Arya language, Indus or IVC seals and script

[shaberon]

I have found things that call for an adjustment in thinking.

Some of it is very knowable -- carbon dating and genetics can paint a very accurate picture.

Some of it is unexplained -- what is recorded in the script found on IVC seals?


For ease of use, after the pictures in this post, are updating links to script topics, a Table of Contents, so we can slowly revise and focus things in a way no other single source can or will, with lucidity -- the posting order is the framework anyway, but it makes it easy to directly find something.

Also, displayed images are often compressed, and many of them when opened in a new tab are larger and clearer.



So, we are looking into the linguistic background of the Veda and the Zend Avesta.

The first thing we must do is reverse the subliminal suggestion of "Aryan people" and substitute it with "Arya language" and conceive of it as a voluntary spread. It's not from India. It's from a common environment with Avestan. That could be because of a college or guild type of facility.


Everything I have to post is about agreement, harmony, and cooperation.


First of all, the language has an inherent value of Friendly Speech. Aside from definitions of any words, there is an aesthetic, an attitude, a reason, an intention of speaking, based from friendliness and learning and working together. That is closer to the full meaning of Arya. If you don't have that, you can't actually read it.

Second of all, there are no non-Indian people who came into India until after the IVC era, and after or at most on the tail tip of the Vedic era. Any idea that Sanskrit was conveyed by some kind of people is basically physically impossible. An easier explanation is to suggest they adopted it.

And there is a very easy way to explain that, because art and writing come from Jiroft and Shahr-i-sokta in Iran. These places were massive. Civilization ran along the Helmand River in southern Afghanistan, through the Bolan Pass to Mehrgarh, in modern Pakistan, which around 5,000 B. C. E., had brick walls several meters thick. This east-west route was a virtual colossus, while it was also triangulated in the north with Ulug Depe in Turkmenistan, which has the longest continuous chain of inhabitation in Central Asia. On a human level, this was definitely formative, although it cannot tell us much about intellectual history, until the advent of writing. The scale and inter-knittedness of it are simply staggering.

That area is so rugged that to this day, some provinces of Afghanistan are still only connected by a single route of access, same as in all ages. Terrain has served as a "dictator" in the shaping of humanity.



IVC primarily refers to an architectural style like "Tudor" or "Georgetown". In the early times, India has settlements, but its major cities such as Kalibangan emerge around 3,300 B. C. E..

In other words, Iran was a gigantic and influential neighbor for over a thousand years before India had anything comparable. And when they do, you find relics with potter's marks and graffiti, and over time it is perfectly clear that several motifs are Iranian in origin. Some of this simply continues into the script. It seems plainly evident that some Iranian basics come in, and are replied with particularly Indian adjustments. The Indian philosophy and myths are at least somewhat independent of the vocabulary.


Then what happened is around 2,600 B. C. E., Kalibangan and Mehrgarh were both abandoned. In Kalibangan, it is believed an earthquake happened, however the site was relatively rapidly re-established in a hundred years or so. In the case of Mehrgarh, no suggestion is given, and then over the next few centuries, the whole Helmand culture disintegrates all the way through Iranian Sistan. The last traces linger to maybe 2,200 B. C. E..

Simple enough, the whole thing is now one of the worst deserts in the world.

It appears to have been uninhabited when colonized by Zoroastrians around 1,000 B. C. E. by using irrigation.

I would guess that Sanskrit developed out of that major influence followed by complete severance.

Is there an intellectual, perhaps spiritual, pilgrimage site to support this, yes.


Black Mt. Khajeh in Hamun Lake:

https://upload.wikimedia.org/wikipedia/commons/c/cc/%DA%A9%D9%88%D9%87_%D8%AE%D9%88%D8%A7%D8%AC%D9%87_%D9%BE%D8%A7%D9%86%D9%88%D8%B1%D8%A7%D9%85%D8%A7.j pg




The Helmand River does not reach the sea, it drains into the plateau, here. In 4,000 B. C. E., the lake was much larger. It would be the only place a few people could survive during those dismal times following. Later claimed by Zoroastrianism.

The reason there is an Arya language is because it is attested in the Veda and Avesta with this meaning. It doesn't say "Proto-Indo-Iranian". Its relation to this would be Shahr-i-sokta is rather close to Hamun.


On the other hand, this would make India, itself, a sprachbund, because native languages are Dravidian.

But this would have generally been the case in Iran as well.

This part of Asia is Turanian.

What that means is that Indians entered the subcontinent through the Dorah Pass, and have been genetically separate from Iranians since 8,000 B. C. E. or even before. And you will notice the western swath of Turanians crossed the Strait of Hormuz, Yemen, and the Red Sea, entering Ethiopia.

You can see that in this "India excluded" flowchart. The Turanians who entered the sub-continent mixed to some extent with Australics, minor populations predominantly coastal. And then this Indian stock mixes outwardly into Shahr-i-sokta -- not the other way around:

https://qph.cf2.quoracdn.net/main-qimg-daaca0f37762e8a0f1621cc63cd2633b-lq




That should be fairly assuring that Indians could have known about the Black Mountain.

Historically, Indians are basically just Indians in the sense that all their genetics took place in India itself. But their Ice Age origin was Siberia. At this deep level, they are related to east Iranians.


Corresponding to the above, there is a recent multi-author paper that refutes or re-writes Proto Indo European (https://www.mpg.de/20666229/0725-evan-origin-of-the-indo-european-languages-150495-x):



Wolfgang Haak, a Group Leader in the Department of Archaeogenetics at the Max Planck Institute for Evolutionary Anthropology, summarizes the implications of the new study by stating, “Aside from a refined time estimate for the overall language tree, the tree topology and branching order are most critical for the alignment with key archaeological events and shifting ancestry patterns seen in the ancient human genome data. This is a huge step forward from the mutually exclusive, previous scenarios, towards a more plausible model that integrates archaeological, anthropological and genetic findings.”


https://www.science.org/cms/10.1126/science.abg0818/asset/ca8599bc-ef5a-471f-a37a-eb62b94b2278/assets/images/large/science.abg0818-fa.jpg



Simple enough, The root of this language is Armenia. It split in eastern and western directions around the dawn of agriculture. Sanskrit is believed to have developed around 3,000 B. C. E. and diverged from Avestan.

So, yes, if we look at the physical facts, plenty of reason to say this could happen.

My guess is they picked up an Iranian language because they wanted to.

But then this would lock in to the evolution of art and graffiti into script.

That would mean the language of literacy is most likely Sanskrit.


If so, it would be a Vedic rollback, in the direction most in common with Avestan.

Kalash and Khowar are later Sanskrit dialects. However they may be indicative of "non-Vedic Sanskrit".


I disbelieve most Sanskrit self-legends about antiquity. The Rg Veda only contains the philosophical implications that (a) there was a "first man" who did not talk, (b) speech was produced out of friendliness, (c) Vedic speech is a further refinement to this. Otherwise, no, it really says nothing about any total history of the world. My inclination is that this is a technique, first seen in the Sumerian Kings List, which takes relatively recent knowledge, and adds a story of "before", this technique being repeated in the Brahmanas and Puranas, in the Pahlavi, as Genesis, which is all contrived.

Since we need a conjectural yardstick starting point, I would think the Veda is certainly older than its "full compilation date". I don't think it's as old as some of Hindutva might want it to be. The Rg Veda in the sense of a continuously royally supported institution stemming from Divodasa could be around 1,800 B. C. E.. Atharva Veda in the sense of fragments and discontinuous bits that are in the Rg Veda tracing back to founder Atharvan mean that the practice might go back to around 2,000 B. C. E.. If so, the language it is created in, had probably been around for centuries. That would be IVC at its height.

From the outside, one reason for saying this is Kirat King Yalambar, who is considered a retreating fallout from the advances of Divodasa, in the 1,700s B. C. E.. By calculation, the Veda at this time would have to be reflecting astronomical changes that certainly took place after the height of IVC. The Purana can't really be true if it says humanity started at Manali in the end of Kullu Valley; rather, this region could only be accessed or obtained post-Yalambar, because it is Kirat territory. At that point you could say a new Sanskrit system developed at this holy place. That would still be true. But the Old Rg Veda is about getting to it.

Those are Mongolians who have been considered mostly isolated and would have nothing to do with IVC. In the Vindhyas and Aravallis, it probably does deal with Dravidian and possibly Mon Khmer-speaking peoples, and by inference it may deal with Vedic neighbors such as the Yadus (Dravidian) and Kambojas (Afghan). Over time, the remote Dorah Pass is shortcut by a more direct route over the Wakhan Corridor, and the development of Kabul. Commensurate with the decline of Sistan, there is the rise of east Afghanistan north to Gonur Tepe and Margiana, and it's like making a wishbone. The influence of the original Arya goes east to India, and north around Ulug Depe, and this makes a new and different configuration, with the script showing up all across it.

Around 2,300 B. C. E. is the foundation of Shortugai and Mari by irrigation. In this range we find what is thought to be the widespread and mature use of the script.

This thread will be for a lot of follow-up posts trying to coax the seals to tell us what they say.


I am going to make a bunch of suggestions, and then the space at the end of the post will be used like a Table of Contents, so that information in further posts can be organized in a coherent manner.



What is observed is that the IVC script reflects centralized organization, but the cities do not represent centralized power.


If you can figure out a large alphabet-sized, forty to sixty characters, you have probably solved the script.



There are a lot of projects on statistical analysis which are quite useful, and we can go into this later. Everything has the indication that scribes hundreds of miles apart and hundreds of years different were working from a rule set.

I don't think there was a lot of leeway. The script appears to have been taught by certain codices or libraries, whereas individual seals are like an appointment or a deputization.

There are not many studies on "field symbols", that is, the imagery.

I would suggest the first way to read it is artistically, similar to Heraldry.

Proliferously, 60-80% of the images are a Unicorn, an imaginary animal.

I think it may be a joke about the difficulty explaining to foreigners what a Rhinoceros is.

Related to foreigners, there is a famous Akkadian "translator" scene where the Meluhhan trader is holding an Indian Markhor Goat. It is possible the goat is a symbol of Agni who is Speech, and so it is a picture of a Meluhhan translator just like the Akkadian one.

Unicorn livery is a Pipal Leaf motif, and it is a creature of Soma. Veda and Avestan are both a Soma rite. A Soma Press is found all the way in Gonur Tepe at 2,300 B. C. E.. There isn't exactly a question "if" there was a "soma culture". There is a possibility of local recipes being unique, and a certainty that it is instantly recognizable in Sanskrit.

It's using a weird, weird, weird numerology, nothing like natural counting numbers. And you'll understand the gears of how this works if you think of a few things at once. Here's a mnemonic about how numbers work in relation to visual images: One -- Donkey, Five -- Bull.


No one talks about the Donkey on IVC seals, but, in actuality, this was the main pack animal for trade or travel from pre-history through the Assyrian Empire. And he is not on very many images, but he exists. What happens is he literally turns into a glyph.

Artistically, you get the sense that things are being sucked off the ground like by a tornado, like a big vacuum cleaner, get flung to the sky, and lodge in the script, sometimes inverting, such as the Chimera glyph.

It's easy to think of a Donkey as a kind of "starting power" that way, and if you did, you'd find a kind of progression up to Four, but, Five is in kind of its own little room. It has an affinity for the Bull. And here's what he does in the visual realm:


Nothing.


He changes collars a few times, but he doesn't move or do anything.

In some cases, the script geometrically adjusts itself to go "uphill" on the bull's hump, and there probably is significance when the script does something other than a ruler-straight line. It exalts a glyph over his back, and even impresses it on the dewlap.

He is however very sagacious, in that his texts are an advanced blend of simpler work plus his own peculiar statements. He may even conform to a basic definition of India as Indra and Panchajanya. However, there is not a very large quantity of Bull texts, and the art of eloquence appears to be furthered by the Elephant, who similarly gets the glyph marked around his ear.

Those two particularly seem to embody advancement in script and speech, with the net result being that the large number of Unicorns also spill forth a decent volume of more difficult texts.



Fortunately, IVC has a whole heap of simple work.

Most glyphs are almost meaningless and unused as solo glyphs. Most of them do however have one or more basic pairs as units of meaning. In turn, most of the script involves building by common clusters.

Most of it has no grammar or punctuation, and resembles the compounding of Sanskrit nouns, which lead to multiple meanings. There are recognizable functions that change the order and behavior of the common clusters. But for example, the long seventeen-character text doesn't use it. It's not necessary, but, when it comes into effect, it can be observed to form patterns in repetitive ways.




In some cases, an animal has only one or two glyphs over it. This very plain variety is not included in:

Conversations Facing Glyphs (https://www.harappa.com/sites/default/files/pdf/43539_2023_102_MOESM1_ESM.pdf)


which is the peculiarity of a glyph falling out of the script and replacing the animal's feeding trough. And so we would think this has an "instructive" quality. Such low-order seals are particularly concentrated in Banawali. Another related category is one we will have to mostly make on our own, Humans Facing Glyphs.

There are many notices of humans performing multiple "narrative scenes", but, there is not an especially good synopsis that I have been able to find. Whereas animals are nearly eating "large, embodied" glyphs on the ground, people are aligned with giant human-sized glyphs.



When I say the Bull "does nothing", this is exceptional, because there are multiple species drawn on the seals, most of which do something.

If we want to know what they are and what they are doing, the basic idea is framed here:


Zoomorphism and its Avatars (https://www.harappa.com/sites/default/files/pdf/Bhaskar2022_IJHS_57_3_1.pdf)


parsed from thousands of seals in:

Zoomorphic Icon Catalog (https://storage.googleapis.com/cahcblr-pdfs/assets/ijhs/S1-IndusZoomorphicIconCatalogue.pdf)


They have family trees, so to speak, by different behaviors. It's coded such that "F3" means facing a glyph; it's entirely about appearance. It says nothing about text. Has to be manually compiled to be functional.


Some of the animals are quite realistic at times. But they follow other rules that are entirely unrealistic in:


Chimera Catalog (https://www.harappa.com/sites/default/files/201311/Frenez%20Vidale%202012%20-%20Harappan%20Chimaeras.pdf)



There are also Monumental Icons and a Tree.

What are the people doing that is realistic, absolutely nothing.

There is something unequivocally cerebral going on here.

It more or less does have a Book that marries imagery to script in a series from Mohenjo daro:

Copper Tablets (https://bharatkalyan97.blogspot.com/2020/02/copper-tablets-262-from-mohenjo-daro.html)


It is quickly and easily obvious these texts apply multiple forms of duality, such as:


Palindromes

Without and with superscript

Minor variations starting from a primal "Sprout" which is also its finale


Overall, it is trinitarian, as in presenting two alternatives and a resolution. The process is repeated more intricately to the animals. It is out of this we are able to determine Tiger Text, i. e., a special affinity for Three gets the Tiger glyph used in a wide assortment of texts.

This drill-like literary device is riven through the script in ever-more sneaky and subtle ways. It's not like a Sumerian accounting token of "six hammers for two sheep". What seem to be numerals are more like categories, as if it were Samkhya. The Person has an affinity for Four. From this, I have reasoned that there is a "basic" script related to curious text twists involving small numbers, and that a Person with Four is kind of like a diploma holder. Then, the Bull with Five represents a second, "advanced" script which uses a lot of individual modifiers and seems much more difficult. A small number of basic signs could be understood by anyone, and statistically most of the texts were a relatively small number of glyphs used in a basic way, so this was indeed meaningful. In this way, the basic texts resemble interfacing a sprachbund, while the advanced texts are almost another language.

This intriguing collection of Copper Tablets is basic.

It is evoking the mind or presence of a yogi or deity.


There is another type of library on a different class of artifact based on one of the few (or two) Quadruples:

Ivory Rods (https://tuhat.helsinki.fi/ws/portalfiles/portal/129602857/Parpola_A_2019_Inscriptions_incised_on_the_Harappan_bone_rods_Proceedings_of_EASAA_22.pdf)


That is a whole huge philosophy that is yet all bundled in a basic script, which is slightly akin to the Copper Tablets, but you can tell it proceeds to emphasize something else.

Similarly, the array of two-sided and prism tablets seem to be a primordial instructive mode configuring what might be used on individual seals. Most of the imagery of people is found here.


Another library class:

Large Copper Plates (https://www.researchgate.net/publication/286244261_A_New_Type_of_Inscribed_Copper_Plate_from_Indus_Valley_Harappan_Civilisation#pf2)


contains the longest text (forty-three characters of Soma Speech), and is metallurgical alchemy. The nine specimens include practically pure copper and range through various impractical alloys until the Elephant is the only one that contains Lead.

There were more sources of arsenicated coppers, and galena, when processed for lead on an industrial scale, will yield valuable amounts of trace silver. So the alloys are self-explanatory for the region; Tin was optional because it was imported, on Donkeys.

The plates are arguably not recycled "scraps" because the ratios are unrealistic for tools or anything that was actually made; they're like carpet samples, exhibiting a type.

They roll print perfectly well onto textile like batik.


We have the ability to create upgraded versions of what mostly is limited to pdfs. Then anyone who looks at this can get a faster and better start than the fact of it taking eternity to have found it.


To start this off in a novel way, here are some high-quality images of a brand new library. It's so good I thought something must be wrong with it. The lead article does not explain Pathani Damb (https://thefridaytimes.com/29-Aug-2023/the-story-of-the-discovery-of-indus-seals-and-script) where these seals were found. These are from the director of the dig SJA Sindhi, and have just come out in the 20s.

The first missing link is that this site is only a few miles from Mehrgarh, that is, it is an IVC attempt to maintain stability with Mundigak near Kandahar, Afghanistan. That would nominally represent what we just perceived as the extraction and diffusion of Sanskrit. We want to train ourselves to think logically and geometrically with respect to the images. That is why to me this looks like a Calendar:


https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-1334.jpg



Anyone can see the horns or headdresses in the lower register count to four.

To me, the middle register looks like Three Seasons. It would be multiplication that makes a Year.

We see the Branch glyph in all registers, which is inherited from the pre-script Iranian-inspired art.

Yet IVC goes to Daimabad in the south at the headwaters of the Godavari, and we might ask if the same glyph actually continues as the next missing link tracked in 2023 Circle with a Trident Symbol (https://www.indianscienceresearch.com/_files/ugd/262690_8533c3cbbf8647f18a9e1302f6cfa2a0.pdf) of the south Indian Megalithic culture. Or ask the Ivory Tablets why it is Quadrupled.


We can trace what appears to be the first loan from Dravidian to Sanskrit. Curiously, it has the connotation of friendly spirit basically the same as Arya. That word is:


Puja.


Yes, it has the specific meaning of a ritual or offering rather than a language, but it is still framed in Honoring the Guest. So I'd like to think there is common ground in their thinking with what the Sanskrit or Arya language means or intends. It's in a Vedic mantra, so, I can't look around it suspiciously. This has to be seen as acceptable to those in service of Bharata royalty. It follows the deductive principle of no cognate or appearance in Avestan, so, it is unlikely to be from an older Iranian root language, and, is more likely to be Dravidian, even if its physical token was a flower.

That might satisfy a resemblance to Iranian Mountain Tulip, which may have started the glyph.

The seal above is very imaginary, and, it is of such a singular nature that it is not intuitive how they got these forms out of standard iconography. There is a lofty, above-it-all feel on this thing. Yet almost no writing.

If it was me, if I was trying to express something, this triple seal would give me room to say millions more things than a section of script. I think it looks exactly like a Calendar as designed by a college of persons.



This next piece works with what I call the Illusion. That's due to placing a Tiger with a Sky Crocodile:

https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-7286.jpg



We found plain "Person" and "U-shaped symbol" with Three Tigers, and, a Gharial has to do with Fish, so that is coherent. Because this text match is important, we will add it below.




This is an addition to Girl-in-the-air, which sometimes occupies the whole seal.

Kneeling Woman with an I-shaped Vase and Fish with "Slanted Hat":

https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-5756.jpg



Silver Bull:

https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-6337.jpg



Rhinoceros and Buffalo:

https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-1012.jpg



Man-in-tree:

https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-8144.jpg


That tells us something because it is so basic. He is a series. But the full telling of him is not from Pathani Damb. And so each region of IVC appears to be flagged with adding its own individual statement to a common aggregate. The Calendar may define the aggregate. My view is that ancient cultures each developed their own civil calendar, which would have limited mandatory common ground, such as the North Pole, and would have valid reasons for different ways of tracking or marking a year. This was probably the first science anywhere. Therefor it would make sense as a type of grand announcement from what would have effectively been a re-bonding to Iran during a few centuries of script use, and deserve one of the most extravagant seals.


So far, the finds from this site are not entropic, they are highly organized. The use of each of the icons is like atoms in a molecule.


For example, they can't just make a bunch of Tiger seals because they think it looks cool. They have one that is installed in a certain way. It has a basic text with a Round-headed Person and a stylized "U-shaped" symbol. This is repeated elsewhere on something unique and powerful.

This is a previous find, but we see the same pair of glyphs:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQNzxS9doLoEWvMXGelkqVeoVaZSGzQxAoKHYWDoNsJ-PvGmoU-TyyiKCl5a7OhIBOIt4tsY3acHx4JJkndm-WhlvMP79uE8rXfnTXNA2_APHRzbPcFqjMiiYYDllbAdLtX56Qxs_iOOs/s526/m295.jpg




I would suggest that the center of this thing is the glyph Three Triangles.

That the Stripes have everything to do with the "dissipation" of this particular image and it running like a dye into images and script.

It may even be a symbol of Shakti.


The Tigers also follow the "dual or triplicate" basis of the script. You can easily see this in the visuals of many other places. For example, the seal at Pathani Damb is like saying "two of you tigers turn into something else". Or, if you follow the texts of Three Triangles, then, along with Three Mountains, it forms the substantial core of both most of the script statistically, as well as the coherent volume of the Copper Tablets.

There might be around forty glyphs that have an ad hoc, declaratory birth, as if being given assignments. However, glyphs like Three Mountains appear to be conjured by incantations formed from these basic clusters.

Just as almost everything we could post about "numbers" will make it look like no counting, basic arithmetic, or contractual accounting, is taking place, sequences like two Wheels have been used to refute their being double letters, syllables, or words. Their statistical distribution is fatally problematic for normal cryptographic methods based on deciphering writings into the sounds of languages. That doesn't work here. This script doesn't work like others. I would suggest the Wheel is not doubling anything because the explanation is that it is two different Wheels.


It's the same dual-or-triple idea as in the Copper Tablets. It seems to spill over to some particular glyphs and texts in other areas. It is effectively a "sub-stratum" of the whole way of thinking. Moreover, it works in the script and with the imagery.

When first posting, we'll start with a block outline, which, going along, can be edited to live links for posts under the subject. For now I'm also going to add a stack of sources at the end.

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Outline


I. India

A. Archaic Sanskrit (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1671532&viewfull=1#post1671532) and "pre-IVC" era

B. Iranic Primacy (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1671893&viewfull=1#post1671893), Munja, and period-appropriate Astrology



II. Indus Iconography

A. humans

1. Person holding U (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1672069&viewfull=1#post1672069) and plain people

2. People with items (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1672248&viewfull=1#post1672248), three kinds of Fish, dominant tetragram

3. U IIII and U U U (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1672330&viewfull=1#post1672330)

4. Bird-face Goddess (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1672521&viewfull=1#post1672521)

5. Her concordance (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1672676&viewfull=1#post1672676)

6. Yogin (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1672783&viewfull=1#post1672783) perhaps Aryaman

7. Yogini (Jiroft Dreadfalls Woman and Tiger Centaur (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1673058&viewfull=1#post1673058))

8. Man-in-tree (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1673191&viewfull=1#post1673191) (Chanhu daro)

9. Girl-in-air and Arch Goddess (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1673214&viewfull=1#post1673214)


B. Encyclopediae

1. Large Copper Plates (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1673345&viewfull=1#post1673345)

2. Voluminous Copper Tablets (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1673392&viewfull=1#post1673392)

3. Ivory Rods (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1673638&viewfull=1#post1673638)


C. animals

1. realistic animals

a. Donkey (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1673905&viewfull=1#post1673905) (Kanmer)

b. Ibex (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674037&viewfull=1#post1674037) (Dholavira)

c. Markhor (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674314&viewfull=1#post1674314) (Rehman Dheri)

d. Rhinoceros (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674347&viewfull=1#post1674347) (Shortugai)

e. Zebu Bull (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674434&viewfull=1#post1674434)

f. Elephant (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674489&viewfull=1#post1674489)

1. Elephant Concordance (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674493&viewfull=1#post1674493)

g. Tiger (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674651&viewfull=1#post1674651)

h. Buffalo (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674733&viewfull=1#post1674733) (Rakhigarhi) and Gaur

i. Bird (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674846&viewfull=1#post1674846) (Lothal)

j. Deer (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674968&viewfull=1#post1674968) (Copper Tablets usher) and Rabbit (Copper Tablets mystery)

l. One Realistic Fish and Sky Fish (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675097&viewfull=1#post1675097)

m. Sky Crocodile (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675183&viewfull=1#post1675183)

n. Cobra (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675217&viewfull=1#post1675217)


2. unrealistic animals

a. Unicorn (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675351&viewfull=1#post1675351)

b. Fake Unicorn (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675527&viewfull=1#post1675527)

c. Hydra (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675603&viewfull=1#post1675603) and multi-headed Chimerae

d. Horned Tiger Chimera (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675714&viewfull=1#post1675714) (Banawali)

e. Human Markhor (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675731&viewfull=1#post1675731)

f. Scorpion - Gharial Theophany (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675833&viewfull=1#post1675833)

D. Objects (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1675946&viewfull=1#post1675946) such as Soma Filter, Tree, etc.



III. Indus script

A. Pipal Leaf over Three Mountains (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1676369&viewfull=1#post1676369)

B. Two Bearers of Striped Mountain and Compound Bearer (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1676472&viewfull=1#post1676472)

C. Trigrams and Tetragrams (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1676678&viewfull=1#post1676678)

D. Two Wheels (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1676954&viewfull=1#post1676954)

E. Numbers (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1677773&viewfull=1#post1677773)

F. Comb (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1678953&viewfull=1#post1678953)

G. Comb and Crab (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1679293&viewfull=1#post1679293)

H. Bearer (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1679493&viewfull=1#post1679493)

I. Broken Spear and Gamma (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1679712&viewfull=1#post1679712)




D. two-sided and prism tablets

E. Kalibangan Pipal Leaf and Three Mountains

F. U

G. U-shaped symbol

H. numbers

I. X and Scorpion (dominant tetragram)

J. Compound Bearer and Asterisk

K. Two Bearers with Striped Mountain

L. Fat Flat Crab

M. Comb

N. Banawali low-order seals

O. various other examples...




That's subject to change, but is the basic concept of how we will be able to link up posts to quickly see whole things at once. The posts, themselves, might not be in such clean order, which won't matter if this is a filing system.

--------------------------------------------------------------------------------------

The way to look up texts:

IM77 Concordance (https://indusscript.in/)


This site is partially defective; you have to look up signs by number, only, otherwise the scrollable field will lock up and you have to log in again. It is partially limited because it was last updated in 1980. The Wells-Fuls ICIT is private, so this is about all that is freely available for us.


Bulk originals:

Corpus I (https://dn790009.ca.archive.org/0/items/TheIndusScript.TextConcordanceAndTablesIravathanMahadevan/Corpus%20of%20Indus%20Seals%20and%20Inscriptions.%20Collections%20in%20India.pdf)

Corpus II (https://dn790009.ca.archive.org/0/items/TheIndusScript.TextConcordanceAndTablesIravathanMahadevan/Corpus%20of%20Indus%20Seals%20and%20Inscriptions.%20Collections%20in%20Pakistan.pdf)


Papers and statistics:


Crocodile 2011 (https://www.harappa.com/sites/default/files/pdf/Parpola_Asko_2011._Crocodile_in_the_Indu.pdf)

Gharial and Tiger 2007 (https://ia800802.us.archive.org/30/items/IVCReligionByNagaGanesan2007/IVC_religion_by_Naga_Ganesan_2007.pdf)

n-grams (https://www.harappa.com/sites/default/files/pdf/indus-script-paper.pdf)

Sign Design (https://www.harappa.com/sites/default/files/pdf/Indus-sign-design.pdf)

Anisotropy 2022 (https://www.harappa.com/sites/default/files/pdf/MarkersAndAgenciesOfAnisotropy.pdf)

Huntington slideshow (https://huntingtonarchive.org/resources/downloads/webPresentations/harappanSeals.pdf) beginning with Pipal Leaf over Three Mountains

IVC Geographical Extent (https://ugcmoocs.inflibnet.ac.in/assets/uploads/1/49/1372/et/32200320090903032424.pdf)

Script of Shamans (https://www.tamildigitallibrary.in/admin/assets/book/TVA_BOK_0019006_The_Indus_Script_of_the%C2%AC_Mohenjo_Daro_Shamans.pdf)

Wells 1998 (https://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp03/MQ31309.pdf)

Bonta 2015 (https://www.academia.edu/12412747/Decipherment_of_the_Indus_Valley_Script_In_Search_of_an_Entering_Wedge_)

Walking with the Unicorn 2018 (https://www.harappa.com/sites/default/files/pdf/tribal-names-indus-script.pdf)

Kennoyer 2020 Origin of Script (https://www.harappa.com/sites/default/files/pdf/Kenoyer2020%20Origin%20of%20Indus%20Script.pdf)

Seals and Bhiranna 2016 (https://www.heritageuniversityofkerala.com/JournalPDF/Volume4/1.pdf)

Semantic Scope (https://www.nature.com/articles/s41599-023-02320-7)

Mechanisms of Meaning Conveyance (https://www.nature.com/articles/s41599-019-0274-1)

Jalalabad Seal (https://hal.science/hal-03471073/document)

Shahr i sokta Chronology (https://shs.hal.science/halshs-02978691/document)



blogs:

Indus Script & More (https://indusscriptmore.blogspot.com/)

Bharat Kalyan 97 (https://bharatkalyan97.blogspot.com/)

[shaberon]

This post looks at what a linguistic melting pot might have been, in the given time frame.

This is a new flexibility in this thread, because we spent eternity conservatively denying the existence of Sanskrit, aside from some unspecified group somehow anchoring it in India and giving it the Veda, which must have been right before an unadventurous estimate of the current compilation of Vedas. You couldn't say anything more about it, because it was supposed to have erupted in full form from the ether at 1,500 B. C. E..

For a couple of years, we looked at the only detectable influence into India, Sintashta, and begun to theorize, well maybe these were the important people with the "gift" of language. But Sintashta is like Media. No art or writing. They are slightly older than the conservative estimates of Sanskrit, but not enough to make them a factor in IVC seals. Besides, their origin was Europe, so it was probably another language.


I would say it is more compelling that there was a human channel across Iran more like 5,000 B. C. E..

Art, writing, and metallurgy are all found there. And if this is the source of Sanskrit, IVC script quite possibly is Sanskrit.

The Veda says nothing about this, although Arya is used in a similar fashion.



Usually, if we think of an educated or commercial language, it is reserved for "elites", which would make it a bit unusual for an Iranian language to permeate a foreign region. The most effective way to do this is music. The oldest form of Sanskrit is musical. We might consider that Sama Veda is a rule set on how to extract the Rg Veda. It's not impossible the seals follow a similar course.


Along with a few suggestions about Dravidian (https://www.quora.com/Does-Rig-Veda-have-Telugu-or-Tamil-words):



All of this points to a history, where, even in the time of the composition of the Rig Veda, very large numbers of Dravidian speakers, who were present in the same vicinity, adopted one of many Indo-Aryan dialects that co-existed them. Linguists attribute the above linguistic changes to effects of L1 speakers (Language 1 = Mother Tongue) having on L2 (Language 2 = Second Language). It is down to historians to fathom out how and why L1 speakers gave up their mother tongue(s) and adopted an Indo-Aryan L2. This also proves beyond doubt, the direction of the flow Aryans, as into India and not out!


Songs, writing, Iran was very impressive.

It's quite fathomable once you accept they may have been interested in doing that.

It's too easy to post some Tamil definitions and speculate, whereas it is just as easy but more telling to, for example, find no such thing as an Avestan rhinoceros. This is a Hindi (https://en.wiktionary.org/wiki/%E0%A4%97%E0%A5%88%E0%A4%82%E0%A4%A1%E0%A4%BE) rhinoceros:


From a variant of Sanskrit गण्डक (gaṇḍaka, “rhinoceros”). This word, along with Sanskrit खड्ग (khaḍga, “rhinoceros, rhino horn, sword, reed”), appears to be of substrate origin.


In an undated lecture from R Sharma (http://www.rhinoresourcecenter.com/pdf_files/130/1307750464.pdf):


Unicorns or single horned animals from the overwhelming
majority of animal symbols in seals and sealings. But this most favourite Harappan animal is not
known to the Rig Veda. The term ganda or khadga is used for the rhinoceros in Sanskrit and the term
ekasringa for both the unicorn and rhinoceros, but none of these terms occurs in the Rig Veda. It is
significant both ganda and khadga are of Dravidian origin according to Turner...


I don't know about the words, but native knowledge of the animal would be.

Well, it doesn't mount a big comeback and take a starring role in later Indian literature either. If I wanted to be obtuse, I would push the IVC script as being about a Buddhist Chakravartin. This is half a subject, the point is intellectual; since the folk symbols are not originally the property of Buddhist transmissions, what we have is a specific philosophy of it. And, it has a derivative, secondary symbolism, where the rhinoceros represents a Horse (https://www.dharmatreasures.com/products/the-seven-precious-jewels-of-chakravartin-greeting-card):

https://www.dharmatreasures.com/cdn/shop/files/Untitled_2__45445.1457127052.1280.1280.jpg?v=1691700005&width=600



There you have Rhinoceros and Elephant, and it is really easy to say that IVC has a Wheel of Knowledge that is being turned. That would simply be by taking the Wheel glyph at face value, in the category of "low level" or basic explanatory depictions. We might even be able to get it to work that way for us.


In pre-historic India, they had a thousand years to bring something from Iran in whatever way they wanted to. The script, however, is probably closer to Sanskrit, since it must adjust by adding things such as "rhinoceros", and its full form is arising after the abandonment of Mehrgarh.


This may show what happens when a new language hits the way people think.

Here is a Tiger from a set of 36 Mundigak slides (https://www.harappa.com/slideshows/mundigak-guimet):


https://www.harappa.com/sites/default/files/styles/gallery_wide_slide/public/slides/goblet-tiger.jpg



I had no idea what I was looking at.

That's a Caspian Tiger (https://en.wikipedia.org/wiki/Caspian_tiger), now extinct. But yes, Tigers lived in Afghanistan, Turkmenistan, and so forth, and are ancestral to both Siberian and Bengal tigers.

It's brownish. Avestan and Persian babr connote this; Sanskrit babhru however, is just the color brown. If vyaghra is supposed to be cognate, note it comes up in the Rg Veda one time as a personal name, whereas "babhru" is in almost every single hymn. It, quixotically, has no tiger subject whatsoever. Therefor, its relationship to IVC Sanskrit would only be partial. No sardula.

The IVC script, on the other hand, is like saying "Stripes" to that Mundigak Tiger. I think you could more easily tell a foreigner "our tigers have stripes completely", than describe a rhinoceros to someone who has never seen anything remotely like it. Because the Soma culture is larger than India, the Unicorn could perhaps say "Indian Soma" to someone who has not seen a rhinoceros. R Sarker 1993 (https://ir.nbu.ac.in/server/api/core/bitstreams/bccffaef-4e5b-416e-9fba-54c425349386/content) goes into the addition of "marks". It's one of the most frequent forms of modification to glyphs.




The seals are found in brick towns which India did not have in any way comparable to the Helmand or Hali Rud endeavors. And, we paint the worst possible names of them or anybody, just by using a "type site" as a generic catch-all. You then invent people called "the Harappans", by projecting an irrelevant name into something unknown.


The more famous sites are probably not really what India, in character, was.

Harappa was built ca. 2,600 (https://en.wikipedia.org/wiki/Harappa) after Ravi and Kot Diji phases.


In other words, there was a "settlement", wherein Ravi phase is simply named for the river Harappa was on. So it is similar pottery and tools across that general area. But then Kot Diji has to be taken as "pre-Harappan cultural drift" coming from across India. Only after this do you get a brick city with seals:


What is clear is that Harappan society was not entirely peaceful, with the human skeletal remains demonstrating some of the highest rates of injury (15.5%) found in South Asian prehistory. Examinations of Harappan skeletons have often found wounds that are likely to have been inflicted in battle. Paleopathological analysis demonstrated that leprosy and tuberculosis were present at Harappa, with the highest prevalence of both disease and trauma present in the skeletons from Area G (an ossuary located south-east of the city walls). Furthermore, rates of craniofacial trauma and infection increased through time demonstrating that the civilisation collapsed amid illness and injury. The bioarchaeologists who examined the remains have suggested that the combined evidence for differences in mortuary treatment and epidemiology indicate that some individuals and communities at Harappa were excluded from access to basic resources like health and safety.


Mohenjo daro is cited as built around 2,500 (https://en.wikipedia.org/wiki/Mohenjo-daro) without any notice of prior standing.

It is possible that Dholavira, Kalibangan, and Mehrgarh were all shattered by earthquakes, shortly before this, and India restores its loss, while both developing existing places, and founding new ones. Using isotope analysis, the best guess is the denizens of these new, and, shall we say, in some cases quite large, cities, were just coming in from the surrounding countryside.

What would be the chain of custody, so to speak, for a language coming from Iran to have a re-radiated influence as Indian Sanskrit.


There is a quite long IVC List (https://en.wikipedia.org/wiki/List_of_Indus_Valley_Civilisation_sites) including sites such as Laukhanjo daro, that can't, and probably won't, be excavated, because modern cities are over them; that one is estimated at over 300 hectares. And with some deductive sleuthing, it is not Kot Diji that is the source of Kot Diji culture.



The heartland is Haryana close to Kunal (https://en.wikipedia.org/wiki/Kunal,_Haryana):



Kunal, along with its other contemporary sites Bhirrana and Rakhigarhi on Sarasvati-Ghaggar river system, is recognised as the oldest Pre-Harappan settlement, with Kunal being an older cultural ancestor to Rehman Dheri in Pakistan.

The discovery of regalis (royal items) excavated from this mound are the oldest of its kind in the Indian subcontinent, Central Asia and Iran. Discoveries include woman's complete dress, tribal head attire, copper spearheads, steatite seals with geometrical patterns (indicating seal making in IVC first begun here), terracotta antiques, arrowheads, fish hooks, two crowns, bangles, silver beads, gold pendants and over 12,000 beads of semi precious stones including lapis lazuli.

Site is located closer to other important IVC sites, such as 18 km northeast of Bhirrana, 45 km northeast of Banawali, 80 km northwest of Rakhigarhi, 85 km west of Balu, Haryana, and 150 km northeast of Jognakhera. It is 30 km northeast of Fatehabad city.


It originally shows Hakra Ware. From ca. 4,000, it has a seal of "two deer" said to be similar to that of Rehman Dheri.

The Kunal seal is certainly suggestive of Rotating Tau on the Rehman dheri seal, and similar to another from Mohenjo daro:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE6OTSR00z3xcQCDIIwamHlSW6xplsG4z9neiUHZcBhQ1FvTSi1kIubOOl_rDnlh_fNxIWV0K9hZnJBkVOgqWwqhoZti8O _PRozILqUhcNRdn6OAe6Q2HqGCdZdS8fHWCHCUcaveWrYxITu9E5t7-NEmI4z8w0J_BEYH0QMkF9ZvsgMrifc9ic_cEq/s1280/Slide1.JPG



https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_vjHOQqQWa1a1peMcYeNYjTDhbms-5sP1me5caiaba3tISCKjza9-B2UuRwGeYz5IPnLA4Y1VB6rVgpDCgPwLYzlrkwD7oEIQzYHIIEhjCVzL-pCbJB2oAX8MJcJ5zuZLOEgDOqCC846T4ds56hf0HFivLZF5sjPPJXFqi8PVng0sQdKyZ_CDarih/s1280/Slide5.JPG



The reference being given requires that krsna (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839668.html) refers to an antelope by itself. Consulting the alternate (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.094.05b%3C/b%3E&acc=no&q=10.94.5&lang=ved) translation:


...in the sky's vault the dark impetuous ones have danced.



sounds like today.

What is more curious is the information on the verse means the Veda goes to the Aravallis:


Ṛṣi (sage/seer): arbudaḥ kādraveyaḥ sarpaḥ

Devatā (deity/subject-matter): grāvāṇaḥ



There, you realize there is a Vedic Kadru, some kind of brood mother. Her name also derives from "brownish, earth-toned", which has a dual meaning as a Soma vessel. Is this not the same "hill people" that IVC got copper from?

Moreover, I would think the Rehman Dheri image is still a Markhor. The IVC Antelope can still be stylized naturally, although I am not sure it has script. It could be on pottery, where you find a few things that are not really used on seals. Conversely, the seals do things like convert an antelope to a Tau. That may have already happened. In lead objects, this shape is made by a tiger attacking an antelope. Here, around Kunal, seals were of geometric designs, until the first known image of its kind.




You can find Kunal's influence seep in and cover other places like an umbrella:


These sites have pre-Harappan indigenous cultural levels, distinct from the culture of Harappa, these are at Banawali (level I), Kot Diji (level 3A), Amri (level II}. Rehman Dheri also has a pre Kot Diji phase (RHD1 3300-2800 BCE) which are not part of IVC culture.


So, e. g., Banawali was the closest neighbor, first convert. It had some kind of independent origin, and soon adopted the "pre-Harappan" "Kot Diji" culture, neither of which is an accurate name, because it is coming from Kunal. That would not be an accurate name historically, either, it just alerts us to the onset of IVC. No one seems as shocked that a town would "renounce" its pottery style. They're mostly compared to the "six fabrics" of Kalibangan.


Only a limited number of other sites appear to have much importance in advanced antiquity.

Because of the redundancy of writing the suffix, we can just ignore it. We are dealing with something that began to expire around 2,000, or at least had done most of its publishing by then, and higher numbers are older.


Sothi 4600 (https://en.wikipedia.org/wiki/Sothi_(archaeology)):



About 60 km to the west, the large Indus settlement of Kalibangan was situated at the confluence of these rivers.

Siswal, in Haryana, is located about 70 km to the east, and has similar remains. This is now known as Sothi-Siswal culture.

The ancient site of Rakhigarhi is about 140 km east from Sothi, and together with Sothi and Siswal, was situated in the valley of the Chautang river.



The river is the feeder from the Sivaliks of Himachal Pradesh into the Ghaggar:

https://upload.wikimedia.org/wikipedia/commons/0/0c/Sarasvati_river.jpg



Of course, that's someone's weird idea about an Arya Varta or kingdom, however it is relevant to the Rg Veda. Beas = Greek for Vyasa, and for him to compile any Vedas at Manali, the dotted border has to move from the conflux up to the headwaters of the Beas. I'm not really sure the Veda even goes that far, but, it does have to do with pushing the boundary that is drawn there.

Neighbors to the east of the border as drawn there would be Ikshvaku.





Chanhu daro 4,000 (https://en.wikipedia.org/wiki/Chanhudaro)

Cotton cloth traces preserved on silver or bronze objects were known from Chanhudaro, Harappa and Rakhigarhi.

Objects of Iron were reported from Chanhudaro, Ahar, Rajasthan and Mundigak and this gains importance as it has been claimed that Iron was produced in 3rd Millennium in South Asia.


Balakot 4,000 (https://en.wikipedia.org/wiki/Kot_Bala), Makran, possibly the oldest furnace


This is a real, three-dimensional thing, not a trick of drawing in profile:


Four terracotta unicorn figurines were found at Ganweriwala and though depictions of unicorns are frequently found across sites within the Indus Valley, it is rarer to find them in terracotta form. Though they have been found at three other cities, (Harappa, Mohenjo-daro and Chanhudaro) they had never been found in such a large quantity at one site.

...bricks that were used for constructing big cities were typically built in a ratio of 1:2:4.



It opens up something that persists as a homogenous unit for about seven centuries. This has hardly any other parallel in the knowledge base, except for Rg Veda.

Going forward, this should not be too hard to remember:



Jognakhera (https://en.wikipedia.org/wiki/Jognakhera) in Kurukshetra shows continuous accumulation of both IVC wares *and* Painted Gray Ware believed to begin around 1,300.


There is a part of IVC that didn't "collapse", in a famous battlefield. How that could not be known to the Veda is unfathomable.

Manda (https://en.wikipedia.org/wiki/Manda,_Jammu) is unclear, but possibly persisted through the Kushan Empire. Can't tell if it means continuously. Burzahom and Daimabad are also supposed to have lasted to about 1,000.


Rakhigarhi has produced 61 skeletons (https://en.wikipedia.org/wiki/Rakhigarhi) which are not said to have the defects of Harappa.

I can't get a good understanding of when it was supposed to be abandoned. It may not be known. In sheer scale, this effectively was the "capital". It seems reasonable that once Mehrgarh ceased emitting any Iranic or Irano-Indian dialects, that the minor trickle from here became a huge wave. At first, Ravi and Sothi-Siswal were contemporary with Hakra Ware (https://en.wikipedia.org/wiki/Hakra_Ware_culture) also linked to another place now desert:



Cholistan was part of the Cemetery H culture which grew as a surviving regional variant of the Harappan culture, which was then followed by the Painted Grey Ware culture.



Those are the two layers considered the "Vedic period".

It refers to the Ghaggar entering the Hakra River in the desert. Just down a bit from Haryana. This area has a lot of late growth considered refugees from floods at Lothal and other sites. It appears the gestation of Sanskrit was in this basin, which in turn appears to be informative to the Indus settlements.


But from its pre-script era, there is nothing intellectually that Hakra Ware can tell us. It manages to have one recognizable thing, from Bhirrana:



On the pottery painted black and white, there were motifs of Peepal leaves which gained popularity later into Mature Harappan.




Arguably, Kalibangan is the most Pipal (https://www.harappa.com/sites/default/files/pdf/Indus-helmand2.pdf):

Pipal leaves are a distinctive
motif of the pre-Indus ceramic complexes across wide regions
of the Subcontinent; they become very common in the KotDijian phase (approximately 2800-2600 BCE), and often
appear on the famous verres ballon of the Helmand civilization. The variant with the symmetrical swirling elements is
well-known at Kalibangan, in Haryana, where it occurs in different versions, painted or incised in a plastic state.




But then Kot Diji is not really from Kot Diji, it is from Bhirrana, and it is *this* which overtakes Hakra and its two associated wares and establishes IVC.

This is Kalibangan in "Sothi-Siswal or Kot Diji" mode:

https://upload.wikimedia.org/wikipedia/commons/thumb/c/c6/Kalibangan_pre-Harappan_painted_pottery.jpg/1024px-Kalibangan_pre-Harappan_painted_pottery.jpg




That might even be a Scorpion-or-Gharial.

Does that make it a Sanskrit Pipal from around 3,000?

There isn't really script here, but, when it is re-built, then there is script.

K-53 singleton:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdVbWX7eM-rTclegI-U9GZpN6UYkDou2gXwYbbHoG4tLy9ylTpmWV5cBx-ckQIX-_CotnGg-Hj7KafqCdOLGXwXmeBgN6hGZdaIEwlKH5Ks8E8YvQueQc-Qj9dcCed0idxcY9N9luPD47I/s200/K53.jpg



It seems almost negligible, however, Three Mountains seems very significant as an explanation or goal, etc., developed by the script. It is possible that Kalibangan is the life of Sanskrit, and Mohenjo daro Copper Tablets are like a big classroom. This could be simultaneous with teaching additional arts.





Coming back down to us:


Saraswati valley has the earlier phase of the PGW culture, such as excavation at Hat (Hathira) in Kurukshetra. Hathira was protected by a V-shaped moat. Similar moats were found Jognakhera and Kunal on the Saraswati river. The presence of moat shows these were chiefdom-based cultures. These cultures reach a peak in Ganga-Yamuna Doab before the rise of Mahajanapadas in the Northern Black Polished Ware period.


So the archaic IVC cultural bastion is like its Vedc-era survivor, which accounts for continuity extending to Ikshvakus in the Doab. I tend to use that familiar name, but, dynasties that might be more meaningful in Vedic Sanskrit would sound like:

Aila Pauravas and Ayodhya Prthus



Jognakhera was excavated during 2009, although local people are not aware of the importance of this ancient site.


The implication is Arya to IVC Sanskrit to Vedic Sanskrit, maybe to Classical Sanskrit. It may be a chain of pieces once thought separate.




Jognakhera was a copper smelting site where copper smelting furnaces with copper slag were recovered. The furnaces excavated from this site looked like huge saucers.


It's a relatively minor site that hasn't got any seals. In later periods, we do tend to start thinking that places could get taken out by wars, such as the Mahabharata. This is Kurukshetra.


There is a plausible environment for the development of a language as described, without anything to show a large migration of people. Nothing to say that anything taking place here is not on an intellectual basis. Vedic Sanskrit as we have it, of course, represents a couple of other cultural shifts such as the arising of kingdoms and motion of the stars, but it is not brand new, nor necessarily very different from what might be written in IVC script.



There is something from the Rg Veda which, I think, does refer to a wider, pre-existing myth and the unfolding of Sanskrit. Thought to be the world's first love story:


Pururavas and Urvashi


Here, one does not get the sense that a Vedic hymn is a first telling, but a memory. Such a legend is the reason for a dynasty of "descendants of Pururavas".


This is indirect; there is something vaguely called "Mehi sherd" which has a detailed image, to which the suggestion is that the Triangle (https://books.google.com/books?id=4DZYbWQbKAsC&lpg=PA65&dq=sami%20tree%20indus%20script&pg=PA65#v=onepage&q=sami%20tree%20indus%20script&f=false) between the Bull's horns is the "sun" and the "fire sticks", and this particular scene actually is Pururavas and Urvashi. Observation is made that IVC Comb glyph has perhaps appeared.


I can't find any outside references to this rather doctrinaire assertion. The linked book overall is of the "ambitious" nature, but, we have to handle the same evidence if we want to reason otherwise. Not finding this specific example carried, there are numerous comparable specimens including ones using Combs. So many that it turns into one person's attempt to call it "Veda" where I would suggest a broader "Arya" is appropriate. Nevertheless, there is great suggestion to local veneration of a unique Solar Bull (https://www.researchgate.net/publication/371292546_Images_of_solar_bulls_in_Early_Harappa_Rigveda_and_Avesta_as_manifes-tations_of_one_and_the_same_ancient_Aryan_cult):



At the moment, the earliest appearance of the solar humpback bull motif is recorded on Quetta Ware in Central Baluchistan, Pakistan (Stage 4, 3200–2800 BCE, according to Shudai H. et al.) (Fig. 1). [32] For the time being it is represented by only one specimen — fragments of a bowl of Mehrgarh Period VI style Faiz Muhammad — with a partially preserved figure of a humped bull with birds seated in its horns and with two solar signs — in front of the animal and behind its hump respectively. It is possible that two more solar symbols are depicted under its body and near its front legs (Fig. 2). [33; 34, p. 46; 35, p. 189, 219–220, 223] A. Uesugi dates this bowl to about 2900 BCE. [36, p. 15, 28, 33]

Later on, the solar humpback bull motif is abundantly represented on Kulli Ware of South-Eastern Baluchistan, Pakistan (2600–1900 BCE).

https://www.researchgate.net/profile/Aleksandr-Semenenko-2/publication/371292546/figure/fig2/AS:11431281165042501@1685955759469/A-fragment-of-Mehrgarh-VI-Faiz-Muhammad-style-bowl-c-2900-BCE-Later-on-the-solar.jpg


It lacks IVC script, but, it does have graphics that show up on IVC pottery slightly later.


There are rare instances of polychrome from some slides on Balochistan (https://www.harappa.com/slideshows/archaeology-ancient-balochistan):

https://www.harappa.com/sites/default/files/slides/029.jpg


https://www.harappa.com/sites/default/files/slides/046.jpg



It is like jewelry which favors an agate -- carnelian against lapis -- turquoise palette.

One finds the IVC Shield shape evolved out of semi-circular, arch-like, roof, or "U" shapes, which also come in stacks. Nindowari also has Bird on Bull (https://shs.hal.science/halshs-02986798v1/document). The IVC Bull is the only place to find a pair of birds; they being more associated to Rhinoceros.



As with silver (https://www.uni-heidelberg.de/fakultaeten/philosophie/zaw/ufg/forschung/yule_silver.html):


B. de Cardi points out that only rarely does true polychrome Nal pottery occur in the settlements of Surab. This pottery at Nal is clearly a funerary ware.

Our few metallic objects of the Nal Culture differ morphologically from those of the Harappa Culture and in that at least those fashioned in silver appear to be exclusively grave goods. Given the simple form of the metallic implements from the cemetery it seems unnecessarily risky to see in them the genetic predecessors of Harappan artefacts. Considered in the context of the entire cultural assemblage, especially the pottery, the artefactual similarities between the two regions are more disparate than previously thought. The metallic finds published and republished here bear witness to a still little-known culture in what Harappa/Greater Iran-oriented colleagues have called the Indo-Iranian borderlands...



The expression Quetta Ware primarily refers to Mehrgarh; Quetta is on the other end of the 55-mile Bolan Pass, but the next major site is Mundigak:

https://www.researchgate.net/profile/Aleksandr-Semenenko-2/publication/371292546/figure/fig1/AS:11431281165042499@1685955759295/Quetta-Ware-in-Central-Baluchistan-3200-2800-BCE-and-its-geographical-distribution.jpg


In other words, this art is in Banawali during the era just before the script.

There are several examples in the Solar Bulls article that substantiate -- at the very least -- this had something to do with how people think and therefor how they talk. I don't agree with the conclusions, but the presence is significant.


This remains reasonable (https://www.worldhistory.org/Indus_Script/):


During the early Harappan phase (c. 3500-2700 BCE), we find the earliest known examples of the Indus Script signs, attested on Ravi and Kot Diji pottery excavated at Harappa. Based on the fact that only one sign is displayed on the pottery surface, these examples represent a premature stage in the development of the Indus Script. Its full development was reached during the Urban period (c. 2600-1900 BCE), when longer inscriptions are recorded.


So (https://www.harappa.com/answers/how-old-oldest-ancient-indus-writing):


Earliest known inscribed Ravi sherd

https://www.harappa.com/sites/default/files/question/34_0.jpg




an impression among the earliest examples of script:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiglWVRBDxvZCB3aTqOnCH9Oi6OkIUN8AldH9y9VqE1aH5co2BYG0afjNp0ePsNohizLQYWOnBaScccqgKZD1a9VyXEB1FH E8XM8oKIpqAatgpoz66B4M7IUpCplDz7BKzOQN2QsGdZad8/s664/rehmandheri8.jpg



That may be a singleton of three Chevrons.

The Branch is a main subject of the script, and is possibly seen again in the next era.



There is another possibility of late continuity at Prabhas Patan (https://en.unesco.org/silkroad/sites/default/files/knowledge-bank-article/vol_I%20silk%20road_the%20indus%20civilization%20BIS.pdf):


A unique seal amulet of steatite, obtained from levels ascribable
to the later half of the second millennium b.c. and engraved on one side with seven stylized
deer and on the other with five, deserves special mention.



Parpola thinks it is a horse; this site near Somnath (https://www.researchgate.net/profile/As-Gaur/publication/27669855_A_preliminary_exploration_of_Prabhasa-Somnath/links/0fcfd50988aad9c239000000/A-preliminary-exploration-of-Prabhasa-Somnath.pdf?origin=scientificContributions) would most likely have been affected by the submergence of Dwarka. It is thought to have remained to 1,500, perhaps longer. So, it is a late image, geometrical quadrupeds without script. In general, these later, southern sites show a regression, that is, the complexity of compounds and modifiers decreases back to basic script. In a certain view, there are as few as twenty-one basic IVC signs, considering what remained in use. However, even the very late Bet Dwarka (https://www.researchgate.net/publication/371292869_The_motif_of_the_three-headed_bull_in_Rigveda_and_Mature_Harappan_culture) still uses a Chimera.

The pre-cursor would be model objects, flattened to pictures, converted to basic glyphs, enhanced in various ways.

From this, we see the typical Indian woman has her type at Nausharo and Mundigak. Some of the figurines are distorted, but in general they all have Fish Eyes. Aside from that, there is a fairly realistic woman with a Tika mark in the parting of her hair. She is a "style" among many others. Some of them are so weird, it is decided they are Human Birds (https://www.academia.edu/10640537/Art_Indus_Civilization).


From heavily perusing the script, I thought it might be obvious that it would give some basic indicator for "man and woman", but even this is less than plain. They might be the identical Twins. They might look the same, and have to be determined by context. On the other hand, animals never sit, and the images obviously have a penis or not. That means that the elephant and rhinoceros might be girls. Most of the others are males. Something else happens when placed in the context of prior three-dimensional objects.

Female figurines are more primordial; males are not really used until around 2,700. There are several kinds of what seem to be human women, of whom, the most extravagant seems to go out of circulation. A clearly abundant variety remains in actual existence, whereas the art of the seals depicts primarily two other kinds of women. One has the long braids, which may not be represented in Pakistan, which is why we want to say it is found in Iran. While we are thinking about drawing a pipal leaf, the three-dimensional braided woman has well made her mark in the oldest metallurgical objects. She is perhaps the oldest, most widespread cultural icon, if you want to put it that way.

The other kind of woman seems more local, the one with bulb-like hair:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP4aeipF2KWhJQD0M667Y-jfywKizm_iTdOU-_CONZkfKiuNT0jTvCnNgcT4hk-SEy4KCwuD0PT_7OAiH8LOMM9KcrVGjKyXXqtB30kUZw0K-df4dO3rFcEr1VpK5zWoaJ4nDddp4ANenS/s1600/ScreenShot221.bmp



Here she is on a type of Mehrgarh timeline:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1U0-sMn4q7Lp1rDYCmUfFuCWBw6WadUU_gj46gNHcY8g9aTiXC3GafbwCLTBaKPoet2V49WF9f7R5_fzzURdFtea5tLe7__kv0nHxM0t sRkiSsQmJh0Xc6DjjRlgV73fSpIWeVPh4x5uZ/s1600/ScreenShot220.bmp


https://www.crystalinks.com/indusart.jpg




We believe her three-dimensional form to be replicated in imagery and enter the script, as, possibly, its Chakravartin.

Her personal library is at least as, if not more powerful than, the Copper Tablets.

Although this can easily be shown in other ways, it turns out that in a related "instructive" class to Ivory Rods, the character faces a glyph on Ivory Plaque M-1653 (https://bharatkalyan97.blogspot.com/2020/12/ivory-rods-22-with-indus-script.html). The specimen is broken in such a way that there may have been a second glyph, but, the first is certain. It works impeccably or is among the character's strongest associations, to the exclusion of others.

Among similar objects, it is followed by Ivory Inscription M-1654:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZSe2l-ju53EH6fXgrTp4wo3J0IViz2KS8-jzST5hgldsywcyPzUe20hUkWnnjtdLd5mZmME65wL8FeJe3ZTgL3mDXQ3mBPhj3eaVtkZp6UlmcWA5VwXlqpWeKZSksCO_Dw19UK GXesd6w/s1600/iv20.jpg



which is the same design as the seal of Nindowari:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdHjEs83dVndSGJ9rhXHOkxBA46FbjFnbd3JeGDYp5oL1UX7hqfpPvDxhT1QU0QELfRf1p3ov1Wk1y-Ly54wXLMmaTpN0ZM8polv3u7bx-mDR9lpjvda1-ay9iRja5tuRMFNxpR9oLe0/s640/gilund5.JPG


But that's back in Kulli country. Is that a foreign place, in the sense of geographically separated, yes, but I am not sure it is any different in a sociological sense.

They perhaps work differently. The braided woman is external, like a curator of the script, particularly the Branch. She is the main visual "yogini". But there is not an immediately apparent way she "enters the script", which, this second woman does in a rather strong way.

Scholars have puzzled with the variety of humanoid glyphs trying to figure them out, and most of them range from formulaic to trivial by comparison.

If I looked at crisis and resolve, or the dynamic or catharsis that would be in the script were it to qualify as "literature", it would mostly involve this person, along with how Three Mountains is like a power conjured by use of several basic texts.

The shape this is taking is not reminiscent of later Sanskrit material. Anyone could assert that the image just given "is" Ursa Major or the Pleiades, or something like that, but for now all we can say is this is less-than-random.

India was a supplier of finished objects, until at its height, it appears to have exported ivory blanks to artisans in foreign countries. One of the most significant artifacts is in fact the Ivory Comb. It would not be an anachronism if the Comb glyph were literally a Comb. It is highly associated with the Elephant. So that is realistic. There are good reasons to suggest among its meanings, Elephant includes Ivory and Lead.

Due to the graphics, in Sanskrit, it would have a preference for Hastin, because of the hand-like appendage. Cf. Avestan:


zasta [-]
18 (I, duA) m. hand (k206)


However, it does not become a stem for any animal names.

The main human character works with the Wheel and the Elephant. The rest of the script seems to follow suit.

There is the frequency of Tiger and Three, as there are Three Tigers, Three Triangles, and Three Mountains, which are suggestive of Shakti and possibly Triloka or Trivikrama. One cannot be sure the Veda invents its underlying metaphysics, but, rather, creates a theological Path as the way to deal with reality.

The same character portrays that in a visual way in one continuous statement. The script is the same way overall, and gives us a pair of alternates with a balancing statement, in numerous ways, while it has precious few texts of glyphs that actually are balanced.


There is the unscripted story of Lady Riding a Bull Throne and Bull Boat (https://www.harappa.com/sites/default/files/pdf/Spiked-Throne.pdf) with Bird People:


https://www.harappa.com/sites/default/files/styles/galleryformatter_slide/public/images/lady-of-spiked-throne.jpg



The eyes are explained by usually containing an applique' pigment that has since vanished. That, itself, does not get rid of bird-ness. but attests to the majority of Doll artifacts as probably having been colored (e. g. yellow people). As you see, the males have small flat caps like a beret or fez, among the crew of, this. It is not a cart, such as some bronze artifacts, but is a rather large object with a handle on the back. There is such a thing as a canopied bronze cart, and, certainly, the "cabin" of this thing is a bit unnatural, kind of an artificial cylinder. The lady inside is about 30% larger than the other people. The report has several additional views of it.

They might be related to the people of the seals if they never do anything realistic.

The most realistic thing an IVC human does is sit down in a yoga pose.

This particular specimen has received the epithet "wackiest thing ever".


If it represents how they thought (https://dailyasianage.com/news/252622/lady-of-the-spiked-throne-a-priceless-harappan-mystery):



From 1996 to 2003, the ASI (Archaeological Survey of India) conducted excavations in the Hisar region of Haryana and recovered some ancient tombs of Harappa. The report released by the ASI examining the graves states that "the dignity and standard of living of women in the Harappan society was far superior to that of the men and the Harappan society was quite progressive in the advancement of women."

Even the speciality of the ‘cowboat’ was primarily women. The demeanor and costumes of the female characters in the vehicle prove that it is an archeology built in a matriarchal society. That is, this vehicle gives us evidence of a women-centric civilization 5,000 years ago.

The most notable feature of this vehicle, with a total of 15 passengers, is that the women are larger in size than the men. Even their seats are taller and the female statue on the throne is the largest. Also every male idol is clothed while the females are naked. Another remarkable thing is that the kind of clothes that the male passengers are wearing in the vehicle have never been seen anywhere.

According to Massimo Vidal's experiments, the vehicle was built in around 2600 BC and the contrast in the male and female statues represents the Harappan social system.


She and her crew display unusual features including large almond-shaped eyes, elongated heads or headdresses, and beak-like noses.


In that sense, the women are more bird-like.

It just looks like a Solar Barque to me.

Because Hathor and Byblos were united, it is not entirely impossible the above is knowledgeable of Hathor. Or, of the Solar Bull.

It sounds like what was just reported of Kunal. The women are typically buried with more regalia.


Again, when people throw around words like "matriarchy", it can get as misleading as "Aryan" or "the Harappans", but when you regularly find superior burial goods, we can't say it's because they are more dead. Just like with the "boat" above, there is no reason to suspect an external solar or river goddess, any more than the chieftess may represent an individual woman on her journey. It might be a funeral ritualistic item, asking for her to be attended and transported. The script might happen to specify one way or another.

Maybe it was just a gig where she rode around in a barge and people threw flowers in the water.

I am not sure about the Cobras as reported on the Bull's shoulders, as it seems to be a continuous vine-like design with cobra-like terminals. Doesn't look like a leaf. Not sure if that makes a Cobra Pipal. The ones from the tablets are a little more obvious.




I'm thinking of one post to capture the physical presences and absences of being, such as, at the point of script origin, India does not have a horse, which is probably only acquired in the late period around 2,000. Then we will try to form up a collection based on the field symbols, before statistical methods as a container.

[shaberon]

This post is for physical considerations.

I am making a type of reverse hypothesis, suggesting that what we consider "writing" is derived from a similar use of three-dimensional objects.


One remark was that India would "bring home" something it was interested in, such as a horse, possibly a language. Then mostly they reproduce it on their own. Through all of the digs, so far, in terms of commerce, India barely imported anything as finished goods. The most important find is that it did not "import" people, as invaders, or a mass exodus, or any significant migration. Instead, they mixed partly outwardly, towards Sistan.

This is what that source of curiosity was like. To exit India, enter Bolan Pass:


https://upload.wikimedia.org/wikipedia/commons/b/b5/Bolan_Pass_1842.jpg


pass this in its heyday:

https://www.harappa.com/sites/default/files/slides/mundigak-palace-columns-2.jpg




to arrive at the Hamun:

https://upload.wikimedia.org/wikipedia/commons/c/cc/%DA%A9%D9%88%D9%87_%D8%AE%D9%88%D8%A7%D8%AC%D9%87_%D9%BE%D8%A7%D9%86%D9%88%D8%B1%D8%A7%D9%85%D8%A7.j pg



which would have a larger city just beyond it, and, a route to Kermanseh. This province has a physical corridor going to the narrow point of Hormuz Strait. And it has what may be the origin of writing at Konar Sandal or Jiroft (https://en.wikipedia.org/wiki/Jiroft_culture):



Some archeologists believe the discovered inscription is the most ancient script found so far, predating these others, and that the Elamite Cuneiform and Sumero-Akkadian Cuneiform written language originated in Jiroft, where the writing system developed first in its original form and was then spread across the old world.


The success of those is perhaps because they write the sounds of words, whereas Indus script likely does not do this, because each glyph is a word or more that has an explanation. In that case, it's not really possible to read it. We might be able to understand it, as a variant of one of the oldest glyphs, Master of Animals (https://en.wikipedia.org/wiki/Master_of_Animals). This is possibly from the fourth millennium at Giyan Tepe in the Zagros Mountains:


https://upload.wikimedia.org/wikipedia/commons/thumb/3/3d/Stamp_seals_%22Master_of_Animals%22%2C_Tepe_Giyan%2C_Iran%2C_5000-4000_BCE.jpg/1024px-Stamp_seals_%22Master_of_Animals%22%2C_Tepe_Giyan%2C_Iran%2C_5000-4000_BCE.jpg



Now is that abstractly transferred to IVC, yes, but in detail, no.

It is easy to find some commonality.

What we are calling "Ibex" is really the Iranian animal par excellence from time immemorial. This is quite simple if we think in terms of Agriculture:



Ibex (Bezoar) goat mating season starts at the end of Oct beginning of Nov, when Ibex males, which are normally solitary, gather to fight for females.

Elam (Western Iran) was another place where Ibex (Bezoar) goat was "The Goat of Rain" (rain season started when Ibex goats began mating). Other parts of the world where we find the same link between Ibex (Bezoar) goats, rain season and fertility are Crete, Cyprus, parts of Anatolia, Levant, Arabia, Mesopotamia, parts of Central Asia.

Ibex dominates the oldest religious images in Mesopotamia, which date to the time before the irrigation was invented. During that time, people depended exclusively on rain to water their fields. Hence the veneration of Ibexes who signalled the arrival of rain season.


The main contrast is to Egypt, which had flood-based agriculture. Iran only recognizes two seasons, rainy and dry. India is of course also rain-based, but, originally, observed three seasons, hot, wet, and balanced. Later Sanskrit literature evolves this from four up to six seasons. But if we look in the IVC seals, the Ibex is instead of rain, paired with the Sun. In terms of border-less speak, this feasibly could be Mitra or Aryaman. They are also paired under the so-called "Pashupati", which if anything is perhaps "Mitra".


Painting on pottery is ancient in west Iran at Tepe Sialk (https://en.wikipedia.org/wiki/Tepe_Sialk#:~:text=A%20significant%20amount%20of%20metallurgical,the%20litharge%20fragments%20and%20 cakes.):


Zagheh archaic painted ware (c. 6000–5500 BC) is found in Tepe Sialk I


https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Sialk_pot.jpg/500px-Sialk_pot.jpg



In the current knowledge base, this is where the art of Silver comes from:



Pieces of charcoal found in one of the furnaces in which litharge fragments were found provided a radiocarbon date of 3660-3520 B.C. which introduces them as the oldest so far known fragments of such process in the ancient world.


That's what will become historically known as the Isfahan region. This is a pendant that still has the loop:

https://collectionapi.metmuseum.org/api/collection/v1/iiif/324030/1999885/main-image


It has a Ziggurat by around 3,000.

The easy way out of the mountains gets you out into what will become Elam and Susa, where IVC seals have been found. The long way over the Zagros is back towards Armenia and other refugia around the west Caspian shore.


Jiroft figurines were distributed like seals (https://www.discovermagazine.com/planet-earth/who-were-the-mysterious-people-of-ancient-jiroft):


They were found widely, in archeological digs from the Indus Valley in modern day Pakistan to the Persian Gulf and as far north as Gonur Depe, a site in Turkmenistan.



Here is something self-explanatory about iconography.

Animation created with the images on a pottery goblet (c. 3178 BCE) found in Shahr-e Sookhteh:

https://upload.wikimedia.org/wikipedia/commons/8/84/Vase_animation.gif



From the same milieu, Jiroft (https://www.iransafar.co/jiroft-civilization/) Dreadfalls Woman:

https://www.iransafar.co/wp-content/uploads/2021/images/religion/46f888ba77c2745dfdf07a553bc0142c.jpg





I don't think she matches the...pottery, or, most media. But she is more famous in IVC seals than the one resembling Dolls. Jiroft rather strongly and clearly has its own internal mythos based on Scorpion Centaur. It in fact is extremely interesting. But there is no script. It is possible she may have character development somewhere over there; right now we can only say it is a somewhat drastic and therefor intentional look.

The Iranian source of silver was probably the same as India, galena extractive process. Does that sound like a craft someone would possibly be willing to travel to study. Yes. Again it would probably be close to a thousand years for the chance of curiosity to come up, before there is a corresponding production in IVC.




There are horse remains in India that probably match the late IVC period, and, could possibly be imaged on a few late seals. There are old references to thirty-four ribs, which is a better match for the Arabian rather than the Steppe horse.

The chicken was first domesticated in the Thai highlands about 1,850, and this is the origin of chickens worldwide. One branch went southeast into Oceania. The other went west to India around 1,300. All the rest of the chickens in the world came out of India. The gene for yellow shanks is Indian. There is no such thing as a chicken in the Rg Veda. There is not one in IVC remains, just wild game fowl that may have been a fighting sport.

In the Avesta, rooster is a symbol of holiness due to awakening one for prayers. Consequently I would suggest its time frame is the 1,200 - 1,000 range, whereas Balkh and Yaz Culture more broadly at 1,500. This is its own local resurgence after Gonur Tepe.


IVC is too old to have these concepts. It is, however, outstanding, for an object that may literally get two-dimensionally imaged and converted into a glyph.


Indus Ivory Comb found in Oman from ca. 2,400 B. C. E., and also seen in Turkmenistan.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihhEsPcp8MzPRO9wPmrw4bVbhrcSN06vfej_3EREP7iDNO7TMGfQfLDWlqc4YFm2tnCalO70_V9Ab6ZwE8T2ZbtPJzB-OjF0syV318JvMJiqTiv2CcIh4xbuWVG7b4Xatg9gxAqgDxEY4/s1600/jirof2.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8w40dCwuawowx-AZxmZh38IKTOZRVHj5AuJr5PvLzRPTN3KRCWEoTfOS-YrNCm9mem7OgKG1qXdxfDZ1W3v3Vstm3VD1eHyfnbExoLJb4rK7JK6KJmRN6nsKI3h1oemNVS7JYPxWGvvU/s1600/jirof32.jpg




A soft-stone flask, 6 cm. tall, from Bactria (northern Afghanistan) showing a winged female deity (?) flanked by two flowers similar to those shown on the comb from Tell Abraq.(After Pottier, M.H., 1984, Materiel funeraire e la Bactriane meridionale de l'Age du Bronze, Paris, Editions Recherche sur les Civilisations: plate 20.150). Ivory comb with Mountain Tulip motif and dotted circles.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6bcCI_vZqADvvnooLFykJA4ryMRPo_y_j_U3AGa4HZpLhzfxjV4k5D8HBTzXlIo5haBs077KB7mQPn933-L0Br55DVMZXCWKk-gB5qMyRuS0645kaHuiq3aPrm6EdErTXZ8nz6wUyBw4/s1600/jirof34.jpg



They seem to have a lot do do with the script, without bearing any particular statement or combination. Comb is, of course, an Elephant glyph. Here are some of the corresponding accoutrements:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi6Ag9Q1EKavNizN3gSBfzM0-XKFAi_X9JgF0_cJbdYdgjg-WKQuYIDOFsl0n1gjMv8wSLQnhr2qfiBP_-nn3SU1QKubNJe2R45faw42mzS2d3MfAdAGMqbVls4qhpRvqxtaKZnSW4xvB7/s1600/ScreenShot494.jpg



From Mari, of Indian origin:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR-l2sATS6uk8otRV1GZzTZmiFftH8Q0pfn3yfYWYolLMSe3lONo6b0pxfhX0I0XchxwRJMeRntQxxLcxrhFnIf-GrveRsVO5RyvU5hX8JAv2HJNu4eEsK36SPWlLP_i8k3VPI8bKwQa5s/s1600/ScreenShot493.jpg



An interesting reaction to stones is on the page for Twins (https://bharatkalyan97.blogspot.com/2016/07/all-stamp-seals-some-cylinder-seals-of.html):



Seven EDII seals show contest friezes (Ashmolean Museum) The lapis lazuli seal shows in the lower register geometric motifs reminiscent of the Jemdat Nazr Diyala seals. ram in the thicket has not only horns, fringe, beard, eyes and eye-rims of lapis lazuli, but also part of its fleece is made of overlapping sections of the blue stone. Lapis lazuli was also used in amulets sculpted as frogs, fish, flies, calves, bulls, rams, ibex, monkey, seated bull, eagle.

In Mesopotamian and Sarasvati-Sindhu valley sites, significant numbers of objects of lapis lazuli have been found. In the 'royal' tombs, lapis lazuli, carnelian and gold are the three important materials used. Lapis lazuli is a rare stone found in Badakhshan mines (NE Afghanistan, currently known as Kerano-Munjan), in the Pamirs and near Lake Baikal in eastern Siberia (F. Rutley, Elements of Mineralogy (rev. by H.H. Read 1948), pp. 380-381). "Darius states that his lapis lazuli came from his satrapy of Sogdia, in which province Badakhshan was located; and finally, the colour range from Sar-i-Sang is closely comparable to that of archaeological lapis lazuli. The varying shades of the pieces of veneer on the 'Standard' of Ur, for instance, can be exactly paralleled by modern specimens from Badakhshan...


4 lapis-lazuli mines are at heights ranging from 6000 to 17000 ft.:

Sar-i-sang, S (Stromby), C (Chilmak) and R (Robat-i-Paskaran)


He almost figures this out in some accidental notes:


stem of muñja grass (used for thatching)

the reed Saccharum munja, reed in a weaver's warp


That's because it's self-reflexive to the same place.

The real gate of India was coming in from the Pamir Highway. The original north-south route went through Dorah Pass:


https://upload.wikimedia.org/wikipedia/commons/e/e5/Approximate_Hindu_Kush_range_with_Dorah_Pass.jpg




Dorah is 51.8 km (32.18 miles) long, running from Sanglich (in Badakhshan Province in northeastern Afghanistan) to Imirdin (Chitral, Khyber Pakhtunkhwa in Pakistan).

Citral Today says it goes into Munjan, is the shortest route to Central Asia, and has been used for war and trade as far back as they know of.


The ancient Sar-e Sang mines are in the Kuran va Munjan region. Perhaps closer to Zebak than the valley name indicates.

It's the source of the Oxus or Amu Darya River.

This is the destination of the IVC colony, Shortugai. It of course perished, but, curiously, the current residents of Citral where the pass emerges are the Kalash, that derivative, non-Vedic-Sanskrit speaking group, who are genetically practically pure Sintashta.

They are such the purest people on earth, the genetic expression for them is an "eighth continent". Badakhshan, however, is inhabited by Iranians or "Bactrians".

This is its interior.

Kokcha watershed:

https://upload.wikimedia.org/wikipedia/commons/d/d1/Kokcha_River_Watershed.jpg



Shortugai (https://ackuimages.photoshelter.com/image/I0000YcggXNYF3fc) is actually on the north side of it. There is a canal coming out of the Kochka and parallel to it, around Dast i Qala, that goes on to the Rustaq. Another link with a map and picture makes it obvious that it is on the fairly distant border to Tajikstan and is effectively at the headwater of the Oxus River. Its location is most likely because this is navigable. It is not quite "on" the Oxus/Amu Darya as most articles state, but connected, and obviously still has a difficult trek to the mines.

There are no signs of catastrophe and no particular guesses on why it seems to have been spontaneously abandoned ca. 1,600-1,200.


To be most precise, the area of activity begins after that horseshoe-shaped conflux where "Kuran e munjan" is printed. The link for its mineral data (https://www.mindat.org/loc-6990.html) shows multiple mining interests all the way down river to Jurm. Then if you pop the "15", that is Sar-e Sang, about halfway between or approximately where "Yamgan" appears above.


Munji (https://en.wikipedia.org/wiki/Munji_language) is still the current name for the language and people. Unlike most others, this does register in the same context in the Rg Veda. The grass is even used to make the sacred thread of Brahmins. But it is a saccharum, which means it could probably be pressed for Soma. In fact, here, in the intermediate stage, we are between Sakar as the Sanskrit original for English sugar. As with other things, history shows the usage of various "wild" sweeteners until the emergence of official "sugar cane" from Indonesia.

In terms of directions, this is the center of the world, and in terms of access, there is none. Other than the river, there is one route that notches through the place. For India to even know about such a strategic location is itself impressive. For at least a few centuries it was successful.



The most legitimate Indian timeline is observable in a vast natural shelter.

Bhimbetka (https://en.wikipedia.org/wiki/Bhimbetka_rock_shelters) near Bhopal in Madhya Pradesh is rather close to the IVC, and has signs of inhabitation from over 100,000 years ago to the historical period. Therefor, the truly ancient or "Australic" Indians did not only live at the coast. It seems they were as far north as the Shivaliks.

The native testimony is in its Rock Art (https://www.harappa.com/blog/prehistoric-rock-paintings-and-ancient-indus-motifs-0):


It's hard to look at these images and not think that there are deep similarities with ancient Indus iconography. The intricate design patterns of Mesolithic art (10,000-5,000 BCE) mesmerize; there is the figure with the bow and arrow; the side profile nature of animal depictions, especially bovines carried through to seals; a hunter spearing a buffalo; bangled women; the ubiquitous use of red oxide paint. It does not seem irrational to suppose a continuity between Neolithic, Mesolithic and later Indus iconography, a continuity from which nearly all traces have been lost to archaeology and science. Except for these rock paintings, that is.

Then there is, in Neumayer's words "the ithyphallic Hero surrounded by - or confronting - animals, a recurring mythologem in Chalcolithic art."

There is even a "Deity of the 'Pashupatinath-type' with a wide out-loading horn-crown from which emanate plant-sprouts."

There are people with spiky or "bulb" hair.

They have re-curved bows.

This *does* use the Boar, heavily, which is perhaps remembered as Panjurli in other areas, but so far remains sanitized from IVC script.

Otherwise, Bhimbetka scenes are added probably through the IVC period, perhaps by Khasis at that. It does seem to portray battles and men on horses. Yet it has no writing, is abandoned and forgotten to the point where its neighbors simply believe it haunted or cursed.


It fails to yield any telling connection to the Veda or IVC. Yet it may be that some of those are "prior Indian ideas" that enter the script.

It comes at a point that does not compete with the oldest forms of writing, but, it does match irrigation-based expansions at Shortugai, Mari, and Kanesh around 2,300. Although some of the glyphs are older, mature IVC script runs about 2,300 - 1,900. Around 2,100, it begins to be copied in Dilmun for about fifty years, at which point they seem to be able to generate their own scribes to work it, and then it goes off on a tangent. Even more bizarrely, they have the presence of untold numbers of grave cities, in just one area is something like an estimated 400,000 interments, as if people went there to die, or they were shipping in human remains for luck.

They have, I think, the obvious digression from IVC script, because they begin using the date palm as the "Tree of Life" or "Asherah Pole", but where do we find this pipal tree? In the National museum of Kuwait:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikrCZO6gyDGY3tbPFuntBl3QYow8865pklu1cnlNj_6stsbWMUfXf7Oe7OkRXGdOMyj7yxbhhB53EuXhny57tFdwRrJSXt Sgr2Wt8xZ2jfrm8e2ouUUlQG8_m61kIRt6rLQ3Qoom3ho3Y/s640/ScreenShot222.jpg




That's gold.

It has an orientation. The pipal is supposed to be up.

The presence of Markhor is non-Kuwaiti, and if you continue along, you get to a type of Markhor totem pole where it looks like he has a third eye.

The limited use of Ibex is more proportional to IVC.


You'd almost guess that someone was very interested in Pipal with two Unicorn Heads and perhaps primarily just swapped out the Unicorn for some of its realistic adjuncts.

It's probably more fascinating than Jiroft, and along with Old Syria has what I would call an extremely difficult heraldic art. Unlike anything related to cuneiform, this stuff remains unsolved, and seems thoroughly permeated by Indian antecedent. Maybe if one is solved, they will fall like dominoes. For the time being, I'm going to leave those as their own subjects, as large as or larger than this one.

The most continuous relic spread as far as Mari and is still valid today. It's mathematical -- geometrical. That would be the system of weights based on Ratti Seed. The basic part of this system is binary (2, 4, 8, 16...), and it has other parts that are a little different (such as multiply and divide by two). I would not be surprised, then, if the script handles the difference between multiplication and exponents. This is reported as having been in use all across west Asia, though not necessarily more than a few centuries. In India, you can obviously tell, it never changed.




Otherwise, there are factors that gainsay human memory retaining anything for any length of time.

For example, Armenia is thought to be the home of "Indo-European", whose eastern and western branches differ by a few consonant shifts, and the typical verb last of the east. It's how humanity survived the Ice Age for a few thousand years before this split. But they don't know what happened. Even in later times, there is such a thing at the Lake Van Cuneiform, which was forgotten in about two hundred years. It actually does record history in a way that agrees with Assyrian records from around 900-600. But then we notice around 300, they take in the legendary history of Zoroastrianism, stitching in their national hero. And then when Christianity arrives, the process is repeated in terms of Genesis. Considering that Cuneiform means they must have been subjected to Semitic literati, it sounds like they have taken a re-vamping multiple times. and can't answer our curiosity about how "Hittite" might be related. This represents the source of all languages in its family. Nothingness in the intellectual sense.

In other cases, physical science can pinpoint events, which there is no recollection of. One is the eruption of Thera or Santorini near Crete in the Mediterranean. I've never found a contemporary story that says "this blew up" or "these people fled", you just suddenly find it inhabited by Myceneans who write about something else. The only guess I've come up with it that it may be tied into the rubric of "fear the wrath of Poseidon". It may be indirectly remembered. But there are no records of a verifiable major event.


One of the first mistakes made about India is that people try to push the Zodiac on it.

The oldest known complete Zodiac derives from a couple of Babylonian border stelae from around 1,300 that have added Aries.

To the Greeks, this is the era of Troy, that is, the Golden Fleece. What they consider ancient Olympian legend points to a new definition of a star sign coming from the east. You can try it, but Aries does not call attention to itself. It was specifically designated by someone around this time. The Sumerian records have a different sign, Hired Man or Man with Plough. So, if India makes any attachment to Aries, they have made a mistake. Nothing natively found represents this or its associated belt.

The Zodiac is highly imaginary, hard to see, and circles its own made-up path. India observes the quite physical path of the Moon.


So, humans aren't particularly good at memorializing catastrophes, but they are supposed to be star gazers. Things happen in the sky, and we can read certain x-ray formations to get an idea about the explosion of a star. This has been parsed against the knowledge base of writings and traced the earliest attestation of a Supernova, which happens to be Chinese and around Antares ca. 1,300 (https://wwwmpa.mpa-garching.mpg.de/HIGHLIGHT/2000/highlight0005_e.html).

And so our wonderful sky-mapping instruments can detect these x-ray blobs and so forth, and plot what is considered to be "supernova remnants", and the comment matches the plot. it just says there was a new star, it got big, and then faded away, over something like six months. There were no volcanoes or thunderbolts, or panics or revolts of the people, they just noticed this thing happening.

And so you can look around for that in any other cultures, and, I don't think they mention it.

But the time frame is too late to be relevant to the seals.


Here's what happens. You tick the plot readings for supernova remnants back a notch, and you get to something Really Big.

It can't be said *precisely* when this happened. We can only give it a broad range that probably comes out no later than IVC. The extrapolation from the readings is that it would be about 100 times brighter than Venus which means it would be about like the Moon.


Moreover, the place where this happened is already beside a void, and, if we are not sure whether the supernova was 2,000 or 5,000, we could presume it would have called attention to its constellation. In near opposition to Vega and the Galactic Center Sagittarius A*, for Capella or Alpha Aurigae (https://www.star-facts.com/capella/):



In Akkadian times, Capella may have been Dil-gan I-ku, meaning “the messenger of light,” or Dil-gan Babili, the patron star of Babylon. In Sumerian, it was called mul.ÁŠ.KAR, meaning “the goat star,” and in Assyria it was known as I-ku, “the leader,” meaning the leader of the year. The start of the year is believed to have been determined by Capella’s position relative to the Moon at the vernal equinox before 1730 BCE, when the Sun entering the constellation Taurus marked the beginning of spring.

In Bedouin astronomy, Auriga stars represented a herd of goats. The Bedouin in Sinai and Negev called Capella al-‘Ayyūq ath-Thurayyā, “Capella of the Pleiades.”

In Hindu astronomy, Capella was called Brahma Hṛdaya, “the heart of Brahma.”

Baltic people called Capella Tikutis or Perkūno Ožka, meaning “thunder’s goat.”


We can be sure that, if it has not started this way, Capella moves into what might be the most spiritually powerful position in India.

It's physically un-missable. Capella has a very nice page of its own as the Galactic Anticenter (https://storymaps.arcgis.com/stories/57031fb79f9549c2b039e827dd6a6abf):



In one hand, the charioteer cradles a goat known as Amalthea...


Sometimes, Capella and Aldebaran (https://theplanets.org/stars/capella-star/) are the Pole Star. But that is outside the scope of our consideration.

During the seals, the Crocodile is probably "north", whereas Capella -- Auriga is really "up", and, it may also be a seasonal marker.


This underlying facet of Indian thought is a profound dread of the Cosmic Axis.

The galactic center is literally down, like Down a Well in the Rg Veda, a spiritual prison. It is the worst influence. Astronomers argue it is the best reference because it is the true fixed point. Its opposite is not clearly symbolized by a goat, because it is the heart.



Any kind of "Goat Capella" is an utter change from the Australic Indian Astrology, which has no Zodiac, but is largely a farming scene made mostly of this cluster:


Orion-Taurus-Auriga-Gemini


Their Capella is archaically a Bird's Nest, later a Well, and it is timed such that its heliacal setting indicates monsoon season.


I don't wind up thinking the seals are intellectually sourced from there.

From a Sumerian meaning, Gam for "shepherd's crook" may be the Auriga constellation.

Or it is Mul.Gam for the Shepherd himself.

That is to say, auriga = chariot/eer would be a later, further adaptation.


So, alright. There is an inner Indian view that the star is a Well, being tended by Gemini which is really two sisters drawing water from it. In Sumeria, it is a goat. Not a goat sign like Aries, just a goat star. Carried or led by a person or their staff. Sounds a bit like the Meluhhan interpreter.


Askar the Goat Star or Matu -- Tempest (https://www.microscopemuseum.eu/bookstelescopes/R_Brown_1900_Researches_into_the_origin_of_the_primitive_constellations_Vol_2.pdf) was certainly Akkadian New Year. It is of:

bāb-ilû, meaning "Gateway of the god(s)", translating Sumerian Ka.dingir.ra

or of grove-of-life.

Auriga usually has no chariot, always has a goat. The Sumerian list uses "south" stars as the chariot. We are left with the Age of Taurus apparently being marked by a Goat.



Since the Zodiac was not a factor in the original star gazing, what we call "Age of Taurus" physically looks like a change of two constellations (https://www.starmythworld.com/mathisencorollary/2011/11/capella-precession-and-end-of-golden.html):



Note that because of the position of the constellations in the sky, it is possible to see Auriga as "taking over" for Gemini, and to see Taurus as "taking over" from Orion (or rather, usurping Orion's position, as it was more often encoded in mythology). Strictly speaking, Taurus took over from Gemini, because the path of the ecliptic rises at an angle (an angle related to one's latitude, as discussed in this previous post). However, mythologically speaking, we find Auriga and Orion playing roles in the stories which the ancients used to preserve the record of this mighty shift from Gemini to Taurus.

The special relation of Amalthea and Zeus is the Greek relegation of that prior age to pure myth.

That's a way of dealing with "ages" -- obliterate them. I'm going to compromise -- that is, disregarding Zodiacal Ages until you can be sure someone was applying that format. If we ignore the constellations, and simply ask what prominent stars would have been appropriate to mark the spring equinox, it is around p. 498 (https://adsabs.harvard.edu/full/1904MNRAS..64..488M):


Castor & Pollux 4,000

Sirius 2,500

Capella 2,000

Betelgeuse 1,600

Aldebaran 700

Pleiades 200


So, even if the star signs or constellations are not just debatable, but actually different in different places, that does not affect which individual star would mark the equinox.

This is relevant because, to study ancient astronomy, you have to look at it in their terms, meaning the first and most important luminaries to be mentioned are Sun and Moon. And most extant astrology relies on Zoroastrianism, such as remarked in the Greek syncretic schools of Egypt in the time of Serapis, in a way that is probably far more flattering than it is true. Yes, there was Zoroastrian astronomy, however it is not from the Avesta, but from later interactions in Babylon. The Avesta hails the Sun and Moon. There is a Star, which is probably Sirius, although this is known from later associations, and not directly producible from the original Avestan text.

It doesn't have planets.

The planets are found creeping in one or two at a time. The classical tradition of Seven Planets is probably only slightly older than the Zodiac. The site of Mudumal in India is so far said to have drawn one planet. Therefor, the expectation would be IVC script is highly reticent about planets or Zodiacal signs. To a limited extent, there may be uses of the same asterism in other ways, for instance the Indian Gemini is Mithuna the Couple.

So we will put up the Twins glyph versus the fact that the west has Gemini Dioscuri, while placing verb first before its object usually.


Consequently, you would think there is an extreme likelihood the script deals with Sun and Moon, and, in descending probability, certain stars or planets, and, possibly, some recognizable constellations. But just as there are not six seasons in the Rg Veda, the full set of Nakshatras or Mansions of the Moon is not attested until the Atharva Veda. Some of its signs are in the Rg Veda, which somewhat implies observations of the moon's trail, but not necessarily that each day has its own house.


Naturally, Astrology is the first science and most important subject for Time and Direction, this is true anywhere. This is in tandem with Agriculture. That is, the year may not have been marked by a star, and what seems to merit strong consideration in the Veda is the Frog as the symbol of Rain.

Egypt's Nile sort of translates to India's Frog.

That matches the seasonal cycle, more easily than a number of days. The number 365 1/4 is again something that was not determined until Serapic or Ptolemaic Egypt. We cannot be sure if IVC might observe the new year by a Frog and Rain, or Sirius or Capella, but a lunisolar opposition is less likely because more difficult to track. Most of history is based in a lunar calendar which is inaccurate, and uses various types of "adjustments" or "corrections" so that its months will fasten to the seasons as desired.

You don't care if you just want the Frogs and Rain to come out. It doesn't matter how many days, it matters that it happens, and realistically usually varies by two weeks. It doesn't matter if a "year" is 358 - 372 days, but it does matter that it is somewhere in that range, because you could get floods and blight, or drought. That would seem to be a priority, although it is possible they may have used an equinox marker and figured out how to contrive a year that way. That seems questionable, or possible, in IVC, but I would not be terribly confident about a calendar based on tracking a moon -- sun Opposition.



Astrology has been used by the Funeral school to suppose that the IVC animals are constellations. It thinks this is the Unicorn:


Auriga is the body, Taurus the head.


But then it winds up using Aries for IVC. And so it turns out to be another unloading of arbitrary assignments without any basis to establish them in the first place. However, it may be possible the themes converge in an India-related track to the west, identifying Pipal with two Unicorn Heads with an Asherah Pole:


This pole is identified
with the goddess Inanna and thereby the Auriga
constellation. The square with the wheel in the
right side lower corner is the symbol of sun
calendar (as per Benght Hemtun).


Out here, it is not a problem to imply the Taurus constellation was in use, so, the question becomes, does "standing on a bull" equate to a "new equinox marker"?

It is a Zebu mounted by Syrian Goddess:

https://art.thewalters.org/images/art/PL7_42.450_Impr_BW.jpg




Or see one at the British Museum (https://www.britishmuseum.org/collection/object/W_1884-0630-1):



The Syrian goddess stands facing right, wearing a square-topped, horned headdress and a robe with rolled borders, and holding a cup below a disc set in a crescent; before her a small monkey raises one paw in worship. The Syrian goddess faces a naked goddess, with frontal torso, and head and legs turned towards the left, and whose arms hang by her side. Behind her stands a veiled woman with her hand raised in worship; between the two figures is an ankh. A stylised tree terminates the scene.


This culture called Old Syria ran from 1,800 - 1,600.



The Dravidian school is unaware of Capella, which was brought in by Frawley (https://www.vedanet.com/the-milky-way-and-the-cosmic-soma/):



The Milky Way intersects the zodiac around two main points, 0 Gemini and 0 Sagittarius.

The 0 Gemini area is marked by the Nakshatra of Soma called Mrigashira or the antelope’s head (23 20 Taurus – 06 40 Gemini, with 0 Gemini as the central point). It is said to be the head of Prajapati or Brahma, the Creator, who also has the form of a deer or antelope. Mrigashira includes the same region as the constellation Orion, marking its upper portion. If one draws a line directly north from the three stars in the belt of Orion one comes to the star Capella (Alpha Auriga), the star called the heart of Brahma (Brahma-hridaya) in Vedic thought (Surya Siddhanta VIII.20). This appears to be the main spiritual power point in the Vedic zodiac.

A confirmation to the connection between Rashis and Nakshatras can perhaps be found in Harappan archaeological ruins. An Harappan seal dated to 2400 BCE has been found recently that shows a deer and an arrow on one side, the symbol of Mrigashirsha (Orion) and a Scorpion on the other. Scorpio is opposite Orion in the zodiac. When one rises, the other sets. S.M. Ashfaque has argued an astronomical basis for this seal (“Primitive astronomy in the Indus Civilization. In Old Problems and New Perspectives in the Archaeology of South Asia, ed. J.M. Kenoyer, 207-215, Madison, Wisconsin).


The idea has some traction with UNESCO (https://web.astronomicalheritage.net/show-theme?idtheme=11):



A 3rd-millennium seal from Rehman Dheri, showing a pair of scorpions on one side and two antelopes on the other, suggests knowledge of Vedic themes. It has been suggested that this seal represents the opposition of Orion (Mrigashiras, or antelope head) and Scorpio (Rohini of the southern hemisphere) nakshatras. The arrow near the head of one of the antelopes could represent the decapitation of Orion. It is generally accepted that the myth of Prajapati being killed by Rudra represents the shifting of the beginning of the year away from Orion and it places the astronomical event in the 4th millennium BC.


The dedicated attempt uses Archer Deity as the "Rudra" of the legend. Yes, the physical fact is true that Orion "moved", but there is no particular reason the legend has anything to do with this. Vedic Rudra is Medicine. We aren't sure they had "Scorpio". Brahma, on the other hand, as the name of a star, has simply the meaning of "praise", whether as the verb, the utterance, the practitioner, it is all about mantra, and has nothing to do with an externally conceived creator deity. It has creation, of at least four kinds, but it does not have these later versions of deities or their myths.


If I use the primitive meaning, then I would read the phrase "Brahma Hrdaya" as:


The heart and soul of the practitioner go up.



What happened is that Upanishadic mantras imitated the last line of Sukla Yajur Veda:


Om Kham Brahma


As far as I can tell, that is the only Vedic mantra that begins with Om.

Otherwise, om is an adjusting syllable to keep the verse in meter.

People struggle with this verse as if it were a mystery, but, just by reading it in tune with how we just read the cosmos, it is simple enough that Kham represents:


Heaven


And so it has to do with a direct link of one's mantra to heaven. In that sense, it is fairly straightforwardly translatable, "oh praise heaven". Something not too far from that.

In the long run, I would have to say the Vedic solar myth is its own, would not be apparent in Avestan or IVC, except of course the basis of it would be. And we see the Vasisthas have a common patronymic, Mitravaruna, one word, and Agastya is frightfully close to what seems to be the late IVC to south India establishment. Or possibly before.


South India is different enough that you can see things like Canopus and the Magellanic Clouds.


One of the things that is the same wherever you go is the North Pole, and on this, India actually does have something that is highly structured. Moreover, everyone still uses it today. That is the ceremony of Marriage. In the most superficial aspect, it lacks the intrigue of the solar myth as developed in the Rg Veda. But this is how Sukla Yajur Veda is a bridge from the esoteric into one's household. It's an abbreviated, truncated version, which is not a contradiction, but incomplete.

One of the early and significant events of the Veda is that the Sisumara is bound. Here's how it works with the timing going from Iyengar (https://www.researchgate.net/publication/309710402_Ancient_Indian_Astronomy_in_Vedic_Texts):



There are several different Sūtra texts attached to the four Vedas demonstrating not only their lateness, but also their spatial spread in accounting for the variation in the practices. However, the common feature of all these texts, in the historical context, is their memory of Dhruva as a fixed star to be invoked, seen and shown to the bride in the marriage rite. In all cases, the hymn for addressing Dhruva is same as or very similar to the one in the Ekāgni-kāṇḍa (I.9) mentioned above.


and:


But for the more ancient period we have no exclusive texts other than Lagadha’s Vedānga Jyotiṣa (c 1400 BCE)

Over a long period of time the effect of precession was also felt as with the loss of importance for the constellation Śiśumāra (Draco) and shifting of the Pole Star Dhruva. The astral descriptions and the religious lore behind the above astronomical entities provided the inspiration for the development of observational and mathematical astronomy in India.


That's the "mid" estimate. Shrewd critics want to force the Vedanga to fit the estimation of the "final compilation"; however, the self-evidence within the text fits it to an earlier date. It is not impossible, that, owing to factors like acceleration, or the measurement of signs, it *might* need to be adjusted back to 1,800.

It is probably not later than what he said, and, he is speculating that obviously if you go back far enough, there will be different stars pointing to the pole.

The "Aranyaka" is considered wilderness literature from roughly the same period as the Brahmanas, around 800 or so. This is an instance of naming the Sisumara sign such that it is no longer Draco. Abhaya (https://www.wisdomlib.org/definition/abhaya) is not clear as a star, when we are given Simsumara first from Taittiriya Aranyaka:



….dharmo mūrdhānam brahmottarāhanuḥ yajño’dharā viṣṇurhṛdayam samvathsaraḥ prajananam aśvinau pūrvapādāvatrirmadhyam mitrāvaruṇavaparapadau agniḥ pucchasya prathamam kāṇḍam tata indrastatḥ prajāpatirabhayam caturtham| sa vā eṣa divyaśśākvaraśśiśumāraḥ…| …….dhruvastvamasi dhruvasya kṣitamasi tvam
bhūtānāmadhipatirasi tvam bhūtānām śreṣṭho’si tvām bhūtānyupaparyāvartante namaste namaḥ……śiśukumārāya namaḥ||


(TA. II.19.1) ….Dharma is the forehead, Brahma is the upper jaw, Yajña is the lower jaw, Viṣṇu is the heart, Samvatsara is the genital, Aśvins are the forelegs, Atri is the center, Mitra and Varuṇa are the hind legs. Agni is the first stem of the tail, then Indra, then Prajāpati and then Abhayam is the fourth. This is the shining celestial Śiśumāra…….You are fixed (dhruva), you are the place of Dhruva……You are the Lord of Beings; you are the best among them. (All) Beings go around you. Namaste!…… salutations to you the boy-child. The commentary of Sāyaṇa clearly mentions that this hymn is to be used in the evening, turning towards the north and looking at the dhruva-maṇḍala, for meditating on the Cosmic Brahma.


Brahmopasthānamantra


is the name of this for evening meditation.

The Titirri school is intriguing because it remembers the Vaikhanasas, and says the Vatarasanas (https://en.wikipedia.org/wiki/Taittiriya_Shakha) are Aruna Ketus. It is the source of Mahanarayana Upanishad. Yaska is associated with this lineage.






The bridal hymn is:


60 dhruvakṣitiḥ dhruvayoniḥ dhruvamasi dhruvatasthitam | tvam nakṣatrāṇām methyasi sa mām pāhi pṛtanyataḥ || Ekāgni (I.9)


Here the quality of Dhruva as a star is said to be fixed. Dhruva is praised as the methī or the fixed column to which the nakṣatras are bound.

Śiśumāra, the 14th star counted from the head and placed on its tail being the fixed Dhruva or the Pole Star. The effect of precession on the sky picture was also felt as recorded in the Maitrāyaṇīya text, where Dhruva was observed to be drifting away from its original position. Notwithstanding such natural effects, the formality of showing the star Dhruva has continued in Hindu marriages over centuries coming down in the same form to this day as a ritual, even though everyone may not know which star was originally invoked by the prescribed hymns. But the orthodox successors to the Vedic tradition have preserved this information quite correctly as will be seen later.

Maitrayana Upanishad says it is "drifting", not where to. Later, he means the correspondence in Brahmanda Purana:




Listen to this explanation of mine which is real and observable but mystifying people. He, who is at the tail of the 14 stars looking like a śiśumāra; Dhruva the son of Uttānapāda, has become the main pivot of the pole in the sky. Verily, he rotates the sun, the moon and the planets continuously. The stars follow him who is himself circling like a wheel.

His (Śiśumāra’s) upper jaw should be understood as Uttānapāda. Yajña (Kratu) is known as the lower jaw and Dharma as the head. At the heart is Nārāyaṇa (Sādhya). The twin Aśvins occupy the forelegs while Varuna and Aryamā are at the hind legs. Samvatsara is the genital and Mitra occupies the seat. In the tail are Agni, Mahendra, Mārīca-Kaśyapa and Dhruva. The (previous) four stars of the Śiśumāra never set. It is remembered that Dhruva is the last star after Agni, Indra and Kaśyapa.



Well, if anything, the first change that was made was from Thuban to Kochab (https://earthsky.org/brightest-stars/kochab-and-pherkad-guard-the-north-celestial-pole/):


Kochab was known as the pole star and sometimes called Polaris between 1700 BCE and 300 CE.

The star we call Polaris did not become the North Star until about AD 500.

Uttanapada is:


the star Β in the little bear


which is Kochab.

That name is not present in the Aranyaka, where it may be that Abhaya = Kochab, the Pole Star, Uttanapada.


Rather than forcing the literature to be earlier -- taking it to mean Thuban, as Iyengar seems to do--it seems to us that Astrology has had to re-define "Simsumara" as well as "Dhruva", to account for *three* pole stars, or two changes of them. IVC would not refer to Kochab or deal with this aspect of the legend. So I think the early Rg Veda is establishing a civil calendar on a "new" Sisumara sign as recorded later. As for the name of one of the stars involved, we are directed to a comment on X.72 (https://cse.iitk.ac.in/users/amit/books/doniger-1981-rig-veda-anthology.html):


the term uttanapAda in yoga means with feet upwards, but is also
used for a woman giving birth, the mother goddess often depicted in early
sculptures.


It may also refer to the Renuka form. In another translation, it is a region. In the Puranas, the region would be of Vishnu and Ganga. In the Brahmanda, Uttanapada appears with the generation of Prasuti and Akuti, which is the Vyuha, or subtle divine creation prior to the material world. The verse cited, Brhaspati X.72 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839348.html), is a "Deva Creation".


It is Brhaspati with Laukya Aditi Daksayani. There, we get the interpretations:


“In the first age of the gods the existent was born of the non-existent; after that the quarters (of the horizon) were born, and after them the upward-growing (trees).”

“The earth was born from the upward-growing (tree), the quarters were born from the earth; Dakṣa was born from Aditi, and afterwards Aditi from Dakṣa.”


WD:

3. in the earliest age of the gods, existence was born out of
non-existence. after this the quarters of the sky were born from her
who crouched with legs spread.

4. the earth was born from her who crouched with legs spread, and from
the earth the quarters of the sky were born. from aditi, dakSa was
born, and from dakSa aditi was born.




Until someone would install Kochab as the new pole star, previous civilizations would have watched Draco crawl over it:


Iota Draconis Edasich 3.29 Draco within 5° used to be the North Star at about 4,420 BC

Alpha Draconis Thuban 3.65 Draco within 0.1° used to be the North Star at about 3,000 BC

Kappa Draconis 3.82 Draco within 6° a near-north star, shares timing with Kochab



Thuban was the most accurate, but rather faint. Not that the others were much better. Starting from Kochab, Indian lore does track the path of Dhruva, which is Axis Mundi.

If, then, the Rg Veda processes a new star sign, IVC would probably refer to its precursory background.

Because the Sisumara sign is a Crocodile, it is associated with Varuna, which is probably an ancient Arya term prior to Sanskrit.

It is possible that nothing actually changed, that in IVC Draco was always Draco and then Sisumara was "fixed" simply by naming Kochab as Dhruva. If Varuna were defined as the Dhruva deity, then Varuna would move. The oldest texts do not use Draco, so, they are not that old, but what they are using could go back well before when they were written. It is like someone calling Kochab "Polaris" and it quits working, and, there is nothing, until what we call Polaris comes along.

That is reinforcing to the chronology if an early Vedic event was valid around 1,700; leaving a couple of centuries for its inherent backstory. The "fixing" is a mantra, that has nothing to do with Vedanga Jyotish, which is an issue about seasons, not the pole star.


Now, here is one of the most impish physical facts.

True then as it is now, which was first brought to my attention by Buddhist mantra. It isn't Buddhist, it is inseparable from any Indian linguistics of any epoch. Here is a riddle for the seals -- what is the Moon?


The Rabbit.


Anyone is welcome to go and check and see what I mean. But in the seals, this thing is hidden. It comes out in the Mohenjo daro Copper Tablets, hides itself in script, and turns into some kind of a Mega Glyph. If this is for the purposes of Archer Deity, it is possible he is on a rabbit hunt.

3 x 3 x 3 = 3 ^ 3 = 27 Nakshatras, approximately.


Have I, personally, seen something more suggestive, or, found any reference from someone on such a blatantly obvious subject?

No.


Did this mark appear suddenly or change significantly since the Ice Age?

No.


Because the Copper Tablets have Mriga -- Deer, is this Orion's head?


Possibly.

If that was a known "Age", I'm not sure people would pay that much attention to it centuries later. Archer Deity is Rudra-esque in that he is a Soma deity, which is Medicine, consisting of Moon, Waters, and Plants.

Rabbit in the Moon is one of the most permanent and ubiquitous natural works of art in the cosmos.

I would guess the script would discuss fortnights and quarters before there would be a star-per-day. Or, Sukla and Krsna Paksha as "two halves" is an underlying metaphor in practically all Indian thought, which is again similar to the way patterns are made in the Copper Tablets. Waxing and waning. I doubt that explains everything, but it is a likely candidate for "dualisms" somewhere in there.


This gives us some linguistic and physical parameters that are important, but not what I want to dwell on. There is a lot of material about the seals and script.

One of the first stumbling blocks in the attempt to form an IVC concordance is the human being. The script is largely based in the use of very childish stick figures. But then they have various tweaks and poses. And so it was attempted to read these sheerly as script, without any context other than projecting pre-determined ideas at it. So I think we will begin a few posts to simply feature the person as seen. The sources we have for Animal or Zoomorphic iconography are actually quite good, and nail down 80-90% of what can be found, without any stray, misleading propositions. Just needs a bit of touching-up. The human subject has not been anywhere near as effectively written up. Referred to, partially suggested, and heavily interpreted, many times, but never really displayed just-as-they-are.

And so as we are able to get better looks at the visual imagery, you will see the script also has "families" or "dialects", that the glyphs are not homogeneously distributed, but that certain kinds of statements are emphasized in certain areas, and oblivious elsewhere. This, combined with the fact that the writing is not strictly linear, but occurs in various geometry, seems significant.

Also, this gives us a "higher ranked" batch of things I might call "instructional or definitive" are more important than a short, common piece of plain text that may have been found in thirty-five copies. For example, if a Donkey or Deer is a very basic creature only found in one area, it was assigned to do that, according to a set of universal rules.

[shaberon]

I am going to try a refreshing look at this not by trying to read the people in the script, but by seeing how they graphically interface with it.


We will try to start with "generic person", not knowing if the reader, or writer, may be intended here, but that they are their own class as distinguished from "characters".


It's immediately inextricable from almost everything about this whole script.


Decisions about people have caused concordances to be formed in ways that are arbitrary and inaccurate.

This is a false text as returned by the concordance:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFAJrKDuIAh1ZDzS_FA8orlujip8Ya-a0oEOWjQwcPb71rQbXeMkzgj49C6UwIs4J2chyuLrUxrbqRkH3CC-K4C7jygWnLShTMEwU29HirHL51pEcc1LnbzyH-z1NBHx7QY_64PWOqZLA4/s1600/m480c.jpg



There you have a plain Person between Posts. It's recognizable in several other texts. But notice, compared to the original, the concordance has severed Endless Knot and Tree.


M-1425:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge1dThqOje7MpxhJX-PcCSZBpV56qQu-c77Tu9GTuwVrjIDbGxcMtTxWHt2TohpjpafBGRIznmc3Wio6kMjoK5m-JbMBim9f8Bm7WC0weTwm16mgBz-5unA0XWLRuSIOtbi8BO1ZijolS3/s1600/M1425A_edited-1.jpg



Those were rejected since it was assumed they are pictures or images, not glyphs.

Is it not likewise a "picture" of a kneeling person holding U?


This is an existential statement.

It is, I think, the only time that a glyph has interaction. The person seems to be offering it to, or taking it from, an Acacia (sami or kino) tree.

Such surrounding pictures convey meaning.

Endless Knot and Swastika M-1356:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDlShBonTpobKXiZXvbhcHi8X6BpSca0ah5Sh7uouIyATDTUcn_rp0ogQVAjvNpE6AR6S4eUPGhn4AtiLCRkLNWHVFYzVC DiefU1MI4_O_HAVVy8puFGxDxTtu0M7wSyU0QXAUA6BoBevq/s1600/M1356.jpg



makes sense.

But "U" is not a "picture" of anything, it is certainly a glyph, even though it has entered the visual field. It often seems to be some sort of a numerical qualifier; here is a rare moment of its activity within script. "U" in A-symmetrical Three M-952:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu_jY96s1ytivcVoBb1PgZ5eW-vx2i5NapjZIjrzkTmfJlC467uXVCrvnKdXd3hAV1jYWUEw8cRckAFhciKCG7BSjYqMrWP0S0029rt3-YCx4MR_XJxEiCH1fZtsfHhsi0EYp0GWSQVPs/s200/M952.jpg



I don't think anyone can tell me how a realistic "cup" or "basket" gets lodged in a "third brick". Something is taking place in the abstract.



There is such a thing as Person holding U entering the script. According to Sign Design, there are one "wobbly legged" and two seated figures holding "plain U", contrasted to the normal stick figure.

H-346:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lKC9GSRbw7f8_YKu6SKKDLRmgopYSSxzhZJe72Rpace3RVhVWPpZsbC0sOaiyIg_YnlNJ6ESndBRPZmSs3lMQmu93_82 Xzfvs7ZefBlDm9wK0O0WGq3WpH-2iBifnYKD7PbKUlUeexKl/s320/H346AB.jpg



That would seem to be purely text, although it looks like they are on stilts or maybe have animal legs. Due to this, it is considered a "different" glyph than that of a "normal" person holding U. Likewise, something more illustrative has been filed that way.


The main example is from tablet M-478:

https://franpritchett.com/00routesdata/bce_500back/indusvalley/yogi/standingfigure.jpg



This is the most aggressive scene of them all. Bangled Woman is shoving the faces of two men who have uprooted some trees.

The end of that line is something that has been called a "Linga" or "Stupa", but, on a comparative basis to most of the rest of the tablets, it appears to be a pair of Reversed Cobras surmounted by Facing Birds.

https://www.suppressedhistories.net/Gallery/indus/md478.jpg



Its suggestion does seem to be at least the stance on the ground is the same as in the tree, it being the same (kind of) tree. These are all pointy-tipped Sami Trees, not Pipals, this distinction being very obvious. If there are other specific tree sub-divisions, they are far less apparent than this fundamental and persistent one.



The second example of Person holding U is less visual and more script-like, M-481:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSiUZyRVa6rsdVG68M63X-iyxEddXfHEtv_XxVvxz2oco6fj6mJNJxBD2VT4rwA2NiYx7X0yZt5hwPIlPkkflpFMz47LmJREXGs8_qq7KavL0EvGxAref-QXXoggwsLc4UQhg0IVOGD22JMQ5_XDZyk6IWBpiadYRo10nUhdDDWL24JP-QXCOmMspmTkcV/s1280/Slide21.JPG



The bar is slightly twisted; Person holding "U" is beside Winged Man, who is between Posts, Parentheses, or "S"s somewhat ambiguously.

The tiny detail on the reverse is a singleton of an enclosed "Comb" and Enclosure. The accompanying "Horn in U" 341 is rather powerful. Tablet M-481A does not have an image field; in which case the figure perhaps has "entered the script". The reverse does:


"Serpent, partly reclining on a low platform under a tree".

Because this side is half an image, it is possible Person holding "U" might still be an image. This is quite possibly the largest serpent in the corpus. This tablet actually has six sides.


But that was enough to conflate it into a standardized definition and call it a specific article of writing. If one were to consent the second example really is a glyph, it isn't used again. The tablets are copied, which makes some of the cited examples repetitive.


This brief concordance shows copies of the "false" text, the better second example, and adds the form where he has stacked bangles, on the reverse of a more familiar text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzZOq2PsdJdIpH71vW-wzS8Ew6zZAGgRUYZSCN4gdUAlP6mOXVjxNE8qeHAHdZKbnaozyzrWFW72Y20tHnYxDA2MvNo4iWJWATmTD-zi5ROzy_EvgtvO1-7zYbNh5lbHwJA4UHOQpwFU7OzSMKLX8KwtFtcpfaUy7-b_zAZtf_XZlfhKKW1J7oC8SR8TpT/s1280/Slide27.JPG




The basic version is what we might call a "U IIII" class of texts. There is one Comb, and, it moves to a unit of "grammar", the second example with Flattened Crab and Pinch. Finally, the glyph is augmented in a certain way that is familiar to me, personally, because as you can see, the appearance of bangles corresponds with the appearance of Stripes on glyphs being enhanced from plainer versions.



