Mirror: http://tinyurl.com/h4ga9vu
Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan concordance treates the hieroglyph as a text 'sign'.
![]()
![]()
Signs 45, 46 Mahadevan Concordance. In Sign 46, Sign 45 is ligatured with a pot held by the adoring hands of the kneeling adorant wearing a scarf-type pigtail. I suggest that the rimless pot held on Sign 46 is a phonetic determinant: baTa 'rimless pot' Rebus: bhaTa 'furnace'. So, is the kneeling adorant, a worshippper of a person seated in penance, a bhaTa'worshipper in a temple' Rebus: bhaTa'furnace'. For him the kole.l'temple' is kole.l'smithy, forge' (Kota language).
http://bharatkalyan97.
"Je tiens mon affaire!" Orthography of penance signifies kammaṭa'mint, coiner' on 10 Indus Script inscriptions
![]()
m478a tablet
![]()
m1186
Offering and adorant glyphs of Indus script
![]()
![]()
![clip_image061]()
h177B![clip_image062[4]]()
4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.
![]()
Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: گنےریوالا Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.
Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below.
Hieroglyph: kamadha '
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
— Slavic glosses for '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’.
भट्टारक [p=745,2] mf(इका)n. venerable L.;m. a great lord , venerable or worshipful person (used of gods and of great or learned men , esp. of Buddhist teachers and of a partic. class of शैव monks) Inscr. Vet. Hit. &c
भट्ट[p= 745,1] N. of a partic. mixed caste of hereditary panegyrists , a bard , encomiast L.m. (fr. भर्तृ) lord , my lord (also pl. and -पाद m. pl. ; according to Das3ar. ii , 64, a title of respect used by humble persons addressing a prince ; but also affixed or prefixed to the names of learned Brahmans , e.g. केदार- , गोविन्द-भ्° &c , or भट्ट-केदार &c , below , the proper name being sometimes omitted e.g. भट्ट = कुमारिल-भ्° ; also any learned man = doctor or philosopher) Ra1jat. Vet. &c
Pk. bhuaga -- m. ʻ worshipper in a temple ʼ*bhr̥tagātu ʻ hero song ʼ. [bhr̥ta -- , gātú -- 2 ]Ku. bhaṛau ʻ song about the prowess of ancient heroes ʼ.(CDIAL 9590) பட்டாமணியம் paṭṭā-maṇiyam, n. < U. paṭṭā பட்டாரகன் paṭṭārakaṉ , n. < bhaṭṭāraka. 1. Deity; கடவுள். (பிங்.) திருநந்திக்கரை பட் டாரகர் (T. A. S . iii, 206). 2. One who attained the stage of Arhat; அருகபதவி பெற்றோர். நமி பட்டாரகர் (தக்கயாகப். 375, உரை). 3. Spiritual preceptor; ஞானகுரு. (பிங்.) முகுந்தோத்தம பட் டாரகர் (T. A. S . iii, 44).பட்டாசாரி paṭṭācāri , n. < bhaṭṭa பட்டாசாரியன் paṭṭācāriyaṉ , n. < id. +. 1. See பட்டன், 1, 2. (W .) 2. founder of a sub-sect of Mīmāṁsakas; மீமாஞ்ச மதத்தினுள் ஒரு பகுதிக்கு ஆசிரியன். (சி. போ. பா. பக். 44.)பட்டக்காரன்¹ paṭṭa-k-kāraṉ, n. < பட்டம்² +. 1. Title-holder; பட்டம்பெற்றவன். (W .) 2. Title of the headman of the Toṭṭiyar and Koṅkuvēḷāḷa castes; தொட்டியர், கொங்குவேளாளர் சாதித்தலைவரின் சிறப்புப்பெயர்.
![]()
m0488
On both the seals, the adorant making the offerings is shown with wide horns and (possibly, a twig as a head-dress) and wearing a scarfed-pigtail; the adorant is accompanied by a ram with wide horns.
I suggest that the orthography points to two spoons (ladles) in an offering bowl:
ḍabu ‘an iron spoon’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) ḍabe, ḍabea wide horns (Santali) Rebus: ḍhābā workplace (P.)
