--Meluhha metals trade in BMAC. Gonur cuneiform cylinder buffalo seal of Ibni-sharrum, the scribe and Gonur Indus Script elephant seal iron metalwork wealth-accounting ledger
Anau Indus Script seal
![anau_turkmenistan_map]()
See: http://www.sino-platonic.org/complete/spp124_anau_niya_seals.pdf Fredrik T. Hiebert (2002), The Context of the Anau Seal."It most likely reflects a local symbolic system. Seals are used in the administrative system of an economy that needs to keep track of goods such as supplies for temples, barracks, or palaces. Even a small site like Anau has imposing architectural remains, and now we have in this seal evidence for Ana’s involvement in a managed system of distribution. This pattern of small and large sites having elite and bureaucratic functions is unique to the Central Asian Bronze Age." (Fredrik T. Hiebert, 2000, Unique Bronze Age Stamp Seal Found in Central Asia, Expedition, Vol. 42, Issue 3)
https://www.penn.museum/sites/expedition/unique-bronze-age-stamp-seal-found-in-central-asia/
![]()
![map showing location of Anau]()
Anau Indus Script seal
See: http://www.sino-platonic.org/complete/spp124_anau_niya_seals.pdf Fredrik T. Hiebert (2002), The Context of the Anau Seal."It most likely reflects a local symbolic system. Seals are used in the administrative system of an economy that needs to keep track of goods such as supplies for temples, barracks, or palaces. Even a small site like Anau has imposing architectural remains, and now we have in this seal evidence for Ana’s involvement in a managed system of distribution. This pattern of small and large sites having elite and bureaucratic functions is unique to the Central Asian Bronze Age." (Fredrik T. Hiebert, 2000, Unique Bronze Age Stamp Seal Found in Central Asia, Expedition, Vol. 42, Issue 3)
https://www.penn.museum/sites/expedition/unique-bronze-age-stamp-seal-found-in-central-asia/
Bronze Age seal from Anau, Turkmenistan. ca. 2300 -1900 BCE
dāṭu 'cross' (Telugu); Rebus: dhatu 'mineral (ore)'(Santali) dhātu 'mineral (Pali) dhātu 'mineral' (Vedic); a mineral, metal (Santali); dhāta id. (Gujarati.)
kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin)
dula 'pair' rebus: dul 'metal casting' PLUS Ku. danīṛo m. ʻ harrow ʼ rebus: dhangar 'blacksmith'. Thus, metalcaster smith.
koḍa 'one' rebus: koḍ 'workshop'.
The inscription message on the Anau seal thus means: mineral, bronze, metalcasting smith workshop.
"According to Dr. Hiebert, while Anau is a small site compared to nearby Silk Road sites like Namazga depe and Altyn depe, it none-the-less shows evidence of involvement in a wide-reaching, managed system of distribution and trade occurring at perhaps hundreds of sites throughout the Central Asian Bronze Age period. "This pattern of small and large settlements having elite and bureaucratic functions is unique to the area," notes Dr. Hiebert.
In his report, Dr. Hiebert stated, "We like Anau because it was occupied for almost every period. Deposits stretch from the earliest village way of life (4500 BCE) to a Bronze Age town (2300 BCE) to a walled classical city (2nd c. BCE) which was eventually topped by a medieval mosque (1500th c CE) with glistening blue-green glazed tiles." During his excavations, Dr. Hiebert uncovered a unique engraved stamp seal made from a shiny jet-black stone. The seal bore an inscription that was emphasized with a reddish brown pigment. The design of the inscription does not match any known writing or symbol system. Researchers are careful not to claim this is a form of writing, for if it were, it would represent one of the earliest writing systems known. Writes Dr. Hiebert: "Seals are used in the administrative system of an economy that needs to keep track of goods such as supplies for temples, barracks, or palaces."
http://www.heritageinstitute.com/zoroastrianism/nisa/anau.htm
http://www.heritageinstitute.com/zoroastrianism/nisa/anau.htm
Map showing location of Anau & Kopet Dag Mountains
Image credit: Discover Magazine
Compartmented seals of eagle, monkey, and goddess, Turkmenistan or northeast Iran, early Bronze Age, c. 2200-1800 BC, bronze - Museum of Fine Arts, Boston"Anau (also spelled Annau, Turkmen: Änew) is a city in Turkmenistan. It is the capital of Ahal Province and is 8 km southeast of Ashgabat which is connected via the M37 highway.The name Anau is from Persian Âbe nav (آب نو) meaning "New Water...The Chalcolithic Anau culture dates back to 4500 BC, following the Neolithic Jeitun culture in the cultural sequence of southern Turkmenistan.Anau was a stopping point along the famous ancient Silk Road. Fine painted potteries are found here. Pottery similar to that of Anau (the earliest Anau IA phase) has been found as far as Shir Ashian Tepe in the Semnan Province of Iran...An enigmatic stamp seal was found here, that may be the first evidence of an indigenous written language in Anau. The new find is dated to c. 2300 BC.[Bronze Age seals from Altyndepe provide some parallels to the Anau seal. Two similar stamp seals have been found at Altyndepe with the same dimensions as the Anau seal. These seals are also similar to the ones from Tepe Hissar and from Tepe Sialk in Iran, where such seals with geometric designs go back to the 5th m. BCE. Also, some Chinese parallels to the Anau seal are possibled."
Gonur in Bactria Margiana Cultural Complex (BMAC) has yielded two remarkable seals: 1. Cylinder seal with cuneiform script of Ibni-sharrum, the scribe with water-buffaloes; 2. Square stamp seal of elephant with Indus Script inscription. This monograph posits that these two seals are cler evidence of the presence of Meluhha artisans and seafaring merchants in BMAC engaged in metals trade of the Bronze Age.
![]()
- Héros acolytes d'Ea abreuvant des buffles
- DioriteH. 3.9 cm; Diam. 2.6 cm
- Don H. de Boisgelin 1967. Ancienne collection De Clercq , 1967AO 22303
- Fine engraving, elegant drawing, and a balanced composition make this seal one of the masterpieces of glyptic art. The decoration, which is characteristic of the Agade period, shows two buffaloes that have just slaked their thirst in the stream of water spurting from two vases held by two naked kneeling heroes.
A masterpiece of glyptic art
This seal, which belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin, is one of the most striking examples of the perfection attained by carvers in the Agade period. The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns.A scene testifying to relations with distant lands
Buffaloes are emblematic animals in glyptic art in the Agade period. They first appear in the reign of Sargon, indicating sustained relations between the Akkadian Empire and the distant country of Meluhha, that is, the present Indus Valley, where these animals come from. These exotic creatures were probably kept in zoos and do not seem to have been acclimatized in Iraq at the end of the 3rd millennium BC. Indeed, it was not until the Sassanid Empire that they reappeared. The engraver has carefully accentuated the animals' powerful muscles and spectacular horns, which are shown as if seen from above, as they appear on the seals of the Indus.The production of a royal workshop
The calm balance of the composition, based on horizontal and vertical lines, gives this tiny low relief a classical monumental character, typical of the style of the late Akkadian period. Seals of this quality were the preserve of the entourage of the royal family or high dignitaries and were probably made in a workshop whose production was reserved for this elite.Bibliography
Amiet Pierre, Bas-reliefs imaginaires de l'ancien Orient : d'après les cachets et les sceaux-cylindres, exp. Paris, Hôtel de la Monnaie, juin-octobre 1973, avec une préface de Jean Nougayrol, Paris, Hôtel de la Monnaie, 1973.
Amiet Pierre, L'Art d'Agadé au musée du Louvre, Paris,
Éditions de la Réunion des musées nationaux, 1976.
Art of the First Cities, New York, 2003, n 135.
Boehmer Rainer Michael, Die Entwicklung der Glyptik während der Akkad-Zeit, Berlin, W. De Gruyter und C , 1965, n 724, fig. 232.
Boehmer Rainer Michael, Das Auftreten des Wasserbüffels
in Mesopotamien in historischer Zeit und sein sumerische Bezeichnung,
ZA 64 (1974), pp. 1-19.
Clercq Louis (de), Collection de Clercq. Catalogue méthodique et raisonné. Antiquités assyriennes, cylindres orientaux, cachets, briques, bronzes,
bas-reliefs, etc., t. I, Cylindres orientaux, avec la collaboration de Joachim Menant, Paris, E. Leroux, 1888, n 46.
Collon Dominique, First Impressions : cylinder seals in the Ancient
Near-East, Londres, British museum publications, 1987, n 529.
Frankfort Henri, Cylinder Seals, Londres, 1939, pl XVIIc.
Zettler Richard L., "The Sargonic Royal Seal. A Consideration of Sealing in Mesopotamia", in Seals and Sealing in the Ancient Near East,Bibliotheca Mesopotamica 6, Malibu, 1977, pp. 33-39. - https://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum
- Ibni-Sharrum cylinder seal shows a kneeling person with six curls of hair.Cylinder seal of Ibni-sharrum, a scribe of Shar-kali-sharri (left) and impression (right), ca. 2183–2159 B.C.; Akkadian, reign of Shar-kali-sharri, son of Naram-sin (2250 BCE).Six curls on the kneeling adorant's hair style: Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa ‘furnace’; baṭa 'iron'.Hieroglyph: rã̄go ʻ buffalo bull ʼ
Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.kāṇḍam காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi)(B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. @B24310. #20851. Re (B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi) The hieroglyph clearly refers to the metal tools, pots and pans of copper. ![]()
- There are some seals with clear Indus themes among Dept. of Near Eastern Antiquities collections at the Louvre in Paris, France, among them the Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE]. . . . The decoration, which is characteristic of the Agade period, shows two buffaloes that have just slaked their thirst in the stream of water spurting from two vases held by two naked kneeling heroes." It belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin. The caption cotinues: "The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns." The buffalo was known to have come from ancient Indus lands by the Akkadians.The first image shows the imprint of the cylinder seal, the general Mesopotamian type of seal as opposed to the usually square stamp seals found in Indus cities. The second is the diorite cylinder seal, the negative of the pressed sealing.A second seal at the Louvre is made of steatite, the traditional Indus material, "the animal carving is similar to those found in Harappan works. The animal is a bull with no hump on its shoulders, or possibly a short-horned gaur. Its head is lowered and the body unusually elongated. As was often the case, the animal is depicted eating from a woven wicker manger."Both seals can be found in Room 8 of the Richeliu wing, Iran and Susa during the 3rd millennium BCE.Courtesy, The Louvre, Paris, respectively copyright RMN/Franck Raux and RMN/Thierry Ollivier. More at
http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-carved-elongated-bu...
Gulf type seals were used by merchants for administrative purposes. The seals were ued to record technical specifications of metal products and metal trades. All Indus Script inscriptions are metalwork catalogues.
Desinamamala of Hemacandra ed. R. Pischel (1938) meḍ 'iron'(Munda); मेढ meḍh'merchant's helper'(Prakrtam) meḍho 'one who helps a merchant' (Desi) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand (Santali.Munda)  Gonur Tepe Indus Script. karibha 'trunk of elephant' rebus: karba 'iron' ibha 'elephant' rebus: ib 'iron' Hieroglyph: ingot out of crucible: muh 'ingot' kuThAru 'crucible' rebus:kuThAru 'armourer' kolmo 'rice plant' rebus:kolimi 'smithy, forge'. Thus ingot for forge. sal 'splinter'rebus: sal 'workshop' aDaren 'lid' rebus: aduru 'native metal' aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaTa 'mint, coin, coiner' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice plant' rebus: kolimi 'smithy, forge' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karnaka 'engraver, scribe'.kamaṭha m. ʻ bamboo ʼ lex. 2. *kāmaṭha -- . 3. *kāmāṭṭha -- . 4. *kammaṭha -- . 5. *kammaṭṭha -- . 6. *kambāṭha -- . 7. *kambiṭṭha -- . [Cf. °bṭī, kāmīṭ, °maṭ, °mṭī, kāmṭhī, kāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760)  Text on Indus seal impression found in Tell Umma. kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Te.) kāṅga 'comb' Rebus: kanga 'brazier, fireplace' sal 'splinter' rebus: sal 'workshop' kanka, karNaka 'rm of jar'rebus:karNI 'Supercargo' karNaka 'scribe, engraver' kāmṭhiyɔ m. ʻarcherʼ rebus:kammaTa 'mint, coiner, coinage'. Thus, a metalwork catalogue of bronze workshop,mintwork brought inby Supercargo, merchant's representative responsible for the shipment. These objects document long-distance contact in the MAIS: (a) an impression of an Indus “unicorn” seal thought to come from Tell Umma; (b) an Indus “unicorn” seal from Mohenjo-daro; (c) one of the seals published by Gadd (now on display in the British Museum) showing an Indus script and animal device on a Persian Gulf–style seal; and (d) the Indus elephant seal from Gonur Depe (compiled from images supplied by Maurizio Tosi, Gregory L. Possehl, and Viktor Sarianidi).  Sites across Middle Asia have revealed BMAC, or BMAC-like, artifacts (adapted from figure 10.8 in Fredrik T. Hiebert. Origins of the Bronze Age Oasis Civilization in Central Asia. Cambridge, MA: Peabody Museum of Archaeology and Ethnology, Harvard University, 1994). |
The word Meluhha used in cuneiform texts is called mleccha in Ancient Indian texts. The region of Meluhha speakers may include regions of Ancient India and also Straits of Malaka (Malacca) in the Indian Ocean. More than 2000 words of Meluhha speakers explain the readings of over 8000 Indus Script inscriptions. These inscriptions are in Meluhha hypertexts read rebus; for e.g. karibha, ibha 'elephant' rebus: karba, ib 'iron'. Such an elephant is shown on an Indus Script seal from Gonur Tepe. It is for linguists to figure out how Meluhha word for elephant travelled in Eurasia and got used in Gonur Tepe (spelled as Gonur Depe on the map) of Bactria-Mariana Cultural Complex. With the comments of Angela Marcangonio presented in the following excerpts, it is suggested that the linguists shold re-visit their theories about the roots of Indo-European language family.
Let me cite a reference in Mahābhārata which refers to mleccha (cognate Meluhha, as a language used by Vidura and Yudhishthira): "Vaisampayana continued, 'Hearing these words, the illustrious Kunti was deeply grieved, and with her children, O bull of Bharata's race, stepped into the boat and went over the Ganges. Then leaving the boat according to the advice of Vidura, the Pandavas took with them the wealth that had been given to them (while at Varanavata) by their enemies and safely entered the deep woods. In the house of lac, however, that had been prepared for the destruction of the Pandavas, an innocent Nishada woman who had come there for some purpose, was, with her children burnt to death. And that worst of Mlechchhas, the wretched Purochana (who was the architect employed in building the house of lac) was also burnt in the conflagration. And thus were the sons of Dhirtarashtra with their counsellors deceived in their expectations. And thus also were the illustrious Pandavas, by the advice of Vidura, saved with their mother. But the people (of Varanavata) knew not of their safety. And the citizens of Varanavata, seeing the house of lac consumed (and believing the Pandavas to have been burnt to death) became exceedingly sorry. And they sent messengers unto king Dhritarashtra to represent everything that had happened. And they said to the monarch, 'Thy great end hath been achieved! Thou hast at last burnt the Pandavas to death! Thy desire fulfilled, enjoy with thy children. O king of the Kurus, the kingdom.' Hearing this, Dhritarashtra with his children, made a show of grief, and along with his relatives, including [paragraph continues] Kshattri (Vidura) and Bhishma the foremost of the Kurus, performed the last honours of the Pandavas.' (Mahābhārata, Section CXLIII,, Jatugriha Parva, pp. 302-303). The Great Epic is replete with hundreds of references to Mlecchas and mleccha speakers.![Image result for gonur bharatkalyan97]()
![Cylinder-seal of Sharkalisharri, Akkadian period (23rd century BC), Mesopotamia â made of chlorite. Credits: Louvre Musée]()
![Impression of the Sharkalisharri cylinder seal, ca. 2183- 2159 BC during Akkadian, reign of Shar-kali-sharri. Mesopotamia. Cuneiform inscription in Old Akkadian. Credits: Louvre Musée]()
![harappan seal]()
Indus Script seal and impression from Gonur Tepe.
![]()
S'adaupas'ada are also known as PaurUravasau.
![]()
![]()
9656 bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj ] Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., ˚ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v. bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- . Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ. 9657 *bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2 ] P. bhaṭhūhar, ˚hrā, bhaṭhūrā, ˚ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- . 9658 *bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ] P. bhaṭhiār, ˚ālā m. ʻ grainparcher's shop ʼ. 9684 bhrāṣṭra m. ʻ gridiron ʼ Nir., adj. ʻ cooked on a grid- iron ʼ Pāṇ., ˚ka -- m. (n.?) ʻ frying pan ʼ Pañcat. [NIA. forms all < eastern MIA. *bhāṭha -- , but like Pk. none show medial aspirate except G. with -- ḍ -- poss. < -- ḍh -- . -- bhráṣṭra -- , √bhrajj ]Pk. bhāḍa -- n. ʻ oven for parching grain ʼ; Phal. bhaṛ<-> ʻ to roast, fry ʼ (NOPhal 31 < bhr̥kta -- with ?); L. bhāṛ ʻ oven ʼ; Ku. bhāṛ ʻ iron oven, fire, furnace ʼ; Bi. bhār ʻ grain -- parcher's fireplace ʼ, (N of Ganges) bhaṛ -- bhū̃jā ʻ grain -- parcher ʼ; OAw. bhārū, pl. ˚rā m. ʻ oven, furnace ʼ; H. bhāṛ m. ʻ oven, grain -- parcher's fireplace, fire ʼ; G. bhāḍi f. ʻ oven ʼ, M. bhāḍ n.*bhrāṣṭraśālikā -- . 9685 *bhrāṣṭraśālikā ʻ furnace house ʼ. [bhrāṣṭra -- , śāˊlā -- ]H. bharsārī f. ʻ furnace, oven ʼ.
![]()
![]()
"Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE]. . . . The decoration, which is characteristic of the Agade period, shows two buffaloes that have just slaked their thirst in the stream of water spurting from two vases held by two naked kneeling heroes." It belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin. The caption cotinues: "The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns." The buffalo was known to have come from ancient Indus lands by the Akkadians." https://www.harappa.com/blog/indus-cylinder-seals-louvre![]()
![]()
v. 406. (˚ja=khagga); Miln 149; DhsA 331.(Pali)
Parpola, Asko, 2017. Indus Seals and Glyptic Studies: An Overview. Pp. 127-147 & pl ix (& pp. 401+449 references) in: Sarah Scott & al. (eds), Seals and Sealing in the Ancient World, Cambridge: CUP.
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
Let me cite a reference in Mahābhārata which refers to mleccha (cognate Meluhha, as a language used by Vidura and Yudhishthira): "Vaisampayana continued, 'Hearing these words, the illustrious Kunti was deeply grieved, and with her children, O bull of Bharata's race, stepped into the boat and went over the Ganges. Then leaving the boat according to the advice of Vidura, the Pandavas took with them the wealth that had been given to them (while at Varanavata) by their enemies and safely entered the deep woods. In the house of lac, however, that had been prepared for the destruction of the Pandavas, an innocent Nishada woman who had come there for some purpose, was, with her children burnt to death. And that worst of Mlechchhas, the wretched Purochana (who was the architect employed in building the house of lac) was also burnt in the conflagration. And thus were the sons of Dhirtarashtra with their counsellors deceived in their expectations. And thus also were the illustrious Pandavas, by the advice of Vidura, saved with their mother. But the people (of Varanavata) knew not of their safety. And the citizens of Varanavata, seeing the house of lac consumed (and believing the Pandavas to have been burnt to death) became exceedingly sorry. And they sent messengers unto king Dhritarashtra to represent everything that had happened. And they said to the monarch, 'Thy great end hath been achieved! Thou hast at last burnt the Pandavas to death! Thy desire fulfilled, enjoy with thy children. O king of the Kurus, the kingdom.' Hearing this, Dhritarashtra with his children, made a show of grief, and along with his relatives, including [paragraph continues] Kshattri (Vidura) and Bhishma the foremost of the Kurus, performed the last honours of the Pandavas.' (Mahābhārata, Section CXLIII,, Jatugriha Parva, pp. 302-303). The Great Epic is replete with hundreds of references to Mlecchas and mleccha speakers.
https://tinyurl.com/ybhlynzk
"The merchants of Gonur and Central Asia could even have been the possible originators of the Silk Roads." -- K.E. Eduljee
I suggest that the settlement of Gonur Tepe was by people from Sarasvati-Sindhu civilization. Parallels between Sarasvati-Sindhu civilization settlements and Gonur settlements are vivid and emphatic, apart from the commonly shared writing system of Indus Script cipher.
