Sangam texts and ancient coins of India trace roots in 1. Vedic culture continuum of dhā̆vaḍ 'smelter', 2. Indus Script metalwork hieroglyphs Sangam texts and ancient coins trace 1. Vedic culture continuum, 2. Indus Script hieroglyphs, it is posited that the Indian sprachbund is exemplified by Meluhha lexis with a vocabulary set consistent with hieroglyph-multiplexes read rebus on Indus Script Corpora to signify catalogus catlogorum of metalwork. This puts the distortions about Aryan-Dravidian divide in ancient Indian history to rest. The veneration of Rudra-Siva as an aniconic linga and fire-worship/fire-work with smelters/furnaces in smithy/forge are central to the fervor of enquiry and artisanal work by all Bharatam Janam, of Indian sprachbund. Those who posited a linguistic divide within Bharatam have to re-visit their arguments laden with bizarre, untenable linguistic propositions of arbitrarily conceived 'language families'. The sprachbund was in tune with the cultural milieu where all languages and dialects absorbed features from one another and made them their own; this defines a linguistic area of Meluhha, the spoken version of Prakritam, referred to by Saussure in French as parole ‘speech’ as distinct from langue ‘language’.. Many Sangam text references to yajna tradition are in the context of wealth creation and distribution. The Sangam corpus of texts is a celebration of the Sarasvati-Sindhu civilization traditions of work with fire-altars and documentation of metalwork on Indus Script inscriptions. The priest seen on a statue of Mohenjodaro is celebrated as Potti 'temple priest' in Kerala and Tamil Nadu traditions. पोतृ प्/ओतृ or पोतृ, m. "Purifier" in a fire-altar working with metals in smelters/furnaces/fire-altars. He is a dhā̆vaḍ 'smelter' as deciphered from the single, double and three dotted circles adorning his shawl and fillets on forehead and right shoulder. Hieroglyph of dotted circle: dhā̆v 'strand of rope'. Rebus: dhamaka 'blacksmith' (blower of wind-pipe) The process of transmuting minerals into metal is a 'purification' proces in alchemical terms. पोतृ is one of 16 priests from Vedic times. A cognate word is Potti, 'temple priest'. "There are Pottis of Kerala origin and Tulu origin, who came to Malabar region as temple priest in the 16th-century. Those who migrated from South Kanara to the Malabar are known as Embrandiri or Embranthiri, while those who settled in Shivalli were known as "Shivalli Brahmins", they continue to be based in Udupi or Sivalli in South Kanara."(A Sreedhara Menon (1 January 2007). A Survey Of Kerala History DC Books Kerala (India); C. K. Kareem (1976). Kerala District Gazetteers: Palghat, Superintendent of Govt. Presses). போற்றி pōṟṟi , < id. n. 1. Praise, applause, commendation; புகழ்மொழி. (W.) போத்தி pōtti , n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச்சகன். पोतृ [p= 650,1] प्/ओतृ or पोतृ, m. "Purifier" , N. of one of the 16 officiating priests at a sacrifice (the assistant of the Brahman ; = यज्ञस्य शोधयिट्रि Sa1y.)RV. Br. S3rS. Hariv. The veneration is of pottha-kara 'modellers in clay' and pō̃ta artisans casting in metal. The trefoil hieroglyph is a semantic rendering of pot 'to perforate'. Three perforations are shown on the shawl of the Mohenjo-daro statuette, since the perforations occur in a smithy. kolom 'three' Rebus: kolimi 'smithy, forge'. Thus, together, the phrase is: Hieroglyph: kolom pota 'three perforated beads' Rebus: kolimi pottha-kara pō̃ta 'smithy-forge modeller in clay (metalcaster), casting in metal'. On the hammered gold fillet shown on the forehead of the statuette: Fillet with hanging ribbons falling down the back. పట్టము [ paṭṭamu ] paṭṭamu. [Skt.] n. A gold band or fillet tied on the forehead of one at the time of coronation. See powerpoint slide embedded. பட்டன் paṭṭaṉ, n. < bhaṭṭa. 1. Learned man, scholar; priest. cf. bhaṭa 'furnace'. Hieroglyph multiplex of trefoil occurs on the following contexts as semantic determinatives of the phoneme: pō̃ta 'casting in metal'. See: http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-with.html Priest of dhā̆vaḍ 'iron-smelters' with Indus script hieroglyphs signifies पोतृ,'purifier' of dhāū, dhāv 'red stone minerals' The 'endless knot' hieroglyph can be interpreted as composed of two related semantics: 1. strand of rope or string; 2. twist or curl Twisted rope as hieroglyph: dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.) S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773 ) Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn.Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)(CDIAL 6773). A prime example of such a lexis is Hemacandra's Deśi NAmamAlA with Deśi or Prakritam vocabulary. See full text at http://bharatkalyan97.blogspot.in/2015/12/an-array-of-indus-script-hieroglyphs-to.html See: http://bharatkalyan97.blogspot.in/2015/11/sangan-age-adhiyaman-coin-with-indus.html (Clockwise from top) The coin found by numismatist R Krishnamurthy; and the impression of the front and the back of the coin. Rebus readings of Indus Script hieroglyphs: karibha 'elephant trunk' ibha 'elephant' Rebus: ib 'iron' karb 'iron' (Kannada) bhaTa 'warrior' Rebus: bhaTa 'furnace'. jasta 'svastika hierogypy' rebus: sattva 'zinc, spelter'. karNaka 'rim of jar' Rebus: karNI 'supercargo' karNika 'scribe, account'. khaNDa 'sword' Rebus: khANDA 'metal implements'. Comparable to the Adhiyaman Sangam coin are hundreds of coins with Indus Script hieroglyphs found in Sri Lanka categorised as Punch-marked coins, Tree and Swastika coins, Elephant and Swastika coins and Lakshmi plaques. https://en.wikipedia.org/wiki/Pre-modern_coinage_in_Sri_Lanka "Some of the more popular symbols are Sun, Moon (crucible), elephant, bull, nandipada (twist), fish and peacock." arka 'sun' rebus: arka, eraka 'copper, moltencast'; kuThAra 'crucible' rebus: kuThAru 'armourer'; karibha 'elephant trunk' ibha 'elephant' rebus: karba 'iron'; ib 'iron'; barad, balad 'bull' rebus: bharata 'alloy of copper, pewter, tin'; meDha 'twist' rebus: meD 'iron', med 'copper'; ayo 'fish' rebus: aya 'alloy metal'; mora 'peacock' rebus: morakkaka loha 'a kind of steel'. • A rectangular Nandi Bull coin • A Pandyan Nandi Bull coin • The reverse of the Bull coin with two Pandyan fish • The reverse of another Pandyan Bull coin • A Pallava lion coin • The reverse of the Pallava lion coin • An Elephant and Fish coin • A temple between hill and elephant coin of the Pandyas, 1st century, Ceylon, British Museum poLa 'zebu' rebus: poLa 'magnetite' ayo 'fish' rebus: aya 'iron' ayas 'metal' kuThAra 'warehouse' rebus: kuThAru 'armourer' dAng 'mountain range' rebus: dhangar 'blacksmith' mEDu 'hillock' rebus: meD 'iron' med 'copper' (Slavic) dula 'pair' rebus: dul 'cast metal' Thus, two fishes signify cast iron or metal alloy casting. Obverse, reverse. Lakshmi. svastika. Coins of the Chera Dynasty from about 500 BCE found in Kandarodai. kola 'woman' rebus: kol 'working in iron' kolle 'blacksmith' kolhe 'smelter'.jasta 'svastika hieroglyph' rebus: sattva 'zinc, spelter'. Obverse, reverse. karibha 'elephant trunk' ibha 'elephant' rebus: karba 'iron'; ib 'iron'; jasta 'svastika hieroglyph' rebus: sattva 'zinc, spelter'. Obverse, reverse. kuTi 'tree' rebus: kuThi 'smelter' jasta 'svastika hieroglyph' rebus: sattva 'zinc, spelter'. This Sarasvati_, firm as a city made of metal, flows rapidly with all sustaining water, sweeping away in its might all other waters, as a charioteer (clears the road). [Firm as a city: dharuṇam a_yasi