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Data mining of Indus Script Corpora reveal the purpose of ceramic (stoneware) bangles (22), seals, fillets as dharma saṁjñā, 'badges of responsibility'.They are Corporate badges, with deciphered Indus Script inscriptions. Socio-cultural framework of a workshop (smithy-forge as a temple) for a cluster of Vedic villages unravels organization of artisanal-seafaring merchant society as a Corporation with ancient guilds. The reference to an archaeological settlement of Sarasvati civilization is based on the finds of fire-altars in many sites (80% or over 2000 sites out of 2600 sites of the Indus valley civilization are on the banks of Vedic River Sarasvati), exemplified by the octagonal brick found in Binjor fire-altar (close to Anupgarh and Ganweriwala). At Anupgarh, the river forks into two channels: one flowing southwards towards Jaisalmer and another westwards towards Ganweriwala. Binjor Indus Script seal PLUS fire-altar with octagonal brick (a signature tune of Vedic culture). See: http://bharatkalyan97.blogspot.in/2015/12/binjor-seal-with-indus-script.html Binjor seal with Indus Script deciphered. Binjor attests Vedic River Sarasvati as a Himalayan navigable channel en route to Persian Gulf Locus of Binjor, near Anupgarh on Vedic River Sarasvati There are clear intimations of precursors to corporate life in ancient Bharatam with the social organization of the samajam governed by the weltanchauung of dharma. By unambiguous allocation of socio-cultural responsibilities governing the economic activity and businesses (production and marketing) of Bharatam Janam in clusters of villages, dharma was enshrined as the inviolate principle of all cosmic phenomena manifested in material aspects of living. There are clear indications that cororate form (sreni) was used for the business of people. One one ceramic (stoneware) bangle (m1639) such a sreni is clearly identified headed by a sreshthin, guild-master. Thus, millennia before the Roman proto-corporations, Bharatam Janam, 'metalcaster folk' had evolved a system of socio-cultural organization of commonwealths (janapadas) for conducting businesses. Assets of the sreni were deposited into the treasury of the commonwealth and were distinct from the assets of the individual members of the sreni, many of whom were artisans and seafaring merchants. Location of Balakot, a site of Saraswvati civilization where a ceramic (stoneware) bangle with inscription was found. (Balakot 06) See: http://www.penn.museum/sites/expedition/shell-working-at-ancient-balakot-pakistan/ Shell working at Ancient Balakot, Pakistan (Expedition, UPenn., Vol. 19, Issue 2, January, 1977) Balakot 06 Ceramic (stoneware) bangle with inscription Intimations of such janapadas are seen in the way distinct badges (as corporate badges) evolved for specific functionaries. Roots of the corporate form detailed in Kautilya's Arthas'astra are to be found in the corporate identities indicated by distinct structural elements in Indus Script corpora such as ceramic (stoneware) bangles, fillets, seals -- all with inscriptions -- as Dharma saṁjñā Corporate badges. For an Economic History of Corporate form in Ancient India, see a paper by Vikramaditya S. Khanna (2005): http://papers.ssrn.com/sol3/papers.cfm?abstract_id=796464 It is possible to read the sã̄gāḍā°ḍī 'lathe, portable furnace' hieroglyph-multiplex as rebus: sanghar 'fortification'; jangada 'consignments on approval' The pronunciation in Gujarati is jangaḍ relatable to jangāḍiyo ‘a military guard who accompanies treasure into the treasury’ (of the commonwealth or guild)(Gujarati). Such a dharma saṁjñā 'corporate badge' may be the gold fillet with 'lathe' hieroglyph. Gold paṭa, 'fillet'. Punctuated design on both ends. Mohenjodaro. Executive summary: Socio-cultural framework of Vedic village clusters of Bronze Age The workshops evidenced by circular platforms are Corporations of the Bronze Age, with the emergence of guilds of artisans with specific functions and responsibilities to promote the Corporation as a commonwealth. It was a smiths' guild at work on circular platforms of Harappa using tablets as category 'tallies' for the final shipment of package with a seal impression. each functionary in the guild had a recognizable paṭa 'badge' (Corporate badge of dharma, of responsibility assigned in a socio-cultural organization of the samajam). A Bronze Age village of Bharatam Janam or a cluster of such villages was a janapada, a Corporation of artisan guilds. Three paṭa 'badges' are shown on the stone statue of the so-called 'priest-king' who wears a fillet on his forehead and also on hi right shoulder. A third badge is signified on his uttariyam (shawl) which is embellished with the hieroglyphs of 'trefoils' signifying tri-dhAtu 'three mineral' strands of dhā̆vaḍ 'smelter', with assigned functional responsibility.of a Potr 'purifier'. It is suggested that many such badges were worn by artisans of a Vedic village of the Bronze Age; such badges were ceramic (stoneware) bangles. An "eye bead" made of gold with steatite inlay, Harappa. Fired steatite beads appear to have been extremely important to the Indus people because they were incorporated into exquisite ornaments, such as this "eye bead" made of gold with steatite inlay found in 1995 at Harappa [Harappa Phase]. https://www.harappa.com/slide/gold-disc The central ornament worn on the forehead of the famous "priest-king" sculpture from Mohenjo-daro appears to represent an eye bead, possibly made of gold with steatite inlay in the center. https://www.harappa.com/slide/priest-king-forehead The weltanchauung, 'world perception' of artisans in a Vedic village was governed by 1. dharma, assigned responsibilities and 2. the metaphor of a kole.l 'smithy-forge' as a kole.l 'temple'. Male head probably broken from a seated sculpture. Finely braided or wavy combed hair tied into a double bun on the back of the head and a plain fillet or headband with hanging ribbons falling down the back. The upper lip is shaved and a closely cropped and combed beard lines the pronounced lower jaw. Male head shows the typical arrangement of the hair in a double bun, held in place by a thin fillet (badge) tied on the forehead. Functions assigned were recognized by distribution of ceramic (stoneware) bangles worn as paṭa, 'socio-cultural honour-badges'. Such a paṭa m. ʻ slab, tablet, metal plate ʼ,was distinct from the seals and tablets. Such a paṭa was a gold fillet with the inscribed sã̄gāḍā°ḍī 'lathe, portable furnace' hieroglyph-multiplex . Hieroglyph: सांगड [ sāṅgaḍa ] That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.Rebus 1: Sangara [fr. saŋ+gṛ1 to sing, proclaim, cp. gāyati & gīta] 1. a promise, agreement J iv.105, 111, 473; v.25, 479; sangaraŋ karoti to make a compact Vin i.247; J (Pali) Rebus 2: śã̄gaḍa 'catamaran'. Such a सांगड [ sāṅgaḍa ] is alsoa hieroglyph-multiplex, f A body formed of two or more (fruits, animals, men) linked or joined together. Such a paṭa were two anthropomorphs of copper/bronze with spread legs of a human body. The rebus reading of the hieroglyph-multiplex (hypertext) on the badges: 1. helmsman, merchantman, (metal) suercargo, engraver, merchant, worker in wood and iron; 2. helmsman, (metal) supercargo, iron worker Spread legs on both anthropomorphs signify कर्णक 'spread legs' rebus: 'helmsman' Sharply defined inscriptions on each of the 22 ceramic (stoneware) bangles indicate 21 sharply assigned responsibilities within the guild for metalwork, for e.g. 21 functional allocations of responsibilitie of artisans delineated in a Vedic village: 1. iron smelting, furnace work (m1659) 2. metal casting, engraving, documenting supercargo (m1647) 3. bronze (casting)(m1646) 4. gota (laterite) (m1641) 5. Seafaring merchant, magnetite ingot workshop (m1643) 6. Smithy, forge (m1641) 7. Moltencast copper, brass (m1640) 8. Alloy metal mint, weapons, implements workshop, guild master workshop (m1639) 9. Bronze ingots, implements, magnetite ingots (m1638) 10. Metalcasting workshop (cire perdue?)(m1637) 11. Metal implements, weapons, smithy, forge (m1636) 12. Blacksmith, seafaring merchant (m1634) 13. Helman for supercargo boat, iron furnace work, metals workshop (m1633) 14. Metal casting, alloy mixing workshop (m1632) 15. dhā̆vaḍ 'smelter', supercargo of implements (m1631) 16. Magnetite ingots, furnace work, supercargo engraver (m1630) 17. Iron furnace work, metal casting of tin, helmsman supercargo of metals, bharat ‘mixed alloys’ metalworker (m1629) 18. Minerals workshop guild (h2576) 19. Magnetite ingots, smelter (h1010) 20. dhā̆vaḍ 'smelter' tri-dhAtu, '‘three minerals (H98-3516/8667-01) 21. Seafaring merchant, supercargo engraver(Blkt-6)
Two Indus Script incribed anthropomorphs of Ancient Bharatam copper complexes are deciphered as seafaring metalsmiths, merchants. One anthropomorph links Indus Script hieroglyph one-horned young bull to Varāha and reinforces Vedic roots of civilization of Bharatam Janam. Another anthropomorphic representation occurs of Varāha in the Vedic tradition. Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BC; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant Indus Script hieroglyphs read rebus: baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’ Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' Rakhigarhi stone and metal sources and acquisition networks identified in this study. Potential, but as of yet unconfirmed, copper, gold and chert source areas are also indicated. http://bharatkalyan97.blogspot.in/2015/11/indus-script-dhatu-scarf-on-rhinoceros.html Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E. L. 12.68 cm. Ceremonial Axe Baktria,Northern Afghanistan http://www.lessingimages.com/search.asp?a=L&lc=202020207EE6&ln=Collection+George+Ortiz%2C+Geneva%2C+Switzerland&p=1 Shaft-hole axe head with bird-headed demon, boar, and dragon.Bronze Age, ca. late 3rd–early 2nd millennium B.C.,Bactria-Margiana metmuseum.org See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7 in). Weight: 675.5 g (23.82 oz). British Museum.ME 123268 (1913,0314.11913,0314.1) R. Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia Institute, NS I (1987), pp. 17-26 Indus Script hieroglyphs चषालः caṣāla varaha's snout, bhūĩ 'earth' as bhudevi Rebus: bhũ 'wheat chaff' as annam in smelting to obtain अमृत, 'Soma juice', performing Vajapeya Soma Yaga. The metaphor is ascent to heaven to reach the moon planet as explained by Chandogya Upanishad (see embedded excerpts from text with translations). See: http://bharatkalyan97.blogspot.in/2016/01/and-hurling-casala-thunderbolt-from.html अमृत -इष्टका and hurling the चषाल caṣāla, 'thunderbolt' from the yupa after reaching heaven, gaining the अमृत, 'ambrosia' चषालः caṣāla 'varaha's snout' lifts up the earth and stone (minerals) to attain amṛta अमृत immortality, imperishable state; ambrosia, beverage of the gods. amRta is Soma juice, i.e., molten metal achieved through the smelting process. The Vajapeya yaga is thus a metaphor for processing Soma, the molten metal with the interventio of bhũ 'wheat chaff' as annam in smelting. This is the चषालः caṣāla, top-piece of the Yupa which signifies the Yaga. It is also signified by an octagonal hour-glass-shaped top-piece on the Yupa, 'pillar, post'. छान्दोग्य उपनिषद् (integral segment of Samaveda tradition of Soma Yaga): ॐ इत्येतदक्षरं उद्गीथमुपासीत ओमिति हृद्गायति तस्योपव्याख्यानम् (1.1) Worship ye OM, the eternal syllable, OMis the Udgitha, the chant of Samaveda; for with OM they begin the chant of Sama. And this is the exposition of OM. एषा भूतानाम् पृथिवी रसः पृथिव्या आपो रसः अपामोषधयो रस ओषधीनां पुरुषो रसः पुरुषस्य वाग्रसो वाच ऋग्रस ऋचः साम रसः साम्न उद्गीथ रसः (1.2) Earth is the substantial essence of all these creatures and the waters are the essence of earth; herbs of the field are the essence of the waters; man is the essence of the herbs.Speech is the essence of man, Rigveda the essence of Speech. Sama is the essence of Rik. Of Sama OM is the essence. स एष रसाना रसतमः परमः परार्ध्योष्टमा यदुद्गीत्थः (1.3) This is the eighth essence of the essences and the really essential, the highest and it belongeth to the upper hemisphere of things. कतमा कतमर्क कतमत् कतमत्साम कतमः कतम उद्गीथ इति विमृष्टम् भवति (1.4) Which among things & which again is Rik; which among things and which again is Sama; which among things and which again is OM of the Udgitha -- this is now pondered. ... "They who perform pious deeds in their village enter the smoke, . . . and then they go from the sky to the moon planet." Chandogya Upanishad (5.10.3-4) explains the ascent of the yajnika (Vajapeya soma yaga) to heaven. Here the metaphor is reaching the moon planet. The reaching of heaven is recognized by declaring Soma, the king and the way Soma is processed as food by the divinities. This metaphor signifies an archaeometallurgical process of attaining Soma using bhũ 'wheat chaff' as annam in smelting. In iconographic rendering this bhũ 'wheat chaff' is signified by the rebus hieroglyph: bhūĩ 'earth' as bhudevi 'mother earth'. The structure of the octagonal yupa signifying Vajapeya Soma yaga includes an octagonal चषालः caṣāla signified by the hour-glass-shaped vajra as shown in the iconography of Vajrapani and in the cylinder seal rendering in Jasper Cylinder seal showing flagstaff-carriers with six-locks of hair (baTa 'six' rebus: bhaTa 'furnace) and signifying the flagstaff with an hour-glass-shaped top vajra 'thunderbolt weapon' as चषालः caṣāla. The signified are metalworkers smelting working with furnaces to produce metallic weapons. See: http://bharatkalyan97.blogspot.in/2016/01/indus-script-hieroglyphs-yupa-bhui-to.html चषालः caṣāla is signified by the snout of a boar, varaha. चषालः caṣāla on Yupa, made of wheat straw, an Indus Script hieroglyph, signifies pyrolysis/carburization in smelting ores into steel/hard alloys Yupa is a kunda, a pillar of bricks. This kunda signifies a fire-alter or agnikunda in Vedic tradition. A signifier of the pillar is a चषालः caṣāla as its top piece. This चषालः caṣāla (Rigveda) is made of wheat straw for pyrolysis to convert firewood into coke to react with ore to create hard alloys, e.g. iron reacting with coke to create crucible steel or carburization of wrought iron in a crucible to produce steel. See: https://en.wikipedia.org/wiki/Crucible_steel The sacredness associated with चषालः caṣāla is demonstrated by the architectural splendour of ancient varaha sculptures in the Hindu tradition. On the varaha monolith in Khajuraho, the चषालः caṣāla is signified by Devi Sarasvati. On many other sculptures of varaha, the चषालः caṣāla is associated with Mother Earth भूदेवी bhudevi. A gallery of varaha sculptural splendour is embedded together with explanatory notes on the dcipherment of metal work catalogue in a Rakhigarhi seal with a rhinoceros decorated with a scarf (dhatu 'scarf' rebus: dhatu 'ore'). The Indus Script hieroglyphic hypertexts get expanded into metaphors during the historical periods narrating Varaha as the third Avatara of Vishnu. In archaeometallurgical parlance, the चषालः caṣāla is the core pyrolysis process to create crucible steel and/or hard alloys in smelting processes. http://bharatkalyan97.blogspot.in/2016/01/casala-on-yupa-indus-script-hieroglyph_6.html Thus, Varaha signifies a yajna in the Vedic tradition. The continuum of this Vedic tradition is also evidenced in gthe Varaha ligature to the copper/bronze anthropomorph with an Indus Script inscription of a one-horned young bull which has been read in the context of metalwork catalogues of the Sarasvati civilization. Varaha Purana has a narrative about Gudakesha who prayed to Vishnu for 14 years. He wanted a boon to make new metal material, tamba 'copper' using his body parts, flesh, tendon etc. Purana records that his blood created gold, flesh and tendon copper, bones silver, and other parts created other material. Because of this boon, Vishnu said that tamba was his favourite metal. Varaha anthropomorphic sculpture in Khajuraho (c. 900-925) is of sandstone, 2.6 metres (8 ft 6 in) long and 1.7 metres (5 ft 7 in) high (ASI, Varaha temple). The flat ceiling of the shrine is car. ved with a lotus flower of exquisite design in relief. tAmarasa 'lotus' rebus: tAmra 'copper'. This Yajna varaha of Khajuraho signifies 674 Vedic divinities in 12 rows as an embodiment of Vedic knowledge and yajna performance. Anthropomorphs as sculptural metaphors is an Indus Script Cipher tradition. The continuum of the Indus Script tradition is exemplified by the Varaha ligature to the copper/bronze anthropomorph of copper complexes together with the inscription of a dominant pictorial motif of the writing system: One-horned young bull. The anthropomorph has been read rebus as a metalwork catalogue, a calling card of the metalsmith-smelter of the Bronze Age. The same metaphor is seen in the Varaha sculpture of Khajuraho as an embodiment of Vedic knowledge systems with particular reference to the performance of the yajna-s. The skambha (rebus: kammaTa 'mint') held in the left hand and a skhambha with caSAla or Sudarshana cakra held in the right hand of Varaha murti in Somnathpur is a descriptive account of a Soma Yaga celebrated and documented in 19 Yupa inscriptions of Rajasthan, Mathura, Allahabad and East Borneo during the historical periods. varaha, somnathpur. Bronze Caturanana. Vishnu, Vasudeva, Varaha, Narasimha. See: http://bharatkalyan97.blogspot.in/2016/01/casala-on-yupa-indus-script-hieroglyph_6.html Coin with Varaha (Vishnu Avatar) on a Gurjara-Pratihara coin 850-900 CE,British Museum. Udayagiri cave, near Vidisha. Varaha. depicted on the upper lip (snout) of Varaha. Varaha temple. Khajuraho. Site Name: Khajuraho Monument: Varaha Mandir Subject of Photo: Varaha Locator Info. of Photo: SE of Laksmana temple courtyard Photo Orientation: overview from SW looking NE Iconography: Varaha Dynasty/Period: Candella Date: ca. latter half of the tenth century CE, 950 CE - 1000 CE Material: stone Architecture: structural Zoom into Sarasvati image on the upper lip (snout) of Varaha
A 145 year-old challenge in civilization studies: Indus Sarasvati Script Indus Script Decipherment has been a challenge for researchers in civilization studies, ever since the discovery in 1872 of a Harappa seal containing an Indus Script message was reported by by the then Director General of Archaeological Survey of India, Alexander Cunningham. "The first seal, found at Harappa before 1872. Included in The British Museum's A History of the World in 100 Objects, a nice podcast of the chapter on this black stone unicorn seal is available for free at bbc.co.uk (Episode 16, Indus seal). Sir Alexander Cunningham, who led the first excavations there in 1872-73 and published news of the seal, wrote 50 years before we understood that the Indus civilization had existed: "The most curious object discovered at Harappa is a seal, ... The seal is a smooth black stone without polish. On it is engraved very deeply a bull, without a hump, looking to the right, with two stars under the neck. Above the bull there is an inscription in six characters, which are quite unknown to me. They are certainly not Indian letters; and as the bull which accompanies them is without a hump, I conclude that the seal is foreign to India." How wrong Cunningham was about the seal! Still, as Neil MacGregor writes, "it was this seal that stimulated the discovery of the entire Indus civilization." (A History of the World in 100 Objects, p. 80). It was left to a successor, John Marshall, to announce the discovery of the ancient Indus civilization." https://www.harappa.com/blog/first-seal Decipherment of First Harappa Seal a. Text of inscription (Left to right on seal impression) kanac ‘corner’ rebus: kancu ‘bronze’ sal ‘splinter’ rebus: sal ‘workshop’ Fish + sloping stroke, aya ḍhāḷ ‘metal ingot’ aya 'fish' rebus: ayas 'alloy metal' PLUS ḍhāḷiyum = adj. sloping, inclining (G.) The ligatured glyph is read rebus as: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (G.) mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍ into an equilateral lump a little pointed at each end PLUS dula ‘pair’ rebus: dul ‘metal casting’. Thus, metal cast ingots. Vikalpa: karã̄ n. pl. 'wristlets, bangles' (Gujarati); S. karāī f. 