Archaeology of Rari Suktam R Gveda 10

Archaeology, of Rāṣṭrī Suktam RRgveda 10.
125 prayer to
चचैतन्यममातमा, Śiva Sūtrāṇi, mirrored in documents of Indus
Script Cipher of phaḍa, 'public metals manufactory',
kammaṭa 'mint', kamaḍha 'penance'
--Archaeology of चचैतन्यममातमा, Śiva Sūtrāṇi, नमाचणमाचमा गमाणमाचमा फड 'guild merriment, dancers'
shop', phaḍa, 'public metals manufactory', kammaṭa 'mint', kamaḍha 'penance' documented in
Indus Scritpt Cipher
--Vrātam Vrātam gaṇam gaṇam, guilds of artisans, seafaring merchants.
--Wealth of a Rāṣṭram venerated in Rāṣṭrī suktam (RV 10.125) is a prayer to आतनन 'principle of
life' which is चचेतनन 'consciousness'.
karaṇa 'dance posture' explains role of Gaṇeśa rebus as a karaṇa 'scribe' of the Great Epic
Mahābhārata.
Gaṇeśa is tridhatu, signifies three mineral ores.
चचैतन्यममातमा॥१॥1.3 Śiva Sūtra of Vasugupta. Pavel Celba translates the Sutra as:
Enlightened ātman (See the early semantics provided by Monier-Willliams as 'principle of life
and sensation').
I suggest that the expression should translate as: आतनन 'principle of life' which is चचेतनन
'consciousness'.
The key is the metaphorical exposition of the words atman and pada.
आतनन (variously derived fr. अनन , to breathe ; अतन , to move ; वमा , to blow ; cf. तन/अनन) the
breath RV.; principle of life and sensation RV. AV. &c; self , abstract individual
[e.g. आतन/अनन (Ved. loc.) धतत , or कररोतत , " he places in himself " , makes his
own TS. v S3Br. ; आतनमा अकररोतन , " he did it himself " Ka1d. ; आतनमा तव- √ययुजन , " to lose one's
life " Mn. vii , 46 ; आतनन in the sg. is used as reflexive pronoun for all three persons and all
three genders e.g. आतमानन समा हनन , " she strikes herself " ; पयुत्रमन आतनन सस्पृषषमा तनपतततयुन , " they two
having touched their son fell down " R. ii , 64 , 28 (Monier-Williams)
पदन a step , pace , stride; a footstep , trace , vestige , mark , the foot itself , RV. &c (पदतनन , on
foot ; पदत पदत , at every step , everywhere , on every occasion ; त्रत्रीतण पदमातन तवषरोन , the three steps
or footprints of तवषयु [i.e. the earth , the air , and the sky ; cf. RV. i , 154 , 5 Vikr. i , 19],
also N. of a constellation or according to some " the space between the eyebrows " ; sg. तवषरोन
पदमन N.of a locality ; पदन- √दमा,पदमातन पदन- √गमन or √चलन , to make a step , move on ; पदन- √कस्पृ ,
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with loc. to set foot in or on , to enter ; with ममूतरर , to set the foot upon the head of
[gen.] i.e. overcome ; with तचतत or हृदयत , to take possession of any one's heart or mind ;
with loc. or प्रतत , to have dealings with ; पदन तन- √धमा with loc. , to set foot in = to make
impression upon ; with पदवमामन , to set the foot on a person's [gen. or ibc.] track , to emulate or
equal ; पदमन तन- √बननwith loc. , to enter or engage in); a ray of light (Monier-Williams)
चचैतनन n. (fr. चन/एतन) consciousness MBh. xiv , 529 Sus3r. i , 21 , 24. &c; intelligence , sensation
, soul , spirit (कतपल 's समानख-प्रवचन) iii , 20 (समानखकमाररकमा); चचेतनन mf(/ई)n. visible , conspicuous ,
distinguished , excellent RV. AV. ix , 4 , 21; percipient , conscious , sentient ,
intelligent Kat2hUp. v , 13 S3vetUp. vi ,
13 Hariv. 3587 KapS. Tattvas. &c; n. conspicuousness RV. i , 13 , 11 and 170 , 4 ; iii , 3 , 8 ; iv ,
7 , 2; चचेतनन f. consciousness , understanding , sense , intelligence Ya1jn5. iii ,
175 MBh. &c (often ifc. [f(आ).] Mn. ix , 67 MBh. &c ) (cf. अ- , तनशन- , पयुर-
चन/एतन° , तव- , स- , सन/उ-).
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"Somānanda (850-900 CE), the first Dārśanakāra of Monistic Kashmir Śaivism is hailed as
the first logical exponent of Pratyabhijnā- śāstra. Abhinava Gupta (960-1015 CE)
compliments him in the Tantrāloka (I.10) as:
Svātmeśvara-pratyabhidhānasya tarkasya kartārah
The special feature of Pratyabhijnā as a path to Mokṣa is that it does not involve physical
exertion such as Praṇāyāma, Bandha etc., as in Yoga, and the renunciation of the
world as was expected in the pathways to Mokṣa detailed in Vasugupta’s Śiva Sutra.
(825-850 CE)" (Ganesh Vasudev Tagare, 2002, The Pratyabhijn ā Philosophy,
Motilal Banarsidass Publishers, pp.10-11)
"Pratyabhijna (Sanskrit: प्रत्यभभिजन pratyabhijñā, lit. "re-cognition") is

an idealistic monistic and theistic school of philosophy in Kashmir Shaivism,
originating in the 9th century CE...Etymologically, Pratyabhijna is formed
from prati – "something once known, now appearing as forgotten", abhi –
"immediate" and jñā – "to know". So, the meaning is direct knowledge of one's self,
recognition. The philosophy is continuation of the Vedic knowledge.,,The central
thesis of this philosophy is that everything is Śiva, absolute consciousness, and it is
possible to re-cognize this fundamental reality and be freed from limitations,
identified with Shiva and immersed in bliss. Thus, the slave (pasu - the human
condition) becomes the master (pati - the divine condition)." (Jaideva
Singh. Pratyabhijñāhrdayam, p.117; S. Kapoor. The Philosophy of Saivism, p.254).
https://en.wikipedia.org/wiki/Pratyabhijna This ādhyātmikā framework of Vasugupta in the

Veda tradition is amplified in प्रत्यभभिजन pratyabhijñā school of Kashmir Śaiva
Siddhānta. The focus is attainment of mokṣa or nihśreyas, uniting the ātman with
the paramātman. This is the framework of Pavel Celba's commentary on Śiva
Sūtrāṇi of Vasugupta which provides the metaphor of Śiva pada which evokes the
cosmic dance, tāṇḍava nrrtyam as a series of padāni, dance-steps.
Orthography of dot, circle,strand in Indus Script Corpora: तचत-वस्पृतत gyrations of mind
भचतन " appeared " , visible RV. ix , 65 , 12; n. attending , observing (ततरन/अशन तचतन/आतन , " so as
to remain unnoticed ") , vii , 59 , 8
ववृतन mfn. turned , set in motion (as a wheel) RV.; round , rounded , circular S3Br. &c
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See the
dotted circle hieroglyph on the bottom of the sacred device, sangaḍa
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Kot Diji type seals with concentric circles from (a,b) Taraqai Qila (Trq-2 &3, after CISI 2: 414),
(c,d) Harappa(H-638 after CISI 2: 304, H-1535 after CISI 3.1:211), and (e) Mohenjo-daro (M-
1259, aftr CISI 2: 158). (From Fig. 7 Parpola, 2013).
Distribution of geometrical seals in Greater Indus Valley during the early and *Mature Harappan
periods (c. 3000 - 2000 BCE). After Uesugi 2011, Development of the Inter-regional interaction
system in the Indus valley and beyond: a hypothetical view towards the formation of the urban
society' in: Cultural relagions betwen the Indus and the Iranian plateau during the 3rd
millennium BCE, ed. Toshiki Osada & Michael Witzel. Harvard Oriental Series, Opera Minora
7. Pp. 359-380. Cambridge, MA: Dept of Sanskrit and Indian Studies, Harvard University: fig.7
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Dotted circles and three lines on the obverse of many Failaka/Dilmun seals are read rebus as
hieroglyphs:
Hieroglyph: ḍāv m. ʻdice-throwʼ rebus: dhāu 'ore'; dããu ʻtyingʼ, ḍāv m. ʻdice-throwʼ read
rebus: dhāu 'ore' in the context of glosses: dhaãavaḍ m. ʻa caste of iron
-smelters', dhāvḍī ʻcomposed of or relating to ironʼ. Thus, three dotted circles signify: tri-
dhāu, tri-dhātu 'three ores' (copper, tin, iron).
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A (गरोटमा) gōṭā Spherical or spheroidal, pebble-form. (Marathi) Rebus: khoṭā ʻalloyedʼ
(metal) (Marathi) खरोटन [khōṭa] f A mass of metal (unwrought or of old metal melted down); an
ingot or wedge (Marathi). P. khoṭ m. ʻalloyʼ (CDIAL 3931) goTa 'laterite ferrite ore'.
m0352 cdef
The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted

circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5
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sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar
and at the centre of the altar together with four raised 'bun' ingot-type rounded features. Rebus
readings of m0352 hieroglyphs:
dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'
1. Round dot like a blob -- . Glyph: raised large-sized dot -- (gōṭī ‘round pebble);goTa 'laterite
(ferrite ore)
2. Dotted circle khaṇḍa ‘A piece, bit, fragment, portion’; kandi ‘bead’;
3. A + shaped structure where the glyphs 1 and 2 are infixed. The + shaped structure is kaṇḍ ‘a
fire-altar’ (which is associated with glyphs 1 and 2)..
Rebus readings are: 1. khoṭ m. ʻalloyʼgoTa 'laterite (ferrite ore); 2. khaṇḍā ‘tools, pots and pans
and metal-ware’; 3. kaṇḍ ‘furnace, fire-altar, consecrated fire’.
Four ‘round spot’; glyphs around the ‘dotted circle’ in the center of the composition: gōṭī ‘round
pebble; Rebus 1: goTa 'laterite (ferrite ore); Rebus 2:L. khoṭf ʻalloy, impurityʼ, °ṭā ʻalloyedʼ,
awāṇ. khoṭā ʻforgedʼ; P. khoṭ m. ʻbase, alloyʼ M.khoṭā ʻalloyedʼ (CDIAL 3931) Rebus 3:
kōṭhī ] f (करोष S) A granary, garner, storehouse, warehouse, treasury, factory,
bank. khoṭā ʻalloyedʼ metal is produced from kaṇḍ ‘furnace, fire-altar’ yielding khaṇḍā ‘tools,
pots and pans and metal-ware’. This word khaṇḍā is denoted by the dotted circles.
Consistent with the definition in yogasūtra, yoga यरोग: तचत-वस्पृतत तनररोध: yogaś citta-vṛtti-nirodhaḥ
— Yoga Sutras 1.2 (Translation: "Yoga is the inhibition (nirodhaḥ) of the modifications (vṛtti)
of the mind (citta)") yoga has two semantic streams: 1. training of the mind to focus attention
and 2. human initiative or activity. One results in meditation an the other in human activities to
keep fit, practices such as farming and other activities for prosperity. These two semantic streams
are demonstrated by the meanings of yoga-related expressions in almost all ancient languages of
Bhāratam. Yoga thus means yoking, work, employment in RRgveda with semantic expansions to
signify acquisition of wealth and property as a result of human initiatives performed with yogic
concentration or steadfastness of mind:
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yṓgya ʻ fit for yoking ʼ Pāṇ. (m. ʻ draught animal ʼ AV.), ʻ fit, proper ʼ KātyŚr.
[yṓga -- ] Pa. yogga -- ʻ fit ʼ, Pk. jogga -- , jugga -- , S. joggu, joggo, L. jogā, (Ju.) joggā, P. joggā,
WPah.paṅ. cur. jōgā, MB. joga; Or. jogā ʻ able, fit ʼ, Mth. Bhoj. jog; OAw. joga ʻ suitable ʼ
(whence jogaïʻ suits ʼ); H. jog, jogā ʻ useful ʼ; G. jog, jogu ʻ fit ʼ, M. jjogā.(CDIAL
10528) yōgyāˊ f. ʻ trace (of harness), hymn (poetic activity) ʼ RV., ʻ exercise ʼ MBh. [yṓgya -- .
-- √yuj] Pa. yoggā -- f. ʻ practice ʼ, Pk. joggā -- f.; S. jogga f. ʻ yoke of oxen ʼ, L. P. jog f. (ludh.
m.); Or. jogāṛa ʻ collection of means and material ʼ; M. jjog bharṇẽ ʻ to fill with food the basket
of a temple -- girl ʼ. -- Deriv.: N. joginu ʻ to be saved ʼ, jogāunu ʻ to save, protect, keep ʼ;
A. zogāiba ʻ to supply ʼ, B. jogāna, Or. jogāibā; H. jogaunā, jugānā ʻ to take care of ʼ;
G. jogavvu ʻ to serve, get on well ʼ; M. jjogāviṇẽ ʻ to take care of, feed ʼ, jjogavṇẽ ʻ to get on fairly
well ʼ.(CDIAL 10529) yōgakṣēmá m. (ʻ possessions resulting from activity, prosperity ʼ RV.) ʻ
preservation of one's business or property, insurance charge ʼ Mn., ʻ rest from activity, spiritual
good ʼ KaṭhUp. (cf. kṣēmayōgau ʻ rest and activity ʼ AitBr.). [The post -- Vedic meanings
resulted from a shift in the meaning of -- kṣēma -- as ʻ possession ʼ to ʻ safety, repose ʼ (J. C.
W.). -- yṓga -- , kṣḗma -- ]Pa. yōgakkhēma -- m. ʻ rest from work, perfect peace ʼ,
Dhp. yokakṣemu; NiDoc. yoǵacãhh ema ʻ security ʼ; S. jokho, °khimu m. ʻ risk, danger ʼ;
L. jokhiõ m. ʻ risk ʼ, P. jokhõ m.; Ku. jokham ʻ injury ʼ; N. jokhim ʻ venture, danger ʼ;
H. jokhõ, °khim, °kham f. ʻ charge for securing property from accidents, risk, danger, loss, injury
ʼ; G. jokham n. ʻ risk, venture, responsibility, loss ʼ, M.jjokhī˜v, °khīm, °kham n. f. -- Retention or
replacement of -- m -- in forms other than G. is obscure: perh. as banking or business term ← G.
(CDIAL 10527) yṓga m. ʻ yoking, employment, work ʼ RV., ʻ yoke ʼ ŚBr., ʻ expedient ʼ MBh.
[√yuj]Pa. yōga -- m. ʻ yoking, application to ʼ, NiDoc. yoǵa; Pk. jōa -- m. ʻ union, pair, business
ʼ; N. joh ʻ device, arrangement ʼ; A. zo ʻ ability, means, preparations ʼ; B. Or. jo ʻ proper time for
ploughing or sowing, opportunity ʼ; Si. yō ʻ union, practice, asceticism ʼ. -- Paš.lauṛ. ẓōeṭīˊ ʻ yoke
ʼ, ar. yūwaṭīˊ, ishk. ẓōṭīˊ ʻ neck of yoke ʼ < *yōa -- with dimin. suffix -- ṭī -- IIFL iii 3, 208 or
poss. < *yugakāṣṭha -- .(CDIAL 10526) *yugakāṣṭha ʻ yoke timber ʼ. [yugá -- , kāṣṭhá -- ]Bi.
Mth. juāṭh ʻ yoke of plough ʼ, (Patna) joṭh ʻ bullock yoke with two bars ʼ; H. jūāṭh, °āṭ m. ʻ yoke
ʼ; -- Paš.lauṛ. ẓōeṭīˊ, ar. yūwaṭīˊ ʻ yoke ʼ, ishk. ẓōṭīˊ ʻ neck of yoke ʼ (IIFL iii 3, 208 prob.
< yṓga -- + dimin. -- ṭī).(CDIAL 10483)
Archaeology of Yoga and bhūtaYajña, evidences of metalwork
yogāsana polstures shown on the following seals/tablets (dated ca. between 2500 to 1900 BCE)
should have originated earlier to ca. 2500 BCE and continued into the historical periods from the
days of the civilization which produced these images on seals and tablets. McEvilley
demonstrates that the unique āsana shown orthographically on the seals/tablets is consistent with
Yogic literature exemoplified in the Haṭha Yoga Pradīpikā I.53-54. (Thomas McEvilley,
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1981, RES: Anthropology and AestheticsNo. 1 (Spring,
1981), p.49) http://www.jstor.org/stable/20166655
Text on obverse of the tablet m453A: Text 1629. m453BC Seated in penance, the person is
flanked on either side by a kneeling adorant, offering a pot and a hooded serpent rearing
up. फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of metal,metasls
manufactory' .
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Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro
(DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums,
Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA
1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by
animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological
Survey of India.
Priest sculpture is Indus Script hypertext.PotrR परोतस्पृ,'purifier', dhaaa vaḍ 'iron-smelter' of dhāū, dhāv
'red stone minerals'
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I suggest that are many hieroglyphs constituting a hypertext on this male statue of Mohenjo-daro.
This monograph demonstrates that the statue signifies Potrr 'Purifier priest' in Rrgveda tradition of
performance of yajña. The rationale, validation for linking with Rrgveda tradition is provided by
the Binjor discovery in 2015 of a yajña kuṇḍa together with aṣṭāśri yūpa which is consistent with
the texts of Rrgvedaand Śatapatha Brāhmaṇa. Together with the discovery of what tantamounts
to a yūpa inscription is the discovery of Indus Script seals with the readings of wealth accounting
ledgers of metalwork.aṣṭāśri yūpa is a ketu कचेतत sign , mark , ensign , flag , banner (RRgveda) -- a
proclamation of the performance of a Soma Samsthā yajña. Details have been provided in the
1035 monographs at
https://independent.academia.edu/SriniKalyanaraman and in Epigraphia Indus Script --
Hypertexts & Meanings(2017)
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The hieroglyphs are:
1) Dotted circle (circular inlay ornament) looks like a

2) bead is worn like a
3) fillet tied to a
4) String; the fillet bands fall like a
5) scarf
6) shawl cloth worn with right-shoulder bare is decorated with
7) one, two, three dotted circles
With the following hieroglyph components read rebus in Meluhha, the hypertext is:
Component 1: dhā 'strand' + vaṭa 'string' rebus: vatta n. ʻduty, officeʼ(Pali)

rebus: धमावडत्री [ dhāvaḍī ] a Relating to the class धमावड, 'smelter'. (Semantic
determinative: dhāṭ(h)u 'scarf' (WPah.) rebus: dhāṭu 'mineral ore')
Component 2: paṭṭa m. ʻfillet', paḍa 'cloth' rebus: phaḍā 'metals manufactory'
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Thus, together, the Indus Script hypertext of the Priest statue
reads: Potrr dhāvaḍa phaḍā 'Purifier priest, smelter, metals manufactory'. The process of
purification in Agni makes the entire process sacred, divine -- an act of daivam, 'divinity'.
Since one, two, three dotted circles adorn the uttarīyam, 'upper garment' of the Priest is a smelter
of three types of mineral ores, tri-dhātu 'three strands' rebus: tri-dhātu 'three minerals'; the
minerals are:goṭa 'laterite, ferrite ore', bicha 'haematite, ferrite ore', poḷa 'magnetite, ferriteore'.
Three hieroglyphs of Indus Script cipher which signify these minerals are: goṭa 'round pebble,
stone', bica 'scorpion', poḷa'zebu, bos indicus'.
What is the priest called in Meluhha? The answer is provided by the Rrgveda tradition of yajña.
Hieroglyph: potta 'cloth' rebus: Potrr पपोतवृ पन/ओतस्पृ or परोतस्पृ, m. " Purifier " , N. of one of the 16
officiating priests at a sacrifice (the assistant of the Brahman ; =यज्ञस शरोधतयतटट Sa1y. ) (RRg
Veda Brāhmaṇa, Śrautasūtra.हररवनश). परोतनन a. 1 Sacred, holy. -2 Purifying. The title of
Pallavakings may link with the sacred purification process: பபபோதத்தரசரத் pōttaracar , n. prob.
பபபோதத்த¹ +. A title of the Pallava kings; பலத்லவரத் படத்டபத்பபயரத்களள பலபோனத்ற.
மபயநத்திரபத் பபபோதத்தரசரத் (S. I. I. ii, 341.)
I suggest that that Potrr the Purifier priest is the dhaãavaḍ 'iron-smelter' who purifies (smelts) the
ores to produce wealth of metal. Agni is the purifying medium.
1.Hieroglyph: A. dotted circle: dhāī f. ʻ wisp of fibres added from time to time to a rope that is
being twisted ʼ, L. dhāī˜; B. Throw of dice: dāˊtu n. ʻ share ʼ RV.
[Cf. śatádātu -- , sahásradātu -- ʻ hun- dredfold, thousandfold ʼ: Pers. dāv ʻ stroke, move in a
game ʼ prob. ← IA. -- √dō] K. dāv m. ʻ turn, opportunity, throw in dice ʼ; S. ḍgããu m. ʻ mode ʼ;
L. dā m. ʻ direction ʼ, (Ju.) ḍgā, ḍgãã m. ʻ way, manner ʼ; P. dāu m. ʻ ambush ʼ; Ku. dããw ʻ turn,
opportunity, bet, throw in dice ʼ, N. dāu; B. dāu, dããu ʻ turn, opportunity ʼ; Or. dāu, dāu ʻ
opportunity, revenge ʼ; Mth. dāu ʻ trick (in wrestling, &c.) ʼ; OAw. dāu m. ʻ opportunity, throw
in dice ʼ; H. dāū, dããw m. ʻ turn ʼ; G.dāv m. ʻ turn, throw ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ
revenge ʼ. -- NIA. forms with nasalization (or all NIA. forms) poss. < dāmán -- 2 m. ʻ gift ʼ RV.,
cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya-- m. ʻ playing of dice ʼ Naiṣ.(CDIAL
6258) தபோயமத் tāyam, n. < dāya. A fall of the dice; கவறருடத்ட விழுமத் விருதத்தமத்.
முறத்பட இடுகினத்ற தபோயமத் (கலிதத். 136, உரர). 5. Cubical pieces in dice-play; கவற.
(யபோழத். அக.) 6. Number one in the game of dice; கவறருடத்ட விழுமத் ஒனத்ற எனத்னுமத்
எணத். Colloq. rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore
(esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., 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
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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 (CDIAL 6773) Semantic determinative.
2. Hieroglyph bead: *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.;
N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, puti ʻ small bead ʼ; Or. puti ʻ
necklace of small glass beads ʼ; H. potm. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's
polishing stone ʼ rather than < pōtrá -- 1.(CDIAL 8403) rebus: Potrr 'Purifier priest' (RRgveda)
Semantic determinative)
3. Hieroglyph: a)Fillet: paṭṭa2 m. ʻ cloth, woven silk ʼ Kāv., ʻ bandage, fillet turban, diadem ʼ
MBh. [Prob. like paṭa -- and *phēṭṭa -- 1 from non -- Aryan source, of which *patta -- in Gy. and
*patra-- in Sh. may represent aryanization of paṭṭa -- . Not < páttra -- nor, with P. Tedesco
Archaeologica Orientalia in Memoriam Ernst Herzfeld 222, < *prrṣṭa<-> ʻ woven ʼ, while an
assumed borrowing from IA. in Bur. ph*llto -- čiṅ ʻ puttees ʼ is too flimsy a basis for *palta -- (~
Eng. fold, &c.) as the source NTS xiii 93]
Pa. paṭṭa -- m. ʻ woven silk, fine cloth, cotton cloth, turban ʼ, °ṭaka -- ʻ made of a strip of cloth ʼ,
n. ʻ bandage, girdle ʼ, °ṭikā -- f.; NiDoc. paṭa ʻ roll of silk ʼ Lüders Textilien 24; Pk. paṭṭa -- m. ʻ
cloth, clothes, turban ʼ; Paš. paṭā ʻ strip of skin ʼ, ar. weg. paṭīˊ ʻ belt ʼ; Kal.rumb. pāˊṭi ʻ scarf ʼ;
Phal. paṭṭaṛa ʻ bark ʼ; K. paṭh, dat. °ṭas m. ʻ long strip of cloth from loom ʼ, poṭu m. ʻ woollen
cloth ʼ, pôṭu m. ʻ silk, silk cloth ʼ (← Ind.?); S. paṭū m. ʻ silk ʼ, paṭuã u m. ʻ a kind of woollen cloth
ʼ, paṭo m. ʻ band of cloth ʼ, °ṭī f. ʻ bandage, fillet ʼ; L. paṭṭ m. ʻ silk ʼ, awāṇ. paṭṭī f. ʻ woollen
cloth ʼ; P. paṭṭ m. ʻ silk ʼ, paṭṭī f. ʻ coarse woollen cloth, bandage ʼ; WPah.bhal. peṭṭu m. sg. and
pl. ʻ woman's woollen gown ʼ; Ku. pāṭ ʻ silk ʼ; N. pāṭ ʻ flax, hemp ʼ; A. B. pāṭ ʻ silk ʼ (B. also ʻ
jute ʼ); Or. pāṭa ʻ silk, jute ʼ, paṭā ʻ red silk cloth, sheet, scarf ʼ, (Bastar) pāṭā ʻ loincloth ʼ;
Bhoj. paṭuā ʻ jute ʼ; OAw. pāṭa m. ʻ silk cloth ʼ; H. paṭ m. ʻ cloth, turban ʼ, paṭṭū m. ʻ coarse
woollen cloth ʼ, paṭṭī f. ʻ strip of cloth ʼ, paṭkā m. ʻ loincloth ʼ; G. pāṭ m. ʻ strip of cloth ʼ, °ṭɔ m.
ʻ bandage ʼ, °ṭī f. ʻ tape ʼ; Ko. pāṭṭo ʻ strap ʼ; Si. paṭa ʻ silk, fine cloth ʼ, paṭiya ʻ ribbon, girdle,
cloth screen round a tent ʼ. -- Gy. rum. pato ʻ clothing ʼ, gr. patavo ʻ napkin ʼ, wel. patavō ʻ sock
ʼ, germ. phār ʻ silk, taffeta ʼ; Sh.koh. gur. pāc cṷ m. ʻ cloth ʼ, koh. poc ce ʻ clothes ʼ.*paṭṭakara -- ,
*paṭṭadukūla -- , *paṭṭapati -- , paṭṭaraṅga -- , paṭṭarājñī -- , *paṭṭavaya -- ; *niṣpaṭṭa -- ;
*antarapaṭṭa -- , *andhapaṭṭa -- , *kakṣapaṭṭa -- , *karpaṭapaṭṭikā -- , *ghumbapaṭṭa -- , carmapaṭṭa
-- , *dupaṭṭikā -- , *paggapaṭṭa -- , *paścapaṭṭa -- , *laṅgapaṭṭa -- , *vasanapaṭṭa -- , śīrṣapaṭṭaka --
.Addenda: paṭṭa -- 2: WPah.poet. pakṭe f. ʻ woman's woollen gown ʼ (metath. of *paṭke with
-- akka -- ); Md. fořā ʻ cloth or Sinhalese sarong ʼ, fařu(v)i ʻ silk ʼ, fař ʻ strip, chain ʼ, fař jehum ʻ
wrapping ʼ (jehum verbal noun of jahanī ʻ strikes ʼ).(CDIAL 7700) rebus: phaḍā 'metals
manufactory' (Semantic determinative)
Hieroglyph: b) Cloth worn: pōta2 m. ʻ cloth ʼ, pōtikā -- f. lex. 2. *pōtta -- 2 (sanskrit- ized
as pōtra -- 2 n. ʻ cloth ʼ lex.). 3. *pōttha -- 2 ~ pavásta<-> n. ʻ covering (?) ʼ RV., ʻ rough
16
hempen cloth ʼ AV. T. Chowdhury JBORS xvii 83. 4. pōntī -- f. ʻ cloth ʼ Divyāv. 5. *pōcca
-- 2 < *pōtya -- ? (Cf. pōtyā = pōtānāṁ samūhaḥ Pāṇ.gaṇa. -- pṓta -- 1?). [Relationship
with prōta -- n. ʻ woven cloth ʼ lex., plōta -- ʻ bandage, cloth ʼ Suśr. or with pavásta -- is
obscure: EWA ii 347 with lit. Forms meaning ʻ cloth to smear with, smearing ʼ poss. conn. with
or infl. by pusta -- 2 n. ʻ working in clay ʼ (prob. ← Drav., Tam. pūcu &c. DED 3569, EWA ii
319)]
1. Pk. pōa -- n. ʻ cloth ʼ; Paš.ar. pōwok ʻ cloth ʼ, pōg ʻ net, web ʼ (but lauṛ. dar. pāwāk ʻ cotton
cloth ʼ, Gaw. pāk IIFL iii 3, 150).
2. Pk. potta -- , °taga -- , °tia -- n. ʻ cotton cloth ʼ, pottī -- , °tiā -- , °tullayā -- , puttī -- f. ʻ piece
of cloth, man's dhotī, woman's sāṛī ʼ, pottia -- ʻ wearing clothes ʼ; S. potī f. ʻ shawl ʼ, potyo m. ʻ
loincloth ʼ; L. pot, pl. °tã f. ʻ width of cloth ʼ; P. potṛā m. ʻ child's clout ʼ, potṇā ʻ to smear a wall
with a rag ʼ; N. poto ʻ rag to lay on lime -- wash ʼ, potnu ʻ to smear ʼ; Or. potā ʻ gunny bag ʼ;
OAw. potaï ʻ smears, plasters ʼ; H. potā m. ʻ whitewashing brush ʼ, potī f. ʻ red cotton
ʼ, potiyā m. ʻ loincloth ʼ, potṛā m. ʻ baby clothes ʼ; G. pot n. ʻ fine cloth, texture ʼ, potu n. ʻ rag
ʼ, potī f., °tiyu n. ʻ loincloth ʼ, potṛī f. ʻ small do. ʼ; M. pot m. ʻ roll of coarse cloth ʼ, n. ʻ weftage
or texture of cloth ʼ, potrẽ n. ʻ rag for smearing cowdung ʼ.3. Pa. potthaka -- n. ʻ cheap rough
hemp cloth ʼ, potthakamma -- n. ʻ plastering ʼ; Pk. pottha -- , °aya -- n.m. ʻ cloth ʼ; S. potho m. ʻ
lump of rag for smearing, smearing, cloth soaked in opium ʼ.4. Pa. ponti -- ʻ rags ʼ. 5. Wg. pōč ʻ
cotton cloth, muslin ʼ, Kt. puč; Pr. puč ʻ duster, cloth ʼ, pūˊčuk ʻ clothes ʼ; S. poco m. ʻ rag for
plastering, plastering ʼ; P. poccā m. ʻ cloth or brush for smearing ʼ, pocṇā ʻ to smear with earth ʼ;
Or. pucaãara, pucurā ʻ wisp of rag or jute for whitewashing with, smearing with such a rag ʼ.
(CDIAL 8400) Ta. potti garment of fibres, cloth. Ka. potti cloth. Te. potti bark, a baby's linen, a
sort of linen cloth; pottika a small fine cloth; podugu a baby's
linen. Kol. (SSTW) pot sari. Pa. bodgida short loincloth. / Cf. Skt. potikā-, Pkt. potti-, pottiā-,
etc.; Turner, CDIAL, no. 8400.(DEDR 4515) rebus: Potrr 'Purifier priest' (RRgveda) Semantic
determinative) Ta. pōṟṟu (pōṟṟi-) to praise, applaud, worship, protect, cherish, nourish,
entertain; n. protection, praise; pōṟṟi praise, applause; pōṟṟimai honour,
reverence. Ma. pōṟṟuka to preserve, protect, adore; pōṟṟi nourisher, protector. (DEDR
4605) பபபோறத்ற pōṟṟi , < id. n. 1. Praise, applause, commendation; புகழத்பமபோழ. (W.)
2.Brahman temple-priest of Malabar; பகபோயிறத் பூரசபசயத்யுமத் மரலயபோளநபோடத்டுபத்
பிரபோமணனத். (W.) 3. See பபபோதத்தி, 1.--int. Exclamation of praise; ததிசத்பசபோலத்வரக.
பபபோயத்தீரத் கபோடத்சிபத் புரரபயபோயத் பபபோறத்ற (சிலபத். 13, 92).பபபோதத்தி pōtti
, n. < பபபோறத்ற. 1. Grandfather; பபோடத்டனத். Tinn. 2. Brahman temple- priest in Malabar;

மரலயபோளதத்திலுளத்ள பகபோயிலருசத் சகனத்.
4. Hieroglyph: String: vaṭa 'string' rebus: vatta n. ʻduty, officeʼ(Pali)
5. Hieroglyph: Scarf: dhāṭ(h)u 'scarf' (WPah.): *dhaṭa2, dhaṭī -- f. ʻ old cloth, loincloth ʼ lex.
[Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465] Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo,
17
B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow
loincloth *dhaṭavastra -- .Addenda: *dhaṭa -- 2. 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's
headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL
6707) Rebus: dhatu 'mineral ore'.
6. Hieroglyph: Garment, paḍa 'cloth' (Pkt.): paṭa m. ʻ woven cloth ʼ MBh., °aka -- m., paṭikā --
f. lex., paṭīˊ -- f. Pāṇ.gaṇa. [Cf. paṭṭa- 2, paṭṭa -- 3, *palla -- 3, pallava -- 2. -- Prob.
with karpaṭa -- and karpāsa -- ← Austro -- as. J. Przyluski BSL xxv 70; less likely with A.
Master BSOAS xi 302 ← Drav.] Pa. paṭa -- m., °ṭi -- , °ṭikā -- f. ʻ cloth, garment ʼ; Pk. paḍa<->
m. ʻ cloth ʼ, °ḍī -- , °ḍiyā -- f. ʻ a kind of garment ʼ; Wg. paṛīk ʻ shawl ʼ; S. paṛu m. ʻ covering of
cloth for a saint's grave ʼ, paṛom. ʻ petticoat ʼ; Si. paḷa, pala ʻ cloth, garment ʼ, piḷiya ʻ cloth,
clothes ʼ; Md. feli ʻ cotton cloth ʼ.(CDIAL 7692) rebus: phaḍā 'metals manufactory' (Semantic
determinative)
7. tri-dhātu 'three strands' rebus: tri-dhātu 'three minerals'
Material: white, low fired steatite