The fortified settlements of Gonur Tepe with citadel compare with the layout of Dholavira fortified settlement and citadel with gateway suggesting that the Dholavira artisans migrated to Gonur in search of minerals and settled there for metalwork. The evidence for metalwork of Gonur Tepe is provided by a seal with Indus Script inscription including pictorial motif of an elephant and text message of 8 hieroglyphs/hypertexts deciphered in this monograph.
![Image result for dholavira citadel]()
Dholavira. gateway. A designer's impressions (reconstruction) of the world's first signboard on the gateway of fortification or citadel.
Gonur south complex.
![Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan]()
Decipherment of Gonur Tepe Indus Script inscription on seal
![Image result for gonur tepe]()
Gonur Tepe.Indus Script. Seal, Seal impression. t:
![]()
This is a unique hypertext composed of a crucible PLUS a sprig. The sprig compares with the sprig inscribed on the exquisite terracotta image found at Altyn Tepe.![]()
Hypertext: ingot out of crucible: mũh, muhã 'ingot' Rebus: muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kuṭhāru 'crucible' rebus:kuṭhāru 'armourer' PLUS kolmo'rice plant' rebus: kolimi 'smithy, forge'. Thus ingot for forge. Alternative: xoli 'fish-tail' rebus: kolhe'smelter', kol '
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.:]()
![Bronze Age Indo-Iranian Archaeological Complexes]()
![South Turkmenistan Mugrab delta and oasis]()
![Distribution of archaeological sites (in red) in the Murgab Delta]()
Distribution of archaeological sites (in red)
![GAerial photo of Gonur showing both complexes]()
![Gonur south complex]()
Gonur south complex.
![Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan]()
![Excavated Gonur north complex]()
![Artist's reconstruction of the Gonur north complex]()
Artist's reconstruction of the Gonur north complex. Note the successive protective walls with the outer-most surrounding what appear to be dwellings.
![Reconstruction of the Gonur north citadel at National Museum of Turkmenistan]()
![Another reconstruction of the Gonur north complex]()
Excavations at Southern Gonur, by V. Sarianidi, 1993, British Institute of Persian Studies.
» Brief History of Researches in Margiana by Museo-on
Other web articles include Discover Magazine, Anahita Gallery, Kar Po's Travel Blog, Dan & Mary's Monastery, Archaeology Online, Turkmenistan June 2006 and Stantours. Generally, we find the quality of research and reports available of the web to be poorly researched, highly speculative and sensationalistic. (Note: All citations from KE Eduljee http://www.heritageinstitute.com/zoroastrianism/merv/gonur.htm)
Gonur excavation
![Temple building walls uncovered in Gonur-Depe]()
![Plan of Togolok 21]()
![Reconstructed model of Togolok 21]()
"The next and last shrine excavated is located in the settlement of Togolok 21, which dates to the late 2nd millennium. Taking into account its large overall size (larger than the fortress of South Gonur), it is possible that the shrine of Togolok 21 served the inhabitants of the whole country of Margiana in the late Bronze Age. Similar to the above-described shrines, there is a domestic area near Togolok 21 associated with the shrine. At Gonur depe and Togolok 1 the settlements are many times larger than the shrines, while in Togolok 21 the settlement is a great deal smaller than the shrine itself. "The shrine of Togolok 21 was built at the top of a small natural hill. Along the outer face of the exterior wall are circular and semicircular hollow towers. In the northern part of the wall are two pylons between which a central gateway, supposed to be the entrance to the shrine, is located. The second entrance was built in the middle of the southern wall. The whole inner area was not built up except at the western side where some extremely narrow rooms are located which appear to have had arched ceilings. Their purpose is unclear. Two altar sites located opposite each other in the northern part of the shrine were perhaps used for carrying out ritual ceremonies associated with libations and fire rituals." [unquote] http://www.heritageinstitute.com/zoroastrianism/merv/gonur3.htm#sarianidi
Claims of Viktor Sarianidi about Soma-Haoma processing in Margiana refuted
[Click here for the article by Viktor Sarianidi titled Margiana and Soma-Haomapublished in the electronic Journal of Vedic Studies (EJVS) Vol. 9 (2003) Issue 1d (May 5) and with Jan E.M. Houben of Leiden University as Guest Editor. We note that Sarianidi's references do not include a single authentic Zoroastrian source even though he claims to associate certain findings with Zoroastrianism.]
According to James P. Mallory 1989 & 1997 "... remains of ephedras have also been reported from the temple-fortress complex of Togolok 21 in the Merv oasis (ancient Margiana – Parpola 1988; Meier-Melikyan 1990) along with the remains of poppies. ... In 1990 I received some samples from the site [forwarded by Dr. Fred Hiebert of Harvard University], which were subjected to pollen analysis at the Department of Botany, University of Helsinki. .... The largest amount of pollen was found in the bone tube (used for imbibing liquid?) from Gonur 1, but even in this sample, which had been preserved in a comparatively sheltered position when compared with the other investigated samples, only pollen of the family Caryophyllaceae was present. No pollen from ephedras or poppies was found and even the pollen left in the samples showed clear traces of deterioration (typical in ancient pollen having been preserved in a dry environment in contact with oxygen). Our pollen analysis was carefully checked for any methodological errors, but no inaccuracies were found."
Yet another refutation of Sarianidi's wild and unsubstantiated claims of 1. having found narcotics and 2. associating what he found is found with haoma and thereby a Zoroastrian cult (sic) ritual is found in a journal article of which Jan E.M. Houben of Leiden University, Netherlands [E. Journal of Vedic Studies Vol. 9 (2003) Issue 1c (May 5)]. [Click here for an excerpt of the article by Professor C.C. Bakels titled Report concerning the contents of a ceramic vessel found in the "white room" of the Gonur Temenos, Merv Oasis, Turkmenistan.] Bakels concludes, "The material we examined contained broomcorn millet. This cereal is known from the Merv oasis, at least from the Bronze Age onwards (Nesbitt 1997). The crop plant most probably has its origin in Central Asia, perhaps even in the Aralo-Caspian basin."
Professor Houben states, "After a few months I received messages indicating that no proof could be found of any of the substances indicated by Sarianidi. Rather than hastily sticking to this conclusion, Prof. Bakels made efforts to show the specimens to other paleobotanists whom she met at international professional meetings. At the end of this lengthy procedure, no confirmation could be given of the presence of the mentioned plants in the material that was investigated. The traces of plant-substances rather pointed in the direction of a kind of millet."
Metalwork and artifacts from Gonur
Raphael Pumpelly (1837-1923)
![]()
![Related image]()
![]()
Bactria Margiana. Silver ceremonial axes.![Image result for bactrian ax]()
Bactria. Ceremonial axe. British Museum![Image result for bactrian ax lion iron]()
![Image result for bactrian ax lion iron]()
Iran, Luristan bronze Bridle ring with two crouching lions, ca 1200-800 BCE![]()
![08-02-14/21 Lessing, Erich, photographer. Ceremonial axe of ki...]()
Ceremonial axe (inscribed with name) of king Untash-Napirisha, from his capital Tchoga Zambil. Back of the axe adorned with an electrum boar; the blade issues from a lion's mouth. Silver and electrum, H: 5,9 cm Sb 3973 Louvre, Departement des Antiquites Orientales, Paris, France
![]()
Originally, this would have been fitted to a short haft, or given the large size of it, it may well have been fitted to a long shaft to make a pole arm. A decorative piece, possibly used for feng shui in a building, possibly used as a prop in Chinese opera. Made of carved hardwood with a thick red-brown lacquer finish." http://tigers-den-swords.blogspot.in/2011/09/chinese-wooden-axe-head.html![Picture]()
![Picture]()
![]()
![]()
Tablet Sb04823: receipt of 5 workers(?) and their monthly(?) rations, with subscript and seal depicting animal in boat; excavated at Susa in the early 20th century; Louvre Museum, Paris (Image courtesy of Dr Jacob L. Dahl, University of Oxford) Cited in an article on Reflectance Transformation Imaging (RTI) System. The animal in boat may be a boar and may signify supercargo of wood and iron products. baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’.
![]()
baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n (![]()
![This idol in the form of a lock or handbag was likely carried to indicate that the bearer was of high office. This extraordinary example was found originally in several pieces. The idol is carved from grey chlorite and measures approximately 27 cm in width. One side (Top) bears two pairs of birds of prey, and the other side (Bottom) bears two tethered bulls facing each other.]()
![Bactriane - Begram - déesse fluviale en ivoire - 1er siècle avant JXC - Musée Guimet - Paris]()
![Image result for ganga makara begram bharatkalyan97]()
![Hache à talon décoré d'une tête de cheval - Bactriane fin du IIIe millénaire, début du IIe millénaire avant J.-C. | Site officiel du musée du Louvre]()
![AFGHAN ARMS AND ARMOUR 2ND-1ST MILL.BCE Ceremonial adze,from Baktria,Northern Afghanistan; end 3rd,beginning 2nd Mill.BCE. Silver and gold,maximum length 12,68 cm Collection George Ortiz, Geneva, Switzerland]()
![BACTRIAN BRONZE AXE HEAD | The narrow blade decorated with incised chevrons, cut-away socket with banded edges, the shaft decorated with two squatting figures each wearing short tunic, one wrestling a seated feline the other with arms around the feline and a standing quadruped. 2nd Millennium BC]()
![Vase tronconique à col éversé - Bactriane | Site officiel du musée du Louvre]()
![Flacon à parfum ou à cosmétique à fond mobile. Décor gravé : femme ailée sur une barque, encadrée de tulipes - Bactriane fin du IIIe millénaire, début du IIe millénaire avant J.-C. | Site officiel du musée du Louvre]()
![Bactrian Bronze Monkey Seal New York | Animals Date: 2500 BC - 1900 BC Culture: Bactrian Category: Animals, Seals & Gems Medium: Bronze]()
![A BACTRIAN COPPER ALLOY COMPARTMENTED STAMP SEAL circa late 3rd-early 2nd millennium b.c. Circular in form, the openwork figural device in the form of a caprid with curving horns standing on a groundline, a small bird on its back, a monkey in front with its hands on the caprid's neck, the back of the seal with incision detailing the figural scene, a tongue-shaped suspension loop in the center]()
![Openwork stamp seal: figure holding snakes Period: Bronze Age Date: ca. late 3rd–early 2nd millennium B.C. Geography: Bactria-Margiana Culture: Bactria-Margiana Archaeological Complex Medium: Copper alloy Dimensions: H. 9.1 cm]()
![Openwork stamp seal: figure holding snakes Period: Bronze Age Date: ca. late 3rd–early 2nd millennium B.C. Geography: Bactria-Margiana Culture: Bactria-Margiana Archaeological Complex Medium: Copper alloy]()
![]()
Inscription. Altyn Depe seal.
![Image result for altyn depe seals]()
Altyn-depe. Silver seal. Pictograph of ligatured animal with three heads.
![Two seals found at Altyn-depe (Excavation 9 and 7) found in the shrine and in the 'elite quarter':]()
Two seals found at Altyn-depe (Excavation 9 and 7) found in the shrine and in the 'elite quarter'
![]()
![]()
![Image result for bactria archaeology sword]()
![copper]()
Copper hoard including anthropomorphic figures, harpoons, shouldered axes,from Ganga valley, India. The Bactrian find of a hilted sword which compares with the sworf of Fathehgarh may thus be seen as produced by artisans from Ganga valley who migrated to Bactria.![Selected hoard artefacts from 1-2 South Haryana, 3-4 Uttar Pradesh, 5 Madhya Pradesh, 6-8 South Bihar-North Orissa-Bengalen.]()
Selected hoard artefacts from 1-2 South Haryana, 3-4 Uttar Pradesh, 5 Madhya Pradesh, 6-8 South Bihar-North Orissa-Bengal. Haryana hoard artefacts are deposited in the Kanya Gurukul Museum of Narela, Haryana.(Paul Yule, The Bronze Age Metalwork of India, Prähistorische Bronzefunde XX,8 (München 1985), http://archiv.ub.uni-heidelberg.de/savifadok/volltexte/2011/1895/ ).
![]()
"The merchants of Gonur and Central Asia could even have been the possible originators of the Silk Roads." -- K.E. Eduljee
I suggest that the settlement of Gonur Tepe was by people from Sarasvati-Sindhu civilization. Parallels between Sarasvati-Sindhu civilization settlements and Gonur settlements are vivid and emphatic, apart from the commonly shared writing system of Indus Script cipher.
The fortified settlements of Gonur Tepe with citadel compare with the layout of Dholavira fortified settlement and citadel with gateway suggesting that the Dholavira artisans migrated to Gonur in search of minerals and settled there for metalwork. The evidence for metalwork of Gonur Tepe is provided by a seal with Indus Script inscription including pictorial motif of an elephant and text message of 8 hieroglyphs/hypertexts deciphered in this monograph.
Dholavira. gateway. A designer's impressions (reconstruction) of the world's first signboard on the gateway of fortification or citadel.
Gonur south complex.
Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr
Decipherment of Gonur Tepe Indus Script inscription on seal
Gonur Tepe.Indus Script. Seal, Seal impression. t:
Pictorial motif: karabha, ibha 'elephant, trunk of elephant' rebus: karba, ib 'iron', ibbo 'merchant'
This is a unique hypertext composed of a crucible PLUS a sprig. The sprig compares with the sprig inscribed on the exquisite terracotta image found at Altyn Tepe.Hypertext: ingot out of crucible: mũh, muhã 'ingot' Rebus: muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kuṭhāru 'crucible' rebus:kuṭhāru 'armourer' PLUS kolmo'rice plant' rebus: kolimi 'smithy, forge'. Thus ingot for forge. Alternative: xoli 'fish-tail' rebus: kolhe'smelter', kol '
sal 'splinter'rebus: sal 'workshop'
aḍaren 'lid' rebus: aduru 'native metal' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'.
खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus:khaṇḍa 'implements' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, aya khaṇḍa 'excellent iron (metal) implements'.
Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaṭa 'mint, coin, coiner'
ranku 'liquid measure' rebus: ranku 'tin'
kolmo 'rice plant' rebus: kolimi 'smithy, forge'.
कर्णक karṇaka, kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'engraver, scribe' कर्णिक, 'helmsman, steersman'; name of a people.
Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.
I suggest that this figure has inscribed Indus Script hypertexts read rebus related to metal smelting of elements, aduru 'native metal' and metal implements work.
Hieroglyph: kola 'woman' (Nahali) rebus: kol 'working in iron'
Hieroglyph: Ka. (Hav.) aḍaru twig; (Bark.) aḍïrï small and thin branch of a tree; (Gowda) aḍəri small branches. Tu. aḍaru twig.(DEDR 67) Rebus: Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron. (DEDR 192) Alternative 'twig': कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. , Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi'smelter'.
Two hair strands signify: dula 'pair' rebus: dul 'metal casting' PLUS Hieroglyph strand (of hair): dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā ]S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)
Rebus: dhāvḍī 'iron smelting': Shgh. ċīw, ċōw, ċū ʻ single hair ʼ ; Ash. dro ʻ woman's hair ʼ, Kt. drū, Wg.drū, drū̃; Pr. ḍui ʻ a hair ʼ; Kho. dro(h) ʻ hair ʼ, (Lor.) ʻ hair (of animal), body hair (human) ʼ: → Orm. dra , drī IIFL i 392 (semant. cf. Psht. pal ʻ fringe of hair over forehead ʼ < *pata -- (CDIAL 6623) drava द्रव [p= 500,3] flowing , fluid , dropping , dripping , trickling or overflowing with (comp.) Ka1t2h. Mn.MBh. Ka1v. fused , liquefied , melted W. m. distilling , trickling , fluidity Bha1sha1p. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)(CDIAL 6773)
Hieroglyph: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]
S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Ta. miṭai (-v-, -nt-) to weave as a mat, etc. Ma. miṭayuka to plait, braid, twist, wattle; miṭaccal plaiting, etc.; miṭappu tuft of hair; miṭalascreen or wicket, ōlas plaited together. Ka. meḍaṟu to plait as screens, etc. (Hav.) maḍe to knit, weave (as a basket); (Gowda) mEḍi plait. Ga.(S.3 ) miṭṭe a female hair-style. Go. (Mu.) mihc- to plait (hair) (Voc. 2850).(DEDR 4853) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.)
Three lines below the belly of the figure: kolom 'three' rebus: kolimi 'smithy, forge'
Hieroglyph: kuṭhi ‘vagina’ Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuṭhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (Santali. Bodding) kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhābrick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati)
Hieroglyph: sprig: ḍāla 5546 ḍāla1 m. ʻ branch ʼ Śīl. 2. *ṭhāla -- . 3. *ḍāḍha -- . [Poss. same as *dāla -- 1 and dāra -- 1 : √dal, √d&rcirclemacr; . But variation of form supports PMWS 64 ← Mu.]1. Pk. ḍāla -- n. ʻ branch ʼ; S. ḍ̠āru m. ʻ large branch ʼ, ḍ̠ārī f. ʻ branch ʼ; P. ḍāl m. ʻ branch ʼ, °lā m. ʻ large do. ʼ, °lī f. ʻ twig ʼ; WPah. bhal. ḍām. ʻ branch ʼ; Ku. ḍālo m. ʻ tree ʼ; N. ḍālo ʻ branch ʼ, A. B. ḍāl, Or. ḍāḷa; Mth. ḍār ʻ branch ʼ, °ri ʻ twig ʼ; Aw. lakh. ḍār ʻ branch ʼ, H. ḍāl, °lām., G. ḍāḷi , °ḷī f., °ḷũ n.2. A. ṭhāl ʻ branch ʼ, °li ʻ twig ʼ; H. ṭhāl, °lā m. ʻ leafy branch (esp. one lopped off) ʼ.3. Bhoj. ḍāṛhī ʻ branch ʼ; M. ḍāhaḷ m. ʻ loppings of trees ʼ, ḍāhḷā m. ʻ leafy branch ʼ, °ḷī f. ʻ twig ʼ, ḍhāḷā m. ʻ sprig ʼ, °ḷī f. ʻ branch ʼ.*ḍāla -- 2 ʻ basket ʼ see *ḍalla -- 2 .ḍālima -- see dāḍima -- .*ḍāva -- 1 ʻ box ʼ see *ḍabba -- .*ḍāva -- 2 ʻ left ʼ see *ḍavva -- .Addenda: ḍāla -- 1 . 1. S.kcch. ḍār f. ʻ branch of a tree ʼ; WPah.kṭg. ḍāḷ m. ʻ tree ʼ, J. ḍā'l m.; kṭg. ḍaḷi f. ʻ branch, stalk ʼ, ḍaḷṭi f. ʻ shoot ʼ; A. ḍāl(phonet. d -- ) ʻ branch ʼ AFD 207.टाळा (p. 196) ṭāḷā ...2 Averting or preventing (of a trouble or an evil). 3 The roof of the mouth. 4 R (Usually टाहळा) A small leafy branch; a spray or sprig. टाळी (p. 196) ṭāḷī f R (Usually टाहळी) A small leafy branch, a sprig.ढगळा (p. 204) ḍhagaḷā m R A small leafy branch; a sprig or spray. डगळा or डघळा (p. 201) ḍagaḷā or ḍaghaḷā m A tender and leafy branch: also a sprig or spray. डांगशी (p. 202) ḍāṅgaśī f C A small branch, a sprig, a spray. डांगळी (p. 202) ḍāṅgaḷī f A small branch, a sprig or spray. डाहळा (p. 202) ḍāhaḷā लांख esp. the first. 2 (dim. डाहळी f A sprig or twig.) A leafy branch. Pr. धरायाला डाहळी न बसायाला सावली Used.
Rebus: ḍhāla 'large ingot' (Gujarati)
"This review of recent archaeological work in Central Asia and Eurasia attempts to trace and date the movements of the Indo-Iranians—speakers of languages of the eastern branch of Proto-Indo-European that later split into the Iranian and Vedic families. Russian and Central Asian scholars working on the contemporary but very different Andronovo and Bactrian Margiana archaeological complexes of the 2d millennium BCE have identified both as Indo-Iranian, and particular sites so identified are being used for nationalist purposes. There is, however, no compelling archaeological evidence that they had a common ancestor or that either is Indo-Iranian. Ethnicity and language are not easily linked with an archaeological signature, and the identity of the Indo-Iranians remains elusive." (C. C. Lamberg-Karlovsky,2002, 'Archaeology and Language, The Indoiranians', in Current Anthropology, Vol. 43, No. 1, Feb. 2002 http://www.journals.uchicago.edu/doi/abs/10.1086/324130)
Bronze Age Indo-Iranian Archaeological Complexes, west of Sarasvati-Sindhu civilization
Image credit: Wikipedia "In 1976, Viktor Sarianidi proposed that the Bronze Age archaeological sites dating from c. 2200 to 1700 BCE and located in present day Turkmenistan, northern Afghanistan, southern Uzbekistan and western Tajikistan, were the remains of a connected Bronze Age civilization centered on the upper Amu Darya (Oxus). He named the complex the Bactria-Margiana Archaeological Complex (BMAC) and the inhabitants of that period and region, the Oxus civilization. The name Andronovo complex comes from the village of Andronovo in Siberia where in 1914, several graves were discovered, with skeletons in crouched positions, buried with richly decorated pottery. The name has been used to refer to a set of contemporaneous Bronze Age cultures that flourished c. 2300–1000 BCE in western Siberia and the west Asiatic steppes of Kazakhstan. This culture is thought to have been a pastoral people who reared horses, cattle, sheep and goats."
