The Most Difficult Hymn of the Rigveda

This veneration finds expression in the contributions made by metalcaster folk -- Bhāratam Janam -- during the Bronze Age of Sarasvati-Sindhu (Hindu) Civilization. This veneration gets reflected in the Indus Script Corpora which is a veritable catalogus catalogorum of metalwork. Tvaṣṭr̥ is Vis'vakarma, ancient artificer of Bhāratam Janam 'metalcaster folk', who created -- त्वष्टा वज्रम् अतक्षद आयसम्(RV 10.48.3)-- metal vajra weapon in a smithy-forge. The Meluhha gloss is kole.l; the same gloss also means 'temple' -- Smithy is a temple. This Vis'vakarma tradition continues in Bharatam in the making of panchaloha utsava bera (bronze utsava murti) taken in temple processions. The method for making utsava bera is the same technique that was used to make the cire perdue lost-wax method of cating bronze castings of the types found in Nahal Mishmar or Mohenjo-daro or in Dong Son bronze drums. Smithy-forge in action depicted on a Sanchi sculptural relief. Artisans working in smithy. Segments of the sculpture showing: 1. scribe; 2. stacks of straw asociated with epigraphs (incribed ovals -- cartouches -- atop the stacks) and the row of seated artisans. There are two hieroglyphs on these segments: 1. scribe; 2. straw-stacks. Both can be read as Meluhha hieroglyphs. The scribe shown on Amaravati sculpture is kaṇḍa kanka 'stone scribe'. The gloss is reinforced by the hieroglyph: stack of straw: kaṇḍa (Meluhha glosses are from Indian sprachbund). A synonym of 'visible language' is 'incised speech' takshatvAk, (a metaphor used in what is possibly the oldest human document, the Rgveda. This takshatvAk is exemplified in the entire Indus Script Corpora which catalogues metalwork. Devata: PavamAna Soma. Rishi: Vasishtha Maitravaruni The phrase used is: takshat vAk (RV 9.97.22) 9.097.22 When the praise of the zealous worshipper sanctifies him as that of a noisy (crowd) in front (praises) a distinguished (prince) for the support (he affords); then the cows come to the excellent exhilarating Indu, the lord (of all, abiding) in the pitcher, eager to gratify him (with their milk). [For the support he affords: dharman.i = the reason (nimitta) of the praise; i.e. the duty of acquisition and preservation (or the duty of securing property), yogaks.ema vis.ayam karma]. The gloss takshat can be explained as 'engraving'. See त्वक्ष, त्वष्ट 'to engrave'. त्वष्टृ is विश्वकर्म the divine architect, engraver, smith who forges vajra weapon for Indra. It is apposite to refer to all sukta-s of Rigveda which refer to TvaSTR who is venerated as the artificer of Bharatam Janam, 'lit. metalcaster folk'. In RV 1.113.10, Sayana explains: Tvas.t.a_ = Vis'vakarma_, artificer of the gods, the fabricator of the original sacrificial vase or ladle. tvas.t.a_ vai pas'u_na_m mithuna_na_m ru_kakr.t---iti s'ruteh (Taittiri_ya.Sam.hita_ 6.1.8.5): Tvas.t.a_ forms in animals in pairs. This remarkable elucidation seems to anticipate the characteristic hieroglyphic multiplex forms of composite animals used repeatedly in Indus Script Corpora.

