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

Were Indus Script inscriptions on copper plates used as printing templates? Why do early punch-marked and cast coins from ca. 6th cent. BCE show Indus Script hieroglyphs? Does this phenomenon signify that the Indus writing tradition continued in ancient mints because the form and function of Indus writing is related to wealth-accounting ledgers, metalwork catalogues? The answer is that the Indus Script tradition of rebus representation of wealtha-accounting is continued in hundreds of mints which issued millions of coins from ca. 6th cent. BCE, many of these coins discovered in a number of hoards. The mints continue to display many Indus script hieroglyphs (both pictorial motifs and text signs) as was noted by CL Fabri and KP Jayaswal (and earlier by KN Dikshit, Durga Prasad and Pran Nath). It is not mere coincidence that over 200 of the Indus Script inscriptions are on copper plates. Analysing a set of nine unusual copper plates, Rick Willis noted: “I compared these to other artifacts like clay seals of the Indus Valley era, and the images and scripts were very similar. Indus script remains as one of the world’s few well-documented languages that has defied being deciphered. Scholars generally accept that the script and images on seals are not related, but I believe the copper plates are quite different, and were possibly meant to produce instructive images. One of the copper plates has the longest known inscription in Indus script, twice as long as any other known. “The plates have all the attributes of printing plates: fine engraving and reversed writing. It became clear to me that copper plates are the earliest printed form of art, possible printed on silk, leather or bark at the time, as paper did not exist then. We have actually produced quite acceptable images onto native silk cloth. “This has been years of work and academic diligence, and I hope this fascinating Indus Valley story will take its rightful place in our knowledge of the history of printing, and help unravel the mystery of Indus script.” https://www.smh.com.au/education/a-step-toward-unraveling-the-mystery-of-indus-valley-script-and-printing-20141009-3hlw3.html Nine copper plates analysed by Rick Willis and Vasant Shinde. An example of printing one of these Mohenjo-daro copper plates on tussah silk. This is a remarkable demonstration indeed that the copper plates of ca. 2500 BCE with Indus Script inscriptions could have been used as printing templates. Shinde, V. and Willis, R.J., 2014. A New Type of Inscribed Copper Plate from Indus Valley (Harappan) Civilisation. Ancient Asia, 5, p.Art. 1. https://www.ancient-asia-journal.com/articles/10.5334/aa.12317/ “That the guilds or corporations of taders were empowerd to issue coins is attested by the Negama coins from Taxila. The word Negama (Skt. Naigamah here should be taken to mean ‘the s’reis or corporations of merchants’. The Taxila Negama coins bear several other words: Dojaka, Atakataka, Ralimasa, Kaare, etc. (Allan, Catalogue of Coins of Ancient India, pp. 214-219, pls. XXXI and XXXIV). I think that these terms refer to the merchants’ localities where the respective coins were minted. Some Taxila coins bear the legend Pancanekame mening probably that they were issues of a joint body of five nigamas or of a guild called Panchanigama. This would indicate that in the Gandhara region during the 3rd-2nd centuries BCE, there existed several guilds of traders who were authorized to issue coins bearing their particular names.” (Bajpai, KD, 2004, Indian numismatic studies, Abhinav