Mirror: http://tinyurl.com/jlhsckx

Indus Script hieroglyphs read rebus relate to yajna of Vedic tradition celebrated on hundreds of examples signified on punch-marked and early cast coins of ancient Bharatam. I suggest that the eight-spoked wheel and yupa signify the Vedic tradition of yupa skambha with अष्टाश्रि 'having eight corners' to signify Soma Yaga. Often, together with yupa in a railing, a tree is also signified on a railing on early coins from mints from all over Bharatam from Taxila to Karur. The tree as hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. This is also shown on Sohgaura copper plate inscription of pre-Mauryan times. (Note embedded with reference to JF Fleet's article in JRAS, 1907).

अष्टा* श्रि [p= 117,1] mfn. having eight corners SBr.(Monier-Williams) áśri f. ʻ sharp side, corner, angle, edge ʼ ŚBr. 2. -- aśra- in cmpds.1. Pa. Pk. aṁsi -- f., Pk. assi -- f.; P. assī f. ʻ sharp edge of anything ʼ; Or. ã̄siā ʻ having angles ʼ; Si. äs, ähä ʻ corner, angle ʼ; -- Pr. čū ʻ corner ʼ? 2. Pa. assa -- m. corner; Si. asa ʻ side ʼ, ahak ʻ aside ʼ; -- in apposition with descendants of pārśva -- : S. āsi -- pāsi ʻ on all sides ʼ, L. āsse -- pāsse, P. āsī˜ -- pāsī˜ (ā frompās -- ); -- N. Ku. B. ās -- pās, Or. āsa -- pāsa, H. ās -- pās, M. āśī˜ -- pāśī˜.
aṣṭāśri -- , cáturaśri -- . (CDIAL 918) अस्रिः asriḥअस्रिः 1 An angle; अष्टास्रयः सर्व एव श्लक्ष्णरूपसमन्विताः Rām.1.14.26.-2 Ten million; see अश्रि. āśri आश्रि 1 U. 1 (a.) To resort or betake oneself to; to have recourse to (a place, way, course of action &c.); विचरितमृगयूथान्याश्रयिष्ये वनानि V.5.17; निम्नगां आश्रयन्ते Rs.1.27; दक्षिणां मूर्तिमाश्रित्य K.128,132; न वयं कुमारमाश्रयामहे Mu.4; आशिश्राय च भूतलम् Bk.14.111 fell on the ground; 17.92; वृत्तिमाश्रित्य वैतसीम् R.4.35 resorting to or following; so धैर्यम्, शोकम्, बलम्, मित्रभावम्, संस्कृतमाश्रित्य &c.; आश्रित्य having recourse or reference; तामाश्रित्य M.4.1, कतमत्प्रकरणमाश्रित्य गीयताम् Ś.1. (b) To seek refuge with, dwell with or in, inhabit (as a place &c.); शरण्यमेनमाश्रयन्ते R.13.7; Pt.1.51; तथा गृहस्थमाश्रित्य वर्तन्ते सर्व आश्रमाः Ms.3.77; सर्वे गुणाः काञ्चन- माश्रयन्ते. -2 To go through, experience; एको रसः ... पृथक् पृथगिवाश्रयते विवर्तान् U.3.47. -3 To rest or depend upon. -4 To adhere or stick to, fall to the lot of, happen, occur; पापमेवाश्रयेदस्मान् Bg.1.36 we shall incur sin. -5 To choose, prefer. -6 To assist, help. āśrayḥ आश्रयः [आश्रि-अच्] 1 A resting-place, seat, sub- stratum; सौहृदादपृथगाश्रयामिमाम् U.1.45. so आश्रयासिद्ध q. v. below. -2 That on which anything depends or rests or with which it is closely connected. -3 Recipient, receptacle, a person or thing in which any quality is present or retained &c.; तमाश्रयं दुष्प्रसहस्य तेजसः R.3.58. -4 (a) A place of refuge, asylum; shelter; भर्ता वै ह्याश्रयः स्त्रीणाम् Vet.; तदहमाश्रयोन्मूलनेनैव त्वामकामां करोमि Mu.2. (b) A dwelling, house. -5 Having recourse or resort to, resort; oft. in comp. साभूद्रामाश्रया भूयः R.12.35; नानाश्रया प्रकृतिः &c. -6 Following, practising; यो$वमन्येत ते मूले हेतुशास्त्राश्रयाद् द्विजः Ms.2.11. -7 Choosing, taking, attaching oneself to. -8Dependence on; oft. in comp.; मम सर्वे विषयास्त्वदाश्रयाः R.8.69. -9 Patron, supporter; विनाश्रयं न तिष्ठन्ति पण्डिता वनिता लताः Udb. -1 A prop, support; वृक्षेषु विद्धमिषुभिर्जघनाश्रयेषु R.9.6. -11 Help, assistance, protection. -12 A quiver; बाणमाश्रयमुखात् समुद्धरन् R.11.26. -13 Authority, sanction, warrant. -14 Connection, relation, association. राघवाश्रयसत्कथाः Rām. (Apte)

