https://tinyurl.com/yyc38jp5

-- Anzu (Sumerian), Simorg (Persian), Śyena (R̥gveda),'falcon, thunderbolt' associated with metalwork
-- aśan, ahan 'falcon' rebus: ahan 'iron' PLUS kamadha 'penance' rebus: kammaṭa; together, the Meluhha expression is:ahan kammaṭa 'iron mint'
-- Śyena ('falcon, thunderbolt' (R̥gveda, Indus Script) elaborated as metalwork narratives of Anzu (Sumerian), Simorg (Persian) ahan kammaṭa 'iron mint'
-- श्येन is N. of a ऋषि (having the patr. आग्नेय and author of RV. x , 188) (अनुक्रमणिका )
-- श्येन is a particular एका* ह (षड्विंश-ब्राह्मण, कात्यायन-श्रौत-सूत्र); एका* ह is a सोम sacrifice in which सोम is prepared during one day only (as the अग्निष्टोम &c ) (शतपथ-ब्राह्मण iv , vi , xii , xiii ऐतरेय-ब्राह्मण vi आश्वलायन-श्रौत-सूत्र ii , कात्यायन-श्रौत-सूत्र &c) 

Indus Script Corpora evidence points to the early working with magnetite, ferrite ore as seen by the signifier hieroglyph पोळ pōḷa, 'bos indicus, zebu'. The prologue dedication is first to this bos indicus signified by the synonym: Nanda, nandi. The word नांदी nāndī signifies prologue dedication
.

पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large. Rebus: पोळ pōḷa 'magnetite, ferrite ore'. As eulogium or praise of the divine, the synonym used is: नंदी (p. 256) nandī m (S) The bull on which Mahádeva rides. A stone-bull is fixed in front of all temples to Mahádeva. The word nanda has specific meanings in the context of trade transactions. नंद (p. 256) nanda m नंदकी f (नंद was a proper name.) A clandestine or covert term, amongst dealers and brokers, for दल्लाली or the fees of brokerage. De- vised to keep the secrets of trade from the employer of the broker and the mere customer. Its vocabulary is भुरका One rupee, ढोकळा One pysa, केवली One, अवारू Two, उधानू Three, पोकू Four, मुळू Five, शेली Six, पवित्रू Seven, भंगी Eight, तेवसू or लेवनू Nine, अंगुळू Ten, एकडू Eleven, रेघी Twelve, ठेपरू Thirteen, चोपडू Fourteen, तळी Fifteen. To this last term the first four numerals successively added (the sense of addition being expressed by तान) form successively 16, 17, 18, 19, as भुरका तान तळी अवारू तान तळी, उधानू तान तळी, पोकू तान तळी. काटी stands for 20; then भुरका तान काटी, अवारू तान काटी &c. express 21, 22 &c. बिटी is 100, ढकार 1000, फाटा is An̤á, अवारू फाटे Two án̤ás, मंगी फाटे Eight án̤ás, तळी फाटे Fifteen án̤ás, दुकार One án̤á, चकार Two án̤ás, पकार Four án̤ás, टाली Half a rupee. The नंद vocabulary however has variations. Expressive of the above account the following अभंग has been composed, मुळू 5 वदनाचा उधानु 3 नेत्राचा ॥ अंगूळू 10 हातांचा स्वामी माझा ॥1॥ मुगुट जयाचा केव- ळ्या 1 आगळी कांटी 20 पवित्र तळवटी चरण ज्याचे ॥2॥ ढकार 1000 वदनाचा आला वर्णावया ॥ जिव्हा त्याच्या चिरल्या वर्णवेना ॥3॥ शेली 6 वेडावली पोकू 4 भौनावली ॥ अगुंळूमंगि 18 थकली नकळे त्यांसी ॥4॥ सद्भावें शरण आवारू 2 जोडून ॥ खेचरवीसा म्हणे स्वामी माझा ॥5॥. नंद थाकणें or ठेवणें To make (i. e. obtain) नंद or secret brokerage.

Another connotation is a mystical figure of lines drawn on the sacred cloth held at marriages between bride and bridegroom: नंद (p. 256) nanda m (S) Red lines or figures, esp. the mystical figure called स्वस्तिक, drawn on the अंतःपट or cloth which, at marriages, is held between the bride and bridegroom. 2 Vertigo incidental to puerperal women. नंदाचा पासोडा (p. 256) nandācā pāsōḍā m नंदाचा शेला m The अंतःपट (cloth held at marriages between the bride and bridegroom) having red lines or figures drawn over it, esp. the mystical figure called स्वस्तिक which is termed नंद. नंदी nandī  (Or नंद) The lines or figures drawn with कुंकूं &c. upon the अंतःपट.

Thus, the terms nanda, nandi get associated with mystic, vikalpa signifiers as in पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large, as a rebus signifier of: पोळ pōḷa 'magnetite, ferrite ore'.

While rendering eulogies and prayers to the divine, the oblations are signified as नांदीमुख nāndīmukha

A set of synonymous words & expressions:  नांदी (p. 259) nāndī f S Eulogium of a king or praise of a deity recited in benedictory verses at the opening of a drama &c. नांदीमुख nāndīmukha n S नांदीश्राद्ध n S Oblations to the manes offered on festal occasions. నాంది (p. 640) nāndi nāndi. [Skt.] n. A preliminary. The exordium, prelude, prologue dedication, or praise of a deity, recited in benedictory verses at the commencement of a religious ceremony or poem. నాందీ యాగము the opening rite. Anand. vi. 1. The opening benedictory verses in a drama. నాటకప్రథమాంగము, మొదలుపెట్టడము. నాందీకరుడు or నాందివాది nāndī-karuḍu. n. One who pronounces the benediction. ఆశీర్వాదముచేయువాడు.

నంది (p. 626) nandi or నందికేశ్వరుడు nandi. [Skt.] n. The name of the bull of Siva. A bull, వృషభము.

A synonym for 'bull', bos indicus, is: poḷa 'zebu' which is a definitive Indus Script hieroglyph. Rebus signifier of poḷa 'magnetite, ferrite ore'-- a metalwork for wealth creation by artisans of Sarasvati_Sindhu Civilization. This Indus Script hieroglyph which signifies 'zebu' or poḷa is seen on early inscriptions of Indus Script as on the paintings of Nausharo pots. The bird perched on the shoulder of the zebu painting is black drongo: pōlaḍu, 'black drongo',rebus: pōlaḍ, 'steel', The zebu is tied to a post with a rope to signify:  meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end;  mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Vikalpa: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.)

khuṇḍ ʻtethering peg or post' (Western Pahari) Rebus: kūṭa ‘workshop’; kuṭi= smelter furnace (Santali); Rebus 2: kuṇḍ 'fire-altar'

Why are animals shown in pairs?

dula ‘pair’ (Kashmiri); rebus: dul ‘cast metal’ (Mu.)

Tukulti Ninurta venerates the tablet and stylus of destiny.


Tukulti-Ninurta I (meaning: "my trust is in [the warrior god] Ninurta"; reigned 1243–1207 BCE) was a king of Assyria (Sumer-Akkad) during the Middle Assyrian Empire (1366 - 1050 BCE).Pedestal of Tukulti-Ninurta I shows Ningirsu writing tablet and stylus and Indus Script hieroglyphs nave-of-wheel, safflower https://tinyurl.com/y6zqc397eraka 'nave of wheel' rebus: eraka 'metal infusion';    څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well).rebus: arka 'sun's rays' eraka 'metal infusion'. dang 'mountain rage' rebus: dhangar,thakur 'blacksmith, deity'. medha 'ram' rebus: medho 'merchant'.
kāṇḍa काण्डः m. the stalk or stem of a reed. Rebus: kāṇḍa 'tools, pots and metalware'.
 करडई  karaḍī f Safflower, Carthamus. 2 Its seed. करडी karaḍī f (See करडई) Safflower: also its seed. करडेल karaḍēla n (करडई & तेल) Oil of Carthamus or safflower.  karaṭa2 m. ʻ Carthamus tinctorius ʼ lex. Pk. karaḍa -- m. ʻ safflower ʼ, °ḍā -- f. ʻ a tree like the karañja ʼ; M. karḍī, °ḍaī f. ʻ safflower, Carthamus tinctorius and its seed ʼ.*karaṭataila ʻ oil of safflower ʼ. [karaṭa -- 2, tailá -- ] M. karḍel n. ʻ oil from the seed of safflower ʼ.(CDIAL 2788, 2789) Rebus:  karandi 'fire-god' (Munda.Remo)

Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.

I suggest that this figure has inscribed Indus Script hypertexts read rebus related to metal smelting of elements, aduru 'native metal' and metal implements work.

Hieroglyph: kola 'woman' (Nahali) rebus: kol 'working in iron'खोंड   khōṇḍa, खुंडी khuṇḍī  A variety of जोंधळा.जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &38;c.; दगडी जोंधळा dagaḍī jōndhaḷā m or शाळू f A variety of the corn जोंधळा. Its ear is hard and close-filled.

Rebus:    kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñ^ü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used.

Alternative 'twig': कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. , Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi'smelter'.

Two hair strands signify: dula 'pair' rebus: dul 'metal casting' PLUS Hieroglyph strand (of hair): dhāˊtu  *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)

Rebus: dhāvḍī  'iron smelting': Shgh. ċīw, ċōw, ċū ʻ single hair ʼ ; Ash. dro ʻ woman's hair ʼ, Kt. drū, Wg.drū, drū̃; Pr. ḍui ʻ a hair ʼ; Kho. dro(h) ʻ hair ʼ, (Lor.) ʻ hair (of animal), body hair (human) ʼ: → Orm. dra, drī IIFL i 392 (semant. cf. Psht. pal ʻ fringe of hair over forehead ʼ < *pata -- (CDIAL 6623) drava द्रव [p= 500,3] flowing , fluid , dropping , dripping , trickling or overflowing with (comp.) Ka1t2h. Mn.MBh. Ka1v. fused , liquefied , melted W. m. distilling , trickling , fluidity Bha1sha1p. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)(CDIAL 6773)

Hieroglyph: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]

S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Ta. miṭai (-v-, -nt-) to weave as a mat, etc. Ma. miṭayuka to plait, braid, twist, wattle; miṭaccal plaiting, etc.; miṭappu tuft of hair; miṭalascreen or wicket, ōlas plaited together. Ka. meḍaṟu to plait as screens, etc. (Hav.) maḍe to knit, weave (as a basket); (Gowda) mEḍi plait. Ga.(S.3) miṭṭe a female hair-style. Go. (Mu.) mihc- to plait (hair) (Voc. 2850).(DEDR 4853) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.)

Three lines below the belly of the figure: kolom 'three' rebus: kolimi 'smithy, forge'

Hieroglyph: kuṭhi  ‘vagina’ Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuṭhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (Santali. Bodding)  kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam  = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhābrick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati) 

Hieroglyph: sprig: ḍāla 5546 ḍāla1 m. ʻ branch ʼ Śīl. 2. *ṭhāla -- . 3. *ḍāḍha -- . [Poss. same as *dāla -- 1 and dāra -- 1: √dal, √d&rcirclemacr;. But variation of form supports PMWS 64 ← Mu.]1. Pk. ḍāla -- n. ʻ branch ʼ; S. ḍ̠āru m. ʻ large branch ʼ, ḍ̠ārī f. ʻ branch ʼ; P. ḍāl m. ʻ branch ʼ, °lā m. ʻ large do. ʼ, °lī f. ʻ twig ʼ; WPah. bhal. ḍām. ʻ branch ʼ; Ku. ḍālo m. ʻ tree ʼ; N. ḍālo ʻ branch ʼ, A. B. ḍāl, Or. ḍāḷa; Mth. ḍār ʻ branch ʼ, °ri ʻ twig ʼ; Aw. lakh. ḍār ʻ branch ʼ, H. ḍāl, °lām., G. ḍāḷi, °ḷī f., °ḷũ n.2. A. ṭhāl ʻ branch ʼ, °li ʻ twig ʼ; H. ṭhāl, °lā m. ʻ leafy branch (esp. one lopped off) ʼ.3. Bhoj. ḍāṛhī ʻ branch ʼ; M. ḍāhaḷ m. ʻ loppings of trees ʼ, ḍāhḷā m. ʻ leafy branch ʼ, °ḷī f. ʻ twig ʼ, ḍhāḷā m. ʻ sprig ʼ, °ḷī f. ʻ branch ʼ.*ḍāla -- 2 ʻ basket ʼ see *ḍalla -- 2.ḍālima -- see dāḍima -- .*ḍāva -- 1 ʻ box ʼ see *ḍabba -- .*ḍāva -- 2 ʻ left ʼ see *ḍavva -- .Addenda: ḍāla -- 1. 1. S.kcch. ḍār f. ʻ branch of a tree ʼ; WPah.kṭg. ḍāḷ m. ʻ tree ʼ, J. ḍā'l m.; kṭg. ḍaḷi f. ʻ branch, stalk ʼ, ḍaḷṭi f. ʻ shoot ʼ; A. ḍāl(phonet. d -- ) ʻ branch ʼ AFD 207.टाळा (p. 196) ṭāḷā ...2 Averting or preventing (of a trouble or an evil). 3 The roof of the mouth. 4 R (Usually टाहळा) A small leafy branch; a spray or sprig. टाळी (p. 196) ṭāḷī f R (Usually टाहळी) A small leafy branch, a sprig.ढगळा (p. 204) ḍhagaḷā m R A small leafy branch; a sprig or spray.   डगळा or डघळा (p. 201) ḍagaḷā or ḍaghaḷā m A tender and leafy branch: also a sprig or spray. डांगशी (p. 202) ḍāṅgaśī f C A small branch, a sprig, a spray. डांगळी (p. 202) ḍāṅgaḷī f A small branch, a sprig or spray.  डाहळा (p. 202) ḍāhaḷā लांख esp. the first. 2 (dim. डाहळी f A sprig or twig.) A leafy branch. Pr. धरायाला डाहळी न बसायाला सावली Used.

Rebus: ḍhāla 'large ingot' (Gujarati)

Hieroglyph on an Elamite cylinder seal (See illustration embedded)

Hieroglyph: holcus sorghum; stalk, thorny: खोंड   khōṇḍa, खुंडी khuṇḍī  A variety of जोंधळा.जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप etc. Rebus:    kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 1033); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). --khasüñ^ü --खस॑ञू॒ । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist. Cf. Śiv. 1033, where the causal form of the verb is used.

This is an addendum to: 

कोंद kōnda 'young bull' rebus kō̃da कोँद a kiln (a potter's, a lime-kiln, and brick-kiln, or the like); a ceramic furnacehttps://tinyurl.com/yydlmsq2

--Orthographic emphasis of  kōḍe bull-calf hieroglyph is on its tender age, youth; the cognate word is खोंड khōṇḍa m A young bull, a bullcalf.  

-- खोंडा   khōṇḍā m A कांबळा of which one end is formed into a cowl or hood; खुंडी khuṇḍī f A cloth doubled over and sewn at one end, forming a घोंगता, खोपा, or खोळ (an open or outspread shovel-form sack). Used in exposing grain in the market. Thus, the pannier on the 'unicorn' is a semantic determinant.

--खोंड   khōṇḍa, खुंडी khuṇḍī  A variety of जोंधळा.जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &38;c.; दगडी जोंधळा dagaḍī jōndhaḷā m or शाळू f A variety of the corn जोंधळा. Its ear is hard and close-filled.

Mari priest carries a standard in a procession. The standard is composed of the culm of millet or of holcus sorghum. One-horned young bull adorns the pedestal of the flagstaff carried by the priest. The underlying Meluhha word signified is: खोंड   khōṇḍa which has three meanings: holcus sorghum, pannier, bull-calf. These semantics explain the unique orthography of the unicorn which is a young bull-calf, has a pannier on its shoulder and the flagstaff used to carry the unicorn standard in a Mari procession is the culm of millet or holcus sorghum which is खोंड   khōṇḍa, a variety of corn. 

The images from Mari procession clearly demonstrate that they were Meluhha speakers who tried to convey the underlying Meluhha semantics of youth of the bull-calf and the pannier on the bull-calf's shoulder. The one-horn is a semantic determinative for a closely homonymous word koḍ 'horn' rebus:koḍ 'workshop'.

Hundreds of seals of Indus Script Corpora show these orthographic components to be concordant with the semantics -- pannier, youth -- of the 'unicorn' vividly:

 

కొదమ  kodama. [Tel.] adj. Young. Hard. ధృఢమైన. కొదమసింగము or సింగపుకొదమ a young lion. కొదమతుమ్మెద or తేటికొదమ a young bee. కొదిమపిడుగు a fierce flash of lightning. n. A young animal, a cub. పశుపక్ష్యాదులపిల్ల. A female lamb or kid. ఆడుమేకపిల్ల.