Publications, Delhi, p.2) “Some Taxila coins bear the legend Pancanakame (Alan, CCBM, pp. 214-19, Pl. XXXi and XXXiv). The legend shows that the coins were either the issues of a joint body of five nigamas or of a guild calledpancanigama. Further, it indicates that there existed, in the Gandhara region during the third-second centuries BCE, several guilds of traders who were authorised to issue coins bearing their particular names. The nigama or negama series of Taxila coins refer to Ralimasa which, like Dojaka, Dosanasa and Hiranasama, has been differently interpreted. DR Bhandarkar is inclined to take it as the name of a city.”(Paramanand Gupta, 1989, Geography from Ancient Indian Coins & Seals, Delhi, Concept Publishing Company, p.147). After Fig. 10.13. ibid. Coinage ascribable to the Mauryan and immediately post-Mauryan period. 6,7,8 silver punchmarked coins, national series; 9,10,11 coper cast coins; 12,13,15,16 die-struck copper coins; 14. inscribed copper coin, Taxila; obv. negama (Brahmi script), rev. kojaka (Kharosthi script). "We believe it is reasonable to conclude that during the Mauryan period silver punchmarked coins of the national series were very widely distributed in South Asia, and were accompanied by coins of the cast copper varieties."(Allchin, FR & George Erdosy, 1995, The archaeology of early historic South Asia: the emergence of cities and states, Cambridge University Press, p.221). It is known that sculptors of Sanchi and Bharhut artifacts were in the tradition of ivory carvers of Begram. The hieroglyphs -- for example, elephant, tiger, mountain-range, tree, fire-altar, sun's rays, svastika -- deployed on the coins of Mauryan period are comparable to the hieroglyphs on Indus Script Corpora. The later-day inventors of Kharosthi and Brahmi scripts are likely to have been adept at Indus Script hieroglyph writing (mlecchita vikalpa, i.e. Meluhha cipher). arka 'sun' rebus: arka, eraka 'gold, copper moltencast' kanda 'fire-altar' kuTi 'tree' rebus: kuThi 'smelter' Ku. ḍã̄g, ḍã̄k ʻ stony land ʼ; B. ḍāṅ ʻ heap ʼ, ḍāṅgā ʻ hill, dry upland ʼ; H. ḍã̄g f. ʻ mountain -- ridge ʼ; M. ḍã̄g m.n., ḍã̄gaṇ, °gāṇ, ḍãgāṇ n. ʻ hill -- tract ʼ. -- Ext. -- r -- : N. ḍaṅgur ʻ heap ʼ. M. ḍũg m. ʻ hill, pile ʼ, °gā m. ʻ eminence ʼ, °gī f. ʻ heap ʼ. -- Ext. -- r -- : Pk. ḍuṁgara -- m. ʻ mountain ʼ; Ku. ḍũgar, ḍũgrī; N. ḍuṅgar ʻ heap ʼ; Or. ḍuṅguri ʻ hillock ʼ, H. ḍū̃gar m., G. ḍũgar m., ḍũgrī f. S. ḍ̠ū̃garu m. ʻ hill ʼ, H. M. ḍõgar m.(CDIAL 5523) rebus: N. ḍāṅro ʻ term of contempt for a blacksmith ʼ; Or. dhāṅgaṛ ʻ young servant, herdsman, name of a Santal tribe ʼ,H.dhaṅgar m. ʻ herdsman ʼ, dhã̄gaṛ, °ar m. ʻ a non-- Aryan tribe in the Vindhyas, digger of wells and tanks ʼ(CDIAL 5524) For rebus readings of elephant, tiger, see following paragraphs. Hieroglyph: svastika: satthiya 'svastika' rebus: satthiya, jasta 'zinc' Taxila coin Semantics of negama (Brahmi) and kojaka (Kharosthi) on Taxila coin which meant 'merchant caravans' and 'treasurer' respectively as may be seen from the glosses of Indian sprachbund (both Indo-Aryan including Prakritam and Dravidian): नि-° गम a town , city , market-place A1past. Car. a caravan or company of merchants (ifc. f(आ).) R. Das3. Lalit. trade , traffic W. नि-° गम the root (as the source from which a word comes ; hence ifc.” derived from “) (Nir.) the वेद or the Vedic text Hariv. Pa1n2. Pur.&c any work auxiliary to and explanatory of the वेदs Mn. iv , 19 ( Kull.) a sacred precept , the words of a god or holy man MBh. Pur.doctrine , instruction in , art of (comp.) Ba1lar.