Dimensions: 17.5 cm height, 11 cm width
Mohenjo-daro, DK 1909
National Museum, Karachi, 50.852
Marshall 1931: 356-7, pl. XCVIII
Seated male sculpture, or "Priest King" from Mohenjo-daro. Fillet or ribbon headband with
circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm.
The two ends of the fillet fall along the back and though the hair is carefully combed towards the
back of the head, no bun is present. The flat back of the head may have held a separately carved
18
bun as is traditional on the other seated figures, or it could have held a more elaborate horn and
plumed headdress.
Two holes beneath the highly stylized ears suggest that a necklace or other head ornament was
attached to the sculpture. The left shoulder is covered with a cloak decorated with trefoil, double
circle and single circle designs that were originally filled with red pigment. Drill holes in the
center of each circle indicate they were made with a specialized drill and then touched up with a
chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved and a short
combed beard frames the face. The large crack in the face is the result of weathering or it may be
due to original firing of this object.
Combed hair tied into a bun; the fillet (headband) worn is similar
to the one worn on the priest's foreheadand right shoulder.
The use of the fire-altar for ores is a process of purification. The purifier
is पपोतवृ [p= 650,1] पन/ओतस्पृ or परोतस्पृ, m. " Purifier " , N. of one of the 16 officiating priests at a
sacrifice (the assistant of the Brahman ; = यज्ञस
शरोधतयतटट Sa1y. ) RV. Br. S3rS. Hariv. பபபோறத்ற pōṟṟi, < id. n. 1. Praise, applause,
commendation; புகழத்பமபோழ. (W.) 2.Brahman temple-priest of Malabar; பகபோயிறத்
பூரசபசயத்யுமத் மரலயபோளநபோடத்டுபத் பிரபோமணனத். (W.) 3. See பபபோதத்தி, 1.--int.
Exclamation of praise; ததிசத்பசபோலத்வரக. பபபோயத்தீரத் கபோடத்சிபத் புரரபயபோயத்
பபபோறத்ற (சிலபத். 13, 92).
धनतत 1 [p=513,3] constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold
" e.g. तत्र-धन/आतयु , threefold&c ; cf. तत्रतवतष- , सप- , सयु-) RV. TS. S3Br. &c
19
धनतत 1 [p=513,3] primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red
colour) Mn. MBh.
&celement of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the
southern Buddhists धमातयु means either the 6 elements [see above] Dharmas. xxv ; or the 18
elementary spheres [धमातयु-लरोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गरर]).
dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ
Mn., ʻ ashes of the dead ʼ lex., Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ
relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk,
red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ
(whence dhaa vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); --
Si. dā ʻ relic ʼ; -- (CDIAL 6773) ‫ هژدات‬hajjẕ-dāt, s.m. (6th) (corrup. of S ‫ )اژدهات‬The name of a
mixed metal, bell-metal, brass. Sing. and Pl. ‫ د هژداتو غر‬da hajjẕ-dāto ggẖar, A mountain of brass,
a brazen mountain.
धमावडत्री [ dhāvaḍī ] a Relating to the class धमावड. Hence 2 Composed of or relating to

iron.धवडन [ dhavaḍa ] m (Or धमावड) A class or an individual of it. They are smelters of iron.
धन to appoint , establish , constitute (RRg Veda, Śatapatha Brāhmaṇa); to make , produce ,

generate , create , cause , effect , perform , execute (RRg Veda, Taittirīya Brāhmaṇa, शततमाशतर
उपतनषदनन (aor. with पमूरयमामन,
मन्त्रयमामन,वरयमामन &c = पमूरयमामन &c चकमार)
वटन a string , rope , tie L. (only वटन ibc. , and पञ-वन° , q.v.); a small lump ,
globule &c = वटकन (शमाररधर-सनतहतमा); वभटनन mfn. stringed , having a string L.; circular, globular
vaṭāraka -- , varāṭaka -- m. ʻ string ʼ MBh. [vaṭa -- 2] Pa. sa -- vaṭākara -- ʻ having a cable ʼ;

Bi. baral -- rassī ʻ twisted string ʼ; H. barrā m. ʻ rope ʼ, barārā m. ʻ thong ʼ.(CDIAL
11217) vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED
4268] N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well --
rope ʼ, Mth. barahā ʻ rope ʼ.(CDIAL 11212) vaṭin ʻ stringed ʼ lex. [vaṭa -- 2]Si. vil, vili ʻ bow ʼ
(ES 82)?(CDIAL 11218). *karṇavaṭikā ʻ side -- cord ʼ. [kárṇa -- , vaṭa -- 2]
20
WPah. bhal. k*lnɔṛi f. ʻ knots between upper and lower parts of a snow -- shoe, rope pegs to
which the distaff in a spinning -- wheel is attached ʼ.(CDIAL 2842)*yantravaṭa ʻ cord of a
machine ʼ. [Cf. Pa. yantasutta- n. -- yantrá -- , vaṭa -- 2]
WPah.bhal. jaṇṭḷoṛ m. ʻ long string round spinning wheel ʼ (CDIAL 10413)
Hieroglyph: vrrttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed
(of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vrRt1] L. (Ju.) vaṭ m. ʻ
anything twisted ʼ; 1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ
round ʼ;Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va' ʻ round ʼ GS 58; --
Paš.ar. waṭṭəwīˊk, waḍḍawik ʻ kidney ʼ ( -- wĭãk vrRkká -- ) IIFL iii 3, 192? 2.
Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ passed, gone away, completed, dead ʼ; Ash. weṭ -- intr. ʻ
to pass (of time), pass, fall (of an avalanche) ʼ, weṭā -- tr. ʻ to pass (time) ʼ; Paš. wiṭīk ʻ passed ʼ;
K.ḍoḍ. buto ʻ he was ʼ; P. batāuṇā ʻ to pass (time) ʼ; Ku. bītṇo ʻ to be spent, die ʼ, bitauṇo ʻ to
pass, spend ʼ; N. bitāunu ʻ to pass (time), kill ʼ, butāunu ʻ to extinguish ʼ; Or. bitibā intr. ʻ to pass
(of time), bitāibā tr.; Mth. butāb ʻ to extinguish ʼ; OAw. pret. bītā ʻ passed (of time) ʼ;
H. bītnā intr. ʻ to pass (of time) ʼ, butnā ʻ to be extinguished ʼ, butānā ʻ to extinguish ʼ;
G. vĭãtvuintr. ʻ to pass (of time) ʼ, vatāvvu tr. ʻ to stop ʼ(CDIAL 12069).
Rebus: Duty: Pa. vatta -- n. ʻ duty, office ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- n. ʻ livelihood
ʼ; P. buttā m. ʻ means ʼ; Ku. buto ʻ daily labour, wages ʼ; N. butā ʻ means, ability ʼ; H. oūtā m. ʻ
power ʼ; Si. vaṭa ʻ subsistence, wages ʼ.(CDIAL 12069) Vatta1 (nt.) [orig. pp. of vattati] 1. that
which is done, which goes on or is customary, i. e. duty, service, custom, function Vin ii.31; Sn
294, 393 (gahaṭṭha˚); Vism 188 (cetiy' angaṇa˚ etc.); DhA i.92 (ācariya˚); VbhA 354 (gata --
paccāgata˚); VvA 47 (gāma˚). -- 2. (for vata2) observance, vow, virtue D iii.9 (the 7 vattapadāni,
diff. from those enumd under vata -- pada); Nd1 66 (sīlañ ca vattañ ca), 92 (hatthi˚ etc.: see
vata2 2), 104 (˚suddhi), 106 (id.), 188 (giving 8 dhutangas as vattas). -- paṭivatta all kinds of
practices or duties J i.67; ii.103; iii.339; iv.298; Miln 416 (sucarita˚); DhA i.13
sq.; ii.277; iv.28. -- bbata the usual custom DhA iv.44; C on S i.36 § 2 and on S ii.18 § 4 sq. --
sampanna one who keeps all observances VbhA 297 (where the foll. vattāni are enumd: 82
khuddaka -- vattāni. 14 mahā˚, cetiyangaṇa˚, bodhiyangaṇa˚, pānīyamāḷa˚, uposathāgāra˚,
āgantuka˚, gamika˚).(Pali)
அகத்க³ akku , n. < akṣa. 1. Rudrākṣa *அகத்க&sup4; akku, n. < akṣi. Eye; கணத். அகத்கபத்
பீரள (திருபத்பு. 573).
வரளமணளவடமத் vaḷai-maṇi-vaṭam , n. < வரள +. A string of beads; அகக்குவடமக்.

திரு வரரயிறத் சபோதத்தின வரளமணளவடமபோனத (திவத். பபரள யபோழத். 1, 7, 8,
வத்யபோ. பகத். 150).
ஏகவடத்டமத் ēka-vaṭṭam , n. < id. +. வடமக். See ஏகவடமத்.

இனமணளபத்பூணுபமகவடத்டமுமத் (பபருஙத். இலபோவபோண. 5, 139). ஏகவடமத் ēka-
vaṭam , n. < id. +. Necklace of a single string. See ஏகபோவலி. பபபோஙத்கிள நபோகபமபோ
பரகவடதத்பதபோடு (பதவபோ. 350, 7)
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பகபோரவ kōvai : [T. M. kōva.] 1. Stringing, filing, arranging; பகபோகத்ரக. பகபோரவ
யபோரத்வடகத் பகபோழுஙத்கவடு (கமத்பரபோ. வரரகத். 1). 2. Series, succession, row; வரளரச.
3. String of ornamental beads for neck or waist; பகபோதத்தनவ
தनவடமக் . (பிஙத்.)
தபோவடமத்¹ tāvaṭam , n. < தபோழத்¹- + வடமக். [T. tāvaḍamu.] 1. Sacred elæocarpus beads;
உருதத் திரபோகத்க மபோரல. கழுதத்திபல தபோவடமத் மனதத்திபல அவகடமத். 2.
Necklace; கழுதத்திலணளயுமபோரல. Loc. 3. A mode of wearing the sacred thread round the
neck like a garland; பூணூரல மபோரலயபோகதத் தரளகத்கமுரற. Brāh.
பதபோரட² toṭai , n. < பதபோடு²-. Braiding, weaving; பினத்னுரக. பதபோரடயுற

வறத்கரல யபோரட (கமத்பரபோ. முதறத்பபபோ. 109). 3. Unbroken succession or continuity;
இரடயறபோரம. பதபோரடயிழ யிறபோலினத் பறனுமத் (கமத்பரபோ. நபோடத்டுபத். 9). 4.
Fastening, tying; கடத்டுரக. பதபோரடமபோணத்ட கணத்ணளயனத் (கலிதத். 37). 5. Series,
train, succession; பதபோடரத்சத்சி. தபோபதரத் பதபோரடமரற முழகத்கமத் (கலத்லபோ. 39, 10).
6. String; வடமக். முதத்ததத்பதபோரட (பரளபபோ. 6, 16).
பசத்சவடமத் paccavaṭam
, n. perh. prac- chada-paṭa. [T. patccaḍamu, K. paccapaḍa, M.
paccavaṭam.] A long piece of cloth, used as a blanket, bedsheet or screen; பமறத்பபபோரத்ரவ

விரளபத்பு திரர முதலியவறத்றகத்க உபபயபோகபத்படுமத் நநீணத்ட சீரல.
திருதத்திரரபத் பசத்சவடமத் (பகபோயிபலபோ. 94).
பஞத்சவடமத் pañca-vaṭam
, n. Sacred thread worn by dvijas; பூணூலத். (யபோழத். அக.)
பஞத்சவட² pañcavaṭi
, n. < pañca-vaṭa. Sacred thread of hair; மயிரத்கத்கயிறத்றபோலபோகிய பூணூலத். பஞத்சவட

மபோரத்பினபோரன (பதவபோ. 228, 5).
வடகத்கயிற vaṭa-k-kayiṟu
, n. < வடமக்¹ +. 1. Large, stout rope or cable, as for drawing a temple-car; பதரத்
முதலியவறத்ரற இழுகத்கமத் பபருஙத் கயிற. வடகத்கயிற பவணத்ணரமத்பபோ
(தபோயு. சசத்சிதபோ. 2). 2. Cord of the ēr-nāḻi; ஏரத்நபோழகத்கயிற. (W.)
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வடகத்கவடகத்கபோ-தலத் vaṭakku-vaṭakkā-, v. intr. < வடமக்¹ + வடமத்¹ +. To become matted,
as hair; மயிரத் முதலியன சரடபறத்றதலத். Loc.
வடமக்¹ vaṭam, n. < vaṭa. 1. Cable, large rope, as for drawing a temple-car; கனமபோன
கயிற. வடமறத்றத (நனத். 219, மயிரல.). 2. Cord; தபோமத்பு. (சூடபோ.) 3. A loop of coir
rope, used for climbing palm-trees; மரபமறவுதவுஙத் கயிற. Loc. 4. Bowstring; விலத்லினத்
நபோணள. (பிஙத்.) 5. String of jewels; மணளவடமத். வடஙத்களத் அரசயுமத்பட உடுதத்த
(திருமுரு. 204, உரர). (சூடபோ.) 6. Strands of a garland; chains of a necklace; சரமத்.
இரட மஙத்ரக பகபோஙத்ரக வடமரலய (அஷத்டபத். திருபவஙத்கடதத் தநத். 39). 7.
Arrangement; ஒழுஙத்க. பதபோடஙத்கறத் கபோரல வடமத்பட விளஙத்கமத் (ஞபோனபோ. 14,
41). 8. Banyan; ஆலமரமத். (சூடபோ.) வடநளழறத்கணத்ணூடருநத்த கருபவ (தபோயு.
கருணபோ. 41).வடதளமத் vata-taḷam, n. < வடமக்¹ + தளமத்³. Banyan leaf; ஆலிரல.
வடதள வுதர வபோணநீ (மபனபோனத். i, 2, 110). வடமத்பிட-தத்தலத் vaṭam-piṭi-, v. intr. <
வடமத்¹ +. To draw a temple-car by seizing it by its cables; வடதத்ரதபத்பிடதத்ததத்
பதரளழுதத்தலத். வபோயத்வடமத் vāy-vaṭam , n. < id. + வடமக்¹. See வபோயத்கத்கயிற.
(நபோமதீப. 210.) vaṭa1 m. ʻ the banyan Ficus indica ʼ MBh.Pa. vaṭa -- m. ʻ banyan ʼ,
Pk. vaḍa -- , °aga -- m., K. war in war -- kulu m., S. baṛu m. (← E); P. vaṛ, baṛ m., vohṛ, bohṛ f.
ʻ banyan ʼ, vaṛoṭā, ba° m. ʻ young banyan ʼ (+?); N. A. bar ʻ banyan ʼ, B. baṛ, Bi. bar (→
Or. bara), H. baṛ m. (→ Bhoj. Mth. baṛ), G. vaṛ m., M. vaḍ m., Ko. vaḍu.*vaṭapadra -- ,
*vaṭapātikā -- .Addenda: vaṭa -- 1: Garh. baṛ ʻ fig tree ʼ.)CDOA: 11211)
dāˊman1 ʻ rope ʼ RV. 2. *dāmana -- , dāmanī -- f. ʻ long rope to which calves are tethered ʼ
Hariv. 3. *dāmara -- .[*dāmara -- is der. fr. n/r n. stem. -- √dā2]1. Pa. dāma -- , inst. °mēna n. ʻ
rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ;
Paš.lauṛ.dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ
rope ʼ; Sh.gil. (Lor.) dōmo ʻ twine, short bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→
Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ; P. dããu, dāvãã m. ʻ hobble for a horse
ʼ; WPah.bhad. dau n. ʻ rope to tie cattle ʼ, bhal. daõ m., jaun. dããw; A. dāmā ʻ peg to tie a buffalo
-- calf to ʼ; B. dām,dāmā ʻ cord ʼ; Or. duãã ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are
tied ʼ; H. dām m.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id., garland ʼ; G. dām n. ʻ tether ʼ,
M. dāvẽ n.; Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ, °ṭīˊ, nir.
weg. damaṭék ʻ rope ʼ, Shum. ḍamaṭik, Woṭ. damṓṛ m., Sv. dåmoṛīˊ; -- with -- ll -- : N. dāmlo ʻ
tether for cow ʼ, dããwali, dāuli, dāmliʻ bird -- trap of string ʼ, dããwal, dāmal ʻ coeval ʼ (< ʻ tied
together ʼ?); M. dããvlī f. ʻ small tie -- rope ʼ.2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ;
S. ḍgāvaṇu, ḍgāṇu m. ʻ forefeet shackles ʼ, ḍgāviṇī, ḍgāṇī f. ʻ guard to support nose -- ring ʼ;
L. ḍããvaṇ m., ḍããvaṇī, ḍāuṇī (Ju. ḍg -- ) f. ʻ hobble ʼ, dāuṇī f. ʻ strip at foot of bed, triple cord of
silk worn by women on head ʼ, awāṇ. dāvuṇ ʻ picket rope ʼ; P. dāuṇ, dauṇ, ludh. daun f. m. ʻ
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string for bedstead, hobble for horse ʼ, dāuṇī f. ʻ gold ornament worn on woman's forehead ʼ;
Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔuṛ ʻ place for keeping cattle, bedding for
cattle ʼ; A. danʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ;
B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung
ʼ, dāuṇi ʻ rope for tying bullocks together when threshing ʼ; H. dāwan m. ʻ girdle ʼ, dāwanīf. ʻ
rope ʼ, dããwanī f. ʻ a woman's orna<-> ment ʼ; G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇu n. ʻ thin
rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. --
Words denoting the act of driving animals to tread out corn are poss. nomina actionis from
*dāmayati2.3. L. ḍãvarāvaṇ, (Ju.) ḍgããv° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several
buffalo -- calves together ʼ, Or. daujrā, daürā ʻ rope ʼ; Bi. daurī ʻ rope to which threshing
bullocks are tied, the act of treading out the grain ʼ, Mth. dããmar, dauraṛ ʻ rope to which the
bullocks are tied ʼ; H. dããwrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to
tread out the corn ʼ. -- X *dhāgga<-> q.v.*dāmayati2; *dāmakara -- , *dāmadhāra -- ; uddāma
-- , prōddāma -- ; *antadāmanī -- , *galadāman -- , *galadāmana -- , *gōḍḍadāman -- ,
*gōḍḍadāmana -- , *gōḍḍadāmara -- .dāmán -- 2 m. (f.?) ʻ gift ʼ RV. [√dā1].
See dāˊtu -- .*dāmana -- ʻ rope ʼ see dāˊman -- 1.Addenda: dāˊman -- 1. 1. Brj. dããu m. ʻ tying
ʼ.3. *dāmara -- : Brj. dããwrī f. ʻ rope ʼ.(CDIAL 6283)
தபோமமத்¹ tāmam
, n. < dāman. 1. Rope, cord, string; கயிற. (பிஙத்.) 2. Line to tie cattle. See தபோமணள. 3.
Wreath, flower garland, chaplet, especially worn on shoulders; பூமபோரல. (பிஙத்.)
வணத்டமிருநத் தபோம வரரமபோரத்ப (பு. பவ. 12, இருபபோறத். 3). 4. Necklace of beads;
string, as of pearls; வடமத். (பிஙத்.) முதத்ததத் தபோம முரறபயபோடு நபோறத்றமினத் (மணள.
1, 49). 5. Woman's waist ornament of 16 or 18 strings of beads; 18W.) 6. Row, line; ஒழுஙத்க.
தடமலரத்தத் தபோம மபோரல (சீவக. 1358). 7. Flower; பூ. (பிஙத்.) 8. An ornamental part of a
crown, one of the five muṭi-y-uṟuppu, q. v.; முடயுறபத்புகளத் ஐநத்தனுளத் ஒனத்ற. (திவபோ.)
9. Senna. See பகபோனத்ரற. (பிஙத்.)
dāmam दमाममन (At the end of a compound) Wreath, garland.dāman दमामनन n. [दरो-मतननन] 1 A
string, thread, fillet, rope. -2 A chaplet, a garland in general; आदत बदमा तवरहतदवसत यमा तशखमा दमाम
तहतमा Me.93; कनकचम्पकदमामगगौरत्रीमन Ch. P.1; Śi.4.5. -3 A line, streak (as of lightning); वयुदनययुद-न
दमाममा हतमरमाजत्रीव तवन्ध्यमन M.3.2; Me.27. -4 A large bandage. -5 Ved. A gift. -6 A portion, share. -
7 A girdle. -Comp. -अञ्चलमम, -अञ्जनमन a foot-rope for horses, &c.; ससयुन सररोषपररचमारकवमायरममाणमा
दमाममाञलस्खतलतलरोलपदन तयुररमान Śi.5.61. -उदरर an epithet of Kṛiṣṇa. दमामनत्री dāmanīA foot-rope.दमाममा
dāmā A string, cord. dāmnī दमामत्री A garland; 'यसमा दमामन्यमा तत्रधमामरो जघनकतलतयमा˚'
तवषयुपमादमातदकतशमानवणरनसरोत्रमन 22. (Samskritam)
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Hieroglyph: Strand of string/rope: dhāˊtu ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ
RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]; S. dhāī f. ʻ wisp of
fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL
6773) తాడ [ tāḍu ] or తతాడ tādu. [Tel.] n. A cord, thread, string. A match for a gun. The palm
tree, so called because cordage is made from it. See under తాట. The cord of marriage, being the
string round the bride's neck, from which the పసస or tali is hung. Hence తాడ తెగినन (lit. cord
broken) means widowed. అగి గ్గితాడ or జేనకితాడ a match, made of cord dipped in brimstone.
Rebus: N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ
reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhaa vaḍ m. ʻ a caste of iron --
smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)
paṭṭa2 m. ʻ cloth, woven silk ʼ Kāv., ʻ bandage, fillet turban, diadem ʼ MBh. [Prob. like paṭa --
and *phēṭṭa -- 1 from non -- Aryan source, of which *patta -- in Gy. and *patra -- in Sh. may
represent aryanization of paṭṭa -- . Not < páttra -- nor, with P. Tedesco Archaeologica Orientalia
in Memoriam Ernst Herzfeld 222, < *prrṣṭa<-> ʻ woven ʼ, while an assumed borrowing from IA.
in Bur. ph*llto -- čiṅ ʻ puttees ʼ is too flimsy a basis for *palta -- (~ Eng. fold, &c.) as the source
NTS xiii 93]Pa. paṭṭa -- m. ʻ woven silk, fine cloth, cotton cloth, turban ʼ, °ṭaka -- ʻ made of a
strip of cloth ʼ, n. ʻ bandage, girdle ʼ, °ṭikā -- f.; NiDoc. paṭa ʻ roll of silk ʼ Lüders Textilien 24;
Pk. paṭṭa -- m. ʻ cloth, clothes, turban ʼ; Paš. paṭā ʻ strip of skin ʼ, ar. weg. paṭīˊ ʻ belt ʼ;
Kal.rumb. pāˊṭi ʻ scarf ʼ; Phal. paṭṭaṛa ʻ bark ʼ; K. paṭh, dat. °ṭas m. ʻ long strip of cloth from
loom ʼ, poṭu m. ʻ woollen cloth ʼ, pôṭu m. ʻ silk, silk cloth ʼ (← Ind.?); S. paṭū m. ʻ silk ʼ, paṭuã u m.
ʻ a kind of woollen cloth ʼ, paṭo m. ʻ band of cloth ʼ, °ṭī f. ʻ bandage, fillet ʼ; L. paṭṭ m. ʻ silk ʼ,
awāṇ. paṭṭī f. ʻ woollen cloth ʼ; P. paṭṭ m. ʻ silk ʼ, paṭṭī f. ʻ coarse woollen cloth, bandage ʼ;
WPah.bhal. peṭṭu m. sg. and pl. ʻ woman's woollen gown ʼ; Ku. pāṭ ʻ silk ʼ; N. pāṭ ʻ flax, hemp ʼ;
A. B. pāṭ ʻ silk ʼ (B. also ʻ jute ʼ); Or. pāṭa ʻ silk, jute ʼ, paṭā ʻ red silk cloth, sheet, scarf ʼ,
(Bastar) pāṭā ʻ loincloth ʼ; Bhoj. paṭuā ʻ jute ʼ; OAw. pāṭa m. ʻ silk cloth ʼ; H. paṭ m. ʻ cloth,
turban ʼ, paṭṭū m. ʻ coarse woollen cloth ʼ, paṭṭī f. ʻ strip of cloth ʼ, paṭkā m. ʻ loincloth ʼ;
G. pāṭ m. ʻ strip of cloth ʼ, °ṭɔ m. ʻ bandage ʼ, °ṭī f. ʻ tape ʼ; Ko. pāṭṭo ʻ strap ʼ; Si. paṭa ʻ silk, fine
cloth ʼ, paṭiya ʻ ribbon, girdle, cloth screen round a tent ʼ. -- Gy. rum. pato ʻ clothing ʼ,
gr. patavo ʻ napkin ʼ, wel. patavō ʻ sock ʼ, germ. phār ʻ silk, taffeta ʼ; Sh.koh. gur. pāc cṷ m. ʻ
cloth ʼ, koh. poc ce ʻ clothes ʼ.
*paṭṭakara -- , *paṭṭadukūla -- , *paṭṭapati -- , paṭṭaraṅga -- , paṭṭarājñī -- , *paṭṭavaya -- ;
*niṣpaṭṭa -- ; *antarapaṭṭa -- , *andhapaṭṭa -- , *kakṣapaṭṭa -- , *karpaṭapaṭṭikā -- , *ghumbapaṭṭa
-- , carmapaṭṭa -- , *dupaṭṭikā -- , *paggapaṭṭa -- , *paścapaṭṭa -- , *laṅgapaṭṭa -- , *vasanapaṭṭa
-- , śīrṣapaṭṭaka -- .Addenda: paṭṭa -- 2: WPah.poet. pakṭe f. ʻ woman's woollen gown ʼ (metath.
25
of *paṭke with -- akka -- ); Md. fořā ʻ cloth or Sinhalese sarong ʼ, fařu(v)i ʻ silk ʼ, fař ʻ strip,
chain ʼ, fař jehum ʻ wrapping ʼ (jehum verbal noun of jahanī ʻ strikes ʼ).(CDIAL 7700)
-- Meluhha Indus Script hypertexts, wealth accounting ledgers of artisan & seafaring merchant
guilds, signified by Varāha & Gaṇeśa
Predating the anthropomorph with a boar's head found in the context of Copperhoard culture of
Ancient Bharat, to signify a metalworker and metals merchant is a tradition traceable to
Indus Script Hypertexts which signify Varāha and Gaṇeśa shown in pratimā as dancers
together with other members of gaṇa -- artisan & seafaring merchant
guilds. Varāha and Gaṇeśa signified as dancers relates to the dancing halls
--नमाचणमाचमा फडन A nachhouse -- which is a component of structures used as metals
manufactories called फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of
metal weapons'.
RRgveda describes Marut gaṇa as dancers through the air; this metaphor leads to the sculptural
frescos showing Marutgaṇa as dancers; the sculptural tradition is traceable to the
pratimā created by craftsmen who created rock-cut sculptures of Badami caves (see the
sculptural fresco of Naṭarāja with Gaṇeśa's dance-step:
RV 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the mortal
(who worships you) attains your brotherhood; speak favourably to us, for your affinity is ever
(made known) at the regulated (sacrifice).
26
Marut-gaṇa including Gaṇeśa (third from left) & Varāha (fourth from left) on a sculptural panel.
Kailasanatha Temple,Kanchipuram.
RRgveda gaṇa are Vrātam Vrātam gaṇam gaṇam, guilds of artisans, seafaring
merchants. Rrgveda extols the contributions made by gaṇa to the creation and sharing of
wealth created, using the vivid expression: Vrātam Vrātam gaṇam gaṇam. The semantics of
this expression elaborate as guilds of artisans, seafaring merchants. The guild-master of such
guilds is gaṇanāyaka also called gaṇapati, mahāvināyaka. Apratimā of mahāvināyaka is
archaeologically attested in Gardez with precise semantic explanations using Indus Script
hypertexts of cobrahood and feline paw, detailed in this monograph.
The veneration of gaṇapati as guild-master, Marut gaṇa is traceable to the tradition of RRgveda
attested in RV 3.26.6, RV 6.66, RV 2.23, RV 10.112.9.
27
This abiding veneration finds expression in sculptural frescos all over the world which
adores RRgveda tradition.
RV 3.26.6 refers to Gaṇa in the context of Marut-s: वमातन वमातन गणमनग मनगणमन Vrātam Vrātam
gaṇam gaṇam In this expression, वमातन signifies a particular form of assembly, a
guild. वमातन m. (connected with √1. वस्पृ , or with वतन/अन and √2. वस्पृ) a multitude , flock ,
assemblage , troop , swarm , group , host (वन/आतन वमातमन , in companies or
troops ; पन/अञनवनञनवन /आतमासन , the five races of men) , association , guild RV. &c; n. manual
or bodily labour , day-labour (Monier-Williams)
namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo

namaḥ (MS 2.9.4)
Rrgveda gaṇa are Marut gaṇa with two remarkable anthropomorphs: varāha, with the head of a
boar and Gaṇeśa, with the head of an elepant. I suggest that varāha, with the head of a
boar and Gaṇeśa, with the head of an elepant are Indus Script hypertexts. The hypertexts
signify:
1.baḍhia = a castrated boar, a hog; rebus: बढईन baḍhī m ( H) A carpenter; barea 'merchant'; and
2. karibha, ibha 'elephant' rebus: karba, ib 'iron'. Gaṇeśa is shown with a) cobrahood and b)
tiger vestment to further add the semantic identifiers of:
a) फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons' and
b) panja 'claw of beast, feline paw' rebus: panja 'kiln', i.e. boar and elephant signify wood/iron
worker and smelter guild.
baḍhia = a castrated boar, a hog; rebus: बढईन baḍhī m ( H) A carpenter. (Marathi)
baḍhi 'a caste who work both in iron and wood' bari 'merchant' barea 'merchant' (Santali)
వతడడ్రంగి, వడ డడ్రంగి, వడ డవాడ (p. 1126) vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ డబతసడ vaḍrangi.
[Tel.] n. A carpenter. వతడడ్రంగమ, వడ డపన, వతడమ or వడ డడ్రంగితనమ vaḍrangamu. n. The
trade of a carpenter. వడ డవానవవతస. వతడడ్రంగిపన. వతడడ్రంగిపట ట or వడ డడ్రంగిపట ట vaḍrangi-
piṭṭa. n. A woodpecker. దారర్వా ఘాటమ. వడ డకడ్రంకణమ vaḍla-kankaṇamu. n. A curlew.
ఉల డడ్రంకులల భేదమ. వడ డత or వడ డద vaḍlata. n. A woman of the carpenter
caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building
mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ
carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi,
(Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.(CDIAL
11375)
বররাহन barāha 'boar' Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant'
(Santali) बमारकश or बमारकसन [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman.
బతసడ battuḍu báḍḍhi वधरतक, vaḍlaṅgi, baṛhaï, baḍaga, baḍhi, bāṛaï, varāha, 'title of five
artisans'
28
बढईन baḍhī m ( H) A carpenter. (Marathi) పట టడन paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a
shop. కుమమ్మ ర వడ డడ్రంగి మొదలగువార పనచేయ చోట. వతడడ్రంగి, వడ డడ్రంగి,వడ డవాడ vaḍr
aṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ డబతసడ vaḍrangi. [Tel.] n. A
carpenter. వతడడ్రంగమ, వడ డపన, వతడమ or వడ డడ్రంగితనమ vaḍrangamu. n. The trade of a
carpenter. వడ డవానవవతస. వతడడ్రంగిపన. వతడడ్రంగిపట టन or వడ డడ్రంగిపట టन vaḍrangi-piṭṭa. n. A
woodpecker. దారర్వా ఘాటమ. వడ డకడ్రంకణమ vaḍla-kankaṇamu. n. A
curlew. ఉల డడ్రంకులల భేదమ. వడ డతन or వడ డద vaḍlata. n. A woman of the carpenter
caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building
mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah.
jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui,
Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu
-- vā.*vārdhaka -- .Addenda: vardhaki -- : WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ;
kṭg. bəṛhe\i, báṛhi, kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi,
Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīn, vaḍin pl.(CDIAL 11375)
29
30
Nataraja with 18 arms. gaṇa play drums. Gaṇeśa in dance-step.
31
Also in the cave are Karthikeya and Gaṇeśa
32
Harihara with
dancing gaṇa.
33
Aihole showing the dance poses of Gaṇeśa and Varaha.
Gaṇa are shown as kharva, 'dwarfs' on sculptures to signifya nidhi or treasure of

