Excerpts from the book 'Indus Valley Civilization Script Decoded'

Mohenjo-daro Seal impression. m0296 Two heads of one-horned bulls with neck-rings, joined end to end (to a standard device with two rings coming out of the top part?), under a stylized tree-branch with nine leaves. saṅghara 'chain link' rebus: sangara 'trade'; samgaha ‘catalogue, list’. खोंद [ khōnda ] n A hump (on the back): also a protuberance or an incurvation (of a wall, a hedge, a road). Rebus: kō̃da -कोँद । इष्टिकाभ्राष्ट्रः f. a brick-kiln. (Kashmiri) kõdār 'turner' (Bengali). Rebus: खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or -पुसणें To question minutely and searchingly, to probe.गोट [ gōṭa ] m ( H) A metal wristlet. An ornament of women. 2 Encircling or investing. v घाल, दे. 3 An encampment or camp: also a division of a camp. 4 The hem or an appended border (of a garment).गोटा [ gōṭā ] m A roundish stone or pebble. 2 A marble (of stone, lac, wood &c.) 3 fig. A grain of rice in the ear. Ex. पावसानें भाताचे गोटे झडले. An overripe and rattling cocoanut: also such dry kernel detached from the shell. 5 A narrow fillet of brocade.गोटाळ [ gōṭāḷa ] a (गोटा) Abounding in pebbles--ground.गोटी [ gōṭī ] f (Dim. of गोटा) A roundish stone or pebble. 2 A marble. 3 A large lifting stone. Used in trials of strength among the Athletæ. 4 A stone in temples described at length under उचला 5 fig. A term for a round, fleshy, well-filled body. Rebus: गोटी [ gōṭī ] f (Dim. of गोटा) A lump of silver: as obtained by melting down lace or fringe. Hieroglyph: lo = nine (Santali); no = nine (B.) on-patu = nine (Ta.) [Note the count of nine fig leaves on m0296] Rebus: loa = aspecies of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali.lex.) Epigraph: 1387 kana, kanac = corner (Santali); Rebus: kan~cu = bronze (Te.) Ligatured glyph. ara 'spoke' rebus: ara 'brass'. era, er-a = eraka = ?nave; erako_lu = the iron axle of a carriage (Ka.M.); cf. irasu (Ka.lex.) [Note Sign 391 and its ligatures Signs 392 and 393 may connote a spoked-wheel, nave of the wheel through which the axle passes; cf. ara_, spoke]erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Ka.lex.) cf. eruvai = copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tu.lex.) Rebus: eraka = copper (Ka.)eruvai = copper (Ta.); ere - a dark-red colour (Ka.)(DEDR 817). eraka, era, er-a = syn. erka, copper, weapons (Ka.)Vikalpa: ara, arā (RV.) = spoke of wheel ஆரம்² āram , n. < āra. 1. Spoke of a wheel. See ஆரக்கால். ஆரஞ் சூழ்ந்தவயில்வாய்நேமியொடு (சிறுபாண். 253). Rebus: ஆரம் brass; பித்தளை.(அக. நி.)kund opening in the nave or hub of a wheel to admit the axle (Santali) Rebus: kō̃da -कोँद । इष्टिकाभ्राष्ट्रः f. a brick-kiln. (Kashmiri) kõdār 'turner' (Bengali). kuṭi = a slice, a bit, a small piece (Santali.lex.Bodding) Rebus: kuṭhi ‘iron smelter furnace’ (Santali) kuṭhī factory (A.)(CDIAL 3546) Thus, the sign sequence connotes a copper, bronze, brass smelter furnace Ayo ‘fish’; kaṇḍa ‘arrow’; rebus: ayaskāṇḍa. The sign sequence is ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) ayo, hako 'fish'; a~s = scales of fish (Santali); rebus: aya = iron (G.); ayah, ayas = metal (Skt.) kaṇḍa ‘fire-altar’ (Santali) DEDR 191 Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma. ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach. kole.l 'temple, smithy' (Ko.); kolme ‘smithy' (Ka.) kol ‘working in iron, blacksmith (Ta.); kollan-blacksmith (Ta.); kollan blacksmith, artificer (Ma.)(DEDR 2133) kolme = furnace (Ka.) kol = pan~calo_ha (five metals); kol metal (Ta.lex.) pan~caloha = a metallic alloy containing five metals: copper, brass, tin, lead and iron (Skt.); an alternative list of five metals: gold, silver, copper, tin (lead), and iron (dhātu; Nānārtharatnākara. 82; Man:garāja’s Nighaṇṭu. 498)(Ka.) kol, kolhe, ‘the koles, an aboriginal tribe if iron smelters speaking a language akin to that of Santals’ (Santali) Zebu and leaves. In front of the standard device and the stylized tree of 9 leaves, are the black buck antelopes. Black paint on red ware of Kulli style. Mehi. Second-half of 3rd millennium BCE. [After G.L. Possehl, 1986, Kulli: an exploration of an ancient civilization in South Asia, Centers of Civilization, I, Durham, NC: 46, fig. 18 (Mehi II.4.5), based on Stein 1931: pl. 30. adar ḍangra ‘zebu’ (Santali); Rebus: aduru ‘native metal’ (Ka.);ḍhan:gar ‘blacksmith’ (WPah.) ayir = iron dust, any ore (Ma.