https://tinyurl.com/y5gwp44f
Sit Shamsi bronze was discovered in the area of the Ninhursag temple on the Acropole, Susa.
Akkadian name for this Elamite bronze object in an Elamite inscription! based on काण्डर्षितर्पण Jaiminīya Sāmaveda tradition. Soma is one of the four काण्डर्षि ancestors venerated. A synonym of Soma is amśu (RV) cognate ancu'iron' (Tocharian)
Sit Shamsi bronze was discovered in the area of the Ninhursag temple on the Acropole, Susa.
Akkadian name for this Elamite bronze object in an Elamite inscription! based on काण्डर्षितर्पण Jaiminīya Sāmaveda tradition. Soma is one of the four काण्डर्षि ancestors venerated. A synonym of Soma is amśu (RV) cognate ancu'iron' (Tocharian)
12th century BCE Tell of the Acropolis, Susa J. de Morgan excavations, 1904-05 Sb 2743 Louvre. The base measures 60 X 40 cm. Behind one of the adorants are the following objects:a big jar (H), a water reservoir, two square tubs (I,J),three tree stalks without branches (K),a stèle connected to a platform (M) with raised edges.
Elamite craftsmen diplayed brilliant and new metallurgical techniques for the execution of large monuments, statues and reliefs.
-- Sit Shamshi 'bronze sunrise' of Susa is Vedic काण्डर्षितर्पण purification by water oblations & the Sun, veneration of ancestors who created wealth-resources of equipment, etc. An Elamite inscription tells us the name of the piece's royal dedicator and its meaning in part: "I Shilhak-Inshushinak, son of Shutruk-Nahhunte, beloved servant of Inshushinak, king of Anshan and Susa [...], who made the kingdom grow, protector of Elam, I made a bronze sunrise." The inscription on the model is in Akkadian. So, Gian Pietro Basello exclaims: "So, an Akkadian name for an Elamite object in an Elamite inscription !" We may add, 'So, an Akkadian name for an Elamite object in an Elamite inscription in the Vedic tradition !!' See the reading of the inscription at http://www.elamit.net/elam/sit_handout.pdf This is how Gian Pietro Basello asks: [quote] Sit Shamshi an Akkadian loan-word in Elamite? "Do you know this object? I hope so. It is perhaps the most stimulating object found in the entire Ancient Near East, even if handbooks on Mesopotamian art do not talk much about it. It is a three-dimensional bronze model whose base measures 60 X 40 cm, excavated in the 1904-05 campaign by the French Mission at Susa. The scene is focused on two squatted human figures: one stretches its hands out, the other seems to be pouring water over them from a jug. Around them, there are possibly some kinds of altars, a large vessel, two basins, a stela and three trunks of trees. This act, perhaps a cultic scene which took place in the second half of the 12th century BCE, was fixed for eternity by will of Shilhak-Inshushinak (1140-1120 BCE), king of Anshan and Susa, according to the short inscription in a corner of the base. If you are so lucky as to run into a picture of it (unless you are directly visiting the Louvre Museum), looking at the caption you would learn that the name commonly given to this object is sit shamshi. Actually , this name, meaning 'the rising of the sun, sunrise' in Akkadian, appears in lines 5-6 of the inscription. But only in the unlikely event that you are both in front of the Louvre showcase with the sit shamshi in and an 'Elamist', i.e. a specialist in Elamite studies, you could go further in reading the inscription, though even an Elamist, having been ready to interpret the most stereotyped Akkadian inscription -- you know, Akkadian was very spread in Susiana --, so even an Elamist will jolt becoming aware of the language of the text. Apart from brushing up the revered edition by Scheil (1909) or Konig (1965), this is the only way to learn that the inscription is compiled in Elamite language. So, an Akkadian name for an Elamite object in an Elamite inscription!" (Gian Pietro Basello, 2003, Loan-words in Achaemenid Elamite: the spelling of old Persian Month-names, in: 5th European Conf. of Iranian Studies, October 10th 2003 http://digilander.libero.it/elam2/elam/basello_sie2003.pdf ) See:
"Sit shamshi is the name used in an inscription of the Middle Elamite king Shilhak-Inshushinak (ca. 1150-1120 BC) to refer to its textual support, a bronze model (base 60 × 40 cm) representing in three dimensions two squatted individuals, one pouring a liquid over the hands of the other, in an open space with buildings, trees and other installations. The common interpretation of this name (meaning ‘sunrise’ in Akkadian) has become also the key for the understanding of the whole scene, supposedly a ritual ceremony to be performed at the sunrise in a sacred precint.
From one hand, I would like to discuss the interpretation of sit shamshi as an Akkadian syntagm, considering that the inscription is written in Elamite and that sit e sham- are also known as Elamite terms. On the other hand, I would like to have feedback from scholars skilled in ritual texts from Mesopotamia, trying also to understand if there is some further element in support of the sunrise ritual interpretation.
http://www.academia.edu/1706512/The_3D_Model_from_Susa_called_Sit-shamshi_An_essay_of_interpretation
Gian Pietro Basello is justified in his exclamatory and laudaory references to the Sit Shamsi bronze objec. He will be thrilled by the links the object provides to Veda sacred prayers to fire and Sun divinities.
Shilhak-in-Shushinak and ceremony of the sun mentioned on the Akkadian inscription dates the inscription to 12th century BCE. It is possible that the model itself might have been made at an earlier date. One adorant sprinkles water on the palms of another also kneeling in adoration in front. It is a process of purification paralleling the purification of metals in a smelter and a furnace or crucible.
The thesis of this monogra;ph is that a Vedic ceremony of the rising sun is signified on a bronze model with Indus Script hieroglyphs, dated Susa, 12th cent. BCE.
