शमयन्ती Rām. Ch.4.99. -2 The month Kārtika. -लम् 1 Manifoldness. -2 An armour for the arms, vantbrass. -ली The day of full moon in the month of Kārtika.

Rebus: பாகுடம் pākuṭam, n. < Pkt. pāuḍa < prābhṛta. [K. pāvuḍa.] 1. Gift, present; கையுறை. நரிப் படைக்கொரு பாகுடம்போலே (திவ். பெரியாழ். 4, 5, 8). 2. Royal revenue, impost, tribute; அரசிறை. (சூடா.)

Hieroglyph: bagala 'Pleiades' Rebus: బంగల [ baṅgala ] bangala. [Tel.] n. An oven. కుంపటి.(Telugu) பங்காரு paṅkāru 

 , n. < T. baṅgāru. [K. baṅgāra.] Gold; பொன். Loc. 

 Pa. Pk. bahala-- ʻ dense, thick ʼ(CDIAL 9182)

bhaṭā 'brick kiln' (Assamese) بټ baṯṯ, s.m. (2nd) A large iron pan or cauldron for roasting grain, a furnace, a kiln.(Pashto)

bhuvɔ m. ʻ worshipper in a temple ʼ (Gujarati) rather < bhr̥ta --(CDIAL 9554) Yājñ.com., Rebus: bhaṭā‘kiln, furnace’ Pk. bhuaga -- m. ʻ worshipper in a temple ʼPk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ(CDIAL 9558)

*bhr̥tagātu ʻ hero song ʼ. [bhr̥ta -- , gātú -- 2] Ku. bhaṛau ʻ song about the prowess of ancient heroes ʼ.(CDIAL 9590)

m0448 (Framework, tiger, scarfed person, worshipper, twig, horn, markhor, stool, ladle)

kole.l 'temple' Rebu: kole.l 'smithy' (Kota) baTa 'rimless pot' Rebus: bhaTa 'furnace, kiln'.

dhatu + bhaTa 'scarf + worshipper, bard' Rebus: dhatu bhaTa 'iron ore smelter' 

Offering hieroglyph-multiplex: worshipper, scarfed + human face+ markhor: cast iron ingots

Hieroglyph: miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.) Rebus: meḍ (Ho.); mẽṛhet‘iron’ (Munda.Ho.)

Hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh 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 of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) 

m1186 (DK6847) [Pleiades, scarfed, framework, ficus religiosa , scarfed person, worshipper, twigs (on head), horn, markhor, human face ligatured to markhor, stool, ladle, frame of a building] Brief memoranda:

baTa 'ficus benghalensis, banyan' Rebus: bhaTa 'furnace, kiln, smelter' dhatu 'scar' Rebus: dhatu 'iron mineral'. koD 'horn' Rebus: koD 'workshop' kuTi 'twig' Rebus: kuThi 'smelter'. karã̄ n. pl. wristlets, banglesRebus: khAr 'blacksmith, iron worker'

Ficus benghalensis

The hieroglyph-multiplex denotes: iron smelter, iron worker.

Hieroglyph: karã̄ n. pl. wristlets, bangles: kará1 ʻ doing, causing ʼ AV., m. ʻ hand ʼ RV. [√kr̥1]Pa. Pk. kara -- m. ʻ hand ʼ; S. karu m. ʻ arm ʼ; Mth. kar m. ʻ hand ʼ (prob. ← Sk.); Si. kara ʻ hand, shoulder ʼ, inscr. karā ʻ to ʼ < karāya. -- Deriv. S. karāī f. ʻ wrist ʼ; G. karã̄ n. pl. ʻ wristlets, bangles ʼ.(CDIAL 2779)

Hieroglyph: dhatu 'scarf' Rebus: dhatu 'mineral ore' Thus, dhatu + karã̄ Rebus: dhatu khār ' iron ore (mineral) worker'.

Hieroglyph: scarf: *dhaṭa2, dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465]Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ.*dhaṭavastra -- .Addenda: *dhaṭa -- 2. 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707)

Rebus:  dhā̆vaḍ iron smelter: 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 partic. soft red stone ʼ (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)

khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17).

khāra-basta खार-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 -। लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü - । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -), a blacksmith's smelting furnace; cf. hāl 5. -kūrü - । लोहकारकन्या f. a blacksmith's daughter. -koṭu  । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -। 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)

Hieroglyph: vaṭa1 m. ʻ the banyan Ficus indica ʼ MBh.Pa. vaṭa -- m. ʻ banyan ʼ, Pk. vaḍa -- , °aga -- m., K. war in war -- kulu m., S. baṛu m. (← E); P. vaṛ, baṛ m., vohṛ, bohṛ f. ʻ banyan ʼ, vaṛoṭā, ba° m. ʻ young banyan ʼ (+?); N. A. bar ʻ banyan ʼ, B. baṛ, Bi. bar (→ Or. bara), H. baṛ m. (→ Bhoj. Mth. baṛ), G. vaṛ m., M. vaḍ m., Ko. vaḍu.*vaṭapadra -- , *vaṭapātikā -- .Addenda: vaṭa -- 1: Garh. baṛ ʻ fig tree ʼ.(CDIAL 11211) *vaṭapadra ʻ a place -- name ʼ. [vaṭa -- 1, padrá -- ?] Pk. vaḍavadda -- n. ʻ name of a town in Gujarat ʼ, G. vaṛod ʻ Baroda ʼ ODBL 497. (CDIAL 11214) *vaṭapātikā ʻ falling from banyan ʼ. [vaṭa -- 1, pāta -- ]G. vaṛvāī f. ʻ hanging root of banyan tree ʼ.(CDIAL 11215) Rebus: bhaṭṭhā 'kiln' bhaṭhī 'furnace'.

bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh.bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.
bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.*bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2]P. bhaṭhūhar, °hrā, bhaṭhūrā, °ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- .*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]
P. bhaṭhiār, °ālā m. ʻ grainparcher's shop ʼ.(CDIAL 9656-9658)

Meluhha rebus representations are: bica ‘scorpion’ bica ‘stone ore’.

kuṭire bica duljad.ko talkena, they were feeding the furnace with ore. In this Santali sentence bica denotes the hematite ore. For example, samṛobica,  'stones containing gold' (Mundari) meṛed-bica 'iron stone-ore' ; bali-bica, iron sand ore (Munda). mẽṛhẽt, meḍ ‘iron’(Munda. Ho.)

Santali glosses.

Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).

Ma. <i>mErhE'd</i> `iron'.

Mu. <i>mERE'd</i> `iron'.

  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).

Ho <i>meD</i> `iron'.

Bj. <i>merhd</i>(Hunter) `iron'.

KW <i>mENhEd</i>

@(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’.

Hieroglyph of a worshipper kneeling: Konḍa (BB) meḍa, meṇḍa id. Pe. menḍa id. 
Manḍ. menḍe id. Kui menḍa id. Kuwi (F.) menda, (S. Su. P.) menḍa, (Isr.) meṇḍa id.
Ta. maṇṭi kneeling, kneeling on one knee as an archer. Ma.maṇṭuka to be seated on the heels. Ka. maṇḍi what is bent, the knee. Tu. maṇḍi knee. Te. maṇḍĭ̄ kneeling on one knee. Pa.maḍtel knee; maḍi kuḍtel kneeling position. Go. (L.) meṇḍā, (G. Mu. Ma.)  Cf. 4645 Ta.maṭaṅku (maṇi-forms). / ? Cf. Skt. maṇḍūkī- (DEDR 4677)

See: http://bharatkalyan97.blogspot.in/2014/09/catalogs-of-pola-kuntha-gota-bichi.html                      Hieroglyph: 'human face': mũhe ‘face’ (Santali) 

Rebus: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh 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 of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) 

m1175 Composite animal with a two-glyph inscription (water-carrier, rebus: kuti 'furnace'; road, bata; rebus: bata 'furnace'). m1186A Composite animal hieroglyph. Text of inscription (3 lines).

There are many examples of the depiction of 'human face' ligatured to animals:

Mohenjodaro seal (m0302).

The composite animal glyph is one example to show that rebus method has to be applied to every glyphic element in the writing system. 

This image is also interpreted in corpora (e.g. Mahadevan's Corpus of Indus script) as: body of a ram, horns of a bison, trunk of elephant, hindlegs of a tiger and an upraised serpent-like tail.

m1177 Mohenjo-daro seal.

m1186, m301, m302, m300

Mohenjodaro seals shows a 'composite animal' hieroglyph-muliplex, hypertext composition.

Ligatured faces: some close-up images.
The animal is a quadruped: pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Te.)Rebus: pasra ‘smithy’ (Santali) Allograph: panǰā́r ‘ladder, stairs’(Bshk.)(CDIAL 7760) Thus the composite animal connotes a smithy. Details of the smithy are described orthographically by the glyphic elements of the composition.

Rebus reading of the 'face' glyph: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali)mũh 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 of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.) kaula mengro ‘blacksmith’ (Gypsy) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit loss mleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.

A remarkable phrase in Sanskrit indicates the link between mleccha and use of camels as trade caravans. This is explained in the lexicon of Apte for the lexeme: auṣṭrika 'belonging to a camel'. The lexicon entry cited Mahābhārata: औष्ट्रिक a. Coming from a camel (as milk); Mb.8. 44.28; -कः An oil-miller; मानुषाणां मलं म्लेच्छा म्लेच्छाना- मौष्ट्रिका मलम् । औष्ट्रिकाणां मलं षण्ढाः षण्ढानां राजयाजकाः ॥ Mb.8.45.25. From the perspective of a person devoted to śāstra and rigid disciplined life, Baudhāyana thus defines the word म्लेच्छः mlēcchḥ : -- गोमांसखादको यस्तु विरुद्धं बहु भाषते । सर्वाचारविहीनश्च म्लेच्छ इत्यभिधीयते ॥ 'A person who eatrs meat, deviates from traditional practices.'

The 'face' glyph is thus read rebus: mleccha mũh 'copper ingot'.

It is significant that Vatsyayana refers to crptography in his lists of 64 arts and calls it mlecchita-vikalpa, lit. 'an alternative representation -- in cryptography or cipher -- of mleccha words.'

