FS 93 (Frequency in M Corpus:2) Three dancing figures in a row 

meḍ 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) Rebus: meḍ 'iron' (Mundari. Remo.)

FS 6

FS 7 (Frequency of occurrence in M Corpus: 1159) Unicorn, generally facing a standard device.

FS 44 Row of animals in file (a unicorn, an elephant and a

FS 42 (Frequency in M Copus:10 ) Hare facing a bush.

FS 43 (Frequency in M Copus:5) Inscribed object in the shape of a hare.

m1491Act

m1492Act

m1493Bct

1706 Hare

m1494 

Pict-42

m1497Act

FS 33 -FS 38 Goat-antelope with a short tail (and different types of

FS 34

FS 36

FS 32

FS 37

FS 38 (Frequency in M Corpus: 36) Goat-antelope with a short tail (and different types of boms), sometimes with a trough in front.

FS 41 (Frequency in M Corpus: 26) Ox-antelope with a long tail, generally with a trough

 FS 9 (Frequency in M Corpus: 5) Bull with two long horns (otherwise resembling the
'unicorn' ), generally facing the special standard device.

FS 16

FS 17 (Frequency in M Corpus 14) Buffalo. generally with a trough in front.

FS 13 (Frequency in M Corpus: 95) Short-horned bull, generally with head lowered over a trough.

FS 29 Fabulous animal of uncertain desc ription with two heads. one at either end of the hody. (Ref. 1703)

FS 28 (Frequency in M Corpus: 39) Rhinoceros. generally with a trough in front.

FS 31

FS 46

FS 57

FS 58

FS 59 

FS 60

FS 61  Composite motif, three tigers joined together

FS 62 Composite mo tif consist ing of six heads of animals viz.thnse of unicorn . short-horned bull. antelope. tiger and of two ulher uncertain animals radiating oulwarth. from a ring. (Frequency: 62 M Corpus) Seal of a Metal guild-master. Hieroglyph: śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, Members of the guild (working with a furnace) are: blacksmith, turner, smelter, coppersmith, ironsmith (magnetite ore), Supercargo who is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.

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 indicussignified 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 onnotation 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.)

FS 45 Hypertext, 'bulled, of copulation': saṅghāibā Rebus: jangaḍ ,'invoiced on approval basis'. samgaha, 'catalogue, list'. Vajra  saṅghāta 'metallic adamantine glue'.

 Vajra is a metallic product as explained in Varahamihira's Brhatsamhita. 

The expression used is: vajra samghāta, 'metallic adamantine glue' or 'joining together'. saṁghātá m. ʻ close union, mass ʼ TS., ʻ closing (a door) ʼ VS., ʻ dashing together ʼ MBh. [Cf. saṁhata<-> with similar range of meanings. -[- ghāta] Pa. saṅghāta -- m. ʻ killing, knocking together ʼ; Pk. saṁghāya -- m. ʻ closeness, collection ʼ; Or. saṅghā, saṅgā ʻ bamboo scaffolding inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ; -- adj. ʻ bulled (of a cow) ʼ < *saṁghātā -- or saṁhatā -- ?saṁghātayati ʻ strikes together, kills ʼ MW. [ghāta -- ] Pa. saṅghātanika -- in cmpd. ʻ binding together ʼ; Pk. saṁghāyaï ʻ strikes together, joins ʼ; S. saṅghāhaṇu ʻ to kill ʼ; Or. saṅghāibā ʻ to cause to meet or be joined, put a cow to bull ʼ (whence ʻ (of a bull) to copulate ʼ).(CDIAL 12862, 12863)

In metallurgy, such a glue is explained as a calcine. To calcine is to reduce, oxidize, or desiccate metallic ores by roasting or exposing to strong heat. This is further explained in the Bharatiya metallurgical proesses as bhasma. Bhasma is a calcined preparation in which a stone-ore (gem) or metal (mineral ore) is converted into ash. vanga-bhasma is calx of tin (Kannada)

Cluster 35 पोळ [pōḷa], 'zebu'cluster,  magnetite ore category pōḷa, 'magnetite, ferrous-ferric oxide'

 

Nandi1 & (freq.) Nandī (f.) [Sk. nandi, but cp. BSk. nandī Divy 37] 1. joy, enjoyment, pleasure, delight in (c. loc.) S i.16, 39, 54; ii.101 sq. (āhāre); iii.14 (=upādāna); iv.36 sq.; A ii.10 (kāma˚, bhava˚, diṭṭhi˚), iii.246;iv.423 sq. (dhamma˚); Sn 1055 (+nivesana); Nd2 330 (=taṇhā); Pug 57; Dhs 1059≈(in def. of taṇhā); Vbh 145, 356, 361; DhsA 363; ThA 65, 167. -- For nandī at Miln 289 read tandī. -- 2. a musical instrument: joy -- drum [Sk. nandī] Vin iii.108 (=vijayabheri). Cp. ā˚. -- (y)āvatta "turning auspiciously" (i. e. turning to the right: see dakkhiṇāvatta), auspicious, good Nett 2, 4, 7, 113 (always attr. of naya); -- ûpasecana (rāgasalla) sprinkled over with joy, having joy as its sauce Nett 116, 117; cp. maŋsûpasecana (odana) J iii.144=vi.24; -- kkhaya the destruction of (finding) delight S iii.51; -- (ŋ)jaha giving up or abandoning joy Sn 1101 (+okañjaha & kappañjaha); Nd2 331; -- bhava existence of joy, being full of joy, in ˚parikkhīṇa one in whom joy is extinct (i. e. an Arahant), expld however by Com. as one who has rid himself of the craving for rebirth (tīsu bhavesu parikkhīnataṇha DhA iv.192=SnA 469) S i.2, 53; Sn 175, 637=Dh 413; -- mukhī (adj. -- f.) "joyfaced," showing a merry face, Ep. of the night (esp. the eve of the uposatha) Vin i.288 (ratti); ii.236 (id.); -- rāga pleasure & lust, passionate delight S ii.227; iii.51; iv.142, 174, 180; M i.145; Dhs 1059≈, 1136; esp. as attr. of taṇhā in phrase n -- r -- sahagata -- taṇhā (cp. M Vastu iii.332: nandīrāgasahagatā tr̥ṣṇā) Vin i.10; S iii.158; v.425 sq.; Ps ii.137; Nett 72; -- saŋyojana the fetter of finding delight in anything Sn 1109, 1115; Nd2 332; -- samudaya the rise or origin of delight M iii.267. (Pali)

नान्दी [p= 535,2] f. ( √ नन्द्) joy , satisfaction , pleasure RV. MBh.; eulogium or praise of a deity , (esp.) a kind of blessing pronounced as a prologue to a drama Mr2icch. Ka1lid. Sa1h. Prata1p. &c; (in music) a partic. measure; = द्वादश-तूर्य-निर्घोष L. नन्द m. joy , delight , happiness (also pl.) AV. VS. &c; (in mus.) a flute 7 inches long; name of one of कुबेर's 9 gems L.; नन्दा name f. of a river flowing near कुबेर's city अलका MBh. BhP.

Details of this plaque provenanced from Hari Rud and discussions by Massimo Vidale are presented  at https://tinyurl.com/y9ta74um

The hypertext of the plaque signifies a smelter working on magnetite ferrite ore and sangatarāśū 'stone cutter'.

1. dāmaṛī ʻheifer', 2. pōḷa vatsatará  'zebu calf' Rebus: dhā̆vaḍ 'iron smelter'; 2. pōḷa ‘magnetite ore, ferrite ore’ PLUS  śrivatsa ‘wealth’ -- that is, wealth derived by a smelter from working on magnetite ferrite ore  

pōḷa 'zebu'   pōḷa vatsatará m. ʻ zebu young bull or goat before weaning or copulation ʼ, °rīˊ -- f. TS. [vatsá -- 1] Pa. vacchatara -- m. ʻ weaned calf ʼ, °rī -- f.; Pk. vacchadara -- m., °rī -- f., vacchayara -- m. ʻ calf ʼ, Dm. baċhár m., Bshk. baċḗr (< vatsatarīˊ -- ); Phal. baċhāˊr m. ʻ calf 1 -- 2 years old ʼ; Sh. băċhar m. ʻ calf ʼ, băċhăréi f., (Lor.) b*lċər m. ʻ 3 -- year old calf ʼ, b*lsəro m. ʻ yearling calf ʼ; S. vachero m. ʻ colt ʼ, L.awāṇ. vacherā, P. vachḗrā, ba° m., WPah.bhal. bachéro m., bhiḍ. bacherɔṭu n. ʻ tiny foal ʼ; Ku.gng. bacher ʻ calf ʼ; Or. bācharā, bach° ʻ young of animal (esp. of horse) ʼ, bācharī ʻ calf ʼ; H. bacherā m. ʻ colt, calf ʼ, bacheṛā m. (< *bacherṛā? -- → N. bacheṛo ʻ colt ʼ, Bi. bacheṛā); G. vacherɔ m., °rī f. ʻ foal ʼ; OG. vācharaḍaüṁ n. ʻ calf ʼ, G. vācharṛũ n., °ṛī f.Addenda: vatsatará -- [With apravītā trihāyaṇī vatsatarī ʻ unimpregnated 3 year old heifer ʼ, garbhiṇī vatsatarī ʻ heifer which has calved once ʼ cf. Ir. Seistanī gastar ʻ cow expecting calf ʼ, gástar ʻ 3 year old colt ʼ GM 12.5.69]WPah.kṭg. (kc.) bəċhérɔ m. ʻ colt ʼ, bhal. bachero m. ʻ tiny foal ʼ.(CDIAL 11241) 

Rebus readings of the hieroglyphs signified on the plaque are:

pōḷā 'zebu' rebus: pōḷa ‘magnetite ore, ferrite ore’ 

White marble seal from Jiroft. Cylinder seal photograph courtesy of Halil Rud Archaeological Project. Paper first published in April 2015 in South Asian Studies.

FS 126 Anchor (?)

FS 130 Inscribed object in the shape of a writing tablet

FS 134 Motif in a potlcry graffito showing a rectangular enclosure with four marks within looking like X and V

FS 135 Seven linear strokes

FS 136 Divisions in a rectangle

FS 137 + shape (Fire-altar?)

