1. A finely polished pedestal.  Dark red stone. Trefoils. (DK 4480, After Mackay 1938: I, 412; II, pl. 107:35; Parpola, 1994, p. 218.) National Museum, Karachi. Stone base for Sivalinga.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone.

2. Two decorated bases and a lingam, Mohenjodaro. Trefoil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218. "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I" 

Paia-sadda-mahannavo(a Comprehensive Prakrit-hindi Dictionary) Part-i

ByPandit, Hargovind, 1923

cēdi is the jagati, lingam base. The importance and cultural significance of the word cēdi in Ancient India is seen in the name of a janapada, it was called cēdi (See appended note)

वेदि, वेदी   vēdi, vēdī , or वेदिका f S A plat or raised ground on which sacrifices or oblations are offered. 2 A border around the कुंड (the pit) or the level area of a place of sacrifice. 3 A defined space (as in the yard of a temple &c.) on which a raised mass is made, serving as an altar; a seat for the vessels used in oblations &c; a stand for idols to be placed and worshiped.

लिंग   liṅga n (S) The penis. 2 Gender. (पुल्लिंग Masculine, स्त्रीलिंग Feminine, नपुंसकलिंग Neuter.) 3 The Phallus or emblematic representation of Shiva. 4 An affix to the names of worshipers of the lingam; as दादलिंग, सदलिंग. 5 A distinguishing mark; a sign, token, badge. 6 Nature or Prakriti, according to the Sánkhya philosophy; the active or motive power in creation. (Marathi)

Bull-man. Chitragupta temple.Khajuraho.

Bull-man Chidambaram temple.

Sphinx. A South Indian temple frescoe. Bull-man venerates Śivalinga. Offers a chess piece of horse. https://www.sanskritimagazine.com/indian-religions/hinduism/sphinx-in-the-vedas/ While chanting Yajurveda, the priest presents a Purushamrga lamp.

Gold amulet, Achaemenid period, 5^th-4^thcent BCE. British Museum.

Image of lion carrying Durga. Mahabalipuram Shore temple.https://artsandculture.google.com/exhibit/fgLC5vhuL90aJA

purushamriga, Kailasha temple. 8th cent.

 Sphinx of India or purushamriga has now also been found in the Mallikarjuna temple at Pattadakal,

 Purushamriga or Indian sphinx depicted on the Varadaraja Perumal temple in Tribhuvanai, India

Bull- man in ancient Indian temple (http:// www.sphinxofindia.rajadeekshithar.com 

Spinx. Nataraja temple. Chidambaram.

Sphinx on the southern side, facing northeast; sphnx on the northern side, facing southeast. Kailasha temple, Ellora.

Lamassu winged bull amulet replica. Limestone and Quartzite composite stone Lamassu bull Dimensions:- 5.5 cm x 5.5 cm / 2-1/4 x 2-1/4 inches

Cylinder Seal and Modern Impression: Bull Man, Hero, and Lion Contest in the Metropolitan Museum of Art.

[quote]Cylinder Seal and Modern Impression: Bull Man, Hero, and Lion Contest
Marble
Mesopotamia
Early Dynastic III, 2600-2334 BC

Accession # 55.65.4

Text from the Metropolitan Museum of Art label.


and


Seals

Although engraved stones had been used as early as the seventh millennium BC to stamp impressions in clay, the invention in the fourth millennium BC of carved cylinders that could be rolled over clay allowed the development of more complex seal designs. These “cylinder seals,” first used in Mesopotamia, served as a mark of ownership or identification. Seals were either impressed in clay masses that were used to close jars, doors, and baskets, or they were rolled onto clay tablets that recorded information about commercial or legal transactions. The seals were often made of precious stones. Protective properties may have been ascribed to both the material itself and the carved designs. Seals are important to the study of ancient Near Eastern art because many examples survive from every period and can, therefore, help to define chronological phases. Often preserving imagery no longer extant in any other medium, they serve as a visual chronicle of style and iconography.

Text from the Metropolitan Museum of Art plaque. [unquote]

http://www.ipernity.com/doc/laurieannie/24660957

Ugarit relief, 2nd-1st millennium, BCE. Mountain-god and two bulls with human heads and arms. Basalt bas-relief on a socle (13th BCE) from Ain Dara, north of Aleppo, Syria. National Museum, Aleppo, Syria 

Cylinder seal and modern impression- bull-man wrestling with lion; nude bearded hero wrestling with a water buffalo. Akkadian; Cylinder seal; Stone-Cylinder Seals-Inscribed. circa 2250 –2150 B.C.E. Serpentine, black. 1.42 in. (3.61 cm). Met Museum Acc. No. 41.160.281

 

 

A SUMERIAN COPPER PROTOME 

EARLY DYNASTIC III, CIRCA 2550-2250 B.C.E.

Neo-Sumerian Statuette of an Androcephalous Bull, C. 2350-2000 BCE Composition of two horned animals, sitting human playing a four-string musical instrument, a star and a moon.

Bull-headed harp with inlaid sound box, from the tomb of Pu-abi (tomb 800), Royal Cemetery, Ur (modern Tell Muqayyar), Iraq, ca. 2600-2400 BCE.  Wood, gold, lapis lazuli, red limestone, and shell, 3′ 8 1/8″ high.  British Museum, London.


Sound box of the bull-headed harp from tomb 789 (“King’s Grave”), Royal Cemetery, Ur (modern Tell Muqayyar), Iraq,ca. 2600-2400 BCE.  Wood, lapis lazuli, and shell, 1′ 7″ high.  University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia. 

"Great Lyre" from Ur: Ht 33 cm. 2550 - 2400 BCE, royal tomb at Ur (cf. pg. 106 of J. Aruz and R. Wallenfels (eds.) 2003  Art of the First Cities).

Great Lyre from the "King's Grave" (left)
and Detail of Front Panel of the Great Lyre from the "King's Grave" (right)
Ur, Iraq, ca. 2650–2550 B.C.
Gold, silver, lapis lazuli, shell, bitumen, and wood
Height: 35.6 cm (head), 33 cm (plaque)
PG 789; B17694 (U.10556)
University of Pennsylvania Museum of Archaeology and Anthropology
"The figures featured on the sound box of the harp are shell and red limestone and are seperated by registers.  The bottom register features a scorpion-man in composite and a gazelle bearing goblets.  Above them are an ass playing the harp, ajackal playing the zither and a bear steadying the harp or dancing.  The second register from the top has a dog wearing a dagger and carrying a laden table with a lion bringing the beverage service.  The uppermost register features the hero, also in composite, embracing two man-bulls in a heraldic composition.  The meaning behind the sound box depictions is unclear but could be of funerary significance, suggesting that the creatures inhabit the land of the dead and the feast is what awaits in the afterlife.  In any case, the sound box provides a very early specimen of the depiction of animals acting as people that will be found throughout history in art and literature."
https://klimtlover.wordpress.com/mesopotamia-and-persia/mesopotamia-and-persia-sumerian-art/

"Great Lyre" from Ur: Ht 33 cm

. 2550 - 2400 BCE, royal tomb at Ur (cf. pg. 106 of J. Aruz and R. Wallenfels (eds.) 2003  Art of the First Cities).

War side with person for scale	Scenes of war	Scenes of peace	end and scenes of peace	end and scenes of peace
War: king's chariot and helmeted charioteer with axe	War: soldiers with axes and spears	War: soldiers and nude captives	War: enemy taken captive	War: helmeted soldier and charioteer in chariot with spears
War: fallen enemy trampled by donkeys or onagers	War: fallen enemy; helmeted soldier and charioteer	Peace: king at banquet	Peace: musician with lyre and singer (?) at banquet	Peace: rams
Peace: people carrying produce or booty	end: ram at tree and unidentified figure	end: man and ram	end: lion-headed eagle (Anzud) and bull-man

Recumbent bull with man's head,Department of Near Eastern Antiquities: Mesopotamia,Louvre

• Statuette of an androcephalous bull
  Neo-Sumerian period
• Chlorite with inlays
  H. 12.10 cm; W. 14.90 cm; D. 8 cm
• Acquired in 1898 , 1898
  AO 2752
• Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes dating from the late third millennium BC show a bearded creature wearing the divine horned headdress, lying down with its head turned to the side. They have been found at various Sumerian sites, the majority from Telloh.

  The human-headed bull

  The animal is shown lying, its head turned to the side and its tail underneath its right hoof. On its head is the divine headdress with three pairs of horns. It has a man's face with large elongated eyes, a beard covering half its cheeks and joining with the mustache before cascading down over its breast, where it ends in small curls, and long ringlets framing its face. The ears, however, are a bull's, though fleecy areas at the shoulders and hindquarters seem to suggest the animal is actually a bison. Another example in the Louvre displays particularly fine workmanship, the eyes and the whole body being enriched with decorative elements, applied or inlaid in trilobate and lozenge-shaped cavities (in the hooves). There is a small group of these recumbent bulls dating from the Neo-Sumerian period (around 2150-2000 BC), one of which is inscribed with the name of Gudea, the Second Dynasty ruler of Lagash. In the Neo-Assyrian period (9th-6th centuries BC), the human-headed bull, now with a pair of wings, becomes the guardian of the royal palace, flanking the doors through which visitors entered. This creature was a lamassu, a benevolent protective spirit generally associated with the sun-god Shamash.

  A base for a vessel, or for a statue of a deity?

  An elongated cavity of irregular shape in the middle of the back of this statuette, also found in other examples, might have been intended to hold a removable offering bowl, as illustrated in Mesopotamian iconography. The Louvre has a statuette of a dog from Telloh, inscribed with the name of Sumu-ilum, king of Larsa in the 19th century BC, which has a mortice in the back into which fits an unpolished tenon supporting a small oval cup. It may be that the statuette was subsequently adapted to this use. Relief depictions also show a seated deity (usually the sun-god Shamash) with his foot on the back of a similar hybrid creature, which might suggest that they served as bases for statuettes of gods. Another statuette of a recumbent human-headed bull has two horizontal perforations in the narrower forequarters, suggesting that these might have served to attach a small lid.

  Steatite: a popular stone in the reign of Gudea

  Steatite, the soft stone used for this statuette, was the material frequently chosen in the reign of Gudea to make precious objects connected with cultic rituals, such as libation vessels and offering dishes. Statuettes representing worshippers were also carved from this stone, generally depicting members of the royal family, such as the statuette of a woman with a scarf, or high-ranking dignitaries.

