Mirror: http://tinyurl.com/gw2cdxz
Indus Script Corpora hieroglyphs link to 1) Pillar of Boatmen, 2) Cernunnos, smith-boatman on Gundestrup cauldron and 3) Kirkburn triskele hieroglyph http://bharatkalyan97.blogspot.in/2015/09/indus-script-corpora-hieroglyphs-link.html
http://bharatkalyan97.blogspot.in/2015/12/kamadha-penance-indus-script-hieroglyph.html kamaḍha 'penance', an Indus Script hieroglyph on 16 Ancient Near East inscriptions signifies kammaṭa 'mint, coiner'
Did Indians migrate to Europe as early as 3300 BC?http://bharatkalyan97.blogspot.in/2016/01/did-indians-migrate-to-europe-as-early.html
Celtic-Meluhha contacts during early Bronze Age: somehypotheses
Bronze Age revolution from 5th to 2nd millennium BCE andhttp://bharatkalyan97.blogspot.in/2015/09/bronze-age-revolution-from-5th-to-2nd.html
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Horned person in penance and “temple,” Harappa (H95-2487/4466-01) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan)..
Mirror: http://tinyurl.com/gw2cdxz
Indus Script Corpora hieroglyphs link to 1) Pillar of Boatmen, 2) Cernunnos, smith-boatman on Gundestrup cauldron and 3) Kirkburn triskele hieroglyph http://bharatkalyan97.blogspot.in/2015/09/indus-script-corpora-hieroglyphs-link.html
Did Indians migrate to Europe as early as 3300 BC?http://bharatkalyan97.blogspot.in/2016/01/did-indians-migrate-to-europe-as-early.html
Celtic-Meluhha contacts during early Bronze Age: somehypotheses
Bronze Age revolution from 5th to 2nd millennium BCE andhttp://bharatkalyan97.blogspot.in/2015/09/bronze-age-revolution-from-5th-to-2nd.html
Horned person in penance and “temple,” Harappa (H95-2487/4466-01) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan)..
Art historians' dilemma and Occam's razor : not to treat Indus Script, Luristan bronze hieroglyphs as divine mastery over animals
http://bharatkalyan97.blogspot.in/2015/10/art-historians-dilemma-and-occams-razor.html
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Vis'vakarma.http://bharatkalyan97.blogspot.in/2015/09/tvastra-artisans-divinity-of-fire.html
Kernunno or Cernunnos sculpted on the Pillar of Boatmen or Pilier des Nautes -- ca.1 BCE.by nautae Parisiaci -- at the Musée Carnavalet is composed of Indus Script hieroglyph components: horns of antelope (markhor), torcs, seated person in penance, surrounded by other metalwork hieroglyphs.
Discovered under the Cathedral Notre-Dame De Paris, the pillar is an offering of the boatmen of the Seine (the nautes) to the Roman Emperor Tiberius who ruled the Gaul (Roman Province).
The pillar was originally in a temple in the Gallo-Roman civitas of Lutetia (modern Paris, France).
Source: https://www.facebook.com/permalink.php?story_fbid=991453917560262&id=471707109534948
Cernunnos is attested on Pilier des Nautes (Koch, John, ed. (2006). Celtic Culture: A Historical Encyclopedia. ABC-Clio. p. 396). Divinities and soldiers depicted on the Pillar of Boatmen carry metallic weapons, consistent with the Indus Script Corpora deciphered as metalwork catalogues of seafaring Meluhha merchants. The Pillar of Boatmen dedicated by the Guild of Sailors of Lutetia, from the civitas of the Parisii (nautae Parisiaci) AND hieroglyphs of Gundestrup Cauldron are traceable to this tradition of Indus Script Cipher with Prakrtam metalwork lexis providing rebus renderings of hieroglyphs.
This inference is consistent with the deciherment of the Pasupati seal of Mohenjo-daro which has been compared with the Cernunnos and other hieroglyphs of Gundestrup Cauldron. (https://en.wikipedia.org/wiki/Gundestrup_cauldron).
Kernunno or Cernunnos is cognate with करण ‘writer’ and karṇadhāra m. ʻhelmsmanʼ Suśr.(Samsktam)
करण m. writer , scribe W. m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ) (Samskrtam) कारणी or कारणीक [ kāraṇī or kāraṇīka ] a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship &c. (Marathi) [kárṇa -- , dhāra -- 1 ] Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman (CDIAL 2836)
http://bharatkalyan97.blogspot.in/2015/10/art-historians-dilemma-and-occams-razor.html
![]()
Vis'vakarma.http://bharatkalyan97.blogspot.in/2015/09/tvastra-artisans-divinity-of-fire.html
Kernunno or Cernunnos sculpted on the Pillar of Boatmen or Pilier des Nautes -- ca.1 BCE.by nautae Parisiaci -- at the Musée Carnavalet is composed of Indus Script hieroglyph components: horns of antelope (markhor), torcs, seated person in penance, surrounded by other metalwork hieroglyphs.
Discovered under the Cathedral Notre-Dame De Paris, the pillar is an offering of the boatmen of the Seine (the nautes) to the Roman Emperor Tiberius who ruled the Gaul (Roman Province).
The pillar was originally in a temple in the Gallo-Roman civitas of Lutetia (modern Paris, France).
Cernunnos is attested on Pilier des Nautes (Koch, John, ed. (2006). Celtic Culture: A Historical Encyclopedia. ABC-Clio. p. 396). Divinities and soldiers depicted on the Pillar of Boatmen carry metallic weapons, consistent with the Indus Script Corpora deciphered as metalwork catalogues of seafaring Meluhha merchants. The Pillar of Boatmen dedicated by the Guild of Sailors of Lutetia, from the civitas of the Parisii (nautae Parisiaci) AND hieroglyphs of Gundestrup Cauldron are traceable to this tradition of Indus Script Cipher with Prakrtam metalwork lexis providing rebus renderings of hieroglyphs.
This inference is consistent with the deciherment of the Pasupati seal of Mohenjo-daro which has been compared with the Cernunnos and other hieroglyphs of Gundestrup Cauldron. (https://en.wikipedia.org/wiki/Gundestrup_cauldron).
Kernunno or Cernunnos is cognate with करण ‘writer’ and karṇadhāra m. ʻhelmsmanʼ Suśr.(Samsktam)
करण m. writer , scribe W. m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ) (Samskrtam) कारणी or कारणीक [ kāraṇī or kāraṇīka ] a (
Furniture, goods and chattels, articles of various kinds; வீட்டுச்சாமான்கள்.
தட்டுமுட்டு விற்று மாற்றாது (பணவிடு. 225). 2. Apparatus, tools, instruments, utensils; கருவி கள். 3. Luggage, baggage; மூட்டைகள். (W .)Ta. taṭṭumuṭṭu furniture, goods and chattels, utensils, luggage. Ma. taṭṭumuṭṭu kitchen utensils, household stuff. Tu. taṭṭimuṭṭu id.(DEDR 3041)
The Horned Divinity is sometimes specifically referred to as Cernunnos, or sometimes also as Kernunno (The Rebirth of Witchcraft, Doreen Valiente, page 52-53).
I suggest that the root of this word is traceable to Indus Script tradition
(Mohenjo-daro seal m304):
The Horned Divinity is sometimes specifically referred to as Cernunnos, or sometimes also as Kernunno (The Rebirth of Witchcraft, Doreen Valiente, page 52-53).
