-- पोतदार pōtadāra 'village-silversmith', assayer of metal, pōtṛ पोतृ 'purifier priest' पोतः pōta 'ship'पोतः -वणिज् 'sea-faring merchant' as IndusScript hypertexts
-- Inheritors of R̥gveda tradition of pōtṛ पोतृ 'purifier priest'
Reports on Field work carried out at Mohenjo-daro Interim Reports Vol.2, Pakistan 1983-84 by IsMEO-Aachen-University Mission edited by M. Jansen and G. Urban
A vase from Bactria shows a narrative of farmers working on an agricultural farm using 'unicorns' and of groups of priests. I submit that these are signifiers of continuing traditions of R̥gveda times which date back to 7th millennium BCE, attested by the circular dwellings in Bhirrana and Kunal.
Circular Vedic dwellings, Kunal.
Circular Vedic dwellings, Bhirrana
Vedic house (a reconstruction), cf. RenouNarratives of 'unicorns' or 'young bulls' used in ploughing, are significant to signify rebus: kunda singi'fine gold, ornament gold'.
पोत्रम् pōtram 'plougshare' and pōtṛ पोतृ 'purifier priest' are signified by the narratives. One rebus reading includes 1. पोतः pōta 'ship'पोतः -वणिज् 'sea-faring merchant'; 2. पोतदार pōtadāra 'village-silversmith', assayer of metal.
Rebus -dāra in पोतदार pōtadāra 'village-silversmith', assayer of metal is signified by the string. String to hold the fillet on the forehead and right arm: Ta. tār, tāram cord, rope. To. to·rm (obl. to·rt-) one string of bead necklace with several strands, one thread of skein hanging from woman's armlet. Ka. dāra string, thread. Tu. dāra id. Te. dāramu id., cord, twine. / ? < IA. Cf. Pkt. (DNM; Norman) dāra- waist-band, girdle; cf. also Skt. davara(ka)- string, Turner, CDIAL, no. 6225. (DEDR 3167 davara m. ʻ string ʼ Kalpas., ˚aka -- Jain., dōraka -- m. ʻ leather strap ʼ KātyŚr.com., ḍōra -- , ˚aka -- m.n. BhavP.
Pk. davara -- m., ˚riyā -- , dōra -- m., ˚rī -- f., ḍōra -- m. ʻ thread, string, mat fibre ʼ; Gy. eur. dori f. ʻ string, rope, girdle ʼ; K. ḍora m. ʻ cord ʼ, ḍūrü f. ʻ string ʼ; S. ḍ̠oro m. ʻ kite string ʼ, ḍ̠ori f. ʻ twine ʼ, ḍ̠orī f. ʻ string for drawing water ʼ; L. ḍor f. ʻ cotton rope ʼ, ḍorā m. ʻ string ʼ, P. ḍor f., ḍorā m., ˚rī f.; WPah.cur. ḍorā ʻ rope ʼ, bhal. ḍoro m. ʻ black woollen girdle ʼ, ḍori f. ʻ fillet in a woman's hair ʼ; Ku. ḍor, ˚ro, ˚rī ʻ string ʼ; N. ḍoro ʻ thread, line, path ʼ, ḍori ʻ rope, tether ʼ (whence ḍoryāunu ʻ to lead ʼ); A. ḍol, ḍor ʻ string ʼ, ḍorā ʻ strip of cloth ʼ, ḍuri ʻ cord on a seam ʼ; B. ḍor, ḍuri ʻ string, thread ʼ, Or. ḍora, ˚ri; Bi. ḍor, ˚rī ʻ rope ʼ; Mth. ḍor, ˚rī ʻ string, lace ʼ; Bhoj. ḍorā ʻ thread ʼ, ḍori ʻ rope ʼ; Aw.lakh. ḍorā ʻ threads ʼ; H. dor, daur m. ʻ strings for slinging irrigation -- basket ʼ, dorī, daurī ʻ rope to which a string of cattle are fastened (as bullocks when threshing) ʼ, ḍor, ˚rī f., ˚rā m. ʻ thread, string ʼ (whence ḍuriyānā ʻ to lead with a rope ʼ); G. dor m., ˚rɔ m., ˚rī f. ʻ string, rope ʼ, M. dor m., ˚rā m., ˚rī f., Ko. dorī, ḍo˚.