The glyphic of the hieroglyph: tail (serpent), face (human), horns (bos indicus, zebu or ram), trunk (elephant), front paw (tiger): 

poLa 'bos indicus, zebu' Rebus: poLa 'magnetite'

karibha 'trunk of elephant' (Pali) ibha 'elephant' (Samskritam) Rebus: karba 'iron' (Ka.)(DEDR 1278) as in ajirda karba 'iron' (Ka.) kari, karu 'black' (Ma.)(DEDR 1278) karbura 'gold' (Ka.) karbon 'black gold, iron' (Ka.) kabbiṇa 'iron' (Ka.) karum pon 'iron' (Ta.); kabin 'iron' (Ko.)(DEDR 1278) Ib 'iron' (Santali) [cf. Toda gloss below: ib ‘needle’.] Ta. Irumpu iron, instrument, weapon. a. irumpu,irimpu iron. Ko. ibid. To. Ib needle. Koḍ. Irïmbï iron. Te. Inumu id. Kol. (Kin.) inum (pl. inmul)iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285). (DEDR 486) Allograph: karibha -- m. ʻ Ficus religiosa (?) [Semantics of ficus religiosa may be relatable to homonyms used to denote both the sacred tree and rebus gloss: loa, ficus (Santali); loh ‘metal’ (Skt.)] 

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120)bhēḍra -- , bhēṇḍa -- m. ʻ ram ʼ lex. [← Austro -- as. J. Przyluski BSL xxx 200: perh. Austro -- as. *mēḍra ~ bhēḍra collides with Aryan mḗḍhra -- 1 in mēṇḍhra -- m. ʻ penis ʼ BhP., ʻ ram ʼ lex. -- See also bhēḍa -- 1, mēṣá -- , ēḍa -- . -- The similarity between bhēḍa -- 1, bhēḍra -- , bhēṇḍa -- ʻ ram ʼ and *bhēḍa -- 2 ʻ defective ʼ is paralleled by that between mḗḍhra -- 1, mēṇḍha -- 1 ʻ ram ʼ and *mēṇḍa -- 1, *mēṇḍha -- 2 (s.v. *miḍḍa -- ) ʻ defective ʼ](CDIAL 9606) mēṣá m. ʻ ram ʼ, °ṣīˊ -- f. ʻ ewe ʼ RV. 2. mēha -- 2, miha- m. lex. [mēha -- 2 infl. by mḗhati ʻ emits semen ʼ as poss. mēḍhra -- 2 ʻ ram ʼ (~ mēṇḍha -- 2) by mḗḍhra -- 1 ʻ penis ʼ?]1. Pk. mēsa -- m. ʻ sheep ʼ, Ash. mišalá; Kt. məṣe/l ʻ ram ʼ; Pr. məṣé ʻ ram, oorial ʼ; Kal. meṣ, meṣalák ʻ ram ʼ, H. mes m.; -- X bhēḍra -- q.v.2. K. myã̄ -- pūtu m. ʻ the young of sheep or goats ʼ; WPah.bhal. me\i f. ʻ wild goat ʼ; H. meh m. ʻ ram ʼ.mēṣāsya -- ʻ sheep -- faced ʼ Suśr. [mēṣá -- , āsyà -- ](CDIAL 10334) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Mu.) Allograph: meḍ ‘body ' (Mu.)

The glyphic elements of the composite animal shown together with the glyphs of fish, fish ligatured with lid, arrow (on Seal m0302) are:

--ram or sheep (forelegs denote a bovine)

--neck-band, ring

--bos indicus (zebu)(the high horns denote a bos indicus)

--elephant (the elephant's trunk ligatured to human face)

--tiger (hind legs denote a tiger)

--serpent (tail denotes a serpent)

--human face

All these glyphic elements are decoded rebus:

meḍho a ram, a sheep (G.)(CDIAL 10120); 

kaḍum ‘neck-band, ring’ 

adar ḍangra ‘zebu’

ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Ko.)

kolo ‘jackal’ (Kon.)

mũhe ‘face’ (Santali); mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali)

கோடு kōṭu : •நடுநிலை நீங்குகை. கோடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.] Tusk; யானை பன்றிகளின் தந்தம். மத்த யானையின் கோடும் (தேவா. 39, 1). 4. Horn; விலங்கின் கொம்பு. கோட்டிடை யாடினை கூத்து (திவ். இயற். திருவிருத். 21). Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)

meḍ ‘iron’ (Ho.)

khāḍ ‘trench, firepit’

aduru ‘native metal’ (Ka.) ḍhangar ‘blacksmith’ (H.)

kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.)

mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)

koḍ = the place where artisans work (G.) 

Orthographically, the glytic compositions add on the characteristic short tail as a hieroglyph (on both ligatured signs and on pictorial motifs)

xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)கொல் kol, n. 1. Iron; இரும்பு. மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550). 2. Metal; உலோகம். (நாமதீப. 318.) கொல்லன் kollaṉ, n. < T. golla. Custodian of treasure; கஜானாக்காரன். (P. T. L.) கொல்லிச்சி kollicci, n. Fem. of கொல்லன். Woman of the blacksmith caste; கொல்லச் சாதிப் பெண். (யாழ். அக.) The gloss kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë blacksmith (DEDR 2133). Vikalpa:dumba दुम्ब or (El.) duma दुम । पशुपुच्छः m. the tail of an animal. (Kashmiri) Rebus: ḍōmba ?Gypsy (CDIAL 5570). 

A remarkable evidence is provided by a lexeme in Kota. The lexeme is: kole.l ‘smithy, temple’ (Kota) kwala·l Kota smithy (Toda)kol ‘working in iron, blacksmith (Tamil)(DEDR 2133)Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge. (DEDR 2133).

kula कुल (Monier-Williams lexicon): (with शाक्तs) N. of शक्ति and of the rites observed in her worship (cf. कौल); m. the chief of a corporation or guild. 

kolma = a paddy plant (Santali) Rebus: kolime= furnace (Ka.)

2949 Dotted circles 2950 Rojdi

kolom = cutting, graft; to graft, engraft, prune; kolom dare kana = it is a grafted tree; kolom ul = grafted mango; kolom gocena = the cutting has died; kolom kat.hi hor.o = a certain variety of the paddy plant (Santali); kolom (B.); kolom mit = to engraft; kolom porena = the cutting has struck root; kolom kat.hi = a reed pen (Santali.lex.) cf. kolom = a reed, a reed-pen (B.); qalam (Assamese.Hindi); kolma hor.o = a variety of the paddy plant (Desi)(Santali.lex.Bodding) kolom baba = the threshed or unthreshed paddy on the threshing floor; kolom-ba_rum = the weight a man carries in taking the paddy from the threshing floor to his house; kolom = a threshing floor (Mundari); cf. kal.am (Tamil) [Note the twig adoring the head-dress of a horned, standing person]

ku_l.e stump (Ka.) [ku_li = paddy (Pe.)] xo_l = rice-sheaf (Kur.) ko_li = stubble of jo_l.a (Ka.); ko_r.a = sprout (Kui.) ko_le = a stub or stump of corn (Te.)(DEDR 2242). kol.ake, kol.ke, the third crop of rice (Ka.); kolake, kol.ake (Tu.)(DEDR 2154)

Hieroglyph: xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.) கொல் kol, n. 1. Iron; இரும்பு. மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550). 2. Metal; உலோகம். (நாமதீப. 318.) கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். (Tamil) கொல்லன் kollaṉ, n. < T. golla. Custodian of treasure; கஜானாக்காரன். (P. T. L.) கொல்லிச்சி kollicci, n. Fem. of கொல்லன். Woman of the blacksmith caste; கொல்லச் சாதிப் பெண். (யாழ். அக.) The gloss kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë blacksmith (DEDR 2133). 

kolo ‘jackal’ (Konkani) kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ, °lũ n. ʻ jackal ʼ, M. kolhā, °lā m. krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ. [√kruś] Pa. koṭṭhu -- , °uka -- and kotthu -- , °uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal (Marathi) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.) Allograph: kōla = woman (Nahali) [The ligature of a woman to a tiger is a phonetic determinant; the scribe clearly conveys that the gloss represented is kōla] kola 'tiger' kola 'woman' 

A composite terracotta feline wearing necklace like a woman. kola 'tiger' kola 'woman' Rebus: kol 'working in iron'. Nahali (kol ‘woman’) and Santali (kul ‘tiger’; kol ‘smelter’).

kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali) kolme =furnace (Ka.)  kol = pan~calo_ha (fivemetals); kol metal (Ta.lex.) pan~caloha =  a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Man:garāja’s Nighaṇṭu. 498)(Ka.)

Rebus: kol 'working in iron'. Ta. kol working in iron, blacksmith; kollaṉ blacksmith. 

Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka.kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith (Gowda) kolla id. Koḍ. kollë 

blacksmith. Te. kolimi furnace. Go.(SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge(DEDR 2133).

Kalibangan 37, 34

Two Kalibangan seals show an antelope and fish glyphs as the inscription. Mẽḍha ‘antelope’; rebus: ‘iron’ (Ho.) ayo ‘fish’; rebs: ayo ‘metal’ (G.) [These are examples which clearly demonstrate that Indus script is a glyptic writing system and hence, all glyphs and glyptic elements have to be decoded.] miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) meḍ ‘iron’. ayo, hako ‘fish’; ãs = scales of fish (Santali) Rebus: aya 

‘metal, iron’ (Gujarati); ayah, ayas = metal (Samskritam)

Copper plate inscription. Antelope. Short tail upturned. Trough in front.

Banawali seal (B-11)

Mohenjodaro seal (M-271) without any sign

Mohenjodaro seal (M-272)

Impression of an Indus-style cylinder seal of unknown Near Eastern origin (After Fig. 6 http://www.akhabataku.com/IndusScript.htm) "One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre." (Parpola, 2001)

Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BCE. Credit Harappa.com
Dholavira Seal. 117 antelope; sun motif
Dholavira Seal 56 A horned person standing between two branches of a tree, each with three leaves on outer side and one at the top; a devotee kneels, hands touching the ground; R lower side, a goat with outstretched wavy horns, upturned tail. Vertical perforation.
Dholavira 34 Seal.

 Dholavira 40 Seal. Three-headed animal, plant; sun motif

Sources for Dholavira inscriptions: http://bharatkalyan97.blogspot.in/2015/04/excavations-at-dholavifra-1989-2005-rs.html

Hieroglyph: arka 'sun' Rebus: arka 'copper' (Kannada) eraka 'moltencast copper'(Tulu) 
அருக்கம்¹ arukkam, n. < arka. (நாநார்த்த.) 1. Copper; செம்பு. 