The stool on which the bowl is placed is also a hieroglyph read rebus:
Kur. kaṇḍō a stool. Malt. Kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'stone (ore)' as in: ayaskāṇḍ 'excellent iron' (Panini)
dhaṭu m. (also dhaṭhu) m. ‘scarf’ (WPah.) (CDIAL 6707) Allograph: ḍato = claws of crab (Santali) Rebus: dhātu = mineral (Skt.), dhatu id. (Santali)
See the human face ligatured to a ram's body (an indication of the hieroglyphic nature of the orthographic composition):
mũh 'face' (Santali). Rebus: 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 end; kolhe tehen mẽṛhẽtko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.)
miṇḍāl 'markhor' (Tor.wali) meḍho 'a ram, a sheep' (G.)(CDIAL 10120)mēṇḍhaʻramʼ(CDIAL 9606).मेंढा [mēṇḍhā] m (मेष S through H) A male sheep, a ram or tup. मेंढका or क्या [ mēṇḍhakā or kyā ] a (मेंढा) A shepherd (Marathi) Rebus: meḍ 'iron' (Ho.) mēṇḍh 'gold' as in: मेंढसर [ mēṇḍhasara ] m A bracelet of gold thread. (Marathi)
मेढ [mēḍha] f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr. हातीं लागली चेड आणि धर मांडवाची मेढ.
I suggest that the orthography points to two spoons (ladles) in an offering bowl.
![]()
Cylinder seal with kneeling nude heroes, ca. 2220–2159BCE.; Akkadian
Mesopotamia
Red jasper; H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm)
Anonymous Loan (L.1992.23.5)
Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below.
Hieroglyph: kamadha '
![]()
Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up.
Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’. Rebus: kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.) kulA 'hood of serpent' Rebus: kolle 'blacksmith'.
Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)
The suggested rebus readings indicate that the Indus writing served the purpose of artisans/traders to create metalware, stoneware, mineral catalogs -- products with which they carried on their life-activities in an evolving Bronze Age.
Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan concordance treates the hieroglyph as a text 'sign'.
Signs 45, 46 Mahadevan Concordance. In Sign 46, Sign 45 is ligatured with a pot held by the adoring hands of the kneeling adorant wearing a scarf-type pigtail. I suggest that the rimless pot held on Sign 46 is a phonetic determinant: baTa 'rimless pot' Rebus: bhaTa 'furnace'. So, is the kneeling adorant, a worshippper of a person seated in penance, a bhaTa'worshipper in a temple' Rebus: bhaTa'furnace'. For him the kole.l'temple' is kole.l'smithy, forge' (Kota language).http://bharatkalyan97.
"Je tiens mon affaire!" Orthography of penance signifies kammaṭa'mint, coiner' on 10 Indus Script inscriptions
Prakritam gloss: kamad.ha, kamat.ha, kamad.haka, kamad.haga, kamad.haya= a type of penance.
The venerated, person seated in a type of penance has been rendered in Indus Script cipher as kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'. What did the kneeling adorant as Signs 45 and 46 signifY? I have suggested the cipher: bhaTa 'worshipper' rebus: bhaTa 'furnace'.
![]()
Prakritam lexis.
Prakritam lexis.
m478a tabletகோலம்¹ kōlam, n. [T. kōlamu, K. kōla, M. kōlam.] 1. Beauty, gracefulness, hand- someness; அழகு. கோலத் தனிக்கொம்பர் (திருக் கோ. 45). 2. Colour; நிறம். கார்க்கோல மேனி யானை (கம்பரா. கும்பக. 154). 3. Form, shape, external or general appearance; உருவம். மானுடக் கோலம். 4. Nature; தன்மை. 5. Costume; appropriate dress; attire, as worn by actors; trappings; equipment; habiliment; வேடம். உள்வரிக் கோலத்து (சிலப். 5, 216). 6. Ornament, as jewelry; ஆபரணம். குறங்கிணை திரண்டன கோலம் பொறாஅ (சிலப். 30, 18). 7. Adornment, decoration, embellishment; அலங்காரம். புறஞ்சுவர் கோலஞ்செய்து (திவ். திருமாலை, 6). 8. Ornamental figures drawn on floor, wall or sacrificial pots with rice-flour, white stone-powder, etc.; மா, கற்பொடி முதலியவற்றாலிடுங் கோலம். தரை மெழுகிக் கோலமிட்டு (குமர. மீனாட். குறம். 25).
