The winged tiger hieroglyphs: khambha 'wing' rebus: kammaTa 'mint, coiner, coinage' kola 'tiger' rebus: kol 'working in iron'. Thus, iron mint. The tw garlands surmounded below the parasol and above the spokedwheel signify: dAma 'garland' rebus: dhAu 'mineral'. Lakshmi flankedby two elephants signifies medhA 'dhanam, wealth.' The word also means 'Sarasvati'. The lotuses are: tAmarasa rebus: tAmra 'copper'.

Medallion. Bharhut. Joined animal parts: fish, fish-fin, elephant trunk & legs, crocodile (All the hieroglyphs signify metalwork catalogues; see discussions in this monograph). karNa 'ear' rebus: karNI 'supercargo' dala 'leaf' rebus: dhALa 'large ingot'. See: http://www.photodharma.net/Guests/Kawasaki-Bharhut/Bharhut.htm

http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html

Bharhut

Bharhut
Sanchi

Sanchi
Bharhut

Fragment of a Makara Capital Allahabad Museum, Allahabad Kaushambi, Uttar Pradesh. C.2nd Century BCE Shunga Dimensions: 00105 (1), 00105 (2)
"The animal is damaged, but was originally endowed with only two front legs. The snout is broken; the open mouth, filled with saw teeth, is bordered by ridged lips. The eyes are bulging and have thick curling eyebrows. The finlike ears are adorned with pendants, each consisting of four strands of beads held together by a rectangular plaque. The flat modeling of the curled tail, the top and side surfaces of which meet almost at right angles, are strongly reminiscent of Bharhut sculpture of the 2nd century B.C. The makara probably crowned a votive column (dhvaja stambha) before a temple or site sacred to Pradyumna, one of the Pancavrsnis. An image of the same period has also been discovered at Besnagar, ancient Vidisa."

http://museumsofindia.gov.in/repository/record/alh_ald-AM-SCL-59-3541 This is makara-dhvaja. 
"Pradyumna (Sanskrit: प्रध्युम्न) is the name of a character in the Srimad Bhagavatam. He was the son of Lord Krishna andRukmini. Pradyumna is considered as one of the four vyuha avatar of Vishnu. According to some accounts, Pradyumna was an incarnation of Kama, the god of love. Pradyumna is also a name of the Hindu god Vishnu. He is one in 24 Keshava Namas (names), praised in all pujas. It is also the only name in Sanskrit with all the 3 letters joint (referred as जोडाक्षर)
The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar."
https://en.wikipedia.org/wiki/Pradyumna

Kalpavrisha, the Wish fulfilling tree, Indian Museum, Kolkata. Sandstone. Besnagar, Madhya Pradesh, ca. 2nd cent. BCE. 172.5 cm. height. "The sculpture, possibly the capial of a pillar, represents a banyan tree, enclosed by a railing at the base and higher up by a bamboo fencin in the shape of a network. The branches of the tree bear coin purse, a conch shell, a lotus and a vase overflowing with coins."
http://museumsofindia.gov.in/repository/record/im_kol-1795-10377

Sculpture representing a tree (Kalpadruma or wishing tree) from Besnagar, Bhopal State
Photograph by Beglar, Joseph David, 1875

Plate XXXVI. 10 Medallion Bharhut Stupa

Makara is NOT a myth. It is an abiding reality, as close to truth as any civilizational narrative can get.
Makara and merchant ship. Narrative on Borobodur sculptural frieze.

Merchant vessel. Borobudur.
Makara. Bali. Penataran Sasih temple (dh)makara 'makara composite animal' rebus: dhmakara 'bellows blower', blacksmith. karA 'crocodile' rebus: khAr 'blacksmith' PLUS fish-fin as hieroglyph to signify kammaTa 'mint' PLUS kariba, ibha 'elephant' (legs, trunk of elephant) rebus: karba, ib 'iron'.
Makara jhasa. meDDa 'ram' rebus: medha 'yajna' medhA 'dhanam'. meD 'iron' (Mu.Ho.) med 'copper' (Slavic) The curves tying up the central fish on s'rivatsa glyph or making up the makara composition are cephalopod spirals to denote that the glyphs are maritime/riverine treaures sippi 'mollusc' rebus: sippi 'artificer'. The artificer works with metals: karibha 'trunk of elephant' ibha 'elephant' rebus: karba, ib 'iron' karA 'crocodile' rebus: khAr 'blacksmith' khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage'. 
Makara Bharhut, c. 100 BC Indian Museum, Calcutta Something of the origin of the makara, or at least its early composition in India, can be seen here. The water beast, confined beneath a ledge with kneeling rams that represent the realm of land, is pictured here with the snout of a crocodile, the head and forequarters of an elephant, the body of a snake, and the fins and tail of a fish. http://www.art-and-archaeology.com/india/calcutta/cm13.html

The shell component of this motif may be read as: sippi 'mollusc' rebus: sippi 'artificer' Alternative: ha_ngi snail (K.); sa~_khi possessing or made of shells (B.); ho~gi pearl oyster shell, shell of any aquatic mollusc (K.); ha_ngi snail (K.)(CDIAL 12380). gongha = snail’s shell (Santali). Cf. conch (English). Cypraea moneta or a cowrie used as a coin. Rebus: kangar ‘portable furnace’ (K.) A possible depiction of a kaula mangra ‘blacksmith’ working with s’ankha ‘shell’ and and indicaton of jhasa ‘fish’; rebus: jasa ‘prosperity, fame’.

See: http://bharatkalyan97.blogspot.in/2016/08/three-men-on-boat-in-bharhut-300-bce.html 

Three men on a boat in Bharhut 300 BCE and makara, zebu, monkey Indus Script kalā 'boat' pōḷā 'magnetite'कुठारुः 'armourer' 

Ligatured elephant + crocodile glyph on Bharhut sculpture. A joined animal is sangaDa. Rebus: sAngaDa 'double-canoe, seafaring vessel'. Hence, makara as sangaDa is the vAhana of Ganga which was a navigable waterway. Cargo were products out of  khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage', made by karA 'crocodile' rebus: khAr 'blacksmith'; karibha 'elephant trunk' ibha 'elephant' rebus: karba, ib 'iron'. Makara is the quintessential proclamation of the life-work of artisans of the Bronze Age revolution. These artisans created the Bharhut, Sanchi stupa and other temples as monuments, celebrating their life-activities signified by these metaphors, these Indus Script hieroglyphs as rebus metonymy (sculptural or orthographic metaphors of a writing system).

The continuum of the Indian writing system is demonstrated by the continued use of glyphs of elephant and sun’s rays on Mauryan and later-day punch-marked coins. The glyphs had significance in the context of the coinmaker, kammaTi (signified by the glyph of bow, kammaTa – as shown on a punchmarked coin of the imperial first series). Elephant glyph also gets ligatured to crocodile glyph to create the unique composite glyph of makara which gets represented on the entry steps of many temples during the historical periods and also in Bharhut sculptures. 

Statuary

Makara Disgorging a Warrior

Architectural decoration. Late XIth early XIIth century Chành Lô style, Thu Thiên group. Sandstone. H. 86.4 cm. Norton Simon Art Foundation, Pasadena, CA, M1977. 20 a. S.

A makara disgorging human figures, frequently a warrior, is a recurring theme in the history of Cham art. An early example cornes from the reredos of the Dông Du'o'ng temple (Boisselier 1963 a : Fig. 56). We find it here some two centuries later, where the makara head accentuates the pointed and spiky features, with a row of sharp teeth continued by a row of similarly shaped foliage decorations.

The makara 's elephantine nose has been made into a towering curved spike that exactly mimics the animal's huge fangs. The drapery of the garment and the pointed headgear of the warrior brandishing a weapon, place the composition in the Thu Thiên group of the Chành Lô style.

"Some Remarkable Cham sculptures in American Museums" Natasha Eilenberg, Robert L. Brown

Article de "La Lettre de la SACHA" n°6, décember 1999, page 10.

http://www.sacha-champa.org/g/en/photo.php?cat=6&subcat=5&topic_id=25
Makara. Bronze sculpture. Cham Museum, Da Nang. Metal workers chose hieroglyphs as orthographic signifiers of their life-activities. Hence, a writing system of Indus Script and sculptures of metaphors which are matched by literary texts, e.g. the makara as the vAhana of River Ganga, the waterway for seafaring merchants of the Bronze Age Revolution.
Makara. Da Nang Museum.
Sikhara of Jaina temple, Arana, Rajasthan.
Ganga-Yamuna. National Museum. New Delhi. Gupta period. Sarasvati is shown atop a lotus on Ellora Cave 16 temple of River Goddesses. Ganga has makara vAhana and Yamuna has kUrma vAhana. kamaTha 'turtle' rebus: kammaTa 'mint, coiner, coinage'.
Makara on lentil from Sambor Prei Kuk temple, Kampong Thom City, Cambodia

A warrior in the jaw of makara in Kiradu temple, Rajasthan. Makara is human, karA 'crocodile' signifies khAr 'blacksmith'.

Plaque with a makara, or aquatic monster (EA1971.13) Ashmolean Museum

Stair stringer with makara-headed mythical creature Sikri, Khyber Pakhtunkhwa province. 2nd–3rd century CE Schist H. 7 5/16 x W. 10 1/4 x D. 1 3/4 in. (18.5 x 26 x 4.5 cm). Lahore Museum, G-218

Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal

Makara. 

Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')

“Makaradhvaja is a popular Kupipakwa Rasayana, prepared with the Swarna (gold), 
Parada (mercury) and Gandhaka (sulfur) in a specified ratio. It was first described by Rasendra Chintamani[1] by the name ofChandrodaya Rasa, although the word Makaradhvaja was first coined by Rasaratnakara. The term Makaradhvaja is composed of two words, i.e. Makara and Dhvaja. The term Makaradhvaja is also a synonymous of Kamadeva,[2] the God of beauty.”  (Khedekar S, Patgiri BJ, Ravishankar B, Prajapati PK., 2011, Standard manufacturing process of Makaradhvaja prepared by Swarna Patra - Varkha and Bhasma. Ayu. 2011 Jan;32(1):109-15.) http://www.ncbi.nlm.nih.gov/pubmed?

