Wealth of A Nation Ancient Accounting Sy

Wealth of a nation: Ancient accounting systems in Bhāratīya
Itihāsa
Indus Script hypertexts are detailed with technical metallurgical repertoire of artisans, knowledge-seekers
and seafaring merchants.
The script cipher provides the means to recognize meanings and interpretations of symbols.
The 8000+ inscriptions of the Script are ancient economic history documents of metalwork wealth creation.
Thousands of punch-marked coins and cast coins of the Bronze Age are documents of the metallurgical
repertoire of mints which are also vajra armouries and engaged in production of metalware and metal
weapons.
They link R̥gveda Vajra texts with Punchmarked coin symbols, Architectural iconography
and āgama traditions.
These multi-disciplinary networks and databases, are narratives of Bhāratīya Arthaśāstra Itihāsa, 'Ancient
Indian Economic History'.
The networks explain why the French Epigraphist, George Coedes, one of the discoverers of Angkor Wat
titled his magnum opus, Histoire ancienne des états hindouises d'Extrême Orient (1944),'Ancient Far East
Hinduised States of Ancient Far East'.
Ancient accounting systems of ādhyātmikā metaphors & allegories, ākhyāna, Itihāsa narratives of R̥gveda,
Indus SCript hypertexts, iconography in monumental sculptures and symbols on punchmarked coins
document wealth creation by artisans, sculptors, seafaring merchants and knowledge-seekers organized as
guilds, śreṇi, commonwealths.
Wealth of a nation: Contributions by smelters, merchants, artisans, knowledge-seekers organized in guilds

produce wealth with resources of earth and oceans. Hence, the metaphor of samudramanthanam to create
wealth and the metaphor of .Gaṇeśa of Gardez, Afghanistan signifying. phaḍā, paṭam, 'cobra hood',Rebus:
phaḍa फड ‘metals manufactory, company, guild, public office’, keeper of all accounts, registers; paṭṭaḍe
smithy, forge, workshop'
The ancient language words signifying these factors of wealth creation are:
dhā 'strand of rope' PLUS vaṭa 'circle' rebus: dhāvaḍa 'smelters'

daur̥ā 'rope' rebus: dhāvaḍa 'smelters'
मेढा [mēḍhā] 'twist' rebus: मेढ mēḍha 'merchant'; मेधा mēdhā 'yajña, dhanam'
loa 'ficus glomerata' PLUS kaṇḍa 'arrow' rebus: loh 'copper', lokhaṇḍa 'metal implements'
karibha, ibha 'elephant' rebus: karba, ib 'iron'; ibbo 'merchant'
mūṣa 'rat, mouse' rebus: mūṣā, mūs ʻcrucibleʼ for processing in a crucible
pōlaḍu, 'black drongo', पोळ pōḷa 'zebu, bos indicus',Rebus: पोळ pōḷa 'magnetite, ferrite
ore', pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto)
aṣṭāśri 'eight-angled' Yūpa (ketu, 'emblem' for yajña) Rebus: Rudra bhāga of Śiva linga.
Rebus: aṣṭāśri = aṣṭalakṣmi, 'divine metaphor, personification of wealth'; ancient ādhyātmikā metaphor to
signify eight forms of wealth.
mũh 'a face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting
furnace'.
vajra 'multi-pronged, pointed, sharp-edged metal weapons' (signified as aṣṭāśri 'eight-
angled' Yūpa PLUS caṣāla or Sudarśana cakra)
1
George Coedes, Histoire ancienne des états hindouises d'Extrême
Orient (1944)
Chennakesava. Somanathapura.Holds Vajra and other weapons.
2
A zebu bull tied to a post; a bird above. Large painted storage jar discovered in burned rooms at Nausharo,
ca. 2600 to 2500 BCE. Cf. Fig. 2.18, J.M. Kenoyer, 1998, Cat. No. 8.
Zebu, fish,black drongo painted on storage pot with weapons and metalware from Meluhha to Susa.
3
Binjor yajña kuṇḍa with aṣṭāśri Yūpa
Linga found in Vizhinjam, 1st cent.

CE aṣṭāśri Rudrabhāga
After Plate 8 in: Ajit Kumar* Rajesh S.V.* Abhayan G.S.*Vinod V.* and Sujana Stephen**, 2013, Indian
Ocean Maritime Trade: Evidences fromVizhinjam, South Kerala, Indiain: Journal of Indian Ocean
Archaeology No. 9, 2013 | 195-201 and 31-33 (Plates). Sivalinga found in Vizhinjam 1st cent. CE? The
octagonal shape of RudrabhAga compareswith the aSTAs'ri octagonal yupa found in Binjor Yajna kunda
(ca. 2500 BCE).
The association of an Ekamukha Śivalinga with smelting operations is vividly displayed on Bhuteśvar
sculptural friezes. Gaṇa, kharva, 'dwarfs' working near smelter topped by Ekamukha Śivalinga. mũh 'a face'
rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace'.
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Amaravati scuptural frieze. daur̥ā 'rope' rebus: dhāvaḍa 'smelters'
Gundestrup silver cauldron. An artistic frame signifing plaiting hair.

dhā 'strand' PLUS rebus: dhāv 'minerals'
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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.
Hieroglyph strand (of hair): dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having
an uneven number of strands ʼ KātyŚr.). [√dhā]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: dhāvaḍa 'smelters'
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Khmer sculpture. Samudramanthanam,
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Bangkok. Suvanna[phom Airport.
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Emergence of Lakshmi. The ocean is getting churned - on the right , Daityas holding the head of Vasuki
.Gods,on the left ,hold his tail .We see 'Uchchaishravas' the horse and 'Airavata' the elephant among other
treasures this churning yielded.
Mallikarjune temple,Pattadakal,Karnataka.
Six contributory factors in wealth creation are recognized in cultural-economic institutions of ancient India:
1. organization 2. labour, 3. land & ocean resources, 4. capital formation; 5. recognition of ātmā as life-
principle, sensations; 6. Cosmic dance ādhyātmā, impelling the institutions to realize the paramātman.
Gaṇeśa of Gardez, Afghanistan

Śārada script inscription engraved at foot pedestal of Marble Ganesha. (c. 580 CE) found at Gardez,
Afghanistan. Inscription in Śārada script reads "this image of Mahavinayaka was installed by Parama
Bhattaraka sahi khingila on 13th day of sahi 8." The pratimā is now in Pir Rattan Dargah. Kabul,
Afghanistan.
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See Section: Notes by DC Sircar on the reading of Gardez inscription
Gaṇeśa of Gardez,
Afghanistan. phaḍā, paṭam, 'cobra hood',Rebus:phaḍa फड ‘metals manufactory, company, guild, public
office’, keeper of all accounts, registers; paṭṭaḍe 'smithy, forge, workshop'
kárṇaka kanahār m. ʻ helmsman, fisherman ʼ kárṇika कर्णिक 'a steersman'; karṇī 'Supercargo, a
representative of the ship's owner on board a merchant ship, responsible, for overseeing the cargo and its
sale'.
In Rigveda, the derived morpheme धातु [ dhātu ], derived from root dhā- is explained as 'strand of rope' or
'element': 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](CDIAL 6773)
See Bogazkoy seal of 18th cent. BCE which shows three strands of rope: tridhā. Twisting wisps of fibre in
three strands creates a rope. Gaṇeśa is tridhātu.
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Twisted metallic chain constitutes the yajñopavita of
Dholkal pratimā of Gaṇeśa.
धा [ dhā ] ind (S) Time, turn, occasion. In comp. with the numerals; as एकधा, र्िधा, र्िधा, चतुधाि .
The hieroglyph of a twisted rope, framed on three strands twisted and turned, becomes a framework for
rebus-metonymy rendering of iron-worker or iron-smelter's work with धाव [ dhāva ] m f A certain soft, red
stone > धातु 'minerals or ferrite ores' which were identified in three categories: magnetite, hematite,
ilmenite. hence, workers with धाव [ dhāva ], धातु were called धावड [ dhāvaḍa ] 'smelters of iron';धावडी [
dhāvaḍī ] 'relating to iron'.
In Rigveda, the root is explained as: धातु [p=513,3] m. layer , stratum Ka1tyS3r. Kaus3.constituent part ,
ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. र्ि-ध्/आतु ,
threefold &c ; cf. र्िर्वर्ि- , सप्त- , सु -) RV. TS.S3Br. &c
धातु primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red
colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with
the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary
spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्ि ]).
In compounds: त्रि--धातु [p= 458,3] mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to
denote excessive) RV. S3Br. v , 5 , 5 , 6 m. (scil. पुरोड् /आश) N. of an oblation TS. ii , 3 , 6. 1 ( -
त्व्/अ n. abstr.)m. गणे *श L.n. the aggregate of the 3 minerals or of the 3 humours W.
धावाकरी [ dhāvākarī ] m One constantly invoking a god (calling धावा! धावा! run! run!)
धावडी [ dhāvaḍī ] a Relating to the class धावड. Hence 2 Composed of or relating to iron. धावड [ dhāvaḍa
] m A class or an individual of it. They are smelters of iron. In these parts they are Muhammadans. धाव [
dhāva ] m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear
their faces with it. धाऊ [ dhāū ] m f A certain soft and red stone. See धाव. धातु [ dhātu ] A metal or mineral
Kosala silver punchmarked coins (97) showing Vajra
This monograph pays a tribute to Paul Murphy who has docuented the 97 Vajra symbols, acknowledges the
pattern of 97 Vajra symbols identified thanks to the insights of pre-eminent Art Historian and Bauddham
scholar, John C Huntington, deciphers these 97 symbols recorded on thousands of Punchmarked coins. The
symbos are Indus Script hypertexts (compositions with hieroglyph clusters used as arms or spokes of a
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wheel) of Kosala Janapada (c. 600-470 BCE) to signify metalwork wealth accounting ledger entries in
Bronze Age. These entries are read in Meluhha parole (speech form of ancient artisans/seafaring merchants
mostly from 2000+ sites of Vedic Sarasvati River basin), validated by the Meluhha lexical repertoire found
in ancient lexicons of over 25 ancient languages of Bhāratam. The lexis has been documented in Indian
Lexicon. The hypertexts in Indus Script Cipher are traced to Veda cultural tradition venerating Vajra as
Indra's thunderbolt weapon and linked with architectural iconographic sculptural friezes, sculptural monents
recording Bhāratīya Itihāsa, history of Ancient India and Ancient Far East in links with Eurasia, Ancient
Near East, in particular.
In archaeometallurgy, vajra is also adamantine metallic glue as noted by Varāhamihira i Br̥hatsamhitā:
See: Section: Caṣāla, 'snout of Varāha', vajra on Yūpa signify Bhāratīya Itihāsa wealth proclamations, Indus
Script hypertexts
The section elaborates on 'adamantine glue' as Vajra in archae-metallurgical contexts.
Veda texts (starting from R̥gveda dated to ca. 7th millennium BCE) abound in Vajra metaphors, artifacts
with Vajra iconography and Vajra Indus Script hypertexts of Indus Script Corpora of over 8000 inscriptions,
Vajra symbols -- as Vajra signifiers -- on punchmarked coins and other artifacts signal the dawn of the
weapon arsenals during the Bronze Age, inventions which revolutionised relationships, maritime trade
interactions among peoples of regions in ancient Eurasia, and history of civilizations from ca. 7th
millennium BCE to 1 CE.
This monograph demonstrates that the generalised form of multi-spoked wheel, Dharma
cakra, Dhammacakka, symbol signifies Bhāratīya Itihāsa, ArthaŚas̃ tra, economic history of Bronze Age It
has been noted that ancient India accounted for 32% of contributions to World GDP in 1 CE. Indus Script
hypertexts document this history with specific reference to metalwork wealth accounting ledgers.
“G.27.1-32” from: Paul Murphy, Kosala State Region, Indian Institute of Research in Numismatic Studies,
Nasik,2001, p 47. These sketches are made by Paul Murphy from the information provided on thousands of
punch-marked coins.
Huntington notes that the two distinct feaures in all these orthographs are: 1) In the center there is almost
always a double circle; 2) Around the outside of the circle there are always the arrowhead-like extensions
anywhere from 2 – 6 in number. What Huntington calls 'double circle' is in fact a circular dot, like a blob
round stone, in the middle of a circle. The two to six spokes from the central dotted circle are of various
shapes; some are like rrowheads, some have unique features such as nandipada or hieroglyph components
of Śrivatsa hypertext.
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Source: Paul Murphy, 2001, Kosala State Region c. 600-470 BCE Silver punchmarked coinage. Nasik,
IIRNS, p. 48
Vajra weapon wielded against evil doers

In the Atharvaveda Bhava and Sarva are asked to use their Vajra against evil-doers (IV.28.6).
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The makers of the vajra are dhāvḍā 'smelters'. This is a compound expression: dhāv PLU vaṭa ‘string’
signified by dāya ‘one in dice’ ‘solid dot’ rebus: dhāi ‘mineral ore’ within vaṭṭa-- ʻ round ʼ, n. ʻ circle ʼ.
When spokes/extensions of Indus Script hypertexts are signified to emerge from the circle, the reading
is: vaṭhāra, vāḍa 'quarter of town' designated for smelters for mineral ores, furnaces for metalwork,
mint, metal implements and vajra, 'thunderbolt' weapons with spikes and sharp edges.
वाडा (p. 433) vāḍā m (वाट or वाटी S) A stately or large edifice, a mansion, a palace. Also in comp. as राज-
वाडा A royal edifice; सरकारवाडा Any large and public building. 2 A division of a town, a quarter, a ward.
Also in comp. as दे ऊळवाडा, ब्राह्मण- वाडा, गौळीवाडा, चाां र्ारवाडा, कुांर्ारवाडा. 3 A division (separate portion)
of a मौजा or village. The वाडा, as well as the कोांड, paid revenue formerly, not to the सरकार but to the
मौजेखोत. 4 An enclosed space; a yard, a compound. 5 A pen or fold; as गुराां चा वाडा, गौळवाडा or गवळीवाडा,
धन- गरवाडा. The pen is whether an uncovered enclosure in a field or a hovel sheltering both
beasts (Marathi) dhaṅgar m. ʻ herdsman ʼ, dhã̄gaṛ, °ar m. ʻ a non -- Aryan tribe in the Vindhyas, digger of
wells and tanks ʼ(Hindi); ḍāṅro ʻ term of contempt for a blacksmith ʼ(Nepali) (CDIAL
5524) ṭhākur ʻ blacksmith ʼ; (Mth.)(CDIAL 5488) dhangar 'blacksmith,smelter'.
This hypertext of 'dotted circle' becomes the centre-piece of thousands of symbols on thousands of
punchmarked coins from Śākya, Gāndhāra, Magadha mints. This hypertext is common to all 'symbols'
which signify vajra weapon.
dāˊtu n. ʻ share ʼ RV. [Cf. śatádātu -- , sahásradātu -- ʻ hundredfold, thousandfold ʼ: Pers. dāv ʻ stroke,
move in a game ʼ prob. ← IA. -- √dō]K. dāv m. ʻ turn, opportunity, throw in dice ʼ; S. ḍ̠ã̄u m. ʻ mode ʼ;
L. dā m. ʻ direction ʼ, (Ju.) ḍ̠ā, ḍ̠ã̄ m. ʻ way, manner ʼ; P. dāu m. ʻ ambush ʼ; Ku. dã̄w ʻ turn, opportunity,
bet, throw in dice ʼ, N. dāu; B. dāu, dã̄u ʻ turn, opportunity ʼ; Or. dāu, dāũ ʻ opportunity, revenge ʼ;
Mth. dāu ʻ trick (in wrestling, &c.) ʼ; OAw. dāu m. ʻ opportunity, throw in dice ʼ; H. dāū, dã̄w m. ʻ turn ʼ;
G.dāv m. ʻ turn, throw ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ revenge ʼ. -- NIA. forms with nasalization (or all
NIA. forms) poss. < dāmán -- 2 m. ʻ gift ʼ RV., cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya-- m. ʻ playing of
dice ʼ Naiṣ.(CDIAL 6258) தாயக்கட்டட tāya-k-kaṭṭai, n. < id. +. Dice; சூதாட்டத்தில் உருட்டுங்
கவறு. (J.) தாயம் tāyam, n. < dāya. A fall of the dice; கவறுருட்ட விழும் விருத்தம் . முற் பட
இடுகின்ற தாயம் (கலித். 136, உடை). 5. Cubical pieces in dice-play; கவறு. (யாழ் . அக.) 6.
Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq.
Dotted circle
This hieroglyph becomes a framework for rebus-metonymy rendering of iron-worker or iron-smelter's work
with धाव [ dhāva ] m f A certain soft, red stone > धातु 'minerals or ferrite ores' which were identified in
three categories: magnetite, hematite, ilmenite. hence, workers with धाव [ dhāva ], धातु were
called धावड [ dhāvaḍa ] 'smelters of iron';धावडी [ dhāvaḍī ] 'relating to iron'.
A 19th century account about Dhavads as blacksmiths is given in the context of census of craftsmen in
Bombay Presidency, Konkan in particular:
“Of Craftsmen, there are nine classes with a strength of 11,330 souls or 6.2 per cent of the whole Hindu
population. Of these 2100 were Mithgavdas, saltmakers; 175 were Koshtis, weavers, found only in the
villages of Tulas and Kasal; 1380 Telis, oilmen; 1210 Sonars, goldsmiths; 2100 Kumbhars, potters;
475 Dhavads, blacksmiths; 3760 Sutars, carpenters; 30 Shimpis, tailors; and 100 Chitaris, painters. Rising
Early in the morning they are soon at work and keep working till noon. After a meal and a two hours’ rest
they begin again and continue till the evening, when after supper they go early to bed. All except the
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goldsmith are poor, and most of the saltmakers, oilmen, and weavers, and some carpenters and potters eke
out their earnings by field work. Getting little help from their wives and children they carry on their work on
the humblest scale with no stock in hand, and making articles only when ordered. The estimated monthly
charges of a family of four persons, a man, his wife and two children, are, for a goldsmith, about Pound 1
10s. (Rs. 15); for a carpenter from 16s. to Pound 1 (Rs. 8 – Rs. 10); and for a mason from 10s. to 12s. (Rs. 5-
Rs.6).” (Gazetteer of the Bombay Presidency, 1880, Volume 10, Govt. Central Press, Bombay, p.415).
The semantic evolution of the lexis related to dhāvaḍa 'iron-smelters of ancient times' -- an expression also
explained orthographically by strands of rope --is traceable from expressions of Indian sprachbund.
Dhavad is an expression derived from the root: धा [ dhā ] which means, 'time, turn' and is used as a suffix
to signify numeral counts: एकधा, र्िधा, र्िधा, चतुधाि . This root semantics explains why the morphemes of the
phoneme dhā- gets three meanings: 1. धाऊ [ dhāū ] m f A certain soft and red stone (which yields iron after
smelting); 2. धातु [ dhātu ] 'A primary or elementary substance, a mineral'; 3. धातु [ dhātu ] in grammar 'the
root of a verb.'
The choice of 'dotted circle' in an

early writing system to signify syllable tha in Brahmi is perhaps derived from the root phoneme: धा [dhā]. It
is unclear if the same 'dotted circle' hieroglyph connotes the word: धाऊ [ dhāū ] m f A certain soft and red
stone (which yields iron after smelting). In Indus Script decipherment the 'dotted circle' has been read
rebus: kandit 'bead' Rebus: kanda 'fire-altar'.
'element': (cf.tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).
[√dhā] 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 dhā̄̆vaḍ 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)
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Replica of Ashoka pillar at Wat U Mong near Chiang Mai, Thailand, built by King Mangrai in 13th century
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Lion capital, Sarnath, Varanasi, Mauryan, ca.250 BCE
Picture from msn encarta: "Pillar of Aśoka". The original Lion Capital. The angle from which this picture has
been taken, minus the inverted bell-shaped lotus flower, has been adopted as the National Emblem of
India showing the Horse on the left and the Bull on the right of the Aśoka Chakra in the circular base on which
the four Indian lions are seated back to back. On the far side there is an Elephant and a Lion. The wheel "Aśoka
Chakra" from its base has been placed onto the centre of the National Flag of India.
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18
In the Bhāgavata Purāṇa (X. 159. 20) Visnu wields the thunderbolt..." pp. 316-317 in Note on Vajrapani-
Indra, Sten Konow, Acta Orientalia, 1930.
"The vajra is the Indian representative of the thunderbolt, and a comparison of corresponding ideas with
other Indo-European peoples leads to the conclusion that even in the Indo-European period there was some
idea of a vaguely personified independent wielder of the thunderbolt. With the Germanic tribes he became
the "Thunderer," the porr of Old Norse mythology, in Hellas and Rome he was associated with Zeus-Jupiter,
and in India he became Indra. But a vague recollection of his original independence had left its impression
on the religious mind of the Aryans, and he was never quite absorbed by Indra. Even in the Rigveda, our
chief document for the period when Indra, rose to the rank of supreme god, we also find Rudra designated
as vajrabahu (II, 33. 3); in the Atharvaveda Bhava and Sarva are asked to use their Vajra against evil-doers
(IV.28.6), and Soma smites with the vajra (VI. 6. 2), &c.; in the Bhagavatapurana (X. 159. 20) Visnu wields
the thunderbolt, and so forth." pp. 316-317 in Note on Vajrapani-Indra, Sten Konow, Acta Orientalia, 1930.
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Konow may be interpreting RV 6.17.2 when he refers Soma as smiter impelling Indra as wielder of Vajra: RV
6.17.2: Drink it, Indra, you who enjoy the flavourless Soma; you who are the preserver, the handsome-chinned,
the showerer (of benefits) on those who praise you; who are the breaker of mountains, the wielder of the
thunderbolt, the curber of steeds, do you bestow upon us various food.
RV 1.133.05 Destroy, Indra, the tawny-coloured, fearfully-roaring, pis'a_ci; annihilate all the ra_ks.asas.
[pis'a_ci_ = decay]. (NOTE: It is possible that the bhr̥ṣṭ is weapon is Vajra = Soma.)
त्रिशङ्ग piśaṅga र्पशङ्ग a/ [र्पांश्-अङ्गच् र्कच्च] Reddish-brown, reddish, of a tawny colour; मध्येसमुद्रां ककुर्ः
र्पशङ्गीः Śi.3.33;1.6; Ki.4.36. -ङ्गः The tawny colour. र्पशङ्गकः piśaṅgakḥ र्पशङ्गकः An epithet of Viṣṇu or his
attendant. र्पशर्ङ्गन् piśaṅgin र्पशर्ङ्गन् a. Brown, tawny. र्पशर्ङ्गला piśaṅgilā र्पशर्ङ्गला Bell-metal. (Apte)
अम्भृण[" roaring terribly " Sa1y. ]m. a vessel (used in preparing

the सोम juice) VS. and S3Br. /अम्भस् ,powerful , great [Naigh] RV. i , great([ Naigh. ]) RV. i , 133 ,
5 (Monier-Williams)
र्ृर्िः f. 1 Frying, parching, roasting. -2 A deserted garden or orchard. -3 A spike, point; शरर्ृिीः Bṛi.
Up.6.4.12. (Apte)
भ्रािरः bhrāṣṭrḥ िरम् ṣṭramभ्रािरः िरम् A frying-pan. -ष्ट्रः 1 Light. -2 Ether.भ्रािरकम् bhrāṣṭrakam कः kḥभ्रािरकम् कः A
frying-pan; उत्पर्ततो$र्प र्ि चणकः शक्तः र्कां भ्रािरकां र्ङ्क्क्तुम् Pt.1.132.भ्रािरर्मन्ध bhrāṣṭramindhaभ्रािरर्मन्ध a. One
who fries or roasts. (Apte)
sahásra n. ʻ 1000 ʼ RV.Pa. sahassa -- n. ʻ 1000 ʼ, Aś.shah. gir. sahasra -- , kāl. ṣahaṣa -- , Dhp. sahasa -- ,
NiDoc. sahasra, Pk. sahassa -- , sahāsa -- , sahasa -- , Sh. (Lor.) sās, sã̄s (→ Ḍ. sās), K. sās m. pl.,
S. sahasu, Mth. sahas, OAw. sahasa, H. poet. sahas, OG. sahasa n., Md. hās, hāhe ʼ. --
X dáśa: OSi. jahasa, °saka (j -- spelling for d -- ), dahas, Si. dās, dāha (LM 222 < daśaśatá -- ).(CDIAL
13307)
अर्रः री f. [अश्यते सांिन्यते अनया अश् वङ्क्यार्द˚ र्ि; cf. Uṇ.4.137] 1 A corner, angle (of a room, house &c.
changed to अर at the end of comp. with चतुर्, र्ि, षट् and a few other words; see चतुरस्र); अिार्रवै वज्रः Ait.
Br. -2 The sharp side or edge (of a weapon &c.); वृिस्य िन्ुः कुर्लशां कुण्ठितारीव लक्ष्यते Ku.2.2. -3 The sharp
side of anything.
áśri f. ʻ sharp side, corner, angle, edge ʼ ŚBr. 2. -- aśra- in cmpds.1. Pa. Pk. aṁsi -- f., Pk. assi -- f.; P. assī f.
ʻ sharp edge of anything ʼ; Or. ã̄siā ʻ having angles ʼ; Si. äs, ähä ʻ corner, angle ʼ; -- Pr. čū ʻ corner ʼ?2.
Pa. assa -- m. corner; Si. asa ʻ side ʼ, ahak ʻ aside ʼ; -- in apposition with descendants of pārśva -- : S. āsi --
pāsi ʻ on all sides ʼ, L. āsse -- pāsse, P. āsī˜ -- pāsī˜ (ā from pās -- ); -- N. Ku. B. ās -- pās, Or. āsa -- pāsa,
H. ās -- pās, M. āśī˜ -- pāśī˜.(CDIAL 918)
मृण् mṛṇ मृण् 6 P. (मृणर्त) To kill, slay, destroy. (Apte)
Iron: मृदु mṛdu मृदु a. [मृद्-कु] (-दु or -द्वी f.; compar. म्रदीयस् ; superl. म्रर्दष्ठ) 1 Soft, tender, supple, pliant,
delicate; मृदु तीक्ष्णतरां यदु च्यते तर्ददां मन्मथ दृश्यते त्वर्य M.3.2; अथवा मृदु वस्तु र्िां र्सतुां मृदुनैवारर्ते प्रजान्कः
R.8.45,57; Ś.1.1; 4.11. -2 Soft, mild, gentle; न खरो न च र्ूयसा मृदुः R. 8.9; बाणां कृपामृदुमनाः प्रर्तसांजिार 9.57
'with his mind softened with pity'; तां कृपामृदुरवे क्ष्य र्ागिवम् 11.83; Ś.6.1; मिर्षि मृिदुतामगच्छत् R.5.54 'relented';
खातमूल- मर्नलो नदीरयैः पातयत्यर्प मृदुस्तटद्रुमम् 11.76 'even a soft or gentle breeze' &c. -. -दु ः The planet
Saturn. -दु n. 1 Softness, gentleness. -2 A kind of iron. -कार्ष्ाायसम् , -कृर्ष्ायसम् soft-iron, lead. (Apte)
20
Shape of Vajra weapon fashioned by Tvaṣṭr̥ for Indra: वज्रं सहस्र भृत्रष्ट्म् शतात्रिम् 'thousand spikes
(bhāṭha 'furnaces'), hundred edges (sharp edged weapons)'
Vajra attributes signify the metal used after multiple roastings in furnaces/kilns, creating sharp-
edged, reddish-brown coloured weapons: त्रिशङ्ग piśaṅga र्ृर्ि= शरर्ृिीः Bṛi. Up.6.4.12: 'reddish-brown,
tawny coloured pointed weapons' (RV 1.133.05) PLUS अर्रः रीsharp-edged weapons (RV 6.17.10) may
have been made of र्पशर्ङ्गला piśaṅgilā र्पशर्ङ्गला Bell-metal.
आर्रः āśriḥ आर्रः signifies f. The edge of a sword).
The spike or peg signifies a furnace because र्ृर्ि of R̥gveda has variant Meluhha pronunciations to
signify bhāṭha 'furnaces'. भृत्रष्ट् f. (cf. √ हृष् ; for 2. र्ृर्ि » under √ भ्रज्ज्) a spike , point , top , corner ,
edge RV. AV. Gr2S. (cf. सि्/अस्र- , क्षुर-र्ृ ° &c ); f. (for 1. » [p= 766,1]) the act of frying or boiling or
roasting L.:
The metaphor used in RV 6.17.10 is र्ृर्ि which means 'spikes' and also, in the context of metalwork in
furnaces, 'roastings'. Consistent with this semantics of 'spikes, many 'wheels' are shown sculpturally with
many spokes and with fish-fins on the edges of the spokes. Fish-fins are integral identifiers of śrivatsa
hypertext.
Griffith translation: RV VI.17.10 Yea, Strong One! Tvastar turned for thee, the Mighty, the bolt with
thousand spikes and hundred
edges, Eager and prompt at will, wherewith thou crushedst the boasting Dragon, O impetuous Hero.
Wilson/Sayana translation: 6.017.10 Fierce Indra, Tvas.t.a_ constructed for you, the mighty one, the
thousand-edged, the hundred-angled thunderbolt, wherewith you have crushed the ambitious audacious,
loud-shouting Ahi.
Magadha 'type' Vajra, reign of Bimbisara (545-493 BCE). ṣaṣ षष् num.
a. (used in pl., nom. षट् ; gen. षण्णाम्) Six -कोण a. (-षट् कोण) hexangular. (-णम् ) 1 a hexagon. -2 the
thunderbolt of Indra; diamond -(Apte) षट् --कोण [p= 1108,2] mfn. six-angled; n. a six-angled
figure Ra1matUp. Pan5car.; n. the thunderbolt of इन्द्र L.; diamond (Monier-Williams)
कोणः kōṇḥ कोणः [कुण् -करणे घञ् कर्त्िरर अच् वा Tv.] 1 A corner, an angle (of anything); र्येन कोणे क्वचन
ण्ठथथतस्य Vikr.1. 99. युक्तमेतन्न तु पुनः कोणां नयनपद्मयोः Bv.2.173. -2 An intermediate point of the compass. -
3 The bow of a lute; a fiddle-stick. -4 The sharp edge of a sword or weapon. (Apte)
21
Synonym: वज्र [p= 913,1] mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been
formed out of the bones of the ऋर्ष दधीच or दधीर्च [q.v.] , and shaped like a circular discus , or in later times
regarded as having the form of two transverse bolts crossing each other thus x ; sometimes also applied to
similar weapons used by various gods or superhuman beings , or to any mythical weapon destructive of
spells or charms , also to मन्यु , " wrath " RV. or [with अपाम्] to a jet of water AV. &c ; also applied to a
thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular thunderbolt
of इन्द्र when launched at a foe ; in Northern Buddhist countries it is shaped like a dumb-bell and called
Dorje ; » MWB. 201 ; 322 &c ) RV. &c; a diamond (thought to be as hard as the thunderbolt or of the same
substance with it) , Shad2vBr. Mn. MBh. &c
वज्र n. a kind of hard iron or steel L.; mfn. adamantine , hard , impenetrable W.
वज्र--िात्रण mfn. " thunderbolt-handed " , wielding a thunderbolt; m. N. of इन्द्र

Shad2vBr. MBh. &c; m. of a बोर्ध-सत्त्व (also called वज्र-धर , and corresponding in some respects
to इन्द्र) MWB. 195 ; 201 &c
आर्रः āśriḥ आर्रः f. The edge of a sword.
A synonym of आर्रः āśriḥ : भृत्रष्ट् 1 [p= 766,1] f. (cf. √ हृष् ; for 2. र्ृर्ि » under √ भ्रज्ज्) a spike , point , top ,
corner , edge RV. AV. Gr2S. (cf. सि्/अस्र- , क्षुर-र्ृ ° &c )
bhr̥ṣṭí3 f. ʻ spike, top, edge ʼ RV.K. boṭhu m. ʻ high ground, bank (of river, round garden, &c.), high waste
ground near foot of mountain ʼ, büṭhü, dat. bachē̆ f. ʻ heap, bank rising out of level ground ʼ.(CDIAL 9599)
Forge, kiln, furnace: bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ;
K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ
large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain --
parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln
ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭāʻ brick -- or lime -- kiln ʼ;
B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ;
Aw.lakh. bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭām. ʻ pot of fire
ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v. bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- . Addenda: bhráṣṭra
-- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.(CDIAL 9646)
bhr̥ṣṭi1 f. ʻ act of frying or parching ʼ lex. [√bhrajj] N. bhāṭ -- bhuṭ ʻ frying ʼ, bhuṭi -- bhāṭi ʻ hasty frying
ʼ.(CDIAL 9597) f. (for 1. » [p= 766,1]) the act of frying or boiling or roasting L. (Monier-Wiliams)
How to depict a thousand-spiked, hundred-edged vajra? Huntington suggests that Vajra is a cakra specially
orthographed with many spokes and knuckles. Should the Punch-marked coin symbol of a circle with six
spokes and spikes be interpreted as a Vajra? The reference to observations of Huntington are sources
from: https://www.academia.edu/13631948/The_Vajra_from_Vedic_times_to_the_Present The Vajra from
Vedic times to the Present by John C. Huntington (38 slides) Abstract: Tracing the vajra from its literary
sources in the Vedas through Punch Marked coins into the recent Indic Iconographic systems
John C. Huntington has demonstrated the continuum from Vedic times related to some symbols on punch-
marked coins, traceable to Harappa Script hieroglyphs/hypertexts.
On some sculptural friezes, the 'fish-fin' hypertext is ligatured to the tip of the spokes of the wheel
emanating
from the dotted circle. This signifies: ayo 'fish' rebus: ayas 'metal' aya 'iron'.
PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'. kaṇḍa 'arrowhead'
rebus: khaṇḍa 'implement'.
22
Santali glosses.
meḍ, 'iron, iron implements' (Ho.) me~rhe~t ‘iron’; me~rhe~t icena ‘the iron is rusty’; ispat me~rhe~t
‘steel’, dul me~rhe~t ‘cast iron’; me~rhe~t khan.d.a ‘iron implements’ (Santali)
(Santali.lex.Bodding) mer.ed, me~r.ed iron; enga mer.ed soft iron; sand.i mer.ed hard iron;
ispa_t mer.ed steel; dul mer.ed cast iron; imer.ed rusty iron, also the iron of which weights are
cast; bicamer.ediron extracted from stone ore; balimer.ed iron extracted from sand ore; mer.ed-bica = iron
stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.) pasra mer.ed, pasa_ra mer.ed = syn. of
kot.e mer.ed = forged iron, in contrast to dul mer.ed, cast iron (Mundari.lex.) me~r.he~t iron; ispat m. =
steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali); mer.ed (Mun.d.ari); med.
(Ho.)(Santali.lex.Bodding) me~r.he~t idena = the iron is rusty; dal me~r.he~t = cast iron; me~r.he~t
khan.d.a = iron implements (Santali) Sa. mE~R~hE~’d ìron’. ! mE~RhE~d(M).Ma. mErhE’d ìron’.Mu.
mERE’d ìron’. ~ mE~R~E~’d ìron’. ! mENhEd(M).Ho meD ìron’.Bj. merhd(Hunter)
ìron’.KW mENhEd@(V168,M080)
Rebus: med.o merchant’ clerk (Hem.Dec.); mehto a schoolmaster, an accountant, a clerk, a writer (G.)
med.h = the helper of a merchant (Pkt.lex.) me_t.i, me_t.ari = chief, head, leader, the greatest man (Te.lex.)
?med.i (EI 9), also called meli, a kidnapper of victims for sacrifices (IEG). mehara = (EI 33) a village
headman (IEG). mehto [Hem. Des. med.ho = Skt. Van.ik saha_ya, a merchant’s clerk, fr. mahita, praised,
great] a schoolmaster; an accountant; a clerk; a writer (G.lex.) mel. = tallying, balancing of accounts; a cash
book; mel.van. = a mixture, a composition; mixing (G.lex.) me_r..iyar = pu_vaiciyar, ve_l.a_l.ar, i.e.
agriculturist.
''Vajra
The Vajra, thunderbolt, which Usana Kavya is said to have fashioned, as also Tvastri in RV 1 .32.2, was
Indra's exclusive weapon and on account of his skill in wielding it, he is called in RV Vajrabhrit, bearing the
bolt, Vajrivat, armed with the bolt. Vajradaksina, holding the bolt in his right hand, Vajrabahu or Vajrahasta,
holding the Vajra in his hand, or Vajrin, armed with the bolt, which is the commoner epithet of them all. Not
much information about the shape of Vajra is available in the RV. However, it is said that it was made of iron,
and that it belonged to the category of the weapons called the astras i.e. those weapons which are operated by
throwing.
In RV V.34.2 cited earlier where Uiani is said to have presented a weapon with thousand bhristis to Indra.
Geldner has translated bhristis as spike. The meaning of the word, however, is doubtful. It also occurs in RV
1.133.5 in the context of the picaci who is described as pisangabhristi. Geldner thinks that the weapon is
Soma.
JB 1.97 narrates the story of the birth of Vajra: The devas and the asuras were contesting. Those devas
created a sharp-edged thunderbolt (which was) as if a man. (They through) him (? tam) warded off the asuras.
Having pushed them away, he returned to the devas. The devas were frightened. They attacked him, and broke
him into three. Broken into three, he remained the same ...
It seems likely that the vajra was similar to trisula. A double trisula is found on some of the Assyrian bas-
reliefs [see picture below: 4.0 Thunderbolts (vajras) in Mesopotamia], where it is depicted as having the three
edges on each side with the handle in between.
Before acquiring the thunderbolt, the devas and the asuras were fighting with the staves and bows
(dandairdhanubhisca) and did not succeed in defeating each other. Thereupon they started pairing the
masculine and feminine words with a view to ending the battle conclusively.
AiBr. II.31 states in the ritual language the reason of the balance in the strength of the devas and the asuras:
"The Asuras performed at the sacrifice all that the Devas performed. The Asuras became thus of equal power
(with the Devas) and did not yield to them (in any respect). Thereupon the Devas saw (by their mental eyes)
the tusnim samsa i.e. silent praise. The Asuras (not knowing it) did not perform this (ceremony) of the Devas.
23
This "silent praise" is the silent (latent) essence (of the mantras). Whatever weapon (Vajra) the Devas raised
against the Asuras, the latter got aware of them . The Devas then saw the silent praise as their weapon; they
raised it, but the Asuras did not become aware of it. The Devas aimed it at the Asuras and defeated the latter
who did not perceive (the weapon aimed at them). Thereupon the Devas became the masters of the Asuras...""
This may simply be interpreted as suggesting that the asuras were alert every time they were attacked, but
when taken unawares, they succumbed to the attack.
The discussion of archaeological material shows that this original double trisula was transformed by the
asuras into a weapon which could perform two kinds of functions. It could be thrown and could be held as
well.''
Source: Shendge, Malati J.: The civilized Demons: The Harappans in the Rigveda. Pgs. 79-80.
24
Griffith translation RV 1.32
1 I WILL declare the manly deeds of Indra, the first that he achieved, the Thunderwielder-. He slew
the Dragon, then disclosed the waters, and cleft the channels of the mountain torrents.
2 He slew the Dragon lying on the mountain: his heavenly bolt of thunder Tvastar fashioned. Like lowing
kine in rapid flow descending the waters glided downward to the ocean.
3 Impetuous as a bull, he chose the Soma and in three sacred beakers drank the juices. Maghavan grasped
the thunder for his weapon, and smote to death this firstborn of the dragons.
4 When, Indra, thou hadst slain the dragons' firstborn, and overcome the charms of the enchanters, Then,
giving life to Sun and Dawn and Heaven, thou foundest not one foe to stand against thee.
5 Indra with his own great and deadly thunder smote into pieces Vrtra, worst of Vrtras. As trunks of trees,
what time the axe hath felled them, low on the earth so lies the prostrate Dragon.
6 He, like a mad weak warrior, challenged Indra, the great impetuous manyslaying- Hero. He, brooking not
the clashing of the weapons, crushed, Indras' foe, the shattered forts in falling.
7 Footless and handless still he challenged Indra, who smote him with his bolt between
the shoulders. Emasculate yet claiming manly vigour, thus Vrtra lay with scattered limbs dissevered.
8 There as he lies like a bankbursting- river, the waters taking courage flow above him. The Dragon lies
beneath the feet of torrents which Vrtra with his greatness had encompassed.
9 Then humbled was the strength of Vrtras' mother: Indra hath cast his deadly bolt against her. The mother
was above, the son was under and like a cow beside her calf lay Danu.
10 Rolled in the midst of neverceasing- currents flowing without a rest for ever onward. The waters bear
off Vrtras' nameless body: the foe of Indra sank to during darkness.
11 Guarded by Ahi stood the thralls of Dasas, the waters stayed like kine held by the robber. But he, when
he had smitten Vrtra, opened the cave wherein the floods had been imprisoned.
12 A horses' tail wast thou when he, O Indra, smote on thy bolt; thou, God without a second, Thou hast won
back the kine, hast won the Soma; thou hast let loose to flow the Seven Rivers.
13 Nothing availed him lightning, nothing thunder, hailstorm or mist which had spread around
him: When Indra and the Dragon strove in battle, Maghavan gained the victory for ever.
14 Whom sawest thou to avenge the Dragon, Indra, that fear possessed thy heart when thou hadst slain
him; That, like a hawk affrighted through the regions, thou crossedst nineandninety— flowing rivers?
25
15 Indra is King of all that moves and moves not, of creatures tame and horned, the Thunderwielder-.Over
all living men he rules as Sovran, containing all as spokes within the felly.
26
Griffith translation RV 2.12
1. HE who, just born, chief God of lofty spirit by power and might became the Gods protector, Before
whose breath through greatness of his valour the two worlds trembled, He, O men, is Indra.
2 He who fixed fast and firm the earth that staggered, and set at rest the agitated mountains, Who measured
out the airs' wide middle region and gave the heaven support, He, men, is Indra.
3 Who slew the Dragon, freed the Seven Rivers, and drove the kine forth from the cave of Vala, Begat the
fire between two stones, the spoiler in warriors' battle, He, O men, is Indra.
4 By whom this universe was made to tremble, who chased away the humbled brood of demons, Who, like a
gambler gathering his winnings seized the foes' riches, He, O men, is Indra.
5 Of whom, the Terrible, they ask, Where is He? or verily they say of him, He is not. He sweeps away, like
birds, the foes' possessions. Have faith in him, for He, O men, is Indra.
6 Stirrer to action of the poor and lowly, of priest, of suppliant who sings his praises; Who, fairfaced-,
favours him who presses Soma with stones made ready, He, O men, is Indra.
7 He under whose supreme control are horses, all chariots, and the villages, and cattle; He who gave being to
the Sun and Morning, who leads the waters, He, O men, is Indra.
8 To whom two armies cry in close encounter, both enemies, the stronger and the weaker; Whom two
invoke upon one chariot mounted, each for himself, He, O ye men, is Indra.
9 Without whose help our people never conquer; whom, battling, they invoke to give them succour; He of
whom all this world is but the copy, who shakes things moveless, He, O men, is Indra.
10 He who hath smitten, ere they knew their danger, with his hurled weapon many grievous sinners; Who
pardons not his boldness who provokes him, who slays the Dasyu, He, O men, is Indra.
11 He who discovered in the fortieth autumn Sambara as he dwelt among the mountains;Who slew
the Dragon putting forth his vigour, the demon lying there, He, men, is Indra.
12 Who with seven guiding reins, the Bull, the Mighty, set free the Seven great Floods to flow
27
at pleasure; Who, thunderarmed-, rent Rauhina in pieces when scaling heaven, He, O ye men, is Indra.
13 Even the Heaven and Earth bow down before him, before his very breath the mountains tremble.Known
as the Somadrinker-, armed with thunder, who wields the bolt, He, O ye men, is Indra.
14 Who aids with favour him who pours the Soma and him who brews it, sacrificer, singer.Whom prayer
exalts, and pouring forth of Soma, and this our gift, He, O ye men, Is Indra.
15 Thou verily art fierce and true who sendest strength to the man who brews and pours libation.So may we
evermore, thy friends, O Indra, speak loudly to the synod with our heroes.
Sicily, Phyrrus, 278-276 B.C.E

Hera, Jupiter's wife with vajra.
Jupiter
Temple of Jupiter Capitolinus.

Thunderbolt on pediment above doors.
Source: Volteia 1 Opposite site: Jupiter. 78 B.C.
28
Jupiter is the Roman parallel to the Greece Jupiter. The one side of Roman coins shows either
Jupiter or the emperor himself. The other side depicts the temple of Jupiter with the thunderbolt on
a lintel above the entrance.
Thunderbolt and oak leaf, Thunderbolt Thunderbolt,

Winged thunderbolt,
Opposite site: Zeus Opposite site: Zeus Opposite site Zeus
Syracyse,
Syracuse, 344 - 336 BCE After 241 BCE 275 - 240 BCE
289-287 B.C.E
Source: Miron site Source: Miron site Akragas Coins
Roman coin,
235 B.C.
Roman coin,
241-235 B.C.
Zeus as eagle with Ganymede

A.D. 1st century B.C.
29
Source: Hamilton
Eagle on thunderbolt with oak-leaf.

Ptolomy III, 246 - 221 BC
Egypt, Eurgetes, Alexandria.
Opposite site: Zeus-Ammon.
Source: Wildwinds.com
Roman coin, Ptolemy I, Egypt, c. 277 B.C.E
Sicily
287-278 B.C.E
Syracyse, 288 B.CE
Zeus with vajra,

Statue
Dodona, ca 470 BCE
30
Octavian, 40 B.C.E
Thunderbolt, 40 B.C.E
Zeus and thunderbolt, Sicily, c. 355 B.C.E
Zeus and thunderbolt, Sicily, c. 355 B.C.E
31
Double-headed Vajra Eight prongs, four on each side, hour-glass shaped, Open Vajra Vietnam7th c.Bronze,
with one long prong replaced L: 8.25 in./ 21 cm
Behrendt, Kurt. "Pre-Angkor Traditions: The Mekong Delta and Peninsular Thailand". In Heilbrunn
Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.
http://www.metmuseum.org/toah/hd/pang/hd_pang.htm (July 2012)
Vajra with eight prongs, four on each side, hour-glass shaped, Heian period, 12th century, Japan, gilt
bronze, 6 7/8 in. (17.5 cm), Metropolitan Museum of Art, accession 1987.151
https://commons.wikimedia.org/wiki/File:Three-
pronged_Vajra,_12th_century_Japan,_gilt_bronze,_Metropolitan_Museum_of_Art,_1987.151.JPG
A vajra-like weapon also appears in Sumerian cosmology. Its use is recorded in the Bablyonian Epic of
Creation, the Enuma Elish. A battle between the sky god Marduk (Bel) and serpent Tiamat is detailed on
the fourth tablet of this ancient document. The evil and powerful Tiamat, according to the Enuma Elish, was
devising treacherous plans against Ea and the other reigning gods. The gods were afraid to invoke her evil
wrath and search for a solution. Ea attempts to confront Tiamat, but instead of fighting backs
down. Marduk, his son, steps forward and volunteers to fight the enraged serpent, on one condition… If he
is successful, he will have dominion over the entire universe.
32
The gods agree and provide Marduk mighty weapons including a bow, a mace and a net to use in his battle
against Tiamat. Images of this epic scene show Marduk holding a three tipped scepter in his
hand. Subsequent images clearly depict this same deadly six-pronged weapon, three-prongs on either side).
From a seal-cylinder in the British Museum,
no. 89,589.
They gave him the unrivalled weapon, the destroyer of the enemy [saying]: “Go, cut off the life of Tiâmat.
“Let the wind carry her blood into the depth [under the earth].” The gods, his fathers, issued the decree
for the god Bel. They set him on the road which leadeth to peace and adoration.
– Enuma Elish
[unquote] http://soulhealer.com/the-vajra-an-ancient-weapon-of-the-gods/
Marduk
''In late Babylonian astrology, Marduk was connected to the planet Jupiter. As the ruler of the late
Babylonian pantheon, he was equated with the Greek god Zeus (Latin Jupiter), hence the name of the
planet.''
Ref: The Free Dictionary: http://encyclopedia.thefreedictionary.com/Marduk
Tiamat:
''In Babylonian mythology, Tiamat is the sea, personified as a goddess, and a monstrous embodiment of
primordial chaos. In the Enûma Elish, the Babylonian epic of creation, she gives birth to the first generation
of gods; she later makes war upon them and is split in two by the storm-god Marduk, who uses her body to
form the heavens and the earth.''
http://encyclopedia.thefreedictionary.com/Tiamat
See: http://www.sundial.thai-isan-lao.com/sundial_vajra_literature.html
33
Khmer Mahayana Buddhist deities and Dancing Shiva - with vajra?
Southern Buriram Province near the Cambodian border, 12th-13th century Khmer
style.
34
Khmer vajra with handleSouthern Buriram Province near the Cambodian border, 12th-13th century
Khmer style.
Marduk fighting Tiamat with the three-pronged weapon

http://www.ancient-origins.net/artifacts-ancient-technology/vajra-ancient-weapon-war-
008467/page/0/1?post_id=noID&qt-quicktabs=2
Battle of Zeus vs. Typhon (Typhoeus). Zeus wields a vajra
Zeus had one final opponent before he was truly the undisputed master of the universe; the being known as
Typhon (or Typhoeus), a hideous dragon-serpent creature conceived through the mating of Gaea (Earth)
and Tartarus (the Underworld). After a long and violent struggle, Zeus eventually defeated the fire & smoke-
breathing monster. Their epic battle is seen here on a black-figure vase painting found in Etruria (n. Italy),
but probably by a Greek artist, c. 525 B.C.E.
35
http://www.crestonhall.com/mythology/titans.php
NM-ALH-70357 Allahabad Museum. Sivalinga has preserved the plain octagonal section Visnu-bhaga
surmounted by the circular Rudrabhaga from which projects Siva s head, wearing an elaborate jatajuta tied
in the middle, karnatakundalas and ekavali. The third eye is marked vertically on the forehead.
36
Paramesvara tempe, Tiruvatturai. Lingodbhava
Darasuram. Siva emerges out of the linga. Brahma searches for the ending of the pillar in heaven, Vishnu
searches for the beginning of the pillar on the earth, underground. The medtaphor of a beginningless, endless
37
pillar of light, pillar of fire, sivalinga as described in the Skambha Sukta. An unceasing enquiry of the
cosmic dancer, Mahesvara.
Naga worshippers of fiery pillar, Amaravati stup Smithy is the temple of Bronze Age: stambha,
thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher
signifies: tamba, tã̄bṛā, tambira 'copper'
Amaravati.Sculptural
friezes. Worship of Skambha.
A hieroglyph-multiplex, iconogrpahic enquiry of archaeometallurgy and Indus Script Corpora parallels the
extraordinary ādhyātmikā enquiry in Atharvaveda Skambha Sukta unraveling the purification processes
signified by the sivalinga. It is a metaphor for the axis mundi linking earth and heaven as the artisans are
awestruck by the mere earth dhatugarbha, dagoba yielding metal implements. The veneration of a linga
38
documented with a purificatory inscrition links the Dong Son Bronze drum hieroglyphs, Sarasvati-Sindhu
artefacts of sivalinga and Eurasian evidences of veneration of pitr-s, ancestors. This is a celebration of
dharma-dhamma continuum venerated in a Darasuram temple frieze of siva emerging out of the linga with
Brahma as hamsa searching in the heavens and Vishnu digging into the earth to find the endless,
beginningless form of the Skambha, the pillar of light, the pillar of fire, sivalinga embedded in every fire-
altar of Sarasvati-Sindhu civilization by Bharatam Janam, the metalcasters of the Bronze Age.
A stunning explanation for the Bronze Age principal life-activity metaphor as sivalinga appears in Candi
Sukuh temple. This temple has a sivalinga and an inscription. The inscription explains the raison d'etrefor
the linga which is iconographically unique with four round balls on the tip of the skambha, pillar 6 feet tall.
The inscribed hieroglyphs are: 4 round balls, a sword; and inscription in Javanese, referring to 'inauguration
of the holy ganggasudhi...' The round balls are khāṇḍā. The pillar is lo 'loha,
copper'; together, lokhāṇḍā 'metal implements'. The phonetic reinforcer is sword: khaṇḍa 'sword'.
Ganggasudhi is a veneration of the ancestors.
39
Sanchi Stupa symbols. On two corners at the top of the sculptural frieze sunflowers are shown These are
Indus Script hypertexts to signify smelter work: karaḍā 'safflower'.करडी [ karaḍī ] id. rebus: kaaraḍā 'hard
alloy' (Marathi)
The safflower is also shown on Mohenjo-daro seal m1406 which signifies many hypertexts meaning armour
and weapons by an armourer/smelter. The contxt is metalwork yielding hard alloys. Hieroglyph: मेढा [
mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) dhollu ‘drummer’
(Western Pahari) dolutsu 'tumble' Rebus: dul ‘cast metal’; karaḍa 'double-drum' Rebus: karaḍa 'hard
alloy';dhAtu 'strands of rope' Rebus: dhAtu 'mineral, metal, ore'. dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ
MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāū, dhāv m.f. ʻ a partic. soft red stone
ʼ(Marathi) धवड (p. 436) [ dhāvaḍa ] m (Or धावड) A class or an individual of it.
The twisted rope is shown on Kalibangan seal K020
Kalibangan020 8047 Meaning, arta: Trade (and metalwork wealth production) of kōnda sangara
'metalwork engraver'... PLUS (wealth categories cited.) daürā 'rope' Rebus dhāvḍā 'smelter';
kuṭi 'water-carrier' rebus: kuṭhi 'smelter' (Semantic determinative).
See:
Indus Script hieroglyph 'twisted rope' on 14 Ancient Near East seals/artifacts deciphered, linked to Dhā̆ rvā̆ ḍ
iron-ore town Karnataka, Indiahttp://tinyurl.com/oapwlyo
40
I suggest that the twisted, corded rope circle on the folowing Sanchi sculptural frieze signifies 'smelter' to
support the metalwork producing metallic weapons of a variety of sharp and knuckle
edges. The hour-glass or ḍamaru-shape of vajra signifies damaru
'rope' which is a hypertext hieroglyph to signify dhāvḍā 'smelter'. This hypertext of rope, corded or twisted
rope becomes the dominant expression in the work of armourers in Ancient Near East evidenced on many
cylinder seals and other artifacts like Dudu plaque.
Significance of the Meluhha word meaning rope is seen in the following cognateexpressions of many
ancient lnguages of India and Marathi lexis related to rope-work:‫ دارباز‬dār-bāz, s.m. (5th) A mountebank,
a rope-dancer. Pl. ‫ داربازان‬dār-bāzān. ‫ داربازه‬dār-bāzaʿh, s.f. (3rd) A female mountebank.
Pl. ‫ ي‬ey. ‫ داربازي‬dār-bāzī, s.f. (3rd) The business of a mountebank, rope dancing. Pl. ‫( ِئي‬Pashto) dömi raz ।
िशुबन्धनरज्ुः f. a rope for tying a cow, etc., a cattle-halter.(Kashmiri) Dāma (nt.) [Sk. dāman to dyati to
bind (Gr. di/dhmi), *dē, as in Gr. de/sma (rope), dia/dhma (diadem), u(po/dhma (sandal)] a bond, fetter,
rope; chain, wreath, garland S iv.163 (read dāmena for damena), 282, (id.); A iii.393 (dāmena baddho); Sn
28 (=vacchakānaŋ bandhanatthāya katā ganthitā nandhipasayuttā rajjubandhanavisesā); Vism 108. Usually -
- ˚, viz. anoja -- puppha˚ J i.9; vi.227; olambaka˚ VvA 32; kusuma˚ J iii.394; gandha˚ J i.178; VvA 173, 198;
puppha˚ J i.397; VvA 198; mālā˚ J ii.104; rajata˚ J i.50; iii.184; iv.91; rattapuppha˚ J iii.30; sumana˚
J iv.455.(Pali) Kui paeri a climbing plant of which the leaves are used for making cups and the runners and
tendrils for ropes. Kuwi (F.) pa'eri dōri rope (creeper fibre); (Isr.) paˀeri ḍōri rope made from bush vine; (Ṭ.)
pa'eri, (Mah.) pāēr māṛā siyāri tree.(DEDR 3801)
Ta. tār, tāram cord, rope. To. to·rm (obl. to·rt-) one string of bead necklace with several strands, one thread
of skein hanging from woman's armlet. Ka. dāra string, thread. Tu. dāra id. Te. dāramu id., cord, twine. / ? <
IA. Cf. Pkt. (DNM; Norman) dāra- waist-band, girdle; cf. also Skt. davara(ka)- string, Turner, CDIAL, no.
6225.
(DEDR 3167) Ta. tumpu rope; frayed ends, as of a gut; border, fringe. Ma. tumpu rope; tumpu, tunpu
extremity, end of a rope or string.(DEDR 3333) 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. dām m.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
41
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.*dāmayati2; *dāmakara -- , *dāmadhāra -- ; uddāma -- , prōddāma -- ; *antadāmanī -- ,
*galadāman -- , *galadāmana -- , *gōḍḍadāman -- , *gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?)
ʻ gift ʼ RV. [√dā1]. See dāˊtu -- .*dāmana -- ʻ rope ʼ see dāˊman -- 1.Addenda: dāˊman -- 1. 1. Brj. dã̄u m. ʻ
tying ʼ.3. *dāmara -- : Brj. dã̄wrī f. ʻ rope ʼ.(CDIAL 6283)
दोर (p. 243) dōra m (दोरक S or H) A rope. 2 R Ropiness, stringiness, viscousness: also a single glutinous
filament (in corrupted substances).
दोरक (p. 243) dōraka m S Thread: also rope or cord gen.
दोरकस (p. 243) dōrakasa m A large or thick rope (as a cartrope, drawwell-rope &c.) 2 n A number of ropes
bound together. 3 m A light or thin rope.
दोरखांड (p. 243) dōrakhaṇḍa n A thick rope, a cable &c. 2 A bit of rope. 3 The fibres of काल the core of the
nether stem of केळफूल. दोरखांडें pl The rigging and tackling of a vessel.
दोरगुांडा (p. 243) dōraguṇḍā m A roll or bundle of shreds of bark. Used as cord in fastening thatch-work
&c. ) दोरडें (p. 243) dōraḍēṃ n C (Intens. of दोर) A thick or large rope. 2 A reviling form of दोर for a bad or
unsuitable piece of rope. ) दोरणी (p. 243) dōraṇī f (दोरा) A string or cord.
दोरवा (p. 243) dōravā m (दोर) A sort of striped cloth. 2 C A flaw, fissure, crack.
दोरा (p. 243) dōrā m (दोरक S or H) Thread. 2 fig. A flaw or fine crack; a line indicating fracture; a hair. 3
fig. A rillet or streamlet (as from a reservoir &c.) Ex. ह्या र्वर्िरीस तळ्याचे दोरे आिे त. 4 fig. Connection, link,
relation. 5 The thread-like body of the Dracunculus. 6 The track or line of passage of some slimy animal. 7
A particular bracelet.
दोरावणें (p. 243) dōrāvaṇēṃ v i C (दोरा) To have lines, streaks, veins--wood, stone, pearls. 2 To be stringy,
ropy, viscous--mouldy substances, dough.
206) दोराळ (p. 243) dōrāḷa a R (दोरा) Ropy, stringy, concreted into glutinous filaments.
दोरी (p. 243) dōrī f (Dim. of दोर) A string, cord, or small rope. 2 A land-measure, 20 काठी or measuring
rods strung together; 20 परतन or 80 (and sometimes 120) र्बघा. 3 The name of a small sea-
fish. दोरी सैल दे णें-सोडणें -र्ढली करणें To give lax rein to.
दोरीसूत (p. 243) dōrīsūta ad (दोरी & सूत A thread.) Straightly, directly, in a right line.
42
The corded band on this vajra is: read rebus in Indus
Script: daürā 'rope' rebus dhāvḍā 'smelter'. Each of the spokes emanating from the central dot end up with
an orthograph which signifies perhaps an axe with two prongs, a double-axe. I suggest that this sculptural
frieze is an Indus Script hypertext to signify mettalwork, smelting, producing metallic weapons, armour.
Tin bracelet from Thermi, level IV (mid third millennium BCE), on the Island of
Lesbos. (Drawn by Andrew McGhie after Lamb 1936: 171, Fig. 50. See notes on archaeometallurgical
evidences from Tepe Gawra and other sites at
http://bharatkalyan97.blogspot.in/2014/07/variations-in-indus-script-mihika-basu.html
Sealed Failaka jar and 14 Ancient Near East artifacts (including seals) with Indus Script hieroglyphs signify
iron (metal) smelting work of Bronze Age
Eric Olijdam discusses the remarkable evidence of a Failaka sealed jar found in 'Temple Tower' burial
mound at Shakhoura (Bahrain).This monograph deciphers the Indus Script hieroglyphs on this sealed jar as
related to iron (metal) smelting work of Bronze Age.
Eric Olijdam, 2008, A possible central Asian origin for the seal-impressed jar from the 'Temple Tower' at
Failaka, in: E. Olijdam & RH Spoor (eds.), Intercultural relations between south and southwest Asia,
Studies in commemoration of ECL During Caspers (1934-1996), BAR International Series 1826 (2008):
268-287.
43
Failaka sealed jar from Tomb 10 at Shakhoura, Bahrain (Daems, Haerinck & Rittem, 2001, A burial mound
at Shakhoura (Bahrain), Arabian Arhaeology and Epigraphy 12: 173, 182, Fig. 5. On the right, an enlarged
version of the seal impression and the repeated designs of entwined rope are shown. The seal impression on
the jar is upside down and signifies a 'beer-drinking' hieroglyph.
Seal impression flipped vertically to show the hieroglyph 'beer-drinking'.
There are two Indus Script hieroglyphs on this jar by the seal impression and the design of 'entwised rope';
1. 'beer-drinking': kuDi 'drink' rebus: kuTi 'smelter'; 2. dhAv 'strand' rebus: dhAv 'mineral'
Ta. kuṭi (-pp-, -tt-) to drink, inhale; n. drinking, beverage, drunkenness; kuṭiyaṉ drunkard. Ma. kuṭi drinking,
water drunk after meals, soaking; kuṭikka to drink, swallow; kuṭippikka to give to drink,
soak; kuṭiyan drunkard. Ko. kuṛy- (kuṛc-) to drink (only in: uc kuṛy- to drink urine, i.e. to be
humbled). To. kuḍt- (only 2nd stem) to drink (in song; < Badaga or Ta.). Ka. kuḍi to drink,
inhale; n. drinking;kuḍisu to cause to drink; kuḍika, kuḍaka drinker, drunkard; kuḍita, kuḍata drinking, a
draught; kuḍu, kuḍiyuvike drinking. Koḍ. kuḍi- (kuḍip-, kuḍic-) to drink. Tu. kuḍcuni to drink excessively,
swallow liquor; kuḍcelů, kuḍicelů drunkenness; kuḍcele, kuḍicele drunkard. Te. kuḍucu to eat, suck, drink,
enjoy, suffer; kuḍupu to feed, suckle, cause to eat, enjoy, or suffer; n. eating, food, enjoying,
suffering; kuḍupari one who eats, enjoys, or suffers; kuḍi right, right-hand; kuḍiti the washings of rice, split
pulse, etc., used as a drink for cattle. Cf. 1658 Ko. guṛakn. / Cf. Skt. kuṭī- intoxicating liquor. (DEDR 1654)
Hieroglyph: दामा dāmā A string, cord. (Samskritam) தாமம் ¹ tāmam, n. < dāman. Rope, cord,
string; கயிறு. (பிங் .) Wreath, flower garland, chaplet, especially worn on shoulders.
Rebus: 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 dhā̆ vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ
composed of or relating to iron ʼ)
dhāˊtu ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of
strands ʼ KātyŚr.). [√dhā]; 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) తాడు [ tāḍu ] or త్రతాడు tādu. [Tel.] n. A cord, thread, string. A match for a gun.
The palm tree, so called because cordage is made from it. See under తాటి. The cord of marriage, being the
44
string round the bride's neck, from which the పుస్తె or tali is hung. Henceతాడు తెగిన (lit. cord broken)
means widowed. అగి ితాడు or జేనకితాడు a match, made of cord dipped in brimstone.
dāmam दामम् (At the end of a compound) Wreath, garland.dāman दामन् n. [दो-मर्नन् ] 1 A string, thread,
fillet, rope. -2 A chaplet, a garland in
general; आद्ये बद्धा र्वरिर्दवसे या र्शखा दाम र्ित्वा Me.93; कनकचम्पकदामगौरीम् Ch. P.1; Śi.4.5. -3 A line,
streak (as of lightning); वु द्युद्- दाम्ना िे मराजीव र्वन्ध्यम् M.3.2; Me.27. -4 A large bandage. -5 Ved. A gift. -6 A
portion, share. -7 A girdle. -Comp. -अञ्चलम् , -अञ्जनम् a foot-rope for horses,
&c.; सस्रुः सरोषपररचारकवायिमाणा दामाञ्चलस्खर्लतलोलपदां तुरङ्गाः Śi.5.61. -उदरः an epithet of
Kṛiṣṇa. दामनी dāmanīA foot-rope.दामा dāmā A string, cord. dāmnī दाम्नी A garland;
'यस्या दाम्न्न्या र्िधाम्नो जघनकर्लतया˚' र्वष्णुपादार्दकेशान्वणिनस्तोिम् 22. (Samskritam) 6283 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. dām m.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, dāmliʻ 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. danʻ 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, dāwanīf. 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.*dāmayati2;
*dāmakara -- , *dāmadhāra -- ; uddāma -- , prōddāma -- ; *antadāmanī -- , *galadāman -- , *galadāmana -- ,
*gōḍḍadāman -- , *gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?) ʻ gift ʼ RV. [√dā1]. See dāˊtu --
.*dāmana -- ʻ rope ʼ see dāˊman -- 1.Addenda: dāˊman -- 1. 1. Brj. dã̄u m. ʻ tying ʼ.3. *dāmara --
: Brj. dã̄wrī f. ʻ rope ʼ.
தாமம் ¹ tāmam
, n. < dāman. 1. Rope, cord, string; கயிறு. (பிங் .) 2. Line to tie cattle. See தாமணி. 3. Wreath, flower
garland, chaplet, especially worn on shoulders; பூமாடல.
(பிங் .) வண்டிமிருந் தாம வடைமாை்ப (பு. வவ. 12, இருபாற் . 3). 4. Necklace of beads; string,
as of pearls; வடம் . (பிங் .) முத்துத் தாம முடறவயாடு நாற் றுமின் (மணி. 1, 49). 5.
Woman's waist ornament of 16 or 18 strings of beads; 18W.) 6. Row,
line; ஒழுங் கு. தடமலை்த் தாம மாடல (சீவக. 1358). 7. Flower; பூ. (பிங் .) 8. An ornamental
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part of a crown, one of the five muṭi-y-uṟuppu, q. v.; முடியுறுப்புகள் ஐந்தனுள் ஒன் று. (திவா.) 9.
Senna. See வகான் டற. (பிங் .)
धातु 1 [p=513,3] constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. र्ि-
ध्/आतु , threefold&c ; cf. र्िर्वर्ि- , सप्त- , सु-) RV. TS. S3Br. &c
धातु 1 [p=513,3] primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red
colour) Mn. MBh. &celement of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with
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., 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 dhā̆ vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ
composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- (CDIAL 6773) ‫ هژدات‬haj̱ẕ-dāt, s.m. (6th) (corrup. of
S ‫ )اژدهات‬The name of a mixed metal, bell-metal, brass. Sing. and Pl. ‫ د هژداتو غر‬da haj̱ẕ-dāto g̠ẖar, A
mountain of brass, a brazen mountain.
धावडी [ dhāvaḍī ] a Relating to the class धावड. Hence 2 Composed of or relating to iron.धवड [ dhavaḍa
] m (Or धावड) A class or an individual of it. They are smelters of iron.
Since the Failaka sealed pot has been found in a tomb, the seal impression on the pot is intended to convey
the responsibilities (dharma samjna) performed by the deceased ancestor. The 'strands' of rope design signify
that the deceased person is a धवड [ dhavaḍa ] m (Or धावड) a 'smelter of iron.'
The hieroglyh of 'beer-drinking' on the seal impression signifies that the deceased smelter of iron worked
with a smelter (kuTi); the pair of persons on the drinking narrative signifies dula 'pair' rebus: dul
'metalcasting'. Thus,t he narrative of hieroglyph-multiplex or hypertext of the seal impression signifies:
metalcaster working with a smelter furnace.
Thus both sets of hypertexts signify with semantic reinforcement of smelting operations: 1. strands of rope
signify smelter; and 2. drinking scene signifies working with smelter-furnace for metalcasting.
Eric Olijdam in his monograph establishes the link of Failaka with Central Asia (BMAC) and can be
extended to cover the Meluhha contact region, the place of origin of Indus Script hieroglyph tradition.
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Map of South and Southwest Asia (inset: Bahrain) (After Fig. 1 in E. Olijdam, 2008 opcit.)
The map shows Failaka in relation to Mesopotamia, BMAC and Meluhha, the sites of Ur Ur (7), Tell Abraq
(14), Shahdad (15), Shahr-I Sokhta (16), Mundigak (17), Sibri (19), Mehrgarh (20), Gonur (22), Namazga
(24).
See 'twistedrope' hieroglyph on 14 Ancient Near East seals and

artifacts: http://bharatkalyan97.blogspot.in/2015/10/indus-script-hieroglyph-twisted-rope-on.html
Indus Script hieroglyph 'twisted rope' on 14 Ancient Near East seals/artifacts deciphered, linked to Dhā̆rvā̆ ḍ
iron-ore town Karnataka, India
Fig. 1 First cylinder seal-impressed jar from Taip 1, Turkmenistan
Fig. 2 Hematite cylinder seal of Old Syria ca. 1820-1730 BCE
Fig. 3 Hematite seal. Old Syria. ca. 1720-1650 BCE
Fig. 4 Cylinder seal modern impression. Mitanni. 2nd millennium BCE
Fig. 5 Cylinder seal modern impression. Old Syria. ca. 1720-1650 BCE
Fig. 6 Cylinder seal. Mitanni. 2nd millennium BCE
Fig. 7 Stone cylinder seal. Old Syria ca. 1720-1650 BCE
Fig. 8 Hematite cylinder seal. Old Syria. ca. early 2nd millennium BCE
Fig. 9 Fragment of an Iranian Chlorite Vase. 2500-2400 BCE
Fig.10 Shahdad standard. ca. 2400 BCE Line drawing
Fig.11 Cylinder seal. 2 seated lions. Twisted rope. Louvre AO7296
Fig.12 Cylinder seal. Sumerian. 18th cent. BCE. Louvre AO 22366
Fig.13 Bogazkoy Seal impression ca. 18th cent. BCE
Fig.14 Dudu plaque.Votive bas-relief of Dudu, priest of Ningirsu in the time of Entemena, prince of Lagash,
ca. 2400 BCE Tello (ancient Girsu)
47
The orthography of the 'twisted rope' is characterised by an endless twist, sometimes signified with three
strands of the rope.
Meluhha rebus-metonymy Indus Script cipher on all the 14 seals/artifacts is:

