కాండము [ kāṇḍamu ] kānḍamu. [Skt.] n. Water. నీళ్లు (Telugu) kaṇṭhá -- : (b) ʻ water -- channel ʼ: Paš. kaṭāˊ ʻ irrigation channel ʼ, Shum. xãṭṭä. (CDIAL 14349). kāṇḍa ‘flowing water’ Rebus: kāṇḍā ‘metalware, tools, pots and pans’. lokhaṇḍ (overflowing pot) ‘metal tools, pots and pans, metalware’ lokhãḍ ‘overflowing pot’ Rebus: ʻtools, iron, ironwareʼ (Gujarati) Rebus: लोखंड lokhaṇḍ Iron tools, vessels, or articles in general. lo ‘pot to overflow’. Gu<loRa>(D)  {} ``^flowing strongly''. 

கொட்டம்¹ koṭṭam  Flowing, pouring; நீர் முதலியன ஒழுகுகை. கொடுங்காற் குண்டிகைக் கொட்ட மேய்ப்ப (பெருங். உஞ்சைக். 43, 130) கொட்டம் koṭṭam < gōṣṭha. Cattle- shed (Tamil) 

Gudea’s link with Meluhha is clear from the elaborate texts on the two cylinders describing the construction of the Ninĝirsu temple in Lagash. An excerpt: 1143-1154. Along with copper, tin, slabs of lapis lazuli, refined silver and pure Meluḫa cornelian, he set up (?) huge copper cauldrons, huge …… of copper, shining copper goblets and shining copper jars worthy of An, for laying (?) a holy table in the open air …… at the place of regular offerings (?). Ninĝirsu gave his city, Lagaš 

Impression of seal on tablets from Kanesh (After Larsen, Mogens Trolle and Moller Eva, Five old Assyrian texts, in: D. Charpin - Joannès F. (ed.), Marchands, Diplomates et Empereurs. Études sur la civilization Mésopotamienne offertes à Paul Garelli (Éditions research sur les Civilisations), Paris, 1991, pp. 214-245: figs. 5,6 and 10.)

Ancient near East Gudea statue hieroglyph (Indus writing): lokhãḍ, 'copper tools, pots and pans' Rebus: lo 'overflow', kāṇḍa 'sacred water'. Workers from Elam, Susa, Magan and Meluhha were deployed by Gudea, the ruler of Lagaṣ, to build The Eninnu, the main temple of Girsu, c. 2125 BCE. We are dealing with Indian sprachbundwhen we refer to Meluhha. This sprachbund has a remarkable lexeme which is used to signify a smithy, as also a temple: Kota. kole·l smithy, temple in Kota village. Toda. kwala·l Kota smithy Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer; Ka.kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go.(SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge. (DEDR 2133). http://en.wikipedia.org/wiki/File:Gudea.jpg Timber and exotic stones to decorate the temples were brought from the distant lands of Magan and Meluhha (possibly to be identified as Oman and the Indus Valley). 

http://www.britishmuseum.org/explore/highlights/article_index/g/gudea,_king_of_lagash_around.aspx

Gudea Basin. Water overflowing from vases. : The Representation of an Early Mesopotamian Ruler ... By Claudia E. Suter "The standing statue N (Fig. 5) holds a vase from which four streams of water flow down on each side of the dress into identical vases depicted on the pedestal, which are equally overflowing with water. Little fish swim up the streams to the vase held by Gudea. This statue evidently shows the ruler in possession of prosperity symbolized by the overflowing vase." (p.58)ayo 'fish' (Munda) Rebus: ayo 'iron' (Gujarati); ayas'metal' (Skt.) Together with lo, 'overflow', the compound word can be read as loh+ayas. The compound lohāyas is attested in ancient Indian texts, contrasted withkṛṣṇāyas, distinguishing red alloy metal (bronze) from black alloy metal (iron alloy). ayaskāṇḍa is a compound attested in Pāṇini; the word may be semantically explained as 'metal tools, pots and pans' or as alloyed metal.