Decipherment of hieroglyphs on Saushtatar royal seal validates Samskrta Bharati (Meluhha) presence in Ancient Near East. Decipherment of hieroglyphs on Dong Son bronze drums validates Samskrta Bharati (Meluhha) presence in Ancient Far East. The decipherment of such Bronze Age artifacts in an extensive interaction area delineates a Maritime Tin Route from Hanoi to Haifa Meluhha is added to the list of languages by first written accounts of Ancient Near East. Indus Script decipherment pushes Samskrta Bharati lexis with Meluhha metalwork words to ca. 3300 BCE. Deployment of an Indus Script cipher during the Bronze Age is most likely to be by a Meluhha speaker who was an itinerant Bronze Age explorer for minerals along the Tin Route from Hanoi to Haifa, producing metals, alloys and metal castings AND documenting them using the Prakrtam Sanskrta Bharati (Meluhha) cipher. The data mining provided in over 7000 inscriptions of the Indus Script Corpora by this Tvaṣţā of a karmāˊra 'blacksmith' tradition is datable to (indeterminate) Rigvedic times and dhokra kamar 'cire perdue artificer' tradition datable to Nahal Mishmar times of ca. 5th millennium BCE. Gaullic Travos Trigaranus on Pilier des Nautes (Pillar of Boatmen) is a signifier of the profession of a blacksmith in a smithy-forge, using three braziers; kolom 'three' rebus: kolimi 'smithy, forge' PLUS kangu 'crane, heron' rebus: kang 'brazier'. The crane, egret, heron is also a hieroglyph signified on Dong Son bronze drum. That the smith is also a seafaring merchant is signified by other hieroglyphs including that of Kernunnos, kāraṇī 'helmsman, scribe, supercargo' of Indus Script~~Kernunno of Pilier des Nautes http://bharatkalyan97.blogspot.in/2016/04/karani-helmsman-scribe-supercargo-of.html The relief of Tarvos Trigaranus on the Pillar of the Boatmen."In the Gaulish language, taruos means "bull," found in Old Irish as tarb (/tarβ/), in Modern Irish/Gaelic as tarbh and in Welsh as tarw(compare "bull" in other Indo-European languages such as Latin taurus or Lithuanian taŭras). Garanus is the crane (garan in Welsh, Old Cornish and Breton; see also geranos, the ritual "crane dance" of ancient Greece).Treis, or tri- in compound words, is the number three (cf. Irish trí, Welsh tri)." https://en.wikipedia.org/wiki/Tarvos_Trigaranus kaṅká m. ʻ heron ʼ VS. [← Drav. T. Burrow TPS 1945, 87; onomat. Mayrhofer EWA i 137. Drav. influence certain in o of M. and Si.: Tam. Kan. Mal. kokku ʻ crane ʼ, Tu. korṅgu, Tel. koṅga, Kuvi koṅgi, Kui kohko] Pa. kaṅka -- m. ʻ heron ʼ, Pk. kaṁka -- m., S. kaṅgu m. ʻ crane, heron ʼ (→ Bal. kang); B. kã̄k ʻ heron ʼ, Or. kāṅka; G. kã̄kṛũ n. ʻ a partic. ravenous bird ʼ; -- with o from Drav.: M. kõkā m. ʻ heron ʼ; Si. kokā, pl. kokku ʻ various kinds of crane or heron ʼ, kekī ʻ female crane ʼ, kēki ʻ a species of crane, the paddy bird ʼ (ē?).(CDIAL 2595) Rebus: brazier *kāṅgārikā ʻ poor or small brazier ʼ. [Cf. kāgni -- m. ʻ a small fire ʼ Vop.: ka -- 3 or kā -- , aṅgāri -- ] K. kã̄gürü, kã̄gar f. ʻ portable brazier ʼ whence kangar m. ʻ large do. ʼ (or < *kāṅgāra -- ?); H. kã̄grī f. ʻ small portable brazier ʼ.(CDIAL 3006) 5526 *ḍaṅgara1 ʻ cattle ʼ. 2. *daṅgara -- . [Same as ḍaṅ- gara -- 2 s.v. *ḍagga -- 2 as a pejorative term for cattle]1. K. ḍangur m. ʻ bullock ʼ, L. ḍaṅgur, (Ju.) ḍ̠ãgar m. ʻ horned cattle ʼ; P. ḍaṅgar m. ʻ cattle ʼ, Or. ḍaṅgara; Bi. ḍã̄gar ʻ old worn -- out beast, dead cattle ʼ, dhūr ḍã̄gar ʻ cattle in general ʼ; Bhoj. ḍāṅgar ʻ cattle ʼ; H. ḍã̄gar, ḍã̄grā m. ʻ horned cattle ʼ. 2. H. dã̄gar m. = prec. (CDIAL 5526)5524a †*ḍagga -- 3 ʻ cattle ʼ. 2. †*ḍhagga -- 2. [Cf. *ḍaṅgara -- 1, *daṅgara -- ]1. WPah.kṭg. ḍɔggɔ m. ʻ a head of cattle ʼ, ḍɔgge m.pl. ʻ cattle ʼ, sat. (LSI ix 4, 667) ḍōgai ʻ cattle ʼ.2. S.kcch. ḍhago m. ʻ ox ʼ, L(Shahpur) ḍhaggā m. ʻ small weak ox ʼ, ḍhaggī f. ʻ cow ʼ, Garh. ḍhã̄gu ʻ old bull ʼ. Rebus 'blacksmith': N. ḍāṅro ʻ term of contempt for a blacksmith ʼ, ḍāṅre ʻ large and lazy ʼ; 1. Wg. ḍege ʻ old, weak ʼ; Woṭ. ḍāg (f. ḍyēg) ʻ old