Hieroglyph: ti-dhAtu 'three strands' Rebus: ti-dhAtu 'three red stone ores: magnetite, hematite, laterite'.
The three ores are: poLa 'magnetite', bica 'hematite', goTa 'laterite'. The hieroglyphs signifying these mineral
ores are: poLa 'zebu', bica 'scorpion' goTa 'round object or seed'.
Some associated hieroglyphs on the 14 seals/artifacts are:
Hieroglyph: poLa 'zebu' Rebus: poLa 'magnetite' (Fig.1)

Hieroglyph: bica 'scorpion' Rebus: bica 'hematite' (Fig.4)
Hieroglyph: karaNDava 'aquatic bird' Rebus: karaDa 'hard alloy'. (Fig.7)
Hieroglyph: kuThAru 'monkey' Rebus: kuThAru 'armourer'. (Fig.2)
Hieroglyph: arye 'lion' (Akkadian) Rebus: arA 'brass'. (Fig.2)
Hieroglyph: eruvai 'kite' Rebus: eruvai 'copper'. (Fig.13)
Hieroglyph: eraka 'wing' Rebus: eraka 'moltencast copper'. (Fig.14)
Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' (Fig.2)
Hieroglyph: ranku 'antelope' Rebus: ranku 'tin'. (Fig.4)
Hieroglyph: kolmo 'rice plant' Rebus: kolimi 'smithy/forge' (Fig.1)
Hieroglyph: dula 'pair' Rebus: dul 'cast metal'. (Fig.3)
Fig. 1 First cylinder seal-impressed jar from Taip 1, Turkmenistan
Fig. 2 Hematite cylinder seal of Old Syria ca. 1820-1730 BCE
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Fig. 3 Hematite seal. Old Syria. ca. 1720-1650 BCE
Fig. 4 Cylinder seal modern impression. Mitanni. 2nd millennium BCE
Fig. 5 Cylinder seal modern impression. Old Syria. ca. 1720-1650 BCE
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Fig. 6 Cylinder seal. Mitanni. 2nd millennium BCE
Fig. 7 Stone cylinder seal. Old Syria ca. 1720-1650 BCE
Fig. 8 Hematite cylinder seal. Old Syria. ca. early 2nd millennium BCE
·
Fig. 9 Fragment of an Iranian Chlorite Vase. 2500-2400 BCE
·
·
Fig. 10 Shahdad standard. ca. 2400 BCE Line drawing
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·
· Fig. 11 Cylinder seal. 2 seated lions. Twisted rope. Louvre AO7296
Fig.12 Cylinder seal. Sumerian. 18th cent. BCE. Louvre AO 22366
Fig. 13
Bogazkoy Seal impression ca. 18th cent. BCE
51
Fig. 14 Dudu plaque 25 cm. high. ED III, ca. 2400 BCE
On all these 14 artifacts with the Indus Script hieroglyph of 'twisted rope' signify dhā̄̆vaḍ m. ʻ a caste of iron
-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(Marathi).
The presence of Meluhha settlements in Ancient Near East is attested in cuneiform texts. this finds
confirmation in an ancient text.
Baudhāyana śrautasūtra 18.44 which documents migrations of Āyu and Amavasu from a central region:
pran Ayuh pravavraja. tasyaite Kuru-Pancalah Kasi-Videha ity. etad Ayavam pravrajam. pratyan
amavasus. tasyaite Gandharvarayas Parsavo ‘ratta ity. etad Amavasavam
Trans. Ayu went east, his is the Yamuna-Ganga region (Kuru-Pancala, Kasi-Videha). Amavasu went west,
his is Gandhara, Parsu and Araṭṭa.
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Ayu went east from Kurukshetra to Kuru-Pancala, Kasi-Videha. The migratory path of Meluhha artisand in
the lineage of Ayu of the Rigvedic tradition, to Kasi-Videha certainly included the very ancient temple town
of Sheorajpur of Dist. Etawah (Kanpur), Uttar Pradesh.
Sarasvati Civilization arms. Some of the Bronze sickles displayed in the

Harappan Gallery of the National Museum, New
Delhi https://commons.wikimedia.org/wiki/File:Harappa_arms.JPG
Double-axe found in a Mesopotamian site. Comparable to

the double-axe shown on Chanhudaro seal C-23.
Chanhudaro seal C 23.Double-axe is a hypertext shown

together with hieroglyphs and other hypertexts..
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Chanhudaro metal artifacts.
Rattles,
cylinder seal, shaft-hole axe from Sibri.
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"The bronze objects found in the cenotaph area include ear-rings and bangles, pins (double spiral-headed,
bird-headed, and button-headed), cosmetic bottles, and toilet objects (mirror, scissors?, blades or spatulae).
These are all types known from Bactria Margiana (Askarov, 1977: Plates XXVI-XXVIII, XXXVII, XLI;
Sarianidi, 1977)...seal...It is a black steatite cylinder with a pierced boss on top, engravings of a zebu facing
what is probably a lion around the cylinder, and an engraved scorpion on the base. This cylinder seal was
found associated with two beads in black steatite and, with them, may have formed part of a necklace. This
piece is very similar to a few cylinder seals found in Margiana from the surface of the Taip sites (Masimov,
1981). One seal from Margiana bears a representation of a zebu. Not far from the place from which the seal
came was found a bronze shaft-hole axe-adze of a type also well-known in the Murgabo-Bactrian area as
well as at Mohenjo-daro. Other bronze objects include a few pins." After Fig. 8.1 Copper/bronze shaft-hole
axe-adze from Sibri; Fig. 8.4 From Sibri: Terracotta rattles. Stone cylinder seal. Santoni, Marielle, Sibri and
the south cemetery of Mehrgarh: third millennium connections between the northern Kachi Plain (Pakistan)
and Central Asia in: Bridget Allchin, ed., 1981, South Asian Archaeology Proceedings of the Sixth
International Conference of the Association of South Asian Archaeologists in Western Europe held in
Cambridge Univ. from 5-10 July 1981, Cambridge University Press, p.54).
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Indo-Persian gold damascened steel tabar (axe) and kulunk (war hammer), 19th century. Each
with stylized floral arabesques, the wooden handles covered with red velvet and steel plaques. Each 25¾in.
(65.3cm.). For photographs of similar armour and weapons of Indo-Persian vintage can be seen at
http://www.360doc.com/content/14/1126/20/3972368_428307472.shtml The bewildering variety of shapes of
axes matches with the 93 varieties of the 'six-spoked wheel' drawn by Paul Murphy from thousands of punch-
marked coins. It appears that the six-spoked circle hypertext conveys the varities of weapons produced using
three dhatu, three mineral ores; hence, three arrowheads PLUS three axes of various shapes. All around the
circle banded by the corded rope, many double-axe shapes adorn each spoke of a wheel on Sanchi sculptural
frieze. Hence, the vajra hypertext is a shorthand for weapons with sharp edges and knuckles which can be
hurled to destroy the enemy.
Indian zin tabar (saddle axe), 18th century. These weapons served two functions when used, piercing
and cutting, depending on if the hilt was long or short; the other function was breaking bones due to its impact
and weight. Trapezoid shaped iron blade with a hammer on the opposite side, decorated with a continuous
pattern floral theme and a geometrical framing, octagonal hilt ornamented with a “fishbone” motif. Length: 50
cm; Blade : 9 cm. http://www.caravanacollection.com/
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Selected copper or bronze implements from Tepe
Gawra, including sickles, axe, chisels and knife. The two needles are from Gawra stratum IV and the knife
from stratum V; the other nine objects are from stratum VI. Gawra V-IV cover period ca 2100-1600 BCE;
Gawra VI is second half of third millennium BCE. University Museum Collection.
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Selected copper or bronze objects from Tepe Gawra, stratum VI, including knife, razor, pick-head, anklet
and adze. Dropsie College Collection
Copper or bronze adze (CBS 17419) and two axes (CBS 17512, 17913) from the Royal Cemetery at Ur, mid
third millennium BCE. University Museum Collection.
58
Selected copper or bronze ornaments and implements from Tepe Gawra, including two pins, two serpents,
tweezerrs, hairpin, bracelets and two toilet sets. The top three objects are from stratum V, the rest from
stratum VI. University Museum Collection.
Small copper or bronze deer head from Tepe Gawra, stratum VI. University Museum Collection: 31-52-270.
(Animal headed pins, personal toiletry devices compare with those discovered in Sarasvati Civiization sites).
https://i.pinimg.com/736x/3f/26/41/3f2641d7e8cec68da4b3d7e01ae1909f.jpg
Labrys in black steatite stand, fr Psychro Cave, Evans PM 1, 438.jpg
59
Minoan civilization is a neolithic and ancient protest of ancient Greece, which dates
between about the third millennium BC. and 1200 BC. was located in Crete.
Persian tabar (axe), steel crescent shaped head with carved scenes of a lion killing its prey
and gold inlay decoration.
Ottoman berdiche, 1782–1783, steel, wood, silver, L. 55 3/4 in. (141.6 cm, Met Museum, Bequest of
George C. Stone, 1935.
The Double Axe (or labrys) was another tool that was used by the Minoans for the
sacrifice of bulls
Eight spokes are aṣṭāśri, 'eight angles of spokes': arã 'spokes' rebus: ar̃ a 'brass'. The central dot is a round
stone: goṭa, ‘seed’ rebus: goṭi, ‘silver, laterite, ferrite ore’. An alternative reading could be that the
hieroglyph denoted goṭa, laterite, deploying small globular shapes to denote goṭ ʻ a fruit, whole piece’. In
60
Munda etyma, the gloss goṭ is used as a numeral intensive suffix. Rebus reading of the hieroglyph can thus
refer to metal castings achieved using gota, ‘laterite’ mineral ore. This is a possible alternative technical
specification reading as alloys with laterite ores -- for hieroglyphs deciphered as dul ‘cast metal’.
Thus, when three linear strokes are deployed the rebus reading could be: kolmo goṭa 'count of three'
Rebus: kolami got 'furnace for laterite stone ore'. Almost all hieroglyphs with use of numeral counts can be
read with this suffix: goṭa 'numerative particle'.
Laterites are rusty soil types with iron oxides rich in iron and aluminium. They are formed in hot and wet
tropical areas. Laterites can be easily cut with a spade into regular-sized blocks.
P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ,
S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ(CDIAL 4271)
Kur. goṭā any seed which forms inside a fruit or shell. Malt. goṭa a seed or berry(DEDR 069) N. goṭo ʻ piece
ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ;
B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, M. goṭā m. ʻ roundish stone ʼ (CDIAL 4271)
<gOTa>(P) {ADJ} ``^whole''. {SX} ``^numeral întensive suffix''. *Kh., Sa., Mu., Ho<goTA>,B.<goTa>
ùndivided'; Kh.<goThaG>(P), Sa.<goTAG>,~<gOTe'j>, Mu.<goTo>; Sad.<goT>, O., Bh.<goTa>;
cf.Ju.<goTo> `piece', O.<goTa> òne'. %11811. #11721. <goTa>(BD) {NI} ``the ^whole''. *@. #10971.
(Munda etyma)
Rebus: <gota> {N} ``^stone''. @3014. #10171. Note: The stone may be gota, laterite mineral ore
stone. khoṭ m. ʻbase, alloyʼ (Punjabi) Rebus: koṭe ‘forging (metal)(Mu.) Rebus: goṭī f. ʻlump of silver' (G.)
goṭi = silver (G.) koḍ ‘workshop’ (Gujarati).
Sanchi stupa 2 Vedika. Dharma Cakra in a corded band. ca. 120-80 BCE. "In spite of the vast difference in
size, ~ 15mm versus ~ 40cm, given the closeness of the two designs, it is inconceivable that the Sāñchī
sculptor was unaware of the generic prototype of the design. In the context of the coins the vajra is a symbol
of consummate military power. In Buddhism is is a symbol of the consummate power of the teachings to
overcome egoistic cravings. Tentative conclusions: Part 1: The early Buddhist Dharmachakra with its many
spokes and protrusions is conceptually identical to one of the primary forms of the Vedic vajra as described
in the Ṛg Veda. Because it was quintessentially Brahmanical in origin, as a symbol of the Buddhist
teachings it had several important characteristics. Among them the fact, the Brahmins of the day would
recognize one of the most evocative symbols of their own religion and its material communication systems.
Part 2: Based on the physical identification of the Buddhist Dharmachakras as vajras, it seems highly
probable that the so called “6-armed figures” of PMC numismatics are also a vajra known in the literature as
as saṭkoṇa. With kings carrying the name endings of -varman (armor) -gupta (protector) and in a later
period, -endra (i.e., Indra), it is clear that they identified with the most powerful of all Brahmanical
protectors, Indra. Therefore, the symbol is probably part of the royal regalia and a reference to military
prowess. A detailed study of this mark and a profoundly associated “victory” symbol will be part of the full
study."
"This description seems to fit objects in early Indic Art:A wheel with 1000 spokes and 100 knuckles (13[!]
spokes and 12 knuckles)". (Huntington)
61
Dharma Cakra from Amaravati ca. 2nd cent. BCE
Worship at the
throne in front of the pillar of radiance, ca. 3rd
cent. CE, Amaravati Stupa, Amaravati, Andhra Pradesh India
62
This 'circle with spokes' symbol on Punch-marked coins, is an Indus Script hypertext composed of: 1. dotted
circle in the centre; 2. Three spokes emerging signified by three arrow-heads; 3. Three spokes smerging
signified by the 'śrivatsa' hypertext. śrivatsa hypertext is composed with hieroglyphs: 1. round pebble; 2.
two fish-fins. Each of the orthographed hieroglyph components in the 'circle with spokes' is read rebus:
Dotted circle: dhāu 'strand'; rebus: dhātu 'mineral ore'

Arrow-head: kaṇḍa 'arrow' rebus: kaṇḍa 'equipment' as in lokhaṇḍa 'metal equipment'
Round pebble: A (गोटा) gōṭā Spherical or spheroidal, pebble-form. (Marathi) Rebus: khoṭā ʻalloyedʼ
(metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an ingot or
wedge (Marathi). P. khoṭ m. ʻalloyʼ (CDIAL 3931) goṭa 'laterite ferrite ore'. goṭo m. ʻgold or silver lace'
(Sindhi); goṭa m. ʻedging of gold braidʼ(Kashmiri)(CDIAL 4271)
śrivatsa hypertext: khambhaṛā' 'fish-fin' rebus: aya 'fish' rebus: aya 'iron' ayas 'alloy metal'
PLUS kammaṭa 'mint, coiner, coinage'.PLUS dula 'pair' rebus: dul 'metal casting'.to signify 'mint for alloy
metal castings'.
Roots of orthography in Veda tradition
The metaphor used in RV 6.17.10 is र्ृर्ि which means 'spikes' and also, in the context of metalwork in
furnaces, 'roastings'. Consistent with this semantics of 'spikes, many 'wheels' are shown sculpturally with
many spokes and with fish-fins on the edges of the spokes. Fish-fins are integral identifiers of śrivatsa
hypertext.
Two Vr̥ṣṇi coins
Indus Script hypertexts signify vajra weapons (sharp edges, pointed spikes), iron, brass mint for
metalware
63
British Museum. 2nd cent. Hoshiarpur, Punjab.
Silver coin of a "King Vr̥ṣṇi " of the Audumbaras.Alexander Cunningham's Coins of Ancient India: From
the Earliest Times Down to the Seventh Century (1891) p.70
A Vrishni silver coin, cropped from File:Raja_vrishni_coins.PNG
See:
Bhāratīya ādhyātmikā itihāsa of tridhātu Gaṇeśa, śarva Śiva, Rāma, Kr̥ṣṇa https://tinyurl.com/yc95usjo Coin
auctioned off by Classical Numismatic Gallery at the Coin and Currency Fair that was held between August
5th and 7th, 2017 at Ahmedabad.
64
Republic of the Vrishni Peoples (10-40CE), Silver Drachm, MIGIS Type 928 variation, 2.15g.
Obv: Standard, topped by aśrivatsa hypertext topping the standard (Yūpa) and hindpart of elephant's
head/trunk and forepart of a leaping lion (tiger) below it, in an ornamental railing. karibha, ibha 'elephant
trunk, elephant' rebus: karba, ib 'iron'; ibbo 'merchant'. kola 'tiger' rebus: kol 'working in
iron', kolhe 'smelter', kolle 'blacksmith'. ḍambaru, ḍammaru ʻ tiger's cub ʼrebus: ḍamaru 'drum, vajra'.
Three ḍamaru-shaped or hour-glass shaped vajra-s are shown in a cartouche below

the yūpa on the coin. Normally Vajrapāṇi is shown such a vajra which has octagonal edges. kolom 'three'
rebus: kolimi, kole.l 'smithy, forge' kole.l 'temple'. On the British Museum coin, therailing is like a rectangle
with divisions: khaṇḍa 'divisions' rebus: kaṇḍa 'equipment'.
P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ,
S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ(CDIAL 4271)
Kur. goṭā any seed which forms inside a fruit or shell. Malt. goṭa a seed or berry(DEDR 069) N. goṭo ʻ piece
ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ;
B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, M. goṭā m. ʻ roundish stone ʼ (CDIAL 4271)
<gOTa>(P) {ADJ} ``^whole''. {SX} ``^numeral întensive suffix''. *Kh., Sa., Mu., Ho<goTA>,B.<goTa>
ùndivided'; Kh.<goThaG>(P), Sa.<goTAG>,~<gOTe'j>, Mu.<goTo>; Sad.<goT>, O., Bh.<goTa>;
cf.Ju.<goTo> `piece', O.<goTa> òne'. %11811. #11721. <goTa>(BD) {NI} ``the ^whole''. *@. #10971.
(Munda etyma)
Rebus: <gota> {N} ``^stone''. @3014. #10171. Note: The stone may be gota, laterite mineral ore
stone. khoṭ m. ʻbase, alloyʼ (Punjabi) Rebus: koṭe ‘forging (metal)(Mu.) Rebus: goṭī f. ʻlump of silver' (G.)
goṭi = silver (G.) koḍ ‘workshop’ (Gujarati).
Indra with Vajra

Khmer style, NE-Thailand, That Phanom Rung Temple, 12th century, Buriram Province, Worship of Śiva.
65
Vajra and bell, bronze, Angkor Wat style, 12th century.
Source: Maha Viravong National Museum, Khorat, Isan, NE-Thailand Khmer Empire
Vajrasatva with vajra

Khmer style, NE-Thailand
13th century,
Vajrayana, Tantric
Buddhism,
Phimai Museum, Thailand.
India
"Seated Buddha and Attendants. Vajrapani. Ca. 2nd–3rd century A.D., Kushan period, section from a
Frieze. India (Uttar Pradesh, Mathura). Gupta Period 6th century."
"Description: The Buddha was portrayed in human form for the first time during the Kushan period. The
central image of this frieze, an element from a lost ensemble, shows him in a typical pose and format for
66
the period, seated with attendants at his side holding fly whisks. They are flanked on the right by the
bodhisattva Maitreya, standing on a plinth holding a water bottle, and on the left by a crowned figure who
may be the bodhisattva Avalokiteshvara. These two bodhisattvas are also traditional attendants of the
Buddha. Further to the right stand a group of men, women, and a child paying homage to a seated figure,
who can be provisionally identified by the double vajra (thunderbolt sceptre) he holds in his right hand as
the bodhisattva Vajrapani, a deity also frequently associated with the Buddha. Another possibility is that
this seated figure is the god Indra, who similarly attends the Buddha." Source: Collection of Metropolitan
Museum of Art, New York.Authors comment: The dating is confusing: 2nd-3rd or 6th century. If 2nd-3rd
century, then the frieze is the oldest piece of art from India depicting a vajra.
Vajrapani - India, Gupta Period 6th century

(collection of Metropolitan Museum of Art, New
York)
Ritual Implements in Tibetan Buddhism: A Symbolic Appraisal
"Rites and rituals are an essential part of Tibetan religion and reflect its practical side. Not restricted to
temples alone, they are performed in a variety of places and circumstances, for a myriad of purposes. Daily
ceremonies are conducted in temples, although they are perhaps not so elaborate as those that take place in
Hindu temples in India and Nepal. Throughout the year, too, special rituals are performed to propitiate
deities, to precipitate rain, to avert hailstorms, diseases, and death, to ensure good harvests, to exorcise
demons and evil spirits, and of course to destroy the passions of the mind and, ultimately, the ego. All these
practices-whether occult, magical, or shamanistic, require various implements which are as important as the
images of the deities in whose service they are employed. Each such object is pregnant with symbolic
meaning and is frequently imbued with magical power and potency.
Some of the important ritual implements are:
The Vajra or Thunderbolt, also known in Tibetan as dorje.

The Bell, known in Sanskrit as the Ghanta, and in Tibetan as dril bu.
67
The Phurpa (Ritual Dagger).
The Skull Cup, known as kapala in Sanskrit.
The Curved Knife or Chopper.
The Vajra
The Vajra is the quintessential symbol of Vajrayana Buddhism, which derives its name from the vajra
itself. The Sanskrit term vajra means 'the hard or mighty one', and its Tibetan equivalent dorje means an
indestructible hardness and brilliance like the diamond, which cannot be cut or broken. The vajra essentially
symbolizes the impenetrable, immovable, immutable, indivisible, and indestructible state of enlightenment
or Buddhahood.
The form of the vajra as a sceptre or a weapon appears to have its origin in the single or double trident,
which arose as a symbol of the thunderbolt or lightning in many ancient civilizations of the Near and Middle
East. Parallels are postulated with the meteoric hammer of the Teutonic sky-god Thor, the thunderbolt and
sceptre of the Greek sky-god Zeus, and the three thunderbolts of the Roman god Jupiter. As a hurled weapon
the indestructible thunderbolt blazed like a meteoric fireball across the heavens, in a maelstrom of thunder,
fire and lightning.
In ancient India, the vajra, as a thunderbolt, became the chief weapon of the Vedic sky-god Indra. It
controlled the forces of thunder and lightning, breaking open the monsoon storm clouds, bringing the
welcome rains to the parched plains of an Indian summer. According to legend, Indra's thunderbolt was
fashioned from the bones of the great Rishi Dadhichi, who was decapitated by Indra in sacrifice. Dadhichi's
'indestructible' skull-bones gave Indra the most powerful of weapons. By its energy he slew innumerable of
his enemy demons. In mythological descriptions, Indra's thunderbolt or vajra is shaped either like a circular
discus with a hole at its center, or in the form of a cross with transverse bladed bars. The Rigveda, the most
ancient text in the world, identifies the vajra as a notched metal club with a thousand prongs. What is
significant is that all these descriptions identify the vajra as having open prongs, unlike the Buddhist one,
which has closed prongs. According to a Buddhist legend, Shakyamuni took the vajra weapon from Indra
and forced its wrathful open prongs together, thus forming a peaceful Buddhist sceptre with closed prongs.
The Buddhist vajra hence absorbed the unbreakable and indestructible power of the thunderbolt.
The Buddhist vajra may be represented with one to nine prongs. It is designed with a central shaft that is
pointed at each end. The middle section consists of two lotuses from which may spring, at each end, for
example, six prongs of the dorje. Together with the projecting and pointed central shaft, each end thus
becomes seven pronged. The outside six prongs face inwards towards the central prong. Each of these
outside prongs arise from the heads of makaras (mythical crocodiles), which face outwards. The mouths of
the makaras are wide open and the prongs emanate from the mouth like tongues of flame.
The vajra is generally two-sided but the vishvavajra or the double thunderbolt has four heads representing
the four dhyani Buddhas of the four directions namely, Amoghasiddhi for north, Akshobhya, who presides
over the east, Ratnasambhava, lord of the south, and Amitabha who reigns over the west. It is the emblem of
the crossed vajra that is inscribed upon the metal base that is used to seal deity statues after they have been
consecrated.
The vajra is indeed the most important ritual implement and symbol of Vajrayana Buddhism. It is so
important that many of the Vajrayana deities have the word vajra prefixed to their names, two of them being
Vajradhara and Vajrasattva.
When used in ritual, the vajra is paired with the bell. It represents the masculine principle and is held in
the right hand, the bell, held in the left hand, represents the female principle. More on this follows.
68
The Bell
The bell is the most common and indispensable musical instrument in tantric Buddhist ritual. Gods and
apotheosized lamas alike hold this popular symbol, along with the thunderbolt in their hands. The bell has an
elemental function and its sound, like those made by the trumpet and the drum, is regarded as auspicious; it
is said to drive away evil spirits. Like the church bell, the Buddhist hand bell sends the message to evil
spirits that they must stay away from the consecrated area where the ritual is being performed.
As already mentioned, in ritual the bell is paired with the vajra. The vajra represents the compassion of
the Buddha, the masculine principle; and the bell represents wisdom, the female principle. To achieve
enlightenment, those two principles must be combined. The bell is visualized as the Buddha's body, the vajra
is visualized as his mind, and the sound of the bell is visualized as Buddha's speech in teaching of the
dharma.
The use of the bell and vajra differs according to the ritual performed or the sadhana chanted. The vajra
can be used for visualization or evocation of deities; ringing the bell can be used to request protection or
other actions from a deity, or it can represent the teaching of dharma, and can also be a sound offering. As
one example of their use, during meditation on the deity Vajrasattva, the vajra is placed on the chest of the
practitioner, meaning that Vajrasattva is brought to the meditator, and they become one and inseparable.
Ringing the bell then represents the sound of Buddha teaching the dharma and symbolizes the attainment of
wisdom and the understanding of emptiness.
While chanting, the vajra is held in the right hand, which faces down, and the bell is held in the left hand,
which usually faces up, and they are moved in graceful gestures. Sometimes the hands are held with the
wrists crossed over each other, against the chest. This represents the union of the male and female
principles."
Part of Ritual Implements in Tibetan Buddhism: A Symbolic Appraisal is written by by Nitin
Kumar in Exotic India Art, June 2001. See the whole article with images.
http://www.sundial.thai-isan-lao.com/
Asger Mollerup - October 2002
Tibet
69
Pre-Buddhist carvings with subsequent carvings of 3 vajras on the same rock. Upper Tibet.
Age unknown. Courtesy of Images of Lost Civilizations by John Vincent Bellezza.
Vajra (dorje), bronze, 13 cm, Tibet. Source: Art Asia Gallery
Vajra (dorje) and bell (ghanta), 15th century, Tibet, Source: Jewel of the Lotus Artgallery
70
Vajradhara holding a vajra, 15th century, Tibet. Source: Jewel of the Lotus Artgallery
Japan
These ritual objects "were modelled after those brought back

from China by Kukai and Saicho. These are metalwork objects that
were made in Japan between the Heian Period and the Kamakura
Periods (9th-14th Centuries) and have been used through the ages
in various Esoteric Buddhist temples throughout Japan.
One kind of ritual object is the Kongo vajra (meaning
thunderbolt), which often has sharp, dagger-like prongs. Kongo
vajra can have one, three, five, or more prongs on each end. Some
have Buddhist jewel designs."
Five-pronged Kongo Bell

Five-pronged Kongo Vajra, Heian Period, 12th Century (Private China, Tang Dynasty,
Collection).Source: Kyoto National Museum, where more samples 9th Century
are shown. (Kyo'ogokoku-ji Temple)
71
China
Gyanyin - Liao Dynasty (916-1125) Northern Shanxi or Hebei Province

Chinese Vajrapani holding the vajra in one of the right arms.
Metropolitan Museum of Art, New York.
Vajra, Ming Dynasty, age unknown.
72
Nepal
Vajra at Swayambhunath Stupa,

Nepal.Courtecy to Online Exhibit of Drilbu
(Ghanta, Bell) & Dorje (Vajra) by Dante
Rosati, who is maintaining a very extensive
web-site about the Vajra.
Korea
73
Above:
Vajra from Korea,
Koryo Dynasty (918-1392)
Left:
Bell from Korea,
Koryo Dynasty (918-1392)
Courtecy to Online Exhibit of Drilbu (Ghanta, Bell)

& Dorje (Vajra) by Dante Rosati
Java
Vajra from Central or Eastern Java c. 10th cent., Metropolitan Museum of Art, N.Y.
74
Left:
Bell from Eastern Java, 13th-14th Century,
Metropolitan Museum of Art, New York
Gold ring with vajra, Java - 8th-10th century,

Metropolitan Museum of Art, New York
Vietnam (Cham Empire)
Single-pronged Kongo Vajra, Kamakura Period, 13th Century, Shoshuraigo-ji Temple.
The vajra in the hand of the Cham Vajrapani above looks quite similar to the Kongo Vajra, which is
made in Japan between the Heian Period and the Kamakura Periods (9th-14th Centuries) and has been used
through the ages in various Esoteric Buddhist temples throughout Japan.
Source: Kyoto National Museum.
75
Vajrapani, Vietnam; Cham Period, 8th Century AD, bronze, height: 33 cm.
Source: Alexander Götz Gallery.
Cambodia
Vajra, 12th-13th Century AD, dimensions: 19.4cm

Source: Barakat GalleryIndra with vajra, Banteay
Srey, Cambodia, 967 A.D.
76
Vajra from the 13th century from the Khmer Empire, bronze, 14.5 cm, (Jewel of the Lotus Art Gallery).
Hevajra
Vajrasatva with vajra, 11th century, Khmer, bronze, 11.4 cm.

Source: 33dynasties.com Art Gallery
77
Four-headed Vajrasattva
(Bayon style?), Khmer, 12 th- 13 th
century A.D., bronze, height: 12 cm
Source: Theresa McCullough
GalleryVajrasattva with vajra and
bell, Khmer, Angkor Wat era,
12th-13th century A.D., height: 21 cm
Source: Barakat Gallery
Left: Hevajra with Vishnu and GarudaAngkor period, Bayon style, 13th century, bronze,
height: 23.5 cm."This bronze is extremely unusual, as it comprises two separate figures joined
together, possibly in an attempt to reinforce the supremacy of Buddhism over Hinduism. The
base of the image is a finial depicting Vishnu on Garuda atop nagas with two apsara either
side emerging from behind a mythical bird. Inserted into the top is a bronze which appears to
be two Hevajra figures joined back to back, with two sets of arms, front and back, and ten
heads. It is possibly two separate finial pieces joined together to form a new iconic type."
Source: Theresa McCullough Gallery
78
Hevajra, 12-13th cent., Bayon style, Khmer, 19.5 cm Hevajra, Shakya type, Tibet, 2002, copper, Tibet Shop
"A bronze figure of Hevajra; with eight heads in three registers; dancing on a recumbent figure with grooved
lines on a double base; his sixteen hands holding his attributes; a large ‘butterfly' at the back of his sampot.
Hevajra is the principle deity on the Tantric path to Enlightenment. He is described in the Hevajratantra, which
lists his attributes and other characteristics. Of his dancing the Hevajratantra says: "He is possessed of the nine
emotions of dancing: passion, heroism, loathsomeness, horror, mirth, frightfulness, compassion, wonderment and
tranquillity".
His hands hold the following attributes: (right, bottom to top) elephant, horse, ass or dog, camel, human being,
sarabha (a fantastic beast), and a cat; (left) a number of figures representing the personifications of the four
elements, the sun and moon and wealth and death. All sixteen attributes sit in cups made of skulls.
The grooves on the recumbent figure, who represents evil preventing enlightenment, indicate that multiple
figures, the four Mara, are represented; similarly, Hevajra's legs are grooved indicating that he has four legs.
The topmost head and the four heads of the central register represent the five Jina; the three lower heads
represent Buddha, Lokesvara and Vajrapani." Source: Michael & Henrietta Spink Oriental Antiquities
Surasena Janapada
Surasena janapada, Silver 1/2 karshapana, c. 4th Century BCE

Weight: 1.76 gm. Dimensions: 11 x 8 mm Die axis: n.a.
Stylized fish over stylized lion right, ancillary symbols at right /
Blank
Reference: Rajgor --- (unlisted), van't Haaff --- (unlisted), Tandon new type B
79
The Surasena janapada was located in western Uttar Pradesh, with its capital at Mathura. The usual coins
from Surasena feature what appear to be a "fish" over a "lion," with added taurines, crescents and dots.
Mitchiner assigned these coins to the Avanti janapada, but Rajgor and van't Haaff assign them to Surasena.
This coin is a new type not seen in any of the previous catalogues. Eye copy of the design is at left. What is
most interesting about this coin is that it features an elephant as an auxiliary symbol; there were no animals
in the auxiliary symbols catalogued by van't Haaff. Click on the thumbnail at left to see an enlargement of
the elephant.
Decipherment of Indus Script hypertexts on Surasena Punchmarked coin.

1. Fish and fish-fin: khambhaṛā 'fin' rebus: kammaṭa 'coiner, coinage, mint' aya 'fish' rebus: aya 'iron' ayas '
alloy metal'
2. Tiger: kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'
3. Elephant: karibha, ibha, 'elephant' rebus; karba, ib 'iron' ibbo 'merchant'
4. Pair of fish-fins over oval: pola 'zebu, bos indicus' rebus: pola 'magnetite, ferrite ore' PLUS dula 'pair'
rebus: dul 'metal casting' PLUS gota 'round pebble, stone' rebus: goti 'silver' PLUS khambhaṛā 'fin'
rebus: kammaṭa 'coiner, coinage, mint' aya 'fish' rebus: aya 'iron' ayas ' alloy metal'
The square symbol signifies mudra, 'coin'.
The Surasena janapada was located in western Uttar Pradesh, with its capital at Mathura. The usual coins
from Surasena feature what appear to be a "fish" over a "lion," with added taurines, crescents and dots.
Mitchiner assigned these coins to the Avanti janapada, but Rajgor assigns them to Surasena.
Illustrated below is a parcel or "hoard" of 70 Surasena coins reportedly found in Mathura and including the
first two known Surasena coins featuring animals amongst the ancillary symbols. Thanks are due to Anne
van't Haaff for his help in attributing the coins. This parcel of coins was the subject of a short paper in the
Spring 2016 issue of the Journal of the Oriental Numismatic Society.
Silver 1/2 karshapana

c. 400-350 BCE
Weight: 1.69 gm., Dimensions: 7 x 12 mm.
Fish over lion right /
blank
Ref: van't Haaff type 1, Rajgor, 1192-94
Silver 1/2 karshapana
c. 400-350 BCE
Weight: 1.80 gm., Dimensions; 9 x 10 mm.
Fish over lion left /
blank
Ref: van't Haaff type 2, Rajgor ---
80
Note that the fish and lion face left in this rare coin. This configuration is
not reported by Mitchiner or Rajgor, but is included in van't Haaff's
catalogue of Surasena coins.
A Hoard or Parcel of Coins from Mathura

1. Silver 1/2 karshapana
c. 400-350 BCE
Ref: van't Haaff 1.2
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
81
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
82
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
83
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
Weight: 1.51 gm., Dimensions: 12.5 x 9 mm.
c. 400-350 BCE
c. 400-350 BCE
Weight: 1.73 gm., Dimensions: 10 x 8.5 mm.
c. 400-350 BCE
c. 400-350 BCE
Ref: van't Haaff 1.29.4
c. 400-350 BCE
c. 400-350 BCE
84
c. 400-350 BCE
c. 400-350 BCE
Ref: van't Haaff ---
This coin is a new type, not included in van't Haaff's catalogur. It is similar to his
type 1.29.10 (previous two coins), but the vase symbol on that coin has been
replaced here by a drum (van't Haaff's symbol GA 8.1). Eye copy of the design is
at left. The coin was not included in the paper on the hoard, as its uniqueness had
not been recognized at first.

c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
Ref: van't Haaff ---, Tandon new type A
85
This coin, and the next four, are all examples of a new type not seen in any of the
previous catalogues. Eye copy of the design is at left.

c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
Ref: van't Haaff ---, Tandon new type B
This coin is another new type not seen in any of the previous catalogues. Eye
copy of the design is at left. What is most interesting about this coin is that it
features an elephant as an auxiliary symbol; there were no animals in the
auxiliary symbols catalogued by van't Haaff. Click on the thumbnail at left
to see an enlargement of the elephant.

c. 400-350 BCE
Ref: van't Haaff ---, Tandon new type C
Another new type not seen in any of the previous catalogues. Eye copy of the
design is at left. This coin features a bull as an auxiliary symbol; click on the
thumbnail at left to see an enlargement of the bull.
86
c. 400-350 BCE
Ref: van't Haaff 1.?
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
c. 400-350 BCE
Ref: van't Haaff ?
c. 400-350 BCE
Only three coins in the hoard (this and the next two) were of van't Haaff's Type
2, with the left-facing fish and lion, pointing out the rarity of this type compared
to Type 1.
c. 400-350 BCE
c. 400-350 BCE
87
c. 400-350 BCE
Ref: van't Haaff 1.18 / 2.2
The last coin is an interesting overstrike which features type
1.18 on one side and type 2.2 on the other.
Although both punches look quite fresh,
the reverse punch of type 2.2 seems to be somewhat flatter and
therefore is likely to have been punched first.
Whether this says anything about the relative chronology of
types 1 and 2 is difficult to say, but it is suggestive of at least
this version of type 1.18 succeeding a type 2.2.
http://coinindia.com/galleries-surasena.html
Section: Caṣāla, 'snout of Varāha', vajra on Yūpa signify Bhāratīya Itihāsa wealth proclamations, Indus
Script hypertexts
Copper-plated flagpost of Girsu, 3rd millennium BCE
Girsu (Tlloh) archaeological find. 11 ft. tall copper plated flagpost. This may relate to a period when Girsu
(ca. 2900-2335 BCE) was the capital of Lagash at the time of Gudea."It was constructed of a tubular
wooden core with copper plate around that and bitumen acting as a sealant and adhesive, they seen to have
laid the upper length alongside the lower to include all in frame, but also lain what looks like a metallic strip
alongside which would seemingly have been related, there may also be copper cable emerging from the
base. "
http://www.abovetopsecret.com/forum/thread1079637/pg1
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The 11 feet-tall copper-plated post was discovered in Girsu, capital of Gudea's Lagash. This is a ketu,
'ensign' to proclaim the metalwork goods made by artisans.
Such posts are signified on Ancient Near East cylinder seals.
The post with the ring signifies entrance to a mint. கண்வட்டம் kaṇ-vaṭṭam , n. < id. +. 1. Range of
vision, eye-sweep, full reach of one's observation; கண்பாை்டவக்குட்பட்ட இடம் . தங் கள்
கண்வட்டத்திலல உண்டுடுத்துத்திைிகிற (ஈடு, 3, 5, 2). 2. Mint;நாணயசாடல.
கண்வட்டக்கள் ளன் (ஈடு.).The flagpost is topped by vajra (hour-glass shape to signify metalwork
production of weapons). Safflowers flank the doorway: karaḍā 'safflower'.करडी [ karaḍī ] id.
rebus: kaaraḍā 'hard alloy' (Marathi)
Lagash is an ancient city located northwest of the junction of the Euphrates and Tigris rivers and east of
Uruk, about 22 kilometres (14 mi)
east of the modern town of Ash Shatrah, Iraq.
89
Sculptural steatite fragment shows Goddess Nisaba with an inscription of Entemena, ruler of Lagash 2430
BCE
Vorderasiatisches Museum Berlin Museum of Ancient Near East (Berlin ).
The goddess has a crown, pigtails and wings.
The crown is formed from twin horns and a portion which may indicate a form of jesters hat - cap and bells.
Eannatum: The First Conqueror? Part II

The city of Lagash was located northwest of the junction of the Euphrates and Tigris rivers and east of the
city Uruk. Lagash was a fertile area, with irrigation canals feeding its crops via the Shatt al-Gharraf channel
that filtered in water from the rivers. Lagash grew bountiful crops due to fertile land and its location made it
a prime economic powerhouse when it came to commerce, all due to the waterways. Commercial
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competition with other city-states was healthy. However, like all city-states, there comes a time when
hostility rises and the need to settle disputes requires war.
Fragment of Eannatum’s Stele of the Vultures (Sting/CC BY-SA 3.0)
Eannatum’s tour of Elam, Urua, and Umma paid off. He controlled provinces and regions rich with
resources. He had metal to produce weapons and fertile fields to grow food—both of which were used to
feed and arm his forces. Eannatum was far from finished. With an increase in resource-rich lands came an
increase in manpower to replenish and increase the size of his ranks. Eannatum was drunk with power and
looked west to quench his thirst.
With Eannatum’s eastern flank secured, the west was ripe for the taking.
Nidaba or AN.SE.NAGA is a scribe divinity. She has in her quivers shown over the shoulders, writing stylii.
The Meluhha word for a stylus is ib 'needle, stylus.' Hieroglyphs to signify ib is: ibha 'elepphant'. In ancient
Indian tradition, the cobra hood is associated with the written registers of account of public offices. Cobra
hood is the semantic determinative of the sculptural frieze on Gudea
cup: phaḍā, paṭam, 'cobra hood',Rebus:phaḍa फड ‘metals manufactory, company, guild, public office’,
keeper of all accounts, registers; paṭṭaḍe 'smithy, forge, workshop'
Goddess Nisaba with an inscription of Entemena, ruler of Lagash (2430 BC) (CC BY-SA 3.0) A fragment of
a vase with a depiction of the goddess Nisaba (also Ninibgal or Nidaba), goddess of writing, learning, and
the harvest. The cuneiform inscription on the vase mentions the name of Entemena, ruler of Lagash.
Chlorite. From Mesopotamia (modern-day Iraq); location and date of excavation are unknown. 2430 BCE.
(The Pergamon Museum, Berlin). https://www.ancient.eu/image/3093/
See: http://www.piney.com/BabUmmLag.html
Nisaba (also Naga, Se-Naga, Nissaba, Nidaba, and associated with Nanibgal) is the Sumerian goddess
of writing, accounts, and scribe of the gods. https://www.ancient.eu/Nisaba/
Nisaba is also Naga, Se-Naga
"Nidaba or Nisaba (Sumerian: 𒀭𒀭 DNAGA; later 𒀭𒀭𒀭 D ŠE.NAGA),[1] also known by
the epithet Nanibgal (Sumerian: 𒀭𒀭𒀭 D AN.NAGA; later 𒀭𒀭𒀭𒀭 D AN.ŠE.NAGA)[1] was
the Sumerian goddess of writing, learning, and the harvest. Her sanctuaries were E-zagin at Eresh and
at Umma. ...As the goddess of writing and teaching, she was often praised by Sumerian scribes. Many clay-
tablets end with the phrase “Nisaba be praised” (Sumerian: 𒀭𒀭𒀭𒀭AN.NAGA.ZAG.SAL; D nisaba za-
mi)[1] to honor the goddess. She is considered the teacher of both mortal scribes and other divine deities. In
the Babylonian period, she was replaced by the god Nabu, who took over her functions. In some instances,
Nisaba was his instructor or wife before he replaced
her." https://www.revolvy.com/main/index.php?s=Nisaba&item_type=topic
नाग f(आ and ई). N. of sev. women Ra1jat.; (f. /ई Suparn2. ) a नाग or serpent-demon (the race of कद्रु or सु -
रसा inhabiting the waters or the city र्ोग-वती under the earth ; they are supposed to have a human face with
serpent-like lower extremities [see esp. Na1g. v , 17 RTL. 233 &c ] ; their kings are शेष , वासुर्क ,
and तक्षक ib. 323 ; 7 or 8 of the नागs are particularly mentioned MBh. Ka1v. &c ; with Buddhists they are
also represented as ordinary men MWB. 220) (Monier-Williams)
91
Lugal-kisal-si, king of Uruk
92
Copper spearhead from lance, engraved with the image of a lion and inscribed ‘Lugal… King of Kish’.
Between 2800 and 2600 BCE. (CC BY-ND 2.0) http://www.camrea.org/tag/umma/
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Two types of flagposts are seen in some Ancient Near East artifacts in the context of metalwork: 1. reedpost
with scarf; and 2. reedpost with ring.
Hieroglyph: Ta. eruvai European bamboo reed; a species of Cyperus; straight sedge tuber. Ma. eruva a kind
of grass.(DEDR 819) Rebus: Ta. eruvai blood, (?) copper. Ka. ere a dark-red or dark-brown colour, a dark or
dusky colour (DEDR 817)
The reedpost with scarf occurs in a pair: dula 'pair' Rebus: dul 'cast metal' and denotes the warehouse which
receives ingots of cast metal.
The reedpost with ring occurs on a jasper cylinder seal with four holders of four reedposts. The holders have
six locks of hair as semantic determinatives. Hieroglyph: पेंडें [ pēṇḍēṃ ] n (पेड) A loop or ring.Rebus: पेठ
or पेंठ (p. 527) [ pēṭha or pēṇṭha ] f ( H) A manufacturing or trading town, an emporium, a mart: also a
markettown. pēṭhpēṭaka 'caravanserai'. The hieroglyph multiplexed signify a caravensarai from a trading
emporium or trading town of copper, metal implements and products from smithy/forge.
Hieroglyph: baTa 'six' Rebus: bhaTa 'furnace'.
Hieroglyph: मेढा (p. 665) [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi.
Molesworth)Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.). Thus the hieroglyph multiplex signifies iron furnace.
On the jasper cylinder seal the four reedpost holders (with six hair curls) are signified by semantic
determinatives of four hieroglyphs: 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot
with overflowing water, 4. fish
A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics:
eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.
1. Hieroglyph: OP. koṭhārī f. ʻ crucible ʼ(CDIAL 3546) Rebus: koṭhār 'treasury, warehouse'
2. Hieroglyph: arka 'sun' (Kannada) Rebus: arka, eraka 'copper'
3. Hieroglyph: overflowing pot: lokhaNDa 'overflowing pot' Rebus: lokhANDa 'metalware, pots and pans of
metal, metal implements'
4. Hieroglyph: aya 'fish' Rebus: aya 'iron' ayas 'metal' (Rigveda)
Thus, the four holders of four reedposts with attached ring display metalwork of a smithy/forge announcing
metal imlements, iron, copper and iron.
On many hierolyph multiplexes, water-buffalo (rã̄go) is associated with kANDa 'overflowing water'. The
rebus renderings are: rāṅgā khaNDA 'zinc alloy implements'. The semantics of khaNDa 'implements' is
attested in Santali: me~r.he~t khaNDa 'iron implements'.
Santali glosses
A lexicon suggests the semantics of Panini's compound अयस् --काण्ड [p= 85,1] m. n. " a quantity of iron " or
" excellent iron " , (g. कस्का*र्द q.v.)( Pa1n2. 8-3 , 48)(Monier-Williams).
From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in Samskritam should
have referred to 'implements'. Indus Script hieroglyphs as hypertext components to signify kANDa
'implements' are: kANTa, 'overflowing water' kANDa, 'arrow' gaNDa, 'four short circumscript strokes'.
94
An archaeological find of a 11 ft. tall copper plated flagpost from Girsu (Telloh) may be compared with a
standard of Mari (of shorter length)
On this cylinder seal, the

flagposts with rings are shown together with hieroglyphs of: a person carrying an antelope (like the
hioeroglyph shown on Shu-ilishu Meluhha translator cylinder seal), overflowing water, fishes, crucible,
mountain range, sun (Source: http://enenuru.net/html/gal/urukprocexpl.htm)
The context of metalwork is seen from the 'scarf' hieroglyph: dhatu 'scarf' Rebus: dhatu 'mineral'.
The context of a smithy/forge is seen from the 'ring' hieroglyph: koṭiyum [koṭ, koṭī neck] a wooden circle
put round the neck of an animal (Gujarati) Rebus: ācāri koṭṭya = forge, kammārasāle (Tulu)
A soldier and a Mari dignitary who carries the standard of Mari. Detail
of a victory parade, from the Ishtar temple, Mari, Syria. 2400 BCE Schist panel inlaid with mother of pearl
plaques. Louvre Museum.
95
One reedpost has a 'scarf' hieroglyph ligatured at the top (the context of metalwork is seen
from a 'fish' hieroglyph: aya 'fish' Rebus: aya 'metal'). This reedost is seen on Warka vase. Another reedpost
has a 'ring' hieroglyph ligatured at the top. This flagpost is seen on a jasper cylinder seal.
Such a flagpost is seen on a Gudea cup, held by Mus-hussu

(dragon):
Cobra hood is the semantic determinative of the sculptural frieze on Gudea cup:.
phaḍā, paṭam, 'cobra hood',Rebus:phaḍa फड ‘metals manufactory, company, guild, public office’, keeper
of all accounts, registers; paṭṭaḍe 'smithy, forge, workshop'
The flagpost has, on the top register, two signifiers: 1. semicircular ring; 2. A turban-like cakra, caṣāla tops
the post.
96
Semi-circular ring is: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ] Pa. kaṇṇaka --
ʻ having ears or corners ʼ; Wg. kaṇə ʻ ear -- ring ʼ NTS xvii 266; S. kano m. ʻ rim, border ʼ; P. kannā m. ʻ
obtuse angle of a kite ʼ (→ H. kannā m. ʻ edge, rim, handle ʼ); N. kānu ʻ end of a rope for supporting a
burden ʼ; B. kāṇā ʻ brim of a cup ʼ, G. kānɔ m.; M. kānā m. ʻ touch -- hole of a gun ʼ.(CDIAL
(2831)Rebus: 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) कर्णिक 'a
steersman'; karṇī 'Supercargo, a representative of the ship's owner on board a merchant ship, responsible, for
overseeing the cargo and its sale'.
The semi-circular ring also signifies a pēṇḍh, 'metal ring', rebus: pēḍhī 'a shop': Hieroglyph: पेढी (p. 301)
pēḍhī f (पीठ S) A raised place upon a floor &c. as a seat or to place an idol or dishes upon. 2 The seat or
stand of a shroff. 3 (Gujaráthí word.) A shop. पें ढें (p. 301) pēṇḍhēṃ n Weaver's term. A cord-loop or metal
ring (as attached to the गुलडा of the बैली and to certain other fixtures). The two at the ends of गुलडा receive
the ends of the सुतारा, and thus support it as the antagonist bar to गुलडा. 2 The loop connecting the ढें कणी &
विी. Rebus: पेठ or पेंठ (p. 301) pēṭha or pēṇṭha f ( H) A manufacturing or trading town, an emporium, a
mart: also a markettown. 2 A place of sale or traffic; any particular market (as for cloth, grain &c.); a long
street of shops in a city. 3 A region or large division of a city (as the पेठ of Poona &c.) 4 Market intelligence
or banker's intelligence; accounts of rates, risings and fallings &c. v ये . Hence 5 Private or general
intelligence or tidings. 6 Marketrate. Ex. पेंठ उतरली; पेंठ चढली. 7 The town belonging to a fort. 8 A banker's
letter of advice. 9 A renewed or replacing हां डी. पे ठ नसावी िो Mind this is not to go into the Gazette; this is to
be inter nos. (There is to be no copy taken of it.) पे ठ लागली (बोलण्याची &c.) The saying is got abroad. (A
copy has been taken of it.)
In Veda tradition, caṣāla is like a haystack (ḍamaru- shape or hour-glass shape) constructed
using gaudhūma, wheal chaff. This gets elaborated in iconography as dhammacakka 'wheel of dharma'
or vajra, Indra's thunderbolt weapon.
Four Flagposts of similar shape are shown a Jasper Cylinder seal.