  Bibliography

  André-Salvini B., "Art of the first cities : The Third millenium B.C. from the Mediterranean to the Indus", Exposition, New York, The Metropolitan Museum of Art, 8 mai-17 août 2003, p. 440, n 313. 
  Barrelet M., "Taureaux et symbolique solaire", in Revue d'Assyriologie et d'Archéologie orientale, 48, Paris, Presses Universitaires de France, 1954, pp. 16-27.
  Caubet A., "Exposition des quatre grandes civilisations mondiales : La Mésopotamie entre le Tigre et l'Euphrate", Exposition itinérante, Setagaya, Musée d'art de Setagaya, 5 août 2000-3 décembre 2000, Fukuoka, Musée d'art asiatique de Fukuokua, 16 décembre 2000- 4 mars 2001, Tokyo : NKH, 2000, n 120.
  Heuzey L., "Le taureau chaldéen androcéphale et la sculpture à incrustations", Monuments Piot, VII, 1900-1901, pp. 7-11 et planche I.
  Parrot A., Tello, vingt campagnes de fouilles (1877- 1933), Paris, Albin Michel, 1948, p. 146, fig. 12b.
  Huot J.-L., "The Man-Faced Bull L. 76. 17 of Larsa", in Sumer, 34, Bagdad, State Organization of Antiquities and Heritage, 1978, pp. 106- 108, fig. a.
  Spycket A., La statuaire du Proche-Orient ancien, Leyde, Brill, 1981, p. 220, n 184, pl. 147.
• https://www.louvre.fr/en/oeuvre-notices/recumbent-bull-mans-head

Three-faced person with armlets, bracelets seated on a stool with bovine legs. 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 

On Mohenjo-Daro seal No. 357, female with horns, hooves, and tail is shown attacking a tiger. A tree in the background.

Mohenjo-Daro seal showing a zoomorphic horned female with horns, hooves and a tail, attacking a tiger. National Museum, New Delhi, India. Source: flickr/mukul banerjee

Dholavira molded terracotta tablet showing the zoomorphic horned female with hooves and a tail, holding the hand of a man. Source: http://bharatkalyan97.blogspot.com

See: Deciphered two-sided Harappa tablet h179 karã̄ 'wristlets'खार् khār 'blacksmith' kūṭa, 'horn' kūṭa 'company, guild' 

https://tinyurl.com/y9sn4l5t

Bull-man hypertexts in Ancient Near East including Meluhha Bhāratīya sprachbund (speech union) signify a blacksmith.

Ugarit relief, 2nd-1st millennium, BCE. Mountain-god and two bulls with human heads and arms. Basalt bas-relief on a socle (13th BCE) from Ain Dara, north of Aleppo, Syria. National Museum, Aleppo, Syria

British Museum number103225 Baked clay plaque showing a bull-man holding a post. 

Old Babylonian 2000BC-1600BCE Length: 12.8 centimetres Width: 7 centimetres Barcelona 2002 cat.181, p.212 BM Return 1911 p. 66 

On this terracotta plaque, the mace is a phonetic determinant of the bovine (bull) ligatured to the body of the person holding the mace. 

Girsu (Tlloh) archaeological find. 11 ft. tall copper plated flagpost. This may relate to a period when 

    

  Girsu (ca. 2900-2335 BCE) was the capital of Lagash at the time of Gudea.

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).

The person signified is: dhangar ‘blacksmith’ (Maithili) ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’.
Mth. ṭhākur ʻ blacksmith ʼ (CDIAL 5488) N. ḍāṅro ʻ term of contempt for a blacksmith ʼ "... head and torso of a human but the horns, lower body and legs of a bull...Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. British Museum. WCO2652. Bull-manTerracotta plaque. Bull-man holding a post. Mesopotamia, ca. 2000-1600 BCE." 

Terracotta. This plaque depicts a creature with the head and torso of a human but the horns, lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are first seen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body above the waist, shown in frontal view, shows that he was intended to be double-horned. He may be supporting a divine emblem and thus acting as a protective deity.

Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.8 cm Width: 7cm ME 103225 Room 56: Mesopotamia Briish Museum

Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. While many show informal scenes and reflect the private face of life, this example clearly has magical or religious significance.

Hieroglyph carried on a flagpost by the blacksmith (bull ligatured man: Dhangar 'bull' Rebus: blacksmith') ḍhāla 'flagstaff' Rebus: ḍhāla 'large ingot'

Note: Indus Script Corpora signifies bull as a hieroglyph: dhangar 'bull' rebus: dhangar 'blacksmith'

Harappa prism tablet

Field Symbol Figures 83 to 89

Field Symbol codes 50 to 53:

50. Personage wearing a diadem or tall head-dress Slanding between two posts or under an ornamental arch.

51. Standing pe rsonage with horns and bovine features (hoofed legs an d/or tail).

52. Standing personage with ho rns and bovine features. hold ing a bow in one hand and an arrow o r an un ce rtain

object in the other.

53. Standing pe rsonage with horns and bovine features holding a staff or mace on his shoulder.

Stone seal. h179. National Museum, India. Carved seal. Scan 27418 Tongues of flame decorate the flaming pillar, further signified by two 'star' hieroglyphs on either side of the bottom of the flaming arch.

The canopy is visually and semantically reinforced by a series of decorative canopies (pegs) topped by umbrella hieroglyph along the arch.

The hypertexts are read rebus in Meluhha Bhāratīya sprachbund (speech union): 

1. The adorned, horned person standing within the canopy:  karã̄ 'wristlets' khār 'blacksmith'  kūṭa, 'horn'kūṭa 'company'

2. Headdress: kolmo 'rice plant' rebus: kolami 'smithy, forge'. Vikalpa: Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali).Thus the standing person with twig headdress is a khār blacksmith working with khār smelter and furnace.

3. Canopy:  M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ(CDIAL 9734) rebus: 

maṇḍā 'warehouse, workshop' (Konkani)  maṇḍī 'market' karã̄ n. pl.wristlets, banglesRebus: khār 'blacksmith, iron worker' (Kashmiri).कर्मार m. an artisan , mechanic , artificer; a blacksmith &c RV. x , 72 , 2 AV. iii , 5 , 6 VS. Mn. iv , 215 &c (Monier-Williams)  karmāˊra m. ʻ blacksmith ʼ RV. [EWA i 176 < stem *karmar -- ~ karman -- , but perh. with ODBL 668 ← Drav. cf. Tam. karumā ʻ smith, smelter ʼ whence meaning ʻ smith ʼ was transferred also to karmakāra -- ]Pa. kammāra -- m. ʻ worker in metal ʼ; Pk. kammāra -- , °aya -- m. ʻ blacksmith ʼ, A. kamār, B. kāmār; Or. kamāra ʻ blacksmith, caste of non -- Aryans, caste of fishermen ʼ; Mth. kamār ʻ blacksmith ʼ, Si. kam̆burā.*karmāraśālā -- .

Addenda: karmāˊra -- : Md. kan̆buru ʻ blacksmith ʼ.(CDIAL 2898)

4 Decoration on canopy: umbrella on pegs: Hieroglyph: canopy, umbrella: Ta. kuṭai umbrella, parasol, canopy. Ma. kuṭa umbrella. Ko. koṛ umbrella made of leaves (only in a proverb); keṛ umbrella. To. kwaṛ 

id. Ka. koḍe id., parasol. Koḍ. koḍe umbrella. Tu. koḍè id. Te. goḍugu id., parasol. Kuwi (F.) gūṛgū, (S.) gudugu, (Su. P.) guṛgu umbrella (< Te.). / Cf. Skt. (lex.) utkūṭa- umbrella, parasol.Ta. kūṭāram(DEDR 1881) Rebus: kūṭa 'company' (Kannada)

5. The canopy is flanked by a pair of stars: Hieroglyph:मेढा [ mēḍhā ] 'polar star' Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) dula'two' rebus: dul 'metal casting' Thus, signifying a cast iron smelter.

6. Text message on the obverse of the Harappa tablet h179:

Signs 47, 48khāra 2 खार (= ) or khār 4 खार् (L.V. 96, K.Pr. 47, Śiv. 827) । द्वेषः m. (for 1, see khār 1 ), a thorn, prickle, spine (K.Pr. 47; Śiv. 827, 153)(Kashmiri) Rebus: khār  खार् 'blacksmith' (Kashmiri)

Sign 8 käti ʻwarrior' (Sinhalese)(CDIAL 3649). rebus:  khātī m. ʻ 'member of a caste of wheelwrights'ʼVikalpa: bhaṭa 'warrior' rebus: bhaṭa 'furnace'. bhāthī m. ʻ warrior ʼ bhaṭa 'warrior' Rebus: bhaTa 'furnace', thus reinforcing the smelting process in the fire-altars. Smelters might have used bhaThi 'bellows'. bhástrā f. ʻ leathern bag ʼ ŚBr., ʻ bellows ʼ (CDIAL 9424)

Sign 342 karṇaka, kanka 'rim of jar' rebs: karṇī  'scribe, supercargo' कर्णिक m. a steersman(Monier-Williams)

Ka.  kūṭa joining, connexion, assembly, crowd, heap, fellowship, sexual intercourse; ku·ṭï gathering, assembly. Tu. kūḍuni to join (tr.), unite, copulate, embrace, adopt; meet (intr.), assemble, gather, be mingled, be possible; kūḍisuni to add; kūḍāvuni, kūḍisāvuni to join, connect, collect, amass, mix; kūṭuni, kūṇṭuni to mix, mingle (tr.); kūḍa along with; kūḍigè joining, union, collection, assemblage, storing, mixing; kūṭaassembly, meeting, mixture. Te. kūḍu to meet (tr.), join, associate with, copulate with, add together; meet (intr.), join, agree, gather, collect, be proper; kūḍali, kūḍika joining, meeting, junction; kūḍa along with; kūḍaniwrong, improper; kūḍami impropriety; kūṭamu heap, assembly, conspiracy; kūṭuva, kūṭuvu heap, collection, army; kūṭami meeting, union, copulation; kūṭakamu addition, mixture; kūr(u)cu to join, unite, bring together, amass, collect; caus. kūrpincu; kūrpu joining, uniting. Kol. (Kin.) kūṛ pāv meeting of ways (pāv way, path). Pa. kūṛ er- to assemble. Go. (S.) kūṛ- to join; (Mu.) gūḍ- to assemble (Voc. 833); (M.) guṛnā to swarm (Voc. 1160). Konḍa kūṛ- (-it-) to join, meet, assemble, come together; kūṛp- to mix (cereals, etc.), join or put together, collect; kūṛaŋa together. Pe. kūṛā- (kūṛa ā-) to assemble. Kuwi (Su.) kūṛ- id.; (Isr.) kūṛa ā-to gather together (intr.); kūṛi ki- to collect (tr.); (S.) kūḍi kīnai to gather; kūṛcinai to collect. Kur. xōṇḍnā to bring together, collect into one place, gather, wrinkle (e.g. the nose), multiply in imagination; xōṇḍrnā to meet or come together, be brought into the company of.(DEDR 1882)

Obverse: Pictorial motif

 khār 'blacksmith' emerges out of the tree or flaming pillar (skambha) identified by the 'star' hieroglyph'. The wristlets he wears and headdress signify that he is khār working with kuṭhi 'tree' Rebus: kuṭhi 'smelting furnace'. He is a smith engaged in smelting.