'wrist' (CDIAL 2779). Rebus: khār खार् 'blacksmith' (Kashmiri) dula ‘two’ rebus: dul ‘metal casting’ baṭa ‘rimless pot’ rebus: baṭa ‘iron’, bhaṭa ‘furnace’ b. Field symbol 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. khōṇḍī 'pannier sack' खोंडी (Marathi) Rebus: kunda ‘nidhi’ kundaṇa ‘fine gold’ PLUS koḍ 'horn' rebus: koḍ 'workshop' sã̄gāḍ ‘lathe, portable furnace’ rebus: sangara ‘proclamation, trade’ kamaṭa ‘portable furnace’ rebus: kammaṭa ‘mint, coiner, coinage’. What research method should be used to derive vākyārtha 'meanings of messages' to decipher the script? During the last 145 years, the corpora containing Indus Script messages has grown to over 8000 in an extensive area covering Ancient India, Ancient Far East and Ancient Near East. A major discovery reported is Vedic River Sarasvati which flowed from the Himalayan glaciers to the Arabian Sea (Indian Ocean). There are indications that this, together with Indus River, were navigable waterways which enabled maritime trade contacts across the Persian Gulf to the Ancient Near East. Two other major discoveries reported are: 1. the largest tin belt of he globe in Ancient Far East on the river basins of Himalayan rivers Mekong, Irrawaddy, Salween; 2. Over 200 Dong Son and Karen Bronze drums from Ancient East which display -- on bronze cire perdue tympani, in particular -- Indus Script hieroglyphs. A hypothesis is that the largest tin belt of the globe in the Ancient Far East contributed to the Tin-Bronze Revolution from ca. 4th millennium BCE. A corollary hypothesis is posited that the Indus Sarasvati Script messages relate to documentation of metalwork with the artisans of Ancient India acting as intermediaries in furthering the metallurgical revolution.. Since over 80% (2000 out of 2600+) of archaeological sites of Indus Sarasvati Civilization are on the banks of Vedic River Sarasvati, it is appropriate to call the Script Indus Sarasvati Script. Two research methods are used to decipher the Indus Sarsvati Script: 1. Rebus method used in contemporary Egyptian hieroglyphs; 2. Tantra Yukti research method to analyse and derive 'meanings' of messages. Rebus Method Rebus method used in Egyptian hieroglyphs is exemplified by Narmer Palette. On this palette, the name of the king Nar-Mer are signified by two hieroglyphs which read: N'r 'cuttle fish' PLUS M'r 'awl' as shown in the following cartouche on the palette. In ancient Indian tradition, one term which describes the rebus method is vikalpa (alternative representation). One example is cited by Vātsyāyana who uses the expression: mlecchita vikalpa. This expression used in the context of a language representation device means: alternative cypher writing system made by mleccha 'copper' workers. Two other language representation devices are mentioned by Vātsyāyana: akṣara muṣṭika kathanam, 'messaging through finger-wrist gestures', deśabhāṣā jñānam, 'knowledge of spoken dialects'. The Indus Sarasvati Script or writing system is posited as a rebus vikalpa of deśabhāṣā, 'the spoken form of language' of the people who created the Indus-Sarasvati Civilization. This deśabhāṣā is mleccha (meluhha). These terms mleccha (meluhha) are identified in ancient Indian texts as mispronounced words and on a cuneiform cylinder seal of Shu-Ilishu (Meluhhs is identified on the examples of two cylinder seals as the person carrying a phonetic determinative animl: goat, on his hands: mlekh'goat' rebus: milakkhu 'copper' -- pronunciation variants: meluhha, mleccha). One cuneifom text on Shu-Ilishu cylinder seal reads: Shu-Ilishu EME.BAL.ME.LUH.HA.KI (Shu-Ilishu, interpreter of Meluhha language). Cylinder seal of Shu-ilishu, interpreter for Meluhha. Cuneiform inscription in Old Akkadian. Serpentine. Mesopotamia ca 2220-2159 BCE H. 2.9 cm, Dia 1.8 cm Musee du Louvre, Departement des Antiquites, Orientales, Paris AO 22310 “Based on cuneiform documents from Mesopotamia we know that there was at least one Meluhhan village in Akkad at that time, with people called ‘Son ofMeluhha‘ living there. The cuneiform inscription (ca. 2020 BCE) says that thecylinder seal belonged to Shu-ilishu, who was a translator of the Meluhhan language. “The presence in Akkad of a translator of the Meluhhan language suggests that he may have been literate and could read the undeciphered Indus script. This in turn suggests that there may be bilingual Akkadian/Meluhhan tablets somewhere in Mesopotamia. Although such documents may not exist, Shu-ilishu’s cylinder seal offers a glimmer of hope for the future in unraveling the mystery of the Indus script.” (Gregory L. Possehl,Shu-ilishu’s cylinder seal, Expedition, Vol. 48, Number 1, pp. 42-43).http://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdf The seal also includes an accompanying woman carrying a liquid measure: ranku 'liquid measure' rebus:ranku 'tin'. Thus, the man and woman signify traders in copper and tin. There are a number of cylinder seals of Ancient Near East which signify 'Meluhha'. Examples are signified on the following cylinder seal impressions. The narratives of the messages sem to signify some trade transactions of the Bronze Age with the Meluhha merchant/artisan.
Processions on Indus Script are proclamation hypertext clusters. Presented in a Venn diagram, A ∩ B intersection set signifies metalwork catalogues. This intersection A ∩ B marked in red, will be elaborated in the following examples from the Indus Script Corpora. Set A are words signified by hieroglyph-multiplexes and Set B are rebus readings from Meluhha metalwork lexis; the intersection A ∩ B presents the deciphered plain texts, which are metalwork catalogues which constitute the Indus Script Corpora. Set A are hieroglyphs of Indus Script. Set B are rebus Meluhha renderings from metalwork lexis. The intersection of the two sets A and B signified by A ∩ B constitute metalwork catalogues of Bronze Age Meluhha artisans. The intersection area of the two SETS (A,B) of Indus Script Corpora (hypertexts and rebus readings) relate to ONLY one category: metalwork. One type of Venn diagram, in mathematics, illustrates the intersection of two sets. This is a foundational set theory of mathematics and is used -- as a device for data mining -- to explain Bronze Age documentations of metalwork data sets. The Venn Diagram intersection of Indus Script cipher creates the Indus Script Corpora as catalogus catalogorum, metalwork catalogues. The processions or galleries of hieroglyph-multiplexes are announcements of two SETS: A, B. The cyper text is thus decoded into plain text of metalwork catalogue. What was achieved as advances in mathematics, say, the invention of zero by ancient Indians, was also achieved in the delineation of sets on Indus Script Corpora by the use of a simple Indus Script Cipher. In this Cipher, Set A is lexis read for cypher-hypertexts (e.g. karibha, ibha, 'trunk/elephant', kola 'tiger', kANDA 'rhinoceros', rim of jar). Set B is lexis read for metalwork, i.e. deciphered plain texts (e.g. ib, karba, 'iron', kol 'working in iron', kANDa 'implements'). The intersection set A ∩ B is realized by the homonyms: one list used for hieroglyphs, the other for metalwork cataloguing. This achievement, announced as proclamations of Indus Script, is posited based on data mining of Indus Script Corpora as metal work catalogues of the Bronze Age. Clusters are presented in Indus Script Corpora in three orthographic styles: 1. Processions of animals/symbols (also called signs) 2. Galleries/Collages of animals and 3. Hieroglyph-multiplexes (hypertexts) combining signifier components (say, makara combining trunk of elephant with horns of zebu or fin of fish or crocodile body) as in composite animals and composite 'signs'. There is a word in Meluhha to signify such combinations of hypertext components: the word is सांगड (p. 840) [ sāṅgaḍa ] f A body formed of two or more (fruits, animals, men) linked or joined together. One reasonable surmise about the significance of over 400 artifacts of Nahal Mishmar is that many would have been carried in processions. This is not unlike the utsava bera carried in processions on festive days in Ancient Bharatam, a practice which continues even today. When I made an enquiry about 240 mace-head replicas in exquisite castings discovered in Nahal Mishmar, Dr' Uzi Avner and Moti Shemtov very kindly responded. They led me to a remarkable doctoral thesis of Dr. Michael Serbane under the supervision of Prof. Benjamin Sass of Tel Aviv University on ‘The Mace in Israel and the Ancient Near East from the Ninth millennium to the First – Typology and chronology, technology, military and ceremonial use, regional interconnections’ (2009). This is an extraordinary presentation of the results of data mining over 9 millennia of cultural practices, archaeological and artefact evidences related to maceheads. Who knows? The exquisite mace-head replicas of arsenical copper castings may have been used in ceremonial veneration of the warrior ancestors of the bronze age artisans of Nahal Mishmar. The quality of the casting achieved on the macehead replicas is simply astonishing and attests to the metallurgical competence of our ancestors. I am extremely grateful to Dr. Michael Serbane’s work which presents a breathtaking simhavalokanam of practices in an extensive area, over an extended period of time. Surely, the mace was an artefact of great importance, whatever its import as an insignia of authority or divine dispensation. This figure presented by Dr. Michael Serbane evokes the imagery of a Soma Yaga Yupa with a caSAla. The figure on the top row with a safflower ligature is significant. I siggest that the safflower signified all over Ancient Near East and the Levant, करडी [ karaḍī ] f (See करडई) Safflower: also its seed. Rebus: karaḍa 'hard alloy' [of arka 'copper']. Rebus: fire-god: @B27990. #16671. Remo <karandi>E155 {N} ``^fire-^god''.(Munda). If carried on processions, these standards or flagposts are comparable to the procession shown on two Mohenjo-daro tablets as proclamations of metallurgical competence. I cite from Insights and conclusions arising from the foundations of the study: “Raw materials and manufacture (Chapter 3): The technological, metallurgical and petrographic aspects pertaining to the manufacture of copper and copper alloy maceheads have been thoroughly investigated in recent decades as part of the study of the Chalcolithic metal industry, in particular of objects cast in the lost-wax technique. The present study reviews these investigations, offering observations on the possible locations of mines and quarries, on production centres, and on the reconstruction of production processes. The specialized haematite and limestone manufactures, on the other hand, are addressed here for the first time, with an emphasis on their restoration…In Mesopotamia the mace is the weapon and attribute also of warrior goddesses.” The haematite manufacture finds its echo in the three classifications evidenced by Indus Script Corpora of magnetite, haematite and laterite signified by three hieroglyphs: zebu, scorpion and round raised dot. Since the epigraphs or inscriptions of Indus Script are sangara 'proclamations' they become catalogues conveying to the receivers of the messages information on technical specifications of innovative metalwork accomplishments.These accomplishments were a life-activity of Bhāratam Janam, metalcaster people (RV 3.53.12: Visvamitra). An example is the turbinella pyrum s'ankha shell seal of Dwaraka with three heads of animals (antelope, young bull, bull) joined to a bovine body. This is a सांगड sāṅgaḍa rebus: sangara 'proclamation'of ranku 'antelope' Rebus: ranku 'tin' Alternative: mlekh 'antelope, goat' Rebus: milakkha 'copper' PLUS kōnda 'young bull' Rebus: कोंद kōnda 'engraver, lapidary setting or infixing gems' PLUS barad 'ox' rebus: भरत bharat, bharan or toul 'alloy of copper, pewter, tin'. Kuwait gold disc: gallery of Indus Script hieroglyphs "Gold disc. al-Sabah Collection, Kuwait National Museum. 