Suvannamaccha yields the association with gold, a material for wealth. Suvannamaccha, gold fish, macchanu fish (ayo, fish' rebus: aya 'iron' ayas 'metal') and makara dhvaja are all related to metalwork processes. Makaradhvaja in Rasayana, ancient alchemical traditionsis preparedwith svarna 'gold' parada (darada 'cinnabar', 'mercury') and gandhaka 'sulfur'.

This extraordinary links with metallurgy is what makes makara an extraordinary hieroglyph to signify wealth.

Makara on sculptures is useed on torana, gateways of monuments. On many ancient sculptural friezes, makara yields a creeper as a decorative ornament on the temple gateway.

Some see in a makara, body parts of six or seven animals such as the trunk of the elephant, jaws of thecrocodile, ears of the mouse or ape, extruding teeth of wild swine, the tail plume of the peacock and feet of the lion.  Clough, B. (1997). Sinhalese English Dictionary. Asian Educational Services. p. 163.

Hieroglyph: makara 'crocodile' rebus: mukura 'flower-bud' Hence the lavi

Makara and Kirtimukha protecting portal of Chennakesava Temple at Belur, India

Makara Thoranam above the door of the to Garbhagriha of Chennakesava Temple at Belur. Two makaras are shown on either end of the arch.

 Ganga relief depicting the goddess atop her makara mount at Kelaniya Temple Sri Lanka

:Makara, Thap Mam, 13th century, Binh Dinh - Museum of Cham
Makara. Bantey Srei.

Rows of elephants, makara on the base of Chennakesava tempe, Beluru. karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'.

Makara, ca. 14th cent.

Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.
Makara. Khajuraho.

Hieroglyph components of makara, Halebidu: body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock. 

The hieroglyphs declare *saṁhati, *saṅghati:These are hieroglyph components of the multiplex cipher read in rebus-metonymy-layers: ibha 'elephant' rebus: ib 'iron'; aya 'fish' rebus: aya 'metal', arye 'lion' rebus: arA 'brass', kuThAru 'monkey' rebus: kuThAru 'armourer', baDhi 'boar' rebus: baRea 'merchant'; maraka 'peacock' rebus: makara loha 'copper alloy calcining metal'. 
makara kundala on Vithoba at Pandharpur Maharashtra

Makara torana. Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.

Makara disgorging a lion-like creature on corner of a lintel on one of the towers) surrounding the central pyramid at Bakong, Roluos, Cambodia

Makara at Nanpaya Temple, Bagan, Burma

Makara on lintel from Sambor Prei Kuk temple, Kampong Thom City, Cambodia
Makara from Northern Qi Dynasty (CE 550-577), China
Qi Dynasty. Glazed tile. 6th cent.
Glazed tile, Northern Qi dynasty, 6th century

The curious crocodile “wani” connection between the Watasumi sea god and Hooderi and Hoori brothers royal myth

Makara at Wat ThatPhun, Vientiane, Laos

Makara from 7th century CE at National Museum Kuala Lumpur, Malaysia

Makara and Kirtimukha at Hindu temple in Kathmandu, Nepal

Makara with Nagas, Wat Suthat, Bangkok, Thailand
Makara Serpent Images at Wat Chedi Luang a Buddhist Temple in Chiang Mai

Makara 12th cent. Sandstone

Cham god Nāga emerging from mouth of Makara at the National Museum of Vietnamese History
Karava Makara flag from Sri Lanka with elephant/fish head and peacock tail. Karava may be cognate kaurava of Mahabharata. Both makara and peacock are metalwork catalogues. karA 'crocodile' rebus: khAr 'blacksmith' moraka 'peacock' morakkaka loha 'a form of copper'.
Varuna on Makara, Halebidu.
Varuna on makara, Lakkundi, Lokki Gundi, Gadag
Ganga on makara. Makara upholds a flaming torch, reinforcing the association with fire-altar, Soma SamsthA.

Asian Art Museum of San Francisco: Ma Ganga on Makara

Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights

Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From Besnagar, Bhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.

Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884
Row of Makara in base of Chennakesava Temple at Belur, Karnataka. Note Makara standing vertical at corner.

Trimurti at the centre, Makara on top. Hoysalesvara temple, Halebidu.

Makara is a celebration, .
Makara sculpture, Jain Museum, Khajuraho
Makara sculptures at the Candi Kalasan Temple, Indonesia
(Ảnh: makara Ấn Độ, nguồn: Courtesy: Robert Beer

'Head of a Makara', 13th-14th century, Museum of Cham Sculpture

A Gilt Bronze Makara Finial Tibet, 13th/14th Century The mythical creature with crocodile body elaborately cast with gaping mouth and coiled trunk, its tail rising up in a finely detailed foliate swirl, thickly cast from high copper content bronze with rich gilding, the base plate with two prongs 15½ in. (39.3 cm.) high https://www.pinterest.com/pin/308215168221862948/

nāga is emerging from the jaws of another creature, makara.Wat Prasat, Thailand

Ancient Champa

Cham sculptures found in Binh Dinh, Vietnam, held in the Musée Guimet in Paris, France.

"The door jambs of the sukhanasa and garbhagriha carry across intricately carved Makara toranas on the exterior. Its has a fine figure of Lakshmi-Narayana in the centre has excellent filigree work. The Makaras at the side bear Varuna and his consort on the back." http://rsubbu-thoughts.blogspot.in/2016_03_01_archive.html

Bharhut coping from stupa, Cleveland Museum, Sunga, India, 2nd Century, B.C., Sculpture and painting- The Cleveland Museum, ACSAA

Hieroglyph 1: mákara1 m. ʻ crocodile ʼ VS.Pa. makara -- m. ʻ sea -- monster ʼ; Pk. magara -- , mayara<-> m. ʻ shark ʼ, Si. muvarā, mōrā, Md. miyaru. -- NIA. forms with -- g -- (e.g. H. G. magar m. ʻ crocodile ʼ) or -- ṅg<-> (S. maṅgar -- macho m. ʻ whale ʼ, maṅguro m. ʻ a kind of sea fish ʼ → Bal. māngar ʻ crocodile ʼ) are loans from Pk. or Sk. or directly from non -- Aryan sources from which these came, e.g. Sant. maṅgaṛ ʻ crocodile ʼ.(CDIAL 9692) Hieroglyph 2: makura, makula, mukula 'bud'.mukula n. ʻ bud ʼ Suśr., makula -- 2 n. lex. 2. mukura -- , makura -- 2 n. lex. 3. *bakula -- 2. [Cf. similar interchange of initial in bakula -- 1. -- ← Drav., Tam. mokkuḷ &c., DED 4007; also mudgara -- 2 m. ʻ bud ʼ lex. with same variation of -- k -- ~ -- dg -- as in mukuṣṭha -- ]
1. Pa. makula -- m. ʻ bud ʼ, Pk. maüla -- m.n.; S. mora f. ʻ budding ʼ, morṛo m. ʻ fresh new leaf ʼ.
2. Pk. maüra -- m.n. ʻ bud ʼ; H. maur m. ʻ bud, blossom ʼ; G. mɔhɔr m. ʻ blossom ʼ.
3. MB. baula, B. bol ʻ bud, blossom of fruit tree, knob of a wooden clog ʼ; Or. baüḷa ʻ mango bud ʼ; Aw.lakh. baur ʻ mango blossom ʼ. *mukurayati, mukulayati, mukulāyatē.(CDIAl 10146)mukulayati ʻ *blossoms ʼ. 2. *mukurayati. 3. mukulāyatē. [mukulayati (tr.), °lāyatē (intr.) ʻ closes (like a bud) ʼ Kāv., °litá -- R., °lāyita -- Kāv. ʻ having blossoms ʼ, mukurita -- ʻ id.? ʼ Pāṇ.gaṇa. -- mukula -- ] 1. Pk. maülēi ʻ blossoms ʼ; S. morjaṇu ʻ to sprout ʼ; P. maulnā ʻ to blossom, bud ʼ; Ku. maulṇo ʻ to flourish ʼ, N. maulanu; B. maulā ʻ to blossom ʼ, H. maulnā.
2. H. maurnā ʻ to blossom ʼ, G. mɔrvũ. 3. Pk. maülāaï ʻ blossoms ʼ, N. maulāunu, H. maulānā.(CDIAL 10147)
Darada is a gold producing area

Apparatus for the distillation of cinnabar, Alchimia, 1570
"As the most common source of mercury in nature,cinnabar has been mined for thousands of years, even as far back as the Neolithic Age.During the Roman Empire it was mined both as a pigment,^[14][15] and for its mercury content.To produce liquid mercury (quicksilver), crushed cinnabar ore is roasted in rotary furnaces. Pure mercury separates from sulfur in this process and easily evaporates. A condensing column is used to collect the liquid metal, which is most often shipped in iron flasks." https://en.wikipedia.org/wiki/Cinnabar

Martín-Gil, J.; Martín-Gil, F. J.; Delibes-de-Castro, G.; Zapatero-Magdaleno, P.; Sarabia-Herrero, F. J. (1995). "The first known use of vermillion". Experientia. 51 (8): 759–761.
Vitruvius, De architectura VII; IV–V
Pliny, Natural History; XXXIII.XXXVI–XLII
Mercury,  ₈₀Hg Mercury was found in Egyptian tombs that date from 1500 BCE "In November 2014 "large quantities" of mercury were discovered in a chamber 60 feet below the 1800-year-old pyramid nown as the "Temple of the Feathered Serpent,""the third largest pyramid of Teotihuacan," Mexico along with "jade statues, jaguar remains, a box filled with carved shells and rubber balls.". https://www.theguardian.com/world/2015/apr/24/liquid-mercury-mexican-pyramid-teotihuacan
Terracotta toys from Mehergarh (ca. 7th millennium?) Vermilion or powdered cinnabar (sindhur) in the part of her hair. Choker and pendant necklaces are also painted with red pigment  Ornaments are painted golden. Hair is painted black. Sindhu at the hair-parting is painted red, like cinnabar red.
Hematite is a more reddish variety of iron oxide, and is the main ingredient of red ochre. When limonite is roasted, it turns partially to the more reddish hematite and becomes red ochre or burnt sienna.
"Ochre (/ˈoʊkər/ oh-kər; from Greek: ὠχρός, ōkhrós, (pale yellow, pale), also spelled ocher, see spelling differences) is a natural earth pigment containing hydrated iron oxide, which ranges in color from yellow to deep orange or brown. It is also the name of the colors produced by this pigment, especially a light brownish-yellow.A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as "red ochre". https://en.wikipedia.org/wiki/Ochre
Trefoil hieroglyph painted red because it signifies dhāī 'strand' rebus: dhāu 'red ochre, ore of copper': 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) Rebus: dhā̆vaḍ 'smelter'.