Hieroglyph:मेढा [ mēḍhā ] 'polar star' Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) dula'two' rebus: dul 'metal casting' Thus, signifying a cast iron smelter.
Santali glosses.

Hieroglyph: karã̄ n. pl. wristlets, bangles' rebus: khār 'blacksmith'
Hieroglyph: head-dress:  kūdī, kūṭī bunch of twigs (Sanskrit)  kuṭhi 'tree' Rebus: kuṭhi 'smelting furnace' (Santali) (Phonetic determinative of skambha, 'flaming pillar', rebus:kammaTa 'mint, coiner, coinage'). Skambha, flamiung pillar is the enquiry in Atharva veda Skambha Sukta (AV X.7,8)
Scan 27419. 

Reverse Text message: 

Hieroglyphs: backbone + four short strokes  

Signs 47, 48: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) + gaṇḍa ‘four’ Rebus: kaṇḍ ‘fire-altar’. Thus, Sign 48 reads rebus: bharat kaṇḍ ‘fire-altar’, furnace for mixed alloy called bharat(copper, zinc, tin alloy), Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.( (CDIAL 2670) rebus: karaDa 'hard alloy'. Vikalpa: 

Hieroglyph: khāra 2 खार (= ) or khār 4 खार् (L.V. 96, K.Pr. 47, Śiv. 827) । द्वेषः m. (for 1, see khār 1 ), a thorn, prickle, spine (K.Pr. 47; Śiv. 827, 153)(Kashmiri) Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ.*kaṇṭa3 ʻ backbone, podex, penis ʼ. 2. *kaṇḍa -- . 3. *karaṇḍa -- 4. (Cf. *kāṭa -- 2, *ḍākka -- 2: poss. same as káṇṭa -- 1]1. Pa. piṭṭhi -- kaṇṭaka -- m. ʻ bone of the spine ʼ; Gy. eur. kanro m. ʻ penis ʼ (or < káṇṭaka -- ); Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼ; S. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f., kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ, °ḍī ʻ back ʼ; P. kaṇḍ f. ʻ back, pubes ʼ; WPah. bhal. kaṇṭ f. ʻ syphilis ʼ; N. kaṇḍo ʻ buttock, rump, anus ʼ, kaṇḍeulo ʻ small of the back ʼ; B. kã̄ṭ ʻ clitoris ʼ; Or. kaṇṭi ʻ handle of a plough ʼ; H. kã̄ṭā m. ʻ spine ʼ, G. kã̄ṭɔ m., M. kã̄ṭā m.; Si. äṭa -- kaṭuva ʻ bone ʼ, piṭa -- k° ʻ backbone ʼ.2. Pk. kaṁḍa -- m. ʻ backbone ʼ.(CDIAL 2670) కరాళము karāḷamu karāḷamu. [Skt.] n. The backbone. వెన్నెముక (Telugu) Rebus: khār  खार् 'blacksmith' (Kashmiri)

bhāthī m. ʻ warrior ʼ bhaTa 'warrior' Rebus: bhaTa 'furnace', thus reinforcing the smelting process in the fire-altars. Smelters might have used bhaThi 'bellows'. bhástrā f. ʻ leathern bag ʼ ŚBr., ʻ bellows ʼ Kāv., bhastrikā -- f. ʻ little bag ʼ Daś. [Despite EWA ii 489, not from a √bhas ʻ blow ʼ (existence of which is very doubtful). -- Basic meaning is ʻ skin bag ʼ (cf. bakura<-> ʻ bellows ʼ ~ bākurá -- dŕ̊ti -- ʻ goat's skin ʼ), der. from bastá -- m. ʻ goat ʼ RV. (cf.bastājina -- n. ʻ goat's skin ʼ MaitrS. = bāstaṁ carma Mn.); with bh -- (and unexpl. -- st -- ) in Pa. bhasta -- m. ʻ goat ʼ, bhastacamma -- n. ʻ goat's skin ʼ. Phonet. Pa. and all NIA. (except S. with a) may be < *bhāsta -- , cf. bāsta -- above (J. C. W.)]With unexpl. retention of -- st -- : Pa. bhastā -- f. ʻ bellows ʼ (cf. vāta -- puṇṇa -- bhasta -- camma -- n. ʻ goat's skin full ofwind ʼ), biḷāra -- bhastā -- f. ʻ catskin bag ʼ, bhasta -- n. ʻ leather sack (for flour) ʼ; K. khāra -- basta f. ʻ blacksmith's skin bellows ʼ; -- S. bathī f. ʻ quiver ʼ (< *bhathī); A. Or. bhāti ʻ bellows ʼ, Bi. bhāthī, (S of Ganges) bhã̄thī; OAw. bhāthā̆ ʻ quiver ʼ; H. bhāthā m. ʻ quiver ʼ, bhāthī f. ʻ bellows ʼ; G. bhāthɔ,bhātɔ, bhāthṛɔ m. ʻ quiver ʼ (whence bhāthī m. ʻ warrior ʼ); M. bhātā m. ʻ leathern bag, bellows, quiver ʼ, bhātaḍ n. ʻ bellows, quiver ʼ; <-> (X bhráṣṭra -- ?) N. bhã̄ṭi ʻ bellows ʼ, H. bhāṭhī f.Addenda: bhástrā -- : OA. bhāthi ʻ bellows ʼ .(CDIAL 9424) 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. bhaṭṭhm., °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.*bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ]P. bhaṭhiār, °ālā m. ʻ grainparcher's shop ʼ.(CDIAL 9656, 9658)

Hieroglyph: canopy: nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?)(CDIAL 9737) maṇḍapa m.n. ʻ open temporary shed, pavilion ʼ Hariv., °pikā -- f. ʻ small pavilion, customs house ʼ Kād. 2. maṇṭapa -- m.n. lex. 3. *maṇḍhaka -- . [Variation of ṇḍ with ṇṭ supports supposition of non -- Aryan origin in Wackernagel AiGr ii 2, 212: see EWA ii 557. -- Prob. of same origin as maṭha -- 1 and maṇḍa -- 6 with which NIA. words largely collide in meaning and form]1. Pa. maṇḍapa -- m. ʻ temporary shed for festive occasions ʼ; Pk. maṁḍava -- m. ʻ temporary erection, booth covered with creepers ʼ, °viā -- f. ʻ small do. ʼ; Phal. maṇḍau m. ʻ wooden gallery outside a house ʼ; K. manḍav m. ʻ a kind of house found in forest villages ʼ; S. manahũ m. ʻ shed, thatched roof ʼ; Ku. mãṛyā, manyā ʻ resthouse ʼ; N. kāṭhmã̄ṛau ʻ the city of Kathmandu ʼ (kāṭh -- < kāṣṭhá -- ); Or. maṇḍuā̆ ʻ raised and shaded pavilion ʼ, paṭā -- maṇḍoi ʻ pavilion laid over with planks below roof ʼ, muṇḍoi, °ḍei ʻ raised unroofed platform ʼ; Bi. mã̄ṛo ʻ roof of betel plantation ʼ, mãṛuā, maṛ°, malwā ʻ lean -- to thatch against a wall ʼ, maṛaī ʻ watcher's shed on ground without platform ʼ;  karã̄ 'wristlets' khār 'blacksmith' kūṭa, 'horn' kūṭa 'company'ʼ, mã̄ḍvɔ m. ʻ booth ʼ, mã̄ḍvī f. ʻ slightly raised platform before door of a house, customs house ʼ, mã̄ḍaviyɔm. ʻ member of bride's party ʼ; M. mã̄ḍav m. ʻ pavilion for festivals ʼ, mã̄ḍvī f. ʻ small canopy over an idol ʼ; Si. maḍu -- va ʻ hut ʼ, maḍa ʻ open hall ʼ SigGr ii 452.2. Ko. māṁṭav ʻ open pavilion ʼ.3. H. mã̄ḍhā, māṛhā, mãḍhā m. ʻ temporary shed, arbour ʼ (cf. OMarw. māḍhivo in 1); -- Ku. mã̄ṛā m.pl. ʻ shed, resthouse ʼ (or < maṇḍa -- 6?]*chāyāmaṇḍapa -- .Addenda: maṇḍapa -- : S.kcch. māṇḍhvo m. ʻ booth, canopy ʼ(CDIAL 9734)

maṇḍa6 ʻ some sort of framework (?) ʼ. [In nau -- maṇḍḗ n. du. ʻ the two sets of poles rising from the thwarts or the two bamboo covers of a boat (?) ʼ ŚBr. (as illustrated in BPL p. 42); and in BHSk. and Pa. bōdhi -- maṇḍa -- n. perh. ʻ thatched cover ʼ rather than ʻ raised platform ʼ (BHS ii 402). If so, it may belong to maṇḍapá -- and maṭha -- ]
Ku. mã̄ṛā m. pl. ʻ shed, resthouse ʼ (if not < *mã̄ṛhā < *maṇḍhaka -- s.v. maṇḍapá -- ).(CDIAL 9737)

maṇḍa2 m. ʻ ornament ʼ lex. [√maṇḍ]Pk. maṁḍaya -- ʻ adorning ʼ; Ash. mōṇḍa, mōnda, mūnda NTS ii 266, mōṇə NTS vii 99 ʻ clothes ʼ; G. mã̄ḍ m. ʻ arrangement, disposition, vessels or pots for decoration ʼ, māṇ f. ʻ beautiful array of household vessels ʼ; M. mã̄ḍ m. ʻ array of instruments &c. ʼ; Si. maḍa -- ya ʻ adornment, ornament ʼ.(CDIAL 9736)maṇḍana n. ʻ adorning ʼ MBh., maṇḍaná -- adj. Pāṇ. [√maṇḍ]
Pa. maṇḍana -- n., Pk. maṁḍaṇa -- n. and adj.; OMarw. māṁḍaṇa m. ʻ ornament ʼ; G. mã̄ḍaṇ n. ʻ decorating foreheads and cheeks of women on festive occasions ʼ. (CDIAL 9739) *maṇḍadhara ʻ ornament carrier ʼ. [maṇḍa -- 2, dhara -- ]N. maṛher, maṛer ʻ one who carries ornaments &c. in the marriage procession ʼ. (CDIAL 9738) maṇḍáyati ʻ adorns, decorates ʼ Hariv., máṇḍatē, °ti Dhātup. [√maṇḍ]
Pa. maṇḍēti ʻ adorns ʼ, Pk. maṁḍēi, °ḍaï; Ash. mū˘ṇḍ -- , moṇ -- intr. ʻ to put on clothes, dress ʼ, muṇḍaāˊ -- tr. ʻ to dress ʼ; K. manḍun ʻ to adorn ʼ, H. maṇḍnā; OMarw. māṁḍaï ʻ writes ʼ; OG. māṁḍīiṁ 3 pl. pres. pass. ʻ are written ʼ, G. mã̄ḍvũ ʻ to arrange, dispose, begin ʼ, M. mã̄ḍṇẽ, Ko. mã̄ṇḍtā.(CDIAL 9741)

Konḍa maṇḍi earthen pan, a covering dish. Pe. manḍi cooking pot. Kui manḍi brass bowl. Kuwi (S.)

 mandi basin; (Isr.) maṇḍi plate, bowl. Cf. 4682 Ta. maṇṭai(DEDR 4678)Ta. maṇṭai 

mendicant's begging bowl, earthen vessel, head, skull, cranium, brain-pan, top portion as of palms, a standard of measure. Ma. maṇṭa skull; similar objects. Ko. maṇḍ head. To. maḍ id. 

