Butting, meeting narratives on Indus Script Corpora

Aayu Publications, 2016

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Ancient artisans of the Bronze Age have bequeathed an extraordinary heritage wrought by a veritable revolution in metallurgy. Bhāratam Janam and their kindred aatman -- the artisans of Dong Son, Vietnam have also made their noteworthy contributions. The most significant contribution, in my view, is the documentation of the metalwork in Indus Script Corpora, apart from innovations in cire perdue (lost-wax) metalcasting technologies, creation of new alloys such as bronze, brass and pewter, identification of tin as alloying mineral to create tin-bronzes, crucible processes to create hard alloys and the wondrous musical Dong Son Bronze drums as the seafaring merchants spread their wares on the Maritime Tin Route from Hanoi to Haifa. The pinnacle of achievement is signified by the iron pillars of Dhar, Mount Abu, Udayagiri (now in Delhi Qutb Minar premises), and Kodachadri. All these iron pillars are examples of dhwaja skambha-s presented by artisans to temples to venerate the divine, sacred principle, the guidepost of lives: dharma-dhamma. They are not artefacts engineered to pronounce their glorious achievements but to praise and celebrate the glory of that divine, sacred principle. Such was the dedication, l'acte gratuite of Bhāratam Janam. A lamp held on the left palm of the dancing girl bronze statue displaying a dance-step. The statue is 10.5 cm. high from Mohenjo-daro. Now in National Museum. Delhi. Note: The lamp is an enlargement of about 1 cm. square on the original statue :)-- Given the extremely small size of the artefact, there could be variant opinions on what the object represents. Maybe, I am wrong, but I see it as an earthen lamp, a diya (deepam) with a wick which can be lighted and also 'seen', 'read' -- orthographically recognized -- to signify an Indus Script hieroglyph: 'wick' : várti1 (and vartí -- ) f. ʻ wick ʼ MBh., ʻ small compress ʼ Suśr., ʻ lamp ʼ lex., °ikā -- f. ʻ wick ʼ KālP. [√vr̥t1] Pa. vaṭṭi -- , °ikā -- f. ʻ wick ʼ, Pk. vaṭṭĭ̄ -- , °ṭiā -- , vatti -- f.; Sh. batīˊ ʻ unlit native lamp, candle, wick of European lamp ʼ (← H.?); S. vaṭi f. ʻ wick ʼ; L. vaṭṭ f. ʻ roll of grass, wick ʼ, awāṇ. vaṭ ʻ wick ʼ, P. vaṭṭī, ba°, battī f.; N. bāti ʻ lamp ʼ (bati ← H.), A. bāti; B. bāti ʻ wick, lamp, candle ʼ; Or. bati ʻ lamp ʼ (← H.), Bi. Mth. Bhoj. bātī; OAw. bātĭ̄ ʻ wick ʼ, H. bātī, battī f. (→ N. Or. and prob. Sh.); G. vāṭ f. ʻ lamp ʼ, vātī f. ʻ perfumed match or taper ʼ; M. vāt f. ʻ wick ʼ, Ko. vāti; Si. väṭ -- a ʻ lamp ʼ, väṭi -- ya ʻ wick ʼ; Md. vo' ʻ lamp ʼ; -- with -- o as from an orig. masculine: Ku.bāto m. ʻ wick, lamp ʼ; N. bāto ʻ rope of twisted cane (to tie down thatch) ʼ.dīpavarti -- , *pādavarti -- , *saṁdhyāvartikā -- .Addenda: várti -- 1: S.kcch. batī, bhatī f. ʻ lamp, torch ʼ ← H.; WPah.kṭg. batti, kc. baṭe f. ʻ wick, lamp, light ʼ, J. bāṭī f.(CDIAL 11359) Rebus: bhaṭĭ̄ 'furnace,smelter'. This reading is consistent with the other hieroglyphs signified on the statue: for example, 'wristlets, bracelets', 'hair-knot' -- all related in rebus renderings in Meluhha to metalwork. Her nakedness is also relatable to metalwork, signified by kuThi 'pudendum muliebre' Rebus: kuThi 'smelter'. See decipherment at http://bharatkalyan97.blogspot.in/2015/09/indus-script-hieroglyph-multiplexes-of.html This Indus Script Corpora documentation of ca. 2500 BCE takes us to another artefact, a sword presented to Alexander on the banks of River Vitasta (Jhelum) ca. 327 BCE. This lamp on this bronze statue of ca. 2500 BCE leads us to an event of ca. 327 BCE when Alexander received the gift of a sword from Purushottama on the banks of River Vitasta (Jhelum). It is no ordinary sword. It is a steel sword make of ukku in southern Bhāratam. The ukku steel was called wootz and attained fame as Damascus sword as the word of the marvels of metallurgical skills of Bhāratam Janam spread far and wide into Eurasia. An event is recorded in a painting celebrating Bronze Age history; the event is the gift of an ukku sword by Purushottama to Alexander after Alexander's army had mutinied and Alexander had decided to retreat from the failed mission on the banks of Vitasta (Jhelum) river. This celebration is a high-water-mark of the revolution which preceded the event: the revolution of the Bronze Age when artisans had created new alloys and new methods of metalcasting such as cire perdue lost-wax casting to create exquisite metal implements and artefacts like the dancing girl of Mohenjo-daro carrying a lamp in her palm. Indus Script Corpora documented by Bhāratam Janam is an extraordinary catalogus catalogorum of metalwork in an extensive area spanning the Maritime Tin Route from Hanoi to Haifa. Indus Script hieroglyphs also signify metalwork on cylinder seals of Ancient Near East, in particular from Assur to Kultepe and on cire perdue artefacts of Dong Son Bronze Drums and Nahal Mishmar scepters and standards. शैक्य-अयसम् Damasked steel; शकदेवाय चिक्षेप सर्वशैक्यायसीं गदाम् Mb.6.54.24; शैक्यायसानि वर्माणि कांस्यानि च समन्ततः 7.119.42 (com. शैक्यायसानि शोणितायोमयानि).