Gaṇeśa is Brāhmī scribe of Mahābhārata in the tradition

of Indus Script cipher of Bronze Age

Gaṇeśa in R̥gveda ākhyāna, ākhyāyikā & Mahābhārata itihāsa explained in the context of Indus
Script cipher

Gaṇeśa -- the leader of Marut Gaṇa, a scribe with dāt, an ivory stylus -- and Kṣṇadwaipāyana
Vyāsa -- the black narrator, a Ganga-island dweller -- unite together after Gaṇeśa consents to be
a scribe uttering om and together start with an invocation for success to Nara and Nārāyaṇa
(nārāyaṇaṃ namaskṛtya naraṃ caiva narottamam; 1.1.0) and to goddess Sarasvatī
(devīṃ sarasvatīṃ caiva tato jayam udīrayet; 1.1.0). Om is part of the iconography, pratimā,
'ādhyātmikā symbol' which refers to ātman (soul, self within) and Brahman (ultimate reality,
entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). So, they
start with ओम् Om pratimā which is प्रणव, praṇava. Om is the last sound a Yogi hears before
entering the state of Turīya level of language, script and reality. The mystic syllable is
affirmation of something divine in the narration and scripted text of Mahābhārata.

Why does Gaṇeśa uttar Om assenting to be a scribe of Vyasa's oral narrative?

Om (ॐ) is the pratigara (agreement) with a hymn. Likewise is tatha (so be it) with a song.
But Om is something divine, and tatha is something human.
— Aitareya Aranyaka 23.6
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27
ओं नमः (Oṃ namaḥ) Siddhanam (6 syllables), Om Nhi (2 syllables) and just Om (1 syllable) are
the short forms of the Paramesthi-Mantra, also called Namokar Mantra or Navkar Mantra in
Jainism
"Om Mani Padmi Hum" to be AUM, the totality of sound, existence and consciousness in
Bauddham
Oankar ('the Primal Sound') created Brahma, Oankar fashioned the consciousness,
From Oankar came mountains and ages, Oankar produced the Vedas,
By the grace of Oankar, people were saved through the divine word,
By the grace of Oankar, they were liberated through the teachings of the Guru.
— Ramakali Dakkhani, Adi Granth 929-930, Translated by Pashaura Singh.

Tibetan, Siddham, Devanagari (also Gujarati,

Marathi)

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 Tamil,

Grantha, Kannada, Chinese, Bali, Java, Jaina

A synoym of Rāṣṭrī (RV 10.125) is the name atrributed to the earliest script of Bhārat, the first in
a list of scripts mentioned in the Lalitavistara Sūtra; the script is called ब्राह्मी Brāhmī

The thesis is that 1. Indus Script writing system -- perhaps the earliest system on the globe -- was
created ca. 3300 BCE, evidenced by the discovery in Harappa (by Harvard HARP team) of an
inscribed potsherd proclaiming a tin forge: kolom 'three' rebus: kolimi 'smithy,
forge' tagaraka 'tabernae montana' rebus: tagara 'tin'; 2. the writing system was linked
to the R̥gveda ākhyāna of Gaṇapati; 3. Gaṇapati iconography is based on Indus Script
orthographic cipher to signify iron workers and an artisan guild of Marut Gaṇa. Early writing
samples in ब्राह्मी Brāhmī script appear on ancient coins and on Sohgaura copper plate inscription.

See:
Sohgaura tāmra-sāsana with Indus Script hypertexts & Brahmī epigraph to protect metalwork
wealth & merchandise of traders https://tinyurl.com/ybdljjzq

vedisa in Brāhmī script, Pre-Śātavāhana

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Vidisha, die-struck AE, wheel type
Weight: 1.18 gm., Dimensions: 13 mm.
Obv.: Eight-spoked wheel
Rev.: Brahmi legend reading vedisa
Reference: Pieper collection

rajno bhumidatasa in Brāhmī script, Pre-Śātavāhana

Eran-Vidisha AE 1/2 karshapana, Bhumidata, six punch type

Weight: 5.10 gm., Dimensions: 21x21 mm.
Railed tree in centre; elephant on left and railed Indradhvaja on right;

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 river at the bottom; on top right taurine in fixed railing and on top left legend
punch reading rajno bhumidatasa
Blank reverse
Reference: S. Tiwari collection, p. 196, var.3 / Pieper 489 (plate coin)
http://coinindia.com/galleries-eran2.html
vagapalasa in Brāhmī script, c. 150 BCE

Vangapala, AE half karshapana, c. 150-130 BCE

Weight: 5.77 gm., Diam: 18.5 mm.
Ref: Shrimali Fig. II.13, Pl. XII.7
Ashmolean Museum, Oxford. (Photo, courtesy Shailendra Bhandare)

This coin of Vangapala (the legend reads vagapalasa) is overstruck on a coin of Damagupta
(whose name can be made out on the image below the Vangapala punch). Shailen Bhandare, in a
post on Facebook, informs us that "Inscriptions in Pabhosa caves (near Kaushambi, dist.
Allahabad) record that king Shonakayaniputra Vangapala of Ahichchhatra was the father of king
Tevaniputra Bhagavata and grandfather of king Vaihidariputra Ashadhasena, who was the
maternal uncle of king Gopaliputra Brhaspatimitra. The last ruler is known from Kaushambi
coins inscribed in his name ('Bahasatimitasa')."
http://coinindia.com/galleries-panchala-kingdom.html

Gaṇeśa is the scribe who wrote down the Mahābhārata.

During the sarpa satra (snake yajña),वैशम्पायन narrates Mahābhārata to King Janamejaya.
(S3Br. xi , xiii AitBr.S3a1n3khS3r. xvi MBh. &c; Gr2S. TA1r. &c (cf. IW. 371 n. 1). King
Janamejaya was the son of King Parīkṣit. परिक्षित् was the grandson of अर्जु न and son of अक्षिमन्यज .
A remarkable narrative of the sarpa sattra includes the role of Astika,, a boy who pleads with
Janamejaya. āstīka's mother Manasā was a Naga and his father a Brahmin. Manasā is the sister

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of Vasuki, king of Nāgas (snakes) and wife of sage Jagatkāru (Jaratkāru). Janmejaya listened to
the sage counsel of the learned āstīka and sets the then-imprisoned Takṣaka
free. तिक [p= 431,3] is a क्षवश्वकमुन्, a carpenter. Janamejaya also stopped the massacre of the
Nagas and ended all enmity with them (1,56). From that time onward, the Nagas and Kurus lived
in peace. आस्तीक [p= 161,2] is a मजक्षन, the son of र्ित्कारु and िक्षिनी र्ित्कारु
MBh. Hariv. र्ित् --कारु [p= 413,3] is a ऋक्षि of यायावि's family MBh. BrahmaP. ii , 1 and 43.
Yāyāvar have no fixed abode and are a wandering gaṇa.

I suggest that the Yāyāvar (jaratkāru, āstīka, तिक, क्षवश्वकमुन्) were the itinerant metalsmith and
artisan gaṇa of the Bronze Age who actively contributed to the wealth of the nation. .The leader
of such gaṇa is Gaṇeśa who has mastered the art of writing. Orthographic and iconographic
signifiers of Gaṇeśa are the Indus Script hieroglyphs: elephant trunk, human body, mouse,
dance-step, tusk: karabha, ibha 'elephant' rebus: karba, ib 'iron'; meḍ 'body'
rebus: meḍ 'iron'; meḍ 'dance-step' rebus: meḍ 'iron'; mūṣa 'mouse' rebus: mūṣa 'crucible'. Thus,
together, the hypertext signifies iron smelting (to produce crucible steel). The dāt (dānt) 'tusk'
rebus: dhātu 'mineral ore' is the writing instrument. Mlecchita vikalpa , a cypher system of
writing, is a collateral form (VarBr2S.), a contrivance, art, to signify words by hieroglyphs read
rebus. Combinations of hieroglyphs result in hypertexts such as composite animals and
composite orthographic constructs like the elephant-headed Gaṇeśa and his dance-step in a
Candi-Sukuh sculptural frieze. R̥gveda proclamation of a ketu to signify a Soma yajña is a
similar construct of an octagonal or aṣṭāśri yūpa which constitutes the Rudra-bhāga of Śivalinga.
A variant ekamukha Śivalinga is also a Mlecchita vikalpa or Meluhha Indus Script cipher to
signify: mũh 'a face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in
a native smelting furnace.' The iconography of Varāha signifies the role of caṣāla 'snout of boar'
rebus: caṣāla 'godhūma, fumes of wheat chaff atop a flaming aṣṭāśri yūpa, to infuse carbon into
and harden moltenmetal in furnace/smelter'. This Mlecchita vikalpa or Meluhha Indus Script
cipher is signified by the snout of Varāha in Khājuraho adorned with the sculptural frieze of
Brāhmī, the divinity of speech or vāk.

After the invention of Brāhmī syllabic wrting system, the text of Mahābhārata itihāsa is rendered
in writing by Gaṇeśa, the scribe, who is signified iconographically in the tradition of Mlecchita
vikalpa or Meluhha Indus Script cipher. It is hypothesised that this should have happened
sometime after ca. 3300 BCE and ca. 1st mllennium BCE, close to 1. the date of Sohgaura
copper plate which is a bilingual Rosetta stone inscription presented in two scripts -- Indus Script
and Brāhmī script; and 2. the date of Amaravati fiery pillar of light topped by a hypertext in
Indus Script of khambhaṛā 'fin' rebus: kammaṭa 'coiner, coinage, mint' PLUS aya 'fish' rebus: aya
'iron' ayas 'alloy metal' PLUS dula 'pair' rebus: dul 'metalcasting' to signify dul ayo kammaṭa,
'alloy metal casting mint.'. The Amaravati sculptural friezes are an echo of King Janamejaya's
sarpa sattra which resulted in the peace with Naga-s, thanks to the intervention of āstīka and the
release of imprisoned Takṣaka by Janamejaya.

I submit that Gaṇeśa as a scribe in an Indus Script is a signifier of the leadership provided by
metalworker Gaṇa who created the wealth of the nation and documented them as wealth
accounting ledgers on over 8000 Indus Script Corpora of Inscriptions. R̥gveda of 10,800 r̥ca-
s venerates Gaṇeśa. Indus Script Corpora of over 8000 inscriptions celebrates Gaṇeśa as the
embodiment of the wealth of the Rāṣṭram. The celebration is an echo of

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R̥ṣikā Vāgāmbhr̥ṇī's celebration of Brāhmī, the mover of wealth of the nation --sangamanī
vasūām Rāṣṭrī. A synoym is the name atrributed to the script of a writing system, the first in a
list of scripts mentioned in the Lalitavistara Sūtra. : ब्राह्मी ब्राह्मी [p= 742,1] f. (of ब्राह्म् /अ q.v.)
the शक्ति or personified energy of ब्रह्मा (regarded as one of the 8 मातृs or divine mothers of
created beings ; in MBh. ix , 2655 they are said to attend स्कन्द) L.; speech or the goddess of
speech (= सिस्वती) MBh. i , 19; brāhmī ब्राह्मी Speech; संस्कािो- पितां ब्राह्मीं नानाशास्त्रोपबृंक्षिताम्
Mb.1.1.19. -A tale or narrative. -A pious usage or custom, Vedic rituals; ब्राह्म्या संवतुयामासू
िाङ्कवास्तिणावृताम् Rām.6.111.113.

Varāha in Khājuraho

वैशम्पायन [p= 1026,1]m. (patr. fr. क्षवशम्-प) N. of an ancient sage (teacher of the तैक्षििीय-
संक्षिता [q.v.], in epic poetry is a pupil of व्यास).

शजक [p= 1079,2] N. of a son of व्यास is narrator of the िािवत-पजिाण to king परिक्षित् ) MBh. Pur.
also taught the Mahābhārata text to gandharva-s, rākṣasa-s and yakṣa-s.

सूत [p= 1241,2] a carpenter or wheelwright narrates the epic to the assembly of sages gathered in
Naimiṣāraṇya under the leadership of शौनक[p= 1093,1] who is author of the ऋि्-वेद प्राक्षतशाख्य ,

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the बृिद् -दे वता , and various other works ; he is described as the teacher of कात्यायन and
especially of आश्वलायन ; he is said to have united the बाष्कल and शाकल शाखाs , and is
sometimes identified with the Vedic ऋक्षि िृत्स-मद ; but according to the क्षवष्णज -पजिाण , शौनक was
a son of िृत्समद. सूत is a charioteer , driver , groom , equerry , master of the horse (esp. an
attendant on a king who in earlier literature is often mentioned together with the ग्राम-ण् /ई ; in the
epics also a royal herald or bard , whose business was to proclaim the heroic actions of the king
and his ancestors , while he drove his chariot to battle , or on state occasions , and who had
therefore to know by heart portions of the epic poems and ancient ballads ; he is the son of
a िक्षियby a ब्राह्मणी or of a Brahman [accord. to शाश्वत also of a शूद्र] and a िक्षिया.

The elephant trunk as the face of Gaṇeśa composition combined with the body of a human and
the tusk held as a writing instrument, needle is signified by the rebus Indus Script cipher
renderings: ibha 'elephant' rebus: ib 'iron' ib 'needle'; karabha 'elephant'
rebus: karba 'iron'. meḍ 'body' rebus: meḍ 'iron'. The composition is reinforced in the context of
Bronze Age metalwork by the addition of a vāhana: mūṣa 'rat' rebus: mūṣa 'crucible'. In
iconography and in Indus Script the dance step is signified rebus: meḍ 'dance-step'
rebus: meḍ 'iron'. Thus, the iconography of Gaṇeśa as a dancer is linked to his command of
a Gaṇa of Maruts as described in the R̥gveda ākhyāna of Gaṇapati: RV 10.112.9 (10092) ni ṣu
sīda gaṇapate gaṇeṣu tvāmāhurvipratamaṃ kavīnām; "Lord of the companies (of the Maruts),
sit down among the companies (of the worshippers), they call you the most sage of sages".

Ko. ib iron To. ib needle. Koḍ. irïmbï iron. Ta. irumpu iron, instrument, weapon. Ma. irumpu,
irimpu iron. Te. inumu id. Kol. (Kin.) inum (pl. inmul) iron, sword. Kui (Friend-Pereira) rumba
vaḍi ironstone (for vaḍi, see 5285)(DEDR 486) The lexeme Koḍ. irïmbï iron evokes the legend
of Bhima marrying Hidimbā. हिहिम्ब [p= 1298,2] m. N. of a gigantic िािस slain
by िीम MBh.; हिहिम्बा f. क्षिक्षिम्ब's sister (who changed herself into a beautiful woman and
married िीम ; he had a son by her named घटो*त्कच) MBh. Ka1m. BhP.; the wife
of िनजमत् (» comp.) Association of Bhima with smithy/forge is vivid as shown on a sculptural
frieze of Candi Sukuh signifying Bhima as a blacksmith producing the sacre kris sword and other
weapons from the smelter, as Arjuna is signified as dhmakara, dhamaka 'bellows-blower'
and Gaṇeśa with a dance step blesses the smithy-forge-smelter work.

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Bhima, blacksmith produces sacred kris sword and other weapons. On the cartouche in front of
Bhima,
a hieroglyph is signified: 'three-stranded twisted rope'. The frieze also signifies the dance-step
of Gaṇeśa and Arjuna as 'bellows-blower' (dhmakara, dhamaka 'blacksmith'). The 'three-
stranded twisted rope' hieroglyph is seen on 12 other artifacts of Ancient Near East. (Detailed in
Section B).

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Yudhishthira explaining the rules of marriage to Hiḍimbā
https://en.wikipedia.org/wiki/Hidimbi

9
Hidimba Reveals their Identity, Scene from the Story of the Marriage of Abhimanyu and
Vatsala, Folio from a Mahabharata ([War of the] Great Bharatas).

tūˊla1 n. ʻ tuft of grass or reeds, panicle of flower or plant ʼ AV., ʻ cotton ʼ MBh., ʻ pencil ʼ
Divyāv., m. ʻ cotton ʼ lex., tūlaka -- n. ʻ cotton ʼ, tūlā -- , °lī -- f. ʻ cotton, wick ʼ lex., tūˊli -- f. ʻ
painter's brush ʼ, °likā -- f. ʻ panicle used as probing rod, wick ʼ lex., tūda -- 1 m. ʻ the cotton tree
ʼ lex. [Poss. ← Drav. Tam. tūral ʻ painter's brush, shoot ʼ DED 2790. -- Cf. turī -- ]
Pa. tūla -- n. ʻ tuft of grass, cotton ʼ, tūlikā -- f. ʻ mattress (of layers of grass or wool) ʼ; Pk. tūla -
- n. ʻ cotton -- wool ʼ, tūlī -- f. ʻ paint -- brush ʼ, tūliā -- f. ʻ mattress stuffed with cotton, paint --
brush ʼ; Ḍ. tūli f. ʻ kettledrum -- stick ʼ; Paš. tuléč ʻ thread ʼ (< *tūlikyā -- ?), tulča ʻ spindle ʼ;
Kho. (Lor.) tuli dik ʻ to cast lots (by means of sticks) ʼ, tuleini ʻ pin with which antimony is
applied to eyes ʼ; Sh. (Lor.) tūli ʻ little stick or splinter (e.g. that used for threading string through
waistband) ʼ, tulu ʻ iron spindle on which bobbin is placed ʼ; K. tūl m. ʻ cotton wool ʼ, tal, tul f. ʻ
needle, stylus for applying collyrium to eyes, painter's brush ʼ, tulu m. ʻ single blade of grass or
straw ʼ, tujü, tȧji, tüjü, tülü f. ʻ small stick (such as a straw or hair of a brush) ʼ; S. tūru m. ʻ crop
of such plants as spring up for a second or third time ʼ, tūli f. ʻ mattress, bedding ʼ (← L.);
L. tūl f. ʻ underbedding of nuptial couch ʼ; A. tulā ʻ ginned cotton ʼ, tuli ʻ mattress, painter's
brush ʼ; B. tulā, tolā ʻ cotton ʼ, tuli ʻ wick, painter's brush ʼ; Or. tuḷā ʻ picked cotton ʼ, tuḷi ʻ
cotton, quilt stuffed with cotton, painter's brush ʼ; Bi. tūr ʻ cleaned cotton ʼ; Mth. tū˘r cotton --
wool ʼ; G. tūr n. ʻ tree -- cotton ʼ, tūl n. ʻ young corn plants ʼ (< *tulla -- ); Si. tili ʻ mattress
ʼ.Addenda: tūˊla -- 1: S.kcch. tūr m. ʻ cotton of the āṅkḍo tree ʼ; WPah.kṭg. tvḷi f. ʻ tuft of grass
ʼ.(CDIAL 5904)

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Dancing Ganesha sculpture from North Bengal, 11th century CE, Asian Art Museum of Berlin
(Dahlem).

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Associated with Gaṇeśa are his dancing form, riding a mouse, elephant trunk as hi head and
holding a tusk as the writing instrument. All these attributes are Indus Script hypertexts. He
is oṃkārasvarūpa, personification of primal sound. He is tri-dhātu, 'three elements'. धातु element
, primitive matter (= मिा-िूत L. ) MBh. Hariv. &c (usually reckoned as 5 ,
viz. ख or आकाश , अक्षनल , तेर्स् , र्ल , िू ; to which is added ब्रह्म Ya1jn5. iii , 145 ;
or क्षवज्ञान Buddh. ); primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red
colour) Mn. MBh. &c (Monieer-Williams)

Folio from a Bhagavatapurana Series: King Yudhisthira Performs the Rajasuya Sacrifice, 1825-
50 India: Himachal Pradesh, Kangra Workshop, 1825-1850 Opaque watercolor and gold on
paper image: 10-1/2 x 15-5/8 in. (26.7 x 39.7 cm); sheet: 12-1/4 x 17 in. (31.1 x 43.2 cm) Norton
Simon Museum, Gift of Ramesh and Urmil Kapoor P.2003.02.02

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

the Vedic religion. It is a consecration of a king.[1] It is described in the Taittiriya corpus,
including Apastamba Srauta Sutra 18.8–25.22.[1] It involves soma pressing, a chariot drive, the
king shooting arrows from his bow, and a brief cattle “raid.”[1] There is a telling of the tale
of Shunahshepa, a boy who was nearly sacrificed to Varuna on behalf of the sonless
king Harishchandra.[1] Also included is a game of throwing dice by which the king is enthroned
and the cosmos is regenerated...This yagya (sacrifice) can be included under the list of other
complex yagyas like ishti, pashuyagya, somayagya darvihoma etc. This is a very complex yagya

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including 129 ishti yagya, 2 pashu yagya, 7 darvi homas and 6 soma yagyas. There are most
amazing type of gifts that are given to the priests ( purohitas) who are performing this
yagya.Two gold-coated mirrors should be given to the "adhwaryu", who is one of the main priest
in this yagya. A Golden chain should be given to the "Udgatha", another type of priest in this
yagya.Another type of priest called "Hotha" should be given a Golden ornament called "rukma"
as presentation.A white horse each for "Prathihartha" and "Prasthotha" two types of priests
performing this yagya. The main priest called "brahma" should ge given 12 healthy cows .
"maithra varuna" -the second most important priest should be presented by a "pregnant cow".
The "brahmanajhamsi" priest should be presented by a healthy "Ox" . "neshta" and "potha"
should be given a couple of two precious "silks". The "achavaka" priest should be presented by a
cart full of "yava" a type of cereal. Finally the "agneeth" priest should be presented by a healthy
"ox". There are special fees that should be given to the priests who are performing this yagya for
the king (Satapatha Brahmana Second adhyaya Third brahmana onwards 13 chapters)...In
Yudhishtira's Rajasuya,agra puja was given to Lord Krishna. Another yajna equivalent to this
yajna is called as "vaishnava yajna". Rajasuya is performed by king Yudhishtira in mahabharatha
and "Vaishnava yajna" is performed by king Duryodhana in mahabharatha [unquote]
https://en.wikipedia.org/wiki/Rajasuya

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

saMlúpyaachinatsai&SéSTirabhavattadyádetásminnaashaye trídhaaturivaiSaá vidyaásheta
tásmaattraidhaatavii naáma

And that which had been his (Vritra's) seat, his retreat, that he shattered, grasping it and tearing it
out 1: it became this offering. And because the science (the Veda) that lay in that retreat was, as
it were, a threefold (tridhâtu) one, therefore this is called the Traidhâtavî (ishti).

