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The footsole as an Indus Script hieroglyph finds its mirror on the Adda seal of Susa. The decipherment of the Adda Seal:
On the cylinder seal of Adda, scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: sena, heṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdā
The foot step of Ila shown on the Adda Seal is an Indus Script hieroglyph. Decipherment of this hieroglyph is: meḍ 'dance', 'dance-step' rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Miedź, med' (Northern Slavic, Altaic) 'copper'.
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Thus, the scribe is describing in orthography, the details of the metalwork on iron and copper done by the artisan, Shamash, sun divinity who is seen with a saw-like sword on his hand and with rays emanating from his shoulder. khamba 'soldier' rebus: kammaTa 'mint, coiner, coinage'.
Thus, I submit that Ishtar identified on the Adda Seal is the footprint of इळा f. इडा or (in ऋग्-वेद) /इळा , refreshing draught , refreshment , animation , recreation , comfort , vital spirit RV. AV. AitBr. इडा offering , libation (especially a holy libation , offered between the प्र-याग and अनु-याग , and consisting of four preparations of milk , poured into a vessel containing water , and then partially drunk by the priest and sacrificers ; personified in the cow , the symbol of feeding , and nourishment) S3Br. i , 8 , 1 , 1 , &c AitBr. Ka1tyS3r. Kaus3.; (metaphorically cf. इद्) , stream or flow of praise and worship (personified as the goddess of sacred speech and action , invoked together with अदिति and other deities , but especially in the आप्री hymns together with सरस्वती and मही or भारती) RV. AV. VS. &c; the earth , food Sa1y.; the goddess इडा or इळा (daughter of मनु or of man thinking on and worshipping the gods ; she is the wife of बुध and mother of पुरू-रवस् ; in another aspect she is called मैत्रावरुणि as daughter of मित्र-वरुण , two gods who were objects of the highest and most spiritual devotion).
The defication of the Indus Script hieroglyph of footsole is thus related to the metalwork in a yajna, using the metaphor of a female divinity as signifier of the earth's resource which yields wealth in the form of iron and other metal equipment, with the intervention of Shamash, sun divinity.
See: Footsole or dance-step is an Indus Script hypertext, signifies 'iron work'. “The human foot is a masterpiece of engineering and a work of art.” -- Leonardo da Vinci
https://tinyurl.com/yb8md9uq
“The human foot is a masterpiece of engineering and a work of art.” ― Leonardo da Vinci
This insightful observation of Leonardo da Vinci is validated by Indus Script hypertexts which relate foot-related hypertexts to blcksmithy work of artisans.
Footstep is an Indus Script hypertext, signifies 'iron work'.
Foot with anklet; copper alloy. Mohenjo-daro (After Fig. 5.11 in Agrawal. D.P. 2000. Ancient Metal Technology & Archaeology of South Asia. Delhi: Aryan Books International.)Hieroglyph: step: meḍ 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు . "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి ." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu)
Hieroglyph: step, foot: The gloss is meḍ 'dance' (Remo); meḍ 'step' (Santali) మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు (Telugu) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.).
Hieroglyph: anket: śr̥ṅkhala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥ṅkhalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pāṇ. [Similar ending in m ḗkhalā -- ]Pa. saṅkhalā -- , °likā -- f. ʻ chain ʼ; Pk. saṁkala -- m.n., °lā -- , °lī -- , °liā -- , saṁkhalā -- , siṁkh°, siṁkalā -- f. ʻ chain ʼ, siṁkhala -- n. ʻ anklet ʼ;OH. sāṁkaḍa, sīkaḍa m., . sã̄kal, sã̄kar, °krī, saṅkal, °klī, sikal, sīkar, °krī f.; OG. sāṁkalu n., G. sã̄kaḷ, °kḷī f. ʻ chain ʼ, sã̄kḷũ n. ʻ wristlet ʼ; M. sã̄k(h)aḷ, sāk(h)aḷ, sã̄k(h)ḷī f. ʻ chain ʼ, Ko. sāṁkaḷ; Si. säkilla, hä°, ä° (st. °ili -- ) ʻ elephant chain ʼ.(CDIAL 12580) Rebus: samgaha, samgaha 'catalogue'. Thus, meḍ samgaha 'iron catalogue'.
m0493Bt Pict-93: Three dancing figures in a row. Text 2843 Glyph: Three dancers. Kolmo ‘three’; meḍ ‘to dance’
Rebus: kolami ‘furnace, smithy’; meḍ ‘iron’. Thus, iron smithy.