Addenda: davara -- [da -- reduced grade of √dā 2 ʻ bind ʼ Burrow Shwa 42]
S.kcch. ḍorī f. ʻ string ʼ; WPah.kṭg. ḍōr m. ʻ rope ʼ, ḍoru m. ʻ string ʼ, A. ḍol (phonet. d -- ) also ʻ rope ʼ AFD 207. -- Deriv. S.kcch. ḍorṇū ʻ to draw a line, mark ʼ; G. dorvũ AKŚ 42.(CDIAL 6225)
I suggest that the 'unicorns' are the same 'unicorn' shown on thousands of Indus Script Corpora of inscriptions and that the priests are Potr̥ 'purifier' priests of R̥gveda. Rebus readings are:
Rebus -dāra in पोतदार pōtadāra 'village-silversmith', assayer of metal is signified by the string. String to hold the fillet on the forehead and right arm: Ta. tār, tāram cord, rope. To. to·rm (obl. to·rt-) one string of bead necklace with several strands, one thread of skein hanging from woman's armlet. Ka. dāra string, thread. Tu. dāra id. Te. dāramu id., cord, twine. / ? < IA. Cf. Pkt. (DNM; Norman) dāra- waist-band, girdle; cf. also Skt. davara(ka)- string, Turner, CDIAL, no. 6225. (DEDR 3167 davara m. ʻ string ʼ Kalpas., ˚aka -- Jain., dōraka -- m. ʻ leather strap ʼ KātyŚr.com., ḍōra -- , ˚aka -- m.n. BhavP.
Pk. davara -- m., ˚riyā -- , dōra -- m., ˚rī -- f., ḍōra -- m. ʻ thread, string, mat fibre ʼ; Gy. eur. dori f. ʻ string, rope, girdle ʼ; K. ḍora m. ʻ cord ʼ, ḍūr
Addenda: davara -- [da -- reduced grade of √
S.kcch. ḍorī f. ʻ string ʼ; WPah.kṭg. ḍōr m. ʻ rope ʼ, ḍoru m. ʻ string ʼ, A. ḍol (phonet. d -- ) also ʻ rope ʼ AFD 207. -- Deriv. S.kcch. ḍorṇū ʻ to draw a line, mark ʼ; G. dorvũ AKŚ 42.(CDIAL 6225)
I suggest that the 'unicorns' are the same 'unicorn' shown on thousands of Indus Script Corpora of inscriptions and that the priests are Potr̥ 'purifier' priests of R̥gveda. Rebus readings are:
1. खोंड khōṇḍa 'A young bull, a bullcalf'; rebus 1: kunda, kundaṇa, 'fine gold' (Kannada); konda 'furnace, fire-altar' kō̃da कोँद 'furnace for smelting'; rebus 2: singhin 'spiny-horned', thus, together, kunda singi 'fine gold, ornament gold'
A. Vase from Oxus civilization (BMAC) depicting figures similar to the Harappan 'priest king' sculpture, dated to 2300-1900 BCE with Sketch of the same. The men in top row are seated like this Harappan sculpture (B.) & dressed like this Harappan 'priest king' (C.).Harappan and Oxus civilization had close connections, many Indian objects were exported to Oxus civilization. We can even imagine a common culture, where BMAC was ''proto-Avestan'' related .Source: https://tinyurl.com/y9lj2f8n
A vase from Bactria with men dressed as the Seated Man (L950) and possibly the Priest-King (After Aerdeleanu-Jansen 1991) cited in: Gregory L. Possehl, 2002, The Indus Civilization: A contemporary perspective, Rowman Altamira, p. 116.
Vijay Prahlad writes: Also note the oxen, they look like the “unicorns” on the Sindhu-Saraswati seals! Maybe the unicorns were indeed Oxen too?
तवाग्ने होत्रं तव पोत्रमृत्वियं तव नेष्ट्रं त्वमग्निदृतायतः ।
तव प्रशास्त्रं त्वमध्वरीयसि ब्रह्मा चासि गृहपतिश्च नो दमे ॥२॥ RV 2.1.2
With tonal markers:
Thine is the Herald's task and Cleanser's duly timed; Leader art thou, and Kindler for the pious man.
Thou art Director, thou the ministering Priest: thou art the Brahman, Lord and Master in our home.