Kubera. खवनर mfn. (cf. /अ- , तत्र-) mutilated , crippled , injured , imperfect TS. ii , 5 , 1 , 7
Rebus: खवनर m. N. of one of the nine तनतधs or treasures of कयुबतरन L
See: A treatise on gaṇa who contribute wealth accounting ledgers of Indus Script Corpora of
8000 inscriptions, वमातन वमातन गणमन गणमन (RV 3.26.6) https://tinyurl.com/yc9lhmd5
Guild-master’s Indus Script Inscription (m304) deciphered. Hypertext khāra, šea ṣe ṭrĭa 'squirrel’ is
plaintext khār 'blacksmith' śrēṣṭhin 'guild-master' (Aitareya
Brāhmaṇa) https://tinyurl.com/y9ug5h9y The guild-master signs off on the inscription by
affixing his hieroglyph: palm squirrel,Sciurus palmarum' Hieroglyph: squirrel: *śrēṣṭrī1 ʻ
clinger ʼ. [√śriṣ1]Phal. šeãṣu ṭrĭã ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra,
'squirrel', rebus: khār खमारन 'blacksmith' (Kashmiri). *śrēṣṭrī1 ʻ clinger ʼ.
[√śriṣ1] Phal. šeãṣu ṭrĭã ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished
man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m.
ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale
34
merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ, °ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ;
N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ;
Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭh, śeṭhiyɔ m. ʻ
wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for
banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá
-- 2?) (CDIAL 12726) I suggest that the šeãṣu ṭrĭã ʻ flying squirrel ʼ? is read
rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ
guild -- master ʼ(Prakrtam)
The key factor (together with land (resources), labour and capital) conributing to the wealth
of bhārata of Veda times is a form of social economic organization
called gaṇa. This gaṇa organizational form is also called śreṇi or guild which predates the
Roman corporation by ca two millennia. शततण f. ( L. also m. ; according to Un2. iv , 51 , fr.
√ तश ; connected with शतटत्री above ) a line , row , range , series , succession , troop , flock ,
multitude , number RV. &c; a company of artisans following the same business , a guild or
association of traders dealing in the same articles Mn. MBh. &c
I suggest that the expression and metaphor of tāṇḍava nrrtyam, the cosmic dance of तशव is a
replication of the Soma samsthā yajña, to win the vasu, the wealths. The role of तमाण्डव-
तप्रय तशव, तशव's door-keeper ननन्दिनन of yajña is replicated on wealth accounting archives of
Indus Script Corpora.
An early form of dance is traceable to Rudra's dance.
Bhīṣma's treatise of Mahābhārata on gaṇa (appended) provides the theoretical framework
of Arthaśāstraon creation of a nation's wealth. This treatise demonstrates how the RRgveda
narratives of Rudra, Marut, वमातन वमातन गणमन गणमन are the framework of metaphors in
sculptures and Indus Script Hypertexts to document how ancient bhārata contributed to
33% of World GDP in 1 CE.
Rudra, in a dance pose. Maruts, Rudra.

tāṇḍava nrrtyam is a frantic dance by Naṭarāja Śiva accompanied by his वमातन वमातन गणमन
गणमन. Many ancient sculptural friezes attest to this accompaniment.
35
YajñaVarāha, Indus Script hypertexts baḍhia, barāha, rebus baḍhi, bāṛaï ' worker in wood and
iron’
https://tinyurl.com/y9y2ubaw
http://earthbeforeflood.com/maruts_rudras.html
Maruts are described as having wheels of gold and rushing like boars with tusks of iron
(ayodaṁṣṭrān vidhâvato varâhûn). Association of Varāhu's tusk or tooth with ayo 'iron' is
significant in the context of Bronze Age metalwork metaphors abounding in
ancient ākhyāna.
Itihāsa of Maruts in Rigveda, gold, shining like kindled fires, नस्पृतयुन nṛtuḥ 'dancer'
Mirror: inyurl.com/hcqfl2q
RV8.20.22 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the
mortal (who worships you) attains your brotherhood; speak favourably to us, for your
affinity is ever (made known) at the regulated (sacrifice).
[quote]'In Hinduism,
the Marutas (/məˈrʊts/; Sanskrit: मरत), also known as the Marutagana and sometimes
identified with Rudras, are storm deities and sons of Rudra and Prisni and attendants
of Indra. The number of Marutas varies from 27 to sixty (three times sixty in RV 8.96.8).
They are very violent and aggressive, described as armed with golden weapons i.e.
lightning and thunderbolts, as having iron teeth and roaring like lions, as residing in the
north, as riding in golden chariots drawn by ruddy horses.
Hymn 66 of Mandala VI of the Rig Veda is an eloquent account of how a natural phenomenon of
a rain-storm metamorphose into storm deities.
In the Vedic mythology, the Marutas, a troop of young warriors, are Indra's companions.
According to French comparative mythologist Georges Dumézil, they are cognate to
the Einherjar and the Wild hunt.
According to the Rig Veda, the ancient collection of sacred hymns, they wore golden helmets
and breastplates, and used their axes to split the clouds so that rain could fall. They were
widely regarded as clouds, capable to shaking mountains and destroying forests.
According to later tradition, such as Puranas, the Marutas were born from the broken womb of
the goddess Diti, after Indra hurled a thunderbolt at her to prevent her from giving birth to
too powerful a son. The goddess had intended to remain pregnant for a century before
giving birth to a son who would threaten Indra.'[unquote]
https://en.wikipedia.org/wiki/Maruts
मरुतन [p= 790,2] m. pl. (prob. the " flashing or shining ones
" ; cf. मरत्रीतच and Gk. Î¼Î±ÏÎ¼Î±Î¯ÏÏ) the storm-gods (इन's companions and
sometimes e.g. Ragh. xii , 101 = दतवमान , the gods or deities in general ; said in the वतदन to be
the sons of रदन and पस्पृतश q.v. , or the children of heaven or of ocean ; and described as
armed with golden weapons i.e. lightnings and thunderbolts , as having iron teeth and
roaring like lions , as residing in the north , as riding in golden cars drawn by ruddy horses
36
sometimes called पस्पृषतत्रीन q.v. ; they are reckoned in Naigh. v , 5 among the gods of the
middle sphere , and in RV. viii , 96 , 8 are held to be three times sixty in number ; in the
later literature they are the children of तदतत , either seven or seven times seven in number ,
and are sometimes said to be led by ममातररशनन) RV. &c; the god of the wind (father
of हनयुमतन and regent of the north-west quarter of the
sky) Kir. Ra1jat. (cf. comp.); = ऋनतजन Naigh. iii , 18; gold ib. i , 2
37
RV 6.66
6.066.01 May the like-formed, benevolent, all-pervading, all humiliating troop (of the Maruts) be
promptly with the prudent man; the troop that ever cherishes all that among mortals is
designed to yield (them) advantage; and (at whose wil) Pr.s'ni gives milk from (her) bright
udder once (in the year). [That ever cherishes: marttes.u anyad dohase pi_pa_ya = tad
ru_pam (maruta_m), martyaloke anyad os.adhi vanaspatya_dikam ka_ma_n dogdhum
a_ya_yagoti, that form of the Maruts cause one or other thing in the world, herbaceous
plants, forest trees, and the like, of flourish, so as to milk or yield wht is desired; Pr.s'ni:
implies the firmament, which, by the influence of the winds, sends down its milk, i.e. rain,
once, i.e. at the rainy season].
6.066.02 Unsoiled by dust the golden chariots of those Maruts, who are shining like kindled
fires, enlarging themselves (at will) twofold and threefold, and (charged) with riches and
virile energies, are manifest.
6.066.03 They (who are) the sons of the showerer Rudra, whom the nursing (firmamen is able) to
sustain, and of whom, the mighty ones, it is known that the great Pr.s'ni has received the
germ for the benefit (of man).
6.066.04 They who approach not to men any conveyance, being already in their hearts, purifying
their defects; when brilliant they supply their milk (the rain) for the gratification (of their
worshippers); they are watering the earth (manifesting their collective); from with
splendour. [Being already in their hearts: the Maruts are regarded as identical wit the
Pra_n.a_h, vital airs].
6.066.05 Approaching nigh to whom, and repeating the mighty name of the Maruts, (the
worshipper is able) quickly to obtain (his wishes); the liberal donor pacifies the angry
Maruts, who are otherwise in their might the resistless plunderers (of their wealth). [He
pacifies those na ye stauna_ aya_so mahna_ nu cid, who now are thieves going with
greatness verily ever].
6.066.06 THose fierce and powerfully arrayed (Maruts) unite by their strength the two beautiful
(regions) heaven and earth; in them, the self-radiant, heaven and earth abide; the
38
obstruction (of light) dwells not in those mighty ones. [Unite by their strength: by the rain,
which may be said to form a bond of union between heaven and earth].
6.066.07 May your chariot, Maruts, be devoid of wickedness; that which (the worshipper)
impels, and which without driver, without horses, without provender, without traces,
scattering water and accomplishing (desires), traverses heaven and earth and the paths (of
the firmament).
6.066.08 There is no propeller, no obstructer, of him, whom, Maruts, you protect in battle; he
whom (you prosper) with sons, grandsons, cattle, and water, is in war the despoiler of the
herds of his ardent (foes). [Despoiler of the herds: sa vrajam darta_ pa_rye adha dyoh = sa
gava_m san:gham da_rayita_ san:gra_me dyoh; dyoh = vijigis.or va_ s'atroh, of one
desirous to overcome, or an enemy].
6.066.09 Offer to the loud-sounding, quick-moving, self-invigorating company of the Maruts,
excellent (sacrificial) food; (to them) who overcome strength by strength; the earth
trembles, Agni, at the adorable (Maruts).
6.066.10 The Maruts are resplendent as if iluminators of the sacrifice, (bright) as he flames of
Agni; entitled are they to donation, and like heroes making (adversaries) tremble; brilliant
are they from birth, and invincible.
6.066.11 I worship with oblations that exalted company of the Maruts, the progeny of Rudra,
armed with shining lances; the pure and earnest praises of the devout (adorer) are emulous
in the invigoration (of the Maruts), as the clouds (vie in the emission of the rain). [The pure
and earnest praises: divah s'ardha_ya s'ucayo manis.a_ girayo na_pa ugra_ aspr.dhran = of
heaven of the strength pure praises mountains like waters fierce have vied; divah = stotuh,
of the praiser or worshipper; s'ardha_ya = ma_ruta_ya, for the strength of the Maruts; giri
= megha, a cloud].
मरुतर, पयुन, (मरदस्त्यसततत । मरतन + “तपन पररमरदमामन ।” ५ । २ । १२२ । इत्यत्र कमातश-करोकमा तपन ।)
चनवनशत्रीयरमाजतवशतषन । स चअवत्रीतक्षिदमाजपयुततन । यथमा --करोषटयुतकरवमाच ।“अवत्रीतक्षितस नस्पृपततमररतस
महमातनन ।शरोतयुतमचमातम चररतन शमूयतत सरोऽततचततषतन ॥चकवतर महमारमागन शमूरन क्षिमानरो महमामततन ।
धररतवदररकस्पृचचैव सम्यकन पमालतयतमा रयुवन ॥ममाकरण्डतय उवमाच स तपत्रमा समनयुज्ञमातरो रमाजन प्रमाप
तपतमामहमातन ।धररतन पमालयमाममास प्रजमान पयुततमातनवगौरसमानन ॥इयमाज सयुमहमायज्ञमानन यथमावतन प्रमाजदतक्षिणमानन ।
ऋनतकयुररोतहतमादतशमादतनतवरणरो महत्रीपततन ॥तसमाप्रततहतन चकममासत्रीदनवत्रीपतषयु सपसयु ।
गतयशमापतवनचनमान सनपमातमालजलमातदषयु ॥”इतत ममाकरण्डतयपयुरमाणत १०३ अधमायन ॥(यदयुवनशत्रीयन
करनमपयुततन । यथमा, शत्रीमदमाग-वतत । ९ । २३ । १७ ।https://sa.wikisource.org/wiki/शब्दकल्पदयु
मनमरुतनपततनपयु ० मस्पृ उतत । १ वमायगौ अमरन २ मरवकत रमावप्र० ३ दतवत ४ ग्रननपणर न० मततद० । ५ पस्पृकमायमान सत्री
शब्दर० ।समाथर प्रज्ञमादणन । ममारतरोऽपत्र । पस्पृषरो० ह्रसन ।मरतरोऽतप दतवत च वमायगौ च वमातडन ।
https://sa.wikisource.org/wiki/वमाचसत्यमन
See: Tridhātu Gaṇeśa, Emūṣa Varāha are Marut-s, RRbhu-s, a Rudra gaṇa, disgorged by makara,
Indus Script hypertexts https://tinyurl.com/y84r4oyr Tridhātu Gaṇeśa & Emūṣa Varāha are
Maruts, a Rudra gaṇa (offspring of Rudra) -- disgorged by makara -- working with smelters,
forge-blowers and iconographically depicted emerging out of the snout/breath of
hypertext: (dh)makara 'makara' rebus: dhmakara, 'forge-blower',dhamaka 'blacksmith'.
The breath of the makara is a metaphor for the winds blown from the bellows to increase the
intensity of the blazing fires and ignite the mere earth, the mineral ores in the smelter.
Maruts, sons of Rudra are the winds as RRbhu-s, artisans, work to fashion the earth and
39
minerals into wealth. This is a cosmic dance enacted in the kole.l 'smithy, forge' which
is kole.l 'temple.
dhmakara 'forge-blower' is makara, the hypertext iconograph.

See: Indus Script hypertext makara rebus dhmakara ‘forge-blower, blacksmith’ is a divine
signifier of wealth, nidhi
https://tinyurl.com/yb2nabnf
Monument/Object: sculpture
Current Location: Indian Museum, Kolkata,
40
West Bengal, India
Subject: Varuna, on makara
Photo Depicts: front
Current Location: Indian Museum, Kolkata,
West Bengal, India
Subject: Varuna, on makara
41
Location: Bharhut Village, Satna Dt.,
Madhya Pradesh, India
Site: Bharhut Village
Monument/Object:
architectural fragment, vedika (railing)
Current Location: Bharat Kala Bhavan,
Varanasi, Uttar Pradesh, India
Subject: elephant, with fishtail
Photo Depicts: roundel
42
Date: 2nd - 1st century BCE
Religious Affiliation:
Material: stone
Scan Number: 11598
Photo Date: 1984
Image Source: Huntington Archive
Marut-s as Rudra-s, नवृतत m. (nom. /ऊसन) a dancer , an actor RV. &c

A major wealth-producing activity of Bhāratam Janam has been metalwork. This monograph
suggests that the forms of Gaṇeśa pratimā evolve in Indus Script hypertext tradition to
document wealth-producing metalwork.
फडकरत्री phaḍakarī m A man belonging to a company or band (of players, showmen &c.) 2 A
superintendent or master of a फडन or public place. See under फड. 3 A retail-dealer (esp. in
grain). फडझडतत्री phaḍajhaḍatī f sometimes फडझमाडणत्री f A clearing off of public business
(of any business comprehended under the word फडन q. v.): also clearing examination of
any फडन or place of public business. (Marathi)
गणन 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 तशव's attendants and under the
special superintendence of the god गणत*शन ; cf. -दतवतमा) Mn. Ya1jn5. Lalit. &c; a company ,
any assemblage or association of men formed for the attainment of the same
aims Mn. Ya1jn5. Hit. (in summary, a guild).
Gaņā or hosts of Bŗihaspathi—Brahmaņaspathi are venerated:
43
gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnām upamaśravastamam | jyeṣṭharājam
brahmaṇām brahmaṇas pata ā naḥ śṛṇvann ūtibhiḥ sīda sādanam ||RV_2,023.01|| This
veneration of the leader of the guild posits Gaṇeśa as a Vedic divinity of the highest order,
the leader of the heavenly bands and a sage (kavi) among sages.
sa suṣṭubhā sa ṛkvatā gaṇena valaṃ ruroja phaligaṃ raveṇa | bṛhaspatir usriyā havyasūdaḥ
kanikradad vāvaśatīr ud ājat ||RV 4,050.05 ||
गण, also signify hosts of divine beings. Indra is a leader of the gana of Maruts.
ni ṣu sīda gaṇapate gaṇeṣu tvām āhur vipratamaṃ kavīnām | na ṛte tvat kriyate kiṃ canāre
mahām arkam maghavañ citram arca ||RV_10,112.09||
[quote] The mantra ‘namo Gaṇebhyo gaṇapathibyasha vo namo’ (16-25) that occurs in Śukla
Yajurveda samhita refers to ganas, in plural, and says: salutations to you, Gaṇas and to the
Lord of the Ganas. This mantra appears also in the Rudra praśnam (4.1.5) and in
the Maitrāyaṇī Samhitā (2,9.4). Gaṇa in these contexts signifies a group of people as also
a collection of mantras.
namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo namaḥ

kṛchrebhyaḥ kṛchrapatibhyaś ca vo namo namo virūpebhyo viśvarūpebhyaś ca vo namo
namaḥ senābhyaḥ senānībhyaś ca vo namo namo rathibhyo varūthibhyaś ca vo namo
namaḥ kṣattṛbhyaḥ saṃgrahītṛbhyaś ca vo namo namo bṛhadbhyo ‘rbhakebhyaś ca vo
namo namo yuvabhya āśīnebhyaś ca vo namo namaḥ //MS_2,9.4//
The Taittirīya Samhitā interprets Gaṇas as paśus (the beasts of Śiva). They are the Gaṇas of
Shiva — Rudrasya Ganapathyam .There were also Bhuta ganas, the weird and grotesque
looking guards of Shiva. Thus, Shiva the Paśupathi; and Śiva the Bhūtanāth was also a
Gaṇapathi.[unquote] https://sreenivasaraos.com/tag/ganesha
44
45
46
Dancing Ganesha, Gangaikonda-cholapuram, Tamil Nadu, 11th century CE.
47
Dancing Gaṇeśa in relief at Hoysaleshwara temple, Halebidu
A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural
fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands,
Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a
pipal tree encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in
Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of
the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree
ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of
48
tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~
Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228)
Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig.

6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is
embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph:
kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter
used for smelting to create muh 'face' (Hindi) rebus: muhe 'ingot' (Santali) of mēḍha 'stake'
rebus: meḍ 'iron, metal' (Ho. Munda). मतडन (p. 662) [ mēḍa ] f (Usually मतढन q.
v.) मतडकमा m A stake, esp. as bifurcated. मतढन (p. 662) [ mēḍha ] f A forked stake. Used as a
post. Hence a short post generally whether forked or not. मतढमा (p. 665) [ mēḍhā ] m A stake,
esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मतढत्री (p.
665) [ mēḍhī ] f (Dim. of मतढ) A small bifurcated stake: also a small stake, with or without
furcation, used as a post to support a cross piece. मतढमा (p. 665) [ mēḍhyā ] a (मतढन Stake or
post.) A term for a person considered as the pillar, prop, or support (of a household, army,
or other body), the staff or stay. मतढतजरोशत्री (p. 665) [ mēḍhējōśī ] m A stake-जरोशत्री;
a जरोशत्री who keeps account of the तततथ &c., by driving stakes into the ground: also a class,
or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-
makers &c. They are Shúdras and followers of the मतढतमतन q. v. 2 Jocosely. The hereditary
or settled (quasi fixed as a stake) जरोशत्री of a village.ममेंधलमा (p. 665) [ mēndhalā ] m In
architecture. A common term for the two upper arms of a double चगौकठन (door-frame)
connecting the two. Called also ममेंढरत्री & घरोडमा. It answers to तछिलत्री the name of the two
lower arms or connections. (Marathi)
ममेंढमा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda)
49
The association of dwarfs, gaNa is consistent with the interpretation of Ganesa iconography with
elephant trunk: karibha 'elephant trunk' (Pali) rebua: karba 'iron' (Tulu); ib 'iron' (Santali)
kara 'trunk' khAr 'blacksmith'. Siva's gaNa are Bharatam Janam, metalcaster folk engaged
with परोतस्पृ pōtṟ 'purifier priest' to signify dhaaa vaḍ, dhamaga 'smelter, blacksmith' working in
alloy of three mineral ores. The garland depicted on Bhutesvar sculptural friezes signifies:
dhAman 'garland, rope' rebus: dhamaga 'blacksmith', dhmAtr 'smelter'.
Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D.
Stampe's Munda etyma)Ta. meṭṭu (meṭṭi-) to spurn or push with the foot. Ko. meṭ-
(mec-) to trample on, tread on; meṭ sole of foot, footstep, footprint. To. möṭ- (möṭy-) to
trample on; möṭ step, tread, wooden-soled sandal. Ka. meṭṭu to put or place down the foot
or feet, step, pace, walk, tread or trample on, put the foot on or in, put on (as a slipper or
shoe); n. stepping, step of the foot, stop on a stringed instrument; sandal, shoe, step of a
stair; meṭṭisu to cause to step; meṭṭige, meṭla step, stair. Koḍ. moṭṭï footprint, foot
measure, doorsteps. Tu. muṭṭu shoe, sandal; footstep; steps, stairs. Te meṭṭu step, stair,
treading, slipper, stop on a lute; maṭṭu, (K. also) meṭṭu to tread, trample, crush under foot,
tread or place the foot upon; n. treading; maṭṭincu to cause to be trodden or
trampled. Ga. (S.3) meṭṭu step (< Te.). Konḍa maṭ- (-t-) to crush under foot, tread on,
walk, thresh (grain, as by oxen); caus.maṭis-. Kuwi (S.) mettunga steps. Malt. maḍye to
trample, tread. (DEDR 5057)
Marut-gaṇa including Gaṇeśa & Varaha on a sculptural panel. Kailasanatha

Temple,Kanchipuram.
50
Dancing dwarves, gaṇa.
Candi-Sukuh Gaṇeśa is shown in a dance-step, in the context of smelting, forging of sword by
Bhima and by the bellows-blower Arjuna. The building in the background is a
smelter/forge.
The dance step of Ganesa (elephant head

ligatured to a dancing person) on Candi Sukuh frieze is also explained by the gloss: meD
'dance step' rebus: meD 'iron'.
The association of Gaṇeśa with iron-working gives him the name tri-dhātu 'three minerals' wich
are:
goṭa 'laterite, ferrite ore' poḷa 'magnetite, ferrite ore' bicha 'haemtite, ferrite ore'. These three
ferrite ores are signified by the hieroglyphs: goṭa 'round pebble stone' poḷa 'zebu, dewlap,
honeycomb' bica'scorpion'.
Gaṇeśa is signified as part of Marut गण[p= 343,1] troops or classes of inferior deities (especially
certain troops of demi-gods considered as तशव's attendants and under the special
51
superintendence of the god गणत*शन ; cf. दतवतमा) Mn. Ya1jn5. Lalit. &c; m. a flock , troop ,
multitude , number , tribe , series , class (of animate or inanimate beings) , body of
followers or attendants RV. AV. &c.
Source:
Une tête d'éléphant en terre cuite de Nausharo (Pakistan)
In: Arts asiatiques. Tome 47, 1992. pp. 132-136. Jarrige Catherine
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
52
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.
sangaDa 'joined animals' rebus: sangara 'proclamation': karibha 'elephant trunk' (Pali) Rebus:
karba 'iron' (Tulu) ib 'iron' (Santali) kara 'trunk of elephant' Rebus: khAr 'blacksmith' ranga
'buffalo' Rebus: ranga 'pewter'. kola 'tiger' Rebus: kolle 'blacksmith' kol 'working in iron'
kole.l 'smithy, temple' kolimi 'smithy, forge'.
http://bharatkalyan97.blogspot.in/2013/07/bhirrana-8th-millennium-bce-on-river.html
Location: Amaravati, Guntur Dt., Andhra

Pradesh, India
Site: Amaravati
Current Location: Madras Government
Museum, Madras, Tamil Nadu, India
Subject: Sankhanidhi, with purse of coins in
left hand
Period: Satavahana
Date: ca. late 2nd - 3rd century CE
Religious Affiliation: Buddhist
53
Material: marble, white
Scan Number: 26927
Copyright: Huntington, John C. and Susan L.

Pradesh, India
Site: Amaravati
Monument/Object: relief sculpture, fragment
Subject: gana, dancing
Period: Satavahana
Date: ca. 2nd century CE
Scan Number: 27734
54
meḍ 'dance-step' rebus: meḍ 'iron'
Why are dwarfs shown on Begram ivories, Bharhut, Sanchi, Mathura sculptures and stone
reliefs? The reason is the Indian sprachbund gloss: kharva which means 'dwarf'. The rebus-
metonymy-layered rendering reads: kharva 'a navanidhi, a treasure, wealth' (one of nine nidhis or
nine treasures of Kubera). The dwarf image is also used to denote gaNa of Siva or Rudra.
खवनर (-बर) a. [खवनर-अचन] 1 Mutilated, crippled, imperfect; Yv. Ts.2.5.1.7. -2 Dwarfish, low, short in
stature. -वरन, -वरमन A large number (1,,,). -3 N. of one of the treasures of Kubera. -Comp.
-इतरन a. not small, great; प्रमयुतदतहृदन सवर खवरतरस्मयसनगतमान Śiva. B.22.71. -शमाखन a. dwarfish,
small, short.खतवरत kharvita खतवरतन a. (anything) That has become dwarfish;
तनशयुम्भररनमरोवरखतवरतमान पवरतमा अतप Ks.51.1.
खमावमार khārvā The Tretā age or second Yuga of the world. (Samskritam)
Rebus: खवरटन kharvaṭḥ टमन ṭam खवरटन टमन [खवनर-अटनन] 1 A market-town. -2 A village at the foot of
a mountain; this word generally occurs joined with खतट; Bhāg.1.6.11;4.18.31;7.2.14; धनयुनशतन
परत्रीणमाहरो ग्रमामत क्षितत्रमानरन रवततन । दत शतत खवरटस समानगरस चतयुनशतमन ॥ Y.2.167. Mitākṣarā says
खवरटस प्रचयुरकण्टक- सनमानस ग्रमामस खवरटमातन कयुनगरमातण । (प्रशवमाकरणसमूत्रवमाखमानत). -3 A mixed
locality on the bank of river, partly a village and partly a town (according to the text of Bhṛigu,
quoted in Shrīdharasvāmin's commentary on the Bhāg.); cf. Rājadharmakaustubha, G. O. S.72,
p.13. -4 A principal village among two hundred ones (Dānasāgara, Bibliotheca Indica 274, Fasc.
I, p.145); cf. also दण्डतववतक, G. O. S.52, p.277.
55
Hieroglyph: gaNa, 'dwarf' Rebus: gaNa is a guild. Accoding to NaighaNTu, gaNa is speech,
Mleccha, Meluhha speech as distinct from chandas, prosody: m. = वमाचन (i.e. " a series of verses
") Naigh. i , 11
Sunga. Kubera. National Museum, Delhi
56
Pradesh, India
Site: Amaravati
Monument/Object: coping fragment, relief
sculpture
Subject: ganas and elephant
Period: Satavahana
Date: ca. mid-2nd - 3rd century CE
Scan Number: 27084
Association of karba 'elephant' with gaṇa =
kharva 'dwarfs' rebus: karba 'iron'.
57
58
59
A Dancing gana, Daśāvatāra temple, Deogarh
Dancing gaṇa of Badami caves.
60
Badami. Entrance of Cave 1. Nataraja next to panels of dancing gaṇa
61
Dance step of Gaṇeśa shown on a sculptural friezed of Candi Sukuh:
Forge scene stele. Forging of a keris or kris (the iconic Javanese dagger) and other weapons.
The blade of the keris represents the khaNDa. Fire is a purifier, so the blade being forged is also
symbolic of the purification process central theme of the consecration of gangga sudhi specified
in the inscription on the 1.82 m. tall, 5 ft. dia. lingga hieroglyph, the deity of Candi Sukuh.
http://bharatkalyan97.blogspot.in/2015/01/sekkizhar-periya-puranam-candi-sukuh.html
Foot with anklet; copper alloy. Mohenjo-daro (After Fig. 5.11

in Agrawal. D.P. 2000. Ancient Metal Technology & Archaeology of South Asia. Delhi: Aryan
Books International.)
62
Why is a 'dancing girl' glyph shown on a
potsherd discovered at Bhirrana? Because, dance-step is a hieroglyph written as hypertext cipher.
Torso of a male dancing figure from Harappa:

-Grey limestone, ht 4 inches -National Museum, New Delhi. I submit that the word pada as a
'step' is an Indus Script hypertext as seen in a sculptural fragment of Harappa. me
'dance' (Remo); మటట [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk,

tread. అడగుపటట (Telugu) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Dance step is also a sculptural
metaphor replicated in the pratimā of the Cosmic Dancer.
Four views of a small stone torso discovered in Harappa (Pakistan) in the late 1920s from the
Indus Valley Civilization (c. 2000 B.C.)
63
https://www.artstation.com/a
rtwork/y1WbK

Above: Photographs of Male Dancing Figure from Harappa, flanked by sketches by conjectural
sketches by John Marshall and after him by Mark Kenoyer (right).
It is nice to step into the new year with the figure of a dancer, for dancing is something that the
ancient Indus people took very seriously. There is the dancing girl, and there is this exquisite
male that John Marshall introduces: "And now we come to two small statuettes which are more
surprising even than the masterly engraving of the bull ... When I first saw them I found it
difficult to believe that they were prehistoric; they seemed to so completely upset all established
ideas about early art. Modelling such as this was unknown in the ancient world up to the
Hellenistic age of Greece ... Now there was no stone obtainable at Harappa or anywhere near it.
Whatever stone was needed there had to be brought great distances ... Then, as to technique. In
both statuettes, it will be observed, there are socket holes in the neck and shoulders for the
attachment of head and arms, which were made in separate pieces; in in both, moreover, the
nipples of the breasts were made independently and fixed with cement. So far as I know, this
technique is without parallel among sculptors of the historic period, whether of the Indo-
Hellenistic or any other school. On the other hand it is also unexampled at Mohenjo-daro ... It is
the figure of a dancer standing on his right leg, with the body from the waist upwards bent well
round to the left, both arms thrown out in the same direction, and the left leg raised high in
front ... Although its contours are soft and effeminate, the figure is that of a male, and it seems
likely that it was ithyphallic, since the membrum virile was made in a separate piece. I infer, too,
from the abnormal thickness of the neck, that the dancer was three-headed or at any rate three-
64
faced, and I conjecture that he may represent the youthful Siva Nataraja." (Marshall, Mohenjo-
daro, I., 45-46.)
https://www.harappa.com/blog/male-dancer-harappa
Wealth of a Rāṣṭram venerated in Rāṣṭrī suktam (RV 10.125) is a Chandas metaphor of Indus
Script Hypertexts Meluhha wealth accounting ledgers, metalwork catalogues
https://tinyurl.com/yap5xbu2
This is an addendum to Rāṣṭrī Suktam RRgveda 10.125 & archaeology of wealth of a Rāṣṭram,
Ancient India of Tin-Bronze revolution https://tinyurl.com/ya2ywfwn
The divinities venerated in the Rāṣṭrī Suktam (RV 10.125) are तषटस्पृ, वसयु, रदन all metaphors in
Chandas in the context of wealth of a nation. Hence, the use of the central phrase: Rāṣṭram
personified, deified as fem. Rāṣṭrī. This divinity of the Suktam makes an offering to
Devatā ātmā.
ātmā means principle of life and sensation, that is life activities people engaged in producing,
acquiring wealth. Since Indus Script Hypertexts in over 8000 inscriptions are wealth accounting
ledgers, metalworking catalogues, I suggest that the narrative of these inscriptions constitute the
quintessence of the Rāṣṭrī suktam (RV 10.125) which categorically states that I am the Rāṣṭram,
the collectress, mover of wealth. In the context of life activities, the devatā of the Suktam
is ātmā, 'life principle and sensation' which is epitomised in the activities of artisans and
seafaring Meluhha merchants engaged in creating the wealth of a Nation, Rāṣṭram.
I, therefore, submit that RV 10.125 Rāṣṭrī suktam is the RRgveda textual metaphor Chandas
equivalent of the Indus Script Hypertexts rendered in Meluhha speech forms (Indian sprachbund,
speech union).
त्वषटवृ m. a carpenter , maker of carriages (= तन/अषटस्पृ) AV. xii , 3 , 33; " creator of living beings " ,
the heavenly builder , N. of a god (called सयु-कन/ऋतन , -पमाणन/
, -गन/अरनस , -जन/अतनमनन , सन-/अपसन , अपन/असमामन अपन/असमन , तवशन/अ-रूपन &c RV. ; maker of