Murgab delta and oasis (circled) in the south of Turkmenistan
The Murgab river spreads out and disappears into the Kara Kum desert to the north
Distribution of archaeological sites (in red)in the Murgab Delta. "The northern delta settlements include those now known as the ruins at Kelleli, Adji Kui, Taip, Gonur, and Togolok (Togoluk)...It is presumed that as the northern delta area became more dry, large metropolises like Gonur were abandoned. Further to the south, the ancient city of Mervbecame an Achaemenid era (519-331 BCE) administrative centre and perhaps even the capital of the satrapy that included Mouru. Mouru was then known to the Achaemenians as Margu(sh) and to the Greeks as Μαργιανή. Margiana is the derived English-Latin name of Margu. The Sassanian name for the region was Marv. "
Photo credit: University of BolognaSource: http://www.heritageinstitute.com/zoroastrianism/merv/gonur.htm "The environs of Mouru, the third nation listed in the Zoroastrian scriptures, the Avesta's book of Vendidad, are generally thought to have included the Murgab river delta, that is, the region around Merv which today is a city in southern Turkmenistan. Ruins of over 150 ancient settlements dating back to the early Bronze Age (2500-1700 BCE) have been found in the Murgab delta region which covers an area of more than 3000 sq. km. and contains about 78 oases."
Aerial photo of Gonur showing two complexes of Gonur (looking almost directly north). Photo credit: Kenneth Garrett
Gonur south complex.
Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr
Excavated Gonur north complex. Photo credit: Black Sands Film
Artist's reconstruction of the Gonur north complex. Note the successive protective walls with the outer-most surrounding what appear to be dwellings.
Reconstruction of the Gonur north citadel complex at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr
Another reconstruction of the Gonur north complex. "A large necropolis lies to the west of the site. In the centre of the northern complex is a fortified citadel-like structure. Both complexes have fortification walls. The fortification walls of the southern complex are wide, 8 to 10 metres tall and interspaced with round towers along its sides and corners. There are residential quarters walls within the fortifications."
Reference:Excavations at Southern Gonur, by V. Sarianidi, 1993, British Institute of Persian Studies.
» Brief History of Researches in Margiana by Museo-on
Other web articles include Discover Magazine, Anahita Gallery, Kar Po's Travel Blog, Dan & Mary's Monastery, Archaeology Online, Turkmenistan June 2006 and Stantours. Generally, we find the quality of research and reports available of the web to be poorly researched, highly speculative and sensationalistic. (Note: All citations from KE Eduljee http://www.heritageinstitute.com/zoroastrianism/merv/gonur.htm)
Gonur excavation
So-called Temple(?) building walls with three narrow rooms to the left
being uncovered in Gonur-Depe "In the photograph of the excavated rooms of the "temple" shown above right, the larger room has a circular foundation which the Turkmenistan new agency article describes as a "furnace" with an inner and outer chamber. The inner chamber contained burnt material presumably residue of the fuel used but which the article does not identify. The article further notes that pots found in the vicinity of the building had an internal lining that made them waterproof, thereby making them capable of holding liquids."
Plan of Togolok 21. Photo credit: various. Kispesti Kozert
Reconstructed model of Togolok 21
Photo credit:Aula Didactica [quote]According to Viktor Sarianidi:
"The next and last shrine excavated is located in the settlement of Togolok 21, which dates to the late 2nd millennium. Taking into account its large overall size (larger than the fortress of South Gonur), it is possible that the shrine of Togolok 21 served the inhabitants of the whole country of Margiana in the late Bronze Age. Similar to the above-described shrines, there is a domestic area near Togolok 21 associated with the shrine. At Gonur depe and Togolok 1 the settlements are many times larger than the shrines, while in Togolok 21 the settlement is a great deal smaller than the shrine itself. "The shrine of Togolok 21 was built at the top of a small natural hill. Along the outer face of the exterior wall are circular and semicircular hollow towers. In the northern part of the wall are two pylons between which a central gateway, supposed to be the entrance to the shrine, is located. The second entrance was built in the middle of the southern wall. The whole inner area was not built up except at the western side where some extremely narrow rooms are located which appear to have had arched ceilings. Their purpose is unclear. Two altar sites located opposite each other in the northern part of the shrine were perhaps used for carrying out ritual ceremonies associated with libations and fire rituals." [unquote] http://www.heritageinstitute.com/zoroastrianism/merv/gonur3.htm#sarianidi
Claims of Viktor Sarianidi about Soma-Haoma processing in Margiana refuted
[Click here for the article by Viktor Sarianidi titled Margiana and Soma-Haomapublished in the electronic Journal of Vedic Studies (EJVS) Vol. 9 (2003) Issue 1d (May 5) and with Jan E.M. Houben of Leiden University as Guest Editor. We note that Sarianidi's references do not include a single authentic Zoroastrian source even though he claims to associate certain findings with Zoroastrianism.]
According to James P. Mallory 1989 & 1997 "... remains of ephedras have also been reported from the temple-fortress complex of Togolok 21 in the Merv oasis (ancient Margiana – Parpola 1988; Meier-Melikyan 1990) along with the remains of poppies. ... In 1990 I received some samples from the site [forwarded by Dr. Fred Hiebert of Harvard University], which were subjected to pollen analysis at the Department of Botany, University of Helsinki. .... The largest amount of pollen was found in the bone tube (used for imbibing liquid?) from Gonur 1, but even in this sample, which had been preserved in a comparatively sheltered position when compared with the other investigated samples, only pollen of the family Caryophyllaceae was present. No pollen from ephedras or poppies was found and even the pollen left in the samples showed clear traces of deterioration (typical in ancient pollen having been preserved in a dry environment in contact with oxygen). Our pollen analysis was carefully checked for any methodological errors, but no inaccuracies were found."
Yet another refutation of Sarianidi's wild and unsubstantiated claims of 1. having found narcotics and 2. associating what he found is found with haoma and thereby a Zoroastrian cult (sic) ritual is found in a journal article of which Jan E.M. Houben of Leiden University, Netherlands [E. Journal of Vedic Studies Vol. 9 (2003) Issue 1c (May 5)]. [Click here for an excerpt of the article by Professor C.C. Bakels titled Report concerning the contents of a ceramic vessel found in the "white room" of the Gonur Temenos, Merv Oasis, Turkmenistan.] Bakels concludes, "The material we examined contained broomcorn millet. This cereal is known from the Merv oasis, at least from the Bronze Age onwards (Nesbitt 1997). The crop plant most probably has its origin in Central Asia, perhaps even in the Aralo-Caspian basin."
Professor Houben states, "After a few months I received messages indicating that no proof could be found of any of the substances indicated by Sarianidi. Rather than hastily sticking to this conclusion, Prof. Bakels made efforts to show the specimens to other paleobotanists whom she met at international professional meetings. At the end of this lengthy procedure, no confirmation could be given of the presence of the mentioned plants in the material that was investigated. The traces of plant-substances rather pointed in the direction of a kind of millet."
Metalwork and artifacts from Gonur
Gonur's Exquisite Artefacts
[quote] The quality, artistry and workmanship of the artefacts unearthed at Gonur has surprised observers. They include intricate jewellery and metalwork incorporating gold, silver, lapis lazuli, and carnelian.
 |
| Necklace with carnelian obsidian beads found in the necropolis at Gonur. Carnelian is a hard reddish translucent semiprecious gemstone that is a variety of chalcedony, a form of banded quartz. Obsidian is a jet-black volcanic glass, chemically similar to granite and formed by the rapid cooling of molten lava. Photo credit: Anna Garner at Flickr. The beads are now part of Anna Garner's collection. |
 |
| Pin with camel ornament. Photo credit: Katy Tzaralunga at Flickr |
 |
| Fine containers. Photo credit: Katy Tzaralunga at Flickr |
 |
| Artistic wall decorations(?). Photo credit: Katy Tzaralunga at Flickr |
The prowess of the Gonur metalworkers - who used tin alloys and delicate combinations of gold and silver - were on par with the skills of their more famous contemporaries in Egypt, Mesopotamia, and the Indus Valley. Their creations display a rich repertoire of geometric designs, mythic monsters, and other creatures. Among them are striking humanoid statues with small heads and wide skirts, as well as horses, lions, snakes, and scorpions.
|
 |
| A rich find of pottery at Gonur. Photo credit: josephescu at Flickr |
 |
| Seal of the type found and used in the Indus Valley |
Gold and other metals are not found in the region. The lapis lazuli likely came from the Badakshan mountains that are now in the northwest of Afghanistan.
Wares in this distinctive style had long been found in regions far and near. As close as Gonur's southern neighbour Balkh in today's Afghanistan, and as far as Mesopotamia to the west, the shores of the Persian Gulf to the south, the Russian steppes to the north, and to the southeast across the Hindu Kush - the great cities of Harappa and Mohenjo Daro, which once flourished on the banks of the Indus River in today's Pakistan.
Archaeologists had long puzzled over the origin of the fine artefacts found in the Indus Valley and in the distant lands - artefacts made from materials not native to those areas. The Gonur excavations provide one possible answer: that the items originated in the region around Gonur. For the artefacts to have spread to lands thousands of kilometres apart indicate the presence of an active trade network consisting of artisans, traders, merchants, an extensive road network and possibly even bazaars. It is conceivable that the hub of the network was Central Asia and that Gonur lay at its heart. The merchants of Gonur and Central Asia could even have been the possible originators of the Silk Roads.
That all of this together in an advanced urban setting supported by an irrigated agricultural system was already developed and functioning in the Bronze Age (2500-1700 BCE) is astounding.
Wares in this distinctive style had long been found in regions far and near. As close as Gonur's southern neighbour Balkh in today's Afghanistan, and as far as Mesopotamia to the west, the shores of the Persian Gulf to the south, the Russian steppes to the north, and to the southeast across the Hindu Kush - the great cities of Harappa and Mohenjo Daro, which once flourished on the banks of the Indus River in today's Pakistan.
Archaeologists had long puzzled over the origin of the fine artefacts found in the Indus Valley and in the distant lands - artefacts made from materials not native to those areas. The Gonur excavations provide one possible answer: that the items originated in the region around Gonur. For the artefacts to have spread to lands thousands of kilometres apart indicate the presence of an active trade network consisting of artisans, traders, merchants, an extensive road network and possibly even bazaars. It is conceivable that the hub of the network was Central Asia and that Gonur lay at its heart. The merchants of Gonur and Central Asia could even have been the possible originators of the Silk Roads.
That all of this together in an advanced urban setting supported by an irrigated agricultural system was already developed and functioning in the Bronze Age (2500-1700 BCE) is astounding.
...
Age, People & Culture
Prof. Fredrik Hiebert of the Univ. of Pennsylvania (who during the 1988-89 field season, excavated part of Gonur in collaboration with the Ministry of Culture of Turkmenistan and the Institute of Archaeology in Moscow), in his book Origins of the Bronze Age Oasis Civilization in Central Asia (Harvard University Press, 2004) writes on page 2:
"The archaeology of Margiana is fundamentally tied into the Kopet Dag foothill chronological framework of the Namazga culture (see note 1). Of prime importance has been the association of the monumental architecture in Margiana with numerous miniature stone columns, steatite bowls, bronze seals, and stone amulets. None of the materials of these objects is locally available (see note 2), yet they have a style distinctive to the desert oases of Margiana and Bactria. The oasis sites have provided the first known cultural context for the Bactrian-Margiana Archaeological Complex."
After earlier independent work by Soviet archaeologists that would have included Viktor Sarianidi, Hiebert worked with Sarianidi, an effort that resulted in a change of previous conclusions. Hiebert writes, "This study is based on collaborative excavations conducted by V. Sarianidi and myself (our note: misplaced reflective pronoun "myself" here – should be the object pronoun "me") at the Bronze Age site of Gonur Depe in Margiana. It is proposed that the rapid occupation of sites in the Murgab delta oasis was contemporary with the Namazga V settlement in the foothill region, which was the period of largest urban settlement at the site of Altyn Depe (see note 3). The present study proposes that the Bactrian-Margiana Archaeological Complex developed from local traditions at the beginning of the second millennium (our note: say 2,000 – 1,600 BCE see note 4). In contrast to previously suggested reconstructions of the origins of the Bactrian-Margiana Archaeological Complex, I show that this development does not result from migrations from Iran, South Asia, or Mesopotamia, nor from the sedentarization of nomads (see note 5).
"The diverse geography and natural resources of Central Asia form a framework for the pattern of human settlement. The differential development of culture in the areas of oasis and foothill plain is largely due to this diversity of environments.
"The archaeological context of the Bronze Age sites of Margiana is special, in that very little post-Bronze Age architectural remains are preserved just below the surface. The area is highly deflated, leaving little more than the ground plan and a small amount of deposit just above the floors. These have been cleared over wide areas, exposing entire building complexes."
"the oasis regions of ancient Bactria and Margiana developed their own artistic tradition on stone and metal artefacts despite the lack of natural resources on which they were made."
Note (general): It seems the Margians imported the raw material of the artefacts in main part from their southern Arian neighbours, the Bactrians and others, and then fashioned the artefacts for domestic use and export for the artefacts are reported to have been found in the Indus Valley. This activity points to a shared understanding between the Arian nations, a network of roads that connected them and policed to assure safe passage of the travellers, knowledge of tools suitable to work with the properties of different materials, and craft shops if not small factories. Aryan society would have had to be fairly complex, with agriculture supported by a network of canals, cities supported by a water and sewage distribution network, architects, builders of buildings and infrastructure, traders, administrators, a military and laws to govern society and keep the peace.
Note 1: Namazga or Namazgah (meaning prayer-place, "ga" is a contraction of "gah" meaning place) is a Bronze Age archaeological site in Turkmenistan, some 100 km from Ashgabat, near the Iranian border. Numbers in Roman numerals beside the name indicate the age of an excavation layer (at times settlements were rebuilt on top of previous ones). Namazgah IV is dated around 2,500 BCE, V to around 2,000-1,600 BCE, and VI to around 1,600-1,000 BCE.
Note 2: This phenomenon of the discovery of materials not native to an area is a common denominator of the various nations of Ancient Aryana who actively traded amongst themselves.
Note 3: Namazga(h) V is dated to around 2,500 BCE. An article (1989 updated 2011) by V. M. Mason at Iranica states, "The excavations (at Altyn Depe) show continuous development of an early agricultural culture from the 5th to the early 2nd millennium BCE Though a settlement of the Neolithic Jaitun culture (6th millennium BCE) is situated nearby… in the 4th millennium B.C. the inhabited area of Altyn Tepe increased to 12 hectares… at the end of the 4th to the early 3rd millennium B.C., Altyn Tepe covered 25 hectares, acquiring the character of a large inhabited center… Altyn Tepe reached its most flourishing stage at the end of the 3rd-early 2nd millennium B.C. (complex of the Namazga V type), when it was a settlement of the early urban type."
Note 4. Hiebert notes on page 2, "The previous radiocarbon dates from Margiana and from other areas of Central Asia have provided unsatisfactory results for archaeologists." (Hiebert's) "chronology is based primarily on a new series of radiocarbon dates, which came from the Margiana excavations, both from my own excavations and from previous excavations."
The residents of Gonur did not, however, materialize from nowhere. They were residents of the area who built Gonur. We do not know if any lower excavation layers have been found.
Note 5: Saka and Turkic migrations occurred later – after Alexander’s invasion and subsequent occupation weakened the infrastructure. Nomadic raids from the north were constant – thus the fortifications. The raids were for plunder and not for settlement (the nomads had no interest in settling and working for a living).
According to Discover Magazine, "Fredrik Hiebert, a young American graduate student, learned Russian, visited Gonur in 1988, and then a few years later returned with his Harvard adviser, Lamberg-Karlovksy. A team of Italians followed to dig at nearby sites and to examine Gonur's extensive cemetery." [unquote]
"The archaeology of Margiana is fundamentally tied into the Kopet Dag foothill chronological framework of the Namazga culture (see note 1). Of prime importance has been the association of the monumental architecture in Margiana with numerous miniature stone columns, steatite bowls, bronze seals, and stone amulets. None of the materials of these objects is locally available (see note 2), yet they have a style distinctive to the desert oases of Margiana and Bactria. The oasis sites have provided the first known cultural context for the Bactrian-Margiana Archaeological Complex."
After earlier independent work by Soviet archaeologists that would have included Viktor Sarianidi, Hiebert worked with Sarianidi, an effort that resulted in a change of previous conclusions. Hiebert writes, "This study is based on collaborative excavations conducted by V. Sarianidi and myself (our note: misplaced reflective pronoun "myself" here – should be the object pronoun "me") at the Bronze Age site of Gonur Depe in Margiana. It is proposed that the rapid occupation of sites in the Murgab delta oasis was contemporary with the Namazga V settlement in the foothill region, which was the period of largest urban settlement at the site of Altyn Depe (see note 3). The present study proposes that the Bactrian-Margiana Archaeological Complex developed from local traditions at the beginning of the second millennium (our note: say 2,000 – 1,600 BCE see note 4). In contrast to previously suggested reconstructions of the origins of the Bactrian-Margiana Archaeological Complex, I show that this development does not result from migrations from Iran, South Asia, or Mesopotamia, nor from the sedentarization of nomads (see note 5).
"The diverse geography and natural resources of Central Asia form a framework for the pattern of human settlement. The differential development of culture in the areas of oasis and foothill plain is largely due to this diversity of environments.
"The archaeological context of the Bronze Age sites of Margiana is special, in that very little post-Bronze Age architectural remains are preserved just below the surface. The area is highly deflated, leaving little more than the ground plan and a small amount of deposit just above the floors. These have been cleared over wide areas, exposing entire building complexes."
"the oasis regions of ancient Bactria and Margiana developed their own artistic tradition on stone and metal artefacts despite the lack of natural resources on which they were made."
Note (general): It seems the Margians imported the raw material of the artefacts in main part from their southern Arian neighbours, the Bactrians and others, and then fashioned the artefacts for domestic use and export for the artefacts are reported to have been found in the Indus Valley. This activity points to a shared understanding between the Arian nations, a network of roads that connected them and policed to assure safe passage of the travellers, knowledge of tools suitable to work with the properties of different materials, and craft shops if not small factories. Aryan society would have had to be fairly complex, with agriculture supported by a network of canals, cities supported by a water and sewage distribution network, architects, builders of buildings and infrastructure, traders, administrators, a military and laws to govern society and keep the peace.
Note 1: Namazga or Namazgah (meaning prayer-place, "ga" is a contraction of "gah" meaning place) is a Bronze Age archaeological site in Turkmenistan, some 100 km from Ashgabat, near the Iranian border. Numbers in Roman numerals beside the name indicate the age of an excavation layer (at times settlements were rebuilt on top of previous ones). Namazgah IV is dated around 2,500 BCE, V to around 2,000-1,600 BCE, and VI to around 1,600-1,000 BCE.
Note 2: This phenomenon of the discovery of materials not native to an area is a common denominator of the various nations of Ancient Aryana who actively traded amongst themselves.
Note 3: Namazga(h) V is dated to around 2,500 BCE. An article (1989 updated 2011) by V. M. Mason at Iranica states, "The excavations (at Altyn Depe) show continuous development of an early agricultural culture from the 5th to the early 2nd millennium BCE Though a settlement of the Neolithic Jaitun culture (6th millennium BCE) is situated nearby… in the 4th millennium B.C. the inhabited area of Altyn Tepe increased to 12 hectares… at the end of the 4th to the early 3rd millennium B.C., Altyn Tepe covered 25 hectares, acquiring the character of a large inhabited center… Altyn Tepe reached its most flourishing stage at the end of the 3rd-early 2nd millennium B.C. (complex of the Namazga V type), when it was a settlement of the early urban type."
Note 4. Hiebert notes on page 2, "The previous radiocarbon dates from Margiana and from other areas of Central Asia have provided unsatisfactory results for archaeologists." (Hiebert's) "chronology is based primarily on a new series of radiocarbon dates, which came from the Margiana excavations, both from my own excavations and from previous excavations."
