Pitṛmēdha (ಪಿತೃಮೇಧ) yajna

I submit that sã̄ċā 'mould' is most likely the original Meluhha sprachbund 'speech union' phonetic form used by artisans working with metal. The hieroglyph used to signify a 'mould' is seen across many archaeological artifacts: 1) Rehman-dheri ivory seal; 2. Warka Vase; 3. Ox-hide type ingots. Two sides of Ivory seal found at Rehman Dheri, ca. 3300 BCE. Markhor, Scorpion, Frog. Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id.(DEDR 5023) Rebus: mũhã 'quantity of iron produced at one time from a smelting furnace'; bicha 'scorpion' Rebus: bica 'haematite ore' PLUS dula 'pair' Rebus: dul 'metal casting'; Marble , Sarasvati Civilization ( Photo - @metmuseum ) miṇḍā́l 'markhor, ibex' Wg. mreč ʻ ibex ʼ (CDIAL 10265) miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ [Tōrwālī (Dardic)] Punjabi. mẽḍhā m. 'markhor'.(CDIAL 10310) Rebus: mẽḍh 'iron' (Mu.), med 'copper' (Slavic languages) 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) Rebus: meḍho 'helper of merchant'. (See embedded text -- Deśīnāmamālā of Hemacandra). Deśīnāmamālā Glossary, p. 71 semantics 'iron': meḍ ‘iron’ (Ho)meṛed (Mundari);mẽṛed iron; enga meṛed soft iron; sanḍi meṛed hard iron; ispāt meṛed steel; dul meṛed cast iron; i meṛed rusty iron, also the iron of which weights are cast; bica meṛed iron extracted from stone ore; bali meṛed iron extracted from sand ore; meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mundari) Ox-hide type ingots found in shipwrecks. Drawing showing T hieroglyph inscribed on the ingots. Evidence is presented to view the T symbol as an Indus Script hieroglyph. Alaina M.Kaiser, 2013, Copper oxhide ingot marks – a database and comparative analysis, Thesis in Graduate School of Cornell University https://ecommons.cornell.edu/bitstream/handle/1813/34104/amk342.pdf Complete distribution of Copper Oxhide Ingots, Fragmens and Miniatures,After Map 1 in Kaiser, AlainaM.2013 Possible route of the Uluburn ship, Pulak 2008: 238. Map after Fig. 2 in Kaiser, AlainaM.2013 T symbol on ox-hide ingot (in the middle) from Cape Gelidonya shipwreck. Copper ox-hide ingots (Talents) After Fig. 5 on http://ina.tamu.edu/capegelidonya.htm Double T symbol on fourth ingot from L. T symbol on fifth ingot from L. Disegno dei tre lingotti superstiti di Serra Ilixi, Nuragus, conservati al Museo di Cagliari (5). Come si vede dalla figura 1, non tutti gli autori concordano sull'esatta trascrizione dei segni. http://monteprama.blogspot.in/2013/09/i-marchi-dei-lingotti-oxhide.html “The T and Double T symbols are usually impressed and most often appear on the rough side of Type 2 ingots. These marks were then made during the cooling of the metal with some form of stamp or brand in these shapes…Geographical distribution analysis places these two marks predominantly in the same regions. The majority of both T and Double T marks are from the Uluburn and Cape Gelidonya shipwrecks. On land, T marks appear at Enkomi (Cyprus) and Ozieri (Sardinia), Double T marks appear at Mycenae (Greece) and three sites on Sardinia (Teti, Nuragus, and Capoterra). This data, especially the prominence of these marks on Sardinia, indicates a possible connection between these symbols and ingots sent to the western areas of the Mediterranean.” (Kaiser, AlainaM.2013, p.39). T symbol which appears on ox-hide ingots of the shipwrecks (Cape Gelidonya and Uruburun) is an Indus Script hieroglyph. Ingot. British Museum 1897,0401.1535 “Copper oxhide-shaped ingot; mark comprising a semi-circle enclosing a horizontal line with two intersecting perpendicular lines to one end impressed on surface towards one edge.” https://www.britishmuseum.org/collection/object/G_1897-0401-1535 Copper ox-hide ingot dating to the Late Bronze Age, from the site of Enkomi in Cyprus. (Photo: Xenophon Michael, Department of Antiquities, Cyprus) With T hieroglyph. Source: https://www.researchgate.net/profile/Arthur-Knapp/publication/229475085/figure/fig3/AS:393615470809122@1470856649798/Copper-ox-hide-ingot-dating-to-the-Late-Bronze-Age-from-the-site-of-Enkomi-in-Cyprus.png Side A. Hieroglyph to signify sã̄ċā 'mould'; Side B: Hieroglyph to signify large ingot: dhāḷ 'a slope'; 'inclination' ḍhāla n. ʻ shield ʼ dhāḷako 'large ingot' Warka Vase shows two hieroglyphs to signify sã̄ċā 'mould' together with hieroglyphs of markhor and tiger. The large storage jars show ingots (bun-shaped). kola, kul 'tiger' rebus: kol 'working in iron' kolhe 'smelter' pã̄ḍā, ˚ḍyā m. ʻ half -- grown tiger -- cub ʼ.(Marathi)(CDIAL 7717) Pāṇḍyā पांड्या 1) Indus Script hieroglyph 'feline cub' rebus customs registrar of Sarasvati-Sindhu Civilization; Ta. accu mould, type. Ma. accu id. Ko. ac mould for casting iron. Ka. accu mould, impression, sign, type, stamp. Koḍ. acci cake of jaggery sugar with hollow in middle (formed in a mould). Tu. acci form, model. Te. accu stamp, impression, print, mould. / ? Cf. Turner, CDIAL, no. 13096, Skt. sañcaka-, Panj. sañcā, saccā mould; Burrow 1967.41.(DEDR 47) அச்சு² accu , n. [T. K. M. accu.] 1. Mould; கட்டளைக்கருவி. அச்சிலே வார்த்த உருவம். 2. Wire mould; கம்பியச்சு. கம்பி வாங்கு மச்சென லாயதால் (இரகு. திக்கு. 189). 3. Printing type; உருக்கெழுத்து. 4. Exact likeness; சரியொப்பு. கடைமாந்த ரச்சாய் (சேதுபு. வேதா. 16). 5. Sign, mark, print, stamp; அடையாளம். பவளத் திருமார்பி லச்சிட்டவர்க்கு (ஏகாம். உலா. 211). 6. Weaver's reed instrument for pressing down the threads of the woof; நெய்வோர் கருவிவகை. 7. Comb-like frame in a loom through which the warp threads are passed and by which they are pressed or battened together; நெய்வோர் கருவி வகை. (Tamil) sañcaka m.n. ʻ mould, figure ʼ Naiṣ. [Sanskritization of MIA. *saṁcaa -- < saṁcaya -- (moulds being made in mounds of earth LM 418) is unlikely in view of A. B. Or. < *sañca -- , P. < *saccaa -- , WPah. < *śacca -- ] P. sañcā, saccā m. ʻ mould ʼ, WPah.bhad. śeccu n., Ku. N. sã̄co, A. xã̄s, B. sã̄c, chã̄c, Or. chã̄ca, Bi. H. sã̄cā m. (→ P. sã̄cā m., S. sã̄co m., K. sã̄ca m.), G. sã̄cɔ m.; M. sã̄ċā m. ʻ mould, quantity cast in a mould ʼ(CDIAL 13096) sã̄ca साँच । आकृतिनिष्पत्त्युपकरणम् m. a mould, matrix; hoʦu 2 ह॑च़ु॒ । स्वर्णकारवस्तुविशेषः m. a kind of small mould used by goldsmiths, into which gold is hammered so as to shape it into a boss or other ornament. (Kashmiri) ଇଟାଛାଞ୍ଚ— Iṭāchhān̄cha ଦେ. ବି.— ୟେଉଁ ଛାଞ୍ଚରେ ଚକଟା ମାଟି ପୁରାଇ ନିର୍ଦ୍ଦିଷ୍ଟ ଆକାରର ଇଟା ଗଢ଼ା ହୁଏ—Brick-mould. ଛାଞ୍ଚ— Chhān̄cha [synonym(s): ছাইচ, ছাঁচ साँचा] ଦେ. ବି. (ସଂ. ସଞ୍ଚ. ଏକତ୍ରୀକରଣ କିମ୍ବା ସଂ. ତ୍ଯ = ଆଦର୍ଶ; ସଂ. ନାମ. ସଂ. ଜାନ ୟୋଗେଶ୍ଚନ୍ଦ୍ର)— 2। ପ୍ରତିମା ଆଦି ତିଆରି କରିବା ନିମନ୍ତେ ଆଉଟା ଧାତୁକୁ ଢ଼ାଳିବାର ନିର୍ଦ୍ଦିଷ୍ଟ ଆକାରର ପାତ୍ର— 1. A casting mould; mould; cast. ବିଶ୍ବକାନ୍ତ ସାର ବୋଳି ଅବାମାର ଢ଼ାଳିଅଛି ପ୍ରେମ ଛ଼ଞ୍ଚେ। ରାଧାନାଥ. ୟୟାତି। 2। କାଠ, ମାଟି ଓ ମହଣ ଆଦିରେ ନିର୍ମିତ ଆଦର୍ଶ— 2. Type; model. ସେଚନ— Sechana Melting and moulding of metal; casting of metal. (Oriya)mọ̆chu म्व॑छु॒ or mochu म॑छु॒ or muchu1 मुछु॒ । स्वर्णकारोपकरणभेदः m. a goldsmith's forming mould, on which he hammers sheet gold or other metal in order to give it any required pattern or form. (Kashmiri) ଢଳାଇ— Ḍhaḻāi [synonym(s): ঢলাইঁ ढलाइ] ଦେ. ବିଣ ଓ ବି— 1। ଢଳା (ଦେଖ) 1. Ḍhaḻā (See) 2। ଧାତୁ ଆଦି ଢାଳିବା ମଜୁରି— 2. Wages paid for moulding a metal article. ଢଳା— Ḍhaḻā ଢାଳିବା କର୍ମ—3. Act of pouring. ଚଳାଚଳ ନୟନ ଢଳା ରସକୁ ମନ ବଳାଅ ରେ। କବିସୂର୍ୟ, ସଙ୍ଗୀତ। Mould. 6। ଧାତୁକୁ ତରଳାଇ ଛାଞ୍ଚରେ ଢାଳିବା କର୍ମ— Act of pouring molten metal into a mould. Molten and cast into a mould.! ଆଉଟା ହୋଇ ଛାଞ୍ଚରେ ଇଡ଼ା ହୋଇଥିବା ଧାତୁ ଦ୍ବାରା ପ୍ରସ୍ତୁତ—Made of molten metal cast in mould. ଅମୃତ ବାବରସେଁ ଢଳା ବାଗ୍ଦେବୀ ବାଣୀ ବ୍ରହ୍ମକଳା—ମଧୁସୁଦନ, ସଙ୍ଗୀତମାଳା। 4। ପ୍ରଚୁର ରୁପେ ଇଡା ହୋଇଥିବା— Poured profusely. [ঢলা ঢালা ढलाहआ] ବିଣ— 1। ଢଳିଥିବା; ସାମାନ୍ଯରେ ଏକପାଖକୁ ଟଳିଥିବା—ଅକ୍ଷର ଢଳା— Akshara ḋhaḻā [Synonym(s): অক্ষর ঢালা অক্ষর ঢালাই अक्षर ढलाइ] ଦେ. ବି. (ଅକ୍ଷର+ସଂ. ଦ୍ରାହ୍ ଧାତୁ = ନିକ୍ଷେପଣ)— ଛାପାଖାନାରେ ବ୍ୟବହୃତ ଟାଇପ୍ ବା ଅକ୍ଷରର ପ୍ରତିକୃତିକୁ ଛାଞ୍ଚରେ ଢାଳି ତିଆରି କରିବା ପ୍ରକ୍ରିୟା—Moulding of types for printing. ଅକ୍ଷର ଢାଳିବା— Akshara ḍhāḻibā [Synonym(s): অক্ষর ঢালা अक्षर ढालना] ଦେ. କ୍ରି. (ସଂ. ଅକ୍ଷର+ଦ୍ରାହ୍ ଧାତୁ)— ଛାପାଖାନାରେ ବ୍ୟବହୃତ ଅକ୍ଷରର ଛାପ ତିଆରି କରିବା ପାଇଁ ସୀସାକୁ ତରଳାଇ ଛାଞ୍ଚରେ ଢାଳିବା।—To mould types for printing. (Oriya) କାଣ୍ଟିଆ— Kāṇṭiā ଦେ. ବି— 1ବଣିଆମାନେ ଆଉଟା ସୁନା ଓ ରୂପାକୁ ୟେଉଁ ଲମ୍ବା, ଖାଲୁଆ ଛାଞ୍ଚରେ ଢ଼ାଳନ୍ତି—2. A long and deep mould for preparing ingots of metal. (Oriya)

Richly decorated Soma jars from the Indus Valley Civilisation, 2022

Many decorated bowls and jars have been found in the ruins of the towns and villages in the Ancient Indus Valley. From the decorations of some of these pots it can be concluded that they were used for Soma rituals.

