This is an addendum to:

y56wgrxf
The tiger cub shown on Gardez Vināyaka reads: panja 'feline paw' rebus: panja 'kiln, furnace' PLUS पेटा pēṭā 'tiger cub' rebus: पेटा pēṭā smelter guild region of a town (and part of the phaḍa, paṭṭaḍa ‘metals manufactory’).

Hieroglyph: पेटा pēṭā A cub of a tiger or lion.

Rebus: पेटा pēṭā m (पेट S through H Belly.) Sphere, compass, comprehension, including quality or power: e. g. that of the provincial or county town over the minor towns and villages, that of a key-fort over the circumjacent country, that of a person of authority over his subordinates. Ex. एका नगराच्या पेट्यांत शंभर गांव असतात; मोठ्या पुरुषास आमंत्रण केलें म्हणजे त्याच्या पेट्यांत लाहनसाहन येतात. 2 A division of country consisting of a number of small towns and villages; a subdivision of a परगणा or तालुका. See under देश. देश dēśa m (S) A country, a tract, a region. Under this word may be gathered, and exhibited in their gradations, the words देश, प्रांत, सुभा, पर- गणा, तालुका, जिल्हा, महाल, कसबा, पेटा, पुठा, मौजा, सम्मत, तरफ. देश & प्रांत are the most comprehensive.

Hieroglyph: पांडा pāṇḍā m (Esp. with वाघाचा preceding.) A tiger's cub, esp. as half-grown;पाडा pāḍā m A male calf.

Rebus: पाडा pāḍā A hamlet or a cluster of houses of agriculturists. 3 The gathering of tree-fruits. A ward or quarter of a town.

Gardez Vināyaka with Indus Script hypertexts signifies iron smelter, manufactory, खरडा kharaḍā,'wealth-accounting ledger' https://tinyurl.com/y56wgrxf

Today is Gaṇeśa Caturthi, September 2, 2019.

This monograph demonstrates, by deciphering the Indus Script hypertexts with
that it is a proclamation of wealth created by artisans, guild of metalworkers.

My prayers to Gardez Four-armed, divine, MahāVināyaka. विनायक pl. N. of partic.
formulas recited over weapons (रामायण).

Inscription on the pedestal of the pratimā dates it to 5th cent.CE, the days of Shahi Khingala who consecrated the divine MahāVināyaka (Brown, Robert (1991), Ganesh: Studies of an Asian God, Albany: State University of New Yorkpp. 50–55, 120).. His two lower arms rest on two gaṇa-s; thus, he signifies that he is guild-master of a guild. The pratimā is from Sakar Dhar (formerly Shankar Dhar), North of Kabul and relocated to dargah Pir Rattan Nath at Kabul for worship. The inscription on the pedestal reads: ‘This great and beautiful Maha Vinayaka was consecrated by the renowned Shahi King, the illustrious Shahi Khingala.’ (Shakunthala Jagannathan and Nanditha Krishna, Ganesha...The Auspicious... The Beginning, Mumbai, 1992, p. 55.)

The hieroglyphs/hypertexts of Indus Script on this exquisite pratimā of Vināyaka of Gardez are
panja 'feline paw' rebus: panja 'kiln, furnace'
kola 'tiger' rebus: kolhe 'smelter', kol 'working in iron', kole.l 'smithy, forge', kole.l 'temple'
karba, ibha 'elephant' rebus: karba, ib 'iron'

phaḍa फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of phaḍa, paṭṭaḍa ‘metals manufactory’

karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' Rebus: karaṇḍi 'fire-god' (Remo)Remo <karandi>E155 {N} ``^fire-^god''.(Munda).

Gardez Gaṇeśa with Indus Script hypertexts फड 'cobra hood' (फडनीस phaḍanīsa 'scribe' of) karaṇḍa mukuṭa to signify खरडा kharaḍā,'wealth-accounting ledger', करडा karaḍā 'hard alloy of iron' https://tinyurl.com/yd4abfqs

Broad strap antarīya on Gardez Gaṇeśa pratimā is Indus Script hypertext to signify metals (iron) manufactory of Sarasvati civilization. Amarakośa provides a synonym for Gaṇeśa with the expression tri-dhātu, 'three minerals'.

The pratimā has vivid iconographic details to further elaborate on the metaphor of Gaṇeśa an iron smelter, a wealth-accounting ledger keeper, a scribe.

Gaṇeśa wears an unusual crown, shaped like a wicker basket. The rebus reading of the crown worn by Gaṇeśa is karaṇḍa hieroglyph करंडी karaṇḍī f (Dim. of करंडा) A little covered basket of bamboo. karaṇḍa'wicker-basket' rebus: करडा karaḍā'Hard from alloy--iron, silver &38' A similar sounding word signifies that Gaṇeśa is a scribe, writer: खरड kharaḍa f (खरडणें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch.खरडा kharaḍā a day-book; a note-book. Thus, Gaṇeśa is keeper of a day-book, wealth-accounting ledger.

These metaphors are conveyed by the karaṇḍa-shaped mukuṭa 'crown' worn by Mahāvināyaka of Gardez. Elephant trunk: karibha, ibha 'elephant' rebus: karba, ib 'iron'; ib 'stylus' (as in English nib of stylus).

Gaṇeśa wears a yajñopavita, 'sacred thread' adorned with a cobra-hood:phaḍā'cobra hood'rebus phaḍā,paṭṭaḍe'metals manufactory'. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith. panja 'claw of beast, feline paw' rebus: panja 'kiln'.

Thousands of Gaṇeśa pratimā also show a mouse:mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus, Gaṇeśa is an iron worker producing crucible steel. This metallurgical competence makes him the leader of the guild, ironworker guild-master,Mahāvināyaka.

A 5th century marble Ganesha found in Gardez, Afghanistan, now at Dargah Pir Rattan Nath, Kabul. The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala. For photograph of statue and details of inscription, see: Dhavalikar, M. K., 1991, "Gaņeśa: Myth and Reality" in: In: Brown RL (ed) Ganesh: studies of an Asian God. State University of New York, pp.50,63.