The message of the seal is a proclamation for sale of metalware products from phaḍa फड ‘metals
manufactory'.
Four blacksmiths with furnaces proclaim four products made by the metals manufactory guild r.: 1.alloy
metals from mint; 2. metal implements; 3. copper metal castings; 4. blacksmithy forged metalware
Cylinder seal with

kneeling nude heroes, ca. 2220–2159BCE.; Akkadian
Mesopotamia
97
Red jasper; H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm)
Anonymous Loan (L.1992.23.5)
Cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding
flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern
impression).
Cobra hood is he signifier of the fundamental

message: phaḍā, paṭam, 'cobra hood',Rebus: phaḍa फड ‘metals manufactory, company, guild, public
office’, keeper of all accounts, registers; paṭṭaḍe 'smithy, forge, workshop'
Each of the four flagposts is toppd by a vajra, caṣāla which is of crucial significance in a Soma yajña, with
descriptors of carburization, infusion of carbon, to harden metals in furnaces. Thus, carbon enters iron to
produce hard alloy of steel.
The four persons (kamar) may be recognized as soldiers based on the Pashto gloss: kamar kīsaʿh, s.f. (3rd)
A waist-belt with powder horn, and other furniture for a soldier.
The kamar is semantically reinforced by orthographic determinative of six curls of hair: baṭa 'six'
Rebus: bhaṭa 'furnace' PLUS meḍh 'curl' Rebus: meḍ 'iron' to indicate that the message conveyed is of four
smelters for iron (metal).
The four hieroglyphs are: from l. to r. 1. moon PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot
with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of
jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.
The four posts held on this jasper cylinder seal compares with similar posts shown on some other cylinder
seals. They may
signify: पेंढें ‘rings’ Rebus: पेढी ‘shop’.phaḍā, paṭam, 'cobra hood',Rebus:phaḍa फड ‘manufactory,
company, guild, public office’, keeper of all accounts, registers; paṭṭaḍe 'smithy, forge, workshop'
kamar 'moon' Rebus: kamar 'blacksmith'

arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'
lokāṇḍa 'overflowing pot' Rebus: lokhaṇḍa 'metal implements, excellent implements'
aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'alloy metal' (Rigveda)
baṭa 'six' Rebus: bhaṭa 'furnace' PLUS meḍh 'curl' Rebus: meḍ 'iron'
The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot
with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of
jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held.
koṭhāri 'crucible' Rebus: koṭhāri 'treasurer, warehouse'
If the hieroglyph on the leftmost is moon, a possible rebus reading: ‫ قمر‬ḳamar

A ‫ قمر‬ḳamar, s.m. (9th) The moon. Sing. and Pl. See ‫ سپوږمي‬or ‫( سپوګمي‬Pashto) Rebus: kamar 'blacksmith'
http://bharatkalyan97.blogspot.in/2015/08/indus-script-hieroglyphs-signify-dhatu.html
See:
Indus Script hieroglyph readings on Jasper Akkadian cylinder seal ca. 2220-2159 BCE REVISED:
metalwork catalogue http://tinyurl.com/oxv2jne
98
The leftmost hieroglyph shows ingots in a conical-bottom storage jar (similar to the jar shown on Warka
vase (See Annex: Warka vase), delivering the ingots to the temple of Inanna). Third from left, the
overflowing pot is similar to the hieroglyph shown on Gudea statues. Fourth from left, the fish hieroglyph is
similar to the one shown on a Susa pot containing metal tools and weapons. (See Susa pot hieroglyphs of
bird and fish: Louvre Museum) Hieroglyph: meṇḍā ʻlump, clotʼ (Oriya).
On mED 'copper' in Eurasian languages:
Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian
link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM,
George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-
Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some
Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified
by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be
explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. mE~R~hE~'d ìron'. ! mE~RhE~d(M).
Ma. mErhE'd ìron'.
Mu. mERE'd ìron'.
~ mE~R~E~'d ìron'. ! mENhEd(M).
Ho meD ìron'.
Bj. merhd(Hunter) ìron'.
KW mENhEd
@(V168,M080)
http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda
— Slavic glosses for 'copper'
99
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
http://www.vanderkrogt.net/elements/element.php?sym=Cu
Miedź, med' (Northern Slavic, Altaic) 'copper'.
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith
(of tin, gold, silver, or other metal)(German) result in med ‘copper’.
Four flag-posts(reeds) with rings on top held by the kneeling persons define the four components of the
iron smithy/forge.
Hieroglyph: staff: మేడెము [ mēḍemu ] or మేడియము mēḍemu. [Tel.] n. A spear or dagger. ఈటె, బాకు.
The rim of a bell-shaped earring, set with ems.రా ళ్లుచెకిి న𒀭మికీ అంచుయొక్ి పనితరము.
"క్ ఓడితిననన న్ వారక్ మేడెముపొడుతురె." BD. vi. 116.
Hieroglyph: meṇḍa 'bending on one knee': మండి [ maṇḍi ] or మండీ manḍi. [Tel.] n. Kneeling down with
one leg, an attitude in archery, ఒక్ కాలితో నేలమీద మోక్రంచుట, ఆలీఢపాదము. मेट [ mēṭa ] n (र्मटणें )
The knee-joint or the bend of the knee. मेटेंखुांटीस बसणें To kneel down. Ta. maṇṭi kneeling, kneeling on one
knee as an archer. Ma. maṇṭuka to be seated on the heels. Ka. maṇḍi what is bent, the knee. Tu. maṇḍi
knee. Te. maṇḍĭ kneeling on one knee. Pa. maḍtel knee; maḍi kuḍtel kneeling position. Go. (L.) meṇḍā, (G.
Mu. Ma.) minḍa knee (Voc. 2827). Konḍa (BB) meḍa,
meṇḍa id. Pe. menḍa id. Manḍ. menḍe id. Kui menḍa id. Kuwi (F.) menda, (S. Su. P.) menḍa,
(Isr.) meṇḍa id. Cf. 4645 Ta. maṭaṅku (maṇi-forms). / ? Cf. Skt. maṇḍūkī- part of an elephant's hind leg;
Mar. meṭ knee-joint. (DEDR 4677) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.)
Hieroglyph: எருடவ eruvai European bamboo reed. See வகாறுக்கச்சி. (குறிஞ் சிப் .)
Rebus: 817 Ta. eruvai blood, (?) copper. Ka. ere a dark-red or dark-brown colour, a dark or dusky colour;
(Badaga) erande sp. fruit, red in colour. Te. rēcu, rēcu-kukkaa sort of ounce or lynx said to climb trees and
to destroy tigers; (B.) a hound or wild dog. Kol. resn a·te wild dog (i.e. *res na·te; see 3650). Pa. iric
netta id. Ga.(S.3) rēs nete hunting dog, hound. Go. (Ma.) erm ney, (D.) erom nay, (Mu.) arm/aṛm
nay wild dog (Voc. 353); (M.) rac nāī, (Ko.) rasi ney id. (Voc. 3010). For 'wild dog', cf. 1931 Ta. ce- red,
esp. the items for 'red dog, wild dog'.
patākā f. ʻ flag ʼ MBh. 2. paṭākā -- f. lex. 3. *phaṭākā -- . [Prob. ← a non -- Aryan word
100
containing p(h)aṭ aryanized with t EWA ii 200] 1. Pa. patākā -- f. ʻ flag ʼ. 2. Pa. paṭāka -- n., Pk. paḍāga --
m., paḍāyā -- , paḍāiā -- f., mh. paḍāha -- m.; G. paṛāi f. ʻ paper kite ʼ.
3. Kal.rumb. phŕā ʻ flag ʼ; Or. phaṛkā (perh. influenced by Or. phaṛa -- phaṛa ʻ with a sudden movement ʼ
s.v. *phaṭ -- ). Addenda: patākā -- . 2. paṭākā -- : S.kcch. paṛāī f. ʻ paper kite ʼ.(CDIAL 7726)
mūhā mẽṛhẽt 'iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four
ends.' (Note ingots in storage pot superfixed on the crucible hieroglyph).
paTam 'snake hood' Rebus: padm 'sharpness' paṭa ‘hood of snake’. Rebus: padm ‘tempered, sharpness
(metal)’. nāga 'serpent' Rebus: nāga 'lead (alloy)'
Ta. paṭam instep. Ma. paṭam flat part of the hand or foot. Pe. paṭa key palm of hand. Manḍ. paṭa kiy id.; paṭa
kāl sole of foot. Kuwi. (Su.) paṭa nakipalm of hand. (DEDR 3843)
పదును (p. 0710) [ padunu ] or పదను padunu. [Tel. పది+ఉను.] Temper, sharpness,
whetting, Go. (ASu.) padnā sharpness. Konḍa padnu being ready for use (as oilseed being preparèd for
pressing), sharpening (of knife by heating and hammering). Ta. patamsharpness (as of the edge of a
knife),Ko. padm (obl. padt-) temper of iron.(DEDR 3907)
Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki,
(F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's
expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p.
45.(DEDR 45 Appendix) phaṭa n. ʻ expanded hood of snake ʼ MBh. 2. *phēṭṭa -- 2. [Cf. phuṭa -- m., °ṭā --
f., sphuṭa -- m. lex., °ṭā -- f. Pañcat. (Pk. phuḍā -- f.), sphaṭa -- m., °ṭā -- f., sphōṭā -- f. lex. and phaṇa -- 1.
Conn. words in Drav. T. Burrow BSOAS xii 386] 1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, °ḍā -- f.,
M. phaḍā m., °ḍī f. 2. A. pheṭ, phẽṭ.(CDIAL 9040)
Hieroglyph: मेढा (p. 665) [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi.
Molesworth)Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.)
The key hieroglyph is the hood of a snake seen as the left-most hieroglyph on this rolled out cylinder seal
impression. I suggest that this denotes the following Meluhha gloss: paṭam , n. < phaṭa. ‘cobra's
hood’ phaṭa n. ʻ expanded hood of snake ʼ MBh. 2. *phēṭṭa -- 2. [Cf. phuṭa -- m., °ṭā -- f., sphuṭa -- m.
lex., °ṭā -- f. Pañcat. (Pk. phuḍā -- f.), sphaṭa -- m., °ṭā-- f., sphōṭā -- f. lex. and phaṇa -- 1. Conn. words in
Drav. T. Burrow BSOAS xii 386]1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, °ḍā -- f., M. phaḍā m., °ḍī f.2.
A. pheṭ, phẽṭ. (CDIAL 9040). Rebus: ‘sharpness of iron’: padm (obl.padt-) temper of iron (Kota)(DEDR
3907); patam ‘sharpness, as of the edge of a knife’ (Tamil) Alternative complementary reading: <naG
bubuD>(Z) {N} ``^cobra''. |<naG> `?'. ^snake. *IA<naG>. ??is IA form <naG> or
<nag>? #23502. nāgá1 m. ʻ snake ʼ ŚBr. 2. ʻ elephant ʼ BhP. [As ʻ elephant ʼ shortened form of *nāga --
hasta -- EWA ii 150 with lit. or extracted from nāga -- danta -- ʻ elephant tusk, ivory ʼ < ʻ snake -- shaped
tusk ʼ].1. Pa. nāga -- m. ʻ snake ʼ, NiDoc. nāǵa F. W. Thomas AO xii 40, Pk. ṇāya -- m., Gy. as. nâ JGLS
new ser. ii 259; Or. naa ʻ euphem. term for snake ʼ; Si. nay, nā,nayā ʻ snake ʼ. -- With early nasalization
*nāṅga -- : Bshk. nāṅg ʻ snake ʼ. -- Kt. Pr. noṅ, Kal. nhoṅ ʻ name of a god < nāˊga -- or ←
Pers. nahang NTS xv 283. 2. Pa. nāga -- m. ʻ elephant ʼ, Pk. ṇāya -- m., Si. nā. śiśunāka -- . (CDIAL
7039) Rebus: nāga2 n. ʻ lead ʼ Bhpr. [Cf. raṅga -- 3] Sh. naṅ m. ʻ lead ʼ (< *nāṅga -- ?), K. nāg m. (<
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*nāgga -- ?).(CDIAL 7040) cf. annaku, anakku 'tin' (Akkadian) நாகம் nākam Black lead; காைீயம் .
(பிங் .) 9. Zinc; துத்தநாகம் . (பிங் .) 10. A prepared arsenic; பாஷாணவடக (Tamil).
There is a possibility that the hieroglyph was intended to convey the message of an alloying metal like lead
or tin or zinc which had revolutionized the bronze age with tin-bronzes, zinc-copper brass and other alloys to
substitute for arsenical copper to make hard weapons and tools. It is instructive that zinc was
called tuthunāg which might have referred to the sublimate of zinc and calamine collected in the furnaces
in Zawar. See: http://bharatkalyan97.blogspot.in/2014/02/metallurgists-of-mewad-meluhha.html
This is an announcement of four shops, पेढी (Gujarati. Marathi).
पेंढें ‘rings’ Rebus: पेढी ‘shop’. āra ‘serpent’ Rebus; āra ‘brass’. karaḍa 'double-drum' Rebus: karaḍa 'hard
alloy'. (Note the double-drum hieroglyph component affixed atop the flagstaff)
Specific materials offered for sale/exchange in the shop are: hard alloy brass metal (ayo,
fish); lokhaṇḍ(overflowing pot) ‘metal tools, pots and pans, metalware’; arka/erka ‘copper’; kammaṭa (a
portable furnace for melting precious metals) ‘coiner, mint’ Thus, the four shops are: 1. brass alloys, 2.
metalware, 3. copper and 4. mint (services).
Alternative: erãguḍu bowing, salutation (Telugu) iṟai (-v-, -nt-) to bow before (as in salutation), worship
(Tamil)(DEDR 516). Rebus: eraka, eṟaka any metal infusion (Kannada.Tulu) eruvai ‘copper’
(Tamil); ere dark red (Kannada)(DEDR 446).
puṭa Anything folded or doubled so as to form a cup or concavity; crucible.
Hieroglyph: arká1 m. ʻ flash, ray, sun ʼ RV. [√arc] Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ,
inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624)
Rebus: arka 'copper (metal)'; araka 'sublimation, sublimate' (Kannada) అగసాలి (p. 0023) [ agasāli ]
or అగసాలెవాడు agasāli. [Tel.] n. A goldsmith. క్ంసాలివాడు. அருக்கம் ¹ arukkam, n. < arka.
(நாநாை்த்த.) 1. Copper; வசம் பு. Ka. Ka. eṟe cast (as metal); eṟaka, eraka any metal infusion; molten
state, fusion. Tu. eraka molten, cast (as metal) (DEDR 866)
Hieroglyph: kāṇḍam காண்டம் ² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீ ை். துருத்திவா
யதுக்கிய குங் குமக் காண் டமும் (கல் லா. 49, 16). Rebus: khāṇḍā ‘metal tools, pots and pans’
(Marathi)
Hieroglyhph: <lo->(B) {V} ``(pot, etc.) to ôverflow''. See <lo-> `to be left over'. @B24310. #20851.
<lo->(B) {V} ``to be ^left over, to be ^saved''. Caus. <o-lo->. @B24300. #20861.(Munda etyma)
Rebus: loh ‘copper’ (Hindi)
The hieroglyph multiplex clearly refers to the metal tools, pots and pans of copper. लोिोलोखांड [
lōhōlōkhaṇḍa ] n (लोि & लोखांड) Iron tools, vessels, or articles in general.रुपेशाई लोखांड [ rupēśāī lōkhaṇḍa
] n A kind of iron. It is of inferior quality to र्शक्केशाई. लोखांड [ lōkhaṇḍa ] n (लोि S) Iron. लोखांडाचे चणे
खावर्वणें or चारणें To oppress grievously. लोखांडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a
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building, machine &c.) which consists of iron. 2 The business of an ironsmith. लोखांडी [ lōkhaṇḍī ] a (लोखांड)
Composed of iron; relating to iron. 2 fig. Hardy or hard--a constitution or a frame of body, one's िाड or natal
bone or parental stock. 3 Close and hard;--used of kinds of wood. 4 Ardent and unyielding--a fever.
5 लोखांडी, in the sense Hard and coarse or in the sense Strong or enduring, is freely applied as a term of
distinction or designation. Examples follow. लोखांडी [ lōkhaṇḍī ] f (लोखांड) An iron boiler or other
vessel. लोखांडी जर [ lōkhaṇḍī jara ] m (लोखांड & जर) False brocade or lace; lace &c. made of iron.लोखांडी
रस्ता [ lōkhaṇḍī rastā ] m लोखांडी सडक f (Iron-road.) A railroad.
See: http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-rosetta-stones-of.html
Alternative: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid
piece of metal; an ingot (Gujarati)
Allograph: ढाल [ ḍhāla ] f (S through H) The grand flag of an army directing its march and encampments:
also the standard or banner of a chieftain: also a flag flying on forts &c. ढालकाठी [ ḍhālakāṭhī
] f ढालखाां ब m A flagstaff; esp.the pole for a grand flag or standard. 2 fig. The leading and sustaining member
of a household or other commonwealth. 5583 ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- . 1. Tir. (Leech) "dàl" ʻ
shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f.,
K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f. WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a
word used in salutation), J. ḍhāl f. (CDIAL 5583).
They are four Glyphs: paṭākā ‘flag’ Rebus: pāṭaka, four quarters of the village.
kã̄ḍ reed Rebus: kāṇḍa ‘tools, pots and pans, metal-ware’.
1. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ. 2. N. kāmro ʻ bamboo, lath, piece of
wood ʼ, OAw. kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ,
H. kã̄waṛ, °ar, kāwaṛ, °ar f., G. kāvaṛf., M. kāvaḍ f.; -- deriv. Pk. kāvaḍia -- , kavvāḍia -- m. ʻ one who
carries a yoke ʼ, H. kã̄waṛī, °ṛiyā m., G. kāvaṛiyɔ m. 3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man
who carries it ʼ. 4. Or. kāmaṛā, °muṛā ʻ rafters of a thatched house ʼ; G. kāmṛũ n., °ṛī f. ʻ chip of bamboo
ʼ, kāmaṛ -- koṭiyũ n. ʻ bamboo hut ʼ. 5. B. kāmṭhā ʻ bow ʼ, G. kāmṭhũ n., °ṭhī f. ʻ bow ʼ; M. kamṭhā, °ṭā m. ʻ
bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻ archer ʼ. 6. A. kabāri ʻ flat piece of bamboo used in
smoothing an earthen image ʼ. 7. kã̄bīṭ, °baṭ, °bṭī, kāmīṭ, °maṭ, °mṭī, kāmṭhī, kāmāṭhī f. ʻ split piece of
bamboo &c., lath ʼ.(CDIAL 2760). kambi f. ʻ branch or shoot of bamboo ʼ lex. Pk. kaṁbi -- , °bī -- , °bā -- f.
ʻ stick, twig ʼ, OG. kāṁba; M. kã̄b f. ʻ longitudinal division of a bamboo &c., bar of iron or other metal ʼ.
(CDIAL 2774). कांबडी [ kambaḍī ] f A slip or split piece (of a bamboo &c.)(Marathi)
Hieroglyph: koṭiyum [koṭ, koṭī neck] a wooden circle put round the neck of an animal
(Gujarati) Rebus: ācāri koṭṭya = forge, kammārasāle (Tulu)
The rings atop the reed standard: पेंढें [ pēṇḍhēṃ ] पेंडकें [ pēṇḍakēṃ ] n Weaver's term. A cord-loop or metal
ring (as attached to the गुलडा of the बैली and to certain other fixtures). पेंडें [ pēṇḍēṃ ] n (पेड) A necklace
composed of strings of pearls. 2 A loop or ring. Rebus: पेढी (Gujaráthí word.) A shop (Marathi)
A guild of persons, caravanserai: पेठ or पेंठ (p. 527) [ pēṭha or pēṇṭha ] f ( H) A manufacturing or trading
town, an emporium, a mart: also a markettown. 2 A place of sale or traffic; any particular market (as for
cloth, grain &c.); a long street of shops in a city. 3 A region or large division of a city (as the पेठ of Poona
&c.) 4 Market intelligence or banker's intelligence; accounts of rates, risings and fallings &c. v ये . Hence 5
Private or general intelligence or tidings. 6 Marketrate. Ex. पेंठ उतरली; पेंठ चढली. 7 The town belonging to a
fort. 8 A banker's letter of advice. पेठकरी (p. 527) [ pēṭhakarī ] m The headman of a पेठ or mart; the prefect
of the market &c. See शे ट्या. 2 Applied, as the Factotum or knower and doer of every thing, to
the कुळकरणी of a village. 3 The individual (of a body holding it in succession) whose turn it now is to
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enjoy the जोशीपणा of a district, of a large town, or of a village.லபட்டட pēṭṭai , n. < Mhr. pēṭhpēṭaka. 1.
Pettah, extramural suburb; புறநகை். 2. Market-place near a town; நகைத்தருகிற் சந்டத கூடும்
ஊை்ச்சாை்பு. (யாழ் . அக.) 3. Caravanserai; பிையாண வண்டி முதலியன
தங் குமிடம் .पेंडें (p. 527) A knot of persons in union or as holding mutual relation; a circle, coterie,
company, crew, club, band, pack, gang. Ex. पांच वादी साक्षीदार असें सगळें पें डेंचें पेंडें उठून आलें. (Molesworth.
Marathi) పేట (p. 0799) [ pēṭa ] pēṭa. [Tel.] n. A suburb or division of a large city. శాఖానగరము. A city or
town. నగరము. (Telugu)
Six curls shown on the hairstyle of carriers of flagposts:
Allograph: The six curls on the kneeling person’s head denote an copper-brass smelter:
erugu = to bow, to salute or make obeisance (Telugu) Rebus: eraka ‘copper’.

Glyphs: six (numeral) + ring of hair: आर [ āra ] A term in the play of इटीदाां डू,--the number six. (Marathi)
आर [ āra ] A tuft or ring of hair on the body. (Marathi) Rebus: arā ‘brass’.
मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi) Rebus: meḍ ‘iron’
(Ho.) bhaṭa ‘six (hair-curls)’ Rebus: bhaṭa ‘furnace’.
saman = to offer an offering, to place in front of; front, to front or face (Santali) Rebus: samṛobica, stones
containing gold (Mundari) samanom = an obsolete name for gold (Santali) [bica ‘stone ore’ (Munda):meṛed-
bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda]
Indian mackerel Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma.
ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach (DEDR 191) Munda: So.
Ayo `fish'. Go. ayu `fish'. Go <ayu> (Z), <ayu?u> (Z),, <ayu?> (A) {N} ``^fish''. Kh. kaDOG `fish'. Sa.
Hako `fish'. Mu. hai(H) ~ haku(N) ~ haikO(M) `fish'. Ho haku `fish'. Bj. hai `fish'. Bh.haku `fish'. KW haiku
~ hakO |Analyzed hai-kO, ha-kO (RDM). Ku. Kaku`fish'.@(V064,M106) Mu. ha-i, haku `fish' (HJP).
@(V341) ayu>(Z), <ayu?u> (Z) <ayu?>(A) {N} ``^fish''. #1370. <yO>\\<AyO>(L) {N} ``^fish''. #3612.
<kukkulEyO>,,<kukkuli-yO>(LMD) {N} ``prawn''. !Serango dialect. #32612. <sArjAjyO>,,<sArjAj>(D)
{N} ``prawn''. #32622. <magur-yO>(ZL) {N} `à kind of ^fish''. *Or.<>. #32632. <ur+GOl-Da-yO>(LL)
{N} `à kind of ^fish''. #32642.<bal.bal-yO>(DL) {N} ``smoked fish''. #15163. Vikalpa: Munda:
<aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''.#10171. So<aDara>(L) {N} ``^scales of a fish,
sharp bark of a tree''.
aya = iron (G.); ayah, ayas = metal (Skt.) aduru native metal (Ka.); ayil iron (Ta.) ayir, ayiram any
ore (Ma.); ajirda karba very hard iron (Tu.)(DEDR 192). Ta. ayil javelin, lance, surgical knife, lancet.Ma.
ayil javelin, lance; ayiri surgical knife, lancet. (DEDR 193). aduru = gan.iyinda tegadu karagade iruva aduru
= ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s
new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330); adar = fine sand (Ta.);
ayir – iron dust, any ore (Ma.) Kur. adar the waste of pounded rice, broken grains, etc. Malt. adru broken
grain (DEDR 134). Ma. aśu thin, slender;ayir, ayiram iron dust.Ta. ayir subtlety, fineness, fine sand,
candied sugar; ? atar fine sand, dust. அய.ை³ ayir, n. 1. Subtlety, fineness; நணசம. (த_வ_.) 2. [M.
ayir.] Fine sand; நணமணல. (மலசலப. 92.) ayiram, n. Candied sugar; ayil, n. cf. ayas. 1. Iron; 2.
Surgical knife, lancet; Javelin, lance; ayilavaṉ, Skanda, as bearing a javelin (DEDR 341).Tu. gadarů a lump
(DEDR 1196) kadara— m. ‘iron goad for guiding an elephant’ lex. (CDIAL 2711). অয়সঠন [ aẏaskaṭhina
] a as hard as iron; extremely hard (Bengali) अयोगूः A blacksmith; Vāj.3.5. अयस् a. [इ-गतौ-असुन्] Going,
moving; nimble. n. (-यः) 1 Iron (एर्त चलर्त अयस्कान्सांर्नकषं इर्त तथात्वम्; नायसोण्ठिख्यते रत्नम् Śukra
4.169.अर्र्तप्तमयो$र्प मादि वां र्जते कैव कथा शरीररषु R.8.43. -2 Steel. -3 Gold. -4 A metal in general.
ayaskāṇḍa 1 an iron-arrow. -2 excellent iron. -3 a large quantity of iron. -क_नत_(अयसक_नत_) 1 'beloved
of iron', a magnet, load-stone; 2 a precious stone; ˚मजण_ a loadstone; ayaskāra 1 an iron-smith, blacksmith
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(Skt.Apte) ayas-kāntamu. [Skt.] n. The load-stone, a magnet. ayaskāruḍu. n. A black smith, one who works
in iron. ayassu. n. ayō-mayamu. [Skt.] adj. made of iron (Te.) áyas— n. ‘metal, iron’ RV. Pa. ayō nom. sg. n.
and m., aya— n. ‘iron’, Pk. aya— n., Si. ya. AYAŚCŪRṆA—, AYASKĀṆḌA—, *AYASKŪṬA—.
Addenda: áyas—: Md. da ‘iron’, dafat ‘piece of iron’. ayaskāṇḍa— m.n. ‘a quantity of iron, excellent iron’
Pāṇ. gaṇ. viii.3.48 [ÁYAS—, KAA ́ṆḌA—]Si.yakaḍa ‘iron’.*ayaskūṭa— ‘iron hammer’. [ÁYAS—,
KUU ́ṬA—1] Pa. ayōkūṭa—, ayak m.; Si. yakuḷa‘sledge —hammer’, yavuḷa (< ayōkūṭa) (CDIAL 590, 591,
592). cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa; Old Germ. e7r , iron ;Goth. eisarn ; Mod. Germ.
Eisen.
Stone-smithy guild on a Meluhha standard
Harappa Tablet. Pict-91 (Mahadevan) m0490At m0490B Mohenjodaro Tablet showing
Meluhha combined standard of three standards carried in a procession, comparable to Tablet m0491. m0491
Tablet. Line drawing (right). This tablet showing three hieroglyphs may be called the Meluhha
standard.Combined reading for the joined or ligatured glyphs
Rebus reading is: dhatu kõdā sangaḍa ‘mineral, turner, stone-smithy guild’.
Dawn of the bronze age is best exemplified by this Mohenjo-daro tablet which shows a procession of three
hieroglyphs carried on the shoulders of three persons. The hieroglyphs are: 1. Scarf carried on a pole
(dhatu Rebus: mineral ore); 2. A young bull carried on a stand kõdā Rebus: turner; 3. Portable standard
device (Top part: lathe-gimlet; Bottom part: portable furnace sã̄gāḍ Rebus: stone-
cutter sangatarāśū ). sanghāḍo (Gujarati) cutting stone, gilding (Gujarati); sangsāru karaṇu = to stone
(Sindhi) sanghāḍiyo, a worker on a lathe (Gujarati)
The procession is a celebration of the graduation of a stone-cutter as a metal-turner in a smithy/forge. A

sangatarāśū ‘stone-cutter’ or lapidary of neolithic/chalolithic age had graduated into a metal turner’s
workshop (koḍ), working with metallic minerals (dhatu) of the bronze age.
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Three professions are described by the three hieroglyphs: scarf, young bull, standard
device dhatu kõdāsã̄gāḍī Rebus words denote: ‘ mineral worker; metals turner-joiner (forge); worker on a
lathe’ – associates (guild).
On this tablet, the standard on the very front is not clear.
It is surmised that this standard carried on the procession may be comparable to the standard shown on
Tikulti-Ninurta I altar discovered in the Ashur temple.
This fourth standrd could be compared with this hieroglyph
of the Tikulti-Ninurta altar:
A spoked wheel is shown atop on the standard and the hieroglyph is also reinforced by depicting the
hieroglyph on the top of the standard-bearer's head. This Meluhha hieroglyph is read rebus: eraka'knave of
wheel' Rebus: 'moltencast copper'; āra 'spokes' Rebus: āra 'brass'.
Thus, the fourth profession is depicted as the smith working with metal alloys.
Thus, together the four professions depicted on the Mohenjodaro-standard showing four
hieroglyphs in procession are read rebus:
Hieroglyph: dhatu 'scarf' Rebus: dhatu 'mineral'
Hieroglyph: kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge), worker on a lathe
Hieroglyph: sã̄gāḍī 'lathe (gimlet), portable furnace' Rebus: sã̄gāḍī 'metalsmith associates (guild)'
Hieroglyph eraka āra 'knave of wheel', 'spokes of wheel' Rebus: eraka āra 'copper alloy brass'
Thus Rebus readings of the four hieroglyphs denote: ‘ mineral worker; metals turner-joiner (forge); worker
on a lathe’ – associates (guild), copper alloy brass.
dhatu kõdā sã̄gāḍī eraka āra
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Altar, offered by Tikulti-Ninurta I, 1243-1208 BC, in prayer before two deities carrying wooden standards,
Assyria, Bronze AgeSource: http://www.dijitalimaj.com/alamyDetail.aspx?img=%7BA5C441A3-C178-
489B-8989-887807B57344%7D
[quote]Description: Although the cult pedestal of the Middle Assyrian king Tikulti-Ninurta mentions in its
short inscription that it is dedicated to the god Nuska, the relief on the front that depicts the king in a rare
kind of narrative, standing and kneeling in front of the very same pedestal was frequently discussed by art-
historians. More strikingly on top of the depicted pedestal there is not the lamp, the usual divine symbol for
the god Nuska, but most likely the representation of a tablet and a stylus, symbols for the god Nabû. (Klaus
Wagensonner, University of
Oxford)[unquote] http://cdli.ox.ac.uk/wiki/doku.php?id=pedestal_tukulti_ninurta
The hieroglyphs on the fire-altar confirm the link to metallurgy with the use of 'spoked-wheel' banner
carried on one side of the altar and the 'safflower' hieroglyph flanking the altar worshipped by Tikulti-
Ninurta. It is rebus, as Sigmund Freud noted in reference to the dream. 'I have revealed to Atrahasis a dream,
and it is thus that he has learned the secret of the gods.' (Epic of Gilgamesh, Ninevite version, XI,
187.)(Zainab Bahrani, 2011, The graven image: representation in Babylonia and Assyria, Univ. of
Pennsylvania Press, p. 185) http://bharatkalyan97.blogspot.in/2013/11/tukulti-ninurta-worships-fire-god-
at.html?q=tukulti
Rebus: med. iron, iron implements (Ho.) me~rhe~t ‘iron’; me~rhe~t icena ‘the iron is rusty’; ispat me~rhe~t
‘steel’, dul me~rhe~t ‘cast iron’; me~rhe~t khan.d.a ‘iron implements’ (Santali)
(Santali.lex.Bodding) mer.ed, me~r.ed iron; enga mer.ed soft iron; sand.i mer.ed hard iron;
ispa_t mer.ed steel; dul mer.ed cast iron; imer.ed rusty iron, also the iron of which weights are
cast; bicamer.ediron extracted from stone ore; balimer.ed iron extracted from sand ore; mer.ed-bica = iron
stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.) pasra mer.ed, pasa_ra mer.ed = syn. of
kot.e mer.ed = forged iron, in contrast to dul mer.ed, cast iron (Mundari.lex.) me~r.he~t iron; ispat m. =
steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali); mer.ed (Mun.d.ari); med.
(Ho.)(Santali.lex.Bodding) me~r.he~t idena = the iron is rusty; dal me~r.he~t = cast iron; me~r.he~t
khan.d.a = iron implements (Santali) Sa. mE~R~hE~’d ìron’. ! mE~RhE~d(M).Ma. mErhE’d ìron’.Mu.
mERE’d ìron’. ~ mE~R~E~’d ìron’. ! mENhEd(M).Ho meD ìron’.Bj. merhd(Hunter)
ìron’.KW mENhEd@(V168,M080)
Substantive: med.o merchant’ clerk (Hem.Dec.); mehto a schoolmaster, an accountant, a clerk, a writer (G.)
med.h = the helper of a merchant (Pkt.lex.) me_t.i, me_t.ari = chief, head, leader, the greatest man (Te.lex.)
?med.i (EI 9), also called meli, a kidnapper of victims for sacrifices (IEG). mehara = (EI 33) a village
headman (IEG). mehto [Hem. Des. med.ho = Skt. Van.ik saha_ya, a merchant’s clerk, fr. mahita, praised,
great] a schoolmaster; an accountant; a clerk; a writer (G.lex.) mel. = tallying, balancing of accounts; a cash
book; mel.van. = a mixture, a composition; mixing (G.lex.) me_r..iyar = pu_vaiciyar, ve_l.a_l.ar, i.e.
agriculturists, traders (Ta.lex.)
Sketching made of the side of the Warka Vase...
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Scarf on the reeds: dhaṭu 'scarf' Rebus: dhatu 'mineral' (Santali) *dhaṭa2, dhaṭī -- f. ʻ old cloth, loincloth ʼ
lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465]Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā;
Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ.Addenda: *dhaṭa -- 2. 2.
†*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ,
J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707)
Dhatu is an element: Dhātu (f.) [Sk. dhātu to dadhāti, Idg. *dhē, cp. Gr. ti/qhmi, a)na/ -- qhma, Sk. dhāman,
dhāṭr (=Lat. conditor); Goth. gadēds; Ohg. tāt, tuom (in meaning -- ˚=dhātu, cp. E. serf -- dom "condition of
. . .") tuon=E. to do; & with k -- suffix Lat. facio, Gr. (e)/)qhk(a), Sk. dhāka; see also dhamma] element.
Closely related to dhamma in meaning B 1b, only implying a closer relation to physical substance. As to its
gen. connotation cp. Dhs. trsl.p. 198. -- 1. a primary element, of which the usual set comprises the four
paṭhavī, āpo, tejo, vāyo (earth, water, fire, wind), otherwise termed cattāro mahābhūtā(ni):
D i.215; ii.294; iii.228; S i.15; ii.169 sq., 224; iv.175, 195; A ii.165; iii.243; Vbh 14, 72; Nett 73. See
discussed at Cpd. 254 sq. -- A defn of dhātu is to be found at Vism 485. -- Singly or in other
combns paṭhavī˚ S ii.174; tejo˚ S i.144; D iii.227; the four plus ākāsa S iii.227, plus viññāna S ii.248; iii.231;
see below 2 b. -- 2. (a) natural condition, property, disposition; factor, item, principle, form. In this meaning
in var. combns & applications, esp. closely related to khandha. Thus mentioned with khandha &
āyatana (sensory element & element of sense -- perception) as bodily or physical element, factor (see
khandha B 1 d & cp. Nd2 under dhātu) Th 2, 472. As such (physical substratum) it constitutes one of the
lokā or forms of being (khandha˚ dhātu˚ āyatana˚ Nd2 550). Freq. also in combn kāma -- dhātu, rūpa˚ arūpa˚
"the elements or properties of k. etc." as preceding & conditioning bhava in the respective category (Nd2 s.
v.). See under d. -- As "set of conditions or state of being ( -- ˚)" in the foll.: loka˚ a world, of which 10 are
usually mentioned (equalling 10,000: PvA 138) S i.26; v.424; Pv ii.961; Vbh 336; PvA 138; KS ii.101, n. 1;
--nibbāna˚ the state of N. S v.8; A ii.120; iv.202; J i.55; It 38 (dve: see under Nibbāna); Miln 312. Also in
the foll. connections: amata˚ It 62; bhū˚ the verbal root bhū DA i.229; ṭhapitāya dhātuyā "while the bodily
element, i. e. vitality lasts" Miln 125; vaṇṇa˚ form, beauty S i.131; Pv i.31. In these cases it is so far
108
weakened in meaning, that it simply corresponds to E. abstr. suffix -- hood or -- ity (cp. ˚hood=origin.
"form": see ketu), so perhaps in Nibbāna˚=Nibbāna -- dom. Cp. dhātuka. -- (b) elements in sense --
consciousness: referring to the 6 ajjhattikāni & 6 bāhirāni āyatanāni S ii.140 sq. Of these sep. sota˚
D i.79; iii.38; Vbh 334; dibbasota˚ S ii.121, 212; v.265, 304; A i.255; iii.17, 280; v.199; cakkhu˚ Vbh 71 sq.;
mano˚ Vbh 175, 182, 301; mano -- viññāṇa˚ Vbh 87, 89, 175, 182 sq. <-> (c) various: aneka˚
A i.22; iii.325; v.33; akusala˚ Vbh 363; avijjā˚ S ii.132; ābhā˚ S ii.150; ārambha˚ S v.66, 104 sq.;
A i.4; ii.338; ṭhiti˚ S ii.175; iii.231; A iii.338; dhamma˚ S ii.56; nekkhamma˚ S ii.151; A iii.447; nissāraṇiyā
dhātuyo (5) D iii.239; A iii.245, 290. See further S i.134, 196; ii.153, 248 (aniccā); iii.231 (nirodha); iv.67;
A i.176; ii.164; iv.385; Dhs 58, 67, 121; Nett 57, 64 sq.; ThA 20, 49, 285, -- (d) Different sets and
enumerations: as 3 under kāma˚, rūpa˚, arūpa A i.223; iii.447; Ps i.137; Vbh 86, 363, 404 sq.; under rūpa˚,
arūpa˚, nirodha˚ It 45. -- as 6 (pathavī etc.+ākāsa˚ & viññāṇa˚): D iii.247; A i.175 sq.; M iii.31, 62, 240;
Ps i.136; Vbh 82 sq. -- as 7 (ābhā subha etc.): S ii.150. -- 18: Ps i.101, 137; ii.230, Dhs 1333; Vbh 87 sq.,
401 sq.; Vism 484 sq. -- 3. a humour or affection of the body DA i.253 (dhātusamatā). -- 4. the remains of
the body after cremation PvA 76; a relic VvA 165 (sarīra˚, bodily relic); Dāvs v.3 (dasana˚ the toothrelic). --
abl. dhātuso according to one's nature S ii.154 sq. (sattā sattehi saddhiŋ saŋsandanti etc.); It 70 (id.);
S iii.65. -- kathā N. of 3rd book of the Abhidhamma Vism 96. -- kucchi womb Miln 176; -- kusala skilled
in the elements M iii.62; ˚kusalatā proficiency in the (18) elements D iii.212; Dhs 1333; -- ghara "house for
a relic," a dagoba SnA 194. -- cetiya a shrine over a relic DhA iii.29; -- nānatta diversity of specific
experience D iii.289; S ii.143; iv.113 sq., 284; -- vibhāga distribution of relics VvA 297; PvA 212.(Pali)
A message (ca. 100 BCE), Indus Script hypertext, from Bhaja, from a Meluhha seafaring merchant
guild trading in bronze age weapons
Bhaja is close to a seaport on the Indian Ocean (Arabian Sea) coastline of western India. It is a trading post
for seafaringg erchants from Ancient Near East and Ancient Far East during the Bronze Age.See: Tripati, S,
201.7 Seafaring Archaeology of the East Coast of India and Southeast Asia During the Early Historical
Period. Ancient Asia, 8: 7, pp. 1–22, DOI: https://doi.org/10.5334/aa.118
Bhaja trading post is central to the maritime links between Ancient Far East and Ancient Near East, with the
intermediation of Meluhha seafaring merchants.
I suggest that these seafaring merchants documented their trade transactions in metalwork wealth on Indus
Script hypertexts which are deciphered and discussed in this monograph.
Indus Script hypertexts are based on ancient texts of Veda culture (from ca. 7th millennium BCE). Links
between ancient Veda textual evidence and archaeological evidences are presented, matching Veda
metaphors with Indus Script hypertexts and hieroglyphs detailing metalwork production and
trade transactions.
Veda metaphors are ādhyātmikā enquiries. Indus Script hypertexts found on Bhaja sculptural friezes (ca. 100
BCE) and on symbols of Punchmarked coins (from ca. 600 BCE) are metalwork document archives from
the Bronze Age, from ca. 4th millennium BCE. (EVidence of the earliest writing in Indus Script is
evidenced from a potsherd discovered in Harappa and dated by HARP team to ca. 3300 BCE).
Indus Script hypertexts from Bhaja are dated ca. 100 BCE. I agree with John C. Huntington who traces the
continuity of Veda traditions in symbols (from ca. 7th millennium BCE) recorded on Bhaja and
Punchmarked coins. The monograph demonstrates that these symbos on Bhaja sculptural friezes and on
Punchmarked coins are a continuum from Indus Script hypertext continuum (i.e., from 4th millennium BCE)
109
Location of Bhaja on Arabian Sea coastline of Indian Ocean
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Maritime trade links on Indian Ocean. Bronze Age.
Maps after Figures 11 and 12 in Salil Tripathi (2017)
In the Veda, Indra wields Vajra to destroy or neutralise Ahi, Vr̥rtra. In Bauddham, Vajrapāṇi Bodhisattva
wields Vajra to destroy ignorance. The continuity of the cultural narrative is emphatic using vajra as a
metaphor for a weapon.
Vajrapāṇi Bodhisattva Tibet ca. 14-15th cent.

To prove continuity of cultural tradition from Veda, Huntington presents arguments in two parts:
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Part 1: asks the question is the Buddhist Dharmachakra actually derived from a Vedic vajra and therefore a
recognizable vajra in early Buddhist Art?
Part 2: Is the “six armed” PMC mark also derived from the Vedic vajra and therefore probably the line of
continuity between the Vedic imagination of the Vajra and the Buddhist manifestation of the Vajra.
Elaborate orthography on sanchi stupa relates the spoked wheel to 'fish-fin' hypertext
(mintwork) and also to tAmarasa 'lotus' rebus: tAmra 'copper'.
1. dotted circle
2. arrow (three)
3. twist (three) Some examples replace the 'twist' with 'buns-shaped ingots'. Thus, total six hypertexts
emanate from dotted circle as spokes.
Four components of hypertext are read rebus in Meluhha:
1. Dotted circle is a Harappa Script hieroglyph and signifies a 'strand' of rope. dhāī˜ 'strand' rebus: dhāu'soft
red stone, element'(ferrite ore)
2. Twist is: मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi)
Rebus: meḍ ‘iron’(Ho.)med 'copper' (Slavic languages) medha 'yajña, dhanam'. mũh 'face'
(Hindi) rebus: mũhe 'ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting
furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at
each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at
each of four ends;kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali).
3. Six spokes of wheel emanating from dotted circle: bhaṭa ‘six (hair-curls)’ Rebus: bhaṭa ‘furnace’.
4.. Hieroglyph: Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: kāṇḍa,'implements'.
Connection to a rope imagery is seen here: 'strand' of rope. dhāī˜ 'strand' rebus: dhāu 'soft red stone,
element'(ferrite ore) PLUS मेढा mēḍhā A twist or tangle arising in thread or cord, a curl or snarl. (Marathi)
Rebus: meḍ ‘iron’(Ho.) Thus, the signifiers are: meD dhAtu 'iron element' PLUS ayo khambhaṛā 'fish-fin'
rebus:aya kammaTa 'iron mint'. Eight spokes relate to अिार्र yūpo bhavati 'eight-corneres yupa' of a Soma
Samsthā yāga
112
Amaravati vajra shows many spokes and the
circumference, on the outer circle, is studded with many tri-ratna hypertexts (i.e. dotted circle topped by a
pair of tied fish-fins). The inner circle shows spikes interspersed with spokes of the wheel.
Huntington presents a reonstructed drawing of the Amaravati vajra wheel, based on these features seen from
the sculptural fragment.
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This description seems to fit Dharmachakras in early Indic Art:
“A wheel with 1000 spokes and 100 knuckles” (RV 6.17.10)
Vajra or “Dharmachakra Sāñchī Stupa 2, ca. 100 BCE On this sculptural frieze, te outer circle has two
features:1. the tri-ratna hypertext is replaced around the circumference, by alterating double-axes and round
pellets; 2. a corded rope forms the second outer circle. The third outer circle is embellished with a series of
Indus Script hieroglyphs which are 'currycombs' and 'three long linear strokes'; these hieroglyphs fill the
entire outermost perimetre of the wheel.. The hieroglyphs are read rebus:Sanchi stupa 2 Vedika. Dharma
Cakra in a corded band. ca. 120-80 BCE.
Thus, together, the hypertext of dotted circle linked to six spokes as the चषालः caṣāla or cakra signifies a
weapon with multiple prongs orthographed by sculptors and mintworkers who punched symbols on punch-
marked coins. The arrows and twists thus signify: implements and furnaced ingots of dhatu'(ferrite)
minerals'.
Hieroglyph: 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).
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Rebus: 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 dhā̄̆vaḍ m. ʻ a caste of iron
-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ(CDIAL 6773)
Ligature to 'mintwork' signifier is also shown on the wheel sculptural friezes of Amaravati -- spokes are
ligatured on their tips with 'fish-fins' joined together:ayo kammaTa 'iron mintwork' ayo 'fish'
PLUS khambhaṛā 'fish-fin'.;
चतुर्रि , अिार्र quadrangular, octagonal Sivalinga
(rudrabhaga signifying the projecgting flame of the fiery pillar of light). This description seems to fit objects
in early Indic Art:A wheel with 1000 spokes and 100 knuckles (13[!] spokes and 12 knuckles)".
(Huntington)
Huntington notes: "In spite of the vast difference in size, ~ 15mm versus ~ 40cm, given the closeness of the
two designs, it is inconceivable that the Sāñchī sculptor was unaware of the generic prototype of the design.
In the context of the coins the vajra is a symbol of consummate military power. In Buddhism is is a symbol
of the consummate power of the teachings to overcome egoistic cravings. Tentative conclusions: Part 1: The
early Buddhist Dharmachakra with its many spokes and protrusions is conceptually identical to one of the
primary forms of the Vedic vajra as described in the Ṛg Veda. Because it was quintessentially Brahmanical
in origin, as a symbol of the Buddhist teachings it had several important characteristics. Among them the
fact, the Brahmins of the day would recognize one of the most evocative symbols of their own religion and
its material communication systems. Part 2: Based on the physical identification of the Buddhist
Dharmachakras as vajras, it seems highly probable that the so called “6-armed figures” of PMC
numismatics are also a vajra known in the literature as as ṣaṭko ṇa. With kings carrying the name endings of
-varman (armor) -gupta (protector) and in a later period, -endra (i.e., Indra), it is clear that they identified
with the most powerful of all Brahmanical protectors, Indra. Therefore, the symbol is probably part of the
royal regalia and a reference to military prowess. A detailed study of this mark and a profoundly associated
“victory” symbol will be part of the full study." (Huntington, opcit.)
1. Copper: eraka 'nave of wheel' rebus: eraka, arka 'moltencast, copper'
2. Ingots: A circle (or, round stone) gōṭā m A roundish stone or pebble. 2 A marble (of stone, lac, wood
&c.) 2 A marble. 3 A large lifting stone Rebus: khoṭa 'ingot'(Marathi); P. goṭṭā ʻ gold or silver lace ʼ,
H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ);
M. goṭ ʻ hem of a garment, metal wristlet ʼ.(CDIAL 4271) gota 'roundish stone' Rebus: goṭa 'laterite, ferrite
ore' 'gold-lac, braid'
3. Awls: ará m. ʻ spoke of a wheel ʼ RV. 2. āra -- 2 MBh. v.l. [√r̥]1. Pa. ara -- m., Pk. ara -- , °ga -- , °ya --
m.; S. aro m. ʻ spoke, cog ʼ; P. arm. ʻ one of the crosspieces in a cartwheel ʼ; Or. ara ʻ felloe of a wheel ʼ;
Si. ara ʻ spoke ʼ.2. Or. āra ʻ spoke ʼ; Bi. ārā ʻ first pair of spokes in a cartwheel ʼ; H. ārā m. ʻ spoke ʼ,
G. ārɔ m.(CDIAL 594) Rebus: āˊrā f. ʻ shoemaker's awl ʼ RV. Pa. Pk. ārā -- f. ʻ awl ʼ; Ash. arċūˊċ ʻ needle
ʼ; K. örü f. ʻ shoemaker's awl ʼ, S. āra f., L. ār f.; P. ār f. ʻ awl, point of a goad ʼ; N. āro ʻ awl ʼ; A. āl ʻ
sharp point, spur ʼ; B. ārā ʻ awl ʼ, Or. āra, āri, Bi. ār, araī, aruā, (Patna) arauā ʻ spike at the end of a
driving stick ʼ, Mth. aruā, (SETirhut) ār ʻ cobbler's awl ʼ; H. ār f. ʻ awl, goad ʼ, ārī f. ʻ awl ʼ, araī ʻ goad
ʼ, ārā m. ʻ shoemaker's awl or knife ʼ; G. M. ār f. ʻ pointed iron spike ʼ; M. ārī, arī ʻ cobbler's awl
ʼ.*kāṇḍārā -- , *taptārā -- , *sūtrārā -- .ārāˊt see ārá -- 1. Addenda: āˊrā -- : S.kcch. ār f. ʻ pointed iron spike
ʼ.(CDIAL 1313)
4. Double-axe/cudgel: ḍakka2 ʻ stick ʼ. 2. *ḍaṅga -- 1. [Cf. other variants for ʻ stick ʼ: ṭaṅka -- 3, *ṭiṅkara -- ,
*ṭhiṅga -- 1, *ḍikka -- 1 (*ḍiṅka -- )] 1. S. ḍ̠aku m. ʻ stick put up to keep a door shut ʼ, ḍ̠akaru ʻ stick, straw
ʼ; P. ḍakkā m. ʻ straw ʼ, ḍakkrā m. ʻ bit (of anything) ʼ; N. ḍã̄klo ʻ stalk, stem ʼ.2. Pk. ḍaṅgā -- f. ʻ stick ʼ;
115
A. ḍāṅ ʻ thick stick ʼ; B. ḍāṅ ʻ pole for hanging things on ʼ; Or. ḍāṅga ʻ stick ʼ; H. ḍã̄g f. ʻ club ʼ (→
P. ḍã̄g f. ʻ stick ʼ; K. ḍã̄g m. ʻ club, mace ʼ); G. ḍã̄g f., °gɔ, ḍãgorɔ m., °rũ n. ʻ stick ʼ; M. ḍãgarṇẽ n. ʻ short
thick stick ʼ, ḍã̄gḷī f. ʻ small branch ʼ, ḍã̄gśī f.*ḍakka -- 3 ʻ hill ʼ see *ṭakka -- 3.*ḍakka -- 4 ʻ drum ʼ see
*ḍaṅka -- .Addenda: *ḍakka -- 2. 2. *ḍaṅga -- 1: WPah.kṭg. ḍāṅg f. (obl. -- a) ʻ stick ʼ, ḍaṅgṛɔ m. ʻ stalk (of
a plant) ʼ; -- poss. kṭg. (kc.) ḍaṅgrɔ m. ʻ axe ʼ, poet. ḍaṅgru m., °re f.; J. ḍã̄grā m. ʻ small weapon like axe ʼ,
P. ḍaṅgorī f. ʻ small staff or club ʼ (Him.I 84).(CDIAL 5520)Ma. ṭaṅkam mace. Ka. ṭaṅke, ḍaṅke, ḍaṅgi,
ḍaṅge staff, cudgel, etc. (DEDR 2940) *ṭhiṅga1 ʻ block, stick, leg ʼ. 2. *ṭhēṅga -- . [See list s.v. *ḍakka -
- 2] 1. P. ṭhiṅgā m. ʻ stick ʼ; N. ṭhiṅro, ṭhiṅuro, ṭhiũro ʻ stocks, fetter ʼ; M. ṭhĩgā ʻ stick, block socket for post
ʼ, ṭhĩgḍā m. ʻ cudgel ʼ.2. P. ṭhī˜gā m. ʻ stick ʼ; N. ṭhyã̄gro, ṭheṅro ʻ stocks, fetter ʼ; A. ṭheṅgā ʻ pantaloons ʼ
(< ʻ *legs ʼ?); B. ṭheṅg ʻ leg ʼ, ṭheṅgā ʻ cudgel ʼ; Or. ṭheṅga ʻ leg ʼ, ṭheṅgā ʻ cudgel ʼ; H. ṭhẽgā m. ʻ bludgeon
ʼ; M. ṭhẽgā m. ʻ stick ʼ, ṭhẽgḍā m. ʻ cudgel ʼ.(CDIAL 5500) ठें गा (p. 200) ṭhēṅgā m ( H) A cudgel or stout
stick. Pr. वाऱ्यावर वरात र्ुसावर ठें गा. 2 A block-socket for the foot of a post.
5. Smelter: daürā 'rope' rebus dhāvḍā 'smelter'.
Thus, the Dhammacakka of Sanchi is a Vajra PLUS metalwork wealth including copper, mintwork, ingots,
awls and axes. In a variant iconograph, the axes are substituted by copper, silver mint.
Open vajra in Bauddham tradition.
"One of the Earliest known PMC types is Magadha “type 00,” minted a time
when Bimbisara (545-493) ruled at Rajagriha. Most known examples ( about 100+) contain a prototypical
mark of the six-armed type. Coin from a recently discovered hoard of at least 22 coins all which have the 6-
armed mark with three arrow heads and three intermediate marks. There are three or four varieties, but it is
uncertain due to present uncleaned condition of the coins." (Huntington)
116
Magadha 'type' Vajra, reign of Bimbisara (545-493)
This typical drawing (framed as a common pattern, after 97 varieties of punch-marked symbols identified by
Paul Murphy) called 'circle with spokes'.
Punchmarked coin with vajra hypertext
The centre-piece of the sculptural frieze is representation of pericarp of a

lotusकणिक kárṇaka, 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-āra 'helmsman' (The suffix -āra is a
semantic determinative of 'spokes of wheel'); karaṇī, 'Supercargo is a representative of the ship's owner on
board a merchant ship, responsible, for overseeing the cargo and its sale'. tāmarasa 'lotus' (Pkt.)
rebus: tāmra, tamba 'copper'.
Carved in the prayer hall of Bhaja caves. Four 'fish-fin' hypertexts PLUS two चषालः caṣāla with cakra-
s, two pine-cones. Thus, a total of eight hypertexts. Mintwork, smelting work, implements production are
signified.
Surrounding quadrangle with weapon categories
117
Bhaja Chaitya ca. 100 BCE. Hieroglyphs are: fish-fin pair; pine-cone;
yupa: kandə ʻpine' rebus: kaṇḍa 'implements, fire-altar' khambhaṛā 'fish-fin' (Lahnda CDIAL 13640)
Ta. kampaṭṭam, kammaṭa 'mint, coiner, coinage'. Yupa: Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023).
Rebus: kāṇḍa,'implements'.
The centre-piece ayo kammaṭa sangha is flanked by skabha and kāṇḍa
Semantic determinative gaṇḍa 'four' rebus: kāṇḍa 'implements'.
Centre-piece: ayo kammaṭa sangha: 1. skabha, 'peg', skambha, 'Yūpa', 2. kāṇḍa,'implements,

metalware'
Ligature to 'mintwork' signifier is also shown on the wheel sculptural friezes of Amaravati -- spokes are
ligatured on their tips with 'fish-fins' joined together:ayo kammaṭa 'iron, alloy metal mintwork' ayo 'fish'
PLUS khambhaṛā 'fish-fin'.
The central hypertext has 1. pair of fish-fins and 2. peg

The readings are: śaṅkú, sã̄g 'peg' rebus: sã̄go 'caravan' PLUS ayo 'fish' rebus: ayas 'alloy
metal' khambhaṛā 'fish-fin'rebus: ayo kammaṭa 'iron, alloy metal mintwork'.
Together the hypertext reads:

ayo kammaṭa sã̄go, 'alloy metal mint caravan/artisan guild'.
This hypertext is flanked by two hypertexts which signify: Vajra, 'weapons' and kaṇḍa 'implements,
metalware, fire-altar'
118
Fire Vajra in Chinese Bauddham Encyclopaedia, provides
links with the Veda metaphor of sahasrabhr̥ṣṭi 'thousand furnaces' (Variant phonetic forms
of bhr̥ṣṭi = bhrāṣṭra m. ʻ gridiron ʼ Nir., adj. ʻ cooked on a gridiron ʼ Pāṇ., °ka -- m. (n.?) ʻ frying pan ʼ
Pañcat. [NIA. forms all < eastern MIA. *bhāṭha -- , but like Pk. none show medial aspirate except G. with -
- ḍ -- poss. < -- ḍh -- . -- bhráṣṭra -- , √bhrajj] Pk. bhāḍa -- n. ʻ oven for parching grain ʼ; Phal. bhaṛ<-> ʻ to
roast, fry ʼ (NOPhal 31 < bhr̥kta -- with ?); L. bhāṛ ʻ oven ʼ; Ku. bhāṛ ʻ iron oven, fire, furnace ʼ; Bi. bhār ʻ
grain -- parcher's fireplace ʼ, (N of Ganges) bhaṛ -- bhūj̃ ā ʻ grain -- parcher ʼ; OAw. bhārū, pl. °rā m. ʻ oven,
furnace ʼ; H. bhāṛ m. ʻ oven, grain -- parcher's fireplace, fire ʼ; G. bhāḍi f. ʻ oven ʼ, M. bhāḍ n.(CDIAL
9684) *bhrāṣṭraśālikā ʻ furnace house ʼ. [bhrāṣṭra -- , śāˊlā -- ]H. bharsārī f. ʻ furnace, oven ʼ.(CDIAL
9685)
Ta. vāṭṭu roasted or fried flesh or vegetable. Ko. va·ṛ- (obl. va·ṛ-, va·ṭ-) small pieces of meat for broth (of
size of a mouthful). Ka. bāḍu flesh; bāḍisu to scorch or singe by the fire as slices of dried flesh or
leaves. (DEDR 5345)
http://www.chinabuddhismencyclopedia.com/en/index.php?title=File:Fire_vajra.jpg
वाटोळा (p. 433) vāṭōḷā a (वर्त्ुिल S) Round. Used freely in every sense of Round; as Circular, spherical,
spheroidal, cylindrical, elliptical &c. (Marathi)
वाठार (p. 433) vāṭhāra n f P A lane or an alley. 2 A quarter of a town; or a division of a village composed of
distinct hamlets or clusters. वाडकर (p. 433) vāḍakara m (वाडी & कर) The lord or proprietor of a वाडी or
enclosed piece of ground. 2 also वाडकरी m An inhabitant of a वाडी, a hamleteer. वाडगें (p. 433) vāḍagēṃ n
(Dim. of वाडी) A small yard or enclosure (esp. around a ruined house or where there is no house).वाडवळ (p.
433) vāḍavaḷa m (वाडी & वळणें ) A tribe of Hindús or an individual of it. वाडा (p. 433) vāḍā m (वाट or वाटी
S) A stately or large edifice, a mansion, a palace. Also in comp. as राज- वाडा A royal edifice; सरकारवाडा
Any large and public building. 2 A division of a town, a quarter, a ward. Also in comp. as दे ऊळवाडा,
ब्राह्मण- वाडा, गौळीवाडा, चाां र्ारवाडा, कुांर्ारवाडा. 3 A division (separate portion) of a मौजा or village. The
वाडा, as well as the कोांड, paid revenue formerly, not to the सरकार but to the मौजेखोत. 4 An enclosed space;
a yard, a compound. 5 A pen or fold; as गुराां चा वाडा, गौळवाडा or गवळीवाडा, धन- गरवाडा. The pen is whether
an uncovered enclosure in a field or a hovel sheltering both beasts वाडी (p. 433) vāḍī f (वाटी S) An enclosed
piece of meadow-field or garden-ground;and keepers. an enclosure, a close, a paddock, a pingle. 2 A cluster
of huts of agriculturists, a hamlet. Hence (as the villages of the Konkan̤ are mostly composed of distinct
119
clusters of houses) a distinct portion of a straggling village. 3 A division of the suburban portion of a
city.वाडी (p. 433) vāḍī f R (वाढणें ) A dish of dressed food placed as an offering to the र्पशाच or evil
spirits. वाड्या (p. 433) vāḍyā m C (वाडी) A proprietor of hamlets, or enclosures, or tenements. (Marathi)
Rebus: वाां डें (p. 433) vāṇḍēṃ n (वार्णज्य S) A stock of merchandise or goods; a quantity brought to market.
वाां ड्याचें वाां डें A whole investment. (Marathi)
वाढया (p. 434) vāḍhayā m (वद्धि र्क S through H) A carpenter. 2 An affix of honor to the names of carpenters.
vaṭṭa 'round, circle' rebus: vatta 'duty, office': vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ
MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1]1.
Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything
twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va' ʻ round ʼ GS 58; --
Paš.ar. waṭṭəwīˊk, waḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?. 2. Pk. vaṭṭa -- , vatta -- , vitta --
, vutta -- ʻ passed, gone away, completed, dead ʼ; Ash. weṭ -- intr. ʻ to pass (of time), pass, fall (of an
avalanche) ʼ, weṭā -- tr. ʻ to pass (time) ʼ; Paš. wiṭīk ʻ passed ʼ; K.ḍoḍ. buto ʻ he was ʼ; P. batāuṇā ʻ to pass
(time) ʼ; Ku. bītṇo ʻ to be spent, die ʼ, bitauṇo ʻ to pass, spend ʼ; N. bitāunu ʻ to pass (time), kill ʼ, butāunu ʻ
to extinguish ʼ; Or. bitibā intr. ʻ to pass (of time), bitāibā tr.; Mth. butāb ʻ to extinguish ʼ; OAw. pret. bītā ʻ
passed (of time) ʼ; H. bītnā intr. ʻ to pass (of time) ʼ, butnā ʻ to be extinguished ʼ, butānā ʻ to extinguish ʼ;
G. vĭ̄tvũ intr. ʻ to pass (of time) ʼ, vatāvvũ tr. ʻ to stop ʼ.3. Pa. vatta -- n. ʻ duty, office ʼ; Pk. vaṭṭa -- , vatta --
, vitta -- , vutta -- n. ʻ livelihood ʼ; P. buttā m. ʻ means ʼ; Ku. buto ʻ daily labour, wages ʼ; N. butā ʻ means,
ability ʼ; H. oūtā m. ʻ power ʼ; Si. vaṭa ʻ subsistence, wages ʼ.vārttā -- ; *ardhavr̥tta -- , *kaṇavr̥tta -- ,
*dyūtavr̥tta -- , *bhr̥tivr̥tta -- , *hastavr̥tta -- .Addenda: vr̥ttá -- . 2. WPah.kṭg. bitṇõ ʻ (time) to pass ʼ,
kc. bətauṇo caus. (CDIAL 12069)
vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268]N. bariyo ʻ cord, rope ʼ;
Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ.(CDIAL
11212) vaṭāraka -- , varāṭaka -- m. ʻ string ʼ MBh. [vaṭa -- 2]Pa. sa -- vaṭākara -- ʻ having a cable ʼ;
Bi. baral -- rassī ʻ twisted string ʼ; H. barrā m. ʻ rope ʼ, barārā m. ʻ thong ʼ.(CDIAL 12217)
Vajra = skabha, 'peg', skambha, 'Yūpa', bhāṭha 'furnace'
kandə ʻpine' rebus: kaṇḍa 'implements, metalware, fire-altar'
Thus, the two flanking hypertexts signify vajra, 'sharp, pointed metal weapons' and 'kāṇḍa, 'metalware'.
120
I suggest that the Bhaja caves hypertext is a proclamation message by seafaring merchants, artisan guilds
working with 'alloy metal mints, fire-altars', bhāṭha 'furnaces', with competence in producing and trading in
metal weapons, metalware.
śaṅkú1 m. ʻ peg, spike ʼ RV., ʻ stake, post ʼ MBh., ʻ stick, arrow ʼ Hariv.
Add caption
ḍhangar, 'blacksmith (axe-maker)', kambāra, kammaṭi 'blacksmith,mint' (peg-maker),खाां डेकरी (p. 117)
khāṇḍēkarī m A man armed with the sword called खाां डा. (sword-maker) signify three weapon-categories
made by professional artisans. Quadrangle: gaṇḍa 'four' rebus: kanda 'fire-altar'. Thus, the Bhaja scul;ptural
frieze is a message of weaponry produced from the fire-altar.
Bhaja Chaitya ca. 100 BCE.
Location: Bhaja, Pune Dt., Maharashtra State,

India
121
Site: Bhaja
Monument/Object: Bhaja Caves complex,
Cave 12 (caitya hall), pillar, relief sculpture
Current Location: same as site location
Subject: visvavajra
Locator Information: interior, left side, 7th
from front
Period: Sunga and Related Periods
Date: ca. early 1st century BCE
Religious Affiliation: Buddhist
Material: stone
Scan Number: 16690
Photo Date: 1984
Copyright: Huntington, John C. and Susan
L.
Image Source: Huntington Archive
Bhaja sculptural frieze has an Indus Script hypertext, part of a quadrangular figure. The text is repeated four
times in four directions. This is a continuum of caturaśri चतुर्--त्रि [p= 384,2] Yūpa of Soma yajña Veda
tradition.
अर्रः री f. [अश्यते सांिन्यते अनया अश् वङ्क्यार्द˚ र्ि; cf. Uṇ.4.137] 1 A corner, angle (of a room, house &c.
changed to अर at the end of comp. with चतुर्, र्ि, षट् and a few other words; see चतुरस्र); अिार्रवै वज्रः Ait.
Br. -2 The sharp side or edge (of a weapon &c.); वृिस्य िन्ुः कुर्लशां कुण्ठितारीव लक्ष्यते Ku.2.2. -3 The sharp
side of anything.
catur चतुर् num. a. [चत् -उरन् Uṇ.5.58] (always in pl.; m. चत्वारः; f. चतस्रः; n. चत्वारर) Four; चत्वारो वयमृण्ठत्वजः
Ve.1.25; चतस्रो$वथथा बाल्यां कौमारां यौवनां वाधिकां चेर्त; चत्वारर शृङ्गा ियो अस्य पादाः &c.; शेषान् मासान् गमय चतुरो
लोचने मील- र्यत्वा Me.11. -ind. Four times. [cf. Zend chathru; Gr. tessares; L. quatuor.] [In Comp. the र् of
चतुर् is changed to a Visarga (which in some cases becomes श् , ष् or स्, or remains unchanged) before words
beginning with hard consonants.] -Comp. -अंशः a fourth part. -अङ्ग a. having 4 members, quadripartite. (-
ङ्म्) 1 a complete army consisting of elephants, chariots, cavalry and infantry; चतुरङ्गसमायुक्तां मया सि च तां
नय Rām.1.2. 1; एको र्ि खञ्जनवरो नर्लनीदलथथो दृिः करोर्त चतुरङ्गबलार्धपत्यम् Ś. Til.4; चतुरङ्गबलो राजा जगतीां
वशमानयेत् । अिां पञ्चास्य ललाटे भ्रमरचतुियां स चतुरर्िको नाम । Śālihotra of Bhoj.25. -अत्रङ्गन् a. having four
parts. (-नी) a complete army, see चतुरङ्ग. -अङ् गुलङ्गबलवाना- काशां वशमानये ॥ Subhāṣ. -2 a sort of chess. -
अत्रङ्गकः A kind of horse, having four curls on the forehead; यम् 1 the four fingers of the hand. -2 four fingers
broad. -अन्त a.bordered on all sides; र्ूत्वा र्चराय चतुरन्मिीसपत्नी Ś.4.19. -अन्ता the earth. -अशीत a. eighty-
fourth. -अशीत्रत a. or f. eighty four. -अि, -अस्र a. (for अर्र-र्स्र) 1 four cornered, quardrangular; R.6.1. A
quality of gems; Kau. A.2.11. -2 symmetrical, regular or handsome in all parts; बर्ूव तस्याश्चतुरस्रशोर्र् वपुः
Ku.1.32. (-िः, स्रः) 1 a square. -2 a quardrangular figure. -3 (in astr.) N. of the fourth and eighth lunar
mansions. -िार्श्ाम् the four sides of a square. (Apte)
चतुर्--त्रि(च्/अत्°) mfn. quadrangular RV. i , 152 , 2 ; iv , 22 , 2; चतुर्--ि mf(आ)n. four-cornered ,

quadrangular Ka1tyS3r. Kaus3. Pa1n2. 5-4 , 120 Hariv. 12378 &c; regular Jain. Kum. i , 32 ( Va1m. v , 2 ,
60); m. a quadrangular figure; m. a square W.; m. (pl.) N. of various केतु s VarBr2S. xi , 25; m. (scil. hasta) a
particular position of the hands (in dancing);catusr̥ चतसृ [p= 383,3] f. pl. of चत् /उर् , 4
(nom. and acc. च् /अतस्रस् [cf. Pa1n2. 7-2 , 99 Va1rtt. 2] ; instr. चतस् /ऋर्र्स् [cf. vi , 1 , 180 f. ] RV. viii , 60 ,
122
9 ; gen. °सॄण्/आम् S3Br. iii , 3 , 2 , 13 ; or °सॄणाम् [Ved. Pa1n2. 6-4 , 5] R. i , 72 , 12 and 73 ,
32 ; loc. °स् /ऋषु S3Br. iii , 5 , 1 , 1); चतसृका f. pl. id. Hcat. i , 11 , 672.
Hieroglyph peg: *skabha ʻ post, peg ʼ. [√skambh] Kal. Kho. iskow ʻ peg ʼ BelvalkarVol 86 with
(?).(CDIAL 13638)
Hieroglyphs: pillar, wing: skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1). [√skambh]
1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L.
(Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ
wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier
ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ,
B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ
support of betel -- cage roof ʼ,khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh, khāmhī ʻ pillar, post
ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ,
lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khām m. ʻ pillar
ʼ, khã̄bhi, °bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, °bo, Si. kap (< *kab); -- X gambhīra -- , sthāṇú -- ,
sthūˊṇā -- qq.v.2. K. khambürü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long
pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛo ʻ hole ʼ; G. khã̄bhũ n. ʻ pit for sweepings and
manure ʼ.
*skambhaghara -- , *skambhākara -- , *skambhāgāra -- , *skambhadaṇḍa -- ; *dvāraskambha -- .
Addenda: skambhá -- 1: Garh. khambu ʻ pillar ʼ.(CDIAL 13639)
*skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]

