A standard device (so-called cult object) is shown in front of 1) young bull on over 1200 inscriptions, is also shown in front of 2) Urus; 3) Rhino. This device is an Indus Script hypertext to signify: sangaḍa 'joined parts' rebus: samgaha 'catalogue' PLUS kammata 'portable furnace' rebus: kammaṭa 'mint' PLUS the dotted circle which signifies Sindhi. dhāī f. ʻ wisp of fibres' Hindi. dhāv 'throw of dice' rebus: dhāū, dhāv 'mineral' 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. Hence 2 Composed of or relating to iron PLUS 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.Rebus: dhāvaḍa 'iron (mineral) smelter'. See the dotted circle hieroglyph on the bottom of the sacred device, sangaḍa m0352 cdef The + glyph of Sibri evidence is comparable to the large-sized 'dot', dotted circles and + glyph shown on this Mohenjo-daro seal m0352 with dotted circles repeated on 5 sides A to F. Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features. यूपेषु ग्राम्यान् पशून् तान् युञ्जति। Domestic animals are tied on the Yupas. आरोकेष्वारण्यान् धारयति। Wild animals are held in the spaces in between the Yupas. पशूनां व्यावृत्यै। To separate the animals. आग्राम्यान् पशून् लभेत् The domestic animals are 'sacrificed' (translation of Mrugendra Vinod). प्रारण्यान् सृजति। The wild are released. The expression लभेत् has to be interpreted as 'wealth-acquisition' using metal resources and the processes of working with sacred fire in fire-altars such as śyenaciti to create metalwork artifacts of utility and exchange value during the Tin-Bronze Revolution from 5th millennium BCE. अश्वस्तूपरो गोमृग इति प्रजापत्याः तान् अग्निष्ठ आलभेत 'the aśva sacred post nearest the fire for the lords of creatures is for aśva, hornless, ox-antelope'. Disagreeing with this interpretation, Mrugendra VInod notes that the gomr̥ga of Veda tradition is Urus. A brilliant insight presented by him is that the Urus is called usra in the Veda and calls is bos namadicus which is the Indian aurochs. Note: Alternative interpretation of the yajña process: “Ashva, Hornless (goat) and Gomriga (urus) are offered in toto (without any remnants). (For all the offerings, only some part is thrown in Fire. Remaining is variously used in after procedure.)” (Mrugendra Vinod) Comment: The statement about the release of all wild animals is inconsistent with the averment of 'sacrifice in toto' of the aśva, goat and urus. From the decipherment of Indus Script inscriptions, it is clear that the hieroglyphs of animals such as zebu, young bull, goat, ram are rendered rebus to signify metals such as ferrite/magnetite ore, gold, copper, iron (ferrite) ore. For example: A scorpion signifies bica 'haematite, ferrite ore'; karibha, ibha 'elephant' rebus: karba, ib 'iron'. kola 'tiger' rebus: kol 'working in iron'. meḍho 'ram' rebus: meḍ 'iron'. ranku 'antelope' rebus; ranku 'tin' rango 'buffalo' rebus: raṅga3 n. ʻ tin ʼ lex. [Cf. nāga -- 2, vaṅga -- 1]Pk. raṁga -- n. ʻ tin ʼ; P. rã̄g f., rã̄gā m. ʻ pewter, tin ʼ (← H.); Ku. rāṅ ʻ tin, solder ʼ, gng. rã̄k; N. rāṅ, rāṅo ʻ tin, solder ʼ, A. B. rāṅ; Or. rāṅga ʻ tin ʼ, rāṅgā ʻ solder, spelter ʼ, Bi. Mth. rã̄gā, OAw. rāṁga; H. rã̄g f., rã̄gā m. ʻ tin, pewter ʼ; Si. ran̆ga ʻ tin ʼ. (CDIAL 10562) 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(CDIAL 3059)rebus: karaḍa 'hard alloy'.करडा karaḍā Hard from alloy--iron, silver &38;c. (Marathi) यष्टि 'pillar, flag, staff, support' rebus: यष्टृ यष्ट्/ऋ or य्/अष्टृ, mf(ट्री A1pS3r. Sch.)n. worshipping , a worshipper RV. &c &c; यष्टि the blade of a sword (» असि-य्°). I submit that the yūpas, together with domesticated and wild animals (including snakes, cobrhoods, scorpions, ants, aquatic bird) are metaphors of a rebus rendering of the metallurgical vocabulary, as evidenced by the rebus renderings of over 8000 Indus Script inscriptions. I submit that it is an error to translate the expression labh as 'sacrifice'; the root signifies, wealth-acquisition. लभ् (cf. √ रभ्) cl.1 A1. ( Dha1tup. xxiii , 6) लभते (ep. also °ति and लम्भते ; pf. लेभ्/ , ep. also ललाभ ; aor. अलब्ध , अलप्सत Br. ; Prec. लप्सीय Pa1n2. 8-2 , 504 Sch. ; fut. लब्धा Gr.; लप्स्यते,ति Br. &c ; लभिष्यति Ka1v. ; inf. लब्धुम् MBh. ; ind.p. लब्ध्व्/आ AV. &c ; -लभ्य,-लम्भम् Br. &c ; लाभम् Pa1n2. 7-1 , 69) , to take , seize , catch ; to gain possession of , obtain , receive , conceive , get , receive (" from " abl. ; " as " acc.) , recover ib. (with गर्भम् , " to conceive an embryo " , " become pregnant " ; with पदम् , to obtain a footing); to gain the power of (doing anything) , succeed in , be permitted or allowed to (inf. or dat. e.g. लभते द्रष्टुम् , or दर्शनाय , " he is able or allowed to see ") ChUp. MBh. &c ; to possess , have Sa1h. Ma1rkP. ; to perceive , know , understand , learn , find out Katha1s. Kull. : Pass. लभ्य्/ते (ep. also °ति ; aor. अलाभि or अलम्भि , with prep. only अलम्भि ; cf. Pa1n2. 7-1 , 69Ka1s3. ) , to be taken or caught or met with or found or got or obtained Br. &c ; to be allowed or permitted (inf. sometimes with pass. sense e.g. ना*धर्मो लभ्यते कर्तुम् , " injustice ought not to be done " , cf. above ) Katha1s. ; to follow , result Sa1h. Sarvad. ; to be comprehended by (abl.) Bha1sha1p. : Caus. लम्भयति , °ते (aor. अललम्भत्) , to cause to take or receive or obtain , give , bestow (generally with two acc. ; rarely with acc. and instr. = to present with ; in Kir. ii , 55 with two acc. and instr. ; cf. Va1m. v , 2 , 10) MBh. Ka1v. &c ; to get , procure (cf. लम्भित) ; to find out , discover Mn. viii , 109 ; to cause to suffer MW. ; Desid. ल्/इप्सते (mc. also °ति TBr. लीप्सते) , to wish to seize or take or catch or obtain or receive (with acc. or gen. ; " from abl.) TBr. &c &c : Intens. लालभ्यते , लालम्भीति or लालब्धि Gr. ([Gk. λάφ-Ï ÏÎ¿Î½ , λαμβ-άνω ; Lat. labor ; Lith. la4bas , ल्/ओबिस्.]) An array of Indus Script hieroglyphs to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic) are used in Indus Script Corpora. Hieroglyph-multiplexes also signify expressions to specify 'iron or copper (metal) castings or implements'. Examples of such expressions in Santali, a Meluhha language of Indian sprachbund are as follows: .med 'copper' (Slavic languages) Hieroglyphs to signify mẽṛhẽt, meḍ ‘iron (metal)’ (Munda), med 'copper (metal)' (Slavic) Sign 1 Variants and decipherment are presented on Seal m0304 of a seated person surrounded by tiger, elephant, rhinoceros, buffalor AND 'body' Sign 1 hieroglyph. Hieroglyph: mē̃d, mēd 'body, womb, back' Ta. mēṉi body, shape, colour, beauty; mēl body. Ma. mēni body, shape, beauty, excellence; mēl body. Koḍ. me·lï body. Te. mēnuid.; mēni brilliancy, lustre; belonging to the body, bodily, personal. Kol. me·n (pl. me·nḍl) body. Nk. mēn (pl. mēnuḷ) id. Nk. (Ch.) mēn id. Pa. mēn (pl. mēnul) id. Ga. (S.) mēnu (pl. mēngil), (P.) mēn id. Go. (Tr.) mēndur (obl. mēnduḍ-), (A. Y. W. M.) mēndul, (L.)meṇḍū˘l, (SR.) meṇḍol id. (Voc. 2963). Konḍa mēndol human body. Kur. mē̃d, mēd body, womb, back. Malt. méth body. Cf. 5073 Ta.mey. (DEDR 5099) meḍ(h), meḍhī f., meḍhā ʻ post, forked stake ʼ; meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (See the rope tied to a tiger on Kalibangan terracotta cake found in a fire-altar; kola 'tiger' rebus: kol 'working in iron'; kohle 'smelters'.)

