https://tinyurl.com/yy656agt

NOTE: This is an unprovenanced seal posted on a website citing an exhibition held in 2017. I have called it Mehrgarh Pasupati seal

-- and silver-capped twisted, crumpled ancient 'unicorn' horn as medhā koḍ 'iron workshop'

Silver-capped twisted, crumpled ancient 'unicorn' horn is read as mer̥ha deren'crumpled horn'.

tešk loop, curve of horn.(Toda), tere 'a wave' (Kannada):Ta. tiraṅku (tiraṅki-) to be wrinkled, crumpled, dry up as dead leaves, be folded in as the fingers of a closed hand, be curled up as the hair; tirakku (tirakki-) to be crumpled, shrivel, wrinkle; tiraṅkal being strivelled, wrinkled, crumpled; tirai (-v-, -nt-) to become wrinkled as the skin by age, be wrinkled, creased as a cloth, roll as waves; (-pp-, -tt-) to roll as waves; gather up, contract, close as the mouth of a sack, plait the ends of a cloth as in dressing, tuck up as one's cloth; n. wrinkle as in the skin through age, curtain as rolled up, wave, billow, ripple; tiraiyal wrinkling; tiraivu wrinkling as by age, rolling as of waves. Ma. tira wave, billow, curtain; tiraccal wrinkles; tirekkuka to roll as waves; tirappu rolling. To. terf- (tert-) to make a loop (of cane); tešk loop, curve of horn. Ka. tere a wave, billow, curtain, cloth for concealing oneself used by huntsmen. Koḍ. (Shanmugam) tere wave, dress, screen. Tu. śerè, serè a wave, billow; serasarè, serasrè curtain, screen. Te. tera screen, curtain, wave. Br.trikking to wither up, change colour, fade. / Cf. Sgh. tiraya curtain, veil (delete from Turner, CDIAL, no. 5825); (Burrow 1967, p. 41).(DEDR 3244) Rebus reading of mer̥ha 'crumpled' is: meḍ 'iron' (Ho.Mu.); medhā 'yajna, dhanam'. meḍhi 'twist' Rupaka, 'metaphor' or rebus reading: meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic languages)The horn hieroglyph: koḍ 'horn' rebus: koḍ 'workshop'. Thus, the crumpled, curved, twisted horn of the unicorn is read as medhā koḍ 'iron workshop which produces dhanam, wealth of metals'.

Mehrgarh Pasupati seal

Below the platform:a pair of haystacks: mēṭa 'stack of hay' rebus: medhā 'yajna, dhanam' PLUS dula 'pair' rebus; dul 'metal casting'.Thus, wealth of metal castings

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)

Face:muhã ʻ face, mouth, head, person ʼRebus:mũhã̄ 'the quantity of iron produced at one time in a native furnace' Bi. mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ(CDIAL 10158)

Seated person in penance: kamaḍha 'penance' Rebus:kammaṭa 'mint, coiner'

Bangles on arms: karã̄ n. pl.wristlets, bangles' Rebus: khãr 'blacksmith'

Buffalo horns: rango 'water buffalo' Rebus: rango ‘pewter’. ranga, rang pewter is an alloy of tin, lead, and antimony (anjana) (Santali). Hieroglyhph: buffalo: Ku. N. rã̄go ʻ buffalo bull ʼ (or < raṅku -- ?).(CDIAL 10538, 10559) Rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1] Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ.(CDIAL 10562) B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.(CDIAL 10567)

Stars on horns: meḍha 'polar star' (Marathi). meḍ 'iron' (Ho.Mu.); medhā 'yajna, dhanam'

Twigs on hair-dress: kūdī 'bunch of twigs' (Sanskrit) rebus: kuṭhi 'smelter furnace' (Santali)

Two adoring, offering adorants with vases in their hands: पूतभृत् pūtábhr̥ta 'soldier offering purified soma in a smelter'--पूतभृत् pūtábhr̥ta 'Soma purified, carried in a vessel) by a worshpper,

The Indus Script inscription the Mehrgarh Pasupati seal (i on the photo, top line) is:

\ Slanted line PLUS " Sign 99 'splinter'

Reading of Sign 267 PLUS Sign 99: kancu ʼmũh sal 'bell-metal ingot workshop'. 

