Seven inscriptions which include Sign 59 fish ligatures

Studia Orientalia Electronica, 2023

The contribution of the Indus Valley civilization to the historic cultures of South Asia is a matter of debate due to a discontinuity in material culture, from the time of its decline to the reappearance of urbanization several centuries later. Progress in the epigraphy of the Indus Valley has been hindered by the absence of a bilingual inscription and the brevity of its texts. One of the most frequent signs encountered in its undeciphered writing system is the pictogram of 'fish'. On a few seal inscriptions, this sign appears alone, suggesting that it represented a meaningful word or a name. It is noteworthy that Indian literature of later centuries recounts a protohistoric kingdom named Matsya in the vicinity of the Indus Valley sites, as matsya is the Sanskrit word for 'fish' and a divinity in the form of a fish is celebrated in the Indian version of the flood myth. An analysis of these narratives is presented in this paper, revealing the possibility of an association with the Indus Valley civilization of the more distant past. These observations indicate that fish symbolism may have occupied a place of prominence in Indus culture from political and religious perspectives. The Matsya territory mentioned in Vedic and epic literature is discussed in light of the chalcolithic cultures of Rajasthan, and it is suggested that this region witnessed successive waves of migration of different cultural groups due to its economic importance related to the exploitation of copper reserves.

'Fish' hieroglyph variants occur as hypertext clusters on Indus Script Corpora. These Indus Script hypertexts are characteristic metalwork wealth ledgers such as alloy metal ingots, bright alloy metals, alloy metal implements. These are evidenced by the contents of the Susa pot (Louvre Museum) which contained metallic pots, pans and metalware. The pot is painted with Indus Script hypertexts of fish, black drongo and other hieroglyphs to authenticate the characteristic metallic nature of the contents. Indus script inscriptions indicate a set of modifiers or ligatures to the hieroglyph indicating that the metal, aya, was worked on during the early Bronze Age metallurgical processes -- to produce aya ingots, aya metalware, aya hard alloys. ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) ayas 'alloye metal' (R̥gveda) Note: Split left and right parentheses (of Signs 62 to 64) are orthographically explained as a bun-shaped ingot circumscript of the basic hieroglyph – fish or fish PLUS black drongo. aya khāṇḍā ‘alloy metal implements’ ayo kammaṭa, 'metals mint' aya khāṇḍā kammaṭa 'metal implements mint' ayo kammaṭa, 'metals mint' aya ḍhakk 'bright, blazing alloy metal' aya khāṇḍā ḍhakk 'bright, blazing metal implements' aya pōlaḍ 'iron and steel' aya ḍhāḷ ‘metal ingot’ PLUS danta 'tooth' rebus:dhatu 'mineral' aya ḍhakk 'bright, blazing alloy metal' ayo kammaṭa, 'metals mint' aya ḍhāḷ khāṇḍā ‘alloy metal ingot, implements’ (ḍhāḷ ‘slope' rebus: ḍhāḷ ‘metal ingot') aya ḍhāḷ ‘metal ingot' Vikalpa reading for the 'angle' hieroglyph used as a ligature to 'fish' hieroglyph is 'lid of pot'. See: Hieroglyph ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article' proclamations on Indus Script Positional analysis of ‘fish’ hieroglyphs has been presented in: The Indus Script: A Positional-statistical Approach By Michael Korvink, 2007, Gilund Press. One way to resolve the problem of clustering of 'fish' variants is to interpret the glyptic elements creating ligatured fish signs and read the glyptic elements rebus to define the semantics of the message of an inscription. There are at least five fish variants: These hieroglyph variants are explained as special characteristics of ayo 'fish' rebus: ayas 'alloy metal.' aya ḍhakk 'bright, blazing alloy metal' ayas 'alloy metal' ayo kammaṭa, 'metals mint' aya khāṇḍā ‘alloy metal implements’ aya ḍhāḷ ‘metal ingot' I suggest that the modifiers to 'fish' hieroglyph creating variants are semantic indicators of how aya 'metal' is worked on by the artisans. Fish, ayas ‘alloy metal’ Fish+black drongo (bird) ayo 'fish' PLUS pōlaḍu, 'black drongo' rebus: pōlaḍ 'steel' Fish + angle, corner, aya koṇḍa, ‘metal turned or forged’ Vikalpa: Fish + lid: aya 'fish' rebus: ayas 'alloyed metal' PLUS ḍhakk 'cover or lid of pot' rebus: dhakka 'excellent, bright, blazing metal article'. Fish + fin: ayo 'fish' rebus: ayas 'alloy metal' PLUS khambhaṛā 'fin' rebus: kammaṭa 'mint' Thus, together ayo kammaṭa, 'metals mint' Fish + notch: aya khāṇḍā ‘alloy metal implements’ खांडा [ khāṇḍā] m A jag, notch, or indentation (as upon the edge of a tool or weapon)(Marathi). Rebus: kāṇḍa 'tools, pots and pans and metalware' Fish + sloping stroke, aya ḍhāḷ ‘metal ingot’ aya 'fish' rebus: ayas 'alloy metal' PLUS ḍhāḷiyum = adj. sloping, inclining (G.) The ligatured glyph is read rebus as: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (G.) Fish + arrow or allograph, Fish + circumscribed four short strokes Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow).ayo ‘fish’ (Mu.) + kaṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.) gaṆḌa, ‘four’ (Santali); Rebus: kaṇḍ ‘fire-altar’, ‘furnace’), arrow read rebus in mleccha (Meluhhan) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Indus Writing. Anthropomorphic figure. Sheorajpur, Kanpur Dist. Inscribed with fish hieroglyph. ca. 2nd millennium BCE. 4 kg; 47.7 X 39 X 2.1 cm. State Museum, Lucknow (O.37). Sheorajpur where this anthropomorph was discovered is on the banks of Ganga in Kanpur District. An ancient temple in the village is Kereshwar Mandir. The Sheorajpur anthropomorph is a धम्म र्संज्ञा dhamma saṁjñā 'duty signifier' -- like a calling card proclaiming hisor her professional expertiese in metal work and responsibility as a steersman of a cargo boat -- sangaDa 'double-canoe, catamaran, seafaring vessel'. The combination of animal parts (by inscribing a 'fish' hieroglyph on the chest of the 'ram, curved horn' anthropomorph) is sangaDa rebus: sangara 'trade'. Anthropomorph with Indus Script ayo 'fish' mẽḍhā 'curved horn' meḍḍha 'ram' rebus: ayo meḍh 'metal merchant' ayo mēdhā 'metal expert' कर्णक kárṇaka, kannā 'legs spread', rebus: karṇika कर्णिक [p= 257,2] m. a steersman W. मेधा f. mental vigour or power , intelligence , prudence , wisdom (pl. products of intelligence , thoughts , opinions) RV. &c Intelligence personified (esp. as the wife of धर्म and daughter of दक्ष) MBh. R. Hariv. Pur. மேதை¹ mētai , n. < mēdhā. 1. Supreme intelligence, powerful intellect; பேரறிவு. 2. Greatness; மேன்மை. (சூடா.) 3. Person of supreme intelligence; பேரறிவாளி. (சிறுபஞ். 22.) Medhasa (adj.) [=Vedic medhas, as a -- base] having wisdom or intelligence, wise, only in cpds. bhūri˚ of great wisdom Sn 1131; & su˚ [Ved. sumedhas] very wise Vv 222 (=sundara -- pañña VvA 111); Pv iii.77 Medhāvin (adj.) [medhā+in=*medhāyin>medhāvin; already Vedic, cp. medhasa] intelligent, wise, often combd with paṇḍita & bahussuta: D i.120; S iv.375; Aiv.244; Vin iv.10, 13, 141; Sn 323 (acc. medhāvinaŋ +bahussutaŋ) 627, 1008 (Ep. of Mogharājā), 1125 (id.); Nd2 259 (s. v. jātimā, with var. other synonyms); Dh 36; J vi.294; Miln 21; DhA i.257; ii.108; iv.169; VvA 131; PvA 41.Medhā (f.) [Vedic medhā & medhas, perhaps to Gr. maq˚ in manqa/nw ("mathematics")] wisdom, intelligence, sagacity Nd1 s. v. (m. vuccati paññā); Pug 25; Dhs 16, DhsA 148; PvA 40 (=paññā). -- adj. sumedha wise, clever, intelligent Sn 177; opp. dum˚ stupid Pv i.82. -- khīṇa -- medha one whose intelligence has been impaired, stupefied J vi.295 (=khīṇa -- pañña).(Pali) Clay storage pot discovered in Susa (Acropole mound), ca. 2500-2400 BCE (h. 20 ¼ in. or 51 cm). Musee du Louvre. Sb 2723 bis (vers 2450 avant J.C.) Context for use of ‘fish’ glyph. This photograph of a fish and the ‘fish’ glyph on Susa pot are comparable to the ‘fish’ glyph on Indus inscriptions. This pot also shows a number of hieroglyphs: Water (flow) fish Fish fish-fin black drongo bird tied to rope kāṇḍa 'water' rebus: kāṇḍa 'implements aya 'fish' (Munda) rebus: aya 'iron' (Gujarati) ayas 'alloy metal' (Rigveda) अयो (in comp. for अयस्) अयस् n. iron , metal RV. an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10; gold Naigh.steel L. ; ([cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa ; Old Germ. e7r , iron; Goth. eisarn; Mod. Germ. Eisen.])अयस्--काण्ड m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)(Monier-Williams, p. 85) khambhaṛā 'fin' rebus: kammaṭa 'mint' Thus, together ayo kammaṭa, 'metals mint' baṭa 'quail' Rebus: bhaṭa 'furnace'. pōlaḍu, 'black drongo' rebus: pōlaḍ 'steel' पोळ pōḷa, 'Zebu, bos indicus' of Sarasvati Script corpora is rebus: pōlāda 'steel', pwlad (Russian), fuladh (Persian) folādī (Pashto) పోలడు (p. 820) pōlaḍu , పోలిగాడు or దూడలపోలడు pōlaḍu. [Tel.] n. An eagle. పసులపోలిగాడు the bird called the Black Drongo. Dicrurus ater. (F.B.I.) rebus: pōlaḍu 'steel' (Russian. Persian) PLUS wings/plumage meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) Rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formeḍinto an equilateral lump a little pointed at each end; mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) https://tinyurl.com/ybe89ee9 This hieroglyph is a 'lid' on a pot. One reading of this hieroglyph is: aḍaren 'lid' rebus: aduru 'native metal'. Vikalpa. Another reading is possible: ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'. ḍhaṁkaṇa 'lid' rebus dhakka 'excellent, bright, blazing metal article'.

