Indus Script graphemes Egyptian hieroglyphs use rebus readings (original) (raw)

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Indus Script hypertexts are composed of hieroglyphs which describe goods such as minerals, metals, alloys. A parallel writing system of Egyptian hieroglyphs evidenced on bone and ivory tags of Abydos seem to describe goods and localities. This evidence reinforces the form and function of Indus Script hypertexts which were meant to be accounting ledgers of wealth-creating activities of artisans using Bronze age minerals, metals, alloys and metal castings. On the following examples from Harappa, fish hieroglyph signifies ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (Rgveda) and rimless pot hieroglyph signifies bhaṭa 'rimless pot' rebus: bhaṭa 'furnace', baṭa 'iron'. The four numeral strokes signify gaṇḍa 'four' rebus: kaṇḍa 'implements'. The earlierst writing at Harappa is dated to ca.3300 BCE by Harvard Archaeology Project (HARP) which pre-dates the Abydos bone, ivory tags with Egyptian hieroglyphs -- with form and function comparable to the form and function of Indus Script hypertexts.. Fish on miniature tablets, Harappa (a) H-302; (b) 3452; after Vats 1940: II, 452 B. Parpola, 1994, p. 194. Fish-shaped tablet (3428), Harappa with incised text; eye is a dotted circle; after Vats 1940: II, pl. 95, no.428; Parpola, 1994, p. 194. A comparable set of hieroglyphs occur on Narmer's palette which have been deciphered as N'r M'r 'cuttle-fish PLUS awl' to signify the name of the Emperor Nar-Mer, a clear example of rebus method of writing using logographs. Figure 5.5 Narmer Palette, reverse. Jurgen Liepe Figure 5.6 Tags from Tomb U-j, Abydos. German Archeological Institute Cairo [quote] Tombs excavated by Gunther Dreyer at Abydos in Cemeteries U and B may be those of some of the rulers preceding the 1s* Dynasty. Cemetery U contained mainly unlined Graves of Naqada II-III in the eastern section. Although robbed, one large tomb (U-j) in this cemetery still had much of its subterranean mud-brick structure, as well as wooden beams, matting, and mud-bricks from its roof. The tomb pit was divided into 12 chambers, including a burial chamber with evidence of a wooden shrine and an ivory scepter. Several hundred ceramic jars were excavated in this tomb, with the residue of (imported?) wine still in some of them. Almost 200 small labels in Tomb U-j, originally attached to goods, were inscribed with the earliest known evidence in Egypt of writing (see Figure 5.6). Dreyer has hypothesized that some of these signs refer to royal estates, administrative districts, and towns, such as Buto and Bubastis in the Delta. The labels may have been attached to goods and materials coming from royal estates or other places associated with a ruler named Scorpion, who was probably buried in this tomb. Tomb U-j did not belong to the well known King Scorpion, whose decorated macehead was found at Hierakonpolis, and the tomb is at least 100 years earlier in date than those of the Dynasty 0 kings buried in Cemetery B at Abydos. Cemetery B, to the south of Cemetery U, is where Werner Kaiser identified the tomb complex of Aha, the first king of the 1s* Dynasty, as well as double-chambered pit tombs of three kings of Dynasty 0: Iri-Hor, Ka, and Narmer. Kaiser’s identifications were confirmed by seal impressions and inscribed artifacts associated with these tombs. [unquote] http://www.worldhistory.biz/ancient-history/66210-5-5-state-formation-and-unification.html Labels from the late predynastic king's tomb U-j in Abydos. These labels made of cattle ribs were attached to grave goods and described their origin. [quote] Ivory tags from tomb U-j. Tomb U-j at Abydos. The Burial chamber is the broad room at the rear (southwest end) of the tomb. Bone and ivory tags, pottery vessels, and clay seal impressions bearing hieroglyphs unearthed at Abydos , one of the most ancient cities of Upper Egypt, 300 miles south of Cairo, have been dated between 3320 and 3150 BCE, making them the oldest known examples of Egyptian writing. The tags, each measuring 2 by 1 1/2 centimeters and containing between one and four glyphs, were discovered in the late 20th century in Tomb U-j of Umm el Qu'ab , the necropolis of the Predynastic and Early Dynastic kings by excavators from the German Archaeological Institute in Cairo led by Günter Dreyer . Tomb U-j may hold the remains of predynastic ruler Scorpion I (Serket I). The discoveries in Tomb U-j were first published by Dreyer, Ulrich Hartung, and Frauke Pupenmeier in Umm el-Qaab. Volume 1: Das prädynastische Königsgrab U-j und seine frühen Schriftzeugnisse (1998). "Tomb U-j is best known for three distinctive forms of administrative record keeping in the form of ink-inscribed vessels, sealings, and tags. The size of the tomb, its contents, and the amount of labor its construction and assemblage would have required has led many scholars to propose that this tomb belonged to a proto-ruler who reigned over a sizable territory by the Naqada III period. . . . "The written evidence from Tomb U-j, in particular the tags, probably denotes quantities of good, and localities in Egypt and beyond. The Egyptian writing system had already undergone a number of important developments by the time of Tomb U-j, which have not yet been recovered, or have not survived to modern times. Linguistic terminology makes it psosible to identify the various units of language that helped to transform communication in early Egypt from merely pictorial expression to speech writing, which is important in identifying the nature of early graphic material: "1) Logograms: symbols representing specific words "2) Phonograms: symbols representing specific sounds "3) Determinatives: symbols used for classifying words "Moreover, writing on the tags shows that the Egyptian writing system had adopted the rebus principle, which broadened the meaning of symbols to include their homophones—words with the same sound but different definitions. . . ." (Elise V. Macarthur, "The Concept and Development of the Egyptian Writing System" IN: Woods (ed), Visible Language. Inventions of Writing in the Middle East and Beyond [2010] 120; the book illustrates many of the objects from Tomb U-j; see also 138-143). "Prior to the proper scientific excavation of Tomb U-j and its publication in 1998, the earliest clear instances of Egyptian writing dated back to the late Dynasty o (ca. 3200-3100 BC), a few centuries later than in southern Mesopotamia. It had long been known that later fourth-millenium Egypt witnessed sustained cultural contract with southern Mesopotamia and Susiana, tokens of which are found in elements of foeign iconography on Egyptian prestige objects, the adoption of the cylinder seal, and niched brick architecture. This led to the —always controversial— hypothesis that Egyptian writing may have originated as a result of cultural infleunce from Mesopotamia, whether through general awareness that writing was present elsewhere, or possibly through some actual knowledge of the workings of the Mesopotamian system. The distinctively indigenous nature of the Egyptian repertoire of signs was interpreted as a case of cultural adaptation of a foreign technology to local purposes. The hypothesis of a Mesopotamian influence on the emergence of Egyptian writing was at times embedded into a broader frame arguing that the original invention of writing, conceived of as a dramatic cultural achievement, would have occurred only once in human history, subsequently to spread elsewhere. "As to the latter issue, the decipherment of Mayan glyphs and other New World scripts, and the realization that these represent actual writing rather than pictography, now proves otherwise. Simultaneously, a more refined understanding of the working of early writing in general demonstrates that writing may develop gradually, rather than dramatically, a good case in point being, pr-ecisely, the stage witnessed by Tomb U-j" (Andréas Stauder, "The Earliest Egyptian Writing" IN: Woods (ed) Visible Language. Inventions of Writing in the Ancient Middle East and Beyond [2010] 142). http://archive.archaeology.org/9903/newsbriefs/egypt.html, accessed 01-13-2013). [unquote] http://www.historyofinformation.com/expanded.php?id=3883