pu_h = ayasa nirmita puri_va; dharuṇam = dharuṇa, dha_rayitri_, supporter]. "After all the people had set out, the ocean flooded Dvaraka, which still teemed with wealth of every kind. Whatever portion of land was passed over, the ocean immediately flooded over with its waters." Krishna foresees the upheaval in Dwaraka and advises Yadu-s to start on a pilgrimage, beyond Prabhasa (Somnath) After Krishna’s atman departs the mortal body--- विवृद्ध मूशिकारथ्या विभिन्नमणिकास्तथा केशानखाश्च सुप्तानामद्यन्ते मूशिकैर्निशी (MBh., Mausala, 2.5) चीचीकूचीति वाशन्ति सारिका वृष्णिवेश्मसु नोपशाम्यति शब्दश्च स दिवारात्रमेव हि (MBh., Mausala, 2.6) अन्वकुर्वन्नुलूकानाम् सारसा विरुतं तथा अजाः शिवानाम् विरुतमन्वकुर्वत भारत (MBh., Mausala, 2.7) Streets swarmed with rats and mice, earthen pots showwed cracks or were broken from no apparent cause, sarika_s chirped ceaselessly day and night, sa_ras hooted like owls, goats cried like jackals, pigeons departed from their homes, and asses brayed aloud in disconsonant and awful voices (Ganguly, 1998). निर्याते तु जने तस्मिन् सागरो मकरालयः द्वारकां रत्नसंपूर्णं जलेन प्लावयत् तदा (MBh., Mausala, 7.41) तदद्भुतमभिप्रेक्ष्य द्वारकावासिनो जनाः तूर्णात् तूर्णतरम् जग्मुरहो दैवकितिब्रुवन् (MBh., Mausala, 7.43) The sea, the abode of monsters, engulfed the gem-filled Dwraka with waves soon after the people departed the place. Seeing this astounding incident, the citizens of Dwaraka ran away, exclaiming, ‘O, our fate’. (Ganguly, 1998). •Migration from Tuvarai (Dwaraka) in 12th century inscription (Pudukottai State inscriptions, No. 120) cited by Avvai S. Turaicaami in Puṟanāṉūṟu, II (SISSW Publishing Soc., Madras, 1951). •துவரை மாநகர் நின்ருபொந்த தொன்மை பார்த்துக்கிள்ளிவேந்தன் நிகரில் தென் கவரி நாடு தன்னில் நிகழ்வித்த நிதிவாளர் Ancestors of Chief VeLir called IrunkOvEL was tuvarApati (King of Dwaraka) were of 49 generations ago notes this Puṟanāṉūṟu Sangam Age poem 201

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:

Together, the Indus Script hypertexts of dotted circles and stands signify śúlba dhāvaḍ 'copper smelters'. Coinage started in the 2nd century BCE, and increased in the 1st century with the waning of Indo-Greek power in the area. The most significant tribes in this respect were, in the 2nd century, the Agreyas, the Rājanyas, the Śibis, the Yaudheyas and the Kṣudrakas. In the 1st century BCE, they are the Audumbaras, the Kunindas, the Vr̥ṣṇi, the Rājanyas and the Vemakas. In the 1st century CE, the Malavasand the Kalutas. The rulers of Mathura in the 1st century BCE, known as the Mitra dynasty, also issued some important coins.(Ancient Indian Coinage, Rekha Jain, D.K. Printworld Ltd. p.119-124) Narratives of encounters depicted on cylinder seals are some times described by art historians as 'combat scenes' or 'introduction scenes'. It is possible that they are also metals trade transaction narratives, deciphering the pictorial motifs as Indus Script hieroglyph multiplexes or hypertexts of cipher messages in Prakritam (Meluhha, mleccha). Dotted circles, tulips on ivory combs signify dāntā 'ivory' rebus dhāˊtu 'ore of red colour' (Rigveda) tagaraka 'tulip' rebus tagara 'tin' Discovery of tin-bronzes was momentous in progressing the Bronze Age Revolution of 4th millennium BCE. This discovery created hard alloys combining copper and tin. This discovery was also complemented by the discovery of writing systems to trade in the newly-produced hard alloys.The discovery found substitute hard alloys, to overcome the scarcity of naturally occurring arsenical copper or arsenical bronzes. The early hieroglyph signifiers of tin and copper on an ivory comb made by Meluhha artisans & seafaring merchants point to the contributions made by Bhāratam Janam (RV), ca. 3300 BCE to produce tin-bronzes. The abiding significance of the 'dotted circle' is noted in the continued use on early Punch-marked coins. khambhaṛā 'fish fin' rebus: kammaTa 'mint, coiner, coinage' PLUS aya 'fish' rebus: ayas 'alloy metal' aya 'iron' PLUS dula 'two' rebus: dul 'metal casting' PLUS goTa 'round pebble' rebus: khoTa 'alloy wedge'. Dotted circle: dhāvaḍ 'smelter'. kolom 'three' rebus: kolimi 'smithy, forge'. kaṇḍa ‘arrow’ rebus: khaṇḍa ‘implements’ http://bharatkalyan97.blogspot.in/2016/10/vajra-six-angled-hypertext-of-punch.html Vajra षट्--कोण 'six-angled' hypertext of Punch-marked coins khambhaṛā 'fish-fin' rebus: kammaṭa 'mint'. A hypertext is orthographed with three arrows emanating from the dotted circle and three ‘twists’ emanating from the dotted circle, thus signifying six-armed semantic extensions. baṭa ‘six’ rebus:baṭa 'iron' bhaṭa ‘furnce’. kaṇḍa ‘arrow’ rebus: khaṇḍa ‘implements’ मेढा mēḍhā ‘twist’ rebus: meḍ ‘iron’ med ‘copper’ (Slavic languages) medha ‘yajna, dhanam’. This comb discovered in Tell Abraq (ca. 2200 BCE) has two Harappa Script hieroglyphs: 1. dotted circles; and 2. tabernae montana 'mountain tulip' Rebus readings: 1.Hieroglyph: dotted circles: dāntā 'ivory' rebus dhāˊtu 'ore of red colour' 2. Hieroglyph: tagaraka 'tabernae montana, mountain tulip' rebus: tagara 'tin'. Thus, two mineral ores are signified by the two hieroglyphs: ferrite, copper ores and tin ore (cassiterite). h1522 Potsherd ca. 3300 BCE (from Indus Writing Corpora) Note: The first known examples of writing may have been unearthed at an archaeological dig in Harappa, Pakistan. So-called 'plant-like' and 'trident-shaped' markings have been found on fragments of pottery dating back 5500 years. According to Dr Richard Meadow of Harvard University, the director of the Harappa Archaeological Research Project, these primitive inscriptions found on pottery may pre-date all other known writing. http://news.bbc.co.uk/2/hi/science/nature/334517.stm http://news.bbc.co.uk/2/hi/science/nature/334517.stm A rebus reading of the hieroglyph is: tagaraka, tabernae montana. Rebus: tagara ‘tin’ (Kannada); tamara id. (Skt.) Allograph: ṭagara ‘ram’. Since tagaraka is used as an aromatic unguent for the hair, fragrance, the glyph gets depicted on a stone flask, an ivory comb and axe of Tell Abraq. A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier, M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions Recherche sur les Civilisations: plate 20.150). Ivory comb with Mountain Tulip motif and dotted circles. TA 1649 Tell Abraq.(D.T. Potts, South and Central Asian elements at Tell Abraq (Emirate of Umm al-Qaiwain, United Arab Emirates), c. 2200 BCE—CE 400, in Asko Parpola and Petteri Koskikallio, South Asian Archaeology 1993: , pp. 615-666). Tell Abraq axe with epigraph (‘tulip’ glyph + a person raising his arm above his shoulder and wielding a tool + dotted circles on body) [After Fig. 7 Holly Pittman, 1984, Art of the Bronze Age: Southeastern Iran, Western Central Asia, and the Indus Valley, New York, The Metropolitan Museum of Art, pp. 29-30]. tabar = a broad axe (Punjabi). Rebus: tam(b)ra ‘copper’ tagara ‘tabernae montana’, ‘tulip’. Rebus: tagara ‘tin’. Glyph: eṛaka ‘upraised arm’ (Tamil); rebus: eraka = copper (Kannada) erako 'molten cast'(Tulu) Found in a tomb in Tell Abraq http://www.abc.es/cultura/arte/abci-ciudad-mitica-hallada-desierto-201604182034_noticia.html Ivory comb (Archaeological Collection. Ministry of Heritage and Culture Muscat 2009: 30) Ras al-Jinz, Building I, Room 1 Ivory 2400 BCE Among the luxury imported objects discovered in Ras al-Jinz, along the Omani coast, there is this beautiful comb made of elephant ivory. As well as pots, beads and a copper stamp seal, the comb comes from Harappa, one of the main sites of the Indus civilization. It represents a clear proof of the relations between Oman and the Indus Valley during the 3rd Millennium BC. A similar but fragmentary object has been discover at Tell Abraq. (AP) http://ancientoman.cfs.unipi.it/index.php?id=399 Meluhha artisans, Indus script writers draw circles with small radii to signify dhātu, dhāv 'mineral' hypertexts Dotted circle as Indus Script hypertext धावड dhāvaḍa 'red ferrite ore smelter' kolom 'three' rebus: kolimi 'smithy, forge'. Thus, three dotted circles (trefoil) signify dhāvaḍa kolimi 'smelter smithy, forge'. वृत्त [p= 1009,2] mfn. turned , set in motion (as a wheel) RV.; a circle; vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1] 1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va' ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊk, waḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069) வட்டம்போர் vaṭṭam-pōr, n. < வட்டு +. Dice-play; சூதுபோர். (தொல். எழுத். 