(Samskritam.Apte) शैक्य [p= 1089,2] damasked (?) MBh.pointed (for शैख्य) MW. pointed (for शैख्य) MW.mfn. (cf. शैक्य) pointed , spiked MW.(Monier-Williams) बट्टलोहकम् baṭṭalōhakamबट्टलोहकम् Damasked steel. bhráṣṭra n. ʻ frying pan, gridiron ʼ MaitrS. [√bhrajj]Pk. bhaṭṭha -- m.n. ʻ gridiron ʼ; K. büṭhü f. ʻ level surface by kitchen fireplace on which vessels are put when taken off fire ʼ; S. baṭhu m. ʻ large pot in which grain is parched, large cooking fire ʼ, baṭhī f. ʻ distilling furnace ʼ; L. bhaṭṭh m. ʻ grain -- parcher's oven ʼ, bhaṭṭhī f. ʻ kiln, distillery ʼ, awāṇ. bhaṭh; P. bhaṭṭh m., °ṭhī f. ʻ furnace ʼ, bhaṭṭhā m. ʻ kiln ʼ; N. bhāṭi ʻ oven or vessel in which clothes are steamed for washing ʼ; A. bhaṭā ʻ brick -- or lime -- kiln ʼ; B. bhāṭi ʻ kiln ʼ; Or. bhāṭi ʻ brick -- kiln, distilling pot ʼ; Mth. bhaṭhī, bhaṭṭī ʻ brick -- kiln, furnace, still ʼ; Aw.lakh.bhāṭhā ʻ kiln ʼ; H. bhaṭṭhā m. ʻ kiln ʼ, bhaṭ f. ʻ kiln, oven, fireplace ʼ; M. bhaṭṭā m. ʻ pot of fire ʼ, bhaṭṭī f. ʻ forge ʼ. -- X bhástrā -- q.v.bhrāṣṭra -- ; *bhraṣṭrapūra -- , *bhraṣṭrāgāra -- .Addenda: bhráṣṭra -- : S.kcch. bhaṭṭhī keṇī ʻ distil (spirits) ʼ.(CDIAL 9656) ఉక్కు (p. 0149) [ ukku ] ukku. [Tel.] n. Steel. Strength, courage, pride, vigour, potency. అయస్సారము, బలము, శౌర్యము. Steadiness. స్థైర్యము. తెలగ ఉక్కు. A very tough sort of steel. R. v. 197. ఉక్కు తీగె ukku-tīge. n. Steel wire. ఉక్కుతునక or ఉక్కుముక్క ukku-tunaka. n. A bit of steel, a brave, sharp or active man. ఉక్కుసున్నము ukku-sunnamu. n. Ashes of calcined iron, scoriæ calx.ఉక్కరి ukk-ari. (ఉక్కు+అరి) A man, a hero. శూరుడు, ధీరుడు. Ta. uruku (uruki-) to dissolve (intr.) with heat, melt, liquefy, be fused, become tender, melt (as the heart), be kind, glow with love, be emaciated; urukku (urukki-) to melt (tr.) with heat (as metals or congealed substances), dissolve, liquefy, fuse, soften (as feelings), reduce, emaciate (as the body), destroy; n. steel, anything melted, product of liquefaction; urukkam melting of heart, tenderness, compassion, love (as to a deity, friend, or child); urukkiṉam that which facilitates the fusion of metals (as borax). Ma. urukuka to melt, dissolve, be softened; urukkuka to melt (tr.); urukkam melting, anguish; urukku what is melted, fused metal, steel. Ko. uk steel. Ka. urku, ukku id. Koḍ. ur- (uri-) to melt (intr.); urïk- (urïki-) id. (tr.);ukkï steel. Te. ukku id.Go. (Mu.) urī-, (Ko.) uṛi- to be melted, dissolved; tr. (Mu.) urih/urh- (Voc. 262). Konḍa (BB) rūg- to melt, dissolve. Kui ūra (ūri-) to be dissolved; pl. action ūrka (ūrki-); rūga (rūgi-) to be dissolved. Kuwi (Ṭ.) rūy- to be dissolved; (S.) rūkhnai to smelt; (Isr.) uku, (S.) ukku steel.(DEDR 661) Hieroglyph: Mora [the contracted, regular P. form of *Sk. mayūra, viâ *ma -- ūra>mora. See also Geiger, P.Gr. § 27 & Pischel, Prk. Gr. § 166. -- Vedic only mayūrī f. pea -- hen] a peacock J ii.275 (˚upasevin, see C. on this passage); vi.218, 497; PvA 142; DhA i.394. A peacock's tail (sometimes used as a fan) is denoted in var. terms in cpds., as mora -- kalāpa DhA i.387; -- piccha Vini.186; -- piñcha Vin ii.130; -- pīñja PvA 142, 176; VvA 147; -- sikali (?) KhA 49; -- hattha Vv 3344 (=mayūra -- piñjehi kataŋ makasa -- vījaniŋ); Pv iii.117. मोर [p= 835,3] m. a peacock (= मयूर) L. (Monier-Williams) Rebus: Perhaps also as morakkha "a peacock's eye" at VbhA 63 (morakkhaka loha, a kind of copper, grouped with pisācaloha). It is more likely however that morakkha is distorted fr. *mauryaka, patronymic of mura, a local (tribal) designation (cp. murala), then by pop. etym. connected with mora peacock. With this cp. Sk. moraka "a kind of steel" BR. (Pali)मोरकम् mōrakamमोरकम् 1 A kind of steel.(Samskritam.Apte) Hieroglyph: पोळ [ pōḷa ] m A bull dedicated to the gods, marked with a trident and discus, and set at large. m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship. Hieroglyph: पोळ [ pōḷa ] f A wall of loose stones. n C (Or पोळें) A honeycomb.पोळा [ pōḷā ] The cake-form portion of a honeycomb.पोळें [ pōḷēṃ ] n C A cake-form or flat honeycomb. Rebus: पोळ [ pōḷa ] magnetite (iron ore) (Munda) पोलाद (p. 533) [ pōlāda ] n ( or P) Steel. पोलादी a Of steel. پولاد polād, s.m. (6th) The finest kind of steel. Sing. and Pl. See فولاد P فولاد folād or fūlād, s.m. (6th) Steel. Sing. and Pl.P فولادي folādī or fūlādī, adj. Made of steel, steel.(Pashto) pŏlād प्वलाद् or phōlād फोलाद् । मृदुलोहविशेषः m. steel (Gr.M.; Rām. 431, 635, phōlād). pŏlödi प्वला&above;दि&below;, pōlödi फोला&above;दि&below;, or phōlödi फोला&above;दि&below; (= ) । लोहविशेषमयः adj. c.g. of steel, steel (Rām. 19, 974, 167, pōo).pŏlāduwu प्वलादुवु&below; । शस्त्रविशेषमयः adj. (f. pŏlādüvü प्वलाद&above;वू&below;), made of steel (H. v, 4).(Kashmiri)