A baked-clay plaque from Ur, Iraq, portraying a goddess; she holds a vase overflowing with water ('hé-gál' or 'hegallu') is a symbol of abundance and prosperity. (Beijing World Art Museum)  Fish in water on statue, on viewer's right. Gudea's Temple Building "The goddesses wit overflowing vases. (Fig.8). The large limestone basin (SV.7) restored by Unger from twenty-six fragments is carved in relief on its outside. It shows a row of goddesses walking on a stream of water. Between them they are holding vases from which water flows down into the stream. These, in turn, are fed with water poured from vases which are held by smaller-scale goddesses hovering above. All goddesses wear long pleated dresses, and crowns with a single horn pair. There are remains of at least six standing and four hovering goddesses. Considering the importance the number seven plays in Gudea's inscriptions, Unger's reconstruction of seven goddesses of each type is credible. The inscription on the basin, which relates its fashioning, designates it as a large S'IM, a relatively rare and only vagueely understood term, perhaps to be read agarinX. The fashioning of one or more S'IM is also related in the Cylinder inscriptions, and the finished artifact is mentioned again in the description of the temple...Since the metaphor paraphrasing the basin refers to th ceaseless flow of water, it is possible that the basin(s) mentioned in the account of Eninnu's construction is (are) identical with the fragmentary remains of the one (perhaps two?) actually found within the area of Gudea's Eninnu, as Unger presumed. Several similar and somewhat intuitive identifications of the goddesses with the overflowing vases have been proposed: Heuzey saw personifications of the Euphrates and Tigris; Unger saw personifications of sources and rain clouds that form the Tigris and identified them with Ningirsu and Baba's seven daughters; van Buren saw personifications of higher white clouds and lower rain clouds whom she assigned to Ea's circle. Neither are the seven (not fourteen!) daughters of Ningirsu and Baba ever associated with water, nor can fourteen personified clouds be made out in Ea's circle...The clue must be the overflowing vase which van Buren correctly interpreted as a symbol of abundance and prosperity. This interpretation is corroborated by the Gottertsypentext which states that the images of Kulullu is blessing with one hand (ikarrab) and holding abundance (HE.GAL) in the other.  The protective spirit Kulullu is usually associated with abundance and divine benevolence, and may be reminiscent of the god bestowing the overflowing vase upon a human petititioner in much earlier presentation scenes. The narrative context in which the goddess with the overflowing vase occurs is confined to presentations of a human petititioner to a deity. The Akkadian seal fo the scribe Ili-Es'tar shows her accompanying the petitioner, not unlike a Lamma.

Fig. 33 Urnamma stela.

Borker-Klahn's reconstruction.

On the Urmamma Stela, she is hovering over the offering of flowing water to the ruler by the enthroned deity. In this scene the goddess underlines the gift bestowed on the ruler, and figures as a personification of it, while on the seal she may have implied and guaranteed that the petitioner who offers an antelope (?) is pleading for and will receive blessings of abundance in return. The basin of Gudea is dedicated to Ningirsu, and may be understood as a plea for prosperity as well as a boast of its successful outcome."(Claudia E. Suter, 2000, Gudea's Temple Building: the representation of an early Mesopotamian Ruler in text and image, BRILL., II.c.i.d, pp. 62-63).