This monograph posits that काण्डर्षितर्पण of Veda tradition is offering of water oblations to ancestor equipment makers; is also a veneration of seeking blessings from the rishis and ancestors who are he authors of the काण्ड of the Veda and protectors of dharma tradition.. The monograph demonstrates that this tradition is archaeologically attgested Sit Shamsi bronze model of worship with water oblations, in front of ziggurat-shaped, step-pyramid ziggurat temple and kole.l 'temple, smithy, forge'.
The hieroglyphs on the Sit Shamsi bronze are read rebus as Meluhha hieroglyphs and hypertexts, thus pointing to the presence by migrant artisans and merchants who went out of Sarasvati River Basin into Susa.
Meluhha seafaring merchants and artisans moved into Susa traversing the navigable waterway of Sarasvati River and the maritime seafaring route of Persian Gulf..
This monograph posits that काण्डर्षितर्पण of Veda tradition is offering of water oblations to ancestor equipment makers; is also a veneration of seeking blessings from the rishis and ancestors who are he authors of the काण्ड of the Veda and protectors of dharma tradition.. The monograph demonstrates that this tradition is archaeologically attgested Sit Shamsi bronze model of worship with water oblations, in front of ziggurat-shaped, step-pyramid ziggurat temple and kole.l 'temple, smithy, forge'.
The hieroglyphs on the Sit Shamsi bronze are read rebus as Meluhha hieroglyphs and hypertexts, thus pointing to the presence by migrant artisans and merchants who went out of Sarasvati River Basin into Susa.
Meluhha seafaring merchants and artisans moved into Susa traversing the navigable waterway of Sarasvati River and the maritime seafaring route of Persian Gulf..
-- archaeological evidence for prātaḥsandhyā vandanam 'prayer of sunrise' by metalwork artisans, 12th cent.BCE
-- काण्डऋषि who are specifically offered water oblations are four in number;they are: 1. प्रजा--पति 'lord of creatures'; 2. सोम 'personified as one of the most important of Vedic divinities , to whose praise all the 114 hymns of the 9th book of the RV. besides 6 in other books and the whole SV. are dedicated';3. अग्नि 'gold, divinity of fire'; 4. विश्वे देवाः 'all the divinities; of a class of deceased ancestors'. Collectively, the four काण्डऋषि constitute the रत्नी and देवजी. I submit that the water oblations offered to four specific काण्डर्षि signify prayers to wealth resource creators, i.e. those who have pioneered production of metal equipment and embedded gemstones and lapidary jewellery such as those signified by two unique hieroglyphs: monkey dressed as woman and monkey dressed as man:: रत्नी ratnī f (रत्न) In monkey-sports. A term given to the female monkey habited as a woman; देवजी or देवजीधसाडा dēvajī or dēvajīdhasāḍā or ड्या m A name given to the male monkey (in monkey-sports) which is accoutred as a man. The female is termed रत्नी. धसाडा dhasāḍā a Coarse and thick--thread, grass, कड- बा &c; m A piece of stubble, a stub, stump, snag. The two hieroglyphs signifying monkeys dressed as woman and man and offered as wealth tributes of gems and precious stones are seen on the Black Obelisk inscription of Shalamaneseer III together with four friezes of wealth resource signifier hieroglyphs, rebus: karba, ib 'iron': Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron.(DEDR 192)
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-- काण्डऋषि तर्पण are annual celebrations venerating sages in the Jaiminīya Sāmaveda tradition because one of the four ऋषि specifically offered water oblutions is Soma. I submit that this Sāmaveda tradition of venerating ancestors who processed Soma as wealth is exemplified by the water oblations ceremony represented in visual images on the hieroglyph narratives of Sit Shamsi bronze. The central narrative is offering of kāṇḍa 'water' to Sun divinity. The rebus rendering of kāṇḍa 'water' is rebus: kāṇḍa 'bow and arrow (implements)'. Thus, काण्डऋषि तर्पण is celebrated on Sit Shamsi bronze narratives as veneration of ancestors who made metalwork products as wealth-producers for the community.
-- sit shamsi bronze model is an Indus Script hypertext expressions containing detailed signifiers of metalwork in mint, smithy, forge
-- kole.l 'temple, smithy, forge' to process अष्टन्-लोहकम् 'eight metals'
-- ceremony offering prayers to the Sun takes place in front of the kole.l 'smithy, forge' and kole.l 'temple,ziggurat'
--offering prayers are signified by pouring water as ablations from the hands of the worshippers; the signifier is: काण्ड 'water' rebus: काण्ड 'equipment, arrow'
--offering spaces and structures are signified by a skámbha and four कुण्डम् kunḍam
-- a large storage pot with a rim is signified rebus: kanda kanka rebus काण्ड
-- ceremony offering prayers to the Sun takes place in front of the kole.l 'smithy, forge' and kole.l 'temple,ziggurat'
--offering prayers are signified by pouring water as ablations from the hands of the worshippers; the signifier is: काण्ड 'water' rebus: काण्ड 'equipment, arrow'
-- काण्डऋषि who are specifically offered water oblations are four in number;they are: 1. प्रजा--पति 'lord of creatures'; 2. सोम 'personified as one of the most important of Vedic divinities , to whose praise all the 114 hymns of the 9th book of the RV. besides 6 in other books and the whole SV. are dedicated';3. अग्नि 'gold, divinity of fire'; 4. विश्वे देवाः 'all the divinities; of a class of deceased ancestors'. Collectively, the four काण्डऋषि constitute the रत्नी and देवजी. I submit that the water oblations offered to four specific काण्डर्षि signify prayers to wealth resource creators, i.e. those who have pioneered production of metal equipment and embedded gemstones and lapidary jewellery such as those signified by two unique hieroglyphs: monkey dressed as woman and monkey dressed as man:: रत्नी ratnī f (रत्न) In monkey-sports. A term given to the female monkey habited as a woman; देवजी or देवजीधसाडा dēvajī or dēvajīdhasāḍā or ड्या m A name given to the male monkey (in monkey-sports) which is accoutred as a man. The female is termed रत्नी. धसाडा dhasāḍā a Coarse and thick--thread, grass, कड- बा &c; m A piece of stubble, a stub, stump, snag. The two hieroglyphs signifying monkeys dressed as woman and man and offered as wealth tributes of gems and precious stones are seen on the Black Obelisk inscription of Shalamaneseer III together with four friezes of wealth resource signifier hieroglyphs, rebus: karba, ib 'iron': Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron.(DEDR 192)
ṛṣiḥ ऋषिःA sanctified sage, saint, an ascetic, anchorite; (there are usually three classes of these saints; देवर्षि, ब्रह्मर्षि and राजर्षि; sometimes four more are added; महर्षि, परमर्षि, श्रुतर्षि and काण्डर्षि.(Apte) *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1 ]L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.kāˊṇḍīra ʻ armed with arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [kāˊṇḍa -- ]H. kanīrā m. ʻ a caste (usu. of arrow -- makers) ʼ.(CDIAL 3024, 3026). I suggest a rebus rendering of काण्डर्षि 'a sanctified sage, maker of metal equipment'; maker of ![]()
(Santali) or, मृदु काण्डः ण्डम् 'iron implements' (Skt.)