This is shadowy, difficult to identify if the kneeling Person with U is a picture or piece of script, or who it is or what they are doing. The kneeling pose is used by Man-in-tree, but does not belong to him exclusively.

Meanwhile, the Tree and Swastika are both para-script -- although they are always "pictures", there is a usage of or interaction with them.

We will have to pass U and its structure on to another post; it is almost like a set of gears.

As for this, a kneeling Person with Bangles and U is arguably beside a rampant Goat:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl2-GYg4j9SBYBtg07mN0kDmDrq3xi4g5ccEOl15m7kbuFlnDO4yqe0m33-eW8tXjgPDWOvDdsIO5eaNcFdl2sywnh7J_WCdC6N9N32wSyLvxg0GhmzCuXIH-hz0g1yWiebV3yBnCAFjmIfTdvYn0I58YghmNm--nOzluQp3InelMr_yA8-6E0NYPlgJI/s1280/Slide40.JPG


It has two sides:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5VIbHeIiDmwNl6Fr_PMt6__6-awU_3wn-ra9RiZvuAn9C43xrOHh1KDexQiQKycRs9_iPjwXImHiwbllRuOYP41RbR5zJCIGQNFDQqcfQ0SjM05hN6uRONE7g4RHDPALpltXy _uoKwycYcEJq8NFoWpRDu53Q9M4_zbis6AJafBQJnHHYn2N0bxAtqCA/s1280/Slide24.JPG



and also appears to be used the same way twice:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wPS7rHpBrGkrK6-fN2lOML3qlJbRGtxdoIvYWZkC1gXJF-_Jzih8hUCEROQJv7eQ6RckZdOr67pSaja2XDxjwpEoRNa3kgqNqvlilVlKU_flOvQrSXI6htrRG_BXLSavVPOznDXBlyQCXcRv_K wqTN2QBDZDezVlJRoZM09-cAF1yqyEpka0eyKvgfg/s1280/Slide25.JPG




What is a plain Person, with just nothing.

Some of the humanoid glyphs are not completely sticks -- in some cases they are rendered with a more realistic round head at least. We started by finding this on Three Tigers as well as the Rakhigarhi Illusion or Bull of Heaven.




Round-headed Person as an object on Unicorn C-17:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyImy20ZvXN983jmdNoNGRE5Ss4xwYRNm61iedXkKXcUxVE5u74HzGagg1mRGG_Q0uDN9nnZYMLp2xsANQEY5SmmJS9v3Z HtoMu-cG5KU276HhZRcCFPGHKwMN_Lxc_UrPrv2VDb4bnq8/s200/C17.jpg


Chanhu daro has 2/33 "glyph conversation" seals. The simple one is where the faced glyph is "Round-headed person" and the output is "U-shaped" symbol and Winged Man. The other is the elaborate exposition of Shield.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8K-0SLEJSsfMy5CojGsCdXww4d5o6_dxscwW1o1FTkzXo3tpMqG1NhzXkbGnz28_pJiYO0Ghn75qAsOmo995TCy69x9QT5XQG-eg73kPW6YKjVO1-btq4xgAYGl50hSgK-6XNd9AOLk_1/s1600/C17+(2).jpg



Some of them may also have Feet.

From Unicorn with two Wheels B-1:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFm4w17rYKP2PWJH8MxX7kSQ7PLc2z3rR5i_0U-MBuzpaD2AYYsBdLTed1f4KjVHd7BFpkgcg8Z2sZ1bv1wMtoq3id14X9vjW1Oj3C4nf7oEOJCOBEx9EzXCISaxhe6mAe2HhykoDVL Gg/s1600/InscriptB1.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8NRp24VpduVFjDzqIC0pq873NR6uOMu-Q7mbtstgHX_uZ5TgK3WYOG7g8qRiKfgMzhbgqUuIBdlNOzeKG9-bxYt03jExRadHHd1-uWII4wG1DWn1MsWytTDRtru95NLJHu8E0dxJI0UZf/s1600/B1_edited-1.jpg



Between Procession and Bearer on Tablet M-1405:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-r6IFS_7w-N0UQFyToUCdBODx7k3E0Z1c172zEGWViOiL69OG01gmI09LctTFfqXbLuBog02FXY3ClTvEskoVTGgvjF05TEeD0HlxPIg43Lekn b7rfA76pTRxxc4t_Jqk5JPlTLizWW9/s1600/M1405AB.jpg


Here we or they are in script form on Boat M-1429:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8DUlQq8f5j4dcvSmn0lkTVogSZuqsqboFVQZRGZe2sTfoOw_0RYnLjVg1OnqYTbQdIcsxW1e0-HOc8xDDhOr90WVpm9DI5NvdZE0GFy2ZBd6FE7si8rcpx-a2RUBNRMNYS95nvO5aaOPoNpZ4FElkPKXWYosKF9nYrqDg_NrMScZ3wETKd803sKG12A/s1280/Slide8.JPG




I don't agree with most of those blog rebuses so I ignore them. But it gets a crisp image where you can easily find the person in a very "balanced" text. You can pick off the first bit as a "grammar unit", and they are in a mirror image with Fish, who has obviously "entered the script" from the third side. The grammar is uncommonly using the main symbol of India, which implies the "core information" would be meaningful on its own, and may or may not work with various prefixes.

It has been argued the glyph does not represent a Fish, that it is a looped cord from weaving a rug or something, because fish don't walk on their tail fins. This has two objections. It's primarily a Sky Fish; and, in a way like the mirroring in this statement, it is destined to become the torso and legs of Compound Bearer.

There might still be Loops on some things that have a tassled look, but the Fish is vertical for a reason. There are only two exceptions.

The most likely scenario is that IVC was built by fleets of river boats hauling timber and stone from the highlands.

The exact nature of the Birds and the strange cabin is not something we should just run with anyone's definition of.

A barge is the most likely inspirational model, but that does not mean it is not an imaginary Sky Boat.

When I saw that impossible sculpture, I thought it might be half of this. Perhaps there was another side with a large man attended by females. If you fused the two boats as we see them, you would get Birds on Bull.

IVC script has effectively palindromed Man and Fish. Then, at first glance, the Fish is apparently subject to Varuna. It is difficult not to see this as a metaphysical arrangement of that nature.



Here is a Person similarly balanced with a Donkey on Tablet H-1934A:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Lh4z1KGyAKLKXDUs0sUF5MEtvu2NqKUifONPAIBoHz26REn_9EvVcSnludN_-6q6As_BSufI7lyX8ZjTKAsx0iJSK68IXx4RMWfYGQhUJBbdAgylcNji8j0riuJzK6RSm2Hy36Irwp18/s1600/H1934Aquadruped.bmp



Alright. Following that same design principle -- what features something that seems to be a generic person, largely devoid of "characters" or anything else more dominant, what do we find.

Well, that would be sex on Prism M-489:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDBEAKtoiCN15URCT1-ZbURWbK81vwRE7LgwdcLPkkPfH29LP742YuCFCykTE19jno-p_fTQvF61oJDxzJ-wm2KTN07oYYQZec8z72UPB0kFwo91jaR7yzESXgu6wceTss9DIDn3UNQHw-EKayg1wkApwpYNluyouYM3vmUX0zMsoSSRMrU-vg3DG/s1280/Slide11.JPG



It has been argued the second felid is not "identical" to a tiger and might be a leopard or something:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cYVdzF29p0xrOjyY6BDeVdtNwbKYHH8RqkTJFkN-3ixZtXtwJ3sne6kOTN0zoMTbg1J2cakfzZxOKHij1ArG2QXG0zeWVVrrjOGm3urH9va0RAdsj5Ytxs5-9_uaUPDvXd-ESA8q-rc/s412/m489.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim06Y-PDIxTJLNOUVEIGhWVBsW4kTopKygugls9yzLkhKLFR0FDVib1g4mEANMfZGrjhFDsedzvwjuM4lIhu9jG5jWvGr5CB04WWPEmTkq qyafLWHM77sV7wIfQUgJKMM7tZBMY3Gdj-O-EJ1NExrxfrZyj9LKKQbqzK-v32PScpWNTAxLaoEaMLGxUQ/s1280/Slide3.JPG


Overall, that has a mix of something that is real with something that is imaginary. What happened to the script? I am not sure. The Procession nevertheless probably has an orchestrated meaning.

There are Crocodiles with and without Fish. So, this is an example of a dualistic statement, with a third or central synthesis.

One knows the "flying thing" is not a chicken, so, it is maybe a little weird. The seal is rather worn. In other areas we may see serpentine "flying things" but this almost looks more like a flying squirrel. Tree with Goats is realistic, Chimera is not. And, that's just it, there is a couple in the middle of all that. Indistinguishable from "anyone". No names, nothing is spoken.

If we were going to "read" this, this is what happens. In the late period, there are four animals on "wagons" that seem to be companions for a person. I am not sure they are exactly part Cobra on the Daimabad Bronze Chariot (https://bharatkalyan97.blogspot.com/2018/02/four-hooded-cobra-arches-over-membrum.html):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihtOiJFQ3NSc8L8c4lXvjrFTvY3710OzjeFvCxbs0xMxq0QpFOmgP1Y4gHyEQqxxyLOdIo1seK87AsLLBnIEQjjl2EjgMz QZuikp5XozvRLLA9zpHAcMJKAdyobV-eRVZ7sOyyr6MnpOg/s1600/daimabad4.JPG



It has Four Cobras on the top of the equipment and:


3. Pair of black drongo birds perched on the axle rod; 4. Jackal standing on the rod which links the axle to the harness.


The birds face opposite directions. Even this appears to be in the era of solid wheels. If there were rosters of people hammering wood or sawing nails, we could post that. But no one has really been seen engaging in such customary affairs. Not a lot of statuary either. In fact, we barely find anything else that may be showing some ordinary person.



Unicorn contest with a standing person with wristlets in the middle. Harappa tablet. H97-3416/8022-50

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLYEjDCQLajN1KGO_qBRrKOXVEjjigZ5shkZAheaudhZGZi02_h5e7Yo5q2Bqi7KdckxMsgsmHpDSgqeHfj9_U4w4ztq8v 7pGs5zw1tF3LuUpSM9xFWQjb2YaqapWNm4_zxfAALJPy5bYe/s320/unicorncontest.JPG



And I think most of the rest of the imaged people are subsidiary to something additional. Most of the rest of the tablets use one or more characters. If we come across anything else very basic, it can be added here.



We have seen them personally objectified as if turned into animal food. Subsequently, a plain Person glyph is relatively common.


Going to examples of the plain Person glyph, Zebu and Person between Twelve:

https://www.harappa.com/sites/default/files/bull-seal-cleveland-2.jpg







What we are calling "U" is an inversion of something that commonly travels (in multiples) with Person across an array of objects or tools.


Various other objects were similarly inscribed, in the order to be read normally as they are.

Chanhu-daro, Pl. LXXIV & Mohenjo-daro: copper and bronze tools and utensils (an inscription line mirrored on a zebu seal)...


applies to the first one of these with two Wheels:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj53VTxrpwEspynOWXzzdCDXzZD-vnDLZoBMdJLijipyj-IqDQVAV1czmTuIOXqeKu4CTDcz46KZ3BdwhG7RUCOVwHHyVXVza5MN6HpMXQpi0mMt_6F4K0T5pp07KgDEx-TQckKmxf0D7hq/s1600/ScreenShot274.jpg



It may be a chisel; it has what would amount to a typical, average, common IVC text, except it has done something unexpected with "U". Consequently, this type of usage is fairly standard on inscribed objects.


Plain Person is a terminal glyph 75-80% of the time; here are some examples where it is not.

Buffalo M-268:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3uUW50lXbU90VVtf8d9ZnqwLQxayaI0Ga3EgirU67wOkos5iGb358a33RwqbrZkf5SUVNrYS08MMxS7wDW1A9tMzTbjO4 J2y0XZY0ciVbnnxKkXwU4H-8zHHXhyphenhyphenbVDtJ9eVNk5EpJKJdE/s1600/M268.jpg


The unusual tri-gram re-appears at Khirsara.


Buffalo M-1918 facing A-symmetrical Three and probably a form of Girl-in-air:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6lsCk5OpAO9QirnsXmgHOvT9zs2ijNqgMDUz38JFFXIn0FIZ49UZfsg05xqtk408siekOk4T4PaAewPQpwyXzDGK7nJzh GwWDhIsFw3xv_aMAbyyBgX6IZJt3WwZ7VH_ZHFfZNwGSP9fO/s1600/M1918spearman.bmp



C-8 with Double Carpet Rake singleton:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgayqkjCZtKTp_gecmXMcxVMO62xyuG0L6ZzLUFoymsT-yGnWH_vjqAEHvOmfc1o3ofpa4da25lBeSAkzd5ONjab6-CXgNXCmPIneFn494ywThjJnf0sazTBNjOaXRQi_f_eoYKOsJmL8/s320/C6_edited-1.jpg


M-26 with vertically-joined Flat Crabs:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5bdb1OpQWrYuU4PS64dmAtKxAEeoxdkgUAL8zaBcK6qXsOaV2Q4GQOUE7ptEa_tBHybDyQufC2AwmLL2UGa-n39CLINaMwc5vTJGAb0FmtjEoxbXI06fT2zZWcHDF38cSmAEBj_mZr5U/s200/M26_edited-1.jpg



In many occurrences, it is along with Winged Man or other factors. We may find and add other examples of Person where they seem to be involved with the core.

I think it probably does emanate from U and Tree with Endless Knot. It may be this actor is supposed to be scripted as Person between Posts, like someone experiencing a palindrome.

The selection of plain Person as just given will probably show itself to use slightly different language than found elsewhere.

[shaberon]

So far, we have found that IVC does not really use people in normal worldly activities. Instead, it looks like U is very important to them.


They are glyphed as if doing something, but that can rarely, if ever, be associated with anything obvious. Rather, they simply appear to be attached to symbols.

We cannot be sure those are their swords and shields, or picks and spears, or make much of any easy assignment. In a few cases, they may even have a pair of things such as Posts, but it is very rare to find something such as this non-matching H-1506:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhACga0UFRwxlWpbvsV23K5oI8R774StTsZK5ZNMZbHJU2CJq3jL4SvgoIo521BVqfTVCVGwedMp8voAxdlliXRN2jAsToQ v1FEhcWsgqQTRG8e6-kEWl2ybn9ImfOhQv1fwUSMiDPIZU8A/s320/H1506mancupdia.bmp



If U is a story in four chapters (at least), then the Enclosure is likely similar.

That, and perhaps a few other examples, are so strongly tied to something in particular, we may relegate them to that place in the thread. Right now, looking at the script broadly, the question about people with other "items" easily returns a quick comprehensive analysis.


For example, there are two kinds of "One", a Post and a Quote. There is an example of a person with each.

First, here is a trigram with Post on H-72:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQgWHlDkPur7B_Iik8TJnASqehyphenhyphengq9HLeIATf8r85Nv650UhmVOS09EXPHrAxKEWC2qrBt2WBcIzNJPYijbi 2rdBGvVNf885gkVgrC83-AlSE75ZdubFGRNazUHZzWJxDP4pyaysdkn9hh/s1600/H72.jpg




There is a shape that has been called a "Mallet" -- just a square with a "handle" on top -- which affects the behavior of Branch.

Here is a somewhat "balanced" text using the "Mallet" shape in an enhanced version, between a Person with Post and another with Quote.

Person with One M-519A:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijsxjVPBmjtaDlDT5YjpxFqJq1kzBvptmcTsVutiQG45YR75KzJCdWGQ_u_JAxsr3H70jyjLUP3gQiyEWrGoQXMY6ZednX Huy_fJSOtHl0_aukKLYbjLwiceoLSTBjKKGaXgcJsYBSQ9dM/s1600/M519A.jpg



That is important.

Is it input and output? Mirroring? It's balanced but not very symmetrical. Not quite a palindrome. But not entirely different either.

I have taken to "Checkerboard" to refer to a full dozen hatched units. There are several other sizes called "Grids". In this way, you can find ten in Indus numerology, but so far there is no such thing as eleven. There is Twelve, which in this form is the most common pair, in fact it is rather rare on a solo basis. Moreover, it is the major basis for Dilmun script. Whatever is going on in the "workshop" above is of high significance to the total IVC corpus.


Now, we will make a visual association, and bring up a person with something else. First of all, the intricate design on the U IIII Tablet is like a doubling of something from a more basic configuration.

Simple Endless Knot M-507:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglUU_qiAEOPkGSziSzjYHsgjYiMC4lBxKvY4xHllm9zpF8O4zmzAP0CRYPjFQx_cv5RvJz80wHTop0t58S7nkSiv7uztKt fJmx0Np1rjb81JOTQdijT2aEEW7u2MF3EyxVS2tpRhvot7c7/s1600/M507AB.jpg



The soft, abstract form is suggestive of the "solid" Shield shape M-592:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBoM9IVGm4dOFfnq4qWOVoyT3fUtCvCSeXjl2AQPxq0aj7_bSY8tehq_2BVuY7Mf3Hj2x6JDscwsCD7Gp2flACC_V3o0cc HA2cRbt-_Pyablg6s4T9wQTgh__064nB0VM9nEws6qeISWbH/s1600/M592AB.jpg



Although there, it is a drawing, there are also tablets physically cut to match it. They come in squares, bars, circles, and not much else except this peculiar thing. Not only is it tangible, but, it seems to have an extensive verbal component as well.

Shield over Ibex and Person with two Bows C-23:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpMGc95bPbgGsL_Jdc1zOmyLnLcrYaE-uQXgQg6XmKrV3W72Ipvz-v5wURXKMYzU84pBpyH687qfP2jz8stpENdQABqzlny8d1bjb2SIlqyzExCKbsWF8CIrJH8Am7vp5iFW0vLk-CHLbh/s1600/C23+%25282%2529.jpg



There is a Person with Bow, and, occasionally, with two.

It's not realistic. The arrow is only notched as if being carried slackly in stalker mode. It's never drawn and aimed at something, never has any tension on the arrow. That certainly seems to be what it is a drawing of, and, it is not ever brandished as a weapon as far as I have seen. So who are people with Bows?


They are able to do something strange.

The Indus script, the Copper Tablets, and several seals, converge on a statistically-dominant tetragram. There are five-glyph sequences that are repeated, but they do not have stand-alone meaning. This set of four glyphs based on Scorpion, Z, and X appears by itself, as well as in various places. It dominates by a ratio of 16 : 9 to the next most common tetragrams. So, the majority of the script is involved in the composition and elucidation of a small set of these.

There are at least five kinds of Fish, but we usually see three main ones.


Here is a combination of this dominant tetragram followed by India and Three Fish on H-12:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Ouu25X4EVKzu63GePjxij56xlxdakXRe8dn5CfGOHa4H6pvSG-MZqM2hVfc976Z-ONFYn28YbSpWDb6Fts4dYtovnTCT2xrM-0MLUJsybAhKQuhq-bsxxxVSx0RNrew4z1YdMnwFxlAU/s1600/H12dtl.jpg


Using the tetragram, Person with Bow does something with Two:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9iz2NTcFGHW_ICl4S86YB5F38B_XELiEOZUwD7-Q-6bWh9Q56Iz2xVepUucsgHGBc9s4V3F2CNVQyABgzExVDW5K2yWADa3GHGvOsiErVfmdHXN5arjX6MyMqUNYoCh4Vm_nys7wmPGIt/s1600/M38.jpg



And then they produce two conjugations by Pinch, apparently forming a Double Fat X in the tetragram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO13U2O9xy6U8goDdPfvirzNT0CJY1mWOeIR-tdeCki_wgTFslDaM6-GY-U2GqrIvoCZoWuHlb_wFMnyZeD-2teynIs_ccNGNKy64a201gQOfBT6HLXQA3qD6KbKB0CNZMJc7v6O6Dvpy8/s1600/M626.jpg



The colorized blog I am taking these from, ran for three years and ended on a challenge question for this tetragram -- "Merchant of the City" or "Master who collects Lightning" as statistical versus phonetic attempts to render the script. That last update was over ten years ago. I'm not sure anyone else has harped on it. Only thing is a better set of statistics so we can get a sense where the combinations are coming from. That makes it curious that this particular Person has an effect on it.


They appear again in what I call Table of Contents M-314:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTvv5R1DFJRa6V6h1G7UlXdYihjjrxclSXt2dFAGnveJb9Ywev9qtR6lqLta_a2fhKVeLIq7Ob9fBNCKyZip9VvXlqPfmU mREg7_OJpiCfFvZOCWPzQZE5XXXAv0VE6nICPVm4uJUQVHdb/


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cHj83r3yGpNPeRI0P5mDOm0HNSk4G43E_c_JBCDr4SjCvDxtpr_YxkZKtVEkcmNtW9Coz7vBG6UrfH0A7mRNv3XexuoX SxQZXBjEYzyqfzktekQaa6THFtVjimj7rzhqmspXK2Ps9Mc7/s1600/M314.jpg



This is something I, at least, take as declaratory about fish families, not an ordinary sentence or form of record-keeping. It seems to be a collection of subjects, which have their details elsewhere. This is the type of thing that makes it least likely that glyphs consistently represent a single sound, and probably not a single word either. Their groupings and pairings do not support that.


Simpler on M-129:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7jEbQNzwBGlyWKriIqGb1lLG2M87UivtuXDqw6445XJIwaQCQADWydxR8wLXeiCuPFfzAWGZL8NYjfJu3xEZXhOY8DJIR APhC2fYSma0w3v4Up8cqfCxXXC0YbEvpTu95YU-gDs8zLnR4/s1600/M129.jpg





That burst of humanoids and shapes all blends in the layering of the Copper Tablets. From the Person with One text, you find a Unicorn paralleled to the shield. There is also a shared portion of the text visible at lower and higher levels:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCLMphMfOuLf0s6Y51Xuqo7q_2Y5fXqRPRAX-OW_El3Ru-_KvKGdWIZISWPZlecZxttHdkzN60cfv-_f_OtHhhqEBBPYM5RZEqgvo28x9qwAxJcLRX2msoPeKJosmNPPZmAE5ryDINPa4/s1600/a4.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaOG8U7JC57YQyV3b0rBdkcbBzoev7fpuoVJcH5_jpPH256d_8okYS4u4_OuBCNL9APV79Z2skCo6JD7pd6TFsRyu7Oehv-B5CPTQIPHKadxcoBvMt_O4nWti6OuG2g81-_AlSy9V48yE/s1600/b1x.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZQTNHzM0nZCzU6BkqFW1_nvLmXKfJ7vTluHbAca4xHcWYyyROcnSoQKteVFOnHYSvRLdQrRpd4W2fii9_9QaTry9vUQi-c4rxxC7Q6fQe0qzD0PnMXUHwWzxcpzBxx6LHlR14FlzvzhA/s1600/c1.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCpskGCzrT2ilsSr4V3IqLUM5xFANvLFS-4Ir7JZ9DnzlVbIwyjUoZwiXjJNQrY4tdPWmS3K54evq21ptzUT8ZCBUfgAngYABZjYxeFWnFsuaSafZZ3u6fkeQr09NHJH8OIMZn 1pEaeOk/s1600/b17a.JPG



https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigbGpC5VFLswX03Z4C7NIx9PyghLsPpe9ldR4t3FH9rShw-YhWz82gl6XFMZJS6tfjTAVK1K5jxwMs8us_mgIH7G8BIdizWrEkUfZ8wESjDOTdhZ0W7qSJL7qa_mpqxkxU__ynAKaEp5g/s1600/b17b.JPG



You get a sense that Three Mountains are being "raised" there.

You get multiple senses of how a statement was "dualized".

If we surmise that not all of the script is "about" this, a lot of it is, and *all* of it conforms to or is instructed by what is found in these related patterns.

Dilmun script is practically authored by Twins and pair of Checkerboards. I am not convinced that their later developments strictly followed IVC rules. So I quit trying to peruse it for a "Rosetta Stone". Dilmun and Jiroft are like the middle eastern libraries from Ebla to Ugarit. These are all fairly recent discoveries and they are massive. One of the more interesting finds was in Kanesh, which is a big mail bag. You could send cuneiform mail from lower Mesopotamia to Syria. It's personal and makes them sound like real people of today.

That's one of the few things you find from around 2,000 or before, that isn't a royal dynasty or receipt for taxes. So, IVC seals are probably not a personal conversation, but they don't have to be those two kinds of very objective literature either.

The Unicorn at the top of the post is like saying "Go" to the entire web of Indian involvement with the Persian Gulf up into Syria, for centuries, resulting in the oldest written attestation of Sanskrit around 1,400 in Kikkuli's Horse Manual. It is so well-made, some of it is still considered perfectly acceptable to modern trainers.

In India, it means something more like whatever is going on with the "Mallet", and,...Turtle.





The next significant "item" that comes to mind is Person wearing Comb. There is a ligature where they are holding it, or it fastens to their arm, or it may be a Bent Branch. But this is a rather unusual display of anything, and, one will have to judge for oneself if it comes from Rock Art:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVil1C1KKeXnDqP_wC4jNuIsbe83QAdSgf8rsY1U4g6HQR2ZApwAlxcCpkyCACfHlSxZPuL4vVX4z2fYzqGxq0H6zTNkX5 OYJzroIgslppXKULRAM4Hup5-R2UDKl6-LytwGCJPqroRdmejOYhyPRlNHxc7l_GPvx8Vsn8WJIuIsZ16h7Zu0PnB8ye4enz/s1280/Slide2.JPG




In IVC, it has a tablet, such as this broken fragment:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYbF7nXE-EcUwvWlyMvW6EeezhE9Q4lbqe3oVjCeHLLcAchdcZXw2IoLQhLYu1InFhtNnXcBwIge1mBekEX7NHKMZe2NhqdbzxqnHgHen2GXW EKXx3zgOv_IN1WqtyfkAFjCV7OjP_99Q6/s320/drummer.jpg



of H-182:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirxXT2yAxwTGXDH65iV3-gihGsq1U0PUNJSPuhU1at3c9WN3w41EVDtBLUcpU06h6VryqWACiraMJDQcLyUIR_kTwToxWYztsJCm5J5Bmf_UwW6ye0HaP58vx pi1E-OYuhpHnKqsBVeJCF/s1600/h182A.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDQB8RVENVqjZP41IidXtHABZC6CvikSNSTWk9wu1aKlkr2qFlI8Hiw7xW05G4fhFb1FKmdZ0IvJVrzmgaVu-xT7b8NBFNHXQAbjTg66GPgPvYl6yraTi4V5TMivcnvhlmmeHa-1H9_rSo/s1600/h182B.jpg



Talk about pre-empted from view by five Swastikas. One might try to say, well, maybe it hasn't got teeth -- but yes, it probably is what is being used as seen again here under the exact theme of human-to-glyph interface. It's potent enough to be described as the pinnacle of grapheme documentation (https://bharatkalyan97.blogspot.com/2024/02/six-inscriptions-of-indus-script.html?view=flipcard) M-488:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIB7m1H3FCeSWwq78qEPGDQ58jQYIVfJm4IF1q8gcuON4pLwSjte3Z73W5qc-Q0hAphEDWgCxtALejHbiQQ49HjjpLzJ3UXQ2c1B3rURzLY0zu6wVeRkqTPwhnk_NW7TePn4dZI0FbW_gmoQwoagCH_Fq4u_Z_MVt dxlCyzo8gNjUAFdwoGypyZ9x8v-AX/s1280/Slide8.JPG




There is a march towards a Unicorn, but then that would mean there are human-sized glyphs, Comb, Scorpion, Z, and a few other things. A Swastika in a box has taken the place of where a Rhinoceros probably was. There are additional human characters and both kinds of Trees.

This however is not exactly a "character" and does not ruminate all across the texts:



Another anthropomorphic Indus sign is COMB BELTED MAN (XII 15), also known as KP22 and W20. This rare sign occurs four times, always at Mohenjo daro. In each case, the feet of the anthropomorph are shown, a feature rarely seen in other signs. The “comb” element in this case protrudes from the waist of the “man,” with the prongs descending. In one instance, there are two “teeth” on either side of the body (M-831). In the others, there are three “teeth” on each side. This minor difference may not be significant.


Here is the primary association.

Elephant M-1162:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRqmc19CFkO8nCrPFkXCmmTXmfqitRjz7xhoEOH-EkIkjOwUlA4yC8WvdCoNa-wRpkbEHL6KrBBbENEZieapZCulrcPrZlieU19glaXwKXRgKi5BWj1KjEmr6WJN2wMniv-pwf0mCPWp6f/s1600/M1162.jpg



Unicorn M-831:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU13JYcNWYFAY23koaWKgyBhp0JuFe-wiaTSczvWLk1mXuqO_SSeR2z_-q_A82aFFZq0qS-u6QX9BAQNj7xKL1YvMcn1GZggYXvW5_CytG-lQPfwUN4Yhvvh4uZTdWBxlzNOjp5E9pAdE-/s320/M831.jpg



M-142:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFx0ZnpAznpv8aKslI1zwOPi2SEOz3NxKVi9clyiC78M5UnEDp4QVWKsXyUJAVwpHZZO41RNfdaefR2yH0TnYPesvRkr-L_FmQQF3jSyK5jCysZroPZ9MTnNdYkNzOS5PggkDGvu3UtKQr/s200/M142.jpg



In other words, it appears to be an "Elephant family" subject, which is passed on to the wider script and the Unicorn. Moreover, the Comb by itself follows a ruleset about Two and pairing that also determines a huge portion of the corpus.


Finally though I believe its destiny penetrates another layer of script.

Asterisk wearing Comb:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdikdCL8YzWTdbJhB73o7Z5BNVVH5ZNm1JEQOgzKd9DXedCimfH9Skka0lTOlhlrDw9QKfQkfQWquWN3WSe9sUrqeXCNj8 IO4oKC0GWD-O2GsmiUJVeflZ3geo0sAWsPjmSjA9S9w1FKf4lJkYyEg56cvS_Cl80l0roLog9TrMKhwcwEuXBYiWURJqUzwP/s1280/Slide1.JPG



It's a weird shape, thought to be X on a Fat Post or vertical Rectangle.

There are a few approaches on such a six-rayed figure, including as the glyph of Compound Bearer.

This does, of course, to the human form, resemble a six-headed Hydra.

It may be that the Winged Man fuses into the Asterisk.

Those texts begin with the same four-character prefix. The shorter one has attached a common trigram. This progression of texts replicates what I just suggested based from geometrical observances such as M-79:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn58XhmNh513uhcp9oDpstLcHJzq4O1Sr1S0E-kLbXaUY8hS1KplHFVJ4ItsWOHzZNmi1eniUYpLNNZsieeN884hOyGR0AGoG9uaIZroSmnj8GXjyMo341jpX8V8ekDyXUY-prBexBU1E/s320/InscriptM79.jpg




I like the name, but, I find it next to impossible those are wings, I think their head may simply have turned into a "W". The humanoid head can become a "U-shaped" symbol, or a Triangle, in a way that is unclear whether it is changes to a person, or different people. But if we are under the proposition that the system is trying to teach a Sanskrit knowledge base to "you", then, several messages are probably individual or personal. Even if sealings tagged goods, the actual seals were quite possibly amuletic in nature, and some of the texts are as likely to be akin to Vedic prayers for protection as anything else.


If you think the best way to figure it out is by straight data analysis of the quantity of texts, then the dominant tetragram and "Comb-belted Asterisk" will subsume almost the entire volume of material.

By thinking the appearance has something to do with it, by emphasizing geometry, I get the same thing that the algorithm does.

There is more about how Person with U launches it. That will take a separate post, and then we will work on dossiers of those people who are visual characters in narrative scenes.

[shaberon]

We posted on people with a few different items, but U is one that is too big on its own, to fit.

I am looking at this as a descending priority stack.

Person with U on the Endless Knot Tablet has something almost unique. A similar design like half of it, is seen, and appears to be encoded as a shield shape. The full Knot is not copied and used in seals; possibly on pottery. In terms of the script, it seems to be equated with Swastika. The connection between the two may become apparent, if we look at the Swastika geometrically as the negative space between Crosses:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIHFSJ-N_17rC0LePod1EzuhQ4co7RZ0xmpG-VTbu-p1urRJZpR9EUE9OIBbJHQyLoG5pQaWfN1ijUoh36H65R49Cu9K85tzgbpDwbwx3Udwii8wyyAXNDoiflHlZlRQ0YDSlJaHtAbXfo DzuRc1WWx5e56ASjz70HYle5nrMjzbVLZR-8Cs--OfiZ/s1280/Slide5.JPG



Such things are also accomplices of Rotating Tau:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzugXhROS_o5r1tsTqF79Fdp-0HOAbvnFfoUsj_5sKx4eFEYU4ynMB25ru_SLOFVzj8-tXHFgreblfNn9DYxXVqTPnsPeLswyjQNp6ALd_azOOn2P1JyzO8dCG79jkE_m7BAs7VwcUopFhE-dU-AN-PZo5MTJ4xmBoXW2j1tNnUvDGIAJ2zp-mAsqT/s16000/Slide10.JPG


And, while we are there, Nausharo has the same kind of circular pattern we have seen elsewhere:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOQByXPf_LyZKMmL3MR2CVaAgnG9bzutk1GnUjufXpQ83u9RDQYS9vEdMRDHrpNr4D4HZjauK44RC8WWHHWDl4Pc_XgdGt 30KjaCsGFSRIriRNAPxANAuJE7MxhmCaU-Y99MCJkqPQ-Ir9fJ5W-ZrSptG3SYzX9DCUbKdd3FVVDwk1Ipewu-73fd4z/s1280/Slide13.JPG



Here, at Sibri, we find the pattern has changed, and Person with Quote has something not found elsewhere, Lozenge on Post:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutwpuOX8p4TDOI2UpCrunOOYdxlIxAZBcTQHKZl-RMgChpfl43jB3aX6mXpaCb2tRBNxgIeXaknq0eU1gPFAN2NGFwEvWPwF0PI7Mu8-f23PEkw8XUPindyzTVIcjLa4hlHokI_90mtLW-LVTMeqUlLxYLqgajkgYLP4fFQswjR9XTf_hIJYKZB1V/s1280/Slide41.JPG



So, there are tablets with one up to five Swastikas, which are perhaps summarized by the Endless Knot of Person with U. Although these look the same, part of the schtick to the script may be that "identical look" is not "identity". The identities -- or strong parallels -- seem to be placed on double-faced items, or, perhaps, by interchangeable glyphs.

This U frequently has the purpose of a numerical indicator by Posts. The "U-shaped" symbol uses Quotes. The "numerals" also act independently. In the previous post, if a Person can have an Enclosure along with U, we might say Empty Enclosure is the story of the Copper Tablets. They don't use punctuation, and they lack parts of the script. I don't quite take them as the final word. They do however seem to be a main part of the beginning. It doesn't have U. So they are very selective, and are probably an exposition of Archer Deity.


We found some human-sized glyphs, and some issues about whether pictures are script. The series of things that use more imagery don't have much text.


Arguably, the plot on those tablets washes over into another kind of instructive or authoritative media.


Ivory Rods also have U IIII -- Person between Posts, similar to the Endless Knot text.


Text no. 12 (M-2104) closely resembles the text on
the obverse of the moulded tablets M-478, M-480 and
M-1425...

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggKOs63u6xImKl4BUbcWJRpmAkVxr5mre0GwGxL1EOlGKH7CeP0dj3l0RiTN_QeRz-9ZVJRjyCSV7K_MdAS4faf7mFxG-QVPbe1R-HBTeRspg3z_c6oA4ZeN2nxZ-lsaFu-GjbceRty5km/s1600/iv32.JPG



These are made of ivory, and, they use Comb in a more highlighted way that Copper Tablets.

Traced through seals and tablets, there is a motion of the Comb pertaining to U IIII and U III:


In these tablet parallels we observe the variation between the
presence and absence of the comb-like sign no. 107 at the end. This sign no. 107 uniquely ends the text no.
7 (M-2109 and M-2111), while without this sign no. 107 the remaining part of the text no. 7 occurs on several
incised tablets from Harappa: H-938, H-939, H-1284 and H-2145 have VIIII on the reverse.

...in the tablets H-940, H-2147 and H-2148 the
reverse has the sign no. 41 (‘a [kneeling] man holding a pot’)...

Excepting this initial [Fish] sign, the remaining part of the text no. 5 has an exact counterpart in the moulded
tablet H-1151 from Harappa, the reverse side of which depicts a sacred tree, as well as in the moulded tablet
H-875, which on its other side parallels the final four signs of the rod text no. 1. Without the final comblike sign no. 107, the
text of these two moulded tablets occurs on many incised tablets, the reverse sides of
which have VIII (e.g. H-326, H-924 and H-925).



That is to say, the Ivory Rods are strongly inter-connected with tablets using visual imagery, in more ways than just this.

Comb and U obviously really do condition all of the syntax going forward, although the reason for doing so, can only be described as those scenes already posted.

These rods are cylinders which means glyphs like Comb get a wavy, feathery look, and so numbers look like rain, and this effect is imitated on some of the flat articles.

It will take a large post or even multiple posts to reverse-engineer that collection. The report is very interesting, but, it's also really difficult, because it is all verbal descriptions of statistical common ground. And again, these probably don't give the ultimate statement of the ethos, but they do convey the bulk activity of something that is like a form of grammar. What this means is that directionality -- such as palindromes -- is irrelevant to the meaning, but the order of the sequence is. Such as when we see three kinds of Fish adjusted by Two, it's not a mere addition like "Cod Two Bass Halibut". The ideas are probably not minor logograms, and the "addition" is more like a reference to a sub-genre of literature.


So when wee see the Ivory Rods share text with Person holding U from the visual tablets, this must be a very basic and fundamental meaning that underlies all of the work.


There is also such a thing as U IIII text not involved with art.


H-951:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUcVRgXHTk6P8RarvTV0RidFEyiOOHvvsPWEn1G45wJBOHzWkEC8SkQ888yu7aHsPw0e9lAT0ALSW8zA-7fPqq_aB1OB8M4EFdnY_YpZCfM6dvPfSbOClQxDQGqfG6h5oLZ7RyDB5tJnB1/s200/H951AB.jpg


H-912 specifically adjoins "Fish" to it.

H-910 and H-928 have it complementing two intermediate texts.

H-892:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKjvAohjhE6Q3loHENb6Sv1rASrSdPy3xuWklMGTDfywOZcA4kldKWctujY1BwoiVwD3zThq8gUJWlExa83ZoPqORHjVfn-i_lNTMoRipy74CKpf3PBTTgWCNURcZNBTekDCK1jFY9wHCX/s1600/H892AB.jpg



H-952:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8OavtXTHJfDbQuYeYxaQUjsSXwdl_oD5VdvtO2hOXIEkZsBGZ9nTI0hkRSEJ4627zZGnHD0JBnZehsWao4J6P5x2kJ15j eeoLsb1h_qQZV2JzWVDyRAupkz2iLvg4VJ7W8g-ThTSTUAY/s200/H952AB.jpg



Numeric indicators with U are something like chapters or categories. I don't think it's accounting or prices or quantities of things.



People hold or use various glyphs, but not with any fluidity of motion or graphical interface as compared to U. In turn, the U is also retained in such a way with the plain stick figure.

Here this is clearly script without any kneeling on Unicorn M-67:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjlQ0sRc_9UkopQABx4Ff9KuLMhyphenhyphen_gQ2Q0SjP0HkEkinktDTbDBiym563CO5IU22a8bFCn7Bb4cciHO7YdCi RwcCYCgRH_J_bgWGoWlUheFlFwwdo6Zjf9Z1-FZyq6vPPN3PFxNfnC7_zx/s1600/M67.jpg


L-26:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQWvLLCq7ZmawvL1hgh7HBJmcfObjhR8gojTucwRlzBfVCGg6PLAPe5UtIta5QdSVR49i0ahSr84OK8z0j3I3sF5mKsXbl Januz4Qi6FfirGdjt1_eAsWDPNS9qQtrDEdwYyZjE-axK4k/s1600/L26b.jpg




The sequence [CUP / MAN HOLDING CUP] in the broken seal inscription 1165 [CUP / MAN HOLDING CUP / BI-QUOTES // BELTED FISH /...] is paralleled by the sequence [TWO POSTS / MAN HOLDING CUP] on the reverse of tablet H-247.

H-771B right to left FOUR POSTS / CUP


In other words, if you want to say plain Person with U, that has at least some instances where we would say yes, obviously that is part of the script. Here it goes to Nausharo:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwjk_KhLeQvHnMtMfuF_T8wrjcBPbacYaHSmgFBiuGAB-6DGzzTuEVuDHgUzg6mMwp2KekYcEQHfLm-9_tXm7BWs1EXsph6MoSHhRgHCN-H3EGhgZ0EtDUVUAyO3fH2_-SRdd4VsT2pZE-FZ-iWMDq41qXKq8rkRSzuCl-7A8rFucvJ2LH6jutdR5O/s1280/Slide28.JPG




So far, at least, there is not any kneeling figure used in such a way. Perhaps when converted to script, he stands.

As for what are they using, there are a few cases of a rare kind of example, Triple U.

H-764:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjxWo0Zmd3QTLGLWgGJs8Vk1-ZMPtaWtVf8FEBSic6djLAKbHjBFS5YsljvocUZVt37-oZZfAOXBM1210O4efIBWqjiIBNUAgMtf-FkqGXnHzRxj59rvj1ItI89-T-CVjOHfeH_v1nKXfw/s1600/H764AB.jpg


M-495

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-CnOgIkcmOTb2h8tnHH9m08tewyEOf1amo7UUDtwd-tcHel-vPlAivCDFfcemWuc0AEoAVMnwbN1O7HmU1Gs56C-D16RbdaMbZYZ7xe12PZVIfPsbwunAwTZtMO_HjuU_Ucqcjnz8Nq8Z/s1600/M495A.jpg




Occasionally, a sign is tripled, as on two tablets from Mohenjo daro and two from Harappa, each bearing TRIPLE CUPS (M-494, M-495, H-764, H-765; also in graffiti on Rhd-53-56).


That says it is a Rehman Dheri = Kot Diji = Kunal symbol.

The following has a "compressed" concordance because the prism has five sides, with one whole line being U U U Branch.

Text 2847 m495; 1623 m494:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_D-Y-amJFcaiadE3AXNyCWRdxgoKx6ZZhrhnL-U4_jlUAcfsxGlOpw_s1c69owz0PhyYBsnuLMxucTe314F2qhB-tH4Bv_W1ltMhK_ctJR-TcmvLUHub9D7H1raEcHbRy_nbn4tUFQd4/s1600/is74.jpg



as reduced from:



([side A] CIRCLED FORK / CRAB / HAIRY HUNCHBACK // POT / BEARER /// 3 CUPS / TRI-FORK /// [side B] POTTED ONE / DOUBLE CEES / CUP / CARTWHEEL / 2 POSTS / PRICKLY CORN HOLDER / DOUBLE CEES / RAKE / WINGED MAN // POT /// [sides G-B] SNOWFLAKE / ANKH / POTTED ONE // BEARER WITH SHOULDER YOKE /// BIRD BETWEEN PARENS / OVERLAPPING CIRCLES / 2 POSTS (with 24 signs covering three sides of a prism-shaped tablet, this inscription – or these inscriptions – form the longest Indus “text”)


That is no longer true, although it temporarily was.

Also missed by formatting is the singleton Snowflake X:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS6y7zpP_d7GBSYutHlYlzxN3o06cOL_B937Cn50kAaCZStmTyUapxOUFrY320Vlc1i5AEF37QqOBZ43chfR4BbR2U30Vp J4NV3tQ-7zXAMrnPWQEcHbyIUu_OBAzhg6H3xpinh_HuarTV/s1600/M495G+%25282%2529.jpg



Last line of M-495:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_asneVlu40DLyH-JIEv3eobIeN0EEGgG9uej3BAkjr3e0SU5udPQ7EuG8DVEMDx8hiCytdLPcyk4hN9XiQ8Z1NpgZGgs8CTTjmrgSuFPTZQ2dpIHEK6 C2JSIQwL4Dx5l2cm7_GGV5bCE/s1600/2847+m495B.jpg







From its low-order beginning, U -- Bow is a basic pair with Elephant:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglZzsEoi3O9u1Yb5dZb9cmBmVBToxV86uxJj34q_4Or0XU3U7jj8TRvldc40fTtJE23xFwOcZB9DaYGyvCXs8m7fag6cXz A-y3K8JRyBhLD2TSU-pen5CYWR4HofFwd1qciZiGGmEfqxc/


which he quotes later on in a longer text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlFgCrmA5eN_0zG33o7NkoVo5XPTbo7xS7I59xmTfuUvhqWyIX-loj-JRaCGHWzwQxfPLK5teD_5o_go28QY3bmQR2eh67C9B9rb0XeGBbBu5fAmSVNGDhmJ_OCl4xJYClAaBDewsKBGU/w156-h32/image.png


That is how the script mostly seems to work, by pairs and n-grams, rather than as a sequence of individual, independent units. Everything seems conditional.

We just found Bow as something rather primeval and nearly omnipotent. Like Comb, it is heavily characterized by Elephant.


In its other basic pairings, this Elephant is quoted by a Unicorn. There is a U -- Person with Bow, and U -- Fish without any imagery, and also a U Fish tablet with dotted circles on the reverse. Otherwise it has over a hundred pairings with numeric indicators.

We just saw the Person with Bow accompanied by three kinds of Fish. So, I don't think the basic pairings are disconnected.


Now, let's compare and contrast the Wise Elephant with the statistical method. What he just said is perhaps more important than this whole chart, but he is not on it.

From what we have already posted, we can see through this, and exceed it.

This is a list of the most common pairs, as found at least ten times.

The first one is part of the statistically-dominant trigram.

You soon get to two Checkerboards we have already discussed.

Then you have Mallet and Branch, which we are aware modifies the behavior of the "numeric" Branch.

Then there is part of the dominant tetragram. A few spots later, the red "F" marks "False", because it is not an independent pair, because it goes in that tetragram. On the next line, Trapezoid and Seven is an important part of the Copper Tablets and Ivory Rods. Further along, Person with Post is "False" because that is a trigram with the first pair that is really a doubling. Then there are numeric texts equal to Five -- Bull and Three -- Tiger, and then you get the sense Three Mountains is a behind-the-scenes worker four times:


https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig29_HTML.png?as=webp



The chart as a whole over-grabs numerical indicators and parts that are just pieces. It is unable to tell us anything about pairs that may only be published a few times, but are more important.

The real way to learn it is similar to this, but concerns pairs that are more important because they have to do with the variety and format of the script.

From statistics, I tend to think there is a "public" script that could essentially be read by the "illiterate", or foreigners, or in a sprachbund, based on the ability to recognize ten or twenty symbols, and a more intricate version with many kinds of modifiers I don't think anyone could learn without some lessons.

I am going to put that off for a while, because the statistics are semi-inflexible, depending on what is counted as a glyph or a variant, and resources used for the input. We'll create that focus on humans and animals that may simply help show us what they say. In the long run, the forum is a more powerful format than anything else, because we can live-update it with anything valid, and it will be there at the touch of a button. Published articles and static web pages aren't going to do this, while we can boil them all in a cauldron.

[shaberon]

The reason for this post is spontaneous from studying what is available on this topic.


It's from something I had originally held to the side as a "walking pipal leaf", and there was a huge digression due to similarities in Dilmun. And I'm just going to cut that off, and say, well, we can be pretty certain that Dilmun changes a few things in their own way. For purposes of this thread, I'm not going to step-by-step refute all the proposals that have previously come forward. I'm going to reverse that and start from alternative findings.

This is because the figure in question affects the Ivory Rods. These do use punctuation on "U-shaped" symbol, and, the symbol is common in the rest of the rods. Although it is typically a terminal glyph, on the rods, it is always followed by Comb.

There are not many "people" scripted into the rods.

Person with Flattened Crab and two Checkerboards is involved with the "punctuation". This crab is quite possibly the "result" of the Copper Tablets.


These are the other humanoids:


Caged Mallet -- Compound Bearer -- Comb

U IIII -- Person between Posts -- Bearer



and finally there is a "walking pipal leaf" attached to a common trigram.

Coming round again:


A -- India -- Compound Bearer


seems to be a repetition, and the last of twenty-four rods to involve a humanoid glyph.


I called it a "leaf" because a lot of times, it looks like there is no head. Different styles of "handwriting" make it unclear what it may be supposed to look like. And then in this collection, we find it as a variable prefixed to a common trigram:



...text no. 14 (M-2097) has numerous exact counterparts among the incised tablets of Harappa (e.g. H-311 to H-318), the
reverse sides of these tablets having the signs VII, VIII or VIIII...


True enough. The presence of this among the rods simply alerts us to a wider correspondence. This is what we do not know is spoken elsewhere:



Text no. 13 [M-2098] is identical to no. 14, except that it is preceded by the sign no. 9, which often
begins sign sequences, but otherwise never this particular one.


The concordance shows around thirty copies of this trigram, which for some reason is not found in the statistics. And it is otherwise connected to nothing.

It may be backed by a variable U-class, but is not otherwise written.


It's like the rod of authority by a ticket taker. Something was very heavily mass produced. Probably multiple somethings, because the same basic unit has three levels or designations, each of which could be a bundle of literature.



It turns out that the "pipal" glyph ("9") has been described as "hunched person with a bow slung on their back". We can't be sure it's a bow, but, the person always has some kind of distortion resembling something being carried that way.

Next, it turns out the figure does have a low-level visual origin, in the "human-sized glyph" class -- which makes it akin to, in fact, it is the character beside Person wearing Comb on the tablet resembling a Unicorn Parade.

Many times, figures are ambiguously male or female. I have the impression that it means the story given by a man or woman, can be repeated by a man or woman. There are probably some texts that are fixed one way or the other, and others where it doesn't matter.

This glyph origin is "ambiguous", but, I take it to be the Bird-face Goddess of the visual tablets.

It is believed to be derived from Ivory Plaque M-1653:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6LBZzYKKTt9qThhbg_9RQjqRC8heAvtHCsoEo2_ccYxgVy1noTM6WI3KCAYEMZVGgBOtOxy9fJl8Tcsob_yKmkDH5uJqs RhtE9_BcH24JllPvlSh77Ph5nvNnq0cno4PsQhuz9MqbN1Bt/s1600/iv18.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGnBKQXHd5-vM_-Vq87Gxry5Rohnf7P-Wa1kj3433gcc63Sm7E33GxJwufL2oGZ-sNwpwt6Xhhy71zixqMN6YZizUQA1elELRwHYMEPH06ybkaQkAoxTzUlE_76UooIT4-yzyF5dRu8x91/s1600/iv19.jpg




So, it has been accepted as "sign 9" (Parpola concordance), it's no longer a picture of a person, it's that glyph. The Mahadevan concordance posted represents the fact that the piece is broken in such a way that there probably was a second glyph.


The accompanying glyph has been called "Bow with handle" or even a "Boat". I don't know what it "is". But it as if it belongs to that person. And, as we start going along, this is entirely correct. That plays out in the script in a way that does not amount to exclusive ownership, but *does* amount to a strong personal association.


The ambiguity of the script is exactly the way it is written in Dolls (https://www.skyscrapercity.com/threads/pakistan-historical-archaeological-sites.1092135/page-36). These are Mehrgarh women of ca. 3,000:

https://www.crystalinks.com/indusart.jpg



These are Nausharo men ca. 2,700:

https://rolfgross.dreamhosters.com/India-GE/NausharoMaleFig2700.jpg




That is why we would suggest the Bird-face Goddess of IVC tablets is in something like a "leading role" intended to be followed by others. She's not really a "heroine" in the sense of a super power to do something you can't do. It may be a Soma rite or something magical, but you can do it.


Additionally, her concordance is among the best and strongest, if not the most robust of all.

Her library is at least ninety-one texts, with a remarkable degree of pattern development, and a low amount of copying or repetition. They range up to some of the longest lines in the script.

If we look at animals, a few of them might make it into the 20s. Most glyphs that seem important in the process of n-gram building have a developmental course of maybe a dozenish texts. And most glyphs that are of a high frequency are numerical or very redundant. Most humanoid glyphs occupy a smaller and less-discrete concordance. So this Bird-face Goddess glyph is very high quality with respect to the total corpus.

So far, we have found three things that are "on" an Elephant as if riding it:


Bird-face Goddess, Person wearing Comb, Tiger Chimera





This really is a big personal library with hardly any repetition, and multiple examples from low to intermediate complexity. It doesn't do everything. But it does a few things powerfully. Primarily this is by using "Bow with handle", whatever that is, we aren't sure. And we should recall what one of this character's main attributes is:


Zero.


As much as "Animal Contest" may be a regular feature in all iconographies, this one reverses it, with Empty Niche, in Samyoga H-180.


This is a very important tablet, with some ambiguity. Due to wear, it has been suggested at the top, she has braids. The lower figure is obviously not the braided yogini. It is an "Uttanapada" form, which I am guessing causes confusion, since the intimacy is with a Frog, which has the illusion of being two creatures, Scorpion-or-Gharial, depending on whether it is going up or down. The Gharial has a sexual meaning going inwards with its snout, whereas the other has the meaning of birth. Therefor, my sense is that it is showing two things at once, via the same text.

It seems possible that glyphs do the same thing (inversion), that what happens is there is the flipping of a four-pronged "thing", which makes it have a quadruped shape as if on four feet, and then this is further modified until you have a glyph of a complete animal.

The blog used "Bed" for what I think is a Quadruped Rudiment:


Our next sign is FAT TABLE (or SQUARE AY WITH DOUBLE LEGS), enumerated VI11. It is much like the previous sign except that the second horizontal joins the tops of the two outer verticals. It only appears elsewhere as KP295, not in Wells’ or Fairservis’ lists. In my database, it appears only on one tablet from Harappa, although it is on both sides (H-180 A and B). Whether it is truly an independent sign or a variant of the BED is difficult to determine from this single appearance.


It may be an inverted four-pronged thing. If one was to think about vertical mirroring, it would be here. Flipping and Zero.

So it's the same text on both sides, and it is a Branch and "Mallet" statement:

https://www.suppressedhistories.net/Gallery/indus/gharial_birther.jpg



There is not a suggestion these people are glyphs.

It seems to me the inverted figure has "bulbous" hair and yoga arms.

This is using the Rhinoceros connector to stick in its own something.

Person holding Lozenge 30 uses Rhinoceros-horn-on-a-stick to connect to Three Circles. But that is all this Person does, is these two copies of Unicorns. This seems minor, but I think the point is that it requires half of the Copper Tablets to transmute a Rhinoceros into glyphs and enable that "connector". Therefor, this is a sidebar to Bird-face Goddess; that would be typically Indian, not to directly teach something, but presume you to get it from somewhere else. These messages are probably full of send-and-return like that; probably has a lot to do with how "connectors" work.



The dualities of that tablet are about to magnify themselves.


Her most prominent representation occurs in several copies. It took me a while to understand this. What it means is that she is the front face of copies that have two different reverses, but, the reverses really connect together into one scene. As separate halves, they feature three different characters and some animals.

This is visually the same as the idea that the Copper Tablets feature "two parallels and synthesis".

Five tablets all from around the same find have the same face, Contest Heroine. Three of them have the same reverse, a Buffalo combat with spectator. Two of them, recorded as 1973 and 1974, instead have Man-in-tree in such a way that he is keyed to visually attach to the Buffalo scene. H-181 is effectively a third of them:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXgkMHx-2UGMOkbZfLHhSZZ3PvHMy1z9d2ZJpKVjaUTwyzd08Q1nhVGe6JaxzHfr3VEaDjI_IBq5uFS365h8qmKr5eYdUoL4eGZu_AegJdaY VbeuD3wvQricnWT8hL0nfXzm199b0-W1NYxjK9OeAe_8SRFyAURZ9kwEPXoOjUmPpNJMVxZDomJN9Wm-Aw/s1280/Slide2.JPG





https://www.harappa.com/sites/default/files/styles/gallery_wide_slide/public/slides/80_3.jpg




Perhaps the two Tigers are like palindromes and other types of cleverly and metaphorically related statements. The same Contest has two kinds of reverse, but they are connected.

It seems to be the semantic equivalent of a drill, which was a well-known and heavily-used technology.


Her most heavily-used icon has to do with one glyph and one animal:


https://www.harappa.com/sites/default/files/slides/indus-tablet.jpg



Is this meant to be graphically parallel to Unicorn Contest, or Men with Trees, I am not sure. I tend to think it is inspired by, and a change to, Luristani Master of Snakes. And, she goes directly to the field signs of the seals.

M-308:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizLpotvLzWpJ62Ur5c2T9c6PsIu0YXAHE05tiLdzVOiTqGZr-qw_86-iOolf7wuCNY5vivZ27eCKcbfEjJMzavig6nUOXfSBCs2U4jMAjpNNGcoyH7ZkQ2AcD2BqtsX6YTnWdp1-zLKOw/s1600/InscriptM308Gil.jpg

https://www.harappa.com/sites/default/files/66855_10152359762674846_874743379_n.jpg



M-306:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggz_qXiNjT33gqy8LXWVyJSHaTlU6nQELaM9Y6L9a8Jk6xUW6rx0QC32Wg1pEbUcaCqrji4fJoj9OqirL4rfZ2goLLy6t3 Aw9pIMIfd3ue9DLP6KSHU9GRJo9VR_R2akG-bb9ukK9Npsc/s200/M306.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQmfhexSTuOTiJz1uK2aw3VXsrYRw5g7dqQujiJP5F_McV0gyAEaeVUddAYHbNGM4sUsIdz5YZg8C5HwWIO_r282KjhJSU j5xShuJ6RFcOCAERP1XWGe7dhKZedP5xjnGwKZ_iY0fkg4Y/s200/M306Gil.jpg


https://www.suppressedhistories.net/Gallery/indus/tigersrampant.jpg



https://www.suppressedhistories.net/Gallery/indus/wmnwtigers.jpg



We see a glyph considered Inverted Person-on-base.

She has a Tiger Chimera on an unfortunately broken text, but, it may be this Person on Base has a Round head and Skirt in B-17:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj07dX9iNeJbNF6MUcFATHBWwx93muPOWwgF9N2M_KO4EIbgahbwp3w6aBq9gY8jE-XCAdV18lI7mSLNaUO4Mg0OcFrlvaambSk337XQCKqj4YgQ8OivuS0pnwORZASvuVF5GlAPRg37-k/s1600/B17.jpg



The original is fairly high quality believed to have come from a jeweler's house. Banawali primarily has a series of low-order seals, and this is still only a trigram.


She does not really have much further development in narrative scenes. And can be somewhat ambiguous. This is recent and relatively basic, but seems to lack braids in the Ganweriwala Tablet:

https://blogger.googleusercontent.com/img/a/AVvXsEgiNIem5x4RFROlVcMkItjIncL0egA2xPQNdF8ZvlTc1BmVYS7R_bLlzrOrmInkQeuHnTYD4-rEXiuNMLS9RQ6tYUnBXR8a2vdV4uh0taj7laDmH6luiU5h06-NVFcyGQFFi8zkbpYks4mRt5gwPM1B-E4CzLU9l2H0rZj8xfoU3MCr8dWnx2PEFIftUg=s320




The remaining possibility is she does something in costume.

The main distinction is that there is another class of yogini with very long hair. I don't know if individuals are ever meant, but, they seem to be classes, Without that being present, then, a short-haired yogini may still be this same character in various guises. It is possible she puts on a headdress. And this is found in what seems to me like mock combat in She-Devil (https://www.suppressedhistories.net/Gallery/indus/tigers.html) of Mohenjo daro:

https://www.suppressedhistories.net/Gallery/indus/danceswtiger.jpg


She has horns, hooves, and a tail, as well as a "Bull's" ears. The Tiger has "Feathered Horns".




There are not many "human" seals at Dholavira. And again it is very unusual:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ9jCJYUgmvRgRzxyC6pfDXCOE5o_SoX6aBKsyT6O_ssYC0SlPIjuT0k8FK2OpOTmIxYY_gGFAE1dAFye3F329xMCEeWXQ rZkVst_rkMJYadlA3jEOk3cVJM2kxwaiZEDyWMKUjO3htdrG/s1600/ScreenShot525.jpg


Yes, she is holding two children or people. On that side, like holding tigers, it is with the ringlets or bulb hair.

She "fights" someone else:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYeHkZKHGws_QKyn7nyEPukdv4I6U7J5uHHx2QSiFyr8Kk9DHxZGETt5JHCrKQ0Lvm9saiw1CCxAKzK-RTCIZWplK4kyBhqwbS7hVN6fjnZn6XO9BYa8VLhgPzDXVcPd0Tzgiduf5tmXsB/s1600/ScreenShot526.jpg



That is supposed to be a male figure on the right, and, this is between Gharials, the one on the right probably descending, so they alternate.

I'm not convinced that is combative.

This looks more like reversed horn play from "Girl in the Air". It's not a human fighting stance. It would be about useless except for the horns.

By her form, the first is the tiger-holding goddess, and the second is the tiger-fighting goddess. These could just be the same. There is possibly something slung on her back.

None of it is realistic; it is rather the finding of horns on beings that do not normally have them which is curious.



This is the main character I want to dwell on which is why posting it first. It has been obscured by ignorance and false leads. It has not been evaluated as its own entity. And, as it turns out, this is among the -- if not is the -- largest concordances of any humanoids.

I'm going to post that separately and leave this for any more image-based material.


This group includes the previously-missing M-307:

https://www.harappa.com/sites/default/files/styles/galleryformatter_slide/public/10551011_10152605222259846_1651703211165055797_n.jpg?itok=z5DHAH5d



The British Museum has no thumbnails on hundreds of items, so this easily stands out which I thought was someone's hands over their head in a prayer gesture. But it is like "handwriting". That is the head.

So it's the same character. They don't like hotlinking their images, but this is how they describe the unusual person (https://www.britishmuseum.org/collection/object/W_2013-6001-3524):


Bronze figurine, standing female on peg (broken); nude, very long legs, very small head, large feet, large hands on chest and stomach.


She's 81 mm tall. This means she is effectively standing on a nail with a broken point. At that size, it literally could be, a nail. One might tend to guess it's probably not, maybe it was intended for bore holes in pre-determined terracotta objects, maybe it worked similar to game pieces also believed to have been found, i. e., it moved.

The only way it could have stood is if it opened back like an "I" shape with a base.

[shaberon]

Right now this will be rather dry.


Over time I plan on figuring out problematic cases of missing examples, which can basically be uploaded and then just used the way blogs have mostly done. This post will probably be over-textual and under-imaged, a blueprint to be updated at some point.


Update 9/2025: The true plain text concordance is posted here (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1682921&viewfull=1#post1682921). Using this table were were able to immediately establish that this is also Triple Gharial Goddess. The world doesn't know this. I read the report, it talks about something else. The rest of this post was made from available seal images.





I was intrigued that what I saw as a repeated human character is very directly transcribed into glyph form, and, all the attention on this glyph has been to its "variants", that is to say, loose penmanship that makes the head or pipal shape look larger or smaller. The reason for the shape is the arms akimbo of the basic or passive design. It is possible she puts on horns and hallucinates or otherwise triumphs over some kind of mental or cosmic power. She, as a human-sized glyph, follows a Unicorn. Nothing realistic has been done by her. Seems the very opposite.


Not only is that a bit remarkable, but, like a novel, she hogs a tranche of the entire thing. Because this has been overlooked, I'm willing to highlight it and put some time into it.


What I'm going to do is start with a "description" of her library. I am going to use IM77 numbers, for no other reason than it is the only thing we can access, and, you're going to want to feed it these numbers, because the click-through feature freezes it up.

The blank descriptions here are filled in at the new link, or, it is all-inclusive.




Bird-face Goddess 17


She is in several basic trigrams. Her fundamental pairings are:


Before "Pinwheel" or after a sort of Fat "H" 186 (as in the trigram Person holding "U" 32, "Mallet", "H") -- this is the triple-barred "H" same as in Contest M-308 just posted above. Person with Bow also has it, but, largely, this is is her domain.


She has another couplet with Fish with Slash, which only re-appears two times in her library (ninety-one texts). This one has an illegible field symbol.


Trigram with Backgammon Board:

https://sindhishaan.com/gallery/images/manuscripts/unicorn_seal2.gif



She is on the "Six Heads" image with unknown (due to breakage) other glyph.

She is on a two-headed Chimera as well (unsure -- "unidentified" animal may be meant).

She has a tolerance for "One", Lozenge, Chevron, and Caged "Mallet", while placing Scorpion with two Grids. That usurps the common Person with One that usually has this pair.




Bird-face Goddess does not have any "U" text.



She has Bird-in-Parentheses on a Mohenjo daro Buffalo text, a Lothal Unicorn impression, and on Unicorn K-4.

She has Caged Fish and "Battery" on an Elephant text.

Bird-face Goddess text from Chimera M-1173:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5JpJM291R9uL-ZOGTraScP8wq91kMFtg8LBAZJ3to0SMVBqYsNOwOLA2UjHAliodPVAjdWjOtxeSUDK_Q64cKwGby_hHjvSGGUE0lGg58upUV5n0v YlzPdd6d3UIJAJiEzaQLcw-jmgY/




That one is damaged; has Unicorn livery, but two horns.


She uses Three Mountains to make the Fat Chevron in Branch-tipped "U" singleton.

You can see Three Mountains "going up" on K-18:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieemmA9cvMRXtDnsyuRNTCprx1gFeElMhcru866V1Nk4aP8hwsSlWTF1mPA_J0QTo5UaoeJeSHobEbLcydV6MBuQFan_xB SQzZjYIQ6Tb8Yv9BL5dw_ibGve1sAP_Zc5aM8pmutr-I1guI/s1600/K18.jpg




That is not the only time this glyph is sloped.



She has the only Rabbit-esque "8" (or "B") with something hanging out of it, as well as "Eyes with lashes".

Singleton of ")" with a "nose" on H-5:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggd5qIuNmuqZIVcaiDfWMlmqQOBEQ-_Rq6QupRcWkl1P8mE3A8k5TA0fcsY-zqD7C3HxpNwKoKEK9S4jnSXvBotmBC-1o8zJtYWHqNvJ2RvAXYDYid1NmCuP5n8XaXRHPTanJ_4y-ejNN3/s1600/H5.jpg



So there is a more realistic glyph of a Crab, and, this is the only one with eight legs. In India, it's not really a coastal creature, because it inhabits rivers. They come out around sunset and are then nocturnal, which is the most direct implication of "night" that I've seen so far.



Triangular Mortar-and-Pestle M-74:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcWoMixhO22ueUX6nbDKhlv_Z9YaqertZMMlaXiOHpgZa-rMD8dq-BjiHzFnRIeRag0LLaDfo01DUCcMZAEDqLYUHH2Ebi1UMjiinuGaydEvsZ5m-WZcXwQEojPRfYPdyXg-mmWe5ZAu0/s200/M74.jpg


She conditions several glyphs that are rare and singletons.




The "subjugation" method used is:


Bird-face Goddess -- Bent Branch -- "Pinch" -- Tiger text (plain script from Lothal)

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0BUrxQxSvcmJEXwa8jYXnaD71Gxro76di4GuIhmhHHLGte-0nLgmAm8SaoFyC1HtRh7iBEw9uLQu-B-pcL6hcLp5AlT9LABdVm71w4EdxVlmFRnOi3un_P5BofBiQ0zetYQXSRvXsVOM/s1600/InscriptL90.jpg



"X" and "Pinch" places her with Tiger M-1165.

https://projectavalon.net/forum4/attachment.php?attachmentid=55862&thumb=1&d=1756607035



In other words, the Pinch is some kind of grammar or punctuation. Not a very large amount of texts use it. There is one speculated as a "Co-ordinating" prefix, with most others considered to "Subjugate" the contents. I don't know if that's correct, but it seems roughly to be the case this is a semantic operation in some way.




She strips down the Tiger glyph twice to four bare prongs 189, which has only two other texts, also with Striped "Mallet".

Tigercorn and "four-pronged thing":

https://www.harappa.com/sites/default/files/1469781_10152064795994846_2048614427_n.jpg






She has two instances of Person wearing "Comb" 38. This Elephantine activity is not employed by, or associated with, anyone else. There are four other texts of it, but, among humanoids, she is the one involved with the activity, state, or idea represented by the wearing of it and growing feet.

M-142:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9cRBh4n5TEkCsP3wnmYmBtj468n3QVFOSWcqFxE_aNNxgKo7lV6nYHBPdA-ojv31xhKZDMdD_Y7A65webUImpS3Yi3jPQew6_bxzTGCQIkVUVAWcklx7WaPCI61Vy4FlpLHYlpz5E5MYK/s320/M142.jpg



With Branch and multiple frills on M-115:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMpb5IUaXih97v13O9IKFEzkvNNLK7ISgJxlzX1IJP8a_lienT33sMb0TjW1pRidNyiY-RMdSqDcVI4kh8sRf5vJaKRoTw0X0LXyQ9BGPKDEXMeQ6HwFVEUFcMe9N-WXfpp0SP-HdzEBA/s200/M115.jpg



Heading the shaded statement:


Bow with handle, Striped Chevron, Striped "seat or hut", Striped Mountain, Three Triangles under "Sky", "Comb"


That's noticeable for the congruence of that many hatched or striped figures. We have started running a postulate Tiger Stripes -- Bangles is the ultimate or high-power ideal of what is happening, particularly because of the Chimerae. It gets bland to speak of bangles as "wealth", well, blah, what if you like the bangles because you believe copper assists friendly electricity. That's what I find intriguing here. We still do this. At least I like them. I have a far higher personal value on semi-precious metals and stones, and the concept, "gem", is hardly to be found in any of these digs.

That one made it to Parpola's second color photograph. It's very well made and near mint condition.

M-1271:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjut8Fw2QFWsUADBSSocRIU6YnzFTFFtYn9vAB7Yhg49lu2KQbq7o8hwNfoqAZN1BG4W_UJuRmA-tCMxaGEOfbgFvWXEFR1rm5aMnURxB0llj9llH0t0VuxhD8vEPqNjVqQzsSrZB_9t9Mr/s200/M1271+%25282%2529.jpg




This has a near-copy in the Large Copper Plates.

It is probably the most charged-up statement about Bangles -- Stripes.

She has "X" under "Sky", twice, and Three Triangles under "Sky", once. The latter has a basal existence with Pinwheel, and here, it is behaving very differently from all its other examples, which are as a leading glyph, or subjugated to "Wheel" with Winged Man. She is the total mistress of this glyph in the mega-stripey statement.

Similarly, "X" under "Sky" may be lightly related to Person holding "Quote", but on a character basis is mostly in the hands of Bird-face Goddess.






Her most effulgent texts land her between two "Wheels", or, before two "Bows with handle" and Spear. This comes in two varieties, with "H" or Square "A" and additional text.

There is also a more basic "Wheel" between two "Twos". That in turn is a stand-alone trigram as well; hers is prefixed by "Five" on C-30:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpGyUFLUwwlkUuNVPXnqPyBSaqr6HLVWgKQ4sxCyBKDXvzQLxiylN5rKEE0eetg28MaXRlugU883TwlY-2JwBPzKMyv5rgFdgWRSMBSxZHRc7Gwm4xnzsjPD2W6Kl8lFoANa8Tx9tRZsc/s1600/C30.jpg




On her behalf are mostly Unicorns, some of whom have no Object. There are a number of Bulls.

She is with one Elephant, one Unicorn with trough, and one Tiger with trough. Those plus the Chimerical ones would be the most "mythic" instances of this glyph. It's definitely the Tiger Chimera and Hydra, and we will have to track down "unidentified".




She has only a single mention of the hoof-like glyph 341, which I thought might be like a Rhinoceros horn falling in a "U" and deforming it. This one is sort of a workhorse, and sometimes visually striking with elongated flairs, as if the "U" were stretching or falling, so it looks like a fireball or comet.

Bird-face Goddess's Branch enumeration is "Five". There is also the text "Five" -- Bird-face Goddess -- "Wheel" -- "Two".

Her Winged Man is usually accompanied by "Three", except in one case where Eight-rayed Lozenge is present. She also uses the pair Lozenge -- "X" under "Sky", from which, it figures the eight-rayed thing is also simply like a Lozenge covering the main middle part of "X".




She is "subjugated" in a few ways; when "Wheel" does it, it is with Enclosed "Quote", Caged "Mallet", and "Twelve".


This would be her incremental advancement from being "subjugated" with Person wearing Comb 38:


Person wearing "Comb", "Comb", Scorpion, "Z", Stacked "Six", two Grids


So that is an alteration to a trigram she already has, the Scorpion with two Grids. She brings in the Scorpion, re-iterates it, and that's all, very tidy. Exactly two known times. The longer statement has Unicorn with trough at Mohenjo daro.


Text 2802:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVox_qkdVltvDePjFaAjb9gEO7GbExF5eXLBlQUEijcwHICXIwMgAqZDzvrYbyCzFsrs8Q_JMqUa9sTJor10D1NxnC58uz TWrbZvCO24A7WGB-_ocRnDx1dyzfcb66NAVxsl0VXrS9Kqg/s200/2802.jpg








The Winged Man texts are far more repetitive, formulaic, and less interesting, but would power a lot of statistics. It is when he is "between" something, such as, e. g., ")" (9), that he is a little more interesting. Bird-face Goddess pairs him with and without ")" together.

C-1:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVdb-zUf8ocl9D1mjo4BWx3_6bDcLeyGKUVEg6SMEAsNy0AX_WRWEM3IoJo_XU-PFbErdNQA-uJOu9MmyEMohIdCtH4yMeV4WpETDNvLx3pFWjMZr8uGoOa-0iyfUcSDsY2WXFm1TyZC0/s320/C1.jpg


https://www.harappa.com/sites/default/files/seal-LI-25.jpg





The use of Conjoined Enclosures is up her alley.

Her Tiger Chimera is a use of it. Elephant does as well. Here, comparatively, we see two more Chimerae using "Wheel and Pinch" grammar. M-300 attaches it to a "Mallet and Branch" statement. The other one is a unique Mohenjo daro Elephant Bull, which uses the same prefix on the most common trigram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjCCC-pl3q8S6dUiU1oFWVgNkdGRtopNVJKHQAbSPSVaGZGy9HfjZeW3zZ1oyDVqs2fPTJZ39fVnMOO95GSC9D1o3TWTpVdfW1oJ8oeoPg 49xdtZp2rks51B7Jzb520OH5L2-nqiqxzGHr9uaaOzAKcaIoOkfMKwLqgBz45nY2PNUHVVLZ9o3uL_5f/s1280/Slide7.JPG



Her Elephant text with Conjoined Enclosures is outside the usual stream at the Guimet:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSz_mVtbBaXN8WbeCm97IS647rtXCu6kHtS-CPEdUZXpYTX2F-Qquo7z36_YvQ4NlPBbLDH66C0GhNnggUE2bbiVd1Vu5r2D9dv1gnmevUm097C6PFMgy3bbY0OEllQI1BgDuH85rUusA/



Fat Chevron text on Elephant M-280:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHObJmrDf92yVNF2ALjlVMZubsxHWDRtf1vABN5OR3Xe5wNQPcquccPsrDnpFQtfhox-0m1gxjKVnCh0n8JC4lX_K-QQe-RP-ZEXdZDLJ2wR_M4vw4iVnlkWT6Ya8ZLVuUDcSkJJKv3i4/

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBLflNv36CtdnsPm9DkwQZr5VdfHDj1wPPhknCD9gtP7cJm5DaGu-hCfm31SGhfRNt6gPxAe9-5EVMPNLekqrGUQEjXhhDFQEOPiF1AMKq1Wx8HFTNqZioGCiGJN34Rtxeq7Q-jOYSHMU/





Her "Sky" glyphs are certainly suggestive. Her first pairing of "X" under "Sky" is with Lozenge. It re-appears in one of the most unusual texts on M-634.

When subject to "X", she has Stacked "Two"; and she has one text of Bent Branch and "Four". There is also a "Four" text with the two kinds of Winged Man. Her personal strong suit is "One", "Two", and "Five"; Winged Man supplements "Three"; this "Four" is somewhat meager at 3/91 texts.


I note that because "One" is surprisingly sparse and particularly tracked in the material.

Here, for example, is One Quote. This is unregistered, but suggested as a Rakhigarhi find. This perhaps is also her, with a unique feature, Bangled Legs:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWdupnFHfnJN_4h7DVR5e_olezmyuliGD8p2-LgyszjcThfgYOYt3IcnpezNUO7Izcr1mEhTJIyD8kik8eDRsHRmKJAGf4fSjmtkFrskLEGZph2bjpwcsGIY9jIJYlRisZOUKkMzp VU1tjDEsZVtknq4Q3aJRkyixJJ4XXkhgfE040yykZZonYf5GuQAuS/s1280/Slide41.JPG




It's a unique composite animal, perhaps having a bird face itself.

Again, I'm not sure that is realistically combative. As a technical aspect, that is a boar spear. It has a cross-member because otherwise, a boar will run the spear and still kill the user.

You could try to say she's stepping on it so it will jump and impale its neck. Or, maybe she is the one who is going to jump, and the "weapon" is like pole vaulting.

You can't hurt something that is imaginary, anyway.



Among her wordiest utterances is one recognized as a long inscription (https://indianmeena.wordpress.com/dna-of-tribes-ancient-till-now/ancient-indus-matsya/) of Mohenjo daro:

https://www.harappa.com/sites/default/files/slides/14.gif




The broken ivory perhaps had a pair as above.



For the extraordinary segue'.

She has Three Triangles beside something similar to a Crab with fat pincers, or a triangle with sideways legs.

This is actually on the famous "Pashupati" seal, which begins, Person over "Quote", Flattened Crab, this thing.

The glyph has three other existences, total is five.

One is with the Flattened Crab with "ears" that comes from inside a "Mallet".

It has another remarking it is of the Branch and "Seven" caliber on a Harappan Bull seal.

Also it has the phallic person. It has one peculiar text, "Four", Ithyphallic, Fat Crab (?), Caged Conjoined Enclosures. This is a Mohenjo daro Bull seal.




What is notable about "Pashupati" is that he contains two "Quotes" in a "U-shaped" symbol, and a rare glyph of a Fat Crab.


M-304:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZj0uTI0WxhlrY1Y-O6u479bv78uFm1d4PtKx2Wn1WnCXthsvjeztOLd7M0TyqWuTkEDiV8F15xxouMEH07x_jNR7OK86Ohi9cUl08uiu3huqGhf86ZLl uOh0ZQC33r9KouuRzqUw9fOez/s1600/M304.jpg




Upon further reflection, I might suggest "Aryaman" for the figure, since there might be more reason to suggest Mitra as the Ibex at his feet, because associated with the Sun.


Firstly, his script takes the "U-shaped" symbol with two Quotes, which is in a minor league, does its own thing. The similar container with one or three Quotes is more abundant and more plainly cross-related to each other. This one is a bit shy. But it is the one used on this very famous seal.

It has an origin.

The M77 concordance uses a perhaps default image of braided yogini to give us the following information:


Standing person with horns and bovine features holding a staff or mace on his shoulder.


This is what we find for two "Quotes" in "U-shaped" symbol Text 4305 (https://bharatkalyan97.blogspot.com/2018/02/the-most-frequent-indus-script.html):


three-sided Harappa tablet

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAJpm2PdXvZHzKB0JYFfXx_jBz1BxL1fvl3ljJTNWcAjlvTGpdUkjSa7JWueRn7oy1m0yfGixHq1vjhaonODT5KUOjDbMl pzoPqntQmtUJ8rUW1gSM1Ao5ujoaaxRez28fBeG4hBgi_7sn/s1600/4305.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwBZpY1jiJ_ssqvhiNsMfjDPHwoVDTkuy5cYjxsll9pXG1zpSwtew_vWp5GuDvMreq6gdakKKIQxAQCfbYmk5aUXxIWVf_ mdmb0bAbZ1pUF9MjqssKyOL7lZqNWN4qcMsk3rG4WE_ZGXqR/s1600/pict90.jpg



So, consider the arms.

Otherwise, not particularly good pictures, are they. It's understandable you could probably make out the detail on the original piece in good light. But, there it is, this glyph falls into the visual field in the given way.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHhyphenhypheno-jz_ME6XzeQfFrUxvQJNWGZVIYrdnazBV4oa7hSmMBpJrMqfvi9i0hO-PYx6bOzhSvZMkp1SjBp38_V8B-yUwYeYkzr4wAFK2vnItOhkw71jkT28QApGq7uX1v0P4IhNXvx_rPLKD-cSeL85dCcpu84xBbzf32MFp0y06jpouPkor8QTjNYDONKmx/s1280/Slide6.JPG



H-714 is one of the most curvaceously-obvious females seen; she is standing over a "U" or one with tips.

There is a *second* cue glyph involved, and here is how this Fat Crab appears in an extensive text.

M-234:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNjSodikR3PZZkEqwqyJOsH16QYxr2QAUD6UllOphSoIvVu9YXc4iIcSFl7KTS49nQG5_QxhNSjsx4y_0HyQ9s0ppxMqGF g_NovaxVHw98dQzMQ09DadOVbH3I8MQeBjZw2tAY7XGABAru/s200/M234.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5dgBEUt_lnPpUu73UYmghbN35Jn_UtUhz2yYlDVZilGNT89k02NlZYOu3a3qLmDvrqB_1IaB4hXvVguNb15fjOfTZw7og dmmdVMs_T747_i_a7Bl8Ci59iAassSH_s9lOZuNsGAuAnFc/s1600/M234.jpg




However it becomes the *central* character in the scene of horned figure, kneeling figure, procession of seven devotees. This is what was returned first by the concordance as having Flat Crab with ears and unknown:


https://www.harappa.com/sites/default/files/slides/deity-seal_0.jpg






Bird-face Goddess uses Fat Crab 229 in a Kalibangan Unicorn text.

Hers is the longest text of it, and, it is one of the three and the longest of them that places her at the end beside "U-shaped" symbol.

It is in Kalibangan style where it is like her hands are jammed into her armpits, making her look like half-Winged Man due to the protrusion. With this clarification, she is on Unicorn K-7.

It is beside a Flat Crab, or, perhaps, shares this pair with the yogi seal.


Those are probably the two most famous IVC seals and I don't recall a discussion about this common glyph and its limited extension. Two Bulls and Bird-face Goddess over Unicorn.

I remember some self-convinced statements about human sacrifice, that I just don't see as taking place here. Not to mention multiple schools of thought assigning later Indian literature as the source for the images and script. I am pretty sure that a tree does not normally grow in a "U shape", and that the most basic folklore is about making offerings to ghosts.

Generally, that might give rise to someone teaching similar offerings to Vedic deities.

That is to say, if I presume "Varuna" to have been meaningful at the time of the script, it does not necessarily mean he would be venerated in the way I have learned.

That still leaves a good chance that offerings or even Soma Offerings may have been practiced. It could have been very close the the Veda, as logically we can only exclude its particular ritual, or, more likely, the one with Apri Hymns as a mnemonic. At its time, it indicates that some people praise the same deities through less-viable means.


It remains inconclusive whether the exalted figure is a yogini, deity, ghost, or other explanation.

It is a class of braided yoginis, some of whom are plumed, some have horns and triple branch. That seems to be a detail of the script. A "W" is really a W in a W.


We will touch this up with more texts in the near future. It seemed to me an obvious choice as a tutelary deity since it automatically summoned those well-known seals.


She is also on an unusual "container amulet" from Gola Dhoro (https://bharatkalyan97.blogspot.com/2019/10/gola-dhoro-shikarpur-khirsara-kanmer.html) with a pair of Bows and Caged Fish with Chevron:

https://www.harappa.com/sites/default/files/slides/goladhoroseal.jpg


https://www.harappa.com/sites/default/files/slides/BagasraSeal.jpg


Marshall found one of these in the 1920s, but it was too worn to read. It still had its "lid" attached.

[Bill Ryan]

Right now this will be rather dry.

Yes. (That prompted a wry smile :))

:focus:

[shaberon]

Aryaman



This will be relatively brief.

The term "Pashupati" is not particularly Vedic, nor truly an iconographic match. We are looking for the same guy on M-304, the famous one on whom so many ideas have been foisted. It is notable for the fact that animals -- terrestrial ones otherwise used to show the flights of things like fish -- are themselves stacked with his image.


And, to be conservative, we will not simply assume he is Archer Deity of the Copper Tablets.

He is a watcher of Buffalo Combat, which we will post elsewhere.

So, if we pare it down to those figures closest resembling the famous "Pashupati", what carries forward is floating hands (https://franpritchett.com/00routesdata/bce_500back/indusvalley/yogi/yogi.html):

https://franpritchett.com/00routesdata/bce_500back/indusvalley/yogi/yogiseal33.jpg


https://blogger.googleusercontent.com/img/a/AVvXsEgb3fcV9E13IcRV94dV7lm4AzLrtGTr_4wS1zY488yoQ1L_lO3YL-JyJ3ELWjQ42swEZy_wDpD_jNrA2oGQCKqX2jIhcE9b55d0ObPLFiurVQnvnAMfyvm-EYtVqtggngzCxjfPJlOxknt-pTit-NMJpL2X-PGQXerQCxt4oiMO02iV_L9uEMhG9Hm3MQ=s123




There have been proposals like the hands are "resting" by thumbs propping them on knees. Always something contrived.


There is another post where he will re-appear. This character is the veritable master of the Large Copper Plates, having a speech of forty-three glyphs.


However, the form above is quite restricted as from the list of yoga arms (https://bharatkalyan97.blogspot.com/2022/01/eight-indus-script-inscriptions-show.html) (eight by that search).


In one of them, he is framed by Serpents, Gharials, Fish on Prism (https://bharatkalyan97.blogspot.com/2016/05/iconography-guilds-in-indus-script.html) ("Eamd13"):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi27yB6thy56vKnFfM34GeeKkko6NGQrsh0XL6XI4yqRxZhbaCBnrM5BL6A95WUvz9fvjNeeT-8lNYciF2q-Td4fHxk8z_yXhceiLGLY3ZOh2Om6mXaCS0VdZEWy1xLqVaAR-Pi9CEb2liR/s1600/prism1.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaN4Oa6sp-fFvHznri_ghlD4FLgnLcGuGV67RLTQcIngXdwWufpWqZ5xYoTROQNIB29R_fAwrokUQBgi2ATWjS8a_Qys7L1KZKnO54KNfFGyY6 9tjfg-VnqfBnGoR1LmSr1O_cunZF98pL/s1600/prism2.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGsyNINpeWXDOvaqQaN6DcQpZ0feRXJsB6aUY4wJluJZTciGVWBYPJk9FcXaeieKl2_rh6PWZa975F-zHoJl43mFi8oKtQw0e4_eAYFx4ckphTHAoVeQP1oL44Uus4Vwn3e5z-guH1e0Ai/s1600/prism3.JPG



It just gave us the other Bird-face Goddess and Person wearing Comb, with a Tiger Chimera I don't think has been featured this way.

From the same M-2033:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7bz2kjxZMEWFkygbukKS-dU4tdgb8KDUYn0xkNrMXbhQaCvTwZ02AzAAsyFxIOP5nvymMiQnprC-adasQ3FCjjvj5amJVUe41r3taynPVHdgSNlqssb8BYePYZlZrPnBlL-lEmNaHO2Rv/s1600/pleiades17.JPG




Flanked by devotees and Expanded Hood Cobras (https://www.bibhudevmisra.com/2016/01/shiva-as-bada-dev-gond-symbolisms-on_23.html):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoFr7FhzbFhDA51G_tvgO7GwAzYqA_5_FSetlXVwHBNZtbDVgVm-ceMSXerFdx1aitJ9H4ayfLIGvvypt0yhelInj8AEN1iRFBbgv6RgN73beHmMAKUMeZ9Mu2w67y-yqXqIsIdbBrUXvV/s1600/indus+seal+2.jpg




Near a "reed house or shrine" and possibly perched birds:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVn6KyJZbvruk_zlA2c7yv4FazZjZYQCW_r1P-PCjmf8wWtuLlR1R4hamjYE8qZaunlJLAQn0XLjkw9tNOnqaI03cnuAW7EfYe59FbIIjVlnOcPIM9EcjC-vUYEky6EuWLMKqiAVX57IUO/s693/Indus+seals+1.jpg


Talk about "on your toes". Maybe these yogis are levitating. I start to whenever I read this stuff. Makes typing a little weird, and doesn't help decipher the script, but we find multiple scenes of what seems to be a seated meditation. It may be surrounded by something about trees, or animals, but usually one or the other.


You could just say, well, this is the Winged Man. His head is a "W" if there ever was one. But that's not quite what we see through his script.


The glyph is probably derived in conversations with Crocodile.

If it works that this character does that, we will have to figure it out.

It is a more pressing question if he works with the Illusion. I'm responding to that because it is something others have described from attempting to examine the iconography. I think this is of greater value than trying to guess what is written. By taking a similar approach, the idea spares me from having to press some outlandish delusion. And in this case, it seems to have been seen correctly.


I don't know what the Copper Tablets "say", but the Large Copper Plates are Alchemy and Soma. If he does not own it outright, he at least has the most to say about it.


Aside from yoga, he was called Ghost or Devil (https://www.tamilbrahmins.com/threads/ghost-in-indus-seals.9660/):


A seal with a ghost or devil was recovered from Indus valley. This is a puzzle for many research scholars. Indeed all the gods and goddesses are puzzles and not yet explained satisfactorily. Many seals with tiger goddesses or half tiger or half woman also remain a puzzle. Marshall and other westerners mislead the entire world by introducing Aryan-Dravidian division in this field. Had they not introduced any absurd theories like that scholars would have solved the puzzle by this time. Scholars would have deciphered the script by this time.


Since scholars have discovered new gods such as “Proto Shiva”, “Murugan before Aryanisation”, “Skanda after Aryanisation”, “Rudra diluted into pacific Shiva”, new scholars also fell into this blind alley and are struggling still. Some scholars even discovered “Dravidian structure” in the script and by publicising this theory, mislead the entire world and not a single inch of progress has been made because of these absurd statements. With all the powerful computers in the world and all the discoveries available via google at the press of a button or by the movement of a computer mouse, we have achieved nothing. Reason? The same old Aryan Dravidian absurdity.

When it comes to Indus Gods they keep quiet, because they can’t see any Aryan or Dravidian in the tiger Gods or Goat faced or Bull faced Gods. When it comes to the camel skeleton discovered in the Indus valley they turn a blind eye. It is said that the early discoverers did not do the job properly. They did not record the layers from which the artefacts were recovered. If one is able to explain the Indus Gods and Goddesses satisfactorily, without worrying much about what is written on the seals, then we can claim some achievement. But whoever reads all the books by the so called scholars on Indus seals can see they still do not agree on gods or goddesses.

https://3.bp.blogspot.com/-E-iqktX54fc/UDEfkqijLEI/AAAAAAAABaU/Vm-FMwCuH9o/s500/Gods+from+Indus+5.tif



I believe there are some stray images similar to that. Standing there.

The text contains the trigram from the "Five Swastikas" tablet, and possibly other connections.



Since there is no bow, it is possible he has become this Banawali Chimera rider, which we will see repeated at Dholavira:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJElFl41uY2nyP-H1gPJ2ZMQ9B0P2jUZzIItbmFH4cBliF4PHuM0Do--PF7NewKMVzMQruHIEzrlBxxMFEYOT6Hr21CLNERoeCmG-tFRTooYlLNZvyoXlSqZ6LHH5MX-v40vLS3ruoNrOl__036asPyS7ivtjR7PIFsdkEds1nS-W_DPvDW-5uF3Ll/s1280/Slide10.JPG




Strictly speaking, you could only be sure he is a different person from Man-in-tree. He could be the Archer Deity, or he may not be.

That is to say, are the Copper Tablets and Large Copper Plates about the same person/deity/ghost, maybe. It's not horns or headdresses that are able to distinguish characters. The bow might.

Most everything else has something additional and we will see him conveyed, but in terms of script there is not a whole lot expressed here.

[shaberon]

Yogini


This post is for the long-haired kind of woman, as seen on the famous "Procession Seal" already posted, which, upon further research, strongly resembles Iranian metal work that is centuries older.

I don't have a Sanskrit suggestion, since the Tiger is likely from native folklore that is not used in the Rg Veda. That does seem a bit odd if they are geographically both emanated from Haryana. The Rhinoceros, Elephant, and others also fade from view. It keeps a few basics, but, otherwise, appears to have no effort to revive, continue, or manifest the same lexicon as IVC. Although Bull of Heaven, Goat, and Crocodile are perhaps the same, it has more to do with Horse and Syena. A suggestible name might become more apparent if we figure out any other connotation of her.


With respect to Iranian archeology, these sites are all practically brand new from the 2,000s. The discoveries are astounding, and, while there may be some edge of Iranian hopefuls who want to push the grandeur of it back another thousand years. even if we do not take an extreme view, I think it is safe to say there was a vast "international network" before the advent of writing, and somewhat ahead of Indian brick city culture. I don't expect we can ever explain or know that much about it beyond accepting Ibex and Pipal leaf, etc., as having originated there.


The similarity really proves nothing other than the similarity.

As soon as anyone else notices this, they will prove something, but I don't think anyone has. I spent a great deal of time wondering why I should have to refute Bactrian Eagle out of IVC script. I don't have to. There is not enough to imply that whatever has been found along those lines, proves somehow that Bactria dominated IVC. That's just a dirty way of thinking. Bactria had supplied the Camel as far afield as Mari around 2,300, and all ancient references and remains of Camels are Bactrian, because the Arabian Dromedary was not domesticated until 1,000. What I find more fascinating is that they were able to do this in the first place, rather than trying to determine exactly what caused sites to be abandoned.



The next reason for breaking the iconography up into family trees, is that, compared to Bird-face Goddess, the script used by this character is observably different.

"She" is certainly not an individual, for instance in the lower register of that thing is a line of ladies who could be represented by the glyph Seven.


That seems so self-suggestive as to be rather banal, however, it may be supported by the numerology. Generally, low numbers up to four are like a bag of lessons, upon which stands the Indus Bull on the platform, Five. Six is usually two threes. Seven, on the other hand, is bold, a unit that seems like a power nodule. It's noticeable. And, the devotees in the lower register are not unique there, it is a troupe of yoginis, such as in a similar scene in the upper register of the Pathani Damb retinue-like seal.


From the view of yoga hands, she has a Five-pronged Bent Branch Crown, which is different, perhaps a Sami; the male figure posted above has a Three-branched Pipal Crown.

https://franpritchett.com/00routesdata/bce_500back/indusvalley/yogi/fragment.jpg





The question is usually if we are supposed to be seeing "stars" inside that headgear.


The horns identify characteristics or attributes, but, it may be that one class of person collects them all. Goat-horned Goddess with kneeling devotee and Goat:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhATIfJ_qjaXKuRprLc3VR6Efp3Hhkdg2fnfQ1B1K1nKZhKHkz89e937J0CHCj202nImlMh9pVUhJnDhcCL4255G6qBj-iCDKgtx0qIeordp3diCT2NO1OYy6MlpoJQqApC82lvt5v0qsBA/s1600/ScreenShot632.jpg



One of her sittings is beside this same kind of structure which I would say is a glyph that exists in a series from basic to striped:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW-v2MSfLyZ4GMST4Ozi4JF42o5ppLumnQrDSInrYkjpehkvI93dmrvfERImnJAMhEgyVsiEF1UtpPVPOY_cYRUqrhTiFutdoiF71az T42-QXMSQHgBaA7TBckFaCcg6wYeYCBzLTWwBUL/s1407/Harappa+horned+altar.jpg




It may be possible that some IVC city towers were shaped like that. But the thing we are looking at is not that big. I haven't noticed any imagery that could be called urban.


These come from two-sided tablets:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj8Py4sOMp4jcZlO2P5CQS_DIapV_M8neEFjOuqu48lJUey07BQUNO_vzBNuZHwO-OOUchxSXnfl9C4Uq8d8ZZPdHQgEko9xXH_uNdkMulVQTpA9X_tnTyk16sDuG2Zzn1cmoux00LYPMy6o95hSjRtYxvaIwIKL_c8-5YHDTLDqcpYxJi4luLiTlw-mI/s1280/Slide31.JPG



The seven girls appear with human-sized glyphs to invoke Mortar-and-Pestle.

This also has Triple Rectangles, Rotating Tau, and possibly a form of ")" with "ear" on H-97:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg49WyUAH_q9qyZ8WXrSFI_rLCoyRjbqLoq7TuqSdbG8KUIIhXDUj6yIDsAAsC-8R_cziOpvC_WEPSh_iMcvvTzvzDHb1gNb1Xiyf2Wge5uyw-7Up8DuNDzImdU_7IoSPSN607Yt0Kld7ob/s1600/pleiades6.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiMoB7DgbiNXhtDCQ_dGNugIOQn86SkmjRrLC5hfvVhJLFDgGyZpGL4E_rdAGt_mgKFI-5gD550W5YhnUqlsy3LbLlv8d3CTbIKEenQ8Nz-xIgw-tv91HkjGFYUGfXlROEnLGjZxryDX71/s320/H97+(2).jpg




This is something that also does not "prove" anything, again, I take it as something imaginary or symbolic.

Leg up on C-76:

https://www.harappa.com/sites/default/files/seal-LI-13.jpg



It was edited.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1DcLeA-rJ2RmmtIei1Kr-9gkTuudb9TT1sEBj-NslydSxzfWXwnFrgPt125qivxp2uuih5k47oRF95VysS0KOMWeIBQX3rWbUtxjkqy1buZjuJVhjf2vIVEK1GLckvhi-NjypuEMJmvbRWVPbAhY7kkoFJN-_kUrRuavWDUOaxzy_sO9Wq8ysD-cjdNE/s1280/Slide1.JPG


Perhaps the "combat" was play?


We will repeat this important one, because she is on M-488 with Human Markhor:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNu9-unFAwohJhqRtzHC5otEs6lvKTXcRVbkGyAm99WNPQvwSLyB0oLBXe4Wj0Blx0ZOpwLa10A97I5DdZxvQljdtTBZIPNhABgiBHtEl 44HaSSDpsWDRdf1_uGjYRgOFNShJfiIz_4Eg/w497-h640/m488Color.jpg






The Catalog also refers to the yogini at:


H-858 (head-down combat on a prism)


H-1934-5, 2023-4, 2026-31, 1971-2, M-2033 with Composite- Horn/TailZebu/Snake, 453-4





The character is fused into a Female Sphinx (https://www.speakingtree.in/blog/tiger-goddess-of-indus-valley) with a Three-pronged Sami branch and a scripted Branch and Four statement. The important part is to notice the arm, i. e. the reversed type of arm is an additional "yoga move" on Centaur K-50:

http://2.bp.blogspot.com/-ofYydwCUU0M/UDU9lAAOteI/AAAAAAAABbM/trW8Y-lf6L0/s1600/tigerladyK50a.jpg




In fact, the arm will come right back to us, proceeding from Kennoyer, Master of Animals:


Two distinct horned deities are found in narrative scenes carved onto seals. One figure has relatively
short horns emerging from the top of the head like those depicted on the humped zebu; the other has
wide, curved horns spreading to the side, characteristic of the water buffalo. Both often have distinctive
broad beards and shaggy or long hair. On some of the smaller carvings, details of the faces and the
difference between the two types of horns are difficult to distinguish, but the wide, curving horns tend
to occur with a central component made from a pipal tree branch (Ficus religiosa), which usually has
three highly stylized leaves reduced to three projecting lines. The horned figures are shown in many
different roles that range from images of adoration, worship, or passive observation to active worship
or aggressive attack. These images may actually be distinct forms of the same deity or totally separate
gods, but the details cannot be determined without decipherment of the script often found with the
narratives. In all these roles, the human (male or female) figure is defined primarily by the fact that it
is wearing a horned headdress, but occasionally the human figure is depicted with animal legs, hooves,
claws, or a tail; the deity combining human and animal features could be either a Master of Animals or
an Animal Master.

The short-horned figure is sometimes depicted with the tail of a bull, and on copper tablets from
Mohenjo-daro this type of figure is shown carrying a bow and arrows.


In combat scenes dating to the later part of the Harappan period, the motif of a human fighting with a
short-horned bull suggests that in this new narrative the human was in fact in control and dominating the
battle. The scene is most commonly found on molded faience tablets from Harappa, dating to Period 3B,
circa 2450–2200 BC. This depiction of combat is actually part of a longer, four-part narrative that is
found on two-, three-, and four-sided molded tablets.


A more accurate way of expressing it is to say that this four-sided tablet has reduced versions of three or two sides. That represents the "genre", or, some, if not all, of the prisms work like this. Also, the "beard" is likely an emergent trunk.

This script is not commented but it may begin with a Donkey. The motif suggests to me the antics of Person "fighting" a Horned Tiger, I think it is play, or a drama of something, in the equally unrealistic Bull Combat (https://www.harappa.com/indus2/142.html):

https://www.harappa.com/sites/default/files/slides/harappa-molded-tablets.jpg



H-175 appears to be this Yogini using Chimera glyph:

https://projectavalon.net/forum4/attachment.php?attachmentid=55841&thumb=1&d=1756606696



In a montage, it appears that Donkey is correct rather than Goat:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNPPrHE5WWonxrUtyjiYlCdaaAzB6-EsKmakNtOAN85vO0wbM-Z0YoFSey4DmH9aSMFex9TpO4asNtsIV7tTiVVUseoSZBReRYGcnHNytmxdw-pPybmJVpDl5aCBpTh4EnbxOG8htsOl8IWPY8uKGf_ND_gj0oIHZQgwku8cq43fhrW_dUZf_U75f3V5u/s1280/Slide2.JPG



So, the arm in her profile seating is happening in some particular manner slightly different from how these typically sit.



Comparatively, with the Buffalo, the spear fight is in front of a Cobra:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhffaej_KOD9JFWXgHWaDqQiK-Ww4q7faljNBHk4tZwBCm7qfFKib26v3cQniFciMLQtamXffhugspEZbOc013R5gq90894gTQDMHHt8BaNTif19AvWJEn14mULY9v RdqXEGWxUhyphenhyphenOhYNI/s1600/ScreenShot121.jpg



It's the third side of M-492. This tablet is on the right here, where clashing bulls evoke two glyphs, and, there is a Trapezoid text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpgxBq6eqjQ7Y_ZyB28qhKaZGJ_UvElawRKNrtC6gakBdy8qtlQTkfv2_APaPatUrzH2HdlD90p1-4Bs0e3mDOo1UZvxcBlpXXQ4NzbdFF56b34btroER6mO301tu6m_wo97Ojg-m9oJOoGEHIgqWqoh7bKjUdPHsx1sjU51figVsD8puUY7SavaIk/s1280/Slide2.JPG



Admittedly, in some cases, the braids are unclear, making it questionable if this is really the same person.

The slide is comparing singletons, and the one on the left has been called a Lyre by some. I'm not completely sure that's what that is.

Statistical analysis of the glyphs on the right shows they may act as if two Bulls. Two different kinds of the same thing.

There are two bar tablet clashes:


M-1367 is Bison x 2, also on M-492 B.


According to Ameri:


To date, only one incised tablet this type (M-1367) can be identified as having definitively been used to create a molded tablet (M-492).


They also have Empty Niche as considered by Zoomorphic Avatars. Or, not quite. They are not rampant and nothing is between them (unlike as the Tigers are posed with a gap) on M-492 because they are horn-clashing:


On this seal impression, and a seal (M-1168), the facing bisons are accompanied
by two signs (from right, IM-201 and IM-267). It is easy to
suspect that each sign corresponds to one of the two facing
bisons. If this be true then it must be imperative that there is
no seal-impression of a single bison that can then have both
the signs in any position in a sequence. This is verifably so.
In fact, only IM-267, occurs on a bison seal-impression.


That's...not quite right...it's not M-1168 and it's sign 277. The pairing of glyphs as on M-492 is copied/repeatable, but not by other creatures, nor do these signs otherwise repeat together. There's no "niche" space where it looks like something was or would be. But it is two nearly identical creatures perhaps represented by different glyphs.



Difficult Combat on M-1430:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMVpYl1UZxTkha-nFwRSmpRb9fpmEB7fXe48zhNb5ZCNfytIuXGbx-74mR94MdFRphwpAo5TUEWX79X9Oe13AVMdMDS2v3aKNV8w9WRTUpwYuHl93y4bTVqnANY2lQHRzbLDW6Jdq_ky48h8rsGJ26IY-h-PgizzBU2xiCvJkFy1ifpQA9SFJjWX2T/s1280/Slide4.JPG



That appears to have ladies in skirts on the line with the fight, which does not ensure the combatant is female, but could be.





Next is one of the most personal moments, where the script literally interrupts a procession.

This has a definitive male and female, in the sense you can still see the braid while she is bending over, and, the typical male hair style is a "C" shape representing two knots on the back of the head. Man-in-tree has this. This might be him at two moments. He seems to be putting something in her dish. Or taking it. It's like the U and the Tree. Could go either way. Considering those may be real objects and not glyphs, this may be the only close to normal, possible human behavior to be found. This and sex. Maybe the same two. It was well worn.


M-1431:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEU3cKPJ6_Tp8uiUvh0gtDhdj2DeIfYMGWPpceOPHJhQ7eGxQDD1-iMqzBj1JABHFY1qMUSFRfzDCwk77Nw9R0B-6L5s5teqPF3Aa9IyoT9EubTo51HHa0sYNT5-fauk80bIDS4htLxx0/s1600/ScreenShot1165.bmp



It's a One and Pipal text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi32HvsHmHMld3EaqytWdvsR7-q8Igd5GoAsP2U7z312WAJHlb5mLXPpvyvbKMrHXzoRig85PXLu5WiXfZLpxF9y-2oIncSgDI6RPwa0dTc-NjKulejeV5xyj4XBLNMHDGMOWUxZq4BGGKXu5jc13etMXOjTwxgMY0DtC-lhXnZ4CN6nUquQe6beUJGoA/s1280/Slide11.JPG










Following is the closest thing to a chrysalis or metamorphosis. Kalibangan has a basic stamp seal, and, the Akkadian technology, cylinder seal, used for the same character. There are only about nine cylinders in all India.

This has a Branch and Three statement, and Sky Trees.

The spears have become unrealistic. That's no way of holding a "weapon".

From the view of yoga hands, it's pretty easy for me to see what's going on here:

https://www.suppressedhistories.net/Gallery/indus/Indus2.gif





So, Kalibangan has this, scene, which is almost sexual groping, although it still has the vibe of yogic heat. And, Kalibangan nominally represents the "rebirth of India", from which spreads the cultural influence into all "mature IVC sites", and probably the iconic and scripted ruleset.


Almost being a mascot, Tiger Centaur is not repeated heavily like the substrate of Tablets and Ivory Rods. In fact, unlike the corresponding "narratives", she is hardly seen again. However, prominently, she goes to that apparent replacement for Mehrgarh, Nausharo. These two stamp seals are the westward projection of her:


M-311 with two Combs and Coil:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHHgOVG_1VYBu_OM8MHgGOwSAIE6I6HoVGrJt5eM84lFm2lEFLPrP3211O7T-dcJTF4iFZmMh6uwJEERhNnnT2Z9DGj6VVvsQGMBaP4AWSCwumuicpft18mVSPBf6T_XUxFerAupOlj1q5/s200/M311TgrLdy.jpg



Ns-9:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3nMlZVT4I4Oy7X9AOOc-jwN7jf8hnp-jBOVz4MKHavVp0gQW7i19taKFsfFT6t6ubDowBlieUx_8FJPfODm8oBtpaukLZj5n3NTXVy7xbwzQEOSMoZoLFX727jSHVIQk6AH MFBYDTpGi/s200/Ns9.jpg



https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDHAQxk1RJ7613l3sGjn2clicksAGS3VGyO9ptKpu2RudHzKQd6Un3t6Yn3jp7bZHuwKS2kJjURv13rpwpsOgZ9L9vfLW9 IKh2sYEdD-L-c0WZSeGQP92zLv-uMgiINA8KgNaQle1twp8/s1600/Ns9.jpg



M-311 has a different arm pose than the others, where the one over the body is cupped towards the script, or, on the cylinder, a Tree.

We would probably have to take her as "distilled into the script", and consider, maybe, her counterpart is the recently-discovered "Chimera Rider". He looks a little bit like a "Centaur accident", being perhaps built into the thing from the opposite direction.




Despite a few uncertainties, we can tell, relevant to the script, exactly what she is serious about. It is the mysterious pair of Wheels, which likewise follows a very restrictive usage pattern we will come back to later.

First, for the human-sized arising of it, she is just standing there between a Buffalo and a "hut" and the text seems to be just "U-shaped" symbol -- two Wheels.

Then there is a Hare, and she is seated on a "Table" or "Sky", if not levitating over it. As in many cases, the guy in the tree is just there with no distinguishing features.

On this, we don't really have to vouch for linguistic continuity; the Hare is the Full Moon. Anyone can see this. The question is if the IVC seals are using the animal in this particular metaphor, and if so, where is it. This would be that.

Possibly there is someone seated in the shelter on H-176:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOd6D829za4gqdlbI-mhugNdYfciv-0lGf3rFnMqqM3WisVMwMs5arIdPMrfg0SGP08URh8OIgeCqMAjHYvjk4hG7It57RotolTlqaRxMEiCzQo-VJbl2o7NG8qx2uQE106dZqdmMNJ-MO/s320/H176A.jpg





From the list of "yoga" imagery, this one in particular shows the practitioner at two moments. It's a binary of standing/seated.


On H-176, the Catalog calls this a "Temple", an icon which does not occur again.

It adds a "Trident Post" beside the Buffalo:

https://blogger.googleusercontent.com/img/a/AVvXsEiyBlHgY0CrfsuafGc-kPTRxoGHYooFIoLOOE7xwnUgd7qzmiYEp7pIKiRB_qyydez2lsEGRunpj-kXWkbLyJVVMvp7qlMf2BKS9xkvmbvGWJMIj9uwBDzP3IsVe-3VSGIgNPao-Di7fO1C9Ezc8pS2SXOjhKDcBuOKminab7M8FQ9mV3VC-lubSwhXgg=s291

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIear4TKBhWAJjvBKOYGvUQ2pzxHjxoqBcFa2Uo6WLnWeH7ch29z0msXqo9fO_RnbXWwX8ss8nuGNxF4zR4Scv-PQoOl8OtELBiQrqfgupFdBS7H8VX8pLH0yZjtKtxdi9nMDnNt7_PU/s1600/1490.jpg

https://blogger.googleusercontent.com/img/a/AVvXsEgXQ7BI-BNhYLkvl8uaoBKw3eGhFtwp4LHPpkJkDQ7CCwWDOy41vL5-JtplMJGfSNBLMXDD-Xcn_BbNMlenNGjJ_SMiJi0GdOJfwLgyP8hofptEgEBAm8jXa4SP-7UZq3k1NFuLMpHzgNyNVVs7P7a3c5LRFwRDLXkXDNwIyqEk1ICobFb9lt_t1CEy6Q=s295



On the opposite side is a Markhor turning to look in the yogini's direction, another table-like divider, and a Hare.

At first she is just standing between a Buffalo and a "shelter", and some human-sized glyphs.

The black-and-white photographs have better detail. The thing is like a "Checkerboard" or Endless Knot, attached to "H" and Square "A" and other things. Maybe a reed hut with a wooden bench.


Enlarged:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxxAj-WqZkkQbLfruimlyzXCmLJDiQUKp146_kVYeSKkInqr64SBabJi9Aw6-KZatwnxBc99J3rlYL1LueaQmLXXIR7v4jIa-tHlzfg2hBE7fM2yulJQSeJNSASz4C8NK1c1q50WdegCD874V9oaz_7QnWnwLLX-0w9t05fY4g_A2ZLFWxtlCl800t/s1280/Slide16.JPG



With more detail, it becomes evident there is not exactly a "Trident", but, a "Post" involved here.

The "crescent standard" is visible in Dilmun. Otherwise, it is said to be used for animal sacrifice or for carburization. To some of us, it is symbolic.

It most resembles Person holding Post with "Checkerboard". Strictly as graphics, if you can imagine grabbing that "Trident Post" while near that "shelter", that of course does resemble the script very strongly.

It seems undeniable there is such an object behind the animal, which does not have obvious signs of being tied to it, and it is not entirely clear that it would be sturdy enough to restrain a large beast. But I think it is there and it looks more like a "crescent standard" than a "trident".


It does associate Buffalo to this character.

Is the grid-like back half of it the same as the stand-alone "shelter"?

Has the "temple" been "completed" by some feat?

Does the duality of the tablet imply same-but-different Wheels?


From heavy perusal, I would have to say the Rabbit does something extraordinary to the Mohenjo daro Copper Tablets, while it is literally true he vanishes from view and "hides in the script".

This last tablet is the only place I found him.

It seems to be the root source of the glyph pair that is from the original argument that the script is probably not syllables or words. Although it has a very peculiar behavior, it is among what must have been one of the main criteria for "public literacy", the Dholavira Signboard. It has two Wheels and other Wheels. It's unresponsive to normal cryptography. Moreover, it is unusual for this to be preserved at all, because it is wooden. That raises the possibility that it was not the only of its kind, or, there could be scripted statements on perishable media. So they perished.

The main reason it is a bad name is because spoked wheels were not known.

Therefor, from the author's point of view, there is a near certainty it is something else.


Four long-haired women and pottery:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtZcMQj1-hVConnVUaTv_wHmCfRmJIL_K_yHNS-Z5-o-9EeUQecv3cTYSCFJtnJzyJWBpm7YTM8YB_lgeRG_iktV7P5FsLfNWqr4Sog5gCEvReehEpoEkrk-rA1Pw9cFen2B0LwDYivOP1bSU7LIgH5FYxi2wEiIS7HnqDrpfz2Gu601Kc-uWSUcrdCY8/s1280/Slide3.JPG

[shaberon]

Man-in-tree


This has been identified by some as a Puranic character who hides in a tree, but, the problem with that is, he's not hiding.

We posted Tablet M-1431 that has him perched in a Sami or Acacia tree, while facing human-sized glyphs including One and Pipal Leaf.

Notably, he causes the Tiger to turn and look, and, this is a fundamental question in the iconography -- what causes, or what does it mean, for animals to have a reversed gaze? It is consistent in this scene, whereas it is found elsewhere, e. g. such as Markhor looks at Yogini in the post above.



He doesn't have horns, so, he strongly resembles the "contenders" for the yogini on the Kalibangan Cylinder. Just because he is found in a tree, does not mean he's not also found elsewhere. Nor does it exclude the possibility he is the same guy that just puts on various horns. We want to categorize them mostly separately, until such time as we find a reason to identify or distinguish them. It's simple, in imagery, if you see two in one place, they must be different, but if they are on two sides of the same thing, it could be before-and-after. The other side is like a meet-and-greet with yogini, where goats and tree are shown in the same way as they are on the sexual image M-489. The tree is small and has a bulbous base, sort of like a planter bag as if it were being re-planted after being uprooted. That, of course, is a strong suggestion it is the same couple.


One of the statistical publications fails to notice this certain pair of goats is repeated.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEU3cKPJ6_Tp8uiUvh0gtDhdj2DeIfYMGWPpceOPHJhQ7eGxQDD1-iMqzBj1JABHFY1qMUSFRfzDCwk77Nw9R0B-6L5s5teqPF3Aa9IyoT9EubTo51HHa0sYNT5-fauk80bIDS4htLxx0/s1600/ScreenShot1165.bmp


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cYVdzF29p0xrOjyY6BDeVdtNwbKYHH8RqkTJFkN-3ixZtXtwJ3sne6kOTN0zoMTbg1J2cakfzZxOKHij1ArG2QXG0zeWVVrrjOGm3urH9va0RAdsj5Ytxs5-9_uaUPDvXd-ESA8q-rc/s412/m489.jpg






Secondly, the answer about whether a person "changes" probably *is* given in the script itself, but this takes more work to trace.