The hieroglyphs on m478a tablet are read rebus:
kuTi 'tree'Rebus: kuThi 'smelter'
bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati) This hieroglyph is a phonetic deterinant of the 'rimless pot': baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron (Gujarati) bhaṭa 'a furnace'. Hence, the hieroglyph-multiplex of an adorant with rimless pot signifies: 'iron furnace' bhaTa.
bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin) (Punjabi. Bengali) The narrative of a worshipper offering to a tree is thus interpretable as a smelting of three minerals: copper, zinc and tin.
Numeral four: gaNDa 'four' Rebus: kand 'fire-altar'; Four 'ones': koḍa ‘one’ (Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the pair of 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's wrkshop'.
Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the circumscript signifies 'cast metal workshop'. meD 'body' Rebus: meD 'iron'.
khareḍo = a currycomb (G.) Rebus: kharādī ‘turner’ (Gujarati)
m1186Offering and adorant glyphs of Indus script
There are two seals of Indus script (m1186 and m0488) depicting a kneeling person with some offerings on a stool/tray. In a vivid orthographic analysis, John C. Huntington identifies the nature of the offering on m1186: it is a bowl with ladles. The offering kept on a stool on m0488 is likely to be a similar glyph, though analysis of a higher resolution image is not possible because the tablet with this glyph is worn-out.
m1186 seal. kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533).
Rebus: kol ‘pancaloha’ (Tamil)
bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
saman 'make an offering (Santali) samanon 'gold' (Santali)
minDAl 'markhor' (Torwali) meDho 'ram' (Gujarati)(CDIAL 10120) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali)
heraka 'spy' (Samskritam) Rebus:eraka 'molten metal, copper'
maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)
maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)
dhatu 'scarf' Rebus: dhatu 'mineral ore' (Santali)
The rice plant adorning the curved horn of the person (woman?) with the pig-tail is kolmo; read rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is: kod.u = horn; rebus: kod. artisan’s workshop (Kuwi)
The long curving horns may also connote a ram on h177B tablet:
h177B![clip_image062[4]](http://kalyan97.files.wordpress.com/2007/06/clip-image0624-thumb.jpg?w=99&h=45)
4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.The ram read rebus: me~d. ‘iron’; glyph: me_n.d.ha ram; min.d.a_l markhor (Tor.); meh ram (H.); mei wild goat (WPah.) me~r.hwa_ a bullock with curved horns like a ram’s (Bi.) me~r.a_, me~d.a_ ram with curling horns (H.)
Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: گنےریوالا Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.
Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below.
Hieroglyph: kamadha '
Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:
1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230)
2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)
3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)
Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali)
meď 'copper' (Slovak)
Santali glosses:
![]()
Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <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)
— 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]
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’.
भट्टारक [p=745,2] mf(इका)n. venerable L.;m. a great lord , venerable or worshipful person (used of gods and of great or learned men , esp. of Buddhist teachers and of a partic. class of शैव monks) Inscr. Vet. Hit. &c
भट्ट[p= 745,1] N. of a partic. mixed caste of hereditary panegyrists , a bard , encomiast L.m. (fr. भर्तृ) lord , my lord (also pl. and -पाद m. pl. ; according to Das3ar. ii , 64, a title of respect used by humble persons addressing a prince ; but also affixed or prefixed to the names of learned Brahmans , e.g. केदार- , गोविन्द-भ्° &c , or भट्ट-केदार &c , below , the proper name being sometimes omitted e.g. भट्ट = कुमारिल-भ्° ; also any learned man = doctor or philosopher) Ra1jat. Vet. &c
Pk. bhuaga -- m. ʻ worshipper in a temple ʼ*bhr̥tagātu ʻ hero song ʼ. [
On both the seals, the adorant making the offerings is shown with wide horns and (possibly, a twig as a head-dress) and wearing a scarfed-pigtail; the adorant is accompanied by a ram with wide horns.
I suggest that the orthography points to two spoons (ladles) in an offering bowl:
ḍabu ‘an iron spoon’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) ḍabe, ḍabea wide horns (Santali) Rebus: ḍhābā workplace (P.)