I suggest that the root of this word is traceable to Indus Script tradition
Hieroglyph: chain, necklace, anklet: śã̄gal, śã̄gaḍ ʻchainʼ (WPah.) śr̥ṅkhala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥ṅkhalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pāṇ. [Similar ending in
Ku.gng. śāṅaī ʻ intertwining of legs in wrestling ʼ (< śr̥ṅkhalita -- ); Or. sāṅkuḷibā ʻ to enchain ʼ.(CDIAL 12580, 12581)சங்கிலி¹ caṅkili , n. < šṛṅkhalaā. [M. caṅ- kala.] 1. Chain, link; தொடர். சங்கிலிபோ லீர்ப்புண்டு (சேதுபு. அகத். 12). 2. Land-measuring chain, Gunter's chain 22 yards long; அளவுச் சங்கிலி. (C. G .) 3. A superficial measure of dry land=3.64 acres; ஓர் நிலவளவு. (G. T n. D. I , 239). 4. A chain-ornament of gold, inset with diamonds; வயிரச்சங்கிலி என்னும் அணி. சங்கிலி நுண்டொடர் (சிலப். 6, 99). 5. Hand-cuffs, fetters; விலங்கு.
Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue. (Allograph) Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati)
Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue. (Allograph) Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati)
Ta. kalappai plough, ploughshare. Ma. kalappa plough and what belongs to it. Ka. kalapu materials for a house, for a plough, etc. Te. kalapa materials for a plough, timber for buildings.(DEDR 1304)
Hieroglyph: stag's horns: miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) 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)
tAttAru 'buffalo horn'(Mu.) Rebus: ThaThero ‘brass worker’(Ku.) (L) {N} ``^buffalo horn''. #64001.(S) {N} ``long ^horn, kind of ^conch''. #64010. So(L){N} ``^buffalo horn''.Ta.tu tt&ab revmacr;ri a kind of bugle-horn. Rebus: silversmith: Rebus: N. ṭhaṭāunu ʻ to strike, beat ʼ, ṭhaṭāi ʻ striking ʼ, ṭhaṭāk -- ṭhuṭuk ʻ noise of beating ʼ; H. ṭhaṭhānā ʻ to beat ʼ, ṭhaṭhāī f. ʻ noise of beating ʼ.(CDIAL 5490). *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- . [*ṭhaṭṭha -- 1, kāra -- 1]1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5493).Ta. taṭṭu (taṭṭi-) to knock, tap, pat, strike against, dash against, strike, beat, hammer, thresh; n. knocking, patting, breaking, striking against, collision; taṭṭam clapping of the hands; taṭṭal knocking, striking, clapping, tapping, beating time; taṭṭāṉ gold or silver smith; fem. taṭṭātti. Ma. taṭṭu a blow, knock; taṭṭuka to tap, dash, hit, strike against, knock; taṭṭān goldsmith; fem. taṭṭātti; taṭṭāran washerman; taṭṭikka to cause to hit; taṭṭippu beating. Ko. taṭ- (tac-) to pat, strike, kill, (curse) affects, sharpen, disregard (words); taṭ a·ṛ- (a·c) to stagger from fatigue. To. toṭ a slap; toṭ- (toṭy-) to strike (with hammer), pat, (sin) strikes; toṛ- (toṭ-) to bump foot; toṭxn, toṭxïn goldsmith; fem. toṭty, toṭxity; toṭk ïn- (ïḏ-) to be tired, exhausted. Ka. taṭṭu to tap, touch, come close, pat, strike, beat, clap, slap, knock, clap on a thing (as cowdung on a wall), drive, beat off or back, remove; n. slap or pat, blow, blow or knock of disease, danger, death, fatigue, exhaustion. Koḍ. taṭṭ- (taṭṭi-) to touch, pat, ward off, strike off, (curse) effects; taṭṭë goldsmith; fem. taṭṭati (Shanmugam). Tu. taṭṭāvuni to cause to hit, strike. Te. taṭṭu to strike, beat, knock, pat, clap, slap; n. stripe, welt; taṭravã̄ḍu goldsmith or silversmith. Kur. taṛnā (taṛcas) to flog, lash, whip. Malt. taṛce to slap.(DEDR 3039).
tatara 'smelter' (Japanese) < ṭhaṭṭhāra 'brass worker' (Prakritam) (< is indicated as a possibile transfer mode in language contacts for metalwork technical gloss.)
"The tatara (鑪?) is the traditional Japanese furnace used for smelting iron and steel. The word later also came to mean the entire building housing the furnace...tatara is foreign to Japan, originating in India or Central Asia...Tokutaro Yasuda suggests that the word may be from the Sanskrit word taatara, meaning "heat," noting that the Sanskrit word for steel is sekeraa, which is very similar to the word used in Japan for the steel bloom which the tatara produces..."
*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 1. Pk. ṭhaṭṭhāra -- m., K. ṭhö̃ṭhur m., S. ṭhã̄ṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m. (CDIAL 5491, 5493) Tatta1 [pp. of tapati] heated, hot, glowing; of metals: in a melted state (cp. uttatta) Aii. 122≈(tattena talena osiñcante, as punishment); Dh 308 (ayoguḷa); J ii. 352 (id.); iv. 306 (tattatapo "of red -- hot heat," i. e. in severe self -- torture); Miln 26, 45 (adv. red -- hot); PvA 221 (tatta -- lohasecanaŋ the pouring over of glowing copper, one of the punishments in Niraya).(Pali)
Indus Script evidence Pasupati seal deciphered. Bronze-age metalwork technology transfers from ancient India to Japan & Slovakia reinforced by Japanese and Slavic words.A remarkable lead in the inscription on the Pillar of Boatmen comes from the expression: Senan[t] U[s]e[t]lo[n]i in reference to three young men with shields and spears; a group of three older, bearded men with spears and shields, bearing the inscription Eurises; and a group of three figures, at least one of which is female. They are unarmed, dressed in flowing gowns.
The guild of sailors who donated the Pillar are paying a tribute to the traditions of ancient metalworkers.
Eurises: (Dedicants/donateurs): Terme inscrit sur le pilier des Nautes de Paris, au dessus de la representation de trois personages barbus et armes. P.Y. Lambert, y voit comme un derive de ieuru avec transformation du IE initial en E. Le term ieuru significant “a offert, a donne’, eurises aurait pour signification ‘donateurs, dedicants’ (PY Lambert, La langue gauloise, Errance, Paris, 2003) Sources: X. Delamarre, Dictionnaire de la langue gauloise, Errance, Paris, 2003; PY Lambert, La Langue gauloise, Errance, Paris, 2003; Pierre Crombet pour ‘lArbre Celtique).
The warriors are seafaring merchants belonging to a guild workshop of armourers or mint/smithy/forge.
Musee de Cluny - Musee National du Moyen Age![]()
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God of Etang-sur-Arroux, a possible depiction of Cernunnos. He wears a torc at the neck and on the chest. Two snakes with ram heads encircle him at the waist. Two cavities at the top of his head are probably designed to receive deer antlers. Two small human faces at the back of his head indicate that he is tricephalic. Musée d'Archéologie Nationale.
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Engraving of the elements found during the diggings, Histoire de Paris, tome 1, - Publié dans Notre-Dame de Paris, par Alain Erlande-Brandenbourg, Paris, éditions La Martinière 1997 - ISBN : 2-7324-2392-0 - Photo de cette reproduction par Siren-Com.Éléments découverts au cours de fouilles en 1711 constituant Le Pilier des Nautes, vestiges d'un temple pré-chrétien (Ier siècle ap.JC) sur l'île de la Cité à l'emplacement du chœur de ND de Paris. Gravure extraite de L'Histoire de Paris tome 1, Michel Félibien (1666 ? - 1719).![]()
Decipherment of Mohenjo-daro seal m0304 (seated, horned person surrounded by animal glyphs)
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m 304. Mohenjo-daro seal. DK 5175, now in the National Museum of India, New Delhi. Seated person with buffalo horns.
Head gear: Hieroglyph: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker'; Hieroglyph: goṇḍe ʻ cluster ʼ (Kannada) Rebus: kuṇḍi-a = village headman; leader of a village (Prakritam)
mũh 'face'; rebus: metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.)
Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.) The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883).Rebus: cūḷai 'furnace, kiln, funeral pile' (Te.)(CDIAL 4879; DEDR 2709). Thus the composite glyphic composition: 'bristled (tiger's mane) face' is read rebus as: sodagor mũh cūḷa 'furnace (of) ingot merchant'.
kamarasāla = waist-zone, waist-band, belt (Te.) karmāraśāla = workshop of blacksmith (Skt.) kamar ‘blacksmith’ (Santali)
The person on platform is seated in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭa ‘mint, coiner’ (Malayalam)
Hieroglyph: arms with bangles: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)(CDIAL 2779) Rebus: khār खार् 'blacksmith' (Kashmiri)
khār खार् । लोहकारः m. (sg. abl. khāra 1 खार ; the pl. dat. of this word is khāran 1 खारन् , which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b,l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below; ), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि ), the large stone used by a blacksmith as an anvil.(Kashmiri)
Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali.lex.) kuntam 'haystack' (Te.)(DEDR 1236) Rebus: kuṇḍamu 'a pit for receiving and preserving consecrated fire' (Te.)
A pair of hayricks, a pair of antelopes: kundavum = manger, a hayrick (G.) Rebus: kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295) Decoding a pair: dula दुल । युग्मम् m. a pair, a couple, esp. of two similar things (Rām. 966) (Kashmiri); dol ‘likeness, picture, form’ (Santali) Rebus: dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali)Antelope: miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
Glyph: krammara ‘look back’ (Te.); Rebus: kamar ‘smith’ (Santali) Vikalpa 1: mlekh ‘antelope’(Br.); milakkhu ‘copper’ (Pali) Vikalpa 2: kala stag, buck (Ma.) Rebus: kallan mason (Ma.); kalla glass beads (Ma.); kalu stone (Kond.a); xal id., boulder (Br.)(DEDR 1298). Rebus: kallan ‘stone-bead-maker’.
Thus, together, the glyphs on the base of the platform are decoded rebus:meḍ kamar dul meṛeḍ kũdār,'iron(metal)smith, casting (and) turner'. Animal glyphs around the seated person: buffalo, boar (rhinoceros), elephant, tiger (jumping).
ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku), lead (nāga) and antimony (añjana)’(Santali)kANDa 'rhinoceros' Rebus: khaNDa 'metal implements'ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Santali) karibha ‘trunk of elephant’ (Pali); rebus: karb ‘iron’ (Ka.)kolo, koleā 'jackal' (Kon.Santali); kola kukur 'white tiger' (A.); dāṭu ‘leap’ (Te.); rebus: kol pañcaloha 'five metals'(Ta.); kol 'furnace, forge' (Kuwi) dāṭu 'jump' (Te.). Rebus: dhātu ‘mineral’ (Skt.) Vikalpa: puṭi 'to jump'; puṭa 'calcining of metals'. Thus the glyph 'jumping tiger' read rebus: 'furnace for calcining of metals'.
Decoding the text of the inscription![]()
Text 2420 on m0304
Line 2 (bottom): 'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)
Line 1 (top):
'Body' glyph plus ligature of 'splinter' shown between the legs: mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) sal ‘splinter’; Rebus: sal ‘workshop’ (Santali) Thus, the ligatured glyph is read rebus as: meḍ sal 'iron (metal) workshop'.
Sign 216 (Mahadevan). ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu ‘mineral’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. Allograph: kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Skt.)
Sign 229. sannī, sannhī = pincers, smith’s vice (P.) śannī f. ʻ small room in a house to keep sheep in ‘ (WPah.) Bshk. šan, Phal.šān ‘roof’ (Bshk.)(CDIAL 12326). seṇi (f.) [Class. Sk. śreṇi in meaning "guild"; Vedic= row] 1. a guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). -- 2. a division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. senā and seniya). (Pali)
Sign 342. kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account) karNI 'supercargo' (Marathi)
Sign 344. Ligatured glyph: 'rim of jar' ligature + splinter (infixed); 'rim of jar' ligature is read rebus: kaṇḍa karṇaka 'furnace scribe (account)'.
sal stake, spike, splinter, thorn, difficulty (H.); Rebus: sal ‘workshop’ (Santali) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93). 2. To move, toss, as a ship; அலைவுறுதல். (R.) 3. To be undecided, vacillating; மனஞ் சுழலுதல். நெஞ்ச மாலைபாய்ந் துள்ள மழிகின்றேன் (அருட்பா,) Vikalpa: sal ‘splinter’; rebus: workshop (sal)’ ālai ‘workshop’ (Ta.) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93) Thus, together with the 'splinter' glyph, the entire ligature 'rim of jar + splinter/splice' is read rebus as: furnace scribe (account workshop). Sign 59. ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) Sign 342. kaṇḍa karṇaka 'rim of jar'; rebus: 'furnace scribe (account)'. Thus the inscription reads rebus: iron, iron (metal) workshop, copper (mineral) guild, fire-altar (furnace) scribe (account workshop), metal furnace scribe (account) As the decoding of m0304 seal demonstrates, the Indus hieroglyphs are the professional repertoire of an artisan (miners'/metalworkers') guild detailing the stone/mineral/metal resources/furnaces/smelters of workshops (smithy/forge/turners' shops). Comparble to m0304 showing a seated person in penance, is a seal showing a scarfed person in penance:
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Mohenjo-daro seal m 305 (DK 3884.
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He also has scarf as a pigtail, is horned with two stars shown within the horn-curves.
kuThi 'twig' Rebus: kuThi 'smelter' karA 'arm with bangles' Rebus: khAr 'blacksmith' dhatu 'scarf' Rebus: dhatu 'mineral'; taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker' meDhA 'polar star' Rebus: meD 'iron' (Mu.Ho.) gaNda 'four' Rebus: khaNDa 'metal imlements' aya 'fish' Rebus: aya 'iron' ayas 'metal' (Rigveda) See: http://tinyurl.com/ozyobnc
kamaḍha 'penance' (Pkt.) Rebus: kampaṭṭam ‘mint’ (Ta.) Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali)ḍato = claws of crab (Santali); dhātu = mineral (Skt.), dhatu id. (Santali) kūdī, kūṭī bunch of twigs (Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177). Rebus: kuṭhi 'smelting furnace‘ (Santali) koṭe ‘forged (metal) (Santali)mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.)ḍabe, ḍabea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali)
Thus, the entire glyphic composition of the seated, horned person is decoded rebus: meḍ dhatu kampaṭṭa ḍab kuṭhi kaṇḍ iron, mineral, mint (copper casting, forging workshop)furnace.
The text of the inscription shows two types of 'fish' glyphs: one fish + fish with scaled circumscribed by four short-strokes: aya 'fish' (Mu.); rebus: aya 'metal' (Samskritam)gaṇḍa set of four (Santali) kaṇḍa ‘fire-altar’ cf. ayaskāṇḍa a quantity of iron, excellent iron (Pāṇ.gaṇ) The reading is consistent with the entire glyphic composition related to the mineral, mint forge.
Another comparable glyphic composition is provided by seal m1181.
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m1181. Seal. Mohenjo-daro. Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated on a hoofed platform.![]()
m1181 Text of inscription.
Each glyphic element on this composition and text of inscription is decoded rebus:
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Two glyphs 'cross-road' glyph + 'splice' glyph -- which start from right the inscription of Text on Seal m1181.The pair of glyphs on the inscription is decoded: dhatu adaru bāṭa 'furnace (for) mineral, native metal’. dāṭu 'cross'(Telugu); bāṭa 'road' (Telugu). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)
Other glyphic elements: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.
*the person is seated on a hoofed platform (representing a bull): decoding of glyphics read rebus: ḍangar ‘bull’; ḍhangar ‘blacksmith’ (H.); koṇḍo ‘stool’; rebus: koḍ ‘workshop’. The glyphics show that the seal relates to a blacksmith's workshop.