(Santali) or, कांड ऋषि lit. 'equipment, yajna ray of light'm. ( √2. ऋष् Comm. on Un2. iv , 119 ; ऋषति ज्ञानेन संसार-पारम् T. ; perhaps fr. an obsolete √ऋष् for √दृश् , " to » ? " cf. ऋषि-कृत्) , a singer of sacred hymns , an inspired poet or sage , any person who alone or with others invokes the deities in rhythmical speech or song of a sacred character (e.g. the ancient hymn-singers कुत्स , अत्रि , रेभ , अगस्त्य , कुशिक , वसिष्ठ , व्य्-श्व) RV. AV. VS. &c; the ऋषिs were regarded by later generations as patriarchal sages or saints , occupying the same position in India history as the heroes and patriarchs of other countries , and constitute a peculiar class of beings in the early mythical system , as distinct from gods , men , असुरs , &c AV. x , 10 , 26 S3Br. AitBr. Ka1tyS3r. Mn. &c; they are the authors or rather seers of the Vedic hymns i.e. according to orthodox Hindu ideas they are the inspired personages to whom these hymns were revealed , and such an expression as " the ऋषि says " is equivalent to " so it stands in the sacred text "; seven ऋषिs , सप्त ऋषयः , or सप्तऋषयः or सप्तर्षयः , are often mentioned in the ब्राह्मणs and later works as typical representatives of the character and spirit of the pre-historic or mythical period; in S3Br. xiv , 5 , 2 , 6 their names are given as follows , गोतम , भरद्वाज , विश्वा-मित्र , जमदग्नि , वसिष्ठ , कश्यप ,and अत्रि; in MBh. xii , मरीचि , अत्रि , अङ्गिरस् , पुलह , क्रतु , पुलस्त्य , वसिष्ठ are given as the names of the ऋषिs of the first मन्वन्तर , and they are also called प्रजापतिs or patriarchs; the names of the ऋषिs of the subsequent मन्व्-न्तरs are enumerated in Hariv. 417 ff.; afterwards three other names are added , viz. प्रचेतस् or दक्ष , भृगु , and नारद , these ten being created by मनु स्वायम्भुव for the production of all other beings including gods and men A1s3vS3r. MBh. VP. &c
ṛṣiḥ ऋषिः [cf. Uṇ.4.119] 1 An inspired poet or sage, a singer of sacred hymns, (e. g कुत्स, वसिष्ठ, अत्रि, अगस्त्य &c.). (These Ṛiṣis form a class of beings distinct from gods, men, Asuras &c. (Av.1.1.26). They are the authors or seers of the Vedic hymns; ऋषयो मन्त्रद्रष्टारो वसिष्ठादयः; or, according to Yāska, यस्य वाक्यं स ऋषिः, i. e. they are the persons to whom the Vedic hymns were revealed. In every Sūkta the ऋषि is mentioned along with the देवता, छन्दस् and विनियोग. The later works mention seven Ṛiṣis or saptarṣis whose names, according to Śat. Br., are गौतम, भरद्वाज, विश्वामित्र, जमदग्नि, वसिष्ठ, कश्यप and अत्रि; according to Mahābhārata, मरीचि, अत्रि, अङ्गिरस्, पुलह, क्रतु, पुलस्त्य and वसिष्ठ; Manu calls these sages Prajāpatis or pro- genitors of mankind, and gives ten names, three more being added to the latter list, i. e. दक्ष or प्रचेतस्, भृगु and नारद. In astronomy the seven Ṛiṣis form the constellation of "the Great Bear"); यत्रा सप्त ऋषीन् पर एकमाहुः Rv.1.82.2. -2 A sanctified sage, saint, an ascetic, anchorite; (there are usually three classes of these saints; देवर्षि, ब्रह्मर्षि and राजर्षि; sometimes four more are added; महर्षि, परमर्षि, श्रुतर्षि and काण्डर्षि. -3 A ray of light. -4 An imaginary circle. -5 A hymn (मन्त्र) composed by a Ṛiṣi; एतद्वो$स्तु तपोयुक्तं ददामीत्यृषि- चोदितम् Mb.12.11.18; -6 The Veda; P.III.2.186. -7 A symbolical expression for number seven. -8 Life; Bhāg.1.87.5. -9 The moon. (Apte)
Sit Shamsi bronze, morning libations to Sun divinity, as Meluhha metalwork with Indus writing hieroglyphs transmitted along the Tin Road of Antiquity between Hanoi and HaifaMirror: https://tinyurl.com/y433q98k
कांड ऋषि lit. 'equipment, yajna ray of light'm. ( √2. ऋष् Comm. on Un2. iv , 119 ; ऋषति ज्ञानेन संसार-पारम् T. ; perhaps fr. an obsolete √ऋष् for √दृश् , " to » ? " cf. ऋषि-कृत्) , a singer of sacred hymns , an inspired poet or sage , any person who alone or with others invokes the deities in rhythmical speech or song of a sacred character (e.g. the ancient hymn-singers कुत्स , अत्रि , रेभ , अगस्त्य , कुशिक , वसिष्ठ , व्य्-श्व) RV. AV. VS. &c; the ऋषिs were regarded by later generations as patriarchal sages or saints , occupying the same position in India history as the heroes and patriarchs of other countries , and constitute a peculiar class of beings in the early mythical system , as distinct from gods , men , असुरs , &c AV. x , 10 , 26 S3Br. AitBr. Ka1tyS3r. Mn. &c; they are the authors or rather seers of the Vedic hymns i.e. according to orthodox Hindu ideas they are the inspired personages to whom these hymns were