S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade,
wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambhm. ʻ wing, feather ʼ;
G. khā̄̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640)
*skambhaghara ʻ house of posts ʼ. [skambhá -- 1, ghara -- ]

B. khāmār ʻ barn ʼ; Or. khamāra ʻ barn, granary ʼ: or < *skambhākara -- ?
13641a †skámbhatē Dhātup. ʻ props ʼ, skambháthuḥ RV. [√skambh]

Pa. khambhēti ʻ props, obstructs ʼ; -- Md. ken̄̆bum ʻ punting ʼ, kan̄̆banī ʻ punts ʼ?(CDIAL 13641)
*skambhadaṇḍa ʻ pillar pole ʼ. [skambhá -- 1, daṇḍá -- ]Bi. kamhãṛ, kamhaṛ, kamhaṇḍā ʻ wooden frame
suspended from roof which drives home the thread in a loom ʼ.(CDIAL 13642)
*skambhākara ʻ heap of sheaves ʼ. [skambhá -- 1, ākara -- ]

Mth. khamhār ʻ pile of sheaves ʼ; -- altern. < *skambhaghara -- : B. khāmār ʻ barn ʼ; Or. khamāra ʻ barn,
granary ʼ.
Addenda: skámbhana -- : S.kcch. khāmṇo m. ʻ bed for plants ʼ. (CDIAL 13643)
skámbhana n. ʻ prop, pillar ʼ RV., skambhanīˊ -- f. VS. [√skambh]M. khã̄bṇī f. ʻ small post ʼ; --
G. khāmṇiyũ n. ʻ one of the ropes with which bucket is let down a well ʼ (i.e. from the post?); --
Or. khamaṇa ʻ pit, hole, waterchannel, lowland at foot of mountain ʼ; G. khāmṇũ n. ʻ small depression to
stand round -- bottomed vessel in, basin at root of a tree for water ʼ: semant. cf. kūˊpa -- 1 and skambhá -- 1.
(CDIAL 13644)
Hieroglyph: to impede: skambhita 'to impede, check' (RV X.76.4)
Rebus: kambāra 'blacksmith'
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Rebus: स्कम्भ[p= 1257,1] m. a prop , support , pillar , buttress , fulcrum , the Fulcrum of the Universe
(personified in AV. x , 7 and x , 8 , and identified with ब्रह्मन् , the Supreme Being , as well as
with पुरुष ; » Muir's Sanskrit Texts , v , 378) RV. AV.
Rebus: axe: ḍã̄grā m. ʻ small weapon like axe ʼ(WPah.)(CDIAL 5520) ḍhangar 'blacksmith'
Hieroglyph: kanda m. bulbous root (Samskritam) Ash. piċ-- kandə ʻ pine ʼ Rebus:lo-khānḍa 'tools, pots and
pans, metal-ware'. लोखांड [lōkhaṇḍa ] 'metalwork' Rebus: loh 'copper, iron, metal' (Indian
sprachbund, Meluhha). Rebus: *khaṇḍaka3 ʻ sword ʼ. [Perh. of same non -- Aryan origin as khaḍgá -- 2]
Pk. khaṁḍa -- m. ʻ sword ʼ (→ Tam. kaṇṭam), Gy. SEeur. xai̦ o, eur. xanro, xarno, xanlo, wel. xenlī f.,
S. khano m., P. khaṇḍā m., Ku. gng. khã̄ṛ, N. khã̄ṛo, khũṛo (X churi < kṣurá -- ); A. khāṇḍā ʻ heavy knife ʼ;
B. khã̄rā ʻ large sacrificial knife ʼ; Or. khaṇḍā ʻ sword ʼ, H. khã̄ṛā, G. khã̄ḍũ n., M. khã̄ḍā m.,
Si. kaḍuva.(CDIAL 3793)
parvan पविन् n. [पॄ-वर्नप् Uṇ.4.112.] पवि स्यादु त्सवे ग्रन्थौ प्रस्तावे लक्षणान्रे ' इर्त र्वश्वः. 1 A knot, joint; मासाश्चाधिमासाश्च पव
(Sometimes changed to पवि at the end of Bah. comp.; as in ककिशाङ्क्गुर्लपविया R.12.41.) सो$िां दु माि र्यनस्ते $द्य वज्रेण श
Bhāg.8.11.6; सतार्मवापविर्ण मागिणानाम् Ki.17.29. -2 A limb, member, joint of the body, knuckle. -3 A portion, part
च्छायया र्वद्याां पञ्चपवाि णमग्रतः Bhāg.3.2.18. (Apte) párvan n. ʻ knot, joint ʼ RV. Pa. pabba -- n. ʻ knot in a stalk, joint
A. pāb ʻ space between two joints ʼ (whence pabāl, °li ʻ having long joints ʼ, pabiyāiba ʻ to cut into small sections
body or plant), knuckle, protuberance ʼ.(CDIAL 7947)párśu1 m. ʻ rib ʼ AV., parśukā -- f. Suśr. 2. pārśukā- f. lex.
wel. påš, påšavo m. ʻ rib ʼ, Ash. paṣūˊ (paṣu -- aṭí, paṣu -- wātr, paṣuwāˊk), Wg. paṣúmacrdotdot;, Kt. paṣ -- čūṭ; P
Paš.lauṛ. ar. paṣūˊ, kuṛ. chil. pāṣū ʻ rib ʼ, Shum.pāˊṣu -- m ʻ my rib ʼ, Gaw. poṣūˊ, Kal.rumb. paš, Kho. praš (← Ph
Morgenstierne FestskrBroch 150), Sv. praṣūˊ, Bshk. paṣūˊ, Phal. prāšũ f., Sh.gil. prāši̯ f., jij. páči; S. pasū ̃ m. ʻ rib
ʻ rib ʼ; -- G. pāsũ n. bec. of gender rather < pārśvá -- . -- Ext. -- la -- : Pk. paṁsuliā -- f. ʻ rib ʼ, L. paslī f., khet. pas
P. passalī, paslī f., Aw.lakh. pasurī, H. pasulī, paslī, vill. pāsurī f., G. pã̄sḷī f., °ḷũ n. (gender after pāsũ?), M. pāsoḷ
shin -- bone ʼ?
2. Pa. pāsuka -- , pāsuḷa -- m. ʻ rib ʼ. -- With unexpl. ph -- : Pa. phāsukā -- , °suḷā -- , °suḷī -- , °sulikā -- f. ʻ rib ʼ (w
having the ribs showing ʼ), G. phāsḷī, phāsoḷī f. pārśvá -- ; *parśupāṭaka -- .Addenda: párśu -- 1: WPah.kṭg. śápṛɔ
body) ʼ metath. of *paśu + -- ṭa -- .(CDIAL 7948)parśuḥपशुिः 1 An axe, a hatchet; cf. परशु . -2 A weapon in general.
पशिवः Bṛi. Up.1.1.1. -4 Ved. A curved knife. -f. The supporting or side- wall of a well. -Comp. -िात्रणः 1an epithet o
Paraśurāma; also पशुिराम.(Apte)parśu2 m. ʻ axe ʼ R. [See paraśú -- : -- → Par. páš&omacrtodtod; IIFL i 281]Pk. p
Ash. pōs, Kt. peċ ʻ large axe ʼ, Bashg. peċ, poċ; Or. pāũsi ʻ vegetable chopper ʼ; Si. pihiya, °yē, pīhaya ʻ knife, cho
N. pāso see parśvadha -- (CDIAL 7949)
Hieroglyphs are: fish-fin pair; pine-cone; yupa (flaming pillar); the sculptural frieze is a description of alloy
metals mint with Skambha, 'flaming, fiery pillar of light', rebus: kammaṭa 'mint'. The hypertext may have
included a central dotted circle to signify dhatu 'strand' rebus: dhatu 'mineral ore'. Alterntively, it is
representation of pericarp of a lotus: कणिक kárṇaka, 'pericarp of lotus' karaṇī 'scribe, supercargo', kañi-
āra 'helmsman' (The suffix -āra is a semantic determinative of 'spokes of wheel'); karaṇī, 'Supercargo is a
representative of the ship's owner on board a merchant ship, responsible, for overseeing the cargo and its
sale'. tāmarasa 'lotus' (Pkt.) rebus: tāmra, tamba 'copper'.
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Thus, the entire hypertext is a proclamation of a seafaring merchant working with copper, alloy metals,
weapons, metal implements, mint, smelter.
Paš. kã̄ṛī ʻ torch ʼ(CDIAL 3023) Rebus: kāˊṇḍīra ʻ armed with arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [kāˊṇḍa --
]H. kanīrā m. ʻ a caste (usu. of arrow -- makers) ʼ.(CDIAL 3026) Paš. lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. kō ,̃
dar. kã̄ṛ ʻ arrow ʼ (CDIAL 3023)
kandə ʻpine' rebus: kaṇḍa 'implements, fire-altar' khambhaṛā 'fish-fin' (Lahnda CDIAL
13640) Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam,
kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner (DEDR 1236)
Paš. lauṛ.
Yupa:
Fig. 23 Anāthapiṇḍika's gift of the Jetavana park.

[From the Bharahat Tope, Pl. lxvii.]— From Rhys Davids, Buddhist India
Anathapindaka paying Prince Jeta for the grove by covering the surface of the ground with coins Bharhut
vedika,ca. 100 BCE Indian Museum Calcutta
Anathapindika covers Jetavana with coins (Bharhut, Brahmi text: jetavana ananthapindiko deti
kotisanthatena keta
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Anathapindika's great act of charity. Hutchinson's narrative.
Six-armed Wheel on Punchmarked coins: chakoni (Oriya), cakkaram (Tamil)
षडार 'hexagonal' षडार cakra 'wheel with six spokes'; synonym: ṣaṭkōṇa.
chakkā 'aggregate of six' (Hindi) seems to be the common Meluhha word for 'wheel, eye'.
An expression signifies the hexagon or six spokes of wheel, shown on thousands of Punchmarked
coins: dhātu chakoni 'hexagon, aggregate of 'six elements' in metal implements and of minerals worked with
in mints. chakoni is the Oriya word, which retains the ancient Meluhha phonetic form of ṣaṭkōṇa 'hexagonal
hieroglyph/hypertext'.
dhātu chakkā 'aggregate of six elements'. kōṇa m. ʻ corner, angle ʼ MBh. [Cf. kuṇi -- , *khuṇṭa -- 2: ← Drav.
T. Burrow BSOAS xi 341] ṣaṭkōṇa ʻ hexagonal ʼ RāmatUp. [ṣáṣ--, kōṇa-- ] Or. chakoṇi ʻ hexagonal
ʼ.(CDIAL 12781)
The orthography of the 'six-armed' symbol on Punchmarked coins seems to signify types of pointed, sharp-
edged weapons produced from a mint which also functioned as a metals manufactory for weapons.
ஷட்லகாணம் ṣaṭ-kōṇam , n. < id. +. 1. Six-angled figure, hexagon; ஆறு லகாணங் வகாண்ட
வடிவம் . 2. See ஷட்சக்ைம் , 2.ஷட்சக்ைம் ṣaṭ-cakram, n. < ṣaṭ-cakra. 1. (Yōga.) See ஆறாதாைம் .
2. A mystical six-cornered diagram formed by two equilateral triangles, one being inverted over the other;
ஒரு சமமுக்லகாணத்டத மற் வறான்றின்லமல் தடலமாறி டவப்பதாலுண்டாம்
அறுலகாணச் சக்கைம் .
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అరము (p. 79) aramu aramu. [Skt.] అరము n. The spoke or radius of a wheel, the edge of a weapon: a
corner or angle. ఆయుధధార. చత్రక్పు అంచు. కోణము. "అరపంచక్సంయూకాెసవ స్తెకా కారశాలిని."
Anand. T. xii. 27. "సహత్రసారచత్రక్ము." N. vi. 69. A discus or circular missile weapon. ará m. ʻ spoke of a
wheel ʼ RV. 2. āra -- 2 MBh. v.l. [√r̥]1. Pa. ara -- m., Pk. ara -- , °ga -- , °ya -- m.; S. aro m. ʻ spoke, cog ʼ;
P. arm. ʻ one of the crosspieces in a cartwheel ʼ; Or. ara ʻ felloe of a wheel ʼ; Si. ara ʻ spoke ʼ.2. Or. āra ʻ
spoke ʼ; Bi. ārā ʻ first pair of spokes in a cartwheel ʼ; H. ārā m. ʻ spoke ʼ, G. ārɔ m. (CDIAL
574) *ஆறாைச்சக்கைம் āṟāra-c-cakkaram, n. < id. + āracakra. Stanza of four lines so composed that it
can be written in the form of a wheel with six spokes, some of the letters being repeated in reading as one
goes on reading the lines from spoke to spoke, a variety of cakkara-pantam; மிடறக்கவியுள் ஒன்று.
(மாறன. 282, உடை.) சக்கைம் ¹ cakkaram, n. < cakra. 1. Circle; வட்டம் . (பிங் .) 2. Wheel, as of a
cart, car; உருடள. (சூடா.) 3. Potter's wheel; குயவன் சக் கைம் . சக்கைந்தான்
சுழற் றத்தகுங் குயத்தி (சிவப். பிைபந். பிக்ஷாடன. 6). 4. Discus, especially of Viṣṇu; missile
weapon, sharp-edged and circular; சக்கைாயுதம் . சக்கைக்டக மன்னுயிை் முதல் வன் (மணி.
13, 57). 5. Symbol of sovereignty; ஆஞ் ஞாசக்கைம் . வழுக்கில் சக்கைம் வலவயி னுய் க்கும்
(வபருங் வத்தவ. 5, 106). 6. Chart showing the position of planets at one's birth; astrological diagram;
கிைகசக்கைம் . 7. Engraved magic circles on amulets; mystical diagrams for counteracting evil
influences; மந்திைவவழுத்தடடக்கும் யந்திைம் . 8. See சக்கைபந்தம் . (தண்டி. 94.) 9. See
சக்கை மாற் று. சக்கைஞ் சீை்த்தமிழ் விைகன் (லதவா. 146, 12). 10. See சக்கையூகம் . 11.
Ancient silver coin formerly current in S. India=1/16 gold pagoda; படழய நாணயவடக. சால் பு
திருடவ யாற் றுச் சக்கைவமன்றும் (பணவிடு. 14). 12. A coin in Travancore nearly equal to 6
pies; அடை யணா மதிப்புள் ளதாய் வழங் கும் மடலயாளநாணய வடக. 13. (Weav.)
Pulley in a loom; வநசவுக் கருவி. 14. Turning pillory, wheel of torture; ஒரு தண்டடனக்கருவி.
(W.) 15. Ruddy goose, Anas cascara; சக்கைவாகப்புள் . (சூடா.) 16. Grindmill; அடைக்கும்
ஏந்திைம் . (W.) 17. Oil-mill; வசக்கு. தயிலவிடனத் வதாழின்மைபிற் சக்கைப்பாடித்
வதருவு (வபைியபு. கலியனா. 5). 18. The earth; பூமி. (பிங் .) 19. Fortress-wall, compound- wall;
மதில் . (பிங் .) 20. Sea; கடல் . (சூடா.) 21. cf. cakravāla. Mountain; மடல. (சூடா.) 22. Hood;
பாம் பின் படம் . 23. Birth, transmigration of souls; பிறப்பு. (சூடா.) 24. A cycle of 60 years;
அறுபதுவருடங் வகாண்ட காலம் . 25. A measure of capacity; பதக்கு. (டதலவ. டதல. 14.)
வகாடன koṉai, n. [T. kona, K. Tu. kone.] Tip, end, as of a needle; நுனி. பிைம் பின் வகாடன
படலால் (அஷ்டப் . திருவைங் . மா. 89) Ta. koṉai tip, end (as of a needle); kuṉai sharp point or tip of
a thing. Ko. kot side (a kotl on that side, i kotl on this side); koty trigger of gun. Ka. kone extremity, point,
tip, end, corner, sprout. Koḍ. kottï tip, nipple, joint where flower and stem are joined. Tu. konè point, end,
extremity. Te. kona end, extremity, point, tip, summit; konaka, in: cevi-konaka tip of the
ear. Konḍa kona pointed end (as of a leaf, etc.). .(DEDR 2174)
Pa. kōṇa -- m., Pk. kōṇa -- , °aga -- , m.n. ʻ corner, part of a house ʼ; Sh. (Lor.) kunīˊ ʻ corner ʼ, K. kūn m.,
P. koṇ, °ṇā, kūṇ, °ṇā m., WPah. bhal. kōṇi f., cam. kūṇā m., Ku. kuṇo, pl. kwāṇā, gng. kũ&rtodtilde;,
N. kunu, A. koṇ, B. koṇ, °ṇā, Or. koṇa, kuṇa; Bi. kon, °nī, konā -- konī ʻ ploughing from corner to corner ʼ;
Mth. koniyā ʻ low wall round three sides of winnowing basket ʼ; Bhoj. kōn ʻ corner ʼ, H. kon, °nā m.,
G. kɔṇ m. (X *khuṇṭa -- 2 in kāṭ -- khuṇ = -- koṇ m. ʻ right angle ʼ), M. koṇ m., Si. kona; -- Pk. koṇṇa -- m. ʻ
corner of a house ʼ (< kōṇa -- as tella -- < tailá -- ?); M. kon m. ʻ corner ʼ, °nā, °nyā m. ʻ cornerstone ʼ
(prob., despite LM 139, koṇ, not kon, is borrowed). *kōṇakāṣṭha -- , *kōṇasītā -- ; catuṣkōṇa -- , ṣaṭkōṇa --
.Addenda: kōṇa -- : S.kcch. khūṇo m. ʻ corner ʼ, WPah.kṭg. kvṇɔ m., kc. kvṇe f., J. koṇā m.,
Garh. kōṇū.(CDIAL 3504)
ṣáṭka ʻ consisting of six ʼ RVPrāt., n. ʻ collection of six ʼ ĀśvGr̥. [ṣáṣ -- ]Pa. chakka -- n. ʻ set of six ʼ;
Pk. chakka -- ʻ consisting of six ʼ; S. chako m. ʻ the figure six ʼ, P. chakkā m.; Ku.gng. chakka ʻ sixth ʼ;
N. chakaṛā ʻ throw in dice when all three pieces show two ʼ; B. chakṛā ʻ six cowries ʼ; Or. chakā ʻ card with
127
six pips ʼ; Mth. chakaṛī ʻ calf with six teeth ʼ; H. chakkā m. ʻ aggregate of six, the six (at cards or dice) ʼ;
G. chakkɔ m. ʻ a throw of six ʼ, chakiyɔ m. ʻ cart with six oxen ʼ; M. sak n.m. ʻ aggregate of six ʼ, sakḍā m.;
Ko. sakko ʻ the six at cards ʼ.(CDIAL 12780) ṣaṭkōṇa ʻ hexagonal ʼ RāmatUp. [ṣáṣ -- , kōṇa -- ]Or. chakoṇi ʻ
hexagonal ʼ.(CDIAL 12781) षट् क [p= 1108,3] mfn. consisting of six La1t2y. RPra1t. S3us3r. &c (र्ि-षट् क =
12 MBh. ); n. a hexade or aggregate of six (ifc. after another numeral e.g. नव-षट् क , " consisting of nine
hexades ") Nir. A1s3vS3r. MBh. &c; m. six Gan2it.; n. the six passions collectively
(viz. काम , मद , मान , लोर् , िषि , and रुषा) L. (Monier-Williams) Cakka (nt.) [Vedic cakra, redupl. formation
fr. *quel to turn round (cp. P. kaṇṭha > Lat. collus & see also note on gala)=that which is (continuously)
turning, i. e. wheel, or abstr, the shape or periphery of it, i. e. circle.Cakra=Gr. ku/klos, Ags. hveohl,
hveol=wheel. The unredupl. form in Sk. carati (versatur), Gr. pe/lomai, poleu/w, po/los (pole); Lat. colo,
incolo; Obulg. kolo wheel, Oisl. hvel] I. Crude meaning: 1. a wheel (of a carriage) Dh 1; PvA 65 (ratha˚);
Miln 27. -- 2. a discus used as a missile weapon J i.74; Pgdp 36; cp. khura˚ a razor as an instr. of torture. --
3. a disc, a circle: heṭṭhāpādatalesu cakkāni jātāni, forming the 2nd characteristic mark of a Mahāpurisa
D ii.17= iii.143; D iii.149. -- J ii.331; Miln 51. -- 4. an array of troops (under tayo vyūhā: paduma˚ cakka˚
sakaṭa˚) J ii.404=iv.343. -- II. Applied meaning: 1. (a wheel as component part of a carriage, or one of a
duad or tetrad=) collection, set, part; succession; sphere, region, cycle Vin i.330 (cp. Vin.
Texts ii.281); iii.96; iriyāpatha˚ the 4 ways of behaviour, the various positions (standing, walking, sitting,
lying down) DA i.249; Sdhp 604. sā˚, miga˚ the sphere or region of dogs & wild animals Miln 178; cakkena
(instr.) in succession PvA iii. cakkaŋ kātabbaŋ, or bandhitabbaŋ freq. in Yam. and Paṭṭh, "The cycle of
formulated words is to be here repeated." -- 2. (like the four wheels constituting the moving power of a
carriage=) a vehicle, instrument, means & ways; attribute, quality; state, condition, esp. good condition (fit
instrumentality), catucakka an instr. of four, a lucky tetrad, a fourwheeler of the body as expressing itself in
the four kinds of deportment, iriyāpathas A ii.32; S i.16, 63 (catucakkaŋ). In this sense generalized as a
happy state, consisting of "4 blessings": paṭirūpadesa -- vāsa, sappurisûpassaya, atta -- sammāpaṇidhi, pubbe
-- kata -- puññatā A ii.32; J v.114; mentioned at Ps i.84. Cp. also Sn 554 sq.; 684. Esp. pronounced in the
two phrases dhamma -- cakka (the wheel of the Doctrine, i. e. the symbol of conquering efficacy, or
happiness implicated in the D.) and brahma -- c˚ the best wheel, the supreme instrument, the noblest quality.
Both with pavatteti to start & kcep up (like starting & guiding a carriage), to set rolling, to originate, to make
universally known. dhamma˚ e. g. S i.191; A i.23, 101; ii.34, 120; iii.151; iv.313; Sn 556 sq.; 693; J iii.412;
Ps ii.159 sq.; PvA 67 (see dhamma). brahma˚ M i.71; S ii.27; A ii.9, 24; iii.9, 417; v.33; Vbh 317 sq.; 344
(see brahma). Cp. cakkavattin (below). -- Cp. vi˚.
-- chinna (udaka) (water of a well) the wheel of which is broken Ud 83; -- bhañjanin one who destroys a
state of welfare & good J v.112 (patirāpadesavāsādino kusala -- cakkassa bhañjanī C.); -- bheda breaking
peace or concord, sowing discord Vin ii.198; iii.171; -- yuga a pair of wheels Vv 832; -- ratana the treasure
of the wheel, that is of the sun (cp. Rh. D. Buddh. Suttas p. 252; Dialogues ii.197, 102) D ii.171; iii.59 sq.,
75; J i.63;ii.311; DA i.249. See also cakkavattin; -- vaṭṭaka (nt.) a scoop -- wheel (a wheel revolving over a
well with a string of earthen pots going down empty & coming up full, after dredger fashion) Vin ii.122; --
vattin (cp. dhammacakkaŋ pavatteti above) he who sets rolling the Wheel, a just & faithful king (rājā hoti c.
dhammiko dhammarājā cāturanto Sn p. 106, in corresp. pass. v. 1002 as vijeyya pathaviŋ imaŋ adaṇḍena
asatthena dhammena -- m -- anusāsati). A definition is given by Bdhgh. at DA i.249. -- Three sorts of c. are
later distinguished: a cakkavāla -- c˚ a universal king, or cāturanta -- c˚ (ruling over four great continents Sn
p. 106; KhA 227), a dīpa -- c˚ (ruling over one), a padesa -- c˚ (ruling over part of one) Usually in phrase
rājā cakka vattin: D i.88; iii.156; iv.302; v.44, 99, 342; D ii.16, 172; iii.59 sq., 75, 142 sq.; M iii.65; A i.76,
109 sq.; ii.37, 133, 245; iii.147 sq; 365; iv.89, 105; v.22; Kh viii.12 (˚sukha); J i.51; ii.395; iv.119; Vbh 336;
PvA 117; VvA 18; Sdhp 238, 453; DhA ii.135 (˚sirī). -- ˚gabbha Vism 126: -- ˚rajjaŋ kāresi J ii.311; --
viddha (nt.) a particular form of shooting J v.130; -- samārūḷha (adj.) having mounted the wheels, i. e. their
carts (of janapadā) A i.178; iii.66, 104.
अक्ष 1 [p= 3,1] m. an axle , axis (in this sense also n. L. ); the beam of a balance or string which holds the
pivot of the beam;N. of a measure (= 104 अङ्क्गुल)
([cf. Lat. axis ; Old Germ. ahsa ; Mod. Germ.Achse; Lith.assis.]); m. ( √ 1. अश् Un2. ) a die for gambling; a
cube; a seed of which rosaries are made (cf. इन्द्रा*क्ष , रुद्रा*क्ष); a weight called कषि , equal to 16 माषs
128
अक्ष m. a lawsuit L
cákṣus n. ʻ eye ʼ RV. [√cakṣ1] Pa. Pk. cakkhu -- n. ʻ eye ʼ; Aś. cakkhu -- ʻ spiritual in<-> sight ʼ; Ku. cã̄kh ʻ
evil eye ʼ; A. sakuwā ʻ knotted, jointed ʼ, saukhā ʻ pair of spectacles ʼ (or poss. < cākṣuṣá -- ?); <-> prob. ←
Pk.: A. saku ʻ eye ʼ, B. cauk, cok(h) (whence cokhāni ʻ tear ʼ), Or. OAw. cakhu; -- Si. saka EGS 170 ←
Pa.(CDIAL 4560) चक्षु [p= 382,1] m. the eye RV. x , 90 , 13; (ifc. AV. iv , 20 , 5); (for वक्षु ?) the Oxus
river VP. ii , 2 , 32 and 35 ; 8 , 114 Gol. iii , 38. (Monier-Williams)
Eye: Cakkhu (nt.) [Vedic cakṣuḥ, etym. not clear, as redupl. perhaps to īks, akṣa eye, kṣa ̣ṇa moment, or as
intens. to cit, cp. cinteti, & see Walde, Lat. Wtb. under inquam] the eye (nom. sg. cakkhuŋ Vin i.34; S i.115;
M iii.134, etc.). -- I. The eye as organ of sense -- (a) psychologically: cakkhunā rūpaŋ disvā "seeing visible
object (shape) with the eye" (Nd2 on rūpa q. v.) is the defin. of this first & most important of the senses (cp.
Pv ii.61dakkhiṇa c.=the most valuable thing): the psychology of sight is discussed at DA i.194 sq., and more
fully at Dhs 597 sq. (see DhsA 306 sq; Dhs trsl. 173 sq.); cp. cak khunā puriso ālokati rūpagatāni Nd2 234.
In any enumeration of the senses cakkhu heads the list, e. g. Vin i.34; D i.21; ii.308, 336 sq.; iii.102, 225,
244 sq.; 269; Nett 2
षड् र्ुज 1 six-armed. -2 six-sided, hexagonal. (Apte); mf(आ)n. six-armed Pan5car.; six-sided; m. or n. (?) a
hexagon Col. (Monier-Williams) bhúja m. ʻ arm ʼ MBh. [√bhuj1]Pa. bhuja -- m. ʻ arm ʼ; Pk. bhua -- m. ʻ
arm, hand ʼ.(CDIAL 9525)
धातु 1[p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3.; constituent part , ingredient (esp. [ and
in RV. only] ifc. , where often = " fold " e.g. र्ि-ध्/आतु , threefold &c ; cf. र्िर्वर्ि- , सप्त- , सु -
) RV. TS. S3Br. &c; element , primitive matter (= मिा-र्ूत L. ) MBh. Hariv. &c (usually reckoned as 5 ,
viz. ख or आकाश , अर्नल , तेजस् , जल , र्ू ; to which is added ब्रह्म Ya1jn5. iii , 145 ;
or र्वज्ञान Buddh. ); primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red
colour) Mn. MBh. &c element of words i.e.grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with
spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्ि ]). (Monier-Williams)
धातुः dhātuḥ धातुः [धा-आधारे तुन्] 1 A constituent or essential part, an ingredient. -2 An element, primary or
elementary substance, i. e. पृर्थवी, अप् , तेजस् , वायु and आकाश; Bhāg.7.15.6; A verbal root; र्ूवादयो धातवः
P.I.3.1; पश्चादध्ययनाथिस्य धातोरर्धररवार्वत् R.15.9; -िाठः a list of roots arranged according to Pāṇini's
grammatical system (the most important of these lists called धातुपाठ being supposed to be the work of
Pāṇini himself, as supplementary to his Sūtras)-मात्रक्षकम् 1 sulphuret of iron (Apte)
சக்கைம் ¹ cakkaram, n. < cakra. 1. Circle; வட்டம் . (பிங் .) 2. Wheel, as of a cart, car; உருடள.
(சூடா.) 3. Potter's wheel; குயவன் சக் கைம் . சக்கைந்தான் சுழற் றத்தகுங் குயத்தி (சிவப் .
பிைபந். பிக்ஷாடன. 6). 4. Discus, especially of Viṣṇu; missile weapon, sharp-edged and circular;
சக்கைாயுதம் . சக்கைக்டக மன்னுயிை் முதல் வன் (மணி. 13, 57). 5. Symbol of sovereignty;
ஆஞ் ஞாசக்கைம் . வழுக்கில் சக்கைம் வலவயி னுய் க்கும் (வபருங் வத்தவ. 5,
106).चक्र [p= 380,3] n. (Ved. rarely m. ; g. अधिचाि *र्द ; fr. √ चर् ? ; √1. कृ Pa1n2. 6-1 , 12 Ka1s3. ) the wheel
(of a carriage , of the Sun's chariot [ RV. ],of Time [i , 164 , 2-48] ; °ि्/अां- √चर् , to drive in a
carriage S3Br. vi) RV. &c; a discus or sharp circular missile weapon (esp. that
of र्वष्णु ) MBh. R. Sus3r. Pan5cat. BhP.;
m. ([cf. अ- , अि्/आ- , उच्चा- , /एक- , काल- , कू- , दण्ड- , र्दक्- , धमि- , मिा- , मातृ - , र् /ओध- , र्वष्णु - , स- , सप्त्/
अ- , र्िरण्य- ;र्ि- and सुचि्/अ ; cf. Lat. circus ; Angl.Sax. hveohl , Engl. wheel.])
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अिा* र [p= 117,1] mfn. having eight spokes (नृर्सांि-तापनीय-उपर्नषद)
áśri f. ʻ sharp side, corner, angle, edge ʼ ŚBr. 2. -- aśra- in cmpds.1. Pa. Pk. aṁsi -- f., Pk. assi -- f.;
P. assī f. ʻ sharp edge of anything ʼ; Or. ã̄siā ʻ having angles ʼ; Si. äs, ähä ʻ corner, angle ʼ; --
Pr. čū ʻ corner ʼ?2. Pa. assa -- m. corner; Si. asa ʻ side ʼ, ahak ʻ aside ʼ; -- in apposition with
descendants of pārśva -- : S. āsi -- pāsi ʻ on all sides ʼ, L. āsse -- pāsse, P. āsī˜ -- pāsī˜ (ā from pās --
); -- N. Ku. B. ās -- pās, Or. āsa -- pāsa, H. ās -- pās, M. āśī˜ -- pāśī˜. aṣṭāśri -- , cáturaśri --
.(CDIAL 918) cáturaśri ʻ quadrangular ʼ RV. 2. caturaśra -- Kauś. [catur -- , áśri -- ]1.
S. caurasi, °rāsi, Si. siuräs.2. Pa. caturassa -- , °aka -- , Pk. caürassa -- , L. caursā,
P. cauras WPah. jaun. coraś ʻ flat, level ʼ; Ku. gng. cɔ̈̄ras ʻ square ʼ, N. cauras; B. Or. cauras ʻ
square, level, flat ʼ; Bi. cauras ʻ square ʼ, caursā ʻ a broad file ʼ; H. cauras ʻ square, level ʼ;
G. cɔras ʻ square ʼ, m. ʻ a square ʼ, M. cauras.(CDIAL 4598) aṣṭāˊśri ʻ octagonal ʼ ŚBr. [aṣṭāˊ, áśri -
- ] Or. aṭhã̄siā, Si. aṭäs.(CDIAL 952) अिा* र्र [p= 117,1]mfn. having eight corners S3Br. (Monier-
Williams)
Hieroglyph: śaṅkú1 m. ʻ peg, spike ʼ RV., ʻ stake, post ʼ MBh., ʻ stick, arrow ʼ Hariv.
Rebus: Pa. saṅku -- , °uka -- m. ʻ stake, spike, javelin ʼ, Pk. saṁku -- m.; Dm. šaṅ ʻ branch, twig ʼ,
šãkolīˊ ʻ small do. ʼ, Gaw. šāṅkolīˊ; Kal.rumb. šoṅ (st. šoṅg -- ), urt. šaṅ ʻ branch ʼ; Kho. šoṅg ʻ a
kind of shrub with white twigs (?) ʼ; Phal. šōṅ ʻ branch ʼ; P. saṅglā m. ʻ a plank bridge in the hills ʼ;
A. xak̃ āli ʻ a kind of fishing spear ʼ; Si. aku -- va ʻ stake ʼ. -- X śāˊkhā -- : Gaw. šãkhá, šãká ʻ branch
ʼ, Sv. šãkhe; OG. sāṁkha m. ʻ beam ʼ. -- Connexion of the following is doubtful: S. sãga f. ʻ one
fork of a forked stick ʼ, sãgi f. ʻ spear ʼ; L. sāṅg, pl. °gã f. ʻ spear ʼ, sãgolā m. ʻ spear carried by a
watchman ʼ; P. sãg f. ʻ prong, fork, point ʼ, sāṅgī f. ʻ pitchfork ʼ; H. sãg f. ʻ spear, instrument for
digging wells ʼ, sãgī f. ʻ small spear ʼ; G. M. sãg f. ʻ iron spear ʼ. *śalyaśaṅku -- .śaṅku -- 2 ʻ a
partic. tree ʼ see śāka -- 1. śaṅkú -- [Shgh. x̌ï/ūng ʻ stick ʼ not ← IA. e.g. Kho. šoṅg (CDIAL 12260).
Rebus:saṁghá m. ʻ association, a community ʼ Mn. [√han1]Pa. saṅgha -- m. ʻ assembly, the

priesthood ʼ; Aś. saṁgha -- m. ʻ the Buddhist community ʼ; Pk. saṁgha -- m. ʻ assembly, collection
ʼ; OSi. (Brāhmī inscr.) saga, Si. san̄̆ga ʻ crowd, collection ʼ. -- Rather < saṅga -- : S. saṅgu m. ʻ body
of pilgrims ʼ (whence sã̄go m. ʻ caravan ʼ), L. P. saṅg m.sāṁghika -- ; saṁghapati -- .(CDIAL
12854) Sangha [fr. saŋ+hṛ; lit. "comprising." The quâsi pop. etym. at VvA 233 is "diṭṭhi -- sīla --
sāmaññena sanghāṭabhāvena sangha"] 1. multitude, assemblage Miln 403 (kāka˚); J i.52 (sakuṇa˚);
Sn 589 (ñāti˚); 680 (deva˚); D iii.23 (miga˚); Vv 55 (accharā˚=samūha VvA 37). bhikkhu˚ an
assembly of Buddhist priests A i.56, etc.; D i.1, etc.; S i.236; Sum i.230, 280;
Vin i.16; ii.147; bhikkhunī˚ an assembly of nuns S v.360; Vin i.140; sāvaka˚an assembly of disciples
A i.208; D ii.93; S i.220; PvA 195, etc.; samaṇa˚ an assembly of ascetics Sn 550. -- 2. the Order, the
priesthood, the clergy, the Buddhist church A i.68, 123, etc.; D i.2, etc.; iii.102, 126, 193, 246;
S iv.270 sq.; Sn 227, etc.; J ii.147, etc.; Dhs 1004; It 11, 12, 88; Vin i.102, 326; ii.164, etc. <-> 3. a
larger assemblage, a community A ii.55=Sv.400; M i.231 (cp. gaṇa). -- On the formula Buddha,
Dhamma, Sangha see dhamma C 2. -- ânussati meditation on the Order (a kammaṭṭhāna) D iii.250,
280; A i.30; J i.97. -- ārāma a residence for members of the Order J i.94; VbhA 13. -- kamma an act
or ceremony performed by a chapter of bhikkhus assembled in solemn conclave Vin i.123 (cp. i.53,
143 & expln at S.B.E. xxii.7); iii.38 sq.; J i.341. -- gata gone into the sangha, joining the community
M i.469. -- thera senior of the congregation Vin ii.212, 303. -- bhatta food given to the community of
bhikkhus Vin i.58; ii.109, 212. -- bhinna schismatic Vin v.216. -- bheda causing dissension among
the Order Vin i.150; ii.180 sq.; A ii.239 sq.; It 11; Tikp 167, 171; J vi.129; VbhA 425 sq. --
bhedaka causing dissension or divisions, schismatic Vin i.89, 136, 168; It 11. -- māmaka devoted to
130
the Sangha DhA i.206. -- rāji [=rāji2] dissension in the Order Vin i.339; ii.203=VbhA 428;
Vin iv.37.(Pali)
Taxila coin with wheel and Buddhist symbols.

Wheel/pacaladamma type. Wheel; above, crescent above triple-arched hill / Swastika flanked by
nandipadas; Kharosthi legend below. 185-168 BCE
To the right of Buddha is Vajrapani holding an octagonal vajra

shaped like an hour-glass.
Dharma cakra parvartana scene. Taxila ca. 150-250 CE.

131
John Huntington has demonstrated the continuum from Vedic times related to some symbols on punch-
marked coins, with emphasis on Vajra as षट् --कोण 'six-angled'.
132
133
134
135
Dharma Cakra Sanchi Stupa 2, ca. 100 BCE
Stupa-2 Northwest section showing chakra supported by elephants. Sanchi, Dist Raisen,
136
Chandraketugarh. Śrī, 'wealth
personified' devatā, Terracotta. Pancacūḍa, 'five hair knots' with copper/bronze weapon extensions:
arrowhead, axe, bronze flagpost, three-pronged spear (triśūla), mace with macehead.
Cobra
hoods. phaḍā, paṭam, 'cobra hood',Rebus:phaḍa फड ‘metals manufactory, company, guild, public office’,
137
Winged. Dhamma samjña of torcs which are
responsibility badges. G.karã n. pl. 'wristlets, bangles'; S. karāī f. 'wrist' (CDIAL 2779). Rebus: khār खार्
'blacksmith' (Kashmiri). PLUS kambha 'wings' rebus: kammaṭa, 'mint, coiner, coinage'. Thus, blacksmith
with mint.
pōlaḍu, 'black drongo' Rebus: pōlaḍu, 'steel' PLUS kuḍi 'drink'

rebus: kuṭhi 'smelter'. Thus, crucible steel maker with smelter for iron.
138
I suggest that this hypertext
sculptural frieze of Chandraketugarh is a public discussion narrative, a description
of फड phaḍa फड ‘metals manufactory, company, guild, public office’, keeper of all accounts,
registers; paṭṭaḍe 'smithy, forge, workshop'; a presentation of a narrative of public discussion: फडास येणें To
come before the public; to come under general discussion.
Hypertext of Chandraketugarh public discussion narrative:: படுக்டக paṭukkai, n. < படு²-. 1. Lying
down; சயனிக்டக. 2. Bed, bedding, couch, sleeping place, litter, lair; பாயல் . 3. Straw or olas or
boards placed in a boat to protect goods from the bilge-water; சைக்குமூட்டடலமல் நீ ை்
படாதிருக்கத் லதாணியினடியிற் பைப்பும் புல் அல் லது ஓடல. (W.) 4. Olas or straw laid
down as a bed on which to place grain, tobacco, palmyra fruit, earthen ware, etc.; தானியம்
முதலியன டவத் தற் கு உதவுமாறு அடியிற் பைப்பிய வபாருள் . फडकें (p. 313) phaḍakēṃ n
(Deprec. form of फडका) A common piece of cloth, a rag, a clout. फडका (p. 313) phaḍakā m A piece of
cloth; a remnant, strip, slip; also a torn, old, or common piece; a rag, clout, tatter.
Rebus: படுக்டக paṭukkai, n. Anvil; பட்டடட.फडझडती (p. 313) phaḍajhaḍatī f sometimes
फडझाडणी f A clearing off of public business (of any business comprehended under the word फड q. v.):
also clearing examination of any फड or place of public business. 2 fig. Scolding vehemently; paying off. v
काढ, घे g. of o. 3 Search of or inquiry at the several फड q.v.; taking the accounts of the several फड (as to
arrivals of goods, sales, rates &c.) 4 Altercation or dispute of two फड or companies of तमाशे गीर (showmen
or sportmen). 5 Freely. Examining or sifting rigorously. फडनीस (p. 313) phaḍanīsa m ( H) A public officer,-
-the keeper of the registers &c. By him were issued all grants, commissions, and orders; and to him were
rendered all accounts from the other departments. He answers to Deputy auditor and accountant. Formerly
the head Kárkún of a district-cutcherry who had charge of the accounts &c. was called फडनीस. फडशा (p.
313) phaḍaśā m ( H) Clearance, settlement, liquidated state (of a debt): settled, performed, or executed state
(of an affair or a business): consumption, exhaustion, consumed state (of articles of provision). कर,
िो. फडकरी (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A
superintendent or master of a फड or public place. See under फड. 3 A retail-dealer (esp. in grain). फड (p.
313) phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a
counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-
house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The
word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for
idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be
139
ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in
general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive
business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field
(as of ऊस, वाां ग्या, र्मरच्या, खरबुजे &c.): also a standing crop of such produce. 5 fig. Full and vigorous
operation or proceeding, the going on with high animation and bustle (of business in general). v चाल, पड,
घाल, माां ड. 6 A company, a troop, a band or set (as of actors, showmen, dancers &c.) 7 The stand of a great
gun. फड पडणें g. of s. To be in full and active operation. 2 To come under brisk discussion. फड मारणें-
राखणें -सांर्ाळणें To save appearances, फड मारणें or सांपादणें To cut a dash; to make a display (upon an
occasion). फडाच्या मापानें With full tale; in flowing measure. फडास येणें To come before the public; to come
under general discussion.
Stupa-2 pillar outer face showing Man in between floral motifs. Sanchi, Dist Raisen, Madhya Pradesh India
-
Chandraketugarh.
tāmarasa 'lotus' rebus: tāmra 'copper' PLUS kambha 'wings' rebus: kammaṭa, 'mint, coiner, coinage'. Thus,
copper mint. gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' baṭa 'six' rebus: bhaṭa 'furnace; kola 'woman'
rebus: kole.l 'smithy, forge' rebus: kole.l 'temple'
Wheeled figure, conceived and executed in the round, representing a

winged elephant (proto-gaṇeśa?) with lotus stalks in its trunk. tāmarasa 'lotus' rebus: tāmra 'copper'
PLUS kambha 'wings' rebus: kammaṭa, 'mint, coiner, coinage'. Thus, copper mint. Corded rope as
140
turban: daürā 'rope' rebus dhāvḍā 'smelter'. karibha, ibha 'elephant' rebus: karba, ib 'iron'. He arries two stylii
on his arm: ib 'needle' rebus: ib 'iron' ibbo 'merchant'. Thus, scribe, iron smelter (with) copper mint.
Chandraketugarh. The circle with multiple spokes and extensions emanating from the central dotted circle is
patterned after the spoked-wheel variants which occur on early punch-marked coins. The muti-spoked wheel
is a R̥gveda metaphor of 'thousand spokes and hundred knuckles' referring to many forms of metallic
weapons. In this depiction of a sculptural frieze, many members of the metals guild are signified. The central
dot is dhatu 'strand' rebus: dhatu 'mineral ore' which expands into many metalware and metal weapon
expressions..
Ujjain coin.under Kunala 3rd cent.BCE Three persons: kolom 'three' rebus: kolimi 'smithy, forge'. The
standing persons shown on Chandraketugarh artifact may be a similar Indus Script hypertext conveying the
message rebus of 'smithy, forge'.
141
Anthropomrph. Gangetic
Chalcolithic Culture ca. 1200-1000 BCE
Śunga coin. Four Indus Script hypertexts/hieroglyphs are uambiguous on the Śunga coin and signify
mineral/metal resources deployed in mint-work:
1. alloy metal, silver mint

2. metal implements
3. smelter धावड dhāvaḍa 'smelters of iron'
4. zinc, pewter alloy
Meluhha rebus readings, respectively, from l. to r. are: silver mint, iron,

implements, red ore, zinc
142
A circle (or, round stone) gōṭā m A roundish stone or pebble. 2 A marble (of stone, lac, wood &c.) 2 A
marble. 3 A large lifting stone Rebus: khoTa 'ingot'(Marathi); P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ
edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a
garment, metal wristlet ʼ.(CDIAL 4271) gota 'roundish stone' Rebus: goṭa 'laterite, ferrite ore' 'gold-
lac, braid' PLUS superscript: fish-fin pair:ayo, aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS dula 'pair'
rebus: dul 'metal casting' PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner,coinage'. Thus, alloy
metal castings, mint.
Alternative: mēḍhā 'a twist or tangle arising in thread or cord, a curl or snarl' rebus: meḍh ‘helper of
merchant’ (Pkt.) meṛha, meḍhi ‘merchant’s clerk; (Gujarati) मेढ ‘merchant’s helper’ (Pkt.) meḍ 'iron'
(Ho.); med 'copper' medha 'yajna' medhā 'dhanam'.
Alternative: A variant for the 'twist' hieroglyph reading: kãsā 'twist, loo' rebus: kãsā 'bronze'.
kaṇḍa, 'arrow' rebus: kaṇḍa,'implements/sword

dhātu 'strand' (Rigveda) S. dhāī f. ʻ wisp of fibres added from time to time to a rope .rebus: dhāū,
dhāv, dhātu 'red ore'
Hieroglyph: svastika: sāthiyo (G.); satthia, sotthia (Pkt.) rebus: svastika pewter (Kannada), jasta 'zinc'
(Hindi)
Thus, when a hypertext is orthographed including one or more of thee hieroglyphs, the message is clear and
unambiguous, as, for example on a common hypertext on early Punch-marked coins which include three of
these hieroglyphs: :mēḍhā 'twist' rebus: mēḍ 'iron', kaṇḍa 'arrow rebus:kaṇḍa,'implements' dhātu 'strand'
rebus: dhātu 'red ore'.
An alternative reading is also apposite for the 'loop' imagery: kāca m. ʻloop' rebus: kāsa 'bronze'. Thus, the
frequently signified hypertext on Punch-marked coins may be read: dhatu kāsa kaṇḍa 'mineral
(metal), bronze implements'
Source for Chandraketugarh hypertexts: http://www.historyofbengal.com
Coin of Agnimitra, showing the depiction of Agni with flaming hair on the obverse, and a reverse
showing the three dynastic symbols of the Panchala rulers and a legend naming the king: Agimitasa.
143
A bronze currency of ½ karshapana of King Indramitra (ca 75-50 BC?) Of Ahichatra of
Panchala. Obv: A inside a rectangle, a line of 3 symbols, under the name of the king. Rev: Indra
standing on a pedestal without pillars. Dimensions: 15 mm. Weight: 4.18 g.
This is comparable to the Ujjaini symbol on ancient coins.
Vidarbha, 300-100 BCE, Copper, 0.92g, 6-arm Wheel / Ujjaini symbol
kuṭhi 'tree' Rebus: kuṭhi 'smelting furnace‘; koṭe ‘forged metal’ (Santali)(Phonetic determinant of the twig on
the horns of the woman ligatured to the tiger'
gaNDa 'four' rebus: kaNDa 'implements' 'fire-altar'
144
Four Dotted circles: Dotted circle hieroglyph is a cross-section of a strand of rope: S. dhāī f. ʻ wisp of fibres
added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ
element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāū, dhāv m.f. ʻ a partic. soft red stone
ʼ(Marathi) धवड (p. 436) [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron
(Marathi). Hence, the depiction of a single dotted circle, two dotted circles and three dotted circles (called
trefoil) on the robe of the Purifier priest of Mohenjo-daro.
This compares with svastika hieroglyph of Harappa (Indus) Script. Hieroglyph: sattva 'svastika' glyph
Rebus: sattu, satavu, satuvu 'pewter' (Kannada) jasth जथथ । िपु m. (sg. dat. jastas जस्तस् ), zinc, spelter;
pewter.
The casting has five wide spokes with projecting rims, radiating from a circular hub also encircled by a
flange. The five spokes signify five alloy metals, pancaloha.
These castings explain the significance of the symbol used on early punch-marked coins, referred to as
Takshasila symbol.
145
Long concave silver bar, 48mm long, 9mm wide, struck with a 6-armed Gandharan symbol on each end.
11.4 grams. Rajgor 542.
146
Source: http://www.ancientcoins.ca/gandhara/gandhara.htm
These orthographic variants from cire perdue castings and early coins, signify are two hieroglyph
components: spokes and twist (of strands of rope).
mēḍhā 'twist' rebus med 'iron' med 'copper' (Slavic) medhā 'dhana, yajna'
āra 'spokes'. Rebus: āra 'brass' as in ārakūṭa (Skt.) eraka 'knave of wheel' Rebus: Tu. eraka molten, cast (as
metal); eraguni to melt (DEDR 866)
'element': 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](CDIAL 6773)This hieroglyph becomes a framework for rebus-
metonymy rendering of iron-worker or iron-smelter's work with धाव [ dhāva ] m f A certain soft, red stone
> धातु 'minerals or ferrite ores' which were identified in three categories: magnetite, hematite,
ilmenite. hence, workers with धाव [ dhāva ], धातु were called धावड [ dhāvaḍa ] 'smelters of iron';धावडी [
dhāvaḍī ] 'relating to iron'.
In Rigveda, the root is explained as: धातु [p=513,3] m. layer , stratum Ka1tyS3r. Kaus3.constituent part ,
ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. र्ि-ध्/आतु ,
threefold &c ; cf. र्िर्वर्ि- , सप्त- , सु -) RV. TS.S3Br. &c
धातु primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red
colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with
In compounds: त्रि--धातु [p= 458,3] mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to
denote excessive) RV. S3Br. v , 5 , 5 , 6 m. (scil. पुरोड् /आश) N. of an oblation TS. ii , 3 , 6. 1 ( -
त्व्/अ n. abstr.)m. गणे *श L.n. the aggregate of the 3 minerals or of the 3 humours W.
धा [ dhā ] ind (S) Time, turn, occasion. In comp. with the numerals; as एकधा, र्िधा, र्िधा, चतुधाि .
धावाकरी [ dhāvākarī ] m One constantly invoking a god (calling धावा! धावा! run! run!)
धावडी [ dhāvaḍī ] a Relating to the class धावड. Hence 2 Composed of or relating to iron. धावड [ dhāvaḍa
] m A class or an individual of it. They are smelters of iron. In these parts they are Muhammadans. धाव [
dhāva ] m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear
their faces with it. धाऊ [ dhāū ] m f A certain soft and red stone. See धाव. धातु [ dhātu ] A metal or
mineral; A primary or elementary substance; viz. earth, water, fire, air, आकाश. 7 A property of a primary
element,--odor, flavor, color, touch, and sound. The root of a verb.धातु मय [ dhātumaya ] a (S) Composed or
consisting of metal, metallic. धातुमार्क्षक [ dhātumākṣika ] n S A mineral substance, a sulphuret of
iron.धातुवाद [ dhātuvāda ] m S Mineralogy or chemistry.धातुवादी [ dhātuvādī ] m S A mineralogist or a
chemist; a man conversant about metals and minerals.धातुस्पशि [ dhātusparśa ] m (S) Touch or contact of
metal. A term, together with the power of neg. con., for Absolute poverty; absolute lack of metal (i. e. gold,
silver, or copper). Ex. ह्याच्या घराां त धा0 नािीां. 2 A term, with neg. con., for Utter absence of (gold or silver)
trinkets. Ex. त्या बायकोच्या अांगास धा0 म्हटला तर नािीांच.
147
धवड [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron.
Ka. guruḷe, guḷḷi, guḷḷe bubble, blister, pustule, small round shell. Tu. guḷḷè, gullè bubble, blister,
pustule; gulla a kind of small mollusk. Te. gulla a shell, a white pustule; gulaka shell, pebble.
? Kol. (Kin.) gurgela snail. Pa. gulli shell, cowrie; gula snail. Kui gola, goli shell (said to be < Or.).
? Ta. kuruḷai tortoise. / Cf. Halbi ghula snail.
(DEDR 1725)
गोली (p. 144) gōlī f A common term for the hooks or curved iron members attached to the कोळपें or कुळव
and some other implements. गोल्या (p. 144) gōlyā m A rice-pounder or pestle with a stone-ball fixed in it. 2
The पट्टी or iron strip running across the teeth of the weeding instrument कोळपें . गोळ्या (p. 145) gōḷyā m C A
small earthen vessel. 2 Commonly गोल्या A rice-pounder &c. कोळपें (p. 106) kōḷapēṃ n कोळपा m An
instrument for outrooting grass and weeds from fields of corn. It consists of a bar of wood with a piece of
iron at each extremity curving inwards, having an interval for the passage of the row of corn-stalks. There
are varieties, however, furnished with teeth from four to eight. Konḍa kōl big wooden
pestle. Pe. kōl pestle. Manḍ. kūl id. Kui kōḍu (pl. kōṭka) id. Kuwi (F.) kōlū (pl. kōlka), (S. Su.) kōlu
(pl. kōlka) id. Cf. 2240 Ta. kōlam (Tu. Te. Go.). / Cf. OMar. (Master) kōla stick. (DEDR 2327)
लोिदां ड (p. 423) lōhadaṇḍa m (S) An iron mace or bar, the weapon of Yama and of legendary warriors. 2 A
bar of iron given to a Bráhman in propitiation of Yama, Shani &c.
गदा (p. 127) gadā f (S) A mace, baton, club, cudgel. 2 (Poetry.) An iron bar as a weapon. Ex. मग लोिदां ड
गदा घेवून ॥ दै त्यास मारी मण्ठिकाजुिन ॥.
गुरगूज (p. 139) guragūja m ( P) A mace with little iron chains. Used by mendicants. गुरदा (p. 139) guradā m
( P) An iron mace or club.
ḍakka2 ʻ stick ʼ. 2. *ḍaṅga -- 1. [Cf. other variants for ʻ stick ʼ: ṭaṅka -- 3, *ṭiṅkara -- , *ṭhiṅga -- 1, *ḍikka -
- 1 (*ḍiṅka -- )]
1. S. ḍ̠aku m. ʻ stick put up to keep a door shut ʼ, ḍ̠akaru ʻ stick, straw ʼ; P. ḍakkā m. ʻ straw ʼ, ḍakkrā m. ʻ
bit (of anything) ʼ; N. ḍã̄klo ʻ stalk, stem ʼ.2. Pk. ḍaṅgā -- f. ʻ stick ʼ; A. ḍāṅ ʻ thick stick ʼ; B. ḍāṅ ʻ pole for
hanging things on ʼ; Or. ḍāṅga ʻ stick ʼ; H. ḍã̄g f. ʻ club ʼ (→ P. ḍã̄g f. ʻ stick ʼ; K. ḍã̄g m. ʻ club, mace ʼ);
G. ḍã̄g f., °gɔ, ḍãgorɔ m., °rũ n. ʻ stick ʼ; M. ḍãgarṇẽ n. ʻ short thick stick ʼ, ḍã̄gḷī f. ʻ small branch
ʼ, ḍã̄gśī f.*ḍakka -- 3 ʻ hill ʼ see *ṭakka -- 3.*ḍakka -- 4 ʻ drum ʼ see *ḍaṅka -- .Addenda: *ḍakka -- 2. 2.
*ḍaṅga -- 1: WPah.kṭg. ḍāṅg f. (obl. -- a) ʻ stick ʼ, ḍaṅgṛɔ m. ʻ stalk (of a plant) ʼ; -- poss. kṭg.
(kc.) ḍaṅgrɔ m. ʻ axe ʼ, poet. ḍaṅgru m., °re f.; J. ḍã̄grā m. ʻ small weapon like axe ʼ, P. ḍaṅgorī f. ʻ small
staff or club ʼ (Him.I 84).(CDIAL 5520)Ma. ṭaṅkam mace. Ka. ṭaṅke, ḍaṅke, ḍaṅgi, ḍaṅge staff, cudgel,
etc. (DEDR 2940) *ṭhiṅga1 ʻ block, stick, leg ʼ. 2. *ṭhēṅga -- . [See list s.v. *ḍakka -- 2]
1. P. ṭhiṅgā m. ʻ stick ʼ; N. ṭhiṅro, ṭhiṅuro, ṭhiũro ʻ stocks, fetter ʼ; M. ṭhĩgā ʻ stick, block socket for post
ʼ, ṭhĩgḍā m. ʻ cudgel ʼ.
2. P. ṭhī˜gā m. ʻ stick ʼ; N. ṭhyã̄gro, ṭheṅro ʻ stocks, fetter ʼ; A. ṭheṅgā ʻ pantaloons ʼ (< ʻ *legs ʼ?);
B. ṭheṅg ʻ leg ʼ, ṭheṅgā ʻ cudgel ʼ; Or. ṭheṅga ʻ leg ʼ, ṭheṅgā ʻ cudgel ʼ; H. ṭhẽgā m. ʻ bludgeon ʼ;
M. ṭhẽgā m. ʻ stick ʼ, ṭhẽgḍā m. ʻ cudgel ʼ.(CDIAL 5500) ठें गा (p. 200) ṭhēṅgā m ( H) A cudgel or stout
stick. Pr. वाऱ्यावर वरात र्ुसावर ठें गा. 2 A block-socket for the foot of a post.
148
Copper Axe - Middle East. Luristan Bronze Age: 4,500 - 2,650 years ago
Macehead
Indian (probably Deccan) ceremonial mace, 18th c, gold inlaid iron head divided into eight books featuring
various Hindu gods, four decorated with mythological scenes, two twisted decor, a luxurious example, the decor
of the upper and lower parts of the head with the use of a flower with eight petals evoking the eight-pointed star,
149
each petal is adorned with a flower as well as a second register of eight arches decorated with bouquets. Height:
66 cm.
https://www.pinterest.com/pin/354799276867285301/
Luristan bronze macehead.
This Stone Macehead shows Imdugud, the lion-headed eagle, grasping two lions. Imdugud, the symbol of
the god Ningirsu, can also be seen on the relief above the west doorway of this gallery. The largest of the
three human figures is probably King Enannatum of Lagash.
About 2400 BC (Early Dynastic III)
From Girsu
British Museum Reference: ME 23287
https://commons.wikimedia.org/wiki/File:Mace_head_dedicated_to_the_god_Ningirsu_-_ME_23287_-
_British_Museum_(01).JPG
150
Nihal Mishmar. standards. Cire perdue metal castings.
151
Nihal Mishmar. 6th millennium BCE. Bronze artifacts including maceheads.Courtesy of the Israel Museum
& Times of Israel
152
Damascus steel images.Weapons.
Collection of Bronze Age Weapons
153
Luristan Bronze Socket
Macehead, ca. 800 - 700 BCE
154
Bronze axe - Luristan, Northwest Iran. Luristan Bronze Age: 4,500 - 2,650 years ago. 19 cm long x 6.5 cm
wide.
155
http://lgffoundation.cfsites.org/custom.php%3Fpageid%3D15368
Nandipada symbol shown with a hollow circle on top (cf. Ashmaka coin) Vs. Triratna
(including Śrivatsa) symbol
rivatsa is more elaborate orthographically topping the cirle with two fish-fins fused together with th fins
raised upwards. Nandipada is a circle topped by a semi-circle and hence, more like a crucible atop an ingot.
Nandipada is also shown with a hollow circle above the crucible.
I suggest that nandipada signifies a crucible to produce hardened ingots (such as those of crucible
steel). pola 'hollow circle' rebus: poladu 'steel' PLUS koṭhāri 'crucible' Rebus: koṭhāri 'treasurer, warehouse'
I suggest that Śrivatsa signifies an iron, alloy metal artificer (sippi).
Śrivatsa hypertext
Hieroglyphs of 'Śrivatsa' hypertext: fish-fin, tied together, spathe, lotus
śrivatsa symbol [with its hundreds of stylized variants,

depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on
inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] śrivatsa symbol
seems to have evolved from a styli ed glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two
fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within
theśrivatsa glyph composition, emphasizing the association of the ‘fish’ glyph with śrivatsa glyph. meṛh f.
ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) Rebus: mẽṛhẽt,
meḍ 'iron' (Santali.Mu.Ho.) PLUS ayo, aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS khambhaṛā 'fish-
fin' rebus: kammaṭa 'mint, coiner,coinage'. Thus, together, the hypertext expression is: meḍ aya kammaṭa
sippi 'iron, alloy metal mint arificer.' daürā 'rope' rebus dhāvḍā 'smelter'
(After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala
Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77)
Triratna hypertext is a repertoire of metallic weapons made in mints
156
This reads: tāmarasa 'lotus' rebus: tāmra 'copper' PLUS kamma1a 'mint' PLUS dhau 'strand (dotted
circle)' dãya 'single dot on dice' rebus; dhatu 'mineral ore' PLUS dala 'petal' rebus: ḍhāḷako 'large ingot'.
Thus, minerals, ingots, copper mint.
This triratna hypertext has three segments to signify three levels of mintwork: 1.dhatu, 'ore' (smelting);
2.dala 'ingot' (smithy/forge to work with ingots); 3.kammata 'mint' (producing metalware and metallic
weapons).
I suggest that Triratna includes Śrivatsa hypertext together with additional hieroglyphs to
signify kamma1a 'mint' and 2.the nature of metalwork,
e.g.,dala 'petal'rebus: ḍhāḷako 'large ingot' PLUS tāmarasa 'lotus' rebus: tāmra 'copper' dhau 'strand (dotted
circle)' dãya 'single dot on dice' rebus; dhatu 'mineral ore'. Thus, mineral ore, copper ingots and mint work
constitute the triratna hypertext.
As shown on Sanchi toraṇa, the triratna becomes a circumscript upon Śrivatsa with hypertext
component: sippi' mollusc' rebus: sippi 'artisan, sculptor' PLUS meṛh 'rope' rebus: meḍ 'iron' PLUS ayo,
aya 'fish' rebus: ayas 'alloy metal', i.e. alloy meal, iron artificeer, sculptor (cire perdue metal casting expert
who can produce metal sculptures.)
That kammaṭa 'mint' is the rebus word gets confirmation from a phonetic determinant signified together with
a pair fish-fins, on a Begram ivory which shows the pair of fish-fins with in-laid eyes:
Srivatsa with kanka, 'eyes' (Kui).
Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°. According to an inscription on
the southern gate of Sanchi stupa, it has been carved by ivory carvers of Vidisha.Southern Gateway panel
information:West pillar Front East Face has an inscription. Vedisakehi dantakarehi rupa-kammam katam -
On the border of this panel – Epigraphia Indica vol II – written in Brahmi, language is Pali – the carving of
this sculpture is done by the ivory carvers of Vedisa (Vidisha). http://puratattva.in/2012/03/21/sanchi-
buddham-dhammam-sangahm-5-1484 The phonetic variant attested in Tamil is: கண்வட்டம் kaṇ-vaṭṭam
157
, n. < id. +. 1. Range of vision, eye-sweep, full reach of one's observation; கண்பாை்டவக்குட்பட்ட
இடம் . தங் கள் கண்வட்டத்திலல உண்டுடுத்துத்திைிகிற (ஈடு, 3, 5, 2). 2. Mint;
நாணயசாடல. கண்வட்டக்கள் ளன் (ஈடு.). In this gloss, kaṇ-vaṭṭam 'mint' is a phonetic variant
of kammaṭa 'mint' In the Tamil expression the words kanka 'eyes', kaṇ 'eye' are semantically expanded as
'range of vision' or 'eye-sweep'.
śrīvatsa (tri-ratna)
khambhaṛā 'fish-fin' rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam,

kammiṭṭamcoinage, mint. Ka. kammaṭa id.; kammaṭi a coiner.(DEDR 1236) ayo kammaTa dvAra, 'metal
mint gateway'. cf. Mahavamsa, XXV, 28, ayo-kammata-dvara, "iron studded gate."
śrīvatsa (or tri-ratna) Variant (dotted circle w/ fish-fins on top
constituting śrīvatsa): Parker's Tissa coin Ancient Ceylon 54