Rājasūya

5.5.5.1 He prepares a cake on twelve potsherds for Indra and Vishnu. Now as to why he makes
this offering. Of old, everything here was within Vrit
...
5.5.5.7. And as to why the oblation is one for Indra and Vishnu, it is because Indra raised the
thunderbolt, and Vishnu stood by him.
5.5.5.8. And why it is (a cake) on twelve potsherds,--there are twelve months in the year, and the
offering is of equal measure with the year: therefore it is one of twelve potsherds.
5.5.5.9. He prepares it of both rice and barley. He first puts on (the fire) a ball of rice, that being
a form (symbol) of the Yagus-formulas; then one of barley, that being a form of the Rik-verses;
then one of rice, that being a form of the Sâman-hymns. Thus this is made to be a form of the
triple science: and this same (offering) becomes the Udavasânîyâ-ishti (completing oblation) for
the performer of the Râgasûya.
5.5.5.10. For, verily, he who performs the Râgasûya gains for himself (the benefit of) all
sacrificial rites, all offerings, even the spoonful-oblations; for him the sacrifice becomes as it
were exhausted, and he, as it were, turns away from it. Now the whole sacrifice is just as great as
that triple Veda; and this (offering) now is made a form of that (Veda, or sacrifice); this is its
womb, its seat: thus he commences once more the sacrifice by means of that triple Veda; and
thus his sacrifice is not exhausted, and he does not turn away from it.

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5.5.5.11. And, verily, he who performs the Râgasûya gains for himself all sacrificial rites, all
offerings, even the spoonful-oblations; and this offering, the Traidhâtavî (ishti), is instituted by
the gods: 'May this offering also be performed by me, may I be consecrated by this one also!'
thus he thinks, and therefore this is the completing offering for him who performs the Râgasûya.

5.5.5.12. And also for him who would give (to the priests) a thousand (cows) or more 1, let this
be the completing offering. For he who gives a thousand or more becomes as it were emptied
out; and that triple Veda is the thousandfold progeny of Vâk (speech): him who was emptied out
he thus fills up again with a thousand; and therefore let it be for him also the completing
offering.
5.5.5.13. And also for those who would sit through (perform) a long sacrificial session 2, for a
year or more, let this be the completing offering. For by those who sit through a long sacrificial
session, for a year or more, everything is obtained, everything conquered; but this (offering) is
everything: let it therefore be for them also the completing offering.
...
5.5.5.16. Three gold pieces of a hundred mânas each are the sacrificial fee for this (offering). He
presents them to the Brahman; for the Brahman neither performs (like the Adhvaryu), nor chants
(like the Udgâtri), nor recites (like the Hotri), and yet he is an object of respect. And with gold
they do nothing 3, and yet it is an object of respect: therefore he presents to the Brahman three
gold pieces of a hundred mânas each. (Note: According to Sâyana, these 'satamânas' are similar
to the round plate worn by the king during the Consecration-ceremony...These plates (as the
'rukmas' generally, were apparently used for ornament only, not as coins.)

Gaṇeśa is invoked in the R̥gveda (RV 2.23.1) as leader of gaņa, the retinue of Śiva. (Wilson, H.
H. Ŗgveda Saṃhitā. Sanskrit text, English translation, notes, and index of verses. Parimal
Sanskrit Series No. 45. Volume II: Maṇḍalas 2, 3, 4, 5. Second Revised Edition; Edited and
Revised by Ravi Prakash Arya and K. L. Joshi. (Parimal Publications: Delhi, 2001).

िणानां त्वा गणपहतिं िवामिे कक्षवं कवीनामजपमश्रवस्तमम् । ज्येष्ठिार्ं ब्रह्मणां ब्रह्मणस्पत आ नः शृण्वन्नूक्षतक्षिः
सीद सादनम् ॥१॥ gaṇānāṃ tvā gaṇapatiṃ havāmahe kaviṃ kavīnāmupamaśravastamam | RV
2.23.1; "We invoke the Brahmaṇaspati, chief leader of the (heavenly) bands; a sage of sages.")

Two verses in texts provide a description of the iconographic features of Gaṇeśa: 1. Black
Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) ( "tát karāţāya vidmahe | hastimukhāya dhîmahi | tán
no dántî pracodáyāt||") and 2. Taittirīya Āraṇyaka(10.1) ("tát púruṣâya vidmahe vakratuṇḍāya
dhîmahi| tán no dántî pracodáyāt||")

In these texts, two iconographic features recognized are: hastimukha 'elephant face'
and vakratuṇḍa 'curved tusk'. A third iconographic feature recognized is that Gaṇeśa is
surrounded by Maruts as attested in R̥gveda: RV 10.112.9 (10092) ni ṣu sīda gaṇapate gaṇeṣu
tvāmāhurvipratamaṃ kavīnām; "Lord of the companies (of the Maruts), sit down among the
companies (of the worshippers), they call you the most sage of sages".
क्षि tri-धातुुः an epithet of Gaṇeśa; -तुम् 1 the triple world. -2 the aggregate of the 3 minerals or
humours. (Apte lexicon) हि--धातु [p= 458,3] mfn. consisting of 3 parts , triple , threefold (used
like Lat. triplex to denote excessive) RV. S3Br. v , 5 , 5 , 6; m. (scil. पजिोि् /आश) N. of an
oblation TS. ii , 3 , 6. 1 ( -त्व् /अ n. abstr.); n. the triple world RV.; n. the aggregate of the 3
14
minerals or of the 3 humours W.; m. िणे*श L.

hēramb िे िम्बः [िे क्षशवे िम्बक्षत िम्ब्-अच् अलजक् समा˚ Tv.] 1 N. of Gaṇeśa; र्ेता
िे िम्बिृक्षिप्रमजखिणचमूचक्षिणस्तािकािे ः Mv. 2.17; िे िेरम्ब, क्षकमम्ब, िोक्षदक्षि कथं , कणौ लजठत्यक्षििूः
Subhāṣ. लुठत् [p= 904,1] mfn. rolling , falling down W.; flowing , trickling (?) ib.

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

RV_2,023.01c jyeṣṭharājam brahmaṇām brahmaṇas pata ā naḥ śṛṇvann ūtibhiḥ sīda sādanam ||
RV_2,023.02a devāś cit te asurya pracetaso bṛhaspate yajñiyam bhāgam ānaśuḥ |
RV_2,023.02c usrā iva sūryo jyotiṣā maho viśveṣām ij janitā brahmaṇām asi ||
RV_2,023.03a ā vibādhyā parirāpas tamāṃsi ca jyotiṣmantaṃ ratham ṛtasya tiṣṭhasi |
RV_2,023.03c bṛhaspate bhīmam amitradambhanaṃ rakṣohaṇaṃ gotrabhidaṃ svarvidam ||
RV_2,023.04a sunītibhir nayasi trāyase janaṃ yas tubhyaṃ dāśān na tam aṃho aśnavat |
RV_2,023.04c brahmadviṣas tapano manyumīr asi bṛhaspate mahi tat te mahitvanam ||
RV_2,023.05a na tam aṃho na duritaṃ kutaś cana nārātayas titirur na dvayāvinaḥ |
RV_2,023.05c viśvā id asmād dhvaraso vi bādhase yaṃ sugopā rakṣasi brahmaṇas pate ||
RV_2,023.06a tvaṃ no gopāḥ pathikṛd vicakṣaṇas tava vratāya matibhir jarāmahe |
RV_2,023.06c bṛhaspate yo no abhi hvaro dadhe svā tam marmartu ducchunā harasvatī ||
RV_2,023.07a uta vā yo no marcayād anāgaso 'rātīvā martaḥ sānuko vṛkaḥ |
RV_2,023.07c bṛhaspate apa taṃ vartayā pathaḥ sugaṃ no asyai devavītaye kṛdhi ||
RV_2,023.08a trātāraṃ tvā tanūnāṃ havāmahe 'vaspartar adhivaktāram asmayum |
RV_2,023.08c bṛhaspate devanido ni barhaya mā durevā uttaraṃ sumnam un naśan ||
RV_2,023.09a tvayā vayaṃ suvṛdhā brahmaṇas pate spārhā vasu manuṣyā dadīmahi |
RV_2,023.09c yā no dūre taḷito yā arātayo 'bhi santi jambhayā tā anapnasaḥ ||
RV_2,023.10a tvayā vayam uttamaṃ dhīmahe vayo bṛhaspate papriṇā sasninā yujā |
RV_2,023.10c mā no duḥśaṃso abhidipsur īśata pra suśaṃsā matibhis tāriṣīmahi ||
RV_2,023.11a anānudo vṛṣabho jagmir āhavaṃ niṣṭaptā śatrum pṛtanāsu sāsahiḥ |
RV_2,023.11c asi satya ṛṇayā brahmaṇas pata ugrasya cid damitā vīḷuharṣiṇaḥ ||
RV_2,023.12a adevena manasā yo riṣaṇyati śāsām ugro manyamāno jighāṃsati |
RV_2,023.12c bṛhaspate mā praṇak tasya no vadho ni karma manyuṃ durevasya śardhataḥ ||
RV_2,023.13a bhareṣu havyo namasopasadyo gantā vājeṣu sanitā dhanaṃ-dhanam |
RV_2,023.13c viśvā id aryo abhidipsvo mṛdho bṛhaspatir vi vavarhā rathāṃ iva ||
RV_2,023.14a tejiṣṭhayā tapanī rakṣasas tapa ye tvā nide dadhire dṛṣṭavīryam |
RV_2,023.14c āvis tat kṛṣva yad asat ta ukthyam bṛhaspate vi parirāpo ardaya ||
RV_2,023.15a bṛhaspate ati yad aryo arhād dyumad vibhāti kratumaj janeṣu |
RV_2,023.15c yad dīdayac chavasa ṛtaprajāta tad asmāsu draviṇaṃ dhehi citram ||
RV_2,023.16a mā na stenebhyo ye abhi druhas pade nirāmiṇo ripavo 'nneṣu jāgṛdhuḥ |
RV_2,023.16c ā devānām ohate vi vrayo hṛdi bṛhaspate na paraḥ sāmno viduḥ ||
RV_2,023.17a viśvebhyo hi tvā bhuvanebhyas pari tvaṣṭājanat sāmnaḥ-sāmnaḥ kaviḥ |
RV_2,023.17c sa ṛṇacid ṛṇayā brahmaṇas patir druho hantā maha ṛtasya dhartari ||
RV_2,023.18a tava śriye vy ajihīta parvato gavāṃ gotram udasṛjo yad aṅgiraḥ |
RV_2,023.18c indreṇa yujā tamasā parīvṛtam bṛhaspate nir apām aubjo arṇavam ||
RV_2,023.19a brahmaṇas pate tvam asya yantā sūktasya bodhi tanayaṃ ca jinva |
RV_2,023.19c viśvaṃ tad bhadraṃ yad avanti devā bṛhad vadema vidathe suvīrāḥ ||

15
16
r.s.i: gr.tsamada (a_n:girasa s'aunahotra pas'ca_d) bha_rgava s'aunaka; devata_: br.haspati, 1-
5,9,11,17,19 brahman.aspati; chanda: jagati_, 15,19 tris.t.up

2.023.01 We invoke the Brahman.aspati, chief leaderof the (heavenly) bands; a sage of sage;
abounding beyond measure in (every kind of) food;best lord of prayer; hearing our invocations,
come with your protections, and sit down in the chamber of sacrifice. [Brahman.aspati =
brahman.o annasya parivr.d.hasya karman.o va_ pa_layita_, the protector or cherisher of food,or
of any great or solemn acts of devotion; he has other attributes in the text, as, gan.a_na_m
gan.apatih, chief of the gan.as (inferior deities); jyes.t.hara_jam brahman.a_m, the best lord of
mantras, or prayers: pras'asyam sva_minam mantra_n.a_m].
2.023.02 Br.haspati, destroyer of the asuras, through you the intelligent gods have obtained the
sacrificialportion; in like manner as the adorable sun generates the (solar) rays by his radiance, so
are you the generator of all prayers. [Br.haspati = Brahman.aspati; perhaps Br.haspati is of a
more martial character; his protection is souhght for against enemies and evil spirits; perhaps,
br.hata_m veda_na_m pa_lakah: br.hat = mantra, br.hato mantrasya, sva_min].
2.023.03 Having repelled revilers and (dispersed) the darkness you stand Br.haspati, on the
radiant chariot of sacrifice, (which is) formidable (to foes), the humiliator of enemies, the
destroyer of evil spirits, the cleaver of the clouds, the attainer of heaven.
2.023.04 You lead men, Br.haspati, by virtuous instructions; you preserve them (from calamity);
17
sin will never overtake him who presents (offerings) to you; you are the afflicter of him who
hates (holy) prayers; you are the punisher of wrath; such is your great mightiness. [Him who
hates holy prayers: brahmadvis.ah = those who hate either the bra_hman.as,or the mantras or
prayers].
2.023.05 The man whom you, Brahman.aspati, a kind protector, defend, neither sorrow nor sin,
nor adversaries nor dissemblers ever harm, for you drive away from him all injurious (things).
2.023.06 You, Br.haspati, are our protector and the guide of (our) path; (you are) the discerner
(of all things); we worship with praises for your adoration; may his own precipitate malice
involve him (in destruction) who practises deceit against us.
2.023.07 Turn aside from (the true) path, Br.haspati, the arrogant and savage man who advances
to injure us, although unoffending and keep us in the right way for (the completion of) this
offering to the gods.
2.023.08 Br.haspati, defender (from calamity), we invoke you, the protector of our persons, the
speaker of encouraging words and well disposed towards us; do you destroy the revilers of the
gods; let not the malevolent attain supreme felicity.
2.023.09 Through you, Brahman.aspati, (our) benefactor, may we obtain desirable wealth from
men destroy those (our) unrighteous enemies, whether nigh or far off, who prevail against us.
2.023.10 Through you, Br.haspati, (who are) the fulfiller of our desires; pure, and associated
(with us), we possess excellent food; let not the wicked man who wishes to deceive us be our
master; but let us, excelling in (pious) praises, attain (prosperity).
2.023.11 You, Brahman.aspati, who have no requiter (of your bounty), who are the showerer (of
benefits), the repairer to combat, the consumer of foes, the victor in battles, you are true, the
discharger of debts, the humiliator of the fierce and of the exulting.
2.023.12 Let not, Br.haspati, the murderous (weapon) of that man reach us, who, with
unrighteous mind, seeks to harm us; who, fierce and arrogant, designs to kill (your) worshippers;
may we baffle the wrath of the strong evil-doer].
2.023.13 Br.haspati is to be invoked in battles; he is to be approached with reverence; he who
moves amidst combats, the distributor of repeated wealth; the lord Br.haspati has verily
overturned all the assailing malignant (hosts), like chariots (overturned in battle).
2.023.14 Consume with your brightest (weapon) the ra_ks.asas, who have held your witnessed
prowess in disdain; manifest, Br.haspati, your glorified (vigour), such as it was (of old), and
destroy those who speak against you.
2.023.15 Br.haspati, born of truth, grant us that wonderful treasure, wherewith the pious man
may worship exceedingly; that (wealth) which shines amongst men; which is endowed with
lustre, (is) the means of (performing holy) rites, and invogirates (its possessor) with strength.
[dravin.am citram = lit., various or wonderful wealth; in the Bra_hman.as it is interpreted as
brahma varcas or tejas, brahmanical virtue or energy (cf. Yajus. 26.3; dravin.am = dhanam
(Aitareya Bra_hman.a 4.11)].
2.023.16 Deliver us not to the thieves, the enemies delighting in violence, who seize ever upon
the food (of others); those who cherish in their hearts the abandonment (of the gods); (they),
Br.haspati, who do not know the extent of (your) power (against evil spirits). [Who do not know
the extenf of your power: na parah sa_mno viduh = ye puma_msah sa_mnah sa_maya_t tvattah
parah parasta_d anyadukr.s.t.am sa_ma yad raks.oghnam na ja_nanti, those men who do not
know anything greater than the faculty of destroying ra_ks.asas, derived from you made up of
that faculty; sa_ma vai raks.oha = sa_ma is the killer of ra_ks.asas].
2.023.17 Tvas.t.a_ engendered you (chief) amongst all beings, (whence) you are the reciter of

18
many a holy hymn: Brahman.aspati acknowledges a debt to the performer of a sacred rite; he is
the acquitter (of the debt), and the destoyer of the oppressor. [When you are the reciter: sa_mnah
sa_mnah kavih, the reicter or another of every sa_ma, sarvasya sa_mnah ucca_rayita_ karta_si;
or kavi refers to tvas.t.a_, further explained as the sage who created Brahman.aspati by the
efficacy of the sa_ma: sa_mnah sa_ren.a tvam aji_janat; acknowledges a debt: r.n.acit
stotr.ka_mam r.n.am iva cinoti, he takes the intention of the praiser as if it was a debt, or
obligation; acquitter of the debt: r.n.aya is explained as the discharger or remover of the debt
which is of the nature of sin: pa_paru_pasya r.n.asya pr.thak karta_].
2.023.18 When Br.haspati, descendant of An:giras, for your glory, Parvata had concealed the
herd o fkine, you did set them free, and with thine associate, Indra, did send down the ocean of
water which had been enveloped by darkness.
2.023.19 Brahman.aspati, who are the regulator of this (world), understand (the purport) of (our)
hymn, and grant us posterity; for all is prosperous that the gods protect; (and therefore) may we
blessed with excellent descendants, glorify you at this sacrifice. [Yajus. 34.58; vadema = may we
declare or glorify you; or, let us speak, let what we ask be given to us;let it be enjoyed by us:
di_yata_m bhujyata_m ucca_rayema].

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

Rebus: saMghAta 'caravan' also 'adamantine metallic glue' (vajra)

Dholkal, Bastar, Chattisgarh. Ganesa with pine-cone. Three hieroglyphs of metalwork class:
trunk of elephant, pine cone, rat: karibha, kaNDe, MUSa
rebus: karba 'iron';kaṇḍa 'implements' mUSa 'crucible'
http://bharatkalyan97.blogspot.in/2016/02/ganesha-indus-script-tradition.html

19
mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'.

kandə 'pine cone' Rebus, signified metalwork: khaṇḍa. A portion of the front hall, in a
temple; kaṇḍ 'fire-altar' (Santali) kāṇḍa 'tools, pots and pans and metal-ware' (Marathi)

Hieroglyph: Ash. piċ -- kandə ʻ pine ʼ, Kt. pṳ̄ċi, piċi, Wg. puċ, püċ (pṳ̄ċ -- kəŕ ʻ pine -- cone ʼ),
Pr. wyoċ, Shum. lyēwič (lyē -- ?).(CDIAL 8407). Cf. Gk. peu/kh f. ʻ pine ʼ, Lith. pušìs, OPruss.
peuse NTS xiii 229. The suffix –kande in the lexeme: Ash. piċ-- kandə ʻ pine ʼ may be cognate
with the bulbous glyphic related to a mangrove root: Koḍ. kaṇḍe root-stock from which small
roots grow; ila·ti kaṇḍe sweet potato (ila·ti England). Tu. kaṇḍe, gaḍḍè a bulbous root; Ta. kaṇṭal
mangrove, Rhizophora mucronata; dichotomous mangrove, Kandelia rheedii. Ma. kaṇṭa bulbous
root as of lotus, plantain; point where branches and bunches grow out of the stem of a palm;
kaṇṭal what is bulb-like, half-ripe jackfruit and other green fruits; R. candel. (DEDR 1171).
Rebus: kaṇḍa ‘tools, pots and pans of metal’.

Hieroglyph: కండె [ kaṇḍe ] kaṇḍe. [Telugu] n. A head or ear of millet or maize. జొన్న కంకి.

Rebus:Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a
fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for
fireplace. Malt. kandri a pit. (DEDR 1214).

लोखंि (p. 723) [ lōkhaṇḍa ] n (लोि S) Iron लोखंिकाम (p. 723) [ lōkhaṇḍakāma ] n Iron work;
that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.
लोखंिी (p. 723) [ lōkhaṇḍī ] a (लोखंि) Composed of iron; relating to iron लोिोलोखंि (p. 723) [
lōhōlōkhaṇḍa ] n (लोि & लोखंि) Iron tools, vessels, or articles in general.
He is surrounded by Maruts, who are also called gaṇa, dwarfs, musicians, dancers.
Such gaṇa-s are presented on sculptures of Bhuteshwar venerating ekamukha Śivalinga atop a
smelter.