Location.Current Repository
Musee du Louvre. Inventory No. AO 22126 ca. 2120 BCE Neo-Sumerian from the city-state of Lagash. http://contentdm.unl.edu/ah_copyright.html gud. ' ea guda ' ea warrior ' emphasis/the best "The best warrior". http://evans-experientialism.freewebspace.com/ling_sumerian.htm Inscription on base of skirt- God commands him to build house. Gudea is holding plans. Gudea depicted as strong, peaceful ruler. Vessel flowing with life-giving water w/ fish. Text on garment dedicates himself,  the statue, and its temple to the goddess Geshtinanna. According to the inscription this statue was made by Gudea, ruler of Lagash (c. 2100 BCE) for the temple of the goddess Geshtinanna. Gudea refurbished the temples of Girsu and 11 statues of him have been found in excavations at the site. Nine others including this one were sold on the art market. It has been suggested that this statue is a forgery. Unlike the hard diorite of the excavated statues, it is made of soft calcite, and shows a ruler with a flowing vase which elsewhere in Mesopotamian art is only held by gods. It also differs stylistically from the excavated statues. On the other hand, the Sumerian inscription appears to be genuine and would be very difficult to fake. Statues of Gudea show him standing or sitting. Ine one, he rests on his knee a plan of the temple he is building. On some statues Gudea has a shaven head, while on others like this one he wears a headdress covered with spirals, probably indicating that it was made out of fur. Height 61 cm. The overflowing water from the vase is a hieroglyph comparable to the pectoral of Mohenjo-daro showing an overflowing pot together with a one-horned young bull and standard device in front. The diorite from Magan (Oman), and timber from Dilmun (Bahrain) obtained by Gudea could have come from Meluhha.  "The goddess Geshtinanna was known as “chief scribe” (Lambert 1990, 298– 299) and probably was a patron of scribes, as was Nidaba/Nisaba (Micha-lowski 2002). " http://www.academia.edu/2360254/Temple_Sacred_Prostitution_in_Ancient_Mesopotamia_Revisited That the hieroglyph of pot/vase overflowing with water is a recurring theme can be seen from other cylinder seals, including Ibni-Sharrum cylinder seal. Such an imagery also occurs on a fragment of a stele, showing part of a lion and vases.

A person with a vase with overflowing water; sun sign. C. 18th cent. BCE. [E. Porada,1971, Remarks on seals found in the Gulf states, Artibus Asiae, 33, 31-7]. meḍha ‘polar star’ (Marathi). meḍ ‘iron’ (Ho.Mu.)

The seal of Gudea:  Gudea, with shaven head, is accompanied by a minor female diety.  He is led by his personal god, Ningishzida, into the presence of Enlil, the chief Sumerian god. Wind pours forth from of the jars held by Enlil, signifying that he is the god of the winds. The winged leopard (griffin) is a mythological creature associated with Ningishzida, The horned helmets, worn even by the griffins, indicates divine status (the more horns the higher the rank). The writing in the background translates as: "Gudea, Ensi [ruler], of Lagash". lōī f., lo m.2. Pr. ẓūwī  ʻfoxʼ (Western Pahari)(CDIAL 11140-2). Rebus: loh ‘copper’ (Hindi). Te. eṟaka, ṟekka, rekka, neṟaka, neṟi id. (DEDR 2591). Rebus: eraka, eṟaka = any metal infusion (Ka.Tu.); urukku (Ta.); urukka melting; urukku what is melted; fused metal (Ma.); urukku (Ta.Ma.); eragu = to melt; molten state, fusion; erakaddu = any cast thng; erake hoyi = to pour meltted metal into a mould, to cast (Kannada)

See: http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.html

Ancient Near East evidence for meluhha language and bronze-age metalware 

Gudea Statue D Colum IV refers to Magan, Gubi and reads (Records of the Past, 2nd series, Vol. II, ed. by A. H. Sayce, [1888], at sacred-texts.com) http://www.sacred-texts.com/ane/rp/rp202/rp20221.htm:

1.     he has constructed.

2. By the power of the goddess Ninâ,

3. by the power of the god Nin-girsu,

4. to Gudea

5. who has endowed with the sceptre

6. the god Nin-girsu,

7. the country of Mâgan, 1

8. the country of Melughgha,

9. the country of Gubi, 2

10. and the country of Nituk, 3

11. which possess every kind of tree,

12. vessels laden with trees of all sorts

13. into Shirpurla

14. have sent.

15. From the mountains of the land of Mâgan

16. a rare stone he has caused to come;

17. for his statue

2.       http://www.sacred-texts.com/ane/rp/rp202/rp20221.htm#fr_228

Sumerian sign for the term ZAG ‘purified precious’. The ingot had a hole running through its length Perhaps a carrying rod was inserted through this hole.