FS 138

FS 139 FS 135 to FS 139 (Frequency in M Corpus:26) Different geometrical patterns ge nentlly occupying the

FS 140 Three linear strokes (duplicated) on either end of the two text messages on two sides of the tablet

FS 141

FS 142

FS 143

FS 144

FS 145 FS 140 to FS 145 (Frequency in M Corpus:25) Different ornamental borders of geometrical patlerns

FS 1

FS 2

FS 3 Hieroglyph: आर . v.l. for अर q.v. , a spoke MBh. i , 1498 (ed. Bomb. i , 33 , 4 reads अर).Rebus: आर n. brass BhP. x , 41 , 20 (Apte) आर--कूट 'a kind of brass' (Monier-Williams) आरः रम् [आ-ऋ-घञ्] 1 Brass; ताम्रारकोष्ठां परिखादुरा- सदाम् Bhāg.1.41.2. -2 Oxide of iron. -3 An angle, corner. -4 N. of a tree (मधुराम्रफल). . -कूटः, -टम् brass; उत्तप्तस्फुरदारकूटकपिलज्योतिर्ज्वलद्दीप्तिभिः U.5.14. किमारकूटाभरणेन श्रियः N. Hieroglyph: Ka. kuttige throat, neck, throat and neck. Te. kutika, kutuka throat; kuttika, kuttuka throat, gullet, voice, tone; gontu, gontuka throat, voice, tone. Nk. kutka throat. Pa. kunda gōlu nape of the neck. Konḍa gotika throat; (Sova dial.) kutu neck. Pe. kuta, in: kuta asponḍ hiccough. Manḍ. kuta ahponḍ id. Kuwi (Ṭ.) kuta, in: kuta ve'uri id.; (F.) kūta vē'ūri aiyali to hiccough; (S.) kūtha wiuri hicock (sic); (for ve'uri, see 5383).(DEDR 1718) 

FS 8

FS 24

FS 35

FS 40

FS 49

FS 55

FS 70

FS 79 (Frequency of occurrence in M Corpus: 3) Inscribed object in the shape of a pipal leaf.

FS 91

FS 94

FS 120

FS 121 Lozenge infixed in a dotted circle.

FS 122 

FS 123 The special standard device -- lathe & portable furnace (with dotted circles)

FS 128 Inscribed o bject in the sha pe of a heart (Dotted circles)

h101 Ivory stick. Harappa. 

Hypertext 4561: Dotted circle is an orthography composed of 'strand' (cross-section of a thread) and 'circle': dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'; dhāū, dhāv 'red stone minerals'.PLUS circle: vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1] 1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊk, waḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069) வட்டம்¹ vaṭṭam, < Pkt. vaṭṭavṛtta. n. 1. Circle, circular form, ring-like shape; மண்ட லம். (தொல். சொல். 402, உரை.) 2. Halo round the sun or moon, a karantuṟai-kōḷ; பரிவேடம். (சிலப். 10, 102, உரை.) (சினேந். 164.) 3. Potter's wheel; குயவன் திரிகை. (பிங்.) 4. Wheel of a cart; வண்டிச்சக்கரம். (யாழ். அக.) 5. The central portion of a leaf-plate for food; உண்கல மாய்த் தைக்கும் இலையின் நடுப்பாகம். Loc. 6. cf. āvṛtti. Turn, course, as of a mantra; தடவை. விநாயகர் நாமத்தை நூற்றெட்டு வட்டஞ் செய்து (விநாயகபு. 74, 214). 7. Revolution, cycle; சுற்று. (W.) 8. Cycle of a planet; ஒரு கிரகம் வான மண்டலத்தை ஒரு முறை சுற்றிவருங் காலம். அவன் சென்று ஒரு வியாழவட்டமாயிற்று. 9. Circuit, surrounding area or region; சுற்றுப்பிரதேசம். கோயில் வட்டமெல்லாம் (சீவக. 949). 10. A revenue unit of a few villages; சில ஊர்களைக் கொண்ட பிரதேசம். Thus, dhav+vr̥ttá 'circle, rounded' Rebus: dhā̆vaḍ 'iron-smelters'

Hieroglyph: goldsmith's scissors, shears: karttrī f. ʻ scissors ʼ lex. 2. *kārttrī -- (X *kārti -- ?). [> kartari -- ? -- √kr̥t1]1. Pk. kattiyā -- f. ʻ scissors, shears ʼ; Gy. gr. hung. kat f., rum. span. kača (< *katya) f. ʻ shears ʼ; P. katī f. ʻ goldsmith's or blacksmith's scissors ʼ; A. kātī ʻ scissors ʼ; H. kātī f. ʻ goldsmith's scissors ʼ, G. kāt f.2. L. kātr m.f. ʻ scissors ʼ, P. kāt f. Addenda: karttrī -- : WPah.kṭg. kəṭeurɔ m. ʻ scissors ʼ.(CDIAL 2863). Ta. katti knife, cutting instrument, razor, sword, sickle. Ma. katti knife. Ko. katy 

billhook knife; kati·r- (katrc-; < katy-tayr, katy-tarc-) to cut; kaṇkeyt, kaṇki·t sickle (for kaṇ, see 1166). To. kaṇ koty dagger-shaped knife burned with corpse (cf. 1166). Ka. katti knife, razor, sword. Koḍ. katti knife.Tu. katti, katte id. Te. katti knife, razor, sword. Go. (Ch.) katti cock's spur; (Elwin) kāti the knife attached to the cock's foot (Voc. 490). ? Cf. 1208 Kol. katk-.(DEDR 1204) Rebus 1: khātā 'labour sphere account book' Rebus 2:  käti ʻwarrior' (Sinhalese)(CDIAL 3649). Hieroglyph: katī 'blacksmith's goldsmith's scissors' rebus:  khātī m. ʻ 'member of a caste of wheelwrights' 

Variant of Sign 216

Hieroglyph: Ka. kāru pincers, tongs. Te. kāru id. Ga. (S.3) kāru id. (< Te.).(DEDR 1473) Ka. paṭakāru tongs, pincers. Te. paṭakāru, paṭukāṟu pair of tongs, large pincers. (DEDR 3864) Rebus: khār खार् 'blacksmith'.(Kashmiri)

Sign 123 kuṭi 'a slice, a bit, a small piece'(Santali) Rebus: kuṭhi. 'iron smelter furnace' (Santali) kuṭhī factory (A.)(CDIAL 3546) PLUS 'notch' hieroglyph:  खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā 'tools, pots and pans, metal-ware'. Thus, khāṇḍā kuṭhi metalware smelter.

Ivory inscription 18

 

m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter). dhā̆vaḍ 'iron-smelters'. 

Etyma

kaṇṭhá m. (a) ʻ throat, neck ʼ ŚBr. (b) ʻ narrowest part of a hole ʼ Suśr. (c) ʻ voice ʼ MBh., ʻ sound ʼ W. (d) ʻ *border, immediate proximity ʼ Pañcat.[Mayrhofer EWA i 146 accepts connexion with Drav. (T. Burrow BSOAS xi 133) but considers both IA. and Drav. forms to have originated in Muṇḍa (Kuiper PMWS 29). This is supported by the many forms with a varying degree of phonet. similarity not referable to a common IA. original: see *gāṭṭa -- 1, gāˊtra -- , *gicca -- , *ghaṭṭā -- , *ghaṇṭa -- , ghāṭā -- 1, *ghicca -- 1, *ghiñca -- , *ghēñca -- , *ghēṇṭu -- , *śraṭṭa -- , kŕ̊kāṭikā -- , kandhara -- ]