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddha_nti Subrahman.ya’ S’astri’s new interpretation of the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330) DEDR 192 Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron V326 (Orthographic variants of Sign 326) V327 (Orthographic variants of Sign 327) loa = a species of fig tree, ficus glomerata, the fruit of ficus glomerata (Santali.lex.) Vikalpa: kamaṛkom ‘ficus’ (Santali); rebus: kampaṭṭam ‘mint’ (Ta.) patra ‘leaf’ (Skt.); rebus: paṭṭarai ‘workshop’ (Ta.) Rebus: lo ‘iron’ (Assamese, Bengali); loa ‘iron’ (Gypsy) lauha = made of copper or iron (Gr.S'r.); metal, iron (Skt.); lo_haka_ra = coppersmith, ironsmith (Pali); lo_ha_ra = blacksmith (Pt.); lohal.a (Or.); lo_ha = metal, esp. copper or bronze (Pali); copper (VS.); loho, lo_ = metal, ore, iron (Si.) loha lut.i = iron utensils and implements (Santali.lex.) koṭiyum = a wooden circle put round the neck of an animal; koṭ = neck (G.lex.) kōṭu = horns (Ta.) kōḍiya, kōḍe = young bull (G.) Rebus: koḍ = place where artisans work (Gujarati) dol = likeness, picture, form (Santali) [e.g., two tigers, two bulls, duplicated signs] me~ṛhe~t iron; ispat m. = steel; dul m. = cast iron (Santali) [Thus, the paired glyph of one-horned heifers connotes (metal) casting (dul) workshop (koḍ)] The standard device A variant may be seen. 1.Finely burnished gold fillet (headband) with holes at both ends to hold a cord. Each end is decorated with a punctuated design of standard device. 42 x 1.4 cm. Mohenjodaro Museum, MM 1366; Marshall 1931: 220.527. Pl. CXVIII, 14 (for punctuated design) 2. Detail of gold fillet with punctuated design of standard device at both ends of the gold fillet. (After Fig. 7.32, Kenoyer, 1998)

Exotic India Art, 2016

Simple graphics or an iconic image, in his symbols man has sought across ages a moral-boosting energy and support. In art or in the course of day-today life, man has been using for millenniums symbols for portraying probabilities – the course that things might take as they occur or progress, and also for embodying the divine forces that steered his efforts into desired direction. The ‘desired’ being the goal of man’s efforts he would resort to anything that takes him nearer to it.

Deities with a dual character on Ancient Near East cylinder seals, 2019

In this paper I discuss five imprints of cylinder seals depicting deities with a dual character: they are servant as well as queen, father as well as mother, and one of them is the god of the constellation Gemini.

2014

This article interprets the iconographic motifs on three seal impressions discovered at the north Syrian Tell Mozan site, which are dated to the last third of third millennium B.C. In ancient times, the city was known as Urkesh and the population of Hurrians played an important role there. The motif on the first seal impression is that of a herd and a dog gazing at a bird. The seal impression is damaged, but it is likely that the bird bore a human figure, which allows us to associate this scene with the Legend of Etana. The motif on the second impression is a double-faced god, most likely Isimud/Usmu. These two motifs show numerous thematic and stylistic Akkadian elements, which demonstrate southern Mesopotamian influences on the culture of Urkesh. The third motif is an anthropomorphic figure in the mountains. Even here some comparisons can be considered but no close textual parallel has been found. All three impressions are analyzed and interpreted through a comparison with parallel themes in mythological texts and in Akkadian glyptic. A mythological background seems very likely in the case of the first and second motifs but cannot be ascertained regarding the third one. The provenance of the first two motifs is uncertain and there is no conclusive proof of Urkesh origin. The seals could come from the Akkadian cultural enviroment, but it is possible that their content was known in the Hurrian city because of the spread of scribal tradition. There are fewer common features between the third motif and Akkadian glyptic, which makes its origin in Urkesh more probable.