(Tamil) అగసాలి (p. 0023) [ agasāli ] or అగసాలెవాడు agasāli. [Tel.] n. A goldsmith. కంసాలివాడు.(Telugu) Kannada (Kittel lexicon):

Hieroglyph: करडूं or करडें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. कराडूं (p. 137) [ karāḍūṃ ] n (Commonly करडूं) A kid. (Marathi) Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. (Marathi) G. karãḍɔ m. ʻ wicker or metal box ʼ,(CDIAL 2792) Allograph: Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼS. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f.,kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ, °ḍī ʻ back ʼ; P. kaṇḍ f. ʻ back, pubes ʼ(CDIAL 2670)

Hieroglyph: mlekh 'goat' Rebus: milakkhu 'copper' mleccha 'copper'

Hieroglyph: kolmo 'sprout' Rebus: kolami 'smithy, forge'

Hieroglyph: barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi)

Hieroglyph: one-horned young bull: खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf.(Marathi) खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl.खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडी [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.)

Hieroglyph: kōḍ 'horn' Rebus: kōḍ 'place where artisans work, workshop' কুঁদন, কোঁদন [ kun̐dana, kōn̐dana ] n act of turning (a thing) on a lathe; act of carving (Bengali) कातारी or कांतारी (p. 154) [ kātārī or kāntārī ] m (कातणें) A turner.(Marathi)

Rebus: खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver.

खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work.खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engraveखोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured.

Hieroglyph: horn: 

Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree;kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. ko·ṛ (obl. ko·ṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kw&idieresisside;ṛ (obl. kw&idieresisside;ṭ-) horn, branch, path across stream in thicket. Ka.kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn. Ga. (Oll.) kōr (pl.kōrgul) id. Go. (Tr.) kōr (obl. kōt-, pl. kōhk) horn of cattle or wild animals, branch of a tree; (W. Ph. A. Ch.) kōr (pl. kōhk), (S.) kōr (pl. kōhku), (Ma.)kōr̥u (pl. kōẖku) horn; (M.) kohk branch (Voc. 980); (LuS.) kogoo a horn. Kui kōju (pl. kōska) horn, antler. (DEDR 2200)

  
Hieroglyph: Te. kōḍiya, kōḍe young bull; adj. male (e.g. kōḍe dūḍa bull calf), young, youthful; kōḍekã̄ḍu a young man. Kol. (Haig) kōḍē bull. Nk. khoṛe 
male calf. Konḍa kōḍi cow; kōṛe young bullock. Pe. kōḍi cow. Manḍ. kūḍi id.
 Kui kōḍi id., ox. Kuwi (F.) kōdi cow; (S.) kajja kōḍi bull; (Su. P.) kōḍicow. (DEDR 2199)

Rebus: kũdār ‘turner’ (Bengali)

m278 Mohenjo-daro Seal.
The tail of elephant, rhinoceros on these seals is comparable to the Sign kolmo 'rice plant' (Santali) Rebus: kolimi 'smithy, forge'

Jasper Akkadian cylinder seal

Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held. 

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

If the hieroglyph on the leftmost is moon, a possible rebus reading: قمر ḳamar

A قمر ḳamar, s.m. (9th) The moon. Sing. and Pl. See سپوږمي or سپوګمي (Pashto) Rebus: kamar 'blacksmith'.

kulā hooded snake Rebus: kolle'blacksmith'kolhe'smelters'

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

kamar'moon' Rebus: kamar'blacksmith'

arka'sun' Rebus: arka, eraka 'copper, gold, moltencast, metal infusion'

lokANDa 'overflowing pot' Rebus: lokhaNDa 'metal implements, excellent 

implements'

aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)

baTa 'six' Rebus: bhaTa 'furnace' PLUS meDh 'curl' Rebus: meD 'iron'

 Set A: hieroglyphs; Set B: Indus Script cipher: rebus-metonymy layered Meluhha (Proto-Prakritam) words. 

In a Venn diagram, the intersecting sets of hieroglyphs and homonyms signified 

by the homonyms (similar sounding words)constitute one subset: 

metalworkers. 

See: http://bharatkalyan97.blogspot.com/2015/08/set-theory-venn-diagram-set.html

The 'face' glyph is thus read rebus: mleccha mũh 'copper ingot'.

It is significant that Vatsyayana refers to crptography in his lists of 64 arts and calls it mlecchita-vikalpa, lit. 'an alternative representation -- in cryptography or cipher -- of mleccha words.'

The glyphic of the hieroglyph: tail (serpent), face (human), horns (bos indicus, zebu or ram), trunk (elephant), front paw (tiger),

kulā 'hood of snake' as tail

 This hieroglyph appears on Jasper Akkadian cylinder seal.  kulā hood of snake Rebus: kolle'blacksmith'

One Proto-Prakritam word signifies both 'tail' and 'hood of serpent'. The word is: xolā 'tail' of antelope andkulā hooded snake as tail. A similar sounding word signifies a blacksmith or smelter: kolle 'blacksmith' kolhe 'smelter'. These can be cited as 'signature' tunes of the writing system, to convey the semantics of a metalworker -- a smith or a smelter.  

See: 

http://bharatkalyan97.blogspot.in/2015/09/indus-script-corpora-signify-kolhe.html

xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)கொல் kol, n. 1. Iron; இரும்பு. மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550). 2. Metal; உலோகம். (நாமதீப. 318.) கொல்லன் kollaṉ, n. < T. golla. Custodian of treasure; கஜானாக்காரன். (P. T. L.) கொல்லிச்சி kollicci, n. Fem. of கொல்லன். Woman of the blacksmith caste; கொல்லச் சாதிப் பெண். (யாழ். அக.) The gloss kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë blacksmith (DEDR 2133). Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge (DEDR 2133) கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். (Tamil) mũhe ‘face’ (Santali); Rebus: mũh '(copper) ingot' (Santali);mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) கோடு kōṭu : •நடுநிலை நீங்குகை. கோடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.] Tusk; யானை பன்றிகளின் தந்தம். மத்த யானையின் கோடும் (தேவா. 39, 1). 4. Horn; விலங்கின் கொம்பு. கோட்டிடை யாடினை கூத்து (திவ். இயற். திருவிருத். 21). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)Rebus: koḍ = the place where artisans work (G.) kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ, °lũ n. ʻ jackal ʼ, M. kolhā, °lā m. krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ. [√kruś] Pa. koṭṭhu -- , °uka -- and kotthu -- , °uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ jackal ʼ, koṭiya ʻ leopard ʼ GS 42 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal (Marathi) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.) Allograph: kōla = woman (Nahali) [The ligature of a woman to a tiger is a phonetic determinant; the scribe clearly conveys that the gloss represented is kōla] karba 'iron' (Ka.)(DEDR 1278) as in ajirda karba 'iron' (Ka.) kari, karu 'black' (Ma.)(DEDR 1278) karbura 'gold' (Ka.) karbon 'black gold, iron' (Ka.) kabbiṇa 'iron' (Ka.) karum pon 'iron' (Ta.); kabin 'iron' (Ko.)(DEDR 1278) Ib 'iron' (Santali) [cf. Toda gloss below: ib ‘needle’.] Ta. Irumpu iron, instrument, weapon. a. irumpu,irimpu iron. Ko. ibid. To. Ib needle. Koḍ. Irïmbï iron. Te. Inumu id. Kol. (Kin.) inum (pl. inmul)iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285). (DEDR 486) Allograph: karibha -- m. ʻ Ficus religiosa (?) [Semantics of ficus religiosa may be relatable to homonyms used to denote both the sacred tree and rebus gloss: loa, ficus (Santali); loh ‘metal’ (Skt.)]

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120)bhēḍra -- , bhēṇḍa -- m. ʻ ram ʼ lex. [← Austro -- as. J. Przyluski BSL xxx 200: perh. Austro -- as. *mēḍra ~ bhēḍra collides with Aryan mḗḍhra -- 1 in mēṇḍhra -- m. ʻ penis ʼ BhP., ʻ ram ʼ lex. -- See also bhēḍa -- 1, mēṣá -- , ēḍa -- . -- The similarity between bhēḍa -- 1, bhēḍra -- , bhēṇḍa -- ʻ ram ʼ and *bhēḍa -- 2 ʻ defective ʼ is paralleled by that between mḗḍhra -- 1, mēṇḍha -- 1 ʻ ram ʼ and *mēṇḍa -- 1, *mēṇḍha -- 2 (s.v. *miḍḍa -- ) ʻ defective ʼ](CDIAL 9606) mēṣá m. ʻ ram ʼ, °ṣīˊ -- f. ʻ ewe ʼ RV. 2. mēha -- 2, miha- m. lex. [mēha -- 2 infl. by mḗhati ʻ emits semen ʼ as poss. mēḍhra -- 2 ʻ ram ʼ (~ mēṇḍha -- 2) by mḗḍhra -- 1 ʻ penis ʼ?]1. Pk. mēsa -- m. ʻ sheep ʼ, Ash. mišalá; Kt. məṣe/l ʻ ram ʼ; Pr. məṣé ʻ ram, oorial ʼ; Kal. meṣ, meṣalák ʻ ram ʼ, H. mes m.; -- X bhēḍra -- q.v.2. K. myã̄ -- pūtu m. ʻ the young of sheep or goats ʼ; WPah.bhal. mei f. ʻ wild goat ʼ; H. meh m. ʻ ram ʼ.mēṣāsya -- ʻ sheep -- faced ʼ Suśr. [mēṣá -- , āsyà -- ](CDIAL 10334) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Mu.) Allograph: meḍ ‘body ' (Mu.)

bhaṭā G. bhuvɔ m. ʻ worshipper in a temple ʼ rather < bhr̥ta --(CDIAL 

9554) Yājñ.com., Rebus: bhaṭā‘kiln, furnace’

mū̃h ‘human face’ Rebus: mū̃h‘ingot’ (See human face ligatured to a markhor: Seal m1186) PLUS Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ‘ram’,miṇḍā́l‘markhor’ (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet‘iron’ (Munda.Ho.)

lo, no‘nine’ phonetic reinforcement of: loa‘ficus’ Rebus: lo‘copper’

dhaṭu m. (also dhaṭhu) m. ‘scarf’ (Western Pahari) (CDIAL 6707) Rebus: dhatu‘minerals’ (Santali)

maṇḍa m. ʻ ornament ʼ Rebus: meḍ (Ho.); mẽṛhet‘iron’ (Munda.Ho.)

baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) 

dhatu 'scarf' Rebus: dhatu 'mineral ore'

muka ‘ladle’ (Tamil)(DEDR 4887) Rebus: mū̃h ‘ingot’ (Santali) PLUS dula'pair' 

Rebus: dul'cast metal'.  (See two ladles). Thus, the offering on the stool denotes: a metal ingot.

bagala ‘pleiades’ Rebus: bagalo = an Arabian merchant vessel (G.) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Ka.)