The inscription says that this "great and beautiful image of Mahāvināyaka" was consecrated by the Shahi King Khingala.

I suggest that the paw of a feline is signified below the feline's face; the word is panja 'claw, paw' rebus: panja 'kiln' of metals manufactory: *pañjāpāka ʻ kiln for a heap ʼ. [*pañja -- , āpāka -- ]P. pañjāvā, pãj° m. ʻ brick kiln ʼ; B. pã̄jā ʻ kiln ʼ, G. pajāvɔ m (CDIAL 7686) panzĕ पन्ज़्य m. the wound made by an animal's claw (cf. panja) (K. 678). panja पंज । पञ्चसंख्यात्मकः, अङ्गुलिपञ्चकसंघः m. an aggregate of five; a five (in cards, on dice, or the like); the hand with the five fingers extended (cf. atha-po, p. 61b, l. 2) (Gr.M.); the paw or claw of beast or bird (Gr.M.; Rām. 41, 61, 697-8, 73; H. xii, 16-17). -- dyunu ; ।पञ्चकाघातः m.inf. 'to give the five', i.e. to strike with the five fingers, to scratch with the five finger-nails or (of a wild beast) to tear with the claws. -ʦoṭu ; । छिन्नपञ्चशाखः adj. (f. -ʦüṭü ), one whose fingers, toes, or claws have all been cut off (of man, beast, or bird). panjī पंजी f. a bird's talon (El.); the five fingers (El. panjih, cf. panja; W. 114, panji).(Kashmiri) *pañja- ʻ heap ʼ *pahuñca

ʻ forearm, wrist ʼ. L. pôcā m. ʻpaw ʼ, (Shahpur) paucā m. ʻ paw, claw ʼ; P. pahũcā m. ʻ wrist, paw ʼ; N. paũjā ʻ paw ʼ; OAw. pahuṁcihi obl. sg. f. ʻ wrist ʼ; H. pahũcā m. ʻ forearm, wrist ʼ; G. pɔ̃hɔ̃cɔ m. ʻ wrist ʼ, M. pohãcī f. PĀ1 ʻ drink ʼ:

pa -- 1, pāˊtra -- , pāˊna -- , pānīˊya -- , pāyáyati, *pipāsaka -- , pipāsāˊ -- , pipāsitá -- , píbati, pītá -- 1, pīyátē, pēya -- ; āpāna -- 1, nipāna -- , prapāˊ -- . PĀ2 ʻ protect ʼ: pa -- 2, pā -- ; *āpāna -- 2. pā -- in cmpds. ʻprotecting ʼ:

adhipāˊ -- , tanūpāˊ -- , paśupāˊ -- ; -- pa -- 2. Addenda: *pahuñca -- : S.kcch. paũco m. ʻwrist ʼ, WPah.kṭg. pɔ́̄nj̈ɔ m.(CDIAL 8018).

Gaṇeśa, scribe, keeper of registers for wealth accounting for a nation https://tinyurl.com/y9njyfaq

Gaṇeśa signified by फड, ‘a cobrahood’ on his body (cf. Mahāvināyaka, Gardez), is the फडनिशी or सीphaḍaniśī or sī f The office or business of फडनीस. फडनीस phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. नीस nīsa m (निसणें) Sum, substance, essence; the extract or excerptum; the good portion picked out. v काढ, निघ. 2 Scrutiny or close inquiry into. v कर, काढ, पाह, पुरव g. of o. 3 नीस is sometimes used as ad or in comp. with the sense Essentially or purely, i. e. altogether, utterly; as नीस नंगा Wholly bare, void, or destitute (of money, decency &c.) ; नकलनविशी nakalanaviśī or -निशी f ( P) The office or business of नकलनवीस.; नकलनवीस nakalanavīsa or -नीस m ( P) A transcriber or copyist.

Gaṇeśa is the account-in-charge recording wealth of a nation.

Gardez Gaṇeśa

Mirror: http://bharatkalyan97.blogspot.com/2018/09/gardez-ganesa-with-indus-script.html

Hieroglyph: पांडा pāṇḍā m (Esp. with वाघाचा preceding.) A tiger's cub, esp. as half-grown;पाडा pāḍā m A male calf.

Hieroglyph: पाण्ड्व n. an uncoloured woollen garment (शतपथ-ब्राह्मण)

Rebus: पाडा pāḍā A hamlet or a cluster of houses of agriculturists. 3 The gathering of tree-fruits. A ward or quarter of a town.

M. pã̄ḍā, ˚ḍyā m. ʻ half -- grown tiger -- cub ʼ; paṇḍá m. ʻ eunuch, weakling ʼ lex., páṇḍaka -- m. MaitrS., páṇḍaga -- AV., paṇḍra -- 1, ˚aka -- m. MārkP. [A ʻ defective ʼ word: see lists s.vv. baṇḍá -- , vaṇṭa -- 2.<-> Cf. Khot. pandara ʻ foolish ʼ]Pa. paṇḍaka -- m. ʻ eunuch ʼ, Pk. paṁḍa -- , ˚aga -- , ˚aya<-> m.; B. pã̄ṛ ʻ huge, ungainly, ugly, full -- grown, overripe ʼ; Or. paṇḍā ʻ fruitless (of a tree), male buffalo, male calf not yet broken to the plough ʼ; H. pã̄ḍ f. ʻ a woman without breasts or milk ʼ.(DEDR 7717)