The objective of this monograph is to identify the word in Indian sprachbund (speech union) of ca. 4th millennium BCE to signify ayo 'fish' and also as a rūpaka,'metaphor' aya 'iron', ayas 'metalwork'. A cognate word in Kannada is ayar, ayire with two meanings: 'fish, iron' This monograph is an addendum to: Indus Script wealth accounting, ayo 'fish' rūpaka, 'metaphors' अयस् ayas 'iron, gold, metal', ayo kammaṭa 'metals mint' and अयस्-काम, अयस्-कार 'blacksmith' kandə 'pine' kāṇḍa 'water' rebus: kāṇḍā 'implements' https://tinyurl.com/y9z6p5h3 This has demonstrated the ancient Austro-Asiatic word ayo 'fish', emphatically pronounced by a cognate word hako 'fish'; rebus: ayas 'alloyed metl' (R̥gveda) and other cognate words of Indian sprachbund which have two meanings: 1. fish; 2. iron (metal). The metaphors are traceable to Meluhha rebus readings of Indus Script inscriptions. An "Early Harappan" polychrome pot with fish design from Nal, South Baluchistan Impression of an Indus-style cylinder seal of unknown Near Eastern origin. One side of a triangular tablet from Mohenjo-daro. https://www.harappa.com/script/parpola8.html Three figured published in Parpola, Asko (1988) Religion reflected in the iconic signs of the Indus script: penetrating into long-forgotten picto+graphic messages. Visible Religion 6: pp. 114-135.] அயிலை ayilai, n. < அயில்-. cf. அயிரை. A fish, as edible; ஒரு மீன். அயிலை துழந்த வம்புளி (அகநா. 60). அயிரை ayirai, n. 1. Loach, sandy colour, Cobitio thermalis; நொய்ம்மீன். சிறுவெண் காக்கை . . . அயிரை யாரும் (ஐங்குறு. 164). 2. Name of a hill in the Cēra country, 9 miles west of Palni, now called Aivar-malai; சேரநாட்டுள்ள தொருமலை. நேருயிர் நெடுவரை யயிரைப் பொருந (பதிற்றுப். 21). (I. M. P. Mr. 236.) 3. Name of a river in the Cēra country; சேரநாட்டுள்ளதோர் ஆறு. உருகெழு மரபி னயிரை மண்ணி(சிலப். 28, 145). அயில்1 ayil, n. cf. ayas. 1. Iron; இரும்பு அயிலாலே போழ்ப வயில் (பழமொ. 8). 2. Surgical knife, lancet; சத்திரம் வைக்குங் கத்தி. அயிலரி யிரலை விழுப்புண் (ஞானா. 30). 3. Javelin, lance; வேல். அயில்புரை நெடுங்கண் (ஞானா. 33). 4. Sharpness; கூர்மை. ஆண்மகன் கையி லயில்வாள்(நாலடி. 386). 5. Sedge; கோரை. (W.)அயிலவன் ayil-avaṉ, n. < அயில். Skanda, as bearing a javelin; முருகக்கடவுள். (திருப்பு. 312.) அயிலுழவன் ayil-uḻavaṉ, n. < அயில் +. Warrior, as ploughman with javelin; வீரன். (உரி. நி.) The expression ayardāḷi, i.e. ayire 'iron' PLUS tāḷi 'marriage badge' is a metaphor which signifies the firmness of bondage of marriage, as firm as iron. The hieroglyphs which adorn such a necklace or marriage badge attain the status of sacred, venerated metaphors which govern the life principles and sensations. The word ayir is cognate with the Austro-Asiatic or Indian sprachbund words: ayo 'fish', aya 'iron' (hence, ayas 'alloy metal' (R̥gveda). The sacredness associated with the 'fish' hieroglyph is exquisitely demonstrated by a Kannada expression: ayardāḷi 'marriage badge'. A pair of fish is an integral part of a married woman's necklace shown as aṣṭamangalaka hāra 'eight auspicious, scared objects on a necklace' or on a Jaina Āyāgapaṭa orthographically emphasizing 'fish' and 'fish-fins'. 'Fish-fins' which signify a 'metals mint', evolve into the srivatsa hypertext to signify a wealth-producing social grouping or guild. आ-याग [p= 148,1] is a gift given at a yajña. āyāgapaṭa is a written tablet with sacred/auspicious hieroglyphs/hypertexts of homage offered at a sacred place like a temple. The sacred symbols of āyāgapaṭa also recur on peronal ornaments of children and as marriage badges,tāli. aimpaṭai, aṣṭamangaḷa necklaces with Indus Script hypertexts signify Bronze Age Bhāratīya army arsenal. Tamil children had Aimpataittāli made up of five symbols or five weapons of Vishnu: śankha, 'Vishnus’s conch',Cakra, 'discus, wheel', sāranga, 'bow', nandaka khaṇḍa, 'sword' and Kaumodakī gada, 'mace'. Ref. Akam.54, Puram.77:7-8. There are references in Silappadikaram, Manimekalai (Fifth Century CE) and Peria Puranam (Tenth Century CE). Ta. tāli central piece of a neck ornament solemnly tied by the bridegroom around the bride's neck as marriage badge, a child's necklace, amulet tied on a child's neck. Ma. tāli the centre piece of a neck ornament tied as the marriage badge. Ko. ta·ḷy a heavy necklace. To. to·ly woman's gold neck ornament. Ka. tāli, tāḷi a small round plate of gold worn at the neck as a marriage badge, that plate used as an ornament. Tu. tāli, tāḷi the marriage badge worn by a female. Te. tāli small piece of gold tied by the bridegroom at the marriage ceremony to the neck of the bride. / Cf. Skt. tāli- (Mayrhofer, s.v.)(DEDR 3175) aṣṭamangalaka hāra depicted on a pillar of a gateway(toran.a) at the stupa of Sanchi, Central India, 1st century BCE. [After VS Agrawala, 1969, Thedeeds of Harsha (being a cultural study of Bāṇa’s Harṣacarita, ed. By PK Agrawala, Varanasi:fig. 62]. At least five metalwork tools and implements are recognizable on the hypertexts signified on the necklaces seen on Sanchi sculptures, which signify aṣṭamangaḷa 'eight auspicious hieroglyphs' in the tradition of Indus Script cipher (e.g. ayo 'fish' rebus: aya 'iron', ayas 'weapon'). अङ्कुश [p= 7,2] mn. a hook , especially an elephant-driver's hook परशु [p= 589,2]m. a hatchet , axe , the axe of a woodcutter; ( Naigh. ii , 20) a thunderbolt RV. &c; पर्शु m. (cf. परशु and Un2. i , 34 Sch.) an axe , hatchet Hariv. R. अयस् [p= 85,1]n. iron , metal RV. &c; an iron weapon (as an axe , &c ) RV. vi , 3 ,5 and 47 , 10. The hieroglyph is: ayo 'fish' Duplicated: dula 'pair' rebus: dul 'metal casting'. Thus, dul ayas 'cast iron weapon'. खड्ग [p= 335,3]m. (fr. √खड् for खण्ड्?) a sword , scymitar MBh. R. &c (ifc. f(आ). Katha1s. ); a large sacrificial knife W.; n. iron L. kammaṭa=portable furnace (Te.) rebus: kammaṭa 'mint, coiner, coinage'. karaḍa 'safflower' rebus: kharaḍā खरड़ा wealth accounting ledge entries of metalwork wealth created in smithies, forges, foundries'. The central pendant of the necklaces is a replica of the hypertext which adorns Sanchi/Bharhut toranas. Stūpa is the ziggurat (dagoba, dhatugarbha) The hypertext is mounted on a pedestal, paṭa 'throne, tablet, a thatch or roof (= पटल) L.' , फड, phaḍa 'cobra hood' rebus: फड, phaḍa 'arsenal, metalwork artisan guild in charge of manufactory'. Necklaces with pendants as hypertexts in a continuum of Indus Script writing hypertext tradition: karaDi 'safflower' rebus: karaDa 'hard alloy' DAng 'mace' rebus: dhangar 'blacksmith' dula 'two' rebus: dul 'metal casting' PLUS ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' thus, iron metal casting. sangaDa 'portable brazier' rebus: sangAta 'collection of articles' sangar 'fortification' khambhaṛā 'fin' rebus:kammaṭa 'mint', sippi 'mollusc' rebus: sippi 'engraver, sculptor'. Thus, the wearer of the necklaces a metal sculptor or creator of lost-wax metal castings. The Indus Script hypertext message is: tāmra ayo kammaṭa sippi kāraṇikā sanghin 'copper, iron mint, artisan, scribe guild'. tāmarasa 'lotus' rebus: tāmra 'copper' dula 'pair' rebus: dul 'metal casting' PLUS ayo 'fish' rebus: aya 'iron' PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage' PLUS kárṇikā Pa. kaṇṇikā -- f. ʻpericarp of lotus'' Rebus: kanka, kāraṇikā 'scribe'. This reading is combined with sã̄khī 'mollusc' Rebus: sangin 'guild' to read the message as kāraṇikā sanghin 'scribes guild'. śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE). śrivatsa symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa glyph, emphasizing the association of the ‘fish’ glyph with śrivatsa glyph. (After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77) Āyāgapaṭa of Sanchi with Brāhmī inscription. "Note that both (inscriptions) begin with a lucky svastika. The top line reads 卐 vīrasu bhikhuno dānaṃ - i.e. "the donation of Bhikkhu Vīrasu." The lower inscription also ends with dānaṃ, and the name in this case is perhaps pānajāla (I'm unsure about jā). Professor Greg Schopen has noted that these inscriptions recording donations from bhikkhus and bhikkhunis seem to contradict the traditional narratives of monks and nuns not owning property or handling money." http://jayarava.blogspot.in/2011/05/svastika.html Hypertext components in the Āyāgapaṭa: A pair of fish holding a garland A fish tied with two molluscs on either side (which evolves into a with orthographic emphasis on the pair of fish-fins. śrivatsa hypertext). These pictorial motifs as metaphors signify: ayo 'alloy metal' PLUS khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'. Thus, the message relates to metalwork mint. Evidence of ancient coins of India to prove that so-called Śrivatsa, nandipāda, triratna symbol (and variants) constitute Indus Script Hypertexts, descriptive mint metalwork catalogues. The plain text of the Indus hypertext of the frequently used symbol or hieroglyph-multiplex, reads: dhatu ayo ḍhāḷako kammaṭa 'mineral, alloy metal, large ingot, mint'.