Sign 44 (this glyph could be compared with the orthography of three dancers in a row; the glyph is a ligature showing a 'dance step' and a rimless pot). Glyphs: meḍ 'dance' (Remo); rebus: meḍ 'iron'; baṭa 'pot'; baṭhi 'furnace'.Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Miedź, med' (Northern Slavic, Altaic) 'copper'.
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.(Slavic languages)
Santali glosses.
dula 'pair' rebus; dul 'metal casting' PLUS mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Miedź, med' (Northern Slavic, Altaic) 'copper'. Thus, dul mẽṛhẽt, 'cast iron' (Santali)
Glyph: aṭi foot, footprint (Tamil) Rebus: aḍe, aḍa, aḍi the piece of wood on which the five artisans put the article which they happen to operate upon, a support (Kannada)
Hieroglyph: footsole: Tu. aḍi bottom, base; kār aḍi footsole, footstep; aḍi kai palm of the hand. Te. aḍugu foot, footstep, footprint, step, pace, measure of a foot, bottom, basis (DEDR 72) Rebus: khār aḍi 'blacksmith anvil'.
Glyph: araṇe 'lizard' (Tulu) eraṇi f. ʻ anvil ʼ (Gujarati); aheraṇ, ahiraṇ, airaṇ, airṇī, haraṇ f. (Marathi) அரணை Ta. araṇai typical lizard, Lacertidae; smooth streaked lizard, Lacerta interpunctula. Ma. araṇa green house lizard, L. interpunctula. Ka. araṇe, rāṇe, rāṇi greenish kind of lizard which is said to poison by licking, L. interpunctula. Tu. araṇe id. (DEDR 204).
Glyph: bhaṭa ‘six’ (G.) rebus: baṭa = kiln (Santali) baṭa = a kind of iron (Gujarati) [Note: six legs shown on the lizard glyph]
The rebus readings are: khār aḍi 'blacksmith anvil': Rebus: khār खार् 'blacksmith'.khār खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b,l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta 'bellows of blacksmith'. (Kashmiri); kāru ‘artisan’ (Marathi) PLUS aḍi 'anvil' airaṇ 'anvil' (for use in) baṭa 'iron working' or kiln/furnace-work.
The expressions which may relateto khār aḍi 'blacksmith anvil':are:
காரடம் kāraṭam
, n. [T. gāraḍamu, K. gāraḍa.] See காரடவித்தை.
காரடவித்தை kāraṭa-vittai , n. < காரடம் +. Juggling, legerdemain; சாலவித்தை.
காரடன் kāraṭaṉ , n. < id. Juggler; சால வித்தைக்காரன். காரடையாநோன்பு kāraṭaiyā-nōṉpu , n. < காரடை + ஆம் +. A ceremonial fast observed by women when the sun passes from Aquarius to Pisces, praying for the longevity of their husbands; மாசியும் பங்குனியும் கூடும்நாளில் தம் கணவ ரின் தீர்க்காயுளைக் கருதிக் காரடையை உணவாகக் கொண்டு மகளிர் கைக்கொள்ளும் ஒரு விரதம்.