--Draviṇodāh, 'wealth-givers' of R̥gveda are Indus Script hypertexts त्रैधातवीयेष्टिः, काम्येष्टि & venerated with प्रतिमालक्षणानि in sculptural tradition --neṣṭṛ = त्वष्टृ is रत्न--धा 'wealth-giver --kārú -- , ˚uka -- m. ʻ artisan ʼ Mn. [√kr̥1]Pa. kāru -- , ˚uka -- m., Pk. kāru -- m.; A. B. kāru ʻ artist ʼ; Or. kāru ʻ artisan, servant ʼ, kāruā ʻ expert, deft ʼ; G. kāru m. ʻ artisan ʼ; Si. karuvā ʻ artist ʼ (ES 22 < kāraka -- )(CDIAL 366) Ta. karu mould, matrix; karukku engraving, carving, embossed work. Ma. karu figure, mould; karukku-paṇi embossed work; karaṭu the original of a copy. Ka. karu embossed work, bas-relief; karuv-iḍu to put bosses or raised figures, mould, model. Tu. karu, garu, karavi a mould. Te. karugu, karuvu id. Kuwi (S.) garra form, mint; ḍālugara womb (for ḍālu, see 1123).(DEDR 1280) Ka. kāru pincers, tongs. Te. kāru id. Ga. (S.3) kāru id. (< Te.)(DEDR 1473). This is an addendum to: 1. Soma yajna depicted on Bactria silvervase with Brahman and seven R̥gveda priests and artisans at work, Indus Script hieroglyphs https://tinyurl.com/y5xe2r6f 2. Indus Script Cipher is R̥gveda continuum; 1. statue of Potr with a three-metal-trefoil-sewn garment 2. Hypertext Tvaṣṭr on seal m0304 https://tinyurl.com/csdv2tj4 3. पोतृनामकस्य ऋत्विजः पात्रात् सोमं "पिबत । पोत्रात् । पोतुः संबन्धि पात्रं पोत्रम् । --सायण (RV 1.15.2) Potram 'Soma vessel, purifier's cup' https://tinyurl.com/zfje4e5b 4. Utsava bera Mari procession heralding breakthrough in कोंदण kōndaṇa setting gems in fine-gold, kã̄so 'white-bell-metal' jewellery https://tinyurl.com/4a9v46bm Utsava bera, Mari procession on a mosaic panel, Ishtar temple. That a culm of millet --खोंड [ khōṇḍa ] a variety of जोंधळा jōndhaḷā (Marathi) --is used as a flagpost is a clear indicator that the inlaid mosaic wall depiction is intended to be a composition of or narrative using Indus Script hieroglyphs to be read rebus in Meluhha, to proclaim victory over some metallurgical artifice by artisans of Meluhha (who have produced the equipment and weapons shown on the shoulders of processionists). Rebus: कोंड kōṇḍa m C A circular hedge or field-fence. 2 A circle described around a person under adjuration. 3 The circle at marbles. 4 A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. 5 Grounds under one occupancy or tenancy. i.e. a guild of artisans. khōṇḍa a variety of जोंधळा jōndhaḷā is also used as a goad by the ploughman on this Bactria silver vase narrative. A person holding a tablet may signify a seafaring merchant. Bactria silver vase. Miho Museum. ca. 3rd millennium BCE. Top register:4 pairs of 8 R̥tvij Soma yajna priests from r.: 1. Udgātṛ blowing conch proclamation of yajnena kalpantām (purification of metals, creating metal ingots kept in basket using saṃ-tṛṇṇa perforated vessels; 2. Hotṛ, with eraka 'upraised hand' rebus: eraka 'metal infusion'; 3. Adhvaryu holds a rod to sinify that he "measures the ground, builds the yajnakunda, prepares the yajna vessels, fetches wood and water, lights the fire'; 4. with neṣṭṛ = त्वष्टृ 'carpenter, metalsmith'; 5. Potṛ holds golden fleece; 6. with Brahman who recites Atharvaveda mantras; 7. Draviṇodāh, 'wealth-givers' with eraka 'upraised hand' rebus: eraka 'metal infusion': pra-°śāstṛ m. ‘director’, N. of a priest (commonly called Maitrāvaruṇa, the first assistant of the Hotṛ); and 8, agnīdh who kindles the sacred fire. Bottom register: Ploughshares: Ta. kāṟu ploughshare. Ka. kāṟu id. Te. kaṟṟu, (VPK) kāru id. Go. (SR.) nāngel kareng plough's point (Voc. 537); (LuS.) kara plough. Kuwi (Ṭ.) karu ploughshare; (Mah.) kārru plough. Rebus: kāru m. (fr. √2. kṛ), one who sings or praises, a poet, RV. ; AV.; kāru mf. (fr. √1. kṛ), a maker, doer, artisan, mechanic, Mn. ; Yājñ.; kāru m. ‘architect of the gods’, N. of Viśva-karman; art, science. Pair of ploughmen; who carry the खोंड [ khōṇḍa ] a variety of जोंधळा jōndhaḷā, culm millet rebus: kōṇḍa 'artisan guild'; pairs of bullocksNahālī baddī and poss. IA. forms like Sik. pāḍō ʻ bull; L. baledā, mult. baled m. ʻ herd of bullocks ʼ (→ S. ḇaledo m.); P. bald, baldh, balhd m. ʻ ox ʼ, baled, baledā m. ʻ herd of oxen ʼ, ludh. bahld, balēd m. ʻ ox ʼ; Ku. balad m. ʻ ox ʼ, gng. bald, N. (Tarai) barad, A. balad(h), B. balad, Or. baḷada, Bi. barad(h), Mth. barad (hyper -- hindiism baṛad), Bhoj. baradh, Aw.lakh. bardhu, H. balad, barad(h), bardhā m. (whence baladnā ʻ to bull a cow ʼ), G. baḷad m. m.WPah.kc. bɔḷəd m.,., kṭg. bɔḷd m. (LNH 30 bŏḷd), J. bald m., Garh. baḷda ʻ bullock ʼ (CDIAL 9176) balivardin m. ʻ *oxherd ʼ (nom. prop. Kāś.). [bali- várda -- ]P. baledī m. ʻ oxherd ʼ; Ku. baldiyā ʻ cattle -- dealer ʼ; H. baredī m. ʻ herdsman ʼ(CDIAL 9177) A. bhatarā ʻ uncastrated bull ʼ (CDIAL 9402) Rebus: baran, bharata 'mixed alloys' (5 copper, 4 zinc and 1 tin); one artisan holds a tablet, a seafaring merchant, कारणी kāraṇī, कारणीक kāraṇīka a (कारण S) That causes, conducts, carries on, manages. Applied to the prime minister of a state, the supercargo of a ship. Potr̥ m0304 seal. Triśiras Tvaṣṭā ṭhaṭṭhāra 'brass-worker (Pkt.) Hindu tradition venerates writing, considers Gaṇeśa (who is also called tridhātu; whose pratimā is a hypertext composition of human body and elphant trunk as face/head) the scribe of Mahābhārata. Angkor wat sculptural frieze showing Vyāsa and Gaṇeśa. JIHOṆIKA, a ruler in northwestern India known to us from his coins and an inscription. On the obverse of his bilingual coins, his name is written in corrupt Greek legend as Zeiōnisēs. On the reverse, written in clear Kharoshthi letters he appears as the satrap of Chukhsa and son of the satrap Maṇigula. The inscription engraved on a silver vase found by John Marshall at Sirkap (Taxila, Pakistan) in 1926/7 and published by S. Konow (1929, p. 82) also qualifies him as Jihoṇika the Kshatrapa of Chukhsa, the son of Maṇigula, the brother of the Great King. Though both epigraphic and numismatic evidence points to his paternal ancestry, historians have different views regarding his dynastic affiliation. Though he was considered in the past as a satrap of the Kushans, Indo-Parthians, or Indo-Scythians (qq.v.), he may most probably belong to the clan of Kshaharatas. The Chukhsa satrapy is also known through the Taxila copper scroll of Patika, where Patika’s father Liaka Kusuluko is referred as the Kshaharata satrap of Chukhsa. Jihoṇika seems to have succeeded Patika in Chukhsa. Although, the Taxila silver vase inscription refers to him as the satrap of Chukhsa, scholars are not unanimous when designating the precise location of the area in question. Jihoṇika’s coins are not attested in the major discoveries made in the Paropamisadae (Kabul-Begram), and very few are found in the Punjab (Peshawar and Taxila). On the contrary, most of his coins are reported from Kashmir and the eastern part of Hazara. Furthermore, designs of his copper coins are closely linked with those of Azes II depicting bull and lion usually found in the Jammu-Kashmir area. Likewise, there are many reasons today to place Jihoṇika’s kingdom in Kashmir, but not in Taxila or Pushkalavati (Peshawar) as believed by many historians in the past. The precise chronology of Jihoṇika’s reign is also controversial. Unfortunately, the epigraphic evidence is not of much use in this respect. The inscription engraved on the neck of the silver vase from Taxila bears a numeral 191. This was interpreted as a date in the so-called Old Saka era, the base year of which was proposed to be 155 B.C.E. Thus the reign of Jihoṇika was placed around 36 C.E. This date would tally with the chronological frame established for Jihoṇika on numismatic evidence (see below). But the problem remains far from being solved. J. Cribb (1999, pp. 196-97), followed by R. C. Senior (2001, pp. 96), categorically refuses to accept this numeral as a date, and they argue that it represents the weight of the vase. Richard Salomon (2005, pp. 374-75) does not exclude this possibility; however, he more cautiously acknowledges that this hypothesis cannot be tested until the weight of the silver vase is determined. Even if the numeral 191 represents a date, it is impossible to relate it to an era that would be accepted by all the scholars.