Other variants:
Examples of nandipada symbol on punch-marked coins
158
Punch marked Coins, Ashmaka Janapada, Silver, 1.43g, 1/2 Karshapana, four-symbol type with an elephant
standing to right, a tree in railing and a pair of symbols with a Nandipada-like symbol placed inside a
crescent (Rajgor# 485).
159
A. Punch marked Coins, Ashmaka Janapada, Silver, 1.40g, 1/2 Karshapana, four-symbol type, with an
elephant standing to right, a tree in railing and a pair of symbols with a Nandipada symbol flanked by two
triskelions on either side and a fish above (not in Rajgor). Broad flan, Very Fine, Rare. B. Punch marked
Coins, Ashmaka Janapada, Silver, 1.29g, 1/2 Karshapana, four-symbol type, with an elephant standing to
right, a tree in railing and a pair of symbols with four fishes placed in four cardinal directions (not in
Rajgor).
A triskelion hieroglyph of Kuntala punchmarked coins can be signifiers of र्ि धातु 'three minerals'. The endings
of the triskelion are curved like crucibles holding 'dots' or ingots. koṭhārī ʻ crucible ʼ (Old Punjabi)
rebus: koṭhari 'chamber' (oriya) koṭṭhāgāra ʻstorehouse' (Prakrtam) खोट khōṭa 'A mass of metal (unwrought
or of old metal melted down); an ingot or wedge.'
Janapadas, 600 - 300 BCE dhātu'strand' (Rigveda) S. dhāī f. ʻ wisp of fibres added from time to time to a
rope .rebus: dhāū, dhāv, dhātu 'red ore'. Three combined are orthographed as a triangle with curved
endings: tri-dhātu 'three strands' (Rigveda) rebus: tri-dhātu 'three red ores' (perhaps, magnetite, haematite,
laterite). May also refer to eraka, arka 'red copper ores' (pyrites)..
Source: http://ancientcoinsofindiaaruns.blogspot.in/2010_03_01_archive.html
Ancient Indian Coins. "ಪ್ರಾ ಚಿನ ಭಾರತದ ನಾಣ್ಯ ಗಳು." Thanks to Arun joepaladka@yahoo.co.in for these
excellent images.
nandipāda (or taurine)(Source: From Ruhuna coin from Codrington's Ceylon coins and currency, 1924,
detailed below)
160
Variant: Taurine-shaped bead from Ujjain (Madhya Pradesh) region. Gold,
0.11 g (ca. 300-100 BCE
Rajgor)http://www.rajgors.com/auctioncataloguesold.aspx?auid=47 The
compound Buddhist symbols: Shrivatsa within a triratana, over a Dharmacakra wheel, on the Torana gate
at Sanchi. 1st century BCE.
161
Taxila (local coinage). Circa 185-168 BC. A Karshapana (24mm, 9.42 g,
4h). Plant and hill with hollow cross and standard Rev Srivatsa and hill. above Nandipada and Swastika.
When śrivatsa (child of Lakshmi, wealth) hypertext is ligatured to a mountain-range, the reading is a
semantic determinative: dhanga 'mountain range' Rebus: dhangar 'blacksmith' at work in an ancient mint, as
in Takshasila. Such a hypertext occurs together with another hieroglyph: sattva 'svastika' rebus: jasta 'zinc' --
an important mineral additive to copper, to create alloys of brass -- implements, pots and pans, for which
Bhāratam of ancient times was world-renowned.
Buddha Viśvabhū’s śal tree of awakening with devotees. Fish-fins atop lotus PLUS tablet with inscription
worshipped. These are Indus Script hypertexts.which signify copper, alloy metal, metal casting mint
and फडा phaḍā 'metals manufactory'. Bharhut railing, Śunga,
162
Bhagavato Veshabhan. bodhi shaalo
Sculpture of Amrawati in Govt. Museum

Madras showing Śrīvatsa atop molluscs and circle (flower): sangha puja; kolA 'tail' Rebus: kole.l 'temple,
smithy'. Phonetic determinant: kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kole.l 'smithy'.
[quote]Cunningham, later the first director of the Archaeological Survey of India, makes the claim in: The
Bhilsa Topes (1854). Cunningham, surveyed the great stupa complex at Sanchi in 1851, where he famously
found caskets of relics labelled 'Sāriputta' and 'Mahā Mogallāna'. [1] The Bhilsa Topes records the features,
contents, artwork and inscriptions found in and around these stupas. All of the inscriptions he records are in
Brāhmī script. What he says, in a note on p.18, is: "The swasti of Sanskrit is the suti of Pali; the mystic cross,
or swastika is only a monogrammatic symbol formed by the combination of the two syllables, su + ti =
suti." There are two problems with this. While there is a word suti in Pali it is equivalent to Sanskrit
śruti'hearing'. The Pali equivalent ofsvasti is sotthi; and svastika is either sotthiya or sotthika. Cunningham is
simply mistaken about this. The two letters su + ti in Brāhmī script are not much like thesvastika. This can
easily been seen in the accompanying image on the right, where I have written the word in the Brāhmī script.
I've included the Sanskrit and Pali words for comparison. Cunningham's imagination has run away with
him. Below are two examples of donation inscriptions from the south gate of the Sanchi stupa complex taken
from Cunningham's book (plate XLX, p.449).
"Note that both begin with a lucky svastika. The top line reads 卐 vīrasu bhikhuno dānaṃ - i.e. "the donation
of Bhikkhu Vīrasu." The lower inscription also ends with dānaṃ, and the name in this case is perhaps
pānajāla (I'm unsure about jā). Professor Greg Schopen has noted that these inscriptions recording donations
from bhikkhus and bhikkhunis seem to contradict the traditional narratives of monks and nuns not owning
property or handling money. The last symbol on line 2 apparently represents the three jewels, and frequently
163
accompanies such inscriptions...Müller [in Schliemann(2), p.346-7] notes that svasti occurs throughout 'the
Veda' [sic; presumably he means the Ṛgveda where it appears a few dozen times]. It occurs both as a noun
meaning 'happiness', and an adverb meaning 'well' or 'hail'. Müller suggests it would correspond to Greek
εὐστική (eustikē) from εὐστώ (eustō), however neither form occurs in my Greek Dictionaries. Though svasti
occurs in the Ṛgveda, svastika does not. Müller traces the earliest occurrence of svastika to Pāṇini's
grammar, the Aṣṭādhyāyī, in the context of ear markers for cows to show who their owner was. Pāṇini
discusses a point of grammar when making a compound using svastika and karṇa, the word for ear. I've seen
no earlier reference to the word svastika, though the symbol itself was in use in the Indus Valley
civilisation.[unquote]
1. Cunningham, Alexander. (1854) The Bhilsa topes, or, Buddhist monuments of central India : comprising
a brief historical sketch of the rise, progress, and decline of Buddhism; with an account of the opening and
examination of the various groups of topes around Bhilsa. London : Smith, Elder. [possibly the earliest
recorded use of the word swastika in English].
2. Schliemann, Henry. (1880). Ilios : the city and country of the Trojans : the results of researches and
discoveries on the site of Troy and through the Troad in the years 1871-72-73-78-79. London : John Murray.
http://jayarava.blogspot.in/2011/05/svastika.html
Symbol of the triratna, as seen in the Sanchi stupa, 1st century BCE.
The Triratna symbol is composed of:
A lotus flower within a circle.
A diamond rod, or vajra.
An ananda-chakra.
A trident, or trisula, with three branches, representing the threefold jewels of Buddhism: Buddha,
the Dharma and the Sangha.
164
śrivatsa (often referred to as tri-ratna or Nandipada) hypertext. śrivatsa is composed of
• A pair of fish fins: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint' PLUS ayo, aya 'fish'
rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) Thus, alloy metal, iron mint
• A lotus flower tāmarasa 'lotus' rebus: tāmra 'copper''
• A circle (or, round stone) gōṭā m A roundish stone or pebble. 2 A marble (of stone, lac,
wood &c.) 2 A marble. 3 A large lifting stone Rebus: khoTa 'ingot'(Marathi); P. goṭṭā ʻ gold
or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ,
S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.(CDIAL
4271) gota 'roundish stone' Rebus: goṭa 'laterite, ferrite ore' 'gold-lac, braid'
• A spathe of palmettes B. gāb ʻ foetus ʼ, gāb(h)ā ʻ foetus, spathe of a plant, river -- bed ʼ;
H. gābhā m. ʻ new leaf springing from centre of plaintain tree ʼ; M.gābbo ʻ inner core of
plaintain stem ʼ,(CDIAL 4055) sippī f. ʻ shell, spathe of date palm ʼ (CDIAL 13417)
• Petals dala 'petal' Rebus: ḍhāḷako = a large ingot (G.) ḍhāḷakī = a metal heated and poured
into a mould; a solid piece of metal; an ingot (G.)
Triratna? on Taxila coin 185-168 BCE detail http://www.cngcoins.com

https://commons.wikimedia.org/wiki/File:Triratna_on_Taxila_coin_185-
168_BCE_detail.jpg#/media/File:Triratna_on_Taxila_coin_185-168_BCE_detail.jpg
Taxila coin with wheel and Buddhist symbols.

Wheel/pacaladamma type. Wheel; above, crescent above triple-arched hill / Swastika flanked by
nandipadas; Kharosthi legend below. 185-168 BCE
165
To the right of Buddha is Vajrapāṇi holding an octagonal
vajra shaped like an hour-glass. On this sculpture, dhamma-cakka is atop the tri-ratna hypertext.
Dharma cakka pravartana scene. Taxila ca. 150-250 CE.
John Huntington has demonstrated the continuum from Vedic times related to some symbols on
punch-marked coins, with emphasis on Vajra as षट् --कोण 'six-angled'.
Taxila (local coinage). Circa 185-168 BC. A Karshapana (24mm,

9.42 g, 4h). Plant and hill with hollow cross and standard Rev Srivatsa and hill. above Nandipada
and Swastika.
When śrivatsa (child of Lakshmi, wealth) hypertext is ligatured to a mountain-range, the reading is a
semantic determinative: dhanga 'mountain range' Rebus: dhangar 'blacksmith' at work in an ancient
mint, as in Takshasila. Such a hypertext occurs together with another hieroglyph: sattva 'svastika'
rebus: jasta 'zinc' -- an important mineral additive to copper, to create alloys of brass -- implements,
pots and pans, for which Bhāratam of ancient times was world-renowned.
166
Svastika
sattva 'svastika hieroglyph' rebus: sattu (Tamil), satta, sattva (Kannada) jasth जसथ् ।रपु m. (sg. dat.
jastas ज्तस), zinc, spelter; pewter; zasath ्् ज़स्््थ् ््or zasuth ज़सुथ ््। रप m. (sg. dat. zastas ्ु
ज़्तस),्् zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपू र्वः
् adj. (f. jastüvü), made of zinc or
pewter.(Kashmiri).
Thus, the two coins are hypertext expressions:
Plain text expression: dhātu khaṇḍa 'minerals' +'implements'
जसथ् jasath 'zinc, spelter, pewter'

PLUS dhātu khaṇḍa 'minerals' +'implements' PLUS kammaṭa 'mint, coiner, coinage' (Plain text
expression:jasath dhātu kammaṭa).
Symbol of the triratna, as seen in the Sanchi stupa, 1st century BCE.
The Triratna symbol is composed of:
• A lotus flower within a circle.

• A diamond rod, or vajra.
• An ananda-chakra.
167
• A trident, or trisula, with three branches, representing the threefold jewels of Buddhism: Buddha,
the Dharma and the Sangha.
śrivatsa (often referred to as tri-ratna or Nandipada) hypertext. śrivatsa is composed of
• A pair of fish fins: khambhaṛā 'fish-fin' rebus: kammaṭa 'mint' PLUS ayo, aya 'fish'
rebus: aya 'iron' ayas 'alloy metal' (R̥gveda) Thus, alloy metal, iron mint
• A lotus flower tāmarasa 'lotus' rebus: tāmra 'copper''
• A circle (or, round stone) gōṭā m A roundish stone or pebble. 2 A marble (of stone, lac,
wood &c.) 2 A marble. 3 A large lifting stone Rebus: khoTa 'ingot'(Marathi); P. goṭṭā ʻ
gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ,
S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.(CDIAL
4271) gota 'roundish stone' Rebus: goṭa 'laterite, ferrite ore' 'gold-lac, braid'
• A spathe of palmettes B. gāb ʻ foetus ʼ, gāb(h)ā ʻ foetus, spathe of a plant, river -- bed ʼ;
H. gābhā m. ʻ new leaf springing from centre of plaintain tree ʼ; M.gābbo ʻ inner core of
plaintain stem ʼ,(CDIAL 4055) sippī f. ʻ shell, spathe of date palm ʼ (CDIAL 13417)
• Petals dala 'petal' Rebus: ḍhāḷako = a large ingot (G.) ḍhāḷakī = a metal heated and
poured into a mould; a solid piece of metal; an ingot (G.) palm frond: ḍāla -- n. ʻ branch
ʼtāla -- 2 m. ʻ Borassus flabelliformis ʼ, palm (CDIAL 5750)
Triratna? on Taxila coin 185-168 BCE detail http://www.cngcoins.com

https://commons.wikimedia.org/wiki/File:Triratna_on_Taxila_coin_185-
168_BCE_detail.jpg#/media/File:Triratna_on_Taxila_coin_185-168_BCE_detail.jpg
A remarkable copper-plated flagpost of 3rd millennium BCE was discovered in Girsu,

capital of Gudea's Lagash. This is a ketu, 'ensign' to proclaim the metalwork goods made
by artisans.
168
Girsu (Tlloh)
archaeological find. 11 ft. tall copper plated flagpost. This may relate to a period when
Girsu (ca. 2900-2335 BCE) was the capital of Lagash at the time of Gudea.
169
http://www.abovetopsecret.com/forum/thread1079637/pg1 Sumer? The flagpost with a
semicircular ring on top is semantically augmented with the hieroglyphs of an aquatic bird and a
black drongo:
Hieroglyph: కారండవము [kāraṇḍavamu] n. A sort of duck. కారండవము [ kāraṇḍavamu ]
kāraṇḍavamu. [Skt.] n. A sort of duck. कारां डव [kāraṇḍava ] m S A drake or sort of duck.
कारां डवी f S The female. karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii ,
31 , 21 கைண்டம் karaṇṭam, n. Rebus: Rebus: karaḍā ‘hard alloy’ (Marathi)
pōlaḍu 'black drongo' signify polad 'steel'
The flagpost is at the temple entrance: kole.l 'temple' rebus: kole.l 'smithy, forge'. The pratimā in
the temple is kola 'woman' rebus: kolhe 'smelter' kol 'working in iron' kolle 'blacksmith'.
Four Flagposts of similar shape are shown a Jasper Cylinder seal.

The message of the seal is a proclamation for sale of metalware products
from phaḍa फड ‘metals manufactory'.
Four blacksmiths with furnaces proclaim four products made by the metals manufactory guild r.:
1.alloy metals from mint; 2. metal implements; 3. copper metal castings; 4. blacksmithy forged
metalware
Cylinder
seal with kneeling nude heroes, ca. 2220–2159BCE.; Akkadian
Mesopotamia
Red jasper; H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm)
Anonymous Loan (L.1992.23.5)
Cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair)
holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal
(with modern impression).
The four persons (kamar) may be recognized as soldiers based on the Pashto gloss: kamar
kīsaʿh, s.f. (3rd) A waist-belt with powder horn, and other furniture for a soldier.
The kamar is semantically reinforced by orthographic determinative of six curls of

hair: baṭa 'six' Rebus: bhaṭa 'furnace' PLUS meḍh 'curl' Rebus: meḍ 'iron' to indicate that the
message conveyed is of four smelters for iron (metal).
The four hieroglyphs are: from l. to r. 1. moon PLUS storage pot of ingots, 2. sun, 3. narrow-
170
necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition.
(The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph:
eruvai 'reed'; see four reedposts held.
phaḍā, paṭam, 'cobra hood',Rebus:phaḍa फड ‘manufactory, company, guild, public office’,

kamar 'moon' Rebus: kamar 'blacksmith'

arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'
lokāṇḍa 'overflowing pot' Rebus: lokhaṇḍa 'metal implements, excellent implements'
aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'alloy metal' (Rigveda)
baṭa 'six' Rebus: bhaṭa 'furnace' PLUS meḍh 'curl' Rebus: meḍ 'iron'
The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-
necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition.
(The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper'
Hieroglyph: eruvai 'reed'; see four reedposts held.
koṭhāri 'crucible' Rebus: koṭhāri 'treasurer, warehouse'
If the hieroglyph on the leftmost is moon, a possible rebus reading: ‫ قمر‬ḳamar

A ‫ قمر‬ḳamar, s.m. (9th) The moon. Sing. and Pl. See ‫ سپوږمي‬or ‫( سپوګمي‬Pashto)
Rebus: kamar 'blacksmith'
http://bharatkalyan97.blogspot.in/2015/08/indus-script-hieroglyphs-signify-dhatu.html
See:
Indus Script hieroglyph readings on Jasper Akkadian cylinder seal ca. 2220-2159 BCE
REVISED: metalwork catalogue http://tinyurl.com/oxv2jne
Snout of Varāha, Indus Script hypertext signifies caṣāla = ḍamaru-shaped vajra

atop Yūpa
caṣāla and āyudhapuruṣa
171
caṣāla atop Yūpa (octagonal) with a descriptive repetition of the cakra above the left shoulder.
At the bottom of the octagonal Yūpa, a lotus is signified: tāmarasa 'lotus' rebus: tāmra 'copper'.
To the right on the bottom register is a cakra puruṣa= caṣāla and āyudhapuruṣa.
Yūpa, Skambba, pillar of light, fire (rebus: kammaṭa 'mint, coiner, coinage')
The pillar of light/fire is the central idea of the work in kole.l 'smithy', which is a metals
manufactory; the manifestation is kole.l 'temple' in awe at what the earth and oceans have
yielded as minerals which transmute into material resources produced by a cultural group
called bharatam janam, 'metalcasters'.
Śiva in Bharata tradition is a narrative rooted in Rudra of Rigveda. Aniconic representation

of Śivaincludes an aṣṭāśri yūpa portion called Rudra bhāga.
aṣṭāśri yūpa shape of Rudra bhāga is a continuum from Vedic culture.
Śiva in Bharata tradition is a divine metaphor rooted in Skambha of Atharvaveda Skambha

Sukta (AV X.7,8). This Sukta is the basis for aniconic representation of Rudra-Śiva as a fiery
172
pillar of light and fire. In aniconic linga, Rudra bhāga is octagonal in shape
(while viṣṇu bhāga is quadrangular in shape).
The quadrangular base of linga is seen attested archaeologically in Kalibangan fire-altar. aṣṭāśri
yūpa shape of Rudra bhāga is attested in Binjor fire-altar discovered in 2015 by students of
Institute of Archaeology, Delhi.
The caṣāla atop octagonal Yūpa is described as aṣṭāśri in Śatapatha Brāhmaṇa. So is

Rudrabhāga of Ekamukha Śivalinga is octagonal aṣṭāśri. The association of such an
Ekamukha Śivalinga with smelting operations is vividly displayed on Bhuteśvar sculptural
friezes.
Yupa mēḍhā ‘stake’ Rebus: मेधा = धन Naigh. ii , 10. pl. products of intelligence , thoughts ,
opinions) RV mēdhḥ मेधः An offering, oblation. Thus, mēḍhā 'stake' is central to the process of
yajna and creation of धन dhana, 'wealth'. (See depiction of dwarfs on Bhutesvar sculptural
friezes to signify kharva, karba). Hieroglyph: खवा (-बि) a. [खव्ि -अच् ] 1 Mutilated, crippled,
imperfect; Yv. Ts.2.5.1.7.-2 Dwarfish, low, short in stature. Rebus: karba 'iron' = kharva 'a
treasure, nidhi of Kubera'.See:
Yupa mēḍhā ‘stake’ Indus Script hieroglyph signifies smelting of mẽṛhẽt, meḍ
'iron' http://tinyurl.com/oxltn22
Worship of linga, of fire by Gandharva, Shunga period (ca. 2nd cent. BCE), ACCN 3625,
Mathura
Museum.
Worship signified by dwarfs, Gaṇa (hence Gaṇeśa = Gaṇa + īśa).
A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural
fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva
Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree
encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in Government
Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter
indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree
ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ
173
Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ
IIFL iii 3, 98. (CDIAL 3228)
Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2).

This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded
within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus:
kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to
create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal'
(Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as
bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally
whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement
of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake:
also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p.
665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or
support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī
] m A stake-जोशी; a जोशी who keeps account of the र्तर्थ &c., by driving stakes into the ground:
also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers,
almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The
hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In
architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting
the two. Called also मेंढरी & घोडा. It answers to र्िली the name of the two lower arms or
connections. (Marathi)
मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda)
The sculptural frieze of Bhuteśvar. of a linga atop a smelter is comparable to the monumental 6
ft. tall inscribed stone linga discovered in Candi Sukuh as the sacred, venerated pillar of light
and fire, described in Atharva Veda Stambha Sukta.
174
Kārshāpaṇa. Aśmaka 500-400 BCE
Indus Script Tree hieroglyph. Kārshāpaṇa. Aśmaka 500-400 BCE
175
Kosala Punchmarked coin ca. 550 to 450 BCE
Janapada period Punchmarked coin
Zebu, bos indicus pōḷa, 'zebu'

rebus: pōḷa 'magnetite, ferrite ore'
176
Makara Rebus: dhmakara 'forge-blower'
dha,maka 'blacksmith'
Gorget or necklace? Crucible surrounded by ingots.

Turned 180 degrees OP. koṭhārī f. ʻcrucibleʼ Rebus: koṭhār m. ʻ granary, storehouse
ʼ(Gujarati)(CDIAL 3550) PLUS
Kur. goṭā any seed which forms inside a fruit or shell. Malt. goṭa a seed or berry(DEDR 069)
N. goṭo ʻ piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ
small ball, seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ,
M. goṭā m. ʻ roundish stone ʼ (CDIAL 4271) <gOTa>(P) {ADJ} ``^whole''. {SX} ``^numeral
întensive suffix''. *Kh., Sa., Mu., Ho<goTA>,B.<goTa> ùndivided'; Kh.<goThaG>(P),
Sa.<goTAG>,~<gOTe'j>, Mu.<goTo>; Sad.<goT>, O., Bh.<goTa>; cf.Ju.<goTo> `piece',
O.<goTa> òne'. %11811. #11721. <goTa>(BD) {NI} ``the ^whole''. *@. #10971. (Munda
etyma) Rebus: <gota> {N} ``^stone''. @3014. #10171. Note: The stone may be gota, laterite
mineral ore stone. khoṭ m. ʻbase, alloyʼ (Punjabi) Rebus: koṭe ‘forging (metal)(Mu.) Rebus: goṭī
f. ʻlump of silver' (G.) goṭi = silver (G.) koḍ ‘workshop’ (Gujarati).P. goṭṭā ʻ gold or silver lace
ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or
silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ(CDIAL 4271)
177
Distributions of the punchmarks over the period ca. 600-550 BCE to ca. 300 CE
Nandipada symbol shown with a hollow circle on top (cf. Ashmaka coin) Vs. Triratna
(including Śrivatsa) symbol
Śrivatsa is more elaborate orthographically topping the cirle with two fish-fins fused together
with th fins raised upwards. Nandipada is a circle topped by a semi-circle and hence, more like
a crucible atop an ingot. Nandipada is also shown with a hollow circle above the crucible.
I suggest that nandipada signifies a crucible to produce hardened ingots (such as those of
crucible steel). pola 'hollow circle' rebus: poladu 'steel' PLUS koṭhāri 'crucible'
Rebus: koṭhāri 'treasurer, warehouse'
I suggest that Śrivatsa signifies an iron, alloy metal artificer (sippi).
I suggest that Triratna includes Śrivatsa hypertext together with additional hieroglyphs to
signify kamma1a 'mint' and 2.the nature of metalwork, e.g.,dala 'petal'rebus: ḍhāḷako 'large
ingot' PLUS tāmarasa 'lotus' rebus: tāmra 'copper'. That kammaṭa 'mint' is the rebus word gets
confirmation from a phonetic determinant signified on a Begram ivory:
178
śrīvatsa (or tri-ratna) Variant (dotted circle w/ fish-fins on top
constituting śrīvatsa): Parker's Tissa coin Ancient Ceylon 54

Other variants:
179
Punch marked Coins, Ashmaka Janapada, Silver, 1.43g, 1/2 Karshapana, four-symbol type with
an elephant standing to right, a tree in railing and a pair of symbols with a Nandipada-like
symbol placed inside a crescent (Rajgor# 485).
A. Punch marked Coins, Ashmaka Janapada, Silver, 1.40g, 1/2 Karshapana, four-symbol type,
with an elephant standing to right, a tree in railing and a pair of symbols with a Nandipada
symbol flanked by two triskelis on either side and a fish above (not in Rajgor). Broad flan, Very
Fine, Rare. B. Punch marked Coins, Ashmaka Janapada, Silver, 1.29g, 1/2 Karshapana, four-
symbol type, with an elephant standing to right, a tree in railing and a pair of symbols with four
fishes placed in four cardinal directions (not in Rajgor).
nandipāda (or taurine)(Source: From Ruhuna coin from Codrington's Ceylon coins and currency,
1924, detailed below)
Variant: Taurine-shaped bead from Ujjain (Madhya Pradesh)

region. Gold, 0.11 g (ca. 300-100 BCE
Rajgor)http://www.rajgors.com/auctioncataloguesold.aspx?auid=47 Same shape as 'ma' syllable
in Brāhmi script.
180
The compound Buddhist symbols: Shrivatsa within a triratana,
over a Dharmacakra wheel, on the Torana gate at Sanchi. 1st century BCE.
181
Candi Cetho. Lingga shows a pair of balls at the top of the penis -- to be read rebus as Meluhha
hieroglyph composition: lo-khaNDa, penis + 4 balls; Rebus: iron, metalware.
The four balls of the penis are also clearly shown on a 6 ft. tall linga inscribed with 1. a sword;
and 2. inscription in Javanese, referring to 'inauguration of the holy ganggasudhi...'
See: http://bharatkalyan97.blogspot.in/2015/01/sekkizhar-periya-puranam-candi-
sukuh.html Histoire ancienne des Etats hindouises along the Tin Road from Haifa to Hanoi.
NaMo, Obama, announce United Indian Ocean States.
lo 'penis' Rebus: loh 'copper, metal'
Hieroglyphs: gaṇḍa 'swelling' gaṇḍa 'four' gaṇḍa 'sword'

Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi)
Together, hieroglyphs: lo + gaṇḍa. Rebus: लोखांड [ lōkhaṇḍa ] 'metalwork'
Metaphor: Sh. K.ḍoḍ. lō m. ʻ light, dawn ʼ; L. awāṇ. lō ʻ light ʼ; P. lo f. ʻ light, dawn, power of
seeing, consideration ʼ; WPah. bhal. lo f. ʻ light (e.g. of moon) ʼ.(CDIAL
11120). + kaṇṭa 'manliness'. Metaphorical rendering of the effulgence (sun and moon) associated
with the pillar of light yielding the imagery of an representation of a fiery pillar with
unfathomable beginning, unreachable end, thus of infniity of Mahadeva representing the
182
paramaatman for the aatman in search of nihs'reyas (moksha), from Being to Becoming, the way
earth and stones transmute into metal in the smelter and smithy, kole.l 'smithy, temple'.
Bharatiyo, 'metalcasters' (Gujarati) are awestruck by this parallel with the cosmic energy
replicated in the energies of the smelter, fire-altar and smithy. Hence, the veneration of the
linga + 4 spheres as the essence of every phenomenon on cosmos, on the globe, of the world.
These hieroglyphs and related metaphors thus yield the gestalt of Bharatiyo, 'metalcasters'
(Meluhha). This enduring metaphor finds expression in sculptures on many Hindu temples of
Eurasia.
The gloss gaṇḍu 'manliness' (Kannada); 'bravery, strength' (Telugu) is a synonym of the
expression on Candi Suku linga inscription: 'sign of masculinity is the essence of the world'.
Thus, the gloss lokhaṇḍa which is a direct Meluhha speech form related to the hieroglyph
composition on Candi Suku inscription is the sign of masculinity. The rebus renderings of
khandoba or kandariya mahadeva are elucidations of the rebus gloss: kaṇḍa, 'mahadeva S'iva or
mahes'vara.' The hieroglyphs deployed on the 1.82m. tall stone sculpture of linga with the
inscription and hieroglyphs of sword, sun, moon and four balls deployed just below the tip of the
phallus are thus explained as Meluhha speech: lokhaṇḍa. The rebus rendering of the phrase
is: lo 'light' and kaṇṭa 'manliness'. These attributes constitute the effulgence of the linga as the
fiery pillar, skhamba venerated in Atharva Veda Skhamba sukta as the cosmic effulgence as the
cosmic essence.
gaṇḍa -- m. ʻ four' (Munda) गांडा[ gaṇḍā ] m An aggregate of four (cowries or pice). (Marathi)
<ganDa>(P) {NUM} ``^four''. Syn. <cari>(LS4), <hunja-mi>(D). *Sa., Mu.<ganDa> ìd.',
H.<gA~Da> à group of four cowries'. %10591. #10511.<ganDa-mi>(KM) {NUM}
``^four''. |<-mi> òne'. %10600. #10520. Ju<ganDa>(P) {NUM} ``^four''. gaṇḍaka m. ʻ a
coin worth four cowries ʼ lex., ʻ method of counting by fours ʼ W. [← Mu. Przyluski RoczOrj iv
234]S. g̠aṇḍho m. ʻ four in counting ʼ; P. gaṇḍā m. ʻ four cowries ʼ; B. Or. H. gaṇḍā m. ʻ a group
of four, four cowries ʼ; M. gaṇḍā m. ʻ aggregate of four cowries or pice ʼ.(CDIAL 4001)
gaṇḍa -- m. ʻswelling, boil, abscessʼ(Pali)
Rebus: kaṇḍ 'fire-altar' (Santali) kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) खांडा [
khaṇḍā ] m A sort of sword. It is straight and twoedged. खाां डा [ khāṇḍā ] m A kind of sword,
straight, broad-bladed, two-edged, and round-ended.खाां डाईत [ khāṇḍāīta ] a Armed with the
sword called खाां डा. (Marathi)
लोखांड [ lōkhaṇḍa ] n (लोि S) Iron.लोखांडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a
building, machine &c.) which consists of iron. 2 The business of an ironsmith.
लोखांडी [ lōkhaṇḍī ] a (लोखांड) Composed of iron; relating to iron.
http://bharatkalyan97.blogspot.in/2015/01/significance-of-linga-and-4-spheres-on.html
``^penis'':So. laj(R)~ lij ~ la'a'j~ laJ/ laj~ kaD `penis'.
Sa. li'j `penis, esp. of small boys'.

Sa. lO'j `penis'.Mu. lOe'j ~ lOGgE'j `penis'. ! lO'jHo loe `penis'Ku. la:j `penis'.
@(C289) ``^penis'':Sa. lOj `penis'.Mu. lOj `penis'.KW lOj@(M084) (Munda etyma)
Rebus: lo 'copper' lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ
VS., MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy.
pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa" ʻ steel ʼ; Kho. loh ʻ
copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā),
183
WPah.bhad. lɔ̃un., 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 ʼ. WPah.kṭg. (kc.) lóɔ ʻ iron
ʼ, J. lohā m., Garh. loho; Md. lō ʻ metal ʼ.(CDIAL 11158)
http://bharatkalyan97.blogspot.in/2015/01/meluhha-hieroglyphs-and-candi-sukuh.html
Hieroglyph: kanda m. bulbous root (Samskritam) Ash. piċ-- kandə ʻ pine ʼ Rebus:lo-khānḍa
'tools, pots and pans, metal-ware'. लोखांड [lōkhaṇḍa ] 'metalwork' Rebus: loh 'copper,
iron, metal' (Indian sprachbund, Meluhha).
A-Lingam with octagonal Rudrabhāga Cave-Temple-in-Mahabalipuram in front of Hari-Hara

form of Rudra.
"Baba Bhusandeswar Temple, is one of the largest Shiva Lingams in the

World is in Bhogarai village of Balasore district, Odisha. The 12 feet long and 14 feet width
lingam is carved out on a black granite and only half of the lingam is visible. The other half has
remained buried for years. The diameter of the lingam is 12 feet and has three parts. The middle
portion of the lingam is octagonal in shape, about 12 feet in diameter and nearly four feet in
height." https://en.wikipedia.org/wiki/Baba_Bhusandeswar_Temple
A 7th Century Mukha Linga on Display in Vietnam - 1.46m. high.

Brownish-gold sandstone. First Intact Mukha Linga Discovered In Southeast Asia. Cham
temple in Quang Nam Province in central Vietnam . It is now on displayin My Son Champa.
184
Linga, cổ vật được khai quật tại Ba Thê, thị trấn Óc Eo, huyện Thoại Sơn, tỉnh An Giang (Bảo
tàng An Giang, Long Xuyên). Linga, excavated at Ba The, Oc Eo town, Thoai Son district, An
Giang province (An Giang Museum, Long Xuyen).
185
Ekamukhalinga from JaiyA. National Museum, Bangkok
Ekamukhalinga from Vat Sak Sampou. Ecole Francaise

d'extreme-orient
(ekamukhalinga)...is divided into three parts in accodance with the prescriptions in the Siva
Agamas. The base, the BrahmabhAga, is cubic in form and is 47.8 cms. High. The middle
section, the ViSNubhAga, is octagonal in shape and is approximately 43 cms. High. The
topmost section, the RudrabhAga, is cylindrical and is approximatey 51 cms. High, while the
superimposed face measures 29.5 cms from the bottom of the chin to the top of the
jaTA...Professor Malleret would date the most realistic lingas from the Transbassac area from
the end of the fifth century to the beginning of the sixth century... It would thus seem that some
Gupta ekamukhalinga, such as the early fifth century and very simple emblem from the cave
temple at Udayagiri, is the ultimate prototype behind the JaiyA emblem and other somewhat
similar ekamukhalingas of Cambodia and Borneo...It is not possible to offer an exact date for the
JaiyA emblem but seventh through the eighth centuries would seem a reasonable
guess.” (O'Connor, SJ, 1961, An ekamukhalinga from Peninsular Siam, The Journal of the Siam
Society. The Siam Society. pp. 43-49).
Ekamukhalinga
186
Nui Ba The, An Giang, 6th-7th century CE Museum of Vietnamese History, Ho Chi Minh City,
Vietnam
Sandstone Mukhalingam
Pre-Angkor period, 7th century, Cambodia
Height: 69 cm 27.17 inches; Width 21.7 cm 8.54 inches
http://www.ajspeelman.com/details.php?sid=448
Rudra, in his fiery matted hair has been

depicted beautifully in the Ekamukha linga of Lord Shiva at Udayagiri in the 4th cent. CE? This
artistry of showing wavy lines denotes that linga is a pillar of light, pillar of fire. Rudra was a
Rigvedic asura, a form of Agni and associated with the 'roar' of wind or storm.
(Santali dictionary, Campbell, p.

420).
The ligature of a face on the linga is a Meluhha hieroglyph denoting: mũh 'face' is: mũh 'ingot'
(Santali).mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot
(Santali) mũhã = the quantity of iron produced at one time in a native smelting furnace of the
Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at
each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little
187
pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day
produced pig iron (Santali)
In 1940, archaeologist M.S. Vats discovered three Shiva Lingas at Harappa, dating more than
5,000 years old. This rare archival photo shows that ancient Shiva Linga as it was being
excavated from the Harappa site.
Three stone Siva Lingas found in Harappa. Plate X [c] Lingam in situ in Trench Ai (MS Vats,
1940, Excavations at Harappa, Vol. II, Calcutta): ‘In the adjoining Trench Ai, 5 ft. 6 in. below
the surface, was found a stone lingam [Since then I have found two stone lingams of a larger
size from Trenches III and IV in this mound. Both of them are smoothed all over]. It measures
11 in. high and 7 3/8 in. diameter at the base and is rough all over.’ (Vol. I, pp. 51-52)." In 1940,
MS Vats discovered six Shiva Lingas at Harappa. This is an archival photo of one
linga. Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In
an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six
lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey
sandstone block with polished surface, five stone pestles, a stone palette, and a block of
chalcedony..." (Vats, EH, p. 370)
Worship of Śiva lingam is an abiding Hindu tradition -- for millenia -- evidenced by the finds at
Harappa.
188
Two decorated bases and a lingam,
Mohenjodaro.
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.
The sivalinga of Harappa are NOT octagonal. The hieroglyph of trefoil is an indicator of the
metalwork related to the linga hieroglyph. tri-dhAtu 'three strands of rope' Rebus: tri-dhAtu 'three
minerals'. It is possible that the trefoil hieroglyph signified production of an alloy involving
three minerals (dhAtu).
Section: Notes of DC Sircar on reading of Gardez inscription
[quote] D. C. Sircar (1960)

1. Kabul Inscription of Shahi Khingala
In May 1956, the Government of India sent an Archaeological Delegation for exploration in
Afghanistan. Cyclostyled copies of the Preliminary Report of the Delegation (with printed
Plates), by Mr. T. N. Ramachandran and Dr. Y. D. Sharma, both officers of the Department of
Archaeology, were distributed among the members of the Archaeological Advisory Board
meeting at New Delhi in September 1956. This Report contains the notice of an interesting
inscription.
The members of the Delegation learnt at Kabul that a marble image of Ganesa had been
discovered some years ago somewhere at Gardez (famous for its fortress called Bala Hissar)
about 70 miles to the south of Kabul and that the image was later removed to Kabul where it
was being worshipped by the Hindu residents of the city at Dargab Pir Ratan Nath near the
Pamir Cinema. At Gardez, however, the local people could not confirm the story of the
discovery of the image at that place. The image under worship at Dargab Pir Ratan Nath
measures 28 inches in height and 14 inches in breadth. There is an inscription in two lines on
its base. A photograph of the inscribed image appears in the Report, Plate II, A. Unfortunately
the Delegation did not bring any inked impression of the record. The image has also been
recently illustrated by Prof. G. Tucci in his article entitled ‘Preliminary Report on an
Archaeological Survey in Swat ' appearing in the East and West, Vol. 9, No. 4, December
1958, pp. 276-328, figure 40 (at p. 323). The Report of Ramachandran and Sharma contains a
Roman transcript (without diacritical marks) and a translation of the epigraph. Tucci also
quotes the epigraphic text, as read by him on the basis of a photograph of the image, in
189
footnote 29 (at pp. 327-28) of his article. But neither of the published transcripts of the
inscription is free from errors. We edit the epigraph in the following pages from the
photograph
In the Report of Ramachandran and Sharma. the characters of the Kabul Ganesa image
inscription belong to the North Indian (Siddha-matrika) alphabet of the sixth or seventh
century A. D. That it is not much later than the middle of the seventh century is clear from the
use of the tripartite form of the letter y. The inscription begins with a siddham symbol
followed by a sentence, at the end of which there is a floral design indicating the completion
of the writing. The sentence states that [an image of] Maha-Vinayaka was installed by Parama
Bhattarka Mahrrajadhiraja Shahi Khingala on the thirteenth of the bright half of the month of
Jyeshtha in the year 8, apparently of the Shahi king’s reign, when the constellation was
Visakha and the lagna Simha. In the passage samvatsare ashtatame sahi 8 in line 1…
(Ramachandran and Sharma)… In the same line, the word tithav, read by them as well as by
Tucci, looks on the photograph as titau (which has of course to be corrected to tithau) while
the word read as ri{ri)ks]ie looks on the photograph as ji(Ti)k… The word at the end of line 1
and tlie beginning of line 2 has been read by Ramachandran and Sharma as ciitra-[ka]7 ma, of
which Tucci reads only the first akshara. But, in the photograph, the word looks more like
ciitra[ka]m…
More important than all these is, however, the last passage containing the Shahi king’s name
which Ramachandran and Sharma read as ^Khingalaih khgdta-sJulhi-padaih (with the
addition of diacritical marks) and Tucci as Khingal… If the reading is confirmed, we have
here the first mention of a king of Udyana, Uddiyana (i. e. the Swat valley…As regards
Tucci's suggestion that the king might have been a Shahi ruler of Udyana … it is doubtful
whether the Shahis of Swat, if any Shahi house actually ruled there, can be regarded as in
occupation of the Gardez region within the dominions of the Shahis of Kapisa or Kabul since,
in the period in question, the latter were probably the strongest amongst the Shahi houses,
although it may of course be conjectured that the image in question was carried to Gardez
from the Swat valley…
[unquote] (DC Sircar’s notes on Epigraphia Indica, Vol.35, Archaeological Survey of India,
pp.44-45)
https://archive.org/stream/in.ernet.dli.2015.56618/2015.56618.Epigraphia-Indica-
Vol35_djvu.txt
Vajra and Indus Script ivory hypertexts on a seal, ivory artifacts
I suggest that this fillet (dotted circle with a connecting strand or tape is the hieroglyph which
signifies धातु (Rigveda) dhāu (Prakrtam) 'a strand' rebus: element, mineral ore. This hieroglyph
signifies the पोतृ,'purifier' priest of dhā̄̆vaḍ 'iron-smelters' of dhāū, dhāv 'red stone minerals'.
http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-
with.html Orthography of the 'dotted circle' is representation of a single strand: dhāu
rebus: dhāū 'red stone minerals.
190
It is this signifier which occurs in the orthography of the dotted circle hieroglyph-multiplex on
early punch-marked coins of Magadha -- a proclamation of the dhāū 'element, mineral ores' used
in the Magadha mint. On one Silver Satamana punch-marked coin of Gandhara septa-radiate or,
seven strands emerge from the dotted circle signifying the use in the mint of सप्त--धातु 'seven
mineral ores'.
navan नवन् num. a. (always pl.). Nine; -धातु m. Nine metals; िे मतारारनागाश्च ताम्ररङ्गे च तीक्ष्णकम् ।
काां स्यकां कान्लोिां च धातवो नव कीर्तिताः ॥, -र्नर्ध m. (pl.) the nine treasures of Kubera. i.
e. मिापद्मश्च पद्मश्च शङ्क्खो मकरकच्छपौ । मुकुन्दकुन्द- नीलाश्च खविश्च र्नधयो नव ॥
सप्त--धातु [p= 1149,3] mf(उ)n. (°त् /अ-) consisting of 7 , 7-fold RV.(Monier-Williams) saptá ʻ 7
ʼ RV.
Pa. Pk. satta ʻ 7 ʼ, NiDoc. Dhp. sata, Ḍ. svt, Ash. sot, sūt, Wg. sōt, Kt. sut, Pr. sete, Dm. Tir. sat,
Paš.lauṛ. sāta, uzb. sātə, ar. sāt, dar. chil. sat, Niṅg. Shum. Woṭ. sat, Gaw. sɔt, Kal. sat, sāt,
Kho. sot, Bshk. s*lt, s*ltt, Tor. Kand. Mai. sāt, Sv. sat, Phal. sat, sāt, Sh.gil. săt, koh. gur. sătt,
jij. sät, K. sath (dat. satan), rām. pog. kash. ḍoḍ. satt, S. sata, L. P. WPah. (all dial.) satt, Ku.
N. sāt, A. xāt, B. sāt, Or. sāta, Mth. Bhoj. Aw.lakh. H. Marw. G. M. sāt, Ko. sāta, OSi. (Brāhmī
inscr.) sata, Si. sat -- a, ha°, Md. hat.saptaka -- , saptatí -- , saptamá -- , saptin -- , sāˊpta -- ;
saptaguṇa -- , saptácatvāriṁśat -- , saptatriṁśat -- , saptádaśa, saptanavati -- , saptapañcāśat -- ,
saptaparṇa -- , saptabhūma -- , *saptamāsa -- , saptamāsya -- , saptavarṣa -- , saptáviṁśati -- ,
saptaṣaṣti -- , saptasaptati -- , saptāśīti -- , saptāhá -- , saptōttara -- , *sāptānna -- ;
sārdhasapta.Addenda: saptá: WPah.kṭg. sátt (obl. -- a) ʻ 7 ʼ, kc. sāt, Garh. sāt. (CDIAL 13139)
The 'dot' within the circle is a signifier of a mineral dhāū ingot खोट khōṭa 'A mass of metal
(unwrought or of old metal melted down); an ingot or wedge.'
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,
191
Sumerian marble calf with inlaid trefoils of blue
stone. From the late Uruk era, Jemdet Nasr cira 3300 - 2900 B.C.E 5.3 cm. long;
Vorderasiatisches Museum, Berlin; Parpola, 1994, p. 213.
Sitting bull Louvre AO7021.jpg Black marble (formerly inlaid), found in Warka (ancient city of
Uruk), Djemdet-Nasr period (ca. 3000 BCE)
Steatite statue fragment. Mohenjo-daro (Sd 767). After Ardeleanu-Jansen,
1989:
196, fig. 1; cf. Parpola, 1994, p. 213
Mesopotamian lama deity, a bull with a human head, kind, protective spirits associated with the
great sun god Shamash. In one inscription, an Assyrian king called upon lama deities to "turn
back an evil person, guard the steps, and secure the path of the king who fashioned them." 2100-
2000 BCE Serpentine, a smooth green stone the color of life-giving water in a desert area. The
hollowed-out shapes on the body originally were inlaid with pearly shell or lapis lazuli.
192
"Images of human-headed bulls are found throughout Mesopotamian history. Several statuettes
dating from the late third millennium BC show a bearded creature wearing the divine horned
headdress, lying down with its head turned to the side. They have been found at various
Sumerian sites, the majority from Telloh.
Crete. Cow-head
rhython with trefoil decor.
9.5 x 13.9 cm ca. 1450-1400 BCE Rhyton in the form of a
bull's head
[Minoan; Greece, Crete] (1973.35) | Heilbrunn Timeline of Art History | The Metropolitan
Museum of Art
193
Harry Burton photograph taken during the excavation of the tomb in 1922 in pharaoh's
Antechamber, Treasury and Burial chamber.
194
Funeral couch of Tutankhamen features cow with solar disc and inlay blue glass trefoils
decorating the body. Said to represent Goddess Hathor."An inscription from The Book of the
divine cow found in the Burial chamber alludes to its sacred function as a solar barque for
bearing the pharaoh to the heavens...Hieroglyphs carved on the footboard promise the protection
of Isis and the endurance of Osiris."
http://www.kingtutexhibit.com/catalogs/tutankhamun_catalog.pdf Tutankhamun ascended to the

throne around 1332 B.C.E, when he was about 9 years old.The boy king died in 1323 B.C.E
around the age of 18. - See more at: http://www.livescience.com/54090-tutankhamun-king-
tut.html#sthash.Xy0Q04lU.dpuf
A suggestion: A dotted circle as dhAv 'strand' hieroglyph may be read rebus as: धाम
[p= 514,3] m. pl. N. of a class of superhuman beings MBh.; abode (Samskrtam) This may
explain the significance of three dotted circles (trefoil) on the couch of Tuutankhamun
with damkom bull calves signified on the couch.
The hieroglyph of 'dotted circle' continues in early punch-marked coins as in Kuru Janapada
with variants orthographically signifying metalwork in a mint.
Evolution ḍha-, dha- in Brahmi script syllables are evocative of 'string' and 'circle, dotted circle'
as may be seen from the following orthographic evidence of epigraphs dated from ca. 300 BCE:
195
It may be seen from the table of evoution of Brahmi script orthography that
1. a circle signified the Brahmi syllable 'ṭha-' and a dotted circle signified the syllable 'tha-';
2. a string with a twist signified the syllable 'da-', a string ending in a circled twist signified the
syllable 'ḍha-' and a stepped string signified the syllable 'ḍa-'.
Section 4: Orthograhy of Brahmi syllabary from ca. 300 BCE
Terracotta sivalinga, Kalibangan.Shape of polished lingam found at Harappa is like the

summit of Mt. Kailas, Himalayas. Plate X(c), Lingam in situ in trench Ai (MS Vats, 1940,
Exxcavations at Harappa, Vol. II, Calcutta). In trenches III and IV two more stone lingams
were found. (MS Vats, opcit., Vol. I, pp. 51-52). The Hindu traditional metaphor of s'iva is
the glacial river Ganga emerging from locks of his hair as he sits in penance on summit of Mt.
Kailas, Himalayas. The metaphor results in Kailas in Ellora, showing Ravana lifting up the
mountain.
Circular seal, of steatite, from
Bahrein, found at Lothal. A Stamp seal and its impression from the Harappan site of Lothal
north of Bombay, of the type also found in the contemporary cultures of southern Iraq and the
Persian Gulf Area. http://www.penn.museum/sites/expedition/archaeology-in-india/
http://www.penn.museum/sites/expedition/shipping-and-maritime-trade-of-the-indus-people/
m417 Glyph: ‘ladder’: H. sainī, senī f. ʻ ladder ʼ Rebus: Pa. sēṇi -- f. ʻ guild, division of army ʼ;
Pk. sēṇi -- f. ʻ row, collection ʼ; śrḗṇi (metr. often śrayaṇi -- ) f. ʻ line, row, troop ʼ RV. The
lexeme in Tamil means: Limit, boundary; எல் டல. நளியிரு முந்நீலைணி யாக
(புறநா. 35, 1). Country, territory.
The glyphics are:
196
Semantics: ‘group of animals/quadrupeds’: paśu ‘animal’ (RV), pasaramu, pasalamu = an
animal, a beast, a brute, quadruped (Te.) Rebus: pasra ‘smithy’ (Santali)
Glyph: ‘six’: bhaṭa ‘six’. Rebus: bhaṭa ‘furnace’.

Glyph (the only inscription on the Mohenjo-daro seal m417): ‘warrior’: bhaṭa. Rebus: bhaṭa
‘furnace’. Thus, this glyph is a semantic determinant of the message: ‘furnace’. It appears that
the six heads of ‘animal’ glyphs are related to ‘furnace’ work.
This guild, community of smiths and masons evolves into Harosheth Hagoyim, ‘a smithy of
nations’.
It appears that the Meluhhans were in contact with many interaction areas, Dilmun and Susa
(elam) in particular. There is evidence for Meluhhan settlements outside of Meluhha. It is a
reasonable inference that the Meluhhans with bronze-age expertise of creating arsenical and
bronze alloys and working with other metals constituted the ‘smithy of nations’, Harosheth
Hagoyim.
Dilmun seal from Barbar; six heads of antelope radiating from a circle; similar
to animal protomes in Failaka, Anatolia and Indus. Obverse of the seal shows four dotted circles.
[Poul Kjaerum, The Dilmun Seals as evidence of long distance relations in the early second
millennium BC, pp. 269-277.] A tree is shown on this Dilmun seal.
Glyph: ‘tree’: kuṭi ‘tree’. Rebus: kuṭhi ‘smelter furnace’ (Santali).
baTa 'six' Rebus: bhaTa 'furnace' miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL
10120) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron
(Munda) Alternative: ranku 'antelope' Rebus: ranku 'tin'
Izzat Allah Nigahban, 1991, Excavations at Haft Tepe, Iran, The University Museum, UPenn, p.
97. furnace’ Fig.96a.
There is a possibility that this seal impression from Haft Tepe had some connections with Indian
hieroglyphs. This requires further investigation. “From Haft Tepe (Middle Elamite period, ca.
13th century) in Ḵūzestān an unusual pyrotechnological installation was associated with a craft
workroom containing such materials as mosaics of colored stones framed in bronze, a
dismembered elephant skeleton used in manufacture of bone tools, and several hundred bronze
arrowpoints and small tools. “Situated in a courtyard directly in front of this workroom is a most
unusual kiln. This kiln is very large, about 8 m long and 2 and one half m wide, and contains
two long compartments with chimneys at each end, separated by a fuel chamber in the middle.
197
Although the roof of the kiln had collapsed, it is evident from the slight inturning of the walls
which remain in situ that it was barrel vaulted like the roofs of the tombs. Each of the two long
heating chambers is divided into eight sections by partition walls. The southern heating chamber
contained metallic slag, and was apparently used for making bronze objects. The northern
heating chamber contained pieces of broken pottery and other material, and thus was apparently
used for baking clay objects including tablets . . .” (loc.cit. Bronze in pre-Islamic Iran,
Encyclopaedia Iranica, http://www.iranicaonline.org/articles/bronze-i Negahban, 1977; and
forthcoming).
One badge used had a bangle with trefoil hieroglyph.