Rebus: Ta. pāṭi town, city, hamlet, pastoral village; pāṭam street, street of herdsmen. Ma. pāṭi (in n.pr. of villages). Ka.pāḍi settlement, hamlet, village. Koḍ. pa·ḍi hut of a Kurumba. Te. pāḍu village (at the end of names of places). / Cf. Skt. pāṭaka- a kind of village, half a village (from which are borrowed Ta. pāṭakam street, section of a village, Ma. pāṭakampart of a village); Turner, CDIAL, no. 8031, to which add Mar. pāḍā hamlet or cluster of houses of agriculturalists (also Guj., Beng., etc.); MBE 1974a, p. 132, n. 17. DED 3347. (DEDR 4064) pāṭaka m. ʻ quarter of a town or village ʼ. [← Drav. T. Burrow BSOAS xii 383, but perh. same as pāṭa<-> EWA ii 245]S. pāṛo m. ʻ quarter of a town, vicinity ʼ; H. pāṛā m. ʻ quarter of a town ʼ.Addenda: pāṭaka -- m. ʻ kind of village, part of village ʼ lex. [MIA. pāḍa(ya) -- ʻ quarter, street ʼ ~ Drav. Tam. pāṭa(ka)mid. DED 3347 and perh. conn. pallī -- 1 ← Drav. DED 3309]Pk. pāḍa -- , pāḍaya -- m.; A. pārā, B. pāṛā, Or. paṛā, H. pāṛā m., M. pāḍā m. (CDIAL 8031) pāṭa m. ʻ breadth, expanse ʼ lex., ˚aka -- m. ʻ long span, flight of steps ʼ lex. [√paṭ1?]Pa. pāṭikā -- f. ʻ stone steps ʼ; Pk. pāḍaa -- m. ʻ road ʼ; Kho. (Lor.) pāḷ ʻ resting -- place in a cliff, ledge ʼ (or poss. < *pādaḍa -- ); L. pāṛ m. ʻ pit sunk to the sand in which a well is built ʼ, (Shahpur) ʻ hole made by thief in a hedge ʼ, pāṛā m. ʻ space left in ploughing ʼ, awāṇ. pāṛ ʻ hole ʼ; P. pāṛā m. ʻ space, space between two lines of ploughed land ʼ; N. pāro ʻ shaft in handle of khukri or any instrument ʼ, kan -- pāro ʻ temple, brow, gill ʼ (: kān ʻ ear ʼ); H. pāṛ(ā) m. ʻ scaffold, wooden frame over a well ʼ. (CDIAL 8030) padrá m. ʻ village, road in a village ʼ lex. [← Drav. cf. Kur. padda ʻ village ʼ? -- Whether or not connected with pallī1 (also ← Drav.), scarcely, with EWA ii 236, hyper -- sanskritism for this, since NIA. forms attest early padra -- ]Pk. padda -- n. ʻ site of a village, small village ʼ; B. pāṛā ʻ quarter of a village ʼ; Or. paṛā ʻ quarter of a town or village, village ʼ; H. pāṛā m. ʻ quarter of a town ʼ; G. pādar n. ʻ gate of a village, confines of a village, uncultivated land near a village ʼ.*vaṭapadra -- .Addenda: padrá -- : with Pk. padda -- , G. pādar (= S.kcch. padhar m. ʻ confines of a village ʼ) same as or X *paddhara -- ? -- and to be distinguished from B. pāṛā, Or. paṛā, H. pāṛā (= A. pārā ʻ settlement, quarter of a village ʼ) < pāṭaka -- . (CDIAL 7780) *padu ʻ place, quarter ʼ. [Contained in padavīˊ -- m. ʻ place (?) ʼ RV., ʻ footsteps, way ʼ MBh., ʻ place ʼ R. <-> pád -- 2]S. pãũ m. ʻ ace in dice (i.e. a quarter of the highest throw of 4 dots) ʼ, P. pau m., N. pau, Or. paa, OAw. paü m., H. pau f., G. po m., M. pav, pau m. (CDIAL 7764) Ta. paṭṭi cow-stall, sheepfold, hamlet, village; paṭṭam sleeping place for animals; paṭṭu hamlet, small town or village; paṭṭiṉam maritime town, small town; paṭappu enclosed garden; paṭappai id., backyard, cowstall. Ma. paṭṭi fold for cattle or sheep. Ko. paṭy Badaga village. To. oṭy id. (< Badaga haṭṭi). Ka. paṭṭi pen or fold, abode, hamlet; paṭṭa city, town, village. Tu. paṭṭů nest. Te. paṭṭu abode, dwelling place. / Cf. Turner, CDIAL, no. 7705, paṭṭana- (DEDR 3868) वाडा vāḍā m (वाट or वाटी S) A stately or large edifice, a mansion, a palace. Also in comp. as राज- वाडा A royal edifice; सरकारवाडा Any large and public building. 2 A division of a town, a quarter, a ward. Also in comp. as देऊळवाडा, ब्राह्मण- वाडा, गौळीवाडा, चांभारवाडा, कुंभारवाडा. 3 A division (separate portion) of a मौजा or village. The वाडा, as well as the कोंड, paid revenue formerly, not to the सरकार but to the मौजेखोत. 4 An enclosed space; a yard, a compound. 5 A pen or fold; as गुरांचा वाडा, गौळवाडा or गवळीवाडा, धन- गरवाडा. The pen is whether an uncovered enclosure in a field or a hovel sheltering both beasts. वाडी vāḍī f (वाटी S) An enclosed piece of meaand keepers. dow-field or garden-ground; an enclosure, a close, a paddock, a pingle. 2 A cluster of huts of agriculturists, a hamlet. Hence (as the villages of the Konkan̤ are mostly composed of distinct clusters of houses) a distinct portion of a straggling village. 3 A division of the suburban portion of a city.(Marathi)