— Rigveda 2.1.2 (Griffith translation)
RV 2.1.2 Yours Agni, is the office of the Hota_, of the Pota_, of the R.tvij, of the Nes.t.a_; you are the Agni_dhra of the devout; yours is the functionof the Pras'a_sta_; you are the Adhvaryu (adhvaryu radhvarayur adhvaram ka_mayata iti va_ (Nirukta 1.8) and the Brahma_; and the householder in our dwelling. [Hota_ etc.: these are the eight of the sixteen priests employed at very solemn ceremonies; the duty of the Pras'a_sta_ is ascribed to the Maitra_varun.a, and Brahma_ is identified with the Bra_hman.a_ccahm.si; Kulluka Bhat.t.a, in his commentary on Manu viii.210 enumerates sixteen priests, in the order and proportion in which they are entitled to share in a daks.in.a_ of a hundred cows, being arranged in four classes, of which the first four are severally the heads, and others subordinate to them, in the same course of succession: 1. Hota_, Adhvaryu, Udgata_ and Brahma_, are to have twelve each, or forty-eight in all; 2. Maitra_varun.a, Pratistota_, Bra_hman.a_ccam.si and Prastota_, six each, or twenty-four; 3. Accava_ka, Nes.t.a_, A_gni_dhra and Pratiharta_ four each, or sixteen; and 4. Gra_vadut, Neta_, Pota_ and Subrahman.ya, three each, or twelve in all; making up the total of one hundred. Thus, the percentages for the four groups are: 48, 24, 16, 12 respectively. Ra_mana_tha, in his commentary on the Amarakos'a, viii.17 gives the names of 16 priests, but with a few variations: Gra_vastut replaces Gra_vadut; Prastota_, Neta_ and Pota_ are replaced with Prastha_ta_, Pras'a_sta_ and Balaccadaka. In the Aitareya Bra_hman.a vii.1, the sixteen priests are enumerated with some variations: Pratistota_, Gra_vadut, Neta_ and Subrahman.ya are replaced with Pratiprasthata_, Upaga_ta_, A_treya and Sadasya. Other priests included in this list are: Gra_vastut, Unneta_, Subrahman.ya and the S'amita_ (immolator), when a Bra_hman.a. Ma_dhava's commentary on the Nya_ya-ma_la-Vista_ra of Jaimini, the list of 16 priests, following Kuma_rila Bhat.t.a includes: 1. Adhvaryu, Prati-prastha_ta_, Nes.t.a_, Unneta_ (ceremonial of the Yajurveda); 2. Brahma_, Bra_hman.a_ccam.si, A_gni_dh, Pota_ (superintend the whole according to the ritual of the three vedas); 3. Udga_ta_, Prastota_, Pratiharta_, Subrahman.ya (chant the hymns, especially, Sa_maveda); 4. Hota_, Maitra_varun.a, Acchava_ka, Gra_vastut (repeat the hymns of the R.ca_); the head of each class receives the entire daks.in.a_,or gratuity; the second, one-half; the third, one-third; and the fourth, a quarter]. (Wilson translation)
Enumerated priests in RV 2.1.2 are: hotṛ, potṛ, neṣṭṛ, agnīdh, prashāstṛ (meaning the maitrāvaruna) and adhvaryu.
- The hotṛ was the reciter of invocations and litanies. These could consist of single verses (ṛca), strophes (triples called tṛca or pairs called pragātha), or entire hymns (sukta), drawn from the ṛgveda. As each phase of the ritual required an invocation, the hotṛ had a leading or presiding role.[citation needed]
- The adhvaryu was in charge of the physical details of the sacrifice (in particular the adhvara, a term for the Somayajna). According to Monier-Williams, the adhvaryu "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," among other duties. Each action was accompanied by supplicative or benedictive formulas (yajus), drawn from the yajurveda. Over time, the role of the adhvaryu grew in importance, and many verses of the ṛgveda were incorporated, either intact or adapted, into the texts of the yajurveda.
- The udgātṛ was a chanter of hymns set to melodies (sāman) drawn from the sāmaveda. This was a specialized role in the major soma sacrifices: a characteristic function of the udgātṛ was to sing hymns in praise of the invigorating properties of soma pavamāna, the freshly pressed juice of the soma plant.
- The brahman was the reciter of hymns from the atharvaveda who was largely silent and observes the procedures and uses Atharvaveda mantras to 'heal' it when mistakes have been made.
The rgvedic Brahmanas, Aitareya and Kausitaki, specify seven hotrakas to recite shastras (litanies): hotṛ, brāhmanācchamsin, maitrāvaruna, potṛ, neṣṭṛ, agnīdh and acchāvāka.