Ka. maṇḍe id.; (Hav.) maṇḍage a big jar. Koḍ. maṇḍe head. Tu. maṇḍè large earthen vessel, skull, head. Kor. (M.) maṇḍa, (O. T.) manḍe head. Cf. 4678 Konḍa maṇḍi. / Cf. Skt. (lex.) maṇḍa- head. (DEDR 4682)

Ta. maṇṭu (maṇṭi-) to blaze up, glow; maṭu (-pp-, -tt-) to kindle. Te. maṇḍu to burn, blaze, flame, cause or produce a burning pain, be angry, be in a fury or violent rage, be envious; maṇṭa flame, blaze, burning pain, anger, wrath, fury, envy; maṇḍincu to burn (tr.), inflame, provoke, irritate; maḍḍu great heat, redhot iron, brand; very hot; (K.) mrandu to be consumed by fire, burn. Kol. (Pat., p. 167) manḍeng to burn, scorch(intr.). Nk. manḍ- to burn (intr.). Go. (M.) maṛgānā to blaze; (Ma.) maṛg- to burn (intr.) (Voc. 2745); (Tr.) maṛūstānā to cook in oil (Voc. 2743); (ASu.) maṛū- (curry) to be charred. Kui mṛahpa (mṛaht-) to consume by fire, burn; n. destruction by fire.(DEDR 4680)

Grain market: OAw. māṁḍa m. ʻ a kind of thin cake ʼ, lakh. maṇḍī ʻ grain market ʼ(CDIAL 9735) 

Mesopotamian Molded Plaque with Bull-Men Flanking a Tree Trunk Surmounted by a Sun Disc in the Metropolitan Museum of Art,

Photo: “An Indian saint Vakyapaada lookaline--- the so-called Bullman”

From Review: Small but captivating of Oriental Institute Museum

https://www.tripadvisor.co.za/LocationPhotoDirectLink-g35805-d110090-i207350094-Oriental_Institute_Museum-Chicago_Illinois.html

British Museum number103225 Baked clay plaque showing a bull-man holding a post. 

Old Babylonian 2000BC-1600BCE Length: 12.8 centimetres Width: 7 centimetres Barcelona 2002 cat.181, p.212 BM Return 1911 p. 66 

On this terracotta plaque, the mace is a phonetic determinant of the bovine (bull) ligatured to the body of the person holding the mace. The person signified is: dhangar ‘blacksmith’ (Maithili) ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’.
Mth. ṭhākur ʻ blacksmith ʼ (CDIAL 5488) N. ḍāṅro ʻ term of contempt for a blacksmith ʼ "... head and torso of a human but the horns, lower body and legs of a bull...Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. British Museum. WCO2652. Bull-manTerracotta plaque. Bull-man holding a post. Mesopotamia, ca. 2000-1600 BCE." 

Terracotta. This plaque depicts a creature with the head and torso of a human but the horns, lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are first seen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body above the waist, shown in frontal view, shows that he was intended to be double-horned. He may be supporting a divine emblem and thus acting as a protective deity.

Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.8 cm Width: 7cm ME 103225 Room 56: Mesopotamia Briish Museum

Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BCE. While many show informal scenes and reflect the private face of life, this example clearly has magical or religious significance.

Hieroglyph carried on a flagpost by the blacksmith (bull ligatured man: Dhangar 'bull' Rebus: blacksmith')

A bull man fights a lion. Mesopotamia half 2 Second millennium 1500 BC Iraq 

- Image ID: CFGK83

Lamassu from Dur-Sharrukin. University of Chicago Oriental Institute. Gypsum (?) Neo-Assyrian Period, c. 721–705 BCE

Oriental Institute‏ @orientalinst May 16, 2019

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This past Monday, May 13, OI faculty, staff, supporters, volunteers, and friends gathered in the Museum to celebrate the day when the University of Chicago Trustees officially founded the OI 100 years ago! #birthdaycake#lamassu#oi100http://www.charissajohnsonphotography.com 

Taureau ailé de Khorsabad

• Hero mastering a lion-AO19862
• Reproduction of a winged bull with human head-AO 30043
• Human-headed winged bulls from Sargon II's palace in Dur-Sharrukin, modern Khorsabad (Louvre)

"In art, lamassu were depicted as hybrids, with bodies of either winged bulls or lions and heads of human males. The motif of a winged animal with a human head is common to the Near East, first recorded in Ebla around 3000 BCE. The first distinct lamassu motif appeared in Assyria during the reign of Tiglath-Pileser II as a symbol of power...Assyrian sculpture typically placed prominent pairs of lamassu at entrances in palaces, facing the street and also internal courtyards. They were represented as "double-aspect" figures on corners, in high relief. From the front they appear to stand, and from the side, walk, and in earlier versions have five legs, as is apparent when viewed obliquely. Lumasi do not generally appear as large figures in the low-relief schemes running round palace rooms, where winged genie figures are common, but they sometimes appear within narrative reliefs, apparently protecting the Assyrians...The colossal entranceway figures were often followed by a hero grasping a wriggling lion, also colossal in scale and in high relief. In the palace of Sargon II at Dur-Sharrukin, a group of at least seven lamassu and two such heroes with lions surrounded the entrance to the "throne room", "a concentration of figures which produced an overwhelming impression of power."...They also appear on cylinder seals. Notable examples include those at the Gate of All Nations at Persepolis in Iran, the British Museum in London, the Louvre in Paris, the National Museum of Iraq in Baghdad, the Metropolitan Museum of Artin New York and the University of Chicago Oriental Institute. Several examples left in situ in northern Iraq were destroyed in the 2010s by the Islamic State of Iraq and the Levant when they occupied the area, as were those in the Mosul Museum...Lamassu represent the zodiacs, parent-stars, or constellations.They are depicted as protective deities because they encompass all life within them. In the Sumerian Epic of Gilgamesh, they are depicted as physical deities as well, which is where the lammasu iconography originates, these deities could be microcosms of their microcosmic zodiac, parent-star, or constellation. Although lamassu had a different iconography and portrayal in the culture of Sumer, the terms "lamassu", "alad", and "shedu" evolved throughout the Assyro-Akkadian culture from the Sumerian culture to denote the Assyrian-winged-man-bull symbol and statues during the Neo-Assyrian Empire. Female lamassu were called "apsasû...These monumental statues were called aladlammû or lamassu which meant "protective spirit". In Hittite, the Sumerian form ^dlamma is used both as a name for the so-called "tutelary deity", identified in certain later texts with Inara, and a title given to similar protective gods."...To protect houses, the lamassu were engraved in clay tablets, which were then buried under the door's threshold. They were often placed as a pair at the entrance of palaces. At the entrance of cities, they were sculpted in colossal size, and placed as a pair, one at each side of the door of the city, that generally had doors in the surrounding wall, each one looking towards one of the cardinal points.The ancient Jewish people were influenced by the iconography of Assyrian culture. The prophet Ezekiel wrote about a fantastic being made up of aspects of a human being, a lion, an eagle and a bull. Later, in the early Christian period, the four Gospels were ascribed to each of these components. When it was depicted in art, this image was called the Tetramorph." [Lamassu". ancientneaeast.net; Frankfort, Henri, The Art and Architecture of the Ancient Orient, Pelican History of Art, 4th ed 1970, Penguin (now Yale History of Art, pp.147-148); McMahon, John Gregory (1991). The Hittite State Cult of the Tutelary Deities. Oriental Institute of the University of Chicago.] https://en.wikipedia.org/wiki/Lamassu

A tetramorph is a symbolic arrangement of four differing elements, or the combination of four disparate elements in one unit. The term is derived from the Greek tetra, meaning four, and morph, shape. A composition of the Four Living Creatures into one tetramorph. Matthew the man, Mark the lion, Luke the ox, and John the eagle. 

https://en.wikipedia.org/wiki/Tetramorph

Cast from the original in Iraq, this is one of a pair of five-legged lamassuwith lion's feet in Berlin

The lamassu in Persepolis

An Assyrian winged bull, or lamassu. "In the Middle Bronze Age Assyria was a city state on the Upper Tigris river, named after its capital, the ancient city of Assur.The Assyrians were just to the north of their rivals, the Babylonians. All the kingdoms of ancient Mesopotamia used the cuneiform writing system invented by the Sumerians. Assyrians are an ethnic group whose descendents remain in what is today Iraq, Iran, Turkey and Syria, but who have gone to the Caucasus, North America and Western Europe during the past century. Hundreds of thousands more live in Assyrian diaspora and Iraqi refugee communities in Europe, the former Soviet Union, the United States, Australia, New Zealand, Syria, Jordan, and Lebanon."

https://simple.wikipedia.org/wiki/Assyria

"A lamassu (Cuneiform: 𒀭𒆗, an.kal; Sumerian: ^dlammař; Akkadian: lamassu; sometimes called a lamassus is an Assyrian protective deity, often depicted as having a human head, the body of a bull or a lion, and bird wings.^[3]In some writings, it is portrayed to represent a female deity. A less frequently used name is shedu (Cuneiform: 𒀭𒆘, an.kal×bad; Sumerian: ^dalad; Akkadian, šēdu), which refers to the male counterpart of a lamassu.^[5]Lammasu represent the zodiacs, parent-stars or constellations."