2004

The date and origin of the introduction of iron artefacts and iron working into India has remained a much debated research problem, not unconnected with the equally debatable question of its association with the supposed arrival, in the second millennium BC, of immigrants from the west, as often suggested on the basis of the Rigveda. Around the middle of the last century, ironworking origins in India were dated to c. 700-600 BC (Gordon 1950; Wheeler 1959). Subsequently, a combination of an association with Painted Grey Ware (PGW) and the advent of radiocarbon dating began to push this date back towards the second millennium BC, a period which had in fact favoured by some scholars earlier in the early twentieth century (Chakrabarti 1992: 10-12). Considering the radiocarbon dates for the iron bearing deposits at Ataranjikhera in Uttar Pradesh (Table 1) and Hallur in Karnataka, and stratigraphic position of iron in the lower levels mainly at Kausambi near Allahabad, Jakhera in district...

Mt. Mushtagh Ata < Mujāvant (RV) Maujavata (मौजवत) coming from or produced on the mountain Mūja-vat.Sign 59 + ligatures signify ayah ‘iron and ore alloy’ प्रावेपा मा बृहतो मादयन्ति प्रवातेजा इरिणे वर्वृतानाः। सोमस्येव मौजवतस्य भक्षो विभीदको जागृविर्मह्यमच्छान् ॥१॥ Sprung from tall trees on windy heights, these rollers transport me as they turn upon the table. Dearer to me the die that never slumbers than the deep draught of Mujavan's own Soma. (RV 10.34.1) It has been demonstrated with evidence that the Mohenjo-daro priest is a R̥tvij, Potr̥ ‘purifier priest’ who wears a dot-in-circle pot ‘bead’ fillet on his forehead and on right-shoulder. This investiture process described in त्रैधातवी इष्टि Traidhātavī (iṣṭi)--शतपथ-ब्राह्मण Śatapathai Brāhmaṇa text dated later than R̥gveda which specifically refers to a bellows-blower (RV 10.72.2)– a clear evidence of iron smelting. Thus, the bronze age Bhāratīya civilization of Indus Script is later than R̥gveda which mentions the processing of amśu, synonym of Soma. Cognate word in Tocharian is ancu ‘iron’. Thus, amśu-Soma means ‘iron’. R̥gveda records that this Soma is a product bargained for and purchase in a barter transaction with traders from Mt. Mujāvant (possibly a mountain the region of Tocharian-Kyrgystan, perhaps Mt. Mushtagh Ata on northern edge of Tibetan Plateau).

This paper is based on studies of the use and modes of production of high carbon iron alloys in relation to surface finds from Iron Age and early historic sites in southern India, in particular the site of Kadebakele where recent excavations have revealed finds of iron and steel, some of which according to preliminary studies, seem to be of a higher carbon content. Preliminary comparative studies are also made on surface finds of crucibles related to high carbon steel production at Mel-siruvalur

2009

This paper is based on studies of the use and modes of production of higher carbon iron alloys in relation to surface finds from Iron Age and early historic sites in southern India, in particular the site of Kadebakele where recent excavations have revealed finds of iron and steel, some of which according to preliminary studies, seem to be of a higher carbon content. Preliminary comparative studies are also made on surface finds of crucibles related to high carbon steel production at Mel-siruvalur.1