Relief with Ekamukha linga atop a smelter, accompanied

by gaṇa, kharva, dwarfs. Mathura. 1st cent. CE

20
kharva-s - Shunga Period - Bhuteshwar - ACCN 3625 This is worship
by kharva 'dwarfs' gaṇa of Siva, celebrating Kubera's nidhi also
called kharva Rebus: karba 'iron' (Tulu)

túndika ʻ pot -- bellied ʼ Pāṇ.gaṇa. [tundá -- 1] H. tundī.(CDIAL 5861) tundá1 n. ʻ belly, pot --
belly ʼ Pāṇ. [Poss. of same origin as tuṇḍi -- ʻ navel, esp. protuberant navel ʼ and tuṇḍa<-> ʻ
beak, snout ʼ with which it shares several variant forms]1. tundá -- 1: Pk. tuṁda -- n. ʻ belly ʼ;
K. tonu m. ʻ belly below the navel ʼ; H. tud̄̃ f. ʻ pot -- belly ʼ; M. tū̃d ʻ fat, plump ʼ. 2. *tōnda --
: P. tõd m. ʻ pot -- belly ʼ, N. tõd, (Tarai) taun, Mth. ton, Aw.lakh. tod̄̃ , H. tõd f.; <->
Bhoj. tonāil ʻ pot -- bellied ʼ, H. tõdīlā, M. tõdel. 3. *duḍḍa -- 1: G. duḍ f. ʻ pot -- belly ʼ. 4.
*dunda -- : G. dundi f. 5. *dōnda -- : M. dõd n., adj. dõdī, °dīl. 6. *ḍuṇḍa -- 2 G. ḍuṇḍ f. 7.
*dhuṇḍa -- : Or. dhuṇḍā ʻ corpulent man ʼ. 8. *dhuddha -- : Or. dhudhlā ʻ corpulent ʼ. 9.
*dhōddha -- : Mth. dhodh ʻ pot -- belly ʼ. 10. *dhōndha -- : Bhoj. dhõdhāil ʻ pot -- bellied ʼ;
H. dhôdhā m. ʻ pot -- belly, hillock ʼ.(CDIAL 5858) tuṇḍa n. ʻ beak, trunk, snout ʼ TĀr. MBh., ʻ
contemp- tuous term for mouth ʼ Bādar., túṇḍika -- ʻ having a trunk ʼ AV. [Cf. trōṭi -- f. ʻ beak,
fish's mouth ʼ lex., and further śuṇḍā -- , cañcu -- , *cōṇṭa -- . Cert. non -- Aryan and prob. ←
Mu. EWA i 510. Poss. same as tundi -- ʻ navel ʼ and tundá -- 1 ʻ belly ʼ with which it shares

21
several variant forms. Some of these may be due to differences of dialect in the source language,
some to phonetic development within IA. (e.g. t -- ṭ > ṭ -- ṭ), some to slang deformation] 1. tuṇḍa
-- : Pa. tuṇḍa -- , °aka -- n. ʻ beak, mouth, snout ʼ; Pk. tuṁḍa -- n., °ḍī -- f. ʻ mouth, front part ʼ;
S. tunī f. ʻ spout ʼ; Or. tuṇḍa ʻ lips, mouth, beak ʼ, tuṇḍi ʻ muzzle ʼ, (Sambhalpur) tū̃ḍ ʻ mouth ʼ,
M. tū̃ḍ n.; Si. tuḍa ʻ beak, snout, mouth ʼ. 2. *tuḍa -- : Si. tola (st. tol -- ) ʻ lip ʼ, toḷu gānavā ʻ to
graze (lit. rub the lips on) ʼ. 3. *tōṇḍa -- : Pk. toṁḍa -- n. ʻ mouth, front part ʼ; M. tõḍ m. ʻ mouth
ʼ, Ko. toṁḍa. 4. *tōṭṭa -- 1: Or. toṭi ʻ throat ʼ; M. toṭī f. ʻ spout ʼ. 5. *tōnta -- : K. tot̄̃ h (dat. °ti) f. ʻ
beak ʼ (← Ind.?). 6. *tutta -- : K. tutu ʻ long -- faced ʼ; WPah. bhal. tutt n. ʻ face ʼ, bhad. tuttar n.
7. *ṭuṇḍa -- 1: N. ṭū̃ṛo ʻ mouth of animal, beak, point of ploughshare ʼ; Or. (Jāṇpur) ṭuṇḍa ʻ lips,
mouth, beak ʼ; Bi. ṭuṝ̃ , °ṛā ʻ beard of wheat ʼ (semant. cf. suṝ̃ s.v. śuṇḍā -- 1). 8. *ṭuṇṭa -
- 1: A. ṭū̃ṭli ʻ fleshy protuberance under chin ʼ; B. ṭū̃ṭi ʻ throat ʼ. 9. *ṭōṇṭa -- 3: K. ṭuṭ̄̃ i f. ʻ spout ʼ
(← of drinking vessel ʼ; H. ṭõṭ f. ʻ beak ʼ, ṭõṭī f. ʻ spout ʼ. 10. *ṭūṭṭa -- : P. ṭūṭī f. ʻ spout ʼ,
N. ṭuṭo, °ṭi. 11. *ṭōṭṭa -- 3: S. ṭoṭī f. ʻ mouthpiece of hookah ʼ; H. ṭoṭī f. ʻ spout ʼ; G. ṭoṭɔ m. ʻ
throat ʼ. 12. *thuṇḍa -- : L. thunn m. ʻ thick lips (opprobrious term) ʼ, awāṇ. thun ʻ lips ʼ. 13
*thuntha -- : A. thū̃tari ʻ chin ʼ, B. thū̃ti, thū̃tani; Or. thū̃ti ʻ chin, snout ʼ. 14. *thuttha --
: P. thūthṇā m., thū˘thṇī f. ʻ mouth of horse or camel ʼ; N. thutunu ʻ nose, snout ʼ; A. thutari ʻ
chin ʼ; B. thuti, thutani ʻ chin, mouth of animal ʼ; Or. thuthi, °ti ʻ snout, chin, beard ʼ;
Bhoj. thuthun ʻ pig's snout ʼ; Mth. thūthun ʻ mouth of animal ʼ; Aw.lakh. thūthun ʻ horse's
nostrils ʼ; H. thūthṛā, thūthan, thūthnā m. ʻ snout, mouth ʼ. 15. *thōḍa -- 1: Or. thoṛi ʻ lower lip,
chin, beard ʼ. 16. *thōḍḍa -- : L.mult. thoḍ m. ʻ lip ʼ, (Ju.) thoḍ̠ m., thoḍ̠ī f. 17. *thōttha -
- 1: Mth. thothī ʻ mouth ʼ; H. thoth m. ʻ snout ʼ, thotī f. ʻ forepart of animal's face ʼ;
M. thotrī, thodrī f. ʻ side of cheek ʼ. 18. *thōntha -- 1: B. thõtā ʻ chin ʼ. 19. *thēṇṭha -
- 1: Or. theṇṭa, thaṇṭa ʻ beak ʼ. 20. *ṭhuṇḍa -- : Ku. ṭhūn m. ʻ beak, elephant's trunk ʼ; N. ṭhū̃ṛo ʻ
beak ʼ; Or. ṭhuṇḍi ʻ lip, chin ʼ; G. ṭhũḍī f. ʻ chin ʼ. 21. *ṭhuḍḍa -- : P. ṭhuḍḍā m. ʻ beak of a paper
kite ʼ; H. ṭhuḍḍī, °ḍḍhī f. ʻ chin ʼ. 22. *ṭhōṇḍa -- : H. ṭhõṛī f. ʻ chin ʼ. 23. *ṭhōḍḍa -- : S. ṭhoḍ̠ī f. ʻ
chin ʼ, P. ṭhoḍī f., H. ṭhoṛī, °ṛhīf. 24. *ṭhōṇṭha -- 1: A. B. ṭhõṭ ʻ beak ʼ; Or. ṭhuṇṭhi ʻ lip, chin,
beak ʼ; Mth. H. ṭhõṭh f. ʻ beak ʼ. 25. *duṇḍa -- : L.mult. dunn, (Ju.) dun m. ʻ wild pig's snout ʼ.
26. *ḍuṇḍa -- 1: K. ḍoṇ̆ ḍu m. ʻ front of face ʼ. 27. *dutta -- : Dm. dut ʻ lip ʼ; Woṭ. dut f. ʻ mouth
ʼ; Bshk. dut ʻ lip ʼ (Leech "dùdh" < *duddha -- ?), Tor. dūt; Phal. dut ʻ mouth ʼ (dhut < *dhutta --
?); Sh.pales. dūt ʻ lip ʼ. -- Forms with -- r -- (cf. trōṭi -- f. ʻ beak ʼ lex.) in Sh.koh. turūṭiʻ lip ʼ,
jij. thurūṭi, gil. thŭrūˊṭŭ m. ʻ beak ʼ.
mukhatuṇḍaka -- ; *mukhatuttikā -- .Addenda: tuṇḍa -- . 1. Md. tun ʻ lip, beak ʼ, tunfat ʻ lip (of
humans) ʼ, tunḍi ʻ treeless spit of sand ʼ?11. *ṭōṭṭa -- 3: WPah.kṭg. ṭōṭ ʻ mouth ʼ.*thōttha -
- 1: WPah.kṭg. thótti f., thótthəṛ m. ʻ snout, mouth ʼ, A. ṭhõt (phonet. thõt) AFD 94.(CDIAL
5853) rebus: tutthá n. (m. lex.), tutthaka -- n. ʻ blue vitriol (used as an eye ointment) ʼ
Suśr., tūtaka -- lex. 2. *thōttha -- 4. 3. *tūtta -- . 4. *tōtta -- 2. [Prob. ← Drav. T. Burrow BSOAS
xii 381; cf. dhūrta -- 2 n. ʻ iron filings ʼ lex.] 1. N. tutho ʻ blue vitriol or sulphate of copper ʼ,
B. tuth. 2. K. thoth, dat. °thas m., P. thothā m. 3. S. tūtio m., A. tutiyā, B. tū̃te, Or. tutiā,
H. tūtā, tūtiyā m., M. tutiyā m. 4. M. totā m.(CDIAL 5855)Ta. turu rust, verdigris, flaw; turucu,
turuci blue vitriol, spot, dirt, blemish, stain, defect, rust; turicu fault, crime, sorrow, affliction,
perversity, blue vitriol; tukku, tuppu rust. Ma. turiśu blue vitriol; turumpu,
turuvu rust. Ka. tukku rust of iron; tutta, tuttu, tutte blue vitriol. Tu. tukků rust; mair(ů)suttu,
(Eng.-Tu. Dict.) mairůtuttu blue vitriol. Te. t(r)uppu rust; (SAN) trukku id., verdigris. / Cf.
Skt. tuttha- blue vitriol; Turner, CDIAL, no. 5855 (DEDR 3343)

22
The tusk is a writing instrument. Gaṇeśa holds his own broken tusk in his lower-right hand as
seen on a 13th century pratimā. Khajuraho. On this sculpture, Gaṇeśa dances, holds the broken
tusk as a burin, a writing instrument.

23
Gaṇeśa and his brother Subramanya on peacock

Gaṇeśa . Belur.

24
25
 Gaṇeśa. Halebidu

26
Gaṇeśa. Halebidu.

27
 Gaṇeśa in Archaeological
Museum. Halebid.

28
 Gaṇeśa c. 1200–1300 India;
Karnataka state; Asian Art Museum of San Francisco, the Avery Brundage Collection

Gaṇeśa is a dancer, he is also a scribe.

29
 Dancing Gaṇeśa in
relief at Hoysaleshwara temple

30
 Gaṇeśa. Halebidu Museum. Hoysala
Dynasty. 13th Century CE. Karnataka

31
Gaṇeśa sculptural frieze in garbhagruha of Hoysaleswara temple. Halebidu ; Hassan ; Karnataka

32
Nataraja is a dancer. So is Gaṇeśa, a dancer.

33
Nataraja, cosmic dancer and elephant. Halebid.

34
35
36
37
38
39
 'Dancing Gaṇeśa' sculpture from the Hoysala temples
in Halebidu
40
A stone sculpture of the elephant-headed deity, scribe Gaṇeśa. Halebid temple

41
 Halebidu sculptural frieze of Gaṇeśa with
8 arms, shows him holding the writing instrument, the ivory tusk.

42
Wall panel reliefs depicting (From left) Kamdev, his wife Rati, and dancing Gaṇeśa.
Kedareshwara temple, Halebidu

Gaṇeśa. Bangkok temple.

43
Thus, Gaṇeśa is एक--दन्त [p= 228,1] m. " one-toothed " , N. of िणेश L. The early form of the
word danta is: dat दत् m. A tooth; (a word optionally substituted for दन्त in all the case-forms
after the acc. dual. It has no forms for the first five inflections). -Comp. -छदः (-दच्छदः) a lip;
ििसा दष्ठदच्छदम् Bhāg.7.2.3. dantḥ दन्तः [दम्-तन् Uṇ.3.86] 1 A tooth, tusk, fang (as of serpents,
beasts &c.); वदक्षस यक्षद क्षकक्षिदक्षप दन्तरुक्षचकौमजदी ििक्षत दिक्षतक्षमिमक्षतघोिम् Gīt.1; सपुदन्त, विाि˚
&c. -2 An elephant's tusk, ivory दन्त [p= 468,2]m. (fr. & ) = द् /अत् RV. vi , 75 ,
11 AV. &c (n. R. vi , 82 , 28 ; ifc. , f(आ). [ Katha1s. xxi Caurap. ] or f(ई). [ MBh. ix Mr2icch. x ,
13 VarBr2S. Ghat2. ] Pa1n2. 4-1 , 55); an elephant's tusk , ivory MBh. R. &c

The story of Gaṇeśa acting as the scribe for writing the Mahābhārata occurs in 37 manuscripts.

Vyāsa narrating the Mahābhārata to Gaṇeśa, his scribe, Angkor Wat

44
17th century Rajasthani manuscript of the Mahabharata depicting Vyāsa narrating
the Mahābhārata to Gaṇeśa, who serves as the scribe.

karabha the trunk of an elephant; in karabhoru (k˚+ūru) (a woman) with beautiful thighs Mhbv
29. (Pali) karabhá m. ʻ camel ʼ MBh., ʻ young camel ʼ Pañcat., ʻ young elephant ʼ BhP.
2. kalabhá -- ʻ young elephant or camel ʼ Pañcat. [Poss. a non -- aryan kar -- ʻ elephant ʼ also
in karḗṇu -- , karin -- EWA i 165] 1. Pk. karabha -- m., °bhī -- f., karaha -- m. ʻ camel ʼ,
S. karahu, °ho m., P. H. karhā m., Marw. karhau JRAS 1937, 116, OG. karahu m.,
OM. karahā m.; Si. karaba ʻ young elephant or camel ʼ. 2. Pa. kalabha -- m. ʻ young elephant ʼ,
Pk. kalabha -- m., °bhiā -- f., kalaha -- m.; Ku. kalṛo ʻ young calf ʼ; Or. kālhuṛi ʻ young bullock,
heifer ʼ; Si. kalambayā ʻ young elephant ʼ. Addenda: karabhá -- : OMarw. karaha ʻ camel
ʼ.(CDIAL 2797) karin m. ʻ elephant ʼ. [See karabhá -- ]Pa. karin -- m., Pk. kari -- , °iṇa --
m., °iṇī -- , °iṇiyā -- f.; <-> Si. kiriyā ← Pa.(CDIAL 2803) ibha m. ʻ elephant ʼ Mn. Pa. ibha --
m., Pk. ibha -- , iha -- , Si. iba Geiger EGS 22: rather ← Pa. (CDIAL 1587) இபம் ² ipam , n.
< ibha. Elephant; யானை. தினையிபை் சைவி (கலிங் . புதுப் . 331). कक्षणुका f. the tip of
an elephant's trunk L. rebus: कणु [p= 256,2] the helm or rudder of a ship R. कणुधाि (p. 140) [
karṇadhāra ] m S (A holder of the ear.) A helmsman or steersman. karṇadhāra m. ʻ helmsman ʼ
Suśr. [kárṇa -- , dhāra -- 1]Pa. kaṇṇadhāra -- m. ʻ helmsman ʼ; Pk. kaṇṇahāra -- m. ʻ helmsman,
sailor ʼ; H. kanahār m. ʻ helmsman, fisherman ʼ.(CDIAL 2836) கரணிக்கை் karaṇikkaṉ, n.
cf. காரணிகை். Village accountant; கணக்கை். (நாமதீப.)కరణము (p. 0250) [
karaṇamu ] karaṇamu. [Skt.] n. A village clerk, a writer, an accountant. వాడు కూత

45
కరణముగాని వ్రవాతకరణముకాడు he has talents for speaking but not for
writing.స్థక
ల కరణము the registrar of a district కరణికము or కరణీకము karanikamu. Clerkship:
the office of a Karanam or clerk.

Hieroglyph: med̄̃ , mēd 'body, womb, back' (Kur.); Ta. mēṉi body, shape, colour,
beauty; mēl body.
Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï body. Te. mēnuid.; mēni
brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl. me·nḍl) body. Nk. mēn
(pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil),
(P.) mēn id. Go. (Tr.) mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.)meṇḍū˘l,
(SR.) meṇḍol id. (Voc. 2963). Konḍa mēndol human body. Kur. mē d̄̃ , mēd body, womb,
back. Malt. méth body. Cf. 5073 Ta.mey. (DEDR 5099) Rebus:

Some sūkta-s of R̥gveda are samvāda, 'dialogues'. Such sūkta-s can be described as itihāsa
or ākhyāna. इक्षत--िा* स a [p= 1320,3] m. (इक्षत-ि-आस , " so indeed it was ") , talk , legend ,
tradition , history , traditional accounts of former events , heroic
history S3Br. MBh. Mn. &c; आ-ख्यान [p= 129,2] n. telling ,
communication Pa1n2. Kap. Katha1s. &c; the communication of a previous event (in a
drama) Sa1h.; a tale , story , legend S3Br. Nir. Pa1n2. &c (Monier-
Williams) ākhyānam आख्यानम् 1 Speaking, declaration, making known, relation,
communication; इत्थंिूताख्याने P.I.4.9. िाम- सं देश˚ Rām. -2 Allusion to some old
tale; आख्यानं पूवु- वृिोक्तिः S. D.; (e. g. दे शः सो$यमिाक्षतशोक्षणतर्लैयुक्तिन्ह्रदाः पू रिता Ve.3.33.). -3 A
tale, story; especially a legendary story, legend; अप्सिाः पजरूिवसं चकम इत्याख्यानक्षवद आचिते
Māl.2; Ms.3.232. -4 A legendary work such as the Mahābhārata; यो$धीते चतजिो
वेदान्सवाु नाख्यानपिमान् Mb.3.58.9. -5 A reply; प्रश्नाख्यानयोः P.VIII.2. 15, III.3.11. -6 A
differentiating property (िेदक- धमु ). -7 A canto of an epic poem. gāthā िाथा is Legend, history
(आख्यान); क्षिर्ोपसृष्टः कजिकस्तिको वा दशत्वलं िायत क्षवष्णजिाथाः
Bhāg.1.19.15 (Apte) aitihāsika ऐक्षतिाक्षसक a. (-की f.) [इक्षतिास-ठक्] 1 Traditional. -2 Historical -
कः 1 An historian. -2 One who knows or studies ancient legends.aitihyam ऐक्षतह्यम् Traditional
instruction, legendary account; ऐक्षतह्यमनजमानं च प्रत्यिमक्षप चािमम् Rām.; क्षकलेत्यैक्षतह्यो (ऐक्षतह्य is
regarded as one of the Pramāṇas or proofs by the Paurāṇika as and reckoned along with प्रत्यि
अनजमान &c.; see अनजिव). प्रत्यिं ह्येतयोमूुलं कृतान्तैक्षतह्ययोिक्षप Mb.12. 218.27; श्रजक्षतः
प्रत्यिमैक्षतह्यमनजमानं चतजष्टयम् । प्रमाणेप्वनवस्थाना- क्षद्रकल्पात्स क्षविज्यते ॥ Bhāg.11.19.17.2. Tradition -
a figure of speech; Kuval.123. (Apte)

One school of interpretation of R̥gveda is called aitihāsika school (Niruktam 2.16; 12.1.10).
Śunahśepa narrative is referred to as Śunahśepam ākhyānam; the historical episode is narrated
by hotr̥ priest during the performance of Rājasūya yāga (Aitareya Brāhmaṇa 7.13-18; ŚŚS 15.7-

46
27). Adhvaryu calls upon hotr̥ priest to narrate pariplavam ākhyānam, 'cyclical legend' on how
various creatures were produced during the performance of yāga-s during the year (Śatapatha
Brāhmaṇa 13.4.3.2,15). In Aitareya Brāhmaṇa , ākhyāna-vid, 'those who know stories' narrate
the legend of Suparṇa (Aitareya Brāhmaṇa (cf.Śatapatha Brāhmaṇa 3.6.2.7: vyākhyānam
sauparṇikadravam) .Śatapatha Brāhmaṇa explains the difference between ākhyāna and itihāsa:
tasmād ahur naitad asti yad daivāsuram yad idam anvākhyāne tvad udyata itihāse tvat, "Not true
is that regarding the gods and Asuras, which is related partly in the ākhyāna and partly in
the itihāsa." (Śatapatha Brāhmaṇa 11.1.6.9).

Both Janamajeya and Śaunaka sattra-s provide for narrative episodes. Indian epic literature of
Rāmāyaṇa and Mahābhārata are premised on the sacred setting of the performance of
a yāga or sattra सत्त्र [p= 1138,2] n. " session " , a great सोम yāga (lasting accord. to some , from
13 to 100 days and performed by many officiating Brahmans ; also applied to any oblation or
meritorious work equivalent to the performance of a सत्त्र ; सत्त्र/् अस्य् /अक्त्ुः N. of
a सामन् A1rshBr. ) RV. &c.