Bronze Susa table decorated with 6 overflowing pots, 2 snakes Harappa Script hypertexts signify लोखंड [lōkhāṇḍā ] 'metalwork' khār खार् 'blacksmith'. A vivid Meluhha hieroglyph 'overflowing pot' has rebus-metonymy reading:लोखंड [lōkhāṇḍā ] 'metalwork' khār खार् 'blacksmith'. manager, arranger, turner (in guild smithy) of metal tools, pots and pans. This orthographic metaphor of an over-flowing pot gets expanded expression on a Bronze Susa table of 14th cent. BCE signifying 6 persons holding overflowing pots together with two cobras. The entire artifact signifies Meluhha rebus reading: लोखंड [lōkhāṇḍā ] 'metalwork' khār खार् 'blacksmith'. m1656 Mohenjodro Pectoral: of Turner, manager, arranger. Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati).Rebus: Vajra Sanghāta 'binding together' (Varahamihira) *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha -- ]L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845). Rebus: samgraha, samgah 'arranger, manager'. Hieroglyph: खोंड (p. 216) [khōṇḍa] m A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi. Molesworth); kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda)Rebus: kõdā ‘to turn in a lathe’ (Bengali) dula 'two' rebus: dul 'metal casting' baTa 'six' rebus: bhaTa 'furnace'. 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. Hieroglyph: nagnagin 'species of snake' kari nangin 'species of black poisonous snake' (Santali) nāgá1 m. ʻ snake ʼ ŚBr. 2. ʻ elephant ʼ BhP. [As ʻ ele- phant ʼ shortened form of *nāga -- hasta -- EWA ii 150 with lit. or extracted from nāga -- danta -- ʻ elephant tusk, ivory ʼ < ʻ snake -- shaped tusk ʼ].1. Pa. nāga -- m. ʻ snake ʼ, NiDoc. nāǵa F. W. Thomas AO xii 40, Pk. ṇāya -- m., Gy. as. nâ JGLS new ser. ii 259; Or. naa ʻ euphem. term for snake ʼ; Si. nay, nā, nayā ʻ snake ʼ. -- With early nasalization *nāṅga -- : Bshk. nāṅg ʻ snake ʼ. -- Kt. Pr. noṅ, Kal. nhoṅ ʻ name of a god < nāˊga -- or ← Pers. nahang NTS xv 283.2. Pa. nāga -- m. ʻ elephant ʼ, Pk. ṇāya -- m., Si. nā. śiśunāka -- .(CDIAL 7039) Rebus: nāga2 n. ʻ lead ʼ Bhpr. [Cf. raṅga -- 3] Sh. naṅ m. ʻ lead ʼ (< *nāṅga -- ?), K. nāg m. (< *nāgga -- ?).(CDIAL 7040) (Santali) Pa. kāṛ- to expand hood (serpent).(DEDR 1491) karã̄ n. pl. wristlets, bangles' rebus: khār खार् 'blacksmith'. Hieroglyph: 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) Hieroglyhph: <lo->(B) {V} ``(pot, etc.) to ^overflow''. See <lo-> `to be left over'. @B24310. #20851. <lo->(B) {V} ``to be ^left over, to be ^saved''. Caus. <o-lo->. @B24300. #20861.(Munda etyma) Rebus: loh ‘copper’ (Hindi) Rebus: loh 'copper, iron, metal' (Indian sprachbund, Meluhha). lokhāṇḍā 'metal tools, pots and pans of copper' Ancient near East Gudea statue hieroglyph (Indus writing): lokhãḍ, 'copper tools, pots and pans' Rebus: lo 'overflow', kāṇḍa 'sacred water'.overflowing pot: lo 'overflowing' PLUS kand 'pot' Rebus: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) N. lokhar ʻ bag in which a barber keeps his tools ʼ; H. lokhar m. ʻ iron tools, pots and pans ʼ; -- X lauhabhāṇḍa -- : Ku. lokhaṛ ʻ iron tools ʼ; H. lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻ tools, iron, ironware ʼ; M. lokhãḍ n. ʻ iron ʼ (LM 400 < -- khaṇḍa -- )(CDIAL 11171) A sacrificial table from Susa 14th c. BCE in Louvre, as a hypertext. lokhāṇḍā 'metalwork' khār खार् 'blacksmith'. Table decorated with serpents and deities bearing vessels spouting streams of water This table, edged with serpents and resting on deities carrying vessels spouting streams of water, was doubtless originally a sacrificial altar. The holes meant the blood would drain away as water flowed from the vessels. Water was an important theme in Mesopotamian mythology, represented particularly by the god Enki and his acolytes. This table also displays the remarkable skills of Elamite metalworkers. A sacrificial table The table, edged with two serpents, rested on three sides on five figures that were probably female deities. Only the busts and arms of the figures survive. The fourth side of the table had an extension, which must have been used to slot the table into a wall. The five busts are realistic in style. Each of the deities was holding an object, since lost, which was probably a water vessel, cast separately and attached by a tenon joint. Water played a major role in such ceremonies and probably gushed forth from the vessels. Along the sides of the table are sloping surfaces leading down to holes, allowing liquid to drain away. This suggests that the table was used for ritual sacrifices to appease a god. It was believed that men were created by the gods and were responsible for keeping their temples stocked and providing them with food. The sinuous lines of the two serpents along the edge of the table mark off holes where the blood of the animals, sacrificed to assuage the hunger of the gods, would have drained away. The importance of water in Mesopotamian mythology In Mesopotamia, spirits bearing vessels spouting streams of water were the acolytes of Enki/Ea, the god of the Abyss and of fresh water. The fact that they figure in this work reflects the extent of the influence of Mesopotamian mythology in Susa. Here, they are associated with another Chtonian symbol, the snake, often found in Iranian iconography. The sinuous lines of the serpents resemble the winding course of a stream. It is thought that temples imitated the way streams well up from underground springs by the clever use of underground channels. Water - the precious liquid - was at the heart of Mesopotamian religious practice, being poured out in libations or used in purification rites. Objects made for a new religious capital Under Untash-Napirisha, the founder of the Igihalkid Dynasty, the Elamite kingdom flourished. He founded a new religious capital, Al-Untash - modern-day Chogha Zanbil - some 40 kilometers southeast of Susa. However, the project was short-lived. His successors soon brought large numbers of religious objects back to Susa, the former capital. This table was certainly among them. Its large size and clever drainage system reflect the remarkable achievements of metalworking at the time. Bibliography Amiet Pierre, Suse 6000 ans d'histoire, Paris, Éditions de la Réunion des musées nationaux, 1988, pp.98-99 ; fig. 57. Miroschedji Pierre de, "Le dieu élamite au serpent", in : Iranica antiqua, vol.16, 1981, Gand, Ministère de l'Éducation et de la Culture, 1989, pp.16-17, pl. 10, fig.3. • Table ornée de serpents et de divinités aux eaux jaillissantes XIVe siècle avant J.-C. Suse, Tell de l'Acropole • Bronze H. 19.5 cm; W. 15.7 cm; L. 69.5 cm • Fouilles J. de Morgan, 1898 , 1898 Sb 185 • Near Eastern Antiquities Sully wing Ground floor Iran, Susiana (Middle Elamite period) Room 10 • http://www.louvre.fr/en/oeuvre-notices/table-decorated-serpents-and-deities-bearing-vessels-spouting-streams-water See: http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-rosetta-stones-of.html Some examples of 'overflowing pot' abiding orthographic metaphors of Gudea and others holding an overflowing pot on Ancient Near East artifacts, cylinder seals to signify, metal implements maker: लोखंड [lōkhāṇḍā ] 'metalwork' khār खार् 'blacksmith'. Enki walks out of the water to the land attended by his messenger, Isimud who is readily identifiable by his two faces looking in opposite directions (duality). M177. Kidin-Marduk, son of Sha-ilima-damqa, the sha reshi official of Burnaburiash, king of the world Untash-Napirisha Cylinder seal image. The water-god in his sea house (Abzu) (ea. 2200 B.C.). On the extreme right is Enki, the water-god, enthroned in his sea house. To the left is Utu, the sun-god, with his rays and saw. The middle deity is unidentified. (British Museum) Gypsum statuette. "A Gypsum statuette of a priestess or goddess from the Sumerian Dynastic period, most likely Inanna. ...She holds a sacred vessel from which the life-giving waters flow in two streams. Several gods and goddesses are shown thus with running water, including Inanna, and it speaks of their life-giving powers as only water brings life to the barren earth of Sumeria. The two streams of water are thought to stand for the Euphrates and Tigris rivers. This is the earliest of the group of statues and dates to c. 2600-2300 B.C. 150 mm tall." http://www.aliraqi.org/forums/showthread.php?t=53773&page=2 These images are explained in terms of associated sacredness of Enki, who in Sumerian mythology (Enki and Ninhursag) is associated with Abzu where he lives with the source sweet waters. The following semantic cluster indicates that the early compound: loha + kāṇḍa referred to copper articles, tools, pot and pans. The early semantics of 'copper' got expanded to cover 'iron and other metals'. It is suggested that the hieroglyph of an overflowing vase refers to this compound: lohakāṇḍā. खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended (Marathi) M. lokhãḍ n. ʻironʼ(Marthi) yields the clue to the early semantics of khāṇḍā which should have referred to tools, pots and pans (of metal). Kumaoni has semantics: lokhaṛ ʻiron tools'. लोहोलोखंड [ lōhōlōkhaṇḍa ] n (लोह & लोखंड) Iron tools, vessels, or articles in general (Marathi).

The historiography for the IA cognate of father term is more evident than for it’s counterpart in IH/IE tradition, with the IA term enjoying a certain depth of meaning across the scriptures. The word pitr was functionally classificatory in nature in RV and was developed to be descriptive occasionally in later RV period and more regularly in Atharva Veda.

