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Decipherment of Indus Script Inscription on a Louvre Cylinder seal, made in Meluhha, of śrēṣṭhin 'guild-master'

April 6, 2019, 9:59 pm
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https://tinyurl.com/y2f72xda

-- The seal is of śrēṣṭhin 'guild-master' who is also a ċiməkára 'coppersmith', sēṇi 'guild' khār 'blacksmith'śrēṣṭhin 'guild-master' (deploying orthography of an 'ant' hieroglyph)

The monograph presents decipherment of three hieroglyphs on the Louvre Museum cylinder seal in the following Annexes:


Annex A Decipherment of 'ladder' hieroglyph Annex B Decipherment of 'squirrel' hieroglyph 
Annex C Decipherment of 'ant' hieroglyph

The rebus readings inMeluhha (Indian sprachbund, language union) established in these annexes are:

sēṇi 'ladder' rebus: sēṇi 'guild'
khār 'squirrel'śrēṣṭhin 'squirrel'  rebu: khār 'blacksmith'śrēṣṭhin 'guild-master' 
ċima 'ant' rebus: ċiməkára 'coppersmith'



Sign  on the text message  on the cylinder seal could be a variant of the 'squirrel' hieroglyph, following examples from the Indus Script Corpora.

 

  •  Reading of the inscription text as recorded in ASI 1977 Concordance List (Mahadevan)
    Susa, Iran; steatite cylinder seal.Cylinder seal carved with an elongated buffalo (should read 'bull') and a Harappa inscription circa 2600-1700 BCE; Susa, Iran; Fired steatite; H. 2.3 cm; Diam. 1.6 cm; Jacques de Morgan excavations, Susa; Sb 2425; Near Eastern Antiquities; Richelieu wing; Ground floor; Iran and Susa during the 3rd millennium BC; Room 8.
  • Marshall comments on a Susa cylinder seal: “…the occurrence of the same form of manger on a cylinder-seal of bone found at Susa leaves no doubt, I think, that this seal either came from India in the first instance, or, as is suggested by its very rough workmanship, was engraved for an Indian visitor to Susa by an Elamite workman…One of these five (Mesopotamian seals with Indus script) is a bone roll cylinder found at Susa, apparently in the same strata as that of the tablets in Proto-Elamitic script of the second period of painted ware. Scheil, in Delegation en Perse, vol. xvii, assigns this group of tablets and painted pottery to the period of Sargon of Agade, twenty-eighth century BCE, and some of the tablets to a period as late as the twenty-fourth century. The cylinder was first published by Scheil in Delegation en Perse ii, 129, where no precise field data by the excavator are given. The test is there given as it appears on the seal, and consequently the text is reversed. Louis Delaporte in his Catalogue des Cylindres Orientaux…du Musee du Louvre, vol. I, pl. xxv, No. 15, published this seal from an impression, which gives the proper representation of the inscription. Now, it will be noted that the style of the design is distinctly pre-Sargonic: witness the animal file and the distribution of the text around the circumference of the seal, and not parallel to its axis as on the seals of the Agade and later periods…It is certain that the design known as the animal file motif is extremely early in Sumerian and Elamitic glyptic; in fact is among the oldest known glyptic designs. But the two-horned bull standing over a manger was a design unknown in Sumerian glyptic, except on the small round press seal found by De Sarzec at Telloh and published by Heuzey, Decouvertes en Chaldee, pl. xxx, fig. 3a, and by Delaporte, Cat. I, pl. ii, t.24. The Indus seals frequently represent this same bull or bison with head bent towards a manger…Two archaeological aspects of the Susa seal are disturbing. The cylinder roll seal has not yet been found in the Indus Valley, nor does the Sumero-Elamitic animal file motif occur on any of the 530 press seals of the Indus region. It seems evident, therefore, that some trader or traveler from that country lived at Susa in the pre-Sargonic period and made a roll seal in accordance with the custom of the seal-makers of the period, inscribing it with his own native script, and working the Indian bull into a file design after the manner of the Sumero-Elamitic glyptic. The Susa seal clearly indicated a period ad quem below which this Indian culture cannot be placed, that is, about 2800 BCE. On a roll cylinder it is frequently impossible to determine where the inscription begins and ends, unless the language is known, and that is the case with the Susa seal. However, I have been able to determine a good many important features of these inscriptions and I believe that this text should be copied as follows: 

  • The last sign is No. 194 of my list,  variant of No. 193, which is a post-fixed determinative, denoting the name of a profession, that is ‘carrier, mason, builder’, ad invariably stands at the end. (The script runs from right to left.)”[Catalogue des cylinders orient, Musee du Louvre, vol. I, pl. xxv, fig. 15. See also J. de Morgan, Prehistoric Man, p. 261, fig. 171; Mem. Del. En Perse, t.ii, p. 129.loc.cit.,John Marshall, 1931, Mohenjo-daro and the Indus Civilization, Delh, AES, Repr., 2004, p.385; pp. 424-425 Note: Five cylinder seals hav since been found at Mohenjo-daro and Kalibangan.] The seal's chalky white appearance is due to the fired steatite it is made of. Craftsmen in the Indus Valley made most of their seals from this material, although square shapes were usually favored. The animal carving is similar to those found in Harappa 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."

    • Sceau-cylindre : buffle très étiré et inscription harapéenne
    • (Cylinder seal with Harappan inscription, shows elongated bull, not a buffalo)
  • Stéatite cuite
    H. 2.3 cm; Diam. 1.6 cm
  • Fouilles J. de Morgan
    Sb 2425
  • Image result for bharatkalyan97 cylinder seal elongated buffalo
  • Herbin Nancie's note on the Louvre Museum websie:
    This cylinder seal, carved with a Harappan inscription, originated in the Indus Valley. It is made of fired steatite, a material widely used by craftsmen in Harappa. The animal - a bull with no hump on its shoulders - is also widely attested in the region. The seal was found in Susa, reflecting the extent of commercial links between Mesopotamia, Iran, and the Indus.

    A seal made in Meluhha

    The language of the inscription on this cylinder seal found in Susa reveals that it was made in Harappa in the Indus Valley. In Antiquity, the valley was known as Meluhha. The seal's chalky white appearance is due to the fired steatite it is made of. Craftsmen in the Indus Valley made most of their seals from this material, although square shapes were usually favored. 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.

    Trading links between the Indus, Iran, and Mesopotamia

    This piece can be compared to another circular seal carved with a Harappan inscription, also found in Susa. The two seals reveal the existence of trading links between this region and the Indus valley. Other Harappan objects have likewise been found in Mesopotamia, whose sphere of influence reached as far as Susa.

    The manufacture and use of the seals

    Cylinder seals were used mainly to protect sealed vessels and even doors to storage spaces against tampering. The surface of the seal was carved. Because the seals were so small, the artists had to carve tiny scenes on a material that allowed for fine detail. The seal was then rolled over clay to produce a reverse print of the carving. Some cylinder seals also had handles.                                                                                                              
    Bibliography                                                                                                                                                                                                                                                 Amiet Pierre, L'Âge des échanges inter-iraniens : 3500-1700 av. J.-C., Paris, Éditions de la Réunion des musées nationaux, 1986, coll. "Notes et documents des musées de France", p. 143 et p. 280, fig. 93.
    Borne interactive du département des Antiquités orientales.
    Les cités oubliées de l'Indus : archéologie du Pakistan, 
    cat. exp. Paris, Musée national des arts asiatiques, Guimet, 
    16 novembre 1988-30 janvier 1989, sous la dir. de Jean-François Jarrige, Paris, Association française d'action artistique, 1988, pp. 194-195, fig. A5.
    http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-carved-elongated-buffalo-and-harappan-inscription
    Gensheimer, TR, 1984, The role of shell in Mesopotamia: evidence for trfade exxchange with Oman and the Indus Valley, in: Paleorient, Vol. 10, Numero 1, pp. 65-73 
    http://www.persee.fr/doc/paleo_0153-9345_1984_num_10_1_4350
    http://www.archive.org/download/mmoires01franuoft/mmoires01franuoft.pdf  Jacques de Morgan, Fouilles à Suse en 1897-1898 et 1898-1899, Mission archéologique en Iran, Mémoires I, 1990
    http://www.archive.org/download/mmoires07franuoft/mmoires07franuoft.pdf Jacques de Morgan, Fouilles à Suse en 1899-1902, Mission archéologique en Iran, Mémoires VII, 1905
    TR Gensheimer reports:"Turbinella pyrum, has a much more massive columella and medium to large shells can easily produce a cylinder that is 30 mm in diameter and upto 50 mm in length. A preliminary study of the large cylinder seals from the graves at Ur suggess that they could only have been made from T. pyrum. Other isolated examples of such large shell cylinder seals are reported from Tepe Gawra and Susa and together they indicate that Mesopotamian workshops were obtaining T.pyrum columella or rough cylinders through trade contacts with the Indus Valley. Prior to this availability, large shell cylinders were apparently made by joining sections of shell together as is seen in cylinder seal #U-9907 from the Royal Cemetery." http://www.persee.fr/doc/paleo_0153-9345_1984_num_10_1_4350