Detail of terracotta bangle with red and white trefoil on a green background (H98-3516/8667-01 from Trench 43). Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and southern Central Asia.

The ritual of applying the sindoor as part of a Hindu Indian wedding
"Modern sindoor mainly uses vermilion, an orange-red pigment. Vermilion is the purified and powdered form of cinnabar, which is the chief form in which mercury sulfide naturally occurs."
https://en.wikipedia.org/wiki/Sindoor
Cinnabar from Almaden District, Ciudad Real, Castile-La Mancha, Spain
Cinnabar, mercury ore from Nevada, USA

" The largest natural source of mercury is cinnabar, its only known ore, and the richest deposits are found in Spain and Italy. This reddish mineral containing mercury and sulfur has been used as a pigment since prehistoric times. Cinnabar dating from 500 BC has been identified at a Mayan site in Guatemala, and prehistoric skulls painted with cinnabar have been found in Italy...In the ancient art of alchemy, mercury, sulfur, and salt were the Earth's three principle substances. The Hindu word for alchemy is "Rasasiddhi", meaning "knowledge of mercury." Believing that mercury was at the core of all metals, alchemists supposed that gold, silver, copper, tin, lead and iron were all mixtures of mercury and other substances. While alchemists in different cultures had different beliefs, one of the central themes to European alchemy was the belief that the correct combination of mercury and other ingredients would yield riches of gold...The line between alchemy and medicine was not always clear. In 2nd century China, the study of mercury centered on a search for an elixir of life to confer longevity or immortality. The prominent Chinese alchemist Ko Hung, who lived in the 4th century, believed that man is what he eats, and so by eating gold he could attain perfection. Yet, he reasoned, a true believer was likely to be poor, and so it was necessary to find a substitute for the precious metal. This, in his estimation, could be accomplished by making gold from cinnabar." Ko Hung, Alchemist
http://www.dartmouth.edu/~toxmetal/mercury/history.html

pārada m. ʻ quicksilver ʼ Suśr., pārata -- m. Kathās., pāra -- 2 m. lex. [← Ir. cf. Pers. paranda EWA ii 257]Pk. pāraya -- m. ʻ quicksilver ʼ, S. pāro m., L.awāṇ. P. pārā m., Ku.gng. pār, N. pāro, A. B. Or. pārā, OAw. pāra m., H. M. pārā m., G. pārɔ m. (CDIAL 8104) "Mercury is a chemical element with symbol Hg and atomic number 80. It is commonly known as quicksilver and was formerly named hydrargyrum (/haɪˈdrɑːrdʒərəm/). Mercury occurs in deposits throughout the world mostly as cinnabar (mercuric sulfide). A heavy, silvery d-block element, mercury is the only metallic element that is liquid at standard conditions for temperature and pressure; the only other element that is liquid under these conditions is bromine, though metals such as caesium, gallium, and rubidium melt just aboveroom temperature.The red pigment vermilion is obtained by grinding natural cinnabar or synthetic mercuric sulfide." https://en.wikipedia.org/wiki/Mercury_(element)

दर° द [p= 470,1]m. pl. N. of a people (living above Peshawar ; also called °द् Ra1jat. ) Mn. x , 44 MBh. Hariv. 6441 R. iv VarBr2S. Va1yuP. i , 45 , 118 darád f. ʻ bank, precipice, mountain ʼ lex. [√d&rcirclemacr;?] - But perh. of non -- Aryan origin, cf. darád -- ʻ a people adjoining Kashmir ʼ Pat., darada -- MBh., dara -- ʻ name of a mountain ʼ ViṣṇuP., and dardara -- ʻ a mountain in the south ʼ MBh., Pa. daddara -- (poss. ← Drav. EWA ii 21)]
M. daraḍ f. ʻ steep acclivity or high ground, bank ʼ.(CDIAL 6191)

दर° द n. red lead Bhpr. v , 26 , 93 ; vii , 1 , 227

Daradas were a people who lived north to the Kashmir valley. Their kingdom is identified to be the Gilgit region in Kashmir along the river Sindhu or Indus. They are often spoken along with the Kambojas. The Pandava hero Arjuna had visited this country of Daradas during his northern military campaign to collect tribute forYudhishthira's Rajasuya sacrifice. Herodotus and Strabo also connect the Daradas with the gold producing area located in the west of Tibet. There is an evidence that the Daradas, in ancient times, had their colonies located inBaltistan and Leh also.

Anjana
Antimony
añjana ʻ anointing, ointment ʼ ĀśvŚr. [√añj] P. añjaṇ f. ʻ collyrium ʼ; Si. an̆danā ʻ anointing, painting, putting on (clothes) ʼ.(CDIAL 170) Unguent of tutty is also called añjana  One type is antimony."A lustrous gray metalloid, it is found in nature mainly as the sulfide mineral stibnite (Sb₂S₃). Antimony compounds have been known since ancient times and were used for cosmetics; metallic antimony was also known, but it was erroneously identified as lead upon its discovery." https://en.wikipedia.org/wiki/Antimony
An idol of Anjani Mata having son Hanuman in her lap in the Anjani Mata temple, Choumu

"Añjanā (Tamil: Anchanai, Malay: Anjani or Anjati, Thai: Sawaha) was the mother of Hanuman, one of the heroes of the Indian epic, the Ramayana. According to one version of the story, Añjanā was an apsara named Puñjikastalā, who was born on earth as monkey princess and married Kesari, a monkey chief. Vayu, god of the wind, carried the divine power ofLord Shiva to Anjana's womb, and thus Hanuman was himself an incarnation of Lord Shiva. In Himachal Pradesh is the Goddess worshiped as family deity by several people.There is one temple dedicated to her at Masrer near Dharamsala District Kangra. " https://en.wikipedia.org/wiki/Añjanā
Makara dhvaja, son of Hanuman (Anjaneya) kesari & suvannam,accha, brother of Macchanu

Temples[edit]

• Odadar village near Porbandar.
• Hanuman-Dandi at Bet Dwarka, where idols of Makardhvaja and Hanuman are worshiped together.^[7]
• Chinchawan, Tq. Wadwani Wadwani, Dist.Beed (Maharashtra)
• MP-GWALIOR-KARAHIYA

• Balaji Makardhvaja Temple at Beawar, which is dedicated to both father-son duo in form of Balaji Hanuman and Makardhvaja." https://en.wikipedia.org/wiki/Makardhvaja

"Story of Lord Hanuman and Suvannamaccha, the golden mermaid or golden fish. Suvarnamatsya is the equivalent word in Sanskrit. The story of Suvarnamatsya is not found in Valmiki Ramayana. It appears in the Cambodian and Thai versions of Ramayana. Suvarnamatsya was a daughter of Ravana. She was half fish and half human in her body. "
http://www.hindudevotionalblog.com/2014/03/story-suvannamaccha-golden-mermaid.html
"Story of Makaradhvaja, son of Hanuman. According to Hinduism, Makaradhvaja is the son of Lord Hanuman. Makardhvaja makes his first appearance in epic Ramayana. The story of Makardhvaja and Hanuman has several versions...Makaradhvaja claimed that he was the son of Hanuman. Hanuman was amused at this and said that he himself was Hanuman, but he could not be his son, as he was born celibate. A duel between Hanuman and Makaradhvaja took place. Hanuman defeated Makaradhvaja in the duel and proceeded further. Finally, Hanuman killed Ahiravana and rescued Srirama and Lakshmana. 

Later, on the advice of Srirama, Hanuman installed Makaradhvaja, as the King of Patala and all the three returned to Lanka, to continue the war with Ravana." 
"


http://www.hindudevotionalblog.com/2013/09/story-makaradhwaja-son-of-hanuman.html
"Macchanu (Thai: มัจฉานุ; rtgs: Matchanu) is son of Hanuman as per that appears in the Cambodian, Thai and other versions of the Ramayana....As per these versions of Ramayana, during one of the battles with Ravana's army, Hanuman encounters one powerful opponent, who looked like vanara from waist-up but had tail of a fish. After a fierce battle, as Hanuman was about to hit the creature with his weapons, a golden star shining in the sky above, reveals by way ofaakashwani that the enemy, whom he is going to harm is his own son born by his union with Suvannamaccha, the mermaid daughter of Ravana. Hanuman, immediately holds his weapons in mid-air and father-son duo recognize each other"
https://en.wikipedia.org/wiki/Macchanu

Boiling gold in gold mercury amalgam (kajjali) to yi9eld swarna sindhur

See also: https://www.youtube.com/watch?v=Pe0AhvZLgLk (1:41:11) Alchemie, Rasa S'Astra.

Mahabharata has a flag bearing Hanuman atop Arjuna's chariot with Krishna as charioteer.  Hanuman is the metaphor which appears in the two Great Epics: Ramayana and Mahabharata.

Sundara KANDa in sculpture. Hanuman finds Sita. Charcoal rubbing from a carved stone relief at Angkor Wat  http://bharatkalyan97.blogspot.in/2016/07/rama-personifiedf-dharma-evidences-for.html

Mirror: http://tinyurl.com/phnumqf

The hieroglyphs or metaphors which adorn the toraṇa and the temple precincts are a declaration of the smithy as temple for dharma-dhamma. The semantics of the temple architecture are a re-affirmation of the message of good work, of virtuous conduct, sanatana dharma-dhamma.

The hieroglyph multiplex of crocodile, elephant, tiger, fish is celebrated as mahAkara, makara and makara toraṇa as a sculptural metaphor is explained in the context of veneration of Ganga as Ma Ganga, mother Ganga. This association of the Gavialis gangeticus – gharial with River Ganga is related to the life-activity of the people of the Gangetic plain as Bharatam Janam, metalcaster folk working with iron. This has been attested archaeologically by the discovery of iron smelters and iron work at Malhar, Raja-nal-ki-tila and Lohardiwa on the Ganga River basin.

See: http://archaeologyonline.net/artifacts/iron-ore

Map showing locations of the Early Iron Age sites in the Central Ganga Plain, the Eastern Vindhyas, and different regions of India.

 Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli.