Reading of Sign 307: kamaḍha 'archer' Rebus:kammaṭa 'mint, coiner' 

Reading of Slanted line:  ḍhāḷ = a slope; the inclination of a plane (G.) Rebus: : ḍhāḷako = a large metal ingot 

Reading of Sign 342: Sign 342  'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) 

Thus, together, the text message of the Mehrgarh Pasupati seal is: steersman's, supercargo's mint with bell-metal ingot workshop, largemetal ingots.

Variants of Sign 307 (Bow and arrow)  kamaṭha m. ʻ bamboo ʼ lex. 2. *kāmaṭha -- . 3. *kāmāṭṭha -- . 4. *kammaṭha -- . 5. *kammaṭṭha -- . 6. *kambāṭha -- . 7. *kambiṭṭha -- . [Cf. kambi -- ʻ shoot of bamboo ʼ, kārmuka -- 2 n. ʻ bow ʼ Mn., ʻ bamboo ʼ lex. which may therefore belong here rather than to kr̥múka -- . Certainly ← Austro -- as. PMWS 33 with lit. -- See kāca -- 3] 1. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ.2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw. kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ, °ar, kāwaṛ, °ar f., G. kāvaṛ f., M. kāvaḍ f.; -- deriv. Pk. kāvaḍia -- , kavvāḍia -- m. ʻ one who carries a yoke ʼ, H. kã̄waṛī, °ṛiyā m., G. kāvaṛiyɔ m. 3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man who carries it ʼ. 4. Or. kāmaṛā, °muṛā ʻ rafters of a thatched house ʼ;G. kāmṛũ n., °ṛī f. ʻ chip of bamboo ʼ, kāmaṛ -- koṭiyũ n. ʻ bamboo hut ʼ. 5. B. kāmṭhā ʻ bow ʼ, G. kāmṭhũ n., °ṭhī f. ʻ bow ʼ; M. kamṭhā, °ṭā m. ʻ bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻ archer ʼ. 6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ. 7. M. kã̄bīṭ, °baṭ, °bṭī, kāmīṭ, °maṭ, °mṭī, kāmṭhī, kāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760) Rebus: kammaṭa 'mint, coiner' 
 kaṇḍa 'arrow' Rebus: 'stone (ore)metal'; kaṇḍa 'fire-altar'. ayaskāṇḍa is explained in Panini as 'excellent quantity of iron'.
variants of Sign 307

 
variants of sign 305

Sign 28 ciphertext is composed of Sign 1 and Sign  307. kāˊṇḍīra ʻ armed with arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [ kāˊṇḍa -- ]H. kanīrā m. ʻ a caste (usu. of arrow -- makers) ʼ.(CDIAL 3026). Hypertext reads: kamaḍha 'archer' Rebus:kammaṭa 'mint, coiner' 

Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'.kaṁsá1 m. ʻ metal cup ʼAV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻgong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ;  A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756)
Sign 272 cyphertext is a composite of Sign 267 and smoke, flame signifying a portable furnace. Lozenge, corner, signifier of portable furnace smoke/fire. Lozenge or oval shapes are mũhã̄ 'bun-ingot' shapes.  kammaṭa 'portable furnace to melt metals', rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236). Thus, kancu ʼmũh kammaṭa bronze, bell-metal ingot mint.

Sign 276 Variant Sign 278.  The hypertext is composed of Sign 267 and a hieroglyph,'splinter': sal 'splinter' rebus: sal 'workshop'.  Thus Sign 276 reads, kancu ʼmũh sal 'bell-metal ingot workshop'. 

Sign 278 has a circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. kã̄dur m. ʻ oven ʼ (Kashmiri).: kándu f. ʻ iron pot ʼ Suśr., °uka -- m. ʻ saucepan ʼ.Pk. kaṁdu -- , kaṁḍu -- m.f. ʻ cooking pot ʼ; K. kō̃da f. ʻ potter's kiln, lime or brick kiln ʼ; -- ext. with -- ḍa -- : K. kã̄dur m. ʻ oven ʼ. -- Deriv. Pk. kaṁḍua -- ʻ sweetseller ʼ (< *kānduka -- ?); H. kã̄dū m. ʻ a caste that makes sweetmeats ʼ. (CDIAL 2726)*kandukara ʻ worker with pans ʼ. [kándu -- , kará -- 1]K. kã̄dar, kã̄duru dat. °daris m. ʻ baker ʼ. (CDIAL 2728) Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe.kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit.(DEDR 1214)

Thus, Sign 278 reads: kancu ʼmũh kaṇḍa sal 'bell-metal ingot implements workshop'. 