కోడె  kōḍe. [Tel.] n. A bullcalf. కోడెదూడ. A young bull. కాడిమరపదగినదూడ. Plumpness, prime. తరుణము. జోడుకోడయలు a pair of bullocks. కోడె adj. Young. కోడెత్రాచు a young snake, one in its prime. "కోడెనాగముం బలుగుల రేడుతన్ని కొని పోవుతెరంగు"రామా. vi. కోడెకాడు kōḍe-kāḍu. n. A young man. పడుచువాడు. A lover విటుడు

Santali

குழ kuḻa, adj. < kuḍa. Young, tender; இள மையான. (தொல். சொல். 312.)*kuḍa1 ʻ boy, son ʼ, ˚ḍī ʻ girl, daughter ʼ. [Prob. ← Mu. (Sant. Muṇḍari koṛa ʻ boy ʼ, kuṛi ʻ girl ʼ, Ho koa, kui, Kūrkū kōn, kōnjē); or ← Drav. (Tam. kur̤a ʻ young ʼ, Kan. koḍa ʻ youth ʼ) T. Burrow BSOAS xii 373. Prob. separate from RV. kŕ̊tā -- ʻ girl ʼ H. W. Bailey TPS 1955, 65. -- Cf. kuḍáti ʻ acts like a child ʼ Dhātup.] NiDoc. ǵ ʻ boy ʼ, kuḍ'i ʻ girl ʼ; Ash. kūˊṛə ʻ child, foetus ʼ, istrimalī -- kuṛäˊ ʻ girl ʼ; Kt. kŕū, kuŕuk ʻ young of animals ʼ; Pr. kyǘru ʻ young of animals, child ʼ, kyurú ʻ boy ʼ, kurīˊ ʻ colt, calf ʼ; Dm. kúŕa ʻ child ʼ, Shum. kuṛ; Kal. kūŕ*lk ʻ young of animals ʼ; Phal. kuṛĭ̄ ʻ woman, wife ʼ; K. kūrü f. ʻ young girl ʼ, kash. kōṛī, ram. kuṛhī; L. kuṛā m. ʻ bridegroom ʼ, kuṛī f. ʻ girl, virgin, bride ʼ, awāṇ. kuṛī f. ʻ woman ʼ; P. kuṛī f. ʻ girl, daughter ʼ, P. bhaṭ. WPah. khaś. kuṛi, cur. kuḷī, cam. kǒḷā ʻ boy ʼ, kuṛī ʻ girl ʼ; -- B. ã̄ṭ -- kuṛā ʻ childless ʼ (ã̄ṭa ʻ tight ʼ)? -- X pṓta -- 1: WPah. bhad. kō ʻ son ʼ, kūī ʻ daughter ʼ, bhal. ko m., koi f., pāḍ. kuā, kōī, paṅ. koā, kūī. *kuḍa -- 2 ʻ wall ʼ see kuḍya -- .
kuḍapa -- see kuḍava -- .Addenda: *kuḍa -- 1 [Same Drav. root as in kuḍmalá -- q.v.] (CDIAL 3245)3249 *kuḍma ʻ bud ʼ.M. kõb, ˚bā m., ˚bī f. ʻ young shoot ʼ, kõbeṇẽ ʻ to sprout ʼ; Si. kumu ʻ unopened flower ʼ.kuḍmalá -- .   3250 kuḍmalá ʻ filled with buds ʼ MBh., m.n. ʻ bud ʼ BhP. 2. kuṭmalá -- . [*kuḍma -- ]1. Pa. kuḍumala -- , ˚aka -- m. ʻ opening bud ʼ; L. poṭh. kūmlī, pū˘mlī f. ʻ bud, young shoot ʼ, P. pumlī f.; WPah. roh. kumbəḷe ʻ tuft of grass ʼ.2. Pa. kuppila -- ʻ a kind of flower (?) ʼ; Pk. kuppala -- , kuṁpala -- m.n. ʻ bud ʼ, N. kopilo; H. kõpal, ˚lī f. ʻ opening bud ʼ; . kũpaḷ, kõpaḷ n., kõpḷo m. ʻ tender sprout, new twig ʼ.Addenda: kuḍmalá -- [M. B. Emeneau Bull. Institute of History and Philology, Academia Sinica xxxix 1, 9ff. ← Drav. ʻ young new sprout ʼ in DED and DEDS 1787, which appears also as loan in *kōra -- , kōraka -- , kuḍa -- 1]1. WPah.kṭg. kvmbḷi f. ʻ sprout, bud ʼ, J. kumaḷ m., kumḷi f. ʻ sprout ʼ.2. kuṭmalá -- : OMarw. kūpaḷa m. ʻ fresh bud or shoot ʼ. (CDIAL 3249, 3250)

Hieroglyph: young bull: Te. kōḍiya, kōḍe young bull; adj. male (e.g. kōḍe dūḍa bull calf), young, youthful; kōḍekã̄ḍu a young man. Kol. (Haig) kōḍē bull. Nk. khoṛe male calf. Konḍa kōḍi cow; kōṛe young bullock. Pe. kōḍi cow. Manḍ. kūḍi id. Kuikōḍi id., ox. Kuwi (F.) kōdi cow; (S.) kajja kōḍi bull; (Su. P.) kōḍi cow.(DEDR 2199)

Hieroglyph: horn: Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. ko·ṛ (obl. ko·ṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kwï·ṛ (obl. kwï·ṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn. Ga. (Oll.) kōr (pl. kōrgul) id. Go.(Tr.) kōr (obl. kōt-, pl. kōhk) horn of cattle or wild animals, branch of a tree; (W. Ph. A. Ch.) kōr (pl. kōhk), (S.) kōr (pl. kōhku), (Ma.) kōr̥u (pl. kōẖku) horn; (M.) kohk branch (Voc. 980); (LuS.) kogoo a horn. Kui kōju (pl. kōska)horn, antler. Cf. 2049 Ta. koṭi. (DEDR 2200)

Aerial photo of Gonur showing two complexes of Gonur (looking almost directly north). Photo credit: Kenneth Garrett "A large necropolis lies to the west of the site. In the centre of the northern complex is a fortified citadel-like structure. Both complexes have fortification walls. The fortification walls of the southern complex are wide, 8 to 10 metres tall and interspaced with round towers along its sides and corners. There are residential quarters walls within the fortifications." Reference: Excavations at Southern Gonur, by V. Sarianidi, 1993, British Institute of Persian Studies.

Gonur south complex.

The Sumerian Lexicon

Bendt Alster

Revue d'Assyriologie et d'archéologie orientale

Vol. 85, No. 1 (1991), pp. 1-11 (11 pages)

Published by: Presses Universitaires de France https://www.jstor.org/stable/23282051

Finds at Purola include Painted Gray Ware dated to ca. 1000 BCE Śyena Citi (R̥gveda)

24x18 m. vedika discovered in Purola, ca. 2nd cent. BC to 1st cent. CE. Laid out in the east-west direction. "Researchers also uncovered a square central chamber measuring 60 x 60 cm. in the middle of the altar. Excavation of this pit yielded five red-ware miniature bowls containing ash, charcoal, sandy clay and copper coins of the Kuninda period. But the most important discovery was an impressed gold-leaf showing a human figure in flowing apparel. Along with this was found a circular gold pendant and a small piece of a -chain. A lot of charcoal and charred bones were also recovered from the chamber." https://www.facebook.com/ouruki/posts/720924017918479

श्येन [p= 1095,2]m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle S3ulbas. (Samskritam)

Syena-citi: A Monument of Uttarkashi  The first layer of  one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area. 

Syena Chiti, Garuda shaped Chiti Schematic as described by John F Price. Context: Panjal Atiratra yajnam (2011). cf.The paper of John Price: Applied geometry of śulbasūtras.

First layer of vakrapakṣa śyena altar. The wings are made from 60 bricks of type 'a', and the body, head and tail from 50 type 'b', 6 of type 'c' and 24 type 'd' bricks. Each subsequent layer was laid out using different patterns of bricks with the total number of bricks equalling 200.

"Sênmurw (Pahlavi), Sîna-Mrû (Pâzand), a fabulous, mythical bird. The name derives from Avestan mərəγô saênô 'the bird Saêna', originally a raptor, either eagle or falcon, as can be deduced from the etymologically identical Sanskrit śyena." 

See: Gāndhāri, Parsu, Araṭṭa Meluhha artisans & Indus Script evidence for their metalwork in Gonur https://tinyurl.com/ybhlynzk 
"The merchants of Gonur and Central Asia could even have been the possible originators of the Silk Roads." -- K.E. Eduljee
I suggest that the settlement of Gonur Tepe was by people from Sarasvati-Sindhu civilization. Parallels between Sarasvati-Sindhu civilization settlements and Gonur settlements are vivid and emphatic, apart from the commonly shared writing system of Indus Script cipher.
The fortified settlements of Gonur Tepe with citadel compare with the layout of Dholavira fortified settlement and citadel with gateway suggesting that the Dholavira artisans migrated to Gonur in search of minerals and settled there for metalwork. The evidence for metalwork of Gonur Tepe is provided by a seal with Indus Script inscription including pictorial motif of an elephant and text message of 8 hieroglyphs/hypertexts deciphered in this monograph.

Decipherment of Gonur Tepe Indus Script inscription on seal

Gonur Tepe.Indus Script. Seal, Seal impression. t:

Pictorial motif: karabha, ibha 'elephant, trunk of elephant' rebus: karba, ib 'iron', ibbo 'merchant' 

This is a unique hypertext composed of a crucible PLUS a sprig. The sprig compares with the sprig inscribed on the exquisite terracotta image found at Altyn Tepe.

Hypertext: ingot out of crucible: mũh, muhã 'ingot' Rebus: muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kuṭhāru 'crucible' rebus:kuṭhāru 'armourer' PLUS kolmo'rice plant' rebus: kolimi 'smithy, forge'. Thus ingot for forge. Alternative: xoli 'fish-tail' rebus: kolhe'smelter', kol 'working in iron'  Thus, the hypertext is: muhã kuṭhāru kolhe 'ingot (-maker) armourer smelter'. Alternative: muhã kuṭhāru kuṭhi 'ingot, armourer, smelter' (Note: The twig ligatured may signify: कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. , Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi 'smelter'.)

sal 'splinter'rebus: sal 'workshop' 

aḍaren 'lid' rebus: aduru 'native metal' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'. 

खांडा  khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus:khaṇḍa 'implements' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, aya khaṇḍa 'excellent iron (metal) implements'.

Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaṭa 'mint, coin, coiner' 

ranku 'liquid measure' rebus: ranku 'tin' 

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

कर्णक karṇaka, kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'engraver, scribe' कर्णिक, 'helmsman, steersman'; name of a people.

The references to Saēna’ in Avestan cognate śyēna mr̥ga (Samskr̥tam) find many representations on Indus Script hypertexts, at times referring to the bird as Anzu (a memory-recall of amśu 'Soma' > ancu 'iron' (Tocharian). 

https://tinyurl.com/y5rcpy6t

-- World's first wealh accounting Indus Script system of Sarasvati-Sindhu Civilization Pictographs of pasaramu 'animals' of Indus Script Corpora are dhanam, 'wealth' categories of metalwork in pasra 'smithy'

--   dhanam, 'cattle' rebus: dhanam 'wealth'. pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is read rebus in Meluhha (Indiansprachbund or language union) expressions and related to: pasra = smithy (Santali)

-- Quintessential rebus readings relate to pajhar, 'a large vulture' and pasra 'a smithy'; the choice of a large vulture explains how composite animals like 'griffins' are created in Indus Script and on artifacts of Ancient Near East (ANE).

Thunderbolt, vajra

See:

Homa bird, श्येन śyena, sēṇa brings down Soma. Sellers of Mujavata Soma. Indus Script evidences बहुसुवर्णक, bahusuvarṇaka Soma Samsthā yāga. https://tinyurl.com/yb72o7za

Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255   

फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

dhanga 'mountain range' Rebus: dhangar 'blacksmith'

Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. Pajhar ‘eagle’; rebus: pasra ‘smithy’.

      
kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’. gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements.  Together with cognate ancu ‘iron’ the message is: native metal implements mint.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala)

1. Bas relief fragment, called the 'spinner'. Louvre.
   
   
   Technical description
   Bitumen
   J. de Morgan excavations
   Sb 2834
   Near Eastern Antiquities
   Sully wing
   Ground floor
   Iran in the Iron Age (14th––mid-6th century BC) and during the Neo-Elamite dynasties
   Room 11
   Display case 6 b: Susiana in the Neo-Elamite period (8th century–middle 6th century BC). Goldwork, sculpture, and glyptics.
2. Decoding of hieroglyphs on spinner bas-relief:
   
   
   panja 'feline paws' rebus; panja 'kiln, smelter' kātī ‘spinner’ (G.) Rebus: khati 'wheelwright' (H.) kāṭi = fireplace in the form of a long ditch (Ta.Skt.Vedic) kāṭya = being in a hole (VS. XVI.37); kāṭ a hole, depth (RV. i. 106.6) khāḍ a ditch, a trench; khāḍ o khaiyo several pits and ditches (G.) khaṇḍrun: ‘pit (furnace)’ (Santali)
3. आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams) P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)
4. 
   
5. Kur. kaṇḍō a stool. Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ ‘fire-altar, furnace’ (Santali) kola ‘tiger, jackal’ (Kon.); rebus: kolami ‘smithy’ (Te.) Grapheme as a phonetic determinant of the depiction of woman, kola; rebus: kolami ‘smithy’ (Te.)kola ‘woman’ (Nahali); Rebus: kolami ‘smithy’ (Te.) 
   ayo ‘fish’ (Mu.); rebus: aya ‘metal’ (G.)
   bhaṭa ‘six’ (G.); rebus: bhaṭa ‘furnace’ (Santali)  viciṟi fan; bīsāle fan (as the one made of areca spathe). Koḍ. bi·j- (bi·ji-), (Mercara dialect) bi·d- (bi·di-) to wave (tr.); (wind) blows, (tree, cloth) waves; grind with grinding stones.  Cf. Skt. vīj-, vyaj- to fan; vījana-, vyajana- fanning, a fan; Turner, CDIAL, no. 12043 (DEDR 5450) Rebus: bica 'haematite, ferrite ore'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS panja 'feline paws' rebus: panja 'furnace, kiln'.
6. 
   
7. Mohenjo-daro seal m0304: phaḍā ‘metals manufactory’
   

   
   
   

   The message of metalwork is from a brass-worker's mint and (अग्नि-)कुण्ड, (agni-)kuṇḍa, 'sacred fire-altar'.

   
   
   

   The hieroglyph on Seal m0304 ligatured to the buffalo-horns of the seated person.

   Hieroglyph: thattār 'buffalo horn' Rebus: taṭṭār 'brass worker' urukku, n. < உருக்கு-. [T. ukku, K. urku, M. urukku.] 1. Steel; எஃகு. (சூடா.) 2. Anything melted, product of liquefaction; உருக் கினபொருள்.செப்புருக் கனைய (கம்பரா. கார்கா. 91).உருக்குத்

   தட்டார் urukku-t-taṭṭār, n. < id. +. Goldsmiths; பொற்கொல்லர். (சிலப். 5, 31, உரை.)பணித்தட்டார்paṇi-t-taṭṭār, n. < id. +. Goldsmiths; பொற்கொல்லர். பணித்தட்டார் பணி பண்ணுமிடங்களில்(சிலப். 6, 135, உரை).தட்டார்

   பாட்டம் taṭṭār-pāṭṭam, n. < தட் டான்¹ +. Profession tax on goldsmiths; தட்டார் இறுக்கும்அரசிறைவகை. (S. I. I. ii, 117.) தட்டாரப்பாட்டம் taṭṭāra-p-pāṭṭam, n. < தட்டார் +. Seeதட்டார்பாட்டம். (S. I. I. iii, 115.) తట్టుముట్టు [ taṭṭumuṭṭu ] or తట్టుముట్లు taṭṭu-muṭṭu. [Tel.] n. Things, utensils, furniture, tools, household stuff. తట్టుముట్టాడు to surround (as poverty)చుట్టుకొను. తట్రపువాడు [taṭrapuvāḍu ] taṭrapu-vāḍu. [Tel.] n. A goldsmith.