9.6 cm diameter, which was obviously from the Indus Valley period in India. Typical of that period, it depicts zebu, bulls, human attendants, ibex, fish, partridges, bees, pipal free an animal-headed standard." Benoy K. Behl https://www.facebook.com/BenoyKBehlArtCulture Source: http://tinyurl.com/nom5kkv In the context of the bronze-age, the hieroglyphs are read rebus in Meluhha (mleccha) speech as metalware catalogs. http://bharatkalyan97.blogspot.in/2013/05/indus-writing-as-metalware-catalogs-and_21.html http://bharatkalyan97.blogspot.in/2013/05/tokens-and-bullae-evolve-into-indus.html See examples of Dilmun seal readings at http://bharatkalyan97.blogspot.in/2013/05/see-httpbharatkalyan97.html See examples of Sumer Samarra bowls: http://bharatkalyan97.blogspot.in/2013/04/bronze-age-writing-in-ancient-near-east.html
Composite animals of Indus Script corpora are hypertexts. The cipher of the ancient writing system of Indus Script dated to ca. 3300 BCE is structured to function at two levels: 1. mlecchita vikalpa, 'alternative representation of message by mleccha 'copper' workers, 'weapons makers'; and 2.vākyapadīya, 'sentences composed of words to convey meaning'. mlecchita vikapa is characterized by indistinct speech and incorrect, ungrammatical pronunciations, i.e. vernacula, parole. This expression is used by Vātsyāyana to refer to a cipher writing system as one of the 64 arts to be learnt by youth. See: https://en.wikipedia.org/wiki/Mlecchita_vikalpa vākyapadīya is meaning conveyed through a sentence composed of pada, 'sign, token, characteristic, word'. भर्तृहरि Bhartṛhari is author of the work, Vākyapadīya, 'treatise on words and sentences.' "The work is divided into three books, the Brahma-kāṇḍa, (or Āgama-samuccaya "aggregation of traditions"), the Vākya-kāṇḍa, and the Pada-kāṇḍa (or Prakīrṇaka "miscellaneous"). He theorized the act of speech as being made up of three stages: 1. Conceptualization by the speaker (Paśyantī "idea") 2. Performance of speaking (Madhyamā "medium") 3. Comprehension by the interpreter (Vaikharī "complete utterance"). Bhartṛhari is of the śabda-advaita "speech monistic" school which identifies language and cognition. According to George Cardona, "Vākyapadīya is considered to be the major Indian work of its time on grammar, semantics and philosophy." https://en.wikipedia.org/wiki/Spho%E1%B9%ADa The work is on Sanskrit grammar and linguistic philosophy, is a foundational text in the Indian grammatical tradition, explaining numerous theories related to vāk, 'speech' and sphoṭa 'sound of language'. He identifies varṇasphoṭa, padasphoṭa and vākyasphoṭa 'syllable speech sound', 'word speech sound' and 'sentence speech sound'. Meaning is determined when the full sentence is uttered and heard. https://en.wikipedia.org/wiki/Bhart%E1%B9%9Bhari Good examples of these two components of Indus Script cipher -- mlecchita vikalpa and vākyapadīya are Indus Script hypertexts formed as 'composite animals'. The scribe who created these hypertexts signifies vākyasphoṭa 'sentence speech sound' of Mleccha/Meluhha speech which is cognate with literary Samskrtam or Chandas expressions. A truly fascinating paper by Dennys Frenez and Massimo Vidale on composite Indus creatures and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato, Chimaera and the Indus Civilization at a.harappa.com/... Hypertext includes the following hieroglyphs rendered rebus and read as vākyapadīya, sentence composed of words : The deciphered text is: metal ingots manufactory & trade of magnetite, ferrite ore, metals mint with portable furnace, iron ores, gold, smelters' guild. The Meluhha rebus words and meanings are given below. सांगड sāṅgaḍa f A body formed of two or more (fruits, animals, men) linked or joined together. Rebus: sangara 'trade' 1. zebu पोळ [ pōḷa ] 'zebu, bos indicus' rebus: पोळ [ pōḷa ] 'magnetite, ferrite ore' 2. human face mũhe ‘face’ (Santali) ; rebus:mũh metal ingot 3. penance 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) 4. elephant karabha, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant' kharva 'a nidhi of nine treasures of Kubera' 5. markhor miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Mu.) Allograph: meḍ ‘body ' (Mu.) 6. young bull kondh ‘young bull’ rebus: kũdār ‘turner, brass-worker, engraver (writer)’ kundana 'fine gold' 7. tiger kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ Rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' kole.l 'smithy, forge' kole.l 'temple' 8. Cobra hood phaḍa 'throne, hood of cobra' rebus: फड, phaḍa 'metalwork artisan guild in charge of manufactory' This hieroglyph on Seal m1179 is a determinative that the message conveyed by 'composite animals' is that the locus is kole.l 'temple/' rebus: kole.l 'smithy, forge'.
-- Archaeological evidence that Sarasvati-Sindhu maritime civilization used sewn seafaring boats of Cera boat-builders -- सांगड 'canoe-float', paṭṭaṇa 'harbour, port', pattamar 'seafarring dhow' Sewn boats of Kerala dated to ca. 1900 BCE A breath-taking discovery of a shipwreck at Ayn Soukhna dated to ca. 1900 BCE by a French marine archaeology team makes 1)Sarasvati-Sindhu a maritime civilization; and 2)establishes firm links with Kerala (Cera people) boat-builders who made the seafaring vessels tor maritime trade with the Arabian Gulf. 3)Sarasvati's children moved to Cera region after the submegence of Dwaraka of the civilization 4) A hypothesis is posited that the Vēḷāḷa Vēḷir were the boat-builders of the civilization, evidenced by the shipwreck of a sewn boat in Ayn Soukhna dated to ca. 1900 BCE. Vēḷāḷa are seafaring merchants. I suggest that they are involved in boat-building as attested by the movement of people from Dwaraka to Cera region -- attested in ancient Tamil texts. veṛhā octopus, said to be found in the Indus (Jaṭki lexicon of A. Jukes, 1900) This octopus image is typographically ligatured to the protome of a horned young bull on a copper plate Indus Script inscription. Mohenjo-daro copperr plate with protome of horned young bull ligatured to an octopus: Hypertext: kunda singi veṛhā 'horned young bull, octopus' rebus: kunda singi Vēḷa 'ornament gold maker, village headman, seafaring merchant' singi 'horned' rebus: singi 'ornament gold' singi 'village headman' Vēḷa =வாணிகன் vāṇikaṉ , n. < id. cf. pāṇika. 1. Merchant, trader; வியாபாரி. அறவிலைவாணிகன் (புறநா. 134). 2. Man of the trading caste; வைசி யன்; வாணிபம் vāṇipam , n. 1. See வாணிகம், 1. (W.) 2. See வாணிகம், 2. இவளை வைத்து வைத்துக் கொண்டென்ன வாணிபம் (திவ். பெரியாழ். 3, 7, 9). Astronomy has dated Mahabharata events with astonishing precision (Narahari Achar's work). Dwaraka submergence is REAL and mentioned in the epic, Krishna tells yadava to move out. Sangam text attests to 42 generations of Velir from Dwaraka. Images of Balarama and Krishna are on ancient coins. That the region of Sarasvati-Sindhu river basins was subject to frequent earthquakes caused by plate tectonics of the Indian plate moving northwards jutting into European plate at the pace of 6 cms. per year (lifting up the Himalayan ranges by 1 cm per year), is also attested in the Mahabharata epic which documents the enormity of the earthquakes and records the engulfing of Dwaraka by seawaves and submergence of Dwaraka. The migration of River Yamuna carrying the waters of Glacial Sarasvati from Paonta Saheb to join the Ganga creating Triveni Sangamam and themigration of River Sutlej by a 90-degree turn at Ropar, to join the Sindhu river, cut off the glacial perennial waters to Vedic River Sarasvati. Thus, the Sarasvati River become a monsoon-based river with stretches of breaks in the navigable channel and the creation of saras, 'lakes' in the regions of Haryana and Rajasthan. The snapping of the navigability of the River Sarasvati impacted the seafaring merchants of Meluhha who had crossed the Persian Gulf beyond Dholavira-Surkotada in Rann of Kutch to conduct maritime trade. The snapping of trade connections led to migrations of people eastwards and southwards as evidenced by the settlements of Rakhigarhi (near Delhi) and Daimabad on Pravara River, a tributary of River Godavari. That the migrations occurred southwards is attested in Purananuru, a Sangam text in Tamil. Recurrent earthquakes caused by plate tectonics are also indicated in ancient texts. For example, after Krishna’s atman departs the mortal body--- veṛhā octopus, said to be found in the Indus (Jaṭki lexicon of A. Jukes, 1900) This octopus image is typographically ligatured to the protome of a horned young bull on a copper plate Indus Script inscription. Mohenjo-daro copperr plate with protome of horned young bull ligatured to an octopus: Hypertext: kunda singi veṛhā 'horned young bull, octopus' rebus: kunda singi Vēḷa 'ornament gold maker, village headman, seafaring merchant' The sea, the abode of monsters, engulfed the gem-filled Dwraka with waves soon after the people departed the place. Seeing this astounding incident, the citizens of Dwaraka ran away, exclaiming, ‘O, our fate’. (Ganguly, 1998). Reference to Dwaraka as Thuvarai in an ancient Sangam text Ayasipur is a Vedic expression. अयस् n. iron , metal RV. &c अयस्मय (अयोमय) a. (-यी f.) Ved. Made of iron or of any metal. -यी N. of one of the three habita- tions of Asuras. pur पुर् f. (Nom. sing. पूः; instr. du. पूर्भ्याम्) 1 A town, fortified town; thus ayasipur refers to a fortification made of stone or metal. (पूरण्यभिव्यक्तमुखप्रसादा R.16.23) துவரை² tuvarai, n. See துவாரகை. உவரா வீகைத் துவரை யாண்டு (புறநா. 