Sign 277 Sign 277 The hypertext is composed of Sign 267 and a hieroglyph,'notch': खांडा  khāṇḍā .A jag, notch, or indentation (as upon the edge of a tool or weapon). A rough furrow, ravine, gully. (Marathi) rebus: khāṇḍa 'tools, pots and pans and metal-ware' (Marathi). Thus Sign 277 reads,  kancu ʼmũh khāṇḍa 'bell-metal ingot, metalware' Sign 279 Sign 279 signifies two corners and is a variant of Sign 277. Thus, Sign 27o reads dul kañcu ʼmũh khāṇḍa 'castings bell-metal ingot, metalware'.
PLUS खांडा  khāṇḍā .A jag, notch, or indentation (as upon the edge of a tool or weapon). A rough furrow, ravine,gully. (Marathi) rebus:khāṇḍa tools, pots and pans and metal-ware' (Marathi). Vikalpa to 'notch' is 'splinter' of two notches: sal 'splinter' rebus: sal 'workshop'.
Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. The reading is: kancu ʼmũh dhakka khāṇḍa 'bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'. 
Circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. Sign 281 The hypertext is Sig 280 PLUS circumscript 'four short vertical strokes'. The reading is: kaṇḍa kancu ʼmũh dhakka khāṇḍa 'fire-altar (for) bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'.Sign 284Variants of Sign 284 
Circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. Sign 285 is a composite of hieroglyphs: Sign 267  four corners, four short linear strokes as circumscript.  kaṇḍa kancu mũh khāṇḍā 'bell-metal ingot, implements (from) fire-altar'. 
The rebus reading of hieroglyph spoked-wheel is: arā 'spoke' rebus: āra 'brass' PLUS eraka 'nave of wheel' rebus: eraka 'moltencast,copper'. 
Sign 286Variants of Sign 286 Sign 286 is a composite of Sign 284 with infixed spoked wheel. The reaiding of hypertext of Sign 286 is: 
kaṇḍa āra eraka kancu mũh khāṇḍā  'fire-altar (for) brass, moltencast copper, bell-metal ingot, implements.' 

The Silver-Capped Twisted Section of an Ancient Unicorn’s Horn, Northern Europe, AD 1526-1698. Size: 42 cm long. © Oliver Hoare Ltd "It is probable that at one time this section of a horn was preserved as a precious relic in an ecclesiastical treasury. Apart from representing the Annunciation, such horns were believed to act as an antidote to disease, the Evil Eye and other such inconveniences. Belief in these therapeutic qualities are still recorded throughout the 17th century, and probably later, long after the Council of Trent had banned them from churches, on the basis that by then nobody believed in the existence of unicorns. Its dynamic torque is most unusual. Provenance: Jean-Claude Ciancimino, London "

A Metal Unicorn Head, Indus Valley, second half 3rd millenium BC. Size: 45 cm. © Oliver Hoare Ltd. "The model for this unicorn is a type familiar from seals and terracotta figurines found at Harappa and other Indus Valley sites. European unicorns invariably have bodies like horses, while those further east have the bodies of bulls with the horn pointing upwards, rather than projecting forwards. Among the seals of Mohenjo-daro, 60 per cent show unicorns, and those from Harappa, 46 per cent. The area was teeming with unicorns.

According to scientists, the Siberian Unicorn, Elasmotherium sibiricum, was already extinct 350,000 years ago. However, a skull found recently in Kazakhstan proves they were still around a mere 29,000 years ago. Such a margin of error is a reminder to be wary of scientific opinion when dealing with something as delicate as the unicorn. Iron-smelting can be traced back to c. 2600 bce in the Indus Valley, which was probably where the technology was first developed. "

Three Indus Valley Seals with Unicorns, Indus Valley, 3rd millennium BC. Size: 3 × 3 cm; 4.5 × 4.7 cm; 3.6 × 3.8 cm. Steatite and terracotta. © Oliver Hoare Ltd

Chinese Silver Unicor, (Kylin), Probably Song dynasty, 11th–12th century AD. Size: 7 × 6.5 cm. © Oliver Hoare Ltd. "While European unicorns had horses’ bodies and Middle and South-East Asian unicorns were built like bulls, their Chinese relations were altogether more fanciful, a bit rhino-like, and clearly capable of some surprising tricks."