Mahābhārata designates ākhyāna as the fifth Veda. (MBh. 3.45.8, 3.58.9). Sāyaṇa calls RV
1.117.2 as ākhyāna, RV 1.116.2 as ākhyāyikā and RV 10.51 as itihāsa. आ-
ख्याक्षयका [p= 129,2] f. a short narrative Pa1n2. 4-2 , 60 Comm. Sa1m2khyak. &c; (°क्षयक ,
metrically shortened in comp.) MBh. ii , 453.

In this rendering, ākhyāna is an account of a legend narrated in detail, ākhyāyikā is a short

narrative, while itihāsa frames the legend/narrative in the context of explaining and
imparting dharma, the ethical principle.

For Kuhn, natural phenomena are humanised, human activity is projected psychologically on the
natural phenomena of the outerworld and such projection constitutes the mythological world of
the ancients (Adalbert Kuhn, Die Herabkunft des Feuers und des Gottertranks (Gutersloh: C.
Bertelsmann, 1859; reprinted in Mythologische Studien, Band I, 1886; loc.cit. Laurie L. Patton,
1996, Myth as argument: the Br̥haddevatā as canonical commentary, Volume 41, Walter de
Gryuter).

The meaning of the word 'myth' used by Kuhn, should be viewed in the context of ancient
debates about right and wrong, about ethics in human behaviour: As Gananath Obeyesekere
observes, ‘myth is sedimentation of a debate’.(Gananath Obeyesekere, The work of culture,
p.131).

All narratives and legends veer around the cosmological mantra the sacred sound, which takes
the reciter on to ādhyātmikā and turīya planes of enquiry, over-riding
the ādibhautika and ādidaivika planes of human experience. “Myth embodies the nearest
approach to absolute truth that can be stated in words.” (Ananda K. Coomaraswamy).
This turīya plane of absolute truth is the pilgrimage, sacred journey undertaken by itihāsa in the
ancient Indian tradition.

47
12th century work of Hemcandra, Kavyānuśāsana defines ākhyāna as a side story from religious
texts narrated by Granthika (professional story teller) to instruct audience accompanied by
singing and acting.

Gaṇa is "a company, any assemblage or association of men formed for the attainment of the
same aims". व्रातं व्रातं िणम् िणम् Vrātam Vrātam gaṇam gaṇam (RV 3.26.6). Sangha-s are
assemblies of Gaṇa-s. Mahabagga, a Bauddham text notes: िण पूिकोवा िक्षवस्सामीक्षत Gaṇa
pūrkovā bhavissāmīti 'an official who oversees the number of Gaṇa-s and their sangha-s.
Bauddham texts cite116 republics or ganasanghas
व्रात्य knows the habits and intentions of soldiers "(AV. xv , 8 , 1). Brāhmaṇa and Rājanya spring
from vrātya. Pāṇini explains: संघोद् घौ िण प्रशंसयो Sanghoddhau gaṇa praśansayo; ganatantra is
a republic system of rule by assemblies. Gaṇa-s are explained as "prognostications or caricatures
of possibilities of the human condition...The motley crowd of the freakish retinue of Siva is part
of his ambience. Indefinitely variable in its monstrosity, wit and vitality, it includes the
misshapen as possibilities within his orbit. Rudra refused to create mortals because they were
imperfect. The retinue of Siva, Bhutas, ganas, pramathas, parisadas, khumbandas,
raksasas and pisacas – different types of spirits, sprites, ghosts and ghouls – do not belong to the
pitiable class of mortals; they are part of Rudra’s being, tremors, resonances of his nature,
tensions that sustain his contradictory wholeness. They are scintillations of the Rudras,
smithereens of the terrifying glory of Rudra-Siva himself." (Stella Kramrisch, 1981, The
presence of Śiva, pp. 298-299). The word is etymologically cognate with genos (Greek: γένος,
"race, stock, kin",plural genē - γένη) 'a social group claiming common descent, referred to by a
single name.' Gaṇa is an assemblage of peope, comparable to kula: िणानां च कजलानां च िाज्ञां च
िितिुि वैिसंदीपनाव एतौ लॊिामिौ र्नाक्षधप gaṇānāṃ ca kulānāṃ ca rājñāṃ ca bharatarṣabha
vairasaṃdīpanāv etau lobhāmarṣau janādhipa (MBh. 12.108.10).

kharvá (RV. ákharva -- ) ʻ mutilated, imperfect ʼ TS., ʻ dwarfish ʼ lex., khárvaka --

AV., khalvāṭa -- ʻ bald ʼ Bhartr̥. [ʻ Defective ʼ word, cf. *karva -- beside Av. kaurva -- ʻ bald ʼ (ʻ
short ʼ H. W. Bailey BSOS vi 598 ff.), Pers. karve ʻ decayed teeth ʼ ← Sogd. krw -- W. B.
Henning BSOS x 96. EWA i 304 rejects non -- IE. origin, but if they are connected
with kárvati, khárvati, gárvati ʻ is haughty ʼ Dhātup., there is the characteristic interchange of
initial in such words.] Pk. khavva -- ʻ hunchbacked, dwarfish ʼ, m. ʻ left hand ʼ, khava -- m.;
Kt. kawə ʻ left -- hand ʼ, Kal. urt. khāvi, Kho. koh, Sh. gil. khăbŭ, gur. khā, f. khaī,
koh. khăbīnṷ (X dákṣiṇa -- ); S. khaḇo, L. khabbā, (Ju.) khaḇḇā, P.khabbā → H. -- Ext. with -
- la -- : Ash. kawál ʻ left -- hand ʼ, Kal. khāˊulī; -- with -- ṭa -- : Wg. kawṛīˊ, Bashg. kow
̄̃ ar,
Paš. xōṛi f., Shum. xauṛi f., Kal. rumb. khäˊuŕi, K. khōworu; S. khāḇaṛu ʻ left -- handed ʼ (<
*khārvaṭa-- ?); <-> with -- āṭa -- (cf. khalvāṭa -- ): Or. khabāḍibā ʻ to do a thing clumsily ʼ; --
with -- ra -- : Or. khabirā ʻ limping ʼ. -- Kaf. forms with k -- listed above perh. < *karva -- . --
Si. kurā ʻ dwarf ʼ Geiger ES 26, poss. < *kharuva -- .*kharvānta -- .Addenda: kharvá --
: A. khābṭā ʻ dwarfish ʼ AFD 214.(CDIAL 3832)

gaṇá m. ʻ troop, flock ʼ RV. [Poss. (despite doubts in EWA i 316) < *gr̥ṇa -- ʻ telling ʼ (cf.
*gr̥nti -- and esp. gaṇáyati ʻ tells one's number (of troop of flock) ʼ Kāś. -- √g&rcirclemacr;3] Pa.
Pk. gaṇa -- m. ʻ troop, flock ʼ; Tor. (Biddulph) gan m. ʻ herd ʼ; K. gan m. ʻ beehive ʼ = mãcha --
gan m.; WPah. bhal. gaṇ m. pl. ʻ bees ʼ; Si. gaṇaya ʻ company ʼ EGS 52 but prob. ← Pa.(CDIAL
3988)
48
िणः gaṇḥ िणः [िण् कमुक्षण कतुरि वा अच् ] 1 A flock, multitude, group, troop, collection;
िजक्षणिणिणना, ििणः -2 A series, a class. -3 A body of followers or attendants. -4 Particularly, a
troop of demigods considered as Śiva's attendants and under the special superintendence of
Gaṇeśa, a demigod of this troop; िणानां त्वा िणपक्षतं िवामिे कक्षवं कवीनाम् &c.; िणा
नमेरुप्रसवावतंसाः Ku.1.55,7.4,71; Me.35.57; Ki.5.13. -5 Any assemblage or society of men
formed for the attainment of the same objects. -6 A company, association. -7 A tribe, class. -8 A
series of lunar mansions classed under three heads (of god, men and demons). -9 A sect (in
philosophy, religion). -1 A small body of troops (a sub-division of अिौक्षिणी), consisting of 27
chariots, as many elephants, 81 horses and 135 foot; Mb.1.2.21. -11 A number (in math.). -12 A
foot (in prosody). -13 (In gram.) A series of roots or words belonging to the same rule and called
after the first word of that series; e. g. भ्वाक्षदिण i. e. the class of roots which begin with िू . -14 An
epithet of Gaṇeśa. -Comp. -अग्रणी m. N. of Gaṇeśa. -अचलुः N. of the mountain Kailāsa, as the
residence of the Gaṇas of Śiva. -अहधपुः, -अहधपहतुः 1 N. of Śiva; Śi.9.27. -2 N. of Gaṇeśa. -3 the
chief of a troop of soldiers or of a class of disciples, of a body of men or animals. -अन्नम् a mess,
food prepared for number of persons in common; Ms.4.29,219. -अभ्यन्तर a. one of a troop or
number. (-रुः) the leader or mem- ber of any religious association; Ms.3.154. -ईशुः N. of
Gaṇapati, Śiva's son (see िणपक्षत below). ˚र्ननी anepithet of Pārvatī. ˚िूिणम् red-lead. -ईशानुः, -
ईश्वरुः 1 an epithet of Gaṇeśa. -2 of Śiva. -उत्सािुः the rhinoceros. -कारुः 1 a classifier. -2 an
epithet of Bhīmasena. -कृत्वस् ind. for a whole series of times, for a number of times. -गहतुः a
particular high number. -चक्रकम् a dinner eaten in common by a party of virtuous men. -
छन्दस् n. metre regulated and measured by feet. -हतथ a. forming a troop or collection. -दीक्षा
1 initiation of a number or a class. -2 performance of rites for a number of persons. -
दीहक्षन् a. 1 one who officiates for a number of per- sons or for various castes (as a priest). -2 one
who has been initiated into the worship of Ganeśa. -दे वताुः (pl.) groups of deities who generally
appear in classes of troops; Ak. thus classifies them :-- आक्षदत्यक्षवश्ववसव- स्तजक्षिता िास्विाक्षनलाः ।
मिािाक्षर्कसाध्याश्च रुद्राश्च िणदे वताः ॥ -द्रव्यम् 1 public property, common stock; Y.2.187. -2 a
variety of articles. -धरुः 1 the head of a class or number. -2 the teacher of a school. -नाथुः, -
नाथकुः 1 an epithet of Śiva. -2 of Gaṇeśa. -3 the leader of the attendants of any god;
Bhāg.5.17.13. -4 the head of an assemblage or corporation; Bṛi. S.15.4. -नाहिका an epithet of
Durgā. -पुः, पहतुः 1 N. of Śiva. -2 N. of Gaṇeśa. [He is the son of Śiva and Pārvatī, or of Pārvatī
only; for according to one legend, he sprang from the scurf of her body. He is the god of wisdom
and remover of obstacles; hence he is invok- ed and worshipped at the commencement of every
important undertaking. He is usually represented in a sitting posture, short and fat, with a
protuberant belly, and four hands; riding a mouse; and with the head of an elephant. This head
has only one tusk, the other having been lost in a scuffle between him and Paraśurāma when he
opposed the latter's en- trance to Śiva's inner apartments; (whence he is called Ekadanta,
Ekadaṁṣṭra &c.). There are seve- ral legends accounting for his elephant head. It is said that he
wrote the Mahābhārata at the dictation of Vyāsa who secured his services as a scribe from the
god Brahman]. -3 also an epithet of Bṛihas- pati and Indra. -4 the leader of a class or troop. -
पववत see िणाचल. -पाठुः a collection of gaṇas or series of words falling under the same
grammatical rule. -पीठकम् the breast, bosom. -पु ङ्गवुः the head of a tribe or class. (pl.) N. of a

49
country and its people; Bṛi. S.4.24. -पूववुः the leader of a tribe or class; (ग्रामणी); Mb.13.23.2.
˚तापनी N. of a Upaniṣad. -भतृव m. 1 an epithet of Śiva; िणितृुरुिा Ki.5.42. -2 N. of Gaṇeśa. -3 the
leader of a class. -भोजनम् mess, eating in com- mon. -िज्ञुः a rite common to all. -रत्नमिोदहधुः a
collection of grammatical gaṇas by Vardhamāna. -राज्यम् N. of an empire in the Deccan; Bṛi.
S.14. (Apte)

Cave 2 : Facade, Badami Caves, Karnataka, India. Depicting carvings of dwarfish ganas (with
bovine and equine heads)

50
Siva Gaṇas in the Maratha Palace Museum in Thanjavur, India

Gaṇeśa with Gaṇa-s in Kailasanatha temple,

Kanchipuram (685 to 705 CE, Rajasimha, Pallava dynasty)

Source: http://swamisblog.blogspot.in/2009/12/

Gaṇeśa in Playful Mood with his Ganas

51
 Gaṇeśa, dancing with

other Gaṇa.

Chapter 108 of Shanti Parva narrates Yudhishthira's questions to Bhishma about the ganas: how
do they increase, how do they defend themselves from the dividing-policy of enemies, what are
their techniques in conquering enemies and in making friends, how do they hide their secret
mantras. Bhishma's answers to these questions are recorded in the form of shlokas (verses) from
16 – 32 in Shanti Parva.

52
Sculpture of a Gaṇa on the ceiling of the Shiva Temple in Bhojpur, India

Mahābhārata (MB) is a piece of literature of “both argument and design”. German indologists
wrongly tried to search for layers in the text and tried to apply Biblical research methodology to
understand MB. The entire discipline of Indology was constituted based on a few uncritical
principles —for example, the assumption of an Aryan invasion or that Brahmans corrupted the
“original” texts. Bogus racist theories are used to suggest racial conflict between white Aryans
and black aboriginals.

Mahābhārata is itihāsa, a new way of theorizing history, a new way of presenting the empirical
world aesthetically. Itihāsa is a narrative of problems of being in the world and the imperative of
becoming, attaining ultimate reality of uniting with the Supreme divine. Itihāsa is a perspective,
not mere ‘scientific’ historiography. With this framework, the literary text can be rescued from
evangelical biases of indologists who define history as mere layering of events in time.

Itihāsa is larger in scope than 'history', it is an aesthetic appreciation of human condition, an

ethical literary framework and aspiration to unite with the Supreme Divine. Mahābhārata is a
dharma text from its inception and not a Kuru epic with didactic interpolations. The upākhyāna-
s or proximate narratives are principal to the theme of the epic. It is not 'scientific'
historiography, but narratives of thical arguments framed on dharma.

53
Brahmā appears to Vyāsa and suggests Gaṇeśa as a scribe for the poem (kāvya). The conditions
for the engagement of Gaṇeśa as a scribe are related to the philosophical faculty of
'smr̥ti, memory' which should make the scribe pause: 1. Gaṇeśa will be a scribe only if his pen
does not cease writing even for a moment; 2. Gaṇeśa should write only after he has understood
what is narrated by Vyāsa.

Alf Hitlebeitel posits a written (not oral) MB: "...whatever preceded the
Mahābhārata orally, cultically, or in other unknown forms, the Poona Critical Edition of the
Mahābhārata shows that for about two millennia the work that has moved people is a book, and
that in that sense one must speak of all its audiences – oral ones included – as readers. Indeed,
the text created a ‘reading community’. One cannot posit a pre-written Mahābhārata simply
using the analogy of other oral epics. Nowhere has an oral epic been found to have emerged in a
literary vacuum, such as is now posited for Vedic India and, by and large, for pre-classical
Hinduism." (Alf Hiltebeitel, Weighting, Writing and Orality in the Sanskrit Epics, in Petteri
Koskikallio (ed.), Epics, Khilas, and Purāṇas: Continuities and Ruptures. Proceedings of the 3rd
Dubrovnik International Conference on the Sanskrit Epics and Puranas. 81-111. Croatian
Academy of Sciences and Arts, Zagreb, 2005, p.86)

Vishwa Adluri elaborates on the centrality of the scribe as consciusness fused with the narrative,
which makesGaṇeśa the first reader of the epic poem devoted to the task of communicating the
truth : "As its scribe, Gaṇeśa is also the first reader of the Mahābhārata. Indeed, the problem of
writing is the problem of consciousness which is the sine qua non of life. Without an explicit
addition of consciousness, the text is decapitated and it is fit only for autopsy. Further, because
the head as the abode of consciousness is divine, the head of the Mahābhārata corpus is Gaṇeśa.
Who better to understand the politics of the head and its connection to the corpus than the god
with the transplanted head? The Gaṇeśa story is neither an interpolation nor about transcription,
it is the transplantation of consciousness onto the corpus of the epic...By adding a battle of wits
between Vyāsa and Gaṇeśa to the battle of warriors, the epic becomes more than battleground
journalism: it becomes a philosophical text capable of accommodating cosmological,
genealogical, sacrificial, and philosophical material...(Fn56: Gaṇeśa’s function in the epic
exceeds that of a mere scribe. As the epic’s first ‘reader’ or ‘hearer’, he highlights elements
essential to the reception of the text such as a keen understanding, intellect, etc.Gaṇeśa
symbolizes receptivity rather than the skill of writing. His function is to underscore the light of
intellect that is present in the reader which thus appears as a reflection or exteriorization of
divine intellect. As we saw, the semantic field of dhīḥ and cognate terms encompasses physical
as well as noetic ‘light’, i.e., both the light that illuminates the landscape as well as the intellect
that apprehends what is thereby illuminated. Thus, what is at stake in the story of Gaṇeśa’s
writing down the epic is ultimately a certain noetic receptivity on the reader’s part that illumines
the text.)" (Vishwa Adluri, The perils of textual transmission: decapitation and
recapitulation, http://www.india-seminar.com/2010/608/608_vishwa_adluri.htm). ('Noetic'
means 'relating to mental activity or the intellect.')

54
55
 m300, m1177 These Mohenjo-daro seals
are examples of hypertexts (wealth accounting ledgers in Indus Script cipher). The composite
animal hypertext includes --(among other hieroglyphs)-- a human face and an elephant trunk.

Rebus readings of these hieroglyph components are: karabha, ibha 'elephant' rebus: karba,
ib 'iron' PLUS mũh 'a face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one
time in a native smelting furnace'

This method of hypertext composition using hieroglyph components explains the iconography
of Gaṇeśa. An elephant head and trunk are added to a human body on the Gaṇeśa pratimā in
Hindu sculptural and āgama traditions.

Dholkal. Chattisgarh. Gaṇeśa

Rebus readings of these hieroglyph components are: med̄̃ , mēd 'body, womb, back' (Kur.)
rebus: mẽṛhẽt 'cast iron' PLUS karabha, ibha 'elephant' rebus: karba, ib 'iron' ibbo 'merchant'.

Indus Script the writing system which started from ca. 3300 BCE explains the cipher associated
with the composite iconography of Gaṇeśa. See: http://tinyurl.com/kptlbz3 Tridhātu as Gaṇeśa,
Tridhātu on Indus Script metalwork for crucible
steel, ādhyātmikā metaphor pr̥thvyaptejorūpadhātu (R̥gveda).
क्षि--धातज [p= 458,3] mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to denote
excessive) RV. S3Br. v , 5 , 5 , 6

I do NOT know when the iconography of Gaṇeśa emerged. There are indications that the rūpa of
dhātu (hieroglyph components of the hypertext called Gaṇeśa) can be explained in the context of
R̥gveda metaphors, R̥gveda ākhyāna, ākhyāyikā and Mahābhārata itihāsa.

56
In the laukika-lokottara research methodology of unraveling the traditions handed down to us
from time immemorial, it is seen that the written documentation in Indus Script Corpora and the
traditions enshrined in annual festivities of people in the Indian sprachbund continuum can be
correlated.

This may perhaps provide clues to an understanding of why the unique iconography of Gaṇeśa
emerged.
Ligatured glyph on copper tablet. m571B (serpent-like tail, horns, body of ram, elephant trunk,
hindlegs of tiger).

Slide 63 Elephant trunk ligatured to a winnowing fan Material:

terra cotta. Dimensions: 4.8 cm height, 5.4 cm width, 4.6 cm breadth. Harappa Museum, H87-
348 Elephant trunk LUS winnowing fan: karibha 'elephant trunk'
rebus: karba 'iron' ibha 'elephant' rebus: ib '''iron' PLUS kulA 'winnowing fan' rebus: kol
'working in iron' kolhe 'smelter' kolle 'blacksmith'. Alterntive: phaṇi 'cobra's hood' rebus: phaṇi
'lead or zinc'. This hypertext may thus signify an alloly of lead or zinc PLUS karibha, ibha
'elephant' rebus: karba, ib 'iron' PLUS dAnt 'tusk' rebus: dhAtu 'mineral ore'.

ayil iron.

Slide 44 harappa.com Elephant figurine head with painted designs from Harappa.. It is unknown
whether elephants were domesticated in the Indus Civilization. However, one of the few elephant
figurines from Harappa is a head with large stylized ears and red and white stripes painted across
the face. This may mirror the custom of decorating domesticated elephants (red and white are
common colors) for ceremonies or rituals that is still practiced in South Asia. Elephant bones
have also been found at Harappa. Approximate dimensions (W x H(L) x D): 5.4 x 4.8 x 4.6 cm.
(Photograph by Richard H. Meadow)

Terracotta.

57
Tiger, bovine, elephant, Nausharo NS 92.02.70.04 h. 6.76 cm; w. 4.42; l. 6.97cm. kola 'tiger'
rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' barada, balada 'bull' rebus: bharata
'alloy of pewter, copper, tin'; karibha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron'
Centre for Archaeological Research Indus Balochistan, Musée Guimet, Paris.