   
   

   Hieroglyph: kuṇḍa3 n. ʻ clump ʼ e.g. darbha -- kuṇḍa -- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] (CDIAL 3266)

   
   

   Pictorial hieroglyph-multiplex: kuṭhi 'twig' Rebus: kuṭhi 'smelter' 

   
   

   kuṁḍa 'cluster' rebus: (अग्नि-)कुण्ड, (agni-) kuṇḍa 'fire-pit'. kuṇḍa -- 1: S.kcch. kūṇḍho m. ʻ flower -- pot ʼ, kūnnī f. ʻ small earthen pot ʼ; WPah.kṭg. kv́ṇḍh m. ʻ pit or vessel used for an oblation with fire into which barley etc. is thrown ʼ; J. kũḍ m. ʻ pool, deep hole in a stream ʼ; Brj. kū̃ṛo m., °ṛī f. ʻ pot ʼ.(CDIAL 3264)

   
   

   Glyph: clump between the two horns: kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL 3236). kundārturner (A.)(CDIAL 3295).. n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ. [← Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374] Pk. kuṁḍa-- n. ʻ heap of crushed sugarcane stalks ʼ (CDIAL 3266) Ta. koṇtai tuft, dressing of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane), round top. Ma. koṇṭa tuft of hair. Ko. goṇḍ knob on end of walking-stick, head of pin;koṇḍ knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (< Badagakoṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-), Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft. (DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus:kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.) i.e. śreṇi jeṭṭha chief of metal-worker guild. koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of hieroglyphs on m1181 seal is a message conveyed from a sodagor 'merchant, trader'. The bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra'bell-metal and brass worker'; aya sal 'iron (metal) workshop'. Rebus: kunda ‘nidhi’, kuṇḍaṇa ‘fine gold’

   
   

   Thus, the horned crown is read together as:  taṭṭār 'brass worker' PLUS kuṇḍa 'fire-pit'.

   Hieroglyph: Tor. miṇḍ 'ram', miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ 'iron' (Ho.); med 'copper' (Slavic) kuṁḍa -- n. ʻ heap of crushed sugarcane stalks ʼ(Prakritam) Rebus: (agni-) kuṇḍa 'fire-pit'. dula 'pair' rebus: dul 'cast metal' Thus, cast iron. 

   
   

   Hieroglyph pair which support the platform of the person seated in penance (Mohenjo-daro Seal m0304):பட்டடை¹ paṭṭaṭai ‘corn-rick’ Rebus:  paṭṭaḍi ‘smithy, forge’ (Kannada) Rebus: phaḍā फडा 'metals manufactory’.

   maṇḍā ‘raised platform, stool’ Rebus:  maṇḍā ‘warehouse’.

   
   

   The person is seated in penance: kamaḍha 'penance' (Pkt.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭamcoinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Thus, the over-arching message of the inscription composed of many hieroglyphs (of glyphic elements) thus is a description of the offerings of a 'mint or coiner (workshop with a golf furnace)'. Thus, together the person seated in penance PLUS platform PLUS corn-rick read: kammaṭa maṇḍā 'mint warehouse' PLUS phaḍā ‘metals manufactory’. 

   
   

   kuṇḍī = crooked buffalo horns (L.) Rebus: kuṇḍī = chief of village. kuṇḍi-a = village headman; leader of a village (Pkt.lex.) I.e. śreṇi jeṭṭha chief of metal-worker guild.

   
   

   dula 'pair' rebus: dul 'metal casting'. Thus, two hayricks and two markhors relate to 1. metalcasting furnace; and 2. copper/iron metal castings   meḍ kuṁḍa 'iron furnace or fire-altar'. 

   
   

   There is also a semantic reinforcement: on seal m0304, stacks of hay signify mēṭa 'stack of hay' which are phonetic determinants of the platform, raised place: mēṭa 'raised place'. Rebus reading is: mẽṛhẽt, meḍ'iron (metal)''copper' (Slavic languages).

   
   

   Hieroglyph: Pk. kuṁḍa -- n. ʻ heap of crushed sugarcane stalks ʼ; WPah. bhal. kunnū m. ʻ large heap of a mown crop ʼ; N. kunyũ ʻ large heap of grain or straw ʼ, baṛ -- kũṛo ʻ cluster of berries ʼ.

   Rebus: कुण्ड [p=289,3] kuṇḍa a round hole in the ground (for receiving and preserving water or fire cf. अग्नि-कुण्ड) , pit , well , spring or basin of water (especially consecrated to some holy purpose or person) MBh. R. &c; n. [अस् m. L. ] , a bowl-shaped vessel , basin , bowl , pitcher , pot , water-pot Ka1tyS3r. MBh.&c;कुण्डी f. ( Pa1n2. 4-1 , 42) a bowl , pitcher , pot Hcat. Prasannar.;  कुण्ड n. ifc. a clump (e.g. दर्भ-क्°, a clump of दर्भ grass) Pa1n2. 6-2 , 13

   (Three-faced hieroglyph-multiplex, hypertext).

   Glyphics of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. 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 (Gujarati) sodagor = a merchant, trader; sodāgor (P.B.) (Santali). 

   
   

   Face on m0304. Frontal PLUS Two faces in profile ligatured. I do not know if this signifies Tvaṣṭr̥  Triśiras or tri-dhātu mũh 'face' Rebus mũhã̄ 'iron furnace output' kolom 'three' (faces) rebus: kolimi 'smithy, forge' Horns of buffalo: rango 'buffalo' rebus: rango 'pewter' (alloy of copper, zinc, tin), hence tri-dhātu. This could be a synonym dhā̆vaḍ 'iron-smelter'

   
   

   Hieroglyph: dhāˊtu 'strand' Rebus: mineral: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M.dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻa caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- 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 reading of the ‘face’ glyph: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit gloss mleccha-mukhashould literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.

   Hieroglyph: karã̄ n.pl.ʻwristlets, banglesʼ.(Gujarati)S. karāī f. ʻ wrist ʼ(CDIAL 2779) Rebus:khār खार्  'blacksmith' (Kashmiri)

   
   sekeseke, sekseke covered, as the arms with ornaments; sekra those who work in brass and bell metal;sekra sakom a kind of armlet of bell metal (Santali) 

   Four animals (elephant, leaping tiger, rhinoceros, buffalo) PLUS image of a standing person with spread legs surround the seated person. These five hieroglyph-multiplexes are read rebus:

   1.      karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' (Tulu) ib 'iron' (Santali) ibbo ‘merchant’

   2.      kāṇḍā 'rhinoceros' rebus: kaṇḍa 'implements'

   3     rango 'buffalo' rebus: rango 'pewter'

   4.      kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kũdā kol (tiger jumping) Rebus: kũdār 'turner' (Bengali) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) Rebus: kunda ‘nidhi’, kuṇḍaṇa ‘fine gold’

   5.      meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) karṇaka 'spread legs' rebus: 'supercargo,

   merchant's agent responsible for the cargo of shipment')

   Hypertext on m0304 (Top line of 6 hieroglyphs)

   
   

   Rebus readings from R. in two parts of hypertext.

   Part 1 (with four hieroglyphs):

   Sign 1 (Mahadevan concordance)

   1. meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) karṇaka 'spread legs' rebus: karṇī 'supercargo, merchant's agent responsible for the cargo of shipment')

   
   2. ḍato =claws of crab (Santali) Rebus: dhātu 'mineral ore'. 
   
   3. kāru pincers, tongs. Rebus: khār खार्  'blacksmith' (Kashmiri) 

   4. sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’ (Santali) PLUS Glyph of ‘rim of jar’: kárṇakam. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs, digger, excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,  kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790) karṇī 'Supercargo'. Thus, cargo accounted from workshop  account to supercargo.

   
   Part 2 with two hieroglyhs:

   5.  aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'alloy metal' (Rigveda).PLUS khambhaṛā ʻfinʼ rebus: kammaṭa 'mint, coiner, coinage' 

   
   6. PLUS kanka, karṇaka 'rim of jar' rebus: karṇī  'Supercargo' karṇaka 'account, scribe'. Thus, this second part of the hypertext reads: Mintwork account (to) Supercargo, a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.
   
   Thus, seal m0304 Mohenjo-daro is a comprehensive metalwork catalogue of a mint, metals manufactory, documenting, using dharma saṁjñā 'responsibility markers or hieroglyphs, the tasks assigned to kuṇḍi-a= village headman' ; leader of a village (Pkt.) i.e. śreṇi jeṭṭha chief of metal-worker guild. 
   
   This is an unambiguous, remarkable example proving that Indus Script is a knowledge system. There are over 8000 inscriptions on Indus Script Corpora detailing the technical specifications of the knowledge system which facilitated trade/exchange transactions by seafaring merchants of Meluhha. 
8.     आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

Mohenjo-daro. Sealing.  Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?] Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa  ‘metalware’ kaṇḍa  ‘fire-altar’.

आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams) P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)
kAru 'crocodile' Rebus: kAru 'artisan'.

Hieroglyphs (allographs): 

kamaḍha 'penance' (Prakriam) 

kamḍa, khamḍa 'copulation' (Santali)

kamaṭha crab (Skt.)

kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit)

kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 

Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu)

Rebus: meD 'iron' (Mundari. Remo.)

Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali) baṭa = a kind of iron (Gujarati)  [Note: six legs shown on the lizard glyph]

Proto-Elamite seal impressions, Susa. Seated bulls in penance posture. (After Amiet 1980: nos. 581, 582).

Hieroglyph: kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'

Hieroglyph: dhanga 'mountain range' Rebus: dhangar 'blacksmith'
Hieroglyph: rango 'buffalo' Rebus: rango 'pewter'.

1. 
   

Hieroglyph: rã̄go 'buffalo': raṅku m. ʻ a species of deer ʼ Vās., °uka -- m. Śrīkaṇṭh.Ku. N. rã̄go ʻ buffalo bull ʼ? (CDIAL 10559) Rebus:  rã̄gā m. ʻ pewter, tin ʼ (Punjabi)rāṅgā ʻ solder, spelter ʼ (Oriya)

Mohenjo-daro seal (2500-2000 BCE) showing a seated yogi with horns of a buffalo showing a twig (pipal branch?) growing out from between them. http://www.harappa.com/indus/33.html

m305 A person with a plaited pigtail, bangles/armlets on both hands from wrist to shoulder, seated in penance, with three faces, two stars on either side of the curved buffalo-horn and twig.taTTHAr 'buffalo horn' Rebus: taTTAr 'brass worker' 

m305 A person with a plaited pigtail, bangles/armlets on both hands from wrist to shoulder, seated in penance, with three faces, two stars on either side of the curved buffalo-horn and twig. "The seal depicting seven (or six) robed figures with pig-tails and stylized twigs on their heads, for instance, is routinely interpreted as the seven (or six) presiding deities of Pleiades. K provides an additional, possible reading of the seal as pertaining to the goldsmith’s portable furnace + native metal (p. 197-199, 430)...An Indus seal showing a horned male person seated in yoga like posture figures in many text books assigned to courses on Indian religions, history, and civilization. A three-leaved branch of the Pipal tree appears on his crown with a star on either side. Two stars adorn the curved buffalo horns of the seated person who wears a scarf on pigtail. Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. In the considered opinion of the scholarly community, the person in the seal represents (a) a yogi or an ascetic practicing meditation or engaged in austerities or penance; (b) a proto-Rudra/Shiva or (c) Agni, the god of fire...Without disputing this line of interpretation, K suggests that the seal may have additional information to communicate in the field of metallurgy. The word in Prakrit for penance is kamandha, which is homonymous with the Tamil ord kampattam meaning ‘mint. The word for large horns with sweeping upward curve as applied to buffalos is dabe in Santali. The words dab, dhimba, dhombo meaning a lump (clot) are homonyms for dabe. The word for twig in the Atharvaveda (5:19.12) is kudi. A Santali word kuthi meaning ‘smelting furnace’ would be a homonym for kudi. Another Santali

word kote meaning ‘forged’ [metal] is also relevant here. After analyzing other glyptic elements on the seal, K concludes that the person on the seal is a lapidary scribe working in a mint (p. 188 and personal communication from K)." From: Solving the Indus script puzzle: A review of Indus Script Cipher by Dr S. Kalyanraman By Shrinivas Tilak* (Sept. 9,

 2010)

आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

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

Mohenjo-daro. Square seal depicting a nude male deity with three faces, seated in yogic position on a throne, wearing bangles on both arms and an elaborate headdress. Five symbols of the Indus script appear on either side of the headdress which is made of two outward projecting buffalo style curved horns, with two upward projecting points. A single branch with three pipal leaves rises from the middle of the headdress. 

Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and perforated boss is present on the back of the 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: 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)

kūdī 'bunch of twigs' (Sanskrit)  Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams)

Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa  ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.)  

आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri) 

The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person]

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-- kamadha 'penance' Rebus: kammata 'coiner, mint'

-- phaḍā 'cobrahood' rebus phaḍā 'metals manufactory' rebus: meḍ 'iron' (Mu.Ho.) mẽṛhẽt 'iron' (Santali) med 'copper' (Slavic)

 Signs 45, 46  meḍ bhaṭa 'iron furnace'

-- meḍ mũhe 'iron ingot'

-- maṇḍā 'raised platform, stool, arch'  rebus: maṇḍā 'warehouse'

- कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic ...कर्णक 'spread legs' rebus: 'helmsman', karṇi 'supercargo' PLUS dula 'two' rebus: dul 'metal casting'. Thus, castmetal handled by supercargo.

khareḍo 'a currycomb (Gujarati) Rebus: karaḍā खरडें 'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati)

--Sign 70 'fish PLUS notch' Hieroglyph shown on m0299 inscription

 अयस्--काण्ड ayaskāṇḍa m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)  अयस्   ayas अयस् a. [इ-गतौ-असुन्] Going, moving; nimble. n. (-यः) 1 Iron (एति चलति अयस्कान्तसंनिकर्षं इति तथात्वम्; नायसोल्लिख्यते रत्नम् Śukra 4.169. अभितप्तमयो$पि मार्दवं भजते कैव कथा शरीरिषु R.8.43. -2 Steel. -3 Gold. -4 A metal in general. -5 Aloe wood. -6 An iron instrument; यदयोनिधनं याति सो$स्य धर्मः सनातनः Mb.6.17.11. -7 Going. m. Fire. [cf. L. aes, aeris; Goth. ais, eisarn; Ger. eisin]. -Comp. -अग्रम्, -अग्रकम् a hammer, a mace or club tipped with iron; a pestle for cleaning grain. -अपाष्टि a. Ved. furnished with iron claws or heels. -कंसः, -सम् an iron goblet. -कणपम् A kind of weapon, which throws out iron-balls; अयःकणपचक्राश्म- भुशुण्डयुक्तबाहवः Mb.1.227.25. -काण्डः 1 an iron-arrow. -2 excellent iron. -3 a large quantity of iron (Apte)

This is an addendum to: Prayer posture, kneeling on one knee with a ladle offering; meḍIndus Script cipher meḍ 'iron' PLUS muka 'ladle' mũhe 'ingot' http://tinyurl.com/y3jm6ato

Hieroglyphs on the Mohenjo-daro seal and tablet:
m453

Text message on Inscription m453 shows a person with spread legs (with a two linear stroke circumscript):कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic ...
कर्णक 'spread legs' rebus: 'helmsman', karṇi 'supercargo' PLUS dula 'two' rebus: dul 'metal casting'. Thus, castmetal handled by supercargo.khareḍo 'a currycomb (Gujarati) Rebus: karaḍā खरडें 'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati)
Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'
Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra'shood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

फडपूस (p. 313) phaḍapūsa f (फड & पुसणें) Public or open inquiry. फडफरमाश or स (p. 313) phaḍapharamāśa or sa f ( H & P) Fruit, vegetables &c. furnished on occasions to Rajas and public officers, on the authority of their order upon the villages; any petty article or trifling work exacted from the Ryots by Government or a public officer. 

फडनिविशी or सी (p. 313) phaḍaniviśī or sī & फडनिवीस Commonly फड- निशी & फडनीस. फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. 

फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). 

फडझडती (p. 313) phaḍajhaḍatī f sometimes फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.): also clearing examination of any फड or place of public business. 

फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nach house, गाण्याचा or ख्यालीखुशालीचा फड A singing shop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work, as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as of ऊस, वांग्या, मिरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड, घाल, मांड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें- राखणें-संभाळणें To save appearances, फड मारणें or संपादणें To cut a dash; to make a display (upon an occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come under general discussion. 

The classifier is the cobra hood hieroglyph/hypertext: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing up. 

आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’.  Rebus: kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’ (Ko.) Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the glyphics is about a mint  or metal workshop which produces sharpened, tempered iron (stone ore) using a furnace.