Seal(Framework, ficusreligiosa,  scarfedperson,twig, horn) http://huntingtonarchive.osu.edu/resources/downloads/webPresentations/harappanSeals.pdf 

baṭa = rimless pot (Kannada) loa 'ficus religiosa' Rebus: loh 'copper'
bhaṭa = six Rebus: baṭa = a kind of iron; bhaTa furnace' (Gujarati) 
kara 'wristlets, bangle' (Gujarati) Rebus: khAr 'blacksmith' kuTi 'twig' Rebus: kuThi 'smelter' dhatu 'scarf' Rebus: dhatu 'mineral (ore)' (Santali)

Hieroglyph: bhaṭa 'six' (Gujarati) Rebus: baṭi, bhaṭi ‘furnace’ (H.) Rebus: baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali). bhaṭa = an oven, kiln, furnace (Santali) baṭhi furnace for smelting ore (the same as kuṭhi) (Santali) bhaṭa = an oven, kiln, furnace; make an oven, a furnace; iṭa bhaṭa = a brick kiln; kun:kal bhaṭa a potter’s kiln; cun bhaṭa = a lime kiln; cun tehen dobon bhaṭaea = we shall prepare the lime kiln today (Santali); bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); bhaṭṭha -- m.n. ʻ gridiron (Pkt.)  baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’.  (CDIAL 9656)
Ancient Near East Meluhha metalwork catalogue karaḍa 'hard metal alloy', images of six alternative hieroglyphs

Mirror: http://tinyurl.com/pgje7lb Alternative hieroglyphs for karaDa 'hard alloy' are: water-vessel, basket, beehive, duck, antelope, safflower. Meluhha metalwork competence is exemplified by a gloss: karaḍa'hard metal alloy' (Marathi). This indicates the explorations made by Meluhha artisans to create new metal alloys to make weapons, tools, implements, pots and pans. Alloys are defined by metallic bonding character. This bonding is signified by a gloss: sanghAta 'adamantine glue' (Varahamihira). This gloss is signified by a hieroglyph: sangaDa 'lathe, portable furnace' which is a frequently occurring hieroglyph-multiplex on Indus Script Corpora. Hieroglyphs which signify the Indus Script Corpora, catalogus catalogurm of metalwork with a number of metalwork catalogue items are seen on Ancient Near East artifacts/cylinder seals.  These may be called allographs, that is, hieroglyphs offering the same rebus-metonymy layered reading for a hieroglyph which functions as a homonym, say, for the deciphered semantics: karaḍa 'hard metal alloy' (Marathi) The hieroglyphs so deployed to encode karaḍa 'hard metal alloy' (Marathi) are sigified in the following examples of artifacts/cylinder seals.Shu-ilishu cylinder seal. Note the water-vessel held by the woman accompanying the Meluhha merchant. The rollout of Shu-ilishu's Cylinder seal. Courtesy of the Department des Antiquites Orientales, Musee du Louvre, Paris.A Mesopotamian cylinder seal referring to the personal translator of the ancient Indus or Meluhan language, Shu-ilishu, who lived around 2020 BCE during the late Akkadian period. The late Dr. Gregory L. Possehl, a leading Indus scholar, tells the story of getting a fresh rollout of the seal during its visit to the Ancient Cities Exhibition at the Metropolitan Museum of Art in New York in 2004.கரண்டை² karaṇṭai, n. < karaṇḍa. Water- vessel, used by ascetics; கமண்டலம். சிமிலிக் கரண்டையன் (மணி. 3, 86). करोट [p= 255,3] m. a basin , cup L.British Museum. 22.5 cm h. Wallet shaped chlorite of BMAC. Arye 'lion' Rebus: Ara 'brass' nAga 'serpent' Rebus: nAga 'lead'.. करण्ड mf(ई L. )n. ( Un2. i , 128) a basket or covered box of bamboo wicker-work BhP. Bhartr2. &c (Samskritam) Karaṇḍaka [fr. last] a box, basket, casket, as dussa˚ M i.215=S v.71=A iv.230 (in simile); S iii.131; v.351 cp. Pug 34; J i 96; iii.527; v.473 (here to be changed into koraṇḍaka); DA i.222 (vilīva˚); SnA 11.Karaṇḍa (m. nt.) [cp. Sk. karaṇḍa, ˚ka, ˚ikā. The Dhātu- mañjūsā expls k. by "bhājanatthe"] 1. a basket or box of wicker -- work Mhvs 31, 98; Dāvs v.60; DhAiii.18; -- 2. the cast skin, slough of a serpent D i.77 (=DA i.222 ahi -- kañcuka) cp. Dial. i.88. (Pali) గరిడియ (p. 0358) [ gariḍiya ] gariḍiya. [from Skt. కరండము.] n. A wallet, or basket for food, &c. బుట్ట. M. III. vii. 221. భార. అర. vii. (Telugu)káraṇḍa1 m.n. ʻ basket ʼ BhP., °ḍaka -- m., °ḍī -- f. lex.Pa. karaṇḍa -- m.n., °aka -- m. ʻ wickerwork box ʼ, Pk. karaṁḍa -- , °aya -- m. ʻ basket ʼ, °ḍī -- , °ḍiyā -- f. ʻ small do. ʼ; K. kranḍa m. ʻ large covered trunk ʼ,kronḍu m. ʻ basket of withies for grain ʼ, krünḍü f. ʻ large basket of withies ʼ; Ku. kaṇḍo ʻ basket ʼ; N. kaṇḍi ʻ basket -- like conveyance ʼ; A. karṇi ʻ open clothes basket ʼ; H. kaṇḍī f. ʻ long deep basket ʼ; G. karãḍɔ m. ʻ wicker or metal box ʼ, kãḍiyɔ m. ʻ cane or bamboo box ʼ; M. karãḍ m. ʻ bamboo basket ʼ, °ḍā m. ʻ covered bamboo basket, metal box ʼ, °ḍī f. ʻ small do. ʼ; Si. karan̆ḍuva ʻ small box or casket ʼ. -- Deriv. G. kãḍī m. ʻ snake -- charmer who carries his snakes in a wicker basket ʼ.(CDIAL 2789) kronḍu, Skt. karaṇḍa-, a basket (Kashmiri) Lothal seal 51 Hieroglyph: pōḷī, ‘dewlap, honeycomb’ pola, 'zebu' Rebus: pola, ‘magnetite’  करण्ड a [p= 254,2] a bee-hive , honey-comb L. Akkadian Cylinder Seal of Adda (c. 2250 B.C.) with, left to right, Ninurta, Ishtar, Shamash, and Ea. From Dury, Art of the Ancient Near and Middle East, Abrams, NY Impression. Unknown Near Eastern origin. 'One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Photo by M Chuzeville for Departement des antiquities orientales, Musee du Louvre.' (Parpola, 1998, 2001) http://www.harappa.com/script/parpola0.html (Note 11) The bird hieroglyph: karaḍa  करण्ड  m. a sort of duck L. కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. (Telugu) karaṭa1 m. ʻ crow ʼ BhP., °aka -- m. lex. [Cf. karaṭu -- , karkaṭu -- m. ʻ Numidian crane ʼ, karēṭu -- , °ēṭavya -- , °ēḍuka -- m. lex., karaṇḍa2 -- m. ʻ duck ʼ lex: see kāraṇḍava -- ]Pk. karaḍa -- m. ʻ crow ʼ, °ḍā -- f. ʻ a partic. kind of bird ʼ; S. karaṛa -- ḍhī˜gu m. ʻ a very large aquatic bird ʼ; L. karṛā m., °ṛī f. ʻ the common teal ʼ.(CDIAL 2787) Dholavira seal. 117. Antelope kid PUS sun hieroglyph http://bharatkalyan97.blogspot.in/2015/04/two-newly-discovered-seals-from.htmlhttp://bharatkalyan97.blogspot.in/2015/08/indus-script-hieroglyphs-on-ancient.html . arka 'sun' Rebus: araka, eraka 'copper, moltencast' PLUS करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'. Thus, together, the rebus message: hard alloy of copper. करडूं or करडें [ karaḍū or ṅkaraḍēṃ ] n A kid. (Marathi) కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A kind of antelope కన్నెలేడి. (Telugu) కన్నెలేడి [ kannelēḍi ] , or కామిలేడిపిట్ట kanne-lēḍi. [Tel.] n. The bird called the Bastard Florikin: or stone-curlew, &OE;dicnemus scolopax. (F.B.I.) కారండవము. Safflower bracelet.  From the stone reliefs of Ashurnasirpal II. Wrist with a safflower bracelet: safflower karaḍī  as fire-god karandi  See: http://bharatkalyan97.blogspot.in/2014/07/tin-road-meluhha-aratta-assur-kanesh.html करडी [ karaḍī ] f (See करडई) Safflower: also its seed. (Marathi) karaṭa2 m. ʻ Carthamus tinctorius ʼ lex.Pk. karaḍa -- m. ʻ safflower ʼ, °ḍā -- f. ʻ a tree like the karañja ʼ; M. karḍī, °ḍaī f. ʻ safflower, Carthamus tinctorius and its seed ʼ.M. karḍel n. ʻ oil from the seed of safflower ʼ(CDIAL 2788, 2789)

Bhasma Aarti Shri Mahakal Jyotirling Temple Ujjain with Shringar, Poojan, & Aarti Sawan ki shahi sawari festivities

Re-enactment of tandava nritya in sivalok mirroring the acts of destruction and creation in a smelter governed by the fiery pillar of light, signified by Sivalinga.