    Kenoyer, JM 1985, Shell working industries of the Indus civilisation: An archaeological and ethnographic perspective, PhD thesis, UC Berkeley, 363; Woolley L, 1934, Excavations at Ur 1931-34. Antiquities Journal 14.4, Pl. 99a

  • Annex A Decipherment of 'ladder' hieroglyph

    See:  http://tinyurl.com/hrud9v4

    Mohenjo-daro seal m417 six heads from a core.

    sãgaḍ f. ʻa body formed of two or more fruits or animals or men &c. linked together' (Marathi). This gloss sãgaḍ as a body of written or pictorial material of hieroglyphs (voiced in Meluhha speech) can be used to create a ciphertext with elements of enhanced cyber-security encryptions. This ciphertext can be called: Hieroglyphmultiplextext. Rebus 1: sãgaḍ māṇi 'alloying adamantine glue, सं-घात caravan standard' -- vajra saṁghāṭa in archaeometallurgy, deciphered in Indus Script Corpora. Enhanced encryption cyber-security. Rebus 2: जांगड [jāṅgaḍa] ad Without definitive settlement of purchase--goods taken from a shop. जांगड [ jāṅgaḍa ] f ( H) Goods taken from a shop, to be retained or returned as may suit: also articles of apparel taken from a tailor or clothier to sell for him. 2 or जांगड वही The account or account-book of goods so taken.Rebud 3: sangaDa 'a cargo boat'. Rebus 4: sangaRh 'proclamation'.

    śrēṇikā -- f. ʻ tent ʼ lex. and mngs. ʻ house ~ ladder ʼ in *śriṣṭa -- 2, *śrīḍhi -- . -- Words for ʻ ladder ʼ see śrití -- . -- √śri]H. sainī, senī f. ʻ ladder ʼ; Si. hiṇi, hiṇa, iṇi ʻ ladder, stairs ʼ (GS 84 < śrēṇi -- ).(CDIAL 12685). Woṭ. Šen ʻ roof ʼ, Bshk. Šan, Phal. Šān(AO xviii 251) Rebus: 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)

    *śrētrī ʻ ladder ʼ. [Cf. śrētr̥ -- ʻ one who has recourse to ʼ MBh. -- See śrití -- . -- √śri]Ash. ċeitr ʻ ladder ʼ (< *ċaitr -- dissim. from ċraitr -- ?).(CDIAL 12720) *śrēṣṭrī2 ʻ line, ladder ʼ. [For mng. ʻ line ʼ conn. with √śriṣ2 cf. śrḗṇi -- ~ √śri. -- See śrití -- . -- √śriṣ2]Pk. sēḍhĭ̄ -- f. ʻ line, row ʼ (cf. pasēḍhi -- f. ʻ id. ʼ. -- < EMIA. *sēṭhī -- sanskritized as śrēḍhī -- , śrēṭī -- , śrēḍī<-> (Col.), śrēdhī -- (W.) f. ʻ a partic. progression of arithmetical figures ʼ); K. hēr, dat. °ri f. ʻ ladder ʼ.(CDIAL 12724) Rebus:  śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ]Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ, seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M.śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?)(CDIAL 12726)

    This denotes a mason (artisan) guild -- seni -- of 1. brass-workers; 2. blacksmiths; 3. iron-workers; 4. copper-workers; 5. native metal workers; 6. workers in alloys.

    The core is a glyphic ‘chain’ or ‘ladder’. Glyph: kaḍī a chain; a hook; a link (G.); kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; kaḍiyaṇa, kaḍiyeṇa a woman of the bricklayer caste; a wife of a bricklayer (G.) The glyphics are:
    1.     Glyph: ‘one-horned young bull’: kondh ‘heifer’. kũdār ‘turner, brass-worker’.
    2.     Glyph: ‘bull’: ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’. koD 'horns' rebus: koD 'workshop'
    3.     Glyph: ‘ram’: meḍh ‘ram’. Rebus: meḍ ‘iron’
    4.         Glyph: ‘antelope’: mr̤eka ‘goat’. Rebus: milakkhu ‘copper’. Vikalpa 1: meluhha ‘mleccha’ ‘copper worker’. Vikalpa 2: meṛh ‘helper of merchant’.
    5.         Glyph: ‘zebu’: khũṭ ‘zebu’. Rebus: khũṭ ‘guild, community’ (Semantic determinant of the ‘jointed animals’ glyphic composition). kūṭa joining, connexion, assembly, crowd, fellowship (DEDR 1882)  Pa. gotta ‘clan’; Pk. gotta, gōya id. (CDIAL 4279) Semantics of Pkt. lexeme gōya is concordant with Hebrew ‘goy’ in ha-goy-im (lit. the-nation-s). Pa. gotta -- n. ʻ clan ʼ, Pk. gotta -- , gutta -- , amg. gōya -- n.; Gau. gū ʻ house ʼ (in Kaf. and Dard. several other words for ʻ cowpen ʼ > ʻ house ʼ: gōṣṭhá -- , Pr. gūˊṭu ʻ cow ʼ; S. g̠oṭru m. ʻ parentage ʼ, L. got f. ʻ clan ʼ, P. gotar, got f.; Ku. N. got ʻ family ʼ; A. got -- nāti ʻ relatives ʼ; B. got ʻ clan ʼ; Or. gota ʻ family, relative ʼ; Bhoj. H. got m. ʻ family, clan ʼ, G. got n.; M. got ʻ clan, relatives ʼ; -- Si. gota ʻ clan, family ʼ ← Pa. (CDIAL 4279). Alternative: adar ḍangra ‘zebu or humped bull’; rebus: aduru ‘native metal’ (Ka.); ḍhangar ‘blacksmith’ (H.)
    6.     The sixth animal can only be guessed. Perhaps, a tiger (A reasonable inference, because the glyph ’tiger’ appears in a procession on some Indus script inscriptions. Glyph: ‘tiger?’: kol ‘tiger’.Rebus: kol ’worker in iron’. Vikalpa (alternative): perhaps, rhinoceros. gaṇḍa ‘rhinoceros’; rebus:khaṇḍ ‘tools, pots and pans and metal-ware’. Thus, the entire glyphic composition of six animals on the Mohenjodaro seal m417 is semantically a representation of a śrḗṇi, ’guild’, a khũṭ , ‘community’ of smiths and masons.
     bhaTa 'warrior' rebus: bhaTa 'furnace' Also, baTa 'six' rebus: bhaTa 'furnace'.
  • Annex B Decipherment of 'squirrel' hieroglyph 

                                                                                                                           https://tinyurl.com/y9ug5h9y


    Longest inscription m0314 of Indus Script Corpora is catalogue of a guild-master. The guild master is signified by Indus Script hypertext 'squirrel' hieroglyph 'khāra, šē̃ṣṭrĭ̄' Rebus: plaintext: khār 'blacksmith' śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa).

      The guild-master signs off on the inscription by affixing his hieroglyph: 
    palm squirrel,Sciurus palmarum'








    m0314 Seal impression, Text 1400 Dimension: 1.4 sq. in. (3.6 cm) Marshall 1931 (Vol. II, p. 402). 

    This is perhaps the longest inscriptionof Indus Script Corpora.

    m0314 The indus script inscription is a detailed account of the metal work engaged in by the Indus artisans. It is a professional calling card of the metalsmiths' guild of Mohenjodaro used to affix a sealing on packages of metal artefacts traded by Meluhha (mleccha)speakers.
     The last sign is wrongly identified in Mahadevan concordance. This hieroglyph is Squirrel as shown on Seal impressionFlipped vertically is likey to signify 'squirrel' as on Nindowari-damb seal 01

    All hieroglyphs are read from r. to l. 

    Line 1:

    eraka 'nave of wheel' rebus: eraka 'moltencast, copper' PLUS sal 'splinter' rebus: sal 'workshop'. Thus, moltencast copper workshop.

    Fish + lid: aya dhakka,Rebus: aya dhakka 'bright iron/alloy metal'.