Hieroglyph: pādú m. ʻ foot (?) ʼ RV. 10, 27, 24. [It is difficult to ascribe the persistent occurrence of u and v in the word for ʻ foot ʼ and many derivatives only to incorporation of a final -- u resulting from pādō nom. sg. of pāˊda -- . On the other hand pādú -- (cf. *padu -- ), though occurring only once in RV. prob. as ʻ foot ʼ and once in MānGr̥. as ʻ place ʼ, does give pāˊdukā -- ʻ shoe ʼ known to Pāṇini and pāduka -- ʻ little foot ʼ in Pali. Nevertheless it remains doubtful whether all or indeed any of the NIA. words listed below descend from pādú -- rather than pāˊda -- . <-> pád -- 2]Pa. pāduka -- ʻ little foot ʼ; Gy. arm. pav ʻ foot ʼ, pal. pau ʻ foot, leg ʼ; Dm., pâwá ʻ sole of foot ʼ; K. pāv m. ʻ foot (of centipede) ʼ, pôwu m. ʻ step in a staircase ʼ; L. pāvā m. ʻ foot of bedstead ʼ, awāṇ. pāvā ʻ foot of sheep, leg of bedstead ʼ; P. pāvā, pāvã̄, pāmā m. ʻ foot of bed ʼ; Ku. pau ʻ foot ʼ, N. pāu; A. pāw ʻ feet, legs ʼ; MB. pāwa ʻ foot ʼ, OAw. pāūṁ, dir. pl. pāvaṁ m., Bhoj. pã̄w; H. pāu, pã̄u m. ʻ foot, leg, footprint ʼ; OMarw. pāva, pāṁva m. ʻ foot ʼ; -- ext. with -- ḍ -- : P. pāuṛ, pauṛ, m. ʻ hoof ʼ; WPah.jaun. pāuṛ ʻ stone steps ʼ (~ paiṛ); H. pã̄uṛī f. ʻ fetters ʼ; G. pāvṛɔ m. ʻ iron step of a carriage, notch in a tree, pedal, leg ʼ, pāvṛũ n. ʻ step ʼ; -- with -- ll -- : G. pāvlũ n. ʻ foot ʼ.pāˊdukā -- ; *pāduvanta -- ; *vipādukā -- .Addenda: pādú -- : WPah.kṭg. pau m. ʻ foot, bedpost ʼ, J. pã̄w m.; with ext. OP. paüṛī f. ʻ step, rung ʼ, P. pauṛī; Ko. pāul ʻ footprint ʼ, pāvli ʻ 1/4 rupee ʼ, pāvṭi ʻ footstep ʼ -- also rather < pāˊda -- . (CDIAL 8075)

Hieroglyph: *ḍambharūpa ʻ young animal ʼ. [ḍimbha -- 3, rūpá -- ]N. ḍambaru, ḍammaru ʻ tiger's cub (CDIAL 5533) dām m. ʻ young ungelt ox ʼ: damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ Mn. [~ *dāmiya -- . -- √dam]Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa -- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ; B.dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock ʼ, dāmuṛ, °ṛi ʻ young bullock ʼ.Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox ʼ.(CDIAL 6184).

Rebus: dhāu red ore: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)

Gaṇeśa stone scullpture on rock-face at Unakoti Tripura District in the Kailashahar Subdivision in the North-eastern Indian state of Tripura. 6th cent CE

At The Edge of Mount Bromo Volcano Crater, Gaṇeśa Protecting Citizens In Indonesia. Unknown date.

Pancamukha Heramba Gaṇeśa. British Museum. KalingaDated:~12-13th century CE
Evokes metalwork involving five mineral ores, pancadhātu. pañcan पञ्चन् -लोहम् a metallic alloy containing five metals (i. e. copper, brass, tin, lead and iron). -लोहकम् the five metals i. e. gold, silver, copper, tin and lead. cf. பஞ்சகம்மாளர் pañca-kammāḷar , n. < pañcan +. The five castes of artisans, viz., taṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ, kollaṉ; தட்டான், கன்னான், சிற்பன், தச்சன் கொல்லன் என்ற ஐவகைப் பட்ட கம்மாளர். (சங். அக.)

All Indus Script hypertexts with phaḍā 'serpent hood' signify metals manufactory public officers

https://tinyurl.com/y7a26nhe

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

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

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

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

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

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

Cloth worn onGaṇeśa pratimā, Gardez, Afghanistan. Hieroglyph: படம்¹ paṭam , n. < paṭa. 1. Cloth for wear; சீலை. (பிங்.) மாப்பட நூலின் றொகுதிக் காண் டலின் (ஞானா. 14, 21). 2. Painted or printed cloth; சித்திரச்சீலை. (பிங்.) இப்படத்தெழுது ஞான வாவி (காசிக. கலாவ. 2). 3. Coat, jacket; சட்டை. படம்புக்கு (பெரும்பாண். 69). 4. Upper garment, cloak; போர்வை. வனப்பகட்டைப் பட மாக வுரித்தாய் (தேவா. 32, 7). 5. Body; உடல். படங்கொடு நின்றவிப் பல்லுயிர் (திருமந். 2768).

Hieroglyph: படம் paṭam, n. < pada. Instep; பாதத் தின் முற்பகுதி. படங்குந்திநிற்றல் (சூடா. 9, 53).

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

Instep venerated. Amaravati sculptural friezes. Skambha with ayo khambhaṛā 'fish-fin' rebus: ayo kammaṭa 'alloy metals mint, coiner, coinage'.
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A truly fascinating paper by Dennys Frenez and Massimo Vidale on composite Indus creatures and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization at a.harappa.com/...

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

On this seal, the key is only 'combination of animals'. This is an example of metonymy of a special type called synecdoche. Synecdoche, wherein a specific part of something is used to refer to the whole, or the whole to a specific part, usually is understood as a specific kind of metonymy. Three animal heads are ligatured to the body of a 'bull'; the word associated with the animal is the intended message.
The ciphertext of this composite animal is to be decrypted by rendering the sounds associated with the animals in the combination: ox, young bull, antelope. The rebus readings are decrypted with metalwork categories: barad 'ox' rebus: bharat 'alloy of copper, pewter, tin'; kondh ‘young bull’ rebus: kũdār ‘turner, brass-worker, engraver (writer)’; ranku 'antelope' rebus: ranku 'tin'.

Mohenjo-daro. Sealing. Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?]

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

Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa ‘metalware’ kaṇḍa ‘fire-altar’.

kāru 'crocodile' Rebus: kāru 'artisan'; khar 'blacksmith'

Hieroglyphs (allographs):

kamaḍha 'penance' (Prakriam)

kamḍa, khamḍa 'copulation' (Santali)

kamaṭha crab (Skt.)

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

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

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

eraka 'upraised arm' rebus: eraka 'moltencast copper' arka 'gold'.