*the seated person's hair-dress includes a horned twig. aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali)
*tiger's mane on face: The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883)Rebus: cuḷḷai = potter’s kiln, furnace (Ta.); cūḷai furnace, kiln, funeral pile (Ta.); cuḷḷa potter’s furnace; cūḷa brick kiln (Ma.); cullī fireplace (Skt.); cullī, ullī id. (Pkt.)(CDIAL 4879; DEDR 2709). sulgao, salgao to light a fire; sen:gel, sokol fire (Santali.lex.) hollu, holu = fireplace (Kuwi); soḍu fireplace, stones set up as a fireplace (Mand.); ule furnace (Tu.)(DEDR 2857).
*bangles on arms cūḍā ‘bracelets’ (H.); rebus: soḍu 'fireplace'. Vikalpa: sekeseke, sekseke covered, as the arms with ornaments; sekra those who work in brass and bell metal; sekra sakom a kind of armlet of bell metal (Santali)
*fish + splinter glyph ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.)sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) Vikalpa: Glyph: ḍhāḷiyum = adj. sloping, inclining; rebus: ḍhāḷako = a large metal ingot (G.) H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). Thus, the ligatured 'fish + sloping (stroke)' is read rebus: metal ingot.
•dāṭu = cross (Te.); dhatu = mineral (Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.)H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). aṭar a splinter; aṭaruka to burst, crack, slit off, fly open; aṭarcca splitting, a crack; aṭarttuka to split, tear off, open (an oyster)(Ma.); aḍaruni to crack (Tu.)(DEDR 66). dāravum = to tear, to break (G.) dar = a fissure, a rent, a trench; darkao = to crack,to break; bhit darkaoena = the wall is cracked (Santali) Rebus: aduru 'native (unsmelted) metl' (Kannada).
Seated person in penance: kamaḍha ‘penance’ (Pkt.); rebus: kampaṭṭa ‘mint’(Ma.) Glyphics of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.)
Glyph: clump between the two horns: kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundār turner (A.)(CDIAL 3295). kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] Pk. kuṁḍa-- n. ʻ heap of crushed sugarcane stalks ʼ (CDIAL 3266) Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko.goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft. (DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jet.t.ha chief of metal-worker guild. koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of hieroglyphs on m1185 seal is a message conveyed from a sodagor 'merchant, trader'. The bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.
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![Tutari, trumpet]()
Playing the tutari, 'trumpet'.
Use of buffalo horns on a tiger-woman toy: kola 'woman' kola'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kolle 'blacksmith'
If the buffalo horns were attached, the hieroglyphs would have been pronounced in Meluhha speech as taTThAr, 'buffalo horn' Rebus: taTTAr 'goldsmith guild'; ṭhaṭherā 'brass worker' (Punjabi)![Indus Valley Figurines: Slide #72]()
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Slide72. "Two composite anthropomorphic / animal figurines from Harappa. Whether or not the attachable water buffalo horns were used in magic or other rituals, unusual and composite animals and anthropomorphic/animal beings were clearly a part of Indus ideology. The ubiquitous "unicorn" (most commonly found on seals, but also represented in figurines), composite animals and animals with multiple heads, and composite anthropomorphic/animal figurines such as the seated quadruped figurines with female faces, headdresses and tails offer tantalizing glimpses into a rich ideology, one that may have been steeped in mythology, magic, and/or ritual transformation." Approximate dimensions (W x H(L) x D) of the larger figurine: 3.5 x 7.1 x 4.8 cm. (Photograph by Richard H. Meadow)
meď 'copper' (Slovak)
Santali glosses:
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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).
— 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’.
Cernunnos is also Hern the Hunter (Celtic polytheism between ca. 500BCE to 500 CE). Notre Dame de Paris was used as a burial gound for its bishops, arch-bishops and priests. The Pillar of Boatmen was discovered during medieval burials: ‘nine cubic stones, with on each of their vertical sides a different relief accompanied with an inscription.’
Similar replica of the ancient Roman gods pillar was found in Nijmegen, Netherlands, a municipality and a city in the Dutch province of Gelderland. It is situated on the Waal river, close to the German border.
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This photo of Nijmegen is courtesy of TripAdvisor![]()
This photo of Nijmegen is courtesy of TripAdvisor
About 40 attested Cernunnos divinity have been found in Celtic tradition. (Green, Miranda, Celtic Art, Reading the Messages, p. 147, 1996, The Everyman Art Library).
The name has been compared to a divine epithet Carnonos in a Celtic inscription written inGreek characters at Montagnac, Hérault (as καρνονου, karnonou, in the dative case). (Xavier Delamarre, Dictionnaire de la langue gauloise (Éditions Errance, 2003), pp. 106–107). A Gallo-Latin adjective carnuātus, "horned," is also found.(Equivalent to Latin cornutus, "horned"; Delamarre, citing J. Vendryes, Revue Celtique 42 (1925) 221–222.)
Metallurgy of Gundestrup Cauldron
[quote]The Gundestrup cauldron is composed almost entirely of silver, but there is also a substantial amount of gold for the gilding, tin for the solder and glass for the figures' eyes. According to experimental evidence, the materials for the vessel were not added at the same time, so the cauldron can be considered as the work of artisans over a span of several hundred years. The quality of the repairs to the cauldron, of which there are many, is inferior to the original craftsmanship.[1][2][4][5][6]
Silver was not a common material in Celtic art, and certainly not on this scale. Except sometimes for small pieces of jewellery, gold or bronze were more usual for prestige metalwork.[13] At the time that the Gundestrup cauldron was created, silver was obtained through cupellation of lead/silver ores.[2] By comparing the concentration of lead isotopes with the silverwork of other cultures, it has been suggested that the silver came from multiple ore deposits, mostly from Celtic northern France and western Germany in the pre-Roman period. The lead isotope studies also indicate that the silver for manufacturing the plates was prepared by repeatedly melting ingots and/or scrap silver. Three to six distinct batches of recycled silver may have been used in making the vessel.[1][2] Specifically, the circular "base plate" may have originated as a phalera, and it is commonly thought to have been positioned in the bottom of the bowl as a late addition, soldered in to repair a hole.[5] By an alternative theory, this phalera was not initially part of the bowl, but instead formed part of the decorations of a wooden cover.[5]
The gold can be sorted into two groups based on purity and separated by the concentration of silver and copper. The less puregilding, which is thicker, can be considered a later repair, as the thinner, purer inlay adheres better to the silver. The adherence of the overall gold is quite poor. The lack of mercury from the gold analysis suggests that a fire-gilding technique was not used on the Gundestrup cauldron. The gilding appears to have instead been made by mechanical means, which explains the function of closely spaced punch marks on the gilded areas.[1][2]
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This photo of Musee de Cluny - Musee National du Moyen Age is courtesy of TripAdvisor![]()
Smertrios.![]()
Layer 2: Cernunnos, Smertrios. Two torcs hang from Cernunnos' stag's antlers. Cross-legged seated position is assumed (based on other Cernunnos depictions). Smertrios brandishes a club, attacks a snake..![]()
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Esus cuts down a willow tree with an axe.![]()
Tarvos Trigaranos, a heavy-set bull in front of a willow-tree. Two cranes stand on his back and a third on his head.![]()
Volcanus holds hammer and tongs![]()
Tarvos trigaranus and Vulcan (Volcanus)![]()
Warriors![]()
Three armed, bearded men, Eurises![]()
Jove![]()
Jupiter holds a spear and a thunderbolt![]()
Mars with consort (Venus?) Mercurius with Rosmerta? "Mars, with spear and sword, is accompanied by a female deity with large round ear-rings and a flowing garment which is held over one arm. Mercury, identifiable by his caduceus, is depicted with a goddess who may be Rosmerta, his frequent companion in Gallic art. Fortuna is accompanied by another female deity, perhaps Juno. Two other unidentified female deities are on the fourth face, the one to the left is naked to the waist and holds a large cloak behind her with upraised arms; the other is clothed and has large round ear-rings." (Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres, p.447)![]()
Castor with horse Castor and Pollus are shown standing beside their horses, each holding a spear (Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres. ISBN 2-87754-056-1. Entry on Notre-Dame, includes detailed photos and line drawings, plus a reconstruction of the block ordering, p.451).![]()
Limestone pillar. 5.24m high, 0.91m wide at the base and 0.74m wide at the top (Saragoza, F.; Pariselle, C.; Meyohmas, M.-E. et al. (2003) "Le Pilier des nautes retrouvé". Archéologia 398, March 2003.)