Is a blacksmith working with an anvil a conjurer? Or, simply a person with knwledgeof snake-poison antidote?
gāruḍika m. ʻ charmer, dealer in antidotes ʼ Siṁhās. [gāruḍa -- ]
S. gāroṛī (g!) m. ʻ snake -- bite charmer ʼ; A. gāruri ʻ incantation for healing snake -- bite &c. ʼ; MB. gāṛurī ʻ snake -- charmer ʼ, Or. gāruṛiā, gāriṛiā, garuṛī; H. G. gāruṛī m. ʻ snake -- charmer, juggler ʼ, M. gāruḍī, °roḍī m.(CDIAL 4139)
An allograph: Ta. karaṭi, karuṭi, keruṭi fencing, school or gymnasium where wrestling and fencing are taught. Ka. garaḍi, garuḍi fencing school. Tu. garaḍi, garoḍi id. Te. gariḍi, gariḍī id., fencing (DEDR 1262) Rebus readings suggest the expansion of the functions of a blacksmith: Rebus 1: करडा [ karaḍā ] Hard fromalloy--iron, silver &c. Rebus 2: khara_di_ = turner (G.)
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Hieroglyph: khōṇḍa ‘leafless tree’ (Marathi). Rebus 1: kõdār ’turner’ (Bengali)
Ka. kōḍu horn, tusk, branch of a tree (DEDR 2200). Rebus 2: खोट [khōṭa] alloyed ingot (Marathi). koḍ ‘artisan’s workplace’.
Hieroglyph: kut.i, kut.hi, kut.a, kut.ha a tree (Kaus'.); kud.a tree (Pkt.); kur.a_ tree; kar.ek tree, oak (Pas;.)(CDIAL 3228). kut.ha, kut.a (Ka.), kudal (Go.) kudar. (Go.) kut.ha_ra, kut.ha, kut.aka = a tree (Samskritam) kut., kurun: = stump of a tree (Bond.a); khut. = id.(Or.) kut.amu = a tree (Telugu) Rebus: kuThi 'smelter'.
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karuvu n. Melting: what is melted (Te.)कारु [ kāru ] m (S) An artificer or artisan. 2 A common term for the twelve बलुतेदार q. v. Also कारुनारु m pl q. v. in नारुकारु. (Marathi) कारिगर, कारिगार, कारागीर, कारेगार, कारागार [ kārigara, kārigāra, kārāgīra, kārēgāra, kārāgāra ] m ( P) A good workman, a clever artificer or artisan. 2 Affixed as an honorary designation to the names of Barbers, and sometimes of सुतार, गवंडी, & चितारी. 3 Used laxly as adj and in the sense of Effectual, availing, effective of the end. बलुतें [ balutēṃ ] n A share of the corn and garden-produce assigned for the subsistence of the twelve public servants of a village, for whom see below. 2 In some districts. A share of the dues of the hereditary officers of a village, such as पाटील, कुळकरणी &c. 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 orमधली 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 lls. (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.) (Marathi)kruciji ‘smith’ (Old Church Slavic)
Dance-step of a male dancer shown on a sculpture of Harappa. I suggest that this is an early representation of Mahes'vara as the cosmic dancer. See: http://bharatkalyan97.blogspot.in/2015/11/identity-ca-3500-bce-of-bharatam-janam.htmlWhat is shown as a hypertext on a Bhirrana potsherd is also shown on a Mohenjo-daro bronze figurine of a dancer's dance-step. The gloss is meḍ 'dance' (Remo); మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు (Telugu) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.). It is notable that Bhirrana on the banks of River Sarasvati was an archaeological settlement with continuous settlement from ca. 7th millennium BCE.
Why is a 'dancing girl' glyph shown on a potsherd discovered at Bhirrana? Because, dance-step is a hieroglyph written as hypertext cipher.Dance step of Gaṇeśa shown on a sculptural friezed of Candi Sukuh:
Forge scene stele. Forging of a keris or kris (the iconic Javanese dagger) and other weapons. The blade of the keris represents the khaṇḍa,'sword' rebus: khaṇḍa 'equipment'. Fire is a purifier, so the blade being forged is also symbolic of the purification process central theme of the consecration of gangga sudhi specified in the inscription on the 1.82 m. tall, 5 ft. dia. lingga hieroglyph, the deity of Candi Sukuh.
The readings of hypertexts on Kalibangan potsherd and on Candi Sukuh sculptural frieze are: meḍ 'dance', 'dance-step' rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Miedź, med' (Northern Slavic, Altaic) 'copper'.