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able ornée de serpents et de divinités aux eaux jaillissantes
XIVe siècle avant J.-C.
Suse, Tell de l'Acropole
Bronze
H. 19.5 cm; W. 15.7 cm; L. 69.5 cm
Fouilles J. de Morgan, 1898, 1898
Sb 185
Near Eastern Antiquities
Sully wing
Ground floor
Iran, Susiana (Middle Elamite period)
Room 10
Author(s):Herbin Nancie
This table, edged with serpents and resting on deities carrying vessels spouting streams of water, was doubtless originally a sacrificial altar. The holes meant the blood would drain away as water flowed from the vessels. Water was an important theme in Mesopotamian mythology, represented particularly by the god Enki and his acolytes. This table also displays the remarkable skills of Elamite metalworkers.
A sacrificial table
The table, edged with two serpents, rested on three sides on five figures that were probably female deities. Only the busts and arms of the figures survive. The fourth side of the table had an extension, which must have been used to slot the table into a wall. The five busts are realistic in style. Each of the deities was holding an object, since lost, which was probably a water vessel, cast separately and attached by a tenon joint. Water played a major role in such ceremonies and probably gushed forth from the vessels. Along the sides of the table are sloping surfaces leading down to holes, allowing liquid to drain away. This suggests that the table was used for ritual sacrifices to appease a god. It was believed that men were created by the gods and were responsible for keeping their temples stocked and providing them with food. The sinuous lines of the two serpents along the edge of the table mark off holes where the blood of the animals, sacrificed to assuage the hunger of the gods, would have drained away.
The importance of water in Mesopotamian mythology
In Mesopotamia, spirits bearing vessels spouting streams of water were the acolytes of Enki/Ea, the god of the Abyss and of fresh water. The fact that they figure in this work reflects the extent of the influence of Mesopotamian mythology in Susa. Here, they are associated with another Chtonian symbol, the snake, often found in Iranian iconography. The sinuous lines of the serpents resemble the winding course of a stream. It is thought that temples imitated the way streams well up from underground springs by the clever use of underground channels. Water - the precious liquid - was at the heart of Mesopotamian religious practice, being poured out in libations or used in purification rites.
Objects made for a new religious capital
Under Untash-Napirisha, the founder of the Igihalkid Dynasty, the Elamite kingdom flourished. He founded a new religious capital, Al-Untash - modern-day Chogha Zanbil - some 40 kilometers southeast of Susa. However, the project was short-lived. His successors soon brought large numbers of religious objects back to Susa, the former capital. This table was certainly among them. Its large size and clever drainage system reflect the remarkable achievements of metalworking at the time.
Bibliography
Amiet Pierre, Suse 6000 ans d'histoire, Paris, Éditions de la Réunion des musées nationaux, 1988, pp.98-99 ; fig. 57.
Miroschedji Pierre de, "Le dieu élamite au serpent", in : Iranica antiqua, vol.16, 1981, Gand, Ministère de l'Éducation et de la Culture, 1989, pp.16-17, pl. 10, fig.3.
http://www.louvre.fr/en/oeuvre-notices/table-decorated-serpents-and-deities-bearing-vessels-spouting-streams-water

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

Hieroglyph: kāṇḍə ‘water’ Wg. káṇṭä ʻ water -- channel ʼ, Woṭ. kaṇṭḗl f., Gaw. khāṇṭ*l, Bshk. kāṇḍə (CDIAL 2680). காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16)

khaṇḍa ‘implements (metal)’

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

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

Rebus readings of glyphs on text of inscription:

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

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

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

dula ‘pair’; rebus dul ‘cast (metal)’

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

The suggested rebus readings indicate that the Indus writing served the purpose of artisans/traders to create metalware, stoneware, mineral catalogs -- products with which they carried on their life-activities in an evolving Bronze Age.

Jasper Akkadian cylinder seal

Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

If the hieroglyph on the leftmost is moon, a possible rebus reading: قمر ḳamar

A قمر ḳamar, s.m. (9th) The moon. Sing. and Pl. See سپوږمي or سپوګمي (Pashto) Rebus: kamar 'blacksmith'.

kulā hooded snake Rebus: kolle 'blacksmith' kolhe 'smelters'

koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

kamar 'moon' Rebus: kamar 'blacksmith'

arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast, metal infusion'

lokANDa 'overflowing pot' Rebus: lokhaNDa 'metal implements, excellent

implements'

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

baTa 'six' Rebus: bhaTa 'furnace' PLUS meDh 'curl' Rebus: meD 'iron'

m0492Ct 2835 Pict-99: Person throwing a spear at a bison and placing one foot on the head of the bison; a hooded serpent at left.

Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss, kick with the foot, hit with the tail (Santali)

kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) •kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.lex.)•kol‘to kill’ (Ta.)•sal ‘bos gaurus’, bison; rebus: sal ‘workshop’ (Santali)me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali); meṛed (Mun.d.ari); meḍ (Ho.)(Santali.Bodding)

nAga 'serpent' Rebus: nAga 'lead'

Hieroglyph: rã̄go ʻ buffalo bull ʼ

Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.
paTa 'hood of serpent' Rebus: padanu 'sharpness of weapon' (Telugu)

Hieroglyph: kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻ spear ʼ EWA i 229]1. Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, °dī f. ʻ spike at the bottom of a stick ʼ, °diṛī, °dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ.
2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289)

Rebus: kuṇṭha munda (loha) 'hard iron (native metal)'

Allograph: कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi)

C-49 a,b,c

+ hieroglyph in the middle with covering lines around/dots in corners poLa 'zebu' rebus: poLa 'magnetite'; dhAv 'strand' rebus: dhAv 'smelter'; kulA 'hooded snake' rebus: kolle 'blacksmith' kol 'working in iron' kolhe 'smelter'; kolmo 'three' koD 'horn' rebus: kolimi 'smithy' koD 'workshop'. tri-dhAtu 'three strands, threefold' rebus: tri-dhAv 'three mineral ores'.