This correlation explains the veneration of Ma Ganga by Bharatam Janam which finds expression in the association of makara hieroglyph complex with the life-activities in Ganga River basin of the metalcasters.

Hieroglyph: dāmā 'rope, garland' (Hindi) Rebus: dhamma 'virtious conduct, dharma'

Rebus: dhárma m. ʻ what is established, law, duty, right ʼ AV. [dhárman -- n. RV. -- √dhr̥] Pa. dhamma -- m. (rarely n.), Aś.shah. man. dhrama -- , gir. kāl. &c. dhaṁma -- ; NiDoc. dham̄a ʻ employment in the royal administration ʼ; Dhp. dharma -- , dhama -- , Pk. dhamma -- m.; OB. dhāma ʻ religious conduct ʼ; H. kāmdhām ʻ work, business ʼ; OSi. dama ʻ religion ʼ (Si. daham ← Pa.).(CDIAL 6753)

There are two artistic depictions of the rope/garland to signify dharma-dhamma:

1. trefoil

2. garland, rope as on a toraṇa in the Hindu tradition of temple arch or architrave architecture.

kolmo 'three' Rebus: kolimi 'smithy'; kolle 'blacksmith'; kole.l 'smithy, temple' (Kota) Thus, the rope or garland with three strands may connote: dhāma kole.l 'dharma temple'. It is significant that a gloss damha signifies 'fireplace' thus making the reading consistent with the semantics: kole.l 'smithy' (Kota language).

Trefoil inlay decorated on a bull calf. Uruk (W.16017) ca. 3000 BCE. kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge),

damkom = a bull calf (Santali) Rebus: damha = a fireplace; dumhe = to heap, to collect together (Santali)

See: http://bharatkalyan97.blogspot.in/2015/04/sivalinga-in-dholavira-depicted-as.html

Trefoil design on the uttarIyam of the priest, AcArya, PotR. This denotes: three strands of rope: dāmā 'rope' rebus: dhāma ʻreligious conduct'.

Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BC. Credit Harappa.com

Stone base for Sivalinga.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218.

Two decorated bases and a lingam, Mohenjodaro. 

If one end of a tape or belt is turned over three times and then pasted to the other, a trefoil knot results. (Shaw, George Russell (MCMXXXIII). Knots: Useful & Ornamental, p.11.)

Sculpture slab from the lower monastery at Nutta, Peshawar 

Wavy garland with bearers from Shrine at Miran in China

Bass relief from Musee Guimet, Paris

Amaravati Stupa rail copings with garland motif

"The Avatamsaka Sūtra (Sanskrit: महावैपुल्यबुद्धावतंसकसूत्र >Mahāvaipulya Buddhāvatamsaka Sūtra) is one of the most influential Mahayana sutras of East Asian Buddhism." 

https://chandrashekharasandprints.wordpress.com/2012/02/15/garland-bearers-of-the-buddha/

Garland bearing Yaksha. Amaravathi stupa.

fragment of relief with garland, bearers and winged figure Northwest frontier  Kusana

Date: 1st-2nd c. CE, 1 CE - 300 CE Huntington Scan. 0009717

Country: India

Site Name: Amaravati

Monument: coping fragment or frieze

Subject of Photo: garland upheld by ganas and interspersed with Buddha figures

Locator Info. of Photo: coping fragment or frieze

Photo Orientation: detail of first section from left

Iconography: Buddha, unidentified

Dynasty/Period: Satavahana

Date: ca. late second to third century CE, 150 CE - 300 CE

---

Material: white marble

Architecture: structural

Current Location: Madras Government Museum, Madras, Tamil Nadu, India

---

Copyright Holder: Huntington, John C. and Susan L.

Scan Number: 0026936

See: http://bharatkalyan97.blogspot.in/2015/01/iron-smelter-and-smith-at-forge-as-gana.html

The sculptural metaphors speak, declare *saṁhati, *saṅghati, through mlecchita vikalpa hieroglyphs of kole.l 'smithy, temple'. 

Just as Indus Script Corpora embody speech, Meluhha speech, the metaphors of ancient temples are a continuum in the mlecchita vikalpa tradition of writing, engraving, carving, sculpting.

The messaging cipher, mlecchita vikalpa, of Meluhha artisan explains the grammar of dharma-dhamma sanatana:  dharmasamkathA  pl. pious conversation; dhamakArya 'any act of duty or religion, good work, virtuous conduct (Samskritam)

Meluhha artisan emerges out of Makara. Ganga fish-eating ghara 'snout of crocodile', aya 'fish'; āhan gar,ayakara 'metalsmith'; ayo meḍh 'goat-fish''iron merchant'. 

Molluscs and Makara hieroglyphs. The iron worker, blacksmith āhan gar, ayakara has created a smithy, a temple: kole.l 'smithy'; kole.l 'temple'.

Makara composition and Makara toraṇa hieroglyph multiplex in the semantics messaging traditions of Indian sprachbund is rebus-metonymy-layered cipher in Meluhha. 

The toraṇa which emerges out of the snout of the makara is thus a chord, a garland which carries the mesage like the waves of an ocean, dama rebus: dhamma 'virtuous conduct'.

See:http://bharatkalyan97.blogspot.in/2015/02/vajra-sanghata-binding-together.html

"Makara Torana: The ornate Makara Torana (Capricorn Arch or festoon) carved out of a single stone with four opposed fierce makara-heads (crocodile heads) adorns above the entrance of the sanctum. It reminds us the Pallava style Makara torana at the Satrumallesvara rock-cut cave temple at Dalavanur and Draupadi ratha at Mamallapuram. Two opposing capricon heads, (facing north and south) are carved at the center of the door lintel and they appear spitting warriors (in miniature size) holding swords and shields. A male image seated on lotus flower flanked by two chauris is shown within the floral ring located at the center between two makara heads. The parallel pair of opposing makara heads are placed one each in the southern and northern corners of the festoon. The intricately coiled feathers appear spread across the entire door lintel." http://know-your-heritage.blogspot.in/search/label/Architecture

Makara Torana (4 opposed Capricorn Heads)

Makara Torana: Center Figure

Makara Torana: Figure at Side

Makara Torana: Figure enlarged

Source: http://know-your-heritage.blogspot.in/search/label/Architecture

Torana of Jagannath Temple, Puri  (Photo, 1890)

Makara Angkor Complex, Cambodia.

Makara metaphor is so central to the artists' message that the makara torana (architrave) is an abiding image to support sculptural friezes of many divinities. In this composition, Indra on Airavata elephant is supported by the makara ensemble ligatured with kIrtimukha. So, karA becomes mahA karA, makara in the writing tradition which started from the mlecchita vikalpa cipher of Indus Script Corpora. Out of the snouts of the makara emerge the garlands, an offering of puja to the paramaatman. Kamadeva sports the makara-dhvaja.

Kirtimukha PLUS makara: Lakkundi, Lokki Gundi, Gadag Kashi vishwanatha temple.

Makara on lentil of sambor prei kuk temple, Cambodia

(Makara hình cá sấu, vật cưỡi của thần Varuna, tranh Ấn Độ)

(Ảnh: makara Ấn Độ, nguồn: Robert Beer)

Ganga on makara. VaruNa on makara.. Varuna on makara, Halebidu. Varuna on makara, Lakkundi, Lokki Gundi, Gadag

Finial, makara, early-md 16th cent., Ayutthaya Period (1350-1767), Sawankhalok, stoneware, brown & white glaze, 67.5x19.5 cm. South Australian Govt. Grant, 1979

Relief depicting a Makara with Nagas, Wat Suthat, Bangkok, Thailand.

Makara carving. Krishna temple. Hampi. Out of this makara snout emerge a composition of molluscs. sanghin 'mollusc, shell' Rebus: pilgrim:  saṅgin ʻ attached to, fond of ʼ MBh. [saṅgá -- ]

Pk. saṁgi -- , saṁgilla -- ʻ attached to ʼ; S. L. P. saṅgī m. ʻ comrade ʼ (P. also ʻ one of a party of pilgrims ʼ), N. saṅi, Or. sāṅga, °gī, H. saṅgī m., M. sãgyā, sāgyā m. *saṅghati ʻ tells ʼ
WPah.kṭg. (kc.) sɔ́ṅgi m. ʻ friend ʼ, kṭg. sɔ́ṅgəṇ, kc. sɔṅgiṇ f., J. saṅgī, saṅgu m. (prob. ← H. Him.I 212).(CDIAL 13084) 12842 sáṁkhyāti (*saṁkśāti) ʻ reckons ʼ ŚBr. (samakhyata ʻ appeared ʼ RV., sáṁkhyāpayati ʻ causes to be observed ʼ TS.). [Derivation of RV. khyā -- < kśā -- (Indo -- ir., cf. esp. ásaṁkhyāta -- AV. = Av.ahaͅxšta -- ) preserved in MaitrS. and Kāṭh. (EWA i 313 with lit.) is supported by Aś.gir. sachāya = shah. saṁkhaya, the development of kś > khy and cch being parallel with that of kṣ > kkh and c̣c̣h (NW.),cch (SW.). -- √khyā] Pa. saṅkhāti, saṅkhāyati ʻ reckons, appears ʼ; Aś. shah. saṁkhaya, kāl. saṁkhaye, gir. sachāya (< *saṁkśāya Hultzsch As 26 n. 6) ʻ having regard to ʼ; Pk. saṁkhāi ʻ counts, knows ʼ, absol. saṁkhāya, caus. pp. saṁkhāviya -- , (orig. NW.?) saṁghaï, sagghaï ʻ says ʼ (J. Bloch BSL xxxi 62 < IE. *sengwh -- , Gk. o)mfh/ &c.); Kal.rumb. saṅghāˊam ʻ I hear ʼ (→ Kt. seṅā -- ); Or. sāṅgibā ʻ to tell, speak ʼ; M. sã̄gṇẽʻ to declare, bid ʼ, sã̄g m. ʻ order ʼ. -- Pk. sāhēi, °haï ʻ says, orders ʼ (Bloch loc. cit. connects with Germ. sagen) < saṁhaï ʻ says ʼ with abnormal sound -- change in a verb of ʻ saying ʼ (see ākhyāti) <saṁghaï?
Pk. saṁhaï, sāhaï, sāhēi, saṁghaï, sagghaï ʻ says ʼ, uvasāhaï ʻ tells ʼ, saṁsāhaṇa -- n. ʻ conversation ʼ with Kal. Or. M. rather < *saṁhati, *saṅghati < IE. *senghw -- (Bloch); Pk.āsaṁghā -- f. ʻ wish ʼ formed after Sk. āśaṁsā -- .But saṁhaï, saṁghaï, sāhaï < śáṁsati 

RV., saṁsāhaṇa -- < saṁśaṁsati Br., āsaṁghā -- < āśaṁsā -- Pāṇ., with abnormal dev. in verb of ʻ saying ʼ ~ākhyāti, is a simpler hypothesis. J.C.W.).(CDIAL 12842)

The message of the mollusc hieroglyphs is thus, saṁhati -- the sculptures speak as the floral garlands emerge out of the snout of the makara. 