On M-488, he lands between a Swastika and a Chimera. It's a bit like glyphs interrupting the procession on M-1431. The Chimera is not usually part of an Animal Procession.


One of his wordless appearances is more or less facing Crocodile:

https://www.harappa.com/sites/default/files/styles/gallery_wide_slide/public/slides/80_3.jpg


H-715:

https://projectavalon.net/forum4/attachment.php?attachmentid=55846&thumb=1&d=1756606775




So here, I am not sure whether to call this "basic or plain person", because it might be this guy in a conversation with Goats using a Fish:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheXS6WN8Dv9PughLFr8ZyKdz9McfE4Rs5g8gNR9aruE4dcKXwYLsmuiHNHYOJQyxDZ1xPJFkY65zR3YVb7YeoD5pJsqoxd FlhaT3s8Z1itaWgy9C6I1J94_r2MebJQAbEvg19BmuSOEFabm9xw1hVVEBeRBG2zyhCKqscIWbxBMNMxqzQwHoQM2Lhs/s1280/Slide1.JPG



From what I have seen, his arm is possibly the clue. The figure seems to tell a basic-to-intermediate level story by graphics.

There are some versions of him as just a figure in a tree, without anything additional or noticeable modifications, so they may be superfluous.


He incrementally adjusts is a way that is at least easy to see. So far, this does not have any "human-sized glyph" activity, but, he does issue his own variety of texts.


This is a "One" text. Notice the guy in the visual field is reduced to nearly a stick figure, his arm is straight, suggestive of "one". The male trait is a back knot of hair, or, it is supposed to be doubled. And his glyph-like head looks like this and a Fish is right above it with a similar...shape. His distinct hand gesture is...mirrored...by the "lambda" right above it on M-309:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpDBHLdu2t92BY5FMoXC9v5cS3GcElJbYtMK_MzknH_dxtZpl939uqdlfk-8F3HmPxyEhnQwwpVw5nT3ESMBsOXIUGAn7J0x42sDLPfCREiM5e_aDQ5wXdGaRnRmz5o4_uenxCEWzL4LM/s1600/M309.jpg




We take geometrical positioning as a likely indicator of meaning. His hand is perhaps transmuted into Lambda or even the Pinch glyph, which is sort of like an inversion. A Fish right over the head is probably not a stray chance.



Here, this is detailed enough to see the guy's hair is in two knots, which, when in stick-figure-ese, looks like "c".

"Window" over the animal's back and "Fat Chevron" over its head with "Quote" on M-310:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyUyXUyV5B5MwTGCJsJaJmXyZuH_rFkQwlZNLiMxyXBd5kLYM3fZAxCO0ibfCmoYM_BNyYbiX3eChL8p_GfnR6aoYSj4Dq bxwJkHN-U8MmkS_uW_yxeE2pRxJGLL3Vt81q5twE_i4VLwjy/s1600/M310.jpg




What is that? There's a form of One, in its "conjunctive" mode, as what would be in the line of regular script. Then, yes, of course, we should consider a class of texts which utilize a particular glyph "riding" an animal.

Because even our word chevron still has the meaning of "horns", that may be possible here, as well, as if it were becoming a Horned Tiger. Appropriately enough, that mythical creature will back this up by using the glyph.







This is a "Bearer" text where the guy has "cupped" his arm into a "U with Three". He is drawn in slightly better detail, and part of that, is that the limb of the tree mimics his arm and actually grasps the Tiger like an elephant's trunk on K-49:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJhucM1MXju2w6HiMLPfmHtPRZX-iNVna1QcFyc9dHM38pAaDiGHQMzBcxRmvjb2FSpHFl-9qJPRxo6csQNTAdspnpMO7nB9Yf4PLHviPk3qH7aJFNCzUezKHOPBfImzhyJIwAoyw03qq8/s1600/K49.jpg


The gesture is the closest possible explanation of "U in a Tree" so far after, a whole lot, of immersion.

Why "Seven" is between him and a singleton of an "Empty-loaded Bearer" is unique; it would be axiomatic.

Why those are "rainy" while this is far less common for "Seven" than it is for "Six", I am not sure. Observe that this "wavy" effect gives this image the only appearance that the Tiger is roaring the thing being "spoken".

If the arm moves in this way, does it not seem like beckoning?


That's what the arm does, but I'm going to suggest it is the Hand that is important for several reasons. For one, this would be continuous in Sanskrit, i. e., "Hastin" for "elephant", because the animal's trunk is like a hand. Moreover, this can be followed through the imagery and script. It may explain "branched tips" or even "two tufts" as on the "U-shaped" symbol.


This is a comparative chart of "kneeling", such as he is not the only one doing it, but, it has the, I find, almost humorous, very basic version:

https://franpritchett.com/00routesdata/bce_500back/indusvalley/mythology/worshippers.jpg






He has many instances but evidently a singleton finale.


At Chanhu daro, 11/70 (https://www.harappa.com/blog/toponym-chanhu-daro) finds from there use a "Double Pinch" that is neither found anywhere else, nor related to "Pinch" -- it has *one* medial placement, and prefers to be at the beginning or end.

The general sense is this is The End of the sequence, Tiger's Kiss:

https://www.harappa.com/sites/default/files/seal-LI-18.jpg




That perhaps is the creation of Sky Tree, or, at least, we can assure ourselves that scholarship has ignored it as a glyph. Here, this "object" has forced a "real" glyph onto the Tiger. The Bearer's "things" have been attached.


So for example, Chanhu daro Double Pinch is also on Bison in Heat.




Here is a comparison in one frame of a few of these. The one with "nothing" is very different, when I first saw it, I thought it was a skateboard advertisement. The branch changes with the arm. These are some intermediate ones and Tiger's Kiss where none of them seem to be "roaring" as it is with U and Seven:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJgWYas5AlWsnJN-DnjV7B-AsMH9qoOGW6nw93zqUnPxufFe_Aw-XlXxI-J0Hs3xmq2WRCxbdFFzu9MaojiI9mJq3ND7QA18hH4Yq6pGbr2W_udqT7HAge1nLBOvW1r9ApD6TQirRivFKn3nku29kakarD__1n IH_RUKrVvVX-Xcg-_9jEOrhCW4QvG6eH/s1280/Slide2.JPG



There are only about sixteen individual Tigers in the IVC Corpus, meaning some of these are already his. This is a manual extraction of Man-in-tree from the Catalog. It's the way to count the material we already have, from whatever else may remain. There are around twenty, with the missing ones marked up.


Multi-valent appearances:


H-176 -- Two Wheels scene

M-478, 479, 480; M-1425 narrative (U IIII and Endless Knot)

M-1431 narrative (human-sized glyphs)

M-488 narrative (between Swastika and Chimera)

H-181 with Tiger and Elephant (Contest Heroine)

H-1973, 1974 with Combat (as H-181)



Solos:


H-716 with Bison (damaged but looks like he is on the ground beside the tree)*

H-2002 with Tiger (unknown)

H-163 with Tiger (no script; straight arms and a straight branch like a diving board cram him "onto" the animal)

M-1184, 1185 with Tiger (damaged; has a humanoid glyph, maybe a plain Person)

M-309 with Tiger, straight-armed with text

M-310 with Tiger, similar with altered text

K-49 with Tiger, the one with "U-shaped" arm

H-715 with Tiger (has something like a tree on a square base and Pinwheel text on opposite face)* -- added above

K-152 with Tiger (unknown)

C-27 with Sky Tree and X over Tiger




That accounts for half of the Tigers, meaning not that many are out there independently from him.

The tree, per se, is like a vehicle for a greeting and speech or even conversation.

I would say it is a geometrical standout of the entire Corpus that the Tiger appears to be roaring Seven.

Although there are a few bits of supplemental information to be desired, it looks to me like a self-implicate sequence of "moments", corresponding to the usage of various texts, that has a formal conclusion or happy ending. The lacking articles are unlikely to break this framework.

I don't really have any idea why he would not be the origin of Hand and U-shaped glyphs and further symbolism.

It seems almost superficial, however, the seven yoginis may be the product of this Tiger's speech. It looks to me like the Man is making a U-shaped container of three Quotes to listen to the event in order to perhaps re-tell it.

I would also tend to say he doesn't live in the tree, that he probably could be counted as a person on the ground with similar hair. The Goats and Tree tablets certainly seem to suggest that someone makes friends with yogini. Again, these are the two realistic-like-a-soap-opera moments. Almost everything else veers from weird to impossible. It may be that these two put on various guises, or, there could be dealings with ghosts or some external subject.

[shaberon]

Girl-in-air and Arch Goddess



These may simply be aspects of the yogini. However, they are distinct iconographic entities.


We aren't sure if someone is being gored to death after a failed buffalo combat, or, it's an athletic feat where the performer vaults off the animal's charge.

There are not that many of these. There are two examples from a page on Korravai (https://nganesan.blogspot.com/2021/01/banawali-mohenjadaro-proto-durga.html):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQC34FXAa7hJPu6-u9C6eR2PWNy2W31I_0qiyyHa8jK557HHSxCxUOB0w6CJi_Av4f1sT14eR08gH9fkh7iK43ficcYUQ9EvR2XM-NlfKk-cf0L2-JqefPMgwcXC_qyaMslLXlg/s846/Banavali-Durga.jpg



It's a "conversation" seal facing Spear and One.



There is a clear, additive image from Pathani Damb, facing Leaf-tipped W:

https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-5756.jpg





And there is a poor quality remnant, facing another glyph:



m1406 Field Symbol 102 Group of persons vaulting over an uncertain bovine animal. Variant of endless knot motif is twisted, plaited threads or strands of rope.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKXJOKO5Q-55y8gvLqSpm7iZcLzf5W-xi3wJn2zuOizbw0Ei_SNk_wWKJ1ZCPpAeWIESU-rS9WEnemyKMu5fcJ5RiKX34Frivt-_Hz847LWxf3f3jn4NZyWA-fo4RgHc8__txNDV1mYmOm/w200-h175/m1406.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC-_DfyR0ccvhQfJO398tM3HwCHG4ZyfkreuJmA6I6BnTSeSQHJlX7MrmPg52jwoDUsvoISwV0rkrO9JFzWTPTN7cHRtjPh_1JrnFn5 looWm8Kw7J0HiXCYMgtomFs13mt91cbrAQ7Z6Y/s1600/fs102.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinDvOq9gbKBjtsY09SPpuPdAIQern00_TimPMi-PhKuKGMYyA9x4p_qAFtLE9IMl2eTWxhI2aoA0WFszGl7SBO27tY4X7iIe5S3bq7zn0mVT6MlJPDwGQMaojekb8U4HFM7Hvq2EeCF S85/s1600/m1406text.jpg



Now, of course, we cannot really say the glyph is braids or rope. It's just there. It could be more related to circles and lines than to Endless Knot.

The passage of Acacia -- Khadira to Vana Durga is plausible. To us it would have a meaning of refuge. It is plausible that such values reside in this IVC script. So far, this is the result of "combat", if that is what is happening here. There are no known images of the animal actually being speared as in Durga iconography.

Because it is thought the "Minoans" did a similar kind of "bull-vaulting" sport, this has been conjectured as an actual practice of peoples. There is enough reason to suggest it may be an intentional act, and she is Shcrodinger's Cat in this mystery called Alive or Dead, in which case the only real suggestion is that we see the animation of a single figure, rather than the trampling death of a crowd.


Because this is (a) partly imaginary, and (b) she probably connects to the other yogini scenes, I think she made it, but one could argue they are speaking to the ghost of the woman who was killed here in the same breath.








As for this other class. The famously-published seals often show someone in U-shaped branches, which does not realistically resemble a tree, although it has spent generations being relegated to that nomenclature.

The Arch, on the other hand, is something highly visible throughout all Indian iconography, and, probably *does* "enter the script" and cause effects. This will come back later.

It could be said that an Arch is simply a "mirrored U", and, that may be the strategy here. Something is collected in U and inverted. Or, perhaps both are true at the same time. At least, the character in this case is very crisp:

https://1.bp.blogspot.com/-oRI5eJkzeno/Xc6qz2mvoFI/AAAAAAABnE0/e1x3jcUeAOk1zHwH5nNv1e2U3pUYEelHACLcBGAsYHQ/s320/archxx1.JPG




Here, she is compared to close variants such as H-179:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Vf0zIqFuou0WZ0BMZjzDhma6PAHSTXIkwDI_q0l60jCVPoXedWJrSzAFjd9mzl_DFbiJSNIkKGGCTWKNOnKK3CANkzJ7 vZ2a2iyEebmcRDWBkJZHu_qz07YH2dYGSZpHOSiNXYh9o53xZ3hORCzRBFC2C9uWJcitd_2lAg4kC9C72mxBWf2dPlRwOyru/s1280/Slide2.JPG



An additional glyphed variant and the front face of H-1951:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG3lCnEtoEX7thkzw5-gVY-w48VW7AEuD0v08Jeu9GX454dumdKfBBWMtSBitRN7x4ZNs3gCR7eFgSPxZhsnqR73OOCN37kmfhZpOR-xmvJPNzsVGksJQ5GuFDkGeeOeQRq391qhfLYIcRZ20l9JSP9V845UvWErW5Vbg4g3ipSEU3rMqbvPa9l_bVGdGD/s1280/Slide4.JPG



There isn't anything more to H-238, but, on the neighboring H-242, Arch Goddess in on the reverse of a Swastika at the center of circular script. This is followed by a few examples of other circular patterns, although this is by far the most striking.

https://projectavalon.net/forum4/attachment.php?attachmentid=55794&thumb=1&d=1756432062




Facing Markhor on H-177 with U III text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8gNojjfK7_sXZmX1escxRf7vZSxGyAKaBYt5ORJNZ48d94aT32wRWAfCqpX5QxAdCM4d8jueboJh8ca1RFIEfD7rUx5Ec KXlqYZnGDPYLjavIXBAPXD9HsbSn_5jEiy-dxdp7YW4RxducNDf6wOdS_KAUei826ozvJ5b4airbNyAlIn0qZqLXnkzPaWuT/s1280/Slide5.JPG



H-175 is probably her with text. H-177 has a One and Mortar-and-Pestle text. H-178 is Goat-horned Goddess possibly solo. She is two-sided, having the powerful trigram, Horn in U, U-shaped symbol, Comb. And three-plumed H-179 with the Arch has the common trigram, Four-legged Sprout, Winged Man, U-shaped symbol. Branch-crowned H-1951 is similar. This is something we can probably patch into the post here. This character, or, episode of a character, is quite expandable from the current state.

https://projectavalon.net/forum4/attachment.php?attachmentid=55800&thumb=1&d=1756431936



With Horns and New Arch of Horned Cobras:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQqAWjlvQplW553ENlWLpk069bWe94psKtTmM2_AR7I3AtPMPOv-lWIbeq0sjvMPCYMm8jrSlUcosgNB8OGd_A1mr0JPKboy0RczbaIL4uRTPe5eHT_bN7sWxtuOuHiMV5B_8VkEAXYzKFaM7f7nX4Cy DHoNaog_jc168JHh7KkXF-LyorjlpCkFY7/s1280/Slide1.JPG



Heavily worn, with mostly the Arch remaining:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinjWJXLQTHrOhk8nIlwkgo35OojgFgFXPkCWE1uS54syt6yJIBzP1xwDs8c5zO5ATC7SwxB-MUDYP3F_QZIeX-vo-VhPhaInEF8OCQht75526lHQ8KcToRz18D8LlnQHV4ldvr9mf5kmcX/s1600/tablet-harappa.jpg

[shaberon]

Having brought forward the Indus people on stone and faience items, we have some other things that are powerful classifications of, if not outright textbooks for, Indus script.


Moreover, this is also recognized by others as a strong character stamp of humans and animals, and therefor is like a bridge that should help explain the relation in their thought.


Firstly, there is a codex that really bucks a hundred years of academia since its reporting in 2014. It's much better than the phrase written in stone. And yet this one is very succinct, no merry-go-round of chasing and associating this and that, because, like the Pathani Damb yoginis, it is very nearly a classical rendition of a pantheon or retinue on:


Nine Large Copper Plates (https://www.researchgate.net/publication/286244261_A_New_Type_of_Inscribed_Copper_Plate_from_Indus_Valley_Harappan_Civilisation#pf3)




This brief collection is quite primordial, to which the Copper Tablets are an analogous elaboration.

Now as to who is at the head of this thing, if you ask visually, it is female, and if you go by speech, it is male.


Yogini is just her form. She is empty-handed and there isn't anything else there, except possibly a "Finless Fish" or "Loop". Obviously she is far brighter than the rest of them.

This set lacks any Unicorn that may have matched; it has a Fake Unicorn over a Pipal Leaf. The only Chimera is Horned Tiger with Pipal Leaf. The male deity has no Bow, but appears to be meditating around the base of a Soma Filter. It's the longest text to date, forty-three glyphs.


A fairly good job has been done to allocate the closest examples of seals and tablets to the Plates. To the upper right is a plain text with Bird-face Goddess, which, as we will see, most closely matches her Striped statement:


https://www.researchgate.net/publication/286244261/figure/fig1/AS:650816016875524@1532178038170/The-nine-copper-plates-Top-row-Plates-1-3-Middle-row-Plates-4-6-Bottom-row-Plates.png

https://www.researchgate.net/publication/286244261/figure/fig8/AS:650816016900112@1532178038519/mages-of-seals-and-tablets-to-scale-similar-to-the-copper-plates-brackets-Top-row.png





The Horned Tiger actually has a strange Cross, like Three Triangles mounted on a Lobe; both of the stand-alone scripts are using Three Triangles. The creature is compared to a version with Fat Chevron, i. e., a glyph we have just seen operated by Man-in-tree.


So, there is a strong chance that we are looking at the first printing press, because most of it still works perfectly well:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH5NSXUKEitK059yqQJl-DM9_dJEdc-gVycdf9Jil_7Eb1PsMes-Ak3bgECwt4kWhLRAFSGzomIK6elFMIENfouYJWyh6xBe1IWJHfH9SJhP_lf5oGmNmAwewXSnMorUr8BXQ_2UoKHpmL/s1600/ScreenShot263.jpg



This Pipal and Soma speech begins with "Circle with Slash".

It's a "cursive" plain Fish, it seems, perhaps twice in the first line, and then again with a Crab and a "taprooted sprout", which grows at the end, and X under Sky.

I would tend to guess that the thing that looks like "SS" is the grammatical unit, two Quotes. Numerologically, the second line appears to class this as a U III text, while the first line associates Striped Mountain and Five to a form of W.

Most inscriptions are a form of cursive that, in some cases, is difficult to match to definite glyphs. That lends weight to the idea that some "minor differences" are just "handwriting". Despite a gray area, the bulk of the material is unaffected.





Metallurgical analysis of the Nine Plates is very interesting.




Large deity is practically pure copper, with no arsenic.

Cumulatively:


Horned Tiger adds arsenic.

Yogini and the plain scripts add silver, as if those are her words.

Bull, Rhinoceros, and "Antelope" -- Fake Unicorn add Tin.

Elephant clears out these additives and becomes the only alloy with Lead.



That summarizes the "yoga deities" conversation, as depicted on nine items noted for the script being in animals' character, i. e., these are taken as particularly "personalized" or individually-identifying, a very specific picture about distinct families of things.


The script is reversed, made for printing; the plates are robust. It is noted that the most wear was on the back of the Elephant, which sounds consistent with it being a softer alloy of Lead.

After doing this immaculate research, the subject of interest was more or less dropped due to "the prevailing notion that they did not smelt but cast scraps".

Well, if anything was intentional, the set of plates is a better candidate than a shovel. Why would you not suggest the alloys are the characters of the entities engraved upon them.


I'm not sure what screams "clue" more than:


Elephant --> Lead.


This Elephant has a minimum age of 2,000 B. C. E.. The electron microscope just found this to be 14% Lead where none was used in any other article. Further analysis limits its age to 2,600. It is imprecise, other than matching the whole IVC overall.

Until other information comes along, we are relegated to saying the First Printing was done by the First Leaded Copper (https://en.wikipedia.org/wiki/Leaded_copper), which remains unknown to its Wiki page.

It's inadequate for brazing/welding such as plumbing; it is mechanically desirable in such things as bearings. It may be tempting to use in your bangles. Then you would lose your Tiger devotion quick because everyone would get incurably ill. You can touch it, but, you really don't want to handle it a lot. There's nothing you can do. One can only hope they were astute enough to realize how toxic this is. If I had to guess, I would think, well, someone probably found this out the hard way and they learned how to handle it properly, and so its use in the plate is intentional.


The main advantage of Arsenic is that Tin is relatively rare. Unlike Lead, Arsenic will kill you fast. And so it seems that Tin from or shipped through Turkmenistan was very crucial, though not necessarily required for everything. If we think the Donkey is the "basic" animal about this transit, but, vanishes from most of the script, the Plates show the evident transfer to other animals who take over.


Contrary to some circumspectual remarks, Kenoyer is positive there was Smelting (https://www.harappa.com/content/metal-technologies-indus-valley-tradition) and all the rest. On p. 2, we see the relevant distribution is that India has one Copper belt, from Khetri across Rajasthan into the Aravallis. Tin is in the Helmand region, or, in the heights of the Oxus, i. e. Shortugai. The wider historical question is where Elam acquired Tin from -- Afghanistan, Turkemistan, or Uzbekistan. That is how they supplied the Assyrian Empire; the outcome is rather well known, but not the input. Similarly we are still left to guess if Gonur Tepe had a similar role with respect to India. The fact remains that use of Tin would be almost entirely by importing it, which would have relied on Donkeys until such time as Camels come in. The main difference for them is they are quite slow breeders and you get "numbers" of them rather than "herds" like horses or donkeys can do.


India actually has Zinc deposits, but neither this nor Iron is found in the work; what has been found in it includes:


hematite,
lollingite (arsenic and iron), antimony, cinnabar (sulfide of mercury), cerussite (carbonate of lead), galena,
and an unidentified type of lead ore


For various reasons, I'm going to call that the entire Alchemy.


The line of inquiry that has puzzled metallurgists:


arsenic-free copper used at Lothal and Rangpur


because that means it came from:

Aravalli or Oman



Lead was used on its own, e. g. weights, but is thought to have been extracted from imported minerals. Silver is of unknown origin, unless refined out of Aravalli Copper. There is a different kind of copper made in bas-relief:


So far this type
of engraved tablet is unique to Mohenjo-daro, but copper tablets with raised script were found at Harappa by
Vats (Vats 1940) and also by the Harappa Archaeological Research Project (Meadow and· Kenoyer 1994).


Those being two totally different techniques, suggests the Nine Tablets are of Mohenjo daro.


So Kenoyer lists a large number of Indus objects analyzed for their composition, and there is only trace Silver. There is barely any Lead over trace, it is in a small number of items up to 3.72% in a needle. The Arsenic levels are so low, it's disputed whether these are even intentional alloys. With a rule of thumb defining "intentional" at 1%, then, yes, some are, like the plates. And so out of that survey of everything, you are mostly looking at some Copper and a bunch of Tin Bronze, with, in a few cases, Arsenic.

Comparatively, the plates are extremely high in Tin. None of them are normal "bronze" by workable standards.

The others of them are ridiculous in Silver and Lead. There's nothing like it. Silvered Bronze is hardly found in other cultures. Elsewhere in IVC, the metals are made into their own distinct objects, but not into Copper alloys. This really sounds like bell metal or a formula for cymbals. Or a gong. But there is no way you can compare the Nine Plates to other tablets and hundreds of objects and not at least suspect the composition might be intentional.

Why would you not let the printing press just say what it is?



Secondly, the workshop residues reveal the use of Antimony --> Collyrium, and Mercury --> Cinnabar.


Yes, that sounds like a huge throughput to normal Indian culture, Kohl and Hingula. This is evident in the Nausharo Dolls.

I am not sure silvered bronze might have anything other than a musical purpose:


Silver was used primarily to make vessels that were similar to copper metal or
ceramic forms. Silver ornaments are also quite common and include beads, bangles, and rings, as well as
fillets and perforated discs.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKlRZUmLZrJTwZeE8PPoR8SrTym7VUgQW9YQKHF8zUIRRkTaj3Ym6cgRtCeGdzOAc2NgQ_kAZ-Phab-Ld369oackuSBAeE2rZ59xG_-Exn4R8gmlGbwJehjsPz1cgMpLXWnrvco8jQzmrT/s1600/Screen+Shot+2014-10-21+at+7.50.46+AM.png


The suggested explanation is:

extracted from argentiferous
galena.



The reason is that silver mines in Aravalli and even Afghanistan are not thought to have opened until post-IVC. This is geologically true in most places of the world, there are only minor amounts of usable silver ore often found with other ores. Rather than looking to our dismay for a "source of silver", it is more likely this technology was used, which again could have been Iranian in origin. Understandably, you might travel to train there, and come back to prospect in India.

That means it is the likely explanation for two metals, Lead and Silver.


However, it is not clear if Shortugai was indeed
a trading settlement for all of the different available
minerals (Francfort 1989). Lapis lazuli and gold working is evidenced from the excavated materials, but
there is no clear evidence for the processing of either
copper or tin.



This report is almost entirely physical science, and its further pursuit by others is not all that useful. There is no consideration about the presence of the texts used here, aside from the "comparative" examples. A few of the other Plates have been printed.


Bull (https://bharatkalyan97.blogspot.com/2015/08/indus-script-bronze-age-inscriptions-on.html):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmdEWYHctHnkFznnVClsOEqQ-rdAEpeZt4CJfaQt5bTZaR4rd4z5989zVN-ne6ouZs5AodzAJcwh69RqbLZTyzSRzknJLCLHVy4Y3J_pu2VJXSGKOMS4nFsGoKnOFIWI_Euf-DYlFRw6KJ/s1600/ScreenShot267.jpg




Rhinoceros (https://new-indology.blogspot.com/2016/03/):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSlChqh3fJ5FOXH8CwvQYFtmT7UUCgK2CjMnuvMruNK0cHML_Lw7NXp54cAri4ccqeVewgApINl0-O-Y3x_tAKAaQ0ay-1LPPSqy6uiRCRLHDc6gD9gjIkfFmIj17BzdbiUZqJxUgaINX/s1600/rhino+print.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5DtzmVmJ3qKBItjIx2BCjAlOBYrELSd9LAqDc7ENkH58KpHaqYU3HcphOgFCCrR0-dTGE7TYJzRGPDwegXFJyN2bzQYIbucW39YHarsw-sbezX_EOItrAV6z866P0uzbBgsUuwFWtAobl/s1600/Screen+Shot+2014-10-21+at+10.27.23+AM.png



But otherwise there is no sharper analysis, concordance, etc., applied on what is found here. This is a lacuna if we are told "everything is strongly in character".

I think it is physically more important than the humble "report" can indicate. It will permanently withstand all modes of inquiry, and reveal itself as an intentional form of Alchemy, ranked among animal hieroglyphs.

It's all Copper with four possible additions.

I would not think that makes it The End about this hierarchy. It would be how they interface with this subject.

[shaberon]

Copper Tablets of Mohenjo daro




This is a quite large puzzle that reverses the trend of the Large Copper Plates.

This is about one iconic person, and a circus of Indus animals, some of which are not repeated outside of these texts.

Also, I think it is very, very heavily indicative of script logic.

It is *not* advanced in terms of the script, this is a "basic" exposition of it.


Although the majority of it consists of threefold explanations, it could be argued there are a few binaries, such as this iconic Rabbit:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkh1K7e9bEWgEkaNdW4zQmU5odK0BkBmn-gbEjLCKz-AQ8wEp6i0muZuFh3jmeGIsefA4XnwAlVTqujxsts1X7BYyDNcIcykCmyKy5L6MJHqyFHzFDP1d-AGQmDDomrnoWkY3pQwaao47y/s1600/M534B.jpg




becomes this singleton glyph:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVyTu3vp-PEOPn8vMxCRzTwmdhkNRXKB0efmMXoUqIXkGxrKbu1nL-GcS43mCylm4zts0pq-BYvCIxFdAZZqUQyWP4tvwTHfC9qW8v0U8Fz9Nlr9dcdtK9hfn4NHKPs2LdUi0NW0-3Ja5/s1600/XIV16fake.jpg



The component "Flange-topped U" is fairly particular to Mohenjo daro, and, is part of the majority lesson in this set.

The Wheel may be explained elsewhere, but, this additional symbol is nearly the symbol of the Copper Tablets as a whole.





Fortunately, in this case, the logic applied in their layout is decent; it mimics to some degree the inherent self-organization in these things. It notes the sharing of texts in other areas. It *starts* with something obviously quite basic, a sprout-like shape on A8 in the upper right, which then makes a triple statement in the central column.

Among its rare and unique properties are the Rabbit and the Deer, the latter determined by branched horns, and actually some of the most realistic IVC art is this kind of deer painted on pottery. Otherwise it is not a "field symbol" on seals.

The Double Bull and Double Turtle are unique, whereas, with a few exceptions, most of the animals are modifications of their customary forms, they are not even normal composites.

You can see where Flange-topped U kicks in from B5 to B11.

The key to the whole thing, and, the one that instantly demonstrates the "trinitarian" aspect of the script especially here, comes after the Rabbit text at C3. The first reason to say that is because it contains the statistically-dominant tetragram of the entire corpus, backed by this local glyph and a quite unusual two Chevrons. Then on C4a-b, you find it is supported by palindromes.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5nm18d9il8lIzcdgUwN4ezS40Xc7DUwGBepEh-sWMmTKvVGPMipzH4y8t7SwUs8dKeTqtjoqhSPNkMZ12kvclpVPXUXCdYHz0QFCpG__Nuz56GlVhO3UP7gCURuOaqkAX3kPcqOlJN mA/s1600/copper+tablets1.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpG0AYfOq7QsLTUJgPR1HB8ySHGu4_Y21p3iCg2mzjfkbXVLHRsJSRsV6LX_r5VJ75-bznX8bEW1mBnzNRoTvG_1nli2cowVno2A75n_0J5LNDBRc72KC3gzm75-sH5ZrucQALI3Akjvc/s1600/copper+tablets2.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnLCEIFKANG4NOYO7nFfyJ874FJB6wtrWQ0dkc1q2XEhEJYIGJdO55X7hCdKmV9Q3h8t8Sy5jrJDYLGoGoekHvqWhG1rYB 6swPtK0H8P9l31mTPaLUpfKfvr0PP2ACWR6i9LaXBKkjL04/s1600/copper+tablets3.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2NTvEfNLMs8M3uI58OCXURP3T9Bl1225sH9hjKm_RiN-RZ4i_gAh1d76iNSgH2qJlyb9Tn689Pd5kBr_thScl2WhFOxF6pULbaw8tjBWGwM1gSOH7TKsq3asgqISGisWkwQP4am3vZj0/s1600/copper+tablets4.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPpf_MnE9Sr2unzHguPoYIn3c7VFv_9Rahiwa8_a3d1FtnwzSJ58lzUcXP-AltRCzxgddjo7EI3SyPbUYrCeidfWRFSCEcPWbyKoeULWRnfHpBBXv-Zh9u0Lm557GOOBkrSWUSFGfO2z8/s1600/copper+tablets5.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiddytfI7NQFoQ48QYAnlQLmulZP2MSJdoqhFpYBaIJwZILrr1yjqt-LgcSob5Iye98hnp7u0T8nFOZfqiwkBHGyB6wvIgkA5kvVWR1lAMgr11AKexVArlpH9XQ500BkVEVSw-KZcqmKUM/s320/copper+tablets6.JPG



You can see the verticality of this thing by how this extreme glyph loops back to the beginning:

https://4.bp.blogspot.com/-WT_M8CufHPw/W7GFO1rXFSI/AAAAAAABXeU/eNcOiuQ-65kBsBqaz6apklw9qDKj1qgNgCLcBGAs/s1600/is147.JPG

https://1.bp.blogspot.com/-kUJdEWJBo08/W7GFOvWBqkI/AAAAAAABXeY/tR41G1wC0k4fkGmPf4O2IKW0auWxMl0fACLcBGAs/s1600/is146.JPG



The broadcast nature of it is evident from at least sixteen of these local specialties:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWwxERnzcJpgD4ev5xhbzIsHb5g9lA8sLe70zm3wwORQUCTpYZ_wJ0UjBAOQ5bpS_C9Va2Gavs2DhmoNt82gLNYAjL4KS4 FyU_ZP_-d4b5z1SbiVGjPdHj85JXBhxfWhCQ5BCEiU9VULM/s1600/magadha5.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUSI39a4EMsnukNOZqgIcUSGOUPFlw31u-WIIyP0wKeAqDLZn0F5s_VdIgAuIdke1256EP-kOcLubkoKphiba1gO_6Q8OoZkRy-EshexP76yb-yhX3wyzmCYvosRsfTQd0kfxpvfB4NMg/s200/m557a.JPG



B12 is what I refer to as Tiger text, the claw-like glyph and Three. This, elsewhere, manages to slip a Chevron into Flange-topped U in Text 7081:

https://1.bp.blogspot.com/-AjXhWtuZrPg/Xk9IQ2ELVtI/AAAAAAABrQY/sBi-3_bgI-Ed2ezRj28Km9oENlMPRZVJgCLcBGAsYHQ/s1600/7081.jpg



The texts with Grids and Person holding One, we have already posted, and indeed that works its way into that turtle thing. Yet it is obviously based on a shared principle.


The set is originally in another Parpola article, although a page (https://bharatkalyan97.blogspot.com/2015/08/indus-script-bronze-age-inscriptions-on.html) gives us an easy way to bear out what I was saying. Now, as to the design logic. The Sprout is thought to perhaps be in the damage on C10 at the end. It has this single beginning:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWofMTbe5J0Ve0tObw0atjDBrjrGMPyONXcMpQmD9dcrkdBoLr5o0IEt_S9S3gb_S5dBYAKyzOYHPjpTwmJo_YX8Ypt6L iW8edNSZZLZNiV_RtwVuLZPt9KKzXx0-FA1vIZpz3UH1C90/s200/a8.JPG


three entirely different texts:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw6BVhNFDB34XYpNXfO-CXGc8zxZCZDwDe2s_acEr0to2ZpwXU3VFL3HFpK1wp8zlJkbO6BUAxfmWfxxb1UZ61BZVQkjB_nzv_C2RUy7ks8ZtzimIHo36FB8 H05r8vTUgeoktbmtFP1oY/s200/a6.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxiJYIUe_YXR8JiVQca9vEdzlItrAvCHaRjDp_lPqQliNONvUfQN6d8Kdfa3xrf9MjCV0aXbgqxhj6Kh_gaACxQcJtTpL N_YjiQOSCxo4fxvvckpZBNX5yb8-eFdKxEaXLjaW9dmnamA/s200/a5.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCLMphMfOuLf0s6Y51Xuqo7q_2Y5fXqRPRAX-OW_El3Ru-_KvKGdWIZISWPZlecZxttHdkzN60cfv-_f_OtHhhqEBBPYM5RZEqgvo28x9qwAxJcLRX2msoPeKJosmNPPZmAE5ryDINPa4/s200/a4.JPG


and, so to speak, a U III "container":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj11TRtt_nxONEAJDBUfSFy2TePa0MRvfJROAr1dn8cOCFf3OSRIVKEBj0QrmD0lOYBmWBVxD2TVapYlhrbGL9mwQA8p-E_eFfh_gx0ZBx-y-N3EooU5ROIse30iTQLl5mWJxs3QMMaLK4/s200/a7.JPG



which chains to the only thing evoked from the script:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWzBL2q2aOFDGf4KHnWHUc3dc5ZmzMo5X7UWLB67pLuxwz84ZNtPb5BuUEV9PSctKFGz-A-EHYuy8t2eHV40mrsSNMH4cIiUMZwvl_EMVepzmBj2fEq9ZIkJrMlLIEjCmZz0kkKQaZPIA/s200/b10.JPG




In other words, if you ply the references, Double Bull is the only thing written/spoken by the plain texts.

Comparatively, the low-level animal makes two statements, without and with super-script at a 6 : 1 ratio:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHrLzFoyfO2NjY_c5hcFAsJmWB4AH-IUNkqb40LCkBxtKy3qsAYMqgHB_65V89yZRam7TYjPxbYkT1vLaF1gvXebg6csXTDsQneqIknBit8IK8ZHoQaEcaZ18XQCHGdGV4 KGLFnsXSqn8/s200/a1a.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8xr48wKmPMjPyTREnKgt5JyBzvM7krY2IWY7azlN0lpxeSMD3i5gnXL4wXCJweBGn4ZX2HgxChqxc88vYCKX81uJEYqzG dsNcqveYLaiF_bhLxD3heP4aogh79mztwBpO1owwWQe2Z-4/s200/a1b.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr6x89-iI5YQCudvTDHlaIr-zLh-eDzF5WNvFjFJJVMCj0wApFWKS2_BTCzCXQka0AMnE51F0dHIhxUWJ-1tc_NGgNhbNSpzRmmXuENjS0VTDk2k7ZZQiiQPlJS7cV5D6VhOiT5wnS2wY/s1600/a1atext.JPG


into a unique composite:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiioBv3tzfRlkHmER00rvGREsYrE2h1_V8A3hwswQanRioBG7o77soIrUWWsHv7N1w61-wM5vnr2Aco7UXZjlGcUug58SYsSA_4UQOpyyDI-cVQOxe6LbZqA3Bfun9kG0eh7jEswKhVfyI/s200/a2x.JPG


to palindromes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAyaUYJThu61HYjY1fSzkUVbD2mUEF8KjfeYTS4QmLYGb4yuGZoabcgOWXLnYbcyITVeyLuK7IQr6Q5UeCSXRTe0zgU64m 2DL2UCCZu4FdWvtliGh5hbKF7LO2Jk2wC-kMZhRWQxw5dBg/s200/c4a.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6Yw8jhzzEnGiXrXSIrqPJ_-6OzDIBJ6fZcokXV1KDtiR0BeKw_8VNEOAIm5q5BODYRKa_Mz_gbr-xx8EqgMSq7_tMs_8ewRu6rGcAmvZ6yQDjFtfhxxHZq_lnLfn3Zc8pEE6YfniaNU/s200/c4b.JPG


of the great glyph with tetragram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMMFhyy11yeDVqBf_hNU_LEnupcT7qEBRO1j-gRA-rFkuLPmKln_ZqHvsdSFBmx6iiT-VSjImP8NFF5S6QYAAGOEfKTekf3kooZwPFtr88BeTsxQ2ynaGngukLIkSlvksxDTjNGxk0ORM/s1600/c3.JPG


The tetragram was acquired from a Buffalo with Tiger text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPl7YqVD1aHhVoYr7wNJ1MY01csP2fc_NVCYsp67hAivGZO1vp70MkWvsQ2YCliMOkwmhbobwJrwrRtZhjkhQXtJ1FN_X1 NnY8fE3UMgcY4KHehKWObAevitZztaDKzJIlMHYrbzACPkY/s200/b4.JPG



That's a bit like Alpha and Omega. Under analysis, the Archer Deity text producing "Crab in fig tree" seems to be subordinate to the ultimate text of the special Mohenjo daro symbols. Therefor the subject is something more like "Rabbit Hunt" than the hunter, personally. In that case, there may be lunar messages of fortnights and quarters. In other words he is hunting the full moon through its phases. This would not be an anachronistic form of Astrology, but, a likely and expected topic to be found somewhere.

Do we see Bird-face Goddess here? Never. There is Winged Man, twice, but there certainly is no Person with Bow as if to objectify Archer Deity. It is mostly about Person with One, which leads to the Horn and Three Mountains.



And so it is possible to highlight those further annotations, but to do much more with these would take another post. Primarily we want to show the dynamics, which, I think, should be obvious by now. I don't really know a name for it, other than there are some obvious and some slightly obscure triple patterns throughout all this. It is congruent with the formulation of Sanskrit compounds, which typically express multiple meanings by the same words. I think it is like why there are two Wheels; one is not a copy of the other.



We will rely on this, heavily, like a stock standard, for the rest of the texts. For example, Rabbit Speech has the only Quadruped Rudiment here, in a particular kind of highlight:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYepAU32SncvKMjgar6vkJycXrFnhwgc7nHu2qv0wvLo9bhM8fNf-Zml9X9BdYj0c3bb9ntUPCcWUjeZO7XXL0KovABmbMgFGH4dqJiNuORISgvtplKwk2vU2td8sPnsbjAl9pwKwQUI/s1600/c2.JPG



That glyph is heavily evolved by Bird-face Goddess.




The engine behind the emergence of Flange-topped U is the englyphment of the Rhinoceros. Much like he appeared to get turned into a Swastika during the procession. Just as there is a Quadruped Rudiment here, he is a Quadruped. However, there are two, if not more, others.

Because of that, you can see how the Rhinoceros must be a specialist in explaining himself, which is why we will compile family trees for each animal. They have something like a dialect, wherein, apparently, *some* of it is mixed into the Copper Tablets, *while* they are pursuing their own formula.

These are non-Soma tablets where even the Unicorn has a trough, but the Rabbit is the only one that appears to be naturally munching on a bush.

The Scorpion was not considered a field symbol; it binds Winged Man into an Elephant text.





For a couple of these characteristic glyphs, from the concordance, Flanged "U" does not make any kind of normally-conjugated statement. It has a few numbers and does something with a Striped "Mallet" and that's it.


Chevron 54 moves from a leading to medial role. In fourteen cases, it has a peculiar affinity for "One" and plain Lozenge. It brings in its presumed relatives, Fat Chevron, Fish with Chevron, and Branch with Chevron. Its main use of the Branch is in attaching itself with one "Quote" to two "Wheels". Finally it is pushed to nearly the end of a text by two Grids.

In that way, it is more comfortable to suggest the Chevron is related to the figures that resemble it, than other cases which have more of a presumed nature. It has an "accent".




The text of the Copper Tablets has its own gist. It only has a Rake with Simple Endless Knot. There is no Straight Branch. This makes it correspond in a certain way to the statistically common pairs. If we trim them down to exclude numerals and redundancies, which pairs look like combined units of information? Here they are with the Copper Tablets' usage parenthetically noted:


Fish and "Rake" (A3a-b)

Two "Checkerboards" (repetitive)

Branch and "Mallet"

"Z" and Scorpion (tetragram)

Two kinds of Fish (Dog Rhinoceros B15-16)

Winged Man and "Rake"

Bent Branch and "Mallet" (A3b, C7)

Two kinds of Fish

"Bow with handle" and quadruped rudiment

Two kinds of Fish

"Rake" and Crab

Bird-Face Goddess and Bow with handle

"A" ligature


One might reason, text of the Copper Tablets gives us a look at certain fish families along with a select branch. The pairs that it is disinterested in are coherent elsewhere.


It may be about the Archer Deity, or, he may be a lesson stage, as the Large Copper Plates seem to be, while there is some ultimate goal that is script-only.



From doing this, we will see through lacunae and mistakes as variously reported.

Flanged U will inherently refute this infographic. It is an interesting idea, which is to take n-grams and then compare how they are augmented in other cities. And so we see this phrase from the Copper Tablets re-appears in Lothal, towards the end of a chart. The wrong adjustment was highlighted. That one was just made within the Copper Tablets. Lothal has added Bearer to it:

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig10_HTML.png




Its meaning is certainly not the "secret" of Mohenjo daro, but, something accessible to, and used by, others.

[shaberon]

Ivory Rods



These devices are similar to rulers about one to six inches long that work like cylinder seals. This is overlooked by saying India has nine steatite cylinders. These are in a league of their own.


We have already seen Ivory as an international receptacle of the Fish Eye design, however, in India, among the most valuable relics is something that may have had "ritualistic" purpose featuring ducks:

https://pbs.twimg.com/media/DSwYn0MUQAAYOk2.jpg




This enters the script one time, on M-1792 with Fish:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ppm9dmAiGyysvTrgCKubrwDN__Z7H83IJOS4bYG4Q_75Y-J9KpY8sXbQ-zWCVPWFNBEHv6yY_Y_aV4A90U5_JmccmnpEBeBWwm50VfeqpQ0v0pJE-Dxae2TT3uAHNeYXtXSCPZc__8o/s1600/m1792.jpg





The primary resource has only been around since 2019. Ivory Rods (https://tuhat.helsinki.fi/ws/portalfiles/portal/129602857/Parpola_A_2019_Inscriptions_incised_on_the_Harappan_bone_rods_Proceedings_of_EASAA_22.pdf) p. 2 is its concordance we shall transfer in as an image. There are twenty-six texts, again all of a "basic" nature.


There is a page (https://bharatkalyan97.blogspot.com/2020/12/ivory-rods-22-with-indus-script.html) that catches their first discovery in the 1930s, and, over time, the trove grew until it was submitted to Parpola for response. It gives us a few corresponding images, but not the whole thing.




Compared to the Copper Tablets, this would be a Branch haven.


"Straight Branch" (91) is particularly prominent on the rods; elsewhere it scales:

...the whole inscription consists of the sign no. 91 preceded by number 3 on
the unicorn seal M-179 and on the large zebu seal H-585, preceded by number 4 on the unicorn seal M-749,
preceded by the number 5 on the unicorn seal M-224, preceded by the number 6 on the unicorn seal M-178,
preceded by the number 7 on the unicorn seal M-673.


These have a Triple and Quaruple of it, and appear to culminate with it in a Striped Mountain statement.


As for independent texts and numerical layering, we mentioned this factor with reference to Bird-face Goddess, who invoked the rods by acquiring a trigram that has demonstrated that the same text may be marked with U II, III, or IIII. The difference among the rods is her presence.


This repeats itself with adding Comb to the common trigram Rake -- Fish -- Spear:

...the remaining part of the text no. 7 occurs on several
incised tablets from Harappa: H-938, H-939, H-1284 and H-2145 have VIIII on the reverse...in the tablets H-940, H-2147 and H-2148 the
reverse has the sign no. 41 (‘a [kneeling] man holding a pot’)...

...with "U and Four" in H-1284 ...



These clearly deal with some kind of outbound information, some of which is enumerated by U, or, by two kinds of branches.



In several of its texts, one could rapidly say that Comb is a favorite subject here. Curiously, parallel to the main U IIII tablet with Endless Knot and Tree, Text 12 inverts the trend of the collection by excluding "Comb" or by changing it/replacing it with "Bearer".

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggKOs63u6xImKl4BUbcWJRpmAkVxr5mre0GwGxL1EOlGKH7CeP0dj3l0RiTN_QeRz-9ZVJRjyCSV7K_MdAS4faf7mFxG-QVPbe1R-HBTeRspg3z_c6oA4ZeN2nxZ-lsaFu-GjbceRty5km/s1600/iv32.JPG



Error in the standardized format shows "III".



You see an abundance of Combs, and evidence of the same kind of patterning from the Copper Tablets.


The major basis of "duality" is unearthed by none less than Parpola himself from Text 4:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_mtxb2G9OeD3t3yCz0JHtsimaCleYrmE11y_VF1lK_1mi_NPIyX8T-dceiD30PF82mAV0KO7H45NUHeVPUDlYGW7oaMpjtf5lyTyM0UqG_XUig7fCrcOTl4GtcKR49k9gQGewEDa-fmP/s1600/iv27.jpg



The text no. 4 (M-1651 and M-2106) has an exact
counterpart on one side of the rare large type of
tablet from Mohenjo-daro (M-483, M-484, M-2030:
in these tablets the other side has another rather
long text); it also occurs on one of the three sides
of the prismatic moulded tablet M-492, where the
two other sides depict buffalo-spearing, and two
bison bulls opposing each other besides a two-sign
inscription (the two fighting bisons and the same
two-sign inscription constitute the face of the stamp
seal M-1367, which represents a very unusual type).

This text no. 4 begins with one of the ‘fish’ signs, no. 72, which also begins the text no. 5 (M-2107 and M-2108).


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpng0oG7yyfWGSGL5CCneIcaR_sRTC7ZQeRx8frodz-b402fME4gThHJbKBaPeJQRU_4smcIi631HIJTyCb-gFt5vfZFDmTan3qSajqXi0BtlgEs9Reqsn1VnqNUzOnb1OVicfc8MiyR_D/s1600/iv36.JPG


Excepting this initial sign, the remaining part of the text no. 5 has an exact counterpart in the moulded
tablet H-1151 from Harappa, the reverse side of which depicts a sacred tree, as well as in the moulded tablet
H-875, which on its other side parallels the final four signs of the rod text no. 1. Without the final comblike sign no. 107, the
text of these two moulded tablets occurs on many incised tablets, the reverse sides of
which have VIII (e.g. H-326, H-924 and H-925).


Labyrinthine, it interlaces the narrative scenes with some kind of tiered trigram progression.

That is, he sees the duality of Texts 4 and 5 sharing a few glyphs, but implying different supporting material.

This is in a crude condition, so, we will assess what to update into this post (individual text images and tablet comparisons), or, use in other areas, in order to see these vignettes.


https://projectavalon.net/forum4/attachment.php?attachmentid=55793&thumb=1&d=1756432148


At a glance, duality is riven fractal-like throughout the Ivory Rods:

Text 1 is an extension of Text 2.

Text 3 bridges together 1 & 2 with 4 & 5.

Text 9 is an extension of Text 10.

Text 13 is an extension of Text 14.

So is 20 to 21, and 22 to 23.

26 extends 22 and appears to end the process with "Branch and Striped Mountain".

With what is available, it would seem to "begin" on Three Triangles (H-1016), and employ at least some of the "triplicate" process demonstrated by the copper tablets. The first and last groups rather clearly. In ivory, the reading adventure goes from Three Triangles to Striped Mountain.

Or, to Quadruple Branch.



None of that was what brought me here. It was searching for instances of One and Crocodile.


This took a moment to become understandable, but, in an Ivory Rods text, One is a parallel for Crocodile from common tablets:


The last three signs occur frequently in the incised tablets which have the image of
a crocodile of the reverse (H-287 and others), but these cannot really be compared, since the sign no. 213
always starting the four-sign text in these tablets is essential.



That doesn't make sense. Of course they can be compared. The same trigrams exist with or without One. It's optional. I would suggest that's because it rolls out a type of blanket introduction which is temporary and replaceable.

If I tried to make the radical assertion that One is the Crocodile as far as the Ivory Rods are concerned, it would no longer matter, because it isn't used again. And so we might simply consider if one of its shorter texts is like a pronoun.


Text 10:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA62l0UfZFWXO6YBKjCWKkD0dKT2GeI2RJ5p_DgqHqpMuut3S2-gRZBVBmF0qamU2YSmHNy3NnN5iUYWFXqrhvHMYfLMACbHc2QHPk21BZdhuia4fbeca3tHDIvsW-g7td9BwfhVefe23z/s1600/iv29.jpg



H-879:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2m3OkDpoCuSm4vwIxKLgKev3rBIQCij9KUBWcocQDnIdnUcuD_DIaoNoCl2u6T_S4zUN55o_GgS16czXoRlXxLlDf8wJo hOIaXpV3L0XCeGPsCFUkaBD1LrlbWEfdCwkemcfIeKzdZ_w/s1600/H879A.jpg



That is the real Crocodile glyph, which is arguably Rotated Tau.


When this association with One is made, it is replaced by Two in the kindred text. Again it is buggy. Here is the error in Text 9 that extends "Crocodilian" in the Ivory Rods:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9k_qPXsV2p_Y1b2_XvGUA3JXZIrbp4p-kzEEDIhIvr1dVkcXoB7F1p-a2m6kJTBISnMim6DUO-zNRufHVqycqTdT-IxEVJvWTs_Wa922kzE3hsOjShGOtkbYlQSEd9_ME034GdOTwmhxj/s1600/iv6.jpg


The number should be nine, and, it should also have the slanted/wavy effect:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIbxlNR02DJoUq_ESqzTZBZV9MN8iFmb9FEhUce9e5m75AdmRjd19F6txQdI7VPkZqqSIA6RjItuJAW8O8Gnw8Pm4BiaIq fu2y_OcbSzjSSAFgSq4KhQdBGjFqpBiIDtJIGptNucyVuGjX/s320/iv3.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxJSnjktu75YH7mQS8Jlx6WzgVGa6ctGgmlSY4W8YEVLcM-PPT9IHJNSudUpPPL6qXjpRxBGb1GyRVPHiho3LtiZoUTsfbXgbfNKJTK0bZIQeQeh-gfHoGOKXG6VbbVtCw18Xt9FhbMIbb/s1600/iv4.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIbxlNR02DJoUq_ESqzTZBZV9MN8iFmb9FEhUce9e5m75AdmRjd19F6txQdI7VPkZqqSIA6RjItuJAW8O8Gnw8Pm4BiaIq fu2y_OcbSzjSSAFgSq4KhQdBGjFqpBiIDtJIGptNucyVuGjX/s1600/iv3.jpg





In the sense that One or Crocodile is portable or replaceable, Texts 9 and 10 land right in the middle of this positional chart, adding Comb:

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig23_HTML.png?as=webp






The version of Text 10 has few instances, but the format with Gharial is a dozen or more. Bird-face Goddess's Text 14 is considerably more than that. It's literally invasive to the corpus like a vine.




It is H-879 to 882 that have Gharial backed by "Comb", "U-shaped symbol", "Branch-tipped U", and Rotating Tau.

The text increases on H-912 by Branch and Fish, backed by U IIII and Fish.

This is how Parpola previously commented the relevant group:


On several two-, three- or four-sided
Indus tablets, the plain ‘fish’ sign occurs alone on one side
(H-288; H-350; H-366; H-849 to H -851; H-884; H-885; H-973;
H-976; H-977), as does the picture of an alligator on one side of
other similar tablets (H-287; H-846 to H-848; H-879 to H-883;
H-974; H-975). In some cases the other sides of these ‘fish’
(H-973) and ‘alligator’ (H-827) tablets share identical
inscriptions.



Just to verify again, that last bit is a typo, it being H-287 with the Crocodile tetragram.

H-973 is chipped and unclear it is a true match, and no other suggestions were made. He is trying to say the same tetragram is with Fish. I'm not sure that bears out.


If I follow the likely dualized statement in the Ivory Rods proceeding to Two, they won't help me. They have no other Twos and no obvious sign of porting something from elsewhere.


It seems to me like we're trying to pawn sacrifice a glyph, and distribute the meaning of "Sky Crocodile" wherever it needs to go. It is like a continuous flow of Texts 7, 8, and 9 have crashed into the crocodile. It is something like Comb replaces Person with U, and then the Crab comes out. You get a Crab, Striped Fish, and possibly Rain ramming into the Crocodile text, or, what may be a polite pronoun thereof.


If Text 6 were removed, the rest of the first fourteen would look like a related family. It's not insignificant:

The text no. 6 (M-2086 and M-2102) recurs in the last three signs of the six-sign text on one side of the
large moulded and twisted tablet M-1424 (the reverse shows the image of a bison feeding from a manger
and a different text of four signs).


If anything, it somewhat resembles the subsequent Text 15. If shifted to that area, the texts separate into two halves of thirteen.


The back half makes it obvious this is a Branch subject, and then we will notice it lacks any "Mallet and Branch" statement. It just has Caged Mallet one time. Otherwise that common glyph is not involved. On the other hand, Texts 7 and 8 show a transition to Caged Fish. That is to say, the only Rakes are found here, followed by Fish, varied by the Cage marks.

This would seem to fall in between those two texts on Tablet Rsr-1:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhizbMpLmHIRw8IgekY6dskUtS97nG4V2pL8LZon6npO1dqyPoFjSTiQxlh46V-fbmKWb4gkwlt4mWKKlCqyiCGqLILnzSqHi7qKmYIO5m46TBYHGj7qpBSGRKgqY7iTNl0xkd9nZPw83Y/s1600/Rpr1A.jpg


Also, the Spear having been involved, prompts this question of Cage marks on Unicorn B-3:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgodhqRmgIjdS8an9EgpHIgkc3D_fszimhMm1aSKuMq_QWC-4PmE_b9Ky3GyIx5gbkiurOhoUkQ4DokELXeqa2Y7cnjwerwGemibf51bX-3rnZpPOYk0yfC5V_6MYFxNw8H09Waq4xRO4Ke/s200/B3a.jpg



We are trying to hone in on what those four ticks mean or do. Somehow, what is in the Ivory Rods, must be compatible with these external referents. At the beginning, we said this Text 7 was a common trigram from the tablets. By this point, it's three progressive texts and a Crocodile pronoun. I suppose it is more like Crocodile blends with two texts, and the longer Text 9 is the result. Neglecting punctuation makes this the largest text present. Despite the overall fluffy look on these, this is the only one to have this kind of a "stacked, rainy" number.

From what I have seen throughout the seals, Nine under Sky is the thing that most looks like rain.

I would expect the Crocodile is being re-purposed into this Two statement, which adds Belted Fish or Fish with slash.


Now if you want to keep him at bay, we can just say the Ivory Rods are based on three common trigrams, one of which is also used by Crocodile throughout the realm, another by Bird-face Goddess specially here, and the third ending on Comb.


The Copper Tablets might be invoked right from Text 1 with "))".

It is far more heavily skewed towards the visual prisms.

They have parameters, such as U-shaped symbol ends a text only one time, because it is always followed by Comb. It lacks Mallet and Branch, which has the ability to permute this again.






Until updating, here is a design that continues to proliferate.

Ivory Cube M-1654:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht4fLiQ6WWliaHaytnTRL4grF_pYcnJigIxiVa0JSl19AzicHtGCX8QK-JjGN9cAjh8qufIk_WqH0smccbLnTZGPk0Rckg2aXaXQo1Q5S4dGTDA1uc-v5n4uXAWfKRdI1Vd0Iua9kLtKQB/s1600/iv21.jpg

[shaberon]

Donkey



This shifted my attention for a few reasons.

First of all there was very little "wheel" that had to do with the early spread of trade. We are talking about a limited number of mountain passes through terrain that is still considered inaccessible today. And although there might be slightly different varieties in different regions, a donkey would have been the pack animal from time immemorial through any kind of Tin Road archetype, not to be replaced by camels and horses until about 2,000 or, that is, *after* IVC script as a canon.


That means the most mundane animal recognizable to any foreigners is inculcated into a milieu of "exotic" species, and imaginary ones.

Also, it has not been taken seriously in the newer publications on iconography and animals, etc., I suppose because it is less abundant and lacks glamor appeal and just doesn't receive any interest. This seems to me backwards, because, if anything, he would probably be talking about the most common and easily expressed things.

And yes, he will bear this out, in a curious way.

He has earned a place in the seals as Kanmer Wild Ass (http://bharatkalyan97.blogspot.com/2019/10/gola-dhoro-shikarpur-khirsara-kanmer.html):


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyYNibD3UHzAkHBKakER6GW49ABOtpitICEnDDL9PqrTpHsnSBIEvZ7F_cB5BhFpjO4Qfw8W_ASBkYrwln3GxWD2sBHgeL El1i1S-4wLArFZDaZp6Qr97OxybU2RBqAt2DsUgVYN5h4Kc/s1600/onager5.JPG


Here we are in Gujarat and find one of the simplest pairings of glyphs.

One is weak, there is not much about One, to find it we have to specifically sniff it out, and there we go. He has it with Spear. We just found Spear involved with trigrams in sort of a counterpart way to Comb. It has just become fundamentally closest to Donkey. Something here must be mandatory to impute meaning into the trigrams and so on. He seems a bit like Prime Motion.

What is also interesting is, just like the character leaves the visual field and enters the script, we can watch his neighborhood grow.


Kanmer is a quite small site, not much more than 100m per side, which was all workshop. Kanmer is about 20km from agate mines.

The Kanmer mound is 8m high and visible from distance, but, from Archeobotany (https://www.researchgate.net/publication/230734615_Archaeobotany_and_archaeology_at_Kanmer_a_Harappan_site_in_Kachchh_Gujarat_Evidence_for_ad aptation_in_response_to_climatic_variability):


The Early Harappan (KMR-I) cultural deposit is found resting directly on the bedrock in the central part and on a 15 cm thick deposit of virgin soil in the western part.


It's almost crisply definable. The "Early" era had 90% barley production, and the "Mature" phase is marked by dual-cropping mixed varieties in winter and summer. The "Late" period shows a decline in barley. It's not a stone age refuge; the earliest charcoal deposits get to around 3,300, so it starts with and matches the "IVC periods" in near-textbook fashion.

Nothing unusual is found; it is in the quandary about how Gangetic rice spread westward around 3,000. And it is apparent that cotton was in great favor.

It probably was riverine and experienced a much more favorable climate than now. There are, for example, antelope remains, which require this habitat. And it seems to be finished or abandoned by 1,600.


Although that place was already in existence, all the growth was at other sites. Its neighbor Khirsara is twice its size and has seals of Unicorn and Bison (http://www.archeolog-home.com/pages/content/khirsara-inde.html), but is younger, ca. 2,600.

"roughly trapezoid in shape"


It looks like Donkey goes on a journey to Khirsara tablet:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEggRSo604O8q_XlcdQG3fUapWkPPlbMSQ3HSEXUQ0dIjrwRGqbKuHEupRGdNrC9x2gCoNPoeAJ5YyIHBAaVH95y4kYSA 1SezVKYpHHGcGGul_ZuyVAoKA_GIyJ8CLhoU8MfTLXmmQdc/s1600/khirsara.JPG




In part of that, we find something that looks like a disassembled Spear, with an assembled Donkey.

That is why, it seems to me, in terms of the script, you start with something skeletal, rudimentary, which for example could wind up with Markhor horns and be an obviously different glyph.

That one is exactly a "quadruped rudiment" with some details attached.








Kanmer's trove is quite small; it has multiple tokens that place it as an extension of Mohenjo daro Elephant:

https://www.harappa.com/sites/default/files/passports.jpg

https://media.springernature.com/lw78/springer-static/image/art%3A10.1057%2Fs41599-023-02320-7/MediaObjects/41599_2023_2320_Figfi_HTML.png




The "amulets" are formed by a seal impression, but, the reverses are low-quality scratched inscriptions, and all three are different.


It has its own animal; it has one Unicorn that quotes Elephant, both by adding One to another glyph. Those happen to be the significant indicator glyphs of some kind of semantic operation, that allows the order of script to change. It's statistically very significant.





Another broken Kanmer Unicorn reads:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaP2GF0-mTg9hcIh_xsLvzZbCYvffXkiGtSqRgePT_eX6SDzU3m39Nd6yzapn_jlvtj_oGIYcX2HAKU0D7jfKB8RxqNTeir7ug8pUgd5CjLr B_FJi0nV9y6GmmekI1dLLD3gw5Ex4hlvs/s1600/ScreenShot1454.bmp



comparable to H-156:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdvjqFiJ3vbjq20eQIMZBm36hYx6okX9BKFdz0fepxfIxYfjSQyeEG5mAu3AAZg_qkCImIynUSGYV6mgTD7cVfoXTcS7Ec PS7cTWKXAIPnSIHUBeI3V4wgLiU3r1DyxEqxy9eYSuial6U/s1600/ScreenShot1450.bmp



He's practically done. There's no family tree. Limited companions.

It is not just Spear and Quadruped Rudiment that Donkey brings our attention to; he may also qualify as Sky Donkey by remaining an image.


In this comparative chart, we see that Branch is almost always considered vegetative. Here, this author seems to think Bent Branch is a tail. We might ask if it could be both tail and branch. The main point here is that the Donkey enters the script on M-1097 in the lower right, giving us pause to wonder about "picture or glyph":

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-023-02320-7/MediaObjects/41599_2023_2320_Fig9_HTML.png?as=webp




Yes, it is with the hand-like Lambda, as replicated on M-408 above it.


From that moment, he becomes more and more glyph-like.



Schematic variants of the Indus script sign 46 (in the sign list of Parpola 1994: 70-78) (from CISI 1-2)."...the ass and the rhinoceros. These two animals are associated with each other also in the copper tablets of Mohenjodaro. Identical inscription on the obverse links the Indus sign depicting the wild ass on the reverse of the tablets M-516 (see Figure 13 c-d) and M-517 with the rhinoceros illustrated on the reverse of the tablet M-1481."


What he's trying to do is force this to be a Donkey:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJzBKpKvP4ycDiZCUwpHEuGnueydNdDazR3dKf08C2W7oySoth2PLO7ucC6o5Ahb3xssZ5SXhC8k39rfmHf-XHTLDrGhjJSWEsQV960TfByXeA3JuwbS8NE0_RPwdKZCyuVzf7ST_aukk/s1600/a11x.JPG


whereas the Copper Tablets identify it to Rhinoceros. They have something almost identical for a Bull. My thinking would be that a frame is being filled differently.


As nominally his own glyph, these are the "variants":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUBiw7KV458bpXFivZl6-Z4u1w1-8cMSBmRwoCZtLVUQjrMC0Z-vRqKY1Nnjc9l4-1e7qm0pcGNwe9gf5W2emYGdlAlBdvBy6Z_rrvnKM8cUOVi7puMfXPBKCMMvMd7D6DvQhAOPSIlnQ/s1600/onager4.JPG




There is a quadruped glyph with chevron or flat "horns", which doesn't make much sense, unless they are ears. It "matches" Rhinoceros and then is "absorbed" by Bull text outside of here. But the Donkey probably has the normal or realistic ears.

So the onager may be performing as an "alternate rhinoceros" in Kanmer. Or is more or less a beginning of it. The point again is that Rhinoceros repeats this process at an intermediate level, and also vanishes. And yes, they have similar ears, that is part of the subtlety. That is, when realistically drawn, the ears may be the only thing on a Rhinoceros that resembles other species.


Naturalistic variants of the Indus script sign 46 (in the sign list of Parpola 1994: 70-78) (from CISI 1-3/1). This is comparable to Signs 182 to 184 (including variants) of Mahadevan ASI 1977 Signlist Concordance.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYq-_kPUmC55NBm-elyXlDCAqcRPCJ8heHZ60zfyYjvrK5PnFywtBqOHTQ3M4ifUqMX1y1_kI0NpBAYfICScMbcoSJRlOWhsTLHBB8tYjXv_iI3Ngdqg uaPtNVQsBl6Jouny6yFR8y9FY/s1600/onager3.JPG



It's never completely identical?

"Handwriting".


The IM77 concordance only lists him as sign 50 eight times, inside the three shorter texts, beginning the five longer ones.

That makes the Khirsara tablet somewhat anomalous, although he is also beside a singleton of four Stacked Bangles. Everywhere else they are three.



Other animals face a Spear, but, I am unaware of another that uses it as low-level script like the Donkey.

It's a newish find that hasn't been part of anything, and it would appear to be an "entering wedge". It may fall into perspective when we complete the ring of animals featuring basic pairs or single glyphs. It's very much like he just says "Spear" and hands it off to everyone else. I'm trying to resist the temptation to say it's literally a directional arrow, except there is no good reason to say why they would not use arrows as pointers. But the shape could just be a Triangle on One.




These are other examples of scripted Donkeys.

Tablet H-1934A:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Lh4z1KGyAKLKXDUs0sUF5MEtvu2NqKUifONPAIBoHz26REn_9EvVcSnludN_-6q6As_BSufI7lyX8ZjTKAsx0iJSK68IXx4RMWfYGQhUJBbdAgylcNji8j0riuJzK6RSm2Hy36Irwp18/s1600/H1934Aquadruped.bmp



damaged M-120:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9yWhv0rtHr0KQzm3NglrMSm-5Pv_SUFLf1pUTkWW-BA74TkHX8vZhNdZTT68k79JF9_1s0iLRHaFY7x1eiqrkrk5tvtsumUiVFQXyuErRWkA9I1gefaAwaWBH_NKg2pF-Ysp1JE1g0Fc/s1600/M120.jpg



Tiger M-290 by a trough with Leg, Donkey, Comb

[shaberon]

Ibex



This is another animal that is not very replete in the scripts, nor does it have an ongoing adventure in the scenes. But we found among possibly the first painted pottery of this kind. It most definitely was significant in Iran for centuries, or thousands of years, prior to IVC. Yet they themselves lost it, and now we surmise things like it was probably the herald of the rainy season. It's not quite possible to say there was some specific Iranian meaning, and we are just left with India probably changed it somewhat.

He is not elaborate, but he really does have a solid low-level existence.


Kalibangan:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSj5T6SL883Z6bOZFd8lCeNdwf68UNRjnH-kqC2hcpn_h5OOtuZweG3SFBQrrk7uyP5zUAhfs47MctLHJD21tW1OVu4yHviiRyveEgwyk9bPjs8cv1_PYnk0B96LuSzLsl_zyfo zL7toM/s320/lothalibex.jpg



Iranian and Indian Goats are almost interchangeable:


Kalibangan (K-34 and K-37) depict a goat (ibex or markhor) with no inscription. Instead, they have a fish in the space in front of field symbol.

Markhor B-10 faces a Branch with "Seven" over him; Ibex B-12 faces "Seven" with a Branch over him.



Well, at the very least, Fish is a very important basic glyph that frequently accompanies Spear. This would already make one of the most important basic pairs in the entire corpus.


The next thing that seems peculiar is that the seals do not have anything prominently solar. You expect to find this, in any kind of writing or culture I suppose, and it is the main subject of Sanskrit in its earliest known form.

Dholavira with Fish Eye - or - Sun:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja_P8Vl4Mv1AV4H0QjxwBa4LDccliXDXzUdr6Y01-sMsN6xx490iNbRaNFbz2mXXhX-x_GVJiMLmB1axsFaaIMGQDVTHUG_D0VALJTKU0ibK0ueX2IR6IcIimH6lbuR8QsZ0bNybW_3UyQ/w200-h191/ScreenShot586.jpg



Looking towards Circled Cross singleton M-272:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEEvm8D3P2Tv34G8w_F-rXmyysFj4ML4h-PvE9A3uzB8bH_XVPhbYDDSpfXDf6o0RnT9m5SEvkv_j0KZo83c20Mf6L6uoTlPhzwsGwicoeyFPvB8_WpQwpqEVaweITU7jUAWnF ZPTEEZg/s0/Pict-34.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNogpuwLssWvtTUy9hfLxI5rA4kVtFCWQQGZPF86p4S-DPR8bXaq3LhfQODRiGXjX2t0YptiOr-q9OFdjauFH2dPqHQBbc1Zeu9iCoePXwOXxCjcHBvp0oYGmVB_-IjPJ7_rdIYFF8tJUI/s1600/M272.jpg


It's nearly hopeless. That is actually one of the most common symbols from pre-history on multiple continents, and, in most of those places when meanings are deduced, it means something different. It looks like it might be the Indian sun, and then this common symbol goes extinct.

If it was similar to Sanskrit, it would have different names. This is a bit like saying "physical orb of the sun" and then contrast it with different properties, such as "drinking water" and so forth.

Cholistan:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Jn_PbXyTndWPFF4gwdqyDB8HQ56l5D3uCpkGhgbseMJL9_xzVHd1H6zot_uqQW9jZXI0JBIwLAEy7nvFR05qJMB9VYTH hoWukk4Lk7fkCPvR8eKqx0KZaSA4cu5RFTvxUeQRsTb6vMw/



I don't really know if that means a singleton has been re-glyphed. The most definite thing I would say is the creature is identified by the shape of its horns. So it is perhaps the basis for a Fake Unicorn:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz_f87IW1Fj85Q1PN_wPRF7fPaIZu7EmKdMvhzdJ49ZWFtMPKDa3yGuhUBUcXZSvVOp4g7VbWb2jwR0K7pQ6SEQfUTTeLi BZ-wsTYpUcDMsNIj1rxdk8B2dqoYBlwsXYhsXfcn4h7Dx10/s0/Pict-38.jpg


That is again more or less commensurate with Pipal again being an Iranic antecedent and Sanskrit may be a voluntary response to it.

There are several ways in which the Unicorn is drawn improperly, as a composite, or perhaps different creature; one of them is as if Ibex horns bent forwards, similar to the above.

Along with Rhinoceros and Elephant, it has at least one use of The Object on its own, dawn-like from Lothal with Asterisk and Soma Filter L-48:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-v92jTtWAoTcyB0OtPoBh6nI7kLhsbkRMzEeO2MWTruCm-DTNzDf9vNfkfCdA9fI5NvfXPcNVqM4st5C96UUD5g5sRYzDgPzIf91XD7bdITZbRhEQaME7keBuVHxHR984RMavg47WZNY/s0/Pict-35.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe2_WQsbPlrCKeBAo1Sn86_grwRXqL_hdTQZgyAE2AdN9xWQqEdOv0ixMgNgD0NvkdqbG9yb4mNWl5rEA_sq7MltxQeoUQ D1GHxK8f3QzR1awhGK-QNyxKtgDCV5WLFr2rTE71l_O59Jw/s320/L48.jpg




And we get to something fairly intricate from Chanhu daro C-23:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpMGc95bPbgGsL_Jdc1zOmyLnLcrYaE-uQXgQg6XmKrV3W72Ipvz-v5wURXKMYzU84pBpyH687qfP2jz8stpENdQABqzlny8d1bjb2SIlqyzExCKbsWF8CIrJH8Am7vp5iFW0vLk-CHLbh/s1600/C23+%25282%2529.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtux-4vktwZafCnKXE1Ztb3YDipN15iJcKDDbkn0GAtVm7ALs16qDb3QPyhrBQo1LNEKtmlODrYkVxp22zyE75Dx5z7VEgL-VTcEJJHcKyh9JXtWdsHmsNB_7xVuLLK5AVOkB5cyONKs0/s0/Pict-36.jpg



The thing we want to be Person with Bow is so unrealistic, it looks backwards.

And, this has its own glyph which is repeated, "Pipal with Ears".

He is looking at Shield shape, directly above Person with two Bows, which is even less realistic, and then there is the unit of grammar, Notched Enclosure or Ratti Seed, except it hasn't got the Quotes. Whether that means those "Arrows" become the Quotes, maybe; this glyph is not seen again, and it is not very easy for me to say this is about someone shooting a goat. I would think they might be communicating with or through it, and this is probably the main exemplar of the unrealistic "weapon".

The text begins with a symbol I call Neptune, which is used in the genre that raises Three Mountains.

Those people have got their Feet, which is like a privilege or something.



He is also on a famous seal, at the feet of yogin M-304:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyg7wJIKVQK-sUDAp2jv_d_mz5a2bkSKk8kpZBoUwzUJVnHnlpruysJtfQ7R36yfCU6z7U82on9Q2PDP6x9CctIbHadQ_p9Wi3aUgwBb7q9txlhX v2Yv5wXxpnIXcoG4N9c3CH51lYkMM/s1600/haystack.jpg



From that point, it's not hard for me, at least, to mnemonic them as Aryaman and Mitra.

I don't know if it "says that", or if they "are", but it seems superficially ok in the common ground of Avestan and Sanskrit.

In terms of the script, it would probably require more transmuted meanings, although it is correct that the Rg Veda does not give more than eight Adityas. The idea of twelve or one per month is perhaps from the late Atharva Veda, but does not seem appropriate for earlier times. Three, five, or six might not be unreasonable, but if so, they leave no clues such as the Ibex appears to hold.

[shaberon]

Markhor



This is an Indian goat that would have to be considered a "twist" to its graphic precursors.

From the opening post, we found this is a bit obscured, while it is the backbone of cultural continuity starting at Kunal, in a way that is considerably prior to the seals and script:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_vjHOQqQWa1a1peMcYeNYjTDhbms-5sP1me5caiaba3tISCKjza9-B2UuRwGeYz5IPnLA4Y1VB6rVgpDCgPwLYzlrkwD7oEIQzYHIIEhjCVzL-pCbJB2oAX8MJcJ5zuZLOEgDOqCC846T4ds56hf0HFivLZF5sjPPJXFqi8PVng0sQdKyZ_CDarih/s1280/Slide5.JPG



The Blackbuck also has twisted horns, so, in itself that is not really enough to distinguish if it is a Markhor. Of course, it seems to be the shape that is of significance, and because this is uncommonly shared between a limited number of species, they may be treated the same. In any case, we need to be careful with older works, where reviewers have tossed around "antelope" and "goat" as if they were the geneticists, and just caused some confusion.


The above is, so far, the oldest cultural artifact of its kind. Moving on to the second one, next it involves Rotating Tau and Frog at Rehman Dheri ca. 3,300:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK2Cv4YC_zhdfBX5cYEVaVE4IwFwPjCQUsWcKjBmN-vq9Mh_40kUF8jRlN-qmfubX-AHH-4ts4pmaaxp7bikgVT8q-pgnZh2WkVdmlze-f8VoBfxs3cH_ezVen5dfxZAb0YKW5MP8ISg0/s320/scorpion+4.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicws3x360zrGytuEz2nigI128BQgaedkm3BZ87byxahRl66tMqLKgUvMDKK0ZmCt1NB2dEXEgK2MqGfb5WZr_l1RcjisXY wJupfHO8NYnyJ_ji3j8d3Ib6uugDiSwAEM41PwXEjfuq3_sj/s1600/rd.jpg



Although it still does not really look like Indus script, those two symbols I mentioned quite possibly are the basis of it.

However one supposedly has to wait centuries before that could be asserted.

Progressing through the limited amount of evidences for this early age, we again run into the similarity on the third artifact, which was also obscured by digressive remarks.

We were originally told at Binjor ca. 3,000:


On the back side in the amulet, a goat, a calf and a jackal are shown...

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEighyphenhyphenAcoSKC9HRizmFsiiUruZkxHsK7oCzKATK__AQy5m3gu0QR7rdadWn0GZnSHrXEpITLGAieGpwuseruC5 1oOf62Klfyf4okGk41ZP9tJWevyc8f0nGOZpDhg_PCtIdUp_TCMlPlGIlZ/s590/binjor39.jpg


What? That's actually two mysteries.

The vertical animal is immediately detectable as something that is found in the script and has been called a "squirrel" among other things. But that's the form of it.

One could argue the Rehman Dheri design is slender like an antelope, and this one is stocky like a goat.

Otherwise, the figures are a bit imprecise to specifically identify as they stand.

Upon further reflection, from a small number of Banawali seals, it may be that an Antelope is distinguishable by upright horns, with those for Markhor being nearly horizontal or similar to the "wings". If so, the Antelope is very nearly limited to B-11 facing Branch and B-8 under U-shaped symbol and Lambda.



So, of the very little from India that approximates the older and larger craft development in Iran, these are the examples. There is something else weird, difficult to explain, found around the last image:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMO38cYAzNw84sh01twof7VCalm26gB2_O4Pz3E5vdA_AB3ia2FDsg9V_ruNAfDJkwVvQ6aKRPA3RpO9TSbXFhWyDW9JhR zvpuIGMsfMeIjFCItn6Ww04uTxYIYEF89UarJPm-Dxd8ZqzXM6lUvJdZK467ZNrjnhiEHfRVh4EYBKnTM4kj6pK4u5qZXw/s1280/Slide2.JPG




Then there is a pivot. Something happened to both Mehrgarh and Kalibangan around 2,600, and the revival came from the Indian side represented by the culture emanating through those relics, and the script matures into, currently, a puzzle.



What does this Goat or Markhor do for his low-level basic associations. Conversations Facing Glyphs is an excellent headstart, while it of course ignores "dorsal" script, which relegates us to manual hunting for that. In some cases, these have a value of Zero or, that is, with no additional text in the upper region.

In the saga of animals, Branch is somewhat ubiquitous. Many different kinds of species face this glyph. The simplest meaning would seem to be vegetation as food. I don't think I've seen an argument that it's not supposed to be a plant, and I don't personally see anything that would make me think otherwise. One might say a trough is domesticated, a plant is wild, but even that is not necessarily the case. However, we might suggest it scales through vegetation, so that it is equally capable of suggesting a flower as it might a tree.


Does it actually show some kind of trend here, yes.

The Goat has K-34 Fish and B-11 Rake. This suggests a different track from Ibex, Fake and Real Unicorns, which use Fish and Spear.

That has to do with the basic trigram series. Something is slipping around between Fish, Spear, Rake, and Comb. We will get back to this when studying the script statistically. But it is apparent from their points of origin.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPUgBr0xli05Mg8UE7O0J76YVAiOCriVqoyzWS3yx5AmAWklbw0kqCzWxrUDTxXu1XidmZ5wlYZWJXr4MqAmyxcsTdfvX0 w341aNw7rkRWf-ZZhfza4X3vFaC-38U5QdpaXgvsQzNhIv4/


We find another kind of reversal between them. There is an Ibex facing Branch with Six over him -- but this changes when we go up a notch.


Markhor B-10:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZKSuoCSYUsUo8tqGE1Zsvoo_61IsgZ0rZyoLrtJKWIc5n1EWPcK-_xFZF1cqeBrK8r8Gj9p7pO_V1lHah-nHdP8hCFapxKePzazMABdlYdurU5UCC8cnBY9HHWygFvZ5IlpxVOfu_K0b4/s1600/B10No7.jpg





Ibex B-12:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEzl3jkczkD3Ar50z3ikaYWDIbPncMrs4jwm_WtdbP4X5qKGMlxSW0hCdutWPuxvaK107cD97GxTBBGJ720Yb1PhCNDlfp kEQcdNRMBYdt-p5X7CNQ78XLLgahXclk45mwXT8Vz_yxCoPN/s1600/B12No7.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimHfSztWu7wOM-Al9taB0MR9P14xzD6vGmnLnFy8VHE7YSd2P-VOTonCNMslAh3FsI2EiiVr_GM8G0udFwUnc65LFlV9td5BuqSy_8hlZ2hZeGKSBlQS0QF2P4_38YgOWoH0Q7vUayw480/s1600/bw12.jpg



Arguably, it is a realistic Sky Branch picture rather than a glyph. That again would have its furtherences in the conversations. This rather clear polarity of Seven is not imitated by other numbers, there is nothing to this until we can say, those two are just like left and right, or up and down, or maybe seed and harvest, but some kind of directionality seems to be happening.





So far, we found two different scenes that include two goats surrounding a tree. This, itself, also faces the script, with one Goat at a Tree followed by Pipal Leaf and U or U-shaped symbol on M-1430:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYlPuOSGTRbiAb0Fni09h7Q6SHUtKHElfntQujQbTUHf-TrjtN4Rl6VpEBSlPu_iJZgw9fN4arPpyCad5rPH_UThRAWvFDIjtp0IH96rUNbUsfX6z3A-76Ur1ukwqGSlOFi2JVKRksreg/s522/m1430Colour.jpg


The plain text at the bottom is not part of it. There does seem to be a Pipal Leaf in the top line. Otherwise this is somewhat unclear and has not been used in the analyses. Actually, the Chimera Concordance (https://www.harappa.com/sites/default/files/201311/Frenez%20Vidale%202012%20-%20Harappan%20Chimaeras.pdf) from Vidale p. 14 clarifies that Pipal and U-shaped symbol are the text on all three sides.


The trees themselves don't seem to look like pipals, but, sometimes the pipal does not look like a tree. Here he is doing Empty Niche on M-442:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigX_wvMAQ46Hw0EVMmSduwq2EnT0rNZCGSUMMoANVEi4HvqSn8z5S2TSozdmUzJg-CLFtD2CX40noww5D4yawXJ52yw4IwYW0Xq7oGa7PMLWXI5QzG5Dk3RkJocK4TP7YKNmEuxaeLe9gG/s1600/M442.jpg



The Markhor, at least as horns, is always present in all the deific scenes.

They possibly become wings:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqHMvPesReChSvjKs7FucZ2_FfrIOCei5AVxc2BK_OCERHOo35HrmOCMrMkyAvgZZ2IDINU8cCt_066MMFggduHhiENJtV oTKksxlan54gb-hK6Gd8SPX0a-d0DBSaMkl_OvsVX5JMGhbxiSIH-7MQTw9oXlvmjUS2NtV-9TZ9tzhjbAonxDBBRW9fedA9/s1280/Slide2.JPG


This shows up as unidentified, facing Bowtie and U-shaped symbol:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFz_3Gb0AocH4H0MvF5eEfTP51AeT0KPOEyoEMqtZ5EqK0_9cxVpjGAKuzmOq57Q8rZMZT8YhZLdS4GmRD6ZcBV4d3dsPg ZBGP4ilpa5jcIp8VILIYahldY2cmn2g6FhJBy0hpwmeuZaU/s122/Pict-32.jpg





The story of this animal is not very much in the script. It is mostly visual. At this he is adept, being the only one to truly meld through all poses.

Reversed Gaze:

Tiger, Ibex, Markhor


Rampant:

Tiger, Goat, Snake


Facing:

Bison/Bull, Tiger, Goat, Human, Unicorn, Snake


Several animals come in pairs, but only these also face oppositely:

Snake, Goat



Contrasted to the narrative scenes, in the Copper Tablets, the Markhor only appears as a hybrid.

These happen to be unique. They plainly have dualistic statements and synthesis. In the first pair he is mixed with a Unicorn, and uses Tiger text, followed by Trapezoid and Seven, both of which are statements as developed in these tablets. Then when mixed with a Bull, he adds the arch-glyph of Mohenjo daro:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgruAcFH7WabmOmsp4zfaexBoeDO2N0a3iKAMrVSijATTJHHT1X7syIsSnzs761HF3qe9vPUT8Bz54YBjzmzcPgwMB-EhfNtSXhYrodqNGYdGNo3B7OKvqMk5q49uOB9zY94DdQHfh2g5s/s1600/b8.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgidLlY5cMCON0ZSCO_AMbtPF8rvYaOLhwB6Vc6jFfGkZoXCZm-3A46QWSAA-7GmTgabwiMAc3kNK_tZTC5W0sVCXPRiaNPLPKqKkV2h95fGMiNuYWCpsaH7eDFDT-sScLntGIyu4rXxFA/s1600/b9.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha-BZx1z5al5MLlfLg-kjXEnP4dkTdmwFOB55vagUFomU8vEVnl_ItcSrGnSBc8TI2MkoYh-CpDMaQQS-rA5uZvrTLhDIKDOXqL3ihuZJLReZjGGvQG0SgNb0aQY9dBpK-0y9Fp_uj2KU/s1600/b11xx.JPG



He is in this, in the Tiger Centaur, in the Chimerae, is a headdress, there is not much he does not encounter.

The trade seems to be, he does not have many of his own seals, they don't develop much of a scripted conversation, and so he is not that independent.

Vasistha describes Frogs as being two kinds, with the voices of Go and Aja, who learn to understand one another and live in harmony.

That seems close to the root of Goat as the vehicle of Agni or Speech in Sanskrit, so, that may be possible here.

I am not sure if it should be the Sumerian goat star Capella before that is consistently named Hrdaya in Sanskrit. Nothing from Rg Veda suggests that it would be, or, that the spring equinox was considered at all.


In the images he seems especially present with women and/or combining into them. In fact I am not aware of a likely-male character being involved, other than with two goats present.



The Markhor occasionally shows up as a quadruped glyph, distinct from a Donkey such as on M-1431:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6mAEmM5lpMQVcAdnvl4-9_JUUbkwcjH4v7iNn2nK8syD8nTdvboUgBVtFJggJPWYymcuBbhHxfWA4HTjntAmOP2_XWOkH0Y0X8Hs2KLXwW9Aj1Ejh11ioOqk pmZRXqm-Y0WadPFDIQrgc/s1600/M1341.jpg

[shaberon]

Rhinoceros



This hit me when I was looking for things less exotic than the famous ones, and I ran into the science of statistics this way.

That's because it's potently visible, but, also, begins a series of texts using additional glyphs and punctuation or grammar.


Now the weirdest and most blatant thing is Rhinoceros on M-488 becomes a Swastika.

The second weirdest thing is that the Rhinoceros (and Monkey) are expunged from the Illusion; they are present in the large version, but not connected to it, and absent from the small version:


In cases where the gharial-centric compound is on
the reverse of a two-faced seal impression with the joined
tigers on the obverse (M-1395 B+similar, Gen 2), the middle register (featuring the rhino, among others), is dropped.



Bhaskar says the Rhinoceros is detectable on a composite and:

Relative sizing finds definitive expression in gharial-centric compositions in which the rhino alone is sized down
compared to the other zoomorphisms.


And he finds it notable for facing glyphs and a Soma Filter:



On 6 bas relief tablets of
two identical faces, the rhino is shown overseeing a fish
and a fowl enclosed in brackets...the bas relief tablets with the
rhino + F1 open a fascinating window into an icon in transition to a sign.


H-88. b Animal faces a mystery object (F2)



It seems to me its numerology might be "intermediate", something like:


Two passes a Fish to Three, and then "X" comes out


Additionally, the Copper Tablets have one normal Rhinoceros, who is the substrate for the Mohenjo daro Flange-topped U:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaMPpRimIx7bd1jp47jGceOAZwBjIcSnfVhQ_ln0uc9NOS-wY2sCinBYjb-l9xkWOWzp23UW0BIN7A49bg13VrLQjIDIepgiOYZFJprbzMont0bzPuAMD2AizjUci49ZCpPAsq8bSaQP0/s1600/b5.JPG


Markhor Bull shares this trigram with Rhinoceros, which shares single Checkerboard with Bull, and this being the Tin class.



These I am not sure we have postable examples for:

Person holding Horn 37 is a singleton on a Rhinoceros seal, followed by "U-shaped" symbol, one "Quote", "One", Whiskered Fish, Spear.

Prism H-845 possibly equates a Rhinoceros to an Acacia, also having a Conjoined Enclosures text ending on Comb.

Somewhere are two.


He has a couple of basic glyph conversations. "Mallet" and Branch bi-gram, which is a "behavior modifier", is on Rhinoceros K-39 who faces a Rhinoceros-horn-on-a-stick "connector".

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKBSMSdfEZHyRlpJ4eV2aG_qp1tatAQhEPm-zcL4b3n3ZoUpu0XBw1IIaKguaCe69RRCMUGoUsHvmtT8wfag8bTuLEl6FZLcCRXbTAKssGUgpIv46aoOOci9rmDZpPdNdqYp2YVl nrIgk/s1600/ScreenShot937.jpg


Also he is facing Bird and Fish in Parenthesis on M-2017:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp6zS35M3lFXY_2kpyxuFli9cYnHDifrOzaYX5Gsib6POoXAE459k-2MfE9iDR-fO5pmwThnuFm0n7VUeKkgEy3Ny9okZFYzutO79r95SWjfURowAdwo0cF00k9acv2uX2LHkTHYNeDqA/s402/m2017B.jpg



Then we discover a Fake Rhinoceros M-1908:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLgYiP-Ea8nGhNuFIo34uXcsOmhm9g3kewneU4PdaQqw5v1YmaprCGFiL_VD40WWc3oc8yvNhEucA4-9oLwldhv7-t6RugMFHvwIL9GsSfVr6V1D56er6H1S2eeUaUsG8sOIBVKSPTlMNV/s1600/M1908rhino.bmp



And another basic form under a punctuation mark:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb3y_Yg42_8ybHejxvniCxMLczv-oU1IjOOB3lch9t5rw9NgRDzVgf1OeNwfNGu6j34UWyZkqZdY2EoPijgoAK3gcqfsR-56U09MjZFG_5OqZL95ZIuAlMdHSFdadGArQFfNHpaC7rgJU/s163/rhino+banawali+15.jpg



It gets intriguing because he seems to go beyond his normal frontier. Shortugai Rhinoceros with Tiger text identical to Unicorn H-48:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyG7QDM3Ayk8Zmbhtuxa6EZ3UyUe9CkQXN9bgdqQ28bH_mIMdGQSPooTriOEUhREXk9MvWafgpg_fINa4fmL63XX-UUxUYikhDbJabM2y4FFnDG7eBJt-9_lWy4sAWQ0QpIQkdKJGd6Jw/s1600/is7.jpg



There are a few succinct images from a page of 38 Rhinoceroses (https://bharatkalyan97.blogspot.com/2020/09/rhinoceros-hieroglyphs-on-38-indus.html), including both:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNoo14EfXwAmxja3Homt7AGlCBIl6JHkRZgGNs4ynlzW69Yy2rPdUbQCjNNnynGqdNSabV9jYYm-vw8Qcwucnh1VlEs6NJQsmiF29L0uFNrYpGxIF1fLGa5SVL6K-KkLb9M3lCdFuDjEm9Ra-b77taDLWWarO0fpca3_Ob6SBn3R4yO2RWE32Hp4ru/s1280/Slide1.JPG




vertically-joined Flat Crabs:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6hpkasfQX5O8aG4etID5AjrdbjKP6e8YllXMVEX3Fn3jkOzJLI8-c3iqFnl7UvKQflhDoIMl-XEbP0Hw8dwV59VBtGTlRkaZoFZ9rYR0yJ9w030Kwa8EFiNjaF2e3zGAXBcgpgJy0390/



with Conjoined Enclosures from Allahdino:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw6o7XnlW-1t19DkHycM9l5wJtHuqMXO23Y_5rpkP9jGiRqE7uLCFQx5ywA_l-FC4SI5ygkHfTcPuPMy5f76fkrVDJyLPHquNbSRoANc_a5i7pAszvU9QMTEdybDfEk3tt4b6oRFeubwE/s165/rhino+allahdino+nel+bazaar5.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgijo70tQOdEs8CS6B_tJJZXCds6hSQH3jF2xb0kd6H5l2kis6QTgd1dVUMZnNGCq0IAKhl865aNzB6_bDsAN8YCZzN6KjD eLtFiola5oE5HcbIULVLfNRFKUagMfV2qMP6HvU8utiAU4Q/s200/Ad6.jpg


He even uses something similar to an Ankh, and does something with the two "enclosures" being joined by an "umbilical cord". We see things that seem vertical and aerial, so, perhaps this is the horizon.

And so I think he gets to the point of "introducing" complex Bull and Elephant text and then he is done.


Among further examples, in the lower right with common trigram, similar to the upper left:

https://www.omniglot.com/images/langsamples/indus.jpg



Considering the Horn to perhaps become a glyph, there is another fake.

M-276:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieKbubQzbHREJD1wWyGuF50jv2uUhrZ4x3adyVLZ_mrAlyo2gxMZOzxG98YvpNQ18hOxRgsuZHLgKLIYY3iQgHzMC17JEC YH8Gl2gfolTMiMVysFSPy3S7uwIjQwjCzVlqyXyfyUBWJ-g/s466/m276A.jpg


H-1135:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjURHnL-49TV_V5lCAJOoyu7QO1Bn2zEHQRrtaGB8ygLEbndnCxSx8XcTI-On9UAnYpafZ1GiV2X0aU9tgwhNvyilYX5njKwYi84eIwyS2eujdgx4-cGGyfwYlGL2mnylUCt65XRHcJYA/s443/h1135.jpg


So, in other examples, it is a short or smooth horn. Here, it is obviously increasing resolution. The change of body style to a Unicorn is notable, and, if this is so, it's a girl.

The IVC pachyderms are possibly both female.




M-1134 Rhinoceros with Enclosed Grid:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ghqD3-EFOqXTe9yy2esiL7GhsnjCPSIt4XyTXvgYvZTbeuKca3W_XHvVh9J_p7aziG1fz1Bp8u1aXwFXY4kYWlxIuzc92UfUFG0lvCCHsg gL2j5IkUP52u0DmpkUvQZhjoxYQbYisxg/s1600/M1134.jpg


M-1140 Rhinoceros with "Window":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit6hm0gaKLN4Tx_6IRsfb4qTSkC8ozpz19wAclf9UWC-f-8ra-5C0ZCp9U8scQsQyWUX51OJvr6JoEhG8KpTdgnP1K3OLRS_Yn9UT8CLfYQG9-XwLnb4bfpR3QZbcq-EzdjaGayr7_q8o/s1600/InscriptM1140.jpg



vertical bird M-274:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVRefCJ1S9lIUVSRsqr-4SdPzdvybuQjkDmn6YwRthAAQcnvIt0VGPf5U1C-gwY4DCc_swYLkBOOljeXFB2NFZoiIhGASDshyHUknzomqcgKTBvgLo3Aunw8qShi6urLld4GtRllDvszQ/s320/m274.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ1PR6VcimlvbfoYpvKhL_mzzEbddDt4mYPF98aKxaZKGo9hJwFKMOA2O6MoVvemrdYLQl_bURoJzX6Kqmu-0Hsn2aidZIpJfGo4rF6JkYlx1GrdrlCtmcue4x5YDOKN5ybVXzrKW7M39F/s1600/M274.jpg


Trigram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiADXP2nm3enIPelbKKa6sSwRrXKQwYrXj22x-f0g73YpeCTl3o9KpngsaGHiwVVskkI5-xeRB0DpXDORqI8RXSt9ppplOjU24F2W5l5opJkJdX_vPD0LaNKdjUBXZPs75KdxrSqHfnNzM/


Branch and possibly a "Banner":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAYqvaTO1akFtTXVoBLPYmN3eNmd6tYbxVVoM9wskbOQuIUXUhkMfe0NRvBY7h7NeKVXl5v9XgQfIDU9wxi8TZ6bqzgtUK 4nQRangXDCxSrQF3RNjG8eMYUbDlj9vsWPMKrXjtTNnFrMk/



Vertical Three Triangles M-1133:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0eLyQDQlxLJ316GHvGyT8HyjQFkdLormswlDX1SCw1Yy7OhyphenhyphenmhkZVRfi-BjpyU1uPHL5nbEzRq75CZ_bE28Bf4eCI_BXjSQ6TXe3NDW1LdPYRHRXpymxaGvdk-7AUziyt3pOvjA5WvDDP/s200/M1133+%25282%2529.jpg



Triple Triangles and Mallet:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCAWtVFH9vvz3whR4JFlKNIuZHy6WRkDF9oUyqvnOvZUXme9sG9LRy7IC3wZ-2Iy76SpU8ebc6eJANYyDauHzyQDeK6cFcB9uWBFc2F7XHrzPKWkeeRed3UzlaP_yJjJXN6avYL-Sou0/


Round Wheel:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Rh1V-77E9MgNR04iCkek88yDu6wSLRUQG5_WJRDGpeSkjVY9626999xDD82qrEsG87MDyuz8dP2iFufSy6kKyQUWeq0jWC0O1nXvpgWRA LI-uZ_dqbTqOnHitrgEQeLneCffom7EJM0/




Horn in U:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoa8GD0v7eUynzqViULm2TioburdDZItDnITOkzcmUaL-AHnx_BPKumedye_mgMseANVPEOK0IiuyQWAW0kG4bK3UMOdqyhBXsJ_KAmvdoEw7AWpObNWUeyCicyBC5mk4BVWY47lvTCTk/

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkM5TB3Gy52Vq1aW1-prFxu6RhyRql4MIhkFe1FtRAPkSC0vevykljtk7O3a0cvr7POov6Ig1xMz3FOxEeWXQ8HrGROH9Lf2PnFPxpdBDxqQWNX86MoeU2 VTeY4r7FVsfaGVYo2KwStM4/




Conjoined Enclosures H-88:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMm6zz3_w5XzbUvfYgjGTbLtou5TkBRzqnZF8ZFJUI59SjU5-rc347KGoHcYa-OMX8_yE47hvPByzlP7PoTjA22Eypob_E4QoS8kGHvYipauel2QpdEG_zhpie3005EaCPSM-h7elTqeY/s112/rhino+h88+4233.png


Dominant trigram L-28:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJltsaCts-aBP_AOIz9YBYtUfupH3DsvK5zB-r8r-WeV9iZcG2Hu9CS_yASarxQxW2lGv1-l46ObWXxIj3AQ5uSdtCQCYj8SNPHVWN8G_7tNgghsfv_f_4jNOdNUyqhT0Gvj7zBwI-L28/



U-shaped symbol with two Quotes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr0XntZJosUG4SyiRmKothGeBnRzM67WsOL4zJ_oaUlNRg1CJ038Lb-Wk0v6TCYTnWMufhT-0-lbqltTDJQsmkc8D5chmqhuiiFBu5bfGNy32C1YC4fA-gii3ZinlKXVxIWoYRtuT3OP8/


Three Mountains:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpeYX1oTOgkza-op32hTPTS4BBDP3ZRxdJyrHhjQLOkdtxxgwpR06j6d28BqC14x361HRh76Cw7YAowQKBLMGaehH8E5gQPzRXEfbsUpFiKdWyIq75 18RLMM7SKzYiH6iIxb6IMEo3bw/


Trapezoid:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBebYSO7V9pKAVB9p3CGGgxD1mrTd-bPfLYy8JmDSyY-zHqV0F1kK8dgoq_P1NiZcov-oDmAtWMrV7qyukoIaWiddlhi-PhyphenhyphenplnozA6VtmDE6xuE4xf_XtulED758irjFJQlYM5v06sbY/






I did not know some of this folklore (https://devdutt.com/alone-as-the-rhinoceros-horn/)


We know the one-horned rhino is the state animal of Assam. As per a folk poetry in the Terai region, Vishwakarma created this beast by mixing elephant skin, horse hooves, crocodile eyes, bear brain, lion heart and a bull’s horn.

In the Harappan civilisation, which thrived 4,500 years ago, along the northwest banks of the Indus River, we find seals that show the rhinoceros. This indicates that the rhinoceros lived even in the western part of India in ancient times, when the ecology was very different. We also find the mysterious one-horned bovine or cow-like unicorn (unlike the equine or horse-like unicorn of Western mythology) on Harappan seals. While the rhinoceros is a real animal seen in nature, one is not sure if the Harappan unicorn was real or fantastic.

In Gujarat, there is a folk deity known as the Dhavdi Mata, who rides a rhinoceros. Dhavdi Mata is from the Gujarat region and the Harappan seals are from the same area. This suggests that the rhinoceros was a very important part of western part of India in ancient times, and these are memories from that period. Dhavdi Mata is worshipped even in parts of Pakistan and was sacred to local nomadic communities.

[shaberon]

Bull





Bos indicus is a Zebu with a humped back and upright horns.

Bos gaurus is a short-horned species, which has a back that is humped, in an overall way, not like a camel's protrusion.



The oldest copper art relic is the Mehrgarh Wheel ca. 3,000, and the second one is Nausharo Bull Ns-1. This "identifies" IVC in the mind of Parpola (https://tuhat.helsinki.fi/ws/portalfiles/portal/127255979/Parpola_Asko_2018_Indus_Seals_and_Glyptic_Studies_An_Overview_final_proof_2016_.pdf):


The origin of animal motifs on Harappan seals and pottery can be traced to the
Indo-Iranian borderlands. From Nausharo I B (c. 2900-2800 BCE) in Baluchistan
comes a compartmented copper seal representing a humped bull and loop on the back
(Ns-1). Such seals with geometrical and animal motifs come from female burials of
the "Shahi Tump cemetery culture" of the Kech-Makran coast, period IIIa (3100-2800
BCE)


Mehrgarh specimen:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKYxqakmDe6oj7op98Qx51VkQ1zEtVtSf1FmvZx0UX1xM0dkvyOFSupFYYz0acBoe839hMMuWRWPaWlIxl_Txlv3mCJAp5 _SNOEK0GbnE3uol_j-i6OmnMe5_Km2abcFMlodTz-oEfVi0x/s1600/ScreenShot2146.bmp



Slightly later around the "dawn of script", ca. 2,600, is Nausharo's painted use of the Grand and Rare Zebu comparable to artisan-level seals:

https://www.harappa.com/sites/default/files/11221950_10153485393389846_4153966951990590591_n.jpg




What is notable there is the Bird, which, I would suggest, is metaphysical. It is determinable from that and related jars and seems to be Indian and permanent. Zebu is the only icon to have a pair of scripted birds.


The terms "bull" and "bison" have been slung around for generations, confusing two entities. The Zebu is Grand because he does:


nothing.


He changes collars a few times and that's it. He doesn't have a trough or not. He doesn't look around or move.

Judging it more strictly may reduce the number of claimed "Bull" texts, but won't affect the underlying fact that he does something to the script.



Banawali shows his basic arising with Spear and Fish:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5XtlEdMfDr6NVMD11RsXpGCqVhOn79nAdYWpZqOyinh5DiYhLFqi8ccvdF36dngg324aiMCdJphXCp88IyqnGu11S8xK5 AMXsdKgBzegHg7xSAPys5F67ar9Zqmxx03s_K6goDFIqQ0Q/s1600/banawali.jpg


Caged Fish M-1118:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMDcdf62cyysABcpwWid6zORvONdI_tklwbkqlU7MfrgCgP-tPqiSIGNUsdwQhwmqSQkX-K73ik6dJRGWXJxzGUhpSN_gNBC2bQUUMsGT-8wesUBaYMBVCSQs_KNJnNxqtvNw2Sd7nIIeQ/s1600/m1118.jpg


This being the only one of its kind, H-1953 with U II and Horizontal Fish:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpGWKBOKHi4sSHTT-Dy1eqtMTXe23jF7OhPtvQGbZXKKU4tfGDhBlU4mWCul-kx8wM-BkkUkilQS9eDVQ-BZ2gqWbB1kU6cZsVdfryCE7N-D3m89Uc_SG8VKyNYqGGR45XVR66_ufZ3Pf1/s1600/h1953.JPG


Flat Crab with Ears in Mallet:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdiOQp0j3QAVCScTQGFXWc6V7SA9I92Licm_ZXLSk7FSTh3IPIbQcB_x8d8uBD-sS5U9YENVppTmtuvcdEBKzmlsO2ebXC-JlgR-vLwvklumZHyjYRtkuraEgWubtGXM6VjzjMuTmbI-gE/s1600/M1106.jpg




He affects Wheel in a certain way starting from items that are broken:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Sa5fEqnqEzCBdqANpMXBCAujEXsczJs_KV26VKJdiOtP2qcAN0qhd8JlcfDZvZGw8urzJHytBVC6RA3_PRCkuW_yxim3 wnIgsDdQRUI0_Ex9w7zeUnBIkRxqXyRWdBtluwwyF1XlcoQ/s1600/M1005.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3baxkLh6zzEcbFDApnmUxP19aDK5Kt4E0Ap40jnmC1ThsNzg_vwrlkyeldDmlveVN8bkub85ULN6iRzIGV4cL4mJ-ar78jYqfidqeYGrfD31HueUaZcTKpfVCgwECwc01kf7ZBmmIOo87/s1600/M256.jpg



with Mirrored Rakes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidD1s8vOPH0CdOv9Z78VD6q3zxG8BHmcFTNl9eK7V9iy5SvnAlmHRoUG85n6nTYc9vBuRAqTpcbCXBfmsP7_iMp1Bs1zg9 gntdREfhMEJJDxiiyd8FE3XsYMZHJWpMRGfyJFmSUmUgtmA/s1600/M1101.jpg





facing:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsgcTxquB0PeyyOPsBdrsgU_3cIzcOieadEz9o1lL5L3vDe_eBl4-b2saBbO5WFebwSAPT2XG5OXS2gKMqysjYc4uWgmDdqWrKbVOg8UAM1-JndNeLgkK1Ff0kJbpje7jP6aesKNJNnao/s1600/M1105.jpg


Copper object H-380:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdyoD6lT3Zs3eN1JuxJ3DRNiMBendRajRSVzCuHa6mFg82N8F1aCeGAZ2pYlCnoqJxDgldDQVCrcyrjIivmpyNwENMXnJ1 bZnDlwrvQSw5lTHCuweloO3IF6z0pzCdvEN1X4dr_fD0SnU/s320/H380.jpg



Only *one* other thing even resembles this, Five and Inverted U on H-413:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_6KPSVowsUCcI8pua5Hl3tcmVFNEhuMrU3oyeCwuDW9FYcwuSTglMK4hAmyVMNN3ndNfkyUe0SD3zn1TAvW0fby3DZCY5 MC-74T4cQ8kTAV721bEk2K4k-GLSPLmEdCX1aB_ILBZAcjU/s1600/H413.jpg


That is to say, an overhead arch shape, and that only some "round" things actually are round, whereas most Wheels are almond or mandorla-shaped, as if by compression.

Whatever it really is, has an aspect that is strongly conditioned this way by the Bull.



He has various texts with low internal consistency.

Flat Crab or Striped Bowtie M-1116:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOaGD5_TimEGyvuY7VufqS4tDv-l1FDz3bSUmbbGvQkJHOmiduzdVX86fzkn_T1d0uCZZpOYocHwEVvAJMEwV_e6R1EpWrkcxvOQ9ohlLhQkB-_KNNa1_SNIWm-3sUBo1LuoAsNP6OF9Hs/s1600/M1116.jpg



Three Mountains and X M-261:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCFe2BuOngROhBPSbOqxUPUmfU6PymJP-ZoSQsWAsZyKC1QJCEcVx151cZZB0daHdnCTtCRa2ulZQbwxkJCnRznHs6C-izb0omSc-Ss8ws2OquqKyPRuitmVwexRFmrYzfATCNAh_iwzVU/s1600/M261.jpg


X and Striped )) M-1111:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2-c5fETg-n2M6weY6-rQqOd0duU3uFMqAMMadA0c7dk5eckaCigqjGdfnxNgCXGvg8sY4zg7tHtB4jeEta7Jzs7soaTUv9Ff1u0xqqeY6XWj3COOa3F6Us 2S3Cb-DEUiMbv9ZCNGO8lYE/s200/M1111.jpg



Winged Man between Posts on M-1107:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm7viuapEq9de_deRTgkWw3OfEa-WS_K7jVIav0anskMEzI9M2IHgnDBcQqnXzye42STPhRovVTDWZS2zBhiV112HANibTScbvUwrclEn8XpGsZotjLyeWMJhWrf_LMp shN8xsjbzjwMqf/s1600/M1107.jpg



M-1115 with basic throne or hut:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinx0n8kAyVpVMmdxtVPeE7F6oCL0twrUKGuQUomaq8Bn4x_c4ZeAzrhTNOcGgDyVHG43ZZS_N7dL83X7rDOFLgrG2x6_ZR _GniM84Z5YhvJu4a_R7tG4RlEkae-auntPDWvKYReGl3gvQ/s1600/InscriptM1115.jpg



Lothal Bull Text 7074:


"Rainy Nine" -- pseudo-Crab -- two "Quotes" -- Crab -- "Pinwheel"


Montage that easily shows two Wheel shapes:

https://www.harappa.com/sites/default/files/slides/mohenjo-daro-13.jpg




He has cordoned a perimeter, and there are some easy reasons we can see how he is the platform upon which Four proceeds to Five.

First of all, he takes the most powerful one of the Ivory Rods:



There are just two signs other than “quotes” and “posts” that repeat four times in a row: QUADRUPLE CEES (M-136) and QUADRUPLE TRI-FORKS (M-1123).


M-1123 is a graphic design with a large "Bearer" and four diminishing "Branches" as they run up the hump of a Zebu.

https://projectavalon.net/forum4/attachment.php?attachmentid=55788&thumb=1&d=1756432256


He has got the Four Branches as from the Rods where they are going from Three to Four, and he, geometrically, makes them go uphill. Is this what the Bearer is bearing?

The next transition, however, comes from a collusion of shapes formulated elsewhere.

The Bull acquires its net result, which is Tau with adjoined Enclosures, as can be seen elsewhere but not with animals.

M-1202:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnlaue0R4cCcED5MpWGBe9A_FGzHr9SdG5qrJKZo3bOZqaUrokfHxEP5xKZFqcEAKy2WsZdCYdcfjM4zx0qXrWd4fG591l o6YHKPC92lFmcfeTGISRdmbRrkPTHyKset3_D3gVdktfpaM/s200/M1202C.jpg



Tablet H-219 with inscription (right to left): BARBELL ON POST /
5 POSTS / RAKE. The first two signs often occur together, but no
other apparent numeral appears with BARBELL ON POST like this.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdPG8vc2sX53qF3uHNKTQniCG11P5zqgrKW9Dx4RGVs9qyiTM0R0f0A9nu1dlo7ZnYDBzo-ui4_0o5XPjWRuBvzILiivTMJL9eWMOEkcKlvHRfBzRTL38kaNaRd9hqCmvpIBLBl1XL90iY/s1600/H219A.jpg


Then, the completed symbol is fortunate or favorable to Five.

It is not common with any imagery.

Zebu M-1112:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_KNGC9wi8cFYp8-ZpiUWrvArv5xOO1S9nDBJNmCo7rZmXuk5-WN8jegqdAOgXld09J-LvhOmGNewFjLcA4FEaP0bd-u3OzhtRjidt7PfhlFIQ-gCY00xjlBNtzYKoHf06oVr05tZCa6Q/s320/InscriptM1112.jpg


M-266:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtw1QjkDc2NPtw7-GCp8oNOyig-kIdMdL9fHlkBUxb-LlxlArztdJs_Phxar4p5awQIdRdNSynx77Xvy2JYDv1PtEjniAOyXpwE89i_uK2CBp1J3Bp7l1C_dBu55bSKm1UjlOdi6jGQCA/s1600/M266.jpg


The thing he has got comes from the domain of multi-faceted objects.

That means that explanatory remarks are found on the edges of objects.

It's misleading to describe them in any way other than number of lines per face. Auto-generated concordances usually lose the details by combining lines. At other times they are simply ignored.


M-326 begins with a line similar ("))") to five-sided M-495:


BOAT / PINCH // POTTED ONE / FISH UNDER CHEVRON / DOUBLE CEES // POT /

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUnpQa9FmpW94k4_sziWrEiVtJlMXFpMpFC6yvlFicQhWJQSopUk7B0O5gICITEg1dgH1QCx2McQpWAlaOZbEHjhjksX8_ 8GzJ-K5iLm1f6z5aMAZBol-cfujfTAvZ9hOXYI2KVxpQHdbT/s1600/M326Brev.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-HyQjFurUilN6B6HXnfw27Ayz9clBPFq42xt2BNK4ofVibh3oSbDlbyB-6Pp7uWDGE7yHsR9_SPnZKq_W0P4IOYXYOZNmlZptIaODFTgs9Joil4g53IoL1bCiTdfwRJYM0vEfEpsJ1MYQ/s1600/M326DnE.jpg




The thing most famously called a "Cube", M-326, would definitely be a tale of One Branch beside Person holding "U":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6HEvnupag1G047L8yJeheACdKlofeMTa4gTTC1lHVuPJ_BBakN2MwVkxglzAESDQ2vhB54m9fZeOpvoKHInEOFD3qBc7a 7W9WEQefHDi2F2HjE63hgg6lIR3ZX3beANfDxQ9MvJVuUvDZCEnImrQHgX33A2JItzveJo37ZHA16G8T9s_ROfrLFr1i1zU/s1280/Slide2.JPG


Well, if you notice, towards the upper right, face "C" has not been documented anywhere.

It's a Branch and, maybe a person saying something.

A Banner has been added, as if from a Rhinoceros text, and, something is going on with that symbol. No Five is there, but, there are what look like components of evolution.


Are Upper and Lower Branches the Asterisk of L-66?

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxhwDFq3DDPf6OaqY7kqCEBMLhwqFwdbIyEKHpCqnXE97Fl3ZTMEZ9E4dfQoTXjuUJys0SZ6WEkv2LDeBDP5g6Ag1qiLWw oWtUFNd3XhLKciIArLmcjR7jTVmtC3fS3ipRNeeh8A3mBj8uTNkq_K5wNBoRZe4H7pGzhIvkk20qwA9NKWBgJuoYHoZV/s1280/Slide18.JPG


The full symbol has continued and again there is "))".

The term of a six-sided "cube" is misleading, because usually only five faces are inscribed because one is left blank having the boss.



Although we are disinterested in most of these comments, in this case, it recognizes the "headless thing" as frog, while associating this symbol with Tau:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-4T1rl3dRBv69rLSa_ELCZriec4L7pEPjQ3aGGpODct0tz1mOWwAR_TyHVyktcIIA9BRYAXvX-JZCe2neJfiKkyN_ayAdHqYeoWXLoW69DR0y_nrdqQIObkhUqm_Bq50dxdPo4UJEpegfys0zfahm3XaZSiP5fCjFiUA7nNXSd1aMI QCp7F89-M3K/s1280/Slide3.JPG


However, we would suggest sign 408 has some assembly required.