The orthographic style of creating 'composite animals' is also evident from the following
examples of artifacts:

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

Archaeology, Karachi. EBK 7712
Hieroglyph: karibha 'trunk of elephant' (Pali) ibha 'elephant' (Samskritam) Rebus: karba 'iron' ib
'iron'; rango 'buffalo bull' Rebus: ranga 'pewter, solder' kola 'tiger' Rebus: kol 'working in iron'

58
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 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.

Gaṇeśa is a hypertext composed of hieroglyphs: elephant, elephant's trunk, tip of an elephant's

trunk, mouse, tusk (used as a writing instrument like burin to engrave into a copper plate), dance-
step. (burin is a flint tool with a chisel point.; a handheld steel tool used for engraving in metal or
wood). Indus Script cipher for these hypertext expressions are as follows:
mūṣa 'mouse' rebus: mūṣa 'crucible

mũh 'a face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native
smelting furnace'

dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores)

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) rebus: mẽṛhẽt 'cast iron'.

59
 Seated Ganesha, 7th-8th century. Sandstone; 29 1/8

X 24 13/16 X 17 15/16 / National Museum of Cambodia, Photo © National Gallery of Art.

Anecdotes and narratives of itihāsa finds expression in Indus Script hypertexts.

60
Hieroglyph: ti-dhAtu 'three strands' Rebus: ti-dhAtu 'three red stone ores: magnetite, hematite,
laterite'.

The three ores are: poLa 'magnetite', bica 'hematite', goTa 'laterite'. The hieroglyphs signifying
these mineral ores are: poLa 'zebu', bica 'scorpion' goTa 'round object or seed'.

The semantic elaboration of dhāv 'a red stone ore' is identified in the gloss: dhavaḍ 'iron-
smelters'. There is a place-name in Karnataka called dharvaḍ

The suffix -vaḍ in the place-name is also explained in the context of ‘rope’ hieroglyph: vaṭa2 ʻ
string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268] vaṭa- string, rope,
tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string(DEDR 5220).

Dharvaḍ is an ancient major trading down dealing -- even today -- with iron ore and mineral-
belt of Sahyadri mountain ranges in western Karnataka. The word dhāv is derived
from dhātu which has two meanings: 'strand of rope' (Rigveda)(hieroglyph) and 'mineral'
(metalwork ciphertext of Indian sprachbund.)

61
I suggest that Shahdad which has a standard of ca. 2400 BCE with the 'twisted rope' hieroglyph -
- and hence dealing with ferrote ores (magnetite, hematite, laterite) -- should be recognized as a
twin iron-ore town of Dharvaḍ It is hypothesised that further archaeometallurgical researchers
into ancient iron ore mines of Dharvaḍ region are likely to show possible with an archaeological
settlement of Sarasvati_Sindhu civilization: Daimabad from where a seal was discovered
showing the most-frequently used Indus Script hieroglyph: rim of jar.
Daimabad seal. Rim of jar hieroglyph. karNI 'rim of jar' Rebus: karNI 'supercargo', karNIka
'scribe'.

dhāī wisp of fibers added to a rope (Sindhi) Rebus: dhātu 'mineral ore' (Samskritam) dhāū,
dhāv m.f. ʻa partic. soft red stoneʼ (whence dhavaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ
composed of or relating to iron ʼ(Marathi)

kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ
(in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa-- 2 makes prob. non -- Aryan origin
(not with P. Tedesco Language 22, 190 < kr̥ntáti). Prob. ← Drav., cf. Tam. kaṇ ʻ joint of bamboo
or sugarcane ʼ EWA i 197]
Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , °aya -- m.n. ʻ knot of
bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ, Wg. kāṇ, kŕãdotdot;, Pr. kə̄̃, Dm. kan; Paš.
lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. ko,̄̃ dar. kãṛ ʻ arrow ʼ, kãṛī ʻ torch ʼ; Shum. koṝ̃ , ko ̄̃ ʻ arrow ʼ,
Gaw. kāṇḍ, kāṇ; Kho. kan ʻ tree, large bush ʼ; Bshk. kāˋ'n ʻ arrow ʼ, Tor. kan m., Sv. kãṛa,
Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. kōṇ; K. kãḍ m. ʻ stalk of a reed, straw ʼ
(kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ, °no m. ʻ reed ʼ, °nī f. ʻ topmost joint of the reed
Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã m. ʻ stalk of the reed Sara ʼ, °nī˜ f. ʻ pen,
small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow
ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kãḍ; N. kãṛ ʻ arrow ʼ, °ṛo ʻ rafter ʼ; A. kãr ʻ arrow ʼ;
B. kãṛ ʻ arrow ʼ, °ṛā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽṛiyā ʻ
wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍa, kãṛ ʻ stalk, arrow ʼ; Bi. kãṛā ʻ stem of muñja
grass (used for thatching) ʼ; Mth. kãṛ ʻ stack of stalks of large millet ʼ, kãṛī ʻ wooden milkpail ʼ;
Bhoj. kaṇḍā ʻ reeds ʼ; H. kãṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kãḍ m. ʻ
joint, bough, arrow ʼ, °ḍū̃ n. ʻ wrist ʼ, °ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kãḍ n. ʻ
trunk, stem ʼ, °ḍẽ n. ʻ joint, knot, stem, straw ʼ, °ḍī f. ʻ joint of sugarcane, shoot of root (of
ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ.(CDIAL
3023) Rebus: *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1] L. kanērā m. ʻ
mat -- maker ʼ; H. kā̃ḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.(CDIAL
3024) khaṇḍa 'implements'.

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

Rebus: saMghAta 'caravan' also 'adamantine metallic glue' (vajra)

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Dholkal, Bastar, Chattisgarh. Ganesa with pine-cone. Three hieroglyphs of metalwork class:
trunk of elephant, pine cone, rat: karibha, kaNDe, MUSa
rebus: karba 'iron';kaṇḍa 'implements' mUSa 'crucible'
http://bharatkalyan97.blogspot.in/2016/02/ganesha-indus-script-tradition.html

mūṣa 'rat, mouse' Rebus: mūṣa 'crucible'.

kandə 'pine cone' Rebus, signified metalwork: khaṇḍa. A portion of the front hall, in a
temple; kaṇḍ 'fire-altar' (Santali) kāṇḍa 'tools, pots and pans and metal-ware' (Marathi)

Hieroglyph: Ash. piċ -- kandə ʻ pine ʼ, Kt. pṳ̄ċi, piċi, Wg. puċ, püċ (pṳ̄ċ -- kəŕ ʻ pine -- cone ʼ),
Pr. wyoċ, Shum. lyēwič (lyē -- ?).(CDIAL 8407). Cf. Gk. peu/kh f. ʻ pine ʼ, Lith. pušìs, OPruss.
peuse NTS xiii 229. The suffix –kande in the lexeme: Ash. piċ-- kandə ʻ pine ʼ may be cognate
with the bulbous glyphic related to a mangrove root: Koḍ. kaṇḍe root-stock from which small
roots grow; ila·ti kaṇḍe sweet potato (ila·ti England). Tu. kaṇḍe, gaḍḍè a bulbous root; Ta. kaṇṭal
mangrove, Rhizophora mucronata; dichotomous mangrove, Kandelia rheedii. Ma. kaṇṭa bulbous
root as of lotus, plantain; point where branches and bunches grow out of the stem of a palm;

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kaṇṭal what is bulb-like, half-ripe jackfruit and other green fruits; R. candel. (DEDR 1171).
Rebus: kaṇḍa ‘tools, pots and pans of metal’.

Hieroglyph: కండె [ kaṇḍe ] kaṇḍe. [Telugu] n. A head or ear of millet or maize. జొన్న కంకి.

Rebus:Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a
fireplace during weddings. Pe. kanda fire trench. Kui kanda small trench for
fireplace. Malt. kandri a pit. (DEDR 1214).

लोखंि (p. 723) [ lōkhaṇḍa ] n (लोि S) Iron लोखंिकाम (p. 723) [ lōkhaṇḍakāma ] n Iron work;
that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.
लोखंिी (p. 723) [ lōkhaṇḍī ] a (लोखंि) Composed of iron; relating to iron लोिोलोखंि (p. 723) [
lōhōlōkhaṇḍa ] n (लोि & लोखंि) Iron tools, vessels, or articles in general.

Indus script hieroglyphs: composite animal, smithy

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

elements. All glyphic elements are read rebus to complete the technical details of the bill of
lading of artifacts created by artisans.

m1177 Mohenjo-daro seal.

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m1180 Mohenjo-daro seal. Human-faced markhor.

m0301 Mohenjo-daro seal.

m0302 Mohenjo-daro seal.

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m0303 Mohenjo-daro seal.

m0299. Mohenjo-daro seal.

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m0300. Mohenjo-daro seal.

m1179. Mohenjo-daro seal. Markhor or ram with human face in composite hieroglyph.

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h594. Harappa seal. Composite animal (with elephant trunk and rings (scarves) on shoulder
visible).koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (G.) Vikalpa:
kaḍum ‘neck-band, ring’; rebus: khāḍ ‘trench, firepit’ (G.) Vikalpa: khaḍḍā f. hole, mine, cave
(CDIAL 3790). kanduka, kandaka ditch, trench (Tu.); kandakamu id. (Te.); kanda trench made
as a fireplace during weddings (Konda); kanda small trench for fireplace (Kui); kandri a pit
(Malt)(DEDR 1214) khaḍḍa— ‘hole, pit’. [Cf. *gaḍḍa— and list s.v. kartá—1] Pk. khaḍḍā— f.
‘hole, mine, cave’, ḍaga— m. ‘one who digs a hole’, ḍōlaya— m. ‘hole’; Bshk. (Biddulph) "kād"
(= khaḍ?) ‘valley’; K. khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’, khoḍu m. ‘vulva’; S. khaḍ̱a f. ‘pit’; L.
khaḍḍ f. ‘pit, cavern, ravine’; P. khaḍḍ f. ‘pit, ravine’, ḍī f. ‘hole for a weaver's feet’ (→ Ku.
khaḍḍ, N. khaḍ; H. khaḍ, khaḍḍā m. ‘pit, low ground, notch’; Or. khãḍi ‘edge of a deep pit’; M.
khaḍḍā m. ‘rough hole, pit’); WPah. khaś. khaḍḍā ‘stream’; N. khāṛo ‘pit, bog’, khāṛi ‘creek’,
khāṛal ‘hole (in ground or stone)’. — Altern. < *khāḍa—: Gy. gr. xar f. ‘hole’; Ku. khāṛ ‘pit’; B.
khāṛī ‘creek, inlet’, khāṛal ‘pit, ditch’; H. khāṛī f. ‘creek, inlet’, khaṛ—har, al m. ‘hole’; Marw.
khāṛo m. ‘hole’; M. khāḍ f. ‘hole, creek’, ḍā m. ‘hole’, ḍī f. ‘creek, inlet’. 3863 khā́ tra— n. ‘hole’
HPariś., ‘pond, spade’ Uṇ. [√khan] Pk. khatta— n. ‘hole, manure’, aya— m. ‘one who digs in a
field’; S. khāṭru m. ‘mine made by burglars’, ṭro m. ‘fissure, pit, gutter made by rain’; P. khāt m.
‘pit, manure’, khāttā m. ‘grain pit’, ludh. khattā m. (→ H. khattā m., khatiyā f.); N. khāt ‘heap (of
stones, wood or corn)’; B. khāt, khātṛū ‘pit, pond’; Or. khāta ‘pit’, tā ‘artificial pond’; Bi. khātā
‘hole, gutter, grain pit, notch (on beam and yoke of plough)’, khattā ‘grain pit, boundary ditch’;
Mth. khātā, khattā ‘hole, ditch’; H. khāt m. ‘ditch, well’, f. ‘manure’, khātā m. ‘grain pit’; G.
khātar n. ‘housebreaking, house sweeping, manure’, khātriyũ n. ‘tool used in housebreaking’ (→
M. khātar f. ‘hole in a wall’, khātrā m. ‘hole, manure’, khātryā m. ‘housebreaker’); M. khā̆t n.m.
‘manure’ (deriv. khatāviṇẽ ‘to manure’, khāterẽ n. ‘muck pit’). — Un- expl. ṭ in L. khāṭvā̄̃ m.
‘excavated pond’, khāṭī f. ‘digging to clear or excavate a canal’ (~ S. khātī f. ‘id.’, but khāṭyāro
m. ‘one employed to measure canal work’) and khaṭṭaṇ ‘to dig’. (CDIAL 3790) •gaḍa— 1 m.
‘ditch’ lex. [Cf. *gaḍḍa—1 and list s.v. kartá—1] Pk. gaḍa— n. ‘hole’; Paš. gaṛu ‘dike’; Kho.
(Lor.) gōḷ ‘hole, small dry ravine’; A. garā ‘high bank’; B. gaṛ ‘ditch, hole in a husking
machine’; Or. gaṛa ‘ditch, moat’; M. gaḷ f. ‘hole in the game of marbles’. 3981 *gaḍḍa— 1 ‘hole,
pit’. [G. < *garda—? — Cf. *gaḍḍ—1 and list s.v. kartá—1] Pk. gaḍḍa— m. ‘hole’; WPah. bhal.
cur. gaḍḍ f., paṅ. gaḍḍṛī, pāḍ. gaḍōṛ ‘river, stream’; N. gaṛ—tir ‘bank of a river’; A. gārā ‘deep
hole’; B. gāṛ, ṛā ‘hollow, pit’; Or. gāṛa ‘hole, cave’, gāṛiā ‘pond’; Mth. gāṛi ‘piercing’; H. gāṛā m.
‘hole’; G. garāḍ, ḍɔ m. ‘pit, ditch’ (< *graḍḍa— < *garda—?); Si. gaḍaya ‘ditch’. — Cf. S. giḍ̱i
f. ‘hole in the ground for fire during Muharram’. — X khānī̆—: K. gān m. ‘underground room’;
S. (LM 323) gāṇ f. ‘mine, hole for keeping water’; L. gāṇ m. ‘small embanked field within a
field to keep water in’; G. gāṇ f. ‘mine, cellar’; M. gāṇ f. ‘cavity containing water on a raised
piece of land’ WPah.kṭg. gāṛ ‘hole (e.g. after a knot in wood)’. (CDIAL 3947) 3860 *khāḍa— ‘a
hollow’. [Cf. *khaḍḍa— and list s.v. kartá—1] S. khāṛī f. ‘gulf, creek’; P. khāṛ ‘level country at
the foot of a mountain’, ṛī f. ‘deep watercourse, creek’; Bi. khārī ‘creek, inlet’; G. khāṛi , ṛī f., ṛɔ
m. ‘hole’. — Altern. < *khaḍḍa—: Gy. gr. xar f. ‘hole’; Ku. khāṛ ‘pit’; B. khāṛī ‘creek, inlet’,
khāṛal ‘pit, ditch’; H. khāṛī ‘creek, inlet’, khaṛ—har, al m. ‘hole’; Marw. khāṛo m. ‘hole’; M.
khāḍ f. ‘hole, creek’, ḍā m. ‘hole’, ḍī f. ‘creek, inlet’. The neck-bands hung above the shoulder of
the composite animal may thus read rebus: trench or fire-pit (i.e. furnace) for the minerals/metals
described by the glyphic elements connoting animals: elephant, ram (or zebu, bos indicus).

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m1175 Composite animal with a two-glyph inscription (water-carrier, rebus: kuti 'furnace'; road,
bata; rebus: bata 'furnace'). m1186A Composite animal hieroglyph. Text of inscription (3 lines).

There are many examples of the depiction of 'human face' ligatured to animals:

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Ligatured faces: some close-up images.
The animal is a quadruped: pasaramu, pasalamu = an animal, a beast, a brute, quadruped
(Te.)Rebus: pasra ‘smithy’ (Santali) Allograph: panǰā́ r ‘ladder, stairs’(Bshk.)(CDIAL 7760) Thus
the composite animal connotes a smithy. Details of the smithy are described orthographically by
the glyphic elements of the composition.

Rebus reading of the 'face' glyph: mũhe ‘face’ (Santali) mũh opening or hole (in a stove for
stoking (Bi.); ingot (Santali)mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at
one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like
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a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and
formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā
akata = the Kolhes have to-day produced pig iron (Santali.lex.) kaula mengro ‘blacksmith’
(Gypsy) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) The Sanskrit loss mleccha-mukha
should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.

A remarkable phrase in Sanskrit indicates the link between mleccha and use of camels as trade
caravans. This is explained in the lexicon of Apte for the lexeme: auṣṭrika 'belonging to a camel'.
The lexicon entry cited Mahābhārata: औक्षष्टिक a. Coming from a camel (as milk); Mb.8. 44.28; -
कः An oil-miller; मानजिाणां मलं म्लेच्छा म्लेच्छाना- मौक्षष्टिका मलम् । औक्षष्टिकाणां मलं िण्ाः िण्ानां
िार्यार्काः ॥ Mb.8.45.25. From the perspective of a person devoted to śāstra and rigid
disciplined life, Baudhāyana thus defines the word म्लेच्छः mlēcchḥ : -- िोमां सखादको यस्तज क्षवरु्ं
बहु िािते । सवाु चािक्षविीनश्च म्लेच्छ इत्यक्षिधीयते ॥ 'A person who eatrs meat, deviates from
traditional practices.'

The 'face' glyph is thus read rebus: mleccha mũh 'copper ingot'.

It is significant that Vatsyayana refers to crptography in his lists of 64 arts and calls it mlecchita-
vikalpa, lit. 'an alternative representation -- in cryptography or cipher -- of mleccha words.'

The glyphic of the hieroglyph: tail (serpent), face (human), horns (bos indicus, zebu or ram),
trunk (elephant), front paw (tiger),

moṇḍ the tail of a serpent (Santali) Rebus: Md. moḍenī ʻ massages, mixes ʼ. Kal.rumb. moṇḍ -- ʻ
to thresh ʼ, urt. maṇḍ -- ʻ to soften ʼ (CDIAL 9890) Thus, the ligature of the serpent as a tail of
the composite animal glyph is decoded as: polished metal (artifact). Vikalpa: xolā = tail (Kur.);
qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)சகால் kol, n. 1. Iron; இரும் பு.
மிை் செள் ளி சபாை் சகால் சலைை் சைால் லும் (தக்கயாகப் . 550). 2. Metal;
உலலாகம் . (நாமதீப. 318.) சகால் லை் kollaṉ, n. < T. golla. Custodian of treasure;
கஜாைாக்காரை். (P. T. L.) சகால் லிை்சி kollicci, n. Fem. of சகால் லை். Woman of
the blacksmith caste; சகால் லை் ைாதிப் சபண். (யாழ் . அக.) The gloss kollicci is
notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.); Koḍ. kollë
blacksmith (DEDR 2133). Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan
blacksmith, artificer. Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ka.
kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi
blacksmith; (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to
mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares);
(SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge (DEDR 2133) சகால் ² kol Working
in iron; சகாற் சறாழில் . Blacksmith; சகால் லை். (Tamil) mũhe ‘face’ (Santali); Rebus:
mũh '(copper) ingot' (Santali);mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali) லகாடு kōṭu :
•நடுநினல நீ ங் குனக. லகாடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.] Tusk; யானை
பை்றிகளிை் தந்தம் . மத்த யானையிை் லகாடும் (லதொ. 39, 1). 4. Horn;
விலங் கிை் சகாம் பு. லகாட்டினட யாடினை கூத்து (திெ் . இயற் . திருவிருத்.
21). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in game,

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log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch, path
across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn.
Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)Rebus: koḍ = the place
where artisans work (G.) kul 'tiger' (Santali); kōlu id. (Te.) kōlupuli = Bengal tiger (Te.)Pk.
kolhuya -- , kulha -- m. ʻ jackal ʼ < *kōḍhu -- ; H.kolhā, °lā m. ʻ jackal ʼ, adj. ʻ crafty ʼ; G. kohlũ,
°lũ n. ʻ jackal ʼ, M. kolhā, °lā m. krōṣṭŕ̊ ʻ crying ʼ BhP., m. ʻ jackal ʼ RV. = krṓṣṭu -- m. Pāṇ.
[√kruś] Pa. koṭṭhu -- , °uka -- and kotthu -- , °uka -- m. ʻ jackal ʼ, Pk. koṭṭhu -- m.; Si. koṭa ʻ
jackal ʼ, koṭiya ʻ leopard ʼ GS 42 (CDIAL 3615). कोल्हा [ kōlhā ] कोल्हें [ kōlhēṃ ] A jackal
(Marathi) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pañcaloha’ (Ta.)
Allograph: kōla = woman (Nahali) [The ligature of a woman to a tiger is a phonetic determinant;
the scribe clearly conveys that the gloss represented is kōla] karba 'iron' (Ka.)(DEDR 1278) as in
ajirda karba 'iron' (Ka.) kari, karu 'black' (Ma.)(DEDR 1278) karbura 'gold' (Ka.) karbon 'black
gold, iron' (Ka.) kabbiṇa 'iron' (Ka.) karum pon 'iron' (Ta.); kabin 'iron' (Ko.)(DEDR 1278) Ib
'iron' (Santali) [cf. Toda gloss below: ib ‘needle’.] Ta. Irumpu iron, instrument, weapon. a.
irumpu,irimpu iron. Ko. ibid. To. Ib needle. Koḍ. Irïmbï iron. Te. Inumu id. Kol. (Kin.) inum (pl.
inmul)iron, sword. Kui (Friend-Pereira) rumba vaḍi ironstone (for vaḍi, see 5285). (DEDR 486)
Allograph: karibha -- m. ʻ Ficus religiosa (?) [Semantics of ficus religiosa may be relatable to
homonyms used to denote both the sacred tree and rebus gloss: loa, ficus (Santali); loh ‘metal’
(Skt.)]