ʼ, Gaw. ḍaga.2. Ku. ḍã̄go ʻ lean (e.g. of oxen) ʼ; N. ḍã̄go ʻ male (of animals) ʼ; A. ḍāṅ ʻ wicked ʼ, ḍāṅ -- muṭhiyā ʻ without wife or children ʼ; Or. ḍāṅga ʻ one who is reduced to a skeleton ʼ, ḍāṅguā ʻ bachelor, widower ʼ,ḍaṅgā ʻ long and narrow (e.g. of a plot of ground) ʼ.3. Ash. ḍäṅor ʻ unwell ʼ; Bashg. daṅgor ʻ lazy ʼ; K. ḍangur (dat. °garas) m. ʻ fool ʼ; P. ḍaṅgar m. ʻ stupid man ʼ; A. ḍaṅurā ʻ living alone without wife or children ʼ; H. ḍã̄gar, ḍã̄grā m. ʻ starveling ʼ.4. OMarw. ḍīkarī f. ʻ daughter ʼ. 5. S. ḍ̠iṅgu m. ʻ crook ʼ, ḍ̠iṅgo ʻ crooked ʼ, L. P. ḍiṅgā; Ku. ḍĩglo ʻ lean, emaciated ʼ; N. ḍĩgo, ḍiṅo ʻ abusive word for a cow ʼ; G. ḍĩg f. n. ʻ lie ʼ.6. Kt. ḍigər ʻ bad, unpleasant ʼ; N. ḍiṅgar ʻ contemptuous term for an inhabitant of the Tarai ʼ; B. ḍiṅgar ʻ vile ʼ; Or. ḍiṅgara ʻ rogue ʼ, °rā ʻ wicked ʼ; H. ḍiṅgar m. ʻ rogue ʼ; M. ḍĩgar m. ʻ boy ʼ. 7. B. ḍeṅguyā ʻ having no wife ʼ. 8. L. (Shahpur) ḍhag̠g̠ā ʻ small weak ox ʼ, ḍhag̠g̠ī f. ʻ cow ʼ, ḍhag̠ṛā m. ʻ paramour ʼ. 9. Pk. ḍhaṁkhara -- m.n. ʻ branch without leaves or fruit ʼ; S. ḍhaṅgaru m. ʻ lean emaciated beast ʼ; Ku. ḍhã̄go ʻ lean ʼ, m. ʻ skeleton ʼ; M. ḍhã̄k, n., ḍhã̄kaḷ f. ʻ old decaying stump ʼ, ḍhã̄kẽ n. ʻ stout stake ʼ,ḍhã̄kaḷ, °kūḷ ʻ old and decaying, bare of leaves &c. ʼ 10. S. ḍhiṅgaru m. ʻ lean emaciated beast ʼ.11. Or. dhāṅgaṛ ʻ young servant, herdsman, name of a Santal tribe ʼ, dhāṅgaṛā ʻ unmarried youth ʼ, °ṛī ʻ unmarried girl ʼ, dhāṅgarā ʻ youth, man ʼ; H. dhaṅgar m. ʻ herdsman ʼ, dhã̄gaṛ, °ar m. ʻ a non -- Aryan tribe in the Vindhyas, digger of wells and tanks ʼ; M. dhã̄gaḍ ʻ rude, loutish ʼ, f. ʻ hoyden ʼ. 12. M. dhĩgaḍ = prec.(CDIAL 5524) Depiction of a Celtic divinity, a bull with three cranes, from the 'Pillar of the Boatman of Paris', found at Notre Dame Cathedral. From the Musee de Cluny's collection, 1st century. The cranes + other hieroglyphs on Dong Son Bronze drums kang 'crane' Rebus: kang 'brazier, fireplace'. ranku 'antelope' rebus: ranku 'tin' http://bharatkalyan97.blogspot.in/2015/08/indus-script-deciphered-crane-or-egret.html tvaṣṭṛ त्वष्टृ, Tuisto If Tuisto, is ancestor of Germans according to Tacitus, cognate Tvaṣţā, Viśvakarmā, the architect is posited as ancestor of Bharatam Janam, 'lit. metalcaster people'. While Tuisto is attested in 1 CE, the date of Tvaṣţā is indeterminate, since the date of Rigveda is indeterminate and subject to various philological and cultural conjectures, speculat This monograph presents Indus script hieroglyh hypertexts which signify Tvaṣţā as a metaphor of Rigveda, with two principal indicators: 1. triśiras, 'three-headed' or three principal components of a class; and 2. संज्ञा, saṁjñāˊ'signs'. I interpret saṁjñāas either 1. Indus Script Cipher (mlecchita vikalpa, written signs for words or hieroglyphs); or, 2. Rigvedic and ancient text metaphors. Thus, triśiras, 'three-headed' & संज्ञा, saṁjñāˊ'signs' are Vedic Samskrta Bharati exemplars of the cipher, the Indus writing system. triśiras, saṁjñā, are Vedic metaphors of Tvaṣţā: one indicates ligaturing to create hyroglyph-multiplexes, the other hypertexts, in mlecchita vikalpa, 'Meluhha Cipher', of Indus Script Metalwork Corpora, since Tvaṣţā is the metalwork artificer divinity from the days of Rigveda. త్వష్ట (p. 0573) [ tvaṣṭa ] tvashṭa. [Skt.] n. A carpenter, వడ్లవాడు. The maker of the universe. విశ్వకర్త. One of the 12 Adityas, ద్వాదశాదిత్యులలో నొకడు. ترکانړ tarkāṟṟṉ, s.m. (5th) A carpenter. Pl. ترکانړان tarkāṟṟṉān. (Panjābī).(Pashto) Clearly, there are many metalwork lexis words in chandas and Indo-Aryan (Prakrtam ~~Meluhha speech), such as: ayas, tagara, tAmra, mRdu, poLa, bichi, goTa (magnetite, hematite, laterite), nAga (lead) -- amost all of which are signified on Indus Script Corpora hieroglyphs. Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E., Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see four reedposts held. koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse' See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-hieroglyph-readings-on.html ḍhālā a tall banner (Kannada) ḍhālako 'ingot' (Gujarati) kamar 'moon' Rebus: kamar 'blacksmith' karmāˊra m. ʻ blacksmith ʼ (Rigveda) arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast' lokANDa 'overflowing pot' Rebus: lokhaNDa 'metal implements, excellent implements' aya 'fish' Rebus: aya 'iron' (Gujarati) ayas 'metal' (Rigveda) baTa 'six' Rebus: bhaTa 'furnace' PLUS meDh 'curl' Rebus: meD 'iron' kulA 'hood of snake' rebus: kol 'working in iron' kolle 'blacksmith' kolhe 'smelter' If the crescent shaped orthography of crucible shown next to a pot with ingots, also suggests a moon, the rebus reading is: قمر ḳamar A قمر ḳamar, s.m. (9th) The moon. Sing. and Pl. See سپوږمي or سپوګمي (Pashto) Rebus: kamar 'blacksmith' In a data mining research into attempts made by Indus Script writers to signify Tvaṣţā. I cite and embed scores of references in Vedic texts to this artificer divinity. The closest parallel in iconography is to Kernunno on the Pillar of Boatmen, on Gundestrup Cauldron and a Mohenjo-daro seal m0204, together with eight other hieroglyphs (inscriptions) signifying a person seated in penance. Are there any orthographic signifiers of triśiras, 'three-headed' persons or artifacts -- as a son of त्वाष्ट्र ?

Running down the street to find his brother Jean-François Champollion (1790-1832) yelled "Je tiens mon affaire!" (I've got it!) but collapsed from the excitement. This note is a tribute to this exclamation of Champollion. I call Bharatam Janam, Tvaṣṭr̥ dhokra kolhe sippi, the lost-wax smelters, sculptors, metasmiths, artificers who invented a writing system of remarkable fidelity and simplicity of the cipher based on rebus method. What language did they speak? A Prakritam gloss with phonetic variants provides the lead: kamad.ha, kamat.ha, kamad.haka, kamad.haga, kamad.haya= a type of penance is recognized in sets of hieroglyph-multiplexes on ten inscriptions of Indus Script Corpora. These inscriptions and decipherment are presented. (Haragovindadāsa Trikamacanda Seṭha, 1963,Prakrit-Sanskrit-Hindi dictionary, Motilal Banarsidass, Dehi,p.223) Proto-Elamite seal impressions, Susa. Seated bulls in penance posture. (After Amiet 1980: nos. 581, 582). Hieroglyph: kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint' Hieroglyph: dhanga 'mountain range' Rebus: dhangar 'blacksmith' Hieroglyph: rango 'buffalo' Rebus: rango 'pewter' . Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: گنےریوالا‎ Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan. gumat.a, gumut.a, gumuri, gummat.a, gummut.a a copula or dome (Ka.); ghumat.a (M.); gummat.a, gummad a dome; a paper lantern; a fire-baloon (H.Te.); kummat.t.a arch, vault, arched roof, pinnacle of a pagoda; globe, lantern made of paper (Ta.)(Ka.lex.); gummaṭ m. ‘dome’ (P.) CDIAL 4217 Other glyphs (glyphemes): gúlma— m. ‘clump of trees’ VS., gumba— m. ‘cluster, thicket’ (Pali); gumma— m.n. ‘thicket’ (Pkt.); S. gūmbaṭu m. ‘bullock’s hump’; gumbaṭ m., gummaṭ f. ‘bullock’s hump’ (L.) CDIAL 4217 rebus: kumpat.i = ban:gala = an:ga_ra s’akat.i_ = a chafing dish, a portable stove, a goldsmith’s portable furnace (Te.lex.) kumpiṭu-caṭṭichafing-dish, port- able furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish (Ta.).kuppaḍige, kuppaṭe, kum- paṭe, kummaṭa, kummaṭe id. (Ka.)kumpaṭi id. (Te.) DEDR 1751. kummu smouldering ashes (Te.); kumpōḍsmoke.(Go) DEDR 1752. Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below. Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'. Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner: 1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790) 3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.) See: http://bharatkalyan97.blogspot.in/2013/07/witzels-breath-taking-announcement-of.html Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali) meď 'copper' (Slovak) http://bharatkalyan97.blogspot.in/2015/11/ornamental-endless-knot-svastika-other.html Mohenjo-daro. Sealing. Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?] Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa ‘metalware’ kaṇḍa ‘fire-altar’. kAru 'crocodile' Rebus: kAru 'artisan'. Hieroglyphs (allographs): kamaḍha 'penance' (Prakriam) kamḍa, khamḍa 'copulation' (Santali) kamaṭha crab (Skt.) kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit) kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil) Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu) Rebus: meD 'iron' (Mundari. Remo.) http://bharatkalyan97.blogspot.in/2015/11/dance-step-med-in-indus-script.html Slide 207 Tablet with inscription. Twisted terra cotta tablet (H2000-4441/2102-464) with a mold-made inscription and narrative motif from the Trench 54 area. In the center is the depiction of what is possibly a deity with a horned headdress in so-called yogic position seated on a stool under an arch. Harappa. Two tablets. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487. Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” [JM Kenoyer, 1998, p. 115]. m1181A 2222 Pict-80: Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated, in a yogic posture, on a hoofed platform Mohenjo-daro. Square seal depicting a nude male deity with three faces, seated in yogic position on a throne, wearing bangles on both arms and an elaborate headdress. Five symbols of the Indus script appear on either side of the headdress which is made of two outward projecting buffalo style curved horns, with two upward projecting points. A single branch with three pipal leaves rises from the middle of the headdress. Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and perforated boss is present on the back of the seal. Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050 Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams) Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.) Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri) The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person] Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.

I submit that Indus Script hypertexts and hieroglyphs of animals as wealth resources is a written system evoking the memories enshrined as metaphors related to Soma, in the ancient text of R̥gveda, handed down from generation to generation. RV 5.61.1 refers to these heroes: O HEROES lordliest of all, who are ye that have singly come Forth from a region most remote? Wilson translates this rca: Who are you, most excellent leadeers (of rites), who come one by one from a region exceedingly remote? [A wonderful old story: a_s'caryam pura_vr.ttam a_hura_gamapa_ragah, those who have gone through the a_gamas have related a wonderful occurrence]. पणि ṭhaṭherā brassworkers are wolves according to Rjis'v_a Bha_radwa_ja the seer of RV 6.51 sukta. On the Harappa tablets, the wolves (variants of tigers) are shown in rearing up in opposition and subdued by the one-eyed lady. vŕ̊ka m. ʻ wolf ʼ RV. [~ *ruka -- ]Pa. vaka -- m. ʻ wolf ʼ, Pk. vaya -- , vaa -- , viga -- , via -- m., G. varu m.; -- Sh.jij. vkx?(CDIAL 12062) I submit that the cave in which पणि ṭhaṭherā brassworkers hid their wealth of metalwork is evidenced in Nahal Mishmar artifacts. The breath-taking artifacts are Indus Script hypertexts. See: All Bronze Age standards of Ancient Near East are Indus Script hypertext proclamations of metalwork https://tinyurl.com/y776fjdc Nahal Mishmar Standard Foundation peg on the Nahal Mishmar arsenic-bronze 'crown' reinforces the nature of the horned building: kole.l 'smithy' Rebus: kole.l 'temple'. The artefacts might have been carried in procession from the smithy/temple to declare/announce the metallurgical repertoire of the artisans of the 5th millennium BCE, Nahal Mishmar. ḍaṅgorī 'mace, club' rebus: ḍhaṅgar 'blacksmith' Ko. kole·l smithy, temple in Kota village. To. kwala·l Kota smithy. Ta. kol working in iron, blacksmith; kollaṉ blacksmith. Ma. kollan blacksmith, artificer. Ka. kolime, kolume, kulame, kulime, kulume, kulme fire-pit, furnace; (Bell.; U.P.U.) konimi blacksmith (Gowda) kolla id. Koḍ. kollë blacksmith. Te. kolimi