Jean Duvet (1485–1570), The Unicorn Purifies the Water with his Horn. Plate: 22.6 × 40.2 cm. Sheet: 23.5 × 40.9 cm. © Oliver Hoare Ltd. "A very rare engraving, printed in grey-black, c. 1545–60, from ‘The Unicorn Series’, a very good silvery impression of the second (final) state, printing with clarity, on paper with a Grapes watermark (Eisler, Bessier 68). Duvet signed his prints emblematically, with the bird plucking its down (‘duvet ’, lower right).

This lyrico-mystical engraving is fascinating on many different levels. Firstly, for the personality of its creator, Jean Duvet, a name virtually unknown today in spite of his great accomplishments. He is the earliest known French engraver, having been trained as a goldsmith by his father in Dijon. For his exceptional skills in both these areas he received the royal patronage of kings François I and Henri II. He was in charge of the complicated pageantry celebrating the triumphal entry into Langres of François I in 1533. Fortress design was another of his specialities, and his mark remains in the striking ramparts of Langres and Geneva. Among his other skills were die-making and metal-casting. His fame as an engraver rested on two series of prints: the twenty-three plates of The Apocalypse, for which he was granted the Privilege by Henri II in 1556; and the six large engravings of ‘The Unicorn Series’. Already, in 1666, Michel de Marolles, the first cataloguer of Duvet’s oeuvre, referred to him as ‘The Master of the Unicorn’.

Secondly, for the environment in which it was produced, and for which it is a giant rebus, referencing the complexity of the humanistic culture of Renaissance Europe. The new ideas that f lowed from Marcilio Ficino’s Platonic Academy in Florence, from Pico della Mirandola’s Nine Hundred Theses, from Trithemius of Sponheim, Johann Reuchlin, Paracelsus, and Cornelius Agrippa – among many others – introduced Greek philosophy, alchemy, Hermeticism, Neo-Platonism, Sufi mysticism and Cabbala into the mainstream of European thought, establishing for the first time an intellectual forum outside the Church. Most of those involved in this enterprise were part of the Church, participating in the debate about the Reformation instituted by Martin Luther, and, until the Counter-Reformation unleashed by the Council of Trent in the mid-16th century, were largely tolerated within the Catholic Church. The public burning of Giordano Bruno in Rome in 1600 signalled a brutal end to tolerance. Ficino had inspired Botticelli, Michelangelo, Raphael, Titian and Dürer, and this inspiration, along with the inf luence of those who had built upon it, provided the intellectual fabric of Renaissance France, within which artists such as Ronsard, Rabelais and Duvet f lourished. This was no New-Age-type phenomenon but a deep enquiry into the purpose of human life and its meaning. They did not reject religion, but tried with new tools to expand their understanding beyond the sterile doctrines of the Church.

Jean Duvet was a deeply religious man, Catholic in his upbringing but drawn to Luther, as were most artists of his generation. His solution was to remain a member of the Catholic Church, while keeping his connection with the communities of the Reformation. When the situation became too complicated he retired to Geneva, 80 miles from Dijon, where he had work designing fortifications and coinage. His stance is interesting and subtle, suggesting that he was able to avoid the common habit of accepting or rejecting one doctrine or another, precisely because another possibility had opened up in the humanistic environment in which he lived and worked.

Jean Adhemar wrote in his preface to Colin Eisler’s The Master of the Unicorn (New York, 1979): ‘We are amazed that Duvet was not rediscovered by the Symbolists in the nineteenth century. Probably, this is due to the extreme scarcity of his works. A Huysmans or a Robert de Montesquiou would have pronounced him “l’inextricable graveur” as they have characterized Rodolphe Bresdin for a similar amalgam of malaise and enchantment.’ Earlier in the 19th century, William Blake and Samuel Palmer must have been aware of Jean Duvet’s magical creations."

http://www.alaintruong.com/archives/2017/05/04/35246334.html

Remarkable Inscribed Chalcedony Ear-Lobe Weight, Mergargh, Indus Valley, c. 3000 BC, Size: 42 cm high, 5.9 cm diameter. © Oliver Hoare Ltd

Along the upper rim of this beguiling object are five characters of the Indus Valley alphabet, the tantalizing glyphs of an undeciphered language. The choice of stone, polished to reveal a milky ‘eye’ and undulating ribbons, as well as its seductive concave surfaces, add to its visual and tactile appeal. It has weight, too, which makes its purpose as an ear appendage surprising at first, until one remembers the tradition of such adornments in the pierced and stretched lobes of the statues of goddesses throughout the Indian subcontinent since early times.

