Below the rim of the Susa storage pot, the contents are described in Sarasvati Script hieroglyphs/hypertexts: 1. Flowing water; 2. fish with fin; 3. aquatic bird tied to a rope Rebus readings of these hieroglyphs/hypertexts signify metal implements from the Meluhha mint.

Clay storage pot discovered in Susa (Acropole mound), ca. 2500-2400 BCE (h. 20 ¼ in. or 51 cm). Musee du Louvre. Sb 2723 bis (vers 2450 avant J.C.)

The hieroglyphs and Meluhha rebus readings on this pot from Meluhha are: 1. kāṇḍa 'water' rebus: khāṇḍā 'metal equipment'; 2. aya, ayo 'fish' rebus: aya 'iron' ayas 'metal alloy'; khambhaṛā 'fish fin' rebus: kammaṭ a 'mint, coiner, coinage' 3.  करड m. a sort of duck -- f. a partic. kind of bird ; S. karaṛa -ḍhī˜gu m. a very large aquatic bird (CDIAL 2787) karaṇḍa‘duck’ (Samskrtam) rebus: karaḍā 'hard alloy'; PLUS 4. meṛh 'rope tying to post, pillar’ rebus meḍ‘iron’ med ‘copper’ (Slavic)

Susa pot is a ‘Rosetta stone’ for Sarasvati Script

Water (flow)

Fish fish-fin

aquatic bird on wave (indicating aquatic nature of the bird), tied to rope, water

kāṇḍa 'water'   rebus: kāṇḍa 'implements

The vase a la cachette, shown with its contents. Acropole mound, Susa.^[20]

It is a remarkable 'rosetta stone' because it validates the expression used by Panini: ayaskāṇḍa अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.). The early semantics of this expression is likely to be 'metal implements compared with the Santali expression to signify iron implements: meď 'copper' (Slovāk), mẽṛhẽt,khaṇḍa (Santali)  मृदु mṛdu,’soft iron’ (Samskrtam).

Santali glosses.

Sarasvati Script hieroglyphs painted on the jar are: fish, quail and streams of water; 

aya 'fish' (Munda) rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) khambhaṛā 'fin' rebus: kammaṭa 'mint' Thus, together ayo kammaṭa, 'metals mint'

baṭa 'quail' Rebus: bhaṭa 'furnace'.

karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा karaḍā 'Hard from alloy--iron, silver &c'. (Marathi) PLUS meRh 'tied rope' meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) Rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍinto an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

Thus, read together, the proclamation on the jar by the painted hieroglyphs is: baṭa meṛh karaḍā ayas kāṇḍa 'hard alloy iron metal implements out of the furnace (smithy)'.

This is a jar closed with a ducted bowl. The treasure called "vase in hiding" was initially grouped in two containers with lids. The second ceramic vessel was covered with a copper lid. It no longer exists leaving only one. Both pottery contained a variety of small objects form a treasure six seals, which range from Proto-Elamite period (3100-2750 BCE) to the oldest, the most recent being dated to 2450 BCE (First Dynasty of Ur).

Therefore it is possible to date these objects, this treasure. Everything included 29 vessels including 11 banded alabaster, mirror, tools and weapons made of copper and bronze, 5 pellets crucibles copper, 4 rings with three gold and a silver, a small figurine of a frog lapis lazuli, gold beads 9, 13 small stones and glazed shard.

"In the third millenium Sumerian texts list copper among the raw materials reaching Uruk from Aratta and all three of the regions Magan, Meluhha and Dilmun are associated with copper, but the latter only as an emporium. Gudea refers obliquely to receiving copper from Dilmun: 'He (Gudea) conferred with the divine Ninzaga (= Enzak of Dilmun), who transported copper like grain deliveries to the temple builder Gudea...' (Cylinder A: XV, 11-18, Englund 1983, 88, n.6). Magan was certainly a land producing the metal, since it is occasionally referred to as the 'mountain of copper'. It may also have been the source of finished bronze objects." 

"Susa... profound affinity between the Elamite people who migrated to Anshan and Susa and the Dilmunite people... Elam proper corresponded to the plateau of Fars with its capital at Anshan. We think, however that it probably extended further north into the Bakhtiari Mountains... likely that the chlorite and serpentine vases reached Susa by sea... From the victory proclamations of the kings of Akkad we also learn that the city of Anshan had been re-established, as the capital of a revitalised political ally: Elam itself... the import by Ur and Eshnunna of inscribed objects typical of the Harappan culture provides the first reliable chronological evidence. [C.J. Gadd, Seals of ancient style found at Ur, Proceedings of the British Academy, XVIII, 1932; Henry Frankfort, Tell Asmar, Khafaje and Khorsabad, OIC, 16, 1933, p. 50, fig. 22). It is certainly possible that writing developed in India before this time, but we have no real proof. Now Susa had received evidence of this same civilisation, admittedly not all dating from the Akkadian period, but apparently spanning all the closing years of the third millennium (L. Delaporte, Musee du Louvre. Catalogues des Cylindres Orientaux..., vol. I, 1920pl. 25(15), S.29. P. Amiet, Glyptique susienne,MDAI, 43, 1972, vol. II, pl. 153, no. 1643)... B. Buchanan has published a tablet dating from the reign of Gungunum of Larsa, in the twentieth century BC, which carries the impression of such a stamp seal. (B.Buchanan, Studies in honor of Benno Landsberger, Chicago, 1965, p. 204, s.). The date so revealed has been wholly confirmed by the impression of a stamp seal from the group, fig. 85, found on a Susa tablet of the same period. (P. Amiet, Antiquites du Desert de Lut, RA, 68, 1974, p. 109, fig. 16. Maurice Lambert, RA, 70, 1976, p. 71-72). It is in fact, a receipt of the kind in use at the beginning of the Isin-Larsa period, and mentions a certain Milhi-El, son of Tem-Enzag, who, from the name of his god, must be a Dilmunite. In these circumstances we may wonder if this document had not been drawn up at Dilmun and sent to Susa after sealing with a local stamp seal. This seal is decorated with six tightly-packed, crouching animals, characterised by vague shapes, with legs under their bodies, huge heads and necks sometimes striped obliquely. The impression of another seal of similar type, fig. 86, depicts in the centre a throned figure who seems to dominate the animals, continuing a tradition of which examples are known at the end of the Ubaid period in Assyria... Fig. 87 to 89 are Dilmun-type seals found at Susa. The boss is semi-spherical and decorated with a band across the centre and four incised circles. [Pierre Amiet, Susa and the Dilmun Culture, pp. 262-268].