(a) Pa. kaṇṭha -- m. ʻ throat, neck ʼ; Pk. kaṁṭha -- m. ʻ neck ʼ; Gy. pal. kand ʻ throat ʼ, Gaw. Sv. khaṇṭi; L. awāṇ. kadhlī ʻ neck -- strap ʼ; WPah. bhal. kaṇṭh m. ʻ collar of a shirt ʼ, kaṇṭhi f. ʻ sheep with a black neck ʼ; Ku. gng. kāni ʻ neck ʼ or < skandhá -- ; Or. kaṇṭhā ʻ throat ʼ, H. poet. kã̄ṭhā m.; M. kã̄ṭhẽ n. ʻ neck ʼ; Si. kaṭa ʻ throat, mouth ʼ (X skandhá -- in SigGr. kaṇḍa ʻ neck ʼ).
(b) Wg. káṇṭä ʻ water -- channel ʼ, Woṭ. kaṇṭḗl f., Gaw. khāṇṭ*l, Bshk. kāṇḍə.
(c) Kt. kaṭīˊ ʻ sound ʼ, Pr. (LSI) kuṭ; Paš. lauṛ. kāṇḍā ʻ voice, word ʼ, kuṛ. kāṇ ʻ shouting ʼ; Gaw. khaṇṭ f. ʻ word ʼ.
(d) Pk. kaṁṭha -- m. ʻ border, edge ʼ; L. awāṇ. kaḍḍhā ʻ bank ʼ; P. kaṇḍhā m. ʻ bank, shore ʼ, °ḍhī f. ʻ land bordering on a mountain ʼ; WPah. cam. kaṇḍhā ʻ edge, border ʼ; N. kānlo, kã̄llo ʻ boundary line of stones dividing two fields ʼ, kã̄ṭh ʻ outskirts of a town ʼ ← a Mth. or H. dial.; H. kã̄ṭhā ʻ near ʼ; OMarw. kāṭha m. (= kã̄°?) ʻ bank of a river ʼ; G. kã̄ṭhɔ m. ʻ bank, coast, limit, margin of a well ʼ; M. kāṭh, kã̄ṭh, °ṭhā m. ʻ coast, edge, border ʼ, kã̄ṭhẽ n. ʻ arable land near the edge of a hill. ʼ -- L. P. kaṇḍh f. ʻ wall ʼ perh. infl. in meaning by kanthā -- 1.kaṇṭhaka -- ; utkaṇṭhati, utkaṇṭhā -- , utkaṇṭhita -- ; kaṇṭhamaṇi -- .Addenda: kaṇṭá -- : (a) S.kcch. kano m. ʻ neck (of a pot) ʼ.(d) S.kcch. kaṇṭho m. ʻ bank, coast ʼ; Garh. kã̄ṭhu ʻ throat (?), bank (?) ʼ.(CDIAL 2680) Ta. kar̤uttu neck, throat. Ma. kar̤uttu neck (of man, animal, plant, vessel, etc.). Ir. kaṇucu neck, throat. Ko. kaṛtl neck; ? kiḍg id. Ka. kattu neck, throat; gaṇṭalu, gaṇṭlu, gaṇṭala throat. Tu. kaṇṭelů neck, throat. Ga. (Oll.) gaḍli neck. Konḍa gaḍli id., hollow in the nape of the neck. Kuwi (Su.) gaḍli back of neck. ? Cf. 1996 Kur. xēser. / Cf. Skt. kaṇṭha- neck; Turner, CDIAL, no. 2680. (DEDR 1366) skandhá m. ʻ shoulder, upper part of back ʼ AV., ʻ trunk of tree, mass (esp. of an army) ʼ MBh., skándhas<-> n. ʻ branching top of a tree ʼ RV. [Absence of any trace of initial s -- in Kafiri and Dardic supports possibility of IA. *kandha -- beside sk° (unnecessarily assumed in ODBL 438 for NIA. k -- which is dissim. from kh<-> before dh as prob. in Aś. agi -- k(h)aṁdha -- )]Pa. khandha -- m. ʻ shoulder, back, tree -- trunk ʼ, °aka<-> m. ʻ division, chapter ʼ; Pk. khaṁdha -- , ka° m. ʻ shoulder, tree trunk, wall ʼ; Ash. kándä ʻ stem, trunk ʼ, Kt. kə́nē, Wg. kaná; Paš.lauṛ. xānd ʻ shoulder ʼ, ar. kandīˊ, kuṛ. kōn (obl. kānda); Shum. kandam ʻ my shoulder ʼ; Gaw. kandík ʻ shoulder ʼ; Bshk. kān (with rising tone) ʻ shoulder, upper part of back ʼ; Tor. kan ʻ shoulder ʼ, Sv. kandike, Phal. kān, kan; S. kandhu m. ʻ neck, back of neck ʼ, °dho m. ʻ back of neck, edge ʼ, °dhī f. ʻ bank of river ʼ, °dhī pāso ʻ neighbourhood ʼ; L.awāṇ. khaddhā ʻ multitude ʼ, P. khandhā m. ʻ mass, multitude, flock of sheep or goats, herd of buffaloes ʼ, ludh. kannhā m. ʻ shoulder ʼ, (Ambala) kandhā m.; Ku. kã̄d, kã̄dho, kāno ʻ shoulder ʼ, gng. kāni ʻ neck ʼ; N. kã̄dh, kã̄d ʻ shoulder, back ʼ (whence khãduwā, °dilo ʻ heavy, solid ʼ, kãdheuli, khãde° ʻ stick carried by coolies across shoulders to take the weight of a load ʼ); A. kāndh, kān ʻ shoulder ʼ, kandhā, kanā ʻ large bundle of reeds &c. carried on the shoulder ʼ, kã̄dhi ʻ pent house, veranda, eaves ʼ; B. kã̄dh ʻ shoulder ʼ, kã̄dhā ʻ edge, bank ʼ; Or.kāndha, kã̄dhā ʻ shoulder ʼ; Bi. kānhe ʻ on the shoulder ʼ, (Patna) khandh, °dhā ʻ large area of cultivated land ʼ; Mth. kānh, kanhā ʻ shoulder ʼ, Bhoj. kānh, Aw.lakh. kã̄dh; H. kã̄dh, °dhā m. ʻ shoulder ʼ, kandh m. ʻ tree trunk, thick branch ʼ; G. khã̄dhi, kã̄° f. ʻ shoulder ʼ; M. khã̄d, °dā m. ʻ shoulder, back of neck ʼ, f. ʻ large bough ʼ; Ko. khã̄ndhu m. ʻ shoulder ʼ; Si. kan̆da ʻ shoulder, tree trunk, collection, mass ʼ, kan̆du ʻ mountain ʼ (< -- aka -- ). -- With metath. K. nakh, dat. °khas m. ʻ shoulder ʼ? <-> Bshk. khan m. ʻ hill ʼ, Tor. Mai. khān, Chil. Gau. kān (→ Par. khándi IIFL i 265) poss. all < skandhá -- , but prob. like Tor. (Grierson) khaṇḍ ʻ hill ʼ, Phal. khāṇ, khaṇ, Sh.koh. khŭṇ m., gur. khonn, pales. khōṇə, jij. khɔ̈̄ṇ rather < khaṇḍá -- AO xviii 240. -- X maṇi -- 2 q.v. skandhayati, skandhika -- , *skandhiya -- , skándhya -- , *skāndhika -- ; *skandhakāṣṭha -- , *skandhakīla -- , *skandhataṭa -- , *skandhapaṭṭa -- , *skandhavarti -- , *skandhāvara -- , *skandhāvāra -- ; kālaskandha -- .Addenda: skandhá -- : S.kcch. kandh m. ʻ back of neck ʼ, kandho m. ʻ shoulder ʼ; WPah.kṭg. kannh m. ʻ shoulder ʼ, kc. kānh, jaun. kānn m.; kṭg. (kc.) khándɔ m. ʻ big box along the wall of living room for grain ʼ.†*skandhavāla -- .(CDIAL 13627) *gāṭṭa1 ʻ neck, throat ʼ. [Cf. ghāṭā -- 1: see list s.v. kaṇṭhá -- ]S. g̠āṭo m. ʻ nape of neck ʼ; L. gāṭṭā m. ʻ neck, throat ʼ, (Ju.) g̠āṭā m. ʻ nape of neck ʼ, awāṇ. gāṭā; P. gāṭṭā m. ʻ neck, throat ʼ; -- S. g̠āṭru m. ʻ throat ʼ(CDIAL 4111)kr̥kāṭikā f. ʻ joint of neck ʼ Suśr., kŕ̊kāṭa -- n. AV., °ṭaka -- n. lex., kakāˊṭikā -- f. ʻ a part of the skull ʼ AV. [PMWS 29 groups -- kāṭ -- , prefixed by kr̥ -- , ka -- , with kaṇṭhá -- as Mu., and so separates from kr̥ka -- ʻ throat, neck ʼ]Pk. kiāḍiā -- f. ʻ upper part of neck ʼ, kiyāḍiyā -- f. ʻ upper part of ear ʼ; S. kiāṛī f. ʻ back of the head, the hair on it ʼ; L. kīāṛī f. ʻ nape of neck ʼ; P. kiāṛī f. ʻ nape of neck, back of head, jaw ʼ, adv. ʻ behind ʼ; WPah. khaś. kiāṛī ʻ back of neck ʼ; -- ext. with -- kk -- : Wg. kirīk ʻ back of neck ʼ and poss. Ash. kakeṛík ʻ throat ʼ despite apparent survival of -- k -- .
*upakr̥kāṭī -- .Addenda: kr̥kāṭikā -- , kŕ̊kāṭa -- : S.kcch. tiṛo m. ʻ back ʼ, pl. ʻ bones of the back ʼ < *tr̥kāṭa -- with dissimilation of k -- k; WPah.kṭg. keṛi f. ʻ neck ʼ, kc. kēr, J. kyāṛi, keṛi f. -- cf. Wkc. keṭho (keṭo?) m. ʻ neck ʼ. (CDIAL 3419)

Rebus: 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)

†kaṇṭhāla -- m. ʻ boat ʼ lex. [kaṇṭhá -- ]G. kãṭhāḷ ʻ maritime ʼ.(CDIAL2682a)

Hypertext of Harappa ivory stick inscription reads: dhā̆vaḍ khātī khāṇḍā kuṭhi 'iron smelter, wheelwright, metalware smelter (furnace)or metalware factory.'

In addition to an ivorystick inscription of Harappa, there are 18 Indus Script inscriptions on ivory sticks, ivory plaques and ivory cubes in Mohenjo-daro:

530 and 531 ivory rods are shaped like a meDga 'stake' rebus: medha 'yajna' (yupa) with caSAla (as described in Satapatha Brahmana and Taittiriya Samhita) for a Soma yaga.

John Marshall wrote: "Seals of this group [cylinder seals, although Mackay above is not sure they are true cylinder seals]], if indeed they are seals, are very rarely found at Mohenjo-daro, only five specimen being obtained in all. They are all made of ivory and differ from the cylinder seals of other countries in being very long and thing; nor are they perforated for suspension on a cord. It is possible that these so-called seals are not true seals at all. They incised characters upon them might conceivably be identification marks for a game or something similar. On the other hand, they are certainly suitable for use a seals and in this account they are included in this chapter For the sake of clearness the actual seal is shown side by side with each impression.

No 529 (Pl. CXIV, HR 5515). Ivory. 2.7 inches long by 0.25 in. in diameter. Double groove at one end for attachment of cord. The other end is decorated with three parallel grooves. Level, 4 feet below surface. Central Courtyard (30), House LIII, Block 7, HR Area.
No 530 (Pl. CXIV, HR 4985). Ivory. 2.05 inches long by 0.25 in. in diameter. Double groove at one end for a cord; the other end is broken. Level 3 feet below surface. Central Courtyard (30), House LIII, Block 7, HR Area.
No 531 (Pl. CXIV, DK 2666). Ivory. Now 2.05 inches long by 0.3 in. in diameter. Its polish shows that it has been much used. About one-half of the seal is covered with an inscription, deeply and roughly incised and bordered by two deep cut lines. One end of the seal is shaped into a conical head with a deep groove possibly intended for a cord. The seal is not bored; nor is it perfectly round. Level, 4 feet below surface. Street between Blocks 1 and 2, Section B, DK Area.
No 532 (Pl. CXIV, VS 875). Ivory. Now 2 inches long by 0.3 in. in diameter. One end is broken and a small piece is missing. The seal tapers slightly towards its complete end. Five deeply incised characters occupy a space of about two-thirds of the circumference of the seal. Level, 12 feet below surface. Found in front of Room 70, House XXVII, VS Area.
No 533 (Pl. CXIV, VS 958). Ivory. 2.75 inches long by 0.3 in. in diameter. Decorated at 0-.5 in. from each end with a deeply incised cross-hatched border. Towards one end of the intervening space are two deeply incised characters This seal is not perfectly round. Level, 10 feet below surface of the ground. From Room 69, House XXVIII, VS Area. (John Marshall, Mohenjo-daro and the Indus Civilization, p. 371

The 5 ivory rod inscriptions (529 to 533 Marshall) are flipped left horizontally and presnted with rebus readings:

Ivory inscription 1

kuTi 'water carrier' rebus: kuThi 'smelter' dula 'two' rebus: dul 'metal casting' PLUS karNika 'spread legs' rebus: karNI 'Supercargo' meD 'body' rebus: meD 'iron' med 'copper' (Slavic) baTa 'rimless pot' rebus: bhaTa 'furnace' gaNDa 'four' rebus: kaNDa 'implements'. Thus the message is: Smelter, metalcater, Supercargo working with iron/copper implements and furnace.