revealed , and such an expression as " the ऋषि says " is equivalent to " so it stands in the sacred text "; seven ऋषिs , सप्त ऋषयः , or सप्तऋषयः or सप्तर्षयः , are often mentioned in the ब्राह्मणs and later works as typical representatives of the character and spirit of the pre-historic or mythical period; in S3Br. xiv , 5 , 2 , 6 their names are given as follows , गोतम , भरद्वाज , विश्वा-मित्र , जमदग्नि , वसिष्ठ , कश्यप ,and अत्रि; in MBh. xii , मरीचि , अत्रि , अङ्गिरस् , पुलह , क्रतु , पुलस्त्य , वसिष्ठ are given as the names of the ऋषिs of the first मन्वन्तर , and they are also called प्रजापतिs or patriarchs; the names of the ऋषिs of the subsequent मन्व्-न्तरs are enumerated in Hariv. 417 ff.; afterwards three other names are added , viz. प्रचेतस् or दक्ष , भृगु , and नारद , these ten being created by मनु स्वायम्भुव for the production of all other beings including gods and men A1s3vS3r. MBh. VP. &c
ṛṣiḥ ऋषिः [cf. Uṇ.4.119] 1 An inspired poet or sage, a singer of sacred hymns, (e. g कुत्स, वसिष्ठ, अत्रि, अगस्त्य &c.). (These Ṛiṣis form a class of beings distinct from gods, men, Asuras &c. (Av.1.1.26). They are the authors or seers of the Vedic hymns; ऋषयो मन्त्रद्रष्टारो वसिष्ठादयः; or, according to Yāska, यस्य वाक्यं स ऋषिः, i. e. they are the persons to whom the Vedic hymns were revealed. In every Sūkta the ऋषि is mentioned along with the देवता, छन्दस् and विनियोग. The later works mention seven Ṛiṣis or saptarṣis whose names, according to Śat. Br., are गौतम, भरद्वाज, विश्वामित्र, जमदग्नि, वसिष्ठ, कश्यप and अत्रि; according to Mahābhārata, मरीचि, अत्रि, अङ्गिरस्, पुलह, क्रतु, पुलस्त्य and वसिष्ठ; Manu calls these sages Prajāpatis or pro- genitors of mankind, and gives ten names, three more being added to the latter list, i. e. दक्ष or प्रचेतस्, भृगु and नारद. In astronomy the seven Ṛiṣis form the constellation of "the Great Bear"); यत्रा सप्त ऋषीन् पर एकमाहुः Rv.1.82.2. -2 A sanctified sage, saint, an ascetic, anchorite; (there are usually three classes of these saints; देवर्षि, ब्रह्मर्षि and राजर्षि; sometimes four more are added; महर्षि, परमर्षि, श्रुतर्षि and काण्डर्षि. -3 A ray of light. -4 An imaginary circle. -5 A hymn (मन्त्र) composed by a Ṛiṣi; एतद्वो$स्तु तपोयुक्तं ददामीत्यृषि- चोदितम् Mb.12.11.18; -6 The Veda; P.III.2.186. -7 A symbolical expression for number seven. -8 Life; Bhāg.1.87.5. -9 The moon. (Apte)
ṛṣiḥ ऋषिः [cf. Uṇ.4.119] 1 An inspired poet or sage, a singer of sacred hymns, (e. g कुत्स, वसिष्ठ, अत्रि, अगस्त्य &c.). (These Ṛiṣis form a class of beings distinct from gods, men, Asuras &c. (Av.1.1.26). They are the authors or seers of the Vedic hymns; ऋषयो मन्त्रद्रष्टारो वसिष्ठादयः; or, according to Yāska, यस्य वाक्यं स ऋषिः, i. e. they are the persons to whom the Vedic hymns were revealed. In every Sūkta the ऋषि is mentioned along with the देवता, छन्दस् and विनियोग. The later works mention seven Ṛiṣis or saptarṣis whose names, according to Śat. Br., are गौतम, भरद्वाज, विश्वामित्र, जमदग्नि, वसिष्ठ, कश्यप and अत्रि; according to Mahābhārata, मरीचि, अत्रि, अङ्गिरस्, पुलह, क्रतु, पुलस्त्य and वसिष्ठ; Manu calls these sages Prajāpatis or pro- genitors of mankind, and gives ten names, three more being added to the latter list, i. e. दक्ष or प्रचेतस्, भृगु and नारद. In astronomy the seven Ṛiṣis form the constellation of "the Great Bear"); यत्रा सप्त ऋषीन् पर एकमाहुः Rv.1.82.2. -2 A sanctified sage, saint, an ascetic, anchorite; (there are usually three classes of these saints; देवर्षि, ब्रह्मर्षि and राजर्षि; sometimes four more are added; महर्षि, परमर्षि, श्रुतर्षि and काण्डर्षि. -3 A ray of light. -4 An imaginary circle. -5 A hymn (मन्त्र) composed by a Ṛiṣi; एतद्वो$स्तु तपोयुक्तं ददामीत्यृषि- चोदितम् Mb.12.11.18; -6 The Veda; P.III.2.186. -7 A symbolical expression for number seven. -8 Life; Bhāg.1.87.5. -9 The moon. (Apte)
Sit Shamsi bronze, morning libations to Sun divinity, as Meluhha metalwork with Indus writing hieroglyphs transmitted along the Tin Road of Antiquity between Hanoi and Haifa
Mirror: https://tinyurl.com/y433q98k
Does the काण्ड 'arrow' memorial stele topped by two śikhara (ziggurat) signify veneration of Veda tradition of काण्डर्षितर्पण water oblations and Veda sacred fire-prayers? The answer lies in the meanings conveyed by Sit Shamsi bronze of 12th cent. BCE -- documenting bronze age metalwork processes, producing काण्ड 'equipment'. The stele (Figure H below) shown on Sit Shamsi is comparable to the śivalinga discovered by MS Vats in Harappa.