The assistants are classified into four groups associated with each of the four chief priests:
- With the hotṛ:
- the maitrāvaruna
- the acchāvāka
- the grāvastut (praising the Soma stones)
- With the udgātṛ:
- the prastotṛ (who chants the Prastâva)
- the pratihartṛ ("averter")
- the subrahmanya
- With the adhvaryu:
- the pratiprasthātṛ
- the neṣṭṛ
- the unnetṛ (who pours the Soma juice into the receptacles )
- With the brahman:
- the brāhmanācchamsin
- the agnīdh (priest who kindles the sacred fire)
- the potṛ ("purifier")
पोतृ 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.
ऋत्विज् ṛtvij ऋत्विज् a. Ved. Sacrificing at the proper season or regularly; -m. A priest who officiates at a sacrifice; यज्ञस्य देवमृत्विजम् Rv.1.1.1; ऋत्विग्यज्ञकृदुच्यते Y.1.35; cf. Ms.2.143 also; the four chief Ṛitvijas are होतृ, उद्गातृ, अध्वर्यु and ब्रह्मन्; at grand ceremonies 16 are enumerated. Each of the four principal priests, होतृ, अध्वर्यु, उद्गातृ and ब्रह्मन् has three assistants, the total number of priests employed at Soma sacrifices being therefore 16 (Apte) One of the sixteen priests is pōtṛ पोतृ 'purifier' who is cognate with पोतदार pōtadāra 'village-silversmith', assayer of metal.
पोतृ pōtṛ पोतृ m. 1 One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्). -2 An epithet of Viṣṇu. पोतन pōtana पोतन a. 1 Sacred, holy. -2 Purifying.
पोत्रम् pōtram पोत्रम् [पू-त्र] 1 The snout of a hog; धृतविधुरधरं महावराहं गिरिगुरुपोत्रमपीहितैर्जयन्तम् Bk.1.6; Ki.13.53. -2 A boat, ship. -3 A plough share. -4 The thunderbolt. -5 A garment. -6 The office of the Potṛi. -Comp. -आयुधः a hog, boar.
पोतः pōtḥ पोतः [पू-तन्; Uṇ.3.86] 1 The young of any animal, cub, colt, foal &c.; पिब स्तन्यं पोत Bv.1.6; मृगपोतः; शार्दूल˚ Mu.2.8; करिपोतः &c; वीरपोतः a young warrior; कोप्ययं वीरपोतः U.5.3. -2 An elephant ten years old. -3 A ship, raft, boat; पोतो दुस्तरवारिराशितरणे H.2.124; नभस्वता प्रतीपेन भग्नपोता इवार्णवे Śiva B.22.11; हा विपद्- वारिनिधिपतितजनोद्धरणपोत Nāg.5. -4 A garment, cloth. -5 The young shoot of a plant. -6 The site or founda- tion of a house. -7 A foetus having no enveloping membrane. -Comp. -आच्छादनम् a tent. -आधानम् a shoal of small fish. -धारिन् m. the master of a vessel. -प्लवः a mariner, seaman. -भङ्गः a ship-wreck. -रक्षः the rudder of a boat or ship. -वणिज् m. a sea-faring merchant; धत्ते पोतवणिग्जनैर्धनदतां यस्यान्तिके सागरः Śiva B. 29.89. -वाहः a rower, steersman.
