Mirror: http://tinyurl.com/ptdm83l

An evidence was presented on the Indus Script hieroglyphs of dotted circle and trefoil signifying the pōtṟ पोतृ,'purifier', ekamukha Sivalinga associated with muhã 'metal out of smelter'. See: http://bharatkalyan97.blogspot.in/2015/11/indus-script-hieroglyphs-potr-purifier.html

This mongraph presents evidence of the kanga 'brazier' as an evidence for the Indian civiization continuum which is traceable to Bharatam Janam, 'metalcaster folk' of the days of Sarasvati-Sindhu civilization.

The cultural continuum of pōtṟ पोतृ as a priest of Vedic tradition is evidenced in the veneration of ancestors: போத்தி pōtti 'grandfather, Malabar priest'. In ancient times of Sarasvati-Sindhu civilization, he was priest of dhā̆vaḍ 'iron-smelters' (root: dhāu 'ore') with Indus script hieroglyphs signifiesपोतृ,'purifier' of dhātu, dhāū, dhāv 'red stone minerals'. This is evidenced by the Indus Script hieroglyphs signified on the limestone statue.

போற்றன் pōṟṟaṉ, n. prob. id. Grandfather; பாட்டன். (நாமதீப. 189.) போத்தி pōtti, n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன்.போற்றி pōṟṟi, < id. n. 1. Praise, applause, commendation; புகழ்மொழி. (W.) 2.Brahman temple-priest of Malabar; கோயிற் பூசைசெய்யும் மலையாளநாட்டுப் பிராமணன். (W.) 3. See போத்தி, 1.--int. Exclamation of praise; துதிச்சொல்வகை. பொய்தீர் காட்சிப் புரையோய் போற்றி (சிலப். 13, 92).போற்றுநர் pōṟṟunar, n. < போற்று-. 1. Relatives, kinsmen; சுற்றத்தார். போற்றா ருயிரினும் போற்றுந ருயிரினும் (பரிபா. 4, 52). 2. Those who understand; நன்குணர்வார். வேற்றுமை யின்றது போற்றுநர்ப் பெறினே (பரிபா. 4, 55).போற்று¹-தல் pōṟṟu-

, 5 v. tr. 1. To praise, applaud; துதித்தல். (பிங்.) போற்று மடி யாருண்ணின்று நகுவேன் (திருவாச. 5, 60). 2. To worship; வணங்குதல். (பிங்.) 3. To protect, cherish, keep with great care; பாதுகாத் தல். போற்றி னரியவை போற்றல் (குறள், 693).

An example is provided by āyāgapaṭṭa अयागपट्ट signifying dhmātṛ, dhamaga smelters of ores.

See the hieroglyph of a fishtail PLUS two molluscs tied together with a dhAman 'rope' which signifies dhamaga 'blacksmith'. The word is also related to the gloss dhamma 'dharma' propounded by Jaina Tirthankara who is adored, venerated on the āyāgapaṭṭa.

āyāgapaṭṭa, Mathura.

See: http://bharatkalyan97.blogspot.in/2014/10/tri-ratna-hieroglyphs-meluhha-cipher.html

This is not an isolated, anecdotal evidence. The cultural continuum is also seen in the continued use of Indus Script hieroglyphs during the historical periods on punch-marked coins.

Indus Script hieroglyphs on Kuninda coin: svastika, tree, mountain-range, portable furnace, markhor, woman, flowing water

Tri-ratna symbol on top of a stupa, Kuninda coin, 2nd c. BCE

Meluhha rebus readings:

sattva 'svastika glyhph' Rebus: jasta 'zinc'

kuṭi ‘tree’ Rebus: kuṭhi ‘smelter’; kuṭhāru 'tree' Rebus: kuṭhāru 'armourer'

G. sãghāṛɔ m. ʻlathe’ 'portable furnaceRebus: संघाट joinery; M. sãgaḍ ‘double-canoe’ Rebus: sangataras ‘stone-cutter, mason’

Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885) Tor. miṇḍ ‘ram’, miṇḍā́l ‘markhor’ (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Munda.Ho.)

kola 'woman' Rebus: kol 'working in iron'; kolhe 'smelter'

kāṇḍa 'water' Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ Thus, cast bronze metalware.

Hieroglyphs: mountain-range, leaflesss tree: ḍã̄g mountain-ridge (H.)(CDIAL 5476). Rebus: dhangar ‘blacksmith’ (Maithili) ढांक [ ḍhāṅka ] n ढांकळ f C An old and decaying tree: also the stump or naked stalks and stem remaining (of a little plant).(Marathi) WPah.kṭg. ḍāṅg f. (obl. -- a) ʻ stick ʼ, ḍaṅgṛɔ m. ʻ stalk (of a plant) ʼ Rebus: ḍhangar blacksmith’ kolom ‘three’ Rebus: kolami ‘smithy, forge’ Vikalpa: khōṇḍa A tree of which the head and branches are broken off, a stock or stump: also the lower portion of the trunk—that below the branches. (Marathi) Rebus 1: kõdā 'to turn in a lathe' (Bengali) Rebus 2: koḍ 'workshop' (Gujarati)

āyāgapaṭṭa, Kankali Tila.Tablet of Homage carved with a Svastika, Mathura, from the JainaKankali Tila at Mathura. About 1st century A.D. now preserved in Lucknow Museum.