&c m. insertion (esp.of the name of a deity into a liturgical formula) S3rS. the place or passage (esp. of the वेदs) where a word occurs or the actual word quoted from such a passage Nir One meaning of the word nigama is: the place where the passage from Veda occurs. It is possible that the semantics of nigama as a market or merchant guild are relatable to this vedic inference as the production of metalwork from a yajna, treating the yajna as a smelting process of metals, bahusuvarNaka, metals of many colours. नि-° गम [p= 545,3] a caravan or company of merchants (ifc. f(आ).) R. Das3. ;a town , city , market-place A1past. Car. Lalit. m. insertion (esp. of the name of a deity into a liturgical formula) SrS.the वेद or the Vedic text Hariv. Pa1n2. Pur. &cany work auxiliary to and explanatory of the वेदs Mn. iv , 19 ( Kull. )doctrine , instruction in , art of (comp.) Ba1lar.= परिशिष्ट Cat. (Monier-Williams)

This is an addendum to: Abiding Indus Script hypertext dotted circle is dhāv, dāya 'one in dice' + vaṭṭa 'circle' rebus धावड dhāvaḍa 'red ferrite ore smelter' https://tinyurl.com/y8fed8xd Tablets.Ivory objects. Mohenjo-daro. Hieroglyph: Aquatic bird Ivory rod, ivory plaques with dotted circles. Mohenjo-daro (Musee National De Arts Asiatiques, Guimet, 1988-1989, , Les cites oubliees de l’Indus Archeologie du Pakistan.] dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'. dATu 'cross' rebus: dhatu 'mineral'. Thus, the message signified by dotted circles and X hieroglyph refers to dhā̆vaḍ priest of 'iron-smelters'. The aquatic duck shown atop an ivory rod is: karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) Thus, the metalworker (smelter) works with hard alloys (using carburization process). Three dotted circles: kolom 'three' rebus: kolimi 'smithy, forge'. Thus working with minerals and hard alloys for smithy, forge. Bird 1: quail or duck vartaka = a duck (Skt.) batak = a duck (Gujarati) vartikā quail (Rigveda) baṭṭai quail (Nepalese) vártikā f. ʻ quail ʼ RV. 2. vārtika -- m. lex. 3. var- takā -- f. lex. (eastern form ac. to Kātyāyana: S. Lévi JA 1912, 498), °ka -- m. Car., vārtāka -- m. lex. [Cf.vartīra -- m. Suśr., °tira -- lex., *vartakara -- ] 1. Ash. uwŕe/ ʻ partridge ʼ NTS ii 246 (connexion denied NTS v 340), Paš.snj. waṭīˊ; K. hāra -- wüṭü f. ʻ species of waterfowl ʼ (hāra -- < śāˊra -- ).2. Kho. barti ʻ quail, partridge ʼ BelvalkarVol 88.3. Pa. vaṭṭakā -- f., °ka -- in cmpds. ʻ quail ʼ, Pk. vaṭṭaya -- m., N. baṭṭāi (< vārtāka -- ?), A. batā -- sarāi, B. batui, baṭuyā; Si. vaṭuvā ʻ snipe, sandpiper ʼ (ext. of *vaṭu < vartakā -- ). -- With unexpl. bh -- : Or. bhāṭoi, °ṭui ʻ the grey quail Cotarnix communis ʼ, (dial.) bhāroi, °rui (< early MIA. *vāṭāka -- < vārtāka -- : cf. vāṭī -- f. ʻ a kind of bird ʼ Car.).Addenda: vartikā -- [Dial. a ~ ā < IE. non -- apophonic o (cf. Gk. o)/rtuc and early EMIA. vāṭī -- f. ʻ a kind of bird ʼ Car. < *vārtī -- ) (CDIAL 11361) Rebus: paṭṭar-ai community; guild as of workmen (Ta.); pattar merchants (Ta.); perh. vartaka (Skt.) pātharī ʻprecious stoneʼ (OMarw.) (CDIAL 8857) பத்தர் pattar, n. perh. vartaka. Merchants; வியாபாரிகள். (W.) battuḍu. n. The caste title of all the five castes of artificers as vaḍla b*, carpenter. वर्तक mfn. who or what abides or exists , abiding , existing , living; n. a sort of brass or steel; merchant. వర్తకము vartakamu vartakamu. [Skt.] n. Trade, traffic, commerce. బేరము, వ్యాపారము. A sort of quail, Perdix oilvacca. వెలిచెపిట్ట, మీనవల్లంకిపిట్ట, వర్తకుడు vartakuḍu. n. A merchant, or trader. బేరముచేయువాడు. Rebus: *varta2 ʻ circular object ʼ or more prob. ʻ something made of metal ʼ, cf. vartaka -- 2 n. ʻ bell -- metal, brass ʼ lex. and vartalōha -- . [√vr̥t?] Pk. vaṭṭa -- m.n., °aya -- m. ʻ cup ʼ; Ash. waṭāˊk ʻ cup, plate ʼ; K. waṭukh, dat. °ṭakas m. ʻ cup, bowl ʼ; S. vaṭo m. ʻ metal drinking cup ʼ; N. bāṭā, ʻ round copper or brass vessel ʼ; A. bāṭi ʻ cup ʼ; B. bāṭā ʻ box for betel ʼ; Or. baṭā ʻ metal pot for betel ʼ, bāṭi ʻ cup, saucer ʼ; Mth. baṭṭā ʻ large metal cup ʼ, bāṭī ʻ small do. ʼ, H. baṭṛī f.; G. M. vāṭī f. ʻ vessel ʼ.