The residents of Gonur did not, however, materialize from nowhere. They were residents of the area who built Gonur. We do not know if any lower excavation layers have been found.
Note 5: Saka and Turkic migrations occurred later – after Alexander’s invasion and subsequent occupation weakened the infrastructure. Nomadic raids from the north were constant – thus the fortifications. The raids were for plunder and not for settlement (the nomads had no interest in settling and working for a living).
According to Discover Magazine, "Fredrik Hiebert, a young American graduate student, learned Russian, visited Gonur in 1988, and then a few years later returned with his Harvard adviser, Lamberg-Karlovksy. A team of Italians followed to dig at nearby sites and to examine Gonur's extensive cemetery." [unquote]
Raphael Pumpelly (1837-1923)
Champion of a Central Asian Cradle of Civilization
 |
| Raphael Pumpelly |
More than a century ago an unlikely geologist from New York put forth a proposition that "the fundamentals of civilization - organized village life, agriculture, the domestication of animals, weaving," (including mining and metal work) "originated in the oases of Central Asia long before the time of Babylon."
Raphael Pumpelly arrived at this conclusion after visiting Central Asia as a geologist and observing the ruins of cities on the ancient shorelines of huge, dried inland seas. By studying the geology of the area, he became one of the first individuals to investigate how environmental conditions could influence human settlement and culture. Pumpelly speculated that a large inland sea in central Asia might have once supported a sizeable population. He knew from his travels and study that the climate in Central Asia had become drier and drier since the time of the last ice age. As the sea began to shrink, it could have forced these people to move west, bringing civilization to westward and to the rest of the world. He hypothesized that the ruins of cities he saw were evidence of a great ancient civilization that existed when Central Asia was more wet and fertile than it is now.
Such assertions that civilization as we know it originated in Central Asia sounded radical at a time when the names of Egypt and Babylon, regions connected to the Bible, were considered to be the cradle of civilization. But Raphael Pumpelly was persistent. Forty years after his first trip to Central Asia, he convinced the newly established Andrew Carnegie Foundation to fund an expedition. Since the Russians controlled Central Asia, he charmed the authorities in Saint Petersburg into granting him permission for an archaeological excavation. The latter even provided Pumpelly with a private railcar. At the age of 65, Pumpelly was given the opportunity to prove his theory and he wasted no time in starting his work.
Raphael Pumpelly arrived at this conclusion after visiting Central Asia as a geologist and observing the ruins of cities on the ancient shorelines of huge, dried inland seas. By studying the geology of the area, he became one of the first individuals to investigate how environmental conditions could influence human settlement and culture. Pumpelly speculated that a large inland sea in central Asia might have once supported a sizeable population. He knew from his travels and study that the climate in Central Asia had become drier and drier since the time of the last ice age. As the sea began to shrink, it could have forced these people to move west, bringing civilization to westward and to the rest of the world. He hypothesized that the ruins of cities he saw were evidence of a great ancient civilization that existed when Central Asia was more wet and fertile than it is now.
Such assertions that civilization as we know it originated in Central Asia sounded radical at a time when the names of Egypt and Babylon, regions connected to the Bible, were considered to be the cradle of civilization. But Raphael Pumpelly was persistent. Forty years after his first trip to Central Asia, he convinced the newly established Andrew Carnegie Foundation to fund an expedition. Since the Russians controlled Central Asia, he charmed the authorities in Saint Petersburg into granting him permission for an archaeological excavation. The latter even provided Pumpelly with a private railcar. At the age of 65, Pumpelly was given the opportunity to prove his theory and he wasted no time in starting his work.
Anau
On a previous trip, while travelling on Trans-Caspian railway along the foothills of rugged Kopet-Dag mountains which rise up to form the vast Iranian plateau, the three mounds or kurgans at Anau had caught Raphael Pumpelly's eye.
Anau is a site eight kilometres southeast of Turkmenistan's Ashgabat modern-day capital, Ashgabat, and its name is derived from Abi-Nau, meaning new water. In earlier times, its name was Gathar.
Anau is a site eight kilometres southeast of Turkmenistan's Ashgabat modern-day capital, Ashgabat, and its name is derived from Abi-Nau, meaning new water. In earlier times, its name was Gathar.
In the delta around Anau, there are three mounds or kurgans (also called tepe or depe), each containing ruins from a different period. The north mound has layers from the 5th millennium BCE to the 3rd millennium BCE, at which time in history the river Keltechinar appears to have changed course causing a population shift to the south mound that has layers from the mid-3rd millennium BCE to the 1st millennium BCE (the Bronze Age). The east mound has the most recent (medieval to classical period) ruins.
In 1886, a Russian general A. V. Komarov who mistakenly thought the mound was an ancient burial site with treasure worth plundering, had his army brigade cut through the north mound, bisecting the mound. When Pumpelly visited the site in 1903, his training as a geologist enabled him to see twenty stratified occupational layers in this trench. Pumpelly returned to the site in 1904 to start excavations along the Russian trench using sophisticated methods - methods in stark contrast with the plundering dig of the Russians...
In 1886, a Russian general A. V. Komarov who mistakenly thought the mound was an ancient burial site with treasure worth plundering, had his army brigade cut through the north mound, bisecting the mound. When Pumpelly visited the site in 1903, his training as a geologist enabled him to see twenty stratified occupational layers in this trench. Pumpelly returned to the site in 1904 to start excavations along the Russian trench using sophisticated methods - methods in stark contrast with the plundering dig of the Russians...
Pumpelly's early interest in how humans respond to environmental change is still a keynote feature of archaeology. The kurgan digs unearthed pottery, objects of stone and metal, hearths and cooking utensils - even the remains of skeletons of children found near hearths. He discovered evidence of domesticated animals and cultivated wheat - evidence of the civilization the sought...
The story of Anau that emerged was one of a planned walled city that was home to a community that farmed wheat, manufactured artefacts and traded with its neighbours...
Ancient Kopet Dag Foothill Townships
 |
| Archaeological sites along the northern foothills of the Kopet Dag Mountains Image credit: A Central Asian village at the dawn of civilization, excavations at Anau, Turkmenistan by Fredrik Talmage Hiebert, Kakamurad Kurbansakhatov, Hubert Schmidt |
Following the ground breaking excavations and observations of Raphael Pumpelly, discoveries of the settlement of early prehistoric civilizations along the northern foothills of the Kopet Dag mountains are rewriting the history books. This vast archipelago of settlements stretches across 6,000 square kilometres. Modern dating methods date a settlement at Djeitun (not very far from Anau - see site #13 in the map above, #18 being Anau North) at c. 6500 BCE (Ceramic Neolithic period). Two other nearby sites #11. Togolok and #12 Chopan also date back to the early Djeitun period.
A number of the sites, for instance Altyn depe (#32 above and meaning golden hill), contain artefacts from Harappa in the Indus valley and Sumer / Mesopotamia in the Tigris-Euphrates valley indicating extensive and far-reaching trading along the Silk Roads during the Eneolithic Age (between the late 4th and the late 3rd millennia BCE). (cf. Altyn-Depe by Vadim Mikhailovich Masson and Henry N. Michael, Published by Univ. of Pennsylvania Museum of Archaeology.)
A number of the sites, for instance Altyn depe (#32 above and meaning golden hill), contain artefacts from Harappa in the Indus valley and Sumer / Mesopotamia in the Tigris-Euphrates valley indicating extensive and far-reaching trading along the Silk Roads during the Eneolithic Age (between the late 4th and the late 3rd millennia BCE). (cf. Altyn-Depe by Vadim Mikhailovich Masson and Henry N. Michael, Published by Univ. of Pennsylvania Museum of Archaeology.)
References:
» Altyn-Depe by Vadim Mikhailovich Masson and Henry N. Michael
» Altin / Altyn Depe at Iranica by V. M. Masson
» A Central Asian village at the dawn of civilization, excavations at Anau, Turkmenistan by Fredrik Talmage Hiebert, Kakamurad Kurbansakhatov, Hubert Schmidt
» Historical/Achaeological sites in Turkmenistan
» Altyn-Depe by Vadim Mikhailovich Masson and Henry N. Michael
» Altin / Altyn Depe at Iranica by V. M. Masson
» A Central Asian village at the dawn of civilization, excavations at Anau, Turkmenistan by Fredrik Talmage Hiebert, Kakamurad Kurbansakhatov, Hubert Schmidt
» Historical/Achaeological sites in Turkmenistan
Bronze Ax Head from Bactria, ca. 2000 BCE.....Bird-headed , boar and dragon, c.2300-1900 BCE.....A Magnificent and Highly Important Bactrian Silver and Gold Foil Shaft.....This shaft-hole axhead is a masterpiece of three-dimensional and relief sculpture. Expertly cast in silver and gilded with gold foil, it depicts a bird-headed hero grappling with a wild boar and a winged dragon. The idea of the heroic bird-headed creature probably came from western Iran, where it is first documented on a cylinder seal impression. The hero's muscular body is human except for the bird talons that replace the hands and feet. He is represented twice, once on each side of the ax, and consequently appears to have two heads. On one side, he grasps the boar by the belly and on the other, by the tusks. The posture of the boar is contorted so that its bristly back forms the shape of the blade. With his other talon, the bird-headed hero grasps the winged dragon by the neck. The dragon, probably originating in Mesopotamia or Iran, is represented with folded wings, a feline body, and the talons of a bird of prey.......Source: Shaft-hole axhead with a bird-headed demon, boar, and dragon [Central Asia (Bactria-Margiana)] (1982.5) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
eruvai 'eagle' rebus: eruvai 'copper'
baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’ Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali)kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kolimi 'smithy, forge'
Bactria Margiana. Silver ceremonial axes.https://s-media-cache-ak0.pinimg.com/736x/97/2f/eb/972feb921d32dead78d6d7b59da9956e--human-figures-ancient-artifacts.jpg meḍho 'ram' rebus: meḍh: rebus: 'helper of merchant'; meḍ 'iron' (Mu.Ho.)
Bactria. Ceremonial axe. British Museum
meḍho 'ram' rebus: meḍh: rebus: 'helper of merchant'; meḍ 'iron' (Mu.Ho.)
kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kolimi 'smithy, forge'
Iran, Luristan bronze Bridle ring with two crouching lions, ca 1200-800 BCEkola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kolimi 'smithy, forge'
Iranian bronze axe head Iron Age II to III 650 to 1000 BCE
kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kolimi 'smithy, forge'
पोळ pōḷa 'zebu, bos indicus' rebus: पोळ pōḷa 'magnetite (a ferrite ore)'
Ceremonial axe (inscribed with name) of king Untash-Napirisha, from his capital Tchoga Zambil. Back of the axe adorned with an electrum boar; the blade issues from a lion's mouth. Silver and electrum, H: 5,9 cm Sb 3973 Louvre, Departement des Antiquites Orientales, Paris, France
Originally, this would have been fitted to a short haft, or given the large size of it, it may well have been fitted to a long shaft to make a pole arm. A decorative piece, possibly used for feng shui in a building, possibly used as a prop in Chinese opera. Made of carved hardwood with a thick red-brown lacquer finish." http://tigers-den-swords.blogspot.in/2011/09/chinese-wooden-axe-head.html
A rare Bactrian ? bronze figure depicting an elephant and its helmeted warrior rider bowing and in a position of supplication. The rider sits with his legs clasping the elephant's neck, his body and head are bowed forward, and his arms point forward as if in prayer. The figure measures approximately 5 cm long and 3.5 cm tall. karabha, ibha 'elephant' rebus: karba, ib 'iron'; ibbo 'merchant'.
BMAC bronze vessel with four ibexes. The vessel is about 22.5 cm diameter. http://eclecticmuseum.com/
Tablet Sb04823: receipt of 5 workers(?) and their monthly(?) rations, with subscript and seal depicting animal in boat; excavated at Susa in the early 20th century; Louvre Museum, Paris (Image courtesy of Dr Jacob L. Dahl, University of Oxford) Cited in an article on Reflectance Transformation Imaging (RTI) System. The animal in boat may be a boar and may signify supercargo of wood and iron products. baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’. 
Ancient copper bronze seal from Bactria...Eight Petals
Marathi. karḍī, °ḍaī f. ʻ safflower, carthamus tinctorius and its seed ʼ. (CDIAL 2788). Rebus: kharaḍāखरड़ा 'wealth accounting ledger' karaḍa 'hard alloy'.
Carved from grey chlorite and measures approximately 27 cm in width. One side (Top) bears two pairs of birds of prey, and the other side (Bottom) bears two tethered bulls facing each other.
pōlaḍu 'black drongo' Rebus: polad 'steel' dula 'pair' rebus: dul 'metal casting'
पोळ pōḷa 'zebu, bos indicus' rebus: पोळ pōḷa 'magnetite (a ferrite ore)'
mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā ʻ the post ʼ, (SBhagalpur) mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīr, mīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2 ); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛha, mehra ʻ a circular construction, mound ʼ; Or. meṛhī, meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(CDIAL 10317) Rebus:meḍ 'iron' (Mu.Ho.)
Bactriane - Begram - déesse fluviale en ivoire - 1er siècle avant JXC - Musée Guimet - Paris Ganga atop makara: makara 'composite animal crocodile + elephant' rebud: dhmakara 'forge-blower' dhamaka'blacksmith' karā 'crocodile' rebus: khār 'blacksmith' PLUS karabha, ibha 'elephant' rebus: karba, ib 'iron';ibbo 'merchant'. Thus, iron smith.
Hache à talon décoré d'une tête de cheval - Bactriane fin du IIIe millénaire, début du IIe millénaire avant J.-C. | Site officiel du musée du Louvre
AFGHAN ARMS AND ARMOUR 2ND-1ST MILL.BCE Ceremonial adze,from Baktria,Northern Afghanistan; end 3rd,beginning 2nd Mill.BCE. Silver and gold,maximum length 12,68 cm Collection George Ortiz, Geneva, Switzerland
BACTRIAN BRONZE AXE HEAD | The narrow blade decorated with incised chevrons, cut-away socket with banded edges, the shaft decorated with two squatting figures each wearing short tunic, one wrestling a seated feline the other with arms around the feline and a standing quadruped. 2nd Millennium BCE
Vase tronconique à col éversé - Bactriane | Site officiel du musée du Louvre
Flacon à parfum ou à cosmétique à fond mobile. Décor gravé : femme ailée sur une barque, encadrée de tulipes - Bactriane fin du IIIe millénaire, début du IIe millénaire avant J.-C. | Site officiel du musée du Louvre
Bactrian Bronze Monkey Seal New York | Animals Date: 2500 BC - 1900 BC Culture: Bactrian Category: Animals, Seals & Gems Medium: Bronze. kuṭhāru 'monkey' Rebus: kuṭhāru 'armourer'
A BACTRIAN COPPER ALLOY COMPARTMENTED STAMP SEAL circa late 3rd-early 2nd millennium b.c. Circular in form, the openwork figural device in the form of a caprid with curving horns standing on a groundline, a small bird on its back, a monkey in front with its hands on the caprid's neck, the back of the seal with incision detailing the figural scene, a tongue-shaped suspension loop in the center.
Source: https://www.pinterest.com/pin/27303141463117058/ kuṭhāru 'monkey' Rebus: kuṭhāru 'armourer' meḍho 'ram' rebus: meḍh: rebus: 'helper of merchant'; meḍ 'iron' (Mu.Ho.)
Openwork stamp seal: figure holding snakes Period: Bronze Age Date: ca. late 3rd–early 2nd millennium B.C. Geography: Bactria-Margiana Culture: Bactria-Margiana Archaeological Complex Medium: Copper alloy Dimensions: H. 9.1 cm
Openwork stamp seal: figure holding snakes Period: Bronze Age Date: ca. late 3rd–early 2nd millennium B.C. Geography: Bactria-Margiana Culture: Bactria-Margiana Archaeological Complex Medium: Copper alloy.
See:
http://tinyurl.com/hmgm93z
Inscription. Altyn Depe seal.
Altyn-depe. Silver seal. Pictograph of ligatured animal with three heads.
Two seals found at Altyn-depe (Excavation 9 and 7) found in the shrine and in the 'elite quarter'
Altyn-depe (No. 32 on the map) Bronze age seals (items 1 to 3 and 7 to 9) and motifs on Eneolithic (between the late 4th and the late 3rd millennia BCE) painted pottery of southern Turkmenistan (items 4 to 6 and 10 to 12) (After Fig 26 in: Masson, VM, 1988, Altyn-Depe, UPenn Museum of Archaeology)
Comparison of Altyn-depe statuettes and Early Harappan writing (After Fig. 24 in ibid.)
Antenna hilted swords from Bactria compare with Fatehgarh copper hoard sword (See comments of BB Lal at http://archaeologyonline.net/artifacts/19th-century-paradigms-5):
The metalwork in Gonur Tepe may explain the presence of Fatehbad type of sword in Gonur Tepe caused by migrations of people from Sarasvati-Sindhu river valleys into the Gonur region.
Copper hoard including anthropomorphic figures, harpoons, shouldered axes,from Ganga valley, India. The Bactrian find of a hilted sword which compares with the sworf of Fathehgarh may thus be seen as produced by artisans from Ganga valley who migrated to Bactria.
Selected hoard artefacts from 1-2 South Haryana, 3-4 Uttar Pradesh, 5 Madhya Pradesh, 6-8 South Bihar-North Orissa-Bengal. Haryana hoard artefacts are deposited in the Kanya Gurukul Museum of Narela, Haryana.(Paul Yule, The Bronze Age Metalwork of India, Prähistorische Bronzefunde XX,8 (München 1985), http://archiv.ub.uni-heidelberg.de/savifadok/volltexte/2011/1895/ ).Migrations are attested in Baudhāyana-Śrautasūtra Chapter XVIII.44 contains an important reference attesting to the migrations of two groups of people away from Kurukshetra region (Sarasvati River basin).
"Translation of BSS XIII.44: Ayu migrated eastwards. His (people) are the Kuru-Pancalas and the Kasi-Videhas. This is the Ayava (migration). Amavasu migrated westwards. His (people) are the Ghandhari, Parsu and Aratta. This is the Amavasu (migration).
"According to the correct translation, there was no movement of the Aryan people from anywhere in the north-west. On the other hand, the evidence indicates that it was from an intermediary point that some of the Aryan tribes went eastwards and other westwards.
This would be clear from the map that follows, noted BB Lal (2009).
Cylinder-seal of Sharkalisharri, Akkadian period (23rd century BC), Mesopotamia – made of chlorite. Credits: Louvre Musée.This chlorite cylinder seal from about 2300 BC reveals the 5th King of Akkad, and other scenes. The inscription reads, "the divine Sharkalisharri, king of Akkad, Ibni-sharrum, the scribe, is his servant." The object is very small (only 3, 9cm high, (1 1/2 in.); 2.6 cm in dia meter (1 in.), still it carries an important message because it’s a unique signature of its owner, the divine protection.
Impression of the Sharkalisharri cylinder seal, ca. 2183- 2159 BC during Akkadian, reign of Shar-kali-sharri. Mesopotamia. Cuneiform inscription in Old Akkadian. Credits: Louvre Musée.
Indus Script seal and impression from Gonur Tepe.Decipherment of inscription (Indus Script)
karibha 'trunk of elephant' rebus: karba 'iron' ibha 'elephant' rebus: ib 'iron' Hieroglyph: ingot out of crucible: muh 'ingot' kuThAru 'crucible' rebus:kuThAru 'armourer' kolmo 'rice plant' rebus:kolimi 'smithy, forge'. Thus ingot for forge. sal 'splinter'rebus: sal 'workshop' aDaren 'lid' rebus: aduru 'native metal' aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' khambhaṛā''fish-fin' rebus: kammaTa 'mint, coiner, coinage'. Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaTa 'mint, coin, coiner' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice plant' rebus: kolimi 'smithy, forge' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karnaka 'engraver, scribe'.
The presence of a Fatehbad type of sword in Bactria is explained by the textual evidence of Baudhāyana-Śrautasūtra:
Baudhāyana-Śrautasūtra Chapter XVIII.44 contains an important reference attesting to the migrations of two groups of people away from Kurukshetra region (Sarasvati River basin).
"Translation of BSS XIII.44: Ayu migrated eastwards. His (people) are the Kuru-Pancalas and the Kasi-Videhas. This is the Ayava (migration). Amavasu migrated westwards. His (people) are the Ghandhari, Parsu and Aratta. This is the Amavasu (migration).
"According to the correct translation, there was no movement of the Aryan people from anywhere in the north-west. On the other hand, the evidence indicates that it was from an intermediary point that some of the Aryan tribes went eastwards and other westwards.
