Epigraphia Indus Script Contributions To

Epigraphia Indus Script – Contributions to Art & Cultural
History of Ancient India and Hindu Iconography
I suggest that the elephant-head of Gaṇeśa in sacred sculptures is modeled after the hypertext
compositions signified as 'composite animals' on Indus Script epigraphs.
m1177, m0300 Mohenjo-daro seals ligature a

human face to the trunk of an elephant.This epigraphy model provides the framework of an
artistic style in iconography of Gaṇeśa. (The meanings of the inscriptions m1177, m0300 are
presented in Epigraphia Indus Script discussed in this monograph). Hypertext expressions of
Indus Script inscriptions are also replicated on artifacts in the round, examples of which are
presented in this monograph.
1
A seal and octagonal brick pillar in a yajñakuṇḍa in Binjor (4MSR) archaeological site on the
banks of River Sarasvati. The octagonal pillar of the Bronze Age civilization provides the
framework of an artistic style in iconography of Rudrabhāga of Śivalinga.
The rudrabhāga of Śivalinga which is octagonal in shape is traceable to this octagonal pillar
evidenced in Binjor which is in consonance with the R̥gveda tradition of installing a ketu,
'emblem' proclaiming the performance of a yajña, a Soma yajña in particular.
Ekamukhalinga from Vat Sak Sampou with Brahma-, Rudra-

and Viṣṇu-bhāga in three segments from the bottom-up.
On the top segment of Vat Sak Sampou Śivalinga, a human face is ligatured on the artistic style
of the human face ligatured to the trunk of an elephant on Mohenjo-daro epigraphs m0300 and
2
m1177. In Epigraphia Indus Script, an elephant signifies: hieroglyph: karibha, ibha 'elephant'
rebus: karba, ib 'iron', ibbo 'merchant'. [In Epigraphia Indus Script, the human face
signifies: hieroglyph mũh 'face' rebus: mũhe 'ingot' (Santali) mũhã̄ 'the quantity of metal taken
out of a furnace')].
I suggest that the Rudra-bhāga of Śivalinga is modeled after the octagonal pillar of Binjor as a
ketu proclaiming the performance of a Soma Yāga.
Thus, the iconography of Śivalinga and Gaṇeśa in ancient Bhāratīya cultural tradition, in
iconogaphy in particular, are rooted in hypertext expressions of Epigraphia Indus Script.
This monograph presents a thesis that the Indus Script Corpora are also a repository of Hindu Art
& Cultural History since the roots of Hindu iconography are traceable to the Indus Script writing
system.
“Iconography, as a branch of art history, studies the identification, description, and the
interpretation of the content of images: the subjects depicted, the particular compositions and
details used to do so, and other elements that are distinct from artistic style. The
word iconography comes from the Greek εἰκών ("image") and γράφειν ("to write"). A secondary
meaning (based on a non-standard translation of the Greek and Russian equivalent terms) is the
production of religious images, called "icons", in the Byzantine and Orthodox Christian tradition
… In art history, "an iconography" may also mean a particular depiction of a subject in terms of
the content of the image, such as the number of figures used, their placing and
gestures.” https://en.wikipedia.org/wiki/Iconography
3
Twenty sets of inscriptions of Indus Script Corpora have been presented in the monographs listed
below. The sets cover over 5000 inscriptions from Mohenjo-daro, Harappa and 40+ other sites of
Sarasvati-Sindhu civilization. The sets present readings of the Meluhha (Bhāratīya
sprachbund) hypertext expressions and deciphered plain text meanings as metalwork wealth
(artha) account ledgers. Thus, the inscriptions constitute the repository of Ancient India
Economic History –wealth of nations of Eurasia created by artisans and seafaring merchants,
during the Tin-Bronze Revolution from ca. 5th millennium BCE.
Set 1 Logical connection, anvaya, of hieroglyphs/hypertexts of Harappa inscriptions to artha
'wealth, business, meaning' -- Set 1 http://tinyurl.com/lnrjja8
Set 2: Harappa inscriptions Set 2 Metalwork catalogues document wealth-creation by Meluhha
artisans http://tinyurl.com/kuj6lxv
Set 3 Harappa inscriptions, meanings Set 3 Metalwork trade & wealth catalogues data
archives http://tinyurl.com/ltxjhoh
Set 4 Harappa inscriptions, meanings Set 4 http://tinyurl.com/n6aldac
Set 5 Harappa inscriptions, meanings Set 5 metalwork catalogueshttp://tinyurl.com/l535q3w
Set 6 Indus Script wealth & metalwork trade account – Corpora of Harappa engravings,
inscriptions Set 6 http://tinyurl.com/lmzcoge
Set 7 ಕಾಯಕವೇ ಕೈಲಾಸ ‘Work is worship’-- ātmā of Meluhha artisans and seafaring
merchants of Bronze Age (Set 7 Harappa inscriptions) http://tinyurl.com/m5y34k8
Set 8 Harappa inscriptions (1149) are data archives of foundry guild operations of Bronze
Age http://tinyurl.com/kzy95qg
Set 9 Mintmaster's karṇika sāḷ, 'school for scribes' of foundry operations and paṇi, ‘market street’
in Harappa http://tinyurl.com/lhceknk
Set 10 Harappa Foundry operations data archives in Indus Script h1691 to
h1899 http://tinyurl.com/n5w64g9
Set 11 Smelter, metalcasting operations of Harappa foundry -- Harappa inscriptions h1900 to
h1999 http://tinyurl.com/ms99gdu
Set 12 Wealth-creating metallurgical repertoire of Harappa foundry metalcasts, All 12 sets of
2590 Harappa Inscriptions http://tinyurl.com/y8djs5qs
Set 13 Itihāsa of Tin-Bronze Revolution of Eurasia -- Indus Script engravers, wealth accountants
along Ancient Maritime Route—Docu
mented karaḍā ledger entries of kañcu,kaṁsá, kuṭila, āra and other metalwork
trade http://tinyurl.com/yczk4wva (All inscriptions from all sites excuding Harappa and
Mohenjo-daro)
Set 14 Bronze Age Indus Script inscriptions of Mohenjo-daro on metal, are karaḍā ledger entries
of metalwork wealth accounts http://tinyurl.com/yark28l7
4
Set 15 Mohenjo-daro inscriptions from Indus Script Corpora http://tinyurl.com/yadqeabb
Set 16 Vākyapadīya of Mohenjo-daro Inscriptions --Indus Script Corpora are precursors
of Kauṭilya’s Arthaśāstra,science of wealth of nations http://tinyurl.com/y86fjkfc
Set 17 Mohenjo-daro Inscriptions-- Indus Script Corpora Hypertexts & meanings
-- metalwork artha, ‘wealth creation’, kharaḍa ‘account day-books’ http://tinyurl.com/y796874m
Set 18 Mohenjo-daro inscriptions Vākyapadīya m627 to m873 https://tinyurl.com/y996jmo6
Set 19 Mohenjo-daro inscriptions Vākyapadīya m874 to m1280 https://tinyurl.com/yaylr3cl
Set 20 Mohenjo-daro inscriptions Vākyapadīya m1281 to m2131: https://tinyurl.com/y9fm8cuv
Two dominant art compositions in Bhāratīya Itihāsa and cultural markers of the civilization are:
Śiva linga and Gaṇeśa.
Gaṇeśa. Aihole. Archaeological Museum.
5
6
Eighteen armed Naṭarāja, with Gaṇeśa. Badami. Cave 1.
7
Ellora rock-cut architecture. Views of the caves.
8
Entrance. Ellora Cave.
9
Gaṇeśa and Māṭrpaňcaka (the five mothers).
10
Ellora caves 14, 16, 21 22 depict Gaṇeśa.
Devi Purāṇa describes Māṭrpaňcaka (the five mothers). Gaṇeśa sculpture together with a group
of Mātr̥kā divinities who help Gaṇeśa to annihilate evil. In Devi Mahatmya, Chamunda emerged
as Chandika Jayasundara from an eyebrow of goddess Kaushiki, a goddess created from "sheath"
of Durga and was assigned the task of eliminating the demons Chanda and Munda, Chamunda is
shown with her feet on Andhaka whose body lies on the floor (Narrative from Matsya Purāṇa).
11
12
13
Gaṇeśa, Pārvati
14
Gaṇeśa sculpture in Ellora cave 22, with a human body, the head and trunk of an elephant, big
belly, four hands and holding a broken tusk on his right hand (signifying a writing instrument,
like a burin, a flint tool with a chisel point) and a bowl with modaka in his left hand. (Burin is
an engraving tool with a metal shaft that is cut or ground diagonally downward to form a
diamond-shaped point at the tip).
Tridhātu on Indus Script metalwork for crucible steel, ādhyātmikā metaphor

pr̥thvyaptejorūpadhātu (R̥gveda)
15
This monograph presents the roots of the sacred association of Gaṇeśa with Tridhātu from the
evidences provided by Sarasvati-Sindhu (Indus) Script Corpora and relates it to Sayaṇa's
interpretation of Tridhātu in a R̥gveda R̥ca (RV 1.154.4). pr̥thvyaptejorūpadhātu (R̥gveda) makes
the expression of Sayaṇa an ādhyātmikā metaphor.
The detailed evidences provided principally relate to metalwork resources of ferrite minerals,
processing of crucible steel and creation of hypertext expression by combining body parts to
expand hieroglyph compositions into a hypertext as shown on Dholkal Gaṇeśa, with clear
intimations of metalwork: Gaṇeśa wears a steel chain and holds a kaṇḍe 'pinecone'
rebus: kaṇḍa 'metal implements' on his hand.
Dholkal Gaṇeśa of Chattisgarh with extraordinary hieroglyphs used in the pratimā.Association

with the assur, 'smelter' tradition links this mūrti with the metalwork traditions traceable to
Sarasvati-Sindhu civilization. Chattisgarh is the ironore and mineral part of Bhāratam. Bhāratiya
Itihāsa traditions link Gaṇeśa to Śiva and Pārvati (daughter of Himavan, Himalayan mountain,
hence associatd with mr̥t 'earth' used to form Gaṇeśa pratimā for worship).
Just as Gaṇeśa is traced to Sarasvati-Sindhu script traditions of hieroglyph/hypertext cipher

16
(Meluhha cipher of Mlecchita vikalpa), Śiva is traced to the presence of Śivalingas in Harappa
and the find of an octagonal pillar in a yajna kunda in Binjor.
The rudrabhāga of Śivalinga which is octagonal in shape is traceable to this octagonal pillar
evidenced in Binjor which is in consonance with the R̥gveda tradition of installing a ketu,
'emblem' proclaiming the performance of a yajna, a Soma yajna in particular. The same tradition
is seen in 19 Yupas which are octagonal and with Yupa inscriptions in Rajasthan historical sites,
Allahabad, Mathura, East Borneo (Mulavarman). The trace to R̥gveda tradition is attested in
greate detail in Satapatha Brahmana which describes the details of the yupa and caṣāla (which is
godhuma, 'wheat chaff'. caṣāla infuses carbon into the metal processed in a yajna kunda making
the metal hard by a process carburization in metallurgy. Thus, element carbon enters the
elements of the mineral ores in specific metals or metal alloys.
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. 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,MS, Excavations at Harappa, p. 370)
17
Two decorated bases and a lingam, Mohenjodaro.
After Fig. 8.305 RS Bisht. Dholavira. Details of free standing columns.
18
Five-headed
Mukhalinga embedded in a yoni;Budanilkantha, Nepal
19
Photograph from Malleret, L., L'archaeologie du delta du Mekong, Paris, 1959;
Ekamukhalinga from JaiyA, National Museum, Bangkok
Ekamukhalinga from Vat Sak Sampou

“The JaiyA ekamukhalinga is divided into three parts in accordance with the prescriptions in the
Siva Agamas. The base, BrahmabhAga, is cubic in form and is 47.8 cms. High. The middle
section, the ViSNubhAga, is octagonal in shape and is approximately 43 cm. High. The topmost
section, the RudrabhAga, is cylindrical and is approximately 51 cms high, while the
superimposed face measures 29.5 cms from the bottom of the chin to the top of the jaTA. The
two lower sections of the linga would not normally be visible, since they would be enclosed in
the pedestal (pIThikA)...One of the singular features of these pre-Angkorian mukhalingas is the
fusing of the jaTA with the filet on the gland of the RudrabhAga (fig.2)...There is, however, an
ekamukhalinga from Vat Sak Sampou (fig. 3) which displays a coiffure which is very muh like
20
that worn on the JaiyA linga.” (O'Connor, SJ, 1961, An ekamukhalinga from Peninsular
Siam, The Journal of the Siam Society. The Siam Society. pp. 43-49).
http://www.siameseheritage.org/jsspdf/1961/JSS_054_1e_OConnor_EkamukhalingaFromPenins
ularSiam.pdf
Linga with One Face of Shiva (Ekamukhalinga), Mon–Dvaravati period, 7th–early 8th century.
Thailand (Phetchabun Province, Si Thep) Stone; H. 55 1/8 in.
Octagonal form of ViSNubhAga and the occurrence of pancamukhalinga is consistent with the
tradition of pancaloha 'five dhAtu or five mineral alloy' images as utsavaberas.
I suggest that the mukha on the linga is read rebus from the hieroglyph:
21
mũh 'a face' Rebus: mũh,muhã 'ingot' or muhã 'quantity of metal produced at one time in a native
smelting furnace.' This reaffirms the association of the octagonal brick of Binjor fire-altar with
the Skambha as linga or vajra which participates in the process of smelting dhAtu, 'ores'.
Face on Bhuteswar sivalinga & face with body of a hunter on Gudimallam sivalinga
Worship of Shiva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625 This is
worship by kharva 'dwarfs' gaNa of Siva, celebrating Kubera's nidhi also called kharva Rebus:
karb 'iron' (Tulu)
Relief with Ekamukha linga. Mathura. 1st cent. CE
22
Worship of a fiery pillar,Amaravati
Naga worshippers of fiery pillar, Amaravati stupa 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' On top of the skambha are fish-fins linked together:
Hieroglyph: khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coiner, coinage' . Cobra
hood: phaNi 'cobra hood' rebus; phaNi 'lead or zinc'; paNi 'merchant, marketplace'.meḍ 'step'
rebus: meḍ 'iron'
23
Yajna Kunda. Binjor with octagonal yupa
Sarasvati-Sindhu Script seal. Binjor
24
Hieroglyph: kõda 'young bull, bull-calf' rebus: kõdā 'to turn in a lathe'; kōnda 'engraver,
lapidary'; kundār 'turner'.
Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara 'proclamation.