418, இளம்பூ.)வட்டச்சொச்சவியாபாரம் vaṭṭa-c-cocca-viyāpāram, n. < id. + சொச்சம் +. Money-changer's trade; நாணயமாற்று முதலிய தொழில். Pond. வட்டமணியம் vaṭṭa-maṇiyam, n. < வட் டம் +. The office of revenue collection in a division; வட்டத்து ஊர்களில் வரிவசூலிக்கும் வேலை. (R. T.) వట్ట (p. 1123) vaṭṭa vaṭṭa. [Tel.] n. The bar that turns the centre post of a sugar mill. చెరుకుగానుగ రోటినడిమిరోకలికివేయు అడ్డమాను. వట్టకాయలు or వట్టలు vaṭṭa-kāyalu. n. plu. The testicles. వృషణములు, బీజములు. వట్టలుకొట్టు to castrate. lit: to strike the (bullock's) stones, (which are crushed with a mallet, not cut out.) వట్ర (p. 1123) vaṭra or వట్రన vaṭra. [from Skt. వర్తులము.] n. Roundness. నర్తులము, గుండ్రన. వట్ర. వట్రని or వట్రముగానుండే adj. Round. గుండ్రని. धाव (p. 250) dhāva m f A certain soft, red stone. Baboons are said to draw it from the bottom of brooks, and to besmear their faces with it. धवड (p. 249) dhavaḍa m (Or धावड) A class or an individual of it. They are smelters of iron. धावड (p. 250) dhāvaḍa m A class or an individual of it. They are smelters of iron. धावडी (p. 250) dhāvaḍī a Relating to the class धावड. The dotted circle signifies Sindhi. dhāī f. ʻ wisp of fibres' Hindi. dhāv 'throw of dice' rebus: dhāū, dhāv 'mineral'. Artifacts from Jiroft. Ivory combs. Turkmenistan. Ivory objects. Sarasvati Civilization Tablets.Ivory objects. Mohenjo-daro. Button seal. Baror, Rajasthan. Courtesy: manasataramgini‏ @blog_supplement Indus Script hypertext, dot + circles = dāya 'one in dice' + vaṭṭa 'circle' rebus dhā̆vaḍ 'smelter' https://tinyurl.com/y8h49x4t manasataramgini‏ @blog_supplement 32m32 minutes ago A Harappan button. Note how they had an instrument to precisely mark small circles of various radii Button tablet. Harappa. Dotted circles.

http://bharatkalyan97.blogspot.in/2016/05/bronze-age-indus-script-symbols-for.html Bronze Age Indus Script symbols for seafaring merchants on Tin Route Many hieroglyphs of Indus Script Corpora continue to be used in historical periods. This note demonstrates that symbols of ancient Indian mints which adorn many early coins are Indus Script hieroglyphs, metalwork catalogues. [Pl. 39, Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many Indus script tablets and seals.] Source for the tables of symbols on punchmarked coins: Savita Sharma, 1990, Early Indian Symbols, Numismatic Evidence, Delhi, Agam Kala Prakashan. Hieroglyph: Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mū̃h 'ingot'. dhāī˜ (Lahnda) signifies a single strand of rope or thread. I have suggested that a dotted circle hieroglyph is a cross-section of a strand of rope: S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) धवड (p. 436) [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi). Hence, the depiction of a single dotted circle, two dotted circles and three dotted circles (called trefoil) on the robe of the Purifier priest of Mohenjo-daro. Two examples of Indus Script seals with a three-stranded rope: m1406 Hieroglyphs: thread of three stands + drummer + tumblers dhollu ‘drummer’ (Western Pahari) dolutsu 'tumble' Rebus: dul ‘cast metal’ karaḍa 'double-drum' Rebus: karaḍa 'hard alloy'. dhAtu 'strands of rope' Rebus: dhAtu 'mineral, metal, ore' Kalibangan seal. k020 Hieroglyphs: thread of three strands + water-carrier + one-horned young bull. kuTi 'water-carrier' rebus: kuThi 'smelter' http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-indus-script.html Harappa tablet. After Pl. 30 C 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) Hieroglyph: kuṭi ‘tree' Rebus: kuṭhi ‘smelter, furnace’. kuṭire bica duljad.ko talkena, ‘they were feeding the furnace with ore’. (Santali) This use of bica in the context of feeding a smelter clearly defines bica as ‘stone ore, mineral’, in general. Symbols on Mauryan Punch Marked Coins Symbols on Parallel-Mauryan Period Punch Marked Coins Bindusara, Asoka, Dasratha and Samprati Punch Marks Salisuka, Devadharman and Satadharman Ajatsatru, Susunaga, Saisunaga, Kalasoka Nandivardhana, Nandin, Mahapadma, and Candragupta Maurya Sisunaga II, Saisunaga, Nandin and Mahapadma Punch Marks Punch Marks from Chandragupta Maurya and other Mauryan era. Note: Images from “Indian Numismatics” By D. D. Kosambi https://indiacoinsmarks.wordpress.com/tag/punch-marks/ Khandagiri caves (2nd cent. BCE) Cave 3 (Jaina Ananta gumpha). Fire-altar?, śrivatsa, svastika(hieroglyphs) (King Kharavela, a Jaina who ruled Kalinga has an inscription dated 161 BCE) contemporaneous with Bharhut and Sanchi and early Bodhgaya. Ayagapatta, Kankali Tila, Mathura. "Jain homage tablet. The tablet was set up by the wife of Bhadranadi, and it was found in December 1890 near the centre of the mound of the Jain stupa at Kankali Tila. Mathura has extensive archaeological remains as it was a large and important city from the middle of the first millennium onwards. It rose to particular prominence under the Kushans as the town was their southern capital. The B uddhist, Brahmanical and Jain faiths all thrived at Mathura, and we find deities and motifs from all three and others represented in sculpture. In reference to this photograph in the list of photographic negatives, Bloch wrote that, "The technical name of such a panel was ayagapata [homage panel]." The figure in the centre is described as a Tirthamkara, a Jain prophet." http://www.cristoraul.com/ENGLISH/readinghall/UniversalHistory/INDIA/Cambridge/I/CHAPTER_XXVI.html http://bharatkalyan97.blogspot.in/2015/08/svastika-indus-script-hieroglyph.html?view=magazine Manoharpura. Svastika. Top of āyāgapaṭa. Red Sandstone. Lucknow State Museum. (Scan no.0053009, 0053011, 0053012 ) See: https://www.academia.edu/11522244/A_temple_at_Sanchi_for_Dhamma_by_a_k%C4%81ra%E1%B9%87ik%C4%81_sanghin_guild_of_scribes_in_Indus_writing_cipher_continuum Ayagapata (After Huntington) Srivatsa with kanka, 'eyes' (Kui). Rebus: kang 'brazier' khambhaṛā 'fin' (Lahnda) rebus: kammaTa 'mint' Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°. According to an inscription on the southern gate of Sanchi stupa. 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) See: http://bharatkalyan97.blogspot.in/2015/08/svastika-indus-script-hieroglyph.html?view=magazine Srivatsa composition of fish tail tied with a rope and a pair of molluscs signifies rebua: dhAvaD 'smelter' of dhAv 'mineral' PLUS aya 'iron' ayas 'metal' PLUS hambhaṛā 'fin' (Lahnda) rebus: kammaTa 'mint' (reinforced by the semantics of tying 'dhAv rebus: dhAv 'mineral' PLUS sippi 'mollusc' rebus: sippi 'artificer, sculptor'. thus, a metal smelter-sculptor-mint-worker.