--padapāṭha, anvaya of रत्नऽधातमम् अग्निः (RV 1.1) is mirrored in over 8000 Indus Script Corpora inscriptions for jangad 'invoiced on approval' acccounting --Yajna invokes Agni who is the giver of gems, jewels (treasures); yajna produces Yajna purifies gold, zinc, iron, copper, lead, tin -- यज्ञेन कल्पन्ताम्--शुक्‍लयजुर्वेदः१८.१३ वसोर्धारादि मन्त्राः अश्मा च मे मृत्तिका च मे गिरयश् च मे पर्वताश् च मे सिकताश् च मे वनस्पतयश् च मेहिरण्यं च मे अयस् च मे श्यामं च मे लोहं च मे सीसं च मे त्रपु च मे यज्ञेन कल्पन्ताम् ॥-- शुक्‍लयजुर्वेदः/अध्यायः १८ वसोर्धारादि मन्त्राः १३ Rocks, clay, earth, hills, mountains, sandy soil, herbals, gold, iron, alloy, copper, lead, tin are purified by yajna. पदपाठ पु० ६ त० । वेदपदविभाजकग्रन्थभेदे “उद्गीथरम्य पाठवताञ्च साम्नाम्” देवीमा० ।--वाचस्पत्यम् pāṭha equals dhātu-pāṭha-; a particular method of reciting the text of the veda- (of which there are 5,viz.saṃhitā-, pada-, krama-, jaṭā- and ghana-) anvaya the natural order or connection of words in a sentence, syntax, construing padapāṭha, anvaya are two preliminary steps in analysing a R̥ca which is rendered in chandas, metrical invocation of prayers. ऋग्वेदः - मण्डल १ सूक्तं १.१, १,२ मधुच्छन्दा वैश्वामित्रः दे. अग्निः। गायत्री RV 1.1 and RV 1.2 are rendered in गायत्री metre. ॐ अ॒ग्निमी॑ळे पु॒रोहि॑तं य॒ज्ञस्य॓ दे॒वमृ॒त्विज॑म् । होता॑रं रत्न॒धात॑मम् ॥१॥ अग्निः पूर्वेभिरृषिभिरीड्यो नूतनैरुत । स देवाँ एह वक्षति ॥२॥ padapāṭha of सायणभाष्यम् अग्निम् । ईळे । पुरःऽहितम् । यज्ञस्य । देवम् । ऋत्विजम् । होतारम् । रत्नऽधातमम् ॥१ अग्निः । पूर्वेभिः । ऋषिऽभिः । ईड्यः । नूतनैः । उत । सः । देवान् । आ । इह । वक्षति ॥२ Anvaya and Meaning यज्ञस्य = of Yajna; पुरःऽहितम् = Leader; ऋत्विजम् = Performer of yajna appropriate to the seasons; होतारम् = The invoker (to the divinities); रत्नऽधातमम् = Giver of superior wealth; अग्निम् = Agni; देवम् = To the Divinity; (aham = I); ईळे = Praise. Meaning. I praise the leader of Yajna, the performer of Yajna, the invoker of the divinities, the giver of superior wealth, the divinity Agni. Anvaya and Meaning पूर्वेभिः = The ancient; उत = And; नूतनैः = Modern; ऋषिऽभिः = By the Rishis; ईड्यः = Praised; सः = That; अग्निः = By Agni; देवान् = To the Divinities; इह = Here; आ वक्षति = May fetch. Meaning. May that Agni, praised by the ancient and modern Rishis, fetch the divinities here. सायण explains the use of the key expression रत्नऽधातमम् in RV 1.1 in the context of wealth creation: रत्नानि दधातीति विग्रहः । समासत्वादन्तोदात्तो रत्नधाशब्दः । This explanation is consistent with a hieroglyph on Shalamaneser III Black Obelisk. The hieroglyph is a monkey dressed as a woman and offered as a tribute to Shalamaneser III by Musri people (Kurds in northern Iraq). This is an Indus Script hieroglyph read rebus in Meluhha: रत्नी ratnī 'monkey dressed as a woman' Rebus: ratnin 'treasure, gems, jewels'. Hence, the monkey dressed as a woman (cipher text) read ratnI is similar sounding with ratnin (plain text) which makes the gems and jewels a tribute to the King Shalamaneser from Musri śã̄gal, śã̄gaḍ ʻchainʼ (WPah.) Rebus: sanghāṭa ‘accumulation, collection’ संगर sangar 'trade sã̄go ʻcaravanʼ. Thus, the meaningof the hieroglyph-hypertext is a trade caravan with collection of gems, jewels. Kalibangan-79 tablet This tablet inscription is a good example of padapāṭha, anvaya type compositions to create a syntax of a sentence. On Sign 418 shown on one side of the tablet, at least five hieroglyphs are catalogued together. On the obverse of the tablet is an X hieroglyph with a crossed horizontal line. padapāṭha (hieroglyphs on the Kalibangan 79 inscription), Anvaya and meaning are detailed below: Kalibangan Terracotta object K-79 with incised hieroglyphs rawing copy of the K-79 tablet Kalibangan Terracotta object K-79 with incised hieroglyphs At first glance, the pictograph on the left may seem like a simple person carrying water with a rake in their hands. However, there is more information that can be found in this symbol. If you break down the symbol into the different parts listed below, you can tell that in reality it is a catalogue of metalwork. This could point to his occupation and his purpose as an accountant and trader of different alloys. This type of depiction can be seen in almost all 8000 inscriptions of Indus Script. It is founded in "rebus", which means similar sounding words or homophones, indicated by each of the symbols. To understand the homophones, one must have a good understanding of the vocabulary at the time to see what is truly being communicated. The composition is similar to modern day Hypertext Transfer Protocol (HTTP), due to the communication of a large amount of information in a compact form. The catalogue explains smelting, creating alloys, documenting the metals, constructing metal equipment, and making ingots of iron ore, as detailed by the individual parts of the complex pictograph. \ kuṭi ‘water-carrier’ (Telugu); Rebus: kuṭhi ‘smelter furnace’ (Santali) aya 'fish' rebus: ayas 'alloy metal' 'rim-of-jar'कर्णक m. (ifc. f(आ).) a prominence or handle or projection on the side or sides (of a vessel &c ) , a tendril S3Br. Ka1tyS3r. Rebus: कर्णिक having a helm; a steersman; m. pl. N. of a people VP. (Monier-Williams) rebus:karṇī 'supercargo', 'engraver' (Marathi) .SPLUS hieroglyph: kaṇḍa 'pot' Rebus:1. kaṇḍ ‘a fire-altar’ kaṇḍ ‘furnace, fire-altar, consecrated fire’. (CDIAL 3790) 2. khaṇḍā ‘tools, pots and pans and metal-ware’. That is, metalware cargo accounted for shipment by कर्णिक dāṭu 'cross' rebus: dhatu 'mineral ore' gaṇḍa 'four' rebus khaṇḍa 'equipment' maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt,med 'iron' (Mu.Ho.) med 'copper' (Slavic) Duplicated Sign 171 adds: dula 'pair' rebus: dul 'metal casting'. Thus duplicated Sign 171 reads rebus: iron, copper metal castings. Pictograph on the right is an X with attached ingots This is also a composition of the X with ingots. The X means a cross with the four ingots which are made of mineral ores. This is based on our understanding of /dhatu/ 'mineral ore' which sounds similar to /dāṭu/ 'cross'. The bar in the middle with the two ingots is a pictorial representation of the processes to create metal products. The first is metal moulding where you pour molten metal into stone bowls to create ingots. The second is Cire Perdue method of lost wax casting, where an artisan pours molten metal into a layer of wax that ultimately melts away leaving behind the metal image of the structure, called metal castings. This is another example of a HTTP like composition. X dāṭu 'cross' rebus: dhatu 'mineral ore' gaṇḍa 'four' rebus 'khaṇḍa 'equipment' gaṇḍa 'four' rebus 'khaṇḍa 'equipment' PLUS dula 'two' rebus: dul 'metal casting'. Thus, with the six Signs 372 of bun ingot type ligatures, the message is that 1) ore ingots for equipment and 2) ore metalcastings are signified. Sign 342 is the key hieroglyph which provides the syntax in context. See: Analysis of wealth account ledgers of Guilds of Sarasvati Civilization artisans (K-79 tablet; Harappa Steatite seal) https://tinyurl.com/taq38u4 Indus Script solves the mysteries of stupa, circular platforms, archaeology identifies in Mohenjo-daro karaṇaśāle 'office of writers' https://tinyurl.com/s6qq46m -- karaṇaśāle is a plaintext which signifies 'office of writers'. This expression is signified by the hieroglyphs/hypertexts Signs 343, 344 Sign 343 kanda kanka 'rim of jar' कार्णिक 'relating to the ear' rebus: kanda kanka 'fire-trench account, karṇika 'scribe, account' karṇī 'supercargo' karaṇa 'scribe' ligatured with: 1. single stroke: खांडा [khāṇḍā] m a jag, notch, or indentation (as upon the edge of a tool' rebus khaṇḍā 'equipment'; 2. splinter, two strokes: sal 'splinter' rebus: sal 'workshop'. Sign 343 may be a variant of Sign 344. Thus, Sign 343 signifies karaṇaśāle 'office of scribes'. A large building of Mohenjo-daro and a two-storeyed building in HR Area A1 may signify such karaṇaśāle 'office of scribes'. Based on these deciphered Rebus Meluhha readings, the anvaya and meaning of the Kalibangan 79 inscription can be summarised: Cargo of shipment catalogued: 1) ore ingots for equipment and 2) ore metalcastings;alloy metal'smelter furnace;iron, copper metal castings;mineral ore khaṇḍa 'equipment'; metalware cargo accounted for shipment by कर्णिक 'accountant scribe'. Mohenjodaro m1177 seal inscription m1177 Mohenjo-daro seal. The horns of the composite animal combine two hieroglyph elementss: 1.Spiny horn signifying the single horn of a 'young bull also called unicorn'; and 2.Raised, curved horns signifying a zebu. Other hieroglyphs are: scarves on the neck; trunk of an elephant; tail shaped like an upraised cobra hood.The body is that of a bovine (perhaps, young bull). The hind leg of the compiosition is clearly marked to highlight the thigh and hind legs and paws of a feline. Mohenjodaro m1177 inscription has also been deciphered to summarise the anvaya and meaning of the hieroglyph compositions. The key expression is the joining together of parts of hieroglyphs and parts of animals to create a hypetext. This expression is: --sāṅgaḍa सांगड 'joining parts together' rebus sãgaḍ 'catamaran' saṁgah 'collection' of metalwork --sã̄gāḍā m. ʻ frame of a building ʼ (M.)(CDIAL 12859) سنګر sangar, s.m. (2nd) A breastwork of stones, etc., erected to close a pass or road; lines, entrenchments.(Pashto) જંગડિયો jangaḍiyo ‘military guard who accompanies treasure into the treasury’ (Gujarati) jangaḍ 'wealth in treasury' "Goods sent on approval or 'on sale or return'. jangaḍ system is thus invoicing on approval basis. There is a remarkable statement in Tolkappiyam an ancient text of Sangam period: பொய்யும் வழுவும் தோன்றியபின்னர் அய்யர் யாத்தனர் கரணம் என்ப (தொல் காப்பியம் பொருள் அதிகாரம்) When falsehood and deception came into vogue, the Brahmin scholars codified the accounting system.