    Fish + fin:  aya khambhaṛā rebus: aya kammaṭa 'alloy metal mint, coiner, coinage'

    Fish + sloping stroke, aya dhāḷ ‘metal ingot’ (Vikalpa: ḍhāḷ = a slope; the inclination of a plane (G.) Rebus: : ḍhāḷako = a large metal ingot (G.)

    khaṇḍa 'arrow' rebus: khaṇḍa 'implements' 

    Thus, line 1 reads: bright iron/alloy metal, alloy metal mint, large metal ingot (ox-hide)

    Line 2:

    मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) The circumscript is composed of four 'splinters': gaNDa 'four' rebus: kaNDa 'implements', kanda 'fire-altar' PLUS sal 'splinter' rebus: sal 'workshop'. Thus, this hieroglyph-multiplex or hypertext signifies: iron implements workshop.

    S. baṭhu m. ‘large pot in which grain is parched, Rebus; bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) Vikalpa: meṛgo = rimless vessels (Santali) bhaṭa ‘furnace’ (G.) baṭa = kiln (Santali); baṭa = a kind of iron (G.) bhaṭṭha -- m.n. ʻ gridiron (Pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; L. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; P. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; S. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656) Rebus: meḍ iron (Ho.) PLUS  muka 'ladle' rebus; mū̃h 'ingot', quantity of metal got out of a smelter furnace (Santali).Thus, this hieroglyph-multiplex (hypertext) signifies: iron ingot.

    kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS dula 'pair' rebus: dul 'metalcasting'. Thus, metalcasting smithy/forge.

    kanka, karṇaka 'rim of jar' rebus: karṇī 'supercargo', 'engraver, scribe, account'

    Thus line 2 signifies metal products -- iron ingots, metalcastings (of smithy/forge iron metals workshop) handed over to Supercargo, (a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale).

    Line 3:

    kolmo ‘three’ (Mu.); rebus: kolami ‘smithy’ (Telugu)

    A. goṭ ‘a fruit, whole piece’, °ṭā ‘globular, solid’, guṭi ‘small ball, seed, kernel’; B. goṭā ‘seed, bean, whole’; Or. goṭā ‘whole, undivided’, goṭi ‘small ball, cocoon’, goṭāli ‘small round piece of chalk’; Bi. goṭā ‘seed’; Mth. goṭa ‘numerative particle’ (CDIAL 4271) Rebus: koṭe ‘forging (metal)(Mu.) Rebus: goṭī f. ʻlump of silver' (G.) PLUS infix of sal 'splinter' rebus: sal 'workshop'. Thus, the hieroglyph-multiplex or hypertext signifies: forged silver workshop.

    m009

    Hieroglyph is a loop of threads formed on a loom or loose fringes of a garment. This may be seen from the seal M-9 which contains the sign: 

     धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf.त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c (Monier-Williams) dhāˊtu  *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; 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: 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); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) 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; (CDIAL 6773) धातु  primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam)

    Thus, this hieroglyph signifies three types of ferrite ore: magnetite, hematite and laterite (poLa, bicha, goTa). Vikalpa: Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL 4271) Rebus: goṭī f. ʻlump of silver' (G.)

    Hieroglyph: Archer with bow and arrow on one hand:  kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Skt.lex.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)

    kolom 'rice plant' rebus:kolimi 'smithy, forge'.

    kanac 'corner' rebus: kañcu 'bronze' Vikalpa: (A.) kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve, to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a turner's lathe (Skt.)(CDIAL 3295).

    Hieroglyph: squirrel:  *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)

    Thus, line 3 signifies: bronze guild master of smithy/forge, mint for three types of ferrite mineral (magnetite, hematite, laterite)

    The three lines together, the engtire inscription of m0314 is a metalwork cagtalogue of a guild-master of workshops working in: 

    (1) native unsmelted metal, metal mint, large metal ingot (oxhide)

    (2) metal products -- iron ingots, metalcastings (of smithy/forge iron metals workshop) handed over to Supercargo, (a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale)

    (3)smithy/forge, mint for three types of ferrite mineral (magnetite, hematite, laterite)

     
    Long Indus Script inscription compares with Nindowari0-damb seal 01 which also shows 'squirrel'šē̃ṣṭrĭ̄ ʻflying squirrelʼ,'guild master'.

    kanac 'corner' rebus: kañcu 'bronze' 

    मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) The circumscript is composed of four 'splinters': gaNDa 'four' rebus: kaNDa 'implements', kanda 'fire-altar' 

    खााडा [ kāṇḍā ] 'A jag, notch, or indentation (as upon the edge of a tool or weapon)' Rebus: kaNDa 'implements' (Santali).

    kole.l 'temple' rebus: kole.l 'smithy, forge'

    kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS dula 'pair' rebus: dul 'metalcasting'. Thus, metalcasting smithy/forge.

    kanka, karNaka 'rim of jar' rebus: karNI 'supercargo', 'engraver, scribe, account'

    Hieroglyph: 8 short strokes: gaNDa 'four' rebus: kaNDa 'implements'PLUS sal 'splinter' rebus: sal 'workshop'. Thus, this hieroglyph-multiplex or hypertext signifies: iron implements workshop.

    Hieroglyph: squirrel:  *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam) Hypertext of Indus Script: šē̃ṣṭrĭ̄  'flying squirrel' rebus: śrēṣṭhin 'foreman of a guild'. 
    Image result for palm squirrelIndian palm squirrel, Funambulus Palmarum There are also other seals with signify the 'squirrel' hieroglyph. 
    Nindowari-damb seal Nd0-1; Mohenjo-daro seal m-1202; Harappa tablet h-771; Harappa tablet h-419 

    m1634 ceramic stoneware bangle (badge)
     Read from r. to l.: 
    Vikalpa: The prefixSign 403: Hieroglyph: bārī , 'small ear-ring': H. bālā m. ʻbraceletʼ (→ S. ḇālo m. ʻbracelet worn by Hindusʼ), bālī, bārī f. ʻsmall ear -- ringʼ, OMārw. bālī f.; G. vāḷɔ m. ʻ wire ʼ, pl. ʻ ear ornament made of gold wire ʼ; M. vāḷā m. ʻ ring ʼ, vāḷī f. ʻ nose -- ring ʼ.(CDIAL 11573) Rebus: bārī 'merchant' vāḍhī, bari, barea 'merchant' bārakaśa 'seafaring vessel'. If the duplication of the 'bangle' on Sign 403 signifies a plural, the reading could be: karã̄ n. pl. wristlets, bangles Rebus: khār 'blacksmith, iron worker'.

    Sign 403 is a duplication of  bun-ingot shape. This shape is signified on a zebu terracotta pratimā found at Harappa and is consistent with mūhā mẽṛhẽt process of making unique bun-shaped ingots (See Santali expression and meaning described below):


     I suggest that Sign 403 is read: dul mūhā mẽṛhẽt 'cast iron ingot'. 


    Thus, the hypertext may read: 


    1. dul mūhā mẽṛhẽt uṟukku 'cast iron ingot,steel' or 2. khār uṟukku 'blacksmith, steel'. 




    If he squirrel is read as šē̃ṣṭrĭ̄ ʻflying squirrel' rebus: śrēṣṭhin 'guild master' (Aitareya Brāhmaṇa), the reading of the hypertext is: 


    1. dul mūhā mẽṛhẽt śrēṣṭhin 'cast iron ingot, guild-master' or 2. khār śrēṣṭhin 'blacksmith, guild-master'. 


    Slide 33. Early Harappan zebu figurine with incised spots from Harappa.पोळ [pōḷa], 'zebu' Rebus: magnetite, citizen.(See: http://bharatkalyan97.blogspot.in/2015/08/zebu-archaeometallurgy-legacy-of-india.html )




     mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali) खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi)

    An alternative reading for 'squirrel' hieroglyph is also suggested:

    The sequence of hieroglyphsSquirrel + Sign 403 signifies two professional responsibilities/functions  1. khār  'blacksmith'; 2. seṭhi ʻwholesale merchant' (Sindhi).


    Alternatively, 1. dul mūhā mẽṛhẽt 'cast iron ingot'; 2. khār  'blacksmith' (Kashmiri) or seṭhi ʻwholesale merchant' (Sindhi) or śrēṣṭhin 'guild master' (Aitareya Brāhmaṇa). 