Rebus readings of glyphs on text of inscription:

koṇḍa bend (Ko.); Tu. Kōḍi  corner; kōṇṭu angle, corner, crook. Nk. Kōnṭa corner (DEDR 2054b)  G. khū̃ṭṛī  f. ʻangleʼRebus: kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ  = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295)  

aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR 66) Rebus: aduru ‘native, unsmelted metal’ (Kannada) 

ãs = scales of fish (Santali); rebus: aya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in Rigveda: ancu 'iron' (Tocharian)G.karã̄ n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779).  Rebus: khār खार् ‘blacksmith’ (Kashmiri)

dula ‘pair’; rebus dul ‘cast (metal)’

Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,  kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)

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   Ganweriwala tablet, catalogue of kammata mintwork, bhaTa 'furnace' baTa 'iron'

   
   

   
   mēṭu, mēṭa, mēṭi stack of hay (Telugu) Ta. meṭṭu mound, heap of earth; mēṭu height, eminence, hillock; muṭṭu rising ground, high ground, heap. Ma. mēṭu rising ground, hillock; māṭu hillock, raised ground; miṭṭāl rising ground, an alluvial bank; (Tiyya) maṭṭa hill. Ka. mēḍu height, rising ground, hillock; miṭṭu rising or high ground, hill; miṭṭe state of being high, rising ground, hill, mass, a large number; (Hav.) muṭṭe heap (as of straw). Tu. miṭṭè prominent, protruding; muṭṭe heap. 

   Te. meṭṭa raised or high ground, hill; (K.) meṭṭu mound; miṭṭa high ground, hillock, mound; high, elevated, raised, projecting; (VPK) mēṭu, mēṭa, mēṭi stack of hay; (Inscr.) meṇṭa-cēnu dry field (cf. meṭṭu-nēla, meṭṭu-vari). Kol. (SR.) meṭṭā hill; (Kin.) meṭṭ (Hislop) met mountain. Nk. meṭṭ
   hill, mountain. Ga. (S.3, LSB 20.3) meṭṭa high land. Go. (Tr. W. Ph.) maṭṭā, (Mu.)maṭṭa mountain; (M. L.) meṭā id., hill; (A. D. Ko.) meṭṭa, (Y. Ma. M.) meṭa hill; (SR.) meṭṭā hillock (Voc. 2949). Konḍa meṭa id. Kuwi (S.) metta hill; (Isr.) meṭa sand hill. (DEDR 5058) (b) Ta. mēṭai platform, raised floor, artificial mound, terraced house. Ma. mēṭa raised place, tower, upper story, palace. Te. mēḍa house with two or more stories, upper chamber. Pa. mēṛ ole bungalow. Go. (Ko.) 

   mēṛā large house, bungalow (Voc. 2965). Konḍa mēṛa mide terraced building (see 5069). Pe. mēṛ storied house, mansion.Kuwi (S.) mēḍa illu storied house; (Isr.) mēṛa upstair building. / Cf. Skt. (lex.) meṭa- whitewashed storied house; Pkt. meḍaya- id.  (DEDR 4796b) 

   
   

   Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.

   Prakritam gloss: kamad.ha, kamat.ha, kamad.haka, kamad.haga, kamad.haya= a type of penance.
   
   The venerated, person seated in a type of penance has been rendered in Indus Script cipher as kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint'. What did the kneeling adorant as Signs 45 and 46 signifY? I have suggested the cipher: bhaTa 'worshipper' rebus: bhaTa 'furnace'.
   Prakritam lexis.

1. Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:

   
   

   1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 

   
   

   2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,  kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)

   
   

   3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.) 

   
   

   bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)

   
   

   Hieroglyph: Ta. kump-iṭu (iṭuv-, iṭṭ-) to join hands in worship, make obeisance with the hands joined and raised, beg, entreat; n. worship. Ma. kump-iṭuka, kumm-iṭuka to bow down, prostrate oneself, worship. Ko. kub-iṛ- (iṭ-) to bow down, pray; kumiṭe· salutation used by Kota to Badaga or Kurumba. To. kub-ïḍ- (ïṭ-) to salute (not used of religious salutation); ? ku·ḍ- (ku·ḍQ-) to bow, bend down. Ka. kumbu bending, bowing down, obeisance; kumbiḍu to bow down, do obeisance (DEDR 1750)

   
   

   Rebus: Ta. kumpiṭu-caṭṭi chafing-dish, portable furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish. Ka. kuppaḍige, kuppaṭe, kumpaṭe, kummaṭa, kummaṭe id. Te. kumpaṭi id. Cf. 1752 Ta. kumpu. Ta. kumpu (kumpi-) to become charred (as food when boiled with insufficient water); kumpal smell of charred rice; kumpi hot ashes; kumuṟu (kumuṟi-) to burst with distress; kumai (-v-, -nt-) to be hot, sultry. Ma. kumpi, kumpiri mirage; kumpal inward heat; kummu expr. descriptive of heat; kummal sultriness, mustiness; kumuṟuka, kumiṟuka to be hot, close; kumuṟal oppressive heat; ? kukkuka to be hot; ? kuppu heat. Ka. kome to begin to burn, as fire or anger. Tu.kumbi mirage; gumulu fire burning in embers; gumuluni to be hot, feel hot as in a fit of fever. Te. kummu smouldering ashes; kumulu to smoulder, burn slowly underneath without flame, be consumed inwardly, grieve, pine. Go. (Hislop) kum smoke (Voc. 763); (Tr.) gubrī fine ashes of burnt-out fire (Voc. 1141); (Koya Su.) kumpōḍ smoke. Cf. 1751 Ta. kumpiṭu-caṭṭi. / Cf. Pkt. (DNM) kumulī- fireplace. (DEDR 1751, 1752)

   
   

   Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan concordance treates the hieroglyph as a text 'sign'.
   

     Signs 45, 46 Mahadevan Concordance. In Sign 46, Sign 45 is ligatured with a pot held by the adoring hands of the kneeling adorant wearing a scarf-type pigtail. I suggest that the rimless pot held on Sign 46 is a phonetic determinant: baTa 'rimless pot' Rebus: bhaTa 'furnace'. So, is the kneeling adorant, a worshippper of a person seated in penance,  a bhaTa 'worshipper in a temple' Rebus: bhaTa 'furnace'. For him the kole.l 'temple' is kole.l 'smithy, forge' (Kota language).
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आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

1. Unprovenanced Harappan-style cylinder seal impression; Museedu Louvre; cf. Corbiau, 1936, An Indo-Sumerian cylinder, Iraq 3, 100-3, p. 101, Fig.1; De ClercqColl.; burnt white agate; De Clercqand Menant, 1888, No. 26; Collon, 1987, Fig. 614. A hero grasping two tigers and a buffalo-and-leaf-horned person, seated on a stool with hoofed legs, surrounded by a snake and a fish on either side, a pair of water buffaloes. Another person stands and fights two tigers and is surrounded by trees, a markhor goat and a vulture above a rhinoceros. Text 9905 
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   Hieroglyphs on the cylinder seal impression are: buffalo, tiger, rice-plant, eagle, ram, hooded snake, fish pair, round object (circle), crucible, twigs as part of hair-style of the seated person.

   
   

   kula 'hooded snake' Rebus: kol 'working in iron'; kolle 'blacksmith' kolhe 'smelter'; phaṭā फटा (Samskrtam), phaḍā फडा (Marathi), paṭam (Tamil. Malayalam), paḍaga (Telugu) have the same meaning: cobra hood. Rebus words/expressions which signify 'manufactory, metals workshop' are: bhaṭṭh m., °ṭhī f. ʻ furnaceʼ, paṭṭaṭai, paṭṭaṟai 'anvil, smithy, forge', paṭṭaḍe, paṭṭaḍi 'workshop'.

   
   

   dula 'pair' Rebus: dul 'cast metal'

   
   

   The bunch of twigs = kūdī,kūṭī (Samskritam)kūdī (also written as kūṭī in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and KauśikaSūtra (Bloomsfield'sed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgrussan Bohtlingk, 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: kuThi 'smelter'

   
   

   Hieroglyph multiplexes of the hypertext of the cylinder seal from a Near Eastern Source can be identified: aquatic bird, rhinoceros, buffalo, buffalo horn, crucible, markhor, antelope, hoofed stool, fish, tree, tree branch, twig, roundish stone, tiger, rice plant.

   
   

   Hieroglyph components on the head-gear of the person on cylinder seal impression are: twig, crucible, buffalo horns: kuThI 'badari ziziphus jojoba' twig Rebus: kuThi 'smelter'; koThAri 'crucible' Rebus: koThAri 'treasurer'; tattAru 'buffalo horn' Rebus: ṭhã̄ṭhāro 'brassworker'.

   
   

    This hieroglyph multiplex ligatures head of an antelope to a snake: nAga 'snake' Rebus: nAga 'lead' ranku 'antelope' Rebus: ranku 'tin'.  tuttināgamu is a Prakritam gloss meaning 'pewter, zinc'. A comparable alloy may be indicated by the hieroglyph-multiplex of antelope-snake: rankunAga, perhaps a type of zinc or lead alloy.

   
   

   Two fish hieroglyphs flank the hoofed legs of the stool or platform signify: warehouse of cast metal alloy metal implements: 

   आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

   Hieroglyph: kaṇḍō a stool Rebus: kanda 'implements'

   Hieroglyph: maṇḍā 'raised platform, stool' Rebus: maṇḍā 'warehouse'.

   
   

   dula 'pair' Rebus: dul 'cast metal'

   ayo 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)

   barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi). 

   
   

   This mkultiplx is flanked by 1. kolom 'rice plant' Rebus: kolimi 'smithy, forge'; 2. kuTi 'tree' Rebus: kuThi 'smeter'. Thus the message is that the warehouse of cast metal alloy metal implements is complemented by a smelter and a smithy/forge -- part of the metalwork repertoire.

   The hieroglyph-multiplex of a woman thwarting two rearing tigers is also signified on other seals and tablets to signify:

   
   

   Hieroglyph: kola 'woman' Rebus: kol 'working in iron'

   dula 'pair' Rebus: dul 'cast metal' PLUS kola 'tiger' Rebus: kolle 'blacksmith'; kolhe 'smeter'; kole.l 'smithy, forge'. The kolmo 'rice-plant' Rebus kolimi 'smithy, forge' is a semantic determinant of the cipher: smithy with smelter.

   
   

   The bottom register of the cylinder seal impression lists the products: smithy/forge forged iron, alloy castings (laterite PLUS spelter), hard alloy implements.

   
   

   goTa 'roundish stone' Rebus: gota 'laterite'

   dula 'pair' Rebus: dul 'cast metal' PLUS rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. Thus, cast spelter PLUS laterite.

   markhor PLUS tail

   miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) koṭe meṛed = forged iron, in contrast to dul meṛed, cast iron (Mundari) PLUS Kur. xolā tail. Malt. qoli id. (DEDR 2135) Rebus: kol 'working in iron' Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. 

   
   

   Rhinoceros PLUS aquatic bird or eagle

   
   

   Hieroglyhph: kāṇṭā 'rhinoceros. gaṇḍá m. ʻ rhinoceros ʼ Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (Gujarati)

   
   

   karaṛa 'large aquatic bird' (Sindhi) Rebus: karaḍā 'hardalloy of metals' (Marathi) Alternative: eruvai 'kite, eagle' Rebus: eruvai 'copper (red)'

   
   

   Two water-buffalos flanks a hieroglyph: something round, like a seed. Hieroglyph: rã̄go 'buffalo' Rebus: rāṅgā 'zinc alloy, spelter, pewter'. What does the hieroglyph 'something round' signify? I suggest that it signifies goTa 'laterite (ferrous ore)'.

   
   

   All these hieroglyhphs/hieroglyph-multiplexes are read as metalwork catalogue items in Prakritam which had tadbhava, tatsama identified in Samskritam in Indian sprachbund (speech union).

āˊsana1 n. ʻ sitting ʼ AV., ˚ná -- n. ʻ seat ʼ ŚBr., āsanī -- f. ʻ small seat ʼ Kauś. [√ās]Pa. āsana -- , ˚aka -- n. ʻ seat ʼ, Pk. āsaṇa -- n.; Dm. ãsai ʻ chair ʼ (or poss. < āsādá -- ); Paš. ōson ʻ stool ʼ Morgenstierne IIFL iii 3, 18, Shum. ásan ʻ seat ʼ; Gaw. āsán ʻ stool ʼ; K. āsan m. ʻ buttocks, rump ʼ; S. āsaṇu m. ʻ cloth for sitting on ʼ and P. āsaṇ m. ʻ stool, seat on a horse ʼ (note -- s -- , not -- h -- ); Ku. āsaṇ ʻ small woollen rug ʼ; A. āhon ʻ that part of an elephant's neck on which the driver sits, steersman's seat, natural seat formed by tree -- branches ʼ, āhuniyā ʻ forming a convenient seat (of branches) ʼ; B. āsan ʻ stool, withers of an elephant ʼ, āsni ʻ small stool, stall, shop ʼ; Bi. āsan ʻ driver's seat on an ekka ʼ āsnī ʻ mat of kuśa grass ʼ; H. āsan m. ʻ driver's seat, withers of an elephant, inner part of the thighs ʼ, āsnī f. ʻ a small deerskin ʼ; G. āsaṇ n. ʻ seat ʼ, Si. asuna, (CDIAL 1484)आसन n. (but आसन्/अ S3Br. ) sitting , sitting down (कात्यायन-श्रौत-सूत्र, मनु-स्मृति); sitting in peculiar posture according to the custom of devotees , (five or , in other places , even eighty-four postures are enumerated ; » पद्मा*सन , भद्रा*सन , वज्रा*सन , वीरा*सन , स्वस्तिका*सन: the manner of sitting forming part of the eightfold observances of ascetics); abiding , dwelling AV. xx , 127 , 8 Mn. Ya1jn5. Hit. &c; seat , place , stool (कात्यायन-श्रौत-सूत्र,शतपथ-ब्राह्मण xiv Kum. मनु-स्मृति)&c

आसनी f. a small seat , a stool (कौशिक-सूत्र) rebus: आसनी f. a shop , a stall (Monier-Williams)P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto)

P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. See اوسپنه.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmirii) 

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ.;n (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ] Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207) 

āhan आहन् interj. of respect (Gr.Gr. 101) and adv. of assent, employed in the following compounds:--āhanō आहनो । आमिति adv. yes, used when addressing a male of equal or lower rank; it is an expression of doubtful assent. āhanū आहनू । आमि/?/ adv. yes, addressed to a junior male of rank equal to the speaker. -bā -बा । अस्ति भोः adv. yes, addressed to an equal or superior male. -biñ^ü -बॢञू॒ । आं भगिनि adv. yes, addressed to an equal or superior female. -möj^ü -मा॑जू॒ । आं मातः adv. yes, addressed to a superior or very senior female. -sö -सा॑ । आं भोः adv. yes, used by a male to a superior or senior male, as in -sö karān ha-sö chuh-सा॑ करान् हसा॑ छुह् । आं भोः करोति भोः yes, sir, he is doing it. āhanuv आहनुव् । आमिति adv. yes, addressed to a male equal or inferior in rank. āhaniy आहनिय् । आमिति adv. yes, addressed to a woman inferior or equal in rank. (Kashmiri)

Avalanche of stones or snow: ghāra m. ʻ sprinkling ʼ lex. 2. *ghāla -- . [√ghr̥1]

1. Pk. ghāra -- m. ʻ rampart ʼ (semant. cf. vápra -- ); S. ghāro m. ʻ breakage in a dike, creek, ravine ʼ, ˚rī f. ʻ dry channel left by change of river's course ʼ or < *ghāla<-> bel.; L. ghārā m. ʻ name of the combined Sutlej and Bias rivers ʼ; P. ghār m., ˚rī f. ʻ gutter formed by a flow of water, hollow place in wall of well ʼ, gharālā m. ʻ leak in roof, gully, stream of blood ʼ; WPah. bhal. ghāro m. ʻ avalanche of snow or stones ʼ; B. ghār ʻ sprinkling with water, irrigation ʼ; H. ghār m. ʻ land worn away by running water, ravine ʼ, ˚rī f. ʻ ravine ʼ; Si. gara ʻ sprinkling, wetting ʼ.2. M. ghāḷ f. ʻ gully made by flowing water, trench, ravine ʼ.(CDIAL 4468)

Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773) Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: meḍ'iron'. mẽṛhet ‘iron’ (Mu.Ho.)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'

Legend of Anzu which stole the tablets of destiny and allegory of soma

Seventh century BCE cylinder seal found in Israel depicting the battle of Ninurta and Anzu. Nili Wazana, in a brilliant exposition on Anzu and Ziz asks and tentatively answers the question: "Were the Israelites acquainted with the Epic of Anzu?" She cites this rendering of a seventh century BCE cylinder seal portraying the battle of Ninurta and Anzu, discovered in Israel.

http://www.jtsa.edu/documents/pagedocs/janes/2009/wazana_janes31.pdf

The seventh century BCE cylinder seal found in Israel, is paralleled in an Akkadian cylinder seal. 

British Museum.Greenstone seal of Adda

Akkadian, about 2300-2200 BCE From Mesopotamia Height: 3.900 cm Diameter: 2.550 cm Acquired by E.A.W. Budge ME 89115 Room 56: Mesopotamia.

On the cylinder seal of Adda (c. 2300 BCE), scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by  han-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: sena, heṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is:  kō̃da 'young bull' rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus:  'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.