I suggest that are many hieroglyphs constituting a hypertext on this male statue of Mohenjo-daro. This monograph demonstrates that the statue signifies Potr̥ 'Purifier priest' in R̥gveda tradition of performance of yajña. The rationale, validation for linking with R̥gveda tradition is provided by the Binjor discovery in 2015 of a yajña kuṇḍa together with aṣṭāśri yūpa which is consistent with the texts of R̥gveda and Śatapatha Brāhmaṇa. Together with the discovery of what tantamounts to a yūpa inscription is the discovery of Indus Script seals with the readings of wealth accounting ledgers of metalwork.aṣṭāśri yūpa is a ketu केतु sign , mark , ensign , flag , banner (R̥gveda) -- a proclamation of the performance of a Soma Samsthā yajña. Details have been provided in the 1035 monographs at https://independent.academia.edu/SriniKalyanaraman and in Epigraphia Indus Script -- Hypertexts & Meanings (2017) The hieroglyphs are: 1) Dotted circle (circular inlay ornament) looks like a 2) bead is worn like a 3) fillet tied to a 4) String; the fillet bands fall like a 5) scarf 6) shawl cloth worn with right-shoulder bare is decorated with 7) one, two, three dotted circles With the following hieroglyph components read rebus in Meluhha, the hypertext is: Component 1: dhā 'strand' + vaṭa 'string' rebus: vatta n. ʻduty, officeʼ(Pali) rebus: धावडी [ dhāvaḍī ] a Relating to the class धावड, 'smelter'. (Semantic determinative: dhāṭ(h)u 'scarf' (WPah.) rebus: dhāṭu 'mineral ore') Component 2: paṭṭa m. ʻfillet', paḍa 'cloth' rebus: phaḍā 'metals manufactory' Thus, together, the Indus Script hypertext of the Priest statue reads: Potr̥ dhāvaḍa phaḍā 'Purifier priest, smelter, metals manufactory'. The process of purification in Agni makes the entire process sacred, divine -- an act of daivam, 'divinity'. Since one, two, three dotted circles adorn the uttarīyam, 'upper garment' of the Priest is a smelter of three types of mineral ores, tri-dhātu 'three strands' rebus: tri-dhātu 'three minerals'; the minerals are: goṭa 'laterite, ferrite ore', bicha 'haematite, ferrite ore', poḷa 'magnetite, ferriteore'. Three hieroglyphs of Indus Script cipher which signify these minerals are: goṭa 'round pebble, stone', bica 'scorpion', poḷa 'zebu, bos indicus'. What is the priest called in Meluhha? The answer is provided by the R̥gveda tradition of yajña. Hieroglyph: potta 'cloth' rebus: Potr̥ पोतृ 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. ) (R̥g Veda Brāhmaṇa, Śrautasūtra.हरिवंश). पोतन a. 1 Sacred, holy. -2 Purifying. The title of Pallavakings may link with the sacred purification process: போத்தரசர் pōttaracar , n. prob. போத்து¹ +. A title of the Pallava kings; பல்லவர் பட்டப்பெயர்களி லொன்று. மயேந்திரப் போத்தரசர் (S. I. I. ii, 341.) I suggest that that Potr̥ the Purifier priest is the dhā̆vaḍ 'iron-smelter' who purifies (smelts) the ores to produce wealth of metal. Agni is the purifying medium. 1.Hieroglyph: A. dotted circle: dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜; B. Throw of dice: dāˊtu n. ʻ share ʼ RV. [Cf. śatádātu -- , sahásradātu -- ʻ hun- dredfold, thousandfold ʼ: Pers. dāv ʻ stroke, move in a game ʼ prob. ← IA. -- √dō] K. dāv m. ʻ turn, opportunity, throw in dice ʼ; S. ḍ̠ã̄u m. ʻ mode ʼ; L. dā m. ʻ direction ʼ, (Ju.) ḍ̠ā, ḍ̠ã̄ m. ʻ way, manner ʼ; P. dāu m. ʻ ambush ʼ; Ku. dã̄w ʻ turn, opportunity, bet, throw in dice ʼ, N. dāu; B. dāu, dã̄u ʻ turn, opportunity ʼ; Or. dāu, dāũ ʻ opportunity, revenge ʼ; Mth. dāu ʻ trick (in wrestling, &c.) ʼ; OAw. dāu m. ʻ opportunity, throw in dice ʼ; H. dāū, dã̄w m. ʻ turn ʼ; G.dāv m. ʻ turn, throw ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ revenge ʼ. -- NIA. forms with nasalization (or all NIA. forms) poss. < dāmán -- 2 m. ʻ gift ʼ RV., cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya-- m. ʻ playing of dice ʼ Naiṣ.(CDIAL 6258) தாயம் tāyam, n. < dāya. A fall of the dice; கவறுருட்ட விழும் விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq. rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (CDIAL 6773) Semantic determinative. 2. Hieroglyph bead: *pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, puti, pũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. potm. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.(CDIAL 8403) rebus: Potr̥ 'Purifier priest' (R̥gveda) Semantic determinative) 3. Hieroglyph: a)Fillet: paṭṭa2 m. ʻ cloth, woven silk ʼ Kāv., ʻ bandage, fillet turban, diadem ʼ MBh. [Prob. like paṭa -- and *phēṭṭa -- 1 from non -- Aryan source, of which *patta -- in Gy. and *patra-- in Sh. may represent aryanization of paṭṭa -- . Not < páttra -- nor, with P. Tedesco Archaeologica Orientalia in Memoriam Ernst Herzfeld 222, < *pr̥ṣṭa<-> ʻ woven ʼ, while an assumed borrowing from IA. in Bur. ph*llto -- čiṅ ʻ puttees ʼ is too flimsy a basis for *palta -- (~ Eng. fold, &c.) as the source NTS xiii 93] Pa. paṭṭa -- m. ʻ woven silk, fine cloth, cotton cloth, turban ʼ, °ṭaka -- ʻ made of a strip of cloth ʼ, n. ʻ bandage, girdle ʼ, °ṭikā -- f.; NiDoc. paṭa ʻ roll of silk ʼ Lüders Textilien 24; Pk. paṭṭa -- m. ʻ cloth, clothes, turban ʼ; Paš. paṭā ʻ strip of skin ʼ, ar. weg. paṭīˊ ʻ belt ʼ; Kal.rumb. pāˊṭi ʻ scarf ʼ; Phal. paṭṭaṛa ʻ bark ʼ; K. paṭh, dat. °ṭas m. ʻ long strip of cloth from loom ʼ, poṭu m. ʻ woollen cloth ʼ, pôṭu m. ʻ silk, silk cloth ʼ (← Ind.?); S. paṭū m. ʻ silk ʼ, paṭū̃ m. ʻ a kind of woollen cloth ʼ, paṭo m. ʻ band of cloth ʼ, °ṭī f. ʻ bandage, fillet ʼ; L. paṭṭ m. ʻ silk ʼ, awāṇ. paṭṭī f. ʻ woollen cloth ʼ; P. paṭṭ m. ʻ silk ʼ, paṭṭī f. ʻ coarse woollen cloth, bandage ʼ; WPah.bhal. peṭṭu m. sg. and pl. ʻ woman's woollen gown ʼ; Ku. pāṭ ʻ silk ʼ; N. pāṭ ʻ flax, hemp ʼ; A. B. pāṭ ʻ silk ʼ (B. also ʻ jute ʼ); Or. pāṭa ʻ silk, jute ʼ, paṭā ʻ red silk cloth, sheet, scarf ʼ, (Bastar) pāṭā ʻ loincloth ʼ; Bhoj. paṭuā ʻ jute ʼ; OAw. pāṭa m. ʻ silk cloth ʼ; H. paṭ m. ʻ cloth, turban ʼ, paṭṭū m. ʻ coarse woollen cloth ʼ, paṭṭī f. ʻ strip of cloth ʼ, paṭkā m. ʻ loincloth ʼ; G. pāṭ m. ʻ strip of cloth ʼ, °ṭɔ m. ʻ bandage ʼ, °ṭī f. ʻ tape ʼ; Ko. pāṭṭo ʻ strap ʼ; Si. paṭa ʻ silk, fine cloth ʼ, paṭiya ʻ ribbon, girdle, cloth screen round a tent ʼ. -- Gy. rum. pato ʻ clothing ʼ, gr. patavo ʻ napkin ʼ, wel. patavō ʻ sock ʼ, germ. phār ʻ silk, taffeta ʼ; Sh.koh. gur. pāc̣ṷ m. ʻ cloth ʼ, koh. poc̣e ʻ clothes ʼ.*paṭṭakara -- , *paṭṭadukūla -- , *paṭṭapati -- , paṭṭaraṅga -- , paṭṭarājñī -- , *paṭṭavaya -- ; *niṣpaṭṭa -- ; *antarapaṭṭa -- , *andhapaṭṭa -- , *kakṣapaṭṭa -- , *karpaṭapaṭṭikā -- , *ghumbapaṭṭa -- , carmapaṭṭa -- , *dupaṭṭikā -- , *paggapaṭṭa -- , *paścapaṭṭa -- , *laṅgapaṭṭa -- , *vasanapaṭṭa -- , śīrṣapaṭṭaka -- .Addenda: paṭṭa -- 2: WPah.poet. pakṭe f. ʻ woman's woollen gown ʼ (metath. of *paṭke with -- akka -- ); Md. fořā ʻ cloth or Sinhalese sarong ʼ, fařu(v)i ʻ silk ʼ, fař ʻ strip, chain ʼ, fař jehum ʻ wrapping ʼ (jehum verbal noun of jahanī ʻ strikes ʼ).(CDIAL 7700) rebus: phaḍā 'metals manufactory' (Semantic determinative)