After figure 6.8. A vase from Bactria with men dressed as the Seated Man (L950) and possibly the Priest-King (After Aerdeleanu-Jnsen 1991). “Ardeleanu-Jansen’s Reconstruction. Ardeleanu-Jansen has created an interesting reconstruction of the priest-king as a statue of a seated man, with his left raised and bent at the knee (figure 6.7). This is a posture assumed by other statuary found at Mohenjo-daro one of which I have named the ‘Seated Man’, another, the ‘Sad Man’, as well as figure from Bactria (figure 6.8)Parpola’s thoughts. A. Parpola attempts to demonstrate that the robe of the priest-king is something called the tarpya, found in Vedic ritual and said to be the garment of the divine king Varuna. Parpola postulates that this statue is a representation of a seated deity, which had an elaborate headdress of the type he proposes is found on the Mahayogi seal…The man from DK-B (DK-B-1057) One of the finds from DK-B Area at Mohenjo-daro is a brown limestone bust of a male. It comes from Block 5, Room 20 of DK-B and was found 0.96 meters below ground surface in a late level of the site. The bust was cleanly broken at the neck and is not severely weathered, although the nose is defaced. It is 14.5 centimeters high. The expression is not scowling. The chin is short, comparing well with the Bearded Man from HR Area and the Stern Man of L Area, but not with the priest-king. The face has no beard, but the hair is depicted with the herringbone pattern that suggests a wavy quality, like that of the Bearded Man from HR Area. The hair was placed in a bun at the back of the head and held in place by a fillet. This was either tied in a bow or used in conjunction with a barrette, or possibly two pins. There are no bands extending down from the fillet on the back of the head. The ears are prominent and simple C shapes, much like the other sculpture from Mohenjo-daro, comparing well with the priest-king. The eyes are ovate, somewhat narrower than those of the Bearded Man from HR Area, but much wider than the priest-king’s. The Bearded Man from HR Area (HR-910). In 1925-1926 a well-preserved limestone head was found by Hargreaves in a House I of HR-A Area, a large building just off Deadman Lane (figure 6.5). The head was 2 meters below ground surface I a Late Period context. The building is an interesting structure, unconventional in plan: it had been suggested that was a temple. HR-910 was one of two human sculptures found in this building, the second was found in pieces (HR 163/193/226) and was called the Sad Man of HR-1. HR-910 is a well-preserved piece that has been fully described by Mackay. It survives to 17.5 centimeters high and has no trace of color or other finish. Some of its features contrast with those of the priest-king. The mass of this head is almost as big as the entire priest-king, as it survives today. An attempt had been made to represent wavy hair, and is quite striking. Clearly seen on the left side of the sculpture, the hair was long and had been arranged in a bun at the back of the head and held in place with a string fillet and a small hairpin with a round top. The priest-king had short-cropped straight hair, not held in a bun. The head has a short beard, and the upper lip seems definitely to have been shaved. The mouth is held in a slight smile; the lips, which are not full, are slightly pursed. The nose is of medium size, not broken. This man’s ears are also portrayed in a very simple way, being almost closed ovals, rather than the more usual C. The almond-shaped eyes, originally provided with inlay, are in distinct contrast to the heavily lidded eyes of the priest-king. HR-910 is more life-like than the priest-king, less formal; and the overall sense of this head is oe of attempted portraiture. The Seated Man (L-950). A headless seated male statue made of gray alabaster was found by Mackay I L Area on the southern half of the Mound of the Great Bath. It has been attributed to the Late Period (figure 6.5) The seated figure survived in 29.2 centimeters in height. Based on the thickness of the clothing around the waist, Mackay hypothesized that he was wearing a thick kilt-like garment, which was covered by a thinner garment or shawl that went over the left-shoulder and under the right-arm, just as with the priest-king. The left arm is at the outer side of the left leg, which is raised and bent at the knee. The right hand rests on the right knee. The hands are crudely and ineptly rendered. A ‘rope’; o hair hangs down the back, symmetrically to the right. ‘A squarish projection at the back of the head is evidently intended to represent a knot of hair. It is, however, unfinished...” (Gregory L. Possehl, 2002, The Indus Civilization: A contemporary perspective, Rowman Altamira, pp.115- 116. )