divine implements , esp. of इन's thunderbolt and teacher of the ऋरयुs i , iv-vi , x Hariv. 12146
f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked
for the sake of offspring , esp. in the आप्रत्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587
ff. Ragh. vi , 32 ; associated with the similar deities धमातस्पृ , सतवतस्पृ , प्रजमा-पतत , पमूषनन , and surrounded
by divine females [गन/आसन , जनन/अयसन , दतव/न आनमामन पन/अतत्रीसन ; cf. तन/अषमा-वन/अरूत्रत्री] recipients of
his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the
epithet गरर-पतत RAnukr. ; father of सरणमू [सयु-रतणयु Hariv. ; स-रतणयु L. ] whose double twin-children
by तववसतन [or वमाययु ? RV. viii , 26 , 21 f.] are यमयमत्री and the अतशननs x , 17 , 1 f. Nir. xii ,
10 Br2ih. Hariv. 545 ff. VP. ; also father of तत्र-तशरसन or तवशरूपन ib. ; overpowered by इनन who
65
recovers the सरोमन [ RV. iii f. ] concealed by him because इनन had killed his son तवश-
रूपन TS. ii S3Br. i , v , xii ; regent of
the नक्षितत्रनच
तत्रनचत्रमा TBr.S3a1n3khGr2. S3a1ntik. VarBr2S. iic , 4 ; of the 5th cycle of
Jupiter viii , 23 ; of an eclipse iii , 6 ; तषटयुरन आततथन N. of a समामनन A1rshBr. ); a form of the
sun MBh. iii , 146 Hariv. 13143 BhP. iii , 6 , 15;name of an आतदत्यन MBh. i Hariv. BhP. vi , 6 ,
37 VP. i , 15 , 130 ; ii , 10 , 16; name of a रदन , i , 15 , 122.
वसत N. of the gods (as the " good or bright ones " , esp. of the आतदत्य s , मरतनs , अतशननs , इनन , उषसन , रदन , वमाययु
usually eight , and whose chief is इनन , later अतग and तवषयु ; they form one of the nine गण s or classes enumerat
deities , of natural phenomena , and are usually mentioned with the other गण s common in the वतदन , viz. the elev
and पस्पृतथवत्री , " Earth " [or , according to some , with इनन and प्रजमा-पतत , or , according to others , with the two अत
according to the तवषयु-पयुरमाणन , are , 1. आपन [connected with अपन , " water "] ; 2. धयुवन , " the Pole-star " ; 3. सरोमन ,
" the Dawn " ; 8. प्ररमासन , " Light " ; but their names are variously given ; अहनन , " Day " , being sometimes subst
than Puranic mythology) RV. &c; a partic. ray of light VP.; a symbolical N. of the number " eight " (वरमाह-तमतहर
रुदन m. " Roarer or Howler " , N. of the god of tempests and father and ruler of the रद s and मरतनs (in the वतदन h
destroying agent , rages and crackles like the roaring storm , and also with कमालन or Time the all-consumer , with
whose terrible shafts bring death or disease on men and cattle , he has also the epithet तशवन , " benevolent " or "
vapours and purifying the atmosphere ; in the later mythology the word तशवन , which does not occur as a name i
who lost his special connection with storms and developed into a form of the disintegrating and reintegrating pri
though still called रद s , took the place of the original रद s or मरतनs: in VP. i , 7, रदन is said to have sprung from
female , the former portion separating again into the 11 रद s , hence these later रद s are sometimes regarded as
different पयुरमाण s , are also names of तशवन ; those of theVa1yuP. are अजचैकपमादनन , अतहरन-बयुधन , हरन , तनरस्पृतन , ईशरन ,
as children of कश्यप and सयुरतर or of ब्रहमा and सयुरतर or of रमूतन and सयु-रूपमा ; accord. to VP. i , 8, रदन is one of the
east quarter) RV. &c (cf. RTL. 75 &c )
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https://www.youtube.com/watch?v=-E5xPEsP1A4 (3:29) A recording of RV 10.125, "Devī
Suktam"
67
Sāyaṇa/Wilson translation RV 10.125
10.125.01 I proceed with the Rudras, with the Vasus, with the ādityas, and with the Viśvedevā; I
support both Mitra and Varuṇa, Agni and Indra, and the two Aśvins.[Deity Pramātmā: the word,
or first of creatures].
10.125.02 I support the foe-destroying Soma, Tvaṣṭā, Pūṣan and Bhaga; I bestow wealth upon
the institutor of the rite offering the oblation, deserving of careful protection, pouring forth the
libation.
10.125.03 I am the sovereign queen, the collectress of treasures, cognizant (of the Supreme
Being), the chief of objects of worship; as such the gods have put me in many places, abiding in
manifold conditions, entering into numerous (forms.
10.125.04 He who eats food (eats) through me; he who sees, who breathes, who hears what is
spoken, does so through me; those who are ignorant of me perish; hear you who have hearing, I
tell that which is deserving of belief.
10.125.05 I verily of myself declare this which is approved of by both gods and men;
whomsoever I will, I render formidable, I make him a Brahmā, a rRṣi, or a sage. [A Brahman:
Brahmā, the creator].
10.125.06 I bend the bow of Rudra, to slay the destructive enemy of the Brāhmaṇa-s, I wage war
with (hostile) men. I pervade heaven and earth.
10.125.07 I bring forth the paternal (heaven) upon the brow of this (Supreme Being), my
birthplace is in the midst of the waters; from thence I spread through all beings, and touch this
heaven with my body.
10.125.08 I breathe forth like the wind giving form to all created worlds; beyond the heaven,
beyond this earth (am I), so vast am I in greatness.
Griffith translation RV 10.125
1. I TRAVEL with the Rudras and the Vasus, with the Adityas and AllGods- I wander.
I hold aloft both Varuna and Mitra, Indra and Agni, and the Pair of Asvins.
2 I cherish and sustain highswelling- Soma, and Tvastar I support, Pusan, and Bhaga.
I load with wealth the zealous sdcrificer who pours the juice and offers his oblation
3 I am the Queen, the gathererup- of treasures, most thoughtful, first of those who merit worship.
Thus Gods have stablished me in many places with many homes to enter and abide in.
4 Through me alone all eat the food that feeds them, each man who sees, brewhes, hears the
word
outspoken
They know it not, but yet they dwell beside me. Hear, one and all, the truth as I declare it.
5 1, verily, myself announce and utter the word that Gods and men alike shall welcome.
I make the man I love exceeding mighty, make him a sage, a Rsi, and a Brahman.
6 I bend the bow for Rudra that his arrow may strike and slay the hater of devotion.
I rouse and order battle for the people, and I have penetrated Earth and Heaven.
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7 On the worlds' summit I bring forth the Father: my home is in the waters, in the ocean.
Thence I extend over all existing creatures, and touch even yonder heaven with my forehead.
8 I breathe a strong breath like the wind and tempest, the while I hold together all existence.
Beyond this wide earth and beyond the heavens I have become so mighty in my grandeur.
Reverse side of a two-sided tablets m0478, 0479, 0480. in bas relief. Kneeling adorant carrying a
U-shaped rimless pot in front a tree. NOTE: The kneeling motif also occurs on Sit Shamshi
bronze.
Three identical Mohenjo-daro tablets, with identical inscriptions. m 478-480.
FS 72 Fig. 108 kol pasar 'tiger open mouth' rebus: kol pasar iron smelter
trader's shop' PLUS battuḍu 'worshipper' rebus: pattar 'goldsmith guild' PLUS kuṭi 'tree'
'water-carrier' rebus: kuṭhi 'smelter' PLUS dhamkara 'leafless tree'
Rebus: dhangar 'blacksmith'.
kāṇā, kannā 'rim, edge' kaṇṭu = rim of a vessel; kaṇṭudiyo = a small earthen vessel kaṇḍa
kanka = rim of a water-pot; kankha = rim of a vessel rebus: kanda, kanduka 'trench, furnace'.
Rebus: karṇika 'Supercargo'' merchant in charge of cargo of a shipment, helmsman,
scribe. Rebus kañiāra 'helmsman' karaṇī, karaṇa 'scribe'.
erga = act of clearing jungle (Kui) [Note image showing two men carrying
uprooted trees] thwarted by a person in the middle with outstretched hands
kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali) ḍhaṁkhara — m.n. ʻbranch without
leaves or fruitʼ (Prakrit) (CDIAL 5524)
Hieroglyph: era female, applied to women only, and generally as a mark of respect, wife; hopon era
a daughter; era hopon a man’s family; manjhi era the village chief’s wife; gosae era a female
Santal deity; bud.hi era an old woman; era uru wife and children; nabi era a prophetess; diku
era a Hindu woman (Santali)
•Rebus: er-r-a = red; eraka = copper (Ka.) erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper
(metal); crystal (Ka.lex.) erako molten cast (Tu.lex.) agasa_le, agasa_li, agasa_lava_d.u = a
goldsmith (Te.lex.)
kuTi 'tree' Rebus: kuṭhi = (smelter) furnace (Santali)
heraka = spy (Skt.); eraka, hero = a messenger; a spy (Gujarati); er to look at or for (Pkt.); er uk- to
play 'peeping tom' (Ko.) Rebus: erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal);
crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.) eraka
‘copper’ (Kannada)
kōṭu branch of tree, Rebus: खरोटन [ khōṭa ] f A mass of metal (unwrought or of old metal melted
down); an ingot or wedge.
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Hieroglyph: Looking back: krammara 'look back' (Telugu) kamar 'smith, artisan' (Santali)
kola ‘tiger, jackal’ (Kon.); rebus: kol working in iron, blacksmith, ‘alloy of five metals, panchaloha’
(Tamil) kol ‘furnace, forge’ (Kuwi) kolami ‘smithy’ (Telugu)
The narrative on the reverse (a) of the tablet is in three parts: Part 1. Endless knot; Part 2. Text
message; Part 3. Worshipper ofering a rimless pot in front of a tree
Part 1. Endless knot (Tablet m478a to m480a) Endless knot hieroglyph: मतढमा [ mēḍhā ]'twist,
curl' rebus: medha ‘yajña' mẽṛhẽt, 'iron' (Santali) meḍ 'iron' (Mu.Ho.)'; 'copper' (Slavic
languages). Together, the two hieroglyphs signify a performer of medhā ‘yajña', acquirer
of medhā 'dhanam, wealth', metalworker, ironsmith turner.
m478a FS 34 Fig. 77 Kino tree. generally within a railing or on a platform.
kuṭi 'tree'Rebus: kuṭhi 'smelter'
bhaṭa 'worshipper' Rebus: bhaṭa 'furnace' baṭa 'iron' (Gujarati) This hieroglyph is a phonetic
deterinant of the 'rimless pot': baṭa = rimless pot (Kannada) Rebus: baṭa = a kind of iron
(Gujarati) bhaṭa 'a furnace'. Hence, the hieroglyph-multiplex of an adorant with rimless pot
signifies: 'iron furnace' bhaTa.
bAraNe ' an offering of food to a demon' (Tulu) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin)
(Punjabi. Bengali) The narrative of a worshipper offering to a tree is thus interpretable as a
smelting of three minerals: copper, zinc and tin.
Numeral four: gaNDa 'four' Rebus: kand 'fire-altar'; Four 'ones': koḍa ‘one’
(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the pair of 'four linear strokes PLUS rimless
pot' signifies: 'fire-altar (in) artisan's wrkshop'.
Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast
metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop'. Thus, the circumscript signifies
'cast metal workshop'. meD 'body' Rebus: meD 'iron'.
khareḍo = a currycomb (G.) Rebus: kharādī ‘turner’ (Gujarati)
The hieroglyph may be a variant of a twisted rope.

dhāu 'rope' rebus: dhāu 'metal' PLUS मतढमा [ mēḍhā ] 'a curl or snarl; twist in
thread' rebus: mẽṛhẽt, meḍ ‘iron’. Thus, metallic ore.
Section A: Message on obverse of tablet
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The narrative on the obverse (b) of the tablet is in three parts: Part 1. Rim-of-jar PLUS lid; Part
2. Tiger looks back at spy on tree branch; Part 3. A wristlet wearer pushes thwarts two
contestants clearing jungle.
Obverse of the tablets m0478, 0479, 0480 show this narrative. Pict-111: From R.: A woman with
outstretched arms flanked by two men holding uprooted trees in their hands; a person seated on
a tree with a tiger below with its head turned backwards; a tall jar with a lid.
Part 1. Rim-of-jar PLUS lid (Tablet m478b to m480b)
An orthographic variant of a jar to focus on 'rim-of-jar' is provided by a Daimabad seal.
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Rebus dhakka 'excellent, bright, blazing metal article'. Rebus: धकन (p. 245) dhakka a (Imit.)
Steady, enduring, unshaken (as under misfortune): hale, hearty, stanch, unflinching--man or
animal: stout, sound, firm, fit to render good service--cloth, an article gen. 2 Brightshining,
brilliant, very lustrous--metal, a gem, a firework. Hence 3 Bright and good, altogether
excellent--a rupee or other coin. *dhakṣati ʻ burns ʼ [Cf. fut. part. vidhakṣyánt -- , aor.
part. dhákṣat RV. -- √dah]G. dhakhvu ʻ to get into a passion ʼ, dhakhāvvu ʻ to make hot
ʼ, dhakh f. ʻ thirst ʼ.Addenda: dhákṣu -- : S.kcch. ḍakho m. ʻ quarrel ʼ; B. dhak ʻ sudden
blaze ʼ, Or. dhaka ʻ blaze ʼ (rather than < *dhagg -- ).(CDIAL 6703)
Part 2. Worshipper ofering a rimless pot in front of a tree (Tablet m478a to m480a)
kuṭi 'tree' Rebus: kuṭhi 'smelter)', furnace (Santali)
Hieroglyphs (from. r to l):

battuḍu bhata, 'worshipper' rebus: bhaṭa ‘furnace’ PLUS OFFERING: barada, barda, birada 'a
vow' (Gujarati) Rebus: baran, bharat (5 copper, 4 zinc and 1 tin).
Numeral four: gaṇḍa 'four' Rebus: kand 'fire-altar'. PLUS bhata, 'pot'
rebus: bhaṭa ‘furnace’. Thus, the 'four linear strokes PLUS rimless pot' signifies: 'fire-altar (in)
artisan's workshop'.
Body hieroglyph read rebus:
Circumscript of two linear strokes for 'body' hieroglyph: dula 'pair' Rebus: dul 'cast
metal' koḍa ‘one’(Santali) Rebus: koḍ ‘artisan’s workshop' Thus, the circumscript signifies 'cast
metal workshop' (with furnace) PLUS circumscribed body hieroglyph: meḍ 'body'
Rebus: mẽṛhẽt 'iron' (Santali) meḍ 'iron' (Mu.Ho.); med 'copper' (Slavic).Together, the hypertext
reds: dul meḍ koḍ 'metal casting, cast iron workshop'.
Hieroglyph: khareḍo 'a currycomb' (Gujarati)

Rebus: kharādī ‘turner’ (Gujarati) खरडमा kharaḍā m (खरडणमें) Scrapings (as from a culinary
utensil). 2 Bruised or coarsely broken peppercorns &c.: a mass of bruised मतथमा &c. 3 also खरडमें n
A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. 4 also खरडमें n A rude
sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book. खरडन kharaḍa f
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(खरडणमें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch. 2 Vehement
reviling or abusing. v कमाढन g. of o. तनघन g. of s. 3 The ashes and earth which gather about an
ingot of metal during its formation. So called because to be detached they must be scraped
off. खरडघमाशमा kharaḍaghāśā m (खरडन & घमासणमें) A term of abuse for a bad writer, barber,
carpenter &c.; quill-driver, scraper, chips. खरडणमें
kharaḍaṇēṃ v c To scrape or rub off roughly: also to abrade or graze. 2 To rub up; to grub up; to
root out (grass, weeds &c.) by pushing the instrument along. 3 To shave roughly, to scrape: also
to write roughly, to scrawl: also to jot or note down; to make brief memoranda: also to draw
roughly; to plough roughly; to grind roughly &c. &c. (Marathi).
The semantics of खरडड 'rough draft' explains why the hieroglyph occurs ONLY on tablets
which are works-in-process documentation by scribes.
Thus, the inscriptions on tablets m478 to m480 complete the documentation of wealth-creating
metalwork खरडमा kharaḍā daybook.
Hieroglyph (alternative): aḍaren, ḍaren lid, cover (Santali)
karnaka 'rim of jar' karn.aka = handle of a vessel;
On seal m1186A a kneeling adorant makes offerings. bārṇe, bāraṇe = an offering of food to a
demon; a meal after fasting, a breakfast (Tu.) barada, barda, birada 'a vow' (Gujarati)
Rebus: baran, bharat (5 copper, 4 zinc and 1 tin)(P.B.)
A similar kneeling adorant now holds a wide-mouthed, rimless pot and makes an offering to
the tree. baṭhu m. ‘large pot in which grain is parched (Sindhi) Rebus: bhaṭṭhā m. ‘kiln’ (P.)
baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (Gujarati) baṭa = kiln (Santali); bhaṭṭha --
m.n. ʻ gridiron (pkt.) baṭhu large cooking fire’ baṭhī f. ‘distilling furnace’; l. bhaṭṭh m. ‘grain
—parcher's oven’, bhaṭṭhī f. ‘kiln, distillery’, awāṇ. bhaṭh; p. bhaṭṭh m., ṭhī f. ‘furnace’,
bhaṭṭhā m. ‘kiln’; s. bhaṭṭhī keṇī ‘distil (spirits)’. (CDIAL 9656) Thus, the reading of the
composite glyph: kneeling adorant + pot is read rebus: meḍ pattar + bhaṭa 'iron urnace (of)
merchant guild'.
Paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants; perh. Vartaka

(Skt.)వడడ్లబతతడ vaḍrangi. [Tel.] n. A carpenter. బతతడ battuḍu. n. A
worshipper. భకుస డ. The caste title of all the five castes of artificers as వడ డబతసడ a
carpenter. కడపబతసడ one who makes a god of his belly. L. xvi. 230.(Telugu)
The merchant, battuḍu, pattar is shown in a worshipful state kneeling in adoration on many
inscriptions.
Part 3. Text message (Tablet m478a to m480a)
Hieroglyph: kamaḍha 'penance' Rebus: kammata 'coiner, mint'.
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Prakritam gloss: kamad.ha, kamat.ha, kamad.haka, kamad.haga, kamad.haya= a type of penance.
Prakritam lexis.
Hieroglyph of 'kneeling adorant' or 'worshipper' is such an abiding message that Mahadevan
concordance treates the hieroglyph as a text 'sign'.
Signs 45, 46 Mahadevan Concordance. In Sign 46, Sign 45 is ligatured with a pot held by
the adoring hands of the kneeling adorant wearing a scarf-type pigtail. I suggest that the rimless
pot held on Sign 46 is a phonetic determinant: baTa 'rimless pot' Rebus: bhaTa 'furnace'. So, is
the kneeling adorant, a worshippper of a person seated in penance, a bhaTa 'worshipper in a
temple' Rebus: bhaTa 'furnace'. For him the kole.l 'temple' is kole.l 'smithy, forge' (Kota
language).
Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a
3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below.
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Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: ‫ گنےریوال‬Punjabi: ‫ )گنیریوال‬is a Sarasvati-
Sindhu civilization site in Cholistan, Punjab, Pakistan.
Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:
1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-
kūṭa, ‘brass’ (Skt.) (CDIAL 3230)
2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]
Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account
(scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger ,
excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa
n. ʻ act, deed ʼ RV. [√krR1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa
-- n. ʻinstrumentʼ(CDIAL 2790)
3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)
bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)
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Hieroglyph: Ta. kump-iṭu (iṭuv-, iṭṭ-) to join hands in worship, make obeisance with the hands
joined and raised, beg, entreat; n. worship. Ma. kump-iṭuka, kumm-iṭuka to bow down, prostrate
oneself, worship. Ko. kub-iṛ- (iṭ-) to bow down, pray; kumiṭe· salutation used by Kota to Badaga
or Kurumba. To. kub-ïḍ- (ïṭ-) to salute (not used of religious salutation); ? ku·ḍ- (ku·ḍQ-) to bow,
bend down. Ka. kumbu bending, bowing down, obeisance; kumbiḍu to bow down, do obeisance
(DEDR 1750)
Rebus: Ta. kumpiṭu-caṭṭi chafing-dish, portable furnace, potsherd in which fire is kept by
goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish. Ka. kuppaḍige, kuppaṭe, kumpaṭe,
kummaṭa, kummaṭe id. Te. kumpaṭi id. Cf. 1752 Ta. kumpu. Ta. kumpu (kumpi-) to become
charred (as food when boiled with insufficient water); kumpal smell of charred rice; kumpi hot
ashes; kumuṟu (kumuṟi-) to burst with distress; kumai (-v-, -nt-) to be hot, sultry. Ma. kumpi,
kumpiri mirage; kumpal inward heat; kummu expr. descriptive of heat; kummal sultriness,
mustiness; kumuṟuka, kumiṟuka to be hot, close; kumuṟal oppressive heat; ? kukkuka to be
hot; ? kuppu heat. Ka. kome to begin to burn, as fire or anger. Tu.kumbi mirage; gumulu fire
burning in embers; gumuluni to be hot, feel hot as in a fit of fever. Te. kummu smouldering
ashes; kumulu to smoulder, burn slowly underneath without flame, be consumed inwardly,
grieve, pine. Go. (Hislop) kum smoke (Voc. 763); (Tr.) gubrī fine ashes of burnt-out fire
(Voc. 1141); (Koya Su.) kumpōḍ smoke. Cf. 1751 Ta. kumpiṭu-caṭṭi. / Cf. Pkt.
(DNM) kumulī- fireplace. (DEDR 1751, 1752).
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h2003b manḍa'arbour,canopy' mããḍ ʻarray of
instruments'
kamaḍha 'penance' (Prakrtam) rebus: kammaṭa 'mint, coiner, coinage'.
koḍ 'horns' rebus: koḍ 'workshop'
Cartouche: mēṭu 'height, eminence, hillock' rebus: meḍ 'iron'

(Mu.Ho.) PLUS gaṇḍa 'four' rebus: khaṇḍa 'implements'. Thus, iron implements.
Rebus: smelter (three) ferrite ores: dhāu 'metal' dhaãavaḍ 'smelter': 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
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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 dhaãavaḍ 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).
One triangular terracotta tablet (Md 013); surface find at Mohenjo-daro in 1936. Dept. of
Eastern Art, Ashmolean Museum, Oxford. See: Three-sided Terracotta
Seal By StephanieV. July 1st, 2015 "This beautiful three-sided terracotta sealing from 2000 BCE
depicts a male cult figure seated in a yogic posture on a throne, a bull-like animal, and five
characters in the Indus script. Today, the seal resides in the Ashmolean Museum at the
University of Oxford." https://www.harappa.com/blog/three-sided-terracotta-seal
The composite animal is comparable tothe

pictorial motif onm1186, h177B which show a markhor adorned with scarves on the neck. The
Meluhha rebus readings are: miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ (Torwali) mẽḍhɔ 'ram' (Gujarati)
(CDIAL 10310) Rebus: me~Rhet, meD 'iron' (Mu.Ho.Santali) PLUS dhatu 'scarf' Rebus: dhatu
'mineral'
kuṭila, kuṭika— 'bent' MBh. Rebus: kuṭila,

katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, 'brass' (Sanskrit)
ḍato 'claws or pincers (chelae) of crabs'; ḍaṭom, ḍiṭom to seize with the claws or pincers, as
crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhatu 'mineral' (Santali)
kanac 'corner' rebus: kanac 'bronze'
bhaṭa 'warrior' rebus: bhaṭa 'furnace'
कणरकन kárṇaka, kannā 'legs spread' rebus: कणरक 'helmsman'. Thus, the text message of the
inscription is a wealth-accounting ledger of a helmsman'smetalwork with bronze, minerals, brass
furnaces
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Triangula tablet. Horned seated person. crocodile. Split ellipse (parenthesis). On this tablet
inscription, the hieroglyphs are: crocodile, fishes, person with a raised hand, seated in
penance on a stool (platform). eraka 'raised hand' rebus: eraka 'molten cast, copper' arka
'copper'. manca 'platform' rebus: manji 'dhow, seafaring vessel' karA 'crocodile' rebus: khAr
'blacksmith'
dula 'pair' rebus: dul 'metal casting' PLUS ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'. Thus, cast
iron.
Hieroglyph: kamaḍha 'penance' (Prakrit) kamaḍha, kamaṭha, kamaḍhaka, kamaḍhaga,

kamaḍhaya = a type of penance (Prakrit)
Rebus: kamaṭamu, kammaṭamu = a portable furnace for melting precious metals; kammaṭīḍu = a
goldsmith, a silversmith (Telugu) kãpṛauṭ jeweller's crucible made of rags and clay
(Bi.); kampaṭṭam coinage, coin, mint (Tamil)
kamaṭhāyo = a learned carpenter or mason, working on scientific principles; kamaṭhāṇa [cf.
karma, kām, business + sthāna, thāṇam, a place fr. Skt. sthā to stand] arrangement of one’s
business; putting into order or managing one’s business (Gujarati)
The composition of two hieroglyphs: kāru 'crocodile' (Telugu) + kamaḍha 'a person seated in
penance' (Prakrit) denote rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi)
+ kamaṭa 'portable furnace'; kampaṭṭam 'coinage, coin, mint'. Thus, what the tablet conveys is the
mint of a blacksmith. A copulating crocodile hieroglyph -- kāru 'crocodile' (Telugu) + kamḍa,
khamḍa 'copulation' (Santali) -- conveys the same message: mint of a
blacksmith kāru kampaṭṭa 'mint artisan'.
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m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile.
Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali) kāru a wild crocodile or alligator (Telugu)
aya 'fish' (Munda) The method of ligaturing enables creation of compound messages through
Indus writing inscriptions. kāru a wild crocodile or alligator (Telugu) Rebus: khar ‘blacksmith’
(Kashmiri); kāru ‘artisan’ (Marathi).
Pali: ayakāra ‘iron-smith’. ] Both ayaskāma and ayaskāra are attested in Panini (Pan. viii.3.46;
ii.4.10). WPah. bhal. kamīṇ m.f. labourer (man or woman) ; MB. kāmiṇā labourer (CDIAL
2902) N. kāmi blacksmith (CDIAL 2900).
Kashmiri glosses:
khār 1 खमारन । लरोहकमारन m. (sg. abl. khāra 1 खमार; the pl. dat. of this word is khāran 1 खमारनन,
which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker
(cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This word is often a part of
a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii,
12; vi, 17). khāra-basta khāra-basta खमार-बसन्नत । चमरप्रसततवकमा f. the skin bellows of a
blacksmith. -büṭhü -ब&above;ठमू&below; । लरोहकमारतरततन f. the wall of a blacksmith's furnace or
hearth. -bāy -बमायन । लरोहकमारपतत्री f. a blacksmith's wife (Gr.Gr. 34). -dokuru लरोहकमारमायरोघनन m. a
blacksmith's hammer, a sledge-hammer. -gaji or -güjü - लरोहकमारचयुनलन f. a blacksmith's furnace
or hearth. -hāl -हमालन । लरोहकमारकनदयुन f. (sg. dat. -höjü -हमा&above;जमू&below;), a blacksmith's
smelting furnace; cf. hāl 5. -kūrü लरोहकमारकन्यमा f. a blacksmith's daughter. -koṭu -
लरोहकमारपयुत्रन m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -
küṭü लरोहकमारकन्यमा f. a blacksmith's daughter, esp. one who has the virtues and qualities properly
belonging to her father's profession or caste. -më˘ʦü 1 - लरोहकमारमस्पृततकमा f. (for 2, see [khāra 3] ),
'blacksmith's earth,' i.e. iron-ore. -necyuwu लरोहकमारमातजन m. a blacksmith's son. -nay -नयन ।
लरोहकमारनमातलकमा f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows
melted iron to flow after smelting. -ʦañe । लरोहकमारशमानमारमारमान f.pl. charcoal used by blacksmiths
in their furnaces. -wān वमानन । लरोहकमारमापणन m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -
waṭh -वठन । आघमातमाधमारतशलमा m. (sg. dat. -waṭas -वतट), the large stone used by a blacksmith as an
anvil.
Thus, kharvaṭ may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of
the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.);
crocodile = kāru (Telugu)]
mēṭu, mēṭa, mēṭi stack of hay (Telugu) Ta. meṭṭu mound, heap of earth; mēṭu height, eminence,
hillock; muṭṭu rising ground, high ground, heap. Ma. mēṭu rising ground, hillock; māṭu hillock,
raised ground; miṭṭāl rising ground, an alluvial bank; (Tiyya) maṭṭa hill. Ka. mēḍu height, rising
ground, hillock; miṭṭu rising or high ground, hill; miṭṭe state of being high, rising ground, hill,
mass, a large number; (Hav.) muṭṭe heap (as of straw). Tu. miṭṭè prominent,
protruding; muṭṭe heap. Te. meṭṭa raised or high ground, hill; (K.) meṭṭu mound; miṭṭa high
ground, hillock, mound; high, elevated, raised, projecting; (VPK) mēṭu, mēṭa,
mēṭi stack of hay; (Inscr.) meṇṭa-cēnu dry field (cf. meṭṭu-nēla, meṭṭu-vari). Kol. (SR.) meṭṭā hill;
(Kin.) meṭṭ (Hislop) met mountain. Nk. meṭṭ hill, mountain. Ga. (S.3, LSB 20.3) meṭṭa high
land. Go. (Tr. W. Ph.) maṭṭā, (Mu.)maṭṭa mountain; (M. L.) meṭā id., hill; (A. D. Ko.) meṭṭa, (Y.
Ma. M.) meṭa hill; (SR.) meṭṭā hillock (Voc. 2949). Konḍa meṭa id. Kuwi (S.) metta hill;
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(Isr.) meṭa sand hill. (DEDR 5058) (b) Ta. mēṭai platform, raised floor, artificial mound, terraced
house. Ma. mēṭa raised place, tower, upper story, palace. Te. mēḍa house with two or more
stories, upper chamber. Pa. mēṛ ole bungalow. Go. (Ko.) mēṛā large house, bungalow
(Voc. 2965). Konḍa mēṛa mide terraced building (see 5069). Pe. mēṛ storied house,
mansion.Kuwi (S.) mēḍa illu storied house; (Isr.) mēṛa upstair building. / Cf. Skt.
(lex.) meṭa- whitewashed storied house; Pkt. meḍaya- id. (DEDR 4796b)
Rebus:
me~Rhet, meD 'iron' (Mu.Ho.Santali) med 'copper' (Slavic languages).
baḍaga, baḍhi,varāha, బతసడ battuḍu is venerated, worshipped as Veda puruṣa, yajña

puruṣa. On this Khajuraho monument, the caṣāla , ‘snout’ is signified by the
sacred Pratimā of Sarasvatī, embodimentof knowledge system. See:https://tinyurl.com/yafd8or2
वधरतक m. carpenter MBh. R. Hariv. VarBr2S. (also °तकनन).
படத்டரடவரள paṭṭaṭai-vari, n. perh. id. +. An ancient tax; பரழயनவ யनவரளவரக . (S. I.
I. v, 95.) paṭṭakila m. ʻ tenant of royal land ʼ Vet. -- . [*paṭṭakin: paṭṭa -- 1]Pk. paṭṭaïl(l)a --
m. ʻ village headman ʼ; G. paṭel m. ʻ hereditary headman ʼ (whence paṭlāṇi f. ʻ his wife ʼ);
OM. pāṭaïlu, M. pāṭel, °ṭīl m. ʻ village headman ʼ.(CDIAL 7703) paṭṭakila m. ʻ tenant of
royal land ʼ Vet. -- . [*paṭṭakin: paṭṭa -- 1] Pk. paṭṭaïl(l)a -- m. ʻ village headman ʼ;
G paṭel m. ʻ hereditary headman ʼ (whence paṭlāṇi f. ʻ his wife ʼ); OM. pāṭaïlu,
M. pāṭel, °ṭīl m. ʻ village headman ʼ.
బతసడ battuḍu. n. A worshipper is an offering adorant on Indus Script orthography. Either with
outstretched hands or with an offering pot held in both hands, the kneeling adorant makes an
offering. A cognate of the word బతసడ battuḍu is pattar. பதத்தரத்² pattar, n. <
T. battuḍu. A caste title of goldsmiths; தடத்டபோரத் படத்டபத்பபயருளத் ஒனத்ற.
பதத்தரத்³ pattar, n. < bhakta. 1. Devotees,

votaries; அடயபோரத். பதத்தரத் சிகத்பகனபத் பிடதத்பதनச ததनத செலக் வமம
(திருவபோச. 37, 8). 2. Persons who are loyal to God, king or
country; அனத்புரடயபோரத். பதசபதத்தரத். 3. A caste of Vīrašaiva
vegetarians; வீரரசவரளலத் புலபோலுணத்ணபோதनவ தनவகபத்பினரத் . Loc.
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āya-k-kāraṉ *ஆயகத்கபோரனத் āya-k-kāraṉ, n. < āya +. 1. Tax gatherer; சுஙத்கமுதலிய
வரளவபோஙத்கபவபோனத். 2. Publican. Chr.
ఆయకాడ āya-kāḍu. [Tel.] n. A bailiff or village officer. ఊర ఉదద్యో గసస్థుడ.
The long curving horns may also connote a ram on h177B tablet:
h177B 4316 Pict-115: From R.—a person standing under an

ornamental arch; a kneeling adorant; a ram with long curving horns.
The ram read rebus: me~d. ‘iron’; glyph: me_n.d.ha ram; min.d.a_l markhor (Tor.); meh ram
(H.); mei wild goat (WPah.) me~r.hwa_ a bullock with curved horns like a ram’s (Bi.) me~r.a_,
me~d.a_ ram with curling horns (H.)
Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: ‫ گنےریوال‬Punjabi: ‫ )گنیریوال‬is a Sarasvati-

Sindhu civilization site in Cholistan, Punjab, Pakistan.
Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a
3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below.
Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'.

Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner:
1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-
kūṭa, ‘brass’ (Skt.) (CDIAL 3230)
2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]
Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account
(scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger ,
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excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa
n. ʻ act, deed ʼ RV. [√krR1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa
-- n. ʻinstrumentʼ(CDIAL 2790)
3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)
Hieroglyph: मतढमा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl
(Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali)
meď 'copper' (Slovak)
Santali glosses:
Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori,
an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches
aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook.
1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence
of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these
languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative
suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the
word meD (Ho.) of Munda family of Meluhha language stream:
Sa. mE~R~hE~'d ìron'. ! mE~RhE~d(M).