This monograph demonstrates the Indus Script Hypertexts with ayo 'fish' hieroglyph, khambhaṛā 'fish-fin' hieroglyph, 'crocodile' hieroglyph and 'fish-men' or 'goat-fish' ligatures in Ancient India and Ancient Near East artifacts and relates the Rūpaka, 'metaphors' of अयस् ayas 'iron, gold,metal' and ayo kammaṭa 'metals mint' and अयस्--काम, अयस्--कार 'blacksmith'. kandə 'pine' kāṇḍa 'water' rebus: kāṇḍā 'implements' m1429C Fish ligatured to a crocodile. Mohenjodaro tablet. Decoding of the two Indus Script glyphs of fish and crocodile read rebus: fish fins khambhaṛā 'fin' rebus: kammaṭa 'mint' Ayo ‘fish’ (Mu.) aya = iron (G.); ayah, ayas = metal (Skt.) kāru a wild crocodile or alligator (Te.) ghariyal id. (H.) khār a blacksmith, an iron worker (Kashmiri) ayakāra ‘iron-smith’ (Pali) While the goat-fish enters into myths of Sumer and later Assyrian traditions, the hieroglyphs of goat and fish on Indus script have been decoded in the context of metallurgy [metal (milakkhu, 'copper'(Pali)and cast metal -- ayas, perhaps bronze]. The emphatic depiction of fish ligatured with a crocodile on Indus Script (on a Mohenjodaro tablet) is decoded asayakara 'metalsmith' (aya 'fish'; kara 'crocodile' of the underlying Meluhha (Mleccha) lexemes of Indian linguistic area). khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint. [Anthony Green, A Note on the Assyrian "Goat-Fish", "Fish-Man" and "Fish-Woman", Iraq, Vol. 48 (1986), pp. 25-30; After Plate X, b, on seal. BM 119918. 2.5X2.5X2.5cm. Late Babylonian stamp seal depicting kulullu and kuliltu(?); streams flow from a vase at top left;top centre, a crescent. Previously published: Van Buren 1933: Pl. XX:70, p. 116, with earlier references cited in n.3, to which may be added Munter 1827: Tab. II:18, p. 139. Cf. also Unger 1957: 71, Nr. 2; Unger 1966.) In Fig. 1 in the following embedded document, a pair of goat-fish images appear, flanking a door entrance, on a Middle Assyrian seal. Sumerian SUHUR.MASH, Akk. suhurmashu/i is sometimes interpreted as 'sea-goat'. Assyrian goat-fish, fish-man and fish-woman (Anthony Green in Iraq, Vol. 48, 1986) What are recorded as Sumerian SUHUR.MASH, Akk. suhurmashu/i sometimes interpreted as 'sea-goat' and kulullû fish-man may relate to two Meluhha expressions:1. mr̤ēka 'goat': Ka. mēke she-goat; mē the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.] / Cf. Skt. (lex.) meka- goat. (DEDR 5087) Rebus: milakkhu, mleccha, mlecchamukha 'copper' (Pali. Samskrtam) 2. ayo, ayu 'fish' rebus: aya 'iron' ayas 'metal' (Samskrtam) 3. kammaṭa 'mint': khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) Thus, the goat-fish message relates to copper, iron mintwork. A person ligatured to a fish w/fin is ayaskara 'metalsmith' --working in khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint. కమ్మటము (p. 0247) [ kammaṭamu ] Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. He wears a bracelet with a safflower hieroglyph. करडी [ karaḍī ] f (See करडई) Safflower Rebus: करड [ karaḍa ] 'hard alloy'. Below, a fish-man in a sea from a bas-relief in the palace of the Assyrian king Sargon II, ca. 721-705 BCE at Dur-Sharken, modern Khorsabad. (p. 131. fig. 107. "merman and mermaid." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBn 0-292-70794-0. paperback) Below, sun-dried clay figures. Upper: a goat-fish (Greek: Capricorn) emblem of the god Enki (Ea) of Eridu. Lower: a fishman. Placed in a building to ward off evil in the Assyrian period (p. 92. figure 70. "goat-fish." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBn 0-292-70794-0. paperback). Note: I understand that Ea (Enki) who gave his servant Adapa wisdom or knowledge but denied him immortality has been recast as Yahweh in the Garden of Eden. Please click here for the details. Indus Script Hypertext: kāṇḍa 'water' rebus: kāṇḍā 'implements'.