Indian-standard coinage of Menander I with an eight-spoked wheel and a palm of victory on the reverse (British Museum). The 'palm' evokes the spike shown on Tukulti-Ninurta fire-altar frieze (which is a rebus) of his ancestor's worship of fire-god karaṇḍa, 'fire-god' (Remo spoken by Bonda people of Odisha).

Vidisha, die-struck AE, wheel type Weight: 1.18 gm., Dimensions: 13 mm.Obv.: Eight-spoked wheel Rev.: Brahmi legend reading vedisaReference: Pieper collection

We are fortunate indeed that the rebus memories are retained in spoken languages of Ancient Near East from ca.5th millennium BCE, dawn of bronze-age, as shown by examples of hieroglyhs and related glosses from Indian sprachbund.

Photograph of excavation site. Shows three culd stands in situ in Room 6 of Ishtar temple of Tukulti-Ninurta I at Ashur. Courtesy: Vorderaslatisches Museum.

Andrae, 1935, 57-76, pls. 12, 30 1. Jakob-Rust, in Vorderaslatisches Museum 1992, 160, no. 103; Andrae, 1935, 16, figs. 2,3.

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

Is this a hieroglyphic composition of prayer to the Tree of Life? It is a prayer to fire divinity karaṇḍa 'fire-god' in Remo language of Bonda peoplewho live in the isolated hill regions of the Malkangiri district of southwestern Odisha, India. It is also a catalogue of metalwork in the bronze-age.

Representation of a tablet and a stylus, symbols for the god Nabû? (Klaus Wagensonner, University of Oxford). Short inscription says that it is dedicated to the god Nuṣka.

The key is the safflower Meluhha hieroglyph. The worshippers hold pomegranates on their hands. Pomegranate is a Meluhha hieroglyph.

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.

Allograph: करडी [ karaḍī ] f (See करडई) Safflower: also its seed.

Rebus: karaḍa ‘hard alloy’ (Marathi)

The enormous quantity of wrought lead found in Aṣṣur and Kar-Tukulti-Ninurta does evidence a large community of metalworkers, some might have been Meluhha speakers and Meluhha scribes !!

Read on... http://tinyurl.com/lo7j3su

AAltar, 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 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.

The two standards (staffs) are topped by a spoked wheel. āra 'spokes' Rebus: āra 'bronze'. This rebus reading is consistent with the prayer offered to the karaṇḍa 'hard alloy'.

Silver Punchmarked Coinage of Vidarbha Region (450-325 BC), Paratwada Hoard Type, Variety not listed in Rajgor or Mitchiner, Karshapana Weight standard, Four Symbol Type, ABCC Pattern, Coin 1: Obv: elephant, taurine with dotted circle & twice radiant sun on left coin. Coin 2: Obv: elephant, turtle and twice geometrical symbol on right coin. Rev: traces of first symbol on both coins. 2 COINS.

GREEKS/ BAKTRIAN KINGDOM: Demetrios I, 205-171 BC, Copper Unit, 8.26g, Elephant head with raised trunk nr, bell around the neck. Rev: BASI?EOS - ?HMHT?IO? kerykeion; l monogram in the field below. Mitchiner 60, Type 108b.

INDO-GREEKS: Apollodotos I, Circa 160-150 BC. Copper Unit , 7.90g. Obv: Apollo with radiate head standing facing with bow and arrow. Rev: Tripod, 'maharajasa apaladatasa tratatarasa'. Mitchiner, Indo-Greek and Indo-Scythian Coinage (1975), 118, Type 209.

