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.

R̥gveda a multi-disciplinary knowledge system, proclaims Hiraṇyagarbha Sūktam 'Golden Embryo' (RV 10.121), Puruṣa Sūktam (RV 10.90), Brahma Jñāna Sūktam (RV 8.71) and One-ness is Truth Sūktam (RV 1.164) R̥gveda is the oldest Samskr̥tam human monument, produced at the dawn of Indian tradition. The stunning feature of the tradition is that the R̥gveda mantras have been preserved with astonishing high-fidelity over several millennia, through oral recitations. A for written evidence, the oldest manuscript is kept in Bhandarkar Oriental Research Institute is dated to 1464 CE. 531 R̥ṣi-s are named in Anukramaṇī-s which are catalogues of poets and their association with Suktas (i.e. attribution of recitation authorship). Many R̥ṣi-s so identified are celebrated as originators of gotra-s and pravara-s in Hindu tradition which identify groups of people in a lineage which dates back to R̥gveda times. These 531 names PLUS names of devatā (with variant, descriptive names) invoked in the mantra-s explain the 765 sculptural friezes of Varāha (Khajuraho temple) on the metaphor of a monolithic statue Yajña Varāha as the personified, deified, signifier of the entire spectrum of knowledge systems of the Veda. Three Suktas are extraordinary enquiries. They are the precursors of Brāhmaṇa and āraṇyaka texts which are detailed elucidations of the purpose of yajña-s. In ādhyātmikā terms, these Suktas are the essence of the Veda, proclaiming the enuqiry into the links of ātman with paramātman, the essential one-ness of cosmic and consciousness phenomena as knowledge systems. For example, in Hiraṇyagarbha Suktam 'Golden Embryo', 'Man' signifies both the world and the yajña which itself becomes a re-enactment of the process of the creation of the universe. Cosmogonic and cosmological models continue to be used even today in many multi-disciplinary knowledge systems such as genetic studies, quantum physics, chemistry (e.g. archaeometallurgy), artificial intelligence, neuroscience studies related to the structure and functions of mind, brain, consciousness. The uniqueness of R̥gveda is the consistent effort to explain the bandha, 'bond, connection' between cosmic phenomena and worldly/personal consciousness phenamena reflected in human initiatives. This is the principal reason for identifying the 'meanings' of the text at ādibhautikā, ādidaivikā, ādhyātmikā levels of enquiry. The framework of the multi-level structure is adhiyajña 'relating to the performance of puja', generally with Agni, 'Energy, fire' as the witness and the priestly agency or carrier of the message uttered in sacred words. 1. Hiraṇyagarbha Sūktam 'Golden Embryo' (RV 10.121) 2. Puruṣa Sūktma (RV 10.90) 3. Brahma Jñāna Sūktam (RV 8.71) 4. One-ness is Truth Sūktam, also called 'The Riddle hymn', One-ness is Truth. Manifested diversity is unreal and merely in appearance (RV 1.164). R̥gveda is a monument which studies, as a multi-disciplinary knowledge system, the mysteries of the cosmos in religious and literary metaphors. R̥gveda has 10 maṇḍalam-s ('circles'), 1028 sūktas (hymns) and 10,600 r̥ca-s (mantras or verses). The mantras praise various divinities and describe procedures for performance of yajña-s (often,mistranslated as 'sacrifices'). The root of the expression yajña is yaj, 'to worship , adore , honour'. The mantras are recited and chanted during the prayers and performance of yajña-s. The mantras are liturgical compositions, that is, verses intended and used for public worship. They are also documentation of unparalleled literary enquiries of profound significance to multi-disciplinary knowledge systems. The performances of prayers or puja-s are called śrauta, 'heard, audible, expressed in words or in plain language'. Sacred duties related to yajña-s are performed by sacred priests. Hotar recites or chants the poetry of R̥gveda. Udgātar sings the poetry set to musical tunes called sāman-s.dedicated to Soma pavamāna 'flowing, self-purifying soma'. Adhvaryu states the verbal formula of yajus which are mantra-s for religious veneration, reverence, worship; Adhvaryu's statements are accompanied by physical actions of the performance of puja-s with śraddhā, 'diligence, trust and confidence'. Atharvan tends Agni, the fire which is a metaphor for 'Cosmic Energy'. Atharvan is also signified, in Indian tradition, as as a प्रजापति , as ब्रह्मा's eldest son , as the first learner and earliest teacher of the ब्रह्म-विद्या, 'knowledge of Brahman, that is ātman. A new three-volume set has been published in 2014 by Oxford University Press, translated by Stephanie W.Jamison and Joel P. Brereton. ISBN-13: 978-0199370184 The introduction reads: “India has a magnificent tradition of religious literature stretching over three and a half millennia, with a vast range of styles and subjects – from almost impersonal reflections on the mysteries of the cosmos, the divine, and humankind’s relation to them to deeply intimate expressions of worship…The R̥gveda is the first of these monuments, and it can stand with any of the subsequent ones. Its range is very large – encompassing profound and uncompromising meditations on cosmic enigmas, joyful and exuberant tributes to the wonders of the world, ardent praise of the gods and their works, moving and sometimes painful expressions of personal devotion, and penetrating reflections on the ability of mortals to make contact with and affect the divine and cosmic realms through sacrifice (yajna) and praise. Thus, much of what will distinguish later Indian religious literature is already present in the R̥gveda…India also has a magnificent literary tradition, characterized in great part by sophisticated poetic techniques and devices and a poetic self-consciousness that glories in the transformative work that words can effect on their subjects. Again, the R̥gveda is the first monument of this literary tradition and at least the equal of the later literature. The exuberance with which the poets press the boundaries of language in order to create their own reflection of the complex and ultimately impenetrable mysteries of the cosmos and the verbal devices they developed to mirror these cosmic intricacies resonate through the rest of the literary tradition…Thus the R̥gveda not only the beginning but also on of the paramount expressions of both the religious tradition and the literary tradition, combining these two roles in a text that displays great variety, skill, and beauty...Worshippers are not shy about specifying what they want in exchange: the good things of this world -- wealth, especially in livestock and gold, sons, and a long life-span -- and divine aid in defeating opponents...” (opcit., p. 3, 7) Hiraṇyagarbha Suktam 'Golden Embryo' (RV 10.121)