The bilingual inscription on the seal constitutes a bi-lingual Rosetta Stone for the Indus Writing System. Aḍḍa, bi-lingual dub-sar inscribes Indus Script hypertexts, of آهن āhan ‘ironsmith, āra kammaṭa ‘brass mint’, The characteristic one-horned young bull of the highest frequency on Indus script corpora is deployed on the cylinder seal to signify the professional title, life-activity of Aḍḍa, scribe kō̃da ‘smelter, engraver, turner’ kundaṇa ’fine gold’ lapidary worker. Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold.(DEDR 1725) अशनिः m., f. [अश्नुते संहति, अश् अनि Uṇ 2.11] 1 Indra's thunderbolt; शक्रस्य महाशनिध्वजम् R.3.56. -2 Flash of lightning; अनुवनमशनिर्गतः Sk.; अशनिः कल्पित एष वेधसा R.8.47; अशनेरमृतस्य चोभयोर्वशिनश्चाम्बुधराश्च योनयः Ku.4.43. -3 A missile. अष्टचक्रां महाघोरामशनिं रुद्रनिर्मिताम् Mb.7.175.96. -4 The tip of a missile. -5 A sacrificial rite (अनुयाज) to kill an enemy. -6 A master. -Comp. -दण्डः The thunderbolt. निर्भिद्याशनिदण्डचण्डतरया चञ्चूवाधुना वक्षसि Nāg.4.27. -नि m. 1 Indra. -2 Fire. -3 Fire produced from lightning (Apte) British Museum.Greenstone seal of Adda. Akkadian, about 2300-2200 BCE From Mesopotamia Height: 3.900 cm Diameter: 2.550 cm Acquired by E.A.W. Budge ME 89115 Room 56: Mesopotamia http://www.britishmuseum.org/explore/highlights/highlight_objects/me/g/greenstone_seal_of_adda.aspx meḍ kuṭhi kammaṭa ‘iron smelter, mint’ The one-foot of the winged divinity which quivers of arrows is next to a tree. Just signifying one foot is the clearest demonstration of the hieroglyphic nature of the writing system of the cylinder seal. This writing system is cognate with the hypertext signifiers on Indus Script Cipher. The narrative signifies: meḍ ‘step’ rebus: meḍ ‘iron’ + kuṭi ‘tree’ rebus: kuṭhi ‘smelter’. Thus, meḍ kuṭhi ‘iron smelter’. Arrows emanate from the shoulder of the divinity. Khambha ‘shoulder’ rebus: kammaṭa ‘mint’. Together, the hypertext signifier is: meḍ kuṭhi kammaṭa ‘iron smelter, mint’ Fishes with fins on the field joined with a human body, pine cone and liquid measure.. A 14th-century B.C.E relief depicts a "fish-man" carrying a pinecone and bucket. Temple of Adda, storm-god in Aleppo. ranku ‘liquid measure’ rebus: ranku ‘tin’ Hieroglyphs: kandə ʻpineʼ, ‘ear of maize’. Rebus: kaṇḍa ‘tools, pots and pans of metal’. Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). Hypertext: ayo ‘fish’ rebus: aya ‘iron’ ayas ‘alloy metal’ PLUS khambhaṛā m. ʻ fin (Lahna) rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236).Thus, ayokammaṭa khaṇḍa ‘alloy metal mint,metal equipment’. Hieroglyph: కండె [ kaṇḍe ] kaṇḍe. [Telugu] n. A head or ear of millet or maize. జొన్నకంకి. खांदा [ khāndā ] An arm or a large bough of a tree; khānda खांद (Usually खांदी) A bough or branch (esp. a large one.) खांड [ khāṇḍa ] A chump or division of a tree.(Marathi) Hieroglyph: Ash. piċ -- kandə ʻ pine ʼ, Kt. pṳ̄ċi, piċi, Wg. puċ, püċ (pṳ̄ċ -- kəŕ ʻ pine -- cone ʼ), Pr. wyoċ, Shum. lyēwič (lyē -- ?).