This would be clear from the map that follows, noted BB Lal (2009).
Farmana buffalo, arrow & Ibni-Sharrum seals deciphered 'cast pewter, metalwork implements'. Gaura, Gomr̥ga, Gavaya in R̥gveda aśvamedha may signify rã̄go ʻbuffalo bull' (Ku.N.) rebus raṅga 'tin, pewter, tin foil' (Indian sprachbund, Meluhha)
Ibni-Sharrum cylinder seal of ca. 2350-2170 BCE is a wealth-accounting, metalwork catalogue in Meluhha, Indus Script.
The Indus Script hieroglyphs of the gaur, ox, gaur or wild buffalo and water-buffalo are signifiers of R̥gveda gomr̥ga rendered rebus in vernacular Indian sprachbund Meluhha dialects as raṅga 'tin, pewter, tin foil'.
*mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ] S. mī˜ḍhī f., ˚ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ˚ m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.Santali)
The adorant with six curls on hair: bhaṭa ‘six' (Gujarati) rebus: bhaṭa ‘warrior’; meḍhā 'curl' rebus: mẽṛhẽt, meḍ bhāḍ 'iron furnace'. Thus, the message of the adorant with six curls of hair signifies: meḍ bhāḍ 'iron furnace'. The overflowing pots held by the adorants signify: lokhãḍ 'metal implements, pots and pans, metalware'.
bhaṭa ‘six' (Gujarati) rebus: bhaṭa ‘warrior’ rebus: baṭa ‘iron’ (Gujarati) bhāḍ 'furnace' (Marathi)
This is an addendum to: https://tinyurl.com/qdr3vcy Farmana Indus Script seal deciphered, water-buffalo with rings on neck 'pewter workshop',koDiyum, torc (neck-ring) of Cernunnos on Gundestrup cauldron, Pillar of Boatmen
khaṇṭi ‘buffalo bull’ (Tamil) Rebus: khãḍ '(metal) tools, pots and pans' (Gujarati)
Hypertext: overflowing pot: lokhãḍ ‘overflowing pot’ Rebus: ʻtools, iron, ironwareʼ (Gujarati)
The overflowing pot is a signifier of production of metal implements. See:
https://tinyurl.com/y8kq53kl (embedded) When this is demonstrated on seals in front of a bull or buffalo, the the bovine is a signifier of metal alloys. The 'star' hieroglyph shown on one seal reads:
मेढ mēḍha The polar star. मेढंगमत, मेढजोशी, मेढदाई, मेढमत mēḍhaṅgamata, mēḍhajōśī, mēḍhadāī, mēḍhamata See मेढेमत, मेढेजोशी, मेढेदाई &c. मेढेजोशी mēḍhējōśī m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village. मेढेमत mēḍhēmata n (मेढ Polar star, मत Dogma or sect.) A persuasion or an order or a set of tenets and notions amongst the Shúdra-people. Founded upon certain astrological calculations proceeding upon the North star. Hence मेढेजोशी or डौरीजोशी. Rebus: मेध mēdha m Yajna; In comp. as अश्वमेध, नरमेध.मेध a sacrificial animal , victim VS. Br. S3rS.; an animal-sacrifice , offering , oblation , any sacrifice (esp. ifc.) ib. MBh. &c मेधा f. mental vigour or power , intelligence , prudence , wisdom (pl. products of intelligence , thoughts , opinions) RV. &cIntelligence personified (esp. as the wife of धर्म and daughter of दक्ष) MBh. R. Hariv. Pur.a form of सरस्वती; = धन नैघण्टुक , commented on by यास्क ii , 10.
kneeling adorant బత్తుడు battuḍu. n. A worshipper.பத்தர்³ pattar, n. < bhakta. 1. Devotees, votaries Rebus: பத்தர்² pattar, n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. பத்தர்&sup5; pattar , n. perh. vartaka. Merchants; வியாபாரிகள்.
Cylinder seal of Ibni Sharrum (Louvre Museum) https://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum
"This chlorite cylinder seal belonged to Ibni-sharrum, scribe of King Sharkalisharri, king of Akkad (present-day Iraq), son and successor of Naram-sin (3rd millennium BC), as indicated by the cuneiform inscription between two animals.
It depicts two heroes watering buffaloes with gushing vases, probably two acolytes of the great Sumero-Chaldean god ENKI (Ea)."
Courtesy, The Louvre, Paris, respectively copyright RMN/Franck Raux and RMN/Thierry Ollivier. More at
http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-carved-elongated-bu...
http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum
http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-carved-elongated-bu...
http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum
"Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE]. . . . The decoration, which is characteristic of the Agade period, shows two buffaloes that have just slaked their thirst in the stream of water spurting from two vases held by two naked kneeling heroes." It belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin. The caption cotinues: "The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns." The buffalo was known to have come from ancient Indus lands by the Akkadians." https://www.harappa.com/blog/indus-cylinder-seals-louvre- Héros acolytes d'Ea abreuvant des buffles " A masterpiece of glyptic art This seal, which belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin, is one of the most striking examples of the perfection attained by carvers in the Agade period. The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns. A scene testifying to relations with distant lands Buffaloes are emblematic animals in glyptic art in the Agade period. They first appear in the reign of Sargon, indicating sustained relations between the Akkadian Empire and the distant country of Meluhha, that is, the present Indus Valley, where these animals come from. These exotic creatures were probably kept in zoos and do not seem to have been acclimatized in Iraq at the end of the 3rd millennium BC. Indeed, it was not until the Sassanid Empire that they reappeared. The engraver has carefully accentuated the animals' powerful muscles and spectacular horns, which are shown as if seen from above, as they appear on the seals of the Indus. The production of a royal workshop The calm balance of the composition, based on horizontal and vertical lines, gives this tiny low relief a classical monumental character, typical of the style of the late Akkadian period. Seals of this quality were the preserve of the entourage of the royal family or high dignitaries and were probably made in a workshop whose production was reserved for this elite."
- DioriteH. 3.9 cm; Diam. 2.6 cm
- Don H. de Boisgelin 1967. Ancienne collection De Clercq , 1967AO 22303
- Richelieu wing
Ground floor
Mesopotamia, c. 2350–2000 BC
Room 228
Vitrine 1 : Glyptique de l'époque d'Akkad, 2340 - 2200 avant J.-C.
Impression of cylinder seal of the scribe Ibni-Sharrum, Mesopotamia, c. 2183-2159 BCE. Seal includes cuneiform inscription in Old Akkadian identifying the scribe, who worked in the court of Shar-kali-sharri. Two nude heroes, with six curls of hair, kneeling, holding waters of overflowing pots, flanking water buffalo
Farmana: metal casting workshop
Reading and translation Excellent quantity cast and forge metal pewterworkshop.
dul ayaskāṇḍa rango koḍ sal
Glyphs: dul 'two'; ayo 'fish'; kāṇḍa 'arrow'; sal 'bos gaurus';
rāngo ‘water buffalo bull’; rebus: raṅga 'tin, pewter, tin foil'
koḍ 'rings on neck').Hieroglyph: Rings on neck: koḍiyum (G.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (Gujarati) Rebus: koḍ 'artisan'sworkshop'(Kuwi) koḍ = place where artisans work (Gujarati)koṭhār 'storeroom (Gujarati)
kaṇḍa ‘arrow’; rebus: ayaskāṇḍa; ayaskāṇḍa a quantity of iron, excellent iron (Pāṇ.gaṇ)
dul = pair (synonym: two strokes)(Mu.): rebus: dul (cast) beḍa ‘fish’; beḍa ‘hearth’ Alternative: aya 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati)
koḍ = place where artisans work (G.lex.) koḍiyum = a wooden circle put round the neck of an animal; koḍ = neck (G.lex.) kōḍu = horns (Ta.) rango 'buffalo' rebus: rango 'pewter'
The seal thus denotes: iron metalcastings workshop with a hearth for casting pewter.
Hieroglyph: Rings on neck: koDiyum (G.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (Gujarati)
Rebus: koḍ 'artisan's workshop' (Kuwi) koḍ = place where artisans work (G.lex.) OP. koṭhārī f. ʻ crucible ʼ; Sv. dāntar -- kuṭha ʻ fire -- place ʼ; N. koṭho ʻ chamber ʼ, °ṭhi ʻ shop ; A. koṭhā, kõṭhā ʻ room ʼ, kuṭhī ʻ factory ʼ; Or. koṭhā ʻ brick -- built house ʼ, °ṭhī ʻ factory; WPah.kṭg. kóṭṭhi f. ʻ house, quarters, temple treasury, name of a partic. temple ʼ; kṓṣṭha n. ʻ pot ʼ Kauś., ʻ granary, storeroom' (CDIAL 3546) G. koṭhār m. ʻ granary, storehouse ʼ; WPah.kṭg. kəṭhāˊr, kc. kuṭhār m. ʻ granary, storeroom ʼ, J. kuṭhār, kṭhār m.; -- Md. kořāru ʻ storehouse ʼ; kōṣṭhāgāra n. ʻ storeroom, store ʼ Mn. (CDIAL 3550)
koṭe 'forge' (Mu.)
koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari)
Metalwork catalogue depicted on the Farmana seal is unambiguous and complete. It is acelebration of the Tin-Bronze Age revolution brought about by metal castings and creation of alloys
The equivalence of wild-buffalo and bull is also signified by the Pashto word: ډنګر ḏḏangar, s.m. (5th) A bullock or buffalo. Pl. ډنګر ḏḏangœr. ډنګره ḏḏangaraʿh, s.f. (3rd). Pl. يْ ey. 2. adj. Thin, weak, lean, meagre, emaciated, scraggy, attenuated. rebus: dangar 'blacksmith'.
It is significant that Indus script hieroglyph 1) svastika, rebus: जस्त jasta n ( H) A coarse kind of pewter, Spelter or Tutanag. and 2) Hieroglyph barad, barat 'ox' rebus: भरत bharata A factitious metal compounded of copper, pewter, tin &c.(Marathi) are also relatad to pewter-like alloys (Marathi).
The Sanskrit word गौर gaura means white, yellowish, reddish. The Sanskrit word gaur-mriga means a kind of buffalo.(Macdonell, A. A. (1929). गौर gaura. A practical Sanskrit dictionary with transliteration, accentuation, and etymological analysis throughout. Oxford University Press, London.)
गो--मृग m. (= 2. गवय्/अ q.v.) the Gayal वाजसनेयि-संहिता xxiv तैत्तिरीय-संहिता ii शतपथ-ब्राह्मण xiii कात्यायन-श्रौत-सूत्र. Thus, Veda texts treat Gomr̥ga, Gavaya as synonyms. The word gaura generally signifies pale red colour,
for e.g. g̠orā ʻ white, pale, red (of cattle) (Lahnda) cf. CDIAL 4345. gavala m. ʻ wild buffalo ʼ lex. [gṓ -- ]
Pk. gavala -- m., N. gauri gāi (← a Bi. dial. < *gavalikā -- ).(CDIAL 4096) The Nepalese expression gauri gāi signifies a wild buffalo. Gavaya (and gavaja) a species of ox, the gayal [Sk. gavaya, cp. gavala, buffalo] J Terms associated with theatre and music/dance related to metals manufactory फड phaḍa
Rebus: Ranga2 [fr. raj2, irajyati, to straighten, order, direct etc.: see uju. The Dhtp (27) only gives one raj in meaning "gamana"] a stage, theatre, dancing place, playhouse Vv 331; J ii. 252. -- rangaŋ karoti to play theatre DhA iv. 62. -- rangamajjha the stage, the theatre, usually in loc. ˚majjhe, on the stage, S iv. 306; J iv. 495; DhA iii. 79; same with ˚maṇḍale J ii. 253.(Pali) रङ्ग raṅg-a [√rañg] colour; nasal colouring of a vowel (gr.); [bright scene], theatre, stage, scene, arena; theatrical audience; N.: -kâra, m. dyer; -kara, m. actor; gladiator; -dvâr, f. stage-door; -dvâra, n. prologue in a play; -nâtha, m. N.; -patâkâ, f. N.; -bhûmi, f. battle-field; -maṅgala, n. festival on the stage; -mandapa, play-house, theatre; -vat-î, f. N.; -vastu, n. colouring matter; -vâra̮aṅganâ, f. stage-dancer; -̮aṅgana, n. arena; -̮avatarana, n. entrance on the stage; histrionic profession; -̮avatâraka, -̮avatârin, m. stage-player, actor.(Skt.) नाचा पाडा nācā pāḍā or -फाडा m See नचा फाडा under न.नचा पाडा or फाडा The chapter of न or No. Ex. नचा फाडा वाचणें-सांगणें-घट करणें-घोकणें To refuse or deny everything; to be ever no-no-ing. ह्याला नचा फाडा पाठ आहे He says No to everything. फड phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊस, वांग्या, मिरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें- राखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion.
4148 *gāvaka ʻ bovine ʼ. [*gāva -- ]Kal. (Leitner) "gao", S. gāo (g!) ʻ pertaining to cows ʼ, L. gāvā adj., ˚vī f. ʻ herd of cows ʼ (Ju. g̠˚), awāṇ. ghio gāvā ʻ ghee from cow's milk ʼ, mult. gāvā māl ʻ property consisting of cows ʼ; A. gā -- khīr ʻ cow's milk ʼ; Or. gaüā ʻ derived from a cow ʼ, guā ghia ʻ ghee from cow's milk ʼ, H. gāwā (e.g. g˚ ghī). 4149 *gāvaśāla ʻ cowshed ʼ. [Cf. gōśāla -- : *gāva -- , śāˊlā -- ]Bi. gausār, ˚sālā: perh. rather changed fr. *gosār < gōśālā -- after *gau ʻ cow ʼ < gāvī -- .(CDIAL 4147 to 4149)![]()
![]()
![]()
![]()
![]()
![]()
![]()
![Indian Gaur from anaimalai hills JEG5290.jpg]()
![]()
Large male gaur.![Gaur map.png]()
Present range of Gaur.
![]()
![]()
![]()
![]()
![]()
![]()
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).![]()
![]()
![]()
![]()
2605 (#KJ Roach’s thesis). Sealed tablet. Susa. Illituram, son of Il-mishar, servant of Pala-isshan![]()
#KJ Roach M9 Mesopotamia![]()
#Roach 2168 Cream limestone. Susa.![]()
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![]()
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)![]()
![]()
![]()
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![]()
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.![]()
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![]()
The four hieroglyphs define the four quarters of the village smithy/forge: alloy, metalware, turner’s lathe-work, cruble (or, ingot).![]()
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 with 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.![]()
Enki walks out of the water to the land attended by his messenger, Isimud
![]()
![]()
Cylinder seal image. The water-god in his sea house (Abzu) (ea. 2200 B.C.). On the extreme right is Enki, the water-god, enthroned in his sea house. To the left is Utu, the sun-god, with his rays and saw. The middle deity is unidentified. (British Museum)![]()
Gypsum statuette. “A Gypsum statuette of a priestess or goddess from the Sumerian Dynastic period, most likely Inanna. …She holds a sacred vessel from which the life-giving waters flow in two streams. Several gods and goddesses are shown thus with running water, including Inanna, and it speaks of their life-giving powers as only water brings life to the barren earth of Sumeria. The two streams of water are thought to stand for the Euphrates and Tigris rivers. This is the earliest of the group of statues and dates to c. 2600-2300 B.C. 150 mm tall.” http://www.aliraqi.org/forums/showthread.php?t=53773&page=2
![]()
![]()
![]()
![]()
బత్తి batti batti. [for. Skt. భక్తి.] n. Faith. బత్తిగల faithful. "అంగనయెంతటి పుణ్యమూర్తివో, బత్తిజనింపనాదుచెర బాపితి." S. iii. 63. See on భక్తి. బత్తుడు battuḍu. n. A worshipper. భక్తుడు. The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230. பத்தர்³ pattar , n. < bhakta. 1. Devotees, votaries; அடியார். பத்தர் சிக்கெனப் பிடித்த செல் வமே (திருவாச. 37, 8). 2. Persons who are loyal to God, king or country; அன்புடையார். தேசபத்தர். 3. A caste of Vīrašaiva vegetarians; வீரசைவரில் புலாலுண்ணாத வகுப்பினர். Loc.
Hieroglyph: pāṭroṛo m. ʻwooden troughʼ(Sindhi) pathiyā ʻ basket used as feeding trough for animals (Maithili): *prasthapattra ʻ seed account ʼ. [prastha -- 2 , páttra -- ]K. pathawaturu m. ʻ memorandum showing the area sown ʼ.(CDIAL 8871) prastha2 m.n. ʻ a measure of weight or capacity = 32 palas ʼ MBh.Pa. pattha -- m. ʻ a measure = 1/4 āḷhaka, cooking vessel containing 1 pattha ʼ; NiDoc. prasta ʻ a measure ʼ; Pk. pattha -- , °aya -- m. ʻ a measure of grain ʼ; K. path m. ʻ a measure of land requiring 1 trakh (= 9 1/2 lb.) of seed ʼ; L. patth, (Ju.) path m. ʻ a measure of capacity = 4 boras ʼ; Ku. pātho ʻ a measure = 2 seers ʼ; N. pāthi ʻ a measure of capacity = 1/10 man ʼ; Bi. pathiyā ʻ basket used by sower or for feeding cattle ʼ; Mth. pāthā ʻ large milk pail ʼ, pathiyā ʻ basket used as feeding trough for animals ʼ; H. pāthī f. ʻ measure of corn for a year ʼ; Si. pata ʻ a measure of grain and liquids = 1/4 näliya ʼ.*prasthapattra -- .Addenda: prastha -- 2 : WPah.poet. patho m. ʻ a grain measure about 2 seers ʼ (prob. ← Ku. Mth. form) Him.I 110.(CDIAL 8869) Ta. pātti bathing tub, watering trough or basin, spout, drain; pattal wooden bucket; pattar id., wooden trough for feeding animals. Ka. pāti basin for water round the foot of a tree. Tu. pāti trough or bathing tub, spout, drain. Te. pādi, pādu basin for water round the foot of a tree. (DEDR 4079) பத்தல் pattal, n. 1. A wooden bucket; மரத்தாலான நீரிறைக்குங் கருவி. தீம்பிழி யெந்திரம் பத்தல் வருந்த (பதிற்றுப். 19, 23). 2. See பத்தர்¹, 2. 3. See பத்தர்¹, 3. 4. Ditch, depression; குழி. ஆன்வழிப்படுநர் தோண்டிய பத்தல் (நற். 240). 5. A part of the stem of the palmyra leaf, out of which fibre is extracted; நாருரித்தற்கு ஏற்ற பனைமட்டையின் ஓருறுப்பு. (G. T n. D. I , 221.) பத்தர்¹ pattar , n. 1. See பத்தல், 1, 4, 5. 2. Wooden trough for feeding animals; தொட்டி. பன்றிக் கூழ்ப்பத்தரில் (நாலடி, 257). 3. Cocoanut shell or gourd used as a vessel; குடுக்கை. கொடிக்காய்ப்பத்தர் (கல்லா. 40, 3).பாத்திரம்² pāttiram, n. < pātra. 1. Vessel, utensil; கொள்கலம். (பிங்.) 2. Mendicant's bowl; இரப்போர் கலம். (சூடா.) pāˊtra n. ʻ drinking vessel, dish ʼ RV., °aka -- n., pātrīˊ- ʻ vessel ʼ Gr̥ŚrS. [√pā 1 ]Pa. patta -- n. ʻ bowl ʼ, °aka -- n. ʻ little bowl ʼ, pātĭ̄ -- f.; Pk. patta -- n., °tī -- f., amg. pāda -- , pāya -- n., pāī -- f. ʻ vessel ʼ; Sh. păti̯ f. ʻ large long dish ʼ (← Ind.?); K. pātha r, dat. °tras m. ʻ vessel, dish ʼ, pôturu m. ʻ pan of a pair of scales ʼ (gaha na -- pāth, dat. pöċü f. ʻ jewels and dishes as part of dowry ʼ ← Ind.); S. pāṭri f. ʻ large earth or wooden dish ʼ, pāṭroṛo m. ʻ wooden trough ʼ; L. pātrī f. ʻ earthen kneading dish ʼ, parāt f. ʻ large open vessel in which bread is kneaded ʼ, awāṇ. pātrī ʻ plate ʼ; P. pātar m. ʻ vessel ʼ, parāt f., parātṛā m. ʻ large wooden kneading vessel ʼ, ḍog. pāttar m. ʻ brass or wooden do. ʼ; Ku.gng. pāiʻ wooden pot ʼ; B. pātil ʻ earthern cooking pot ʼ, °li ʻ small do. ʼ Or. pātiḷa, °tuḷi ʻ earthen pot ʼ, (Sambhalpur) sil -- pā ʻ stone mortar and pestle ʼ; Bi. patĭ̄lā ʻ earthen cooking vessel ʼ, patlā ʻ milking vessel ʼ, pailā ʻ small wooden dish for scraps ʼ; H. patīlā m. ʻ copper pot ʼ, patukī f. ʻ small pan ʼ; G. pātrũ n. ʻ wooden bowl ʼ, pātelũ n. ʻ brass cooking pot ʼ, parāt f. ʻ circular dish ʼ (→ M. parāt f. ʻ circular edged metal dish ʼ); Si. paya ʻ vessel ʼ, päya (< pātrīˊ -- ). (CDIAL 8055)
பத்தர்² pattar, n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று.பத்தர்&sup5; pattar , n. perh. vartaka. Merchants; வியாபாரிகள். (W .)Hypertext: सांगड sāṅgaḍa m f (संघट्ट S) f A body formed of two or more (fruits, animals, men) linked or joined together.