Ivory inscription 2

khaNDa 'divisions'; rebus: kaNDa 'implements' dhAv 'strand' dhAv 'string' rebus: dhAvaD 'smelter' dhaTo 'claws of crab' rebus: dhatu 'minerals'. Thus the message is: Smelter of minerals, (maker of metal) implements.'

Ivory inscription 3

dula 'two' rebus: dul 'metal casting' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khANDA 'notch' rebus: kaNDa 'implements' PLUS  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) muh 'ingot'.Thus, the message is: Turner of metal castings, mins-master-coiner, iron (metal) implements, ingots and metal (alloys) turner.

Ivory inscription 4

 (529 Marshall Ivory rod) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' karã̄ 'wristlets, bangles' rebus: khAr 'blacksmith' sal 'splinter' rebus: sal 'workshop' khANDA 'notch' rebus: kaNDa 'implements' Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'. Thus, the message is: Blacksmith, Turner, Supercargo implements workshop, mint-master/coiner. (529 and 530 ivory rods have identical inscriptions; 530 has an additional hieroglyph: three linear strokes)

Ivory inscription 5

(530 Marshall Ivory rod) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, engraver, account' karã̄ 'wristlets, bangles' rebus: khAr 'blacksmith' sal 'splinter' rebus: sal 'workshop' khANDA 'notch' rebus: kaNDa 'implements' Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'. kolom 'three' rebus: kolimi 'smithy, forge'. Thus, the message is: Blacksmith, Turner, Supercargo (engraver) implements workshop, mint-master/coiner, (working in) smithy/forge..

Ivory inscription 6

 m1650 Ivory stick Hypertext 3505 daTo 'claws of crab' rebus: dhatu 'mineral' kanac 'corner' rebus: kancu 'bronze' gaNDA 'four' rebus: kaNDa 'implements' PLUS kolom 'three' rebus: kolimi 'smithy, forge' dula 'two' rebus: dul 'metal casting' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace'  karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account'  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.)Thus, the message is: Supercargo, (worker in) minerals, bronze implements, smithy/forge, metal caster, Metals turner (alloys) using furnace

Ivory inscription 7

Pict-141 Geometrical pattern  Hypertext 2942 karNika 'spread legs' rebus: karNI 'Supercargo' meD 'body' rebus: meD 'iron' med 'copper' (Slavic) PLUS khANDA 'notch' rebus: kaNDa 'implements' sal 'splinter' rebus: sal 'workshop' khaNDa 'divisions'; rebus: kaNDa 'implements'. Tus, the message is: Supercargo (working in) iron/copper implements workshop.

Ivory inscription 8

Pict 142 geometrical pattern Hypertext 2941 Ivory or bone rod geometrical pattern followed by inscription koḍa 'one' rebus: koḍ 'workshop'  dula 'two' rebus: dul 'metal casting'  PLUS baTa 'rimless pot' rebus: bhaTa 'furnace'  karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account'  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Turner, Supercargo in metal casting workshop and (working with) furnace

Ivory inscription 9

Hypertext 2943 Hypertext 2943 is a duplication of the Hypertext 2941: koDa 'one' rebus: koD 'workshop'  dula 'two' rebus: dul 'metal casting' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace'  karNI 'Supercargo' karNaka 'scribe, account'  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Turner, Superargo in metal casting workshop and (working with) furnace.

Ivory inscription 10

Pict 143 Geometrical pattern Hypertext 2948 gaNDa 'four' rebus: kaNDa 'implements' ranku 'liquid measure' rebus: ranku 'tin' (thus, tin implements) kuTi 'water carrier' rebus: kuThi 'smelter' PLUS karNI 'Supercargo' karNaka 'scribe, account'  khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). (thus, Supercargo, engraver working with smelter) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) Thus, the message is: Supercargo (working with smelter) Tin work and Turner (of metal alloys) working with furnace and engraving.

Ivory inscription 11

Hypertext 2944 Ivory or bone rod Phal. tērc̣hi ʻ adze ʼ (with "intrusive" r).Rebus: takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S PLUS kolom 'three' rebus: kolimi 'smithy, forge' (Thus, carpenter working with smithy/forge). muH 'ingot' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' (Thus smithy/forge ingots) kuTi 'water carrier' rebus: kuThi 'smelter' PLUS karNI 'Supercargo' karNaka 'scribe, account' Thus the message is: Carpenter working with smithy/forge, ingots for smithy and Supercargo working with smelter and engraving.

Ivory inscription 12

Hypertext 2945 Ivory or bone rod gaNDa 'four' rebus: kaNDa 'implements' kolmo 'rice plant' rebus: kolimi 'smithy, forge' Thus, the message is: (Maker of) implements in smithy/forge.

Ivory inscription 13

 Ivory rod, ivory plaques with dotted circles. Mohenjo-daro (Musee National De Arts Asiatiques, Guimet, 1988-1989, , Les cites oubliees de l’Indus Archeologie du Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dATu 'cross' rebus: dhatu 'mineral'. Thus, the message signified by dotted circles and X hieroglyph refers to dhā̆vaḍ priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod is:  karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) Thus, the metalworker (smelter) works with hard alloys (using carburization process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy, forge'. Thus working with minerals and hard alloys for smithy, forge.

Ivory inscription 14

m1652 Ivory stick sal 'splinter' rebus: sal 'workshop' PLUS daTo 'claws of crab' rebus: dhatu 'mineral' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' koDa 'one' rebus: koD 'workshop' dula 'two' rebus: dul 'metal casting'. Thus the message is: workshop for minerals, metals and metalcaster.

Ivory inscription 15

 
 m1651 Ivory stick A, D, F
 Hypertext 2947 Dotted circle hieroglyphs at the ends of the rod: dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) dATu 'cross' rebus: dhatu 'mineral'. Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'.muh 'ingot' PLUS khANDA 'notch' rebus: kaNDa 'implements' (Thus, ingot implements) koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). thus the message is: Working with dhatu (minerals), mint (coiner), ingot implements workshop, Supercargo (scribe, account), Turner (alloys) of metal, Smelter

Ivory inscription 16

Hypertext 2940 Ivory or bone rod dula 'two' rebus: dul 'metal casting' arA 'spokes' rebus: Ara 'brass' eraka 'nave of wheel' rebus: eraka 'molten cast, copper'.kamaTha 'bow and arrow' rebus: kammaTa 'mint, coiner, coinage' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Supercargo (scribe, account), Turner (of alloys) of metal, mint-master, working with metal casting.

Ivory inscription 17

m1653 ivory plaqueHypertext 1905 bhaTa 'warrior' rebus: bhaTa 'furnace' kuṭila 'bent' CDIAL 3230) Rebus:kuṭila, katthīl = bronze (8 parts copper and 2 parts tin).Thus, a bronze furnace worker.

Vajra and Indus Script ivory hypertexts on a seal, ivory artifacts

https://tinyurl.com/y85goask

I suggest that this fillet (dotted circle with a connecting strand or tape is the hieroglyph which signifies धातु (Rigveda) dhāu (Prakrtam) 'a strand' rebus: element, mineral ore. This hieroglyph signifies the पोतृ,'purifier' priest of dhā̆vaḍ 'iron-smelters' of dhāū, dhāv 'red stone minerals'. 

http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-with.html Orthography of the 'dotted circle' is representation of a single strand: dhāu rebus: dhāū 'red stone minerals. 

It is this signifier which occurs in the orthography of the dotted circle hieroglyph-multiplex on early punch-marked coins of Magadha -- a proclamation of the dhāū 'element, mineral ores' used in the Magadha mint. On one Silver Satamana punch-marked coin of Gandhara septa-radiate or, seven strands emerge from the dotted circle signifying the use in the mint of सप्त--धातु 'seven mineral ores'.

navan नवन् num. a. (always pl.). Nine; -धातु m. Nine metals; हेमतारारनागाश्च ताम्ररङ्गे च तीक्ष्णकम् । कांस्यकं कान्तलोहं च धातवो नव कीर्तिताः ॥, -निधि m. (pl.) the nine treasures of Kubera. i. e. महापद्मश्च पद्मश्च शङ्खो मकरकच्छपौ । मुकुन्दकुन्द- नीलाश्च खर्वश्च निधयो नव ॥

सप्त--धातु [p= 1149,3] mf(उ)n. (°त्/अ-) consisting of 7 , 7-fold RV.(Monier-Williams) saptá ʻ 7 ʼ RV.

Pa. Pk. satta ʻ 7 ʼ, NiDoc. Dhp. sata, Ḍ. svt, Ash. sot, sūt, Wg. sōt, Kt. sut, Pr. sete, Dm. Tir. sat, Paš.lauṛ. sāta, uzb. sātə, ar. sāt, dar. chil. sat, Niṅg. Shum. Woṭ. sat, Gaw. sɔt, Kal. sat, sāt, Kho. sot, Bshk. s*lt, s*ltt, Tor. Kand. Mai. sāt, Sv. sat, Phal. sat, sāt, Sh.gil. săt, koh. gur. sătt, jij. sät, K. sath (dat. satan), rām. pog. kash. ḍoḍ. satt, S. sata, L. P. WPah. (all dial.) satt, Ku. N. sāt, A. xāt, B. sāt, Or. sāta, Mth. Bhoj. Aw.lakh. H. Marw. G. M. sāt, Ko. sāta, OSi. (Brāhmī inscr.) sata, Si. sat -- a, ha°, Md. hat.saptaka -- , saptatí -- , saptamá -- , saptin -- , sāˊpta -- ; saptaguṇa -- , saptácatvāriṁśat -- , saptatriṁśat -- , saptádaśa, saptanavati -- , saptapañcāśat -- , saptaparṇa -- , saptabhūma -- , *saptamāsa -- , saptamāsya -- , saptavarṣa -- , saptáviṁśati -- , saptaṣaṣti -- , saptasaptati -- , saptāśīti -- , saptāhá -- , saptōttara -- , *sāptānna -- ; sārdhasapta.Addenda: saptá: WPah.kṭg. sátt (obl. -- a) ʻ 7 ʼ, kc. sāt, Garh. sāt. (CDIAL 13139)

The 'dot' within the circle is a signifier of a mineral dhāū ingot खोट khōṭa 'A mass of metal (unwrought or of old metal melted down); an ingot or wedge.'

Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, 

Sumerian marble calf with inlaid trefoils of blue stone. From the late Uruk era, Jemdet Nasr cira 3300 - 2900 B.C.E 5.3 cm. long; Vorderasiatisches Museum, Berlin; Parpola, 1994, p. 213.

Sitting bull Louvre AO7021.jpg  Black marble (formerly inlaid), found in Warka (ancient city of Uruk), Djemdet-Nasr period (ca. 3000 BCE)

Steatite statue fragment. Mohenjo-daro (Sd 767). After Ardeleanu-Jansen, 1989: 196, fig. 1; cf.  Parpola, 1994, p. 213

Mesopotamian lama deity, a bull with a human head, kind, protective spirits associated with the great sun god Shamash. In one inscription, an Assyrian king called upon lama deities to "turn back an evil person, guard the steps, and secure the path of the king who fashioned them." 2100-2000 BCE Serpentine, a smooth green stone the color of life-giving water in a desert area. The hollowed-out shapes on the body originally were inlaid with pearly shell or lapis lazuli.

"Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes dating from the late third millennium BC show a bearded creature wearing the divine horned headdress, lying down with its head turned to the side. They have been found at various Sumerian sites, the majority from Telloh.

Crete. Cow-head rhython with trefoil decor.

9.5 x 13.9 cm ca. 1450-1400 BCE Rhyton in the form of a bull's head 

[Minoan; Greece, Crete] (1973.35) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Harry Burton photograph taken during the excavation of the tomb in 1922 in pharaoh's Antechamber, Treasury and Burial chamber.




















Funeral couch of Tutankhamen features cow with solar disc and inlay blue glass trefoils decorating the body. Said to represent Goddess Hathor."An inscription from The Book of the divine cow found in the Burial chamber alludes to its sacred function as a solar barque for bearing the pharaoh to the heavens...Hieroglyphs carved on the footboard promise the protection of Isis and the endurance of Osiris." 





http://www.kingtutexhibit.com/catalogs/tutankhamun_catalog.pdf Tutankhamun ascended to the throne around 1332 B.C.E, when he was about 9 years old.The boy king died in 1323 B.C.E around the age of 18. - See more at: http://www.livescience.com/54090-tutankhamun-king-tut.html#sthash.Xy0Q04lU.dpuf 










A suggestion: A dotted circle as dhAv 'strand' hieroglyph may be read rebus as: धाम 





[p= 514,3] m. pl. N. of a class of superhuman beings MBh.; abode (Samskrtam) This may explain the significance of three dotted circles (trefoil) on the couch of Tuutankhamun with damkom bull calves signified on the couch.

The hieroglyph of 'dotted circle' continues in early punch-marked coins as in Kuru Janapada with variants orthographically signifying metalwork in a mint.

Evolution ḍha-, dha- in Brahmi script syllables are evocative of 'string' and 'circle, dotted circle' as may be seen from the following orthographic evidence of epigraphs dated from ca. 300 BCE:

It may be seen from the table of evoution of Brahmi script orthography that 

1. a circle signified the Brahmi syllable 'ṭha-' and a dotted circle signified the syllable 'tha-'; 

2. a string with a twist signified the syllable 'da-', a string ending in a circled twist signified the syllable 'ḍha-' and a stepped string signified the syllable 'ḍa-'.

Section 4: Orthograhy of Brahmi syllabary from ca. 300 BCE

Terracotta sivalinga, Kalibangan.Shape of polished lingam found at Harappa is like the summit of Mt. Kailas, Himalayas. Plate X(c), Lingam in situ in trench Ai (MS Vats, 1940, Exxcavations at Harappa, Vol. II, Calcutta). In trenches III and IV two more stone lingams were found. (MS Vats, opcit., Vol. I, pp. 51-52). The Hindu traditional metaphor of s'iva is the glacial river Ganga emerging from locks of his hair as he sits in penance on summit of Mt. Kailas, Himalayas. The metaphor results in Kailas in Ellora, showing Ravana lifting up the mountain.

Circular seal, of steatite, from Bahrein, found at Lothal.A Stamp seal and its impression from the Harappan site of Lothal north of Bombay, of the type also found in the contemporary cultures of southern Iraq and the Persian Gulf Area. http://www.penn.museum/sites/expedition/archaeology-in-india/

http://www.penn.museum/sites/expedition/shipping-and-maritime-trade-of-the-indus-people/

Dilmun seal from Barbar; six heads of  antelope radiating from a circle; similar to animal protomes in Failaka, Anatolia and Indus. Obverse of the seal shows four dotted circles. [Poul Kjaerum, The Dilmun Seals as evidence of long distance relations in the early second millennium BC, pp. 269-277.] A tree is shown on this Dilmun seal.

Glyph: ‘tree’: kuṭi ‘tree’. Rebus: kuṭhi ‘smelter furnace’ (Santali).

baTa 'six' Rebus: bhaTa 'furnace' miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda) Alternative: ranku 'antelope' Rebus: ranku 'tin'

Izzat Allah Nigahban, 1991, Excavations at Haft Tepe, Iran, The University Museum, UPenn, p. 97. furnace’ Fig.96a.

There is a possibility that this seal impression from Haft Tepe had some connections with Indian hieroglyphs. This requires further investigation. “From Haft Tepe (Middle Elamite period, ca. 13th century) in Ḵūzestān an unusual pyrotechnological installation was associated with a craft workroom containing such materials as mosaics of colored stones framed in bronze, a dismembered elephant skeleton used in manufacture of bone tools, and several hundred bronze arrowpoints and small tools. “Situated in a courtyard directly in front of this workroom is a most unusual kiln. This kiln is very large, about 8 m long and 2 and one half m wide, and contains two long compart­ments with chimneys at each end, separated by a fuel chamber in the middle. Although the roof of the kiln had collapsed, it is evident from the slight inturning of the walls which remain in situ that it was barrel vaulted like the roofs of the tombs. Each of the two long heating chambers is divided into eight sections by partition walls. The southern heating chamber contained metallic slag, and was apparently used for making bronze objects. The northern heating chamber contained pieces of broken pottery and other material, and thus was apparently used for baking clay objects including tablets . . .” (loc.cit. Bronze in pre-Islamic Iran, Encyclopaedia Iranica, http://www.iranicaonline.org/articles/bronze-i Negahban, 1977; and forthcoming).

.

One badge used had a bangle with trefoil hieroglyph.

It was suggested that this may relate to the functions of a dhā̆vaḍ 'smelter' tri-dhAtu,'‘three

minerals'.

Terracotta bangle fragments decorated with red trefoils outlined in white 

on a green ground from the late Period 3C deposits in Trench 43. This image

shows both sides of the two fragments 

(H98-3516/8667-01 & H98-3517/8679-01)

Detail of terracotta bangle with red and white trefoil on a green background H98-3516/8667-01 from Trench 43). 

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Munda) 

"Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period,dating after 1900 BC.The Late Harappan Period at Harappa is represented by the Cemetery H culture (190-1300 BC) which is named after the discovery of a large cemetery filled with painted burial urns and some extended inhumations. The earlier burials in this cemetery were laid out much like Harappan coffin burials, but in the later burials, adults were cremated and the bones placed in large urns (164). The change in burial customs represents a major shift in religion and can also be correlated to important changes in economic and political organization. Cemetery H pottery and related ceramics have been found throughout northern Pakistan, even as far north as Swat, where they mix with distinctive local traditions. In the east, numerous sites in the Ganga-Yamuna Doab provide evidence for the gradual expansion of settlements into this heavily forested region. One impetus for this expansion may have been the increasing use of rice and other summer (kharif) crops that could be grown using monsoon stimulated rains. Until late in the Harappan Period (after 2200 BC) the agricultural foundation of the Harappan cities was largely winter (rabi) crops that included wheat and barley. Although the Cemetery H culture encompassed a relatively large area, the trade connections with thewestern highlands began to break down as did the trade with the coast. Lapis lazuli and turquoise beads are rarely found in the settlements, and marine shell for ornaments and ritual objects gradually disappeared. On the other hand the technology of faience manufacture becomes more refined, possibly in order to compensate for the lack of raw materials such as shell, faience and possibly even carnelian." (Kenoyer in harappa.com slide description)http://www.harappa.com/indus2/162.htm

Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and  southern Central Asia.dhā̆vaḍ 'smelter' tri-dhAtu,'‘three minerals". त्रिधातु mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to denote excessive)RV. S3Br. v , 5 , 5 , 6; n. the aggregate of the 3 minerals.tri त्रिधा ind. in 3 parts, ways or places; triply, ˚त्वम् tripartition; Ch. Up. -धातुः an epithet of Gaṇeśa. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼMBh., 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) 

त्रिधातुः is an epithet of Gaṇeśa. This may indicate three forms of ferrite ores: magnetite, haematite, laterite which were identified in Indus Script as poLa 'magnetite', bichi 'haematite' and goTa 'laterite'. 

Rebus readings of Indus Script hieroglyphs may explain the त्रिधातुः epithet of Gaṇeśa: karibha 'elephant's trunk' rebus: karba 'iron' ibha 'elephant' rebus: karba, ib 'iron'. 

It has been suggested at 

http://bharatkalyan97.blogspot.in/2015/11/trefoil-of-indus-script-corpora-and.html?view=sidebar that the trefoil decorating the shawl of the 'priest-king' of Mohenjo-daro is a cross-sectional signifier of three strands of rope.

Thus, a dotted circle is signified by the word: dhāī  'wisp of fibre' (Sindhi). 

 Single strand (one dotted-circle)

Two strands (pair of dotted-circles)

Three strands (three dotted-circles as a trefoil)

These orthographic variants provide semantic elucidations for a single: dhātu, dhāū, dhāv 'red stone mineral' or two minerals: dul PLUS dhātu, dhāū, dhāv 'cast minerals' or tri- dhātu,      -dhāū, -dhāv 'three minerals' to create metal alloys'. The artisans producing alloys are dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773).

dām 'rope, string' rebus: dhāu 'ore'  rebus: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ 'iron' (Munda).