 त्वष्टृ, a ऋभु R̥bhu-s 'artisans' who signify wealth creation in a Rāṣṭram This monograph demonstrates that Varāha pratimā is a scuptural metaphor by a śilpin of Indus Script Hypertexts. The central theme of the Varāha pratimā is wealth creation using terrestrial resources. battuḍu, vāḍhī, '5 artificers, merchant' as rebus renderings of Varāha, baḍhia 'a castrated boar, a hog' (Santali) are the artisans and seafaring merchants who created the wealth of a Rāṣṭram. Varāha pratimā is a kole.l 'temple' because the metaphor for a temple is a workshop of a smith.: kole.l 'smithy, forge' of the type shown in the background of Porus-Alexander painting of Ranchi Institute of Steel Authority of India, is rebus: kole.l 'temple' (Kota language). Porus presents an ukku, utsa 'wootz' sword to Alexander On a Varāha pratimā, a register records the Indus Script hieroglyphs of svastika, elephant, zebu. sattuvu 'svastika' rebus: sattuvu 'pewter, zinc'; karibha, ibha 'elephant' rebus: karba, ib 'iron'; poḷa 'zebu' rebus: poḷa 'magnetite, ferrite ore'. The sword presented by Porus to Alexander is made of pola and the steel used is called polad.(signified by hieroglyph poladu, 'black drongo' bird). The breath-taking varieties of etyma with an array of variant pronunciations, speech forms, which signify Varāha, 'boar' are matched by one central theme: wealth exemplified by the abiding semantics of metrics and measure of wealth, a gold coin: వరహా varahā or వరా varahā. [from Skt. వరాహము.] n. The gold coin bearing the impression of a boar (వరాహము.) and termed a pagoda. equal to 3 1/2 rupees. కరుకువరహా a coin equal to four rupees. కంఠీరవరాయ వరహాలు Kanterai pagodas, 105 of which are equal to rupees 305-7-4. The weight called వరహాయెత్తు is equal to 52.56. grains avoirdupois. తొమ్మిదిచిన్నములయెత్తు బంగారపుముద్రిక. Gold coins of Kalyani Chalukya-s (9th-10th cent.) called Varāha or Pagoda Association with metalwork artificers is examplified by the signifiers of Varāha on bronze axes. Shaft-hole axe head with bird-headed demon, boar, and dragon; Met Museum. Silver, gold foil; 15 cm. long; accession no. 1982.5 Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex. British Museum No.123268 Male Nubian ibex (Capra ibex). Markhor (Capra falconeri) Punjabi. mẽḍhā m. 'markhor'.(CDIAL 10310) miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ(Tor.) Rebus: mẽḍh 'iron' (Mu.) meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.) med 'copper' (Slavic languages) PLUS kola 'tiger' rebus: kol 'working in iron' PLUS See: YajñaVarāha, Indus Script hypertexts baḍhia, barāha, rebus baḍhi, bāṛaï ' worker in wood and iron’ https://tinyurl.com/y9y2ubaw Varāha pratimā is a temple of Rāṣṭrī, samgamanī vasūnām 'accumulator, mover of wealth', Veda Sarasvatī, is a metaphor of a nadī, 'river', a metaphor of Vāk devi, 'divinity of speech'. This Sarasvatī is venerated in the zoomorphic, anthropomorphic temple called Varāha pratimā. The speaking human repesentation in anthropomorphic metaphor is Devi Sarasvatī. Varāha pratimā itself constitutes a temple. On the snout, चषालः caṣāla Varāha's snout, is shown Devi Sarasvatī; closeby is bhūĩ 'earth' as bhudevi Rebus: bhũ 'wheat chaff' as annam in smelting to obtain अमृत, 'Soma juice', performing Vajapeya Soma Yaga. चषालः caṣāla is wheat-chaff ring atop the Yupa Skambha to infuse carbon element into the molten metal of the fire-altar, furnace, to harden the ayas, alloymetal. Devi Sarasvatī stands on the tongue of Varāha pratimā, Eran. Vākdevi, speech divinity. Devi Sarasvatī shown with vīṇā on the चषालः caṣāla, 'snout' of Varāha pratimā. वीणा f. (of doubtful derivation) the वीणा or Indian lute (an instrument of the guitar kind , supposed to have been invented by नारद q.v. , usually having seven wires or strings raised upon nineteen frets or supports fixed on a long rounded board , towards the ends of which are two large gourds ; its compass is said to be two octaves , but it has many varieties according to the number of strings &c ) (तैत्तिरीय-संहिता, शतपथ-ब्राह्मण) 1. phaḍā 'serpent hood' rebus: फडा phaḍā 'metals, wood manufactory' పట్టడ paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు. 2. వడ్రంగి, వడ్లంగి, వడ్లవాడు vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. బత్తుడు battuḍu. n. A worshipper. భక్తుడు. The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. కడుపుబత్తుడు one who makes a god of his belly. L. xvi. 230. బత్తి batti The caste title of all the five castes of artificers as వడ్లబత్తుడు a carpenter. பஞ்சகம்மாளர் pañca-kammāḷar , n. < pañcantaṭṭāṉ, kaṉṉāṉ, ciṟpaṉ, taccaṉ, kollaṉ; தட்டான், கன்னான், சிற்பன், தச்சன் கொல்லன் என்ற ஐவகைப் பட்ட கம்மாளர். (சங். அக.) 3. శిల్పము śilpamu ṣilpamu. [Skt.] n. An art, any manual or mechanical art. చిత్తరువు వ్రాయడము మొదలైనపని. శిల్పి or శిల్పకారుడు ṣilpi. n. An artist, artisan, artificer, mechanic, handicraftsman. పనివాడు. A painter, ముచ్చి. A carpenter, వడ్లంగి. A weaver, సాలెవాడు. (Usually) a stonecutter, a sculptor, కాసెవాడు. శిల్పిశాస్త్రము ṣilpi-ṣāstramu. n. A mechanical science; the science of Architecture. చిత్రాదికర్మలను గురించిన విధానము. Varāha is Indus Script Hypertext, signifies wealth-creation by artisans/seafaringmerchants, signified as R̥gveda temple of divinities & scholars. The Varāha pratimā compare with Dudhai (Chandela) temple which is a celebration of merchants, in Baniya ki Barat temple complex. The hypertexts of the Varāha pratimā signify a metals/carpentry manufactory, trade of a carpenter working in iron and wood, an artist, an artisan: baḍhi, bāṛaï 'worker in wood and iron' (Santali) baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala). It is a celebration of ऋभु R̥bhu, 'wealth, artisans' ऋभु mfn. ( √रभ्) , clever , skilful , inventive , prudent (said of इन्द्र , अग्नि , and the आदित्यs RV. ; also of property or wealth RV. iv , 37 , 5 ; viii , 93 , 34 ; of an arrow AV. i , 2 , 3); m. an artist , one who works in iron , a smith , builder (of carriages &c ) , N. of three semi-divine beings (ऋभु , वाज , and विभ्वन् , the name of the first being applied to all of them ; thought by some to represent the three seasons of the year [Ludwig RV. vol.iii , p.187] , and celebrated for their skill as artists ; they are supposed to dwell in the solar sphere , and are the artists who formed the horses of इन्द्र , the carriage of the अश्विन्s , and the miraculous cow of बृहस्पति ; they made their parents young , and performed other wonderful works [Sv-apas] ; they are supposed to take their ease and remain idle for twelve days [the twelve intercalary days of the winter solstice] every year in the house of the Sun [Agohya] ; after which they recommence working ; when the gods heard of their skill , they sent अग्नि to them with the one cup of their rival त्वष्टृ , the artificer of the gods , bidding the ऋभुs construct four cups from it ; when they had successfully executed this task , the gods received the ऋभुs amongst themselves and allowed them to partake of their sacrifices &c ; cf. Kaegi RV. p.53 f.) RV. AV. &c; m. they appear generally as accompanying इन्द्र , especially at the evening sacrifice. Cognate words are: Lat. labor ; Goth. arb-aiths ; Slav. rab-u8. See: YajñaVarāha, Indus Script hypertexts baḍhia, barāha, rebus baḍhi, bāṛaï ' worker in wood and iron’ https://tinyurl.com/y9y2ubaw The stump on the neck of the boar signifies kolā rebus: kol 'working in iron'. The semantics are reinforced by the two personalised treasures (padmanidhi and śaṅskhanidi) set below the boar’s belly, whereas Brahmā sits beside the cakra, with a devotee drinking from his large sacrificial spoon.