I submit that the terms Gaura, Gomr̥ga, Gavaya in R̥gveda aśvamedha may signify a buffalo signified by the following: raṅku m. ʻ a species of deer ʼ Vās., ˚uka -- m. Śrīkaṇṭh.Ku. N. rã̄go ʻ buffalo bull ʼ? -- more prob. < raṅká-<-> s.v. *rakka -- .(CDIAL 10559) These are also associated with colour semantics: raṅga1 m. ʻ dye, colour ʼ MBh. [√rañj ] Pa. raṅga -- m. ʻ dye, colour ʼ; Pk. raṁga -- m. ʻ red colour ʼ; Tor. rāṅg m. ʻ dye ʼ, Sh. ro̯ṅ m.; K. rang m. ʻ colour ʼ; S. raṅu m. ʻ dye, colour ʼ, raṅo m. ʻ string with which a sawyer chalks his line ʼ; L. P. raṅg m. ʻ dye, colour ʼ; A. rāṅ ʻ red colour of chewed betel ʼ; B. rāṅā ʻ red ʼ; Or. rā̆ṅgā ʻ red, red colour ʼ; H. rã̄g f. ʻ dye, juice of plants ʼ; Si. ran̆ga ʻ colour ʼ.(CDIAL 10560)
Rebus renderings signify solder, pewter, tin, tinsel, tin foil: Hieroglyph: Ku. N. rã̄go ʻ buffalo bull ʼ(CDIAL 10559) Rebus: 10562 raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2 , vaṅga -- 1 ] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.*raṅgapattra -- .10567 *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3 , páttra -- ] B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10562, 10567)
gaurá ʻ white, yellowish, pale red ʼ RV.Pa. Pk. gōra -- ʻ white ʼ; Gy. wel. gōrō m. ʻ non -- Gypsy married to a Gypsy, halfbreed ʼ; Pr. gúru ʻ red ʼ; Dm. gōra ʻ white ʼ, Kal. gɔ̈̄ra; Bshk. gūr, gū ʼ ʻ khaki -- coloured, yellow ʼ (AO xviii 235 < gūḍhá -- 1 ); Phal. gūrṓ ʻ yellow (?) ʼ in g˚ maharūc̣u ʻ an inferior kind of mulberry ʼ ~ kiṣíṇu m˚ ʻ black mulberry ʼ; Sh. gūrṷ ʻ brown, grey, selfcoloured ʼ, (Lor.) gvrilo ʻ yellow, withered ʼ; S. goro ʻ fair<-> complexioned ʼ; L. g̠orā ʻ white, pale, red (of cattle) ʼ; P. gorā ʻ white, pale ʼ; Ku. N. goro ʻ fair -- skinned ʼ; A. gõrā ʻ white ʼ; B. gora, ˚rā ʻ white, fair ʼ, Or. gorā; Bi. gorī f. adj. ʻ light -- coloured (of soil) ʼ; Mth. gora ʻ fair ʼ, Bhoj. Aw. lakh. gōr, H. gorā; OMarw. gorī f. adj. ʻ fair, beautiful ʼ; G. gorũ ʻ white, fair, lovely ʼ; M. gorā ʻ fair ʼ; Ko. goro ʻ pale, white ʼ; Si. gora ʻ white ʼ.Addenda: gaurá -- : WPah.kṭg. gorɔ ʻ having a fair complexion ʼ; Garh. gorū.(CDIAL 4345) 4147 *gāva m. ʻ ox ʼ. 2. *gāvā -- f. ʻ cow ʼ. 3. gāvī -- f. Pat. [gṓ -- ]1. Pa. gāva -- m. ʻ ox ʼ, NiDoc. gava F. W. Thomas AO xii 40, Pk. gāa -- m., Gaw. gā, Bshk. Mai. gå; H. gāu m. ʻ bull, bullock ʼ; Si. gava ʻ bullock ʼ or < gava -- .2. Ash. ga ʻ cow ʼ, Kt. gå, Wg. gā, Pr. guṭu (+?), Dm. gâ, Paš. Niṅg. Shum. gā, Woṭ. gau, Kal. gak, pl. gāgan (< *gāvakā -- ?); Kho. gāh ʻ yak cow ʼ, ga -- me ṣ ʻ buffalo cow ʼ; Tor. Mai. gā ʻ cow ʼ: all above poss. with BelvalkarVol 90 direct, or through *gākā -- , < acc. gāˊm, pl. gāˊḥ. -- With trace of -- v -- : Sv. gāu, K. gāv f., rām. gau, pl. gawa, kash. gāu, pog. gāū̃, P. gāu, gã̄ f. PhonPj 110, bhaṭ. gau, WPah. bhal. gaũ, pl. gaũã̄, khaś. gau, obl. gauwā, paṅ. cur. cam. gā.3. Pa. Pk. gāvī -- f. ʻ cow ʼ, Pk. gāī -- f., Ḍ. gāi f., Bshk. gay f., Phal. ghāu, pl. ghēyī, S. gã̄i (g!), L. gã̄ (Ju. g̠āū̃), pl. gãī, awāṇ. gã̄, pl. gāī˜ f., P. gāī f., WPah. pāḍ. gā, pl. göī, jaun. gāw, pl. ˚wī˜, N. A. B. gāi, Or. gāī, Bi. Mth. Aw.lakh. gāi, H. gāī f., G. gā, gāy, f., M. gāī f., Ko. gāyi.
Ext. -- l -- or -- ll -- : Paš. gawala ʻ cow ʼ, M. gavlī f. ʻ affectionate term for a cow ʼ; -- -- ḍa -- : Garh. gauṛī ʻ cow ʼ; G. gāvṛī f. ʻ affectionate term ʼ.*gāvaka -- ; *gāvaśāla -- .Addenda: *gāva -- . 2. *gāvā -- : S.kcch. gaũ f. ʻ cow ʼ, Garh. gauṛī f.
3. gāvī -- : WPah.kṭg. (kc.) gau f. (obl. kṭg. gawi , gai , gau, kc. gabi) ʻ cow ʼ, OMarw. gāi f.*gāvā -- , gāvī -- see gāva -- Add2 .
3. gāvī -- : WPah.kṭg. (kc.) gau f. (obl. kṭg. gaw
Excerpts from Vedic India on Gaura, Gomr̥ga, Gavaya
The Hindi word गौर gaur means fair-skinned, fair, white.(Caturvedi, M. (1970). गौर gaur. A practical Hindi-English dictionary. National Publishing House, Delhi. Page 184.)
The gaur (/ɡaʊər/, Bos gaurus), also called the Indian bison, is the largest extant bovine. This species is native to South and Southeast Asia. ..The gaur is the tallest of wild cattle species.The Malayan gaur is called seladang, and the Burmese gaur is called pyoung ပြောင်.[3] The domesticated form of the gaur is called gayal (Bos frontalis) or mithun. (Nowak, R. M. (1999). Gaur Pages 1158–1159 in Walker's Mammals of the World. Volume 1. The Johns Hopkins University Press, Baltimore, USA and London, UK.) ..By most standards of measurements, gaur is the largest wild bovid alive today. However, the shorter-legged, bulkier wild water buffalo (Bubalus arnee) is similar in average body mass, if not maximum weight. (Owen-Smith, R. N. (1992). Megaherbivores: the influence of very large body size on ecology. Cambridge University Press.)...Gaur historically occurred throughout mainland South and Southeast Asia, including Vietnam, Cambodia, Laos, Thailand, Peninsular Malaysia, Myanmar, India, Bangladesh, Bhutan, China and Nepal. Today, the range of the species is seriously fragmented, and it is regionally extinct in Sri Lanka. Gaur are largely confined to evergreen forests or semi-evergreen and moist deciduous forests, but also occur in deciduous forest areas at the periphery of their range. Gaur habitat is characterized by large, relatively undisturbed forest tracts, hilly terrain below an altitude of 1,500 to 1,800 m (4,900 to 5,900 ft), availability of water, and an abundance of forage in the form of grasses, bamboo, shrubs, and trees. Their apparent preference for hilly terrain may be partly due to the earlier conversion of most of the plains and other low-lying areas to croplands and pastures.(Schaller, G. (1967). The Deer and the Tiger: a study of wildlife in India. University of Chicago Press, Chicago) https://en.wikipedia.org/wiki/Gaur
Dimensions of Gaur horns.
Malayan gaur locally called seladang
Leucistic gaur or Manjampatti white bison. Leucistic gaur are very rare; this photograph was taken in Chinnar Wildlife Sanctuary.
Large male gaur.
Present range of Gaur.The gaur is a strong and massively built species with a high convex ridge on the forehead between the horns, which protrudes anteriorly, causing a deep hollow in the profile of the upper part of the head. There is a prominent ridge on the back. The ears are very large; the tail only just reaches the hocks, and in old bulls the hair becomes very thin on the back. In colour, the adult male gaur is dark brown, approaching black in very old individuals; the upper part of the head, from above the eyes to the nape of the neck, is, however, ashy grey, or occasionally dirty white; the muzzle is pale coloured, and the lower part of the legs are pure white or tan. The cows and young bulls are paler, and in some instances have a rufous tinge, which is most marked in groups inhabiting dry and open districts. The tail is shorter than in the typical oxen, reaching only to the hocks. They have a distinct ridge running from the shoulders to the middle of the back; the shoulders may be as much as 12 cm (4.7 in) higher than the rump. This ridge is caused by the great length of the spinous processes of the vertebrae of the fore-part of the trunk as compared with those of the loins. The hair is short, fine and glossy; the hooves are narrow and pointed.
The gaur has a head-and-body length of 250 to 330 cm (8 ft 2 in to 10 ft 10 in) with a 70 to 105 cm (28 to 41 in) long tail, and is 142 to 220 cm (4 ft 8 in to 7 ft 3 in) high at the shoulder, averaging about 168 cm (5 ft 6 in) in females and 188 cm (6 ft 2 in) in males. At the top of its muscular hump just behind its shoulder, an average adult male is just under 200 cm (6 ft 7 in) tall and the male's girth at its midsection (behind its shoulders) averages about 277 cm (9 ft 1 in). Males are about one-fourth larger and heavier than females.[4]Body mass can range widely from 440 to 1,000 kg (970 to 2,200 lb) in adult females and 588 to 1,500 kg (1,296 to 3,307 lb) in adult males. In general measurements are derived from gaurs surveyed in India. Indian gaur males averaged about 840 kg (1,850 lb) (in a sample of 13) and females weigh a median of approximately 700 kg (1,500 lb). Body masses elsewhere suggest gaurs outside of India can grow larger. For example, males from China (B. g. laosiensis) can weigh 1,200 kg (2,600 lb) or more. The Seladang, or Malayasian subspecies, (B. g. hubbacki) appears to be larger on average than the nominate race from India, but sample sizes as known are small. According to some sources, seladang bulls weigh on average 1,000 to 1,300 kg (2,200 to 2,900 lb), which if accurate indicates these animals are on average more than 20% more massive than the gaurs of India.
Overflowing pot on tens of Ancient Near East artifacts, an Indus Script hypertext signifies production of metal implements
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.
காண்டம்² kāṇṭam, n. < காண்டம்² kāṇṭam n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16).. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16) (Tamil) Rebus: khāṇḍa ‘tools, weapons, vessels’ (Marathi) [Note: On some of the Ancient Near East cylinder seal representations, the flowing water, overflowing pot are augmented by swimming fish, suggesting that ‘fish’ hieroglyph should also be taken as part of the message: ayo, aya ‘fish’ rebus: aya ‘iron’ ayas ‘metal’]
m1656 Mohenjodro Pectoral. Carnelian. kanda kanka ‘rim of pot’ (Santali) rebus: kanda ‘fire-altar’khaNDa ‘implements’ PLUS karNaka ‘rim of jar’ rebus: karNi ‘Supercargo, scribe’ PLUS semantic determinant: kANDa ‘water’ rebus: khaNDa ‘implements’. In the context of semantics of karNi ‘supercargo’, it is possible to decipher the standard device sangaDa ‘lathe’ rebus: jangada ‘double-canoe’ as a seafaring merchant vessel. The suffix -karnika signifies a ‘maker’. Kāraṇika [der. fr. prec.] the meaning ought to be “one who is under a certain obligation” or “one who dispenses certain obligations.” In usu˚ S ii.257 however used simply in the sense of making: arrow — maker, fletcher (Pali). kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa — ]Pa. usu — kāraṇika — m. ʻ arrow — maker ʼ; Pk. kāraṇiya — m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul — karṇī m. ʻ village accountant ʼ.
(CDIAL 3058) “Fletching (also known as a flight or feather) is the aerodynamic stabilization of arrows or darts with materials such as feathers, each piece of which is referred to as a fletch. A fletcher is a person who attaches the fletching.The word is related to the French word flèche, meaning “arrow”, via Old French; the ultimate root is Frankish fliukka.”
https://en.wikipedia.org/wiki/FletchingPerhaps the reading should be ˚kāraka. (Pali) Similarly, khaNDa Kāraṇika can be semantically explained as ‘implements maker’. The pectoral thus signifies the profession of an implements-maker and a supercargo, merchant’s representative on the merchant vessel taking charge of the cargo and the trade of the cargo.
Hieroglyph: sãghāṛɔ ‘lathe’.(Gujarati).Rebus: Vajra Sanghāta ‘binding together’ (Varahamihira) *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha — ]L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845). సంగడము (p. 1279) [ saṅgaḍamu ] A raft or boat made of two canoes fastened side by side. రెండుతాటి. బొండులు జతగాకట్టినతెప్ప சங்கடம்² caṅkaṭam, n. < Port. jangada. Ferry-boat of two canoes with a platform thereon; இரட்டைத்தோணி. (J.) G. sãghāṛɔ m. ʻ lathe ʼ; M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, part of a turner’s apparatus ʼ, m.f. ʻ float made of two canoes joined together ʼsaṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ] LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double — canoe ʼ),sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻ lathe ʼ; Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g° ʻ double canoe, raft ʼ.(CDIAL 12859) Cangavāra [cp. Tamil canguvaḍa a dhoney, Anglo– Ind. ḍoni, a canoe hollowed from a log, see also doṇi] a hollow vessel, a bowl, cask M i.142; J v.186 (Pali)
Hieroglyph: खोंड (p. 216) [khōṇḍa] m A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi. Molesworth); kōḍe dūḍa bull calf (Telugu); kōṛe ‘young bullock’ (Konda)Rebus: kõdā ‘to turn in a lathe’ (Bengali) Rebus:
kundaṇa pure gold (Tulu)
kāṇḍam காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi) (B) {V} “(pot, etc.) to ^overflow”. See `to be left over’. @B24310. #20851. Re(B) {V} “(pot, etc.) to ^overflow”. See`to be left over’. (Munda ) Rebus: loh ‘copper’ (Hindi) The hieroglyph clearly refers to the metal tools, pots and pans of copper.
Some examples of ‘overflowing pot’ metaphors on Ancient Near East artifacts, cylinder seals:
I suggest that together with the adaptation of Egyptian hieroglyphs, the Indus Script hypertexts were also adapted and absorbed into Ancient Near East glyptics to signify wealth creation by metalwork of Meluhha artisans.
Fig. 11.4 shows both on a Syrian dynastic seal and on a Syrian seal signifying a Canaanite goddess a common hieroglyph: an ankh (/ˈæŋk/ or /ˈɑːŋk/; Egyptian ˁnḫ), also known as crux ansata (the Latin for “cross with a handle”) is an ancient Egyptian hieroglyphic ideograph symbolizing “life”. It should be noted that the Syrian seal which shows the ankh upside down also includes two Indus Script hypertext hieroglyphs: 1. twisted rope at the bottom rgister of the seal; 2. overflowing water pot. These two hieroglyphs are read rebus in Indus Script cipher:
1. Twisted rope: मेढा [ mēḍhā ] ‘a curl or snarl; twist in thread’ rebus: med ‘iron’ med ‘copper’ (Slavic) medhā ‘dhana, yajña’.
2. Overflowing water pot: lo ‘overfowing pot’ rebus: loh ‘copper’ PLUS kāṇḍa ‘water’ rebus: kāṇḍā ‘implements’ Thus, together the expression is lokhaṇḍa ‘ metal implements’.
Chlorite vessel found at Khafajeh: Ht 11.5 cm. 2,600 BCE, Khafajeh, north-east of Baghdad (Photo from pg. 69 of D. Collon’s 1995 Ancient Near Eastern Art).
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.)
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).
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.
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).
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.
![]()
Cylinder seal explained as Enki seated on a throne with a flowing stream full of fish, ca. 2250 BCE
Cylinder seal explained as Enki seated on a throne with a flowing stream full of fish, ca. 2250 BCE(BM 103317).British Museum.
meḍha ‘polar star’ (Marathi). meḍ ‘iron’ (Ho.Mu.)
2605 (#KJ Roach’s thesis). Sealed tablet. Susa. Illituram, son of Il-mishar, servant of Pala-isshan
#KJ Roach M9 Mesopotamia
#Roach 2168 Cream limestone. Susa.
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
See: 
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)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
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
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:
- he has constructed.
- By the power of the goddessNinâ,
- by the power of the godNin-girsu,
- to Gudea
- who has endowed with the sceptre
- the godNin-girsu,
- the country ofMâgan, 1
- the country ofMelughgha,
- the country ofGubi, 2
- and the country ofNituk, 3
- which possess every kind of tree,
- vessels laden with trees of all sorts
- intoShirpurla
- have sent.
- From the mountains of the land ofMâgan
- a rare stone he has caused to come;
- for his statue
- 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 – USAFour 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’.
- 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).
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 with 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.
Enki walks out of the water to the land attended by his messenger, Isimudwho is readily identifiable by his two faces looking in opposite directions (duality).
M177. Kidin-Marduk, son of Sha-ilima-damqa, the sha reshi official of Burnaburiash, king of the world Untash-Napirisha
Cylinder seal image. The water-god in his sea house (Abzu) (ea. 2200 B.C.). On the extreme right is Enki, the water-god, enthroned in his sea house. To the left is Utu, the sun-god, with his rays and saw. The middle deity is unidentified. (British Museum)
Gypsum statuette. “A Gypsum statuette of a priestess or goddess from the Sumerian Dynastic period, most likely Inanna. …She holds a sacred vessel from which the life-giving waters flow in two streams. Several gods and goddesses are shown thus with running water, including Inanna, and it speaks of their life-giving powers as only water brings life to the barren earth of Sumeria. The two streams of water are thought to stand for the Euphrates and Tigris rivers. This is the earliest of the group of statues and dates to c. 2600-2300 B.C. 150 mm tall.” http://www.aliraqi.org/forums/showthread.php?t=53773&page=2These images are explained in terms of associated sacredness of Enki, who in Sumerian mythology
(Enki and Ninhursag) is associated with Abzu where he lives with the source sweet waters.
खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended (Marathi) M. lokhãḍ n. ʻironʼ(Marthi) yields the clue to the early semantics of khāṇḍā which should have referred to tools, pots and pans (of metal). Kumaoni has semantics: lokhaṛ ʻiron tools’. लोहोलोखंड [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general (Marathi).