On thousands of Indus Script inscriptions, the most frequently used ciphertexts are pictorial narratives of 1) standard device and 2) spiny-horned young bull These two orthographic compositions are ciphertexts.The common design principle of both the ciphertexts is: Hieroglyph: सांगडणें sāṅgaḍaṇēṃ (सांगड) 'to link, join, or unite together (boats, fruits, animals)' Vajra Sanghāta 'binding together' (Varahamihira) Rebus: *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha -- ] L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845). Thus, for e.g., the standard device joins together a flagpost, portable furnace or bowl with live coals, lathe and gimlet together with the junction showing सांगड sāṅgaḍa 'That member of a turner's apparatus by which the piece to be turned is confined and steadied; Similarly, the spiny-horned young bull is composed with orthographic emphasis on the joined together parts: the spiny horn, one ear, rings on neck, pannier on shoulder, belly, youth of the animal leg & thigh, and penis, This monograph presents the decipherment of the two ciphertexts as Meluhha plaintext expressions in two sections: 1) standard device and 2) spiny-horned young bull Section 1 Standard device which joins together a) lathe b) सांगड sāṅgaḍa 'That member of a turner's apparatus by which the piece to be turned is confined and steadied; c) gimlet d) portable furnace; e) flames emanating from the surface f) flagpost; f) gold beads or dotted circles. --Hieroglyphs joined together form Indus Script hypertexts; decipherment yields plaintexts of wealth-accounting ledgers of wealth products such as metalwork, gems and jewels, lapidary work. -- kunda,'lathe' Agnikuṇḍa, 'bowl with live coals' PLUS pottu 'hole' potti 'gold bead' rebus: pō̃ta 'metal casting' PLUS kaṇḍa 'flagpost' rebus: khaṇḍa 'equipment' -- singa 'young bull' (Pali) rebus singi 'ornament gold'; Singa1 (nt.) [Vedic śṛnga, cp. Gr. ka/rnon, kraggw/n; Lat. cornu=E. horn] a horn J i.57, 149, 194; iv.173 (of a cow); Vism 106; VvhA 476. -- dhanu horn -- bow DhA i.216. -- dhamaka blowing a horn Miln 31. Singa2 the young of an animal, calf J v.92; cp. Deśīnāma- mālā viii.31. Singika (adj.) [fr. singa1] having horns J vi.354 (āvelita -- ˚ having twisted horns). Singin (adj.) [Vedic śṛngin] having a horn Vin ii.300; J iv.173 (=cow); clever, sharp -- witted, false Th 1, 959; A ii.26; It 112; cp. J.P.T.S. 1885, 53. Singila a kind of horned bird J iii.73; DhA iii.22 (v. l. singala).Singī & singi (f.) [cp. Sk. śṛngī] 1. gold Vin i.38; S ii.234; J i.84. -- 2. "ginger" in sense of "dainties, sweets" J iv.352 (=singiver' ādika uttaribhanga C.; cp. Tamil iñji ginger).-- nada gold Vv 6428; VvA 284. -- loṇa ( -- kappa) license as to ginger & salt Vin ii.300, 306. -- vaṇṇa gold-coloured D ii.133. -- suvaṇṇa gold VvA 167.(Pali) (See annexed note on singh, simha). -- pōta 'young bull, calf' rebus पोतृ 'purifier',potadāra 'village silversmith, assayer of metals' -- ପୋଦାର୍— Podār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ଯକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ଯବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ଯବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker.ପୋଦ୍ଦାର୍— Poddār [synonym(s): পোদ্দার पोहार] ବୈଦେ. ବି. (ଫା. ଫୌତା=ଭୁକର, ଖଜଣା; ଫୋତାହାର=ୟେ ରାଜସ୍ବ ଟଙ୍କା ପରୀକ୍ଷା କରେ)— 1। ଟଙ୍କା କୃତ୍ରିମ କି ଭଲ ତାହା ପରୀକ୍ଷା କରିବା ବ୍ଯକ୍ତି— 1. A person who sets coins; poddar. 2। ତହବିଲ୍ଦାର୍ କର୍ମଚାରୀ—2. A cash keeper; cashier. 3। ବଣିଆ; ସ୍ବର୍ଣ୍ଣ ରୌପ୍ଯ ବ୍ଯବସାଯୀ ବଣିକ— 3. Goldsmith; jeweller. 4। ମୁଦ୍ରା ବ୍ଯବସାଯୀ; ଅର୍ଥବଣିକ— 4. Money-changer; banker.ପୋଦାରୀ— Podārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār.ପୋଦ୍ଦାରୀ— Poddārī [synonym(s): পোদ্দারী पोद्दारी] ବୈଦେ. ବି. (ଫା.)— ପୋଦାରର କର୍ମ— The work or post of Poddār. -- singhin, 'having spiny horns,projecting in front' Rebus: singin 'gold for ornaments' PLUS karā 'ear' PLUS kunda 'young bull' together signify singikār kũdār,'ornament goldsmith who works a lathe or a lapidary'. -- Organizing principle of 'joining together parts' in Indus Writing System is called Hieroglyph: सांगड sāṅgaḍa m f (संघट्ट S) 'That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.'; सांगडणी sāṅgaḍaṇī f (Verbal of सांगडणें) Linking or joining together.सांगडणें sāṅgaḍaṇēṃ v c (सांगड) To link, join, or unite together (boats, fruits, animals) 2 Freely. To tie or bind up or unto. I submit that saṁghāya 'closeness in enterprise'; and 2. 'intimate, familiar communication' is the organizing principle for the functions of Indus Script Cipher to communicate intimately to close associates in trade and wealth-production transactions. These intimate communications relate to sã̄gah 'collections of metalwork, metalcasting work, gems-jewels and lapidary work products'. The semantics of similar sounding expressions in Meluhha signify the semantics of 1. saṁghāya 'closeness in enterprise'; and 2. intimate, familiar communication; 3. sã̄gah 'collections of materials' or manufactured metal, gem-jewel products which yield wealth in business transactions. Rebus 1: Pk. saṁghāya -- m. ʻcloseness, collectionʼ (CDIAL 12862) संघट्टण 'Close connection and intercourse; intimate and familiar communication' (Marathi) Rebus 2: -- saṁgraha m. ʻ collection ʼ Mn., ʻ holding together ʼ MBh. [√grah]Pa. saṅgaha -- m. ʻ collection ʼ, Pk. saṁgaha -- m.; Bi. sã̄gah ʻ building materials ʼ; Mth. sã̄gah ʻ the plough and all its appurtenances ʼ, Bhoj. har -- sã̄ga; H. sãgahā ʻ collection of materials (e.g. for building) ʼ; <-> Si. san̆gaha ʻ compilation ʼ ← Pa.(CDIAL 12852) sáṁgr̥hṇāti ʻ seizes ʼ RV. 2. *saṁgrahati. 3. saṁgrāhayati ʻ causes to be taken hold of, causes to be comprehended ʼ BhP. [√grah]1. Pa. saṅgaṇhāti ʻ collects ʼ, Pk. saṁgiṇhaï; Or. saṅghenibā ʻ to take with, be accompanied by ʼ.2. Pa. fut. saṅgahissati, pp. saṅgahita -- ; Pk. saṁgahaï ʻ collects, chooses, agrees to ʼ; Si. han̆ginavā ʻ to think ʼ, hän̆genavā, än̆g˚ ʻ to be convinced, perceive ʼ, han̆gavanavā, an̆g˚ ʻ to make known ʼ.3. Or. saṅgāibā ʻ to keep ʼ.(CDIAL 12850) Rebus 3: Yet another rebus reading is: the ancient accounting system used for invoicing precious commodities on approval basis called: The jangad/Challan made out by the defendant and stated to be signed by the plaintiff as receiver of the goods shown therein evidences the written contract between the parties... https://www.casemine.com/search/in?q=invoice+written+contract In Gujarati, the word jangadiyo means 'a military guard carryiingaccompanies treasure stored in the treasury/warehouse of the state'. See: Itihāsa, Standard device on Indus Script Corpora is सांगड sāṅgaḍa 'joined lathe, portable furnace' rebus: saṁghāṭa 'catamaran' (Rāmāyaṇa), sãghāṛɔ 'lathe' jangadiyo 'military guard' https://tinyurl.com/y7o7wf9t Section 1 Standard device The arrow points to सांगड sāṅgaḍa, सांगाडी sāṅgāḍī 'That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.' (Marathi) सांगड 'lathe apparatus to firmly hold together the perforated bead' rebus: sãgahā ʻcollection of materials'. Note the piece numbered 6 on this drawing provided by the late Iravatham Mahadevan. This part of the turner's apparatus is सांगाडी sāṅgāḍī to hold and steady the turned object. Could be a stone slab with a slight depression. The piece to steady turned objects, shown between the gimlet and the top of the portable furnace is सांगाडी sāṅgāḍī. 'f The machine within which a turner confines and steadies the piece he has to turn. ' (Marathi) The part of the turner's apparatus which holds the turned 'bead' and holds it steady is seen in the following seal of Mohenjo-daro(See the plate just below the gimlet of the lathe). This is सांगाडी sāṅgāḍī of kunda 'lathe'. The drawing is courtesy the late Iravatham Mahadevan. The numbered parts are interpreted by me, NOT as a filter but a lathe ligatured to a portable furnace: Hence, the parts 1 to 12 are explained in Meluhha words/expressions as follows: kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1]N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdā, kõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibā, kū̃d˚ ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi. kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m.(CDIAL 3295) kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1]A. kundār, B. kũdār, ˚ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, ˚rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297) Image result for indus script lathe gimlet work dennys frenez"1. Top hook (handle); kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790). 2. gimlet; स्फोटनी sphōṭanī स्फोटनी The boring tool, an auger, a gimlet. sphōṭana1 n. ʻ act of breaking ʼ Āpast., sphōṭanī -- f. ʻ gimlet ʼ lex. [√sphuṭ]Pk. phōḍaṇa -- n. ʻ splitting ʼ; Or. phoṛaṇī ʻ instrument for boring ʼ.(CDIAL 13855)Ta. purai tubular hollow, tube, pipe, windpipe. This is possibly a rebus for pota 'assayer of metals'.

This is an addendum to: Perforated jars of Harappa are shown on Bactria Silver vase used in Yajna processes https://tinyurl.com/rphmjc4 Hieroglyph: புடம்¹ puṭam , n. < puṭa. 1. The refining or sublimating vessel or cup; புடமிடுங்கலம். (ஞானா. 15, 26.) 2. Cover; மூடி. தொகுபுடஞ் சற்றே யோங்கி (விநாயகபு. 15, 40). 3. Calcination in fire or in the sun; preservation by being buried under the earth or in a heap of grain; வெயிலில் வைத்தல் முதலிய உபாயங்களாற் பக்குவப்படுத் துகை. புடஞ்சே ரெழிற்பொன் (உத்தரரா. திரு வோலக். 10). புடமிடு-தல் puṭam-iṭu- , v. tr. < id. +. 1. To refine metals; பொன் முதலியவற்றைச் சுத்தி செய்தல். அதகமிகப் புடமிட்டு (காசிக. ஓங்காரலி. சி. 6). 2. To calcinate; to preserve by burying under the earth, etc.; வெய்யிலில் வைத்தல் முதலிய உபாயங்களாற் பக்குவப்படுத்துதல். ସ୍ଫୁଟତା— Sphuṭatā ସଂ.ବି. (ସ୍ଫୁଟ+ଭାବେ. ତା, ତ୍ବ)— 1। ସ୍ପଷ୍ଟତା— 1. Clearness; distinctness. Pe. puṭ- (-t-) to set fire to, kindle. Kui puṭpa (puṭt-), puṛpa (puṛt-) to roast.(DEDR 4260) पुट mn. a fold , pocket , hollow space , slit , concavity (ifc. f. आ) Mn. MBh. स्फुट open, opened (Monier-Williams) ସ୍ଫୁଟନ— Sphuṭana Perforation.puṭa m.n. ʻ cavity, small receptacle, fold ʼ MBh. (ūṣa- puṭá -- MaitrS.), ˚ṭaka -- n. MBh., ˚ṭī -- f. Śāntiś., -- pūṭikā<-> f. Pañcat. [For poss. IE. origin see EWA ii 300. But with *pōṭṭa -- 1 prob. non -- Aryan (and poss. conn. with ʻ hollow ʼ words having initial pō -- s.v. *pōka -- ): ← Drav. T. Burrow TPS 1945, 111 or ← Mu. PMWS 148?](CDIAL 8253) पुट m. the enveloping or wrapping of any substance (esp. for baking or heating it ; cf. पुट-पाक) Bhpr. पुट puṭa A crucible. Ex. जैसें पुटीं पडतां सुवर्ण ॥ तेजस्वी दिसे दैदीप्यमान ॥ (Marathi) पुटपाक puṭapāka m S The preparation, by fire, of medicaments surrounded with folds of leaves &c. 2 The melting (of gold) in a crucible. Ancient Veda texts which detail the processes of Soma Samsthā yajña indicate the significance of perforations on jars in metallurgical processs. It is possible that the jars contained क्षार m. any corrosive or acrid or saline substance (esp. an alkali such as soda or potash) , caustic alkali (one species of cautery) Ka1ty. Ya1jn5. iii , 36 MBh. &c; n. any corrosive or acrid substance Katha1s. xciii , 14; n. a factitious or medicinal salt (commonly black salt , विड्-लवण and कृष्ण-ल्°), to oxidise impurities in ores subjected to smelting. In Shatapatha Brahmana we do find : 'SBr. 5.5.4.27. Now there is a pitcher perforated either with a hundred, or with nine, holes. If it is one with a hundred holes,--man lives up to a hundred (years), and has a hundred energies, and a hundred powers: therefore it is perforated with a hundred holes. And if with nine holes,--there are in man those nine vital airs: therefore it is perforated with nine holes.'' SBr. 5.5.4.28. This (pitcher), hung up by a sling, they hold just over the Âhavanîya 1. He pours into it what spirituous liquor has been left over, and whilst it is trickling through, he stands by worshipping with the three verses 1 of the Pitarah Somavantah (the Fathers accompanied by Soma), with three verses of the Pitaro Barishadah (the Fathers seated on the barhis), and with three verses of the Pitaro Agnishvâttâh (the Fathers consumed by the fire). And as to why he thus stands by worshipping,--when Soma flowed through Indra, what part of it then went to the Fathers--there being three kinds of Fathers--therewith he now supplies him and makes him whole: therefore he thus stands by worshipping. http://www.sacred-texts.com/hin/sbr/sbe41/sbe4126.htm And : ''SBr. 12.7.2.13. There is a pot (kumbhî) perforated with a hundred holes 1, for in many ways did that (Soma) flow out of (Indra); and a hundred-sized also, indeed, is the sacrifice: it is the sacrifice he thereby secures. There is a bowl (rata 2): it is the real (or good) thing (sat) he thereby secures. There is a dish (kapya) for him to secure food. There is a filter, for they cleanse him, (the Sacrificer, by this offering). There is a tail (-whisk) for turning away evil. There is gold for him to secure form (or colour); it weighs a hundred (grains), for man has a life of a hundred (years) and a hundred energies: life, and energy, vital power, he thus lays into his own self.'' http://www.sacred-texts.com/hin/sbr/sbe44/sbe44066.htm Shukla Yajurveda : ''19.87 The pitcher was the father of the rectum by powers, the womb which first contained the infant.Plain was the hundred-streaming fount as penis: the jar poured forth libations to the Father.'' http://www.sacred-texts.com/hin/wyv/wyvbk19.htm Gonurdepe pot. Bactria silver vase showing perforated vessels Perforated pot. Mohenjo-daro ca. 2700 to 2000 BCE शता* तृण्ण mf(आ)n. having a hundred holes Br. Kaus3. शता* तृण्णा f. a jar or vessel having a hundred holes (शतपथ-ब्राह्मण,वैतान-सूत्र) Satapatha Brahmana ( 12.7.2.13) śatā́tṛṇṇā́ kumbhī́ bhavati refers to such a pot. Sentence: a śatā́tṛṇṇā́ kumbhī́ bhavati / Sentence: b bahudhèva hí sá vyásravad átho śatónmā́no vaí yajñó yajñám evā́varunddhe sátaṃ bhavati sádevā́varunddhe cápyaṃ bhavaty annā́dyasyaivā́varuddhyai pavitráṃ bhavati punánti hy ènaṃ vā́lo bhavati pā́pmanó vyā́vṛttyai suvárṇaṁ híraṇyaṃ bhavati rūpasyaivā́ruddhyai śatámā́naṃ bhavati śatā́yur vaí púruṣaḥ śaténdriya ā́yur evèndriyáṃ vīryàm ā́tmán dhatte // 13. There is a pot (kumbhî) perforated with a hundred holes 1, for in many ways did that (Soma) flow out of (Indra); and a hundred-sized also, indeed, is the sacrifice: it is the sacrifice he thereby secures. There is a bowl (rata 2): it is the real (or good) thing (sat) he thereby secures. There is a dish (kapya) for him to secure food. There is a filter, for they cleanse him, (the Sacrificer, by this offering). There is a tail (-whisk) for turning away evil. There is gold for him to secure form (or colour); it weighs a hundred (grains), for man has a life of a hundred (years) and a hundred energies: life, and energy, vital power, he thus lays into his own self. https://www.sacred-texts.com/hin/sbr/sbe44/sbe44066.htm At XII, 7, 2, 13 a perforated pot (with a hundred holes) was mentioned as being used at this sacrifice. According to Kâty. Sr. p. 235 XIX, 3, 20, and Mahîdhara on Vâg. S. XIX, 37, use is made of this pot at this juncture in much the same way as is described in V, 5, 4, 27 seqq.; viz. two poles are driven into the ground north and south of the southern fire, and a bamboo stick laid thereon: on a string fastened to this stick the pot, containing a tail-whisk (for straining) and a piece of gold, is then made to hang over the fire, and the remains of the Surâ-liquor poured into it; and whilst it trickles through into the fire, the priest makes the Sacrificer pronounce the verses Vâg. S. XIX, 37-44, 52-60, addressed to the different kinds of departed ancestors. https://www.sacred-texts.com/hin/sbr/sbe44/sbe44068.htm#12:8:1:8 The 'sura' used in perforated pots is clearly herbal extract which performs the functions of calcination, by infusing carbon into the molten metal in the fire-altar. In some cases, calcination of a metal results in oxidation of the metal. Examples of calcination processes include the following: · decomposition of carbonate ores, as in the calcination of limestone to drive off carbon dioxide; · decomposition of hydrated minerals, as in the calcination of bauxite and gypsum, to remove water of crystallization as water vapor; · decomposition of volatile matter contained in raw petroleum coke; · heat treatment to effect phase transformations, as in conversion of anatase to rutile or devitrification of glass materials · removal of ammonium ions in the synthesis of zeolites.https://en.wikipedia.org/wiki/Calcination Sura may be a reference to saltpeter which was held in perforated jars to calcinate the molten metals. Saltpetre could be used as an oxidant for gold cyanidation – this is a technique for extracting gold from low-grade ore by converting the gold to a water-soluble coordination complex. It is the most commonly used leaching process for gold extraction. yavakṣāra m. ʻ an alkali prepared from the ashes of burnt green barley corns ʼ Suśr. [yáva -- , kṣārá1 -- ] S. jaukhāru m.f. ʻ a salt used in medicine ʼ; P. jaukhār m. ʻ ashes of barley straw as remedy for indigestion ʼ; N. jawākhar, juw˚ ʻ saltpetre from burnt barley straw ʼ; A. zɔkhar ʻ saltpetre ʼ; Bi. H. jawākhār m. ʻ ashes of burnt barley grain or straw for indigestion ʼ; G. javkhār m. ʻ saltpetre made from burnt barley straw ʼ, M. j̈avkhār m. (CDIAL 10432) súrā f. ʻ spirituous liquor ʼ RV.Pa. Pk. surā -- f. ʻ spirituous liquor ʼ, WPah.jaun. sūr, M. sūr f., Ko. sūra. (CDIAL 13503) सुराखार surākhāra m ( H) Saltpetre or nitre. सूर्यखार sūryakhāra m (सूर्यक्षार S) Saltpetre or nitre. सोरमीठ sōramīṭha n सोरा m ( P) Nitre or saltpetre. 2 Applied to a factitious salt prepared from saline ground. (Marathi) sūrākāramu or సూరాకారము sūrā-kāramu. [Tel.] n. Salt-petre. చౌటితో వండినది, పెట్లుప్పు.