( Lingam excavated in 1920 - Report of Archaeological Excavations at Harappa Carried Out by M.S.Vats Between 1920-21 & 1933-34 )[ काण्ड 'arrow' shrine, Tell of Acropolis, Susa (I suggest that this is a rebus reading of the three stalks shown on Sit Shamsi bronze which signify कांडें [ kāṇḍēṃ ] n (कांड S) kāṇḍa, kã̄ṛ ʻstalk, arrowʼ(CDIAL 3023) rebus: khaṇḍa 'implements
Three stalks are shown (Figure M below) in front of the water tank (Great Bath replica?) which are Indus Script hieroglyphs read rebus in Meluhha:
Source: http://tinyurl.com/cj53a4b
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The ceremony is in front of a ziggurat, a stepped-pyramid shaped temple.
kole.l 'smithy, forge' a rectangular two-storeyed structure fronting a stepped ziggurat, शिखर, 'tower', a three-stepped pyramid-type structure which is kole.l 'temple'.rebus for kole.l 'smithy, forge'. The ceremony for the rising sun is performed in front of both these structures.which face each other.
Eight wedges (domes or semi-circular lumps) flank the 'ziggurat, temple' These eight domes signify: eight metals and eight sentiments:aṣṭan अष्टन् num.-रसाः the 8 sentiments in dramas &c.; शृङ्गारहास्यकरुणरौद्रवीरभयानकाः । बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाटये रसाः स्मृताः ॥ K. P.4 (to which is sometimes added a 9th Rasa called शान्त; निर्वेदस्थायिभावो$स्ति शान्तो$पि नवमो रसः ibid.); ˚आश्रय a. embodying or representing the eight sentiments; V.2.18. -लवणानि अजमोदा, आम्लवेतस, एलची (cardamom), Black salt (Mar. पादेलोण), Garcinia Mangostona (Mar. आमसोल), Cinnamo- mum aromaticum (Mar. दालचिनी), Black peppar (Mar. मिरीं). -लोहकम् a class of 8 metals; सुवर्णं रजतंताम्रं सीसकं कान्तिकं तथा । वङ्गं लौहं तीक्ष्णलौहं लौहान्यष्टाविमानि तु ॥ (Apte)
skámbha and कुण्डम् kunḍam: pillar and altar, personified fulcrum of the universe and consecrated fire-pitsस्कम्भ m. a prop , support , pillar , buttress , fulcrum , the Fulcrum of the Universe (personified in AV. x , 7 and x , 8 , and identified with ब्रह्मन् , the Supreme Being , as well as with पुरुष ; » Muir's Sanskrit Texts , v , 378) RV. AV. skámbhana n. ʻ prop, pillar ʼ RV., skambhanīˊ -- f. VS. [√skambh ] M. khã̄bṇī f. ʻ small post ʼ; -- G. khāmṇiyũ n. ʻ one of the ropes with which bucket is let down a well ʼ (i.e. from the post?); -- Or. khamaṇa ʻ pit, hole, waterchannel, lowland at foot of mountain ʼ; G. khāmṇũ n. ʻ small depression to stand round -- bottomed vessel in, basin at root of a tree for water ʼ: semant. cf. kūˊpa -- 1 and skambhá -- 1 .(CDIAL 13644)skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1 ). [√skambh ]1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh, khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bhi , ˚bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, ˚bo, Si. kap (< *kab); -- X gambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v.2. K. khambü rü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛo ʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and manure ʼ.*skambhaghara -- , *skambhākara -- , *skambhāgāra -- , *skambhadaṇḍa -- ; *dvāraskambha -- . Addenda: skambhá -- 1 : Garh. khambu ʻ pillar ʼ. (CDIAL 13639)
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There are four agni-kuṇḍa-s 'Veda fire-altars' and a Śivalinga (stele) which is a Skambha, signifier of a fiery-pillar of light and flame (AV X.7)
Altar bronze table with Indus Script hieroglyphs
Overflowing pot of m1656 pectoral and on Ibni Sharrum cylinder seal signifies Indus Script hypertext lokhaṇḍa 'metal tools, pots and pans, metalware' https://tinyurl.com/y6psctdw
Ziggurat on Sit Shamsi and veneration of karandi 'fire-god' (Remo)
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Vorderasiatisches Museum, Berlin
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![Mark Aerial Waller, Detail of 'Reconstruction of a 12th century BC Elamite antiquity, Sit Shamsi', 2012, bronze,(w. 53 cm x h. 12 cm x d. 35 cm)]()
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Rebus: लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith. (Marathi). The four hemi-spheres (C and C') linked to each stone pillar (D and D') have been explained as Meluhha hieroglyphs read rebus:
There are two ziggurats: one is a dagoba (dhatugarbha) in three tiers, the other is a kuThi 'smelter'. Two linga stambhas flank the ziggurat. In front of the ziggurat is a table with six narrow hollows, perhaps to hold flagposts or bronze standards comparable to those taken on processions shown on cylinder seals or Indus Script tablets. The ziggurat is flanked by 8 round objects, 4 on either side as offerings of bronze bun-ingots to the divine. Also flanking the ziggurat are two linga stambhas.