Ma. mErhE'd ìron'.
Mu. mERE'd ìron'.
~ mE~R~E~'d ìron'. ! mENhEd(M).
Ho meD ìron'.
Bj. merhd(Hunter) ìron'.
KW mENhEd
@(V168,M080)
http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda
— Slavic glosses for 'copper'

Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
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Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
http://www.vanderkrogt.net/elements/element.php?sym=Cu
Miedź, med' (Northern Slavic, Altaic) 'copper'.
One suggestion is that corruptions from the German "Schmied", "Geschmeide" =

jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
Hypertexts: భకుస డ. maṇḍi 'kneeling position' Rebus: maṇḍā 'warehouse, workshop'

(Konkani) māḍa'shrine; mandil 'temple' (Santali).
Rebus: artificer: బతసడ battuḍu The caste title of all the five castes of artificers as వడ డబతసడ
a carpenter. కడపబతసడ one who makes a god of his belly. L. xvi. 230. Five categories of
artificers: పడ్రంచాలమ pāñcālamu pānchālamu. [Skt.] n. The Punjab. The country north of
Delhi, between the foot of the Himalayas and the Chambal. పడ్రంజాబుదేశమ. పడ్రంచాల
pānchāli. n. The daughter of the king of Pānchāla; a title of Draupadi, the wife of the five Pāndu
princes. తద్రౌపద. పడ్రంచాలక pānchālika. n. A doll or puppet, an image carved on pillars, &c.
బొమమ్మ , నరమవగాదరూపమ. పడ్రంచాలుడ pānchāluḍu. n. A member of any one of the five
castes of artificers, viz., the carpenters, weavers, barbers, washermen, painters. వడ డవాడ,
సాలెవాడ, మడ్రంగలవాడ, చాకలవాడ, మచచ్చి వాడ, ఈ అయిద జాతలడ్రంద
దేనలనైనన చేరనవాడ. వతడడ్రంగి, వడ డడ్రంగి, వడ డవాడ vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or
వడ డబతసడ vaḍrangi. [Tel.] n. A carpenter. వతడడ్రంగమ, వడ డపన, వతడమ or వడ డడ్రంగితనమ
vaḍrangamu. n. The trade of a carpenter. వడ డవానవవతస. వతడడ్రంగిపన. వతడడ్రంగిపట ట or
వడ డడ్రంగిపట ట vaḍrangi-piṭṭa. n. A woodpecker. దారర్వా ఘాటమ. వడ డకడ్రంకణమ vaḍla-
kankaṇamu. n. A curlew. ఉల డడ్రంకులల భేదమ. వడ డత or వడ డద vaḍlata. n. A woman of the
carpenter caste. A వడ డబతసడ is a శిలల சிறத்பனத் ciṟpaṉ , n. < šilpa. Brahmā, as one skilled in
the art of creation; [சிருடத்டதத் பதபோழ லிலத் வலத்லவனத்] பிரமனத்.
சிறத்பரனபயலபோஞத் சிருடத்டதத்த (திருமநத். 628). சிறத்பபோசபோரள ciṟpācāri , n. < id. +
ஆசபோரள. See சிறத்பி. (யபோழத். அக.)சிறத்பி ciṟpi , n. < šilpin. Mechanic, artisan, stone-cutter;
கமத்மியனத். (சூடபோ.) சிபத்பி² cippi, n. prob. šilpin. 1. See சிறத்பி.
2. Tailor; ரதயறத்கபோரனத். (சிலபத். 5, 32, அடகத்கறபத்பு). శిలల మ śilpamu ṣilpamu.
[Skt.] n. An art, any manual or mechanical art. చతసరవ తవాయడమ మొదలైనపన. శిలల or
శిలల కారడ ṣilpi. n. An artist, artisan, artificer, mechanic, handicraftsman. పనవాడ. A painter,
మచచ్చి . A carpenter, వడ డడ్రంగి. A weaver, సాలెవాడ. (Usually) a stonecutter, a sculptor,
కాసవాడ. శిలల శాసససమ ṣilpi-ṣāstramu. n. A mechanical science; the science of Architecture.
చతతాదకరమ్మ లన గురడ్రంచన విధానమ.
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பஞக்த செகமக்மமாளரக் pañca-kammāḷar, n. < pañcan taṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ,
kollaṉ; தடக்டமானக், கனத்னபோனத், சிறத்பனத், தசத்சனத் பகபோலத்லனத் எனத்ற ஐவரகபத்
படத்ட கமத்மபோளரத். (சஙத். அக.) அஞத்சுபஞத்சலதத்தபோரத் añcu-pañcalattār
पनचमाळन pañcāḷa m (पमानचमाल S q. v.) A common term for five castes--सरोनमार, सयुतमार, लरोहमार, कमानसमार,
पमाथरवट. These all wear the जमानवमें. (Marathi)
Endless knotmotif occurs wih svastika motif.

A hieroglyph which is repeatedly deployed in Indus writing is svastika. What is the ancient
reading and meaning?
I suggest that it reads sattva. Its rebus rendering and meaning is zastas 'spelter or sphalerite or
sulphate of zinc.'
Zinc occurs in sphalerite, or sulphate of zinc in five colours.
The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha ʻbrassʼ(i.e. alloy of copper + zinc).
Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथन । त्रपयु m. (sg. dat.
jastas जससन), zinc, spelter; pewter; zasath ज़सन्नथन or zasuth ज़सयुथन । त्रपयु m. (sg. dat.
zastas ज़ससन), zinc, spelter, pewter (cf. Hindī jast).
jastuvu; । त्रपमूदवन adj. (f. jastüvü), made of zinc or pewter.(Kashmiri).
Hence the hieroglyph: svastika repeated five times. Five svastika are thus read: taṭṭal
sattva Rebus: zinc (for) brass (or pewter).See five svastika on Mohenjodaro prism tablet.
The text inscription on the tablet reads: cast bronze supercargo. It is notable that sphalerite can
also be of high iron varieties and hence, the use of ibha 'elephant' Rebus: ib 'iron' together with
svastika on a Mohenjodaro tablet.
85
Hence, the gloss to denote sulphate of zinc: తతసమ [ tuttamu ] or తతతరమ tuttamu. [Tel.] n.
Vitriol. పకతతసమ white vitriol, sulphate of zinc. మైలతతసమ sulphate of copper, blue-
stone. తతసనాగమ [ tuttināgamu ] tutti-nāgamu. [Chinese.] n. Pewter.
Zinc. లహవిశేషమ.ததத்தமத்² tuttam, n. < tuttha. 1. A prepared arsenic, vitriol, sulphate
of zinc or copper; ரவபத்புபத்பபோஷபோணவரக. (சூடபோ.) 2. Tutty, blue or white vitriol used
as collyrium; கணத் மருநத்தபோக உதவுமத் தரளசு. (ரதலவ. ரதல. 69.)
சதத்த³ cattu, n. prob. šilā-jatu. 1. A variety of gypsum; கரத்பத்பூரசிலபோசதத்த. (சஙத். அக.) 2.
Sulphate of zinc; ததத்தமத். (ரபஷஜ. 86.)
Hieroglyphs, allographs:
தடத்டலத் taṭṭal Five, a slang term; ஐநத்த எனத்பதனத் கழூஉகத்கற. (J.)
தடத்டு¹-தலத் taṭṭu-To obstruct, hinder, ward off; தடுதத்தலத். தரகயினபோறத் கபோறடத்ட

வீழத்கத்கமத் (கலிதத். 97, 17) Tu. taḍè hindrance, obstacle Ma. taṭa resistance, warding off (as
with a shield), what impedes, resists, stays, or stops, a prop Ka. taḍa impeding, check,
impediment, obstacle, delay(DEDR 3031)
Rebus readings:
தடத்டபோனத்¹ taṭṭāṉ, n. < தடத்டு-. [M. taṭṭān.] Gold or silver smith, one of 18 kuṭimakkaḷ, q. v.;
பபபோறத்பகபோலத்லனத். (திவபோ.) Te. taṭravããḍu goldsmith or silversmith. Cf. Turner,CDIAL, no.
5490, *ṭhaṭṭh- to strike; no. 5493, *ṭhaṭṭhakāra- brassworker; √ taḍ, no. 5748, tāˊḍa- a blow;
no. 5752, tāḍáyati strikes.
*ṭhaṭṭha ʻ brass ʼ. [Onom. from noise of hammering brass? -- N. ṭhaṭṭar ʻ an alloy of copper and
bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 2. *ṭhaṭṭhakara -- 1. Pk. ṭhaṭṭhāra -- m.,
K. ṭhojṭu hur m., S. ṭhããṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m.,
N. ṭhaṭero, Bi. ṭhaṭherā, Mth. ṭhaṭheri, H. ṭhaṭherā m.(CDIAL 5491, 5493)
Tatta1 [pp. of tapati] heated, hot, glowing; of metals: in a melted state (cp. uttatta)
Aii.122≈(tattena talena osiñcante, as punishment); Dh 308 (ayoguḷa); J ii.352 (id.); iv.306
(tattatapo "of red -- hot heat," i. e. in severe self -- torture); Miln 26, 45 (adv. red -- hot); PvA 221
(tatta -- lohasecanaŋ the pouring over of glowing copper, one of the punishments in Niraya).
(Pali)
தடத்டுமுடத்டு taṭṭu-muṭṭu, n. Redupl. of தடத்டு² [T. M. Tu. taṭṭumuṭṭu.] 1. Furniture, goods and
chattels, articles of various kinds; வீடத்டுசத்சபோமபோனத்களத். தடத்டுமுடத்டு விறத்ற
மபோறத்றபோத (பணவிடு. 225). 2. Apparatus, tools, instruments, utensils; கருவி களத். 3.
Luggage, baggage; மூடத்ரடகளத். (W.)Ta. taṭṭumuṭṭu furniture, goods and chattels, utensils,
luggage. Ma. taṭṭumuṭṭu kitchen utensils, household stuff. Tu. taṭṭimuṭṭu id.(DEDR 3041)
86
அஞத்சுவரத்ணதத்பதபோனத் añcu-varṇattōṉ, n. < id. +. Zinc; ததத்தநபோகமத். (R.)
அஞத்சுவணத்ணமத் añcu-vaṇṇam, n. < அஞத்சு +. A trade guild; ஒருசபோரத் வணளகரத் கழு.
(T. A. S. ii, 69.) அஞத்சுபஞத்சலதத்தபோரத் añcu-pañcalattār, n. < அஞத்சு +
பஞத்சபோளதத்தபோரத். Pañca-kammāḷar, the five artisan classes; பஞத்சகமத்மபோளரத். (I. M. P. Cg.
371.)
Sphalerite or zinc sulfide

Its color is usually yellow, brown, or gray to gray-black, and it may be shiny or dull. Itsluster is
adamantine, resinous to submetallic for high iron varieties. It has a yellow or light brown streak,
a Mohs hardness of 3.5–4, and a specific gravity of 3.9–4.1. Some specimens have a
red iridescence within the gray-black crystals; these are called "ruby sphalerite." The pale yellow
and red varieties have very little iron and are translucent. http://en.wikipedia.org/wiki/Sphalerite
'Ujjain', 'nandipāda', 'śrīvatsa' ancient coin symbols are Indus Script metalwork
hypertexts https://tinyurl.com/yaljqnhb
Indus Script hieroglyphs daürā 'rope' rebus dhāvḍā 'smelter'; khambhaṛā 'fin'
rebus: kammaṭa 'coiner, coinage, mint' PLUS aya 'fish' rebus: aya, ayas 'iron, alloy metal'
(RRgveda.Gujarati). dula ‘pair’ rebus: dul ‘metal casting’.
Thus, the śrīvatsa on Sanchi stupa is read as dul aya kammaṭa ’metal casting, alloy metal mint’.
Dotted circle signifies a single strand or rope or thread
87
dhāī˜ (Lahnda) signifies a single strand of rope or thread.
I have suggested that a dotted circle hieroglyph is a cross-section of a strand of rope: S. dhāī f. ʻ
wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.
Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red
colour)ʼ; dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) धवडन (p.
436) [ dhavaḍa ] m (Or धमावड) A class or an individual of it. They are smelters of iron (Marathi).
Triangle signifies hillock
Ta. meṭṭu mound, heap of earth; mēṭu height, eminence, hillock; muṭṭu rising ground, high
ground, heap. Ma. mēṭu rising ground, hillock; māṭu hillock, raised ground; miṭṭāl rising ground,
an alluvial bank;(Tiyya) maṭṭa hill. Ka. mēḍu
height, rising ground, hillock; miṭṭu rising or high ground, hill; miṭṭe state of being high, rising
ground, hill, mass, a large number; (Hav.) muṭṭe heap (as of straw). Tu. miṭṭè prominent,
protruding; muṭṭe heap. Te. meṭṭa raised or high ground, hill; (K.) meṭṭu mound; miṭṭa high
ground, hillock, mound; high, elevated, raised, projecting; (VPK) mēṭu, mēṭa, mēṭi stack of hay;
(Inscr.) meṇṭa-cēnu dry field (cf. meṭṭu-nēla, meṭṭu-vari). Kol. (SR.) meṭṭā hill; (Kin.) meṭṭ,
(Hislop) met mountain. Nk. meṭṭ hill, mountain. Ga.
(S.3, LSB 20.3) meṭṭa high land. Go. (Tr. W. Ph.) maṭṭā, (Mu.) maṭṭa mountain; (M. L.) meṭāid.,
hill; (A. D. Ko.) meṭṭa, (Y. Ma. M.) meṭa hill;
(SR.) meṭṭā hillock Konḍa meṭa id. Kuwi (S.) metta hill; (Isr.) meṭa sand hill.(DEDR
5058). Rebus: meḍ ‘iron’ (Ho.Munda) Rebus: meḍ ‘iron’ (Ho.Munda) mẽṛhẽtid. (Santali)
The hypertext of Ujjain symbol with four arms lf + ligatured to dotted circle is
explained as: धवडन dhavaḍa, 'smelter' PLUS gaṇḍa 'four' rebus: khaṇḍa 'implements'
The hypertext ligated to a dotted circle, on Ruhuna coin is explained as: meḍ 'iron' PLUS dul
aya kammaṭa ’metal casting, alloy metal mint’PLUS धवडन dhavaḍa, 'smelter'
88
The hypertext ligatured to dotted circle (referred to as śrīvatsa or tri-ratna) is explained as: dul
aya kammaṭa ’metal casting, alloy metal mint’.
The three symbols --'Ujjain', 'nandipāda', 'śrīvatsa' -- are thus explained as hypertexts with
meanings rendered rebus in Indus Script cipher tradition.
Indus Script tradition of metalwork wealth ledger account, continued in mints of Eurasia from
Takshasila to Ruhuna (Katharagama) (which was the transit point in the Ancient Maritime Tin
Route from Hanoi to Haifa).
The mint artisans continued the tradition of wealth ledger accounting of Indus Script -- using
hypertexts and punch-marked or embossed the hypertexts on ancient coins to signify their
wealth-producing repertoire of metalwork in mints.
Supplementary Plate Figure 2 of H. W. Codrington's Ceylon Coins and Currency (1924), records
an 'Elephant & Svastika' coin discovered in Ruhuna, Sri Lanka (a province in which the heritage
site of Katharagama is located).
http://coins.lakdiva.org/hwc/CeylonPlate-7Suph.jpg
89
See map (for location of Ruhuna):
https://upload.wikimedia.org/wikipedia/commons/8/83/1000pxancien_trisinhalaya-locator-
map_svg.png
An enlargement of Figure 2 of Codrington's Plate is presented below to show the symbols used
on the coin (obverse and reverse). All the symbols used are Indus Script hieroglyphs.
The objective of this monograph is to focus on one symbol which is a hypertext composition of
both 'nandipāda' and 'śrīvatsa'.
90
This hypertext may be seen to the left of the svastika and mountain-range symbols on
the reverse of the coin. This hypertext is a combination of three Indus Script hieroglyphs: 1.
dotted circle 2. hillock and 3. two fish-fins.
Ruhuna coin
http://coins.lakdiva.org/ruhuna/index.html
http://coins.lakdiva.org/codrington/images/CCC_008.jpg (Cited in Lakdiva coins of Codrington).
Note on associated hypertexts on Ruhuna coin:
kuṭhi a sacred, divine tree, kuṭi 'temple' rebus kuṭhi 'a furnace for smelting iron ore'
goṭā 'round pebble' Rebus gōuṭu an ornamental appendage to the border of a cloth,
fringe' गरोटत्री gōṭī f (Dim. of गरोटमा) A roundish stone or pebble. 2 A marble. 3 A large lifting stone.
Used in trials of strength among the Athletæ. 4 A stone in temples described at length under
उचलमा 5 fig. A term for a round, fleshy, well-filled body. 6 A lump of silver: as obtained by
melting down lace or fringe. goṭa 'laterite, ferrite ore' khoṭa 'ingot, wedge'.
dhanga 'mountain range' Rebus: dhangar 'blacksmith'
sangaḍa, 'lathe-brazier' rebus: sangara 'trade'
91
khareḍo = a currycomb (G.) Rebus: kharādī ' turner, a person who fashions or shapes objects on
a lathe ' (Gujarati) करडमा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) खरडन kharaḍa f
(खरडणमें) A hurriedly written or drawn piece; a scrawl; a mere tracing or rude sketch. खरडमा (p.
113) kharaḍā m (खरडणमें) Scrapings (as from a culinary utensil). 2 Bruised or coarsely broken
peppercorns &c.: a mass of bruised मतथमा &c. 3 also खरडमें n A scrawl; a memorandum-scrap; a
foul, blotted, interlined piece of writing. 4 also खरडमें n A rude sketch; a rough draught; a foul
copy; a waste-book; a day-book; a note-book. 5 A spotted and rough and ill-shaped pearl: also
the roughness or knobbiness of such pearls. 6 A variety of musk-melon. 7 Heat in stomach and
bowels during small-pox, measles &c. 8 A leopard. 9 C Small but full heads of rice. 10 Grass so
short as to require grubbing or rubbing up. 11 A medicament consisting of levigated or pounded
(nutmeg, or anise-seed, or मयुरडशमेंगमा &c.) fried in clarified butter. It is given to check diarrhœa. 12
Reduced state, i. e. such scantiness as to demand scraping. v लमाग, पड. Ex. पमाणमाचमा ख 0 लमागलमा or
पडलमा The water (of the well &c.) is so scanty that it must be scraped up (with a नरतटत्री &c.)
धमान्यमालमा ख 0 लमागलमा; पचैकमालमा ख 0 लमागलमा. खरडमें घमासणमें To fag at the desk; to drive the quill. 2
(With implication of indifference.) To write: answering to To pen it; to scribble
away खरडमा kharaḍyā a (खरडणमें) That writes or shaves rudely and roughly; a mere quill-driver;
a very scraper. करडमाचत्री अवटत्री karaḍyācī avaṭī f An implement of the goldsmith. A stamp for
forming the bars or raised lines called करडमा. It is channeled or grooved with (or without) little
cavities. करडमा karaḍā m The arrangement of bars or embossed lines (plain or fretted with little
knobs) raised upon a तमार of gold by pressing and driving it upon the अवटत्री or grooved stamp.
Such तमार is used for the ornament बयुगडत्री, for the hilt of a पटमा or other sword &c. Applied also to
any similar barform or line-form arrangement (pectination) whether embossed or indented; as the
edging of a rupee &c.
The hieroglyph 'elephant'. karibha, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant'.
Svastika glyph: sattva 'svastika' glyph సతసతపలन a vessel made of

pewter त्रपयुधमातयुतवशतषतनतमरतमन
Glosses for zinc are: sattu (Tamil), satta, sattva (Kannada) jasth जसथनत्रथनत्रपयु m. (sg. dat. jastas
ज्तस), zinc, spelter; pewter; zasath ्न ज़सन्नथन ्नor zasuth ज़सयुथ ्न। रप m. (sg. dat. zastas ्यु ज़तस),्न
zinc, spelter, pewter (cf. Hindī jast). jastuvu; । रपमूरवन
न adj. (f. jastüvü), made of zinc or pewter.
(Kashmiri). Hence the hieroglyph: svastika repeated five times on a Harappa epigraph (h182).
Five svastika are thus read: taṭṭal sattva Rebus: zinc (for) brass (or pewter).
शत्रीवतन 1 an epithet of Viṣṇu. -2 a mark or curl of hair on the breast of Viṣṇu;

प्ररमानयुतलप- शत्रीवतनलकत्रीतवभ्रमदपरणमन R.1.1 (Apte) m. " favourite
of शत्री " N. of तवषयु L.; a partic. mark or curl of hair on the breast of तवषयु or कस्पृषन (and of other
divine beings ; said to be white and represented in pictures by a symbol resembling a cruciform
flower) MBh. Ka1v. &c; the emblem of the tenth तजनन (or तवषयु's mark so used) L. (Monier-
Williams)
Re-evaluation of Bronze Age Numismatics in the context of Indus Script decipherment
92
A significant impact of Indus Script decipherment is that Numismatics gets a new tool to analyse
and interpret the symbols used on early Punch-marked and Cast coins of the Bronze Age and to
narrate afresh, the itihāsa of Bhāratam Janam.
This impact will be demonstrated in the three symbols which are often inscrutably labeled as
'Ujjain', 'nandipāda' and 'śrīvatsa'.
Ujjain (Four dotted circles ligatured to '+' sign)
nandipāda (or taurine)(Source: From Ruhuna coin from Codrington's Ceylon coins
and currency, 1924, detailed below)
Variant: Taurine-shaped bead from Ujjain (Madhya Pradesh)

region. Gold, 0.11 g (ca. 300-100 BCE
Rajgor)http://www.rajgors.com/auctioncataloguesold.aspx?auid=47 Same shape as 'ma' syllable
in Brāhmi script.
93
śrīvatsa (or tri-ratna) Variant (dotted circle w/ fish-fins on top
constituting śrīvatsa): Parker's Tissa coin Ancient Ceylon 54

Other variants:
Source for Ujjain coin images. Satavahana coins are of copper, silver, lead and potin (which is a
mixture of bronze, tin and lead) :
https://www.mintageworld.com/blog/satavahana-coins-symbols-motifs/
śrīvatsa adorns top capital of a fier pillar (skambha) in Amaravati
94
On Amaravati representation of the fiery pillar of light the skambha is ligatured with a capital on
top. The capital is hieroglyph 'srivatsa' atop a circle (vaTTa 'round, circle') as a phonetic
determinant that the aya PLUS kambha is in fact to be pronounced, aya khambhaṛā (Lahnda)
rebus: aya 'iron' PLUS kammaṭa 'mint' (Kannada)== 'fish PLUS fin' rebus: ayas kammaṭa 'metal
mint'. meḍ 'foot' rebus: meḍ 'iron' (Mu.Ho.)
Clear orthography of śrīvatsa hypertext is seen on Sanchi stupa toraṇa, with delineation of two
'fish-fins' next to the śilpi, 'architect' statue. (Explanation of spathe of palm in the sculptural
composition: sippīʻspathe of date palmʼ Rebus: sippi 'artificer, craftsman'.
95
Srivatsa with kanka, 'eyes' (Kui).
Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°. According to an
inscription on the southern gate of Sanchi stupa, it has been carved by ivory carvers of
Vidisha.Southern Gateway panel information:West pillar Front East Face has an
inscription. Vedisakehi dantakarehi rupa-kammam katam - On the border of this panel –
Epigraphia Indica vol II – written in Brahmi, language is Pali – the carving of this sculpture is
done by the ivory carvers of Vedisa (Vidisha). http://puratattva.in/2012/03/21/sanchi-buddham-
dhammam-sangahm-5-1484
The association of śrivatsa with ‘fish-fin’ is reinforced by the symbols binding fish in
Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE).
śrivatsa symbol [with its hundreds of stylized

variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th
cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and
Mathura] śrivatsa symbol seems to have evolved from a stylied glyph showing ‘two fishes’.
In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a
Jaina āyāgapaṭa, a fish is ligatured within theśrivatsa glyph composition, emphasizing the
association of the ‘fish’ glyph with śrivatsa glyph. meṛh f. ʻ rope tying oxen to each other and to
post on threshing floor ʼ (Lahnda)(CDIAL 10317) Rebus: mẽṛhẽt, me
'iron' (Santali.Mu.Ho.) The m-sound in these lexemes explains the reason for the choice of
taurine symbol to signify 'ma' syllable in Brāhmi script.
96
(After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama
Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77)
Ujjain, ca. 200 BCE, Copper, 1.81g, Multi-symbols with Swastika to left. Association of
'svastika' hieroglyph with 'dotted circle' indicates that the scribe intends to show that 'svastika'
signifying zinc is a metal out of a smelter, kanda 'fire-altar'.
Saurashatra (Gujarat), ca. 100 BCE, Copper, 5.83g, Double Swastika with Nandi-pad arms
http://www.coinnetwork.com/profiles/blogs/swastika-on-indian-coins
The svastika hieroglyph on Saurashtra (ca. 100 BCE) coin shows a variant with a 'twist'
hieroglyph ligatured to each of the four arms of the svastika glyph.
This is an orthographic determinant of the nature of the object denoted by svastika, spelter, zinc
ore. The tagged 'twist' glyph denotes: meḍ 'twist' rebus: meḍ 'iron, copper, metal'. Thus,
zinc/spelter is identified as a metallic ore and signified as such on this hieroglyph variant on
Saurashtra coin of ca. 100 BCE.
A corollary result of this exposition is that the so-called ‘nandipada’ symbol of historical period
epigraphs has to be explained as ‘twist’ hieroglyph: meḍ 'twist' rebus: meḍ 'iron, copper, metal'.
Indus Script hieroglyph svastika signifies zinc meta
97
Copper plate m1457
The drummer hieroglyph is associated with svastika glyph on this tablet (har609) and also on
h182A tablet of Harappa with an identical text.
प्र-समारन opening (the mouth)(वरोपदतव) rebus: pasar, a trader's shop (नलचम्पमू or दमयनत्रीकथमा)
kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'
Thus, kol pasar 'tiger open mouth' rebus: kol pasar iron smelter trader's shop'.
करोलमा [ kōlhā ] करोलमें [ kōlhēṃ ] 'tiger' Rebus: kolhe 'smelter' (Santali) Ta. kol working in iron,
blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ko. kole·l smithy, temple in
Kota village; kolhali to forge (Kuwi)(DEDR 2133)
dhollu ‘drummer’ (Western Pahari) Rebus: dul ‘cast metal’. The 'drummer' hieroglyph thus
announces a cast metal. The technical specifications of the cast metal are further described by
other hieroglyphs on side B and on the text of inscription (the text is repeated on both sides of
Harappa tablet 182).
kola 'tiger' Rebus: kol 'alloy of five metals, pancaloha' (Tamil). ḍhol ‘drum’ (Gujarati.Marathi)
(CDIAL 5608) Rebus: large stone; dul ‘to cast in a mould’. Kanac ‘corner’ Rebus: kancu
‘bronze’. dula 'pair' Rebus: dul 'cast metal'. kanka ‘Rim of jar’ (Santali); karṇaka rim of
98
jar’(Skt.) Rebus:karṇaka ‘scribe’ (Telugu); gaṇaka id. (Skt.) (Santali) Thus, the tablets denote
blacksmith's alloy cast metal accounting including the use of alloying mineral zinc -- satthiya
'svastika' glyph.
The Meluhha gloss for 'five' is: taṭṭal Homonym is: ṭhaṭṭha brass (i.e. alloy of copper +
zinc) *ṭhaṭṭha1 ʻbrassʼ. [Onom. from noise of hammering brass?]N. ṭhaṭṭar ʻ an alloy of copper
and bell metal ʼ. *ṭhaṭṭhakāra ʻ brass worker ʼ. 1.Pk. ṭhaṭṭhāra -- m., K. ṭhojṭu hur m.,
S. ṭhããṭhāro m., P. ṭhaṭhiār, °rā m.2. P. ludh. ṭhaṭherā m., Ku. ṭhaṭhero m., N. ṭhaṭero,
Bi. ṭhaṭherā, Mth. ṭhaṭheri, H.ṭhaṭherā m.(CDIAL 5491, 5493).
মহরাসরানগডन Môhasthangôṛ is close to Bogra. What does Bogra mean? Bogra means a
'blacksmith', 'engraving chisel'. Cognate words are: वरो-कमार, वरोकरन bogāṟa 'blacksmith'
(Kannada) గుబబ్బో గరन gubbōgara gub-bōgara. [Tel. గుబబ +పోగర.] n. An engraving
chisel. పోగరन pōgara pōgara. [Tel.] n. A graver, or small chisel used by goldsmiths. శలాక,
కడ్రంసలవాన పనమటట. పోగరపన carved work. గుడ్రండపోగర a rod for making rings.
గుబబ గర a tapping chisel.
The word bogra has metallurgical connotation as evidenced by the following etyma:.
वरोकरन vyōkarḥ वरोकरन A blacksmith; वरोकमारमान शगौनल्विकमासथमा (Śiva Bhārata by
Paramānanda.31.17.) वरो-कमारन m. (prob.) " making the sound वरो " , a blacksmith Hcar. (Monier-
Williams)
May also explain the Bengali word bāg 'tiger' as a derivate of bogāra 'blacksmith' वपो-
कनरन m. (prob.) " making the sound वरो " , a blacksmith
vyāghrá m. ʻ tiger ʼ AV., °rī -- f. MBh. 2. *viyāghra -- .1. Pk. vaggha -- m. ʻ tiger ʼ, °ghī -- f.;
Sh. băg -- bĭăṛṷ m. ʻ leopard ʼ (+ biḍāla -- ); S. vāghu m. ʻ tiger ʼ, P. bāgh m., kgr. barāgh m. ʻ
leopard ʼ, WPah.bhad. ḍhḷāhg, bhal. ḍḷāg, pāḍ. dlāhg, cur. brāhg, sod. brag, roh. brāg,
Ku. bāg (gng. ʻ tiger ʼ); N. bāgh, bāg ʻ tiger ʼ, A. B. bāgh (B. also bāg), Or. bāgha, Mth. Bhoj.
Aw.lakh. H. bāgh m., G. M. vāgh m., Ko. vāgu, Si. vaga; Md. vag ʻ tiger, lion ʼ.2.
Pa. vyaggha -- , by° m. ʻ tiger ʼ, viyagghinī -- , bi° f., NiDoc. vyagra F. W. Thomas AO xii 40,
Pk. viaggha<-> m.*vyāghrarūpa -- , *vyāghrāmbara -- .Addenda: vyāghrá
99
-- : WPah.kṭg. brággh m., kc. brāgh, bərāgh ʻ leopard ʼ, J. brāgg m., kṭg. brágghəṇ f.;
Garh. bāg ʻ tiger ʼ, Md. vagu.(CDIAL 12193)
பதத்தரத்; pattar, n. perh. vartaka. Merchants; வியபோபபோரளகளத்.