Ancient mound Kumbhar tekri

Ancient mound Vaishya tekri

This site is a part of ancient Ujjain. Structural remains of Mauryan period have been found. Stupas are the conspicuous evidence of ancient habitation.

Act No. LXXI of 1951, 28/11/1951 identifies thus mound in Undasa locality of Ujjain as an ancient historical monument.

http://asibhopal.nic.in/monument/ujjain_undasa_ancientmoundvaishyatekri.html

BAUDHA MAHA STUP UJJAIN

Once upon a time Avantika area(Ujjayini) which is presently known as Ujjain and situated in Madhya Pradesh (India) was a Buddhist region. 600 B.C to 1200 A.D, various Buddhist rulers ruledUjjayini. Specifically Chandpradhyot, Samrat Ashok, Vikramaditya, Kumar Gupt, Raja Harsh, Pratihar, Parmar reigned Ujjayini successfully. Chandpradyot was the one who introduced Bauddh dharma in Ujjayini.He was greatly influenced by the preachings of Tathagat Buddha. After the Maha parinirvana(death) of Tathagat Buddha, asangh ( group) of 500 monks from Ujjayini went to Kushinagar to pay tribute to Tathagat Buddha. By the time the sangh reached there, most of the belongings of theGautam Buddha were distributed,except “Chivar andAasandi” which Ujjayini monk sangh got as a relic.

The then Buddhist ruler and followers of Buddha builta magnificent Stupa and the holy belongings of Tathagat Buddha were placed therewhich is now known by Bauddh MahaStupa(Vaishya Tekri) situated near Kanipura Village, TaranaRoad, Ujjain(M.P)456001 India. Ujjain is 56-58 (by road) fromIndore(M.P)India. Indore is having international airport.

Apart from this, King Ashoka’s son Mahendra and daughter Sanghmitra’s Stupa were also built later nearby Bauddh Mahastupa .In past, due to decline of Buddhism from India so as from Ujjain, this heritage was turned into hill. According to historical facts ,the construction of stupa was started on Purnima which was first Sunday of the January.

Looking to above material Facts & I am pleased to inform you that we Buddhist people have decided to celebrate this holy occasion on 4 January 2015 as a “Rastriya Baudh Maha Stupa Mahotsav” at Kanipura Village, Tarana road ,Ujjain (M.P) 456001, India. At this holy occasion you and your team members are requested to attend the holy occasion.

http://baudhamahastupujjain.com/index.html

 Bharhut Stupa is a site of historical significance in India. It is situated between Jabalpur and Allahabad in the erstwhile Nagod state of Madhya Pradesh. It was built in 3rd century BCE.

Mahastupa, apsidal stone stupa, top view of votive structure at Bavikonda, Vishakapatnam

Taxila stupa on a postal stamp

Mount Kailash, Himalaya

The pillar is a cultural artifact, it belongs to the Hindu tradition. What is the meaning of the symbol with interrelationships in prayer and doctrine? (Snodgrass, Adrian, 1992, The symbolism of the Stupa, Motilal Banarsidass Publishers, New Delhi).

Atharva Veda (X.8.2) declares that Heaven and Earth stand fast being pillared apart by the pillar. Like the pillar, twilight of the dawn and dusk split apart the originally fused Heaven and Earth.

Light of dawn ‘divorces the coterminous regions – Sky and Earth – and makes manifest the several worlds. (RV VII.80; cf. VI.32.2, SBr. IV 6.7.9).

‘Sun is spac, for it is only when it rises that the world is seen’ (Jaiminiya Upanishad Brahmana I.25.1-2). When the sun sets, space returns into the void (JUB III.1.1-2).

Indra supports heavn and earth by ‘opening the shadows with the dawn and the sun’. (RV I.62.5). He ‘extends heaven by the sun; and the sun is the prop whereby he struts it.’ (RV X.111.5).

‘He who knows the Brahman in man knows the Supreme Being and he who knows the Supreme Brahman knows the Skambha’. (AV X. 7.17).

Linga-Purana (I.17.5-52; 19.8 ff.) provides a narrative. Siva appeared before Brahma and Vishnu as a fiery linga with thousands of flames. As a Goose, Brahma attempted to fly to the apex of the column; Vishnu as a Boar plunged through the earth to find the foot of the blazing column. Even after a thousand years, they couldn’t reach the destination, bow in homage to the Pillar of the Universe as the Paramaatman.

He is the ‘Pillar supporting the kindreds, that is, gods and men’. (RV I.59.1-2). He is the standard (ketu) of the yajna (equivalent of the dawn), the standard which supports heaven in the East at daybreak. (RV I.113.19; III.8.8).

The same spectra of meanings abound in Bauddham, as a symbolic continuum. So it is, the Buddha is a fiery pillar, comprising adorants at the feet marked with the Wheel of Dharma and the apex marked by a S’rivatsa (pair of fishes tied together by a thread, read as hieroglyph composition: ayira (metath. ariya) dhama, mandating norms of social, interpersonal conduct). Just as Agni awakens at dawn, the Buddha is the awakened.

Worshippers of a fiery pillar, Amaravati stupa.

Naga worshippers of fiery pillar, Amaravati stupa. 

Two pillars flanking the ziggurat on Sit-Shamshi bronze find their parallel in a pair of stone pillars in Dholavira in front of an 8-shaped stone structure which perhaps constituted a kole.l 'smithy, temple'.

Mirror: https://www.academia.edu/9733470/Skambha_Sukta_Atharva_Veda_X-7_._A_pair_of_Yupa_stambha_of_Dholavira._Signify_div_light_svar_twilight 

Kalibangan fire-altars. In one pit, a cylindrical clay stele was found. Could such steles located in many ancient archaeological sites, denote skambha of Atharvaveda? Such stele were 30-40 cms. in height and 10-15 cms. in diameter, and formed the centrepoint of the hearths (Lal, BB 1984, Some reflections on the structural remains at Kalibangan in inIndus civilization: New perspectives, AH Dani ed.: 57).

A pair of Skambha in Dholavira close to kole.l 'smithy, temple' (8-shaped stone structure).
Furnace. Sarasvati-Sindhu civilization.

At the center of each circle of the furnace, it is likely that a skambha was pegged to invoke the supreme divine -- as the purifier of the process about to set in motion by fiery blasts of the furnace.

स्कम्भ् 1 Ā., 5, 9 P. (स्कम्भते, स्कभ्नोति, स्कभ्नाति) 1 To create. -2 To stop, hinder, impede, obstruct, curb, restrain; स्कभायत निर्ऋतिं सेधतामतिम् Ṛv.1.76.4.-3 To prop, support; चस्कम्भ यः स्वरभसा$स्खलता त्रिपृष्ठम् Bhāg.2. 7.4. -Caus. (स्कम्भयति-ते or स्कम्भायति-ते) To stop &c. 

I suggest that the pair of skambha are hieroglyphs denoting the transformation process in a fire-altar converting dhatu, 'minerals' into cast metals in the temple, kole.l 'smithy, temple' (Kota language). They are the prop which link earth and heaven, material manifestations and cosmic consciousness and phenomena, knowable, unknowable.

 Signify div 'light' svar 'twilight' -- deva and asura, worship of devi and sun divinities symbolising cosmic energy and power.

Root: दिव् I. 4 P. (दीव्यति, द्यूत or द्यून; desid. दुद्यूषति, दिदे- विषति) 1 To shine, be bright; दीव्यत्युच्चैर्लघुरघुपतिः किं नु वा स्यात् किमन्यत् Mv.6.53.दिव् f. [दीव्यन्त्यत्र दिव्-बा˚ आधारे डिवि Tv.] (Nom. sing. द्यौः) 1 The heaven; दिवं मरुत्वानिव 
भोक्ष्यते भुवम् R.3. 4,12; Me.3. -2 The sky; दिव्यन्तरिक्षे भूमौ च घोरमुत्पात- जं 
भयम् Rām.2.1.43 देवटः An artisan, a mechanic. देविक a. (-की f.), देविल a. Divine, godly; Virtuous, pious.

Root: svar 'sun', twilight.

Atharva Veda ( X - 7,8) --- Skambha Suktam

The origins of the worship of the Shiva-Linga are unknown. Shiva-Linga has one complete purana which is dedicated to its form and origin. It may be a symbolic representation of self (Atma Linga) or of everything. Some associate it with the physical form of Pranava (Om). Oval form represents even the shape of the Universe including the existing space. The beginning of the oval form is A in OM and prolonged part is U in OM and M is the ending part of the linga. It is single shape of Trimurti. Praying Shiva Linga is considered as praying the Thrimurti in absolute form. Linga represents absolute and Single power of this universe. Some associate them with the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn a description is found of the beginningless and endless Stambha or Skambha and it is shown that the said Skambha is put in place of the eternal Brahman. As afterwards the Yajna (sacrificial) fire, its smoke, ashes and flames, the Soma plant and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted-hair, his blue throat and the riding on the bull of the Shiva. The Yupa-Skambha gave place in time to the Shiva-Linga. In the Linga Purâna the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Mahâdeva.