Kriwaczek, Paul. Babylon: Mesopotamia and the Birth of Civilization, p. 37.

http://www.torrossa.it/resources/an/2401509#page=241

Beaulieu, Paul-Alain (2003). The Pantheon of Uruk During the Neo-Babylonian Period. Brill.

Black, Jeremy; Green, Anthony (2003). An Illustrated dictionary, Gods, Demons and Symbols of Ancient Mesopotamia. The British Museum Press

Hewitt, J.F. History and Chronology of the Myth-Making Age. p. 85.

W. King, Leonard. Enuma Elish Vol 1 & 2: The Seven Tablets of Creation; The Babylonian and Assyrian Legends Concerning the Creation of the World and of Mankind. p. 78. https://en.wikipedia.org/wiki/Lamassu

https://commons.wikimedia.org/wiki/File:Human-headed_winged_bull_Khorsabad_facing_-_Louvre_01b.jpg


The British Museum - Human Headed Winged Lions and Reliefs from Nimrudwith the Gates of Balawat
The British Museum - Human Headed Winged Bulls from Dur-Sharrukin
The British Museum - Human Headed Winged Lion and Bull from Nimrud, companion pieces in Metropolitan Museum of Art
Louvre - Human Headed Winged Bulls from Dur-Sharrukin
Louvre - Human Headed Winged Bulls, Sculpture and Reliefs from Dur-Sharrukin; note the lamassu in the foreground is a cast from the University of Chicago Oriental Institute
Louvre - Human Headed Winged Bulls and Reliefs from Dur-Sharrukin, in their wider setting of reliefs
Louvre - Human Headed Winged Bulls and Reliefs from Dur-Sharrukin
The Metropolitan Museum of Art - Human Headed Winged Lion and Bull from Nimrud, companion pieces to those in the British Museum
Detail, University of Chicago Oriental Institute. Gypsum(?), Dur-Sharrukin, entrance to the throne room, c. 721-705 BCE
Cuneiform script on the back of a lamassu in the University of Chicago Oriental Institute
Modern impression of Achaemenidcylinder seal, fifth century BCE. A winged solar disc legitimises the Achaemenid emperor, who subdues two rampant Mesopotamian lamassu figures
Head of lamassu. Marble, 8th century BCE, from Assur, Iraq. Ancient Orient Museum, Istanbul
Head of a lamassu from the palace of Esarhaddon, from Nimrud, Iraq, 7th century BC. The British Museum
Lamassu from the Throne Room (Room B) of the North-West Palace at Nimrud, Iraq, 9th century BC. The British Museum, London
Insignia of the British 10th Army "The British 10th Army, which operated in Iraq and Iran in 1942–1943, adopted the lamassu as its insignia. A bearded man with a winged bull body appears on the logo of the United States Forces – Iraq."
The entrance of a fire temple in Fort Mumbai displaying a lamassu

Shiva as Sharabha subduing Narasimha (Lord Vishnu), panel view from Munneswaram temple in Sri Lanka. "Sharabha (Sanskrit: शरभ, Śarabha, Kannada: ಶರಭ, Telugu: శరభ) or Sarabha is a part-lion and part-bird beast in Hindu mythology, who, according to Sanskrit literature, is eight-legged and more powerful than a lion or an elephant, possessing the ability to clear a valley in one jump. In later literature, Sharabha is described as an eight-legged deer...Shaiva scriptures narrate that god Shiva assumed the Avatar (incarnation) of Sharabha to pacify Narasimha - the fierce man-lion avatar of Vishnu worshipped by Vaishnava sect. This form is popularly known as Sharabeshwara ("Lord Sharabha") or Sharabeshwaramurti.The Vaishnavas refute the portrayal of Narasimha as being destroyed by Shiva-Sharabha and regard Sharabha as a name of Vishnu. Another tale narrates that Vishnu assumed the form of the ferocious Gandaberunda bird-animal to combat and defeat Sharabha. In Buddhism, Sharabha appears in Jataka Tales as a previous birth of the Buddha.
Sharabha also appears in the emblem of State government of the Indian state of Karnataka, University of Mysore and the Karnataka Soaps and Detergents Limited...The Chola dynasty in Tamil Nadu was particularly favourable to the beliefs of Shaiva sect. It is said that the sectarian aspect got highlighted during their reign. This is evident from the four Sharabha images, the earliest at the Vikramsolishwaram temple near Kumbakonam built by Vikrama Chola (1118–35). The other images are at Darasuram and Kampahareshvarar temple, Thirubuvanam built by a Chola ruler, Kulottunga Chola III where Sharabha's image is housed in a separate shrine...A sculpture of Sharbeshwaramurti in the Tribhuvanam temple, a Shiva temple in Tanjore district, in Tamil Nadu is seen with three legs, with body and face of a lion and a tail. It has four human arms, the right upper hand holds axe, noose is held in the lower right hand, the deer in the upper left hand and fire in the lower left hand. Narasimha is shown with eight arms in the Airavatesvara Temple at Darasuram, a rare image of the Chola period, in black basalt, depicts Shiva as Sharabha. It is deified in an exclusive small shrine, as part man, beast and bird, destroying the man-lion incarnation of Vishnu, Narasimha. This highlights the hostility between the Shaivite and Vaishnavite sects. In the Chennakeshava temple of Belur (1113), Karnataka, Gandaberunda (2-faced bird identified with Vishnu) depiction is a carved scene of "chain of destruction". Initially, a deer is prey to a large python, followed by being lifted by an elephant and a lion attacking the elephant, and the lion shown as devoured by Sharabha.^[15]In Maharashtra the stone cut Sharabha idol is placed on the outer walls of the entrance gate of many historic forts. In iconographic representations of the myth of Shiva vis-à-vis Vishnu, Sharabha form has been built around Narasimha but substantially embellished with wings to represent Kali and Durga to denote the female powers (shaktis) of Shiva; Sharabha is also shown with a bird head and a serpent in his beak head."
Image of Yali at Orchha fort, Madhya Pradesh, India. "Yali/Yāḷi (Sanskrit: याळि, IAST: Yāli) is words derived from Tamil known as Vyala or Vidala in Sanskrit is a mythical creature seen in many South Indian temples, often sculpted onto the pillars. It may be portrayed as part lion, part elephant and part horse, and in similar shapes. Also, it has been sometimes described as a leogryph (part lion and part griffin),^[1] with some bird-like features.Descriptions of and references to yalis are very old, but they became prominent in south Indian sculpture in the 16th century. Yalis were believed to be more powerful than the lion, the Tiger or the elephant...In its iconography and image the yali has a catlike graceful body, but the head of a lion with tusks of an elephant (gaja) and tail of a serpent. Sometimes they have been shown standing on the back of a makara, another mythical creature and considered to be the Vahan of Budha (Mercury). Some images look like three-dimensional representation of yalis. Images or icons have been found on the entrance walls of the temples, and the graceful mythical lion is believed to protect and guard the temples and ways leading to the temple. They usually have the stylized body of a lion and the head of some other beast, most often an elephant (gaja-vyala). Other common examples are: the lion-headed (simha-vyala), horse-(ashva-vyala), human-(nir-vyala) and the dog-headed (shvana-vyala) ones." ("Carved Wood bracket - description". British Museum.) 
https://en.wikipedia.org/wiki/Yali_(mythology)
Yali pillars at the Ranganatha temple in Chikkaballapur district, Karnataka state, India
Yali pillars at Bhoganandishvara temple in Chikkaballapur district, Karnataka state, India
Yali pillars at Krishna temple at Hampi, Karnataka state, India
Yali in Aghoreswara temple, Ikkeri, Shivamogga district, Karnataka state, India
Yali and rider, Mukteshvara Temple, Bhubaneshwar, Odisha state, India
Yali and rider, Mukteshvara Temple, Bhubaneshwar, Odisha state, India
Yali in Aghoreswara temple, Ikkeri, Shivamogga district, Karnataka state, India
Yali pillars, Rameshwara Temple, Keladi, Shivamogga District, Karnataka state, Indiahttps://upload.wikimedia.org/wikipedia/commons/thumb/1/14/Yali_pillars_in_mantapa_of_Rameshwara_temple_at_Keladi.jpg/220px-Yali_pillars_in_mantapa_of_Rameshwara_temple_at_Keladi.jpg
Gandaberunda, the Karnataka state emblem, flanked by red maned yellow lion elephant Sharabha. "The Royal Emblem of Mysore has also been adopted by the University of Mysore as their logo too. This logo displays Gandabherunda flanked on either side by the lion-elephant - stronger than the lion and the elephant and defender of uprightness, surmounted by a lion." ("The University Emblem". University of Mysore.) https://en.wikipedia.org/wiki/Sharabha
Narasimha transformed into Gandaberunda, to combat Sharabha. Ashtamukha Gandaberunda Narasimha slaying Sharabha and Hiranyakashipu, depicted in his lap.

Two-headed Sharabha with four legs.
Sharabha idol on Kothaligad fort.

(Pattanaik, Devdutt (2006). Shiva to Shankara decoding the phallic symbol. Sharabha (Shiva Purana). Indus Source. pp. 123–124; Waradpande, N. R. (2000). The mythical Aryans and their invasion. Sharabha. Books & Books. pp. 43, 46; Smith, David (2003). The Dance of Siva Religion, Art and Poetry in South India Volume 7 of Cambridge Studies in Religious Traditions. Cambridge University Press. p. 193; "Gandaberunda- The Two Headed Bird". Kamat Potpourri; Kramrisch, Stella (1994). The Presence of Siva. Princeton University Press. p. 436.) 