The semantics 'says, speaks' may explain the hieroglyph which is a homonym of this gloss: *saṁhati, *saṅghati. The hieroglyph is sanGaDa 'lathe, portable furnace'.

 

sãghāṛɔ 'lathe' (Gujarati. Desi) m0008 Mohenjo-daro seal. This shows the bottom bowl of the 'standard device' superimposed with dotted circles. Since the top portion of the 'device' is a drill-lathe, these dotted circles are orthographic representations of drilled beads which were the hallmark of lapidaries' work of the civilization. Rebus reading of the kandi 'beads' (Pa.) is: kaND, kandu 'fire altar, smelting furnace of a blacksmith' (Santali.Kashmiri)Glyphs of dotted circles on the bottom portion of the 'standard device': kandi (pl. -l) beads, necklace (Pa.); kanti (pl. -l) bead, (pl.) necklace; kandit. bead (Ga.)(DEDR 1215). Rebus: लोहकारकन्दुः f. a blacksmith's smelting furnace (Grierson Kashmiri)See: http://bharatkalyan97.blogspot.in/2011/09/meluhha-epigraphia-indus-language.html

Photograph of a statue of Ganga in the Jagannatha Temple at Puri, from the Archaeological Survey of India Collections, taken by Poorno Chander Mukherji in the 1890s. The temple was founded in the 12th Century by Anantavarman Chodaganga (r.1077-1147) of the Eastern Ganga dynasty.

Harappa tablet h180 (section). One glyph composition enlarged to show the crocodile ligature close to pudendum muliebre of the female with thighs apart and shown lying upside down.

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. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. اوسپنه aos-panaʿh, s.f. (3rd) Iron. Also used as an adjective to qualify another noun, signifying, Iron-like, hard. Pl. يْ ey. اوسپنخړيَ aos-panḵẖaṟṟaey, s.m. (1st) The dross of iron left after melting. Pl. يِ ī.

kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ)

The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet.

The glyph showing the image of a crocodile issuing forth from a female with thighs drawn apart is one side of a tablet h180. Same text is repeated on both sides.

The glyphic elements shown on the tablet are: copulation, vagina, crocodile. h180 tablet.

Hieroglyphic composition: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa: kaṇḍa ‘stone (ore)’.

Glyph: vagina: kuṭhi ‘vagina’; kuṭhi ‘pudendum muliebre’ (Mu.) khoḍu m. ‘vulva’ (CDIAL 3947). rebus: kuṭhi ‘smelting furnace’. Rebus: kuṭhi ‘smelter furnace’ (Mu.)khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947)

The descriptive glyphics indicates that the smelting furnace is for stone (ore). This is distinquished from sand ore. 

Crocodile (copulating with or) issuing forth from the womb: karā 'crocodile' (Telugu) khār 'blacksmith' (Kashmiri)  

kāru a wild crocodile or alligator (Te.) mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ, Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422)  கரவு² karavu

, n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9). 

கரா karā , n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) 

கராம் karām , n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.)

கரவா karavā , n. A sea-fish of vermilion colour, Upeneus cinnabarinus; கடல்மீன்வகை.

mahā kara = मकर [ makara ] m (S) An aquatic monster understood usually of the alligator, crocodile, and shark, but, properly, a fabulous animal. It is the emblem of the god of love. (Marathi) H گهڙيال घड़ियाल ghaṛiyāl [S. घण्टिका+आलः or आलु], s.m. A crocodile; the Gangetic alligator, Lacerta gangetica (cf. magar).H مگر मगर magar [Prk. मकरो; S. मकरः], s.m. An alligator; a crocodile. mahā kara = मकर [ makara ] is a hieroglyph multiplex composed of a number of hieroglyph components:

1. Crocodile snout, ghara Rebus: khār ‘blacksmith’

2. Fish-tail, xolā Rebus: kolle 'blacksmith'

3. Elephant trunk as snout, ibha 'elephant' Rebus: ib 'iron'

కారుమొసలి a wild crocodile or alligator (Telugu).

Rebus: khār ‘blacksmith’ khār 1 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 खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु‍&below; । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -ग&above;जि&below; or -güjü -ग&above;जू&below; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू‍&below; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क&above;टु&below; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;ू&below; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिवु&below; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.

Gharial (Gavialis gangeticus) is only a fish-eater. Gharial is one of three crocodilians (apart from the mugger crocodile and the saltwater crocodile) native to India and once inhabited all the major Himalayan glacier river systems of the Indian Subcontinent, from the Irrawaddy River in the east to the Sindhu River in the west. "They inhabit foremost flowing rivers with high sand banks that they use for basking and building nests. They usually mate in the cold season. The young hatch before the onset of the monsoon." (Whitaker, R., Members of the Gharial Multi-Task Force, Madras Crocodile Bank (2007). "The Gharial: Going Extinct Again" /Iguana 14 (1): 24–33.)  http://www.ircf.org/downloads/Iguana14_1%20Gharial%20Going%20Extinct%20Again.pdf)
The average body weight of the species is from 159 to 250 kg (350 to 550 lb). Males commonly attain a total length of 3 to 5 m (9.8 to 16 ft), while females are smaller and reach a body length of up to 2.7 to 3.75 m (8.9 to 12.3 ft). http://crocodileworld.blogspot.in/2012_11_01_archive.html

In 2009, gharial occurrences were reported at Sabujdwip and Balagarh of Hooghly district; Nabadwip; Patuli-Agradwip; and Ketugram II block of Burdwan District in Ganga River, West Bengal.http://innovativeindiatours.com/conservation/





 Illustration for Blackie's Modern Cyclopedia (1899).

Gharial crocodile at Chitwan National Park  Annapurna Conservation Area. Nepal. Stretches to over 900 sq km, 

Begram ivory, 2nd cent. BCE
http://museum.wa.gov.au/museums/perth/afghanistan-hidden-treasures/exhibition-highlights

Photograph of the Hindu goddess Ganga, the deified Ganges River, atop her mount, the Makara, a mythical crocodile-like underwater creature (who often has an elephant-like trunk). Her left arm rests on a dwarf attendant's shoulder. In her right hand, she holds a kumbha, or pot of water. A small boy, or gana, symbolizing youthfulness and life, is shown engaging the makara. From Besnagar, Bhopal State (now part of Madhya Pradesh), India. Date of sculpture: Gupta Period India, 5th or 6th century CE. Photographer: Beglar, Joseph David. Date of photograph: 1875. Now in the Museum of Fine Arts, Boston, United States.

Ganga on Makara. Dasavatara temple. Devgarh(देवगढ़) or old Deogarh is situated at the bank of Betwa river
http://puratattva.in/2011/08/09/devgarh-the-epitome-of-the-guptas-884



Ma Ganga, standing on the makara (crocodile/dragon thing) that is her animal vehicle.  The image is at least 8 feet tall, and is located on the facade of cave 21Ellora, Maharashtra.
http://personal.carthage.edu/jlochtefeld/picturepages/ElloraHindu2011/ellora3.html

Ganga on Makara. Kelaniya Temple. Sri Lanka.

Asian Art Museum of San Francisco: Ma Ganga on Makara

Ganga on Makara.5th cent. CE. Ajanta caves.

Gupta era terracotta of Ma Ganga. Ahichchhatra, UP - now in the National Museum, New Delhi, India
Makara. Amaravati.


Hieroglyph components of makara, Halebidu: body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock. 

The hieroglyphs declare *saṁhati, *saṅghati:These are hieroglyph components of the multiplex cipher read in rebus-metonymy-layers: ibha 'elephant' rebus: ib 'iron'; aya 'fish' rebus: aya 'metal', arye 'lion' rebus: arA 'brass', kuThAru 'monkey' rebus: kuThAru 'armourer', baDhi 'boar' rebus: baRea 'merchant'; maraka 'peacock' rebus: makara loha 'copper alloy calcining metal'. 

As the Sanchi toraṇa declares in the centre-piece: these belong to the smithy, kole.l, 'temple' of dhoraṇi-vaThAra-dhamma (elephant-gait-spoked-wheel), architrave dharma quarter of the town of Vidisa. 


Ma Ganga on Makara vahana. Cave 16 (Kailasanatha temple), Ellora. Huntington Scan 0007914

Ganga, right, the deified Ganges River, in terracotta on a door pillar from U.P., India, Pratihara, 10th century CE. Following iconographic prescription, Ganga stands on her mount, the Makara, a stylized mythological crocodile-like aquatic monster (which unfortunately has been damaged in this piece) and (likely) holds a kumbha, a full pot of water, in her hand (which too has been damaged), while an attendant holds a parasol over her. She leans in the tribhanga pose on a dwarf attendent, while a male guard (or consort?) stands nearby. The dimensions of the art-work are: height: 63 cm (25 in), width: 39 cm (15 in), depth: 26 cm (10 in). From the National Museum of India, New Delhi.

Ganga Ma on her Makara. Charbangla temple (North), Baranagar, Dist. Murshidabad, West Bengal

Northern Qi dynasty, ca. 550 CE (Exhibitd at National Gallery of Victoriain Melbourne, Australia)

Makara with elephant trunk (Exhibited in Indian Museum, Kolkata)

 
Khajuraho. Makara, hieoglyph components: jaw of a crocodile, trunk of elephant, ears of lion, horns of ram, and tail of fish. Vahana of Ma Ganga.