One hieroglyph is seen on Kuninda coin and also on Jaina āyāgapaṭṭa of Kankali Tila. The hieroglyph is:

kanga'brazier' on Kuninda coin.

Two views: 1.As on the sculptural frieze. 2. Inverted. kanga'brazier' on Jaina āyāgapaṭṭa of Kankali Tila.

This hieroglyph is a variant of the kanga 'brazier' shown as a hieroglyph-component of the hieroglyph-multiplex seen as 'standard device' combined lathe PLUS portable furnace or brazier:

sangada 'lathe', 'portable furnace' G. sãghāṛɔ m. ʻlathe’ ; sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻ lathe ʼ(CDIAL 12859) Rebus 1: sangara 'proclamation' Rebus 2:sangataras. संगतराश lit. ‘to collect stones, stone-cutter, mason.’ संगतराश संज्ञा पुं० [फ़ा०] पत्थर काटने या गढ़नेवाला मजदूर । पत्थरकट । २. एक औजार जो पत्थर काटने के काम में आता है । (Dasa, Syamasundara. Hindi sabdasagara. Navina samskarana. 2nd ed. Kasi : Nagari Pracarini Sabha, 1965-1975.) पत्थर या लकडी पर नकाशी करनेवाला, संगतराश, ‘mason’.

Khandagiri caves are also adorned with brazier, śrivatsa, svastika hieroglyphs: (Note: śrivatsa hieroglyph-multiplex may be a variant of the

deciphered in: http://bharatkalyan97.blogspot.in/2015/11/ornamental-endless-knot-svastika-other.html

Hieroglyphs: dām 'garland, rope': Rebus 1: dhamma 'dharma' (Pali); Rebus 2: dhamaga'blacksmith'; dhmātṛ 'smelter'
Hieroglyphs: hangi, 'mollusc' tied to a fish: ayira 'fish' Rebus; ariya, ayira 'person of noble character'.
Hieroglyphs: hangi 'mollusc' + dām 'rope, garland' dã̄u m. ʻtyingʼ; puci 'tail' Rebus: puja 'worship'

Rebus: ariya sanghika dhamma puja 'veneration of arya sangha dharma'.

Khandagiri caves (2nd cent. BCE) Cave 3 (Jaina Ananta gumpha). Fire-altar?, śrivatsa, svastika (hieroglyphs) (King Kharavela, a Jaina who ruled Kalinga has an inscription dated 161 BCE) contemporaneous with Bharhut and Sanchi and early Bodhgaya.

The three hieroglyph-multiplexes on the Khandagiri cave frieze thus relate to: kanga 'brazier'; ariya sanghika dhamma puja and satthiya 'zinc, spharelite' rebus synonym: satya 'truth'. All three hieroglyph-multiplexes are from the repertoire of smelter-blacksmith or Bharatam Janam, 'metalcaster folk'.

Variants of this hieroglyph-multiplex are seen on Indus Script corpora:

'Standard device in the round seen juxataposed to the hieroglyph on tablets.

Proclamation of procession tablets of Mohenjo-daro

A procession of iron, metalcasting workers is shown on the Mohenjo-daro tablets.

Hieroglyph:er-aka 'upraised hand' (Tamil) erhali to hold out the hand;(Kui) erke, erkelů rising (Tulu)(DEDR 905) Rebus: eṟaka, eraka any metal infusion (Kannada); moltencast, cast (as metal) (Tulu)(DEDR 86) ; molten state, fusion. Image result for standard device indus script

Image result for standard device indus script

m0490At m0490Bt Tablet showing Meluhha combined standard of four standards carried in a procession, comparable to Tablet m0491.

m0491 This is a report on the transition from lapidary to bronze-age metalware in ancient Near East.

eraka 'nave of wheel' Rebus: moltencast copper
dhatu 'scarf' Rebus: mineral ore dhāū, dhāv m.f. ʻa partic. soft red stoneʼ (Marathi) (whence dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron ʼ)
kōnda 'young bull' Rebus: turner
sãgaḍ 'lathe' Rebus: sangara proclamation

kanga 'portable brazier' Rebus: fireplace, furnace

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

The procession seen on m0491 tablet is emphatic evidence linking the brazier hieroglyph with the dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron ʼ).

The Jaina āyāgapaṭṭa of Kankali Tila and the Kundida coin thus show the hieroglyph kang 'brazier' to denote the profession of the donors among Bharatam Janam, 'metalcaster folk' who work with the metalwork instrument to create hard alloys and crucible steel.

This is veneration of the tools-of-trade while proclaiming their profession of the worshippers who offer the homage tablet, āyāgapaṭṭa.

See: http://bharatkalyan97.blogspot.in/2015/08/svastika-indus-script-hieroglyph.html?view=sidebar

S. Kalyanaraman

Sarasvati Research Center

November 22, 2015