BHANUMITRA: Circa. 1st-2nd century, Copper 7.69g. Obv: Lakshmi facing, flanked by eight-arched hill and stylized fire altar with serrated line below; Brahmi legend 'Rajno Bhanumitrasya' above. Reverse: Tree in railing. Very Fine, Extremely rare. Rs.15000-16000
This rare series is known only from a hoard discovered a few years ago that contained only coins of Bhanumitra. This specimen is one of the heaviest denominations found. No other ruler is known in this series. Yet nothing is known of Bhanumitra himself.
Source: http://kohinoorauctions.com/auction_archive.aspx?auctioncode=4&pricerange=&keyword=&category=12&material=0&lotno=

Kushanas, Kanishka I, Copper, 3.7 g, Urdhva Linga Shiva type, the king standing to left with offereing in the Fire Altar near his right leg and legend around on obv. Lord Shiva standing with a single head and holding a trident in his right hand, his left hand is hanging by the waist and Greeko legend in the right field reading OSHO. Almost Extremely Rare, Extremely Rare.The most outstanding part of the coin is the rev with the Lord Shiva standing and having an Urdhva Linga (erect phallus called Ithyphallic Shiva), the pose is quite distinct with his out of proportion Linga shown in a more realistic pose than the unrealistic pose of the same on his gold coins. The out of proportion of the Linga is purposely made to show the characteristic feature of Lord Shiva on such a small coin which could have easily been missed by its holder. It seems that this pose of Shiva is the earliest form which was developed later into a more subtle form of Shiva Linga. It is for the first time that such a copper coin of this type has appeared in any auction. A similar coin is recorded by Joe Cribb in the British Museum, London. An unusual coin with a very high implications on the religious history of India. Source: http://www.rajgors.com/lotdetailssold.aspx?LotID=1642&auid=6
Late 1st Century Coin, copper alloy. Obverse; elephant with standard, in square moat containing row of fish. Reverse: tree with railing; cross with 4 circles. Minted in Ujjain, India. Ruler: Satakarni. Source: British Museum:

Late 1st Century Coin, copper alloy. Obverse; elephant with standard, in square moat containing row of fish. Reverse: tree with railing; cross with 4 circles. Minted in Ujjain, India. Ruler: Satakarni. Source: British Museum

Silver Drachma, Amoghabhuti Kuninda Kingdom, 2nd C. BCE. 2.07 g. Obv: Deer standing right, crowned by two cobras, attended by Lakshmi holding a lotus flower. Legend in Prakrit (Brahmi script): "Rajnah Kunindasya Amoghabhutisya maharajasya." Rev. Stupa surmounted by the Buddhist symbol triratna, and surrounded by a swastika, a "Y" symbol, and a tree in railing. Kharoshti legend. AIC pg. 146, 1; MACW 4442; Senior pg. 233. https://www.pinterest.com/zakvega/coins/Yupa mēḍhā ‘stake’ Indus Script hieroglyph on sculptures, on coins of ancient Indian mints signifies smelting of mẽṛhẽt, meḍ'iron'

मेधा = धन Naigh. ii , 10. pl. products of intelligence , thoughts , opinions) RV mēdhḥ मेधः An offering, oblation. Thus,mēḍhā 'stake' is central to the process of yajna and creation of धन dhana, 'wealth'. (See depiction of dwarfs on Bhutesvar sculptural friezes to signify kharva, karba). Hieroglyph: खर्व (-र्ब) a. [खर्व्-अच्] 1 Mutilated, crippled, imperfect; Yv. Ts.2.5.1.7.-2 Dwarfish, low, short in stature. Rebus: karba 'iron' = kharva 'a treasure, nidhi of Kubera'.

The yupa hieroglyph on railed platform on scultptures and coins of ancient mints is a significant semantic indicator of smelting processes in metalwork. The skambha described in Atharvaveda (X.7) and in Rigveda ricas signyfying a vedic yajna process is mirrored as yupa in fire-altars of Sarasvati-Sindhu civilization. A variant orthographic form of octagonal vajra hints at the purpose signified by the Skambha as vajrasanghAta, 'an adamantine glue' in the transmutation processes converting dhAtu 'mineral ores' into 'metal, hard alloys'. This purpose is demonstrated on sculptural friezes of Mathura and Bhutesvar. वज्र--संघात [p= 914,1] m. N. of a kind of hard cement (Varahamihira's Brihatsamhita) mfn. having the hardness or compactness of adamant (said of भीम) MBh. i , 4775

Figures 1 to 10 are examples of the continuity of use of Indus Script hieroglyphs to signify metalwork by Bharatam Janam, 'metalcaster folk'.

Fig. 4 Ujjain coin hieroglyphs are deciphered. kanda 'fire-altar' for poLa 'magnetite ore' and mẽṛhẽt, meḍ'iron' सं-घट [p= 1130,1] mf(आ)n. heaped , piled up AgP.

The coin hieroglyphs signify iron ore smelting in a mint.