Together, the message of the Binjor Seal with inscribed text is a proclamation, a metalwork
catalogue (of) 'metallic iron alloy implements, hard alloy workshop' gaṇḍa 'four (short strokes'
as circumscript rebus: लोखंड [lōkhaṇḍa ] 'metalwork' PLUS khambhaṛā 'fish-fin'
rebus: kammaTa 'mint, coiner, coinage' PLUS ayo 'fish' rebus: ayas 'alloy metal' PLUS ḍhāla f (S
through H) The grand flag of an army directing its march and encampments: also the standard or
banner of a chieftain' rebus: ढाल [ ḍhāla ] 'metal ingot' PLUS pōlaḍu, 'black drongo bird'
rebus: pōlaḍa, 'steel'.
An excellent treatise on Gaṇeśa's iconographic forms is a work in Kannada by Vidwan Ganesa

Bhatta Hobali titled: ಗಜಮುಖನ ದಿವ್ಯ ಮುಖಗಳು, ತಾತ್ವಿ ಕ ವಿಕಾರಗಳೊಂದಿಗೆ , 2015, MS
Jagannatha Singh Publisher, Bengaluru. One attribute of Gaṇeśa is mr̥tpriya, 'fond of earth'.
It is inferred from this metaphor of the form of Gaṇeśa with an elephant's trunk as his head
attached to the body is relatable to the earth's elements or three basic mineral resources. This
explanation is at an ādi bhautika level.
25
An ādhyātmikā, ādidaivikā interpretation is provided by Sayana in his bhashya of Rigveda
reference to tri-dhātu in RV 1.154.4 Sayana says: त्रयाणाम् धातूनां समाहारस्त्रिधातु
पृथ्व्यप्तेजोरूपधातुत्रय -- विविष्टम् यथा भिवत तथा दाधार धृतिान् -- Sayana's elucidation of the r̥ca
reference to tridhātu is provided in the following R̥gveda text and translation (Griffith's variant
translation is also provided)..
I submit that the hieroglyphis metaphors of Gaṇeśa in iconographic tradition is traceable to

Sarasvati-Sindhu Script hieroglyphs and hypertexts. One remarkable characteristic of Meluhha
cipher (mlecchita vikalpa) of the Script is the device of hypertexts by joining body parts of
different animals including human faces and bodies. Many examples of this device
called सां गड sāṅgaḍa 'joined animal parts'(Marathi). This is rebus for sangara 'trade' using
invoices with products delivered on jāṅgaḍa, i.e. on approval basis. A derived expression in
Gujarati is jangadiyo 'military guard carrying treasure into the treasury', i.e. the warehouse of the
commonwealth of guild (śreṇi).
At an ādi bhautika level, the meaning of the expression tridhātu is provided by the following
lexical entries from ancient languages of Bharatiya sprachbund:
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)
Based on this resource, it is submitted that the expression tridhātu means: three red stone ores
worked on by dhā̄̆vaḍ 'smelters'. The three red ores signiied on many Sarasvati-Sindhu Script
inscriptions are: magnetite, haematite, laterite (Meluhha words: pola (magnetite), gota (laterite),
bichi (hematite) magnetite ore [pōḷa], steel [pōlāda]; bica 'haematite, ferrite ore'; gota laterite,
ferritte ore'. The hieroglyphs related to these three forms of red ore ferrite minerals are:
karibha,ibha' elephant' rebus: karba, ib 'iron' ibbio 'merchant'; goTa 'round stone' rebus: goTa
'laterite ore'; bica 'scorprion' rebus: bicha 'haematite, ferrite ore'; poLa 'zebu bull, bos indicus'
rebus: poLa 'magnetite, ferrite ore'.
I submit that there are hieroglyhs used in composing Gaṇeśa icon: (human) body, (head)
elephant trunk, one elephant tusk (tooth). These are presented as hieroglyphs and rebus readings
as follows: meḍ 'body' rebus; meḍ 'iron' PLUS karba, ibha 'elephant' rebus: karba, ib 'iron'
PLUS Ku. N. dã̄t 'tusk, tooth' rebus:dhatu 'mineral ore'. A combination of these three ore
expressions as hieroglyphs result in the expression Tridhātu as a name for or attribute of Gaṇeśa.
This semantic clustering of ferrite ore related hieroglyphs is semantically reinforced by the
determinative hieroglyph associated with Gaṇeśa as his vāhana which is a mūṣa which is a
homonym for which means mūṣā, mūs ʻcrucibleʼ used for producing pōlāda, 'crucible steel',
26
Thus, human body PLUS elephant tusk PLUS elephant trunk PLUS mouse yield the Meluhha
terms: meḍ 'body' rebus; meḍ 'iron' PLUS dã̄t 'tusk, tooth' rebus: dhatu 'mineral ore' PLUS mūṣa
'rat, mouse' rebus: mūṣā, mūs ʻcrucibleʼ for processing in a crucible: karba, ibha 'elephant'
rebus: karba, ib 'iron'.
mūṣa m., °ṣā -- f. ʻ rat, mouse ʼ Pañcat., mūṣaka -- m. Yājñ., muṣ° lex. 2. mūˊṣika -- m. ʻ rat,
mouse ʼ Gaut. [mūˊṣ -- ]1. Pa. mūsī -- f. ʻ mouse ʼ; Pk. mūsaya -- m. ʻ rat ʼ; Gy. gr. mušó, musó ʻ
mouse ʼ, wel. musō m., germ. ker -- mūso (ker -- < ghara -- ), hung. musi f., as. muš; Ḍ. mūša ʻ
rat ʼ; Ash. mušä, muṣə, musä, Kt. mūs̃ ə, Pr. mṳ̄sūˊ; Kamd. muzúk ʻ vulva ʼ, (Davidson) "muzzā" ʻ
eggs ʼ (semant. cf. muṣká -- ʻ testicle, vulva ʼ IEW 753); Dm. muṣá ʻ mouse ʼ, Paš.dar. mūč,
ar. mū3č (< *mūṣačī -- , but mūš ← Pers. IIFL iii 3, 126), Shum. múṣo, Woṭ. muš, Gaw. muṣa,
Kal. mizók (← Kaf., e.g. Kamd.); Bshk. mūṣ ʻ rat, mouse ʼ; Tor. mūš ʻ mouse ʼ (= mūṣ?
Morgenstierne IL v 358), Sv. múṣo, Phal. mūṣ̃ o; Sh.koh. mūẓ̃ ṷ m., gur. mūẓṷ m. ʻ rat ʼ, jij. muẓu,
koh. mŭẓoi f., gur. mŭẓai f. ʻ mouse ʼ; P. mūsā m. ʻ rat ʼ (← H.), WPah.bhal. muś m., khaś.
jaun. mūśā; Ku. N. muso ʻ rat, mouse ʼ (N. also ʻ wart ʼ); OB. musā ʻ rat ʼ, Or. mūsā;
Mth. mūs, mūsā, musarī ʻ mouse ʼ, Bhoj. mus; H.mūs, mūsā, mūsrā m., °rī f. ʻ rat, mouse ʼ.2.
Pa. mūsika -- m., °kā -- f. ʻ mouse ʼ; NiDoc. muṣka ʻ rat, mouse ʼ Burrow KharDoc 112;
Pk. mūsiya -- m. ʻ rat ʼ, Sh. (Lor.) mūẓi; Or. mūsi ʻ small mouse ʼ; Si. mīyā, st. mī -- ʻ rat
ʼ.Addenda: mūṣa -- [Cf. mūˊṣaḥ nom.pl. RV.]Gy.germ. mišo m. ʻ mouse ʼ; WPah.kṭg.
(kc.) múśśɔ, J. muśā m., kṭg. (kc.) múśśəṇ f. (obl. -- i); Garh. mūsu ʻ mouse ʼ, mussu ʻ rat
ʼ. †*mūṣadēhī -- .(CDIAL 10258). †*mūṣadēhī -- ʻ mouse -- hole ʼ. [mūṣa -- , dēhī --
]WPah.kṭg. məśṛn/a f. ʻ mous -- hole ʼ (Him.I 183: ṛn/a < dēhī).(CDIAL 10260a).
This mūṣa vāhana is rebus: crucible (as used to produce pōlāda, 'crucible steel', mūṣā f. ʻ
crucible ʼ MārkP. A. muhi ʻ crucible ʼ, B. muchi, Or. musā, H. G. M. mūs f., Si. musā. (CDIAL
10262)
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. -- See
Add.dantaka -- , *dantāla -- , dantāvala -- , dantín -- , *dantiya -- , dantila -- , danturá -- ,
*dantula -- ; dantakīla -- , dantakrūram, dantadhāvana -- , dantapavana -- , dantamāṁsa -- ,
*dantāpatāna -- , dantāli -- ; *uddanta -- , caturdanta -- , *dudanta -- , ṣōḍanta -- ; -- dantī -- .
Addenda: dánta -- : S.kcch. ḍandh m.pl. ʻ teeth ʼ; WPah.kṭg. (kc.) dānd m., J. dã̄d m., Garh. dã̄t,
Md. dat. (CDIAL 6152)
Wilson (Based on Sayana):
27
1.154.01 Earnestly I glorify the exploits of Vis.n.u, who made the three worlds; who sustained
the lofty aggregate site (of the spheres); thrice traversing (the whole); who is praised by the
exalted. [pa_rthiva_ni vimame raja_m.si = lit. he made the earthly regions; pr.thivi_ = three
worlds: atra trayo loka_ api pr.thivi_ s'abdava_cya_; Indra and Agni are said to abide in the
lower, middle and upper pr.thivi_ or world-- yad indra_gni_ avamasya_m pr.thi_vya_m
madhyamasya_m paramasyam uta stha (RV. 1.108.9; Taittiri_ya Sam.hita_ 1.2.12.1); seven
lower loka_s are also included in the word pr.thivi_;or, the term is limited to the three regions
addressed in prayer, bhu_h bhuvar svar; who sustained the lofty: uttaram sadhastham
askabha_yat: sadastha = the firmament, as the asylum of the three regions--
lokatraya_s'rayabhu_tam antariks.am; or, the seven regions above the earth; or, the highest
region of all, whence there is no return; or the above of the righteous, the satya-loka;
askabha_yat = nirmitava_n, created; thrice traversing: vicakrama_n.as tredha_ (idam vis.n.urvi
cakrame: RV. 1.22.17); traversing in various ways in own created worlds].
1.154.02 Vis.n.u is therefore glorified, that by his prowess he is like a fearful, ravenous, and
mountain-haunting wild beast, and because of that in his three paces all worlds abide. [Mountain-
haunting wild beast: mr.ga or sim.ha, a lion, as applicable to Vis.n.u: one who seeks for his
enemies to inflict punishment on them, and is therefore, fearful and fierce; giris.t.ha_h = he who
dwells on high, or who abides in prayer and the like: mantra_diru_pa_ya_m va_ci artama_nah].
1.154.03 May acceptable vigour attend Vis.n.u, who abides in prayer, the hymned of many, the
showerer (of benefits), who alone made, by three steps, this spacious and durable aggregate (of
the three worlds). [Who abides in prayer: giriks.it, who dwells in speech, or who abides in high
places].
1.154.04 Whose three imperishable paces, filled with ambrosia, delight (mankind) with sacred
food; who verily alone upholds the three elements, and earth and heaven. [The three elements:
tr.dha_tu, the aggregate of three elements, earth, water, light: pr.thivyaptejoru_pa
dha_tutrayavis'is.t.am; or, the three periods of time, or the three qualities].
1.154.05 May I attain his favourite path, in which god-seeking men delight; (the path) of that
wide-stepping Vis.n.u, in whose exalted station there is a (perpetual) flow of felicity; for to such
a degree is he the friend (of the pious). [His favourite path: the firmament: patho anatariks.am].
1.154.06 We pray (to Vis.n.u) that you may both go to those regions where the many-pointed and
wide-spreading rays (of light expand); for here the supreme station of the many-hymned, the
showerer (of benefits), shines (with) great (splendour). [You both: the sacrificer and his wife. In
the Yajus. VI.3 the pa_da: ta_ va_m va_stu_nyus'masi gamadhyai is varied: ya te
dha_ma_nyus'masi gamadhyai, those places to which we desire your going; the hymn is
addressed to the yu_pa, or post of sacrifice, while trimming it to shape; the second pa_da is
retained in tact, replacing avabha_ti with avabha_ri].
Griffith:
1. I WILL declare the mighty deeds of Visnu, of him who measured out the earthly regions,
Who propped the highest place of congregation, thrice setting down his footstep, widely striding.
2 For this his mighty deed is Visnu lauded, like some wild beast, dread, prowling,
mountainroaming-;
He within whose three wideextended- paces all living creatures have their habitation.
3 Let the hymn lift itself as strength to Visnu, the Bull farstriding-, dwelling on the mountains,
28
Him who alone with triple step hath measured this common dwellingplace-, long, far extended.
4 Him whose three places that are filled with sweetness, imperishable, joy as it may list them,
Who verily alone upholds the threefold, the earth, the heaven, and all living creatures.
5 May I attain to that his wellloved- mansion where men devoted to the Gods are happy.
For there springs, close akin to the WideStrider-, the well of meath in Visnus' highest footstep.
6 Fain would we go unto your dwellingplaces- where there are manyhorned- and nimble oxen,
For mightily, there, shineth down upon us the widelystriding- Bulls' sublimest mansion.
वत्रधातुुः, पुं, (त्रीन् धर्म्ाा थाकामान् दधावत पुष्णा-तीवत । धा + तुन् ।) गणे िुः । इवत वत्रकाण्ड-िेषुः ॥ (त्रयाणां
घातूनां समाहारुः ।) धातु -त्रये , क्ली ॥ https://sa.wikisource.org/wiki/िब्दकल्पद्रुमुः
वत्रधातु पु० त्रीन् धमाा थाकामान् दधावत पुष्णावत धा--तुन् । १ गणेिे वत्रका० । समा० विगुुः । २ धातु त्रये न०
। https://sa.wikisource.org/wiki/िाचस्पत्यम्
he mahesvarasameepe rambate anekarthatvad dhatunam tishthatiti
herambah(Namalinganusasanam Kanda 1)
Trikanda: tridhaturekadantasca dvideho mushikancanah, ಗಣಪತ್ವ, ವಿನಾಯಕ, ಮೂರು
ಧಾತುಗಳು
தாது¹ tātu , n. < dhātu. 1. Mineral, fossil; any natural product from a mine; கனி களில்
உண்டாகும் இயற் ககப்பபாருள் . 2. Metals; பபான்முதலிய உலலாகங் கள் .
(பிங் .) धातुमय (p. 250) dhātumaya a (S) Composed or consisting of metal,
metallic. धातुमाविक (p. 250) dhātumākṣika n S A mineral substance, a sulphuret of iron.
(Marathi) धातु --माविक [p= 514,1] sulphuret of iron (Monier-williams)
தாதுவாதி tātu-vāti , n. < dhātuvādin.
Assayer of metals;
உலலாகங் ககளச் லசாதிப்லபான். (W.) धातुिाद (p. 250) dhātuvāda m S Mineralogy or

chemistry. धातुिादी (p. 250) dhātuvādī m S A mineralogist or a chemist; a man conversant about
metals and minerals. (Marathi)
पञ्चन् pañcan लोहम् a metallic alloy containing five metals (i. e. copper, brass, tin, lead and
iron).-लोहकम् the five metals i. e. gold, silver, copper, tin and lead.
29
Source: http://muktalib5.org/VEDIC_ROOT/vedic_library.htm
ॐ गणानां त्वा गणपवतं हिामहे

कविं किीनामुपमश्रिस्तमम् ।
ज्येष्ठराजं ब्रह्मणाम् ब्रह्मणस्पत
आ नुः शृण्वन्नूवतवभुःसीदसादनम् ॥
ॐ महागणावधपतये नमुः ॥
Meaning:
1: Om, O Ganapati, To You Who are the Lord of the Ganas (Celestial Attendants or Followers),
weOffer our Sacrificial Oblations,
2: You are the Wisdom of the Wise and the Uppermost in Glory,
3: You are the Eldest Lord (i.e. ever Unborn) and is of the Nature of Brahman (Absolute
Consciousness); You are the Embodiment of the Sacred Pranava (Om),
4: Please come to us by Listening to our Prayers and be Present in the Seat of this Sacred
Sacrificial Altar.
5: Om, our Prostrations to the Mahaganadhipati (the Great Lord of the Ganas).
Pañcāyatana pūjā is worship of Gaṇeśa, Vishnu, Shiva, Devī, and Sūrya.
Gaṇeśa Nrtya Walters Art Museum.
30
Bera Utsav is a regional festival celebrated in the
Murshidabad district of the state of West Bengal. The annual event is organized at the historical
and picturesque location of Lalbagh, which at one time was the home of the Nawabs and is
located on the banks of River Bhagirathi. People throng the district of Murshidabad to witness
this magnificent event. The event is held on the last Thursday of the Bhadra month of the
traditional Bengali calendar.
utsavá m. ʻ enterprise ʼ RV., ʻ festival ʼ MBh. [√sū] Pa. ussava -- m. ʻ festival ʼ, Pk. ucchava --
, °chaa -- , ussava -- , ūsa°, ōsa° m., K. wō̆ ċhav, °ċhuwu m.; S. uchaü, och°, ocho m. ʻ feast
given to brahmans ʼ; Or. ucha ʻ festival ʼ, osā ʻ festival, vow ʼ. dīpōtsava -- , mahōtsava --
.(CDIAL 1876) 9979 mahōtsava m. ʻ great festival ʼ MBh. [mahā -- , utsavá --
]Pk. mahocchava -- , °hōsava -- , °hussava -- , °hūsava -- m.; P. mahocchā m. ʻ celebration,
appointment of a new mahout ʼ; H. mahochā m. ʻ great festival ʼ, OG.mochava m.(CDIAL
9979)dīpōtsava m. ʻ festival of lights ʼ BhavP. [dīpa -- , utsavá -- ]
Pk. dīvūsava -- m. ʻ new moon of Kārtik ʼ; N. deusi ʻ festival beginning on the 5th day of Diwāli
ʼ.(CDIAL 6359)
Source: agnyāyatanaṁ and agnihotrahomaḥ colophon: punarādheyam

http://muktalib5.org/VEDIC_ROOT/TEXTS/JOGLEKAR/JOGLEKAR-PDF/J0045.pdf
गणा f. N. of one of the mothers in स्कन्द's retinue MBh. ix ,