In the context of Hindu mythology, stambha, also spelt as Skambha, is believed to a cosmic column. It is believed that the stambha functions as a bond, which joins the heaven (Svarga) and the earth (prithvi). A number of Hindu scriptures, including the Atharva Veda, have references to stambha. In the Atharva Veda, a celestial stambha has been mentioned, and that has been described as a scaffold, which supports the cosmos and material creation

Skambha Sukta ( Atharva Veda X-7 )

kásminn áṅge tápo asyā́dhi tiṣṭhati kásminn áṅga r̥tám asyā́dhy ā́hitam

kvà vratáṃ kvà śraddhā́sya tiṣṭhati kásminn áṅge satyám asya prátiṣṭhitam 1

kásmād áṅgād dīpyate agnír asya kásmād áṅgāt pavate mātaríśva

kásmād áṅgād ví mimīté 'dhi candrámā mahá skambhásya mímāno áṅgam 2

kásminn áṅge tiṣṭhati bhū́mir asya kásminn áṅge tiṣṭhaty antárikṣam

kásminn áṅge tiṣṭhaty ā́hitā dyáuḥ kásminn áṅge tiṣṭhaty úttaraṃ diváḥ 3

kvà prépsan dīpyata ūrdhvó agníḥ kvà prépsan pavate mātaríśvā

yátra prépsantīr abhiyánty āvŕ̥taḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 4

kvā̀rdhamāsā́ḥ kvà yanti mā́sāḥ saṃvatsaréṇa sahá saṃvidānā́ḥ

yátra yánty r̥távo yátrārtavā́ḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 5

kvà prépsantī yuvatī́ vírūpe ahorātré dravataḥ saṃvidāné

yátra prépsantīr abhiyánty ā́paḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 6

yásmint stabdhvā́ prajā́patir lokā́nt sárvām̐ ádhārayat

skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 7

yát paramám avamám yác ca madhyamáṃ prajā́patiḥ sasr̥jé viśvárūpam

kíyatā skambháḥ prá viveśa tátra yán ná prā́viśat kíyat tád babhūva 8

kíyatā skambháḥ prá viveśa bhūtám kíyad bhaviṣyád anvā́śaye 'sya

ékaṃ yád áṅgam ákr̥ṇot sahasradhā́ kíyatā skambháḥ prá viveśa tátra 9

yátra lokā́mś ca kóśāṃś cā́po bráhma jánā vidúḥ

ásac ca yátra sác cāntá skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 10

yátra tápaḥ parākrámya vratáṃ dhāráyaty úttaram

r̥táṃ ca yátra śraddhā́ cā́po bráhma samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 11

yásmin bhū́mir antárikṣaṃ dyáur yásminn ádhy ā́hitā

yátrāgníś candrámāḥ sū́ryo vā́tas tiṣṭhanty ā́rpitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 12

yásya tráyastriṃśad devā́ áṅge sárve samā́hitāḥ

skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 13

yátra ŕ̥ṣayaḥ prathamajā́ ŕ̥caḥ sā́ma yájur mahī́

ekarṣír yásminn ā́rpitaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 14

yátrāmŕ̥taṃ ca mr̥tyúś ca púruṣé 'dhi samā́hite

samudró yásya nāḍyàḥ púruṣé 'dhi samā́hitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 15

yásya cátasraḥ pradíśo nāḍyàs tíṣṭhanti prathamā́ḥ

yajñó yátra párākrāntaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 16

yé púruṣe bráhma vidús té viduḥ parameṣṭhínam

yó véda parameṣṭhínaṃ yáś ca véda prajā́patim

jyeṣṭháṃ yé brā́hmaṇaṃ vidús te skambhám anusáṃviduḥ 17

yásya śíro vaiśvānaráś cákṣur áṅgirasó 'bhavan

áṅgāni yásya yātávaḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 18

yásya bráhma múkham āhúr jihvā́ṃ madhukaśā́m utá

virā́jam ū́dho yásyāhúḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 19

yásmād ŕ̥co apā́takṣan yájur yásmād apā́kaṣan

sā́māni yásya lómāny atharvāṅgiráso múkhaṃ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 20

asaccākhā́ṃ pratíṣṭhantīṃ paramám iva jánā viduḥ

utó sán manyanté 'vare yé te śā́khām upā́sate 21

yátrādityā́ś ca rudrā́ś ca vásavaś ca samā́hítāḥ

bhūtáṃ ca yátra bhávyaṃ ca sárve lokā́ḥ prátiṣṭhitāḥ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 22

yásya tráyastriṃśad devā́ nidhíṃ rákṣanti sarvadā́

nidhíṃ tám adyá kó veda yáṃ devā abhirákṣatha 23

yátra devā́ brahmavído bráhma jyeṣṭhám upā́sate

yó vái tā́n vidyā́t pratyákṣaṃ sá brahmā́ véditā syāt 24

br̥hánto nā́ma té devā́ yé 'sataḥ pári jajñiré

ékaṃ tád áṅgaṃ skambhásyā́sad āhuḥ paró jánāḥ 25

yátra skambháḥ prajanáyan purāṇáṃ vyávartayat

ékaṃ tád áṅgaṃ skambhásya purāṇám anusáṃviduḥ 26

yásya tráyastriṃśad devā́ áṅge gā́trā vibhejiré

tā́n vái tráyastriṃśad devā́n éke brahamvído viduḥ 27

hiraṇyagarbhám paramám anatyudyáṃ jánā viduḥ

skambhás tád ágre prā́siñcad dhíraṇyaṃ loké antarā́ 28

skambhé lokā́ḥ skambhé tápaḥ skambhé 'dhy r̥tám ā́hitam

skámbha tvā́ veda pratyákṣam índre sárvaṃ samā́hitam 29

índre lokā́ índre tápa índre 'dhy r̥tám ā́hitam

índraṃ tvā́ veda pratyákṣaṃ skambhé sárvaṃ prátiṣṭhitam 30

nā́ma nā́mnā johavīti purā́ sū́ryāt puróṣásaḥ

yád ajáḥ prathamáṃ saṃbabhū́va sá ha tát svarā́jyam iyāya yásmān nā́nyát páram ásti bhūtám 31

yásya bhū́miḥ pramā́ntárikṣam utódáram

dívaṃ yáś cakré mūrdhā́naṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 32

yásya sū́ryaś cákṣuś candrámāś ca púnarṇavaḥ

agníṃ yáś cakrá āsyàṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 33

yásya vā́taḥ prāṇāpānáu cákṣur áṅgirasó 'bhavan

díśo yáś cakré prajñā́nīs tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 34

skambhó dādhāra dyā́vāpr̥thivī́ ubhé imé skambhó dādhārorv àntárikṣam

skambhó dādhāra pradíśaḥ ṣáḍ urvī́ḥ skambhá idáṃ víśvaṃ bhúvanam ā́ viveśa 35

yáḥ śrámāt tápaso jātó lokā́nt sárvānt samānaśé

sómaṃ yáś cakré kévalaṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 36

katháṃ vā́to nélayati katháṃ ná ramate mánaḥ

kím ā́paḥ satyáṃ prépsantīr nélayanti kadā́ caná 37

mahád yakṣáṃ bhúvanasya mádhye tápasi krāntáṃ salilásya pr̥ṣṭhé

tásmin chrayante yá u ké ca devā́ vr̥kṣásya skándhaḥ paríta iva śā́khāḥ 38

yásmai hástābhyāṃ pā́dābhyāṃ vācā́ śrótreṇa cákṣuṣā

yásmai devā́ḥ sádā balíṃ prayáchanti vímité 'mitaṃ skambháṃ táṃ brūhi katamáḥ svid evá sáḥ 39

ápa tásya hatáṃ támo vyā́vr̥ttaḥ sá pāpmánā

sárvāṇi tásmin jyótīṃṣi yā́ni trī́ṇi prajā́patau 40

yó vetasáṃ hiraṇyáyaṃ tiṣṭhantaṃ salilé véda

sá vái gúhyaḥ prajā́patiḥ 41

tantrám éke yuvatī́ vírūpe abhyākrā́maṃ vayataḥ ṣáṇmayūkham prā́nyā́ tántūṃs tiráte dhatté anyā́ nā́pa vr̥ñjāte ná gamāto ántam 42

táyor aháṃ parinŕ̥tyantyor iva ná ví jānāmi yatarā́ parástāt

púmān enad vayaty úd gr̥ṇanti púmān enad ví jabhārā́dhi nā́ke 43

imé mayū́khā úpa tastabhur dívaṃ sā́māni cakrus tásarāṇi vā́tave 44

MEANING:

1)Which of his members is the seat of Fervour: Which is the base of Ceremonial Order? Where in him standeth Faith? Where Holy Duty? Where, in what part of him is truth implanted?

2)Out of which member glows the light of Agni? Form which proceeds thebreath of Mātarisvan? From which doth Chandra measure out his journey, travelling over Skambha's mighty body?

3)Which of his members is the earth's upholder? Which gives the middle air a base to rest on? Where, in which member is the sky established? Where hath the space above the sky its dwelling?

4)Whitherward yearning blazeth Agni upward? Whitherward yearning bloweth Mātarisvan? Who out of many, tell me, is that Skambha to whom with long- ing go the turning pathways?

5)Whitheward go the half-months, and, accordant with the full year, the months in their procession? Who out of many, tell me, is that Skambha to whom go seasons and the groups of seasons?

6)Whitherward yearning speed the two young Damsels, accordant, Day and Night, of different colour? Who out of many, tell me, is that Skambha to whom the Waters take their way with longing?

7)Who out of many, tell me, is that Skambha, On whom Prajāpati set up and firmly stablished all the worlds?

8)That universe which Prajāpati created, wearing all forms,, the highest, midmost, lowest, How far did Skambha penetrate within it? What portion did he leave unpenetrated?

9)How far within the past hath Skambha entered? How much of him hath reached into the future? That one part which he set in thousand places,—how far did Skambha penetrate within it?

10)Who out of many, tell me, is that Skambha in whom men recognize the Waters, Brahma, In whom they know the worlds and their enclosures, in whom are non-existence and existence?

11)Declare that. Skambha, who is he of many, In whom, exerting every power, Fervour maintains her loftiest vow; In whom are comprehended Law, Waters, Devotion and Belief

12)Who out of many, tell me, is that Skambha On whom as their foundation earth and firmament and sky are set; In whom as their appointed place rest Fire and Moon and Sun and Wind?

13)Who out of many, tell me, is that Skambha He in whose body are contained all three-and-thirty Deities?

14)Who out of many, tell me, is that Skambha. In whom the Sages earliest born, the Richas, Sāman, Yajus, Earth, and the one highest Sage abide?

15)Who out of many, tell me, is the Skambha. Who comprehendeth, for mankind, both immortality and death, He who containeth for mankind the gathered waters as his veins?

16)Who out of many, tell me, is that Skambha, He whose chief arteries stand there, the sky's four regions, he irk whom Sacrifice putteth forth its might?

17)They who in Purusha understand Brahma know Him who is. Supreme. He who knows Him who is Supreme, and he who knows the Lord of Life, These know the loftiest Power Divine, and thence know Skam- bha thoroughly.

18)Who out of many, tell me, is that Skambha Of whom Vaisvānara became the head, the Angirases his eye, and Yātus his corporeal parts?

19)Who out of many, tell me, is that Skambha Whose mouth they say is Holy Lore, his tongue the Honey- sweetened Whip, his udder is Virāj, they say?