This monograph is a continuation of "Tridhātu as Gaṇeśa, Tridhātu on Indus Script metalwork for crucible steel, ādhyātmikā metaphor pr̥thvyaptejorūpadhātu (R̥gveda)" Presented in http://tinyurl.com/kptlbz3 to evidence the Veda culture continuum in Sarasvati-Sindhu civilization. Meluhha Indus Script cipher signifiers are hieroglyphs which build up a hypertext to render artha, 'purpose, business, meaning'. This signification is achieved using Meluhha words and rebus expressions. A good example of a hypertext is the 'priest' statue discovered in Mohenjo-daro. This monograph demonstrates that the hieroglyph/hypertext expressions on the statuette signify in Meluhha Indus Script cipher (mlecchita vikalpa), the words: Potr̥ 'purifier priest'; dhatu 'mineral ores’; and dhāvaḍ 'smelter'. These hypertexts sculpted on the statuette of 'priest' of Mohenjo-daro are elucidated. The hypertext expression of the statue is composed of the following hieroglyphs: 1. A dotted circle on a fillet worn as a strand on the forehead; 2. a shawl worn leaving right-shoulder bare; 3. the shawl is decorated with trefoil hieroglyphs (combination of three dotted circle hieroglyphs). Each of these hypertexts is a Meluhha cipher expression related to smelting work, metalwork. The uttarIyam worn by the Priest is potta -- , °taga -- , °tia -- n. ʻ cotton cloth ʼ (Prakrtam) potti 'cloth' (Kannada) Rebus: Potr̥, पोतृ 'purifier' Priest (Rigveda). போத்தி pōtti, n. < போற்றி. 1. Grandfather; பாட்டன். Tinn. 2. Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன். पोतदार (p. 303) pōtadāra m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. (Marathi) Another word (Meluhha) for the shawl as cloth worn as uttarIyam is: *dhaṭa2, dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465] Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ. *dhaṭavastra -- .Addenda: *dhaṭa -- 2. 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105). This yields the rebus word: dhatu 'mineral ore'. Thus, read together with the dotted circle fillets worn on the forehead and on the right shoulder, the functions of this person in the guils is to work with dhatu, 'mineral ores' and to smelt them: dhāvaḍ 'smelter'. R̥gveda tradition lists a number of functionaries engaged in a yajna. The 16 priests include a priest termed as Potr̥, 'purifier'. 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. (Monier-Williams). Other functionaries in the yajna are: नेष्टृ [p= 569,3] m. (prob. fr. √ नी aor. stem नेष् ; but cf. Pa1n2. 3-2 , 135 Va1rtt. 2 &c ) one of the chief officiating priests at a सोम sacrifice , he who leads forward the wife of the sacrificer and prepares the सुरा (त्वष्टृ so called RV. i , 15 , 3) RV. Br. S3rS. &c; होतृ [p= 1306,1] m. (fr. √1. हु) an offerer of an oblation or burnt-offering (with fire) , sacrificer , priest , (esp.) a priest who at a sacrifice invokes the gods or recites the ऋग्-वेद , a ऋग्-वेद priest (one of the 4 kinds of officiating priest » ऋत्विज् , p.224; properly the होतृ priest has 3 assistants , sometimes called पुरुषs , viz. the मैत्रा-वरुण , अच्छा-वाक , and ग्रावस्तुत् ; to these are sometimes added three others , the ब्राह्मणाच्छंसिन् , अग्नीध्र or अग्नीध् , and पोतृ , though these last are properly assigned to the Brahman priest ; sometimes the नेष्टृ is substituted for the ग्राव-स्तुत्) RV. &c; ऋत्व्-िज् a [p= 224,2] m. (क्) a priest (usually four are enumerated , viz. होतृ , अध्वर्यु , ब्रह्मन् , and उद्गातृ ; each of them has three companions or helpers , so that the total number is sixteen , viz. होतृ , मैत्रावरुण , अच्छावाक , ग्राव-स्तुत् ; अध्वर्यु , प्रति-प्रस्थातृ , नेष्टृ , उन्ने तृ ; ब्रह्मन् , ब्राह्मणाच्छंसिन् , अग्नीध्र , पोतृ ; उद्गातृ , प्रस्तोतृ , प्रतिहर्तृ , सुब्रह्मण्य A1s3vS3r. iv , 1 , 4-6) RV. AV. TS. S3Br. Ka1tyS3r. &c I suggest that the purifier is a smelter based on a reading of the fillet with a dotted circle worn on the forehead of the 'rpeist' statuette. The dotted circle is a cross-section of a strand. The word for a strand in R̥gveda is dhātu. The rebus of this word dhātu signifies 'mineral ores'. The purifier purifies mineral ores in a smelting process by oxidising impurities to produce a pure metal ingot. Thus, a smelter is a purifier. The fillet with dhātu worn with a strand of string is rebus for dhāi 'strand' PLUS vaṭa 'single strand' yielding the expression: dhāvaḍ A smelter of mineral ores, iron or ferrite ores in particular is called dhāvaḍ in Marathi language Three 'dotted circles' constitute the hypertext expression tri-dhātu, 'three minerals, 'three strands'. vaṭa- string, rope, tie (Samskrtam) is signified by the string which ties the 'dotted circle' on the forehead and right-shoulder of the Priest. The rebus reading is: -vaḍ వటగ 'clever, skilful' (Telugu). Thus, the 'dotted circle' dhāī˜ PLUS vaṭa 'string' is read: dhā̆vaḍ 'smelter'. The dotted circle fillet worn on the forehead is replicated on a similar fillet worn on the right shoulder. This is a semantic determinative hieroglyph-hypertext expression on the statuette of the 'priest'. See Annex B for an explanation on the evolution of Brahmi syllable symbol for the phoneme dha-. Single strand (one dotted-circle) Two strands (pair of dotted-circles) Three strands (three dotted-circles as a trefoil) These orthographic variants provide semantic elucidations for a single: dhātu, dhāū, dhāv 'red stone mineral' or two minerals: dul PLUS dhātu, dhāū, dhāv 'cast minerals' or tri- dhātu, -dhāū, -dhāv 'three minerals' to create metal alloys'. The artisans producing alloys are dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773).. The three red ores signiied on many Sarasvati-Sindhu Script inscriptions are: magnetite, haematite, laterite (Meluhha words: pola (magnetite), gota (laterite), bichi (hematite) magnetite ore [pōḷa], steel [pōlāda]; bica 'haematite, ferrite ore'; gota laterite, ferritte ore'. The hieroglyphs related to these three forms of red ore ferrite minerals are: karibha,ibha' elephant' rebus: karba, ib 'iron' ibbio 'merchant'; goTa 'round stone' rebus: goTa 'laterite ore'; bica 'scorprion' rebus: bicha 'haematite, ferrite ore'; poLa 'zebu bull, bos indicus' rebus: poLa 'magnetite, ferrite ore'. At an ādi bhautika level, the meaning of the expression tridhātu is provided by the following lexical entries from ancient languages of Bharatiya sprachbund (Meluhha words/expressions): dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā] Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773) It has been demonstrated that the Binjor discovery of a yajna kunda with an octagonal pillar and a seal with an inscription are signifiers of the performance of a Soma Yajna (Soma Samsthā, one of seven 'Soma enterprises' such as agniṣṭoma, vājapeya, etc.) at the site. Soma Yajna may be metaphorical accounts of pyrolyis and carburization to harden metal alloys, thus signifying metalwork processes.“Pyrolysis is a thermochemical decomposition of organic material at elevated temperatures in the absence of oxygen (or any halogen). Carburizing, carburising or carburization is a heat treatment process in which iron or steel absorbs carbon liberated when the metal is heated in the presence of a carbon bearing material, such as charcoal or carbon monoxide, with the intent of making the metal harder.” In such an archaeo-metallurgical framework, soma yajna can be seen as a metalwork process in a smelter/furnace of hardening metals/alloys. Soma is called ams'u (synonym). It is cognate with ancu 'iron' (Tocharian). Soma may also relate to assem 'electrum' (Old Egyptian pace Needham). See Annex A for the role played by the yūpa and caṣāla (wheat chaff) atop the yūpa which makes the yūpa a fiery pillar infusing carbon into the metal in fire to harden it as a process of carburization. The 'priest' statue is evidence of the continuum of the Veda tradition of performance of a yajna with a number of functionaries participating in the process working with fire in a yajna kunda.

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. The dotted circle as a signifier of interactions between Meluhha and Gonur Tepe has been brilliantly analysed in the context of the following artifacts cited by Dennys Frenez in: Manufacturing and trade of Asian elephant ivory in Bronze Age Middle Asia. Evidence from Gonur Depe (Margiana, Turkmenistan) by Dennys Frenez (2017) https://www.academia.edu/34596109/Manufacturing_and_trade_of_Asian_elephant_ivory_in_Bronze_Age_Middle_Asia._Evidence_from_Gonur_Depe_Margiana_Turkmenistan https://tinyurl.com/y93voqz8 Trefoil motifs are carved on the robe of the so-called "priest-king" statuette from Mohenjo-daro and are also known from contemporary sites in western Pakistan, Afghanistan, and southern Central Asia.dhā̆vaḍ 'smelter' tri-dhAtu,'‘three minerals". त्रिधातु mfn. consisting of 3 parts , triple , threefold (used like Lat. triplex to denote excessive)RV. S3Br. v , 5 , 5 , 6; n. the aggregate of the 3 minerals.tri त्रिधा ind. in 3 parts, ways or places; triply, ˚त्वम् tripartition; Ch. Up. -धातुः an epithet of Gaṇeśa. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼMBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f.ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) त्रिधातुः is an epithet of Gaṇeśa. This may indicate three forms of ferrite ores: magnetite, haematite, laterite which were identified in Indus Script as poLa 'magnetite', bichi 'haematite' and goTa 'laterite'. Rebus readings of Indus Script hieroglyphs may explain the त्रिधातुः epithet of Gaṇeśa: karibha 'elephant's trunk' rebus: karba 'iron' ibha 'elephant' rebus: karba, ib 'iron'. It has been suggested at http://bharatkalyan97.blogspot.in/2015/11/trefoil-of-indus-script-corpora-and.html?view=sidebar that the trefoil decorating the shawl of the 'priest-king' of Mohenjo-daro is a cross-sectional signifier of three strands of rope. Thus, a dotted circle is signified by the word: dhāī 'wisp of fibre' (Sindhi). Single strand (one dotted-circle) Two strands (pair of dotted-circles) Three strands (three dotted-circles as a trefoil) These orthographic variants provide semantic elucidations for a single: dhātu, dhāū, dhāv 'red stone mineral' or two minerals: dul PLUS dhātu, dhāū, dhāv 'cast minerals' or tri- dhātu, -dhāū, -dhāv 'three minerals' to create metal alloys'. The artisans producing alloys are dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773). dām 'rope, string' rebus: dhāu 'ore' rebus: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ 'iron' (Munda). Semantics of single strand of rope and three strands of rope are: 1. Sindhi dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, Lahnda dhāī˜ id.; 2. tridhāˊtu -- ʻ threefold ʼ (RigVeda) I suggest that this fillet (dotted circle with a connecting strand or tape is the hieroglyph which signifies धातु (Rigveda) dhāu (Prakrtam) 'a strand' rebus: element, mineral ore. This hieroglyph signifies the पोतृ,'purifier' priest of dhā̆vaḍ 'iron-smelters' of dhāū, dhāv 'red stone minerals'. http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-with.html Orthography of the 'dotted circle' is representation of a single strand: dhāu rebus: dhāū 'red stone minerals. Ta. vaṭam cable, large rope, cord, bowstring, strands of a garland, chains of a necklace; vaṭi rope; vaṭṭi (-pp-, -tt-) to tie. Ma. vaṭam rope, a rope of cowhide (in plough), dancing rope, thick rope for dragging timber. Ka. vaṭa, vaṭara, vaṭi string, rope, tie. Te. vaṭi rope, cord. Go. (Mu.) vaṭiya strong rope made of paddy straw (Voc. 3150). Cf. 3184 Ta. tār̤vaṭam. / Cf. Skt. vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string; Turner, CDIAL, no. 11212. (DEDR 5220) vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268]N. bariyo ʻ cord, rope ʼ; Bi. barah ʻ rope working irrigation lever ʼ, barhā ʻ thick well -- rope ʼ, Mth. barahā ʻ rope ʼ.(CDIAL 11212) I suggest that the expression dhā̆vaḍ 'smelter' signified by trefoil or three strands is a semantic duplication of the parole words: dhāī 'wisp of fibre' PLUS vaṭa, vaṭara, vaṭi string, rope, tie. Thus, it is possible that the trefoil as a hieroglyph-multiplex was signified in parole by the expression dhā̆vaḍ 'three strands' rebus: dhā̆vaḍ 'smelter'. The shawl decorated with dhā̆vaḍ 'trefoil' is a hieroglyph: pōta 'cloth' rebus: पोता पोतृ, 'purifier' in a yajna. போற்றி pōṟṟi, போத்தி pōtti Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன். Marathi has a cognate in पोतदार [pōtadāra] m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith. The shawl decorated with dhā̆vaḍ 'trefoil' is a hieroglyph: pōta 'cloth' rebus: पोता पोतृ, 'purifier' in a yajna. போற்றி pōṟṟi, போத்தி pōtti Brahman temple- priest in Malabar; மலையாளத்திலுள்ள கோயிலருச் சகன். Marathi has a cognate in पोतदार [pōtadāra] m ( P) An officer under the native governments. His business was to assay all money paid into the treasury. He was also the village-silversmith.