*aṅkavarta -- , *kajjalavarta -- , *kalaśavarta -- , *kṣāṇavartaka -- , *cūrṇavarta -- , parṇavartikā -- , *hiṅgulavarta -- .Addenda: *varta -- 2: Md. vař ʻ circle ʼ (vař -- han̆du ʻ full moon ʼ).(CDIAL 11347) वर्तक a [p= 925,2] n. a sort of brass or steel वर्तः (Usually at the end of comp.) Living, liveli- hood; as in कल्यवर्त q. v. -Comp. -जन्मन् m. a cloud. -तीक्ष्णम्, -लोहम् bell-metal, a kind of brass. Bird 2: aquatic bird or crane Grus Virgo or Numidian or Demoiselle Crane The Demoiselle Crane breeds in C Eurasia, from Black Sea to Mongolia and NE China. It winters in Indian Subcontinent and in Sub-Saharan Africa. http://www.oiseaux-birds.com/card-demoiselle-crane.html Hieroglyphs on Dongson bronze drum tympanums. करड m. a sort of duck -- f. a partic. kind of bird ; S. karaṛa -ḍhī˜gu m. a very large aquatic bird (CDIAL 2787) karaṇḍa ‘duck’ (Samskrtam)కారండవము (p. 274) [ kāraṇḍavamu ] rebus: karaḍā 'hard alloy' करडा karaḍā 'Hard from alloy--iron, silver &c'. khambhaṛā 'fish fin' rebus: kammaTa ‘mint, coiner, coinage’ gaṇḍa 'four' Rebus: khaṇḍa 'metal implements. Together with cognate ancu 'iron' the message is: native metal implements mint Thus, the hieroglyph multiplex reads: aya ancu khaṇḍa kammaṭa ‘metallic iron alloy implements, mint, coiner, coinage’.koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus 1: koḍ ‘workshop’ (Kuwi) Rebus 2: khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947) kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi) kāraṇḍava m. ʻ a kind of duck ʼ MBh. [Cf. kāraṇḍa- m. ʻ id. ʼ R., karēṭu -- m. ʻ Numidian crane ʼ lex.: see karaṭa -- 1]Pa. kāraṇḍava -- m. ʻ a kind of duck ʼ; Pk. kāraṁḍa -- , °ḍaga -- , °ḍava -- m. ʻ a partic. kind of bird ʼ; S. kānero m. ʻ a partic. kind of water bird ʼ < *kāreno.(CDIAL 3059) करढोंक or की (p. 78) karaḍhōṅka or kī m करडोक m A kind of crane or heron (Marathi) Bird 3: pōlaḍu, 'black drongo' rebus: pōlaḍ 'steel' Hypertext Meluhha steel mint signified by hieroglyphs मेढा mēḍhā 'twisted cord', pōlaḍu, 'black drongo', पोळ pōḷa 'zebu', ayo 'fish', khambhaṛā ʻfish-finʼ http://tinyurl.com/kruoold m0274 Text 1342 Text 1237 Text 2141 m1278 Text 2028 m1127 Text 2696 h591 Text 4228 m0010 Text1006 Text 1207 Text 2077 Text 5471 Text 1338 kuṭhi ‘a furnace for smelting iron ore, to smelt iron’;koṭe ‘forged (metal)(Santali) kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuṭhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (Santali. Bodding) kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhā brick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati) पोळ pōḷa, 'Zebu, bos indicus' PLUS పోలడు [ pōlaḍu ] 'black drongo' PLUS dula 'two' rebus:pōlāda 'steel', pwlad (Russian) PLUS dul 'metal casting'. PLUS kanac 'corner' rebus: kancu 'bronze'. Thus, a dealer in bronze and steel castings. kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛI f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) Allograph: fire divinity करडी [ karaḍī ] f (See करडई) Safflower: also its seed. Rebus: karaḍa 'hard alloy' of arka 'copper'. Photograph of excavation site. Shows three culd stands in situ in Room 6 of Ishtar temple of Tukulti-Ninurta I at Ashur. Courtesy: Vorderaslatisches Museum.