2645 (cf. अहर् - , मर् /उद् - , ि्/ऋष- , स्/अ- , सप्त्/अ- , स् /अिा - ; दे ि-,महा- ,andविद-
गण् /अ.) गण [p=343,1] m. a flock , troop , multitude , number , tribe , series , class (of animate or
inanimate beings) , body of followers or attendants RV. AV.&c troops or classes of inferior
deities (especially certain troops of demi-gods considered as विि's attendants and under the
special superintendence of the god गणे*ि ; cf. -दे िता) Mn. Ya1jn5. Lalit. &c a single attendant
31
of विि VarBr2S. Katha1s. Ra1jat. iii , 270N. of गणे*ि W.a company , any assemblage or
association of men formed for the attainment of the same aims Mn. Ya1jn5. Hit.m. a particular
group of सामन् s La1t2y. i , 6 , 5 VarYogay. viii , 7
I do NOT know when the iconography of Gaṇeśa emerged. There are indications that the rūpa of
dhātu (hieroglyph components of the hypertext called Gaṇeśa) can be explained in R̥gveda
metaphors.
In the laukika-lokottara research methodology of unraveling the traditions handed down to us

from time immemorial, it is seen that the written documentation in Indus Script Corpora and the
traditions enshrined in annual festivities of people in the Indian sprachbund continuum can be
correlated.
This may perhaps provide clues to an understanding of why the unique iconography of Gaṇeśa
emerged.
This may perhaps provide clues to an understanding of why the unique iconography of Gaṇeśa
emerged.
Ligatured glyph on copper tablet. m571B (serpent-like tail, horns, body of ram, elephant trunk,
hindlegs of tiger).
Slide 63 Elephant trunk ligatured to a winnowing fan Material:

terra cotta. Dimensions: 4.8 cm height, 5.4 cm width, 4.6 cm breadth. Harappa Museum, H87-
348 Elephant trunk LUS winnowing fan: karibha 'elephant trunk' rebus: karba 'iron' ibha
'elephant' rebus: ib '''iron' PLUS kulA 'winnowing fan' rebus: kol 'working in iron' kolhe 'smelter'
kolle 'blacksmith'. Alterntive: phaṇi 'cobra's hood' rebus: phaṇi 'lead or zinc'. This hypertext may
thus signify an alloly of lead or zinc PLUS karibha, ibha 'elephant' rebus: karba, ib 'iron' PLUS
dAnt 'tusk' rebus: dhAtu 'mineral ore'.
Slide 44 harappa.com Elephant figurine head with painted designs from Harappa.. It is unknown
whether elephants were domesticated in the Indus Civilization. However, one of the few elephant
figurines from Harappa is a head with large stylized ears and red and white stripes painted across
the face. This may mirror the custom of decorating domesticated elephants (red and white are
32
common colors) for ceremonies or rituals that is still practiced in South Asia. Elephant bones
have also been found at Harappa. Approximate dimensions (W x H(L) x D): 5.4 x 4.8 x 4.6 cm.
(Photograph by Richard H. Meadow)
Terracotta.
Tiger, bovine, elephant, Nausharo NS 92.02.70.04 h. 6.76 cm; w. 4.42; l. 6.97cm. kola 'tiger'
rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' barada, balada 'bull' rebus: bharata
'alloy of pewter, copper, tin'; karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'
Centre for Archaeological Research Indus Balochistan, Musée Guimet, Paris.
The orthographic style of creating 'composite animals' is also evident from the following
examples of artifacts:
Three-headed: elephant, buffalo, bottom jaw of a feline. NS 91.02.32.01.LXXXII. Dept. of

Archaeology, Karachi. EBK 7712
Hieroglyph: karibha 'trunk of elephant' (Pali) ibha 'elephant' (Samskritam) Rebus: karba 'iron' ib
'iron'; rango 'buffalo bull' Rebus: r
33
anga 'pewter,
solder' kola 'tiger' Rebus: kol 'working in iron'
Une tête d'éléphant en terre cuite de Nausharo (Pakistan)

In: Arts asiatiques. Tome 47, 1992. pp. 132-136. Jarrige Catherine
34
http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-3958_1992_num_47_1_1330
The elephant head ligatured with a buffalo at Nausharo is a curtain-raiser for the practice of
ligaturing in Indian tradition for utsava bera 'idols carried on processions'. The phrase utsava
bera denotes that processions of the type shown on Mesopotamian cylinder seals or Mohenjo-
daro tablets are trade processions for bera 'bargaining, trade'. Thus, the processions with
hieroglyphs may be part of trade-exchange fairs of ancient times. It is significant that the utsava
bera of Ganesa is shown together with a rat or mouse -- as vāhana: ibha 'elephant' Rebus: ib
'iron'. mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'. Thus both rat/mouse and elephant face ligatured
to a body, are Meluhha hieroglyphs related to metallurgical processes.
Utsava bera pōḷā (zebu, bos indicus) may be seen in the processions during festival days of
Utsava Nandi and veneration in temples on days of pradosham.
బేరము [ bēramu ] bēramu. [Skt.] n. An image. ప్రతిమ. "రంకములోని హైమబేరము." రర. v.
బేరము [ bēramu ] bēramu. [Tel.] n. Trade, dealing, a

bargain, బేరముసారము or బేరసారము trade, &c. (సారము being a mere
expletive.)బేరకాడు bēra-kāḍu. n. One who makes a bargain, a purchaser, buyer. కొనువాడు,
బేరమాడువాడు. బేరకత్తె bēra-katte. n. A woman who bargains or
purchases. బేరమాడు or బేరముచేయు bēram-āḍu. v. n. To bargain. బేరముపోవు to go on a
trading journey. బేరి bēri. n. A man of the Beri or merchant caste.
उत् -सि b [p= 182,2] m. enterprise , beginning RV. i , 100 , 8 ; 102 , 1
पोळा [ pōḷā ] m (पोळ) A festive day for cattle,--the day of new moon of श्रािण or of भाद्रपद.
Bullocks are exempted from labor; variously daubed and decorated; and paraded about in
worship.
35
Tiger or leopard figurine with incised facial features, including punctated dots on the face that
could be whisker marks. This figurine depicts a normal feline without horns or human face and
therefore probably represents the actual wild animal. Hand formed with applique eyes.
Material: terra cotta
Dimensions: 5.7 cm height, 11.9 cm length, 4.5 cm width
Harappa, Lot 59-17
Harappa Museum, H87-339
Dales and Kenoyer 1990: fig. 62.3, Dales and Kenoyer 1991: fig. 13.14, 1
https://www.harappa.com/slide/tiger-figurine
36
Two composite
anthropomorphic / animal figurines from Harappa kola 'woman' kola 'tiger' rebus: kol 'working in
iron' kolhe 'smelter' kolle 'blacksmith'.
37
harappa.com "Slide 88. Three objects (harappa.com) Three terra cotta objects that combine
human and animal features. These objects may have been used to tell stories in puppet shows or
in ritual performances.
On the left is a seated animal figurine with female head. The manner of sitting suggests that this
may be a feline, and a hole in the base indicates that it would have been raised on a stick as a
standard or puppet. The head is identical to those seen on female figurines with a fan shaped
headdress and two cup shaped side pieces. The choker with pendant beads is also common on
female figurines. Material: terra cotta Dimensions: 7.1 cm height, 4.8 cm length, 3.5 cm
width Harappa, 2384 Harappa Museum, HM 2082 Vats 1940: 300, pl. LXXVII, 67
In the center is miniature mask of horned deity with human face and bared teeth of a tiger. A
large mustache or divided upper lip frames the canines, and a flaring beard adds to the effect of
rage. The eyes are defined as raised lumps that may have originally been painted. Short feline
ears contrast with two short horns similar to a bull rather than the curving water buffalo horns.
Two holes on either side allow the mask to be attached to a puppet or worn as an amulet.
Dimensions: 7.1 cm height, 4.8 cm length, 3.5 cm width

Harappa, 2384 Harappa Museum, HM 2082 Vats 1940: 300, pl. LXXVII, 67
In the center is miniature mask of horned deity with human face and bared teeth of a tiger. A
large mustache or divided upper lip frames the canines, and a flaring beard adds to the effect of
rage. The eyes are defined as raised lumps that may have originally been painted. Short feline
ears contrast with two short horns similar to a bull rather than the curving water buffalo horns.
Two holes on either side allow the mask to be attached to a puppet or worn as an amulet.
Dimensions: 5.24 height, 4.86 width
Harappa
Harappa Museum, H93-2093
Meadow and Kenoyer, 1994
On the right is feline figurine with male human face. The ears, eyes and mouth are filled with
black pigment and traces of black are visible on the flaring beard that is now broken. The
38
accentuated almond shaped eyes and wide mouth are characteristic of the bearded horned deity
figurines found at Harappa and Mohenjo-daro (no. 122, 123). This figurine was found in a sump
pit filled with discarded goblets, animal and female figurines and garbage. It dates to the final
phase of the Harappan occupation, around 2000 B. C.
Harappa, Lot 5063-1 Harappa Museum, H94-2311
Material: terra cotta Dimensions: 5.5 cm height, 12.4 cm length, 4.3 cm width
http://www.harappa.com/indus/88.html
Slide72. Two composite anthropomorphic / animal figurines from Harappa.Whether or not

the attachable water buffalo horns were used in magic or other rituals, unusual and composite
animals and anthropomorphic/animal beings were clearly a part of Indus ideology. The
ubiquitous "unicorn" (most commonly found on seals, but also represented in figurines),
composite animals and animals with multiple heads, and composite anthropomorphic/animal
figurines such as the seated quadruped figurines with female faces, headdresses and tails offer
tantalizing glimpses into a rich ideology, one that may have been steeped in mythology, magic,
and/or ritual transformation. Approximate dimensions (W x H(L) x D) of the larger figurine: 3.5
x 7.1 x 4.8 cm. (Photograph by Richard H. Meadow)
Nahali (kol ‘woman’) and Santali (kul ‘tiger’; kol ‘smelter’)
वत्र--धातु [p= 458,3] mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to denote
excessive) RV. S3Br. v , 5 , 5 , 6
39
Folio from a Bhagavatapurana Series: King Yudhisthira Performs the Rajasuya Sacrifice, 1825-
50 India: Himachal Pradesh, Kangra Workshop, 1825-1850 Opaque watercolor and gold on
paper image: 10-1/2 x 15-5/8 in. (26.7 x 39.7 cm); sheet: 12-1/4 x 17 in. (31.1 x 43.2 cm) Norton
Simon Museum, Gift of Ramesh and Urmil Kapoor P.2003.02.02
[quote]Rajasuya (Imperial Sacrifice or the king's inauguration sacrifice) is a Śrauta ritual of

the Vedic religion. It is a consecration of a king.[1] It is described in the Taittiriya corpus,
including Apastamba Srauta Sutra 18.8–25.22.[1] It involves soma pressing, a chariot drive, the
king shooting arrows from his bow, and a brief cattle “raid.”[1] There is a telling of the tale
of Shunahshepa, a boy who was nearly sacrificed to Varuna on behalf of the sonless
king Harishchandra.[1] Also included is a game of throwing dice by which the king is enthroned
and the cosmos is regenerated...This yagya (sacrifice) can be included under the list of other
complex yagyas like ishti, pashuyagya, somayagya darvihoma etc. This is a very complex yagya
including 129 ishti yagya, 2 pashu yagya, 7 darvi homas and 6 soma yagyas. There are most
amazing type of gifts that are given to the priests ( purohitas) who are performing this
yagya.Two gold-coated mirrors should be given to the "adhwaryu", who is one of the main priest
in this yagya. A Golden chain should be given to the "Udgatha", another type of priest in this
yagya.Another type of priest called "Hotha" should be given a Golden ornament called "rukma"
as presentation.A white horse each for "Prathihartha" and "Prasthotha" two types of priests
performing this yagya. The main priest called "brahma" should ge given 12 healthy cows .
"maithra varuna" -the second most important priest should be presented by a "pregnant cow".
The "brahmanajhamsi" priest should be presented by a healthy "Ox" . "neshta" and "potha"
40
should be given a couple of two precious "silks". The "achavaka" priest should be presented by a
cart full of "yava" a type of cereal. Finally the "agneeth" priest should be presented by a healthy
"ox". There are special fees that should be given to the priests who are performing this yagya for
the king (Satapatha Brahmana Second adhyaya Third brahmana onwards 13 chapters)...In
Yudhishtira's Rajasuya,agra puja was given to Lord Krishna. Another yajna equivalent to this
yajna is called as "vaishnava yajna". Rajasuya is performed by king Yudhishtira in mahabharatha
and "Vaishnava yajna" is performed by king Duryodhana in mahabharatha [unquote]
https://en.wikipedia.org/wiki/Rajasuya
• Knipe, David M. (2015), Vedic Voices: Intimate Narratives of a Living Andhra Tradition,
Oxford: Oxford University Press
41
http://shodhganga.inflibnet.ac.in/
S'Br. 5.5.5.6 tásya yo yóniraashaya aása | támanuparaamR!shya

saMlúpyaachinatsai&SéSTirabhavattadyádetásminnaashaye trídhaaturivaiSaá vidyaásheta
tásmaattraidhaatavii naáma
And that which had been his (Vritra's) seat, his retreat, that he shattered, grasping it and tearing it
out 1: it became this offering. And because the science (the Veda) that lay in that retreat was, as
it were, a threefold (tridhâtu) one, therefore this is called the Traidhâtavî (ishti).
Rājasūya
5.5.5.1 He prepares a cake on twelve potsherds for Indra and Vishnu. Now as to why he makes
this offering. Of old, everything here was within Vrit
...
5.5.5.7. And as to why the oblation is one for Indra and Vishnu, it is because Indra raised the
thunderbolt, and Vishnu stood by him.
5.5.5.8. And why it is (a cake) on twelve potsherds,--there are twelve months in the year, and the
offering is of equal measure with the year: therefore it is one of twelve potsherds.
5.5.5.9. He prepares it of both rice and barley. He first puts on (the fire) a ball of rice, that being
a form (symbol) of the Yagus-formulas; then one of barley, that being a form of the Rik-verses;
then one of rice, that being a form of the Sâman-hymns. Thus this is made to be a form of the
triple science: and this same (offering) becomes the Udavasânîyâ-ishti (completing oblation) for
the performer of the Râgasûya.
5.5.5.10. For, verily, he who performs the Râgasûya gains for himself (the benefit of) all
sacrificial rites, all offerings, even the spoonful-oblations; for him the sacrifice becomes as it
were exhausted, and he, as it were, turns away from it. Now the whole sacrifice is just as great as
that triple Veda; and this (offering) now is made a form of that (Veda, or sacrifice); this is its
womb, its seat: thus he commences once more the sacrifice by means of that triple Veda; and
thus his sacrifice is not exhausted, and he does not turn away from it.
5.5.5.11. And, verily, he who performs the Râgasûya gains for himself all sacrificial rites, all
offerings, even the spoonful-oblations; and this offering, the Traidhâtavî (ishti), is instituted by
the gods: 'May this offering also be performed by me, may I be consecrated by this one also!'
thus he thinks, and therefore this is the completing offering for him who performs the Râgasûya.
5.5.5.12. And also for him who would give (to the priests) a thousand (cows) or more 1, let this
42
be the completing offering. For he who gives a thousand or more becomes as it were emptied
out; and that triple Veda is the thousandfold progeny of Vâk (speech): him who was emptied out
he thus fills up again with a thousand; and therefore let it be for him also the completing
offering.
5.5.5.13. And also for those who would sit through (perform) a long sacrificial session 2, for a
year or more, let this be the completing offering. For by those who sit through a long sacrificial
session, for a year or more, everything is obtained, everything conquered; but this (offering) is
everything: let it therefore be for them also the completing offering.
...
5.5.5.16. Three gold pieces of a hundred mânas each are the sacrificial fee for this (offering). He
presents them to the Brahman; for the Brahman neither performs (like the Adhvaryu), nor chants
(like the Udgâtri), nor recites (like the Hotri), and yet he is an object of respect. And with gold
they do nothing 3, and yet it is an object of respect: therefore he presents to the Brahman three
gold pieces of a hundred mânas each. (Note: According to Sâyana, these 'satamânas' are similar
to the round plate worn by the king during the Consecration-ceremony...These plates (as the
'rukmas' generally, were apparently used for ornament only, not as coins.)
वत्र tri-धातुुः an epithet of Gaṇeśa; -तुम् 1 the triple world. -2 the aggregate of the 3 minerals or
humours. (Apte lexicon) वत्र--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 /आि) N. of an
oblation TS. ii , 3 , 6. 1 ( -त्व् /अ n. abstr.); n. the triple world RV.; n. the aggregate of the 3
minerals or of the 3 humours W.; m. गणे*ि L.
hēramb हे रम्बुः [हे वििे रम्बवत रम्ब्-अच् अलुक् समा˚ Tv.] 1 N. of Gaṇeśa; जेता
हे रम्बभृविप्रमुखगणचमूचविणस्तारकारे ुः Mv. 2.17; हे हे रम्ब, वकमम्ब, रोवदवष कथं , कणौ लुठत्यविभूुः
Subhāṣ. लुठत् [p= 904,1] mfn. rolling , falling down W.; flowing , trickling (?) ib.
RV_2,023.01a gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnām upamaśravastamam |