-- Indus Script hieroglyphs had evolved by 3300 BCE as evidenced by Harappa potsherd (HARP finding) which signified tin smithy, forge --Possible use of Indus Script hieroglyphs on ivory, bone tags to denote particular commodities

Ivory tag from Abydos from Tomb of King Djer ca. 3049-3008 BCE, 41 years Palermo Stone Label from Tomb of King Djer, Abydos (Note: The ivory tag may signify Meluhha readings of Indus Script hieroglyphs). I submit that this ivory tag is a token which signify wealth resources related to iron ore metalwork.This monograph reads the hieroglyphs on this tag using Indus Script Meluhha cipher. I do not know if the hieroglyphs have been identified and read in Coptic, Ancient Egyptian. The tag seems to be a signifier of some products/place name. Is it possible that the hieroglyphs were Indus Script hieroglyphs in Meluhha language? If so, the readings are: Hieroglyphs: 1. kul, kola 'tiger' rebus: kol 'working in iron'; kolhe 'smelter'; kul, kole.l 'temple, smithy/forge' 2. dāntā 'tooth, tusk' rebus: dhāˊtu 'ore of red colour' (ferrite ores, copper ores). 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) 3. dotted circle: dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore' PLUS पोत pōta 'gold bead', rebus pōta 'metal casting' PLUS Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻroundʼ rebus: vatti, brath, vrtti 'trade, business'; वृत्त vṛtta n (S) Conduct, practice, course, customary procedure. 2 Profession, occupation, practice pursued as a means of subsistence; वृत्ति vṛtti f (S) A profession, practice, occupation (as a means of subsistence); any office, situation, or business as a livelihood or maintenance (Marathi) The tag clearly does not signify the name of the King Djer since alternative hieroglyphs are used as discussed in the following sections of the monograph. Egyptian hieroglyphs and Indus Script Meluhha hieroglyphs -- both writing systems are logographic and use picture words to signify substantive similar sounding (homonymous) words, say, to signify wealth resources. Indus Script cipher evolved ca. 3300 BCE; Egyptian hieroglyph cipher evolved ca. 3200 BCE, exemplified by Ivory tags of Abydos with Egyptiabn hieroglyphs. Egyptian hieroglyph cipher ignored the vowels of the words and created syllabic signifiers in rebus renderings. Indus Script hieroglyph cipher uses the ENTIRE WORD signified by the picture and identifies similar sounding ENTIRE WORD to signify in Meluhha; for e.g. karibha 'elephant' picture hieroglyph signifies a similar sounding karba 'iron'. Possible Mesopotamia-Egypt trade routes from the 4th millennium BCE (Redford, Donald B. Egypt, Canaan, and Israel in Ancient Times. (Princeton: University Press, 1992), p. 22; Hartwig, Melinda K. (2014). A Companion to Ancient Egyptian Art. John Wiley & Sons. p. 427.) Egypt had contacts with Meluhha (Ancient India) ca. 19th cent. BCE evidenced by a sewn boat (using coconut fibre as coir for sewing the planks of सांगड sāṅgaḍa (Marathi) Catamaran [kaṭṭumaram, 'planks sewn' (Ta.Ma.)\ from Herala?) found in Ayn Soukhna, Red Sea, north of Suez Canal. I submit that ivory tags found in Abydos which pre-date the use of Egyptian hieroglyphs are tokens containing info. about products (resource place names or product names). The hieroglyphs on many of these ivory tags closely resemble the hieroglyphs of Indus Script Corpora, hieroglyphs such as 'tusk', 'tiger', 'dotted circle', 'elephant', 'aquatic bird' 'tree' 'mountain range'. Ivory tags from tomb U-j at Abydos. 3320 and 3150 BCE, making them the oldest known examples of Egyptian writing. Bone Tags from tomb U-j at Abydos, Early Naqada III https://www.brown.edu/Departments/Joukowsky\_Institute/courses/introtoegypt/files/4342389.JPG https://www.brown.edu/Departments/Joukowsky\_Institute/courses/introtoegypt/5673.html Source: Indus Script & More: Striped Signs in the Indus Script "A long-necked bird appears on a tag in Tomb U-j at Abydos, as once of the earliest examples of proto-hieroglyphic script (O’Connor 2009: 145, fig. 78). This bird stands on or above an elephant on the tag, forming a pair of symbols that has been interpreted as the first true writing in Egypt..."(Indus Script & More: Striped Signs in the Indus Script) I submit that the tag is written as Indus Script hieroglyphs read rebus in Meluhha Indian sprachbund 'language union'. Hieroglyphs on tag deciphered: ibha 'elephant' rebus: ib 'iron' (Kota)karaṛa 'a very large aquatic bird' (Sindhi)akrandava 'aquatic bird' Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) Alternative: pōlaḍu 'black drongo' rebus: pōlaḍ 'steel' The aquatic bird hieroglyph is seen on Indus Script inscritions; for e.g. Paul Kjaerum, 1983, Failaka/Dilmun: the second millennium settlements, I.1: the stamp and cylinder seals, Jutland Archaeological Society Publications, 17.1, Aarhus: no. 26, p.37). karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) bicha 'scorpiion' rebus: bicha 'haematite ore' kaNDa 'divisions' rebus: kaNDa 'implements' muh 'face' rebus: muhA 'quantity of smelted metal taken out of a furnace'; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Indus Script hieroglyphs read rebus in Meluhha Indian sprachbund: karba, ibha 'elephant' rebus: karba, ib 'iron ḍāng 'mountain range' Rebus: dhangar 'blacksmith'; Hieroglyph: खोंडा khōṇḍā fig. A hollow amidst hills; a deep or a dark and retiring spot; a dell; कोंडकें kōṇḍakēm n C A shut in spot among hills; a basin, a dark dell &c. Rebus: कोंड kōṇḍa A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste. Grounds under one occupancy or tenancy. A confined place gen.; a lock-up house &c. kuṭi 'tree' rebus: kuṭhi 'smelter, factory, metalwork manufactory' A tag from the pre-dynastic period (after O’Connor, D. 2009. Abydos: Egypt’s First Pharaohs and the Cult of Osiris. London: Thames & Hudson. p.145). Archeologist G. Dreyer reads these two hieroglyphs, the elephant 3b and the triple mountain peaks dw, thus spelling the name of Abydos. O'Connor suggests that this may represents the name of a town, which may not be Abydos. Neither seems to address the third element, a schematic tree. (The circle upper left is a hole). This comment is excerpted from Diwiyana's blogpost: http://indusscriptmore.blogspot.com/2012/03/indus-syntax.html "In 1988 Dreyer and his colleague Werner Kaiser excavated in Abydos (Umm el-Qaab) on the cemetery "U" the burial site of the king (U-j), which is dated to the Naquada period IIIa2, known as king Scorpion I. Currently, this is the earliest known large royal tomb of old Egypt. The most important finds were about 400 large wine jars being inscribed resp. having tags showing phonetically readable characters of a script, the first of its kind in Egypt. They identify the person laid into the grave, as the inscription says "plantation of (king) Scorpion." Script also name his successor, a king Double Falcon I. The scientific importance lies in the fact of finding Egyptian hieroglyphs which predate cuneiform script. The mentioned hierogylphs are on small wooden tags applied to the jars probably marking their origin and "are fully developed", as Dreyer stated. In 1998 Dreyer found another writing on small ivory labels, he concluded that these support the challenge to the prevailing view that the first people to write were the Sumerians of Mesopotamia (modern-day Iraq) sometime before 3000 BCE" http://news.bbc.co.uk/2/hi/science/nature/235724.stm Iti, cartouche name of Djer in the Abydos king list. Label from Tomb of King Djer, Abydos King Djer. Ivory tag from Abydos, tomb Djer (or Zer or Sekhty) is the third pharaoh of the First Dynasty of ancient Egypt in current Egyptology, ca. mid-thirty-first century BC and reigned for c. 40 years https://en.wikipedia.org/wiki/File:King\_Djer.\_Ivory\_tag\_from\_Abydos,\_tomb\_O.\_Petrie,\_Royal\_Tombs\_II.\_p.23,\_pl.\_Va.11\_(Ashmolean).jpg (W. M. Flinders Petrie: The Royal Tombs of the Earliest Dynasties, 1901, Part II, London 1901, p.16-17)