"(Mauryan) economy must have been very prosperous, as the coins seem to have been minted in the millions. Large hoards of Mauryan coins are found to this day..." http://coinindia.com/galleries-maurya.html Millions of Rosetta Stones deploy Indus Script Cipher -- paharaṇa mudra (punches) on coins of ancient mints from Takṣaśila to Anuradhapura are emphatic evidence for the continued use of Meluhha metalwork catalogues -- aka Indus Script Inscriptions -- to proclaim metallurgical repertoire of ancient mints. Millions of ancient coins exemplify the major contribution made by technologies of metalwork wealth to the cumulative wealth of the nation. This is evidenced by the fact that Ancient India contributed to 33% of World GDP in 1 CE (pace Angus Maddison). In my view, the Indus Script Hypertexts/Hieroglyphs proclaimed on millions of ancient coins of India are conclusive validation of the Indus Script Inscriptions as Meluhha metalwork wealth accounting ledger catalogues. This monograph presents only a few snippets (brief extracts) of evidences from Ancient coins of historical periods (Before Common Era) from mints. These coins constitute Rosetta Stones for Indus Script. Why were particular 'symbols' chosen to be impressed on ancient coins of mints in an extensive area ranging from Takṣaśila to Anuradhapura? The answer lies in the continuum of Meluhha (spoken form of Bharatiya sprachbund), Indus Script Cipher tradition to create accounting ledgers of wealth created by metalwork. The mints were the manufactories of metalwork of ancient times during the Metals Age. Indus Script Hieroglyphs/Hypertexts -- all of which constitute metalwork repertoire of mints to create the wealth of nations. The period relates to the Metals Age which constituted the World's First Industrial Revolution. All the coins punching Indus Script Hieroglyphs/Hypertexts recorded metalwork catalogues, and proclaimed them as wealth accounting ledgers of the mint which issued the coins. "Metals were well suited to represent wealth, owing to their great commodity value per unit weight or volume, and their durability, divisibility and rarity. The best metals for coinage are gold, silver, platinum, copper, tin, nickel, aluminum, zinc, iron, and their alloys; certain alloys of gold, silver, copper and nickel have the best combination of the required qualities. The first mint was likely established in Lydia in the 7th century BC, for coining gold, silver and electrum. The Lydian innovation of manufacturing coins under the authority of the state spread to neighboring Greece, where a number of city-states operated their own mints. Some of the earliest Greek mints were within city-states on Greek islands such as Crete; a mint existed at the ancient city of Cydonia on Crete at least as early as the fifth century BCE." At about the same time, mints also appeared in Ancient India from Takṣaśila to Anuradhapura (UKBullion, Cydonia – The Ancient City of Crete, UKBullion Blog, 23 March 2016) https://en.wikipedia.org/wiki/Mint_(facility) GK Chesterton's Invisible Man is an extraordinary detective story. Here is an excerpt with the famous statement of the famous detective Father Brown, 'nobody ever notices postmen somehow'. Many decipherment claims on Indus Script have somehow missed the postmen of the Script. There are literally millions of ancient coins from mints of an extensive area from Takṣaśila to Anuradhapura which continued to use Indus Script Hieroglyphs and Hypertexts with an astonishing regularity proclaiming the repertoire of the mints -- metalworkshops of the Metals Age Revolution Before Common Era. [quote] “You are not mad,” said Brown, “only a little unobservant. You have not noticed such a man as this, for example.” He took three quick strides forward, and put his hand on the shoulder of an ordinary passing postman who had bustled by them unnoticed under the shade of the trees. “Nobody ever notices postmen somehow,” he said thoughtfully; “yet they have passions like other men, and even carry large bags where a small corpse can be stowed quite easily.” The postman, instead of turning naturally, had ducked and tumbled against the garden fence. He was a lean fair-bearded man of very ordinary appearance, but as he turned an alarmed face over his shoulder, all three men were fixed with an almost fiendish squint. [unquote] See: Harappa Script continuum on punch-marked coin symbols.Insights of Fabri et al validated by Meluhha Script cipher http://tinyurl.com/gu24z4h This is a tribute to Pran Nath, KN Dikshit and CL Fabri who had provided insights citing parallels between Harappa (Indus Script) and symbols on Punch-marked