Third tier has a dedicatory inscription. "The other sides show a group of three young men with shields and spears; a group of three older, bearded men with spears and shields, bearing the inscription Iurises; and a group of three figures, at least one of which is female. They are unarmed, dressed in flowing gowns, and have an inscription Senani U[s]eiloni."(Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres, p.448).
Inscription (Source: https://en.wikipedia.org/wiki/Pillar_of_the_Boatmen#CITEREFKoch2006)Written in Latin with some Gaulish language features, the inscription mingles Roman deities with gods that are distinctly Gallic. The pillar is dated by a dedication to Tiberius Caesar Augustus, that is, Tiberius, who became emperor in 14 AD. It was set up publicly (publice posierunt)by the guild of sailors of Lutetia, from the civitas of the Parisii (nautae Parisiaci). These sailors would have been merchants who travelled along the Seine.The main dedication is to Jupiter, in the form of Iovis Optimus Maximus ("Jove Best and Greatest"). The names of the emperor and the supreme deity appear in the dative case as the recipients of the dedication. The remaining theonyms are nominative legends that accompany individual depictions of the gods. These are (in the order they appear below) Jove, Tarvos Trigaranos (the Bull with three Cranes), Volcanus(Vulcan), Esus, Cernunnos, Castor, Smertrios, and Fortuna.The dedication (CIL XIII, 3026; RIG L2-1) is as follows:- Tib(erio) Caesare /
- Aug(usto) Ioui Optum[o] /
- Maxsumo /
- nautae Parisiaci /
- publice posierunt //
- Eurises // Senan[t] U[s]e[t]lo[n][-] //
- Iouis // Taruos Trigaranus //
- Volcanus // Esus //
- [C]ernunnos // Castor // [---] //
- Smer[---] //
- Fort[una] // [--]TVS[--] // D[--]
Original location of the pillar: "The Gaulish town of Lutetia was built on the Île de la Cité, an island in the middle of the Seine; a good defensive position and well suited to controlling trade along the river (Carbonnières, Philippe (1997). Lutèce, Paris ville romaine. Paris: Gallimard/Paris-Musées.pp. 13–15, 35–40). It is mentioned by Julius Caesar in the Gallic Wars. The Gallo-Roman town extended onto the south bank of the river, but the island remained the heart of the city and it was here that the forum and several temples were built. The pillar was erected outside one of these temples...Some time in the 3rd century, the stone blocks that formed the pillar were broken into two and used to reinforce the foundations of the walls along the riverbank."
The pillar is dated to ca. 1 BCE, by a dedication to Jupiter (Optimus maximus: lJove Best and Greatest). Used in dative case, the names of the emperor Tiberius Caesar Augustus (Tiberius) 14 CE and Jupiter are recipients of the dedication. 1. Jove (Jupiter); 2. Tarvos Trigaranos (the Bull with three cranes); 3. Volcanus (Vulcan); 4. Esus; 5. Cernunnos; 6. Castor; 7. Smertrios; 8. Fortuna. The dedication to Tiberius indicates that the pillar was erected between 14 and 37 CE. The pillar hieroglyphs are quintessentially Gallo-Roman erected by boatmen: nautae Parisiac[i/ publice posierunt 'set up publicly'. “If you read Latin, you can see the text contains a number of spelling mistakes; for example, 'maxsumo' should be 'maximo', and 'posierunt' should be 'posuerunt'. The people who wrote this were not yet completely familiar with the language of the Romans, it seems. Still, they wanted to express themselves the Roman way. Yet, particularly interesting from a modern perspective, is how the nautae specify their provenance: they do not call themselves the nautae of Lutetia, but the 'nautae parisiaci' - the Parisian shippers, or so. Indeed, this is one of the earliest surviving attestations of the name of Paris - which thus seems to antedate the Roman period.” https://www.facebook.com/permalink.php?story_fbid=991453917560262&id=471707109534948
See: Nielsen, S; Andersen, J; Baker, J; Christensen, C; Glastrup, J; et al. (2005). “The Gundestrup cauldron: New scientific and technical investigations”, Acta Archaeologica, 76: 1-58.
National Museum of Denmark: Web section http://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-early-iron-age/the-gundestrup-cauldron/
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Gundestrup cauldron![]()
Interior. Plate A.![]()
Plate A. Detail. Inside panel. Horned figure.![]()
Interior plate C.![]()
Interior plate E.![]()
Boar helmeted figure.![]()
Celtic torc.Bronze. 4th cent. BCE. From France.![]()
Head of an exterior plate.![]()
Exterior plate. Torc wearing head.![]()
Detail. Exterior Plate.![]()
Carnyx players
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Carnyx head from Tintignac group![]()
Torrs pony-cap and horns![]()
Celtic helmet with raven crest from Satu Mare, Romania ca. 4th cent. BCE![]()
Plaque with Thracian horseman![]()
Thracian disc found in the Netherlands.![]()
Achaemenid seal impression. Master of animals subduing two Mesopotamian lamassu.![]()
Griffin. Ancient Greek vase![]()
Pasupati (Lord of animals) seal. Mohenjo-daro.![]()
Gallo-Roman figure of Taranis/Jupiter with his wheel and thunderbolt, and carrying torcs
The warriors are seafaring merchants belonging to a guild workshop of armourers or mint/smithy/forge.
Musee de Cluny - Musee National du Moyen Age
God of Etang-sur-Arroux, a possible depiction of Cernunnos. He wears a torc at the neck and on the chest. Two snakes with ram heads encircle him at the waist. Two cavities at the top of his head are probably designed to receive deer antlers. Two small human faces at the back of his head indicate that he is tricephalic. Musée d'Archéologie Nationale.
Engraving of the elements found during the diggings, Histoire de Paris, tome 1, - Publié dans Notre-Dame de Paris, par Alain Erlande-Brandenbourg, Paris, éditions La Martinière 1997 - ISBN : 2-7324-2392-0 - Photo de cette reproduction par Siren-Com.Éléments découverts au cours de fouilles en 1711 constituant Le Pilier des Nautes, vestiges d'un temple pré-chrétien (Ier siècle ap.JC) sur l'île de la Cité à l'emplacement du chœur de ND de Paris. Gravure extraite de L'Histoire de Paris tome 1, Michel Félibien (1666 ? - 1719).
Decipherment of Mohenjo-daro seal m0304 (seated, horned person surrounded by animal glyphs)
Head gear: Hieroglyph: taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker'; Hieroglyph: goṇḍe ʻ cluster ʼ (Kannada) Rebus: kuṇḍi-a = village headman; leader of a village (Prakritam)
mũh 'face'; rebus: metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron (Santali.lex.)
Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.) The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883).Rebus: cūḷai 'furnace, kiln, funeral pile' (Te.)(CDIAL 4879; DEDR 2709). Thus the composite glyphic composition: 'bristled (tiger's mane) face' is read rebus as: sodagor mũh cūḷa 'furnace (of) ingot merchant'.
kamarasāla = waist-zone, waist-band, belt (Te.) karmāraśāla = workshop of blacksmith (Skt.) kamar ‘blacksmith’ (Santali)
The person on platform is seated in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭa ‘mint, coiner’ (Malayalam)
Hieroglyph: arms with bangles: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)(CDIAL 2779) Rebus: khār खार् 'blacksmith' (Kashmiri)
khār खार् । लोहकारः m. (sg. abl. khāra 1 खार ; the pl. dat. of this word is khāran 1 खारन् , which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b,l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta
khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below; ), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि ), the large stone used by a blacksmith as an anvil.(Kashmiri)
Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali.lex.) kuntam 'haystack' (Te.)(DEDR 1236) Rebus: kuṇḍamu 'a pit for receiving and preserving consecrated fire' (Te.)
A pair of hayricks, a pair of antelopes: kundavum = manger, a hayrick (G.) Rebus: kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295)
Decoding a pair: dula दुल । युग्मम् m. a pair, a couple, esp. of two similar things (Rām. 966) (Kashmiri); dol ‘likeness, picture, form’ (Santali) Rebus: dul ‘to cast metal in a mould’ (Santali) dul meṛeḍ cast iron (Mundari. Santali)
Antelope: miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
Glyph: krammara ‘look back’ (Te.); Rebus: kamar ‘smith’ (Santali) Vikalpa 1: mlekh ‘antelope’(Br.); milakkhu ‘copper’ (Pali) Vikalpa 2: kala stag, buck (Ma.) Rebus: kallan mason (Ma.); kalla glass beads (Ma.); kalu stone (Kond.a); xal id., boulder (Br.)(DEDR 1298). Rebus: kallan ‘stone-bead-maker’.
Thus, together, the glyphs on the base of the platform are decoded rebus:meḍ kamar dul meṛeḍ kũdār,'iron(metal)smith, casting (and) turner'.
Animal glyphs around the seated person: buffalo, boar (rhinoceros), elephant, tiger (jumping).
ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku), lead (nāga) and antimony (añjana)’(Santali)
kANDa 'rhinoceros' Rebus: khaNDa 'metal implements'
ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Santali) karibha ‘trunk of elephant’ (Pali); rebus: karb ‘iron’ (Ka.)
kolo, koleā 'jackal' (Kon.Santali); kola kukur 'white tiger' (A.); dāṭu ‘leap’ (Te.); rebus: kol pañcaloha 'five metals'(Ta.); kol 'furnace, forge' (Kuwi) dāṭu 'jump' (Te.). Rebus: dhātu ‘mineral’ (Skt.) Vikalpa: puṭi 'to jump'; puṭa 'calcining of metals'. Thus the glyph 'jumping tiger' read rebus: 'furnace for calcining of metals'.
Decoding the text of the inscription
Text 2420 on m0304
Line 2 (bottom): 'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)
Line 1 (top):
'Body' glyph plus ligature of 'splinter' shown between the legs: mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) sal ‘splinter’; Rebus: sal ‘workshop’ (Santali) Thus, the ligatured glyph is read rebus as: meḍ sal 'iron (metal) workshop'.
Sign 216 (Mahadevan). ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu ‘mineral’ (Santali) Vikalpa: erā ‘claws’; Rebus: era ‘copper’. Allograph: kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Skt.)
Sign 229. sannī, sannhī = pincers, smith’s vice (P.) śannī f. ʻ small room in a house to keep sheep in ‘ (WPah.) Bshk. šan, Phal.šān ‘roof’ (Bshk.)(CDIAL 12326). seṇi (f.) [Class. Sk. śreṇi in meaning "guild"; Vedic= row] 1. a guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). -- 2. a division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. senā and seniya). (Pali)
Sign 342. kaṇḍa kanka 'rim of jar' (Santali): karṇaka rim of jar’(Skt.) Rebus: karṇaka ‘scribe, accountant’ (Te.); gaṇaka id. (Skt.) (Santali) copper fire-altar scribe (account)(Skt.) Rebus: kaṇḍ ‘fire-altar’ (Santali) Thus, the 'rim of jar' ligatured glyph is read rebus: fire-altar (furnace) scribe (account) karNI 'supercargo' (Marathi)
Sign 344. Ligatured glyph: 'rim of jar' ligature + splinter (infixed); 'rim of jar' ligature is read rebus: kaṇḍa karṇaka 'furnace scribe (account)'.
sal stake, spike, splinter, thorn, difficulty (H.); Rebus: sal ‘workshop’ (Santali) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93). 2. To move, toss, as a ship; அலைவுறுதல். (R.) 3. To be undecided, vacillating; மனஞ் சுழலுதல். நெஞ்ச மாலைபாய்ந் துள்ள மழிகின்றேன் (அருட்பா,) Vikalpa: sal ‘splinter’; rebus: workshop (sal)’ ālai ‘workshop’ (Ta.) *ஆலை³ ālai, n. < šālā. 1. Apartment, hall; சாலை. ஆலைசேர் வேள்வி (தேவா. 844. 7). 2. Elephant stable or stall; யானைக்கூடம். களிறு சேர்ந் தல்கிய வழுங்க லாலை (புறநா. 220, 3).ஆலைக்குழி ālai-k-kuḻi, n. < ஆலை¹ +. Receptacle for the juice underneath a sugar-cane press; கரும்பாலையிற் சாறேற்கும் அடிக்கலம்.*ஆலைத்தொட்டி ālai-t-toṭṭi, n. < id. +. Cauldron for boiling sugar-cane juice; கருப்பஞ் சாறு காய்ச்சும் சால்.ஆலைபாய்-தல் ālai-pāy-, v. intr. < id. +. 1. To work a sugar-cane mill; ஆலையாட்டுதல். ஆலைபாயோதை (சேதுபு. நாட்டு. 93) Thus, together with the 'splinter' glyph, the entire ligature 'rim of jar + splinter/splice' is read rebus as: furnace scribe (account workshop). Sign 59. ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) Sign 342. kaṇḍa karṇaka 'rim of jar'; rebus: 'furnace scribe (account)'. Thus the inscription reads rebus: iron, iron (metal) workshop, copper (mineral) guild, fire-altar (furnace) scribe (account workshop), metal furnace scribe (account) As the decoding of m0304 seal demonstrates, the Indus hieroglyphs are the professional repertoire of an artisan (miners'/metalworkers') guild detailing the stone/mineral/metal resources/furnaces/smelters of workshops (smithy/forge/turners' shops). Comparble to m0304 showing a seated person in penance, is a seal showing a scarfed person in penance:
Mohenjo-daro seal m 305 (DK 3884.
He also has scarf as a pigtail, is horned with two stars shown within the horn-curves.
kuThi 'twig' Rebus: kuThi 'smelter' karA 'arm with bangles' Rebus: khAr 'blacksmith' dhatu 'scarf' Rebus: dhatu 'mineral'; taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker' meDhA 'polar star' Rebus: meD 'iron' (Mu.Ho.) gaNda 'four' Rebus: khaNDa 'metal imlements' aya 'fish' Rebus: aya 'iron' ayas 'metal' (Rigveda) See: http://tinyurl.com/ozyobnc
kamaḍha 'penance' (Pkt.) Rebus: kampaṭṭam ‘mint’ (Ta.) Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali)
ḍato = claws of crab (Santali); dhātu = mineral (Skt.), dhatu id. (Santali)
kūdī, kūṭī bunch of twigs (Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177). Rebus: kuṭhi 'smelting furnace‘ (Santali) koṭe ‘forged (metal) (Santali)
mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.)
ḍabe, ḍabea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali)
Thus, the entire glyphic composition of the seated, horned person is decoded rebus: meḍ dhatu kampaṭṭa ḍab kuṭhi kaṇḍ iron, mineral, mint (copper casting, forging workshop)furnace.