Vedic karmāra Kashmiri khār खार् Pali ayakāra Kannada kammaṭa, kambāRa -- terms used in smithy and, mintwork are etyma which explain the formation and evolution of some expressions in the lingua franca, of Indian sprachbund (language union) during the Bronze Age Revolution. See: http://bharatkalyan97.blogspot.in/2016/08/susa-ritual-basin-13th-12th-cent-bce.html Susa ritual basin 13th-12th cent. BCE Indus Script hieroglyphs sippi, 'bivalve shell, spathe of date palm' sippi 'craftsman' ayo medha kammata sippi 'iron metal mint artisan'. This monograph reinforces the Indus Script cipher as a continuum in the writing systems of ca. 3rd-2nd centuries BCE. The roots of the rebus signifiers of hypertexts can be seen from Indus inscriptions of 3rd millennium BCE. kammaṭa 'mint' (Kannada) is కమటము (p. 246) kamaṭamu kammaṭamu [Telugu.] n. A portable furnace for melting the precious metals. This is a hieroglyph, the bottom portion of the ligatured standard device sãghāṛɔ (Gujarati) generally signified in front of a young bull on scores of Indus Script inscriptions. Another hieroglyph signifier is khambhaṛā 'fish fin'. Kannada words kammaṭa, kambāRa signify 'coiner (mint)/blacksmith'. The Telugu word కమ్మటీడు kammaṭīḍu signifies 'goldsmith'. That the signified term is a 'blacksmith' is also seen on the anthropomorphic ligatured fish-man, fish-woman on an Assyrian seal. [Anthony Green, A Note on the Assyrian "Goat-Fish", "Fish-Man" and "Fish-Woman", Iraq, Vol. 48 (1986), pp. 25-30; After Plate X, b, on seal. BM 119918. 2.5X2.5X2.5cm. Late Babylonian stamp seal depicting kulullu and kuliltu(?); streams flow from a vase at top left;top centre, a crescent. Previously published: Van Buren 1933: Pl. XX:70, p. 116, with earlier references cited in n.3, to which may be added Munter 1827: Tab. II:18, p. 139. Cf. also Unger 1957: 71, Nr. 2; Unger 1966.) Kalibangan 37, 34 Two Kalibangan seals show an antelope and fish glyphs as the inscription. Mẽḍha ‘antelope’; rebus: ‘iron’ (Ho.) ayo ‘fish’; rebs: ayo ‘metal’ (G.) [These are examples which clearly demonstrate that Indus script is a glyptic writing system and hence, all glyphs and glyptic elements have to be decoded.] miṇḍālmarkhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) meḍ ‘iron’. Mohenjo-daro Seals m1118 and Kalibangan 032, glyphs used are: Zebu (bos taurus indicus), fish, four-strokes (allograph: arrow).ayo ‘fish’ (Mu.) + kaṇḍa ‘arrow’ (Skt.) ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.) gaṆḌa, ‘four’ (Santali); Rebus: kaṇḍ ‘fire-altar’, ‘furnace’), arrow read rebus in mleccha (Meluhhan) as a reference to a guild of artisans working with ayaskāṇḍa ‘excellent quantity of iron’ (Pāṇini) is consistent with the primacy of economic activities which resulted in the invention of a writing system, now referred to as Indus Writing. poLa 'zebu' Rebus: poLa 'magnetite'. poLa 'zebu' rebus: poLa 'magnetite, ferrite ore'. Tell AsmarCylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. ibha 'elephant' Rebus: ib 'iron'.gaṇḍa, kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri) Alternative: ghariyal 'crocodile' rebus: karb 'iron'. With curved horns, the ’anthropomorph’ is a ligature of a mountain goat or markhor (makara) and a fish incised between the horns. Typical find of Gangetic Copper Hoards. At Sheorajpur, three anthropomorphs in metal were found. (Sheorajpur, Dt. Kanpur. Three anthropomorphic figures of copper. AI, 7, 1951, pp. 20, 29). One anthropomorph had fish hieroglyph incised on the chest of the copper object, Sheorajpur, upper Ganges valley, ca. 2nd millennium BCE, 4 kg; 47.7 X 39 X 2.1 cm. State Museum, Lucknow (O.37) Typical find of Gangetic Copper Hoards. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’ Santali glosses. To convey the metalwork category of blacksmith's iron mint, the hieroglyph signifiers or hypertext is composed of: karA 'crocodile' rebus: khAr 'blacksmith' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khambhaṛā 'fish fin' rebus: kammaṭa 'mint, coiner, coinage' ayakāra kammaṭa is thus an expression in hypertext to signify, descriptively, 'ironsmith mint'. The hypertext is seen in the following examples of Indus Script inscriptions. m0482A One side of a two-sided tablet m1429C One side of a prism tablet. ayo ‘fish’ (Mu.); rebus: aya ‘(alloyed) metal’ (G.) kāru a wild crocodile or alligator (Te.) Rebus:khār a blacksmith, an iron worker (cf. bandūka-khār) (Kashmiri) Combined rebus reading: ayakāra ‘iron-smith’ (Pali) PLUS khambhaṛā 'fish fin' rebus: kammaṭa 'mint, coiner, coinage' (since the crocodile grabs the fish-fin). Mohenjodaro. Tablet. Crocodile + fish DK 8037. E 2500 Purana Qila, New Delhi. ASI. m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile. See m1429C See: http://bharatkalyan97.blogspot.in/2016/05/goat-fish-on-assyrian-seal-ayaskara.html Triangula tablet. Horned seated person. crocodile. Split ellipse (parenthesis). On this tablet inscription, the hieroglyphs are: crocodile, fishes, person with a raised hand, seated in penance on a stool (platform). eraka 'raised hand' rebus: eraka 'molten cast, copper' arka 'copper'. manca 'platform' rebus: manji 'dhow, seafaring vessel' karA 'crocodile' rebus: khAr 'blacksmith' ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'. kamaDha 'penance' rebus: kammaṭa 'mint, coiner, coinage'. m0489A One side of a prism tablet shows: crocodile + fish glyphic on the top register. Glyphs: crocodile + fish Rebus: ayakāra ‘blacksmith’ (Pali) PLUS khambhaṛā 'fish fin' rebus: kammaṭa 'mint, coiner, coinage' (since the crocodile grabs the fish-fin). Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’. RV 10.72.1-2 Translation (Griffith) Let us with tuneful skill proclaim these generations of the Gods, That one may see them when these hymns are chanted in a future age These Brahmanaspati produced with blast and smelting, like a Smith, Existence, in an earlier age of Gods, from Non-existence sprang. धम [p= 509,3] mfn. blowing , melting (ifc. ; cf. करं- , खरिं- , जलं- &c ) ब्रह्मणस्-पति [p= 741,1] m. (fr. ब्रह्मणस् gen. of ब्रह्मन् + प्°) = ब्/ऋहस्-प्/अति RV. &c ( -सू*क्त n. N. of wk.) ऋण ṛṇa -चित् a.acknowledging (praise) as a debt to be paid for. N. of ब्रह्मणस्पति (Apte). ऋण--चित् a [p= 225,3] mfn. " giving heed to worship " (paid as a debt by men to gods) , N. of ब्रह्मणस्-पति RV. ii , 23 , 17. The Sukta RV 2.23 is a prayer to Brahmanaspati. At RV 2.23.17 Brahmanaspati is called RNacit, 'giving heed to worship' (paid as a debt by men to gods). The Rica notes Tvastar brought Brahmanaspati to life. RV 10.72.1-2 had noted how Brahmanaspati, like a Smith, produced (metals, dhanam, wealth) with blast and smelting. The Kavi are the smiths who declare in chandas the documentation in 10,800 ricas, comparable to the Indus Script Corpora of over 7000 inscriptions generated by the smiths and artisans of the Bronze Age Revolution. Translation RV 2.23.17 (Griffith): For Tvastar, he who knows each sacred song, brought thee to life, preeminent o’er all the things that be.Guilt scourger, guilt-avenger is Brhaspati, who slays the spoiler and upholds the mighty Law. ब्र(व्र)ह्मणस्पति पु० ६ त० अकुकस० निघण्टौ तस्य पदणपत्पौक्तेः एतपदत्वमं । १ ब्राह्मणजातिखामिनि यजु० १४-२८ (२)मन्त्रस्वामिनि च "पवित्रं ब्रह्मणस्पते" ताण्ड्य० १ । २ । ८ । “हे ब्रह्मणस्पते! मन्त्रस्वामिन्” भा० https://sa.wikisource.org/wiki/वाचस्पत्यम्/