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

Vessa were Yueh-chi, pilgrims, traders, Bhāratam Janam, metalcasters in interaction areas along Tin Road and Tin Maritime Route from Hanoi to Haifa: Stop, Besanagar Indus script corpora evidences use of rebus-metonymy-layered Meluhha cipher, called mlecchita vikalpa (writing system) by Vatsyayana. The use of the same cipher continues in the historical periods of Sarasvati-Sindhu civilization, evidenced by the hieroglyph-multiplex of Besanagara discussed in this monograph. Makara with fish-tails and emergence of a smith, ivory-carver, artificer. Plaque from Casket V. Begram. Site 2, Chamber 10. Ivory. Inv. no.: MG 1901. Makara, eagle panel. Begram. Site 2, Chamber 13. Ivory. Inv. nos.: MA 209, 210.Musee Guimet. विष्णु[p= 999,2] m. (prob. fr. √ विष् , " All-pervader " or " Worker ") (Monier-Williams) Hieroglyph multiplex of makara PLUS eagle denotes a special smithy/forge working in hard alloys: xolA 'tail' Rebus: kolle 'blacksmith'; kol 'working in iron'; kolhe 'smelters'; kole.l 'smithy, forge'. magara, nakra 'crocodile' rebus: nagara 'temple'. gaRur 'eagle' Rebus: karaḍā 'Hard from alloy--iron, silver &c.' eraka 'wing' Rebus: eraka 'moltencast copper'. Hieroglyph: eagle, falcon: <gOruDO>(P),,<gOruRO>(P) {N} ``^eagle, any big ^bird''. *Mu.<gaRur>, Ho<goruR>, H.<gArURA> `large species of heron, eagle', Sk.<gArUDA>. %11781. #11691.(Munda etyma) गरुत् [p= 348,3] m. n. (g. यवा*दि) the wing of a bird Prasannar. v , 53. garut गरुत् m. [गृ-गॄ-वा अति Uṇ.1.94] 1 The wing of a bird. गरुत्मत a. Winged; गरुत्मदाशीविषभीमदर्शनैः R.3.57. -m. 1 Garuḍa; गरुत्मतां संहतिभिर्विहायः Ki.16.43. -2 A bird in general. -3 The fire. (Apte) garuḍḥ गरुडः [गरुद्भयां डयते, डी-ड पृषो˚ तलोपः, गॄ-उडच् Uṇ 4. 166.] 1 N. of the king of birds. [He is a son of Kaśyapa by his wife Vinatā. He is the chief of the feathered race, an implacable enemy of serpents, and elder brother of Aruṇa. In a dispute between his mother and Kadrū, her rival, about the colour of उचैःश्रवस् Kadrū defeated Vinatā, and, in accordance with the conditions of the wager, made her her slave. Garuḍa brought down the heavenly beverage (Amṛita) to purchase her freedom, not, however, without a hard struggle with Indra for the same. Vinatā was then released; but the Amṛita was taken away by Indra from the serpents. Garuḍa is represented as the vehicle of Visnu, and as having a white face, an aquiline nose, red wings and a golden body.] -2 A building or architecture (such as चिति) shaped like Garuḍa; गरुडो रुक्मपक्षो वै त्रिगुणो$ष्टादशात्मकः Rām.1.14. 29. -3 N. of a particular military array. -Comp. -अग्रजः an epithet of Aruṇa, the charioteer of the sun; विभिन्नवर्णा गरुडाग्रजेन Śi.4.14. -अङ्कः an epithet of Viṣṇu. -अङ्कितम्, -अश्मन् m. -उत्तीर्णम् an emerald. -ध्वजः an epithet of Viṣṇu; समाहितमतिश्चैव तुष्टाव गरुडध्वजम् V. P. -व्यूहः a particular military array. (Apte) garuḍá m. ʻ a mythical bird ʼ Mn.Pa. garuḷa -- m., Pk. garuḍa -- , °ula -- m.; P. garaṛ m. ʻ the bird Ardea argala ʼ; N. garul ʻ eagle ʼ, Bhoj. gaṛur; OAw. garura ʻ blue jay ʼ; H.garuṛ m. ʻ hornbill ʼ, garul ʻ a large vulture ʼ; Si. guruḷā ʻ bird ʼ (kurullā infl. by Tam.?). -- Kal. rumb. gōrvḗlik ʻ kite ʼ??(CDIAL 4041) गरुड[p= 348,3] m. ( √2. गॄ Un2. iv , 155 , " devourer " , because गरुड was perhaps originally identified with the all-consuming fire of the sun's rays) , N. of a mythical bird (chief of the feathered race , enemy of the serpent-race [cf. RTL. p.321] , vehicle of विष्णु [cf. RTL. pp. 65 ; 104 ; 288] , son of कश्यप and विनता ; shortly after his birth he frightened the gods by his brilliant lustre ; they supposed him to be अग्नि , and requested his protection ; when they discovered that he was गरुड , they praised him as the highest being , and called him fire and sun MBh. i , 1239 ff. ; अरुण , the charioteer of the sun or the personified dawn , is said to be the elder [or younger cf. RTL. p.104] brother of गरुड ; स्वाहा , the wife of अग्नि , takes the shape of a female गरुडी =सुपर्णी MBh. iii , 14307 and 14343) Suparn2. TA1r. x , 1 , 6 MBh. &cśyēná m. ʻ hawk, falcon, eagle ʼ RV.Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) श्येन [p= 1095,2] mfn. eagle-like AitBr. mfn. coming from an eagle (as " eagle's flesh ") , Kr2ishn2aj. ?? (prob. w.r. for श्यैन).m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c firewood laid in the shape of an eagle S3ulbas. N. of a ऋषि (having the patr. आग्नेय and author of RV. x , 188) Anukr. (with or without इन्द्रश्य) N. of a सामन् A1rshBr. La1t2y. श्येनी f. N. of a daughter of कश्यप (regarded as the mother of hawks) MBh. Hariv. Pur. suparṇá ʻ having beautiful wings ʼ, m. ʻ any large bird of prey, a mythical bird ʼ RV. [su -- 2, parṇá -- ]Pa. supaṇṇa -- m. ʻ the bird Garuḍa ʼ, Si. suvan.(CDIAL 13476)सु--पर्णी f. a partic. personification (mentioned together with कद्रू , sometimes identified with वाच् and regarded as the mother of metres) TS.Ka1t2h. S3Br. सु--पर्ण [p= 1227,3] m. = गरुडी MBh. m. any large bird of prey (as a vulture , eagle ; also applicable to the sun or moon as " having beautiful rays " , and to सोम and clouds ; du. " sun and moon ") ib. m. any mythical or supernatural bird (often identified with गरुड , and sometimes personified as a ऋषि , a देव-गन्धर्व , and an असुर) RV.TS. Ka1t2h. MBh. m. N. of the mother of गरुड or of the प्राजापत्य आरुणि सुपर्णेय BhP. Na1rUp. Rebus 1: खरडा (p. 197) [ kharaḍā ] m (खरडणें) Scrapings (as from a culinary utensil). 2 Bruised or coarsely broken peppercorns &c.: a mass of bruised मेथ्या &c. 3 also खरडें n A scrawl; a memorandum-scrap; a foul, blotted, interlined piece of writing. 4 also खरडें n A rude sketch; a rough draught; a foul copy; a waste-book; a day-book; a note-book. Rebus 2: करडा (p. 137) [ karaḍā ] Hard from alloy--iron, silver &c. (Marathi) sang-i-khāra संगि-खार or -khārah -खारह् (= ) m. a hard stone, flint (Rām. 1548, 1624)(Kashmiri). See: http://bharatkalyan97.blogspot.in/2015/06/suparna-syena-patanga-garuda-takes-to.html In his tour, between 1871 and 1874, in Bundelkhand, Malwa and Central Provinces, Alexander Cunningham identified two pillars with two distinct capitals in Besanagar: 1. fan-palm capital; 2. makara capital. There was possibly a third pillar with another distinct capital: 3. tree on railing. What spoken words were spontaneously evoked (sphoTa) when a citizen of Besanagar viewed these hieroglyphs on capital pillars? I suggest that the words were of Meluhha speech rendered by rebus-metonymy-layered Meluhha glosses signified by the hieroglyphs. 1. One was māṇḍa dhvaja with the fan-palm capital: māḍa 'palm' Rebus: māṇḍa 'Display catalogue' 2. Second was makara dhvaja with makara capital: 3. Third with tree-on-railing capital: work of kolhe 'smelters' and dhokra kamar 'cire perdue metalcasters' 1.māṇḍa-dhvaja Catalog of implements, materials, apparatus of artificers Hieroglyph: maḍalu palm branch (Tulu)माड [ māḍa ] m A Cocoanut-tree, Cocos nucifera. (Marathi) Rebus: मांड [māṇḍa] m (मांडणें) Laying out or disposing in order (implements, materials, apparatus for a work or business) Rebus: maṭha1 m. ʻ hut, cottage, esp. cell of an ascetic ʼ MBh., maṭhikā -- f. Daś. [See maṇḍapa -- ]Pk. maḍha -- m.n., °ḍhī -- f. ʻ hut ʼ; K. mar m. ʻ hut ʼ, moru m. ʻ dove -- cot, fowl -- house ʼ; S. maṛhu m. ʻ place of residence ʼ, maṛhī f. ʻ place where an ascetic lives ʼ; L. mahṛī f., mult. maṛhī f. ʻ small tomb over ashes of a Hindu ʼ; P. maṛh m., maṛhī f. ʻ monument, tomb ʼ 2. makara-dhvaja Cinnabar-gold Cinnabar-gold, known as “Makaradhwaja” was used in ancient Bharatam as medicine; it was also an emblem of fertility. Electrolysis of solutions containing [Au(CN)2] is widely used to recover gold from solution (electrowinning). (Fricker SP. Medicinal uses of gold compounds: past, present and future. Gold Bull 1996; 29: 53-9; loc. cit.Sam, Zolisa Agnes, 2007, Coordination chemistry and solution behaviour of gold (i) complexes, University of Free State http://etd.uovs.ac.za/ETD-db/theses/available/etd-02052009-145146/unrestricted/SamZA.pdf 3. kuṭhi-dhvaja