The ceremony is in front of a ziggurat, a stepped-pyramid shaped temple.kole.l 'smithy, forge' a rectangular two-storeyed structure fronting a stepped ziggurat, शिखर, 'tower', a three-stepped pyramid-type structure which is kole.l 'temple'.rebus for kole.l 'smithy, forge'. The ceremony for the rising sun is performed in front of both these structures.which face each other.
Eight wedges (domes or semi-circular lumps) flank the 'ziggurat, temple' These eight domes signify: eight metals and eight sentiments:aṣṭan अष्टन् num.-रसाः the 8 sentiments in dramas &c.; शृङ्गारहास्यकरुणरौद्रवीरभयानकाः । बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाटये रसाः स्मृताः ॥ K. P.4 (to which is sometimes added a 9th Rasa called शान्त; निर्वेदस्थायिभावो$स्ति शान्तो$पि नवमो रसः ibid.); ˚आश्रय a. embodying or representing the eight sentiments; V.2.18. -लवणानि अजमोदा, आम्लवेतस, एलची (cardamom), Black salt (Mar. पादेलोण), Garcinia Mangostona (Mar. आमसोल), Cinnamo- mum aromaticum (Mar. दालचिनी), Black peppar (Mar. मिरीं). -लोहकम् a class of 8 metals; सुवर्णं रजतं
skámbha and कुण्डम् kunḍam: pillar and altar, personified fulcrum of the universe and consecrated fire-pitsस्कम्भ m. a prop , support , pillar , buttress , fulcrum , the Fulcrum of the Universe (personified in AV. x , 7 and x , 8 , and identified with ब्रह्मन् , the Supreme Being , as well as with पुरुष ; » Muir's Sanskrit Texts , v , 378) RV. AV. skámbhana n. ʻ prop, pillar ʼ RV., skambhanīˊ -- f. VS. [√
There are four agni-kuṇḍa-s 'Veda fire-altars' and a Śivalinga (stele) which is a Skambha, signifier of a fiery-pillar of light and flame (AV X.7)
Altar bronze table with Indus Script hieroglyphs
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Table decorated with serpents and deities bearing vessels spouting streams of water 14th century BCE Tell of the Acropolis, Susa, Iran Bronze H. 19.5 cm; W. 15.7 cm; L. 69.5 cm Jacques de Morgan excavations, 1898 Sb 185
This table, edged with serpents and resting on deities carrying vessels spouting streams of water, is a yajna altar.
नाग serpents signify rebus: tin and lead.Overflowing pot shown on the table is an Indus Script hypertext as demonstrated in rebus Meluhha readings:
Indus Script hypertext: (water) overflowing pot
1. (B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. @B24310. #20851. Re(B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi)
PLUS காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus, together: lohāṇḍā ‘metal tools, pots and pans’ (Marathi). Thus, copper, tin and lead metal artifacts are signified by the hieroglyphs on the altar table.
See:
Table decorated with serpents and deities bearing vessels spouting streams of water 14th century BCE Tell of the Acropolis, Susa, Iran Bronze H. 19.5 cm; W. 15.7 cm; L. 69.5 cm Jacques de Morgan excavations, 1898 Sb 185
This table, edged with serpents and resting on deities carrying vessels spouting streams of water, is a yajna altar.
नाग serpents signify rebus: tin and lead.Overflowing pot shown on the table is an Indus Script hypertext as demonstrated in rebus Meluhha readings:
This table, edged with serpents and resting on deities carrying vessels spouting streams of water, is a yajna altar.
नाग serpents signify rebus: tin and lead.Overflowing pot shown on the table is an Indus Script hypertext as demonstrated in rebus Meluhha readings:
Indus Script hypertext: (water) overflowing pot
1. (B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. @B24310. #20851. Re(B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi)
PLUS காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus, together: lohāṇḍā ‘metal tools, pots and pans’ (Marathi). Thus, copper, tin and lead metal artifacts are signified by the hieroglyphs on the altar table.
See:
See:
Overflowing pot of m1656 pectoral and on Ibni Sharrum cylinder seal signifies Indus Script hypertext lokhaṇḍa 'metal tools, pots and pans, metalware' https://tinyurl.com/y6psctdw
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"Pendant or medallion [from Mohenjo-daro] pictures the unicorn combined with many sacred symbols of the Indus religion. The body of the figure has a womb-shaped symbol in its belly, the same motif is elaborated to form the frame for the pendant, which is also a common design for shell inlay. Two leaf shapes of the sacred pipal tree are depicted at the animals shoulders and rump. A ritual offering stand is placed in front of the image. The deeply incised frame and the symbols on the unicorn would have been set with inlay." (J.M. Kenoyer, Indus Civilization, p. 188)
m1656 Mohenjodro Pectoral. The body of the young bull has the pictograph signified on the body. Arka flipped vertically and signified on the body of the young bull on pectoral, as shown below. The young bull signifies Hieroglyph: kõda 'young bull-calf'. Rebus: kundaṇa 'fine gold'; kār-kund 'manager'.
The overflowing pot atop the one-horned young bull is an Indus Script hypertext. Thus, the overflowing pot is a hypertext to signify metal tools, pots and pans of copper, made by .the young bull kār-kunda 'manager' who works as an artisan with the metallurgical competence of 'lapidary, goldsmith, turner' in mint.
Ziggurat on Sit Shamsi and veneration of karandi 'fire-god' (Remo)m1656 Mohenjodro Pectoral. The body of the young bull has the pictograph signified on the body. Arka flipped vertically and signified on the body of the young bull on pectoral, as shown below. The young bull signifies Hieroglyph: kõda 'young bull-calf'. Rebus: kundaṇa 'fine gold'; kār-kund 'manager'.