The stool on which the bowl is placed is also a hieroglyph read rebus:
Kur. kaṇḍō a stool. Malt. Kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'stone (ore)' as in: ayaskāṇḍ 'excellent iron' (Panini)
dhaṭu m. (also dhaṭhu) m. ‘scarf’ (WPah.) (CDIAL 6707) Allograph: ḍato = claws of crab (Santali) Rebus: dhātu = mineral (Skt.), dhatu id. (Santali)
See the human face ligatured to a ram's body (an indication of the hieroglyphic nature of the orthographic composition):
mũh 'face' (Santali). Rebus: 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 end; kolhe tehen mẽṛhẽtko mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.)
miṇḍāl 'markhor' (Tor.wali) meḍho 'a ram, a sheep' (G.)(CDIAL 10120)mēṇḍhaʻramʼ(CDIAL 9606).मेंढा [mēṇḍhā] m (मेष S through H) A male sheep, a ram or tup. मेंढका or क्या [ mēṇḍhakā or kyā ] a (मेंढा) A shepherd (Marathi) Rebus: meḍ 'iron' (Ho.) mēṇḍh 'gold' as in: मेंढसर [ mēṇḍhasara ] m A bracelet of gold thread. (Marathi)
मेढ [mēḍha] f A forked stake. Used as a post. Hence a short post generally whether forked or not. Pr. हातीं लागली चेड आणि धर मांडवाची मेढ.
I suggest that the orthography points to two spoons (ladles) in an offering bowl.
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.
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'
The four hieroglyphs are: from l. to r. 1. moon 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.
kamar 'moon' Rebus: kamar 'blacksmith'
arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'
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'
kamar 'moon' Rebus: kamar 'blacksmith'
arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'
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'
Mesopotamia
Red jasper; H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm)
Anonymous Loan (L.1992.23.5)
Citation
"Cylinder seal with kneeling nude heroes [Mesopotamia]" (L.1992.23.5) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/L.1992.23.5. (October 2006)
Four representations of a nude hero with six sidelocks of hair appear on this cylinder seal. Each wears a three-strand belt with a tassel. In all cases, the hero kneels on one knee and with both hands holds up a gatepost standard in front of his raised leg. Two vertical lines of inscription, one placed before a hero and another placed behind a second hero, give the name as Shatpum, son of Shallum, but do not provide an official title. Placed vertically in the field, a serpent appears behind one hero. In the spaces between the tops of the standards are four symbols: a sun disk, a lunar crescent, a fish, and a vase with flowing streams of water.
The nude hero is often shown with this very explicit type of gatepost, which perhaps is the emblem of a specific god or group of deities. The heroes with gateposts, the flowing vase, and the fish suggest that the iconography of this seal is somehow connected with Ea, god of sweet water and wisdom. However, the meaning of individual symbols could change in different contexts. The sun, moon, vase, and fish are undoubtedly astral or planetary symbols—the vase with streams and the fish are forerunners of what in much later times become zodiacal signs.
.![clip_image0271]()
![]()
Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: گنےریوالا Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan.
gumat.a, gumut.a, gumuri, gummat.a, gummut.a a copula or dome (Ka.); ghumat.a (M.); gummat.a, gummad a dome; a paper lantern; a fire-baloon (H.Te.); kummat.t.a arch, vault, arched roof, pinnacle of a pagoda; globe, lantern made of paper (Ta.)(Ka.lex.); gummaṭ m. ‘dome’ (P.) CDIAL 4217
Other glyphs (glyphemes): gúlma— m. ‘clump of trees’ VS., gumba— m. ‘cluster, thicket’ (Pali); gumma— m.n. ‘thicket’ (Pkt.); S. gūmbaṭu m. ‘bullock’s hump’; gumbaṭ m., gummaṭ f. ‘bullock’s hump’ (L.) CDIAL 4217
rebus: kumpat.i = ban:gala = an:ga_ra s’akat.i_ = a chafing dish, a portable stove, a goldsmith’s portable furnace (Te.lex.) kumpiṭu-caṭṭichafing-dish, port- able furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish (Ta.).kuppaḍige, kuppaṭe, kum- paṭe, kummaṭa, kummaṭe id. (Ka.)kumpaṭi id. (Te.) DEDR 1751. kummu smouldering ashes (Te.); kumpōḍsmoke.(Go) DEDR 1752.
Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below.
Hieroglyph: kamadha '
Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:
1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230)
Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up.
Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’. Rebus: kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.) kulA 'hood of serpent' Rebus: kolle 'blacksmith'.
Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the glyphics is about a mint or metal workshop which produces sharpened, tempered iron (stone ore) using a furnace.
Rebus readings of glyphs on text of inscription:
koṇḍa bend (Ko.); Tu. Kōḍi corner; kōṇṭu angle, corner, crook. Nk. Kōnṭa corner (DEDR 2054b) G. khū̃ṭṛī f. ʻangleʼRebus: kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295)
aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ (Kannada)
ãs = scales of fish (Santali); rebus: aya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in Rigveda: ancu 'iron' (Tocharian)
Rebus readings of glyphs on text of inscription:
koṇḍa bend (Ko.); Tu. Kōḍi corner; kōṇṭu angle, corner, crook. Nk. Kōnṭa corner (DEDR 2054b) G. khū̃ṭṛī f. ʻangleʼRebus: kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295)
aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ (Kannada)
ãs = scales of fish (Santali); rebus: aya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in Rigveda: ancu 'iron' (Tocharian)
G.karã̄ n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779). Rebus: khār खार् ‘blacksmith’ (Kashmiri)
dula ‘pair’; rebus dul ‘cast (metal)’
Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)
The suggested rebus readings indicate that the Indus writing served the purpose of artisans/traders to create metalware, stoneware, mineral catalogs -- products with which they carried on their life-activities in an evolving Bronze Age.
http://bharatkalyan97.blogspot.in/2016/01/je-tiens-mon-affaire-orthography-of.html
भट [p= 745,1]m. (fr. भृत) a mercenary , hired soldier , warrior , combatant MBh. Ka1v. &ca servant , slave Ka1vya7d. V = अर्य-भट (cf. below)pl. N. of a degraded tribe L. (cf. भट्ट , भड , भण्ड ; according to some " a person whose father is a Brahman and whose mother is a नटी ") bhr̥ta ʻ carried, brought ʼ MBh. 2. ʻ hired, paid ʼ Mn., m. ʻ hireling, mercenary ʼ Yājñ.com., bhr̥taka -- m. ʻ hired servant ʼ Mn.: > MIA. bhaṭa -- m. ʻ hired soldier, servant ʼ MBh. [√bhr̥ ]1. Ash. 3 sg. pret. bəṛə, f. °ṛī ʻ brought ʼ, Kt. bŕå; Gaw. (LSI) bṛoet ʻ they begin ʼ.2. Pa. bhata -- ʻ supported, fed ʼ, bhataka -- m. ʻ hired servant ʼ, bhaṭa -- m. ʻ hireling, servant, soldier ʼ; Aś.shah. man. kāl. bhaṭa -- ʻ hired servant ʼ, kāl. bhaṭaka -- , gir.bhata -- , bhataka -- ; Pk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ, bhaḍaa -- m. ʻ member of a non -- Aryan tribe ʼ; Paš. buṛīˊ ʻ servant maid ʼ IIFL iii 3, 38; S.bhaṛu ʻ clever, proficient ʼ, m. ʻ an adept ʼ; Ku. bhaṛ m. ʻ hero, brave man ʼ, gng. adj. ʻ mighty ʼ; B. bhaṛ ʻ soldier, servant, nom. prop. ʼ, bhaṛil ʻ servant, hero ʼ; Bhoj.bhar ʻ name of a partic. low caste ʼ; G. bhaṛ m. ʻ warrior, hero, opulent person ʼ, adj. ʻ strong, opulent ʼ, ubhaṛ m. ʻ landless worker ʼ (G. cmpd. with u -- , ʻ without ʼ, i.e. ʻ one without servants ʼ?); Si. beḷē ʻ soldier ʼ < *baḷaya, st. baḷa -- ; -- Pk. bhuaga -- m. ʻ worshipper in a temple ʼ, G. bhuvɔ m. (rather than < bhūdēva -- ).*bhārta -- ; abhr̥ta -- ; subhaṭa -- .Addenda: bhr̥ta -- : S.kcch. bhaṛ ʻ brave ʼ; Garh. (Śrīnagrī dial.) bhɔṛ, (Salānī dial.) bhe ṛ ʻ warrior ʼ.(CDIAL 9588)
Tukulti Ninurta I as kneeling adorant in a rebus representation of a dream, adoring the fire-altar of fire-god, karaNDi
![]()
Tukulti Ninurta as the kneeling adorant.
http://bharatkalyan97.blogspot.in/2014/12/vedic-asurta-based-on-svarsur-sun-and.html Vedic asūrta based on svàr/sūr ‘sun’ and Mlecchita vikalpa. Itihaasa of Asur/Bharatiyo metalcasters, as Bharatam Janam
http://bharatkalyan97.blogspot.in/2015/01/jharkhand-asur-tribe-losing-traditional.html Jharkhand Asur tribe losing traditional skills to modern times -- Abhishek Saha. Asur with links to bronze age metalwork.