I suggest that the elephant-head of Gaṇeśa in sacred sculptures is modeled after the hypertext compositions signified as 'composite animals' on Indus Script epigraphs. m1177, m0300 Mohenjo-daro seals ligature a human face to the trunk of an elephant.This epigraphy model provides the framework of an artistic style in iconography of Gaṇeśa. (The meanings of the inscriptions m1177, m0300 are presented in Epigraphia Indus Script discussed in this monograph). Hypertext expressions of Indus Script inscriptions are also replicated on artifacts in the round, examples of which are presented in this monograph. A seal and octagonal brick pillar in a yajñakuṇḍa in Binjor (4MSR) archaeological site on the banks of River Sarasvati. The octagonal pillar of the Bronze Age civilization provides the framework of an artistic style in iconography of Rudrabhāga of Śivalinga. The rudrabhāga of Śivalinga which is octagonal in shape is traceable to this octagonal pillar evidenced in Binjor which is in consonance with the R̥gveda tradition of installing a ketu, 'emblem' proclaiming the performance of a yajña, a Soma yajña in particular. Ekamukhalinga from Vat Sak Sampou with Brahma-, Rudra- and Viṣṇu-bhāga in three segments from the bottom-up. On the top segment of Vat Sak Sampou Śivalinga, a human face is ligatured on the artistic style of the human face ligatured to the trunk of an elephant on Mohenjo-daro epigraphs m0300 and m1177. In Epigraphia Indus Script, an elephant signifies: hieroglyph: karibha, ibha 'elephant' rebus: karba, ib 'iron', ibbo 'merchant'. [In Epigraphia Indus Script, the human face signifies: hieroglyph mũh 'face' rebus: mũhe 'ingot' (Santali) mũhã̄ 'the quantity of metal taken out of a furnace')]. I suggest that the Rudra-bhāga of Śivalinga is modeled after the octagonal pillar of Binjor as a ketu proclaiming the performance of a Soma Yāga. Thus, the iconography of Śivalinga and Gaṇeśa in ancient Bhāratīya cultural tradition, in iconogaphy in particular, are rooted in hypertext expressions of Epigraphia Indus Script. This monograph presents a thesis that the Indus Script Corpora are also a repository of Hindu Art & Cultural History since the roots of Hindu iconography are traceable to the Indus Script writing system. “Iconography, as a branch of art history, studies the identification, description, and the interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. The word iconography comes from the Greek εἰκών ("image") and γράφειν ("to write"). A secondary meaning (based on a non-standard translation of the Greek and Russian equivalent terms) is the production of religious images, called "icons", in the Byzantine and Orthodox Christian tradition … In art history, "an iconography" may also mean a particular depiction of a subject in terms of the content of the image, such as the number of figures used, their placing and gestures.” https://en.wikipedia.org/wiki/Iconography Twenty sets of inscriptions of Indus Script Corpora have been presented in the monographs listed below. The sets cover over 5000 inscriptions from Mohenjo-daro, Harappa and 40+ other sites of Sarasvati-Sindhu civilization. The sets present readings of the Meluhha (Bhāratīya sprachbund) hypertext expressions and deciphered plain text meanings as metalwork wealth (artha) account ledgers. Thus, the inscriptions constitute the repository of Ancient India Economic History –wealth of nations of Eurasia created by artisans and seafaring merchants, during the Tin-Bronze Revolution from ca. 5th millennium BCE. Set 1 Logical connection, anvaya, of hieroglyphs/hypertexts of Harappa inscriptions to artha 'wealth, business, meaning' -- Set 1 http://tinyurl.com/lnrjja8 Set 2: Harappa inscriptions Set 2 Metalwork catalogues document wealth-creation by Meluhha artisans http://tinyurl.com/kuj6lxv Set 3 Harappa inscriptions, meanings Set 3 Metalwork trade & wealth catalogues data archives http://tinyurl.com/ltxjhoh Set 4 Harappa inscriptions, meanings Set 4 http://tinyurl.com/n6aldac Set 5 Harappa inscriptions, meanings Set 5 metalwork catalogueshttp://tinyurl.com/l535q3w Set 6 Indus Script wealth & metalwork trade account – Corpora of Harappa engravings, inscriptions Set 6 http://tinyurl.com/lmzcoge Set 7 ಕಾಯಕವೇ ಕೈಲಾಸ ‘Work is worship’-- ātmā of Meluhha artisans and seafaring merchants of Bronze Age (Set 7 Harappa inscriptions) http://tinyurl.com/m5y34k8 Set 8 Harappa inscriptions (1149) are data archives of foundry guild operations of Bronze Age http://tinyurl.com/kzy95qg Set 9 Mintmaster's karṇika sāḷ, 'school for scribes' of foundry operations and paṇi, ‘market street’ in Harappa http://tinyurl.com/lhceknk Set 10 Harappa Foundry operations data archives in Indus Script h1691 to h1899 http://tinyurl.com/n5w64g9 Set 11 Smelter, metalcasting operations of Harappa foundry -- Harappa inscriptions h1900 to h1999 http://tinyurl.com/ms99gdu Set 12 Wealth-creating metallurgical repertoire of Harappa foundry metalcasts, All 12 sets of 2590 Harappa Inscriptions http://tinyurl.com/y8djs5qs Set 13 Itihāsa of Tin-Bronze Revolution of Eurasia -- Indus Script engravers, wealth accountants along Ancient Maritime Route—Docu mented karaḍā ledger entries of kañcu,kaṁsá, kuṭila, āra and other metalwork trade http://tinyurl.com/yczk4wva (All inscriptions from all sites excuding Harappa and Mohenjo-daro) Set 14 Bronze Age Indus Script inscriptions of Mohenjo-daro on metal, are karaḍā ledger entries of metalwork wealth accounts http://tinyurl.com/yark28l7 Set 15 Mohenjo-daro inscriptions from Indus Script Corpora http://tinyurl.com/yadqeabb Set 16 Vākyapadīya of Mohenjo-daro Inscriptions --Indus Script Corpora are precursors of Kauṭilya’s Arthaśāstra,science of wealth of nations http://tinyurl.com/y86fjkfc Set 17 Mohenjo-daro Inscriptions-- Indus Script Corpora Hypertexts & meanings -- metalwork artha, ‘wealth creation’, kharaḍa ‘account day-books’ http://tinyurl.com/y796874m Set 18 Mohenjo-daro inscriptions Vākyapadīya m627 to m873 https://tinyurl.com/y996jmo6 Set 19 Mohenjo-daro inscriptions Vākyapadīya m874 to m1280 https://tinyurl.com/yaylr3cl Set 20 Mohenjo-daro inscriptions Vākyapadīya m1281 to m2131: https://tinyurl.com/y9fm8cuv Two dominant art compositions in Bhāratīya Itihāsa and cultural markers of the civilization are: Śiva linga and Gaṇeśa.