पोतदार, is one of the 16 बलुतेदार or village public servants:
बलुतेदार or बलुता balutēdāra or balutā or त्या m (बलुतें &c.) A public servant of a village entitled to बलुतें. There are twelve distinct from the regular Governmentofficers पाटील, कुळकरणी &c.; viz. सुतार, लोहार, महार, मांग (These four constitute पहिली or थोरली कास or वळ the first division. Of three of them each is entitled to चार पाचुंदे, twenty bundles of Holcus or the thrashed corn, and the महार to आठ पाचुंदे); कुंभार, चाम्हार, परीट, न्हावी constitute दुसरी or मधली कास or वळ, and are entitled, each, to तीन पाचुंदे; भट, मुलाणा, गुरव, कोळी form तिसरी or धाकटी कास or वळ, and have, each, दोन पाचुंदे. Likewise there are twelve अलुते or supernumerary public claimants, viz. तेली, तांबोळी, साळी, माळी, जंगम, कळवांत, डवऱ्या, ठाकर, घडशी, तराळ, सोनार, चौगुला. Of these the allowance of corn is not settled. The learner must be prepared to meet with other enumerations of the बलुतेदार (e. g. पाटील, कुळ- करणी, चौधरी, पोतदार, देशपांड्या, न्हावी, परीट, गुरव, सुतार, कुंभार, वेसकर, जोशी; also सुतार, लोहार, चाम्हार, कुंभार as constituting the first-class and claiming the largest division of बलुतें; next न्हावी, परीट, कोळी, गुरव as constituting the middle class and claiming a subdivision of बलुतें; lastly, भट, मुलाणा, सोनार, मांग; and, in the Konkan̤, yet another list); and with other accounts of the assignments of corn; for this and many similar matters, originally determined diversely, have undergone the usual influence of time, place, and ignorance. Of the बलुतेदार in the Indápúr pergunnah the list and description stands thus:--First class, सुतार, लोहार, चाम्हार, महार; Second, परीट, कुंभार, न्हावी, मांग; Third, सोनार, मुलाणा, गुरव, जोशी, कोळी, रामोशी; in all fourteen, but in no one village are the whole fourteen to be found or traced. In the Panḍharpúr districts the order is:--पहिली or थोरली वळ (1st class); महार, सुतार, लोहार, चाम्हार, दुसरी or मधली वळ (2nd class); परीट, कुंभार, न्हावी, मांग, तिसरी or धाकटी वळ (3rd class); कुळकरणी, जोशी, गुरव, पोतदार; twelve बलुते and of अलुते there are eighteen. According to Grant Duff, the बलतेदार are सुतार, लोहार, चाम्हार, मांग, कुंभार, न्हावी, परीट, गुरव, जोशी, भाट, मुलाणा; and the अलुते are सोनार, जंगम, शिंपी, कोळी, तराळ or वेसकर, माळी, डवऱ्यागोसावी, घडशी, रामोशी, तेली, तांबोळी, गोंधळी. In many villages of Northern Dakhan̤ the महार receives the बलुतें of the first, second, and third classes; and, consequently, besides the महार, there are but nine बलुतेदार. The following are the only अलुतेदार or नारू now to be found;--सोनार, मांग, शिंपी, भट गोंधळी, कोर- गू, कोतवाल, तराळ, but of the अलुतेदार & बलुते- दार there is much confused intermixture, the अलुतेदार of one district being the बलुतेदार of another, and vice versâ. (The word कास used above, in पहिली कास, मध्यम कास, तिसरी कास requires explanation. It means Udder; and, as the बलुतेदार are, in the phraseology of endearment or fondling, termed वासरें (calves), their allotments or divisions are figured by successive bodies of calves drawing at the कास or under of the गांव under the figure of a गाय or cow.)
पोत pōta m f A bead of glass and, sometimes, of gold and of stone. 2 m A neck-ornament of females made of these beads.
पोत pōta m ( or P) A link composed of rolls of coarse cloth. This portion, together with the विडी or iron handle, constitute the मशालor torch. 2 The head, end, point (of a tool, stick &c.): also the end or extreme portion (of a thing gen.) 3 m A seton; and fig. the hole of a फाळ or ploughshare.
पोत pōta n m ( H Quality; or formed by redup. out of सूत with which word it is generally conjoined in use.) Weftage or texture (of cloth); quality as respects closeness, firmness, body. Ex. सूत- पोत पाहून धोत्र घ्यावें.
पोंत pōnta m (In Konkan̤ neuter.) A seton.
पोतडी pōtaḍī f पोतडें n (पोतें) A bag, esp. the circular bag of goldsmiths, shroffs &c. containing their weights, scales, coins &c.
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.
पोतदारी pōtadārī f ( P) The office or business of पोतदार: also his rights or fees.
पोतनिशी pōtaniśī f ( P) The office or business of पोतनीस.
पोतेचाल pōtēcāla f (Treasury-currency.) The currency in which the public revenue is received. 2 Used as a Of that currency; as पोतेचालीचा (रूपया-पैसा- नाणें &c.) Coin or money admitted into or issued from the Government-treasury; sterling money of the realm.
पोतंडी pōtaṇḍī f A little thing (as a nut, a pebble,) or a small quantity (as of sugar, flour, grain) put up in a corner of a cloth and confined by a knot; thus forming a knob or ball. 2 Medicaments tied up in a corner of a cloth, to be dabbed on the eye or other part: also a cloth rolled up into a ball, heated, and applied to foment. v दे,लाव, also पोतंडीनें or पोतंडीचा शेक; पोथंडी pōthaṇḍī f Commonly पोतंडी.