Makara Bharhut, Thailand, Cambodia (Bakong, Roluos) sculptural friezes ca. 3rd cent. BCE. Makara = mahA kara (Great kara, 'crocodile')

The makara sculptures which adorn many temples is a hieroglyph multiplex of elephant, crocodile, fish: ibha 'elephant' rebus: ib 'iron'; mahAkara, karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri); aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda). It is a hieroglyphic celebration of metalwork as the exemplar of creativity which is the quintessence of the temple-smithy: kole.l puccha 'fish tail' Rebus: puja 'worship'. xolA 'tail' Rebus: kole.l 'smithy, temple' kol 'working in iron' kolimi 'smithy, forge'

Mohenjo-daro seal showing ligatured animals + fish hieroglyph

áyas n. ʻ metal, iron ʼ RV.Pa. ayō nom. sg. n. and m., aya -- n. ʻ iron ʼ, Pk. aya -- n., Si. ya.Md. da ʻ iron ʼ, dafat ʻ piece of iron ʼ.(CDIAL 590) ayaskāṇḍa m.n. ʻ a quantity of iron, excellent iron ʼ Pāṇ. gaṇ. [áyas -- , kāˊṇḍa -- ]Si. yakaḍa ʻ iron ʼ.(CDIAL 591) அயம்; ayam

 , n. < ayas. 1. Iron; இரும்பு. (பிங்.) 2. Iron filings; அரப்பொடி. (தைலவ. தைல. 6.) 

  Ayo & Aya (nt.) [Sk. ayaḥ nt. iron & ore, Idg. *ajes -- , cp. Av. ayah, Lat. aes, Goth. aiz, Ohg. ēr (= Ger. Erz.), Ags. ār (= E. ore).] iron. The nom. ayofound only in set of 5 metals forming an alloy of gold (jātarūpa), viz. ayo, loha (copper), tipu (tin), sīsa (lead), sajjha (silver) A iii.16 = S v.92; of obl. cases only the instr. ayasā occurs Dh 240 (= ayato DhA iii.344); Pv i.1013 (paṭikujjita, of Niraya). -- Iron is the material used kat)e)coxh/n in the outfit & construction of Purgatory or Niraya (see niraya & Avīci & cp. Vism 56 sq.). -- In compn. both ayo˚ & aya˚ occur as bases.

  I. ayo˚: -- kapāla an iron pot A iv.70 (v. l. ˚guhala); Nd2 304 iii. d 2 (of Niraya). -- kūṭa an iron hammer PvA 284. -- khīla an iron stake S v.444; Miii.183 = Nd2 304 iii. c; SnA 479. -- guḷa an iron ball S v.283; Dh 308; It 43 = 90; Th 2, 489; DA i.84. -- ghana an iron club Ud 93; VvA 20. -- gharaan iron house J iv.492. -- paṭala an iron roof or ceiling (of Niraya) PvA 52. -- pākāra an iron fence Pv i.1013 = Nd2 304 iii. d 1. -- maya made of iron Sn 669 (kūṭa); J iv.492 (nāvā); Pv i.1014 (bhūmi of N.); PvA 43, 52. -- muggara an iron club PvA 55. -- sanku an iron spike S iv.168; Sn 667.   II. aya˚: -- kapāla = ayo˚ DhA i.148 (v. l. ayo˚). -kāra a worker in iron Miln 331. -- kūṭa = ayo˚ J i.108; DhA ii.69 (v. l.). -- nangala an iron plough DhA i.223; iii.67. -- paṭṭaka an iron plate or sheet (cp. loha˚) J v.359. -- paṭhavi an iron floor (of Avīci) DhA i.148. -- sanghāṭaka an iron (door) post DhA iv.104. -- sūla an iron stake Sn 667; DhA i.148.(Pali)

ayo 'fish' aya 'metal' PLUS karA 'gharial' khar 'blacksmith'. ayakara 'metalsmith'

m1429 Mohenjo-daro 3 sides of a prism tablet

மகரம்¹ makaram, n. < makara. 1. See மகரமீன். மணிமகரம் வாய்போழ்ந்து (சீவக. 170). 2. Crocodile; முதலை. (சங். அக.) 3. One of the nine treasures of Kubēra; குபேரனது நவநிதியி லொன்று. (W.)

m0482A One side of a two-sided tablet  m1429C One side of a prism tablet. ayo ‘fish’ (Mu.); rebus: aya ‘(alloyed) metal’ (G.) kāru  a wild crocodile or alligator (Te.) Rebus:khār  a blacksmith, an iron worker (cf. bandūka-khār) (Kashmiri) 

Combined rebus reading: ayakāra ‘iron-smith’ (Pali

Sanchi Stupa II Southeast sector. Sunga ca. 100 BCE John C Huntington Scan no. 0010873

The mollusc design is from the prototype on Susa Ritual Basin (13th cent. BCE)

http://www.louvre.fr/en/oeuvre-notices/ritual-basin-decorated-goatfish-figures

Susa Ritual Basin. Focus on the fish-tail ligatured to a markhor.

 13th cent. BCE.

The Sheorajpur anthropomorph (348 on Plate A) has a 'fish' hieroglyph incised on the chest

Fish hieroglyph incised on the chest of  copper anthropomorph, Sheorajpur, upper Ganges valley,   ca. 2nd millennium BCE,   4 kg; 47.7 X 39 X 2.1 cm. State Museum,   Lucknow (O.37) Typical find of Gangetic Copper Hoards. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus:meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’http://bharatkalyan97.blogspot.in/2014/02/a-ligatured-metal-artifact-found-in.html


http://bharatkalyan97.blogspot.in/2014/01/crocodiles-help-scholar-link-indus.html

Meluhha 'fish' hieroglyphs

Mohenjo-daro Seals m1118 and Kalibangan 032, glyphs used are: Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow).ayo ‘fish’ (Mu.) + kaṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent  iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.) gaṆḌa, ‘four’ (Santali); Rebus: kaṇḍ ‘fire-altar’, ‘furnace’), arrow read rebus in mleccha (Meluhhan) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Indus Writing.

khũṭro = entire bull; khũṭ= bra_hman.i bull (G.) khuṇṭiyo = an uncastrated bull (Kathiawad. G.lex.) khũ_ṭaḍum a bullock (used in Jhālwāḍ)(G.) kuṇṭai = bull (Ta.lex.) cf. khũ_dhi hump on the back; khuĩ_dhũ hump-backed (G.)(CDIAL 3902).  Rebus: kūṭa a house, dwelling (Skt.lex.) khũṭ = a community, sect, society, division, clique, schism, stock; khũṭren peṛa kanako = they belong to the same stock (Santali)

Allograph: काण्डः kāṇḍḥ ण्डम् ṇḍam The portion of a plant from one knot to another. काण्डात्काण्ड- त्प्ररोहन्ती Mahānār.4.3. A stem, stock, branch; लीलोत्खातमृणालकाण्डकवलच्छेदे U.3.16; Amaru.95; Ms. 1.46,48, Māl.3.34. 

కాండము [ kāṇḍamu ] kānḍamu. [Skt.] n. Water. నీళ్లు (Telugu) kaṇṭhá -- : (b) ʻ water -- channel ʼ: Paš. kaṭāˊ ʻ irrigation channel ʼ, Shum. xãṭṭä. (CDIAL 14349).

lokhãḍ ‘overflowing pot’ Rebus:  ʻtools, iron, ironwareʼ (Gujarati)

काण्ड an arrow MBh. xiii , 265 Hit. (Monier-Williams, p. 269) Rebus: काण्ड abundance; a multitude , heap , quantity (ifc.) Pa1n2. 4-2 , 51 Ka1s3.

On a Mohenjo-daro seal, ayo 'fish' read rebus ayas 'metal'; ḍangar 'bull' read rebus ḍhangar 'blacksmith'; koṭ 'horn; red rebus: khoṭ 'alloy'; khoṇḍ 'young bull-calf' read rebus khuṇḍ '(metal) turner'. The ayo 'fish' hieroglyph thus adequately categorizes the metalware contents of a pot discovered in Susa.

Kalibangan 37, 34

Two Kalibangan seals show an antelope and fish glyphs as the inscription. Mẽḍha ‘antelope’; rebus: ‘iron’ (Ho.) ayo ‘fish’; rebs: ayo ‘metal’ (G.) [These are examples which clearly demonstrate that Indus script is a glyptic writing system and hence, all glyphs and glyptic elements have to be decoded.] miṇḍālmarkhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) meḍ ‘iron’.

Meluhha 'crocodile' hieroglyph in Ancient Near East and India

A cylinder seal showing hieroglyphs of crocodile, elephant and rhinoceros was found in Tell Asmar (Eshnunna), Iraq. This is an example of Meluhha writing using hieroglyphs to denote the competence of kāru ‘artisan’ -- kāru 'crocodile' (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) He was also ibbo 'merchant' (Hieroglyph: ibha 'elephant' Rebus: ib 'iron') and maker of metal artifacts: kāṇḍā ‘metalware, tools, pots and pans’ (kāṇḍā mṛga 'rhinoceros' (Tamil).

Glazed steatite . Cylinder seal. 3.4cm high; imported from Indus valley. Rhinoceros, elephant, crocodile (lizard? ).Tell Asmar (Eshnunna), Iraq. IM 14674; Frankfort, 1955, No. 642; Collon, 1987, Fig. 610. ibha‘elephant’ Rebus: ibbo ‘merchant’, ib ‘iron’காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros; கல்யானை. Rebus: kāṇḍā ‘metalware, tools, pots and pans’.kāru ‘crocodile’ Rebus:   kāru  ‘artisan’. Alternative: araṇe ‘lizard’ Rebus: airaṇ ‘anvil’.

Crocodile hieroglyph in combination with other animal hieroglphs also appears on a Mohenjo-daro seal m0489 in the context of an erotic Meluhha hieroglyph: a tergo copulation hieroglyph

m0489a,b,c Mohenjo-daro prism tablet

A standing human couple mating (a tergo); one side of a prism tablet from Mohenjo-daro (m489b). Other motifs on the inscribed object are: two goats eating leaves on a platform; a cock or hen (?) and a three-headed animal (perhaps antelope, one-horned bull and a short-horned bull).  The leaf pictorial connotes on the goat composition connotes loa; hence, the reading is of this pictorial component is: lohar kamar = a blacksmith, worker in iron, superior to the ordinary kamar (Santali.)] 

kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.  pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)

pisera_ a small deer brown above and black below (H.)(CDIAL 8365).
ḍān:gra = wooden trough or manger sufficient to feed one animal (Mundari). iṭan:kārri = a capacity measure (Ma.) Rebus: ḍhan:gar ‘blacksmith’ (Bi.)

pattar ‘goldsmiths’ (Ta.) patra ‘leaf’ (Skt.) 

r-an:ku, ran:ku = fornication, adultery (Telugu); rebus: ranku ‘tin’ (Santali)

Rebus readings of Meluhha hieroglyphs:

Hieroglhyphs: elephant (ibha), boar/rhinoceros[kāṇḍā mṛga 'rhinoceros' (Tamil)], tiger (kol), tiger face turned (krammara), young bull calf (khōṇḍa) [खोंड m A young bull, a bullcalf. (Marathi)], antelope, ḍangur ʻbullockʼ, melh ‘goat’ (Brahui) 

Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũṭ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!]
 