(W.) பதத்தரபோயத்பத்பணளவபோரத் pattar-āy-p-paṇi- vār, n. < பதத்தரத்³ +. Pious persons who
render service to Šiva and His devotees, one of tokai-y-aṭiyār,
q.v.; பதபோரகயடயபோருளத் சிவபிரபோனுகத்கமத் சிவனடயபோருகத்கமத் பதபோணத்டுபுரள
யுமத் ஒருசபோரபோரத். (பதவபோ. 738, 10.) They are āyagāra, village artisans who are the bedrock
of the wealth-producing activities of the civilization.
पमाथरवटन pātharavaṭa sometimes पमाथरटन or ड, पमाथरूटन or डन m (पमाथरन Stone, वटतवणमें To form,
mould &c.) A caste or an individual of it. They are splitters and hewers of stones. 2 A bird, the
stone-pecker. (Marathi) baḍaga, baḍhi, are artisans in wood and iron; together with pattāri,
kammāra, kumbāra and other pañcakammāḷa or āyagāra constitute the wealth-producing artisan
guilds of Sarasvati Civilization.
See:
Seated person, yoga posture, adorant Indus Script Meluhha hypertexts of mintwork, metalwork
are wealth-accounting ledgers
https://tinyurl.com/ydyelstd
I suggest that three faces of seated person on m304 signify three

ferrite ores: magnetite, haematite, laterite. All the three ferrite ores are signified on Indus Script
Corpora: poLa 'zebu' rebus: poLa 'magnetite ore', bicha 'scorpion' rebus: bicha 'haematite
ore', Dotted ovarl hieroglyph: goTa 'round' rebus 1: goTa 'laterite ore';rebus 2: khoTa 'ingot'.
These hypertexts or hieroglyph-multiplexes may be seen on the globular rounds and dotted
circles surrounding the fire-altar:
100
Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-
altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features.
Excerpts from a recent report (Dr. Vasant Shinde and Dr. Rick Willis) on copper plates with
Indus script inscriptions:"The copper plates described in this article are believed to date from the
Mature Harappan period, 2600–1900 BC. They were given to the second author in 2011, who
realized that the plates were unusual, as they were large and robust, and bore mirrored Indus
script as found in seals, but the inscriptions were relatively finely incised and unlikely capable of
leaving satisfactory impressions, as with a seal...The copper plates superficially resemble large
Indus Valley seals, as seven of the plates bear an image of an animal or person, plus reversed
text. Two of the copper plates bear only mirrored Indus characters boldly engraved in two rows.
The plates are illustrated in Figure 2...
· kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’.
· koḍ = horns (Santali); koḍ ‘workshop’ (G.)
· Pair of fishes (hieroglyph on the chest of the seated person): dula 'pair' Rebus: dul 'cast
metal' ayo 'fish' Rebus: ayas 'metal alloy'; aya'iron' (Gujarati). Thus dul aya 'cast metal alloy'.
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Horned person in penance and “temple,” Harappa (H95-2487/4466-01) (Courtesy of the
Department of Archaeology and Museums, Government of Pakistan)..
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Mohenjo-daro seal m 305 (DK 3884)
He also has scarf as a pigtail, is horned with two stars shown within the horn-curves.
kuThi 'twig' Rebus: kuThi 'smelter' karA 'arm with bangles' Rebus: khAr 'blacksmith' dhatu
'scarf' Rebus: dhatu 'mineral'; taTThAr 'buffalo horn' Rebus: taTTAr 'brass worker' meDhA 'polar
star' Rebus: meD 'iron' (Mu.Ho.) gaNda 'four' Rebus: khaNDa 'metal imlements' aya 'fish' Rebus:
aya 'iron' ayas 'metal' (Rigveda) See: http://tinyurl.com/ozyobnc
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kamaḍha 'penance' (Pkt.) Rebus: kampaṭṭam ‘mint’ (Ta.) Kur. kaṇḍō a stool. Malt. kanḍo stool,
seat. (DEDR 1179) Rebus: kaṇḍ = a furnace, altar (Santali)
ḍato = claws of crab (Santali); dhātu = mineral (Skt.), dhatu id. (Santali)
kūdī, kūṭī bunch of twigs (Skt.lex.) kūdī (also written as kūṭī in manuscripts) occurs in the
Atharvaveda (AV 5.19.12) and Kauśika Sūtra (Bloomsfield's ed.n, xliv. cf. Bloomsfield,
American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk, 98) denotes it as
a twig. This is identified as that of Badarī, the jujube tied to the body of the dead to efface their
traces. (See Vedic Index, I, p. 177). Rebus: kuṭhi 'smelting furnace‘ (Santali) koṭe ‘forged (metal)
(Santali)
mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.)
ḍabe, ḍabea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali)
Rebus: ḍab,ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt
together (Santali)
Thus, the entire glyphic composition of the seated, horned person is decoded rebus: meḍ dhatu
kampaṭṭaḍab kuṭhi kaṇḍ iron, mineral, mint (copper casting, forging workshop)furnace.
The text of the inscription shows two types of 'fish' glyphs: one fish + fish with scaled
circumscribed by four short-strokes: aya 'fish' (Mu.); rebus: aya 'metal' (Samskritam)
gaṇḍa set of four (Santali) kaṇḍa ‘fire-altar’ cf. ayaskāṇḍa a quantity of iron, excellent iron
(Pāṇ.gaṇ) The reading is consistent with the entire glyphic composition related to the mineral,
mint forge.
Five plano-convex molded tablets of Harappa Indus Script hypertexts detail alloy metal, copper,
spelter, brass mintwork, smithy/forge blacksmith, smelter of iron and other minerals
https://tinyurl.com/y84px7xr
Four or five molded plano-convex tablets were found at Harappa by Harvard Archaeology
Project (HARP) Team. It appears that these tablets contained the same narravie Indus Script
hypertexts:
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Side A: 1. spoked wheel; 2. one-eyed person thwarting to rearing jackals; 3. elephant
Side B: 4. seated person with twigs as hair-dress; 5. a person kicking with foot head of a buffalo
and spearing the animal; 6. crocodile; 7. person seated on a tree branch; 8. tiger below the tree
looking back.
These eight Indus Scripthypertexts are deciphered:
1. arā 'spoke' rebus: āra 'brass' eraka 'knave of wheel' rebus:eraka 'moltencast copper' arka 'gold';
2. kāṇa कमाणन 'one-eyed' PLUS vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ;
Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ(CDIAL 12069) rebus: Ta. kampaṭṭam coinage,
coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR
1236) கணத்வடத்டமத் kaṇ-vaṭṭam Mint; நபோணயசபோரல. கணத்வடத்டகத்களத்ளனத் (ஈடு.)
PLUS kola 'woman' rebus: kol 'working in iron' PLUS
taṭu 'thwart' rebus: dhatu 'mineral ore' PLUS dula 'pair' rebus: dul 'metal casting'
PLUS Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā, °lām. ʻ jackal ʼ, adj. ʻ crafty ʼ;
G. kohlu, °lu n. ʻ jackal ʼ, M. kolhā, °lā m.(CDIAL 3615) rebus: kol 'working in iron'.
3. karibha, ibha 'elephant' rebus: karba, ib 'iron'
4. kamaḍha 'penance' (Prakritam) Rebus: kammaṭa 'mint, coiner' PLUS kūtI 'twigs'
Rebus: kuṭhi 'smelter'
5. kolsa 'to kick the foot forward' rebus: kolhe 'smelter' PLUS Pk. koṁta -- m. ʻ spear ʼ;
H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL
3289) Rebus: kuṇṭha munda (loha) 'hard iron (native metal)' PLUS rãa go ʻbuffalo bullʼ Rebus:
Pk. raṅga 'tin' P. rãa g f., rãa gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder,
spelter ʼ, Bi. Mth. rãa gā, OAw. rāṁga; H. rãa g f., rãa gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ
lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ *raṅgapattra ʻ tinfoil
ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.
6. karā 'crocodile' Rebus: khār 'blacksmith' (Kashmiri)
7. heraka 'spy' rebus: eraka 'moltencast copper'
8. krammara ‘look back’ Rebus: kamar ‘smith, artisan’.PLUS kola 'tiger' rebus: kol 'working in
iron'
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Thus, the Indus Script hypertext messages on the plano-convex tablets are: alloy metal, copper,
spelter, brass mintwork, smithy/forge blacksmith, smelter of iron and other minerals.
Wim Borsboom suggests a reconstructed narrative on one side of the burgundy colored
tablet. http://paradigm-update.blogspot.in/2012/03/harapp-culture-pictures.html?m=1
Although neither of these specific molded terracotta tablet pieces comes from Trench 11, four
less well preserved examples from the same mold(s) were found in debris outside of the
perimeter wall in that area, clearly establishing a second half of Period 3B date for these tablets.
Note the rear of the buffalo and the front of the gharial in the left tablet which overlaps with the
iconography of the right tablet, although in this case they do not seem to come from the same
mold. (See also Images 89 and 90.
https://www.harappa.com/indus5/80.html
Molded terracotta tablet (H2001-5075/2922-01) with a narrative scene of a man in a tree with a
tiger looking back over its shoulder. The tablet, found in the Trench 54 area on the west side of
Mound E, is broken, but was made with the same mold as ones found on the eastern side of
Mound E and also in other parts of the site (see slide 89 for the right hand portion of the same
106
scene). The reverse of the same molded terra cotta tablet shows a deity grappling with two tigers
and standing above an elephant (see slide 90 for a clearer example from the same
mold). https://www.harappa.com/indus3/185.html heraka 'spy' rebus: eraka 'moltencast copper'
kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr 'blacksmith' barad 'bull' rebus:
baraDo 'alloy of pewter, copper, tin'.
Ochre coloured tablet H-2001ab. The dark burgundy colored tablet fragment, both faces (H-
95ab)
(length: 3.91 cm, width: 1.5 to 1.62 cm)
Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with
one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted
above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress,
looks on. The horned headdress has a branch with three prongs or leaves emerging from the
center.
On the reverse (90),a female deity is battling two tigers and standing above an elephant. A
single Indus script depicting a spoked wheel is above the head of the deity.
Material: terra cotta
Dimensions: 3.91 length, 1.5 to 1.62 cm width
Harappa, Lot 4651-01
Harappa Museum, H95-2486
Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'
kUtI 'twigs' Rebus: kuThi 'smelter'
muh 'face' Rebus: muhe 'ingot' (Santali)
107
One side of a molded tablet m 492 Mohenjo-daro (DK 8120, NMI 151. National Museum,
Delhi. A person places his foot on the horns of a buffalo while spearing it in front of a cobra
hood.
Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything
when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss,
kick with the foot, hit with the tail (Santali)
kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) •kolhe (iron-
smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.lex.)•kol‘to kill’
(Ta.)•sal ‘bos gaurus’, bison; rebus: sal ‘workshop’ (Santali)me~ṛhe~t iron; ispat m. =
steel; dul m. = cast iron; kolhe m. iron manufactured by
the Kolhes (Santali); meṛed (Mun.d.ari); meḍ (Ho.)(Santali.Bodding)
nAga 'serpent' Rebus: nAga 'lead'

Hieroglyph: rãa go ʻ buffalo bull ʼ
Rebus: Pk. raṅga 'tin' P. rãa g f., rãa gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ,
rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rãa gā, OAw. rāṁga; H. rãa g f., rãa gā m. ʻ tin, pewter
ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in
earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.
paTa 'hood of serpent' Rebus: padanu 'sharpness of weapon' (Telugu)
Hieroglyph: kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻ spear ʼ EWA i 229]1.
Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, °dī f. ʻ spike at the bottom of a stick
ʼ, °diṛī, °dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ.
2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; --
Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289)
Rebus: kuṇṭha munda (loha) 'hard iron (native metal)'
Allograph: कयुनठणमें [ kuṇṭhaṇēṃ ] v i (कयुनठन S) To be stopped, detained, obstructed, arrested in

progress (Marathi)
108
Slide 90.
m0489A One side of a prism tablet shows: crocodile + fish glyphic above: elephant,
rhinoceros, tiger, tiger looking back and up.
m1431A m1431B Crocodile+ three animal glyphs: rhinoceros, elephant, tiger
It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals
in procession: tiger looking back and up + rhinoceros + tiger.
Reverse side glyphs:
eraka ‘nave of wheel’. Rebus: era ‘copper’.
Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’.
Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two
pouncing tigers + nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa
‘six’+ dul ‘casting (metal)’ + kũdā kol (tiger jumping) + era āra (nave of wheel, six spokes),
ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’; kan
‘brazier, bell-metal worker’;
The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron
stone (ore) mineral ‘furnace’.
Glypg: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)
Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt)
to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check,
restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering,
obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to
resist. (DEDR 3031)
109
Plano convex molded tablet showing an
individual spearing a water buffalo with one foot pressing the head down and one arm
holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated
in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch
with three prongs or leaves emerging from the center.
On the reverse, a female is battling two tigers and standing above an elephant. A single
Indus script depicting a spoked wheel is above the head of the deity.

Molded terracotta tablet with a narrative

scene of a man in a tree with a tiger looking back over its shoulder. The tablet is broken, but
was made with the same mold. The reverse of the same molded terra cotta tablet shows a
woman grappling with two tigers and standing above an elephant.
http://www.sindhishaan.com/gallery/manuscripts.html Such narratives get repeated on
inmultiple Harappa tablets.
110
Slide
80
https://www.harappa.com/slideshows/harappa-excavations1995-2000
https://www.harappa.com/indus/89.html Plano convex molded tablet showing an individual

spearing a water buffalo with one foot pressing the head down and one arm holding the tip
of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic
position, wearing a horned headdress, looks on. The horned headdress has a branch with
three prongs or leaves emerging from the center.
111
Meadow and Kenoyer 1997
Harappa plano-convex molded tablet Indus Script hypertexts
Plano convex molded tablet showing a female deity battling two tigers and
standing above an elephant. A single Indus script depicting a spoked wheel is above the
head of the deity. Discovered in Harappa, 1997. https://www.harappa.com/answers/what-
current-thinking-female-diety-outstretched-arms-ancient-indus-egyptian-and-mesopotamian
arā 'spoke of wheel' rebus: āra 'brass' eraka 'knave of wheel' rebus: eraka 'moltencast
copper', arka 'gold'.
karibha 'elephant' rebus: karba 'iron'
Head of woman with one eye who thwarts to rearing jackals (tigers)
kola 'woman' rebus: kol 'working in iron'
taṭu 'thwart' Ta. taṭu (-pp-, -tt-) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block
up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking,
resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder,
impede. Br. taḍ power to resist; Ma. taṭa resistance, warding off (as with a shield), what
impedes, resists, stays, or stops, a prop; taṭa-kūṭuka to hinder; taṭaṅṅalhindrance,
stoppage; taṭaccal impeding, stop, stumbling; taṭayuka to be obstructed, stop between,
stop; taṭavu what resists, wards off, a prison; taṭassu obstruction, hindrance; taṭukkuka to
stop, hinder; taṭekka to stop; taṭṭuka to ward off, beat off, oppose. Ko. taṛv- (taṛt-) to
obstruct, stop; taṛ, taṛv obstruction. To. taṛf- (taṛt-) to delay, prevent, screen; taṛprevention,
screen; taḍgïl hindrance, obstruction, delay. Ka. taḍa impeding, check, impediment,
obstacle, delay;(DEDR 3031) ḍāṭnā ʻ to threaten, check, plug ʼ (→ P. ḍāṭṇā ʻ to check,
cram ʼ(M.); B. ḍããṭā ʻ to threaten ʼ; Or. ḍāṇṭibā ʻ to check ʼ; H. ḍããṭnā ʻ to threaten, check,
plug ʼ (→ N. ḍããṭnu ʻ to threaten ʼ, (Tarai) dããṭnu). (CDIAL 6618) rebus: dhatu 'mineral'.
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kāṇa कमाणन 'one-eyed' RV. x , 155 , 1 AV. xii , 4 , 3 TS. ii , 5 , 1 , 7 Mn. MBh.
PLUS Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round
ʼ(CDIAL 12069) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam
coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) கணத்வடத்டமத் kaṇ-
vaṭṭam Mint; நபோணயசபோரல. கணத்வடத்டகத்களத்ளனத் (ஈடு.)
Pk. kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H. kolhā, °lām. ʻ jackal ʼ, adj. ʻ crafty ʼ;
G. kohlu, °lu n. ʻ jackal ʼ, M. kolhā, °lā m.(CDIAL 3615) rebus: kol 'working in iron'
dula 'pair' rebus: dul 'metal casting' PLUS kola 'tiger' rebus: kol 'working in iron', kolle
'blackmith', kolhe 'smelter'.
Thus, the message of the inscription on this side of the plano convex Harappa tablet is: mint
metalcasting work of iron, brass and minerals.
Two Harappa tablets of Supercargo (merchant, sailor) documenting cargo from 1.

copper/iron smelters; 2. copper smithy
http://tinyurl.com/go765mj
The narrative on an Indus Script tablet is unambiguous.
A one-eyed lady is shown to impede,check two rearing tigers (Side A of two-sided tablets).
Same narrative appears on two tablets of Harappa. The hypertext of a woman/person
thwarting two rearing tigers also occurs on four other seals with Indus Script inscriptions.
The lady with one-eye is: kāṇī ʻone -- eyedʼ (feminine) rebus: kārṇī 'Supercargo'
See: http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyph-narrative-of.html
The rebus readings of hypertext on Side A of the two tablets of Harappa are: kāṇī ʻone --
eyedʼ (feminine) rebus: kārṇī 'Supercargo' -- a representative of the ship's owner on board a
merchant ship, responsible for overseeing the cargo and its sale. By denoting six curls on
locks of hair, the word suggested is Ara 'six' rebus read together with kārṇī + Ara
= kaṇṇahāra -- m. ʻhelmsman, sailorʼ. Thus, the hieroglyph of the six-locks of hair on
woman signifies a 'helmsman + Supercargo'.
She is thwarting two rearing tigers: dula 'two' rebus: dul 'cast metal' PLUS kola 'tiger' rebus:
kol 'working in iron' kolhe 'smelter' PLUS taTu 'thwart' rebus: dhatu 'mineral'. Thus,
'mineral smelter'. Together the hieroglyph-multiplex or hypertext of a woman thwarting two
tigers signifies: 'helmsman, supercargo of metal casting products from mineral smelter'.
What minerals? The top hieroglyph is a spoked wheel; the bottom hieroglyph is an elephant.
They signify copper and iron minerals. eraka 'nave of wheel'rebus: eraka 'moltencast,
copper' karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron.
Thus the entire narrative on Side A of the Harappa tablets signifies 'helmsnan, supercargo of
products from copper and iron mineral smelters.
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See: http://bharatkalyan97.blogspot.in/2016/06/evidence-of-masted-sail-boat-of-
mohenjo.html
kāṇī m. ʻone-eyed' rebus: kārṇī m. ʻ prime minister, supercargo of a shipʼ
Hypertext of one-eyed woman with six locks of hair: kaṇṇahāra -- m. ʻhelmsman, sailorʼ.
kola 'tiger' rebus: kotiya 'outrigger boat, dhow' (with cargo of dhatu 'mineral').
Bengali word: f. kāṇī ʻone -- eyedʼ: kāṇá ʻ one -- eyed ʼ RV.Pa. Pk. kāṇa -- ʻ blind of one
eye, blind ʼ; Ash. kããṛa, °ṛī f. ʻ blind ʼ, Kt. kãŕ, Wg. kŕãmacrdotdot;, Pr. k&schwatildemacr;,
Tir. kāˊna, Kho. kāṇu NTS ii 260, kánu BelvalkarVol 91; K. kônu ʻ one -- eyed ʼ, S.kāṇo, L.
P. kāṇãã; WPah. rudh. śeu. kāṇā ʻ blind ʼ; Ku. kāṇo, gng. kãã&rtodtilde; ʻ blind of one eye ʼ,
N. kānu; A. kanā ʻ blind ʼ; B. kāṇā ʻ one -- eyed, blind ʼ; Or. kaṇā, f. kāṇī ʻ one -- eyed ʼ,
Mth. kān, °nā,kanahā, Bhoj. kān, f. °ni, kanwā m. ʻ one -- eyed man ʼ, H. kān, °nā, G. kāṇu;
M. kāṇā ʻ one -- eyed, squint -- eyed ʼ; Si. kaṇa ʻ one -- eyed, blind ʼ. -- Pk. kāṇa -- ʻ full of
holes ʼ, G. kāṇu ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ? Cf. ããdhḷu n. ʻ hole ʼ
< andhala -- ).*kāṇiya -- ; *kāṇākṣa -- .Addenda: kāṇá -- : S.kcch. kāṇī f.adj. ʻ one -- eyed ʼ;
WPah.kṭg. kaṇɔ ʻ blind in one eye ʼ, J. kāṇā; Md. kanu ʻ blind ʼ.*kāṇākṣa ʻ one -- eyed ʼ.
[kāṇá -- , ákṣi -- ]Ko. kāṇso ʻ squint -- eyed ʼ.(CDIAL 3019, 3020)
Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)
resist. (DEDR 3031) baTa 'six' rebus: bhaTa 'furnace'. Alternative: Ta. āṟu six; aṟu-
patu sixty; aṟu-nūṟu 600; aṟumai six; aṟuvar six persons; avv-āṟu by sixes. Ma. āṟu six; aṟu-
patu sixty; aṟu-nnūṟu 600; aṟuvar six persons. Ko. a·r six; ar vat sixty; a·r nu·r 600;ar
va·ṇy six pa·ṇy measures. To. o·ṟ six; pa·ṟ sixteen; aṟoQ sixty; o·ṟ nu·ṟ 600; aṟ xwa·w six
kwa·x measures. Ka. āṟu six; aṟa-vattu, aṟu-vattu, ar-vattu sixty; aṟu-nūṟu, āṟu-
nūṟu 600; aṟuvar, ārvarusix persons. Koḍ. a·rï six; a·rane sixth; aru-vadï sixty; a·r-
nu·rï 600. Tu. āji six; ājane sixth; ajipa, ajippa, ājipa, ājpa sixty. Te. āṟu six; āṟuguru,
āṟuvuru six persons; aṟu-vadi, aruvai, aravai sixty;aṟuvaṇḍru sixty persons. Kol. (SR. Kin.,
Haig) ār six; (SR.) ārgur six persons. Nk(Ch.) sādi six. Go. (Tr.) sāṟung six; sārk six each;
(W.) sārūṅg, (Pat.) harung, (M.) ārū, hārūṃ, (L.) hārūṅg six; (Y.)sārvir, (G.) sārvur,
(Mu.) hārvur, hāruṛ, (Ma.) ārRvur six (masc.) (Voc. 3372); sarne (W.) fourth day after
tomorrow, (Ph.) sixth day (Voc. 3344); Kui (Letchmajee) sajgi six; sāja pattu six times
twelve dozen (= 864); (Friend-Pereira; Gūmsar dialect) saj six; sajgi six things; (K.) hāja six
(DEDR 2485) Together, the reading of the hypertext of one-eyed PLUS six hair-knots is:
kArNI-Ara, i.e. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ (Prakrtam): karṇadhāra m. ʻ
helmsman ʼ Suśr. [kárṇa -- , dhāra -- 1] Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ;
Pk. kaṇṇahāra -- m. ʻ helmsman, sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL
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2836) PLUS मतढमा [mēḍhā] A twist rebus: mẽṛhẽt, meD 'iron' Thus, the narrative hypertext
signifies helmsman carrying cargo of smelted iron.
कमाणन [p= 269,1] mf(आ)n. (etym. doubtful ; g. कडमारमा*तद) one-eyed , monoculous (अकणमा
कमाणन , blind of one eye Comm. on Pa1n2. 2-1 , 30 and 3 , 20) RV. x , 155 , 1 AV. xii , 4 ,
3 TS. ii , 5 , 1 , 7 Mn. MBh." having only one loop or ring " and " one-eyed " Pan5cat.
Rebus: kārṇī m. ʻ prime minister, supercargo of a ship ʼ Pa. usu -- kāraṇika -- m. ʻ arrow --
maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ
abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ
village accountant ʼ.(CDIAL 3058)
Side A narrative is common to both tablets: arA 'spoked wheel' rebus: Ara 'brass'; eraka
'knave of wheel' rebus: eraka 'moltencast, copper' PLUS karabha 'trunk of elephant' ibha
'elephant' rebus: karba 'iron' ib 'iron' PLUS karA 'crocodile' rebus: khAr 'blacksmith' PLUS
one-eyed woman thwarting rearing tigers:
The obverse side of the tablets of Harappa have two different narratives: 1. One narrative
shows a tiger looking up at a spy ona tree branch (H2001-5075/2922-01). 2. Another
narrative shows a person kicking and spearing a bovine (m489B) PLUS crocodile and a
horned person seated in penance with twig head-dress as field hieroglyphs.
The first type of narrative records products from a smelter. The second type of narrative
records products from a smithy/mint.
Flipped horizontally
Molded terracotta tablet (H2001-5075/2922-01) with a narrative scene of a man in a tree
with a tiger looking back over its shoulder. The tablet, found in the Trench 54 area on the
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west side of Mound E, is broken, but was made with the same mold as ones found on the
eastern side of Mound E and also in other parts of the site (see slide 89 for the right hand
portion of the same scene). The reverse of the same molded terra cotta tablet shows a deity
grappling with two tigers and standing above an elephant (see slide 90 for a clearer example
from the same mold). https://www.harappa.com/indus3/185.html heraka 'spy' rebus: eraka
'moltencast copper' kuTi 'tree' rebus:kuThi 'smelter' karA 'crocodile' rebus: khAr
'blacksmith' barad 'bull' rebus: baraDo 'alloy of pewter, copper, tin'. Another animal
(perhaps bovine) is signified in a procession together with the tiger. This may signify barad,
balad 'ox' rebus: bharat 'alloy of pewter, copper, tin'. Thus the products shown as from
smithy (blacksmith).with a smelter.
m489A m489B
Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with
one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted
above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress,
looks on. The horned headdress has a branch with three prongs or leaves emerging from the
center.
Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri)
kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner'
kUtI 'twigs' Rebus: kuThi 'smelter'
muh 'face' Rebus: muhe 'ingot' (Santali)
This is in continuation and amplification of the rebus readings of Indus Script hieroglyphs
at http://bharatkalyan97.blogspot.in/2016/03/indus-script-inscriptions-43-deciphered.html
Indus Script inscriptions (43) deciphered, One eye + circumfix, 6 locks of hair on head, 2
tigers, elephant, spoked wheel, fish, fish-fin [kammaṭa 'a portable furnace to melt metals,
coiner, mint’]
It was suggested at http://bharatkalyan97.blogspot.in/2016/03/indus-script-inscriptions-43-

deciphered.html that the hieroglyph 'thwarting' is signified by the glosses: hieroglyph:
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‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to
hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check,
resist. (DEDR 3031)
Three Mohenjo-daro seals; two seals are shown together with their seal impressions:
Deciphered readings of the three seals:
m0308 Seal 1 Hieroglyph: śrēṣṭrī 'ladder' Rebus: seṭh ʻ head of a guild, sangaDa 'lathe,
portable brazier' rebus: sangarh 'fortification' PLUS sal 'splinter' rebus: sal 'workshop' (That
is, guild workshop in a fortification) ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khaNDa
'arrow' rebus: khaNDa 'implements'. Thus the hypertext signifies; metal implements from a
workshop (in) fortification. The seal is that of a guild-master and helmsman PLUS
supercargo (responsible for the shipment/cargo).
m0307 Seal 2 & seal impression: Two part message: Part 1: kanac 'corner' rebus: kancu
'bronze' sangaDa 'lathe, portable brazier' rebus: sangarh 'fortification' kanka, karNika 'rim of
jar' rebus: karNI 'supercargo' karnika 'scribe, engraver' muh 'ingot' dhatu 'claws of crab'
rebus: dhatu 'minerals' Part 2: kanka, karNika 'rim of jar' rebus: karNI 'supercargo' karnika
'scribe, engraver' plus kole.l 'temple' rebus: kole.l 'smithy, forge'. The seal is that of a
helmsman PLUS supercargo responsible for cargo of ingots, minerals and products from
smithy/forge.
m0306 Seal 3 and impression: dhatu 'claws of crab' rebus: dhatu 'minerals' dhāḷ 'a slope';
'inclination' rebus: dhALako 'ingot' PLUS kANDa 'notch' rebus: khaNDa 'implements' dula
'two' rebus: dul 'cast metal' kuTil 'curve' rebus: kuTila 'bronze' dula 'pair' rebus: dul 'cast
metal' kanka, karNika 'rim of jar' rebus: karNI 'supercargo' karnika 'scribe, engraver' . The
seal is that of a helmsman of bronze cargo of metal castings, ingots and implements
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Indus Script seals showing a lady thwarting, impeding, checking two rearing tigers.
Mohenjo-daro seal. Mohenjo-daro, ca. 2500 BCE Asko Parpola writes: "The 'contest' motif
is one of the most convincing and widely accepted parallels between Harappan and Near
Eastern glyptic art. A considerable number of Harappan seals depict a manly hero, each
hand grasping a tiger by the throat. In Mesopotamian art, the fight with lions and / or bulls
is the most popular motif. The Harappan substitution of tigers for lions merely reconciles
the scene with the fauna of the Indus Valley ... The six dots around the head of the
Harappan hero are a significant detail, since they may correspond to the six locks of hair
characteristic of the Mesopotamian hero, from Jemdet Nasr to Akkadian times,"
(Deciphering the Indus Script, pp. 246-7).
Mark Kenoyer writes that "discoveries of this motif on seals from Mohenjo-daro definitely
show a male figure and most scholars have assumed some connection with the carved seals
from Mesopotamia that illustrate episodes from the famous Gilgamesh epic. The
Mesopotamian motifs show lions being strangled by a hero, whereas the Indus narratives
render tigers being strangled by a figure, sometime clearly males, sometimes ambiguous or
possibly female. This motif of a hero or heroine grappling with two wild animals could have
been created independently for similar events that may have occurred in Mesopotamia as
well as the Indus valley," ( Ancient Cities, p. 114).
Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°.
Indus Script hieroglyphs of Prakrtam sprachbund lexis khambhaṛā 'fin' rebus: kammaṭa
'mint' has a synonym கணத்வடத்டமத் kaṇ-vaṭṭam 'mint, coiner, coinage'
The note has recorded evidence that கணத்வடத்டமத் kaṇ-vaṭṭam 'mint' has a synonym
(demonstrably, a phonetic variant in mleccha/meluhha): khambhaṛā 'fin' (Lahnda)
rebus: kammaTa 'mint' and these two expressions are combined in the Begram ivory (Plate
389)
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Hieroglyph componens are: face in profile, one eye, circumfix (circle) and 6 curls of hair.
Readings: muh 'face' rebus: muhA 'ingot'; கணத்வடத்டமத் kaṇ-vaṭṭam 'eye PLUS circumfix'
rebus: கணத்வடத்டமத் kaṇ-vaṭṭan 'mint'; baTa 'six' rebus: baTa 'iron' bhaTa 'furnace' PLUS
meD 'curl' rebus: meD 'iron' (Mu.Ho.) med 'copper' (Slavic) Thus, the message is: mint with
furnace for iron, copper. Tigers: dula 'two' rebus: dul 'cast metal' kola 'tiger' rebus: kol
'working in iron' kolhe 'smelter' kolle 'blacksmith' kariba 'elephant trunk' ibha 'elephant'
rebus: karba 'iron' ib 'iron' eraka 'nave of wheel' rebus: eraka 'moltencast, copper' arA 'spoke'
rebus: Ara 'brass'.
கணத்வடத்டமத் kaṇ-vaṭṭam , n. < id. +. 1. Range of vision, eye-sweep, full reach of one's
observation; கணத்பபோரத்ரவகத்கடத்படத்டनஇ டनஇடமத் . தஙத்களத்கணத்வடத்டதத்திபல
உணத்டுடுதத்ததத்திரளகிறन (ஈடு, 3, 5, 2). 2.
Mint; நபோணயசபோரல.aya khambhaṛā (Lahnda) rebus: aya 'iron' PLUS khambhaṛā 'fish
fin'
Rebus: kammaTa 'mint, coiner, coinage' (Kannada)== 'fish PLUS fin' rebus: ayas
kammaTa 'metal mint'.
h180: Three-sided prism tablet from Harappa also includes a rearing-set of tigers narrative
See: http://bharatkalyan97.blogspot.in/2016/05/smelter-furnace-turner-engravers.html
ext 4304 Text on both sides of the tablet Hieroglyphs read rebus from r. to l.: koDi 'flag'
rebus: koD 'workshop' gaNDa 'four' rebus: kanda 'fire-altar' kanda kanka 'rim of jar' rebus:
kanda 'fire-altar' karNI 'supercargo' karNika 'scribe' khaNDa 'notch' rebus: khaNDa
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'i9mplements' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice plant' rebus: kolimi
'smith, forge' kuTi 'water-carrier' rebus: kuThi 'smelter'.
Two tigers: dula 'pair' rebus: dul 'cast metal' kola 'tiger' rebus: kol 'working in iron' kolhe
'smelter'.
h180A
h180B4304 Tablet in bas-relief h180a Pict-106: Nude female figure upside down with
thighs drawn apart and crab (?) issuing from her womb; two tigers standing face to face
rearing on their hindlegs at L.
h180b
Pict-92: Man armed with a sickle-shaped weapon on his right hand and a cakra (?) on his
left hand, facing a seated woman with disheveled hair and upraised arms.
A person carrying a sickle-shaped weapon and a wheel on his bands faces a woman with
disheveled hair and upraised arm. kuṭhāru ‘armourer’ (Sanskrit) salae sapae = untangled,
combed out, hair hanging loose (Santali.lex.) Rebus: sal workshop (Santali) The
glyptic composition is decoded as kuṭhāru sal‘armourer workshop.’ eṛaka 'upraised arm'
(Tamil). Rebus: eraka = copper (Kannada) Thus, the entire composition of these glyphic
elements relate to an armourer’s copper workshop. Vikalpa: मतढमा A twist or tangle arising in
thread or cord, a curl or snarl (Marathi). Rebus: mēḍ 'iron' (Munda)
<raca>(D) {ADJ} ``^dishevelled'' (Munda) rasāṇẽ n. ʻglowing embersʼ