20)Who out of many, tell me, is that Skambha From whom they hewed the lichas off, from whom they chipped the Yajus, he Whose hairs are Sāma-verses and his mouth the Atharvāngi- rases?

21)Men count as 'twere a thing supreme nonentity's conspicuous branch; And lower man who serve thy branch regard it as an entity.

22)Who out of many, tell me, is that Skambha In whom Ādityas dwell, in whom Rudras and Vasus are contained, In whom the future and the past and all the worlds are firmly set;

23)Whose secret treasure evermore the three-and thirty Gods protect? Who knoweth now the treasure which, O Deities ye watch and guard?

24)Where the Gods, versed in Sacred Lore, worship the loftiest Power Divine The priest who knows them face to face may be a sage who knows the truth.

25)Great, verily, are those Gods who sprang from non-existence into life. Further, men say that that one part of Skambha is nonentity.

26)Where Skambha generating gave the Ancient World its shape and form, They recognized that single part of Skambha as the Ancient World,

27)The three-and-thirty Gods within his body were disposed as limbs: Some, deeply versed in Holy Lore, some know those three-and- thirty Gods.

28)Men know Hiranyagarbha as supreme and inexpressible: In the beginning, in the midst of the world, Skambha poured that gold.

29)On Skambha Fervour rests, the worlds and Holy Law repose on him. Skambha, I clearly know that all of thee on Indra is imposed.

30)On Indra Fervour rests, on him the worlds and Holy Law recline. Indra, I clearly know that all of thee on Skambha findeth rest.

31)Ere sun and dawn man calls and calls one Deity by the other's name. When the Unborn first sprang into existence he reached that independent sovran lordship; than which aught higher never hath arisen.

32)Be reverence paid to him, that highest Brahma, whose base is Earth, his belly Air, who made the sky to be his head.

33)Homage to highest Brahma, him whose eye is Sūrya and the Moon who groweth young and new again, him who made Agni for his mouth.

34)Homage to highest Brahma, him whose two life-breathings were the Wind, The Angirases his sight: who made the regions be his means of sense.

35)Skambha set fast these two, the earth and heaven, Skambha maintained the ample air between them. Skambha established the six spacious regions: this whole world Skambha entered and pervaded.

36)Homage to highest Brahma, him who, sprung from Fervour and from toil, Filled all the worlds completely, who made Soma for himself alone.

37)Why doth the Wind move ceaselessly? Why doth the spirit take no rest? Why do the Waters, seeking truth, never at any time repose?

38)Absorbed in Fervour, is the mighty Being, in the world's centre, on the waters' surface. To him the Deities, one and all betake them. So stand the tree- trunk with the branches round it.

39)Who out of many, tell me, is that Skambha. To whom the Deities with hands, with feet, and voice, and ear, and eye. Present unmeasured tribute in the measured hall of sacrifice?

40)Darkness is chased away from him: he is exempt from all dist- ress. In him are all the lights, the three abiding in Prajāpati.

41)He verily who knows the Reed of Gold that stands amid the flood, is the mysterious Lord of Life.

42)Singly the two young Maids of different colours approach the six-pegged warp in turns and weave it. The one draws out the threads, the other lays them: they break them not, they reach no end of labour.

43)Of these two, dancing round as 'twere, I cannot distinguish whether ranks before the other. A Male in weaves this web, a Male divides it: a Male hath stretched it to the cope of heaven

44)These pegs have buttressed up the sky. The Sāmans have turned them into shuttles for the weaving. 

Lord Shiva in form of Skambha(pillar or Linga) blessing Hari & Brahma

yó bhūtáṃ ca bhávyaṃ ca sárvaṃ yáś cādhitíṣṭhati

sv àryásya ca kévalaṃ tásmai jyeṣṭhā́ya bráhmaṇe námaḥ 1

Worship to loftiest Brahma, Lord of what hath been and what shall be, To him who rules the universe, and heavenly light is all his own!

skambhénemé víṣṭabhite dyáuś ca bhū́miś ca tiṣṭhataḥ

skambhá idáṃ sárvam ātmanvád yát prāṇán nimiṣác ca yát 2

Upheld by Skambha's power these two, the heaven and the earth,stand fast. Skambha is all this world of life, whatever breathes or shuts eye.

tisró ha prajā́ atyāyám āyan ny ànyā́ arkám abhíto 'viśanta

br̥hán ha tasthau rájaso vimā́no hárito háriṇīr ā́ viveśa 3

Three generations have gone by and vanished and others near have entered into sunlight. There stood on high he who metes out the region into green, plants hath passed the Golden-coloured

dvā́daśa pradháyaś cakrám ékaṃ trī́ṇi nábhyāni ká u tác ciketa

tátrā́hatās trī́ṇi śatā́ni śaṅkávaḥ ṣaṣṭíś ca khī́lā ávicācalā yé 4

One is the wheel, the tires are twelve in number, the naves are three What man hath understood it?Three hundred spokes have thereupon been hammered, and sixty pins set firmly in their places.

idáṃ savitar ví jānīhi ṣáḍ yamā́ éka ekajáḥ

tásmin hāpitvám ichante yá eṣām éka ekajáḥ 5

Discern thou this, O Savitar. Six are the twins, one singly born.They claim relationship in that among them which is born alone.

āvíḥ sán níhitaṃ gúhā járan nā́ma mahát padám

tátredáṃ sárvam ā́rpitam éjat prāṇát prátiṣṭhitam 6

Though manifest, it lies concealed in the vast place they call the old:Therein is firmly stationed all the moving, breathing universe.

ékacakraṃ vartata ékanemi sahásrākṣaraṃ prá puró ní paścā

ardhéna víśvaṃ bhúvanaṃ jajā́na yád asyārdháṃ kvà tád babhūva 7

Up, eastward downward in the west, 'it rolleth, with countless elements, one-wheeled, single-fellied.With half it hath begotten all creation. Where hath the other half become unnoticed?

pañcavāhī́ vahatyágram eṣāṃ práṣṭayo yuktā́ anusáṃvahanti

áyātam asya dadr̥śé ná yātáṃ páraṃ nédīyó 'varaṃ dávīyaḥ 8

In front of these the five-horsed car moves onward: side-horses, harnessed with the others draw it. No one hath seen its hither course untravelled; the height sees it more near, the depth more distant.

tiryágbilaś camasá ūrdhvábudhnas tásmin yáśo níhitaṃ viśvárūpam

tád āsata ŕ̥ṣayaḥ saptá sākáṃ yé asyá gopā́ maható babhūvúḥ 9

The bowl with mouth inclined and bottom upward holds stored within it every form of glory.Thereon together sit the Seven Rishis who have become thismighty One's protectors

yā́ purástād yujyáte yā́ ca paścā́d yā́ viśváto yujyáte yā́ ca sarvátaḥ

yáyā yajñáḥ prā́ṅ tāyáte tā́ṃ tvā pr̥chāmi katamā́ sā́ r̥cā́m 10

The Verse employed at opening and conclusion, the Verseemployed in each and every portion;That by which sacrifice proceedeth onward. I ask thee which is that of all the Verses

yád éjati pátati yác ca tíṣṭhati prāṇád áprāṇan nimiṣác ca yád bhúvat

tád dādhāra pr̥thivī́ṃ viśvárūpaṃ tát saṃbhū́ya bhavaty ékam evá 11

That which hath power of motion, that which flies, or stands,which breathes or breathes not, which, existing, shuts the eyeWearing all forms that entity upholds the earth, and in its closeconsistence still is only one.

anantáṃ vítataṃ purutrā́nantám ántavac cā sámante

té nākapāláś carati vicinván vidvā́n bhūtám utá bhávyam asya 12

The infinite to every side extended, the finite and the infinite around us,These twain Heaven's Lord divides as he advances, knowing the past hereof and all the future

prajā́patiś carati gárbhe antár ádr̥śyamāno bahudhā́ ví jāyate

ardhéna víśvaṃ bhúvanaṃ jajā́na yád asyārdháṃ katamáḥ sá ketúḥ 13

Within the womb Prajapati is moving: he, though unseen, is born in sundry places. He with one half engendered all creation. What sign is there to tell us of the other?

ūrdhváṃ bhárantam udakáṃ kumbhénevodahāryàm

páśyanti sárve cákṣuṣā ná sárve mánasā viduḥ 14

All men behold him with the eye, but with the mind they know not him.Holding aloft the water as a water-bearer in her jar.

dūré pūrṇéna vasati dūrá ūnéna hīyate

mahád yakṣáṃ bhúvanasya mádhye tásmai balíṃ rāṣṭrabhŕ̥to bharanti 15

With the full vase he dwells afar, is left far off what time it fails, A mighty Being in creation's centre: to him the rulers of the realms bring tribute.

yátaḥ sū́ryaḥ udéty ástaṃ yátra ca gáchati

tád evá manye 'háṃ jyeṣṭháṃ tád u nā́ty eti kíṃ caná 16

That, whence the Sun arises, that whither he goes to take his rest,That verily I hold supreme: naught in the world surpasses it.

yé arvā́ṅ mádhya utá vā purāṇáṃ védaṃ vidvā́ṃsam abhíto vádanti

ādityám evá té pári vadanti sárve agníṃ dvitī́yaṃ trivŕ̥taṃ ca haṃsám 17

Those who in recent times, midmost, or ancient, on all sides.greet the sage who knows the Veda,One and all, verily discuss Aditya, the second Agni, and the threefold Hansa.

sahasrāhṇyáṃ víyatāv asya pakṣáu hárer haṃsásya pátataḥ svargám

sá devā́nt sárvān úrasy upadádya saṃpáśyan yāti bhúvanāni víśvā 18

This gold-hued Haiisa's wings, flying to heaven, spread o'er athousand days' continued journey.Supporting all the Gods upon his bosom, he goes his way beholding every creature.

satyénordhvás tapati bráhmaṇārvā́ṅ ví paśyati

prāṇéna tiryáṅ prā́ṇati yásmin jyeṣṭhám ádhi śritám 19

By truth he blazes up aloft by Brahma, he looks down below: He breathes obliquely with his breath, he on whom what is highest rests.

yó vái té vidyā́d aráṇī yā́bhyāṃ nirmathyáte vásu

sá vidvā́n jyeṣṭháṃ manyeta sá vidyād brā́hmaṇaṃ mahát 20

The sage who knows the kindling-sticks whence by attrition wealth is drawn,Will comprehend what is most high, will know the mighty Brahmana.

apā́d ágre sám abhavat só ágre svàr ā́bharat

cátuṣpād bhūtvā́ bhógyaḥ sárvam ā́datta bhójanam 21

Footless at first was he produced, footless he brought celestiallight. Four-footed grown, and meet for use, he seized each thing enjoyable.

bhógyo bhavad átho ánnam adad bahú 

yó devám uttarā́vantam upā́sātai sanātánam 22

Useful will he become, and then will he consume great store of food The man who humbly worshippeth the eternal and victorious God.

sanātánam enam āhur utā́dyá syāt púnarṇavaḥ

ahorātré prá jāyete anyó anyásya rūpáyoḥ 23

Him too they call eternal; he may become new again to-day.Day and Night reproduce themselves, each from the form the other wears.