coins. See: Ancient Indian paharaṇa mudra 'struck' coins signify metalwork wealth of Bronze Age Bhāratam, as Indus script hieroglyphs & hypertext expressions https://tinyurl.com/y7gqnuqv What do the symbols on ancient Indian coins (e.g. punch-marked coins or cast coins with embossed/inscribed symbols) signify? This monograph posits Indus Script continuum and hyertexts on ancient Indian coins as signifiers of metalwork wealth-creation activities in ancient mints -- which are a legacy of the Bronze Age Tin-Bronze revolution mediated by seafaring merchants and artisans of ancient Bhāratam. This is in continuation of http://bharatkalyan97.blogspot.in/2017/07/ujjain-nandipada-srivatsa-ancient-coin.html Mirror: https://tinyurl.com/yaljqnhb 'Ujjain', 'nandipāda', 'śrīvatsa' ancient coin symbols are Indus Script metalwork hypertexts Punch-marked coins are referred to as paharaṇa mudra in Indian sprachbund (language union). The symbols on such ancient coins signify wealth of metalwork, a continuum of Indus Script tradition of rebus rendering in Meluhha of metalwork wealth account ledger entries (kharaḍā). This kharaḍā, wealth account ledger entries is signified by the Indus Script Hieroglyph Sign 176 khareḍo 'a currycomb (Gujarati) Rebus: karaḍā खरडें 'daybook, wealth-accounting ledger'. Rebus: kharādī ' turner' (Gujarati) The symbols on ancient coins signify metalwork wealth produced in ancient mints. With the decipherment of Meluhha script & langauge of the Corpora of Inscriptions dated from ca. 3300 BCE (which is the date of the Harappa potsherd with three inscribed hieroglyphs signifying tagara 'tabernae montana' rebus: tagara 'tin'), it is now possible to delineate a glossary of hieroglyphs and readings in Meluhha for the parallels identified in a brilliant and lucid article of 1834 in JRAS. Find spots of ancient coins of India Find spots of late hoards of India Punch-marked coins JOURNAL ARTICLE A Survey of Late Hoards of Indian Punch-marked Coins ELIZABETH ERRINGTON The Numismatic Chronicle (1966-) Vol. 163 (2003), pp. 69-121 http://www.jstor.org/stable/42667165 http://coinindia.com/Fifty%20Coins%20map.jpg The Emergence and Spread of Coins in Ancient India -- Deme Raja Reddy (2014) Abstract This communication describes the emergence and spread of coins in ancient India. The barter system of exchange of goods was prevalent in ancient India from the Vedic period. The Indus valley people may have used precious metals of fixed weights such as silver for buying goods which is evident from excavations in the DK area at Mohenjo-Daro. But eventually barter method gave way slowly to the money economy through the medium of coins for their obvious advantages. The origin of coins, also known as metallic money in India dates back to the sixth–seventh centuries BC and it is probable that Lydia, India and China invented coinage around the same time and also independent of each other. The emergence of coinage was one of the important monetary innovations in ancient India. The formation of ‘janapadas’ and the evolution of the second urbanization were the catalysts for the invention of coinage. The money economy originated in India during the ‘janapada’ period and it grew markedly during the Magadha, Nanda and Mauryan rule which needed the maintenance of a huge army as well as official machinery to run the big empire. Coinage and urbanization which are linked also facilitated the growth of trade in the country internally as well as with other countries. Maritime trade prospered especially with Rome during the Satavahana rule in the Deccan. The lack of trade barriers between ‘janapadas’ and the presence of local rulers even during the rule of major dynasties might have contributed to the growth of trade.

Bharatam was Sheffield of Ancient Bronze Age. Three monolithic hoardings of Bharhut, Sanchi and Dholavira are discussed in this monograph. The idiom 'Sheffield of Ancient Bronze Age' is taken and adapted from the Illustrated Weekly News of Nov. 21, 1936 which reported the discovery of Chanhudaro by Ernest Mackay and called the site 'Sheffield of Ancient India.' Sanchi stupa Northern Gateway Torana Hieroglyph multiplex, showing date palm spathes, hanging down the pair of sippi, 'shells'. The spathe of datepalm is also sippi, as a phonetic determinant of the word sippi which the artisan wants to convey through the hoarind on the torana welcoming prospective customers who want to acquire the metal and s'ankha artifacts made by the Sanchi artisans. The fins of fish are also hieroglyphs read rebus: .khambhaṛā 'fin', 'wing' Rebus: kammaṭa 'coiner, coinage, mint' . Thus the hieroglyph multiplex as hypertext signifies a mint and artificers' metalwork at the workshops of Sanchi. Date palm spathe is called sippi. This Prakritam gloss yields the Indus Script cipher. The word signifies sippi 'artisan, craftsman'.