Two distinctive Bhāratīya architectural traditions are 1. vyāḷa, and 2. makara to embellish temple doorways, arches and pillars. This mongraph traces these traditions to two Indus Script hypertexts in two sections. Both hypertexts are related to metalwork creation of wealth by artisans of Sarasvati Civilization. Section 1. vyāḷa > , n. < vyāḷa. [Kannada. yāḷi.] 1. A mythological lion-faced animal with elephantine proboscis and tusks Section 2. makara 'composite animal, crocodile, fish-fin' rebus: dhamaka 'blacksmith'; dhmakara 'forge-blower' Section 1. vyāḷa > , n. < vyāḷa. [Kannada. yāḷi.] 1. A mythological lion-faced animal with elephantine proboscis and tusks vyāḷa with tiger face and pronounced feline paws is a hypertext signified on Gardez Gaṇeśa Mūrti. The combination of Gaṇeśa's elephant trunk and the tiger face with feline paws is the Indus Script hypertext which is the model for the architectural splendour of vyāḷa seen in hundreds of temples in India and Southeast Asia. A tiger ligatured with cobra hoods signified on the broad strap worn by Gardez Gaṇeśa Mūrti. kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' kolle 'blacksmith' PLUS phaḍa 'cobra hood' rebus: phaḍa 'metals manufactory' PLUS paṭṭaḷe 'broad strap around the waist' rebus: phaḍa 'metals manufactory' paṭṭaḍe 'metals workshop'. panja 'claw of beast' rebus: panja 'kiln'. I submit that this is hypertext of Indus Script Cipher to signify dhamma samjñā 'responsibility indicator' or functions assigned to Gaṇeśa as the Superintendent of metalwork artisans. వ్యాళము (p. 1236) vyāḷamu or వ్యాడము vyāḷamu. [Skt.] n. A snake, సర్పము. A tiger, పులి. Any beast of prey. వ్యాఘ్రాదిదుష్టమృగము. A vicious elephant. దుష్టగజము. వ్యాళగ్రాహి or వ్యాళగ్రాహుడు vyāḷa-grāhi. n. A snake catcher. పాములవాడు. వ్యాళి vyāḷi. A female snake, పెంటిసర్పము. "రాజసేవామనుష్యాణామసిధారావలేహనం పంచాననపరిష్వంగో వ్యాలయీపదనంచుంబనం." ஆளி āḷi (p. 36) , s. a lion, சிங்கம்; 2. governor, ruler, ஆள்பவன்; 3. embankment, கரை; 4. oyster, மட்டி; 5. linseed see ஆழி; 6. appell. aff. mas. & fem. siginfying owner, possessor, manager etc. es, பகையாளி, நோயாளி, பாட் டாளி, படிப்பாளி, etc. யாளி yāḷi (p. 317) , s. the lion, சிங்கம்; 2. a fabulous animal like a lion with an elephant's proboscis; 3. Leo of the Zodiac, சிம்ம ராசி; 4. a small vessel for casting water to wet the sail of a dhoney or for lading outbilgewater, இறை பட்டை. யாளி யூர்தி, Durga as lion-borne. (Fabricius) யாளவரி yāḷa-vari , n. < vyāḷa yāḷi யாளி yāḷi , n. < vyāḷa. [K. yāḷi.] 1. A mythological lion-faced animal with elephantine proboscis and tusks; யானையின் தந்தமும் துதிக்கையுஞ் சிங்கத்தின் முகமுமுடையதாகக் கருதப் படும் மிருகம். உழுவையும் யாளியு முளியமும் (குறிஞ் சிப். 252). 2. Lion; சிங்கம். (அக. நி.) 3. Leo of the zodiac; சிங்கராசி. (சூடா.) 4. See யாளிப் பட்டை. (யாழ். அக.) 5. Elephant; யானை. (அக. நி.) யாளிக்கால் yāḷi-k-kāl , n. < யாளி + கால்¹. Leg of stand, etc., shaped like a yāḷi; யாளி வடிவிற்செய்த பாதம். (S. I. I. ii, 5.) யாளிலலாடம் yāḷi-lalāṭam , n. < id. + lalāṭa. The capital of a pillar, shaped like a yāḷi; யாளியுருவமைந்த தூணின்நெற்றி. Ta. yāḷi, āḷi a lion; a mythological lion-faced animal with elephantine proboscis and tusks. Ma. yār̤i lion; panther; āḷi a fabulous animal. (DEDR 5158). व्याल (p. 456) vyāla m S A serpent. (Marathi) Vāḷa1 [cp. late Sk. vyāḍa, see Geiger, P.Gr. § 546] 1. a snake Vism 312 (so read for vaḷa). -- 2. a beast of prey A iii.102 (amanussa); J i.295; iii.345 (˚macchā predaceous fishes); Miln 23 (˚vana forest of wild beasts). -- miga a beast of prey, predaceous animal, like tiger, leopard, etc. J vi.569; DhA i.171 (˚ṭṭhāna); iii.348 (˚rocanā); Vism 180, 239. Vāla2 (adj.) [cp. Sk. vyāla] malicious, troublesome, difficult Vin ii.299 (adhikaraṇa).(Pali) vyāˋla ʻ wicked, mischievous ʼ AV., m. ʻ beast of prey ʼ Gaut., ʻ snake ʼ MBh., ʻ vicious elephant ʼ lex., vyāḍa<-> ʻ malicious ʼ lex., m. ʻ beast of prey ʼ R. 2. *víyāla -- 1. Pa. vāla -- ʻ malicious ʼ, vāḷa -- m. ʻ beast of prey, snake ʼ, vāḷa -- miga -- m. ʻ beast of prey (such as tiger, leopard, &c.) ʼ; Pk. vāla -- m. ʻ noxious wild animal, snake ʼ; M. vāḷʻ ejected from caste ʼ; Si. vaḷa ʻ tiger ʼ. 2. NiDoc. vyala, viyala ʻ wild, unmanageable (of camels) ʼ Burrow KharDoc 121 (rejected by H. Lüders BSOS viii 647); Pk. viyāla -- ʻ wicked ʼ, m. ʻ thief ʼ; Si. viyala ʻ tiger, panther, snake ʼ (← Sk.?).(CDIAL 12212) व्याड [p= 1036,3] mfn. (said to be fr. 3. वि+- √अड् ; cf. व्याल) malicious , mischievous L. (with loc. ,g. शौण्डा*दि); m. a beast of prey MBh. R. Ma1rkP.; m. a snake L.; m. " a rogue " or " a jackal "(= वञ्चक) L.; m. N. of इन्द्र L.; व्याल [p= 1038,2] mfn. (prob. connected with व्याड q.v.) mischievous , wicked , vicious AV. Ka1v.Katha1s.; m. (ifc. f(आ).) a vicious elephant , Ka1v.; m. a beast of prey Gaut. MBh. &c; m. a snake MBh. Ka1v. &c; a tiger; a lion; m. a hunting leopard L.; m. the second दृकाण (q.v.) in Cancer , the first in Scorpio , and the third in Pisces VarBr2S.; n. N. of one of the three retrograde stages in the motion of the planet Mars VarBr2S. yāḷi யாளி are ligatured sculptures and have the trunk of an elephant, body of a bull, head of a lion, horns of a ram, and the ears of a rhinoceros Yali and Makara guarding the temple entrance. Both are ligatured representations of metalwork and metal casting. Hieroglyphs: barad 'bull' Rebus: bharat 'alloy of copper, tin, pewter' (Marathi). ibha 'elephant' Rebus: ib 'iron' (Santali) arye 'lion' Rebus: āra 'brass'. kāru 'crocodile' (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) kāṇḍā ‘metalware, tools, pots and pans’ (kāṇḍā mṛga 'rhinoceros' (Tamil). 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.’ Airāvateśvara temple pillar. Sculpture of yāḷi யாளி yāḷi யாளி yāḷi , n. < vyāḷa. [K. yāḷi.] pillars in a small open mantapa. Vitthala temple complex in Hampi 16th cent. yāḷi யாளி yāḷi , n. < vyāḷa. [K. yāḷi.] sri ranganatha temple, Srirangam,Tiruchchirappalli ,Tamil Nadu, India yāḷi யாளி yāḷi , n. < vyāḷa. [K. yāḷi.] Temple pillars, Kailasanatha temple, Kanchipuram. yāḷi யாளி yāḷi , n. < vyāḷa. [K. yāḷi.] yāḷi யாளி yāḷi , n. < vyāḷa. [K. yāḷi.] Br̥hdiśvara temple, Tanjavur, Tamil Nadu, India. 11th cent. Airāvateśvara temple pillar. Sculpture of yāḷi யாளி yāḷi யாளி yāḷi , n. < vyāḷa. [K. yāḷi.] pillars in a small open mantapa. Vitthala temple complex in Hampi 16th cent. yāḷi யாளி yāḷi , n. < vyāḷa. [K. yāḷi.] Aghoreswara temple, Ikkeri, Shivamogga district, Karnataka state, India Bhaktapur Burbar Square, Nepal Beluru Chennakeshava temple Hoysaleswara Temple, Halebidu yāḷi யாளி yāḷi , n. < vyāḷa and Elephants at base of temple walls Hoysalesvara Temple, Halebid, India Shamlaji. Shamlaji. Halebidu Halebidu sculptural frieze of Gaṇeśa with 8 arms, shows him holding the writing instrument, the ivory tusk. ... These extraordinary links with metallurgy is what makes makara an extraordinary iconograph, hieroglyph to signify wealth.