A note on the snarling iron discovered by Paul Yule is appended. The snarling iron is the key instrument of a smith working in a forge. It is the anvil. It defines the occupation of अधिकरणम् -लेखकः a.official recorder or scribe who has left for posterity the Bharata Nidhi of over 7000 Indus Script inscriptions, providing for data mining of the splendour achieved during the Bronze Age by Bharatam Janam, the metalcaster folk celebrated by Rishi Visvamitra in Rigveda (RV 3.53.12)viśvāmitrasya rakṣati brahmedam bhārataṃ janam || This mantra (brahma) of Visvamitra protects the people of Bharatam. This is an emphatic Rigvedic self-identification of the people who worked with ayas 'metal'. Anvil of a farrier (specialist in equine foot care) How did the anvil of Bharatam Janam, metalcaster folk of ancient times look like? Was it like a rod ingot (say, of bronze, brass or hard copper)? Adhikaraṇī (f.) [to adhikaraṇa 1, orig. meaning "serving, that which serves, i. e. instrument"] a smith's anvil J iii.285; Dāvs iii.16 sq.; DhsA 263.(Pali) Semantic expansion: Adhikaraṇa (nt.) [adhi + karaṇa] 1. attendance, super- vision, management of affairs, administration PvA 209. <-> 2. relation, reference, reason, cause, consequence D ii.59 ( -- ˚: in consequence of); S ii.41; v.19. Esp. acc. ˚ŋ as adv. ( -- ˚) in consequence of, for the sake of, because of, from M i.410 (rūpâdhikaraṇaŋ); S iv.339 (rāga˚); Miln 281 (mudda˚ for the sake of the royal seal, orig. in attendance on the r. s.). Kimâdhikaraṇaŋ why, on account of what J iv.4 (= kiŋkāraṇaŋ) yatvâdhikaraṇaŋ (yato + adhi˚) by reason of what, since, because (used as conj.) D i.70 = A i.113 = ii.16 = D iii.225. -- 3. case, question, cause, subject of discussion, dispute. There are 4 sorts of a. enumd. at var. passages, viz. vivāda˚ anuvāda˚ āpatta˚ kicca˚"questions of dispute, of censure, of misconduct, of duties" Vin ii.88; iii.164; iv.126, 238; M ii.247. <-> Often ref.: Vin ii.74; S iv.63 = v.346 (dhamma˚ a question of the Dh.); A i.53 (case), 79; ii.239 (vūpasanta); v.71, 72; Pug 20, 55; DhA iv.2 (˚ssa uppamassa vūpasama), adhikaraṇaŋ karoti to raise a dispute M i.122 ˚ŋ vūpasameti to settle a question or difficulty Vinii.261. -- kāraka one who causes dispute discussions or dissent Vin iv.230 (f. ˚ikā); A iii.252. -- samatha the settlings of questions that have arisen. There are seven rules for settling cases enumd. at D iii.254; M ii.247; A i.99; iv.144. अधि adhiअधि ind. 1 (As a prefix to verbs) over, above; (अधिकार); ˚स्था to stand over; ˚कृ to place over or at the head of; अधि-करण a receptacle , support अधिकरणम् -लेखकः a.official recorder or scribe, who drew up sale-deeds and other documents after getting the land measured in his presence; RT.VI.38.अधिकरणिकः [अधिकरणम् आश्रयतया अस्त्यस्य ठन्] 1 A judge, magistrate. अहो व्यवहारपराधीनतया दुष्करं खलु परचित्त- ग्रहणमधिकरणिकैः Mk.9. -2 A government official. अधिकरणिक पु० अधिकरणम् धर्म्माधिकरणम् आश्रयतया- ऽस्त्यस्य ठन् । विचारकरणाय धर्म्माधिकरणमण्डपे नियुक्ते प्राड्विवाकादौ । तत्र नियुक्तः ठक् । आधिकर- णिकोऽप्यत्र पु० । Source: वाचस्पत्यम् अधिकरणं, क्ली, (अधि + कृ + अधिकरणे ल्युट् ।) एकन्यायोपपादनं । इति हेमचन्द्रः ॥ अधि- क्रियते अत्र । विषयादिपञ्चावयवविवेचनोपेत- ग्रन्थः । यथा, -- “विषयो विशयश्चैव पूर्ब्बपक्षस्तथोत्तरं । निर्णयश्चेति पञ्चाङ्गं शास्त्रेऽधिकरणं स्मृतं” ॥ Source: शब्दकल्पद्रुमः అధికరణము (p. 0046) [ adhikaraṇamu ] adhi-karaṇamu. [Skt.] n. Support. ఆధారము. In metaphysics, a substratum, a cateogry; in grammar, government, the dependence of words in a sentence, which agree together. ஸமானாதிகரணம் samāṉātikaraṇam , n. < samāṇaadhikaraṇa. (Phil.) Being located in or dependent on the same substance; ஒரு பொருளையே ஆசிரயித்திருக்கை. adhikaraṇīˊ f. ʻ *anvil ʼ, adhikaraṇa -- n. ʻ receptacle, support ʼ TUp. [√kr̥1] Pa. adhikaraṇī -- f. ʻ smith's anvil ʼ; Pk. ahigaraṇī -- f. ʻ a piece of apparatus for a smith ʼ; K. yīran, dat. yṳ̄rüñ f. ʻ anvil ʼ, S. aharaṇi, araṇi f., L. (Jukes) ariṇ f., awāṇ. &circmacrepsilon;ruṇ, P. aihran, airaṇ, ā̆hraṇ f., WPah. bhal. arhini; roh. erṇe ʻ smithy ʼ, N. āran; H. aheran, ā̆hran m. ʻ anvil ʼ; -- H. Smith BSL 101, 115.Addenda: adhikaraṇīˊ -- : S.kcch. eṇ f. ʻ anvil ʼ; WPah.kṭg. n/arəṇ, n/arṇi f. ʻ furnace, smithy ʼ; āˊrəṇ m. prob. ← P. Him.I 4; jaun. āraṇ, airaṇ; G. eraṇi f. ʻ anvil ʼ, M. aheraṇ, ahiraṇ,airaṇ, airṇī, haraṇ f.(CDIAL 252) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻ doing ʼ; NiDoc. karana, kaṁraṁna ʻ work ʼ; Pk. karaṇa -- n. ʻ instrument ʼ; N. dan -- karnu ʻ toothpick ʼ, kan -- karnu ʻ ear -- pick ʼ; B. karnā, kannā ʻ work, duty ʼ; M.karṇẽ n. ʻ action, deed ʼ; Si. karaṇa ʻ occupation, trade, copulation ʼ; -- P. karnī f. ʻ mason's trowel ʼ (B. D. Jain PhonPj 116 < karaṇḍa -- ); H. karnī f. ʻ mason's trowel ʼ, M. karṇī f.(CDIAL 2795) káraṇa 'instrument' PLUS adhi, aḍe 'support, base, joining': the anvil of the type shown as 'snarling iron' was an important instrument of a smith to forge implements, pots and pans. I suggest that the early word in Prakrtam would have been closer to [T. aḍa, K. aḍe, M. aṭa.] used as a joining instrument in a forge. In one language stream, it evolves as the expression adhikaraṇīˊand in another stream it is paṭṭaḍe 'anvil, workshop' (Kannada). It is possible that such a snarling iron was the centr3-piece in the centre of each of the circular platforms with bricks used by Indus smiths. Harappa. circular platforms: adhikaraṇa 'anvil occupation' Synonym: paṭṭaḍe, paṭṭaḍi 'workshop'. The Indus Script inscription on a snarling iron is instructive: It reads: dula 'pair' rebus: dul 'cast metal' PLUS dATu 'cross' rebus: dhatu 'mineral ore' (that is, cast metal from ore) PLUS kolom 'three' rebus: kolimi 'smithy, forge' baTa 'rimless pot' rebus: bhaTa 'furnace' (that is, cast metal from ore furnace smithy). அடை³ aṭai , n. < அடு¹- [T. aḍa, K. aḍe, M. aṭa.] 1. Joining; பொருந்துகை. (கம்பரா. மந் திர. 88.) அடைகல்¹ aṭai-kal, n. < அடை¹-. 1. Anvil; பட்டடை. சுட்ட வல்லிரும் படைகலைச் சுடுகலா தன் போல் (கம்பரா. பாச. 33). 2. Stone base; ஆதாரச் சிலை. ஆமையாய் மேருத் தாங்கி யடைக கிடந்த போது (சி. சி. பர. பாஞ்சரா. மறு. 11). அடைகுறடு aṭai-kuṟaṭu , n. < அடை¹- +. 1. Anvil; கம்மியர் பட்டடை. (பிங்.) 2. Tongs; பற்றுக்குறடு. (W.) Ta. aṭai prop. slight support; aṭai-kal anvil. Ma. aṭa-kkallu anvil of goldsmiths. Ko. aṛ gal small anvil. Ka. aḍe, aḍa, aḍi the piece of wood on which the five artisans put the article which they happen to operate upon, a support; aḍegal, aḍagallu, aḍigallu anvil. Tu. aṭṭè a support, stand. Te. ḍā-kali, ḍā-kallu, dā-kali, dā-gali, dāyi anvil. Cf. 3865 Ta. paṭṭaṭai. (DEDR 86) Ta. paṭṭaṭai, paṭṭaṟai anvil, smithy, forge. Ka. paṭṭaḍe, paṭṭaḍi anvil, workshop. Te. paṭṭika, paṭṭeḍa anvil; paṭṭaḍa workshop.(DEDR 3865) These snarling irons are approx. 60 cms. long and could have been produced out of the limestone mould of Susa, ca. 13th cent. BCE The basin which could have been used as a mould measured 92 cm at its widest; the centerpiece depression which could have produced the snarling iron is approx. 60 cms. 1. A discovery of a stone basin with hieroglyphs of: european reed, shell (mollusc), kid (young goat) ligatured to fin of fish at Susa read: ayo 'fish' aya 'iron' ayas 'metal' PLUS khangaRA 'fin of fish' rebus: kammaTa 'mint, coiner, coinage' PLUS karaDU 'kid (young goat' rebus: karaDa 'hard alloy'. Indus Meluhha Writing inscription on a Chanhu-daro Snarling iron, 2529H, ASI, Central Antiquities Collection. 74.1/48 Snarling irons from the first quarter of the 20th century, after Otto 1922: 45 fig. 41-2. Used like special anvils for the raising of metal vessels.