शरभ m. a kind of deer or (in later times) a fabulous animal (supposed to have eight legs and to inhabit the snowy mountains ; it is represented as stronger than the lion and the elephant ; cf. अष्ट-पद् and महा-स्कन्धिन्) AV. &c; (pl.) N. of a people MBh. (B. शबर)(Monier-Williams)
https://en.wikipedia.org/wiki/Sharabha

Chedi Kingdom and other Mahajanapadas in the Post Vedic period. "Chedi was an ancient Indian kingdom which fell roughly in the Bundelkhand division of Madhya Pradesh regions to the south of river Yamuna along the river Ken. Its capital city was called Suktimati in Sanskrit and Sotthivati-nagara in Pali.In Pali-language Buddhist texts, it is listed as one of the sixteen mahajanapadas ("great realms" of northern and central India). According to the Mahabharata, the Chedi Kingdom was ruled by Shishupala, an ally of Jarasandha of Magadha and Duryodhana of Kuru. He was a rival of Vasudeva Krishna who was his uncle's son. He was killed by Vasudeva Krishna during the Rajasuya sacrifice of the Pandava king Yudhishthira. Bhima's wife was from Chedi. Prominent Chedis during the Kurukshetra War included Damaghosha, Shishupala, Dhrishtaketu, Suketu, Sarabha, Bhima's wife, Nakula's wife Karenumati, Dhrishtaketu's sons. Other Chedis included King Uparichara Vasu, his children, King Suvahu, King Sahaja. It was ruled during early periods by Paurava kings and later by Yadava kings in the central part of the country...The Kuru-Panchalas, the Salwas, the Madreyas, the Jangalas, the Surasenas, the Kalingas, the Vodhas, the Mallas, the Matsyas, the Sauvalyas, the Kuntalas, the Kasi-Kosalas, the Chedis, the Karushas, the Bhojas...(6,9)Chedi was one among the kingdoms chosen for spending the 13th year of exile by the Pandavas.Surrounding the kingdom of the Kurus, are, many countries beautiful and abounding in corn, such as Panchala, Chedi, Matsya, Surasena, Pattachchara, Dasarna, Navarashtra, Malla, Salva, Yugandhara, Saurashtra, Avanti, and the spacious Kuntirashtra. (4,1)." 

https://en.wikipedia.org/wiki/Chedi_Kingdom

Citragupta, accountant, kāyastha 'merchant-guilds' on sculptues signify Indus Script hypertexts, signifiers of wealth-accounting 

https://tinyurl.com/y3dwju97

Citragupta is a quintessential accountant, a keeper of accounts, wealth-accounting ledgers. This tradition is traceable to  R̥gveda and Indus Script Corpora.

-- Bull anthropomorphs, Kubera of navanidhi fame and Citragupta, accountant.

-- King Citra of  R̥gveda  (RV VIII.21.18) is Citragupta of Hindu tradition, a scribe, wealth-ledger accountant of Indus Script Cipher tradition.

-- Citragupta is born of kāya, 'the body of Brahma' and hence, called kāyasta, 'guild of merchants'.

-- The name citragupta is instructive; citra signifies hieroglyphic writing and gupta signifies a cipher and is a synonym of mlecchita vikalpa 'alternative messaging by mleccha,meluhha 'copper artisans, dialect-speakers who mispronounce words and expressions'.

-- Lotus stalk held on the hands of Varuna, Kubera, Bull anthropomorphs, Citragupta signify tāmarasa'lotus' rebus: tāmra 'copper'.

This monograph demonstrates that the Indus Script Cipher tradition continues into historical periods and evidenced on rendition of bull anthropomorphs, Kubera and Citragupta on sculptural friezes.

Bull anthropomorphs, Kubera, Citragupta sculptures hold lotus stalks to signify writing instruments. Hieroglyph: stalk: खोंड   khōṇḍa A variety of जोंधळा., holcus sorghum (Marathi) Rebus: kō̃da कोँद 'potter's kiln'  (Kashmiri) kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo or sugarcane ʼ EWA i 197]Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , ˚aya -- m.n. ʻ knot of bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ, Wg. kāṇ, ãdotdot; Pr. kə̃, Dm. kā̆n; Paš. lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. kō̃, dar. kã̄ṛ ʻ arrow ʼ, kã̄ṛī ʻ torch ʼ; Shum. kō̃ṛ, kō̃ ʻ arrow ʼ, Gaw. kāṇḍ, kāṇ; Kho. kan ʻ tree, large bush ʼ; Bshk. kāˋ'n ʻ arrow ʼ, Tor. kan m., Sv. kã̄ṛa, Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw ʼ (kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ, ˚no m. ʻ reed ʼ, ˚nī f. ʻ topmost joint of the reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, ˚nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kã̄ḍ; N. kã̄ṛ ʻ arrow ʼ, ˚ṛo ʻ rafter ʼ; A. kã̄r ʻ arrow ʼ; B. kã̄ṛ ʻ arrow ʼ, ˚ṛā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽṛiyā ʻ wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍa, kã̄ṛ ʻ stalk, arrow ʼ; Bi. kã̄ṛā ʻ stem of muñja grass (used for thatching) ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow ʼ, ˚ḍũ n. ʻ wrist ʼ, ˚ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ trunk, stem ʼ, ˚ḍẽ n. ʻ joint, knot, stem, straw ʼ, ˚ḍī f. ʻ joint of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ.(CDIAL 3023) Rebus: kanda 'fire-altar'.Rebus: kāṇḍā '(metal) equipment'.

What does a Bull anthroporph signify? dangra 'bull' *ḍaṅgara1 ʻ cattle ʼ. 2. *daṅgara -- . [Same as ḍaṅ- gara -- 2 s.v. *ḍagga -- 2 as a pejorative term for cattle] 1. K. ḍangur m. ʻ bullock ʼ, L. ḍaṅgur, (Ju.) ḍ̠ãgar m. ʻ horned cattle ʼ; P. ḍaṅgar m. ʻ cattle ʼ, Or. ḍaṅgara; Bi. ḍã̄gar ʻ old worn -- out beast, dead cattle ʼ, dhūr ḍã̄gar ʻ cattle in general ʼ; Bhoj. ḍāṅgar ʻ cattle ʼ; H. ḍã̄gar, ḍã̄grā m. ʻ horned cattle ʼ.2. H. dã̄gar m. = prec.(CDIAL 5526) rebus: dhangar 'blacksmith' (Maithili) became thākur, 'blacksmith' and later royalty. Sculptures of bull anthropomorphs are also shown carrying lotus stalks signifying reed-pens as writing instruments. ṭhakkura m. ʻ idol, deity (cf. ḍhakkārī -- ), ʼ lex., ʻ title ʼ Rājat. [Dis- cussion with lit. by W. Wüst RM 3, 13 ff. Prob. orig. a tribal name EWA i 459, which Wüst considers nonAryan borrowing of śākvará -- : very doubtful] Pk. ṭhakkura -- m. ʻ Rajput, chief man of a village ʼ; Kho. (Lor.) takur ʻ barber ʼ (= ṭ˚ ← Ind.?), Sh. ṭhăkŭr m.; K. ṭhôkur m. ʻ idol ʼ ( ← Ind.?); S. ṭhakuru m. ʻ fakir, term of address between fathers of a husband and wife ʼ; P. ṭhākar m. ʻ landholder ʼ, ludh. ṭhaukar m. ʻ lord ʼ; Ku. ṭhākur m. ʻ master, title of a Rajput ʼ; N. ṭhākur ʻ term of address from slave to master ʼ (f. ṭhakurāni), ṭhakuri ʻ a clan of Chetris ʼ (f. ṭhakurni); A. ṭhākur ʻ a Brahman ʼ, ṭhākurānī ʻ goddess ʼ; B. ṭhākurāni, ṭhākrān, ˚run ʻ honoured lady, goddess ʼ; Or. ṭhākura ʻ term of address to a Brahman, god, idol ʼ, ṭhākurāṇī ʻ goddess ʼ; Bi. ṭhākur ʻ barber ʼ; Mth. ṭhākur ʻ blacksmith ʼ; Bhoj. Aw.lakh. ṭhākur ʻ lord, master ʼ; H. ṭhākur m. ʻ master, landlord, god, idol ʼ, ṭhākurāin, ṭhā̆kurānī f. ʻ mistress, goddess ʼ; G. ṭhākor, ˚kar m. ʻ member of a clan of Rajputs ʼ, ṭhakrāṇī f. ʻ his wife ʼ, ṭhākor ʻ god, idol ʼ; M. ṭhākur m. ʻ jungle tribe in North Konkan, family priest, god, idol ʼ; Si. mald. "tacourou"ʻ title added to names of noblemen ʼ (HJ 915) prob. ← Ind.Addenda: ṭhakkura -- : Garh. ṭhākur ʻ master ʼ; A. ṭhākur also ʻ idol ʼ (CDIAL 5488)

The vāhana of Kubera is a mongoose. This hieroglyph signifies 
Hieroglyph: magguśa 'mongoose' rebus: maṅginī 'ship'; mañci a large sort of boat, single-masted Pattimar in coasting trade, holding 10-40 tons. He is shown holding a lotus stalk and carries a purse of mongoose skin, signifying him as a seafaring merchant creating the wealth and treasures of a nation.

Hieroglyph: maggūśa m. ʻ mongoose ʼ Bhoj., madguśa -- m. Hem. [← Drav. DED 4014]Pk. maṁgū˘sa -- , muggasa -- , muggusu -- , maṁkusa -- m. ʻ mongoose ʼ, H. mãgūs, mũgūs m., . mãgūs, mũgas, mũgūs m.(CDIAL 9702) Ta. mūṅkā mongoose, Viverra ichneumon. Ka. muṅgi, muṅgisi, muṅguli, muṅgili, muṅgali, muṅguri. Tu. muṅgili, muṅguli, muṅgilè. Te. muṅgi, muṅgisa. Kol. muŋgus. Nk. muŋśak. Nk. (Ch.) muŋgus. Ga. (S.2) muŋgi pōtu. Go. (Tr.) mungus, (Y.) muŋgus, (S.) muŋsi, (A.) mugus (Voc. 2870); (ASu.) muggūs. Konḍa muŋgi, muŋgi elka. Kuwi (P.) muŋgi orli. / Cf. Skt. (Hem. Uṇ.) madguśa-, (Bhoj. Uṇ.) magguśa-, Pkt. maṃgusa-, muggasa-, muggusu-, H. mũgūs, mãgūs, Mar. mũgūs, mũgas, Sgh. mugaṭi; Turner, CDIAL, no. 9702. (DEDR 4900) Rebus:maṅga m.n. ʻ head of a boat, mast or side of a ship ʼ lex. (maṅginī -- f. ʻ ship ʼ HPariś.). [Cf. *majjhika -- ?]H. mãg m. ʻ head of a boat ʼ, mãgrā m. ʻ ridgepole ʼ. (CDIAL 9705) Ta. mañci cargo boat with a raised platform; vañci canoe. Ma. mañci a large sort of boat, single-masted Pattimar in coasting trade, holding 10-40 tons; vañci a large boat. Ka. mañji a large boat with one mast used in coasting trade; (Bark.) maccïve a kind of boat. Tu. mañji a long boat, a single-masted country vessel. / Possibly < IA; Turner, CDIAL, no. 9715, mañca- stage, platform.(DEDR 4638)

Portrait of Abdul Karim (the Munshi) by Rudolf Swoboda.This is cognate with Persian word "Munshi (Urdu: مُنشی‎; Hindi: मुंशी; Bengali: মুন্সী) is a Persian word, originally used for a contractor, writer, or secretary, and later used in the Mughal Empire and British India for native language teachers, teachers of various subjects especially administrative principles, religious texts, science, and philosophy and were also secretaries and translators employed by Europeans." (Chisholm, Hugh, ed. (1911). "Munshi" . Encyclopædia Britannica. 19 (11th ed.). Cambridge University Press.) https://en.wikipedia.org/wiki/Munshi

RV VIII.21.18

Griffith RV. VIII.21.18 Citra is King, and only kinglings are the rest who dwell beside Sarasvati.