One of the 'Rosetta' stones for validating Indus Script Cipher is a clay storage pot discovered in Susa (Acropole mound), Old Elamite period, ca. 2500-2400 BCE (H. 20 1/4 in. or 51 cm.) now in Musee du Louvre, Paris which displayed a fish hieroglyph on the rim. The pot which also had a lid, contained metal tools, and weapons. Hieroglyph: aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda). That Susa had used turbinella pyrum columella to create cylinder seals has been noted by JM Kenoyer and TR Gensheimer. This shows that there was trade interaction between Meluhha and Susa since turbinella pyrum is a signature tune of the Sarasvati_Sindhu civilization, with turbinella pyrum habitat restricted to the coastline of the Indian Ocean. It should, therefore, be seen as a reinforcement that Meluhha settlements existed in Susa. Meluhha artisans created the Indus Script artifacts of a painted pot and cylinder seal with Indus Script hieroglyphs. It is a remarkable 'rosetta stone' because it validates the expression used by Panini: ayaskANDa अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.). The early semantics of this expression is likely to be 'metal implements' compared with the Santali expression to signify iron implements: meď 'copper' (Slovak), me~r.he~t khanDa (Santali). Santali glosses. It is a remarkable 'rosetta stone' because it provides archaemetallurgical and also epigraphic evidence of metal implements by holding them as contents of the storage pot, describes them with a hieroglyph of Indus Script as a painting on the pot itself. Consistent with this decipherment of Susa pot Indus Script hieroglyphs, a cylinder seal found at Susa is also deciphered as metalwork catalogue. The Susa cylinder seal with Indus Script hieroglyphs has been deciphered: Guild of artisans working with alloy implements barad, barat 'ox' Rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.(Marathi) S. pāṭri f. ʻ large earth or wooden dish ʼ, pāṭroṛo m. ʻ wooden trough ʼ; pāˊtra n. ʻ drinking vessel, dish ʼ RV., °aka -- n., pātrīˊ- ʻ vessel ʼ Gr̥ŚrS. [√pā1]Pa. patta -- n. ʻ bowl ʼ, °aka -- n. ʻ little bowl ʼ, pātĭ̄ -- f.; Pk. patta -- n., °tī -- f., amg. pāda -- , pāya -- n., pāī -- f. ʻ vessel ʼ; Sh. păti̯ f. ʻ large long dish ʼ (← Ind.?); K. pāthar, dat. °tras m. ʻ vessel, dish ʼ, pôturu m. ʻ pan of a pair of scales ʼ (gahana -- pāth, dat. pöċü f. ʻ jewels and dishes as part of dowry ʼ ← Ind.); L. pātrī f. ʻ earthen kneading dish ʼ, parāt f. ʻ large open vessel in which bread is kneaded ʼ, awāṇ. pātrī ʻ plate ʼ; P. pātar m. ʻ vessel ʼ, parāt f., parātṛā m. ʻ large wooden kneading vessel ʼ, ḍog. pāttar m. ʻ brass or wooden do. ʼ; Ku.gng. pāi ʻ wooden pot ʼ; B. pātil ʻ earthern cooking pot ʼ, °li ʻ small do. ʼ Or. pātiḷa, °tuḷi ʻ earthen pot ʼ, (Sambhalpur) sil -- pā ʻ stone mortar and pestle ʼ; Bi. patĭ̄lā ʻ earthen cooking vessel ʼ, patlā ʻ milking vessel ʼ, pailā ʻ small wooden dish for scraps ʼ; H. patīlā m. ʻ copper pot ʼ, patukī f. ʻ small pan ʼ; G. pātrũ n. ʻ wooden bowl ʼ,pātelũ n. ʻ brass cooking pot ʼ, parāt f. ʻ circular dish ʼ (→ M. parāt f. ʻ circular edged metal dish ʼ); Si. paya ʻ vessel ʼ, päya (< pātrīˊ -- ). pāˊtra -- : S.kcch. pātar f. ʻ round shallow wooden vessel for kneading flour ʼ; WPah.kṭg. (kc.) pərāt f. (obl. -- i) ʻ large plate for kneading dough ʼ ← P.; Md. tilafat ʻ scales ʼ (+ tila <tulāˊ -- ).(CDIAL 8055) pattar 'trough'; rebus pattar, vartaka 'merchant, goldsmith' (Tamil) பத்தர்² pattar , n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. Readings r. to l. mainda 'clod breaker' Rebus: meD 'iron' dula 'pair' Rebus: dul 'cast metal' piparā 'ant' (Assamese) Rebus: pippala 'knife' (Prakritam) kuṭi 'curve' PLUS dula 'pair' Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) PLUS dul 'cast metal'. kaṭṭala 'door-frame' (Malayalam) Rebus: katthīl 'bronze' PLUS khāṇḍā 'notch' Rebus: kāṇḍā 'implements'. Thus, together, 'bronze implements'. śanku ‘twelve-fingers’ measure’ (Samskritam) Rebus: śanku 'arrowhead' kuṭi ‘water carrier’ (Te.) Rebus: kuṭhi ‘smelter furnace’ (Santali) PLUS khāṇḍā 'notch' Rebus: kāṇḍā 'implements'. Thus, together, 'implements (out of) furnace'. Fish is a frequently signified hieroglyph in Indus Script Corpora.