RV_2,023.01c jyeṣṭharājam brahmaṇām brahmaṇas pata ā naḥ śṛṇvann ūtibhiḥ sīda sādanam ||
RV_2,023.02a devāś cit te asurya pracetaso bṛhaspate yajñiyam bhāgam ānaśuḥ |
RV_2,023.02c usrā iva sūryo jyotiṣā maho viśveṣām ij janitā brahmaṇām asi ||
RV_2,023.03a ā vibādhyā parirāpas tamāṃsi ca jyotiṣmantaṃ ratham ṛtasya tiṣṭhasi |
RV_2,023.03c bṛhaspate bhīmam amitradambhanaṃ rakṣohaṇaṃ gotrabhidaṃ svarvidam ||
RV_2,023.04a sunītibhir nayasi trāyase janaṃ yas tubhyaṃ dāśān na tam aṃho aśnavat |
RV_2,023.04c brahmadviṣas tapano manyumīr asi bṛhaspate mahi tat te mahitvanam ||
RV_2,023.05a na tam aṃho na duritaṃ kutaś cana nārātayas titirur na dvayāvinaḥ |
RV_2,023.05c viśvā id asmād dhvaraso vi bādhase yaṃ sugopā rakṣasi brahmaṇas pate ||
RV_2,023.06a tvaṃ no gopāḥ pathikṛd vicakṣaṇas tava vratāya matibhir jarāmahe |
RV_2,023.06c bṛhaspate yo no abhi hvaro dadhe svā tam marmartu ducchunā harasvatī ||
RV_2,023.07a uta vā yo no marcayād anāgaso 'rātīvā martaḥ sānuko vṛkaḥ |
RV_2,023.07c bṛhaspate apa taṃ vartayā pathaḥ sugaṃ no asyai devavītaye kṛdhi ||
RV_2,023.08a trātāraṃ tvā tanūnāṃ havāmahe 'vaspartar adhivaktāram asmayum |
RV_2,023.08c bṛhaspate devanido ni barhaya mā durevā uttaraṃ sumnam un naśan ||
43
RV_2,023.09a tvayā vayaṃ suvṛdhā brahmaṇas pate spārhā vasu manuṣyā dadīmahi |
RV_2,023.09c yā no dūre taḷito yā arātayo 'bhi santi jambhayā tā anapnasaḥ ||
RV_2,023.10a tvayā vayam uttamaṃ dhīmahe vayo bṛhaspate papriṇā sasninā yujā |
RV_2,023.10c mā no duḥśaṃso abhidipsur īśata pra suśaṃsā matibhis tāriṣīmahi ||
RV_2,023.11a anānudo vṛṣabho jagmir āhavaṃ niṣṭaptā śatrum pṛtanāsu sāsahiḥ |
RV_2,023.11c asi satya ṛṇayā brahmaṇas pata ugrasya cid damitā vīḷuharṣiṇaḥ ||
RV_2,023.12a adevena manasā yo riṣaṇyati śāsām ugro manyamāno jighāṃsati |
RV_2,023.12c bṛhaspate mā praṇak tasya no vadho ni karma manyuṃ durevasya śardhataḥ ||
RV_2,023.13a bhareṣu havyo namasopasadyo gantā vājeṣu sanitā dhanaṃ-dhanam |
RV_2,023.13c viśvā id aryo abhidipsvo mṛdho bṛhaspatir vi vavarhā rathāṃ iva ||
RV_2,023.14a tejiṣṭhayā tapanī rakṣasas tapa ye tvā nide dadhire dṛṣṭavīryam |
RV_2,023.14c āvis tat kṛṣva yad asat ta ukthyam bṛhaspate vi parirāpo ardaya ||
RV_2,023.15a bṛhaspate ati yad aryo arhād dyumad vibhāti kratumaj janeṣu |
RV_2,023.15c yad dīdayac chavasa ṛtaprajāta tad asmāsu draviṇaṃ dhehi citram ||
RV_2,023.16a mā na stenebhyo ye abhi druhas pade nirāmiṇo ripavo 'nneṣu jāgṛdhuḥ |
RV_2,023.16c ā devānām ohate vi vrayo hṛdi bṛhaspate na paraḥ sāmno viduḥ ||
RV_2,023.17a viśvebhyo hi tvā bhuvanebhyas pari tvaṣṭājanat sāmnaḥ-sāmnaḥ kaviḥ |
RV_2,023.17c sa ṛṇacid ṛṇayā brahmaṇas patir druho hantā maha ṛtasya dhartari ||
RV_2,023.18a tava śriye vy ajihīta parvato gavāṃ gotram udasṛjo yad aṅgiraḥ |
RV_2,023.18c indreṇa yujā tamasā parīvṛtam bṛhaspate nir apām aubjo arṇavam ||
RV_2,023.19a brahmaṇas pate tvam asya yantā sūktasya bodhi tanayaṃ ca jinva |
RV_2,023.19c viśvaṃ tad bhadraṃ yad avanti devā bṛhad vadema vidathe suvīrāḥ ||
44
45
r.s.i: gr.tsamada (a_n:girasa s'aunahotra pas'ca_d) bha_rgava s'aunaka; devata_: br.haspati, 1-
5,9,11,17,19 brahman.aspati; chanda: jagati_, 15,19 tris.t.up
2.023.01 We invoke the Brahman.aspati, chief leaderof the (heavenly) bands; a sage of sage;
abounding beyond measure in (every kind of) food;best lord of prayer; hearing our invocations,
come with your protections, and sit down in the chamber of sacrifice. [Brahman.aspati =
brahman.o annasya parivr.d.hasya karman.o va_ pa_layita_, the protector or cherisher of food,or
of any great or solemn acts of devotion; he has other attributes in the text, as, gan.a_na_m
gan.apatih, chief of the gan.as (inferior deities); jyes.t.hara_jam brahman.a_m, the best lord of
mantras, or prayers: pras'asyam sva_minam mantra_n.a_m].
2.023.02 Br.haspati, destroyer of the asuras, through you the intelligent gods have obtained the
sacrificialportion; in like manner as the adorable sun generates the (solar) rays by his radiance, so
are you the generator of all prayers. [Br.haspati = Brahman.aspati; perhaps Br.haspati is of a
more martial character; his protection is souhght for against enemies and evil spirits; perhaps,
br.hata_m veda_na_m pa_lakah: br.hat = mantra, br.hato mantrasya, sva_min].
2.023.03 Having repelled revilers and (dispersed) the darkness you stand Br.haspati, on the
46
radiant chariot of sacrifice, (which is) formidable (to foes), the humiliator of enemies, the
destroyer of evil spirits, the cleaver of the clouds, the attainer of heaven.
2.023.04 You lead men, Br.haspati, by virtuous instructions; you preserve them (from calamity);
sin will never overtake him who presents (offerings) to you; you are the afflicter of him who
hates (holy) prayers; you are the punisher of wrath; such is your great mightiness. [Him who
hates holy prayers: brahmadvis.ah = those who hate either the bra_hman.as,or the mantras or
prayers].
2.023.05 The man whom you, Brahman.aspati, a kind protector, defend, neither sorrow nor sin,
nor adversaries nor dissemblers ever harm, for you drive away from him all injurious (things).
2.023.06 You, Br.haspati, are our protector and the guide of (our) path; (you are) the discerner
(of all things); we worship with praises for your adoration; may his own precipitate malice
involve him (in destruction) who practises deceit against us.
2.023.07 Turn aside from (the true) path, Br.haspati, the arrogant and savage man who advances
to injure us, although unoffending and keep us in the right way for (the completion of) this
offering to the gods.
2.023.08 Br.haspati, defender (from calamity), we invoke you, the protector of our persons, the
speaker of encouraging words and well disposed towards us; do you destroy the revilers of the
gods; let not the malevolent attain supreme felicity.
2.023.09 Through you, Brahman.aspati, (our) benefactor, may we obtain desirable wealth from
men destroy those (our) unrighteous enemies, whether nigh or far off, who prevail against us.
2.023.10 Through you, Br.haspati, (who are) the fulfiller of our desires; pure, and associated
(with us), we possess excellent food; let not the wicked man who wishes to deceive us be our
master; but let us, excelling in (pious) praises, attain (prosperity).
2.023.11 You, Brahman.aspati, who have no requiter (of your bounty), who are the showerer (of
benefits), the repairer to combat, the consumer of foes, the victor in battles, you are true, the
discharger of debts, the humiliator of the fierce and of the exulting.
2.023.12 Let not, Br.haspati, the murderous (weapon) of that man reach us, who, with
unrighteous mind, seeks to harm us; who, fierce and arrogant, designs to kill (your) worshippers;
may we baffle the wrath of the strong evil-doer].
2.023.13 Br.haspati is to be invoked in battles; he is to be approached with reverence; he who
moves amidst combats, the distributor of repeated wealth; the lord Br.haspati has verily
overturned all the assailing malignant (hosts), like chariots (overturned in battle).
2.023.14 Consume with your brightest (weapon) the ra_ks.asas, who have held your witnessed
prowess in disdain; manifest, Br.haspati, your glorified (vigour), such as it was (of old), and
destroy those who speak against you.
2.023.15 Br.haspati, born of truth, grant us that wonderful treasure, wherewith the pious man
may worship exceedingly; that (wealth) which shines amongst men; which is endowed with
lustre, (is) the means of (performing holy) rites, and invogirates (its possessor) with strength.
[dravin.am citram = lit., various or wonderful wealth; in the Bra_hman.as it is interpreted as
brahma varcas or tejas, brahmanical virtue or energy (cf. Yajus. 26.3; dravin.am = dhanam
(Aitareya Bra_hman.a 4.11)].
2.023.16 Deliver us not to the thieves, the enemies delighting in violence, who seize ever upon
the food (of others); those who cherish in their hearts the abandonment (of the gods); (they),
Br.haspati, who do not know the extent of (your) power (against evil spirits). [Who do not know
the extenf of your power: na parah sa_mno viduh = ye puma_msah sa_mnah sa_maya_t tvattah
parah parasta_d anyadukr.s.t.am sa_ma yad raks.oghnam na ja_nanti, those men who do not
47
know anything greater than the faculty of destroying ra_ks.asas, derived from you made up of
that faculty; sa_ma vai raks.oha = sa_ma is the killer of ra_ks.asas].
2.023.17 Tvas.t.a_ engendered you (chief) amongst all beings, (whence) you are the reciter of
many a holy hymn: Brahman.aspati acknowledges a debt to the performer of a sacred rite; he is
the acquitter (of the debt), and the destoyer of the oppressor. [When you are the reciter: sa_mnah
sa_mnah kavih, the reicter or another of every sa_ma, sarvasya sa_mnah ucca_rayita_ karta_si;
or kavi refers to tvas.t.a_, further explained as the sage who created Brahman.aspati by the
efficacy of the sa_ma: sa_mnah sa_ren.a tvam aji_janat; acknowledges a debt: r.n.acit
stotr.ka_mam r.n.am iva cinoti, he takes the intention of the praiser as if it was a debt, or
obligation; acquitter of the debt: r.n.aya is explained as the discharger or remover of the debt
which is of the nature of sin: pa_paru_pasya r.n.asya pr.thak karta_].
2.023.18 When Br.haspati, descendant of An:giras, for your glory, Parvata had concealed the
herd o fkine, you did set them free, and with thine associate, Indra, did send down the ocean of
water which had been enveloped by darkness.
2.023.19 Brahman.aspati, who are the regulator of this (world), understand (the purport) of (our)
hymn, and grant us posterity; for all is prosperous that the gods protect; (and therefore) may we
blessed with excellent descendants, glorify you at this sacrifice. [Yajus. 34.58; vadema = may we
declare or glorify you; or, let us speak, let what we ask be given to us;let it be enjoyed by us:
di_yata_m bhujyata_m ucca_rayema].
Tiger casting made of copper, inlaid with carnelian and sapphire from Kodumanal (After Fig. 30,
R.Mohanty) This signifies a tiger in the round in the hieroglyhic tradition of Indus Script. kola
'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith'. The infixing of gems
(carnelian and sapphire) indicates the artisanal work of kundar 'turner'.
48
Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.)
Rebus 1: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845)
Rebus 2: sang सं ग् m. a stone (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū =
stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape
(Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.)
kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger yields one reading:
rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.
Rebus 3: saMghAta 'caravan'
Thus, the three tigers together with wings reads: eraka kol saMghAta 'moltencast metal, iron
worker caravan'.
सं-घात b [p= 1130,1] a company of fellow-travellers , caravan VP. close union or combination ,
collection , cluster , heap , mass , multitude TS. MBh. &c (Monier-Williams)
Three entwined winged tigers (Sanchi) kola ‘tiger, jackal’ (Konkani.) kul ‘tiger’
(Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A
jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of
Santals’ (Santali) kol ‘working in iron’ (Tamil)
Phonetic determinant glyph: kola, kōlu ‘jackal, jackal’ (Kon.Telugu) kul ‘the tiger, felis tigris’
(Santali) कोला [ kōlā ] m (Commonly कोल्हा) A jackal. कोल्हें [ kōlhēṃ ] n A jackal. Without
reference to sex. Pr. अडलें कोल्हें मंगळ गाय Even the yelling jackal can sing pleasantly when he is
in distress. कोल्हें लागलें Applied to a practical joke. केल्हे टेकणें or कोल्हे टेकण [
kēlhēṭēkaṇē orṅkōlhēṭēkaṇa ] n Gen. in obl. cases with बस or ये , as कोल्हे टेकण्यासबसणें To sit
cowering; to sit as a jackal.कोल्हे टेकण्यास येणें To be arrived at or to be approaching the
infirmities of age. 2 To be approaching to setting;--used of the sun or the day, when the sun is
conceived to be about that distance from the horizon as a jackal, when he rests on his hinder legs,
is from the ground.कोल्हे भूंक [ kōlhēbhūṅka ] or -भोंक f (कोल्हा & भुंकणें To bark.) The yelling of
jackals. 2 Early dawn; peep of day. कोल्हे हूक [ kōlhēhūka ] f The yelling of jackals. 2 fig.
Assailing or setting upon with vehement vociferations. (Marathi)
See: http://bharatkalyan97.blogspot.in/2011/10/itihasa-and-eagle-narratives.html
49
kul tiger; kul dander den of tiger; an.d.kul to become tiger; hudur. to growl as tiger; maran.
d.at.kap kul a big-headed tiger (Santali.lex.) kolo, kolea_ jackal (Kon.lex.) ko_lhuya-, kulha-
jackal (Pkt.)[cf. kul.l.a-nari jackal (Ta.)(DEDR 1839)]; kolha_, ko_ jackal; adj. crafty (H.);
kohlu~, kolu~ jackal (G.); kolha_, kola_ (M.)(CDIAL 3615). karaj a jackal (Santali.lex.) kudke
fox (Kor.); kudike jackal (Tu.); kudka id. (Ka.); kor-o naka jackal (small in size, opposed to peri
naka)(Kond.a)(DEDR 1851). kulaippu barking, snarling (Ta.)(DEDR 1811). ko_lupuli = big
tiger (Te.)
Allograph: kola ‘woman’ (Nahali); kolami ‘forge’ (Te.).kolhe ‘iron smelter’ (Santali) kol, kolhe
‘the koles, an aboriginal tribe of iron smelters akin to that of the Santals’ (Santali)
Furnace: kola_ burning charcoal (L.P.); ko_ila_ burning charcoal (L.P.N.); id. (Or.H.Mth.), kolla
burning charcoal (Pkt.); koilo dead coal (S.); kwelo charcoal (Ku.); kayala_ charcoal (B.); koela_
id. (Bi.); koilo (Marw.); koyalo (G.)(CDIAL 3484). < Proto-Munda. ko(y)ila = kuila black
(Santali): all NIA forms may rest on ko_illa.] koela, kuila charcoal; khaura to become charcoal;
ker.e to prepare charcoal (Santali.lex.) kolime, mulime, kolume a fire-pit or furnace (Ka.); kolimi
(Te.); pit (Te.); kolame a very deep pit (Tu.); kulume kanda_ya a tax on blacksmiths (Ka.); kol,
kolla a furnace (Ta.); kolla a blacksmith (Ma.); kol metal (Ta.)(Ka.lex.) kol iron smelters
(Santali.lex.) cf. kol working in iron, blacksmith (Ta.)(DEDR 2133). Temple; smithy: kol-l-ulai
blacksmith's forge (kollulaik ku_t.attin-a_l : Kumara. Pira. Ni_tiner-i. 14)(Ta.lex.) kollu- to
neutralize metallic properties by oxidation (Ta.lex.) kole.l smithy, temple in Kota village (Ko.);
kwala.l Kota smithy (To.); kolmi smithy (Go.)(DEDR 2133). kollan--kamma_lai < +
karmas'a_la_, kollan--pat.t.arai, kollan-ulai-k-ku_t.am blacksmith's workshop, smithy (Ta.lex.)
lohsa_ri_ smithy (Bi.)(CDIAL 11162). cf. ulai smith's forge or furnace (Na_lat.i, 298); ulai-k-
kal.am smith's forge; ulai-k-kur-at.u smith's tongs; ulai-t-turutti smith's bellows; ulai-y-a_n.i-k-
ko_l smith's poker, beak-iron (Ta.lex.) Self-willed man: lo_hala made of iron (Skt.); lohar,
lohariyo self-willed and unyielding man (G.)(CDIAL 11161). cf. goul.i, goul.ia_ herdsman
(Kon.lex.) goil cowhouse, hut, pasture ground (P.); gol drove of cattle sent to another village
(P.); go_uliya herdsman (Pkt.); goili_ (P.)(CDIAL 4259). kol brass or iron bar nailed across a
door or gate; kollu-t-tat.i-y-a_n.i large nail for studding doors or gates to add to their strength
(Ta.lex.) Tool-bag: lokhar bag in which a barber keeps his tools (N.); iron tools, pots and pans
(H.); lokhar. iron tools (Ku.); lokhan.d. iron tools, pots and pans (H.); lokha~d. tools, iron,
ironware (G.); iron (M.)(CDIAL 11171). lod.hu~ pl. carpenter's tools (G.)(CDIAL 11173).
karuvi-p-pai instrument-case; barber's bag (Ta.lex.) cf. karuvu-kalam treasury, treasure-house
(Ta.lex.) Cobbler's iron pounder: lohaga~ga_, lahau~ga_ cobbler's iron pounder (Bi.); leha~ga_
(Mth.); luha~_gi_ staff set with iron rings (P.); loha~_gi_ (H.M.); lavha~_gi_ (M.); laha~_gi_,
loha~gi_ (M.)(CDIAL 11174). Image: frying pan: lohra_, lohri_ small iron pan (Bi.)(CDIAL
11160). lo_hi_ any object made of iron (Skt.); pot (Skt.); iron pot (Pkt.); lo_hika_ large shallow
wooden bowl bound with iron (Skt.); lauha_ iron pot (Skt.); loh large baking iron (P.); luhiya_
iron pan (A.); lohiya_ iron or brass shallow pan with handles (Bi.); lohiyu~ frying pan
(G.)(CDIAL 11170). lauhabha_n.d.a iron pot, iron mortar (Skt.); lo_habhan.d.a copper or brass
ware (Pali); luha~_d.ir.i_ iron pot (S.); luha~_d.a_ (L.); frying pan (P.); lohn.d.a_, lo~_hd.a_
(P.); luhu~r.e iron cooking pot (N.); lohora_ iron pan (A.); loha~r.a_ iron vessel for drawing
water for irrigation (Bi.); lohan.d.a_, luhan.d.a_ iron pot (H.); lod.hu~ iron, razor (G.)[cf. xolla_
50
razor (Kur.); qole id. (Malt.); hola'd razor (Santali)(DEDR 2141)]; lod.hi_ iron pan (G.)(CDIAL
11173).
Rebus: kolimi 'smithy-forge'; kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kole.l
'smithy, temple'; eraka 'wing' Rebus: eraka 'copper'.
The artistic entwining of three tigers is seen on a seal with Indus Script from Mohenjo-daro.
This can be seen as a precursor model for the three tigers/lions shown on a Sanchi torana
(gateway). Out of the seven friezes showing a hieroglyph-multiplex of three winged tigers, one
frieze adds hieroglyphs 'leafless stalks' as horns of two tigers; two riders are also added to
signify the artisans at work:
Thus, tigers with wings joined reads: eraka kol saMghAta 'moltencast metal, iron worker
caravan'. With karaṇḍā 'stalks' as koD 'horns' and artisans (carrying goads or weapons or काण्डी
kANDI 'little stalk or stem') hieroglyph components added: karaḍā eraka kol saMghAta 'hard
alloy moltencast copper working in iron caravan' PLUS kuThAru 'armourer', or kamar 'artisan'
PLUS koD 'workshop'. [In Udipi and coastal Dakshina Kannada districts of Karnataka, there is a
practice of ‘Pili Kola’ worshiping Tiger. The festival is conducted once in every two years in
Muggerkala Temple in
Kaup. http://www.bellevision.com/belle/index.php?action=topnews&type=3842
http://www.mangalorean.com/specials/specialnews.php?newsid=481755&newstype=local]
Rebus: खां ड (p. 202) [ khāṇḍa as in lokhaṇḍa 'metal tools, pots and pans, metalware' (Marathi).
Thus the two riders of the hieroglyph-multiplex of stalk-as-horn PLUS winged tigers can be read
as: armourers working in a smithy-forge, kolimi and with hard alloy, karaDa; moltencast
metal, eraka. The riders seem to be arrying: कुठार (p. 167) [ kuṭhāra ] m S An ax or a hatchet.
Hence, they are kuThAru 'armourers'.
51
mAtri is a knower, one who has true knowledge; hence, mahAmAtra is an elephant trainer. A
mahout is a person who rides an elephant. The word mahout comes from the Hindi words
mahaut (महौत) and mahavat (महाित), which eventually goes back to Sanskrit mahamatra
(महामात्र). Another term for mahout is cornac (as in French, from the Portuguese; kornak in
Polish, also a rather current last name). This word comes form Sanskrit term karināyaka, the
compound of Sanskrit words karin (elephant) and nayaka (leader). In Tamil, the word used is
"pahan", which means elephant keeper, and in Sinhalese kurawanayaka ('stable master'). In
Malayalam the word used is paappaan.In Burma, the profession is called oozie; in Thailand
kwan-chang; and in Vietnam quản tượng. https://en.wikipedia.org/wiki/Mahout
The 'horns' are 'stalks', hieroglyphs: कारं डा [ kāraṇḍā ]करं डा [ karaṇḍā ] m A chump or block.
the stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. A
clump, chump, or block of wood. करां डा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped
off the trunk or a bough of a tree; a clump, chump, or block. करोळा [ karōḷā ] m The half-burnt
grass of a Potter's kiln: also a single stalk of it. Kalanda [cp. Sk. karaṇḍa piece of wood?] heap,
stack (like a heap of wood? cp. kalingara) Miln 292 (sīsa˚) (Pali) करण्ड [L=44277] n. a piece of
wood , block Bhpr.
Rebus: fire-god: @B27990. #16671. Remo <karandi>E155 {N} ``^fire-^god''.(Munda)
Allograph: करडी [ karaḍī ] f (See करडई) Safflower: also its seed.
Rebus: karaḍa ‘hard alloy’ (Marathi) See: http://tinyurl.com/qcjhwl2
It is notable that the 'stalks' as 'horns' of tigers on Sanchi South stupa architrave pillar are
comparable to the three leafless stalks displayed on Sit Shamshi Bronze:
Why three? kolmo 'three' rebus: kolimi 'smithy, forge'; kole.l 'smithy, temple'.
52
A JEMDET NASR RED STONE CYLINDER SEAL
CIRCA 3000 B.C.With a procession of four animals, including a lion, a bull, a human-headed
winged animal, and a goat, a crescent, circle, plant, and two animal heads in the field.
1 in. (2.5 cm.) high http://www.christies.com/lotfinder/ancient-art-antiquities/a-jemdet-nasr-red-
stone-cylinder-seal-5478177-details.aspx
Detail of three winged tigers on Sanchi Stupa as centre-piece on the top architrave and on left
and right pillars (in three segments): Torana from Mathura and Mathura lion capital which
incorporates many hieroglyph elements later to be found in Bharhut-Sanchi: Pair of tigers
(lions?), molluscs, srivatsa (Pair of fish-fin tied)
53
Sanchi Stupa. West gateway
Bharhut. Capital of Gateway post (After