furnace. Go. (SR.) kollusānā to mend implements; (Ph.) kolstānā, kulsānā to forge; (Tr.) kōlstānā to repair (of ploughshares); (SR.) kolmi smithy (Voc. 948). Kuwi (F.) kolhali to forge. (DEDR 2133) I suggest that the so-called crowns of Nahal Mishmar are stacked-up cylindrical rings, components of a rebus-metonymy layered representations of a smithy and objects out of the smithy: karaḍā 'hard metal alloys'. The structure of the horned building: koṭṭa -- , kuṭ° n.; Kt. kuṭ ʻ tower (?) (Prakritam). I agree with Irit Ziffer that the artefacts are NOT crowns. The two birds on the edge of the crown are aquatic birds: Hieroglyph: కారండవము [kāraṇḍavamu] n. A sort of duck. కారండవము [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. कारंडव [kāraṇḍava ] m S A drake or sort of duck. कारंडवी f S The female. karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii , 31 , 21 கரண்டம் karaṇṭam, n. Rebus: Rebus: karaḍā ‘hard alloy’ (Marathi) Hieroglyphy: horns: Ta. kōṭu (in cpds. kōṭṭu-) horn, tusk, branch of tree, cluster, bunch, coil of hair, line, diagram, bank of stream or pool; kuvaṭu branch of a tree; kōṭṭāṉ, kōṭṭuvāṉ rock horned-owl (cf. 1657 Ta. kuṭiñai). Ko. ko·ṛ (obl. ko·ṭ-) horns (one horn is kob), half of hair on each side of parting, side in game, log, section of bamboo used as fuel, line marked out. To. kw&idieresisside;ṛ (obl.kw&idieresisside;ṭ-) horn, branch, path across stream in thicket. Ka. kōḍu horn, tusk, branch of a tree; kōr̤ horn. Tu. kōḍů, kōḍu horn. Te. kōḍu rivulet, branch of a river. Pa. kōḍ (pl. kōḍul) horn. Ga. (Oll.) kōr (pl. kōrgul) id. Go. (Tr.) kōr (obl. kōt-, pl. kōhk) horn of cattle or wild animals, branch of a tree; (W. Ph. A. Ch.) kōr (pl. kōhk), (S.) kōr (pl. kōhku), (Ma.) kōr̥u (pl. kōẖku)horn; (M.) kohk branch (Voc. 980); (LuS.) kogoo a horn. Kui kōju (pl. kōska) horn, antler. (DEDR 2200) Rebus: fortified town: kōṭṭa1 m. (n. lex.) ʻ fort ʼ Kathās., kōṭa -- 1 m. Vāstuv. Aś. sn. koṭa -- ʻ fort, fortified town ʼ, Pk. koṭṭa -- , kuṭ° n.; Kt. kuṭ ʻ tower (?) ʼ NTS xii 174; Dm. kōṭ ʻ tower ʼ, Kal. kōṭ; Sh. gil. kōṭ m. ʻ fort ʼ (→ Ḍ. kōṭ m.), koh. pales. kōṭ m. ʻ village ʼ; K. kūṭh, dat. kūṭas m. ʻ fort ʼ, S. koṭu m., L. koṭ m.; P. koṭ m. ʻ fort, mud bank round a village or field ʼ; A. kõṭh ʻ stockade, palisade ʼ; B. koṭ, kuṭ ʻ fort ʼ, Or. koṭa, kuṭa, H. Marw. koṭ m.; G. koṭ m. ʻ fort, rampart ʼ; M. koṭ, koṭh m. ʻ fort ʼ, Si. koṭuva (Geiger EGS 50 < kōṣṭhaka -- ).Addenda: kōṭṭa -- 1: A. kõṭh ʻ fort ʼ and other lggs. with aspirate and meaning ʻ fort ʼ perh. X kṓṣṭha (CDIAL 3500). Ruth Amiran reconstructs the gate-like projections on a multi-tiered layers of copper crowns. The superimposed drums of composite stand-like objects, cult stands or altars might have been stacked up as shown in the figure: Cult stand/altar made of superimposed crowns, as reconstructed by Amiran (Amiran, Ruth, 1985, A suggestion to see the copper 'crowns' of the Judean Desert in treasure as Drums of Stand-like altars, in: Palestine in the Bronze and Iron Ages: Papers in honour of Olga Tufnell, ed. JN Tubb, 10-14, London, Institute of Archaeology, fig.1) Late Uruk cylinder seal impression from Susa depicting war scene with horned building (Amiet, Pierre, 1987, Temple sur terrasse on fortressa? RA 81:99-104, fig.1) Siege of Kishesim, Khorsabad (Amiet, Pierre, 1987, Temple sur terrasse on fortressa? RA 81:99-104, fig.4) Elamite edifice adorned with bull horns, Nineveh (Potts, Daniel T., 1990, Some horned buildings in Iran, Mesopotamia and Arabia, RA 84: 33-40, fig.2) See: https://www.academia.edu/2093398/A_Note_on_the_Nahal_Mishmar_Crowns Irit Ziffer, A note on the Nahal Mishmar 'crowns' in: Jack Cheng, & Marian H Feldman, eds., 2007, Ancient Near Eastern Art in Context, BRILL., pp. 47-67. Replica of bronze sceptre from the Nahal Mishmar Hoard. The ibex is read rebus in Meluhha: https://en.wikipedia.org/wiki/Nahal_Mishmar [quote]The Nahal Mishmar Treasure In 1961, a spectacular collection of objects dating from the Chalcolithic period (ca. 4000–3300 B.C.) was excavated in a cave in the Judaean Desert near the Dead Sea. Hidden in a natural crevice and wrapped in a straw mat, the hoard contained 442 different objects: 429 of copper, six of hematite, one of stone, five of hippopotamus ivory, and one of elephant ivory. Many of the copper objects in the hoard were made using the lost-wax process, the earliest known use of this complex technique. For tools, nearly pure copper of the kind found at the mines at Timna in the Sinai Peninsula was used. However, the more elaborate objects were made with a copper containing a high percentage of arsenic (4–12%), which is harder than pure copper and more easily cast. Carbon-14 dating of the reed mat in which the objects were wrapped suggests that it dates to at least 3500 B.C. It was in this period that the use of copper became widespread throughout the Levant, attesting to considerable technological developments that parallel major social advances in the region. Farmers in Israel and Jordan began to cultivate olives and dates, and herders began to use milk products from domesticated animals. Specialized artisans, sponsored by an emerging elite, produced exquisite wall paintings, terracotta figurines and ossuaries, finely carved ivories, and basalt bowls and sculpture. The objects in the Nahal Mishmar hoard appear to have been hurriedly collected. It has been suggested that the hoard was the sacred treasure belonging to a shrine at Ein Gedi, some 12 kilometers away. Set in an isolated region overlooking the Dead Sea, the Ein Gedi shrine consists of a large mud-brick walled enclosure with a gatehouse. Across from the gatehouse is the main structure, a long narrow room entered through a doorway in the long wall. In the center of the room and on either side of the doorway are long narrow benches. Opposite the door is a semi-circular structure on which a round stone pedestal stood, perhaps to support a sacred object. The contents of the shrine were hidden in the cave at Nahal Mishmar, perhaps during a time of emergency. The nature and purpose of the hoard remains a mystery, although the objects may have functioned in public ceremonies.unquote] https://www.metmuseum.org/toah/hd/nahl/hd_nahl.htm The markhor is read rebus: miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ(Tor.): mēṇḍha2 m. ʻ ram ʼ, °aka -- , mēṇḍa -- 4, miṇḍha -- 2, °aka -- , mēṭha -- 2, mēṇḍhra -- , mēḍhra -- 2, °aka -- m. lex. 2. *mēṇṭha- (mēṭha -- m. lex.). 3. *mējjha -- . [r -- forms (which are not attested in NIA.) are due to further sanskritization of a loan -- word prob. of Austro -- as. origin (EWA ii 682 with lit.) and perh. related to the group s.v. bhēḍra -- ] 1. Pa. meṇḍa -- m. ʻ ram ʼ, °aka -- ʻ made of a ram's horn (e.g. a bow) ʼ; Pk. meḍḍha -- , meṁḍha -- (°ḍhī -- f.), °ṁḍa -- , miṁḍha -- (°dhiā -- f.), °aga -- m. ʻ ram ʼ, Dm. Gaw. miṇ Kal.rumb. amŕn/aŕə ʻ sheep ʼ (a -- ?); Bshk. mināˊl ʻ ram ʼ; Tor. miṇḍ ʻ ram ʼ, miṇḍāˊl ʻ markhor ʼ; Chil. mindh*ll ʻ ram ʼ AO xviii 244 (dh!), Sv. yēṛo -- miṇ; Phal. miṇḍ, miṇ ʻ ram ʼ, miṇḍṓl m. ʻ yearling lamb, gimmer ʼ; P. mẽḍhā m., °ḍhī f., ludh. mīḍḍhā, mī˜ḍhā m.; N. meṛho, meṛo ʻ ram for sacrifice ʼ; A. mersāg ʻ ram ʼ ( -- sāg < *chāgya -- ?), B. meṛā m., °ṛi f., Or. meṇḍhā, °ḍā m., °ḍhi f., H. meṛh, meṛhā, mẽḍhā m., G. mẽḍhɔ, M. mẽḍhā m., Si. mäḍayā. 2. Pk. meṁṭhī -- f. ʻ sheep ʼ; H. meṭhā m. ʻ ram ʼ.3. H. mejhukā m. ʻ ram ʼ.*mēṇḍharūpa -- , mēḍhraśr̥ṅgī -- .Addenda: mēṇḍha -- 2: A. also mer (phonet. mer) ʻ ram ʼ(CDIAL 10310) Rebus:meḍ 'iron'. mẽṛhet 'iron' (Santali.Mu.Ho.). Professions on Ancient Near East writing systems See: http://bharatkalyan97.blogspot.in/2013/08/monumental-architecture-as-hieroglyphs.html Architecture on Ancient Near East writing systems