--The stunning archaeological evidence of priest statue of Mohenjodaro decorated with trefoils is conclusive proof that the date of Sarasvati-Sindhu Civilization exemplified by over 2000 archaeological sites on the banks of this sacred river is close to the date of शतपथ ब्राह्मण of Yajurveda which details the celebration of Traidhâtavî (ishti), investiture ceremony. The trefoil is Traidhâtavî signifier of three metals (minerals of copper, gold and silver). --वसोर्धारा = vasu वसु vasu a. Sweet. -2 Dry. -3 Ved. Wealthy, rich. -4 Ved. Good. -n. [वस्-उन् Uṇ.1.10] 1 Wealth, riches; स्वयं प्रदुग्धेऽस्य गुणैरुपस्नुता वसूपमानस्य वसूनि मेदिनी Ki.1.18; R.8.31; 9.6 वस्वीशाद् वसुनिकरं (लब्ध्वा) धृतानुरागा Rām. Ch.7.58. -2 A jewel, gem. -3 Gold; -धारा, -भारा the capital of Kubera. [वसोर्धारा 1 a stream of ghee prepared for Vasus; कुड्यलग्नां वसोर्धारां सप्त वारान् घृतेन तु । कारयेत् पञ्च वारान् वा नातिनीचां न चोच्छ्रिताम् Chhandogapaddhati + धारा dhārā 1 A stream or current of water, a line of descending fluid, stream, current. Thus वसोर्धारादि मन्त्राः are prayers for wealth, riches of metalwork in fire. --शुक्‍लयजुर्वेदः/अध्यायः १८ वसोर्धारादि मन्त्राः Mantra 13 is emphatic: हिरण्यं यश् श्यामं लोहं सीसं त्रपु यज्ञेन कल्पन्ताम् ॥ Yajna is to purify gold, zinc, iron, copper, lead, tin: Six metals mentioned in शुक्‍लयजुर्वेदः18.13 हिरण्यं च मे यश् च मे श्यामं च मे लोहं च मे सीसं च मे त्रपु च मे यज्ञेन कल्पन्ताम् ॥ and 1. híraṇya n. ʻ gold ʼ RV. [hári -- ]Pa. hirañña -- n. ʻ gold ʼ, Aś.shah. man. hiraña -- , kāl. hilaṁna -- , gir. hiraṁna -- , Pk. hiraṇṇa -- n., Si. haraṇa, araṇa, raṇa, ran.hiraṇyamáya -- , híraṇyavarṇa -- .Addenda: híraṇya -- : Md. ran ʻ gold ʼ; -- Garh. hiraṇ ʻ piece of gold put in mouth of the dying ʼ ← Sk.(CDIAL 14110) 2. यशदम् yaśadam A kind of mineral, zinc. 3. श्यामं 'iron' (lit. 'black metal') syamayasa (Atharv XX.3.7., Bait 17.3.9.) or syamam (Atharv IX.S.4., Tait IV.7.5.1., Mait 21.11.5., Va3 XVXXI.13., Hath X7III.10., Kap XVIII. 10.), both meaning black metal* In the Vajasaneyi, Raitrayani, Tal\ittiriya and Kathaka Samhitas, , _ 2 the term syamam occurs in a list of six metals. 4. लोहं 'copper' 5. सीसं sīˊsa n. ʻ lead ʼ, adj. ʻ leaden ʼ VS., sīsaka -- m.n. Yājñ. Pa. sīsa -- n. ʻ lead ʼ, Pk. sīsa -- , ˚aya -- n., S. sīho m., WPah.jaun. sīsō, Ku. sīso, N. siso, A. xih, B. sisā, Or. sisā, sĩsā, H. sīsā m. (→ P. sīsā m.), G. sīsũ n., M. śisẽ n. (CDIAL 13445) 6. trápu n. ʻ tin ʼ AV. Pa. tipu -- n. ʻ tin ʼ; Pk. taü -- , taüa -- n. ʻ lead ʼ; P. tū̃ m. ʻ tin ʼ; Or. ṭaü ʻ zinc, pewter ʼ; OG. tarūaüṁ n. ʻ lead ʼ, G. tarvũ n. -- Si. tum̆ba ʻ lead ʼ (CDIAL 5992) -- Trefoil signifies Traidhâtavî (ishti), tridhatu गणेशः 'three minerals' rebus pota ‘metal infusion’, pota 'trefoil deocorated cloth' पोतृ potṛ 'purifier priest', पोतदार, ପୋଦାର୍ 'assayer of metals' Venerated शिव śiva-linga seton a वेदिका vedikā A sacrificial altar or ground; इति प्रिये वादिनि वेदिकोदरी Rām. Ch.2.57. A raised seat; an elevated spot of ground (usually for sacred purposes); सप्तपर्णवेदिका Ś.1; सदेवदारुद्रुमवदिकायाम् Ku.3.44. A seat in general. Such a वेदिका vedikā has been found in Mohenjo-daro, together with a linga with holes at the bottom to fit firmly (using a thick copper or metal wire or needle) into the holes of the base. 1. A finely polished pedestal. Dark red stone. Trefoils. (DK 4480, After Mackay 1938: I, 412; II, pl. 107:35). National Museum, Karachi. Stone base for शिव śiva-linga.Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone. 2. Two decorated bases and a lingam, Mohenjodaro. Trefoil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35."In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I." I submit that this sacred arrangement is made during the Traidhâtavî (ishti), investiture ceremony after the successful completion of a yajna. Details from शतपथ-ब्राह्मण are embedded in this monograph. Yajna is to be performed for purification of gold, tin, iron, lead अश्म ifc. for 2. /अश्मन् , a stone Pa1n2. 5-4 , 94; (once अश्म्/अन् शतपथ-ब्राह्मण iii) , a stone , rock RV. ; a precious stone RV. v , 47 , 3 शतपथ-ब्राह्मण vi; any instrument made of stone (as a hammer &c ) RV.; thunderbolt RV.; the firmament RV. v , 30 , 8 ; 56 , 4 ; vii , 88 , 2 ([cf. Zd. asman ; Pers. as2ma1n ; Lith. akmu ; Slav. kamy]). मेय ( √3. मा) to be measured , measurable , discernible AV. Mn. MBh. मैत्रायणीसंहिता/काण्डं २/प्रपाठकः ११ अग्निचितिः 2.11.5 अनुवाकः5 पर्वताश्च मे गिरयश्च मे, सिकताश्च मे वनस्पतयश्च मे , अश्मा च मे मृत्तिका च मे, हिरण्यं च मेऽयश्च मे, सीसं च मे त्रपु च मे, श्यामं च मे लोहितायसं च मे , अग्निश्च मा आपश्च मा ... काठकसंहिता (विस्वरः)/स्थानकम् १८ अथाष्टादशं स्थानकम् ।चमाः । अश्मा च मे मृत्तिका च मे गिरयश्च मे पर्वताश्च मे सिकताश्च मे वनस्पतयश्च मे हिरण्यं च मेऽयश्च मे सीसं च मे त्रपु च मे श्यामं च मे लोहितायसं च मेऽग्निश्च म आपश्च मे वीरुधश्च म ओषधयश्च मे कृष्टपच्यं च मेऽकृष्टपच्यं च मे ग्राम्याश्च मे पशव आरण्याश्च मे वित्तं च मे वित्तिश्च मे भूतं च मे भूतिश्च मे वसु च मे वसतिश्च मे कर्म च मे शक्तिश्च मेऽर्थश्च म एमश्च म इत्या च मे गतिश्च मेऽग्निश्च म इन्द्रश्च मे सोमश्च म इन्द्रश्च मे सविता च म इन्द्रश्च मे सरस्वती च म इन्द्रश्च मे पूषा च म इन्द्रश्च मे बृहस्पतिश्च म इन्द्रश्च मे मित्रश्च म इन्द्रश्च मे वरुणश्च म इन्द्रश्च मे धाता च म इन्द्रश्च मे त्वष्टा च म इन्द्रश्च मे मरुतश्च म इन्द्रश्च मे विश्वे च मे देवा इन्द्रश्च मे पृथिवी च म इन्द्रश्च मेऽन्तरिक्षं च म इन्द्रश्च मे द्यौश्च म इन्द्रश्च मे समाश्च म इन्द्रश्च मे नक्षत्राणि च म इन्द्रश्च मे दिशश्च म इन्द्रश्च मे ॥१०॥ तैत्तिरीयसंहिता(विस्वरः)/काण्डम् ४/प्रपाठकः ७ 4.7.5 अनुवाक 5 वसोर्धारा 1 अश्मा च मे मृत्तिका च मे गिरयश् च मे पर्वताश् च मे सिकताश् च मे वनस्पतयश् च मे हिरण्यं च मे ऽयश् च मे सीसं च मे त्रपुश् च मे श्यामं च मे लोहं च मे ऽग्निश् च म आपश् च मे वीरुधश् च म ओषधयश् च मे कृष्टपच्यं च 2 मे ऽकृष्टपच्यं च मे ग्राम्याश् च मे पशव आरण्याश् च यज्ञेन कल्पन्ताम् । वित्तं च मे वित्तिश् च मे भूतं च मे भूतिश् च मे वसु च मे वसतिश् च मे कर्म च मे शक्तिश् च मे ऽर्थश् च म एमश् च म इतिश् च मे गतिश् च मे ॥ शुक्लयजुर्वेदः/अध्यायः १८ वसोर्धारादि मन्त्राः 18.13 अश्मा च मे मृत्तिका च मे गिरयश् च मे पर्वताश् च मे सिकताश् च मे वनस्पतयश् च मे हिरण्यं च मे यश् च मे श्यामं च मे लोहं च मे सीसं च मे त्रपु च मे यज्ञेन कल्पन्ताम् ॥ This is an addendum to: Master of animals is a bull-man, a blacksmith, a celestial being, generator of wealth of a nation https://tinyurl.com/y29nwwof Venerated Trefoil. Mohenjo-daro and Bactrian priests wear तार्प्य Sky Garment of Varuṇa Indus Script signifiers of dhā̆vaḍ potr̥, 'smelter, purifier priest' https://tinyurl.com/ycpghhse 8-shape of gold brooch signifies mēḍhā 'twist' rebus मेधा 'yajna, wealth' https://tinyurl.com/y4bywec6 मेढा [ mēḍhā ] A twist Rebus: meḍ 'iron'. mẽṛhet ‘iron’ (Mu.Ho.) मेधा 'yajna', 'धन' (नैघण्टुक , commented on by यास्क ii , 10). The 'twist' as a hieroglyph continues into historical periods on copper plate inscriptions. -- ପୋଦାର୍— Podār 'a person who sets coins, Goldsmith, jeweller, banker' (Oriya) -- पोतदार pōtadāra m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith.पोतदारी pōtadārī f ( P) The office or business of पोतदार: also his rights or fees.पोतनिशी pōtaniśī f ( P) The office or business of पोतनीस. पोतनीस pōtanīsa m ( P) The treasurer or cash-keeper.(Marathi) pota 'metal infusion' పోత pōta. [Tel. from పోయు.] n. Pouring, పోయుట. Casting, as of melted metal. (Telugu) போத்தி pōtti , n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple-priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன். -- त्रिधातुः, पुं, (त्रीन् धर्म्मार्थकामान् दधाति पुष्णा-तीति । धा + तुन् ।) गणेशः । इति त्रिकाण्ड-शेषः ॥ (त्रयाणां घातूनां समाहारः ।) धातु-त्रये, क्ली ॥ --शब्दकल्पद्रुमः -- त्रिधातु पु० त्रीन् धर्मार्थकामान् दधाति पुष्णाति धा--तुन् । १ गणेशे त्रिका० । समा० द्विगुः । २ धातु त्रये न० ।--वाचस्पत्यम्/ -- पोतृ potṛ 'One of the sixteen officiating priests at a sacrifice (assistant of the priest called ब्रह्मन्)' The embroidery tradition of Traidhâtavî (ishti) of investiture ceremony for Potr with trefoils on his uttariyam -- in the concluding celebration of a yajna -- continues into historical periods with trefoils adorning handicrafts made by artisanss and embroideries of Kutch even today. Traidhâtavî (ishti) 'yajna worshipping & investiture of priest three mineral ore (sewn, embroidered) beads'. This investiture is described in शतपथ-ब्राह्मण (of Yajurveda). śatamāna coins of copper, silver and gold are embroidered into the uttariyam of Rtvij, the priests. One of the priests is poddar, potr who is shown in Mohenjo-daro statue by the fillet worn by him on the forehead and right shoulder.

Ibni-Sharrum cylinder seal of ca. 2350-2170 BCE is a wealth-accounting, metalwork catalogue in Meluhha, Indus Script. The Indus Script hieroglyphs of the gaur, ox, gaur or wild buffalo and water-buffalo are signifiers of R̥gveda gomr̥ga rendered rebus in vernacular Indian sprachbund Meluhha dialects as raṅga 'tin, pewter, tin foil'. *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ] S. mī˜ḍhī f., ˚ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ˚ m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.Santali) The adorant with six curls on hair: bhaṭa ‘six' (Gujarati) rebus: bhaṭa ‘warrior’; meḍhā 'curl' rebus: mẽṛhẽt, meḍ bhāḍ 'iron furnace'. Thus, the message of the adorant with six curls of hair signifies: meḍ bhāḍ 'iron furnace'. The overflowing pots held by the adorants signify: lokhãḍ 'metal implements, pots and pans, metalware'. bhaṭa ‘six' (Gujarati) rebus: bhaṭa ‘warrior’ rebus: baṭa ‘iron’ (Gujarati) bhāḍ 'furnace' (Marathi) 9656 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. 9657 *bhraṣṭrapūra ʻ gridiron -- cake ʼ. [Cf. bhrāṣṭraja -- ʻ pro- duced on a gridiron ʼ lex. -- bhráṣṭra -- , pūra -- 2] P. bhaṭhūhar, ˚hrā, bhaṭhūrā, ˚ṭhorū m. ʻ cake of leavened bread ʼ; -- or < *bhr̥ṣṭapūra -- . 9658 *bhraṣṭrāgāra ʻ grain parching house ʼ. [bhráṣṭra -- , agāra -- ] P. bhaṭhiār, ˚ālā m. ʻ grainparcher's shop ʼ. 9684 bhrāṣṭra m. ʻ gridiron ʼ Nir., adj. ʻ cooked on a grid- iron ʼ Pāṇ., ˚ka -- m. (n.?) ʻ frying pan ʼ Pañcat. [NIA. forms all < eastern MIA. *bhāṭha -- , but like Pk. none show medial aspirate except G. with -- ḍ -- poss. < -- ḍh -- . -- bhráṣṭra -- , √bhrajj]Pk. bhāḍa -- n. ʻ oven for parching grain ʼ; Phal. bhaṛ<-> ʻ to roast, fry ʼ (NOPhal 31 < bhr̥kta -- with ?); L. bhāṛ ʻ oven ʼ; Ku. bhāṛ ʻ iron oven, fire, furnace ʼ; Bi. bhār ʻ grain -- parcher's fireplace ʼ, (N of Ganges) bhaṛ -- bhū̃jā ʻ grain -- parcher ʼ; OAw. bhārū, pl. ˚rā m. ʻ oven, furnace ʼ; H. bhāṛ m. ʻ oven, grain -- parcher's fireplace, fire ʼ; G. bhāḍi f. ʻ oven ʼ, M. bhāḍ n.*bhrāṣṭraśālikā -- . 9685 *bhrāṣṭraśālikā ʻ furnace house ʼ. [bhrāṣṭra -- , śāˊlā -- ]H. bharsārī f. ʻ furnace, oven ʼ. This is an addendum to: https://tinyurl.com/qdr3vcy Farmana Indus Script seal deciphered, water-buffalo with rings on neck 'pewter workshop',koDiyum, torc (neck-ring) of Cernunnos on Gundestrup cauldron, Pillar of Boatmen khaṇṭi ‘buffalo bull’ (Tamil) Rebus: khãḍ '(metal) tools, pots and pans' (Gujarati) Hypertext: overflowing pot: lokhãḍ ‘overflowing pot’ Rebus: ʻtools, iron, ironwareʼ (Gujarati) The overflowing pot is a signifier of production of metal implements. See: https://tinyurl.com/y8kq53kl (embedded) When this is demonstrated on seals in front of a bull or buffalo, the the bovine is a signifier of metal alloys. The 'star' hieroglyph shown on one seal reads: मेढ mēḍha The polar star. मेढंगमत, मेढजोशी, मेढदाई, मेढमत mēḍhaṅgamata, mēḍhajōśī, mēḍhadāī, mēḍhamata See मेढेमत, मेढेजोशी, मेढेदाई &c. मेढेजोशी mēḍhējōśī m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village. मेढेमत mēḍhēmata n (मेढ Polar star, मत Dogma or sect.) A persuasion or an order or a set of tenets and notions amongst the Shúdra-people. Founded upon certain astrological calculations proceeding upon the North star. Hence मेढेजोशी or डौरीजोशी. Rebus: मेध mēdha m Yajna; In comp. as अश्वमेध, नरमेध.मेध a sacrificial animal , victim VS. Br. S3rS.; an animal-sacrifice , offering , oblation , any sacrifice (esp. ifc.) ib. MBh. &c मेधा f. mental vigour or power , intelligence , prudence , wisdom (pl. products of intelligence , thoughts , opinions) RV. &cIntelligence personified (esp. as the wife of धर्म and daughter of दक्ष) MBh. R. Hariv. Pur.a form of सरस्वती; = धन नैघण्टुक , commented on by यास्क ii , 10. kneeling adorant బత్తుడు battuḍu. n. A worshipper.பத்தர்³ pattar, n. < bhakta. 1. Devotees, votaries Rebus: பத்தர்² pattar, n. < T. battuḍu. A caste title of goldsmiths; தட்டார் பட்டப்பெயருள் ஒன்று. பத்தர்&sup5; pattar, n. perh. vartaka. Merchants; வியாபாரிகள். http://www.antiquesatoz.com/golf/Images/sum13-4.jpg Cylinder seal of Ibni Sharrum (Louvre Museum) https://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum "This chlorite cylinder seal belonged to Ibni-sharrum, scribe of King Sharkalisharri, king of Akkad (present-day Iraq), son and successor of Naram-sin (3rd millennium BC), as indicated by the cuneiform inscription between two animals. It depicts two heroes watering buffaloes with gushing vases, probably two acolytes of the great Sumero-Chaldean god ENKI (Ea)." http://www.roxanephoto.com/france/paris/louvre/photos/cylindre-buffles.php Courtesy, The Louvre, Paris, respectively copyright RMN/Franck Raux and RMN/Thierry Ollivier. More at http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-carved-elongated-bu... http://www.louvre.fr/en/oeuvre-notices/cylinder-seal-ibni-sharrum "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 decoration, which is characteristic of the Agade period, shows two buffaloes that have just slaked their thirst in the stream of water spurting from two vases held by two naked kneeling heroes." It belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin. The caption cotinues: "The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns." The buffalo was known to have come from ancient Indus lands by the Akkadians." https://www.harappa.com/blog/indus-cylinder-seals-louvre • Héros acolytes d'Ea abreuvant des buffles " A masterpiece of glyptic art This seal, which belonged to Ibni-Sharrum, the scribe of King Sharkali-Sharri, who succeeded his father Naram-Sin, is one of the most striking examples of the perfection attained by carvers in the Agade period. The two naked, curly-headed heroes are arranged symmetrically, half-kneeling. They are both holding vases from which water is gushing as a symbol of fertility and abundance; it is also the attribute of the god of the river, Enki-Ea, of whom these spirits of running water are indeed the acolytes. Two arni, or water buffaloes, have just drunk from them. Below the scene, a river winds between the mountains represented conventionally by a pattern of two lines of scales. The central cartouche bearing an inscription is held between the buffaloes' horns. 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. The production of a royal workshop The calm balance of the composition, based on horizontal and vertical lines, gives this tiny low relief a classical monumental character, typical of the style of the late Akkadian period. Seals of this quality were the preserve of the entourage of the royal family or high dignitaries and were probably made in a workshop whose production was reserved for this elite."