201). துவாரகை tuvārakai, n. < dvārakā. The capital of Kṛṣṇa on the western side of Gujarat, supposed to have been submerged by the sea, one of catta-puri, q. v.; சத்தபுரியுளொன் றாயதும் கடலாற்கொள்ளப்பட்ட தென்று கருதப்படுவதும் கண்ணபிரான் அரசுபுரிந்ததுமான நகரம். This Vedic expression āyasipur is consistent with the description of Dwaraka in Puṟanāṉūru as a fortification with walls made of copper (metal). இவர் யார் என்குவை ஆயின் இவரே ஊருடன் இரவலர்க்கு அருளித் தேருடன் முல்லைக்கு ஈத்த செல்லா நல்லிசை படுமணி யானைப் பறம்பின் கோமான் நெடுமாப் பாரி மகளிர் யானே தந்தை தோழன் இவர் என் மகளிர் அந்தணன் புலவன் கொண்டு வந்தனனே நீயே வட பால் முனிவன் தடவினுள் தோன்றிச் செம்பு புனைந்து இயற்றிய சேண் நெடும் புரிசை உவரா ஈகைத் துவரை யாண்டு நாற்பத்து ஒன்பது வழி முறை வந்த வேளிருள் வேள விறல் போர் அண்ணல் தார் அணி யானைச் சேட்டு இருங்கோவே ஆண் கடன் உடைமையின் பாண் கடன் ஆற்றிய ஒலியற் கண்ணிப் புலிகடிமாஅல் யான் தர இவரைக் கொண்மதி வான் கவித்து இரும் கடல் உடுத்த இவ் வையகத்து அரும் திறல் பொன்படு மால் வரைக் கிழவ வென் வேல் உடலுநர் உட்கும் தானைக் கெடல்அரும் குரைய நாடு கிழவோயே ! If you ask who they are, they are his daughters, he who granted cities to those who came in need and earned great fame for gifting a chariot to the jasmine vine to climb, he who owned elephants with jingling bells, the lord of Parampu, the great king Pāri. They are my daughters now. As for me, I am their father’s friend, a Brahmin, a poet who has brought them here. You are the best Vēlir of the Vēlir clan, with a heritage of forty nine generations of Vēlirs who gave without limits, who ruled Thuvarai with its long walls that seemed to be made of copper, the city that appeared in the sacrificial pit of a northern sage (Yaja). King who is victorious in battles! Great king with garlanded elephants! Pulikatimāl with a bright garland who knows what a man’s responsibility is, and what you can do for bards! I am offering them. Please accept them. Lord of the sky high mountain that yields gold! You whose strength cannot be equaled on the earth that is covered by an arched sky and surrounded by the ocean, you whose army puts fear into enemies with victorious spears! O ruler of a land that can never be ruined! Irunkovel is supposed to be 49th generation of a king from (Thuvarai) Dwaraka. It can mean two things. Assuming about 30 years per generation, 1500 years earlier Dwaraka which had walls made of copper. Dating the early phase of Sarasvati-Sindhu civilization to ca. 3500 BCE, and the submergence of Dwaraka to ca. 1900 BCE (a date indicative of the drying up of Vedic River Sarasvati due to migrations of Sutlej and Yamuna rivers which were tributaries bringing in glacier waters), which necessitated the movements of Sarasvati's children down the coastline to Kerala, this text places Sangam literature text of Purananuru to ca. 400 BCE. (Source: http://historum.com/asian-history/76340-satyaputras-earliest-indo-aryanizers-south-india-3.html Migration from Tuvarai (Dwaraka) is attested in a 12th century inscription (Pudukottai State inscriptions, No. 120) cited by Avvai S. Turaicaami in Puranaanuru, II (SISSW Publishing Soc., Madras, 1951). •துவரை மாநகர் நின்ருபொந்த தொன்மை பார்த்துக்கிள்ளிவேந்தன் நிகரில் தென் கவரி நாடு தன்னில் நிகழ்வித்த நிதிவாளர் Archaeo-metallurgical and seafaring traditions of the Civilization are attested in regions of southern Bharat The archaeo-metallurgical and seafaring traditions of the Civilization are attested in Southern Bharat as exemplified by the following: https://www.scribd.com/doc/289709143/Metal-casting-Traditions-South-Asia-PT-Craddock-2014 http://www.insa.nic.in/writereaddata/UpLoadedFiles/IJHS/Vol50_2015_1_Art05.pdf Indian Journal of Hisory of Science, 50.1 (2015), 55-82 PT Craddock, Metal casting traditions of South Asia: Continuity and Innovation “Legend has it that the Pandava princes ...left on a pilgrimage of India, and in Kerala, each of these brothers installed Vishnu on the banks of the Pampa and nearby places and offered worship. (Chengannur - Yuddhishtra, Tiruppuliyur - Bheema, Aranmula - Arjuna, Tiruvamundur - Nakula and Tirukkadittaanam - Sahadeva). It is said that Arjuna built this temple at Nilackal near Sabarimalai. and the image was brought here in a raft made of six pieces of bamboo to this site, and hence the name Aranmula (six pieces of bamboo). Legend has it that Arjuna built this temple, to expiate for the sin of having killed Karna on the battlefield, against the dharma of killing an unarmed enemy. It is also believed that Vishnu (here) revealed the knowledge of creation to Brahma, from whom the Madhukaitapa demons stole the Vedas.” https://www.scribd.com/document/363439427/Eclipses-Planetary-Positions-in-Mahabharata-RN-Iyengar-2003 https://www.scribd.com/document/363439260/Discussion-on-BNN-Achar-s-RN-Iyengar-s-Chronology-of-Vedic-Rishis-Vedic-Venues-2014 https://www.scribd.com/document/363439035/Date-of-Mahabharata-TS-Kuppanna-Sastry
Dhanam, 'wealth' produced by metalworkers documented in Indus Script accounting ledgers as Processions of animals which are hypertexts in Meluhha (Bhāratīya sprachbund, 'language union'). Tell Asmar, Eshnunna, Iraq. Cylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. Meluhha (sprachbund) rebus readings of Indus Script hypertexts 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). karabha, ibha‘elephant’ Rebus: karba 'iron', 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.)] dhanam, 'cattle' rebus: dhanam 'wealth'. Alternative: pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali) kāruvu ‘crocodile’ Rebus: ‘artisan, blacksmith’. 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’. m1431B m1431A, B, C, E and Text 2805 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?] koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.) 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) baṭhi furnace for smelting ore (the same as kuṭhi) (Santali) bhaṭa = an oven, kiln, furnace; make an oven, a furnace; iṭa bhaṭa = a brick kiln; kun:kal bhaṭa a potter’s kiln; cun bhaṭa = a lime kiln; cun tehen dobon bhaṭaea = we shall prepare the lime kiln today (Santali); bhaṭṭhā (H.) bhart = a mixed metal of copper and lead; bhartīyā= a barzier, worker in metal; bhaṭ, bhrāṣṭra = oven, furnace (Skt.) mẽṛhẽt baṭi = iron (Ore) furnaces. [Synonyms are: mẽt = the eye, rebus for: the dotted circle (Santali.lex) baṭha [H. baṭṭhī (Sad.)] any kiln, except a potter’s kiln, which is called coa; there are four kinds of kiln: cunabat.ha, a lime-kin, it.abat.ha, a brick-kiln, ērēbaṭha, a lac kiln, kuilabaṭha, a charcoal kiln; trs. Or intrs., to make a kiln; cuna rapamente ciminaupe baṭhakeda? How many limekilns did you make? Baṭha-sen:gel = the fire of a kiln; baṭi [H. Sad. baṭṭhi, a furnace for distilling) used alone or in the cmpds. arkibuṭi and baṭiora, all meaning a grog-shop; occurs also in ilibaṭi, a (licensed) rice-beer shop (Mundari.lex.) bhaṭi = liquor from mohwa flowers (Santali) Stone vase from Mesopotamia Late Uruk period, about 3400-3200 BCE. Ht. 1.2 cm. It shows a bull, goat and ram. Pict-97: Person standing at the center pointing with his right hand at a bison facing a trough, and with his left hand pointing to the sign 2841 Obverse: A tiger and a rhinoceros in file. Pict-48 A tiger and a rhinoceros in file kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib 'iron'. 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. A characteristic style in narration is the use of a procession of animals to denote a professional group. The grouping may connote a smithy-shop of a guild --pasāramu. Mohenjo-daro seal m417 six heads from a core.śrēṇikā -- f. ʻ tent ʼ lex. and mngs. ʻ house ~ ladder ʼ in *śriṣṭa -- 2, *śrīḍhi -- . -- Words for ʻ ladder ʼ see śrití -- . -- √śri]H. sainī, senī f. ʻ ladder ʼ; Si. hiṇi, hiṇa, iṇi ʻ ladder, stairs ʼ (GS 84 < śrēṇi -- ).(CDIAL 12685). Woṭ. Šen ʻ roof ʼ, Bshk. Šan, Phal. Šān(AO xviii 251) Rebus: seṇi (f.) [Class. Sk. Śreṇi in meaning “guild”; Vedic= row] 1. A guild Vin iv.226; J i.267, 314; iv.43; Dāvs ii.124; their number was eighteen J vi.22, 427; VbhA 466. ˚ -- pamukha the head of a guild J ii.12 (text seni -- ). — 2. A division of an army J vi.583; ratha -- ˚ J vi.81, 49; seṇimokkha the chief of an army J vi.371 (cp. Senā and seniya). (Pali) This denotes a mason (artisan) guild -- seni -- of 1. brass-workers; 2. blacksmiths; 3. iron-workers; 4. copper-workers; 5. native metal workers; 6. workers in alloys. The core is a glyphic ‘chain’ or ‘ladder’. Glyph: kaḍī a chain; a hook; a link (G.); kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; kaḍiyaṇa, kaḍiyeṇa a woman of the bricklayer caste; a wife of a bricklayer (G.) The glyphics are: 1. Glyph: ‘one-horned young bull’: kondh ‘heifer’. kũdār ‘turner, brass-worker’. 2. Glyph: ‘bull’: ḍhangra ‘bull’. Rebus: ḍhangar ‘blacksmith’. 3. Glyph: ‘ram’: meḍh ‘ram’. Rebus: meḍ ‘iron’ 4. Glyph: ‘antelope’: mr̤eka ‘goat’. Rebus: milakkhu ‘copper’. Vikalpa 1: meluhha ‘mleccha’ ‘copper worker’. Vikalpa 2: meṛh ‘helper of merchant’. 5. Glyph: ‘zebu’: khũṭ ‘zebu’. Rebus: khũṭ ‘guild, community’ (Semantic determinant of the ‘jointed animals’ glyphic composition). kūṭa joining, connexion, assembly, crowd, fellowship (DEDR 1882) Pa. gotta ‘clan’; Pk. gotta, gōya id. (CDIAL 4279) Semantics of Pkt. lexeme gōya is concordant with Hebrew ‘goy’ in ha-goy-im (lit. the-nation-s). Pa. gotta -- n. ʻ clan ʼ, Pk. gotta -- , gutta -- , amg. gōya -- n.; Gau. gū ʻ house ʼ (in Kaf. and Dard. several other words for ʻ cowpen ʼ > ʻ house ʼ: gōṣṭhá -- , Pr. gūˊṭu ʻ cow ʼ; S. g̠oṭru m. ʻ parentage ʼ, L. got f. ʻ clan ʼ, P. gotar, got f.; Ku. N. got ʻ family ʼ; A. got -- nāti ʻ relatives ʼ; B. got ʻ clan ʼ; Or. gota ʻ family, relative ʼ; Bhoj. H. got m. ʻ family, clan ʼ, G. got n.; M. got ʻ clan, relatives ʼ; -- Si. gota ʻ clan, family ʼ ← Pa. (CDIAL 4279). Alternative: adar ḍangra ‘zebu or humped bull’; rebus: aduru ‘native metal’ (Ka.); ḍhangar ‘blacksmith’ (H.) 6. The sixth animal can only be guessed. Perhaps, a tiger (A reasonable inference, because the glyph ’tiger’ appears in a procession on some Indus script inscriptions. Glyph: ‘tiger?’: kol ‘tiger’.Rebus: kol ’worker in iron’. Vikalpa (alternative): perhaps, rhinoceros. gaṇḍa ‘rhinoceros’; rebus:khaṇḍ ‘tools, pots and pans and metal-ware’. Thus, the entire glyphic composition of six animals on the Mohenjodaro seal m417 is semantically a representation of a śrḗṇi, ’guild’, a khũṭ , ‘community’ of smiths and masons. This guild, community of smiths and masons evolves into Harosheth Hagoyim, ‘a smithy of nations.