Mounted as a pair of 'srivatsa' symbols atop two pillars of the Sanchi stupa torana (north gate), the proclamation is: aya kammaṭa 'metal mint' PLUS dhāvḍā 'smelter', the two components of the message are signified by: daürā 'rope' typing the fins of fishes khambhaṛā 'fin'. dula 'pair' rebus: dul 'cast metal'. This remarkable hypertext is thus a continuum of Indus Script cipher and Prakritam used by Bharatam janam, 'metalcaster people'. There are two hieroglyph components in the hieroglyph-multiplex (hypertext) atop Sanchi stupa. They are: 1. fin (tail) of a pair of fishes; 2. rope tying the two fishes together. These components are clearly seen in the orthographic variants signified on Jaina Ayagapattas. Hieroglyph: khambhaṛā m. ʻ fin ʼ (Lahnda):*skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ] S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) skambhá1 m. ʻ prop, pillar ʼ RV. 2. ʻ *pit ʼ (semant. cf. kūˊpa -- 1). [√skambh] 1. Pa. khambha -- m. ʻ prop ʼ; Pk. khaṁbha -- m. ʻ post, pillar ʼ; Pr. iškyöp, üšköb ʻ bridge ʼ NTS xv 251; L. (Ju.) khabbā m., mult. khambbā m. ʻ stake forming fulcrum for oar ʼ; P. khambh, khambhā, khammhā m. ʻ wooden prop, post ʼ; WPah.bhal. kham m. ʻ a part of the yoke of a plough ʼ, (Joshi) khāmbā m. ʻ beam, pier ʼ; Ku. khāmo ʻ a support ʼ, gng. khām ʻ pillar (of wood or bricks) ʼ; N. khã̄bo ʻ pillar, post ʼ, B. khām, khāmbā; Or. khamba ʻ post, stake ʼ; Bi. khāmā ʻ post of brick -- crushing machine ʼ, khāmhī ʻ support of betel -- cage roof ʼ, khamhiyā ʻ wooden pillar supporting roof ʼ; Mth. khāmh, khāmhī ʻ pillar, post ʼ, khamhā ʻ rudder -- post ʼ; Bhoj. khambhā ʻ pillar ʼ, khambhiyā ʻ prop ʼ; OAw. khāṁbhe m. pl. ʻ pillars ʼ, lakh. khambhā; H. khām m. ʻ post, pillar, mast ʼ, khambh f. ʻ pillar, pole ʼ; G. khāmm. ʻ pillar ʼ, khã̄bhi, °bi f. ʻ post ʼ, M. khã̄b m., Ko. khāmbho, °bo, Si. kap (< *kab); -- X gambhīra -- , sthāṇú -- , sthūˊṇā -- qq.v. 2. K. khambürü f. ʻ hollow left in a heap of grain when some is removed ʼ; Or. khamā ʻ long pit, hole in the earth ʼ, khamiā ʻ small hole ʼ; Marw. khã̄baṛo ʻ hole ʼ; G.khã̄bhũ n. ʻ pit for sweepings and manure ʼ. *skambhaghara -- , *skambhākara -- , *skambhāgāra -- , *skambhadaṇḍa -- ; *dvāraskambha -- . Addenda: skambhá -- 1: Garh. khambu ʻ pillar ʼ.(CDIAL 13639) Hieroglyph: daürā 'rope' Rebus: dhāvḍā 'smelter' Hieroglyph: daũ̈rā, daürā ʻ rope ʼ(Oriya): dāˊman1 ʻ rope ʼ RV. 2. *dāmana -- , dāmanī -- f. ʻ long rope to which calves are tethered ʼ Hariv. 3. *dāmara -- . [*dāmara -- is der. fr. n/r n. stem. -- √dā2] 1. Pa. dāma -- , inst. °mēna n. ʻ rope, fetter, garland ʼ, Pk. dāma -- n.; Wg. dām ʻ rope, thread, bandage ʼ; Tir. dām ʻ rope ʼ; Paš.lauṛ. dām ʻ thick thread ʼ, gul. dūm ʻ net snare ʼ (IIFL iii 3, 54 ← Ind. or Pers.); Shum. dām ʻ rope ʼ; Sh.gil. (Lor.) dōmo ʻ twine, short bit of goat's hair cord ʼ, gur. dōm m. ʻ thread ʼ (→ Ḍ. dōṅ ʻ thread ʼ); K. gu -- dômu m. ʻ cow's tethering rope ʼ; P. dã̄u, dāvã̄ m. ʻ hobble for a horse ʼ; WPah.bhad. daũ n. ʻ rope to tie cattle ʼ, bhal. daõ m., jaun. dã̄w; A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; B. dām, dāmā ʻ cord ʼ; Or. duã̄ ʻ tether ʼ, dāĩ ʻ long tether to which many beasts are tied ʼ; H. dām m.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id.,garland ʼ; G. dām n. ʻ tether ʼ, M. dāvẽ n.; Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ. -- Ext. in Paš.dar. damaṭāˊ, °ṭīˊ, nir. weg. damaṭék ʻ rope ʼ, Shum.ḍamaṭik, Woṭ. damṓṛ m., Sv. dåmoṛīˊ; -- with -- ll -- : N. dāmlo ʻ tether for cow ʼ, dã̄wali, dāũli, dāmli ʻ bird -- trap of string ʼ, dã̄wal, dāmal ʻ coeval ʼ (< ʻ tied together ʼ?); M. dã̄vlī f. ʻ small tie -- rope ʼ. 2. Pk. dāvaṇa -- n., dāmaṇī -- f. ʻ tethering rope ʼ; S. ḍ̠āvaṇu, ḍ̠āṇu m. ʻ forefeet shackles ʼ, ḍ̠āviṇī, ḍ̠āṇī f. ʻ guard to support nose -- ring ʼ; L. ḍã̄vaṇ m., ḍã̄vaṇī, ḍāuṇī(Ju. ḍ̠ -- ) f. ʻ hobble ʼ, dāuṇī f. ʻ strip at foot of bed, triple cord of silk worn by women on head ʼ, awāṇ. dāvuṇ ʻ picket rope ʼ; P. dāuṇ, dauṇ, ludh. daun f. m. ʻ string for bedstead, hobble for horse ʼ, dāuṇī f. ʻ gold ornament worn on woman's forehead ʼ; Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ, gng. dɔ̃ṛ ʻ place for keeping cattle, bedding for cattle ʼ; A. dan ʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ; B. dāmni ʻ rope ʼ; Or. daaṇa ʻ string at the fringe of a casting net on which pebbles are strung ʼ, dāuṇi ʻ rope for tying bullocks together when threshing ʼ; H. dāwan m. ʻ girdle ʼ, dāwanī f. ʻ rope ʼ, dã̄wanī f. ʻ a woman's orna<-> ment ʼ; G. dāmaṇ, ḍā° n. ʻ tether, hobble ʼ, dāmṇũ n. ʻ thin rope, string ʼ, dāmṇī f. ʻ rope, woman's head -- ornament ʼ; M. dāvaṇ f. ʻ picket -- rope ʼ. -- Words denoting the act of driving animals to tread out corn are poss. nomina actionis from *dāmayati2.3. L. ḍãvarāvaṇ, (Ju.) ḍ̠ã̄v° ʻ to hobble ʼ; A. dāmri ʻ long rope for tying several buffalo -- calves together ʼ, Or. daũ̈rā, daürā ʻ rope ʼ; Bi. daũrī ʻ rope to which threshing bullocks are tied, the act of treading out the grain ʼ, Mth. dã̄mar, daũraṛ ʻ rope to which the bullocks are tied ʼ; H. dã̄wrī f. ʻ id., rope, string ʼ, dãwrī f. ʻ the act of driving bullocks round to tread out the corn ʼ. Addenda: dāˊman -- 1. 1. Brj. dã̄u m. ʻ tying ʼ. 3. *dāmara -- : Brj. dã̄wrī f. ʻ rope ʼ.(CDIAL 6283) Rebus: dhāvḍī ʻ composed of or relating to iron ʼ (Marathi) धवड [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron.धावड [ dhāvaḍa ] m A class or an individual of it. They are smelters of iron. धावडी [ dhāvaḍī ] a Relating to the class धावड. Hence 2 Composed of or relating to iron. (Marathi) 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) Srivatsa with kanka, 'eyes' (Kui). Begram ivories. Plate 389 Reference: Hackin, 1954, fig.195, no catalog N°. According to an inscription on the southern gate of Sanchi stupa, it has been carved by ivory carvers of Vidisha.Southern Gateway panel information:West pillar Front East Face has an inscription. Vedisakehi dantakarehi rupa-kammam katam - On the border of this panel – Epigraphia Indica vol II – written in Brahmi, language is Pali – the carving of this sculpture is done by the ivory carvers of Vedisa (Vidisha). http://puratattva.in/2012/03/21/sanchi-buddham-dhammam-sangahm-5-1484 Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. Ma. kaṇ, kaṇṇu eye, nipple, star in peacock's tail, bud. Ko. kaṇ eye. To. koṇ eye, loop in string. Ka. kaṇ eye, small hole, orifice. Koḍ. kaṇṇï id. Pe. kaṇga (pl. -ŋ, kaṇku) id. Manḍ. kan (pl. -ke) id. Kui kanu (pl. kan-ga), (K.) kanu (pl. kaṛka) id. Kuwi (F.) kannū (S.) kannu (pl. kanka), (Su. P. Isr.) kanu (pl. kaṇka) id. (DEDR 1159). śrivatsa symbol [with its hundreds of stylized variants, depicted on Pl. 29 to 32] occurs in Bogazkoi (Central Anatolia) dated ca. 6th to 14th cent. BCE on inscriptions Pl. 33, Nandipāda-Triratna at: Bhimbetka, Sanchi, Sarnath and Mathura] Pl. 27, Svastika symbol: distribution in cultural periods] The association of śrivatsa with ‘fish’ is reinforced by the symbols binding fish in Jaina āyāgapaṭas (snake-hood?) of Mathura (late 1st cent. BCE). śrivatsa symbol seems to have evolved from a stylied glyph showing ‘two fishes’. In the Sanchi stupa, the fish-tails of two fishes are combined to flank the ‘śrivatsa’ glyph. In a Jaina āyāgapaṭa, a fish is ligatured within the śrivatsa glyph, emphasizing the association of the ‘fish’ glyph with śrivatsa glyph. (After Plates in: Savita Sharma, 1990, Early Indian symbols, numismatic evidence, Delhi, Agama Kala Prakashan; cf. Shah, UP., 1975, Aspects of Jain Art and Architecture, p.77) Khandagiri caves (2nd cent. BCE) Cave 3 (Jaina Ananta gumpha). Fire-altar?, śrivatsa, svastika (hieroglyphs) (King Kharavela, a Jaina who ruled Kalinga has an inscription dated 161 BCE) contemporaneous with Bharhut and Sanchi and early Bodhgaya. Tree shown on a tablet from Harappa. [Pl. 39, Savita Sharma, opcit. Tree symbol (often on a platform) on punch-marked coins; a symbol recurring on many tablets showing Sarasvati hieroglyphs]. Kushana period, 1st century C.E.From Mathura Red Sandstone 89x92cm books.google.com/books?id=evtIAQAAIAAJ&q=In+the+image... Ayagapatta, Kankali Tila, Mathura.