In a characteristic reduplication of words which is commonly noticed in the speech forms of Indian sprachbund (speech union or linguistic area), the standard device shown often in front of the one-horned young bull may be deciphered orthographically as: sãgaḍ kangar 'lathe, portable furnace'. Rebus deciphered renderings are: संगर sangar 'trade sã̄go ʻcaravanʼ' ghangar ghongor 'full of holes' Rebus: kangar 'large portable furnace, brazier'. Taken on a procession, as depicted on two Mohenjo-daro tablets, the hieroglyph-multiplex is a declaration, an announcement of trade caravan with specialisation in lapidary-metal crafts described in the hieroglyphs carried on the procession by standard-bearers. A vivid imagery of two Mohenjo-daro tablets is that of a standard device carried in a procession, evoking clear, unambiguous orthographic components: gimlet (drill-lathe), smoke emanating from furnace, (dotted circles) drilled beads: 1. sã̄go ʻcaravanʼ of sang 'stone' workers and brazier-lapidaries engaged in sĕng 'trading, trafficking (across the sea with foreign countries)' (Kashmiri); 2. kanga 'large portable furnace'.The holes (dotted circles) as hieroglyph components: ghangar ghongor 'full of holes' (Santali) Rebus: kanga(r) 'large portable furnace' (Kashmiri) சங்கதம்¹ caṅkatam, n. < saṃskṛta. Sanskrit; வடமொழி. சங்கத பங்கமாப் பாகதத்தொடிரைத் துரைத்த (தேவா. 858, 2). Thanks to I Mahadevan for the drawing highlighting the hieroglyph-components of the multiplex. The wavy lines shown on the drill bit are the artist-artisan's way of denoting the use of the drill using a bow-drill. The bottom part of the hieroglyph is a portable furnace with flames emerging from the surface and the bead drilled through after heating in the furnace coals or crucible. Carved ivory standard in the middle [From Richard H. Meadow and Jonathan Mark Kenoyer, Harappa Excavations 1993: the city wall and inscribed materials, in: South Asian Archaeology ; Fig. 40.11, p. 467. Harappa 1990 and 1993: representations of 'standard'; 40.11a: H90-1687/3103-1: faience token; 40.11bH93-2092/5029-1: carved ivory standard fragment (split in half, made on a lathe and was probably cylindrical in shape; note the incisions with a circle motif while a broken spot on the lower portion indicates where the stand shaft would have been (found in the area of the 'Mughal Sarai' located to the south of Mound E across the Old Lahore-Multan Road); 40.11c H93-2051/3808-2:faience token) Phtanite drill-heads from the surface of MNSE area, Moenjodaro (Massimo Vidale, 1987, p. 147) Reconstruction of a drill based on analogical comparisons with the drills used nowadays at Nagara, Gujarat, India: Upper pivot in copper is centered with the drill-head and inserted into a coconut shell. Wooden haft is used with a bow-string to churn. The phtanite drill-head is secured in the haft-hole with a thin coiling thread. The tip of the drill's working end shows the characteristic feature of the shallow hemispherical depression: a 'dotted circle'. (After Vidale, M., 1987. Some aspects of lapidary craft at Moenjodaro in the light of the surface record of Moneer South east Area. In M. Jansen and G. Urban (eds.), Interim Reports, Vol. 2, 113-150. Aachen).Piperno, Marcello, Micro-drilling at Shahr-i Sokhta; the making and use of the lithic drill-heads, in: Hammond, Norman Ed., South Asian Archaeology, 1973, Pl. 9.2 and 9.3 "granite drill heads used to perforate beads, prepare stone seals... use of the "bow drill" or the "pump drill" which revolved the point of the drill in an alternating rotary motion...the level of technical performance reached in this micro-drilling work was peculiar to a class of highly-specialized craftsmen who must have enjoyed a considerable social and economic position in the life of Shahr-i Sokhta." (p.128) [ca. 2700-2300 B.C.] Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features. S سنګر sangar, s.m. (2nd) A breastwork of stones, etc., erected to close a pass or road; lines, entrenchments. Pl. سنګرونه sangarūnah. See باره (Pashto) P باره bāraʿh, s.f. (3rd) A fortification, defence, rampart, a ditch, palisade, an entrenchment, a breastwork. Pl. يْ ey. See سنګر *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha -- ]L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845).*saṁghara ʻ living in the same house ʼ. [Cf. ságr̥ha<-> ĀpŚr. -- ghara -- ]Pa. saṅghara -- ʻ with one's own family (?) ʼ; L. sagghrā ʻ accompanied by one's own family ʼ; H. sã̄ghar m. ʻ wife's son by former husband ʼ.(CDIAL 12858). ګل sangal, s.f. (1st) The arm from the elbow to the wrist, or to the end of the fingers. Pl. سنګلِ sangali. Also سنګله sangalaʿh, s.f. (3rd). Pl. يْ ey. See څنګل (Pashto)ل ṯs̱angal, s.m. (1st) The arm from the elbow to the wrist, or to the end of the fingers. Pl. څنګل ṯs̱angali. Also څنګله ṯs̱angalaʿh, s.f. (3rd). Pl. يْ ey. karã̄ n. pl. ʻwristlets, banglesʼ(Gujarati)(CDIAL 2779) cf. Dennys Frenez & Massimo Vidale. Hieroglyph-multiplex example showing the trunk of elephant as 'arm with bracelets, wristlets': karã̄ Rebus khāra 'blacksmith': khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru -द्वकुरु । लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji or -güjü -ग; । लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü -कूरू; । लोहकारकन्या f. a blacksmith's daughter. -koṭu -क; । लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü -क&above;टू&below; । लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 -म्य&above;च; । लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu -न्यचिव; । लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ -च्&dotbelow;ञ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wān वान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.(Kashmiri) Harappa Tablet. Pict-91 (Mahadevan) m0490At m0490B Mohenjodaro Tablet showing Meluhha combined standard of four standards carried in a procession, comparable to Tablet m0491 Rebus reading is: dhatu kõdā sangaḍa ‘mineral, turner, stone-smithy guild’. eraka 'upraised hand' (Tamil)Rebus: eraka 'moltencast, metal infusion, copper'. m0491 Tablet. Line drawing.This tablet showing four hieroglyphs may be called the Meluhha standard.Combined reading for the joined or ligatured glyphs is: dhatu kõdā sangaḍa ‘mineral, turner, stone-smithy guild’. Dawn of the bronze age is best exemplified by this Mohenjo-daro tablet which shows a procession of three hieroglyphs carried on the shoulders of three persons. The hieroglyphs are: 1. Scarf carried on a pole (dhatu 'scarf' Rebus: mineral ore); 2. A young bull carried on a stand kõdā Rebus: turner; 3. Portable standard device (Top part: lathe-gimlet; Bottom part: portable furnace sã̄gāḍ Rebus: stone-cutter sangatarāśū ). sanghāḍo (Gujarati) cutting stone, The fourth standard (illegible) may be a spoked-wheel as on Tukulti-Ninurta Fire altar. (eraka 'nave of wheel' Rebus:eraka 'moltencast copper'; arA 'spokes' Rebus: Ara 'brass'). Bottom part: portable furnace sã̄gāḍ Rebus: stone-cutter sangatarāśū ). sanghāḍo (Gujarati) cutting stone, gilding (Gujarati); sangsāru karaṇu = to stone (Sindhi) sanghāḍiyo, a worker on a lathe (Gujarati) sangataras. संगतराश lit. ‘to collect stones, stone-cutter, mason.’ संगतराश संज्ञा पुं० [फ़ा०] पत्थर काटने या गढ़नेवाला मजदूर । पत्थरकट । २. एक औजार जो पत्थर काटने के काम में आता है । (Dasa, Syamasundara. Hindi sabdasagara. Navina samskarana. 2nd ed. Kasi : Nagari Pracarini Sabha, 1965-1975.) पत्थर या लकडी पर नकाशी करनेवाला, संगतराश, ‘mason’. The procession is a celebration of the graduation of a stone-cutter as a metal-turner in a smithy/forge. A sangatarāśū ‘stone-cutter’ or lapidary of neolithic/chalolithic age had graduated into a metal turner’s workshop (koḍ), working with metallic minerals (dhatu) of the bronze age. This fourth standard could be compared with this hieroglyph of the Tukulti-Ninurta altar: A spoked wheel is shown atop on the standard and the hieroglyph is also reinforced by depicting the hieroglyph on the top of the standard-bearer's head. This Meluhha hieroglyph is read rebus: eraka'knave of wheel' Rebus: 'moltencast copper'; āra 'spokes' Rebus: āra 'brass'. Thus, the fourth profession is depicted as the smith working with metal alloys. Hieroglyph: dhatu 'scarf' Rebus: dhatu 'mineral' Hieroglyph: kõdā 'young bull calf' Rebus: kõdā 'turner-joiner' (forge), worker on a lathe Hieroglyph: sã̄gāḍī 'lathe (gimlet), portable furnace' Rebus: sã̄gāḍī 'metalsmith associates (guild)' Hieroglyph eraka āra 'knave of wheel', 'spokes of wheel' Rebus: eraka āra 'copper alloy brass' Thus Rebus readings of the four hieroglyphs denote: ‘ mineral worker; metals turner-joiner (forge); worker on a lathe’ – associates (guild), copper alloy brass. dhatu kõdā sã̄gāḍī eraka āra