A special relation to Branch and the narrowness of this field are immediately obvious from the concordance of Five:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJcSBO4Z79J75969z2krelvQ5HZVm_cOFo0adTzQ4BcEV8lbKzpMURzD-xdi1F_kxj5iX_VIHJjWfRb3bW_f3UjV-nrzjbhdbOSUz7hqB8HLJrFigis-nA8eKxHatMBVRhAnIP0x8CdLQu8T2-rxQQpelXHZ7YDGpw9trfLTs2nfsEkd3Yiom9tdnQ/s1280/Slide16.JPG



Branch is at the top of the whole thing, and again with Person holding U beside a sprout-like Coil and Conjoined Enclosures.

I have speculated that Conjoined Enclosures with Slashes are showing rotation, which, when it levels out, forms this horizontal bar, and extends and separates them.

Only two of those references are to a single-faced object. Five prefers to be something like a typical U III text, or, an elaborate version of it.

Consequently, it has an affinity for the Bull above and beyond other animals. The Unicorn is like a vessel, the recipient of text generally distributed from everywhere else.

The Bull does have Three and Two with Bird-face Goddess, but, unlike others, he uses Four Branches and a particular Five.

That's not ordinary counting, it's something like a bottleneck where low numbers have to be used in certain ways first.

It may have to do with Five Rivers, or Panchajanya or Five Tribes, or Indra, or the Pathani Damb version could easily be the Bull of Heaven. It may have multiple meanings, it could be five sciences, metals, ritual steps, food, or even something directly apparent in the seals we have not figured out yet.

For the time being, it suffices to say that Bull and Five is a fairly specific sub-genre, which would be hugely inconvenient if they represented common, mundane aspects of speech, such as five cows in a tax or trade context.


Zebu's Knot:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8qP00pcovdRt3rX-gHs4PsRs4lrxxgI30PEOiFwASmFVwQHmMfctCLbTUjcppDOI2c4MJGzlfP7w3mhRYnvTSZg2yawzvl6mAk4rJpcFI7Y8gDNpndMv szy8Qh932-Nfj-BlArZsGSJo/s1600/c49abc.JPG

[shaberon]

Elephant



This may be the last of them who still has a grip on reality in the objective sense.

What that means is that the remaining animals seem to be almost immediately converted into a "script topic", that is, an idea, or something mental, suggested by them as a metaphor. The Elephant however seems to cover a vast span, from something that represents his ordinary material existence, up to a high level of expertise in the IVC script.


Physically he is definitely a frontiersman, having a seal at Gonur Tepe where he certainly does not naturally exist. They seem to have reached the point of importing ivory blanks to carve it themselves. We found his icon has a low-level association with Person wearing Comb.


Undoubtedly there is commercial interest afoot; although I do not agree with Mukhopadhyay's interpretation, she has a couple interesting examples of Elephant seals. These are just basic texts. But they have unseen features.

M-1912:


Spear -- Fish -- "Three"

over an Elephant that appears to have "Wheel" directly embossed on it.


M-294 believed to be from a jeweler's shop:


"U-shaped" symbol -- Fish -- "Three"

which is again an Elephant seal, but this time it has a Tiger Chimera over/mounting/riding it.



So, her case builds somewhat of a critical mass because something like the jewelry workshop is usually pretty easy to distinguish from its surroundings, and, some of these are loaded with loot. I would look more towards basic colorations, i. e. such as Elephant possibly for Black or Anjana, which is Collyrium as from Antimony and Galena (https://www.wisdomlib.org/definition/anjana), but that's just because the Large Elephant Plate uses Lead, and such ointments probably were also a valid product at the time. There was a limited number of lead objects. So there is a lot of room for black substance to be in place.

By the time we find this, it is up to a "family" of things that are "on" an Elephant:


Bird-face Goddess, Tiger Chimera, Person wearing "Comb"


That is because this has been previously mis-reported as a Unicorn, but it is not.


For the references given, M-1912 is posted along with a "U-shaped" symbol with two "Quotes" text, where it turns out that two Elephants have glyphed ears:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitA529GnJVULyW4bcHipgj0B82fvFyh6Q53F7mubTy5bwFDqR1-z34V01fAghdoTHaPu_sWT3EBQuZCYjG_VEtr7-DrMt9UFyA99d6khyphenhyphenNYenI1yWc_6osz-7niJs9jZLDkq1P_ky5UtlcPoJQeWfrWaE0eHiCu5NjbdXmvVZGqPq1rk6zXCAWIuiYiHVi/s1280/Slide1.JPG


A similar "Wheel" on shoulder is found on Unicorn M-712.

These are similar to what the Bull does, except the Wheel goes directly on to the creatures.

M-1912:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPmDu3z87sAqIp4FiA1N2bfS1MhIBLgg282DhqrCuHB9jyDUzB2mNVV9QerVH-3s7AuqqhGpPyG_JU-Rmjj4qga8QzNHwaJWj-OcG1VJrmvBN_EYmpfPuIFpLs7kSpFumlqzejwt1r824/



Here is a slide with two examples, where we can tell a trunk means the broken M-294 image would not have a Unicorn head:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizA3bJkHA3sfVZPpKxn3B_GrMkU7a7c6Hyfy2SpvyujpenOlNkr691SFz5pyd0_jx0FMTYZbzwdE6-TVbEStgF94zO0oGPxpxAFAleR80ncp1GNfVW13AuXXfFuB3FMVbPMT7ITWKMCuu5WXZ3-3AChq7sRGbeC289G1D0JWPKH1yM_EkRbFDu5Ziv/s1280/Slide3.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdqlLD7aTYpvxsfS5f24l9-L5PUQH23EdQicaqBP39Se7-1Ucsw0092b9eNgGQLfoe8SMruxQSNXvaK_Ld8Kx9Wdf8RbEKAvKvgVC0EnSUxthDM1ZdvMSYkckR7gJVjUEvBlgxzJXa45Y/w110-h42/image.png


This Elephant Rider would be a full, or perhaps partial, Chimera; examples of "partials" are:


"Type 2" Elephantine Chimerae (M-303, M-571, K-85)


Vidale says that because a Chimera usually has a Unicorn body, it is normally male (whereas Greek chimerae are female), and we see a comparable text relating it to Bull, that would seem to say "male chimera". Is elephantine chimera a girl?

As a matter of degree, M-303 just has an elephant head and dominant trigram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaDTE7m592NaoU0cwlpSn01uNrwHiq-tXaWsBIJoTWa4tWRuWM6-MqBxQPI9s-5PpSHqnH8pOzqX83uAz_g9E4C-ruQIK0FzHhloe-E8bGSVtqElHLuSdXEzebJvGa4RzcU7-ypaJ1Myw/s1600/m303.JPG



K-85:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCI4hjdYHZOcMaMHZdATODqB0FDg58Rn9ksM1xTYsnMBbYKavlUYOXQ6fuKN98IG0EmFOCMJbSyN_XMhqj5X7t8fAdN-mwOL-dnDe-8Ee9xxBj6_MG5rvL1h-HwnTHI99gbfXU7RaSe7P/s1600/k85.JPG



Traits of the strange one allow us to conjecture there are female chimerae:


toothed horns, elephant's head, zebu hump, no penis.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjCCC-pl3q8S6dUiU1oFWVgNkdGRtopNVJKHQAbSPSVaGZGy9HfjZeW3zZ1oyDVqs2fPTJZ39fVnMOO95GSC9D1o3TWTpVdfW1oJ8oeoPg 49xdtZp2rks51B7Jzb520OH5L2-nqiqxzGHr9uaaOzAKcaIoOkfMKwLqgBz45nY2PNUHVVLZ9o3uL_5f/s1280/Slide7.JPG




It's anomalous, the only one with the hump or elephant head.

The other references are just Horned Elephants.

One of them is in the Copper Tablets. The true Elephant there starts a series of texts based on "))":


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2j5IPJiLN2pl1FeHS9SYRuq4wk29_-NTQeHmH2mrxiS5FlGHQN5Zf8EqVoCRSrHs4et8uYtkgQXQoXjShEaCfcXpHpcgIS8fw55m5OA_do2mbaZtkLfcZ2iJP_lhkUxGp6 gwCfw6UwnU/s1600/b6x.JPG



However it has the defect of perhaps being connected, similar to a crescent moon, making a solid shape rather than two curves. It goes on to further adaptation by Tiger or Horned Tiger:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5YpYhbN9VuhMqC80slFFptA_Acm9VYS21W-QioTpni4BtXlRnVD8cwZWLX3AAwlTAmyb7e-cHDASJKO78M1XvLe8adFB0s-8XLbTRfFIAmkJ_OWnivVaxEoPzlD1AwOE8XVQeRQO8klE/s1600/b12.JPG


Scorpion:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSMo2yoUUSTDc8oq_RPuiePubWtbteDq_Fjyy9HuezCwZHgGwSvwl7iqqk_tJ4p2eNfg6dyYlmW7NiwuEFO20jBlQBGazA OG5XsXyyRYH9EfBRDXZ9k9ue2gK8xb5x2StPPLY4cDKWmuk/s1600/c8.JPG






It turns out that he is marginalized from facing glyphs and basic arisings. It takes some work, but we can extract examples from a page of 85 Elephants (https://bharatkalyan97.blogspot.com/2020/09/indus-script-inscriptions-85-with.html), which, unfortunately, mashes the narrative scenes into the parts about the animal itself. We will try to sift through and arrange some of it.



Total vacuum on Jhukar 1:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjDlgx0zrNcSAAoZGiqvQ3GvRS1xlL7J8wXdtv6MO1-Qk0hmaJnQKOm3onjiIVKERZp25FKKOjyzuRjceyA_wYVVMm9OwiC-Pk-UOg_Eb8mWS45N7OPjP44aL7REvqu15oYgbpLNrMQGE/




basic H-93:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglZzsEoi3O9u1Yb5dZb9cmBmVBToxV86uxJj34q_4Or0XU3U7jj8TRvldc40fTtJE23xFwOcZB9DaYGyvCXs8m7fag6cXz A-y3K8JRyBhLD2TSU-pen5CYWR4HofFwd1qciZiGGmEfqxc/



which he quotes later:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlFgCrmA5eN_0zG33o7NkoVo5XPTbo7xS7I59xmTfuUvhqWyIX-loj-JRaCGHWzwQxfPLK5teD_5o_go28QY3bmQR2eh67C9B9rb0XeGBbBu5fAmSVNGDhmJ_OCl4xJYClAaBDewsKBGU/w156-h32/image.png



Branch and Eight M-283:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkf-l8f_KLNAOHW0xkHXE2AE_erVeUaWCMNrpC9Q5bR_QNfp7lyAWWoeJMQRwrpJfW1y7hJew5qw_mGqwo0Gwshy6l01QcPFv5cIcUan O5WFgJMUmKHeQFGEljEOvuMzvY3LTjk5l5gSM/


Conjoined Enclosures:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdJ-zZmmn4muBk4NEtl836gYxdSaOVYq_FYoWPr-BJ_RdAnlUMITXIHAUGkaBkUyeu_itlbtxUPRdMF3WKVWodWpSnNWUE4D6tPPNx256u-X1B05MqczuoxKVr7LGuX66HLIqQAA-5MRQ/



Plain seat or hut M-284:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgedkloGTnDijzR1zWKKvnJBxw_Ir7u9drv3l7jA1Zu33O7Ywt82zIQBtAKj80cfVKjYPUJy_D7KT_fzc1OLb-aAtjPnoDqDc8VeSVa2LFmCqXm0ZJicuYDjH_XZTd67HviCMhvzG57zDs/

M-1155:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XB07tPiGXXoAuj1WCFD2dV1sBQMzZyv2CdZZ5kE8toulHvgOubPAPfkOfaFYS7CoUMiA9GmwhQhCNMPiFSdBFQX94mdbPJ30O3sN beNAvBYzL1onfxHi2Ft_xPdnt9eqT2ATWS6qajQ/


One and Person wearing Comb M-1160:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5hA6FvjT3f19YEk14lheXNXjU-dwmB-Klw-PU-Pgp-5hKjmsTolNNYKOMsznkxgZkBJ1YJ96U0bOAT9s2J9mIQolDJ8d0cdSXH8RIffRH72iLIvpnV-AEiQV244Jhb1EWLxwJlQw-uTA/



Spear, Fish, and punctuation M-1912:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOurKIBRcnpweqDJyvVseA8p_58OhCO8-qzgBBxUvLiuPyyCABelwv2jCsQXsC36hFCqY-OUKYa58VZvoixQxt1rGbFrRMLBPKiTJTuufkXYiOZDtby5Wyg4G7NXT4hsxgEB3Wgp8H1Eg/




Rake:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYaEfMcHqE26uckZywM5choLlMIV8oK4pjUGgtS4xM-zO76zCD0kYhol3haiNARAHP51aT_RJDEcaHCE2E6F1oUWJKIVoseq7wqocXTaIs5DO2XKgHPMgem1ZzFFxqByc9Y-fZyM9f_8A/


Lowered Rake:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiStpYfX1ujKbvRTPzF4v97MRQck1WCfswnl9DrdSTQRoAVMwHgtYpRC_7DC5F-UbAm18yhECBmkCgBRzJ-C3YyjDiXW0qIyqoyMl4c2YHSzZuO_koyRmM9snrcOUh3Uit-AW_4jhGJ4Hs/



M-281 with Three Mountains:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAM5ZAieXyTL-wfQ81yhMN9bsrEwV7bOtxZJaPupSkcrMI08GkiQRnNRUq5lYliSU7di1yZaNPq_q8ldT3yhQs19P5lxIrni3I3QIVBz5ZZCh619i 3i7bq2AELLKYjPP_UcVgPA9XU4O_J/s200/M281.jpg



There are several more, so, for the purposes of posting, we will push out the more comprehensive texts, and reserve this space for the simple and visual variety.

He absorbs the Conjoined Enclosures glyph, which was "developed", so to speak, by the Rhinoceros.

In turn, the basic "seat or hut", is going to be propelled into an incrementally-increasing process.

[shaberon]

Elephant Concordance



The largest creature doesn't face many glyphs, or any kind of object. It works physically slightly differently than most of the other animals. External referents "come to it", magnetically, and ride it or mark themselves on it.

Something perhaps misrepresented as a "beard" in some reports is really a trunk, which in turn seems to be the arm and hand of Man-in-tree. So it is high power in terms of Illusion. Rather than remaining as the mannequin for Chimerae, the Elephant distills into a certain feature which is of a cryptic nature. For one thing, we found this arm as one of the most meaningful graphics-to-script implications by forming a U, and, it has this other function as well, in the fusion of composites, because it merges with the trunk.


Here we will corral his more powerful glyphs and peculiar dialect of speech.


Pinwheel M-1390:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWqoyQjDMV3E1EcJfEe2CXNsCssBhyphenhyphenWqwtmuHmEdSxi9uixGb16LfxxuzOFICpAg502c-LxoP2XgqJIfy7Uunx8v11w5jAz_hDmSHT0bcaJ2f9Yv1IHJ2PZb8URVFvbEeJyUHp1bUbTV4/s1600/M1390A.jpg


Three Mountains M-281:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAM5ZAieXyTL-wfQ81yhMN9bsrEwV7bOtxZJaPupSkcrMI08GkiQRnNRUq5lYliSU7di1yZaNPq_q8ldT3yhQs19P5lxIrni3I3QIVBz5ZZCh619i 3i7bq2AELLKYjPP_UcVgPA9XU4O_J/s200/M281.jpg



https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9i1t8fVp6Cs7Q9L-kREUCzy1owy6P90MlTen0jNvB7a7eTNRNsDrenGYP6Az7izhn0gh2gHuLFzjcRf1xDfclV85qgV4Z2Fhn3aXaJjwGjZ_xw4697O-NuLTLz83KttXLL26jd6Pfzy0/




Three Triangles under Sky:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHxUZ1c-b67FltzhA2F_qyrIQcaH29DYSjF_Ug91dEgj8g6p8MBkg0YJ03c-C-sMHB1vHUE9U2-L7_5j1anQFST_sGLqeDiwURYvMzfuDDhp3ZbeWN77-XqoZgq3zGxv9QvT7eV40YMjU/


Sky Mountain M-285:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-_uNOr4uOjmr-yil2x2HAB2i7WxHPL1UMwiK9EbVVw2Sujz4Yt0NxjUsDkApUp_TvxQj0rbMcIiC3P5nNUGqp28WrDsj4St7vY0I0xyjEljOg9-DaQCOKsh_PWc8Mbt_VzoZHeAVYDM/



X under Sky M-1145:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixje1iXHDwfEnNXToXJCyTpb6QgKdYguJZyn0MCiqb1nCxxSHlZbfwwZ8kSnrD3AkjO9B-7m0-UU4V9g1Lj6c2WKcn91s4pfHJEhw2Nd60AFS69dFMCkfhEJ6DqhaVLquKBWlIdMqXe0U/w140-h35/image.png




Scorpion M-286:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuDKKiwzozef8GbkQIrYdze6P_e4GPpakS_ZDxEItdatND6FiTJRjhE4vsx2BxVl6itLqidERMNVJkbMBZJCeOr0Y1ekmj QRxEhudkFeu1hECiH3SCBRhsDbkKOHUiIXJfa-lDiZ-JBoA/

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNEOKRANYrL7b1lyX7NK9Qd5RW2CvUdfqCpcKcRo3Y1S_yS03eIuS2kRcR2Vcm8P-LoLUGBMmFvApdFLYwqVgnukfqiYzKOY74-harOgPeaJ3fRejeFUKX0qpmHEceTP_I7ArEx2JiS6g/


X and Z M-1156:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWszwo9O5NECVM1OwTrh7LCK5a-lYuwaNTtfHeMx68ddXJtj7dEI7fo4RhBFKygdHz6sI2vj7KNRgrOyj5_xzf5_4lMALDOBSVF2eDJHLIAXqj71e41Tf92GPKD8qhK 2hc7f1tw_nRD14/




Conjoined Enclosures M-1915:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdJ-zZmmn4muBk4NEtl836gYxdSaOVYq_FYoWPr-BJ_RdAnlUMITXIHAUGkaBkUyeu_itlbtxUPRdMF3WKVWodWpSnNWUE4D6tPPNx256u-X1B05MqczuoxKVr7LGuX66HLIqQAA-5MRQ/


M-1152:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfI3Az_8Z4ci6e0IyPVkW4Ff7mGvP8dXiqoV4-ZcUfAuK8Dw2W3fUoKOxfm-qlNu979lmZZCCkOSfArqnMvNd3DQ81DX9qpdbiKESzVStSslltmzVSztL1pguFgh61jCKIxJO5uYiKqb8/s525/h1152.jpg





Bird-face Goddess and Conjoined Enclosures:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSz_mVtbBaXN8WbeCm97IS647rtXCu6kHtS-CPEdUZXpYTX2F-Qquo7z36_YvQ4NlPBbLDH66C0GhNnggUE2bbiVd1Vu5r2D9dv1gnmevUm097C6PFMgy3bbY0OEllQI1BgDuH85rUusA/



Carpet Rake H-90:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKmThQ7ln1XIO65-9oNkJT0eKWbB0UnKzWbgock9u58ConiG6ov-wP4MGy0g7Mh4ffNvi4GSDHvhdinBZI9pBQQEWFULmTXcl-uuIeL85HfCXmxpL9Ajs8rtgeNqPWVJwPqd6htQuhsLYW/s1600/H90.jpg






Sloped text K-40:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXgT_KS6D1H2I7jP6wd7etvcQhyphenhyphenW-lRkddxQCnQbX8wnFxSW2LWOEjprTK8fTvjel1XuAntfNM6LJ2SacXYoVDEylck_uA569nvCXiG-59EWTXOg9z4JzfaKmgKWK_nnJcGTr4S6tpVns/s1600/8072+kalibangan+40.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvWaOhctJHNRlQEkBglAE2dnFUffl7wsvfkzslf57gGC2_eWxIG32C4DjsBB6iWugMFEzEG4WE-2wPx_B3vb0R6t3JsrQsiM2AGr9LlU6I-ViEylxkYpfNesaSwF-f-TE6wwOSJFeRc6o/



Bow with handle and Caged Dotted Fish H-89:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh79X_iu9uZCX5wWzGTA29Gsb2TL6KnCRr7zuX75zyhLxuixVLo1Ek6IIUT6CNHfv11EoOPOKAIoTC9m4oLbu3USN-tkvhRWlDTX_X3DdxDP1BlV7LiciW4HY9T0KlAqUnYZekBhhX2fOM/s555/h89.jpg






Bird-face Goddess and Fat Chevron:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHObJmrDf92yVNF2ALjlVMZubsxHWDRtf1vABN5OR3Xe5wNQPcquccPsrDnpFQtfhox-0m1gxjKVnCh0n8JC4lX_K-QQe-RP-ZEXdZDLJ2wR_M4vw4iVnlkWT6Ya8ZLVuUDcSkJJKv3i4/

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBLflNv36CtdnsPm9DkwQZr5VdfHDj1wPPhknCD9gtP7cJm5DaGu-hCfm31SGhfRNt6gPxAe9-5EVMPNLekqrGUQEjXhhDFQEOPiF1AMKq1Wx8HFTNqZioGCiGJN34Rtxeq7Q-jOYSHMU/

[shaberon]

Tiger




This is where IVC is on its own to assert identity and meaning.

Tiger is used differently in Avestan, and is essentially skipped by the Rg Veda. So here, our root linguistics do not converge particularly well, even though the narratives nearly compose a national epic.


Well, if they did anything of the sort, you'd expect cascades of references by the main character about the beast. There are not. By our method of comprehension, the Contest Animals are connected to the Contest Heroine in very limited circumstances.



Visually, "X" and "Pinch" places her with Tiger M-1165.


And within the script:


Bird-face Goddess -- Bent Branch -- "Pinch" -- Tiger text (plain script from Lothal)


It is this bi-gram which goes on to multiple functions:


Striped Horn 205 has the ability to append itself directly to Tiger text.

Bird 76 has Tiger text (M-366), Bird and Fish in Parentheses, and Bird-face Goddess.




A few more visual cues:


C-27 with Tiger

(broken; no script is visible, but you can tell the Branch has turned into the Bangled Arm/Trunk illusion)


H-182 has Tiger facing Person wearing "Comb" followed by Conjoined Enclosures

M-486 Tiger faces Human glyph

M-486 is a prism that also has a Tiger on the third face, which is difficult to tell what accompanies it; M-487 is a copy that is in worse condition. The first Tiger faces the trigram:


Person -- "U-shaped" symbol -- Grid

and the middle face appears to be a Bull with:


Spear -- Fish with Chevron

https://projectavalon.net/forum4/attachment.php?attachmentid=55858&thumb=1&d=1756606969


Most of them are in the scenes. Consequently, there are precious few Tigers that roam on their own.


Person with Enclosed Enclosure H-94:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqJ3B8-U1ZP8mJf8jQuzG1XD0e4j70iLtOg8JfCux34vMa-gSACO7ndtJ9p_aUeOBvXYnugnLm1uYKycNee7tgq05d7F_Dr8Gdlf4Dmp7HhWJqLs4NfX8jLV10WCna_VEHkFJIbGNlIPpn/s1600/H94.jpg



That is repeated by a Unicorn.

With Donkey glyph M-290:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Qzraxo10VGReOcopgVNUqzvpvv5wNGZ8raM7oyVQnOn0ZXSgglUgUKYU0tvdPItUj6qnnfVUDHo8YYGhXyoMI6iytZLA sLg3MolsJT99uq_Y5_VngEwUKu8TZmxSyP6XBlvkCHGZK-R0/s1600/M290_edited-1.jpg




But its main encoding is closer to M-2047:

https://2.bp.blogspot.com/-dIhShz-X0eY/W7FueYv_2OI/AAAAAAABXRQ/FcsCERizlR80CJ_qE_GUscw23rI1Me_IACLcBGAs/s1600/is8.jpg



In that way, it has more or less its own library. We will get back to that pair.



Visually, in the sense of variety, this is probably among the most important of all the seals, facing Inverted Tau or Gharial glyph, with lowered Round Wheel and Two Bearers of Striped Mountain singleton on M-288:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU6TtUKt_1XD61XHqmhgOqCqJDwjZxho5gBbyPFNXHnDkqmCgdSwfN5Bvk1BzejRpmk_R3XQ0uCdwR8bpQqRt6ML96y1if Z5skDoVmKTLrY3Hbo08D4onXfAUPo-S_3g9wq1uaUdP7EVbP/s1600/M288_edited-1.jpg



That is perhaps the most intriguing "conversation facing a glyph".

It is as if a Gharial turned into a symbol and was grounded.

This moves in to the third dimension.

Rehman Dheri Scorpions have a strange, headless companion, which is believed to be found on edge as the One Frog on M-1923:


S1 F1 Tiger +
S2 Frog X
S3 Gharial

M-1923 is a Tiger with an Eight-rayed Lozenge text, and some quite curious edges on three sides. The edges say:

Gharial, four-footed headless thing, Caged "Two".

You can mostly make it out here, where it should be apparent the "Frog" is not "Water":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFhcXxpBbOrtmqT-aeSLhyDqle-P5fJ5Ft0k1_rm2AuDe3jhpbsUejS-wPd2cJY3_PGuQkccBMoHGFnhiYn15NmubhJgJvjXbDM91ZQa48HmdD7GzMj6eDmdUfKKGcCQMrMrbGw0I_xGEfYcwBQASbbOGkkn AKhbsRgw0OHCa_t61y4DQfIfP-itxSDSG5/s1280/Slide1.JPG





Parpola's Crocodile (https://www.harappa.com/sites/default/files/pdf/Parpola_Asko_2011._Crocodile_in_the_Indu.pdf) claims it is on "both sides", I guess meaning opposite edges, we are not shown a copy of, which may make it with and without Fish. Moreover, Caged Two is a singleton and probably not even detected in some counts. The Frog "reverses" it. This is a critical design. The proximity of this one Frog to the Gharial is like its proximity to Rotating Tau in the old seals, which, circularly, appears informative to that shape as a Gharial glyph.





Numerologically, that just helped the Crocodile achieve Two in a way that seemed to have been difficult passage for it.

But it may pass right along to Three.



So far, the Tiger is the only thing to have a triple self, as in the opening post. This icon joins the Illusion by proving the Rhinoceros to have been temporary and the Crocodile not:



Gen 1: three tigers join to a plan view of a central axis on
M-295+similar.

An animal joining its own type three times
over is exclusive to the tiger in Indus glyptic art. On M- 441,
1395, and 2015, this motif is the obverse of the gharial-centric composition on the reverse (see Fig. chart 7). In this
arrangement on two-faced seal-impressions, the gharial-centric composition adapts to show just three surrounding components instead of five as in cases where the gharial-centric
composition is on its own on a uni-faced seal-impression
(M-439+similar). Such rejigs make it clear that the joined
tiger motif was not just decorative, and that it has a design
motive with a specifc communication intent.


In cases where the gharial-centric compound is on
the reverse of a two-faced seal impression with the joined
tigers on the obverse (M-1395 B+similar, Gen 2), the middle register (featuring the rhino, among others), is dropped.


It was unnecessary because it's not part of the thing. For that reason, you could say the backing of Three Tigers "purifies" it. They do nothing else. These tablets are really worn out and hard to see. Not as appealing as the big solo unit. Those really have a beautiful, unmistakable interior Three Triangles, but we observe that in their accompanying script, Three is rendered a-symmetrical:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFyBG_RRLcA73ylh0U-orohQiR0WK5EVdFn9FI18OPRjfDPloWrz6-nFsAZDHuR4jgjOIQ32srq8ifZagOCX5Rsu1HmrgAVQzn8lIPLvP3mYbEbxY-wd0cwzCoYvjZaXz6NilRlXPnFQQ/s1600/ScreenShot1507.jpg





What I realized is that the "Pashupati" or "Aryaman", etc., yogin, is not really directly fastened to the Illusion, since the animals are different. For instance he has a Rhinoceros. The Elephant is above the Tiger. None of them are doing anything weird. Instead, Three Tigers is the alternate face of the Illusion. M-1923 foreshadows this with one of them.

Now, you will notice that two Tigers can do Contest or Empty Niche, which is a slightly different track than One and Three Tigers, which evoke this Illusion. And that behavior somewhat resembles the behavior of the number of Quotes in a U-shaped symbol.


There is actually no way I can say an Enclosed Enclosure makes sense to me. It does not seem to foster Conjoined Enclosures because those are of equal size. It certainly doesn't run any course of texts. And so I don't know how to use that or call it a Tiger glyph.


The thing I call "Tiger text" is not literally true, but only as throughput.

To be precise, one would have to say the pair of Three and some kind of fancy squarish pronged thing was used by Rhinoceros and Unicorn. In the Copper Tablets, this is forwarded to what may be a Horned Tiger who in turn quotes the neighboring Elephant.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5YpYhbN9VuhMqC80slFFptA_Acm9VYS21W-QioTpni4BtXlRnVD8cwZWLX3AAwlTAmyb7e-cHDASJKO78M1XvLe8adFB0s-8XLbTRfFIAmkJ_OWnivVaxEoPzlD1AwOE8XVQeRQO8klE/s1600/b12.JPG


There are ideas it is a bed of multiple reeds, and all I am really saying is the Tiger "does more" than the Rhinoceros, and so it seems to be commandeering this glyph (or pair) as part of that animal's fadeout.




Here is a concordance for Tiger text, which includes a "beginner level" or "four bare prongs" variety that is handled by Bird-face Goddess.

It is my personal suggestion the shape is enhanced, then flipped and extended into a Quadruped Rudiment, which is then completed according to various terms.

When ending with Comb on a Unicorn seal is the only time it is not enumerated by Three:


https://1.bp.blogspot.com/-B11vU25BSQg/Xk85t3XJqNI/AAAAAAABrMQ/j-sBxb4PWwYC6mCf4YPcLRbA7QKxIaAUQCEwYBhgL/s1600/sign%2B190%2Blist1.JPG

https://1.bp.blogspot.com/-xor7Xq1Ym-Y/Xk85xLscz8I/AAAAAAABrMU/8pdNp_zHt08yBwbmOexK-jKwaSfgjmqNQCLcBGAsYHQ/s1600/sign%2B190%2Blist2.JPG

https://1.bp.blogspot.com/-I66wSAIdSR8/Xk85xCtGRkI/AAAAAAABrMY/IB63WHNYh8A2bXX-Iis5TIto9kYY7nKCACLcBGAsYHQ/s1600/sign%2B190%2Blist3.JPG



Here are examples of the "pre-Tiger" glyph.

H-271:

https://1.bp.blogspot.com/-BYXv68MSpew/Xk9AXiZXlSI/AAAAAAABrOE/7fLe3G-jJpgkE5aQTMcdTI5rjxOsCP1WACLcBGAsYHQ/s1600/h271%2B4069.jpg


M-1203:

https://1.bp.blogspot.com/-KJW0su0ntD8/Xk8zzPZ4jZI/AAAAAAABrME/Gqusmxq_y4oFD2TJQlke-DvOMvt4P50igCLcBGAsYHQ/s1600/harappa%2Bseal2.jpg


M-356:

https://1.bp.blogspot.com/-NHc3pyObmc0/Xk8-FV4JBQI/AAAAAAABrNM/duLzXltfwNQKD8RnE_4v8kQUarG7bAQhgCLcBGAsYHQ/s1600/m0356%2B1406.jpg


The decorated version with Three has a couple of formulaic instances, and then an octopus-like outreach towards a considerable variety of things.


As to whether that should entirely correspond to actions or influences of the Tiger, I am not yet sure, but this basic pairing certainly has its personal sphere which is unlike that of Five and its associated glyph. It culminates with the dominant tetragram under the aegis of a Buffalo:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPl7YqVD1aHhVoYr7wNJ1MY01csP2fc_NVCYsp67hAivGZO1vp70MkWvsQ2YCliMOkwmhbobwJrwrRtZhjkhQXtJ1FN_X1 NnY8fE3UMgcY4KHehKWObAevitZztaDKzJIlMHYrbzACPkY/s1600/b4.JPG




On the other hand, the Copper Tablets also have a Half Horned Tiger using Conjoined Enclosures with Slashes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIx7aT_qlF79eJb0AZASDUNP8s7ssdTT1QEicAxSwldN3pCMnrRDL157DTFSayeC1WMTAISsV37Zqgd1PbBdj2QKKT8735 zerss-QhliDnnitQoBWxzkR_y8wr_p-0CrVsEpMniVBUoUE/s1600/b13.JPG



Everyone keeps saying these animals come up to a feeding trough, but, where's the pile of hay, where's the carnivore's stack of meat. What if it's that unusual vessel we posted recently and it's his weird water dish. That way the same kind could be common to any animal.

Perhaps humans were only different by dipping a cup in it.

Certainly something about the regulation of water must have been significant in IVC thinking. Still, nothing in a mundane or overt manner connotes water or a well, etc., particularly if you start to consider the Bearer as using something like Tau with Enclosures that may coincide to a yoke with jugs at a certain level, but, is metamorphic.



There are no horns, and it is hard to know what to say about this recent recovery from Banawali:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJElFl41uY2nyP-H1gPJ2ZMQ9B0P2jUZzIItbmFH4cBliF4PHuM0Do--PF7NewKMVzMQruHIEzrlBxxMFEYOT6Hr21CLNERoeCmG-tFRTooYlLNZvyoXlSqZ6LHH5MX-v40vLS3ruoNrOl__036asPyS7ivtjR7PIFsdkEds1nS-W_DPvDW-5uF3Ll/s1280/Slide10.JPG



This cat has little independence, is almost always purposed by, someone.

It seems to bear the point that "Horned Tiger" is more like grades of a particular Chimera that has far more than one admixture.

The Horned Tiger is the one stock figure in the Pathani Damb retinue, but, not only are they all striped, there are extra sets of stripes filling in the background.

None of those individuals even approach the copied-ness of the Three Tigers, which is why I figured that glyph is often accompanied by Three. Or why they might be the source of Three Triangles. These ideas are just leads that may bear out over time, or, they may be irrelevant. Aside from the script, obviously, visual tigers are quite important. But there are precious few texts to attribute to them specifically. And, I don't think anyone has considered whether Tiger Centaur is only a step on the way to Tiger Chimera, which, in full form, has a human face. And so if they are different, it is probably because of the horns, not the concept of tigers merging with other beings.

You could perhaps claim that certain Horned Tigers have Zebu horns and nothing else does.

The other reason I thought a four-pronged thing fit tigers is the idea of claw marks on trees. That's a form of "writing". It would get your attention if it suddenly appeared overnight.

It may be the doughnut-like glyph of the basic Tiger is reduced to "Dotted Circle" or "Enclosed Quote" in the script. You'd have to rationalize it.

Some things, I think, are singletons, because they are the finale to some type of lesson. Obviously Tiger's Kiss is among the most self-suggestive finales ever. That is to say that most of the script has momentum and direction, that it is a cumulative progression. I almost take it like a curriculum of multiple arts and sciences, mixed with philosophy and mysticism. Like a combined Agricultural Magic and Astrological Yoga.

[shaberon]

Buffalo and Bison


These can be combined for the sake of brevity.

Also for the technical difficulty.


I personally only use "buffalo" for "Water Buffalo" which is not a Bos.

This is supposed to have the distinct wide curving horns.

At least one reviewer was astute enough to compare it to that animal of the mysterious Todas of the Nilgiri Hills. They don't drink water. They only drink buffalo milk. It is a clan of healers.


In the field of IVC scholarship generally, "buffalo", "bison", and "bull" may have been applied rather loosely, and the Gaur, whereas its own species, has an appearance midway between Buffalos and Zebu, and it is more numerous in the seals.


So far it seems correct that the "combat" involving a spear is with a Buffalo, while horn-clashing is Gaur.



As its own individual icon, the Buffalo's head is raised.


Aside from appearing in scenes, they are not much more fluidic in their seals than the Zebu.

What I find fascinating is that we are right around a hundred years of studying this stuff, and it is brand-new all over again. Like being on the cutting edge of something over four thousand years old. Especially in terms that nothing we have been told about the script is really correct. Only things that amount to accurate statistical patterns are. Since we know nothing of what any of it says, it perpetually has this air of newness.


Due to this, let's start with the more powerful versions of these horned creatures first.



The ambassador-level Buffalo comes from Rakhigarhi with a Soma Filter under Conjoined Enclosures:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA5WLmZJ6cflVLWDiHrwF7aHH2j_04YseuMy8La4x1EXPUrVTETVH_2M2B1mGmOeWcVXibCkaI9kVRhzD29geUr_HNdBFg kXYzVaGQEDT9BE3HNs0oJm46BeBi78bLp0RmPwmE6AYlJsVI2ruRd68q3cuJF8OJRKf9GDTcfu9ZykeLTKrHAe_g4X1wmMgA/s1280/Slide5.JPG





Gaur have a special presentation. There is a clash on a faience tablet, but, this scalloped emblem has Two Twelves and possibly the most outrageous Sky Tree ever:

https://www.harappa.com/sites/default/files/slides/25_1.jpg






Comparatively, this has the two side by side, where Buffalo is using a Bird-face Goddess text:

https://www.harappa.com/sites/default/files/slides/indus-seals.jpg




A report on Farmana 2020 (https://www.heritageuniversityofkerala.com/JournalPDF/Volume8.1/1.pdf) electron scans the large Buffalo and compares two more low-order seals of it. This meaning the region of Rakhigarhi, has, like the one posted, several animals going the wrong direction. It is considered from level IIIA, ca, 2,600 - 2,450.

https://figures.academia-assets.com/83122848/figure_006.jpg




The number of Buffalo images is quite low like that of Tigers.

facing A-symmetrical Three M-1918:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6lsCk5OpAO9QirnsXmgHOvT9zs2ijNqgMDUz38JFFXIn0FIZ49UZfsg05xqtk408siekOk4T4PaAewPQpwyXzDGK7nJzh GwWDhIsFw3xv_aMAbyyBgX6IZJt3WwZ7VH_ZHFfZNwGSP9fO/s1600/M1918spearman.bmp



with probably the most common prefix of grammar on B-7:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZr0bznMpB6h_JhXLuIg_VrbETVxko3_13xpbWvLdE52ZFq_2hNXz_pmw4alVFxoso1IwDHkNwbsjHxuiI4ng931I5hP4N waEP6A0VbEuqKSpTeKrqmA_GUlRES6hZ5EBLSUp34bnqqXje/s200/B7.jpg



M-268 similar to Khirsara tablet:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3uUW50lXbU90VVtf8d9ZnqwLQxayaI0Ga3EgirU67wOkos5iGb358a33RwqbrZkf5SUVNrYS08MMxS7wDW1A9tMzTbjO4 J2y0XZY0ciVbnnxKkXwU4H-8zHHXhyphenhyphenbVDtJ9eVNk5EpJKJdE/s1600/M268.jpg




The Buffalo does one specific thing in the Copper Tablets, which is to "Pinch" Tiger text to the dominant tetragram.


M-1475:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVG2Zgip0ZG-ljSZOgCbIRjukBxr63bB-V84_-toY_PdOFGEHXldqGfcsjdXR67sjcqjgxqvHwaiXKDvepc0IrJ-Eebpb8C3Rrui0MxF6ME1-dR39S_OqWGTUz2ErwuNgkJk6ruRODX8TV/s1600/M1475A.jpg


https://1.bp.blogspot.com/-JrZZ-6ZD5W8/Xk9J_DNL28I/AAAAAAABrQ8/nvuJcAgsE5smCRNIMcnNm_BvfdkERJ_UACLcBGAsYHQ/s1600/1713%2B525B.jpg

https://1.bp.blogspot.com/-SgpQBrdIL0E/Xk9J_N1dbSI/AAAAAAABrRA/YMwBGgLU2asqRACBPRsEg2ihD8RNc2eNgCLcBGAsYHQ/s1600/1713%2Bm525A.jpg

https://1.bp.blogspot.com/-Ywfk-NGaABM/Xk9J_Xcs-wI/AAAAAAABrRE/_DkWAs0fNG4O9RDI_aEV7RhnWjbC5sX3wCLcBGAsYHQ/s1600/1713.jpg


That bears a focus.

It seems to shape the entire basic form of the script.



Now as of yet I had not considered "bison" as a distinct iconography, but, I think in most cases, we can tell it apart.

Gaur has some quite unusual basics.

Enclosed Quote and Scorpion on Post M-415:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxjvO5BoaI0EHa6h8DZeM4nzFn_TKR_5XNUCDEbnufh-yH2HbYwGCwazsf-pJsfJiJE0VKk54RCQ2FXFDE6U592AqkbzBvQDZS4GKb4iqRTOB120X901jLn2WlyDjgiRoxVu9fRNrr4LXk/s1600/M415_edited-1.jpg



Comb and counter-intuitive person H-584:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJM8oPzEkHECJE7LCnPYGbEbyPzKjMUsaPScaf4Xme2NJxWfoErXRSCTGTJ5mKk8bjjv31XaF31KduLLOVgN2GT2JEc-6EKGaYip8Tlv8aam4sMPA3mH5XF673IcIYHCQ7WAPLeFYrWE0/s200/H584.jpg




one of the best visual and human-sized glyphs:

https://www.harappa.com/sites/default/files/images/31_0.jpg





at Sibri:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmqrQHpqn1ZH9dSZtmPH08UIca156uWEhaQ_PZPaPPi4GRIXwC8WuEGy9wlvD1nvujGwhykt90syOJ9u1a9RVVTTy_FsFp wk9pIpj9nqZWoLWAaEFcwBA5P5RTM9PBE65_r8pdw4KLfKg/s1600/caspers1.JPG


https://www.hindunet.org/hindu_history/sarasvati/html/MESOPO-1.jpg



Winged Man H-76:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdPqmJhCCUxANe8tF7yhvWBWrkwtCI0gKEyuRYkObsCkQwl89ouO1wV8_DXSGgQ5_GYS48OAeiv9gUblxGB9dYTQOOuzns DYuNWLO3vawSB4nxaEpV_TYg_Y6kOcdnbY5y9pcsBTKyaYE/s200/H76.jpg



Belted Rectangle M-240:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjECLfyyGDHJmogspjWFl_wFmytEDGrO3PMEmvyIjHEb873Q2AK6Abvk0SfdrV9u4iMsM5V4ZAUcCfAD6xl4cbgyOMdDbVz NuTzCJHvpXDRmBYLk0llRLRLKdQ3H4fa2RcsI-qgljGukcQ/s200/InscriptM240_edited-1.jpg



"ears of grain" K-28:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-9bpNNYzvGDxXK8abD60BwUz2HApQc_MCLrmY1Vou5MAy4zQUSqwRCZqpwT6BZsY-_NDtqPACDadG0fTaLOWwy2mgWGqokSdNvnZFjWZrlmb7jorpKyf0h1HlPCEGb1LkkSLZrPRCexh_/s200/K28.jpg


L-45:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghu5_fXKi3-DicsCGy1DtDGlWdsFduagB3IYrOJn6DsHtYOv4sicacPCWyMx7xwJGDTYX0ee9pCAhiaVeVxaVKoC_M-0ux9r6GxRJwAe_a8RZieUPFh3_AfOL45WTxdXRvrSwBN_u4M4BS/s1600/L45_edited-1.jpg


Pinwheel M-244:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3-OqfVpC-m9Vn97WeI1gimHl-Z16s6MIRkZIe-yUjBLr3FJG6_rZzhMgNvRl03MQZGDEfeh8UvSqj_FjNLQrGprxLjGKvkyPVbdqoPRchQxRQSTH9pDSQGE9iPTf9WStp16R34GESQ 30/s1600/InscriptM244.jpg


L-46:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyt3X4P3Fz4h6k3gD7SgMhfkIrgTPMgI85lN9ZYwJ24SJiOKLUChiJs1R5x4eFWlNWBNOYtHLw6UvgyVtxaL7KSbGEnv7P GOuTWcUgJztVv4N26gDIod10PrmEAGhE3ftCugk4oIE7oARM/s1600/L46.jpg



Twelve and Detached Flat Crab M-1081:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhQYU8t9IXuOWnuUvPsXbh3gtNLArDJnX9xPc4475OH4to0JnqeOdTIQPJvVOkAbi2nbVZ1gKwlH1HquCQLdMC2UbhlbtB E4mk03qVaByxewiTRla27Jq5JImurFgoVvTFe6apuX6gH20/s1600/M1081.jpg




Three Mountains and Striped Mountain M-245:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjyxogwTpAWu5uPMtA37WTiAujEAeliyhZQP8vtPXkMZUtUy2WgnUXm1ZigkbApq694RtgeX-LmtkcYVbmGZZ5vij5BuLQUSW1CcI8KQGuHzXGLQTJtlGgEhANNf2rofoTC_jrJ7Afoq8W/s1600/M245.jpg



Four-pronged U M-1091:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vq43KfJbaBafUZ5HFfMXqQOa6uMqio7rDSCJuk6ofW6wrJFm34XtrmQgzxYWn73gDi7QxKnfBqb3IhqXLz8m-uOWuZRLaszQ6oYqjsbW9_3cDOzj-YvTVTsDA9yXpbK-XHzgff-_WVjk/s200/M1091.jpg




Here, I am not sure the comparison is relevant, but we find Gaur H-80 as the most intricate "manger":

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-023-02320-7/MediaObjects/41599_2023_2320_Fig6_HTML.png?as=webp




All sorts of glyphs get a split or forked tip.

That's too weak of a case to propose it as a "U-shaped" symbol. The 'jar" is probably Reversed Cobras and Kissing Birds. But, yes, the trough has been affected by the hatching and forking that takes place in the script.


He is the recipient of the linking glyph Fat Flat Crab M-234:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5dgBEUt_lnPpUu73UYmghbN35Jn_UtUhz2yYlDVZilGNT89k02NlZYOu3a3qLmDvrqB_1IaB4hXvVguNb15fjOfTZw7og dmmdVMs_T747_i_a7Bl8Ci59iAassSH_s9lOZuNsGAuAnFc/s320/M234.jpg




leading to Furry Friends with Three Triangles C-76:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1DcLeA-rJ2RmmtIei1Kr-9gkTuudb9TT1sEBj-NslydSxzfWXwnFrgPt125qivxp2uuih5k47oRF95VysS0KOMWeIBQX3rWbUtxjkqy1buZjuJVhjf2vIVEK1GLckvhi-NjypuEMJmvbRWVPbAhY7kkoFJN-_kUrRuavWDUOaxzy_sO9Wq8ysD-cjdNE/s1280/Slide1.JPG


I would think it almost has to be a conclusion, parallel to Tiger's Kiss. In theory, it's what the horn-clashing was for.

[shaberon]

Bird



This has to be salvaged.

First of all, it is not in Conversations Facing Glyphs, which is unfortunate, because the only known iconic bird is facing a glyph. It's broken, but there is enough to tell this for sure.


L-50 Bird facing Y:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitfoT2o7nLyU1Cib2B4bdTa20L4qYW9x1MP6NeIvY_WdZnYwbqFUpNuL2cGxziohgMZz3-nynbgbSilKuM6J8JbcGdCrUbFwk7TmTladdD5R8IyqjS5VZBQYel-EHjdG68p85e4V11MPhr/s1600/L50+b.jpg



Otherwise, there are a few times it is found as an artistic image without script, or, as a support animal in a procession. The most important role of Birds seems to already be given when they are with the Boat. That doesn't mean they are lost at sea. But it is about the closest thing to them being involved with anything.


http://www.bibleandscience.com/shop/images/IndusValleySealBirds.jpg

https://www.harappa.com/sites/default/files/styles/galleryformatter_slide/public/cylinder-seal-mackay-2.jpg




They're not quite the same.

The ones on Daimabad Chariot have been called "Drongos", which is unclear, because this bird has two main traits, they are mostly black, and it has a distinctively split tail. The ones on the statue are in one piece. The one on L-50 has a slightly weird tail, which, i. e., is not symmetrical, and therefor not clearly a drongo either.

And so in the "tax stamps" argument by Mukhopadhay, she says birds are gemstones, which could be great and really convenient if the interpretation could be nailed down, but it cannot. Her main evidence is that Persian and Sogdian use pigeon for "blue".


I would like to think that colors are accessible in the script, that it would be hard to filter out lapis lazuli and blue, and there are in fact Indian birds (mostly flycatchers) that are closer to the right tone than a peacock usually is. And if you are trying to signify sky blue, or azure, after this rock and a few small birds, nature does not offer many other suggestions.

One record from Ur III refers to "multi-colored ivory birds from Meluhha". That perhaps is Indian. But there are also birds from the Rg Veda; if anything on the seals seemed to match up, that would be a lead. But they don't.


Rather than color, the first thing that presented itself to me about it was rotation.

There are quite a few things, not just a bird, that deviate from normal by being turned at right angles so they are vertical.

It wouldn't be important that this is plainly obvious in the script, except there seems to be text concerning itself with both states.


This is the only known depiction of Bird-in-flight with Combs for wings on M-411:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRys-hrVxtN9lZPBIcGGlKRfo9ax7dftQk3lfCubUMQ9Eeg0WXEyMcWf2aVMlnIv4shCK1baZTB2EycBbfezr1Zv7zsys86WcvXNN0ilG o4C3BdYPJi0h2wB0sv9kgpipvQ9hLSkrBqM-x/s1600/M411.jpg



The next curious thing is, that it frequently appears in parentheses, and, sometimes it is not alone.

Standing Bird with bird and fish in parentheses M-107:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-ZrfhyjCAwEBZ9_4zjYWhTlPy9XphwCerYn6qRfVlGLkY9hgl93QKUovX-4jtxkVLS8lr59scZ-RkGpNYQbbQPupah-p8jHlknnbC_Kn6Dmmle1r-oJYyRwOYVfa5qhClQNnU-yxCWtN/s1600/M107.jpg


Bird in Parentheses with tetragram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig1A-iDARhzPAS481lRJvKRWn7FgKHornLcWEzG9YxBUoz9QpfYBEks0E-Sf5LW_I161oz78aCn1NNxJOBV6Wo6JpO9ukI60y0UisCthZSKpVAMSsFX7k_d9hbM1EKc25AcHJDJN3cokHqJxKvSRUtTImZ95ZA 5s0XeB_9nzK_qeAlLvACatyF_W7P/s1280/Slide1.JPG







Bird L-50 is arguably not facing a glyph if that thing is not a glyph.

It's not.

The only way we can take it is if we argue the glyph is flipped over. I don't like to make an arbitrary idea, but, this seems possible within the script.


Bird is with Inverse "Y" 126. Its simplest text is:


Person holding "Quote" -- Spear -- Inverse "Y" -- Bent Branch

M-403:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqhXVQmIEQYxeEF0k6oyGTbs_RXgXlNYz_Qy_EDK2feVe9t1KmsNTpCjjmMZdSlZR-EKcnyVhrTcu3TB2iG3ylbLmvcDYG6lK33n5aXvtuVJbXCojbSs03kdUuDOOVHyReyssLTWgq9a0/s1600/M403.jpg


Then it is with triple Bows-with-handle from Harappa, and a couple more detailed scripts from Lothal. One of them includes Bird 77 (split tail). This form has only one other text where it is simply with "U-shaped" symbol. But it most closely resembles Inverse "Y".

So, it is arguable if the text wants to say "drongo", it can. At the moment, I can't come up with a good reason to pick it off something that seems to emphasize the same feature.


Although there are some slightly different varieties of realistic Birds used as glyphs, they are nowhere near the amount of Fish.

The "tax and gemstones" paper just seems to use arbitrary examples, but lets us know the small number of Birds gets "U-shaped" symbol with two "Quotes" twice. It's in a bunch of ther stuff but for instance it lists Inverse Y with three Bows with handles (https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig11_HTML.png).

Parpola has another report where Bird encounters Rabbit glyph in U-shaped symbol (https://tuhat.helsinki.fi/ws/portalfiles/portal/127257571/Parpola_A_2005._Contact_between_Harappans_Bactrians._SAA_2001.pdf). Called a "cylinder", it is really a penny, and a really small one, 1.4 cm across. It is thought to have perhaps come from Shortugai. It has come from Afghanistan and gone to a museum in Finland that does not offer any viewing of it. The fact that it contains Indus script came to light when it was sent to a coin cleaner. He thought it was probably not a seal, but a "weight or game piece". Whether it was a weight could be verified. The small size and simplicity of it have caused it to be ignored.

Of course, he wants everything to turn into Bactrian Eagle, or, be under its dominion, and so his vaguaries lie along these lines. It's actually mind-melting when you get to where how this little token explains the unseen. He was pretty good at recognizing how the Ivory Rods mesh with what he had been doing for forty years, but, his analyses tend to be insufficient and trails go cold.

https://projectavalon.net/forum4/attachment.php?attachmentid=55869&thumb=1&d=1756607133



And so we don't really have any more birds to post. It flies away. It might be the only normal thing that is in the sky in the Indus images, but it never seems to do anything besides fly around.

We could say that people take on bird-like faces, although they don't wind up flying, turning into a bird, or make any kind of bird-based gryphon. Even when we go through the Copper Tablets and see additional types of composites other than what seems to be the "mainstream", I don't recall anything that was even suggestive that a bird part could possibly be in use.

I would say its prominence on Jars and that it is often over, or perhaps lands on, animals, and, it is often of the funereal kind, attests to a metaphysical aspect.


Conversely, it has a good template for when we get to adding concordances that aren't available online.

I don't like doing this, but, the point is, we can go back and add in whatever is missing, unlike Parpola's descriptions, which will always leave us in this state.


The primary birds used in the script are 76 which is walking normally, and 78 which is vertical. The distinction in the two main Bird-shaped glyphs is they are at right angles. One is walking naturally, and the other is turned so it walks up, is not realistically a "perched" pose.




From the concordance, Bird 76 has Tiger text, Bird and Fish in Parentheses, and Bird-face Goddess. There is a pair of them before "X" in Lozenge 284 on a Bull seal, which we have already posted as unique for its kind.
.

Bird 78 has the Four-legged Square "A" 188. Its "U-shaped" symbol with two "Quotes" is on an "H"-based Rhinoceros seal. Then it has the odd pair of Winged Men with Bird-face Goddess from Chanhu daro.

The other "U-shaped" symbol with two "Quotes" is Wing-raised Bird 80.


81 in Parentheses has a more normalized appearance of developing a "conversation" like several other glyphs or animals. It has some trigrams, does a few different things with a few grammatical connectors, and attains a few longer texts. Notably what is in it is Rectangle and Mirrored Flattened Crabs. There is also a realistic Donkey.

It has Bird-face Goddess three times, including a "Twelve" statement. There is another one that shows a pair of "III", where it would be good to see if there was a lacuna or some visual thing so it is not just "Six" (Unicorn K-4 has no separation). She has Bird-in-Parentheses on a Buffalo text.

Not being sure what Parentheses mean, we may note for Bird it is exceptional, since this version begins no texts, but terminates 5/24. The main birds are never in the end, and 76 is usually a beginner.


There is at least a structured behavior here. The naturally-walking Bird has a pair on a Bull seal, the rest are Unicorns or plain.

Bird 76 is almost always at the beginning of texts (10/14), and, it modulates "U-shaped" symbol in three modes, empty, with one, or three, "Quotes".

As trigrams, the empty form comes along with the common "Comb", whereas one "Quote" gives to its text the bizarre ligature of Flattened Crab with Three Branches or "Combs".

The three "Quotes" version then interiorizes the Bird with Tiger text (M-366).

The series then moves the empty container beside Branched Crab just mentioned.

It uses the common trigram with two kinds of Fish (M-631).

It culminates in a nine-glyph text that places Bird-face Goddess with Conjoined Enclosures with Slashes.


Bird 78 re-iterates the long text, changing some of it for the pseudo-pairing Winged Man -- Winged Man between ")". This is on Ch-1 which has an older, primordial figure, an elongated Unicorn with no Object or livery.

It begins only one trigram, with Branch-tipped "U" and "U-shaped" symbol. It's a brief, simple series. It uses the symbol empty, or with two "Quotes".


So, I would say, Birds at right angles have specified different uses according to the number of "Quotes" in "U-shaped" symbol. They do.





The closely-shared text has another version where there is no Bird and no plain Winged Man.

This is not abundant enough to be considered a "tetragram" (nor does it have its own static existence), but, there are three cases of:


"U-shaped" symbol -- Bird-face Goddess -- Conjoined Enclosures with "Slashes" -- Bent Branch


having zero, one, or two Winged Men.

Two of the statements are headed by Birds using the Rhinoceros-horn-on-a-stick connector.

In the longest text of Conjoined Enclosures with "Slashes", in this pattern, Bird-face Goddess is replaced by the Asterisk with "Comb" 145 singleton.



That's really difficult to comprehend coldly, but, I think it will bear out a substantial association of Bird to what I have been calling Bird-face Goddess. It will show something in this direction, which will be weak or absent towards others.

Here is an example of each kind of Bird:

https://projectavalon.net/forum4/attachment.php?attachmentid=55817&thumb=1&d=1756431707



That a Bird character not only existed, but, was influential, shows in the reverse of "BMAC dominance", that it was more at parity. It's not out of the question that it influenced IVC slightly, but, it is pretty remote once you consider the flow going the other way around. In this case, an Indus Bird appears on a Bactrian copy (https://www.researchgate.net/publication/359747593_How_Did_a_Chimaera_Get_Lost_in_Margush_Indus-Related_Seals_from_Bronze_Age_Oases_Along_the_Amu_Darya_and_Murghab_Rivers#pf13):


Breaking one of the most important iconographic codes of the Oxus seals, where birds are usually eagles or vultures, it recalls in fact the characteristic ‘peacocks’ painted on the purple-red surfaces of the Late Harappan pottery of Cemetery H at Harappa during to the first half of the second millennium BC.

https://www.researchgate.net/profile/Dennys-Frenez/publication/359747593/figure/fig4/AS:1141656367693826@1649203497966/Two-sided-stone-seal-with-a-composite-creature-and-a-winged-peacock-of-the-Indus.png



In that sense, it could be emphasized that, although it is not the only kind of bird in the depictions, Peacock is the Bird of Death perhaps exclusively from Nausharo onwards.

I haven't gotten the sense that the seals are actually dealing with death. They don't seem to go on to heaven and hell. They perhaps deal with Trailokya or Three Worlds, in the normal, manifest sense, at least to the mind. This would, of course, be a total mistake if it was a Pitryana, or, that is, figures appearing in leafy U-shaped objects are ghosts. Although that is a valid possibility for beliefs and practices of the era, I'll just say there isn't a lot of traction to read the narratives that way. I think they are about something else which is extremely weird until you get it. However, it's not possible to refute that chance entirely, unlike so many others that are outright deniable.

[shaberon]

Deer and Rabbit



These are extraordinarily small collections and closely related in the Copper Tablets.


The Deer is explicit or perhaps exoteric and the Rabbit is not.


This Deer does nothing else other than give us a clear illustration on what I would call the major basis of how the script operates. It is often threefold, bearing two similar alternatives and a third summation. It's a building process, usually with parallels, attachments, or outside references. The Copper Tablets contain about four or five packets of this sort of thing.


This is the lesson on Belted Fish beginning from one of the three "subject headers":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw6BVhNFDB34XYpNXfO-CXGc8zxZCZDwDe2s_acEr0to2ZpwXU3VFL3HFpK1wp8zlJkbO6BUAxfmWfxxb1UZ61BZVQkjB_nzv_C2RUy7ks8ZtzimIHo36FB8 H05r8vTUgeoktbmtFP1oY/s1600/a6.JPG




The Deer is identified by its branched horns. This trait is not shared, passed along, re-used or even re-represented in any way I can think of. It is here in two kinds.

Six plain:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHrLzFoyfO2NjY_c5hcFAsJmWB4AH-IUNkqb40LCkBxtKy3qsAYMqgHB_65V89yZRam7TYjPxbYkT1vLaF1gvXebg6csXTDsQneqIknBit8IK8ZHoQaEcaZ18XQCHGdGV4 KGLFnsXSqn8/s1600/a1a.JPG


One superscripted:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8xr48wKmPMjPyTREnKgt5JyBzvM7krY2IWY7azlN0lpxeSMD3i5gnXL4wXCJweBGn4ZX2HgxChqxc88vYCKX81uJEYqzG dsNcqveYLaiF_bhLxD3heP4aogh79mztwBpO1owwWQe2Z-4/s1600/a1b.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr6x89-iI5YQCudvTDHlaIr-zLh-eDzF5WNvFjFJJVMCj0wApFWKS2_BTCzCXQka0AMnE51F0dHIhxUWJ-1tc_NGgNhbNSpzRmmXuENjS0VTDk2k7ZZQiiQPlJS7cV5D6VhOiT5wnS2wY/s1600/a1atext.JPG



Then it partly disappears into a Hybrid:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiioBv3tzfRlkHmER00rvGREsYrE2h1_V8A3hwswQanRioBG7o77soIrUWWsHv7N1w61-wM5vnr2Aco7UXZjlGcUug58SYsSA_4UQOpyyDI-cVQOxe6LbZqA3Bfun9kG0eh7jEswKhVfyI/s1600/a2x.JPG




The text continues.

It joins an important-looking unique glyph of Mohenjo daro. The kind that looks like the cumulative destiny of Archer Deity and all that other stuff. When it does so, it gives the plainest kind of positive - negative duality.


Palindromes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAyaUYJThu61HYjY1fSzkUVbD2mUEF8KjfeYTS4QmLYGb4yuGZoabcgOWXLnYbcyITVeyLuK7IQr6Q5UeCSXRTe0zgU64m 2DL2UCCZu4FdWvtliGh5hbKF7LO2Jk2wC-kMZhRWQxw5dBg/s1600/c4a.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6Yw8jhzzEnGiXrXSIrqPJ_-6OzDIBJ6fZcokXV1KDtiR0BeKw_8VNEOAIm5q5BODYRKa_Mz_gbr-xx8EqgMSq7_tMs_8ewRu6rGcAmvZ6yQDjFtfhxxHZq_lnLfn3Zc8pEE6YfniaNU/s1600/c4b.JPG



Those mirrored statements have another dimension, wherein the glyph gains an unusual pair of Chevrons and intercepts the tetragram, which it got from the Buffalo:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMMFhyy11yeDVqBf_hNU_LEnupcT7qEBRO1j-gRA-rFkuLPmKln_ZqHvsdSFBmx6iiT-VSjImP8NFF5S6QYAAGOEfKTekf3kooZwPFtr88BeTsxQ2ynaGngukLIkSlvksxDTjNGxk0ORM/s1600/c3.JPG



This started from the same beginning with the Crab, which has its own story.

As for the Deer, it might be said that its superscript gets an honorable mention:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVPeqcuXBv3IFDjLiCrRrV7TuoIinDZO8na3MSEZzyw6Ca6by0TjPwlRTP1X1JQ1UrzxHvtKXa7ET-r-ZkBMYVK2BPrdft0iI9Z2fQNA0kbMYONODkc3q_ym0M4QpX5EN0_FwPUjrmmug/s1600/c7.JPG



otherwise I believe it exits recognition.

It is simple enough to see that a type of triple animal coheres to a triple text.

Two things that look different are the same; two things that look the same are different.





The Rabbit himself is not personally a secret, this having been re-iterated thirteen times. He has attached a bit of personal information, what I would call Quadruped Rudiment on Post, to a wider subject, Conjoined Enclosures with Slashes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjbL_d_sMBKxDkqDFSPMENb9YjC25xve0bMfYYOzGgLlrzVG-az1oVfi2xjwAKB2enqHyVov_GjpTt0qKo8ZYPLql_a7Uo_3G_4fNSF6K4So6rjxR_9WvenQJjWl9kldvNFjxipyWS5Xo/s1600/b7.JPG


It's not from a "root" level origin, but, from two kinds of Simple Endless Knot:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY9C0fTks1tSDhwUyD9Sh85MP8OQjytta22_U0nCByR3y_VVMnrlb2vtFD3VqxfxDmvcPFWgLP3lOSw-TuqRYdDhDHYgn4xg_msE9dxuraYvB3I_zmg-izdRNabCc5YlrIG-jQws-lPXM/s1600/a3a.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir8WSN1DOh6JKKtJaT83VCSSdn4h9evGVP3QFB9tcwcrXdWT0YvFxO152ZMPsifjNn9yN7AMSk_aiuuGq72tYskCa6xAwR 4CDO-z7BRSbXjk2g5ZOHUU257TVUbDbZ9YbbjkpKht4uAh8/s1600/a3b.JPG


They move through this Half Horned Tiger with that necessary tool of the other story, the Crab:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIx7aT_qlF79eJb0AZASDUNP8s7ssdTT1QEicAxSwldN3pCMnrRDL157DTFSayeC1WMTAISsV37Zqgd1PbBdj2QKKT8735 zerss-QhliDnnitQoBWxzkR_y8wr_p-0CrVsEpMniVBUoUE/s1600/b13.JPG


which only then attains the famous Crab-in-fig-tree and Archer Deity:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih8fML1tkBDlStJt520lmKDWihFsNm2is_ocgBSo43Qe4b5SUWvTYRK9ESZ7euYGd3al1egbxcteOv2eYhyphenhyphenv dsHU9vDSROYMJs54OhuBSWZ19hmOW259L2matcs2Qc3vPDPYWhUt4Rn4ZJ/s1600/archer.jpg



and again that use of Crab has palindromed supporting statements. At that point the Rabbit appears to have fashioned another special glyph of Mohenjo daro:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXYepAU32SncvKMjgar6vkJycXrFnhwgc7nHu2qv0wvLo9bhM8fNf-Zml9X9BdYj0c3bb9ntUPCcWUjeZO7XXL0KovABmbMgFGH4dqJiNuORISgvtplKwk2vU2td8sPnsbjAl9pwKwQUI/s1600/c2.JPG


It's not impossible that represents the Full Moon.

It's the only Wheel in the Copper Tablets.

In the corpus, there is only one other instance of "quadruped rudiment attached to Post".


And there are not many Rabbits. We found one beside Yogini on a tablet. In that instance, nothing apparently would relate it to the moon, unless it was from prior context.

Rabbit and 8 H-95:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfS8LgTleZm5rSSlbyzHGQd-_guD6ofZVgx7ZzsHWq3TPZswFFBKfq0EMZpGf8yiUXVM5QGdTYqyzhqmoTbSsB6ZGhdJi7q2-O62E03XhQqTY6C0BlQ56fp8qmko9FXNAAqRSJ3VTAkUm/s1600/H95EightBunny.jpg


His glyph travels almost nowhere, such as:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoEwXiu6-0cMbD6EYbQhiwswDVvbLWSGd0aURpZCikKcL5MfHn-HLNIJ_1qIf9WkTTdpmW8sBXIccAPpsekVrF_RjkGRKlbsFMYFe3jP0Ompbm2FSDJzjHjofes0SLhDEiyd3S33PkiaI/s320/EyesInscript.jpg


and on a pot from Rehman Dheri, Rhd-211.


It does, however, commence the "art of ligature" rather plainly.

Rabbit on Post H-144:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgtT-1wpNkRvnJW-MlBMzkY5JWsTSV3YhFVkzS4jjkjQ31tMlMSqfAbaLtx8SfvMZ1TavRU3RZ7E70mwn35_cAAp6u_KgG3Aoctu_QqB8oxf-tpAvnPEHFAP-lESEDbJWMRqz8BDxSSs/s1600/H144.jpg


412 is a Rabbit glyph with an attached "H" that subjugates the tetragram. 413, Rabbit on "Post", has no additional uses, although this one is copied.



Here it is in the expected position for "Bird" on M-446, and it gains two...legs?

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkbaJh3u0hJUzzXISLfrwmNUbFDoa2JdrVyqS2l8nB8D-4G1SHRH94m62YKsb0mOZf6tgreKu9pKxGXP1vueYbp2SJCJ68hNvzfYPjynlfgG8EKgb_89mrDAnFa9D0PdEMp2v_94L-SEs/s1600/M446A.jpg



So, if one begins to count ligatures, this one has a heaping ton of variants, coming under the rubric of "ant", "eyes with lashes", and things like that. It doesn't really come in the category of plainly arising with a creature. And, I think it would prove its point, that, some of those intense combinations are incomprehensible without whatever this first conversation is about. This one seems to be hinting the answer is not all in these tablets, but, to browse elsewhere. That is, for Conjoined Enclosures and why they appear to rotate with belts or slashes. In this case, Shield shape is pan-Indic rather than special to Mohenjo daro.

As to whether the Shield and Conjoined Enclosures represent a rotated 8, it could be.

Otherwise, departure of the Rabbit from anything other than parallel texts to his speech, means you spend most of the time looking for him, which suggested the lunar cycle to me.

Or, we might say, figuring out those parallels composed of basic glyphs have prevalence over finagling with four or six "eyelashes", or legs, or other attachments like "H", which may be a later, secondary script not intended for foreigners or a sprachbund, but possibly some kind of personal details or other nuance confined to Sanskrit, or actual language of the script if it is something else.

[shaberon]

One Realistic Fish and Sky Fish




I have seen one skeptical argument that the IVC Fish glyph is not a fish, because fish don't walk on their fins; it is a "looped cord" from rug making or similar art of weaving.

The fundamental flaw here is the counter-proposal that what it does is show rotation from "reality" to glyph form:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiItdfW6rHQ4edWIGMJDWw18QvaaFhilM_d8hiTTLiERTITtO1zRx0CajdFYLvY23EU1_dLdu4l6G2954IC6tcYrEIh96jb BOZVUb2GhZPw3qIK7Tn1MspO1UV7_9YGg40FyRRuz0IEkYo/s367/field+symbol3.jpg


It shows pixelation, or hatching, similar to the scales that a fish actually has. Then it rotates to a blank outline. And the embellishment of the script is to incur this hatching back into its outline and linear forms.

There are not many two-headed Chimerae, and here we see the level part is a realistic Gaur, and the vertical part is unrealistic, imaginary, or mental.


If you compare that idea to the most famous Bird-face Goddess image, her Wheel is not only not round, it is horizontal.


Although it is difficult to validate what wheel- or spear-shaped glyphs might truly "be", the fish is a fish. Its glyph is caught by a Gharial:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga7vM4J87Gne3MWh9X3DyZ7DZzgULBb_AC4reGgW9lWE0vDZQBdyhPphPetEFPRXluC2BSUhTDGRw0xGyCzcU1R3KVEIQY Us8ER0hV24IZ3tCWuPGTu0NEP-xwttZQePNY0sVnKvOM5cp_TXwOSvP65MHyKbYJjVwnFb_WtGJAlClKNRy96S7bPHQVGqg/s1280/Slide14.JPG



So the proposal comes round, the Gharial eats every kind of Indus fish, he contains or represents them all. I am not sure. He is a binary With or Without Fish. Although they are realistic, they take imaginary positions in the Sky. No one suggests the Crocodile might be Azure Blue. Maybe it has to do with day and night. Nothing normal is afoot here.


Having found plausible grounds for continuity to the Megalithic Culture, then, the least-contaminated by later literature are the more remote tribal ideas such as of Gond and Khasi (https://www.livemint.com/Sundayapp/ah8MlN3mwHQjIpmBZBhcXJ/Exploring-Indias-megalithic-culture-a-riddle-set-in-stone.html):



The living megalithic culture in India provides strong hints regarding the belief systems of prehistoric megalithic people. “The Gond people believe in life after death, they believe that every human being has two souls: the life spirit and the shadow. The life spirit goes to bada devta but the shadow still stays in the village after the erection of stone memorial. Gond people believe that the first and foremost duty of the shadow spirit is to watch over the moral behavior of the people and punish those who go against the tribal law,” notes a paper by S. Mendaly on the living megalithic culture of the Gonds of Nuaparha in Odisha.

Banded agate beads with eye patterns have been recovered from megalithic sites. These were generally used by them as protection against evil spirits, a belief that survives to this day in India in the form of nazar battus such as amulets or strings of limes and chillies.

“Sangam literature has a few mentions of the soul reaching the upper world out of three worlds,” says Selvakumar, who has excavated several megalithic sites and studied references to megalithic culture in Tamil Sangam literature.

Their belief in the three worlds can be deduced from a peculiar object recovered from an excavation: a tripod made by three copper rods arranged conically on a circular base. On all three rods, the figures of deer, bird and fish were fixed on the base, middle and on the conical top, respectively, representing the deer on the ground, the bird in the air and the fish in water.

“This item must have had some religious and ideological connotation of life or death as accepted by the megalithic people. According to Mohanty, findings of such item from burial may have significance on their belief system of the dead travelling through three different worlds,” notes Dilip Chakrabarti, emeritus professor of South Asian archaeology at Cambridge University, in the third volume of his History of Ancient India.

But while no material remains of the fantastical palaces described in the Mahabharata are to be found, these unfussy megaliths have managed to weather 3,000 years of tumultuous history.


But wait a moment. Water doesn't float over the world. That only makes sense if it is Waters of the Deep as per metaphysical cosmology.

Otherwise, water is at a lower level than the ground deer stand on.

But that is the meaning of the IVC procession animals, isn't it?

Why Bird and Fish are together in Parentheses?

What they call megalithic recoveries are very similar to IVC Eye and Fish.


In philosophy, the Eye isn't really any different from the Sun.

The human eye projects whatever you are actually seeing.

The yogic eye can see the solar corona.


It may be possible that various Birds and Fish have to do with colors or gemstones. I get that from "scales", it is realistic, when they gleam in the sun, it diffracts colors, and this is found in the related di-chroic ware with fish imagery. Hues dominated by red and blue resemble the beadwork jewelry. I'm not aware of a second "theme" like this.


Rather than assigning meanings to the many kinds of fish available from the seals, we can find how an aggregate is handled by the script in Bhaskar's Anisotropy (https://www.harappa.com/sites/default/files/pdf/MarkersAndAgenciesOfAnisotropy.pdf):


An Indus sign that doubles uses a differential marker
when it singles out in context. The more plural a sign,
more its differential markers. For each plural sign,
there is an Indus seal that declares the plurality.


A sign that does not double needs no differential marker.


There are a few exceptions, such as Mortar-and-Pestle and a couple of the "notched" glyphs, but otherwise this behavior seems fairly consistent.


As distinguishing marks are applied to "Fish" 59:


There is one formative sign,  59, and seven marked
versions each with a different intrinsic marker. If the
formative sign recalls the the fish-eating gharial as initially suggested in Section 2.3, the reptile must have
been a collective noun for every type of fish in the
Indus signary.

It may be contentious that I have left out two other types of
fish,  finless fish and  winged fish. A classification that
can lead us to a new sign list is an ongoing exercise. The
point of note here is that in the Indus sign system, there is
a formative sign and versions are created by using intrinsic
markers. The number of intrinsic markers vary as needed.
The manner in which a formative sign takes on an additive
intrinsic marker follows a design logic...

Gharial denotes fish and vice versa

Proceeding from animal gaze, the sign in front, and their
combined behaviour, we can see something similar for 
59 and gharial, a similar pattern of pairing with a mnemonic, and eventually, independent usage of the sign.

59 rises
from the reptile’s snout, lifts to an aerial sign, doubles,
repeats, varies, modifies, forms pairs and triplets, and
takes a central position in the Indus sign system.




The single "Quote" is called an "etcetera", a cue or summary for some appended material.

Going from the text with one and two Checkerboards, he gives a similar view on "triplicity":


Some Indus signs triple, and one of them quadruples, with adjacency. When a sign and its doppelgänger single out and move apart, how do we tell which one is which?
The question carries with it the assumption that when a sign
doubles, especially within a line, it is not merely a repetition
but an assertion of the sign’s duality.

These two
instances present simultaneous evidence for how a sign double deconstructs to become a single and how a single sign
doubles. From this, it seems reasonable, even obvious, that
when a sign has an adjacent double and also singles out in
usage, within a sequence or elsewhere, there are actually two
of them. Let us deconstruct every double, triple, or quadruple to a single and see how the single behaves on its own.



The behavior is expressed pre-eminently by -- Parentheses on a cube:


From one seal we get the full picture of the behaviour of (
299 and ) 287. It singles out on one face in right orientation
(. On the opposite face of the seal it doubles, opposes to left
orientation, and flanks a single sign )  (, and on a third face,
it doubles and trails to enclose two signs in between (   ).
This sign order and orientation are reversed on a
Banawali tablet.

A sign
system cannot make it more obvious. Indus is telling us
with utter clarity that ) 287 sometimes becomes ( 299. And
1471 and 9211 attempt to explain what happens when one
becomes the other. Significantly, ( 299 and ) 287 never
double to face each other, this combination () does not exist,
except as an enclosure.


There, we shall keep in mind Reversed Cobras, )(.

Instead of simply saying ), (, and )( are "different" signs:


...n. 9211
and 1471 think differently. Each is a point-of-view narrative. Mohenjodaro tells it in one order and orientation, and
Banawali the other.


And yes, we already covered palindromes.

This behavior is completely obvious, whereas some others have to be painstakingly broken down to see the "duality". Now that I have seen this, it's not going away. Is this like a "Balance"? A center with two arms? That would be the closest corresponding actual relic that comes to mind.


It is said that "Comb" can be "mirrored" to make a difference to itself, while signs like "Branches" are symmetrical -- and these are the ones that use various things that have been called "Connective" signs, such as Two Quotes, Pinch, etc., which mean these different signs are version markers of Branch #1, Branch #2, and so on. Although a "Comb" technically has been doubled, most of the characters in the "triplicate" explanations are symmetrical.


Now to stride between glyph and reality.


Here is a quick insight from Vidale's Chimerae concordance, which considers this a Pair of Fish M-2033:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWODI9t4nD2UL8FMLWGQ2bTg1xDPS1Jl_Tp6VVxmKHiaPfegDD8hKov6NC68K8xqSOnYWLX5UFTv11VcD-8L88atZD0G0zzxIRbrIcXnkpUqeqCCRQJcYDGFOyYvrvbE6mPDPK6GMFze4gGukPnmLZNIqQy5H-uUbFVMrbsZCQDSk0zCI15nHg4MZqRhJL/s1280/Slide1.JPG



This concerns those creatures which have one head. And their jargon is a bit similar to the Ivory Rods. Expected humanoid glyphs are a minority and there is no Winged Man. It does however feature some that are the same on its instances of "doubling":


Bird-Face Goddess and Conjoined Enclosures M-299

Bird-face Goddess and Person wearing Comb ending on two Checkerboards M-488

Pair of Fish ending with Bird-face Goddess and Person wearing Comb M-2033


The Three Triangles as per the final example traces back to H-593 where it is with Three Kinds of Fish.






It seems there is a type of human funneling here. This would be appropriate.

From Zoomorphic Avatars:



Visual units that are purely anthropomorphic—H-1934+and
H-178+—occur only on seal-impressions with equal space
and weightage for animal symbolism. Arguably, an iconographic basis for communication that is purely anthropomorphic barely exists.


Right. There is no sign of mundane activity. The interest in objectivity ends around positing it as a basis for symbolism. The Chimera is fiendishly clever.


If this may have been an Iranic Fish, it is the same in the oldest references.

Avestan:

masyô [masya]
10 (N) m. fish (k401)


No other synonyms.


Neither it nor Rg Veda has a "min-" stem for "fish". It does have "matsya", and, there is nothing useful about them. In fact, the most interesting "fish" is this Sage in the Kanvas' Book:


Ṛṣi (sage/seer): matsyaḥ sāmmado mānyo vā maitrāvaruṇirbahavo vā matsyā jālanadhdāḥ


It's multiple names. His last version is Fish and Net. His first version is giving two lineage names:

manya or maitravarunabhava


Here, just like the IVC seals, the Rg Veda is telling us to think about something imaginary. Vasistha and Agastya are not ordinary human beings. It literally says their sires are Mitra and Varuna. Matsya is carrying this into the next generation, because he is specifically a follower of Agastya.

You can tell this directly from the mantras of Vasistha:



“Consecrated for the sacrifice, propitiated by praises, they, Mitra and Varuṇa, poured a common effusion into the water-jar, from the midst of which Māna arose, and from which also, they say, Vasiṣṭha was born.”

Māna: a name of Agastya with reference to his being of the measure of a span at his birth; udiyāya tatoagastyaḥ śamyamātro mahitapaḥ mānena sammito yasmād mānya ihocyate, thence arose the great ascetic Agastya of the measure of a span, as measured by a measure (māna); he is therefore, called upon earth, Mānya.


That is why my sense of the text is that these Ikshvaku in the east have wholly assimilated Mitra and Varuna, who might have come from Hamun Lake. This is early Rg Veda in the time of Sudas, making it indeterminable how long "Maitravaruna" may have been valid considerably beyond the fringes of IVC.

Rakhigarhi is off the fringe of older maps.

I can't come up with a reason that even further eastern neighbors might choose to adapt a linguistic continuity that would require they build brick cities. Interaction is evident in Agriculture which involves the expansion of Gangetic rice which took place during IVC. The Rg Veda depends on rice offerings, so, it rides on these coattails. Linguistically, this is not essential for Mitra and Varuna, or Matsya.




For Fish, as a rule:

... the common terminals, POT and SPEAR, do not occur after CAGED FISH while both do occur after the simple, non-caged forms.


By the way they are found in combinations, and 16/20 possible non-repeating pairs have been discovered, they are unlikely to be a regular part of speech.

So, it is unusual to have "a pair", but frequent to have two kinds of fish.

I don't think the modified ones ever have a place in the Sky. But such plain images are widely found on pottery from an early time.

Sky Fish over Antelope:

https://p1.liveauctioneers.com/1103/106366/54536890_1_x.jpg?height=172&quality=70&version=1499732985&width=344


https://p1.liveauctioneers.com/1103/283878/149676236_1_x.jpg?height=172&quality=70&version=1680131703&width=344


https://p1.liveauctioneers.com/1103/236512/122517445_1_x.jpg?height=172&quality=70&version=1644020324&width=344


Barakat Gallery (https://barakatgallery.eu/artworks/categories/909-indus-valley-artefacts/?skip=80) has a huge collection. You can tell they can easily make a Cheetah or Ram in the way we still immediately recognize, but, neither one has a single example in the IVC seals, except perhaps in Procession. Among it is one of the more personalized things:

https://artlogic-res.cloudinary.com/w_2400,h_2400,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/barakatgallery/images/view/682046e1d5fb6ae8e405cb01be5c3aefj/barakatgallery-indus-valley-terracotta-seated-couple-2800-bce-2000-bce.jpg


In total, if there was a pan-Indic mythos, you would probably need all kinds of those pottery wares to reveal it, because it would all be one thing.

It is possible the IVC script contains complete stories, which leaves it unlikely that it contains all stories.

Speculation can be reduced because they contain molecules (https://pmc.ncbi.nlm.nih.gov/articles/PMC7829615/):


71% of the vessels yielded appreciable quantities of lipid. Lipid profiles revealed the use of animal fats in vessels, and contradictory to faunal evidence, a dominance of non-ruminant fats, with limited evidence of dairy processing. The absence of local modern reference fats makes this dataset challenging to interpret, and it is possible that plant products or mixtures of plant and animal products have led to ambiguous fatty acid-specific isotopic values. At the same time, it appears that urban and rural populations processed similar types of products in vessels, with limited evidence for change in vessel use from the urban to the post-urban period.


Elephant grease? That's a fancy way of saying they did not drink milk, even though they had livestock for it. Or, it was a minority or niche product, rather than completely unknown.

It could be some sort of tallow lamp, or maybe a coating to hold something else. I have not gone through it.

Anyway, the point is a Realistic Sky Fish would have been a universal norm by the time it was carved into a seal. The vertical glyph would be a new contradiction or discrepancy, but it wouldn't be anything different if it was simply understood as the one from the jars.

It may, therefor, be saying something about rotation, because it has no need to explain itself existentially.

https://artlogic-res.cloudinary.com/w_1600,h_1600,c_limit,f_auto,fl_lossy,q_auto/artlogicstorage/barakatgallery/images/view/ff3aaab98a0840b10ef5b3f84eaf06d8j/barakatgallery-painted-terracotta-bowl-with-fish-motif-3000-bce-2000-bce.jpg



Compared to Sanskrit, it does. Like the Tiger, it is simply mentioned in the Rg Veda without any hint it carried any significance. So far, on pottery, it seems quite free without a Crocodile having anything to do with it. Instead, it remains horizontal, and can be found over animals. Or, at least, this happens, and so we know association with Sky is not new from the script.

We don't specifically see an association with "star" or "gemstone", but, there is a lot of this stuff, and, there may be different information out there somewhere. I notice from what we are shown that "Red and Blue" has a twofold meaning, rather than "purple", which, I think is a technical difficulty in some ancient translations. If a text actually said Red and Blue Fish, you would be told Purple Fish. There is a similar bleedthrough between Sapphire and Lapis. For example, it's not really possible to say exactly what was on the Aaronic Breastplate. There is already difficulty underlying old paradigms of color.

As a family of icons, there's nothing else to do with Fish that I know of. It may or may not be in a Gharial's mouth. Other than that, I am unaware of it doing anything but support in the background.

[shaberon]

Sky Gharial


This is different.

This does have propensities for connoting an Astrological meaning.

If so, the underlying significance is "North", and the constellation is probably Draco.

If not, you are left with a Primordial Leviathan in the Waters of Chaos.

Or, because these people were clever, it might be both.

It is featured on a prism also bearing a Boat with Birds, or, possibly, a Sky Boat or Solar Barque. It goes to a quite balanced text with Fish.

It may be the most mystical IVC creature. It appears to be a necessary first step in the Illusion. It operates in low numbers and a limited vocabulary.


In Zoological Avatars, Bhaskar's base-level Crocodile is not one with an individual glyph or two. It is M-292 with a brief text. There is a good image of it from Frenez (https://www.academia.edu/37228433/Private_Person_or_Public_Persona_Use_and_Significance_of_Standard_Indus_Seals_as_Markers_of_Formal_S ocio_Economic_Identities) on p. 171. It uses Bow-with-handle, Pinch, Three, Branch.

https://projectavalon.net/forum4/attachment.php?attachmentid=55855&thumb=1&d=1756606900


In Conversations Facing Glyphs, there is Fish "below" Ibex and Markhor, then, presumably, "airborne" with Gharial (which can go either way). So its simplest text is geometrically different from all others, who look like they may be representationally feeding on something provided to them; this one is fairly natural, aside from the "location".


What I mean by "numbers" is that what got me here was my question about the elusive One.

It can be unraveled from Crocodile 2011 (https://www.harappa.com/sites/default/files/pdf/Parpola_Asko_2011._Crocodile_in_the_Indu.pdf).



Their dialect is similar to Ivory Rods:


Gharials H-879 to 882 are backed by "Comb", "U-shaped symbol", "Branch-tipped U", and its own.


which resembles Ivory Rods text:

The last three signs of the text no. 9 recur as the last three signs of the text no. 10 (M-2113), where they are
preceded by the sign no. 147 (‘single long vertical stroke’). There are many different cases where the absence
and presence of this sign no. 147 varies at the beginning of stably occurring sign sequences (see Parpola
1994, 80 with fig. 5.2). The last three signs occur frequently in the incised tablets which have the image of
a crocodile of the reverse (H-287 and others), but these cannot really be compared, since the sign no. 213
always starting the four-sign text in these tablets is essential.



Of course they can be compared. The point is, One interchanges with Crocodile glyph.

Text 10:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA62l0UfZFWXO6YBKjCWKkD0dKT2GeI2RJ5p_DgqHqpMuut3S2-gRZBVBmF0qamU2YSmHNy3NnN5iUYWFXqrhvHMYfLMACbHc2QHPk21BZdhuia4fbeca3tHDIvsW-g7td9BwfhVefe23z/s1600/iv29.jpg



H-879:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2m3OkDpoCuSm4vwIxKLgKev3rBIQCij9KUBWcocQDnIdnUcuD_DIaoNoCl2u6T_S4zUN55o_GgS16czXoRlXxLlDf8wJo hOIaXpV3L0XCeGPsCFUkaBD1LrlbWEfdCwkemcfIeKzdZ_w/s1600/H879A.jpg



We expect the Crocodile glyph to be emergent from the "Rotating Tau" class, and is not widespread outside this particular text.

CISI is probably too picky:


Wells finds only two occurrences, both from Mohenjo daro. I think there may be more, including one from Lothal (L-112) and three or so from Harappa (H287, H879-882, H973).

L-112:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Mqv3b9dntyUj8Df1FdWlhKJyuYdZPERC_nona4wifACz9-QM_MjWDdMz0HcUjZn9pyU1dVl-f1mCBPaLatqRr_iNB1PMZDpl4cp-z_PIbIQ_eucu67X2zrk4TILE6enUeem2HQuy0eds/s320/L112.jpg




So we find this operation is possible, whereas One has no companion. It isn't with anything. We can go back to the "common pairs" chart and see if it starts with "one" and counts normally.

Not at all, it's not even used, unless you want to consider glyphs that may ligature a "modified post". One is not commonly paired with anything. What are some glyphs that are commonly paired with numbers?


Two: Fish, "conjoined enclosures", Caged Fish, "Backgammon Board", Mallet, X-in-Lozenge

Three: Mortar and Pestle, Bow, Fish, Tiger, Straight Branch

Four: Bent Branch, Straight Branch

Five: Tau and "enclosures"

Six: Fish

Seven: Trapezoid, "Battery", Striped Mountain


That largely summarizes the "numerology" or "Samkhya" available from the script. It certainly doesn't look like natural counting numbers or simple addition. It does look like markers to sub-chapters, addenda, formulae, or other means of data transfer.


To the extent it is used, One tends to be in texts with rather basic shapes such as plain Lozenge. The fact that it participates in a shared trigram is notable.

Here is another curious parallel where he doesn't express it very well:


The reverse side of tablet C-34 from Chanhu-daro
(Figure 29) shows several male gharials (with a
swelling on the snout), together with fish. The long
inscription on the obverse includes sign no. 354,
which is clearly associated with the crocodile (and
is discussed below), and a sequence of signs no.
340 and no. 91. This same sequence of signs is also
used to conclude the four-sign inscription on a set
of copper tablets from Mohenjo-daro (Figure 30),
listed as A3 in my classification...


Not really, because the Gharial has a Straight Branch, and the A3 "Shield" tablet has a Bent Branch.

His "91" is all branches!


What he has to say must surely be of the intention to cause headaches.

So by "354", he just means an Enclosure with something in it, and, he lumps together every kind of Conjoined Enclosures. C-34 appears to have Bird-face Goddess before Conjoined Dotted Enclosures. The texts he is comparing look highly digressive. I would respond that Chanhu daro has a preponderance of "finale" seals and this one might be called a Triple Gharial. The iconography is unique, and yes, it is a longer and slightly more intricate text.

Those three iconic examples will be observed to cycle between three modes, drawn with open mouth, open mouth with fish, closed mouth.

It is a type of paramount Gharial tablet, but the text -- somewhat faded -- appears to use Bird-face Goddess and Conjoined Dotted Enclosures.

https://projectavalon.net/forum4/attachment.php?attachmentid=55837&thumb=1&d=1756606630




That's correct, in her concordance, this is the line before Fat Flat Crab using a "Chanhu daro Pinch". The concordance doesn't know what's on the back of tablets, so, here we are.


There is another basic visual form besides facing or eating Fish.

If we go back to facing glyphs, Gharial and inverted Samyoga H-180 with yoga hands:

https://blogger.googleusercontent.com/img/a/AVvXsEgpTBFKv6kWL_VMXcRti06qMHDz4N5Qwskaxfr74PQC8JUDnOAGnpqh6gPNntnm3oya78OAh5uliqU1nvQAIhSVvYCVqJ2U iRb_qASig-Kj02ly85mQMCQGu1X_F4xpaVpX4Bq8Etq7Q0eAg05pXKwo3FSI8nStxkLBTqzmtivWSsoU7TvUNiI=s4073




This has to be consistent with the following further detail.


Frog is the centerpiece of the Illusion that has Gharial as one valid result.

Rehman Dheri Scorpions have a strange, headless companion, which is believed to be found on edge as the One Frog on M-1923:

S1 F1 Tiger +
S2 Frog X
S3 Gharial


Although Crocodile seems to exchange for "One", on this piece it is with the unique Caged Two.

That plain Frog is considered to be decorated into a Gharial in the Illusion, M-2015, M-441, and copies:

P19 S1 Tiger x 3 +
P2 S2 Gharial +
P7 S3 Turning tiger
P12 S4 Bison x 2- facing
✓ S5 Elephant


According to N Ganesan:


This gharial as a horned deity is often portrayed in a variety of mass-produced seals, M-439, M-440, M-441, M-1393, M-1394, and M-1395 showing it is a pan-Indus religious deity. Gharial is shown wearing the horns of bison bulls (Bos gaurus)...The back-turning tiger in the Gharial seal below the “priest” sitting on the bough of the tree has connections with the scenes in seals...


But, of course, that's his assignment for Zoological purposes. Going strictly by imagery, then, it is almost indisputably a Gharial. But when we follow the script, the Scorpion will re-assert itself. For purposes of this thread, I think we have to call this creature "Illusion", which is performed on something that never has a realistic appearance, even though it is found before and after IVC script.

Because frogs have no neck in the visual sense, that would be the best name for "headless four-footed thing", whereas crocodiles are distinguishable in all places, until you get to the Illusion.




As his own plain person, he appears to have a retinue.

I, at least, can follow the dualistic principle and see Three Tigers, two of which are illusory. Seen another way, the Bull of Heaven.


Pathani Damb:

https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-7286.jpg





It may be a unique assembly. It is as if the Bull is bearing M-1923. Whatever this relationship may be, is not obvious in general. However, it represents artists in two different cities, and probably two different time periods, following the same rules.



In the wider array of possible things, "support animal" is the generic role. He has followed the Procession to Tel Asmar which is Eshnunna (https://en.wikipedia.org/wiki/Eshnunna) of Sumeria:

https://www.harappa.com/sites/default/files/styles/galleryformatter_slide/public/indus-seal-tell-asmar-2.jpg?itok=33triyrC


https://www.hindunet.org/hindu_history/sarasvati/cylinderelephantrhinogharial.jpg




However he can also divide this into serried ranks or classes.


Bhaskar on the sexual prism:


87 seal-impressions are purely zoomorphic and pure zoomorphism is at its most eloquent in M-489, a prism seal
impression with 13 zoomorphisms on its three sides. It is the
most complete representation of the faunal range chosen for
Indus glyptic design and reproduction.

The first one has a Fish, and the last is with Fowl and different animals.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim06Y-PDIxTJLNOUVEIGhWVBsW4kTopKygugls9yzLkhKLFR0FDVib1g4mEANMfZGrjhFDsedzvwjuM4lIhu9jG5jWvGr5CB04WWPEmTkq qyafLWHM77sV7wIfQUgJKMM7tZBMY3Gdj-O-EJ1NExrxfrZyj9LKKQbqzK-v32PScpWNTAxLaoEaMLGxUQ/s1280/Slide3.JPG


Upper and Lower with human mock combat:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYeHkZKHGws_QKyn7nyEPukdv4I6U7J5uHHx2QSiFyr8Kk9DHxZGETt5JHCrKQ0Lvm9saiw1CCxAKzK-RTCIZWplK4kyBhqwbS7hVN6fjnZn6XO9BYa8VLhgPzDXVcPd0Tzgiduf5tmXsB/s1600/ScreenShot526.jpg


He has phases, or states.




Here are some iconic Gharials.

Rakhigarhi:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDyi5g_6GhvQKvGblQmoTrvt9iqTMMqGaKFNeBaSzJw0z9MrBb-RSxidbZB6c_j8x0CqaTufE_S1CycV13WZXJmyx83TRVcNnE-qH8FDe1RkErMPXXdzyHYolB2oshGYo4XYdqB9O2tww/s1600/rakhi2.jpg





Next is an enlargement of Gharial M-293.

It has a head problem.

On several tablets, "realism" is not a difficulty, the creature has an obviously-working crocodile mouth.

On the previous M-292, the head is little but a circle with a line coming off of it, like the "bird-like" head of the Pathani Damb composites.

On this one, the head may be little other than some illusory horns "pinching" another glyph similar to its own or to a form of "H" or "Ladder":

https://blogger.googleusercontent.com/img/a/AVvXsEgKiXd2TWyqBmjqtv3pGLeEZEwtrXbSYhZaVVWHFH93YKgV0a8vhteXJ9Xsxk2E75dUBMGbbXmbT588vBCmLX1gK6uLbl18 O_rE5px1szBrD0_rDD7lNLUEOmi4vC9zSPO7KVUA-hysZJuCoIcQsj0wGzZQxr9cntUgF-NLtBEgaQBx4BI_GRyAzQR3ug



Its body is rather like Cross-hatched Enclosure, and the head is not much more than an illusion playing with some furniture it picked up from a tablet. Its feet resemble those of a Tiger. The back half is fairly realistic to what it is supposed to be, but, I don't think the artist had a "problem" with the face. It entirely lacks the main real Gharial feature, its Nose Bulb, which means it is either immature, or has been transposed with secret writing.

I would tend to guess most of the plain script was fairly freely issued, but most of the animals are a commission or design, that is, a designation by a central authority. There was some reason to let someone employ this particular Gharial which says "Square Q" that is unknown elsewhere.


Gharial is peculiarly fished out of a texted symbol:


Usually the swastika appears on Indus seals that contain no inscription (as does a cross or “X”) with or without additional decorative elements.

Such is the case on most of the following: M332-348 (17 seals with no inscription), M419F (on one end of a cylinder seal), M435 (seal with no inscription), M443A (bas-relief tablet with “endless knot” on side B), M-482 (bas-relief tablet after inscription and plant), M-488A (bas-relief tablet among icons), M-1225B (seal with inscription and icon on side A), M-1238-1251 (14 seals with no inscription), M-1389A (round tablet with no inscription); H-104-118 (15 seals with no inscription), H-182B (bas-relief tablet, repeated five times following inscription that also appears on side A with iconic animal), H-242 (bas-relief circular tablet, in center, circled by inscription), H616-629 (14 seals with no inscription); Rhd-150 (pot shard); Mr-14 (seal with no inscription from Early Harappan Period VII); L-69-73 (5 seals with no inscription), possibly L-258 (pot shard); and on two seals of uncertain provenance (Q-1 and Q-2, with no inscription).


M-482 is visible in Parpola's "Crocodile" research, having the trigram:


Enclosed Branch -- "U-shaped" symbol -- "Comb"


which adjoins "Tree and Swastika".

It is relatively powerful or striking, not much has this bold appearance.

https://projectavalon.net/forum4/attachment.php?attachmentid=55857&thumb=1&d=1756606939


That one is the same quality or series as where we see the Rhinoceros seemed to have transformed into a big Swastika in a box. We thought he might be the flat, sideways direction, the horizon, and of course the Gharial is not that. I don't want to automatically say everything is "dual", but, that could be two kinds of Swastikas, perhaps more.


Gharials H-278 to 284 are copies of a long text beginning with Enclosed Branch, with Quadruped Rudiment and Scorpion.

https://projectavalon.net/forum4/attachment.php?attachmentid=55842&thumb=1&d=1756606729







H-973 is a plain Fish backed by the same two kinds of "U" and probably a "Comb", suggested as similar to Gharial text.


H-705 to 707 with gharials has different texts.

https://projectavalon.net/forum4/attachment.php?attachmentid=55844&thumb=1&d=1756606752



H-165, a "Crocodile Tau"-shaped seal composed of boxed swastikas.

https://projectavalon.net/forum4/attachment.php?attachmentid=55838&thumb=1&d=1756606660


A swastika is the result of offset Rotating Taus.


These finds are better than the batch above. It's very systemic. Gharial H-474 is backed by:

Striped Mountain, "Seven", "U-shaped" symbol, "Comb"

https://projectavalon.net/forum4/attachment.php?attachmentid=55840&thumb=1&d=1756606696


H-172 with Fish is a Gamma text:

https://projectavalon.net/forum4/attachment.php?attachmentid=55839&thumb=1&d=1756606660



These are a few more notices from Crocodiles:


Rake, Winged Man U-shaped symbol:

While the moulded Indus tablet M-450 (Figure
58) has broken, enough survives to show that
both sides were originally identical and contained,
from right to left, the image of a crocodile and
an inscription with four signs. The last two signs
frequently occur together in this position, but the
distinctive first two signs probably refer to the
crocodile deity depicted on the tablet. The second
sign is the 'buffalo-horned man' discussed directly
above...

https://projectavalon.net/forum4/attachment.php?attachmentid=55856&thumb=1&d=1756606939



H-1932 is a three-sided tablet. One of the sides
depicts a crocodile; another side has the text IIU...
phrase consisting of the duplicated 'dot-in-circle'
sign...


M-1418 is plain text with no Crocodile. It situates Winged Man between two glyphic cobras. That is what he thinks it the cumulative destiny here. It probably is. We think it is because this character deploys a scorpion-or-gharial illusion in or from the head.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS5SNdFfNHd5F8YVKZ-5DjlvOsODPJVN9bz9ieLDeNxkt2WWCIPTax9bEXwxSyfn2_adp_dMgdLeD94rEXgV9sfwsfnjw6AUpDlDHd9W50w15LxZ8bN4DzY mE3F28JskFEl2nePVP4vVE/s1600/m1418a.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZTHV84-2t6UX5TShCW6kCdnejR-XKyzmxx7YOqLwDygNREaXd1c7i4tjt3vB_G97mvzF_waFM8F9YjK7zYfzxUs-Lpcz2eaqBzs1bKua_4xXObmdDnw6Bz1WDH8vOGV0UqTHkwDIrGS8/s1600/m1418b.jpg




A vertical Fish, on the other hand, becomes the body and feet of Kalibangan Compound Bearer.

So far, I would say the majority of the textual corpus documents these processes.

That does, of course, bear a philosophical resemblance of Varuna to the individual soul. Linguistically, I don't see why Varuna could not have been used to define north, right angles, circles, etc., and so this could very easily be a set of mundane and metaphysical symbols layered together.

Arguably, the Rg Veda is about a reset of the Crocodile (Sisumara) constellation onto Kochab, because the IVC era was more or less Draco crawling across the pole. Thuban and its other stars are relatively weak, and, if you drew a Great Northern Crocodile, it would contain them all and be valid for quite some time.


The Gharial is mechanically in an axis-like position, as if in a set of gears, and like the Rhinoceros, relinquishes his personal appearance for a Swastika.

[shaberon]

Cobra



This is deadly silent and has almost no supportable existence as a textual entity.


We encountered it on M-481 with Winged Man quite possibly between "SS".

It doesn't actually have six sides, but does have some side views so you can see the whole thing is rounded, puffy, cylindrical.


On this, the Cobra's human-sized glyphs are a pairing:


Horn in U 341 and Enclosed Enclosure and Comb


Here is Cobra Speech in concordance standard:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz9BCyp-QJMgu1Ne_eH14aG_QodKkfWjQcg12Olrn0akOjB4tXNhDQjiaPhGGbC1iSaweYHk42Nyi9maUq0U-EDJKjInoLiLeBgJGDgT0faDt_dmGITv_4a-tCWrK_JrM0IeWYsvj5Bn8I/w145-h57/image.png


Is it ")" or "S" on the twisted bar?

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUEITjRBHmol9aYj_xQuNEaQeF3yAVBCPeKoLZD3wEMGtnK9YYBkSNOPy8WQ2t6wQvVQl7oXVeM7aiWtSaDF3WLMk0cbx_ 1YEElaEXZ9TsxAsEI_ttmjCkFh7SaglpMFIx3-4DbmDkSr0/s1600/m0481A.jpg


Cobra and its bi-gram:

https://blogger.googleusercontent.com/img/a/AVvXsEjCCT5Vjy9SP0yJL4P67g9CKkprTo5snZTBVb6GAeHfk7IJ-rId429kampsK4UUxVv-4oQIDOOE9rbXtfFgOun4Unr52Mj-5t96nBK-UVXcvvownQ7TBTvAalFHwir51I8dQBSHZrUFbeODKUG5QEgKLAnbWT5RMQe4mlxAx5sbNzXXdUzF8hyPXGECbA=s397

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinKrHoOHPz1tNM2CluzT6NBfBlt-1NLnG_NZkL0-wPugNJ5UUrOnrT9HE-PPYhWhHmuYXKQuPxBalIDVF8JqvuXGU3Z3R2sJm-QNMp22hjVt-nCorbBfQokPSd8WXfMLWY2ZoCIWBhrwM/s1600/m0481B.jpg



I am almost willing to speculate that Horn in U is the single-most important workhorse of all the glyphs, from this basic pair, up to the long text of Asterisk wearing Comb. It runs the gamut with Bird-face Goddess and Winged Man, with a carefully-tiered progression.

It has a couple of other basic pairs, with common glyphs; compared to the one above, it has separate trigrams using Enclosure and Comb.


This large Cobra reclining on a "table or platform" seems to be the only one of its kind. It is usually background support, or in pairs. I don't believe any of these are on a single-faced seal. The fact that this tablet is rounded and bent should tell us something. I spent twenty minutes trying to read the third side, and it was only a seam. That's because M-481 is made like a snake.




Being of an "S" shape, it has a destiny as the Chimera's tail. This actually has an instance where it acts as a shelter for a humanoid glyph.

L-220:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoH9CcdicrE6tFinxvxJlXPX692suz_JmPB_oYHv_6ZZjU9EsZ1ykuZMcP4OaLZ1kcfN-3zwWGqWk1nYhrKk_8npE0xj3u2Ai8lNSU2UqHmtc5-JmOHMIBftfV4YCyNWh_4gdijnRwbgBI/s1600/l220.JPG



Nothing else there besides a unit of grammar or "version marker".

There is one tail, so, you can see the premise of a serpent who goes on to some magical affinity, but, in most other cases, we just have a pair of them as a framing device.

That, itself, may have an orientation.

Reversed Cobras like ")(" seem to have an existence, confused with a "jar".

Facing Cobras like "()" are seen around the yogin, in the sense that there are no Empty Parentheses in IVC script.

I have the sense that a parenthesis might just be showing the Hood, whereas "S" is the whole body. There is, of course, such a thing as a single parenthesis, which begins the Copper Tablets with a plain Enclosure, similar to the invocation just given by Horn in U.

The more interesting parts of the Winged Man concordance are probably not in the basic combinations, but, in the framing behavior. The Copper Tablets rely heavily on parallel "))" but do not have such a frame.

Unicorn K-11 begins with one Parenthesis over its horn, followed by Enclosure, Rake, Horn in U, U-shaped symbol.

I don't see anything that would contend with Horn in U having a primary arising with the serpent, and, that if a "horn" actually is a valid idea for it, that would come along later. Obviously, it does not look like a snake, while parentheses do. And yet this unusual shape is vital for the common pair of Checkerboards with two kinds of Person with One around a Mallet, which saturates the Copper Tablets and so forth.

The strictest response would be to say that a parenthesis can be a serpentine form, whereas Horn in U 341 is a transferrable knowledge about separating Comb from Enclosure and undergoing whatever People with One and their furnace do. This seems to be spoken by its Wise Serpent who has attained a "platform", such as Markhor and Hare do together, and otherwise is only used by humans. This single Cobra is the only one of them that could be considered "seated".

There is a portable platform with a Unicorn.

It most closely resembles the glyph we call "Sky" which is simply the Egyptian Hieroglyph. At the most minimal level of knowledge transfer, I think you could transmit this shape and meaning through any languages quite easily. It is used over a Mountain, and what looks like Rain and Lightning, so it has this appearance, but also resembles a bench from the imagery.


Cobra M-481 is backed by the textual place one can be sure that Kneeling Person with U is a glyph.

Would it make sense if Cobras were the Parentheses around Birds and Fish? Yes of course. That would compose the main "supporting cast".

I had formerly reasoned that Horn in U 341 simply resembled a detached rhinoceros horn with stripes, dropped into a U glyph. However, more accurately, it perhaps should be Cobra glyph. The second glyph faced here is a singleton, consisting of components that obviously portray some of the fundamental rules of the written script. It therefore has a motive for going away, whereas the glyph that seems to find its origin here is almost the equivalent of the "spine" of the corpus.

[shaberon]

Unicorn



This is not something I have put much focus on. That is because it is too general.

It consists of Pipal Leaves and is mainly an advertisement for Soma.

Almost all of the script reviewers have dodged the issue. The metallurgical school simply twists it into a metaphor for various metals and their molten state. But the Large Copper Plates and various objects, such as e. g. weights, are self-definitive, and, while this is probably expressed in the script in some way, it does not really answer for Soma. But there is every likelihood that what is known as Munja Grass was valid at least since the origin of Shortugai, and quite possibly forever.

More specifically, though, the Unicorn seals do not show mashing, but, Pavamana or the Soma Filter, upon which the entire Rg Veda Book Nine is founded. The underlying implication is there would have been different kinds of filters, made out of woven grasses, or animal hair, and that what had been made probably included a dark sugar syrup, which, when filtered, resulted in a lighter color. At no point does it suggest they "invented" the beverage. They do something particular with it.



Pipal inside and out M-1656:

https://3.bp.blogspot.com/-Ijp-k2OliSQ/Ub-0msBPCFI/AAAAAAAAalM/qmCmqyh_mp4/s320/m1656.jpg


https://www.harappa.com/sites/default/files/styles/galleryformatter_slide/public/529862_10151487862744846_105747672_n.jpg




You have an elaborate glyph and Pinch, followed by three basic glyphs from the Unicorn and other "facing conversations".




One of the most complete Unicorn texts is on one of the most primitive images C-1, with no Object.

The script perhaps has the role of attaching the two.

This is a bit Alpha and Omega, plainest imagery with advanced text:

https://www.harappa.com/sites/default/files/seal-LI-25.jpg




It perhaps literally gets moved into position.

M-490 and 491 being carried on a Tau-shaped platform backed by Bird-face Goddess with Conjoined Enclosures:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Rt1_ziv83afeAun7Y9TmzZ6y4jEIgPDCIg5Ascb3SaDO37-rogqNnqCvPNVz5V2wQu2LoMDW3MxM1zZkMadYRtkSCbY5g2PFUvTQrnA74OdcHLntWRWyJlQokB15yZjcc3icEV7Aysp6FwixOyD ejTHJkJsUYyaREClRNhyphenhyphenQbaDkG1xEc31gtI1llv8o/s1280/Slide9.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfSoz28oZD5j1mEvP_-AhxDtdRerTRLdzl6TnLvKMgJeBUbdbMr-GuoN6AuGNCzHqIre0jonZfPlqqVjpYlg7zAXB45azh_P50cQy_roA25U_i9Js2lR4g6gxGlfeEbtrudqeqUEYYrzNs/s200/wealth29.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0v8psOMvOglyk6uUCGw9p3fAGpTWbx7z6kIj6cZU-3Rc63AH42vkaHOG_OUKdcDN_21SOumTzAkpFnRWhf7yEKQB2LyXzuCB8WHQoznCyQTzM6O-uIBYydHqzI5dnxb5mzcd6GU2kq37H/s320/wealth25.jpg


That last picture is a comparison to the importance of the Filter. Unicorn on Tau is only backed by text.



We find it has "basic arisings" like other animals and evolves:

https://figures.academia-assets.com/83122848/figure_001.jpg



It seems to have more of these than any others do, with individual "facing" varieties on:


K-26, B-3, C-17, Ns-56, M-1719, M-1718, M-1793, M-1792



With two triples:

https://1.bp.blogspot.com/-GdCxi9IDZC0/Xc9D7qD5zAI/AAAAAAABnLo/i-bdXRjHjQweXuHxjij3W2zXL3UIZ-GGQCLcBGAsYHQ/s1600/lost%2Bseal.JPG




The Unicorn is somewhat independent of the Filter, which is sometimes the property of other animals.



In my view, it shares with/collects from them all, becoming the sum total of speech. It is almost chameleonic; M-324 has the same inscription on both sides, accompanied by different motifs ('unicorn' ' and 'composite animal').

Tablet M-436 is similar.

M-324 is using Three Circles:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCsN9c8-EIAAhgG5zCUDeLNA6_-Wbnpkuh2aHahzxcf9eNL06rvqsM8_XUar7fOdwZibwjs8h3OjmLo-bFNwozP2EbtHwSAYZm48IRgNg6-sS-AQXqQFShbDH9gtVmaDWMMQ0mgmw8QEj1/s1600/m324.JPG



H-465 singleton:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3JazO6Djxdjz9jal0WnErDnjnJsTxpGbA7lMERPkF9kl0XHHF9oeclfVLV73WAX8crAE0Tx5eJ_7WDr4Sy-mm1L-Qb0E_0L4c4UdVZpktcE5PIFoe69a3bHOY_5765elChqx_GIahy54/s1600/H465Q.jpg




It is related to Horned Tiger by script, whereas, visually, it has the lead role in multi-headed composites.

Further, the Unicorn holds blocks of text that are quoted by, at least, Zebu, Elephant, Buffalo, Tiger.

It does have a nebulous background in Sanskrit, via Ekasrnga or Rishi Asrnga, whereby it is entirely possible a "unicorn horn" was a "pointer", such as an ivory rod.

Zoological Avatars doesn't have any special additional information, however the author considers the Unicorn as the driver of Monumental iconography par excellence. This is rather limited and I would contend is largely based on Tree. But we find these giant "Crescent Standards" and "Banners", along with a Soma Filter that dwarfs a person. This reverse view of ritual people turning into glyphs is the closest thing to anthropomorphic-based transfer of information. This is the mundane people, the worldly folk using their normal daily objects, which, becoming pictures, reduces them to script.

The corresponding token Unicorn is carried on a Tau, a shape that has been rotating since the "pre-IVC era" and enters the script under the context of Bull.

So far, my guess is that is a threshhold that bars full-blown Indic or Sanskrit from a common or mutual understanding used when it interfaces other cultures and their languages. Therefor, it would make sense that a Bull could come to represent five Indic or Sanskrit groups.

The Unicorn icon seems to grant a stamp of literacy, similar to poetic license, under which individual glyphs, ligatures, combinations, or statements can be issued.

It perhaps is a legitimization, by saying, "participates in Soma ritual", which may have to do with some of the "Cup" ideas, or offerings on tables. These could be for ghosts, deities, personal powers, or all of these.

It can't be a true Vedic Soma Yajna, but it probably could have rudimentary aspects.

That is why both songs and recipes could be subjects in the script.



Here are a few basic kinds.

C-17 with a round headed, arms naturally hanging person:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8K-0SLEJSsfMy5CojGsCdXww4d5o6_dxscwW1o1FTkzXo3tpMqG1NhzXkbGnz28_pJiYO0Ghn75qAsOmo995TCy69x9QT5XQG-eg73kPW6YKjVO1-btq4xgAYGl50hSgK-6XNd9AOLk_1/s1600/C17+(2).jpg


with a similar Bearer H-73:

https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ4A8ReBTfu3YGjszekvhYjriUBJW_fYl6TdvfjqrhjXT8qMclgag&s



Embossed Wheel M-713:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_brebdJtke6yU5IM_P1GMtVMHI0tCnkAdTF87dEGd55o-svEc17mqPdwcIoxxoRUgq9hx1yRE9pTP1R1Q42msdDMCWkkaPESUGFbdJJun82yffkeVl_jvRAavVTiXUf3DY2L0nZmVCY/s1600/m713.JPG




Here is a glimpse at his environmental associations to Person with One and text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnSDcr_SsAjEuvqxr-92yZKNJTwJf6et4411doWTj8SPEpSU3sZqDpWoIxfYcTtD9n_1dJFZagtSfXrLD7i8Veon9rek8CObxHibjQ7ZzVG0_fWc8uuKHx JsxqFAqK9TrWte0J_Y6Uf80/s1600/standard1.JPG


The associated Object or Filter also conveys text.



The question arises, are these disparate objects, considered pulled in tow by Bird-face Goddess following a Unicorn on M-488.