    Thus, two readings are possible for the 'squirrel' hieroglyph: khār  'blacksmith' (Kashmiri) and/or seṭhi ʻwholesale merchant' (Sindhi) orśrēṣṭhin 'guild master' (Aitareya Brāhmaṇa)




    Hieroglyph: squirrel (phonetic determinant): खार [ khāra ] A squirrel, Sciurus palmarum. खारी [ khārī ] f (Usually खार) A squirrel. (Marathi) 


    A homonymous hieroglyph or allograph: arms with bangles: karã̄ n. pl. ʻwristlets, banglesʼ.(Gujarati)(CDIAL 2779) Rebus: khār खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b,l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta 'bellows of blacksmith'.with inscription.


    *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master:
    *śrēṣṭrī2 ʻ line, ladder ʼ. [For mng. ʻ line ʼ conn. with √śriṣ2 cf. śrḗṇi -- ~ √śri. -- See śrití -- . -- √śriṣ2]Pk. sēḍhĭ̄ -- f. ʻ line, row ʼ (cf. pasēḍhi -- f. ʻ id. ʼ. -- < EMIA. *sēṭhī -- sanskritized as śrēḍhī -- , śrēṭī -- , śrēḍī<-> (Col.), śrēdhī -- (W.) f. ʻ a partic. progression of arithmetical figures ʼ); K. hēr, dat. °ri f. ʻ ladder ʼ.(CDIAL 12724) Rebus: śrḗṣṭha ʻ most splendid, best ʼ RV. [śrīˊ -- ]Pa. seṭṭha -- ʻ best ʼ, Aś.shah. man. sreṭha -- , gir. sesṭa -- , kāl. seṭha -- , Dhp. śeṭha -- , Pk. seṭṭha -- , siṭṭha -- ; N. seṭh ʻ great, noble, superior ʼ; Or. seṭha ʻ chief, principal ʼ; Si. seṭa, °ṭu ʻ noble, excellent ʼ. śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ]Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ, seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?)(CDIAL 12725, 12726) 

        
    Nindowari seal Nd-1
    From l. to r.:
    Squirrel 'khāra, šē̃ṣṭrĭ̄' Indus Script hypertext is khār 'blacksmith'śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa)
    Vikalpa: tuttha 'squirrel' Rebus: tuttha 'pewter, zinc alloy'; dhAL 'slanted stroke'
    Rebus: dhALako 'large ingot' khANDa 'notch' Rebus: khANDa 'metal implements'; 
    kolmo 'rice plant' Rebus: kolimi 'smithy, forge'; dula 'two, pair'
    Rebus: dul 'cast metal'; kanda kanka 'rim of pot' Rebus: khaNDa 'implements'
    karNI 'supercargo, scribe'; maṇḍā 'warehouse, workshop' (Konkani); koDa 'one'
    Rebus: koD 'workshop'; aya 'fish' Rebus: aya 'iron' ayas 'metal'; kanac 'corner'
    Rebus: kancu 'bronze'. konda 'young bull' Rebus: kondar 'turner' koD 'horn'
    Rebus: koD 'workshop' sangaDa 'lathe, portable furnace'
    Rebus: sangar 'fortification' sanghAta 'adamantine glue' (Varahamihira)



    m1202
    From r. to l.:
    barad, barat 'ox' Rebus: bharat 'alloy of copper, pewter, tin' (Marathi) pattar 'trough' Rebus: pattar 'goldsmith guild'
    muhA 'ingot'; dula 'pair' Rebus: dul 'cast metal' muhA 'ingot' (Together, dul muhA  'cast iron ingot');
    Squirrel 'khāra, šē̃ṣṭrĭ̄' Indus Script hypertext is khār 'blacksmith'śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa) Vikalpa: tuttha 'squirrel' Rebus: tuttha 'pewter, zinc alloy'; 

    kanda kanka 'rim of pot' Rebus: khaNDa 'implements' karNI 'supercargo, scribe'; 
    aduru 'harrow' Rebus: aduru 'native unsmelted metal';bhaTa 'warrior' Rebus: bhaTa 'furnace';  
    kanda kanka 'rim of pot' Rebus: khaNDa 'implements' karNI 'supercargo, scribe'; muhA 'ingot, 
    quantity of iron ore smelted out of the smelter'.
    h771
    dula 'pair' Rebus: dul 'cast metal' muhA 'ingot' (Together, dul muhA  'cast iron ingot'); 
    Squirrel 'khāra, šē̃ṣṭrĭ̄' Indus Script hypertext is khār 'blacksmith'śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa) Vikalpa: tuttha 'squirrel' Rebus: tuttha 'pewter, zinc alloy'; 
    dula 'two' Rebus: dul 'cast metal or casting'. 
    Thus, the epigraph with three hieroglyph-multiplexes read rebus: metal castings, cast metal ingot, guild-master (pewter-zinc alloy.)
    h419
    Squirrel 'khāra, šē̃ṣṭrĭ̄' Indus Script hypertext is khār 'blacksmith'śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa) Vikalpa: tuttha 'squirrel' Rebus: tuttha 'pewter, zinc alloy'; 
    maṇḍā 'warehouse, workshop' (Konkani). 
    Thus, guild-master's warehouse.


    Lexis for squirrel

    tuttūḍ "squirrel' (Sora) Rebus: tuth 'blue vitriol or sulphate of copper'(Bengali) తుత్తినాగము [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter. Zinc. లోహవిశేషము (Telugu)

    tsāni, tsānye ‘squirrel’ (Kon.) caṇila squirrel (To.); Vikalpa: sega ‘a species of squirrel’ (Santali) rebus: śannī a small workshop (WPah) 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] Woṭ. šen ʻ roof ʼ, Bshk. šan, Phal. šān(AO xviii 251, followed by Buddruss Woṭ 126, < śar(a)ṇa -- ); WPah. (Joshi) śannī f. ʻ small room in a house to keep sheep in ʼ. Addenda: śaraṇá -- 2. 2. *śarṇa --WPah. kṭg.śɔ́nni f. ʻ bottom storey of a house in which young of cattle are kept ʼ. śaraṇá ʻ protecting ʼ, n. ʻ shelter, home ʼ RV. 2. *śarṇa -- . [√śar] 1. Pa. Pk. saraṇa -- n. ʻ protection, shelter, house ʼ; Ḍ. šərṓn m. ʻ roof ʼ (← Sh.?), Dm. šaran; P. saraṇ m. ʻ protection, asylum ʼ, H. saran f.; G. sarṇũ n. ʻ help ʼ; Si.saraṇa ʻ defence, village, town ʼ; -- < *śarāṇa -- or poss. *śāraṇa -- : Kho. šarān ʻ courtyard of a house ʼ, Sh. šarāṇŭ m. ʻ fence ʼ. (CDIAL 12326)

    Note: -ūḍsuffix in Sora gloss tuttūḍfinds expression in the following etyma:

    உறுத்தை uṟuttai, n. [T. uṟuta, K. uḍute.] Squirrel; அணில். (W.)
    Ta. uṟukku (uṟukki-) to jump, leap over; uṟuttai squirrel. Te. uṟu to retreat, retire, withdraw; 
    uṟuku to jump, run away; uṟuta squirrel. Konḍa uRk- to run away. Kuwi (Isr.) urk- (-it-) to dance.(DEDR 713) 
    Ka. uḍute squirrel. Te. uḍuta id.(DEDR 590) 

    Ta. uruku (uruki-) to dissolve (intr.) with heat, melt, liquefy, be fused, become tender, melt (as the heart), be kind, glow with love, be emaciated; urukku (urukki-) to melt (tr.) with heat (as metals or congealed substances), dissolve, liquefy, fuse, soften (as feelings), reduce, emaciate (as the body), destroy; n. steel, anything melted, product of liquefaction; urukkam melting of heart, tenderness, compassion, love (as to a deity, friend, or child); urukkiṉam that which facilitates the fusion of metals (as borax). Ma. urukuka to melt, dissolve, be softened; urukkuka to melt (tr.); urukkam melting, anguish; urukku what is melted, fused metal, steel. Ko. uk steel. Ka. urku, ukku id. Koḍ. ur- (uri-) to melt (intr.); urïk- (urïki-) id. (tr.); ukkï steel. Te. ukku id. Go. (Mu.) urī-, (Ko.) uṛi- to be melted, dissolved; tr. (Mu.) urih-/urh- (Voc. 262).
    Konḍa (BB) rūg- to melt, dissolve. Kui ūra (ūri-) to be dissolved; pl. action ūrka (ūrki-); rūga (rūgi-) to be dissolved. Kuwi (Ṭ.) rūy- to be dissolved; (S.) rūkhnai to smelt; (Isr.) uku, (S.) ukku steel. (DEDR 661)  Te. uḍuku to boil, seethe, bubble with heat, simmer; n. heat, boiling; uḍikincu, uḍikilu, uḍikillu to boil (tr.), cook. Go. (Koya Su.) uḍk ēru hot water. Kuwi (S.) uḍku heat. Kur. uṛturnā to be agitated by the action of heat, boil, be boiled or cooked; be tired up to excitement. Ta. (Keikádi dialect; Hislop, Papers relating to the Aboriginal Tribes of the Central Provinces, Part II, p. 19) udku (presumably uḍku) hot (< Te.) (DEDR 588)

    tuttūḍ "squirrel' (Sora):So. tuttUD(R)  ~ tuttum(R) `squirrel'. Sa. toR `a squirrel (%Sciurus_tristiatus, %Sciurus_palmarum)'.Mu. tuRu `a squirrel (%Sciurus_tristiatus, %Sciurus_palmarum)'.Ho tu `a squirrel (%Sciurus_tristiatus, %Sciurus_palmarum)'.Bh. tuR `a squirrel (%Sciurus_tristiatus, %Sciurus_palmarum)'.KW tu`Ru`Ku. tur `a squirrel (%Sciurus_tristiatus, %Sciurus_palmarum)'.@(V243,M072)(Munda etyma) tarukuTi 'squirrel' (Kannada)