Cunningham)
54
Left pillar:
Right pillar:
55
Banawari. Seal 17. Text 9201. Hornd tiger PLUS lathe +
portable furnace. Banawali 17, Text 9201 Find spot: “The plan of ‘palatial building’ rectangular
in shape (52 X 46 m) with eleven units of rooms…The discovery of a tiger seal from the sitting
room and a few others from the house and its vicinity, weights ofchert, and lapis lazuli beads and
deluxe Harappan pottery indicate that the house belonged to a prominent merchant.” (loc.cit.
VK Agnihotri, 2005, Indian History, Delhi, Allied Publishers, p. A-60)
56
Message on metalwork: kol ‘tiger’ (Santali); kollan ‘blacksmith’ (Ta.) kod. ‘horn’; kod.
‘artisan’s workshop’ PLUS śagaḍī = lathe (Gujarati) san:gaḍa, ‘lathe, portable furnace’; rebus:
sangath संगथ् । संयोगुः f. (sg. dat. sangüʦü association, living together, partnership (e.g. of
beggars, rakes, members of a caravan, and so on); (of a man or woman) copulation, sexual union.
sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas सं गाटस् ), a collection (of implements, tools,
materials, for any object), apparatus, furniture, a collection of the things wanted on a journey,
luggage, and so on. --karun -- करुन् । सामग्रीसं ग्रहुः m.inf. to collect the ab. (L.V. 17).(Kashmiri)
m0295 Mohenjo-daro seal

This is a good example of hypertext with two categories of hypertext components: 1. pictorial
motif hieroglyphs; 2. text hieroglyphs called signs in Indus Script Concordances such as those of
Parpola and Mahadevan.
cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop' (Santali) Did the Bharhut architect
who designed the Western Torana (Gateway) with hieroglyph multiplex of 3 tigers (winged)
intend to send the message that the precincts are: Hieroglyph: cAli 'interlocking bodies'
Rebus: sal 'workshop'?
śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex.Pa.
Pk. sālā -- f. ʻ shed, stable, large open -- sided hall, house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ
cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl, ar.šol ʻ cattleshed on summer pasture ʼ;
Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall, house ʼ; L. sālh f. ʻ house with thatched
roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ shed, workshop ʼ; Or. sāḷa ʻ shed, stable
ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school ʼ, sār f. ʻ cowshed ʼ; M.sāḷ f. ʻ workshop,
school ʼ; Si. sal -- a, ha° ʻ hall, market -- hall ʼ.(CDIAL 12414) *kōlhuśālā ʻ pressing house for
sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā -- ]Bi. kolsār ʻ sugarcane mill and boiling house
ʼ.(CDIAL 3538) *kōlhu ʻ machine for pressing sugarcane or oilseeds ʼ.Pk. kolluga -- , kolhua --
m. ʻ sugarcane press ʼ, S. kolū m., P. kolhū, kuhulū m. ʻ oilpress, sugarcane press ʼ; WPah.
bhal. kōˋlū m. ʻ oilpress ʼ, N. kol; Or. kohliā, kolihā, °liā ʻ sugarcane press ʼ; Bi. kolh, °hū,
(Gaya) kelhū ʻ oilpress ʼ, Mth. kōlh, Bhoj. kōlhu; H. kolhū, kolū m. ʻ sugarcane press, oilpress ʼ;
G.kohlu m. ʻ sugarcane press ʼ. -- Deriv.: B. Or. kalu ʻ oil -- man (by caste) ʼ,
H. kolū m. WPah.kṭg. kóllhu m. ʻ sugar -- cane or oil press ʼ.(CDIAL 3536)
57
Hieroglyph: kul 'tiger' (Santali) कोल्हें [ kōlhēṃ ] A jackal (Marathi) kol 'tiger, jackal' (Konkani.)
kOlupuli 'tiger' (Telugu) కోలు [ kōlu ] kōlu. [Tel.] adj. Big, great, huge పెద్.ద
కోలుపులి or కోలుు లి a royal tiger. Rebus: kolimi 'smithy, temple'; kol 'working in iron'. Thus
kol(m) could have connoted a tiger.
*ut-- śāla ʻ leaping up ʼ. (CDIAL 1846) śāˊlā f. ʻ shed, stable, house ʼ AV., śālám adv. ʻ at home
ʼ ŚBr., śālikā -- f. ʻ house, shop ʼ lex. Pa. Pk. sālā -- f. ʻ shed, stable, large open -- sided hall,
house ʼ, Pk. sāla -- n. ʻ house ʼ; Ash. sal ʻ cattleshed ʼ, Wg. šāl, Kt. šål, Dm. šâl; Paš.weg. sāl,
ar. šol ʻ cattleshed on summer pasture ʼ; Kho. šal ʻ cattleshed ʼ, šeli ʻ goatpen ʼ; K. hal f. ʻ hall,
house ʼ; L. sālh f. ʻ house with thatched roof ʼ; A. xāl, xāli ʻ house, workshop, factory ʼ; B. sāl ʻ
shed, workshop ʼ; Or. sāḷa ʻ shed, stable ʼ; Bi. sār f. ʻ cowshed ʼ; H. sāl f. ʻ hall, house, school
ʼ, sār f. ʻ cowshed ʼ; M. sāḷ f. ʻ workshop, school ʼ; Si. sal -- a, ha° ʻ hall, market -- hall
ʼ.(CDIAL 12414) *kōlhuśālā ʻ pressing house for sugarcane or oilseeds ʼ. [*kōlhu -- , śāˊlā --
] Bi. kolsār ʻ sugarcane mill and boiling house ʼ.(CDIAL 3538) karmaśālā f. ʻ workshop ʼ MBh.
[kárman -- 1, śāˊlā -- ]Pk. kammasālā -- f.; L. kamhāl f. ʻ hole in the ground for a weaver's feet ʼ;
Si. kamhala ʻ workshop ʼ, kammala ʻ smithy ʼ.(CDIAL 2896) 2898 karmāˊra m. ʻ blacksmith ʼ
RV. [EWA i 176 < stem *karmar -- ~ karman -- , but perh. with ODBL 668 ← Drav. cf.
Tam. karumā ʻ smith, smelter ʼ whence meaning ʻ smith ʼ was transferred also to karmakāra --
] Pa. kammāra -- m. ʻ worker in metal ʼ; Pk. kammāra -- , °aya -- m. ʻ blacksmith ʼ, A. kamār,
B. kāmār; Or. kamāra ʻ blacksmith, caste of non -- Aryans, caste of fishermen ʼ; Mth. kamār ʻ
blacksmith ʼ, Si. kam̄̆burā. Md. kan̄̆buru ʻ blacksmith ʼ.(CDIAL 2898) *karmāraśālā ʻ smithy ʼ.
[karmāˊra -- , śāˊlā -- ] Mth. kamarsārī; -- Bi. kamarsāyar?(CDIAL 2899)
I suggest that the three tigers with interlocked bodies DOES connote cāli 'interlocked bodies'
Rebus-metonymy layered cipher yields the plain text message : kola 'tiger' > kolom 'three'
PLUS cāli 'interlocked bodies' :kammasālā 'workshop' (Prakritam) < kol(m) PLUS śāˊlā, i.e.
smithy workshop.
Obverse of m1395 and m0441 had the following images of a multi-headed tiger.
m1395B, m0441B
58
Terracotta sealing from Mohenjo-daro depicting a collection of animals and some
script. Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros,
monkey, elephant, a tiger looking back, a standing person with spread legs. This
hieroglyph cluster is duplicated on six tablets.
Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros,

monkey, elephant, a tiger looking back, a standing person with spread legs. This
hieroglyph cluster is duplicated on a six tablets.
m02015 A,B, m2016, m1393, m1394, m1395, m0295, m0439, m440, m0441 A,B On some
tablets, such a glyphic composition (hypertext) is also accompanied (on obverse side, for
example, cf. m2015A and m0295) with a glyphic of two or more joined tiger heads to a single
body. In one inscription (m0295), the text inscriptions are also read. bica ‘scorpion’
rebus: bica ‘haematite, ferrite ore’ kola ‘tiger’ rebus:kol ‘furnace, forge’ kol ‘metal’
PLUS krammara ‘look back’ rebus: kamar‘smith’ karabha ‘trunk of elephant’ ibha ‘elephant’
rebus: karba ‘iron’ ib‘iron’ ibbo ‘merchant’ kaṇḍa ‘rhinoceros’
59
rebus; kaṇḍa ‘implements’kuThAru ‘monkey’ rebus: kuThAru ‘armourer’ dula ‘two’
rebus: dul ‘metal casting’ dhangar ‘bull’ rebus; dhangar ‘blacksmith’. .barada, balad 'ox'
rebus: bharata,baran 'factitious alloy of copper, pewter, tin'.
m2015, m0295
kola ‘tiger’ rebus: kol ‘furnace, forge’ cāli 'Interlocking bodies' (IL 3872) Rebus: sal 'workshop'
(Santali) Hieroglyph of joined, interlocked bodies: cāli (IL 3872); rebus: śālika (IL) village of
artisans. cf. sala_yisu = joining of metal (Ka.)
Hieroglyphs and rebus readings: mũh 'face' Rebus: mũhe 'ingot' kola 'woman' kola 'tiger' Rebus:
kol 'working in iron' Nahali (kol ‘woman’) and Santali (kul ‘tiger’; kol ‘kolhe, smelter’)
Thre metaphor of a three-headed signifier occurs in reference to त्वाष्टर , as author of RV. x , 8.