śatáṃ sahásram ayútaṃ nyàrbudam asaṃkhyeyáṃ svám asmin níviṣṭam 

tád asya ghnanty abhipáśyata evá tásmād devó rocat eṣá etát 24

A hundred, thousand, myriad, yea a hundred million stores of wealth that passes count are laid in him.This wealth they kill as he looks on, and now this God shines bright therefrom.

bā́lād ékam aṇīyaskám utáikaṃ néva dr̥śyate

tátaḥ páriṣvajīyasī devátā sā́ máma priyā́ 25

One is yet finer than a hair, one is not even visible. And hence the Deity who grasps with firmer hold is dear to me.

iyáṃ kalyāṇy àjárā mártyasyāmŕ̥tā gr̥hé 

yásmai kr̥tā́ śáye sá yáś cakā́ra jajā́ra sáḥ 26

This fair one is untouched by age, immortal in a mortal's house. He for whom she was made lies low, and he who formed her hath grown old.

tváṃ strī́ tváṃ púmān asi tváṃ kumārá utá vā kumārī́

tváṃ jīrṇó daṇḍéna vañcasi tváṃ jātó bhavasi viśvátomukhaḥ 27

Thou art a woman, and a man; thou art a damsel and a boy. Grown old thou totterest with a staff, new-born thou lookest every way.

utáiṣāṃ pitótá vā putrá eṣām utáiṣāṃ jyeṣṭhá utá vā kaniṣṭháḥ 

éko ha devó mánasi práviṣṭaḥ prathamó jātáḥ sá u gárbhe antáḥ 28

Either the sire or son of these, the eldest or the youngest child.As sole God dwelling in the mind, first born, he still is in the womb.

pūrṇā́t pūrṇám úd acati pūrṇáṃ pūrṇéna sicyate

utó tád adyá vidyāma yátas tát pariṣicyáte 29

Forth from the full he lifts the full, the full he sprinkles withthe full.Now also may we know the source from which the stream is sprinkled round.

eṣā́ sanátnī sánam evá jātáiṣā́ purāṇī́ pári sárvaṃ babhūva

mahī́ devy ùṣáso vibhātī́ sáikenaikena miṣatā́ ví caṣṭe 30

Brought forth in olden time, the everlasting, high over all that is was she, the Ancient. The mighty Goddess of the Morn, refulgent with one eye, looketh round with one that winketh,

ávir vái nā́ma devátarténāste párīvr̥tā 

tásyā rūpéṇemé vr̥kṣā́ háritā háritasrajaḥ 31

Known by the name of Guardian Grace the Deity sits girt by Right.The trees have taken from her hue, green-garlanded, their robe of green.

ánti sántaṃ ná jahāty ánti sántaṃ ná paśyati

devásya paśya kā́vyaṃ ná mamāra ná jīryati 32

When he is near she leaves him not, she sees him not though he is near. Behold the wisdom of the God; he hath not died, he grows not old.

apūrvéṇeṣitā́ vā́cas tā́ vadanti yathāyathám

vádantīr yátra gáchanti tád āhur brā́hmaṇaṃ mahát 33

Voices that never were before emitted speak as fitteth them. Whither they go and speak, they say there is the mighty Brahmana.

yátra devā́ś ca manuṣyā̀ś cārā́ nā́bhāv iva śritā́ḥ

apā́ṃ tvā púṣpaṃ pr̥chāmi yátra tán māyáyā hitám 34

I ask thee where the waters' flower by wondrous magic art was placed,Thereon the Gods and men are set as spokes are fastened in the nave.

yébhir vā́ta iṣitáḥ pravā́ti yé dádante páñca díśaḥ sadhrī́cīḥ

yá ā́hutim atyámanyanta devā́ apā́ṃ netā́raḥ katamé tá āsan 35

Who gave command unto the wind that blowet! Who ranged the five united heavenly regions? Who were the Gods who cared not for oblations! Which of them brought the sacrificial waters?

imā́m eṣāṃ pr̥thivī́ṃ vásta éko 'ntárikṣaṃ páry éko babhūva

dívam eṣāṃ dadate yó vidhartā́ víśvā ā́śāḥ práti rakṣanty éke 36

One God inhabiteth the earth we live on; another hath encompassed air's mid-region. One, the Supporter, takes the heaven and bears it: some keeping watch guard all the quarters safely.

yó vidyā́t sū́traṃ vítataṃ yásminn ótāḥ prajā́ imā́ḥ

sū́traṃ sū́trasya yó vidyā́d sá vidyād brā́hmaṇaṃ mahát 37

The man who knows the drawn-out string on which these creatures all are strung,The man who knows the thread's thread, he may know the mighty Brahmana.

védāháṃ sū́traṃ vítataṃ yásminn ótāḥ prajā́ imā́ḥ

sū́traṃ sū́trasyāháṃ vedā́tho yád brā́hmaṇaṃ mahád 38

I know the drawn-out string, the thread whereon these creatures all are strung. I know the thread's thread also, thus I know the mighty Brahmana.

yád antarā́ dyā́vāpr̥thivī́ agnír áit pradáhan viśvadāvyàḥ

yátrā́tiṣṭhann ékapatnīḥ parástāt kvèvāsīn mātaríśvā tadā́nīm 39

When Agni passed between the earth and heaven devouring with his flame the all-consumer,Where dwelt afar the spouses of one husband, where at that moment, where was Matarisvan?

apsv ā̀sīn mātaríśvā práviṣṭaḥ práviṣṭā devā́ḥ salilā́ny āsan

br̥hán ha tasthau rájaso vimā́naḥ pávamāno haríta ā́ viveśa 40

Into the floods had Matarisvan entered, the deities had past into the waters. There stood the mighty measurer of the region: into the verdant plants went Pavamana.

úttareṇeva gayatrī́m amŕ̥té 'dhi ví cakrame

sā́mnā yé sā́ma saṃvidúr ajás tád dadr̥śe kvà 41

Over the Gayatri, above the immortal world he strode away.Those who by Song discovered Song--where did the Unborn see that thing?

nivéśanaḥ saṃgámano vásūnāṃ devá iva savitā́ satyádharmā 

índro ná tasthau samaré dhánānām 42

Luller to rest, and gatherer-up of treasures, Savitar like a God whose laws are constant, hath stood like Indra in the war for riches.

puṇḍárīkaṃ návadvāraṃ tribhír guṇébhir ā́vr̥tam 

tásmin yád yakṣám ātmanvát tád vái brahmavído viduḥ 43

Men versed in sacred knowledge know that living Being that abides. In the nine-portalled Lotus Flower, enclosed with triple bands and bonds.

akāmó dhī́ro amŕ̥taḥ svayaṃbhū́ rásena tr̥ptó ná kútaś canónaḥ

tám evá vidvā́n ná bibhāya mr̥tyór ātmā́naṃ dhī́ram ajáraṃ yúvānam 44

Desireless, firm, immortal, self-existent, contented with the essence, lacking nothing, Free from the fear of Death is he who knoweth that Soul courageous, youthful, undecaying.

http://hara-hara-mahadev.blogspot.in/2009/08/atharva-veda-x-78-skambha-suktam.html

The pillar is a cultural artifact, it belongs to the Hindu tradition. What is the meaning of the symbol with interrelationships in prayer and doctrine? (Snodgrass, Adrian, 1992, The symbolism of the Stupa, Motilal Banarsidass Publishers, New Delhi).

Atharva Veda (X.8.2) declares that Heaven and Earth stand fast being pillared apart by the pillar. Like the pillar, twilight of the dawn and dusk split apart the originally fused Heaven and Earth.

Light of dawn ‘divorces the coterminous regions – Sky and Earth – and makes manifest the several worlds. (RV VII.80; cf. VI.32.2, SBr. IV 6.7.9).

‘Sun is spac, for it is only when it rises that the world is seen’ (Jaiminiya Upanishad Brahmana I.25.1-2). When the sun sets, space returns into the void (JUB III.1.1-2).

Indra supports heavn and earth by ‘opening the shadows with the dawn and the sun’. (RV I.62.5). He ‘extends heaven by the sun; and the sun is the prp whereby he struts it.’ (RV X.111.5).

‘He who knows the Brahman in man knows the Supreme Being and he who knows the Supreme Brahman knows the Skambha’. (AV X. 7.17).

Linga-Purana (I.17.5-52; 19.8 ff.) provides a narrative. Siva appeared before Brahma and Vishnu as a fiery linga with thousands of flames. As a Goose, Brahma attempted to fly to the apex of the column; Vishnu as a Boar plunged through the earth to find the foot of the blazing column. Even after a thousand years, they couldn’t reach the destination, bow in homage to the Pillar of the Universe as the Paramaatman.

He is the ‘Pillar supporting the kindreds, that is, gods and men’. (RV I.59.1-2). He is the standard (ketu) of the yajna (equivalent of the dawn), the standard which supports heaven in the East at daybreak. (RV I.113.19; III.8.8).

The same spectra of meanings abound in Bauddham, as a symbolic continuum. So it is, the Buddha is a fiery pillar, comprising adorants at the feet marked with the Wheel of Dharma and the apex marked by a S’rivatsa (pair of fishes tied together by a thread, read as hieroglyph composition: ayira (metath. ariya) dhama, mandating norms of social, interpersonal conduct). Just as Agni awakens at dawn, the Buddha is the awakened.

Skambha Sukta ( Atharva Veda X-7 ). A pair of Yupa stambha of Dholavira. Signify div 'light' svar 'twilight'