Here is that line placed in a concordance of Person wearing Comb, having a progression from One to Two:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-T5yllgd2n8MvSNvlT8-BZuJRqX7SMQnBrfD0b8SL1EUyRh4ZhHFSnqtyj3RAvMqJHXK9_tT34L7aaX6ntTwS4hWImwHyGT_NLNg8_ThKbt0Wfyu2cnTY2-mZib4Wqe0pZeOdK-LOpQ7oDdP4lGK5Mp86R3mSTePczWiiry7qRvlSPApkwdTxvGnnvBck/s1280/Slide1.JPG



and similar relationship:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCcS9pneVCzw2EBjiFGF3B4HJbzexShyphenhyphenw5U0fPMckRWibgE1KLv_aIKVwie8JLg44y96xv8IahATK5Fq2ku_ yj2tQVUK2yJA3CcwEsG0YbgiCvO1f6i_2vZMYANqGA26RcJws6oj4SvCvaCHWsq6DjhPQtvp0qPl1e6q8NIRT3bTGPgjhVGOdmbv Jmwee-/s1280/Slide15.JPG



but I still don't know if we are looking at treasure guards and sea captains. The script does largely seem to be about those two humanoid glyphs who are following the Unicorn, although it is probably Bearer who undergoes catharsis, and would be more qualified as the main subject, like saying Yudhisthira is the main subject of Mahabharata.


From Zoological Avatars, it becomes slightly less definitive to note the Soma Filter as actually passing along to several species, against the claim that Unicorn, Fake Unicorn, and Horned Tiger never face a Manger. They may face glyphs, but, they never use this theoretical symbol of feeding. As to the distribution of the Filter from an ostensible object to a "feeder" of animals real or imaginary:



The coming together of the two to form
a convention must have been an inflectional point in the
development of the iconographic communication system of
mature Harappa.


Probably so. However, it seems likely the story contained within the communication, is possibly older than the whole written system, and, already summarized in the relatively crude C-1. The article did not ask about F0 Unicorn. I believe I have noticed some others elongated or perhaps without livery. Someone might even call that a Gazelle. Chanhu daro is among the older sites going back to possibly 4,000. What we would be suggesting is a shared story with distant Kalibangan by the time the script/seals are produced, they themselves reflecting the development of craftsmanship, and growth as shown by permits to utter tiny pieces of the meaning of C-1, rather than originating or writing the legend themselves.

Without the Filter, the Unicorn is egregeious in its number of facing glyphs, but without anything, it has one of the most intricate texts in the corpus.

In turn, you get a Sky Filter over Rakhigarhi Buffalo.

The Unicorn faces an A-symmetrical Three, whereas Buffalo has a rotated A-symmetrical Three where it looks like it does Girl-in-air.

Avatars notes Tree K-76 is backed by a Bird facing a Tree, followed by what may be a Pinwheel glyph.

H-73 as a vacancy is anomalous in the first finds of Harappa Unicorns. Even from those, we could say, there is a plain one in Pipal livery, there is one with a Striped Collar, and there is one with a Striped Face and Horn. That makes at least four kinds of it. It appears the ones facing glyphs all have Striped Collar.

Our point of digression is that Avatars considers the Unicorn a "subtractive Urus", whereas we think that is not a real Auroch but a distorted Ibex equivalent to a Fake Unicorn. That a single horn is intended by the iconography is supported by terracotta figurines of a bull-like creature having a single horn. I, at least, would be confident the Unicorn has a "real identity" as an imaginary creature, and, because so much is unreal, the next creature, Fake Unicorn, is too unrealistic to be considered any normal type of horned creature.


It is relatively easy to trace the layers of Unicorn progression.


From the basic level with dominant tetragram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTKeQXOA_8ukTznGBeK9Oj-e4s0_WOLrtEeWBPbZYxrY8i4PV682udrTWgafvQ2mdxN8ieyFqTVCUoE5q0tQ2LJgnbxvTDFtii6J8j7GfTVL-IEoC-w4tOIei9SnjPytXogTDbFFQoTsA/s1600/ScreenShot075.jpg


Pipal halter:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeVMvP-m0Ytrl_dZHXjeS7OGxtD117Y2OY6F5rRNGrR-tqADFIIcOINcia77AH2bOZh03jO9gE1jzhGeiC01FVV856I27FaxtRuie9owA6Eoze1EmAVH1IuDrep6kNlM7xvehFY3FSLnc/s1600/ScreenShot079.jpg



Two-sided:

https://3.bp.blogspot.com/-E-iqktX54fc/UDEfkqijLEI/AAAAAAAABaU/Vm-FMwCuH9o/s500/Gods+from+Indus+5.tif




Striped Collar:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8y0aYZaZ7wiL38X-0bY-ZiKe-0ZNE048TtkAiq-_mPkL_T1W_qEzVHWJbZWnu4hALS-E140dKLruDPkK2GD37yH_SR7CWPB4sBdFgQpEX9Kuz-4CQVxqJJsB1gVXstTAe-Na69exTi8zR/s1600/ScreenShot592.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAf-Pl4aIH__lOSl7yRNEj03vVq0M2P_YMso2V_AyU02t-o4ly2xcIAEHdZw-N2DCcUl3VPwPsiCRErNkIJeWcDb3L1ogj055aSXNXCZAGu8oXiwo4Wk_TsbYdMOJ77VsbRTHTDteZVpY/s200/1100+m0146.jpg


Singleton of Tiger text without Three:

https://1.bp.blogspot.com/-l7CFooTUvMg/Xk9A7meRUoI/AAAAAAABrOM/0uSm6Zkg4CkVBMNJKoMNfu4m9yvspr5pgCLcBGAsYHQ/s1600/m218%2B2025.jpg



That is the kind used in multi-headed composites.

This feature is standard on furry animals, but, is occasionally optional on pachyderms, e. g. Elephant M-294.


Here we see it with two states of Filter:

https://media.springernature.com/lw685/springer-static/image/art%3A10.1057%2Fs41599-021-00713-0/MediaObjects/41599_2021_713_Fig6_HTML.jpg


That also shows the evolution of the Asterisk of Compound Bearer, as distinguishable from Asterisk wearing Comb.




Striped Face, smooth horn:

https://www.harappa.com/sites/default/files/1469781_10152064795994846_2048614427_n.jpg


https://sindhishaan.com/gallery/images/manuscripts/seal6.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUZvVjMdKcfaExicBeur1leOAlGak-GCoANaF4iV5ihHMqxTjZ9lKb5ycNm3BjglmYYKvR3J4BvLmPrGoNgNEVQ-KLZWYI2bn_dBf_kcqQFcCDpG2iJelMa6Jwa8O9KIa-QEvK8uE7TI9q/s200/H419.jpg




Striped Face, Striped Horn, with dominant trigram:

https://cdn.ncbi.nlm.nih.gov/pmc/blobs/6e55/2841631/dddf0abdd8bb/pone.0009506.g001.jpg



https://sindhishaan.com/gallery/images/manuscripts/unicorn_seal2.gif



All stripes combined on K-15:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJoSFeLQ3ot_Vbybziq5E6-E4sNBqNqjokL2KPKKb5VrnRQnNrAgddure7TU-ffGwJjiMtp1iqUj_tmAqd6PJ2op58ooH8Of_8jLlEL5r7A_Eh7A0hMbgSuwC7n_f6Rx4kdRDASgOl6eo/s320/InscriptK15.jpg



B-1:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8NRp24VpduVFjDzqIC0pq873NR6uOMu-Q7mbtstgHX_uZ5TgK3WYOG7g8qRiKfgMzhbgqUuIBdlNOzeKG9-bxYt03jExRadHHd1-uWII4wG1DWn1MsWytTDRtru95NLJHu8E0dxJI0UZf/s1600/B1_edited-1.jpg



Are those the Unicorns?

It is quite similar to the Horned Tiger, following a similar thematic progression.

As to whether it contributes Bangles on the Horns, I am not yet sure, because we have just recently realized this is a definite effect strewn across certain seals.

[shaberon]

Fake Unicorn



This is not much more than a flimsy excuse for sticking a third head on some imaginary creature.


It has mock traits of Ibex and Unicorn, winding up with two "wrong way" Ibex horns. So, for some reason, it is a distinct icon that appears unrealistic by design.

However it has not much more than about five existences, several of them being a "facing conversation", and so we already more or less know it.


One is Blk-5 facing Spear or Pipal.

https://projectavalon.net/forum4/attachment.php?attachmentid=55802&thumb=1&d=1756431707



facing Pipal Leaf:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOr0tuwDZQ_PfMLIlKmWpqIkK24quUkAdFk5aUILm3UDgsS5fcjzuw-B6IVX9Npy2tUp8TtyKoITOaht-uKssuVZNNTRZnDSpkHTRQdNwc0taSC-pmn7MiTwcAzOy4qyMb9y44D28uGnc/s0/Pict-41.jpg


K-67:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh61EMlkYAYBloGyABi3sJ30neT7uCscc7MTpnk01yE4uanK23-OBwm20L8pE2cRpbW2ytP8IhWFBQEs14vRsItOO-Jj5eX1xoHBCA03dKAJMz5sp8F2sp2LCzKbKc-FEcOpv0STvqn3KF8/s1600/K67.jpg




facing Filter M-233:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHp75KhbU9URlSYVfbV8rVnTNUKHIHGj2iHTmSUeFNCE_hg9rGmjtW5027M2-3-kpaQIfnRV7MauWZCg5u52XkZ6z3htSb8kkdfs77w0xTgmPP2pmLHM0HCxE9BsbvNPAxVfzSVI3axpo/s0/Pict-40.jpg



At the end of a comparative chart, B-4 facing Branch:

https://safarmer.com/indus/notunicorns/notunicorns.jpg



From scrolling the corpus so many times, I know what it looks like, and, this consolation of a creature is exemplary for these "facing" forms, and I'm drawing a blank on anything else. That is, I do not recall further use of it.


That's because it reveals itself in the Large Copper Plates:



It is possible that, unlike the relatively common steatite seals where the few incised characters are generally deemed not to relate to any image on the seal, the text on the copper plates described here relates directly to the images, and may thus present a unique tool to progress the epigraphic analysis of Indus script.


That probably is true for most of the Unicorns, statistically, the text is open-ended, but, usually, the more specific the image, the more personalized the text. That same principle is carried forward in this collection as well. And we may decide it lets the Fake Unicorn dominate:


Amongst the animal copper plates, Plate 8 is the most unusual as it depicts a sort of antelope that, with its forward projecting horns, is essentially fictitious or perhaps drawn from an uncertain description. Seals with similar animals have been found recently at Banawali, Haryana, India (Bryan Wells, pers. comm.), and one small steatite seal found at Chanhudaro in 1936 shows a virtually identical animal accompanied by an altar (Mackay, 1943). This unique seal also provides a pipal leaf similar to that mentioned for Plate 5.



We will post this again for convenience, because, of course, Plate 8 hasn't been printed or studied. But it has two lines of text where it is quoting Five from the Bull and SS from the Rhinoceros:

https://www.researchgate.net/publication/286244261/figure/fig1/AS:650816016875524@1532178038170/The-nine-copper-plates-Top-row-Plates-1-3-Middle-row-Plates-4-6-Bottom-row-Plates.png



If you look at that for a moment, the other animals are constrained, they have one simple line and are not in their power guises. They are sort of run-of-the-mill, common-and-garden representatives of famous species. Meanwhile, this rogue stranger, a would-be third head, only seems to talk here.

Its plate is Arsenicated Bronze, slightly more pure than that of the Rhinoceros.

The Fake Unicorn is a major basis of that thing like the Unicorn is the major basis of the Copper Tablets:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaOG8U7JC57YQyV3b0rBdkcbBzoev7fpuoVJcH5_jpPH256d_8okYS4u4_OuBCNL9APV79Z2skCo6JD7pd6TFsRyu7Oehv-B5CPTQIPHKadxcoBvMt_O4nWti6OuG2g81-_AlSy9V48yE/s1600/b1x.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZQTNHzM0nZCzU6BkqFW1_nvLmXKfJ7vTluHbAca4xHcWYyyROcnSoQKteVFOnHYSvRLdQrRpd4W2fii9_9QaTry9vUQi-c4rxxC7Q6fQe0qzD0PnMXUHwWzxcpzBxx6LHlR14FlzvzhA/s1600/c1.JPG



It might be passable to call these the Copper Text mascots.

They being the main additions to a realistic Gaur in order to produce a three-headed compound creature. On these, it is sometimes possible for the Unicorn or its Fake to be replaced by an Ibex.

Otherwise, that's notorious -- you'd be building a beast based on something virtually unheard of. In the Copper Tablets, this seems to be the game, mixing this and that between things that can generally be identified; but those compounds don't get used elsewhere. The one that is famous is based on next to nothing, essentially indifferentiable from a Unicorn, so, its meaning would seem to depend directly on the Large Plate. It's not easily readable, and no one has transcribed it up close. So far, all I can say is it appears to be drawing from its neighbors.


Subsidiary Fakes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs_GuZHbePunQ8566VIruhBRS_O94J4NvP_7v7arkIUbZ8jcuMC5KbCvD_acD77jw6YM3Xag62lu4GMziPi4j2Ew5uvLhk V7321dy1uiFzrZheN51TZpU3WnOL2uLP_Q_G_OLVZfp1MgA/s1600/m0232a.jpg

M-1173:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcWptSB1hFm85k2uhyphenhyphenYravl_LcxvPTZzA9HE7Cbsoh7DZLFYrGkB9xFmBZJNEUbduXGGHaVt1xbdP8dGnb4N Yppz0yHy9Qa_amvkHJObQ1wXPiCX-6PAVGen2cuGKKefq_ljj7tuHys_Wu/s1600/m1173.JPG

[shaberon]

Multi-headed Chimerae and Hydra




This is a hand-picked assortment of things we have mostly already posted. What is of note is #4:


https://www.harappa.com/sites/default/files/styles/galleryformatter_slide/public/mackay-plat-M-2.jpg?itok=hXOmBMvE



https://kevinstandagephotography.wordpress.com/wp-content/uploads/2020/10/ksp_0081.jpg




The genealogical relationship between
M-417 and M-297, is one of the clearest illustrations of how
the glyptic art of Indus abstracts an established compound
unit to extract a component-avatar.


This is what it presumably grows into:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjymkfmTY3qjkImYmtq4ga2473rgqGtdBmAca50K3HYKtuiIiYamAhyphenhyphenM9q0EMPr6c9DLxElYiGxlN-mqhTYsCBaNmRjZ5iLxyFz7XLshZ_sl4kwr3L5N_2xCVtwCK1LGQf7SDhjbYCJCNk/



Obviously, it has an orientation, such that the Bird-face Goddess glyph would be upright, which would make the Bull the nadir, whereby the round shape is flattened.

There probably was another glyph on the broken part, but there may not be more than one missing.

There is something like a human-faced buffalo or horned tiger, the area is not damaged, so there does not seem to be an artistic attempt to give it an elongated animal head. Bhaskar thinks it is a Gaur because it is in every composite. If so, the only way this could match the majority is if the two broken heads are Fake Unicorn and Ibex.

The presence of the Tiger is a disputation against something.

It may leave a hint the Tiger is supposed to get those Bull horns. But it doesn't match the look of anything.

If memory serves, I can only come up with one two-headed creature, and one that always uses three out of four possibilities.



Dholavira Ibex appeared to show us sunrise or sun on the horizon.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja_P8Vl4Mv1AV4H0QjxwBa4LDccliXDXzUdr6Y01-sMsN6xx490iNbRaNFbz2mXXhX-x_GVJiMLmB1axsFaaIMGQDVTHUG_D0VALJTKU0ibK0ueX2IR6IcIimH6lbuR8QsZ0bNybW_3UyQ/w200-h191/ScreenShot586.jpg



Notice the next convenient marker from the same place:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyZ7oiDOzAhwIJHu8pjgprmj3ZKsBojE_k-6Nmhf7SCn0wq5VugXeqvttuSVrl7ZBUPz-3xfPtQTtK3K64XzBu88JMlf8oM5xaBhrxI_lH6NTGEOhF9M2ZYJonEBYygZyw2SSxrMHS9qY/s205/dholavira+10057.jpg



Following that motion, are these the times of day?


K-43:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXRQJSjGOXZc9um_F7qi75MJVMFSHYNZgJlu_GihgzsIhv6GGwkVVCNq5UuMsgt3_cEiT-WRlYQyvWX-4D0900WCmSoWMKNGXiZdsvqIOUQ8QxXhJY5EP0x8UXOt4gPu99jODP5c88DQ/



Notice the defect in the standardized text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPL2Gn2SSp9m4lqcaYmWnuSHzXI28pvO4UhRUtVIEtZfPNwxLlhFm5tQnwnEgXHRy7vLI0iPUXyqcqnKBk6rPMOJKMhx1T aG1ZkG5-GGNO7gLZnzR2xnJ17kO-vaz3VQU5Q7TccyMo27I/



The script is written geometrically as if to present the shape. The pair of Flattened Crabs is vertically mirrored.

This thing has an unusual helping of two U-shaped symbols with two Quotes.




The strange behavior of this glyph among its other texts finds its way into Bhaskar's Anisotropy, where it (344) may be the closest thing to a normal compound ligature by merging 99 "Two Quotes" with 342 "U-shaped" symbol:


99 infixes to  342 to
create  344 which then does the same job that 99 normally does. In every example except 8039, a  344 occurs
before  342. There are also 15 cases with  344 in a line
but no  342, like in 8039. These are discussed in ESM7,
and one of them in Table 7.


The constraint that 99 does not repeat in a sequence
rubs off on  344 as well, and reinforces the understanding
that the latter is a marked version of  342 infixed with 99.
An exception is apparent on K-43, Fig. 9.

This apparent exception is extraordinarily
illuminating.

K-43 provides additional evidence for (1) the synonymy
between sign 99 and the turning goat, and (2) that  344
is  342 with an infixed 99, where the modified sign corresponds with a turning animal, an urus in this case. Between
M-272 in Fig. 2 and K-43 in Fig. 9, the animals are different, but the animal action, to turn, is the same and so are the
signs that denote the action in two different contexts.

Earlier in Sect. 3, attention was turned to a line break in a
sign sequence, to when a line break should be taken as such,
and when it can or should be negated. From the caption to
Fig. 9, it is quite apparent that the line breaks in K-43 are
literal. M77 and ICIT document it erroneously in a single
line. The arrangement of the sequence/s is seemingly haphazard. But it is highly ordered. There are three heads and
they correspond to three sequences. There are seven seal impressions in CISI, and a few more outside, with joined
animals. Other sequences, such as the one on M-1169, fatten
the signs into a single line. K-43 offers a unique, structural
view.



So that glyph is either breaking its own rule, or, the rule does not apply because it has been formed into a shape.


From a page with this Kalibangan Text 8309 (https://bharatkalyan97.blogspot.com/2020/10/persian-gulf-indus-script-seals-bovine.html):


There are 14 Indus Script inscriptions which have three animal heads joined to a bovine body.


Here are at least several of the rest of them.


Bhirrana or Banawali:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsj3y636PTnp2dM4kmGBFv5vY91I35tDdDCtvGGDg4WzJ_AkT-0rfGuvlXp92NsB19R2XO5AbUrpJfczE4RYX3kyf833B8Xs_Y3xDT2VCxwSY87HS0KPOYiKo91nAojuU0aYpp3xn5y1wi/s1600/banawali.png


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNE2YSGATSOpKHhvN2bnxHdfL0mFccmtk7zvOluD9v9ufGcksaAhsVD92BibnPMQjaDQ5-aJH4aa4AEXdZ_QvxxV4AqxZwlqim0qG8Bd7-vq_FOdF38ggyTdU09U9PdJ_CD2lhQabMyX4/w200-h197/bhirrana2.jpg



Mohenjo daro:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qm4eMnQTivbaKFtfD2Tb_REtTkeb-zgo3KaiNv2auqZcE5aX2FInaogxRp0z4hQb2KFmhczTSbMyRFtMN86EGw-beTqsWkPmZCKRkbPN36FSy9FUn-TSMnhfQcLxMLsopM4a5sOy3H18/s200/m1171.jpg


M-1169:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9yXUpMnRdtgI5RbXbwZVXpgIzcO1dahcb65Z0HvaS97qib0QpXiTZ_HjnORUj7e1yT7SDDqtrZDXqlcLk8ONHfURVU7yc 7252iwt-HzX_mkpIGdA6tz8nDiAhtbLJZwmHRQQyfYGyy0A/w176-h200/m1170A.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBfRbzNA-DbnRmcs4lUNi4ceUlK4grtVzlS5G2eCxmSTtVKfyLkE2gXjv37WAbIxcdTWE27tjh6d9hz2VpMiaSXWaRyhX-sun_JscC6fm1UmjbqNfdOoPTCjhLn_BKuDbSV6wBTYiVOyo/s557/m1169A.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8K_d0B0R2QIUZ4HH9Opbm5YKqnZZvSWLi-Vi5Ze-mAy85HYhlmIi07iy2d7aheXm1vCo4YoIK1rGEaA00It7fUXXMjCAcnrbs0s2mng9nzmbXb1CTKSjQ18uUkPb3p-Qm1mlb_m26T7c/




Amri:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQhqeZDKOUMwCxk6j6_WevosGop02CBX5n5s58sPQGWmjgUmcg0JFnxzLwVUOoG0KQOUJF5r5fp7RudSBvxaxAWmCIqEHi r4SCPHOi_pi_cO7jR3BfKizG86kgCc92a4Q2c7l_ws3d7KtR/s200/amri.jpg


Dwaraka:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghEpmQF5v9Yn-th38mvg_nV73mYA1u9o8pI6IQRsPEu-Ns_SuOKviTktp0umvvApFT1r7UyalaBe69OnP9cff228Pre-jHN_8g6bXZQ92_rE309lQuIv3Ja1Wj3NE6xR5I9RePs4NYCm-j/s200/dwaraka.jpg



Unknown:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBOVqovy8epgk7b6_79yYhsou7ytoskaDhCPNlE_83vYJoTDzI3qBrgyd2-2vPG34nvP9fDXMTDjMVYX0MK1tbxewCiMBQYu_pB7jZITTM_Of-3OWnOPSiQNrvM024xVMtiEUtppkps9g/





Here, at Dholavira, it is difficult to say these are people riding it, because they look like part of it:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiccSI8eJjCEuMycx_auquDma1ywpEvQ6E7hbXJd_Iky2GLh4_05JQo3V8tHd0f6Xq5Y7Ubl35kAuzmMP4jqfAEEatG8_2G ynfkCbNHzj6HujjEJLv3WdRq3S90Oiqfgc8PF3rtMsfAQFo/


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn3rDtUct32mWtJ4UhZ-XG6cJIz7FrJYQnMetHEaKOfDtPZgSny4F4MznTS0e3cHvgrfqikTZ6skS2lr98THhjlepwgOUP6Kqircv4v6u-LJCjCwO2_tBRt4QFEISY1ClRi-5u9NIbVL8/



One of them has the C-shaped back knot of Man-in-tree, the other, horns like the yogin, and here they are at equilibrium.


I wind up being unconvinced that the Six-headed Hydra is only related to compounded animals. After all, it has no body, and it actually looks more like heads that grow on trees. It may even have two Unicorn heads like the tree.



The Copper Tablets have a couple of multi-headed creatures following a different design.

Using text from wider recognition, Double Bull in Unicorn livery:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWzBL2q2aOFDGf4KHnWHUc3dc5ZmzMo5X7UWLB67pLuxwz84ZNtPb5BuUEV9PSctKFGz-A-EHYuy8t2eHV40mrsSNMH4cIiUMZwvl_EMVepzmBj2fEq9ZIkJrMlLIEjCmZz0kkKQaZPIA/s1600/b10.JPG



Its unique aberration is one, which, upon looking at the original image, I am not sure a Turtle is intended here:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi88QGzxJ2oj1-Xhnzl4vbzKOUuBMpMsDpevSuvwID7ze_piwOjsovzaz5kK8AluppKL3I6LHVlnq133A-L0fMG32tUDWXOeB4w1kgs5Q0UfjkUguY06qRbd59WxTCvyy6XO0sdnOtkCLQ/s1600/turtlecolor.jpg


The necks have been called "camels" and "snakes", but, it's hard to say. This has virtually no correspondences anywhere, and may be specific to the tablets.

[shaberon]

Horned Tiger Chimera



This creature is considerably more in-depth that the predecessor just posted.


It has close to thirty-one instances as given in Vidale's Chimeras 2012 (https://www.harappa.com/sites/default/files/201311/Frenez%20Vidale%202012%20-%20Harappan%20Chimaeras.pdf), which is well put-together with all example seals and complete concordance. We will extract it and add it to the top of this post. It has Horned Elephants and Unicorns mixed in to get to that total number, but, most of them are Tigers. Probably around twenty-six, including tablets and examples already posted for previous reasons.


In this case, yes, it has human-sized glyphs following it on M-449, 1399, and 2020. It's an inverted "U" with lobes or budding tips, with Mortar-and Pestle.

That's something common with something spontaneously unique.

However, it's not quite a singleton. The Chimera Glyph is used on both sides of Rhinoceros M-1397:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkWVIy-feqmPvmLSDlG37h8BN_rYbvonMHIl78i7rn5BGVfdixu_qPrEiaE21_Iik1HQcQdy-xIMRedCC3uYhdmT228BWobi5bsi6TDMCvuk_zTrp6LZ4Nc6VdV0H-u19KgYqfo-9S4_g/s320/InscriptM1397a_edited-1.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGX-o2zaXRURA4kzr-mxJ2egAMIXII9C6Y4VMMmrNRYtuyyn0-Ls1AK6fBfgSLgRvj7CKPQ130AWthyphenhyphenRej_KTbzePqSTy1xI5MyhL6c-wrZV_ePF8bRsX7NdZTa4tF_XK1djUb5ehtV98/s320/InscriptM1397b.jpg




Let's see. The basic pairings of Mortar-and-Pestle are once with U-shaped symbol, once with Comb, and around a dozen instances of this thing. Most of those are copied impressions of the Tiger Chimera. One is a Harappan Tablet backed by a Soma Filter.

IM77 only finds it as 321 used once more between Mortar-and-Pestle and Comb, with the whole trigram between two Rhinoceroses.


M-1399:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lncvYM8suhcLuze7_VPXkuKlOAfswCHkHcV6zoJyk3Cgcm_TnuA97ED7zyFTwwWjh0BjEr76a0QS-4Lt9BYl274ZsvhR1IyjlZuZiYsnpArtfJpp9IYaCbrCYYt9oxQ7tTq65PJSpTC1/s1600/m1399.JPG

M-2020:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQqMCr-MAL5qpFOc6NLw703xOPZDNC7fPtPB790SQ-LtU0R4aVAVPMBM7qKb-kRd4TkI7YP_3AmqNHX-V3uoVuEV8nwyGyV0qIvrdeTFC76JNGjqfzqAxUJuOrSrQpGD57nnhgRHF2X5Br/s1600/m2020.JPG



Aside from copies with that particular glyph, Tiger Chimera is hardly repetitive at all. It is modestly complex or goes into a "level one" degree of conjugation, grammar, syntax, or some related semantic function, by using different prefixes and operators.

The notable pair of subjects is Bird-face Goddess and Person wearing Comb, used at the beginning and end of texts.

My explanation of why bother to share this glyph from a Rhinoceros to a Horned Tiger is because later it gets attached, and becomes what the Bearer is Bearing. The Rhinoceros seems to go in a box, while this symbol elevates and appears to be part of multiple ligatures, instead of having any trajectory of its own.


The script, of course, is very difficult, and right now we are trying to exhume the iconography to see how the stuff is arrayed. In the texts associated with this Chimera, it joins the general practice with multiple forms of "U", Fish families, and two Checkerboards. It has, so to speak, accessory use of "X", Three Triangles, and Scorpion with "Z".

Eventually it has the coupling "U-shaped" symbol with Pipal Leaf stated three times (M-1430).

That's because it is on each face of a prism. This should be counted as an iconic appearance of the composite or multi-headed creature as well, although it faces nothing. In the middle part with Horned Toger, we see some weird barrier like a set of giant logs or something. So it's kind of hard to tell what might be happening there:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMVpYl1UZxTkha-nFwRSmpRb9fpmEB7fXe48zhNb5ZCNfytIuXGbx-74mR94MdFRphwpAo5TUEWX79X9Oe13AVMdMDS2v3aKNV8w9WRTUpwYuHl93y4bTVqnANY2lQHRzbLDW6Jdq_ky48h8rsGJ26IY-h-PgizzBU2xiCvJkFy1ifpQA9SFJjWX2T/s1280/Slide4.JPG




What happens to the creature overall is very apparent. It gets charged up just like a Unicorn. There are a couple of Fake Unicorns that perhaps have two horns from this thing. It appears to be the boss of the Pathani Damb retinue from the opening post, because it is the only thing that is iconographically correct -- it has transferred its Stripes to everything, including the Unicorn.


The total thing is far more than just growing some horns, it is mixed severally, according to a diagram which shows I am not the only one who thinks it has the Arm of Man-in-tree:

https://www.harappa.com/sites/default/files/harappan-chimaera.jpg



The arm is non-different from Hastin or Elephant.

The Elephant is what it quotes as superscript in the Copper Tablets:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5YpYhbN9VuhMqC80slFFptA_Acm9VYS21W-QioTpni4BtXlRnVD8cwZWLX3AAwlTAmyb7e-cHDASJKO78M1XvLe8adFB0s-8XLbTRfFIAmkJ_OWnivVaxEoPzlD1AwOE8XVQeRQO8klE/s200/b12.JPG


That seems to me an invocation, i. e., a plainer form without Trunk recites this text in order to generate the effect.

It's less clear how the head is affected.


Vidale's assessment is that the Tiger Centaur represents an existing myth, whereas Horned Tiger is a personal, individual text of the seal's owner.

There's not a clear bridge how these would be linked. One might say Ns-9 has the tasseled glyph. Those basically all look like a whole woman followed by a tiger image, even M-311 which is slightly muddled from enhancement seems complete in the original. I'm not sure it really is a "centaur" format. The cylinder seal seems to show the on or off of the tiger extension.


Horned Tiger faces a Pipal Leaf on its Copper Plate, as is used on M-1430. This does propel it into a higher order of significance than as a mere emblem for a personal message. It seems to be a separate character from Tiger Centaur, although it gains a human face. Its own internal text has leads. M-1402, which was originally red, has it following a bovid, backed by a text that is its answer to M-488, by beginning with a pair of Checkerboards rather than ending.

M-1402:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-jxYQpt6mVnwV1lqbXiZGqqZe4jX5spPm4AdTbLSqX76yvPmhSZi_2_-hhmpOXM1VbCZ0RLnjpc2128g_B2EUuHm9gYprKyNoGhqjBbflTv2sWbsWbpyTVhit3C8NvQldQx4LTswoXZga/s1600/m1402.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyUgiEFTOEXxILpLca1bqiVipZyOdCtzfirwj7tSnwEkQ8g94bXHO9C-QFOvNcv_PMAmVAM88v_HLyJVhalL3V_Z_nVthh_Y80pTrBaQ3hGMKqW8kP65DnLl2LSARW1NCEAJEgiuEeI1y9/s1600/tm1402.JPG


It has four tablets of its own glyph, it is on M-1402, and the more famous ones M-488, 1430, and 2033 we have discussed.


It is rather prominent on M-2033:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQBRRIbvGNL4mAusnhPEVzr1sLJJ6qI0LA8hzE4-SfZ7a7GQgCuScr9Qxn73v8aew2Qa7orIGgMS8TVKjvXgsWeqPKKORchz5Zf89YJTtHpWjbRmkSrGIjlRUf-FBc2PMWlnua2h2P8Kw7/s1600/m2033.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim_hW56F-tSlIdGhpTn5B83sgYmarAKtRf3PVBJmP8carHz95AMBxDd4_kgDfCN71wcQEOn4NptttoK-NTNXnzmISz8xFt42JU4B3KGhQpFCXXzICZx8tv8_R9LdztTo23lZIxX4kSiakv/s1600/tm2033.JPG


M-324:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCsN9c8-EIAAhgG5zCUDeLNA6_-Wbnpkuh2aHahzxcf9eNL06rvqsM8_XUar7fOdwZibwjs8h3OjmLo-bFNwozP2EbtHwSAYZm48IRgNg6-sS-AQXqQFShbDH9gtVmaDWMMQ0mgmw8QEj1/s1600/m324.JPG

M-436:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYbwlwR_B5Rihtjr_bSc4up2jWpqBLwhvRkeerODWABJVSjn_ij30gb4tDyqOquKB3NMxZnJT6v4QdbHmO-Wnf4e-pG-hwtaMsprEgBbzHtKbCfOZNjruFpfMKH3MNwDmq5HiCNJW4ELTc/s1600/m436.JPG





Conceptually, the Tiger is increasing by something, whether it is paying fees, performing tasks, or learning to read, we don't know exactly what, but it moves in a framework. It never becomes part of a three-headed composite, although it is on the Hydra. If the multi-headed creature is "too small" to display a six-fold nature, this, arguably, is achieved by mirroring an external trinity within, so that instead of additional heads, there are body modifications.

Most Sixes are Stacked Threes.

Numerologically, it looks less like six is a number after five, and more like a doubled three.


Tablets don't usually have very good detail, but, this creature progresses quite similarly to the Unicorn until it is thought to adhere Unicorn into part of its body.


On seals, we can find most of its iconic development.


Smooth Horns:

https://1.bp.blogspot.com/-S8xe55bU7js/UDU-zPVkg_I/AAAAAAAABb8/zZcnMXZCgFQ/s320/horned+tiger_seal.jpg



M-300:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJaZEXjyrfHNT9oSa-mIzhecgVu9BNO9DhSchHWX9cE5NprXsYMjdbdimSMhB5Si1IU-Ex3gbaMary3veCUtg78kkVFVv5dZxGiJf1L4wGWwCH4a-0ve5Ydz22m9qLbhSvZk2zLAZxSkpA/s1600/Indus+Seal+M-300+after+CISI+3.1.388.jpg







Striped Horns:


Banawali 17, Text 9201 Find spot: “The plan of ‘palatial building’ rectangular in shape (52 X 46 m) with eleven units of rooms…The discovery of a tiger seal from the sitting room and a few others from the house and its vicinity, weights of chert, and lapis lazuli beads and deluxe Harappan pottery indicate that the house belonged to a prominent merchant.”

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6SEJtW_ifz-yrLHtp3BlTQQ3r2imISDH43S7iKZtKEMRSFSebZA6ZZswEUw3LD-vkPKm4twQBKTiWK0DwfqZpVUEP_DpzbOJoEfWq7qBql-0OXKBD6k2iT-9hSP3sIQiEljXA6kWIKT0D/s1600/rg16.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8SUYL5jF2YVpJ6TXBcWlW_pSBXYAVmtzOH5EyAEB1sHJ25J8vI8ZRYlyoCvQdIdn6KgtZTlgMvUHOcGRG-dFLmBtnCo9k-HilvCCgIRP-jG14La6X3ukTWMIZMlsRwAXe2aTuxbDBZdA/s200/ScreenShot275.jpg






With Tusks H-96:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKRd9Ap_RKVmyv7OWMiKpvtWoNiKh8h1DfHfNUG0CWywskOgPH5Ifcrthul9Rni2vRWFfXsG1v2QfdyjHtyAE8XtDReo2d MW4cHHsnOZPV9nImOM6gU4zWPfLEzZbUdwmLxiA1F0V6gxmC/s200/H96.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCIPkyDcCX2xAILOJ1rW_50X1yPnsADrjwCrjJwrNp21lMz6hdcfmOh738CBwXN1xUIybVs5QrOU4TV2IUGs2JYYN6vH2r IJ_I1zwKbnrbYFlxHLa-ypLUAdwWH2S1vzxGACOvXulLzYDe/s200/H572.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKRd9Ap_RKVmyv7OWMiKpvtWoNiKh8h1DfHfNUG0CWywskOgPH5Ifcrthul9Rni2vRWFfXsG1v2QfdyjHtyAE8XtDReo2d MW4cHHsnOZPV9nImOM6gU4zWPfLEzZbUdwmLxiA1F0V6gxmC/s1600/H96.jpg



M-299:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivrDHkiqIMkqwQfjy01kaua4fSCflWgI3Nvp3COAxbRhyphenhyphenL67rS_K2T8xcFYQUWriXb6fsyWDYJWsEdiUeeB6 DwQJjahyj_nu67rV_2XT88tAI0A3D1GksFQw-cbryMbLef7W7BgXt8tzeK/s1600/m299.JPG


M-301:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaeMhn5NL4t3XHrT4Yl8MNMz2owxhYwn4aY3iOn03YeM_qB0428pucxF3SmqEn-evghNuzR9qUoC4CAC0WcJwLnlYCxZAtOKwtmn6COzOqSQhQ8-bm3XZVcuLv4jGxgCP-y5cNJ4-i1m-/s1600/m301.JPG

M-1176:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0T6CavSGZTWQ8sEQZ0WP_SaIR_fhTvKz7OayeXxEcAMXVYAA4qiVrQDF8PBr5xqxq1dbtvZqd6NbLy2WNCi8BJdkwTMg0 YZAW7wAr_GF6TJGwkzQnZcULStchC8xPCa5CxBWjEga1MgLr/s1600/m1176.JPG





Scorpion Stinger M-1177:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsb4lDAhvNzx93sRwaaUOXUK-AdK6Rp5fdFFbOj3AqAPx78f6-uCxNe7EV7RCnkgygmDRyx8RHRD7SnGLLa9p9gwj6zQ3jh3s20FCBHS82gR5_-LOWR6z1hP80jtMbnzcgHtFUnhnUmLA/s470/m1177.jpg


M-302:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JW5FHVRUH3ucDpyfZCX63FtGaBDXsJajB-MGHdK45urs6BYQ1cFx-qf12UjDPDG93-eMjh1ln3LEk7dn6J_YbvKfXHoeE9_GUi_SIZVR7DCHHh1ecBXe_C3_nAlO_3YhniI-7D72OMU3/s1600/m302.JPG





Finally it does one thing, mock combat:

https://www.suppressedhistories.net/Gallery/indus/danceswtiger.jpg



https://kevinstandagephotography.wordpress.com/wp-content/uploads/2020/10/ksp_0083.jpg



I've not really noticed anything that shows from point A to point B here. Some of its tablets have people on them, but, here, it has the reversed gaze from the Man-in-tree scene.

She also does this with a male human and Gharial.

That would be construed as a low-ranked Chimera, where perhaps it is the Bangles that are of note.

It almost looks imitative. It doesn't look like a male tiger. You can even see the Hastin gesture of the hand, by a person with animal features. This has the glyph of tasseled loops, or striped vertical chevrons, or there are two that are perhaps similar.

[shaberon]

Human Markhor



This doesn't quite qualify for a title like "chimera" or "centaur", because all that is observed is the grafting of a human face onto a goat.


In the narrative scenes, the Markhor is ubiquitous in "deity invocation", or however you would like to classify the supplication imagery. Some are a plain goat, some are this.

However, the Markhor is ostensibly female-centric, and so far it appears only women gain these horns.

A balanced view of "looking back" perhaps says the male gains the attention of Tiger and the female of Goat:

https://blogger.googleusercontent.com/img/a/AVvXsEgXQ7BI-BNhYLkvl8uaoBKw3eGhFtwp4LHPpkJkDQ7CCwWDOy41vL5-JtplMJGfSNBLMXDD-Xcn_BbNMlenNGjJ_SMiJi0GdOJfwLgyP8hofptEgEBAm8jXa4SP-7UZq3k1NFuLMpHzgNyNVVs7P7a3c5LRFwRDLXkXDNwIyqEk1ICobFb9lt_t1CEy6Q=s295



I, at least, think less in terms of "is" and more of "does", so that these are more about "gains the powers or experience of" rather than "becomes". This may simply mean "of the opposite sex".


As to whose face the animal receives, it appears to transition through a glyph, Enclosed Quote K-35:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8jV7tUYDZt2N6KwTOezJnjIKJt2SEu2rkOsHDdMEBl9Oc2mHJ7H7n8EcPu5eD09680248P6hCq3AcJ_STd4zZGfKeOt9F sA_uEW26Nrs9o0_Zt_5qDMvu-qDELJcdrmbtOS3-t6P2pPjF1feftyqfH9yFNF5x4W3nMYHQ6SPVwj59GAbBDWrFP3ysmqM/s1280/Slide21.JPG



And then I probably would have treated it as "background support", i. e., an environmental element in the scenes -- except it turns out that it does have an iconic identity.


It's brief, but is found facing Branch M-1180 with Bull text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRe9yW9mcEu-RWhewcBZ27iKz6aycuw6aN_-daGI4fUyibRtdVSSwkDhj1plxH5HpqmQ_HN3UoK0KVmTC8MLxiBDQJaZmK8EY_BJK70iUQKKISEU1-aQ0OxUU7QlWFxAIhU_rDbB35bhMXBe71ME5j8yYc-m4dOXWvQz3SMqng_Yt1bBp5pUf4AF-K-pg/s1280/Slide23.JPG



What is notable is that this text floats to the top of the posted concordance on Five.




It also arises with a basic pair on M-1179:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLHuJeL7m-FoIuhDuYw0V4SOTjiw4f9MMqOGnxcZ-jeWq3dh_rx1YeFWS3inn-w6IdN8DND8UVEAEYPQNSDSa81cxL64f91F-bIjjs2zrL4HYu9cax4zAQm_qKekHzDe43p2AQg0gI94I/s0/Pict-31.jpg


compared with Procession Seal:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUlHiuqum9oyiIpY5ZDzEUqGRg2pJpFN5bx6ZMdVwln_rQxMjiHQU1T07GCLouwuFTz26QZ4_Qr8CY-xUJo8UEAaI3Y9hzW6s-y_7HbgaWgXvccuEUkx24hHdYKg_DR8-UBjhS99wM9k6X0r3lrfBdUD9kXBhiibJimdfPHDOeCWjw7aLk5Hob0iZg9E/s1280/Slide5.JPG


It may be a change of the natural Goat and inversion of the Arch:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCxPPCD9cfUMvAZDNWpOI_gqTyyI6VBYuP1HoZDVJwRM8K26ohNFE_GHJikOVuWwYqw8R709gEMgpswKuwmrXHLVjNOM-aU8bsTY7i15mm5J_ICOhI5vsU5mEKtUq-I3anJHaG4mEo2AiK01sKDl_u1hng3BrBxeZgvzzQR1o3f2C65bTErRUJ6WWhlcQ/s1280/Slide46.JPG

[shaberon]

Scorpion-or-Gharial Illusion




This seems to be the heart of the IVC ethos.

Firstly, as an inheritance from Jiroft, it must be said the Scorpion is the mainstay of that iconography. It is heavily detailed and repetitive, becoming minotaurs and other forms. In this sense, we think that "animal hieroglyphs" as a mode of expression are a common idea throughout the region, but what they have to say is probably different in each iconic realm.

In India, the Scorpion is part of the statistically-dominant tetragram, although it has essentially no iconography.

But it was very plainly and elaborately detailed at Rehman Dheri, so, there is no question about its potential for visual deployment. It just doesn't happen.


In the Copper Tablets, it quotes Horned Tiger and Half Horned Tiger:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSMo2yoUUSTDc8oq_RPuiePubWtbteDq_Fjyy9HuezCwZHgGwSvwl7iqqk_tJ4p2eNfg6dyYlmW7NiwuEFO20jBlQBGazA OG5XsXyyRYH9EfBRDXZ9k9ue2gK8xb5x2StPPLY4cDKWmuk/s1600/c8.JPG



Scorpion trigram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRi5hxFTsokNFWbSXVCByRugl-lGQZ0ioOdqLKbHG1uXRHGLAJrgEknbNUGffZf05npPnMnSF_LgNlr3k4Y9CDuWDYyl-MovCSaBShSXkPNef7seeQiuDcHxA1HzsJWeuGYvh1973gLUX6/s1600/Nd2+%25282%2529.jpg






So we want to observe the path of Frog in Rehman Dheri:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK2Cv4YC_zhdfBX5cYEVaVE4IwFwPjCQUsWcKjBmN-vq9Mh_40kUF8jRlN-qmfubX-AHH-4ts4pmaaxp7bikgVT8q-pgnZh2WkVdmlze-f8VoBfxs3cH_ezVen5dfxZAb0YKW5MP8ISg0/s320/scorpion+4.jpg



Binjor:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFVT2R6UUQBWdwFQBt_P0vj71HM_UribWt6EPwS_Z6qvuKs3eZyrsR_labfJI2YtnzIQFRvUNcXzWBMWvm2LKh-H-sWtgkK_R51PS2KyXt7iXf5TYpjCrPDaJdScyOH8cHFE1sQ/s983/FL22Cart6A8276JPG.jpg


It passes through IVC on Samyoga H-180 and the edge of M-1923 Tiger and Gharial:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFhcXxpBbOrtmqT-aeSLhyDqle-P5fJ5Ft0k1_rm2AuDe3jhpbsUejS-wPd2cJY3_PGuQkccBMoHGFnhiYn15NmubhJgJvjXbDM91ZQa48HmdD7GzMj6eDmdUfKKGcCQMrMrbGw0I_xGEfYcwBQASbbOGkkn AKhbsRgw0OHCa_t61y4DQfIfP-itxSDSG5/s1280/Slide1.JPG



and across the Megalithic Culture to Adichanallur funeral jars ca. 900 - 700:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqCSEViQPYJ03bQatC4oVWtq_vvD7M6RwgDX7EomkH_jWRIgpWUSAwduxGYpJEmU8bZN9GMSuenSygXUUnOP-NXYuDzMlcMaf_BlFIx-wV0sXtBaN1hHyLvcc1-NXY92MTeBISrw/s962/adichanallur.jpg


https://photos1.blogger.com/blogger/5980/535/1600/adichanallururnburial.jpg



It's just an indistinct four-footed thing. The purpose of the script is to make it into something, here in its abstract and real representations:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJy75D82_dGgAMzDgejxPREMD7NXdFxv1743JLRoFjRZLMlU6XujG-nXBOkBXeGA7Xg5HLFUhLTd1q5Z90oiVnWstNBK3Tl8LXNqniv3Y2yygz-u52xClr998ym8ozHCFeskhkLocerw/s1600/scorpion+indus.jpg


M-1934:

https://www.harappa.com/sites/default/files/images/mohenjodaro-seal-close-2.jpg



That's a unique configuration that isn't really the same as Sky Crocodile over Procession of Animals.

It's not the same as with the meditating yogin.


These are consistently manufactured as one-sided objects. That is the best-preserved one. But it also comes in tablet form. These are not exactly backed by a text. It comes with the only other edition of a Three-Tiger Hydra. On this, the surfaces are so highly worn that we basically have to take everyone's word. I can only see enough to the point I would not argue it's not tigers, but, there are none like the solo agent we have posted.

What this does is the art of subtraction.

It removes the Rhinoceros, whom we believe turns into symbols and glyphs. It also removes what is considered to be a Monkey, which so far hasn't got any outside references. This is easy because they are not actually connected to the thing.


You are left with the top of the unit as clashing Gaur, as found elsewhere with Two Twelves and a massive Tree, or else on a bar tablet with individual glyphs in lozenge and square shapes.

This assembly is moderately visible from Scorpion-or-Gharial Illusions (https://bharatkalyan97.blogspot.com/2018/11/seven-interlocked-tiger-indus-script.html) towards the end as M-1395 and 441:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQv-WgeO7KGTdDvP2o8RnCmfQK_62gHftgYswoB75KLTtAavuh2gtM3R5ih6Udex-FjkWen1J3BoCeQflHctr9fN8D1t5MEr90mxBaMAneq6wmFZAqKHE91v8hVnG1hdCAgkyZEHC2ryH/s640/tigers3.jpg




What also remains is the Elephant's Trunk, as if being held by Person holding One, or the arm of Man-in-tree; simultaneously, this is the Tiger's Tail.

Bhaskar calls this "Gharial-centric" as if there were no question it might be a Scorpion.

One way in which all three are true is because scorpions come out when it is warm because it is warm, frogs come out when it rains, crocodiles come out when it is cold in order to bask. That makes a three-seasonal year.

There isn't a text involved with this.

It's two sets of triple illusions.

The Crocodile may be subsumed or supplanted by Scorpion in the script. If we look at a Horned Tiger that has a Scorpion Tail coming off its face, then, the horns are somewhat suggestive of the pincers, so, overall the human head assumes a scorpionic shape.

Here, the lower register consists of the beasts of Contest Heroine.


That means it is a bit like Big Tree scene over Master of Animals.

There are no associated glyphs, so, we are left with the ability to explain it contained within the total knowledge base of the script. It only has a name because prior reviews have asserted it was a Scorpion or Gharial, or that the four-footed headless thing was. We will have to track down if it can be asserted that Scorpion is the Human Head of a Chimera, or if Winged Man or other texts absorb it, and does this attach to the Gharial in some way.

One might try to argue, those are the constellations, Scorpio and Draco. I'm not sure this is impossible, but I'm not sure it's correct either. It could just as easily be whatever Jiroft means by "Scorpion", with edits to its personal adventure.

Or, the freestanding animals on the large retinue, correspond to the glyphs on solo Three Tigers.

No other icon, text, or scene has anything but one or two tigers or a mixed or modified one.


In the amuletic sense, that makes this tablet about the most powerful of them all.

As a student of later Indian philosophy, it is quite easy to see Tri-Shakti combined with a type of triple Sky God, or Manas as Knower, the Known, and Knowledge thereof, it would be incredibly easy to simply attribute the resemblances as definite facts. Those would have to be considered a variation or distinction of anything known from Iran. But the point is we are going to let the script itself show what it has. So far, it has had every kind of idea projected onto it, from dancing to human sacrifice, or it must be like Sumerian, or it is the Rg Veda or Vana Durga, which has been a great disservice.

It has two forms of direct continuity, this four-footed thing and possibly the India glyph, and the system of weights.


For the sake of diligence, here are three of the Triple Tigers with Illusion, except one of them has been touched up with the "full" version:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg89zeF1ywAcErB0h5jUtiNp3eIHlLwH6WYY4dIzJLaw2WroSeJqv0tiaUTZPbKjyxhl-r5YBMYfAvZ8B7_p8ei2LqWXtGD2UpbXoe9fEo0kEEBpn3Z6Rp7j5pc6a_2qH6CbSCvP5y8Fv83/s16000/Slide5.JPG


And this would be the correct and full family tree of Three Tigers:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBPTD7NkOOgCf4UeoAwL_pRp_AINSARXvItUVGi__qIj5UTEKEupR2xpdMsEV-F-WQrf2cc7kPx7mMvXVOUkMCoamd3tHIy5b9YVC7m-ppak6Hm5OaKuv_PZhY1qTP-UjrXzKKevB_XbDM/s16000/Slide6.JPG

[shaberon]

Objects



Here, we are looking at a few things that are taken into the plane of artistic imagery, not actual objects that are inscribed.


We found that the Unicorn appeared to be objectified, and was being carried on a platform that would be entirely unrealistic if it was any kind of animal resembling a bull. It would work if it was a terracotta figurine, but not a real animal.

Other people were carrying things like a Crescent Standard and Banner.

It seems to me we are looking at the x-ness of space; people are reduced to the size of small objects, glyphs are enlarged to the size of people.

Conversely, there are a few cases where a glyph is not a glyph, but, "a picture or symbol". Among these, one finds the image of a Tree in Tiger's Kiss or tablets with Swastikas, and a Soma Filter with Rakhigarhi Buffalo. They are not stick figures, but filled-out and realistic like pictures in the visual field.


I have been unable to find a train of people resembling anything like the full Animal Procession. Not that many.

The weird procession and some objects have text. There is an error in the extracted text of M-490 and 491:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzP3BVZPaD4tRJHECgEvNxV1PXY8l_A5J8p5zEARxAr1vDshdAunBHu5pGs-iySxdpIHG_EeVG4iDMIu_3RkOwssLU8ZKIzmHuhyphenhyphenSfdafZmg8K7BFb0mDKwbxUkm6tH-i2LzQZ27PfJ08/s1600/text1605.jpg



Its number should be Stacked Three (similar to Gharial without Fish H-174):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuUqX4Fm-HLzAXh9Mx2pTFN4doZVeEcv-jjVNiezGlkCjSCEUK1lUpjS9YLCntitqelA1L9e6kIl8XufWZ0Op9JPQHl56gMAL2R-Km6Fj0wGtNDOGRSz5VSjhX-f0cO7aGODXhu-_ip3BVRqpE7MpkQrdMszJisYjtq5vm_sQVfnNgMoCINXwAacRetq-g/s1280/Slide9.JPG


Curiously, the text proceeds to something as basic as Lozenge.




In this area we pass tablets with additional horned people:

H-175 Buffalo

H-178 Markhor



and arrive at a large number of tablets having on one side a Tree and on the other, various texts.

H-189 copies one of these to an image of what is probably an I-shaped Vase.

https://projectavalon.net/forum4/attachment.php?attachmentid=55797&thumb=1&d=1756432025



We saw such a vase being used on a Pathani Damb seal, which may be the source for something with vertical text posted as unprovenanced (https://bharatkalyan97.blogspot.com/2019/06/decipherment-of-mehrgarh-pasupati-seal.html), which uses male and female participants:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh95pr6qYgFNkfjfElUzGqd4xtYufyGd7OYDlVPFwEvORdsY4TIh2yJj1_SybiRcIGFpAsWSqGzZLKO7kLcpIV6WcsklCrx 0IdMe2YL1lkGBRaohahxdXfDhPUDezW48LLU7-GJD1e77m4/s1600/pasupatixx.JPG





The trees are in various stands ranging from crescent to grid-shape, and use several highly-functioning glyphs such as Three Mountains and pair of Checkerboards.

Some have suggested the "base" is really a "trunk" that a branch is growing out of:

https://www.harappa.com/sites/default/files/10260018_10152436967484846_5967850261938836742_n.jpg




But they are not all the same.


Tree in base and Soma Filter H-1778:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHWVqGBGHc1rWr5QuRei_PlK2FRFwrKVvq8pz7IF810XKgFjN3OmbnsmPecNEO4_eld_r91Z0Jpke4YXDki0-yqYQFLbUgDo67KgrpDtD_WUDSEu0EoAmcAAmZISCfB1XrZu5o8JQ7Wik/s1600/h1778A.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQtYenCcQRRb6lH-ppPKFvoIpG88ynZ0c0XrjXF97hnr95eQ_UJ05Hg9nbzm29QoU67GoeXpWHr4A44DGU0gkesJyP2PqauKSD9-iF0eM2Ygvqp4qIvkKCLwtxktTLpLmxCBOgzxlgY0/s1600/h1778B.jpg


Doubled Filter M-2002:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtO6iySd7oCTAgcvHQ2XZWhn7SuKqySsmsMtnYGdwkRLltxcr7I4vn13jW-d7jWc1ul7wP7-QxCTpUUVvGlASXrzbseI0RCZC58h37wiL3L7oH15cUKkg0p1FQuCXbd3m5C-F5pyx93Ilx/s319/h2002cx.jpg


https://projectavalon.net/forum4/attachment.php?attachmentid=55799&thumb=1&d=1756431979

https://projectavalon.net/forum4/attachment.php?attachmentid=55798&thumb=1&d=1756431979




Miniature of a three-dimensional object:

https://1.bp.blogspot.com/-Lp1RESJaCUM/UcpXExjqicI/AAAAAAAAa2g/7D7XlNZYle8/s320/sangada.jpg




That's not the only one:


It clarifies why the tiger’s horn is bristled. It
merges the bristle aspect of the urus horn with the zebu horn
in B-17, but not in M-1168 where the horned tiger stands
free (F0).

F2, the container, enjoys an iconographic status independently of animal imagery on several seal-impressions
(M-457–463, 1407–1414, 2025; H-98, 195, 196 AB, 197,
228, 739–743, 1779–1784, 1788–1789, 1791–1792, 2006,
2022). We see it carved and sculpted in ivory (M-2116),
engraved on gold (M-2125), and incised on steatite (H291–293+similar). The coming together of the two to form
a convention must have been an inflectional point in the
development of the iconographic communication system of
mature Harappa.



In Bhaskar's view, the main point is given by M-490 above corresponding to text extracted from Monumental Soma Filter H-196:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC88QODkqsdYk28mhKoU2EwmEWsF1rRcVP8_lQodKDcfI4YLF-xLuaJYddX5FmJ_ZS2J6_mvRNLrGmXDSRrupGxHJ0W-LRBrZhj-LwL83LT9zUW3WkGGnDBwizopFtqPQK-Lo8I11OlG9OjE7wga2M4DDZaF1xkZmiQutBPhQdKWJqMBaLXdhrNyryXREB/s1280/Slide13.JPG


That says it includes the Tiger Chimera glyph pair.

https://4.bp.blogspot.com/-gmeAwaZjvLk/XFUNIoJLgOI/AAAAAAABb8I/rETAiB9Ipf8Hy5LxvhTNk50chLmm3ScZACLcBGAs/s640/procession.JPG




Most of the others we will have to discover and re-circulate. The texts on many of these have been posted, but no notice was given it was a Tree Tablet.

M-500 is a Tree disk with a Caged Mallet text. Some round seals have circular script.


Filter H-98:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMVIFuCaxFjpeZmck-vIOZzeL_kytM2RPbvZ79pTwPv7J_COnax5E15glqu2ozgYmt1ecwac-IWnihxlpy_f2SVbUjlPv6GbhIaFK7RljCqbvbl-AmEoilqSHKv11ngiL70lyFhO_Yu5pIOnqfD9wRFdfnON-Q7MseTVUnrO0zzC1jORZldt2piI5pe6sU/s1280/Slide14.JPG


Multiples in a sea of disks or orbs:

https://projectavalon.net/forum4/attachment.php?attachmentid=55795&thumb=1&d=1756432062





For leaves of different trees~

I thought I had a link for a summary image, and now I cannot find it. The meaningful image is found near the beginning of Three Zebus, Three Trees (https://www.academia.edu/25651400/Tree_gods_of_Indus_valley_civilization), taken from Parpola's Deciphering (https://sindhilanguagelibrary.com/assets/documents/pdf/647f088f1fff3.pdf) fig. 1.14, taken from Jarrige 1988 fig. 4.4.

In this, three different Zebus are tied to three kinds of Trees, on Nausharo pottery.

Later, they are tied to "posts" or "standards".

In Kulli ware, according to Uesugi 2014, Ibex, Zebu, Tiger (https://www.academia.edu/7823764/Pottery_from_Balochistan_in_Ancient_Orient_Museum_Tokyo_Part_2_the_late_third_millennium_BCE) come together iconographically. That this converges into IVC Unicorn, so to speak. Tsurumi U 2010 (https://www.researchgate.net/publication/273064457_Report_on_the_Survey_of_the_Archaeological_Materials_of_Prehistoric_Pakistan_in_the_Aichi_ Prefectual_Ceramic_Museum_Part_II_Kulli_Ware) perhaps has better examples, such as Cypress as found with Horned Tiger. The triptych is in there near the end, it's the same as the famous Bull jar, except it is unrolled so you can see all of it. Then you have Pipal, Sami, Bilva or some kind of fruit. This is probably something more specific than Iranian Bull and Pipal motifs. If we can't find a working image link, we will annotate this.


Three kinds of Bull:

https://projectavalon.net/forum4/attachment.php?attachmentid=55867&thumb=1&d=1756607106


Similar modality:

https://projectavalon.net/forum4/attachment.php?attachmentid=55868&thumb=1&d=1756607133


There are several other repetitive animals and designs, which of course the personal paper goes on to assign to known entities.

Over time in Indian pottery, the Bull becomes more and more a landing spot for Birds, which comes to fruition in Cemetery H around 1,900, that is, technically within the IVC itself, but exhibiting practices of decarnation and cremation. For example, semi-appropriate Sky Peacocks:

https://www.harappa.com/sites/default/files/slides/large-burial-urn-harappa.jpg





The principal question about Trees would be if there is any indication of Pururavas with Asvattha and Sami twigs for the purpose of fire sticks. There is an idea Pururavas is the Bull (https://books.google.com/books?id=4DZYbWQbKAsC&lpg=PA65&dq=sami%20tree%20indus%20script&pg=PA64#v=onepage&q=sami%20tree%20indus%20script&f=false) of the Mehi sherd or with a triangle between his horns. Subsequently, Urvashi is behind watery or Comb symbols.

"Mehi" perhaps means a Nindowari sherd with two of the Bulls.

He thinks the "Rainy Cartwheel" over Zebu is Urvashi or addresses her.


The similar-sounding Avestan is far later -- Pouroush Aspa as the father of Zarat Ustra has the meaning "having many horses", that is, an Anatomically Modern Horse which is first seen in Late IVC. They have no obvious possible equivalent for Pururavas, same as we do not expect them to have the details developed in that milieu.

Bot the Vedic school and the Dravidian school think Urvashi or Apsarases should be present, in fact, this idea is what they use to refute the suggestion it is stars, such as the Pleiades.


So far the symbolism tells me we might expect terrestrial and cosmic nymphs, but as of yet, the most reliable match is two kinds of Trees.



That "stars" or something may be found inside horns is not new -- I am not sure I have found the "triangle" being referred to:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxTVfjbennOoAzgjJY9ptSDl7rgBTN-e2Oq9prLhNhdTUaKP_zsOpltNM-kmSehuHlJRvr220FZmrHhl84UgLoRS3yNzUkaaU6-090rPPnPwhk7LGDPoQfl_IBH-ewsdsku5GaeSS8dOcA_h1tD2SGn9lk0NAGCoBHzLyBIepvfk6jfWmQlF8POtfV/s1280/Slide13.JPG




Here is a Tree Prism compared to a much, much later artifact that seems to have IVC Shield shape and Swastika opposite Tree:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdvvHg81IS4NkZh6WpupdD_FMKoEyJXfgqM2eh9XtSRCbz0qAGblIR62kvNrXivxkfqo28kSMp68p9fO5qjpBBOxk2TK51 ISMy0N5ujqixkJmYmp3hU0GijjK7j3bbX9sgJ7XVPf6KVCTIbn7TVUL16LXjq2u1QfWwSR3drquC5t-_rzTmZlitVpzZWTA/s1280/Slide1.JPG



The same material, bronze, and area, Kausambi, 35 miles from Prayag, produced this Woman with Zebus in Late IVC ca. 2,000 - 1,750:

https://upload.wikimedia.org/wikipedia/commons/thumb/6/6d/MET_DP702288.jpg/766px-MET_DP702288.jpg





There are a few we're not very sure about.

Tau or Arch over a "stack", with knotwork and Backgammon Board:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgjOEEgmwr5Dmmsc2Yb5R2JU7vHVcmRIuCLdXEOcObBETxhM2kHYopM_cg5GppGA3FByE2swVQnzemW1g68JR62WX-mGqLDhMR4CSs9oVsby4xFciyRFPTLUVW0DJWJ39hYEDtEf0KoYA/s1600/pillarsdkarea.JPG



I would conclude the Objects are heavily conditional to what is in the script.

That there are others, but Soma Filter is again paramount, is very telling.

The Veda and the Mazda Yasna are Books of Soma. It's mandatory for the substrate of both.


Painted wares rather obviously contain a basis for script compared to IM77:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlIoUDQ8rtDVCBqTiKhThIaZ8VVAldxdF07vadkVGRXAPMAOjW47ft-RxUikZ_nKF7ypSN1M_cRl7oFWzPl9gmcxSre7WQ2XmNnGfTNPenlD0wKJbUVbm5oZUgYcOmPtWB31vyat9Fy6C/



Physically, Soma is known from Ulug Depe. The region's connection is such that the domestic pig, Sus vittatus (https://en.wikipedia.org/wiki/Anau_culture), was in Kopet Dag around 4,000, coming from southeast Asia.

I think there is an unusually large and complete human network probably a thousand years before IVC script is discernable.

Because we tend to think Zoroaster came from the northeast, it would just be eminently likely that Avestan descends from Anau or Soma culture reaching at least to Gonur Tepe in Bactria.

Because people are now researching residues on ceramics, perhaps some ingredients will come to light.

This Soma Filter is the most ubiquitous and pervasive element of the entire Corpus. With few exceptions, it is on the Unicorn which accounts for almost 60% of the material or about 80% of the iconography. Then it has its own scenes, and stand-alone representations.


And, no, so far the people are not using the "U", or "Lozenge", etc., they sometimes hold, but there is this environment of a Unicorn. Person with One does appear to be with the Filter, which is suggestive of the Unicorn operation on Striped Mallet, which suggests Mallet. Then you get a text with Checkerboards, perhaps Filters, nearby.

The Veda speaks of mashing and purifying as two different things, which seems parallel here.


It is entirely possible that Sanskrit Babhru stems from a root meaning the Caspian Tiger, and, if the Veda ignores the animal, it does not ignore the color. It may be that in IVC, Babhru = Tiger = the color of Soma, perhaps.


Originally it is used rather sparingly, with no room to contend any meaning other than the color.


Such a view is that of a Vedic Manusa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836177.html):


babhrur eko viṣuṇaḥ sūnaro yuvāñjy aṅkte hiraṇyayam ||

“One (Soma) brown of hue, all-pervading, leader of the nights, ever young, decorates (himself) with golden ornament.”


By this, we are actually talking about the Vedic Middle Period. The term traces back through important precursors, such as Vasistha (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834969.html):


dadhikrāvāṇam bubudhāno agnim upa bruva uṣasaṃ sūryaṃ gām | bradhnam mām̐ścator varuṇasya babhruṃ te viśvāsmad duritā yāvayantu ||

“Propitiating Dadhikrāvan, I glorify Agni, Uṣas, the sun, the earth, the great brown horse of Varuṇa, who is mindful of his adorers; may they put far away from us iniquities.”


It's a twist, because "bradhna" is a gain a color, applicable to sun, horse, soma (https://www.wisdomlib.org/definition/bradhna), requiring context; then he says:


Māṃścatva (मांश्चत्व):—[from māṃścatu] mfn. ([probably]) yellowish


So he is giving three colorizations, that are all definitely of Varuna, and could have all three meanings. IVC is almost like erasing "Horse" and substituting "Tiger".



Ambarisa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838315.html):


pari tyaṃ haryataṃ harim babhrum punanti vāreṇa | yo devān viśvām̐ it pari madena saha gacchati ||

“Him, coveted (by all), green-tinted, brown, they purify with the filter; who goes to all the gods with (his) exhilaration.”



The first line does not have to be original in meaning. It would work in a pre-Vedic Avestan cognate. In the second line, however, he is making a theological point about Vedic Soma not known to be described elsewhere.

On the contrary, IVC probably makes a theological point about Three Tigers, which may be beyond impure soma stage.


For the texts possibly about Soma components, the Person has them independently:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCLMphMfOuLf0s6Y51Xuqo7q_2Y5fXqRPRAX-OW_El3Ru-_KvKGdWIZISWPZlecZxttHdkzN60cfv-_f_OtHhhqEBBPYM5RZEqgvo28x9qwAxJcLRX2msoPeKJosmNPPZmAE5ryDINPa4/s1600/a4.JPG



This is how the Unicorn affects it:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaOG8U7JC57YQyV3b0rBdkcbBzoev7fpuoVJcH5_jpPH256d_8okYS4u4_OuBCNL9APV79Z2skCo6JD7pd6TFsRyu7Oehv-B5CPTQIPHKadxcoBvMt_O4nWti6OuG2g81-_AlSy9V48yE/s1600/b1x.JPG


The Unicorn does not have any ritual object. It is nowhere to be found, unless it has been sublimated into this text.

One Checkerboard is with the Rhinoceros, the other with Zebu with the necessary accoutrement:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuow2JL5heB4t0aj34vwgyZwEsQLuqm7_csJBpZONmKoh_yW5uLxBl1ANdhFvcqtHWI0F619jIl2Gf1hQrIycN41bE_iis kKXG67-jlsYQ-gaeFiIzni96nW6FLMJkZCgFwxFUwWlEQBU/s1600/b2x.JPG



This archive is practically definitive for the whole script, and, there is no Soma, unless it is in the script.

I can easily conceive a commercial product that pushed such a level of connoisseurship it snuffed its own market, like Absinthe.

The Veda is clearly grounded in the principle of surplus agriculture, such that monklike characters could produce and filter their own Soma. Its northern and southern frontiers of expansion would both be considered "into Soma-producing regions", trans-Himalaya and Aravalli. The "height" of times around 2,300 would have amounted to a contiguous bloc of Soma use from Bihar to Gujarat, Bactria, and the Makran.

[shaberon]

Kalibangan Pipal Leaf over Three Mountains




As a fledgling student of the script, this jumped out into my attention.


K-53:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdVbWX7eM-rTclegI-U9GZpN6UYkDou2gXwYbbHoG4tLy9ylTpmWV5cBx-ckQIX-_CotnGg-Hj7KafqCdOLGXwXmeBgN6hGZdaIEwlKH5Ks8E8YvQueQc-Qj9dcCed0idxcY9N9luPD47I/s200/K53.jpg



There's only one. It's beguilingly simple. I take it as similar to a diploma, or, perhaps, the official seal of the city, or some mode of conveying authority.

Nothing need be said about the Pipal, except it has achieved a banner-like status.

These look like mountains and are consistently differentiable from the "interlocking" Three Triangles that seem like Tigers.


It kept standing out when I tried looking at the structure and patterns of the script.

In geometric terms, we have already found Three Mountains one time written uphill.

The script has Diminishing Branches and Uphill Mountains in a similar configuration.


The eminence of Kalibangan as an issuer of texts is demonstrated by Ameri 2018 (https://www.harappa.com/sites/default/files/pdf/Ameri-%20Regional%20Variation%20in%20the%20Indus%20with%20front%20matter.pdf) on Regional Variation:


In terms of iconography, the seals from Kalibangan show far more
variation than the seals from Lothal, Harappa or Mohenjo-daro. The site
has the smallest percentage of unicorn seals of any of the corpora examined thus far. While at Harappa, Mohenjo-daro, Lothal and Chanhudaro, the unicorn seals make up about 80% of the figural assemblage, at
Kalibangan they are only 63%. The remaining 37% of the seals encompass almost all of the iconographic types (Table 19.1, Figure 19.3). Yet
there is no other figure that replaces the unicorn in frequency...

A close analysis of the seals from Kalibangan shows that, unlike the
seals from Lothal which fit fairly well with the basic iconographic distribution found at Mohenjo-daro and Harappa, these have a number of
unusual features...

...about 25% of the
seals from Kalibangan have animals facing right. In spite of the reversal
of the animal figure, however, the inscription itself does not seem to be
reversed.

Also from Kalibangan is one of the nine cylinder seals found in the
Greater Indus Valley. This seal belongs to the small subset of narrative
seals found in the Harappan corpus and is without a doubt the most
interesting of the cylinders found in this region. While the form of this
seal is Mesopotamian, its iconography is purely Harappan. It depicts
two nude human figures—with spears—who appear to be fighting over
a skirted figure standing between them. A composite human animal figure looks on from the right. This centaur figure is found on two other
seals, both of which are standard square stamps. The first is also from
Kalibangan while the second was found at Nausharo, far to the west.
The cylinder seal found at Kalibangan illustrates the final difference between the seals from Kalibangan and those from small classical
Harappan sites like Lothal and Chanhu-daro. While the glyptic repertoire at these last two sites is limited to unicorns and a number of
other standard animal seals, the seals from Kalibangan are distinguished
by their many depictions of mythological themes (see Figure 19.5 for
some examples). These include the centaur figure seen in the cylinder
seal discussed above and in seal K-50, a scene depicting a human figure
(probably female) in a tree with a tiger looking back towards it (K-49)...


On the other hand, none of the seals or sealings found
at Lothal depict mythological subjects.

The transitional phase at Banawali combines Harappan
elements, such as the complete rebuilding of the town with bricks with a
4:2:1 ratio, with a continuing local Sothi pottery tradition.


Only 17%
of the seals from Banawali depict unicorns, while 53.3% depict goats,
makhors, and urus (aurochs). In addition, all but two of the seals from
Banawali show the animal figure facing right rather than left. The
single sealing found at the site (Joshi and Parpola 1987, B-23) was
impressed with a seal showing a human figure facing a unicorn and
a goat with curly horns. The human figure’s raised arm suggests that
he or she is addressing the animals, possibly in a shamanistic gesture.



Kalibangan Unicorns typically are Striped, while Lothal ones are only a few. They seem to put less zest into seal craftsmanship and are more perfunctory.

The high proportion of "facing" conversations particularly at Banawali is also noted.

That article -- entirely about the seals -- is oblivious to the, I suppose, more recent qualification of "IVC culture" as an ancient Kunal emanation, having Kalibangan as its largest direct transmitter. And then I think you need to add in the observation that it was abandoned just like Mehrgarh around the same time, and then was re-made relatively quickly, co-inciding with the time of "Mature" script.

This is a time lapse based on chemical analysis of the soil. and, it is not even looking at Mehrgarh:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirjeAW4qgNSYB9BOoUGj89s4b4eHp39Q8X-oNP-KSDZyLaCXAwhN7_nMsutnLf5IYOcOmh9yROvrc_lEKn2RHx7xCEb6MfFfgOD31ChG3iiHDa42JnPsXDERyH5QhVII01_TKx12NQe UUv/



and Kalibangan towards the center of most of the named sites:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZizyoIhLa6jtdgP5O6geChTyt86PMI_MFgXl2NR0O-LL0QzG3lIeGxg4ynBZ76P0GU3wynhOhYS0tAEhaF25H7OCoKqCHzg5DoSLx6SDz5gpI0NC_EGyLjC7yCCXPM3004-wZLb2QmoCD/




There is no shortage of holy mountains in later Indian literature, but that does not seem likely to apply.

Is there anything in the iconography that is remotely suggestive of mountains, no.

At the broadest reach, it could be said they lived between the Himalayas, the Hindu Kush, and the Aravallis. Those might be the border markers.


In any case, there is nothing intuitive and no clue where these came from. They are also different from a single Mountain; it may be that one mountain is repeated in three ways.

For one thing, there is exclusion, or, not everyone talks about this.

Horned Tiger Chimera does not have this glyph.

It's not in the Ivory Rods -- Striped Mountain appears to be their destiny.



Three Mountains 230 associates itself to a number of basic glyphs in pairs and trigrams. What it does that is unusual is it gates Neptune 175. It does so on a Mohenjo daro Unicorn having U-shaped symbol with two Quotes. It has this marker another time adding Three Triangles.

It has a Doubly Caged Branch.

But primarily it has ongoing operations with Neptune. Each glyph has a small life apart from each other, and then there is a lot in common in their fiftyish texts.



Bird-face Goddess participates in exactly this. She uses Three Mountains to make the Fat Chevron in Branch-tipped "U" singleton on Unicorn K-18.

It comes round again with Neptune on her Mohenjo daro Unicorn.

That makes one statement of each kind.

Here is a notice of it and brief seal roster in that blog author's terminology.

M-809:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHPAyvcsuszlYDFKDh6eqEWavFFAG7MeVJvI1gKndfC_ZmZvR_yrxKg1WMcoYdGAfQfaKFu6gDr8t65jL-oMdVhX9ClXM0SYwlO0Y_ZNtblWQItKncvbmiW9vLApi6LOWQm9XIbp9jIDWo/s1600/M809_edited-1.jpg



104 STRIPED TRIANGLE / TRIPLE TRIANGLES (not found in my database)

M-1307 STRIPED TRIANGLE / TRIPLE TRIANGLES // POT (MT).

H-187 STRIPED TRIANGLE / TRIPLE TRIANGLES // POT / COMB (MT).

M-58 CIRCLED VEE / BI-QUOTES // STRIPED TRIANGLE / TRIPLE TRIANGLES // POT (PMT).

M-245 CIRCLED VEE / BI-QUOTES // STRIPED TRIANGLE / TRIPLE TRIANGLES / BOAT / SKEWERED CHEVRON // TRI-FORK TOPPED POT / POT (PMT)


So, it is less renowned with a Mountain than a Striped Mountain.


Well, here is the rubber ball. We figured out that Trees had been exempted from the knowledge base by way of being ignored. The next two of these are Tree Tablets:


H-729:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7Q-Rypmb4GvPfn-x-LYjLxuXXBMp9tqzls8SK-fht6rw0TQotIx3h7XDx67Et7Bi6x03VhMvD4h4RIlpMm6-dmUzkV7of8wjM5PnJ2pwoe6RVmwzR55wCOZ0dMU6EVdWeCC-KZkbd0c/s1600/InscriptH729.jpg


H-728:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Bsm_ztn8TN68Gj6pFr8QGkQFqi_aFWME6PXRg860r30P-3-5TdivGsTyK4dySIDarfbvg8wYZsLNKv-d957d-8VwLW3-hqqNlzP79-8kG7mgsoT4IOejmmpzDeDw6a5lW9XlGC0O03k/s1600/H728.jpg


Plain script M-379:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX6O77n0N1vUFPzg2cD7CX3wsMyHEbstA33rnwK2i92pCnlcyTEf_qjySoPcNsTGERGzMy9tWdRhr3uD8_y8W2kysQgbjl f2DDJ1Iz1BQ4YVxg4M9MXY6kb8hpkpbvun41nAxO9DBwwow/s1600/M379_edited-1.jpg



Elephant text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9i1t8fVp6Cs7Q9L-kREUCzy1owy6P90MlTen0jNvB7a7eTNRNsDrenGYP6Az7izhn0gh2gHuLFzjcRf1xDfclV85qgV4Z2Fhn3aXaJjwGjZ_xw4697O-NuLTLz83KttXLL26jd6Pfzy0/


M-281:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY-nQPLtIo9bHj0Oo25JkUxgT1q_VUfLh8UrQG683aEOCaBV7dB75ND_EEaGCk-A7Sq3tK2cy8Ob4l9kAVzVIRaEQm9GbGGjlcbyv_2CdnaosFto_uElwzdFVHTLRIpYxLbcH51SbMemE/




Rhinoceros text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpeYX1oTOgkza-op32hTPTS4BBDP3ZRxdJyrHhjQLOkdtxxgwpR06j6d28BqC14x361HRh76Cw7YAowQKBLMGaehH8E5gQPzRXEfbsUpFiKdWyIq75 18RLMM7SKzYiH6iIxb6IMEo3bw/


which is vertical on M-1133:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0eLyQDQlxLJ316GHvGyT8HyjQFkdLormswlDX1SCw1Yy7OhyphenhyphenmhkZVRfi-BjpyU1uPHL5nbEzRq75CZ_bE28Bf4eCI_BXjSQ6TXe3NDW1LdPYRHRXpymxaGvdk-7AUziyt3pOvjA5WvDDP/s200/M1133+%25282%2529.jpg







with Striped Mountain on Tree Tablet H-187:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJyaX78WYGQIRqr1jWy1yhF46-hHtSpoLtjV3ZhSm_u82Vdk2uF14YZiOgN5AMp98MVnwXqhntixuLjKxp-xRlOfLgbOScK39Us_pqUE9YatMFrzX2rKyHaI53VW2XwLCOThAiUdwKWHix/s1600/H187A.jpg


M-58:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizA3s8PH7OmF8NPbO88wr77TVHPr8spx_HUsm92bu7hEsNPTOgLzT_9ZiCpUsFicTjGJMiACH0tbQs_wHNMNCI3Pb1Js9T 4i4Y77WU12Jxh3dUueFRkwDkb_oBPKa32ESHV6oDwbpIq3Vv/s1600/M58.jpg




Gaur M-245:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjyxogwTpAWu5uPMtA37WTiAujEAeliyhZQP8vtPXkMZUtUy2WgnUXm1ZigkbApq694RtgeX-LmtkcYVbmGZZ5vij5BuLQUSW1CcI8KQGuHzXGLQTJtlGgEhANNf2rofoTC_jrJ7Afoq8W/s1600/M245.jpg



H-515:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPlBPW26WpYuoBurOFfTTPoEzDTuBwnMClSCANtnzyGqNyLyR4CeDoKt490tC8UF6K2rRTfGBg8EwV3y66CGSgd9w1YldX h4vXby5QFffg0A0bzgU6IHwY1EhZl6pDLPJ9bpDd-a6dOO6v/s1600/H515A_edited-1.jpg






Wheel winds up being enclosed by what looks like four walls with watchtowers. The second "Double Caged Asterisk" is with "City" 286 in M-655; this "completed" glyph is:


CARTWHEEL IN FAT EX IN DIAMOND (M-145, M-225, M-296, M-655, L-139, L-189)


Of these, M-296 is the famous Pipal with two Unicorn Heads.

M-1318 has it with Striped Mountain and Three Mountains.

https://projectavalon.net/forum4/attachment.php?attachmentid=55866&thumb=1&d=1756607106


Without the "City" the pair are also on M-1307 and M-1353.


Three Mountains is not widespread on visual tablets, some standard sources, and some animals. It's in a vein. However this is taken up by the Copper Tablets.

Among the basics, a single Striped Mountain:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaMPpRimIx7bd1jp47jGceOAZwBjIcSnfVhQ_ln0uc9NOS-wY2sCinBYjb-l9xkWOWzp23UW0BIN7A49bg13VrLQjIDIepgiOYZFJprbzMont0bzPuAMD2AizjUci49ZCpPAsq8bSaQP0/s1600/b5.JPG



and then look what comes up in what is probably the deepest superscript:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigbGpC5VFLswX03Z4C7NIx9PyghLsPpe9ldR4t3FH9rShw-YhWz82gl6XFMZJS6tfjTAVK1K5jxwMs8us_mgIH7G8BIdizWrEkUfZ8wESjDOTdhZ0W7qSJL7qa_mpqxkxU__ynAKaEp5g/s1600/b17b.JPG




I tend to think that what looks dedicated to a deity or hero is inferior to this.

That these Three Mountains are effectively like a diploma here as well.

Moreover, a statistical analysis that will show us how the dominant tetragram comes together and works, will have these Neptune and Three Mountains texts snapping at its heels.

They are very nearly two different tracks, having little do do with each other.

That turns out to be an objective fact, it more or less defines a sub-genre.

So, this seemed to fly in the face of everything I had done before, which was to scout for basics attached to iconographic suggestions. That's not possible; the significance of Three Mountains could only come from within the script. It may have been such common knowledge, it needed no introduction; retrospectively, it has no beginning.

[shaberon]

Two Bearers of Striped Mountain and Compound Bearer





These struck me as being ultimately significant like Pipal Leaf over Three Mountains.

They are singletons, but the difference is they seem to be crafted.


Here's part of it. We saw that the Crocodile did something impossible and then went quiet after a very low numerology.

Gharial H-474 is backed by:

Striped Mountain, "Seven", "U-shaped" symbol, "Comb"


It turns out that the strongest numerology for Striped Mountain is seven.

Then there was consternation figuring out what the real "Crocodile glyph" was, and, it may be an aspect of Rotating Tau. Anyone who studied history got some thirty years of Parpola calling something else a "crocodile" and he basically is correcting himself. And it is the only possible explanation for the "facing conversation" that happens with a Round Wheel on the animal's back, and this quite strange glyph that may be the only time two people do something.


Tiger M-288:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU6TtUKt_1XD61XHqmhgOqCqJDwjZxho5gBbyPFNXHnDkqmCgdSwfN5Bvk1BzejRpmk_R3XQ0uCdwR8bpQqRt6ML96y1if Z5skDoVmKTLrY3Hbo08D4onXfAUPo-S_3g9wq1uaUdP7EVbP/s1600/M288_edited-1.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG6pqlNhJodA1kQhaqt6HRaPLBtvriLVwHGmyT7QwvcIvIhGWV-u4dK0HmSLVHhCseQ3rurAwjlXnN3u694vRv7k9MN6ydt5iDSRXMnii5pUc07WhP3_AAFgb2CnLzpKZj4Wm3ANG-p_RLFnuES5itWJVDxfiHWfNaZlIxa1Svzkbm9zFLwrbgK-BEpRn8/s1280/Slide1.JPG



It's not a trough. There are better images in the Corpus where you can be pretty sure it's a Tau rolled all the way over, but, the "thick" kind similar to the real Gharial glyph. It is a non-entity unless explainable as an effect on this, or, maybe, Rectangle. The clue is the Gharial on the edge of Tiger M-1923. These animals are associated, a bit clandestine, but enough to give grounds for M-288 as likely to be "Rotated Gharial" as anything else.




Now we are going to make another fine tuning. In the opposite direction from Ameri, showing us regional variations, Mukhopadhyay designed a table of regional commonalities with specific changes.

Although the following is not incorrect, it is lossy.

The presentation has skipped a step in the move from Mohenjo daro to Lothal of Striped Mountain. Flanged "U" is added to the trigram in Mohenjo daro, and is copied numerous, numerous times as part of the Copper Tablets. This is one of the main points of the whole thing.

The database shows all of them, and then you can say, the Lothal text is the only one that adds "Bearer" to this:

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig10_HTML.png



But what kind of Bearer.

It seems to take two of the right kind in order to interact with this glyph.

What is it?

Well, under what we have denominated as Bird-face Goddess, she is by far the Most Stripes. That is, she adds a version of Striped Mountain to a statement that stripes and hatches several other glyphs as well. Hers is more stripier than others.

Lothal is an entirely different subject, a vertically-bisected mountain, which also gains stripes.

The symbol itself appears with one of the rare moments of an animal using a Soma Filter, Elephant Ad-8 at the end of this regional library:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgce7jxSdR-RMcee4AEqL_nirJgTcWXO_oOjMjZ6ktm3uRQlUAZd-rg1U9jucNeikpFJkUc6q5RIO6EjTqTkFpM17cQ9H2cxANpPFWgvjJb-vgUqv_VNPWi43A4ZdvCVFyDyS09T4eBCxXDAJbjcBUsCAI7LDiP1NMXhePG-I7lq7PMnDEywYMyDC4oVQ/s960/Slide5.JPG



That paraphrases the corpus quite well.

You have a Mallet and Branch statement over a Double-handled Mallet and Three Mountains. The Rhinoceros is doing something with a shape which presumably is bequeathed to the Bull. And there is another Striped Mountain.

It is often with Seven; this is its other common pair, Neptune with Striped Mountain Ns-9:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDHAQxk1RJ7613l3sGjn2clicksAGS3VGyO9ptKpu2RudHzKQd6Un3t6Yn3jp7bZHuwKS2kJjURv13rpwpsOgZ9L9vfLW9 IKh2sYEdD-L-c0WZSeGQP92zLv-uMgiINA8KgNaQle1twp8/s1600/Ns9.jpg


They cover the spectrum; if not completely correct, this is probably a good guess on Stripes (https://indusscriptmore.blogspot.com/2011/07/more-indus-singleton-signs-and.html):



Triangle with 2 stripes: 1 occurrence (M-1307)
Triangle with 3 stripes: 9 occurrences (?) (M-29, M-269, M-362, M-453?, M-523, , M-961, M-1363?; K-63; Ns-9?)
Triangle with 4 stripes: 42 occurrences (M-30, M-245?, M-374, M-551 through M-565?, M-678, M-809, M-861?, M-937, M-1353, M-1503 through M-1513?; H-139, H-157, H-187, H-641, H-666, H-707 through 710)
Triangle with 5 stripes: 6 occurrences ( M-174?, M-246?, M-408, M-516, M-517, M-1318)
Triangle with 6 stripes: 10 occurrences (H-13; L-22; M-14, M-101, M-374, M-859, M-1095, M-1271; Ad-4?, Ad-8?)
Triangle with 7 stripes: 2 occurrences (H-599; M-58, possibly M-551??)


That's basically handmade; part of the value of that blog is it questioned all the standardizations on IVC script, because there is some disagreement about what variations are merely handwriting, and what signifies a ligature, and some things don't get counted at all. The contents there are, by now, incomplete. But we are able to determine for example, nothing after IM77 keeps the round shape in the upper part of Compound Bearer K-79 (https://bharatkalyan97.blogspot.com/2015/05/decipherment-of-unique-kaliban.html):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3I5RQHiXxu_vynK64n0NMOPXGlK-jiS1mx3R9hVDjbjV15kowpgWzpNPaC-qW9oVMP_3i2Pm5sm6QzqRb2blzDNWg-u14uHEbwyUz9-7TOelRUCHv66GHA8incjAER1iC6FjNUvXYB7z/s1600/K79.jpg



Standardized:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtDu2wOF8ko8HjxQL64dzUKpDSpxbdrRKITvKCH-56wRpODjrznkYDz-AIuGgSgFjLWXaC6-Pr7B_iJeDbS-Lc8ymHCWSjdJqP3uplSU9zTyTmq-51c1CbK5KwlZu_9tpNAq3OThsJ2A50/s1600/sign418.JPG

https://www.hindunet.org/hindu_history/sarasvati/signs/Image27.gif

147:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb51hkbXcuj0oYmTYxCtqA7tkHJN-tJN7aQW9eHppAICirFRJSS_2MtVQhriuoARJhkeeI8g7aCDz_OE1-zBEEBFdetGIz6-5ZZh9rgquXAspW6LS8Ns-dr1YvBfnTadJgYdnKmjeq3hE/s1600/ScreenShot934.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWsZmZ41yXYxpU-8jneW_dSkgPDH-58Fu1ozeGZoAkErEvP106cBTIOT0g4PY4JUqRx5kLMMcJ-KmZA7XoME0BAeZWgFlgjQJKM_94rQdCcOF3Ho8qqEB0wAKYw9u-A4m-O_O6aEhTow/s1600/ScreenShot932.jpg


It is arguable if "Water Carrier" is really a compound, because there is no separately-existing yoke of jugs that has been added to the person.

"Rake" and other objects exist separately.


Again, that is to say, others have already questioned whether IVC Bearer should be considered a copy of Sumerian Water Carrier. No, probably not, because, going a step farther, we would say the IVC script is saying some assembly required. It may be the Tiger Chimera, or it may be the Bull's modified Tau. It's not entirely human and is possibly mechanical.

So, I would contend that can be traced through multiple texts. Pretty similar to Bearer getting a "U-shaped symbol" for a head, which is the most obvious and most-studied alteration, but, we have also seen it grabs what seems to be the yoke without any jugs. I'd guess there are probably several steps in a course of development that perhaps only in rare cases amount to what looks like the complete Compound Bearer.


I posted a highlighted version for clarity. We're wondering if upright Fish really do walk on their fins because it really is a Person. On the original article, it looks like this was actually drawn first as a Fish, being bold and upright. It is the attachments which are skewed and off-centered:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkvIDVJAc0w3IEg99nBY1roqjQClPnaO3UfabzbR7A2paDi4jmo-NTNMiH7IG4FzJai6LtxQObHGUOFyYhfgK8Yyn-R6QvBexgzir-_SOnwkTsvhom5BcyRR3UhPnh7GXE6F5SLvZVI0to/s1600/kalibangan079.jpg



The encumbered figure is backed by a symbol that is not a singleton.

It is found four and six-branched:

https://media.springernature.com/lw685/springer-static/image/art%3A10.1057%2Fs41599-021-00713-0/MediaObjects/41599_2021_713_Fig6_HTML.jpg


There, the four is argued to be an error because it is a singleton.

It is supposed to be a six-rayed shape similar to a Hydra, or inner part of a Wheel. It is an Asterisk with round tips added. The Asterisk is X on a wide Post, and, has increments and adjustments and is therefore the pliable or dynamic agent.


In the longest text of Conjoined Enclosures with "Slashes", Bird-face Goddess is replaced by the Asterisk wearing Comb 145 singleton.


So, yes, Asterisk and Bearer both affably follow "development tracks" that may be a little more intricate than a stripe count. Consequently, a "block outline" format of sub-modules seems to be going on. Glyphs like Asterisk, Bearer, and Striped mountain have ten to maybe thirty or forty texts that explain their subjects. It seems much more like they concatenate rather than being an ongoing linear strand.

Out of all the possible configurations and disputes about what is really part of a glyph or not, what we have posted will be impervious, nothing will affect this layer of meaning.




For a moment, to work the other way, from the Allahdino example, it comes again on a page for 87 Mallet and Branch statements (https://bharatkalyan97.blogspot.com/2020/05/two-unique-indus-script-hieroglyph.html) which is a good use of a concordance when it helps us with things that are hard to see, such as the text from numerous copies of Gharials H-278+:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbkv7CsnqS9RYYx7ZqorAsiWJLoqbv2SsfiPV40ybp7W3q8Gkl4E0CcBdYayFms2Ofkb66FszCqODkzni-CaOyTdjd63GSmxFleyL6-7UVSHgSgZOnIW130UG09pnXYObwtdlObAQBwNs/s1600/h279text5256.jpg



Lothal text with City and Bisected Mountain:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXvtr3HECGUAbnFOGPALgAteM3S0d2oZlh9cOu0AackYd37xxmUvkDqIZxKiG4nZeS_fpQFJRRCzt0dF5mXE7Hc5tkl4Z4 PwFmaj3EtQGBM4O_x37cxJ-Cwfyjjy-zy5Eb0Xr4L5XyxQ8/s1600/lothal198text7215.jpg



Those are both highly representative of the script, however the Gharial is making a more existential or mythic statement, and you can see that, because it almost has the tetragram but it has Quadruped Rudiment, and this is what intercepts the Fish, which may be most of a human being.

The Gharial has common text, rare text, and then this is probably the Most Gharial.

Lothal is writing about something else. All we can be sure of is that Mallet and Branch are a "behavior modifier" that affect the patterns of U-shaped symbol and Bearer. In and of itself, this common pair does not seem very profound, but it opens the door for things that are.

From this point we have covered most of the examples, and will probably be posting batches of texts and their apparent rulesets. I don't think it works like normal cryptography. It is something more subliminal than a glyph is a word. In some cases, maybe a few of them are that simple, but my impression is this is highly articulate as literature or philosophy. To read it is going to take some kind of discovery that hasn't happened yet.


Here for instance is an industrialized looking Lothal seal that turns out to involve a six-rayed Asterisk with modified Tau:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxhwDFq3DDPf6OaqY7kqCEBMLhwqFwdbIyEKHpCqnXE97Fl3ZTMEZ9E4dfQoTXjuUJys0SZ6WEkv2LDeBDP5g6Ag1qiLWw oWtUFNd3XhLKciIArLmcjR7jTVmtC3fS3ipRNeeh8A3mBj8uTNkq_K5wNBoRZe4H7pGzhIvkk20qwA9NKWBgJuoYHoZV/s1280/Slide18.JPG

[shaberon]

Patterns and Statistics



One statistic to mention is that, as I expected, by moving this to a publicly-visible sub-forum, all of the related topics are eating up the search engine. If you look up any of this stuff, it will give you our link. I suspect this will play out to the degree of individual seal citations. It will take over the internet.


Update 8/2025: Plain text Concordance (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1682810&viewfull=1#post1682810) posted under this subject. The post below explains the subject with examples previously available.




I have no source materials and try to fairly cite anything used, and I found that some of the newer seal imagery had come from Kevin Standage (https://kevinstandagephotography.wordpress.com/2020/10/30/national-gallery-new-delhi-harappan-gallery-indus-vally-civilisation-ivc/). He does a regular India travelogue, so, he's not a corpus editor, but went to the IVC section of the National Museum. He goes everywhere from Konark Sun Temple to Udayagiri, and, if anything, is perhaps taking a closer look at petroglyphs. But some very good images of seals and other items.


We haven't got an alphabet or a Rosetta Stone; there is nothing to work with other than the script's own internal evidence.

Immersion in around forty to sixty symbols will familiarize you with the IVC corpus almost entirely.

They mostly appear in affiliated groups in predictable ways.


Superficially, the binding of most short strings has a similar form to compounds of Sanskrit nouns, while there are primarily prefixes, and, sometimes, suffixes, that seem to affect the semantic value, and are considered a form of conjugation or grammar, that can alter other information.


Yadav on n-grams (https://www.harappa.com/sites/default/files/pdf/indus-script-paper.pdf) is a straightforward introduction to how this works.

It looks at the most common glyph combinations and measures their frequency at beginning, middle, and end of texts.

It stops at four characters total, and, although I have found a repeated sequence of five glyphs, I have not found it as a stand-alone. The interest is on packets of information that conjugate or otherwise join additional packets, while themselves already being functional.

In English, you would say "t-h-e" and "a-n-d" are common trigrams, which would not get you very far into understanding it. It is practically impossible the IVC glyphs are letters like this, and still highly unlikely most of them are single words. So if you figure out a trigram, you have gotten something big. My guess is once we get a single n-gram and operation applied to it, the rest of the script will fall in a domino effect. I say that because I don't believe a single one of the "decipherments" that have been offered, although several of them are probably not totally vacuous or irrelevant ideas, we should remain at the level of comparing the ideas. Taxes or baskets of fish. Grave goods. Those sorts of things may be in the script, but I, at least, don't think they define it or characterize it in entirety.


Going from Table 4 on common pairs, the vast majority of them come under "enumerations" or "grammar", and are less distinguishable as "subjects" on their own. The most common pairs that appear to blend subject matter are:


U-shaped symbol and Comb

Winged Man and U-shaped symbol

U-shaped symbol and Person


Those pairs are mostly found at the end of texts.

You can already see how Winged Man bends a tendency.

All pairs have a "preferred position", and their use as independent texts are very few.


Next you find that U-shaped symbol and Comb is not part of a trigram. It has a transferability of itself, whereas the next pair is frequently blended into Rake -- Winged Man -- U-shaped symbol. And what looked like a pair related to enumeration, becomes part of the dominant trigram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ab6unE9GzFlZTNR98clr3AAclof0Fz6NrgAnZ0MAV1erlOcM3pbnyxmk6p4bh9yv3s0NBjg5Rmzfx9o4wD0t-hucrwOp2wKDc_xzATkAqlx3Q3iFbdSHQos3LULwkmEM0kkIDxhiudJF/s1600/ScreenShot558.jpg



In return, Spear is something that pushes away or replaces other glyphs.

At this level we also run in to things like Scorpion and Conjoined Enclosures as the subjects.

The trigrams are mostly similar to pairs, they have preferred positions, and many of them are simply constructive steps.


The next step is a bottleneck, because even I, strictly speaking, cannot refute it, without finding a five-glyph sequence that has independent as well as connected meaning. That role is held by the tetragram that dominates at a ratio of 16 : 9 over the next most common one:

https://www.harappa.com/sites/default/files/essays/maha7pg7.gif



Again, most of the cited tetragram examples are numeric or Branch statements, except for the Tree Tablet H-728:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Bsm_ztn8TN68Gj6pFr8QGkQFqi_aFWME6PXRg860r30P-3-5TdivGsTyK4dySIDarfbvg8wYZsLNKv-d957d-8VwLW3-hqqNlzP79-8kG7mgsoT4IOejmmpzDeDw6a5lW9XlGC0O03k/s1600/H728.jpg



That is to say, with reference to the statistical majority of texts, Scorpion and Tree are the main subjects. Tree perhaps has to do with the use of Neptune 175.

Now for one thing, the figures don't match cryptography, because you can't go, well, the most common four-letter words in this language are found six times out of several thousand specimens. Is it a four-word name, or slogan, or something? I imagine it might be a four stage set of things, each having two or more possibilities. In other words, you can't "read" Scorpion. You could make some connotations that would be specified by context. That is what those version markers are for. In turn, these "gears" comprise most of the high statistics.


Similarly, Mortar-and-Pestle is another sub-genre, its own modification of "U" found through a certain class of texts.

Here is the dominant trigram with addition of a single glyph:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNCh-O8pNtGGHQoWrySEqTKAVxX7XSQZpHM4S47uIM_W3t2GxzviwK4atu8rLCwwuTy-5o1sfV9k3FHPYDTUu8cczknP0VokvIUcVLQ0IlxfrUPAL_D8hk2gWBHQBVIqR85fN-4Ct1WKOz/s1600/ScreenShot663.jpg



It comes around twice on a Rhinoceros.

There is a good image showing a striped horn clearly on M-276 (https://www.flickr.com/photos/28433765@N07/3230953715).


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieKbubQzbHREJD1wWyGuF50jv2uUhrZ4x3adyVLZ_mrAlyo2gxMZOzxG98YvpNQ18hOxRgsuZHLgKLIYY3iQgHzMC17JEC YH8Gl2gfolTMiMVysFSPy3S7uwIjQwjCzVlqyXyfyUBWJ-g/s466/m276A.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiADXP2nm3enIPelbKKa6sSwRrXKQwYrXj22x-f0g73YpeCTl3o9KpngsaGHiwVVskkI5-xeRB0DpXDORqI8RXSt9ppplOjU24F2W5l5opJkJdX_vPD0LaNKdjUBXZPs75KdxrSqHfnNzM/



M-303:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaDTE7m592NaoU0cwlpSn01uNrwHiq-tXaWsBIJoTWa4tWRuWM6-MqBxQPI9s-5PpSHqnH8pOzqX83uAz_g9E4C-ruQIK0FzHhloe-E8bGSVtqElHLuSdXEzebJvGa4RzcU7-ypaJ1Myw/s1600/m303.JPG




M-1169:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTt1mL65e5K2PyxvkFgrg4LfZfcPdt3mmtWezNIHVcSCBadr2TBJxezJLlLfSfQo0i0eA2JAqiNyNnhjhx_WYkfqTv0f56 6RuNisumJVf2RgqCkvj8aoDuZX-xYDvM9CYKF46ii8LeLDdL/s200/M1169m.jpg




The Akkadian page happened to give a Trigram Concordance (https://bharatkalyan97.blogspot.com/2014/10/indus-script-archer-boar-tiger.html):

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Zy-joih0l6mxzVZyvLYNjtREN7g7wvnx97cCCIY99ttHWqsKeWN_jnb2Wr3qcNq2idjVh4I6PRITPHiaENADNjcQpIeYBiXT9PaOgBP 5qZzTXNsJASxEBnvAacGrLHuizKMOoNlWh4x7/s1600/bowtable.JPG


It's not complete.

M-956 is Comb, common trigram, Fish (perhaps with Slash). Note the only instance of Comb ending the text.

Bird 76 uses the common trigram with two kinds of Fish (M-631). Here it uses a less-common connector.

Generally it seems very interested in different kinds of Fish.

It could perhaps be said that Spear shapes the path Mortar-and-Pestle 336 is on.

Similarly to Three Mountains, Mortar-and-Pestle has a semi-independent existence, and, they each develop standing relationships, with Neptune and with Spear.



Showing the mobility of pairs, the first lines here have Three Mountains, and then the dominant trigram on the next:

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig28_HTML.png







Here are examples of the dominant tetragram:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTKeQXOA_8ukTznGBeK9Oj-e4s0_WOLrtEeWBPbZYxrY8i4PV682udrTWgafvQ2mdxN8ieyFqTVCUoE5q0tQ2LJgnbxvTDFtii6J8j7GfTVL-IEoC-w4tOIei9SnjPytXogTDbFFQoTsA/s1600/ScreenShot075.jpg



H-61:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieg_cVpiz5qgW6vNNsnHOEgWJIk91Hxwz_JOPnHrOJDtcCu5bLGTvzQpZhTF_XE03UEXcPZfRf3Sznw9dZ3JtGc_B0M0dh KNcMSXL0Myn05d-ANHgo227imDRqWviDLZQo2t9xj59zCj20/s1600/H61.jpg



H-12:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Ouu25X4EVKzu63GePjxij56xlxdakXRe8dn5CfGOHa4H6pvSG-MZqM2hVfc976Z-ONFYn28YbSpWDb6Fts4dYtovnTCT2xrM-0MLUJsybAhKQuhq-bsxxxVSx0RNrew4z1YdMnwFxlAU/s1600/H12dtl.jpg



M-38:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9iz2NTcFGHW_ICl4S86YB5F38B_XELiEOZUwD7-Q-6bWh9Q56Iz2xVepUucsgHGBc9s4V3F2CNVQyABgzExVDW5K2yWADa3GHGvOsiErVfmdHXN5arjX6MyMqUNYoCh4Vm_nys7wmPGIt/s1600/M38.jpg


M-626:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO13U2O9xy6U8goDdPfvirzNT0CJY1mWOeIR-tdeCki_wgTFslDaM6-GY-U2GqrIvoCZoWuHlb_wFMnyZeD-2teynIs_ccNGNKy64a201gQOfBT6HLXQA3qD6KbKB0CNZMJc7v6O6Dvpy8/s1600/M626.jpg




Rakhigarhi:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig1A-iDARhzPAS481lRJvKRWn7FgKHornLcWEzG9YxBUoz9QpfYBEks0E-Sf5LW_I161oz78aCn1NNxJOBV6Wo6JpO9ukI60y0UisCthZSKpVAMSsFX7k_d9hbM1EKc25AcHJDJN3cokHqJxKvSRUtTImZ95ZA 5s0XeB_9nzK_qeAlLvACatyF_W7P/s1280/Slide1.JPG


Other instances are K-10; 412 is a Rabbit glyph with an attached "H" that subjugates the tetragram.



While this may not be the longest, it must be very important with Tiger text M-1475:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVG2Zgip0ZG-ljSZOgCbIRjukBxr63bB-V84_-toY_PdOFGEHXldqGfcsjdXR67sjcqjgxqvHwaiXKDvepc0IrJ-Eebpb8C3Rrui0MxF6ME1-dR39S_OqWGTUz2ErwuNgkJk6ruRODX8TV/s1600/M1475A.jpg



That's because it is in the Copper Tablets.

They do not have the dominant trigram; they use a variant. The normal one is on the Elephantine Chimera M-303. They have an aspect of this creature lacking the Zebu hump.


This however is the Buffalo of the Tablets:

https://1.bp.blogspot.com/-JrZZ-6ZD5W8/Xk9J_DNL28I/AAAAAAABrQ8/nvuJcAgsE5smCRNIMcnNm_BvfdkERJ_UACLcBGAsYHQ/s1600/1713%2B525B.jpg


https://1.bp.blogspot.com/-SgpQBrdIL0E/Xk9J_N1dbSI/AAAAAAABrRA/YMwBGgLU2asqRACBPRsEg2ihD8RNc2eNgCLcBGAsYHQ/s1600/1713%2Bm525A.jpg

https://1.bp.blogspot.com/-Ywfk-NGaABM/Xk9J_Xcs-wI/AAAAAAABrRE/_DkWAs0fNG4O9RDI_aEV7RhnWjbC5sX3wCLcBGAsYHQ/s1600/1713.jpg



https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPl7YqVD1aHhVoYr7wNJ1MY01csP2fc_NVCYsp67hAivGZO1vp70MkWvsQ2YCliMOkwmhbobwJrwrRtZhjkhQXtJ1FN_X1 NnY8fE3UMgcY4KHehKWObAevitZztaDKzJIlMHYrbzACPkY/s1600/b4.JPG



which is re-purposed into what looks like the arch-glyph of Mohenjo daro or of the Tablets:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMMFhyy11yeDVqBf_hNU_LEnupcT7qEBRO1j-gRA-rFkuLPmKln_ZqHvsdSFBmx6iiT-VSjImP8NFF5S6QYAAGOEfKTekf3kooZwPFtr88BeTsxQ2ynaGngukLIkSlvksxDTjNGxk0ORM/s1600/c3.JPG



While that may be "supreme", technically, it is a lower order or reverted to something similar to a naming convention.

If we take a look at what are considered the likely grammatical prefixes, we will find this Buffalo cast to the lower right as a gross violator:

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig18_HTML.png


The tetragram has turned into a prefix one time.




Here is a similar chart where, in the lower right, the tetragram twins with a different text under a very rare prefix:

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig13_HTML.png



There are a limited number -- seven or so -- of these connective prefixes.

Wheel and Bow with handle are particularly owned by Bird-face Goddess. And yet her common glyph can hardly be found on these tables. She is rarely subjugated, and here it was shown due to the aberrational way Bearer has taken the prefix, in the chart before this.

I was able to find two more instances of grammar with her.

"X" and "Pinch" places her with Tiger M-1165.


L-90:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0BUrxQxSvcmJEXwa8jYXnaD71Gxro76di4GuIhmhHHLGte-0nLgmAm8SaoFyC1HtRh7iBEw9uLQu-B-pcL6hcLp5AlT9LABdVm71w4EdxVlmFRnOi3un_P5BofBiQ0zetYQXSRvXsVOM/s1600/InscriptL90.jpg




So, after viewing large amounts of texts, in actuality there seem to be basic statements, seven kinds of subject headers, and four ways of blocking or grouping semantic informational components. It does have this underlying structure. The difficulty is, every author wants to re-classify the classification in their own terms.


The Buffalo of the Copper Tablets is highly anomalous, however, these are likely a mundane explanation because there is no Soma.

[shaberon]

The last post had parts that are already familiar. Sometimes a pinion becomes evident such as by posting the dominant tetragram. Some parts are redundant, because we already found this collated by Person with Bow on the first page.

They also do what appears to be the Mohenjo daro Table of Contents and the Chanhu daro engorgement of those contents.

The post shows the tetragram as interested in three kinds of Fish, and then Person with Bow "enumerates" the two marked ones. Moreover, in other areas they are involved with Fish families overall. The "table of contents" is certainly interested in three kinds of fish. On M-41, they have three marked fish.

Correspondingly, they also use the dominant trigram one time in an interesting manner. It uses Inverted Tau 257, which we think might be accession of a Gharial. And so this glyph has only one other existence, built as a prefix, on a Harappan Unicorn, and then, as the prefix making a statement with Whiskered Fish, Dotted Fish, and the trigram on a Mohenjo daro Unicorn. It's Text 1065 and I cannot figure out what seal it comes from. The text shows up in the concordance in the previous post.


This is intriguing, because 257 may be a rotated Gharial but it is what Tiger faces on its Two Bearers of Striped Mountain text.


That also has a round Wheel.

As is obvious from the infographics, the Wheel is quite common as a prefix.

However it probably qualifies as a pre-script entity.

It is the glyph of Contest Heroine, which, by most standards, places IVC script at par with "full" mythologies.

It is worth considering whether it represents a level of public literacy, as up to four wheels can be found on Dholavira Signboard. It may also signify something to be between Wheels such as Bird-face Goddess also does; Unicorn M-634 has her between Wheels, there is a third Wheel, and X under Sky.

The use of the "pair of Wheels" is one of the main arguments against the script being discrete "words", and, as a spectator, to me it looks like it means two different "Wheels".


The examples of paired "Wheels" are:

B-1 Unicorn, L-217 (tablet with Person over animal procession), H-176, M-111 (unicorn with "quadruped rudiment" text), M-1384



The application of them is heavily restricted; pursuing the small number of uses, we find it consists of partial copies of Dholavira Signboard including M-1384:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbek_EnJX9MgVOe1oxr1sTTbKeO_XvLdXzEwwFUqFgSC9H9RWAM8EfZaiXlzp0tYu94s4VjURBJq6XAuXF5DSC0sCbRf49 ITkGuo9HG9lP_jyFgdYV1PzNiFeT1OyyqiBV8Pj6wqoN3azE-s4BPzu681rrZIo9M3OJEcdIviop1CFQytY-dEYQoUSVDT8/s1280/Slide2.JPG


The "copies" share two additional glyphs, "Mallet" and Branch with Chevron. It even proceeds to inscribed objects.



Chanhu-daro, Pl. LXXIV & Mohenjo-daro: copper and bronze tools and utensils (an inscription line mirrored on a zebu seal)


applies to the first one of these with two Wheels:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj53VTxrpwEspynOWXzzdCDXzZD-vnDLZoBMdJLijipyj-IqDQVAV1czmTuIOXqeKu4CTDcz46KZ3BdwhG7RUCOVwHHyVXVza5MN6HpMXQpi0mMt_6F4K0T5pp07KgDEx-TQckKmxf0D7hq/s1600/ScreenShot274.jpg



The repetitive statement uses some quite basic glyphs.

The Chevron -- found as a pair in the Copper Tablets "diploma" -- in its own texts also deals with two pairs:


Chevron 134 uses the power of Striped "Mallet" to move Branch with Chevron into the lead position in order to double the Wheel, on Mohenjo Daro Bull and tools.

It has the largest/most powerful text of ")(" which is with Bird-face Goddess and two Grids.


So, we see this common text with something as simple as plain Lozenge, which certainly points in the direction of some amount of "public literacy", and if so then we would have to delineate "two kinds of Wheel".

There seems to be Unicorn M-633 with a lowered arch and perhaps "Rainy Wheel"; cf. M-1005.

Wheel is present with the Bull and Elephant, and annexed by Tiger; so, it will not be as simple as merely assigning two animals. Even worse, it could mean two kinds of things having six aspects, like a Hydra and a Tiger Chimera, Scorpion or Gharial, or six kinds of Fish, or Branch enumeration by Six, or maybe it means seven. It has certain parameters but at first we want to divulge its locations.


And so if it is in one of the most plebian expressions, it also appears among the most sacred.

H-176 with the only temple:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOd6D829za4gqdlbI-mhugNdYfciv-0lGf3rFnMqqM3WisVMwMs5arIdPMrfg0SGP08URh8OIgeCqMAjHYvjk4hG7It57RotolTlqaRxMEiCzQo-VJbl2o7NG8qx2uQE106dZqdmMNJ-MO/s320/H176A.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIear4TKBhWAJjvBKOYGvUQ2pzxHjxoqBcFa2Uo6WLnWeH7ch29z0msXqo9fO_RnbXWwX8ss8nuGNxF4zR4Scv-PQoOl8OtELBiQrqfgupFdBS7H8VX8pLH0yZjtKtxdi9nMDnNt7_PU/s1600/1490.jpg



L-217 is a "balanced" extension of this trigram, backed by a Unicorn followed by a Gaur that has a human glyph in its horns. Certainly unusual for a place said to be "low on mythology".

The tablet above has almost no script but a rich context, which doesn't crisply define two wheels, but seems to leave room for the possibility. Same one already reviewed in terms of the human element.

The Lothal tablet is nested (https://bharatkalyan97.blogspot.com/2024/04/cluster-analysis-of-unicorn-grapheme.html) in a vast unicorn cluster. Here it is with the large Gharial statement:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheyeCZ1IgMviaWcJfdHfXVK-CdxymsmAznDLIP5C3Kmy6Xreb5tp_E3zfBMO8StB5FhsP95LIttyChGUiSPDc60JP-EeR7CvqWDHiIe6hrySF2nTk0W70uvUcNplUuD-b-pN7iD_aS3ukbN7BbDWTQlw6Nyxi6z9BpqXC7sHJUw4pZ4Tv-Jrx4OODntT09/s1280/Slide1.JPG



The H-176 trigram is copied on multiple Unicorns; here, it has been adjusted. Two additional glyphs are sufficient to reduce humanity to script form.



As a doubling of what should be one of the most common parts of speech, its circuit throughout the corpus is extremely limited.

Unicorn B-1:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8NRp24VpduVFjDzqIC0pq873NR6uOMu-Q7mbtstgHX_uZ5TgK3WYOG7g8qRiKfgMzhbgqUuIBdlNOzeKG9-bxYt03jExRadHHd1-uWII4wG1DWn1MsWytTDRtru95NLJHu8E0dxJI0UZf/s1600/B1_edited-1.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFm4w17rYKP2PWJH8MxX7kSQ7PLc2z3rR5i_0U-MBuzpaD2AYYsBdLTed1f4KjVHd7BFpkgcg8Z2sZ1bv1wMtoq3id14X9vjW1Oj3C4nf7oEOJCOBEx9EzXCISaxhe6mAe2HhykoDVL Gg/s1600/InscriptB1.jpg


It is an unusually charged-up, wordy Unicorn from a place that specializes in low-order seals, and one of the finest-made Tiger Chimerae.


M-111 is a standard Unicorn that connects a pair of Wheels by a single Quote to text which includes Fish with Slash and Rudiment 182, which, itself, leads to stuffing Mallet and Branch inside the dominant tetragram, which is the Gharial text above.

https://projectavalon.net/forum4/attachment.php?attachmentid=55854&thumb=1&d=1756606900



M-933:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCp2yYnvQjgc2om9koTN0rcAJdRFVl75D7s9zPSJuD5esAYw38omhWtFLPfALLE14Hl3wZlAbkgScjfVN7jLrz1xogRxhn YSdFraBbmvzT36pAJO8WSIZ0hc_4EWG0LPo5RbuNUi00X-M/s1600/m933.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4J4znq4cEZIhlui3iJF5118j8pu5XxSg4j1DWQQI0MVjNQXj8r6JhwR0HJxogXd1DbiQWpsjTfB_f2HT8VA-neDK0cnGMNi95rfdqPNhERMDI234QCJHMsLLqcuVcIj-QEt0yW5t8Nu8/s1600/m933text+2160.jpg



This is curious, since Mallet and Branch (https://bharatkalyan97.blogspot.com/2020/05/two-unique-indus-script-hieroglyph.html) takes off as a trigram with U-shaped symbol, just like two Wheels, and here they meet. Mallet and Branch comes from the Deer of the Copper Tablets and has the Gharial for its major exposition.