Samskrtam lexis also attests to this metaphor for Kubera, divinity of wealth. त्वाष्टर also signifies
copper. त्वष्टा tvaSTA is a priest for a yajna. Tvaṣtṛi has a son named Triśiras, 'three-headed' and
a daughter called संज्ञा, who was given in marriage to the sun.
saṁjñāˊ f. ʻ agreement, understanding ʼ ŚBr., ʻ sign ʼ MBh. [√jñā]Pa. saññā -- f. ʻ sense, sign ʼ,
Pk. saṁṇā -- f.; S. sañaṇu ʻ to point out ʼ; WPah.jaun. sān ʻ sign ʼ, Ku. sān f., N. sān; B. sān ʻ
understanding, feeling, gesture ʼ; H. sān f. ʻ sign, token, trace ʼ; G. sān f. ʻ sense, understanding,
sign, hint ʼ; M. sã̄j̈ f. ʻ rule to make an offering to the spirits out of the new corn before eating it,
faithfulness of the ground to yield its usual crop ʼ, sã̄jẽ n. ʻ vow, promise ʼ; Si. sana, ha° ʻ sign ʼ;
-- P. H. sain f. ʻ sign, gesture ʼ (in mng. ʻ signature ʼ ← Eng. sign), G. sen f. are obscure.saṁjñā -
- : WPah.J. sā'n f. ʻ symbol, sign ʼ; kṭg. sánku m. ʻ hint, wink, coquetry ʼ, H. sankī f. ʻ wink
ʼ, sankārnā ʻ to hint, nod, wink ʼ Him.I 209.(CDIAL 12874) sañjñā
संज्ञा 1 Consciousness, अकरुण पुनुः संज्ञायावधं विधाय वकमीहसे Māl.9.42; रवतखेदसमुत्पन्ना वनद्रा
संज्ञाविपयायुः Ku.6.44. संज्ञा लभ् , आपद् or प्रवतपद् 'to regain or recover one's consciousness, come
to one's senses'. -2Knowledge, understanding; नायका मम सैन्यस्य संज्ञाथं तान् व्रिीवम ते Bg.1.7;
Mb.12.153.63. -3 Intellect, mind; लोकतन्त्रं वह संज्ञाश्च सिामन्ने प्रवतवष्ठतम् Mb.13.63.5. -4 A hint, sign,
token, gesture; मुखावपंतैकाङ्गुवलसंज्ञयैि मा चापलायेवत गणान् यनैषीत् Ku.3.41; उपलभ्य ततश्च
धमासंज्ञाम् Bu. Ch.5.21; Bhāg. 6.7.17. -5 A name, designation, an appellation; oft. at the end of
comp. in this sense; िन्द्िैविामुक्ाुः सुखदु ुःखसंज्ञैुः Bg.15.5. -6 (In gram.) Any name or noun having a
special meaning, a proper name. -7 The technical name for an affix. -8 The Gāyatrī Mantra; see
गायत्री. -9 A track, footstep. -1 Direction. -11 A technical term. -12 N. of the daughter of
Viśvakarman and wife of the sun, and mother of Yama, Yamī, and the two Aśvins. [A legend
relates that संज्ञा on one occa- sion wished to go to her father's house and asked her husband's
60
permission, which was not granted. Resol- ved to carry out her purpose, she created, by means of
her superhuman power, a woman exactly like herself --who was, as it were, her own shadow
(and was therefore called Chhāyā), --and putting her in her own place, went away without the
knowledge of the sun. Chhāya bore to the sun three children (see छाया), and lived quite happily
with him, so that when Saṁjñā returned, he would not admit her. Thus re- pudiated and
disappointed, she assumed the form of a mare and roamed over the earth. The sun, however, in
course of time, came to know the real state of things, and discovered that his wife had assumed
the form of a mare. He accordingly assumed the form of a horse, and was united with his wife,
who bore to him, two sons--the Aśvinīkumāras or Aśvins q. v.] -Comp. -अवधकारुः a leading rule
which gives a particular name to the rules falling under it, and which exercises influence over
them. -विपयायुः loss of consciousness; रवतखेदसमुत्पन्ना वनद्रा संज्ञाविपयायुः Ku.6.44. -विषयुः an
epithet, an attribute. -सुतुः an epithet of Saturn. -सू त्रम् any Sūtra which teaches the meaning of a
technical term.
triśiras वत्र--विरस् [p= 460,3] mfn. three-headed (त्वाष्टर , author of RV. x ,
8.) Ta1n2d2yaBr. xvii Br2ih. KaushUp. MBh. Ka1m.(ज्वर) BhP. x , 63 , 22 three-
pointed MBh. xiii R. ivn. (with रिस् ) id. R. i , 1 , 45 n. कुबेर L.(Samskrtam) The meaning 'jvara,
'fever' is explained in Bhagavatam: fever. वत्रविरस्ते प्रसन्नो$स्त्रि येतु ते मज्ज्वराद्भयम् Bhāg.1.63.29.
triśiras वत्र--विरस् may be a metaphor of Rigvedic times to signify three high points or foreparts or
principals, say, minerals or components (i.e. three firsts of a classs). In the context of metalwork,
it is appropriate to construct morphemes with tri- prefix:
वत्र num. a. [Uṇ.5.66] (declined in pl. only, nom. त्रयुः m., वतिुः f., त्रीवण n.) Three;-धा ind. in 3
parts, ways or places; triply, ˚त्वम् tripartition; Ch. Up. -धातुुः an epithet of Gaṇeśa; -तुम् 1 the
triple world. -2 the aggregate of the 3 minerals or humours. -िीषाुः Śiva. -िीषाकम्, -िूलम् a
trident. ˚अङ्कुः, ˚धाररन् m. an epithet of Śiva. Thus, if three 'heads' of animals, say, elephant,
buffalo, tiger are ligatured to create a hypertext, the rebus words may constitute three minerals
aggregating to produce an alloy.
Thus, three heads of tigers (winged) on Sanchi stupa torana:
Hieroglyphs:
kola, kōlu ‘jackal, tiger (Konkani.Telugu) rebus: kola_ burning charcoal (Lahnda.Punjabi.);kol,
kolla a furnace (Tamil); kolla a blacksmith (Malayalam); kol metal (Tamil); kol 'working in
iron'; kolhe 'smelter' (Santali); kolimi 'smithy-forge'(Telugu) kole.l 'smithy, temple'(Kota)
61
dula 'pair' rebus: dul 'cast metal'
eraka 'wing' Rebus: eraka 'copper'. kambha 'wing' rebus: kammaTa 'mint, coiner, coinage'.
Artistic style: Joined animal Hieroglyph: sangaḍi = joined animals (Marathi)

Rebus: saMghAta 'caravan' also 'adamantine metallic glue' (vajra)
Dholkal, Bastar, Chattisgarh. Ganesa with pine-cone. Three hieroglyphs of metalwork class:
trunk of elephant, pine cone, rat: karibha, kaNDe, MUSa
rebus: karba 'iron';kaṇḍa 'implements' mUSa 'crucible'
http://bharatkalyan97.blogspot.in/2016/02/ganesha-indus-script-tradition.html
62
mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'.
kandə 'pine cone' Rebus, signified metalwork: khaṇḍa. A portion of the front hall, in a
temple; kaṇḍ 'fire-altar' (Santali) kāṇḍa 'tools, pots and pans and metal-ware' (Marathi)
Hieroglyph: Ash. piċ -- kandə ʻ pine ʼ, Kt. pṳ̄ċi, piċi, Wg. puċ, püċ (pṳ̄ċ -- kəŕ ʻ pine -- cone ʼ),
Pr. wyoċ, Shum. lyēwič (lyē -- ?).(CDIAL 8407). Cf. Gk. peu/kh f. ʻ pine ʼ, Lith. pušìs, OPruss.
peuse NTS xiii 229. The suffix –kande in the lexeme: Ash. piċ-- kandə ʻ pine ʼ may be cognate
with the bulbous glyphic related to a mangrove root: Koḍ. kaṇḍe root-stock from which small
roots grow; ila·ti kaṇḍe sweet potato (ila·ti England). Tu. kaṇḍe, gaḍḍè a bulbous root; Ta. kaṇṭal
mangrove, Rhizophora mucronata; dichotomous mangrove, Kandelia rheedii. Ma. kaṇṭa bulbous
root as of lotus, plantain; point where branches and bunches grow out of the stem of a palm;
kaṇṭal what is bulb-like, half-ripe jackfruit and other green fruits; R. candel. (DEDR 1171).
Rebus: kaṇḍa ‘tools, pots and pans of metal’.
Hieroglyph: కండె [ kaṇḍe ] kaṇḍe. [Telugu] n. A head or ear of millet or maize. జొన్న కంకి.
Rebus:Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a
fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for
fireplace. Malt. kandri a pit. (DEDR 1214).
लोखंड (p. 723) [ lōkhaṇḍa ] n (लोह S) Iron लोखंडकाम (p. 723) [ lōkhaṇḍakāma ] n Iron work;
that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.
लोखंडी (p. 723) [ lōkhaṇḍī ] a (लोखं ड) Composed of iron; relating to iron लोहोलोखंड (p. 723) [
lōhōlōkhaṇḍa ] n (लोह & लोखं ड) Iron tools, vessels, or articles in general.
śiram विरम् 1 The head. -2 The root of the pepper plant (m. also according to some, in these
senses). -रुः 1 A bed. -2 A large serpent. -Comp. -जम् hair. śiras विरस् (ifc.) the head , leader ,
chief , foremost , first (of a class) BhP. n. [िॄ-असुन् वनपातुः Uṇ.4.193] 1 The head; विरसा श्लाघते
पूिं (गुणं) परं (दोषं ) कण्ठे वनयच्छवत Subhās. -2 Skull. -3 A peak, summit, top (as of a mountain);
वहमगौरै रचलावधपुः विरोवभुः Ki.5.17; Śi.4.54. -4 The top of a tree. -5 The head or top of anything;
तेनाहृतो महातालो िेपमानो बृहस्त्रच्छराुः Bhāg.1.15.33; विरवस मसीपटलं दधावत दीपुः Bv.1.74. -
6 Pinnacle, acme, highest point. -7 Front, forepart, van (as of an army); पु त्रस्य ते
रणविरस्ययमग्रयायी Ś.7.26; U.5.3. -8 Chief, principal, head (usually at the end of comp.)
Does the metphor of three heads signify form (orthography), function (language) and meaning
63
(artha) wealth-creation (mũh 'face' Rebus: mũhe 'ingot'; muhA 'the metal taken out of the
furnace')?
The abiding memory of this divine form tvaṣṭṛ त्वष्टृ is celebrated as Cernunnos in the Celtic
tradition of metalwork and chariotry. The decipherment of the Mohenjo-daro seal m0304 which
signifies the hieroglyph of three-headed tvaṣṭṛ त्वष्टृ or Kubera -- as the creative power of wealth -
- links the Gundestrup cauldron hieroglyphs to the celebration and veneration of metalcasting
work by Purve yajnikas, forefathers, ancestors; अवभजनाुः पूिे बान्धिाुः
tvaṣṭiḥ त्ववष्टुः f. Carpentry; Ms.1.48. tvaṣṭṛ त्वष्टृ m. [त्वि् -तृच्] 1 A carpenter, builder, workman,
त्वष्टरेि विवहतं यन्त्रम् Mb.12.33.22. -2 Viśvakarman, the architect of the gods. [Tvaṣtṛi is the Vulcan
of the Hindu mythology. He had a son named Triśiras and a daughter called संज्ञा, who was given
in marriage to the sun. But she was unable to bear the severe light of her husband, and therefore
Tvaṣtṛi mounted the sun upon his lathe, and carefully trimmed off a part of his bright disc; cf.
आरोप्य चिभ्रवममुष्णते जास्त्वष्टरेि यत्नो- स्त्रिस्त्रखतो विभावत R.6.32. The part trimmed off is said to have
been used by him in forming the discus of Viṣṇu, the Triśūla of Śiva, and some other weapons of
the gods.] पिातं चावप जग्राह िुद्धस्त्वष्टा महाबलुः Mb.1.227. 34. -3 Prajāpati (the creator); यां चकार
स्वयं त्वष्टा रामस्य मवहषीं वप्रयाम् Mb.3.274.9. -4 Āditya, a form of the sun; वनवभान्ने अविणी त्वष्टा
लोकपालो$वििविभोुः Bhāg.3.6.15. tvāṣṭra त्वाष्टर a. Belonging or coming from त्वष्टृ ; त्वाष्टरं यद्
दस्रािवपकक्ष्यं िाम् Rv.1.117.22. -ष्टरुः Vṛitra; येनािृता इमे लोकास्तमसा त्वाष्टरमूवता ना । स िै िृत्र इवत प्रोक्ुः
पापुः परमदारुणुः ॥ Bhāg.6.9.18;11.12.5. -ष्टरी 1 The asterism Chitra. -2 A small car. -ष्टरम् 1 Creative
power; तपुःसारमयं त्वाष्टरं िृ त्रो येन विपावटतुः Bhāg.8.11.35. -2 Copper.
64
M0304 (Reconstructed) A person is shown seated in ‘penance’.
kamaḍha ‘penance’ (Pkt.) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.)
kammaṭa = mint, gold furnace (Te.) Thus, the over-arching message of the inscription composed
of many hieroglyphs (of glyphic elements) thus is a description of the offerings of a ‘mint or
coiner (workshop with a golf furnace)’.
kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali) Vikalpa: clump between the two
horns: kuṇḍa n. ʻ clump ʼ e.g. darbha—kuṇḍa—Pāṇ.(CDIAL 3236). Kundār turner (A.)(CDIAL
3295). : kundār turner (A.); kũdār, kũdāri (B.); kundāru (Or.); kundau to turn on a lathe, to carve,
to chase; kundau dhiri = a hewn stone; kundau murhut = a graven image (Santali) kunda a
turner’s lathe (Skt.)(CDIAL 3295) Vikalpa: kūdī, kūṭī ‘bunch of twigs’ (Skt.) Rebus: kuṭhi
‘smelter furnace’ (Santali)
Rebus reading of glyphic elements of the ‘bristled (tiger’s mane) face’:

There are two glyphic elements denoted on the face.
mũh ‘face’; rebus
: metal 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 end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have
to-day produced pig iron (Santali.lex.)
Shoggy hair; tiger
’s mane. Sodo bodo, sodro bodro adj. adv. Rough, hairy, shoggy, hirsute,
65
uneven;sodo [Persian. Sodā, dealing] trade; traffic; merchandise; marketing; a bargain; the
purchase or sale of goods; buying and selling; mercantile dealings (G.lex.) sodagor = a merchant,
trader;sodāgor (P.B.) (Santali.lex.) The face is depicted with bristles of hair, representing a
tiger’s mane.cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883).Rebus: cūḷai ‘furnace, kiln,
funeral pile’ (Te.)(CDIAL 4879; DEDR 2709). Thus the composite glyphic composition:
‘bristled (tiger’s mane) face’ is read rebus as: sodagor mũh cūḷa ‘furnace (of) ingot merchant’.
Reading the glyphic elements on the chest of the person and arms:
kamarasāla = waist-zone, waist-band, belt (Te.) karmāraśāla = workshop of blacksmith (Skt.)
kamar ‘blacksmith’ (Santali)
sekeseke, sekseke covered, as the arms with ornaments; Rebus: sekra those who work in brass
and bell metal; sekra sakom a kind of armlet of bell metal (Santali) Vikalpa: bāhula n. armour
for the arms (Skt.) Rebus: బంగల bangala. [Tel.] n. An oven. కంరటి. (Telugu) Vikalpa: cūri
’bangles’ (H.) Rebus: cūḷai ‘furnace, kiln, funeral pile’ (Te.)(CDIAL 4879; DEDR 2709).
Thus, together, the glyphic elements on the chest of the person and arms are read rebus
: sekra karmāraśāla ‘brass/bell-metal workshop of smith (with) furnace’.
Glyphic compositions on the base on which the person is seated; hence, the rebus readings of
glyphics: stool, pair of hayricks, pair of antelopes.
From Pillar of boatmen, Mohenjo-daro seals, ganweriwala tablet
Is the artisan signifying a three-headed tvaṣṭiḥ त्ववष्टुः f. Carpentry?
66
Is the boatman on the Boatman's pillar कणा --धार [p= 256,3] m. a helmsman ,
pilot Sus3r. BhP. &c; a sailor , seaman Katha1s. xviii , 300 -- wearing the dhamma samjna
stoneware ring on his ears as signifiers of his responsibility?
Examples of compositions of composite animals with human face; many component parts of
'animal' body types used in the orthography are: body of a ram, horns of a bison, trunk of
elephant, hindlegs of a tiger and an upraised serpent-like tail:
Indus script hieroglyphs: composite animal, smithy
Composite animal on Indus script is a composite hieroglyph composed of many glyphic