It was suggested that this may relate to the functions of a dhā̄̆vaḍ 'smelter' tri-dhAtu,'‘three
minerals'.
Terracotta bangle fragments decorated with red trefoils outlined in white
on a green ground from the late Period 3C deposits in Trench 43. This image
shows both sides of the two fragments
(H98-3516/8667-01 & H98-3517/8679-01)
198
Detail of terracotta bangle with red and white trefoil on a green
background H98-3516/8667-01 from Trench 43).
miṇḍāl markhor (Tor.wali) meḍho a ram,
a sheep (G.)(CDIAL 10120) Rebus: meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. =
steel; dul m. = cast iron (Munda)
"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.The Late Harappan Period at Harappa is represented by the Cemetery H culture
(190-1300 BC) which is named after the discovery of a large cemetery filled with painted burial
urns and some extended inhumations. The earlier burials in this cemetery were laid out much
like Harappan coffin burials, but in the later burials, adults were cremated and the bones placed
in large urns (164). The change in burial customs represents a major shift in religion and can
also be correlated to important changes in economic and political organization. Cemetery H
pottery and related ceramics have been found throughout northern Pakistan, even as far north as
Swat, where they mix with distinctive local traditions. In the east, numerous sites in the Ganga-
Yamuna Doab provide evidence for the gradual expansion of settlements into this heavily
forested region. One impetus for this expansion may have been the increasing use of rice and
other summer (kharif) crops that could be grown using monsoon stimulated rains. Until late in
the Harappan Period (after 2200 BC) the agricultural foundation of the Harappan cities was
largely winter (rabi) crops that included wheat and barley. Although the Cemetery H culture
encompassed a relatively large area, the trade connections with thewestern highlands began to
break down as did the trade with the coast. Lapis lazuli and turquoise beads are rarely found in
199
the settlements, and marine shell for ornaments and ritual objects gradually disappeared. On the
other hand the technology of faience manufacture becomes more refined, possibly in order to
compensate for the lack of raw materials such as shell, faience and possibly even carnelian."
(Kenoyer in harappa.com slide description)http://www.harappa.com/indus2/162.htm
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.dhā̄̆vaḍ 'smelter' tri-dhAtu,'‘three minerals". त्रिधातु mfn. consisting of 3 parts ,
triple , threefold (used like Lat. triplex to denote excessive)RV. S3Br. v , 5 , 5 ,
6; n. the aggregate of the 3 minerals.tri र्िधा ind. in 3 parts, ways or places; triply,
˚त्वम् tripartition; Ch. Up. -धातुः an epithet of Gaṇeśa. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element
ʼMBh., 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 dhā̄̆vaḍ 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)
र्िधातुः is an epithet of Gaṇeśa. This may indicate three forms of ferrite ores: magnetite,
haematite, laterite which were identified in Indus Script as poLa 'magnetite', bichi 'haematite'
and goTa 'laterite'.
Rebus readings of Indus Script hieroglyphs may explain the र्िधातुः epithet of Gaṇeśa: karibha
'elephant's trunk' rebus: karba 'iron' ibha 'elephant' rebus: ib 'iron'.
It has been suggested at

http://bharatkalyan97.blogspot.in/2015/11/trefoil-of-indus-script-corpora-
and.html?view=sidebar that the trefoil decorating the shawl of the 'priest-king' of Mohenjo-daro
is a cross-sectional signifier of three strands of rope.
Thus, a dotted circle is signified by the word: dhāī 'wisp of fibre' (Sindhi).
Single strand (one dotted-circle)
Two strands (pair of dotted-circles)
200
Three strands (three dotted-circles as a trefoil)
These orthographic variants provide semantic elucidations for a single: dhātu, dhāū, dhāv 'red
stone mineral' or two minerals: dul PLUS dhātu, dhāū, dhāv 'cast minerals' or tri- dhātu, -
dhāū, -dhāv 'three minerals' to create metal alloys'. The artisans producing alloys are dhā̄̆vaḍ m.
ʻa caste of iron -- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773).
dām 'rope, string' rebus: dhāu 'ore' rebus: मेढा [mēḍhā] A twist or tangle arising in thread or
cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ 'iron'
(Munda).
Semantics of single strand of rope and three strands of rope are: 1. Sindhi dhāī f. ʻ wisp of fibres
added from time to time to a rope that is being twisted ʼ, Lahnda dhāī˜ id.; 2. tridhāˊtu -- ʻ
threefold ʼ (RigVeda)
Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a
necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough),
dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope,
cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. /
Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string; Turner, CDIAL, no.
11212. (DEDR 5220) vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c.
DED 4268]N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick
well -- rope ʼ, Mth. barahā ʻ rope ʼ.(CDIAL 11212)
I suggest that the expression dhā̄̆vaḍ 'smelter' signified by trefoil or three strands is a semantic
duplication of the parole words:
dhāī 'wisp of fibre' PLUS vaṭa, vaṭara, vaṭi string, rope, tie. Thus, it is possible that the trefoil as
a hieroglyph-multiplex was signified in parole
by the expression dhā̄̆vaḍ 'three strands' rebus: dhā̄̆vaḍ 'smelter'.
The shawl decorated with dhā̄̆vaḍ 'trefoil' is a hieroglyph: pōta 'cloth' rebus:
पोता पोतृ, 'purifier' in a yajna. லபாற் றி pōṟṟi, லபாத்தி pōtti Brahman temple- priest in
Malabar; மடலயாளத்திலுள் ள லகாயிலருச் சகன். Marathi has a cognate in
पोतदार [pōtadāra] m ( P) An officer under the native governments. His business was to assay all
money paid into the treasury. He was also the village-silversmith. The shawl decorated
with dhā̄̆vaḍ 'trefoil' is a hieroglyph: pōta 'cloth' rebus:
पोता पोतृ, 'purifier' in a yajna. லபாற் றி pōṟṟi, லபாத்தி pōtti Brahman temple- priest in
Malabar; மடலயாளத்திலுள் ள லகாயிலருச் சகன். Marathi has a cognate in
201
पोतदार [pōtadāra] m ( P) An officer under the native governments. His business was to assay all
money paid into the treasury. He was also the village-silversmith. पोतृ पु ० पु नार्त पु --तृन् ।
ऋण्ठत्वग्मेदे अच्छावाकशब्दे ८५ पृ० दृश्यम् । िोिार्दशब्दे न िन्द्िे ऋत आत् । पोतािोतारौ ।
https://sa.wikisource.org/wiki/वाचस्पत्यम्
पोता, [ऋ] पुां, (पुनातीर्त । पू + “नप्तृनेष्टृ -त्वष्टृ िोतृपोतृभ्रातृजामातृमातृर्पतृ दुर्ितृ ।”उणा० २ । ९६ । इर्त
तृन्प्रत्ययेन र्नपात्यते ।) र्वष्णुः । इर्त सांर्क्षप्तसारोणार्दवृर्र्त्ः ॥ऋण्ठत्वक् । इर्त र्ूररप्रयोगः ॥ (यथा, ऋग्वेदे ।४
। ९ । ३ ।“स सद्म परर णीयते िोता मन्द्रो र्दर्वर्िषु ।उत पोता र्न षीदर्त ॥”)
https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः पोतृ [p= 650,1] प् /ओतृ or पोतृ , m. " Purifier " , N. of
one of the 16 officiating priests at a sacrifice (the assistant of the Brahman
; = यज्ञस्य शोधर्यर्टर Sa1y. )
RV. Br. S3rS. Hariv. N. of र्वष्णु L. पौि, पोिी f. N. of दु गाि Gal. (cf. पौिी). pōtṛ
पोतृ m. One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्).
पोिम् [पू-ि] The office of the Potṛi. ब्रह्मन् m. one of the 4 principal priests or ऋण्ठत्वज् as (the other
three being the िोतृ , अध्वयुि and उद्गातृ ; the ब्रह्मन् was the most learned of them and was required
to know the 3 वेदs , to supervise the sacrifice and to set right mistakes ; at a later period his
functions were based especially on the अथवि -वेद) RV. &c िोतृ m. (fr. √1. ह) an offerer of an
oblation or burnt-offering (with fire) , sacrificer , priest , (esp.) a priest who at a sacrifice
invokes the gods or recites the ऋग्-वेद , a ऋग्-वेद priest (one of the 4 kinds of officiating
priest »ऋण्ठत्वज् , p.224; properly the िोतृ priest has 3 assistants , sometimes called पुरुषs , viz.
the मैिा-वरुण , अच्छा-वाक, and ग्रावस्तुत् ; to these are sometimes added three others ,
the ब्राह्मणाच्छां र्सन् , अग्नीध्र or अग्नीध् , and पोतृ , though these last are properly assigned to the
Brahman priest ; sometimes the नेष्टृ is substituted for the ग्राव-स्तुत्) RV.&c नेष्टृ m. (prob. fr.
√ नी aor. stem नेष् ; but cf. Pa1n2. 3-2 , 135 Va1rtt. 2 &c ) one of the chief officiating priests at
aसोम sacrifice , he who leads forward the wife of the sacrificer and prepares the सुरा (त्वष्टृ so
called RV. i , 15 , 3) RV. Br. S3rS. &c अध्वयुि m. one who institutes an अध्वर any officiating
priest a priest of a particular class (as distinguished from the िोतृ , the उद्गातृ , and
the ब्रह्मन् classes. The अध्वयुि priests " had to measure the ground , to build the altar , to prepare
the sacrificial vessels , to fetch wood and water , to light the fire , to bring the animal and
immolate it " ; whilst engaged in these duties , they had to repeat the hymns of the यजुर्-वेद ,
hence that वेद itself is also called अध्वयुि )pl. (अध्वयि वस् ) the adherents of the यजुर्-वेद; उद् -
गातृ m. one of the four chief-priests (viz. the one who chants the hymns of the सामवेद) , a
chanterRV. ii , 43 , 2 TS. AitBr. S3Br. Ka1tyS3r. Sus3r. Mn. &c
अच्छा-वाकm. " the inviter " , title of a particular priest or ऋण्ठत्वज् , one of the sixteen required to
perform the great sacrifices with the सोम juice. ग्रावन् m. a stone for pressing out
the सोम (originally 2 were used RV. ii , 39 , 1 ; later on 4 [ S3a1n3khBr.xxix , 1] or 5 [Sch.
on S3Br. &c ]) RV. AV. VS. S3Br.= ग्राव-स्त् /उत् Hariv. 11363
pōtrá1 ʻ *cleaning instrument ʼ (ʻ the Potr̥'s soma vessel ʼ RV.). [√pū]Bi. pot ʻ jeweller's
polishing stone ʼ? -- Rather < *pōttī -- .(CDIAL 8404) *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass
ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead
ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G.
M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá --(CDIAL
8403) pōtana पोतन a. 1 Sacred, holy. -2 Purifying.
Hence the importance of the office of Potr̥, 'Rigvedic priest of a yajna' signified as 'purifier', an
assayer of dhāˊtu 'minerals.
202
Meluhha artifacts in Ancient Near East, Indus Script hypertext evidence from Gonur Depe, Tell
Abraq, Mohenjo-daro
https://tinyurl.com/ycfaahgv
Indus Script hypertext evidence from Gonur Tepe, Tell Abraq, Mohenjo-daro include the
following; both relate to documented accounting ledgers of Tin-Bronze Age metalwork:
1.Hieroglyph of tabernae montana on an ivory comb, on a bronze axe

2.Hieroglyph of dotted circles on ivory combs and on ivory artifacts
It is clear from the evidence that there was diffusion of metallurgical technologies between
Meluhha artisans and Ancient Near East artisans.
The hypertexts signify:

tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’.
Rebus: tagara ‘tin’.
m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on each side of the cube (one
dotted circle surrounded by 7 dotted circles): dhātu 'layer, strand'; dhāv 'strand, string' Rebus:
dhāu, dhātu 'ore'.(smelter).
dhā̄̆vaḍ 'iron-smelters'. Eight dotted circles evoke the Veda tradition of aṣṭāśri Yupa, eight-
angled pillar to proclaim the sacred prayers.
See:
Dotted circles, tulips and tin-bronze revolution of 4th millennium BCE documented in Harappa
Script
http://tinyurl.com/z3x7zev
In the course of my studies on hieroglyphs of ancient Near East 3rd and 2nd millennium BCE,
and the Tin Road of the Bronze Age, I have come across the use of a flower used for perfume
oil:tabernae montana as a hieroglyph. I find that this hieroglyph is deployed on hair combs and
also on a metal, shaft-hole axe.
In interaction areas, tabernae montana glyph appears: 1. on an ivory comb discovered at Oman
Peninsula site of Tell Abraq, 2. on a Bactria-Margiana Archaeological Complex stone flask and,
3. on a copper alloy shaft-hole axe-head of (unverified provenance) attributed to Southeastern
Iran, ca. late 3rd or early 2nd millennium BCE 6.5 in. long, 1980.307 Metropolitan Museum of
Art, New York.
The ivory comb found at Tell Abraq measures 11 X 8.2 X .4 cm. Both sides of the comb bear
identical, incised decoration in the form of two long-stemmed flowers with crenate or dentate
203
leaves, flanking three dotted circles arranged in a triangular pattern. The occurrence of wild tulip
glyph on the ivory comb can be explained.
The spoken word tagaraka connoted a hair fragrance from the flower tagaraka These flowers
are identified as tulips, perhaps Mountain tulip or Boeotian tulip (both of which grow in
Afghanistan) which have an undulate leaf. There is a possibility that the comb is an import from
Bactria, perhaps transmitted through Meluhha to the Oman Peninsula site of Tell Abraq.
At Mundigak, in Afghanistan, only one out of a total of five shaft-hole axes analysed contained
as much as 5% Sn. Such shaft-hole implements have also been found at Shah Tepe, Tureng
Tepe, and Tepe Hissar in level IIIc (2000-1500 BCE).
Tell Abraq axe with epigraph (‘tulip’ glyph + a person raising his arm above his shoulder and
wielding a tool + dotted circles on body) [After Fig. 7 Holly Pittman, 1984, Art of the Bronze
Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The
Metropolitan Museum of Art, pp. 29-30].
Rebus: tagara ‘tin’. Glyph: eṛaka ‘upraised arm’ (Tamil); rebus: eraka = copper (Kannada)
A rebus reading of the hieroglyph is: tagaraka, tabernae montana. Rebus: tagara ‘tin’
(Kannada); tamara id. (Skt.) Allograph: ṭagara ‘ram’. Since tagaraka is used as an aromatic
unguent for the hair, fragrance, the glyph gets depicted on a stone flask, an ivory comb and axe
of Tell Abraq.
The glyph is tabernae montana, ‘mountain tulip’. A soft-stone flask, 6 cm. tall, from Bactria
(northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to
those shown on the comb from Tell Abraq.(After Pottier, M.H., 1984, Materiel funeraire e la
Bactriane meridionale de l'Age du Bronze, Paris, Editions Recherche sur les Civilisations: plate
204
20.150) Two flowers are similar to those shown on the comb from Tell Abraq. Ivory comb with
Mountain Tulip motif and dotted circles. TA 1649 Tell Abraq. [D.T. Potts, South and Central
Asian elements at Tell Abraq (Emirate of Umm al-Qaiwain, United Arab Emirates), c. 2200
BC—AD 400, in Asko Parpola and Petteri Koskikallio, South Asian Archaeology 1993: , pp.
615-666] Tell Abraq comb and axe with epigraph After Fig. 7 Holly Pittman, 1984, Art of the
Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The
"A fine copper axe-adze from Harappa, and similar bronze examples from Chanhu-daro and, in
Baluchistan, at Shahi-tump, are rare imports of the superior shaft-hole implements developed
initially in Mesopotamia before 3000 BC. In northern Iran examples have been found at Shah
Tepe, Tureng Tepe, and Tepe Hissar in level IIIc (2000-1500 BC)...Tin was more commonly
used in eastern Iran, an area only now emerging from obscurity through the excavation of key
sites such as Tepe Yahya and Shahdad. In level IVb (ca. 3000 BCE)at Tepe yahya was found a
dagger of 3% tin bronze. (Lamberg-Karlovsky, C.C. and M., 1971, An early city in Iran,
Scientific American, 1971, 224, No. 6, 102-11; Muhly, 1973, Appendix 11, 347); perhaps the
result of using a tin-rich copper ore." (Penhallurick, R.D., 1986, Tin in Antiquity, London,
Institute of Metals, pp. 18-32)
Indus Script hypertexts: 1. dotted circles; and 2. tabernae montana 'mountain tulip' Rebus
readings: 1.Hieroglyph: dotted circles: dāntā 'ivory' rebus dhāˊtu 'ore of red colour' 2.
Hieroglyph: tagaraka 'tabernae montana, mountain tulip' rebus: tagara 'tin'. Thus, two mineral
ores are signified by the two hieroglyphs: ferrite, copper ores and tin ore (cassiterite).
Dotted circles, tulips on ivory combs signify dāntā 'ivory' rebus dhāˊtu 'ore of red colour'
(Rigveda) tagaraka 'tulip' rebus tagara 'tin'
h1522 Potsherd ca. 3300 BCE (from Indus Writing Corpora)
Note: The first known examples of writing may have been unearthed at an archaeological dig in
Harappa, Pakistan. So-called 'plant-like' and 'trident-shaped' markings have been found on
fragments of pottery dating back 5500 years. According to Dr Richard Meadow of Harvard
University, the director of the Harappa Archaeological Research Project, these primitive
inscriptions found on pottery may pre-date all other known writing.
http://news.bbc.co.uk/2/hi/science/nature/334517.stm http://news.bbc.co.uk/2/hi/science/nature/
334517.stm
A rebus reading of the hieroglyph is: tagaraka, tabernae montana. Rebus:
tagara ‘tin’ (Kannada); tamara id. (Skt.) Allograph: ṭagara ‘ram’. Since tagaraka
is used as an aromatic unguent for the hair, fragrance, the glyph gets depicted on a stone flask,
an ivory comb and axe of Tell Abraq.
Discovery of tin-bronzes was momentous in progressing the Bronze Age Revolution of 4th
millennium BCE. This discovery created hard alloys combining copper and tin. This discovery
was also complemented by the discovery of writing systems to trade in the newly-produced hard
alloys.The discovery found substitute hard alloys, to overcome the scarcity of naturally
occurring arsenical copper or arsenical bronzes. The early hieroglyph signifiers of tin and copper
on an ivory comb made by Meluhha artisans & seafaring merchants point to the contributions
made by Bhāratam Janam (RV), ca. 3300 BCE to produce tin-bronzes. The abiding significance
of the 'dotted circle' is noted in the continued use on early Punch-marked coins.
The dotted circle as a signifier of interactions between Meluhha and Gonur Tepe has been
brilliantly analysed in the context of the following artifacts cited by Dennys Frenez
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in: Manufacturing and trade of Asian elephant ivory in Bronze Age Middle Asia. Evidence from
Gonur Depe (Margiana, Turkmenistan) by Dennys Frenez (2017)
https://www.academia.edu/34596109/Manufacturing_and_trade_of_Asian_elephant_ivory_in_B
ronze_Age_Middle_Asia._Evidence_from_Gonur_Depe_Margiana_Turkmenistan
Diffusion of Metallurgy: Meluhha and western Afghanistan sources of tin

"...In the later 4th and early 3rd millennia, greater tin values occur--5.3% in a pin from Susa B;
and 5% in an axe from Mundigak III in Afghanistan; but these are still exceptional in a period
characterized by the use of arsenical copper ...arond 270 BC, during Early Dynastic III in
Mesopotamia...eight metal artifacts of forty-eight in the celebrated 'vase a la cachette' of Susa D
are bronzes; four of them -- three vases and one axe -- have over 7% tin. The analyses of objects
from the Royal Cemetery at UR present an even clearer picture: of twenty-four artifacts in the
Iraq Museum subjected to analysis, eight containing significant quantities of tin and five with
over 8% tin can be considered true bronzes in the traditional sense.a contemporary shaft-hole
axe from Kish contains 4% tin, and significant amounts were detected in a few artifacts from
Tepe Giyan and Tepe Yahya IVB in Iran, and Hili in Oman. Thus, we see an increasing pattern
of tin usage......Gudea of Lagash (2150-2111BCE)speaks of the tin of Meluhha...the geographer
Strabo (XV.2.10) who, in referring to the inhabitants of Drangiana (modern Sistan), says that
they have 'only scanty supplies of wine, but they have tin in their country'...this passage..does
accord well with the discoveris in the area of Herat...There are two possible routes from
Afghanistan to Mesopotamia. One crosses the northern part of the Iranian plateau, along the
Elburz mountains, then through the passes in the Zagros descends to Babylonia and Assyria. In
the 1st millennium it was one of the principal supply routes of eastern goods to Assyria. In the
2nd millennium the tin that Assur exported to Anatolia might have followed this route. Along it
are found such sites as Tepe Sialk (where the use of tin is attested in the 4th millennium), Tepe
Giyan and Tepe Hissar, wehre other finds (such as lapis lazuli at Hissar) implicate them in long-
distance commerce in the 3rd millennium...Recently Oman has yielded the first signs of the use
of tin in the region. The analysis of a sword from Hili, dated to the mid-3rd millennium, shows a
tin content of 6.5%, and a mold of a tap hole (?) associated with the remains of a furnace held
metal with a tin content of 5%...At Umm an-Nar artifacts with tin contents on the order of 2%
were recovered; the tin must have been mixed with the local copper...Meluhha...the use of tin is
attested already in the late 4th or early 3rd millennium at Mundigak III in southern Afghanistan.
Tin appears only in small quantities in artifacts from Sahr-i-Sokhta in eastern Iran and at Tepe
Yahya in southern Iran...In the Indus Valley, the copper-tin alloy is known at Mohenjodaro...The
discoveries of tin in artifacts at Hili, though singular, are important because the site lies in an
area clearly involved in long-distance trade. However, there is no clear evidence that the site was
a way-station on the route which brought tin from Afghanistan to Mesopotamia. Therefore the
presence of tin at Hili indicates only that it was transported in the Gulf area, where it was also
used to fill local needs. The collective indications are that western Afghanistan ws the zone able
to provide the tin used in Southwest Asia in the 4th and 3rd millennia...In order to elucidate the
questions raised by our findings, a project aimed specifically at tin-- its sources and metallurgy--
should be organized." (Serge Cleuziou and Thierry Berthoud, Early Tin in the Near East, in:
Expedition, Vol. 25, No. 1, 1982, pp. 14-19). cf. R.J.Forbes, 1954, Extracting, smelting and
alloying, in: Charles Singer, E.J.Holmyard and AR Hall (eds.), 1954, A History of Technology,
Oxford, Clarendon Press. Knox, Robert, 1994, A new Indus Valley Cylinder Seal, pp. 375-378
in: South Asian Archaeology 1993, Vol. I, Helsinki. Ibid., p. 377; cf. Lamberg- Karlovsky and
Tosi 1973: pl. 137.
It is likely that the sources of tin can also extend the Tin Road of Meluhha into the river beds of
Sindhu and Sarasvati rivers and associated tributary rivers and water channels for panned tin
obtained by prospectors.
An unresolved problem in the study of Bronze Age civilizations has been the identification of
sources of tin. Arsenical bronzes of the millennia earlier to the 5th millennium were replaced by
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tin-bronzes creating a veritable revolution in the march of civilization.
John Muhly has highlighted and contributed significantly to the resolution of this problem.
Many cuneiform texts do point to Meluhha as the major source of tin, reaching through the
transit points of Magan and Dilmun along the Persian Gulf region and west of Mehergarh.
A possible scenario is presented by a geologist, TM Babu (2003) in: Advent of the bronze age in
the Indian subcontinent In Mining and metal production: through the ages, eds. P. Craddock and
J. Lang, London, British Museum Press, pp175-180. In this article, Babu starts with the
traditions in ancient India of making idols for worship using pancha-loha (lit. five metals),
creating an alloy of copper, tin, lead, zinc, arsenic and less commonly, silver and gold. A word
in Tamil denoting this alloy is kol which also means ‘working in iron’. This lexeme is denoted
by the hieroglyphs: tiger (kola), woman (kola), rice-plant (kolom). Similar rebus readings of
hundreds of hieroglyphs on Indus writing point to the Indian sprachbund, a linguistic union
which explains the presence, for example, Munda words in ancient Sanskrit texts.
Papagudem boy wearing a bangle of tin
“Bronze articles such as ornamental mirrors, arrowheads, pins, bangles and chisels, of both low
tin and high tin content, have been recovered from Lothal, the Harappn port on the Gujarat
coast, which has been dated earlier than 2200 BCE. The tin content in these articles range from
2.27% to 11.82%; however, some of the articles contain no tin. Tin is said to have been brought
as tablets from Babylon and mixed with copper to make an alloy of more pleasing colour and
luster, a bright golden yellow. The utilization of bronze is essential only for certain articles and
tools, requiring sharp cutting edges, such as axes, arrowheads or chisels. The selection of bronze
for these items indicates the presence of tin was intentional…Recent discoveries of tin
occurrences in India are shown in…Fig. 11.2. However, none of these occurrences shows
evidences of ancient mining activity. This is because, unlike copper ores, the mining and
metallurgy of the tin ore cassiterite is simple, and leaves little permanent trace…tin ore is
usually recovered by simple panning of surface deposits, often contained in gravel, which soon
collapse, leaving little evidence of having once been worked. Cassiterite is highly resistant to
weathering, and with its high specific gravity, it can be easily separated from the waste minerals.
The simple mining and metallurgical methods followed even now by Bastar and Koraput tribals
in Chattisgarh and Orissa, central India, could be an indication of the methods used in the past.
These tribal people produce considerable quantities of tin without any external help, electric
power or chemical agents, enough to make a modern metallurgist, used to high technology,
wonder almost in disbelief. Clearly though, the technology practiced has a considerable
importance for those studying early smelting practices. The history of this process is poorly
known. Back in the 1880s Ball (1881) related the story of a Bastar tribal from the village of
Papagudem, who was observed to be wearing a bangle of tin. When questioned as to where the
metal had come from, he replied that black sands, resembling gunpowder were dug in his village
and smelted there. Thus it is very likely that the present industry is indigenous, and may have a
long history. That being said, neither the industry or its products appear in any historical
document of any period, and thus is unlikey to have been a significant supplier of metal…The
tin content of cassiterite ranges from 74.94% (mean 64.2%), showing that pebbles contain about
70% to 90% of the tin oxide, cassiterite…The ore is localized in gravel beds of the black pebbles
of cassiterite which outcrop in stream beds etc. and there are other indicators, in the vegetation.
The leaves of the Sarai tree (Shoria robusta) growing on tin-rich ground are often covered in
yellow spots, as if suffering from a disease. (The leaves were found to contain 700 ppm of tin on
analysis!) Wherever the tribals find concentrations of ore in the top soil, the ground all around
the area is dug up and transported to nearby streams, rivers or ponts…The loose gravelly soil
containing the tin ore is dug with pick and shovel, and carried to the washing sites in large,
shoulder-strung bamboo baskets. The panning or washing of the ore is carrie out using round
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shallow pans of bamboo. The soil is washed out, leaving the dense casiterite ore at the bottom of
the pan…The ore is smelted in small clay shaft furnaces, heating and reducing the ore using
charcoal as the fuel…The shft furnaces are square at the base and of brick surmounted by a clay
cylindrical shaft…The charcoal acts as both the heating and reducing agent, reducing the black
cassiterite mineral into bright, white tin metal…a crude refining is carried out by remelting the
metal in an iron pan at about 250 degrees C. The molten tin is then poured into the stone-carved
moulds to make square- or rectangular-shaped tin ingots for easy transportation. (Babu, TM,
2003, Advent of the bronze age in the Indian subcontinent in: Craddock, PT and J. Lang, Mining
and Metl production through the ages, British Museum, pp.174-180).
Trefoil Indus Script hieroglyph signifies dhā̆ vaḍ 'smelter' dhāu 'ore'. त्रिधातुः (magnetite,
hematite, laterite) is an epithet of Gaṇeśa
A "bent bar" shatamana from the Kuru and Panchala janapada, c.500-350 BCE
Source: http://www.vcoins.com/ancient/saylesandlavender/store/viewitem.asp?idProduct=5939
208
Kuru Janapada from Haryana Region, Silver ½-Karshapana (2), triangular mark, rev six-armed
symbol, the second uniface on a dumpy flan, attributed to Kuru Janapada of Babyal (Haryana)
region by Handa (Rajgor series 21, 428).
Kuru janapada. Dotted triskelion. 450 to 350 BCE. Triskelion arms encircle dots. Arrows attach
to the dotted circle. 'Twist' hieroglyphs are shown next to the arrows.
Coins of Kuru #Janapada 1 of the 16 Mahajanapadas. Haryana-Delhi region, c.450–350

BCE. https://t.co/z7VsdWeRJc - 2015-11-25 13:14:47
http://twicsy.com/i/EQMR3i#1fXO1da71PEArcjT.99
c. 4th Century BCE

Weight:1.73 gm., Diam:12-13 mm.
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Triskele with crescents and dots /
blank
A triskelion hieroglyph of Kuntala punchmarked coins can be signifiers of र्ि धातु 'three
minerals'. The endings of the triskelion are curved like crucibles holding 'dots' or
ingots. koṭhārī ʻ crucible ʼ (Old Punjabi) rebus: koṭhari 'chamber'
(oriya) koṭṭhāgāra ʻstorehouse' (Prakrtam) खोट khōṭa 'A mass of metal (unwrought or of old
metal melted down); an ingot or wedge.'
The chariot linch-pin found at Kirkburn has a triskele hieroglyph-multiplex with an orthography
of hierolyph components signifying associated semantics of metalwork. The circular edge of the
ends of the linch-pin is embossed with raised circles signifying ingots out of the three sets of
crucibles.
In this hieroglyph-multiplex, the central hieroglyph component is three curved (crucibles)

emanating from the centre. At the tip of each of the three cuve-endings, an explanatory
hieroglyph component signifies: 1. crucible; and 2. a round ingot emanating from the crucible.
Orthography clearly signifies metalwork by a Celtic artisan. The bend in the curved legs
emanating from the centre in the triskele is relatable to: कोट or bend, कोटः kōṭḥ Crookedness. A
beard (Samskritam. Apte)
210
Hieroglyph: koṭhārī f. ʻ crucible (Old Punjabi)(CDIAL 3546) Rebus: Pk. koṭṭhāgāra --
, koṭṭhāra -- n. ʻ storehouse ʼ; K. kuṭhār m. ʻ wooden granary ʼ, WPah. bhal. kóṭhār m.; A.
B. kuṭharī ʻ apartment ʼ, Or. koṭhari; Aw. lakh. koṭhār ʻ zemindar's residence ʼ; H. kuṭhiyār ʻ
granary ʼ; G. koṭhār m. ʻ granary, storehouse ʼ, koṭhāriyũ n. ʻ small do. ʼ;
M. koṭhār n., koṭhārẽ n. ʻ large granary ʼ, -- °rī f. ʻ small one ʼ; Si.koṭāra ʻ granary, store
ʼ.(CDIAL 3550).
Note: poLa 'magnetite', bichi 'haematite' and goTa 'laterite' may refer to tri-dhAtu 'three red
ferrite ores'.
Rendering of जटा jaṭā on ekamukhalinga is a unique orthographic/ iconographic metaphor

signified by sculptors to denote the nature of चषालः caṣāla and its role in the pyrolysis process to
carburize metal into hard alloys during smelting. "Pyrolysis has been used since ancient times
for turning wood into charcoal on an industrial scale. Besides wood, the process can also
use sawdust and other wood waste products...Pyrolysis is used on a massive scale to
turn coal into coke for metallurgy, especially steelmaking."
Av. wazra, Pahl. warz, NPers. gorz; with epithets vājrabāhu- “mace in arm,” °hasta- “mace in
hand,” °dakṣiṇa- “mace in his right [hand],” vajrabhṛˊt-, °vāh- “mace-carrying,” vajrín- “mace-
possessing”) and the epithet vṛtrahán- (Av. wərəθrajan-) “slaying,
smashing vṛtrā.” http://www.iranicaonline.org/articles/indra
Gorz. "It is mentioned in Avesta as the special weapon of Mithra (Yt. 10.132) and Kərəsāspa-
/Garšāsp (Y. 9.10). Kərəsāspa is portrayed as having long hair (gaēsuš) and wielding a club
(gaδavarō; see Reichelt, p. 2), while Mithra’s club is described as being made of gold and
bearing one hundred knobs and one hundred edges. It is also called the most solid and the most
effective weapon in securing victory and as swift as imagination (Yt.
10.132)." http://www.iranicaonline.org/articles/gorz
Kuntala janapada Punch-marked

coin 450 BCE. Two angular shaped parallel lines having solid dot on the head connect to the
central dot There is a A triskelion or triskele (which invariably has rotational symmetry) a motif
consisting of three interlocked spirals between the two solid dots.
śãgal, śãgaḍ ʻchainʼ (WPah.) śr̥ṅkhala m.n. ʻ chain ʼ MārkP., °lā -- f. VarBr̥S., śr̥ṅkhalaka -- m.
ʻ chain ʼ MW., ʻ chained camel ʼ Pāṇ. [Similar ending in mḗkhalā -- ]Pa. saṅkhalā -- , °likā -- f. ʻ
chain ʼ; Pk. saṁkala -- m.n., °lā -- , °lī -- , °liā -- , saṁkhalā -- , siṁkh°, siṁkalā -- f. ʻ chain
ʼ, siṁkhala -- n. ʻ anklet ʼ; Sh. šăṅāli̯ f., (Lor.)š*lṅāli, šiṅ° ʻ chain ʼ (lw .with š -- < śr̥ -- ),
K. hök̃ al f.; S. saṅgharu m. ʻ bell round animal's neck ʼ, °ra f. ʻ chain, necklace ʼ, saṅghāra f. ʻ
chain, string of beads ʼ,saṅghirī f. ʻ necklace with double row of beads ʼ; L. saṅglī f. ʻ flock of
bustard ʼ, awāṇ. saṅgul ʻ chain ʼ; P. saṅgal m. ʻ chain ʼ, ludh. suṅgal m.; WPah.bhal. śaṅgul m. ʻ
chain with which a soothsayer strikes himself ʼ, śaṅgli f. ʻ chain ʼ, śiṅkhal f. ʻ railing round a
211
cow -- stall ʼ, (Joshi) śã̄gaḷ ʻ door -- chain ʼ, jaun. śã̄gal, śãgaḍ ʻ chain ʼ; Ku. sã̄glo ʻ doorchain ʼ,
gng. śāṅaw ʻ chain ʼ; N. sāṅlo ʻ chain ʼ, °li ʻ small do. ʼ, A. xikali, OB. siṅkala,
B. sikal, sikli, chikal, chikli, (Chittagong) hĩol ODBL 454,
Or.sāṅk(h)uḷā, °ḷi, sāṅkoḷi, sikaḷā̄̆, °ḷi, sikuḷā, °ḷi; Bi. sīkaṛ ʻ chains for pulling harrow ʼ,
Mth. sī˜kaṛ; Bhoj. sī˜kar, sĩkarī ʻ chain ʼ, OH. sāṁkaḍa, sīkaḍa m.,
H. sã̄kal, sã̄kar,°krī, saṅkal, °klī, sikal, sīkar, °krī f.; OG. sāṁkalu n., G. sã̄kaḷ, °kḷī f. ʻ chain
ʼ, sã̄kḷũ n. ʻ wristlet ʼ; M. sã̄k(h)aḷ, sāk(h)aḷ, sã̄k(h)ḷī f. ʻ chain ʼ, Ko. sāṁkaḷ;
Si. säkilla, hä°, ä° (st. °ili -- ) ʻ elephant chain ʼ.śr̥ṅkhalayati.Addenda: śr̥ṅkhala -- : WPah.kṭg.
(kc.) śáṅgəḷ f. (obl. -- i) ʻ chain ʼ, J. śã̄gaḷ f., Garh. sã̄gaḷ.śr̥ṅkhalayati ʻ enchains ʼ Daś.
[śr̥ṅkhala -- ]
Ku.gng. śāṅaī ʻ intertwining of legs in wrestling ʼ (< śr̥ṅkhalita -- ); Or. sāṅkuḷibā ʻ to enchain
ʼ.(CDIAL 12580, 12581)சங் கிலி¹ caṅkili, n. < šṛṅkhalaā. [M. caṅ- kala.] 1. Chain, link;
வதாடை். சங் கிலிலபா லீை்ப்புண்டு (லசதுபு. அகத். 12). 2. Land-measuring chain,
Gunter's chain 22 yards long; அளவுச் சங் கிலி. (C. G.) 3. A superficial measure of dry
land=3.64 acres; ஓை் நிலவளவு. (G. Tn. D. I, 239). 4. A chain-ornament of gold, inset with
diamonds; வயிைச்சங் கிலி என்னும் அணி. சங் கிலி நுண்வடாடை் (சிலப். 6, 99).
5. Hand-cuffs, fetters; விலங் கு.
Three dots joined suggest tri-dhātu 'three minerals' alloyed together to constitute adamantine
glue.
Rebus: Vajra Sanghāta 'binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute
adamantine glue. (Allograph) Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati)
वज्र [p=913,1] mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been
formed out of the bones of the ऋर्ष दधीच or दधीर्च [q.v.] , and shaped like a circular discus , or in
later times regarded as having the form of two transverse bolts crossing each other thus x ;
sometimes also applied to similar weapons used by various gods or superhuman beings , or to any
mythical weapon destructive of spells or charms , also to मन्यु , " wrath "RV. or [with अपाम्] to a
jet of water AV. &c ; also applied to a thunderbolt in general or to the lightning evolved from the
centrifugal energy of the circular thunderbolt of इन्द्र when launched at a foe ; in Northern Buddhist
countries it is shaped like a dumb-bell and called Dorje ; » MWB. 201 ; 322 &c ) RV. &c; a
diamond (thought to be as hard as the thunderbolt or of the same substance with it)
, Shad2vBr. Mn. MBh. &c; m. a kind of column or pillar VarBr2S.; m. a kind of hard mortar or
cement (कल्क) VarBr2S. (cf. -लेप); n. a kind of hard iron or steel L.
Note: In Rigveda, vajra refers to something hard or mighty compared to a thunderbolt or a jet of
water. At what stage of semantic evolution, the gloss was expanded to mean 'adamantine, glue' is
unclear. This is the stage when the artisans might have recognized the feature of cementite, as a
nanotube which forms when carbon combines with iron. It is clear that in VarAhamira's time, the
gloss vajra meant an adamantine glue: sanghAta. It is possible that this gloss was signified by the
sangaDa 'lathe' which is a device most commonly deployed on Indus Script Corpora.
It appears that the orthographic shapes chosen during the Bronze Age to denote a metallic
thunderbolt weapon use the wavy lines or streaks of lightning as a metaphor. Now that it is evident
that iron forging is dated to the 3rd millennium BCE, the use of hardened or carbide ferrous metal
weapons cannot be ruled out. The ancient word which denoted such a metallic weapon is vajra in
Rigveda, specifically described as Ayasam vajram, metallic weapon or metallic thunderbolt.
I suggest that the association of the gloss vajra with lightning becomes a metaphor to further
define vajrasangAta 'adamantine glue' which creates a steel metallic form with nanotubes or
cementite.
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The samAsa used by Varahamihira is vajrasanghAta, an adamantine glue. In
archaeometallurgical terms, this is defined as a mixture consisting of eight parts of lead, two of
bell-metal and one of iron dust.
In Meluhha hypertext tradition smelting of minerals is signified by 'dotted circle' hypertext.
Section: goṭī f. ʻlump of silver' (Gujarati)(CDIAL 4271) is an Indus Script hypertext
The centre-piece of the dotted circle an vajra is a spherical pebble or stone, a blob. This 'pebble,
stone' stone hieroglyph is surrounded by a circle.
Shatamanas double-sigloi, bent bars and fractions from Gandhara. The dot shown between
spokes of the six-armed hypertext signifies gōṭā 'spherical pebble' rebus: goṭī 'lump of silver'.--
a signifier of the silver punchmarked coin of goṭī.dhā̄̆vaḍ vathāra 'quarter of town for smelting
and furnac work of silver and minerals'.
The Meluhha Indus Script readings are: gōṭā 'spherical pebble' rebus: goṭī f. ʻlump of silver'
PLUS dhā̄̆vaḍ 'iron-smelters'. Thus, the unique vajra hypertext signified smelters of iron and
workers with silver metal.
The central dotted circle of the vajra hypertext is thus read as: goṭī dhā̄̆vaḍ, 'silver, iron workers'.
This explains why early punchmarked coins were silver coins.
Script
Discovery of tin-bronzes was momentous in progressing the Bronze Age Revolution of 4th
millennium BCE. This discovery created hard alloys combining copper and tin. This discovery
was also complemented by the discovery of writing systems to trade in the newly-produced hard
alloys.The discovery found substitute hard alloys, to overcome the scarcity of naturally
213
occurring arsenical copper or arsenical bronzes. The early hieroglyph signifiers of tin and copper
on an ivory comb made by Meluhha artisans & seafaring merchants point to the contributions
made by Bhāratam Janam (RV), ca. 3300 BCE to produce tin-bronzes. The abiding significance
of the 'dotted circle' is noted in the continued use on early Punch-marked coins.
A (गोटा) gōṭā Spherical or spheroidal, pebble-form. (Marathi) Rebus: khoṭā ʻalloyedʼ
(metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an
ingot or wedge (Marathi). P. khoṭ m. ʻalloyʼ (CDIAL 3931) goṭa 'laterite ferrite ore'. goṭo m.
ʻgold or silver lace' (Sindhi); goṭa m. ʻedging of gold braidʼ(Kashmiri)(CDIAL 4271)
*gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf.
Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED 1722] K. goṭh f., dat. °ṭi f. ʻ chequer or
chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco ready for hookah ʼ, °ṭī f. ʻ small do. ʼ;
P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goṭo ʻ
piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball,
seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, goṭi ʻ small ball,
cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ seed ʼ; Mth. goṭa ʻ numerative particle
ʼ; H. goṭ f. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of smoke ʼ, °ṭɔ m. ʻ kernel of coconut,
nosegay ʼ, °ṭī f. ʻ lump of silver, clot of blood ʼ, °ṭilɔ m. ʻ hard ball of cloth ʼ; M. goṭā m. ʻ
roundish stone ʼ, °ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ; Si. guṭiya ʻ lump, ball ʼ; -- prob. also
P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold
braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.*gōḍḍ -- ʻ
dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL
4271) Ta. koṭṭai seed of any kind not enclosed in chaff or husk, nut, stone, kernel; testicles; (RS,
p. 142, items 200, 201) koṭṭāṅkacci, koṭṭācci coconut shell. Ma. koṭṭa kernel of fruit, particularly
of coconut, castor-oil seed; kuṟaṭṭa, kuraṭṭa kernel; kuraṇṭi stone of palmfruit. Ko. keṭ testes;
scrotum. Ka. koṭṭe, goṟaṭe stone or kernel of fruit, esp. of mangoes; goṭṭa mango
stone. Koḍ. koraṇḍi
id. Tu. koṭṭè kernel of a nut, testicles; koṭṭañji a fruit without flesh; koṭṭayi a dried areca-nut;
koraṇtu kernel or stone of fruit, cashew-nut; goṭṭu kernel of a nut as coconut, almond, castor-oil
seed. Te. kuriḍī dried whole kernel of coconut. Kol. (Kin.) goṛva stone of fruit. Nk. goṛage stone
of fruit. Kur. goṭā any seed which forms inside a fruit or shell. Malt. goṭa a seed or berry. / Cf.
words meaning 'fruit, kernel, seed' in Turner, CDIAL, no. 4271 (so noted by Turner). (DEDR
2069)
dhāu, dhātu 'ore'.(smelter). dhā̄̆vaḍ 'iron-smelters'.
Seven dotted circles signify sapta-dhātu, 'seven minerals'
214
m0352 cdef
The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted

circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5
sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar
and at the centre of the altar together with four raised 'bun' ingot-type rounded features.
Rebus readings of m0352 hieroglyphs:
dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'
1. Round dot like a blob -- . Glyph: raised large-sized dot -- (gōṭī ‘round pebble);goTa 'laterite
(ferrite ore)
2. Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’;
3. A + shaped structure where the glyphs 1 and 2 are infixed. The + shaped structure is kaṇḍ ‘a
fire-altar’ (which is associated with glyphs 1 and 2)..
Rebus readings are: 1. khoṭ m. ʻalloyʼgoTa 'laterite (ferrite ore); 2. khaṇḍā ‘tools, pots and pans
and metal-ware’; 3. kaṇḍ ‘furnace, fire-altar, consecrated fire’.
Four ‘round spot’; glyphs around the ‘dotted circle’ in the center of the
composition: gōṭī ‘round pebble; Rebus 1: goTa 'laterite (ferrite ore); Rebus 2:L. khoṭf ʻalloy,
impurityʼ, °ṭā ʻalloyedʼ, awāṇ. khoṭā ʻforgedʼ; P. khoṭ m. ʻbase,
alloyʼ M.khoṭā ʻalloyedʼ (CDIAL 3931) Rebus 3: kōṭhī ] f (कोि S) A granary, garner,
storehouse, warehouse, treasury, factory, bank. khoṭā ʻalloyedʼ metal is produced
from kaṇḍ ‘furnace, fire-altar’ yielding khaṇḍā ‘tools, pots and pans and metal-ware’. This
word khaṇḍā is denoted by the dotted circles.
215
Kot Diji type seals with concentric
circles from (a,b) Taraqai Qila (Trq-2 &3, after CISI 2: 414), (c,d) Harappa(H-638 after CISI 2:
304, H-1535 after CISI 3.1:211), and (e) Mohenjo-daro (M-1259, aftr CISI 2: 158). (From Fig. 7
Parpola, 2013).
216
Distribution of geometrical seals in Greater Indus Valley during the early and *Mature Harappan
periods (c. 3000 - 2000 BCE). After Uesugi 2011, Development of the Inter-regional interaction
system in the Indus valley and beyond: a hypothetical view towards the formation of the urban
society' in: Cultural relagions betwen the Indus and the Iranian plateau during the 3rd
millennium BCE, ed. Toshiki Osada & Michael Witzel. Harvard Oriental Series, Opera Minora
7. Pp. 359-380. Cambridge, MA: Dept of Sanskrit and Indian Studies, Harvard University: fig.7
Dotted circles and three lines on the obverse of many

Failaka/Dilmun seals are read rebus as hieroglyphs:
Hieroglyph: ḍāv m. ʻdice-throwʼ rebus: dhāu 'ore'; dã̄u ʻtyingʼ, ḍāv m. ʻdice-throwʼ read
217
rebus: dhāu 'ore' in the context of glosses: dhā̄̆vaḍ m. ʻa caste of iron -
smelters', dhāvḍī ʻcomposed of or relating to ironʼ. Thus, three dotted circles signify: tri-
dhāu, tri-dhātu 'three ores' (copper, tin, iron).
Cakka (nt.) [Vedic cakra, redupl. formation fr. *quel to turn round (cp. P. kaṇṭha > Lat. collus &
see also note on gala)=that which is (continuously) turning, i. e. wheel, or abstr, the shape or
periphery of it, i. e. circle. Cakra=Gr. ku/klos, Ags. hveohl, hveol=wheel. The unredupl. form in
Sk. carati (versatur), Gr. pe/lomai, poleu/w, po/los (pole); Lat. colo, incolo; Obulg. kolo wheel,
Oisl. hvel] I. Crude meaning: 1. a wheel (of a carriage) Dh 1; PvA 65 (ratha˚); Miln 27. -- 2. a
discus used as a missile weapon J i.74 Esp. pronounced in the two phrases dhamma --
cakka (the wheel of the Doctrine, i. e. the symbol of conquering efficacy, or happiness
implicated in the D.) and brahma -- c˚ the best wheel, the supreme instrument, the noblest
quality(Pali)
पेरें (p. 301) pērēṃ n (पवि S) The portion included betwixt two articulations or joints, an
internodation: also an articulation or a joint. पेरकें (p. 301) pērakēṃ n A joint or knuckle: also the
portion between two joints, an internodation. The common word is पेर. This is understood by
some as a light or reviling form. (Marathi)
parvanपविन् n. [पॄ-वर्नप् Uṇ.4.112.] पवि स्यादु त्सवे ग्रन्थौ प्रस्तावे लक्षणान्रे ' इर्त र्वश्वः. 1 A knot, joint;
मासाश्चाधिमासाश्च पवाि र्ण; Bṛi. Up.1.1.1. (Sometimes changed to पवि at the end of Bah. comp.; as in
ककिशाङ्क्गुर्लपविया R.12.41.) सो$िां दु माि र्यनस्ते $द्य वज्रेण शतपविणा, र्शरो िररष्ये Bhāg.8.11.6;
सतार्मवापविर्ण मागिणानाम् Ki.17.29. -2 A limb, member, joint of the body,
knuckle. (Apte) पविन् [p= 609,2] n. a knot , joint (esp. of a cane or other plant [cf. परुस् ] , but
also of the body) , limb , member (lit. and fig.) RV. &c- पविन् [p= 609,2] n. a knot , joint (esp. of
a cane or other plant [cf. परुस् ] , but also of the body) , limb , member (lit. andfig.) RV. &c; a
break , pause , division , section (esp. of a book) S3Br. MBh. &c; the step of a staircase Ragh.; a
sacrifice performed on the occasion of a change of the moon R. párvan n. ʻ knot, joint ʼ
RV.Pa. pabba -- n. ʻ knot in a stalk, joint ʼ, Pk. pavva -- n.; A. pāb ʻ space between two joints ʼ
(whence pabāl, °li ʻ having long joints ʼ, pabiyāiba ʻ to cut into small sections ʼ); B. pāb ʻ joint
218
(in body or plant), knuckle, protuberance ʼ.(CDIAL 7947) *pōra2 ʻ joint ʼ. [Cf. śata -- pōra(ka)
-- n. ʻ species of sugarcane ʼ Suśr., nīla -- pōra -- , -- paura -- m. lex. -- Connexion.
with párvan -- (through *parvara -- as Gk. pei=rar ~ gen. pei/ratos) very doubtful]Pk. pōra --
n.m. ʻ knot ʼ, pōraga -- n.m. ʻ a sort of plant with knots ʼ; P. por f. ʻ hollow bamboo for drilling
seed ʼ (or < *pōra -- 1 s.v. *pōḍa -- ), porā m. ʻ joint of bamboo ʼ; Ku. por, porī ʻ knot or joint
of bamboo ʼ; H. por f. ʻ space between two joints ʼ, porā m. ʻ beam ʼ, poruā m. ʻ knuckle ʼ;
Si. puruka ʻ knot or joint of bamboo, knob, link ʼ. -- M. per n. ʻ joint, articulation ʼ?(CDIAL
8406)paura m. ʻ citizen ʼ Gaut., ʻ prince engaged in war in certain circumstances ʼ VarBr̥S.
[púra -- ] Pa. pōra -- ʻ belonging to the city, polite (of speech) ʼ; Pk. pōra -- ʻ born in a city ʼ;
Si. pora ʻ fighter, wrestler ʼ (GS 75 < prahāra -- ).(CDIAL 8419)
Spoked wheel as vajra: "Most importantly, both the Vedic description of Śakra/Indra as a Vajra-
handed (Vajrapaṇi) destroyer of evil, who in the Vedas is the ahi, Vṛtya. However the vajra,
itself survives into current modes of Buddhism where in the hands of Vajrapani bodhisattva, it is
the destroyer of ignorance. Obviously, there is an undoubted continuity from the Vedic period to
the present day. To establish basis for discussion: Part 1: asks the question is the
Buddhist Dharmachakra actually derived from a Vedic vajra and therefore a recognizable vajra
in early Buddhist Art? Part 2: Is the “six armed” PMC mark also derived from the Vedic vajra
and therefore probably the line of continuity between the Vedic imagination of the Vajra and the
Buddhist manifestation of the Vajra? Although there are varieties of descriptions in the Ṛg,
Academic consensus seems to be that the vajra of Śakra/Indra was a wheel or discus (chakra),
had 100 sharp edges, points or prominences. The term for the 100 prominences is “śata
parvan” and parvan is, at best, not very explicit. Some physical characteristics are: it is made of
iron, gold, gold covered iron, it is long and thin, it is spiked, it is round with 1000 spokes and
100 knuckles (parvan)[RV.6.17.10] And in the Upaniṣaḍs it is occasionally known as “six-
sided” (saṭkoṇa) Other characteristics are: It can be thrown, it can by used as a club, sharpened,
held in both hands, cut the enemy, split mountains in two…An interpretation of the Vedic
description is a wheel with 1000 spokes and 100 knuckles (assuming that “parvan” refers to
something that hits the opponent and as. often referred to is sharpenable, i.e., little blades of
some sort or another.). This description seems to fit Dharmachakras in early Indic Art:
“A wheel with 1000 spokes and 100 knuckles." (Huntington)
Kot Diji ca. 4000 BCE
Kalibangan 053A tablet.
219
1186
Hypertext variants in Harappa Script Corpora loa ‘ficus religioss’ rebus: loha ‘copper’ PLUS
karNa ‘ears’ rebus: karNI ‘supercargo’.
"In the study of punch-marked coins, there is a “six armed” figure that appears on the coins in
enormous variety (about one hundred types + a bit) (Paul Murphy illustrates 97 varieties). Note
the arrowhead-like projection that occurs on every one of the varieties. These devices were
originally called “vajras” by early numismatists, but modern scholar have retreated from the
idea..."
220
"We cannot judge from Paul’s perfunctory sketches, spread over thousands
of coins these marks have two distinct features that remain constant. 1) In the center there is
almost always a double circle; 2) Around the outside of the circle there are always the
arrowhead-like extensions anywhere from 2 – 6 in number.".
"One of the Earliest known PMC types is Magadha “type 00,” minted a time when Bimbasra
(545-493) ruled at Rajagriha. Most known examples ( about 100+) contain a prototypical mark
of the six-armed type. Coin from a recently discovered hoard of at least 22 coins all which have
the 6-armed mark with three arrow heads and three intermediate marks. There are three or four
varieties, but it is uncertain due to present uncleaned condition of the coins."
Magadha 'type' Vajra, reign of Bimbisara

(545-493)
221
Sanchi stupa 2 Vedika. Dharma Cakra in a
corded band. ca. 120-80 BCE. "In spite of the vast difference in size, ~ 15mm versus ~ 40cm,
given the closeness of the two designs, it is inconceivable that the Sāñchī sculptor was unaware
of the generic prototype of the design. In the context of the coins the vajra is a symbol of
consummate military power. In Buddhism is is a symbol of the consummate power of the
teachings to overcome egoistic cravings. Tentative conclusions: Part 1: The early Buddhist
Dharmachakra with its many spokes and protrusions is conceptually identical to one of the
primary forms of the Vedic vajra as
described in the Ṛg Veda. Because it was quintessentially Brahmanical in origin, as a symbol of
the
Buddhist teachings it had several important characteristics. Among them the fact, the Brahmins
of the day would recognize one of the most evocative symbols of their own religion and its
material communication systems. Part 2: Based on the physical identification of the Buddhist
numismatics
are also a vajra known in the literature as as saṭkoṇa. With kings carrying the name endings of -
varman (armor) -gupta (protector) and in a later period, -endra (i.e., Indra), it is clear that they
identified with the most powerful of all Brahmanical protectors, Indra. Therefore, the symbol is
probably part of the royal regalia and a reference to military prowess. A detailed study of this
mark and a profoundly associated “victory” symbol will be part of the full study."
Mauryan PMC ca. 250-300 BCE (modern sketch)
222
Bhaja Chaitya ca. 100 BCE
Cakrasamvara methodology 14th cent. design (with deep Indic roots)
223
Vajrapani Tibet ca. 14-15th cent.
Vajra. Tibet. ca. 16-17th cent.

पर्व [p= 611,2] m. (perh. orig. " brightness , sheen " ; cf. पावक and Un2. iv , 138 Sch.) the tire of
a wheel (esp. a golden tire on the chariot of the अर्श्वन् s and मरुत् s) RV. AitA1r.; the metallic
point of a spear or arrow ib.;the iron band on a सोम-stone ib.;an arrow Nir. xii , 30; a
thunderbolt Naigh. ii , 20; speech ib. i , 11 fire L. paví m. ʻ fire ʼ lex. [Cf. *pūr -- ]Sh.
(Lor.) poi, poĩ ʻ fire ʼ?(CDIAL 7982)
224
225
Koshala Punch-marked Coin ca. 550-450 BCE. Left-facing zebu (bos taurus indicus), makara, a
gorget or necklace? (Rotated 180 degrees). Literally, 10s of thousands of punch-marked coiins,
cast and die struck coins have been found.
Ujaini under Kunala? Magadha? 3rd cet. BCE
Indus Script dāya 'dotted circle' on dhā̆ vaḍ priest of 'iron-smelters', signifies tadbhava from
Rigveda dhāū, dhāv m.f. ʻa partic. soft red stoneʼ(Marathi) dhatu
'ore' http://tinyurl.com/hq2qpve
dhāī˜ (Lahnda) signifies a single strand of rope or thread.
I have suggested that a dotted circle hieroglyph is a cross-section of a strand of rope: S. dhāī f. ʻ
wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.
Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red
colour)ʼ; dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) धवड (p. 436) [ dhavaḍa
] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi). Hence, the
depiction of a single dotted circle, two dotted circles and three dotted circles (called trefoil) on
the robe of the Purifier priest of Mohenjo-daro.
The phoneme dhāī˜ (Lahnda) signifying a single strand may thus signify the hieroglyph: dotted
circle. This possibility is reinforced by the glosses in Rigveda, Tamil and other languages of
Baratiya sprachbund which are explained by the word dāya 'playing of dice' which is explained
by the cognate Tamil word: தாயம் tāyam, n. < dāya Number one in the game of
dice; கவறுருட்ட
விழும் ஒன்று என்னும் எண்.
The semantics: dāya 'Number one in the game of dice' is thus signified by the dotted circle on
the uttariyam of the pōtṟ पोतृ ,'purifier' priest. Rebus rendering in Indus Script cipher is dhāˊtu n.
226
ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red
colour)ʼ; dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) dhatu 'ore' (Santali)
Terracotta dice. "Gaming with dice has always been popular in India. This Indus cubical die is
unusual in that its opposite sides add up to seven as in modern dice."Ashmolean Museum,
University of Oxford
Dice from before 2000 BC, made from stone and used in games
by Indus people.
"And you thought the dice originated in Europe?"
See: http://bharatkalyan97.blogspot.in/2016/01/casala-on-octagonal-sivalinga-as-yupa.html
चषालः caṣāla on octagonal Sivalinga -- as Yupa, fiery pillar of light in a smelting process
See: http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-with.html
Priest of dhā̆ vaḍ 'iron-smelters' with Indus script hieroglyphs signifies पोतृ ,'purifier' of dhāū,
dhāv 'red stone minerals'
I havesuggested that 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 dhā̄̆vaḍ m. ʻ a
caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ) is related to the hieroglyph:
strand of rope: 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) తాడు [ tāḍu ] or త్రతాడు tādu. [Tel.] n. A cord, thread,
string. दामन् n. [दो-मर्नन् ] 1 A string, thread, fillet, rope.
http://bharatkalyan97.blogspot.in/2015/11/indus-script-hieroglyphs-potr-purifier.html
Indus Script hieroglyphs pōtṟ पोतृ,'purifier', ekamukha Sivalinga associated with muhã 'metal out
of smelter'
227
The fillet worn on the forehead and on
the right-shoulder signifies one strand; while the trefoil on the shawl signifies three strands. A
hieroglyph for two strands is also signified.
threefold ʼ (RigVeda).
dhāū, -dhāv 'three minerals' to create metal alloys'. The artisans producing alloys are dhā̄̆vaḍ m.
ʻa caste of iron -- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773)..
dāu m. ʻ opportunity, throw in dice ʼ (Old Awadhi); akṣa -- dāya -- m. ʻ playing of dice ʼ Naiṣ.
(CDIAL 6258)தாயம் tāyam, n. < dāya Number one in the game of
dice; கவறுருட்ட விழும் ஒன் று என் னும் எண். Colloq. dāˊtu n. ʻ share ʼ RV.
[Cf. śatádātu -- , sahásradātu -- ʻ hundredfold, thousandfold ʼ: Pers. dāv ʻ stroke, move in a
game ʼ prob. ← IA. -- √dō] K. dāv m. ʻ turn, opportunity, throw in dice ʼ; S. ḍ̠ã̄u m. ʻ mode ʼ;
L. dā m. ʻ direction ʼ, (Ju.) ḍ̠ā, ḍ̠ã̄ m. ʻ way, manner ʼ; P. dāu m. ʻ ambush ʼ; Ku. dã̄w ʻ turn,
opportunity, bet, throw in dice ʼ, N. dāu; B. dāu, dã̄u ʻ turn, opportunity ʼ; Or. dāu, dāũ ʻ
opportunity, revenge ʼ; Mth. dāu ʻ trick (in wrestling, &c.) ʼ; OAw. dāu m. ʻ opportunity, throw
in dice ʼ; H. dāū, dã̄w m. ʻ turn ʼ; G. dāv m. ʻ turn, throw ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ
revenge ʼ. -- NIA. forms with nasalization (or all NIA. forms) poss. < dāmán -- 2m. ʻ gift ʼ RV.,
cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya -- m. ʻ playing of dice ʼ Naiṣ.(CDIAL 6258)
http://bharatkalyan97.blogspot.in/2016/10/vajra-six-angled-hypertext-of-punch.html Vajra षट् --

कोण 'six-angled' hypertext of Punch-marked coins khambhaṛā 'fish-fin' rebus: kammaṭa 'mint'.
A hypertext is orthographed with three arrows emanating from the dotted circle and three
‘twists’ emanating from the dotted circle, thus signifying six-armed semantic
extensions. baṭa ‘six’ rebus:baṭa 'iron' bhaṭa ‘furnce’. kaṇḍa ‘arrow’
228
rebus: khaṇḍa ‘implements’ मेढा mēḍhā ‘twist’ rebus: meḍ ‘iron’ med ‘copper’ (Slavic
languages) medha ‘yajna, dhanam’.
This comb discovered in Tell Abraq (ca. 2200 BCE) has two Harappa
Script hieroglyphs: 1. dotted circles; and 2. tabernae montana 'mountain tulip' Rebus readings:
1.Hieroglyph: dotted circles: dāntā 'ivory' rebus dhāˊtu 'ore of red colour' 2.
h1522 Potsherd ca. 3300 BCE (from Indus Writing

Corpora) Note: The first known examples of writing may have been unearthed at an
archaeological dig in Harappa, Pakistan. So-called 'plant-like' and 'trident-shaped' markings have
been found on fragments of pottery dating back 5500 years. According to Dr Richard Meadow
of Harvard University, the director of the Harappa Archaeological Research Project, these
primitive inscriptions found on pottery may pre-date all other known
writing. http://news.bbc.co.uk/2/hi/science/nature/334517.stm http://news.bbc.co.uk/2/hi/science
/nature/334517.stm
229
A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity
(?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier,
M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions
Recherche sur les Civilisations: plate 20.150). Ivory comb with Mountain Tulip motif and dotted
circles. TA 1649 Tell Abraq.(D.T. Potts, South and Central Asian elements at Tell Abraq (Emirate
of Umm al-Qaiwain, United Arab Emirates), c. 2200 BCE—CE 400, in Asko Parpola and Petteri
Koskikallio, South Asian Archaeology 1993: , pp. 615-666).
Rebus: tagara ‘tin’. Glyph: eṛaka ‘upraised arm’ (Tamil); rebus: eraka =
copper (Kannada) erako 'molten cast'(Tulu)
230
Found in a tomb
in Tell Abraq
http://www.abc.es/cultura/arte/abci-ciudad-mitica-hallada-desierto-201604182034_noticia.html
Ivory comb (Archaeological Collection. Ministry

of Heritage and Culture Muscat 2009: 30) Ras al-Jinz, Building I, Room 1 Ivory 2400
BCE Among the luxury imported objects discovered in Ras al-Jinz, along the Omani coast, there
is this beautiful comb made of elephant ivory. As well as pots, beads and a copper stamp seal,
the comb comes from Harappa, one of the main sites of the Indus civilization. It represents a
clear proof of the relations between Oman and the Indus Valley during the 3rd Millennium BC.
A similar but fragmentary object has been discover at Tell Abraq. (AP)
http://ancientoman.cfs.unipi.it/index.php?id=399
231
Findings from Salut, Oman strongly corroborate the evidence of an intense interaction between
the local communities and the greater Indus Valley. kolom 'three' rebus: kolimi 'smithy,
forge' sal 'splinter' rebus: sal 'workshop'. Thus, smithy workshop. dāntā 'tooth, tusk'
rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores). ranku 'liquid measure'
rebus: ranku 'tin'. ti 'ox' rebus: bharata 'alloy of pewter, copper, tin'.
This seal, dated to the last centuries of the 3rd millennium, is one of them. Although made from
local chlorite, its shape, iconography, and the presence of a line of Harappan script, clearly
indicate that the seal was inspired by Indus examples, if not made itself by some engraver of
Indian origin.
Ivory rod, ivory plaques with dotted circles. Mohenjo-daro (Musee

National De Arts Asiatiques, Guimet, 1988-1989, , Les cites oubliees de l’Indus Archeologie du
Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dATu 'cross' rebus:
dhatu 'mineral'. Thus, the message signified by dotted circles and X hieroglyph refers to dhā̄̆vaḍ
priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod is: karaṇḍa 'duck' (Sanskrit)
karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver
&c. (Marathi) Thus, the metalworker (smelter) works with hard alloys (using carburization
232
process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy, forge'. Thus working with
minerals and hard alloys for smithy, forge.
m1651 Ivory stick A, D, F
Hypertext 2947 Dotted circle hieroglyphs at the ends of the rod: dhātu
'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) dATu 'cross' rebus: dhatu
'mineral'. Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus:
233
kammaTa 'mint, coiner, coinage'.muh 'ingot' PLUS khANDA 'notch' rebus: kaNDa 'implements'
(Thus, ingot implements) koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi) karNaka, kanka
'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.)
Rebus: kharādī ' turner' (G.). thus the message is: Working with dhatu (minerals), mint (coiner),
ingot implements workshop, Supercargo (scribe, account), Turner (alloys) of metal, Smelter.
m1653 ivory plaque Hypertext

1905 bhaṭa 'warrior' rebus: bhaṭa 'furnace' kuṭila 'bent' CDIAL 3230) Rebus:kuṭila, katthīl =
bronze (8 parts copper and 2 parts tin).Thus, a bronze furnace worker.
Ivory inscription
Ivory is also used to record an inscription in Harappa:
h101 Ivory stick Hypertext 4561 dhātu 'layer,

strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) koDa 'one' rebus: koD 'workshop'
khANDA 'notch' rebus: kaNDa 'implements'. Thus, Smelter (ores) and implements workshop.
Vajra links with metalwork wealth accounting signified by Indus Script iinscriptions on
ivory artifacts