    The glosses 1. खार [ khāra ] A squirrel, Sciurus palmarum. खारी [ khārī ] f (Usually खार) 
    A squirrel. (Marathi) and 2. urukku 'to jump, leap over'finds a parallel in Proto-Mon-khmer See: Thai kra-rook:
     
    412 *prɔɔk squirrel.A: (Bahnaric, Khmuic, Palaungic, Viet-Mương, North & Central Aslian). Sre pro (→ Stieng prɔh?), 
    Chrauprɔːʔ, Biat, Bahnar prɔːk, Jeh proːk (GRADIN & GRADIN 1979), Kammu-Yuan prɔːk, Palaung [ə]prɔʔ(MILNE 1931), 
    Vietnamese [con] sóc, Sakai prōkn (i.e. Semai; SKEAT & BLAGDEN 1906 M 136 (c)); →Lao, Ahom *rook (BENEDICT 1975 226, bat…); 
    Cham, Jarai prɔːʔ, Röglai proʔ, North Röglai proːʔ.Cf. Khmer kɔmprok, apparently < *koːn prɔːk, for which 
    cf. Vietnamese; → Thai krarɔ̂ɔk (with kr- by hypercorrection) at early stage. 
    http://sealang.net/monkhmer/sidwell2007proto.pdf
    Sidwell, Paul, Proto-Mon-khmer vocalism: moving on from short's 'alternances'.




    Distribution of seals/tablets within House AI, Block 1, HR at Mohenjodaro (After Jansen, M., 1987, Mohenjo-daro -- a city on the Indus, in Forgotten Cities on the Indus (M. Jansen, M. Mulloy and G. Urban Eds.), Mainz, Philip Von Zabern, p. 160). Jansen speculated that the house could have been a temple. 





    One of the seals discovered in HR 116 which may signify a 'squirrel' hypertext.


    kolom 'rice plant' rebus: kolimi 'smithy, forge' karã̄ n. pl. wristlets, banglesRebus:khār 'blacksmith, iron worker' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' karNaka, kanka 'rim of jar' rebus: karNI 'supercargo' karNaka 'scribe, account' dula 'two' rebus: dul 'metal casting' *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri). Thus, the inscription signifies: blacksmith guild-master working in iron in smithy/forge, metal castings handed over to Supercargo for shipment. 




    Note on tuttha


    तुत्थ tuttha [p= 450,2] n. (m. L. ) blue vitriol (used as an eye-ointment) Sus3r.; fire;
    n. a rock Un2. k. (Monier-Williams) upadhātuḥउपधातुः An inferior metal, semi-metal. 
    They are seven; सप्तोपधातवःस्वर्णंमाक्षिकंतारमाक्षिकम्। तुत्थं कांस्यंचरातिश्चसुन्दूरंचशिलाजतु॥
    (Apte. Samskritam) Ta. turu rust, verdigris, flaw; turucu, turuci blue vitriol, spot, dirt, 
    blemish, stain, defect, rust; turicu fault, crime, sorrow, affliction, perversity, blue vitriol; 
    tukku, tuppu rust. Ma. turiśu blue vitriol; turumpu, turuvu rust. Ka. tukku rust of iron; 
    tutta, tuttu, tutte blue vitriol. Tu. tukků rust; mair(ů)suttu, (Eng.-Tu. Dict.) 
    mairůtuttu blue vitriol. Te. t(r)uppu rust; (SAN) trukku id., verdigris. / 
    Cf. Skt.tuttha- blue vitriol; Turner, CDIAL, no. 5855 (DEDR 3343). 
    tutthá n. (m. lex.), tutthaka -- n. ʻ blue vitriol (used as an eye ointment) ʼ
    Suśr., tūtaka -- lex. 2. *thōttha -- 4. 3. *tūtta -- . 4. *tōtta -- 2. 
    [Prob. ← Drav. T. Burrow BSOAS xii 381; cf. dhūrta -- 2 n. ʻ iron filings ʼ lex.]
    1. N. tutho ʻ blue vitriol or sulphate of copper ʼ, B. tuth.2. K. thŏth, dat. °thas m., 
    P. thothā m.3. S. tūtio m., A. tutiyā, B. tũte, Or. tutiā, H. tūtā, tūtiyā m., M. tutiyā m.
    4. M. totā m.(CDIAL 5855) तुतिया [ tutiyā ] m ( H) Blue vitriol, sulphate of copper.
    तुत्या [ tutyā ] m An implement of the goldsmith.तोता [ tōtā ] m ( H) (Properly तुतिया) 
    Blue vitriol.(Marathi) <taTia>(M),,<tatia>(P)  {N} ``metal ^cup, ^frying_^pan''.  
    *Ho<cele>, H.<kARahi>, Sa.<tutiA> `blue vitriol, bluestone, sulphate of copper',
    H.<tutIya>.  %31451.  #31231. Ju<taTia>(M),,<tatia>(P)  {N} ``metal ^cup, 
    ^frying_^pan''.  *Ho<cele>, H.<kARahi>,Sa.<tutiA> `blue vitriol, bluestone, 
    sulphate of copper', (Munda etyma) S توتیا totī-yā, s.f. (6th) Tutty, protoxyd of zinc. (E.) 
    Sing. and Pl.); (W.) 
    Pl. توتیاوي totīʿāwī. نیل توتیا nīl totī-yā, s.f. (6th) Blue vitriol, sulphate of copper. سبز توتیا sabz totī-yā, s.f. (6th) Green vitriol, or sulphate of iron.(Pashto)
    thŏth 1 थ्वथ् । कण्टकः, अन्तरायः, निरोध, शिरोवेष्टनवस्त्रम् m. (sg. dat. thŏthas थ्वथस्), blue vitriol, 
    sulphate of copper (cf. nīla-tho, p. 634a, l. 26)(Kashmiri)
  • Annex C Decipherment of 'ant' hieroglyph      Ant hieroglyph, examples from Indus Script Corpora                                  
     h151 5057Text
    h144 4280Text


    h131 4271Text 

    h260A,B 4345Text
    చీమ [ cīma ] chīma. [Tel.] n. An ant. కొండచీమ. the forest ant. రెక్కలచీమ a winged ant. పారేచీమను వింటాడు he can hear an ant crawl, i.e., he is all alive.చీమదూరని అడవి a forest impervious even to an ant. చలిచీమ a black ant; పై పారేపక్షి కిందపారే చీమ (proverb) The bird above, the ant below, i.e., I had no chance with him. చీమంత of the size of an ant. చీమపులి chīma-puli. n. The ant lion, an ant-eater.

    చీముంత [ cīmunta ] chīmunta.. [Tel.] n. A metal vessel. చెంబు.