Were tigers, rhinoceroses, boars domesticated since feeding troughs are shown on Indus Script inscriptions? Such wild animals were NOT domesticated but were used as hieroglyphs to signify Bronze Age metalwork. This rhetorical question is intended to underscore that the Indus Script cipher is a messaging system with hieroglyphs as signifiers. Both the animals and feeding troughs are hieroglyphs. The signified are Bronze Age metal- or mint-work catalogues documenting the merchandise of seafaring merchants who are also Supercargo -- merchant's representatives responsible for overseeing the cargo and its sale. Feeding trough on m1405 segment. Hieroglyph: pattar 'feeding trough' rebus: pattharika 'merchant' Daimabad seal . Sign 342 Hieroglyph: कर्ण [p= 256,2] the handle or ear of a vessel RV. viii , 72 , 12 S3Br. ix Ka1tyS3r. &c Rebus: कर्ण the helm or rudder of a ship R. कर्णी [p= 257,3] f. of °ण ifc. (e.g. अयस्-क्° and पयस्-क्°) Pa1n2. 8-3 , 46" N. of कंस's mother " , in comp. Rebus: karNI, 'Supercargo responsible for trading cargo of a vessel'. That such a functionary existed in the mature period of Sarasvati-Sindhu civilization is evidenced by a remarkable two-sided tablet (m1405) which shows a pattharika, 'merchant' graduating as a karNI, 'Supercargo functionary' on a seafaring vessel. m1405 Pict-97 Reverse: Person standing at the centre pointing with his right hand at a bison facing a trough, and with his left hand pointing to the Sign 15. Obverse: A tiger and a rhinoceros in file. The tablet signifies three animals: tiger, rhinoceros, ox: kola 'tiger' rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith' kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. barad, barat 'ox' Rebus: भरत bharata A factitious metal compounded of copper, pewter, tin bel [Hem. Des. ba-i-lī fr. Skt. balīvarda = a bull] a bull; a bullock; an ox (G.lex.) Rebus:bali bica ‘iron sand ore’ (Mu.) pattar 'trough' Rebus pattar, vartaka 'merchant, goldsmith' paṭṭaḍa smithy, shop'. कर्णक kárṇaka, kannā 'legs spread', Rebus kañi-āra 'helmsman' karaṇī 'scribe, supercargo', kañi-āra 'helmsman' eraka 'raised arm' Rebus: eraka 'metal infusion' eraka 'copper' Sign 15: kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. kuTi 'water-carrier' rebus: kuThi 'smelter' kanda 'pot' rebus: kanda 'fire-altar' kanka, karanika 'rim of jar' rebus: kāraṇika 'smelter producer'. Thus the hieroglyph-multiplex is an expression: kuThi kāraṇika 'smelter-maker.' kuTi karaṇī 'Supercargo smelter' (i.e. Supercargo responsible for trading produce from smelter and carried by seafaring vessel). This tablet is a clear and unambiguous example of the fundamental orthographic style of Indus Script inscriptions that: both signs and pictorial motifs are integral components of the message conveyed by the inscriptions. Attempts at 'deciphering' only what is called a 'sign' in the entire Indus Script Corporwill result in an incomplete decoding of the message catalogued on the inscribed object. barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi) pattar 'trough'; rebus pattar, vartaka 'merchant, goldsmith' (Tamil) பத்தர்² pattar , n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. The Pali expression usu -- kāraṇika -- m. ʻ arrow -- maker ʼ provides the semantics of the word kāraṇika as relatable to a 'maker' of a product. usu-kāraṇika is an arrow-maker. Thus, kuTi kāraṇika can be explained as a smelter-maker. Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. The Marathi word for Supercargo is: kārṇī . Thus, it can be suggested that kuTi kāraṇika was an ovrseer of the cargo (from smelter) on a merchantship. In the historical periods, the Supercargo has specific duties "The duties of a supercargo are defined by admiralty law and include managing the cargo owner's trade, selling the merchandise inports to which the vessel is sailing, and buying and receiving goods to be carried on the return voyage...A new supercargo was always appointed for each journey who also had to keep books, notes and ledgers about everything that happened during the voyage and trade matters abroad. He was to present these immediately to the directors of the Company on the ship's return to its headquarters ." https://en.wikipedia.org/wiki/Supercargo While a captain was in charge of navigation, Supercargo was in charge of trade. कारण 1[p= 274,2] a number of scribes or कायस्थs W. instrument , means;that on which an opinion or judgment is founded (a sin, mark; a proof; a legal instrument, document), Mn. MBh. कारणिक [p= 274,3] mfn. (g. काश्य्-ादि) " investigating , ascertaining the cause " , a judge Pan5cat. a teacher MBh. ii , 167. B. kerā ʻ clerk ʼ (kerāni ʻ id. ʼ < *kīraka -- karaṇika<-> ODBL 540): very doubtful. -- Poss. ← Ar. qāri', pl. qurrā' ʻ reader, esp. of Qur'ān ʼ.(CDIAL 3110) कर्णक kárṇaka, kannā 'legs spread', 'rim of jar', 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman'. kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ] Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058) kāraṇa n. ʻ cause ʼ KātyŚr. [√kr̥1] Pa. kāraṇa -- n. ʻ deed, cause ʼ; Aś. shah. karaṇa -- , kāl. top. kālana -- , gir. kāraṇa -- ʻ purpose ʼ; Pk. kāraṇa -- n. ʻ cause, means ʼ; Wg. (Lumsden) "kurren" ʻ retaliation ʼ, Paš. kāran IIFL iii 3, 97 with (?); S. kāraṇu m. ʻ cause ʼ; L. kārnā m. ʻ quarrel ʼ; P. kāraṇ m. ʻ cause ʼ, N. A. B. kāran, Or. kāraṇa; Mth. kāran ʻ reason ʼ, OAw. kārana, H. kāran m., G. kāraṇ n.; Si. karuṇa ʻ cause, object, thing ʼ; -- postpositions from oblique cases: inst.: S. kāraṇi, kāṇe, °ṇi ʻ on account of ʼ, L. awāṇ. kāṇ, Addenda: kāraṇa -- : Brj. kāran ʻ on account of ʼ.(CDIAL 3057) kiraka m. ʻ scribe ʼ lex. eraka 'raised arm' Rebus: eraka 'metal infusion' (Kannada. Tulu) Sign 15: kuṭhi kaṇḍa kanka ‘smelting furnace account (scribe)’. Thus, the hieroglyph multiplex on m1405 is read rebus from r.: kuṭhi kaṇḍa kanka eraka bharata pattar'goldsmith-merchant guild -- helmsman, smelting furnace account (scribe), molten cast metal infusion, alloy of copper, pewter, tin.' Indus inscription on a Mohenjo-daro tablet (m1405) including ‘rim-of-jar’ glyph as component of a ligatured glyph (Sign 15 Mahadevan) It will be demonstrated in this monograph that this inscribed object is decoded as a professional calling card: a blacksmith-precious-stone-merchant with the professional role of copper-miner-smelter-furnace-scribe-Supecargo m1405At Pict-97: Person standing at the center points with his right hand at a bison facing a trough, and with his left hand points to the ligatured glyph. The inscription on the tablet juxtaposes – through the hand gestures of a person - a ‘trough’ gestured with the right hand; a ligatured glyph composed of ‘rim-of-jar’ glyph and ‘water-carrier’ glyph (Sign 15) gestured with the left hand. A characteristic feature of Indus writing system unravels from this example: what is orthographically constructed as a pictorial motif can also be deployed as a 'sign' on texts of inscriptions. This is achieved by a stylized reconstruction of the pictorial motif as a 'sign' which occurs with notable frequency on Indus Script Corpora -- with orthographic variants (Signs 12, 13, 14). Signs 12 to 15. Indus script: Indus inscription on a Mohenjo-daro tablet (m1405) including ‘rim-of-jar’ glyph as component of a ligatured glyph (Sign 15 Mahadevan)This tablet is a clear and unambiguous example of the fundamental orthographic style of Indus Script inscriptions that: both signs and pictorial motifs are integral components of the message conveyed by the inscriptions. Attempts at ‘deciphering’ only what is called a ‘sign’ in Parpola or Mahadevan corpuses will result in an incomplete decoding of the complete message of the inscribed object. This inscribed object is decoded as a professional catalogue calling card: a blacksmith-precious-stone-merchant with the professional role of copper-miner-smelter-furnace-scribe-Supercargo. The inscription on the tablet juxtaposes – through the hand gestures of a person - a ‘trough’ gestured with the right hand; a ligatured glyph composed of ‘rim-of-jar’ glyph and ‘water-carrier’ glyph (Glyph 15) gestured with the left hand. Water-carrier glyph kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛI f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) [The bull is shown in front of the trough for drinking; hence the semantics of ‘drinking’.] The most frequently occurring glyph -- rim of jar -- ligatured to Glyph 12 becomes Glyph 15 and is thus explained as a kanka, karṇaka: ‘furnace scribe’ and is consistent with the readings of glyphs which occur together with this glyph. Kan-ka may denote an artisan working with copper, kaṉ (Ta.) kaṉṉār ‘coppersmiths, blacksmiths’ (Ta.) Thus, the phrase kaṇḍ karṇaka may be decoded rebus as a brassworker, scribe. karṇaka, karNIka ‘scribe, accountant’.karNi 'supercargo'