234
Trading place. Arabia was perfectly positioned to be the linchpin of trade among the world’s
first great civilizations. Locations of Tell Abraq and R'as al Jinz
http://www.andrewlawler.com/a-forgotten-corridor-rediscovered/
235
Ras al-Jinz, distribution of bitumen and imported objects in Building I and II (Cleuziou S., Tosi
M., In the shadow of the Ancestors, Muscat 2007: 237, fig. 253)
The dotted circle as a signifier of interactions between Meluhha and Gonur Tepe has been
brilliantly analysed in the context of the following artifacts cited by Dennys Frenez
in: Manufacturing and trade of Asian elephant ivory in Bronze Age Middle Asia. Evidence from
Gonur Depe (Margiana, Turkmenistan) by Dennys Frenez (2017)
https://www.academia.edu/34596109/Manufacturing_and_trade_of_Asian_elephant_ivory_in_B
ronze_Age_Middle_Asia._Evidence_from_Gonur_Depe_Margiana_Turkmenistan_
236
After Fig. 5 in Dennys Frenez (2017) opcit. Ivory comb from Tell Abraq (United Arab Emirates)
decorated with a floral motif (1) similar to the one carved on the base of a stone vessel found at
Gonur Depe (2) (modified after Potts, 2000: 126; Sarianidi, 2007:112); (3) Ivory comb of Indus
style found at Ras Al-Jinz RJ-2 (Sultanate of Oman; photograph by D. Frenez).
I suggest that the 'dotted circle' is of significance as a rebus representation of Meluhha

metalwork with mineral ores in case the hypertext is demonstrated to have been used by
Meluhha speakers or Meluhha artisans or those in Ancient Near East familiar with the Indus
Script hypertext tradition.
237
After Fig. 9 in Dennys Frenez opcit. (2017): Fig. 9. Stick-dice and gaming pieces in Elephant
ivory from Altyn Depe in Margiana and in stone and wood from Shahri Sokhta in Iran (upper
register); Stick-dice, decorated sticks and an ivory gaming piece from the Indus Civilization
site of Mohenjo-Daro in Pakistan (for Altyn Depe, modified after Masson and Sarianidi, 1972:
fig. 117; for Shahr-i Sokhta, courtesy S.M.S. Sajjadi; for Mohenjo-Daro, modified after Mackay,
1931).
The interactions between Gonur Tepe and Meluhha speakers is evidenced by the presence of a
seal with Indus Script hypertext.
See: Indus Script Gonur Tepe seal, hypertexts on anthropomorphs deciphered, Sarasvati-Ganga
Doab Bronze Age Revolution & spread of Copper Hoard Culture into
Bactria http://tinyurl.com/j9ekajo
The inscription records an iron, alloy metalwork

trade transaction with Meluhha. karibha 'trunk of elephant' rebus: karba 'iron' ibha 'elephant'
rebus: ib 'iron' Hieroglyph: ingot out of crucible: muh 'ingot'kuThAru 'crucible'
ebus:kuThAru 'armourer'
238
kolmo'rice plant' rebus:kolimi 'smithy, forge'. Thus ingot for forge. sal 'splinter'
ebus: sal 'workshop'
aDaren 'lid' rebus: aduru 'native metal' (Alternative: Hieroglyph ḍhaṁkaṇa 'lid'
rebus dhakka 'excellent, bright, blazing metal article' );aya, ayo 'fish' rebus: aya 'iron'ayas 'alloy
metal' khambhaṛā' 'fish-fin' rebus: kammaTa 'mint, coiner, coinage'. Hieroglyph: kāmṭhiyɔ m.
ʻarcherʼrebus: kammaTa 'mint, coin, coiner' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice
plant' rebus: kolimi 'smithy, forge' karNaka, kanka 'rim of
jar' rebus: karNI 'Supercargo karnaka 'engraver, scribe'.
Dice from before 2000 BC, made from stone and used in games by Indus people.
See: Section: goṭī f. ʻlump of silver' (Gujarati)(CDIAL 4271) is an Indus Script hypertext
In the context of the decipherment of Indus Script of over 20 inscriptions on ivory artifacts
including the occurrence of 'dotted circle' hypertext, there is a possibility that the ivory artifacts
found in Gonur Tepe with comparable signifers of 'dotted circles' may have been 'read' as Indus
Script hypertexts. The find of a seal with Indus Script in Gonur Tepe is an indicator of the
presence of or interactions/trade with Meluhha speakers and artisans.
In Meluhha hypertext tradition smelting of minerals is signified by 'dotted circle' hypertext.
Indus Script inscriptions on ivory artifacts signify metalwork wealth accounting
John Marshall wrote about five ivory rods discovered in Mohenjodaro as seals: "Seals of this
group [cylinder seals, although Mackay above is not sure they are true cylinder seals]], if indeed
they are seals, are very rarely found at Mohenjo-daro, only five specimen being obtained in all.
They are all made of ivory and differ from the cylinder seals of other countries in being very
long and thing; nor are they perforated for suspension on a cord. It is possible that these so-
called seals are not true seals at all. The incised characters upon them might conceivably be
identification marks for a game or something similar. On the other hand, they are certainly
suitable for use a seals and in this account they are included in this chapter For the sake of
clearness the actual seal is shown side by side with each impression." (John Marshall, ed.,
1931, Mohenjo-daro and the Indus civilization: being an official account of archaeological
excavations at Mohenjo-Daro carried out by the government of India between the years 1922and
1927, Artur Probsthain, London).
239
240
No 529 (Pl. CXIV, HR 5515). Ivory. 2.7 inches long by 0.25 in. in diameter.
Double groove at one end for attachment of cord. The other end is decorated with three parallel
grooves. Level, 4 feet below surface. Central Courtyard (30), House LIII, Block 7, HR Area.
(529 Marshall Ivory rod inscription) kolom 'three' rebus: kolimi 'smithy,
forge'. khareḍo 'a currycomb' (G.) Rebus: kharādī ' turner' (G.) karṇīka, kanka 'rim of jar'
rebus: karṇī 'Supercargo' karṇaka
'scribe, engraver, account' kaṇīka 'helmsman/steersman'; karã̄ 'wristlets, bangles'
rebus: khār 'blacksmith' sal 'splinter' rebus: sal 'workshop' khāṇḍā
'notch' rebus: kaṇḍa 'implements' Fish-fin: ayo, aya 'fish' rebus: aya 'iron'
ayas 'alloy metal' PLUS khambhaṛā ʻfinʼ rebus: kammaṭa 'mint, coiner, coinage'. Thus, the
message is: Blacksmith, Turner, Supercargo (engraver), steersman, implements workshop,
mint-master/coiner, (working in) smithy/forge. (529 and 530 ivory rods have identical
inscriptions. Both the rods show three linear strokes, at the bottom edge).
No 530 (Pl. CXIV, HR 4985). Ivory. 2.05 inches long by 0.25 in. in diameter.
Double groove at one end for a cord; the other end is broken. Level 3 feet below surface. Central
Courtyard (30), House LIII, Block 7, HR Area.
241
(530 Marshall Ivory rod inscription) kolom 'three'
rebus: kolimi 'smithy, forge'. khareḍo 'a currycomb' (G.) Rebus: kharādī ' turner' (G.) karṇīka,
kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'scribe, engraver, account' kaṇīka
'helmsman/steersman'; karã̄ 'wristlets, bangles' rebus: khār 'blacksmith' sal 'splinter'
rebus: sal 'workshop' khāṇḍā 'notch' rebus: kaṇḍa 'implements' Fish-fin: ayo, aya 'fish'
rebus: aya 'iron' ayas 'alloy metal' PLUS khambhaṛā ʻfinʼ rebus: kammaṭa 'mint, coiner,
coinage'. Thus, the message is: Blacksmith, Turner, Supercargo (engraver), steersman,
implements workshop, mint-master/coiner, (working in) smithy/forge.
No 531 (Pl. CXIV, DK 2666). Ivory. Now 2.05 inches long by 0.3 in. in
diameter. Its polish shows that it has been much used. About one-half of the seal is covered with
an inscription, deeply and roughly incised and bordered by two deep cut lines. One end of the
seal is shaped into a conical head with a deep groove possibly intended for a cord. The seal is
not bored; nor is it perfectly round. Level, 4 feet below surface. Street between Blocks 1 and 2,
Section B, DK Area.
(531 Marshall Ivory rod inscription) dula 'two' rebus: dul 'metal
casting' khareḍo 'a currycomb' (G.) Rebus: kharādī ' turner' (Gujarati) kamaṭha 'bow and arrow'
rebus: kammaṭa 'mint, coiner, coinage' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'
PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'; dãtɔ m. a kind of rake
or harrow (Gujarati) rebus: dhatu 'mineral'' khāṇḍā 'notch' rebus: kaṇḍa 'implements'
PLUS koḍa 'one' rebus: koḍ 'workshop'. Thus, the message is: Turner of metal castings, mint-
master-coiner, metal (alloys), minerals, iron (metal) implements workshop.
242
No 532 (Pl. CXIV, VS 875). Ivory. Now 2 inches long by 0.3 in. in diameter. One end is broken
and a small piece is missing. The seal tapers slightly towards its complete end. Five deeply
incised characters occupy a space of about two-thirds of the circumference of the seal. Level, 12
feet below surface. Found in front of Room 70, House XXVII, VS Area.
(532 Marshall Ivory rod inscription) kuṭi 'water carrier'

rebus: kuṭhi 'smelter' dula 'two' rebus: dul 'metal casting' PLUS karṇika 'spread legs'
rebus: karṇī 'Supercargo' karṇīka 'helmsman' meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic)
baṭa 'rimless pot' rebus: bhaṭa 'furnace' gaṇḍa 'four'

rebus: kaṇḍa 'implements'. Thus the message is: Smelter, metalcaster,
Supercargo/Helmsman responsible for/working with iron/copper implements and furnace.
243
No 533 (Pl. CXIV, VS 958). Ivory. 2.75 inches long by 0.3 in. in diameter.
Decorated at 0-.5 in. from each end with a deeply incised cross-hatched border. Towards one
end of the intervening space are two deeply incised characters This seal is not perfectly round.
Level, 10 feet below surface of the ground. From Room 69, House XXVIII, VS Area.
(533 Marshall Ivory rod

inscription) khaṇḍa 'divisions'; rebus: kaṇḍa 'implements' dhāv 'strand' dhāv 'string'
rebus: dhāvaḍ 'smelter' dhaṭo 'claws of crab' rebus: dhatu 'minerals'. Thus the message is:
Smelter of minerals, (maker of metal) implements.
Fourteen Indus Script inscriptions on ivory objects (including 3 ivory plaques and ivory cube
from Mohenjodaro and one ivory rod from Harappa) have been found after the report of
Marshall on five ivory rods detailed above.
Thus, there are a total of nineteen inscriptions on ivory objects in Indus Script Corpora.. The
details of the additional fourteen inscriptions on ivory objects are deciphered in the following
sections (Ivory inscription 6 to Ivory inscription 19).
Ivory inscription 6
m1650 Ivory
stick Hypertext 3505 daṭo 'claws

of crab' rebus: dhatu 'mineral' kanac 'corner' rebus: kancu 'bronze, bellmetal' gaṇḍa 'four'
rebus: kaṇḍa 'implements' PLUS kolom 'three' rebus: kolimi 'smithy, forge' dula 'two'
rebus: dul 'metal casting' kolmo 'rice plant' rebus: kolimi 'smithy, forge'PLUS dula 'pair'
rebus: dul 'metal casting'; baṭa 'rimless pot' rebus: bhaṭa 'furnace' (Thus, metal casting smithy
with furnace) karṇīka, kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'scribe,
account' karṇīka 'teersman'; khareḍo 'a currycomb' (G.) Rebus: kharādī ' turner' (Gujarati.)Thus,
244
the message is: Supercargo, (worker in) minerals, bronze, bellmetal implements,
smithy/forge, metal caster, Metals turner (alloys) using furnace (in smithy/forge).
Ivory inscription 7
Pict-141 Geometrical pattern Hypertext

2942 karṇoka,'spread legs' rebus: karṇī 'Supercargo' karṇaka 'scribe, account' karṇīka
'steersman'; meḍ 'body' rebus: meḍ 'iron' med 'copper' (Slavic) PLUS khāṇḍā 'notch'
rebus: kaṇḍa 'implements'. kanac 'corner' rebus:kancu 'bronze,bellmetal' PLUS sal 'splinter'
rebus: sal 'workshop' khaṇḍa 'divisions' rebus: kaṇḍa 'implements' Thus, the message is:
Supercargo (working in), Steersman of (cargo) iron/bronze, bellmetal implements
workshop.
Ivory inscription 8
Pict 142 geometrical pattern Hypertext 2941 Ivory or bone rod

geometrical pattern --X hieroglyph on either end of the text: dāṭu 'cross' rebus: dhatu 'minerals'
PLUS followed by inscription koḍa 'one' rebus: koḍ 'workshop' dula 'two' rebus: dul 'metal
casting' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS baṭa 'rimless pot'
rebus: bhaṭa 'furnace' karṇīka, kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'scribe,
account' karṇīka 'Steersman'; khareḍo 'a currycomb' (G.) Rebus: kharādī 'turner' (G.). Thus, the
message is: Turner, Supercargo-Steersman in metal casting workshop and smithy, forge
(working with) furnace.
Ivory inscription 9
Hypertext 2943 Hypertext 2943 is a duplication of the Hypertext 2941: Ivory or

bone rod geometrical pattern --PLUS followed by inscription koḍa 'one'
rebus: koḍ 'workshop' dula 'two' rebus: dul 'metal casting' PLUS kolmo 'rice plant'
rebus: kolimi 'smithy, forge' PLUS baṭa 'rimless pot' rebus: bhaṭa 'furnace' karṇīka, kanka 'rim
of jar' rebus: karṇī 'Supercargo' karṇaka 'scribe,
account' karṇīka 'Steersman'; khareḍo 'a currycomb' (G.) Rebus: kharādī 'turner' (G.). Thus, the
message is: Turner, Supercargo-Steersman in metal casting workshop and smithy, forge
(working with) furnace.
Ivory inscription 10
Pict 143 Geometrical pattern X hieroglyph: dāṭu 'cross' rebus: dhatu 'minerals'
Hypertext 2948 gaṇḍa 'four' (circumscript)

rebus: kaṇḍa 'implements' ranku 'liquid measure' rebus: ranku 'tin' (Thus, tin
implements) kuṭi 'water carrier' rebus: kuṭhi 'smelter' PLUS karṇīka, kanka 'rim of jar'
245
rebus: karṇī 'Supercargo' karṇaka 'scribe, account' karṇīka 'Steersman'(Thus,smelter accounting
in-charge); khareḍo 'a currycomb'
(G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Steersman-Supercargo (working
with smelter,minerals) Tin implements and Turner (of metal alloys) working with furnace
and engraving.
Hypertext 2944 Ivory or bone rod Phal. tērc ̣hi ʻadzeʼ (with "intrusive"
r).Rebus: takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S PLUS kolom 'three'
rebus: kolimi 'smithy, forge' (Thus, carpenter working with smithy/forge). mũh 'ingot'
(circumscript) PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge' (Thus smithy/forge
ingots) kuṭi 'water carrier' rebus: kuṭhi 'smelter' PLUS kuṭi 'water carrier'
rebus: kuṭhi 'smelter' PLUS karṇīka, kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'scribe,
account' karṇīka 'Steersman'
(Thus,smelter accounting in-charge). Thus the message is: Carpenter working with
smithy/forge with ingots furnace and Supercargo Smelter accounting in-charge, working
with engraving.
Hypertext 2945 Ivory or bone rod gaṇḍa 'four' rebus: kaṇḍa 'implements' kolmo 'rice
plant' rebus: kolimi 'smithy, forge' (Alternative: panja 'palm or paw' rebus: panja 'kiln,
furnace') Thus, the message is: (Maker of) implements in smithy/forge (furnace).
246
Pakistan.]

There are orthographic variants with one, two or three dotted circles with X hieroglyph as
circumscript. Semantic elucidations for a single dotted circle as a cross-section view of a strand
(for e.g. of rope or twisted rope with three strands): dhātu, dhāū, dhāv 'red stone mineral' or two
minerals: dul PLUS dhātu, dhāū, dhāv 'cast minerals' or tri- dhātu, -dhāū, -dhāv 'three
̄̆
minerals' to create metal alloys'. The artisans producing alloys are dhāvaḍ m. ʻa caste of iron --
smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773). dhāˊtu n. ʻ substance ʼ RV.,
247
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 dhā̄̆vaḍ 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)
dice; கவறுருட்ட விழும் ஒன் று என் னும் எண்.
Colloq. dāˊtu n. ʻ share ʼ RV. [Cf. śatádātu -- , sahásradātu -- ʻ hundredfold, thousandfold ʼ:
Pers. dāv ʻ stroke, move in a game ʼ prob. ← IA. -- √dō] K. dāv m. ʻ turn, opportunity, throw in
dice ʼ; S. ḍ̠ã̄u m. ʻ mode ʼ; L. dā m. ʻ direction ʼ, (Ju.) ḍ̠ā, ḍ̠ã̄ m. ʻ way, manner ʼ; P. dāu m. ʻ
ambush ʼ; Ku. dã̄w ʻ turn, opportunity, bet, throw in dice ʼ, N. dāu; B. dāu, dã̄u ʻ turn,
opportunity ʼ; Or. dāu, dāũ ʻ opportunity, revenge ʼ; Mth. dāu ʻ trick (in wrestling, &c.) ʼ;
OAw. dāu m. ʻ opportunity, throw in dice ʼ; H. dāū, dã̄w m. ʻ turn ʼ; G. dāv m. ʻ turn, throw
ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ revenge ʼ. -- NIA. forms with nasalization (or all NIA. forms)
poss. < dāmán -- 2m. ʻ gift ʼ RV., cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya -- m. ʻ playing of
dice ʼ Naiṣ.(CDIAL 6258)
X hieroglyph on ivory plaques or as circumscript of dotted circles signifies: dāṭu 'cross'

rebus: dhatu 'minerals'
Hieroglyph, orthographed dotted circle: dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu,
dhātu 'ore'. dATu 'cross' rebus: dhatu 'mineral'. Thus, the message signified by dotted circles and
X hieroglyph refers to dhā̄̆vaḍ priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod
is: karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā]
Hard from alloy--iron, silver &c. (Marathi) Thus, the metalworker (smelter) works with hard
alloys (using carburization process). Three dotted circles: kolom 'three'
rebus: kolimi 'smithy, forge'. Thus working with minerals and hard alloys for smithy,
forge.
m1652 Ivory stick sal 'splinter' rebus: sal 'workshop' PLUS daṭo 'claws of crab'
rebus: dhatu 'mineral' ayo, aya 'fish' rebus: aya 'iron' ayas 'alloy metal' koḍa 'one'
rebus: koḍ 'workshop' dula 'two' rebus: dul 'metal casting'. Thus the message is: workshop for
minerals, metals and metalcaster.
248
'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dula 'two' rebus: dul 'metal casting'
(Two long linear strokes are drawn on either end of the rod-- as semantic determinatives). Fish-
fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS khambhaṛā ʻfinʼ
rebus: kammaṭa 'mint, coiner, coinage'. mũh 'ingot' PLUS khāṇḍā 'notch'
249
rebus: kaṇḍa 'implements' (Thus, ingot implements) koḍa 'sluice'; Rebus: koḍ 'artisan's workshop
(Kuwi) Alternative: Rebus: खोट khōṭa 'A mass of metal (unwrought karṇīka, kanka 'rim of jar'
rebus: karṇī 'Supercargo' karṇaka 'scribe, account' karṇīka 'Steersman' (Thus,smelter accounting
in-charge); khareḍo 'a currycomb'
(G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Steersman-Supercargo (working
with smelter,minerals, scribe, account), mint (coiner), ingot implements, Caster of metal
alloys.
Hypertext 2940 Ivory or bone rod dula 'two' rebus: dul 'metal
casting' arā 'spokes' rebus: āra 'brass' eraka 'nave of wheel' rebus: eraka 'molten cast,
copper'. kamaṭha 'bow and arrow' rebus: kammaṭa 'mint, coiner, coinage' karṇīka, kanka 'rim of
jar' rebus: karṇī 'Supercargo' karṇaka 'scribe, account' karṇīka 'Steersman' (Thus,smelter
accounting in-charge); khareḍo 'a currycomb'(G.) Rebus: kharādī ' turner' (G.). Thus, the
message is: Supercargo (scribe, account), Turner (of alloys, molten copper), mint-master,
working with metal casting.

bronze (8 parts copper and 2 parts tin). Thus, a bronze furnace worker.
Ivory inscription 18.
250
m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on
each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer,
strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter). Thus, dhā̄̆vaḍ m. ʻa guild of iron
-- smelters'

strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) koḍa 'one'
rebus: koḍ 'workshop' khāṇḍā 'notch' rebus: kaṇḍa 'implements'. Thus, dhā̄̆vaḍ m. ʻa guild of
iron -- smelters'(ores) and implements workshop.
The use of dotted circles as an Indus Script hypertext has been demonstrated in the context of
inscritions on ivory objects. These hypertexts were used on other media of Indus Script Corpora.
251
m0352 cdef


(ferrite ore)
252
Parpola, 2013).
Indus Script Hypertext tradition continued into historical periods as evidenced by evidences
from Punch-marked coins, early cast coins such as those of Ujjain, from Sanchi and Bharhut
where Brāhmī inscriptions occur together with Indus Script hypertexts.
Dotted circle is an Indus Script hypertext signifying work of dhā̄̆vaḍ 'smetal melters'.
Plain text expression: dhātu khaṇḍa 'minerals' +'implements' Four dotted

circles of Ujjain coins is explained as Indus Script hypertexts.
Four 'dotted circles' gaṇḍa 'four' rebus: khaṇḍa 'implements' PLUS dhāū 'strand'
rebus: dhātu 'mineral ore, element'.
The Meluhha word danta 'tooth or tusk of elehant' used for inscriptions suggsted itself as a
rebus rendering of dhatu 'mineral ore'
253
தந்தம் ¹ tantam , n. < danta. 1. Tooth; பல் . (திவா.) 2. Tusk, as of
elephant; யாடன முதலியவற் றின்
வகாம் பு. காழுற் ற தந்த மின்ன (கந்தபு. வதய் வயா. 105). dantín ʻ tusked ʼ
MaitrS., m. ʻ elephant ʼ MBh. [dánta -- ] Pk. daṁti -- m. ʻ elephant ʼ; S. ḍ̠andyo m. ʻ a species
of fish ʼ; WPah.jaun. dãdiau ʻ harrow ʼ < dãdi hau, (< halá -- ); Ku. danīṛo m. ʻ harrow ʼ;
N. dã̄deʻ toothed ʼ sb. ʻ harrow ʼ; A. dãtīyā ʻ having new teeth in place of the first ʼ, dã̄tinī ʻ
woman with projecting teeth ʼ; Or. dāntiā ʻ toothed ʼ; H. dã̄tī f. ʻ harrow ʼ; G. dã̄tiyɔ m. ʻ
semicircular comb ʼ, dãtiyɔ m. ʻ harrow ʼ.(CDIAL 6163) *dantāla ʻ toothed ʼ. [dánta --
] Pk. daṁtāla -- m., °lī -- f. ʻ grass -- cutting instrument ʼ; S. ḍ̠andārī f. ʻ rake ʼ, L.
(Ju.) ḍ̠ãdāl m., °lī f.; Ku. danyālo m. ʻ harrow ʼ, gng. danyāw (y fromdanīṛo < dantín -- );
N. dãtār ʻ tusked ʼ (← a Bi. form); A. dãtāl adj. ʻ tusked ʼ, sb. ʻ spade ʼ; B. dã̄tāl ʻ toothed ʼ;
G. dãtāḷ n., °ḷī f. ʻ harrow ʼ; M. dã̄tāḷʻ having projecting teeth ʼ, dã̄tāḷ, °ḷē, dãtāḷ n. ʻ harrow, rake
ʼ.Addenda: *dantāla -- : Garh. dãdāḷu ʻ forked implement ʼ, Brj. dãtāl, dãtāro ʻ toothed ʼ, m. ʻ
elephant ʼ.(CDIAL 6160) dantaka (a) ʻ *having teeth ʼ. (b) in cmpd. ʻ tooth ʼ TS. (c) m. ʻ
projection on a rock ʼ lex. [dánta -- ] (a) K. dondu ʻ tusked ʼ; Or. dāntā ʻ having teeth ʼ;
G. dã̄tɔ m. ʻ a kind of rake or harrow ʼ. -- (b) Pa. dantaka<-> m. ʻ ivory pin ʼ; S. ḍ̠ando m. ʻ
tooth of an instrument ʼ; L. ḍandā m. ʻ tooth (of rake &c.) ʼ, dandī f. ʻ milk -- tooth ʼ; Or. dāntī ʻ
toothlike projection ʼ; H. dã̄tā m. ʻ large tooth, tooth (of comb &c.) ʼ, dã̄tī f. ʻ tooth, cog ʼ;
G. dã̄tɔ ʻ cog ʼ, dã̄tī f. ʻ wedge between the teeth of a comb ʼ; M. dã̄tā ʻ tooth (of rake &c.), cog
ʼ; Si. dätta, st. däti<-> ʻ tooth (of a saw) ʼ. -- (c) L. dandī f. ʻ cliff ʼ; N. dã̄ti ʻ edge of a hole used
in a game ʼ; A. dã̄ti ʻ edge ʼ; -- ext. -- r -- : L.awāṇ. dandrī ʻ edge ʼ, A. dã̄tri ʻ edge of platform ʼ.
<-> S. ḍ̠andi f. ʻ selvage of a web ʼ, L. dand f. ʻ precipice ʼ < *dantī -- ? (CDIAL 6153) dánta m.
ʻ tooth ʼ RV. [dánt -- RV.] Pa. danta -- m. ʻ tooth, tusk ʼ; Pk. daṁta -- m. ʻ tooth, part of a
mountain ʼ; Gy. eur. dand m. ʻ tooth ʼ, pal. dṓndă, Ash. dō˘nt, Kt. dut, Wg. dō t̃ , dūt̃ ,
Pr.letum, lätəm, 'ätəm ʻ my (?) tooth ʼ, Dm. dan, Tir. d*lndə, Paš. lauṛ. dan(d), uzb. dōn,
Niṅg. daṅ, Shum. dandem ʻ my tooth ʼ, Woṭ. dan m., Gaw. dant, Kal.urt. d*ln,
rumb. dh*lndōŕy*lk (lit. ʻ front and back teeth ʼ? -- see *dāṁṣṭra -- ); Kho. don, Bshk. d*lndə,
Tor. d*ln, Kand. dɔdi, Mai. dān, Sv. dānd, Phal. dān, pl. dānda, Sh.gil. do̯n, pl. dōnye̯ m.
(→ Ḍ. don m.), pales. d*ln, jij. dɔn, K. dand m., rām. pog. ḍoḍ. dant, S. ḍ̠andu m.; L. dand,
mult. ḍand, (Ju.) ḍ̠ãd m., khet. dant ʻ tooth ʼ, (Shahpur) dãd f. ʻ cliff, precipice ʼ; P. dand m. ʻ
tooth, ʼ WPah.bhad. bhal. paṅ. cur. dant, cam. dand, pāḍ. dann, Ku. N. dã̄t (< *dã̄d in N. dã̄de ʻ
harrow, a kind of grass ʼ), A. B. dã̄t, Or. dānta, Mth. Bhoj. Aw.lakh. H. Marw. G. M. dã̄t m.,
Ko. dāntu, Si. data. -- Ext. --ḍa -- : Dm. dandə́ŕi, dánduri ʻ horse's bit ʼ, Phal. dándaṛi. -
- Addenda: dánta -- : S.kcch. ḍandh m.pl. ʻ teeth ʼ; WPah.kṭg. (kc.) dānd m., J. dã̄d m.,
Garh. dã̄t, Md. dat.(CDIAL 6152) Rebus: 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. ḍhāuʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft
red stone ʼ (whence dhā̄̆vaḍ 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).
Section: goṭī f. ʻlump of silver' (Gujarati)(CDIAL 4271) is an Indus Script hypertext
A (गोटा) gōṭā Spherical or spheroidal, pebble-form. (Marathi) Rebus: khoṭā ʻalloyedʼ

(metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an
ingot or wedge (Marathi). P. khoṭ m. ʻalloyʼ (CDIAL 3931) goṭa 'laterite ferrite ore'. goṭo m.
ʻgold or silver lace' (Sindhi); goṭa m. ʻedging of gold braidʼ(Kashmiri)(CDIAL 4271)
254
*gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ fruit, kernel ʼ cert. ← Drav., cf.
Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED 1722] K. goṭh f., dat. °ṭi f. ʻ chequer or
chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco ready for hookah ʼ, °ṭī f. ʻ small do. ʼ;
P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; N. goṭo ʻ
piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball,
seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ whole, undivided ʼ, goṭi ʻ small ball,
cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ seed ʼ; Mth. goṭa ʻ numerative particle
ʼ; H. goṭ f. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of smoke ʼ, °ṭɔ m. ʻ kernel of coconut,
nosegay ʼ, °ṭī f. ʻ lump of silver, clot of blood ʼ, °ṭilɔ m. ʻ hard ball of cloth ʼ; M. goṭā m. ʻ
roundish stone ʼ, °ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ; Si. guṭiya ʻ lump, ball ʼ; -- prob. also
P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold
braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a garment, metal wristlet ʼ.*gōḍḍ -- ʻ
dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ silver or gold braid ʼ.(CDIAL
4271) Ta. koṭṭai seed of any kind not enclosed in chaff or husk, nut, stone, kernel; testicles; (RS,
p. 142, items 200, 201) koṭṭāṅkacci, koṭṭācci coconut shell. Ma. koṭṭa kernel of fruit, particularly
of coconut, castor-oil seed; kuṟaṭṭa, kuraṭṭa kernel; kuraṇṭi stone of palmfruit. Ko. keṭ testes;
scrotum. Ka. koṭṭe, goṟaṭe stone or kernel of fruit, esp. of mangoes; goṭṭa mango
stone. Koḍ. koraṇḍi id. Tu. koṭṭè kernel of a nut, testicles; koṭṭañji a fruit without flesh; koṭṭayi a
dried areca-nut; koraṇtu kernel or stone of fruit, cashew-nut; goṭṭu kernel of a nut as coconut,
almond, castor-oil seed. Te. kuriḍī dried whole kernel of coconut. Kol. (Kin.) goṛva stone of
fruit. Nk. goṛage stone of fruit. Kur. goṭā any seed which forms inside a fruit or
shell. Malt. goṭa a seed or berry. / Cf. words meaning 'fruit, kernel, seed' in Turner, CDIAL, no.
4271 (so noted by Turner). (DEDR 2069)
dhāu, dhātu 'ore'.(smelter). dhā̄̆vaḍ 'iron-smelters'.
255
m0352 cdef

(ferrite ore)
256
Parpola, 2013).
257
Distribution of geometrical seals in Greater Indus Valley during the early and *Mature Harappan
periods (c. 3000 - 2000 BCE). After Uesugi 2011, Development of the Inter-regional interaction
system in the Indus valley and beyond: a hypothetical view towards the formation of the urban
society' in: Cultural relagions betwen the Indus and the Iranian plateau during the 3rd
millennium BCE, ed. Toshiki Osada & Michael Witzel. Harvard Oriental Series, Opera Minora
7. Pp. 359-380. Cambridge, MA: Dept of Sanskrit and Indian Studies, Harvard University: fig.7
Dotted circles and three lines on the obverse of many

Failaka/Dilmun seals are read rebus as hieroglyphs:
258
Hieroglyph: ḍāv m. ʻdice-throwʼ rebus: dhāu 'ore'; dã̄u ʻtyingʼ, ḍāv m. ʻdice-throwʼ read
rebus: dhāu 'ore' in the context of glosses: dhā̄̆vaḍ m. ʻa caste of iron -
smelters', dhāvḍī ʻcomposed of or relating to ironʼ. Thus, three dotted circles signify: tri-
dhāu, tri-dhātu 'three ores' (copper, tin, iron).
Cakka (nt.) [Vedic cakra, redupl. formation fr. *quel to turn round (cp. P. kaṇṭha > Lat. collus &
see also note on gala)=that which is (continuously) turning, i. e. wheel, or abstr, the shape or
periphery of it, i. e. circle. Cakra=Gr. ku/klos, Ags. hveohl, hveol=wheel. The unredupl. form in
Sk. carati (versatur), Gr. pe/lomai, poleu/w, po/los (pole); Lat. colo, incolo; Obulg. kolo wheel,
Oisl. hvel] I. Crude meaning: 1. a wheel (of a carriage) Dh 1; PvA 65 (ratha˚); Miln 27. -- 2. a
discus used as a missile weapon J i.74 Esp. pronounced in the two phrases dhamma --
cakka (the wheel of the Doctrine, i. e. the symbol of conquering efficacy, or happiness
implicated in the D.) and brahma -- c˚ the best wheel, the supreme instrument, the noblest
quality(Pali)
पेरें (p. 301) pērēṃ n (पवि S) The portion included betwixt two articulations or joints, an
internodation: also an articulation or a joint. पेरकें (p. 301) pērakēṃ n A joint or knuckle: also the
portion between two joints, an internodation. The common word is पेर. This is understood by
some as a light or reviling form. (Marathi)
parvanपविन् n. [पॄ-वर्नप् Uṇ.4.112.] पवि स्यादु त्सवे ग्रन्थौ प्रस्तावे लक्षणान्रे ' इर्त र्वश्वः. 1 A knot, joint;
मासाश्चाधिमासाश्च पवाि र्ण; Bṛi. Up.1.1.1. (Sometimes changed to पवि at the end of Bah. comp.; as in
ककिशाङ्क्गुर्लपविया R.12.41.) सो$िां दु माि र्यनस्ते $द्य वज्रेण शतपविणा, र्शरो िररष्ये Bhāg.8.11.6;
सतार्मवापविर्ण मागिणानाम् Ki.17.29. -2 A limb, member, joint of the body,
knuckle. (Apte) पविन् [p= 609,2] n. a knot , joint (esp. of a cane or other plant [cf. परुस् ] , but
also of the body) , limb , member (lit. and fig.) RV. &c- पविन् [p= 609,2] n. a knot , joint (esp. of
a cane or other plant [cf. परुस् ] , but also of the body) , limb , member (lit. andfig.) RV. &c; a
break , pause , division , section (esp. of a book) S3Br. MBh. &c; the step of a staircase Ragh.; a
sacrifice performed on the occasion of a change of the moon R. párvan n. ʻ knot, joint ʼ
259
RV.Pa. pabba -- n. ʻ knot in a stalk, joint ʼ, Pk. pavva -- n.; A. pāb ʻ space between two joints ʼ
(whence pabāl, °li ʻ having long joints ʼ, pabiyāiba ʻ to cut into small sections ʼ); B. pāb ʻ joint
(in body or plant), knuckle, protuberance ʼ.(CDIAL 7947) *pōra2 ʻ joint ʼ. [Cf. śata -- pōra(ka)
-- n. ʻ species of sugarcane ʼ Suśr., nīla -- pōra -- , -- paura -- m. lex. -- Connexion.
with párvan -- (through *parvara -- as Gk. pei=rar ~ gen. pei/ratos) very doubtful]Pk. pōra --
n.m. ʻ knot ʼ, pōraga -- n.m. ʻ a sort of plant with knots ʼ; P. por f. ʻ hollow bamboo for drilling
seed ʼ (or < *pōra -- 1 s.v. *pōḍa -- ), porā m. ʻ joint of bamboo ʼ; Ku. por, porī ʻ knot or joint
of bamboo ʼ; H. por f. ʻ space between two joints ʼ, porā m. ʻ beam ʼ, poruā m. ʻ knuckle ʼ;
Si. puruka ʻ knot or joint of bamboo, knob, link ʼ. -- M. per n. ʻ joint, articulation ʼ?(CDIAL
8406)paura m. ʻ citizen ʼ Gaut., ʻ prince engaged in war in certain circumstances ʼ VarBr̥S.
[púra -- ] Pa. pōra -- ʻ belonging to the city, polite (of speech) ʼ; Pk. pōra -- ʻ born in a city ʼ;
Si. pora ʻ fighter, wrestler ʼ (GS 75 < prahāra -- ).(CDIAL 8419)
Spoked wheel as vajra: "Most importantly, both the Vedic description of Śakra/Indra as a Vajra-
handed (Vajrapaṇi) destroyer of evil, who in the Vedas is the ahi, Vṛtya. However the vajra, itself
survives into current modes of Buddhism where in the hands of Vajrapani bodhisattva, it is the
destroyer of ignorance. Obviously, there is an undoubted continuity from the Vedic period to the
present day. To establish basis for discussion: Part 1: asks the question is the
Buddhist Dharmachakra actually derived from a Vedic vajra and therefore a recognizable vajra
in early Buddhist Art? Part 2: Is the “six armed” PMC mark also derived from the Vedic vajra and
therefore probably the line of continuity between the Vedic imagination of the Vajra and the
Buddhist manifestation of the Vajra? Although there are varieties of descriptions in the Ṛg,
Academic consensus seems to be that the vajra of Śakra/Indra was a wheel or discus (chakra), had
100 sharp edges, points or prominences. The term for the 100 prominences is “śata parvan” and
parvan is, at best, not very explicit. Some physical characteristics are: it is made of iron, gold, gold
covered iron, it is long and thin, it is spiked, it is round with 1000 spokes and 100 knuckles
(parvan)[RV.6.17.10] And in the Upaniṣaḍs it is occasionally known as “six-sided” (saṭkoṇa)
Other characteristics are: It can be thrown, it can by used as a club, sharpened, held in both hands,
cut the enemy, split mountains in two…An interpretation of the Vedic description is a wheel with
1000 spokes and 100 knuckles (assuming that “parvan” refers to something that hits the opponent
and as. often referred to is sharpenable, i.e., little blades of some sort or another.). This description
seems to fit Dharmachakras in early Indic Art:
“A wheel with 1000 spokes and 100 knuckles." (Huntington)
Kot Diji ca. 4000 BCE
260
Kalibangan 053A tablet.
1186
Hypertext variants in Harappa Script Corpora loa ‘ficus religioss’ rebus: loha ‘copper’ PLUS
karNa ‘ears’ rebus: karNI ‘supercargo’.
"In the study of punch-marked coins, there is a “six armed” figure that appears on the coins in
enormous variety (about one hundred types + a bit) (Paul Murphy illustrates 97 varieties). Note
the arrowhead-like projection that occurs on every one of the varieties. These devices were
originally called “vajras” by early numismatists, but modern scholar have retreated from the
idea..."
261
"We cannot judge from Paul’s perfunctory sketches, spread over thousands
of coins these marks have two distinct features that remain constant. 1) In the center there is
almost always a double circle; 2) Around the outside of the circle there are always the
arrowhead-like extensions anywhere from 2 – 6 in number.".
262
Magadha 'type' Vajra, reign of Bimbisara
(545-493)
Sanchi stupa 2 Vedika. Dharma Cakra in a

corded band. ca. 120-80 BCE. "In spite of the vast difference in size, ~ 15mm versus ~ 40cm,
given the closeness of the two designs, it is inconceivable that the Sāñchī sculptor was unaware
of the generic prototype of the design. In the context of the coins the vajra is a symbol of
consummate military power. In Buddhism is is a symbol of the consummate power of the
teachings to overcome egoistic cravings. Tentative conclusions: Part 1: The early Buddhist
Dharmachakra with its many spokes and protrusions is conceptually identical to one of the
primary forms of the Vedic vajra as
described in the Ṛg Veda. Because it was quintessentially Brahmanical in origin, as a symbol of
the
Buddhist teachings it had several important characteristics. Among them the fact, the Brahmins
of the day would recognize one of the most evocative symbols of their own religion and its
material communication systems. Part 2: Based on the physical identification of the Buddhist
numismatics
are also a vajra known in the literature as as saṭkoṇa. With kings carrying the name endings of -
varman (armor) -gupta (protector) and in a later period, -endra (i.e., Indra), it is clear that they
263
identified with the most powerful of all Brahmanical protectors, Indra. Therefore, the symbol is
probably part of the royal regalia and a reference to military prowess. A detailed study of this
mark and a profoundly associated “victory” symbol will be part of the full study."
Mauryan PMC ca. 250-300 BCE (modern sketch)
Bhaja Chaitya ca. 100 BCE
264
Cakrasamvara methodology 14th cent. design (with deep Indic roots)
Vajrapani Tibet ca. 14-15th cent.
Vajra. Tibet. ca. 16-17th cent.

पर्व [p= 611,2] m. (perh. orig. " brightness , sheen " ; cf. पावक and Un2. iv , 138 Sch.) the tire of
a wheel (esp. a golden tire on the chariot of the अर्श्वन् s and मरुत् s) RV. AitA1r.; the metallic
point of a spear or arrow ib.;the iron band on a सोम-stone ib.;an arrow Nir. xii , 30; a
thunderbolt Naigh. ii , 20; speech ib. i , 11 fire L. paví m. ʻ fire ʼ lex. [Cf. *pūr -- ]Sh.
(Lor.) poi, poĩ ʻ fire ʼ?(CDIAL 7982)
265
266
Koshala Punch-marked Coin ca. 550-450 BCE. Left-facing zebu (bos taurus indicus), makara, a
gorget or necklace? (Rotated 180 degrees). Literally, 10s of thousands of punch-marked coiins,
cast and die struck coins have been found.
Ujaini under Kunala? Magadha? 3rd cet. BCE
267
Magadha janapada. Silver karshapana

c. 5th-4th century BCE
Weight: 3.08 gm., Dim: 26 x 24 mm.
Five punches: sun, 6-arm, and three others, plus banker's marks /
Banker's marks
Ref: GH 36. memeḍha 'polar star' (Marathi). meḍ 'iron'
(Ho.Mu.)
Dice from before 2000 BC, made from stone and used in games
by Indus people.
"And you thought the dice originated in Europe?"
See: http://bharatkalyan97.blogspot.in/2016/01/casala-on-octagonal-sivalinga-as-yupa.html
चषालः caṣāla on octagonal Sivalinga -- as Yupa, fiery pillar of light in a smelting process
268
See: http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-with.html
Priest of dhā̆ vaḍ 'iron-smelters' with Indus script hieroglyphs signifies पोतृ ,'purifier' of dhāū,
dhāv 'red stone minerals'
I havesuggested that 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 dhā̄̆vaḍ m. ʻ a
caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ) is related to the hieroglyph:
strand of rope: 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) తాడు [ tāḍu ] or త్రతాడు tādu. [Tel.] n. A cord, thread,
string. दामन् n. [दो-मर्नन् ] 1 A string, thread, fillet, rope.
http://bharatkalyan97.blogspot.in/2015/11/indus-script-hieroglyphs-potr-purifier.html
Indus Script hieroglyphs pōtṟ पोतृ,'purifier', ekamukha Sivalinga associated with muhã 'metal out
of smelter'

̄̆
dhāū, -dhāv 'three minerals' to create metal alloys'. The artisans producing alloys are dhāvaḍ m.
ʻa caste of iron -- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773)..
dice; கவறுருட்ட விழும் ஒன் று என் னும் எண். Colloq. dāˊtu n. ʻ share ʼ RV.
[Cf. śatádātu -- , sahásradātu -- ʻ hundredfold, thousandfold ʼ: Pers. dāv ʻ stroke, move in a
269
game ʼ prob. ← IA. -- √dō] K. dāv m. ʻ turn, opportunity, throw in dice ʼ; S. ḍ̠ã̄u m. ʻ mode ʼ;
L. dā m. ʻ direction ʼ, (Ju.) ḍ̠ā, ḍ̠ã̄ m. ʻ way, manner ʼ; P. dāu m. ʻ ambush ʼ; Ku. dã̄w ʻ turn,
opportunity, bet, throw in dice ʼ, N. dāu; B. dāu, dã̄u ʻ turn, opportunity ʼ; Or. dāu, dāũ ʻ
opportunity, revenge ʼ; Mth. dāu ʻ trick (in wrestling, &c.) ʼ; OAw. dāu m. ʻ opportunity, throw
in dice ʼ; H. dāū, dã̄w m. ʻ turn ʼ; G. dāv m. ʻ turn, throw ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ
revenge ʼ. -- NIA. forms with nasalization (or all NIA. forms) poss. < dāmán -- 2m. ʻ gift ʼ RV.,
cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya -- m. ʻ playing of dice ʼ Naiṣ.(CDIAL 6258)
Script
Discovery of tin-bronzes was momentous in progressing the
Bronze Age Revolution of 4th millennium BCE. This discovery created hard alloys combining
copper and tin. This discovery was also complemented by the discovery of writing systems to
trade in the newly-produced hard alloys.The discovery found substitute hard alloys, to overcome
the scarcity of naturally occurring arsenical copper or arsenical bronzes. The early hieroglyph
signifiers of tin and copper on an ivory comb made by Meluhha artisans & seafaring merchants
point to the contributions made by Bhāratam Janam (RV), ca. 3300 BCE to produce tin-
bronzes. The abiding significance of the 'dotted circle' is noted in the continued use on early
Punch-marked coins.
A hypertext is orthographed with three arrows emanating from the dotted circle and three
‘twists’ emanating from the dotted circle, thus signifying six-armed semantic
extensions. baṭa ‘six’ rebus:baṭa 'iron' bhaṭa ‘furnce’. kaṇḍa ‘arrow’
rebus: khaṇḍa ‘implements’ मेढा mēḍhā ‘twist’ rebus: meḍ ‘iron’ med ‘copper’ (Slavic
languages) medha ‘yajna, dhanam’.
This comb discovered in Tell Abraq (ca. 2200 BCE) has two Harappa
Script hieroglyphs: 1. dotted circles; and 2. tabernae montana 'mountain tulip' Rebus readings:
270
1.Hieroglyph: dotted circles: dāntā 'ivory' rebus dhāˊtu 'ore of red colour' 2.
h1522 Potsherd ca. 3300 BCE (from Indus Writing

Corpora) Note: The first known examples of writing may have been unearthed at an
archaeological dig in Harappa, Pakistan. So-called 'plant-like' and 'trident-shaped' markings have
been found on fragments of pottery dating back 5500 years. According to Dr Richard Meadow
of Harvard University, the director of the Harappa Archaeological Research Project, these
primitive inscriptions found on pottery may pre-date all other known
writing. http://news.bbc.co.uk/2/hi/science/nature/334517.stm http://news.bbc.co.uk/2/hi/science
/nature/334517.stm
A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity
(?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier,
M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions
Recherche sur les Civilisations: plate 20.150). Ivory comb with Mountain Tulip motif and dotted
circles. TA 1649 Tell Abraq.(D.T. Potts, South and Central Asian elements at Tell Abraq (Emirate
of Umm al-Qaiwain, United Arab Emirates), c. 2200 BCE—CE 400, in Asko Parpola and Petteri
Koskikallio, South Asian Archaeology 1993: , pp. 615-666).
271
Rebus: tagara ‘tin’. Glyph: eṛaka ‘upraised arm’ (Tamil); rebus: eraka =
copper (Kannada) erako 'molten cast'(Tulu)
Found in a tomb
in Tell Abraq
http://www.abc.es/cultura/arte/abci-ciudad-mitica-hallada-desierto-201604182034_noticia.html

272
Findings from Salut, Oman strongly corroborate

the evidence of an intense interaction between the local communities and the greater Indus
Valley. kolom 'three' rebus: kolimi 'smithy, forge' sal 'splinter' rebus: sal 'workshop'. Thus,
smithy workshop. dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper
ores). ranku 'liquid measure' rebus: ranku 'tin'. ti 'ox' rebus: bharata 'alloy of pewter, copper, tin'.
This seal, dated to the last centuries of the 3rd millennium, is one of them. Although made from
local chlorite, its shape, iconography, and the presence of a line of Harappan script, clearly
indicate that the seal was inspired by Indus examples, if not made itself by some engraver of
Indian origin.
273
Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dATu 'cross' rebus:
dhatu 'mineral'. Thus, the message signified by dotted circles and X hieroglyph refers to dhā̄̆vaḍ
priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod is: karaṇḍa 'duck' (Sanskrit)
karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver
&c. (Marathi) Thus, the metalworker (smelter) works with hard alloys (using carburization
process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy, forge'. Thus working with
minerals and hard alloys for smithy, forge.
274
'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) dATu 'cross' rebus: dhatu
'mineral'. Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus:
kammaTa 'mint, coiner, coinage'.muh 'ingot' PLUS khANDA 'notch' rebus: kaNDa 'implements'
(Thus, ingot implements) koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi) karNaka, kanka
'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.)
Rebus: kharādī ' turner' (G.). thus the message is: Working with dhatu (minerals), mint (coiner),
ingot implements workshop, Supercargo (scribe, account), Turner (alloys) of metal, Smelter.

bronze (8 parts copper and 2 parts tin).Thus, a bronze furnace worker.
Ivory inscription

strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) koDa 'one' rebus: koD 'workshop'
khANDA 'notch' rebus: kaNDa 'implements'. Thus, Smelter (ores) and implements workshop.
Vajra and Punchmarked coins with Indus Script hypertexts
275
The four official punch symbols are: 1. Vajra (with arrows and oval ingots) 2. Elephant 3.
Spoked wheel PLUS round dot 4. Sun. All four are Indus Script hypertexts. 1. Vajra ayo
kammata kanda vathara 'quarterof town to produce brass, alloy metal equipments, mintwork and
weapons; 2. karibha, ibha 'elephant' rebus: karba, ib 'iron'; 3. gota 'round stone, pebble' rebus:
goti 'silver' PLUS eraka 'nave of wheel' arA 'spokes' rebus: Ara 'brass'; 4. arka 'sun' rebus: arka,
eraka 'moltencast, copper'.
Silver karshapana
c. 5th-4th century BCE
Four punches: sun, 6-arm, and two others, plus banker's marks /
Blank
Ref: GH --- (unlisted). This coin appears to have only four official punches: the sun, 6-arm
symbol, elephant right, and chakra symbol. The sun has oblique rays, which is seen only
on very early types, and the form of the elephant is also an early type. The chakra symbol,
with the two "windows" below, containing pellets, is not listed in Gupta and Hardaker's
symbol list. This coin may therefore be one of the earliest of the karshapana series, where
there were only four official punches.
http://coinindia.com/galleries-magadha.html
276
Mauryan empire. Silver karshapana
c. 4th-2nd century BCEWeight: 3.19 gm., Dim: 16 x 17 mm.
Ref: GH 477.
Many so-called 'megalithic symbols' on ancient artifacts -- particularly punch-marked coins

from Gandhara, Magadha, Maurya mints from ca. 6th century BCE (perhaps earlier, ca. 12th
century BCE -- pace DK Chakrabarti's opinion) -- in Indian sprachbund of Bronze Age should
be read as Indus Script cipher metalwork catalogues in Prakritam (Mleccha/Meluhha, the lingua
franca).
dhamaka is blacksmith; dhammiya is righteous. The same gloss becomes the dominant
hieroglyph on Nandipada, Srivatsa hieroglyph multiplex layers, a celebration of dharma-
dhamma order.
It is possible to explain the so-called taurine, nandipada and srivatsa symbols as Indus script
hieroglyph multiplexes read rebus in Prakritam (Mleccha-Meluhha).
Hieroglyph: kuṭi in cmpd.‘curve' (CDIAL 3231). kuṭilá ʻ bent, crooked ʼ KātyŚr., °aka --
Pañcat., n. ʻ a partic. plant ʼ lex. [√kuṭ1]Pa. kuṭila -- ʻ bent ʼ, n. ʻ bend ʼ; Pk. kuḍila -- ʻ crooked
ʼ, °illa -- ʻ humpbacked ʼ, °illaya -- ʻ bent ʼ(CDIAL 3231) कुत्रटल a [p= 288,2] mf(आ)n. bent ,
crooked , curved , round , running in curved lines , crisped ,
curled Ka1tyS3r. MBh.&c; n. tin W. (Monier-Williams)
277
Rebus: kuṭi ‘smelter furnace’ (Santali) kuṭila, katthīl = bronze (8 parts copper and 2 parts
tin)(CDIAL 3230). [cf. āra-kūṭa, 'brass' (Samskritam)
Hieroglyph 1: dhánvan1 n. ʻ bow ʼ RV. [dhánus -- ]Pa. daḷha -- dhamma -- ʻ having a strong
bow ʼ (< dṛḍhadhanvan -- MBh.); Pk. dhamma -- m. ʻ bow ʼ; Kal.rumb. thum, urt. thām ʻ bow ʼ
(th -- due to Ir. influence, cf. Av.qanvarə ʻ bow ʼ?).(CDIAL 6728) 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) dharmin ʻ pious, just ʼ Gaut. [dhárma -- ]Pa. dhammika -- ʻ righteous ʼ;
NiDoc. dharmiyas̱ a gen. sg. ʻ title of a king ʼ; Pk. dhammi -- , °ia -- ʻ righteous ʼ (dhamma --
< dharmya -- , cf. Pa.dhammiya -- , or < dhārmá -- ); Paš.ar. dräm ʻ friend ʼ; Si. dämi ʻ righteous
ʼ.(CDIAL 6762)
Hieroglyph 2: kamaDha 'bow' Rebus: kampaTTa 'mint'
Normally, there are 5 hieroglyphs on punch-marked coins:
Hieroglyphs 3, 4 and 5 are: elephant, bull, bird, peacock, fish, crocodile, spoked wheel, bow and
arrow, All these are Indus Script hieroglyphs and continue to be deployed on punch-marked
coins to signify metalwork.
Hieroglyph: karibha 'trunk of elephant'; ibha 'elephant' Rebus: karba 'iron' (Tulu)
Hieroglyph: barad, barat 'bull' Rebus: र्रत (p. 603) [ bharata ] n A factitious metal compounded
of copper, pewter, tin &c. र्रताचें र्ाां डें (p. 603) [ bharatācē mbhāṇḍēṃ ] n A vessel made of the
metal र्रत. 2 See र्ररताचें र्ाां डें.र्रती (p. 603) [ bharatī ] a Composed of the metal र्रत.(Marathi)
Hieroglyph: कारां डव (p. 159) [ kāraṇḍava ] m S A drake or sort of duck. कारां डवी f S The female.
Rebus: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. (Marathi)
Hieroglyph: maraka 'peacock' Rebus: marakaka loha'copper alloy, calcining metal'. Rebus: लोि
lōha मारक a. calcining a metal (Samskritam)
aya 'fish' rebus: aya 'iron, metal' (Gujarati. Rigveda)
karA, ghariyAl 'crocodile' Rebus: khār 1 खार् । लोिकारः 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-बस्््त । चमिप्रसेर्वका f.
the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोिकारर्र्र्र्त्ः f. the wall of a
blacksmith's furnace or hearth. -bāy-बाय् । लोिकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -
dō̆kuru -िकुरु&below; । लोिकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji -
ग&above;र्ज&below;or -güjü -ग&above;जू &below; । लोिकारचुण्ठिः f. a blacksmith's furnace or
hearth. -hāl -िाल् । लोिकारकन्द्दुः f. (sg. dat. -höjü -िा&above;जू &below;), a blacksmith's
smelting furnace; cf. hāl 5. -kūrü -कूरू&below; । लोिकारकन्या f. a blacksmith's daughter. -
278
koṭu -क&above;टु &below; । लोिकारपु िः m. the son of a blacksmith, esp. a skilful son, who can
work at the same profession. -küṭü -क&above;टू &below; । लोिकारकन्या 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; । लोिकारमृर्र्त्का f. (for 2, see [khāra
3] ), 'blacksmith's earth,' i.e. iron-ore. -nē̆cyuwu -न्यर्चवु &below; । लोिकारात्मजः m. a
blacksmith's son. -nay -नय् । लोिकारनार्लका f. (for khāranay 2, see [khārun] ), the trough into
which the blacksmith allows melted iron to flow after smelting. -ʦañē̆ -च् &dotbelow;ञ ।
लोिकारशान्ाङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान्
। लोिकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारर्शला m.
(sg. dat. -waṭas -वर्ट), the large stone used by a blacksmith as an anvil. (Kashmiri)
Hieroglyph: eraka 'nave of wheel' Rebus: eraka 'copper molten cast'. Hieroglyph: arā (nave,
spokes) Rebus: arA 'brass' as in ArakUTa आर--कूट [p= 149,2] m. n. a kind of brass. (Monier-
Williams)
Taurine (hieroglyph multiplex: bent oval or kernel or seed PLUS crucible as superscript). The
encircling dots around the hieroglyph multiplex signifies khōṭa 'alloy ingots.'
goṭi, ‘silver, laterite’ are signified by goṭa, ‘seed’ hieroglyph.
Hieroglyph: seed, something round: *gōṭṭa ʻ something round ʼ. [Cf. guḍá -- 1. -- In sense ʻ
fruit, kernel ʼ cert. ← Drav., cf. Tam. koṭṭai ʻ nut, kernel ʼ, Kan. goṟaṭe &c. listed DED
1722]K. goṭh f., dat. °ṭi f. ʻ chequer or chess or dice board ʼ; S. g̠oṭu m. ʻ large ball of tobacco
ready for hookah ʼ, °ṭī f. ʻ small do. ʼ; P. goṭ f. ʻ spool on which gold or silver wire is wound,
piece on a chequer board ʼ; N. goṭo ʻ piece ʼ, goṭi ʻ chess piece ʼ; A. goṭ ʻ a fruit, whole piece
ʼ, °ṭā ʻ globular, solid ʼ, guṭi ʻ small ball, seed, kernel ʼ; B. goṭā ʻ seed, bean, whole ʼ; Or. goṭā ʻ
whole, undivided ʼ, goṭi ʻ small ball, cocoon ʼ, goṭāli ʻ small round piece of chalk ʼ; Bi. goṭā ʻ
seed ʼ; Mth. goṭa ʻ numerative particle ʼ; H. goṭf. ʻ piece (at chess &c.) ʼ; G. goṭ m. ʻ cloud of
smoke ʼ, °ṭɔ m. ʻ kernel of coconut, nosegay ʼ, °ṭī f. ʻ lump of silver, clot of blood ʼ, °ṭilɔ m. ʻ
hard ball of cloth ʼ; M. goṭā m. ʻ roundish stone ʼ, °ṭī f. ʻ a marble ʼ, goṭuḷā ʻ spherical ʼ;
Si. guṭiya ʻ lump, ball ʼ; -- prob. also P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ
(→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); M. goṭ ʻ hem of a
garment, metal wristlet ʼ.*gōḍḍ -- ʻ dig ʼ see *khōdd -- .Addenda: *gōṭṭa -- : also Ko. gōṭu ʻ
silver or gold braid ʼ.(CDIAL 4271) Ta. koṭṭai seed of any kind not enclosed in chaff or husk,
nut, stone, kernel; testicles; (RS, p. 142, items 200, 201) koṭṭāṅkacci, koṭṭācci coconut
shell. Ma. koṭṭakernel of fruit, particularly of coconut, castor-oil seed; kuṟaṭṭa,
kuraṭṭa kernel; kuraṇṭi stone of palmfruit. Ko. keṭ testes; scrotum. Ka. koṭṭe, goṟaṭe stone or
kernel of fruit, esp. of mangoes; goṭṭa mango stone. Koḍ. koraṇḍi id. Tu. koṭṭè kernel of a nut,
testicles; koṭṭañji a fruit without flesh; koṭṭayi a dried areca-nut; koraṇtu kernel or stone of
fruit, cashew-nut; goṭṭu kernel of a nut as coconut, almond, castor-oil seed. Te. kuriḍī dried
whole kernel of coconut. Kol. (Kin.) goṛva stone of fruit. Nk. goṛage stone of fruit. Kur.
goṭā any seed which forms inside a fruit or shell. Malt. goṭa a seed or berry. / Cf. words
meaning 'fruit, kernel, seed' in Turner, CDIAL, no. 4271 (so noted by Turner).(DEDR
2069) Rebus: khōṭa 'alloy ingot' (Marathi)
Hieroglyph multiplex: koṭhārī f. ʻcrucible' PLUS khōṭa 'alloy ingot', kuṭi in cmpd.‘curve'
Rebus:kuṭhi'smelter' Rebus: koṭhārī ʻ treasurer ʼ
279
Hierolyphs 1 and 2 are: sun and six-armed hieroglyph multiplex.
Hieroglyph: arká1 m. ʻ flash, ray, sun ʼ RV. [√arc] Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ
lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624) अका [p=89,1]m. ( √ अच्ि ) , Ved. a
ray , flash of lightning RV. &cthe sun RV. &cfire RV. ix , 50 , 4 S3Br. Br2A1rUp.
Rebus: cast metal, metal infusion: arka copper L. Ka. eṟe to pour any liquids, cast (as
metal);n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal
infusion; molten state, fusion. Tu. eraka molten, cast (as metal); eraguni to melt.(DEDR 866)
kolmo 'three' Rebus: kolimi 'smithy, forge'. Hieroglyph: kuṭilá ʻbent, crookedʼ Rebus
1: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) Hieroglyph:goṭa a seed or berry. Rebus
2: khōṭa 'alloy ingot' (Marathi)
kolmo 'three' Rebus: kolimi 'smithy, forge' Hieroglyph: kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint
of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss.
connexion with gaṇḍa -- 2makes prob. non -- Aryan origin (not with P. Tedesco Language 22,
190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo or sugarcane ʼ EWA i 197]
Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , °aya -- m.n. ʻ knot of
bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ, Wg. kāṇ, kŕãdotdot;, Pr. kə̃, Dm. kā̄̆n; Paš.
lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. kō ,̃ dar. kã̄ṛ ʻ arrow ʼ, kã̄ṛī ʻ torch ʼ; Shum. kō ṛ̃ , kō ̃ ʻ arrow ʼ,
Gaw. kāṇḍ, kāṇ; Kho. kan ʻ tree, large bush ʼ; Bshk. kāˋ'n ʻ arrow ʼ, Tor. kan m., Sv. kã̄ṛa,
Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw ʼ
(kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ, °no m. ʻ reed ʼ, °nī f. ʻ topmost joint of the reed
Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, °nī˜ f. ʻ pen,
small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow
ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kã̄ḍ; N. kã̄ṛ ʻ arrow ʼ, °ṛo ʻ rafter ʼ; A. kã̄r ʻ arrow ʼ;
B. kã̄ṛ ʻ arrow ʼ,°ṛā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽṛiyā ʻ
wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍa, kã̄ṛ ʻ stalk, arrow ʼ; Bi. kã̄ṛā ʻ stem of muñja
grass (used for thatching) ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ;
Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ
joint, bough, arrow ʼ, °ḍũ n. ʻ wrist ʼ, °ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ
trunk, stem ʼ, °ḍẽ n. ʻ joint, knot, stem, straw ʼ, °ḍī f. ʻ joint of sugarcane, shoot of root (of
ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ.kāˊṇḍīra -- ;
*kāṇḍakara -- , *kāṇḍārā -- ; *dēhīkāṇḍa -- Add.Addenda: kāˊṇḍa -- [< IE. *kondo -- ,
Gk. kondu/los ʻ knuckle ʼ, ko/ndos ʻ ankle ʼ T. Burrow BSOAS xxxviii 55]S.kcch. kāṇḍī f. ʻ
lucifer match ʼ? (CDIAL 3023) *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -
- 1]L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers
ʼ.(CDIAL 3024) Rebus: लोखांडकाम (p. 723) [ lōkhaṇḍakāma ] n Iron work; that portion (of a
building, machine &c.) which consists of iron. 2 The business of an ironsmith.लोिोलोखांड (p.
723) [ lōhōlōkhaṇḍa ] n (लोि & लोखांड) Iron tools, vessels, or articles in general. khāṇḍa 'tools,
metalware'.
280
Common symbols used in punch-marked coins from ca. 600-550 BCE to ca. 300 CE in many
parts of Bharata
Narhan 600-500 BCE
Magadha 600-500
Magadha 550-400
281
Magadha 550-400
Śākya Janapada 550-400
Śākya Vajji or Lichchavi janapada. 600 to 450 BCE. A dot within a pentagonal
circumscript. The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of
copper + zinc). Thus the hieroglyph of a pentagon circumscribing a dot may read 'brass ingot':
thattha 'brass' PLUS खोट khōṭa 'A mass of metal (unwrought or of old metal melted down); an
ingot or wedge.Silver 5-shana c. 600-450 BCE Weight:7.04 gm., 20 x 20 mm. Central
pentagonal symbolwith additional symbol to left/ blank Ref: See Rajgor, 522-531.
This hieroglyph-multiplex may also read pañcantaṭṭāṉ, 'goldsmith (who works with five
metals)' in:பஞ் சகம் மாளை் pañca-kammāḷar , n. < pañcantaṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ,
kollaṉ; தட்டான், கன்னான், சிற் பன், தச்சன் வகால் லன் என்ற ஐவடகப்
பட்ட கம் மாளை். (சங் . அக.)
Why is a pentagon shape chosen as circumscript to a dot (blob)?
Consistent with Indus Script Cipher, this signifies pancaloha coin, an ingot made of a 5-metal
alloy. The dot of blob is goTa 'round, pebble' rebus: khoTa 'ingot, wedge'. Ancient smiths,
Bharatam Janam (an expression used by Rishi Visvamitra in Rigveda) were experimenting with
many alloys and many methods of casting metal objects (implements, tools, weapons, even
sculptures) using hard alloys and techniques such as cire perdue (lost-wax) casting. This
metallurgical heritage should be documented using Indus Script hieroglyhs and disseminated in
all schools, the world over.
There are many speculations. See for e.g., figures presented below, from D.D. Kosambi,
1981, Indian Numismatics, Indian Council for Historical Research.
http://www.arvindguptatoys.com/arvindgupta/ddknumismatics.pdf
282
I do NOT agree with his arguments and conclusions. For example, about the Taxila hoard
examples discussed in this note he states as follows: "In each set of marks, the first four
represent the king; the fifth, an issuing authority such as a crown prince. Often the fifth mark in
one set becomes the fourth in another set, indicating the accession of the crown prince to the
throne."
This is an example of mere speculation.
(loc.cit. DD Kosambi)
Padmam vajram parasu-khadga-trisula-gada-cakra-svastika-kalasa-minasan-khakundala-

dhvaja-patakam
Pasa-ghantaka-dvarakadhanurnaraca-mudgara etairvividhakarapraharanamudraih (pp. 408-9)
Praharana mudra = stamped punch-marked coins. praháraṇa n. ʻ attack, weapon ʼ MBh., ʻ

striking ʼ Pañcat. 2. praharaṇīya -- n. ʻ a weapon ʼ MBh. [√hr̥] 1. Pa. paharaṇa -- n. ʻ striking
ʼ, °aka -- adj.; Pk. paharaṇa -- n. ʻ striking, weaponʼ; Si. paraṇa ʻ stroke, blow, flogging ʼ.2.
Or. pāhāruṇi ʻ iron -- studded stick used in threshing rice ʼ.(CDIAL 8901) प्र-
° िरण [p= 701,1] n.striking, beating , pecking Pan5cat. attack , combat MBh. (Monier-Williams)
This is the closest equivalent in Indian sprachbund, of 'punch-marked'.
The expressions in Kannada anguli-praharaṇa, anguli-mudra clearly demonstrate that the

word praharaṇa in the Prakrtam text cited by DD Kosambi, should be a reference to punch-
marked mudra:
All the hieroglyphs on Taxila Punch-marked coins are a continuum from Harappa Script cipher
of Meluhha rebus readings to signify metalwork catalogues. This tradition of Harappa Script
Corpora as proclamations of metalwork continues on the early kārshāpaṇa issued from Taxila
mint by Gandhara janapada.
Indus Script hieroglyph: arka ‘sun’; agasāle ‘goldsmithy’ (Ka.) erka = ekke (Tbh.
of arka) aka (Tbh. ofarka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka,
283
er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) Rebus: eraka = copper
(Ka.) eruvai = copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a =
syn. erka, copper, weapons (Ka.)
Arthasastra, A. II, 12, 30; Meyer, 9, p. 120. The text describes the alloys of copper used in coins.
Arthasastra, "Rupadarsaka is to establish or adjust the panayatra, or circulation of currency.
Saddahasi sigdlassa surapitassa brahmana