Pa. kandi (pl. -l) necklace, beads. Ga. (P.) kandi (pl. -l) bead, (pl.) necklace; (S.2) kandiṭ bead. (DEDR 1215) Rebus: Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. kandafire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214)

Dotted circle is a cross-section of a strand of rope: S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) धवड (p. 436) [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi) gaNDa 'four' (DEDR 1215) Rebus: kanda 'fire-altar'. Thus, the Ujjain hieroglyph of four joined dotted circles signifies a fire-altar for mineral ore. poLa 'zebu' Rebus: poLa 'magnetite ore' sangaDa 'lathe, portabe furnace' Rebus: sanghAta 'adamantine glue', sangara 'proclamation'; mēḍhā m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic languages)

Kalibangan and Binjor archaeological sites have provided evidence of yupa in fire-altars, together with Indus Script inscriptions which are relatable to the significance of yupa in metalwork.

Kalibangan yupa is quadrangle shaped, with 4 angles. Binjor yupa is octagonal shaped, with 8 angles. Both shapes are consistent with the Vedic tradition of the shape of the yupas related to Vajapeya soma yajña.

In Kalibangan, the fire-altar revealed a Yaṣṭi which is a clearly identifiable as a yupa or skambha of Rigveda/Atharva Veda texts. The Yupa Skambha is an extraordinary metaphor used in many Vedic texts describing the sacred processes involved in a yajña. The sacred processes are a manifestation of the cosmic dance of Siva (symbolised by the Skambha as linga or stele in fire-altars like the one discovered in Kalibangan).Kalibangan. Fire-altar with stele 'linga' and terracotta cakes. Plate XXA. "Within one of the rooms of amost each house was found the curious 'fire-altar', sometimes also in successive levels, indicating their recurrent function." (p.31)

The stele found in Kalibangan fire-altar is comarable to the Yupa of historical periods from ca. 2nd century found in Rajasthan and Indonesia. These Yupa detail inscriptions of yajña-s and distribution of wealth, the way the terracotta cake found in Kalibangan fire-altar in Indus Script hieroglyphs signified the metal work or creation of wealth with a smelter.

http://bharatkalyan97.blogspot.in/2015/12/yastifound-in-fire-altars-of-sarasvati.html

Octagonal yupa brick found in the fire-altar, Binjor. Discovered together with an Indus Script seal which signified metalwork. http://bharatkalyan97.blogspot.in/2015/12/binjor-fire-altar-with-octagonal-yasti.html

See: http://bharatkalyan97.blogspot.in/2015/05/rigveda-soma-not-herb-not-drink-but.html A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). See:

http://bharatkalyan97.blogspot.in/2015/05/worship-of-siva-linga-is-cultural-bond.html

Worship of linga, of fire by Gandharva, Shunga period (ca. 2nd cent. BCE), ACCN 3625, Mathura Museum. Worship signified by dwarfs, Gaṇa (hence Gaṇeśa = Gaṇa + īśa).

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

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

The association of dwarfs, gaNa is consistent with the interpretation of Ganesa iconography with elephant trunk: karibha 'elephant trunk' (Pali) rebua: karba 'iron' (Tulu); ib 'iron' (Santali) kara 'trunk' khAr 'blacksmith'. Siva's gaNa are Bharatam Janam, metalcaster folk engaged with पोतृ pōtṟ 'purifier priest' to signify dhā̆vaḍ, dhamaga 'smelter, blacksmith' working in alloy of three mineral ores. The garland depicted on Bhutesvar sculptural friezes signifies: dhAman 'garland, rope' rebus: dhamaga 'blacksmith', dhmAtr 'smelter'.

Candi Sukuh and Candi Ceto narratives are a cultural continuum of the veneration of Skambha, the fiery pillar of light as a metaphor for the cosmic dance of dissolution and regeneration. The message of the narratives of Indus Script hieroglyphs and of Candi Sukuh/Candi Ceto are the same: liberation of the Atman as the Cosmic Dancer renders in rhythm and dance the Cosmic phenomena finding expression in kole.l 'smithy' i.e. kole.l 'temple'.

This skambha, fiery pillar of light, seems to be of an infinite size with roots and end indeterminate, a concept represented in sculptural frieze of Darasuram, Airavatesvara temple. Both Brahma and Vishnu are signified as searching for the the beginning and end of the skambha as īśvará, now presented in an iconic form with multiple hands, hence multiple attributes.