Goat, fin, fin of fish are recurring images of Ancient Near East and also on Indus Script Corpora. These three significant hieroglyphs relate to minwork catalogues. Variant ligatures on 'fish' hieroglyph are also explained in positional analyses describing the processes involved in working with aya 'iron' ayas 'metal'. Steven Bonta (2010) has presented a semiologic approach on the Indus Valley Script and offers some insights: “What is beyond reasonable dispute is that the Harappan signary is a sophisticated system of signs that represent, possibly quite elliptically, the language or languages employed by the Harappans…Whatever the irretrievable details of their culture and history, the preliminary evidence from their inscriptions appears to suggest that their voice may have been Indo-Aryan.” https://www.academia.edu/8691466/The_Indus_Valley_Script_A_New_Interpretation Michael Korvink presents a positional anaysis of 'fish' signs and highlights the ligatures to derive variants of the message conveyed by the basic glyph. Some ligatures are accents indicating 'fins' of fish read rebus as related to mintwork. What are recorded as Sumerian SUHUR.MASH, Akk. suhurmashu/i sometimes interpreted as 'sea-goat' and kulullû fish-man may relate to two Meluhha expressions:1. mr̤ēka 'goat': Ka. mēke she-goat; mē the bleating of sheep or goats. Te. mē̃ka, mēka goat. Kol. me·ke id. Nk. mēke id. Pa. mēva, (S.) mēya she-goat. Ga. (Oll.) mēge, (S.) mēge goat. Go. (M) mekā, (Ko.) mēka id. ? Kur. mēxnā (mīxyas) to call, call after loudly, hail. Malt. méqe to bleat. [Te. mr̤ēka (so correct) is of unknown meaning. Br. mēḻẖ is without etymology; see MBE 1980a.] / Cf. Skt. (lex.) meka- goat. (DEDR 5087) Rebus: milakkhu, mleccha, mlecchamukha 'copper' (Pali. Samskrtam) 2. ayo, ayu 'fish' rebus: aya 'iron' ayas 'metal' (Samskrtam) 3. kammaṭa 'mint': khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) Thus, the goat-fish message relates to copper, iron mintwork. A person ligatured to a fish w/fin is ayaskara 'metalsmith' -- working in khambhaṛā ʻfinʼ rebus: kammaṭṭam, kammiṭṭam coinage, mint. కమ్మటము (p. 0247) [ kammaṭamu ] Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. He wears a bracelet with a safflower hieroglyph. करडी [ karaḍī ] f (See करडई) Safflower Rebus: करड [ karaḍa ] 'hard alloy'. A fish-apkallu drawn by AH Layard from a stone relief, one of a pair flanking a doorway in the Temple of Ninurta at Kalhu. British Museum. Reproduced in Schlomo Izre'el, Adpa and the South Wind, Language has the power of life and death, Eisenbrauns, 2001. See: http://bharatkalyan97.blogspot.in/2011/11/susa-ritual-basin-decorated- Below, a fish-man in a sea from a bas-relief in the palace of the Assyrian king Sargon II, ca. 721-705 BCE at Dur-Sharken, modern Khorsabad. (p. 131. fig. 107. "merman and mermaid." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBn 0-292-70794-0. paperback) Below, sun-dried clay figures. Upper: a goat-fish (Greek: Capricorn) emblem of the god Enki (Ea) of Eridu. Lower: a fishman. Placed in a building to ward off evil in the Assyrian period (p. 92. figure 70. "goat-fish." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBn 0-292-70794-0. paperback). Note: I understand that Ea (Enki) who gave his servant Adapa wisdom or knowledge but denied him immortality has been recast as Yahweh in the Garden of Eden. Please click here for the details. Below, fish-men figurines, the so-called "seven sages" (apkallu), sun-dried clay, from the foundations of a priest's house in Asshur ca. 721-705 BCE (p. 18. Jeremy Black and Anthony Green.Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBN 0-292-70794-0. paperback). Below, p. 131. fig. 108. "merman and mermaid." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBN 0-292-70794-0. paperback). Below, a cylinder seal showing "fishmen" holding pine cones (?) and pollen-buckets (?), adoring a sacred tree. Above the tree is the sun-god with eagle wings and tail (perhaps Utu, Shamash or Asshur?). This tree appears in other Neo-Assyrian art forms as a highly stylized Date-palm with a vine lattice and leaves, sometimes bearing fruits such as grapes (?). To this day, Arabs in Lower Mesopotamia drape grapevines about Date-palms in their gardens. Could the Neo-Assyrian highly stylized grapevine tendril motif associated with the Date-palm be what is represented in this art form? In the Epic of Gilgamesh, a plant of rejuvenation lies at the bottom of the sea, could this be the plant the Fishmen are adoring? Or are they adoring the Mesu tree or Kiskanu tree at Eridu where Adapa and the apkallu served? (For the below picture cf. p. 15. figure 7. "Fish Gods at the Tree pf Life; Assyria, c. 700 BC." Joseph Campbell. The Masks of God: Creative Mythology. New York. Viking Penguin. 1968. Reprinted 1976) kuTi 'tree' rebus: kuThi 'smelter'. Below, sun-dried clay figures. Upper: a goat-fish (Greek: Capricorn) emblem of the god Enki (Ea) of Eridu. Lower: a fishman. Placed in a building to ward off evil in the Assyrian period (p. 92. figure 70. "goat-fish." Jeremy Black and Anthony Green. Gods, Demons and Symbols of Ancient Mesopotamia, An Illustrated Dictionary. London, British Museum, in association with the University of Texas Press. Austin. 1992. ISBn 0-292-70794-0. paperback). Note: I understand that Ea (Enki) who gave his servant Adapa wisdom or knowledge but denied him immortality has been recast as Yahweh in the Garden of Eden. Please click here for the details

All three professional calling cards are of maritime, seafaring merchants: 1. ayaskāra; 2. badiga 'wood/iron artificer'; 3. jangadiyo 'military guard'; Meluhha pronunciation variant ചങ്ങാതം caṅṅātam 'responsible Nāyar guide through foreign territories'. In addition, 1. Sheorajpur copper anthropomorph is that of an alloy metal worker; meṭhā 'ram' rebus: meḍh ‘merchant’; 2. Kheri Gujar copper anthropomorph is that of a wood and iron worker; meṭhā 'ram' rebus: meḍh ‘merchant’; 3. Mohenjo-daro pectoral or pendant or medallion is that of a Maritime Treasure-guard, who uses jangad method of invoicing on approval basis, and is in charge of metal implements cargo of a mint, guild. The three professional calling cards are deciphered and detailed in three sections. Section 1. Professional calling card 1 Sheorajpur Section 2. Professional calling card 2 Kheri Gujar Section 3. Professional calling card 3 Mohenjo-daro Section 1. Professional calling card 1 Sheorajpur Anthropomorph Sheorajpur Indus Script ayo meḍh 'metal merchant', karṇika कर्णिक 'steersman' http://tinyurl.com/zelxo3r 4 kg; कर्णक kárṇaka, kannā 'legs spread', rebus: कर्णिक [p= 257,2] m. a steersman W. Hieroglyph: So. ayo `fish'. Go. ayu `fish'. Go <ayu> (Z), <ayu?u> (Z),, <ayu?> (A) {N} ``^fish''. Kh. kaDOG `fish'. Sa. Hako `fish'. Mu. hai (H) ~ haku(N) ~ haikO(M) `fish'. Ho haku `fish'. Bj. hai `fish'. Bh.haku `fish'. KW haiku ~ hakO |Analyzed hai-kO, ha-kO (RDM). Ku. Kaku`fish'.@(V064,M106) Mu. ha-i, haku `fish' (HJP). @(V341) ayu>(Z), <ayu?u> (Z) <ayu?>(A) {N} ``^fish''. #1370. <yO>\\<AyO>(L) {N} ``^fish''. #3612. <kukkulEyO>,,<kukkuli-yO>(LMD) {N} ``prawn''. !Serango dialect. #32612. <sArjAjyO>,,<sArjAj>(D) {N} ``prawn''. #32622. <magur-yO>(ZL) {N} ``a kind of ^fish''. *Or.<>. #32632. <ur+GOl-Da-yO>(LL) {N} ``a kind of ^fish''. #32642.<bal.bal-yO>(DL) {N} ``smoked fish''. #15163. (Munda Etyma) Rebus: Ayo & Aya (nt.) [Sk. ayaḥ nt. iron & ore, Idg. *ajes -- , cp. Av. ayah, Lat. aes, Goth. aiz, Ohg. ēr (= Ger. Erz.), Ags. ār (= E. ore).] iron. The nom. ayo found only in set of 5 metals forming an alloy of gold (jātarūpa), viz. ayo, loha (copper), tipu (tin), sīsa (lead), sajjha (silver) A iii.16 = S v.92; of obl. cases only the instr. ayasāoccurs Dh 240 (= ayato DhA iii.344); Pv i.1013 (paṭikujjita, of Niraya). -- Iron is the material used kat)e)coxh/n in the outfit & construction of Purgatory or Niraya (see niraya & Avīci & cp. Vism 56 sq.). -- In compn. both ayo˚ & aya˚ occur as bases. I. ayo˚: -- kapāla an iron pot A iv.70 (v. l. ˚guhala); Nd2 304 iii. d 2 (of Niraya). -- kūṭa an iron hammer PvA 284. -- khīla an iron stake S v.444; M iii.183 = Nd2304 iii. c; SnA 479. -- guḷa an iron ball S v.283; Dh 308; It 43 = 90; Th 2, 489; DA i.84. -- ghana an iron club Ud 93; VvA 20. -- ghara an iron house J iv.492. -- paṭala an iron roof or ceiling (of Niraya) PvA 52. -- pākāra an iron fence Pv i.1013 = Nd2 304 iii. d 1. -- maya made of iron Sn 669 (kūṭa); J iv.492 (nāvā); Pvi.1014 (bhūmi of N.); PvA 43, 52. -- muggara an iron club PvA 55. -- sanku an iron spike S iv.168; Sn 667. II. aya˚: -- kapāla = ayo˚ DhA i.148 (v. l. ayo˚). -kāra a worker in iron Miln 331. -- kūṭa = ayo˚ J i.108; DhA ii.69 (v. l.). -- nangala an iron plough DhA i.223;iii.67. -- paṭṭaka an iron plate or sheet (cp. loha˚) J v.359. -- paṭhavi an iron floor (of Avīci) DhA i.148. -- sanghāṭaka an iron (door) post DhA iv.104. -- sūla an iron stake Sn 667; DhA i.148.(Pali) Hieroglyph: M. mẽḍhā m. ʻ crook or curved end (of a horn, stick, &c.) ʼ *miḍḍa ʻ defective ʼ. 2. *miṇḍa -- . 3. *miṇḍha -- 1. 4. *mēṭṭa -- 1. 5. *mēṇḍa -- 1. 6. *mēṇḍha -- 1. [Cf. *mitta -- and list s.v. *maṭṭa -- ; --mḗṭati, mḗḍati ʻ is mad ʼ Dhātup. -- Cf. *mēṭṭa -- 2 ʻ lump ʼ]1. G. miḍiyɔ ʻ having horns bent over forehead (of oxen and goats) ʼ.2. G. mī˜ḍũ ʻ having rims turned over ʼ.3. S. miṇḍhiṇo ʻ silent and stupid in appearance but really treacherous and cunning ʼ; G. miṇḍhũ ʻ having deep -- laid plans, crafty, conceited ʼ.4. A. meṭā ʻ slow in work, heavy -- bodied ʼ.5. Or. meṇḍa ʻ foolish ʼ; H. mẽṛā, mẽḍā m. ʻ ram with curling horns ʼ, °ḍī f. ʻ she -- goat do. ʼ.6. Or. meṇḍha ʻ foolish ʼ, °ḍhā ʻ fool ʼ; M. mẽḍhā m. ʻ crook or curved end (of a horn, stick, &c.) ʼ.