Glyph: ḍhol ‘a drum beaten on one end by a stick and on the other by the hand’ (Santali); ḍhol ‘drum’ (Nahali); dhol (Kurku); ḍhol (Hi.) dhol a drum (G.)(CDIAL 5608) డోలు [ḍōlu ] [Tel.] n. A drum. Rebus: dul ‘to cast in a mould’; dul mẽṛhẽt, dul meṛeḍ, dul; koṭe meṛeḍ ‘forged iron’ (Santali) WPah.kṭg. (kc.) ḍhōˋḷ m. ʻstoneʼ, kṭg. ḍhòḷṭɔ m. ʻbig stone or boulderʼ, ḍhòḷṭu ʻsmall id.ʼ Him.I 87.(CDIAL 5536).

Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’. ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ)

Cylinder seal with kneeling nude heroes, ca. 2220–2159 b.c.; Akkadian  Mesopotamia Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm)  Metropolitan Museum of Art - USA 

Four flag-posts(reeds) with rings on top held by the kneeling persons define the four components of the iron smithy/forge.  This is an announcement of four shops, पेढी (Gujarati. Marathi). पेंढें 'rings' Rebus: पेढी 'shop'.āra 'serpent' Rebus; āra 'brass'. karaḍa 'double-drum' Rebus: karaḍa 'hard alloy'.

Specific materials offered for sale/exchange in the shop are: hard alloy brass metal (ayo, fish); lokhaṇḍ (overflowing pot) 'metal tools, pots and pans, metalware'; arka/erka   'copper'; kammaṭa (a portable furnace for melting precious metals) 'coiner, mint'  Thus, the four shops are: 1. brass alloys, 2. metalware, 3. copper and 4. mint (services).

erãguḍu bowing, salutation (Telugu) iṟai (-v-, -nt-) to bow before (as in salutation), worship (Tamil)(DEDR 516). Rebus: eraka, eṟaka any metal infusion (Kannada.Tulu) eruvai 'copper' (Tamil); ere dark red (Kannada)(DEDR 446).

puṭa Anything folded or doubled so as to form a cup or concavity; crucible. Alternative: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)

Allograph: ढाल [ ḍhāla ] f (S through H) The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain: also a flag flying on forts &c. ढालकाठी [ ḍhālakāṭhī ] f ढालखांब m A flagstaff; esp.the pole for a grand flag or standard. 2 fig. The leading and sustaining member of a household or other commonwealth. 5583 ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- . 1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f. WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f. (CDIAL 5583).

They are four Glyphs: paṭākā 'flag' Rebus: pāṭaka, four quarters of the village.

kã̄ḍ reed Rebus: kāṇḍa 'tools, pots and pans, metal-ware'. 

1. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ. 2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw.  kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ, °ar, kāwaṛ, °ar f., G. kāvaṛf., M. kāvaḍ f.; -- deriv. Pk. kāvaḍia -- , kavvāḍia -- m. ʻ one who carries a yoke ʼ, H. kã̄waṛī, °ṛiyā m., G. kāvaṛiyɔ m. 3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man who carries it ʼ. 4. Or. kāmaṛā, °muṛā ʻ rafters of a thatched house ʼ; G. kāmṛũ n., °ṛī f. ʻ chip of bamboo ʼ, kāmaṛ -- koṭiyũ n. ʻ bamboo hut ʼ. 5. B. kāmṭhā ʻ bow ʼ, G. kāmṭhũ n., °ṭhī f. ʻ bow ʼ; M. kamṭhā, °ṭā m. ʻ bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻ archer ʼ. 6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ. 7. kã̄bīṭ, °baṭ, °bṭī,  kāmīṭ, °maṭ, °mṭī,  kāmṭhī, kāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760). kambi f. ʻ branch or shoot of bamboo ʼ lex. Pk. kaṁbi -- , °bī -- , °bā -- f. ʻ stick, twig ʼ, OG. kāṁba; M. kã̄b f. ʻ longitudinal division of a bamboo &c., bar of iron or other metal ʼ. (CDIAL 2774). कंबडी [ kambaḍī ] f A slip or split piece (of a bamboo &c.)(Marathi)