Comment posted:

Remarkable Inscribed Chalcedony Ear-Lobe Weight, Mergargh, Indus Valley, c. 3000 BC, Size: 42 cm high, 5.9 cm diameter. © Oliver Hoare Ltd This 'weight' is said to have an inscription with five Indus Script alphabets. I shall be grateful for an image of the incription and the alphabets used. Thanks and regards. S.Kalyanaraman Sarasvati Research Centre

http://www.alaintruong.com/archives/2017/05/04/35246334.html

(Attached image) includes image of a seal showing a shaman and an inscription. Parallels the famous Pasupati seal m0304. The website states that this is 3 cm square, said to be from Indus Valley seals, Mehrgarh area c. 3500 BCE.. The website says: 

Alain.R.Truong > Cabinet de curiosités > Exhibition dedicated to rare and curious objects from over 5,000 years of civilisation opens in London

04 mai 2017

Exhibition dedicated to rare and curious objects from over 5,000 years of civilisation opens in London

Indus Valley Seals, Mehrgarh area, circa 3500 BC, Size: 6 cm long. © Oliver Hoare Ltd

It is assumed that the seals were used for trade, particularly long-distance trade, that the different animals are badges of clans, and that the script spells out the name or title of the owner. The theory has several awkward corners, however. There are about ten animals which are most commonly shown, while at Mohenjo-daro 60 per cent of the animal seals show unicorns. At Harappa it is 46 per cent. There are other animals that are very rare, such as the tiger and markhor goat, and occasionally a horned and naked man seated in a yogic pose with an erection turns up. The same inscription appears with different animals, and sometimes several animals appear on one seal, or a single animal with three different heads. Nevertheless, at their best they are objects of great refinement and beauty, and all the more tantalizing for their undecipherable script. Most are made from steatite that has been hardened by heating after engraving, with a pierced knob at the back. (See also no. 6 for the seals with unicorns.) 

a. A bearded bull and inscription. Size: 3.4 cm square

b. A fine zebu and inscription. Size: 3.3 cm square

c. A zebu and inscription. Size: 2.9 cm square

d. A rhinoceros and inscription. Size: 3.6 × 3.4 cm

e. A horned shaman and inscription. Size: 3 cm square

f. An elephant and inscription. Size: 2.6 cm square

g. A bull and inscription. Size: 3 cm square

h. A markhor goat and inscription. Size: 2.6 cm square

i. A unicorn, incense burner and inscription. Size: 3 cm square

j. A horned buffalo and inscription. Size: 2.7 cm square

http://www.alaintruong.com/archives/2017/05/04/35246334.html

Kneeling adorant with a pot in hand in front of a tree on Indus Script inscriptions is पूतभृत् pūtábhr̥ta 'soldier carries purified soma'

https://tinyurl.com/y39d9cut

--Kneeling adorant carrying a pot on Indus Script inscriptions is पूतभृत् pūtábhr̥ta 'soldier offering purified soma in a smelter'

--पूतभृत् pūtábhr̥ta 'Soma purified, carried in a vessel) by a worshpper, soldier signifed on Indus Script