(CDIAL 10120) mēṇḍha2 m. ʻ ram ʼ, °aka -- , mēṇḍa -- 4, miṇḍha -- 2, °aka -- , mēṭha -- 2, mēṇḍhra -- , mēḍhra -- 2, °aka -- m. lex. 2. *mēṇṭha- (mēṭha -- m. lex.). 3. *mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra -- ] 1. Pa. meṇḍa -- m. ʻ ram ʼ, °aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (°ḍhī -- f.), °ṁḍa -- , miṁḍha -- (°dhiā -- f.), °aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.rumb. amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv. yēṛo -- miṇ; Phal. miṇḍ, miṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., °ḍhī f., ludh. mīḍḍhā, mī˜ḍhā m.; N. meṛho, meṛo ʻ ram for sacrifice ʼ; A. mersāgʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., °ṛi f., Or. meṇḍhā, °ḍā m., °ḍhi f., H. meṛh, meṛhā, mẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā. 2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ. 3. H. mejhukā m. ʻ ram ʼ. *mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- . Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram ʼ (CDIAL 10310) Rebus: meḍh ‘helper of merchant’ (Gujarati) Section 2. Professional calling card 2 Kheri Gujar Anthropomorph Indus Script hieroglyphs signify fine gold, ornament gold merchant, Brāhmī syllables signify mã̄jhī boatpeople https://tinyurl.com/y55zxfa4 The Kheri Gujar Anthropomorph (Dr. Tejas Garge). 2005. Published in 2007 by SK Manjul and A Manjul in Pragdhara, Journal of the UP State Department of Archaeology, Vol. 17. Atop the head is an animal (boar); on the chest is the ‘unicorn’ or one-horned bull together with an inscription in Brahmi. Source: The mound of the Kheri Gujar is 14 m. high and spread over 1 km. The anthropomorph is attributed to the Late Harappan horizon. https://www.livehistoryindia.com/story/history-daily/anthropomorph/ See: Brāhmī inscription on Indus Script anthropomorph reads: symbol of मांझीथा Majhīthā sadya 'member of mã̄jhī boatpeople assembly (community)' https://tinyurl.com/y85lflto The pictrographs of young bull, ram's horns, spread legs, boar signify: goldsmith, iron metalworker, merchant, steersman. [Details: कोंद kōnda ‘engraver' (one-horned young bull hieroglyph); kundana 'fine gold' (Kannada) singi 'horned' rebus: singi 'ornament gold' PLUS barāh, baḍhi 'boar' vāḍhī, bari, barea 'merchant' bārakaśa 'seafaring vessel'.bāṛaï 'carpenter' bari barea 'merchant' (boar hieroglyph) PLUS karṇaka कर्णक steersman ('spread legs'); meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron'] meḍ 'body', meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron' (ram hieroglyph, (human) body hieroglyph)Rebus: meḍh ‘helper of merchant’ (Gujarati) कर्णक m. du. the two legs spread out AV. xx , 133 , 3 rebus: कर्णिक having a helm; a steersman (Monier-Williams) कोंद kōnda ‘engraver' (one-horned young bull hieroglyph); kundana 'fine gold' (Kannada). bāṛaï 'carpenter' (boar hieroglyph) bari barea 'merchant' (boar hieroglyph) Brāhmī inscription on Indus Script anthropomorph reads (on the assumption that Line 3 is an inscription with Indus Script hypertexts): śam ña ga kī ma jhi tha mū̃h baṭa baran khāṇḍā samjñā 'symbol, sign' kī ma jhi tha 'of Majhitha' Sha (?) Da Ya शद sad-a 'produce (of a country)'.-shad-ya, m. one who takes part in an assembly, spectator Meaning: Line 1 (Brāhmī syllables): samjñā 'symbol, sign' (of) Line 2 (Brāhmī syllables): kī ma jhi tha 'of Majhitha locality or mã̄jhī boatpeople community or workers in textile dyeing: majīṭh 'madder'. The reference may also be to mañjāḍi (Kannada) 'Adenanthera seed weighing two kuṉṟi-mani, used by goldsmiths as a weight'. Line 3 (Indus Script hieroglyphs): baṭa 'iron' bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) mū̃h'ingots' khāṇḍā 'equipments'. Alternative reading of Line 3 (if read as Brāhmī syllables): Sha (?) Da Ya शद sad-a signifies: 'produce (of a country' or -shad-ya, m. one who takes part in an assembly, spectator. Thus,an alternative reading is that the threelines may signify symbol of मांझीथा Majhīthā sadya 'assembly participant' or member of mã̄jhī boatpeople assembly (community). Thus, this is a proclamation, a hoarding which signifies the Majitha locality (working in) iron, mixed alloys (bharat) ingots and equipments. Alternative reading is: symbol (of) produce of Majhitha locality or community Alternatives: A cognate word signifies boatman: *majjhika ʻ boatman ʼ. [Cf. maṅga -- ?] N. mājhi, mã̄jhi ʻ boatman ʼ; A. māzi ʻ steersman ʼ, B. māji; Or. mājhi ʻ steersman ʼ, majhiā ʻ boatman ʼ, Bi. Mth. H. mã̄jhī m.(CDIAL 9714).மஞ்சி2 mañci, n. 1. cf. mañca. [M. mañji.] Cargo boat with a raised platform; படகு. Thus, a majhitha artisan is also a boatman.

Vatsyayana signifies cryptography as mlecchita vikalpa, i.e. alternative system of representation of spoken words by mleccha (meluhha) speakers. The alternative system using symbols for writing was necessitated by the Bronze Age revolution which produced surplus products for barter and trade across Eurasia. There was a Tin Route preceding by 2 millennia the Silk Road reaching tin from the Tin belt of Mekong delta into Eurasia with seafaring merchants of Sarasvati-Sindhu civiization as trade intermediaries. Indus Script used the hieroglyphs to document metalwork catalogues fpr trade. Mints used some of the hieroglyphs as celebration of metalwork on coins used as metaphors for specific products traded, an advance in regulating fair value of exchanges in barter transactions. kole.l 'smithy, forge' assumes the metaphor of kole.l 'temple' during the historical periods sustained by the retained memories of the Bronze Age revolution and writing system of Indus Script. See: http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-19-punch.html Indus Script hieroglyphs on 19 punch-marked coins (Ancient janapada mints) deciphered as metalwork proclamations Vikalpa in grammar is admission of an option or alternative , the allowing a rule to be observed or not at pleasure (वे*ति विकल्पः Pa1n2. 1-1 , 44 Sch.). Such a vikalpa is Indus Script as a writing system for spoken words. The use of symbols to signify rebus words (homonyms signifying both the symbol and the intended bronze age metalwork) is comparable to the literary use of metaphors in chandas (Vedic diction or prosody). In the Vedic diction, for example, tris'iras signifies a metaphor for three strands. A similar representation occurs in Indus Script in the orthography of a trefoil (thre dotted circles) to signify three strands. Each dotted circle is a धातु constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf. त्रिविष्टि- सप्त- , सु-) RV. TS. S3Br. &c lement , primitive matter (= महा-भूत L. ) MBh. Hariv. &c (usually reckoned as 5 , viz. ख or आकाश , अनिल , तेजस् , जल , भू ; to which is added ब्रह्म Ya1jn5.iii , 145 ; or विज्ञान Buddh. ). primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red colour) Mn. MBh Thus, the dotted circle signifies both 'strand' and 'element, mineral'. The symbol is used as a syllable in Brahmi script to signify the sound 'dha'. A trefoil is त्रि-ध्/आतु , threefold, rebus: three elements. Silver karshapana c. 5th-4th century BCEWeight: 3.08 gm., Dim: 26 x 24 mm. Five punches: sun, 6-arm, and three others, plus banker's marks / Banker's marks Ref: GH 36. kuTi 'tree' rebus: kuThi 'smelter' मेढ (p. 662) [ mēḍha ] 'polar star' (Marathi) rebus: mẽṛhet iron (metal), meD 'iron' (Mu.Ho.) mRdu 'iron' (Samskrtam) goTa 'pebble, round' rebus: khoTa 'ingots, wedges'. Silver karshapana. There are three distinct punch-marks: sun, spokes, nave of wheel PLUS elephant, dotted circle with three strands and three ovals (ingots). Symbol 1: arka 'sun' arká1 m. ʻ flash, ray, sun ʼ RV. [√arc] Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624) अर्क [p= 89,1]m. ( √ अर्च्) , Ved. a ray , flash of lightning RV. &c, the sun (RV) fire RV. ix , 50 , 4 S3Br. Br2A1rUp. Rebus: arka 'copper' aggasAle (a compound expression of arka + sAle) 'goldsmith' (Kannada) అగసాలి [ agasāli ] or అగసాలెవాడు agasāli. [Tel.] n. A goldsmith. కంసాలివాడు. Ta. eṟṟu (eṟṟi-) to throw out (as water from a vessel); iṟai (-v-, -nt-) to scatter (intr.), disperse; (-pp-, -tt-) to splash (tr.), spatter, scatter, strew, draw and pour out water, irrigate, bale out, squander; iṟaivaireceptacle for drawing water for irrigation; iṟaṭṭu (iṟaṭṭi-) to sprinkle, splash. Ma. iṟekka to bale out; iṟayuka id., scatter, disperse; iṟava basket for drawing water; eṟiccil rainwater blown in by the wind. To.eṟ- (eṟQ-) to scoop up (water with vessel). Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion.Tu. eraka molten, cast (as metal); eraguni to melt. Kur. ecchnā to dash a liquid out or over (by scooping, splashing, besprinkling). Cf. 840 Kur. elkhnā (Pfeiffer).(DEDR 866) Symbol 2: spokes of wheel: ará m. ʻ spoke of a wheel ʼ RV. 2. āra -- 2 MBh. v.l. [√r̥] 1. Pa. ara -- m., Pk. ara -- , °ga -- , °ya -- m.; S. aro m. ʻ spoke, cog ʼ; P. arm. ʻ one of the crosspieces in a cartwheel ʼ; Or. ara ʻ felloe of a wheel ʼ; Si. ara ʻ spoke ʼ. 2. Or. āra ʻ spoke ʼ; Bi. ārā ʻ first pair of spokes in a cartwheel ʼ; H. ārā m. ʻ spoke ʼ, G. ārɔ m.(CDIAL 594) Rebus: ara 'brass' ArakUTa 'brass' (Samskrtam) आर--कूट [p= 149,2] 'a kind of brass'. Symbol 3: nave of wheel: era, eraka = nave of wheel (Kannada.); rebus: era, eraka 'copper' (Kannada.) Symbol 4: elephant: kariba 'trunk of elephant' ibha 'elephant; Rebus: karba 'iron' ib 'iron' Symbol 5: dhAu 'strand' rebus: dhAu 'red mineral' PLUS khaNDa 'arrow' rebus: khaNDa 'implements'; Hieroglyph: oval-shape: rebus: khoTa 'ingot, wedge'. Three strands: tri-dhAu rebus: tri-dhAu 'three minerals'. Upendra Thakur called the Bronze Age, 'the Age of Symbols'. (See embedded article from the Journal of the Econimic and Social History of the Orient, Vol. XVI, Parts 2/3, December 1973, pp. 265-297). See: http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-early.html In his 1890 monograph, W.Theobald lists 312 'symbols' deployed on punch-marked coins. He revises the list to 342 symbols in his 1901 monograph. It should be noted that many of the symbols recorded on punch-marked coins also survive on later coinages, in particular of Ujjain and Eran and on many cast coins of janapadas. DR Bhandarkar’s view is that the early punch-marked coinage in Hindustan is datable to 10th century BCE though the numismatists claim that the earliest coinage is that of Lydia of 7th century BCE. W. Theobald, 1890, Notes on some of the symbols found on the punch-marked coins of Hindustan, and on their relationship to the archaic symbolism of other races and distant lands, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), Part 1. History , Literature etc., Nos. III & IV, 1890, pp. 181 to 268, Plates VIII to XI W. Theobald, 1901, A revision of the symbols on the ‘Karshapana’ Coinage, described in Vol. LIX, JASB, 1890, Part I, No. 3, and Descriptions of many additional symbols, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), No. 2, 1901 (Read December, 1899). Plates VIII to XI of Theobald, 1890 listing symbols on punch-marked coins... The 'symbols' which are a continuum from Indus script hieroglyphs all of which relate to metalwork are:

Indus Script hieroglyphs 1. fish-fin 'khambhaṛā', 2. reed-mollusc 'eraka-sippi शिल्पी' signify Bronze Age mint, metal molten-cast sculptor Metal molten-casting is central to the process of cire perdue (lost-wax) metal casting to create exquisite metal sculptures. This centrality is complemented by the use of fine clay from river bed to be smeared onto a bees-wax sculpture to achieve fine mirror impressions of the wax sculpture replicated as metal images, say, that of the Cosmic Dancer, Nataraja or the Dancing Girls of Mohenjo-daro. That the fine cire perdue castings belong to the 5th millennium BCE of the Bronze Age is evidenced by the arsenical copper castings of Nihal Mishmar. How did the ancient artisans depict these metalwork processes in Indus Script hieroglyphs apparent in Warka vase, Susa ritual basin, Sanchi/Bharhut torana (gateway) hoardings? The depiction is just stunning and simple representations of hypertexts as the code of Indus Script cipher. I have presented over one thousand pairs of ancient phonetic forms of words which signify both the Indus Script hieroglyphs (as orthographs) and the reconstructed metalwork lexis. This reconstruction answers the following critique of the difficulty of matching signs or hieroglyphs with ancient lexis We have no evidence of Prakrits, Munda etc prior to 600 bce at the very very best. We can't use modern dialects or languages for 3000 BCE.Only Sanskrit is in its Vedic form stable because pious Brahmins retained it. The Prakrits are degenerate forms of Sanskrit showing precisely the erosion produced by time and changing habits of speech. We cannot scientifically assume that the forms known to us from c. 500 are those of 3000 bce! It is impossible to establish this for the ancient Saptasindhu. We simply don't know what the folk-dialects were; they certainly were not the modern dialects-spoken in modern India. The seal signs must be interpreted uniformly as of one dialect/language and the value given to the signs must be consistent. In identifying the hieroglyphs of 'fish-fin' and 'reed-mollusc' from ancient writing/sculptural friezes, I have used the following homonyms: khambhaṛā 'fish-fin' (Lahnda CDIAL 13640) Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) எருவை eruvai European bamboo reed. See கொறுக்கச்சி. (குறிஞ்சிப். 68, உரை.) 6. Species of Cyperus. See பஞ்சாய்க்கோரை. எருவை செருவிளை மணிப்பூங் கருவிளை (குறிஞ்சிப். 68). 7. Straight sedge tuber; கோரைக்கிழங்கு. மட் பனை யெருவைதொட்டி (தைலவ. தைல. 94). eṟaka, eraka any metal infusion; molten state, fusion. Tu. eraka molten, cast (as metal); eraguni to melt. (DEDR 866) எருவை eruvai , n. 1. Blood; உதிரம். (திவா.) 2. Copper; செம்பு. எருவை யுருக்கினா லன்ன குருதி (கம்பரா. கும்பக. 248). Ta. ippi pearl-oyster, shell; cippi shell, shellfish, coconut shell for measuring out curds. Ma. ippi, cippi oyster shell. Ka. cippu, sippu, cimpi, cimpe, simpi, simpu, simpe oyster shell, mussel, cockle, a portion of the shell of a coconut, skull, a pearl oyster; (Gowda) cippi coconut shell. Tu. cippi coconut shell, oyster shell, pearl; tippi, sippi coconut shell. Te. cippa a shell; (kobbari co) coconut shell; (mōkāli co) knee-pan, patella; (tala co) skull; (muttepu co) mother-of-pearl. Go. (Ma.) ipi shell, conch (Voc. 174). / Cf. Turner, CDIAL, no. 13417, *sippī-; Pali sippī- pearl oyster, Pkt. sippī- id., etc. (DEDR 2835) *sippī ʻ shell ʼ. [← Drav. Tam. cippi DED 2089] Pa. sippī -- , sippikā -- f. ʻ pearl oyster ʼ, Pk. sippī -- f., S. sipa f.; L. sipp ʻ shell ʼ, sippī f. ʻ shell, spathe of date palm ʼ, (Ju.) sip m., sippī f. ʻ bivalve shell ʼ; P. sipp m., sippīf. ʻ shell, conch ʼ; Ku. sīp, sīpi ʻ shell ʼ; N. sipi ʻ shell, snail shell ʼ; B. sip ʻ libation pot ʼ, chip ʻ a kind of swift canoe ʼ S. K. Chatterji CR 1936, 290 (or < kṣiprá -- ?); Or.sipa ʻ oyster shell, mother -- of -- pearl, shells burnt for lime ʼ; Bi. sīpī ʻ mussel shells for lime ʼ; OAw. sīpa f. ʻ bivalve shell ʼ, H. sīp f.; G. sīp f. ʻ half an oyster shell ʼ, chīpf. ʻ shell ʼ; M. śīp, śĩp f. ʻ a half shell ʼ, śĩpā m. ʻ oyster shell ʼ; -- Si. sippiya ʻ oyster shell ʼ ← Tam.(CIAL 13417) śilpin ʻ skilled in art ʼ, m. ʻ artificer ʼ Gaut., śilpika<-> ʻ skilled ʼ MBh. [śílpa -- ] Pa. sippika -- m. ʻ craftsman ʼ, NiDoc. śilpiǵa, Pk. sippi -- , °ia -- m.; A. xipini ʻ woman clever at spinning and weaving ʼ; OAw. sīpī m. ʻ artizan ʼ; M. śĩpī m. ʻ a caste of tailors ʼ; Si. sipi -- yā ʻ craftsman ʼ.(CDIAL 13471) Thus, it is submitted that the Proto-Prakritam or Proto-Samskrtam forms of these words might have signified homonymous pronunciations to signify both 1. fish-fin or reed-mollusc and 2. deciphered kammaTa 'mint' or eraka 'moltencast copper' thus yielding a writing system referred to by Vatsyayana as mlecchit vikalpa 'Meluhha cipher'. The reconstructed proto-word equivalences are so vivid in hypertexts that it is possible to create a metalwork lexis of Language X (which was referred to as Meluhha on an Akkadian cylinder Shu-ilishu seal (of a Meluhha translator), showing a Meluhha merchant carrying a goat). http://bharatkalyan97.blogspot.in/2016/03/indus-script-in-warka-uruk-susa-bharhut.html Indus Script in Warka (Uruk), Susa, Bharhut, Sanchi with common hieroglyphs which signify smelter- &metal-work Mirror: https://www.academia.edu/s/e97c56ac7b Indus Script on 1. Torana (gateway) proclamations of Bharhut and Sanchi, 2. Warka vase, 3. Susa limestone basin, bitumen base, tablet, two cylinder seals have common hieroglyphs which are catalogs of metalwork. I was stunned by the Bharhut and Sanchi toranas. The hieroglyphs which constituted proclamations on the gateways are recognizable as Indus Script hieroglyph-multiplexes (hypertexts). Tatsama and tadbhava words in a comparative lexicon of Bharatiya languages (e.g. Indian Lexicon), establish the reality of Bharatiya sprachbund. It appears mlecchita vikalpa wass based on a artificer-lapidary-metalwork lexis of Prakrtam (i.e., vAk, spoken form of Samskrtam).