-- Anzu (Sumerian), Simorg (Persian), Śyena (R̥gveda),'falcon, thunderbolt' associated with metalwork -- aśan, ahan 'falcon' rebus: ahan 'iron' PLUS kamadha 'penance' rebus: kammaṭa; together, the Meluhha expression is:ahan kammaṭa 'iron mint' -- Śyena ('falcon, thunderbolt' (R̥gveda, Indus Script) elaborated as metalwork narratives of Anzu (Sumerian), Simorg (Persian) ahan kammaṭa 'iron mint' - श्येन is N. of a ऋषि (having the patr. आग्नेय and author of RV. x , 188) (अनुक्रमणिका ) -- श्येन is a particular एका* ह (षड्विंश-ब्राह्मण, कात्यायन-श्रौत-सूत्र); एका* ह is a सोम sacrifice in which सोम is prepared during one day only (as the अग्निष्टोम &c ) (शतपथ-ब्राह्मण iv , vi , xii , xiii ऐतरेय-ब्राह्मण vi आश्वलायन-श्रौत-सूत्र ii , कात्यायन-श्रौत-सूत्र &c) -- एकाह पु० एकमहः टच्समा० एकशब्दोत्तरत्वात् माह्ना-देशः । “अह्नाहान्ताःपुंसि” पा० पुंस्त्वम् ।“एकस्मिन् दिवसे “एकाहेनैव निर्वपेत्” ऋष्य० स्मृतिः “सब्रह्म-चारिण्येकाहः” मनुः । “अश्वस्यैकाहगमः” पा० ।उपचारात् । २ एकाहसाध्ये अग्निष्टोमादौ यागभेदेच । “उक्तप्रकृतयोऽहीनैकाहाः” आश्व० ९, १, १ ।“उक्तो ज्योतिष्टोम एकाहाहीनसत्राणां प्रकृतिभूतःउक्तानि पञ्चविंशतिरहानि सात्रिकाणि एतेभ्य एवसात्रिकेभ्योऽहोभ्यो ऽहीनैकाहा व्याख्यायन्त इत्युक्तम्इदानीं तानेकाहाहीनान् वक्तुकामेनाचार्य्येण “उक्तप्रकृतयोऽहीनैकाहा” इत्युक्तम् । तस्यायमर्घः उक्ता प्रकृति-र्येषां ते इमे उक्तप्रकृतयोऽहीनैकाहाः । प्रकृतिः प्रकारोन रूपान्तरमित्यनर्थान्तरं ज्योतिष्टोमोहि सर्वेषामेकाहाहीनसत्राणां प्रकृतिरिति सिद्धम्” नारा० । “अनतिदेशेत्वेकाहो ज्योतिष्टोमो द्वादशशतदक्षिणस्तेन शस्यमेका-हानास्” ९, १, ३ । https://sa.wikisource.org/wiki/वाचस्पत्यम् Indus Script Corpora evidence points to the early working with magnetite, ferrite ore as seen by the signifier hieroglyph पोळ pōḷa, 'bos indicus, zebu'. The prologue dedication is first to this bos indicus signified by the synonym: Nanda, nandi. The word नांदी nāndī signifies prologue dedication. पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large. Rebus: पोळ pōḷa 'magnetite, ferrite ore'. As eulogium or praise of the divine, the synonym used is: नंदी (p. 256) nandī m (S) The bull on which Mahádeva rides. A stone-bull is fixed in front of all temples to Mahádeva. The word nanda has specific meanings in the context of trade transactions. नंद (p. 256) nanda m नंदकी f (नंद was a proper name.) A clandestine or covert term, amongst dealers and brokers, for दल्लाली or the fees of brokerage. De- vised to keep the secrets of trade from the employer of the broker and the mere customer. Its vocabulary is भुरका One rupee, ढोकळा One pysa, केवली One, अवारू Two, उधानू Three, पोकू Four, मुळू Five, शेली Six, पवित्रू Seven, भंगी Eight, तेवसू or लेवनू Nine, अंगुळू Ten, एकडू Eleven, रेघी Twelve, ठेपरू Thirteen, चोपडू Fourteen, तळी Fifteen. To this last term the first four numerals successively added (the sense of addition being expressed by तान) form successively 16, 17, 18, 19, as भुरका तान तळी अवारू तान तळी, उधानू तान तळी, पोकू तान तळी. काटी stands for 20; then भुरका तान काटी, अवारू तान काटी &c. express 21, 22 &c. बिटी is 100, ढकार 1000, फाटा is An̤á, अवारू फाटे Two án̤ás, मंगी फाटे Eight án̤ás, तळी फाटे Fifteen án̤ás, दुकार One án̤á, चकार Two án̤ás, पकार Four án̤ás, टाली Half a rupee. The नंद vocabulary however has variations. Expressive of the above account the following अभंग has been composed, मुळू 5 वदनाचा उधानु 3 नेत्राचा ॥ अंगूळू 10 हातांचा स्वामी माझा ॥1॥ मुगुट जयाचा केव- ळ्या 1 आगळी कांटी 20 पवित्र तळवटी चरण ज्याचे ॥2॥ ढकार 1000 वदनाचा आला वर्णावया ॥ जिव्हा त्याच्या चिरल्या वर्णवेना ॥3॥ शेली 6 वेडावली पोकू 4 भौनावली ॥ अगुंळूमंगि 18 थकली नकळे त्यांसी ॥4॥ सद्भावें शरण आवारू 2 जोडून ॥ खेचरवीसा म्हणे स्वामी माझा ॥5॥. नंद थाकणें or ठेवणें To make (i. e. obtain) नंद or secret brokerage. Another connotation is a mystical figure of lines drawn on the sacred cloth held at marriages between bride and bridegroom: नंद (p. 256) nanda m (S) Red lines or figures, esp. the mystical figure called स्वस्तिक, drawn on the अंतःपट or cloth which, at marriages, is held between the bride and bridegroom. 2 Vertigo incidental to puerperal women. नंदाचा पासोडा (p. 256) nandācā pāsōḍā m नंदाचा शेला m The अंतःपट (cloth held at marriages between the bride and bridegroom) having red lines or figures drawn over it, esp. the mystical figure called स्वस्तिक which is termed नंद. नंदी nandī (Or नंद) The lines or figures drawn with कुंकूं &c. upon the अंतःपट. Thus, the terms nanda, nandi get associated with mystic, vikalpa signifiers as in पोळ (p. 305) pōḷa m A bull dedicated to the gods, marked with a trident and discus, and set at large, as a rebus signifier of: पोळ pōḷa 'magnetite, ferrite ore'. While rendering eulogies and prayers to the divine, the oblations are signified as नांदीमुख nāndīmukha A set of synonymous words & expressions: नांदी (p. 259) nāndī f S Eulogium of a king or praise of a deity recited in benedictory verses at the opening of a drama &c. नांदीमुख nāndīmukha n S नांदीश्राद्ध n S Oblations to the manes offered on festal occasions. నాంది (p. 640) nāndi nāndi. [Skt.] n. A preliminary. The exordium, prelude, prologue dedication, or praise of a deity, recited in benedictory verses at the commencement of a religious ceremony or poem. నాందీ యాగము the opening rite. Anand. vi. 1. The opening benedictory verses in a drama. నాటకప్రథమాంగము, మొదలుపెట్టడము. నాందీకరుడు or నాందివాది nāndī-karuḍu. n. One who pronounces the benediction. ఆశీర్వాదముచేయువాడు. నంది (p. 626) nandi or నందికేశ్వరుడు nandi. [Skt.] n. The name of the bull of Siva. A bull, వృషభము. A synonym for 'bull', bos indicus, is: poḷa 'zebu' which is a definitive Indus Script hieroglyph. Rebus signifier of poḷa 'magnetite, ferrite ore'-- a metalwork for wealth creation by artisans of Sarasvati_Sindhu Civilization. This Indus Script hieroglyph which signifies 'zebu' or poḷa is seen on early inscriptions of Indus Script as on the paintings of Nausharo pots. The bird perched on the shoulder of the zebu painting is black drongo: pōlaḍu, 'black drongo',rebus: pōlaḍ, 'steel', The zebu is tied to a post with a rope to signify: meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Vikalpa:Glyph: ‘zebu’: khũṭ ‘zebu’. Rebus: khũṭ ‘guild, community’ (Semantic determinant of the ‘jointed animals’ glyphic composition). kūṭa joining, connexion, assembly, crowd, fellowship (DEDR 1882) Pa. gotta ‘clan’; Pk. gotta, gōya id. (CDIAL 4279) Semantics of Pkt. lexeme gōya is concordant with Hebrew ‘goy’ in ha-goy-im (lit. the-nation-s). Pa. gotta -- n. ʻ clan ʼ, Pk. gotta -- , gutta -- , amg. gōya -- n.; Gau. gū ʻ house ʼ (in Kaf. and Dard. several other words for ʻ cowpen ʼ > ʻ house ʼ: gōṣṭhá -- , Pr. gūˊṭu ʻ cow ʼ; S. g̠oṭru m. ʻ parentage ʼ, L. got f. ʻ clan ʼ, P. gotar, got f.; Ku. N. got ʻ family ʼ; A. got -- nāti ʻ relatives ʼ; B. got ʻ clan ʼ; Or. gota ʻ family, relative ʼ; Bhoj. H. got m. ʻ family, clan ʼ, G. got n.; M. got ʻ clan, relatives ʼ; -- Si. gota ʻ clan, family ʼ ← Pa. (CDIAL 4279). Alternative: adar ḍangra ‘zebu or humped bull’; rebus: aduru ‘native metal’ (Ka.); ḍhangar ‘blacksmith’ (H.) khuṇḍ ʻtethering peg or post' (Western Pahari) Rebus: kūṭa ‘workshop’; kuṭi= smelter furnace (Santali); Rebus 2: kuṇḍ 'fire-altar' Why are animals shown in pairs? dula ‘pair’ (Kashmiri); rebus: dul ‘cast metal’ (Mu.) Tukulti Ninurta venerates the tablet and stylus of destiny. Tukulti-Ninurta I (meaning: "my trust is in [the warrior god] Ninurta"; reigned 1243–1207 BCE) was a king of Assyria (Sumer-Akkad) during the Middle Assyrian Empire (1366 - 1050 BCE).Pedestal of Tukulti-Ninurta I shows Ningirsu writing tablet and stylus and Indus Script hieroglyphs nave-of-wheel, safflower https://tinyurl.com/y6zqc397eraka 'nave of wheel' rebus: eraka 'metal infusion'; څرخ ṯs̱arḵẖ, s.m. (2nd) A wheel (particularly a potter's, or of a water-mill or well).rebus: arka 'sun's rays' eraka 'metal infusion'. dang 'mountain rage' rebus: dhangar,thakur 'blacksmith, deity'. medha 'ram' rebus: medho 'merchant'. kāṇḍa काण्डः m. the stalk or stem of a reed. Rebus: kāṇḍa 'tools, pots and metalware'. करडई karaḍī f Safflower, Carthamus. 2 Its seed. करडी karaḍī f (See करडई) Safflower: also its seed. करडेल karaḍēla n (करडई & तेल) Oil of Carthamus or safflower. karaṭa2 m. ʻ Carthamus tinctorius ʼ lex. Pk. karaḍa -- m. ʻ safflower ʼ, °ḍā -- f. ʻ a tree like the karañja ʼ; M. karḍī, °ḍaī f. ʻ safflower, Carthamus tinctorius and its seed ʼ.*karaṭataila ʻ oil of safflower ʼ. [karaṭa -- 2, tailá -- ] M. karḍel n. ʻ oil from the seed of safflower ʼ.(CDIAL 2788, 2789) Rebus: karandi 'fire-god' (Munda.Remo) Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética. I suggest that this figure has inscribed Indus Script hypertexts read rebus related to metal smelting of elements, aduru 'native metal' and metal implements work. Hieroglyph: kola 'woman' (Nahali) rebus: kol 'working in iron'खोंड khōṇḍa, खुंडी khuṇḍī A variety of जोंधळा.जोंधळा jōndhaḷā m A cereal plant or its grain, Holcus sorghum. Eight varieties are reckoned, viz. उता- वळी, निळवा, शाळू, रातडी, पिवळा जोंधळा, खुंडी, काळबोंडी जोंधळा, दूध मोगरा. There are however many others as केळी, अरगडी, डुकरी, बेंदरी, मडगूप &38;c.; दगडी जोंधळा dagaḍī jōndhaḷā m or शाळू f A variety of the corn जोंधळा. Its ear is hard and close-filled.