Rebus: karaḍa 'hard alloy' of arka 'copper'.
The hieroglyphs on the fire-altar confirm the link to metallurgy with the use of 'spoked-wheel' banner carried on one side of the altar and the 'safflower' hieroglyph flanking the altar worshipped by Tukulti-Ninurta. It is rebus, as Sigmund Freud noted in reference to the dream. 'I have revealed to Atrahasis a dream, and it is thus that he has learned the secret of the gods.' (Epic of Gilgamesh, Ninevite version, XI, 187.)(Zainab Bahrani, 2011, The graven image: representation in Babylonia and Assyria, Univ. of Pennsylvania Press, p. 185)
See: Grayson, A.K. 1987. The Royal Inscriptions of Mesopotamia. Assyrian Period, I: Assyrian Rulers of the Third and Second Millennia B.C. (to 1115 B.C.), Toronto, p. 279ff.;
![]()
Tukulti-Ninurta I (meaning: "my trust is in [the warrior god] Ninurta"; reigned 1243–1207 BCE) was a king of Assyria (Sumer-Akkad) during the Middle Assyrian Empire (1366 - 1050 BCE). He built a ziggurat for Ishtar-Dinitu (Ishtar of the Dawn).
![ma_tukultininurta.jpg]()
![]()
http://bharatkalyan97.blogspot.in/2015/01/pillar-of-fire-jyotirlinga-and-hindu.html?view=mosaic
S. Kalyanaraman
Sarasvati Research Center
January 24, 2016
Tukulti Ninurta I as kneeling adorant in a rebus representation of a dream, adoring the fire-altar of fire-god, karaNDi
Stone pedestal of the god Nuska; Ashur, Temple of Ishtar; Middle Assyrian, reign of Tukulti-Ninurta I, ca. 1243–1207 BCE Provenience: Aṣṣur. Alabaster; H. 23 5/8 in. (60 cm); W. 22 1/2 in. (57 cm); Staatliche Museen zu Berlin, Vorderasiatische Museum
Stephanie Langin-Hooper (2014) notes the ancient term for altar as 'nemedu' and suggests that the altar was intended for use outside the temple doorway. https://www.academia.edu/5032823/Performance_and_Monumentality_in_the_Altar_of_Tukulti-Ninurta This is an artifact which might have served as a memorial for worshipful ancestors; this worship is exemplified by Tukulti Ninurta I kneeling in front of the 'stake' on the altar image on one side of the altar. The other side of the altar explains the metalwork of bronze age.
Meluhha gloss, semant. 'stick' on the fire-altar with Tukulti as the kneeling adorant: मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.)