Thus lohakāṇḍā would have referred to copper tools. The overflowing vase on the hands of Gudea would have referred to this compound, represented by the hieroglyphs and rendered rebus.
lokhar ʻ bag in which a barber keeps his tools ʼ; H. lokhar m. ʻ iron tools, pots and pans ʼ; — X lauhabhāṇḍa — : Ku. lokhaṛ ʻ iron tools ʼ; H. lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻ tools, iron, ironware ʼ; M. lokhãḍ n. ʻ iron ʼ (LM 400 < — khaṇḍa — )(CDIAL 11171). lōhitaka ʻ reddish ʼ Āpast., n. ʻ calx of brass, bell- metal ʼ lex. [lṓhita — ]K. lŏy f. ʻ white copper, bell — metal ʼ. (CDIAL 11166). lōhá ʻ red, copper — coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., ʻ iron ʼ MBh. [*rudh — ] Pa. lōha — m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha — m. ʻ iron ʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) “loa” ʻ steel ʼ; Kho. loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ.lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H.loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu — lō ʻ copper ʼ.(CDIAL 11158). lōhakāra m. ʻ iron — worker ʼ, °rī — f., °raka — m. lex., lauhakāra — m. Hit. [lōhá — , kāra — 1] Pa. lōhakāra — m. ʻ coppersmith, ironsmith ʼ; Pk. lōhāra — m. ʻ blacksmith ʼ, S. luhā̆ru m., L. lohār m., °rī f., awāṇ. luhār, P. WPah.khaś. bhal. luhār m., Ku. lwār, N. B. lohār, Or. lohaḷa, Bi.Bhoj. Aw.lakh. lohār, H. lohār, luh° m., G. lavār m., M. lohār m.; Si. lōvaru ʻ coppersmith ʼ. Addenda: lōhakāra — : WPah.kṭg. (kc.) lhwāˋr m. ʻ blacksmith ʼ, lhwàri f. ʻ his wife ʼ, Garh. lwār m.(CDIAL 11159). lōhahala 11161 lōhala ʻ made of iron ʼ W. [lōhá — ](CDIAL 11161). Bi. lohrā, °rī ʻ small iron pan ʼ(CDIAL 11160). Bi. lohsārī ʻ smithy ʼ(CDIAL 11162). P.ludh. lōhṭiyā m. ʻ ironmonger ʼ.(CDIAL 11163). लोहोलोखंड [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general.रुपेशाई लोखंड [ rupēśāī lōkhaṇḍa ] n A kind of iron. It is of inferior quality to शिक्केशाई. लोखंड [ lōkhaṇḍa ] n (लोह S) Iron. लोखंडाचे चणे खावविणें or चारणें To oppress grievously. लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith. लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron. 2 fig. Hardy or hard–a constitution or a frame of body, one’s हाड or natal bone or parental stock. 3 Close and hard;–used of kinds of wood. 4 Ardent and unyielding–a fever. 5 लोखंडी, in the sense Hard and coarse or in the sense Strong or enduring, is freely applied as a term of distinction or designation. Examples follow. लोखंडी [ lōkhaṇḍī ] f (लोखंड) An iron boiler or other vessel. लोखंडी जर [ lōkhaṇḍī jara ] m (लोखंड & जर) False brocade or lace; lace &c. made of iron.लोखंडी रस्ता [ lōkhaṇḍī rastā ] m लोखंडी सडक f (Iron-road.) A railroad. लोह [ lōha ] n S Iron, crude or wrought. 2 m Abridged from लोहभस्म. A medicinal preparation from rust of iron.लोहकार [ lōhakāra ] m (S) A smelter of iron or a worker in iron.लोहकिट्ट [ lōhakiṭṭa ] n (S) Scoriæ or rust of iron, klinker.लोहंगी or लोहंगी काठी [ lōhaṅgī or lōhaṅgī kāṭhī ] f (लोह & अंग) A club set round with iron clamps and rings, a sort of bludgeon.लोहार [ lōhāra ] m ( H or लोहकार S) A caste or an individual of it. They are smiths or workers in iron. लोहारकाम [ lōhārakāma ] n Iron-work, work proper to the blacksmith.लोहारकी [ lōhārakī ] f (लोहार) The business of the blacksmith.लोहारडा [ lōhāraḍā ] m A contemptuous form of the word लोहार.लोहारसाळ [ lōhārasāḷa ] f A smithy.
Loha (nt.) [Cp. Vedic loha, of Idg. *(e)reudh “red”; see also rohita & lohita] metal, esp. copper, brass or bronze. It is often used as a general term & the individual application is not always sharply defined. Its comprehensiveness is evident from the classification of loha at VbhA 63, where it is said lohan ti jātilohaŋ, vijāti˚, kittima˚, pisāca˚ or natural metal, produced metal, artificial (i. e. alloys), & metal from the Pisāca district. Each is subdivided as follows: jāti˚=ayo, sajjhaŋ, suvaṇṇaŋ, tipu, sīsaŋ, tambalohaŋ, vekantakalohaŋ; vijāti˚=nāga — nāsika˚; kittima˚=kaŋsalohaŋ, vaṭṭa˚, ārakūṭaŋ; pisāca˚=morakkhakaŋ, puthukaŋ, malinakaŋ, capalakaŋ, selakaŋ, āṭakaŋ, bhallakaŋ, dūsilohaŋ. The description ends “Tesu pañca jātilohāni pāḷiyaŋ visuŋ vuttān’ eva (i. e. the first category are severally spoken of in the Canon). Tambalohaŋ vekantakan ti imehi pana dvīhi jātilohehi saddhiŋ sesaŋ sabbam pi idha lohan ti veditabbaŋ.” — On loha in similes see J.P.T.S. 1907, 131. Cp. A iii.16=S v.92 (five alloys of gold: ayo, loha, tipu, sīsaŋ, sajjhaŋ); J v.45 (asi˚); Miln 161 (suvaṇṇam pi jātivantaŋ lohena bhijjati); PvA 44, 95 (tamba˚=loha), 221 (tatta — loha — secanaŋ pouring out of boiling metal, one of the five ordeals in Niraya). — kaṭāha a copper (brass) receptacle Vin ii.170. — kāra a metal worker, coppersmith, blacksmith Miln 331. — kumbhī an iron cauldron Vin ii.170. Also N. of a purgatory J iii.22, 43; iv.493; v.268; SnA 59, 480; Sdhp 195. — guḷa an iron (or metal) ball A iv.131; Dh 371 (mā ˚ŋ gilī pamatto; cp. DhA iv.109). — jāla a copper (i. e. wire) netting PvA 153. — thālaka a copper bowl Nd1 226. — thāli a bronze kettle DhA i.126. — pāsāda“copper terrace,” brazen palace, N. of a famous monastery at Anurādhapura in Ceylon Vism 97; DA i.131; Mhvs passim. — piṇḍa an iron ball SnA 225. — bhaṇḍa copper (brass) ware Vin ii.135. — maya made of copper, brazen Sn 670; Pv ii.64. — māsa a copper bean Nd1 448 (suvaṇṇa — channa). — māsaka a small copper coin KhA 37 (jatu — māsaka, dāru — māsaka+); DhsA 318. — rūpa a bronze statue Mhvs 36, 31. — salākā a bronze gong — stick Vism 283. Lohatā (f.) [abstr. fr. loha] being a metal, in (suvaṇṇassa) aggalohatā the fact of gold being the best metal VvA 13. (Pali) agga- is explained: erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) agasāle, agasāli, agasālavāḍu = a goldsmith (Telugu) cf. eruvai = copper (Tamil)
Thus loha in aggalohatā gets the semantics ‘metal’.
“Sumerian words with a pre-Sumerian origin are:
professional names such as simug ‘blacksmith’ and tibira ‘copper smith’, ‘metal-manufacturer’ are not in origin Sumerian words.
Agricultural terms, like engar ‘farmer’, apin ‘plow’ and absin ‘furrow’, are neither of Sumerian origin.
Craftsman like nangar ‘carpenter’, agab ‘leather worker’
Religious terms like sanga ‘priest’
Some of the most ancient cities, like Kish, have names that are not Sumerian in origin.
These words must have been loan words from a substrate language. The words show how far the division in labor had progressed even before the Sumerians arrived.”
(http://www.wsu.edu:8080/~dee/meso/meso.htm – No longer available)
The rebus readings are:
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)
koṭṭam flowing, pouring (Tamil). Ma. koṭṭuka to shoot out, empty a sack. ? Te. koṭṭukonipōv.
Hieroglyph: pāṭroṛo m. ʻwooden troughʼ(Sindhi) pathiyā ʻ basket used as feeding trough for animals (Maithili): *prasthapattra ʻ seed account ʼ. [
பத்தர்² pattar, n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று.
Rebus: sãgaṛh 'fortification' sangar 'trade' అంగడి aṅgaḍi angadi. [Drav.] (Gen. అంగటి Loc. అంగట, plu. అంగళ్లు) n. A shop. అంగడిపెట్టు to open a shop. అంగళ్లవాడ range of shops. అంగట పోకార్చి selling in the shop. అంగడివీధి a market place. Ta. aṅkāṭi bazaar, bazaar street. Ma. aṅṅāṭi shop, bazaar. Ko. aŋga·ḍy id. To. ogoḏy bazaar (? < Badaga). Ka. aṅgaḍi shop, stall. Koḍ. aŋgaḍi id. Tu. aṅgaḍi id. Te. aṅgaḍi id. Kol. aŋgaḍi bazaar. Nk.
aŋgāṛi id. Nk. (Ch.) aŋgāṛ market. Pa. aŋgoḍ courtyard, compound. / ? Cf. Skt. aṅgaṇa- courtyard. (DEDR 35)
https://tinyurl.com/y9l5hkn8
This is a continuation of the monograph: Overflowing pot on tens of Ancient Near East artifacts, an Indus Script hypertext signifies production of metal implements https://tinyurl.com/y8kq53kl which deciphered the rebus reading of overflowing pot: lokhãḍ 'tools,iron, ironware'. This decipherment is validated by the decipherment of Indus Script hypertexts of Ibni-sharrum cylinder seal (ca. 2200 BCE).
![]()
There are some seals with clear Indus themes among Dept. of Near Eastern Antiquities collections at the Louvre in Paris, France, among them the Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE].
https://www.harappa.com/category/blog-subject/seals
![Image result for ibni sharrum indus script]()
Ibni-Sharrum cylinder seal shows a kneeling person with six curls of hair.Cylinder seal of Ibni-sharrum, a scribe of Shar-kali-sharri (left) and impression (right), ca. 2183–2159 B.C.; Akkadian, reign of Shar-kali-sharri. Lower register signifies flow of water.
Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa ‘furnace’; baṭa 'iron'. Rebus: bhaḍa -- m. ʻ soldier ʼ, bhuaga 'worshipper in a temple' (Note the worshipful pose of the person offering the overflowing pot).
bhr̥ta ʻ carried, brought ʼ MBh. 2. ʻ hired, paid ʼ Mn., m. ʻ hireling, mercenary ʼ Yājñ.com., bhr̥taka -- m. ʻ hired servant ʼ Mn.: > MIA. bhaṭa -- m. ʻ hired soldier, servant ʼ MBh. [√bhr̥ ] 1. Ash. 3 sg. pret. bəṛə, f. °ṛī ʻ brought ʼ, Kt. bŕå; Gaw. (LSI) bṛoet ʻ they begin ʼ.2. Pa. bhata -- ʻ supported, fed ʼ, bhataka -- m. ʻ hired servant ʼ, bhaṭa -- m. ʻ hireling, servant, soldier ʼ; Aś.shah. man. kāl. bhaṭa -- ʻ hired servant ʼ, kāl. bhaṭaka -- , gir. bhata -- , bhataka -- ; Pk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ, bhaḍaa -- m. ʻ member of a non -- Aryan tribe ʼ; Paš. buṛīˊ ʻ servant maid ʼ IIFL iii 3, 38; S. bhaṛu ʻ clever, proficient ʼ, m. ʻ an adept ʼ; Ku. bhaṛ m. ʻ hero, brave man ʼ, gng. adj. ʻ mighty ʼ; B. bhaṛ ʻ soldier, servant, nom. prop. ʼ, bhaṛil ʻ servant, hero ʼ; Bhoj. bhar ʻ name of a partic. low caste ʼ; G. bhaṛ m. ʻ warrior, hero, opulent person ʼ, adj. ʻ strong, opulent ʼ, ubhaṛ m. ʻ landless worker ʼ (G. cmpd. with u -- , ʻ without ʼ, i.e. ʻ one without servants ʼ?); Si. beḷē ʻ soldier ʼ < *baḷaya, st. baḷa -- ; -- Pk. bhuaga -- m. ʻ worshipper in a temple ʼ, G. bhuvɔ m. (rather than < bhūdēva -- ). *bhārta -- ; abhr̥ta -- ; subhaṭa -- .Addenda: bhr̥ta -- : S.kcch. bhaṛ ʻ brave ʼ; Garh. (Śrīnagrī dial.) bhɔṛ, (Salānī dial.) bhe ṛ ʻ warrior ʼ.(CDIAL 9588)
Cylinder seal impression of Ibni-sharrum, a scribe of Shar-kalisharri ca. 2183–2159 BCE The inscription reads “O divine Shar-kali-sharri, Ibni-sharrum the scribe is your servant.” Cylinder seal. Serpentine/Chlorite. AO 22303 H. 3.9 cm. Dia. 2.6 cm.
<lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be left over'. @B24310. #20851. Re<lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi) Glyph of flowing water in the second register: காண்டம் kāṇṭam , n. < kāṇḍa. 1. Water; sacred water; நீர்; kāṇṭam ‘ewer, pot’ கமண்டலம். (Tamil) Thus the combined rebus reading: Ku. lokhaṛ ʻiron tools ʼ; H. lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻtools, iron, ironwareʼ; M. lokhãḍ n. ʻ iron ʼ(CDIAL 11171). The kneeling person’s hairstyle has six curls. bhaṭa ‘six’; rebus: bhaṭa‘furnace’. मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) Rebus: meḍ ‘iron’ (Ho.) Thus, the orthography denotes meḍ bhaṭa ‘iron furnace’.
![Akkadian Cylinder Seal (c. 2200 B.C. showing Gilgamesh slaying the bull of heaven, with Enkidu? Also from Dury; both in British Museum.]()
Akkadian Cylinder Seal (c. 2200 B.C. showing Gilgamesh slaying the bull of heaven, with Enkidu? Also from Dury; both in British Museum)![]()
Gilgamesh and Enkidu struggle of the celestial bull and the lion (cylinder seal-print Approx. 2,400 BC, Walters Art Gallery, Baltimore)
![]()
http://www.metmuseum.org/toah/works-of-art/1999.325.4 (Bos gaurus shown with greater clarity) http://art.thewalters.org/viewwoa.aspx?id=33263 In the two scenes on this cylinder seal, a heroic figure with heavy beard and long curls holds off two roaring lions, and another hero struggles with a water buffalo. The inscription in the panel identifies the owner of this seal as "Ur-Inanna, the farmer."
![]()
Clay sealing from private collection with water buffalo, crescent-star, apparently Akkadian period.
मेढ [ mēḍha ]The polar star. (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Munda.Ho.)
मेंढसर [mēṇḍhasara] m A bracelet of gold thread. (Marathi)
![]()
Santali glosses
A lexicon suggests the semantics of Panini's compound अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)( Pa1n2. 8-3 , 48)(Monier-Williams).
From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in Samskritam should have referred to 'implements'. Indus Script hieroglyphs as hypertext components to signify kANDa 'implements' are: kANTa, 'overflowing water' kANDa, 'arrow' gaNDa, 'four short circumscript strokes'.
This is a continuation of the monograph: Overflowing pot on tens of Ancient Near East artifacts, an Indus Script hypertext signifies production of metal implements https://tinyurl.com/y8kq53kl which deciphered the rebus reading of overflowing pot: lokhãḍ 'tools,iron, ironware'. This decipherment is validated by the decipherment of Indus Script hypertexts of Ibni-sharrum cylinder seal (ca. 2200 BCE).
There are some seals with clear Indus themes among Dept. of Near Eastern Antiquities collections at the Louvre in Paris, France, among them the Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE].https://www.harappa.com/category/blog-subject/seals
Ibni-Sharrum cylinder seal shows a kneeling person with six curls of hair.Cylinder seal of Ibni-sharrum, a scribe of Shar-kali-sharri (left) and impression (right), ca. 2183–2159 B.C.; Akkadian, reign of Shar-kali-sharri. Lower register signifies flow of water.
Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa ‘furnace’; baṭa 'iron'. Rebus: bhaḍa -- m. ʻ soldier ʼ, bhuaga 'worshipper in a temple' (Note the worshipful pose of the person offering the overflowing pot).
bhr̥ta ʻ carried, brought ʼ MBh. 2. ʻ hired, paid ʼ Mn., m. ʻ hireling, mercenary ʼ Yājñ.com., bhr̥taka -- m. ʻ hired servant ʼ Mn.: > MIA. bhaṭa -- m. ʻ hired soldier, servant ʼ MBh. [√
Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2 , vaṅga -- 1 ] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567) తుత్తము [ tuttamu ] or తుత్తరము tuttamu. [Tel.] n. sulphate of zinc. మైలతుత్తము sulphate of copper, blue-stone.తుత్తినాగము [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter. Zinc. లోహవిశేషము (Telugu) (Spelter is commercial crude smelted zinc.
- a solder or other alloy in which zinc is the main constituent.)
Note on spelter: "Spelter, while sometimes used merely as a synonym for zinc, is often used to identify a zinc alloy. In this sense it might be an alloy of equal parts copper and zinc, i.e. a brass, used for hard soldering and brazing, or as an alloy, containinglead, that is used instead of bronze. In this usage it was common for many 19th-century cheap, cast articles such as candlesticks and clock cases...The word "pewter" is thought to be derived from the word "spelter". Zinc ingots formed by smelting might also be termed spelter." Skeat, Walter William (1893), An etymological dictionary of the English language (2nd ed.), Clarendon Press, pp. 438–439. https://en.wikipedia.org/wiki/Spelter French Bronze is a form of bronze typically consisting of 91% copper, 2% tin, 6% zinc, and 1% lead.(Ripley, George; Dana, Charles Anderson (1861). The New American Cyclopaedia: A Popular Dictionary of General Knowledge 3. D. Appleton and Co. p. 729.) "The term French bronze was also used in connection with cheap zinc statuettes and other articles, which were finished to resemble real bronze, and some older texts call the faux-bronze finish itself "French bronze". Its composition was typically 5 parts hematite powder to 8 parts lead oxide, formed into a paste with spirits of wine. Variations in tint could be obtained by varying the proportions. The preparation was applied to the article to be bronzed with a soft brush, then polished with a hard brush after it had dried." https://en.wikipedia.org/wiki/French_Bronze ( Watt, Alexander (1887). Electro-Metallurgy Practically Treated. D. Van Nostrand. pp. 211–212.)
"The term latten referred loosely to the copper alloys such as brass or bronze that appeared in the Middle Ages and through to the late 18th and early 19th centuries. It was used for monumental brasses, in decorative effects on borders, rivets or other details of metalwork (particularly armour), in livery and pilgrim badges or funerary effigies. Metalworkers commonly formed latten in thin sheets and used it to make church utensils. Brass of this period is made through the calamine brass process, from copper and zinc ore. Later brass was made with zinc metal from Champion's smelting process and is not generally referred to as latten. This calamine brass was generally manufactured as hammered sheet or "battery brass" (hammered by a "battery" of water-powered trip hammers) and cast brass was rare. "Latten" also refers to a type of tin plating on iron (or possibly some other base metal), which is known as white latten; and black latten refers to laten-brass, which is brass milled into thin plates or sheets. The term "latten" has also been used, rarely, to refer to lead alloys. In general, metal in thin sheets is said to be latten such as gold latten; and lattens (plural) refers to metal sheets between 1/64" and 1/32" in thickness." ( Funerary crozier of the Bishops of St Davids, on display at St David's Cathedral, West Wales) https://en.wikipedia.org/wiki/Latten
Cylinder seal impression of Ibni-sharrum, a scribe of Shar-kalisharri ca. 2183–2159 BCE The inscription reads “O divine Shar-kali-sharri, Ibni-sharrum the scribe is your servant.” Cylinder seal. Serpentine/Chlorite. AO 22303 H. 3.9 cm. Dia. 2.6 cm.
<lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be left over'. @B24310. #20851. Re<lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi) Glyph of flowing water in the second register: காண்டம் kāṇṭam , n. < kāṇḍa. 1. Water; sacred water; நீர்; kāṇṭam ‘ewer, pot’ கமண்டலம். (Tamil) Thus the combined rebus reading: Ku. lokhaṛ ʻiron tools ʼ; H. lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻtools, iron, ironwareʼ; M. lokhãḍ n. ʻ iron ʼ(CDIAL 11171). The kneeling person’s hairstyle has six curls. bhaṭa ‘six’; rebus: bhaṭa‘furnace’. मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) Rebus: meḍ ‘iron’ (Ho.) Thus, the orthography denotes meḍ bhaṭa ‘iron furnace’.