elements. All glyphic elements are read rebus to complete the technical details of the bill of
lading of artifacts created by artisans.
m1177 Mohenjo-daro seal.
67
m1180 Mohenjo-daro seal. Human-faced markhor.
68
m0299. Mohenjo-daro seal.
69
m0300. Mohenjo-daro seal.
m1179. Mohenjo-daro seal. Markhor or ram with human face in composite hieroglyph.
70
h594. Harappa seal. Composite animal (with elephant trunk and rings (scarves) on shoulder
visible).koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (G.) Vikalpa:
kaḍum ‘neck-band, ring’; rebus: khāḍ ‘trench, firepit’ (G.) Vikalpa: khaḍḍā f. hole, mine, cave
(CDIAL 3790). kanduka, kandaka ditch, trench (Tu.); kandakamu id. (Te.); kanda trench made
as a fireplace during weddings (Konda); kanda small trench for fireplace (Kui); kandri a pit
(Malt)(DEDR 1214) khaḍḍa— ‘hole, pit’. [Cf. *gaḍḍa— and list s.v. kartá—1] Pk. khaḍḍā— f.
‘hole, mine, cave’, ḍaga— m. ‘one who digs a hole’, ḍōlaya— m. ‘hole’; Bshk. (Biddulph) "kād"
(= khaḍ?) ‘valley’; K. khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’, khoḍu m. ‘vulva’; S. khaḍ̱a f. ‘pit’; L.
khaḍḍ f. ‘pit, cavern, ravine’; P. khaḍḍ f. ‘pit, ravine’, ḍī f. ‘hole for a weaver's feet’ (→ Ku.
khaḍḍ, N. khaḍ; H. khaḍ, khaḍḍā m. ‘pit, low ground, notch’; Or. khãḍi ‘edge of a deep pit’; M.
khaḍḍā m. ‘rough hole, pit’); WPah. khaś. khaḍḍā ‘stream’; N. khāṛo ‘pit, bog’, khāṛi ‘creek’,
khāṛal ‘hole (in ground or stone)’. — Altern. < *khāḍa—: Gy. gr. xar f. ‘hole’; Ku. khāṛ ‘pit’; B.
khāṛī ‘creek, inlet’, khāṛal ‘pit, ditch’; H. khāṛī f. ‘creek, inlet’, khaṛ—har, al m. ‘hole’; Marw.
khāṛo m. ‘hole’; M. khāḍ f. ‘hole, creek’, ḍā m. ‘hole’, ḍī f. ‘creek, inlet’. 3863 khā́ tra— n. ‘hole’
HPariś., ‘pond, spade’ Uṇ. [√khan] Pk. khatta— n. ‘hole, manure’, aya— m. ‘one who digs in a
field’; S. khāṭru m. ‘mine made by burglars’, ṭro m. ‘fissure, pit, gutter made by rain’; P. khāt m.
‘pit, manure’, khāttā m. ‘grain pit’, ludh. khattā m. (→ H. khattā m., khatiyā f.); N. khāt ‘heap (of
stones, wood or corn)’; B. khāt, khātṛū ‘pit, pond’; Or. khāta ‘pit’, tā ‘artificial pond’; Bi. khātā
‘hole, gutter, grain pit, notch (on beam and yoke of plough)’, khattā ‘grain pit, boundary ditch’;
Mth. khātā, khattā ‘hole, ditch’; H. khāt m. ‘ditch, well’, f. ‘manure’, khātā m. ‘grain pit’; G.
khātar n. ‘housebreaking, house sweeping, manure’, khātriyũ n. ‘tool used in housebreaking’ (→
M. khātar f. ‘hole in a wall’, khātrā m. ‘hole, manure’, khātryā m. ‘housebreaker’); M. khā̆t n.m.
‘manure’ (deriv. khatāviṇẽ ‘to manure’, khāterẽ n. ‘muck pit’). — Un- expl. ṭ in L. khāṭvā̃ m.
‘excavated pond’, khāṭī f. ‘digging to clear or excavate a canal’ (~ S. khātī f. ‘id.’, but khāṭyāro
m. ‘one employed to measure canal work’) and khaṭṭaṇ ‘to dig’. (CDIAL 3790) •gaḍa— 1 m.
‘ditch’ lex. [Cf. *gaḍḍa—1 and list s.v. kartá—1] Pk. gaḍa— n. ‘hole’; Paš. gaṛu ‘dike’; Kho.
(Lor.) gōḷ ‘hole, small dry ravine’; A. garā ‘high bank’; B. gaṛ ‘ditch, hole in a husking
machine’; Or. gaṛa ‘ditch, moat’; M. gaḷ f. ‘hole in the game of marbles’. 3981 *gaḍḍa— 1 ‘hole,
pit’. [G. < *garda—? — Cf. *gaḍḍ—1 and list s.v. kartá—1] Pk. gaḍḍa— m. ‘hole’; WPah. bhal.
cur. gaḍḍ f., paṅ. gaḍḍṛī, pāḍ. gaḍōṛ ‘river, stream’; N. gaṛ—tir ‘bank of a river’; A. gārā ‘deep
hole’; B. gāṛ, ṛā ‘hollow, pit’; Or. gāṛa ‘hole, cave’, gāṛiā ‘pond’; Mth. gāṛi ‘piercing’; H. gāṛā m.
‘hole’; G. garāḍ, ḍɔ m. ‘pit, ditch’ (< *graḍḍa— < *garda—?); Si. gaḍaya ‘ditch’. — Cf. S. giḍ̱i
f. ‘hole in the ground for fire during Muharram’. — X khānī̆—: K. gān m. ‘underground room’;
S. (LM 323) gāṇ f. ‘mine, hole for keeping water’; L. gāṇ m. ‘small embanked field within a
field to keep water in’; G. gāṇ f. ‘mine, cellar’; M. gāṇ f. ‘cavity containing water on a raised
piece of land’ WPah.kṭg. gāṛ ‘hole (e.g. after a knot in wood)’. (CDIAL 3947) 3860 *khāḍa— ‘a
71
hollow’. [Cf. *khaḍḍa— and list s.v. kartá—1] S. khāṛī f. ‘gulf, creek’; P. khāṛ ‘level country at
the foot of a mountain’, ṛī f. ‘deep watercourse, creek’; Bi. khārī ‘creek, inlet’; G. khāṛi , ṛī f., ṛɔ
m. ‘hole’. — Altern. < *khaḍḍa—: Gy. gr. xar f. ‘hole’; Ku. khāṛ ‘pit’; B. khāṛī ‘creek, inlet’,
khāṛal ‘pit, ditch’; H. khāṛī ‘creek, inlet’, khaṛ—har, al m. ‘hole’; Marw. khāṛo m. ‘hole’; M.
khāḍ f. ‘hole, creek’, ḍā m. ‘hole’, ḍī f. ‘creek, inlet’. The neck-bands hung above the shoulder of
the composite animal may thus read rebus: trench or fire-pit (i.e. furnace) for the minerals/metals
described by the glyphic elements connoting animals: elephant, ram (or zebu, bos indicus).
m1175 Composite animal with a two-glyph inscription (water-carrier, rebus: kuti 'furnace'; road,
bata; rebus: bata 'furnace'). m1186A Composite animal hieroglyph. Text of inscription (3 lines).
There are many examples of the depiction of 'human face' ligatured to animals:
72
73
Ligatured faces: some close-up images.
The animal is a quadruped: pasaramu, pasalamu = an animal, a beast, a brute, quadruped
(Te.)Rebus: pasra ‘smithy’ (Santali) Allograph: panǰā́ r ‘ladder, stairs’(Bshk.)(CDIAL 7760) Thus
the composite animal connotes a smithy. Details of the smithy are described orthographically by
the glyphic elements of the composition.
Rebus reading of the 'face' glyph: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for
stoking (Bi.); ingot (Santali)mũh metal 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.lex.) kaula mengro ‘blacksmith’
(Gypsy) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit loss mleccha-mukha
should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.
A remarkable phrase in Sanskrit indicates the link between mleccha and use of camels as trade
caravans. This is explained in the lexicon of Apte for the lexeme: auṣṭrika 'belonging to a camel'.
The lexicon entry cited Mahābhārata: औवष्टरक a. Coming from a camel (as milk); Mb.8. 44.28; -
कुः An oil-miller; मानुषाणां मलं म्लेच्छा म्लेच्छाना- मौवष्टरका मलम् । औवष्टरकाणां मलं षण्ाुः षण्ानां
राजयाजकाुः ॥ Mb.8.45.25. From the perspective of a person devoted to śāstra and rigid
disciplined life, Baudhāyana thus defines the word म्लेच्छुः mlēcchḥ : -- गोमां सखादको यस्तु विरुद्धं
बहु भाषते । सिाा चारविहीनश्च म्लेच्छ इत्यवभधीयते ॥ 'A person who eatrs meat, deviates from
traditional practices.'
The 'face' glyph is thus read rebus: mleccha mũh 'copper ingot'.
It is significant that Vatsyayana refers to crptography in his lists of 64 arts and calls it mlecchita-
vikalpa, lit. 'an alternative representation -- in cryptography or cipher -- of mleccha words.'
The glyphic of the hieroglyph: tail (serpent), face (human), horns (bos indicus, zebu or ram),
trunk (elephant), front paw (tiger),
74
moṇḍ the tail of a serpent (Santali) Rebus: Md. moḍenī ʻ massages, mixes ʼ. Kal.rumb. moṇḍ -- ʻ
to thresh ʼ, urt. maṇḍ -- ʻ to soften ʼ (CDIAL 9890) Thus, the ligature of the serpent as a tail of
the composite animal glyph is decoded as: polished metal (artifact). Vikalpa: xolā = tail (Kur.);
qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)பகால் kol, n. 1. Iron; இரும் பு.
மின் பவள் ளி பபான் பகால் பலனச் பசால் லும் (தக்கயாகப் . 550). 2. Metal;
உலலாகம் . (நாமதீப. 318.) பகால் லன் kollaṉ, n. < T. golla. Custodian of treasure;
கஜானாக்காரன். (P. T. L.) பகால் லிச்சி kollicci, n. Fem. of பகால் லன். Woman of
the blacksmith caste; பகால் லச் சாதிப் பபண். (யாழ் . அக.) The gloss kollicci is
notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë
blacksmith (DEDR 2133). Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan
blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka.
kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi
blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to
mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares);
(SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge (DEDR 2133) பகால் ² kol Working
in iron; பகாற் பறாழில் . Blacksmith; பகால் லன். (Tamil) mũhe ‘face’ (Santali); Rebus:
mũh '(copper) ingot' (Santali);mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) லகாடு kōṭu :
•நடுநிகல நீ ங் குகக. லகாடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.] Tusk; யாகன
பன்றிகளின் தந்தம் . மத்த யாகனயின் லகாடும் (லதவா. 39, 1). 4. Horn;
விலங் கின் பகாம் பு. லகாட்டிகட யாடிகன கூத்து (திவ் . இயற் . திருவிருத்.
21). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in game,
log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch, path
across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn.
Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)Rebus: koḍ = the place
where artisans work (G.) kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk.
kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ,
°lũ n. ʻ jackal ʼ, M. kolhā, °lā m. krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ.
[√kruś] Pa. koṭṭhu -- , °uka -- and kotthu -- , °uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ
jackal ʼ, koṭiya ʻ leopard ʼ GS 42 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal
(Marathi) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.)
Allograph: kōla = woman (Nahali) [The ligature of a woman to a tiger is a phonetic determinant;
the scribe clearly conveys that the gloss represented is kōla] karba 'iron' (Ka.)(DEDR 1278) as in
ajirda karba 'iron' (Ka.) kari, karu 'black' (Ma.)(DEDR 1278) karbura 'gold' (Ka.) karbon 'black
gold, iron' (Ka.) kabbiṇa 'iron' (Ka.) karum pon 'iron' (Ta.); kabin 'iron' (Ko.)(DEDR 1278) Ib
'iron' (Santali) [cf. Toda gloss below: ib ‘needle’.] Ta. Irumpu iron, instrument, weapon. a.
irumpu,irimpu iron. Ko. ibid. To. Ib needle. Koḍ. Irïmbï iron. Te. Inumu id. Kol. (Kin.) inum (pl.
inmul)iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285). (DEDR 486)
Allograph: karibha -- m. ʻ Ficus religiosa (?) [Semantics of ficus religiosa may be relatable to
homonyms used to denote both the sacred tree and rebus gloss: loa, ficus (Santali); loh ‘metal’
(Skt.)]
miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120)bhēḍra -- , bhēṇḍa -- m. ʻ

ram ʼ lex. [← Austro -- as. J. Przyluski BSL xxx 200: perh. Austro -- as. *mēḍra ~ bhēḍra
75
collides with Aryan mḗḍhra -- 1 in mēṇḍhra -- m. ʻ penis ʼ BhP., ʻ ram ʼ lex. -- See also bhēḍa --
1, mēṣá -- , ēḍa -- . -- The similarity between bhēḍa -- 1, bhēḍra -- , bhēṇḍa -- ʻ ram ʼ and *bhēḍa
-- 2 ʻ defective ʼ is paralleled by that between mḗḍhra -- 1, mēṇḍha -- 1 ʻ ram ʼ and *mēṇḍa -- 1,
*mēṇḍha -- 2 (s.v. *miḍḍa -- ) ʻ defective ʼ](CDIAL 9606) mēṣá m. ʻ ram ʼ, °ṣīˊ -- f. ʻ ewe ʼ RV.
2. mēha -- 2, miha- m. lex. [mēha -- 2 infl. by mḗhati ʻ emits semen ʼ as poss. mēḍhra -- 2 ʻ ram ʼ
(~ mēṇḍha -- 2) by mḗḍhra -- 1 ʻ penis ʼ?]1. Pk. mēsa -- m. ʻ sheep ʼ, Ash. mišalá; Kt. məṣe/l ʻ
ram ʼ; Pr. məṣé ʻ ram, oorial ʼ; Kal. meṣ, meṣalák ʻ ram ʼ, H. mes m.; -- X bhēḍra -- q.v.2. K.
myã̄ -- pūtu m. ʻ the young of sheep or goats ʼ; WPah.bhal. me\i f. ʻ wild goat ʼ; H. meh m. ʻ ram
ʼ.mēṣāsya -- ʻ sheep -- faced ʼ Suśr. [mēṣá -- , āsyà -- ](CDIAL 10334) Rebus: meḍ (Ho.); mẽṛhet
‘iron’ (Mu.Ho.)mẽṛh t iron; ispat m. = steel; dul m. = cast iron (Mu.) Allograph: meḍ ‘body '
(Mu.)
The composite animal (bovid) is re-configured