(CDIAL 8407). Cf. Gk. peu/kh f. ʻ pine ʼ, Lith. pušìs, OPruss. peuse NTS xiii 229. The suffix –kande in the lexeme: Ash. piċ-- kandə ʻ pine ʼ may be cognate with the bulbous glyphic related to a mangrove root: Koḍ. kaṇḍe root-stock from which small roots grow; ila·ti kaṇḍe sweet potato (ila·ti England). Tu. kaṇḍe, gaḍḍè a bulbous root; Ta. kaṇṭal mangrove, Rhizophora mucronata; dichotomous mangrove, Kandelia rheedii. Ma. kaṇṭa bulbous root as of lotus, plantain; point where branches and bunches grow out of the stem of a palm; kaṇṭal what is bulb-like, half-ripe jackfruit and other green fruits; R. candel. (DEDR 1171). Rebus: khaṇḍa ‘tools, pots and pans of metal’. Together, the hypertext signifies: sangaḍa ‘joined parts (man + fish-fin+pine cone+liquid messure)’ rebus: sã̄gah, 'catalogue' of ranku, ayo kammaṭa khaṇḍa ‘tin, alloy metal , metal implements mint’. ’ Akkadian dub-sar is a scribe. Bhāratīya sprachbund (speech union) kō̃da is an engraver. Cuneiform text is used to inscribe the syllables of the name and function: Aḍḍa, dub-sar. Indus Script hypertexts are used to detail metallurgical work descriptions of iron smelter, brass mint, equipment, thunderbolt weapon, alloy metal forging, engraver catalogue. The cylinder seal of Aḍḍa, dub-sar ‘scribe’ details – in unambiguous hieroglyphs: mẽṛhẽt kō̃da ‘iron smelter’, makes khaṇḍa ‘implements’, श्येन sēna’hawk’ ã̄šun ‘thunderbolt’, in ahan āra kammaṭa ‘blacksmith brass mint’ Aḍḍa, as kō̃da ‘engraver, turner’ is signified by kō̃da ‘young, one-horned, recumbent bull’ on the seal, next to the mountain-range. kō̃da 'young bull' ir rebus: kō̃da ‘turner, engraver’, 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Also a worker in fine gold: kundaṇa ‘fine gold’ kunda ‘nidhi of Kubera’. The key narratives on the cylinder seal relate to the semantics of ‘step’: 1. A winged lady steps her one foot on the mountain; 2. A horned person with waters, fishes overflowing from his shoulders, steps his foot on the mountain. The step is the cipher: meḍ ‘step’ rebus: meḍ ‘iron’ (Mu.Ho.) The word ahan, ‘blacksmith’ evolves semantically as a Sarasvati Civilization lingua franca idiom to signify goods and chattels as seen from the following expressions of Hindi, Kannda,Marathi: सरंजाम sarañjāma m ( P) Materials, apparatus, implements, furniture; articles appertaining unto or necessary for. 2 (Means of supporting or maintaining.) Villages and lands granted in inám to persons from whom the maintaining of forts or troops for the public service is required, or upon whom a horse, a pálkhí, or other honorable yet expense-involving gift has been conferred. सरंजाम is distinguished into जातसरंजाम & फौजसरंजाम. सरंजामी sarañjāmī a (सरंजाम) Given in inám for one of the purposes stated under the preceding word;--used of lands, districts, villages. 2 That holds villages &c. as saranjám. सरंजामी फौज An army or a body of troops maintained for the service of the state by a chieftain: as opp. to खासगी फौज. ... Aḍḍa, scribe, is a maker of aśáni ‘thunderbolt’(R̥gveda), is آهن ګر āhangar, ‘ironsmith’ signifier of aśáni ‘thunderbolt’. Cognate is sēna ‘hawk’ rebus: sēna ‘thunderbolt’. .

Enlil, Ninlil, Suen, Ningal, Dumuzid, Utu and Inanna, three divine generations depicted on one cylinder seal, 2018

On a seal the inscription reads Nin-IGI-KUL.LAB, oracle priest of Enlil. The word “Nin” means “owner” or “lord,” and tells us that IGI-KUL.LAB is the owner of the seal. But “Nin” also means “lady” or “mistress” and that may be the reason why three ladies or mistresses are depicted on this imprint: Ninlil, Ningal and Inanna.