samiddha, idhma are manifestations ofअग्नि agni Narāśaṁsa, 'praise of men' and Tanūnapāt, 'devourer of clarified butter'. Agniṣṭhā is that corner of the Yūpa towards the fire. Agni is the central divinity of a yajña. Adoration of Agni in R̥gveda Chandas is an unparalleled, inspired adoration of breath-taking splendour, with awe and wonder at the cosmic dance, the tāṇḍava nr̥tyam -- in the history of literature of civilizations. Excerpts from शब्दकल्पद्रुमः and वाचस्पत्यम् -- two ancient encyclopaedias provide the semantic framework of extraordinary metaphors of adoration of Lat. igni-s ; Lith. ugni-s ; Slav. ognj; Samskr̥tam agni. अग्निः, पुं, (अङ्गयन्ति अग्य्रं जन्म प्रापयन्ति इतिव्युत्पत्त्या हविः प्रक्षेपाधिकरणेषु गार्हपत्याहवनी-यदक्षिणाग्निसभ्यावसथ्यौपासनाख्येषु षड्ग्निषु ।यद्वा अङ्गति ऊर्द्ध्वं गच्छति इति । अगि गतौ । ... Gargya Narayana's commentary mentions the following 10 āprī sukta.

In this study the author examines the attitude of Giovanni Spano (1803-1878) - a learned ecclesiastical scholar in Sardinia during the 19th century - towards the Jews and Judaism, as it appears from his “History of the Jews in Sardinia” published in Cagliari in 1875. Spano, who studied oriental languages in Rome at the University “La Sapienza” and not in an ecclesiastical or Pontifical institution, was a pioneer in the study of the presence of the Jews in Sardinia. He considered the Jews as Sardinian people for almost 1500 years and appreciated their values and merits in the development of the commercial activities. His attitude towards them is characterized by a total absence of anti-Semitism, which on the contrary was still widespread in the Catholic Church at that time, and by a sympathetic evaluation of their capacities. In the second part the author describes two Hebrew manuscripts which belonged to Giovanni Spano’s collection, now preserved at the university library in Cagliari.