 Binjor seal & aṣṭāśri yupa signify pōlaḍu,'black drango' rebus pōlaḍ 'steel' This is an addedum to Indus Script hypertext पोळ pōḷa, 'zebu, bos indicus' signifies pōḷa ‘magnetite, ferrous-ferric oxide Fe3O4', पोलाद pōlāda, 'crucible steel cake'https://tinyurl.com/y9so6ubv http://www.insa.nic.in/writereaddata/UpLoadedFiles/IJHS/Vol46_3_1_BPrakash.pdf B. Prakash, 2010, Ancient Indian iron and steel: an archaeometallurgical study, IJHS, 46.3, 2011, pp. 381 to 410 Shaft smelting of iron by Muṇḍa, Birgia, Agaria, Lodha, Asur (Lohars) a continuum of sacred havan by Brahmins -- B. Prakash This observation of B. Prakash is validated by the reference in Śatapatha Brāhmaṇa to aṣṭāśri, 'octagonal' yupa and caṣāla (wheat chaff or godhuma) atop the yupa. The burning of the wheat chaff on the fiery pillar (cf. Skambha sukta of AV X.7,8) infuses carbon into the molten metal as described in the carburization processes in archaeometallurgical terms. The octagonal pillar or aṣṭāśri, 'octagonal' yupa mentioned in Śatapatha Brāhmaṇa is archaeologically attested in Binjor (Anupgarh). The Indus Script seal found at the site is a wealth accounting ledger, metalwork catalogue. The bird as a hieroglyph on the Binjor seal may signifies pōlaḍu,'black drango' rebus pōlaḍ 'steel'. Was crucible steel made at Binjor? This has to be validated by further detailed archaeometallurgical investigation and analyses of artifacts from the site 4MSR. Read on... [quote] The paper is a review on the genesis and progress of iron and steel metallurgy in the Indian Sub-continent. The pyrometallurgical process of iron extraction was probably discovered in 3rd millennium BC (Vedic period) during the performance of sacred ha–van by Bra–hmins and later developed into shaft smelting process by the Asur tribes Muṇḍa, Birgia and Agaria.Lodha, Asur (Lohars) were expert black smiths who mastered hot forge welding of iron to produce a variety of objects. Rasa Ratna Samuccaya, an Ayurvedic text, has mentioned special processes for the extraction of iron and its use for the preparation of bhasma. ... The following two distinct processes were being used in South India to produce Wootz steel . (1) Carburization of wrought iron and melting (2) Decarburization of cast iron (3) Process of cofusion The actual steel making process with some variation in the actual method was used at different places, hence these Wootz steel making processes have also been named according to their place of origin i.e. Hyderabad process, Salem process, Tamil Nadu process. Carburization process: This process has been also known as crucible steel making process. In this process a weighed quantity of wrought iron pieces were packed with a carburizing material (selected wood pieces) in a refractory crucible and covered with a large green leaf. Finally the crucible was covered with a clay lid having a small hole at the centre and sealed. These crucibles were dried in Sun and 12 to 25 crucibles containing the charge were heated in a large diameter crucible furnace. The furnace was fired with hard charcoal burnt with the help of a couple of large air bellows. These blowers were made from one full hide of a buffalo. As the crucible temperature reached beyond 900 0C the carburization of iron began in a reducing atmosphere. Periodically over 8 to 10 hours these crucibles were moved from low to high temperature zone till they reached in the centre of the furnace having a temperature of ~ 1500 0C. There the carburised iron melted and separated from the molten slag. The crucible containing molten steel and Fayalite based slag was removed from the furnace and kept straight near the furnace to cool to room temperature at a slow rate. During cooling the solidification process of steel containing 1.2 to 1.9 % ‘C’ begins from the bottom nd progresses towards the centre developing large dendrites of cementite in a matrix of Ledeburite and Pearlite, which is a must for developing Damask Pattern on the steel swords. In Tamil Nadu process as described by Verhoeven(28) the bloomery iron pieces were stacked in a large crucible and carburised for 10 to 12 hrs at ~1200 0C . When the carburization was complete the crucible was either cooled slowly or water quenched to take out the steel and the melting of carburised steel was carried out separately. Decarburization process: In this process developed in Hyderabad the manufacture of steel was carried out by decarburization of cast iron in a molten bath of synthetic oxidizing slag. In this process a twin chambered furnace was made below the ground level by digging a hole of 300 mm diameter. This was divided into two parts with the help of a soft refractory clay wall, the smaller part served as the crucible for collecting steel and allowing it to solidify. The bottom of the larger chamber was first covered with a mixture of powdered quartz and magnetite and then filled with charcoal. The furnace was ignited and heated to high temperature by burning the charcoal with the help of a pair of air bellows fitted in the side wall at 45 degree. A molten pool of highly oxidizing molten slag having a melting point between 1170-1205 0C was prepared by the interaction between quartz and magnetite and some times bloomery slag was also added to it. Once sufficient molten slag was collected in the furnace cleaned white cast iron shots were charged at a controlled rate. These shots got melted and superheated in the furnace and as the molten metal came in contact with the oxidizing slag the decarburization reaction began and cast iron was converted into high carbon molten steel which got collected at the bottom. The refining process involved reaction of iron carbide (Fe3C) with FeO in the slag to remove C as CO as per the following exothermic reaction. Fe3C + FeO → 4Fe + C During the process phosphorous also could be removed by the following reaction. 2Fe3P + 8FeO → 3FeO.P2O5 + 11Fe The whole process was carried out under the guidance of experienced steel maker. When the process was complete a hole was made in the bottom of the dividing wall to tap the molten steel in the second chamber and allowed it to solidify. In this process the steel was produced in the form of a disk which was tested by cutting a ‘V’ shaped groove at the circumference. Process of cofusion: Craddock29 has proposed another process of Wootz steel making by co-fusion of grey cast iron and wrought iron in a crucible. In Tamil Nadu grey cast iron was specially produced in iron smelting furnaces and during steel making equal parts of cast iron and wrought iron were melted together in a crucible to produce Wootz steel. Before the beginning of the British rule large quantity of Wootz steel was being produced and processed at many other places in the country like Gujarat, Rajasthan, Punjab, Gwalior and at Rajghat in Varanasi. Wootz steel ingots so produced had an average chemical composition as given below- Element C Si Mn S P Weight % 1.6 0.043 0.056 0.02 0.11 The Wootz steel ingots were annealed for a long time at cherry red temperature (850° to 900° C) before supplying them to the blacksmith. Many artisans of Arabian countries especially of Syria had come to know about this wonder material and they used to come to India to learn the technique of making Wootz steel sword and carry steel ingots to their own country. Later the swords manufactured in Damascus became famous all over the World. The crucible used for making Wootz steel was made from locally available aluminous clay (Kaoline) mixed with some magnetite dust and rice husk or straw.