Supercargo is a representative of the ship's owner on board a merchant ship, responsible for overseeing the cargo and its sale. M. kārṇī m. ʻ prime minister, supercargo of a ship ʼ, kul -- karṇī m. ʻ village accountant ʼ.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(CDIAL 3058) This Supercargo is signified by the hieroglyph कर्णक kárṇaka, kannā 'legs spread', 'person standing with spread legs'. This occurs with 48 variants. See: http://bharatkalyan97.blogspot.in/2016/04/body-with-spread-legs-hypertexts-48-two.html Another hieroglyph which also signifies 'Supercargo' is 'rim-of-jar' hieroglyph', the most frequently occurring hypertext on Indus Script Corpora. See, for example, Daimabad seal. kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; Wg. kaṇə ʻ ear -- ring ʼ NTS xvii 266; S. kano m. ʻ rim, border ʼ; P. kannā m. ʻ obtuse angle of a kite ʼ (→ H. kannā m. ʻ edge, rim, handle ʼ); N. kānu ʻ end of a rope for supporting a burden ʼ; B. kāṇā ʻ brim of a cup ʼ, G. kānɔ m.; M. kānā m. ʻ touch -- hole of a gun ʼ.(CDIAL 2831) Thus, the two hieroglyphs: 1.spread legs and 2. rim of jar are conclusive determinants signifying language used by the artisans: Prakrtam (mleccha/meluhha) and the underlying language basse for the hypertexts of Indus Script Corpora. Rakhigarhi extending over 350 hectares is the largest site of Sarasvati-Sindhu civilization. Two seals with identical messages found in both Rakhigarhi and Banawali signify a karNika, Supercargo (functionary of the metalwork guild; Rebus kañi-āra 'helmsman' karaṇī 'scribe'. ). This points to the possibility that Rakhigarhi and Banawali were both sites on Sarasvati River Basin which provided a navigable channel for seafaring artisans'/merchants' guilds (with a Supercargo, supervising the shipment), right upto Dholavira-Dwaraka and beyond through the Persian Gulf. I suggest that both Rakhigarhi seal and Banawali seal convey the identical message signifying a Supercargo (karNika), with a seafaring vessel (cargo boat), supervising the merchandise of dhAtu 'strands of rope' rebus: dhAtu 'minerals' from a fire--altar; sal 'splinter' rebus: sal 'workshop' (Hieroglyph: gaNDa 'four'Rebus: kanda 'fire-altar' khaNDa 'implements') PLUS ayo, aya 'fish' rebus: aya 'iron, ayas 'metal' PLUS adaren 'lid' rebus: aduru 'unsmelted metal'.PLUS khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coin, coiner, coinage'. The tiger is horned: koD 'horn' rebus: koD 'workshop' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' Thus, horned tiger signified smelter-workshop of blacksmith. The Supercargo karNika, signified with the standing person with legs spread is shown as possessing a sangaDa 'a cargo boat'. Hieroglyph: सांगड sāṅgaḍa lathe, portable furnace Rebus: sangaDa 'cargo boat'. Rakhigarhi seal replicates Banawari. Seal 17. Text 9201 Found in a gold-silversmith's residence.. Hornd tiger PLUS lathe + portable furnace. Banawali 17, Text 9201 Find spot: “The plan of ‘palatial building’ rectangular in shape (52 X 46 m) with eleven units of rooms…The discovery of a tiger seal from the sitting room and a few others from the house and its vicinity, weights ofchert, and lapis lazuli beads and deluxe Harappan pottery indicate that the house belonged to a prominent merchant.” (loc.cit. VK Agnihotri, 2005, Indian History, Delhi, Allied Publishers, p. A-60) Message on metalwork: kol ‘tiger’ (Santali); kollan ‘blacksmith’ (Ta.) kod. ‘horn’; kod. ‘artisan’s workshop’ PLUS śagaḍī = lathe (Gujarati) san:gaḍa, ‘lathe, portable furnace’; rebus: sangath संगथ् । संयोगः f. (sg. dat. sangüʦü association, living together, partnership (e.g. of beggars, rakes, members of a caravan, and so on); (of a man or woman) copulation, sexual union.