Sippikdnam satam natthi kuto kamsasata duve (Jat. I, 426)
“He hasn’t a hundred cowries, how could he have two hundred bronze coins? Those who
examined coins were called herannika (Samskrtam haira-nyika) Heranilika’s are described in the
Visuddhimagga, 14,4…” karsapana = kahapano
Karsharpanastu vighneya tamrigha karshigha panha ‘ karsapana = copper coin one karsa in
weight’; karsa = 16 masaka."
“That the guilds or corporations of taders were empowerd to issue coins is attested by the Negama
coins from Taxila. The word Negama (Skt. Naigamah here should be taken to mean ‘the s’reis or
corporations of merchants’. The Taxila Negama coins bear several other words: Dojaka,
Atakataka, Ralimasa, Kaare, etc. (Allan, Catalogue of Coins of Ancient India, pp. 214-219, pls.
XXXI and XXXIV). I think that these terms refer to the merchants’ localities where the respective
coins were minted. Some Taxila coins bear the legend Pancanekame mening probably that they
were issues of a joint body of five nigamas or of a guild called Panchanigama. This would indicate
that in the Gandhara region during the 3rd-2nd centuries BCE, there existed several guilds of traders
who were authorized to issue coins bearing their particular names.” (Bajpai, KD, 2004, Indian
numismatic studies, Abhinav Publications, Delhi, p.2)
“Some Taxila coins bear the legend Pancanakame (Alan, CCBM, pp. 214-19, Pl. XXXi and
XXXiv). The legend shows that the coins were either the issues of a joint body of five nigamas
or of a guild calledpancanigama. Further, it indicates that there existed, in the Gandhara region
during the third-second centuries BCE, several guilds of traders who were authorised to issue
coins bearing their particular names. The nigama or negama series of Taxila coins refer to
Ralimasa which, like Dojaka, Dosanasa and Hiranasama, has been differently interpreted. DR
Bhandarkar is inclined to take it as the name of a city.”(Paramanand Gupta, 1989, Geography
from Ancient Indian Coins & Seals, Delhi, Concept Publishing Company, p.147).
284
After Fig. 10.13. ibid. Coinage ascribable to the Mauryan and immediately post-Mauryan period.
6,7,8 silver punchmarked coins, national series; 9,10,11 coper cast coins; 12,13,15,16 die-struck
copper coins; 14. inscribed copper coin, Taxila; obv. negama (Brahmi script),
rev. kojaka (Kharosthi script). "We believe it is reasonable to conclude that during the Mauryan
period silver punchmarked coins of the national series were very widely distributed in South Asia,
and were accompanied by coins of the cast copper varieties."(Allchin, FR & George Erdosy,
1995, The archaeology of early historic South Asia: the emergence of cities and states, Cambridge
University Press, p.221).
It is known that sculptors of Sanchi and Bharhut artifacts were in the tradition of ivory carvers of
Begram.
The hieroglyphs -- for example, elephant, tiger, mountain-range, tree, fire-altar, sun's rays,
svastika -- deployed on the coins of Mauryan period are comparable to the hieroglyphs on Indus
Script Corpora. The later-day inventors of Kharosthi and Brahmi scripts are likely to have been
adept at Indus Script hieroglyph writing (mlecchita vikalpa, i.e. Meluhha cipher).
arka 'sun' rebus: arka, eraka 'gold, copper moltencast'

kanda 'fire-altar'
kuTi 'tree' rebus: kuThi 'smelter'
̄ ̄ ̄
Ku. ḍãg, ḍãk ʻ stony land ʼ; B. ḍāṅ ʻ heap ʼ, ḍāṅgā ʻ hill, dry upland ʼ; H. ḍãg f. ʻ mountain --
ridge ʼ; M. ḍã̄g m.n., ḍã̄gaṇ, °gāṇ, ḍãgāṇ n. ʻ hill -- tract ʼ. -- Ext. -- r -- : N. ḍaṅgur ʻ heap ʼ.
M. ḍũg m. ʻ hill, pile ʼ, °gā m. ʻ eminence ʼ, °gī f. ʻ heap ʼ. -- Ext. -- r -- : Pk. ḍuṁgara -- m. ʻ
mountain ʼ; Ku. ḍũgar, ḍũgrī; N. ḍuṅgar ʻ heap ʼ; Or. ḍuṅguri ʻ hillock ʼ, H. ḍūg̃ ar m.,
G. ḍũgar m., ḍũgrī f. S. ḍ̠ūg̃ aru m. ʻ hill ʼ, H. M. ḍõgar m.(CDIAL 5523) rebus: N. ḍāṅro ʻ term
285
of contempt for a blacksmith ʼ; Or. dhāṅgaṛ ʻ young servant, herdsman, name of a Santal tribe
ʼ,H.dhaṅgar m. ʻ herdsman ʼ, dhã̄gaṛ, °ar m. ʻ a non-- Aryan tribe in the Vindhyas, digger of wells
and tanks ʼ(CDIAL 5524) For rebus readings of elephant, tiger, see following paragraphs.
Hieroglyph: svastika: satthiya 'svastika' rebus: satthiya, jasta 'zinc'
Taxila coin
Semantics of negama (Brahmi) and kojaka (Kharosthi) on Taxila coin which meant 'merchant
caravans' and 'treasurer' respectively as may be seen from the glosses of
Indian sprachbund (both Indo-Aryan including Prakritam and Dravidian):
त्रन-° गम a town , city , market-place A1past. Car. a caravan or company of merchants

(ifc. f(आ).) R. Das3. Lalit. trade , traffic W.
त्रन-° गम the root (as the source from which a word comes ; hence ifc.” derived from “)
(Nir.) the वेद or the Vedic text Hariv. Pa1n2. Pur.&c any work auxiliary to and explanatory of
the वेदs Mn. iv , 19 ( Kull.) a sacred precept , the words of a god or holy
man MBh. Pur.doctrine , instruction in , art of (comp.) Ba1lar.&c m. insertion (esp.of the name
of a deity into a liturgical formula) S3rS. the place or passage (esp. of the वेदs) where a
word occurs or the actual word quoted from such a passage Nir
One meaning of the word nigama is: the place where the passage from Veda occurs. It is
possible that the semantics of nigama as a market or merchant guild are relatable to this vedic
inference as the production of metalwork from a yajna, treating the yajna as a smelting process
of metals, bahusuvarNaka, metals of many colours.
त्रन-° गम [p= 545,3] a caravan or company of merchants (ifc. f(आ).) R. Das3. ;a town , city ,
market-place A1past. Car. Lalit. m. insertion (esp. of the name of a deity into a liturgical
formula) SrS.the वेद or the Vedic text Hariv. Pa1n2. Pur. &cany work auxiliary to and
explanatory of the वेदs Mn. iv , 19 ( Kull. )doctrine , instruction in , art of
(comp.) Ba1lar.= पररर्शि Cat. (Monier-Williams)
nigamá m. ʻ marketplace ʼ Āpast. [√gam]Pa. nigama -- m. ʻ market town ʼ, Pk. ṇigama -- m.;
OSi. niyama ʻ marketplace ʼ.(CDIAL 7158)*nigamagrāma ʻ market village ʼ. [nigamá -- ,
grāˊma -- ]Si. niyamgama ʻ large village ʼ.(CDIAL 7159) Go<tiniGam>(A) {V} ``to ^start
(doing something)''.(Munda etyma) It is possible that the gloss is linked
to grAma 'village'. grāˊma m. ʻ troop, village ʼ RV., °aka -- m. MBh.Pa. gāma -- , °aka -- m. ʻ
village ʼ, Aś. gāma -- , KharI. grama, Dhp. gama, NiDoc. grame pl.; Pk. gāma -- m. ʻ collection,
village ʼ; Gy. eur. gav m. ʻ village, town ʼ; Ash. glam ʻ village ʼ, Kt. gŕom, Pr. gəm, Dm. gram,
Paš. dar. lām, kuṛ. lāma, chil. lōm, ar. dlōm, lōm (not dialects in which it would collide
with lām < kárman -- IIFL iii 3, 109), Niṅg. Shum. lām, Woṭ. gām m., Gaw. lām, Kal. grom,
Kho. gram (in cmpds. and place names), Bshk. lām, Tor. gām, Mai. gã̄, Gau. gaõ, Sv. grām,
Phal. grōm, Sh. girōm ʻ cowpen ʼ (earlier → Bur. gir*lm ʻ clan, village ʼ Morgenstierne in
Lorimer BurLg I, xxii), dr. gām ʻ village ʼ, gur. gāõ (← Ind. ~ kui < kuṭī -- ); K. gām m. ʻ village
ʼ, S. gã̄u m., L. girã̄ m., P. grã̄, girã̄, °rāũ m., WPah. bhad. ḍḷã̄, bhiḍ. bhal. ḍḷaũ n., paṅ.
cam. grã̄; cur. girã̄ ʻ field ʼ; rudh. gyeũ ʻ village ʼ, khaś. grão, Ku. gaũ, gng. gɔ̃, N. A. gāũ, B.
Or. gã̄, Bi. gã̄w, Mth. gã̄o, gām, Bhoj. Aw. lakh. H. gã̄u m., Marw. gã̄v, G. gām n.,
M. gã̄v, gāv m.n., Ko. gã̄vu m., Si. gama; -- ext. -- ṭa -- : Sk. grāmaṭikā -- f. ʻ wretched village ʼ,
Pk. gāmaḍa -- m., G. gāmṛũ n. ʻ small village ʼ.grāmín -- ; *agrāmin -- , agrāmya -- ,
*nirgrāmika -- , saṁgrāmá -- ; grāmakūṭa -- , grāmaṇīˊ -- , *grāmadāra -- , *grāmadhāna -- ,
286
grāmavāsin -- , grāmastha -- , grāmāntá -- , *grāmārdha -- ; *gōgrāma -- , *nigamagrāma -- ,
*paragrāma -- , *pāṇḍavagrāma -- , *pālagrāma -- , mātr̥grāma -- .Addenda: grāˊma --
: WPah.kṭg. (kc.) graũ m. (obl. kṭg. graũ, kc. grama) ʻ village ʼ.(CDIAL 4368)
Traders’ Guild Coin –

Nigama (2nd century BC), Copper, 1.29 g, Brahmi legend written in circular fashion, Nigamaye
(of Nigam). The other side has a motif similar to capital U. The U hieroglyph on the reverse is a
crucible: kuThara ‘crucible’ rebus: kuThAru ‘armourer’ koThAr ‘warehouse’.
Taxila, regional 'Guild' coinage, c. 2nd century BC, 'Five Guilds' type, MAC4423-4425, 4.76g.
Obv: Dharmachakra (Wheel of Law) Rev: a row of Buddhist symbols (Triratna, Swastika,
Triratna), Kharoshthi legend Panchanekame below.
http://classicalnumismaticgallery.com/searchauctionitem.aspx?auctioncode=2&pricerange=&ke
yword=&category=1&material=0&lotno=
Artifact finds of Sanchi and Bharhut demonstrate the use of Brahmi and Kharosthi syllabic
writing which demonstrate that the language of the artists and artisans was Prakritam. Use of
Brahmi and Kharosthi writing is also evidenced on a punchmarked coin of Taxila (Fig.
10.13.14) with inscriptions: obv. negama(Brahmi) and rev. kojaka (Kharosthi).
"In the northwest Kharosthi continued to flourish and most of the known inscriptions in that are
were written in this script between c. BCE 200 and CE 200. Kharosthi gained wide currency for
coin inscriptions in the same reion. That its use spread at an early date into the Ganges valley
can be inferred from the fact that at Bharhut the masons used Kharosthi letters for their masonry
marks. Recently a number of Kharosthi inscriptions have been discovered on potsherds from
sites in Bengal. Coinage. Around the opening of the second century BCE the establishment of an
Indo-Greek kingdom in Gandhara introduced into the northwest a major new currency system,
with a predominantly silver and bronze coinage. At an early stage the Greeks employed
bilingual inscriptions in Greek and in Prakrit in Brahmi or Kharosthi script, and their coins
provided a model which later rulers in the region were to initiate. The Greeks were followed into
India by a series of foreign groups, first the Sakas and later the Kusanas who were among those
to emulate the Greek patterns of coin...On the coins of Kaniska and his successors in the second
century CE a wide variety of deities was depicted, including, beside the mainly Iranian
287
pantheon, the Buddha and Siva, as well as Greek and Egyptian deities."(Allchin, FR & George
Erdosy, 1995, The archaeology of early historic South Asia: the emergence of cities and states,
Cambridge University Press, p.311).
M428 Mohenjo-daro. Sun's rays arka 'sun' rebus: arka,'copper' eraka 'moltencast copper'
m1491A copper tablet Indus Script Corpora kharā 'hare'

(Oriya): *kharabhaka ʻ hare ʼ. ... N. kharāyo ʻ hare ʼ, Or. kharā, °riā, kherihā, Mth. kharehā,
H. kharahā m(CDIAL 3823) .rebus: khār'blacksmith'

Mohenjo-daro Seals m1118 and Kalibangan 032 (with fish and arrow hieroglyph)
Nausharo: céramique de la période I (c. 2500

BCE) cf. Catherine Jarrigeपोळ [pōḷa], 'zebu' as hieroglyph is read rebus: pōḷa, 'magnetite,
ferrous-ferric oxide';poliya 'citizen, gatekeeper of town quarter'.
Rhd1A (Scorpions, frog, stool/platform)

Brief memoranda:
Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mūh̃ ‘ingot’
PLUS dula ‘pair’ Rebus: dul ‘cast metal’. Thus ingot casting.
bicha ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Santali)
288
kaṇḍo ‘stool, seat’ Rebus: kāṇḍa ‘metalware’ kaṇḍa ‘fire-altar’
Asmaka
OP. koṭhārī f. ʻ crucible ʼ(CDIAL 3546) Rebus: koṭhār 'treasury, warehouse'
PLUS gota 'roundish stone' Rebus: goṭa 'laterite, ferrite ore' 'gold-lac, braid'.PLUS gaṇḍa 'four'
rbus: kaṇḍa 'implements'
ḍhāḷa 'sprig' rebus: ḍhāḷako 'large ingot'
http://coins.lakdiva.org/codrington/images/CCC_006.jpg karibha 'elephant trunk' (Pali) rebus:

karba 'iron' Dhanga 'mountain range' rebus: Dhangar 'blacksmith'. sal 'two' rebus: sal 'workshop'
aya 'fish' rebus: aya 'iron, metal' (Rigveda. Gujarat).
dula 'two' rebus: dul 'metal casting' PLUS ayo 'fish'

rebus:aya 'iron' ayas 'metal alloy' PLUSmēḍhā 'a twist or tangle arising in thread or cord, a curl
or snarl' rebus: meḍh ‘helper of merchant’ (Pkt.) meṛha, meḍhi ‘merchant’s clerk;
(Gujarati) मेढ ‘merchant’s helper’ (Pkt.) meḍ 'iron'
289
Thus, alloy metal castings, iron castings.
Mauryan.
ayo 'fish' rebus: aya 'iron' ayas 'metal alloy' PLUS gaṇḍa 'four' rbus: kaṇḍa 'implements' Thus,
metal alloy implements.
gota 'roundish stone' Rebus: goṭa 'laterite, ferrite ore' 'gold-lac, braid'. PLUS gaṇḍa 'four'
rbus: kaṇḍa 'implements' PLUS mēḍhā 'a twist or tangle arising in thread or cord, a curl or
snarl' rebus: meḍh ‘helper of merchant’ (Pkt.) meṛha, meḍhi ‘merchant’s clerk;
(Gujarati) मेढ ‘merchant’s helper’ (Pkt.) meḍ 'iron'

Thus, the hypertext signifies: ferrite metal implements
Taxila symbol. A hypertext composed of 'round stone' 'crucible pair' 'a pair of persons standing
with spread legs':
gota 'roundish stone' Rebus: goṭa 'laterite, ferrite ore' 'gold-lac, braid'.
OP. koṭhārī f. ʻ crucible ʼ(CDIAL 3546) Rebus: koṭhār 'treasury, warehouse'
karṇaka कणि क m. du. the two legs spread out AV. xx , 133 rebus: karṇaka 'helmsman'
290
kamaḍha 'archer, bow' Rebus: kammaṭa 'mint, coiner, coinage'
Ujjain, anonymous AE 1/8 karshapana, makara type

Weight: 1.17 gm., Diameter: 10x8 mm.
Obv.: Makara to right in form of an aquatic creature with fishtail and
head of an elephant; Ujjain symbol at top.
Rev.: Ujjain symbol with a dot in each angle.
Reference: Pieper 366 (plate specimen)
The makara is the vahana (mount) of Ganga, the goddess of the river Ganges, and of the sea-god
Varuna. Its frontal part is that of a terrestrial animal, its hind part that of a sea-creature. The
depiction of a creature with fish-tail and elephant's head, like on this coin, is frequently used in
depictions of a makara.
makara 'composite animal crocodile + elephant trunk' rebus: dhmakara, 'forge-

blower', dhamaka 'blacksmith'
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 ‫ گهڙيال‬घर्ियाल ghaṛiyāl [S. घण्ठिका+आलः or आलु], s.m. A crocodile; the
Gangetic alligator, Lacerta gangetica (cf. magar).H ‫ مگر‬मगर 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 । लोिकारः 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-बस्््त । चमिप्रसेर्वका f. the skin bellows of a blacksmith.
Synonym: 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)
Ujjain, anonymous AE 1/6 karshapana, bull type

Weight: 1.62 gm., Diameter: 11x8 mm.
Obv.: Bull to right with six-armed symbol above and railed tree on right.
291
Rev.: Ujjain symbol.
Reference: Pieper 335 (plate specimen)
sãgaḍ, 'lathe, portable

brazier' rebus: samgraha, samgaha 'arranger,manager' sanghāta 'adamantine glue'
m1406 Mohenjo-daro seal. Hieroglyphs: thread of three

stands + drummer + tumblers
dhollu ‘drummer’ (Western Pahari) dolutsu 'tumble' Rebus: dul ‘cast metal’
karaḍa 'double-drum' Rebus: karaḍa 'hard alloy'. med 'drummer, boatman, basketmaker'; meD
'iron' med 'copper' (Slavic languages)].mēda m. ʻ a mixed caste, any one living by a degrading
occupation ʼ Mn. [→ Bal. mēd ʻ boatman, fisherman ʼ. -- Cf. Tam. metavar ʻ basket -- maker ʼ
&c. DED 4178]
dhAtu 'strands of rope' Rebus: dhAtu 'mineral, metal, ore'
dhAu 'strand' rebus: dhAtu 'ineral ore' PLUS Hieroglyph: vaṭa A loop of coir rope, used for
climbing palm-trees Rebus: dhā̄̆vaḍ 'iron-smelter. Hieroglyph: kāca 'loop' rebus:kāsa 'bronze'.
Tree in railing. Svastika and comb. Found in river bed 4 feet from surface immediately below
the Ruhunu Maha Kataragama Temple. http://coins.lakdiva.org/codrington/chapter_iii_edit.html
dãtɔ m. a kind of rake or harrow (Gujarati) rebus: dhatu 'mineral, ore' PLUS satthiya 'svastika'
rebus:svastika 'pewter', jasta 'zinc'. kuṭi 'tree' rebus: kuṭhi 'smelter'
292
Tree shown on a Indus Script tablet from Harappa. kuTi 'tree'
Rebus: kuThi 'smelter'. In semantic expansion, tree as hieroglyph also signifies an
armourer. कुठारु [p= 289,1] ‘a tree, a monkey, an armourer’ (Monier-Williams)
Maurya, punchmarked AR karshapana, 'standing Shiva type'

Weight: 3.57 gm., Dimensions: 16 x13mm.
Standing Shiva with crested hair holding danda and kamandalu; sun; six-armed symbol;
three-arched hill with crescent on top; 'bale-mark'.
'Bale-mark'
Reference: Pieper 135 (plate coin)/ GH 566
Coin galleries, Ujjain http://coinindia.com/galleries-ujjain4.html
Silver punch-marked
293
Mauryan. Ashoka. This braided orthography of three strands may be a
variant to signify: tri-dhātu 'three strands of rope' Rebus: dhāv 'red ore' (ferrite) ti-dhāu 'three
strands' Rebus: ti-dhāv 'three ferrite ores: magnetite, hematite, laterite'.
Punch-marked coin. Ashoka. This hypertext on a Punch-marked coin is a

Harappa (Indus) Script hieroglyph, a remarkable evidence of continuum of script tradition in
Bharatam.The hieroglyph 'plait of three strands' gets expanded semantically to orthograph the
unique hypertext on Gandhara Punch-marked coins.On this punch-marked silver bent-bar coin
of Gandhara, the three plaits (strands) are duplicated to signify six plaits emanating from the
central 'dotted circle. The hypertext is read rebus in Meluhha: dhAu 'strand' rebus: dhAu,
dhAtu 'mineral ore' PLUS meḍhi 'plait' rebus: meḍ ‘iron’.
This hieroglyph, twist of three strands, signified on Punch-marked coins of Gandhara is traced to
Harappa Script hieroglyph tradition. This signifies dhā̄̆vaḍ 'smelter' meḍhi 'plait'
rebus: meḍ‘iron’
294
See Mohenjo-daro seal m1406 which signifies
an identical three plaits. kolom 'three' rebus: kolimi 'smithy, forge'. Thus, three 'plaited
hieroglyphs' emanting from the central 'dotted circle' signify meḍ dhAtu 'iron mineral'. A pair of
such hieroglyphs: dula 'pair' rebus;dul 'metal casting'. Thus, the six arms of six plaits (strands)
signify: dul meḍ dhAtu 'cast iron mineral'.baTa 'six' rebus: bhaTa 'furnace'. Thus, the hypertext is
a technical specification of mintwork repertoire of Gandhara mint with the centre-piece of a
furnace to smelt mineral ores. See semantics of Rigveda: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element
ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour).
This semantic expansion explains the unique hypertext orthographed on Gandhara silver-bent-
bar Punch-marked coin.
Archaic Silver Punch-marked coin, Gandhara region, silver 'bent-bar', early type (flat bar with
wide flan), (c. 450-400 BCE), Rajgor series 34, 11.39g. Obv: two radiate symbols punched at
extreme ends. Rev: blank.
A silver 1/8 karshapana coin from the mint at Taxila, c.400's BCE
http://www.columbia.edu/itc/mealac/pritchett/00routesdata/bce_500back/gandhara/coins/coins.h
tml
John Huntington has demonstrated the continuum from Vedic times related to some symbols on
punch-marked coins, traceable to Harappa Script hieroglyphs/hypertexts.
295
m1521A copper tablet. Harappa Script
Corpora karibha, ibha 'elephant' rebus; karba, ib 'iron' ibbo 'merchant'
Taxila hoard (After Fig. 12.1)
296
Mauryan coin symbols (After Fig. 11.3 Amaravati hoard)
297
Agrawal, Banu & Rai, Subas, Indian Puncmarked coins, 1994
298
PL Gupta, Amaravati hoard of silver punchmarked coins,
1963 http://coincoin.com/bGuptaAmarS.jpg maraka'peacock' Rebus: marakaka loha 'copper
alloy' (Samskrtam)
299
Kothari, Narendra, 2006, Ujjaini coins. Hieroglyph 1: கமடம் , [ *kamaṭam, ] s. A turtle, a
tortoise, ஆடம (Winslow Tamil lexicon) rebus: kammaṭa 'mint, coiner, coinage'
300
Gupta, PL & Hardaker, 1985, Ancient Indian silver punchmarked coins, Magadha-Maurya series
301
302
303
(After Fig. 10.5 Kosala region. Paila hoard)
(After Fig. 9.1 Five obverse and one reverse marks. Bodenayakanur hoard)
304
(After Fig. 8.1 Taxila hoard) Mauryan after Chandragupta. Additional marks are shown below
dotted line of each frame.
305
(After Fig. 8.2 Taxila hoard)
306
307
308
(After Fig. 4.1 Silver punch-marked coins. Taxila hoard)
309
(After Fig. 4.6 Silver punch-marked coins. Taxila hoard)
310
311
https://indiacoinsmarks.wordpress.com/
312
313
314
315
316
[Pl. 39, Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many
Indus script tablets and seals.] Source for the tables of symbols on punchmarked coins: Savita
Sharma, 1990, Early Indian Symbols, Numismatic Evidence, Delhi, Agam Kala Prakashan.
See more examples at http://bharatkalyan97.blogspot.in/2016/01/tree-yupa-indus-script-
hieroglyphs.html
317
318
319
320
Sun hieroglyph: arka 'sun' rebus: erako 'moltencast' arka 'copper,
gold'
Six spokes emanating from 'dotted circle' are topped with multiple counts (2 or 3 each)
of ligatured hieroglyphs: arrow, loop (with variants of ovals, buds, fish, hour-glass, one-horned
young bull). dula 'two' rebus; dul'metal casting' kolom 'three' rebus: kolimi 'smithy,
forge' kaṇḍa 'arrow' rebus: kaṇḍa 'implements' kāca 'loop' rebus:kāsa 'bronze' mũh 'oval shape'
rebus: mũh 'ingot' ayo 'fish' rebus: ayas 'metal
alloy' aya 'iron' vajra (octagonal)samghāta 'adamantine glue', samgraha, samgaha 'arranger,
manager'
kharā 'hare' (Oriya): *kharabhaka ʻ hare ʼ. ... N. kharāyo ʻ hare ʼ, Or. kharā, °riā,
kherihā, Mth. kharehā, H. kharahā m(CDIAL 3823) .rebus: khār'blacksmith'
PLUS meṭṭu 'mound,height' Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.)
321
gaṇḍa 'four' rebus: kaṇḍa 'fire-atar' 'implements' ayo 'fish' rebus: aya 'iron' ayas 'metal
alloy' khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'.Thus, alloy metals mint,
smithy/forge, fire-altarr.
Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023)
Rebus: mū̃h 'ingot' muhã 'quantity of metal produced at one time in a native smelting furnace.'
dhAu 'strand' rebus: dhAu, dhAtu 'mineral ore' PLUS meḍhi 'plait'
rebus: meḍ ‘iron’. मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl
(Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali)
meď 'copper' (Slovak)
Santali glosses:
kolmo 'three' rebus: kolimi 'smithy, forge'
पोळ pōḷa 'zebu, bos indicus taurus, bull set at liberty' rebus: पोळ pōḷa 'magnetite (a ferrite ore)'
karba 'trunk of elephant' ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant'
"Kārshāpaṇas were basically silver pieces stamped with one to five or six rūpas ('symbols')
originally only on the obverse side of the coins initially issued by
the Janapadas and Mahajanapadas, and generally carried minute mark or marks to testify their
legitimacy. Silver punch-marked coins ceased to be minted sometime in the second century BCE
but exerted a wide influence for next five centuries." (Parmeshwari Lal Gupta. Coins, National
Book Trust. pp. 7–11.)
arshapanas , Earliest Currency of South Indiahttps://en.wikipedia.org/wiki/Karshapana
Śākya/Gāndhāra Janapada 550-400
322
Kalinga Janapada 450-300 BCE
Ashmaka Janapada 450-300 BCE
Mahapadma Nanda 450-300 BCE
Mauryan
Punjab.Kundinda. 100 BCE
323
Zebu on Lion capital detail. Sarnath Museum.
Dotted circle
This hieroglyph becomes a framework for rebus-metonymy rendering of iron-worker or iron-
smelter's work with धाव [ dhāva ] m f A certain soft, red stone > धातु 'minerals or ferrite ores'
which were identified in three categories: magnetite, hematite, ilmenite. hence, workers
with धाव [ dhāva ], धातु were called धावड [ dhāvaḍa ] 'smelters of iron';धावडी [ dhāvaḍī ]
'relating to iron'.
Dotted circle is the central hypertext of orthographic variants seen on early Punch-marked coins
Chandraketugarh
324
dāˊtu n. ʻ share ʼ RV. [Cf. śatádātu -- , sahásradātu -- ʻ hundredfold, thousandfold ʼ:
Pers. dāv ʻ stroke, move in a game ʼ prob. ← IA. -- √dō] K. dāv m. ʻ turn, opportunity, throw in
dice ʼ; S. ḍ̠ã̄u m. ʻ mode ʼ; L. dā m. ʻ direction ʼ, (Ju.) ḍ̠ā, ḍ̠ã̄ m. ʻ way, manner ʼ; P. dāu m. ʻ
ambush ʼ; Ku. dã̄w ʻ turn, opportunity, bet, throw in dice ʼ, N. dāu; B. dāu, dã̄u ʻ turn,
opportunity ʼ; Or. dāu, dāũ ʻ opportunity, revenge ʼ; Mth. dāu ʻ trick (in wrestling, &c.) ʼ;
OAw. dāu m. ʻ opportunity, throw in dice ʼ; H. dāū, dã̄w m. ʻ turn ʼ; G.dāv m. ʻ turn, throw
ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ revenge ʼ. -- NIA. forms with nasalization (or all NIA. forms)
poss. < dāmán -- 2 m. ʻ gift ʼ RV., cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya-- m. ʻ playing of
dice ʼ Naiṣ.(CDIAL 6258) தாயக்கட்டட tāya-k-kaṭṭai, n. < id. +. Dice; சூதாட்டத்தில்
உருட்டுங் கவறு. (J.) தாயம் tāyam, n. < dāya. A fall of the dice; கவறுருட்ட
விழும் விருத்தம் . முற் பட இடுகின்ற தாயம் (கலித். 136, உடை). 5. Cubical
pieces in dice-play; கவறு. (யாழ் . அக.) 6. Number one in the game of dice; கவறுருட்ட
விழும் ஒன்று என்னும் எண். Colloq.
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 dhā̄̆vaḍ 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)
325
Script
Magadha. Silver Karshapana. c. 5th-4th century BCE

Five punches: sun, 6-arm, and three others, plus a banker's mark /
Blank
Ref: GH 249.
arka 'sun' rebus: arka,'copper' eraka 'moltencast copper'

मेढा [mēḍhā] Atwist or tangle arising in thread or cord, a curl or snarl rebus: mẽṛhẽt, meḍ 'iron'
(Mu. Ho.) mRdu id. (Samskrtam)
kaṇḍa, 'arrow' rebus: 'implements/sword'
kariba 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'
पोळ pōḷa 'zebu' rebus: पोळ pōḷa 'magnetite (ferrite ore)'
khambhaṛā 'fin' rebus: kammaṭa 'coiner, coinage, mint' aya 'fish' rebus: aya 'iron' ayas ' alloy
metal'
Six dots above crucilbe+ ingot: baTa 'six' rebus: baTa 'iron' bhaTa 'furnace' koṭhārī ʻ crucible ʼ
(Old Punjabi) rebus: koṭhari 'chamber' (oriya) koṭṭhāgāra ʻstorehouse' (Prakrtam)
PLUS खोट khōṭa 'A mass of metal (unwrought or of old metal melted down); an ingot or
wedge.'
Sixth hieroglyph from left:kuTi 'tree' rebus: kuThi

'smelter'
326
Coin #2 Gandhara janapada, Silver satamana, c. 5th-4th century BCE
Three "septa-radiate" punches/Blank
Weight: 11.46 gm., Dim: 43 x 22 mm. http://coinindia.com/galleries-magadha.html
[quote] Coin #2 is a silver satamana of approximately 11.5 gm. from the Gandhara janapada,
also dating from some time late in the 5th or from the 4th century BCE. This type is called a
327
"bent bar" to reflect its ingot-like shape, curved into a crescent by the force of the two punches
applied to its ends. The punches are produced by the same die. Most coins have just two
punches, one at each end, but I have seen a few rare ones, such as the illustrated coin, that have a
third punch in the center of the bar. The punches are always of this "septa-radiate" symbol, six
"petals" radiating from a central circle accompanied by a seventh "stem." This coin type has
been used by some writers, notably Joe Cribb of the British Museum, to serve as evidence that
coinage was not invented independently in India, but rather was derived from Greek sources.
There exist some very rare coins of Kyrene that feature a design, probably representing a
silphium flower, that resembles the punches on the Gandharan bent bars. Further, it is known
that the Achaemenids, who ruled the Gandharan region in the 5th - 4th century BCE, resettled
some political “trouble-makers” from Kyrene somewhere in their Indian satrapy. It has therefore
been suggested that these Greeks from Kyrene brought with them the idea of coin-making from
which the Gandharan bent bar resulted. In this view, these bent bars would not be issues of the
Gandhara janapada but rather of the Achaemenid satrapy of India.
Most Indian numismatists do not accept this view, and I personally feel that the Gandharan coins
offer evidence precisely of the opposite conjecture, that coinage was invented independently in
India. The reason is that they are completely unlike any coins that circulated in Persia, such as
the running king type, obviously inspired by Greek coins. Nor do they resemble the Kyrene
coins in shape or method of manufacture. For coins so radically different from the Greek or
Persian style coinage to circulate in a satrapy of the Persian empire, it must have been the case
that they already had a history of commercial use in the area. The Persians must have
discovered, as did the Greeks after them, that Indian merchants did not take easily to new styles
of coinage; they liked to stick with tried and true designs with which they were familiar. For
more Gandhara coins, see the Gandhara gallery.[unquote] http://coinindia.com/fifty-coins1.html
The approximate geographical locations of where the coins were issued can be seen on
this map (identify coins by their coin numbers). Coins of large empires are located in the area of
the presumed capital cities.
Details of 50 coins on this map at http://coinindia.com/fifty-coins1.html
328
Coin #1:Shakya janapada, Silver 5-shana, c. 5th century BCE Pentagonal punch plus two
banker's marks / Blank Weight: 6.96 gm., Dim: 24 x 32 mm.
The approximate geographical locations of where the coins were issued can be seen on this
[quote]Around 500 BCE, India was divided up into many separate "countries." Buddhist sources
identify 16 major janapadas, or tribal territories. Coinage commenced at around this time and
two of the earliest janapadas to issue coins were Gandhara, in the north-west (now northern
Pakistan), and Shakya, along the India-Nepal borderlands. This coin is an issue of the
Shakya janapada. This janapada is of particular interest as it was the birthplace of the Shakya
prince Siddhartha Gautama, who became the Buddha. It is quite likely that the Shakya coin
comes from approximately the same time and place as the Buddha. The Shakya coin is an
example of a coin type that was invented in India and continued to be used for over 1500 years:
the punch-marked coinage. The name reflects the technique of manufacture used. The coin
blanks were prepared usually by cutting large sheets of silver, and were then "punched" by one
or more small punches that modeled specific designs. We see in the Shakya coin all of these
ingredients. The rectangular shape reflects the easy cutting of the coin blank from a larger sheet,
the sharp edges betray their origin from the use of a chisel, and the central punch reflects the
core design of the coin, here the so-called "pentagonal symbol." The violence of the punch is
expressed in the protuberance seen on the otherwise blank reverse. Some coins are found with
only the one central punch, while others are found with additional punches around the central
one. Some of these may have been official punches, and some may have been so-called
"banker's marks," punches applied by bankers or money-changers, presumably to record their
having assayed the metal content of the coin and found it be of sufficient purity. On this coin,
there are two additional punches. One is a simple punch of a pellet and circle, probably a
banker's mark, while the other is a complex symbol with a central dot surrounded by six
arrowheads arranged radially. This may well have been an official punch, for three reasons: first,
it is more complex than the typical banker's marks, second, it appears with some frequency on
the Shakya coins, and third, it seems to be a precursor to the so-called "six-arm" symbol that
appeared on virtually all the coins of the Magadha-Maurya dynasty of the 4th through 2nd
centuries BCE. We will see one such coin a little later (coin #3).
For more Shakya coins, see the Shakya gallery. [unquote]
329
Hieroglyph: two chains with rings: śãgal, śãgaḍ ʻchainʼ (WPah.) śr̥ṅkhala m.n. ʻ chain ʼ
MārkP., °lā -- f. VarBr̥S., śr̥ṅkhalaka -- m. ʻ chain ʼ MW., ʻ chained camel ʼ Pāṇ. [Similar
ending in mḗkhalā -- ]Pa. saṅkhalā -- , °likā -- f. ʻ chain ʼ; Pk. saṁkala -- m.n., °lā -- , °lī --
, °liā -- , saṁkhalā -- , siṁkh°, siṁkalā -- f. ʻ chainʼ Rebus: Vajra Sanghāta 'binding together':
Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue. (Allograph)
Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati)
See: http://bharatkalyan97.blogspot.in/2016/03/metallurgy-alloying-competence-
chain.html?view=magazine
Kuru janapada. Dotted triskelion.
450 to 350 BCE. Triskelion arms encircle dots. Arrows attach to the dotted circle. 'Twist'
hieroglyphs are shown next to the arrows.
Magadha
janapada. Dotted circle connected to three arrows. Ovals between arrows. Elephant. Six dots
circling a central dot.
330
Magadha janapada. Silver.c. 5th century BCE Pre-Karshapana.
Central 6-arm punch, surrounded by three other punches /
blank
Ref: MATEC 2731-55. http://coinindia.com/galleries-magadha.html
Magadha janapada. Dotted circle
is connected by three allows. Oval hieroglyphs occur between the arrows. Sun hieroglyph is
shown on the right top corner, clockwise next to a crucible hieroglyph and a circle with strand
hieroglyph.
Magadha. Karshapana. Weight: 3.08 gm., Dim: 26 x 24 mm.

Banker's marks
331
Ref: GH 36. Hieroglyphs:
Magadha. Silver karshapana.Weight: 3.13 gm., Dim: 19 x 27 mm.

Banker's marks
Ref: GH 200.
Magadha. Silver Karshapana. c. 5th-4th century BCE

Blank
Ref: GH 279.
332
Magadha. Silver karshapana. c. 5th-4th century BCE
Five punches: sun, 6-arm, and three others /
Blank
Ref: GH 279 var.
Magadha. Silver Karshapana. Weight: 3.45 gm., Dim: 25 x 23 mm.

Banker's mark
Ref: GH 48.
karibha 'elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'

eraka 'knave of wheel' rebus: erako 'moltencast, copper'; arA 'spokes,
rebus: Ara 'brass' khaNDa 'division'
rebus: kaNDa 'implements' arka 'sun' rebus: arka, eraka 'copper'. Six-spoked hypertext
emanating from
333
dotted circle is: dhAu 'element, mineral ferrite' PLUS muhA 'furnace quantity, ingot'
PLUS kANDa 'arrow'
rebus: kaNDa 'implements;. Thus, the five PMC hypertexts signify mintwork with iron, molten
cast copper,
iron implements, ingots, furnace work.
Sunga 185-
75 BCE karabha'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' kaṇḍa 'fire-
altar' Yupa: Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). Rebus: kāṇḍa,'implements'. kuṭi 'tree'
rebus: kuṭhi 'smelter' Mountain range + crucible: OP. koṭhārī f. ʻ crucible ʼ(CDIAL 3546)
Rebus: koṭhār 'treasury, warehouse' PLUS ḍāng 'mountain range' Rebus: dhangar 'blacksmith'
334
Four dotted circles joined together orthographed as 'Ujjaini symbol': gaṇḍa 'four'
rbus: kaṇḍa'implements' PLUS dhātu 'strand' (Rigveda) S. dhāī f. ʻ wisp of fibres added from
time to time to a rope .rebus: dhāū, dhāv, dhātu 'red ore'. Thus, metal implements (with a variety
of ore alloys).
karṇaka कणि क m. du. the two legs spread out AV. xx , 133 rebus: karṇaka 'helmsman'
PLUS koḍa 'one'rebus: koḍ 'workshop'
पोळ [pōḷa] 'zebu' rebus: पोळ [pōḷa] 'magnetite, ferrite ore'
335
.
Kausambi 200 BCE
arA 'spokes' rebus: Ara 'brass' eraka 'nave of wheel'

rebus: eraka 'moltencast' arka'copper'.PLUS khambhaṛā 'fish-fin' (Lahnda CDIAL 13640)
Ta. kampaṭṭam, kammaṭa 'mint, coiner, coinage'. Thus, copper mint.
dala 'petal' rebus: ढाळ [ḍhāḷa] ḍhāḷako 'ingot' (Marathi)
kola 'tiger'
rebus: kol'blacksmith' karabha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib
'iron' kaṇḍa 'fire-altar' ḍāng 'mountain range' Rebus: dhangar 'blacksmith'
336
Taxila. Pushkalavati 185-160
BCE Karshapana
Kalinga. Copper punch-marked
3rd cent. BCEarka 'sun' rebus: arka 'copper gold'
337
Mauryan Dynasty .(321 to 185 BC ) Silver punch marked coins. ಮುರ್ಯರ , ಮುದಾ ಂಕಿಥ ಬೆಳ್ಳಿ
ನಾಣ್ಯ ಗಳು Hieroglyph: hare: N. kharāyo ʻ hare ʼ, Or. kharā, °riā, kherihā, Mth. kharehā, H.
kharahā m(CDIAL 3823) Rebus: khār'blacksmith' (Kashmiri) खार् ।
338
Mauryan
empire. Silver karshapana
c. 4th-2nd century BCEWeight: 3.19 gm., Dim: 16 x 17 mm.
Ref: GH 477.
Magadha janapada, Silver karshapana, c. 4th century BCE

Five punches: sun, 6-arm, and three others / Banker's mark
Ref: GH 48.
Coin 3 is an issue of yet another janapada: Magadha, perhaps the most important of the 16
janapadas. It was centered in what is now the Indian state of Bihar, just south of Shakya. It was
here that Siddhartha Gautama roamed as a seeker after renouncing his worldly comforts; it was
in the Magadhan city of Gaya that he attained his enlightenment, and it was mainly here that he
preached the dharma for the remainder of his life. The Magadhan king Bimbisara was a friend of
Gautama and even offered him his throne. This coin may well have been an issue of Bimbisara,
although we are not able to attribute specific types to specific kings because of the lack of any
inscriptions on the coins. Magadha was the most successful of the old tribal kingdoms, as it
expanded slowly but steadily, eventually growing into the first Indian empire under the Mauryan
kings.
The Magadha coin is a silver karshapana of just under 3.5 gm. It shows that punch-marked
coinage evolved from the original single-punch type (as on the Shakya coin above and on very
rare early Magadha coins) to multiple punch types. After a stage during which the coins featured
four punches, the designs seemed to settle on a standard of five punches, a standard that
persisted for a couple of centuries. We do not know the significance of the punches. An
intriguing sentence in an ancient Buddhist text, the Visuddhimagga, says that, by looking at a
coin, a money-changer would at once know from what village, town, city, mountain or river
bank and by what mint master it was struck. This suggests that the punches did indicate the
origin of the coin, but unfortunately we have not yet learned the code.
What we do know is that, for a long period of time, the punchmark coins of the Magadha (later
339
the Maurya) empire carried five punches. One was consistently a radiate solar disc, here seen
somewhat obscured within a second punch (the wheel in square). A second was one of the six-
arm symbols, referred to above in our discussion of the Shakya coin, and seen here in a form
containing three arrowheads and three ellipses that may have represented petals or leaves. The
other three punches varied. Here we have what might be a Buddhist dharmachakra, or sacred
wheel, a rectangular punch which looks something like a window, and an elephant, also often
used as a Buddhist symbol. The punch that looks like an arrowhead is not an official punch, but
a banker's mark. Other common official symbols include the bull and other animals, various
geometric figures, including a 6-pointed star similar to the Star of David, and occasionally
human figures. This coin also carries two banker's marks: the arrowhead on the obverse and a
rosette of seven pellets on the reverse.
For more Magadha coins, see the Magadha gallery.
karibha 'elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'

eraka 'knave of wheel' rebus: erako 'moltencast, copper'; arA 'spokes,
rebus: Ara 'brass' khaNDa 'division'
rebus: kaNDa 'implements' arka 'sun' rebus: arka, eraka 'copper'. Six-spoked hypertext
emanating from
dotted circle is: dhAu 'element, mineral ferrite' PLUS muhA 'furnace quantity, ingot'
PLUS kANDa 'arrow'
rebus: kaNDa 'implements;. Thus, the five PMC hypertexts signify mintwork with iron, molten
cast copper,
iron implements, ingots, furnace work.
On some sculptural friezes, the 'fish-fin' hypertext is ligatured to the tip of the spokes of the
wheel emanating
from the dotted circle. This signifies: ayo 'fish' rebus: ayas 'metal' aya 'iron'.
PLUS khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coiner, coinage'.
Coin #4:
Bactria, Seleucid, Seleucos I Silver tetradrachm, c. 290 BCE
Weight: 16.87 gm., Diam: 26 mm.
Laureate, bearded bust of Zeus right / Athena driving elephant quadriga
Greek legend: BAΣIΛEΩΣ ΣEΛEYKOY (of King Seleucos)
Ref: MIG 52 Coin 4 represents one of the first clearly "foreign" coins to be minted in India.
Although the Achaemenids had ruled northwestern India for a while, they did not leave any
numismatic legacy. However, after Alexander the Great's brief appearance on the Indian
340
horizon, the Seleucid empire established a presence in the northwestern part of the country.
Although a few Greek style coins were minted in Bactria prior to the Seleucid issues, this coin,
of Seleucos I (312-280 BCE) is nevertheless one of the first Greco-Bactrian coins. With a
laureate head of Zeus right on the obverse and Athena in an elephant quadriga on the reverse,
the coin is representative of the highest quality classic Greek coins of the period. It introduces to
Indian numismatics not only an entirely new design type, but also the use of legends to identify
the issuer. Here we see on the reverse the Greek inscription: BAΣIΛEΩΣ ΣEΛEYKOY (of King
Seleucos).
To Seleucos, the Indian provinces were a distant holding far from the center of his empire in
Syria. These distant provinces faced a threat from a rising super-power in India: the Maurya
dynasty. The dynasty was founded in 322 BCE by Chandragupta Maurya, who overthrew the
Nanda rulers of the Magadha kingdom and then began a process of expansion that extended the
empire all the way to what is now Pakistan. Facing conflict with this powerful rival, Seleucos
chose to forge a peace. He conceded all the Seleucid lands south of the Hindu Kush mountains
(in modern Afghanistan) to Chandragupta (known as Sandracottas in the Greek literature of the
time) in exchange for 500 elephants. So the Mauryan empire now extended from Bengal in the
east all the way to Afghanistan in the west.
The Mauryan empire reached the peak of its extent probably under the rule of Chandragupta's
grandson Ashoka (273-232 BCE), who has been called the greatest king the world has ever
known. Ashoka's claim to this distinction comes from an unlikely source: It stems not from the
extent to which he expanded his empire through conquest, but rather on his renunciation of
violence and war, his adoption of Buddhism, and his mission to spread the non-violent teachings
of the Buddha throughout his empire. Ashoka carved the Buddha's teachings on rocks
throughout India, or on iron pillars he erected for the purpose. He also sent Buddhist missions to
other countries, notably to Lanka, China and Southeast Asia. There is little doubt that he was the
person who did more than anyone else to spread Buddhism throughout Asia.
For more coins of Seleucos I, see the Seleucos I gallery.
341
Coin #5:
Mauryan Empire, perhaps Ashoka the Great (273-232 BCE), Silver karshapana
Three punches (three deities, peacock on hill, "steelyard" / Single punch (peacock on hill)
Ref: GH 591 Coin 5 is a silver karshapana of the Maurya dynasty. Unfortunately, we do not
have a definitive way to attribute these coins to specific kings, but this coin may well have been
an issue of Ashoka the Great. Most Mauryan coins continued the Magadha pattern of five
punches: a sun, a 6-arm symbol, and three others. This coin, however, is a rare deviant from this
general pattern. The sun and 6-arm symbol have been eliminated and there are only three
punches, although one is a compound punch with three figures. (There are other, similar, coins
with three separate figure punches very much like the three on this single punch.) The punches
include a very interesting one of a peacock perched on a 5-arch hill, which in all probability was
a Buddhist symbol. A smaller version of the same punch appears on the reverse.
Although the Mauryan coins followed the coins of Magadha in many respects: they remained on
the same karshapana weight standard, had essentially the same technique of manufacture and
continued the use of five official punches, they differed in one important respect: their flans
were a lot smaller. The Magadha coin we saw earlier (coin 3) was 25 x 23 mm; this Mauryan
coin is 10 x 15 mm (but thicker). The main theory used to explain this size change over time is
that the mint authority wanted to reduce the amount of space available for potential banker's
marks. Some late Magadha coins are absolutely covered with banker's marks, making it difficult
to discern the original design of the coin. It appears that reducing the size of the flan, and adding
a miniature official mark on the reverse (as on this coin), did work to reduce and even eliminate
the use of banker's marks.
The Mauryan kingdom must have been very rich as very large hoards of Mauryan silver coins
are still found in India. From the collector's point of view, this is a great series, as the coins are
plentiful, there are hundreds of types, and they can be obtained quite inexpensively. The first
Indian coin that I purchased in 1998 when I started my collection was a Mauryan karshapana I
bought on eBay. I couldn't believe I had been able to buy a coin perhaps of the time of Ashoka
for under $50 (and I now know that I overpaid!).
The Mauryan empire started to weaken soon after Ashoka's death and crumbled by the second
century BCE when the Mauryan king was overthrown by his general, Pushyamitra Sunga,
founder of the Sunga dynasty. The Sunga kingdom, however, was quite small and never attained
anything like the magnificence of Ashoka's empire, one of the largest ever known in India.
For more Maurya coins, see the Maurya gallery.
342
Coin #6:
Bactrian Kingdom, Diodotos I or II, Gold stater, c. 250-230 BCE
Diademed head of Dioddotos right, dotted border around /
Nude Zeus standing left, seen from behind, holding aegis on left arm, hurling thunderbolt with
right
Eagle at left, Greek legend, at right: BAΣIΛEΩΣ, at left: ΔIOΔOTOY
Ref: MIG 70, Bop 5 While the Mauryans were expanding their empire from Afghanistan to
Bengal and from the Himalayas to almost the very tip of the Indian peninsula, the Seleucids had
retained their foothold in Bactria, north of the Hindu Kush mountains. However, around 250
BCE, the Seleucid governor in Bactria, Diodotos, revolted and declared himself independent.
The evidence for that declaration is seen in his coins ... he began to issue coins, still in the name
of the Seleucid emperor Antiochos II, but bearing the image of his chosen deity, Zeus, on the
reverse, rather than Antiochos's choice of Apollo. (You can see such a coin in the Diodotos
gallery and some Antiochos I coins issued in Bactria prior to the revolt in the Antiochos gallery).
Further, as evidenced in coin 6, eventually even the pretence of fealty to the Seleucid emperor
was abandoned and Diodotos began to place his own name on his coinage. We see here a
wonderful gold stater showing a diademed bust of Diodotos right, with a "thundering Zeus" left
on the reverse and the legend BAΣIΛEΩΣ ΔIOΔOTOY (of King Diodotos). It shows that the
classic Hellenic style of numismatic art had taken a firm foothold in India.
Coin #7:
Indo-Greek Kingdom, Menander I, Silver tetradrachm, c. 155-130 BCE
343
Diademed, helmeted bust of Menander right, Greek legend around:
BAΣIΛEΩΣ ΣΩTHPOΣ // MENANΔPOY /
Athena Alkidemos standing left, seen from behind, holding aegis on left arm,
hurling thunderbolt with right, monograms at left and right,
Kharoshthi legend around: maharajasa tratarasa // menamdrasa
Ref: MIG 217f, Bop 15 The Bactrian kingdom established by Diodotos seems to have flourished
uninterrupted for about 75 years. However, around 175 BCE, a scion of the Seleucid family
appears to have attempted to overthrow the renegade usurpers. Eucratides (the Great) succeeded
to a large extent and established his rule in Bactria and also south of the Hindu Kush. However,
from this time on, it appears the various Greek factions engaged in an almost continuous civil
war as rival families established themselves in different locations and fought one another for
supremacy. One king who seems to have reconstituted a large kingdom was Menander.
According to the ancient Buddhist text, the Milindapanha, Menander was a seeker of the Truth
who was greatly interested in Buddhist teachings (Milinda is the Pali version of the name
Menander). However, the text of the Milindapanha betrays no Greek influence and Menander's
coinage does not contain any Buddhist symbols. Thus it is likely that the text is apocryphal.
Coin 7 is a silver tetradrachm of Menander on a reduced Indian standard of just over 9 gm. The
coin is still very much in the Greek style. We have a diademed, helmeted bust of the king right
on the obverse and Menander's favorite deity, Athena Alkidemos, on the reverse. However, there
is an important departure from the previous Bactrian issues such as the stater of Diodotos we
saw earlier. The Greek legend has migrated to the obverse and a new legend, in the local Prakrit
language and using the Kharoshthi script, has appeared on the reverse. The legend: maharajasa
tratarasa menamdrasais a translation of the obverse Greek legend BAΣIΛEΩΣ ΣΩTHPOΣ
MENANΔPOY (of King Menander, the Savior). This coin was issued south of the Hindu Kush
mountains and has bowed to the requirements of the Indian marketplace by adopting the reduced
weight standard and introducing a local language legend. Other coins display another concession
to Indian tastes: many Indo-Greek coins are square in shape, particularly the bronze ones, in
imitation of the traditional square shape of the silver (and later copper) karshapanas of the
Mauryans and their successors, the Sungas.
344
Coin #8:
Pandya Kingdom, Sangam period, Anonymous bronze unit, c. 3rd - 1st century BCE
Elephant right, barred trident and altar before, various symbols above /
Stylized fish (Pandya dynastic symbol)
Ref: MAC 4988-95, Krishnamurthy 52-54 After the collapse of the Mauryan empire around the
end of the 3rd century BCE, a number of small kingdoms were established all over India. In
southern India, three major dynasties, the Cheras, the Cholas and the Pandyas, emerged as
powerful rulers. This period saw a cultural flowering, particularly of literature in the Tamil
language, and has been called the Sangam age, after the Sangams, or Literary Conventions, that
were held at that time. Coin 8 is a magnificent copper issue of the Pandya kingdom from
roughly this time period. It shows an elephant standing right along with a number of symbols on
the obverse and a highly stylized fish, the dynastic symbol of the Pandyas, on the reverse. The
artistic standard of the carving is quite high.
The square shape of the coin and the presence of multiple symbols recalls the characteristics of
the Mauryan coinage. However, there is an important difference. The symbols have all been
carved on to a single die, which has then been used to strike the coin. Thus the coin is die-struck
rather than punchmarked, evidence of Greek influence. The symbols on the coin seem to be both
345
Hindu and Buddhist. The barred trident in front of the elephant and the crescent moon above
seem quite clearly Shaivite, while the railed tree and the wheel are likely Buddhist in origin.
Thus the coin provides some concrete evidence for the theory that the Sangam age was
characterized by religious toleration.
The top line on this coin is an Indus Script hypertext. ranku 'liquid measure' rebus: ranku 'tin'
PLUS ayo kammaṭa 'alloy metal mint' PLUS dhatu 'mineral ores'The obverse signifies Agni.
Coin #9:
Panchala Kingdom, Bhumimitra, Copper double karshapana, c. 1st century BCE
Deity (Bhumi?) on a pedestal /
Three Panchala symbols, Brahmi legend below: Bhumimitrasa
Ref: MAC 4545 New kingdoms were emerging on the ruins of the Mauryan empire in northern
India also. One such kingdom was Panchala. This had been one of the 16 great mahajanapadas
in the time of the Buddha. Draupadi, one of the central characters of the Hindu epic, the
Mahabharata, was reportedly a Panchala princess. This janapada had been absorbed by Magadha
as it pursued its program of expansion. But now this kingdom was reconstituted under the Mitra
kings, who issued a most interesting and long-lived series of coins. Coin 9 is an early Panchala
coin of this period, an issue of King Bhumimitra. The Panchala coins all carry the name of the
issuing king in Brahmi letters; these are some of the earliest indigenous Indian coins to carry
legends. The illustrated coin carries an image of a deity on the obverse and an incuse punch on
the reverse which has the legend Bhumimitrasa with the three symbols of the Panchala kingdom
above. The Panchala series lasted over two centuries, from the mid-2nd century BCE to well
into the 1st century CE.
For more coins of this kingdom, see the Panchala Kingdom gallery.
346
Coin #10:
Indo-Scythian Kingdom, Azes I, Silver tetradrachm, c. 1st century BCE
King mounted on horse right, holding spear, Greek legend around:
BAΣIΛEΩΣ BAΣIΛEΩN MEΓAΛOY // AZOY /
Zeus standing facing, holding thunderbolt and spear, Kharoshthi legend around:
Maharajasa rajarajasa mahatasa // Ayasa
Ref: MIG 749c, Senior 80.11T In the north-west, the Indo-Greek kingdom was also crumbling in
the face of a powerful new military presence: the Indo-Scythians. These were tribes that had
entered India from a nomadic existence in Central Asia. One of the earliest forays of Scythians
seems to have occurred around 150 BCE, when they laid waste to the northern Greek city of Ai-
Khanoum (in the northern part of modern Afghanistan). They seem to have slowly given up
their nomadic ways and began to challenge the Indo-Greeks for supremacy in the area. There is
also some evidence that they intermarried with Indo-Greek royalty.
The greatest expansion of the Indo-Scythian realm was made by Azes I. Coin 10 is a silver
tetradrachm of this ruler, issued probably in the middle of the 1st century BCE. The overall
design of the coin clearly borrows from the standard Indo-Greek types. There is a portrait of the
king on the obverse, circled by a Greek legend, and there is a chosen deity on the reverse, circled
by a Kharoshthi legend. What is different, however, is that the king's portrait is not a bust, but
rather a representation of the king mounted on a horse, dressed in full armor, carrying a spear.
The horse must have been an important and potent symbol for a nomadic people and this
equestrian portrait recalls the past, even though the Scythians were now living a settled life. The
deity on the reverse is Zeus, holding a large fulmen (or thunderbolt) in his right hand and a
scepter in his left; it is interesting that the Scythian nomads quickly adopted the worship of
Greek gods.
347
Punch-Marked Coin from the Early Third Century B.C. (Image courtesy of Dr. Elizabeth
Errington, British Museum)
Ancient India, Maghadan Empire. Late Period IV, c. 321 BC.

The Eight Sons of Mohapadina Nanda. Silver "punchmark" coin, Karshapana mint. Numerous
symbols (see illustration below).
ref: Amennti IV, IX A3. 21x18 mm, 3.28 g.
East Khandesh hoard. Punch-marked c
348

Wealth of A Nation Ancient Accounting Sy

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Wealth of a nation: Ancient accounting systems in Bhāratīya

Wealth of a nation: Contributions by smelters, merchants, artisans, knowledge-seekers organized in guilds

dhā 'strand of rope' PLUS vaṭa 'circle' rebus: dhāvaḍa 'smelters'

Chennakesava. Somanathapura.Holds Vajra and other weapons.

Linga found in Vizhinjam, 1st cent.

Gundestrup silver cauldron. An artistic frame signifing plaiting hair.

Gaṇeśa of Gardez, Afghanistan

Kosala silver punchmarked coins (97) showing Vajra

In archaeometallurgy, vajra is also adamantine metallic glue as noted by Varāhamihira i Br̥hatsamhitā:

The section elaborates on 'adamantine glue' as Vajra in archae-metallurgical contexts.

Vajra weapon wielded against evil doers

The choice of 'dotted circle' in an

अम्भृण[" roaring terribly " Sa1y. ]m. a vessel (used in preparing

मृण् mṛṇ मृण् 6 P. (मृणर्त) To kill, slay, destroy. (Apte)

आर्रः āśriḥ आर्रः signifies f. The edge of a sword).

वज्र--िात्रण mfn. " thunderbolt-handed " , wielding a thunderbolt; m. N. of इन्द्र

आर्रः āśriḥ आर्रः f. The edge of a sword.

Sicily, Phyrrus, 278-276 B.C.E

Temple of Jupiter Capitolinus.

Thunderbolt and oak leaf, Thunderbolt Thunderbolt,

Zeus as eagle with Ganymede

Eagle on thunderbolt with oak-leaf.

Roman coin, Ptolemy I, Egypt, c. 277 B.C.E

Syracyse, 288 B.CE

Zeus with vajra,

Zeus and thunderbolt, Sicily, c. 355 B.C.E

Zeus and thunderbolt, Sicily, c. 355 B.C.E

From a seal-cylinder in the British Museum,

Marduk fighting Tiamat with the three-pronged weapon

Battle of Zeus vs. Typhon (Typhoeus). Zeus wields a vajra

friezes. Worship of Skambha.

The twisted rope is shown on Kalibangan seal K020

edges. The hour-glass or ḍamaru-shape of vajra signifies damaru

Seal impression flipped vertically to show the hieroglyph 'beer-drinking'.

See 'twistedrope' hieroglyph on 14 Ancient Near East seals and

Meluhha rebus-metonymy Indus Script cipher on all the 14 seals/artifacts is:

Hieroglyph: poLa 'zebu' Rebus: poLa 'magnetite' (Fig.1)

Fig. 1 First cylinder seal-impressed jar from Taip 1, Turkmenistan

Fig. 2 Hematite cylinder seal of Old Syria ca. 1820-1730 BCE

Fig. 4 Cylinder seal modern impression. Mitanni. 2nd millennium BCE

Fig. 10 Shahdad standard. ca. 2400 BCE Line drawing

Fig.12 Cylinder seal. Sumerian. 18th cent. BCE. Louvre AO 22366

Sarasvati Civilization arms. Some of the Bronze sickles displayed in the

Double-axe found in a Mesopotamian site. Comparable to

Chanhudaro seal C 23.Double-axe is a hypertext shown

cylinder seal, shaft-hole axe from Sibri.

Labrys in black steatite stand, fr Psychro Cave, Evans PM 1, 438.jpg

Dotted circle: dhāu 'strand'; rebus: dhātu 'mineral ore'

Roots of orthography in Veda tradition

Two Vr̥ṣṇi coins

Three ḍamaru-shaped or hour-glass shaped vajra-s are shown in a cartouche below

Indra with Vajra

Vajrasatva with vajra

Vajrapani - India, Gupta Period 6th century

Ritual Implements in Tibetan Buddhism: A Symbolic Appraisal

Some of the important ritual implements are:

The Vajra or Thunderbolt, also known in Tibetan as dorje.

Asger Mollerup - October 2002

Vajra (dorje), bronze, 13 cm, Tibet. Source: Art Asia Gallery

These ritual objects "were modelled after those brought back

Five-pronged Kongo Bell

Gyanyin - Liao Dynasty (916-1125) Northern Shanxi or Hebei Province

Vajra, Ming Dynasty, age unknown.

skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. skapa -- s.v. *khavaka -- ]