(Marathi). rabca ‘dishevelled’ Rebus: రచ rāca (adj.) Pertaining to a stone (ore) (bica).
The descriptive glyphics indicates that the smelting furnace is for bica, stone (ore). This is
distinquished from sand ore.
The object between the outspread legs of the woman lying upside down is comparable
orthography of a crocodile holding fiish in its jaws shown on tablets h705B and h172B. The
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snout of the crocodile is shown in copulation with the lying-in woman (as seen from the
enlarged portion of h180 Harappa tablet).
kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ) kuThi
'vagina' rebus: kuThi 'smnelter' karA 'crocodile' rebus: khAr 'blacksmith' khamDa
'copulation' rebus: kammaTa 'coin, mint'
The glyphic elements shown on the tablet are: copulation, vagina, crocodile.
Gyphic: ‘copulation’: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner
(Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) Vikalpa:
kaṇḍa ‘stone (ore)’. Glyph: vagina: kuṭhi ‘vagina’; rebus: kuṭhi ‘smelting furnace’. The
descriptive glyphics indicates that the smelting furnace is for stone (ore). This is
distinquished from sand ore. Glyph: ‘crocodile’: karā ‘crocodile’. Rebus: khar ‘blacksmith’.
kāru a wild crocodile or alligator (Te.) Rebus: kāruvu ‘artisan’
kāru a wild crocodile or alligator (Te.) mosale ‘wild crocodile or alligator. S. ghaṛyālu m. ʻ
long — snouted porpoise ʼ; N. ghaṛiyāl ʻ crocodile’ (Telugu)ʼ; A. B. ghãṛiyāl ʻ alligator ʼ,
Or. Ghaṛiāḷa, H. ghaṛyāl, ghariār m. (CDIAL 4422) கரவு² karavu
, n. < கரபோ. cf. grāha. Alligator; முதரல. கரவபோரத்தடமத் (திவத். திருவபோயத். 8, 9, 9).
கரபோ karā , n. prob. grāha. 1. A species of alligator; முதரல. கரபோவதனத்
கபோலிரனகத்கதவ (திவத். பபரளயதி. 2, 3, 9). 2. Male alligator; ஆணத்முதரல.
(பிஙத்.) கரபோமத் karām , n. prob. grāha. 1. A species of alligator; முதரலவரக.
முதரலயு மிடஙத்கருஙத் கரபோமுமத் (கறஞத்சிபத். 257). 2. Male alligator; ஆணத்
முதரல. (திவபோ.)கரவபோ karavā , n. A sea-fish of vermilion colour, Upeneus
cinnabarinus; கடலத்மீனத்வரக. Rebus: khAr 'blacksmith' (Kashmiri)
kuṭhi = pubes. kola ‘foetus’ [Glyph of a foetus emerging from pudendum muliebre on a
Harappa tablet.] kuṭhi = the pubes (lower down than paṇḍe) (Santali) kuṭhi = the womb, the
female sexual organ; sorrege kuṭhi menaktaea, tale tale gidrakoa lit. her womb is near, she
gets children continually (H. koṭhī, the womb) (Santali.Bodding) kōṣṭha = anyone of the
large viscera (MBh.); koṭṭha = stomach (Pali.Pkt.); kuṭṭha (Pkt.); koṭhī heart, breast (L.);
koṭṭhā, koṭhā belly (P.); koṭho (G.); koṭhā (M.)(CDIAL 3545). kottha pertaining to the belly
(Pkt.); kothā corpulent (Or.)(CDIAL 3510). koṭho [Skt. koṣṭha inner part] the stomach, the
belly (Gujarat) kūti = pudendum muliebre (Ta.); posteriors, membrum muliebre (Ma.);
ku.0y anus, region of buttocks in general (To.); kūdi = anus, posteriors, membrum muliebre
(Tu.)(DEDR 188). kūṭu = hip (Tu.); kuṭa = thigh (Pe.); kuṭe id. (Mand.); kūṭi hip (Kui)
(DEDR 1885). gūde prolapsus of the anus (Ka.Tu.); gūda, gudda id. (Te.)(DEDR 1891).
Glosses: Indian sprachbund

kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri)
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kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus:
eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) dhamkara
'leafless tree' Rebus: dhangar 'blacksmith'
Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.
koḍe ‘young bull’ (Telugu) खरोनड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn
in a lathe’ (B.) करोनदन kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) करोनडण
[kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile =
kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali) koḍe
‘young bull’ (Telugu) खरोनड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a
lathe’ (B.) करोनडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya
(G.); crocodile = kāru (Te.)]baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln,
furnace (Santali) baṭhi furnace for smelting ore (the same as kuṭhi) (Santali) bhaṭa = an
oven, kiln, furnace; make an oven, a furnace; iṭa bhaṭa = a brick kiln; kun:kal bhaṭa a
potter’s kiln; cun bhaṭa = a lime kiln; cun tehen dobon bhaṭaea = we shall prepare the lime
kiln today (Santali); bhaṭṭhā (H.) bhart = a mixed metal of copper and lead; bhartīyā= a
barzier, worker in metal; bhaṭ, bhrāṣṭra = oven, furnace (Skt.) mẽṛhẽt baṭi = iron (Ore)
furnaces. [Synonyms are: mẽt = the eye, rebus for: the dotted circle (Santali.lex) baṭha [H.
baṭṭhī (Sad.)] any kiln, except a potter’s kiln, which is called coa; there are four kinds of
kiln: cunabat.ha, a lime-kin, it.abat.ha, a brick-kiln, ērēbaṭha, a lac kiln, kuilabaṭha, a
charcoal kiln; trs. Or intrs., to make a kiln; cuna rapamente ciminaupe baṭhakeda? How
many limekilns did you make? Baṭha-sen:gel = the fire of a kiln; baṭi [H. Sad. baṭṭhi, a
furnace for distilling) used alone or in the cmpds. arkibuṭi and baṭiora, all meaning a grog-
shop; occurs also in ilibaṭi, a (licensed) rice-beer shop (Mundari.lex.) bhaṭi = liquor from
mohwa flowers (Santali)
ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-
ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of
fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in
iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.
Alternative: కరట [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనగు (Telugu) Rebus: kharādī ‘
turner’ (Gujarati) kāṇḍa 'rhimpceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-
ware’. The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant'
Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the
metalware catalog includes the technological competence to work with minerals, metals and
alloys and produce tools, pots and pans. The persons involved are krammara 'turn back'
Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in
pancaloha alloys'. పడ్రంచలహమ pancha-lōnamu. n. A mixed metal, composed of five
ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five
svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc'
and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.
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Glyph: Animals in procession: खमानडमा [khāṇḍā] A flock (of sheep or goats)
(Marathi) கணத்ட¹ kaṇṭi Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and
metal-ware’.
Hieroglyph: heraka ‘spy’. Rebus: eraka, arka 'copper, gold'; eraka 'moltencast, metal
infusion'; era ‘copper’. āra 'spokes' Rebus: āra 'brass'. Hieroglyph: हतरन [ hēra ] m (हतरकन S
through or H) A spy, scout, explorator, an emissary to gather intelligence. 2 f Spying out or
spying, surveying narrowly, exploring. (Marathi) *hērati ʻ looks for or at ʼ. 2. hēraka
-- , °rika -- m. ʻ spy ʼ lex., hairika -- m. ʻ spy ʼ Hcar., ʻ thief ʼ lex. [J. Bloch
FestschrWackernagel 149 ← Drav., Kuiēra ʻ to spy ʼ, Malt. ére ʻ to see ʼ, DED 765]1.
Pk. hēraï ʻ looks for or at ʼ (vihīraï ʻ watches for ʼ); K.ḍoḍ. hērūō ʻ was seen ʼ; WPah.bhad.
bhal. he_rnū ʻ to look at ʼ (bhal. hirāṇū ʻ to show ʼ), pāḍ. hēraṇ, paṅ. hēṇā, cur. hērnā,
Ku. herṇo, N. hernu, A. heriba, B. herā, Or. heribā (caus. herāibā), Mth. herab,
OAw. heraï, H. hernā; G. hervu ʻ to spy ʼ, M. herṇẽ. 2. Pk. hēria -- m. ʻ spy ʼ; Kal.
(Leitner) "hériu" ʻ spy ʼ; G. herɔ m. ʻ spy ʼ, heru n. ʻ spying ʼ. Addenda:
*hērati: WPah.kṭg. (Wkc.) hèrnõ, kc. erno ʻ observe ʼ; Garh. hernu ʻ to look' (CDIAL
14165) Ko. er uk- (uky-) to play 'peeping tom'. Kui ēra (ēri-) to spy, scout; n. spying,
scouting; pl action ērka (ērki-). ? Kuwi (S.) hēnai to scout; hēri kiyali to see; (Su.
P.) hēnḍ- (hēṭ-) id. Kur. ērnā (īryas) to see, look, look at, look after, look for, wait for,
examine, try; ērta'ānā to let see, show; ērānakhrnā to look at one another. Malt. ére to
see, behold, observe; érye to peep, spy. Cf. 892 Kur. ēthrnā. / Cf. Skt. heraka- spy,
Pkt. her- to look at or for, and many NIA verbs; Turner, CDIAL, no. 14165(DEDR 903)
కారమొసల a wild crocodile or alligator (Telugu).
Rebus: khār ‘blacksmith’ khār 1 खमारन । लरोहकमारन m. (sg. abl. khāra 1 खमार; the pl. dat. of this
word is khāran 1 खमारनन, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith,
an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.). This
word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab
khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta खमार-बसन्नत । चमरप्रसततवकमा f. the skin
bellows of a blacksmith. -büṭhü -ब&above;ठमू&below; । लरोहकमारतरततन f. the wall of a
blacksmith's furnace or hearth. -bāy -बमायन । लरोहकमारपतत्री f. a blacksmith's wife (Gr.Gr. 34). -
dokuru -दकयुरन&below; । लरोहकमारमायरोघनन m. a blacksmith's hammer, a sledge-hammer. -gaji -
ग&above;तज&below; or -güjü -ग&above;जमू&below; । लरोहकमारचयुनलन f. a blacksmith's
furnace or hearth. -hāl -हमालन । लरोहकमारकनदयुन f. (sg. dat. -höjü -हमा&above;जमू&below;), a
blacksmith's smelting furnace; cf. hāl 5. -kūrü -कमूरून&below; । लरोहकमारकन्यमा f. a
blacksmith's daughter. -koṭu -क&above;टयु&below; । लरोहकमारपयुत्रन m. the son of a blacksmith,
esp. a skilful son, who can work at the same profession. -küṭü -क&above;टमू&below; ।
लरोहकमारकन्यमा f. a blacksmith's daughter, esp. one who has the virtues and qualities properly
belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च&dotbelow;्मू&below; ।
लरोहकमारमस्पृततकमा f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -necyuwu -
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न्यतचवयु&below; । लरोहकमारमातजन m. a blacksmith's son. -nay -नयन । लरोहकमारनमातलकमा f.
(for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to
flow after smelting. -ʦañe -चन&dotbelow;ञ । लरोहकमारशमानमारमारमान f.pl. charcoal used by
blacksmiths in their furnaces. -wān वमानन । लरोहकमारमापणन m. a blacksmith's shop, a forge,
smithy (K.Pr. 3). -waṭh -वठन । आघमातमाधमारतशलमा m. (sg. dat. -waṭas -वतट), the large stone used
by a blacksmith as an anvil.
Rebus readings of Hieroglyphs on two Meluhha tablets: Crocodile, tiger looking back,
spy on tree
h1973B h1974B Harappa Two tablets. One side shows a person seated on a tree branch, a
tiger looking up, a crocodile on the top register and other animals in procession in the
bottom register. Obverse side (comparable to h1970, h1971 and h1972) shows an elephant,
a person strangling two tigers (jackals or foxes) and a six-spoked wheel.
The glyphic which is common to both set 1 (h1970B, h1971B and h1972B) and set 2:
(h1973B and h1974B) is: crocodile on the top register.
karā ‘crocodile’ (Telugu). Rebus: khara ‘blacksmith’ (Kashmiri)
Set 1: crocodile + person with foot on head of animal + spearing + bison + horned (with
twig) seated person in penance
h1971B Harappa. Three tablets with identical glyphic compositions on both sides: h1970,
h1971 and h1972. Seated figure or deity with reed house or shrine at one side. Left: H95-
2524; Right: H95-2487.
Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity
battling two tigers and standing above an elephant and below a six-spoked wheel; b.
Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity
wearing bangles and with a plumed headdress. The person presses his foot down the
buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two
other broken tablets at Harappa that appear to have been made from the same mold that was
used to create the scene of a deity battling two tigers and standing above an elephant. One
was found in a room located on the southern slope of Mount ET in 1996 and another
example comes from excavations on Mound F in the 1930s. However, the flat obverse of
both of these broken tablets does not show the spearing of a buffalo, rather it depicts the
more well-known scene showing a tiger looking back over its shoulder at a person sitting on
the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at
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Harappa combine these two narrative scenes of a figure strangling two tigers on one side of
a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.”
(JM Kenoyer, 1998, Ancient cities of the Indus Valley, Oxford University Press, p. 115.)
The following glyphics of m1431 prism tablet show the association between the tiger +
person on tree glyphic set and crocile + 3 animal glyphic set.
Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an

elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the
animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a
platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its
forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with
one antelope looking backwards?]
One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a
rhinoceros (with fishes (or perhaps, crocodile) on top?).
koḍe ‘young bull’ (Telugu) खरोनड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn
in a lathe’ (B.)कपोकोंदन kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) करोनडण
[kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile =
kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)
ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-
ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of
fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in
iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.
Alternative: కరట [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనగు (Telugu) Rebus: kharādī ‘
turner’ (Gujarati) kāṇḍa 'rhimpceros' Rebus:khāṇḍa ‘tools, pots and pans, and metal-
ware’. The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant'
Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the
metalware catalog includes the technological competence to work with minerals, metals and
alloys and produce tools, pots and pans. The persons involved are krammara 'turn back'
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Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in
pancaloha alloys'. పడ్రంచలహమ pancha-lōnamu. n. A mixed metal, composed of five
ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five
svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc'
and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

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

metal-ware’.
It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals
in procession: tiger looking back and up + rhinoceros + tiger.
Reverse side glyphs:
eraka ‘nave of wheel’. Rebus: era ‘copper’. āra 'spokes' Rebus: āra 'brass'.
Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’ (Gujarati).
Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two
pouncing tigers (jackals)+ nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’
(Pego.), bhaṭa ‘six’+ dul‘casting (metal)’ + kũdā kol (tiger jumping) or lo ‘fox’
(WPah.) rebus: lōha ʻmetalʼ (Pali) + era āra (nave of wheel, six spokes), ibha (elephant).
Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’;kan ‘brazier, bell-
metal worker’; ibbo ‘merchant’.
The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol
bhaṭa ‘iron stone (ore) mineral ‘furnace’.
lōpāka m. ʻa kind of jackalʼ Suśr., lōpākikā -- f. lex. 1. H. lowā m. ʻfoxʼ.2. Ash. ẓōki, žōkī
ʻfoxʼ, Kt. ŕwēki, Bashg. wrikī, Kal.rumb. lawák: < *raupākya -- NTS ii 228; --
Dm. rɔjãpak ← Ir.? lōpāśá m. ʻfox, jackalʼ RV., lōpāśikā -- f. lex. [Cf. lōpāka -- . -- *lōpi -- ]
Wg. liwášä, laúša ʻfoxʼ, Paš.kch. lowóċ, ar. lṓeč ʻjackalʼ (→ Shum. lṓeč NTS xiii 269),
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kuṛ. lwāinč; K. lośu, lōh, lohu, lôhu ʻporcupine, foxʼ.1. Kho. lōw ʻfoxʼ, Sh.gil. lótilde;i f.,
pales. lṓi f., lṓo m., WPah.bhal. lōī f., lo m.2. Pr. ẓūwī ʻfoxʼ.(CDIAL 11140-
2).Rebus:lōhá ʻred, copper -- colouredʼ ŚrS., ʻmade of copperʼ ŚBr., m.n. ʻcopperʼ VS.,
ʻironʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻmetal, esp. copper or bronzeʼ; Pk. lōha -- m. ʻironʼ,
Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa" ʻsteelʼ;
Kho. loh ʻcopperʼ; S. lohu m. ʻironʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām.
ḍoḍ. lohā), WPah.bhad. lɔuu n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā,
Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh,
H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper lōhá
-- : WPah.kṭg. (kc.) lóɔ ʻironʼ, J. lohā m., Garh. loho; Md. lō ʻmetalʼ. (CDIAL 11158).
Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)
resist. (DEDR 3031)
Allograph: ‘notch’: Marathi: खमानडमा [ khāṇḍā ] m A jag, notch, or indentation (as upon the
edge of a tool or weapon).
Glyph: ‘full stretch of one’s arms’: kāḍ 2 कमाडन । पगौरषमन m. a man's length, the stature of a
man (as a measure of length) (Rām. 632, zangan kaḍun kāḍ, to stretch oneself the whole
length of one's body. So K. 119). Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl.
kanḍkil) stone (DEDR 1298). mayponḍi kanḍ whetstone; (Ga.)(DEDR 4628). (खडमा)
Pebbles or small stones: also stones broken up (as for a road), metal. खडमा [ khaḍā ] m A
small stone, a pebble. 2 A nodule (of lime &c.): a lump or bit (as of gum, assafœtida,
catechu, sugar-candy): the gem or stone of a ring or trinket: a lump of hardened fæces or
scybala: a nodule or lump gen. CDIAL 3018 kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone
ʼ lex.] Bshk. kōr ʻ large stone ʼ AO xviii 239. கணத்டு³ kaṇṭu , n. < gaṇḍa. 1. Clod,
lump; கடத்ட. (ரதலவ. ரதல.99.) 2. Wen; கழரலகத்கடத்ட. 3. Bead or something
like a pendant in an ornament for the neck; ஓரத் ஆபரணவுரு. புலத்லிரககத்கணத்ட
நபோணத் ஒனத்றறத் கடத்டன கணத்டு ஒனத்றமத் (S.I.I. ii, 429). (CDIAL
3023) kāṇḍa cluster, heap ʼ (in trrṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion
with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190
< krrntáti). Pa. kaṇḍa -- m.n. joint of stalk, lump. कमाठन A rock, stone. kāṭha m. ʻ rock ʼ lex.
[Cf. kānta -- 2 m. ʻ stone ʼ lex.]Bshk. kōr ʻ large stone ʼ AO xviii 239.(CDIAL
3018). অয়সঠনन [ aẏaskaṭhina ] as hard as iron; extremely hard (Bengali)
Glyph: ‘one-eyed’: कमाणन a. [कणन तनमत्रीलनत कतररर घञन Tv.] 1 One-eyed; अकणमा कमाणन Sk;
कमाणतन चक्षियुषमा तकन वमा H. Pr.12; Ms.3.155. -2 Perforated, broken (as a cowrie) <kaNa>(Z)
{ADJ} ``ône-êyed, ^blind''. Ju<kaNa>(DP),,<kana>(K) {ADJ} ``^blind, blind in one
eye''. (Munda) Go. (Ma.) kanḍ reppa eyebrow (Voc. 3047(a))(DEDR 5169). Ka. kāṇ
(kaṇḍ-) to see; Ko. kaṇ-/ka·ṇ- (kaḍ-) to see; Koḍ. ka·ṇ- (ka·mb-, kaṇḍ-) to see; Ta. kāṇ
(kāṇp-, kaṇṭ-) to see; Kol.kanḍt, kanḍakt seen, visible. (DEDR 1443). Ta. kaṇ eye, aperture,
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orifice, star of a peacock's tail. (DEDR 1159a) Rebus ‘brazier, bell-
metal worker’: கனத்னபோனத் kaṉṉāṉ , n. < கனத்¹. [M. kannān.] Brazier, bell-metal worker,
one of the divisions of the Kammāḷa caste; பசமத்புபகபோடத்ட.
(திவபோ.) Ta. kaṉ copper work, copper, workmanship; kaṉṉāṉ brazier. Ma. kannān id.
(DEDR 1402). கனத்¹ kaṉ , n. perh. கனத்மமத். 1. Workmanship; பவரலபத்பபோடு.
கனத்னபோரத் மதிலத்சூழத் கடநத்ரத (திவத். திருவபோயத். 5, 8, 3). 2. Copper work;
கனத்னபோரத் பதபோழலத். (W.) 3. Copper; பசமத்பு. (ஈடு, 5, 8, 3.) 4. See கனத்னதத்தடத்டு.
(நனத். 217, விருதத்.) கனத்² kaṉ , n. < கலத். 1. Stone; கலத். (சூடபோ.) 2. Firmness;
உறதிபத்பபோடு. (ஈடு, 5, 8, 3.)
kãa ḍ 2 कमाकाँडनन m. a section, part in general; a cluster, bundle, multitude (Śiv. 32). kãa ḍ 1 कमाकाँडन ।
कमाण्डन m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan
5 (p. 221a, l. 13) the word is spelt kāḍ.
koaeda करोकाँद । कयुलमालमातदकनदयुन f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv.
133); a lime-kiln. -bal -बलन । कयुलमालमातदकनदयुसथमानमन m. the place where a kiln is erected, a
brick or potter's kiln (Gr.Gr. 165). -- । कयुलमालमातदकनदयुयथमावदमावन f.inf. a kiln to arise; met. to
become like such a kiln (which contains no imperfectly baked articles, but only well-made
perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist.
kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri)
kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus:
eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali)
Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.
Ganweriwala tablet and seals m1181, m0304 m453 show persons seated on a platform, a
raised place.
The significance of the platform is clear in rebus readings. On seal m0304, stacks of hay
signify mēṭa 'stack of hay' which are phonetic determinants of the platform, raised
place: mēṭa 'raised place'. Rebus reading is: mẽṛhẽt, meḍ 'iron (metal)' 'copper' (Slavic
languages).
128
m1181. Seal. Mohenjo-daro. Three-faced, horned person (with a three-leaved pipal branch
on the crown), wearing bangles and armlets and seated on a hoofed platform.
m1181 Text of inscription.
Each glyphic element on this composition and text of inscription is decoded rebus:
Two glyphs 'cross-road' glyph + 'splice' glyph -- which start from right the inscription of
Text on Seal m1181.The pair of glyphs on the inscription is decoded: dhatu adaru bāṭa
'furnace (for) mineral, native metal’. dāṭu 'cross'(Telugu); bāṭa 'road' (Telugu). aḍar =
splinter (Santali); rebus: aduru = native metal (Ka.) aduru = gan.iyinda tegadu karagade
iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada.
Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore,
Vicaradarpana Press, 1872, p. 330)
Other glyphic elements: aḍar kuṭhi 'native metal furnace'; soḍu 'fireplace'; sekra 'bell-metal
and brass worker'; aya sal 'iron (metal) workshop'.
*the person is seated on a hoofed platform (representing a bull): decoding of glyphics read
rebus: ḍangar ‘bull’; ḍhangar ‘blacksmith’ (H.); koṇḍo ‘stool’; rebus: koḍ ‘workshop’. The
glyphics show that the seal relates to a blacksmith's workshop.
129
*the seated person's hair-dress includes a horned twig. aḍaru twig; aḍiri small and thin
branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). aḍar = splinter
(Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus:
kuṭhi = furnace (Santali)
*tiger's mane on face: The face is depicted with bristles of hair, representing a tiger’s mane.
cūḍā, cūlā, cūliyā tiger’s mane (Pkt.)(CDIAL 4883)Rebus: cuḷḷai = potter’s kiln, furnace
(Ta.); cūḷai furnace, kiln, funeral pile (Ta.); cuḷḷa potter’s furnace; cūḷa brick kiln (Ma.);
cullī fireplace (Skt.); cullī, ullī id. (Pkt.)(CDIAL 4879; DEDR 2709). sulgao, salgao to light
a fire; sen:gel, sokol fire (Santali.lex.) hollu, holu = fireplace (Kuwi); soḍu fireplace, stones
set up as a fireplace (Mand.); ule furnace (Tu.)(DEDR 2857).
*bangles on arms cūḍā ‘bracelets’ (H.); rebus: soḍu 'fireplace'. Vikalpa: sekeseke, sekseke
covered, as the arms with ornaments; sekra those who work in brass and bell metal; sekra
sakom a kind of armlet of bell metal (Santali)
*fish + splinter glyph ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.);
ayah, ayas = metal (Skt.)sal stake, spike, splinter, thorn, difficulty (H.); sal ‘workshop’
(Santali) Vikalpa: Glyph: ḍhāḷiyum = adj. sloping, inclining; rebus: ḍhāḷako = a large metal
ingot (G.) H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771). Thus, the ligatured
'fish + sloping (stroke)' is read rebus: metal ingot.
•dāṭu = cross (Te.); dhatu = mineral (Santali) dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic);
a mineral, metal (Santali); dhāta id. (G.)H. dhāṛnā ‘to send out, pour out, cast (metal)’
(CDIAL 6771). aṭar a splinter; aṭaruka to burst, crack, slit off, fly open; aṭarcca splitting, a
crack; aṭarttuka to split, tear off, open (an oyster)(Ma.); aḍaruni to crack (Tu.)(DEDR 66).
dāravum = to tear, to break (G.) dar = a fissure, a rent, a trench; darkao = to crack,to break;
bhit darkaoena = the wall is cracked (Santali) Rebus: aduru 'native (unsmelted) metl'
(Kannada).
Seated person in penance: kamaḍha ‘penance’ (Pkt.); rebus: kampaṭṭa ‘mint’(Ma.) Glyphics
of shoggy, brisltles of hair on the face of the person: Shoggy hair; tiger’s mane. sodo bodo,
sodro bodro adj. adv. rough, hairy, shoggy, hirsute, uneven; sodo [Persian. sodā, dealing]
130
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.)
Glyph: clump between the two horns: kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ.(CDIAL
3236). kundār turner (A.)(CDIAL 3295). kuṇḍa n. ʻ clump ʼ e.g. darbha-- kuṇḍa-- Pāṇ. [←
Drav. (Tam. koṇṭai ʻ tuft of hair ʼ, Kan. goṇḍe ʻ cluster ʼ, &c.) T. Burrow BSOAS xii 374]
Pk. kuṁḍa-- n. ʻ heap of crushed sugarcane stalks ʼ (CDIAL 3266) Ta. koṇtai tuft, dressing
of hair in large coil on the head, crest of a bird, head (as of a nail), knob (as of a cane),
round top. Ma. koṇṭa tuft of hair. Ko.goṇḍ knob on end of walking-stick, head of pin; koṇḍ
knot of hair at back of head. To. kwïḍy Badaga woman's knot of hair at back of head (<
Badaga koṇḍe). Ka. koṇḍe, goṇḍe tuft, tassel, cluster. Koḍ. koṇḍe tassels of sash, knob-like
foot of cane-stem. Tu. goṇḍè topknot, tassel, cluster. Te. koṇḍe, (K. also) koṇḍi knot of hair
on the crown of the head. Cf. 2049 Ta. koṭi. / Cf. Skt. kuṇḍa- clump (e.g. darbha-kuṇḍa-),
Pkt. (DNM) goṇḍī- = mañjarī-; Turner, CDIAL, no. 3266; cf. also Mar. gōḍā cluster, tuft.
(DEDR 2081) kuṇḍī = crooked buffalo horns (L.) rebus: kuṇḍī = chief of village. kuṇḍi-a =
village headman; leader of a village (Pkt.lex.) I.e. śreṇi jet.t.ha chief of metal-worker guild.
koḍ 'horns'; rebus: koḍ 'artisan's workshop' (G.) Thus the entire glyphic composition of
hieroglyphs on m1181 seal is a message conveyed from a sodagor 'merchant, trader'. The
bill of lading lists a variety of repertoire of the artisan guild's trade load from a mint -- the
native metal and brass workshop of blacksmith (guild) with furnace: aḍar kuṭhi 'native metal
furnace'; soḍu 'fireplace'; sekra 'bell-metal and brass worker'; aya sal 'iron (metal)
workshop'.
In a comparable glyphic composition showing a person seated in penance, two serpents are
shown flanking the person.
up.
131
Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’. Rebus:
kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’.
Glyph: ‘serpent hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm
‘tempered iron’ (Ko.)
Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message of the
glyphics is about a mint or metal workshop which produces sharpened, tempered iron
(stone ore) using a furnace.
Rebus readings of glyphs on text of inscription:
koṇḍa bend (Ko.); Tu. Kōḍi corner; kōṇṭu angle, corner, crook. Nk. Kōnṭa corner (DEDR
2054b) G. khūe ṭṛī f. ʻangleʼRebus: kõdā ‘to turn in a lathe’(B.) करोनदन kōnda ‘engraver,
lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place
where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) करोनडणन [kōṇḍaṇa] f A fold or pen.
(Marathi) B. kõdā ‘to turn in a lathe’; Or.kūanda ‘lathe’, kũdibā, kūe d ‘to turn’ (→ Drav.
Kur. Kūe d ’ lathe’) (CDIAL 3295)
aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a
crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR
66) Rebus: aduru ‘native, unsmelted metal’ (Kannada)
ãs = scales of fish (Santali); rebus: aya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in
Rigveda: ancu 'iron' (Tocharian)
G.karãã n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779). Rebus:

khār खमारनन ‘blacksmith’ (Kashmiri)
dula ‘pair’; rebus dul ‘cast (metal)’
Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa
-- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace
account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who
digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk.
(Telugu) káraṇa n. ʻ act, deed ʼ RV. [√krR1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,
kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)
The suggested rebus readings indicate that the Indus writing served the purpose of
artisans/traders to create metalware, stoneware, mineral catalogs -- products with which
they carried on their life-activities in an evolving Bronze Age.
132
All Indus Script hypertexts with phaḍā 'serpent hood' signify metals manufactory public
officers https://tinyurl.com/y7a26nhe
Hieroglyph: फडमा (p. 313) phaḍā f (फटमा S) The hood of Coluber Nága
&c. Ta. patam cobra'shood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.)
baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040,
Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see
Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR
47) Rebus: phaḍa फडन ‘manufactory, company, guild, public office’, keeper of all
accounts, registers.
फडपमूसन (p. 313) phaḍapūsa f (फडन & पयुसणमें) Public or open inquiry. फडफरममाशन or सन (p.
313) phaḍapharamāśa or sa f ( H & P) Fruit, vegetables &c. furnished on occasions to Rajas
and public officers, on the authority of their order upon the villages; any petty article or
trifling work exacted from the Ryots by Government or a public officer.
फडतनतवशत्री or सत्री (p. 313) phaḍaniviśī or sī
& फडतनवत्रीसन Commonly फड- तनशत्री & फडनत्रीस. फडनत्रीसन (p. 313) phaḍanīsa m ( H) A
public officer,--the keeper of the registers &c. By him were issued all grants, commissions,
and orders; and to him were rendered all accounts from the other departments. He answers
to Deputy auditor and accountant. Formerly the head Kárkún of a district-cutcherry who had
charge of the accounts &c. was called फडनत्रीस.
फडकरत्री (p. 313) phaḍakarī m A man belonging to a company or band (of players, showmen
&c.) 2 A superintendent or master of a फडन or public place. See under फड. 3 A retail-
dealer (esp. in grain).
फडझडतत्री (p. 313) phaḍajhaḍatī f sometimes फडझमाडणत्री f A clearing off of public business
(of any business comprehended under the word फडन q. v.): also clearing examination of
any फडन or place of public business.
फडन (p. 313) phaḍa m ( H) A place of public business or public resort; as a court of justice,
an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-
sense, as खतळणमा- चमा फडन A gambling-house, नमाचणमाचमा फडन A nach
house, गमाणमाचमा or खमालत्रीखयुशमालत्रीचमा फडन A singing shop or merriment shop. The word
expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or
stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is
brought, that the crop may be ascertained and the tax fixed; the depot at which the
Government-revenue in kind is delivered; a place in general where goods in quantity are
exposed for inspection or sale. 3 Any office or place of extensive business or work, as a
factory, manufactory, arsenal, dock-yard, printing-office &c. 4 A plantation or field (as
of ऊस, वमानगमा, तमरचमा, खरबयुजत &c.): also a standing crop of such produce. 5 fig. Full and
vigorous operation or proceeding, the going on with high animation and bustle (of business
in general). v चमाल, पड, घमाल, ममानड. 6 A company, a troop, a band or set (as of actors,
showmen, dancers &c.) 7 The stand of a great gun. फडनप डनपडणमें g. of s. To be in full and
active operation. 2 To come under brisk discussion. फडनममा डनममारणमें - रमाखणमें-सनरमाळणमें To
save appearances, फडनममा डनममारणमें or सनपमादणमें To cut a dash; to make a display (upon an
133
occasion). फडमाचमा ममापमानमें With full tale; in flowing measure. फडमासनयत
सनयतणमें To come
before the public; to come under general discussion.
Cloth worn onGaṇeśa pratimā, Gardez, Afghanistan. Hieroglyph: படமத்¹

paṭam , n. < paṭa. 1. Cloth for wear; சீரல. (பிஙத்.) மபோபத்பட நூலினத் பறபோகதிகத்
கபோணத் டலினத் (ஞபோனபோ. 14, 21). 2. Painted or printed cloth; சிதத்திரசத்சீரல. (பிஙத்.)
இபத்படதத்பதழுத ஞபோன வபோவி (கபோசிக. கலபோவ. 2). 3. Coat, jacket; சடத்ரட.
படமத்புகத்க (பபருமத்பபோணத். 69). 4. Upper garment, cloak; பபபோரத்ரவ.
வனபத்பகடத்ரடபத் பட மபோக வுரளதத்தபோயத் (பதவபோ. 32, 7). 5. Body; உடலத்.
படஙத்பகபோடு நளனத்றவிபத் பலத்லுயிரத் (திருமநத். 2768).
Hieroglyph: படமத் paṭam, n. < pada. Instep; பபோததத் தினத் முறத்பகதி.