Note the overflowing water flowing from the shoulders of the horned person with one foot on the mountain-range:

Ko. ko·ṛ (obl. ko·ṭ) horns  (DEDR 2200) kōṇḍa ʻ hornless ʼ(Kalash)(CDIAL 3508). Rebus: koḍ 'workshop'. 

arye 'lion' āra 'brass'. 

Variant, water flowing out from shoulders:

dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- 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)

eruvai 'kite' rebus: eruvai 'copper'

Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236).

See: Abiding ANE Indus Script hypertexts of eagle, goat-fish, overflowing pot. Adda, scribe Seal deciphered as metalwork and thunderbolt iron weapon https://tinyurl.com/yd58zadk

milky chalcedony. Griffin fights a griffin anthropomorph -- over a bull calf. The fight is over control of mineral ores: dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ 

damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam]Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa-- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B. dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ, ˚ṛi ʻ young bullock ʼ.

Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.(CDIAL 6184) L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v˚ ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rā, daürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mar, daũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga<-> q.v.*dāmayati2; *dāmakara -- , *dāmadhāra -- ; uddāma -- , prōddāma -- ; *antadāmanī -- , *galadāman -- , *galadāmana -- , *gōḍḍadāman -- , *gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?) ʻ gift ʼ RV. [√dā1]. See dāˊtu -- .*dāmana -- ʻ rope ʼ see dāˊman -- 1.Addenda: dāˊman -- 1. 1. Brj. dã̄u m. ʻ tying ʼ. (CDIAL 6283) Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāuʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dāʻ relic ʼ; -- 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)

Overall: 1 5/8 × 5/8 in. (4.2 × 1.7 cm)

The Pierpont Morgan Library, New York; Morgan Seal 608

Morgan Seal 608

Provenance: 

Acquired by Pierpont Morgan sometime between 1885 and 1908

Notes: 

"In 607 and 608, both of which picture a bull calf lying between two contestants, the composition is more formal. The scheme used here--that of two fighting figures with a third between them--was preserved in Neo-Babylonian seals of the first millennium... but discarded by Neo-Assyrian seal cutters. As to the significance of the unusual scene of 608, it may be mentioned that Assyrian texts refer to a divine bull as the son of Shamash, the sun god. Furthermore, Frankfort has interpreted the griffin as the equivalent of the angel of death and the griffin-demon as its antithesis--the latter having potency to ward off the griffin, since it is equipped with the most characteristic features of its monstruous and evil opponent. The scene in 608 may therefore symbolize a struggle between the forces of life and death, in which the imperiled bull stands for a manifestation of the sun. ". Porada, CANES, p. 70

Summary: 

Griffin poised in menace over kneeling calf and held by foreleg in grasp of griffin-demon armed with dagger.

Period: 

Middle Assyrian

 Catalog link: 

See more information »

Classification: 

Seal

Department: 

Seals and Tablets https://www.themorgan.org/seals-and-tablets/84236

Ninurta with his thunderbolts pursues Anzû stealing the Tablet of Destinies from 

Enlil's sanctuary (Austen Henry Layard Monuments of Nineveh, 2nd Series, 1853)

pajhar̥ 'large eagle' rebus: vajra 'thunderbolt weapon'. 

वज्र mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषि दधीच or दधीचि [q.v.] , and shaped like a circular discus , or in later times regarded as having the form of two transverse bolts crossing each other thus x ; sometimes also applied to similar weapons used by various gods or superhuman beings , or to any mythical weapon destructive of spells or charms , also to मन्यु , " wrath " RV. or [with अपाम्] to a jet of water AV. &c ; also applied to a thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular thunderbolt of इन्द्र when launched at a foe ; in Northern Buddhist countries it is shaped like a dumb-bell and called Dorje ; » MWB. 201 ; 322 &c ) RV. &c; a diamond (thought to be as hard as the thunderbolt or of the same substance with it) (षड्विंश-ब्राह्मण, Mn. MBh. &c); m. a kind of hard mortar or cement (कल्क) VarBr2S. (cf. -लेप); m. a partic. सोम ceremony Shad2vBr.; n. a kind of hard iron or steel; n. a partic. posture in sitting Cat. (cf. वज्रा*सन); mfn. adamantine , hard , impenetrable; mfn. shaped like a kind of cross (cf. above ) , forked , zigzag ib. [cf. Zd. vazra , " a club. "] (Monier-Williams) वज्र   vajra वज्र a. [वज्-रन् Uṇ.2.28] 1 Hard, adamantine. -2 Severe. -3 Forked, zigzag. -4 Cross. -ज्रः, -ज्रम् 1 A thunderbolt, the weapon of Indra (said to have been formed out of the bones of the sage Dadhīchi q. v.); आशंसन्ते समितिषु सुराः सक्तवैरा हि दैत्यैरस्याधिज्ये धनुषि विजयं पौरुहूते च वज्रे Ś.2.16. -2 Any destructive weapon like the thunderbolt. -3 A diamond-pin, an instru- ment for perforating jewels; मणौ वज्रसमुत्कीर्णे सूत्रस्येवास्ति मे गतिः R.1.4. -4 A diamond in general, an adamant; वज्रादपि कठोराणि मृदूनि कुसुमादपि U.2.7; R.6.19; मुक्तां मरकतं पद्मरागं वज्रं च विद्रुमम् Śiva B.3.12. -5 Sour gruel. -ज्रः 1 A form of military arrray. -2 A kind of Kuśa grass. -3 N. of various plants. -4 A kind of pillar. -ज्रम् 1 Steel. -2 A kind of talc. -3 Thunder- like or severe language. -4 A child. -5 Emblic myro- balan. -6 The blossom of the sesamum or Vajra plant. -7 Denunciation in strong language. -8 A particular posture in sitting. -Comp. -अंशुकम् cloth marked with various patterns. -अङ्क a. studded with diamonds (Mar. हिरेजडित); ततो जाम्बूनदीः पात्रीर्वज्राङ्का विमलाः शुभाः Mb.12.171.16. -अङ्कित a. marked with Vajra-like symbol. -अङ्गः a snake. -अभ्यासः cross-multiplica- tion. -अशनिः the thunderbolt of Indra; वज्राशनिसम- स्पर्शा अर्जुनेन शरा युधि Mb.6.119.6 -अस्थिः f.Astera- cantha Longifolia (Mar. तालिमखाना). -आकरः a dia- mond mine; बभूव वज्राकरभूषणायाः (पतिः) R.18.21. -आकार, -आकृति a. 1 shaped like वज्र. -2 a cross- shaped symbol. -आख्यः a kind of mineral spar. -आघातः 1 a stroke of thunder or lightning. -2 (hence fig.) any sudden shock or calamity. -आभः a kind of spar or valuable stone. -आयुधः an epithet of Indra. -आसनम् 1 a diamond-seat. -2 a particular posture in sitting (the hands being placed in the hollow between the body and the crossed feet). -कङ्कटः an epithet of Hanumat. -कवचः, -चम् 1 adamantine mail. -2 a particular Samādhi. -कालिका N. of the mother of Śākyamuni. -कीटः a kind of insect (boring holes in wood and stone). -कीलः a thunder- bolt, an admantine shaft; जीवितं वज्रकीलम् Māl.9.37; cf. U.1.47. -कूटः a mountain consisting of diamonds; स वज्रकूटाङ्गनिपातवेगविशीर्णकुक्षिः स्तनयन्नुदन्वान् Bhāg.3.13.29. -केतुः N. of the demon Naraka. -क्षारम् an alkaline earth. -गोपः= इन्द्रगोपः q. v. -घोष a. sounding like a thunderbolt; R.18.21. -चञ्चुः a vulture. -चर्मन् m. a rhinoceros. -जित् m. N. of Garuḍa. -ज्वलनम्, -ज्वाला lightning. -तरःN. of a kind of very hard cement; Bṛi. S.57.7. -तुण्डः 1 a vulture. -2 mosquito, gnat. -3 N. of Garuḍa. -4 of Gaṇeṣa. -तुल्यः lapis lazuli or azure stone. -दंष्ट्रः a kind of insect. -दक्षिणः N. of Indra. -दण्ड a. having a staff studded with diamonds. -दन्तः 1 a hog. -2 a rat. -दंशनः a rat. -देह, -देहिन् a. having an adamantine or very hardy frame. -धरः 1 an epithet of Indra; वज्रधरप्रभावः R.18.21. -2 an owl. -धारणम् artificial gold. -नाभ a. having a hard nave (said of a wheel); see next word. -नाभः the discus of Kṛiṣṇa; वज्रनाभं ततश्चक्रं ददौ कृष्णाय पावकः Mb. 1.225.23 (com. वज्रं वरत्रासा नाभौ यस्य तत् । सूत्रबद्धशकुनिवत् पुनः प्रयोक्तुर्हस्तमायातीत्यर्थः ॥). -निर्घोषः, -निष्पेषः a clap or peal of thunder. -पञ्जरः a secure refuge, protector; वज्रपञ्जरनामेदं यो रामकवचं स्मरेत् Rāma-rakṣā 13. -पाणिः 1 an epithet of Indra; वज्रं मुमुक्षन्निव वज्रपाणिः R.2.42. -2 an owl. -पातः, -पतनम् a stroke of lightning, fall of thunder-bolt; एतद्वैशसवज्रघोरपतनम् U.4.24; यावन्निष्ठुर- वज्रपातसदृशं देहीति नो भाषते Udb. -पुष्पम् 1 the blossom of sesamum. -2 a valuable flower. -भृत् m. an epithet of Indra. -मणिः a diamond, an adamant; छेत्तुं वज्रमणी- ञ्शिरीषकुसुमप्रान्तेन संनह्यते Bh.2.6. -मय a. 1 hard, adaman- tine. -2 cruel, hard-hearted. -मुखः 1 a kind of insect; कृत्ते वज्रमुखेन नाम कृमिणा दैवान्ममोरुद्वये Karṇabhāra 1.1. -2 a kind of Samādhi. -मुष्टिः 1 an epithet of Indra. -2 an adamantine clenched fist. -3 a kind of weapon. -रदः a hog. -लिपिः a particular style of writing. -लेपः 1 a kind of very hard cement; वज्रलेपघटितेव Māl.5. 1; U.4 (for its preparation see Bṛi. S., Chapter 57 'वज्रलेपलक्षणः'). -2 The being ineffaceable, permanent one; अन्यक्षेत्रे कृतं पापं पुण्यक्षेत्रे विनश्यति । पुण्यक्षेत्रे कृतं पापं वज्र- लेपो भविष्यति ॥ Subhāṣ. -लोहकः a magnet. -वधः 1 death by thunderbolt. -2 cross-multiplication. -वारकः a title of respect. -व्यूहः a kind of military array. -शल्यः a porcupine. -संघातः N. of a kind of hard cement; Bṛi. S.57.8. -a. having the hardness of adamant; ततः स वज्रसंघातः कुमारो न्यपतद्गिरौ Mb.1.123.27. -सार a. as hard as adamant, having the strength of the thunderbolt, adamantine; क्व च निशितनिपाता वज्रसाराः शरास्ते Ś.1.1; त्वमपि कुसुमबाणान् वज्रसारीकरोषि 3.4. -सूचिः, -ची f. a diamond-needle. -हृदयम् an adamantine heart. (Apte)

“On the mountainside  Anzu and Ninurta met … Clouds of death rained down, an arrow flashed lightning. Whizzed the battle force roared between them.“ Anzu Epic, tablet 2,in S. Dalley, Myths from Mesopotamia (Oxford - New York, 1989), p. 21. One narration reads: Marduk, sun god of Babylon, with his thunderbolts pursues Anzu after Anzu stole the Tablets of Destiny. Note: The tablets of destiny may be a reference to Indus writing corpora which were veritable stone-, mineral-, metal-ware catalogs.

As a researcher on ancient Hindu civilization a contribution was made by me in Journal of Indo-Judaic Studies, Vol. 1, Number 11 (2010) -- The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman. The 'rosetta stones' were two pure tin ingots discovered in a shipwreck in Haifa and with Indus writing. The Indus writing on these tin ingots have been read rebus as denoting 'tin' (mineral) which was in demand to be used to alloy with copper to create bronze, thus replacing the naturally-occurring but rare arsenic-copper minerals and heralding a true bronze age.

Marduk, sun god of Babylon, with his thunderbolts pursues Anzu after Anzu stole the Tablets of Destiny. (cf. Marut in Rigveda associated with storms and winds comparable to Anzu or Imdugud associated with storms). Battle between Marduk (Bel) and the Dragon. Drawn from a bas-relief from the Palace of Ashur-nasir-pal, King of Assyria, 885-860 B.C., at Nimrûd. [Nimrûd Gallery, Nos. 28 and 29.]

Marduk is a remembered memory of Indra. Anzu, the eagle is the remembered protector,śyena, the hawk, who brought amśu (anzu) from the heavens to the people working with fire-altars in yajña-s.

According to Louis Renou, the immense Rigvedic collection is present in nuce in the themes related toSoma. Rigveda mentions amśu as a synonym of soma. The possibility of a link with Indus writing corpora which is essentially a catalog of stone-, mineral-, metalware, cannot be ruled out.

George Pinault has found a cognate word in Tocharian, ancu which means 'iron'. I have argued in my book, Indian alchemy, soma in the Veda, that Soma was an allegory, 'electrum' (gold-silver compound). See:  http://bharatkalyan97.blogspot.in/2011/10/itihasa-and-eagle-narratives.html for Pinault's views on ancu, amśu concordance.

The link with the Tocharian word is intriguing because Soma was supposed to come from Mt. Mujavant. A cognate of Mujavant is Mustagh Ata of the Himalayan ranges in Kyrgystan.

Is it possible that the ancu of Tocharian from this mountain was indeed Soma?

The referemces to Anzu in ancient Mesopotamian tradition parallels the legends of śyena 'falcon' which is used in Vedic tradition of Soma yajña attested archaeologically in Uttarakhand with a śyenaciti, 'falcon-shaped' fire-altar.

http://bharatkalyan97.blogspot.in/2011/11/syena-orthography.html śyena, orthography, Sasanian iconography. Continued use of Indus Script hieroglyphs.

Comparing the allegory of soma and the legend of Anzu, the bird which stole the tablets of destiny, I posit a hypothesis that the tablets of destiny are paralleled by the Indus writing corpora which constitute a veritable catalog of stone-, mineral- and metal-ware in the bronze age evolving from the chalcolithic phase of what constituted an 'industrial' revolution of ancient times creating ingots of metal alloys and weapons and tools using metal alloys which transformed the relation of communities with nature and resulted in the life-activities of lapidaries transforming into miners, smiths and traders of metal artefacts.          See: http://www.iranicaonline.org/articles/simorg

See: http://en.wikipedia.org/wiki/Simurgh

Explaining iconography of Assyrian anthropomorphs 9th cent.BCE in Indus Script hypertext tradition of wealth metalwork ledgers https://tinyurl.com/y3hqbhal

Soma is yajñasya ātmā, śyenaciti is signified on Indus Script, on seven soma samsthā yajña of Veda, thunderbolt metalwork 

https://tinyurl.com/yy7ky2td

Semantics in choice of śyēna citi 'Veda fire-altar' and Indus Script with Śyena, śen, śenī 'thunderbolt, falcon' hypertexts https://tinyurl.com/y3h6n7uj

Śyena, Simorg, Anzu, Amśu (Soma), Indus Script Corpora wealth-accounting ledgers, are Veda veneration continuum seeking heaven https://tinyurl.com/yyqow9lo

Shape of Caturaśra Śyena in Mānava Śulbasūtra, Harappa seal h166 narrative Caturaśra Śyena rebus آهن ګر āhan gar 'thunderbolt makersmith'https://tinyurl.com/y3s9tomm

World's first wealth accounting Indus Script system of Sarasvati-Sindhu Civilization 'wealth' categories of metalwork in pasra 'smithy' https://tinyurl.com/y5rcpy6t

"Griffin-like Simurgh (Persian: سیمرغ), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا), is the modern Persian name for a fabulous, benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia, the Byzantine empire , and other regions that were within the sphere of Persian cultural influence. Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm, and further developed as the Rukh (the origin of the English word "Roc")." http://www.flickr.com/photos/27305838@N04/4830444236

"During the first half of the 2nd millennium BC, a civilization was established in the ancient delta of the Murghab River, on the southeastern edge of a territory famous than as Turkestan. This Bronze Age site is recognized as Gonur Tepe. A civilization that flourished before being buried by time and discovered later on in present-day Turkmenistan. In the seventh millennium BC, Murgab River became the place where first agricultural settlements started to appear. The site was called “Margush” in Old Iranian texts and “Margiana” in Greek. The Margiana region has an area of 3000 square kilometers, housing 70 oasis, and 150 settlements.Gonur Tepe (or Gonur Depe) became the capital, serving as the administrative and religious center, and also a trade hub of the Margiana region.Nothing much was recognized about the complex of Gonur Tepe until 1972. When the Margiana Archaeological Expedition directed by the Greek-Russian archaeologist Victor Sarianidi discovered the fortress town. In this expedition, it was revealed that Gonur Tepe was a rectangular fortress with defensive walls, semicircular bastions, and adobe buildings. A palace and temples with fire altars dedicated to the Zoroastrian religion were also discovered. Archeologist Sarianidi explained that Gonur Tepe is the 5th oldest civilization on Earth. And it was the birthplace of Zoroastrianism. Other discoveries included extensive irrigation systems. That was similar to the ones found in Egypt, models of two-wheeled carts, and silver and gold artifacts. The artifacts discovered on-site suggest that the town of Gonur Tepe had craftsmen who could mold metal and create materials for cult worship. Besides metal, the craftsmen also did bone and stone carvings. Sarianidi also found out what appears to be the boiler for the soma. A ritual drink is known to give immortality mentioned in the Rigveda and also known as haoma in the Avesta. Dishes with traces of cannabis, poppy, and ephedrine were also found. Which led to the theory that these were the ingredients of the immortality drink soma. Therefore; in 2009, a royal tomb was excavated in which remains of dogs, a cart with bronze-rimmed wheels, and a large bronze cauldron were discovered." (Mr Devotor, Gonur Tepe, the buried fortress gtown of Turkmenistan, April 16, 2019) Source: https://charismaticplanet.com/gonur-tepe/ 

See: Archaeological, Indus Script evidence for Meluhha smiths, traders moving into Indo-European speaker areas of BMAC and Anau, Turkmenistan, ca. 2300 BCE http://tinyurl.com/y4h4qu3  

RV X.85.1 to 4 1. TRUTH is the base that bears the earth; by Surya are the heavens sustained.By Law the Adityas stand secure, and Soma holds his place in heaven.
2 By Soma are the Adityas strong, by Soma mighty is the earth.Thus Soma in the midst of all these constellations hath his place.3 One thinks, when they have brayed the plant, that he hath drunk the Somas' juice;Of him whom Brahmans truly know as Soma no one ever tastes.4 Soma, secured by sheltering rules, guarded by hymns in Brhati,
Thou standest listening to the stones none tastes of thee who dwells on earth.