Wealth of a nation: New light on Lydia, Kyzikos (Cyzicus) coins, Indus Script wealth account mercantile ledgers, sãgaḍa,'double-canoe', koṭiya 'dhows of seafaring traders' The monograph is presentedin two sections to focus on the modes of wealth creation by uniquely structured mercantile transactions by śreṇi,'guilds', as the earliest corporate forms of Bronze Age organization for economic activities, resulting in 32% contribution by Bhāratīya artisans/merchants to World GDP in 1 CE (pace Angus Maddison) (See appended bar chart) Section: New light on hypertexts of Lydia and Kyzikos electrum coins Section: Hypertexts of जांगड [jāngaḍ] 'approval basis' mercantile transactions of seafaring traders organized as śreṇi,'guilds' in phaḍa फड 'metals manufactories' Indus Script Hieroglyphs on Lydia, Kyzikos coins provide new light on the significance and 'meanings' of 'symbols' on these coins in the context of 1. Bronze Age evidence provided for artisans and seafaring merchants forming guilds of phaḍa फड 'metals manufactories'; and 2. evidence of Indus Script metalwork hypertexts on Lydia, Kyzikos coins and over 8000 inscriptions of Indus Script Corpora. Corporate social responsibility: Building confidence and trust between sellers and buyers of products in śreṇi dharma The unique organizing principle of mercantile transactions is śreṇi dharma. Products are despatched as cargo on जांगड [jāngaḍ] 'approval basis' and the mercantile transaction is settled ONLY after approval by the recipient. This transaction governed by śreṇi dharma of the guilds is an extraordinary measure of social responsibility by a corporation. The transaction is based on trust. with the pronounced confidence by the producer and the seller on the quality of the product while trusting the client to approve the quality of the delivered product before settling the transaction in monetary terms (or, barter terms). Section: New light on hypertexts of Lydia and Kyzikos electrum coins The juxtaposition signifier on Lydian electrum coins between a young bull's prfile and a lion's profile signies a metallurgical challenge between 1.kundaṇa 'fine gold',+ goṭī 'silver', i.e., lectrum gold and 2. āra 'brass' + arka 'gold', i.e.golden brass. panja 'feline paw' rebus: panja 'kiln, furnace; juxtaposes koḍ 'horn' rebus: koḍ 'workshop' kunda 'young bull' rebus: yajñakuṇḍa 'fire altar, furnace'; kũdār 'turner' The joined animal parts constituting hypertext on Kyzikos electrum coins is signify a unified guild formation, a phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers' -- of mintwork in gold, silver, copper, brass, alloy metals. 1. One-horned bull kunda 'young bull' rebus: kundaṇa 'fine gold' kũdār 'turner (artisan)' 2. Lion arye 'lion' rebus: āra 'brass' (epithets of आदित्य अर्य, sun, lord) 3. Sun with multiple rays arka 'sun' rebus: arka 'gold', eraka 'moltencast copper' 4. Global protuberance above nose गोटी [ gōṭī ] f (Dim. of गोटा) 'round stone, pebble' rebus: goṭī f. ʻlump of silver'; goṭi = silver; koḍ ‘workshop’ (Gujarati). 5. Round stones, pebbles, गोटी [ gōṭī ] f (Dim. of गोटा) 'round stone, pebble' rebus: goṭī f. ʻlump of silver'; goṭi = silver; koḍ ‘workshop’ (Gujarati). 6. Fish ayo, aya 'fish' rebus: aya 'iron' (Gujarati) ayas 'alloyed metal'(R̥gveda) khambhaṛā 'fish fin' rebus: kammaṭa 'mint, coiner, coinage' 7. Goat Brahui. mēḻẖ is without etymology; see MBE 1980a.] Ka. mēke she-goat; mē the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. / Cf. Skt. (lex.) meka- goat.(DEDR 5087) Rebus: meluhha (milakkhu, mleccha, 'copper' (Pali.Saskrtam) (merchant). 8. Cobra hood phaṭā फटा (Samskrtam), phaḍā फडा (Marathi), paṭam (Tamil. Malayalam), paḍaga (Telugu) 'cobra hood' rebus: bhaṭṭh m., °ṭhī f. ʻ furnaceʼ, paṭṭaṭai, paṭṭaṟai 'anvil, smithy, forge', paṭṭaḍe, paṭṭaḍi 'anvil, workshop', Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop. Cf. 86 Ta. aṭai. (DEDR 3865) phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers'.
Three types of professional calling cards with inscriptions of metalwork artificers of Tin-Bronze Age have been identified in the Indus Script Corpora of over 8000 inscriptions. The evidence is presented in the following four sections of the monograph: 1. Cyliner seal of Shu-ilishu as professional calling card 2. Bronze anthropomorphs as professional calling cards 3. Stoneware bangles as professional calling cards 4. Compare with stoneware bangles are torcs as professional calling cards on 1. Kernunnos of Gundestrup cauldron and 2. Kernunnos on Pilier des nautes (Note:Comparable to the 'stoneware bangles' as calling cards are the torcs shown on 1. Kernunnos of Gundestrup cauldron and 2. Pilier des nautes which names Kernunnos in an inscription on the 1st cent. CE Pillar of the Boatmen (French Pilier des nautes) with bas-relief depictions. These evidences are presented in Section 4.) Kernunno or Cernunnos is cognate with kārṇī m. ʻ prime minister, supercargo of a ship ʼ (supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale.), kul -- karṇī m. ʻ village accountant ʼ (Marathi) kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ]Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ(CDIAL 3058) karṇadhāra m. ʻ helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1]Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836). Section 1. Cylinder seal of Shu-ilishu as professional calling card The rollout of Shu-ilishu's Cylinder seal. Courtesy of the Department des Antiquites Orientales, Musee du Louvre, Paris. The cuneiform text reads: Shu-Ilishu EME.BAL.ME.LUH.HA.KI (interpreter of Meluhha language). The Shu-ilishu cylinder seal is a clear evidence of the Meluhhan merchants trading in copper and tin. The Meluhha merchant carries melh,mr̤eka 'goat or antelope' rebus: milakkhu 'copper and the lady accompanying the Meluhhan carries a ranku 'liquid measure' rebus: ranku 'tin' Apparently, the Meluhhan is the person carrying the antelope on his arms. I also suggest that on the Shu-ilishu cylinder seal, a significant hieroglyph is shown. It is a crucible which may have been used by the copper-tin artisans to work with an extraordinary invention called ukku in Kannada produced in a crucible. I suggest that Kannada word ukku is the root word because of semantic association signified by cognate words: uggi, urika which mean 'burning'. Crucible steel process is vividly explained by these etyma. "Another Akkadian text records that Lu-sunzida “a man of Meluhha” paid to the servant Urur, son of AmarluKU 10 shekels of silver as a payment for a tooth broken in a clash. The name Lu-sunzida literally means “Man of the just buffalo cow,” a name that, although rendered in Sumerian, according to the authors does not make sense in the Mesopotamian cultural sphere, and must be a translation of an Indian name." (MASSIMO VIDALE Ravenna Growing in a Foreign World: For a History of the “Meluhha Villages” in Mesopotamia in the 3rd Millennium BC Published in Melammu Symposia 4: A. Panaino and A. Piras (eds.), Schools of Oriental Studies and the Development of Modern Historiography. Proceedings of the Fourth Annual Symposium of the Assyrian and Babylonian Intellectual Heritage Project. Held in Ravenna, Italy, October 13-17, 2001 (Milan: Università di Bologna & IsIao 2004), pp. 261-80. Publisher: http://www.mimesisedizioni.it/) https://www.harappa.com/sites/default/files/201402/Vidale-Indus-Mesopotamia.pdf Section 2. Bronze anthropomorphs as professional calling cards Anthropomorphs are ‘professional calling cards’, dharma samjña, signifiers of responsibilities of the metalsmith-carpenter-merchant Anthropomorphs of Sarasvati Civilization are Indus Script hypertexts which signify metalwork. Anthropomorphs of Sarasvati Civilization are hypertexts which signify: meḍ 'body', meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron' (ram hieroglyph, (human) body hieroglyph) कर्णक m. du. the two legs spread out AV. xx , 133 , 3 rebus: कर्णिक having a helm; a steersman (Monier-Williams) ayas 'alloy metal' (fish hieroglyph) कोंद kōnda ‘engraver' (one-horned young bull hieroglyph) bāṛaï 'carpenter' (boar hieroglyph) bari barea 'merchant' (boar hieroglyph) These anthropomorphs are dharma samjña, signifiers of responsibilities of the metalsmith-carpenter-merchant. In metawork processes, there are two distinct operations: 1. ingots which are brought out of a smelter furnace and 2. ingots like wedges forged in a smithy to achieve the desired shapes of implements. See: Paul Yule, 1985, Metalwork of the Bronze Age in India, CH Beck’sche Vrlag Buchhandlung,Munchen https://www.academia.edu/1044353/The_Bronze_Age_Metalwork_of_India._PBF_XX_8_Munich_1985_ISBN_3_406_30440_0 (Paul Yule, 1985, p.6) See: Metal Technologies of the Indus Valley Tradition in Pakistan and Western India Jonathan M. Kenoyer and Heather M.-L. Miller https://www.harappa.com/sites/default/files/pdf/Kenoyer1999_Metal%20Technologies%20of%20the%20Indus%20Valley%20Tradition.pdf See: Bronze Age Indus Script inscriptions of Mohenjo-daro on metal, are karaḍā ledger entries of metalwork wealth accounts http://tinyurl.com/yark28l7 This is an anthropomorph found at Saipa. It uses orthographic forms drawn from Indus Script hieroglyphs signifying horns of a ram, an a person in seated posture. In other variants, the copper artefact shows two spread legs of a human. Anthropomorphic figure. Northenr India, Doab region, Ganga-Sarasvati Basins. Copper hoard culture. Copper. H. 35.7 cm.W 2.8 cm. Inv. 2504-137. “Like most of the other exemplars of this type, this anthropomorphic figure in copper was probably found in a ‘hoard’, composed of a set of objects deliberatey buried in the ground, a way to store objects of value or to make religious offerings. Paul Yule has enumerated 129 of these ‘caches’, which, in addition to anthropomorphic figures,may contain harpoons, spears, flat axes, and swords (Paul Yule, 1989/1992). One of these figures was found at the site of Saipa, but no stratigraphic information or context has allowed u to provide a precise date, which may have been situated during the second millennium BCE. The figure itself displays no cutting edge or particular traces of its function, apart from the longitudinal impact marks from hammering, suggestive of those on an ingot, and short obliqu groovs superposed on thee fist st of marks, indicating a second operation, perhaps linked to the act of making an offering – Published in Yule, 1998. La profane et le divin, arts de l’;Antiquite, Fleurons de musee Barbier-Mueller, Geneva, Musee Barber-Mueller & Hazan (ed., 2008, p. 299.)”http://www.barbier-mueller.ch/collections/antiquite/age-du-bronze/?lang=fr P. Yule/A. Hauptmann/M. Hughes, The Copper Hoards of the Indian Subcontinent: Preliminaries for an Interpretation, Jahrbuch des Römisch-Germanischen Zentralmuseums Mainz 36, 1989 [1992], 193-275 http://crossasia-repository.ub.uni-heidelberg.de/509/ http://crossasia-repository.ub.uni-heidelberg.de/509/1/00jrgzm_all.pdf