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) Hieroglyph multiplex: gaNDa 'four' Rebus: khaNDa 'metal implements' aya 'fish' Rebus: aya 'iron' ayas 'metal' aDaren 'lid' Rebus: aduru 'native metal' Hieroglyph: sal 'splinter' Rebus: sal 'workshop' Hieroglyph: dhāˊtu 'strand' Rebus: mineral: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M.dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773). Alternative: Hieroglyhph: Ko. gōṭu ʻ silver or gold braid ʼ Rebus: M. goṭ metal wristlet ʼ P. goṭṭā ʻ gold or silver lace ʼ, H. goṭā m. ʻ edging of such ʼ (→ K. goṭa m. ʻ edging of gold braid ʼ, S. goṭo m. ʻ gold or silver lace ʼ); P. goṭ f. ʻ spool on which gold or silver wire is wound, piece on a chequer board ʼ; (CDIAL 4271) Hieroglyph-multiplex: body PLUS platform: meD 'body' Rebus: meD 'iron' PLUS Hieroglyhph: pī˜ṛī ʻplatform of lingamʼ Rebus: Mth. pĩṛ, pĩṛā ʻlumpʼ Thus, the message of the hieroglyph-multiplex is: lump of iron. कर्णक kárṇaka, kannā 'legs spread', Rebus: karNika 'Supercargo'' merchant in charge of cargo of a shipment, helmsman, scribe. Rebus kañi-āra 'helmsman' karaṇī 'scribe'. Citadel Within the citadel of Rakhigarhi (RGR-2), mud-brick podiums like those at Kalibangan have been found. Here the podium has in-built oblong pit chambers, used possibly for ritualistic purpose. These chambers have deposits of charcoal bits.and cattle bones. In another fire altar of Rakhigarhi (RGR-2) the floor and niches were coated with mud plaster. Significantly, a terracotta bull figurine has been found.on the floor near the western niche. Most likely, the structure was a place of worship, and the bull a sacred, revered animal. Next to this structure, a T-shaped fire altar with carved ends has been found. Fire altars (Rakhigarhi) To the north, in the same alignment, a brick-lined redctangular pit containing animal bones predominantly of the bovine family has been found. Almost from the same level three circular fire altars positioned in a semi-circular fashion reminiscent of those at Banawali have been excavated. Fine brushing over the surface of these altars has revealed white patches of possibly burnt hard shell of fruits offered at the fire altar. Nearest to Rakhigarhi, gold panning or washing has been known in the upper reaches of Sutlej and Beas. Source: http://haryanasamvad.gov.in/store/document/HR%20%20Review%20JUNE%202015.pdf Published: January 7, 2016 00:00 IST | Updated: January 7, 2016 02:06 IST January 7, 2016 Rakhigarhi could unlock mystery of Indus civilisation • Jason Burke To the casual onlooker, Rakhigarhi is unimpressive. Yet the fields around and under this Indian village in Haryana are set to deliver the answer to one of the deepest secrets of ancient times Wazir Chand is explaining life 4,000 years ago. He points to the rocky mounds looming over a huddle of brick houses, a herd of black buffalo and a few stunted trees. A low rise was a fortification, Chand says, and a darker patch of red earth hides the site of an altar. He points to a slight depression. This, apparently, was a pit that may have been a reservoir. To the casual onlooker, Rakhigarhi is unimpressive. Yet the rubbish-strewn mounds and fields around and under this Indian village are set to deliver the answer to one of the deepest secrets of ancient times. Rakhigarhi is a key site in the Indus Valley civilisation, which ruled a more than 1m sq km swath of the Asian subcontinent during the bronze age and was as advanced and powerful as its better known contemporary counterparts in Egypt and Mesopotamia. Archaeologists have learned much about the civilisation since it was discovered along the Indus river in present day Pakistan about a century ago. Excavations have since uncovered huge carefully designed cities with massive grain stores, metal workshops, public baths, dockyards and household plumbing, as well as stunning distinctive seals. But many perplexing questions remain unanswered. One has stood out: who exactly were the people of the Indus civilisation? A response may come within weeks. “Our research will most definitely provide an answer. This will be a major breakthrough. I am very excited,” said Vasant Shinde, the archaeologist leading the current excavations at Rakhigarhi, which was discovered in 1965. Shinde’s conclusions will be published in the new year. They are based on DNA sequences derived from four skeletons — of two men, a woman and a child — excavated eight months ago and checked against DNA data from tens of thousands of people from all across the subcontinent, central Asia and Iran. “The DNA is likely to be incredibly interesting and it has the potential to address all sorts of challenging questions about the population history of the people of the Indus civilisation,” said Dr. Cameron Petrie, an expert in south Asian and Iranian archaeology at the University of Cambridge. The origins of the people of the Indus Valley civilisation has prompted a long-running argument that has lasted for more than five decades.