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Cylinder seal with a zebu, scorpion, man, snake and tree. Enstatite.H. 2.6 cm (1 in.); diam. 1.55 cm (5/8 in.). Mesopotamia, Ur, U. 16220. Late 3rd millennium BCE. British Museum. BM 122947

Gadd seal 6. (cut down into Ur III mausolea from Larsa level; U. 16220), enstatite; Legrain, 1951, No. 632; Collon, 1987, Fig. 611 Cylinder seal; BM 122947;humped bull stands before a palm-tree, a thorny stone(?), tabernae montana (five-petalled fragrant flower); snake; person with long legs; behind the bull a scorpion ... Deciphered Indus writing: pola 'zebu, bos indicus'; pola ‘magnetite ore’ (Munda. Asuri); bichi 'scorpion'; 'hematite ore'; tagaraka 'tabernae montana'; tagara 'tin'; ranga 'thorny'; Rebus: pewter, alloy of tin and antimony; kankar., kankur. = very tall and thin, large hands and feet; kankar dare = a high tree with few branches (Santali) Rebus: kanka, kanaka = gold (Samskritam); kan = copper (Tamil) nAga 'snake' nAga 'lead' (Samskritam).

Jiroft artifacts with Meluhha hieroglhyphs referencing dhokra kamar working with metals.

Dark grey steatite bowl carved in relief. Zebu or brahmani bull is shown with its hump back; a male figure with long hair and wearing akilt grasps two sinuous objects, representing running water, which flows in a continuous stream. Around the bowl, another similar male figure stands between two lionesses with their head turned back towards him; he grasps a serpent in each hand. A further scene (not shown) represents a prostrate bull which is being attacked by a vulture and a lion.

The zebu is reminiscent of Sarasvati Sindhu seals. The stone used, steatite, is familiar in Baluchistan and a number of vessels at the Royal Cemetery at Ur were made out of this material.

The bowl dates from c. 2700-2500 B.C. and the motif shown on it resembles that on a fragment of a green stone vase from one of the Sin Temples at Tell Asmar of almost the same date.

Khafajeh bowl; a man sitting, with his legs bent underneath, upon two zebu bulls. This evokes the proto-Elamite bull-man; the man holds in his hands streams of water and issurrounded by ears of corn. He has a crescent beside his head. On the other side of the bowl, a man is standing upon two lionesses and grasping two serpents.

Figure 11: a. mountains landscape and waers; (upper part) a man under an arch with sun and crescent moon symbols; (lower part) man seated on his heels holding zebus; b. man holding a snake; c. two men (drinking) and zebus, on a small cylindrical vessel; d. Head of woman protruding from jar, and snakes; 3. man falling from a tree to the trunk of which a zebu is tied; f. man with clas and bull-man playing with cheetahs, and a scorpion in the center (on a cylindrical vessel). http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-artifacts.

bica 'scorpion' rebus; bicha 'haematite, ferrite ore'

पोळा [ pōḷā ] rebus: पोळा [ pōḷā ] 'magnetite, Fe3O4'

khaṇḍa ‘implements (metal)’

Bhāratīya itihāsa, Indus Script hypertexts signify metalwork wealth-creation by Nāga-s in paṭṭaḍa ‘smithy’

https://tinyurl.com/ya6lsf5a

-- Location: capital Dhānyakaṭaka Amarāvati, the place of immortals

Early Satavahanas (220 B. C. E. to Second half of first century B. C. E.)

Thesis of this monograph is that Nāga-s signified by the Indus Script hieroglyph-hypertext फड, phaḍa 'cobra hood' were artisans in-charge of manufactories to produce wealth of the nation in paṭṭaḍa ‘smithy’ of the Bronze Age.

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

[quote] As province after province fell out of the empire of Ashoka and formed itself into a separate kingdom under some chief, a branch of the Satiyaputras who are mentioned in the Edicts of Ashoka took advantage of this opportunity and founded a kingdom in what was known as Maharashtra [Bakhle, 45.]. In the light of the information supplied by the Hathigumpha inscription of Kharevela and that at Nane Ghat, we get 220 B. C. E. as the approximate year in which Simuka founded the dynasty of the Satavahanas [Bakhle, 48; Sir R. Bhandarkar and D. R. Bhandarkar, however, advocate 75 B. C. E. as the date of the rise of their dynasty.]. The independent State of Satiputra army was situated along the western ghats and the konkan coast below [Sir R. Bhandarkar c/f Bakhle, 51.]. Their territory extended from sea to sea [Chitgupi, 28.].

Satakarni was probably contemporary with Pushyamitra and the performance of the Ashvamedha sacrifice recorded in the Nane Ghat inscription can be explained by supposing that he was the actual conqueror of Ujjain [Bakhle, 53.]. The sacrifices and fees paid to the Brahmans testify eloquently to the wealth of his realm and his Ashvamedha sacrifice bespeaks his sarvabhaumatva. But after Kuntala, the Satavahanas were forced to take refuge in Southern Maharashtra.

In this work of conquests, the Satavahanas were helped by the Rathikas and Bhojas who were duly rewarded with offices, titles and matrimonial alliances [Nilkanta Sastri, History of South India, 88.] [unquote]

http://ratnagiri.nic.in/gazetter/gom/his_satavahanas.html

http://dsal.uchicago.edu/reference/schwartzberg/fullscreen.html?object=057

The sculptural friezes of Amaravati are replete with a recurrent theme of adoration of
Nāga-s.

Nāga-s worshipped the Atharva Veda fiery pillar of light (AV X.7), worshipped in kole.l 'smithy,forge' calling it kole.l 'temple. Nāga-s venerated Dhamma as exemplified by Indus Script hypertexts.

See: Dream of Mahā Māyā and itihāsa of Amaravati, Sanchi, Bharhut lohapasada, celestial palaces of divinities, Great Thupa-s https://tinyurl.com/y8k6egn8

Bronze Age metalwork to create the wealth of the nation

Sculptural Frieze 1, Amaravati

Sculptural Frieze 2, Amaravati

The two sculptural friezes 1 and 2 show artisans carrying a threaded-rope and the entire scene emerges out of the snout of a makara. On frieze 1, the purnakumbha signifying wealth is kept on top of a base signified by the 'srivatsa' hypertext which reads: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, the hypertext message is: dul aya kammaṭa 'cast metal mint'. The threaded-rope is a hypertext which signifies: 1. dāmanī दामनी A foot-rope. dāmā दामा A string, cord. धामन् dhāman A fetter. dāˊman1 ʻropeʼ

R̥gveda rebus: 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). 2. mēḍhā 'twist' rebus med 'iron' med 'copper' (Slavic) mēḍhā 'yajña, dhanam, nidhi'. makara 'composite animal of crocodile PLUS elephant': karabha,ibha 'elephant' rebus: karba, ib 'iron' PLUS karā 'crocodile' rebus: khār 'blacksmith'.PLUS dhmakara, dhamaka 'forge-blower, blacksmith'.