(Old Awadhi). The hieroglyph of sippi, spathe of date palm adorns the signboard on Sanchi and Bharhut stupa toranas. The proclamation is to invite prospective buyers to witness the handicrafts of the Bronze Age sculpted, forged by the artisans of the Sarasvati_Sindhu civilizational continuum. The tradition of creating signboards as proclamations of artifice dates back to Sarasvati-Sindhu civilization, exemplified by the monolithic Dholavira Signboard with 10 Indus Script Hieroglyphs. Size of each hieroglyph on the Dholavira signboard measures 35 to 37 cm. high and 25 to 27 cm.wide. This signboard could have been seen by seafaring merchants coming on their boats from the Ancient Near East navigating through the Persian Gulf. Dholavira Gateway Dholavira Signboard on gateway. A reconstruction. Back to Chanhudaro on the banks of Vedic River Sarasvati ca. 2500 BCE Illustrated London News 1936 - November 21st Chanhudaro. Sheffield of Ancient Near East. Metalware catalog in London News Illustrated, November 21, 1936.A 'Sheffield of Ancient India: Chanhu-Daro's metal working industry 10 X photos of copper knives, spears, razors, axes and dishes. The words used in the lingua francaof such tin-processing families constitute the words invented to denote the Bronze Age products and artifacts such as tin or zinc or the array of metalware discovered in the Sheffied of the Ancient East, Chanhu-daro as reported in the London News Illustrated by Ernest Mackay. This pictorial motif gets normalized in Indus writing system as a hieroglyph sign: Hieroglyph: karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ (Prakrit) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) Pk. karaṁḍa -- m.n. ʻ bone shaped like a bamboo ʼ, karaṁḍuya -- n. ʻ backbone ʼ. *kaṇṭa3 ʻ backbone, podex, penis ʼ. 2. *kaṇḍa -- . 3. *karaṇḍa -- 4. (Cf. *kāṭa -- 2, *ḍākka -- 2: poss. same as káṇṭa -- 1] 1. Pa. piṭṭhi -- kaṇṭaka -- m. ʻ bone of the spine ʼ; Gy. eur. kanro m. ʻ penis ʼ (or < káṇṭaka -- ); Tir. mar -- kaṇḍḗ ʻ back (of the body) ʼ; S. kaṇḍo m. ʻ back ʼ, L. kaṇḍ f., kaṇḍā m. ʻ backbone ʼ, awāṇ. kaṇḍ, °ḍī ʻ back ʼ; P. kaṇḍ f. ʻ back, pubes ʼ; WPah. bhal. kaṇṭ f. ʻ syphilis ʼ; N. kaṇḍo ʻ buttock, rump, anus ʼ, kaṇḍeulo ʻ small of the back ʼ; B. kã̄ṭ ʻ clitoris ʼ; Or. kaṇṭi ʻ handle of a plough ʼ; H. kã̄ṭā m. ʻ spine ʼ, G. kã̄ṭɔ m., M. kã̄ṭā m.; Si. äṭa -- kaṭuva ʻ bone ʼ, piṭa -- k° ʻ backbone ʼ. 2. Pk. kaṁḍa -- m. ʻ backbone ʼ.(CDIAL 2670) مرکنډئِي mar-kanḏḏaʿī, s.f. (6th) The throat, the windpipe, the gullet. 2. The end of the backbone where the neck joins. Sing. and Pl.(Pushto) खरडा [ kharaḍā ] A leopard. खरड्या [ kharaḍyā ] m or खरड्यावाघ m A leopard (Marathi). Leopard weight. Shahi Tump. H.16.7cm; dia.13.5cm; base dia 6cm; handle on top. Lead, cire perdue. http://bharatkalyan97.blogspot.in/2015/10/indus-script-corpora-of-lost-wax.html?view=classic Metonymy as an organizing principle for the writing system of Indus Script Corpora Three artefacts with Indus writing are remarkable for their definitive intent to broadcast the metallurgical message: 1. Dholavira signboard on a gateway; 2. Shahdad standard; and 3. Tablets showing processions of three standards: scarf hieroglyph, one-horned young bull hieroglyph and standard-device hieroglyph. Thus, the three artifacts embody metonymy as an organizing principle for a writing system. Rebus readings of the inscriptions relate to and document the metallurgical competence of Meluhhan lapidaries-artisans. Some other select set of inscriptions from the wide, expansive area stretching from Haifa to Rakhigarhi, from Altyn Depe (Caucus) to Daimabad (Maharashtra) are presented to show the area which had evidenced the use of Meluhha (Mleccha) language of Indian sprachbund. Hieroglyphs deployed on Indus inscriptions have had a lasting effect on the glyptic motifs used on hundreds of cylinder seals of the Meluhha contact regions. The glyptic motifs continued to be used as a logo-semantic writing system, together with cuneiform texts which used a logo-syllabic writing system, even after the use of complex tokens and bullae were discontinued to account for commodities. The Indus writing system of hieroglyphs read rebus matched the Bronze Age revolutionary imperative of minerals, metals and alloys produced as surplus to the requirements of the artisan communities and as available for the creation and sustenance of trade-networks to meet the demand for alloyed metal tools, weapons, pots and