-- Semantics and pragmatics of Egptian and Indus Script hieroglyphs -- An industrial scale Bronze Age workshop of Harappa evidenced by a series of circular workers' platforms which are an organization of industrial scale workshops to produce metalwork artifacts This monograph compares the evolution of writing systems of Egyptian hieroglyphs and Indus Script hieroglyphs. It is seen that while Egyptian hieroglyphs progressed into pragmatics of coding in cipher, the objects and place names, the Indus Script hieroglyphs progressed beyond semantics into pragmatics of coding in hypertext ciphers, the nature of metallurgical processes to produce defined metalwork which constituted wealth of the artisan guild working on circular workers' platforms, on an industrial scale. "Semantics means the meaning of a word, phrase or text. Semantics is the branch of linguistics and logic concerned with meaning. The two main areas are logical semantics, concerned with matters such as sense and reference and presupposition and implication, and lexical semantics, concerned with the analysis of word meanings and relations between them. "Pragmatics relates to language in use and the contexts in which it is used, including such matters as deixis, the taking of turns in conversation, text organization, presupposition, and implicature." https://www.dictionary.com/ Early writing from Abydos was used to label containers. (Courtesy Günter Dreyer) : Larkin Mitchell, 1999, Newsbrief, Archaeology, Volume 52 Number 2, March/April 1999, Archaeological Institute of America "Bone and ivory tags, pottery vessels, and clay seal impressions bearing hieroglyphs unearthed at Abydos, 300 miles south of Cairo, have been dated to between 3400 and 3200 B.C.E, making them the oldest known examples of Egyptian writing. The tags, each measuring 2 by 1 1/2 centimeters and containing between one and four glyphs, were discovered by excavators from the German Archaeological Institute in Cairo in the predynastic ruler Scorpion I's tomb. Institute director Günter Dreyer says the tags and ink-inscribed pottery vessels have been dated to 3200 B.C.E based upon contextual and radiocarbon analysis. The seal impressions, from various tombs, date even further back, to 3400 B.C. E. These dates challenge the commonly held belief that early logographs, pictographic symbols representing a specific place, object, or quantity, first evolved into more complex phonetic symbols in Mesopotamia...Denise Schmandt-Besserat, Professor at the University of Texas at Austin, explains as follows the reasons why it is now held that writing spread from Mesopotamia to Egypt. Mesopotamia provides data that illustrates the step by step evolution of data processing from 8000 B.C. to the present. Clay counters of many shapes - tokens - were used to count goods in early agricultural communities from 8000 to 3000 B.C.. When the Mesopotamian script written on clay tablets appeared, coinciding with the rise of the state, about 3200 B.C., it visibly evolved from the token system. Tokens and writing had an identical function. Both served strictly for accounting the same types of goods, namely small cattle, cereals, oil, textiles, etc. The written signs were traced in the shape of tokens, bearing the same markings. The signs were organized using the same order as the previous tokens. Apparently, about 3100 B.C., the Mesopotamian state administration required that the names of the individuals, that either received or gave the goods stipulated, be entered on the accounting tables. These personal names could not easily be written logographically without the risk of overburdening the system. In order to solve the problem, the accountants resorted to writing individuals' names phonetically. This brought writing to a new course that, in the course of centuries or even millennia, developed into the cuneiform syllabaries (1 sign = 1 syllable) used by the Babylonians and Assyrians...The bone and ivory tags discovered at Abydos also documented the quantity and geographic origin of particular commodities. The labels, originally attached to boxes or containers, had the names of places and institutions involved in the exchange of such goods as grain and fabrics. The older clay seal impressions and ink inscriptions also indicate the origins of different commodities. Such records, says Dreyer, "provide valuable information concerning political organization and resource distribution in predynastic Upper Egypt."To date, 70 percent of these predynastic hieroglyphs have been translated. According to Jim Allen of the Metropolitan Museum of Art in New York, such early hieroglyphs represent a rebus system, akin to modern Japanese, in which pictures are used according to the way they sound. In early phonetic systems phrases such as "I believe," for example, might be rendered with an eye, a bee, and a leaf. The Abydos hieroglyphs are simple precursors to the complex hieroglyphic forms discovered at later sites such as Metjen and Turin...Will the present date of 3200 B.C. for phonetic writing in Egypt be confirmed by subsequent work? Are the dates for Mesopotamian writing-solely based on the stratigraphy of one deep sounding of the site of Uruk-too conservative? Hopefully, Egyptology will be able to find out more about the circumstances that surrounded and led to the development of phonetic writing. Finally, it will be of great interest to resolve whether the Egyptian and Sumerian scripts came about independently, or if, after all, they had ties?" https://archive.archaeology.org/9903/newsbriefs/egypt.html These examples of early Egyptian hieroglyphs of Aybdos from ca. 3400 BCE indicated places, objects, or quantities. This example of pragmatics shows an advance over the earlier use of hieroglyphs to provide for rebus readings in Coptic language of, say, names of Kings. The writing system thus advanced to signify wealth categories as indicated by the semantics of these ivory and bone tags found in tombs. Almost at the same time, ca. 3300 BCE there is evidence of Indus Script hieroglyphs found on a potsherd discovered at Harappa (by HARP archaeology team). This potsherd signified the object, 'tin ore' and the place where it was processed: smithy, forge. Decipherment: tagaraka 'tabernae montana' rebus: tagaram 'tin ore' PLUS kolom 'three' rebus: kolimi 'smithy, forge'. Ta. takaram tin, white lead, metal sheet, coated with tin. Hieroglyph: Ta. takaram wax-flower dog-bane, Tabernaemontana; aromatic unguent for the hair, fragrance. Ma. takaram T. coronaria. Ka. tagara id. / Cf. Skt. sthakara-, sthagara-, tagara, tagaraka-; Pali tagara-; Pkt. ṭagara-, tagara- (DEDR 3002) tagara1 n. ʻ the shrub Tabernaemontana coronaria and a fragrant powder obtained from it ʼ Kauś., ˚aka<-> VarBr̥S. [Cf. sthagara -- , sthakara -- n. ʻ a partic. fragrant powder ʼ TBr.]Pa. tagara -- n., Dhp. takara; Pk. tagara -- , ṭayara -- m. ʻ a kind of tree, a kind of scented wood ʼ; Si. tuvara, tōra ʻ a species of Cassia plant. ʼtagaravallī -- .(CDIAL 5622) tagaravallī f. ʻ Cassia auriculata ʼ Npr. [tagara -- 1, vallī -- ]Si. tuvaralā ʻ an incense prepared from a species of Tabernaemontana ʼ.(CDIAL 5624) Rebus: Ma. takaram tin, tinned iron plate. Ko. tagarm (obl. tagart-) tin. Ka. tagara, tamara, tavara id. Tu. tamarů, tamara, tavara id. Te. tagaramu, tamaramu, tavaramu id. Kuwi (Isr.) ṭagromi tin metal, alloy. / Cf. Skt. tamara- id.(DEDR 3001) tagara2 ṇ. ʻ Name of a town ʼ Romakas.M. Ter LM 348.(CDIAL 5623) I have presented thousands of dialect variants in pronunciation, semantic expansions for each of the hieroglyphs of the script. Context of use is critical. Context is wealth creation and documenting wealth creation in daybooks or ledgers which constitute the Indus Script Corpora of over 8000 inscriptions. JM Kenoyer and R Meadow have demonstrated how the hieroglyphs on miniature tablets (Groups 1 to 3) become part of an Indus Script Inscription on a seal. Thus, the miniature tablet inscriptions constitute daybooks which enter the wealth-accounting ledger on a seal. https://www.harappa.com/content/indus-script-and-economics-role-indus-seals-and-tablets-rationing-and-administration-labor Decipherment of some miniature Harappa seals/tablets Three Dotted circles: dhāvaḍa kolimi 'smelter smithy, forge'; ganda 'four' rebus: kanda 'fire-altar';khanda 'equipment' PLUS baṭa 'rimless pot' rebus: bhaṭa 'furnace'. Thus, furnace fire-altar. dhāī 'strand' PLUS vaṭṭa 'circle' = धावड dhāvaḍa 'smelter'. kanda'arrow' rebus: khanda 'equipment' Thus, fish+ arrow hieroglyphs signify aya 'fish' ayas 'alloy metal' PLUS kanda 'arrow' rebus: khanda 'equipment' or together, alloymetal equipment. The inscription on this Harappa miiature tablet (both sides) siggnify धावड dhāvaḍa 'smelter'.working with furnace fire-altar and producing alloymetal equipment.