The message of the two friezes is thus an itihāsa narrative of wealth-production by metal smelters and artisans of Amaravati and related heritage sites during the Bronze Age.

कटक [p= 243,3] m. (Comm. on Un2. ii , 32 and v , 35) a twist of straw , a straw mat Comm. on Ka1tyS3r.

कटक is also the name of the capital of Orissa. The two friezes affirm the name of Amaravati as Dhānyakaṭaka by showing artisans carrying a threaded rope of straw the source of dhanam, wealth and hence, the name Dhānyakaṭaka, 'wealth from the twist of straw' which is a metaphor for dul aya kammaṭa, 'cast metal mint' work producing wealth.

Nāga-s were a फड, phaḍa, metalwork artisan-architect guild. That they were a फड, phaḍa is signified by the Indus Script hypertext:फड, phaḍa 'hood of cobra' rebus: फड, phaḍa 'guild in charge of manufactory

(a plant where something is manufactured),arsenal (collection of weapons and military equipment)'. That Nāga-s were working in a metal casting mint is signified by the hypertext of 'Śrivatsa' and other Indus Script hieroglyphs. This identification of the manufactory of Dhānyakaṭaka, the capital city of the region, is elaborated in this monograph, in the context of Bhāratīya Itihāsa of Nāga-s.
.

The hypertexts are:

ayo kammaṭa dvāra, 'entrance mint workshop'
paṭṭaḍi 'metal anvil workshop'.

Hieroglyph: फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c  स्फट [p= 1269,3] m. a snake's expanded hood L. phaṭa n. ʻ expanded hood of snake ʼ MBh. 2. phēṭṭa -- 2. [Cf. phuṭa* -- m., °ṭā -- f., sphuṭa -- m. lex., °ṭā -- f. Pañcat. (Pk. phuḍā -- f.), sphaṭa -- m., °ṭā -- f., sphōṭā -- f. lex. andphaṇa -- 1. Conn. words in Drav. T. Burrow BSOAS xii 386] 1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, °ḍā -- f., M. phaḍā m., °ḍī f. 2. A. pheṭ, phẽṭ. (CDIAL 9040) పటము (p. 695) paṭamu paṭamu. [Skt.] n. A cloth, వస్త్రము. A picture. గెరిపటము a paper kite, పతంగి. The hood of a serpent, (See hoods of cobra adorning the worshipping naga-s).

Ta. patam cobra'shood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45. (DEDR 47)

Rebus: Factory, guild: फड (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain).  फडनीस (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस.(Marathi) பட்டரை¹ paṭṭarai , n. See பட்டறை¹. (C. G. 95.) பட்டறை¹ paṭṭaṟai , n. < பட்டடை¹. 1. See பட்டடை, 1, 3, 5, 7, 8, 12, 14. 2. Machine; யந்திரம். 3. Rice-hulling machine; நெல்லுக் குத்தும் யந்திரம். Mod. 4. Factory; தொழிற்சாலை. Mod. 5. Beam of a house; வீட்டின் உத்திரம். 6. Wall of the required height from the flooring of a house; வீட்டின் தளத்திலிருந்து எழுப்ப வேண்டும் அளவில் எழுப்பிய சுவர். வீடுகளுக்குப் பட்டறை மட்டம் ஒன்பதடி உயரத்துக்குக் குறை யாமல் (சர்வா. சிற். 48). பட்டறை² paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனக்கூட்டம். 2. Guild, as of workmen; தொழிலாளர் சமுதாயம். (Tamil)

పట్టడ (p. 696) paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు.

పటసాల (p. 695) paṭasāla paṭa-sāla. [Tel.] n. A hall or courtyard. பட்டகசாலை paṭṭaka-cālai , n. < T. paṭa- šāla. [K. paṭṭasāle.] 1. Central or principal hall in a house; கூடம். Loc.

See:

Indus Script hypertexts ayo kammaṭa dvāra, 'entrance mint workshop' (Mahāvamsa); paṭṭaḍi 'metal anvil workshop'

https://tinyurl.com/y94jt7ah

Cholas & Nāga-s. Nāga-s created the Dhānyakaṭaka, Amarāvati monument, the place for immortals

"Historically, relations between the early Chola dynasty and the Naga dynastyof Tamilakam became well established. Royals by the name Chora-Naga, Ila Naga, Cula Naga and Kunjja Naga ruled the island of Eelam (Ceylon) between 62 BCE - 196 CE. During this period, Tondai Nadu, the homeland of the Pallavas was inhabited by the Kurumbar or Aruvar/Aruvalar people (Tamil: Aruval = people with bill-hook/ Telugu name for Tamil people), one of several Tamil Naga tribes that the Kaliththokai describes as having migrated to mainland Tamilakam during the Sangam period. Ptolemy mentions the coasts of the Cholas (Soringoi) of Chola Nadu and the Aruvar (Arouarnoi) of Aruva Nadu, writing that "Orthoura" was a royal city of Soretai ruled by Sornagos, and Malanga ruled by Basaranagos of the latter. Historians have conjectured that Orthoura refers to the early Chola capital of Uraiyur while Malanga refers to Mavilanka, near Kanchipuram. "Orthoura" may refer to the northeastern Jaffna Tamil port town Uduthurai, where an early copper coin discovered carries the name Naka bumi in Tamil Brahmi, referring to the Naka Dynasty of Naka Nadu. Manimekhalai of the Sangam literature corpus describes the liaison of Princess Pilli Valai of Nāka Nadu with King Killivalavan of Chola Nadu at Nainativu; out of which union was born Prince Tondai Ilandiraiyan(Thiraiyar/sea farer of Eelam), corroborating tradition that the Pallavas were an off-shoot or branch of the Cholas and that their formation began from an ancient Chola-Nāka alliance. The Velurpalaiyam plates, dated to 852 CE credits the Naga liaison episode, and creation of the Pallava line, to a king named Virakurcha, son of Chutapallava, while preserving its legitimizing significance:^[Michael D Rabe. (1997). The Māmallapuram Praśasti: A Panegyric in Figures, Artibus Asiae, Vol. 57, No. 3/4 (1997), pp. 189-241.^]

..from him (Aśvatthāman) in order (came) Pallava, the lord of the whole earth, whose fame was bewildering. Thence, came into existence the race of Pallavas... [including the son of Chūtapallava] Vīrakūrcha, of celebrated name, who simultaneously with (the hand of) the daughter of the chief of serpents grasped also the complete insignia of royalty and became famous.