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

This is an addendum to: Anthropomorphs as Indus Script hypertexts, professional calling cards and Copper Hoard Cultures of Ancient India https://tinyurl.com/y7qc7t73 Like the Dholavira sign board, the anthropormorph if displayed on the gateway of workers' quarters or locality is a proclamation symbol of मांझीथा Majhīthā sadya 'member of mã̄jhī boatpeople assembly (community)'. 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) PLUS bāṛaï 'carpenter' bari barea 'merchant' (boar hieroglyph) PLUS karṇaka कर्णक steersman ('spread legs'); meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron'] 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 reding 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. A cognate word is: mañjiṣṭhā f. ʻ the Indian madder (Rubia cordifolia and its dye) ʼ Kauś. [mañjiṣṭha -- ] Pa. mañjeṭṭhī -- f. ʻ madder ʼ, Pk. maṁjiṭṭhā -- f.; K. mazēṭh, dat. ˚ṭhi f. ʻ madder plant and dye (R. cordifolia or its substitute Geranium nepalense) ʼ; S. mañuṭha, maĩṭha f. ʻ madder ʼ; P. majīṭ(h), mãj˚ f. ʻ root of R. cordifolia ʼ; N. majiṭho ʻ R. cordifolia ʼ, A. mezāṭhi, maz˚, OAw. maṁjīṭha f.; H. mãjīṭ(h), maj˚ f. ʻ madder ʼ, G. majīṭh f., Ko. mañjūṭi; -- Si. madaṭa ʻ a small red berry ʼ, madaṭiya ʻ the tree with red wood Adenanthera pavonina (Leguminosae) ʼ; Md. madoři ʻ a weight ʼ.māñjiṣṭha -- .Addenda: mañjiṣṭhā -- [Cf. Drav. Kan. mañcaṭige, mañjāḍi, mañjeṭṭi S. M. Katre]: S.kcch. majīṭh f. ʻ madder ʼ.(CDIAL 9718) மஞ்சிட்டி mañciṭṭi, n. < mañjiṣṭhā. 1. Munjeet, Indian madder, Rubia cordifolia; நீர்ப்பூடுவகை. (I. P.) 2. Arnotto. See சாப்பிரா. (L.) 3. Chayroot for dyeing; சாயவேர். (L.) மஞ்சாடி mañcāṭi, n. [T. manḍzādi, K. mañjāḍi.] 1. Red-wood, m. tr., Adenanthera paronina; மரவகை. 2. Adenanthera seed weighing two kuṉṟi-mani, used by goldsmiths as a weight; இரண்டு குன்றிமணிகளின் எடை கொண்ட மஞ்சாடிவித்து. (S. I. I. i, 114, 116.) The wor manjhitha may be derived from the root: मञ्ज् mañj मञ्ज् 1 U. (मञ्जयति-ते) 1 To clean, purify, wipe off. Thus, the reference is to a locality of artisans engaged in purifying metals and alloys. Such purifiers or assayers of metal are also referred to as 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. (Marathi) Subhash Kak has suggested alternate readings, see: https://medium.com/@subhashkak1/a-reading-of-the-br%C4%81hm%C4%AB-letters-on-an-anthropomorphic-figure-2a3c505a9acd The reading of the Munjals is reproduced below: Sa Thi Ga Ki Ma Jhi Tha Sha (?) Da Ya Subhash Kak reads the letters as: śam ña ga kī ma jhi tha ta ḍa ya that is शं ञ ग की म झि थ त ड य शं झ ग śam ña ga की म झी थ kī ma jhi tha Figure 1. The copper object and the text together with the reading in Munjal, S.K. and Munjal, A. (2007). Composite anthropomorphic figure from Haryana: a solitary example of copper hoard. Prāgdhārā (Number 17). Third line of Brāhmī inscription: Line 3 त ड य ta ḍa ya (This third line has to be read as Indus Script hieroglyphs/hypertexts and NOT as Brami syllables). Subhash Kak suggests that this third line taḍaya may signify"punishment to inimical forces." Third line read as Indus Script hieroglyphs/hypertexts is deciphered as: mū̃h baṭa 'iron ingot', baran, bharat 'mixed copper, zinc, tin alloy