पूतभृत् m. a kind of vessel which receives the सोम juice after it has been strained (तैत्तिरीय-संहिता, वाजसनेयि-संहिता, ब्राह्मण)(Monier-Williams) pūtá1 ʻ cleaned ʼ RV. [√pū]Pk. pūa -- ʻ purified ʼ; Si. pū karaṇavā ʻ to winnow ʼ.(CDIAL 8320) पू pū पू a. (At the end of comp.) Purifying, cleansing, refining; as in खलपू &c. पूत pūta पूत p. p. [पू-क्त] 1 Purified, cleansed, washed (fig. also); दृष्टिपूतं न्यसेत् पादं वस्त्रपूतं जलं पिबेत् । सत्यपूतां वदेद् वाचं मनःपूतं समाचरेत् ॥ Ms.6.46; त्रैविद्या मां सोमपाः पूतपापा यज्ञै- रिष्ट्वा स्वर्गतिं प्रार्थयन्ते Bg.9.2. -2 Threshed, winnowed. -3Expiated. -4 Contrived, invented. -5 Stinking, putrid, fetid, foul-smelling. -तः 1 A conch-shell. -2 White Kuśa grass. -तम्Truth. -ता An epithet of Durgā. -Comp. -आत्मन् a. pureminded. (-m.) 1 an epithet of Viṣṇu. -2 a purified man, saint, sage. -क्रतायी Śachī the wife of Indra; पूतक्रतायीमभ्येति सत्रपः किं न गोत्रभित् Bk.5.28. -क्रतुः N. of Indra; घोषस्यान्ववदिष्टेव लङ्का पूतक्रतोः पुरः Bk.8.29. -तृणम् white Kuśa grass. -द्रुः the tree called पलाश. -धान्यम् sesa- mum. -पत्री holy basil (तुलसी). -पाप, -पाप्मन् a. freed from sin. -फलः the bread fruit tree (पनस).(Apte) भृत mfn. borne , carried &c (Monier-Williams) bhaṭa 'soldier': bhr̥ta ʻ carried, brought ʼ MBh. 2. ʻ hired, paid ʼ Mn., m. ʻ hireling, mercenary ʼ Yājñ.com., bhr̥taka -- m. ʻ hired servant ʼ Mn.: > MIA. bhaṭa -- m. ʻ hired soldier, servant ʼ MBh. [√bhr̥]1. Ash. 3 sg. pret. bəṛə, f. ˚ṛī ʻ brought ʼ, Kt. bŕå; Gaw. (LSI) bṛoet ʻ they begin ʼ.2. Pa. bhata -- ʻ supported, fed ʼ, bhataka -- m. ʻ hired servant ʼ, bhaṭa -- m. ʻ hireling, servant, soldier ʼ; Aś.shah. man. kāl. bhaṭa -- ʻ hired servant ʼ, kāl. bhaṭaka -- , gir. bhata -- , bhataka -- ; Pk. bhayaga -- m. ʻ servant ʼ, bhaḍa -- m. ʻ soldier ʼ, bhaḍaa -- m. ʻ member of a non -- Aryan tribe ʼ; Paš. buṛīˊ ʻ servant maid ʼ IIFL iii 3, 38; S. bhaṛu ʻ clever, proficient ʼ, m. ʻ an adept ʼ; Ku. bhaṛ m. ʻ hero, brave man ʼ, gng. adj. ʻ mighty ʼ; B. bhaṛ ʻ soldier, servant, nom. prop. ʼ, bhaṛil ʻ servant, hero ʼ; Bhoj. bhar ʻ name of a partic. low caste ʼ; G. bhaṛ m. ʻ warrior, hero, opulent person ʼ, adj. ʻ strong, opulent ʼ, ubhaṛ m. ʻ landless worker ʼ (G. cmpd. with u -- , ʻ without ʼ, i.e. ʻ one without servants ʼ?); Si. beḷē ʻ soldier ʼ < **baḷaya, st. baḷa* -- ; -- Pk. bhuaga -- m. ʻ worshipper in a temple ʼ, G. bhuvɔ m. (rather than < bhūdēva -- ).bhārta -- ; abhr̥ta -- ; subhaṭa -- .Addenda: bhr̥ta -- : S.kcch. bhaṛ* ʻ brave ʼ; Garh. (Śrīnagrī dial.) bhɔṛ, (Salānī dial.) bheṛ ʻ warrior ʼ. 9589 bhr̥takarman ʻ soldier -- work ʼ. [bhr̥ta -- , kárman -- 1]Si. baḷām* ʻ warfare ʼ. 9590 bhr̥tagātu ʻ hero song ʼ. [bhr̥ta -- , gātú -- 2]Ku. bhaṛau* ʻ song about the prowess of ancient heroes ʼ.(CDIAL 9588, 9589, 9590)

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). Sign 46 shows a person wearig a scarf-type pigtail. I suggest that this iconography signifies a soldier. Bot Signs 45 and 46 show a kneeling adorant carrying a pot.