The overflowing pot atop the one-horned young bull is an Indus Script hypertext. Thus, the overflowing pot is a hypertext to signify metal tools, pots and pans of copper, made by .the young bull kār-kunda 'manager' who works as an artisan with the metallurgical competence of 'lapidary, goldsmith, turner' in mint.
Ziggurat on Sit Shamsi is a multi-tiered pyramid temple, flanked by two skambha and two rows of four wedges.
karandi 'fire-god'
It is a conjecture hat the top of the ziggurat (temple) had a pointed spike to signify the fire-divinity (comparable to the spike venerated on Tukulti Ninurta fire-altar of Ishtar temple).
Vorderasiatisches Museum, Berlin
Symbolizing Nusku, the god of light, a thin, bright rod elicits the adoration of the Assyrian king Tukulti-Ninurta in this relief, carved on one side of a stone altar dating from the 13th century B.C.E.Veneraton of the stalk. Ishtar temple. Altar for fire-god karaṇḍi (of Tukulti-Ninurta I, Assur).(Hieroglyph: karaḍi 'safflower' had been deified. Veneration of the stambha. karaḍi 'safflower' Rebus: karandi 'fire-god' (Remo)
Two ziggurats (śikhara) signify: 1) kole.l 'temple',
dagoba, 'dhatu garbha'; and 2) kole.l 'smithy, forge'
A large stepped structure/altar/ziggurat (A) and small stepped structure/altar or temple (B) may be denoted by the gloss: kole.l. The large stepped structure (A) may be dagoba, lit. dhatu garbha 'womb of minerals' evoking the smelter which transmutes earth and stones into metal and yields alloyed metal castings with working in fire-altars of smithy/forge: kolami. It is imperative that the stupa in Mohenjo-daro should be re-investigated to determine the possibility of it being a ziggurat of the bronze age, comparable to the stepped ziggurat of Chogha Zambil (and NOT a later-day Bauddham caitya as surmised by the excavator, John Marshall).
Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge.(DEDR 2133) ![]()
Six hollows for offerings in front of the ziggurat. baTa 'six' Rebus: baTa 'furnace'. Also, षष् 'six' ष़डशीतिः 'passages of the sun'. Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa ‘furnace’; baṭa 'iron'.
Six hollows for offerings in front of the ziggurat. baTa 'six' Rebus: baTa 'furnace'. Also, षष् 'six' ष़डशीतिः 'passages of the sun'. Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa ‘furnace’; baṭa 'iron'.
Six such pit furnaces are signified by the six hollows in front of the ziggurat of Sit Shamsi bronze. These are signified by the synonym of bhaṭa::कुण्ड a vessel for coals (रामायण. v , 10 , 16) (Monier-Williams).agniḥ अग्निः -कुण्डम [अग्नेराधानार्थं कुण्डम्] an enclosed space for keeping the fire, a fire-vessel.(Apte) కుండము kunḍamu. [Skt.] n. An earthen pot. A pit or pot for receiving and preserving consecrated fire. A fire pit నిప్పుల గుండము.గుండము gunḍamu. [Tel.] n. A pit, a fire pit. నిప్పులగుంట.కంబము kambamu. [from Skt. స్తంభము] n. A pillar or post. The stem of a tree. దివ్వెకంబము a candlestick. కంబమయ్య or కంబమురాయడు kambam-ayya. n. The god Narasimha who manifested himself to హిరణ్యకశిప in a pillar. See ప్రహ్లాదచరిరత్ర. కంబవల్లి kamba-valli. n. Worship of a pillar performed on the last day of an ఉపనయన ceremony. కంబబాణములు kamba-bāṇamulu. n. Fireworks fixed on posts.. ..
Two khambha 'pillars' signify two khāmār 'barn, warehouse'; eight wedges signify अष्टन्-धातुःkaraḍā hard alloys of eight metals
The pair of lingas (D and D') have indentations at the tip of the stone pillars. These indentations might have held lighted earthen lamps (deepam) to connote the lingas as pillars of light. (AV X.7).
skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1 ). [√skambh ]
1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh, khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bhi , ˚bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, ˚bo, Si. kap (< *kab); -- X gambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v.
2. K. khambü rü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛo ʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and manure ʼ.*skambhaghara -- , *skambhākara -- , *skambhāgāra -- , *skambhadaṇḍa -- ; *dvāraskambha -- . Addenda: skambhá -- 1 : Garh. khambu ʻ pillar ʼ.*skambhaghara ʻ house of posts ʼ. [skambhá -- 1 , ghara -- ]B. khāmār ʻ barn ʼ; Or. khamāra ʻ barn, granary ʼ: or < *skambhākara -- ?(CDIAL 13639, 13641)
1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh, khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar ʼ, khã̄bh
2. K. khamb
खोट khōṭa f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. Hence 2 A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. खोटीचा Composed or made of खोट, as खोटीचें भांडें. Wedge is a piece of metal, wood, rubber, etc. with a pointed edge at one end and a wide edge at the other. Rebus: गोटी gōṭī A lump of silver: as obtained by melting down lace or fringe.The eight wedges lining either side of the ziggurat may denote: <tamja-n+m>(L) {N} ``eight years''. #48162. <tamji>(L) {N} ``^eight''. *^V008 Kh.<tham>. #64641.Rebus: tam(b)ra 'copper'. If this surmise is valid, the ziggurat might have been stupa called dhatu-garbha or dagoba or dagaba. aṣṭan अष्टन् num.-धातुः the eight metals taken collectively; स्वर्णं रूप्यं च ताम्रं च रङ्गं यशदमेव च । शीसं लौहं रसश्चेति धातवो$ष्टौ प्रकीर्किताः ॥ करडा [ karaḍā ] m The arrangement of bars or embossed lines (plain or fretted with little knobs) raised upon a तार of gold by pressing and driving it upon the अवटी or grooved stamp. Such तार is used for the ornament बुगडी , for the hilt of aपट्टा or other sword &c. Applied also to any similar barform or line-form arrangement (pectination) whether embossed or indented; as the edging of a rupee &c. The embossed lines of 4+4 (8) balls flank the ziggurat on Sit Shamshi bronze are thus rebus: करडा [ karaḍā ] Hard from alloy--iron, silver &c signifiers of hard alloy ingots of eight metals.