    †cīmara -- ʻ copper ʼ in cīmara -- kāra -- ʻ coppersmith ʼ in Saṁghāṭa -- sūtra Gilgit MS. 37 folio 85 verso, 3 (= zaṅs -- mkhan in Tibetan Pekin text Vol. 28 Japanese facsimile 285 a 3 which in Mahāvyutpatti 3790 renders śaulbika -- BHS ii 533. But the Chinese version (Taishō issaikyō ed. text no. 423 p. 971 col. 3, line 2) has t'ie ʻ iron ʼ: H. W. Bailey 21.2.65). [The Kaf. and Dard. word for ʻ iron ʼ appears also in Bur. čhomār, čhumər. Turk. timur (NTS ii 250) may come from the same unknown source. Semant. cf. lōhá -- ]Ash. ċímä, ċimə ʻ iron ʼ (ċiməkára ʻ blacksmith ʼ), Kt. čimé;, Wg. čümāˊr, Pr. zíme, Dm. čimár(r), Paš.lauṛ. čimāˊr, Shum. čímar, Woṭ. Gaw. ċimár,Kal. čīmbar, Kho. čúmur, Bshk. čimer, Tor. čimu, Mai. sē̃war, Phal. čímar, Sh.gil. čimĕr (adj. čĭmārí), gur. čimăr m., jij. čimer, K. ċamuru m. (adj.ċamaruwu).(CDIAL 14496)


     
    Kalibangan 080 Seal impression 8120 Text

    m0143 Mohenjo-Daro seal 2002 Text 
  • Alternative readibng: piparā 'ant' (Assamese) Rebus: pippala 'knife' (Prakritam) pipīlá m. ʻ ant ʼ RV., °laka -- m. ʻ large black ant ʼ ChUp., pipīˊlikā -- f. ʻ small red ant ʼ AV., pīlaka -- m. ʻ ant ʼ lex. 2. *piphīla -- . 3. *pippīla -- . 4. *pipphīla -- . 5. *pippīḍa -- . 6. *pilīla -- . [Variety of MIA. and NIA. forms for ʻ ant ʼ may be due partly to its (unknown) nonAryan origin (EWA ii 285), partly to contamination with kīṭá -- and kŕ̊mi -- , but mainly to some sort of taboo for a noxious insect. Although there appear to be six main types, not all NIA. forms can be grouped exactly under them]1. Pa. pipīlikā -- , pipillikā -- f. ʻ ant ʼ, Pk. pipīliā -- f., °lia<-> m., pivīliā -- f., Wg. pīmilīˊk, pilīˊk, Gaw. pilo, Tor. pel f.; -- dissim. of p -- p (Wackernagel AiGr i Nachträge 158) or X kīṭá -- : Pa.kipillaka -- m., °likā -- f., Aś. kq. aṁbā -- kipilikā nom. pl., top. -- kapīlika, rdh. -- kapilika ʻ a kind of ant ʼ, S. kiulī f., kĩulī f. (X kŕ̊mi -- ?); L. kavīlī f. ʻ small red ant ʼ; N. kamilo, (< *kãwilorather than < karmín -- ).2. Kal.urt. phīwilík ʻ ant ʼ; L. pehlā m. ʻ large black ant ʼ, °lī f. ʻ small red ant ʼ (< *pahĭ̄l -- ), awāṇ. pḕlā, °lī; WPah.śeu. priùli ʻ ant ʼ, l.rudh. priv̀lli (X *priśu -- ?), khaś. h.rudh. biùli.3. Or. pipīḷi ʻ ant ʼ; -- P. piplīhī f. (cf. Pk. forms with -- p -- in 1 ab.).4. Dm. phipilīˊ, phempilī ʻ ant ʼ.5. OB. piṁpaḍā ʻ ant ʼ, MB. pĩpīṛā, B. pĩp(i)ṛā, pipiṛā, Or. pimpuṛi, Mth. pipṛī; H. pipṛā m. ʻ large black ant ʼ, °ṛī f. ʻ small red ant ʼ; -- Pk. pippaḍā -- f. ʻ a kind of ant ʼ (cf. *pippa -- 2); A. piparā ʻ ant ʼ (paruwā ʻ ant ʼ < *pawarā < *papaḍa -- ?).6. Kal.rumb. pilīˊly*lk ʻ ant ʼ, Kho. pilíli, Bshk. pilíl, Phal. pilīˊlu m.; -- Sh. phĭlīli̯ f.Addenda: pipīlá -- . 1. WPah.kṭg. phímpəṛi f. ʻ butterfly ʼ, J. fimfṛi f.; -- kṭg. kimbli, khímbli f. ʻ ant ʼ with dissimilation of ph -- p to kh -- b as bh -- ph to g -- ph in †*bāhuṣphara -- .5. *pippīḍa -- : A. also pipãrā (AFD 211), OA. pimparā ʻ ant ʼ.(CDIAL 8201)
    pippalaka m. ʻ pin ʼ Car.Pa. pippalaka -- n. (?) ʻ scissors (?) ʼ; Pk. pippala-<-> ʻ knife ʼ; H. pīplā m. ʻ striking part of a sword (about a span from point), end or point of sword, metallic tip of sheath ʼ; M. pĩpiḷā m. ʻ instrument for cutting plaintain leaves (sometimes fastened to a stick) ʼ.(CDIAL 8206)  இறும்பி iṟumpi, n. < எறும்பு. [K. iṟumpu, M. iṟumbu.] Ant; எறும்பு. (யாழ். அக.) இரும்பு irumpu, n. < இரு-மை. cf. செம்பு for செம்மை. [T. inumu, M. irumbu.] 1. Iron, literally, the black metal; கரும்பொன். (தேவா. 209, 3.) 
  • See: 

    An additional argument to authenticate the use of Indus Script in Ancient Susa and Mesopotamia region is provided by a Susa pot in the Louvre Museum with Indus Script inscription, Fish is a frequently signified hieroglyph in Indus Script Corpora. The Susa pot deployed the 'fish' hieroglyph to authenticate the contents of the storage pot which contained 'metalware,metal implements'. This is validation of the argument posited that Meluhha artisans/merchants had settled in Susa/Mesopotamia; this is also attested in cuneiform texts. See also 
    http://cartelen.louvre.fr/cartelen/visite?srv=car_not_frame&idNotice=12280&langue=fr Cylinders of Gudea

    This indication of the occurrence, together, of two or more 'fish' hieroglyphs with modifiers is an assurance that the modifiers ar semantic indicators of how aya 'metal' is worked on by the artisans.

    āĩsa ʻfish' (Oriya): āmiṣá n. ʻ flesh ʼ, āˊmiṣ -- n. ʻ raw flesh, dead body ʼ RV.Pa. āmisa -- n. ʻ raw meat, bait ʼ; Pk. āmisa -- n. ʻ flesh ʼ; B. ã̄is ʻ scales of fish ʼ; Or. āĩsa ʻ flesh, fish, fish scales ʼ; M. ã̄vas n. ʻ flesh of a kill left by a tiger to be eaten on the following day ʼ; Si. äma ʻ bait ʼ; -- der. A. ã̄hiyā ʻ having the smell of raw flesh or fish ʼ, B. ã̄ste (Chatterji ODBL 491(CDIAL 1256)

    Munda: So. ayo `fish'. Go. ayu `fish'. Go <ayu> (Z), <ayu?u> (Z),, <ayu?> (A) {N} ``^fish''. Kh. kaDOG `fish'. Sa. Hako `fish'. Mu. hai (H) ~ haku(N) ~ haikO(M) `fish'. Ho haku `fish'. Bj. hai `fish'. Bh.haku `fish'. KW haiku ~ hakO |Analyzed hai-kO, ha-kO (RDM). Ku. Kaku`fish'.@(V064,M106) Mu. ha-i, haku `fish' (HJP). @(V341) ayu>(Z), <ayu?u> (Z)  <ayu?>(A) {N} ``^fish''. #1370. <yO>\\<AyO>(L) {N} ``^fish''. #3612. <kukkulEyO>,,<kukkuli-yO>(LMD) {N} ``prawn''. !Serango dialect. #32612. <sArjAjyO>,,<sArjAj>(D) {N} ``prawn''. #32622. <magur-yO>(ZL) {N} ``a kind of ^fish''. *Or.<>. #32632. <ur+GOl-Da-yO>(LL) {N} ``a kind of ^fish''. #32642.<bal.bal-yO>(DL) {N} ``smoked fish''. #15163. Vikalpa: Munda: <aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''.#10171. So<aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''.
    Indian mackerel Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma.ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach (DEDR 191) 