Cognate glosses in Meluhha are māḷa 'sort of pavilion' (Pali); māṭam a niche in walls.(Malayalam)(DEDR 4832): *māḍa2 ʻ upper storey of a house ʼ. [mālaka -- m. ʻ raised pavilion or balcony ʼ Siṁhās. (see S. Lévi BSOS viii 623), mālikā -- f. ʻ whitewashed upper -- storeyed house ʼ lex., māḍi -- f. ʻ palace ʼ lex. -- ← Drav., Tam. māṭam ʻ storeyed house ʼ, Kan. māḍi ʻ upstair house ʼ, &c. DED 3930. Cf. mēṭa -- m. ʻ whitewashed storeyed house ʼ lex. also ← Drav. ib.]Pa. māḷa -- ʻ sort of pavilion ʼ, māḷaka -- , mālaka -- m. ʻ circular enclosure ʼ, maṇḍala -- māḷa -- m. ʻ circular hall with peaked roof ʼ; Pk. māla -- m. ʻ raised platform, upper part of a house ʼ, māḍia -- n. ʻ house ʼ; Wg. māla, malá ʻ roof ʼ, mala -- druḗk ʻ smoke -- hole ʼ NTS xvii 275; S. māṛī f. ʻ upper storey ʼ; L. māṛī f. ʻ storeyed house of burnt brick ʼ; P. māṛī f. ʻ upper storey ʼ; G. māḷ m. ʻ loft, upper storey ʼ, māḷɔ m. ʻ loft, large house ʼ, māḷiyũ n. ʻ loft ʼ; M. māḷ m. ʻ stage, platform ʼ, māḷā m. ʻ loft, granary ʼ, māḍī f. ʻ storey of a house, loft ʼ; Si. maḷu -- va ʻ courtyard of a house ʼ.(CDIAL 9996). The gloss māṭam means 'Siva's temple': மாடம்¹ māṭam, n. [T. māḍugu, K. māḍa, M. māḍam.] 1. Storied house; See மாடக்கோயில். எண்டோளீசற் கெழின்மாட மெழுபது செய்து (திவ். பெரியதி. 6, 6, 8) மாடக்கோயில் māṭa-k-kōyil, n. < id. +. Šiva temple with narrow passage, built on mounds by Kōcceṅkaṇāṉ; மேட்டிடத்தில் குறுகிய வழியுள்ளதாகக் கோச்செங்கணான் கட்டிய சிவாலயம். வடமலையனையான் மாடக்கோயிலே (தேவா. 467, 10). The structure of Tukulti Ninurta I altar may be a reference to such a māṭam variant nemedu.
Since meḍ is likely to be root etymon, the rebus readings of for -medu in nemedu: Hieroglyph: menḍa 'kneeling' (Manḍ)(DEDR 4677) [The imagery on the altar shows Tukulti Ninurta I kneeling in reverence before the altar.] Rebud: meḍ 'iron' (Ho. Remo. Munda)Allograph: menḍa 'sheep' (Munda)
manḍī मंडी f. an exchange, a place where merchants meet to transact business (Gr.M.).
Re<munDa>(B) {N} ``a ^natural lake''. *Des. Or. meṭṭā ʻ hillock ʼ(CDIAL 10308). *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312). Or. meñcaṛā ʻ dwarfish ʼ.(CDIAL 10306). mēṇḍha2 m. ʻ ram ʼ,*mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra --]1. Pa. meṇḍa -- m. ʻ ram ʼ, °aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (°ḍhī -- f.), °ṁḍa -- , miṁḍha -- (°dhiā -- f.), °aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.rumb.amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv. yēṛo -- miṇ; Phal. miṇḍ, miṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., °ḍhī f., ludh. mīḍḍhā, mī˜ḍhā m.; N. meṛho, meṛo ʻ ram for sacrifice ʼ; A. mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., °ṛi f., Or. meṇḍhā, °ḍā m., °ḍhi f., H.meṛh, meṛhā, mẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā.2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ.3. H. mejhukā m. ʻ ram ʼ.A. also mer (phonet. mer) ʻ ram ʼ AFD 235.(CDIAL 10310). Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï body. Te. mēnu id.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl. me·nḍl) body. Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil), (P.) mēn id. Go. (Tr.) mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.) meṇḍū˘l, (SR.) meṇḍol id. (Voc. 2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body.(DEDR 5099). Kuwi (Su. Isr.) med- (-it-) to put down foot; (F.) medali to push; metkali to jostle.(DEDR 4861) mŏ̈nḍü trampling, rubbing with the feet (cf. manḍun, used -- ˚ as in lata-mŏ̈nḍü, trampling with the feet, trampling down, crushing under the feet (K. 237)(Kashmiri) 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.) minḍa knee(Voc. 2827). Konḍa (BB) meḍa,meṇḍa id. Pe. menḍa id. Manḍ. menḍe id. Kui menḍa id. Kuwi (F.)menda, (S. Su. P.) menḍa, (Isr.) meṇḍa id. Cf. 4645 Ta. maṭaṅku (maṇi-forms). / ? Cf. Skt. maṇḍūkī- part of an elephant's hind leg; Mar. meṭ knee-joint(DEDR 4677). mḗdha m. ʻ sacrificial oblation ʼ RV.Pa. mēdha -- m. ʻ sacrifice ʼ; Si. mehe, mē sb. ʻ eating ʼ †mḗdhya -- ʻ full of vigour ʼ AV., ʻ fit for sacrifice ʼ Br. [mḗdha -- m. or mēdhāˊ -- f. ʻ mental vigour ʼ RV.]Pa. mejjha -- ʻ pure ʼ, Pk. mejjha -- , mijjha -- ; A. mezi ʻ a stack of straw for ceremonial burning ʼ. (CDIAL 10327). mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com.,mēḍhī -- , mēṭī -- f. BhP.