Vatsyayana signifies cryptography as mlecchita vikalpa, i.e. alternative system of representation of spoken words by mleccha (meluhha) speakers. The alternative system using symbols for writing was necessitated by the Bronze Age revolution which produced surplus products for barter and trade across Eurasia. There was a Tin Route preceding by 2 millennia the Silk Road reaching tin from the Tin belt of Mekong delta into Eurasia with seafaring merchants of Sarasvati-Sindhu civiization as trade intermediaries. Indus Script used the hieroglyphs to document metalwork catalogues fpr trade. Mints used some of the hieroglyphs as celebration of metalwork on coins used as metaphors for specific products traded, an advance in regulating fair value of exchanges in barter transactions. kole.l 'smithy, forge' assumes the metaphor of kole.l 'temple' during the historical periods sustained by the retained memories of the Bronze Age revolution and writing system of Indus Script. See: http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-19-punch.html Indus Script hieroglyphs on 19 punch-marked coins (Ancient janapada mints) deciphered as metalwork proclamations Vikalpa in grammar is admission of an option or alternative , the allowing a rule to be observed or not at pleasure (वे*ति विकल्पः Pa1n2. 1-1 , 44 Sch.). Such a vikalpa is Indus Script as a writing system for spoken words. The use of symbols to signify rebus words (homonyms signifying both the symbol and the intended bronze age metalwork) is comparable to the literary use of metaphors in chandas (Vedic diction or prosody). In the Vedic diction, for example, tris'iras signifies a metaphor for three strands. A similar representation occurs in Indus Script in the orthography of a trefoil (thre dotted circles) to signify three strands. Each dotted circle is a धातु constituent part , ingredient (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf. त्रिविष्टि- सप्त- , सु-) RV. TS. S3Br. &c lement , primitive matter (= महा-भूत L. ) MBh. Hariv. &c (usually reckoned as 5 , viz. ख or आकाश , अनिल , तेजस् , जल , भू ; to which is added ब्रह्म Ya1jn5.iii , 145 ; or विज्ञान Buddh. ). primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red colour) Mn. MBh Thus, the dotted circle signifies both 'strand' and 'element, mineral'. The symbol is used as a syllable in Brahmi script to signify the sound 'dha'. A trefoil is त्रि-ध्/आतु , threefold, rebus: three elements. Silver karshapana c. 5th-4th century BCEWeight: 3.08 gm., Dim: 26 x 24 mm. Five punches: sun, 6-arm, and three others, plus banker's marks / Banker's marks Ref: GH 36. kuTi 'tree' rebus: kuThi 'smelter' मेढ (p. 662) [ mēḍha ] 'polar star' (Marathi) rebus: mẽṛhet iron (metal), meD 'iron' (Mu.Ho.) mRdu 'iron' (Samskrtam) goTa 'pebble, round' rebus: khoTa 'ingots, wedges'. Silver karshapana. There are three distinct punch-marks: sun, spokes, nave of wheel PLUS elephant, dotted circle with three strands and three ovals (ingots). Symbol 1: arka 'sun' arká1 m. ʻ flash, ray, sun ʼ RV. [√arc] Pa. Pk. akka -- m. ʻ sun ʼ, Mth. āk; Si. aka ʻ lightning ʼ, inscr. vid -- äki ʻ lightning flash ʼ.(CDIAL 624) अर्क [p= 89,1]m. ( √ अर्च्) , Ved. a ray , flash of lightning RV. &c, the sun (RV) fire RV. ix , 50 , 4 S3Br. Br2A1rUp. Rebus: arka 'copper' aggasAle (a compound expression of arka + sAle) 'goldsmith' (Kannada) అగసాలి [ agasāli ] or అగసాలెవాడు agasāli. [Tel.] n. A goldsmith. కంసాలివాడు. Ta. eṟṟu (eṟṟi-) to throw out (as water from a vessel); iṟai (-v-, -nt-) to scatter (intr.), disperse; (-pp-, -tt-) to splash (tr.), spatter, scatter, strew, draw and pour out water, irrigate, bale out, squander; iṟaivaireceptacle for drawing water for irrigation; iṟaṭṭu (iṟaṭṭi-) to sprinkle, splash. Ma. iṟekka to bale out; iṟayuka id., scatter, disperse; iṟava basket for drawing water; eṟiccil rainwater blown in by the wind. To.eṟ- (eṟQ-) to scoop up (water with vessel). Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion.Tu. eraka molten, cast (as metal); eraguni to melt. Kur. ecchnā to dash a liquid out or over (by scooping, splashing, besprinkling). Cf. 840 Kur. elkhnā (Pfeiffer).(DEDR 866) Symbol 2: spokes of wheel: ará m. ʻ spoke of a wheel ʼ RV. 2. āra -- 2 MBh. v.l. [√r̥] 1. Pa. ara -- m., Pk. ara -- , °ga -- , °ya -- m.; S. aro m. ʻ spoke, cog ʼ; P. arm. ʻ one of the crosspieces in a cartwheel ʼ; Or. ara ʻ felloe of a wheel ʼ; Si. ara ʻ spoke ʼ. 2. Or. āra ʻ spoke ʼ; Bi. ārā ʻ first pair of spokes in a cartwheel ʼ; H. ārā m. ʻ spoke ʼ, G. ārɔ m.(CDIAL 594) Rebus: ara 'brass' ArakUTa 'brass' (Samskrtam) आर--कूट [p= 149,2] 'a kind of brass'. Symbol 3: nave of wheel: era, eraka = nave of wheel (Kannada.); rebus: era, eraka 'copper' (Kannada.) Symbol 4: elephant: kariba 'trunk of elephant' ibha 'elephant; Rebus: karba 'iron' ib 'iron' Symbol 5: dhAu 'strand' rebus: dhAu 'red mineral' PLUS khaNDa 'arrow' rebus: khaNDa 'implements'; Hieroglyph: oval-shape: rebus: khoTa 'ingot, wedge'. Three strands: tri-dhAu rebus: tri-dhAu 'three minerals'. Upendra Thakur called the Bronze Age, 'the Age of Symbols'. (See embedded article from the Journal of the Econimic and Social History of the Orient, Vol. XVI, Parts 2/3, December 1973, pp. 265-297). See: http://bharatkalyan97.blogspot.in/2016/03/indus-script-hieroglyphs-on-early.html In his 1890 monograph, W.Theobald lists 312 'symbols' deployed on punch-marked coins. He revises the list to 342 symbols in his 1901 monograph. It should be noted that many of the symbols recorded on punch-marked coins also survive on later coinages, in particular of Ujjain and Eran and on many cast coins of janapadas. DR Bhandarkar’s view is that the early punch-marked coinage in Hindustan is datable to 10th century BCE though the numismatists claim that the earliest coinage is that of Lydia of 7th century BCE. W. Theobald, 1890, Notes on some of the symbols found on the punch-marked coins of Hindustan, and on their relationship to the archaic symbolism of other races and distant lands, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), Part 1. History , Literature etc., Nos. III & IV, 1890, pp. 181 to 268, Plates VIII to XI W. Theobald, 1901, A revision of the symbols on the ‘Karshapana’ Coinage, described in Vol. LIX, JASB, 1890, Part I, No. 3, and Descriptions of many additional symbols, Journal of the Asiatic Society of Bengal, Bombay Branch (JASB), No. 2, 1901 (Read December, 1899). Plates VIII to XI of Theobald, 1890 listing symbols on punch-marked coins... The 'symbols' which are a continuum from Indus script hieroglyphs all of which relate to metalwork are:

Indus Script Corpora recorded metalwork catalogues, while Egyptian hieroglyphs recorded names. Both used rebus principle, 'orthographic metaphor'. Rebus principle in writing systems can be explained as 'orthographic metaphors' or hypertext cipher or hieroglyph-multiplex cipher key in Meluhha speech forms. I agree with Dennys Frenez and Massimo Vidale who see a hypertext formation in an orthographic form of a composite animal made up of body parts. For example the hieroglyph-multiplex on Mohenjo-daro Seal m0300 which ligatures a human face to body parts of a bovine with horns and other attributes. See: http://bharatkalyan97.blogspot.in/2015/08/itihasa-of-bharatam-janam-traced-from.html Metaphor is a figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest a resemblance, as in “TvastA had a son called Tris'iras, 'three heads' (Rigveda)”. One possible explanation is that TvaSTA had three principal functions, as a carpenter, as a smith, as a Supercargo of a seafaring vessel. The 'figure of speech' is for rhetorical effect signifying hidden similarities between two ideas. Bronze Age was an industrial revolution of an extraordinary order. The revolution created a demand for new metal products and supply chains were established by corporate entities called s'reni, guilds of artisans and merchants. When a catalogue had to be prepared for the resources used (mere earth and stone melted in fire, in furnaces) and products produced, words had to be conveyed. Figures of speech or metaphors were a rhetorical means to convey information of such catalogues. A metaphor unlike a simile directly equates