He, like Parjanya with his rain, hath spread himself with thousand, yea, with myriad gifts.

Wilson: 8.021.18 Verily the Ra_ja_ Citra, giving his thousands and tens of thousands, has overspread (with his bounty) those other petty princes, who rules along the Sarasvati_, as Parjanya (overspeads the earth) with rain.

Varuna on Khajuraho temples

Holds lotus stalk, noose, stands on makara. Makara is a composite animal composed of hieroglyphs: crocodile, elephant trunk, feline paws, fish-fins;the Meluhha rebus readings are: (dh)mākara 'composite animal' rebus: dhmākara 'bellows-blower, blacksmith';  kara 'crocodile' rebus: khar 'blacksmith'; karibha, ibha 'elephant' rebus: karba, ib 'iron'; panja 'feline paws' rebus: panja 'kiln, furnace'; aya 'fish' rebus: aya 'iron' ayas 'alloy metal' aya khambhaṛā 'fih-fin' rebus: aya kammaṭa 'iron mint, coiner, coinage'.

Kubera on Khajuraho temples

Holds lotus stalk, next to mongoose

Kubera, hholding mace, lotus stalk, and a mongoose skin purse, with unidentified animal by his side, Jagadambi Temple

Seated Kubera, with cup, mongoose purse, and lotus stalks, with pots by his side, Kandariya Mahadev Temple

Who's this anthropomorph with a bull's head on Khajuraho temples?

One of the Ashta Vasus, holding two lotus stalks, Javari temple

One of the Ashta Vasus, holding trishul, lotus stalk and Kamandalu, with fire by his side, Chitragupta Temple

One of the Ashta Vasus, holding lotus stalk and scroll, Chitragupta Temple

Chitragupta in Bangkok City Pillar ShrineThailand.
Affiliation	Deva
Mantra	ॐ श्री चित्रगुप्ताय नमः (Oṃ shri chitraguptaay Namaḥ)
Weapon	lekhani (Pen), Katani (Ink) and sword
Personal information
Consort	shobhawati
Parents	Brahma (father) Saraswati (mother)
Siblings	Four Kumaras, Narada, Daksha

चित्र--गुप्त m. N. of one of यम's attendants (recorder of every man's good and evil deeds) महाभारत, xiii, स्कन्द-पुराण, नारदीय-पुराण, वराह-पुराण,बादरायण 's ब्रह्म-सूत्र iii , 1 , 15,  Sāyaṇa, कथासरित्सागर lxxii ; a secretary of a man of rank (kind of mixed caste) (Monier-Williams)  citra चित्र a. [चित्र्-भावे अच्; चि-ष्ट्रन् वा Uṇ.4.163] 1 Bright, clear. -2 Variegated, spotted, diversified. -3 amusing, interesting, agreeable; Māl.1.4. -4 Various, different, manifold; Pt.1.136; Ms.9.248; Y.1.288. -5 Surprising, wonderful, strange; किमत्र चित्रम् R.5.33; Ś.2.15. -6 Perceptible, visible. -7 Conspicuous, excellent, distinguished; न यद्वचश्चित्रपदं हरेर्यशो जगत्पवित्रं प्रगृणीत कर्हिचित् Bhāg.1.5.1. -8 Rough, agitated (as the sea, opp सम). -9 Clear, loud, perceptible (as a sound). -गुप्तः one of the beings in Yama's world recording the vices and virtues of mankind; नामान्येषां लिखामि ध्रुवमहम- धुना चित्रगुप्तः प्रमार्ष्टु Mu.1.2. (Apte)

"Chitragupta (Sanskrit: चित्रगुप्त, 'rich in secrets' or 'hidden picture') is a Hindu god assigned with the task of keeping complete records of actions of human beings on the earth. He is god of justice. Upon their death, Chitragupta has the task of deciding heaven or the hell for the humans, depending on their actions on the earth. Chitragupta Maharaj (Chitragupta The Kshatriya king) is the patron deity of Kayasthas, a Hindu caste of India and Nepal...Lord Brahma commanded him to keep better track of everyone, and Yama declared that he could not reasonably be expected to keep track of the many people born of the eighty-four hundred thousand different life forms of planet Earth.
Lord Brahma, determined to solve this problem for Yama, sat in meditation for many thousands of years. Finally he opened his eyes, and a man stood before him with a pen and paper. As Chitragupta was born of Brahma's body or kaya in Sanskrit, Brahma declared that his children would forever be known as Kayasthas. Chitragupta is sometimes also referred to as the first man to use letters, and is hailed that way in the Garuḍa Purāṇa. He is known as being incredibly meticulous, and with his pen and paper he tracks every action of every sentient life form, building up a record of them over the course of their life so that when they die the fate of their soul can be easily determined. These perfect and complete documents are referred to in mystical traditions as the Akashic records, and as they contain the actions of each person from birth to death, they can be said to contain every action taken in the universe.,,Items associated with Chitragupta in his puja include the paper and pen, ink, honey, betel nut, matches, mustard, ginger, jaggery, sugar, sandalwood, and frankincense. A puja is often performed to Chitragupta in reverence of the four virtues he is seen to embody: justice, peace, literacy, and knowledge. Part of the Chitragupta puja also includes writing down how much money you make in your household, and how much you need to make to survive in the following year, while making offerings of turmeric, flowers, and vermilion...Yama Samhita...The god Brahma (creator) said: "Because you are sprung from my body (kaya), therefore you shall be called Kayastha and as you existed in my body unseen I give you the name of Chitragupta." He then assumed charge of Yamapuri...progenitors of the twelve subdivisions of the Chitraguptavansi Kayasthas, namely Saxena, Mathur, Gaur, Nigam, Ashthana, Kulshrestha, Suryadwaja, Bhatnagar, Ambastha, Shrivastava, Karna and Vaalmik..Chitragupta is hailed as the first man to give the script....Chitragupta namastubhyam vedākṣaradātre (Obeisance to Chitragupta, the giver of letters)...The birthday of Chitragupta is celebrated on Yama Dwitiya and Chitraguptajayanti Puja is performed on this day..A more than 300-year-old very famous temple of Shri Chitra Gupta is located in the centre of city in Alwar, Alwar, Rajasthan where an annual fair is held for darshan and worship of chitraguptaji, between Dhantriyodashi to Yam Dwitia in the Hindu month of Kartic(October–November).to celebrate the chitragupta jayanti, on Yama Dwitiya."


Khajuraho India, Chitragupta Temple. Based on the epigraphic evidence, the construction of the temple can be dated to 1020-1025 CE. It was probably consecrated on 23 February 1023 CE, on the occasion of Shivaratri.
Chitragupta or Bharatji"s Temple 
"This is the only local temple dedicated to Surya and is situated about 91 m to the north of the Jagadambi temple and 183 m south-east of an ancient (Chandella) three storied stepped tank, known as the Chopra. In respect of plan, design, dimensions and decorative scheme this temple closely resembles the Jagadambi and consists of a sanctum without ambulatory, vestibule, maha-mandapa with lateral transepts and entrance-porch, the last being completely restored above the original plinth. The octagonal ceiling of its maha-mandapa marks an elaboration over the square plan and thus appears to be relatively more ornate and developed than Jagadambi and may consequently be slightly later in date. The main image enshrined in the sanctum represents an impressive sculpture of standing Surya driving in a chariot of seven horses. Three similar but smaller figures of Surya are depicted on the lintel of the ornate doorway. The temple walls are also carved with some of the finest figures of sura-sundaris, erotic couples and gods including an eleven-headed Vishnu. The sculptures on this temple. as on the Jagadambi, approximate those of the Visvanatha in style. The same affinity is visible with regard to the architectural and decorative motifs. The Jagdambi and the Chitragupta temples are, therefore, stylistically placed between the Visvanatha and the Kandariya and are assignable to circa 1000-25."

Brahma and his consort. Surasundari. Chitragupta Temple, Khajuraho.  
There is also a sculpture of Shiva's attendant Nandi, who is shown with a human body and a bull's head. A clear indicator of an anthropomorph: dangra 'bull' rebus: dhangar 'blacksmith'.

http://asibhopal.nic.in/monument/chhatarpur_khajuraho_chitragupta.html#

Chitragupta temple, Kanchipuram

Shrine for Chitragupta

 

The Utsava idols of Lord Chitragupta, who is believed to grace the devotee with prosperity, and his Consort...

THE TEMPLE town of Kanchipuram, in Tamil Nadu, which has 108 Siva temples and 18 famous Divyadesa Vaishnava temples, has also been blessed with a unique and separate temple for Chitragupta, the chief minister and chief accountant of Lord Yama (the God of Death), on Nellukara Street, in the heart of the town. There is no other separate shrine for Chitragupta.

Chitragupta, created by Lord Brahma through the Sun God, is the younger brother of Yama. He keeps track of all the good and bad deeds of human beings and sends them to `heaven' or `hell' after death.

According to archaeologists, the Chitragupta temple was built in Kanchipuram during the Chola period (Ninth Century) and is being maintained by a particular community of Kanchipuram from time immemorial.

The presiding deity (moolavar) is seen in a sitting posture holding the ezhuthaani (pen) in his right hand and a palm leaf in left symbolising his nature of work. The utsava panchaloka idol of Chitragupta is seen with His consort Karnikambal. It is believed that Lord Chitragupta is the Athi Devathai for Kethu, one of the Navagrahas, and those who worship Chitragupta at this temple, would be bestowed with prosperity. Also the evil effects of Kethu during its transit period would be mitigated. However, according to astrologers, Lord Vinayaka is the Prathi Devathaifor Kethu and would also mitigate the evil effects of Kethu.

S. Kumaraswamy, the trustee of Sri Chitragupta Swamy Temple, says, that a large number of devotees come to the temple and perform abishekams and pujas, especially during Pournami (full moon) every month. Chitra Pournami is celebrated as a grand festival in the temple every year. This year it falls on April 16.

Pics. by A. Muralitharan 

 

Chitragupta Temple... one of its kind

He says that a number of devotees had told him that Lord Chitragupta had fulfilled their prayers.He says that two small panchaloka idols of Chitragupta with His Consort Karnikambal were found while the ground around the temple was dug for carrying out repairs, in February 1911. But these idols could not be used for worship because of minor damages. However, they are being kept along with the presiding deity. The last kumbabhishekam of the temple was performed on July 14, 1918. Later, some repair works were carried out in August 1944. Several deities including Navagrahas, Durga and Vinayakar were installed in the temple.