Akkadian Cylinder Seal (c. 2200 B.C. showing Gilgamesh slaying the bull of heaven, with Enkidu? Also from Dury; both in British Museum)
Gilgamesh and Enkidu struggle of the celestial bull and the lion (cylinder seal-print Approx. 2,400 BC, Walters Art Gallery, Baltimore)
http://www.metmuseum.org/toah/works-of-art/1999.325.4 (Bos gaurus shown with greater clarity) http://art.thewalters.org/viewwoa.aspx?id=33263 In the two scenes on this cylinder seal, a heroic figure with heavy beard and long curls holds off two roaring lions, and another hero struggles with a water buffalo. The inscription in the panel identifies the owner of this seal as "Ur-Inanna, the farmer."Clay sealing from private collection with water buffalo, crescent-star, apparently Akkadian period.मेढ [ mēḍha ]The polar star. (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Munda.Ho.)
मेंढसर [mēṇḍhasara] m A bracelet of gold thread. (Marathi)
On many hierolyph multiplexes, water-buffalo (rã̄go) is associated with kANDa 'overflowing water'. The rebus renderings are: rāṅgā khaNDA 'zinc alloy implements'. The semantics of khaNDa 'implements' is attested in Santali: me~r.he~t khaNDa 'iron implements'.
Santali glossesA lexicon suggests the semantics of Panini's compound अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)( Pa1n2. 8-3 , 48)(Monier-Williams).
From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in Samskritam should have referred to 'implements'. Indus Script hieroglyphs as hypertext components to signify kANDa 'implements' are: kANTa, 'overflowing water' kANDa, 'arrow' gaNDa, 'four short circumscript strokes'.
Mohenjodaro seal m0304
![]()
This profile of face on m0304 compares with the three faces topped by a horn PLUS twigs, on another seal. ![]()
![]()
Material: tan steatite; Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050 Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 Hypertext: three faces, mũh 'face' Rebus mũhã̄ 'iron furnace output' kolom 'three' (faces) rebus: kolimi 'smithy, forge' *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).
![Image result for pasupati indus seal]()
Hseal (m0304). ![Image result for bharatkalyan97 haystack]()
The platform is a plank atop a pair of haystacks. Indus Script hypertexts of the bottom register: polā 'haystacks' rebus: polā 'magnetite, ferrite ore'. The plank or slab of the platform is pāṭa ʻ plain, throne ʼ (Oriya), paṭṭa rebus: फड phaḍa 'metals manufactory guild'. miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) PLUS dula 'pair' rebus: dul 'metal casting'. Thus, iron castings.
Line 2 (bottom): 'body' glyph. mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.)
![]()
![]()
![]()
m0489 Obverse side of a two-sided tablet.
Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.
![]()
paTa 'hood of serpent' Rebus: padanu 'sharpness of weapon' (Telugu)
On many hierolyph multiplexes, water-buffalo (rã̄go) is associated with kANDa 'overflowing water'. The rebus renderings are: rāṅgā khaNDA 'zinc alloy implements'. The semantics of khaNDa 'implements' is attested in Santali: me~r.he~t khaNDa 'iron implements'.
![]()
Santali glosses
A lexicon suggests the semantics of Panini's compound अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)( Pa1n2. 8-3 , 48)(Monier-Williams).
From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in Samskritam should have referred to 'implements'. Indus Script hieroglyphs as hypertext components to signify kANDa 'implements' are: kANTa, 'overflowing water' kANDa, 'arrow' gaNDa, 'four short circumscript strokes'.
![]()
Hieroglyph components on the head-gear of the person on cylinder seal impression are: twig, crucible, buffalo horns: kuThI 'badari ziziphus jojoba' twig Rebus: kuThi 'smelter'; koThAri 'crucible' Rebus: koThAri 'treasurer'; tattAru 'buffalo horn' Rebus: ṭhã̄ṭhāro 'brassworker'.
![]()
This hieroglyph multiplex ligatures head of an antelope to a snake: nAga 'snake' Rebus: nAga 'lead' ranku 'antelope' Rebus: ranku 'tin'. tuttināgamu is a Prakritam gloss meaning 'pewter, zinc'. A comparable alloy may be indicated by the hieroglyph-multiplex of antelope-snake: rankunAga, perhaps a type of zinc or lead alloy.
![]()
![]()
This mkultiplx is flanked by 1. kolom 'rice plant' Rebus: kolimi 'smithy, forge'; 2. kuTi 'tree' Rebus: kuThi 'smeter'. Thus the message is that the warehouse of cast metal alloy metal implements is complemented by a smelter and a smithy/forge -- part of the metalwork repertoire.
![Impression of an Indus-style cylinder seal of unknown Near Eastern origin in the Musee du Louvre, Paris. One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre.]()
![]()
![Pl. 39, Tree symbol (often on a platform) on punch-marked coins; a ...]()
[Pl. 39, Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many Indus script tablets and seals.
![]()
Clay sealing from private collection with water buffalo, crescent-star, apparently Akkadian period![]()
Buffalo bull. meTTu 'hill' Rebus: meD 'iron' kolmo 'three' Rebus: kolimi 'smithy, forge' karava 'narrow pot' Rebus: kharva 'nidhi, wealth' karba 'iron' karNIka 'rim of jar' Rebus: karNI 'supercargo' karNIka 'scribe'.
This profile of face on m0304 compares with the three faces topped by a horn PLUS twigs, on another seal. 
Material: tan steatite; Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050 Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 Hypertext: three faces, mũh 'face' Rebus mũhã̄ 'iron furnace output' kolom 'three' (faces) rebus: kolimi 'smithy, forge' *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). Hypertext: shoggy face with brisltles of hair on the face of the person: 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.) id. (Santali)
Hypertext: wristlets on arms: karã̄ n. pl. wristlets, bangles (Gujarati) rebus: khār 'blacksmith'.
Hseal (m0304). 
The platform is a plank atop a pair of haystacks. Indus Script hypertexts of the bottom register: polā 'haystacks' rebus: polā 'magnetite, ferrite ore'. The plank or slab of the platform is pāṭa ʻ plain, throne ʼ (Oriya), paṭṭa rebus: Hypertext: kũdā kol 'tiger jumping' rebus: kuṭhi 'smelter' kol 'working in iron' kolhe 'smelter'
Hypertext: कर्णक m. du. the two legs spread out AV. xx , 133 कर्णक kárṇaka, kannā 'legs spread' rebus: कर्णक kárṇaka, 'helmsman' kannā 'legs spread' rebus: karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1 ]Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836)
Hieroglyph: karabha, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant'
Hieroglyph: kaṇḍa 'rhinoceros' gaṇḍá4 m. ʻ rhinoceros ʼ lex., °aka -- m. lex. 2. *ga- yaṇḍa -- . [Prob. of same non -- Aryan origin as khaḍgá -- 1 : cf. gaṇōtsāha -- m. lex. as a Sanskritized form ← Mu. PMWS 138] 1. Pa. gaṇḍaka -- m., Pk. gaṁḍaya -- m., A. gãr, Or. gaṇḍā.2. K. gö̃ḍ m., S. geṇḍo m. (lw. with g -- ), P. gaĩḍā m., °ḍī f., N. gaĩṛo, H. gaĩṛā m., G. gẽḍɔ m., °ḍī f., M. gẽḍā m.
Addenda: gaṇḍa -- 4 . 2. *gayaṇḍa -- : WPah.kṭg. ge ṇḍɔ mi rg m. ʻ rhinoceros ʼ, Md. genḍā ← H.(CDIAL 4000) rebus: kāṇḍa 'implements'
Hieroglyph: rã̄go 'water-buffalo' rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10562) ranga 'alloy of copper, zinc, tin'
Hypertext: penance; kamaḍha 'penance', rebus: kammaṭa = mint, gold furnace (Te.) 'mint, coiner, coinage' Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236)
Hypertext: ṭhaṭera ‘buffalo horns’ rebus: ṭhã̄ṭhāro, ṭhaṭherā 'brassworker'; ṭhaṭṭhāra 'brass worker' (Prakritam) 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 5473).
Hypertext: bunch of twigs on horns: The bunch of twigs = kūdī, kūṭī (Samskrtam) kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda(AV 5.19.12) and KauśikaSūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield,American Journal of Philology, 11, 355; 12,416; Roth, Festgruss anBohtlingk, 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‘; koṭe ‘forged metal’ (Santali)
See:
Portraits on Indus Script of Ancient Indian mariners kāraṇīka 'helmsman, supercargo'> Kernunnos http://tinyurl.com/h4a3qwf
त्रि--शिरस् [p= 460,3] mfn. n. कुबेर L.; three-pointed MBh. xiii R. iv; three-headed (त्वाष्ट्र , author of RV. x , 8.) Ta1n2d2yaBr. xvii Br2ih. KaushUp. MBh. Ka1m. (Monier-Williams) Triśiras, son of tvaṣṭṛ त्वष्टृ m. [त्वक्ष्-तृच्] 1 A carpenter, builder, workman, त्वष्ट्रेव विहितं यन्त्रम् Mb.12.33.22. -2 Viśvakarman, the architect of the gods. [Tvaṣtṛi is the Vulcan of the Hindu mythology. He had a son named Triśiras and a daughter called संज्ञा, who was given in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore Tvaṣtṛi mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf. आरोप्य चक्रभ्रमिमुष्णतेजास्त्वष्ट्रेव यत्नो- ल्लिखितो विभाति R.6.32. The part trimmed off is said to have been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of the gods.] पर्वतं चापि जग्राह क्रुद्धस्त्वष्टा महाबलः Mb.1.227. 34. -3 Prajāpati (the creator); यां चकार स्वयं त्वष्टा रामस्य महिषीं प्रियाम् Mb.3.274.9. -4 Āditya, a form of the sun; निर्भिन्ने अक्षिणी त्वष्टा लोकपालो$विशद्विभोः Bhāg.3.6.15.
Thus, the messsage of the Mohenjo-daro seal is a proclamation by the scribe, of iron workings displayed on the bottom register of the seal with a slab atop haystacks.
Decipherment the text of the inscription on seal m0304:![]()
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).
Integral to Toda lives is the veneration of the buffalo as divine. A buffalo's head adorns the entrance to a
Toda temple called mund (the word also means a settlement). The word for a temple is kole.l (Kota language). The same word also signifies 'smithy, forge'. The word for a Kota smithy in Toda language is: kwala.l. Cognate words in select Bhāratīya languaes are:
Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulmefire-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)
m0489 Obverse side of a two-sided tablet.Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center.
On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity.
Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'
kUtI 'twigs' Rebus: kuThi 'smelter'
muh 'face' Rebus: muhe 'ingot' (Santali)
One side of a molded tablet m 492 Mohenjo-daro (DK 8120, NMI 151. National Museum, Delhi. A person places his foot on the horns of a buffalo while spearing it in front of a cobra hood.
Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss, kick with the foot, hit with the tail (Santali)
kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) •kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.lex.)•kol‘to kill’ (Ta.)•sal ‘bos gaurus’, bison; rebus: sal ‘workshop’ (Santali)me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali); meṛed (Mun.d.ari); meḍ (Ho.)(Santali.Bodding)
nAga 'serpent' Rebus: nAga 'lead'
Hieroglyph: rã̄go ʻ buffalo bull ʼ
Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.
Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.
paTa 'hood of serpent' Rebus: padanu 'sharpness of weapon' (Telugu)
Hieroglyph: kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/ s ʻ spear ʼ EWA i 229]1. Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, °dī f. ʻ spike at the bottom of a stick ʼ, °diṛī, °dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ.
2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289)
2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289)
Rebus: kuṇṭha munda (loha) 'hard iron (native metal)'.
| The veneration of the buffalo is also related to the rebus association of the word for buffalo which signifies alloying minerals such as tin or spelter or pewter. |
The 'tumbling' signifies is an Indus Script hypertext: dolutsu 'tumble' rebus: dul 'metal casting'.
The buffalo as a hieroglyph signifies Hieroglyph: rã̄go ʻ buffalo bull ʼ Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻpewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H.rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt inearth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.
Buffalo is a recurrent hieroglyph in Indus Script Corpora. The hieroglyph is also used in conjunction with Akkadian cuneiform texts.
Ancient Near East water-buffalo hieroglyph deciphered as Indus Script rāṅgā zinc alloy in metalwork repertoire
Mirror: http://tinyurl.com/q5oblyp
Zinc alloys include: spelter, solder, pewter, tin, copper-foil, latten, French bronze. The Meluhha Prakritam gloss rāṅgā signified these zinc alloys with varying proportions of mineral constituents deploying rã̄go 'water-buffalo' hieroglyph.
On many hierolyph multiplexes, water-buffalo (rã̄go) is associated with kANDa 'overflowing water'. The rebus renderings are: rāṅgā khaNDA 'zinc alloy implements'. The semantics of khaNDa 'implements' is attested in Santali: me~r.he~t khaNDa 'iron implements'.
Santali glossesA lexicon suggests the semantics of Panini's compound अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)( Pa1n2. 8-3 , 48)(Monier-Williams).
From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in Samskritam should have referred to 'implements'. Indus Script hieroglyphs as hypertext components to signify kANDa 'implements' are: kANTa, 'overflowing water' kANDa, 'arrow' gaNDa, 'four short circumscript strokes'.
Hieroglyph multiplexes of the hypertext of the cylinder seal from a Near Eastern Source can be identified: aquatic bird, rhinoceros, buffalo, buffalo horn, crucible, markhor, antelope, hoofed stool, fish, tree, tree branch, twig, roundish stone, tiger, rice plant.
Hieroglyph components on the head-gear of the person on cylinder seal impression are: twig, crucible, buffalo horns: kuThI 'badari ziziphus jojoba' twig Rebus: kuThi 'smelter'; koThAri 'crucible' Rebus: koThAri 'treasurer'; tattAru 'buffalo horn' Rebus: ṭhã̄ṭhāro 'brassworker'.
This hieroglyph multiplex ligatures head of an antelope to a snake: nAga 'snake' Rebus: nAga 'lead' ranku 'antelope' Rebus: ranku 'tin'. tuttināgamu is a Prakritam gloss meaning 'pewter, zinc'. A comparable alloy may be indicated by the hieroglyph-multiplex of antelope-snake: rankunAga, perhaps a type of zinc or lead alloy.
Two fish hieroglyphs flank the hoofed legs of the stool or platform signify: warehouse of cast metal alloy metal implements:
Hieroglyph: kaṇḍō a stool Rebus: kanda 'implements'
Hieroglyph: maṇḍā 'raised platform, stool' Rebus: maṇḍā 'warehouse'.
dula 'pair' Rebus: dul 'cast metal'
ayo 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)
barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi).
This mkultiplx is flanked by 1. kolom 'rice plant' Rebus: kolimi 'smithy, forge'; 2. kuTi 'tree' Rebus: kuThi 'smeter'. Thus the message is that the warehouse of cast metal alloy metal implements is complemented by a smelter and a smithy/forge -- part of the metalwork repertoire.The hieroglyph-multiplex of a woman thwarting two rearing tigers is also signified on other seals and tablets to signify:
Hieroglyph: kola 'woman' Rebus: kol 'working in iron'
dula 'pair' Rebus: dul 'cast metal' PLUS kola 'tiger' Rebus: kolle 'blacksmith'; kolhe 'smeter'; kole.l 'smithy, forge'. The kolmo 'rice-plant' Rebus kolimi 'smithy, forge' is a semantic determinant of the cipher: smithy with smelter.
The bottom register of the cylinder seal impression lists the products: smithy/forge forged iron, alloy castings (laterite PLUS spelter), hard alloy implements.
goTa 'roundish stone' Rebus: gota 'laterite'
dula 'pair' Rebus: dul 'cast metal' PLUS rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. Thus, cast spelter PLUS laterite.
markhor PLUS tail
miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari) PLUS Kur. xolā tail. Malt. qoli id. (DEDR 2135) Rebus: kol 'working in iron' Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village.
Rhinoceros PLUS aquatic bird
Hieroglyhph: kāṇṭā 'rhinoceros. gaṇḍá m. ʻ rhinoceros ʼ Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati)
karaṛa 'large aquatic bird' (Sindhi) Rebus: karaḍā 'hardalloy of metals' (Marathi)
Impression. Unknown Near Eastern origin. 'One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Photo by M Chuzeville for Departement des antiquities orientales, Musee du Louvre.' (Parpola, 1998, 2001) http://www.harappa.com/script/parpola0.html (Note 11)
Two water-buffalos flanks a hieroglyph: something round, like a seed. Hieroglyph: rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. What does the hieroglyph 'something round' signify? I suggest that it signifies goTa 'laterite (ferrous ore)'.
All these hieroglyhphs/hieroglyph-multiplexes are read as metalwork catalogue items in Prakritam which had tadbhava, tatsama identified in Samskritam in Indian sprachbund (speech union).
Tree shown on a tablet from Harappa. kuTi 'tree' Rebus: kuThi 'smelter'
[Pl. 39, Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many Indus script tablets and seals. Clay sealing from private collection with water buffalo, crescent-star, apparently Akkadian period
Buffalo bull. meTTu 'hill' Rebus: meD 'iron' kolmo 'three' Rebus: kolimi 'smithy, forge' karava 'narrow pot' Rebus: kharva 'nidhi, wealth' karba 'iron' karNIka 'rim of jar' Rebus: karNI 'supercargo' karNIka 'scribe'.Hieroglyph: rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'.
Hieroglyph: gavala m. ʻ wild buffalo ʼ lex. [gṓ -- ]Pk. gavala -- m., N. gauri gāi (← a Bi. dial. < *gavalikā -- ).(CDIAL 4096) Rebus: Ka. kāvali, kāvale a plate or pan for frying or baking; (Hav.) kāvalige frying pan. Tu. kāvali, kāvoli id. (DEDR 1488)
Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2 , vaṅga -- 1 ] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567) తుత్తము [ tuttamu ] or తుత్తరము tuttamu. [Tel.] n. sulphate of zinc. మైలతుత్తము sulphate of copper, blue-stone.తుత్తినాగము [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter. Zinc. లోహవిశేషము (Telugu)
Note on spelter: "Spelter, while sometimes used merely as a synonym for zinc, is often used to identify a zinc alloy. In this sense it might be an alloy of equal parts copper and zinc, i.e. a brass, used for hard soldering and brazing, or as an alloy, containinglead, that is used instead of bronze. In this usage it was common for many 19th-century cheap, cast articles such as candlesticks and clock cases...The word "pewter" is thought to be derived from the word "spelter". Zinc ingots formed by smelting might also be termed spelter." Skeat, Walter William (1893), An etymological dictionary of the English language (2nd ed.), Clarendon Press, pp. 438–439. https://en.wikipedia.org/wiki/Spelter French Bronze is a form of bronze typically consisting of 91% copper, 2% tin, 6% zinc, and 1% lead.(Ripley, George; Dana, Charles Anderson (1861). The New American Cyclopaedia: A Popular Dictionary of General Knowledge 3. D. Appleton and Co. p. 729.) "The term French bronze was also used in connection with cheap zinc statuettes and other articles, which were finished to resemble real bronze, and some older texts call the faux-bronze finish itself "French bronze". Its composition was typically 5 parts hematite powder to 8 parts lead oxide, formed into a paste with spirits of wine. Variations in tint could be obtained by varying the proportions. The preparation was applied to the article to be bronzed with a soft brush, then polished with a hard brush after it had dried."
https://en.wikipedia.org/wiki/French_Bronze ( Watt, Alexander (1887). Electro-Metallurgy Practically Treated. D. Van Nostrand. pp. 211–212.) "The term latten referred loosely to the copper alloys such as brass or bronze that appeared in the Middle Ages and through to the late 18th and early 19th centuries. It was used for monumental brasses, in decorative effects on borders, rivets or other details of metalwork (particularly armour), in livery and pilgrim badges or funerary effigies. Metalworkers commonly formed latten in thin sheets and used it to make church utensils. Brass of this period is made through the calamine brass process, from copper and zinc ore. Later brass was made with zinc metal from Champion's smelting process and is not generally referred to as latten. This calamine brass was generally manufactured as hammered sheet or "battery brass" (hammered by a "battery" of water-powered trip hammers) and cast brass was rare. "Latten" also refers to a type of tin plating on iron (or possibly some other base metal), which is known as white latten; and black latten refers to laten-brass, which is brass milled into thin plates or sheets. The term "latten" has also been used, rarely, to refer to lead alloys. In general, metal in thin sheets is said to be latten such as gold latten; and lattens (plural) refers to metal sheets between 1/64" and 1/32" in thickness." ( Funerary crozier of the Bishops of St Davids, on display at St David's Cathedral, West Wales) https://en.wikipedia.org/wiki/Latten
Parpola, Asko, 2017. Indus Seals and Glyptic Studies: An Overview. Pp. 127-147 & pl ix (& pp. 401+449 references) in: Sarah Scott & al. (eds), Seals and Sealing in the Ancient World, Cambridge: CUP.