two or more ideas. Thus when a feeding trough is shown in front of a wild animal on Indus Script Corpora, the metaphor is a direct equation between two ideas: words associated with hieroglyphs and similar sounding words associated with metalwork. Patthar is a feeding trough. A similar sounding word pattharika is a merchant. Thus an orthographic metaphor is created in an innovative writing system using rebus, that is homonym words intended to be phonetic determinants of the Bronze Age metalwork idea sought to be conveyed. Vasdhaiva kutumbakam is an example of a literary metaphor.This does NOT mean that the globe is literally a family. It is an expression intended to convey that the behaviour of the people within this space (globe) is such as would be seen in members of a family. Takṣat vāk, is a Rigveda expression literally translated as ‘incised speech’. This is a literary metaphor. Such Takṣat vāk as incised hieroglyphs on Indus Script Corpora are signifiers of Meluhha speech related to metalwork. Together the incised words constitute metalwork catalogues. In orthographic tradition of Indus Script Corpora, such metaphors are expressed as hieroglyphs read rebus to signify metalwork catalogues. A Richards (1937) in The Philosophy of Rhetoric explains that a metaphor has two parts: the tenor and the vehicle. The tenor is the subject to which attributes are ascribed. In the Vasudhaiva kutumbakam example, vasudha, 'globe' is the tenor. The vehicle is kutumbakam, 'family'. The objective is to suggest components of behaviour in a family. While a simile asserts similarity, a metaphor compared identical attributes. Rebus is a metaphoric form. An orthographic rebus, as a writing system, uses pictures to represent words or parts of words. Thus a fish as a hieroglyph is a rebus signifier. ayo 'fish' has homonyms aya 'iron' or ayas 'metal'; khambhaṛā 'fin of fish' rebus: kammaṭa 'coiner, coinage, mint'. Thus, by signifying fin of fish, the signifier conveyed is kammaTa 'mint'. Non verbis, sed rebus, is a Latin expression which signifies "not by words but by things'. Orthographic rebus are hieroglyphs signified on Indus Script Corpora. In a writing syste, rebus refers to the use of pictograms to represent syllabic or morphemic sounds or sounds of words themselves used in common parlance, or social conversations. This rebus method is a precursor to the use of phonographs to signify alphabets. Champollion hs demonstrated the use of rebus in Egyptian hieroglyphs. "In linguistics, the rebus principle is the use of existing symbols, such as pictograms, purely for their sounds regardless of their meaning, to represent new words. Many ancient writing systems used the rebus principle to represent abstract words, which otherwise would be hard to be represented by pictograms." https://en.wikipedia.org/wiki/Rebus A statue of Rameses shows: Ra; the child, mes; and the sedge plant (stalk held in left hand). Read together, the sounds signified by the pictures a new word emerges to suggest the name: Ra- mes- su. Thus, what is signified is NOT the sedge plant held by a child, but by similar sounding words for the name of a person: Rameses. Ramesses II as child: Hieroglyphs:Ra-mes-su. Meluhha hieroglyph is a rebus writing system of Bronze Age Ancient Near East Executive summary As Sigmund Freud noted, the dream is a rebus. A rebus is an allusional device that uses pictures to represent words or parts of words. So, too a Meluhha hieroglyph is a rebus, a writing system on Tin Road of Bronze Age extending from Ashur on Tigris river to Kanesh (Kultepe, Anatolia). It is a travesty of scholarship to call such a rebus writing system as 'illiterate' or 'proto-literate' because the rebus method is made up at least two vocables: one vocable denoting the picture and the other similar sounding vocable denoting the solution to the puzzle that is, the cipher. Works of art with picture-puzzles make Meluhha, a Visible language. Rebus, a code of literacy, yields meanings of Meluhha hieroglyphs. Such a cipher is attested by Vātsyāyana (ca. 6th century BCE work) as mlecchita vikalpa (that is, alternative rendering of Meluhha/Mleccha speech or vocables -- and listed as one of the 64 arts to be learnt by youth as vidyāsamuddeśa, 'chief branches of knowledge'). Vocable is a sememe or a word that is capable of being spoken and recognized meaningfully. A vivid representation of the rebus principle of literacy is provided by Narmer Palette. (Egyptian hieroglyphs: N'r 'cuttle-fish' + m'r 'awl' Rebus: Nar-mer, name of king.) A dream is a rebus. History of Civilizations of ancient times has a record of two remarkable dreams: the first is the dream in the Epic of Tukulti-Ninurta and the second is the dream of Māyā, mother of Gautama Buddha. There are thousands of picture-puzzles which occur on cylinder seals of Ancient Near East which are explained on many Museum catalogs as banquet scenes or animal hunts or war scenes. Many of these picture-puzzles are indeed rebus or comparable to the interpretation of dreams and attempts have not been made to identify the possible language groups who might have deployed such picture-puzzles, principally during the Bronze Age. Rebus signifiers and the signified relate to innovations of the Bronze Age such as: bronze/brass alloys to substitute for arsenical copper, casting methods (such as cire perdue casting), alloying ores such as tin, zinc, lead and exchanges along the Tin Road set up by Meluhha artisans/traders also called Assur as metal smelters par excellence. It will be a leap of faith to assume that the picture-puzzles are nonsensical or belong to pro-literate cultures because a contemporary observer is unable to decipher the cipher. While early tokens and bullae (token envelopes) were recognized as ancient accounting methods and categorisation of products, the Proto-Elamite script yet remains undeciphered. Robert K. Englund provides a succinct state of the art report on Proto-Elamite: "(Tokens) These clay objects consist on the one hand of simple geometrical forms, for instance cones, spheres, etc. and on the other, of complex shapes or of simpler, but incised, forms. Simple, geometrically formed tokens were found encased within clay balls (usually called 'bullae') dating to the period immediately preceding that characterized by the development of the earliest proto-cuneiform texts; these tokens most certainly assumed numerical functions in emerging urban centers of the late fourth millennium BCE...a strong argument from silence can be made that Sumerian is not present in the earliest literate communities, particularly given the large numbers of sign sequences which, with high likelihood, represent personal names and thus should be amenable to grammatical and lexical analyses comparable to those made of later Sumerian onomastics...large numbers of inscribed tablets...which for purposes of graphotactical analysis and context-related semantic categorization of signs and sign combinations represents a text massof high promise...we can utilize language decipherments from texts of later periods in working hypotheses dealing with the linguistic affiliation of archaic scribes...There may, however, have been much more population movement in the area than we imagine, including early Hurrian elements and, if Whittaker, Ivanov, and others are correct, even Indo-Europeans. Fn 44. Rubio (1999: 1-16 has reviewed recent publications, and the pioneering initial work by Landsberger on possible substrate lexemes in Sumerian, and concludes that the fairly extensive list of non-Sumerian words attested in Sumerian texts did not represent a single early Mesopotamian language, but rather reflected a long history of Wanderworter from a myriad of languages, possibly including some loans from Indo-European, and many from early Semitic." Major sites of Late Uruk and proto-Elamite inscriptions in Persia Examples of simple (left) and complex (right) 'tokens' from Uruk (digital images courtesy of CDLI). Examples of sealed (top), sealed and impressed (middle) bullae, and a 'numerical' tablet (all from Susa--top: Sb 1932; middle: Sb 1940; bottom: Sb 2313; digital images courtesy of CDLI).