Semantics of single strand of rope and three strands of rope are: 1. Sindhi dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, Lahnda dhāī˜ id.; 2. tridhāˊtu -- ʻ threefold ʼ (RigVeda)

Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string; Turner, CDIAL, no. 11212. (DEDR 5220)  vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268]N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ.(CDIAL 11212)

I suggest that the expression dhā̆vaḍ 'smelter' signified by trefoil or three strands is a semantic duplication of the parole words:

dhāī 'wisp of fibre' PLUS vaṭa, vaṭara, vaṭi string, rope, tie. Thus, it is possible that the trefoil as a hieroglyph-multiplex was signified in parole 

by the expression dhā̆vaḍ 'three strands' rebus: dhā̆vaḍ 'smelter'.

The shawl decorated with dhā̆vaḍ 'trefoil' is a hieroglyph: pōta 'cloth' rebus: 

पोता पोतृ, 'purifier' in a yajna. போற்றி pōṟṟi, போத்தி pōtti Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன். Marathi has a cognate in 

पोतदार [pōtadāra] m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. The shawl decorated with dhā̆vaḍ 'trefoil' is a hieroglyph: pōta 'cloth' rebus: 

पोता पोतृ, 'purifier' in a yajna. போற்றி pōṟṟi, போத்தி pōtti Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன். Marathi has a cognate in 

पोतदार [pōtadāra] m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. पोतृ पु० पुनाति पु--तृन् । ऋत्विग्मेदे अच्छावाकशब्दे ८५ पृ० दृश्यम् । होत्रादिशब्देन द्वन्द्वे ऋत आत् । पोताहोतारौ ।

https://sa.wikisource.org/wiki/वाचस्पत्यम्  

पोता, [ऋ] पुं, (पुनातीति । पू + “नप्तृनेष्टृ-त्वष्टृहोतृपोतृभ्रातृजामातृमातृपितृदुहितृ ।”उणा० २ । ९६ । इति तृन्प्रत्ययेन निपात्यते ।) विष्णुः । इति संक्षिप्तसारोणादिवृत्तिः ॥ऋत्विक् । इति भूरिप्रयोगः ॥ (यथा, ऋग्वेदे ।४ । ९ । ३ ।“स सद्म परि णीयते होता मन्द्रो दिविष्टिषु ।उत पोता नि षीदति ॥”)

https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः पोतृ [p= 650,1] प्/ओतृ or पोतृ, m. " Purifier " , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y. )

 RV. Br. S3rS. Hariv. N. of विष्णु L. पौत्र, पोत्री f. N. of दुर्गा Gal. (cf. पौत्री). pōtṛ

पोतृ m. One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्). पोत्रम् [पू-त्र] The office of the Potṛi. ब्रह्मन् m. one of the 4 principal priests or ऋत्विज्as (the other three being the होतृ , अध्वर्यु and उद्गातृ ; the ब्रह्मन् was the most learned of them and was required to know the 3 वेदs , to supervise the sacrifice and to set right mistakes ; at a later period his functions were based especially on the अथर्व-वेद) RV. &c होतृ m. (fr. √1. हु) an offerer of an oblation or burnt-offering (with fire) , sacrificer , priest , (esp.) a priest who at a sacrifice invokes the gods or recites the ऋग्-वेद , a ऋग्-वेद priest (one of the 4 kinds of officiating priest »ऋत्विज् , p.224; properly the होतृ priest has 3 assistants , sometimes called पुरुषs , viz. the मैत्रा-वरुण , अच्छा-वाक, and ग्रावस्तुत् ; to these are sometimes added three others , the ब्राह्मणाच्छंसिन् , अग्नीध्र or अग्नीध् , and पोतृ , though these last are properly assigned to the Brahman priest ; sometimes the नेष्टृ is substituted for the ग्राव-स्तुत्) RV.&c नेष्टृ  m. (prob. fr. √ नी aor. stem नेष् ; but cf. Pa1n2. 3-2 , 135 Va1rtt. 2 &c ) one of the chief officiating priests at aसोम sacrifice , he who leads forward the wife of the sacrificer and prepares the सुरा (त्वष्टृ so called RV. i , 15 ,3) RV. Br. S3rS. &c अध्वर्यु m. 

one who institutes an अध्वर any officiating priest a priest of a particular class (as distinguished from the होतृ , the उद्गातृ , and the ब्रह्मन् classes. The अध्वर्युpriests " had to measure the ground , to build the altar , to prepare the sacrificial vessels , to fetch wood and water , to light the fire , to bring the animal and immolate it " ; whilst engaged in these duties , they had to repeat the hymns of the यजुर्-वेद , hence that वेद itself is also called अध्वर्यु)pl. (अध्वर्यवस्) the adherents of the यजुर्-वेद; उद्-गातृ m. one of the four chief-priests (viz. the one who chants the hymns of the सामवेद) , a chanterRV. ii , 43 , 2 TS. AitBr. S3Br. 

Ka1tyS3r. Sus3r. Mn. &c अच्छा-वाकm. " the inviter " , title of a particular priest or ऋत्विज् , one of the sixteen required to perform the great sacrifices with the सोम juice. ग्रावन् m. a stone for pressing out the सोम (originally 2 were used RV. ii , 39 , 1 ; later on 4 [ S3a1n3khBr.xxix , 1] or 5 [Sch. on S3Br. &c ]) RV. AV. VS. S3Br.= ग्राव-स्त्/उत् Hariv. 11363

pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū]Bi. pot ʻ jeweller's polishing stone ʼ? -- Rather < *pōttī -- .(CDIAL 8404) *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá --(CDIAL 8403) pōtana पोतन a. 1 Sacred, holy. -2 Purifying.

Hence the importance of the office of Potr̥, 'Rigvedic priest of a yajna' signified as 'purifier', an assayer of dhāˊtu 'minerals.

Meluhha artifacts in Ancient Near East, Indus Script hypertext evidence from Gonur Depe, Tell Abraq, Mohenjo-daro 

https://tinyurl.com/ycfaahgv

Indus Script hypertext evidence from Gonur Tepe, Tell Abraq, Mohenjo-daro include the following; both relate to documented accounting ledgers of Tin-Bronze Age metalwork:

 

1.Hieroglyph of tabernae montana on an ivory comb, on a bronze axe

2.Hieroglyph of dotted circles on ivory combs and on ivory artifacts

It is clear from the evidence that there was diffusion of metallurgical technologies between Meluhha artisans and Ancient Near East artisans.

 

The hypertexts signify: 

tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’. Rebus: tagara ‘tin’.

 

 

m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter). 

dhā̆vaḍ 'iron-smelters'.  Eight dotted circles evoke the Veda tradition of aṣṭāśri Yupa, eight-angled  pillar to proclaim the sacred prayers.

See: 

Dotted circles, tulips and tin-bronze revolution of 4th millennium BCE documented in Harappa Script 

http://tinyurl.com/z3x7zev

In the course of my studies on hieroglyphs of ancient Near East 3rd and 2nd millennium BCE, and the Tin Road of the Bronze Age, I have come across the use of a flower used for perfume oil:tabernae montana as a hieroglyph. I find that this hieroglyph is deployed on hair combs and also on a metal, shaft-hole axe. 

In interaction areas, tabernae montana glyph appears: 1. on an ivory comb discovered at Oman Peninsula site of Tell Abraq, 2. on a Bactria-Margiana Archaeological Complex stone flask and, 3. on a copper alloy shaft-hole axe-head of (unverified provenance) attributed to Southeastern Iran, ca. late 3rd or early 2nd millennium BCE 6.5 in. long, 1980.307 Metropolitan Museum of Art, New York.

The ivory comb found at Tell Abraq measures 11 X 8.2 X .4 cm. Both sides of the comb bear identical, incised decoration in the form of two long-stemmed flowers with crenate or dentate leaves, flanking three dotted circles arranged in a triangular pattern. The occurrence of wild tulip glyph on the  ivory comb can be explained.

The spoken word tagaraka connoted a hair fragrance from the flower tagaraka  These flowers are identified as tulips, perhaps Mountain tulip or Boeotian tulip (both of which grow in Afghanistan) which have an undulate leaf. There is a possibility that the comb is an import from Bactria, perhaps transmitted through Meluhha to the Oman Peninsula site of Tell Abraq.

At Mundigak, in Afghanistan, only one out of a total of five shaft-hole axes analysed contained as much as 5% Sn. Such shaft-hole implements have also been found at Shah Tepe, Tureng Tepe, and Tepe Hissar in level IIIc (2000-1500 BCE).

Tell Abraq axe with epigraph (‘tulip’ glyph + a person raising his arm above his shoulder and wielding a tool + dotted circles on body) [After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30]. 

tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’. Rebus: tagara ‘tin’. Glyph: eṛaka ‘upraised arm’ (Tamil); rebus: eraka = copper (Kannada) 

A rebus reading of the hieroglyph is: tagaraka, tabernae montana. Rebus: tagara ‘tin’ (Kannada); tamara id. (Skt.) Allograph: ṭagara ‘ram’.  Since tagaraka is used as an aromatic unguent for the hair, fragrance, the glyph gets depicted on a stone flask, an ivory comb and axe of Tell Abraq.

 

The glyph is tabernae montana, ‘mountain tulip’. A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier, M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions Recherche sur les Civilisations: plate 20.150) Two flowers are similar to those shown on the comb from Tell Abraq. Ivory comb with Mountain Tulip motif and dotted circles. TA 1649 Tell Abraq. [D.T. Potts, South and Central Asian elements at Tell Abraq (Emirate of Umm al-Qaiwain, United Arab Emirates), c. 2200 BC—AD 400, in Asko Parpola and Petteri Koskikallio, South Asian Archaeology 1993: , pp. 615-666] Tell Abraq comb and axe with epigraph After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30].