The text of the inscription shows two types of 'fish' glyphs: one fish + fish with scaled circumscribed by four short-strokes: aya 'fish' (Mu.); rebus: aya 'metal' (Samskritam)
gaṇḍa set of four (Santali) kaṇḍa ‘fire-altar’ cf. ayaskāṇḍa a quantity of iron, excellent iron (Pāṇ.gaṇ) The reading is consistent with the entire glyphic composition related to the mineral, mint forge.
Another comparable glyphic composition is provided by seal m1181.
m1181. Seal. Mohenjo-daro. Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated on a hoofed platform.
m1181 Text of inscription.
Two glyphs 'cross-road' glyph + 'splice' glyph -- which start from right the inscription of Text on Seal m1181.The pair of glyphs on the inscription is decoded: dhatu adaru bāṭa 'furnace (for) mineral, native metal’. dāṭu 'cross'(Telugu); bāṭa 'road' (Telugu). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330)
Other glyphic elements: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.
*the person is seated on a hoofed platform (representing a bull): decoding of glyphics read rebus: ḍangar ‘bull’; ḍhangar ‘blacksmith’ (H.); koṇḍo ‘stool’; rebus: koḍ ‘workshop’. The glyphics show that the seal relates to a blacksmith's workshop.
*the seated person's hair-dress includes a horned twig. aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali)
*tiger's mane on face: The face is depicted with bristles of hair, representing a tiger’s mane. cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883)Rebus: cuḷḷai = potter’s kiln, furnace (Ta.); cūḷai furnace, kiln, funeral pile (Ta.); cuḷḷa potter’s furnace; cūḷa brick kiln (Ma.); cullī fireplace (Skt.); cullī, ullī id. (Pkt.)(CDIAL 4879; DEDR 2709). sulgao, salgao to light a fire; sen:gel, sokol fire (Santali.lex.) hollu, holu = fireplace (Kuwi); soḍu fireplace, stones set up as a fireplace (Mand.); ule furnace (Tu.)(DEDR 2857).
*bangles on arms cūḍā ‘bracelets’ (H.); rebus: soḍu 'fireplace'. Vikalpa: sekeseke, sekseke covered, as the arms with ornaments; sekra those who work in brass and bell metal; sekra sakom a kind of armlet of bell metal (Santali)
*fish + splinter glyph ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.)sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) Vikalpa: Glyph: ḍhāḷiyum = adj. sloping, inclining; rebus: ḍhāḷako = a large metal ingot (G.) H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). Thus, the ligatured 'fish + sloping (stroke)' is read rebus: metal ingot.
•dāṭu = cross (Te.); dhatu = mineral (Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.)H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). aṭar a splinter; aṭaruka to burst, crack, slit off, fly open; aṭarcca splitting, a crack; aṭarttuka to split, tear off, open (an oyster)(Ma.); aḍaruni to crack (Tu.)(DEDR 66). dāravum = to tear, to break (G.) dar = a fissure, a rent, a trench; darkao = to crack,to break; bhit darkaoena = the wall is cracked (Santali) Rebus: aduru 'native (unsmelted) metl' (Kannada).
Seated person in penance: kamaḍha ‘penance’ (Pkt.); rebus: kampaṭṭa ‘mint’(Ma.) Glyphics of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. sodo bodo, sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant, trader; sodāgor (P.B.) (Santali.lex.)
Glyph: clump between the two horns: kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundār turner (A.)(CDIAL 3295). kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] Pk. kuṁḍa-- n. ʻ heap of crushed sugarcane stalks ʼ (CDIAL 3266) Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko.goṇḍ knob on end of walking-stick, head of pin; koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft. (DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jet.t.ha chief of metal-worker guild. koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of hieroglyphs on m1185 seal is a message conveyed from a sodagor 'merchant, trader'. The bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal) workshop'.
Playing the tutari, 'trumpet'.Use of buffalo horns on a tiger-woman toy: kola 'woman' kola'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kolle 'blacksmith'
If the buffalo horns were attached, the hieroglyphs would have been pronounced in Meluhha speech as taTThAr, 'buffalo horn' Rebus: taTTAr 'goldsmith guild'; ṭhaṭherā 'brass worker' (Punjabi)
Approximate dimensions (W x H(L) x D) of the larger figurine: 3.5 x 7.1 x 4.8 cm. (Photograph by Richard H. Meadow)
meď 'copper' (Slovak)
Santali glosses:
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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’.
Cernunnos is also Hern the Hunter (Celtic polytheism between ca. 500BCE to 500 CE). Notre Dame de Paris was used as a burial gound for its bishops, arch-bishops and priests. The Pillar of Boatmen was discovered during medieval burials: ‘nine cubic stones, with on each of their vertical sides a different relief accompanied with an inscription.’
Similar replica of the ancient Roman gods pillar was found in Nijmegen, Netherlands, a municipality and a city in the Dutch province of Gelderland. It is situated on the Waal river, close to the German border.
Nijmegen
This photo of Nijmegen is courtesy of TripAdvisor
This photo of Nijmegen is courtesy of TripAdvisor
About 40 attested Cernunnos divinity have been found in Celtic tradition. (Green, Miranda, Celtic Art, Reading the Messages, p. 147, 1996, The Everyman Art Library).
The name has been compared to a divine epithet Carnonos in a Celtic inscription written inGreek characters at Montagnac, Hérault (as καρνονου, karnonou, in the dative case). (Xavier Delamarre, Dictionnaire de la langue gauloise (Éditions Errance, 2003), pp. 106–107). A Gallo-Latin adjective carnuātus, "horned," is also found.(Equivalent to Latin cornutus, "horned"; Delamarre, citing J. Vendryes, Revue Celtique 42 (1925) 221–222.)
Metallurgy of Gundestrup Cauldron
[quote]The Gundestrup cauldron is composed almost entirely of silver, but there is also a substantial amount of gold for the gilding, tin for the solder and glass for the figures' eyes. According to experimental evidence, the materials for the vessel were not added at the same time, so the cauldron can be considered as the work of artisans over a span of several hundred years. The quality of the repairs to the cauldron, of which there are many, is inferior to the original craftsmanship.[1][2][4][5][6]
Silver was not a common material in Celtic art, and certainly not on this scale. Except sometimes for small pieces of jewellery, gold or bronze were more usual for prestige metalwork.[13] At the time that the Gundestrup cauldron was created, silver was obtained through cupellation of lead/silver ores.[2] By comparing the concentration of lead isotopes with the silverwork of other cultures, it has been suggested that the silver came from multiple ore deposits, mostly from Celtic northern France and western Germany in the pre-Roman period. The lead isotope studies also indicate that the silver for manufacturing the plates was prepared by repeatedly melting ingots and/or scrap silver. Three to six distinct batches of recycled silver may have been used in making the vessel.[1][2] Specifically, the circular "base plate" may have originated as a phalera, and it is commonly thought to have been positioned in the bottom of the bowl as a late addition, soldered in to repair a hole.[5] By an alternative theory, this phalera was not initially part of the bowl, but instead formed part of the decorations of a wooden cover.[5]
The gold can be sorted into two groups based on purity and separated by the concentration of silver and copper. The less puregilding, which is thicker, can be considered a later repair, as the thinner, purer inlay adheres better to the silver. The adherence of the overall gold is quite poor. The lack of mercury from the gold analysis suggests that a fire-gilding technique was not used on the Gundestrup cauldron. The gilding appears to have instead been made by mechanical means, which explains the function of closely spaced punch marks on the gilded areas.[1][2]
An examination of lead isotopes similar to the one used on the silver was employed for the tin. All of the samples of tin soldering are consistent in lead-isotope composition with ingots from Cornwall in western Britain. The tin used for soldering the plates and bowl together, as well as the glass eyes, is very uniform in its high purity.[1][2]
Finally, the glass inlays of the Gundestrup cauldron have been determined through the use of X-ray fluorescence radiation to be of a soda-lime type composition. The glass contained elements that can be attributed to calcareous sand and mineral soda, typical of the east coast of the Mediterranean region. The analyses also narrowed down the production time of the glass to between the second century BC and first century AD.[1][2] [unquote]
This photo of Musee de Cluny - Musee National du Moyen Age is courtesy of TripAdvisor
Smertrios.