Here are examples where two appear separately.

Neptune and two Wheels:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYzH4NjcVx6-Jx1eT2tnxGP2G-Fb6Q3CY2vbtgeWz8TusivFkQfPCrjKZ4k0hpl2qwBaSr8zyATgFVQA9xMBEN_0GMpRXFB0kW_mKhe1TFZUyMBMv3eMNokbZ1ORug dKTfwr8A0nMQ3Jw/s1600/InscriptH506.jpg



This is still perhaps "between" rather than "on":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNUzYPzFhQH04xzCZNohiojoqZHeeUrGl7jPnSkeCiYCzyc1_he-YdJhxZIGjmyUDL3qppPWmSIxbe7XMCJVPkUrHPlQ7Mc0VhNGguvtG53trLOTfGBJcMrUuqd1OilMlGTQ_M2fELBFrt/s1600/L221.jpg


However H-212 likely has them "on"; maybe H-1855.

In this area, it is curious that H-213 is mirrored by H-214, Neptune -- Comb -- Spear -- Comb, noting that Comb is one of the few glyphs that can demonstrate horizontal mirroring.


Another one is Flat Crab, which is found as a normal pair on Unicorn M-108, between two wheels, ending on two combs. Conversely, it is easy to find the change on:


M-126, M-162, M-198, mirrored flattened crabs; M-62 around branch-tipped U


These are also found vertically-mirrored on the clocklike Chimera.

M-63 appears to show them ripped apart from being vertically ligatured in other places.


That approximate shape has multiple pairs, and shows some form of mobility. But even the "normal" crab shape has a false start, since, on the Tree Tablet, you find a separate oval and "C" shape, which are then joined in other texts. IVC has one Realistic Crab with Bird-face Goddess, since most crabs have eight walking legs. There is such a thing as an Indian Hexapus (https://en.wikipedia.org/wiki/Hexapus), which is a rare coastal species presumably beyond the reach of IVC. Most crab-like glyphs have only six legs; there is one with eight and no pincers; one is tempted to say the eight-legged crab represents eight pairs of crab-like shapes.


As for the weird Wheel and its "doubling". There is such a thing or trigram as Wheel between Two. This ports to the text:


Five -- Bird-face Goddess -- Wheel between Two


and, in turn, the only thing it frames in a similar manner is Bird-face Goddess in one of its longest texts that it starts, M-634. In other words, this is doubly-indicated, as a most powerful text for Bird-face Goddess, and for the Wheel itself. The seal is broken, but you can tell it is of the Striped Face, Smooth Horn kind. Here is at least the correct imagery for it:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoVcsLN3jBzFpdYKbKJeZABe_qHluspk-EWCRLeEzjTmRvxzm0xpbxisw1CMuVJb7prCV8t2oZYnSorglJCd8mudQNDyNgxYqgXGK18-Dv_0Y2_WTMyyLn5BaN5ni8oqgDz2kJqpPcsuryzHKvPGwE3aTfUyQzFyobeCt5SBspZPGkJzlPeUnceVQQkehyphenhyphen/s1280/Slide1.JPG



Wheel handles a wide variety, or, most things. Not very repetitive. It tries different connectors and positions and so forth. Yet anything close to an actual doubling of it falls straight into these pigeonholes as described. That's not the behavior of the letter "e" or the word "and", or a general word like "wheel", but it is, at least, a parameter at mundane levels, selective animals, and, with Bird-face Goddess and with long-haired yogini.

For one thing, it begins on one of the only tablets where we can find a Rabbit.

Itself is beside the most complete construction of whatever the "reed hut or shelter" truly is. I'm less convinced it is a Minoan tower altar, and more persuaded it lives between unrealistic scenery and human-sized glyphs.

Wheel 391 does not have an exclusive pair of itself. It exists solo and as this pair with U-shaped symbol.

It is possible this should be read "Wheel between Two":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtO6iySd7oCTAgcvHQ2XZWhn7SuKqySsmsMtnYGdwkRLltxcr7I4vn13jW-d7jWc1ul7wP7-QxCTpUUVvGlASXrzbseI0RCZC58h37wiL3L7oH15cUKkg0p1FQuCXbd3m5C-F5pyx93Ilx/s319/h2002cx.jpg




The rest of this is notes on Unicorn seals and their texts.

Mohenjo daro Unicorns can say whatever they want, and, it is painstaking, because everything is arranged by find and physical type, and it's an unreasonable burst of texts you will never get anywhere with. Seeing how to sift them a little bit, we find the somewhat primordial:


M-72, no object, bird-face goddess and scorpion



It talks a lot, and, the dominant trigram has certain roles, expressed by it on:


M-757 trigram, Belted Fish, Fish with Chevron, Enclosed Enclosure; cf. M-831, M-887 for basic arisings of the latter.


That's similar to what Person with Bow is supposed to do on one of these, and I have not found it.

M-631 similar adjustment of trigram, fish, and Bird.




It has additional instances of these techniques:


M-892, sloped three mountains and Neptune; M-809; M-48

M-665 vertical three mountains


Something similar to Bowtie:


M-132 "accordion", M-136, M-102, M-78 with donkey


Similar to Tiger Chimera:


M-669, person on base


and variations of Bearer:


M-741 no jugs, collapsed filter; cf. M-60, enlarged jugs and One

M-874, chevron head

[shaberon]

Numbers




This is where the curse of expectancy will completely fail.

What I mean is this utterly does not appear as any accounting system, or basic trade like "six sheep for two bows", or any discernable arithmetic.

It may represent fractions, exponents, or series.

Usually, though, what looks like numerals seems to be more of "version markers".


The misunderstanding I got from prior reviews is that any number could be expressed by Grids. It is the "numerals" consisting of Quotes and Posts that work in a specific way -- there is one known Ten, no Eleven has been discovered, Twelve is readily apparent, and the only thing greater is Two Twelves.

There might be a "sixteen" grid, otherwise, there is no sixteen, or stacked eights.

But, ok, Twelve is kind of important. It is the main size of Checkerboard; even though this shape has more variety, twelve is still important to it.


Moreover, we found Two Twelves with a pair of Gaur at a Big Tree. As far as we can tell, this disguises itself as scorpion pincers or gharial jaws in the illusion.

It may be that two things that look the same have twelve explainable differences.

If they harped on using Twelve one time, one could focus on twelve lunations and suggest it is a year, but it is doubled.

There is a place where it talks about doing this, which is notable as a strand of copies, K-69 to 75.


If anything, this is a philosophical riddle about doubling or pairs, etc., by showing two people, two twelves, two quotes, two rakes, and then Loaded and Unloaded Bows:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOBHiGHaAZPhctwWfWLzrBoxIbvop4TU-Cl3GyjwEoxRMJ0NolD0sV_jQ9_dN5xEMgafYqfi_DVUEbY8VMuI0EswjmnpMEIGPEf0uQgKnDddjOIBG2S4qB6qTNzfil1P9WGht rKAIf2xla/s1600/K69.jpg





If the Gaur, and that statement, are "powerful", then, there turn out to be several occasions when a single Twelve is used.


Bird-face Goddess is "subjugated" in a few ways; when "Wheel" does it, it is with Enclosed "Quote", Caged "Mallet", and "Twelve".

With Bird in Parentheses, she also has Twelve on a Lothal Unicorn.



M-29:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfywxtp2_XH56cZVeVR_jn6SpSUJDOvp_eEPViiIic0rIIaXW_0suR6JD1294IfbEUYjdpnKxvwQ9nOjwdpWvcpaBR4AHd xCRzEzI6oVjoKutzPMetCwdDj4DvMn_ss2tK5rWyyyXpL7E/s1600/M29.jpg




H-25:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEissYNKanHaU5ndKRB3yLW5rM7OIOCuIsNU8ceXSMNRaQYrXkNLFPjugjL2NE66H9gm1PqGETe3aWgEO-nRwUQDEYTgKpED4nN1lHyPZUWWbw30F2S4usswtyICMyqNhy_ndGtr0zp-cyX1/s1600/H25det.jpg



M-1081:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhQYU8t9IXuOWnuUvPsXbh3gtNLArDJnX9xPc4475OH4to0JnqeOdTIQPJvVOkAbi2nbVZ1gKwlH1HquCQLdMC2UbhlbtB E4mk03qVaByxewiTRla27Jq5JImurFgoVvTFe6apuX6gH20/s1600/M1081.jpg


M-847:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48l8MoWIXi6bI7EcjLOr508vhLllC33B1TddC4Er62lDAkv4DKsU6e2bIZmc4vT1xmnTkxXTFy0pgdTxAUoLf0SvJEQmu x-NruvOiFL4G0jrw92gmA2RyrHYSxZJ5lZZVx7X2-aiyA4rI/s1600/M847.jpg




H-57:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFwsZBewB2yC9GBaofnA3j2dpdNCX0Y3l47u0O-CGRs0AmAq-vfXOWtI2J1cd43AybRByuBY2oWEaExjZNaYzIPit17RLfQINm_pP0hnXO-wADc4NAz_wioTlbMy_R6qBzAR0hWRoH9YU/s200/H57.jpg



Lothal text:

https://media.springernature.com/lw168/springer-static/image/art%3A10.1057%2Fs41599-023-02320-7/MediaObjects/41599_2023_2320_Figan_HTML.png




Object K-122A:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtY9zR0-rR7iXJKLFxbvZi7pYy92fADBbLrPtoMIBIZa8gyPUO8r5iDQ-qQ4AQYTGz_jrmx4zcqSZg976RuDN3DaU7BoqJq6lrv-hAWBu0WKZ5juBtiPJA2Zo8UIn3VRBGijGYKasopU0/s320/InscriptK122.jpg



singleton 399 on M-43:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGb0jW5ga6_saQXHKqddCo5UswXXkBUUMDBv1eJ93poEeB98FUotWF1EuTsZCul1OvwpxX3bWMuGCbIRCyrc07kbCocbAy oud7GeBdVf39wWjrgCtJ7WlxFa4cUQdTbU13AkU158Sd3i4j/s200/M43.jpg


According to Sign Design, the only glyphs with dawn-like rays are Fish, Notched Lozenge, and Spoon.

There are not any other kinds of Spoons and there are not upright ones, it exists only in an "inverted" form in "U" with root-like tendrils coming out.

Plain "U" also does this. The other possible locations for Spoon are plain "U", Person holding "U", and Flange-topped "U". Those are plain Spoons that have no external existence.


So, there are both U and Mortar-and-Pestle forms with lowered rays. The thing above is hugely in its own class.




Compared to the Kalibangan text where you see a gap between two Twelves, some others have "bad handwriting".


L-115:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiysnsLXFY3qkfmfuOeNsYT6JL5uXR2ZCOsFHltQEo7MKKvwiC3dxavBeKbQ2EVFtPdO2TNy8vPvXXaobcW7-h_YEyT20MNT_HNMxcCivRTQmRbcZcFf9ZjfLRXFtjwWQANek4lrMNRoIFc/s1600/L115.jpg



H-14:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGCyxNrDDkZ0etsCAYflUeyiubxC0y729Pz-P0YvikhnGEBMI6EqKwM3uGkVyyVx4uGS_NUNKOvrx-cTep8LdRocnoXgYzJQgZLCoy3T9F75S8dYb4qlAm06UhLzTvU91lrnrzxNaJ-3I/s1600/InscriptH14.jpg




This montage has a couple of Twelve examples:

https://images.squarespace-cdn.com/content/v1/6047d405b02148755fb6e601/27a6ac72-71c6-41cd-8628-100059e50bd8/273719774_4584371955018254_5366382000390764675_n.jpg?format=2500w



Right now we can basically scratch the surface of whether these texts describe "two Twelves", or what makes this number important, if not months per year.

Quite visibly in the corpus, although eight and nine can be found rather easily, the next largest and most repetitive group is Seven.


As a student of the Veda, I get a charge because it uses the deity Tvastr, although in a rather circuitous and unapparent manner. And, in this case, Avestan carries essentially the same meaning:


thwarshtahe [thwarshta]
6 (nG) cut, appointed (time) (t103, k237)

thweresatô
(3du ind. pres. act.) "they who fashion"


The main symbol of Tvastr is an Axe.

It carries the connotation that manifestation is "sliced" or "cut", "divided" out of infinity.

Well, in IVC script, there is such a thing as Seven Roofs and it comes on an axe.

Here is a look at numbers with such an axe; the "examples" to the left are incomplete, however, the red rule towards the middle does seem to hold water, there is no such thing as "U Five" which is what makes it stand out that the independent number Five is itself very weird:

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-023-02320-7/MediaObjects/41599_2023_2320_Fig5_HTML.png?as=webp





If the idea on the left is pursued, I believe the results are that both Branches have "Seven", but only Bent Branch has "Two" and "Five", whereas Straight Branch has "Six" and "Eight".

Some other objects are inscribed with Inverted U or Roof:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvUOXE2jJRbVnNjGoqhQm9ErhH9ZlHEczIEHGguySrRaiLfJe9G3FyQYUNgBsv5FXR2s7zIiQTB5r0PHnBYOw7n-l1DgnZv69c9WtgNEy6fTv1gh2Bjs27S3A3fKh0tTEKLFKp9vy-Vw8/s320/RoofInscript.jpg




Because most of the writing is just as easily amuletic as it is anything else, an axe text might be invoking the power to cut. Then there are correspondingly a tiny few arch-like shapes in all of the corpus, and I am not sure they are ever free or empty.

But the middle part of that chart seems to have three valid things, Five is weird, there is a type of permanent Three, and there are seven arches.

Curiously, Five can be found on a UIII tablet (H-219), as well as a U Six tablet (H-801).

I get an impression it seems easier for three to double to six, than it is for four to progress to five.



Following the logic from those texts, Unicorns have Soma Filters, and there is no U Five; however, the Copper Tablets lack any Soma imagery, and they show Mortar-and-Pestle and Five:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhgmQnfxYVh8WNLzeg2BiTED99f9cMAdRTe5A07zyhGXOOcaLgzdT8A6Huzl0rsBYSQQfaz0vpzknbTGxkMzrIRBwcUBlR MvRfAvcbqcCzD2w4CNd7yRtTATSQOhZVNUPp2wrzmsZPIXM/s1600/a9.JPG




with Three:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI9RKClv1aJzMZd778ECK0NgBxyMt8lme7FsMaXjhnVPDYD3v8qOHr5fHoDP4oiMhwD6HaIKzcwEE35In1MfHH1-4xevL9SR8zv7Olc1Ig1VlVQWEtf37bvFVFvwmGZGfXVGuIH3PqBcY/s1600/b16.JPG




They have conjured a powerful-looking Trapezoid glyph which then becomes most strongly associated with Seven:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgidLlY5cMCON0ZSCO_AMbtPF8rvYaOLhwB6Vc6jFfGkZoXCZm-3A46QWSAA-7GmTgabwiMAc3kNK_tZTC5W0sVCXPRiaNPLPKqKkV2h95fGMiNuYWCpsaH7eDFDT-sScLntGIyu4rXxFA/s1600/b9.JPG




which, in turn, gives one of the most powerful palindromes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3fwvISvscU55Dnja-ig4tN_NQClrz7P_jJT2tJGWkMp3tyOrepiYz7gDe34WsD8vkyg5UlhUNfneWuGMDa4hnsIptT3dsb9edR-xGTk7BWUEP_NLNRGrMinpJ82hacqbsA0oNcVWwHS0/s1600/c5a.JPG

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdNTcQFzi-p9N5OV_dezAEEy-FODDa0Jn5bkewxeEAX_vvnFRaRkRL3wTyivGeqAZxKEUVs9qa282t-uF5iiPvsXoO6Oob8sEBscQrn1iRDortfTW-D9__4yt1zPUiZwW4GFyhPjaNE0M/s1600/c5b.JPG



These Sevens parallel a Conjoined Enclosures text.

The tablets have nothing higher than Seven.

This kind of Trapezoid is dominant such as on H-3:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxp1gOqsqk8o9QLqTddcCCD7ZJVZRf2f_LfRCCCAB9k2JiziQe1DuIO348FNPTdtif0HIhEOSVCleTHywqu1QNGs9OGesb 6m8mIfgR4oVSiwaKX8hpqZC7CqVdbgbAYX51PGaZmBcRbNvU/s200/H3.jpg



If we pass this glyph by all its potential peers, just look at pairs (https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig29_HTML.png?as=webp) in a new tab and see if it starts with "one" and counts normally.

Not at all, it's not even used, unless you want to consider glyphs that may ligature a "modified post". One is not commonly paired with anything. What are some glyphs that are commonly paired with numbers?


Two: Fish, Conjoined Enclosures, Caged Fish, Backgammon Board, Mallet, X-in-Lozenge

Three: Mortar and Pestle, Bow, Fish, Tiger, Straight Branch

Four: Bent Branch, Straight Branch

Five: Tau with Enclosures

Six: Fish

Seven: Trapezoid, "Battery", Striped Mountain


An example of this last being Gharial H-474 is backed by:


Striped Mountain, "Seven", "U-shaped" symbol, "Comb"



There are a certain number of cases where Seven is linear rather than stacked, however, in the Tiger's Roar seal it is actually Inverted.

At the most basic level, 3 + 4 = 7, 3 x 4 = 12.

The schools of Fish are similar to 2 x 3 = 6.

That is not to say the seals are solely the multiplication tables, but, there is a good chance they have some abstract way of rendering different mathematical operations.


It is correct that Mortar-and-Pestle and Three have independent origins, and simply develop an affinity. This has led to speculation that Three is the syllable "-tra". Of course, "Mortar-and-Pestle" has always been taken very literally, or "Cup and Spoon", but no one has considered how close it is to Tiger Chimera glyph M-1397:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkWVIy-feqmPvmLSDlG37h8BN_rYbvonMHIl78i7rn5BGVfdixu_qPrEiaE21_Iik1HQcQdy-xIMRedCC3uYhdmT228BWobi5bsi6TDMCvuk_zTrp6LZ4Nc6VdV0H-u19KgYqfo-9S4_g/s320/InscriptM1397a_edited-1.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGX-o2zaXRURA4kzr-mxJ2egAMIXII9C6Y4VMMmrNRYtuyyn0-Ls1AK6fBfgSLgRvj7CKPQ130AWthyphenhyphenRej_KTbzePqSTy1xI5MyhL6c-wrZV_ePF8bRsX7NdZTa4tF_XK1djUb5ehtV98/s320/InscriptM1397b.jpg


That is its main speech or characteristic claim on something.

One can also find three kinds of fish with Mortar-and-Pestle, and some other associations. What we observe in the Copper Tablets is that this somewhat portable number Three is ferried via Mortar-and Pestle to get locked onto the Horned Tiger. The vehicle it rides is Elephant:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2j5IPJiLN2pl1FeHS9SYRuq4wk29_-NTQeHmH2mrxiS5FlGHQN5Zf8EqVoCRSrHs4et8uYtkgQXQoXjShEaCfcXpHpcgIS8fw55m5OA_do2mbaZtkLfcZ2iJP_lhkUxGp6 gwCfw6UwnU/s1600/b6x.JPG


It's not the dominant trigram, it's what's super-scripted to Horned Tiger and Three. Comparably, we find another seal where Horned Tiger rides the Elephant.

The Rabbit also uses it in a grander and more elusive way.


Both face value meanings have significance, since, it can easily mean Soma Press, or, a Soma Offering from a ladle to a fireplace.

If we look at it strictly in terms of text, Mortar-and-Pestle 336 actually has a "numerology" even though it may also be using Three:


One and Chimera glyph

One and Three kinds of Fish

Two, Neptune, and Three Mountains

Two and Modified Chimera glyph 322

Four Fish Pinch


What that means, is, there is the appearance that the Bird glyph inverts to a normal Y -- one could almost argue the trigram bears the Roman text T A Y. In turn, this glyph appears to lift the Chimera glyph with a marker of Two:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY4EUvCig1SBesjBj5fW0Fwz1jaxME7pNlKhjDHBnoosR3vZhIcO1CseTkBcz7U-J8TGz1H-gg6EK-8yw0g_HvbEU05oy97j54mwRcaODnCmvVyW8cf_3okiU3iTpzblzIIdOQf7oSsKE/s200/M675det.jpg




The Mortar-and-Pestle focuses this low range, it does not do much with higher numbers except it has some Twelves.

It appears to have Five as a prefix, not a direct relation, but it does group with Trapezoid and Seven a couple of times.


It occurred to me that a glyph facing a Bird on the ground would make sense to "invert" in order to represent flight, such as the more common "Y" shape. This "flighted bird" certainly seems to ligature to the Chimera glyph. That was just one example we will post more on later.

Considering the direction of motion, it is suggestive of "birth of Bearer".

Mortar-and-Pestle is most strongly paired with Chimera glyph.

It relates lower numbers to Seven and Twelve. Not by natural counting. By some kind of formula.




Do these numbers match some kind of Vedic backstory?

Being that Soma is nominally of three kinds, this is expressed by Dirghatamas (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830699.html):


idam udakam pibatety abravītanedaṃ vā ghā pibatā muñjanejanam | saudhanvanā yadi tan neva haryatha tṛtīye ghā savane mādayādhvai ||


“They, (the gods), have said, sons of Sudhanvan, drink of this water, (the Soma); or drink that which has been filtered through the muñja grass; or, if you be pleased with neither of these, be exhilarated (by that which is drunk) at the third (daily) sacrifice.”


It doesn't say "filtered", it says "jana", "born" of munja grass. It means the same thing, contextually, but it's not what it says. The problem in almost all translations is they do these stealth interpretations for you. It should be put in margin notes.

Again the point here is this is among the most ancient attestations, and it supports Munja in a way that is still current for Badakhshan.



Now, unfortunately, Veda interpretations have been all over the place from the Brahmanas until now. The line we just quoted is addressed to "sons of Sudhanva". Curiously, the Dravidianist quoted earlier was the one who suggested the syllable "-tra", the prefix "ma-", and also the stem "dhanv-" for "bow" as Sanskrit terms likely reflected in IVC script. Or syllables. He wants to say Mortar-and-pestle and Three is Ma-tra, "to measure". His catharsis was that Dravidian barely uses any compounding the way Sanskrit does. But the IVC script is made of mixable and portable compounds. He was of course wrestling with the historical problem of how Sanskrit could have gotten into IVC, i. e. when the Europeans showed up, which is why he presumed it was Dravidian. But it's not a problem. No one moved. It's a language drift that took about 5,000 years to travel from Armenia to modern Pakistan. This is particularly plausible because of the slightly older burgeoning of civilization in Iran. Ultimately, if one were to say originally all Indians spoke Dravidian, you still have a large sub-continent where the north barely had any liaison with the south, and so the "native northern Dravidian lore" that may have been translated into Sanskrit, would have little reason to have very much in common with that which is distributed in India.


The reason for looking into this story of Soma is that it probably is a "pre-Vedic" legend, in the sense it was probably spoken before, at least, Baradhvaja or any systemic compilation of hymns in a "Mandala". And, it completely revolves around the axe-cutting metaphor.

The Veda is actually based is a very difficult fourfold riddle about a sacrificial spoon. The identity of Sudhanva is not a mystery; he equates to the father of the Rbhus as by Kutsa Angirasa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830174.html) I.110.2:


...the Ṛbhus, with a sharp weapon, meted out the single sacrificial ladle.


Where they did this is spoken in the next line of verse two (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E01.110.02d%3C/b%3E&acc=no&q=1.110&lang=ved):

savitúr dāšúṣo gṛhám


It's in the house of the sun, Savitur.

The commentary attempts to take this as a "normal", mortal, earthly person, whose name in the next verse suddenly becomes the sun. That's a non-sequitur. There is no reason they are not working in the house of the sun to begin with.

They proceed to return the calf to its mother, and make their parents young.


Consequently, it is possible the Rbhus are pre-Vedic, since Veda comes from Yama, who discovered the Path. He didn't invent the deities, he realized the benefits of doing a particular rite with them.

The underlying paradox is that the deity, Tvastr, cut a single ladle for offerings, i. e. this is the basic fact that the Rbhus first exploited; but then they outdo him, and send Tvastr into a fit of jealousy, because they proceed to fashion four such ladles:


Savitar therefore gave you immortality, because ye came proclaiming him whom naught can hide;
And this the drinking-chalice of the Asura, which till that time was one, ye made to be fourfold.


It means chalice of the One Power, that of Varuna; the one power of nature provides one such ladle; the Rbhus, born mortal, somehow manage to quadruple it and become immortal.

The conjugation used is mamus:

The Rbhus, with a rod measured, as' twere a field, the single sacrificial chalice, wide of mouth,


Therefor, a standardized measuring system was well in place. IVC leaves no room for doubt on this. But the Rbhus are the ones who give the deities most of their attributes, such as according to Priyamedha Angirasa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829079.html):


They who created mentally for Indra the horses...

the Aswins' chariot and cow, and:


The Ṛbhus have divided unto four the new ladle, the work of the divine Tvaṣṭā



He uses an epithet for Savitr like that of Ghosa's son:

hiraṇyapāṇim


Golden Hand. Some reviews will tell us there was a battle, a hand was severed, and the Aswin-surgeons immediately replaced it with a mechanical one made of gold.

That sounds preposterous. That's because it is a name of the sun according to the real Vedic Rishis.


So, i. e., the Aswins need a chariot to win Usas, so the Rbhus are making possible the activity of later Rishis, and for the devas.


When the Rbhus' work is complete, according to Dirghatamas (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E01.161.04d%3C/b%3E&acc=no&q=1.&lang=ved):


Tvastar, when he viewed the four wrought chalices, concealed himself among the Consorts of the Gods.


That is, among the meters and mantras; Tvastr goes inside the words, whereas the Rbhus enter the classes of priests, Ardhavaryu, Hotr, etc.. The multiplicity of ladles is similar to the Trikadrukas:


“Waters are the most excellent said one (of them). Agni is that most excellent, said another; the third declared to many the Earth (to be the most excellent), and thus speaking true things the Ṛbhus divided the ladle.”


That is, three things other than the sun. They are all true at one time.

And finally they are invoked along with an Avestan cognate, divinized in Sanskrit, by Gaya Plata (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839244.html):

Ṛbhukṣan, Vāja, Rathaspati, Bhaga



That is, in Avestan, "bhag-" represents fortune, while here, it names the Sun.


As for "Waters", here they are with an error:

Dirghatamas the son of Mamata hath come to length of days in the tenth age of human kind.
He is the Brahman of the waters as they strive to reach their end and aim: their charioteer is he.


it's not tenth age of mankind. It's the tenth Vedic Yuga, which means he turned fifty. In the original text, he is simply called brahma:


apā́m árthaṃ yatī́nām brahmā́


It's not a proper name anywhere in the Rg Veda. It means the prayer, the priest, or the praying.

Humanity gets an F on the very simple meanings of Brahma and Yuga, that is, they lost the original ones, so, how would we expect them to track all the intricate details that went along with it?


The crux of the matter is that a lot of the scattered background for Book One is given in Book Ten (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838576.html), in what may be the most important Vedic principle:

Since, waters, you are the sources of happiness...


That is, nothing earthly or mortal truly brings happiness, it is in the relationship of a rite of divinity. And what they are spreading is not any of the typical later Sanskrit expressions, but something forgotten:

mayobhuvas


is the original Vedic happiness.

Most tellingly is who transmitted this mantra:


Ṛṣi (sage/seer): triśirāstvāṣṭraḥ sindhudvīpo vāmbarīṣaḥ



Trisiras, son of Tvastr, is Sindhudvipa, son of Ambarisa.


For the most part, "sindhu" may refer to waters/rivers/ocean, but, even from the oldest hymns, it also has the specific meaning of the Indus River.


It is again confused slightly by the famous Rivers Hymn X.75 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839381.html):


Ṛṣi (sage/seer): sindhukṣitpraiyamedhaḥ


by Sindhuksit, son of Priyamedha.

That's the guy we just quoted out of Book Eight. And if you were to honor the Old Books, they are replete with Praiyamedhas.

The Sindhu is given the leading role in almost every verse of the Rivers Hymn, which is why it is flippant for the commentary to read the tributaries and re-state Susoma (https://www.wisdomlib.org/definition/sushoma#hinduism) as being the Sindhu. It's unidentified.


The importance of this hymn is again a principle:


Sindhu, in order to reach the swift-moving Gomatī...


That is a river with no location, because it is a condition, i. e. holiness leading to happiness.

That is closer to the core meaning of these Vedic hymns.

Yes, it follows a pattern of "adding" Indian rivers, and while a few are obscure, the Gomati is outright symbolic in the Veda itself. "You won't find it". In actuality, this is a theological stack, that is, it has mantras for Illumination, Liberation from Sin, and True Happiness.

It is compressed by the Sukla Yajur Veda, and compressed again in the Zend Avesta. But it is crucial if one were to read the Vedic cosmology as-it-is. The stuff is not entirely unfamiliar, but, it is very different from multiple re-shufflings as seen in any later literature.

All of that is continuous to the present day as the Marriage Ceremony.

Would One Ladle and Three Ladles match the IVC script at all?

Those other texts are similar but they do not match the Rg Veda on this three-world philosophy. The Avesta is much better at making good points quickly and directly. The complete Veda is elaborate and diffuse, although, it has integrity, and is self-supporting, and certainly does not benefit from single lines taken out-of-context and "translated" arbitrarily.


I don't know if it personally applied the term "Soma", since "Waters" also appears to serve the same purpose. Soma I is drinkable, but not preferred. Soma II is filtered and shows a color change/lightening, and Soma III has simply been kept for use in the evening. For example, two of the hymns we just studied do not even use the word "soma".



Kutsa:

samudra


Dirghatamas:

udakam



"It" doesn't necessarily have to have a name. Multiple expressions of "liquid" are adequate, when known to be referring to these offerings.


The closest thing we see in the imagery is an I-shaped Vase. We don't know if it honors the living or the dead, or a deity in the form of its devotees. A deity typically comes in a thing that looks like a wreath when hung in a normal arch shape, and then a wreath that would have to be on a wire mannequin to make this odd frame-like U shape.


Compared to the glyphs that show vertical mirroring, this Wreath does as well, but we do not literally find an "inverted Banyan tree" as per later literature. Nor can I readily think of anything else that does it.

The Rg Veda does not have a count of Twelve Adityas, and the only suspicion this might be related to the Year is if you took Three Seasons and counted Four Moons in each, which is what I think the Pathani Damb Calendar is doing, while it has a form of Seven on top.

Obviously, it visually represents the behavior of Mortar-and-Pestle, which is representative of the script overall. Seven and Twelve appear to be its power numbers.

[shaberon]

Comb



This sign is tough.

It ought to be simple, because there really is such a thing as an Ivory Comb, but these look different and are mostly inscribed with Dotted Circles.

Instead, there are straight and angled varieties, with anywhere from three to eight teeth, although there is said to be a Kalibangan Comb with thirteen.


The curious thing is that it is a "behavior changer", or the result of one.



Glyphs behave by certain tendencies or guidelines, until they meet with some kind of exception and change. Such as Branch is usually a terminal sign with a numeric indicator, but Mallet will cause it to go to the middle and usually adjoin a humanoid glyph.

The concordance shows Comb 176 as terminal in 314/341 texts.


It has a personal tetragram:


One Neptune Comb Spear


having related texts such as:


Neptune Comb Spear Comb

https://projectavalon.net/forum4/attachment.php?attachmentid=55796&thumb=1&d=1756432025



And attaches to all manner of subjects such as:


Mortar-and-Pestle Chimera Comb



With a few exceptions, it pushes U-shaped symbol to the inside. Wanting to be at the end sounds like the verb of Irano-Indic sentences. We don't know that the IVC script is sentences. If I pick up an album of music, song titles are usually not sentences, and a single word can mean an entire lyric set, which might not include that word.

If a Comb is a verb, it is unnecessary for names or descriptions.

It might just indicate transitive without specifying the action. Not sure if this would really work on a bi-gram, unless those are the verbs. As it develops common ending pairs, their order is sometimes reversible.

I thought there was a good rule summary about this, but now, I cannot find one, so will attempt to re-construct.


The following chart is useful in several ways for what seems to me any chance to comprehend the texts. What this means, is, there is a certain Comb trigram as recorded six times and put in the middle. India doesn't have "Ur-texts", it just has has "U-texts", and when we see compared to these common markers, Comb is certainly very careful with Two:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3oVdth-qlnRVbyHSbOyA8Bzqp6fVbRarG383fVif8UKZ1M7rpY7sMZ-eiJ_IsjsuORYZq8g92JnuqiWfAGptaGIfmNwPOys2G9tIfzvm3HPHDmsCBQ-mfU963v2eLVidUmLU4MFY0hKB/s640/venn.JPG


The trigram uses a glyph Parpola called "Crocodile" while saying it had "grown four feet" by natural counting numbers. To any gardener it simply looks like a taprooted sprout. Last week it had three shoots, this one has four. That's what it looks like, which makes it look like it comes from the Copper Tablets in its starter phase.

There are many trigrams that work like this chart, but, so far, I have not observed an independent five-glyph sequence that is also used as part of a larger text. We can also find Spear -- Fish and 3, 4, 6, although I am not sure about "Two".

When we are looking at this thing, I have no reason to suspect that's the same Comb as seen other places.





The Comb is particularly relevant in a few instances we just have notes for.

Parpola calls H-178 (https://tuhat.helsinki.fi/ws/portalfiles/portal/127256488/Parpola_A_2009._Hind_leg_fish_in_the_Indus_script._Scripta1_37_76.pdf) a ram-headed, bangled human "in a fig tree". H-1951 has a Bent Branch headdress and a different text. Zoological Avatars notes the basic similarities and that these are "arches", not "trees", and most like the inverted "Pipal container" of deities in other scenes.

The ram-headed deity has the trigram:

Hoof-like symbol -- U-shaped symbol -- Comb

whereas the three-plumed deity has:

"Four-legged Sprout" -- Winged Man -- U-shaped symbol



When saying "ram", the significance is that it is clearly Markhor horns on a female form, and, it perhaps is really a Bird face.



M-482 is a Gharial backing the trigram:


Enclosed Branch -- U-shaped symbol -- Comb


which adjoins Tree and Swastika.

So, the common ending pair has just been associated with animal hieroglyphs each making a trigram by a particular addition. These all probably work like the one in the Venn diagram.




Some other examples:

H-698 has Fish with Slash Spear Comb over Bull.

M-956 is Fish, common trigram, Comb.



Then we get to the Ivory Rods, which are connected to "outside" texts in remarkable ways, such as we found the Gharial to be paralleled by One with a Comb trigram. About half of them are Comb terminal texts, and they don't use it another way.

So they have this type of familiar grouping, which is interrupted by:



Person between Posts

Text 12 inverts the trend of the collection by excluding "Comb" or by changing it/replacing it with "Bearer".

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggKOs63u6xImKl4BUbcWJRpmAkVxr5mre0GwGxL1EOlGKH7CeP0dj3l0RiTN_QeRz-9ZVJRjyCSV7K_MdAS4faf7mFxG-QVPbe1R-HBTeRspg3z_c6oA4ZeN2nxZ-lsaFu-GjbceRty5km/s1600/iv32.JPG


This instance from the Ivory Rods is, of course, same as the visual UIIII Endless Knot Tablet.

The chart of groupings gets to the largest text of Person between Posts 2, showing that it is made of three n-grams:

https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-019-0274-1/MediaObjects/41599_2019_274_Fig8_HTML.png



This is interesting, because Person between Posts does not have the common trigram anywhere else. They have brief, repetitive texts, up to five glyphs, and then land in this mongrel.


"One" is arguably various entities, but the "Comb" is pretty much locked into position. The Spear of a Donkey and the Comb of an Elephant, are both "One", so, perhaps they are the Ones or Posts surrounding the person. Of course, this is a bit of a jump, since the Elephant features Person wearing Comb with One.

Comb makes basic pairs and trigrams with nearly everything, except for Branches and numeric indicators. This "One" text of the Ivory Rods "begins" its numerology. which appears to go to Two and Rainy Eight. It has most numbers up to Twelve in a pat, quiet way, but if I tried to find the basic building blocks, it would go:


Three Bird-face Goddess Winged Man U-shaped symbol Comb

UIIII visual tablet


Five has the expected Tau with Enclosures, and it has a few Striped Mountain with Sevens, but it is mostly handling up to Four by what looks like its "work".

It seems to me that One and Neptune and sometimes both, have the propensity to make Comb go to the middle.

Its middling texts are almost readable. It's true that if desired, a Comb can be distinguished by mirroring. However, these texts are about two Combs that look the same but, I believe, are being "declared" as of two kinds:


One Neptune Comb Spear

Lambda Person holding One Comb U-shaped symbol


It's coherent in the way these glyphs recur in the small sub-genre of texts. It's nothing like a single ending Comb. It describes part of its "power":


One Bow with handle Comb U-shaped symbol


Part of it is simply reversals of the common ending pairs. In one instance the "Lambda" from the bold above is replaced by "City".


And the reticent Person holding One persists, going to Three Mountains. But we have already read the overall statistics on the corpus, and, quantity-wise, the tale of Neptune and Three Mountains is second fiddle only to the dominant tetragram, and, together, these "subjects" consist of the vast majority of the known script. Then medial Comb simply nudges us in that direction. It is stronger with Neptune.


Bow with handle and pair of Combs does X and Scorpion.

Then Bird-face Goddess and Person wearing Comb and Comb do Scorpion Z. Finally Scorpion Z does something to Lambda Person holding One Comb U-shaped symbol.

We have looked at Lambda as the Hand of Man-in-tree and One as Elephant's Trunk (that a person holds in the illusion) or the whole Arm (which can turn tree branches into elephant trunks).

The minority, thirty-ish texts of non-terminal Comb, seem to focus the entire corpus, particularly by Person holding One, who has little other explanation.



Pair of Combs has another statement involving two Wheels and two kinds of Crab.


I would say this negative space highly confirms the outlook that the illusion and visual imagery is the main meaning, as well as the duality of a non-pair, on to the concept of palindromes and a trinity, or even a four-fold thesis.


It's not just that it's a "common ending sign" like others, but, when it appears to be "replacing" them, that is because the texts are a different genre or subject.

The Ivory Rods only have Person between Posts, not Person holding One.

Medial Combs also have Pair of Grids, and the necessary components for the person who operates them in the Ivory Rods, Person holding Crab.

Instead, they focus Person holding One, who we also think is responsible for the pre-Soma stage:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lh8daIqx71kkqn-MdfTLgBTLkBX8e3zwjv8hwNfKCie6xfJRRBpIKpm4rLdeI3nXkft55hNqdpzJvr633WgInJSdLigYedmtC7HrnG4xIU5RZOyqd-RFy84pFSN-chabrmw8DrUWB_lTV_QHWdi4VgcsafIY06LhqnvEy0HrFi2RvEXInLywRwwYoEj7/s1280/Slide49.JPG




Comb is not there; we would presume it was conditional to the glyphs on the left/end. It is a trigram which seems destined for this moment.

If you take the mundane view, the Mallet shape is a crucible, furnace, kiln, etc., or, it may be the soma press without filter. Closer to a literal "mortar and pestle", relegating that glyph to Cup and Spoon, more likely. M-34 appears to have a form of "Spoon", other than the rayed one we posted.

It could be anything made of boiled water. If mountain water was valued for purity, water in easy-to-reach places is often undrinkable due to microbes or parasites, so it was generally replaced in the west with wine and beer. That was what people drank. But if you boil it for a few minutes, you are fine. It may have just been herbal tea. You wouldn't need to strain this. The context of Vedic Soma would seem to require mashed canes, or possibly some other plants that are milky or syrupy. At the thinnest possible level, it may just be saying "safe drinking water", with or from which additional beverages could be decocted. But if a main feature of IVC was that towns contained wells and springs abundantly, this would be superfluous.

Again the transcription is outright wrong because those Grids should be Twelves, and, if anything, there are only two Quotes in the leading glyph.





The Elephant is an intellectual construct because "wearing" a Comb has not yet realistically represented anything in anyone's imagination. However the extraordinarily plain Donkey uses One and Spear. And then, in terms of design, Comb picks up this Donkey, or what it said. Then you have:


Tiger M-290 by a trough with Leg, Donkey, Comb



Comb and Spear have been said to be a typical pair in deity scenes. Firstly the Ivory Rods appear to be making this meld:


#7 Rake Fish Spear Comb

The text no. 7 is not as such attested in the seals, but without the last sign
(no. 107 ‘comb’) the rest of the text forms the complete inscription of the seal M-35.

Several seals have inscriptions where signs or sign sequences probably denoting
deities are followed by the ‘spear’ sign and thereafter a final ‘comb’ sign (e.g. M-956, M-1781, H-1027)...

In these tablet parallels we observe the variation between the
presence and absence of the comb-like sign no. 107 at the end. This sign no. 107 uniquely ends the text no.
7 (M-2109 and M-2111), while without this sign no. 107 the remaining part of the text no. 7 occurs on several
incised tablets from Harappa: H-938, H-939, H-1284 and H-2145 have VIIII on the reverse...


That's the largest bulk of IVC texts, trigrams backed by UIIII or similar. The largest single collection was a set of these found in the trash. Obviously, this style is much more like a "tag" or "marker" that only lets us know there is a UIIII of such-and-such a trigram. Chances are, it opens like an umbrella, as at the top of the post. This synopsis would yield a similar Venn diagram.

It's not a surprising trigram, which makes it notable that this artifact is the only thing to say "Comb" to it.





The Rods using Comb are clearly keyed to match some of the most important visual tablets:


The text no. 4 (M-1651 and M-2106) has an exact
counterpart on one side of the rare large type of
tablet from Mohenjo-daro (M-483, M-484, M-2030:
in these tablets the other side has another rather
long text); it also occurs on one of the three sides
of the prismatic moulded tablet M-492, where the
two other sides depict buffalo-spearing, and two
bison bulls opposing each other besides a two-sign
inscription (the two fighting bisons and the same
two-sign inscription constitute the face of the stamp
seal M-1367, which represents a very unusual type).

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP_mtxb2G9OeD3t3yCz0JHtsimaCleYrmE11y_VF1lK_1mi_NPIyX8T-dceiD30PF82mAV0KO7H45NUHeVPUDlYGW7oaMpjtf5lyTyM0UqG_XUig7fCrcOTl4GtcKR49k9gQGewEDa-fmP/s1600/iv27.jpg



M-483 is another Prism that interestingly adds a face with Seven Inverting Taus. This batch appears heavily worn from use, but, it seems the Rods are saying "Comb" to Gaur Clash and Buffalo Combat beside Cobra. The reason for doing this seems to be to make an additional statement on a Fish Family:



This text no. 4 begins with one of the ‘fish’ signs, no. 72, which also begins the text no. 5 (M-2107 and M-2108).

Excepting this initial sign, the remaining part of the text no. 5 has an exact counterpart in the moulded
tablet H-1151 from Harappa, the reverse side of which depicts a sacred tree, as well as in the moulded tablet
H-875, which on its other side parallels the final four signs of the rod text no. 1.

Without the final comblike sign no. 107, the
text of these two moulded tablets occurs on many incised tablets, the reverse sides of
which have VIII (e.g. H-326, H-924 and H-925).

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpng0oG7yyfWGSGL5CCneIcaR_sRTC7ZQeRx8frodz-b402fME4gThHJbKBaPeJQRU_4smcIi631HIJTyCb-gFt5vfZFDmTan3qSajqXi0BtlgEs9Reqsn1VnqNUzOnb1OVicfc8MiyR_D/s1600/iv36.JPG






Conversely, the Rods have abbreviated an A statement in Text 15:

Followed by the
comb-like sign no. 107, it forms the text of the faience tablet H-1808 (the reverse side is apparently plain),
and of many moulded tablets having the image of a sacred tree of the reverse (H-189, H-190, H-724, H-725,
H-726, H-727, H-1104, H-1105, H-1106).


Right now I will just say the ligatures on A seem very stage-like and perhaps geographical. There seems to be a dynamic, Text 7 "pulls" something in, and, this perhaps new trigram 15, is "pushed" out to other things.

They go on to a Branch Enumeration section which is completely distinct from the Comb beginning.

They have these two statements on Whiskered Fish, and one Fish with Slash.

They refer to visual tablets and Tree Tablets like we have just made a triangle.

The interlocked-ness can be found because "Notched Lozenge" follows a certain order:



VEE IN DIAMOND precedes but does not follow POT; POT both precedes and follows WHISKERED FISH and COMB; FISH precedes but does not follow SPEAR, while SPEAR precedes but does not follow 2 POSTS


Among frequent ending signs, curiously, Comb may be replicated twice:



...inscriptions may contain more than one terminal sign, in the following sequence: (1) FORK-TOPPED POT, (2) COMB, (3) SPEAR, (4) POT, (5) MAN, (6) CHEVRON-HATTED BEARER, (7) POT-HATTED BEARER, (8) BEARER, (9) COMB (and this final COMB may be duplicated) (2008: 29). (Note that every sign in this sequence is optional and no inscription contains all of these.)


Against everything else we found, Comb follows but does not precede Branch-tipped U. That's because this peculiar thing has one beginning and one terminal application. It begins a basic pair with U-shaped symbol, from which, it is hardly ever separated; these are heavily used along with Comb by the main Gharial tetragram similar to the Rods, and, a Gharial evolution that takes places in Lothal. Otherwise, it ends with Bearer one time, and, it only ends the Kalibangan Elephant with sloping text coming from Hoof-like symbol K-40:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvWaOhctJHNRlQEkBglAE2dnFUffl7wsvfkzslf57gGC2_eWxIG32C4DjsBB6iWugMFEzEG4WE-2wPx_B3vb0R6t3JsrQsiM2AGr9LlU6I-ViEylxkYpfNesaSwF-f-TE6wwOSJFeRc6o/


This glyph in its routine pairing is significant to Flat Crab, which is found as a normal pair on Unicorn M-108, between two Wheels, ending on two Combs. But there is a "pair" called glyph 217 which is a set of Mirrored Flat Crabs who are known in only about ten statements:


M-126, M-162, M-198, mirrored flattened crabs; M-62 they surround Branch-tipped U, followed by M-63 which shows them with a broken vertical ligature.

They arguably have a "U I" text with only the U-shaped symbol, but 5/10 have the pair with Branch-tipped U, which works with Three and Conjoined Enclosures, and culminates between U-shaped symbols with two Quotes.

So, that's characteristic. By looking at what should be the most obvious numerals, it doesn't go one, two, three, it's just One and Three with perhaps a conceptual representation between them.




Comb frequently ends things after Spear, U-shaped symbol, or certain humanoids, or itself, but is found in position (2) in a fairly precise collation of texts.


It seems to replace Branch Enumeration, like a different subject altogether, which is what the Ivory Rods look like in two halves. The Mallet, however, appears to change it or use its number in a particular way.


Multiple examples (https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-023-02320-7/MediaObjects/41599_2023_2320_Fig10_HTML.png?as=webp) show the "Mallet" changing the behavior of the Branch, so that rather than being followed by something like "Comb" as a final sign, it will be followed by "U-shaped" symbol and possibly additional text or connective grammar.

In section (h), one finds the texts "One" -- Caged "Mallet", as well as "Two" -- Caged Lozenge -- "Comb". We noticed that Comb was fairly quiet about Two. A plain Lozenge has an affinity for One. So far, this seems to be the only normal counting order in the corpus. It makes sense. The related texts obey whatever these are marking.

H-67 (https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-023-02320-7/MediaObjects/41599_2023_2320_Fig10_HTML.png?as=webp) is "One" and Caged "Mallet", whereas in the "Comb"-final examples, Caged "Mallet" has by far the longest text, U III X ) III Bird-face Goddess.


It seems to me a Spear is anyone's One, and a Caged Mallet is a successful passage from the Person with One texts.

Then there is the Lozenge and other material that imply One to Two is a progression. Stage two of Soma? If we follow this train of thought, we might decide UIIII is a Soma Offering to a Tree at night. The logic of Four might apply in some other way. Is this seal talking about the morning or something else?


M-928 One Mortar-and-Pestle Shaded Fish with Chevron

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEOw4JYDpuzuVrf9KC3nsUt3GBkhcqhCzzFbNG-ti8mMKurQGArH-0z45tUoWX7f8JrSa6UHbfnOxDNEtg4xKxWjvqtoNga3ARXlA2wRNTVKRgjoqnDQe3kIlRIzo3lwkhAg8fpzYpVMc/s1600/M928.jpg




That's not quite a "Fish" in the usual sense, but something similar, which as glyph 398, turns around and begets a trigram with Mirrored Flat Crabs. It also has a Three and no Two. Usually quotes are considered "punctuation or grammar", and it is two Quotes that join it to Person holding One Comb U-shaped symbol.





In the tumultuous quest to "discover" Soma in IVC, Dolas 2022 (https://storage.googleapis.com/cahcblr-pdfs/assets/ijhs/1_PM%20Dolas.pdf) on Astronomical Unicorn Chimera:

Prajāpati , appears twice in Ṛgvēda as an epithet of
Savitṛ (the Sun; IV, 53. 2) and of Soma (IX, 5. 9); as
a distinct deity he occurs four times in tenth Manḍala
(X. 85. 43, 121. 10, 169.4 and 184.1), and there is
one hymn in his name (X. 121).


This is ingratiating because IX 5 refers to an Apri Hymn by Asita Kasyapa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837339.html):


“I invoke Tvaṣṭā, the first-born, the protector, the leader; the golden-coloured pure-flowing Indu is Indra, the showerer, the lord of all creatures.”

This is a grave mistake because this is the Apri Hymn of the Soma Book and of Kasyapa lineage. If you are non-Indian and have an interest in Veda you are supposed to take this mantra. It's a standard formula that pre-dates him by generations. Kasyapa mantra rather represents the height of the Vedic kingdoms. And if you keep going, "Indu is Indra" is like a motto.

I don't agree with the conclusion, but with the observation:

Very interesting supporting evidence for the interpretation of the unicorn as a Vedic myth
concerning Mṛgaśiraṣa comes from Harappan seal, M-1171.
It depicts a composite bovine combining protomes of a bull,
unicorn and gazelle (Fig. 6 ; CISI 2: 136; Parpola 2011 )
suggesting that each of the three animals joined together
perhaps represents the primeval male at a particular time
of the daily and/or yearly cycle.


Well, it appears to use both the sun and an arch-shaped text. The three Somas are the same as the three times of day. There is nothing necessarily Vedic about this. The use of the name Soma may be.


In terms of the simplest numerology, the "Cage" marks have only a single thing to say:


Caged Person holding One two Quotes Two Fish Person wearing Comb U-shaped symbol

Caged Two 88 is a single solo glyph on an edge like a Gharial chasing a Frog around a Tiger on M-1923.

Caged Wheel and Two 392 is a singleton of such an unmarked pair.


It sounds suggestive that Person wearing Comb is Level Two of Person holding One. The Two itself appears to confront the entire Indus mythos. That doesn't comfortably reduce to the meaning "filtered Soma", although that would qualify as an example of it.




A couple of basic pairings with humanoid glyphs begin to show the universality of it.

M-704:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNAj-QXhNxLjuGuPfbYTwHtDKt6W2undIGZRs6qnI6z06gSYpdLXxpCgXuIXri53OYNMLOnqz704yZhyPYTqQfINADQbtCy9rL8Sl5dOY SyJMTfKDr4YoY4oEztOiVYHZgWS3J1U7_LE0h/s1600/M704.jpg


H-584:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJM8oPzEkHECJE7LCnPYGbEbyPzKjMUsaPScaf4Xme2NJxWfoErXRSCTGTJ5mKk8bjjv31XaF31KduLLOVgN2GT2JEc-6EKGaYip8Tlv8aam4sMPA3mH5XF673IcIYHCQ7WAPLeFYrWE0/s200/H584.jpg



Repetitions are more precise. M-311:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHHgOVG_1VYBu_OM8MHgGOwSAIE6I6HoVGrJt5eM84lFm2lEFLPrP3211O7T-dcJTF4iFZmMh6uwJEERhNnnT2Z9DGj6VVvsQGMBaP4AWSCwumuicpft18mVSPBf6T_XUxFerAupOlj1q5/s200/M311TgrLdy.jpg



M-373:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSWjHVunFxYRQSEUNU8JYm9dyN4HxqSYp8kRmmOLLhHn5RWPh5wlQiCPeaIqIbFoAOXLNxzPXec1dFbWSrD7ln-_iHa5YgRzWKqRA7HI1SNt3GRJEencLcT4vIc_WVCkc2pRmisjxNWhCW/s320/M373.jpg



That has Down Hearts and something that resembles an Enclosed Sun, which has been mis-reported in some other cases. It also resembles a faceted gem, but, this is unlikely to be applicable, because IVC just has beadwork. Things like rubies did not have much spectacular value until this type of cutting/faceting was discovered. The astute IVC reader might say it's just an eight-spoked wheel. It may be. There are minor amounts of eight- and ten-rayed things like this. The normal Wheel appears to be much like Comb, a pair of them is not two of the same thing.

That could even be a universal principle, meaning there would be no true pairs in IVC script.

[shaberon]

Comb and Crab


Going from the last post, we found that Comb likes to be at the end, taking the position from other glyphs that were already there. For instance, in section (h), Comb (https://media.springernature.com/full/springer-static/image/art%3A10.1057%2Fs41599-023-02320-7/MediaObjects/41599_2023_2320_Fig10_HTML.png?as=webp) is able to follow Caged glyphs, while other terminals don't. Visually, these marks seem to have to do with Spear and Fish as we have seen.


Comb is only not a terminal about ten per cent of the time, and half of those are within a common ending pair. Therefor only about 5% or a truly limited number of cases use it as "core information" of the real middle part of a text.


In a couple cases, it calls attention to exactly that. It has Person holding One going to the vertical Three Mountains with a Rhinoceros:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0eLyQDQlxLJ316GHvGyT8HyjQFkdLormswlDX1SCw1Yy7OhyphenhyphenmhkZVRfi-BjpyU1uPHL5nbEzRq75CZ_bE28Bf4eCI_BXjSQ6TXe3NDW1LdPYRHRXpymxaGvdk-7AUziyt3pOvjA5WvDDP/s200/M1133+%25282%2529.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpeYX1oTOgkza-op32hTPTS4BBDP3ZRxdJyrHhjQLOkdtxxgwpR06j6d28BqC14x361HRh76Cw7YAowQKBLMGaehH8E5gQPzRXEfbsUpFiKdWyIq75 18RLMM7SKzYiH6iIxb6IMEo3bw/



I am not sure the transcription is all that great.

We will challenge this again in a moment. First the idea I am getting is this is something about taking a "flat" model such as the Cardinal Directions or the Horizon and adding verticality. The Comb seems to indicate this, which is born out in greater detail elsewhere.

The Medial Comb handles the Scorpion in a way that contributes to the dominant tetragram:



There is a pair of Combs text where X does Pinch to Scorpion, and, a six-glyph text where they surround it.

The longest text is a Scorpion Z phrase that uses two Quotes to attach itself to a Person holding One phrase.


There are a few eight-glyph sequences of core information. One has an ending pair of Combs, one is apparently plain script where the final character is damaged, and then the one that is mis-represented.

This would be the largest text to promote the concept. There are probably quite a few logic switches if we look at how "Middle Comb" might apply to M-488:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNu9-unFAwohJhqRtzHC5otEs6lvKTXcRVbkGyAm99WNPQvwSLyB0oLBXe4Wj0Blx0ZOpwLa10A97I5DdZxvQljdtTBZIPNhABgiBHtEl 44HaSSDpsWDRdf1_uGjYRgOFNShJfiIz_4Eg/w497-h640/m488Color.jpg



This exists in an almost entirely negative space from the whole corpus, just counted on the textual basis alone.

The Comb is even more middle by the whole thing following a Unicorn with Soma Filter.


In the logical sense, that says "Two" to the Copper Tablets' "One" design.

It is "Two" because the individual Person wearing Comb is in a Two text facing a Tiger, backed by Five Mirrored Swastikas. Here, they seem to be going to their Comb. A Swastika persists in the middle area we would probably expect Rhinoceros, who is also a Middle Comb. The Tiger persists, although it looks like it phases through Man-in-tree to become Tiger Chimera. The tree he is sitting in is the typically female Branch Crown. Elephant and Tiger are directly related in the Copper Tablets, visual tablets and seals, and the Illusion, in an ambiguous but recurring manner, via Person wearing Comb and Bird-face Goddess. Except in the Illusion, it might be Person holding One.

The middle face has got to be the Most Middle Comb.

The last face may just as easily be a Soma Offering as anything else. The ornamentation is the typically male Pipal Branch Crown.


That Comb is really a dividing line between humanoid glyphs which, i. e. as representing people, arguably have a reason to be drawn life-size like the Unicorn, but everything else is an abstraction that has no apparent reason to be human-sized. Its Comb looks serious, like a portal or something.

If it represents two sizes of reality, it also rotates.


Similarly, there are Mirrored Flat Crabs which in one case they are an error because vertical text in an arch-shaped composition over a multi-headed Chimera.

There are also vertically-linked Flat Crabs, which give an impression of being "pulled" up into the proper script line, and severing their umbilical cord.

This is also nomenclature by convention, since, under heavy scrutiny, IVC script has One Realistic Crab. Most of these others are triangular and elliptical shapes with what looks like pincers. We also see it without the bent or recurved part. It also begins as a set of parts. And so it doesn't work very well with what you might think of as a set of furnace tongs. It doesn't resemble any tool or implement. Perhaps it is a burst Bowtie or Hourglass.


Again what happens is when we look at the visual structure of these glyphs, it will construct the statistical majority of the corpus in a certain way.

What is commonly found with Three Mountains?


Neptune, Double-handled Mallet, Striped Mountain, Crab


having its own common pair:

"Rake" and Crab


Nindowari Damb has the interesting trigram of Unicorn with Scorpion, Crab, Harrow (Rake).



In another tetragram, Mortar-and-Pestle is with Fish and Harrow. Where did it get this?

If we turn back to the trigrams, it is with the Crab, in Crab Fish Rake.

So what happened?

In the tetragrams, the Crab has been picked off its "equipment" such as Rake and Fish, and placed with Three Mountains and something I call Neptune. This is a "summoning". Those symbols have not been used anywhere in this trigram process. They are what is new or what has been built, picked, or selected through this stack of statistics. Everything else is an adjustment of something already seen, except this:


Neptune Three Mountains Crab U-shaped symbol


The odd-looking symbol is the cathartic for bringing Crab and Three Mountains into the tetragrams.

We are talking strictly in the statistical sense here, and it is possible to find further detail, such as the symbol becoming the head of Bearer on M-379:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX6O77n0N1vUFPzg2cD7CX3wsMyHEbstA33rnwK2i92pCnlcyTEf_qjySoPcNsTGERGzMy9tWdRhr3uD8_y8W2kysQgbjl f2DDJ1Iz1BQ4YVxg4M9MXY6kb8hpkpbvun41nAxO9DBwwow/s1600/M379_edited-1.jpg



So we would think that is a slightly less-common adjustment to the tetragram just described. Perhaps more powerful, since this figure seems to combine two standard glyphs into a new one. The point is it seems less like a basic definition, and more like something requiring thought or action to accomplish.



Similarly, Crab spontaneously arises on the Half Horned Tiger:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIx7aT_qlF79eJb0AZASDUNP8s7ssdTT1QEicAxSwldN3pCMnrRDL157DTFSayeC1WMTAISsV37Zqgd1PbBdj2QKKT8735 zerss-QhliDnnitQoBWxzkR_y8wr_p-0CrVsEpMniVBUoUE/s1600/b13.JPG


In other words, the rest of the text has an origin within the Copper Tablets, but, this glyph is added from out of nowhere.

It has a low-level existence on Fake Unicorn B-4. It must have mostly external development, even though it is going to the "deity's fig tree" to represent palindromes in this elliptical shape.



Well, Crab seems to work in some way most other glyphs don't, with a bladed figure that has been called "Pinwheel".


H-715 is a very unusual Man-in-tree because it is not part of an animal procession; he seems to be with tree-in-base. It is a dual tablet, which gives him a personal text:


Notched Enclosure Pinch Flat Crab Pinwheel


Part of it is missing and it may begin with Wheel, but, it is a grammatical prefix and then what might amount to a personal bi-gram. Text 5299 states that the "Pinwheel" text begins with "Wheel", which is possible; the item is chipped.

If the "information" is Crab Pinwheel, the basic pair has its own Ivory Rod:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-1eHsBLTAHPlKy_Pg2HNbSI96SeKDpXPWKt5MYEHS0wVlD1sy9lwLKoDAQqb-DiEjclqoMqnO4YtOcU6AGLQvnCS2-gKjN7MTAiXyRE6Pmg9zNhMwNhu_ZQ8QN2gR9NvGznHGmIucTG8j/s1600/md533.JPG


a trigram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWqoyQjDMV3E1EcJfEe2CXNsCssBhyphenhyphenWqwtmuHmEdSxi9uixGb16LfxxuzOFICpAg502c-LxoP2XgqJIfy7Uunx8v11w5jAz_hDmSHT0bcaJ2f9Yv1IHJ2PZb8URVFvbEeJyUHp1bUbTV4/s1600/M1390A.jpg


Crab affects Neptune:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihqnY2EAe2VpehgdMI53-WjMSi8kHVxSdnbdSosEalfXCaZBfU86nYuL4bI2FEeutDjTDc-ABFkqB9ONxQcE6DdE1zbckpINmT9CFhttQOPxIwZexHpoJ26mPn8K8MTa155qggEb_c3FAz/s1600/L12.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOaGD5_TimEGyvuY7VufqS4tDv-l1FDz3bSUmbbGvQkJHOmiduzdVX86fzkn_T1d0uCZZpOYocHwEVvAJMEwV_e6R1EpWrkcxvOQ9ohlLhQkB-_KNNa1_SNIWm-3sUBo1LuoAsNP6OF9Hs/s1600/M1116.jpg



Pinwheel enters:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij7AFa1jH0FHA1P1V5a9KS61LZ_mE85gjwkM00z5Mw-97RpVjqd48AEG0yMiN6YdIGJlkmEYA24b38uA4lB3IpNXNVXfZE_SroBxTVC3fqacQFR9_Rb17rE1DzIBZ4bogtGIiQF95lAWwe/s1600/L2.jpg




It may be a lever, agent of motion.


That is to say, does the following seem possible for "entering the script"?


Here we see the ligatured Crabs:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5bdb1OpQWrYuU4PS64dmAtKxAEeoxdkgUAL8zaBcK6qXsOaV2Q4GQOUE7ptEa_tBHybDyQufC2AwmLL2UGa-n39CLINaMwc5vTJGAb0FmtjEoxbXI06fT2zZWcHDF38cSmAEBj_mZr5U/s200/M26_edited-1.jpg


Ostensibly lowered on the Rhinoceros:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6hpkasfQX5O8aG4etID5AjrdbjKP6e8YllXMVEX3Fn3jkOzJLI8-c3iqFnl7UvKQflhDoIMl-XEbP0Hw8dwV59VBtGTlRkaZoFZ9rYR0yJ9w030Kwa8EFiNjaF2e3zGAXBcgpgJy0390/


These look lifted and pulled apart:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBtT0mZt3ikFeIbQKQa5SyUOpUG09e7-oDqDkEH4mXBBSbI7nYIOm11W3sQF4YTxIBnuAzKzCOtVaJH4w901xls1kYiTx58oYDn7hQjlzNCSRgyH0ypKcjax4vWaklUZYx2H GdV3zetLXp/s1600/M63.jpg





That Pinwheel is a "high" sign is suggested by Cholistan Ibex:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Jn_PbXyTndWPFF4gwdqyDB8HQ56l5D3uCpkGhgbseMJL9_xzVHd1H6zot_uqQW9jZXI0JBIwLAEy7nvFR05qJMB9VYTH hoWukk4Lk7fkCPvR8eKqx0KZaSA4cu5RFTvxUeQRsTb6vMw/



Its association with a "broken piece" is as on L-51 under unknown:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaqJPyULUgLnqIikkjo1uVQLweM_PPwO18Lzh_0bgernZPt-104r7Hq-sSQIFkfXltcCMf7c_eItKDrJCcDqUMgLBEmCM4Vkj8VvSHNUzuwATd6VI3bs1B_wLfF1UrTuETojHrG7yQZv0h/s1600/L51_edited-1.jpg




H-386:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Hl3P6A7hS7coZdFMA1kR9760sWflqAP-y__dbpyPDh8POAQKdAldrgDlI3CbPX9gd2TIpStytAB9TtJN8ZdXThATwIiNjv97ggb-CMjsHYGHyD5qi2fRxpDiU1_Z6mZzi6XqME0pAF4/s1600/H386_edited-1.jpg




Along the lines of rotating shapes:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1DcLeA-rJ2RmmtIei1Kr-9gkTuudb9TT1sEBj-NslydSxzfWXwnFrgPt125qivxp2uuih5k47oRF95VysS0KOMWeIBQX3rWbUtxjkqy1buZjuJVhjf2vIVEK1GLckvhi-NjypuEMJmvbRWVPbAhY7kkoFJN-_kUrRuavWDUOaxzy_sO9Wq8ysD-cjdNE/s1280/Slide1.JPG


Having the single piece of grammar in mind there.



Mirrored Crabs with Notched Bowtie on a Kot Diji bangle:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSxl0OrlW4isngUhpJdTWf7utUIq2w9A6AqTYF7OKpYH3lM12hFve7use9Qx2hQIcGffqm9ass3hjSk1mrGj8XHjBpHZOo ow7NU3GAFpuyRvpwW9ZzSUkgkzq04JF6yQ1kHa77D4rml_54/s320/Kd8_edited-1.jpg


This triangular kind seems to have mobility, perhaps both horizontal and vertical.

Like the Comb, I get a sense of "verb" from it. These can be expressed more like nouns, e. g., "operation", "operating", rather than "to operate".



The Rhinoceros possibly explains "entering a box" by adding a version with "ears" near his ears on M-1134:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ghqD3-EFOqXTe9yy2esiL7GhsnjCPSIt4XyTXvgYvZTbeuKca3W_XHvVh9J_p7aziG1fz1Bp8u1aXwFXY4kYWlxIuzc92UfUFG0lvCCHsg gL2j5IkUP52u0DmpkUvQZhjoxYQbYisxg/s1600/M1134.jpg


because this happens on M-1106:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdiOQp0j3QAVCScTQGFXWc6V7SA9I92Licm_ZXLSk7FSTh3IPIbQcB_x8d8uBD-sS5U9YENVppTmtuvcdEBKzmlsO2ebXC-JlgR-vLwvklumZHyjYRtkuraEgWubtGXM6VjzjMuTmbI-gE/s1600/M1106.jpg


Is that how you get a "Caged Mallet" or Level Two of Soma? Or a Swastika?

I have another note telling me Bearer is excluded or sanitized from Two.

The concordance of Two 87 is very intense but there are hardly any humanoid glyphs on it. It has Caged Person holding One along with Person wearing Comb.

It has Chevron-headed Bearer 14, and the one whose head is U-shaped symbol 15. Over 341 texts, it manifests a variety of humanoids, particularly holding almost every kind of thing held. But it turns out to be in the largest text of plain Bearer 12, which begins with Bowtie 214. Plain Bearer has a textual evolution, but, it does lack something, Three Mountains. It has One, Three, and some other numbers, but Two is way out at its top end.

That is conducive to the notion there is a "sequence" to "going uphill". Moreover, the Bearer does not go there, but, the glyph is pretty distinctively modified in such ways that make it look like it is taking steps or changes.

The Vedic parallel is simple, Trivikrama.

I think it is mostly what it is about, and, again, it is not necessary that the metaphysical philosophy is Vedic. It is entirely possible the nebulous portions of IVC script are outright discussing Three Worlds. I am sure the Veda can claim a particular system of rites according to the year, while the language and generally approximate mythos antedate it inconceivably.

It may literally mean them as pointed around the Horizon, to the Himalaya, the Hindu Kush, and Aravalli, and use this again symbolicly in the spiritual meaning.

That will be next, on the arising Bearer.

[shaberon]

Bearer




This flows from the prior post very easily, because, for example, there is a set of tablets showing the relevant glyphs in palindrome:

https://sindhishaan.com/gallery/images/manuscripts/tablets1.jpg



The Bearer cannot be meaningfully "reversed", however the Comb can, and this becomes a subject of Allography, which generally considers the statements to be identical. I don't know, I would say it's the same sequence of glyphs, but I am not sure it's meaningless to go backwards.

Its main two archetypes or allographic concerns are both used in the Ivory Rods.


These Ivory Rods are a didactic and perhaps are even "unicorn horns" by way of being "pointers" physically.

They may in fact derive from what I am trying to look at next. They use two forms of Bearer, in ways that are each stand-outish.

If the Rods are classed as two categories, the Branch Enumeration is notable because it has Quadruple Branches. Similarly, in the Comb texts, it is odd that Bearer appears where Comb is expected, and then the form with U-shaped symbol for a head, inverts a rule.

They appear to tell a Fish story which is not all possible kinds of fish, but gives us a certain framework.



They have plain Fish in Text 7 by attaching Comb to the trigram:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3lKC9GSRbw7f8_YKu6SKKDLRmgopYSSxzhZJe72Rpace3RVhVWPpZsbC0sOaiyIg_YnlNJ6ESndBRPZmSs3lMQmu93_82 Xzfvs7ZefBlDm9wK0O0WGq3WpH-2iBifnYKD7PbKUlUeexKl/s1600/H346AB.jpg



They have Caged Fish after Crab Rake:


The text no. 8 is
paralleled by the text of the unicorn seal M-729, except that the seal text does not have the sign no. 88 (‘crab
with claws’), with which the text no. 8 begins


They have plain Bearer apparently replacing Comb of the Endless Knot tablet.

They have Caged Mallet beginning Modified Bearer Comb:

The sign sequence VII occurs on the reverse sides of
the tablets H-943 and H-944, the obverse sides of which provide exact parallels to the text no. 11 (M-2092)
containing a rare sequence of signs.



That is correct; it is a straight copy of a UII trigram.

It is weirdly exceptional enough, that it hasn't been mentioned among weird exceptions; it is really just using a "common ending pair", but still, it is unusual for a Caged glyph as a beginning.

A similar statement in the corpus is Bird-face Goddess Caged Mallet Comb, which is a bit more predictable. There is also Whiskered Fish Bearer Comb. You just get these particular patterns. The texts do not demonstrate the possible permutations.

There are two Rods headed by Whiskered Fish. Ultimately, Crab and Belted Fish begin their Two text, which stems from One as perhaps representative of Gharial. Both Rods that start with Crab appear to be Level Two of their adjacent texts, that is, 7 --> 8, and 10 --> 9, by how they are listed. Compared to Text 11, there is one more text that begins with Caged Mallet -- M-1923, having Caged Two, Frog, and Gharial on its edges. This clue is right after the "Gharial becomes One" suggestion of Text 10, and we find Two meandering in the periphery, probably making Text 9 the pinnacle of this series.

That sounds designated.

This is Text 2045 from M-1923:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtRht5Rt5kS3WZ659j2DwGJ4fuiUW3dVdFJvrJwxt9JLOkNq-hw4ISEPgj4KMJ2Owe0H2WnrB2H65lvSQrOX3oohkabDqg3W_JPu-eLXdozllaK0SrOB80RLqzE85vVRuTBuPYANfx0ls/s1600/2045.jpg



That's very noticeable.

They have a more basic parallel.



Bringing One and Spear from Kanmer Donkey.

It makes sense that Fish Spear of Text 7 is input for the Caged Fish of Text 8. B-3 with Spear and Fish-to-be-caged:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgodhqRmgIjdS8an9EgpHIgkc3D_fszimhMm1aSKuMq_QWC-4PmE_b9Ky3GyIx5gbkiurOhoUkQ4DokELXeqa2Y7cnjwerwGemibf51bX-3rnZpPOYk0yfC5V_6MYFxNw8H09Waq4xRO4Ke/s200/B3a.jpg


Comb could be the "verb" of that. Here is an application on Tablet Rsr-1:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhizbMpLmHIRw8IgekY6dskUtS97nG4V2pL8LZon6npO1dqyPoFjSTiQxlh46V-fbmKWb4gkwlt4mWKKlCqyiCGqLILnzSqHi7qKmYIO5m46TBYHGj7qpBSGRKgqY7iTNl0xkd9nZPw83Y/s1600/Rpr1A.jpg


There is a difference between saying "the beginning has begun" and "the first part is complete". One and Caged Mallet H-67:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjquyJJEleGpWBbYPgi6P5Mz5713jExn-9GYHPJzA-oDDGBcwCwVBjTAIA48uR9qGvRVafpR3NmRS5iXKh0pKEk56tObiKycWS7QzsHx0cvyyr2GY5pPtcI0kv65eJFV-NO_-5DpQZoK4wk/s1600/H67det.jpg


It's un-elaborated. There are these very basic statements using specific adjustments to fairly common glyphs. I would tend to think the low-level seals are fairly congruent to the texts on the Rods.

Now, I noticed another negative space which I believe to be cascading with material.

From studying Sign Design, it is argued that Bearer is not a compound sign, that it is not like Person holding U. That's because you find U as its own glyph, and so you have a result of it landing in the hand of plain Person. But there is not a "yoke" that exists separately. This isn't any kind of object or glyph that a person has picked up.


There is a Tau with Enclosures which is already an assembly process rendered in detail by multi-faceted Prisms.

There is also the Chimera glyph.


I think the Bearer might be both of these. Although it tends to have a fairly clear humanoid basis, there are some cases where it does not.

For example, Armless Bearer. You could say it's a compound of Inverted Y with U-shaped symbol. But then the erstwhile "yoke" is not really that, there are no realistic arms holding any particular kind of thing, and it will definitely show itself as being involved with work done to A:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8h-9hKMs_uAXaztj0ZKwvZ3-zch43LNxXaSrBBXqL11e-wlIWt_zc4wswbkeHh9aFspV21sNDhXOwOpEQiJde01XrVqC0TmpUuMsBXVNkO5MVYnxn5JCBkwRlUhe6LAQU-9QLZ0_Vl1c/s1600/H143.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhcBeIUYLKs3_Q2toiM-pyXiFzt0JRFOGcAH8p5ooV2AnWx_TuRcpvCC5tkcGYWbDt95KKp5Huv7ysc1K2djjsTRVG8vDfITM7EWu3oCly1acuuu30PgzFtu _sPNb2EKpCt34C8bPoUI/s1600/H146_edited-1.jpg

https://www.harappa.com/sites/default/files/styles/gallery_wide_slide/public/slides/1_5.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOXXo6e9NYxXb-mHmI8iNoR8Bx0RGxXGnugyp2sEiMFs0WRDmUX8GuIE7FH2-LJfGAp1xk2ECUtE9KbznEwvPuAMa3TPqlgYByWMikt3mzMNDghqkBjpCnQL0qu2Kdz8rSd6nWP7s17vM/s200/H58.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNEJqaIDwmOhoB5f6aQG5pRt6isLcrLpEpn-wCWfkPg18B-96b_SJuofOHOvNRaLHsjwNvyuIy508X_0rNLbusodtTejQI25u9lZJajIP1O2fkOE1COhyphenhyphen3gkzPut1OovqnGX50kKj 0Yyb/s320/L16.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRXCdOFsh_cSoMqeHBlC7X1AoyVnqhBNseXGhuiwJ6zllQKzp5RkFnPZBhI0rfQoryUmx598ulnC756yuIYmDoGkmEx-lW5KpKVDmZGVF1l0Eg3-9fhKzXVMfej5njL934BBVoQIXBt3Lc/s320/M1372.jpg


with five-rayed Mortar-and-Pestle H-228:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXcMOpUiO3B1jXittXwSia4YHHyE6ADp8_EY9gv1fzmhlFEc0eZNidWx8XV3CfMQHxRrUCrOB_RCZ8c6gk3K0v8LKzvF-Kg1nFafF1ZKmIOb5HB2JxYxu_BJv45QyyKel3SWNjxjiu4BM/s1600/H228A_edited-1.jpg


with four-rayed U M-1091:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8vq43KfJbaBafUZ5HFfMXqQOa6uMqio7rDSCJuk6ofW6wrJFm34XtrmQgzxYWn73gDi7QxKnfBqb3IhqXLz8m-uOWuZRLaszQ6oYqjsbW9_3cDOzj-YvTVTsDA9yXpbK-XHzgff-_WVjk/s200/M1091.jpg


with five-rayed Fish C-21:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP1jbYdnrbHyEeq3aNnITDWbEVeLCOGOLGDQ4s41NHLeSS3jUhZMLranBUbBimvLzvfJqLyIevOwvgfC3FOMBYGpsEF3kP 2lmOmqty0wPssHyEmfwhtMQODlBEHLMpr04u7ugibhm6EgQ/s200/C21.jpg



Alright. But there is something that looks like an IVC stick figure that has something vaguely similar to a yoke. Here is one with Crab and Triple U:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-CnOgIkcmOTb2h8tnHH9m08tewyEOf1amo7UUDtwd-tcHel-vPlAivCDFfcemWuc0AEoAVMnwbN1O7HmU1Gs56C-D16RbdaMbZYZ7xe12PZVIfPsbwunAwTZtMO_HjuU_Ucqcjnz8Nq8Z/s1600/M495A.jpg



A similar phrase will plummet us right back to the multi-faceted Prisms and problematic transcriptions:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_D-Y-amJFcaiadE3AXNyCWRdxgoKx6ZZhrhnL-U4_jlUAcfsxGlOpw_s1c69owz0PhyYBsnuLMxucTe314F2qhB-tH4Bv_W1ltMhK_ctJR-TcmvLUHub9D7H1raEcHbRy_nbn4tUFQd4/s1600/is74.jpg


Part of the problem is it is "Snowflake X", as perhaps implied by Tiger's Kiss:

https://www.harappa.com/sites/default/files/styles/galleryformatter_slide/public/images/chanhudar0-LI.18.jpg



I think that is a lot of stuff. Plain Bearer is definitely "bearing" something, I am not sure are pails of water. When the man was in the tree, there was an "Empty-loaded" Bearer.


Here they are possibly collecting the "parts":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdTZLr99pRkSMjTF6paPUin56j-80FuFACZURB_b1dzObYwuHwyN6bCQ8wJlT7-qTMfm4Juxgi3pZQrqrQgv4A2reiSC3HbnvUMchWEDvpdg6ZSGuWoOOeA18kLP-a5n63UncfMNJTTdRY/s1600/C20.jpg




Other times, having a Chevron for a head, they almost look like a set of scales:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFwsZBewB2yC9GBaofnA3j2dpdNCX0Y3l47u0O-CGRs0AmAq-vfXOWtI2J1cd43AybRByuBY2oWEaExjZNaYzIPit17RLfQINm_pP0hnXO-wADc4NAz_wioTlbMy_R6qBzAR0hWRoH9YU/s200/H57.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7u3Yv9EVkYNp16pkTyr96i685JAdIClFBX6aZSMJ42uuR9PUbMRKALAsu6zFlEhxlXuHjCdFHqtq2A4oAxn1MXmuEeuHb hCY1BteWu6FTfOYMp5gXGwqV2yxbAQrhVtxm3NaAByu4IvRT/s200/M813.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2cniVYeAeVt-AGd9Y75VuvEh4mmSd9N19aVt5ynsxwGif-LwLt9srsDqXLAT2m5RorTml7zHPnLvmgtTq41Eee3gWrQewyu4oeUcnCUEIP4-BN2VEEu3mLCFxwrbvcP354RIoCnpIBj95/s1600/M899Wy.jpg


https://projectavalon.net/forum4/attachment.php?attachmentid=55865&thumb=1&d=1756607079


In this guise, they are able to commit wrap-around on H-103:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqtJe_oST01GudgGG2oz0ezTj12k8FbJ3LqsFuVU3L00GyVhIFvwamQcYVuektCWCPeMeAY63CFphmyzbiMwC2wS43JgUG fSP95juwjvvVbIELZ77wWjr1HidvPvGKwJyIY_rUqG5RnqU/s200/H103.jpg



It makes you start to wonder what's a Y or not, while it is true that Y makes something close to Bearer by evidently lifting the Chimera glyph:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmmImzuAmILgbDZizzxIFhnW1thnJ5lQ23N8rLsK3Q9XapbrjWRdO0LkjlQHWnRyjHb0ZXnSaiHER9Qvvs43af_0WgIBjR UfOSV3dLeAxd79-hT3yrOAfdBj2Ey36B7b9bdEeDxt1378U/s200/M101det.jpg


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY4EUvCig1SBesjBj5fW0Fwz1jaxME7pNlKhjDHBnoosR3vZhIcO1CseTkBcz7U-J8TGz1H-gg6EK-8yw0g_HvbEU05oy97j54mwRcaODnCmvVyW8cf_3okiU3iTpzblzIIdOQf7oSsKE/s200/M675det.jpg


including a case where it seems a little bent:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirLJ-osQYhvWbJ_kbNw1skQegrFTRzw_o2OCxp4n5O2g1l21Bl_2zwOxCBvZMuHNMY5m2uSWFKK8GVuxb-8n23iKf2s9kkB7v8EpREKb8KaT6hbYDxGPXWawmQNXDqmOQWmhLXKiq2s94/s200/M1159.jpg



And finally it does appear to acquire the full lesson from the multi-faceted Prisms via Human Markhor:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid7bTGbhM6Ynysmr5IX7SXLiSzJi_NY4g9b-pEDYaz7OI1wLTeNcIybwvRhB_1A7U9Mm8iDCMW02dNhBkv65Ae4AswPqCpN-HoeTjxZYuepj9mou1z262HYCXMEZWiuNi0wy6zuud-xHe3jMAmKJrC25T18BruA9istmXJaJ_t3_vypVbhUgRyKmc_/s1280/Slide8.JPG




It may be that Tau with Enclosures lets them sag, and this becomes the actual component of Bearer, as on H-455:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynO69j-ynTx20ZnRpPT5kIygQLZ4lz17I3IUo-22SOIFof7gpc3KAUJJSrkTv60Q5uCwMJs-CxAlOzU5CveHcEdtypbgbw-tgEmIVWvoRcswsizAJpzCyfS4dkNux1rMIcUtSu3k9dsM/s1600/H455.jpg


And then, such as with Caged Person holding One on M-130, it may be this is not a chevron-headed person with square arms, but, a normal stick figure with a "table", "toothless comb", or "yoke component":

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxoHakOi1RB3UmBHlkTFUJcUvfdLdEYZ7MztrX9jxdRZxIWj0gai9vOZeuvK6iGpuHFLejR2A3-8wvVQBkNU75h40S99bI2mc7d75g8eUjETo0sDM9_GPY2JMZwksRXMH9zLRqNVe78946/s200/M130.jpg




So, a lot of previous scholarship has been spent on trying to define the "variants" of Bearer, but, the sense I get is that it is subjective, is "you", the reader, or learner of the message, whereas other humanoids found as "characters" are the speakers, writers, or source of information.

The chapters of information don't quite go in a normal linear order, because Two is very weird and strewn across the corpus in a minor, selective way, whereas Five is weird but displayed with technical excellence on objects with the Most Faces, as well as multiple texts revolving around some kind of yoke-like assembly.

[shaberon]

Broken Spear and Gamma



Something is going on here, almost like a game.

The IVC shape of "gamma" virtually replaces Spear while also invoking its "components".

That is to say, most of its texts are pretty similar to ones using Spear and other common glyphs we have studied. There are certain exceptions.


One of them is like the two Chevrons of Mohenjo daro because it is almost always paired, Chevron over Quote, or a slightly disassembled Spear 153, which at its lowest level is with Hook-or-Crook 127, which has numerous copies as a solo glyph (seven), and, a rare instance of Branch and Two.

Gamma is certainly not Tau, but, also appears between two Enclosures such as M-777:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi738M2ExEUTgK3J0N1WJBdYcLFms_PaACyGMdKSYSTwHCuI_hv-PypzDko_AesRUwYl4-l2RxeLxt-iTLY5RNdXS2GxafQQGecNA2MPDAionMDwQLu_BcwAfVTpYU1fH94OMPqdUv1-eI/s1600/M777.jpg



One and Chevron is a common pair, and, when "stacked", this glyph has a high proportion of doubling.

As a pair, it is found making a trigram followed by "U-shaped" symbol in multiple copies. This may be "subjugated" by Notched Lozenge and two "Quotes". It may also prefix "Rake" -- Fish -- Spear, and be "subjugated" the same way. M-650:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iZnjsd9HQip44F-FmR4Kr_2HEub1t9mV00-Tg0INGLOCA6-JHS5FdDjO0zkn9jXxbBZssMsfS3czjZv98jKGWZjaJP_AIJO4ohqVxjRrtat0nM3ryYdYymxmKjJ4TweH0Rws4uD-44fA/s1600/M650.jpg



A single one works differently -- it may be an initial or final sign. That, of course, is a perfect example of why the same-looking thing is of two kinds.

It begins a Unicorn text that runs from Three Triangles to Caged Dotted Fish.

It ends a Bull text of Chevron-headed "Bearer", Pipal Leaf, two Persons with "Rake".

And it begins a long Bull text using "Skewered Chevron" and "Five". One might say this glyph is the First and Last Bull. Or, Pipal Leaf is archaic, Five is a significant development in the script.

The pair also consists of the subject of a rare Sky with Three Rays 199. It is interesting but right now we want to mark the use of a single one, because that is how it works with this next sign in its only basic pairing on a Mohenjo daro Unicorn.


Most glyphs are uncommon solo, and usually have one or more pairings that are repetitive; this one is backwards.

IVC has something like a Gamma which has been filed under Adze (https://bharatkalyan97.blogspot.com/2020/03/58-indus-script-meluhha-inscriptions.html).

It has an affinity for U-shaped symbol and Branch-tipped U as on H-101:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoUdFp4E3gfa6ljRprfOV14NslA_1sl8qgylsz-NpBqDlsgBzKSmX4xlYX_RFPhCh5C64CmG5bcYlraidIlUl-fiFXdpG_0xGZn1RqfUbhJ5PbKDpmjln6P8h8L0MV_CpazLMdf5fdIvA/s1600/h1015069.jpg




Surprisingly, it cranks out another Crocodile testament, something that has bypassed academia but is statistically detectable...like the others.

It is used on a Gharial with Fish Tablet where he is a Middle Comb.

H-705:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUMNMt3YW9uW48wwzr-hijvXlNdpc7QBdNJHIF0ZIdqCCsrnJ8C_njfgRUkRGlehFMKT8xmI05Rh1y8X6hd9yIcC4kzO7JLE6UT8jeZy0YeSB2QxKuYa5xW 0lBjJHkYscErd1qEgbqcLI/s1600/h705A4337.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY4IWuzNYyNlaX_1Gxv6RMB9KYxWT-15ovIlvpGj4IXUjQKYe8svkBEyuxSsAg5USOM2-EnRSFawIPeEai0roPvTDdsrPLkglrL8aGHUCNJAyEdOr3qHIsiWkjL3blDPbRSJe5RXxD5cE/s1600/h705B4337.jpg


H-172:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRJax7ma3-ymCM1nHs6OcMBcdV7pWokHfh05rKccn69GoTuuXPjfLVVGxRv6jO6UheEEVzlXO2o_O6Xr0llZyCzCl0URopan_okuHZS6Bn1MxM FD67xaSMdhU6oEP8CPymf2ZmcwDFYhk/s1600/h172a5305.jpg

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZVsIL_S3BJV4M_cGB-OlvJKdLlWRf8RjprY52j2JjLRG9nQqUTU3h_WhknrUOzOZBvw7BJYxE0WkEiMpc4of4wwmPQVQk0XrltfOGq7WnJ9fFlhLv7feBq 1KDgkML8r9WSvyDR_opV_w/s1600/h172b5305.jpg


That is near the beginning of this concordance:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3m6ysOuK8xadcqBwuTSvRkjjHtuKKZ3DIYgT4swVKmGlaCYVR4mwf73UaBFVz8_2K7h6kdgT1zTuGrxXlJvMgamhSZ0tP Ev9llvV3mhwjILrShD6Ol3Agf4Jx1RRxDLxIjEp1DWrCaQM/s1600/adze4.JPG


You can already tell that Middle Comb is a bit unusual.

Here are some Two statements and Person between Neptune from M-1057:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXVQfqZyFt-GqRH1NIk8KWy0SaxWjOGQlfs7AzP945JKEQLOtxZYb2JWSqsIH8b4BSiP2exflgXCu3CboKyyHVKsapD-q-gZZv8eh9v9Tjkv_tUZf7slK_Y78mDTuLN4fykmHi-MZWpuk/s1600/adze5.JPG


Realistic ear of wheat on L-45:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLPJPur04Uoi_COv6wjeJDbGVxO1MwlerCbNJA-_cM69SkzV2LyJ_p81tIPIzII57u6_GNMI_yPieG1iVslVrYMxEpVhOU6X9pBKt8pX2bDCVQZYTx5ZQ-R__U40fKlsvub6HSRKkMyBY/s1600/lothal45.jpg




Three and Wheel:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU6lP2ehO_RCCGIXQveiGYTL_qMQi9rdtafgxELATDeNOdXAD02lTTg0LJuJIcqBAiB5gW_QyQrcS_B6XXbEuEwSxY98_p dP2Ga3c_MiMVhHY7cXf09SPxH77sLFUmJzt5Be2puH7OIxs/s1600/adze6.JPG

K-23:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbQPVXsK-ZLlbQFp5NixLm2DH2y9VDGK8k2LMAzPMpwVAnJOVP16bFnt3NM_XVzPQWzDMp0aCyoVpY5qpyhzjbvjCMU1ecqeEsGf49evoe5Gm _q0vlAdr3TDPSQljJ2RoEu7lqAXmtA6o/s1600/kalibangan23.jpg


Paired with Broken Spear backed by Tiger text with Three Circles:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_lde35A3OMxhXsPrweuM4J_u29LZ4Q6LoYoRXjzxexdeK_CjE9pTWgWzc_w6fh3PGQrknk8x8jBPtWbak1xAnH0yW5qOJ HJwJ4ujCcRKNU_ot-SYeWg52S7ruLCgDsKZd-BmLqNrULSA/s1600/adze7.JPG


Text 2601:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM7UsLg5Udxebu_HShp_KAB8M_DKsGq24-YrKXSk7KNA5sYounx01OXyxd9wWKrBm0WhPpbiz6BMdPchKscwrWtzF3JRLrjeGalqfKjL9508oLcRIx9SaeaF5vIv_pj7Nv461U yGCJqS4/s1600/2601.jpg


Note the "realistic ear of wheat" and Striped Horn on K-28 where Gamma is terminal:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji8CL4Q8QFjlicnoCVqDV_DdO_5NuQyKKKFcg7LPufz_mtbyfFO2-Nxtu5LlVlBsAYe6Y-bZCXQiVHTvu7yl3oTfuW1VhrB56dLpJnNA0o3CTUK-5NNodsmL3ke4oGlhiPpB6bhEBCRG8/s1600/8038kalibangan28.jpg



Gaur CD-25 in Unicorn livery with Two Branch Gamma on his back:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkGFLzs9-roZ3DUzeS_RKIISmWcIls8leLm0sfFt53XJHLVFFBMdMLPc6qre9FCF7a6ZDGdETOH_FTql6V0c-VULX9owPWgbQz3VYbwRIvYqCnWmUigN4ji861dg9VqrTrbCK-QT8BYZc/s1600/6115chanhudaro25seal.jpg



That has all the terminal Gammas in a row. Another one is an undefined text from Chandigarh; there are three that we can determine. Once as a basic pair with something that does not like to be singled out, and twice with unusual Gaurs.

Terminal Gamma is weird like Middle Comb.

Maybe it is taking apart a Spear. Maybe that is how you get a Chevron. That's the Fish family about to be shown. It has already used Branch with Chevron and U with Chevron.



Caged Mallet Gharial text, sloping Elephant text, and the third Spear in this whole thing drives the "Adze" between Enclosures:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZMMvHeyvf29Ch0dDvbg7V-gj8xYnT74gZFST3lXK1sRY-Z_jTxBFJdQ9yNSVxRdaaTlGycbEI2T8WNAPAKQabE0W6SExvc3Oo46nxrVvDHF6Wh2Vz2t8Hk_VZl-fqoThNSPmwCTmcgiA/s1600/adze8.JPG


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNSQznMlAD-_9l1gj5z6ElokCPs8hbaA3N3qaQ0ZU5QGXtgaLvvZvCrsnwUH-kPngx4JkjfwE0uRsWWaC3yHTKR1jsFZfhl4mrmuXUGcrRgYgVgIirZ5lSTY5n2v1KTVkOxQgd0YHKDj8/s1600/2536m777.jpg



notched variety:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5B4f5I2Y1RaULRO4IC-J9UZ9gzwhxlc43kzgHx8QSy5ufOVvynBj2nXyuZFM-N0CDeJFid3zglwLG_Ob6iMeBEevgYvXNAUfV4MHiTEIV1Zk0GdUXKka0yVMQlnNu1t4EpmIkEg6D3HI/s1600/adze9.JPG



This Gamma has certain, limited uses of Comb like it does Spear. Its "genre" is roughly similar to theirs, but it seems to be taking their role.

What does it seem to have that is a little different than these usually common glyphs?

Numbers One and Two.


If it has a limited use of Spear, that can be found with the only pair of Carpet Rakes on C-8:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgayqkjCZtKTp_gecmXMcxVMO62xyuG0L6ZzLUFoymsT-yGnWH_vjqAEHvOmfc1o3ofpa4da25lBeSAkzd5ONjab6-CXgNXCmPIneFn494ywThjJnf0sazTBNjOaXRQi_f_eoYKOsJmL8/s320/C6_edited-1.jpg





It is suggestive of the Tau with Enclosures that goes around with Five, in one particular text with Spear.

It is correct there are horizontal and vertical "Posts" associated with these. Conjoined Enclosures appear with Dots, and also with angled Slashes that convey an appearance of rotation.

Almost as if they manifest, separate, and rise up to form the "Bearer", as if he were an extended Tau with Enclosures.


So, while something seems to be being built by round shapes, it may be that the "Spear" starts intact and gets taken apart. This would be consistent with the Donkey not having a career as an icon. There are a few examples of Broken Spear, however, if these parts were strewn on the ground, then we have a pair of One and Chevron that is obviously important from the Dholavira Signboard and Two Wheels. This does seem to have its avenue of possibilities.

It goes along with what the people were physically doing. Kanmer where the Donkey image is found, is old, but relatively small. So it never has a large collection of seals, even over time. In this area, is a relatively "new" neighbor, Khirsara being founded ca. 2,300 and going on to a large size and technically superior craftsmanship. If we think the Donkey image is removed, possibly reduced to parts and inverted, but at least re-appearing in glyph form, that happens here.

A fully intact Khirsara tablet will show a completed "Donkey glyph" in a line which may be the remaining pieces of a Broken Spear, and, its associate, Three Circles:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEggRSo604O8q_XlcdQG3fUapWkPPlbMSQ3HSEXUQ0dIjrwRGqbKuHEupRGdNrC9x2gCoNPoeAJ5YyIHBAaVH95y4kYSA 1SezVKYpHHGcGGul_ZuyVAoKA_GIyJ8CLhoU8MfTLXmmQdc/s1600/khirsara.JPG



The companion glyph also has a form of bisection that seems tangential to that of "Enclosures":

https://www.boloji.com/articlephotos/a13273-3.png


but this plain Three Circles is a dual tablet M-324:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCsN9c8-EIAAhgG5zCUDeLNA6_-Wbnpkuh2aHahzxcf9eNL06rvqsM8_XUar7fOdwZibwjs8h3OjmLo-bFNwozP2EbtHwSAYZm48IRgNg6-sS-AQXqQFShbDH9gtVmaDWMMQ0mgmw8QEj1/s1600/m324.JPG



M-1927 is the same except with a Zebu in place of the Unicorn; M-436 are the same as above but sharing a Branch and circular glyph.

I'm not convinced it "is" anything but quite possibly an origin of round shapes in the IVC script. There are not many uses of it; 415 pairs with U-shaped symbol, and makes only a few basic statements with a simple numerology. It favors One and Chevron. It also has Fish with Chevron, and makes a couple of Three statements involving Tiger text and Bird-face Goddess.

Person holding Lozenge 30 uses Rhinoceros-horn-on-a-stick to connect to Three Circles.

The circles are also found between Posts and Skewered as above with Bearer.

From what we posted on Buffalo and Gaur (https://projectavalon.net/forum4/showthread.php?129773-Arya-language-Indus-or-IVC-seals-and-script&p=1674733&viewfull=1#post1674733), you can immediately see Fish with Chevron heads the common Comb Trigram on the Big Tree with Gaur clash, while the Wheel and plain Person get to Three Circles on a weird Buffalo with Trough, having the One and Chevron that runs throughout a wider panel of literature.

In terms of the glyphs, that may be illustrative of Spear and Three Circles being taken apart and re-purposed. It may be telling us what a certain kind of Wheel is.



We see a Striped Horn in a Gamma text listed above. It has numerology. Striped Horn 205 has the ability to append itself directly to Tiger text so there is Three.

https://1.bp.blogspot.com/-ryv4nI7ey8o/Xk9Kcg0lbOI/AAAAAAABrRU/EsZuzwW4TxwxHL9qeqrQVvZfgqogWH77wCLcBGAsYHQ/s1600/3079%2Bm1372a.jpg


Curiously, Stacked Five compels Bird-face Goddess into a Wheel statement, and this comes together on the multi-faceted M-331 with Skewered Chevron:


"Four" -- Striped Horn -- "Stacked Five"




which I think is representative of packing a Rhinoceros in a box.



Something like that seems to be a "genre", starting after Spear, and ending at Five. In some cases it is hard to say Gamma is making a creative statement, but it has structure and individual character.

[shaberon]

My perspective and the way I do things has changed because a good friend of mine passed away recently.

The reason is how truly splendid his personality really was.

And, my friend was a goat, in fact my first one, that I nurtured and hand-molded from an early stage, and he was the perfect response or reflection of the input.


And so I am trying to repel the enormous tide of grief by remembering exactly what I knew, which was, that, aside from a problem, his suffering was quite minimal compared to many animals, and he had a spark of zest and verve that was superior to most human beings. I ask myself if there was a person who got that "close" to me for that long, and, I don't think so. The more common feeling here would probably be what some people know for dogs, and, I suppose it might compare to a dog I had for about ten years, who was very spontaneously enthusiastic and affectionate. I had the option to treat the goat like livestock, i. e. mostly ignore him, but instead I invested my time and he liked it.

I feel like I should canonize or beatify our goat, because his integrity was impeccable, like a saint of friendliness.

Moreover, in studying the root origin of Vedic Sanskrit, that defines it. The Arya language in their reckoning is based in Friendliness and Intelligence. Although the goat did not use words, he was perennially present in these capacities. He "spoke" it or rather lived it.

As a personal spiritual reality, I'm going to try to keep *that* in mind rather than being gnawed by the passing. It matches the general idea of Agni as Speech whose vehicle is Ram or Goat. Further still, the IVC script appears to support this.

It chooses to be low in realism in that there is almost no iconography of anything normal. But it does use and repeat one thing that is, Goat at a Tree. They're not trampling it, they use it to support themselves to nibble leaves such as their height or length will allow. I tend to think that there is an Animal Heaven that may be relatively difficult for most animals to achieve, but in this case I believe our goat would be able to reach this state, even if its appearance might be just doing that around our woods and occasionally talking to us. I think he could be like that peacefully, whereas, even for most of the other animals we have had, it sounds ambitious.

The IVC Goat material may be true literally and objectively, metaphysically as Speech, and even the after-death plane. That is, someone like me might have had a goat like that, there might have been several someones, this can easily be a perfectly valid understanding.

The difficulty with making this notion go away is that the Markhor is found on most or all of the "deific" scenes involving a kneeling adorant or person in a "shrine".

It's consistently not anything else, and appears mandatory.





There is a Markhor on Arch Goddess H-177, presumably the same woman on H-179 with three plumes or three branch crown, under an arch.

H-178, however, shows a transformation into lady with goat horns, who uses the Hoof-like symbol 341. This trigram next adds Fish with Chevron.


The Arch perhaps inverts to become an Empty Niche under Six Yoginis M-442:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigX_wvMAQ46Hw0EVMmSduwq2EnT0rNZCGSUMMoANVEi4HvqSn8z5S2TSozdmUzJg-CLFtD2CX40noww5D4yawXJ52yw4IwYW0Xq7oGa7PMLWXI5QzG5Dk3RkJocK4TP7YKNmEuxaeLe9gG/s1600/M442.jpg



into which a Goat-horned Goddess is summoned:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhATIfJ_qjaXKuRprLc3VR6Efp3Hhkdg2fnfQ1B1K1nKZhKHkz89e937J0CHCj202nImlMh9pVUhJnDhcCL4255G6qBj-iCDKgtx0qIeordp3diCT2NO1OYy6MlpoJQqApC82lvt5v0qsBA/s1600/ScreenShot632.jpg


The horns appear to set on Tiger Centaur.

When the shrine occupant has Buffalo Horns, it seems to be human markhor who is there.

Zoological Avatars says that in examples like H-1951, the Arch scene does not always have a goat and the participants are not identical, whereas the goat is constant at the U-shaped shrine where the people are the same. One's own ghost?

It is also noted he appears by himself with no script whatsoever to do nothing but display the turning gaze:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRnCriA0qQR6-z6ynMMh6uJ_Dp-ohLpSPrx1_KJ8mGhyzRvX93xZbpZ-9GkRiCB4XyHAIRLzaC3m2ci9vBvlv85UqQWdsWakzuzlMUYH6n1xWPxTyKwP3MJ3wsZdxCMXwdhbi-ohsKEZYA/s1600/Image48.gif




Such a high grade of goat as companion is with Temple and Two Wheels H-176, where he has entered a close configuration with Hare:

https://blogger.googleusercontent.com/img/a/AVvXsEgXQ7BI-BNhYLkvl8uaoBKw3eGhFtwp4LHPpkJkDQ7CCwWDOy41vL5-JtplMJGfSNBLMXDD-Xcn_BbNMlenNGjJ_SMiJi0GdOJfwLgyP8hofptEgEBAm8jXa4SP-7UZq3k1NFuLMpHzgNyNVVs7P7a3c5LRFwRDLXkXDNwIyqEk1ICobFb9lt_t1CEy6Q=s295



That is odd because in the Copper Tablets where a Hare is featured, there is no complete Markhor. There are only hybrids with Unicorn and Bull.

The external Rabbit can barely be found to interface with the corpus.

Here it is with a Goat who is in a mirrored situation with a Tiger. Or a parallel situation on the opposite side. One of the few times he does something a little weird, entering a box or some kind of platform similar to the peoples' "benches". Aside from furniture, it is next to normal, since Rabbits really do run around out here in goat country. Or you can cage them. I did not like doing that because it turned into a meat farm. But, yes, if that is your purpose, both of those animals are dining delicacies that are not all that hard to propagate and produce. That side of the picture, to me, at least, looks like an ordinary livestock auction. Considering the person in charge, that is unlikely to be what is going on here, which might be a description of one Wheel that is not really a wheel, but a glyph having that name.






If we turn to the world of words, Vedic Sanskrit does not have a proper term for "goat". They give him the Divine name Unborn (https://www.wisdomlib.org/definition/aja):

Aja (अज), Ajā (अजा).—This is the ordinary name for goat in the Ṛgveda and the later literature. The goat is also called Basta, Chāga, Chagala. Goats and sheep (ajāvaya) are very frequently mentioned together. The female goat is spoken of as producing two or three kids, and goat’s milk is well known. The goat as representative of Pūṣan plays an important part in the ritual of burial. The occupation of a goatherd (ajapāla) was a recognized one, being distinguished from that of a cowherd and of a shepherd.


It may be a confusion, since there is the verb Aj (https://www.wisdomlib.org/definition/aj) "to drive, impel", which has a few stray uses such as ajatam (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830202.html) in the Veda (similar to "nirajan"). The difference can only be found if we find the stress shift from "drive":

ājataṃ


to "goat":

ajā

ajaḥ


It seems fairly clear the goat stems from "unborn" or "a - ja" "no birth", since, in English, you would have to be born and then go backwards to become un-born. But we use the same prefix when we want to, i. e. "a-symmetrical" is not de-symmetrified. It just has no symmetry. The meaning of the name is "eternal", self-existent, not a product of parents. As far as I can tell, it is *this* which is tagged to "goat" as well as the deity Aja Ekapad.


What the verse says is goats are the vehicle of Pusan (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834336.html).

X.26 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838783.html) says the same.

IX.67 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837940.html) is the same.

There is even a Rishi named Prsni Ajah (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838130.html).

They come up as an unidentified "tribe" by Vasistha (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834701.html):


ajāsaś ca śigravo yakṣavaś ca


Primitive man (the nineteenth-century translators) believed this meant three kingdoms, or countries, or nationalities, someone we would find on a map if we could find one old enough.

At face value, it says the goats, horseradishes, and demons made offerings to Indra.

I, at least, refrain from putting a historical context to that, certainly not before I figure out the main one.


We definitely don't expect them to understand a Funeral (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838662.html):


Thy portion is the goat: with heat consume him

The unborn portion; burn that, Agni, with your heat


ajo bhāgas tapasā taṃ tapasva taṃ


This is after returning the eye to the sun and breath to the wind, this happens, and the person enters the spirit world or Heaven.

In meaning, this "ajo bhagas" is pretty close to the goat of Pusan. From churning those references, I see repeated references to this pairing, and nowhere it is particularly obvious that Agni is linked to this animal by name.

The problem here is post-IVC, in the sense that Pusan was this major Vedic deity, and then in later literature he is relegated to a minor (and weird) role. He has no Avestan cognate. So he is almost purely Vedic in the sense of being the main guide on the path of the dead and having a goat as companion.

That leaves it where he might be in pre-Vedic Sanskrit. That would give us a difference between Iranic and Indian goats. It's the same Sun whether seen at the Hamun or specifically named Pusan by following a particular belief. India already associated the "goat" with the Sun because the Ibex is still a goat, just a slightly different kind on older pottery from the west. So I would think this matches "input" with "local variation".


It almost seemed like there might be something similar to an IVC animal procession in a study on Atharva Veda Soma Rite (https://www.wisdomlib.org/hinduism/essay/soma-in-vedic-mythology-and-ritual-study/d/doc627302.html):



The Vaitana classifies the duties of the Pashuekadasini homa, in which the animals of various colours and kinds, numbering eleven, are offered to Agni, Soma, Vishnu, Saraswati, Pushan, Brihaspati, Vishvedeva, Indra, Indragni, Savita and Varuna. The Brahma consecrates these offerings with the relative mantras.


No, it doesn't...Vaitana Sutra (https://gretil.sub.uni-goettingen.de/gretil/corpustei/transformations/html/sa_vaitAnazrautasUtra-vaitAnasUtra.htm) just says "eleven animals". There are no details, rules, mantras; the study seems to have inflated what is written there. It may be true but the additional material would be from Yajur Veda or some kind of commentary.


So far, nothing contradicts, removes, or replaces the association of the Goat with Pusan. Nothing quite tells us why a creature would be given a divine name with a meaning of "immortality". It makes sense in context, since this is more specifically the bridge to Heaven. The compounding of Sanskrit is such a knot that a "horse" is not a "horse", in fact this is how Pusan rides a goat or is having a goat as steed:


ajāśvaḥ


It's not two animals, "goathorse", because the latter just means goes fast, and so "Asva" was unlikely to physically mean a "horse" prior to 2,000 or so; we would expect it to be standard in the Veda, and probably a rare or exotic import if referred to by IVC at all.

But I'd say there is something slightly not anthropomorphic there. A person does not normally ride a goat like you can a horse. In the hymns, Indra is distinguished by using horses. Alternately, goats pull Pusan's chariot. In this area, you can distinguish the term avi for sheep:



Lord both of the pure desirable (she-goat), and of the pure (he-goat); weaver of the cloth (of the wool) of the sheep; he has cleansed the vestments.


and from the point of view of ordinary goat friendship, this is where we got it from:


The ruler, the lord of viands, the sovereign, the friend of the contentment (of all)


I can see how goats would like something like this.

And, I don't want to make a false impression it is solely about death. It's not. Pusan is quite similar to the living. He shares certain traits with "the Adityas", such as aja or "sender" of rain; but comparatively, if Varuna guides the paths of justice and social order, Pusan is like that on a personal level.


So, at the outreach of objective science of the times, it is generally surmised that the Sumerian astrology was in use around 2,000, and possibly/probably some of it earlier. We find Gam as "Shepherd's Crook" and an important constellation that is really a man holding a goat. This is of course similar to the Akkadian "translator" seal where a Meluhhan carrying a goat might be "their translator", especially since a second person is present. At any rate, yes, in ancient Mesopotamia, the star was hugely important.


It is not impossible that Capella was the Goat Star well before it was suitable for the equinox. It's Magnitude 0 (https://milwaukeeastro.org/Stargazing/auriga_winter.asp):




Capella is an important star for navigation because it's among the brightest stars in the sky, and because it's so far north that you can see it nearly all year round.


Before it was suitable for the equinox, something happened. In fact, it has been used to vouch a claim for the earliest recorded supernova just outside IVC at Burzahom (https://web.archive.org/web/20190510190932/http://www.tifr.res.in/~archaeo/papers/Prehistoric%20astronomy/Oldest%20Supernova%20record%20in%20Kashmir.pdf), Kashmir:


SN HB9 Near α Auriga


It was about 100 times as powerful as Venus or as bright as the Moon. Realistically, prediction can only assign it a "window" that ends by 2,000 but might have been as far back as 5,000. So we don't really know when they saw it, but anyone who did would have related it to Capella (which is in a Void) as we can easily tell from the remnants (https://heasarc.gsfc.nasa.gov/docs/rosat/gallery/snr_auriga.html):


https://heasarc.gsfc.nasa.gov/Images/rosat/slide_gifs/rosat29.gif




The explosion and its remnant SH H221 have also been considered as the source for the German Nebra disk (https://lupinepublishers.com/anthropological-and-archaeological-sciences/fulltext/evidences-of-the-earliest-supernova-observation-in-the-nebra-disk.ID.000246.php) from an event at ca. 2,000 - 4,600:


https://lupinepublishers.com/anthropological-and-archaeological-sciences/images/lupinepublishers-anthropological-and-archaeological-sciences.ID.000246.G001.png



It's almost certainly near the Pleiades, which would be approximately correct, but is not thought to be the Moon.

How long would people remember this? It seems to me about two hundred years is a general limit; after some five hundred years, no one is likely to care that much about your "temporary moon", even if at the time it was considered the birth of a deity or something. If the plate is a memory, that suggests the event was on the young side of the estimate. The artifact is not really that old.


For the stellar region, this is one Astrological myth (https://www.raritanval.edu/sites/default/files/aa_PDF%20Files/6.x%20Community%20Resources/6.4.5_SD.13.HinduMythology.pdf):


Brahma Rasi or Pushan (Auriga)

The best of the charioteers. He drives his chariot (which holds the sun and is pulled
by goats) across the heavens around Polaris. Capella or Brahma Hridaya is the main
star in Auriga, the constellation of the goat-headed fire god.



As we have seen, the image is correct to the Rg Veda. It doesn't assign him to this particular star. By the same token, it does not deny or provide different information, because it simply does not say much about stars -- the secret knowledge of the Rishis.

Again, this is The Star for all intents and purposes, it is the Celestial Zenith opposite Vega and Sagittarius A*, is "up" in the galactic perspective, or Heaven, if the other is a long dense fall.

It is permanently an object of attention if the brightest northern star. Most of the pole stars are rather faint. At times it is the pole star. But if anyone was making observations in the script-composing era, it would look like what we call Draco slithering across the pole.

If you think in terms of material economy, the Horse might have killed IVC. It particularly has the epithet "new wealth". The cities were based from donkeys and barges. Then suddenly the use of the wheel seems to be taken for granted. And they are a position to, as far as we can tell, export horse mastery to Syria by 1,400. Even before if they took it to the Mittani.

Vedic Sanskrit is a large change by giving this to Indra.

The Goat, on the other hand, has a leading role in many of the most important IVC relics. It seems to anticipate "Pusan" by starting with the Iranian Ibex in a way that says "Sun" and could have Avestan cognates like Mitra or Aryaman for friend and companion. Pusan and Aja are Indian. They have permeated the major basis of mortal life, "Judgement Day", and the whole universe.

I can understand a symbol like that would be more difficult if you are not a goatherd, you could never appreciate it the same way, yet we will keep this symbol through at least Nirmanakaya Bhrkuti of the 600s. What I would say is it depends on "input", i. e., without good guidance, the same goat would just be a cantankerous eating machine; when pumped full of a superior reality, he becomes a person. Less likely to do it on his own, but, absolutely fantastic when appreciated as an individual.

His IVC numerology seems to highlight Four and Seven, while the Human Markhor has a predilection for Five.

Although the Zebu has a slightly more visible association with Five, the number seems to be a process that emerges from multiple texts.

We see that Three Circles is shared between Zebu, Unicorn, and Tiger Chimera. So far in my estimation, although "grammatical prefixes" have been considered "subject headers", I tend to think that several glyphs mostly explain their own stories. Something like Three Circles or Gamma does not freely float around the knowledge base like an adaptable word such as "circle"; they appear in a dedicated series that has its own "dialect" of text.


A very concise one is the "diamond" shape. It may be one of the most basic shapes in the whole world, but, here, it is confined and restricted, at a quite basic level. Even so, like "Rake" or "Post", it becomes an item grasped/held by a person. That places it on a slightly higher level or gives it further connotation than some "unused" glyphs. The "usage" makes its own duality, because it goes to both extremes in its only two existences:


Person holding Lozenge 30 begins a text that connects them to Three Circles.

They end a text having a singleton like a pre-Trapezoid 196. It is under a "Sloped Hat" and has the tuft-like thing that goes to a Trapezoid; seen perhaps larger, the "tuft" is a nearly plain W 365, as the script uses...only on a Rabbit trigram and some pottery marks. Naturally, it makes sense as something sent along into ligatures, because there are a lot of these as seeming "decorations" on many glyphs.


Bird-face Goddess heavily uses the basic glyph, Lozenge 261, which has these additional associations:



One and Chevron, Two, Striped Horn, C-76 Fornication, multiply-copied Two Wheels from Zebu to objects, and probably M-306 with Inverted Person on Base, rather than Notched Lozenge without Quotes:

https://www.suppressedhistories.net/Gallery/indus/wmnwtigers.jpg




The Lozenge "refers" us to several glyphs who in turn are heavily used and modified, but all of its concordance is quite vanilla. It has the simplest beginning:


Lozenge One


and brings us here to the point where a known humanoid glyph appears to be inverted.



The Goat as Markhor B-9 is overlooked from "Conversations Facing Glyphs" but is the fundamental expression of Branch and Four which essentially is the Ivory Rods, represented as Text 23 among them; moreover, the glyph Four 104 uses this pairing repetitively up to unveiling a pair of Trapezoids.

Markhor B-10 is similar with Seven which then becomes the Trapezoidal number. A Markhor Unicorn combines these in the Copper Tablets. B-10 has mirrored the statement from the Iranian Ibex.

Although Ibex also has Six, the Markhor has a more powerful hand in Branch Enumeration.