1. Mortals do not taste Soma. RV 10.85.3, 4 which suggest that Brahmana and those who dwell on earth do NOT partake of Soma. Similar refrain occurs in Atharva Veda. Hillebrandt and Oldenburg suggest that Soma is a metahpor for the sun or moon. I suggest that Soma is a metaphor for metal, iron pyrites.

2. माक्षिक, the fly, betrays Soma. RV 1.119.9 There is a pun on the word माक्षिक which also signifies 'pyrites' (secondary ores). Rigveda citation: 

To you, O Aswins, that fly betrayed the soma: RV 1.119.9 Line 1

RV I.119.9 To you in praise of sweetness sang the honeybee-: Ausija calleth you in Somas' rapturous joy.
Ye drew unto yourselves the spirit of Dadhyac, and then the horses' head uttered his words to you.
10 A horse did ye provide for Pedu, excellent, white, O ye Asvins, conqueror of combatants,
Invincible in war by arrows, seeking heaven worthy of fame, like Indra, vanquisher of men.

3. Reference to Soma in the dual and plural RV 9.66.2,3,5 refer to Soma in dual, or plural (re-inforcing the allegorical nature of the descriptions.

RV IX.66.1. FOR holy lore of every sort, flow onward thou whom all men love.
A Friend to be besought by friends.
2 Over all thou rulest with these Two which, Soma Pavamana, stand,
Turned, as thy stations, hitherward.
3 Wise Soma Pavamana, thou encompassest on every side
Thy stations as the seasons come.
4 Flow onward, generating food, for precious boons of every kind,
A Friend for friends, to be our help.
5 Upon the lofty ridge of heaven thy bright rays with their essences,Soma, spread purifying power.

Indus Script hypertexts and meanings in Meluhha speech, in reference to the following images:

pañja 'feline paw' rebus: pañja 'kiln, furnace'

kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'

pajhar 'eagle' rebus: pasra 'smithy'

eraka 'wing' rebus: eraka 'moltencast, copper' arka 'gold'

dhangar 'bull' Rebus: dhangar 'blacksmith'

arye 'lion' rebus: āra 'brass'

Carved horn cup showing Anzud, the lion-headed eagle, attacking a bull/man 

http://sumerianshakespeare.com/106901.html

पोळ pōḷa, 'Zebu, bos indicus'  Rebus: पोळ pōḷa, 'magnetite, ferrite ore'; poladu, 'black drongo' bird' rebus: poladu 'steel'.; adar ḍangra ‘zebu': Rebus: aduru ḍhangar ‘native metal smith’. arye 'lion' āra 'brass'. min 'lightning''metal' = kol'metal'. The Pali semantics ayo, 'metals, metal alloy of gold' are consistent with the meaning provided in synonyms for the gloss, kol : மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550).

Hieroglyphs which are synonyms: vajra & falcon:: śyēná श्येन [p= 1095,2] denotes a hawk , falcon , eagle and also sena, heṇa ʻ thunderbolt ʼ (Sinhala); aśáni f. ʻ thunderbolt ʼ (Rigveda).

Limestone

H. 14 cm; W. 14 cm

Tell al-Ubaid (Iraq)

Early Dynastic III

B15606 (T.O. 288)

dāmra, damrā ʻ young bull (a.)(CDIAL 6184). K. ḍangur m. ʻbullockʼ (CDIAL 5526).

 Rebus: Ḍhangar ‘blacksmith’ (H.) kol ‘tiger’; rebus: kol ‘smithy’. eṟaka ‘wing’ (Telugu) Rebus: eraka ‘copper’. Thus, the ligatured glyph denotes: copper smithy -- pasra. cf. pajhar 'eagle' (Santali)

Limestone plaque with relief-carved depiction of a human-faced bison, with its front hooves on a plant sprouting from a rocky outcropping or mountain. A lion-headed (eagle-like) bird of prey on the bison’s back--the mythical anzû--bites its haunch.

[quote] The bison’s body is in profile, its face forward. The stylization of the animal’s shoulder as an undulating band and the inward-curving tufts of hair on the fetlocks are typical of the late Early Dynastic period. The three overlapping semi-circles that form the rocky outcropping or mountain are reminiscent of the cuneiform sign signifying both mountain and foreign land and suggestive of a natural setting for the action depicted in the distant highlands. The lion-headed bird of prey’s folded wings, neck and tail are rendered with a grid of incised lines.

The square plaque described here is from Woolley’s 1923-24 excavations in front of Tell al-Ubaid’s late Early Dynastic temple platform (see INTRODUCTION: Tell al-Ubaid). Woolley focused his efforts on the northwest side of the central stair ramp. The plaque was relatively high in the mudbrick debris from the collapse of the platform’s superstructure and in close proximity to an inlay panel depicting milking scenes and rows of cattle. In fact, B15606 was just under and against a section of the frieze with shell figures of five bulls facing right and may have originally been attached to it. With the plaque (but detached from it), were the remains of a copper border similar to that of the inlay panels. The background of the plaque had been painted black to match the dark color of the bituminous limestone background of the inlay panels.

The human-faced bison, Sumerian (gud) alim or Akkadian kusarikku, is associated with the sun-god Utu/Shamash, perhaps in part because it inhabited the eastern mountains from which the sun rose. An Akkadian cylinder seal from Susa in fact depicts the sun god rising above two addorsed recumbent human-faced bisons in place of the stylized mountains that normally mark his abode. And in a hymn the sun god is likened to a bison, “ Lord, bison, striding over the mountain, Utu, bison, striding over the mountain.”

The mythical anzû, who nests in the high mountains, is a seemingly benevolent creature, at least in early texts and imagery. For example, in the mythical narrative Lugalbanda and the Anzû -bird, composed in the late 3rd millennium BCE, when the anzû-bird returned from hunting to find his nest embellished like a god’s dwelling, with his chick adorned and fed, the anzû exulted in his own role as intermediary to Enlil

I am the prince who decides the destiny of rolling rivers. I keep on the straight and narrow path the righteous who follow Enlil's counsel. My father Enlil brought me here. He let me bar the entrance to the mountains as if with a great door. If I fix a fate, who shall alter it? If I but say the word, who shall change it? Whoever has done this to my nest, if you are a god, I will speak with you, indeed I will befriend you. If you are a man, I will fix your fate. I shall not let you have any opponents in the mountains. You shall be 'Hero-fortified-by-Anzû'.

Anzû was Enlil’s symbol, and depictions of the anzû with wings outstretched over antithetical animals symbolic of other deities probably reflects Enlil’s all-encompassing power. The anzû -relief from Tell al-Ubaid, then, would depict Enlil over the stags associated with Ninhursag. Anzû’s close association with Ningirsu, Enlil’s son and warrior and Lagash’s tutelary deity, is evident at Tello (Girsu), both in texts and imagery in Early Dynastic-Ur III periods. On Eannatum’s Stele of the Vultures, for example, Ningirsu’s battle net is held closed by the anzû and antithetical lions, Ningursu’s animals, while a macehead, currently in the British Museum (BM 23287), dedicated to Ningirsu for the life of Enannatum shows the anzû grasping lions. In Gudea’s Cylinders Ningirsu’s temple Eninnu had the epithet “white anzû,” perhaps a reference to some significant architectural embellishment such as Urnamma affixed to the gates of Enlil’s Ekur.

But the anzû was a complex creature and one portrayed as more troublesome in later literary compositions. The Epic of Anzû, which exists in copies dating to the early 2nd millennium BCE, tells the tale of a malevolent anzû who steals the “tablet of destinies” and is eventually slain by Ninurta. Though Akkadian seals, showing a bird-man brought before Enki, may depict excerpts from this story, suggesting that at least in certain traditions the anzû was thought of as a creature with a dual—benevolent and malevolent--character already at the end of the 3rd millennium BCE, their reading remains a matter of controversy.

Whatever the complexity of the mythology regarding the anzû, the imagery of B15606, on which the anzû is shown in overtly aggressive behavior toward an animal of the mountains, associated with the sun god, remains perplexing. Similar scenes occur on shell inlays from Tello and Ur, as well as Tell Mardikh (Ebla) in western Syria. For example, one end panel of the Royal Standard of Ur shows the anzû attacking recumbent human-faced bisons on each side of a mountain from which a plant grows. Such scenes may reflect the menacing behavior of the anzû to men and gods, but more likely depict the anzû’s normal behavior in its natural habitat. B15606’s juxtaposition with scenes of herding and milking cattle, then, could be read as contrasting the settled conditions of a “civilized” floodplain with life in the mountains, where, as Lugalanda and the Anzû describes, bulls ran wild and the anzû hunted to feed its offspring. [unquote]

Richard L. Zettler

http://www.worldartmuseum.cn/content/918/4095_1.shtml

Inscribed head of a mace with Imdugud (Anzu) and Enannatum, the British Museum, London.

Stone mace head, front and back:  A votive offering to a temple; it is too large to have been used as a weapon. Anzud is also known as Imdugud. 

http://sumerianshakespeare.com/106901.html

British Museum.  Stone mace head Kingdom of Lagash, about BC Possibly from Tello (ancient Girsu), southern Iraq

Taken from the original plaque

Sumer.Anzud with two lions.  I photographically repaired some of the damage done to the figures and remodeled the background.

http://sumerianshakespeare.com/106901.html

Copper friezeImdugud (also Zu or Anzu), the lion-headed eagle; Sumerian metalwork (sheets of copper), Temple of Ninhursag at Tell al-'Ubaid; ca. 2500 BCE http://commons.wikimedia.org/wiki/File:Imdugud.jpg.

From the temple of Ninhursag, Tell al-'Ubaid, southern Iraq

Pendant of gold and lapis lazuli.

About 2600-2400 BCE A rare metalwork survival

[quote] This relief was one of a group of objects found at the small site of Tell al-'Ubaid, close to the remains of the city of Ur. It was discovered at the base of a mud-brick platform on which had been built a temple dedicated to the goddess Ninhursag.

The frieze may have originally stood above the door of the temple, and if so, is the most striking element of what survives of the temple façade. The frieze was badly damaged when it was found. Only one stag's head was recovered intact and the head of the eagle had to be restored. This restoration, based on images of similar date, shows the lion-headed eagle Imdugud, the symbol of the god Ningirsu. The artist has allowed the lion head to break out of the confines of the framework, suggesting Imdugud's great power.

The relief is formed from sheets of copper alloy beaten into shape and fastened, with pins and twisted lengths of copper, to a wooden core coated with bitumen. The survival of such a large piece of metalwork from this period is exceptional. Though copper, probably from the regions of modern Oman and Iran, was the most widely-used metal at this time, most metal objects have either disintegrated or the metal was melted down and re-used. [unquote]

H.W.F. Saggs, Babylonians (London, The British Museum Press, 1995)

D. Collon, Ancient Near Eastern art (London, The British Museum Press, 1995)

M. Roaf, Cultural atlas of Mesopotamia (New York, 1990)

H.R. Hall and C.L. Woolley, Ur Excavations, vol. I: Al-Uba(London, Oxford University Press, 1927)

http://www.britishmuseum.org/explore/highlights/highlight_objects/me/c/copper_frieze.aspx

Fragment of an Iranian Chlorite Vase decorated with the lion headed eagle (Imdugud) found in the temple of Ishtar during the 1933 - 1934 fieldwork by Parrot. Dated 2500 - 2400 BC. Louvre Museum collection AO 17553. 

Elamite bird (eagle?) with spread wings on an axe head from Tepe Yahya (Lamberg-Karlovsky and Potts 2001: 

m1390Bt Text 2868 Pict-74: Bird in flight.

Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255   

फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

dhanga 'mountain range' Rebus: dhangar 'blacksmith'

Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. Pajhar ‘eagle’; rebus: pasra ‘smithy’.

      
kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’. gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements.  Together with cognate ancu ‘iron’ the message is: native metal implements mint.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala): 

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be *ā̤n; -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773) Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: meḍ'iron'. mẽṛhet ‘iron’ (Mu.Ho.)  Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'.

On the cylinder seal of Adda (c. 2300 BCE), scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by  han-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: sena, heṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is:  kō̃da 'young bull' rebus:  kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus:  'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.

m0451A

m0451BText 3235

m0451A,B Text3235 h166A,B Harappa Seal; Vats 1940, II: Pl. XCI.255. http://www.metmuseum.org 

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. pajhar ‘eagle’; rebus: pasra ‘smithy’. पाजिकः A falcon (Skt.)

ḍato = claws of crab (Santali) 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: dhātu = mineral (Skt.) kamaṭha crab (Skt.) Rebus: kammaṭa = portable furnace (Te.) kampaṭṭam coiner, mint (Ta.)