That the hieroglyph of pot/vase overflowing with water is a recurring theme can be seen from other cylinder seals, including Ibni-Sharrum cylinder seal. Such an imagery also occurs on a fragment of a stele, showing part of a lion and vases. காண்டம்² kāṇṭam, n. < காண்டம்² kāṇṭam n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16).. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16) (Tamil) Rebus: khāṇḍa 'tools, weapons, vessels' (Marathi) [Note: On some of the Ancient Near East cylinder seal representations, the flowing water, overflowing pot are augmented by swimming fish, suggesting that 'fish' hieroglyph should also be taken as part of the message: ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'] m1656 Mohenjodro Pectoral. Carnelian. kanda kanka 'rim of pot' (Santali) rebus: kanda 'fire-altar'khaNDa 'implements' PLUS karNaka 'rim of jar' rebus: karNi 'Supercargo, scribe' PLUS semantic determinant: kANDa 'water' rebus: khaNDa 'implements'. In the context of semantics of karNi 'supercargo', it is possible to decipher the standard device sangaDa 'lathe' rebus: jangada 'double-canoe' as a seafaring merchant vessel. The suffix -karnika signifies a 'maker'. Kāraṇika [der. fr. prec.] the meaning ought to be "one who is under a certain obligation" or "one who dispenses certain obligations." In usu˚ S ii.257 however used simply in the sense of making: arrow -- maker, fletcher (Pali). kāraṇika m. ʻ teacher ʼ MBh., ʻ judge ʼ Pañcat. [kā- raṇa -- ]Pa. usu -- kāraṇika -- m. ʻ arrow -- maker ʼ; Pk. kāraṇiya -- m. ʻ teacher of Nyāya ʼ; S. kāriṇī m. ʻ guardian, heir ʼ; N. kārani ʻ abettor in crime ʼ; M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.(CDIAL 3058) "Fletching (also known as a flight or feather) is the aerodynamic stabilization of arrows or darts with materials such as feathers, each piece of which is referred to as a fletch. A fletcher is a person who attaches the fletching.The word is related to the French word flèche, meaning "arrow", via Old French; the ultimate root is Frankish fliukka." https://en.wikipedia.org/wiki/Fletching Perhaps the reading should be ˚kāraka. (Pali) Similarly, khaNDa Kāraṇika can be semantically explained as 'implements maker'. The pectoral thus signifies the profession of an implements-maker and a supercargo, merchant's representative on the merchant vessel taking charge of the cargo and the trade of the cargo. Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati).Rebus: Vajra Sanghāta 'binding together' (Varahamihira) *saṁgaḍha ʻ collection of forts ʼ. [*gaḍha -- ]L. sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ.(CDIAL 12845). సంగడము (p. 1279) [ saṅgaḍamu ] A raft or boat made of two canoes fastened side by side. రెండుతాటి. బొండులు జతగాకట్టినతెప్ప சங்கடம்² caṅkaṭam, n. < Port. jangada. Ferry-boat of two canoes with a platform thereon; இரட்டைத்தோணி. (J.) G. sãghāṛɔ m. ʻ lathe ʼ; M. sãgaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together, part of a turner's apparatus ʼ, m.f. ʻ float made of two canoes joined together ʼsaṁghāṭa m. ʻ fitting and joining of timber ʼ R. [√ghaṭ] LM 417 compares saggarai at Limurike in the Periplus, Tam. śaṅgaḍam, Tu. jaṅgala ʻ double -- canoe ʼ),sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻ lathe ʼ; Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g° ʻ double canoe, raft ʼ.(CDIAL 12859) Cangavāra [cp. Tamil canguvaḍa a dhoney, Anglo-- Ind. ḍoni, a canoe hollowed from a log, see also doṇi] a hollow vessel, a bowl, cask M i.142; J v.186 (Pali) Hieroglyph: खोंड (p. 216) [khōṇḍa] m A young bull, a bullcalf; खोंडा [ khōṇḍā ] m A कांबळा of which one end is formed into a cowl or hood. खोंडरूं [ khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl (Marathi. Molesworth); kōḍe dūḍa bull calf (Telugu); kōṛe 'young bullock' (Konda)Rebus: kõdā ‘to turn in a lathe’ (Bengali) Rebus: kundaṇa pure gold (Tulu) 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. Some examples of 'overflowing pot' metaphors on Ancient Near East artifacts, cylinder seals: I suggest that together with the adaptation of Egyptian hieroglyphs, the Indus Script hypertexts were also adapted and absorbed into Ancient Near East glyptics to signify wealth creation by metalwork of Meluhha artisans.

In the archaeometallurgical context, the cognate word sanghāṭa refers to a binding metallic glue, an alloy. The purport of Indus Script corpora is to catalog, to engrave, to document in writing, metalwork categories, collections by metalcasters, Bhāratam Janam and seafaring Meluhha merchants on Sarasvati and Sindhu rivers and Indian Ocean. sanghāta, (phonetic variant sanghāṭa) is a tough ancient gloss or expression to interpret. A reasoned interpretation of this expression is very important in the context of unraveling the purport of a sacred work in Bauddhm and of Indus Script corpora. I suggest that a variant pronunciation of this word is used in the ancient writing system which I have linked with mlecchita vikalpa (mleccha/meluhha cipher). The untranslated title of the most extensively rendered Sutra in Bauddham traditions is to chant Arya Sanghāṭa Sutra for achieving Dharma paryāya. In the title of many manuscripts discovered from Gilgit and many sites of Central and South Asia, the word sanghāta with a retroflex, 't' is used and again, the word is left untranslated. Both phonemic variant forms are attested: sanghāta,sanghāṭa. See: http://bharatkalyan97.blogspot.in/2015/02/the-indus-inscriptions-are-collections.html http://bharatkalyan97.blogspot.in/2015/02/proof-for-cipher-key-of-indus-writing.html In Gujarati Desi the cognate word (which I suggest is denoted as an Indus Writing hieroglyph) is: sãghāṛɔ 'lathe' and in Marathi, the phonemic variant is:sãgaḍ ' part of a turner's apparatus.' In Kashmiri, Grierson's lexicon has the following entry: sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas संगाटस्), a collection (of implements, tools, materials, for any object), apparatus, furniture, a collection of the things wanted on a journey, luggage, and so on. -- karun -- करुन् । सामग्रीसंग्रहः m.inf. to collect the ab. (L.V. 17).(Kashmiri). Thus, the gloss sanghāta in the context of a writing system connotes: a collection of materials, just as the gloss means in Samskritam Vyākarana, a collection of sounds or words. It is notable that the earliest manuscripts of the Sutra are all in Samskritam, sometimes also referred to as Buddhist Hybrid Sanskrit by language scholars. In the Sutra, the purport of Śākyamuni's and earlier Buddha's teaching is paryāya of dharma. The word paryāya is a penetrating, yet detailed inquiry to reach a core, internal understanding of the phenomena of, say, life, death and rebirth in circular causation. Like a lathe drilling through a semi-precious stone to achieve a perforation, or like a vajra sanghāta (as explained by Varahamihira) achieving an adamantine glue in metallic mixing, the paryāya should result in a binding understanding in consciousness of the steadfast (like adamantine glue, vajra sanghāta) eternal, inexorable dharma-dhamma in life-activities. This is the central core of the Śākyamuni's teachings of paryāya of dharma comparable to the churning on a lathe and turning performed by a smith or lapidary on stone and metal. Vajra sanghāta 'alloying, binding together': Mixture of 8 lead, 2 bell-metal, 1 iron rust constitute adamantine glue. The context is clearly metallic mixing practised on a fire-altar, a furnace/smelter. Hieroglyph: sãghāṛɔ 'lathe' (Gujarati. Desi). Rebus: sanghāṭa 'collection, binding together, alloying'. The purport of Indus Script corpora is to catalog, to engrave, to document in writing, metalwork categories, collections by metalcasters, Bhāratam Janam.

It is submitted that the expression भारतम् जनम् Bhāratam janam used in Rigveda (RV 3.53.12) may be interpreted as a reference to 'metalcaster folk'. This semantic (attested in etyma of Indian sprachbund) is explained in the context of the entire sukta with metaphors and references related to metalwork, chariots (perhaps even to war-trumpet, vAksasarparI). The full text of the sukta is appended with translation based on Sayana (and Wilson). It should be underscored that the expression भारतम् जनम् Bhāratam janam is the self-designation in Rigveda RV 3.53.12 indicating the life activities of the people of a maritime tract, seafaring merchants, as they were transiting from chalcolithic phase to metals age in urban living. Bhāratam Janam, metalcasters were also seafaring people, living in a maritime tract. A gloss from CilappadikAram in Tamil explains paratavar < bharata as inhabitants of maritime tract, fishing tribes. The sukta RV 3.53 has 24 ricas. Ricas 15,16 invoke vAk (sasarparI), ricas 17-20 invoke rathAngAni while other ricas are prayers to Indra, The invocation to sasarparI is tough to interpret. It may be an invocation of vAk or 'war-trumpet': ससर्परी [p= 1192,3] f. (prob. fr. √ सृप् , of unknown meaning , accord. to Sa1y. वाच् ; accord. to others = " war-trumpet " , or " N. of a mystical cow ") RV.iii , 53 , 15 ; 16. 15 Sasarpari, the gift of Jamadagnis, hath lowed with mighty voice dispelling famine. 16 Sasarpari brought glory speedily to these, over the generations of the Fivefold Race. (Trans.Griffith) The prayer of Vis'vāmitra protects Bharata ,'metalcaster' people (rica 12) is preceded by the following expression in the sukta: vajriṇe 'wielder of the thunderbolt, Indra'(rica 13) Apart from references to Soma and pressing of Soma with adri (stones), the following references link to work of artisans (metalworkers, in particular): bṛhatā rathena 'spacious chariot' (rica 1) yatrā rathasya bṛhato nidhānaṃ 'standing in vast chariot' (rica 5, repeated in rica 6) parazu...ukhA 'axe...cauldron' (rica 22) The expression referring to kIkata: kiṃ te kṛṇvanti kīkaṭeṣu gāvo nāśiraṃ duhre na tapanti gharmam (rica 14) is explained in Nirukta 6.32 as people who do not perform worship, who are nAstika and in regions inhabited by anArya (See translation and Sayana's commentary on RV 3.53.14 appended). This expression includes a reference to gharma which is a synonym of the vessel called MahAvIra. gharma is a cauldron , boiler , esp. the vessel in which the milk-offering to the अश्विन्s is boiled RV. AV. vii VS. viii , 61 AitBr. i SBr. xiv La1t2y.(Monier-Williams). This gharma, mahAvIra vessel is shown with a face engraving. Mahavira pot is a span high. The pot is mixed with goat's milk, ant-hill soil, Putika grass, goat's hair and iron powder. The pot is heated, the milk of a cow and a goat is poured in. Hot milk is offered to the Asvins together with two RauhiNa cakes.Three Mahavira vessels make the head of a man. Pot is covered with a golden plate. Aitareya Brahmana notes that Mahavira yajna is performed before or after a Soma yajna. The parallel of an artifact which matches the Mahavira pot is seen from Zarif Karuna near Peshwar. On many epigraphs of Indus Script Corpora, human face is a component hieroglyph in hieroglyp-multiplexes (hypertexts), say, of composite animals. muha 'mouth' (Prakritam) mũhũ m. ʻ face, mouth, opening ʼ(Sindhi) Rebus: muhã̄ 'the quantity of iron produced at one time in a native smelting furnace (Santali) Urn from Zarif Karuna, near Peshawar, with a human-like face including a big nose. Gandhara grave culture (Ghalegay V Period). Islamabad museum. Hieroglyph: múkha n. ʻ mouth, face ʼ RV., ʻ entrance ʼ MBh.Pa. mukha -- m.; Aś.shah. man. gir. mukhato, kāl. dh. jau. °te ʻ by word of mouth ʼ; Pk. muha -- n. ʻ mouth, face ʼ, Gy. gr. hung. muy m., boh. muy, span. muí, wel. mūīf., arm. muc̦, pal. mu', mi', pers. mu; Tir. mū ʻ face ʼ; Woṭ. mū m. ʻ face, sight ʼ; Kho. mux ʻ face ʼ; Tor. mū ʻ mouth ʼ, Mai. mũ; K. in cmpds. mu -- ganḍ m. ʻ cheek, upper jaw ʼ, mū -- kāla ʻ having one's face blackened ʼ, rām. mūī˜, pog. mūī, ḍoḍ. mū̃h ʻ mouth ʼ; S. mũhũ m. ʻ face, mouth, opening ʼ; L. mũh m. ʻ face ʼ, awāṇ. mū̃ with descending tone, mult. mũhã m. ʻ head of a canal ʼ; P. mū̃h m. ʻ face, mouth ʼ, mū̃hã̄ m. ʻ head of a canal ʼ; WPah.śeu. mùtilde; ʻ mouth, ʼ cur. mū̃h; A. muh ʻ face ʼ, in cmpds. -- muwā ʻ facing ʼ; B. mu ʻ face ʼ; Or. muhã ʻ face, mouth, head, person ʼ; Bi. mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ; Mth. Bhoj. mũh ʻ mouth, face ʼ, Aw.lakh. muh, H. muh, mũh m.; OG. muha, G. mɔ̃h n. ʻ mouth ʼ, Si. muya, muva. -- Ext. -- l<-> or -- ll -- : Pk. muhala -- , muhulla -- n. ʻ mouth, face ʼ; S. muhuro m. ʻ face ʼ (or < mukhará -- ); Ku. do -- maulo ʻ confluence of two streams ʼ; Si. muhul, muhuna, mūṇa ʻ face ʼ H. Smith JA 1950, 179.; -- -- ḍ -- : S. muhaṛo m. ʻ front, van ʼ; Bi. (Shahabad) mohṛā ʻ feeding channel of handmill ʼ. -- Forms poss. with expressive -- kkh -- : seemúkhya -- . -- X gōcchā -- s.v. *mucchā -- .mukhará -- , múkhya -- , maukhya -- ; *mukhakāṣṭha -- , *mukhaghāṭā -- , mukhacandra -- , *mukhajāla -- , *mukhanātha -- , mukhatuṇḍaka -- , *mukhatuttikā -- , *mukhadhara -- , mukhaśuddhi -- , *mukhahāra -- , mukhāgra -- , *mukhāñcala -- , *mukhānta -- , *mukhāyana -- ; amukhá -- , abhimukhá -- , āmukha -- , unmukha -- , *nirmukha -- ; adhōmukha -- , ūrdhvamukha -- , kālamukha -- , gṓmukha -- , caturmukha -- , *paścamukha -- , valīmukha -- , śilīmukha -- , saṁmukhá -- , *sāṁmukha -- , sumukha -- .Addenda: múkha -- : WPah.kṭg. (kc.) mū̃ (with high level tone) m. (obl. -- a) ʻ mouth, face ʼ; OMarw. muhaṛaü ʻ face ʼ.(CDIAL 10158) Rebus: mũh ‘ingot’ (Munda) mũh ʻ opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing) ʼ (Bihari)(CDIAL 10158)mleccha-mukha (Skt.) = copper; milakkha (Pali) mu~hu~ = face (S.); rebus: mu_ha ‘smelted ingot’ [mũh opening or hole (in a stove for stoking, in a handmill for filling, in a grainstore for withdrawing)(Bi.)] kIkaTa as anArya is a reference to those people who do not follow the discipline/traditions of yajna: किं ते कृण्वन्ति कीकटेषु गावो नाशिरं दुह्रे न तपन्ति धर्मम् Rv.3.53.14 कीकटा नाम देशो$नार्यनिवासः Nir. void of Āryas kIkaTa may be a reference to Magadha, the region also linked with kirāṭa 'merchants'. kirāṭa किराटः A merchant; पणयिष्यन्ति वै क्षुद्राः किराटाः कूट- कारिणः Bhāg.12.3.35. kirātḥ किरातः [किरं पर्यन्तभूमिं अतति गच्छतीति किरातः] 1 N. of a degraded mountain tribe who live by hunting, a mountaineer (Apte. Samskritam) kirāṭa m. ʻ merchant ʼ Rājat., kirīṭa -- 2 m. BhP., kírāta- m. ʻ a degraded mountain tribe ʼ VS., cilātī -- f. ʻ woman of this tribe ʼ YogH. [Alternance of k -- and c -- , -- ṭ -- and -- t<-> suggests Drav. origin, EWA i 211. Perh. same as kilāta -- ʻ dwarf ʼ]Pa. kirāṭa -- m. ʻ fraudulent merchant ʼ (kirāṭa -- , °āta<-> m. ʻ man of a jungle tribe ʼ see kilāta -- ); Pk. kirāḍa -- , °āya -- , cilāa -- m., f. °āī -- , °āiyā -- ʻ a non -- Aryan tribe, slave ʼ, cilāī -- f.; S. kirāṛu m. ʻ Hindu shopkeeper ʼ; L. kirāṛ, karāṛ m., kirāṛī f. ʻ member of a tribe of Hindus (also called aroṛā) who act as traders and moneylenders ʼ; H. kirāṛ m. ʻ merchant ʼ. -- Deriv. Pa. kērāṭika -- , °iya<-> ʻ false ʼ (cf. kirāsa -- ʻ fraudulent ʼ); -- L. kirṛakkā ʻ connected with Hindus ʼ.(CDIAL 3173) किराट [p= 283,3] m. a merchant Ra1jat. viii , 132 (cf. किरीट.) (cf. . किरीटcrown found in Nahal Mishmar) Given the contextual references to artisanal work (metalwork, in particular), it is reasonable to infer that the expression Bhāratam Janam may be a reference to 'metalcaster people' as inferred from the following etyma of Indian sprachbund. The expression ima indra bharatasya putrā 'sons of bharata'(rica 24) need NOT refer to a particular person named 'bharata' but to a metalcaster, bharata, in general, as a collective designation. Roots of Bhāratam Janam have to be traced from the banks of Rivers Sarasvati and Sindhu identifying their life-activity as metalworkers, metalcasters who made भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c. भरताचें भांडें (p. 603) [ bharatācē mbhāṇḍēṃ ] n A vessel made of the metal भरत. 2 See भरिताचें भांडें.भरती (p. 603) [ bharatī ] a Composed of the metal भरत. (Marathi. Moleworth). Cognate etyma (semantics of alloy) of Indian sprachbund: bhāraṇ = to bring out from a kiln (G.) bāraṇiyo = one whose profession it is to sift ashes or dust in a goldsmith’s workshop (G.lex.) In the Punjab, the mixed alloys were generally called, bharat (5 copper, 4 zinc and 1 tin). In Bengal, an alloy called bharan or toul was created by adding some brass or zinc into pure bronze. bharata = casting metals in moulds; bharavum = to fill in; to put in; to pour into (G.lex.) Bengali. ভরন [ bharana ] n an inferior metal obtained from an alloy of coper, zinc and tin. baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) Roots of Bhāratam Janam have to be the mission, focus of attention of archaeological researches. The roots have to be found by delineating the cultural mores of the people as they evolved over time and tracing the formation and evolution of ancient Indian languages. Indus Script Corpora are an essential primary resource for this mission. https://friendsofasi.wordpress.com/writings/the-8th-millennium-bc-in-the-lost-river-valley/