    aduru native metal (Ka.); ayil iron (Ta.) ayir, ayiram any ore (Ma.); ajirda karba very hard iron (Tu.)(DEDR 192). Ta. ayil javelin, lance, surgical knife, lancet.Ma. ayil javelin, lance; ayiri surgical knife, lancet. (DEDR 193). aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330); adar = fine sand (Ta.); ayir – iron dust, any ore (Ma.) Kur. adar the waste of pounded rice, broken grains, etc. Malt. adru broken grain (DEDR 134).  Ma. aśu thin, slender;ayir, ayiram iron dust.Ta. ayir subtlety, fineness, fine sand, candied sugar; ? atar fine sand, dust. அய.ர³ ayir, n. 1. Subtlety, fineness; நணசம. (த_வ_.) 2. [M. ayir.] Fine sand; நணமணல. (மலசலப. 92.) ayiram, n.  Candied sugar; ayil, n. cf. ayas. 1. Iron; 2. Surgical knife, lancet; Javelin, lance; ayilavaṉ, Skanda, as bearing a javelin (DEDR 341).Tu. gadarů a lump (DEDR 1196) áyas n. ʻ metal, iron ʼ RV.Pa. ayō nom. sg. n. and m., aya -- n. ʻ iron ʼ, Pk. aya -- n., Si. ya.ayaścūrṇa -- , ayaskāṇḍa -- , *ayaskūṭa -- .Addenda: áyas -- : Md. da ʻ iron ʼ, dafat ʻ piece of iron ʼ.ayaskāṇḍa m.n. ʻ a quantity of iron, excellent iron ʼ Pāṇ. gaṇ. [áyas -- , kāˊṇḍa -- ]Si. yakaḍa ʻ iron ʼ.(CDIAL 590, 591)
    The vase a la cachette, shown with its contents. Acropole mound, Susa. Old Elamite period, ca. 2500 - 2400 BCE. Clay. H 201/4 in. (51 cm) Paris. http://www.louvre.fr/oeuvre-notices/vase-la-cachette
    Indus Script hieroglyphs painted on the jar are: fish, quail and streams of water; 
    aya 'fish' (Munda) rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) 
    baTa 'quail' Rebus: baTa 'furnace'.
    kāṇḍa 'water' Rebus: kāṇḍa 'implements'.
    Thus, read together, the proclamation on the jar by the painted hieroglyphs is: baTa ayas  kāṇḍa 'metal implements out of the furnace (smithy)'.
    A quail'; painted on the top register of the jar.
     
     Fish painted on the rim and top segment of the storage pot.

    • Jarre et couvercle
    • Terre cuite peinte
      H. : 51 cm. ; D. : 26 cm.
    • Sb 2723, Sb 2723 bis
    • Antiquités orientales
      Aile Richelieu
      Rez-de-chaussée
      Iran, Suse au IIIe millénaire avant J.-C.
      Salle 8
      Vitrine 2 : Le Vase à la Cachette. Suse IVA (vers 2450 avant J.-C.). Fouilles Jacques de Morgan, 1907, tell de l'Acropole.

    Notes by Nancie Herbin (Translated) on the treasure of copper and bronze objects: 
    This jar covered with a bowl contained, and a second pottery, buried treasure by its owner on the tell of the Acropolis of Susa. The set includes objects of various shapes and materials typical of an era when Susa, dominated by its Mesopotamian neighbors, kept numerous exchanges with areas ranging from the Gulf to the Indus.
    A treasure hidden in a jar
    This is a jar closed with a ducted bowl. The treasure called "vase in hiding" was initially grouped in two containers with lids. The second ceramic vessel was covered with a copper lid. It no longer exists leaving only one. Both pottery contained a variety of small objects form a treasure six seals, which range from proto-Elamite period (3100-2750 BC.) To the oldest, the most recent being dated to 2450 BC. AD (First Dynasty of Ur). Therefore it is possible to date these objects, this treasure. Everything included 29 vessels including 11 banded alabaster, mirror, tools and weapons made of copper and bronze, 5 pellets crucibles copper, 4 rings with three gold and a silver, a small figurine of a frog lapis lazuli, gold beads 9, 13 small stones and glazed shard. Metal objects, including tools used may have weight or exchange currency. For some reason we do not know, this treasure has been hidden by its owner but may not get it back. According to Pierre Amiet, it may have been a vassal tribute to the local prince.
    A wide variety of shapes and materials
    The large number and variety of copper objects testify to the importance of this metal in the middle of the 3rd millennium BC. J-C. The shapes are inspired by the craftsmanship of the neighboring regions such as Luristan and Mesopotamia. The presence of four bronze objects indicates that this alloy began to be controlled by the artisans of the region. However, the small number of objects in precious metals and stones contrast with the richness of the materials used in the Sumerians. Copper came from Oman while lapis lazuli was mined Afghan mountains. The alabaster vases imported objects are either Sistan or Lut desert, the Susian artisans using a coarser material. Such vases were found in large numbers in the city of Ur and show a taste for the exotic which is found until the beginning of the second millennium.
    A new cultural momentum
    At that time, the Susa region is successively under the aegis of the Mesopotamian kingdoms of Sumer and Akkad. Suse likely begins to emerge from the isolation in which she was to enter a new cultural phase. Although still on the fringes of commercial circuits, a network of exchanges, particularly with regard to materials, is set up with neighboring regions such as Southeast Iran and the Gulf countries, or slightly more distant as the Indus valley.
    Bibliography
    AMIET × P., Age of inter-Iranian Trade, Paris: Meeting of National Museums, 1986, p.125-126; Fig. 96, 1-9, (Notes and documents of the Museums of France).

    AMIET P. Susa 6000 years of history, Paris: Meeting of National Museums, 1988, p.64-65; Fig. 26.

    A. BENOIT, The Civilizations of the former Prochre East Paris: Ecole du Louvre, 2003, p.252-253; Fig. 109 (Manuals Ecole du Louvre, Art and Archaeology).
    Sb 2723 (After Harper, Prudence Oliver, Joan Aruz, Francoise Tallon, 1992, The Royal city of Susa: Ancient Near Eastern Treasures in the Louvre, Metropolitan Musem of Art,  New York.)http://bharatkalyan97.blogspot.in/2015/07/rosetta-stones-for-deciphered-indus.html

    Sargon (2334-2279 BCE) founded the Akkad dynasty which saw inter-regional trade routes, from Dilmun and Magan to Susa and Ebla. Later Naram-Sin (c. 2254-2218 BCE) conquered the cities of Mari and Ebla. Agade of Sargon boasted of gold, tin and lapis lazuli brought from distant lands. A description (Kramer, Samuel Noah, 1958: History Begins at Sumer (London: Thames & Hudson,  289-290) reads:

    When Enlil had given Sargon, king of Agade,
    Sovereignty over the high lands and over the low lands
    ...
    under the loving guidance of its divine patron Inanna.
    Its houses filled with gold, silver, copper, tin, lapis lazuli;
    ...
    The Martu (Amorites) came there, that nomadic people from the west,
    'who know not wheat' but who bring oxen and choice sheep;
    The folk from Meluhha came, 'the peole of the black lands',
    Bearing their exotic products;
    The Elamites came and the Sabareans, peoples from the East and the North,
    With their bundles like 'beasts of burden'...

    In this narrative, Meluhha folk from the black lands were those who required a translator. (Se Shu-ilishu cylinder seal of an Akkadian translator).

    King Manistusu commemorates the import of diorite for royal statuary and other stone. Arrival in Sumer ports of boats from Meluhha are said to bring in ivory, copper, precious stones and timber (Leemans, WF, 1960, Foreign trade in the Old Babylonian period as revealed by texts from Southern Mesopotama (Leiden): 27-30). A tamkarum from Umma and his three sons were engaged in the trade of wool, cereals, fruit, sesame oil and copper (Foster, B., 1993, International trade at sargonic Susa, AoF 20 : 62-63). It is possible that this colony of merchants in Susa were seafaring merchants from Meluhha.

    "In the third millennium Sumerian texts list copper among the raw materials reaching Uruk from Aratta and all three of the regions Magan, Meluhha and Dilmun are associated with copper, but the latter only as an emporium. Gudea refers obliquely to receiving copper from Dilmun: 'He (Gudea) conferred with the divine Ninzaga (= Enzak of Dilmun), who transported copper like grain deliveries to the temple builder Gudea...' (Cylinder A: XV, 11-18, Englund 1983, 88, n.6). Magan was certainly a land producing the metal, since it is occasionally referred to as the 'mountain of copper'. It may also have been the source of finished bronze objects." (Moorey, Peter Roger Stuart, 1999, Ancient Mesopotamian Materials and industries: the archaeological evidence, Eisenbrauns, p.245).

    Tin for Mesopotamia from southeast Asia or Central Asia?

    Daniel T. Potts discounts the possibility that Meluhha was the source of tin. 