This is an addendum to: https://tinyurl.com/yaj84wwo There are indications of trade contact of Sarasvati Civilization Tin-bronze Age artisans and seafaring merchants with the late predynastic period (c. 3200 BCE) of Egypt, resulting in some ivory/bone tags of Abydos signifying Indus Script hypertexts/hieroglyphs read rebus as Meluhha metalwork catalogues and wealth-accounting ledgers. It is posited that Indus Script is the earliest writing system of the world and some of the Abydos ivory/bone tags may signify rebus Meluhha readings of artisans and seafaring merchants of Sarasvati Civilization. Two tags which contain the elephant and bird hieroglyphs signify Meluhha rebus readings of metalwork catalogues. Validation of this thesis is further augmented by reading ten long Indus Script inscriptions as wealth-accounting ledgers of the Tin-Bronze Revolution Age establishing a cultural syntax evidenced from the Meluhha metalwork/seafaring vocabulary derived from Indian sprachbund, 'language union'. This monograph also validates Sinha et al view that the Indus Script inscriptions documented economic/accounting transactions. kole.l 'temple' rebus: kole.l 'smithy, forge'. This rebus rendering of Kota language explains the cultural framework of presenting utsava bera of Hindu temple āgama traditions, 'procession of hypertexts' of Indus Script described in: Itihāsa. Sarasvati Civilization archaeological evidence utsavabera procession is arcabera of four standards on Indus Script tablets Meluhha proclamations of metalwork competence; continuum of R̥gveda आ-गम tradition of arcāअर्चा 'adoration, worship' https://tinyurl.com/yaj84wwo Mirror: http://bharatkalyan97.blogspot.com/2019/01/itihasa-sarasvati-civilization.html The syntax in the Indus writing system is simple and culturally related to metalwork catalogues and wealth-accounting ledgers created by Sarasvati Civilization artisans and seafaring merchants. Thus, the bronze age metalwork unites culturally the syntax of the writing-system framed on Meluhha rebus readings of hieroglyphs/hypertexts using Meluhha (Indian sprachbund) metalwork and weealth-accounting words, the lingua franca of the bronze age Sarasvati Civilization which evolved from ca. 7th millennium BCe in Bhirrana on the Vedic Sarasvati River basin. Proceeding on the assumption that recursive sequences of signs in Indus Script corpora, are indicative of underlying language-based syntactic structures, the authors Sinha, S., A.M. Izhar, R.K. Pan, B.K. Wells. present an analysis of three long sequences in three Indus Script inscriptions excerpted below. "Our results suggest that though these sign sequences are yet to be deciphered, they have a highly structured arrangement which is suggestive of the existence of syntax...the results reported here it seems fair to conclude that the inscriptions do have an underlying syntactic organization...It appears to rule out the possibility put forward by one group that the inscriptions are merely a set of magical or mystical symbols without any inherent meaning ( Farmer, S., Sproat, R., Witzel, M., 2004. The collapse of the Indus-script thesis. Electronic Journal of Vedic Studies, 11 (2), 19-57.)" While Mahadevan identifies 417 signs, Wells distinguishes about 958 signs. One possible explanation for the vast differences in the range of 'signs' of the script is that orthography of any writing system is governed by the adage: different folks, different strokes. (Mahadevan, I., 1977. The Indus Script: Texts, Concordances and Tables, Archaeological Survey of India, New Delhi. Sinha, S., A.M. Izhar, R.K. Pan, B.K. Wells. 2010. “Network analysis of a corpus of undeciphered Indus civilization inscriptions indicates syntactic organization” available online at arXiv:1005.4997v1 https://arxiv.org/pdf/1005.4997.pdf Appendix containing a sign list of the W09IMSc data-set.) A decipherment of these Indus Script inscriptions is presented justifying the underlying Meluhha language which the script uses to encode wealth-accounting messages as metalwork catalogues.

The early glosses signifying crocodile: grābhá m. seizer. (√grabh).(Rigveda) निग्राभ [ nigrābha ] [ ni-grābhá ] m. pressing down , letting sink (Samskritam) In long-a vocalism: grábha- 'action of seizing' vs. grābhá- 'handful, grasp'. ghabh-, 1. ghrebh-, gherbh-, root extension ghrebha- 'to take, grab, seize' (IE) ghreib- 'to grip, grab' (IE) The early forms ghrebha, grābhá have yielded கரவு² karavu, n. < கரா 'alligator' (Tamil). The Khmer word is cognate: krapeh 'crocodile'. Phnom Krapeh means 'Crocodile mountain'. The Vietnamese word is: con sấu. Malay word is: buaya, Javanese 'baya'. Austronesian word for crocodile is: uaea. Pokorny's dictionary provides the form: grabh 'to capture' which is cognate with the early Tamil form: karavu, karā 'crocodile' and more significantly, the phonetically proximate Khmer form, krapeh 'crocodile'. karabu is probably, early pronunciation of the Meluhha gloss; the hieroglyph signifying this morphme, which connoted the semantics 'crocodile' presents a rhebus-metonymy-layered gloss: karb 'iron' which can be consistently deciphered on Indus Script -- as demonstrated in this monograph. karṓti ʻ does ʼ Br̥ĀrUp. [√kr̥1] Pk. karēi, karaï, A. kariba, B. karā, Or.karibā, Mth. karab, Bhoj. karal, OAw. karaï, H. karnā, OMarw. karaï, G. karvũ, M. karṇẽ, Ko. koruka, Si. karaṇavā, inscr. 3 pl. pres. karat Pa. kārēti ʻ constructs, builds ʼ; Pk. kārēi ʻ causes to be made ʼ;Or. karāibā (CDIAL 2814). This set from Indian sprachbund relates the morpheme karab (and variants) to the semantics: 'constructs, builds'. This is as close as possible to the semantics of an artificer, a vis'vakarman See: http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html The hieroglyph components which create the hieroglyph multiplex of makara include: gavialis gangeticus, elephant, fish, fish-tail, tiger. The components signify: kariba (that is, kar + iba, 'crocodile + elephant), 'artificer, builder' PLUS aya 'fish' + kola 'tiger', xolA 'tail' rebus: aya, ayas 'iron, metal' + kole.l 'smithy'. Thus, the makara hieroglyph multiplex signifies as plain text: kariba aya kole.l 'artificer-builder, iron, metal smithy'. 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. In this rendering as mlecchita vikalpa (Meluhha cipher), the hieroglyph sets which appear on Indus Script Corpora gain a new consistent semantic category, guild: 'metalcaster/metalworker'. H. sainī, senī f. ʻ ladder ʼ rebus: seṇi 'guild'; seṇimokkha the chief of an army (Pali) The core is a glyphic ‘chain’ or ‘ladder’. Glyph: kaḍī a chain; a hook; a link (G.); kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; kaḍiyaṇa, kaḍiyeṇa a woman of the bricklayer caste; a wife of a bricklayer (G.) The glyphics are: 1. Glyph: ‘one-horned young bull’: kondh ‘heifer’. kũdār ‘turner, brass-worker’. 2. barad, barat 'ox' rebus: भरत (p. 603) [ bharata ] n A factitious metal compounded of copper, pewter, tin &c.भरताचें भांडें (p. 603) [ bharatācē mbhāṇḍēṃ ] n A vessel made of the metal भरत. 2 See भरिताचें भांडें.भरती (p. 603) [ bharatī ] a Composed of the metal भरत. (Molesworth Marathi Dictionary). balad m. ʻox ʼ, gng. bald, (Ku.) barad, id. (Nepali. Tarai) Rebus: bharat (5 copper, 4 zinc and 1 tin)(Punjabi) 3. Glyph: ‘ram’: meḍh ‘ram’. Rebus: meḍ ‘iron’. 4. Glyph: ‘antelope’: mr̤eka ‘goat’. Rebus: milakkhu ‘copper’. Vikalpa 1: meluhha ‘mleccha’ ‘copper worker’. Vikalpa 2: meṛh ‘helper of merchant’. 5. Glyph: ‘zebu’: poL Rebus: poL 'magnetite'. 6. The sixth animal can only be guessed. Perhaps, a tiger (A reasonable inference, because the glyph ’tiger’ appears in a procession on some Indus script inscriptions. Glyph: ‘tiger?’: kol ‘tiger’. Rebus: kol ’worker in iron’. Vikalpa (alternative): perhaps, rhinoceros. gaṇḍa ‘rhinoceros’; rebus: khaṇḍ ‘tools, pots and pans and metal-ware’. Vikalpa (alternative): perhaps, ghariyal: karabu 'crocodile' 'ghariyal' rebus: karb 'iron'; karavu 'crocodile' rebus: khar 'blacksmith' (Kashmiri) (See: http://bharatkalyan97.blogspot.in/2014/09/bharat-name-of-nation-root-bharatiyo.html http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-bronze-age-legacy\_6.html Tell AsmarCylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. ibha 'elephant' Rebus: ib 'iron'.gaṇḍa, kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri) Alternative: ghariyal 'crocodile' rebus: karb 'iron'.