The paper presents the first results of investigations on craftsmanship of big storage pithoi found in domestic contexts at the Early Helladic settlement of Helike, Achaea, in the NW Peloponnese, Greece. Beyond describing the conspicuously standardized morphological qualities in terms of profile, surface treatment and building techniques that pertain to these vessels, we have carried out detailed petrography, SEM and XRD analyses which suggest that regularized methods in their clay recipes and raw material distribution are equally distinguishable. The technological issue of low-fired conditions has been specifically investigated to meet the question of in-household construction of the pithoi. The overall assessment of the physicochemical results contributes to speculations about the jar builders constituting a different artisan group from ordinary potters. Ethnohistorical data of itinerant craftsmen from other Greek regions are also considered as a useful point of reference.

Stone tablet BM or ME 90922, published as BBSt XXVIII. Sun-divinity, Shamash,its canopy, a human-headed snake divinity, supported on a date-palm column; bottom register of Apsû waters, punctuated by stars; celestial bodies, sun, moon, and Venus, throne as the gate of sunrise with doors held apart by two bison men. Inscription reads: mdNábû-ápla-iddinana[i 2] or mdNábû-apla-íddina,[i 3] = ca. 888 – 855 BCE, 6th king of the dynasty of E of Babylon, contemporary of Aššur-nāṣir-apli II. The tablet portrays him being led by Nabû-nadin-shum, the priest and descendant of Ekur-šum-ušabši, and the goddess Aa, facing the seated Šamaš. "The inscription celebrates Nabû-apla-id I suggest that the four artefacts: Tablet of Shamash of Nábû-apla-íddina; Sit Shamshi bronze; Susa Ritual basin; and Napirisha stele are celebrations of one thme: Bronze Age smithy, consistent with the Meluhha cultural idiom. Hieroglyph: kole.l 'temple' rebus: kole.l 'smithy, forge' (Kota). 1. Hieroglyphs of Tablet of shamash mēḍha 'polar' star' Rebus: mẽṛhẽt, meḍ 'iron' (Ho.Munda) meD 'copper' (Slavic languages) arka 'sun' rebus: arka, eraka 'copper, moltencast' kuThari 'crucible' Rebus: kuThari 'storekeeper, treasury' . Rebus: kuThAru 'armourer' barad, balad 'ox' rebus: bharata 'alloy of copper, pewter, tin'. The expression 'Bhāratam Janam' in RV 3.53.12 has been interpreted as 'metalcaster folk' http://bharatkalyan97.blogspot.in/2015/08/itihasa-of-bharatam-janam-traced-from.html 2. Hieroglyphs of Sit Shamshi bronze Six hollows for offerings in front of the ziggurat. baTa 'six' Rebus: baTa 'furnace'. Also, षष् 'six' ष़डशीतिः 'passages of the sun'. षष् num. a. (used in pl., nom. षट्; gen. षण्णाम्) Six; तेषां त्ववयवान् सूक्ष्मान् षण्णामप्यमितौजसाम् Ms.1.16;8.43. अशीतिः f. (-ष़डशीतिः) 1 eighty-six. kāmokarsheet manyurakārsheet namo namah is the japam. kandarishi tarpanam is a veneration of seeking blessings from the rishis and ancestors who are he authors of the kandas of the Veda and protectors of dharma tradition. करडा (p. 137) [ karaḍā ] m The arrangement of bars or embossed lines (plain or fretted with little knobs) raised upon a तारof gold by pressing and driving it upon the अवटी or grooved stamp. Such तार is used for the ornament बुगडी, for the hilt of aपट्टा or other sword &c. Applied also to any similar barform or line-form arrangement (pectination) whether embossed or indented; as the edging of a rupee &c. The embossed lines of 4+4 (8) balls flank the ziggurat on Sit Shamshi bronze Sivalinga Harappa compares with sivalinga, linga stambhas on Sit Shamshi bronze model. Linga worship relief. Bhutesvara, Mathura. 1st cent. BCE (Fig. 5.1) Ekamukha linga. Udayagiri caves. Vidisa. Cave 4. Ekamukha linga Uttar Pradesh, Mathura, India, Asia 1st century CE Sandstone 30 3/4 x 7 x 8 1/2 inches (78.1 x 17.8 x 21.6 cm). Philadelphia Museum of Art Sivalinga, linga stambhas atop a smelter and tree kuTi in background, rebus: kuThi 'smelter'. kharva 'dwarf' Rebus: kharva 'nidhi of Kubera' karba 'iron'. Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi) मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda) http://bharatkalyan97.blogspot.in/2015/10/susa-sit-shamshi-sunrise-is-vedic.html Susa Sit Shamshi 'sunrise' is Vedic काण्डर्षि.tarpaṇam, purification by water & the Sun, veneration of ancestors 3. Hieroglyphs of Susa Ritual Basin The hieroglyph components of the Susa Ritual Basin hieroglyph-multiplex, the centre-piece (together with goat-fish hieroglyph-multiplex) of Susa ritual basin are: mollusc, goat (kid), reed, spathe (palm, sprout) Mollusc śāṅkhika ʻ relating to a shell ʼ W. 2. *śāṅkhinī -- (śaṅkhinī -- f. ʻ mother -- of -- pearl ʼ Bālar.). [śaṅkhá -- 1]1. K. hāngi ʻ snail ʼ; B. sã̄khī ʻ possessing or made of shells ʼ.2. K. hö̃giñ f. ʻ pearl oyster shell, shell of any aquatic mollusc ʼ.(CDIAL 12380) Rebus: sangha 'community': saṁghá m. ʻ association, a community ʼ Mn. [√han1] Pa. saṅgha -- m. ʻ assembly, the priesthood ʼ(CDIAL 12854). Goat, kid करडूं or करडें [ karaḍū or ṅkaraḍēṃ ] n A kid. (Marathi) Rebus: karaḍā 'hard alloy'. aya 'fish' Rebus: aya 'iron' ayas 'metal' (Rigveda) Thus the hieroglyph-multiplex of goat-kid-fish reads: aya करडें 'fish kid' Rebus: ayaskaraḍā 'metal alloy' (comparable to ayaskANda mentioned by Panini for excellent metal implements. khaNDa 'implements' (Santali) Reed Reeds on Susa ritual basin. Compare with the reed posts PLUS scarves of Warka vase eruvai 'reed' + dhatu 'scarf' + dula 'pair' Rebus: eruvai 'copper' + dhatu 'mineral' + dul 'cast metal'. Hieroglyph: eruvai 'European reed' European bamboo reed. See கொறுக்கச்சி. (குறிஞ்சிப். 68, உரை.) Species of Cyperus. See பஞ்சாய்க்கோரை. எருவை செருவிளை மணிப்பூங் கருவிளை (குறிஞ்சிப். 68). Straight sedge tuber; கோரைக்கிழங்கு. மட் பனை யெருவைதொட்டி (தைலவ. தைல. 94). Rebus: eruva 'copper' எருவை eruvai Copper; செம்பு. எருவை யுருக்கினா லன்ன குருதி (கம்பரா. கும்பக. 248). Spathe (palm) Hieroglyph: गाभा (p. 233) [ gābhā ] m (गर्भ S) The heart, core, pith, interior substance (of wood, stalks, roots &c.) 2 The spadix or fruit-receptacle (of the Palm or Plantain) whilst yet unevolved. 3 The crop or bush (of a Palm). Dagoba is the Sinhalese name for the Buddhist Stupa, a mound-like structure with relics, used by Buddhist monks to meditate. This is a compound comprising: dhatu + garbha 'mineral core' 'containing dhatu, mineral'. dhAtugarbha m. (with Buddh.) receptacle for ashes or relics , a Dagaba or Dagoba (Sinhalese corruption of Pali Dhatu-gabbha) MWB. xxxv {-kumbha} m. a relic-urn Hcar. http://www.sumscorp.com/new_models_of_culture/terms/?object_id=150959 4. Hieroglyphs of Napirisha stele tamar 'palm tree, date palm' (Hebrew) Rebus: tAm(b)ra 'copper' (Pali. Samskritam) kulA 'hood of serpent' Rebus: kolle 'blacksmith', kol 'working in iron', kolhe 'smelters', kolimi 'smithy, forge' Hieroglyph: overflowing pot: lo 'overflowing' PLUS kand 'pot' Rebus: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) N. lokhar ʻ bag in which a barber keeps his tools ʼ; H. lokhar m. ʻ iron tools, pots and pans ʼ; -- X lauhabhāṇḍa -- : Ku. lokhaṛ ʻ iron tools ʼ; H. lokhaṇḍ m. ʻ iron tools, pots and pans ʼ; G. lokhãḍ n. ʻ tools, iron, ironware ʼ; M. lokhãḍ n. ʻ iron ʼ (LM 400 < -- khaṇḍa -- )(CDIAL 11171)