The rings atop the reed standard: पेंढें [ pēṇḍhēṃ ] पेंडकें [ pēṇḍakēṃ ] n Weaver's term. A cord-loop or metal ring (as attached to the गुलडा of the बैली and to certain other fixtures). पेंडें [ pēṇḍēṃ ] n (पेड) A necklace composed of strings of pearls. 2 A loop or ring. Rebus: पेढी (Gujaráthí word.) A shop (Marathi) Alternative: koṭiyum [koṭ, koṭī  neck] a wooden circle put round the neck of an animal (Gujarati) Rebus: ācāri koṭṭya = forge, kammārasāle (Tulu)

The four hieroglyphs define the four quarters of the village smithy/forge: alloy, metalware, turner's lathe-work, cruble (or, ingot).

ayo 'fish' Rebus: ayo 'metal, alloy'

కాండము [ kāṇḍamu ] kānḍamu. [Skt.] n. Water. నీళ్లు (Telugu) kaṇṭhá -- : (b) ʻ water -- channel ʼ: Paš. kaṭāˊ ʻ irrigation channel ʼ, Shum. xãṭṭä. (CDIAL 14349).

lokhãḍ 'overflowing pot' Rebus:  ʻtools, iron, ironwareʼ (Gujarati)

arká1 m. ʻ flash, ray, sun ʼ RV. [√arc] Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624) அருக்கன் arukkaṉ, n. < arka. Sun; சூரி யன். அருக்க னணிநிறமுங் கண்டேன் (திவ். இயற். 3, 1).(Tamil) agasāle 'goldsmithy' (Kannada) అగసాలి [ agasāli ] or అగసాలెవాడు agasāli. n. A goldsmith. కంసాలివాడు. (Telugu) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) cf. eruvai = copper (Tamil) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) Rebus: eraka = copper (Ka.) eruvai = copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) akka, aka (Tadbhava of arka) metal; akka metal (Te.) arka = copper (Skt.) erako molten cast (Tulu) 

Alternative: kunda 'jasmine flower' Rebus: kunda ʻa turner's latheʼ. kundaṇa pure gold. 

The image could denote a crucible or a portable furnace: kammaṭa 'coiner, mint, a portable furnace for melting precious metals (Telugu) On some cylinder seals, this image is shown held aloft on a stick, comparable to the bottom register of the 'standard device' normally shown in front of a one-horned young bull. Alternatives: puṭa Anything folded or doubled so as to form a cup or concavity; crucible. Ta. kuvai, kukai crucible. Ma. kuva id.  Ka. kōve  id. Tu. kōvè id., mould. (DEDR 1816). Alternative: Shape of ingot: దళము [daḷamu] daḷamu. [Skt.] n. A leaf. ఆకు. A petal. A part, భాగము.  dala n. ʻ leaf, petal ʼ MBh. Pa. Pk. dala -- n. ʻ leaf, petal ʼ, G. M. daḷ n.(CDIAL 6214). <DaLO>(MP)  {N} ``^branch, ^twig''.  *Kh.<DaoRa>(D) `dry leaves when fallen', ~<daura>, ~<dauRa> `twig', Sa.<DAr>, Mu.<Dar>, ~<Dara> `big branch of a tree', ~<DauRa> `a twig or small branch with fresh leaves on it', So.<kOn-da:ra:-n> `branch', H.<DalA>, B.<DalO>, O.<DaLO>, Pk.<DAlA>.  %7811.  #7741.(Munda etyma) Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati).

Some indicators for further research:

Amiet’s landmark thesis regarding the proposed ‘ethnic duality’ of Elam (Amiet 1979a; 1979b) has already been discussed…This thesis holds that there where two distinct, though interrelated ‘ethnic’ groups present across several periods in Elam, a ‘native’ or indigenous ‘Iranian’/Elamite population at home in the highlands, and an ethnically Mesopotamian population in the lowlands (Amiet 1979a: 195 – 197), presumably immigrant at some point, in the ancient or immediate past (though the fact that this population was not generally assimilated and retained some of its Mesopotamian identity and aspect is essential to this reconstruction). (Amiet, P., 1979, Archaeological discontinuity and ethnic duality in Elam, Antiquity 53: 195-204.)  

Cylinder seal. Provenience: KhafajeKh. VII 256 Jemdet Nasr (ca. 3000 - 2800 BCE) Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 34.