"A fine copper axe-adze from Harappa, and similar bronze examples from Chanhu-daro and, in Baluchistan, at Shahi-tump, are rare imports of the superior shaft-hole implements developed initially in Mesopotamia before 3000 BC. In northern Iran examples have been found at Shah Tepe, Tureng Tepe, and Tepe Hissar in level IIIc (2000-1500 BC)...Tin was more commonly used in eastern Iran, an area only now emerging from obscurity through the excavation of key sites such as Tepe Yahya and Shahdad. In level IVb (ca. 3000 BCE)at Tepe yahya was found a dagger of 3% tin bronze. (Lamberg-Karlovsky, C.C. and M., 1971, An early city in Iran, Scientific American, 1971, 224, No. 6, 102-11; Muhly, 1973, Appendix 11, 347); perhaps the result of using a tin-rich copper ore." (Penhallurick, R.D., 1986, Tin in Antiquity, London, Institute of Metals, pp. 18-32) 

Indus Script hypertexts: 1. dotted circles; and 2. tabernae montana 'mountain tulip' Rebus readings: 1.Hieroglyph: dotted circles: dāntā 'ivory' rebus dhāˊtu 'ore of red colour' 2. Hieroglyph: tagaraka 'tabernae montana, mountain tulip' rebus: tagara 'tin'. Thus, two mineral ores are signified by the two hieroglyphs: ferrite, copper ores and tin ore (cassiterite).

Dotted circles, tulips on ivory combs signify dāntā 'ivory' rebus dhāˊtu 'ore of red colour' (Rigveda) tagaraka 'tulip' rebus tagara 'tin'
h1522 Potsherd ca. 3300 BCE (from Indus Writing Corpora)
Note: The first known examples of writing may have been unearthed at an archaeological dig in Harappa, Pakistan. So-called 'plant-like' and 'trident-shaped' markings have been found on fragments of pottery dating back 5500 years. According to Dr Richard Meadow of Harvard University, the director of the Harappa Archaeological Research Project, these primitive inscriptions found on pottery may pre-date all other known writing. 
http://news.bbc.co.uk/2/hi/science/nature/334517.stm http://news.bbc.co.uk/2/hi/science/nature/334517.stm

A rebus reading of the hieroglyph is: tagaraka, tabernae montana. Rebus: 

tagara ‘tin’ (Kannada); tamara id. (Skt.) Allograph: ṭagara ‘ram’.  Since tagaraka

 is used as an aromatic unguent for the hair, fragrance, the glyph gets depicted on a stone flask, an ivory comb and axe of Tell Abraq.

Discovery of tin-bronzes was momentous in progressing the Bronze Age Revolution of 4th millennium BCE. This discovery created hard alloys combining copper and tin. This discovery was also complemented by the discovery of writing systems to trade in the newly-produced hard alloys.The discovery found substitute hard alloys, to overcome the scarcity of naturally occurring arsenical copper or arsenical bronzes. The early hieroglyph signifiers of tin and copper on an ivory comb made by Meluhha artisans & seafaring merchants point to the contributions made by Bhāratam Janam (RV), ca. 3300 BCE to produce tin-bronzes. The abiding significance of the 'dotted circle' is noted in the continued use on early Punch-marked coins. 

The dotted circle as a signifier of interactions between Meluhha and Gonur Tepe has been brilliantly analysed in the context of the following artifacts cited by Dennys Frenez in: Manufacturing and trade of Asian elephant ivory in Bronze Age Middle Asia. Evidence from Gonur Depe (Margiana, Turkmenistan) by Dennys Frenez (2017)
https://www.academia.edu/34596109/Manufacturing_and_trade_of_Asian_elephant_ivory_in_Bronze_Age_Middle_Asia._Evidence_from_Gonur_Depe_Margiana_Turkmenistan

Diffusion of Metallurgy: Meluhha and western Afghanistan sources of tin

"...In the later 4th and early 3rd millennia, greater tin values occur--5.3% in a pin from Susa B; and 5% in an axe from Mundigak III in Afghanistan; but these are still exceptional in a period characterized by the use of arsenical copper ...arond 270 BC, during Early Dynastic III in Mesopotamia...eight metal artifacts of forty-eight in the celebrated 'vase a la cachette' of Susa D are bronzes; four of them -- three vases and one axe -- have over 7% tin. The analyses of objects from the Royal Cemetery at UR present an even clearer picture: of twenty-four artifacts in the Iraq Museum subjected to analysis, eight containing significant quantities of tin and five with over 8% tin can be considered true bronzes in the traditional sense.a contemporary shaft-hole axe from Kish contains 4% tin, and significant amounts were detected in a few artifacts from Tepe Giyan and Tepe Yahya IVB in Iran, and Hili in Oman. Thus, we see an increasing pattern of tin usage......Gudea of Lagash (2150-2111BCE)speaks of the tin of Meluhha...the geographer Strabo (XV.2.10) who, in referring to the inhabitants of Drangiana (modern Sistan), says that they have 'only scanty supplies of wine, but they have tin in their country'...this passage..does accord well with the discoveris in the area of Herat...There are two possible routes from Afghanistan to Mesopotamia. One crosses the northern part of the Iranian plateau, along the Elburz mountains, then through the passes in the Zagros descends to Babylonia and Assyria. In the 1st millennium it was one of the principal supply routes of eastern goods to Assyria. In the 2nd millennium the tin that Assur exported to Anatolia might have followed this route. Along it are found such sites as Tepe Sialk (where the use of tin is attested in the 4th millennium), Tepe Giyan and Tepe Hissar, wehre other finds (such as lapis lazuli at Hissar) implicate them in long-distance commerce in the 3rd millennium...Recently Oman has yielded the first signs of the use of tin in the region. The analysis of a sword from Hili, dated to the mid-3rd millennium, shows a tin content of 6.5%, and a mold of a tap hole (?) associated with the remains of a furnace held metal with a tin content of 5%...At Umm an-Nar artifacts with tin contents on the order of 2% were recovered; the tin must have been mixed with the local copper...Meluhha...the use of tin is attested already in the late 4th or early 3rd millennium at Mundigak III in southern Afghanistan. Tin appears only in small quantities in artifacts from Sahr-i-Sokhta in eastern Iran and at Tepe Yahya in southern Iran...In the Indus Valley, the copper-tin alloy is known at Mohenjodaro...The discoveries of tin in artifacts at Hili, though singular, are important because the site lies in an area clearly involved in long-distance trade. However, there is no clear evidence that the site was a way-station on the route which brought tin from Afghanistan to Mesopotamia. Therefore the presence of tin at Hili indicates only that it was transported in the Gulf area, where it was also used to fill local needs. The collective indications are that western Afghanistan ws the zone able to provide the tin used in Southwest Asia in the 4th and 3rd millennia...In order to elucidate the questions raised by our findings, a project aimed specifically at tin-- its sources and metallurgy-- should be organized." (Serge Cleuziou and Thierry Berthoud, Early Tin in the Near East, in: Expedition, Vol. 25, No. 1, 1982, pp. 14-19). cf. R.J.Forbes, 1954, Extracting, smelting and alloying, in: Charles Singer, E.J.Holmyard and AR Hall (eds.), 1954, A History of Technology, Oxford, Clarendon Press. Knox, Robert, 1994, A new Indus Valley Cylinder Seal, pp. 375-378 in: South Asian Archaeology 1993, Vol. I, Helsinki. Ibid., p. 377; cf. Lamberg- Karlovsky and Tosi 1973: pl. 137. 

It is likely that the sources of tin can also extend the Tin Road of Meluhha into the river beds of Sindhu and Sarasvati rivers and associated tributary rivers and water channels for panned tin obtained by prospectors.

An unresolved problem in the study of Bronze Age civilizations has been the identification of sources of tin. Arsenical bronzes of the millennia earlier to the 5th millennium were replaced by tin-bronzes creating a veritable revolution in the march of civilization.

John Muhly has highlighted and contributed significantly to the resolution of this problem. Many cuneiform texts do point to Meluhha as the major source of tin, reaching through the transit points of Magan and Dilmun along the Persian Gulf region and west of Mehergarh.

A possible scenario is presented by a geologist, TM Babu (2003) in: Advent of the bronze age in the Indian subcontinent In Mining and metal production: through the ages, eds. P. Craddock and J. Lang, London, British Museum Press, pp175-180. In this article, Babu starts with the traditions in ancient India of making idols for worship using pancha-loha (lit. five metals), creating an alloy of copper, tin, lead, zinc, arsenic and less commonly, silver and gold. A word in Tamil denoting this alloy is kol which also means ‘working in iron’. This lexeme is denoted by the hieroglyphs: tiger (kola), woman (kola), rice-plant (kolom). Similar rebus readings of hundreds of hieroglyphs on Indus writing point to the Indian sprachbund, a linguistic union which explains the presence, for example, Munda words in ancient Sanskrit texts.

Papagudem boy wearing a bangle of tin

“Bronze articles such as ornamental mirrors, arrowheads, pins, bangles and chisels, of both low tin and high tin content, have been recovered from Lothal, the Harappn port on the Gujarat coast, which has been dated earlier than 2200 BCE. The tin content in these articles range from 2.27% to 11.82%; however, some of the articles contain no tin. Tin is said to have been brought as tablets from Babylon and mixed with copper to make an alloy of more pleasing colour and luster, a bright golden yellow. The utilization of bronze is essential only for certain articles and tools, requiring sharp cutting edges, such as axes, arrowheads or chisels. The selection of bronze for these items indicates the presence of tin was intentional…Recent discoveries of tin occurrences in India are shown in…Fig. 11.2. However, none of these occurrences shows evidences of ancient mining activity. This is because, unlike copper ores, the mining and metallurgy of the tin ore cassiterite is simple, and leaves little permanent trace…tin ore is usually recovered by simple panning of surface deposits, often contained in gravel, which soon collapse, leaving little evidence of having once been worked. Cassiterite is highly resistant to weathering, and with its high specific gravity, it can be easily separated from the waste minerals. The simple mining and metallurgical methods followed even now by Bastar and Koraput tribals in Chattisgarh and Orissa, central India, could be an indication of the methods used in the past. These tribal people produce considerable quantities of tin without any external help, electric power or chemical agents, enough to make a modern metallurgist, used to high technology, wonder almost in disbelief. Clearly though, the technology practiced has a considerable importance for those studying early smelting practices. The history of this process is poorly known. Back in the 1880s Ball (1881) related the story of a Bastar tribal from the village of Papagudem, who was observed to be wearing a bangle of tin. When questioned as to where the metal had come from, he replied that black sands, resembling gunpowder were dug in his village and smelted there. Thus it is very likely that the present industry is indigenous, and may have a long history. That being said, neither the industry or its products appear in any historical document of any period, and thus is unlikey to have been a significant supplier of metal…The tin content of cassiterite ranges from 74.94% (mean 64.2%), showing that pebbles contain about 70% to 90% of the tin oxide, cassiterite…The ore is localized in gravel beds of the black pebbles of cassiterite which outcrop in stream beds etc. and there are other indicators, in the vegetation. The leaves of the Sarai tree (Shoria robusta) growing on tin-rich ground are often covered in yellow spots, as if suffering from a disease. (The leaves were found to contain 700 ppm of tin on analysis!) Wherever the tribals find concentrations of ore in the top soil, the ground all around the area is dug up and transported to nearby streams, rivers or ponts…The loose gravelly soil containing the tin ore is dug with pick and shovel, and carried to the washing sites in large, shoulder-strung bamboo baskets. The panning or washing of the ore is carrie out using round shallow pans of bamboo. The soil is washed out, leaving the dense casiterite ore at the bottom of the pan…The ore is smelted in small clay shaft furnaces, heating and reducing the ore using charcoal as the fuel…The shft furnaces are square at the base and of brick surmounted by a clay cylindrical shaft…The charcoal acts as both the heating and reducing agent, reducing the black cassiterite mineral into bright, white tin metal…a crude refining is carried out by remelting the metal in an iron pan at about 250 degrees C. The molten tin is then poured into the stone-carved moulds to make square- or rectangular-shaped tin ingots for easy transportation.  (Babu, TM, 2003, Advent of the bronze age in the Indian subcontinent in: Craddock, PT and J. Lang, Mining and Metl production through the ages, British Museum,  pp.174-180). 