படஙத்கநத்திநளறத்றலத் (சூடபோ. 9, 53).
फडमा phaḍā f (फटमा S) The hood of Coluber Nága Rebus: phaḍa फडन ‘manufactory,
company, guild, public office’, keeper of all accounts, registers.
134
Instep venerated. Amaravati sculptural friezes. Skambha with ayo khambhaṛā 'fish-fin'
rebus: ayo kammaṭa 'alloy metals mint, coiner, coinage'.
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/...
The classifier is the cobra hood: फडमा phaḍā f (फटमा S) The hood of Coluber
Nága Rebus: phaḍa फडन ‘manufactory, company, guild, public office’, keeper of all
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.The ciphertext of this composite animal is to be
decrypted by rendering the sounds associated with the animals in the combination: ox,
young bull, antelope. The rebus readings are decrypted with metalwork
categories: barad 'ox' rebus: bharat 'alloy of copper, pewter, tin'; kondh ‘young bull’
rebus: kũdār ‘turner, brass-worker, engraver (writer)’; ranku 'antelope' rebus: ranku 'tin'.
Mohenjo-daro. Sealing. Surrounded by fishes, lizard and snakes, a horned person sits in
'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013);
surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford.
[seated person penance, crocodile?]
The classifier is the cobra hood: फडमा phaḍā f (फटमा S) The hood of Coluber
Nága Rebus: phaḍa फडन ‘manufactory, company, guild, public office’, keeper of all
135
Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’
Rebus: kāṇḍa ‘metalware’ kaṇḍa ‘fire-altar’.
kāru 'crocodile' Rebus: kāru 'artisan'; khar 'blacksmith'

Hieroglyphs (allographs):
kamaḍha 'penance' (Prakriam)
kamḍa, khamḍa 'copulation' (Santali)
kamaṭha crab (Skt.)
kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk
of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus
religiosa (Sanskrit)
kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.)
kāmaṭhiyo a bowman; an archer (Sanskrit)
Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint,
gold furnace (Te.) kamaṭa = portable furnace for melting precious metals (Telugu);
kampaṭṭam = mint (Tamil)
eraka 'upraised arm' rebus: eraka 'moltencast copper' arka 'gold'.
136
able ornée de serpents et de divinités aux eaux jaillissantes
XIVe siècle avant J.-C.
Suse, Tell de l'Acropole
Bronze
H. 19.5 cm; W. 15.7 cm; L. 69.5 cm
Fouilles J. de Morgan, 1898 , 1898
Sb 185
Near Eastern Antiquities
Sully wing
Ground floor
Iran, Susiana (Middle Elamite period)
Room 10
Author(s):Herbin Nancie
This table, edged with serpents and resting on deities carrying vessels spouting streams of
water, was doubtless originally a sacrificial altar. The holes meant the blood would drain
away as water flowed from the vessels. Water was an important theme in Mesopotamian
mythology, represented particularly by the god Enki and his acolytes. This table also
displays the remarkable skills of Elamite metalworkers.
A sacrificial table
The table, edged with two serpents, rested on three sides on five figures that were probably
female deities. Only the busts and arms of the figures survive. The fourth side of the table
had an extension, which must have been used to slot the table into a wall. The five busts are
realistic in style. Each of the deities was holding an object, since lost, which was probably a
water vessel, cast separately and attached by a tenon joint. Water played a major role in
such ceremonies and probably gushed forth from the vessels. Along the sides of the table
137
are sloping surfaces leading down to holes, allowing liquid to drain away. This suggests that
the table was used for ritual sacrifices to appease a god. It was believed that men were
created by the gods and were responsible for keeping their temples stocked and providing
them with food. The sinuous lines of the two serpents along the edge of the table mark off
holes where the blood of the animals, sacrificed to assuage the hunger of the gods, would
have drained away.
The importance of water in Mesopotamian mythology
In Mesopotamia, spirits bearing vessels spouting streams of water were the acolytes of
Enki/Ea, the god of the Abyss and of fresh water. The fact that they figure in this work
reflects the extent of the influence of Mesopotamian mythology in Susa. Here, they are
associated with another Chtonian symbol, the snake, often found in Iranian iconography.
The sinuous lines of the serpents resemble the winding course of a stream. It is thought that
temples imitated the way streams well up from underground springs by the clever use of
underground channels. Water - the precious liquid - was at the heart of Mesopotamian
religious practice, being poured out in libations or used in purification rites.
Objects made for a new religious capital
Under Untash-Napirisha, the founder of the Igihalkid Dynasty, the Elamite kingdom
flourished. He founded a new religious capital, Al-Untash - modern-day Chogha Zanbil -
some 40 kilometers southeast of Susa. However, the project was short-lived. His successors
soon brought large numbers of religious objects back to Susa, the former capital. This table
was certainly among them. Its large size and clever drainage system reflect the remarkable
achievements of metalworking at the time.
Bibliography
Amiet Pierre, Suse 6000 ans d'histoire, Paris, Éditions de la Réunion des musées nationaux,
1988, pp.98-99 ; fig. 57.
Miroschedji Pierre de, "Le dieu élamite au serpent", in : Iranica antiqua, vol.16, 1981, Gand,
Ministère de l'Éducation et de la Culture, 1989, pp.16-17, pl. 10, fig.3.
http://www.louvre.fr/en/oeuvre-notices/table-decorated-serpents-and-deities-bearing-
vessels-spouting-streams-water
The classifier is the cobra hood hieroglyph/hypertext: फडमा phaḍā f (फटमा S) The hood of
Coluber Nága Rebus: phaḍa फडन ‘manufactory, company, guild, public office’, keeper of
all accounts, registers.
Hieroglyph: kāṇḍə ‘water’ Wg. káṇṭä ʻ water -- channel ʼ, Woṭ. kaṇṭḗl f., Gaw. khāṇṭ*l,
Bshk. kāṇḍə (CDIAL 2680). கபோணத்டமத்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நநீரத்.
தருதத்திவபோ யதகத்கிய கஙத்கமகத் கபோணத் டமுமத் (கலத்லபோ. 49, 16)
khaṇḍa ‘implements (metal)’
138
up.
Glyph: kaṇḍo ‘stool’. Rebus; kaṇḍ ‘furnace’. Vikalpa: kaṇḍ ‘stone (ore) metal’. Rebus:
kamaḍha ‘penance’. Rebus 1: kaṇḍ ‘stone ore’. Rebus 2: kampaṭṭa ‘mint’. Glyph: ‘serpent
hood’: paṭa. Rebus: pata ‘sharpness (of knife), tempered (metal). padm ‘tempered iron’
(Ko.) Glyph: rimless pot: baṭa. Rebus: bhaṭa ‘smelter, furnace’. It appears that the message
of the glyphics is about a mint or metal workshop which produces sharpened, tempered
iron (stone ore) using a furnace.
Rebus readings of glyphs on text of inscription:
koṇḍa bend (Ko.); Tu. Kōḍi corner; kōṇṭu angle, corner, crook. Nk. Kōnṭa corner (DEDR
2054b) G. khūe ṭṛī f. ʻangleʼRebus: kõdā ‘to turn in a lathe’(B.) करोनदन kōnda ‘engraver,
lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place
where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) करोनडणन [kōṇḍaṇa] f A fold or pen.
(Marathi) B. kõdā ‘to turn in a lathe’; Or.kūanda ‘lathe’, kũdibā, kūe d ‘to turn’ (→ Drav.
Kur. Kūe d ’ lathe’) (CDIAL 3295)
aṭar ‘a splinter’ (Ma.) aṭaruka ‘to burst, crack, sli off,fly open; aṭarcca ’ splitting, a
crack’; aṭarttuka ‘to split, tear off, open (an oyster) (Ma.); aḍaruni ‘to crack’ (Tu.) (DEDR
66) Rebus: aduru ‘native, unsmelted metal’ (Kannada)
ãs = scales of fish (Santali); rebus: aya ‘metal, iron’ (Gujarati.) cf. cognate to amśu 'soma' in
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Rigveda: ancu 'iron' (Tocharian)G.karãã n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL
2779). Rebus: khār खमारनन ‘blacksmith’ (Kashmiri)
dula ‘pair’; rebus dul ‘cast (metal)’
Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa
-- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace
account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who
digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk.
(Telugu) káraṇa n. ʻ act, deed ʼ RV. [√krR1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana,
kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790)
The suggested rebus readings indicate that the Indus writing served the purpose of
artisans/traders to create metalware, stoneware, mineral catalogs -- products with which
they carried on their life-activities in an evolving Bronze Age.
Jasper Akkadian cylinder seal
Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs
and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159
B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression).
The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3.
narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the
composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper'
Hieroglyph: eruvai 'reed'; see four reedposts held.
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koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'
If the hieroglyph on the leftmost is moon, a possible rebus reading: ‫ قمر‬ḳamar

A ‫ قمر‬ḳamar, s.m. (9th) The moon. Sing. and Pl. See ‫ سپوږمي‬or ‫( سپوګمي‬Pashto) Rebus:
kamar 'blacksmith'.
kulā hooded snake Rebus: kolle 'blacksmith' kolhe 'smelters'
koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'
kamar 'moon' Rebus: kamar 'blacksmith'
arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast, metal infusion'
lokANDa 'overflowing pot' Rebus: lokhaNDa 'metal implements, excellent
implements'
aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda)
baTa 'six' Rebus: bhaTa 'furnace' PLUS meDh 'curl' Rebus: meD 'iron'
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m0492Ct 2835 Pict-99: Person throwing a spear at a bison and
placing one foot on the head of the bison; a hooded serpent at left.
Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything
when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss,
kick with the foot, hit with the tail (Santali)
kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) •kolhe (iron-
smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.lex.)•kol‘to kill’
(Ta.)•sal ‘bos gaurus’, bison; rebus: sal ‘workshop’ (Santali)me~ṛhe~t iron; ispat m. =
steel; dul m. = cast iron; kolhe m. iron manufactured by
the Kolhes (Santali); meṛed (Mun.d.ari); meḍ (Ho.)(Santali.Bodding)
nAga 'serpent' Rebus: nAga 'lead'
Hieroglyph: rãa go ʻ buffalo bull ʼ
Rebus: Pk. raṅga 'tin' P. rãa g f., rãa gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ,
rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rãa gā, OAw. rāṁga; H. rãa g f., rãa gā m. ʻ tin, pewter
ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in
earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ.
paTa 'hood of serpent' Rebus: padanu 'sharpness of weapon' (Telugu)
Hieroglyph: kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻ spear ʼ EWA i 229]1.
Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, °dī f. ʻ spike at the bottom of a stick
ʼ, °diṛī, °dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ.
2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; --
Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289)
Rebus: kuṇṭha munda (loha) 'hard iron (native metal)'
Allograph: कयुनठणमें [ kuṇṭhaṇēṃ ] v i (कयुनठन S) To be stopped, detained, obstructed, arrested in

progress (Marathi)
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C-49 a,b,c
+ hieroglyph in the middle with covering lines around/dots in corners poLa 'zebu' rebus:
poLa 'magnetite'; dhAv 'strand' rebus: dhAv 'smelter'; kulA 'hooded snake' rebus: kolle
'blacksmith' kol 'working in iron' kolhe 'smelter'; kolmo 'three' koD 'horn' rebus: kolimi
'smithy' koD 'workshop'. tri-dhAtu 'three strands, threefold' rebus: tri-dhAv 'three mineral
ores'.
Cylinder seal with a zebu, scorpion, man, snake and tree. Enstatite.H. 2.6 cm (1 in.); diam.
1.55 cm (5/8 in.). Mesopotamia, Ur, U. 16220. Late 3rd millennium BCE. British Museum.
BM 122947
Gadd seal 6. (cut down into Ur III mausolea from Larsa level; U. 16220), enstatite; Legrain,
1951, No. 632; Collon, 1987, Fig. 611 Cylinder seal; BM 122947;humped bull stands
before a palm-tree, a thorny stone(?), tabernae montana (five-petalled fragrant flower);
snake; person with long legs; behind the bull a scorpion ... Deciphered Indus writing: pola
'zebu, bos indicus'; pola ‘magnetite ore’ (Munda. Asuri); bichi 'scorpion'; 'hematite ore';
tagaraka 'tabernae montana'; tagara 'tin'; ranga 'thorny'; Rebus: pewter, alloy of tin and
antimony; kankar., kankur. = very tall and thin, large hands and feet; kankar dare = a high
tree with few branches (Santali) Rebus: kanka, kanaka = gold (Samskritam); kan = copper
(Tamil) nAga 'snake' nAga 'lead' (Samskritam).
143
Jiroft artifacts with Meluhha hieroglhyphs referencing dhokra kamar working with metals.
Dark grey steatite bowl carved in relief. Zebu or brahmani bull is shown with its hump
back; a male figure with long hair and wearing akilt grasps two sinuous objects,
representing running water, which flows in a continuous stream. Around the bowl, another
similar male figure stands between two lionesses with their head turned back towards him;
he grasps a serpent in each hand. A further scene (not shown) represents a prostrate bull
which is being attacked by a vulture and a lion.
The zebu is reminiscent of Sarasvati Sindhu seals. The stone used, steatite, is familiar in
Baluchistan and a number of vessels at the Royal Cemetery at Ur were made out of this
material.
The bowl dates from c. 2700-2500 B.C. and the motif shown on it resembles that on a
fragment of a green stone vase from one of the Sin Temples at Tell Asmar of almost the
same date.
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Khafajeh bowl; a man sitting, with his legs bent underneath, upon two zebu bulls. This
evokes the proto-Elamite bull-man; the man holds in his hands streams of water and
issurrounded by ears of corn. He has a crescent beside his head. On the other side of the
bowl, a man is standing upon two lionesses and grasping two serpents.
Figure 11: a. mountains landscape and waers; (upper part) a man under an arch with sun and
crescent moon symbols; (lower part) man seated on his heels holding zebus; b. man holding
a snake; c. two men (drinking) and zebus, on a small cylindrical vessel; d. Head of woman
protruding from jar, and snakes; 3. man falling from a tree to the trunk of which a zebu is
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tied; f. man with clas and bull-man playing with cheetahs, and a scorpion in the center (on a
cylindrical vessel). http://www.iranicaonline.org/articles/jiroft-iv-iconography-of-chlorite-
artifacts.
bica 'scorpion' rebus; bicha 'haematite, ferrite ore'
परोळमा [ pōḷā ] rebus: परोळमा [ pōḷā ] 'magnetite, Fe3O4'

Hieroglyph: kāṇḍə ‘water’ Wg. káṇṭä ʻ water -- channel ʼ, Woṭ. kaṇṭḗl f., Gaw. khāṇṭ*l,
Bshk. kāṇḍə (CDIAL 2680). கபோணத்டமத்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நநீரத்.
தருதத்திவபோ யதகத்கிய கஙத்கமகத் கபோணத் டமுமத் (கலத்லபோ. 49, 16)
khaṇḍa ‘implements (metal)’
146
147
Bhāratīya itihāsa, Indus Script hypertexts signify metalwork wealth-creation by Nāga-s in
paṭṭaḍa ‘smithy’
https://tinyurl.com/ya6lsf5a
-- Location: capital Dhānyakaṭaka Amarāvati, the place of immortals
Early Satavahanas (220 B. C. E. to Second half of first century B. C. E.)
Thesis of this monograph is that Nāga-s signified by the Indus Script hieroglyph-
hypertext फड, phaḍa 'cobra hood' were artisans in-charge of manufactories to produce
wealth of the nation in paṭṭaḍa ‘smithy’ of the Bronze Age.
फडतनतवशत्री or सत्री (p. 313) phaḍaniviśī or sī & फडतनवत्रीस Commonly फड- तनशत्री &
फडनत्रीस. फडतनशत्री or सत्री (p. 313) phaḍaniśī or sī f The office or business of
फडनत्रीस. फडनत्रीसन (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers
&c. By him were issued all grants, commissions, and orders; and to him were rendered all
accounts from the other departments. He answers to Deputy auditor and accountant.
Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was
called फडनत्रीस. फडपमूसन (p. 313) phaḍapūsa f (फड & पयुसणमें) Public or open inquiry.
[quote] As province after province fell out of the empire of Ashoka and formed itself
into a separate kingdom under some chief, a branch of the Satiyaputras who are mentioned
in the Edicts of Ashoka took advantage of this opportunity and founded a kingdom in what
was known as Maharashtra [Bakhle, 45.]. In the light of the information supplied by the
Hathigumpha inscription of Kharevela and that at Nane Ghat, we get 220 B. C. E. as the
approximate year in which Simuka founded the dynasty of the Satavahanas [Bakhle, 48; Sir
R. Bhandarkar and D. R. Bhandarkar, however, advocate 75 B. C. E. as the date of the rise
of their dynasty.]. The independent State of Satiputra
army was situated along the western ghats and the konkan coast below [Sir R.
Bhandarkar c/f Bakhle, 51.]. Their territory extended from sea to sea [Chitgupi, 28.].
Satakarni was probably contemporary with Pushyamitra and the performance of the
Ashvamedha sacrifice recorded in the Nane Ghat inscription can be explained by supposing
that he was the actual conqueror of Ujjain [Bakhle, 53.]. The sacrifices and fees paid to the
Brahmans testify eloquently to the wealth of his realm and his Ashvamedha sacrifice
bespeaks his sarvabhaumatva. But after Kuntala, the Satavahanas were forced to take
refuge in Southern Maharashtra.
In this work of conquests, the Satavahanas were helped by the Rathikas and Bhojas who
were duly rewarded with offices, titles and matrimonial alliances [Nilkanta Sastri, History
of South India, 88.] [unquote]
http://ratnagiri.nic.in/gazetter/gom/his_satavahanas.html
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http://dsal.uchicago.edu/reference/schwartzberg/fullscreen.html?object=057
The sculptural friezes of Amaravati are replete with a recurrent theme of adoration of
Nāga-s.
Nāga-s worshipped the Atharva Veda fiery pillar of light (AV X.7), worshipped
in kole.l 'smithy,forge' calling it kole.l 'temple. Nāga-s venerated Dhamma as
exemplified by Indus Script hypertexts.
See: Dream of Mahā Māyā and itihāsa of Amaravati, Sanchi, Bharhut lohapasada, celestial
palaces of divinities, Great Thupa-s https://tinyurl.com/y8k6egn8
Bronze Age metalwork to create the wealth of the nation
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Sculptural Frieze 1, Amaravati
Sculptural Frieze 2, Amaravati

The two sculptural friezes 1 and 2 show artisans carrying a threaded-rope and the entire
scene emerges out of the snout of a makara. On frieze 1, the purnakumbha signifying wealth
is kept on top of a base signified by the 'srivatsa' hypertext which reads: khambhaṛā 'fish-
fin' rebus: kammaṭa 'mint, coiner, coinage' PLUS dula 'pair' rebus: dul 'metalcasting' PLUS
aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, the hypertext message is: dul
aya kammaṭa 'cast metal mint'. The threaded-rope is a hypertext which signifies:
1. dāmanī दमामनत्री A foot-rope. dāmā दमाममा A string, cord. धमामनन dhāman A
fetter. dāˊman1 ʻropeʼ
RRgveda rebus: dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhaãavaḍ m. ʻ a caste of
iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ). 2. mēḍhā 'twist'
rebus med 'iron' med 'copper' (Slavic) mēḍhā 'yajña, dhanam, nidhi'. makara 'composite
animal of crocodile PLUS elephant': karabha,ibha 'elephant' rebus: karba, ib 'iron'
PLUS karā 'crocodile' rebus: khār 'blacksmith'.PLUS dhmakara, dhamaka 'forge-blower,
blacksmith'.
The message of the two friezes is thus an itihāsa narrative of wealth-production by metal
smelters and artisans of Amaravati and related heritage sites during the Bronze Age.
कटकन [p= 243,3] m. (Comm. on Un2. ii , 32 and v , 35) a twist of straw , a straw
mat Comm. on Ka1tyS3r.
कटक is also the name of the capital of Orissa. The two friezes affirm the name
of Amaravati as Dhānyakaṭaka by showing artisans carrying a threaded rope of straw the
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source of dhanam, wealth and hence, the name Dhānyakaṭaka, 'wealth from the twist of
straw' which is a metaphor for dul aya kammaṭa, 'cast metal mint' work producing wealth.
Nāga-s were a फड, phaḍa, metalwork artisan-architect guild. That they were
a फड, phaḍa is signified by the Indus Script hypertext:फड, phaḍa 'hood of cobra'
rebus: फड, phaḍa 'guild in charge of manufactory
(a plant where something is manufactured),arsenal (collection of weapons and military
equipment)'. That Nāga-s were working in a metal casting mint is signified by the hypertext
of 'Śrivatsa' and other Indus Script hieroglyphs. This identification of the manufactory
of Dhānyakaṭaka, the capital city of the region, is elaborated in this monograph, in the
context of Bhāratīya Itihāsa of Nāga-s.
.
The hypertexts are:
ayo kammaṭa dvāra, 'entrance mint workshop'

paṭṭaḍi 'metal anvil workshop'.
Hieroglyph: फडमा (p. 313) phaḍā f (फटमा S) The hood of Coluber Nága
&c स्फटन [p= 1269,3] m. a snake's expanded hood L. phaṭa n. ʻ expanded hood of snake ʼ
MBh. 2. *phēṭṭa -- 2. [Cf. phuṭa -- m., °ṭā -- f., sphuṭa -- m. lex., °ṭā -- f. Pañcat.
(Pk. phuḍā -- f.), sphaṭa -- m., °ṭā -- f., sphōṭā -- f. lex. andphaṇa -- 1. Conn. words in Drav.
T. Burrow BSOAS xii 386] 1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, °ḍā -- f.,
M. phaḍā m., °ḍī f. 2. A. pheṭ, phẽṭ. (CDIAL 9040) పటమ (p. 695) paṭamu paṭamu. [Skt.]
n. A cloth, వసససమ. A picture. గెరపటమ a paper kite, పతడ్రంగి. The hood of a
serpent, (See hoods of cobra adorning the worshipping naga-s).
Ta. patam cobra'shood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛa
k, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040,
Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see
Burrow, The Problem of Shwa in Sanskrit, p. 45. (DEDR 47)
Rebus: Factory, guild: फडन (p. 313) phaḍa m ( H) A place of public business or public
resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an
auction-room: also, in an ill-sense, as खतळणमा- चमा फड A gambling-house, नमाचणमाचमा फड A
151
nachhouse, गमाणमाचमा or खमालत्रीखयुशमालत्रीचमा फड A singingshop or merriment shop. The word
expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or
stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is
brought, that the crop may be ascertained and the tax fixed; the depot at which the
Government-revenue in kind is delivered; a place in general where goods in quantity are
exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a
factory, manufactory, arsenal, dock-yard, printing-office &c. फडकरत्री (p. 313) phaḍakarī m
A man belonging to a company or band (of players, showmen &c.) 2 A superintendent or
master of a फड or public place. See under फड. 3 A retail-dealer (esp. in
grain). फडनत्रीसन (p. 313) phaḍanīsa m ( H) A public officer,--the keeper of the registers &c.
By him were issued all grants, commissions, and orders; and to him were rendered all
accounts from the other departments. He answers to Deputy auditor and accountant.
Formerly the head Kárkún of a district-cutcherry who had charge of the accounts &c. was
called फडनत्रीस.(Marathi) படத்டரர¹ paṭṭarai , n. See படத்டரற¹. (C. G.
95.) படத்டரற¹ paṭṭaṟai , n. < படத்டரட¹. 1. See படத்டரட, 1, 3, 5, 7, 8, 12, 14. 2.
Machine; யநத்திரமத். 3. Rice-hulling machine; பநலத்லுகத் கதத்தமத் யநத்திரமத். Mod. 4.
Factory; பதபோழறத்சபோரல. Mod. 5. Beam of a house; வீடத்டனத் உதத்திரமத். 6. Wall of
the required height from the flooring of a house; வீடத்டனத் தளதத்திலிருநத்த எழுபத்ப
பவணத்டுமத் அளவிலத் எழுபத்பிய சுவரத். வீடுகளுகத்கபத் படத்டரற மடத்டமத்
ஒனத்பதட உயரதத்தகத்ககத் கரற யபோமலத் (சரத்வபோ. சிறத். 48). படத்டரற²
paṭṭaṟai , n. < K. paṭṭale. 1. Community; சனகத்கூடத்டமத். 2. Guild, as of workmen;
பதபோழலபோளரத் சமுதபோயமத். (Tamil)
పట టడन (p. 696) paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమమ్మ ర వడ డడ్రంగి
మొదలగువార పనచేయ చోట.
పటసాలन (p. 695) paṭasāla paṭa-sāla. [Tel.] n. A hall or

courtyard. படத்டகசபோரல paṭṭaka-cālai , n. < T. paṭa- šāla. [K. paṭṭasāle.] 1. Central or
principal hall in a house; கூடமத். Loc.
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See:
Indus Script hypertexts ayo kammaṭa dvāra, 'entrance mint workshop' (Mahāvamsa); paṭṭaḍi
'metal anvil workshop'
https://tinyurl.com/y94jt7ah
Cholas & Nāga-s. Nāga-s created the Dhānyakaṭaka, Amarāvati monument, the place
for immortals
"Historically, relations between the early Chola dynasty and the Naga dynastyof Tamilakam
became well established. Royals by the name Chora-Naga, Ila Naga, Cula Naga and Kunjja
Naga ruled the island of Eelam (Ceylon) between 62 BCE - 196 CE. During this
153
period, Tondai Nadu, the homeland of the Pallavas was inhabited by the Kurumbar or
Aruvar/Aruvalar people (Tamil: Aruval = people with bill-hook/ Telugu name for Tamil
people), one of several Tamil Naga tribes that the Kaliththokai describes as having migrated
to mainland Tamilakam during the Sangam period. Ptolemy mentions the coasts of the
Cholas (Soringoi) of Chola Nadu and the Aruvar (Arouarnoi) of Aruva Nadu, writing that
"Orthoura" was a royal city of Soretai ruled by Sornagos, and Malanga ruled by
Basaranagos of the latter. Historians have conjectured that Orthoura refers to the early
Chola capital of Uraiyur while Malanga refers to Mavilanka, near Kanchipuram. "Orthoura"
may refer to the northeastern Jaffna Tamil port town Uduthurai, where an early copper coin
discovered carries the name Naka bumi in Tamil Brahmi, referring to the Naka Dynasty of
Naka Nadu. Manimekhalai of the Sangam literature corpus describes the liaison of Princess
Pilli Valai of Nāka Nadu with King Killivalavan of Chola Nadu at Nainativu; out of which
union was born Prince Tondai Ilandiraiyan(Thiraiyar/sea farer of Eelam), corroborating
tradition that the Pallavas were an off-shoot or branch of the Cholas and that their formation
began from an ancient Chola-Nāka alliance. The Velurpalaiyam plates, dated to 852 CE
credits the Naga liaison episode, and creation of the Pallava line, to a king named
Virakurcha, son of Chutapallava, while preserving its legitimizing significance:[Michael D
Rabe. (1997). The Māmallapuram Praśasti: A Panegyric in Figures, Artibus Asiae, Vol. 57,
No. 3/4 (1997), pp. 189-241.]
..from him (Aśvatthāman) in order (came) Pallava, the lord of the whole earth, whose fame
was bewildering. Thence, came into existence the race of Pallavas... [including the son of
Chūtapallava] Vīrakūrcha, of celebrated name, who simultaneously with (the hand of) the
daughter of the chief of serpents grasped also the complete insignia of royalty and became
famous.
The earliest Tamil literature which throws light on a region associated with the Pallavas is
the Akananuru, which locates the elder Tiriyan in Gudur, Nellore district, with a kingdom
extending to Tirupati or Thiruvengadam. This Tiriayan is called the elder in order to
distinguish him from the younger Tiraiyan whose capital was
Kanchipuram.Perumpāṇāṟṟuppaṭai 29-30, 454] The Sangam work, Perumbanarruppatai,
traces the line of the younger Tiriyan (aka Ilam Tiriyan) to the Solar dynasty of Ikshvakus,
while the later Tamil commentators identify him as the illegitimate child of a Chola king
and a Naga princess.[KR Subramanian. (1989). Buddhist remains in Āndhra and the history
of Āndhra between 224 & 610 A.D, p.72].
Historically, early relations between the Nagas and Pallavas became well established.[KR
Subramanian. (1989). Buddhist remains in Āndhra and the history of Āndhra between 224
& 610 A.D, p.71]."
http://dictionnaire.sensagent.leparisien.fr/Pallava_dynasty/en-en/
Amaravati Drum Slabs: Nagas
Although the pictures below show only a portion of each drawing, they lead into pop-up
images of entire drawings. Detailed scans of each folio can be accessed through the links,
but will take some time to download.
The central decoration of these drum slabs is a multi-headed serpent.
154
155
156
Drawing of a drum slab measuring 4ft.8in. by 2ft.8in.[WD1061, folio 18]
Copyright © The British Library Board
Inscribed: H.H. September 1816.

Location of Sculpture: Unknown.
Larger image (70KB)
Full-page image (424KB)
157
158
Drawing of a drum slab measuring 4ft.5in. by 3ft.0.9in. [WD1061, folio 20]
Inscribed:Tope slab. 25th Sept'r 1816. M.BLocation of Sculpture: Unknown.

Larger image (100KB)
159
160
Drawing of a drum slab measuring 5ft.5in. by 2ft.9in. [WD1061, folio 23].
Inscribed:H.H. 15th October 1816.

Larger image (68KB)
161
162
Drawing of a drum slab measuring 4ft.6in. by 3ft.2in. [WD1061, folio 32]
Inscribed: Inner Circle S.W. No.7. 27th October 1816.

Larger image (71KB)
163
164
Drawing of a drum slab measuring 4ft.9in. by 3ft. [WD1061, folio 35]
Copyright © The British Library BoardInscribed: Inner circle S.W. side. No.8. 15th Nov'r.
1816. T.A. & M.B.
Larger image (95KB)
165
166
Drawing of a drum slab measuring 4.5ft. by 3ft. [WD1061, folio 46]
Inscribed: Sculpture at Amrawutty. Resembles No. 7. March 5th 1816.

Location of Sculpture: The British Museum. See Knox (1992) catalogue number 74; Barrett
(1954) catalogue number 93; BM81.
Larger image (82KB)
Drawing of a rectangular slab with two scenes showing four standing figures with a horse
above and Naga king with four Naga women below. [WD1061, folio 31]
Inscribed: 6ft. by 3ft.l0in. Loose stone lying on the south side. H.H. 25th October 1816.
Location of Sculpture: The British Museum. Knox (1992) catalogue number 102; Barrett
(1954) catalogue number 72; BM53.
Larger image (61KB)
http://www.bl.uk/onlinegallery/features/amaravati/twoframe.html
167
These two sculptural friezes demonstrate the venerate of Skambha of Atharva Veda
Spoked-wheel of Dharma. Amaravati. Around the circumference, the embellishments are

'srivatsa' hieroglyphs which signify, āra ayo kammaṭa 'brass metal mint'.
Hieroglyphs of 'Śrivatsa' hypertext: fish-fin, tied together, spathe, lotus
The classifier is the cobra hood hieroglyph/hypertext: फडन phaḍā f (फटन S) The hood
of Coluber Nága Rebus: phaḍa फडन ‘manufactory, company, guild, public office’,
keeper of all accounts, registers.
168
śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in
Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33,
Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol:
distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the
symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE).
śrivatsa symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the
Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a
Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa glyph, emphasizing the association
of the ‘fish’ glyph with śrivatsa glyph.
(After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi,
Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77).
Bharhut gateway, Gateway model in ivory of Begram, Sanchi gateway (all three
adorned with
169
ayo kammaṭa )
Stupa-1 North Torana, East pillar showing Triratna motif. Sanchi, Dist Raisen, Madhya
Pradesh India
Sailendra Nath Sen derives the name Satavahana from name from
the Munda words Sadam ("horse") and Harpan ("son"), implying "son of the performer of
a horse sacrifice".(Sailendra Nath Sen (1999). Ancient Indian History and Civilization,.
New Age International,pp.172-176) "An inscription found at Naneghat was issued by
170
Nayanika (or Naganika), the widow of Satakarni I; another inscription found at Naneghat
has been dated to the same period on paleographic basis. A slightly later inscription dated to
the reign of Satakarni II has been found at Sanchi in Madhya Pradesh, located to the north
of Maharashtra." Satakarni is a name derived from Munda sada 'horse' and kon 'son'. "A
stupa in Kanaganahalli village of Karnataka, dated between first century BCE and first
century CE, features limestone panels depicting portraits of Chimuka (Simuka), Satakani
(Satakarni) and other Satavahana rulers."(Akira Shimada (9 November 2012). Early
Buddhist Architecture in Context. BRILL., p.45).
Coin-based evidence suggests that Simuka's reign ended sometime before 120 BCE.
https://en.wikipedia.org/wiki/Satavahana_dynasty
ayo khambhaṛā 'fish-fin' rebus: ayo kammaṭa 'alloy metals mint, coiner, coinage'.
Śiva Sūtrāṇi of Vasugupta -- Cascading commentary by Pavel Celba (2009)
https://www.scribd.com/document/381450336/Shiva-Sutras-With-Cascading-Commentary-
Pavel-Celba-Pratyabhijna-School-2009
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http://shivatemple.webs.com/ShivaSutrasWithCascadingCommentaryEng.pdf
Shiva Sutras With Cascading Commentary (Pavel Celba, Pratyabhijna School,

2009) by Srini Kalyanaraman on Scribd
P
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Archaeology of Rari Suktam R Gveda 10

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Archaeology, of Rāṣṭrī Suktam RRgveda 10.

--Vrātam Vrātam gaṇam gaṇam, guilds of artisans, seafaring merchants.

Svātmeśvara-pratyabhidhānasya tarkasya kartārah

"Pratyabhijna (Sanskrit: प्रत्यभभिजन pratyabhijñā, lit. "re-cognition") is

https://en.wikipedia.org/wiki/Pratyabhijna This ādhyātmikā framework of Vasugupta in the

Orthography of dot, circle,strand in Indus Script Corpora: तचत-वस्पृतत gyrations of mind

The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted

Archaeology of Yoga and bhūtaYajña, evidences of metalwork

1) Dotted circle (circular inlay ornament) looks like a

Component 1: dhā 'strand' + vaṭa 'string' rebus: vatta n. ʻduty, officeʼ(Pali)

Component 2: paṭṭa m. ʻfillet', paḍa 'cloth' rebus: phaḍā 'metals manufactory'

, n. < பபபோறத்ற. 1. Grandfather; பபோடத்டனத். Tinn. 2. Brahman temple- priest in Malabar;

4. Hieroglyph: String: vaṭa 'string' rebus: vatta n. ʻduty, officeʼ(Pali)

7. tri-dhātu 'three strands' rebus: tri-dhātu 'three minerals'

Material: white, low fired steatite

धमावडत्री [ dhāvaḍī ] a Relating to the class धमावड. Hence 2 Composed of or relating to

धन to appoint , establish , constitute (RRg Veda, Śatapatha Brāhmaṇa); to make , produce ,

मन्त्रयमामन,वरयमामन &c = पमूरयमामन &c चकमार)

vaṭāraka -- , varāṭaka -- m. ʻ string ʼ MBh. [vaṭa -- 2] Pa. sa -- vaṭākara -- ʻ having a cable ʼ;

வரளமணளவடமத் vaḷai-maṇi-vaṭam , n. < வரள +. A string of beads; அகக்குவடமக்.

ஏகவடத்டமத் ēka-vaṭṭam , n. < id. +. வடமக். See ஏகவடமத்.

பதபோரட² toṭai , n. < பதபோடு²-. Braiding, weaving; பினத்னுரக. பதபோரடயுற

paccavaṭam.] A long piece of cloth, used as a blanket, bedsheet or screen; பமறத்பபபோரத்ரவ

, n. Sacred thread worn by dvijas; பூணூலத். (யபோழத். அக.)

, n. < pañca-vaṭa. Sacred thread of hair; மயிரத்கத்கயிறத்றபோலபோகிய பூணூலத். பஞத்சவட

namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo

Gaṇa are shown as kharva, 'dwarfs' on sculptures to signifya nidhi or treasure of

Rudra, in a dance pose. Maruts, Rudra.

dhmakara 'forge-blower' is makara, the hypertext iconograph.

Marut-s as Rudra-s, नवृतत m. (nom. /ऊसन) a dancer , an actor RV. &c

Gaņā or hosts of Bŗihaspathi—Brahmaņaspathi are venerated:

namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo namaḥ

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

Marut-gaṇa including Gaṇeśa & Varaha on a sculptural panel. Kailasanatha

The dance step of Ganesa (elephant head

Location: Amaravati, Guntur Dt., Andhra

Location: Amaravati, Guntur Dt., Andhra

Sunga. Kubera. National Museum, Delhi

Dancing gaṇa of Badami caves.

Foot with anklet; copper alloy. Mohenjo-daro (After Fig. 5.11

Torso of a male dancing figure from Harappa:

'dance' (Remo); మటట [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk,

, -गन/अरनस , -जन/अतनमनन , सन-/अपसन , अपन/असमामन अपन/असमन , तवशन/अ-रूपन &c RV. ; maker of

kuTi 'tree' Rebus: kuṭhi = (smelter) furnace (Santali)

khareḍo = a currycomb (G.) Rebus: kharādī ‘turner’ (Gujarati)

The hieroglyph may be a variant of a twisted rope.

Section A: Message on obverse of tablet

kuṭi 'tree' Rebus: kuṭhi 'smelter)', furnace (Santali)

Hieroglyphs (from. r to l):

Hieroglyph: khareḍo 'a currycomb' (Gujarati)

Paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants; perh. Vartaka

Part 3. Text message (Tablet m478a to m480a)

Hieroglyph: kamaḍha 'penance' Rebus: kammata 'coiner, mint'.

3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)

bhaTa 'worshipper' Rebus: bhaTa 'furnace' baTa 'iron' (Gujarati)

Cartouche: mēṭu 'height, eminence, hillock' rebus: meḍ 'iron'

The composite animal is comparable tothe

kuṭila, kuṭika— 'bent' MBh. Rebus: kuṭila,

Hieroglyph: kamaḍha 'penance' (Prakrit) kamaḍha, kamaṭha, kamaḍhaka, kamaḍhaga,

me~Rhet, meD 'iron' (Mu.Ho.Santali) med 'copper' (Slavic languages).

baḍaga, baḍhi,varāha, బతసడ battuḍu is venerated, worshipped as Veda puruṣa, yajña

பதத்தரத்³ pattar, n. < bhakta. 1. Devotees,

ఆయకాడ āya-kāḍu. [Tel.] n. A bailiff or village officer. ఊర ఉదద్యో గసస్థుడ.

h177B 4316 Pict-115: From R.—a person standing under an