A set of five Indus seal replicas distributed to visitors by the National Museum, Janpath, New Delhi are presented in the following photographs. These are presented as Seals 1 to 5 and deciphered in the context of comparable seals with comparable Indus Script hieroglyph/hieroglyph-multiplexes: Seal 1 (One-horned young bull, standard device) Seal 2 (Two heads of young bulls, nine ficus leaves) Seal 3 (Seatedd person surrounded by animals and hieroglyphs) Seal 4 (Two tigers, woman) Seal 5 (Zebu seal) All Indus Script hieroglyphs on this set of seals are deciphered as metalwork catalogues. Seal 1 (One-horned young bull, standard device) dula 'pair' rebus: dul 'cast metal'; loa 'ficus' rebus: loh 'copper'; kamaDha 'bow' rebus: kampaTTa 'mint, coiner' meD 'body' rebus: meD 'iron, copper, metal'. gaNDa 'four' rebus; kanda 'fire-altar' PLUS dula 'pair' rebus: dul 'cast metal' (Thus, the pair of four strokes signifies 'cast metal fire-altar'). ranku 'liquid measure' rebus: ranku 'tin' (One is inlaid with a pair of three short strokes: kolmo 'three' rebus: kolimi 'smithy, forge'; the other is inlaid with three horizontal strokes. One may indicate cast tin and the other may indicate a tin smithy). eraka 'knave of wheel' rebus: erako 'moltencast'; arka 'copper'. Hieroglyph: धातु [p= 513,3] m. layer , stratum Ka1tyS3r. Kaus3. 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 (Monier-Williams) dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.).; S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) tántu m. ʻ thread, warp ʼ RV. [√tan] Pa. tantu -- m. ʻ thread, cord ʼ, Pk. taṁtu -- m.; Kho. (Lor.) ton ʻ warp ʼ < *tand (whence tandeni ʻ thread between wings of spinning wheel ʼ); S. tandu f. ʻ gold or silver thread ʼ; L. tand (pl. °dũ) f. ʻ yarn, thread being spun, string of the tongue ʼ; P. tand m. ʻ thread ʼ, tanduā, °dūā m. ʻ string of the tongue, frenum of glans penis ʼ; A. tã̄t ʻ warp in the loom, cloth being woven ʼ; B. tã̄t ʻ cord ʼ; M. tã̄tū m. ʻ thread ʼ; Si. tatu, °ta ʻ string of a lute ʼ; -- with -- o, -- ā to retain orig. gender: S. tando m. ʻ cord, twine, strand of rope ʼ; N. tã̄do ʻ bowstring ʼ; H. tã̄tā m. ʻ series, line ʼ; G. tã̄tɔ m. ʻ thread ʼ; -- OG. tāṁtaṇaü m. ʻ thread ʼ < *tāṁtaḍaü, G.tã̄tṇɔ m.(CDIAL 5661) Rebus: 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); dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; (CDIAL 6773) धातु primary element of the earth i.e. metal , mineral, ore (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]) (Monier-Williams. Samskritam). Seal 2 (Two heads of young bulls, nine ficus leaves) 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 pipal tree with nine leaves. Text 1387 dula 'pair' rebus: dul 'cast metal' dhAv 'string/strand' rebus: dhAv, dhAtu 'element, ore'. 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. खोंद [ khōnda ] n A hump (on the back): also a protuberance or an incurvation (of a wall, a hedge, a road). 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 = a species 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 = anymetal 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.) = spokeof wheel ஆரம்² āram , n. < āra. 1. Spokeof a wheel.See ஆரக்கால். ஆரஞ்சூழ்ந்தவயில்வாய் நேமியொடு (சிறுபாண். 253). Rebus: ஆரம் brass; பித்தளை.(அக. நி.) pittal is cognate with 'pewter'. 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, Cobitisthermalis; ayilai a kind of fish. Ma. ayala a fish,mackerel, scomber; aila, ayila a fish; ayira a kind ofsmall 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. poLa 'zebu' rebus; poLa 'magnetite' ayir = iron dust, any ore (Ma.) aduru = gan.iyindategadu 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 interpretationof the Amarakos’a, Bangalore, Vicaradarpana Press, 1872, p. 330) DEDR 192 Ta. ayil iron. Ma. ayir,ayiram any ore. Ka. aduru native metal. Tu. ajirdakarba 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 (G.lex.) 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)]

शिल्पम् śilpam 'crafted sculpture' and Indus Script hieroglyph cipher are आभास ābhāsa, 'semblance', विकल्प vikalpa 'alternation', metaphors, rebus metonymy This monograph draws upon Ananda Coomaraswamy's explanations of ancient Indian architectural terms and presents examples of rendering metony/metaphors in sculptures and in cipher writing (mlecchita vikalpa, 'alternation by mleccha/meluhha 'metalworkers' -- a technical term to signify written cipher, one of the 64 arts by Vatsyayana associated with akshara mushtika kathana, des'a bhASA jnAnam, i.e. finger-wrist gestures or mudrA, knowledge of dialects). Indus Script cipher is based on hieroglyphs read rebus as hypertexts. This principle results in creation of pictorial motifs such as 'composite animals' which are signified by a technical term read rebus: sãgaḍ, 'lathe' 'portable brazier' 'joined animal parts' Rebus: sãgaḍa 'double-canoe, catamaran'. Tam. śaṅgaḍam, Tu. jaṅgala ʻ double -- canoe ʼ) Si. san̆gaḷa ʻ pair ʼ, han̆guḷa, an̆g° ʻ double canoe, raft ʼ(CDIAL 12859) (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2 jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’. Same principle is followed in आभास ābhāsa -- a technical term to signify, for example, चित्र + आ-भास cited in Suprabhedaagama: Sarvaavayava-sa^mpuur.na^m d.r'sya^m tac citram ucyate Ardhaavayava-sa^md Ardhaavayava-sa^md.r's ca Pa.te bhittau ca yo(al) likhya^m(1) citraabhaasam ihocyate. In this context, citraabhaasam is explained as 'reflective' rendering in writing -- in picture (writing or sculpture). Thus, the expression आभास ābhāsa 'rebus metonymy/metaphor' is equally applicable to writing system and a sculptural rendering will be elaborated in the context of the expression in Mahavams'a: http://bharatkalyan97.blogspot.in/2016/08/bharhut-besnagar-sculptural-makara.html ayo-kammaTa dvAra = aya 'iron' PLUS kammaTa 'mint' PLUS dvAra 'gateway'. The words ayo, and kammaTa used in the Mahavams'a expression (Mahavamsa, XXV, 28) are signified on Sanchi gateway northern Torana using the technique of citra-AbhAsa चित्र + आ-भास: Fish-fin PLUS fish PLUS mollusc: ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS khambhaṛā 'fin' rebus: kammaTa 'mint, coiner, coinage' PLUS sippi 'mollusc' rebus: sippi 'artificer' PLUS tAmarasa 'lotus' rebus: tAmra 'copper' PLUS dala 'leaf' rebus: dhALa 'large ingot'. This