This is an addendum to Why should Indus Script be deciphered & Veda texts understood? Itihāsa of rāṣṭram. To discharge r̥ ṇam to our sprachbund, 'language union' Meluhha Pitr̥ https://tinyurl.com/y5xbwhsk Bhārata rāṣṭra as depicted in Vedic texts: semantic analyses and cultural framework Bhārata rāṣṭram (March, 2006.) Vyas, Arvind[1]; Kalyanaraman, Srinivasan[2]; and Sastry, BVK[3] Abstract The concept of bhArata as a rASTra (nation) can be traced in the Vedic texts. The name bhArata has a wider meaning than the land of bharata clan. Derived from the root 'bhar', bhArata symbolizes the entity that nourishes and supports her people. The derivatives of root 'bhR' can be traced in many Indian languages in context of support, protection (and fighting) as well as in the metal-working terminology. The term rASTra is used for nation of people (ganrASTram); which is supported by the supporters of the nation (rASTrabhRtya) who also are protectors of the people (janabhRtya). The root 'bhR' also cognates with the root 'vR' mainly for the derived words meaning protection or fighting. We have based our study only on Veda and VedAnga (Nirukta of Yazka being part of VedAnga). India is known as bhArata. Though, historically the name "bhArata" could be associated with the "bharata" clan of Vedic people; the name "bhArat" has a meaning wider than (land) of "bharata". Though, semantically the word "bhArat" is masculine; the name is also used in feminine form to symbolize matRbhumI of Indian people as "bhArata mAtA"[4] or "mA bhAratI". bhAratI is one of the 3 principal Vedic divinities; "iLA", "sarasvatI" and "bhAratI"[5] or "mahI"[6]. "bhAratI" or "mahI" as synonyms points to the name of the motherland or nation of the Vedic people. The name "bhAratI" appears at not less than 10 places in Rg Veda; and her presence is built through the scriptures.

Anthropological Review

It is crucial to distinguish between the era of sacrificial cults in antiquity and the world of monotheistic religions. In ancient empires, cults primarily served as a political tool to create a common denominator to consolidate the ruler's power and unify different populations through shared customs and uniform symbols. Meanwhile, popular beliefs held a more prominent place in the daily life of the people. Therefore, it is imperative to separate official priestly worship from popular beliefs. This study focuses on Jews rather than Judaism. The term "Judaism" is a modern concept that gained theological significance only in the 18th century within the study of religions. Rabbinic Judaism, in accordance with its texts, is more concerned with authorized or prohibited actions than with beliefs and opinions. This does not mean that outside of it, there haven't been developments like mystical currents such as Hasidism and Kabbalah or rationalist thinkers like Maimonides, who sought to understand Judaism from different perspectives. Indeed, the Jewish religion emerged long after the era of blood sacrifice worship in temples, but the complexity of this evolution is undeniable. The concept of religion, in the Christian sense, does not precisely apply to the definition of the Jewish entity, especially before modern times and particularly in the 19th century according to Jewish thinkers in Europe. To be precise, the notion of religion was nonexistent in the ancient world. Various categories of "Judaisms" were later born based on the intellectual currents of the time. The analysis of New Testament texts, the Talmud, and their influence on Jewish existence reveals this complexity. These two research domains, rich in often challenging interpretations, have been shaken by innovative research in recent decades. To deepen these studies, the historian is faced with the need to sift through the most relevant topics, a challenging task involving the ability to break free from outdated previous research while considering historical heritage. My study does not aim to provide a comprehensive monograph of Jews or fully trace their history. Instead, it focuses on topics highlighting disagreements with certain old research hypotheses or predominant national narratives. These interpretations could only emerge thanks to the publication of works conducted in recent decades.