I think the Copper Tablets show something about what "Branch Enumeration" does. First of all, one of its humble premises is Branch Trapezoid:


https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhgmQnfxYVh8WNLzeg2BiTED99f9cMAdRTe5A07zyhGXOOcaLgzdT8A6Huzl0rsBYSQQfaz0vpzknbTGxkMzrIRBwcUBlR MvRfAvcbqcCzD2w4CNd7yRtTATSQOhZVNUPp2wrzmsZPIXM/s1600/a9.JPG


The Branch glyph is repetitive, but the Enumeration has only a certain structure.

Send:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCLMphMfOuLf0s6Y51Xuqo7q_2Y5fXqRPRAX-OW_El3Ru-_KvKGdWIZISWPZlecZxttHdkzN60cfv-_f_OtHhhqEBBPYM5RZEqgvo28x9qwAxJcLRX2msoPeKJosmNPPZmAE5ryDINPa4/s1600/a4.JPG



and Return:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigbGpC5VFLswX03Z4C7NIx9PyghLsPpe9ldR4t3FH9rShw-YhWz82gl6XFMZJS6tfjTAVK1K5jxwMs8us_mgIH7G8BIdizWrEkUfZ8wESjDOTdhZ0W7qSJL7qa_mpqxkxU__ynAKaEp5g/s1600/b17b.JPG



That should be rather obvious that a large chunk of text is missing, which is supplied by the other Tablets in what appears to be a standard subject, which may or may not be "Soma One", but, in the logical sense, several of those texts belong between these two.

Concerning the Trapezoid, it is enhanced by the Tablets' particular form of Markhor:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgidLlY5cMCON0ZSCO_AMbtPF8rvYaOLhwB6Vc6jFfGkZoXCZm-3A46QWSAA-7GmTgabwiMAc3kNK_tZTC5W0sVCXPRiaNPLPKqKkV2h95fGMiNuYWCpsaH7eDFDT-sScLntGIyu4rXxFA/s1600/b9.JPG


This is the statement palindromed by Crab-in-fig-tree.

It would make sense for Markhor as the vehicle for Seven to pair with this thing. That also seems to be an important part of this aberration:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC52PZE0bvk3tQ83kWIWSTtst3l6RkunXQr-9WfI6MvwkDBbpY3Ai7m4Kp_rkZnI_tl81fwEKv_HPSLuQgq1bMnd7HrYxMX-kbVdWSA9bpqPS6BjGwHsyLPq3LIqwkRABtzHf5chhyphenhyphenRfw/s1600/b18.JPG



Because it is statistically common, the only reason it is interesting for Markhor to establish Branch Enumeration is because other creatures are not doing it.


He looks a little different, so, It is probably the Blackbuck on the older seals and pottery. In actuality I think we could say B-8 and B-11 have vertical horns which would make this an Antelope facing Rake:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRnE0WtjnuWAa1Nc3XxuG96eGnzqaVJcKhFydWWDfXSF5hMbLCqTl-a9XAKEOtKV9mR-eiNsDNR7dlQOMMdOL-rSiwzZtVL7aNWPG9Bh6Ium1w5Ek1lXIw4jBBZmqLbuqMnTNVNLVIgngk/s1600/Image68.gif



If the Antelope is an older motif, then, the introduction of Markhor sounds particularly "Indian not Iranian". His whole point may be pre-Vedic Sanskrit and particularly what is going on with this Branch, which is pre- and post-IVC pan-Indic.

Mr. Fergus, you were the best and your presence is truly missed. Even if we find other little critters to spread benefits to, you will always be the first. And, you will always be the inspiration for the real inner meaning, because you are the only one I know who knows it.

I think he will always be my Vajrasattva and my intrepid interloper into how this timeless truth may have been revealed even unto those who exalted him in IVC. Peace upon you and I shall cherish your life always.

[shaberon]

Capella, the Pleiades and Winter Solstice


We found an unusually powerful relation of the Goat to Astrology, the roof of the universe maybe, and its appearance in the Veda, which is less of an animal-totemic system than IVC Seals. When we look at these, he is not that "great" in terms of number or distribution, but he *is* closer to humans than most of those other creatures.

There is probably something to this, but maybe not quite what has been speculated so far.



It is easy to show Pusan as a goat-friended deity who was possibly pre-Vedic, but probably not Iranian.


It is unsatisfactory for a star or constellation related to him.

First of all, "Brahma Hrdaya" is not particularly "Vedic", and neither is a lot of the recorded language. In Baudhayana Dharmasutra, there is reference to a Brahmahrdaya mantra (https://www.wisdomlib.org/hinduism/book/baudhayana-dharmasutra/d/doc116421.html), but look how they seem to have forgotten Pusan:


Mitra protects him and Āditya leads him up to heaven.



For neighbors, I was able to find a few star names in Canopy of the Heavens (https://www.arvindguptatoys.com/arvindgupta/heavens.pdf):


Brahma Hridaya--Capella
Agni--Uras ( in Auriga )
Sarathi—Auriga ( in Auriga)



The star "Agni" is in the "breast" according to this, but it is still not quite right. Anecdotes.

What comes down to us in modern times is probably Babylonian astrology, because the Greeks seem to have given it a paste job (https://www.constellation-guide.com/constellation-list/auriga-constellation/):



...none of the stories Auriga is usually associated with have a goat in them.



That is to say, they took "charioteer" and identified it with Hephaestus, or the son of Hephaestus, or the son of Hermes. As far as we can tell, "auriga" is not a proper name. But then The Star is turned around and made into the cornucopia of their civilization:



The star Capella, Alpha Aurigae, is associated with Amalthea, the goat who was foster-mother to Zeus. The name Capella is Roman and means “she-goat.” The star is located on the Charioteer’s left shoulder.


In other words, we think the Greeks have taken Babylonian astrology from approximately the time of the Trojan War, and relegated the periods before that to Heroes and Olympians, as if the world had been created that way.


We see an adjustment made in the west:


Alpha Aurigae forms an asterism with Almaaz (Epsilon Aurigae), Haedus I (Zeta Aurigae), and Haedus II (Eta Aurigae). Zeta and Eta Aurigae are known as the Haedi, or the Kids. The asterism with the three goats was a separate constellation until Ptolemy merged it with the Charioteer in his Almagest in the 2nd century. The Kids can be found just to the south of Capella.


As was probably also done to Hindi Auriga (https://hi.wikipedia.org/wiki/%E0%A4%AC%E0%A5%8D%E0%A4%B0%E0%A4%B9%E0%A5%8D%E0%A4%AE%E0%A4%BE_%E0%A4%A4%E0%A4%BE%E0%A4%B0%E0%A4%BE %E0%A4%AE%E0%A4%82%E0%A4%A1%E0%A4%B2):



This has resulted in the constellation "Auriga" being called Brahma Mandala.


Here, as in most cases, the idea is that Ptolemaic astrology came in and led to Surya Siddhanta and its related Indian texts. You could think of it as the Age of Math from Greece to India to China. That is why we would think it is unlikely that IVC competes on that level.


In the early 1900s, Popular Hindu Astrology (https://archive.org/stream/PopularHinduAstronomy/Popular%20Hindu%20Astronomy_djvu.txt) was published as a crucible of "everything". It has the perspective of restoring Indian national heritage after its demolition and erasure by centuries of invaders, and new "experts" reading it back to them in their own way. So this is significant and appropriate, but, we must parse out its meaning because this is to stack articles that are separated by millennia. We are told Brahma Hrdaya star sign appears in Ramayana.


To the western savants, the origin and character of Auriga
do yet remain shrouded in mystery. They no doubt connect
it with 'the Goat' and 'the Kids', but can give no reason for
doing so* R. Brown has taken much pains to find out its
antecedents, but he does not feel on terra firma.


Auriga is now known as *the charioteer , although no
chariot is visible, and in Ptolemy's Star-list, as well as in our
modern representations, he is described in the attitude of a she-
pherd carrying a goat on his -shoulder and a pair of little kids
in his hand.



The Greeks might not be sure where "charioteer" comes from, but it is correct the Veda describes Pusan as Rathitama (https://www.rarebooksocietyofindia.org/book_archive/196174216674_10154227977481675.pdf):


...the constellation (Auriga) situated above
the Vernal- Equinox (3.13. 4250) the Door of Heaven (Rv. X.
70. 5.)


which is a poor start because those are the shed doors (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839328.html) from the Apri Hymn of Sumitra Vadhryasca.

The epithet ("best charioteer") is also given to Indra and Pavamana. With Pusan, it is used by Bharadvaja.


Ironically, those go together. Bharadvaja is the beginning of what could be called white Veda, in the sense he converted royalty and helped establish a dynasty that continued to patronize the Rishis, such as the Apri Hymn is installed by Sumitra the impotent because Bharadvaja does not have one.

Ironically again, the Apri tradition was founded by Dirghatamas who is like the black Veda, those parts that are not represented by mainstream establishment and look like fragments and pieces, such as Book One. This arguably contains many antecedents going back to the village level. That makes it inseparable from IVC in time and space, although it is a new culture in a certain way, because the Rishis oppose writing. And we ask why the seals seem to dissipate after about 1,900.

This astrology book makes a number of the right references, but I am not sure any of them are about astrology.

Now, if we try to review the stars from the fact that Pusan does have a chariot at this time, and, the Greeks appear to have simply leached it from an external source, what do we get.

By translators, forcefed (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834320.html) from line one:

Come illustrious grandson of Prajāpati


It does not say that anywhere in here. It's just "grandson". If anything, the first implication would be Apam Napat:


ehi vāṃ vimuco napād āghṛṇe


Prajapati is not in this at all, and "Pusan" is added throughout lines where it does not appear. He is the subject of a strand of multiple hymns, but the literature has been crammed with auto-completes and interpretations, obscuring the original and your chance to consider it in context. Well, this is a major deity at the very beginning of India. In terms of a recorded empire-like structure that can be traced for a few generations through the Rg Veda and seems to be unknown to the Brahmanas. I think they lost the true "Purana" that would have made the obscure Vedic hymns into objects of plain face value. I see there has been the recent posting of Saunaka's massive Brihad Devata (https://www.wisdomlib.org/hinduism/book/brihaddevata-attributed-to-shaunaka), from which "the Puranas" are drawn. He argues against Yaska. The thing probably contains multiple errors, but, by sheer number, it does give the majority of what Vedic hymns are about.



Continuing to look for a goat, equinox, or lofty position, Pusan is Isana with respect to the chariot:


rathītamaṃ kapardinam īśānaṃ



He has an important sister:


svasur yo jāra ucyate ||


and these interesting relationships:

...the husband of his mother; may the gallant of his sister hear us; may the brother of Indra be our friend.



Goats pull his car:

ājāsaḥ pūṣaṇaṃ rathe niśṛmbhās te janaśriyam



and we reach one of the first remarks about how there are different deities:


“One (of you) approaches to drink the Soma poured out into ladles, the other desires the buttered meal.”




A "charioteer":

sārathiḥ





Although many of the invocations in the translation are non-existent, at other times they miss something, such as here, Pusan is Pasupati:

The rider of the goat, the protector of animals, in whose dwelling good is abundant

ajāśvaḥ paśupā



He has an apparently secret attribute, flying boats:


your golden vessels, which navigate within the ocean-firmament



yās te pūṣan nāvo antaḥ samudre hiraṇyayīr antarikṣe caranti |


The only possible implication is lightning bolts, which is consistent with Apam Napat.

Finally, the Devas do something quite interesting:

yaṃ devāso adaduḥ sūryāyai kāmena kṛtaṃ tavasaṃ svañcam ||



They give Pusan the daughter of the Sun.


But Pusan is the Sun.

This is currently still the basis of the marriage rite.

The Veda goes on to a rather intricate adventure involving for instance the Aswins winning this bride anew. One would not expect IVC to follow to this level. However it could be that a Ghee Offering is representative of Pusan. They could have done that.


The relation of Pusan to "personal path" is completely obvious from one of his first epithets as Pathaspati (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834298.html).


That does not match what presumably later literature does to the constellation:


The star Prajapati is Delta Aurigae at the head.

It doesn't make much sense to say a person is the constellation, and then another is the head, another the shoulder, and so on.

Fortunately the book admits these limitations as such:


These yoga-
taras are according to the Surya-Siddhanta as identified by Bur-
gess. In this case also it is difficult to say whether these stars as
identified were known as such in the Vedic times and in the
later period prior to the evolution of the Siddhantic system of.
astronomy in our country.'


Any possible timing is very difficult because the archaic tracking did not use even divisions:


With the introduction of
computational astronomy, the above unequal division was found
very inconvenient for practical calculation. As a result the
ecliptic was subsequently divided into 27 equal parts and Abhijit
was excluded from the list.


At the time of the Vedanga Jyotisa Calendar (1350 B.C.) when
the nakshatra cycle started from Dhanistha, the equal division
system was fully established.


We are not sure that works. If we account for variability in measuring the signs, plus perturbance and acceleration by the earth, the points marked by that system might be up to 500 years older.

It is also not clear why this is claimed for Yama:


the first-
born and the chief of the Fathers, was placed on Draconis, the
Pole-star of B.C. 3000


And we find two descriptions of the Celestial Ganges:


We have called the stellar river
Yami, the great daughter of the Sun-God. The heavenly
Yamuna (*i*£Tt) or Yami is supposed to take its rise from the
celestial Brahma-Putra (t^) r U., a portion of the Milky Way
adjoining Brahma Mandala, the Constellation Auriga, and to
fall to it again.



As the constellation lies side by side with Bhadra, the
northern branch of the Milky Way (Vide, Introduction, Ex. I.)
like husband and wife they form a pair.

*Let Bhadra says Bharadvaja, *be now a loving friend to
thee...


Here again, he says this, but there is nothing there which would suggest this quite common term is being used for the Milky Way, which is a minor and presumably much later usage.

The hymns about Pusan culminate on his attaining Usas, who is called "Dawn" but really means closer to what we would call "pre-dawn twilight" which is ruled by Venus. Or, this is how you observe a heliacal arising. If you are "marking an equinox", this is how you do it.



For its epoch, this is one of the markers:

Dhanistha is the first in the
VedangaJyotisha', the series in the Brahmana and the Sanhitas
always begins with the Krittikas.


First what?

Frustratingly, the main subject of "Vedic Astrology" is not stars, but timekeeping, which, from the critical translation, is based on Prajapati, the five-year Yuga (https://ia600608.us.archive.org/24/items/VedangaJyotisa/Vedanga-Jyotisa.pdf).


Jyotisa <--> Kala vidhana sastra


Essentially it is a civil calendar. What this means is that an exact year is not 365 24-hour days, but lasts about another six hours, which in our system we ignore, until replacing an extra day every four years.

The Vedic system treats the fractional part as a day. So they basically say it is a 366-day year. It makes a more complicated correction based on solar and lunar days over the Yuga. Thus it is effectively the Moon that is tracked day-by-day, like beads on a string, perpetually. It goes on to calibrate sub-units of time down to seconds or smaller. In fact, it assumes you learned about "the stars" elsewhere, as it has next to no use of them, and Text 12 is only a litany that assigns deities to Nakshatras. Therefor, "the stars" are common knowledge, and this "wheel of devas" is the new or additional information. In this regard, we find Pusan in the final group:



Ahirbudhnya, Pusan, Aswins, Yama.


Your devata is the one you are born under. This is not "new" information in any way except by making a written transmission to us.

If you compare this to Wiki's List of Nakshatras (https://en.wikipedia.org/wiki/List_of_Nakshatras), that applies a wrap-around, so you see it starts Aswins, Yama, Agni, Prajapati, and goes on to include the twenty-eighth or Abhijit. This attribution results in Agni -- Pleiades, Prajapati -- Aldebaran, Pusan -- Revati (Zeta Piscium), as rulers of the sign or Mansion of the Moon. It's not always "identity", for instance each of the Krttika or Pleiades has a name. It doesn't say Pusan is Revati. It says he is lord of the Mansion that Revati is in.


VJ depicts The Year as running from Agni to Yama, not otherwise.

Beginning it with Aswins/Aries is a Ptolemaic-era shift. The problem is, yes, it was a favorable time to mark the Zero Point of Aries and have the equinox be there, which does not tell us there were any prior zero points associated with equinoxes. It happens because geometry and trig have been improved, while the ancients only had trial-and-error of observations.


What is not being included is the near-parallel with Capella; estimates for Pleiades as a good marker for the spring equinox are around 2,330 (https://en.wikipedia.org/wiki/Pleiades).

Nebra disk ca. 1,600 is used to say the Pleiades are "important" but that may be a supernova. With Pleiades or Krttika as first sign of the year:


This is so before the classic list lowers this nakṣatra to third place, henceforth giving the first to the star couple β Arietis and γ Arietis, which, notably in Hipparchus, at that time, marks the equinox.


The Vedic year was designed for the purpose of rites, the rites are made of mantras, and it is really "Agni first" that is said in the mantra.

That's not adjustable. The equinox can be whenever it wants.

The division of signs into deva and yama nakshatras supports a Krttika equinox ca. 2,300; cf. Taittiriya Brahmana 1.5.2.7. on p. 12. That is to say, northward and southward apparent motion of the sun, matches spring marked by the list. That is what the translator thinks. But this is the northward division:


Krttika to Vishaka


and southward:

Anuradha to Bharani


S Kak 2011 (https://archive.org/stream/wholelottabooks/The%20Astronomical%20Code%20of%20the%20Rgveda%20-%20Shubash%20Kak_djvu.txt) gives the citation:


krttikah prathamam visakhe uttamam tani devanaksatrani
anuradhah prathamam apabharanihyuttamam tani yama
-naksatrani yani devanaksatrani tani daksinena pariyanti
yani yamanaksatrani tanyuttardni iti.


Krttikas are the first and Visakhe are the last; those are
deva naksatras. Anuradhas are the first and Apabharani
is the last; those are the yama naksatras. The deva
naksatras revolve from the south; the yama naksatras
revolve from the north.


It doesn't say "northward after the solstice". The implication is Yama Naksatras "revolve from the north" as compared to the South Pole. Thus, they appear south of the equator. It's just a description. It's not a "timer" or indicator of any changes or epochs. Krttika is the "first" in a line segment.

So it does mean north and south, as fixed directions from the equator. This is not time but a spatial definition:



...an equinox is either of two places on the celestial sphere at which the ecliptic intersects the celestial equator.


Over time, the stars appear to move relative to a fixed projection from our planet.

Therefor, the Celestial Equator (https://en.wikipedia.org/wiki/Celestial_equator) begins at the "first point of Aries", that is, the equinox.


So the mantra is just observing the two halves of its time. It doesn't say "because the equinox begins the year", it just says Agni is lord of the Krttika, seen as the first on their side of the projected disk.


Currently (https://keysofenoch.org/the-pleiades/) the heliacal rising of Krttika marks the Summer Solstice:


In the Northern Hemisphere, at the Spring Equinox, the Pleiades rises during the day, and can be seen only briefly at night. Each day the sun gets a little closer in alignment to the Pleiades so that during the Summer Solstice, the Pleiades rises just before the light of dawn. The first visible rising of the Pleiades before the sun is called the heliacal rise of the Pleiades. During the Fall Equinox, the Pleiades rises at midnight. At the Winter Solstice the Pleiades is visible in the east just after dark.


The Veda hasn't mentioned heliacal rising. It's a Sun -- Moon -- Solstice conjunction. The Pleiades are a quarter of the sphere away, so their importance is inherited or derived, because this is about the Yuga, not the year, or equinox.


It's the same result for a different reason. An entirely different reason.



The Vedanga Jyotish is quite distant from an original source; its coordinates in time are given by Text 19:


Winter Solstice at the beginning of Sravistha (Dhanistha or Delphinius)

Summer Solstice at the mid-point of Aslesa (Sarpa asterism in Hydra)


It is useless for navigation, for the Pole Star or Capella or anything that is not in the lunar path. It doesn't really talk about the "sky". It has kept a mantra that would appear to be relevant to the height of IVC without changing the order to compensate for shifts that probably would have already happened. At its maximum age, ca. 1,800, the thing would have warped, and if it is as young as 1,200, it would be totally gone. I get the sense that the subject of "intricate timekeeping" was probably developed within a "primordial star list". That it is easier to make Houses where the Moon physically goes each day. Nothing to compute. You're just watching.

So that would mean the star information ought to be relevant to IVC. The deity assignments may not be, although it might have some rough approach. The statements in TB use Krttika and the asterism names (but only enough to indicate the sets). This actual recording is so late as to seem irrelevant, however, it may simply be continuity. It's Sanskrit names for stars, and, we are investigating whether the Sanskrit language is as old as the overall IVC. It is understandable they might change things they say about stars, but, there is no reason to think they would have difficulty identifying them. AV 19.7 (https://sacred-texts.com/hin/av/av19007.htm) is basically a mantra to the Lunar Mansions. It doesn't "prove" their antiquity; it is the implication of VJ following something far older and already complete that is found only in tiny bits in the Rg Veda that makes us say those "bits" probably indicate that something about the stars goes back to IVC era. It may be noted that the same Lunar Mansions are used by Arabs and Chinese, though giving them different names and stories, on a mathematical level they are equal.




In the same era, Mesopotamian Mul.Gam may truly be using Capella as the new year and major star of divinity. If there was a universal meaning here it might not be "Pusan" but it might be "Goat Star". It is a Shepherd with one or three goats, depending if "the Kids" are counted. Curiously, in IVC script, One and Three are almost interchangeable or commonly work together, whereas the normal counting sequence, one, two, is a significant hurdle.

I don't see how references to "charioteer" or "Brahma" would tell us anything about pre-2,000.

It is the fusion of Pusan to Goat that may be old enough and may be supportive of Goat Star.

It's a logical bridge, since the oldest Naksatra reference assumes knowledge that is found in a much later text, which is usually not a good case, but it would be if it was based on strict mantra transmission, which would be obsolete by the later period.



Which is actually Agni? Returning to the Popular references, this is unlikely to be Kanva Ghaura talking about an axe (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829410.html):

hiraṇyavāśīmattama


since this hymn mainly concerns Pusan repelling liars and thieves.


Agni is Nath (meaning Elnath (https://en.wikipedia.org/wiki/Beta_Tauri)) or Beta Tauri, south of but in the longtitude of Capella, whereas Urah is Beta Aurigae (Menkalinan). Elnath has also served as Gamma Aurigae, in other words, has been thought of in both these constellations.


In the physical sense, here are these two stars in the flux of the Milky Way (https://earthsky.org/brightest-stars/elnath-taurus-the-bulls-second-brightest-star/):

https://earthsky.org/upl/2021/12/elnath-galactic-anticenter-e1638851365931.jpg


Here, Mars visits just under the Pleiades at the top. Elnath is the bluish star towards the left:

https://earthsky.org/upl/2022/09/Orion-Taurus-Mars-Miguel-Ventura-Aug-28-2022--e1662400618179.jpeg



This view is rotated slightly so that the diagonal blue line is the plane of the Milky Way, which passes through the middle of Auriga. Elnath is not named, and you can see it connecting Auriga and Taurus. It is close to the horizontal plane of the ecliptic, and hence, can be "occulted" by the Moon or is in a Nakshatra. Obviously, Capella would share the timing of it:

https://riverhouses.org/wp-content/uploads/2023/01/auriga-capella-chart-1024x963.png



Capella and Elnath may be the same but they do not share the Krttikas' timing. It passes to Aldebaran -- Rohini -- Prajapati, then to Mrgashira -- Agrahayani or Lambda Orionis.

Elnath is some 28 deg Taurus (https://horoscopes.astro-seek.com/astrology-fixed-star-el-nath).


It is followed by a tricky asterism (https://www.wisdomlib.org/definition/mrigashirsha#hinduism):

Mṛgaśīrṣa (मृगशीर्ष) or Mṛgaśiras (मृगशिरस्), also called Invakā or Invagā, seems to be the faint stars λ, φ1, φ2 Orionis. They are called Andhakā, ‘blind’, in the Śāntikalpa of the Atharvaveda, probably because of their dimness.


Lambda Orionis with the Phis as little specks beside it, marks the day between that of Aldebaran and that of Betelgeuse:

https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Orion_constellation_map.svg/745px-Orion_constellation_map.svg.png


Or the proximity can be found in the degrees of Tropical Gemini, Capella 20 (https://www.constellationsofwords.com/the-fixed-stars-in-longitude-order/), Elnath 21, Meissa 22. Or a more detailed list adds Usa (https://shrifreedom.org/vedic-astrology/vedicfixedstars/) right after. It's tighter than for example the "shoulder" and "the Kids" and so forth. It's some three to five hours of lunar travel. It's a stack of Three Circles, somewhat like the nearby and more obvious "belt of Orion", but more instantaneous and aligned to the galactic anti-center.

And so I have tended to overlook the deer-slaying legends with Rohini and so on, as probably being later additions. In the primordial sense, for a day such as "Agrahayana", Agra (https://www.wisdomlib.org/definition/agra) could mean "first" but also "best; pinnacle". The meaning "first" would of course imply it was used to observe the equinox centuries before the Pleiades. However, neither this name nor "Deer Head" can be traced. Mrgasira (https://www.wisdomlib.org/hinduism/book/indian-astronomy-a-source-book/d/doc1621552.html) is used in the Atharva Veda. Its typical legend comes from Aitareya Brahmana. The Rik it is commented to seems very inappropriate (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839183.html), as, I would say, are the majority of similar stories. The hymn is about the Angirases also discovering the Maiden. It goes on to Parsu Manavi, who, similar to Ila Devi, is part of some forgotten history. Such as how she may be known in the west as Adam's Rib.



Fortunately, it is easy to get a validation of this as a physical stack (https://lovethenightsky.com/auriga-constellation-guide/):


https://lovethenightsky.com/wp-content/uploads/2022/02/Finding-Auriga-from-Orion-scaled.jpg



while the Goat Star itself has another easy guide:

https://lovethenightsky.com/wp-content/uploads/2022/02/Finding-Auriga-from-the-Big-Dipper-scaled.jpg



It does not seem older references tell us anything about its possible co-timer, "Deer Head". Rg Veda does not use "rohini" or "punarvasu" as a proper name; it does not quite have "Mrga" or "Deer" in a way that supports the claims; perhaps the closest by Gautama Rahugana is one of the main Vedic lessons, that Indra slays Vrtra (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829828.html), the deer of maya.

Otherwise, it is more allegorical or used in similies of:

deer-like (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836808.html) (wandering) cloud

Maruts (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831432.html)

streams of Ghee (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832857.html)

Indra's friend Vrsakapi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839512.html)


It says nothing about Ardra, has various uses of "Mrga", and "rohini" mostly just as a color.

Mrgasira is difficult to tie in as a star, which leaves Aja and Pusan only in potential form. They exist as an image or form, but I do not think we can construe them as definitely meaning the Capella star or constellation based on the foregoing.

If we want to say two Goats of IVC, they are inverse of each other that we might say Day and Night. Ibex is solar and possibly even forms a Clock. If it had a counterpart, or "night goat", you might go with a bright star that was visible most of the time, such as Capella.


The Mesopotamian "Crook" is only the eastern half (https://xing.fmi.uni-jena.de/mediawiki/index.php/GAM3) of Auriga because it is in the hands of Perseus:


6' In its right hand it carries a crook.
7' In the crook a (star called) “The Crook” stands.
8' The head of the crook is the head of a ram.


Another expression is Udu Nita (https://xing.fmi.uni-jena.de/mediawiki/index.php/UDU.NITA2) or "Star Lamb" = Sag.du Mul.gam "head of the staff"

ziqpu XVI (α Aurigae, Capella)



'The Crook,' is an ancient Mesopotamian asterism the corresponds to Capella with the eastern half of classical Auriga. The Uranology Text E (MLC 1884) places 'The Crook' in the hand of 'The Old Man' (Perseus), and speaks of a number of its component parts including its head which is in the shape of a ram's head, its handle, and its shaft. The remaining stars and star-clusters of Auriga that are not part of 'The Crook' may be understood as groups of sheep standing in the background of the image.


Capella is not really in an asterism and this design would be relatively huge. Comparatively, it would be hard to surmise more than "goats of Auriga" might become those of Pusan. I'm not thinking this whole "Shepherd" motif transfers into IVC. The close timing of Capella and Agni -- Elnath to Mrgasira "Deer Head" and how this moment transacts "up" is very noticeable.

The name refers to the asterism as one unit, i. e., the Phis are naked-eye visible, and so the deer head is probably that immediate configuration. It says nothing about a deer that it is the head of. Just says it's a head.

So far there is one IVC Deer and it "looks up".


Synonymous for Mrigasirsa, the expression "Agrahayana" is indeterminate:


Hāyana (हायन) denotes a ‘year’, usually in compounds.

Six months constitute an ayana. Distinguished as the southern and northern corresponding to the course of the sun towards the north and south of the equator.


The most literal meaning of the latter would be the solstices. "Ayana" has a broad meaning from "road, path", to more specific meanings that *could* include equinoxes, but usually when directions are specified such as northward course, it is dealing with solstices, such as the VJ does for itself.


Text 21 is The Visuva, which is an equinox, but only a computation for it is given. No text gives any example Naksatra it was computed for. So, it is practically ignored as a criteria of anything. This negativizes any reason to expect that India was concerned with "marking" it.


KD Abhyankar (https://adsabs.harvard.edu/full/1998BASI...26...61A) reads correctly that the "beginning" is at the time of the full moon of Magha (Regulus). This is what the VJ says, but, it is talking about the beginning of a Yuga, not a year. The Sun and Moon in Dhanistha/Sravistha is beginning of the month or bright fortnight of Magha, so obviously the moon has to wheel around to become full. The timer is the conjunction.

There is no equinox or full moon "New Year". It's the 367th day of the Yuga. The main point of VJ is to enable you to calculate anything. It's not as smooth as trigonometry. But it seems to show a lot of trial and error, because it would take many yugas of observations to figure out these adjustments and corrections.

It is really difficult to observe the Winter Solstice. If this was the important thing, in about 1,000 years, you'd have to re-define the Yuga as it starting in the next Naksatra. Other works including Jain texts record it in Sravana, so this is observed.


This solstice is very difficult because the sun appears to stand almost still for five to seven days. It is amazing there is a kind of camera obscura passage that allows sunlight on the solstice for about seventeen minutes to reach the inner chamber of a long tunnel at Newgrange in the Boyne (https://www.newgrange.com/winter-solstice-newgrange.htm) near Tara Hill, where the Ard Ri were inaugurated. Aside from this, it is really difficult to determine the exact solstitial day.

If Krttika is 1/4 the way around from Dhanistha, then, it may consequently be close to the vernal equinox. It's not possible for "first Naksatra" to inform this system about when the year begins. It's only describing a physical ring. Because the Yuga began on the Winter Solstice, that is when the year begins.


One is locked in that mode until there is a national consensus to re-define the Yuga. The Solstice will go one Naksatra in about 900 years, which might be a reason to do that, but we are primarily concerned with the mantric Yuga, which was the actual subject.


Curiously, Magha at the Summer Solstice matches Regulus among the Royal Stars (https://en.wikipedia.org/wiki/Royal_stars), which is a similar type of "Fixed Cross", although it uses the major luminances like Aldebaran rather than minor asterisms. Regulus is in near opposition to Fomalhaut (https://foreverconscious.com/intuitive-astrology-the-four-royal-stars) or Revati.


Comparatively, Rg Veda does not have "Pasupati", but, it does have "pasupa" as "herdsman" a few times, and in a few cases it is related to Agni, who does things like a herdsman. So far, I would have to say that Pusan is the case of "identity" or he "is" it, or is directly named as an epithet.


Here, I feel my goat friend has become my manes or Pitr, as the main thing I have learned here is that it celebrates someone who is qualified. It isn't truly ancestor worship, in the sense that if you are honest, most of your ancestors were probably not exemplars of Heaven, and the teaching is to use discernment, rather than automatically placing our own family above all others. Instead, it is likely there is someone who is not your personal ancestor, that deserves memory and recognition.

As we see in IVC that Five is unusually powerful, it could perhaps be the Yuga.

[shaberon]

Vedic and Korku Astrology



I noticed something as part of the transition that happened here. There had been about a month where I had gotten used to not seeing my friend every day. There are a lot of woods, and so I took it as a good sign he was mobile and going out so far I couldn't find him. And on his last day, he was sitting in an unusual spot. I believe it was his way of saying goodbye. It was somewhere I would easily see him without looking. I saw him and spoke to him from distance and went back inside, and, within less than an hour, I felt that I hadn't seen him the day before, so I should walk out into the yard. Then when I found him in the same spot, I also found he was having some difficulties and we wound up calling the medics.

Since that day there is one goat left, and, she has somewhat of the Markhor look, but we got her rather recently from a herd and so there isn't that same kind of personal bond.

As I mentioned with respect to the ethos that is possibly in the IVC script, last night I made a manes or Pitr offering to my friend that had passed.

Today, I found that other goat in the same spot, and she got up and walked right over and talked to me.


That makes it easy for me, personally, to understand them metaphysically as vehicles of Pusan.

They literally share a name with a different deity. There is an Ajaikapad in Patan, Nepal, with a Goat:

https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Inside_The_Patan_Durbar_Square_Lalitpur-IMG_4668.jpg/960px-Inside_The_Patan_Durbar_Square_Lalitpur-IMG_4668.jpg



Yet so far it does not seem possible to establish that either Pusan or Aja Ekapad "is" or "governs" the "Goat Star", Capella, for the main reason it is not known that any truly ancient texts deal with anything besides the belt. You could do it with Stacked Three Circles meaning Mrgasirsa -- Agni (Elnath) -- Capella. Or, if it was known for a temporary Moon like the Nebra disk implies, you could do that. I can't come up with anything convincing in Vedic Sanskrit that makes the association, but I am pretty sure the IVC Goat does unusual things that may be about Pitrs or stars.


I tried to dredge Kak 2011 on Astronomical Code (https://archive.org/stream/wholelottabooks/The%20Astronomical%20Code%20of%20the%20Rgveda%20-%20Shubash%20Kak_djvu.txt) of the Rg Veda for something substantial to go on, but, I think it undermines its own thesis by the following admission:



To return to the Rgvedic code one can think of various theories
to tie the numbers to possible astronomical observations.


Briefly put, its most direct approach is done by syllable counts of the Vedas and various means of dividing them. I was looking for additional ways in which the mantras might be saying something about astronomy. I was unable to find much. I suppose it is like myself, in the early 21st century we were trying to explain the Epics and Puranas, with anything from the Vedas as "corroboration", because we didn't know much about what the Veda actually said.

I now find this to be a wrong move, since literature is separated from scripture by multiple centuries, and evidences both a loss of understanding as well as fabrication of arbitrary explanations.


Secondarily, the problem for anyone who wants to push the epoch of the Puranas to a remote era, it will have to go through a lot of archeological and written legacy of IVC. My guess is the IVC script is far less likely to support any Purana in great detail, but ought to have a greater chance to partially match Vedic languages in parts that are not claimed to be new/its own.


Moreover, I think it is true that the Rg Veda is arranged with a maestro touch, but in its own mantric way that has nothing to do with counts in the thousands that may resemble years or cycles.


Nevertheless, a few possible points are raised here, and when it comes to bricks and shapes, then you do have something that can be directly compared to IVC, such as perhaps even the Trapezoid glyph:



...the twelve-day agnicayana rite that
takes place in a large trapezoidal area, called the mahavedi, and
in a smaller rectangular area to the west of it, which is called the
praclnavamsa or pragvamsa.



The mahavedi trapezium measures 30 prakrama on the west,
24 prakrama on the east, and 36 prakrama lengthwise. The choice
of these numbers is related to the sum of these three equalling one
fourth the year or 90 days (SB 10.2.3.4). The nominal year of 360
days is used to reconcile the discrepancies between the lunar and
solar calendars, both of which were used.


In the mahavedi, a brick altar is built to represent time in the
form of a falcon about to take wing, and in the praclnavamsa
three fire altars are built in specified positions, the garhapatya,
ahavanlya, and daksinagni. The garhapatya, which is round, is
the householder’s fire received from the father and transmitted to
the descendants. It is a perpetual fire from which other fires are
lighted. The daksinagni is half-moon shaped; it is also called the
anvaharyapacana where cooking is done. The ahavanlya is square.
Between the ahavanlya and the garhapatya a space of a rough hour¬
glass is dug out and strewn with grass; this is the vedi for the gods
to sit on.

In addition, eight dhisnya hearths are built on an expanded
ritual ground.

The garhapatya is
the earth (SB 7.1.1.13), the dhisnya hearths are space (SB 7.1.2.12),
and the ahavanlya altar, which is made in five layers, is sky (SB
8.2.1,2).


Time is represented by the bird.



This is why I do not generally like the term "sacrifice" as a translation:


In this play, symbolic deaths of animals and
humans, including the yajamana himself, may be enacted.




Now if we take the Veda as it is, Pururavas is Vasistha:



This development of Vedic ritual is described in the Puranas where
it is claimed that the three altars were first devised by the king
Pururavas.


They very visibly become the source of their own problem:


Puranic genealogies begin with the mythical Manu Vaivasvata.
He had several offspring of whom his daughter Ila bore a son named
Pururavas Aila; their further successors represent the Aila or Lunar
branch of the Vedic people. Manu’s chief son Iksvaku became the
king of Madhyadesa with the capital at Ayodhya. The Aiksvakus
are the Solar dynasty.


That is, yes, the Veda is supportive of the two regions of Aila Pauravas and Ayodhya Prthus, but Vedic Manu is entirely different. Vaivasvata is neither the beginning of time nor the sire of the human race, but, a teacher, probably in the Atharva Veda and Ayurveda lines, who happened in the "middle period" or height of its establishment. The Rg Veda probably expresses two prior Manus.


Kak says:

Brahmavarta, was especially sanctified


in reference to what we find in III.23 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831759.html):

pṛthivyā iḻāyās pade


A spot of earth (Prthu) marked by cow's foot (Ila) has the quality of "revati" to devotees in this area:


dṛṣadvatyām mānuṣa āpayāyāṃ sarasvatyāṃ revad



in the footmark of the earth in the form of a cow; i.e. on the northern altar



According to VR Patil on Ila (https://archive.org/stream/IlaInRigvedAnHonourablePersonOrAMythicalCharacter/%E2%80%9CIla-%E0%A4%87%E0%A4%B3%E0%A4%BE%E2%80%9D%20in%20Rigved_%20An%20Honourable%20Person%20or%20A%20Mythical%2 0Character_%20_djvu.txt):


Ilaspade is found in five out of ten rigvedic Mandalas and mandala-wise its occurrences are;
Ilaspade/2(1), 3(2), 6(1), 1(2) ,10(5)

Among all five aforementioned mandalas in which the term, Ilaspade occurs,
show one common feature, that is, presence of active reference of Yajnas being conducted on the
bank of river Saraswati. The term, Active reference practically means, presence of at least one
independent verse, addressed to river Saraswati, wherein the composer invokes her by way of
performing Yajna ceremony.

The speciality of the verses of two Late Mandalas
(Mandala-1 and 10) is that both reflect presence of Ilaspade term/ phrase twice in the same verse.


As a slightly odd conclusion:


In reality, Rigved begins with the very first verse of Mandala-2. Ideally, it should commence
with the past history of the characters; Ila, Pururavas, Nahusa and Yayati who are the real cause
for the initiation and shaping of Rigved.. Many scholars do not give much importance to the Hymn
Rv-1.31. But in the complete rigvedic text, it is the only hymn in which, we find names of all four
pre-rigvedic characters (representing four generations) who overshadow the rigvedic composition.


Yes, but it says Agni is the First Angiras. Not all of this reasoning is accurate. However, the point about "hundred winters" = "mortal" could apply here:


tvam iḻā śatahimāsi dakṣase tvaṃ vṛtrahā vasupate sarasvatī ||


Possibly, a mortal Ila conveys the power/strength "Daksa", although the hymn is addressing Agni taking all these forms, including Vrtrahan and Sarasvati. References support "hundred" combined with various seasons and other things to represent "ideal lifespan" for a person. It is possible that Ila and Bharati are actual people named for deities. The trouble with Vedic history is in discerning when a name is "cycled". Rish Atri of Book Five probably starts the last Gotra, although his name has been used both for an ancient Rishi and perhaps another more recent one.

As to whether there should be a Horned Ila Devi similar to Hathor, or, an IVC yogini, I am not sure.




Returning to the astronomical ideas, Sunahsepa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829165.html) speaks of twelve months and their "supplement". It is less like twelve Zodiacal signs, and more like twelve lunations with remainder. So this is thought to indicate development of the calendar as described in Vedanga Jyotish.

There is no sense that Vena (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840023.html) is Venus as stated several times.

I'm not sure if this is the real answer, but it may point to the right question:


The precession of the vernal equinox was noted by transfer¬
ring Orion’s mythology to Taurus and Aries. Thus Tammuz was
killed by his hostile brother Sirius, Osiris by his hostile brother
Seth (Ursa Major), Tvastr, Dyauspita, Prajapati were killed by
their youngest son Indra or Rudra (Sirius). Terrible events in an¬
cient myths usually refer to dramatic celestial phenomena, thus
providing chronological markers.


Because this marks a later era, it is more likely to be correct:


In the Puranas, the myth of the churning of the ocean, amrta-
manthana, represents, at one level, the shifting of the astronomical
frame.


It's not in the Veda. There needs to be an explanation why the "age of Rishis" comes to an end, which would be the end of Yugas of a certain character. They have to change the Pole Star and the cardinal stars. If you can give these reasons, adequately, then you are fine. We would say the Rg Veda changes the Sisumara or Crocodile of IVC, or this inaugurates the Yuga or Samvatsara of Divodasa. Because it uses the term "fixed", the former Crocodile may have been what we call Draco. The new Dhruva or Pole Star was Kochab, so the constellation recorded in Brahmanda Purana works. Note that in the Bhagavata, the same name has become the entire cosmos. IVC definitely has a Sky Crocodile, and, if its intention had anything to do with north, the pole had been passing through three Draco stars.




Looking at supposed fire altars:


Recent studies haves shown that the unit of dhanus was used
consistently in India in town planning and architecture for over
4,000 years, going back to the Harappan period.


A brick-lined fire pit at Kalibangan
has five layers of bricks in the style of the Vedic altar. A platform
in the citadel at Kalibangan has seven fire altars in a north-south
row, which parallels the six Vedic dhisnya hearths that are placed
in the same directional orientation, the seventh hearth could be
one of the additional hearths of the Vedic ritual where utensils are
cleaned.

The yantric palace at Dashli-3 in North Afghanistan c.
2000 BCE...

Another monumental complex excavated at Dashli is round,
with nine spoke-like extensions jutting out of the periphery. Within
this area are rectangular quarters as well as altar-hearths mounted
on brick platforms. The nine spokes (or openings) recall the image
of the body with nine openings used often in Indie literature. This
complex is in turn surrounded by other buildings with two other
concentric circular walls.



Concerning "the end":


According to the indices, one of the hymns of the Rgveda (10.98)
is composed by Devapi and this hymn mentions Santanu, Bhisma’s
father. This appears to be the youngest hymn in the Rgveda and
thus the reference is supportive of the Indian tradition. The Ya-
jurveda does not mention anyone later than Dhrtarastra and the
Atharvaveda mentions a Parlksit ruling over the Kurus. There is
no mention of Puranic kings who came after the Bharata battle in
the Vedic Samhitas.


No, the Vedas know nothing of that stuff, nor do they know Santanu is Bhisma's father. The Rishi praying for him is an Arstisena (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839736.html); Santanu is presumably the mysterious Aulana (https://www.wisdomlib.org/definition/aulana).


"Remembered" Vedic names:

Ajamidha (RV 4.44.6), Mandhatr (RV 1.112.13, 8.39.8,
8.40.12) and Rama (RV 10.93.14). Furthermore RV 10.34 is at¬
tributed to Mandhatr and RV 10.179.1 is attributed to Sivi and
10.179.2 is attributed to Pratardana.

Of kings lauded in the Rgveda Vadhryasva, Divodasa, Srnjaya,
Sudas, Sahadeva and Somaka appear as kings in the North Pancala
genealogy but there is no description of their exploits. Other
Rgvedic kings such as Abhyavartin Cayamana, Srutarvan Arksa,
Playogi Asanga and Svanaya Bhavya are unknown in the epics and
the Puranas.


Exactly. Portions of it are retained and muddled but the actual knowledge base -- which must have been so common as to be perfectly plain and clear -- has vanished.


This is said to be Dirghatamas (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830758.html) on seasons and an inter-calary month:


The tradition of the seven rsis, the stars of the Ursa Major, is
ancient and it goes back to the Rgveda:

Of those rsis born together, they say that the seventh is
born by himself, saptatham ekajam, while six are twins,
God-born rsis, sal idyama rsayo devajah. (RV 1.164.15;

AV 9.9.16," 10.8.5)

While the rsis are not named in the Rgveda...


That is, the verse is not really suggestive of Seven Rishis of the Great Bear. It may have to do with time or the weather, but it's not identifying stars. More accurately, Atiratra is the nocturnal New Year's rite.


The KausTtaki Brahmana (19.3) speaks of the time of the winter
solstice:

On the new moon of Magha he (the sun) rests, being
about to turn northwards; these also rest, being about
to sacrifice with the introductory atiratra; thus for the
first time they obtain him; on him they lay hold with
the caturvimsa; that is why the laying hold rite has
this name. He goes north for six months...




This, perhaps, is a notable use of numbers:


Book 1 which consists of 191 hymns is classed into 15 groups of hymns by
different rsis. Book 10 also has 191 hymns and its first 84 hymns
are classed into 25 groups based on rsis, and its remaining 107
hymns are counted singly.



Here are some cognates.

Zarathushtra’s
Six immortals born of Amesha Spenta (Boundless Immortality):

• Vohu Manah ( Su Manah ): Good Intention; Persian Bahman

• Asha Vahishta ( Asa Vasistha): Best Law; Ardvahisht

• Kshathra Vairya ( Ksatra Vairya ): Heroic Dominion

• Spenta Armaiti ( Spanda Aramati): Bounteous Devotion

• Haurvatat ( Sarvatata ): Wholeness

• Amaratat ( Amaratata ): Immortality




This is the challenge or difficult operating procedure. Returning to Dirghatamas:


The use of the five year yuga is natural to do a basic syn¬
chronization of the lunar and the solar years. Longer periods are
required for a more precise synchronization rules.


In RV 1.164.48 we are explicitly
told of the 360 parts of the wheel of time.

dvddasa pradhayas cakram ekam
trini nabhyani ka utacciketa
tasmin sakam trisata na sahkavo
arpitah sastirna calacalasah (RV 1.164.48)


Twelve spokes, one wheel, three navels, who can com¬
prehend this? In this there are 360 spokes put in like
pegs which do not get loosened.

The division of the circle into four quadrants of 90 degrees each
is described in another hymn:

caturbhih sdkm navatim ca namabhis cakram na vrttam
vyatidr avivipat (RV 1.155.6)


He, like a rounded wheel, hath in swift motion set his
ninety racing steeds together with the four.


Note, further, that the day is divided into 60 nadikas in the
Vedanga Jyotisa. Since the day is to the year what the degree is
to the circle, this means that the degree was further divided into
60 parts.


So, yes, that may lead to the "cleaner" 360-degree circle, even if it is not the right number of days for a year.

The Vedic text is very limited on any specific mentions of stars, unless you decide you are right about something, such as the Dogs must be the Canis constellations (as Tilak does). I don't know what those Dogs are. That's the whole point is I don't know what those Dogs are. And I don't think India took in "star signs" from the west in the IVC era, but I do think the actual primary navigational stars would have been important to everyone; the North Star is the same everywhere, but light cycles and seasons are not.


This gives us another stand-or-fall theory like the ones of Tilak, Parpola, and others, who make a career that depends on a single assumption. The only difference is we are taking an actual Vedic mantra and extrapolating it to the time when it would have been valid; this, perforce, implies knowledge of the stars Krttika and others forming the ring traveled by the Moon. In theory, this would be an everyday common discussion, that times itself to the intensification of IVC script.

Its details are not in the Rig Veda, but it is most assuredly categorically present and persistent.

Svastya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833349.html) perhaps invokes a goddess of Naksatras:

svasti mitrāvaruṇā svasti pathye revati |


cf. the chariot of the Maruts (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834432.html):


rodasī pathyā


traverses heaven and earth and the paths (of the firmament)


and for Resurrection (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839159.html):


punaḥ pūṣā pathyāṃ yā svastiḥ ||


Usas (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835243.html) is the closest identity for Pathya according to Vasistha.



So far, on this "path", the Naksatras have no satisfactory etymology or derivation. The expression arises a number of times in the Rg Veda, some of which I would call very nearly untranslateable, such as by Vimada Aindra Prajapatya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838742.html):


tvaṃ tān vṛtrahatye codayo nṝn kārpāṇe śūra vajrivaḥ | guhā yadī kavīnāṃ viśāṃ nakṣatraśavasām ||


Murdhanvan Angirasa Vamadevya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839572.html):


vaiśvānaraṃ kavayo yajñiyāso 'gniṃ devā ajanayann ajuryam | nakṣatram pratnam aminac cariṣṇu yakṣasyādhyakṣaṃ taviṣam bṛhantam ||



That one is doubly difficult because now you have the "Yaksha" as well.

When traced back through Vamadeva, one of the most explicit Astrological names to be found is Rahugana.

None of the Rahu myths are even alluded to in the Veda. If it is just an "eclipse" without any special stories, that means it is a group of people who made an observation, which generally isn't possible more than once in a lifetime, if at all. If they make a whole Rishi clan based on seeing it, then, they are many observations away from being able to predict or calculate it. This concept has been completely reversed to credit Atri with liberating the Sun. Rishi Atri is interesting, but, none of the legends about him are real. He echoes what most likely are spiritual metaphors such as "down a well" which were in common circulation. Again, that's because he is a late Rishi in a fully-evolved system, not a creation story.

My dismissal of the Puranic histories comes from a close analysis of the Danastutis. We don't get a 100% answer on every Vedic trivium, but, we do get a fairly solid skeleton about a fair number of Kings who lived at the same time as Rishis. From this perspective, it might be reasonable to say that Atri's grandson may have been the last generation to witness a meaningfully-intact educational system or bardistry that understood the actual Vedic saga.

Dirghatamas the Sarathi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830678.html) has passed the tenth yuga. Although the expression "car or chariot" could pre-date him by only a limited time, this use of a five-year yuga extends indefinitely. Again this is the main concept which everything else is an adjustment to.

A mantra based on Naksatras with Krttika beginning "north of the equator" matches the equinox around 2,300.

The teaching by Lagadha that the Yuga begins with the Solstice in Sravistha--Dhanistha may be some 500 to 1,000 years after this.

The Rg Veda does not have Krttika in it. But it names probably only a few asterisms.


One of the closest things to a derivation is that Sunahshepa says Varuna moves the Moon across the constellations -- Rksa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829151.html) -- by night (Nakta). Naksatra (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840273.html) is used in a fairly normal way. Despite such presences, I have spent time ignoring any possibility that concrete knowledge could be applied to them. This may be naive because it does not appear to be the job of anyone to teach what the stars are. Not physically by basic naming conventions.




To understand it, Book Ten may have some of the last material, but it has some of the oldest, as one of the most original Rishis is Ayasya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839308.html):



abhi śyāvaṃ na kṛśanebhir aśvaṃ nakṣatrebhiḥ pitaro dyām apiṃśan | rātryāṃ tamo adadhur jyotir ahan bṛhaspatir bhinad adriṃ vidad gāḥ ||

“The protecting (deities) have decorated the heaven with constellations as (men decorate) a brown horse with golden trappings; they established darkness in the night and light in the day; Bṛhaspati fractured the rock and recovered the cows.”

Commentary by Sāyaṇa: Ṛgveda-bhāṣya
Protecting deities: pitṛs, or progenitors, the Aṅgirasas, who appear to have been among the ancient astronomers, the inventors of the lunar asterisms (nakṣatras)


You can't quite invent the daily path of the Moon, but you can give it mnemonics and attributions.


In the way we know them, Pleiades -- Seven Sisters appears to be post-Vedic. Krttika -- Cutters is more likely original, but, only by implication. The same logic however also applies in a case study of small populations. Korku (https://en.wikipedia.org/wiki/Korku_people) is a Munda language found in isolated pockets all the way across central India to Maharashtra. This so-called "Australic" family has larger pockets in east India, but is most primordially expressed by Khmer:

https://upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Austroasiatic-en.svg/526px-Austroasiatic-en.svg.png





What we can do is assess the relative chronology of something non-Zodiacal and without Naksatras. Something purely observational, not quite for navigational purposes, but based more on stars that are seen in a quite plain way.


Agricultural Scene

An excellent, very detailed set of interviews on a small-scale level across multiple villages is compiled in Korku Astronomy (https://old.narit.or.th/files/JAHH/2016JAHHvol19/2016JAHH...19..216V.pdf). They have absorbed several Indic elements, such as Shiva and Bhagwan, but otherwise they have no reflection of Vedic or Puranic culture. And it is actually in their myths of stars that one can see the brush of external influence.

If they did not "invent agriculture", let us see if the Krttika are in step with Vedic "old wealth", cattle:


The Korku also are fascinated by the Orion
region. They identify the belt of Orion as the
plough, and Rigel and Saiph as bullocks, even
though their involvement in agricultural activities
is a relatively recent phenomenon. Betelgeuse
is identified with the man ploughing the field.
They can see a whip in the fainter stars of
Orion, near Bellatrix, while some villagers (all
living in the forest) can see birds’ eggs at the
head of Orion (near Meissa).

Very few Korku
identified Taurus, but the Pleiades were identified in seven forest villages as the location of
minced cow meat, while four villages identified
it as a tool for beating wheat to remove the
husk.


While some beliefs, such as eggs seen in
Orion or the bird’s nest seen in Auriga were only
reported by forest villagers, and are easily
associated with a forest environment, minced
cow meat and cowherds—also reported only in
forest villages—are not. These relate more to a
pastoral existence, which was only introduced to
the Korku with agriculture. Meanwhile, other
typical forest elements, such as the bird and
eggs seen in Canis Minor, were reported by
forest and plains villagers.



In Hatida:


2) They know of the plough in Orion.
3) They know the Pleiades as the minced
meat of a cow.
4) They know Auriga as a bird’s nest, with
Capella as the bird and the southern
stars as eggs




We would surmise the forest dwellers have the older version, and plains dwellers adapted slightly different roles that likely represent "newer" or more complex agriculture. Auriga is then given one of the most Sanskritized names, Kunva (Well):


They
add that when it is seen in the west at
sunset the monsoon will arrive


With Auriga as a Well, the Bird moves and the tool or Krttika changes:

Pankheru (bird)


6) They identify Sirius as a (generic) bird
(pankharu) and Adhara and Wezen as
two eggs of the bird (Bhori Akkom).
7) They identify the Pleiades as Bhot Mungali (Mogari)—a tool used to beat wheat
to remove the husk


That constitutes a "modular unit of change", or something like that, three significant changes in a panorama.

Well, we found that ploughing comes from Kalibangan ca. 2,800. In Mesopotamia, Man-with-plough was the original sign that got transmuted to Aries in the post-Vedic era. In India, the man has a Korku -- Sanskrit name:


Nangarnara manus


who is Betelgeuse.


They refer to the belt of Orion as Harnangar—a plough with three blades.


2) They recognise the belt of Orion as
Harnagar—the plough.
3) They recognise the head of Orion as
Bhori Akkam—the eggs of a bird.
4) They recognise the Pleiades as the
minced meat of a cow.


4) They recognise that Orion is not seen
from April to September. This is because in April people plough the fields
and if they see the heavenly plough they
will imitate it. Hence the Gods hide the
plough during these months.


Nangar (https://www.wisdomlib.org/definition/nangara) shows up as Marathi "plough" with "nara" and "manusa" being obvious enough.

In mainstream astrology, it is this Naksatra:


Ardra – "the storm god" Betelgeuse

Ardra (https://www.wisdomlib.org/definition/ardra) simply means "wet".


The sign however is ruled by Rudra, who has to do with Waters and particularly Medicinal Waters.

It is notable the Korku generally recognize the sign Scorpio, but almost nothing else matches what we would call constellations.

Seeing that Aldebaran and parts of Taurus become overhauled as "thrashing ground", which is an operation of bullocks pulling a thresher around a pole, it was previously simpler:


6) They identified the Pleiades as the
minced meat of a cow (gai jijilu).
7) They identify Aldebaran as a cowherd
(bailmarya tara)


There is one more thing I know of that will nearly fill in a segment of arc for us: Tisya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833399.html) as a sky object in V.54 by Syavasva.

Tisya also has the connotation of a deity with Krsanu and Rudra (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839242.html) in X.64 by Gaya Plata. Krsanu also has a type of earthly counterpart as somapalas and friends of Purukutsa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830207.html) by Kutsa Angiras.


Now, the interviewers believe that primordial forest myths are a holdout relic from the era of these "western Korku" emigrating from east India. That it is more pristine, reflects an older era. If so, what I am getting is that it is practically required to fill in the blanks, especially if Naksatras come from a pre-Vedic setting. The following arc will show us the beginning of the set up to the first point we can be sure we specifically found a Sanskrit asterism:


Krttika -- Pleiades, Agni; unknown in the Veda, shredded cow meat to the Korku

Rohini -- Aldebaran, Prajapati; untraceable in the Veda, cowherd to the Korku

Mrigasira -- Lambda Orionis, Soma; untraceable in the Veda, Eggs under the Bird (Capella) to the Korku

Ardra -- Betelgeuse, Rudra; inscrutable in Sanskrit, Man-with-plough to the Korku

Punarvasu -- Castor and Pollux, Aditi; unknown to Korku before Auriga-as-Well

Tisya or Pusya, faint stars in Karka -- Cancer, Brhaspati; unused portion of the sky for the Korku



What seems obvious is that Orion isn't anything, that bright stars can be whole people, such that Aldebaran and Betelgeuse are distinct individuals with animals and plough.

However, Eggs under a Bird are a constellation, binding together Mrgasira and Capella.

Aldebaran is the tara or star of or similar to Venus:


5) They recognise Venus as rising at sunset and sunrise. The morning star is
called Suko and the evening star Bel
Marya


i. e., the Evening Star is the time when Shepherds return home.

But, if we scrutinize that for a moment, whether it is for a "cow" or is a generic "herdsman", it is effectively the epithet "Shepherd" and, fairly enough, approximately close to the epithet "Prajapati".


This is where I think they foul up Vedic history completely. The Brahmanas talk about a rivalry or duel between Visvamitra and Vasistha. There is no hint of this in the Rg Veda. Visvamitra simply isn't there any more. The guy could have croaked normally. Note you also don't get an "exit scene" for King Sudas. In fact, there is almost no such "dynastic information", you don't see "X died and was replaced by Y" in hardly any cases (if any). Visvamitra is a bridge between the Kausikas/Gathin Kausika and the lineage of Prajapati.

In Rg Veda, we find "Prajapati" as a Rishi name as well as a Divine name. It refers to:


Savitr (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832810.html) by Vamadeva

Indra (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837339.html) by Asita Kasyapa


and in Book Ten:

Himself (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839504.html) by Surya Savitri

Himself (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840012.html) by Hiranyagarbha Prajapatya

Himself (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840352.html) by Sabara Kaksivata

Himself (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840420.html) by Tvastr Prajapatya



We already find two "descendants of Prajapati", who is the author of III.38 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831950.html).


His full name appears at III.54 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832099.html):


Ṛṣi (sage/seer): prajāpatirvaiśvāmitro vācyo vā


where there is some very indirect astronomy in verse 5:


Who knows what is the truth, or who may here declare it? What is the proper path that leads to the gods? Their inferior abiding places are beheld, as are those which (are situated) in superior mysterious rites.”

Commentary by Sāyaṇa: Ṛgveda-bhāṣya
Abiding places are beheld: as the constellations; superior mysterious rites: in the latter they are made known, it is said, by the Veda



Then, to compensate for the nearly-non-existent Visvamitra Gotra, we might say that, following this Prajapati, is perhaps the most important statement in the whole Rg Veda according to the Rishi of V.33-4 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833157.html):


uta tye mā paurukutsyasya sūres trasadasyor hiraṇino rarāṇāḥ | vahantu mā daśa śyetāso asya gairikṣitasya kratubhir nu saśce ||


Ṛṣi (sage/seer): saṃvaraṇaḥ prājāpatyaḥ



Note that this Samvarana character is known later to Srustigu Kanva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836575.html):


manau sāṃvaraṇau

“As you did drink, O Indra, the effused Soma beside Manu, the descendant of Saṃvaraṇa, by Nīpātithi and Medhyātithi, by Puṣṭigu and Śruṣṭigu, O Maghavan (so do you drink it here).”



There is also a minor chain of these two among the sub-composers at IX.101.10 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838350.html):

Ṛṣi (sage/seer): manuḥ sāṃvaraṇaḥ


X.101.13:

Ṛṣi (sage/seer): prajāpatiḥ



So we would say that Manu Samvarana is roughly contemporaneous to Manu Vaivasvata, both of whom represent the major height of the Vedic system, and they are preceded by one or more other Manus.



Now. At the furthest outreach. Lambda Orionis was Eggs during a time that only requires ploughing, i. e., Kalibangan ca. 2,800. But then in pre-Vedic Sanskrit ca. 2,300, it is a Deer Head.

The Rg Veda does not support any Brahma and Rohini stories, but, it does have a quintessential deer-like enemy.

It must, in fact, be a primordial Indra lesson from the Old Books.


There is Indra defeating:

Mrga the Danava (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E05.029.04b%3C/b%3E&acc=no&q=5.&lang=ved) by Gauriviti Saktya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833094.html)

Weapon of Mrga (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E05.032.03a%3C/b%3E&acc=no&q=5.&lang=ved), slew the Danava by Gatu Atreya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833139.html) (then Susna or another form appears)

assisting Usana against Mrga (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E05.034.02c%3C/b%3E&acc=no&q=5.&lang=ved), as we have just seen from Samvarana Prajapatya

overpowering Mrgaya and Arbuda (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E08.003.19c%3C/b%3E&acc=no&q=8.&lang=ved) by Medhyatithi Kanva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835563.html)


Book Ten, Anga Aurava (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840153.html), Rjisvan v. Pipru

Book One, Savya Angiras (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829519.html), Rjisvan v. Pipru


Perhaps most poignantly is the statement by Gauriviti (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833101.html):


You have subjugated Pipru and the mighty Mṛgayā for the sake of Ṛjiṣvan, the son of Vidathin...

or that Vamro Vaikhanasa calls him Rjisvan Ausija (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839759.html).

Rjisvan is Kaksivan, or his brother?


The foe is in Book Ten spoken by Indra Vaikuntha:


Mṛgaya under subjection to Śrutarvan...I humiliated Veśa for Āyu; I subjugated Padgṛbhi for Savya.


There it is in fact possible that Ayu is a person. However the "deer" seems to have been defeated by someone different. This will again obviate the Puranas because according to Gopavana Atreya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836886.html):


Śrutarvān, the mighty son of Ṛkṣa


Then it is only necessary to say:


ārkṣe

as donors for Priyamedha (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836789.html).

That is, "sons of Rksa" would have been a stock phrase at his time.

Either Rksa and Srutarvan are Vidathin and Rjisvan, or, they are close allies. Both contest Mrgaya.


Consequently, Rjisvan becomes a composer in Book Six. This is why we would say Priyamedha and some other Kanvas are quite old, while there are others in the age of Atreyas, all trying to retain some of the same memories while adding new ones.

If there was any kind of star myth being crafted, it would be Indra defeats Mrga. This event would not have the antiquity to explain a meaning or name that might have been taken up during IVC. It is given distasteful associations of mayavin and dasa with geographical mention of Arbuda. So you would be talking about rubbing shoulders with "western Korku" and others. That is because it is also a Soma-producing region. So with this early conflict, and then examples with Agastya and the Atreyas, certainly seems to suggest greater access through the "wilderness", which seems in keeping with the Rishis' knowledge or Astrology in the megalith culture of south India by 1,500 or possibly before.

It sounds to me like the Veda is imposing the Agni series of deities onto extant stars that are being harnessed as Naksatras in a meaningful way. The first important series of asterisms has no visibility throughout the Rg Veda, while it is an entire scene in "agricultural magic" in a peculiar way, it must have been important to be remembered by forest hunter-gatherers who have nothing really to do with its origin. However we observe the spread of Rice Agriculture from the lower Ganges to IVC. It would be a close parallel of the plough of Kalibangan and quite possibly a continuous bloc of Munda speakers, who are probably behind the entire western distribution of chicken and rice.

As Arbuda is also inhabited by Kadru and the Sarpas, then, there is another Sanskrit rationale for the Aslesa sign.


The point is to try to isolate the oldest examples of usage. This probably would not inform, but may approximate, IVC script subjects.


Also (https://www.constellation-guide.com/orions-belt/):


The Gond community of India knows the asterism as Tipan (Three Stars). They know that the monsoon comes when Tipan appears at sunset. Orion’s Belt and Sword are called Naagarda (a plough). When they appear in the early night sky, they signal the beginning of the farming season.


Gond Astronomy (https://articles.adsabs.harvard.edu/pdf/2013JAHH...16...29V) is similar but flat in some details, although here and throughout Maharashtra tribals (https://www.researchgate.net/figure/Region-around-Orion-constellations-as-seen-by-Gonds_fig2_320145788), the plough is the same everywhere. The Korku demonstrate "layering" the best. But what we are seeing is a conflux of Australics and Dravidians in the same region of the latest IVC phase, e. g. Daimabad up to about 1,600.

It may be that IVC sees a quite similar "agricultural scene" around Orion. When this sets, Scorpio rises, which is why that is the only other section of sky discussed here. If not the entire sign, at least part of it is associated with the scorpion.


Finally, for the Moon, we expect the Veda to be obstinate and recalcitrant. The moon disappears in the "Soma" subject, and, as the alternative, the expression candra is very common as "shining", "high quality", or "gold". This translates to "self-illuminating":

svaścandram


whereas Usas has a gold chariot (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832190.html):


candrarathā


She's not in the Chariot of the Moon. So we have to be careful on narrowing it down.

The Moon is like gold because both shine due to reflected sunlight.

At least in character, the term "soma" associates more to "cool rays", such that moonlight is seen as being almost entirely beneficial, whereas the sun is aggressive and threatening and actually damaging sometimes. It's raw power and re-transmitted power.



This is important because "Soma or Chandra" is the deity of Meissa or Mrgasira. The first five deities of the Naksatras are also the lords of the five years of a Yuga. Moon is right beside Rudra. If Soma is also a drink sometimes just called "waters", and, Rudra is pre-eminently Medicinal Waters and in the sign "Wet", something is going on here.


It is possible to mete out a few examples where Candra = Moon. Gotama Rahugana (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829877.html) on Horse Head:


They found on this occasion the light of Tvaṣṭā verily concealed in the mansion of the moving moon.

atrāha gor amanvata nāma tvaṣṭur apīcyam | itthā candramaso gṛhe ||



Enfolded in praise by Gaya Plata (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.064.03c%3C/b%3E&acc=no&q=10.&lang=ved):


To Narasamsa and to Pusan I sing forth, unconcealable Agni kindied by the Gods.
To Sun and Moon, two Moons, to Yama in the heaven, to Trita, Vata, Dawn, Night, and the Atvins Twain.



Almost at the end of the whole Rg Veda in X.190 (https://www.meluhha.com/rv/verse.pl?v=10.190.01&acc=no&q=10.&lang=ved):


From Tapas kindled to its height Eternal Law and Truth were born:
Thence was the Night produced, and thence the billowy flood of sea arose.

From that same billowy flood of sea the Year was afterwards produced,
Ordainer of the days nights, Lord over all who close the eye.

Dhatar, the great Creator, then formed in due order Sun and Moon.
He formed in order Heaven and Earth, the regions of the air, and light.


The due order is the other way around in Purusha Sukta (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839611.html):


candramā manaso jātaś cakṣoḥ sūryo ajāyata |



You could call it his "mind", but, this is magic in Heaven; the Soul of Purusha becomes the Moon.

This Sukta has the all-important Viraj (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.090.05a%3C/b%3E&acc=no&q=10.90&lang=ved) and refers to Three Seasons (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.090.06c%3C/b%3E&acc=no&q=10.90&lang=ved) in the sacrifice of Purusha.


We can be fairly confident Soma = Moon when found in Yajur Veda Navagraha Suktam (https://www.quora.com/Do-the-Vedas-mention-the-Moon):


Apsu may somo abraveedh,
Anthar viswani bheshaja,
Anim cha vishwa shambhuvam,
Aapascha viswabheshaji

Moon has told me,
All medicines are in water,
And the fire bestows happiness of all,
And waters are the panacea



This ends on something very unusual. We don't get an equivalent "Soma = Moon", but, we can find it as a name rather than a beverage. Whether it means that beverage or the Moon remains to be seen.

These are grammatically dual; when we see names like "Maitravaruna", they are not compounds, but conjunctions, of two distinct entities being called together, often followed by phrases like "the two of you". There is no confusion when there is something famous stuck to a different something famous. In the case of Soma, there is a whole heap of conjunctions:


Agnisoma I.93 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829986.html) by Gautama Rahugana

Indrasoma (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E02.030.06c%3C/b%3E&acc=no&q=2.&lang=ved) in II.30

Indrasoma (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E06.072.02a%3C/b%3E&acc=no&q=6.&lang=ved) gives light to Usas in VI.72

Indrasoma (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E07.035.01c%3C/b%3E&acc=no&q=7.&lang=ved) in VII.35 with other compounds, e. g. Indrapusan

Indrasoma (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E07.104.01a%3C/b%3E&acc=no&q=7.&lang=ved) as Bulls in VII.104


we are able to find only a few solo occurrences:


Soma (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E08.048.04d%3C/b%3E&acc=no&q=8.&lang=ved) perhaps equivalent to Indu in VIII.48

Soma (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836954.html) as protection in VIII.79, followed by dwelling in the Heart (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836958.html); a complete Soma hymn

Agnisoma Punarvasu (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.019.01c%3C/b%3E&acc=no&q=10.&lang=ved) in X.19

Soma (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.057.06a%3C/b%3E&acc=no&q=10.&lang=ved) with the spirit/soul (manas) still within us in X.57

Agnisoma (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.066.07a%3C/b%3E&acc=no&q=10.&lang=ved) in X.66



That notches up the "year arc" we started since after Ardra comes Punarvasu (Castor and Pollux).

I was going to ignore it as a potential Naksatra name because it just has a generic meaning, "wealthy again", but here we have a dual name besides something that refers to "twin stars".

Concretely, "the Vasus" or Vasavas (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834586.html), the ranks of Vasistha, "provider of dwellings", must have been the social fabric for unspoken time in the "Ikshvaku" or "Ayodhya" setting.

The Veda does not really tell us anything about Mandhata; the Puranas say he crossed over to the west and defeated those raiding bandits, or Panis, etc., which may be reflected in the aridization of Balochistan from around 2,000. Therefor the IVC seals should utterly fail to have anything to do with the Vedic backstory. They should have something to to with the prior underlying ethos, and Krttika was the equinox during most of IVC, regardless of what anything else says.

Because Five is so very weird and seemingly powerful in the IVC script, that would be grounds for considering a five-year Yuga and the first five Naksatras starting at Krttika.

It is noticeable that Moon is not quite deified in Rg Veda, until we find it separating the more primeval Indragni.

Of course, this is how the script and particularly the "story of Five" seems to work.

Maybe that is "informative" to Vedic logic, some of these basic pairs being moved around. I have not tried to look for that. The Rishis' names follow a framework as well, in the sense that occasionally they carry a third name, reflecting on its importance. And so if you look at the "black Veda" so to speak, which is probably the real origin, then it is really an Iksvaku saga:


Pururavas -- Vasistha

Mandhata -- as "confirmed" by existence rather than information

Trasadasyu Paurukutsa Gairiksita


The picture is rather that the perhaps minor kingdom of the Bharatas had decayed, and Trasadasyu becomes probably the single-most powerful and important individual by making some kind of huge and glorious realm, around the time of Kasyapa and the Tarksyas or Trksis, Arstisenas, as again Ikshvakus. The notable part of the "established system" is that the third name refers to a temple or pilgrimage site of Vishnu Trivikrama, who holds the major key to the theology on a personal practice level.

The "white Veda" on the other hand might be called that of Manu and transmissions retained in continuity.

It is intriguing that the Scorpion may be part of Scorpio without the whole sign as we know it. The creature would be opposite a three-bladed plough. Those might be IVC ideas. It would have simply physically been the case. As to whether they evolve the Yuga or Naksatras, I don't know we have tried asking it.

[shaberon]

Moon and Soma Book Nine



Before returning to the glyphs, this will be another look at the Sanskrit Moon by ejecting later material.


We have gotten to 2,300 as the epoch of the oldest known Soma Presses, and the Pleiades Equinox that matches the Krttika-first list of Naksatras.

Of course, there is probably something to both of those that antedates these facts, but those are fairly concrete evidence, and quite germane to Sanskrit.


Book Nine of Rg Veda is often called "Soma Mandala" although its main focus is probably Pavamana (purification). It's not really a quest for raw materials, but, a physical filtration combined with a magical charge-up. As far as we can tell, this is identical to not just IVC Unicorn but the whole milieu of Monumental Objects. However it may not be in Kot Diji "pre-script", it may not be an archaic Iranian diffusion, it may be an Afghan concoction, or Pamiri or Kopet Dag, from within the Bronze Age. It could be from the Sivaliks, Aravallis, or Vindhyas in the same way. It could even be from the plains with a preference for mountain varieties.


Enigmatically, the Moon does not turn out to be obvious in IVC script, and, it is not obvious in the Veda either, even though tracking it is the basis for the Naksatras, and it is one of the most basic things for any culture to speak of.


We found that candra is frequently an adjective, but candramas designates a mobile orb, understood as Soma (https://hinduism.stackexchange.com/questions/36541/who-is-soma-in-this-mantra-from-rigveda):



At times, Soma is the celestial Moon described in Atharva Veda 10 & 11.6.9 which says “Soma; whom the learned men call Chandrama the Moon making all delight” and “The Supreme Being keeps making Soma, the eternal delight”


This is clear. But there are so many instances of "Soma", does anyone have a grasp on its meanings?

These are a few more cited suggestions:


Soma is the home of ṛta RV1.43, Soma is also the juice of a plant used in Yagna as a substitute for Amṛta.

This amṛta significantly applies to Soma and Rudra, later to Agni RV7.4.6 and the Maruts; but in a few instances, it applies to Mitra-Varuna as they are the deliverers of Soma. Soma and amṛta signify truth, medicines, knowledge, health, and immortality which are the same as Rudra, as he is pra-jāḥ amṛtasya “immortals family possessing the amṛta” and parasmin dhāman ṛtasya “home to the highest truth (ṛtasya)” RV1.43.


Like all Devas is Rudra also offered Soma? It is on very rare occasions that Rudra is offered Soma, in those rare occasions it’s in a metaphorical sense because Soma is already conjoined with Rudra, why? Because Soma-Rudra becomes conceptually one entity in many hymns and the very first homage to Rudra is conjoined with Soma RV1.43, but this duality soon becomes one in Rig Veda 6.74

Soma is also used as a synonym for amṛta and it is this Soma that the Devas compete RV1.108



Here's another one. From a study that adds the epithet Vanaspati (https://www.wisdomlib.org/hinduism/essay/soma-in-vedic-mythology-and-ritual-study/d/doc627292.html), this is perhaps similar to Contest Heroine:



The charm to crush the tigers belongs to Atharvan and is born of Soma. The strength of Soma is at the basis of such power of the charm.

- AV IV.3.7



As a form of Giriksita:


The Soma plant is once in the Rigveda described as maujavata, which according to later statements would mean produced on Mount Mujavat. Soma is also several times described as dwelling in the mountains (giristha) or growing in the mountains (parvatavridh).



Twenty-four varieties are recorded, beginning:


Amshuman, Munjavan, Candramah...


crafted into multiple recipes:


The purified (unmixed) Soma juice is often called Suddha (pure), but much oftener sukra, or suci, ‘bright’. This unmixed Soma is offered almost exclusively to Vayu and Indra, the epithet sucipa ‘drinking clear (Soma)’ being distinctive of Vayu, but is admixed with milk for Mitravaruna and with honey for the Ashvins.


Soma is identified in the Rigveda as having three classes of admixture (tryasir), with milk (gavasir), sour milk (dadhyasir) and barley (yavasir). The admixture is figuratively called a garment (vastra, vasas, atka) or a shining robe (nirnij).




Three Mountains:



The abode (sadhastha) of Soma is referred to frequently and once, however, mention is made of three, which he occupies when purified, the epithet ‘trisadhastha’, having three abodes, being also applied to him. These three abodes may already designate the three tubes used at the Soma ritual. The epithet ‘tripristha’ three backed is peculiar to Soma.


It is really "three backs" or "three roofs".

The Veda does to some extent continue a "horns" motif:



Soma being so frequently called a bull (ukshan, vrishan, vrishabha) is sharp-horned (tigmashringa), an epithet especially applied to the Moon in Yajurveda which in five of its six occurrences in the Rigveda is associated with a word meaning bull.


It is an immortal stimulant I.84.4

Soma is immortal and the Gods drank him for immortality IX.106.8

He confers immortality on the Gods and on men VIII.48.3

He places his worshippers in the everlasting and imperishable world where there is eternal light and glory and makes him immortal where king Vaivasvata lives I.113.7

Soma is the ‘soul of Sacrifice’ IX.2.10

rishikrit, ‘the maker of seers’ IX.96.18



The closest thing I can find to one of those last references is Vivasvatis (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829464.html) invited to a Soma Offering. I.113 is something else.

There is no dispute about its connotation of "Amrta", but the rest of these need to be reviewed.

If it is supposed to be "early", I.43 is by Kanva Ghaura, and interestingly it is a Kad (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829416.html) or "when" hymn, whereas we have seen "Ka" and "Ko" more prevalently, these being mostly what we call "rhetorical" questions. Then it seeks to cause Aditi to give us the gifts of Rudra. The quotes that were attributed to Rudra are really from the first line addressed to Soma (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829424.html). The two seem "closely related", but there isn't anything technically explaining this. It's typical for a hymn to switch deities from line to line, which in itself is not enough to show identity, relation, etc., although here, you certainly get a sense of the same work continuing.

This is much more basic.


VI.74 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834495.html) was horribly understated. First of all the dualization has been reversed:

somārudrā dhārayethām asuryam


Suddenly that's the order of two Naksatras, and we are asking them for the One Power called Asura. Moreover, the entirety of my current ethos is summed up by their unknown possessions we call the Seven Jewels of Enlightenment:


sapta ratnā dadhānā


There are a few brief normal invocations, and then the introduction of a catharsis or spiritual crisis, where in reality we are guilty of something, which causes us mental anguish. Therefor we are seeking Liberation from Sin which is called:

varuṇasya pāśād


The Noose of Varuna.


We would associate it with control of the Underworld. Here we find it in an unmistakable duality of the Old Books.

Saunaka says after the Seven Jewels, it is supposed to be Cakravartin Abhyavartin (https://www.wisdomlib.org/hinduism/book/brihaddevata-attributed-to-shaunaka/d/doc1621814.html) which is why in the last hymn of Book Six, Payu does a sort of Brahma Varma with limited use of deities, but including:



“May the brāhmaṇas, the progenitors presenters of the Soma, the observers of truth, protect us; may the faultless heaven and earth be propitious to us; may Pūṣan preserve us from misfortune, let no calumniator prevail over us.”

may Soma speak to us encouragement

somas tvā rājāmṛtenānu vastām |


and so even there it soaked us in Amrta. The hymn sanctifies arrows and other "things", and is not clearly about a person or deity, but does show Soma as important for success. Besides Indra, it is the only thing regularly attributed with defeating enemies.

On the other hand, Buddha Gavisthira Atreyi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832869.html) says that Agni brings the Seven Jewels into every house.

I think that is the point of the Veda. Something that was originally unknown and brought in by force, becomes stable throughout all communities. The Seven Jewels are iterated by one of the earlier Rishis, and then by Atreya's daughter, spanning some eighty per cent of the content.



In IX.2 by Medhatithi, Indu is the original Atma of the Yajna (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837307.html). Close to, but not exactly the remark given. I have not tried to finesse the vocabulary in this book, mainly because it's not easy to distinguish "soma" as a proper or common noun, or "indu", but of course the practice overall is based on Soma Offering, which in some way must be differentiated from that of the IVC times.






Candramas arises in some lore standards:


Lament of Trita Aptya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830116.html)

Water Moon (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836990.html)


There, it is just a term, not quite deified. The Moon is not clearly, or at least not vividly, deified in the Veda, which doesn't add up, compared to how the sun is. This can be fixed immediately. A subtle juxtaposition is seen in the verses of Surya Savitri (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839480.html) as first for "the two":

Devatā (deity/subject-matter): somārkau


then:

Devatā (deity/subject-matter): candramāḥ

“New every day (the moon) is born; the manifester of days he goes on front of the Dawns; he distributes their portion to the gods as he goes; the moon protracts a long existence.”


The Mansions of the Moon impart qualities or attributes to Usas, and fastens them to the Deva Loka. This suggests that its house at sunrise is more significant than its transit during the day, but all we can be sure of is he is acting like a mirror. At any rate, we can be sure he has mantras, which, here, follow the trend of "Soma" being used in combinations, and Candramas by itself.

At that, examples such as Agnisoma are proliferous, while so far there is *one* Somarka and *one* Somarudra.




We found an interesting comment where someone thinks Book Two "starts" the Rg Veda. This isn't so chronologically, however I would agree it is true in terms of an entering wedge that we do not have for IVC. It is the most concise and important synopsis, almost to the extent of a textbook, for a headstart on how everything works. As mentioned, the pure historical Veda goes back to fragments (which are partially solvable); but everything known about the practice stems from Ten Rishi Gotras, identifiable not by founders but by Apri Hymns, and here we get something that originates with Dirghatamas.

He did not call it that and probably did not know there was such a thing; it is a style of hymn that refers to most of the main ritual components. The other Apri Hymns (https://en.dharmapedia.net/wiki/Apri-suktas) repeat this convention while changing the phrasing mildly. These can be "layered" fairly easily.

His first one is nearly unattributed, since it is remembered as the Apri of Angiras Gotra.

But then he has one of the first attested descriptions of a 360-degree circle, and so he has been noted for a few things, but not given a clear picture.

His group of hymns is like a continuous strand; I.162 certainly superficially looks like a Horse Sacrifice, but, if we probe it for symbolic meanings, the deity or subject is Reality Source Mitradayo (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830707.html).

This is the same expression we still use, an ending with -daya, and moreover when he calls Soma "udaka" this is the very same as in Vajrodaka or Vajra Udaka Tantra. This archaic guy with no lineage named after him, has all of the linguistic foundation. But he is effectively the transmitting Angiras Rishi, of whom everyone else is a minor modification.


In a strand of deities emitted through Mitra, there is an unusual compound with Life:


aryamāyur


we find the generic meaning of "Vidathin":


vidathe < vidatha
[noun], locative, singular, neuter

“meeting; wisdom; council.”



Aside from the Horse, the Goat comes in as a Visvarupa:


...the various-coloured goat going before him, bleating, becomes an acceptable offering to Indra and Pūṣan.

A black goat is also dedicated to pūṣan, along with soma (Yajus. xxix.58)



“This goat, the portion of Puṣan fit for all the gods, is brought first with the fleet courser, so that Tvaṣṭā may prepare him along with the horse, as an acceptable preliminary offering for the (sacrificial) food.”


It is exactly here the Goat is given the apparent "Hotr" role also simply that of Agni:



...the goat, the portion of Pūṣan, goes first, announcing the sacrificer to the gods.

atrā pūṣṇaḥ prathamo bhāga eti yajñaṃ devebhyaḥ prativedayann ajaḥ ||



If we tend to think the Horse updates prior mythology, then again, this role of Goat could be a carry-over from IVC. The capability of Tvastr to mantrify it may be as well. Pusan may be a little harder to detect, but might occur with Ghee.




From the translations, one misses Rtu and the other, Tvastr:



Of Tvastar's Charger there is one dissector, -- this is the custom-two there are who guide him.

There is one immolator of the radiant horse, which is Time; there are two that hold him fast

ekas tvaṣṭur aśvasyā viśastā dvā yantārā bhavatas tatha ṛtuḥ |




In actuality, the hymns go on to something about a Magic Horse:


“Your great birth, O Horse, is to be glorified; whether first springing from the firmament or from the water inasmuch as you have neighed (auspiciously), for you have the wings of the falcon and the limbs of the deer.”

“Trita harnessed the horse which was given by yama; Indra first mounted him, and gandharva seized his reins. Vasus, you fabricated the horse from the sun.”



The translations again have difficulty expressing it as a Samaya with Soma:



“You horse are Yama and you are Āditya; you are Trita by a mysterious act; you are associated with Soma. The sages have said there are three bindings of you in heaven.”

Yama art thou, O Horse; thou art Aditya; Trita art thou by secret operation.



ási yamó ásy ādityó arvann ási tritó gúhyena vraténa
ási sómena samáyā vípṛkta āhús te trī́ṇi diví bándhanāni




This is no mundane topic, it's completely mystic:



Thyself from far I recognized in spirit, -- a Bird that from below flew through the heaven.
I saw thy head still soaring, striving upward by paths unsoiled by dust, pleasant to travel.

ātmā́naṃ te mánasārā́d ajānām avó divā́ patáyantam pataṃgám
šíro apašyam pathíbhiḥ sugébhir areṇúbhir jéhamānam patatrí


Sayana says this is a "mane", but the text actually says Horse with Horns:


hiraṇyaśṛṅgo


Horns made of gold hath he: his feet are iron: less fleet than he, though swift as thought, is Indra.

híraṇyašṛňgó 'yo asya pā́dā mánojavā ávara índra āsīt




fleet as thought, Indra is his inferior (in speed)

the first who mounted the horse was Indra.




Further along is some very difficult conceptualization about Horses and Cars:



“They yoke the seven (horses) to the one-wheeled car; one horse, named seven, bears it along; the three-axled wheel is undecaying, never loosened, and in it all these regions of the universe abide.”

“The seven who preside over this seven-wheeled chariot (are) the seven horses who draw it; seven sisters ride in it together, and in are deposited the seven forms of utterance.”


This may be a clearer expression of numerology:



what is that one alone, who has upheld these six spheres in the form of the unborn?


The one sole (sun), having three mothers and three fathers

Three mothers and three fathers: the three worlds, earth, sky, heaven; and the three deities presiding over them: agni, vāyu, sūrya



Expressions of The Year:



“The twelve-spoked wheel, of the true (sun) revolves round the heavens, and never (tends) to decay; seven hundred and twenty children in pairs, Agni, abide in it.”

“They have termed the five-footed, twelve-formed parent, Puriṣin, when in the further hemisphere of the sky; and others have termed it Arpita, when in the hither (portion of the sky); shining in his seven-wheeled (car), each (wheel) having six spokes.”


“He who knows the protector of this (world) as the inferior associated with the superior, and the superior associated with the inferior, he is, as it were, a sage; but who in this world can expound (it); whence is the divine mind in its supremacy engendereḍ ”



Well, it is very rarely the Rishis push us to a vocabulary lesson, so we should perhaps take a look at what sounds like the Solstice tracks.


Purīṣin (पुरीषिन्).—[adjective] dwelling in or on the earth


This has another Vedic parallel where it may be riverine (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833378.html):


sarayuḥ purīṣiṇy


The next expression "Arpita" has meanings such as "to place", "insert", "offer", which seems generic but this has some very specific and limited applications in Rg Veda. For instance, it is the Mundane Egg (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839443.html) placed upon the Navel of the Unborn:


ajasya nābhāv adhy ekam arpitaṃ


Goat rider Pusan (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834342.html) placed over the whole world:


ajāśvaḥ paśupā vājapastyo dhiyaṃjinvo bhuvane viśve arpitaḥ |



Then we will find it in one of the largest hymns, from Book Nine, as used by three different authors, although it is the same phrase in each case.

Sikata Nivavari:

drāpiṃ vasāno yajato divispṛśam antarikṣaprā bhuvaneṣv arpitaḥ | svar jajñāno nabhasābhy akramīt pratnam asya pitaram ā vivāsati ||


He, clad in mail that reaches heaven, the Holy One, filling the firmament stationed amid the worlds,
Knowing. the realm of light, hath come to us in rain: he summons to himself his own primeval Sire.



Three Sages:


indo bhúvaneṣv árpitaḥ

placed upon the waters

Indu, mid the worlds of life




Atri:

vimāno ahnām bhuvaneṣv arpitaḥ |

placed in the firmament as the measure of days

Dweller in floods, King, foremost, he displays his might, set among living things as measurer of days.
Distilling oil he flows, fair, billowy, golden-hued, borne on a car of light, sharing one home with wealth.


We will just cite those and note the "Bhuvaneshvar" connotation. Atri seems to have used it twice.





For Dirghatamas, the main subject was again translated as Soul of the Year between Surya and Sarasvati in I.164.48 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830791.html):


Devatā (deity/subject-matter): saṃvatsarātmā kālaḥ



which is where he introduces the Sadhya class of deities:


yatra pūrve sādhyāḥ santi devāḥ ||


Thus, the Sadhyas are not a Puranic contrivance; both they and the Rbhus are quite prominent in Vedic lore, in importance if not frequent appearance. Just like IVC, something may only be seen one or three times, but the point is it is following the same ruleset. Dirghatamas "introduces" many things to us, but I'm not sure he invented any.


In VI.44, Samyu (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834124.html) literally refers to "Soma" in verse 20, and re-iterates it in synonyms such as Madhu and Amrta:



ayam akṛṇod uṣasaḥ supatnīr ayaṃ sūrye adadhāj jyotir antaḥ | ayaṃ tridhātu divi rocaneṣu triteṣu vindad amṛtaṃ nigūḻham ||


“This Soma made the dawns happily wedded to the sun; this Soma placed the light within the solar orb; this (Soma) has found the threefold ambrosia hidden in heaven in the three bright regions.”




Lost in translation, the Atharva Veda reference in Sanskrit to "Tiger" uses the downflow of Sindhu and Vanaspati (https://titus.uni-frankfurt.de/texte/etcs/ind/aind/ved/av/avs/avs.htm) as the direction of falling. The translation garbled that into Celestial Tree (https://sacred-texts.com/hin/av/av04002.htm). It's not, it's Vanaspati flowing downwards like rivers.


This adversary is Mrga:


Let the beast's teeth be broken off, shivered and shattered be
his ribs!
Slack be thy bowstring: downward go the wild beast that
pursues the hare!


and it is a dual power:

Indra's and Soma's child, thou art Atharvan's tiger-crushing
charm.


This "hare" is indicated by:

cʰaśayúr


in this (https://www.newindianexpress.com/opinions/2021/May/15/lunar-eclipse-and-the-intelligent-rabbit-in-hampi-2302604.html) sense:



...in the Atharva Veda, a few unspecified animals were described as Sasayu in the sense that they lurk to catch hares as prey. The Satapata Brahmana (XI. I. 5. 3), a commentary on the Sukla Yajur Veda, and Jaiminiya Brahmana (I. 2. 8) of the Sama Veda mention the presence of the hare in the moon. The Aaranyaparva of the Mahabharata also mentions the hare as a breakfast item, a lake named Sesa Tirtha, and also the rabbit-bearing moon (III. 226. 2). Further, Sanskrit names like Sasadhara and Sachin mean ‘marked by hare’ i.e., the moon.


The Rg Veda has a single Hare (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838819.html):


The hare grasps the assailing beast of prey

śaśaḥ kṣuram pratyañcaṃ

Kṣuram= a long hard, sharp claw, like a razor, belonging to lion, tiger, etc., i.e., a strong fierce wild beast


That one is a "reverse" about the weak overcoming the strong, pebbles smash mountains, as if this hare had Atharvan's Tiger Charm.


I see a progression of metaphors. The Tiger is defeated first because it is the fastest and most dangerous thing. But this is rare enough as to be unrealistic. The more expected adversaries are the Wolf and the Thief, which are widely distributed across a number of Rg Vedic hymns, and the Tiger is not.

That remains similar to Contest Heroine if it has any connotation of "solves all problems", like the first domino.

I don't think anyone ever stood in the road making attacking tigers expire by singing.

I do think it is a realistic metaphor about taking care of the quickest and most obvious things first, while the true challenges like to hide and keep coming back up. Those, in turn, represent the inner meaning of most Vedic hymns, or, their usage is to make examples for things to be understood as symbolic of angst and struggle.


The Rg Veda has some clans that have not been studied that are its story. In terms of objective history or its relative chronology, the Varsagiras are hugely important in the wake of whatever happened to Sudas or his successor. This, so to speak, re-instates Ikshvaku priests or promotes them. In terms of the knowledge base or inner meaning, a very important group is the Vatarasanas, identified by their followers as joint composers of X.136 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840136.html) and self-named in the mantra:


munayo vātaraśanāḥ


A Vedic Muni is a rare spawn, a follower of Wind Family. This is also known by Vasistha (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835035.html).


Now, it will force a linguistic float, because its only other mention is by Irimbithi Kanva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835906.html):


vāstoṣ pate dhruvā sthūṇāṃsatraṃ somyānām | drapso bhettā purāṃ śaśvatīnām indro munīnāṃ sakhā ||


He asks for Indra's friendship to the Munis. He is speaking self-inclusively as a follower of something known to Vasistha.

The line before this is subject to mis-interpretation, if thought of as individual people. This is an entire Indra hymn, so it is talking about his metaphorical parent:


yas te śṛṅgavṛṣo napāt praṇapāt kuṇḍapāyyaḥ | ny asmin dadhra ā manaḥ ||


“(Indra), who was the offspring of Śṛṅgavṛṣa, of whom the kuṇḍapāyya rite was the protector, (the sages) have fixed (of old) their minds upon this ceremony.”


There, we have something quite possibly Dravidian:


Kunda Apayya


and yet he has framed it in the past tense.

As we have seen, Kunda becomes applied to Auriga, which is not a constellation definable by Nakshatras. It's not a word otherwise known to the Rg Veda.



Wind Family has only potentially a couple of named descendants in Book Ten:


168 Anila VAtAyana

186 Ula VAtAyana


This is going to get a little weird. It's the Unicorn. In folklore, we have Ekasrnga also called Rishi Asrnga. And in the Veda we find important uses of Horns -- and Soma rushing through the Filter is sharpening its Horns -- but there is no Unicorn. In fact, the closest thing we can find is a version of the Anukramani that individually names the Vatarasanas:



Ṛṣya-śṛṅga, Etaśa, Karikrata, Jūti, Vāta-jūti, Vipra-jūta, and Vṛṣāṇaka


This is done just before a hymn attributed to Seven Sages, X.137 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840143.html), which does not name them.

Seven Sages are also credited with Soma Pavamana IX.107 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838403.html), and not known personally.

I don't know if the named Vatarasanas should automatically be impressed to the anonymous Seven Sages that follow them, because I am not sure that phrase is reducible to anything specific. Instead, I take them as a kind of IVC-like riddle; if there were seven, you could say of any of them, "he was first" and it is technically true. On the other hand, it might be one person with seven aliases.



The only thing that is not terribly obscure about this is Etasa.

In fact, he was brought into the fold right in the line after Pipru vs. Rjisvan (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833921.html):


“Indra, the granter of wished-for felicity, compelled the many-fraudulent Etaśa and Dasoṇi, Tūtuji, Tugra and Ibha, always to come submissively to (the rājā) Dyotana, as a son (comes before a mother).”


they were guilty of:

daśamāyaṃ


i. e., craft or maya of the Dasas. And so here we see it is possible to confess or repent, etc., and not just be obliterated due to birth. Consequently, Tugra is very famous.

Etasa is known in a certain way, which is confusing for Surya -- Sun, but properly sorted by Nodha (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829632.html):

Indra has defended the pious sacrificer Etaśa when contending with Sūrya, the son of Svaśva.


Surya is a person, and the crisis as described by Kaksivan (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830353.html):


having driven those who offer no sacrifices to the opposite bank of the ninety rivers


It sounds like the side Etasa was on, or, he has literally switched sides as this "expulsion region" is being formed.

So it is probably not "the sun" as translated in the following statements from Vamadeva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832566.html):


for the sake of a mortal, discomfited the sun, and have protected Etaśa


Medhatithi and Medhyatithi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835477.html):


“When Sūrya harassed Etaśa, Śatakratu conveyed (to his aid) Kutsa, the son of Arjuni, with his two prancing horses (swift) as the wind, and stealthily approached the irresistible Gandharva.”


Gauriviti (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833095.html):


“Then, for this exploit, all the gods gave you Maghavan, in succession, the Soma beverage; whence you have retarded, for the sake of Etaśa, the advancing horses of the sun.”


Grtsamada (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831273.html):


“The divine Indra, when lauded (by Etaśa), humbled the Sun (in behalf) of the mortal who offered to him the libation; for the munificent Etaśa presented him with mysterious and inestimable riches; as (a father gives) his portion (to a son).”


Vamadeva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832431.html):


“He has hurled the wheel (of the chariot) of the sun, and has stopped Etaśa going forth to (battle); the dark undulating cloud bedews him, (staying) at the root of radiance in the regions of its waters.”



The better explanation is probably not from later commentaries, but a single Vedic mantra. It's not the sun. It's a person of that name.





Book Nine is really the Kasyapas' book. It begins with a "composers' nucleus" similar to Book One and Book Eight. It is by force an accumulation, as it goes through the Kasyapas and maybe to "the end", but it also has archaic parts.

The nucleus is immediately visible from an Anukramani chart (https://historyindianized.blogspot.com/2012/11/the-names-of-composers-of-rigveda.html):


1
Madhucchandas Vishwamitra

2
Medhatithi Kanva

3
Sunahshepa Ajigarti

4
Hiranyastupa Angiras


That's the condensed version of the very beginning of the current Rg Veda redaction. Book Eight is a little different, as it places several non-Kanva authors around the middle, such as Kasyapa Marica of Book Nine and so on.


This book uses Indra regularly, and has limited or single references to allied forces like Vishnu. Its only mention of "Gva" is from the backstoried Uru Angiras (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838433.html):


By whom Dadhyac Navagva opens fastened doors, by whom the sages gained their wish,
By whom they won the fame of lovely Amrta in the felicity of Gods.


who has followers in Book Ten:


ANga Aurava: X.138

HavirdhAna ANgi: X. 11 -12


"Son of Uru" is not the same as Vedic Aurva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837251.html):

aurvabhṛguvac


So it is breadcrumbed, using a minor reference by Uru to infer something expressed in greater detail elsewhere.

In other areas, it does a particular form of its own construction.

Another one who might as well be called the Architect is Ucathya. I started noticing that Book Nine has a large amount of quotes in it. In fact, it is practically built by various sages randomly quoting others. It begins to display a familiar Sanskrit technique of inter-textuality by having the same line appear in another time and place. Book Nine does this with an unusually large number of couplets. And in one case, it quotes an entire Gayatri.


The presumably Ucathya original IX.50.4 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837690.html) copied by Dhrulacyuta Agastya:


09.025.06a 8 ā́ pavasva madintama
09.025.06b 8 pavítraṃ dhā́rayā kave
09.025.06c 8 arkásya yónim āsádam


the other repetitions in Ucathya:


09.050.03b (ditto 09.26.5b)

09.050.05c (ditto 09.30.5c) [Bindu Angiras]

09.051.01b (ditto 09.16.3b) [Asita Kasyapa]

09.051.05c (ditto 09.1.4c) [Madhucchandas Vaisvamitra]

09.052.01c (ditto 09.6.3b) [Asita Kasyapa]


Sapta Rishis/Pavitra Angiras quote, among other things, Ucathya:


09.067.09b (ditto 09.50.3c)

pávamānam madhušcútam

the purified honey-dropping heroic Soma


as said by Gotama; but this is arguably too common to be very noticeable. In many of these cases, we might expect a small phrase to be the same. Most of the rest of IX.50.3-4 is copied by Agastyas in IX.25-6. The "ditto" areas are just a machine algorithm lightening its data load, i. e., one of the main basic computing tasks, to reduce repetition by using small markers, such as perhaps also found in IVC script. There is probably a PhD in evaluating those statistically and figuring out the direction of copying. Ucathya is among the oldest Rishis, so he sets the tone.





Asita Kasyapa uses the Dirghatamas "Apri" technique, copies Ucathya, and forms the basis of this book.



5-24 are composed by Asita (or Devala) Kasyapa.


The rest of Book Nine is weighted towards them:


53-60 Avatsara Kasyapa

63 Nidhruvi Kasyapa

64 Kasyapa Marica

93 Kasyapa Marica

99-100 Rebhasunu Kasyapa

113-114 Kasyapa Marica

(end)



Marica is only in Atharva Veda and Ayurveda. Kasyapa's main discipleship was [I]outside the priesthood.


While the number of Atris is throttled:


32 Syavasva Atreya

101 Andhigu Syavasvi with Yayati, Nahusa, Manu Samvarana, and Prajapati Vaisvamitra



There are more representatives of Book Six:

Rjisvan

Kasu Bharadvaja

Pratardana Daivodasi

Ananata Parucchepa -- Divodasa's grandson

Rjisvan with Vasisthas and Angirases.



If Rjisvan enters Arjika country--Soma territory, which most likely is the Beas, his co-author is Uru Angiras.



As per the importance of Book Four:

Tryaruna Trivrsna and Trasadasyu Paurukutsa -- probably the main figures of the entire effort



There is also a cluster following Bharga Pragatha.

"Aurva Bhrgu" was referred to by:

prayoga bhārgava


Those names are always distinguishable, but a lot of old reviews have lost this. Bhrgva and Bhargava are distinct like Aurva and Aurava.


The word Soma, which occurs thousands of times in the
hymns of the Rigveda, is found in the name of only one
composer RSi: SomAhuti BhArgava.

That would be Book Two.

In Book Nine:


47-49 Kavi Bhargava

62, 65 Jamadagni Bhargava

75-79 Kavi Bhargava

85 Vena Bhargava


and in the samhita we see:

bhṛ́gavaḥ


a few outstanding characters:


106 Caksu Manu, Manu Apsava

Agni Dhisnya Aishvarya



following Trita and Dvita, Parvata and Narada have the epithet:


śikhaṇḍinyau vā kāśyapyāvapsarasau


Kasyapa and the Apsaras.



It sounds like a continuity from Vasistha and Urvashi.


The phrase "deva soma" is used a few times in Book Nine, indicating he is of the same nature as any of them, but "Candra" and "Rudra" are not found.


IX.54 (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E09.054.03c%3C/b%3E&acc=no&q=9.&lang=ved):


sómo devó ná sū́ryaḥ

Soma, a God as Surya is


IX.28 (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E09.028.01b%3C/b%3E&acc=no&q=9.&lang=ved):


mánasas pátiḥ


The text of Book Nine is relatively uninteresting, since it is all basically the same subject, and, it keeps using an eight-syllable pattern. The interest is in how it is collected from a wide variety of sources.

The chart I linked may not be 100% perfect but, in the published Rg Veda, the credits are damaged for the first part of Book Three until it corrects at Ghora Angiras (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831935.html) in III.36.


Combining the resources, the chart can let you find an example such as Ayasya quickly turn to his section we find he first offers to:


bhagāya vāyave


Unlike the chart, the published version does not use the epithet "Seven Sages" for IX.67 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837931.html) but gives the composers individually:

bharadvāja

kaśyapa

gotamoḥ

atri

viśvāmitra

jamadagni

vasiṣṭha

pavitra vasiṣṭha vobhauḥ


On the other hand, it just has Usana for 87-89, rather than the Grtsamada-based cluster which seems unlikely.

Of course, we think there was an attempt to monopolize Grtsamada by "Saunaka", along with confusions over *bharg-/*bhrg-, *aur-/*-aurav, when attempting to re-read something that was forgotten, i. e. a domain where Tugra and others were current news.

I don't see a difficulty if something like the above was collated, i. e. if it is unlikely that Bharadvaja and Kasyapa lived and worked together, you can still splice the hymn accordingly. For instance, Atri has Goat-rider Pusan, which is remarkably distinct from the rest of the hymn, giving it a pieced-together feel. This is especially easy if the sources were all metered similarly. And then we see the proliferous amount of copying in Book Nine -- a testament to this very thing. If Ucathya said something in relatively ancient times, it is remembered and repeated by others; that seems to be the case. The lack of attribution is not plagiarism, but "goes without saying".

Sama Veda is mostly just a ruleset on how to quote the Rg Veda in order to make songs accompanied by Gandharva Veda (music). Since this is a rather specific school, it can probably accurately be attributed to Bharadvaja.

In that sense, it is possible IVC might refer to Gandharva Veda, since there seem to be remains of what were perhaps lyres. Most likely it also had Samans of some kind, but clearly the Vedic ones are new.


The idea here has been to press the language and hence ideas conveyed by that language to their most primordial aspect. The IVC script and Book Nine are to some extent the same.


The Veda does not have animal totems in the manner of IVC, rather, it uses them as various and sundry representatives of their obvious traits. Here is a Book Nine Elephant Ibho (https://www.meluhha.com/rv/verse.pl?v=09.057.03&acc=no&q=9.&lang=ved):


He, when the people deck him like a docile king of elephants.
Sits as a falcon in the, wood.


Does it have anything to say about Mrga, yes, the obvious speed of a deer (https://www.meluhha.com/rv/verse.pl?v=09.032.04&acc=no&q=9.&lang=ved).


"Like a bull" should again be Mrgo (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E09.092.06d%3C/b%3E&acc=no&q=9.&lang=ved):


Soma hath sought the beakers while they cleansed him, and like a wild bull, in the wood hath settled.


Again the original is Mrga (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E09.096.06b%3C/b%3E&acc=no&q=9.&lang=ved):


Brahman of Gods, the Leader of the poets, Rsi of sages, Bull of savage creatures,
Falcon amid the vultures, Axe of forests, over the cleansing sieve goes Soma singing.


This is "the sprinkler" Vrsa (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E09.005.09c%3C/b%3E&acc=no&q=9.&lang=ved):


Indu is Indra


That's the Apri Hymn. Sounds familiar. Indu is very common such as in IX.12 (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E09.012.05c%3C/b%3E&acc=no&q=9.&lang=ved):


In close embraces Indu holds Soma when
poured within the jars.


Indu conveys a Garbha (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838052.html) to cattle.

Perhaps discovering Rodasi Manavi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838317.html) and:

devó devī giriṣṭhā́



But sixty some-odd times in Book Nine, Indu is flowing out of the Filter, Indra's Vajra is the sound of the Soma, Indu does not seem to include the first mashing. It does not seem difficult to find the appropriate blend of meanings for Indu (https://www.wisdomlib.org/definition/indu#hinduism):


1) The moon; दिलीप इति राजेन्दुरिन्दुः क्षीरनिधाविव (dilīpa iti rājendurinduḥ kṣīranidhāviva) R.1.12 (indu is said to mean in the Veda a drop of Soma juice, a bright drop or spark; sutāsa indavaḥ Ṛgveda 1.16.6).

2) The मृगशिरस् (mṛgaśiras) Nakṣatra.


The latter seems to be the case at least from a version that has become adulterated (https://www.trendingastro.com/Home/Nakshatras):


Narada Purana 56.178

Mrgasira (Indu)



That is to say, some of its information was forgotten or altered, while it has simply chosen a synonym for "Moon".

So, if we think basic ideas for the stars is pre-Vedic, then, is the Moon a Vedic deity. No. There is no reason the moon, itself, should be much different in the pre-Vedic era. It may not have had detailed cycle counts, but it is next to impossible to dismiss basic observations such as months, fortnights, and weeks, and as far as we can tell, days of the Moon.


In that case, it is relevent to consider some colloquial or regional variants for Mrigasira Naksatra, from a page informing us that its sacred plant is Khadira (https://barbarapijan.com/bpa/Nakshatra_radical/05mrigashira.htm) or Acacia Catechu:

https://barbarapijan.com/bpa/bpa_graf/FlowerFieldTree/tree_Acacia_catechu.jpg



śaśi-daiva

= शशिन् shashin containing a hare , i.e., the Moon ++ दैव daiva deity


indu-bha

= इन्दु indu Earthen Moon + भ bha star-station, nakshatra


cāndra-masa

Atmaja

Invaka = Indubha


This is true to the extent that if Indu is the presiding deity, Aindava (https://www.wisdomlib.org/definition/aindava) names the asterism.

In that logic, it seems likely that Child of the Waters refers to Ardra. In the atmospheric sense it is lightning, but if we look at Trita Aptya or Apam Napat, or possibly some kind of Raudras, it may work.


Ancient Voice (https://ancientvoice.wikidot.com/rvs:indu) makes a concordance of proper names in translated verses. Indu is in everything except Books Three and Five, yet is in Nine an outrageous amount of times.


I personally work from the versions with Anukramani and the one with raw text. The whole Book-Nine-on-one-page could be seen for instance on:


Dharmapedia (https://en.dharmapedia.net/wiki/Rig_Veda_Mandala_9_(Griffith))

Theasis (http://www.theasis.net/RgV/rv9_1.html)



As soon as we look outside, such as X.142, we run into a forced translation (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840195.html):

This immortal Soma...

ayaṃ hi te amartya indur


Indu has a pivotal or quintessential hymn in II.22 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831296.html). But even there, "Indu" is rendered as "Soma".


Also, considering the lineage:


Pragatha Kanva --> Bharga Pragatha --> the Bhargavas


Indu is significantly figured in, but again clouded over, in Pragatha's Soma VIII.48 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836538.html):


Soma, enjoying the friendship of Indra

indav indrasya sakhyaṃ



That Soma which, drunk into our hearts, has entered, immortal, into us mortals...

yo na induḥ pitaro hṛtsu pīto 'martyo martyām̐



O Soma, rejoicing with your protecting powers...

tvaṃ na inda ūtibhiḥ sajoṣāḥ pāhi


Soma is perhaps the preferred name, up to the level Soma Raja. Calling it Indu is almost indistinguishable, but obviously that is the term actually used many times.



They even keep doing it to Pusan X.26 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838778.html):




Pūṣan, is cognizant of such excellent praises; like Soma he is the showerer (of benefits)

sa veda suṣṭutīnām indur na pūṣā vṛṣā |



Again mistakenly put, Indu not Indra in Soma I.91 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829943.html), which appears equal to Vrsa and Vanaspati; Indu not Soma in I.121 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830346.html).


And so we are trying to be careful not to take "Indu is Indra" out of context. That is a weird Apri Hymn. It simply doesn't fit. It barely connects to the standard components; and has turned it all into a thing Soma does. Like others, this is more of the sense of that once Indra has imbibed the Soma, he is equal to it, while in the next verse, it is requested to consecrate or anoint (anghi, a conjugation of anjana) Vanaspati. However, most other material would equate/identify Soma with Vanaspati.

Since the end of the Book is the beginning, its steady refrain from Kasyapa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838492.html):

indrāyendo


is used in the command, "Flow, Indu, for Indra". So obviously, they were not the same to start with.

Moreover, this is really IX.113 where we find:

rājā vaivasvato


which refers to Svar Loka.


He alludes to Rjisvan's geography of Himachal Pradesh and an incident with Usas, and is following the Dirghatamas-alike reverence for the third world. Curiously, he credits Gandharva with adding Rasa to the Soma:


gandharvāḥ praty agṛbhṇan taṃ some rasam


and ends by mentioning Seven Directions of Various Suns and Seven Adityas.


This additive, "rasa", is very generically water, juice, etc., and has to be shaped by context. Ostensibly, it is one of the major rivers, in fact the one crossed by Sarama according to Divo Daksinya Prajapatya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839852.html) and The Panis (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839863.html).

It may even be synonymous to the Soma itself; however, as an additive, the most likely candidate appears where a comment to Haryata Pragatha suggests it is goat's milk (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836857.html).


“The daughter of Sūrya brought the vast Soma large as a rain-cloud; the gandharva seized upon it and placed the juice in the Soma; flow, Indu, for Indra.”

or:

Hither hath Surya's Daughter brought the wild Steer whom Parjanya nursed.
Gandharvas have seized bold of him, and in the Soma laid the juice. Flow, Indu, flow for Indra's sake.


While tricky at the beginning, either way has Gandharva adding Rasa to Soma. It could be internally, i. e. water into a plant, or it may be milk; Kasyapa ends by saying "your juices come together". This seems to have to do with the "thousand streams" of purification.


So, metaphorically, if this is an invigorating substance, then yes of course you attribute it with strength and power and say it is the king and active agent. It may illumine the mind, but this is verily a literal description in IX.61 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837762.html):


pavamāna rasas tava dakṣo vi rājati dyumān | jyotir viśvaṃ svar dṛśe ||


“Purified Soma, your juice as it increases shines bright; it (makes) a pervading universal light to be seen.”



That's not mistakable. It's not sukra or suci, many fluids might be "bright" or "shiny", but how many drinks make their own light?

It doesn't say "Soma", it says "Pavamana, when your Rasa increases..."

Here are multiple expressions bundled together in IX.67 (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E09.067.08a%3C/b%3E&acc=no&q=9.67&lang=ved):


kakuháḥ somyó rása índur índrāya pūrvyáḥ
āyúḥ pavata āyáve

For Indra floweth excellent Indu, the noblest Soma juice
The Living for the Living One.


So, I think, the Moon may be heavily deified, as there are nearly two hundred instances of "Indu". But they are both the moon and juice, depending on context; and Candrama is also Soma. Is it Moon Juice because it really does give off light?

The most straightforward thing I can come up with is that the Manas of Purusha produces a Manasapati, which is the Moon, which further extends its name to something made by man. The subtle counter-point is that the juice that is pressed and consumed is not "the real Soma".


This is my explanation. I've tried searching outside reviews, and a bunch of targeted and aggregate browsing. I haven't seen this. I found it by spending time trying to understand what Rg Veda says for itself. And the first sign of weirdness came from Apala Atreyi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837058.html):



“A young woman going to the water found Soma in the path; as she carried it home she said, I will press you for Indra, I will you for Śakra.”

...drink this Soma pressed by my teeth together with fried grains of barley, the karambha, cakes and hymns."


In actuality, this will show us the Black and White Veda at the same time.


Surya Savitri (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839462.html) begins with several verses on Soma:




“Earth is upheld by truth; heaven is upheld by the sun; the Ādityas are supported by sacrifice, Soma is supreme in heaven.”

“By Soma the Ādityas are strong; by Soma the earth is great; Soma is stationed in the vicinity of these Nakṣatras.”

“He who has drunk thinks that the herb which men crush is the Soma; (but) that which the Brāhmaṇas know to be Soma,, of that no one partakes...

...no terrestrial being partakes of you.”

Vāyu is the guardian of Soma, the maker of years and months.



So, at least part of that hymn is the basis for the current Indian marriage rite. The entirety of it is very subtle and quite complex; for marriage, there is a shorter, simplified version ported through Sukla Yajur Veda. This text is smaller than Rg Veda and more focused. It is "white" because it is organized, straightforward, and relatively easy to follow. You soon find that Waters are a major factor in the invocation for domestic and community well-being.

The "Rivers Hymn" is unlikely to be literal, or, it has real rivers mixed with imaginary:

Arjikiya with Susoma



This is where we uncover the Black Veda.

Note that we just observed "copistry", where we get an example similar to IVC statistics. Copied phrases can perhaps be divided into random and intentional; but there are copied couplets which show intent; and then there is an entire Gayatri which must be hugely selective.

The statistically-largest copying in the Rg Veda is four lines, similar to an IVC tetragram.

That this also pertains to Waters should be apparent from the Rishi:


triśirāstvāṣṭraḥ sindhudvīpo vāmbarīṣaḥ


it still has revertable translations:


“Give us to partake in this world of your most auspicious Soma, like affectionate mothers.”