The ziggurat shown on the Sit-Shamshi bronze compares with a ziggurat which might have existed in the Stupa mound of Mohenjodaro (lit. mound of the dead), indicating the veneration of ancestors in Susa and Meluhha in contemporaneous times.Some glyphics of the bronze model have parallels in Indian hieroglyphs. Glyph: 'stump of tree': M. khũṭ m. ʻstump of tree’; P. khuṇḍ, °ḍā m. ʻpeg, stumpʼ; G. khū̃ṭ f. ʻlandmarkʼ, khũṭɔ m., °ṭī f. ʻ peg ʼ, °ṭũ n. ʻstumpʼ (CDIAL 3893). Allograph: (Kathiawar) khũṭ m. ʻBrahmani bullʼ(G.) Rebus: khũṭ 'community, guild' (Munda)
Ziggurats of Mohenjo-daro and Tchogha Zanbil
Ziggurat model. Sit Shamshi bronze. Ziggurat. Mohenjo-daro.
Elamite ziggurat of Tchogha zanbil
Water oblations, kaṇḍa large storage pot storing lōkhaṇḍa, mẽṛhẽt khaṇḍa
'metal equipment'
The prayer involved lo ‘pouring (water) oblation’ (Munda) for the setting sun. Rebus: loh ‘copper’ (Santali) The glyphic representations connote a guild of coppersmiths in front of a ziggurat, temple and is a veneration of ancestors. The authors of the bronze model seem to have interacted with the groups of artisans of Mohenjo-daro who had a ziggurat in front of the ‘great bath’.
Rebus: लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith. (Marathi). The four hemi-spheres (C and C') linked to each stone pillar (D and D') have been explained as Meluhha hieroglyphs read rebus:
Metaphor: Sh. K.ḍoḍ. lō m. ʻ light, dawn ʼ; L. awāṇ. lō ʻ light ʼ; P. lo f. ʻ light, dawn, power of seeing, consideration ʼ; WPah. bhal. lo f. ʻ light (e.g. of moon) ʼ.(CDIAL 11120). lo 'penis' Rebus: loh 'copper, metal' Rebus: kanda 'fire-trench' used by metalcasters
Rebus: gaṇḍu 'manliness' (Kannada); 'bravery, strength' (Telugu)
Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi)
Together, hieroglyphs: lo + gaṇḍa. Rebus: लोखंड [ lōkhaṇḍa ] 'metalwork'
कांडें [ kāṇḍēṃ ] n (कांड S) A joint or knot, an articulation. 2 The portion included between two knots, an internodation. 3 A piece (as of sugarcane or bamboo) comprising three or four knots. 4 The whole stem or trunk of a plant, or esp. up to the shooting of the branches. 5 fig. A measure of length,--a pole, stick, straw, thread, any thing (of definite or indefinite length) taken to measure with: also the measure so taken. v घे . Hence A section or defined portion (of a long wall, of an elevated platform sometimes appended to a draw-well, of a raised पाट or plantation-watercourse, of any long line of masonry). 6 A creeping plant old, dry, and stiff. 7 Stalks and heads of corn once trodden or thrashed (as thrown or reserved for a second treading or thrashing). 8 A young plant (of नाचणी, वरी &c.) fit to be transplanted. 2 A disease attacking the finger-joints. अडचा कांड्यावर येणें (Because two large and one small कांडीं or joints are the amount of a stalk of wheat.) To be ready to throw out the ear (to shoot the hose)--wheat. 2 fig. To be nubile or ready for a spouse;--said of a boy or a girl.कांडें पेरें लावणें or लावून पाहणें To compare together the foot of a person (suspected to be a murderer, thief &c.) with a footprint. And कांडे पेरें मिळणें, कमीज्यास्त होणें &c. expresses their agreement or disagreement. Hence ह्याचें त्याचें कांडें पेरें मिळालें Said of two persons of mutual resemblance. कांडें पेरें घेणें to take the measurement of. कांडें पेरें पाहून After observing the joints and points. Said in purchasing cattle &c.
Three stakes on Sit-Shamshi bronze.Three jagged sticks on the Sit Shamshi bronze, in front of the water tank (Great Bath replica?) If the sticks are orthographic representations of 'forked sticks' and if the underlying language is Meluhha (mleccha), the borrowed or substratum lexemes which may provide a rebus reading are:
kolmo 'three'; rebus; kolami 'smithy' (Telugu)
Glyph: मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock. मेढा [ mēḍhā ] m A stake, esp. as forked. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.(Marathi)(CDIAL 10317) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Vikalpa: P. khuṇḍ, °ḍā m. ʻ peg, stump ʼ; khuṇṭ ‘stump’. Rebus: 1. khũṭ ‘community, guild’ (Mu.) 2. Skt. kuṇḍa- round hole in ground (for water or sacred fire).
Thus, three jagged sticks on the Sit Shamshi bronze may be decoded as khũṭ kolami ‘smithy guild’ or, kuṇḍa kollami ‘sacred fire smithy’ or, meḍ kolami 'iron (metal) smithy'. 'Iron' in such lexical entries may refer to 'metal'.
https://www.youtube.com/watch?time_continue=1&v=3WfuhPYTP0s
kolmo 'three'; rebus; kolami 'smithy' (Telugu)
https://www.youtube.com/watch?time_continue=1&v=3WfuhPYTP0s