First use of ‘med’ iron in Tamil Nadu in 4th millennium B.C.E. -- Sivagalai, Mayiladumparai excavations

This paper is based on studies of the use and modes of production of high carbon iron alloys in relation to surface finds from Iron Age and early historic sites in southern India, in particular the site of Kadebakele where recent excavations have revealed finds of iron and steel, some of which according to preliminary studies, seem to be of a higher carbon content. Preliminary comparative studies are also made on surface finds of crucibles related to high carbon steel production at Mel-siruvalur. 1

Editors Basanta Kumar Mohanta & Vipin Kumar Singh, 2012

Transactions of the Indian Institute of Metals, 2008

The archaeological excavations conducted at Mahurzhari, Naikund and Bhagimori in the Vidharbha region of Maharashtra have yielded iron at the earliest levels. Hundreds of iron objects have been found in these burials. Naikund, a megalithic site, 42 km north west-east of Nagpur has shown a valuable evidence of iron smelting furnace complete with tuyere. This paper is prepared to present our metallographical investigations of the samples from Mahurzhari, Naikund and Bhagimori. The metallographic studies shows that the iron objects obtained from these sites must have undergone an identical thermo mechanical treatments. It also reveals knowledge of steeling and hardening treatment around 700BC.

On a few examples from Indus Script Corpora, buffalo is signified in the context of a narrative which shows tumblers leaping over the animal. Indus Script Cipher is consistent with the Bhāratīya sprachbund (speech union) attested by the list of etyma signifying 'tin/pewter/spelter' in almost all ancient Bhāratīya languages. The Toda songs have retained a cultural memory of metalwork of their ancestors, by a remarkable style evident in the following expression,noted by Emeneau with intimations of metalwork related to gold or silver: (Emeneau, M.B., Oral Poets of South India: The Todas, in: The Journal of American Folklore Vol. 71, No. 281, Traditional India: Structure and Change (Jul. - Sep., 1958), p.322) Ta. pīli toe-ring of a woman. Ma. pīli id. Ka. pilli silver ring worn on the second toe by married women. Tu. pilli, pillè silver ring worn on the toes. Te. pillāṇi, pillã̄ḍi sort of ring worn by women on the fourth toe. (DEDR 4227) The veneration of the buffalo is also related to the rebus association of the word for buffalo which signifies alloying minerals such as tin or spelter or pewter. The 'tumbling' signifies is an Indus Script hypertext: dolutsu 'tumble' rebus: dul 'metal casting'. The buffalo as a hieroglyph signifies Hieroglyph: rã̄go ʻ buffalo bull ʼ Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H.rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt inearth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ. Buffalo is a recurrent hieroglyph in Indus Script Corpora. The hieroglyph is also used in conjunction with Akkadian cuneiform texts as shown in the following examples: Association of the buffalo is emphatic in the context of cultural memories of Todas in Nilgiris. In addition to the veneration of the buffalo and the dairy, the Toda hut and Toda mund (temple) are virtual replicas of the mudhif of the Iraqi marshes. This hut is also an Indus Script hieroglyph. Indus seal at Louvre. The cylinder seal impression shows a clear Indus theme among Dept. of Near Eastern Antiquities collections at the Louvre in Paris, France, among them the Cylinder Seal of Ibni-Sharrum, described as "one of the most striking examples of the perfection attained by carvers in the Agade period [2350–2170 BCE]." The theme is a kneelin adorant with an over-flowing pot in front of a water-buffalo. The scene is mirrored on the seal of Ibni-sharrum (as mentioned in the cuneiform text). The bottom register shows flowing water. "A scene testifying to relations with distant lands Buffaloes are emblematic animals in glyptic art in the Agade period. They first appear in the reign of Sargon, indicating sustained relations between the Akkadian Empire and the distant country of Meluhha, that is, the present Indus Valley, where these animals come from. These exotic creatures were probably kept in zoos and do not seem to have been acclimatized in Iraq at the end of the 3rd millennium BC. Indeed, it was not until the Sassanid Empire that they reappeared. The engraver has carefully accentuated the animals' powerful muscles and spectacular horns, which are shown as if seen from above, as they appear on the seals of the Indus." http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum Ibni-Sharrum cylinder seal shows a kneeling person with six curls of hair.Cylinder seal of Ibni-sharrum, a scribe of Shar-kali-sharri (left) and impression (right), ca. 2183–2159 B.C.; Akkadian, reign of Shar-kali-sharri, son of Naram-sin (2250 BCE). Six curls on the kneeling adorant's hair style: Numeral bhaṭa 'six' is an Indus Script cipher, rebus bhaṭa ‘furnace’; baṭa 'iron'. Hieroglyph: rã̄go ʻ buffalo bull ʼ Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ. kāṇḍam காண்டம்² kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi) (B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. @B24310. #20851. Re(B) {V} ``(pot, etc.) to ^overflow''. See `to be left over'. (Munda ) Rebus: loh ‘copper’ (Hindi) The hieroglyph clearly refers to the metal tools, pots and pans of copper. Buffalo is one of the hierroglyphs on this Mohenjo-daro seal m0304. Integral to Toda lives is the veneration of the buffalo as divine. A buffalo's head adorns the entrance to a Toda temple called mund (the word also means a settlement). The word for a temple is kole.l (Kota language). The same word also signifies 'smithy, forge'. The word for a Kota smithy in Toda language is: kwala.l. Cognate words in select Bhāratīya languaes are: 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, kulmefire-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) m0489 Obverse side of a two-sided tablet. Slide 89 Plano convex molded tablet showing an individual spearing a water buffalo with one foot pressing the head down and one arm holding the tip of a horn. A gharial is depicted above the sacrifice scene and a figure seated in yogic position, wearing a horned headdress, looks on. The horned headdress has a branch with three prongs or leaves emerging from the center. On the reverse (90),a female deity is battling two tigers and standing above an elephant. A single Indus script depicting a spoked wheel is above the head of the deity. Material: terra cotta Dimensions: 3.91 length, 1.5 to 1.62 cm width Harappa, Lot 4651-01 Harappa Museum, H95-2486 Meadow and Kenoyer 1997 karA 'crocodile' Rebus: khAr 'blacksmith' (Kashmiri) kamaDha 'penance' (Prakritam) Rebus: kammaTa 'mint, coiner' kUtI 'twigs' Rebus: kuThi 'smelter' muh 'face' Rebus: muhe 'ingot' (Santali) One side of a molded tablet m 492 Mohenjo-daro (DK 8120, NMI 151. National Museum, Delhi. A person places his foot on the horns of a buffalo while spearing it in front of a cobra hood. Hieroglyph: kolsa = to kick the foot forward, the foot to come into contact with anything when walking or running; kolsa pasirkedan = I kicked it over (Santali.lex.)mēṛsa = v.a. toss, kick with the foot, hit with the tail (Santali) kol ‘furnace, forge’ (Kuwi) kol ‘alloy of five metals, pancaloha’ (Ta.) •kolhe (iron-smelter; kolhuyo, jackal) kol, kollan-, kollar = blacksmith (Ta.lex.)•kol‘to kill’ (Ta.)•sal ‘bos gaurus’, bison; rebus: sal ‘workshop’ (Santali)me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron; kolhe m. iron manufactured by the Kolhes (Santali); meṛed (Mun.d.ari); meḍ (Ho.)(Santali.Bodding) nAga 'serpent' Rebus: nAga 'lead' Hieroglyph: rã̄go ʻ buffalo bull ʼ Rebus: Pk. raṅga 'tin' P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ Ku. rāṅ ʻ tin, solder ʼOr. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼraṅgaada -- m. ʻ borax ʼ lex.Kho. (Lor.) ruṅ ʻ saline ground with white efflorescence, salt in earth ʼ *raṅgapattra ʻ tinfoil ʼ. [raṅga -- 3, páttra -- ]B. rāṅ(g)tā ʻ tinsel, copper -- foil ʼ. paTa 'hood of serpent' Rebus: padanu 'sharpness of weapon' (Telugu) Hieroglyph: kunta1 ʻ spear ʼ. 2. *kōnta -- . [Perh. ← Gk. konto/s ʻ spear ʼ EWA i 229]1. Pk. kuṁta -- m. ʻ spear ʼ; S. kundu m. ʻ spike of a top ʼ, °dī f. ʻ spike at the bottom of a stick ʼ, °diṛī, °dirī f. ʻ spike of a spear or stick ʼ; Si. kutu ʻ lance ʼ. 2. Pa. konta -- m. ʻ standard ʼ; Pk. koṁta -- m. ʻ spear ʼ; H. kõt m. (f.?) ʻ spear, dart ʼ; -- Si. kota ʻ spear, spire, standard ʼ perh. ← Pa.(CDIAL 3289) Rebus: kuṇṭha munda (loha) 'hard iron (native metal)' Allograph: कुंठणें [ kuṇṭhaṇēṃ ] v i (कुंठ S) To be stopped, detained, obstructed, arrested in progress (Marathi) Slide 90. Reverse side of the two-sided tablet m0489A One side of a prism tablet shows: crocodile + fish glyphic above: elephant, rhinoceros, tiger, tiger looking back and up. m0304 seal of Mohenjo-daro showing a seated person surrounded by animals has been deciphered. The message of metalwork is from a brass-worker's mint and (अग्नि-)कुण्ड, (agni-)kuṇḍa, 'sacred fire-altar'. This message is conveyed using Indus Script hieroglyphs.