Obverse of the tablets m0478, 0479, 0480 show this narrative. Pict-111: From R.: A woman with outstretched arms flanked by two men holding uprooted trees in their hands; a person seated on a tree with a tiger below with its head turned backwards; a tall jar with a lid.

Reverse side of a two-sided tablets m0478, 0479, 0480. in bas relief. Kneeling adorant carrying a U-shaped rimless pot in front a tree. NOTE: The kneeling motif also occurs on Sit Shamshi bronze.

Three identical Mohenjo-daro tablets, with identical inscriptions. m 478-480.

Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali)

meď 'copper' (Slovak)

kuṭi 'tree' Rebus: kuṭhi 'smelter)', furnace (Santali)

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.)

On seal m1186A a kneeling adorant makes offerings. bārṇe, bāraṇe = an offering of food to a demon; a meal after fasting, a breakfast (Tu.) barada, barda, birada 'a vow' (Gujarati) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin)(P.B.)   A similar kneeling adorant now holds a wide-mouthed, rimless pot and makes an offering to the tree. baṭhu m. ‘large pot in which grain is parched (Sindhi) Rebus: bhaṭṭhā m. ‘kiln’ (P.) baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (Gujarati) baṭa = kiln (Santali); bhaṭṭha -- m.n. ʻ gridiron (pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; l. bhaṭṭh m. ‘grain—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; p. bhaṭṭh m., ṭhī f. ‘furnace’, bhaṭṭhā m. ‘kiln’; s. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656) Thus, the reading of the composite glyph: kneeling adorant + pot is read rebus: meḍ pattar + bhaṭa 'iron urnace (of) merchant guild'.

Paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants; perh. Vartaka (Skt.)వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. బత్తుడు battuḍu. n. A worshipper. భక్తుడు. The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230.(Telugu)

The merchant, battuḍu, pattar is shown in a worshipful state kneeling in adoration on many inscriptions.

Part 3. Text message (Tablet m478a to m480a)
Hieroglyphs (from. r to l):
battuḍu bhata, 'worshipper' rebus:  bhaṭa ‘furnace’ PLUS OFFERING: barada, barda, birada 'a vow' (Gujarati) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin).

Numeral four: gaṇḍa 'four' Rebus: kand 'fire-altar'. PLUS bhata, 'pot' rebus: bhaṭa ‘furnace’. Thus, the 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in) artisan's workshop'.
Body hieroglyph read rebus:

Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop' Thus, the circumscript signifies 'cast metal workshop' (with furnace) PLUS circumscribed body hieroglyph: meḍ 'body' Rebus: mẽṛhẽt 'iron' (Santali) meḍ 'iron' (Mu.Ho.); med 'copper' (Slavic).Together, the hypertext reds: dul meḍ koḍ 'metal casting, cast iron workshop'.

Hieroglyph: khareḍo 'a currycomb' (Gujarati) Rebus: kharādī ‘turner’ (Gujarati) खरडा kharaḍā m (खरडणें) Scrapings (as from a culinary utensil). 2 Bruised or coarsely broken peppercorns &c.: a mass of bruised मेथ्या &c. 3 also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. 4 also खरडें n A rude sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book. खरड kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch. 2 Vehement reviling or abusing. v काढ g. of o. निघ g. of s. 3 The ashes and earth which gather about an ingot of metal during its formation. So called because to be detached they must be scraped off. खरडघाशा  kharaḍaghāśā m (खरड & घासणें) A term of abuse for a bad writer, barber, carpenter &c.; quill-driver, scraper, chips. खरडणें
kharaḍaṇēṃ v c To scrape or rub off roughly: also to abrade or graze. 2 To rub up; to grub up; to root out (grass, weeds &c.) by pushing the instrument along. 3 To shave roughly, to scrape: also to write roughly, to scrawl: also to jot or note down; to make brief memoranda: also to draw roughly; to plough roughly; to grind roughly &c. &c. (Marathi).

The semantics of खरडें 'rough draft' explains why the hieroglyph occurs ONLY on tablets which are works-in-process documentation by scribes.