pans, apart from the supply of copper, tin metal ingots for use in the smithy of nations, harosheth hagoyim mentioned in the Old Testament (Judges). This term also explains the continuum of Aramaic script into the cognate kharoṣṭī 'blacksmith-lip' goya 'communities'. Indus-Sarasvatī Signboard Text. Read rebus as Meluhha (Mleccha) announcement of metals repertoire of a smithy complex in the citadel. The 'spoked wheel' is the semantic divider of three segments of the broadcast message. Details of readings, from r. to l.: Segment 1: Working in ore, molten cast copper, lathe (work) ḍato ‘claws or pincers of crab’ (Santali) rebus: dhatu ‘ore’ (Santali) eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu). sangaḍa 'pair' Rebus: sangaḍa‘lathe’ (Gujarati) Segment 2: Native metal tools, pots and pans, metalware, engraving (molten cast copper) खांडा [ khāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’. Harappa seal (H-73)[Note: the ‘water carrier’ pictogram] Hieroglyph: fish + notch: aya 'fish' + khāṇḍā m A jag, notch Rebus: aya 'metal'+ khāṇḍā ‘tools, pots and pans, metal-ware’. kuTi 'water-carrier' Rebus: kuThi 'smelter'. aḍaren, ḍaren lid, cover (Santali) Rebus: aduru ‘native metal’ (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada) (Siddhānti Subrahmaṇya’ śāstri’s new interpretation of the Amarakośa, Bangalore, Vicaradarpana Press, 1872, p. 330) koṇḍa bend (Ko.); Tu. Kōḍi corner; kōṇṭu angle, corner, crook. Nk. kōnṭa corner (DEDR 2054b) G. khū̃ṭṛī f. ʻangleʼ Rebus: kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295) A. kundār, B. kũdār, ri, Or.Kundāru; H. kũderā m. ‘one who works a lathe, one who scrapes’, rī f., kũdernā ‘to scrape, plane, round on a lathe’; kundakara— m. ‘turner’ (Skt.)(CDIAL 3297). कोंदण [ kōndaṇa ] n (कोंदणें) Setting or infixing of gems.(Marathi) খোদকার [ khōdakāra ] n an engraver; a carver. খোদকারি n. engraving; carving; interference in other’s work. খোদাই [ khōdāi ] n engraving; carving. খোদাই করা v. to engrave; to carve. খোদানো v. & n. en graving; carving. খোদিত [ khōdita ] a engraved. (Bengali) खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver. खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work. खोदणावळ [ khōdaṇāvaḷa ] f (खोदणें) The price or cost of sculpture or carving. खोदणी [ khōdaṇī ] f (Verbal of खोदणें) Digging, engraving &c. 2 fig. An exacting of money by importunity. V लाव, मांड. 3 An instrument to scoop out and cut flowers and figures from paper. 4 A goldsmith’s die. खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or –पुसणें To question minutely and searchingly, to probe. खोदाई [ khōdāī ] f (H.) Price or cost of digging or of sculpture or carving. खोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. (Marathi) eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu). Segment 3: Coppersmith mint, furnace, workshop (molten cast copper) loa ’fig leaf; Rebus: loh ‘(copper) metal’ kamaḍha 'ficus religiosa' (Skt.); kamaṭa = portable furnace for melting precious metals (Te.); kampaṭṭam = mint (Ta.) The unique ligatures on the 'leaf' hieroglyph may be explained as a professional designation: loha-kāra 'metalsmith'; kāruvu [Skt.] n. 'An artist, artificer. An agent'.(Telugu).

The n-tuples of commuting Hilbert space contractions are considered. We give a model of a commuting lifting of one contraction and investigate conditions under which a commuting lifting theorem holds for an n-tuple. A series of such liftings leads to an isometric dilation of the n-tuple. The method is tested on some class of triples motivated by Parrotts example. It provides also a new proof of the fact that a positive definite n-tuple has an isometric dilation.

Estudar a cidade contemporânea é um dos primeiros passos para se entender e buscar soluções cabíveis para algumas das problemáticas atuais, por isso ela vem sendo cada vez mais utilizada como objeto de estudo e percebida como uma estrutura com identidade própria. O aspecto identificado e pormenorizado neste artigo é o da fragmentação socioespacial das cidades contemporânes e como este aspecto reflete, na descontinuidade dos espaços livres públicos que constituem grande parte do tecido urbano. O objetivo deste estudo é identificar possíveis relações sistêmicas destes espaços livres urbanos por meio de exemplos reais na cidade objeto de estudo, Parapuã-SP, e analisar os benefícios que a interligação desses espaços traria na construção da paisagem contemporânea ao aproveitar um grande potencial latente, principalmente naquelas áreas em que a água se faz presente no meio urbano. Como resultado foi constatada a viabilidade da proposta apresentada, tanto por meio do estudo da morfologia e...