The earliest Tamil literature which throws light on a region associated with the Pallavas is the Akananuru, which locates the elder Tiriyan in Gudur, Nellore district, with a kingdom extending to Tirupati or Thiruvengadam. This Tiriayan is called the elder in order to distinguish him from the younger Tiraiyan whose capital was Kanchipuram.Perumpāṇāṟṟuppaṭai 29-30, 454] The Sangam work, Perumbanarruppatai, traces the line of the younger Tiriyan (aka Ilam Tiriyan) to the Solar dynasty of Ikshvakus, while the later Tamil commentators identify him as the illegitimate child of a Chola king and a Naga princess.[KR Subramanian. (1989). Buddhist remains in Āndhra and the history of Āndhra between 224 & 610 A.D, p.72].

Historically, early relations between the Nagas and Pallavas became well established.[KR Subramanian. (1989). Buddhist remains in Āndhra and the history of Āndhra between 224 & 610 A.D, p.71]."

http://dictionnaire.sensagent.leparisien.fr/Pallava_dynasty/en-en/

Amaravati Drum Slabs: Nagas

Although the pictures below show only a portion of each drawing, they lead into pop-up images of entire drawings. Detailed scans of each folio can be accessed through the links, but will take some time to download.
The central decoration of these drum slabs is a multi-headed serpent.
Drawing of a drum slab measuring 4ft.8in. by 2ft.8in.[WD1061, folio 18]
Copyright © The British Library Board

Inscribed: H.H. September 1816.
Location of Sculpture: Unknown.
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Drawing of a drum slab measuring 4ft.5in. by 3ft.0.9in. [WD1061, folio 20]
Copyright © The British Library Board

Inscribed:Tope slab. 25th Sept'r 1816. M.BLocation of Sculpture: Unknown.
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Drawing of a drum slab measuring 5ft.5in. by 2ft.9in. [WD1061, folio 23].
Copyright © The British Library Board

Inscribed:H.H. 15th October 1816.
Location of Sculpture: Unknown.
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Drawing of a drum slab measuring 4ft.6in. by 3ft.2in. [WD1061, folio 32]
Copyright © The British Library Board

Inscribed: Inner Circle S.W. No.7. 27th October 1816.
Location of Sculpture: Unknown.
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Drawing of a drum slab measuring 4ft.9in. by 3ft. [WD1061, folio 35]
Copyright © The British Library BoardInscribed: Inner circle S.W. side. No.8. 15th Nov'r. 1816. T.A. & M.B.
Location of Sculpture: Unknown.
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Drawing of a drum slab measuring 4.5ft. by 3ft. [WD1061, folio 46]
Copyright © The British Library Board

Inscribed: Sculpture at Amrawutty. Resembles No. 7. March 5th 1816.
Location of Sculpture: The British Museum. See Knox (1992) catalogue number 74; Barrett (1954) catalogue number 93; BM81.
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Drawing of a rectangular slab with two scenes showing four standing figures with a horse above and Naga king with four Naga women below. [WD1061, folio 31]
Copyright © The British Library Board

Inscribed: 6ft. by 3ft.l0in. Loose stone lying on the south side. H.H. 25th October 1816.
Location of Sculpture: The British Museum. Knox (1992) catalogue number 102; Barrett (1954) catalogue number 72; BM53.
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http://www.bl.uk/onlinegallery/features/amaravati/twoframe.html

These two sculptural friezes demonstrate the venerate of Skambha of Atharva Veda

Spoked-wheel of Dharma. Amaravati. Around the circumference, the embellishments are 'srivatsa' hieroglyphs which signify, āra ayo kammaṭa 'brass metal mint'.

Hieroglyphs of 'Śrivatsa' hypertext: fish-fin, tied together, spathe, lotus
The classifier is the cobra hood hieroglyph/hypertext: फडा phaḍā f (फटा S) The hood of Coluber Nága Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE). śrivatsa symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa glyph, emphasizing the association of the ‘fish’ glyph with śrivatsa glyph.

(After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77).

Bharhut gateway, Gateway model in ivory of Begram, Sanchi gateway (all three adorned with
ayo kammaṭa )
Stupa-1 North Torana, East pillar showing Triratna motif. Sanchi, Dist Raisen, Madhya Pradesh India
Sailendra Nath Sen derives the name Satavahana from name from the Munda words Sadam ("horse") and Harpan ("son"), implying "son of the performer of a horse sacrifice".(Sailendra Nath Sen (1999). Ancient Indian History and Civilization,. New Age International,pp.172-176) "An inscription found at Naneghat was issued by Nayanika (or Naganika), the widow of Satakarni I; another inscription found at Naneghat has been dated to the same period on paleographic basis. A slightly later inscription dated to the reign of Satakarni II has been found at Sanchi in Madhya Pradesh, located to the north of Maharashtra." Satakarni is a name derived from Munda sada 'horse' and kon 'son'. "A stupa in Kanaganahalli village of Karnataka, dated between first century BCE and first century CE, features limestone panels depicting portraits of Chimuka (Simuka), Satakani (Satakarni) and other Satavahana rulers."(Akira Shimada (9 November 2012). Early Buddhist Architecture in Context. BRILL., p.45).
Coin-based evidence suggests that Simuka's reign ended sometime before 120 BCE.
https://en.wikipedia.org/wiki/Satavahana_dynasty
ayo khambhaṛā 'fish-fin' rebus: ayo kammaṭa 'alloy metals mint, coiner, coinage'.