Peg ‘khuṇṭa’; rebus: kūṭa ‘workshop’ khũṭi = pin (M.) kuṭi= smelter furnace (Santali) konḍu  मूलिकादिघर्षणवस्तु m. a washerman's dressing iron (El. kunḍh); a scraper or grater for grating radishes, or the like; usually ˚ -- , the second member being the article to be grated, as in the following: -- kȧnḍi-mujü घर्षिता मूलिका f. grated radish, but mujĕ-konḍu, a radish-grater (cf. mujü). (Kashmiri) *khuṭṭa1 ʻ peg, post ʼ. 2. *khuṇṭa -- 1. [Same as *khuṭṭa -- 2? -- See also kṣōḍa -- .]1. Ku. khuṭī ʻ peg ʼ; N. khuṭnu ʻ to stitch ʼ (der. *khuṭ ʻ pin ʼ as khilnu from khil s.v. khīˊla -- ); Mth. khuṭā ʻ peg, post ʼ; H. khūṭā m. ʻ peg, stump ʼ; Marw. khuṭī f. ʻ peg ʼ; M. khuṭā m. ʻ post ʼ.2. Pk. khuṁṭa -- , khoṁṭaya -- m. ʻ peg, post ʼ; Dm. kuṇḍa ʻ peg for fastening yoke to plough -- pole ʼ; L. khū̃ḍī f. ʻ drum -- stick ʼ; P. khuṇḍ, ḍā m. ʻ peg, stump ʼ; WPah. rudh. khuṇḍ ʻ tethering peg or post ʼ; A. khũṭā ʻ post ʼ, ṭi ʻ peg ʼ; B. khũṭā, ṭi ʻ wooden post, stake, pin, wedge ʼ; Or. khuṇṭa, ṭāʻ pillar, post ʼ; Bi. (with -- ḍa -- ) khũṭrā, rī ʻ posts about one foot high rising from body of cart ʼ; H. khū̃ṭā m. ʻ stump, log ʼ, ṭī f. ʻ small peg ʼ (→ P.khū̃ṭā m., ṭī f. ʻ stake, peg ʼ); G. khū̃ṭ f. ʻ landmark ʼ, khũṭɔ m., ṭī f. ʻ peg ʼ, ṭũ n. ʻ stump ʼ, ṭiyũ n. ʻ upright support in frame of wagon ʼ, khū̃ṭṛũn. ʻ half -- burnt piece of fuel ʼ; M. khũṭ m. ʻ stump of tree, pile in river, grume on teat ʼ (semant. cf. kīla -- 1 s.v. *khila -- 2), khũṭā m. ʻ stake ʼ, ṭī f. ʻ wooden pin ʼ, khũṭaḷṇẽ ʻ to dibble ʼ.Addenda: *khuṭṭa -- 1. 2. *khuṇṭa -- 1: WPah.kṭg. khv́ndɔ ʻ pole for fencing or piling grass round ʼ (Him.I 35 nd poss. wrong for ṇḍ); J. khuṇḍā m. ʻ peg to fasten cattle to ʼ. (CDIAL 3893) Vikalpa: pacar = a wedge driven ino a wooden pin, wedge etc. to tighten it (Santali.lex.) pasra = a smithy, place where a black-smith works, to work as a blacksmith; kamar pasra = a smithy; pasrao lagao akata se ban:? Has the blacksmith begun to work? pasraedae = the blacksmith is at his work (Santali.lex.)

khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)

Alternative decipherment:

[alloy metal mint workshop]

Field symbol 1: पोळा [ pōḷā ] 'zebu, bos indicus taurus' rebus: पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4' 

Field symbol 2: seṇa 'falcon' rebus: seṇa, aśani 'thunderbolt', āhan gar 'blacksmith'  PLUS kambha 'wing' rebus: kammaṭa 'mint, coiner, coinage[Metwork catalogues: ferrite ore, blacksmith mint] Alternate titles: sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ]Pa. sēnāpati -- , °ika -- m. ʻ general ʼ, Pk. sēṇāvaï -- m.; M. śeṇvaī, °vī, śeṇai m. ʻ a class of Brahmans ʼ, Ko. śeṇvi; Si. senevi ʻgeneralʼ.(CDIAL 13589) Vikalpa: eruvai ‘eagle’ rebus: eruvai ‘copper’ 

Text 3235

loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karṇī  ‘ears’ rebus: karṇī 'supercargo, scribe' [supercargo in charge of copper, iron ores]

kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass'  Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥ कौटिलिकः 1 A hunter.-2 A blacksmith  PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings. [bronze castings]

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting' [metal implement castings]

dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon).  khaṇḍa 'implements'. Thus, ingots and implements [ingots, implements]

ayo, aya 'fish' rebus: aya 'iron' ayas 'metal alloy' (Rigveda) PLUS khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'.PLUS sal ‘splinter’ rebus: sal ‘workshop’ [alloy metal mint workshop]

Thus, the Mohenjodaro tablet is a metalwork catalogue of: 1.ferrite ore; 2.blacksmith mint, army general.

Accounted sub-categories: 

[supercargo in charge of copper, iron ores]

[bronze castings]

[metal implement castings]

[ingots, implements]

[alloy metal mint workshop]

216).Harappa seal. Eagle in flight. 

Enmetena silver vase

Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

The image of Anzud shows up better in this old photograph. Anzud (also known as Imdugud) was the symbolic animal of Ningirsu. The image of Anzud with the two lions seems to be symbolic of the city of Lagash.

Another view of the silver vase of Enmetena

The dedicatory inscriptions wrap around the neck of the vase: 

Translation of the inscriptions from the CDLI (P222539):

For Ningirsu, the hero of Enlil,
Enmetena, ruler of Lagash,
chosen by the heart of Nanshe,
chief ruler of Ningirsu,
son of Enannatum, ruler of Lagash,
for the king who loved him, Ningirsu,
(this) gurgur-vessel of refined silver,
from which Ningirsu will consume the monthly oil (offering),
he had fashioned for him.
For his life, before Ningirsu of the Eninnu (temple)
he had it set up.
At that time Dudu
was the temple administrator of Ningirsu. http://sumerianshakespeare.com/70701/74901.html

Terracotta plaque showing a bull-man holding a post

Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.800 cm Width: 7.000 cm ME 103225 Room 56: Mesopotamia

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.

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

British Museum, A guide to the Babylonian and, 3rd ed. (London, British Museum, 1922)

J. Black and A. Green, Gods, demons and symbols of -1(London, The British Museum Press, 1992)

Neo-Sumerian Statuette of an Androcephalous Bull, C. 2350-2000 BC Made of Chlorite with inlays (now mostly missing)

 

Base for a ritual offering, carved with animals Elamite period, mid-3rd millennium BCE

Tell of the Acropolis, Susa, Iran Bituminous rock H. 19 cm; Diam. 11 cm Jacques de Morgan excavations, 1908 Lions and gazelles passant; eagles protecting their young Sb 2725
This base for a ritual offering is made of bitumen. This material was plentiful throughout the Middle East, but only in Susa was it used in sculpture. The object is carved with big cats, gazelles, and eagles. The theme of the eagle spreading its wings to protect its young was found only in Iran and also features on painted ceramics of the same period. 
Bitumen: a plentiful material used in an unusual manner
This object in the form of a truncated cone is a base for a ritual offering. It is carved from bituminous rock, found throughout the region but used in sculpture only in Susa. It was used to make vases similar to this object (Louvre, Sb2726), and later, in the early years of the 2nd millennium BC, vases carved with bas-relief decorations and an animal's head in high relief (Louvre, Sb2740). The shape of this object - a truncated cone - is similar to other pieces made of chlorite and dating from the same period. The mortise at the top of the cone and the unfinished lip suggest that the object originally had a second part that fitted on top of the cone. However, the precise purpose of the object remains a mystery.
The animal carvings
The cone is carved with two registers separated by a narrow strip. The upper register is decorated with two gazelles calmly grazing on vegetation, represented by stalks between each animal. Alongside the two gazelles are two big cats, almost certainly lions, with their backs to each other. Their stylized manes are shown as vertical strips, reminiscent of those of the woolen Mesopotamian garments known as kaunakes. Their tails are raised horizontally over their backs, similar to depictions of lions on cylinders from Uruk or Susa. Their heads are depicted in geometrical form. All four animals are shown in profile. The artistic desire to create a scene and a landscape imbued with life is also evident in two cylinders from Uruk and Khafaje. 
The lower register shows two highly stylized eagles, upright, as if resting on their tail feathers. Their wings and talons are spread to protect the chicks beneath them. These eagles differ somewhat from the usual representation of eagles as the attribute of the Sumerian god Ningirsu, where the birds are depicted with a lion's head, holding two lion cubs, which are shown face on.
Mythological creatures or carvings of local wildlife?
Eagles were a major theme in Susian and Mesopotamian art. This depiction of an eagle resting on its tail feathers is also found in ceramics, glyptics, and perforated plaques dating from the 3rd millennium BC. However, unlike Mesopotamian eagles, Susian eagles never resembled composite animals. Likewise, Mesopotamian eagles had a mythological dimension, which was absent from Susian portrayals of the bird. In Susa, eagles were simply considered ordinary birds of prey.
Bibliography
Amiet Pierre, Élam, Auvers-sur-Oise, Archée, 1966, p. 166, fig. 119.
Les quatre grandes civilisations mondiales. La Mésopotamie entre le Tigre 
et l'Euphrate, cat. exp., Setagaya, musée d'Art, 5 août-3 décembre 2000, Fukuoka, musée d'Art asiatique, 16 décembre 2000-4 mars 2001, Tokyo, NHK, 2000, pp. 214-215.

http://www.louvre.fr/en/oeuvre-notices/base-ritual-offering-carved-animals

Sumer of Anzu, the eagle is compared with śyena-amśu (soma) of Rigveda. Similarities are striking indeed and should provide a pause to an understanding of the bronze-age recorded in the many metaphors and hieroglyphs (such as the overflowing vase of Gudea, discussed in 

http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-indus-writing-lokhad.html 

Ancient near East Gudea statue hieroglyph (Indus writing): lokhãḍ, 'copper tools, pots and pans' Rebus: lo 'overflow', kāṇḍa 'sacred water'.

The parallels of metaphors/imageries are so vivid that a relationships between the people who narrated the exploits of heroes of Sumer and the exploits of Indra narrated in the Rigveda have to be deep indeed and cannot be explained away as mere coincidences.

Anzu stole the tablet of destinies. Śyena of Rigveda brought the amśu (soma) from the heavens. Anzu is derived from An "heaven" and Zu "to know", in Sumerian language.

See: http://bharatkalyan97.blogspot.in/2011/09/decipherment-of-soma-and-ancient-indo.html Soma-haoma, *sauma ? somnakay ! samanom ! *haeusom-

French scholar, Prof. Pinault identifies amśu of Rigveda with anzu of Tocharian. In Tocharian it means 'iron'. Tocharin language as an Indo-European language has revealed a word anzu in Tocharian which meant 'iron'. It is likely that this is the word used for soma in Rigveda. The imagery of an eagle stealing soma also occurs in ancient Indian texts. There is a hymn to śyena in Atharvaveda (7.41).

A synonym of soma is amśu. śyena, the hawk has brought the soma from the heaven.

श्येन आसां अदितिः कक्ष्यो मदों विज्वारस्य याजतस्य मायिनः
सं अन्यं अन्यं अर्थयन्थ्येतवे विदुर्विष्आणं परिपानं RV 5.44.11

5.044.11 Swift is the excessive and girth-distending inebriation of Viśvavārā, Yajata and Māyin; (by partaking) of these (juices) they urge one another to drink; they find the copious draught the prompt giver of intoxication. [Swift is...inebriation: śyena āsām aditih kakṣyo madah: śyena = śīghra, quick; aditi = atisamṛddhah; āsām = of these, Soma juices; mada = intoxication, is the devata_ of the verse].

उत स्मास्य द्रवतस्तुरण्यतः पर्णं न वेरनु वाति प्रगर्धिनः श्येनस्येव ध्रजतो अङ्कसम्परि दधिक्राव्णः सहोर्जा तरित्रतः RV 4.40.3

4.40.03 And after him who is quick-going, hastening, eager (to arrive at his gold, men) follow (as other birds pursue) the flight of a swift (bird) striving together to keep up by the side of Dadhikrāvaṇ the transporter (of others) as swift as a hawk. [Yajus. 9.15; after him who is: asya dravatas turaṇyatah parṇam nādādhāram urah pradeśam vā of Dadhikrāvaṇ, together with strength, or for the sake of strength together, enabling to cross; an:kasam pari = a horse's trappings, the cloth, tail, vastracamarādikam, over all his body, which fly open as the horse gallops, like the wings of a bird, the horse has the speed of a hawk].

Vāmadevagautama sings the following rca-s for śyena:

प्र सु श विभ्यो मरुतो विरस्तु प्र श्येनः श्येनेभ्य आशुपत्वा अचक्रया यात स्वधया सुपर्णो हव्यं भरन्मनवे देवजुष्टं (RV 4.26.4)

4.26.4 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakrayā vadhayā = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the gāyatrī, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma].

Alternative: Before you measure this falcon, O Maruts, supreme is this swift-winged Shyena, strongly self-possessed with no one to bear him, That One brought to Manu the wholesome offerings.Explanation: It is impossible to measure the comprehensive energy existing in That One, who as swift-moving falcon envelops and pervades far distant places. In earlier days Manu, who was effulgent with Bliss, the essence of That One, was provided with wholesome offerings. Seer seems to suggest that even as Manu earlier, with whom he has established companionship, he too now should be the beneficiary of the choice offerings.

भरद्यदि विरतो वेविजानः पथोरुणा मनोजवा असर्जि तूयं ययौ मधुना सोम्येनोत श्रवो विविदे श्येनो RV 4.26.5

4.26.5 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world.

Alternative: When the bird brought in rapid movements and sent the swift thoughts on widespread Path, the same were returned with sweetness of Bliss, the Falcon in that process attaining brilliance. Explanation: Bird is the energy that elevates the thought fastest moving in universe, with swiftness of a falcon, unless it is with difficulty restrained. The thoughts imbibe the bliss of That One, the falcon, in that process shining with resplendence.

ऋजीपी श्येनो ददमानो अम्शुम्परावतः शकुनो मन्द्रं मदं सोमं भरद्दादृहाणो देवावान्दिवो अमुश्मा दुद्दरादआदाय RV 4.26.6

4.26.6 The straight-flying hawk, conveying the Soma from afar; the bird, attended by the gods, brought, resolute of purpose, the adorable exhilarating Soma, having taken it from that lofty heaven.

Alternative: Climbing above holding the thought and the bird bringing the draught that gladdens, the Falcon spreads upward. Comrade of the luminous beings clutching Soma which the birds had brought it rises to the loftiest heavens.
Explanation: Noble thoughts elevate the soul upward and ignoble ones relegate it downward. As the thoughts become energetic with bliss brought by birds from the heavens, the falcon takes elevates them thus enriched with the Bliss of Beatitude, the loftiest of heavens.

आदाय श्येनो अभारत्सोमं सहस्रं सवा अयुतं च साकं अत्रा पुरन्धिरजहाद अरातीर मदे सोमस्य मूरा अमूरः RV 4.26.7

4.26.7 Having taken it, the hawk brought the Soma with him to a thousand and ten thousand sacrifices, and this being provided, the performer of many (great) deeds, the unbewildered (Indra) destroyed, in the exhilaration of the Soma, (his) bewildered foes.

Alternative: Providing Soma bearing thousand libations, yes, ten thousand libations Shyena the falcon bringing it from above offers it down here on earth. Therein, the courageous ones leave all the malignant ones behind, the wise with wild ecstasy, leaving the unwise far behind.Explanation: That One, the falcon brings luminous libations from above and offers them here down below to those who deserve. The enlightened bold ones leave the malignant ones far behind, wise becomes wild with abundance and the timid sinking in scarcity. [Source for the alternative renderings of 4.26.4 to 7: http://nageshsonde.com/Rigveda_A_Study_on_Forty_Hymns.pdf]

Vāmadevagautama continues the prayer to śyena in the next Sūkta:

गर्भे नु सन्नन्वेषां अवेदं अहं देवानां जनिमानि विश्वा शतं मा पूर आयासीराराक्षन्नध श्येनो जवसा निरदीयं RV 4.27.1

4.27.1 Being still in the germ, I have known all the births of these divinities in their order; a hundred bodies of metal confined me, but as a hawk I came forth with speed. [i.e., until the sage comprehended the differences between the body and soul, and learned that soul was unconfined, he was subject to repeated births; but in this stage he acquired divine knowledge, and burst through the bonds with the force and celerity of a hawk from its nest; Vāmadevaśyena rūpam āsthāya garbhād yogena nihsṛtah = Vāmadeva, having assumed the form of a hawk, came forth from the womb by the power of Yoga (Nītimañjari)].

न घा स मां अप जोषं जभाराभीं आस त्वक्षसा वीर्येण ईर्मा पुरंधिरआजहादरातीरुत वाता अतरच्छू शुवानः RV 4.27.2

4.27.2 That embryo did not beguile me into satisfaction, but by the keen energy (of divine wisdom), I triumphed over it; the impeller of all, the sustainer of many, abandoned the foes (of knowledge), and, expanding, passed beyond the winds (of worldly troubles). [The impeller of all: the paramātmā, or supreme spirit; beyond the winds: the vital airs, or life, the cause of worldly existence, which is pain].

अव यच्छ्येनो अस्वनीदध द्योर्वि यद् यदि वात ऊहुः पुरन्धिं सुजद्यदस्मा अव हा क्षिपज्ज्यां कुशानुरस्ता मनसा भरण्यन् RV 4.27.3

4.27.3 When the hawk screamed (with exultation) on his descent from heaven, and (the guardians of the Soma) perceived that the Soma was (carried away) by it then, the archer of Kṛśānu, pursuing with the speed of thought, and stringing his bow, let fly an arrow against it. [Note: śankha Kṛśānu is a conch-shell cutter.]

ऋजिप्य ईं इन्द्रावतो न भुज्युम श्येनो जभार बृहतो अधि ष्णोः अन्तः पतत्पतत्र्यस्य पर्णं अध यामनि प्रसितस्य तद्वेः RV 4.27.4

4.27.4 The straight-flying hawk carried off the Soma from above the vast heaven, as (the Aśvins carried off) Bhujyu from the region of Indra, and a falling feather from the middle of the bird dropped from him wounded in the conflict. [antah parṇam tan madhye sthitam; one nail of the left foot and the shaft was broken by the collision, the fragments of the nail became the quills of the fretful porcupine, those of the arrow, water-snakes, flying foxes, and worms].