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

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

The composite animal (bovid) is re-configured

by Huntington. http://huntington.wmc.ohio-state.edu/public/index.cfm Components of the

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composite hieroglyph on seal M-299. A ligaturing element is a human face which is a hieroglyph
read rebus in mleccha (meluhha): mũhe ‘face’ (Santali) ; rebus:mũh metal ingot (Santali). Using
such readings, it has been demonstrated that the entire corpora of Indus writing which now
counts for over 5000 inscriptions + comparable hieroglyphs in contact areas of Dilmun where
seals are deployed using the characeristic hieroglyphs of four dotted circles and three linear
strokes.

Zebu is ligatured as distinctive high horns to create a composite hieroglyph ‘composite

animal motif’ as in m0301: human face, body or forepart of a ram, body and forelegs of a
unicorn, horns of a zebu, trunk of an elephant, hindlegs of a tiger and an upraised serpent-like
tail:

A truly fascinating paper by Dennys Frenez and Massimo Vidale on composite Indus creatures
and their meaning: Harappa Chimaeras as 'Symbolic Hypertexts'. Some Thoughts on Plato,
Chimaera and the Indus Civilization at a.harappa.com/...

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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.

Mohenjo-daro Seal 1927 with epigraphs on two-side is a confirmation that the horns ligatured to
the composite animal on m1927b are horns of zebu.

The pictorial motif hieroglyphs message on the seal:

khū̃ṭ ‘zebu’ Rebus: ‘(native metal) guild’ This refrain is detailed by the zebu horns affixed to the
compositive animal hieroglyph. A synonym is aḍar ḍangra read rebus: aduru
ḍhangar ‘blacksmith’(Santali)

The composite animal hieroglyph can thus be seen as an expansion of the message conveyed by
the zebu hieroglyph expanding the blacksmith guild activities to other minerals and metals
beyond aduru ‘native, unsmelted metal’. The text message seems to be identical on both sides of
the seal m1927: bronze workshop; metal smithy castings; forge. The zebu side a of the seal
seems to denote the work of a native-metal-smith; the composite animal side b of the seal seems
to denote the expanded work of a blacksmith working with stones, minerals and metals. The
composite hieroglyph on m1927b was perhaps called:व्याळ [ vyāḷa ] m (व्याल S) A serpent.
Ex. र्ैसें पायास दं क्षशलें मिा व्याळें ॥ तों मस्तकासीं वृक्षश्चकें दं क्षशलें ॥. 2 Applied popularly to
the नाि or िजर्ंि.व्याल [ vyāla ] m S A serpent. (Marathi) யாளெரி yāḷa-vari n.
< vyāḷayāḷi யாளி yāḷi, n. < vyāḷa. [K. yāḷi.] A mythological lion-faced animal with
elephantine proboscis and tusks; யானையிை் தந்தமும் துதிக்னகயுஞ் சிங் கத்திை்
முகமுமுனடயதாகக் கருதப் படும் மிருகம் . உழுனெயும் யாளியு
முளியமும் (குறிஞ் சிப் . 252). 1 A vicious elephant; व्यालं बाल- मृणालतन्तजक्षििसौ िोद् धजं
समजज्जृम्भते Bh.2.6. -2 A beast of prey; वसन्त्यक्तिन् मिािण्ये व्यालाश्च रुक्षधिाशनाः Rām.2.119. 19; वनं
व्यालक्षनिेक्षवतम् Rām. -3 A snake; H.3.29. -4 A tiger; Māl.3. -5 A leopard. व्यालकः A vicious or
wicked elephant.

The text message on the seal:

kanac ‘corner’ Rebus: kañcu ‘bronze’

sal ‘splinter’ Rebus: sal ‘workshop’
|| dula ‘pair or two’ Rebus: dul ‘cast metal’

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||| kolom ‘three’ Rebus: kolami ‘smithy, forge’
kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’
Bronze alloy workshop kañcu sal starting with bronze which is a tin + copper alloy or tin bronze
(as distinguished from arsenical bronze, i.e. naturally occurring copper + arsenic).
dula ‘two’ Rebus: dul ‘cast metal’
dolom ‘three’ Rebus: kolami ‘smithy, forge’
kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’. Vikalpa: mogge ‘sprout, bud’
Rebus: muh̄̃ ‘ingot’

m0300 Zebu horns on composite animal. Native metal smith guild. Text 2521
ingot (from) iron smelter, tin smelter merchant guild.

Focus on ‘serpent’ tail: nāga ‘snake’ Rebus: nāga ‘lead’ (Sanskrit) anakku ‘tin’
(Akkadian)Kur. xolā tail. Malt. qoli id. (DEDR 2135). Focus on human face:
mukha, muh̄̃ ‘face’ Rebus: muh̄̃ ‘ingot’. Zebu horns: khū̃ṭ ‘zebu’ (Gujarati) Rebus: khū̃ṭ ‘(native
metal) community, guild’ (Santali) kola ‘tiger’ Rebus: kolhe ‘smelters’ kol ‘working in iron’
ibha ‘elephant’ Rebus: ib ‘iron’ body of an ox: balad ‘bull’ Rebus: baran, bharat ‘mixed alloys’
(5 copper, 4 zinc and 1 tin) (Punjabi) dhatu ‘scarf’ Rebus: dhatu ‘mineral ore’.

āra 'spokes' Rebus: āra ‘brass’. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal);
crystal (Kannada) Glyph: eraka’nave of wheel’ Rebus: eraka ‘copper’; cf. erka = ekke (Tbh. of
arka) aka (Tbh. of arka) copper (metal); crystal (Kannada)
Read in context, the composite hieroglyph is assumed to be a combination of a slanted stroke
ligatured to a notch,which provide possible rebus readings of a smithy/forge: notch+slanted
stroke reads rebus:ḍhālako kāṇḍa ‘ingot, tools, pots and pans and metal-ware’

dhāḷ ‘a slope’; ‘inclination of a plane’ (Gujarati); ḍhāḷiyum = adj. sloping, inclining (Gujarati)
Rebus:ḍhālako = a large metal ingot (Gujarati) ḍhālakī = a metal heated and poured into a
mould; a solid piece of metal; an ingot (Gujarati)

PLUS

खां िा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or
weapon). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’

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Thus, the first pair of sign hieroglyphs from r. read rebus: copper, bronze ingots, metalware

| खां िा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or
weapon). Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’

ranku ‘liquid measure’ Rebus: ranku ‘tin’

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

kolmo ‘paddy plant’ Rebus: kolami ‘smithy, forge’.

balad m. ʻ ox ʼ, gng. bald, (Ku.) barad, id. (N. Tarai) Rebus: bharat (5 copper, 4 zinc and 1
tin)(Punjabi)pattar ‘trough’ Rebus: pattar ‘guild’. Thus, copper-zinc-tin alloy (worker) guild.

खोंि [khōṇḍa] m A young bull, a bullcalf. (Marathi) Rebus: kõdār ‘turner’ (Bengali); कोंद kōnda
‘engraver, lapidary setting or infixing gems’ (Marathi) G. sãghāṛɔ m. ʻlathe’ ; संघाट joinery; M.
saḡ̃ aḍ ‘double-canoe’ Rebus: sangataras ‘stone-cutter, mason’

kola 'tiger' Rebus: kolhe 'smelter'; kol 'working in iron'; kole.l 'smithy'; kole.l 'temple' dula 'pair'
Rebus: dul 'cast metal'

akho m. ʻmesh of a netʼ Rebus: L. P. akkhā m. ʻ one end of a bag or sack thrown over a beast of
burden ʼ; Or. akhā ʻ gunny bag ʼ; Bi. ākhā, ãkhā ʻ grain bag carried by pack animal ʼ; H. ākhā m.
ʻ one of a pair of grain bags used as panniers ʼ; M. ãkhā m. ʻ netting in which coco -- nuts, &c.,
are carried ʼ, akhẽ n. ʻ half a bullock -- load ʼ (CDIAL 17) అంకెము [ aṅkemu ] ankemu.
[Telugu] n. One pack or pannier, being half a bullock load.

अिः [अश्-सः] 1 An axis, axle, pivot; अिििे च यानस्य....न दण्डं मनजिब्रवीत् Ms.8.291,292; दृढधूः
अिः Kāś. V. 4.74; Śi.12.2, 18.7; ज्योक्षतश्चिािदण्डः Dk. 1Axle-pole. -2 The pole of a cart. Rebus: -
पटलः[ि. त.] 1 a court of law. -2 depository of legal documents. -3 = अक्षि- पटलम्, q. v. -लः
[अिाणां व्यविािाणां पटलमस्त्यस्य अच् ] a judge. -4 record-office (GI). -5 account-office (RT). -
पटलाक्षधकृतः superintendent of records and accounts. Thus, the gloss 'akho' also connotes that the
writing system was a method of accounting for materials produced from
smelters/furnaces/smithy/forge. அக்கைானல akka-cālai, n. < arkaW.)
*அக்கைானலயர் akka-cālaiyar
, n. < id. +. Goldsmiths, jewellers; தட்டார். (பிங் .) The cognate arka relates to smithy work:
eraka 'copper'

76
Mohenjodaro seal (m0302).
The composite animal glyph is one example to show that rebus method has to be applied to every
glyphic element in the writing system.

The glyphic elements of the composite animal shown together with the glyphs of fish, fish
ligatured with lid, arrow (on Seal m0302) are:
--ram or sheep (forelegs denote a bovine)
--neck-band, ring
--bos indicus (zebu)(the high horns denote a bos indicus)
--elephant (the elephant's trunk ligatured to human face)
--tiger (hind legs denote a tiger)
--serpent (tail denotes a serpent)
--human face
All these glyphic elements are decoded rebus:
meḍho a ram, a sheep (G.)(CDIAL 10120);
kaḍum ‘neck-band, ring’
adar ḍangra ‘zebu’
ibha ‘elephant’ (Skt.); rebus: ib ‘iron’ (Ko.)
kolo ‘jackal’ (Kon.)
moṇḍ the tail of a serpent (Santali) Rebus: Md. moḍenī ʻ massages, mixes ʼ. Kal.rumb. moṇḍ -- ʻ
to thresh ʼ, urt. maṇḍ -- ʻ to soften ʼ (CDIAL 9890) Thus, the ligature of the serpent as a tail of
the composite animal glyph is decoded as: polished metal (artifact).
mũhe ‘face’ (Santali); mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali)
லகாடு kōṭu : •நடுநினல நீ ங் குனக. லகாடிறீக் கூற் றம் (நாலடி, 5). 3. [K. kōḍu.]
Tusk; யானை பை்றிகளிை் தந்தம் . மத்த யானையிை் லகாடும் (லதொ. 39,
1). 4. Horn; விலங் கிை் சகாம் பு. லகாட்டினட யாடினை கூத்து (திெ் . இயற் .
திருவிருத். 21).
Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram,
bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta.
kuṭiñai). Ko. kṛ (obl. kṭ-) horns (one horn is kob), half of hair on each side of parting, side in
game, log, section of bamboo used as fuel, line marked out. To. kwṛ (obl. kwṭ-) horn, branch,
path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu
horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn (DEDR 2200)
meḍ ‘iron’ (Ho.)
khāḍ ‘trench, firepit’
aduru ‘native metal’ (Ka.) ḍhangar ‘blacksmith’ (H.)
kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.)
mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)

77
mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at
each of four ends (Santali)
koḍ = the place where artisans work (G.)
Orthographically, the glytic compositions add on the characteristic short tail as a hieroglyph (on
both ligatured signs and on pictorial motifs)
xolā = tail (Kur.); qoli id. (Malt.)(DEDr 2135). Rebus: kol ‘pañcalōha’ (Ta.)சகால் kol, n. 1.
Iron; இரும் பு. மிை் செள் ளி சபாை் சகால் சலைை் சைால் லும் (தக்கயாகப் .
550). 2. Metal; உலலாகம் . (நாமதீப. 318.) சகால் லை் kollaṉ, n. < T. golla. Custodian of
treasure; கஜாைாக்காரை். (P. T. L.) சகால் லிை்சி kollicci, n. Fem. of சகால் லை்.
Woman of the blacksmith caste; சகால் லை் ைாதிப் சபண். (யாழ் . அக.) The gloss
kollicci is notable. It clearly evidences that kol was a blacksmith. kola ‘blacksmith’ (Ka.);
Koḍ. kollë blacksmith (DEDR 2133). Vikalpa: dumbaदज म्ब or (El.) duma दज म । पशजपजच्छः m. the tail
of an animal. (Kashmiri) Rebus: ḍōmba ?Gypsy (CDIAL 5570).

Ligaturing of glyphs on the Indus script is paralleled by sculpted ligatures of Sarasvati-Sindhu

civilization

Glyphs on Indus script: Ligatured human body, metal wheelwright

There are many variants of this human body glyph (Sign 1, Mahadevan Indus script corpus).
There are many composite glyphs with many ligatures to this human body frame.

78
meḍ ‘body’ (Santali) Rebus: meḍ ‘iron (metal)’ (Ho.) koṭe meṛed= forged iron (Mu.) (cf.
glyph: Ka. kōḍu horn)

Vikalpa: kāṭhī = body, person; kāṭhī the make of the body; the stature of a man (G.) Rebus:
khātī ‘wheelwright’ (H.)

eṛaka 'upraised arm' (Ta.); Ka.eṟake wing; rebus: eraka = copper (Ka.); eraka ‘metal infusion’
(Tu.)

Characteristic ligatures are: scarf on hair-pigtail, armlets on arms, raised arm, seated (hidden,
spy?) on a tree, ligatured to buttocks (back) of a bovine, horned (often with a twig betwixt
horns).

All these orthographic glyptic elements can be explained rebus as mleccha smith guild token
glyphs, all in the context of a smithy/forge/smithy guild. This decoding is consistent with rebus
readings of other glyphs such as ligatured tiger + eagle, tiger+ wings, tiger+ human body.

Bauddham tradition explains the expression Tridhātu at an ādhyāmikā level as three realms of
cyclic existence.
Three realms (Skt. tridhātu; Tib. ཁམས་གསུམ་, kham sum; Wyl. khams gsum) — the desire realm,
the form realm and the formless realm, all within cyclic existence.
• the desire realm,
• the form realm, and
• the formless realm.
Three realms The three levels within samsara: the desire realm, the form realm, and the formless
realm. The desire realm is the environment of hell beings, hungry spirits, animals, human
beings, demi-gods, and the gods who enjoy the five objects of desire. The form realm is the
environment of the gods who possess form. The formless realm is the environment of
the gods who do not possess form. Beings of the desire realm have powerful delusions, beings of
the form realm have more subtle delusions, and beings of the formless realm have
very subtle delusions.
These realms are all within the domain of samsara.
http://www.chinabuddhismencyclopedia.com/en/index.php/Three_realms

79
 530

80
and 531 ivory rods are shaped like a meDga 'stake' rebus: medha 'yajna' (yupa) with caSAla (as
described in Satapatha Brahmana and Taittiriya Samhita) for a Soma yaga.
John Marshall wrote: "Seals of this group [cylinder seals, although Mackay above is not sure
they are true cylinder seals]], if indeed they are seals, are very rarely found at Mohenjo-daro,
only five specimen being obtained in all. They are all made of ivory and differ from the cylinder
seals of other countries in being very long and thing; nor are they perforated for suspension on a
cord. It is possible that these so-called seals are not true seals at all. They incised characters upon
them might conceivably be identification marks for a game or something similar. On the other
hand, they are certainly suitable for use a seals and in this account they are included in this
chapter For the sake of clearness the actual seal is shown side by side with each impression.

No 529 (Pl. CXIV, HR 5515). Ivory. 2.7 inches long by 0.25 in. in diameter. Double groove at
one end for attachment of cord. The other end is decorated with three parallel grooves. Level, 4
feet below surface. Central Courtyard (30), House LIII, Block 7, HR Area.
No 530 (Pl. CXIV, HR 4985). Ivory. 2.05 inches long by 0.25 in. in diameter. Double groove at
one end for a cord; the other end is broken. Level 3 feet below surface. Central Courtyard (30),
House LIII, Block 7, HR Area.
No 531 (Pl. CXIV, DK 2666). Ivory. Now 2.05 inches long by 0.3 in. in diameter. Its polish
shows that it has been much used. About one-half of the seal is covered with an inscription,
deeply and roughly incised and bordered by two deep cut lines. One end of the seal is shaped
into a conical head with a deep groove possibly intended for a cord. The seal is not bored; nor is
it perfectly round. Level, 4 feet below surface. Street between Blocks 1 and 2, Section B, DK
Area.
No 532 (Pl. CXIV, VS 875). Ivory. Now 2 inches long by 0.3 in. in diameter. One end is broken
and a small piece is missing. The seal tapers slightly towards its complete end. Five deeply
incised characters occupy a space of about two-thirds of the circumference of the seal. Level, 12
feet below surface. Found in front of Room 70, House XXVII, VS Area.
No 533 (Pl. CXIV, VS 958). Ivory. 2.75 inches long by 0.3 in. in diameter. Decorated at 0-.5 in.
from each end with a deeply incised cross-hatched border. Towards one end of the intervening
space are two deeply incised characters This seal is not perfectly round. Level, 10 feet below
surface of the ground. From Room 69, House XXVIII, VS Area. (John Marshall, Mohenjo-daro
and the Indus Civilization, p. 371

The 5 ivory rod inscriptions (529 to 533 Marshall) are flipped left horizontally and presnted with
rebus readings:

Ivory inscription 1

81
 kuTi 'water carrier' rebus: kuThi 'smelter' dula 'two' rebus: dul

'metal casting' PLUS karNika 'spread legs' rebus: karNI 'Supercargo' meD 'body' rebus: meD
'iron' med 'copper' (Slavic) baTa 'rimless pot' rebus: bhaTa 'furnace' gaNDa 'four' rebus: kaNDa
'implements'. Thus the message is: Smelter, metalcater, Supercargo working with iron/copper
implements and furnace.

Ivory inscription 2

khaNDa 'divisions'; rebus:

kaNDa 'implements' dhAv 'strand' dhAv 'string' rebus: dhAvaD 'smelter' dhaTo 'claws of crab'
rebus: dhatu 'minerals'. Thus the message is: Smelter of minerals, (maker of metal) implements.'

Ivory inscription 3

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 dula 'two' rebus: dul 'metal casting' khareḍo =

a currycomb (G.) Rebus: kharādī ' turner' (G.) kamaTha 'bow and arrow' rebus: kammaTa 'mint,
coiner, coinage' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khANDA 'notch' rebus: kaNDa
'implements' PLUS khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) muh 'ingot'.Thus,
the message is: Turner of metal castings, mins-master-coiner, iron (metal) implements, ingots
and metal (alloys) turner.

Ivory inscription 4

(529 Marshall Ivory rod) khareḍo = a currycomb (G.) Rebus:

kharādī ' turner' (G.) karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe,
account' karã̄ 'wristlets, bangles' rebus: khAr 'blacksmith' sal 'splinter' rebus: sal 'workshop'
khANDA 'notch' rebus: kaNDa 'implements' Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'
PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint, coiner, coinage'. Thus, the message is:
Blacksmith, Turner, Supercargo implements workshop, mint-master/coiner. (529 and 530 ivory
rods have identical inscriptions; 530 has an additional hieroglyph: three linear strokes)

Ivory inscription 5

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 (530 Marshall Ivory rod) khareḍo =

a currycomb (G.) Rebus: kharādī ' turner' (G.) karNaka, kanka 'rim of jar' rebus: karNI
'Supercargo' karNaka 'scribe, engraver, account' karã̄ 'wristlets, bangles' rebus: khAr
'blacksmith' sal 'splinter' rebus: sal 'workshop' khANDA 'notch' rebus: kaNDa 'implements' Fish-
fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus: kammaTa 'mint,
coiner, coinage'. kolom 'three' rebus: kolimi 'smithy, forge'. Thus, the message is: Blacksmith,
Turner, Supercargo (engraver) implements workshop, mint-master/coiner, (working in)
smithy/forge..

Ivory inscription 6

Inscribed rod with double bands of hatching at each end, Mohenjo-daro. Seven script signs right
to left. Traces of vermillion fill all the lines.
m1650 Ivory

stick Hypertext 3505 daTo 'claws

of crab' rebus: dhatu 'mineral' kanac 'corner' rebus: kancu 'bronze' gaNDA 'four' rebus: kaNDa
'implements' PLUS kolom 'three' rebus: kolimi 'smithy, forge' dula 'two' rebus: dul 'metal casting'
dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace' karNaka,
kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo =
a currycomb (G.) Rebus: kharādī ' turner' (G.)Thus, the message is: Supercargo, (worker in)
minerals, bronze implements, smithy/forge, metal caster, Metals turner (alloys) using furnace

Ivory inscription 7

84
 Pict-141 Geometrical pattern Hypertext 2942 karNika

'spread legs' rebus: karNI 'Supercargo' meD 'body' rebus: meD 'iron' med 'copper' (Slavic) PLUS
khANDA 'notch' rebus: kaNDa 'implements' sal 'splinter' rebus: sal 'workshop' khaNDa
'divisions'; rebus: kaNDa 'implements'. Tus, the message is: Supercargo (working in) iron/copper
implements workshop.