Iron (ib), carpenter (badhi), smithy (kol ‘pancaloha’), alloy-smith (kol kamar)

tam(b)ra copper, milakkhu copper, bali (iron sand ore), native metal (aduru), ḍhangar ‘smith’.

Smithy with an armourer

http://www.harappa.com/indus/32.html Seal. Mohenjo-daro. Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols. In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.

In these seals of Mohenjo-daro ‘horned crocodile’ hieroglyph is the center-piece surrounded by hieroglyphs of a pair of bullocks, elephant, rhinoceros, tiger looking back and a monkey-like creature. 

Obverse of m1395 and m0441 had the following images of a multi-headed tiger.

Ta. kōṭaram monkey. Ir. kōḍa (small) monkey;  kūḍag  monkey.  Ko. ko·ṛṇ small monkey. To. kwṛṇ  monkey.  Ka. kōḍaga monkey, ape. Koḍ. ko·ḍë monkey. Tu.  koḍañji, koḍañja, koḍaṅgů baboon. (DEDR 2196). kuṭhāru = a monkey (Sanskrit) Rebus: kuṭhāru ‘armourer or weapons maker’(metal-worker), also an inscriber or writer.

Pa. kōḍ (pl. kōḍul) horn; Ka. kōḍu horn, tusk, branch of a tree; kōr horn Tu. kōḍů, kōḍu horn Ko. kṛ (obl. kṭ-)( (DEDR 2200) Paš. kōṇḍā ‘bald’, Kal. rumb. kōṇḍa ‘hornless’.(CDIAL 3508). Kal. rumb. khōṇḍ a ‘half’ (CDIAL 3792).

Rebus: koḍ 'workshop' (Gujarati) Thus, a horned crocodile is read rebus: koḍ khar 'blacksmith workshop'. khar ‘blacksmith’ (Kashmiri) kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) Rebus: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger is read rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.

Rebus readings of Hieroglyphs on two Meluhha tablets: Crocodile, tiger looking back, spy on tree

h1973B h1974B Harappa Two tablets. One side shows a person seated on a tree branch, a tiger looking up, a crocodile on the top register and other animals in procession in the bottom register. Obverse side (comparable to h1970, h1971 and h1972) shows an elephant, a person strangling two tigers (jackals or foxes) and a six-spoked wheel.

The glyphic which is common to both set 1 (h1970B, h1971B and h1972B) and set 2: (h1973B and h1974B) is: crocodile on the top register. 

karā ‘crocodile’ (Telugu). Rebus: khara ‘blacksmith’ (Kashmiri)

Set 1: crocodile + person with foot on head of animal + spearing + bison + horned (with twig) seated person in penance

h1971B Harappa. Three tablets with identical glyphic compositions on both sides: h1970, h1971 and h1972. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487.

Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” (JM Kenoyer, 1998, Ancient cities of the Indus Valley, Oxford University Press, p. 115.)

Set 2: crocodile + person seated on branch of tree + tiger looking back and up + rhinoceros + tiger in procession. 

The following glyphics of m1431 prism tablet show the association between the tiger + person on tree glyphic set and crocile + 3 animal glyphic set.

Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]

One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a rhinoceros (with fishes (or perhaps, crocodile) on top?).

koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.)कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)

ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.  Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa  'rhimpceros'   Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

m0489A One side of a prism tablet shows: crocodile + fish glyphic on the top register. Glyphs: crocodile + fish Rebus: ayakāra ‘blacksmith’ (Pali)

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.

Reverse side glyphs:

eraka ‘nave of wheel’. Rebus: era ‘copper’. āra 'spokes' Rebus: āra  'brass'.

Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’ (Gujarati).

Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers (jackals)+ nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul‘casting (metal)’ + kũdā kol (tiger jumping) or lo ‘fox’ (WPah.) rebus: lōha ʻmetalʼ (Pali) + era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’;kan ‘brazier, bell-metal worker’; ibbo ‘merchant’.

The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.

lōpāka m. ʻa kind of jackalʼ Suśr., lōpākikā -- f. lex. 1. H. lowā m. ʻfoxʼ.2.  Ash.  ẓōki, žōkī  ʻfoxʼ, Kt. ŕwēki, Bashg. wrikī, Kal.rumb. lawák: < *raupākya -- NTS ii 228; -- Dm. rɔ̈̄pak ← Ir.? lōpāśá m. ʻfox, jackalʼ RV., lōpāśikā -- f. lex. [Cf. lōpāka -- . -- *lōpi -- ] Wg. liwášä, laúša ʻfoxʼ, Paš.kch. lowóċ, ar. lṓeč ʻjackalʼ (→ Shum.  lṓeč NTS xiii 269), kuṛ. lwāinč; K. lośu, lōh, lohu, lôhu ʻporcupine, foxʼ.1. Kho.  lōw  ʻfoxʼ, Sh.gil. lótilde;i f., pales. lṓi f., lṓo m., WPah.bhal. lōī f.,  lo m.2. Pr. ẓūwī  ʻfoxʼ.(CDIAL 11140-2).Rebus:lōhá ʻred, copper -- colouredʼ ŚrS., ʻmade of copperʼ ŚBr., m.n. ʻcopperʼ VS., ʻironʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻmetal, esp. copper or bronzeʼ; Pk. lōha -- m. ʻironʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻsteelʼ; Kho. loh ʻcopperʼ; S. lohu m. ʻironʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper lōhá -- : WPah.kṭg. (kc.) lóɔ ʻironʼ, J. lohā m., Garh. loho; Md. lō ʻmetalʼ. (CDIAL 11158).

Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)

Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

Allograph: ‘notch’: Marathi: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon).

Glyph: ‘full stretch of one’s arms’: kāḍ 2 काड् । पौरुषम् m. a man's length, the stature of a man (as a measure of length) (Rām. 632, zangan kaḍun kāḍ, to stretch oneself the whole length of one's body. So K. 119). Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). mayponḍi kanḍ whetstone;  (Ga.)(DEDR 4628). (खडा) Pebbles or small stones: also stones broken up (as for a road), metal. खडा [ khaḍā ] m A small stone, a pebble. 2 A nodule (of lime &c.): a lump or bit (as of gum, assafœtida, catechu, sugar-candy): the gem or stone of a ring or trinket: a lump of hardened fæces or scybala: a nodule or lump gen. CDIAL 3018 kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.] Bshk. kōr ʻ large stone ʼ AO xviii 239. கண்டு³ kaṇṭu , n. < gaṇḍa. 1. Clod, lump; கட்டி. (தைலவ. தைல.99.) 2. Wen; கழலைக்கட்டி. 3. Bead or something like a pendant in an ornament for the neck; ஓர் ஆபரணவுரு. புல்லிகைக்கண்ட நாண் ஒன்றிற் கட்டின கண்டு ஒன்றும் (S.I.I. ii, 429). (CDIAL 3023) kāṇḍa cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Pa. kaṇḍa -- m.n. joint of stalk, lump. काठः A rock, stone. kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.]Bshk. kōr ʻ large stone ʼ AO xviii 239.(CDIAL 3018). অয়সঠন [ aẏaskaṭhina ] as hard as iron; extremely hard (Bengali)

Glyph: ‘one-eyed’: काण a. [कण् निमीलने कर्तरि घञ् Tv.] 1 One-eyed; अक्ष्णा काणः Sk; काणेन चक्षुषा किं वा H. Pr.12; Ms.3.155. -2 Perforated, broken (as a cowrie) <kaNa>(Z)  {ADJ} ``^one-^eyed, ^blind''. Ju<kaNa>(DP),,<kana>(K)  {ADJ} ``^blind, blind in one eye''.   (Munda) Go. (Ma.) kanḍ reppa eyebrow (Voc. 3047(a))(DEDR 5169). Ka. kāṇ (kaṇḍ-) to see; Ko. kaṇ-/ka·ṇ- (kaḍ-) to see; Koḍ. ka·ṇ- (ka·mb-, kaṇḍ-) to see; Ta. kāṇ (kāṇp-, kaṇṭ-) to see; Kol.kanḍt, kanḍakt seen, visible. (DEDR 1443). Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. (DEDR 1159a) Rebus ‘brazier, bell-metal worker’: கன்னான் kaṉṉāṉ , n. < கன்¹. [M. kannān.] Brazier, bell-metal worker, one of the divisions of the Kammāḷa caste; செம்புகொட்டி. (திவா.)  Ta. kaṉ copper work, copper, workmanship;  kaṉṉāṉ brazier. Ma. kannān id.  (DEDR 1402).  கன்¹ kaṉ , n. perh. கன்மம். 1. Workmanship; வேலைப்பாடு. கன்னார் மதில்சூழ் குடந்தை (திவ். திருவாய். 5, 8, 3). 2. Copper work; கன்னார் தொழில். (W.) 3. Copper; செம்பு. (ஈடு, 5, 8, 3.) 4. See கன்னத்தட்டு. (நன். 217, விருத்.) கன்² kaṉ , n. < கல். 1. Stone; கல். (சூடா.) 2. Firmness; உறுதிப்பாடு. (ஈடு, 5, 8, 3.)

kã̄ḍ 2 काँड् m. a section, part in general; a cluster, bundle, multitude (Śiv. 32). kã̄ḍ 1 काँड् । काण्डः m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan 5 (p. 221a, l. 13) the word is spelt kāḍ.

kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist.

kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) 

Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

One side of a triangular terracotta tablet (Md 013); surface find at Mohenjo-daro in 1936. Dept. of Eastern Art, Ashmolean Museum, Oxford. 