by Huntington. http://huntington.wmc.ohio-state.edu/public/index.cfm Components of the
composite hieroglyph on seal M-299. A ligaturing element is a human face which is a hieroglyph
read rebus in mleccha (meluhha): mũhe ‘face’ (Santali) ; rebus:mũh metal ingot (Santali). Using
such readings, it has been demonstrated that the entire corpora of Indus writing which now
counts for over 5000 inscriptions + comparable hieroglyphs in contact areas of Dilmun where
seals are deployed using the characeristic hieroglyphs of four dotted circles and three linear
strokes.
76
Zebu is ligatured as distinctive high horns to create a composite hieroglyph ‘composite
animal motif’ as in m0301: human face, body or forepart of a ram, body and forelegs of a
unicorn, horns of a zebu, trunk of an elephant, hindlegs of a tiger and an upraised serpent-like
tail:
A truly fascinating paper by Dennys Frenez and Massimo Vidale on composite Indus creatures
and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato,
Chimaera and the Indus Civilization at a.harappa.com/...
On this seal, the key is only 'combination of animals'. This is an example of metonymy of a
special type called synecdoche. Synecdoche, wherein a specific part of something is used to refer
to the whole, or the whole to a specific part, usually is understood as a specific kind of
metonymy. Three animal heads are ligatured to the body of a 'bull'; the word associated with the
animal is the intended message.
77
Mohenjo-daro Seal 1927 with epigraphs on two-side is a confirmation that the horns ligatured to
the composite animal on m1927b are horns of zebu.
The pictorial motif hieroglyphs message on the seal:
khũṭ ‘zebu’ Rebus: ‘(native metal) guild’ This refrain is detailed by the zebu horns affixed to the
compositive animal hieroglyph. A synonym is aḍar ḍangra read rebus: aduru
ḍhangar ‘blacksmith’(Santali)
The composite animal hieroglyph can thus be seen as an expansion of the message conveyed by
the zebu hieroglyph expanding the blacksmith guild activities to other minerals and metals
beyond aduru ‘native, unsmelted metal’. The text message seems to be identical on both sides of
the seal m1927: bronze workshop; metal smithy castings; forge. The zebu side a of the seal
seems to denote the work of a native-metal-smith; the composite animal side b of the seal seems
to denote the expanded work of a blacksmith working with stones, minerals and metals. The
composite hieroglyph on m1927b was perhaps called:याळ [ vyāḷa ] m (याल S) A serpent.
Ex. जैसें पायास दं विलें महा याळें ॥ तों मस्तकासीं िृवश्चकें दं विलें ॥. 2 Applied popularly to
the नाग or भुजंग.याल [ vyāla ] m S A serpent. (Marathi) யாளவரி yāḷa-vari n.
< vyāḷayāḷi யாளி yāḷi, n. < vyāḷa. [K. yāḷi.] A mythological lion-faced animal with
elephantine proboscis and tusks; யாகனயின் தந்தமும் துதிக்ககயுஞ் சிங் கத்தின்
முகமுமுகடயதாகக் கருதப் படும் மிருகம் . உழுகவயும் யாளியு
முளியமும் (குறிஞ் சிப் . 252). 1 A vicious elephant; यालं बाल- मृणालतन्तुवभरसौ रोद् धुं
समुज्जृम्भते Bh.2.6. -2 A beast of prey; िसन्त्यस्त्रिन् महारण्ये यालाश्च रुवधरािनाुः Rām.2.119. 19; िनं
यालवनषेवितम् Rām. -3 A snake; H.3.29. -4 A tiger; Māl.3. -5 A leopard. यालकुः A vicious or
wicked elephant.
The text message on the seal:
kanac ‘corner’ Rebus: kañcu ‘bronze’
78
sal ‘splinter’ Rebus: sal ‘workshop’
|| dula ‘pair or two’ Rebus: dul ‘cast metal’
||| kolom ‘three’ Rebus: kolami ‘smithy, forge’
kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’
Bronze alloy workshop kañcu sal starting with bronze which is a tin + copper alloy or tin bronze
(as distinguished from arsenical bronze, i.e. naturally occurring copper + arsenic).
dula ‘two’ Rebus: dul ‘cast metal’
dolom ‘three’ Rebus: kolami ‘smithy, forge’
kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’. Vikalpa: mogge ‘sprout, bud’
Rebus: mūh̃ ‘ingot’
m0300 Zebu horns on composite animal. Native metal smith guild. Text 2521
ingot (from) iron smelter, tin smelter merchant guild.
Focus on ‘serpent’ tail: nāga ‘snake’ Rebus: nāga ‘lead’ (Sanskrit) anakku ‘tin’
(Akkadian)Kur. xolā tail. Malt. qoli id. (DEDR 2135). Focus on human face:
mukha, mūh̃ ‘face’ Rebus: mūh̃ ‘ingot’. Zebu horns: khũṭ ‘zebu’ (Gujarati) Rebus: khũṭ ‘(native
metal) community, guild’ (Santali) kola ‘tiger’ Rebus: kolhe ‘smelters’ kol ‘working in iron’
ibha ‘elephant’ Rebus: ib ‘iron’ body of an ox: balad ‘bull’ Rebus: baran, bharat ‘mixed alloys’
(5 copper, 4 zinc and 1 tin) (Punjabi) dhatu ‘scarf’ Rebus: dhatu ‘mineral ore’.
āra 'spokes' Rebus: āra ‘brass’. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal);
crystal (Kannada) Glyph: eraka’nave of wheel’ Rebus: eraka ‘copper’; cf. erka = ekke (Tbh. of
arka) aka (Tbh. of arka) copper (metal); crystal (Kannada)
79
Read in context, the composite hieroglyph is assumed to be a combination of a slanted stroke
ligatured to a notch,which provide possible rebus readings of a smithy/forge: notch+slanted
stroke reads rebus:ḍhālako kāṇḍa ‘ingot, tools, pots and pans and metal-ware’
dhāḷ ‘a slope’; ‘inclination of a plane’ (Gujarati); ḍhāḷiyum = adj. sloping, inclining (Gujarati)
Rebus:ḍhālako = a large metal ingot (Gujarati) ḍhālakī = a metal heated and poured into a
mould; a solid piece of metal; an ingot (Gujarati)
PLUS
खां डा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or
weapon). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’
Thus, the first pair of sign hieroglyphs from r. read rebus: copper, bronze ingots, metalware
| खां डा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or
weapon). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’
ranku ‘liquid measure’ Rebus: ranku ‘tin’
kanka ‘rim of jar’ Rebus: karṇīka ‘account (scribe)’ karṇī ‘supercargo’

kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’.
balad m. ʻ ox ʼ, gng. bald, (Ku.) barad, id. (N. Tarai) Rebus: bharat (5 copper, 4 zinc and 1
tin)(Punjabi)pattar ‘trough’ Rebus: pattar ‘guild’. Thus, copper-zinc-tin alloy (worker) guild.
खोंड [khōṇḍa] m A young bull, a bullcalf. (Marathi) Rebus: kõdār ‘turner’ (Bengali); कोंद kōnda
‘engraver, lapidary setting or infixing gems’ (Marathi) G. sãghāṛɔ m. ʻlathe’ ; संघाट joinery; M.
sag̃ aḍ ‘double-canoe’ Rebus: sangataras ‘stone-cutter, mason’
kola 'tiger' Rebus: kolhe 'smelter'; kol 'working in iron'; kole.l 'smithy'; kole.l 'temple' dula 'pair'
Rebus: dul 'cast metal'
80
akho m. ʻmesh of a netʼ Rebus: L. P. akkhā m. ʻ one end of a bag or sack thrown over a beast of
burden ʼ; Or. akhā ʻ gunny bag ʼ; Bi. ākhā, ã̄khā ʻ grain bag carried by pack animal ʼ; H. ākhā m.
ʻ one of a pair of grain bags used as panniers ʼ; M. ã̄khā m. ʻ netting in which coco -- nuts, &c.,
are carried ʼ, ā̄̆khẽ n. ʻ half a bullock -- load ʼ (CDIAL 17) అంకెము [ aṅkemu ] ankemu.
[Telugu] n. One pack or pannier, being half a bullock load.
अिुः [अि्-सुः] 1 An axis, axle, pivot; अिभिे च यानस्य....न दण्डं मनुरब्रिीत् Ms.8.291,292; दृढधूुः
अिुः Kāś. V. 4.74; Śi.12.2, 18.7; ज्योवतश्चिािदण्डुः Dk. 1Axle-pole. -2 The pole of a cart. Rebus: -
पटलुः[ष. त.] 1 a court of law. -2 depository of legal documents. -3 = अवि- पटलम्, q. v. -लुः
[अिाणां यिहाराणां पटलमस्त्यस्य अच् ] a judge. -4 record-office (GI). -5 account-office (RT). -
पटलावधकृतुः superintendent of records and accounts. Thus, the gloss 'akho' also connotes that the
writing system was a method of accounting for materials produced from
smelters/furnaces/smithy/forge. அக்கசாகல akka-cālai, n. < arkaW.)
*அக்கசாகலயர் akka-cālaiyar
, n. < id. +. Goldsmiths, jewellers; தட்டார். (பிங் .) The cognate arka relates to smithy work:
eraka 'copper'
Mohenjodaro seal (m0302).

The composite animal glyph is one example to show that rebus method has to be applied to every
glyphic element in the writing system.
The glyphic elements of the composite animal shown together with the glyphs of fish, fish
ligatured with lid, arrow (on Seal m0302) are:
--ram or sheep (forelegs denote a bovine)
--neck-band, ring
--bos indicus (zebu)(the high horns denote a bos indicus)
--elephant (the elephant's trunk ligatured to human face)
81
--tiger (hind legs denote a tiger)
--serpent (tail denotes a serpent)
--human face
All these glyphic elements are decoded rebus:
meḍho a ram, a sheep (G.)(CDIAL 10120);
kaḍum ‘neck-band, ring’
adar ḍangra ‘zebu’
ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Ko.)
kolo ‘jackal’ (Kon.)
moṇḍ the tail of a serpent (Santali) Rebus: Md. moḍenī ʻ massages, mixes ʼ. Kal.rumb. moṇḍ -- ʻ
to thresh ʼ, urt. maṇḍ -- ʻ to soften ʼ (CDIAL 9890) Thus, the ligature of the serpent as a tail of
the composite animal glyph is decoded as: polished metal (artifact).
mũhe ‘face’ (Santali); mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali)
லகாடு kōṭu : •நடுநிகல நீ ங் குகக. லகாடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.]
Tusk; யாகன பன்றிகளின் தந்தம் . மத்த யாகனயின் லகாடும் (லதவா. 39,
1). 4. Horn; விலங் கின் பகாம் பு. லகாட்டிகட யாடிகன கூத்து (திவ் . இயற் .
திருவிருத். 21).
Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram,
bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta.
kuṭiñai). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in
game, log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch,
path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu
horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)
meḍ ‘iron’ (Ho.)
khāḍ ‘trench, firepit’
aduru ‘native metal’ (Ka.) ḍhangar ‘blacksmith’ (H.)
kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.)
mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at
each of four ends (Santali)
koḍ = the place where artisans work (G.)
Orthographically, the glytic compositions add on the characteristic short tail as a hieroglyph (on
both ligatured signs and on pictorial motifs)
82
xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)பகால் kol, n. 1.
Iron; இரும் பு. மின் பவள் ளி பபான் பகால் பலனச் பசால் லும் (தக்கயாகப் .
550). 2. Metal; உலலாகம் . (நாமதீப. 318.) பகால் லன் kollaṉ, n. < T. golla. Custodian of
treasure; கஜானாக்காரன். (P. T. L.) பகால் லிச்சி kollicci, n. Fem. of பகால் லன்.
Woman of the blacksmith caste; பகால் லச் சாதிப் பபண். (யாழ் . அக.) The gloss
kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.);
Koḍ. kollë blacksmith (DEDR 2133). Vikalpa: dumbaदु म्ब or (El.) duma दु म । पिुपुच्छुः m. the tail
of an animal. (Kashmiri) Rebus: ḍōmba ?Gypsy (CDIAL 5570).
Ligaturing of glyphs on the Indus script is paralleled by sculpted ligatures of Sarasvati-Sindhu

civilization
Glyphs on Indus script: Ligatured human body, metal wheelwright
There are many variants of this human body glyph (Sign 1, Mahadevan Indus script corpus).
There are many composite glyphs with many ligatures to this human body frame.
meḍ ‘body’ (Santali) Rebus: meḍ ‘iron (metal)’ (Ho.) koṭe meṛed= forged iron (Mu.) (cf.
glyph: Ka. kōḍu horn)
83
Vikalpa: kāṭhī = body, person; kāṭhī the make of the body; the stature of a man (G.) Rebus:
khātī ‘wheelwright’ (H.)
eṛaka 'upraised arm' (Ta.); Ka.eṟake wing; rebus: eraka = copper (Ka.); eraka ‘metal infusion’
(Tu.)
Characteristic ligatures are: scarf on hair-pigtail, armlets on arms, raised arm, seated (hidden,
spy?) on a tree, ligatured to buttocks (back) of a bovine, horned (often with a twig betwixt
horns).
All these orthographic glyptic elements can be explained rebus as mleccha smith guild token
glyphs, all in the context of a smithy/forge/smithy guild. This decoding is consistent with rebus
readings of other glyphs such as ligatured tiger + eagle, tiger+ wings, tiger+ human body.
Bauddham tradition explains the expression Tridhātu at an ādhyāmikā level as three realms of
cyclic existence.
Three realms (Skt. tridhātu; Tib. ཁམས་གསུམ་, kham sum; Wyl. khams gsum) — the desire realm,
the form realm and the formless realm, all within cyclic existence.
• the desire realm,
• the form realm, and
• the formless realm.
Three realms The three levels within samsara: the desire realm, the form realm, and the formless
realm. The desire realm is the environment of hell beings, hungry spirits, animals, human
beings, demi-gods, and the gods who enjoy the five objects of desire. The form realm is the
environment of the gods who possess form. The formless realm is the environment of
the gods who do not possess form. Beings of the desire realm have powerful delusions, beings of
the form realm have more subtle delusions, and beings of the formless realm have
very subtle delusions.
These realms are all within the domain of samsara.
http://www.chinabuddhismencyclopedia.com/en/index.php/Three_realms
84

Epigraphia Indus Script Contributions To

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Epigraphia Indus Script Contributions To

Uploaded by

Copyright:

Available Formats

Epigraphia Indus Script – Contributions to Art & Cultural

History of Ancient India and Hindu Iconography

m1177, m0300 Mohenjo-daro seals ligature a

Ekamukhalinga from Vat Sak Sampou with Brahma-, Rudra-

Gaṇeśa. Aihole. Archaeological Museum.

Tridhātu on Indus Script metalwork for crucible steel, ādhyātmikā metaphor

Dholkal Gaṇeśa of Chattisgarh with extraordinary hieroglyphs used in the pratimā.Association

Just as Gaṇeśa is traced to Sarasvati-Sindhu script traditions of hieroglyph/hypertext cipher

After Fig. 8.305 RS Bisht. Dholavira. Details of free standing columns.

Mukhalinga embedded in a yoni;Budanilkantha, Nepal

Ekamukhalinga from Vat Sak Sampou

Relief with Ekamukha linga. Mathura. 1st cent. CE

Sarasvati-Sindhu Script seal. Binjor

Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara 'proclamation.

An excellent treatise on Gaṇeśa's iconographic forms is a work in Kannada by Vidwan Ganesa

I submit that the hieroglyphis metaphors of Gaṇeśa in iconographic tradition is traceable to

Wilson (Based on Sayana):

உலலாகங் ககளச் லசாதிப்லபான். (W.) धातुिाद (p. 250) dhātuvāda m S Mineralogy or

ॐ गणानां त्वा गणपवतं हिामहे

Pañcāyatana pūjā is worship of Gaṇeśa, Vishnu, Shiva, Devī, and Sūrya.

Gaṇeśa Nrtya Walters Art Museum.

Source: agnyāyatanaṁ and agnihotrahomaḥ colophon: punarādheyam

गणा f. N. of one of the mothers in स्कन्द's retinue MBh. ix ,

In the laukika-lokottara research methodology of unraveling the traditions handed down to us

Slide 63 Elephant trunk ligatured to a winnowing fan Material:

Centre for Archaeological Research Indus Balochistan, Musée Guimet, Paris.

Three-headed: elephant, buffalo, bottom jaw of a feline. NS 91.02.32.01.LXXXII. Dept. of

Une tête d'éléphant en terre cuite de Nausharo (Pakistan)

బేరము [ bēramu ] bēramu. [Skt.] n. An image. ప్రతిమ. "రంకములోని హైమబేరము." రర. v.

బేరము [ bēramu ] bēramu. [Tel.] n. Trade, dealing, a

उत् -सि b [p= 182,2] m. enterprise , beginning RV. i , 100 , 8 ; 102 , 1

Dimensions: 7.1 cm height, 4.8 cm length, 3.5 cm width

Slide72. Two composite anthropomorphic / animal figurines from Harappa.Whether or not

Nahali (kol ‘woman’) and Santali (kul ‘tiger’; kol ‘smelter’)

[quote]Rajasuya (Imperial Sacrifice or the king's inauguration sacrifice) is a Śrauta ritual of

S'Br. 5.5.5.6 tásya yo yóniraashaya aása | támanuparaamR!shya

RV_2,023.01a gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnām upamaśravastamam |

Rebus 3: saMghAta 'caravan'

Rebus: fire-god: @B27990. #16671. Remo <karandi>E155 {N} ``^fire-^god''.(Munda)

Allograph: करडी [ karaḍī ] f (See करडई) Safflower: also its seed.

Rebus: karaḍa ‘hard alloy’ (Marathi) See: http://tinyurl.com/qcjhwl2

Bharhut. Capital of Gateway post (After

m0295 Mohenjo-daro seal

Hieroglyphs. Centrepiece is a scorpion, surrounded by a pair of oxen (bulls), rhinoceros,

Thre metaphor of a three-headed signifier occurs in reference to त्वाष्टर , as author of RV. x , 8.

Thus, three heads of tigers (winged) on Sanchi stupa torana:

Artistic style: Joined animal Hieroglyph: sangaḍi = joined animals (Marathi)

Rebus reading of glyphic elements of the ‘bristled (tiger’s mane) face’:

From Pillar of boatmen, Mohenjo-daro seals, ganweriwala tablet

Is the artisan signifying a three-headed tvaṣṭiḥ त्ववष्टुः f. Carpentry?

Indus script hieroglyphs: composite animal, smithy

Composite animal on Indus script is a composite hieroglyph composed of many glyphic

m1177 Mohenjo-daro seal.

m0301 Mohenjo-daro seal.

m0303 Mohenjo-daro seal.

m0299. Mohenjo-daro seal.

miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120)bhēḍra -- , bhēṇḍa -- m. ʻ

The composite animal (bovid) is re-configured

The pictorial motif hieroglyphs message on the seal:

The text message on the seal:

kanac ‘corner’ Rebus: kañcu ‘bronze’

ranku ‘liquid measure’ Rebus: ranku ‘tin’

kanka ‘rim of jar’ Rebus: karṇīka ‘account (scribe)’ karṇī ‘supercargo’

Mohenjodaro seal (m0302).