metal' and khāṇḍā metalware. Anthropomorph found in a foundation of a house in a village called Kheri Gujar in Sonepat District in Haryana. The house itself rests on an ancient mound that has been variously dated to Late Harappan. The object is about 2 kg. and has dimensions of 30×28.5 cm. It is possible that Line 3 is a composition of Indus Script Hieroglyphs (and NOT Brāhmī syllables). Framed on this hypothesis, the message of Line 3 signifies: mū̃h baṭa 'iron ingot', baran, bharat 'mixed copper, zinc, tin alloy metal' and khāṇḍā metalware. Hypertext of Sign 336 has hieroglyph components: muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h'ingot' (Santali).PLUSSign 328 baṭa 'rimless pot' rebus: baṭa 'iron' Sign 48 is a 'backbone, spine' hieroglyph: baraḍo = spine; backbone (Tulu) Rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) Sign 211 'arrow' hieroglyph: kaṇḍa ‘arrow’ (Skt.) H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers (CDIAL 3024). Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) Thus ciphertext kaṇḍa ‘arrow’ is rebus hypertext kāṇḍa 'excellent iron', khāṇḍā 'tools, pots and pans, metal-ware'. saṁjñāˊ f. ʻ agreement, understanding ʼ ŚBr., ʻ sign ʼ MBh. [√jñā]Pa. saññā -- f. ʻ sense, sign ʼ, Pk. saṁṇā -- f.; S. sañaṇu ʻ to point out ʼ; WPah.jaun. sān ʻ sign ʼ, Ku. sān f., N. sān; B. sān ʻ understanding, feeling, gesture ʼ; H. sān f. ʻ sign, token, trace ʼ; G. sān f. ʻ sense, understanding, sign, hint ʼ; M. sã̄j̈ f. ʻ rule to make an offering to the spirits out of the new corn before eating it, faithfulness of the ground to yield its usual crop ʼ, sã̄jẽ n. ʻ vow, promise ʼ; Si. sana, ha˚ ʻ sign ʼ; -- P. H. sain f. ʻ sign, gesture ʼ (in mng. ʻ signature ʼ ← Eng. sign), G. sen f. are obscure. Addenda: saṁjñā -- : WPah.J. sā'n f. ʻ symbol, sign ʼ; kṭg. sánku m. ʻ hint, wink, coquetry ʼ, H. sankī f. ʻ wink ʼ, sankārnā ʻ to hint, nod, wink ʼ Him.I 209.(CDIAL 12874) meḍ 'body', meḍho 'ram' rebus: mẽṛhẽt, meḍ 'iron' (ram hieroglyph, (human) body hieroglyph) कर्णक m. du. the two legs spread out AV. xx , 133 , 3 rebus: कर्णिक having a helm; a steersman (Monier-Williams) ayas 'alloy metal' (fish hieroglyph) कोंद kōnda ‘engraver' (one-horned young bull hieroglyph); kundana 'fine gold' (Kannada). bāṛaï 'carpenter' (boar hieroglyph) bari barea 'merchant' (boar hieroglyph) The anthropomorphs are dharma samjña, signifiers of responsibilities of the metalsmith-carpenter-merchant. Signs 389, 387 signify mũhã̄ kuṭhi 'ingot smelter', mũhã̄ kolami 'ingot smithy, forge'. Anthropomorphs of Sarasvati Civilization are Indus Script hypertexts which signify metalwork. 1.. Sign 389, bun-ingot shape (oval) + 'twig', i.e. ingots produced from a smelter. This indicates that copper plates on which this hypertext occurs with high frequency are accounting ledgers of products produced from a smelter. 2. Sign 387, bun-ingot shape (oval) + 'riceplant', i.e. ingots worked on in a smithy/forge. This hypertext DOES NOT occur on copper plates. This indicates that Sign 387 signifies ingots processed in a smithy/forge, i.e. to forge ingots into metalware, tools, implements, weapons. The two distinctly orthographed Indus Script hypertexts signify 1. mũhã̄ kuṭhi 'ingot smelter', 2. mũhã̄ kolami 'ingot smithy, forge'.