Ivory inscription 8

Pict 142 geometrical pattern Hypertext 2941 Ivory or bone rod

geometrical pattern followed by inscription koDa 'one' rebus: koD 'workshop' dula 'two' rebus:
dul 'metal casting' dula 'two' rebus: dul 'metal casting' PLUS baTa 'rimless pot' rebus: bhaTa
'furnace' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo
= a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is: Turner, Supercargo in
metal casting workshop and (working with) furnace

Ivory inscription 9

Hypertext 2943 Hypertext 2943 is a duplication of the Hypertext 2941: koDa

'one' rebus: koD 'workshop' dula 'two' rebus: dul 'metal casting' dula 'two' rebus: dul 'metal
casting' PLUS baTa 'rimless pot' rebus: bhaTa 'furnace' karNI 'Supercargo' karNaka 'scribe,
account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.). Thus, the message is:
Turner, Superargo in metal casting workshop and (working with) furnace.

Ivory inscription 10

Pict 143 Geometrical pattern Hypertext 2948 gaNDa 'four' rebus:

kaNDa 'implements' ranku 'liquid measure' rebus: ranku 'tin' (thus, tin implements) kuTi 'water
carrier' rebus: kuThi 'smelter' PLUS karNI 'Supercargo' karNaka 'scribe, account' khareḍo =
a currycomb (G.) Rebus: kharādī ' turner' (G.). (thus, Supercargo, engraver working with
smelter) khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.) Thus, the message is:
Supercargo (working with smelter) Tin work and Turner (of metal alloys) working with furnace
and engraving.

Ivory inscription 11

85
 Hypertext 2944 Ivory or bone rod Phal. tērchi
̣ ʻ adze ʼ (with "intrusive" r).Rebus:

takṣa in cmpd. ʻ cutting ʼ, m. ʻ carpenter ʼ VarBr̥S PLUS kolom 'three' rebus: kolimi 'smithy,
forge' (Thus, carpenter working with smithy/forge). muH 'ingot' PLUS kolmo 'rice plant' rebus:
kolimi 'smithy, forge' (Thus smithy/forge ingots) kuTi 'water carrier' rebus: kuThi
'smelter' PLUS karNI 'Supercargo' karNaka 'scribe, account' Thus the message is: Carpenter
working with smithy/forge, ingots for smithy and Supercargo working with smelter and
engraving.

Ivory inscription 12

Hypertext 2945 Ivory or bone rod gaNDa 'four' rebus: kaNDa 'implements' kolmo 'rice
plant' rebus: kolimi 'smithy, forge' Thus, the message is: (Maker of) implements in smithy/forge.

Ivory inscription 13

86
 Ivory rod, ivory plaques with dotted circles. Mohenjo-daro (Musee

National De Arts Asiatiques, Guimet, 1988-1989, , Les cites oubliees de l’Indus Archeologie du
Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dATu 'cross' rebus:
dhatu 'mineral'. Thus, the message signified by dotted circles and X hieroglyph refers to dhā̆vaḍ
priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod is: karaṇḍa 'duck' (Sanskrit)
karaṛa 'a very large aquatic bird' (Sindhi) Rebus: कििा [karaḍā] Hard from alloy--iron, silver
&c. (Marathi) Thus, the metalworker (smelter) works with hard alloys (using carburization
process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy, forge'. Thus working with
minerals and hard alloys for smithy, forge.

Ivory inscription 14

m1652 Ivory stick sal 'splinter' rebus: sal 'workshop' PLUS daTo 'claws of crab' rebus: dhatu
'mineral' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' koDa 'one' rebus: koD 'workshop' dula 'two'
rebus: dul 'metal casting'. Thus the message is: workshop for minerals, metals and metalcaster.

Ivory inscription 15

87
88
m1651 Ivory stick A, D, F
Hypertext 2947 Dotted circle hieroglyphs at the ends of the rod: dhātu
'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) dATu 'cross' rebus: dhatu
'mineral'. Fish-fin: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā ʻfinʼ rebus:
kammaTa 'mint, coiner, coinage'.muh 'ingot' PLUS khANDA 'notch' rebus: kaNDa 'implements'
(Thus, ingot implements) koḍa 'sluice'; Rebus: koḍ 'artisan's workshop (Kuwi) karNaka, kanka
'rim of jar' rebus: karNI 'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.)
Rebus: kharādī ' turner' (G.). thus the message is: Working with dhatu (minerals), mint (coiner),
ingot implements workshop, Supercargo (scribe, account), Turner (alloys) of metal, Smelter

Ivory inscription 16

Hypertext 2940 Ivory or bone rod dula 'two' rebus: dul 'metal casting' arA
'spokes' rebus: Ara 'brass' eraka 'nave of wheel' rebus: eraka 'molten cast, copper'.kamaTha 'bow
and arrow' rebus: kammaTa 'mint, coiner, coinage' karNaka, kanka 'rim of jar' rebus: karNI
'Supercargo' karNaka 'scribe, account' khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (G.).
Thus, the message is: Supercargo (scribe, account), Turner (of alloys) of metal, mint-master,
working with metal casting.

Ivory inscription 17

m1653 ivory plaque Hypertext

1905 bhaTa 'warrior' rebus: bhaTa 'furnace' kuṭila 'bent' CDIAL 3230) Rebus:kuṭila, katthīl =
bronze (8 parts copper and 2 parts tin).Thus, a bronze furnace worker.
89
Ivory inscription 18.

m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on

each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer,
strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter).
Ivory inscription 19

Ivory is also used to record an inscription in Harappa:

h101 Ivory stick Hypertext 4561 dhātu 'layer,

strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) koDa 'one' rebus: koD 'workshop'
khANDA 'notch' rebus: kaNDa 'implements'. Thus, Smelter (ores) and implements workshop.

90
 Ivory rod, ivory plaques with dotted circles.

Mohenjo-daro (Musee National De Arts Asiatiques, Guimet, 1988-1989, , Les cites oubliees de
l’Indus Archeologie du Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu
'ore'. dATu 'cross' rebus: dhatu 'mineral'. Thus, the message signified by dotted circles and X
hieroglyph refers to dhā̆vaḍ priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod
is: karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: कििा [karaḍā]
Hard from alloy--iron, silver &c. (Marathi) Thus, the metalworker (smelter) works with hard
alloys (using carburization process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy,
forge'. Thus working with minerals and hard alloys for smithy, forge.

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Finds at Atlyn-depe: ivory sticks and gaming pieces (?) obtained from Sarasvati Sindhu
civilization; similar objects with dotted circles found in Mohenjodaro and Harappa. (Masson,
VM, 1988, Altyn-depe, UPenn museum, p. 90)

Bactria; metal pins; fig 2.10 is a pin with

a head in the shape of two sitting rams; this resembles a pin was found in Mohenjodaro with a
head in the form of seated goats with helically bent horns (Mackay 1937: pl. C3). Pins with

92
zoomorphic heads is typically noticed in southwest Iran and the Near East. Fig. 2.11-12 show
pins with heads in the shape of clenched fist with parallels of similar pins in Mesopotamian royal
tombs of Ur (Maxwell-Hyslop 1971: 13, fig.11). Good examples of Iranian-Afghan-Indian ties.

Ivory rod, Needle-endings of Gold pendants as writing instruments of Indus Script scribes

Red paint on the tip of an ivory rod discovered in Lothal in a toilet set of combs, suggests that
women of the civilization could have used the ivory rods to inscribe Indus Script hieroglyphs.

This 2.5 inch long gold pendant has a 0.3 inch nib; its ending is shaped like a sewing or
netting needle. It bears an inscription painted in Indus Script. This inscription is
deciphered as a proclamation of metalwork competence.

3 Gold pendants: Jewelry Marshall 1931: 521, pl. CLI, B3

The comments made by John Marshall on three curious objects at bottom right-hand corner of Pl.
CLI, B3: “Personal ornaments…Jewellery and Necklaces…Netting needles (?) Three very
curious objects found with the studs and the necklace appear to be netting needles of gold. They
are shown just above the ear-studs and also in the lower right-hand corner of Pl. CLI, B, 3-5 and
12-14. The largest of these needles (E 2044a) is 2.5 inches long. The handle is hollow and
cylindrical and tapers slightly, being 0.2 inch in diameter at the needle-end. The needle point is
0.5 inch long and has a roughly shaped oval eye at its base. The medium sized needle (E 2044b)
is 2.5 inches long and of the same pattern: but the cap that closed the end of the handle is now
missing. The point which has an oval eye at its base is 0.3 inch long. The third needle (E 2044c)
is only 1.7 inches long with the point 0.3 inch in length. Its handle, which is otherwise similar to

93
those of the other two needles, is badly dented. The exact use of these three objects is open to
question, for they could have been used for either sewing or netting. The handles seem to have
been drawn, as there is no sign of a soldered line, but the caps at either end were soldered on
with an alloy that is very little lighter in colour than the gold itself. The two smaller needles have
evidently been held between the teeth on more than one occasion.” (p.521)

Evidently, Marshall has missed out on the incription written in paint, as a free-hand writing, over
one of the objects: Pl. CLI, B3.

This is an extraordinary evidence of the Indus writing system written down, with hieroglyphs
inscribed using a coloured paint, on an object.

What could these three objects be? Sewing needles? Netting needles?

I surmise that all the three gold objects could be pendants tagged to other jewellery such as
necklaces. The pendants were perhaps worn with a thread of fibre passing through the eye of the
needle-like ending of the pendants.

Why needle-like endings? Maybe, the pendants were used as 'writing' devices 1) either to
engrave hieroglyphs into objects; 2)or to use the needle-ending like a metal nib to dip into a
colored ink or liquid or zinc-oxide paste or cinnabar-paste. This possibility is suggested by the
use of cinnabar in ancient China to paint into lacquer plates or bowls. Cinnabar or powdered
mercury sulphide was the primary colorant lof lacquer vessels. "Known in China during the late
Neolithic period (ca. 5000–ca. 2000 B.C.), lacquer was an important artistic medium from the
sixth century B.C. to the second century A.D. and was often colored with minerals such as
carbon (black), orpiment (yellow), and cinnabar (red) and used to paint the surfaces of sculptures
and vessels...a red lacquer background is carved with thin lines that are filled with gold, gold
powder, or lacquer that has been tinted black, green, or
yellow." http://www.metmuseum.org/exhibitions/listings/2009/cinnabar

Section B. Three-stranded rope as Indus Script hieroglyph signifies dhavaḍ m. ʻa caste of iron --
smeltersʼ
See: मेढा [ mēḍhā ]twist (rope) on a Bogazkoy seal; मेढ (p. 662) [ mēḍha ] yajña, dhanam. meḍ
'iron'.

Indus Script hieroglyph 'twisted rope' on 14 Ancient Near East seals/artifacts deciphered, linked
to Dharvaḍ iron-ore town Karnataka, India http://tinyurl.com/oapwlyo

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Fig. 1 First cylinder seal-impressed jar from Taip 1, Turkmenistan
(Photo: Kohl 1984: Pl. 15c; drawings after Collon 1987: nos. 600, 599. (After Fig. 5 Eric
Olijdam, 2008, A possible central Asian origin for seal-impressed jar from the 'Temple Tower' at
Failaka, in: Eric Olijdam and Richard H. Spoor, eds., 2008, Intercultural relations between south
and southwest Asia, Studies in commemoration of ECL During Caspers (1934-1996), Society for
Arabian Studies Monographs No. 7 [eds. D. Kennet & St J. Simpson], BAR International Series
1826 pp. 268-
287). https://www.academia.edu/403945/A_Possible_Central_Asian_Origin_for_the_Seal-
Impressed_Jar_from_the_Temple_Tower_at_Failaka

Decipherment of Indus Script hieroglyphs:

Hieroglyphs on the cylinder impression of the jar are: zebu, stalk (tree?), one-horned young bull
(?), twisted rope, birds in flight, mountain-range

dhāī wisp of fibers added to a rope (Sindhi) Rebus: dhātu 'mineral ore' (Samskritam) dhāū,
dhāv m.f. ʻa partic. soft red stoneʼ (whence dhavaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ
composed of or relating to iron ʼ(Marathi)

poḷa 'zebu' Rebus: poḷa 'magnetite ore'

kōḍe, kōḍiya. [Tel.] n. A bullcalf. Rebus: koḍ artisan’s workshop (Kuwi) kunda ‘turner’ kundār
turner (Assamese)

kolmo 'rice plant' Rebus: kolimi 'smithy, forge'

eruvai 'eagle' Rebus: eruvai 'copper (red)'

dAng 'mountain-range' Rebus: dhangar 'blacksmith'

Thus, the storage jar contents are the message conveyed by the hieroglyph-multiplex: copper
smithy workshop magnetite ore, iron castings.

95
Fig. 2 Hematite cylinder seal of Old Syria ca. 1820-1730 BCE

Period: Old Syrian

Date: ca. 1820–1730 B.C.E
Geography: Syria
Medium: Hematite
Dimensions: H. 1 1/16 in. (2.7 cm); Diam. 1/2 in. (1.2 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian,
1999

Accession Number: 1999.325.142 Metmuseum

poḷa 'zebu' Rebus: poḷa 'magnetite ore'
kuṭhāru 'monkey' Rebus: kuṭhāru 'armourer' (Samskritam)

96
Fig. 3 Hematite seal. Old Syria. ca. 1720-1650 BCE

Period: Old Syrian

Date: ca. 1720–1650 B.C.E
Geography: Syria
Medium: Hematite
Dimensions: H. 15/16 in. (2.4 cm); Diam. 3/8 in. (1 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian,
1999
Accession Number: 1999.325.155 Metmuseum

97
Fig. 4 Cylinder seal modern impression. Mitanni. 2nd millennium BCE
(male and griffin demon slaying animal; terminal: animal attack scenes, guilloche)

Period: Mitanni
Date: 2nd millennium B.C.E
Geography: Mesopotamia or Syria
Culture: Mitanni
Medium: Hematite
Dimensions: H. 13/16 in. (2 cm); Diam. 7/16 in. (1.1 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian,
1999
Accession Number: 1999.325.165 Metmuseum

98
Fig. 5 Cylinder seal modern impression. Old Syria. ca. 1720-1650 BCE
(royal figures approaching weather god; divinities)
Period: Old Syrian
Date: ca. 1720–1650 B.C.E
Geography: Syria
Medium: Hematite
Dimensions: H, 1 1/8 in. (2.9 cm); Diam. 7/16 in. (1.1 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian,
1999
Accession Number: 1999.325.147 Metmuseum

99
Fig. 6 Cylinder seal. Mitanni. 2nd millennium BCE
Period: Mitanni
Date: ca. late 2nd millennium B.C.E
Geography: Mesopotamia or Syria
Culture: Mitanni
Medium: Hematite
Dimensions: H. 1 in. (2.6 cm); Diam. 1/2 in. (1.2 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian,
1999
Accession Number: 1999.325.190 Metmuseum

Dm. mraṅ m. ‘markhor’ Wkh. merg f. ‘ibex’ (CDIAL 9885)

Tor. miṇḍ ‘ram’, miṇḍā́ l ‘markhor’ (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet ‘iron’
(Munda.Ho.)

100
Fig. 7 Stone cylinder seal. Old Syria ca. 1720-1650 BCE

Period: Old Syrian

Date: ca. 1720–1650 B.C.
Geography: Syria
Medium: Stone
Dimensions: H. 1.9 cm x Diam. 1.1 cm
Classification: Stone-Cylinder Seals
Credit Line: Bequest of W. Gedney Beatty, 1941

Accession Number: 41.160.189 Metmuseum

kuṭhāru 'monkey' Rebus: kuṭhāru 'armourer' (Samskritam)

101
Fig. 8 Hematite cylinder seal. Old Syria. ca. early 2nd millennium BCE

Period: Old Syrian

Date: ca. early 2nd millennium B.C.E
Geography: Syria
Medium: Hematite
Dimensions: H. 11/16 in. (1.7 cm); Diam. 5/16 in. (0.8 cm)
Classification: Stone-Cylinder Seals
Credit Line: Gift of Nanette B. Kelekian, in memory of Charles Dikran and Beatrice Kelekian,
1999
Accession Number: 1999.325.161 Metmuseum

102
• Fig. 9 Fragment of an Iranian Chlorite Vase. 2500-2400 BCE
• Decorated with the lion headed eagle (Imdugud) found in the temple of Ishtar during the 1933 -
1934 fieldwork by Parrot. Dated 2500 - 2400 BCE. Louvre Museum collection AO 17553.
•
• Shahdad standard. ca. 2400 BCE Line drawing

103
 The upper section of the Shahdad Standard, grave No. 114, Object No. 1049 (p.24)

• Fig. 11 Cylinder seal.

2 seated lions. Twisted rope. Louvre AO7296

104
•
• Fig.12 Cylinder seal. Sumerian. 18th cent. BCE. Louvre AO 22366
http://www.bibliotecapleyades.net/sumer_anunnaki/anunnaki3a/Louvre%20Dec%201%202002
%20181.html

105
Hittite, seal, hare and two doves, Boğazköy,, 1800 BCE, Museum

Hettiter, seal, Acem Höyük (Kurt Bittel) (Erdinç Bakla

archive)

106
•
• Fig. 13 Bogazkoy Seal impression ca. 18th cent. BCE

(Two-headed eagle, a twisted cord below. From Bogazköy . 18th c. BCE (Museum Ankara).

Fig. 13 Bogazkoy Seal impression Decipherment:

eruvai 'kite' Rebus: eruvai 'copper' dhAtu 'strands of rope' Rebus: dhAtu 'mineral' (Note the three
strands of the rope hieroglyph on the seal impression from Bogazkoy; it is read: tridhAtu 'three
mineral elements'). It signifies copper compound of three minerals; maybe, arsenic copper? or
arsenic bronze, as distinct from tin bronze?

Copper and arsenic ores

Ore name Chemical formula

Arsenopyrite FeAsS

107
 Enargite Cu3AsS4

Olivenite Cu2(AsO4)OH

Tennantite Cu12As4S13

Malachite Cu2(OH)2CO3

Azurite Cu3(OH)2(CO3)2

Sulfide deposits frequently are a mix of different metal sulfides, such as copper, zinc, silver,
lead, arsenic and other metals. (Sphalerite (ZnS2), for example, is not uncommon in copper
sulfide deposits, and the metal smelted would be brass, which is both harder and more durable
than bronze.)The metals could theoretically be separated out, but the alloys resulting were
typically much stronger than the metals individually.
• Dudu plaque, Shahdad standard c. 2400 BCE with Indus Script hieroglyphs deciphered as iron-
smelters, workers with three metals
Mirror: http://tinyurl.com/nuceor7

Dudu plaque ca. 2400 BCE signifies sanga of Ningirsu.

Shahdad standard ca. 2400 BCE signifies dhāvaḍ 'iron-smelters'. (Note: the gloss explains the
place name Dharwar close to the iron ore mines in Deccan Plateau of India).

The continuum of Sarasvati-Sindhu civilization in an extensive civilizational contact area from

3rd millennium BCE and the metalwork competence of Bhāratam Janam is explained by this
link of Dharwar city of Karnataka to the artifacts of over 4000 years Before Present found in
Ancient Near East (Sumer/Elam/Mesopotamia). This is a moment for celebration of Dharwar
and Shahdad as twin cities from ancient Bronze Age times.

Both artifacts -- Dudu plaque and Shahdad standard -- signify a three-stranded twisted rope
hieroglyph, (together with other metalwork signifying hieroglyphs). The hieroglyph-multiplexes
on both artifacts signify workers with tridhātu 'three minerals (metals of soft red stones)'.

These inscribed artifacts herald a Bronze Age advance into the Iron Age of Ancient Iran.
The language used to render the Indus Script cipher is Proto-Prakritam. No wonder, speakers of
Proto-Prakritam were present in Ancient Iran.

sanga 'priest' is a loanword in Sumerian/Akkadian. The presence of such a sanga may also
explain Gudea as an Assur, in the tradition of ancient metalworkers speaking Proto-Prakritam
of Indian sprachbund.

108
The Sumerian/Akkadian word sanga, is a loan from Proto-Prakritam or Meluhha of
Indian sprachbund. saṁghapati m. ʻ chief of a brotherhood ʼ Śatr. [saṁghá -- , páti -
- ]G. saṅghvī m. ʻ leader of a body of pilgrims, a partic. surname ʼ.(CDIAL 12857) saṁghá m. ʻ
association, a community ʼ Mn. [√han1]
Pa. saṅgha -- m. ʻ assembly, the priesthood ʼ; Aś. saṁgha -- m. ʻ the Buddhist community ʼ;
Pk. saṁgha -- m. ʻ assembly, collection ʼ; OSi. (Brāhmī inscr.) saga, Si. sanga ʻ crowd,
collection ʼ. -- Rather < saṅga -- : S. saṅgu m. ʻ body of pilgrims ʼ (whence sãgo m. ʻ caravan ʼ),
L. P. saṅg m. (CDIAL 12854).

dhātu (f.) [Sk. dhātu to dadhāti, Idg. *dhē, cp. Gr. ti/qhmi, a)na/ -- qhma, Sk. dhāman, dhāṭr
(=Lat. conditor); Goth. gadēds; Ohg. tāt, tuom (in meaning -- ˚=dhātu, cp. E. serf -- dom
"condition of . . .") tuon=E. to do; & with k -- suffix Lat. facio, Gr. (e)/)qhk(a), Sk. dhāka; see
also dhamma] element... -- kusala skilled in the elements M iii.62; ˚kusalatā proficiency in the
(18) elements D iii.212; Dhs 1333; -- ghara "house for a relic," a dagoba SnA 194. -- cetiya a
shrine over a relic DhA iii.29 (Pali)

Ti˚ [Vedic tris, Av. priś, Gr. tri/s, Lat. ter (fr. ters>*tris, cp. testis>*tristo, trecenti>*tricenti), Icl.
prisvar, Ohg. driror] base of numeral three in compn; consisting of three, threefold; in numerical
cpds. also= three (3 times)...-- vidha 3 fold, of sacrifice (yañña) D i.128, 134, 143; of aggi (fire)
J i.4 & Miln 97; Vism 147 (˚kalyāṇatā). (Pali)

Hieroglyph: 'three strands of rope': tridhāˊtu -- ʻ threefold ʼ RV (CDIAL 6283) ti-dhātu (Proto-
Prakritam, Meluhha) signifies three elements (minerals of 'soft red stones').The Meluhha
glosses: dhāū, dhāv connote a soft red stone. (See cognate etyma of
Indian sprachbund appended).