Layer 2: Cernunnos, Smertrios. Two torcs hang from Cernunnos' stag's antlers. Cross-legged seated position is assumed (based on other Cernunnos depictions). Smertrios brandishes a club, attacks a snake..
Esus cuts down a willow tree with an axe.
Tarvos Trigaranos, a heavy-set bull in front of a willow-tree. Two cranes stand on his back and a third on his head.
Volcanus holds hammer and tongs
Tarvos trigaranus and Vulcan (Volcanus)
Warriors
Three armed, bearded men, Eurises
Jove
Jupiter holds a spear and a thunderbolt
Mars with consort (Venus?) Mercurius with Rosmerta? "Mars, with spear and sword, is accompanied by a female deity with large round ear-rings and a flowing garment which is held over one arm. Mercury, identifiable by his caduceus, is depicted with a goddess who may be Rosmerta, his frequent companion in Gallic art. Fortuna is accompanied by another female deity, perhaps Juno. Two other unidentified female deities are on the fourth face, the one to the left is naked to the waist and holds a large cloak behind her with upraised arms; the other is clothed and has large round ear-rings." (Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres, p.447)
Castor with horse
Castor and Pollus are shown standing beside their horses, each holding a spear (Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres. ISBN 2-87754-056-1. Entry on Notre-Dame, includes detailed photos and line drawings, plus a reconstruction of the block ordering, p.451).
Limestone pillar. 5.24m high, 0.91m wide at the base and 0.74m wide at the top (Saragoza, F.; Pariselle, C.; Meyohmas, M.-E. et al. (2003) "Le Pilier des nautes retrouvé". Archéologia 398, March 2003.)Third tier has a dedicatory inscription. "The other sides show a group of three young men with shields and spears; a group of three older, bearded men with spears and shields, bearing the inscription Iurises; and a group of three figures, at least one of which is female. They are unarmed, dressed in flowing gowns, and have an inscription Senani U[s]eiloni."(Busson, Didier (1998). Carte archéologique de la Gaule: 75, Paris. Paris: Académie des Inscriptions et Belles-Lettres, p.448).
Inscription (Source: https://en.wikipedia.org/wiki/Pillar_of_the_Boatmen#CITEREFKoch2006)
Written in Latin with some Gaulish language features, the inscription mingles Roman deities with gods that are distinctly Gallic. The pillar is dated by a dedication to Tiberius Caesar Augustus, that is, Tiberius, who became emperor in 14 AD. It was set up publicly (publice posierunt)by the guild of sailors of Lutetia, from the civitas of the Parisii (nautae Parisiaci). These sailors would have been merchants who travelled along the Seine.
The main dedication is to Jupiter, in the form of Iovis Optimus Maximus ("Jove Best and Greatest"). The names of the emperor and the supreme deity appear in the dative case as the recipients of the dedication. The remaining theonyms are nominative legends that accompany individual depictions of the gods. These are (in the order they appear below) Jove, Tarvos Trigaranos (the Bull with three Cranes), Volcanus(Vulcan), Esus, Cernunnos, Castor, Smertrios, and Fortuna.
The dedication (CIL XIII, 3026; RIG L2-1) is as follows:
- Tib(erio) Caesare /
- Aug(usto) Ioui Optum[o] /
- Maxsumo /
- nautae Parisiaci /
- publice posierunt //
- Eurises // Senan[t] U[s]e[t]lo[n][-] //
- Iouis // Taruos Trigaranus //
- Volcanus // Esus //
- [C]ernunnos // Castor // [---] //
- Smer[---] //
- Fort[una] // [--]TVS[--] // D[--]
Original location of the pillar: "The Gaulish town of Lutetia was built on the Île de la Cité, an island in the middle of the Seine; a good defensive position and well suited to controlling trade along the river (Carbonnières, Philippe (1997). Lutèce, Paris ville romaine. Paris: Gallimard/Paris-Musées.pp. 13–15, 35–40). It is mentioned by Julius Caesar in the Gallic Wars. The Gallo-Roman town extended onto the south bank of the river, but the island remained the heart of the city and it was here that the forum and several temples were built. The pillar was erected outside one of these temples...Some time in the 3rd century, the stone blocks that formed the pillar were broken into two and used to reinforce the foundations of the walls along the riverbank."
The pillar is dated to ca. 1 BCE, by a dedication to Jupiter (Optimus maximus: lJove Best and Greatest). Used in dative case, the names of the emperor Tiberius Caesar Augustus (Tiberius) 14 CE and Jupiter are recipients of the dedication. 1. Jove (Jupiter); 2. Tarvos Trigaranos (the Bull with three cranes); 3. Volcanus (Vulcan); 4. Esus; 5. Cernunnos; 6. Castor; 7. Smertrios; 8. Fortuna. The dedication to Tiberius indicates that the pillar was erected between 14 and 37 CE. The pillar hieroglyphs are quintessentially Gallo-Roman erected by boatmen: nautae Parisiac[i/ publice posierunt 'set up publicly'. “If you read Latin, you can see the text contains a number of spelling mistakes; for example, 'maxsumo' should be 'maximo', and 'posierunt' should be 'posuerunt'. The people who wrote this were not yet completely familiar with the language of the Romans, it seems. Still, they wanted to express themselves the Roman way. Yet, particularly interesting from a modern perspective, is how the nautae specify their provenance: they do not call themselves the nautae of Lutetia, but the 'nautae parisiaci' - the Parisian shippers, or so. Indeed, this is one of the earliest surviving attestations of the name of Paris - which thus seems to antedate the Roman period.” https://www.facebook.com/permalink.php?story_fbid=991453917560262&id=471707109534948
See: Nielsen, S; Andersen, J; Baker, J; Christensen, C; Glastrup, J; et al. (2005). “The Gundestrup cauldron: New scientific and technical investigations”, Acta Archaeologica, 76: 1-58.
Jouttijärvi, Arne (2009), “The Gundestrup Cauldron: Metallurgy and Manufacturing Techniques”, Materials and Manufacturing Processes, 24: 960-966.
Bergquist, A K & Taylor, T F (1987), “The origin of the Gundestrup cauldron”, Antiquity 61: 10-24.
Taylor, Timothy (1992), “The Gundestrup cauldron”, Scientific American, 266: 84-89.
Koch, John ed., "Gundestrup cauldron" in Celtic Culture: A Historical Encyclopedia, 2006, ABC-CLIO,
National Museum of Denmark: Web section http://en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-early-iron-age/the-gundestrup-cauldron/
Gundestrup cauldron
Interior. Plate A.![]()
Plate A. Detail. Inside panel. Horned figure.
Interior plate C.
Interior plate E.
Boar helmeted figure.
Celtic torc.Bronze. 4th cent. BCE. From France.
Head of an exterior plate.
Exterior plate. Torc wearing head.
Detail. Exterior Plate.
Carnyx players
Carnyx head from Tintignac group
Torrs pony-cap and horns
Celtic helmet with raven crest from Satu Mare, Romania ca. 4th cent. BCE
Plaque with Thracian horseman
Thracian disc found in the Netherlands.
Achaemenid seal impression. Master of animals subduing two Mesopotamian lamassu.
Griffin. Ancient Greek vase
Pasupati (Lord of animals) seal. Mohenjo-daro.
Gallo-Roman figure of Taranis/Jupiter with his wheel and thunderbolt, and carrying torcs