Trefoil Indus Script hieroglyph signifies dhā̆vaḍ 'smelter' dhāu 'ore'. त्रिधातुः (magnetite, hematite, laterite) is an epithet of Gaṇeśa 

A "bent bar" shatamana from the Kuru and Panchala janapada, c.500-350 BCE

Source: http://www.vcoins.com/ancient/saylesandlavender/store/viewitem.asp?idProduct=5939

Kuru Janapada from Haryana Region, Silver ½-Karshapana (2), triangular mark, rev six-armed symbol, the second uniface on a dumpy flan, attributed to Kuru Janapada of Babyal (Haryana) region by Handa (Rajgor series 21, 428). 

Kuru janapada. Dotted triskelion. 450 to 350 BCE. Triskelion arms encircle dots. Arrows attach to the dotted circle. 'Twist' hieroglyphs are shown next to the arrows.

Coins of Kuru #Janapada 1 of the 16 Mahajanapadas. Haryana-Delhi region, c.450–350 BCE. https://t.co/z7VsdWeRJc - 2015-11-25 13:14:47
http://twicsy.com/i/EQMR3i#1fXO1da71PEArcjT.99

c. 4th Century BCE
Weight:1.73 gm., Diam:12-13 mm.

Triskele with crescents and dots /
blank

A triskelion hieroglyph of Kuntala punchmarked coins can be signifiers of त्रि धातु 'three minerals'. The endings of the triskelion are curved like crucibles holding 'dots' or ingots. koṭhārī ʻ crucible ʼ (Old Punjabi) rebus: koṭhari 'chamber' (oriya) koṭṭhāgāra ʻstorehouse' (Prakrtam) खोट khōṭa 'A mass of metal (unwrought or of old metal melted down); an ingot or wedge.'

The chariot linch-pin found at Kirkburn has a triskele hieroglyph-multiplex with an orthography of hierolyph components signifying associated semantics of metalwork. The circular edge of the ends of the linch-pin is embossed with raised circles signifying ingots out of the three sets of crucibles. 

In this hieroglyph-multiplex, the central hieroglyph component is  three curved (crucibles) emanating from the centre. At the tip of each of the three cuve-endings, an explanatory hieroglyph component signifies: 1. crucible; and 2. a round ingot emanating from the crucible. Orthography clearly signifies metalwork by a Celtic artisan. The bend in the curved legs emanating from the centre in the triskele is relatable to: कोट or bend, कोटः kōṭḥ Crookedness. A beard (Samskritam. Apte)

Hieroglyph: koṭhārī f. ʻ crucible  (Old Punjabi)(CDIAL 3546) Rebus: Pk. koṭṭhāgāra -- , koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A. B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhār ʻ zemindar's residence ʼ; H. kuṭhiyār ʻ granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ; M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- °rī f. ʻ small one ʼ; Si.koṭāra ʻ granary, store ʼ.(CDIAL 3550).

Note: poLa 'magnetite', bichi 'haematite' and goTa 'laterite' may refer to tri-dhAtu 'three red ferrite ores'.

Rendering of जटा  jaṭā on ekamukhalinga is a unique orthographic/ iconographic metaphor signified by sculptors to denote the nature of चषालः caṣāla and its role in the pyrolysis process to carburize metal into hard alloys during smelting. "Pyrolysis has been used since ancient times for turning wood into charcoal on an industrial scale. Besides wood, the process can also use sawdust and other wood waste products...Pyrolysis is used on a massive scale to turn coal into coke for  metallurgy, especially steelmaking." 

Av. wazra, Pahl. warz, NPers. gorz; with epithets vājrabāhu- “mace in arm,” °hasta- “mace in hand,” °dakṣiṇa- “mace in his right [hand],” vajrabhṛˊt-, °vāh- “mace-carrying,” vajrín- “mace-possessing”) and the epithet vṛtrahán- (Av. wərəθrajan-) “slaying, smashing vṛtrā.” http://www.iranicaonline.org/articles/indra

Gorz. "It is mentioned in Avesta as the special weapon of Mithra (Yt. 10.132) and Kərəsāspa-/Garšāsp (Y. 9.10). Kərəsāspa is portrayed as having long hair (gaēsuš) and wielding a club (gaδavarō; see Reichelt, p. 2), while Mithra’s club is described as being made of gold and bearing one hundred knobs and one hundred edges. It is also called the most solid and the most effective weapon in securing victory and as swift as imagination (Yt. 10.132)." http://www.iranicaonline.org/articles/gorz

 Kuntala janapada Punch-marked coin 450 BCE.  Two angular shaped parallel lines having solid dot on the head connect to the central dot There is a A triskelion or triskele (which invariably has rotational symmetry) a motif consisting of three interlocked spirals between the two solid dots. 

śã̄gal, śã̄gaḍ ʻchainʼ (WPah.) śr̥ṅkhala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥ṅkhalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pāṇ. [Similar ending in mḗkhalā -- ]Pa. saṅkhalā -- , °likā -- f. ʻ chain ʼ; Pk. saṁkala -- m.n., °lā -- , °lī -- , °liā -- , saṁkhalā -- , siṁkh°, siṁkalā -- f. ʻ chain ʼ, siṁkhala -- n. ʻ anklet ʼ; Sh. šăṅāli̯ f., (Lor.)š*lṅāli, šiṅ° ʻ chain ʼ (lw .with š -- < śr̥ -- ), K. hö̃kal f.; S. saṅgharu m. ʻ bell round animal's neck ʼ, °ra f. ʻ chain, necklace ʼ, saṅghāra f. ʻ chain, string of beads ʼ,saṅghirī f. ʻ necklace with double row of beads ʼ; L. saṅglī f. ʻ flock of bustard ʼ, awāṇ. saṅgul ʻ chain ʼ; P. saṅgal m. ʻ chain ʼ, ludh. suṅgal m.; WPah.bhal. śaṅgul m. ʻ chain with which a soothsayer strikes himself ʼ, śaṅgli f. ʻ chain ʼ, śiṅkhal f. ʻ railing round a cow -- stall ʼ, (Joshi) śã̄gaḷ ʻ door -- chain ʼ, jaun. śã̄gal, śã̄gaḍ ʻ chain ʼ; Ku. sã̄glo ʻ doorchain ʼ, gng. śāṅaw ʻ chain ʼ; N. sāṅlo ʻ chain ʼ, °li ʻ small do. ʼ, A. xikali, OB. siṅkala, B. sikal, sikli, chikal, chikli, (Chittagong) hĩol ODBL 454, Or.sāṅk(h)uḷā, °ḷi, sāṅkoḷi, sikaḷā̆, °ḷi, sikuḷā, °ḷi; Bi. sīkaṛ ʻ chains for pulling harrow ʼ, Mth. sī˜kaṛ; Bhoj. sī˜kar, sĩkarī ʻ chain ʼ, OH. sāṁkaḍa, sīkaḍa m., H. sã̄kal, sã̄kar,°krī, saṅkal, °klī, sikal, sīkar, °krī f.; OG. sāṁkalu n., G. sã̄kaḷ, °kḷī f. ʻ chain ʼ, sã̄kḷũ n. ʻ wristlet ʼ; M. sã̄k(h)aḷ, sāk(h)aḷ, sã̄k(h)ḷī f. ʻ chain ʼ, Ko. sāṁkaḷ; Si. säkilla, hä°, ä° (st. °ili -- ) ʻ elephant chain ʼ.śr̥ṅkhalayati.Addenda: śr̥ṅkhala -- : WPah.kṭg. (kc.) śáṅgəḷ f. (obl. -- i) ʻ chain ʼ, J. śã̄gaḷ f., Garh. sã̄gaḷ.śr̥ṅkhalayati ʻ enchains ʼ Daś. [śr̥ṅkhala -- ]Ku.gng. śāṅaī ʻ intertwining of legs in wrestling ʼ (< śr̥ṅkhalita -- ); Or. sāṅkuḷibā ʻ to enchain ʼ.(CDIAL 12580, 12581)சங்கிலி¹ caṅkili, n. < šṛṅkhalaā. [M. caṅ- kala.] 1. Chain, link; தொடர். சங்கிலிபோ லீர்ப்புண்டு (சேதுபு. அகத். 12). 2. Land-measuring chain, Gunter's chain 22 yards long; அளவுச் சங்கிலி. (C. G.) 3. A superficial measure of dry land=3.64 acres; ஓர் நிலவளவு. (G. Tn. D. I, 239). 4. A chain-ornament of gold, inset with diamonds; வயிரச்சங்கிலி என்னும் அணி. சங்கிலி நுண்டொடர் (சிலப். 6, 99). 5. Hand-cuffs, fetters; விலங்கு.

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