अध श्वेतं कलशं गोभिरं आपिप्यानं मघवा शुक्रमन्धः अध्वर्युभिः प्रयातं मध्वो अग्रम इन्द्रो मदाय प्रत्पिबध्यै शूरो मदाय प्रति धत्पिबध्यै RV 4.27.5

4.027.05 Now may Maghavan accept the pure nutritious (sacrificial) food in a white pitcher, mixed with milk and curds, offered by the priests; the upper part of the sweet (beverage) to drink for his exhilaration; may the hero accept (it) to drink for (his) exhilaration.

आवर्त्या शुन आन्त्राणि पेचे न देवेषु विविदे मर्डितारं अपश्यं जायां अमहॆयमानां अधा मे श्येनो मध्वाजभरि RV 4.18.13

4.18.13 In extreme destitution I have cooked the entrails of a dog; I have not found a comforter among the gods; I have beheld my wife disrsepected; then the falcon, (Indra), has brought to me sweet water. [In extreme destitutuin: So Manu has, Vāmadeva, who well knew right and wrong, was by no means rendered impure, though desirous when oppressed with hunger, of eating the flesh of dogs for the preservation of his life; icchan attum, wishing to eat; the text has śuno āntrāṇi pece, I cooked the entrails of a dog; the falcon: i.e., as swift as a hawk, śyena vat śīghragāmīndrah]. [Sūkta 18: Ṛṣi vāmadeva, while yet in the womb, was reluctant to be born and chose to come into the world through his mother's side; aware of his purpose, the mother prayed to Aditi, who thereupon came, with her son Indra, to expostulate with the Ṛṣi; this is the subject of the Sūkta].

The Sūkta's of Ṛṣi vāmadeva are brilliant evocations of the deeds of Indra, the thunder-bolt wielder and repeatedly evoke the memories enshrined in the Sumerian relief sculptures.

नवं नु स्तोमं अग्नये दिवः श्येनाय जीजनं वस्वः क विद वनाति नः RV 7.15.4
7.15.4 May Agni, to whom as to a (swift) hawk in heaven, I address this new hymn, bestow upon us ample wealth. Alternative: 1 have begotten this new hymn for Agni, falcon of the Sky: will he not give us of his wealth? (Griffith trans.)(Note: "As mediator between the realms of men and of the gods, the characteristics of flight are often Agni's. As divine eagle or falcon (śyena) he is depicted in the Agnicayana (Yajur Veda), the ritual construction of a 10,800 brick fire-altar in the form of a flying bird. The iron fort with a hundred walls in stanza 14 below perhaps recalls the eagle's soma-theft in Rig Veda, IV, 26 and 27."

[quote]Zu, also known as Anzu and Imdugud, in Sumerian, (from An "heaven" and Zu "to know", in the Sumerian language) is a lesser divinity of Akkadian mythology, and the son of the bird goddess Siris. He was conceived by the pure waters of the Apsu and the wide Earth.[1] Both Zu and Siris are seen as massive birds who can breathe fire and water, although Zu is alternately seen as a lion-headed eagle (cf: The Griffin). Zu as a lion-headed eagle, ca. 2550–2500 BC, Louvre Anzu was a servant of the chief sky god Enlil, guard of the throne in Enlil's sanctuary, (possibly previously a symbol of Anu), from whom Anzu stole the Tablet of Destinies, so hoping to determine the fate of all things. In one version of the legend, the gods sent Lugalbanda to retrieve the tablets, who in turn, killed Anzu. In another, Ea and Belet-Ili conceived Ninurta for the purpose of retrieving the tablets. In a third legend, found in The Hymn of Ashurbanipal, Marduk is said to have killed Anzu. [unquote] https://en.wikipedia.org/wiki/Zu_(mythology) See: http://www.sacred-texts.com/ane/blc/blc08.htm

[quote] In Mesopotamian mythology, the Tablet of Destinies - Dup Shimati in Sumerian - (not, as frequently misquoted in general works, the 'Tablets of Destinies') was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe. In the Sumerian poem 'Ninurta and the Turtle' it is the god Enki, rather than Enlil, who holds the tablet. Both this poem and the Akkadian Anzû poem share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian). Supposedly, whoever possessed the tablet ruled the universe.In the Babylonian Enuma Elish, Tiamat bestows this tablet on Qingu (in some instances spelled "Kingu") and gives him command of her army. Marduk, the chosen champion of the gods, then fights and destroys Tiamat and her army. Marduk reclaims the Tablet of Destinies for himself, thereby strengthening his rule among the gods.The tablet can be compared with the concept of the Me, divine decrees.
[unquote] https://en.wikipedia.org/wiki/Tablet_of_Destiny

Sennacherib and the Tablet of Destinies
Author(s): A. R. George
Source: Iraq, Vol. 48 (1986), pp. 133-146
Published by: British Institute for the Study of Iraq
Stable URL: http://www.jstor.org/stable/4200258 .
http://www.scribd.com/doc/149113821/Senna-Cherib-Tablet-of-Destinies-A-R-George-1986

Senna Cherib &amp; Tablet of Destinies : A. R. George (1986)     

m1169, m1177, m1175, m300 etc. are examples of composite groups of animals inscribed to signify that they are dhanam, 'wealth' categories created and shared by the members of artisan/seafaring merchant guilds with the community at large, thus generating wealth of a nation.

Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols.  In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.

https://www.harappa.com/indus/32.html

 In these seals of Mohenjo-daro ‘horned crocodile’ hieroglyph is the center-piece surrounded by hieroglyphs of a pair of bullocks, elephant, rhinoceros, tiger looking back and a monkey-like creature.

Seven interlocked tiger Indus Script inscriptions signify śālikā 'village of artisans, seafaring merchants', salāyisu 'metal-joiner' shops 

https://tinyurl.com/yb3s2pyl

I suggest that the three tigers with interlocked bodies connote cāli 'interlocked bodies'.

Rebus-metonymy layered cipher yields the plain text Meluhha message : kola 'tiger'> kolom 'three' PLUS cāli 'interlocked bodies': kammasālā 'workshop' (Prakritam) < kolimi 'forge' PLUS śālā, i.e. smithy workshop; salāyisu = joining of metal (Kannada).

m2015, m0295 The three interlocked tigers show their feline claws prominently. panja 'feline paw' rebus:panja 'kiln, furnace' PLUS kola 'tiger' rebus: kol 'working in iron'; kolhe 'smelter'.

m0295 Pict-61: Composite motif of three tigers (Mahadevan concodance)Location: Mohenjo Daro, Larkana Dt., Sind, Pakistan Site: Mohenjo Daro Monument/Object: carved sealCurrent Location: National Museum, New Delhi, India Subject: interlinked tigers Period: Harappa/Indus Civilization (Pakistan) (3300-1700 BCE) Date: ca. 2100 - 1750 BCE Material: stone Scan Number: 27412 Copyright: Huntington, John C. and Susan L. Image Source: Huntington Archive 

Here is a rendering of this Mohenjo-daro seal with three entwined tigers, in colour by a Historian, Walter Plitt Qintin:

http://ohomemilustrado.blogspot.in/2011/06/ancient-art-of-india-sketches-three.html

kola ‘tiger’ rebus: kol ‘furnace, forge’ cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali)Hieroglyph of joined, interlocked bodies: cāli (IL 3872); rebus: śālika (IL) village of artisans. cf. salāyisu = joining of metal (Ka.)

Orthography of Harappa Script Corpora presents two variants of 'interlocked' bodies of kola, 'tigers' (rebus: kol 'blacksmith'): e.g., (a) m0295 (PLUS Text message hieroglyphs), (b) m1395 with upto six bodies of tigers intertwined" (bhaṭa 'six' rebus: bhaṭa 'furnace').

cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Allograph: sal ‘splinter’

m0295 Text1386 Note how the hieroglyph components of the text are displayed in the space available on the seal after the pictorial motif hieroglyphs have been put together as part of the hypertext. The broken corner of the seal may have included other 'text hieroglyphs called signs'.

The text messageis: bronze workshop, scribe/account iron supercargo, helmsman, smithy/forge/temple. 

Details of Text: 

kōnṭa corner (Nk.); tu. kōṇṭu angle, corner (Tu.); rebus: kõdā ‘to turn in a lathe’ (Bengali) Alternative reading; kanac 'corner' rebus: kañcu 'bronze'

sal 'splinter' Rebus: sal 'workshop'

कर्णकः karṇakḥ कर्णकः Ved. 1 A prominence; handle' rebus: karṇī 'supercargo, scribe. 

kaṇḍ kanka ‘rim of jar’; Rebus: karnI 'supercargo', karṇika ‘scribe’; kaṇḍ ‘furnace, fire-altar’. Thus the ligatured Glyph is decoded: 

kole.l smithy, temple in Kota village (Ko.) rebus: kole.l 'smithy, forge'; kolimi 'smithy, forge' 

kola 'tiger' Rebus: kol 'working in iron'; kolle 'blacksmith'; kolimi 'smithy, forge'; kole.l 'smithy, temple' kol working in iron, blacksmith; kollaṉ blacksmith. 

Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith(Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.)kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133)

Hieroglyph of ‘looking back’ is read rebus kamar 'artisan': క్రమ్మరు [krammaru] krammaru. [Tel.] v. n. To turn, return, go  back. మరలు.  క్రమ్మరించు or  క్రమ్మరుచు  krammarinṭsu. V. a. To turn, send back, recall. To revoke, annul,rescind.క్రమ్మరజేయు. క్రమ్మర krammara Adv. Again. క్రమ్మరిల్లు or క్రమరబడు Same as క్రమ్మరు. krəm backʼ(Kho.)(CDIAL 3145) Kho. Krəm ʻ back ʼ NTS ii 262 with (?) (CDIAL 3145)[Cf. Ir. *kamaka – or *kamraka -- ʻ back ʼ in Shgh. Čůmčʻbackʼ,Sar. Čomǰ EVSh 26] (CDIAL 2776) cf. Sang. kamak ʻ back ʼ, Shgh. Čomǰ (< *kamak G.M.) ʻ back of an animal ʼ, Yghn. Kama ʻ neck ʼ (CDIAL 14356). Kár, kãr  ‘neck’ (Kashmiri) Kal. Gřä ʻ neck ʼ; Kho. Goḷ ʻ front of neck, throat ʼ. Gala m. ʻ throat, neck ʼ MBh. (CDIAL 4070)  Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

kolmo 'three' Rebus: kolimi 'smithy, forge'

Thus, the message on the seal reads: meḍ ‘iron’; kāḍ  ‘stone’;  karṇaka karṇika ‘helmsman, supercargo, furnace scribe'; kolimi 'smithy, forge' kole.l 'smithy, temple'; sal ‘workshop’ PLUS kõdā sal 'turner workshop' (Alternative: kañcu sal 'bronze workshop')

The entire hypertexts of pictorial and text hieroglyph components can thus be read using rebus-metonymy-layered-meluhha cipher as: 'iron stone furnace scribe smithy-forge, temple, bronze turner's workshop'.

kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil) kōla1 m. ʻ name of a degraded tribe ʼ Hariv. Pk. kōla -- m.; B. kol ʻ name of a Muṇḍā tribe ʼ.(CDIAL 3532) 

కరుకోల (p. 252) karukōla karu-kōla. [Tel.] n. A firing iron, for cautery. கொல்லுலை kol-l-ulai 

  , n. < id. +. Black-smith's forge; கொல்லனுலை. கொல்லுலைக் கூடத் தினால் (குமர. பிர. நீதிநெறி. 14).கொல்² kol Working in iron; கொற்றொழில். Blacksmith; கொல்லன். 5. Lock; பூட்டு. (பிங்.)  Brass or iron bar nailed across a door or gate; கதவு முதலியவற்றில் தைக்கும் இரும்பு முதலிய வற்றாலாகிய பட்டை. Loc.

Obverse of m1395 and m0441 had the following images of a multi-headed, six tigers.

m1395B, m0441B

Obverse of the tablets (e.g. m1395) signify functions of the manager of the guild 

of artisans/merchants: 

1. bica ‘scorpion’ rebus ‘haematite, ferrite ore’  

2. krammara ‘look back’ rebus: kamar ‘smith’ PLUS kola 'tiger' rebus: kol, kolle 'blacksmith'

3. karabha ‘trunk of elephant’ ibha ‘elephant’  rebus: karba ‘iron’ ib ‘iron’ ibbo ‘merchant’ 

4. kaṇḍa ‘rhinoceros’ rebus; kaṇḍa ‘implements’ 

5. kuṭhAru ‘monkey’ rebus: kuṭhAru ‘armourer’ 

6. dula ‘two’ rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'. 

The message is: haematite (ferrite ore), blacksmith artisan, iron implements merchant, armourer, hard alloy metalcasting.

--Data mining of Harappa Script Corpora, karaḍa aquatic bird, kola, 'tiger',  poḷa, 'zebu' tied to a rope, stake -- signifiers of working in karaḍa, 'hard alloys', poḷa, 'magnetite (ferrite ore)', kol, 'working in iron'.

cāli 'interlocked' rebus śālikā 'village of artisans, shop' kola 'tiger' sāṅgaḍa 'joined' rebus, kol 'blacksmith, working in iron', saṁgaha, 'manager arranger'.

Thus, blacksmith manager of the artisans' village/shop.

m1395 [PLUS hieroglyphs on obverse of tablet: haematite (ferrite ore), blacksmith artisan, iron implements merchant, armourer, hard alloy metalcasting]. 

There are at least six multiples of (m1395) tablets with this frame of 'interlocked' bodies of tigers on one side and other hieroglyphs/hypertexts on the reverse side. 

The hypertexts on the reverse side are detailed metalwork catalogues.

सांगड (p. 495) sāṅgaḍa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: saṁgaha 'catalogue' (Pkt.) सं-ग्रह [p=1129,2] a guardian , ruler , manager , arranger R. BhP. keeping , guarding , protection Mn. MBh.; complete enumeration or collection , sum , amount , totality (एण , " completely " , " entirely ")Ya1jn5. MBh. &c (Monier-Williams) Pa. saṅgaha -- m. ʻ collection ʼ, Pk. saṁgaha -- m.; Bi. sã̄gah ʻ building materials ʼ; Mth. sã̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ ← Pa.(CDIAL 12852) Rebus: सांगड (p. 495) sāṅgaḍa m f (संघट्ट S) A float composed of two canoes or boats bound together: also a link of two pompions &c. to swim or float by.  That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.

Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script. Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on six tablets.

Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros, monkey, elephant, a tiger looking back, a standing person with spread legs. This hieroglyph cluster is duplicated on a six tablets.

m02015 A,B, m2016, m1393, m1394, m1395, m0295, m0439, m440, m0441 A,B On some tablets, such a glyphic composition (hypertext) is also accompanied (on obverse side, for example, cf. m2015A and m0295) with a glyphic of two or more joined tiger heads to a single body. In one inscription (m0295), the text inscriptions are also read. bica ‘scorpion’ rebus: bica ‘haematite, ferrite ore’kola ‘tiger’ rebus: kol ‘furnace, forge’ kol ‘metal’ PLUSkrammara ‘look back’ rebus: kamar ‘smith’ karabha ‘trunk of elephant’ ibha ‘elephant’ rebus: karba ‘iron’ib ‘iron’ ibbo ‘merchant’ kaṇḍa ‘rhinoceros’ rebus; kaṇḍa ‘implements’ kuṭhāru ‘monkey’ rebus: kuṭhāru‘armourer’ dula ‘two’ rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. barada, balad 'ox' rebus: bharata,baran 'factitious alloy of copper, pewter, tin'.

Smithy with an armourer

Obverse of m1395 and m0441 had the following images of a multi-headed tiger.

Ta. kōṭaram monkey. Ir. kōḍa (small) monkey;  kūḍag  monkey.  Ko. ko·ṛṇ small monkey. To. kwṛṇ  monkey.  Ka. kōḍaga monkey, ape. Koḍ. ko·ḍë monkey. Tu.  koḍañji, koḍañja, koḍaṅgů baboon. (DEDR 2196). kuṭhāru = a monkey (Sanskrit) Rebus: kuṭhāru ‘armourer or weapons maker’(metal-worker), also an inscriber or writer.

Pa. kōḍ (pl. kōḍul) horn; Ka. kōḍu horn, tusk, branch of a tree; kōr horn Tu. kōḍů, kōḍu horn Ko. kṛ (obl. kṭ-)( (DEDR 2200) Paš. kōṇḍā ‘bald’, Kal. rumb. kōṇḍa ‘hornless’.(CDIAL 3508). Kal. rumb. khōṇḍ a ‘half’ (CDIAL 3792).

Rebus: koḍ 'workshop' (Gujarati) Thus, a horned crocodile is read rebus: koḍ khar 'blacksmith workshop'. khar ‘blacksmith’ (Kashmiri) kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) Rebus: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger is read rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.