1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehāʻ the bullock next the post ʼ, Mth. meh, mehā ʻ the post ʼ, (SBhagalpur) mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.
2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīr, mīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛha, mehra ʻ a circular construction, mound ʼ; Or. meṛhī, meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhām. ʻ post, forked stake ʼ.(CDIAL 10317). mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ]Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭā, mẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10319). mēdapāṭa m. ʻ name of a country ʼ Uttamac.Pk. mēvāḍ(h)a -- , mēavāḍaya -- m. ʻ id. ʼ,Marw. mewāṛ.(CDIAL 10321).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.) Meluhha rebus representations are: bica ‘scorpion’ bica ‘stone ore’(hematite). pola (magnetite), gota (laterite), bichi (hematite). kuṇṭha munda (loha) a type of hard native metal, ferrous oxide. For kuṇṭha munda (loha) possible hieroglyph may be ‘stake’ (three of which are shown on Sit-Shamshi bronze).
http://bharatkalyan97.blogspot.in/2014/12/vedic-asurta-based-on-svarsur-sun-and.html Vedic asūrta based on svàr/sūr ‘sun’ and Mlecchita vikalpa. Itihaasa of Asur/Bharatiyo metalcasters, as Bharatam Janam
http://bharatkalyan97.blogspot.in/2015/01/jharkhand-asur-tribe-losing-traditional.html Jharkhand Asur tribe losing traditional skills to modern times -- Abhishek Saha. Asur with links to bronze age metalwork.
करंडा [karaṇḍā] A clump, chump, or block of wood. 4 The stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block.
Rebus: fire-god: @B27990. #16671. Remo <karandi>E155 {N} ``^fire-^god''.(Munda)
[quote]Description: Although the cult pedestal of the Middle Assyrian king Tukulti-Ninurta mentions in its short inscription that it is dedicated to the god Nuska, the relief on the front that depicts the king in a rare kind of narrative, standing and kneeling in front of the very same pedestal was frequently discussed by art-historians. More strikingly on top of the depicted pedestal there is not the lamp, the usual divine symbol for the god Nuska, but most likely the representation of a tablet and a stylus, symbols for the god Nabû. (Klaus Wagensonner, University of Oxford)[unquote] http://cdli.ox.ac.uk/wiki/doku.php?id=pedestal_tukulti_ninurta
No, it is not a representation of a tablet and a stylus, but a chump, a block of wood, karaṇḍā read rebus: karandi 'fire-god' (Munda). Thus, the chump is the divine symbol of fire-god.
The two standards (staffs) are topped by a spoked wheel. āra 'spokes' Rebus: āra 'bronze'. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) Glyph: eraka
This rebus reading is consistent with the prayer offered to
the karaṇḍa 'hard alloy'.
This rebus reading is consistent with the prayer offered to
the karaṇḍa 'hard alloy'.
‘alloy’. Allograph: khū̃ṭ ‘zebu’.
करडी [ karaḍī ] f (See
Rebus: karaḍa 'hard alloy' of arka 'copper'.
Another prayer by Tukulti-Ninurta on a fire-altar:
Altar, offered by Tukulti-Ninurta I, 1243-1208 BC, in prayer before two deities carrying wooden standards, Assyria, Bronze AgeSource: http://www.dijitalimaj.com/alamyDetail.aspx?img=%7BA5C441A3-C178-489B-8989-887807B57344%7D
Another view of the fire-altar pedestal of Tukulti-Ninurta I, Ishtar temple, Assur. Shows the king standing flanked by two standard-bearers; the standard has a spoked-wheel hieroglyph on the top of the staffs and also on the volutes of the altar frieze.The mediation with deities by king is adopted by Assurnasirpal II.
S. Kalyanaraman
Sarasvati Research Center
January 24, 2016