-- m478 and identical tablets m479, m480 document use of iron metal infusion in smelters as muhã karaṇa, muhã kankha crucible steel button accounting tokens produced by artificers,

At the outset, I am grateful to the scholars of Mythic Society, Bengaluru—Prof. Adiga Sundara, Former Head of Department of Archaeology & Ancient History, Karnataka University, Dharwad, Dr. Ragotham Sundararajan, Dr. Jayasimha, Dr. Karthik -- for the insights provided by them on the significance of the expression Tridhātu in bhāratiya tradition, citing for my guidance, remarkable references from Kannada literature and ancient texts. This monograph presents the roots of the sacred association of Gaṇeśa with Tridhātu from the evidences provided by Sarasvati-Sindhu (Indus) Script Corpora and relates it to Sayaṇa's interpretation of Tridhātu in a R̥gveda R̥ca (RV 1.154.4). pr̥thvyaptejorūpadhātu (R̥gveda) makes the expression of Sayaṇa an ādhyātmikā metaphor. This monograph presents the roots of the sacred association of Gaṇeśa with Tridhātu from the evidences provided by Sarasvati-Sindhu (Indus) Script Corpora and relates it to Sayana's interpretation of Tridhātu in a R̥gveda R̥ca (RV 1.154.4) as pr̥thvyaptejorūpadhātu (R̥gveda) makes the expression an ādhyātmikā metaphor. The detailed evidences provided principally relate to metalwork resources of ferrite minerals, processing of crucible steel and creation of hypertext expression by combining body parts to expand hieroglyph compositions into a hypertext as shown on Dholkal Gaṇeśa, with clear intimations of metalwork: Gaṇeśa wears a steel chain and holds a kaṇḍe 'pinecone' rebus: kaṇḍa 'metal implements' on his hand. Dholkal Gaṇeśa of Chattisgarh with extraordinary hieroglyphs used in the pratimā. Association with the assur, 'smelter' tradition links this mūrti with the metalwork traditions traceable to Sarasvati-Sindhu civilization. Chattisgarh is the ironore and mineral part of Bhāratam. Bhāratiya Itihāsa traditions link Gaṇeśa to Śiva and Pārvati (daughter of Himavan, Himalayan mountain, hence associatd with mr̥t 'earth' used to form Gaṇeśa pratimā for worship). Just as Gaṇeśa is traced to Sarasvati-Sindhu script traditions of hieroglyph/hypertext cipher (Meluhha cipher of Mlecchita vikalpa), Śiva is traced to the presence of Śivalingas in Harappa and the find of an octagonal pillar in a yajna kunda in Binjor. The rudrabhāga of Śivalinga which is octagonal in shape is traceable to this octagonal pillar evidenced in Binjor which is in consonance with the R̥gveda tradition of installing a ketu, 'emblem' proclaiming the performance of a yajna, a Soma yajna in particular. The same tradition is seen in 19 Yupas which are octagonal and with Yupa inscriptions in Rajasthan historical sites, Allahabad, Mathura, East Borneo (Mulavarman). The trace to R̥gveda tradition is attested in greate detail in Satapatha Brahmana which describes the details of the yupa and caṣāla (which is godhuma, 'wheat chaff'. caṣāla infuses carbon into the metal processed in a yajna kunda making the metal hard by a process carburization in metallurgy. Thus, element carbon enters the elements of the mineral ores in specific metals or metal alloys. In 1940, archaeologist M.S. Vats discovered three Shiva Lingas at Harappa, dating more than 5,000 years old. This rare archival photo shows that ancient Shiva Linga as it was being excavated from the Harappa site. Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey sandstone block with polished surface, five stone pestles, a stone palette, and a block of chalcedony..." (Vats,MS, Excavations at Harappa, p. 370) Two decorated bases and a lingam, Mohenjodaro. After Fig. 8.305 RS Bisht. Dholavira. Details of free standing columns. Five-headed Mukhalinga embedded in a yoni;Budanilkantha, Nepal Photograph from Malleret, L., L'archaeologie du delta du Mekong, Paris, 1959; Ekamukhalinga from JaiyA, National Museum, Bangkok Ekamukhalinga from Vat Sak Sampou “The JaiyA ekamukhalinga is divided into three parts in accordance with the prescriptions in the Siva Agamas. The base, BrahmabhAga, is cubic in form and is 47.8 cms. High. The middle section, the ViSNubhAga, is octagonal in shape and is approximately 43 cm. High. The topmost section, the RudrabhAga, is cylindrical and is approximately 51 cms high, while the superimposed face measures 29.5 cms from the bottom of the chin to the top of the jaTA. The two lower sections of the linga would not normally be visible, since they would be enclosed in the pedestal (pIThikA)...One of the singular features of these pre-Angkorian mukhalingas is the fusing of the jaTA with the filet on the gland of the RudrabhAga (fig.2)...There is, however, an ekamukhalinga from Vat Sak Sampou (fig. 3) which displays a coiffure which is very muh like that worn on the JaiyA linga.” (O'Connor, SJ, 1961, An ekamukhalinga from Peninsular Siam, The Journal of the Siam Society. The Siam Society. pp. 43-49). http://www.siameseheritage.org/jsspdf/1961/JSS_054_1e_OConnor_EkamukhalingaFromPeninsularSiam.pdf Linga with One Face of Shiva (Ekamukhalinga), Mon–Dvaravati period, 7th–early 8th century. Thailand (Phetchabun Province, Si Thep) Stone; H. 55 1/8 in. Octagonal form of ViSNubhAga and the occurrence of pancamukhalinga is consistent with the tradition of pancaloha 'five dhAtu or five mineral alloy' images as utsavaberas. I suggest that the mukha on the linga is read rebus from the hieroglyph: mũh 'a face' Rebus: mũh,muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' This reaffirms the association of the octagonal brick of Binjor fire-altar with the Skambha as linga or vajra which participates in the process of smelting dhAtu, 'ores'. Face on Bhuteswar sivalinga & face with body of a hunter on Gudimallam sivalinga Worship of Shiva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625 This is worship by kharva 'dwarfs' gaNa of Siva, celebrating Kubera's nidhi also called kharva Rebus: karb 'iron' (Tulu) Relief with Ekamukha linga. Mathura. 1st cent. CE Worship of a fiery pillar,Amaravati Naga worshippers of fiery pillar, Amaravati stupa Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper' On top of the skambha are fish-fins linked together: Hieroglyph: khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coiner, coinage' . Cobra hood: phaNi 'cobra hood' rebus; phaNi 'lead or zinc'; paNi 'merchant, marketplace'.meḍ 'step' rebus: meḍ 'iron'