metonymy explains the orthography on the northern gateway of Sanchi torana on sculptural friezes. The sippi 'artificer' is shown standing next to the hieroglyph-multiplex, hypertext to signify the detailed, technical specifications of the work carried out in the mint: copper work, ingot production, metal casting (artificer's work). The winged tigers flanking the sculptural metaphors signify: kola 'tiger' rebus: kol 'working in iron' PLUS khambha 'wing'rebus:kammaTa 'mint'. Thus, iron mint. The centre-piece is (perhaps) spoked wheel atop elephants: Ara 'spoke' rebus: arA 'brass' PLUS eraka 'nave of wheel' rebus: eraka 'molten cast' arka 'copper' PLUS karibha, ibha 'elephant' rebus: karba, ib 'iron'. Thus, iron, copper, brass metal work. The gateway proclamation by the device of citra-AbhAsa चित्र + आ-भास is an announcement of metalwork competence provided by the mint-workers & metal artificers at Besnagar (Sanchi). The rebus renderings of hieroglyphs in sculptural medium is a continuum from Indus Script cipher tradition of rendering hieroglyphs as hypertext inscriptions read rebus. Buddhist monument at the Sanchi Hill, Raisen district of the state of Madhya Pradesh, India. Torana North. T. Carved decoration of the Northern gateway to the Great Stupa of Sanchi. Torana Panels:Chhaddanta,Sujata's offering, Vessantara Jataka, East Columns: Shakra's visit, Royal procession,Bimbisara's visit, West Column: Foreigners, Monkeys, Kapilvastu. The same composition or hypertext of ayo-kammaTa 'fish PLUS fish-fin' occurs on Bharhut Stupa torana of Eastern Gateway, where the centre-piece is flanked by two such compositions or hypertexts. sádana n. ʻ coming to rest, seat ʼ RV. 2. sāˊdana -- n. ʻ setting down (of vessels &c.) ʼ ŚBr., ʻ seat, dwelling ʼ MBh. [√sad] 1. Gmb. sã̄ ʻ chair, stool ʼ. 2. M. sāṇ f. ʻ appropriate spot for the palanquin of Hoḷī Devī on the day of burning the Hoḷī ʼ (LM 418 < chādana -- ), sāṇā m. ʻthe spot where a ferry boat pliesʼ.(CDIAL 13112). The pair of horses with the mount of a parasol signify: sadana 'seat' Rebus: sāṇā m. ʻ the spot where a ferry boat plies ʼ. The centre-piece hypertext: sippi 'mollusc' rebus: sippi 'artificer' tAmarasa 'lotus' rebus: tAmra 'copper' Ara 'spokes' rebus: arA 'brass' eraka 'molten cast' arka 'copper'. Thus, copper,brass artificer. This unique phenomenon in Indian art and architectural tradition exemplified in inscriptions and in monumental sculptural friezes. The words ayo, and kammaTa used in the Mahavams'a expression (Mahavamsa, XXV, 28) are also signified on the capital of a pillar at Besanagar (Sanchi) discussed and prsented in: http://bharatkalyan97.blogspot.in/2016/08/bharhut-besnagar-sculptural-makara.html On the pillar where makara is the capital, the rebus reading is: ayo 'fish' rebus: aya 'iron' PLUS khambhaṛā m. ʻ fin ʼ rebus: kammata 'mint, coiner, coinage'. The added part of 'crocodile' is to signify a semantic determinative: karA 'crocodile' rebus: khAr 'blacksmith'. (On the Sanchi Gateway Northern Torana, this semantic determination is presented by sippi 'mollusc' rebus: sippi 'artificer' PLUS dala 'leaf' rebus: dhALa 'large ingot', together with a sculptural portrait of the artificer standing next to the hieroglyph-multiplex or hypertext. A pair of winged rams are signified below the hypertext on a railed platform: dula 'pair' rebus: dul 'metal casting' PLUS meDDa 'ram' rebus: meD 'iron' medha 'yajna' medhA 'dhanam'; med 'copper' (Slavic). The detailed description of the mint- and metal-work of Besnagara workshops is thus accomplished on the Gateway torana, makara pillar citrAbhAsa and Indus Script cipher of rebus rendering of the associated language expressions which are evoked by the hieroglyph-multiplex or hypertexts called citAbhAsa in Suprabhedaagama. Metonymy/metaphor is a reflection, an ஆபாசம் āpācam , n. < ā-bhāsa. 1. (Log.) Semblance of reason, fallacy; போலி. எட்டுளபிரமாணாபாசங்கள் (மணி. 27, 57). 2. Reflection; பிரதிபிம்பம். சிதாபாசம். Another example to signify these mint-work terms are hieroglyphs on the Susa ritual basin to signify, sippi 'molusc', ram/goat, fish, fish-fin.The spathe on the hypertext (hieroglyph-multiplex) with surrounding molluscs is signified by: sippi 'palm spathe, mollusc' Rebus: s'ilpi 'sculptor'. The goat may also signify mlekh 'goat' rebus:milakkhu,mleccha 'copper'.: Detail of the Susa ritual basin http://www.arthistory.upenn.edu/spr03/422/January-March/86.JPG Heulandite. H. 1 3/8 in. (3.4 cm); dia. 1 in. (2.4 cm) Proto-Elamite period, ca 3100-2900 BCE Sb 2675 Comment by Holly Pittman on Rutten, (Ed.), 1935-36, Encyclopedie photographique de l’art, Paris: “Although the tree on the mountain is undoubtedly a landscape element, tree, mountain, and the combination of the two are distinct script signs as well.” (After Fig. 45, Prudence O Harper et al, opcit., p.74). On this cylinder seal, there are two message segments composed of Indus Script hieroglyph-multiplexes. 1. mountain, ficus glomerata, two wild goats, two +hieroglyphs (fire-altar) 2. mountain, ficus glomerata, two goats, two twigs emanating from the mountain range, + hieroglyph (fire-altar) dula 'pair, two' Rebus: dul 'cast metal' Thus, together, loh 'copper' PLUS dul 'cast metal' PLUS kuṭhi '(copper)metal smelter' Similarly, two antelopes signify by rebus-metonymy layer: dul 'cast metal' PLUS milakkhu 'copper' ORranku 'tin'. Similarly, two wild goats signify by rebus-metonymy layer: dul 'cast metal' PLUS mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) OR med 'copper' (Slavic languages). Медь [Med'] (Russian, Slavic) 'copper' gloss is cognate with mē̃ḍ 'iron' (Munda) meḍ 'iron' (Ho.) . The early semantics of the Meluhha word meḍ is likely to be 'copper metal'. Rebus: मेढ meḍh 'helper of merchant'. Seafaring merchants of Meluhha ! Miedź, med' (Northern Slavic). Corruptions from the German "Schmied", "Geschmeide" = jewelry. Used in most of the Slavic and Altaic languages. — Slavic Мед [Med] Bulgarian Bakar Bosnian Медзь [medz'] Belarusian Měď Czech Bakar Croatian Kòper Kashubian Бакар [Bakar] Macedonian Miedź Polish Медь [Med'] Russian Meď Slovak Baker Slovenian Бакар [Bakar] Serbian Мідь [mid'] Ukrainian http://www.vanderkrogt.net/elements/element.php?sym=Cu This hieroglyph-multiplex has three hieroglyph components: mountain, two bunches of twigs, ficus glomerata leaf (NOT a tree).