According to the Puranas, Lord Yama requested Lord Siva to get Him an intelligent chief minister and chief accountant for looking after the good and bad deeds committed by the human beings.

Lord Siva in turn told Brahma, and Chitragupta was born to the Sun God and Neeladevi.

K. SUBRAMANIAN

https://www.thehindu.com/thehindu/fr/2003/04/18/stories/2003041801260800.htm

Yama's Court and Hell. The Blue figure is Yama with Yami and Chitragupta, 17th-century painting

A large central panel portrays Yamathe god of death (often referred to as Dharma) seated on a throne; to the left stands a demon. To the right of Yama sits Chitragupta, assigned with keeping detailed records of every human being and upon their death deciding how they are to be reincarnated, depending on their previous actions.

https://en.wikipedia.org/wiki/Chitragupta

The Power of 8 - The Ashta Dikpalas and Ashta Vasus at Khajuraho -- Anu Shankar

November 03, 2016

The four cardinal directions form the axis on which a temple is built, and are thus the basis of temple architecture. Leading from them are the eight directions, which are believed to be guarded by the eight guardians, or Ashta Dikpalas. In the temples of Khajuraho, great care has been taken by the sculptors to carve the Ashta Dikpalas on the walls, both inside and outside. They not only guard the temple, but also look over us as we circumambulate the shrine, protecting us by their presence. They are augmented by the Ashta Vasus, celestial beings which represent natural phenomena. Together, they enhance the idea of the temple as cosmos, enfolding within it, all the aspects of nature, both, on earth, as well in space.

The Ashta Dikpalas are seen on both, the inner and outer walls of the temples at Khajuraho. They are shown in various niches, seated as well as standing. Let me take you on a visual tour of the Dikpalas at Khajuraho…..

Indra, the king of the gods, is the guardian of the East. Indra is among the most important deties in the Vedas, and he is associated with lightning, thunder and rain.  He is usually shown holding his Vajra (thunderbolt) and with his elephant, Airavata. The East is considered an auspicious direction, due to the rising of the sun. Besides, Indra is the god of rain, and rain being crucial to life, he is shown on the eastern wall of temples.

Indra, holding a Vajra in his right hand, with elephant by his side. Kandariya Mahadev Temple

Indra, identified by the placement, and elephant by his side, Chitragupta Temple

Agni, the god of Fire, is the guardian of the South-East. Agni is one of the major gods in the Vedas, and, as fire, is the one who accepts offerings on behalf of the gods. As one of the oldest gods, he is depicted with a moustache and/or a beard, and is shown as being fat, since he consumes everything. His vehicle, the ram, is also usually shown next to him.

Agni, pot bellied, with beard and mustache, holding a lamp and parchment, with a Ram by his side. Kandariya Mahadev Temple

Yama, the god of death, is the guardian of the South. He is shown riding a buffalo, or with the buffalo next to him, and in his hands, he carries a noose and a staff or danda. Sometimes, he also has a bird in his hand or on his shoulder. It could either be a pigeon or a crow, both of which are said to be his messengers.

Yama, holding staff, damru, and bird, with a buffalo by his side, Kandariya Mahadev Temple

Yama, with skull cup and buffalo by his feet, Duladeo Temple. The hair fanning out is typical of sculptures in this temple.

Nritti is the guardian of the South-West. The name Nritti comes from “na-rti” or the absence of rules. Thus, Nritti depicts the one who is wild, who does not follow any rules. According to Wikipedia, Nritti is a goddess, while Nritta is one of the forms of Rudra or Shiva. At Khajuraho, however, Nritti is depicted as a nude male, holding a snake and a sword, with a man lying by his side, or under him. It thus appears that he is considered here a form of Shiva.  

Nritti, nude, holding sword and shield, with a human figure at his feet (head broken), Jagadambi Temple

Varuna is the god of water, and the guardian of the West. He is shown with his vahana, the Makara(crocodile), and holding a lotus stalk, and a noose.

Varuna, holding a noose and lotus stalk in two of his hands, standing on his mount, the Makara or crocodile, Javari Temple

Vayu is the god of wind, and the guardian of the North-West. His vahana or vehicle is the antelope, and he is shown holding a cloth in two of his arms, flying behind him, depicting air.

Vayu, with the antelope at his feet, looking up, Kandariya Mahadev Temple

Kubera, the god of wealth, is the guardian of the North. Kubera is a Yaksha, closely associated with the earth, and all her treasures. He is usually depicted as short and fat, holding a money purse and club/mace in his hand. Early sculptures show him with a mongoose skin purse, or a mongoose over his shoulder, and sometimes with an elephant. There are also pots shown by his side.

Kubera, hholding mace, lotus stalk, and a mongoose skin purse, with unidentified animal by his side, Jagadambi Temple

Kubera, with mongoose skin purse over his shoulder, and pots near his feet, Chaturbhuja Temple

Seated Kubera, with cup, mongoose purse, and lotus stalks, with pots by his side, Kandariya Mahadev Temple

Isana is the guardian of the North-East. He is a form of Shiva, considered to be one of his five aspects. He is depicted in a manner similar to Shiva, except that he has at least one hand in varada mudra, or benevolent pose.

Isana, Lakshmana Temple

The Ashta Dikpalas or guardians of the eight directions, are placed on the walls corresponding to their directions. Thus, Indra is seen on the Eastern wall of the temple, Agni on the South East wall, or the South East corner, and so on, thus facing the direction they represent. This is true not just of Khajuraho, but of many ancient temples. If you are visiting any, try to get an idea of the direction, and then identify the sculptures. Believe me, it helps!

Another group of eight figures seen on the walls of the temples at Khajuraho are the Ashta Vasus.

One of the Ashta Vasus, holding lotus stalk and scroll, Chitragupta Temple

The Ashta Vasus are a set of eight celestial beings, representing different aspects of nature, or natural phenomena. They are: Dhara (earth), Anala (fire), Anila (wind), Aha (space), Pratyusha (twilight), Prabhasa(dawn), Soma (moon) and Dhruva (pole-star).

One of the Ashta Vasus, holding trishul, lotus stalk and Kamandalu, with fire by his side, Chitragupta Temple

In the Mahabharata, the Ashta Vasus are celestial beings, who, prompted by one of their wives, steal the cow of sage Vashishta. The sage, in his anger, curses them to be born as humans, and experience the struggles of a human life. Aghast at the result of their prank, they apologise, and the sage modifies his curse. The 8 brothers persuade Ganga to give birth to them, and throw them into the river as soon as they are born, thus relieving them from the curse, as per the sage’s words. However, the brother primarily responsible for the theft has no choice but to bear the curse in its entirety, for not just himself, but all his brothers. He is born to Ganga, but lives on, first named Devavrata, and later called Bhishma. He lives through generations of his clan, forced to watch sons and grandsons die, before he himself can leave his human body.

However, there is another caveat to the curse – the 8 brothers are always shown with bovine faces (face of a cow) as a reminder of their crime.

Top: One of the Ashta Vasus; Bottom: Agni Duladeo Temple

Top: One of the Ashta Vasus; Bottom: Yama Vamana Temple

One of the Ashta Vasus, Javari Temple

One of the Ashta Vasus, holding two lotus stalks, Javari Temple

Top: One of the Ashta Vasus, Bottom: Kubera, Vamana Temple

Top: One of the Ashta Vasus; Bottom: Nritti, notice the human he is standing on.. Javari Temple

While the story of the Ashta Vasus is something I was familiar with, the story of their bovine faces was new to me. It was only thanks to Dr. Kirit Mankodi, whom I met at Jnananpravaha Mumbai, and who very helpfully clarified my doubts, that I learnt the identity of the bull-faced figures seen all over the temples. He also helped with the identification of Kubera, whom I had never seen with a mongoose before, as well as a number of other figures I have yet to write about.

छेदक   chēdaka m S A delineation or representation (as of the heavenly bodies); to illustrate their positions and movements. (Marathi)

शेट   śēṭa m (श्रेष्ठ S through H) A respectful compellation for a banker, merchant, or tradesman, and for certain artisans (as Sonár, Kánsár &c.) Used alone or affixed to the name. Pr. शेट सवा शेर आणि लिंग अडीच शेर Used reproachfully of a लिंगाईत bearing on his breast an enormous lingam; or of a person of lower value or estimation than his silver idol; or of any one falling short of his manifestations or professions; or of any additament or appendage weightier than the main body. (Marathi)

Part of a Sumerian seal from about 2000 BC. Rohl ,1998 inteprets the bull-man as Gilgamesh (Rohl,p170), but the bull-man image goes back to much earlier times.

Persian bronze figure of Kusarikku (the Bull-man), Iran, Late 2nd Millennium BCE

https://archaicwonder.tumblr.com/post/65262727469/persian-bronze-figure-of-kusarikku-the-bull-man

A Kneeling Bull figurine of silver holding a spouted vessel, Iran, ca. 2900 BCE (“Proto-Elamite”). Photo: Reproduced by courtesy of The Metropolitan Museum of Art.

جام نقره و گاوی که جام نقره را نگهداشته است. ایران. حدود ۲۹۰۰ قبل از میلاد. تکثیر عکس با اجازه موزه مترو متروپولیتن.

1.  Dietz Otto Edzard, ed. (1999). "Mischwesen". Reallexikon der Assyriologie und Vorderasiatischen Archäologie: Meek - Mythologie, Volume 8. Walter De Gruyter. p. 225.
2. ^ F. A. M. Wiggermann (2007). "The Four Winds and the Origin of Pazuzu". In Claus Wilcke (ed.). Das geistige Erfassen der Welt im Alten Orient Sprache, Religion, Kultur und Gesellschaft. Harrassowitz Verlag. p. 154. kudurru BM 90829.
3. ^ K. Van Der Toorn (1999). "Magic at the cradle: A reassessment". In I. Tzvi Abusch, K. Van Der Toorn (ed.). Mesopotamian Magic: Textual, Historical, and Interpretative Perspectives. Styx. p. 143.
4. ^ Tally Ornan (1993). "The Mesopotamian Influence on West Semitic Inscribed Seals: A Preference for the Depiction of Mortals". In Benjamin Sass, Christopher Uehlinger (ed.). Studies in the Iconography of Northwest Semitic Inscribed Seals: Proceedings of a symposium held in Fribourg on April 17-20, 1991. Vandenhoeck & Ruprecht. p. 56.
5. ^ Herman L. J. Vanstiphout, Jerrold S. Cooper (2004). Epics of Sumerian Kings: The Matter of Aratta. Brill Academic Pub. p. 163.
6. ^ Claudia E. Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Styx. p. 65.