    "Tin. The sources of Mesopotamia's tin...have been sought from Southeast Asia to Cornwall. With regard to the former possibility, it has always proved difficult to establish any sort of an archaeological link between Burma, Thailand or any other part of mainland Southeast Asia and the Indian sub-continent, supposing that this was the location of Meluhha from which Gudea (Cyl B XIV.13) claims to have imported tin. As the Indian subcontinent has no tin itself, Meluhha's tin must have been acquired elsewhere and then trans-shipped to Mesopotamia, just as Dilmun's copper was acquired in Magan during the early second millennium BCE. With a view to examining the evidence for a connection between the tin-rich regions of Southeast Asia and the Indus Valley, it is interesting to note that some years ago the claim was made that etched carnelian beads, a particularly diagnostic type fossil of the Harappan civilization, had been found at the early tin-bronze producing site of Ban Chiang in Thailans. This made the likelihood that Meluhhan tin was southeast Asian in origin less far-fetched than previously thought. In fact, however, scholars who have actually seen the Ban Chiang beads have confirmed that they are not Harappan at all, but date rather to the last centuries BCE or first centiries CE when different types of etched carnelian beads, clearly distinct from those of the earlier Harappan period, were manufactured. For the time being, therefore, we should not consider southeast Asia a likely tin source based on this now discredited piece of evidence...Since lapiz lazuli, which certainly originated in Afghanistan (Badakshan), is said by Gudea to have been acquired from Meluhha, it is quite probable that the tin which he received from that country originated in Central Asia as well."(Potts, Daniel T., 1997, Mesopotamian civilization: the material foundations, A&C Black, pp.266-269)

    With the recognition of Indus Script hieroglyphs on cire perdue cast Dong Son Bronze drums, the possibility that Meluhha merchants functioned as the intermediaries for the tin from the Tin Belt of Mekong delta should be re-evaluated to validate Gudea's reference to Meluhha in the context of carnelian and tin imports.

    Gudea Cylinder B, column 14.13 [Jacobsen , T.,1987, The Harps that once...Sumerian poetry in translation: New Haven (Yale University Press): 437]:

    Beside copper, tin, slabs of lapis lazuli,
    refined silver and pure Meluhhan carnelian,he set up a huge copper pail...

    See: http://bharatkalyan97.blogspot.in/2013/12/tin-road-from-meluhha-to-ancient-near.htmlhttp://bharatkalyan97.blogspot.in/2013/12/tin-road-from-meluhha-to-ancient-near.html

    Reference in some Sumerian texts to acquisition of lapis lazuli and gold from Meluhha suggest that the sea route through the Persian Gulf was used by Meluhha merchants.
    Seal of Shu-ilishu showing a Meluhha merchant. The rollout of Shu-ilishu's Cylinder seal. Courtesy of the Department des Antiquites Orientales, Musee du Louvre, Paris. http://a.harappa.com/content/shu-ilishus-cylinder-seal

    There are two Indus Script hieroglyphs which signify possible trade transactions on this seal: 1. the goat carried by the Meluhha merchant; and 2. the liquid-container carried by the lady accompanying the merchant.

    1. Hieroglyph: mlekh 'goat' (Brahui) Rebus: milakkhu 'copper' (Pali) 
    2. Hieroglyph: ranku 'liquid measure' Rebus: ranku 'tin'. 

    If these rebus renderings are valid, the seal may be evidence of trade in copper and tin being negotiated by the Meluhha merchant with the Akkadian merchant. Shu-ilishu lived in Mesopotamia during the Late Akkadian period (ca. 2020 BCE.

    Fish glyph on a Susa pot has been decoded as Indus script. See http://bharatkalyan97.blogspot.com/2011/11/decoding-fish-and-ligatured-fish-glyphs.html That the pot came from Meluhha has been further substantiated by analysing Susa-Indus interaction areas. 

    In particular, there is a bronze sculpture excavated in Susa, called Sit Shamshi. "Sunrise (ceremony)" This large piece of bronze shows a religious ceremony. In the center are two men in ritual nudity surrounded by religious furnishings - vases for libations, perhaps bread for offerings, steles - in a stylized urban landscape: a multi-tiered tower, a temple on a terrace, a sacred wood. In the Middle-Elamite period (15th-12th century BC), Elamite craftsmen acquired new metallurgical techniques for the execution of large monuments, statues and reliefs. http://tinyurl.com/coobwur

    I suggest that this religious ceremony in front of a ziggurat is a sandhyavandanam (morning prayer to the sun) by the metallurgist artisan from Meluhha. The prayer is a veneration of the ancestors whose remains are interned in the ziggurat/stupa. Further researches have to be done on the continuance of similar traditions in the metal smelting areas on Ganga valley, sites such as Lohardiwa, Malhar, and Raja-nal-ki-tila (where Rakesh Tiwari has found evidence of iron smelting in ca. 18th century BCE).
  • L'art des sceaux de l'empire d'Akkad
    Vers 2350 - 2200 avant J.-C.

    Les rois sémites d'Akkad, en fondant le premier empire "universel", prirent en main les arts plastiques comme instrument de leur idéologie. Les ateliers de graveurs de sceaux qu'ils patronnèrent créèrent un style nouveau en organisant le décor animalier traditionnel autour de l'inscription, prise pour centre de la composition. Et les figures reçurent un aspect plus sculptural. D'autre part, un répertoire nouveau fut créé afin d'illustrer une riche mythologie, calquée sur l'ordre du monde tel qu'il se renouvelle chaque année en un éternel retour. Le panthéon se réduit à quelques figures reconnaissables à leurs tiares à cornes et à leurs attributs, symboliques des éléments du monde : le dieu de l'abîme des eaux qui jaillissent de son corps et d'un petit vase. C'est le père et le chef du panthéon, qui préside sans agir.
    La grande déesse-mère est garante de la fertilité et de la fécondité. Le jeune dieu paré de flammes personnifie le soleil aussi bien que les puissances du renouveau en général. Son image ressemble à celle du roi vainqueur. Le dieu de la végétation est reconnaissable aux rameaux qui poussent de son corps comme du tronc d'un arbre. L'ordre du monde est présenté soit comme une monarchie, avec un dieu trônant seul, soit comme le fruit du mariage d'un couple divin. Plus souvent, il est conçu de façon dramatique, soit comme l'action combinée de plusieurs dieux spécialisés, soit comme un combat où triomphe généralement le dieu-soleil.

    La naissance de l'enfant divin
    Schiste
    La naissance de l'enfant divin, symbole de la renaissance de la nature à l'aube de chaque année. Sceau d'un "interprète du pays de Meluhha", c'est à dire de l'Inde ou de l'Iran oriental avec qui l'empire d'Akkad noua des relations importantes.
    Don H. de Boisgelin 1967
    Ancienne collection De Clercq
    Département des Antiquités orientales
    AO 22310

    Translation from French                                                                              
    The art of the seals of the Akkad Empire Around 2350 - 2200 BC

    The Semitic kings of Akkad, founding the  first "universal" empire, took over the plastic arts as an instrument of their ideology. The seal engravers they patronized created a new style by organizing the traditional animal decor around the inscription, taken as the center of the composition. And the figures received a more sculptural appearance. On the other hand, a new repertoire was created to illustrate a rich mythology, modeled on the order of the world as it is renewed every year in an eternal return. The pantheon is reduced to a few figures recognizable by their horned tiaras and their attributes, symbolic of the elements of the world: the god of the abyss of the waters that spring from his body and a small vase. It is the father and the head of the pantheon, who presides without acting.
    The great mother goddess guarantees fertility and fertility. The young god adorned with flames personifies the sun as well as the powers of renewal in general. His image resembles that of the victorious king. The god of vegetation is recognizable by the branches that grow from his body like the trunk of a tree. The order of the world is presented either as a monarchy, with a god enthroned alone, or as the fruit of the marriage of a divine couple. More often, it is conceived in a dramatic way, either as the combined action of several specialized gods, or as a fight where the sun-god generally triumphs.

    The birth of the divine child
    schist

    The birth of the divine child, symbol of the rebirth of nature at the dawn of each year. Seal of an "interpreter of the country of Meluhha", that is to say of India or Eastern Iran with which the empire of Akkad knotted important relations.
  • Image result for ibni sharrum cylinderHéros acolytes d'Ea abreuvant des buffles
  • Diorite
    H. 3.9 cm; Diam. 2.6 cm
  • Don H. de Boisgelin 1967. Ancienne collection De Clercq , 1967
    AO 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://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.) bheṛ ʻ warrior ʼ.(CDIAL 9588)


    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.
    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 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'.

    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). 

    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'.


    Image result for pasupati indus sealHseal (m0304). Image result for bharatkalyan97 haystackThe 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.

    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. geṇḍɔ mirg 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: 
     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).

                       


                           
                       
                     


                   


                   
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