Rishi Visvamitra in Rigveda (RV 3.53.12) reads in Chandas: viśvāmitrasya rakṣati brahmedam bhārataṃ janam || This mantra (brahma) of Visvāmitra protects the people of Bhāratam. This is an emphatic Rigvedic self-identification of the people. Bhāratam Janam refers to artisans working with baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi) bhārata ‘a factitious alloy of copper, pewter, tin’ (Marathi). An expression in parole is: भरताचें भांडें (p. 353) bharatācē mbhāṇḍēṃ n A vessel made of the metal bharata.(Marathi). Four significant features of the discovery sites of Indus Script Corpora of inscriptions may be outlined: 1. The extensive area from which inscriptions of Indus Script Corpora have been found which covered sites of Shortugai (Bactria) in the North to Daimabad (Narmada river, southern Bhārat), Tepe Gawra in the Northwest (Ancient Near East) beyond the Caspian Sea to Alamgirpur in Yamuna Basin. 2. In all the inscriptions, there is consistent use of the same hieroglyphs (subject, of course, stylistic variations in writing or inscribing styles) which are composed of ‘pictorial motifs’ (sun’s rays, tiger, elephant, buffalo, zebu, goat, composite animals with animal components as hypertexts) and ‘ pictographs’ (called ‘signs’ such as rim of jar, rimless-widemouthed pot, fish, fish-fin, arrow, standing person with spread legs, water-carrier). Such remarkable consistency in the use of hieroglyphs from a repertoire of about 100+ ‘pictorial motifs and 500+ ‘pictographs’ shows that some mechanisms existed to transmit the main principles of the writing system to all the lapidaries who prepared the inscriptions which constitute the Indus Script Corpora which now contains over 7000 inscriptions (about 6000 from India and Pakistan, about 1000 from Persian Gulf sites and scores from Ancient Near East sites). There are also over 200 Dong Son bronze drums of Ancient Far East which also contain Indus Script hieroglyphs (such as sun’s rays, frog, heron, peacock, antelope, elephant) 3. Small sizes of the seals and tablets used to create inscriptions may be seen from these photographs. Some tablets of Harappa are miniature incised tablets of the size of thumbnails. Within the short space of inscribed objects, remarkably precise hieroglyphs are signified attesting to the artistic excellence of the artisans who created the inscriptions. Most of the hieroglyphs are rendered with such orthographic fidelity that every feature of a pictorial motif or a pictograph is recognizable without any ambiguity. 4. The underlying words which signify the pictorial motifs and pictographs and homonymous parole (speech) words which render rebus readings of metalwork are based on a common Prakrtam lexis (words and phrases of Indian sprachbund) used across the extensive area in which the writing system was used by Bhāratam Janam who were Prakrtam speakers (also called Meluhha/Mleccha). Hence, Vātsyāyana calls this writing system as mlecchita vikalpa (cipher of Meluhha) . Discovery sites of over 7000 inscriptions of Indus Script Corpora (After CISI 2:448) New discovery sites such as Ganweriwala, Bet Dwaraka, Kanmer, Farmana, Bhirrana, Gola Dhoro, Haifa, Assur, Bogazkhoy have to be added to the map. Some discovery sites of Indus Script Corpora in Bhāratam, Persian Gulf and Ancient Near East A number of examples are cited in this monograph which indicate that the writing system was only related to the documentation of technical specifications of metalwork during the Bronze Age. Bronze Age was a revolution -- a quantum leap from the earlier chalcolithic phase and so was the writing system necessitated by this revolution which resulted in extensive contacts among cultures in Ancient Far East and Ancient Near East. The metal products of usage value (such as tools, implements, weapons, pots and pans) were produced in excess of the needs of local consumption and were available for trade exchanges and barter by seafaring merchants. A writing system as data archiving was an imperative to facilitate such trade transactions by guilds which were early corporate forms of the 4th-3rd millennium BCE. Three hieroglyphs of Indus Script on Susa pot which contained metal implements, weapons, pots and pans. Water (flow) Fish fish-fin aquatic bird on wave, tied to rope, water kaNDa 'water' rebus: kaNDa 'implements ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' khambhaṛā 'fin' rebus: kammaTa 'mint' Thus, together aya kammaTa, 'metals mint' Duck on wave tied to a rope: కరడము (p. 250) karaḍamu or కరడు or కరుడు karaḍamu. [Tel.] n. A wave. అల. Parij. ii. 59. 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) karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा karaDA 'Hard from alloy--iron, silver &c'. (Marathi) PLUS meRh 'tied rope' meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ (Lahnda)(CDIAL 10317) Rebus: mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each end; mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Hieroglyph: eruvai 'European reed' European bamboo reed. See கொறுக்கச்சி. (குறிஞ்சிப். 68, உரை.) Species of Cyperus. See பஞ்சாய்க்கோரை. எருவை செருவிளை மணிப்பூங் கருவிளை (குறிஞ்சிப். 68). Straight sedge tuber; கோரைக்கிழங்கு. மட் பனை யெருவைதொட்டி (தைலவ. தைல. 94). Rebus: eruva 'copper' எருவை eruvai Copper; செம்பு. எருவை யுருக்கினா லன்ன குருதி (கம்பரா. கும்பக. 248). Bogazkoy seal impression with 'twisted rope' hieroglyph (ca. 18th cent. BCE) See: http://bharatkalyan97.blogspot.in/2015/10/indus-script-hieroglyph-twisted-rope-on.html mẽṛhẽt, meḍ ‘iron (metal)’ and a cognate word,मृदु mṛdu 'iron' (Samskritam) is signified by a number of hieroglyphs मेढा [ mēḍhā ] curls of hair on cylinder seals; मेढा [ mēḍhā ]twist (rope) on a Bogazkoy seal; मेढ (p. 662) [ mēḍha ] The polar star.on Water-carrier seal impression, Ur (Upenn; U.16747. eruvai 'kite' rebus: eruvai 'copper' dhAv ‘strand’ rebus1: dhAv ‘mineral, element’ rebus2. dhAvaD ‘smelter’