Thus, the inscriptions on tablets m478 to m480 complete the documentation of wealth-creating metalwork खरडा kharaḍā daybook.
Hieroglyph (alternative): aḍaren, ḍaren lid, cover (Santali)
m1186 Offering and adorant glyphs of Indus script

There are two seals of Indus script (m1186 and m0488) depicting a kneeling person with some offerings on a stool/tray. In a vivid orthographic analysis, John C. Huntington identifies the nature of the offering on m1186: it is a bowl with ladles. The offering kept on a stool on m0488 is likely to be a similar glyph, though analysis of a higher resolution image is not possible because the tablet with this glyph is worn-out.

m1186 seal. kaula— m. ‘worshipper of Śakti according to left—hand ritual’, khōla—3 ‘lame’; Khot. kūra— ‘crooked’ BSOS ix 72 and poss. Sk. kōra— m. ‘movable joint’ Suśr.] Ash. kṓlƏ ‘curved, crooked’; Dm. kōla ‘crooked’, Tir. kṓolƏ; Paš. kōlā́ ‘curved, crooked’, Shum. kolā́ṇṭa; Kho. koli ‘crooked’, (Lor.) also ‘lefthand, left’; Bshk. kōl ‘crooked’; Phal. kūulo; Sh. kōlu̯ ‘curved, crooked’ (CDIAL 3533).

Rebus: kol ‘pancaloha’ (Tamil)

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
saman 'make an offering (Santali) samanon 'gold' (Santali)
miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ (Torwali) mẽḍhɔ 'ram' (Gujarati)(CDIAL 10310) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali)
heraka 'spy' (Samskritam) Rebus:eraka 'molten metal, copper'
maNDa 'branch, twig' (Telugu) Rebus: maNDA 'warehouse, workshop' (Konkani)\karibha, jata kola Rebus: karba, ib, jasta, 'iron, zinc, metal (alloy of five metals)
maNDi 'kneeling position' Rebus: mADa 'shrine; mandil 'temple' (Santali)

dhatu 'scarf' Rebus: dhatu 'mineral ore' (Santali)

The rice plant adorning the curved horn of the person (woman?) with the pig-tail is kolmo; read rebus, kolme ‘smithy’. Smithy of what? Kol ‘pancaloha’. The curving horn is: kod.u = horn; rebus: kod. artisan’s workshop (Kuwi)

The long curving horns may also connote a ram on h177B tablet:
h177B 4316 Pict-115: From R.—a person standing under an ornamental arch; a kneeling adorant; a ram with long curving horns.
The ram read rebus: me~d. ‘iron’; glyph: me_n.d.ha ram; min.d.a_l markhor (Tor.); meh ram (H.); mei wild goat (WPah.) me~r.hwa_ a bullock with curved horns like a ram’s (Bi.) me~r.a_, me~d.a_ ram with curling horns (H.)  miṇḍ 'ram' rebus: mẽṛhet iron (metal), meD 'iron' (Ho.) med 'copper' (Slavic)

Decipherment of Mehrgarh Pasupati seal as sodagor 'merchant'

Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. Sign 280 The hypertext of Sign 280 is composed of Sign 267, notch and lid of pot. The reading is: kancu ʼmũh dhakka khāṇḍa 'bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'.

Circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'.

Sign 281 The hypertext is Sig 280 PLUS circumscript 'four short vertical strokes'. The reading is: kaṇḍa kancu ʼmũh dhakka khāṇḍa 'fire-altar (for) bell-metal ingot, bright,blazing metal tools, pots and pans and metalware'.

Sign 284Variants of Sign 284

Circumscript: four short strokes: gaṇḍā 'four' rebus: kaṇḍa 'fire-altar'. Sign 285 is a composite of hieroglyphs: Sign 267 four corners, four short linear strokes as circumscript. kaṇḍa kancu mũh khāṇḍā 'bell-metal ingot, implements (from) fire-altar'.

Sign 286Variants of Sign 286

kaṇḍa āra eraka kancu mũh khāṇḍā 'fire-altar (for) brass, moltencast copper, bell-metal ingot, implements.'

Kneeling adorant with a pot in hand in front of a tree on Indus Script inscriptions is पूतभृत् pūtábhr̥ta 'soldier carries purified soma'

https://tinyurl.com/y39d9cut

--Kneeling adorant carrying a pot on Indus Script inscriptions is पूतभृत् pūtábhr̥ta 'soldier offering purified soma in a smelter'

--पूतभृत् pūtábhr̥ta 'Soma purified, carried in a vessel) by a worshpper, soldier signifed on Indus Script

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