Smelter-furances, forge bhaṭṭī Cunningham calls it "kalpa-druma, which is supposed to grant all one's desires, is the tree of Indra's heaven, and was one of the products of the churning of the ocean. In the Besnagar sculpture it is represented as a banian tree with long pendant roots, from which untold wealth in the shae of square pieces of money is dropping in such quantities that all the vessels placed below are full and overflowing. The upper part of the tree, which is nearly spherical in shape, is coveed with the large leaves and small berries of the Ficus Indica, and the stems and pendent roots are represented on a cylindrical nec, below which they divide into eight compartments. In these are placed alternatley four vessels full of money and four skins full of wine(?). These last may, perhaps, be intended for bags of money, as each is fastened with a band round the neck. The open vessels are all different. One is a large shell standing on its end; a second is a full-blown lotus flower; a third is a lota, or common water-vessel. Between the shell and the bag, on its right, there is a curious rounded shaft with leaves in straight lines pointed upwards. What it may be I cannot even guess...I believe, in fact, that this pillar was the pair or fellow of the crocodile pillar, as I find by a measurement that the upper part of both was exactly the same height, of 5 feet 8 inches, from the bottom of the square abacus with its Buddhist railing to the top of the pinnacle.A sletch of the Kalpa-druma pinnacle is given in the accompanying plate (Plate XV)." (p.43) Hieroglyph: kuṭhi 'tree' Rebus: kuṭhi 'smelter' (Santali)

Indus Script Corpora and archaeological excavations of 'fir-altars' provide evidence for continuity of Vedic religion of fire-worship in many sites of Sarasvati-Sindhu civilization. The metalwork catalogues of deciphered Indus Script Corpora are consistent with the fire-altars found in almost every single site of the civilization consistent with the documentation of yajna, fire-worship, in ancient texts of the Veda. The continuity of Vedic religion, veneration of Ruda-Siva among Bronze Age Bhāratam Janam, 'metalcaster folk' is firmly anchored. kole.l signified 'smithy'. The same word kole.l also signified ' temple' (Kota) In Hindu civilization tradition, yupa associated with smelter/furnace operations in fire-altars as evidenced in Bijnor, Kalibangan, Lothal and in many yupa pillars of Rajasthan of the historical periods, assume the aniconic form of linga venerated as Jyotirlinga, fierly pillars of light. A 10th-century four-headed stone lingam (Mukhalinga) from Nepal. The 'mukha' or face on the linga is a hieroglyph read rebus muh 'ingot'. Hieroglyph: mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) muhA 'the quantity of iron produced at one time in a native smelting furnace' (Santali. Campbell) "The worship of the lingam originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Skambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma , and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in the Shiva Purana." https://en.wikipedia.org/wiki/Shiva Sources: Harding, Elizabeth U. (1998). "God, the Father". Kali: The Black Goddess of Dakshineswar. Motilal Banarsidass. pp. 156–157 Vivekananda, Swami. "The Paris Congress of the History of Religions" The Complete Works of Swami Vivekananda 4. Chaturvedi, B. K. (2006), Shiv Purana (First ed.), New Delhi: Diamond Pocket Books (P) Ltd, Pl. XXII B. Terracotta cake with incised figures on obverse and reverse, Harappan. On one side is a human figure wearing a head-dress having two horns and a plant in the centre; on the other side is an animal-headed human figure with another animal figure, the latter being dragged by the former. Decipherment of hieroglyphs on the Kalibangan terracotta cake: bhaTa 'warrior' rebus: bhaTa 'furnace' kolmo 'rice plant' rebus: kolimi 'smithy, forge' koD 'horn' rebus: koD 'workshop' kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron' Thus, the terracotta cake inscription signifies a iron workshop smelter/furnace and smithy. http://www.asi.nic.in/nmma_reviews/Indian%20Archaeology%201963-64%20A%20Review.pdf The recording of an inscription on a terracotta cake used in a fire-altar continues as a tradition with inscriptions recorded on Yupa, 'pillars' of Rajasthan indicating the type of yajna's performed using those Yupa. See: http://bharatkalyan97.blogspot.in/2015/12/binjor-seal-with-indus-script.html Binjor seal with Indus Script deciphered. Binjor attests Vedic River Sarasvati as a Himalayan navigable channel en route to Persian Gulf The fire altar, with a yasti made of an octagonal brick. Photo:Subhash Chandel, ASI Binjor seal Binjor (4MSR) seal. Binjor Seal Text. Fish + scales, aya ã̄s (amśu) ‘metallic stalks of stone ore’. Vikalpa: badhoṛ ‘a species of fish with many bones’ (Santali) Rebus: baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) gaNDa 'four' Rebus: khaNDa 'metal implements' Together with cognate ancu 'iron' the message is: native metal implements. Thus, the hieroglyph multiplex reads: aya ancu khaNDa 'metallic iron alloy implements'. koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus 1: koḍ ‘workshop’ (Kuwi) Rebus 2: khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947) The bird hieroglyph: karaḍa करण्ड m. a sort of duck L. కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. (Telugu) karaṭa1 m. ʻ crow ʼ BhP., °aka -- m. lex. [Cf. karaṭu -- , karkaṭu -- m. ʻ Numidian crane ʼ, karēṭu -- , °ēṭavya -- , °ēḍuka -- m. lex., karaṇḍa2 -- m. ʻ duck ʼ lex: see kāraṇḍava -- ]Pk. karaḍa -- m. ʻ crow ʼ, °ḍā -- f. ʻ a partic. kind of bird ʼ; S. karaṛa -- ḍhī˜gu m. ʻ a very large aquatic bird ʼ; L. karṛā m., °ṛī f. ʻ the common teal ʼ.(CDIAL 2787) Rebus: karaḍā 'hard alloy' Thus, the text of Indus Script inscription on the Binjor Seal reads: 'metallic iron alloy implements, hard alloy workshop' PLUS the hieroglyphs of one-horned young bull PLUS standard device in front read rebus: kõda 'young bull, bull-calf' rebus: kõdā 'to turn in a lathe'; kōnda 'engraver, lapidary'; kundār 'turner'. Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara 'proclamation. Together, the message of the Binjor Seal with inscribed text is a proclamation, a metalwork catalogue (of) 'metallic iron alloy implements, hard alloy workshop' Naga worshippers of fiery pillar, Amaravati stup Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper' http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha, Yupa. Yupa from 4th century. Kutai Kingdom. Inscription in Samskritam. Badwa Yupa. "It is one of the four places in Rajasthan where such inscribed stone pillars were erected during the third century CE. which signifies the revival of the Vedic religion. The Badva stone pillar inscription informs that the Maukharis performed a triratra sacrifice in CE. 239. It is probable that these Maukharis owed allegiance to the Malava Republic. Four pillars have been shifted to the State Archaeology Museum at Kota and only one remains at the site." http://asijaipurcircle.com/badva_baran.php# " praśasti प्रशस्ति Yūpa यूप Indonesia: kuṇḍuṅgasya mahātmanaḥ; putro śvavarmmo vikhyātah; vaṅśakarttā yathāṅśumān; tasya putrā mahātmānaḥ; trayas traya ivāgnayaḥ; teṣān trayāṇām pravaraḥ; tapo-bala-damānvitaḥ; śrī mūlavarmmā rājendro; yaṣṭvā bahusuvarṇnakam; tasya yajñasya yūpo ‘yam; dvijendrais samprakalpitaḥ. http://pustaka-pusaka.blogspot.in/2011/09/prasasti-yupa-bagian-i.html Yupa Inscriptions The Kutei Stone Yupa posts in Pallava script from Kutai Publisher: Lontar Foundation Place of Publication: Jakarta Publisher URL: http://www.lontar.org Created: 2013 Source Rights: National Museum, Indonesia Medium: Stone Yupa inscription in Pallava script YUPA PILLARS IN BICHPURIA TEMPLE "The inscribed stone is a sacrificial pillar, commemorating revival of the rituals during third century A.D. by the Malava Republic. The inscription records the erection of the pillar by Ahisarman, son of Dharaka who was Agnihotri. Ahisarman seems to be a Malava chief.."