Indus Script hypertexts presented in this monograph are: 1.Bronze Artifact, Kosambi -- kolhe 'smelter' of poḷa, 'magnetite ore', dul 'metal caster' 2.Bronze Artifact, Kosambi -- kuṭhāra 'crucibe' rebus: kuṭhāru 'armourer' 3. Phoenicia coin aya 'fish' rebus: ayas 'alloy metal' PLUS khār 'blacksmith' ayakāra 'metalsmith' 4. Dancing Gaņeśa, Jambhala -- karibha 'elephant' rebus: karba 'iron' PLUS meḍ 'dance' (Remo); మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు (Telugu) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.).med 'copper' (Slavic languages) 5. Hypertexts of a woman holding two fishes on ancient Central India coins -- dula 'pair' rebus: dul 'metal caster' PLUS aya 'fish' rebus: ayas 'alloy metal', thus dul aya, 'alloy metalcaster' symbolises wealth 6. Kosambi and Ujjain coins with Indus Script hypertexts signify metalwork wealth 1.Bronze Artifact, Kosambi -- kolhe 'smelter' of poḷa, 'magnetite ore', dul 'metal caster' Bronze. ca. 2000 BCE. Kosambi.Hypertext signifies metalcaster, smelter of magnetite ore. Woman riding Two Brahman (Zebu) Bulls (bronze), from Kausambi, c.2000-1750 BCE. Late Harrapan period 2000–1750 B.C.E India (Kosambi) Bronze H. 5 1/2 in. (14 cm); W. 3 1/2 in. (8.9 cm); D. 4 1/2 in. (11.4 cm) Sculpture Gift of Jonathan and Jeannette Rosen, 20152015.505 This remarkable object is the oldest bronze object in the Museum’s Indian collections, and is a rare survivor of the early bronze culture associated with the late Harappan civilization shared across northern India and the Indus Valley (Pakistan) in the second millennium B.C. Two humped (‘Brahman’) bulls support a platform on which is a woman is kneeling. Her hands rest on the bulls’ humps. The ensemble is on a rectangular platform, which has been separately cast. The woman has a slender physique, pointed breasts, and hair that extends to her shoulders. She wears a small circular crown-like fitting atop her head, has deep eye sockets and an incised mouth. The symmetry of the female figure is mirrored in standing female clay figurines from this period and later. kola 'woman' rebus: kolhe 'smelter' kol 'working in iron' dula 'two' rebus: dul 'metal casting' poḷ m. ʻ bull dedicated to the gods ʼ: poḷy sacred dairy (Toda) since the related gloss poLa signifies a bull set at liberty. B. polā ʻ child, son ʼ; M. poḷ m. ʻ bull dedicated to the gods ʼ; Si. pollā ʻ young of an animal ʼ.4. Pk. pōāla -- m. ʻ child, bull ʼ; A. powāli ʻ young of animal or bird ʼ. (CDIAL 8399) Hieroglyph: पोळ [pōḷa] m A bull dedicated to the gods, marked with a trident and discus, and set at large. பொலியெருது poli-y-erutu , n. < பொலி- +. 1. Bull kept for covering; பசுக்களைச் சினையாக்குதற் பொருட்டு வளர்க்கப்படும் காளை. (பிங்.) கொடிய பொலியெருதை யிருமூக்கிலும் கயி றொன்று கோத்து (அறப். சத. 42). 2. The leading ox in treading out grain on a threshing-floor; களத்துப் பிணையல்மாடுகளில் முதற்செல்லுங் கடா. (W.) பொலி முறைநாகு poli-muṟai-nāku, n. < பொலி + முறை +. Heifer fit for covering; பொலியக்கூடிய பக்குவமுள்ள கிடாரி. (S. I. I. iv, 102.) Rebus 1: pōḷa 'magnetite, ferrous-ferric oxide Fe3O4'. Rebus: cattle festival: पोळा [ pōḷā ] m (पोळ) A festive day for cattle,--the day of new moon of श्रावण or of भाद्रपद. Bullocks are exempted from labor; variously daubed and decorated; and paraded about in worship. "Pola is a bull-worshipping festival celebrated by farmers mainly in the Indian state of Maharashtra (especially among the Kunbis). On the day of Pola, the farmers decorate and worship their bulls. Pola falls on the day of the Pithori Amavasya (the new moon day) in the month of Shravana (usually in August)." https://en.wikipedia.org/wiki/Pola_(festival) Festival held on the day after Sankranti ( = kANum) is called pōlāla paNDaga (Telugu). Toy animals made for the Pola festival especially celebrated by the Dhanoje Kunbis. (Bemrose, Colo. Derby - Russell, Robert Vane (1916). The Tribes and Castes of the Central Provinces of India: volume IV. Descriptive articles on the principal castes and tribes of the Central Provinces. London: Macmillan and Co., limited. p. 40). Some artifacts of Sarasvati-Sindhu Civilization point to the possibility that the celebration of pola cattle festival may be traced to the cultural practices of 3rd millennium BCE. Kosambi is located on the Yamuna River about 56 kilometres (35 mi) southwest of its confluence with the Ganges at Prayaga (modern Allahabad) http://www.metmuseum.org/art/collection/search/39126 "Kosambi was one of the greatest cities in India from the late Vedic period until the end of Maurya Empire with occupation continuing until the Gupta Empire. As a small town, it was established in the late Vedic period, by the rulers of Kuru Kingdom as their new capital. The initial Kuru capital Hastinapur was destroyed by floods, and the Kuru King transferred his entire capital with the subjects to a new capital that he built near the Ganga-Jamuma confluence, which was 56 km away from the southernmost part of the Kuru Kingdom now as Allahabad.During the period prior the Maurya Empire, Kosambi was the capital of the independent kingdom of Vatsa,) one of the Mahajanapadas. Kosambi was a very prosperous city by the time of Gautama Buddha, where a large number of wealthy merchants resided. It was an important entrepôt of goods and passengers from north-west and south. It figures very prominently in the accounts of the life of Buddha.The excavations of the archaeological site of Kosambi was done by G. R. Sharma of Allahabad University in 1949 and again in 1951–1956 after it was authorized by Sir Mortimer Wheeler in March 1948. Excavations have suggested that the site may have been occupied as early as the 12th century BCE. Its strategic geographical location helped it emerge as an important trading center. A large rampart of piled mud was constructed in the 7th to 5th centuries BCE, and was subsequently strengthened by brick walls and bastions, with numerous towers, battlements, and gateways.Carbon dating of charcoal and Northern Black Polished Ware have historically dated its continued occupation from 390 BC to 600 A.D.Kosambi was a fortified town with an irregular oblong plan. Excavations of the ruins revealed the existence of gates on three sides-east, west and north. The location of the southern gate can not be precisely determined due to water erosion. Besides the bastions, gates and sub-gates, the city was encircled on three sides by a moat, which, though filled up at places, it still discernible on the northern side. At some points, however, there is evidence of more than one moat. The city extended to an area of approximately 6.5 km. The city shows a large extent of brickworks indicating the density of structures in the city." 2. Bronze artifact. Kosambi -- kuṭhāra 'crucibe' rebus: kuṭhāru 'armourer'. Bronze Goddess with Weapons in Her Hair, from Northern India (possibly Kausambi), 2nd century BCE https://en.wikipedia.org/wiki/Kosambi 3. Phoenicia coin aya 'fish' rebus: ayas 'alloy metal' PLUS khār 'blacksmith' ayakāra 'metalsmith' Phoenicia, Aradus AR Tetrobol. 400-350 BCE. Phoenician inscription ma, merman or marine deity with human torso & fish tail swimming right, holding dolphin by tail in each hand / Galley right, with row of shields along bulwark, hippocamp below, swimming right; all in incuse square. Grose 9443, Trait‚ II 808, BMC 7. http://www.wildwinds.com/coins/sg/sg5968.html http://www.ancientresource.com/images/phoenician-carthage/phoenician-coins/phoenicia-silver-cg2095.jpg 4. Dancing Gaņeśa, Jambhala -- karibha 'elephant' rebus:karba 'iron' PLUS meḍ 'dance' (Remo); మెట్టు [meṭṭu] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు (Telugu) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.).med 'copper' (Slavic languages) "Dancing Gaņeśa. Central Tibet. Early fifteenth century. Colours on cotton. Height: 68 centimeters". This form is also known as Maharakta ("The Great Red One") "Gaņeśa was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders.The earliest inscription invoking Ganesha before any other deity is associated with the merchant community. Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them.Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in the Hindu art of Java, Bali, and Borneo show specific regional influences."