Hieroglyph: kamaḍha 'penance' (Prakrit) kamaḍha, kamaṭha, kamaḍhaka, kamaḍhaga, kamaḍhaya = a type of penance (Prakrit)

Rebus: kamaṭamu, kammaṭamu = a portable furnace for melting precious metals; kammaṭīḍu = a goldsmith, a silversmith (Telugu) kãpṛauṭ  jeweller's crucible made of rags and clay (Bi.); kampaṭṭam coinage, coin, mint (Tamil)

kamaṭhāyo = a learned carpenter or mason, working on scientific principles; kamaṭhāṇa [cf. karma, kām, business + sthāna, thāṇam, a place fr. Skt. sthā to stand] arrangement of one’s business; putting into order or managing one’s business (Gujarati)  

The composition of two hieroglyphs: kāru 'crocodile' (Telugu) + kamaḍha 'a person seated in penance' (Prakrit) denote rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) + kamaṭa 'portable furnace'; kampaṭṭam 'coinage, coin, mint'. Thus, what the tablet conveys is the mint of a blacksmith. A copulating crocodile hieroglyph -- kāru 'crocodile' (Telugu) + kamḍa, khamḍa 'copulation' (Santali) -- conveys the same message: mint of a blacksmith kāru kampaṭṭa 'mint artisan'.

m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile. Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali) kāru a wild crocodile or alligator (Telugu) aya 'fish' (Munda) The method of ligaturing enables creation of compound messages through Indus writing inscriptions. kārua wild crocodile or alligator (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi).

Pali: ayakāra ‘iron-smith’. ] Both ayaskāma and ayaskāra are attested in Panini (Pan. viii.3.46; ii.4.10). WPah. bhal. kamīṇ m.f.  labourer (man or woman) ; MB. kāmiṇā  labourer (CDIAL 2902) N. kāmi  blacksmith (CDIAL 2900). 

Kashmiri glosses:

khār 1 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 khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji or -güjü - लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü लोहकारकन्या f. a blacksmith's daughter. -koṭu - लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 - लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu  लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wānवान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.

Thus, kharvaṭ may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.); crocodile = kāru (Telugu)]

http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-snarling-iron-of.html

Seal impression from Ur showing a squatting female. L. Legrain, 1936, Ur excavations, Vol. 3, Archaic Seal Impressions. [cf. Nausharo seal with two scorpions flanking a similar glyph with legs apart. This glyphic composition depicts a smelting furnace for stone ore as distinguished from a smelting furnace for sand ore. meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)

byucu बिचु; । वृश्चिकः m. (sg. dat. bicis बिचिस्), a scorpion (Kashmiri), WPah.bhal. biċċū m., cur. biccū, bhiḍ. biċċoṭū n. ʻ young scorpionʼ (CDIAL 12081). Rebus: bica, bica-diri (Sad. bicā; Or. bicī) stone ore; meṛeḍ bica, stones containing iron; tambabica, copper-ore stones; samṛobica, stones containing gold (Mundari.lex.) 

dula 'pair' rebus: dul 'cast (metal)' (Santali). Hence the scorpion pair are shown on either side of the female of the Ur seal impression reported by Legrain. Pair of tigers: kola 'tiger' rebus: kol 'working in iron' (Tamil) The pair of tigers connote dul 'cast (metal)', as on the glyphs of a pair of scorpions.

Hieroglyph: rope, garland, tying: dāˊman1 ʻ rope ʼ RV. 2. *dāmana -- , dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv. 3. *dāmara -- . [*dāmara -- is der. fr. n/r n. stem. -- √dā2]
1. Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ. dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōmo ʻ twine, short bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ; P. dã̄u, dāvã̄ m. ʻ hobble for a horse ʼ; WPah.bhad. daũ n. ʻ rope to tie cattle ʼ, bhal. daõ m., jaun. dã̄w; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dām, dāmā ʻ cord ʼ; Or. duã̄ ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dāmm.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id., garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ, °ṭīˊ, nir. weg. damaṭék ʻ rope ʼ, Shum.ḍamaṭik, Woṭ. damṓṛ m., Sv. dåmoṛīˊ; -- with -- ll -- : N. dāmlo ʻ tether for cow ʼ, dã̄wali, dāũli, dāmli ʻ bird -- trap of string ʼ, dã̄wal, dāmal ʻ coeval ʼ (< ʻ tied together ʼ?); M. dã̄vlī f. ʻ small tie -- rope ʼ.
2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ; S. ḍ̠āvaṇu, ḍ̠āṇu m. ʻ forefeet shackles ʼ, ḍ̠āviṇī, ḍ̠āṇī f. ʻ guard to support nose -- ring ʼ; L. ḍã̄vaṇ m., ḍã̄vaṇī, ḍāuṇī (Ju. ḍ̠ -- ) f. ʻ hobble ʼ, dāuṇī f. ʻ strip at foot of bed, triple cord of silk worn by women on head ʼ, awāṇ. dāvuṇ ʻ picket rope ʼ; P. dāuṇ, dauṇ, ludh. daun f. m. ʻ string for bedstead, hobble for horse ʼ, dāuṇī f. ʻ gold ornament worn on woman's forehead ʼ; Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔ̃ṛ ʻ place for keeping cattle, bedding for cattle ʼ; A. dan ʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ; B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung ʼ, dāuṇi ʻ rope for tying bullocks together when threshing ʼ; H. dāwan m. ʻ girdle ʼ, dāwanī f. ʻ rope ʼ, dã̄wanī f. ʻ a woman's orna<-> ment ʼ; G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇũ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread out corn are poss. nomina actionis from *dāmayati2. 3. L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rā, daürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mar, daũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. -- X *dhāgga<-> q.v. Brj. dã̄u m. ʻ tying ʼ. 3. *dāmara -- : Brj. dã̄wrī f. ʻ rope ʼ. (CDIAL 6283)

*dāmayati2 ʻ ties with a rope ʼ. [dāˊman -- 1] Bi. dã̄wab ʻ to drive bullocks trading out grain ʼ, H. dāwnā, dã̄nā; G. dāmvũ ʻ to tie with a cord ʼ. -- Nomina actionis from this verb rather than derived directly from dāˊman -- 1, dāmanī -- (but cf. Bi. daũrī < *dāmara<-> denoting both ʻ rope ʼ and nomen actionis): N. (Tarai) dāuni ʻ threshing ʼ, Bi. daunī ʻ treading out corn ʼ, Mth. dāuni; -- Ku. daĩ f. ʻ driving oxen or buffaloes to tread out grain ʼ, N. dāĩ, dã̄i, Bi.dawã̄hī, Mth. damāhī; H. dāẽ f. ʻ tying a number of bullocks together for treading corn, the treading out, the unthreshed corn. ʼ -- S. ḍ̠āiṇu ʻ to shackle the forelegs ʼ and P. dāuṇā ʻ to hobble horse oṛ ass ʼ (CDIAL 6285)

Trefoil design and Ajrak printing Khatri traditions of Gujarat

Simplest possible knot shape which yields a trefoil.

Ajrak print from the Khatri community in Kutch, Gujarat, featuring the trefoil motif alongside motifs of flowers and leaves

http://strandofsilk.com/journey-map/ajrak%20printing/motifs%20and%20colours

Glosses:

triguṇa ʻ threefold ʼ KātyŚr. [tri -- , guṇá -- ] NiDoc. triguna ʻ threefold ʼ, Pk. tiuṇa -- ; S. ṭriṇu m. ʻ having three pieces in a row in a game ʼ, ṭrīṇo ʻ treble ʼ; L. triūṇā ʻ threefold ʼ, awāṇ. trīṇā, P. tiuṇā, tīṇã̄, G. tamṇũ (< *taṽaṇ -- < *tivuṇ -- ?); M. tivaṇf. ʻ a triple fold (in paper &c.), tripartite leaf ʼ (LM 347 < triparṇa -- with ṇ unexpl.).(CDIAL 6022). 

guṇá m. ʻ single thread or strand of a cord, rope ʼ TS. 2. ʻ species, quality, good quality ʼ Mn. 1. Pa. Pk. guṇa -- m. (Pk. also n.) ʻ cord, string ʼ; Ḍ. guni f. ʻ vein ʼ; Paš. guṇ ʻ bowstring ʼ, Shum. gun -- ḍamaṭík, Gaw. gun, Bshk. guṇ, Sv. gũṛ, Phal. guṇ, gūṇu; Sh. gil. gūṇi̯ f. ʻ thread ʼ, pales. guṇ ʻ bowstring ʼ, K. gōn m.; S. g̠uṇu m. ʻ one side of a fish's roe ʼ (semant. cf. guru ʻ strand of rope, roe of fish ʼ); A. guṇ ʻ bowstring ʼ, °ṇā ʻ wire, string of musical instrument ʼ; B. gun ʻ tow rope ʼ, guṇā ʻ strandof thread ʼ; Or. guṇa ʻ bowstring ʼ, °ṇā ʻ string of harp &c. ʼ; Bi. gūn, (Gaya) gōn ʻ tow rope ʼ; Mth. gun ʻ bowstring, tow rope ʼ; OAw. guna ʻ bowstring ʼ; H. gun m. ʻ rope ʼ; G. guṇ m. ʻ bowstring, strand ʼ; M. guṇ m. ʻ bowstring ʼ; Si. guṇa ʻ rope, bowstring ʼ, guṇā ʻ the plant Sanseviera zeylanica from which bowstrings are made ʼ. -- WPah. bhal. ḍḷuṇo m. ʻ hemp rope, thread holding beam of balance ʼ < *gruṇa -- ? 2. Pa. Pk. guṇá -- m. ʻ constituent part, quality, good quality ʼ; S. g̠uṇu m. ʻ kindness, skill ʼ; L. g̠uṇ m. ʻ merit ʼ; P. guṇā m. ʻ lot, portion ʼ.(CDIAL 4190) त्रिगुण a. 1 consisting of three threads; व्रताय मौञ्जीं त्रिगुणांबभार याम् Ku.5.1.-2 three-times repeated, thrice, treble, threefold, triple; सप्त व्यतीयुस्त्रिगुणानि तस्य (दिनानि) R.2. 25.-3 containing the three Guṇas सत्त्व, रजस् and तमस्. 

Sindhi dhāmo + guṇa may be cognate with dharma guṇá which means: 'quality of righteous conduct'.

http://bharatkalyan97.blogspot.in/2015/06/meluhha-hieroglyphs-makara-torana-rope.html

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