I suggest that the 'twist' hieroglyphs on Dudu plaque and on Shahdad standard signify ti-
dhātu 'three strands of rope' Rebus: ti-dhātu 'three minerals'. The dhā- suffix signifies 'elements,
minerals': dhāvaḍ 'iron-smelters'. dhāvḍī ʻcomposed of or relating to ironʼ. Thus, the hieroglyph
'twist' is signified by the Proto-Prakritam gloss: ti-dhātu semantically 'three metal/mineral
elements.' Thus Dudu, sanga of Ningirsu and the sanga 'priest' shown on Shahdad standard can
be identified as dhāvaḍ 'iron (metal)-smelters'.

This decipherment is consistent with other hieroglyphs shown the Dudu plaque and on Shahdad
standard.

Shahdad standard: Meluhha smithy catalog of Shahdad, Marhashi

109
 Location of Lagash. At the time of Hammurabi, Lagash

was located near the shoreline of the gulf.

110
Location of Shahdad

111
Three pots are shown of three sizes in the context of kneeling adorants seated in front of the
person seated on a stool. meṇḍā 'kneeling position' (Gondi) Rebus: meḍ 'iron' (Munda)

eruvai 'kite' Rebus:eruvai 'copper'

dula 'pair' Rebus: dul 'cast metal'

arya 'lion' (Akkadian) Rebus: Ara 'brass'

kul, kOla 'tiger' Rebus: kol 'working in iron'

112
 poLa 'zebu' Rebus: poLa 'magnetite'

kōla = woman (Nahali) Rebus: kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five

metals, pañcaloha’ (Tamil) kol ‘working in iron’ (Tamil)

kaṇḍō a stool. Malt. Kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ = a furnace,

altar (Santali)

If the date palm denotes tamar (Hebrew language), ‘palm tree, date palm’ the rebus reading
would be: tam(b)ra, ‘copper’ (Pkt.)

kuṭi ‘tree’. Rebus: kuṭhi ‘smelter’ (Santali). The two trees are shown ligatured to

a rectangle with ten square divisions and a dot in each square. The dot may

denote an ingot in a furnace mould.

Hieroglyph: BHSk. gaṇḍa -- m. ʻ piece, part ʼ(CDIAL 3791)

Hieroglyph: Paš. lauṛ. khaṇḍā ʻ cultivated field ʼ, °ḍī ʻ small do. ʼ (→ Par. kheṇ ʻ field ʼ IIFL i
265); Gaw. khaṇḍa ʻ hill pasture ʼ (see also bel.)(CDIAL 3792)

Rebus: khaṇḍa 'implements'

Santali glosses

Glyph of rectangle with divisions: baṭai = to divide, share (Santali) [Note the

glyphs of nine rectangles divided.] Rebus: bhaṭa = an oven, kiln, furnace

(Santali)
• ḍāḷ= a branch of a tree (G.) Rebus: ḍhāḷako = a large ingot (G.) ḍhāḷakī = a metal heated and
poured into a mould; a solid piece of metal; an ingot (G.)

113
 Three sets of entwined 'glyphs (like twisted ropes) are shown around the entire narrative of
the Shahdad standard.

Twisted rope as hieroglyph:

Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red
colour) ʼ Mn.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 dhă̄ vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron
ʼ)(CDIAL 6773).
Oldest standard in the world. Shahdad standard, 2400 BCE (Prof. Mahmoud Rexa Maheri, Prof.
Dept. of Civil Engineering, Shiraz University, dates this to ca. 3000 BCE Oct. 15, 2015
"Following an archeological survey of the South-East Iran in 1930's by Sir Auriel Stein, in
1960's and 1970's a number of archeological expeditions spent a few seasons digging at different
locations through theKerman province. Of these, three teams are worthy of mention; one team
from Harvard University lead by Professor Lamberg-Karlovsky focused on different layers of the
7000 years old Tape-Yahya at Sogan valley; another team from Illinois University lead by
Professor Joseph Caldwell worked on the remains of Tal-i-Iblis, another 7000 years old
settlement and a third team by Iranian Department of Archaeology, lead by Mr Hakemi, dug the
rich graveyards of the 6000 years old Shahdad near the great Lut desert. The wealth of
discoveries though great, went almost unnoticed by the public in the pursuant academic research
in the form of Doctorate theses and expedition reports and scientific journal papers. Little
attempt was also made to correlate the findings at different
sites." http://www.mrmaheri.com/page.php?id=1-5-1)
Source: http://www.cais-soas.com/CAIS/Images2/Pre-Median/Shahdad_Standard.jpg "The
discovered standard in Shahdad is consisted of a squared metal piece, 23.4 in 23.4 centimetres in
size, mounted on a 128-centimeter metal axle which the flag can turn over it. An eagle with
opened wings which is in a landing position can be seen on top of the axle. The flag is engraved
with some designs which depicting requesting water from rein goddess, which reveal irrigation
method which was practiced during the third and fourth millennia BCE in Shahdad."
http://www.cais-soas.com/News/2007/May2007/14-05-iran.htm

o Dudu plaque: Anzud with two lions. Hieroglyph: endless knot motif

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o Votive relief of Dudu, priest of Ningirsu, in the days of King Entemena of Lagash.
o Mésopotamie, room 1a: La Mésopotamie du Néolithique à l'époque des Dynasties archaïques de
Sumer. Richelieu, ground floor.
This work is part of the collections of the Louvre (Department of Near Eastern
Antiquities).Louvre Museum1881: excavated by Ernest de Sarzec. Place: Girsu (modern city of
Telloh, Iraq). Musée du Louvre, Atlas database: entry 11378Votive bas-relief of Dudu, priest of
Ningirsu in the time of Entemena, prince of Lagash C. 2400 BCE Tello (ancient
Girsu) Bituminous stone H. 25 cm; W. 23 cm; Th. 8 cm De Sarzec excavations, 1881 AO 2354
o
▪ Hieroglyph: dhA 'rope strand' Rebus: dhAtu 'mineral element' Alternative: मेढा [ mēḍhā ] 'a curl
or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) eruvai 'eagle'
▪ Rebus: eruvai 'copper'.

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▪
▪ eraka 'wing' Rebus: erako 'moltencast copper'.
▪
▪ Plaques perforated in the center and decorated with scenes incised or carved in relief were
particularly widespread in the 2nd and 3rd Early Dynastic Periods (2800-2340 BC), and have
been found at many sites in Mesopotamian and more rarely in Syria or Iran. The perforated
plaque of Dudu, high priest of Ningirsu in the reign of Entemena, prince of Lagash (c.2450 BC),
belongs to this tradition. It has some distinctive features, however, such as being made of
bitumen.
▪ Dudu, priest of Ningirsu
o
▪ The bas-relief is perforated in the middle and divided into four unequal sections. A figure
occupying the height of two registers faces right, leaning on what appears to be a long staff. He
is dressed in the kaunakes, a skirt of sheepskin or other material tufted in imitation of it. His
name is inscribed alongside: Dudu, rendered by the pictograph for the foot, "du," repeated. Dudu
was high priest of the god Ningirsu at the time of Entemena, prince of Lagash (c.2450 BC).
Incised to his left is the lion-headed eagle, symbol of the god Ningirsu and emblem of Lagash, as
found in other perforated plaques from Telloh, as well as on other objects such as the mace head
of Mesilim, king of Kish, and the silver vase of Entemena, king of Lagash. On this plaque,
however, the two lions, usually impassive, are reaching up to bite the wings of the lion-headed
eagle. Lower down is a calf, lying in the same position as the heifers on Entemena's vase. The
lower register is decorated with a plait-like motif, according to some scholars a symbol of
running water.
▪ Perforated plaques
o
▪ This plaque belongs to the category of perforated plaques, widespread throughout Phases I and II
of the Early Dynastic Period, c.2800-2340 BCE, and found at many sites in Mesopotamia
(especially in the Diyala region), and more rarely in Syria (Mari) and Iran (Susa). Some 120
examples are known, of which about 50 come from religious buildings. These plaques are
usually rectangular in form, perforated in the middle and decorated with scenes incised or carved
in relief. They are most commonly of limestone or gypsum: this plaque, being of bitumen, is an
exception to the rule.
Bibliography
o
▪ André B, Naissance de l'écriture : cunéiformes et hiéroglyphes, (notice), Paris, Exposition du
Grand Palais, 7 mai au 9 août 1982, Paris, Editions de la Réunion des musées nationaux, 1982, p.
85, n 42.Contenau G., Manuel d'archéologie orientale, Paris, Picard, 1927, p. 487, fig.
357.Heuzey L., Les Antiquités chaldéennes, Paris, Librairie des Imprimeries Réunies, 1902, n
12.Orthmann W., Der Alte Orient, Berlin, Propylaën (14), 1975, pl. 88. Sarzec É., Découvertes
en Chaldée, Paris, Leroux, 1884-1912, pp. 204-209.Thureau-Dangin, Les inscriptions de Sumer
et d'Akkad, Paris, Leroux, 1905, p. 59.
▪
The image may be read as a series of rebuses or ideograms. A priest dedicates an object to his
god, represented by his symbol, and flanked perhaps by representations of sacrificial offerings:
an animal for slaughter and a libation of running water. The dedicatory inscription, confined to
the area left free by the image in the upper part , runs over the body of the calf: "For Ningirsu of

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 the Eninnu, Dudu, priest of Ningirsu ... brought [this material] and fashioned it as a mace stand."
See alternative readings provided for the 'twist' hieroglyph. Maybe, the calf is NOT an animal for
slaughter but a gloss which sounds similar to the name of the sanga, 'priest': Dudu. The calf is
called dUDa (Indian sprachbund). It may also have sounded: dāmuri ʻcalfʼ evoking the rebus of
dAv 'strands of rope' rebus: dhAtu 'mineral elements'.
▪
The precise function of such plaques is unknown, and the purpose of the central perforation
remains a mystery. The inscription here at first led scholars to consider them as mace stands,
which seems unlikely. Some have thought they were to be hung on a wall, the hole in the center
taking a large nail or peg. Others have suggested they might be part of a door-closing
mechanism. Perforated plaques such as this are most commonly organized in horizontal registers,
showing various ceremonies, banquets (particularly in the Diyala), the construction of buildings
(as in the perforated plaque of Ur-Nanshe), and scenes of cultic rituals (as in the perforated
plaque showing "the Libation to the Goddess of Fertility"). The iconography is often
standardized, almost certainly an indication that they represent a common culture covering the
whole of Mesopotamia, and that they had a specific significance understood by all."
http://www.louvre.fr/en/oeuvre-notices/perforated-plaque-dudu
▪ Perforated plaque of Dudu with 'twisted rope' and other Indus Script hieroglyphs

I suggest that the hieroglyphs on the Dudu plaque are: eagle, pair of lions, twisted rope, calf

Hieroglyph: eruvai 'kite' Rebus: eruvai 'copper'

Hieroglyph: arye 'lion' (Akkadian) Rebus: Ara 'brass'

Hieroglyph: dām m. ʻ young ungelt ox ʼ: damya ʻ tameable ʼ, m. ʻ young bullock to be tamed ʼ

Mn. [~ *dāmiya -- . -- √dam]Pa. damma -- ʻ to be tamed (esp. of a young bullock) ʼ; Pk. damma -
- ʻ to be tamed ʼ; S. ḍ̠amu ʻ tamed ʼ; -- ext. -- ḍa -- : A. damrā ʻ young bull ʼ, dāmuri ʻ calf ʼ;
B.dāmṛā ʻ castrated bullock ʼ; Or. dāmaṛī ʻ heifer ʼ, dāmaṛiā ʻ bullcalf, young castrated bullock
ʼ, dāmuṛ, °ṛi ʻ young bullock ʼ.Addenda: damya -- : WPah.kṭg. dām m. ʻ young ungelt ox
ʼ.(CDIAL 6184). This is a phonetic determinative of the 'twisted rope'
hieroglyph: dhāī˜ f.dāˊman1 ʻ rope ʼ (Rigveda)

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▪
▪
▪ After Fig. 52, p.85 in Prudence Hopper opcit. Plaque with male figures, serpents and quadruped.
Bitumen compound. H. 9 7/8 in (25 cm); w. 8 ½ in. (21.5 cm); d. 3 3/8 in. (8.5 cm). ca. 2600-
2500 BCE. Acropole, temple of Ninhursag Sb 2724. The scene is described: “Two beardless,
long-haired, nude male figures, their heads in profile and their bodies in three-quarter view, face
the center of the composition…upper centre, where two intertwined serpents with their tails in
their mouths appear above the upraised hands. At the base of the plaque, between the feet of the
two figures, a small calf or lamb strides to the right. An irregular oblong cavity or break was
made in the centre of the scene at a later date.”

The hieroglyphs on this plaque are: kid and endless-knot motif (or three strands of rope twisted).

Hieroglyph: 'kid': कििूं or कििें (p. 137) [ karaḍū or ṅkaraḍēṃ ] n A kid. किािूं (p. 137) [
karāḍūṃ ] n (Commonly कििूं) A kid. Rebus: कििा (p. 137) [ karaḍā ] Hard from alloy--iron,
silver &c.(Marathi)

I suggest that the center of the composition is NOT set of intertwined serpents, but an endless
knot motif signifying a coiled rope being twisted from three strands of fibre.
▪
▪ Alternative hieroglyph: मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' (Marathi) Rebus: mẽṛhẽt,
meḍ ‘iron’ (Mu.Ho.) eruvai 'eagle' Rebus: eruvai 'copper'. kōḍe, kōḍiya. [Tel.] n. A bullcalf.
Rebus: koḍ artisan’s workshop (Kuwi) kunda ‘turner’ kundār turner (Assamese) मेढा [ mēḍhā ] A
twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f.
ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: mẽṛhẽt,
meḍ ‘iron’ (Mu.Ho.)
▪

▪ This hieroglyph-multiplex seen on a cylinder seal is deciphered: Hieroglyph: ti-dhātu 'three-

strands of rope' Rebus: ti-dhāū, ti-dhāv; dula 'pair' Rebus: dul ''cast metal' PLUS arye 'lion'
Rebus: Ara 'brass' (which may be an alloy of copper, zinc and tin minerals and/or arsenopyrites
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 including ferrous ore elements). Thus, the hieoglyph-multiplex composition signifies dul
Ara 'cast brass alloy' of ti-dhātu 'three minerals'.
▪
▪ A stranded rope as a hieroglyph signifies dhAtu rebus metal, mineral, ore. This occurs on
Ancient Near East objects with hieroglyphs such as votive bas-relief of Dudu, priest of Ningirsu
in the time of Entemena, prince of Lagash C. 2400 BCE Tello (ancient Girsu), eagle and
stranded rope from Bogazhkoy. Indus Script decipherment of these hieroglyph-multiplexes
confirms the underlying Prakritam as an Indo-European language and Indus Script Corpora is
emphatically catalogus catalogorum of metalwork of the Bronze Age in Ancient Near East.
▪ http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-indus-script.html

▪
▪ m1406 Seal using three-stranded rope: dhAtu Rebus: iron ore.
▪ Hieroglyph: धातज [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. constituent part , ingredient
(esp. [ and in RV. only] ifc. , where often = " fold " e.g. क्षि-ध्/आतज ,
threefold &c ; cf.क्षिक्षवक्षष्ट- , सप्त- , सज -) RV.
▪ TS. S3Br. &c (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ
RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres
added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
▪ Rebus: M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhavaḍ m. ʻ a caste of iron --
smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ
MBh., ʻ metal, mineral, ore (esp. of a red colour) 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; (CDIAL

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 6773) धातज primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red
colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or
stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातज means either the 6 elements [see
above] Dharmas. xxv ; or the 18 elementary spheres [धातज -लोक] ib. lviii ; or the ashes of the body
, relics L. [cf. -ििु ]) (Monier-Williams. Samskritam)
▪ mẽṛhẽt, meḍ ‘iron (metal)’ and a cognate word,मृदज mṛdu 'iron' (Samskritam) is signified by a
number of hieroglyphs मेढा [ mēḍhā ] curls of hair on cylinder seals; मेढा [ mēḍhā ]twist (rope)
on a Bogazkoy seal; मेढ (p. 662) [ mēḍha ] yajna, dhanam.
▪ dhollu ‘drummer’ (Western Pahari) dolutsu'tumble' Rebus: dul ‘cast metal’.
There are two Railway stations in India called Dharwad and Ib. Both are related to Prakritam
words with the semantic significance: iron worker, iron ore.
o
▪
ib 'iron' (Santali) karba 'iron'; ajirda karba 'native metal iron' (Tulu) karabha 'trunk of
elephant' Rebus: karba 'iron' ibha 'elephant' Rebus: ib 'iron ore' (Santali) The gloss ajirda (Tulu)
is cognate with aduru, ayas. Hence, it is likely that the gloss ayas of Rigveda signifies native,
unsmelted metal of iron ore. dhavaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or
relating to iron ʼ (Marathi)(CDIAL 6773)

Glazed steatite . Cylinder seal. 3.4cm high; imported from Indus valley. Rhinoceros, elephant,
crocodile (lizard? ).Tell Asmar (Eshnunna), Iraq. Elephant, rhinoceros, crocodile hieroglyphs: ib
'elephant' Rebus: ib 'iron' kANDa 'rhinoceros' Rebus: kANDa 'iron implements' karA 'crocodile'
Rebus: khAr 'blacksmith' (Kashmiri)

•
• Located on the Map of India are regions with Fe (Iron ore) mines: the locations include Dharwad
and Ib.
•
The station derives its name from Ib River flowing nearby. Ib railway station came up with the

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 opening of the Nagpur-Asansol main line of Bengal Nagpur Railway in 1891. It became a station
on the crosscountry Howrah-Nagpur-Mumbai line in 1900 In 1900, when Bengal Nagpur
Railway was building a bridge across the Ib River, coal was accidentally discovered in what later
became Ib Valley Coalfield. https://en.wikipedia.org/wiki/Ib_railway_station

Both Ib and Dharwad are centrally located in the iron ore belts of India.

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•
• Dharwad is the district headquarters of Dharwad district in the state of Karnataka, India. It was
merged with the city of Hubli in 1961 to form the twin cities of Hubli-Dharwad. It covers an area
of 200.23 km² and is located 425 km northwest of Bengaluru, onNH 4,
between Bengaluru and Pune...The word "Dharwad" means a place of rest in a long travel or a
small habitation. For centuries, Dharwad acted as a gateway between the Malenaadu (western
mountains) and the Bayalu seeme (plains) and it became a resting place for
travellers. Inscriptions found near Durga Devi temple in Narendra (a nearby village) and RLS
High School date back to the 12th century and have references to Dharwad. This makes Dharwad
at least 900 years old. https://en.wikipedia.org/wiki/Dharwad The place is located in the region
of hematite (iron ore) -- e.g. Sandur taluk

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•
• dhAtu is a gloss which signifies metal, mineral, ore. It is likely that in early Bronze Age, the
mineral specifically referred to is iron ore or meteoric iron as naturally occurring native,
unsmelted metal called aduru, ayas. A gloss dhāvaḍ has the meaning: iron smelters. This gloss
derived rom dhAtu can be explained in an archaeometallurgical context with evidences from
Indus Script Corpora.

This suggestion is premised on a Marathi gloss (Prakritam, Meluhha pronunciation) cognate with
dhAtu: dhāū, dhāv m.f. ʻa partic. soft red stoneʼ (Marathi)

This note suggests that the place names in India of Dharwad and Ib are related to nearby iron ore
regions and lived in by iron workers. The names are derived from two etyma streams:
1 dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ

(whence dhavaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻ composed of or relating to iron

ʼ); dhātu n. ʻ substance ʼ RV., m. ʻ element ʼ 2. ib 'iron' kara +iba, karba 'iron'. For example, the
place name Dharwad is relatable to dhāvaḍ 'iron-smelters'. Archaeological explorations near
Dharwad and Ib may indicate evidences for iron smelting.

•
• 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.,

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 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.

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'

•
• This etymon indicates the possible reading of the tall flagpost carried by kneeling persons with
six locks of hair: baTa 'six' Rebus: bhaTa 'furnace'. Associated with nAga 'serpent' Rebus: nAga
'lead'

The banner flagpost carried by four flag-bearers includes a banner associated with fish. aya 'fish'
Rebus: aya 'iron' (Gujarati) ayas 'metal'
(Rigveda) http://bharatkalyan97.blogspot.in/2015/08/indus-script-unravels-announcement-
of.html presents the picture of a 11-ft tall banner from Girsu (Telloh)

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