Fig. 1 Clay sealing

Malwa, clay sealing

Weight: 4.48 gm., Dimensions: 20x15 mm.
Railed yupa (sacrificial post) with side decorations and

a Brahmi legend below reading khadasa
Reference: Pieper collection

Thanks to Shailendra Bhandare for the correct reading. According to Bhandare the legend refers to the worship of Skanda; similar objects pertaining to the Skanda cult have been reported from regions of Malwa, Vidarbha and the Deccan.

http://coinindia.com/galleries-eran2.html
Fig. 2 Gupta Asvamedha coin

Ashvamedha (horse sacrifice) type
	Samudragupta, gold dinar, c. 335-375 CE Weight: 7.46 gm, Diameter: 21 mm. Sacrificial horse standing left, yupa (sacrificial post) before, circular Brāhmī legend around and si (for siddham) below horse / Queen standing left, holding towel in left hand, flywhisk in right over her shoulder needle before, Brāhmī legend at right: Ashvamedhaparākrama
	The Ashvamedha type of Samudragupta is arguably the most beautiful Gupta coin.
Fig. 3	Samudragupta, gold dinar, c. 335-375 CE Weight: 7.37 gm, Diameter: 23 mm. Sacrificial horse standing left, yupa (sacrificial post) before, circular Brāhmī legend around and si (for siddham) below horse / Queen standing left, holding towel in left hand, flywhisk in right over her shoulder needle before, Brāhmī legend at right: Hayamedhaparākrama
	A unique coin in which the reverse legend reads Hayamedhaparākrama instead of the usualAshvamedhaparākrama. Haya is another Sanskrit word that means "horse."

http://coinindia.com/galleries-samudragupta.html

Fig. 4 Ujjain coin

Ujjain, anonymous AE 1/6 karshapana, bull type
Weight: 1.37 gm., Diameter: 11x10 mm.
Obv.: Bull to right with Indradhvaja above; railed yupa (sacrifical post)
on right.
Rev.: Double-orbed Ujjain symbol.
Reference: Pieper 333

http://coinindia.com/galleries-ujjain3.html

Fig. 5 Kuninda coin

A hieroglyph under the deer reinforces the message from the Kuninda mint.

ḍã̄g mountain-ridge (Hindi) dhangar 'blacksmith'. miṇḍāl 'markhor' (Tōrwālī) meḍho a ram rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic languages)

https://www.academia.edu/6146020/2014_JONS_218_-_A_COMPREHENSIVE_CATALOG_AND_CLASSIFICATION_OF_THE_SILVER_COINS_OF_THE_KUNINDA_DYNASTY_with_edits_02_21_2014

Kuninda coin See: http://bharatkalyan97.blogspot.in/2015/05/simorg.html?view=magazine.

Silver coin of the Kuninda Kingdom, c. 1st century BCE.
Obv: Deer standing right, crowned by two cobras, attended by Lakshmi holding a lotus flower. Legend in Prakrit (Brahmi script, from left to right): Rajnah Kunindasya Amoghabhutisya maharajasya ("Great King Amoghabhuti, of the Kunindas").
Rev: Stupa surmounted by the Buddhist symbol triratna, and surrounded by a swastika, a "Y" symbol, and a tree in railing. Legend in Kharoshti script, from righ to left: Rana Kunidasa Amoghabhutisa Maharajasa, ("Great King Amoghabhuti, of the Kunindas"). NB: Note the svastika, tree and mountain glyphs; these are Indus script hieroglyphs on the coin, attesting to the survival of the writing system in metallurgical contexts -- in this case, in the context of a mint. Note on Kuninda.
IGNCA Newsletter, 2003 Vol. III (May - June)

Fig. 6 Lakshmi Samudragupta gold dinar

"Lakshmi standing on a makara (elephant headed fish) to the left, holding long stemmed lotus in left hand, her right hand extended to her side, Samudragupta, gold dinar, Ca.355-380, The Skanhe Collection, ACSAA."

Fig. 7 Lakshmi Kumaragupta gold dinar

Lakshmi standing on crocodile, head turned right, hoding long stemmed lotus in left hand and feeding fruit to a peacock with her right, Kumargupta I, gold dinar, Ca.414-455, The Skanda Collection, ACSAA
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After Fig. 1: Symbols found in Kuninda silver coins (Source: https://www.academia.edu/6146020/2014_JONS_218_-_A_COMPREHENSIVE_CATALOG_AND_CLASSIFICATION_OF_THE_SILVER_COINS_OF_THE_KUNINDA_DYNASTY_with_edits_02_21_2014(Shivlee Kumar Gupta, Classification of the silver coins of the Kuninda dynasty with edits Feb. 21, 2014)

See: https://www.academia.edu/19857727/Ancient_coins_of_Eran_Vidisha_with_Indus_Script_hieroglyphs_of_metalwork Ancient coins of Eran, Vidisha with Indus Scrip hieroglyphs of metalwork.

Vidisha, die-struck AE, wheel type

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.

Figure 9. Homage tablet 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.