Stock Number: Y3617 A fine Harappan silver and copper seal the imprint with engraved Indus pictographic Script. On the reverse is a looped lug for suspension. circa 3rd millennium B.C., Mohenjo-Daro, Indus Valley Oxidised patina 2 x 1.5 cm koḍa 'one' Rebus: koḍ 'workshop'; aya 'fish' rebus: aya 'iron' ayas 'alloy metal' Stock Number: Y98 A Harappan steatite seal engraved with unicorn, ritual offering stand and row of signs from the Indus Valley script; the reverse with intact suspension loop carved from the same piece of stone.Circa late 3rd to early 2nd millennium B.C. Indus Valley2.7 x 2.7 cm tsarkh 'potter's wheel' (Pashto) rebus: arka 'copper, gold'; koḍa 'one' Rebus: koḍ 'workshop' kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' PLUS koḍa 'one' Rebus: koḍ 'workshop'. Thus, scribes' workshop. Stock Number: Y96 A Harappan steatite seal engraved with unicorn, ritual offering stand and row of signs from the Indus Valley script; the reverse with suspension loop carved from the same piece of stone.Circa late 3rd to early 2nd millennium B.C. Indus Valley 2.7 x 2.7 cm koḍa 'one' Rebus: koḍ 'workshop' aya 'fish' rebus: aya 'iron' ayas 'alloy metal' kuṭi 'water-carrier' (Telugu) rebus: kuṭhi 'smelter' Stock Number: Y97 A Harappan steatite seal engraved with unicorn, and row of signs from the Indus Valley script taṭṭal 'five' Rebus: ṭhaṭṭha brass (i.e. alloy of copper + zinc) कर्णक m. du. the two legs spread out AV. xx , 133 , 3 Rebus: karNaka 'scribe, supercargo' PLUS Sign 293 is a hypertext composed of 'curve' and 'pupil of eye' hieroglyphs: Curve is signified by kuṭi 'curve'; rebus: कुटिल kuṭila, katthīl (8 parts copper, 2 parts tin); cf. āra-kūṭa, 'brass' Old English ār 'brass'; Pupil of eye is kuṭi rebus: kuṭhi 'smelter'. Thus, Sign 293 signifies smelter for कुटिल kuṭila, katthī 'brass'. baraḍo = spine; backbone (Tulu) rebus: baran, bharat 'mixed alloys' (5 copper, 4 zinc and 1 tin) (Punjabi.Marathi) Or. kāṇḍa, kã̄ṛ ʻstalk, arrow ʼ(CDIAL 3023). ayaskāṇḍa 'a quantity of iron, excellent iron' (Pāṇ.gaṇ) Rebus: khaṇḍa, khāṇḍā 'tools, pots, wares'. Stock Number: X9274 A rare Indus Valley figural stone seal, carved in the form of a benign looking animal - possibly a long-eared sheep - the underside engraved with a register of signs from the Indus Valley script; a lateral drill hole for suspension runs through the centre of the animal. Circa late 3rd to early 2nd millennium B.C. Harappa or Mohenjo-Daro, Indus Valley, Length: 6.7 / Height: 2.2 cm Re-joined from original fragments, in good condition with superb patina Stock Number: X9270 A Harappan steatite seal engraved with unicorn, ritual offering stand and row of signs from the Indus Valley script; the reverse with suspension loop carved from the same piece of stone. Circa late 3rd to early 2nd millennium B.C. Indus Valley 3.3 x 3.3 cm कर्णक m. du. the two legs spread out AV. xx , 133 , 3 Rebus: karNaka 'scribe, supercargo' kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' sal 'splinter' rebus: sal 'workshop' Sign 267 is composed of rhombus/oval/bun-ingot shape and signifier of 'corner' hieroglyph. The hypertext reads: mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kañcu 'bell-metal'. Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'. kaṁsá1 m. ʻ metal cup ʼ AV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻ gong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ; A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756) Stock Number: X1874A Harappan steatite seal engraved with unicorn, ritual offering stand and row of signs from the Indus Valley script. Late 3rd to early 2nd millennium B.C. Indus Valley18 x 18 mm Intact, with suspension loop on reverse. Stock Number: X8433 Lead tablet with Indus Valley script, three symbols on obverse; two symbols reverse. Circa 3rd millennium B.C., Harappa or Mohenjo-Daro 2.9 x 2.4 cm kolom 'rice plant' rebus: kolimi 'smithy, forge'. kolmo 'three' rebus: kolimi 'smithy, forge'. sal 'splinter' rebus: sal 'workshop' A rare Indus Valley figural stone seal, carved in the form of a benign looking animal - possibly a long-eared sheep - the underside engraved with a register of signs from the Indus Valley script; a lateral drill hole for suspension runs through the centre of the animal. Circa late 3rd to early 2nd millennium B.C. Harappa or Mohenjo-Daro, Indus Valley, Length: 6.7 / Height: 2.2 cm Re-joined from original fragments, in good condition with superb patina Stock Number: X9270 A Harappan steatite seal engraved with unicorn, ritual offering stand and row of signs from the Indus Valley script; the reverse with suspension loop carved from the same piece of stone. Circa late 3rd to early 2nd millennium B.C. Indus Valley 3.3 x 3.3 cm कर्णक m. du. the two legs spread out AV. xx , 133 , 3 Rebus: karNaka 'scribe, supercargo' kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' sal 'splinter' rebus: sal 'workshop' Sign 267 is composed of rhombus/oval/bun-ingot shape and signifier of 'corner' hieroglyph. The hypertext reads: mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kañcu 'bell-metal'. Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'. kaṁsá1 m. ʻ metal cup ʼ AV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻ gong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ; A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756) Stock Number: X8880 A Harappan steatite seal engraved with unicorn, ritual offering stand and row of signs from the Indus Valley script. Late 3rd to early 2nd millennium B.C. Indus Valley 3.4 x 3.4 cm tsarkh 'potter's wheel' (Pashto) rebus: arka 'copper, gold'; koḍa 'one' Rebus: koḍ 'workshop' dula 'two' rebus: dul 'metal casting' kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' PLUS koḍa 'one' Rebus: koḍ 'workshop'. Thus, scribes' workshop. Sign 267 is composed of rhombus/oval/bun-ingot shape and signifier of 'corner' hieroglyph. The hypertext reads: mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kañcu 'bell-metal'. Sign 267 is oval=shape variant, rhombus-shape of a bun ingot. Like Sign 373, this sign also signifies mũhã̄ 'bun ingot' PLUS kanac 'corner' rebus: kancu 'bell-metal'. kaṁsá1 m. ʻ metal cup ʼ AV., m.n. ʻ bell -- metal ʼ Pat. as in S., but would in Pa. Pk. and most NIA. lggs. collide with kāˊṁsya -- to which L. P. testify and under which the remaining forms for the metal are listed. 2. *kaṁsikā -- .1. Pa. kaṁsa -- m. ʻ bronze dish ʼ; S. kañjho m. ʻ bellmetal ʼ; A. kã̄h ʻ gong ʼ; Or. kãsā ʻ big pot of bell -- metal ʼ; OMarw. kāso (= kã̄ -- ?) m. ʻ bell -- metal tray for food, food ʼ; G. kã̄sā m. pl. ʻ cymbals ʼ; -- perh. Woṭ. kasṓṭ m. ʻ metal pot ʼ Buddruss Woṭ 109.2. Pk. kaṁsiā -- f. ʻ a kind of musical instrument ʼ; A. kã̄hi ʻ bell -- metal dish ʼ; G. kã̄śī f. ʻ bell -- metal cymbal ʼ, kã̄śiyɔ m. ʻ open bellmetal pan ʼ. (CDIAL 2756) Sign 176Hieroglyph: currycomb: खरारा kharārā m ( H) A currycomb. 2 Currying a horse. ख0 खाजवीत नगारा वाजवीत-येतो-फिरतो &c. Used of a low vagabond or idler.(Marathi) Rebus: wealth-accounting ledgers -- kharada खरडें 'daybooks' Hieroglyph: Currycomb, scraper: khareḍo 'a currycomb' (Gujarati); खरड्या kharaḍyā a (खरडणें) That writes or shaves rudely and roughly; a mere quill-driver; a very scraper. khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi). khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) 2. kharādī ‘ turner’ (Gujarati) Stock Number: X8881 A Harappan lead seal with design of unicorn, ritual offering stand and row of signs from the Indus Valley script. Late 3rd to early 2nd millennium B.C. Indus Valley 2.2 x 2.0 cm ranku 'liquid measure' rebus: ranku 'tin' Hypertext of Sign 336 has hieroglyph components: muka 'ladle' (Tamil)(DEDR 4887) Rebus: mū̃h'ingot' (Santali).PLUS Sign 328 baṭa 'rimless pot' rebus: baṭa 'iron' bhaṭa 'furnace'. The hypertext reads: mū̃h bhaṭa 'ingot furnace'