śivatamo rasas


It just said Rasa is the Most Shiva. This may not be a "Vedic name" but it is certainly a word.


The statistical fact has been seen by others in X.9 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838581.html):





This and the following ṛcas of the sūkta are repetitions from RV.1. 23, 20-23; in maṇḍala 1, Soma speaks to Kaṇva; in this present maṇḍala, Soma speaks to Āmbarīṣa Sindhudvīpa, a rājā


I.23 is really Medhatithi, and is essentially a copy of four verses from one hymn to the other.

Again, we think this is probably backwards. Medhatithi liked what he found, and added a verse to Indra. He changed the meter and extended the first verse with a mirrorlike phrase. We are told the first *half* of the hymn has been kept for daily use.

Medhatithi is the nucleus of Books One, Eight, and Nine, and my impression is he collated most of the Rg Veda. I think he made these patterns artistically and probably compiled about eighty per cent of what we see, leaving it "open" for a few later Rishis to contribute, without affecting the circuitry.



This is the part he took from Sindhudvipa:



“Soma has declared to me; all medicaments, as well as Agni, the benefactor of the universe, are in the waters.”

“Waters, bring to perfection, all disease-dispelling medicaments for the good of my body, that I may behold the Sun.”

“Waters, take away whatever sin has been (found) in me, whether I have (knowingly) done wrong, or have pronounced imprecations (against holy men), or have spoken untruth.”

“I have this day entered into the waters; we have mingled with their essence. Agni, abiding in the waters approach, and fill me (thus bathed) with vigour.”


Sindhudvipa Ambarisa is a follower of Ambarisa Varsagira, who is re-done in the Puranas, but they are a different story here.

This is a daily purification hymn.

Soma can claim both the three- and four-line large copies.

If you look "forwards", you find this copied into Book One to Sukla Yajur Veda, and if you look "backwards" then there is more in Book Ten and it is conjoined to the lost Vedic saga.


"Waters" are not quite the same as "Man with plough" representing Betelgeuse -- Ardra. There is, however, a startling epithet about this by
Kutsa (https://www.meluhha.com/rv/verse.pl?v=01.112.13&acc=no&q=1.112&lang=ved):


mandhātā́raṃ kṣáitrapatyeṣv


It's Mandhata so it doesn't necessarily sound agricultural -- although it may sound like the Solstice:



Wherewith ye made Rasa swell full with water-floods, and urged to victory the car without a horse;
Wherewith Trisoka drove forth his recovered cows, -- Come hither unto us, O Asvins, with those aids.

Wherewith ye, compass round the Sun when far away, strengthened Mandhatar in his tasks as lord of lands,
And to sage Bharadvaja gave protecting help, -- Come hither unto us, O Asvins, with those aids.


The title is outright deified in Vamadeva IV.57 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832843.html):


Devatā (deity/subject-matter): kṣetrapatiḥ


“Lord of the field, bestow upon us sweet abundant, (water), as the cow (yields her) milk, dropping like honey, blend as butter; may the lords of the water make us happy.”


The deity is dual:


Śuna and Sīra


and we find a very telling agricultural goddess:


Auspicious Sītā

May Indra take hold of Sītā; may Pūṣan guide her


She is definitely a ploughed furrow.

With a different phrasing, he also applies *ksetra- to Trasadasyu (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E04.038.01c%3C/b%3E&acc=no&q=4.38&lang=ved).


"Ksetrapati" is used by Vasukarna Vasukra (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839281.html), who finishes by clearly identifying descendants of Vasistha.

So far, "Ksetrapati" is heavily skewed to Mandhata, Trasadasyu, and Vaisistha, or Ikshvakus.


It is used formulaicly by Vasistha (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E07.035.10d%3C/b%3E&acc=no&q=7.&lang=ved); he also uses Ksetra (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835413.html) as the dwelling Vishnu prepares for the Manusas.

It is deified in one more area from Manu Vaivasvata on Dampati (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836206.html):


agniṃ vaḥ pūrvyaṃ girā devam īḻe vasūnām | saparyantaḥ purupriyam mitraṃ na kṣetrasādhasam ||


I glorify with song, for wealth, Agni the God, the first of you.
We honour as a well-loved Friend the God who prospereth our fields.


It seems to have an "original human" in Atharva Veda Viraj VIII.10 (https://archive.sacred-texts.com/hin/av/av08010.htm) after Vamadevya Saman provides Waters:

Prithi the son of Vena was her milker: he milked forth hus-
bandry and grain for sowing.



The "ksetrapati" actually has a rather interesting geometric performance, which involves another title as well; the very beginning of the whole Atharva Veda is for Vacaspati, followed by a verse on Munja grass.


The very last hymn, Aswins XX.143 (https://archive.sacred-texts.com/hin/av/av20143.htm), must be subsequent to the Rg Veda events:

Car praised in hymns, most ample, rich in treasure, fitted with
seats, the car that beareth Sūryā.


Ksetrapati reprise:

Sweet be the plants for us, the heavens, the waters, and full of
sweets for us be air's mid-region!
May the Field's Lord for us be full of sweetness, and may we
follow after him uninjured.
Asvins, that work of yours deserves our wonder, the Bull of
firmament and earth and heaven;
Yes, and your thousand promises in battle. Come near to all
these men and drink beside us.



So the Atharva Veda is contained by Vacaspati and Ksetrapati. Viraj contains the latest Vedic characters such as Prahlada and Dhritarashtra which means this hymn is much more influential to the Puranas than anything in the Rg Veda. The Ksetrapati is really a Madhu doctrine, which of course translators are not sensitive to. It has units of time cycles and what look like "creations", which on behalf of the Seven Sages, uses Mantra and Tapas as Food:



King Soma was her calf. the Moon her milk-pail. Brihaspati
Āngirasa, her milker,
Drew from her udder Prayer and Holy Fervour. Fervour and
Prayer maintain the Seven Rishis.




We just mentioned Manu Vaivasvata has a hymn dedicated to Dampati, that is, started as the Yajamana or the concept that a person at home can validly practice spirituality. it then layers this up to Married Couple.

Therefor it is all a type of consecration towards householders, using various deities, beginning:


Parvata, Nadi, Vishnu, Pusan the sinless Aditya


The Nadi Sukta is half symbolic "rivers", and, Waters is categorically one of the most-shared things into the Sukla Yajur Veda along with Marriage in terms under Surya Savitri. This is all about getting Devas to work by Mantras in your home life.



Yajur Veda (https://archive.org/stream/yajurveda_202212/yajurveda_djvu.txt) with Anukramani shows that Vacaspati and Visvakarman or Vishvakarman "the husband" are nearly the whole subject of this work.

Brahmanaspati <--> Visvakarma in the last reference by Grtsamada. That makes sense since both are "son of Tvastr".

It uses Vacaspati Visvakarma by Shasa and Bhuvanputro Vishvakarma; Prajapati also says:


brhaspataye vacaspataye


Vachaspati (https://ancientvoice.wikidot.com/src-yvs:yv07) also receives a flow of Soma, "whatever name you have".



YV only has one "ksetrapati", Rudra. Kutsa 18:

namo namo rudrayatatayine ksetranam pataye



In that sense, it does appear that Ksetrapati is the deity of Ardra.

You don't think of Mandhata and Trasadasyu as farmers, so, it quite possibly means ownership of land in those cases, and in Ikshvaku terms, Mandhata had something that Trasadasyu restored.


Human Sacrifice YV 30 (https://ancientvoice.wikidot.com/src-yvs:yv30) contains some interesting dedications:



Yama, Atharvan, the years of the Yuga, then:

for the Ribhus a hide dresser; for the Sadhyas a currier; 16 For Lakes...


and goes on to various Waters. And there is a very unusual appearance:


for the Man tiger a madman


The long list includes people such as Bhils who really have this Weretiger practice.


So there are two primordial utterances about Rudra:


Somarudra

Rudra Kshetrapati


If we negate "Rudra" as a personal name designated by the Veda, then, we would be left with two attributes quite possibly relevant to IVC. And they are near the beginning of the Naksatras in the same relevant way. Deductively, this reaches to 2,300, and, inductively, the plough to Kalibangan 2,800.

[shaberon]

Soma, Gharma, and the Aswins



I don't have pre-determined answers. I realized I have posted a few things that were mis-informed about something fairly important. Maybe not recently, but during my tenure.


Before addressing that, I continue to find "it works" in the capacity from the saddening experience of my late friend, attempting to switch it to a "positive presence" strongly akin to the Vedic Pitr, who in this case is not human but the vehicle of Pusan, and this is what we call Bhava or the applying of personal experience to "teaching" terms. This is what works.

In turn, I would say our remaining, big, fat goat, is not sour, unfriendly, or stupid, so it seems to me that a person in a Goatherd occupation could probably coax a significant portion of them to become good friends in a fairly personal way. In the sense of true husbandry not pallid livestock. It's easily conceivable the species has this nature at a surprisingly deep level. I'm not sure that sheep have this kind of reputation. They were widely domesticated in a quite early era, but I have never noticed them in Iranic or Indic artifacts.

I'm not a farmer or a herder or anything, just a person whose First Goat actually is a supreme guide on the personal path of life and death.


Those are doctrines from archaic Sanskrit which quite possibly matches the IVC time frame and maybe the IVC Markhor Goat.

It is also entirely plausible the Naksatra names go along with this. Especially since the Moon uses them.

Those words for Moon are not distinguishable from a magic drink, which is not distinguishable from IVC seals. If we keep in mind the system of weights from 2,300 is current to the present moment, the basic stars and Moon may well be sidecar.


I figured out something that is just not displayed properly. This was from looking into Brihaddevata by Saunaka (https://www.wisdomlib.org/hinduism/book/brihaddevata-attributed-to-shaunaka/d/doc1621850.html):



This Mandala, addressed to Soma, containing one hundred and fourteen hymns, is called 'Pavamana,' and seven lessons (anuvaka) are (contained in it).

This sloka is not found in A or m1, but in B only. Nevertheless it is probably original, as the wording of the introduction to the ninth Mandala in the Sarvanukramani appears to be based on it:

navaman mandalam pavamanam saumyam.



We keep giving it the wrong name. It should be Pavamana Saumya.

He is difficult to read; he makes a comment on IX.73 (https://www.wisdomlib.org/hinduism/book/brihaddevata-attributed-to-shaunaka/d/doc1621848.html), filter or pavitra:


is called a praise of the Kettle (gharma) as (representing) the Sun (surya) and the Soul (atman)


Our version renders it as means of purification (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838019.html), and it is not obvious to me where "kettle" becomes involved.


The interpretation of "gharma" comes from Yaska, as seen in response to Pravargya (https://www.jstor.org/stable/24653346):


According to Nirukta 14,11 gharma is a name of the Great Soul (Mahän Atman).



This is again a somewhat well-rounded term, encompassing summer, a vessel in which things are heated, or things heated in that vessel. In Rg Veda it carries the most basic "heat" meaning such as in I.112 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830193.html):


rendered the scorching heat pleasurable to Atri

taptaṃ gharmam omyāvantam atraye |



Atma III.26 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831780.html):


I am the living breath of threefold nature, the measure of the firmament, eternal warmth

arkas tridhātū rajaso vimāno 'jasro gharmo




Now, is this critical for Soma, yes. There is a perfectly clear distinction in IX.83 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838085.html):


“Lord of prayer, your filter is stretched out; you who are the sovereign, enter its members from all sides; the raw (liquid) whose mass is not heated attains not this (filter); it is the boiled (liquids) bearing (the sacrifice) which attain it.”


That makes sense in cooking, generally, but this is not ordinary cooking.


It will explain the Vedic mantras to think of the physical reality of Gharma in the Mayabheda Sukta (https://manasataramgini.wordpress.com/2013/07/02/the-mayabheda-sukta/):



In the great pravargya ritual the mAhAvIra pot containing the milk of a cow and a goat, i.e. the gharma offering, is intensely heated until it starts glowing. When the pot starts glowing the hotar looks at it starts reciting the sUkta RV 10.177 (In some traditions in south India they only recite RV 10.177.1 & 3). This sUkta is traditionally referred to as the mAyAbheda sUkta. Regarding this the sUkta the shaunakIya R^igvidhAna redacted by the early vaiShNava viShNukumAra states:

pata~Ngam iti nityam tu japed aj~nAna bhedanam |
mAyA bhedanam etaddhi sarva mAyAH prabAdhate ||

He should constantly do japa of the [mantra-s beginning with] pata~Nga that destroys ignorance. It is breaks the [spell of] mAyA and drives away all mAyA.

shAmbarIm indrajAlAm vA mAyAm etena vArayet |
adR^iShTAnAm cha sattvAnAm mAyAm etena bAdhate || RVdh 4.115-116

By this he should block mAyA be it of the shambara or the indrajAla variety; By this he repulses the mAyA of the unseen ones and of the consciousness.


So it is mantrifying Bird -- Patanga.

But the "cooking" is a very difficult technique that uses a special kind of blast furnace which can reach about 2,800 degrees, almost equal to the surface of the sun.


Unfortunately it leaves us with the roots of sectarian splits and later ignorance. After describing a story of Bali and Brahma:


This tale clearly belongs to the tradition of the primacy of prajApati that began in the late Vedic period. The rise of prajApati to primacy within the shrauta system happened at the expense of indra and this clearly indicated in this tale. Moreover, the designation of prajApati as an originator deity was also clearly in competition with indra’s role in generating or structuring the universe. Thus, the tale has indra’s own creation as being transient and destroyed by prajApati (brahmA). We know that this prAjApatya tradition with brahmA at the forefront was a major force in the period the composition of the rAmAyaNa and the mahAbhArata (in both texts the sub-current tension with the aindra-para tradition is seen). It was the same tradition that was a big force among the vaidika brAhmaNa-s in the days of the tathAgata and was vehemently attacked by him. The tradition eventually succumbed to the competition from within in the form of the shaiva, vaiShNava, kaumAra traditions and attacks from without from the bauddha-s.



VIII.49-59 have been segregated as "Valakhilya hymns" for unknown reasons. A unique and possibly repairing view is that Prajapati becomes the Arunas, Ketus, and Vatarasanas (https://www.rarebooksocietyofindia.org/book_archive/196174216674_10155804644996675.pdf), his nails are Vaikhanasas, while hair becomes the Valakhilyas.

But this was a person's actual reaction to witnessing the glowing mass:


Even so at the somayAga as the great flames leapt from the mahAvIra pot when the goat and cow’s milk were added to the superheated ghee, we awoke from the advaitin’s discourse and started wondering about the real meaning of the original mAyAbheda sUkta deployed in the pravargya and it dawned on us that it was close to the ritual in which it was used.


No wonder you have to handle the stuff with tongs made of Unicorn Horns.


But Yaska's Nirukta or basic Sanskrit etymology just told us it was Atma. What is? A kettle? Heat energy? It's something other than Agni released by rubbing twigs. According to Dharma Saurya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840410.html):

these (priests) have taken the Gharma from Dhātā, the radiant Savitā and Viṣṇu.


Nrmedhapurumedhau (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837049.html):

men heat the gharma with sāman hymns.



What is unusual about the name "Pavamana Saumya" is, that it takes something that regularly looks like "son or descendant of" or "disciple of", and makes it into the object of a verb.

Its concordant usage is as by Sankha Yamayana (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838651.html):


our ancient progenitors of the Saumyas, the possessors of great wealth

ye naḥ pūrve pitaraḥ somyāso 'nūhire somapīthaṃ vasiṣṭhāḥ |


Our ancient Fathers who deserve the Soma, who came, most noble, to our Soma banquet,-
With these let Yama, yearning with the yearning, rejoicing eat our offerings at his pleasure.

Again you have to stitch the versions to conceive "somapitham vasisthah":

Our first fathers, Somyas -- Vasisthas, arrived at our Soma Assembly.



Later he describes them in three classes (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838644.html).


This was explained a hymn previously by Yama (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838632.html):


aṅgiraso naḥ pitaro navagvā atharvāṇo bhṛgavaḥ somyāsaḥ |


Angirases, Atharvans, and Bhrgus are Somyas.



There is such a person as Rishi Budha Saumya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839775.html).



A boiling process with butter or milk is described by Suparna Kanva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836639.html):


The seven sister-streams of the Soma, in the hot the offering



Several hymns refer to Soma in the dual with terrestrial and aerial roles. Such as a comment to Garga (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834179.html):


Soma as the moon and Soma as a product

for which a parallel is given by Gotama (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829964.html).



So the "product" Soma is boiled, but that is not the same as the following. This is much better because I thought they were talking about the furnace; this is not so according to modest science of 2021 (https://www.researchgate.net/publication/351418718_Vedic_Pravargya_a_Thermodynamic_Process_That_Boosts_Immunity_Reduces_Pollution_and_Mitigat e_COVID-19_Like_Viruses):


Pravargya is Vedic and scientific process that generates very high Sun surface like temperatures in the range of 5,000 K to 9,225 K by producing a fireball (fire column) for shorter periods (1 to 3 seconds) that can produce UV (ultraviolet) rays to mitigate viruses/bacteria. The fireball helps converting fatty acids in the ghee, high nutrient organic compounds present in cow milk and goat milk into vapors having kinetic energies capable of increasing immunity, reducing the bacteria/virus counts, reducing air, water, and soil pollution in and around the vicinity where Pravargya process is conducted.


Sensitive cameras detect temperatures in excess of 5,000K in the White and Pink (https://www.researchgate.net/publication/368028970_Study_on_Pravargya_A_Vedic_Process_to_Destroy_Viruses_and_Boost_Immunity_by_Producing_Rapi d_Sun_Surface_Temperatures) regions of the fireball.

It's not Soma, but the admixture of milk to (superheated) boiling ghee. Some of the ghee overflows and falls in the fire, acting like a fuse to ignite the main body. The steam blast creates unusually high pressure; organics burn in various colors. The furnace does not reach solar temperatures, but, it does need to push the ghee beyond its normal boiling point.


The rite is not known by that name in the Veda. From a modern Taittiriya Aranyaka (https://www.exoticindiaart.com/book/details/pravargya-brahmana-of-taittiriya-aranyaka-ancient-commentary-on-pravargya-ritual-nab391/?srsltid=AfmBOoq04GogU4Wa3aOjmm0iuxKvIiAjg2iAcuAi9JPzfv8BkrTNNjwq):



The Introduction contains a study of the Pravargya ritual, which is "One of the few rituals that has been explicitly referred to in the Rgveda (usually under the name "Gharma"). The abstract and spiritual nature of what is probably the main purpose of the ritual - the participants should acquire the lustre of the sun - the simple means by which it can be performed and the way the main implement, the pot which is heated red-hot, is worshipped, give it a special place in the vast assortment of Vedic rites.


Same as what we do, there is a study on the earliest attestations which are Gharma (https://www.academia.edu/5066663/On_the_Earliest_Attestable_Forms_of_the_Pravargya_Ritual_Rg_Vedic_references_to_the_Gharma_Pravargya _Especially_in_the_Atri_family_Book_Book_5). This author is of the mind that Atri is "Old" and looked mostly at Book Five, but published nearly everything.


It is found in Dirghatamas such as "milking verses" in I.164 (https://sreenivasaraos.com/tag/pravargya/):


It is said; the three Riks 26,27and 28 of Asya Vaasa Sukta are chanted during the Pravargya (प्रवर्ग) – a ceremony preliminary to the Soma-Yaga, at which fresh milk is poured into a heated vessel called, mahā-varri or gharma.

But, this Pravargya is a preliminary or an introductory ritual or an application in Soma-Yaga; and, is not an independent one.


The author shares our idea that it was not a full-fledged "Pravargya rite", that it lacked developments like ceremonial disposal of the vessel. It was probably a one-trick, basic method strongly associated with Aswins. This is exactly the sense from Sasakarna Kanva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835745.html):


“When verily you arrive, Aśvins, the ṛṣi understands with excellent (comprehension) the praise (to be addressed to you); he will sprinkle the sweet-flavoured Soma and the gharma (oblation) on Atharvan fire.”


The generic uses of gharma -- heat in Rg Veda are few in number, such as in Book Seven, Three Gharmas (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834851.html) with Usas.

But then we run into VII.70 (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E07.070.02b%3C/b%3E&acc=no&q=7.&lang=ved) "at-home" use of the ritual.

Frog VII.103 is said to logically imply "Pravargya" in the sense of "New Year's rite". Again one is prone to suspect IVC Frog may be similar.


That makes it completely clear why reverence of Light might be held around sessions of Gharma, while we are still left with the testimony that Soma is boiled and shines with its own light. That product is not the real Soma which is non-material. Filling by drops is why it is like the Moon.

Gharma is a milk and butter bomb. It falls exactly into the science of weaponry, and I suppose you better stand back from it. It kills Covid and cleans the atmosphere out to a 50km radius or so noted. Surely its main effects are not larger than a small village, and the point is to participate and be near it.

https://www.agnihotra.org/core/wp-content/uploads/2017/03/Pravargya-2-1024x768.jpg





Saunaka refers to a missing Gharmastuti Khila (https://www.wisdomlib.org/hinduism/book/brihaddevata-attributed-to-shaunaka/d/doc1621871.html) from Book Ten, but, his indexing is off and hard to deal with.


Questionably a substance, Ayasya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839291.html) uses it as the Sweat of Brahmanaspati with Boars:

brahmaṇas patir vṛṣabhir varāhair gharmasvedebhir



Book Ten elsewhere seems to reflect it as a ritual substance, such as in Sankha Yamnaya X.15 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838652.html):

satyaiḥ kavyaiḥ pitṛbhir gharmasadbhiḥ ||



Damana Yamayana uses it to replace Kravya with Jatavedas (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838668.html). That's Corpse-eater Agni and Veda Knower Agni.

It is somewhat customarily apparent in Bhutamsa Kasyapa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839843.html) to Aswins, and then in another line translated as Soma (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839846.html).


Another possible symbol-or-substance in X.114 (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.114.01a%3C/b%3E&acc=no&q=10.&lang=ved):

Two perfect springs of heat pervade the Threefold, and come for their delight is Matarisvan.
Craving the milk of heaven the Gods are present: well do they know the praisesong and the Saman.


Perhaps, two kinds of milk in a threefold mixture.

The end of the Rg Veda wraps up with it shortly before Couple. X.181 has Pratha Vasistha and Sapratha Bharadvaja (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840408.html) for the Rathantara and Brhat Samans, and then combined as "Dharma Saurya" with Gharma.


The Rg Veda is pointing at the Sama Veda with Gharma, largely as having been applied with the Aswins.


Everything is new there. Sama Veda is impossible without Riks, which are a formalization of Mantras. The Samans are not said to start before Rishis of the Gotras. There are Vedic centuries without them. Gharma is arguably a new technology if it depends on superheating rather than familiar boiling. Aswins are the symbol of New Wealth. Aries is practically non-existent, and, one of the most arbitrary signs in existence, but it has stars in the Naksatras. Presuming stars to probably have older Sanskrit names than the deities assigned to them, the more generic and original term for the two-star asterism is Asvayuja (https://www.wisdomlib.org/definition/ashvayuja).

This term has a single appearance in the Rg Veda, right after the curious beginning of Syavasva on Three Mountains (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833387.html):


gharmastubhe diva ā pṛṣṭhayajvane dyumnaśravase

pṛṣṭhayajvane: by whom the sacrifices called pṛṣṭha are made, these are said to be six, of which two are specified: rathantara and bṛhat


They didn't know how to deal with "gharma" connected to *-stubhe, "song or praise". In the next verse, considering this is to the Maruts:


vayovṛ́dho ašvayújaḥ

strengtheners of life are your strong bands with harnessed steeds


Maruts and Aswins have both been called Raudras. Sarpas, Pitrs, Visvedavas, and Vasus all have Naksatras, while Maruts do not. At least not in VJ which doesn't have any "shared" or "subordinate" positions; there is the compound Indragni. It is possible that Hasta -- Corvus is mantric Hiranyapani (https://manasataramgini.wordpress.com/2005/11/27/the-nakshatra-kalpa-of-the-atharva-veda/), however Maruts as subjects of the Moon is not given in the AV Samhita either.


So the Naksatra is Horse-harnessers. In the primal calendar it was next-to-last before Yama, in Bharani, which is Lilii Borea and the other part of Aries.

They would be after Revati (Pusan) usually, and Abhijit -- Vega if counted for "leap year".

Oppositely, if you were tracking the equinox (by heliacal rising), you would watch it go from Krttika to Yama. In this sense the Aswins would be in the Vedic future, which they may have figured out was predictable. I doubt any of this is concerned with that.

It is the name used in the mantra (https://gretil.sub.uni-goettingen.de/gretil/1_sanskr/1_veda/1_sam/avs_acu.htm) without Abhijit:


(AVŚ_19,7.5c) ā́ revátī cāśvayújau bhágaṃ ma ā́ me rayíṃ bháraṇya ā́ vahantu ||5||


It's not "Asvini", it's an expression about "yoking", like Sisumara to the Aswins.

This obviously pushes the technological upper limit of the horse. It was barely created by 2,300, and although Asva does not physically mean "horse", it does not lend itself well to most other species, nor is it native to India.

Well, again, we would have to learn "Rsabha" is a bull, whereas "Rasabha" is a donkey; it has another name, "Gardabha", which is used in less-favorable contexts.


Kaksivan (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830254.html) simply says they have a donkey:


tad rāsabho nāsatyā


Two more statements specifically say they yoked donkeys.

Hiranyastupa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829305.html):


kadā yogo vājino rāsabhasya


Krsna (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837019.html):


yuñjāthāṃ rāsabhaṃ rathe


So, the Veda is not really committing an anachronism, because it shows they were not horsemen -- this association must have evolved. Even if it is "donkeys", this must be imagined as a personal car that goes faster than a bull-yoked plough. It would have been a basic cart, not a chariot, but this is all that is needed to match the sense of the meaning. That is, if the stars named Asvayuja were to claim the antiquity of 2,300, that would be fine. The Aswin deities may embody a donkey-to-horse transition; but I am not sure they are cognates of anything, or necessarily related to the fact that "twins" feature in many mythologies.

"Indra" does not name a star, but presides over Jyestha -- Antares and a couple of its neighbors in Scorpio.

It opposes Prajapati -- Aldebaran.



As a non-knower of Veda, I posted things on Pravargya which caused a misunderstanding -- that was before the studies linked here. I thought the intensity was being done by some kind of furnace. It took all of about two seconds to see through how it works, once you know it is literally a bomb, not sustained combustion. It's throwing water on a grease fire. Just happens to be guided a little bit. Not particularly advanced, but right offhand I do not know the oldest evidence for clarified butter. I am not sure it would be much older than the era we are looking at. The modern horse is bounded by age from the discovery of milk taken from wild horses in Kazakhstan around 3,000. They were milked like cows and did not survive into the gene pool of the domesticated variety. This is a loose evidence that is not really connected to IVC. It may be interesting that these Kazakhis (Botai) were part Lithuanian. Anyway, it is entirely physically possible that a Gharma rite could have been held for stars called Asvayuja which referred to donkeys, in 2,300.

Perhaps this is not a true timer, since a Krttika equinox would have been valid for nine centuries, it just means such phrases were probably standard somewhat before the end of it. It doesn't prove they wrote Atharva Veda on the day it started. And the point is, it would generally and mostly be true for IVC.

Secondly, the Soma Filter is by far the most important "thing" in the IVC script. I can claim it is script because of the Pathani Damb anomaly in the OP of the thread. Otherwise, it is everywhere in the visual realm, with only some exemptions.



The Gharma sorts itself out because it is quite plain. Obviously in 2,300 you'd be talking about "the light". The Sun traveled through nature into the cows who gave us these products, and comes out again to touch us. The result is you become sun-like.

It's uncanny that such a mark could be a sign of a Buddha, but yes we remember it. That part tells me nothing. The news was it's not a furnace, because, of course, I am a devotee of mantra who has nothing to do with those living traditions. No one in India would make this mistake.


So, as a rough estimate, we might also think IVC had living memory of a supernova that would have eclipsed Capella, because it was like the Moon. Capella is not a Naksatra, but it shares timing with the one that is ruled by the Moon.


Were they taking a hint?

If the event had been so long ago it was forgotten, that would not affect Capella and the Lunar Mansion it is aligned to.


There is not an old Sanskrit word for "Moon" that does not equally apply to a beverage.

To me, it seems to refer to the entire chain of energy transfer, similar to that of the Sun, but works differently with Rudra -- who is also frequently plural -- just like Ardra.


I can not come up with an easy solution for the fact that Pavamana Saumya is not just "bright" but "glowing".


It's not a stray remark. It might be uncommon, but there are a few references about self-luminous liquid Soma. Indu (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838428.html) generating light:

janayañ jyotir

Parasara (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838288.html) describes Pavamana's radiance:


jyotiṣāvīt



With "Sapti = steed, courser", this creature embodies the light, as in IX.29 (https://www.meluhha.com/rv/verse.pl?v=09.029.02&acc=no&q=9.&lang=ved):


The singers praise him with their song, and learned priests adorn the Steed,
Brought forth as light that merits laud.

Soma, distributor of abundant wealth, those radiances of yours when you are purified are over-powering...


Indu the Sapti by Pratardana Daivodasi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838233.html).

Similarly by Dvita (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838372.html).


Maybe they are exaggerating. But when subjected to analysis it sure does look like they mean a beverage that emits light. This is aside from the conceptual parts like "you illuminate the Sun" and cosmic things about night and day, these are references to the liquid in the apparatus.

I have no idea what that is about.

Most of the other sayings work fine. This is a well-spoken "To give us" in IX.4 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837321.html):


sanā jyotiḥ sanā svar viśvā ca soma saubhagā |


It's easy when it's an obvious spiritual experience. And so it would be easiest to insist the filtration leaves an opalescent or pearlescent constituency that has nice optical effects on received light. But that would be covered by sukra, candra, suci, and so on, which are so common I'm not sure they are ever left out. But some of those quotes are rather concrete.

Of course, there are some terrestrial things that produce light. Lignin (https://www.cell.com/matter/fulltext/S2590-2385(21)00456-2), the second-highest biomass of plants, glows, and is responsible for fox fire.

Otherwise you are relegated to animal sources (https://www.jagranjosh.com/general-knowledge/natural-materials-that-glow-in-the-dark-1820001729-1).

https://img.jagranjosh.com/images/2025/08/20/article/image/glow-in-the-dark-1755695119029.webp



So, if a chemical process did something with Lignin, it is not all that strong. If something was filtered that deposited elemental Phosphorous or Sodium, you'd get some light, and, indeed, a "steed" popping around. Sodium metal could possibly be taken from baking soda (https://chemistry.stackexchange.com/questions/19500/extracting-sodium-from-salt); Phosphorous can be obtained from a variety of sources, none of which are plant biomass. The light is attributed to filtered Soma, not the stuff filtered out of it.

If the "product" could be based on many ingredients from multiple regions, then, there must be something inherent to the process that is of note. That makes it all glow. It's a whole book dedicated to the filter. Even these are of diverse and sundry kinds. Therefor, if I think I understand Soma in all its aspects, I have no idea what the Rishis mean by Purification.


It's like pouring chai through a straw mat. Why would you particularly exalt this?


From what we have seen, a few horses turn up in IVC, only after 2,100. Because of thirty-four ribs, those were probably Nabathean Arabians. It is correct the Sintashtan horse became in high demand all the way to China across the northern route we presume Shortugai would have been interested in. This is just background, since I'm not sure any transfer of the animal has yet been detected. To acquire the Sintashtan Spoked Wheel only requires a technology transfer, not any actual horses. The expression "New Wealth" would seem to have become phenomenally important very fast. Although a Camel is quite superior on many of the arid journeys of Central Asia and the Middle East, they are the opposite pole, quite slow-breeding, whereas horses are faster in that sense as well. We have seen India position itself in Syria and most likely maintain some kind of mercantile presence for a long time, making it rather more convenient to obtain horses of the southern variety.

It seems they would literally steal most roles of the Donkey, except for it perhaps being more well-suited in mountainous regions.

Consequently, they might swipe the *asv- title, and the donkey retained names ending on -bha. Gard (https://www.wisdomlib.org/definition/gard) is noise, shouting, etc.; Ras (https://www.wisdomlib.org/definition/ras) is similar, except:


5) Ved. To praise. -II. 1 U. (rasayati-te, rasita)


meaning it is embedded throughout the generic low-level language of the Veda in compounds and conjugations.


Abha (https://www.wisdomlib.org/definition/abha) is a stand-alone of "bha" as used in compounds, meaning light and color.





"Asva" certainly eventually came to be focused on Horse, but we found that Pusan is Ajasva, not a Goat Horse but rather having a goat for a steed, which is unrealistic or only possible for small children. In other words, "steed" is a flexible role that a goat or donkey could have.

The Aswins' steeds are harnessed by the mind (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833577.html) according to Amahiyu:

manoyujo 'śvāsaḥ



Glancing at a similarly-spelled expression, sister is Svasa (https://www.wisdomlib.org/definition/shvasa), which just as soon means "fingers", and, rarely, breath.


In Rg Veda it is possible to find as Breath (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.092.08c%3C/b%3E&acc=no&q=10.92&lang=ved) by Saryata Manava.



Varuna has the Sister Usas (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830937.html) according to Agastya.

She is the Elder Sister (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830394.html) of night according to Kaksivan.


The reason for bringing this in is because there is another Vedic Moon tradition besides the Naksatras, which is almost entirely forgotten, but not if you think of Grtsamada (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831412.html) like a textbook:


Wide-hipped Sinivālī, who are the sister of the gods

sinīvāli pṛthuṣṭuke yā devānām asi svasā



There are goddesses ascribed to the quarters, and they are scarcely known in the Veda itself except by the Atreyas. I don't think Atri is important because he is named after an older sage, but, rather, the opposite, because he is like a brilliant redux on a massive system. He was very well-informed and clever.

He was not necessarily much more than a hundred years after Bharadvaja; they were almost certainly separated, but not necessarily by a significant amount on the scale we are studying.

In other examples, rivers and meters would both apply for Bharadvaja (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834382.html):


Sarasvatī, who has seven sisters



which seems to be reflected by Nabhaka (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836359.html):


Varuṇa who rises up in the vicinity of the rivers, and in the midst (of them) has seven sisters

sindhūnām upodaye saptasvasā



Familial relationships by Agastya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831051.html):

Heaven, (serpents), is your father; Earth, your mother; Soma, your brother; Aditi, your sister



Double duty according to Kaksivan (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830377.html):


Uṣā, endowed with truth, who are the sister of Bhaga, the sister of Varuṇa



And here is another where Jamadagni (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc837245.html) says not to kill the Cow:


the mother of the Rudras, the daughter of the Vasus, the sister of the Ādityas, the home of ambrosia



The Vedic context has absolutely nothing to do with the Pleiades.

It can be used for streams of ghee in houses around certain river basins. That is, yes, the phrase Seven Sisters appears just as Seven Sages does, yet there is nothing that vaguely resembles far later assertions about them.


If I suggest that all Vedic characters and events were after the main use of IVC seals, we would probably be saying right after. The underlying attitude is that the Rishis were against writing because they wanted material to be fully mentally interiorized. This is why we can begin to understand the Veda and the IVC script remains a mystery.


I find a huge clue in the geometrical similarity between IVC texts and Vedic mantras.

Both eras seem to represent India doing something that is more mental than what seems apparent in other areas. They have little pictures of Monumental Objects and no monuments. This has been held against them as "primitives", but the more likely explanation is lack of interest. Such as the development of musical arts in support of a high-order lyric capability.


It's Pavamana Saumya, and it's undefinable. Apparently it is not an ingredient, but a process, that causes a liquid to emit light. I'm not sure we can re-interpret that many Rishis to scrub away what they said. But this Light coming out may be the Horse.

Maybe the IVC script can help us here.


I find it therapeutically beneficial that Vedic Pusan works with my individual ethos which is Forest of Turquoise Leaves. It is Khadiravani of the Acacia Grove. And so it is perfectly easy and natural for a Goat to be a Path Guide here. We have the same concept as Pusan, in life and death. That means for me personally, it will probably be easier for me to meet my friend again than anyone else. My actual expectation is he is there now. That is because I am positive that the vast majority of his memory is peaceful forest.



The correspondingly archaic symbolisms of Bird include Time, fire altars, possibly Capella. In its relatively generic expression Patanga (https://www.wisdomlib.org/definition/patanga):


Name of the author of [Ṛg-veda x, 177] and of this hymn itself


None of these actually have titles, those are colloquialisms. The actual thing is:

Ṛṣi (sage/seer): pataṅgaḥ prājāpatyaḥ

Devatā (deity/subject-matter): māyābhedaḥ



It isn't necessarily Maya -- Illusions that's being "cut", especially since the Vedic use of maya is more along the lines of craft, possibly magic, which can be good or evil. The compounded term is less specifically ccheda or krttik because it is very broad, even cyclical.


Mīmāṃsā (school of philosophy)

Bheda (भेद) refers to category of declaration on Brahman and Ātman.—Bheda-śruti refers to those affirming identity between Atman and Brahman.


Bheḍa (भेड).—[bhī-ḍa tasya netvam]

1) A ram, sheep


So, it has the reputation of ramming, breaking, cutting things apart, making divisions, the divisions themselves, such as individual beings, and subsequently the spiritual view of One Life in all.

Although bheda = cut is not wrong, it may not be the best option here. This is Asura Maya selecting the translation with Bird (https://www.meluhha.com/rv/verse.pl?v=10.177.01&acc=no&q=10.177&lang=ved):


pataṃgám aktám ásurasya māyáyā hṛdā́ pašyanti mánasā vipašcítaḥ
samudṛ́ antáḥ kaváyo ví cakṣate márīcīnām padám ichanti vedhásaḥ

THE sapient with their spirit and their mind behold the Bird adorned with all an Asura's magic might.
Sages observe him in the ocean's inmost depth: the wise disposers seek the station of his rays.

The flying Bird bears Speech within his spirit: erst the Gandharva in the womb pronounced it:
And at the seat of sacrifice the sages cherish this radiant, heavenly-bright invention.

I saw the Herdsman, him who never resteth, approaching and departing on his pathways.
He, clothed in gathered and diffusive splendour, within the worlds continually travels.



There, Herdsman is not Prajapati but Gopa, which is also strewn amongst these hymns.

"Bird" is also sensible in Dirghatamas to Aswins:

Thyself from far I recognized in spirit, -- a Bird that from below flew through the heaven.
I saw thy head still soaring, striving upward by paths unsoiled by dust, pleasant to travel.


Kaksivan fine-tunes their variety to Hawk (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830308.html) becoming their Asva, notably for the occasion when they win Usas:


ā vāṃ śyenāso aśvinā vahantu rathe yuktāsa āśavaḥ pataṃgāḥ |

ā vāṃ rathaṃ yuvatis tiṣṭhad atra juṣṭvī narā duhitā sūryasya | pari vām aśvā vapuṣaḥ pataṃgā vayo vahantv aruṣā abhīke ||



That's correct this is marriage number two for her. The full story is bigger and a bit weirder than the short version in marriage ceremonies.


The chance of it having something to do with Time is given by Sarparajni (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840444.html):


Song is bestowed upon the Bird: it rules supreme through thirty realms
Throughout the days at break of morn.

dhāma = related to duration of time: he shines for thirty stations (or ghaṭis, one ghaṭi =24 minutes) in the day;

Stations = muhūrtas, or periods of 48 minutes


Thirty muhurtas = one civil day in Vedanga Jyotish.


She can't possibly mean the Rooster as in the Avesta. And we have to retro-fit "muhurtas" here, because technically this is only about thirty abodes of the day, but it seems an obvious implication.


There are a limited number of fire pits in IVC, leading rise to whether it was a Vedic intersection (https://www.quora.com/Fire-altars-have-been-found-in-Lothal-and-Kalibangan-Does-it-mean-that-the-IVC-was-a-vedic-civilization):


The presence of fire altars has not been limited to just two locations; rather, they have been discovered in four different places, namely Lothal, Kalibangan, Banawali, and Rakhigarhi.


Kalibangan (https://www.harappa.com/blog/kalibangan) seems to have small ones in each house.


Once this was used to support the Kurgan (https://www.indica.today/long-reads/roots-vedic-rituals-harappan-fire-worship-vedic-parallels/) hypothesis, but, I am glad there are others than me, who reject some historians' claims, because the Russian fires and funeral evidence do not match the Sanskrit versions; at best, sharing the categorical similarity.


So the Syena pretty specifically is a mascot for the Veda, because it is not the Bactrian Eagle. It most closely means the group of golden hawks. It quite possibly is loaned back into the Zoroastrian realm as the Simurgh. It is heavily in Book Nine and rife throughout the Rg Veda. And so it may be its association with Soma is archaic. This is the sense as used by Havirdhana (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838604.html):


“The hawk sent (by Agni) to the sacrifice has brought the dripping copious all-seeing (Soma) libatioṇ; When the Arya people choose the victorious Agni as the ministrant priest, then the sacred rite is celebrateḍ”



So this is indeterminably archaic by Kaksivan (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E01.118.01a%3C/b%3E&acc=no&q=1.118&lang=ved):

FLYING, with falcons, may your chariot, Asvins, most gracious, bringing friendly
help, come hither, --



Then for Bharadvaja, they do not know how to translate Amsu (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833920.html):

And the hawk bore to Indra the exhilarating Soma

As the Hawk rent for him the stalk that gladdens


Both are correct.

So far I would not say this image jumps out at me from IVC seals. It might be written in there somewhere.


Here are a couple more attempts on Gharma (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830769.html):


Ṛṣi (sage/seer): dīrghatamā aucathyaḥ



“I invoke the cow that is easily milked, that the handy milker may milk her; may Savitā accept this our excellent libation, that his heat may (thereby) increase; it is for this, verily, that I earnestly invoke him.”

“She comes lowing, abounding in rich (products), desiring her calf in her mind; may this cow grant her milk to the Aśvins; may she thrive for our great advantage.”

or:

I invocate the milch-cow good for milking so that the milker, deft of hand, may drain her. May Savitar give goodliest stimulation. The caldron is made hot; I will proclaim it.

She, lady of all treasure, is come hither yearning in spirit for her calf and lowing. May this cow yield her milk for both the Asvins, and may she prosper to our high advantage.



At least we can figure out what it is, so, we can see this is almost certainly a reference to "Pravargya", even if there isn't goat milk, the same thing will happen. It may have been part of IVC, or, it may be a "Vedic invention". Hard to tell.

[Bill Ryan]

Gharma is a milk and butter bomb. It falls exactly into the science of weaponry, and I suppose you better stand back from it. It kills Covid and cleans the atmosphere out to a 50km radius or so noted. Surely its main effects are not larger than a small village, and the point is to participate and be near it.

https://www.agnihotra.org/core/wp-content/uploads/2017/03/Pravargya-2-1024x768.jpg~~~

That's astonishing!!! I'd never heard of that before.

[shaberon]

That's astonishing!!! I'd never heard of that before.


It turns out that some people have discovered something similar by surprise.

Water superheats relatively easily in a microwave.


What this means is, in order to boil, you have to break the surface tension of the liquid. The only "tech" required for this is:


a smooth surface.

Cookware with scuffs and scratches traps enough tiny little air pockets that it prevents the effect; shaking and stirring do the same thing. But if your water is superheated and you disturb it, it will burst like a balloon.

Reheating a mug of coffee might get it hotter than you think.

And yes, this phenomenon has not been at all pointed out in Homa studies; you might see "ghee offering to the fire" or something like that, without the proper description, but now we can just Youtube the Pravargya videos.


When could mankind have started this? Here is another little update or correction.

Most of the primitive agricultural sites from 8,000 B. C. E. show signs of dairying.

That means that humans drank animal milk for 4,000 years before the "lactose tolerance gene" evolved.

Impossible? Nope.

The gene gives you a type of efficiency shortcut. It causes an enzyme to be released in the small intestine that breaks the lactose sugars so they become digestible.

Before then, the same thing was done in the large intestine by gut flora primarily from consuming the products of fermentation.

So that genetic adaptation was by no means necessary and therefor did not heavily condition the flow of history as surmised.

In Mongolia (https://peabody.harvard.edu/video-making-milk-mongolias-unique-role-dairys-history), where they still have an 80% subsistence population based on dairying seven species, the lactose-tolerance gene is present at about 6%.

The ancient arts of cheese and yogurt can now be studied on skeletal teeth (https://fermentology.pubpub.org/pub/i5g1kvn8/release/3), and this makes it easy to say how widespread and early dairy consumption was.

In IVC we are finding industrial scale extraction of lead from galena. There is no good reason to say they could not have figured out superheating. It appears straight away in the Rg Veda as an everyday fact. It seems unlikely the Rishis invented it.


The reason it may be Indian and unknown to other cultures is because India loves ghee.

It doesn't take any special tech to make this, but it does take the interest -- or taste -- in doing so.

What impresses me is the contour of the mushroom blast. Everything a few feet away from it is fine. The mandapa has a roof that is basically right over the top of the fireball.

[shaberon]

Lunar Goddesses; Aja Ekapad, Rohini, Sita, and Citra



I have a little difficulty remembering every tiny little detail off the top of my head. I mentioned an "alternate moon" system which I thought was the quarters, but, it is not. It is still fortnights where, in the extended version, each goddess has a companion beside her. They don't represent the lunar phases, just the time of the new and full moons.


When is the Moon not a drink? When it is female.

That's not exactly the case, because these devis are not said to be the orb but rather those certain days.

This to me seems highly strange because of its geometry in the texts.


In Rg Veda there is only a single reference to each of them individually. What is curious is we find the only form of "krttika" which is not seen in the mantras. Sinivali (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840421.html) in X.184 with Sarasvati and Aswins:

Ṛṣi (sage/seer): tvaṣṭā garbhakarttā viṣṇurvā prājāpatyaḥ


Tvastr is "cutting a sculpture of a person" or fashioning the embryo.

She's "diminutive" or Sinivali is the last little sliver of crescent before the moon goes dark. This is the Pregnancy Hymn.

The sense of the mantra may be that garbhakartta is Vishnu who fashions the womb, whereas Tvastr works on the rupa or embryo.

There is no Vedic expression that attaches -ka (https://www.wisdomlib.org/index.php?type=search&division=text&input=Karttika%2C+Kart%C4%ABka%2C+Kartik%C4%81%2C+K%C4%81rtika%2C+K%C4%81rt%C4%ABka%2C+Kartika%2C+K% C4%81rttika%2C+K%C4%81rttik%C4%81%2C+Karttik%C4%81%2C+Kartik%C4%81m%2C+Kartik%C4%81%E1%B9%83%2C+Kart ik%C4%81%E1%B8%A5%2C+Kartikam%2C+Kartikah%2C+K%C4%81rtikam%2C+K%C4%81rtika%E1%B9%83%2C+K%C4%81rtika% E1%B8%A5%2C+K%C4%81rttikam%2C+K%C4%81rttika%E1%B9%83%2C+K%C4%81rttika%E1%B8%A5%2C+Karttikam%2C+Kartt ikah%2C+K%C4%81rttik%C4%81m%2C+K%C4%81rttik%C4%81%E1%B9%83%2C+K%C4%81rttik%C4%81%E1%B8%A5%2C+Karttik %C4%81m%2C+Karttik%C4%81%E1%B9%83%2C+Karttik%C4%81%E1%B8%A5%2C+Karttikas%2C+Kart%C4%ABkas%2C+Kartik% C4%81s%2C+K%C4%81rtikas%2C+K%C4%81rt%C4%ABkas%2C+Kartikas%2C+K%C4%81rttikas%2C+K%C4%81rttik%C4%81s%2 C+Karttik%C4%81s) to make "kartika" or any kind of individual, although the verb "karta" is standard. So far, one may find four permutations of it used by Vasistha in Surya VII.62 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835103.html) referring to creation. Virtually all of its uses are based in "make, do", with nothing about "to cut". Agastya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830876.html)asks for:


(although I be) as insignificant as grass; lift us up, that we may live

ūrdhvān naḥ karta jīvase ||


Surya Kartrbhir (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835103.html) as a "creator" by Vasistha.


The asterism is not exactly "cutters" in the Gond and Khasi terms, just minced meat. Chances are, in Sanskrit, something other than "krttika" would have been chosen for this meaning; the Veda is full of examples. The use of it coming first seems to have a connotation far closer to garbhakartta.


Individual Pleiads are generally named for rain (https://www.wisdomlib.org/hinduism/essay/atharvaveda-ancillary-literature-study/d/doc1527395.html). So, although krttika is their archaic name or that of the asterism, chances are "beginning of the year" has more to do with creation and rain than "cutting" the old one away.


Sinivali is invoked to sustain the embryo and is considered a wife of Vishnu (AV).

The other one is the time of Full Moon Raka (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833247.html) in V.42 with Sarasvati:

Ṛṣi (sage/seer): atriḥ


sarasvatī bṛhaddivota rākā


Raka's epithet Brhhaddiva is shared from the preceding V.41:




“May Iḷā, the mother of the herd, and Urvaśī with the rivers, be favourable to us; may the bright-shining Urvaśī (come), commanding our devotion, and investing the worshipper with light.”


abhi na iḻā yūthasya mātā sman nadībhir urvaśī vā gṛṇātu | urvaśī vā bṛhaddivā gṛṇānābhyūrṇvānā prabhṛthasyāyoḥ ||


Atri honors the Kanvas as well as Ausija, which most likely refers to Kaksivan. Those are clues as to why we think he is relatively late if not last.




Urvasi is Brhaddiva and the Source of Waters.


Urvasi is the mother of the Pauravas by Vasistha -- Pururavas. Vamadeva refers to plural urvasis (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832255.html) as restoration from impotence. She is not the deus ex machina or Clockwork Deity who had this one-time cosmic creation and vanished into a theory, she is distributed throughout. In her own hymn, she effectively is:

Saranyu, daughter of Tvastr

Usas, daughter of Saranyu or "of the gods"


That's completely solar. But we just came from the moon. And the water. So this is like Agni branching into each zone of existence.



Again we are trying to probe it for linguistic basic-ness that could be a close fit to IVC.


The lunar goddesses with their companions are prevalent in Atharva Veda (https://www.wisdomlib.org/hinduism/essay/women-in-the-atharva-veda-samhita/d/doc1146270.html).

That happens to be where the Gharma hymns are from. Such asvasatkara (https://www.wisdomlib.org/hinduism/essay/soma-in-vedic-mythology-and-ritual-study/d/doc627298.html).



Atharvan is where the Veda is from. We can be sure he instituted mantras and rites and so I would strongly think Brhaspati and some of the corresponding mythology. There might have been an Agni -- Fire that he re-launched as Hotr-Priest. Things like the stars and Moon he probably could not have changed very much. We have to presume IVC *started* Soma, otherwise we are reduced to claiming that IVC is identical to the Veda. I'm sticking with some degree of change due to loss of Tiger Contest.


So, they are not quarters, but there are four goddesses as timings for the Moon. They certainly are not obvious by quantity of hymns. However it is sole domain over a particular thing, which is one of or is the most important observance. The main pair has a Rg Veda template, seen in this list of invocations by Grtsamada (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831407.html) in II.32:


Devatā (deity/subject-matter): dyāvāpṛthivyau

Devatā (deity/subject-matter): indrastvaṣṭā vā

Devatā (deity/subject-matter): rākā

Devatā (deity/subject-matter): sinīvālī

ending on:

“I invoke her who is Gaṅgū, who is Sinīvālī, who is Rākā, who is Sarasvatī; (I invoke) Indrāṇī for protection, Varuṇānī for welfare.”


What we notice is not a true compounded name of Indra and Tvastr, but a suggestive "or", being a rare instance where a guess was made. This seems unnecessary because it is follow-through verses to Dyavaprithvi without anyone else named:


Let not man's guile annoy us, secret or by day: give not us up a prey to these calamities.
Sever not thou our friendship: think thereon for us. This, with a heart that longs for bliss, we seek from thee.

Bring hither with benignant mind the willing Cow teeming with plenteous milk, full, inexhaustible.
O thou invoked by many, day by day I urge thee with my word, a charger rapid in his tread.


On the other hand, this actually is a compound with something we just posted as half an astronomical year from Vasukarna Vasukra (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839261.html):


purīṣiṇendravāyū

the two senders of water, Indra and Vāyu




To synthesize these are not all stray, random deity names anyone can conjure up, this is Gaya Plata in Mata Brhaddiva and Pitr Tvastr (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839244.html):



uta mātā bṛhaddivā śṛṇotu nas tvaṣṭā devebhir janibhiḥ pitā vacaḥ | ṛbhukṣā vājo rathaspatir bhago raṇvaḥ śaṃsaḥ śaśamānasya pātu naḥ ||


“May the bright shining mother (of the gods) hear us; may father Tvaṣṭā, with the gods, and their wives, (hear our) words; may Ṛbhukṣan, Vāja, Rathaspati, Bhaga, may the joyous adorable (company of the Maruts) protect us their praisers.




Citra

The Asvajuja sign is defined as beginning opposite Spica. It's quite obvious in later calendars when Aswini begins the year. However, it was quite possibly meaningful for a system of "even divisions". If there was an uneven, older set, one would guess that is because the Naksatra asterisms are not equal, and so one sign could be up to four times as long as the shorter. Spica or Citra greatly resembles Sita in the Mesopotamian equivalent Sala (https://oracc.museum.upenn.edu/amgg/listofdeities/ala/index.html):



Šala's primary role was as Adad's spouse, through which she was also believed to have power over crop fertility. The Standard Babylonian astronomical text Mul-Apin equates the constellation "The Furrow" (Virgo) with "Šala, the ear of grain" (Mul-Apin, Tablet I line 52). The brightest star in Virgo is still known today as Spica (L. "ear of grain").

Šala's genealogy is unclear.

The name Šala (with a long vowel in the first syllable) has no clear Akkadian or other Semitic etymology.

Šala has been identified, although not conclusively, with a nude goddess who appears with the storm god on Akkadian cylinder seals, often holding lightning bolts or surrounded by rain. On a Middle Babylonian kudurru TT her symbol is an ear of grain.


The suggestion by way of Syria (https://sanipanhwar.com/uploads/books/2025-07-11_07-05-57_5c5a33b89ac425b870050f665f5e8d2f.pdf):

Hemtun concludes
that this naked goddess (Inanna) is representing asterism Auriga, because in one
seal, she stands on the ‗oxen‘ in ‗Indian style‘. Note the similarity between this
Sumerian seal and the Indus seal depicting ―deity of tree‖ in the ―goat seal‖. This
seal illustrated here is from Syria (circa 1800 BC) and the naked goddess was the
symbol of rain and fertility in Levant.




Sanskrit Sala (https://www.wisdomlib.org/definition/shala) has more meanings than you can deal with. Next to impossible to guess if it may be an Akkadian sharing. However, Indian Citra is basically the same "ear of grain", or seed, etc., that seems universal through Virgo. In Rg Veda, this is far worse than candra in terms of trying to sift it out from over a hundred generic usages. Nothing about it suggests to me the night sky; instead, it is subject to alliteration and wordplays with candra. Danucitra (https://www.wisdomlib.org/definition/danucitra) is a quaint expression for "dewshine". There is quite plainly a Raja Citra (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836014.html) who rules along the Sarasvati. Rjisvan (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834237.html) says she is with the Gnas and:


citrāyuḥ sarasvatī vīrapatnī

Indra is a few times called citra vajrahasta, and Vamadeva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832802.html) describes Usas:


aśveva citrāruṣī mātā gavām ṛtāvarī | sakhābhūd aśvinor uṣāḥ ||


This may be the least astronomical (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc833738.html) statement you can make:


sa citra citraṃ citayantam asme citrakṣatra citratamaṃ vayodhām | candraṃ rayim puruvīram bṛhantaṃ candra candrābhir gṛṇate yuvasva ||



So it seems like it is never stellar, and it is one of the most generic and transferrable tags in the language.

Most of Virgo is in Hasta possibly Hiranyapani, followed by this generic non-item. As far as we know, the only tangible symbol is ear of grain. This, of course, has a spontaneous and unusual representation in the IVC script. Moreover, the preference for using Spica as a marker is because its apparent motion is next to nothing, something like 1/10,000th of an arcsecond, and so you have a choice between using this very bright star, or, using the dead center in Mula, which is the least desirable.

There is a huge implication in Rg Veda that ear-of-grain would be associated with Sita.

But IVC archeology tells us that Sita was invented around 2,800.

Nothing is technically elaborate about this symbol; it's more self-evident than most. Yet IVC does not have a corresponding Virgo symbol, there is no Person holding Ear of Grain that I know of. Were the star in isolation to be considered grain, then, yes, the seals might have it.

Vamadeva makes the possibly unique expression Kinasa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832850.html) -- Ploughman, and due to the inflections, the agricultural devis match "dog" and "plough or equivalent of Sita". Or, sunam being repeated for "well-being" may be the meaning of Suna. But they are not "slaughterhouse" and "head" that would be marked differently. In fact "they" are only a compound:


śunāsīrā


There isn't much of anything about a sign "Hasta" although this duality is visually drawn in IVC:


Hasta (हस्त) refers to the “trunk (of an elephant)”, according to the 13th-century Matsyendrasaṃhitā: a Kubjikā-Tripurā oriented Tantric Yoga text of the Ṣaḍanvayaśāmbhava tradition from South India.





So the ending -kartta in a Rishi's name could be "cutting" more like "sculpting" if it applies to Tvastr, and has the meaning forming an embryo. We can be positive this is a focus of this group of deities, which may have pre-Vedic roots, including New and Full Moon goddesses.

Tvastr is the regent of Citra.

In this way, he has the domains of pregnancy and harvest. This is plausible in Sanskrit, before the Veda is actually telling us Tvastr is the lord of its mantras. The sense is there probably were non-Vedic mantras that they overwhelmed. Arya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835271.html) enemies of Sudas. I have not seen anything that tells me about what would amount to foreign devas. We can't give examples of anything they exiled to Avestan or Tamil country.

There is the Mura (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc835463.html) Deva of the Yatudhana according to Vasistha.

Perhaps because Urvasi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839691.html) calls him one.

Payu (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839535.html) launches Agni Raksoha like a weapon at the Mura Devas and Yatudhanas. He repeats it adding the synonym Rakso (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839547.html) which we know as Rakshasa. Hiranyastupa (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829319.html) banishes Rakshasas and Yatudhanas. Agastya (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831053.html) has Surya drive away Yatudhanas. Brhaddiva Atharvana (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839996.html) wards them off.

No names are ever given.

The "Deva" just has a description "stupefaction, bewilderment", so it is a behavior that makes a person Stupid.

Aggression comes next or is a secondary meaning to it. The main point appears to be mental in nature. And they appear to be successful, i. e., those are Old Rishis, and later on it does not seem to be an issue.

The prefix Yatu (https://www.wisdomlib.org/definition/yatu#sanskrit) is used quite liberally:

Destroy the evil spirit, whether in the form of an owl, or of an owlet, of a dog, or of a duck, of a hawk or of a vulture...


In many of those instances, you might be able to say, well, they're just demonizing somebody, and I think the real meaning is there is not a specific social group stamped with a particular name, it's about attitude and behavior. Mura is more or less the opposite pole of Arya in this regard. It's not a bloodline or birthright caste. It is possible to migrate from one to the other.

The similarly-spelled Yadu is generally western, and at times fluctuated in alliance to the Aryas or Bharatas, or I would say Manusas. The Veda certainly uses five regions of men, which would seem like the last thing it could possibly invent. Something like that could be equivalent to Lothal. Certainly the use of Five in IVC script is no ordinary counting number, but a label on the order of Five Peoples or a Five Year Yuga, and quite possibly both.

It is quite plain that the Zebu who mainly uses Five is a complete stoic who Does Nothing, like a foundation, yet has an advanced vocabulary compared to most animals.

The Ibex gains a Soma Press and is used in the Three-headed Chimera.

The Markhor has a mirrored relation to it and is part of the Tiger Centaur.

It is a special agent of Four and Seven.

Markhor B-9:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTL4uGMz-Lv71KZ1HYFguhK3doGEoJt1DwPy9tn5ChPAG5MrHv2DJwtipLyAxlpTF-JYtzE4sPlp3TDPXY-xxeUwSPt_Jc5v6OqnJllplcirTezGSUv6t6Jt7Z5iT2-L6ujm8Kku_1snVzp4-DpR-g50Oo3UA1_wZIUB29N0koBtVzM-0-HSet0wt_bNM/s1280/Slide26.JPG





It's not very different from our remaining goat.

This symbol is used by Tiger Centaur, the Ivory Rods, and a Zebu.

The Zebu has an uphill motif as if imitating Three Mountains. I have not found it online. Then there is the unique instance of Branch and Five with Human Markhor.

This numerological frame is very apparent; and similar to a path guide as Pusan is said to be.


Aja Ekapad

Vedic Sanskrit distinguishes a ram with terms like mesa and avya. The goat however shows no differences between ibexes and markhors with a name indistinguishable from deity. This similarly-named deva always has the extension Ekapad (https://www.wisdomlib.org/definition/ekapad). This is how it is summarized by a study on Naksatra Kalpa (https://www.wisdomlib.org/hinduism/essay/atharvaveda-ancillary-literature-study/d/doc1527423.html):



These Rsis are, thus, specifically related to the Atharvaveda, Saunakiya recension. Whitney had drawn attention to the important fact that most of the divinities presiding over the constellations belong to the old Vedic pantheon. Brahman, the deity of Abhijit, may be said to be a late one. Otherwise no deity from the Puranic pantheon is seen therein, nor the divinities of the later times. Many of the deities such as Aja Ekapad, Ahi Budhnya, Bhaga and Aryaman are almost forgotten in the epic period and Apah, Visvedevas, Aditi and Pusan are put into the background.

The Naksatra-Kalpa mentions a number of tribes which are said to be affected by the different constellations. The Satadris, Kaisikas, Iksvakus, Kurus and Usinaras are met with in the ancient Sanskrit literature. However, names like Kalamrsas, Krandas, Ucchusmas, Avadhumamarkatas (1.7.10), Ahinaras, Kuntis (1.8.6) and Avrtas (1.8.8) are not found elsewhere.


Mostly so. This apparent namesake of the goat appears infrequently, although comes first in a litany by Vasistha that includes Apam Napat and Prsni (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834898.html).

Grtsamada uses it in a similar invocation with Apam Napat (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831404.html), where these additional definitive comments are separated from the damage to the continuity by about 2,300 years:


Ahirbudhnya and Aja ekapād are two rudras;

aja ekapād is the name of the sun, the unborn, who goes with one foot


When he figures something is related to another part of the Rg Veda, this is indicated; he attributes many other sources so you can start to tell what goes into the Satapatha and Taittiriya lines, and so Sayana is more or less accurately reporting on changes to the knowledge base with only some examples that are actually relevant to the era.

One aspect of "son and grandson" of Waters is the use of surprisingly faint stars to create an asterism near Brahma Hrdaya. Back to this in a minute. The deity also has some uses apart from Ahirbudhnya and Apam Napat by Vasukarna (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839265.html):


the flowing Sindhu, the atmosphere, the firmament, Aja Ekapād, the rain-bearing thunder-cloud

samudraḥ sindhū rajo antarikṣam aja ekapāt tanayitnur arṇavaḥ |



Notice four attempts on the similar verse from his previous hymn:


pāvīravī tanyatur ekapād ajo divo dhartā sindhur āpaḥ samudriyaḥ |


May the armed and thundering (voice of mid-heaven), the upholder of heaven, Aja Ekapād, the ocean, the waters of the firmament

Thunder, the lightning's daughter, Aja-Ekapad, heaven's bearer, Sindhu, and the waters of the sea

Paviravi (i.e. the divine speech), the thunder, Aja Ekapad, the supporter of the heaven, (the river) Sindhu

The thunder, the daughter of Paviru Aja Ekapad, the supporter of the heaven, Sindhu, the waters of the ocean


The aspect that seems most directly bonded to him is divo dharta, if we can conceive Sindhu and Apah as their own identities, and Thunder is blurred in its relation, Aja Ekapad retains an expression that is not atmospheric, or extends beyond it.


There is one generic use of "ekapad" in a form of advice from Bhiksu (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839966.html):


“He who has but one foot takes a longer time on a journey than he who has two; he who has two feet comes after him who has three; he who has four feet comes up overtaking the two-footed (and three-footed), beholding their traces as he passes by.”


Sayana interprets that as portions of wealth because the advice is donations. This mainly shows that it has to do more with "one foot" than "lame" and the deity of this name rules a sign called Purva Bhadrapada (https://www.wisdomlib.org/definition/purvabhadrapada) which is the first of two feet.

That means that two asterisms are viewed as forming what we would have to call a constellation.

The original name from Atharvaveda uses Prostha (https://www.wisdomlib.org/definition/proshthapada):

Proṣṭhapada (प्रोष्ठपद, ‘feet of a stool’) or later Bhadrapadā (‘auspicious feet’), a double asterism forming a square, the former (pūrva) consisting of α and β Pegasi, the latter (uttara) of γ Pegasi and α Andromedæ.

Proṣṭha (प्रोष्ठ).—

1) A bull, an ox.

2) A bench, stool.


This again has one reference in the Rg Veda. It identifies a nation by Bandhvadaya Gaupayana (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839168.html):

Rathaproṣṭha Asamātis


Is it a bench on wheels or an ox-driven cart?

The chieftain is described as:


To Asamati, spring of gifts, lord of the brave, a radiant car,
The conqueror of Bhajeratha

Him in whose service flourishes Iksvaku, rich and dazzling-bright.
As the Five Tribes that are in heaven.


Probably better:

bhajerathasya satpatim ||

(the descendant) of Bhajeratha, the protector of the good

“In the good government of whose (realm) the opulent and victorious Ikṣvāku prospers (so that) the five orders of men (are as happy) as if they were in heaven.”




The Gaupayana Rishi even identifies his own heritage:


Thou for Agastya's sister's sons yokest thy pair of ruddy steeds.


Again it is correct the Veda seems to direct him towards Vidarbha and Maharastra, and then it is rather extraordinary how critical he is in Tamil, while a corresponding Megalith Culture does appear to carry the IVC India symbol into astronomical markers.




The two astronomical feet cover what we would call the cusp of Aquarius -- Pisces and then most of Pisces, although "above" them in Pegasus. The second is ruled by Ahirbudhnya. Rather, there are two two-star asterisms, first and last, which can easily be four feet of an ox.

While the mysterious deity might literally mean one-footed goat, the emphasis may be more on it as the first of two feet or two sets of them. The undeveloped but persistent name has one additional context in Atharva Veda which has given rise to speculation on it as Axis Mundi (https://puratattva.in/origins-and-iconographical-developments-of-the-shiva-ekapada-murti/).

The area in question already introduces a new deity in Rohita XIII.1 (https://sacred-texts.com/hin/av/av13001.htm).

There happens to also be the Rohitas (https://sacred-texts.com/hin/av/av19023.htm) as a class of hymns.

Before taking off on which Shiva another "red" deity is, the hymn seems to contain some pretty specific astronomy:


Rohita, car-borne by a speckled leader, thou, pouring water,.
goest on in triumph.
22Golden, refulgent, lofty is the Lady, Rohinī, Rohita's devoted
Consort.
Through her may we win various spoil and booty, through her
be conquerors in every battle.
23Rohita's seat is Rohinī before us: that is the path the speckled
Mare pursueth.
Kasyapas and Gandharvas lead her upward, and heavenly sages
ever watch and guard her,
24Sūrya's bay steeds refulgent and immortal draw the light-rolling.
chariot on for ever.


So, i. e., Rohini, a feminine name for Aldebaran, is given a relationship to a male counterpart, while the sign is listed as the domain of Prajapati.


Rohita appears to be described as the superior form of the visible Agni and Surya; he does a quick creation myth via Soma and the Maruts and quickly arrives at a mention of Aja Ekapad, outside of the cluster where he is usually found:


Rohita gave the Earth and Heavens their being. There Para-
meshthin held the cord extended.
Thereon reposeth Aja Ekapāda. He with his might hath stab-
lished Earth and Heaven.
7Rohita firmly stablished Earth and Heaven: by him was ether
fixt by him the welkin.

In the original:

(AVŚ_13,1.5a) ā́ te rāṣṭrám ihá róhito 'hārṣīd vy ā̀sthan mŕ̥dho ábhayaṃ te abhūt |
(AVŚ_13,1.5c) tásmai te dyāvāpr̥thivī́ revátībhiḥ kā́maṃ duhātām ihá śákvarībhiḥ ||5||

(AVŚ_13,1.6a) róhito dyā́vāpr̥thivī́ jajāna tátra tántuṃ parameṣṭhī́ tatāna |
(AVŚ_13,1.6c) tátra śiśriye 'já ékapādó 'dr̥ṃhad dyā́vāpr̥thivī́ bálena ||6||

(AVŚ_13,1.7a) róhito dyā́vāpr̥thivī́ adr̥ṃhat téna svà stabhitáṃ téna nā́kaḥ |
(AVŚ_13,1.7c) ténāntárikṣaṃ vímitā rájāṃsi téna devā́ amŕ̥tam ánv avindan ||7||


So Aja Ekapad and Paramesthin are his close cohorts, or, are they just his additional epithets?

Unlike *most* creation myths, this runs through Rohita taking incarnation by verse four of this Sakvari ideology:

Up to the lap of births, to lofty places, hath Rohita, the germ
of Dames, ascended.
Conjoined with these he found the six realms: seeing his way
in front here he received the kingship.

AVŚ_13,1.4a) rúho ruroha róhita ā́ ruroha gárbho jánīnāṃ janúṣām upástham |
(AVŚ_13,1.4c) tā́bhiḥ sáṃrabdham ánv avindan ṣáḍ urvī́r gātúṃ prapáśyann ihá rāṣṭrám ā́hāḥ ||4||


Here returns the important Atharvanic Lord of Speech:

To us, Vāchaspati, may Earth be pleasant, pleasant our dwelling,
pleasant be our couches.
Even here may Prāna be our friend: may Agni, O Parameshthin
give thee life and splendour.
18And those, Vāchaspati, our own five seasons, sacred to Visva-
karman their creator.
Even here our friend be Prāna: Parameshthin, may Rohita
vouchsafe the life and splendour.


He classifies a major division of Agni:


One is deposited in Truth, one kindled in the waters: both
Agnis of Rohita who found the light are set aflame with prayer.
51That decked by Wind, and that prepared by Indra Brāhman-
aspati,
Agnis of Rohita who found light, prayer-enkindled, sacrificed.
52Rohita made the earth to be his altar, heaven his Dakshinā.
Then heat he took for Agni, and with rain for molten butter he
created every living thing.


Looking in here, is it Rohita and/or Paramesthin? Neither is a Rg Vedic deity, although we find in the credits for Creation X.129 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840079.html):


Ṛṣi (sage/seer): prajāpatiḥ parameṣṭhī

Devatā (deity/subject-matter): bhāvavṛttam


Followed by a sequel involving a 101-year Yajna (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc840087.html).

This is a case where we are more or less taking this not as an individual human author, but the deva(s) Prajapati Paramesthin speaking. This is the same as with arguments of Indra and Indrani and so on. The Rishi with a following is Prajapati Visvamitra Vacya.

This deity is again Atharvanic.


Here is an interesting Gharma IV.11 (https://sacred-texts.com/hin/av/av04011.htm):


Being produced among mankind as Indra, the Caldron works
heated and brightly glowing.
Let him not, with good sons, pass off in vapour who hath not
eaten of the Ox with knowledge.
4The Ox pours milk out in the world of virtue: in earliest time,
he, Pavamana, swells it.


that is among Manusyas:


(AVŚ_4,11.3a) índro jātó manuṣyèṣv antár gharmás taptáś carati śóśucānaḥ |



going to a type of theophany:


AVŚ_4,11.7a) índro rūpéṇāgnír váhena prajā́patiḥ parameṣṭhī́ virā́ṭ |
(AVŚ_4,11.7c) viśvā́nare akramata vaiśvānaré akramatānadúhy akramata |
(AVŚ_4,11.7e) só 'dr̥ṃhayata só 'dhārayata ||7||


Prajāpati, supreme and sovran ruler, Indra by form and by his
shoulder Agni,
Came to Visvānara, came to all men's Bullock


So, again like the Rg Veda, it appears to be Prajapati Paramesthin or the latter is a title of the former.




However a minor distinction appears at the beginning in a type of mnemonic Visvarupa IX.7 (https://sacred-texts.com/hin/av/av09007.htm):


Prajapati and Parameshthin are the two horns, Indra is the
head, Agni the forehead, Yama the joint of the neck.
2King Soma is the brain, Sky is the upper jaw, Earth is the
lower jaw.
3Lightning is the tongue, the Maruts are the teeth, Revati is the
neck, the Krittikās are the shoulders, the Gharma s the
shoulder-bar.

The All-embracing (Aditi) is the hide, the herbs are her hair,.
and the Lunar Mansions her form.


That has a few, not all, Naksatras placed in it. Revati, Krttikas, Gharma in one line is suggestive.

Although a deity name, it now sounds more like Prajapati, son of Paramesthin. Most of the hymn explains his parts whereas this is his form:


Sitting he is Agni, when he hath stood up he is the Asvins.
20Standing east-wards he is Indra, standing southwards, Yama.
21Standing westwards he is Dhātar, standing northwards Savitar.
22When he hath got his grass he is King Soma.
23He is Mitra when he looks about him, and when he hath turned
round he is joy.
24When he is yoking he belongs to the All-Gods, when yoked he
is Prajāpati, when unyoked he is All.
25This verily is omniform...


Here is another grammatical separation of the two names:


(AVŚ_10,3.24a) yáthā yáśaḥ prajā́patau yáthāsmín parameṣṭhíni |


The caveat is that we well know that in literature there is a Brahma Prajapati in stories with Rohini and Rudra, which seems to be the first coalescing idea that substitutes the primordial Veda, and we are led to think about an arrow shot and decapitation as a certain astrological marker.

This is Axis Mundi Skambha X.7 (https://sacred-texts.com/hin/av/av10007.htm):

Who out of many, tell me, is that Skambha,
On whom Prajāpati set up and firmly stablished all the worlds?


It has twenty or so of these rhetorical questions, but, it is like Rohita, a substrate upon which Prajapati is a particular actor. It doesn't say anything about Paramesthin here but it does later on:


They who in Purusha understand Brahma know Him who is.
Supreme.
He who knows Him who is Supreme, and he who knows the
Lord of Life,
These know the loftiest Power Divine, and thence know Skam-
bha thoroughly.


AVŚ_10,7.17a) yé púruṣe bráhma vidús té viduḥ parameṣṭhínam |
(AVŚ_10,7.17c) yó véda parameṣṭhínaṃ yáś ca véda prajā́patim |
(AVŚ_10,7.17e) jyeṣṭháṃ yé brā́hmaṇaṃ vidús te skambhám anusáṃviduḥ ||17||


Those seem to be an important pair like twins, and this brahma is more like mantra vidya. Purusha is extraordinarily generic, and mantra is the specifically Indic or Vedic way of revealing Paramesthin, Indra is the Gharma of the Manusyas.

They again seem to be individuals in Blank XV.6 (https://sacred-texts.com/hin/av/av15006.htm):


He went away to the regions. Virāj and all the Gods and all the
Deities followed him. He who, etc.
9He went away to all the intermediate spaces. Prajāpati and
Parameshthin and the Father and the Great Father followed
him. He who possesses this knowledge becomes the beloved
home of Prajāpati and Parameshthin and the Father and the
Great Father.



Yajna Prajapatya in the Rg Veda speaks of the Pitrs weaving forward to make Time, while "backwards weaving" worships the creation by Prajapati.

These layers (parent, grandparent) are elsewhere taken as Year and Yuga.


Confusion over the Water astronomical deities is uncoverable from within the surprising Nightmare Usas (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc836531.html):


To Trita, and to Dvita, Dawn! bear thou the evil dream away.
As we collect the utmost debt, even the eighth and sixteenth part,

So unto Aptya we transfer together all the evil dream.
Now have we conquered and obtained, and from our trespasses are free.


It is schizophrenic, which is difficult to translate. Sayana puts it awkwardly, but the gist of it is that Trita and the Trtas are people, while the same name, Trita Aptya, means a deity located elsewhere. Several verses are invested in the trait of Duhsvapna or Nightmare. Trita Aptya invokes Usas as the agent to remove and transfer his Nightmare to Trita Aptya.

The sense of it does not seem to be cursing a deity as the *source* of horrors, but, is actually more of a connection to and praise of Usas for the transformative ability.


Again in terms of "who is speaking", Talageri deleted him from I.105:


Ṛṣi (sage/seer): āptyastrita āṅgirasaḥ kutso vā

We went through this before. Sayana's comments on this matter appear consistent with the Samhita. Rishi Trita Aptya is Kutsa, who i. e. begins Book Ten, which would be 7 x 7 Agni hymns.

Trita Aptya form of Agni is in Visvarupa X.8 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838566.html).


Kutsa is the only one to mention Trasadasyu in Book One, so, if Grtsamada is the same time as him, they are simply adopting complementary writing styles that are near exclusive.


Grtsamada says he joined with Rishi Trita.



This Rishi is the same person writing in two legendary names:


Kutsa Angiras -- Trita Aptya


See for example I.105 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830116.html). It is even in the Mantra as well as the Anukramani. Sayana comments this in a few other places.

The nucleus of Book Ten is the Trita Aptya verses followed by Sindhudvipa Ambarisa (Varsagira) on Visvarupa and Waters.


Medhatithi quotes Trita Aptya into Book One.


This is like a Black nucleus compared to the White one that Medhatithi is in, used additionally in Books Eight and Nine. They're literally conjoined.


To be more precise requires later evidence, which requires questioning if this was a minor tradition that had been passed down.

My memory was a bit off on Citra--Spica, which moves about 1/10 of an arcsecond in 10,000 years.



Surya Siddhanta has Citra's position wrong, but uses it to locate "Child of the Waters", Apam Vatsa (https://www.jstor.org/stable/pdf/592174.pdf). The Surya Siddhanta is the only text that mentions a third star, as if repeating that same line, Apas (or Apa), Delta Virginis.

Translator is baffled why such faint stars as Prajapati and Apa would be particularly revered.

The Citra star is used to say the "year begins" at the sign, Asvini, whose cusp is defined as opposite Citra. So, for its epoch, yes, it has the job of re-defining the equinox, and Brahmahrdaya reflects a textual evolution. It may be that Prajapati and the Apas stars reflect an ancient usage. If Prajapati is Capella, this is a different day than that of Rohini, who perhaps has been uttered in a wife-like role to The Shepherd, which would then somewhat resemble Sumerian Mul.Gam.

Dvita and Trita Aptya mean something in the Rg Veda, and this is the most plausible hint.


Again to be more precise, the SS text says:


20. Situated five degrees eastward from Brahmahrdaya is Pra-
jagpati: it is at the end of Taurus, and thirty-eight degrees north.
21. Apamvatsa is five degrees north from Citra: somewhat
greater than it, as also six degrees to the north of it, is Apas.


It's not Capella:


Prajapati is Delta Aurigae.

Apas is Delta Virginis.

Apamvatsa is Eta Virginis.


The Waters are labeled here in relation to Spica, which sits two degrees below the equator:

https://upload.wikimedia.org/wikipedia/commons/thumb/8/85/Virgo_constellation_map.svg/617px-Virgo_constellation_map.svg.png



They would be the elbows of traditional Virgo:

https://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Virgo_constellation_PP3_map_PL.svg/640px-Virgo_constellation_PP3_map_PL.svg.png



If there might be Bull's Feet in one part of the sky, this system does not allow Taurus yet:

The asterism Rohinl, as has been seen above, is composed of the five
principal stars in the head of Taurus, in the constellation of which is
seen the figure of a wain. The divinity is Prajapati.


This describes a small box of about four degrees from Alpha (Aldebaran -- Rohini) to Gamma:

https://upload.wikimedia.org/wikipedia/commons/thumb/e/e9/Taurus_IAU.svg/814px-Taurus_IAU.svg.png



There are warnings about planets entering directly into it, i. e., passing south of the equator.

This information about Citra and Rohini is spontaneous and interrupts the flow of the work, which is about calculations and sets.


This text does have Mrgavyadha for Sirius. But Rohini is a wagon whose handler is far enough away to be out of this picture. It is almost unusual that you bypass Capella to get to it at the far end of Auriga.

It generally corresponds to the Hyades:

https://www.svabhinava.org/ImagesPeople/TaurusConstellationImage.jpg



The name for the unfortunate conjunction evidently becomes a standard warning:

rohiṇī-śakaṭa-bheda


A page explores this and makes the suggestion (https://www.svabhinava.org/abhinava/SuntharCosmogonyConception/SplitCart-frame.php):

the 'cart' (śakaṭa) is itself a projection of the trapezoid vedi


They have difficulty not getting the esoteric Sukla Yajur Veda and the violent episode with Usas. But they can sense something about it.


However, sakata is not a Vedic term, and the VJ equates Rohini to a single star. We can't say the wagon is really the original asterism. What is interesting is again viewing this in a negative image. It was never said those events were observed, and the curious by running software established that the last time Saturn slipped into it as 5,000 B. C. E.; on the other hand, the Moon regularly enters into it, and so there are stories about the Moon's fondness for Rohini.

That makes physical sense, and, there is a trapezoidal shape right there.

This has no context at all in the Rg Veda, while the stars of Waters arguably do. That's by the corresponding names of the Aptyas. We expect it to tell us little about asterisms or constellations.

If it is generally true that rarely anything other than the Moon enters the Hyades, anyone could see this, so it would still be true in IVC.


Linguisticly, the complex equation which may contain Samkhya is expressed by Vasukra Aindra in X.27 (https://www.meluhha.com/rv/verse.pl?v=10.027.15&acc=no&q=10.27&lang=ved):

Seven heroes from the nether part ascended, and from the upper part came eight together.
Nine from behind came armed with winnowing-baskets: ten from the front pressed o' er the rock's high ridges.

Part of what?


kayā bhuvā

with what design has the cow offered her udder?

Seven sages sprang from the lower portion; eight were born from the upper portion; nine occupants of stations came from behind, and ten, generated in the front, partaking of food

(They) despatched one of the ten, Kapila, as equal (to the task) for the completion of the sacrifice; the gratified mother cherishes the embryo well-deposited in the waters, and not desirous of an abiding place.


You could render that generically, "the tawny one", but if so this is the only time in Rg Veda it is chosen to represent a color, which is unusual because the color is significant and this is the only time the word appears. That it follows a potential design-by-numbers is suggestive of the legendary founder of Samkhya -- Enumeration, Kapila, from whom we primarily derive the five-fold Tattva system.

The verse is correctly about Viras -- Heroes, not rishis or kavis.

As much as it probably depicts the Angirases, it does not directly say so. That someone from the group of ten does the completion runs parallel.


Nesting under that is a Six-and-Seven symbol which really permeates all subsequent underlying philosophy. It was difficult to recognize because Dirghatamas has an accent where he spells "six" as "sal". More or less the same thing was just said about Rohita in Six Realms -- Gata (https://www.wisdomlib.org/definition/gata).

I am going to cite better the note I placed recently, where the stamp begins in I.164.6 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830749.html):



vi yas tastambha ṣaḻ imā rajāṃsy ajasya rūpe kim api svid ekam |

what is that one alone, who has upheld these six spheres in the form of the unborn?

What was that ONE who in the Unborn's image hath stablished and fixed firm these worlds' six regions.
Let him who knoweth presently declare it, this lovely Bird's securely founded station.


The Eka is using an Aja Rupa and nobody said it was a goat.

In this case it is a Calf, gazing at Go Visvarupa when there is a reprise with Eka of Vv. 9-10:

Then the Calf lowed, and looked upon the Mother, the Cow who wears all shapes in three directions.
Bearing three Mothers and three Fathers, single he stood erect: they never make him weary.

or:

the calf bellowed, and beheld the omniform cow in the three combinations.

The one sole, having three mothers and three fathers, stood on high; none ever over-weary him; the (gods) on the summit of the sky take counsel respecting him in language all-comprehending (but) not extending to all.

mantrayante

There on the pitch of heaven they speak together in speech all-knowing but not all-impelling.


For me those are everlasting paradigms. At the core meaning of Aja Rupa is our Swayambhu Jyoti Rupa Adi Buddha, and then three mothers and three fathers is the Hexagram in all its aspects. The hymn isn't any more specific on identities. It then changes to the Five-footed form involved with the complex year-like chariot, which leads to the symbol of Six-spoked Wheel which is similar.

The oldest copper art objects are Wheel and Bull, which have the odd habit of coming together on IVC seals.

The tablets show two at the Temple.

We can be fairly certain that physically, either the solstices or equinoxes could be used to divide the year in half. That is a candidate for their explanation.


I found something that may be pre-eminent for explaining "Sky".

Firstly, there is a modifier glyph which is the Egyptian hieroglyph for "sky".

In one case it has an appearance suggestive of Lightning.

Here, it takes the form of what many people intuitively respond to as rain. This is Sky over Nine, a number, which, of course, has very few uses on its own.

This has additional context. Lothal Bird faces Y, and we have considered bird-in-flight as perhaps represented by Inverted Y, which may mimic the tail of the Drongo.

A Sky Fish is not new since it is a main course on polychrome pottery, but these are mostly horizontal as normal. So far in the script and seals, there are merely two normal fish. The creature for some reason rotates in order to transition from an image to a glyph. It is still a Sky Fish but about to become a target for Gharial.

The Bird does indicate the atmospheric sky, and Fish can only be a mental or intellectual--conceptual one. It remains plausible that IVC script reflects two kinds of sky or heaven, and, therefor, is compatible with Three Worlds metaphysics. I am not sure the Veda originates this; does it craft a value-laden response and application, yes, that is the main point. It has multiple "kinds" of creation, and for example the Rbhus all have valid points on the Most Excellent. It has the well-known mark of Thirty-three deities, but, this is not exclusive or exhaustive.


I don't know why this could not be about the two higher worlds and Parjanya on H-4:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIuILkb5F7qjzrHGZjBpv3rDuw2MSIbfjeSGQg0jpBUewZERZBI9geJUazzcX_u_8j6JZ3F73fY3e5kYNEcvps4XhYlgbF ICBpLSBT3SLRvelzlo9rJi-JDj4jho7Nh0pyhR80boNfB52b/s1600/H4.jpg


We have been told Fish is a star, taxes, gems, crocodile food, and a few other things I can't keep up with that probably also would not make sense in the above statement.

Whatever the middle word/name/sentence/paragraph/category/recipe may be, it would then have to make sense in further texts.


Inverted Y and One L-48:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnulD4gOj4L91NlXYFxT0g5KMFHzb_jG2p7eMuALIfEukkaf6cHSPvNNfnpv8617HS5vX-OtVEShkEwKsUFm6YbRopuiUHlXKKyGuUUxlqKyoTdjtUFohha6MvUHW2oUsLyN3tfqlBqsY/s1600/L4B.jpg



Does it mean that Belted Fish has something to do with Vayu?

It's not a technically difficult text and yet the explanation remains daunting.

Similarly, much of the Rg Veda is so arcane yet understandable to an audience, these writings are perhaps almost the same in character.

[shaberon]

Statistical Concordance




After a few posts on Vedic Sanskrit, this may be the IVC Horse:

https://projectavalon.net/forum4/attachment.php?attachmentid=55786&thumb=1&d=1756432344



Now for two cultures in the same area, they are different enough that you could just about call them Tiger and Horse. At the same time, the main article of all IVC script is the Soma Filter, which continues to have its importance through the Vedic era.


Soma is possibly of Afghan or other origin.


Manusyas have Indra as Gharma:


(AVŚ_4,11.3a) índro jātó manuṣyèṣv antár gharmás taptáś carati śóśucānaḥ |



Gharma returns in Visvarupa in a line after asterisms for neck and shoulders:


(AVŚ_9,7.3a) vidyúj jihvā́ marúto dántā revátir grīvā́ḥ kŕ̥ttikā skandhā́ gharmó váhaḥ ||3||


followed by two worlds outside its body:


(AVŚ_9,7.4a) víśvaṃ vāyúḥ svargó lokáḥ



After hide and hair, Naksatras are its total form or shape:


(AVŚ_9,7.15a) viśvávyacās cármáuṣadhayo lómāni nákṣatrāṇi rūpám ||15||


Mitra being in a long strand of deities, Ananda was not personified or deified in translation:


(AVŚ_9,7.23a) mitrá ī́kṣamāṇa ā́vr̥tta ānandáḥ ||23||


It's unclear to me if IVC reflects Gharma in any way. They could have been using ghee without Indra.




I worked with the capability to upload missing imagery, and some of it was used to update a few obvious areas such as the Ivory Rods and Tree Tablets. I had a few more that are an experiment into the threshhold.

Posts limit images, so, we don't want to stress it by using any and every single little individual text that could be mentioned. This handful is selected because it looks at applications of the statistically most powerful groupings of glyphs.


I had the idea to look at the dominant trigram and tetragram for Two Kinds of Fish.

It wasn't an independent idea, but came off the Table of Contents M-314:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTvv5R1DFJRa6V6h1G7UlXdYihjjrxclSXt2dFAGnveJb9Ywev9qtR6lqLta_a2fhKVeLIq7Ob9fBNCKyZip9VvXlqPfmU mREg7_OJpiCfFvZOCWPzQZE5XXXAv0VE6nICPVm4uJUQVHdb/


We noticed that trio of Fish has *various* attachments to the dominant tetragram. These two particular kinds of modified fish have a tendency to work together. The ones with slashes, belts, or dots, can be difficult to determine.

The seal then goes in another direction with three kinds of U. Here is where I would suggest Doubly Caged A is a finished product. When we look at regional variation, you will see its parts and construction in different ways at different places.

This thing ends with something that has been called squirrel, jackal, armadillo and otherwise, which definitely is not going to guide us on a themed tour. However, I am thinking the A is similar to a diploma or is a finished product from multiple statements issued under the according U and Fish varieties. Something like a way of uniVersalizing Sanskrit, since things like ghee, rice, or a rhinoceros have no Iranian precedent.


Whiskers are such an obvious suggestion you want to call it a Catfish, while a Chevron is not even attached to it and is somewhat implausible. But this kind is on the main Gaur Clash.



They are usually together. Only a couple are filtered out.


Fish with Chevron:

https://projectavalon.net/forum4/attachment.php?attachmentid=55774&thumb=1&d=1756432686

https://projectavalon.net/forum4/attachment.php?attachmentid=55773&thumb=1&d=1756432686



Whiskered Fish:

https://projectavalon.net/forum4/attachment.php?attachmentid=55818&thumb=1&d=1756442626

https://projectavalon.net/forum4/attachment.php?attachmentid=55775&thumb=1&d=1756432655

https://projectavalon.net/forum4/attachment.php?attachmentid=55779&thumb=1&d=1756432578

https://projectavalon.net/forum4/attachment.php?attachmentid=55778&thumb=1&d=1756432578

https://projectavalon.net/forum4/attachment.php?attachmentid=55780&thumb=1&d=1756432547

https://projectavalon.net/forum4/attachment.php?attachmentid=55777&thumb=1&d=1756432623

https://projectavalon.net/forum4/attachment.php?attachmentid=55776&thumb=1&d=1756432623


in the tetragram:

https://projectavalon.net/forum4/attachment.php?attachmentid=55783&thumb=1&d=1756432465

https://projectavalon.net/forum4/attachment.php?attachmentid=55782&thumb=1&d=1756432465

https://projectavalon.net/forum4/attachment.php?attachmentid=55784&thumb=1&d=1756432426

https://projectavalon.net/forum4/attachment.php?attachmentid=55785&thumb=1&d=1756432426


How are those n-grams portable in the manner displayed.

[shaberon]

Bird-face Goddess Concordance



Part of the curiosity behind the last post was a Chevron. What does a Fish do with it. There are three hundred more of them, but those posted interface with apparently powerful forces. This is as determined by the sheer weight of repetition and presence. Like looking for the most common words in any language, except I am not sure they are words.


This is not going to spin like a record and start making a song correctly. I think it is discernable the way it came out, Scorpion is obviously some kind of a subject or genre, but what is not readily apparent is that Three Mountains pertains to Tree and Striped Mountain to Tiger. This is like a different subject or genre weaving its way along. It just manages to show up in that selection.




The curiosity about Chevron is that sometimes it connects to a person's feet or head. It is a modifier and it stands alone. It is only doubled one time. The Copper Tablets are Pair of Chevrons like the Ivory Rods are Four Branches.

Chevron is also used with Two Wheels in the broadly public manner from signboards to objects, even though Pair of Wheels has its primary origin on the only Temple of Harappa.

Despite being such a basic shape, it is not very common in the script as a whole.


I began to notice it when looking at a person as probably a character.

From posting on this before it is stuffed with pictures, so this is a re-write from its lacunae.


No one asked this before.

If this glyph was "someone" with a coherent story, I think it would be like this.

If you are curious about the Chevron, you will get a certain reply. The conversation delivered does not quite address *all* IVC topics, but it *does* seem to convey adeptship at *some* of it.

We are talking about a distinct appearance that is not the Long-haired Yogini who is more famous in the visuals and has Branch and Four.


Well, that one does not have a whole lot of in-depth text, and this one does.

This concordance may be the most exceptional example of something that runs from simple to complex, with a variety of apparent subjects, and little unnecessary repetition.

Winged Man is perhaps more interesting *here* than he is on his own. The thing to watch for is Person wearing Comb. One of them is the Unicorn Parade scene. This must be one of the most important moments of the entire civilization.


Bird-face Goddess does not have any "U" text.

She is in several basic trigrams. Her fundamental pairings are:


Before "Pinwheel" or after a sort of Fat "H" 186 (as in the trigram Person holding "U" 32, "Mallet", "H") -- this is the triple-barred "H" same as in Contest M-308. Person with Bow also has it, but, largely, this is is her domain. The analysis will ignore the Contest because she is the icon, not the text.

She has another couplet with Fish with Slash, which only re-appears two times in her library (ninety-one texts). This one has an illegible field symbol.

https://projectavalon.net/forum4/attachment.php?attachmentid=55804&thumb=1&d=1756431379








She has a tolerance for "One", Lozenge, Chevron, and Caged "Mallet", while placing Scorpion with two Grids. That usurps the common Person with One that usually has this pair.

Bird-face Goddess's Branch enumeration is "Five". There is also the text "Five" -- Bird-face Goddess -- "Wheel" -- "Two".

https://projectavalon.net/forum4/attachment.php?attachmentid=55812&thumb=1&d=1756431576




https://projectavalon.net/forum4/attachment.php?attachmentid=55805&thumb=1&d=1756431426

https://projectavalon.net/forum4/attachment.php?attachmentid=55810&thumb=1&d=1756431523

https://projectavalon.net/forum4/attachment.php?attachmentid=55809&thumb=1&d=1756431523



She has Bird-in-Parentheses on a Mohenjo daro Buffalo text (as above), a Lothal Unicorn impression, and on Unicorn K-4.

From Ivory Rod at top to Tiger text:

https://projectavalon.net/forum4/attachment.php?attachmentid=55814&thumb=1&d=1756431629







Bird-face Goddess text from Chimera M-1173 with Hourglass is damaged across the creature's face, but is found in an area where Tiger Chimera runs from "smooth" to "striped" looks.

"X" and "Pinch" places her with Tiger M-1165 (last example).

https://projectavalon.net/forum4/attachment.php?attachmentid=55811&thumb=1&d=1756431576


The use of Conjoined Enclosures is up her alley.

Her Tiger Chimera is a use of it. Elephant does as well.





She has the only Rabbit-esque "8" (or "B") with something hanging out of it, as well as "Eyes with lashes".

https://projectavalon.net/forum4/attachment.php?attachmentid=55816&thumb=1&d=1756431671



She has "X" under "Sky", twice, and Three Triangles under "Sky", once. Here, it is behaving very differently from all its other examples, which are as a leading glyph, or subjugated to "Wheel" with Winged Man. She is the total mistress of this glyph in the mega-stripey statement.

Similarly, "X" under "Sky" may be lightly related to Person holding "Quote", but on a character basis is mostly in the hands of Bird-face Goddess.

She has Caged Fish and "Battery" on an Elephant text.

This starts with her sloped Three Mountains:

https://projectavalon.net/forum4/attachment.php?attachmentid=55813&thumb=1&d=1756431629









https://projectavalon.net/forum4/attachment.php?attachmentid=55806&thumb=1&d=1756431426



Her "Sky" glyphs are certainly suggestive. Her first pairing of "X" under "Sky" is with Lozenge. It re-appears in one of the most unusual texts on M-634 with three Wheels.

When subject to "X", she has Stacked "Two"; and she has one text of Bent Branch and "Four". There is also a "Four" text with the two kinds of Winged Man. Her personal strong suit is "One", "Two", and "Five"; Winged Man supplements "Three"; this "Four" is somewhat meager at 3/91 texts.

https://projectavalon.net/forum4/attachment.php?attachmentid=55815&thumb=1&d=1756431671





Her Winged Man is usually accompanied by "Three", except in one case where Eight-rayed Lozenge is present. She also uses the pair Lozenge -- "X" under "Sky", from which, it figures the eight-rayed thing is also simply like a Lozenge covering the main middle part of "X".







Her most effulgent texts land her between two "Wheels", or, before two "Bows with handle" and Spear. This comes in two varieties, with "H" or Square "A" and additional text.

https://projectavalon.net/forum4/attachment.php?attachmentid=55807&thumb=1&d=1756431472




There you have the Unicorn Parade and Neptune.

The original post got loaded because she has a glyph shared with the major iconic scenes. Three Triangles beside something similar to a Crab with fat pincers, or a triangle with sideways legs. Here, it is sign 229 on her Kalibangan Unicorn. This begins on a text with the One Realistic Crab:

https://projectavalon.net/forum4/attachment.php?attachmentid=55808&thumb=1&d=1756431472



That last line puts her in a hypostasis with a group that looks like they are doing Yoga and Soma Offering.

Elsewhere, we find Chevron and One and Wheel, or, most of the components that go into the "motto" or the texts similar to the Dholavira Signboard.

In that sense, I believe the script is tiered. I'm guessing it starts with maybe twenty to forty glyphs, or not very many, such that any person might not be truly literate, but would be able to absorb something that was publicly displayed.

The second tier might be sixty or eighty glyphs, which takes care of most of what we see in this concordance. Being more knowledgeable, this would have to begin the intra-Indian aspect as visual in the tablets and so forth.

Finally you get to the ultra-weird like "Eyes with Lashes", things that use intricate modification in tiny increments, lots of singletons and things of little use. I don't know if those are personal or ad lib statements. I have the sense that they are allowed to say something, like quoting a line out of a Vedic hymn. It may have four parts in Mohenjo daro and two in Lothal, none of which would be a mystery to people who knew the hymn. That works up to the point where the details are so extreme, it becomes a little difficult to accept they convey any meaning.

Bird-face Goddess 17 does not really do that. She does have a few singletons, but, this would not be a difficulty if the bulk of her material is based on something widely known. Something is discussed and "Eyes with Lashes" results.

I don't know what it is, but no one ever asked this.

We haven't asked which humanoid glyphs are "them, the characters", and which is "you, the reader".

This one probably has the more robust story of any of them.

[shaberon]

Comb as likely Iranian



This is not something I am sure has been covered by anyone before.

They may have, and I just don't remember it, but I just noticed it.

I consider myself so far as mostly just trying to arrange the alphabet, that is, any type of coherent order to the progression of script and images.


Almost no glyph has much use on an individual basis, but so far most of them seem to develop in preferred pairs.


The sense I am getting is that the Comb glyph has to do with all things Two.

One of the most significant visual tablets uses the Most Middle Comb, which is completely against its nature.

It pairs with itself and a few other things and likes to come at the end, although influences can make it perform otherwise.


One of its most basic arisings renders it horizontally:

https://projectavalon.net/forum4/attachment.php?attachmentid=55863&thumb=1&d=1756607035


It's the Ibex who glances at the Sun.

What is this? Glyphs aren't written vertically. Except for the few exceptions where they are. Did it lose its glyph-ness by lying flat? Something is going on.

Branch uses Enumeration almost perpetually, except here.



This perhaps is even simpler; it's just with the Ibex, and it just has plain Person:

https://projectavalon.net/forum4/attachment.php?attachmentid=55843&thumb=1&d=1756606729



Those two go together. Person wears Comb. It's been called everything from a harrow to a bird's wing and all I know is that it doesn't resemble anything. The feet are arguably those of Girl-in-air or other icon, but what such an object could be and how you wear it like that suggests nothing to me,

Person wearing Comb appears with Elephant and Donkey, who also has Spear.


One of the simplest things the pair One and Person wearing Comb could do, must be this:

https://projectavalon.net/forum4/attachment.php?attachmentid=55860&thumb=1&d=1756607006


and then:

https://projectavalon.net/forum4/attachment.php?attachmentid=55861&thumb=1&d=1756607006



which may be the way to Three Mountains on H-86:

https://projectavalon.net/forum4/attachment.php?attachmentid=55836&thumb=1&d=1756606630




While that is taking place, contrasted to a large number of samples, the dominant tetragram appears to be taking its place with a baby elephant:

https://projectavalon.net/forum4/attachment.php?attachmentid=55859&thumb=1&d=1756606969



That's an existential question about like are these elephants female. The concordance won't give you any of these details, and the text might seem minor, until you compare this little guy with everyone else on the page. Thinking through everything else, I'm not even sure we could say the Duck is a duckling. There is no sign of youth or childhood until this seal. At least, I would say I don't remember anything like it.

The tetragram is a type of "core information" whereas Comb is a "terminal sign" in most cases.

One more look at its doublings and there are also two Wheels, but, in between, you see "Crab" shapes of the Flat and Elliptical varieties:

https://projectavalon.net/forum4/attachment.php?attachmentid=55853&thumb=1&d=1756606866



I strongly doubt they're wheels and crabs. As a modern person, exposed to millions of pictures, you get a "crab" shape burned into memory and the association becomes automatic. Chances are in ancient India, you didn't see pictures other than the kind represented, in which there are no graphic crabs. You would never even see one unless you go where they live. If I hadn't seen pictures and traveled, it would never occur to me, unlike the Sun or something abundant like maybe goats. The Wheel symbol pre-dates the invention of the spoked wheel by over a thousand years.

The Wheel glyph may be round, or, oblate, like one of those "crab" shapes. As "parts", that one seems to come from a Tree Tablet with Three Mountains. It goes into the Copper Tablets.

The triangular one appears to be the target for multiple comb-like ligatures.




So, I was looking for something else, and wound up getting caught up in noticing some stray blurry detail slipping past. This "object" is a motif from Kulli ware:

https://projectavalon.net/forum4/attachment.php?attachmentid=55849&thumb=1&d=1756606808



The Ibex also has it:

https://projectavalon.net/forum4/attachment.php?attachmentid=55847&thumb=1&d=1756606775

https://projectavalon.net/forum4/attachment.php?attachmentid=55848&thumb=1&d=1756606808


It's not entirely unlike a "quadruped rudiment" either.

There are other examples of it until you reach the point of concern they may have gone a little bit Comb crazy:

https://projectavalon.net/forum4/attachment.php?attachmentid=55852&thumb=1&d=1756606866



The paper's author keeps using the term "temple" for it. The suggestion is that it is the frieze or architectural facade of a temple. If so, this is highly abstract, supposing the design to have come from an idea.

A similar idea has been pitched about the scalloped borders or bands on the pottery. Supposedly they copied the appearance of Mundigak. It may be that Kandahar was an ice age refuge for a population that expanded to Mehrgarh and Balochistan one way and Sistan the other.


This is a similar piece which perhaps has Three Roofs between the horns:

https://projectavalon.net/forum4/attachment.php?attachmentid=55851&thumb=1&d=1756606841


I'm not sure the crenellated design looks like IVC script.

The two cultures are not strictly identical, especially because the Balochi felid is believed to be a leopard or cheetah, something other than a tiger:

https://projectavalon.net/forum4/attachment.php?attachmentid=55850&thumb=1&d=1756606841



Conversely, in IVC, rather than "Pair of Tigers", it is thought something else may be the second cat in the Procession.


Comb along with Branch and W are seen for centuries prior to the complexity of "script". The author uses the term "cypress" but again it looks like the underlying Trees of IVC, Pipal and Khadira, fig and acacia.


I'm not sure I get it as an architectural feature. The border, yes, possibly or even probably. The IVC Comb is too importantly worn by a person, inversely of the one with Branch above.

Gharial is fond of it, and it seems to pertain to that unusually difficult number, Two.

When there are two Quotes in a U-shaped symbol, it is doing something selective but powerful. Quite possibly the same with plain U. Around the spectrum, the number two is found an unusually low number of times, which again suggests it is not any kind of accounting or normal sequence of numbers.





Comb on a UII tablet:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5VIbHeIiDmwNl6Fr_PMt6__6-awU_3wn-ra9RiZvuAn9C43xrOHh1KDexQiQKycRs9_iPjwXImHiwbllRuOYP41RbR5zJCIGQNFDQqcfQ0SjM05hN6uRONE7g4RHDPALpltXy _uoKwycYcEJq8NFoWpRDu53Q9M4_zbis6AJafBQJnHHYn2N0bxAtqCA/s1280/Slide24.JPG


This is probably the only instance of a single rampant Goat, and although the human figure has been conformed to kneeling in the concordance, it looks like what they are actually doing is sitting without the bench.

Add the furniture and there is seated yogini with markhor who looks back.


The figure seems to be kneeling on the Zero or Cobra tablet which encloses a miniature Comb, and on the UIIII Endless Knot.


There are a couple of other notable UII texts. One of them is Horizontal Fish:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpGWKBOKHi4sSHTT-Dy1eqtMTXe23jF7OhPtvQGbZXKKU4tfGDhBlU4mWCul-kx8wM-BkkUkilQS9eDVQ-BZ2gqWbB1kU6cZsVdfryCE7N-D3m89Uc_SG8VKyNYqGGR45XVR66_ufZ3Pf1/s1600/h1953.JPG



Another is an Ivory Rods text with Caged Mallet beginning Modified Bearer Comb:

The sign sequence VII occurs on the reverse sides of
the tablets H-943 and H-944, the obverse sides of which provide exact parallels to the text no. 11 (M-2092)
containing a rare sequence of signs.



That is correct; it is a straight copy of a UII trigram.

In the Ivory Rods, it may modify Text 12 with plain Bearer from UIIII Endless Knot.

[shaberon]

Tiger -- Gharial Goddess and Chanhu daro Unicorn



This is what I get for dredging through Parpola's descriptions with the intent to improve the process.


Actually it was something I ignored in the first few months of examining IVC script, I thought it was a walking pipal leaf. The proposition I am trying to deal with is whether it is legitimate to consider Contest Heroine as the same character found on an Ivory Plaque, which we believe to be rendered as sign 17.

I'm not sure that is necessary for the following chain of events. If it is not the right explanation, in terms of the glyph, the following seems to be major infrastructure to the entire Corpus.


In the Corpus, the following seal is virtually unnoticeable. It appears heavily worn from use, and is not an interesting picture and comes last in a top corner before the larger images of pottery. However, from an iconic standpoint, it is certainly a kind of Trinity. Its members are individually designated on other seals. *If* it is found as a complete whole somewhere else, it is support or mixed into the environment. Here, it is only this.


Bird-face Goddess with Triple Gharial:

https://projectavalon.net/forum4/attachment.php?attachmentid=55837&thumb=1&d=1756606630


https://projectavalon.net/forum4/attachment.php?attachmentid=55938&thumb=1&d=1756959196


A lot of the Chanhu daro seals have an older look, and, it is not known to be an early stone age settlement, but probably is part of the "oldest IVC expansion" as far back as 4,000. It was around for a long time but never grew all that massively. It does not have many finds. However, I think they are strongly weighted into "advanced text", not really in the sense of intricacy of the writing style, but in the importance of message conveyed.

As it turns out, its newer-looking seals are the Tigers and they are all broken. One of them is probably the middle portion of Three Tigers. One of them is Man-in-tree where he is missing, but you can see the Branch doing Hasta or Hand. So we don't know if any of those had unique script.


There is very clearly a Triple Tiger important in the IVC, and it is not very clear which is why we have also pointed out a three-fold Gharial. What does that give you here:

https://thefridaytimes.com/digital_images/large/2023-08-29/the-story-of-the-discovery-of-indus-seals-and-script-1693328559-7286.jpg



It gives you the idea the Zebu does nothing but change his collar three times.

Obviously, that motif derives from pottery which is older than the IVC script, excepting the "marks". So this Pathani Damb specimen uses three creatures, each of which are in turn triple.

They may have more derivatives and varieties, but it can safely be said there is a triple aspect to each of them.

The Veda did not say it invented the three worlds of metaphysics. It established the Path according to its own practices. We might be looking at three deities, put forward as a postulate, that it may be possible for a person to enter Heaven. That would be roughly comparable to Egyptian Coffin Texts.

It remains entirely possible the Crocodile is Sisumara or Varuna.

There definitely is a weird polarity between it and Tiger.


It is "hidden" on the edges of Tiger M-1923 in a remarkable way. It has the One Frog, a Gharial, and the singleton Caged Two:

https://projectavalon.net/forum4/attachment.php?attachmentid=55907&thumb=1&d=1756784507



This Frog is from pre-script Rehman Dheri, and the base unit of Gharial-or-Scorpion Illusion.

Does the main text have anything to do with Bird-face Goddess, yes it does. Caged Mallet and Eight-rayed Lozenge.


So, when we find the mysterious glyphic character at Chanhu daro with this perhaps sole Gharial Trinity, we might look nearby and see if this is a stray remark, aberrant, even nonsensical.

It of course is not. The character makes one of the most powerful statements on the main featured item from there. This is beloved to proponents of "no unicorns" because it is so primitive, it lets you say, "hey, that's an antelope profile". But again this would be unnatural, because no creature has this kind of forward-sloping horn, which, here, if anything, could be said to be pointing at Four on C-1:

https://www.harappa.com/sites/default/files/seal-LI-25.jpg



The seal is profound because it is one of the only uses of pair of Winged Man, considering one of him is between "))".

That's from the 1920s finds.

So she's there, she has something to do with the city, particularly in this assertive plain text with Wheel between Two:

https://projectavalon.net/forum4/attachment.php?attachmentid=55902&thumb=1&d=1756784427



So, there might be something weird about Two? Maybe there is. It shows up with a Gaur on what has been called the most intricate feeding trough:

https://projectavalon.net/forum4/attachment.php?attachmentid=55900&thumb=1&d=1756784396



I don't think the glyphs are "spatially constrained". I think they are arranged.

If so, and Chanhu daro has a "simple" Unicorn, it will be found the horn usually does not point at anything:

https://projectavalon.net/forum4/attachment.php?attachmentid=55897&thumb=1&d=1756784374



That's the utterance of a Fish Family I'm not sure we have seen before.

It's not facing anything, and then there is a seal where it does:

https://projectavalon.net/forum4/attachment.php?attachmentid=55898&thumb=1&d=1756784374



It is not very often you can tell something is not "Winged Man" but Person with Buffalo Horns.

We began to wonder if "Mallet" was mashing or "Soma stage one":

https://projectavalon.net/forum4/attachment.php?attachmentid=55894&thumb=1&d=1756784322



Branch is a Soma stalk?

This is the text that gets stuffed inside the tetragram.

Mallet and Branch alter glyph behavior categorically.


In a similar manner, Chanhu daro appends itself to the dominant trigram with Whiskered Fish, Elliptical Crab, and Chanhu daro Pinch:

https://projectavalon.net/forum4/attachment.php?attachmentid=55895&thumb=1&d=1756784349



There are thousands of Unicorn texts, this place has only a few of them but look how structural that is.

It's so tight you can easily find two kinds of Bearer, each obviously related to what we have already posted as sub-genres:

https://projectavalon.net/forum4/attachment.php?attachmentid=55899&thumb=1&d=1756784396


If she has something to do with Mallet, and positioning has a kind of value, Bird-face Goddess rides Chanhu daro Unicorn:

https://projectavalon.net/forum4/attachment.php?attachmentid=55896&thumb=1&d=1756784349



Apparently so. Here are some new and powerful glyphs with a Unicorn of the striped neck, smooth horn variety, and an Expanded Filter:

https://projectavalon.net/forum4/attachment.php?attachmentid=55893&thumb=1&d=1756784322



It is hard to establish any view this might not be about Soma. If that were literally the meaning of Branch, that could make the beverage as early as 3,000 if not before.


Retrieved from the damaged ones, this probably was a Tiger having a Chevron text that does something weird with Two in order to get to Branch:

https://projectavalon.net/forum4/attachment.php?attachmentid=55901&thumb=1&d=1756784427



Contrastingly, the Veda indicates there were still people who did not use Soma in its sphere of interaction.

In both cases there is magnetism or promotion. You obviously have to start from a guild of brick masons such as at Chanhu daro for example. There is the capability to produce settlements that are "large" on the historical archeological scale. Circumstantial evidence such as isotopes would imply that most of the inhabitants moved in from nearby. What would make that attractive?

I get the sense it is based in Soma and Sanskrit offered to people if they want to "come out of the woods".

I almost think Ulug Depe was more powerful than Kandahar. Ancient soma presses were here as well as Gonur Tepe. Again this triangulates the source of Lapis Lazuli, and, rather than having IVC seals, Shortugai is considered an IVC site.


It's mainly descent clustered around the 24,000-year-old Siberian MA-1 (https://forwhattheywereweare.wordpress.com/2013/12/02/the-malta-adna-findings/comment-page-2/):



The Mal’ta boy, MA-1, carried distinct yDNA R* and mtDNA U* lineages. While both are clearly related to those dominant in Europe and parts of Asia (West, South) nowadays, they are also distinct from any specific dominant lineage today.
R* (yDNA) is neither R1 nor R2 but another distinct branch of R. This kind of R(xR1, R2) is most rare today and found mostly in and around NW South Asia. Following Wikipedia, this “other R” is found in:

10.3% among the Burusho
6.8% among the Kalash
3.4% among the Gujarati


Physically, the Puranic notions of Manali, Dwarka, Kasi, Ayodhya, and Hastinapura do not seem to be possible. Almost certainly they were begun after the 1300s, which then India also vanishes from Syria.

Maybe Dwarka started in Vedic or even IVC epoch. It probably had three phases, possibly more. Much less is certain about it compared to Shortugai.

The northern Indians came in around 12,000 years ago through the Dorah Pass where the Kalash are located. For ages you have this generally-related genetic bulb swelling across south Asia, and then you are more or less saying, how do we "re-unite" and organize it rather efficiently around 3,000. One would expect a type of cultural self-promotion along with structures and roads. Mountainous outliers like in Badakhshan or the Vindhyas tended to keep borders, to "gate" trading opportunities without really changing whatever their preferred habits were.


Now for one thing, the situation of Chanhu daro is such that if IVC were to call itself "Fertile Crescent", they would be the ones to do it:

https://upload.wikimedia.org/wikipedia/commons/5/50/Carte_Indus.jpg



Civilization curves broadly around the Thar Desert; the Rann of Kutch is somewhat more passable. There was a complex web (https://www.harappa.com/content/some-important-aspects-technology-and-craft-production-indus-civilization-specific-reference) of bead and shell work from Makran to Gujarat. Chanhu daro is more or less at the head of a thousand years of development spreading south to Daimabad. Chanhu daro with no citadel was heavily industrialized (https://en.wikipedia.org/wiki/Chanhudaro).

No bones have been found other than a skull in a jar (https://www.peepultree.world/livehistoryindia/story/monuments/chanhudaro?srsltid=AfmBOoqtd1NA6gT3k46KbEUOqW4Lw8n7j_T5oeMBr-cK8CzTebg5M5P1).


Although not labeled, its first expansion would be Kanmer in Kutch. When we think the Donkey is a low-level entry to the IVC script, it comes from this. The more famous Gujarati sites are not older than this.

Chanhu daro would have a bit of a "Wheel" status in that way, as it is a very long distance from perhaps the other Wheel because its writing is synchronized with something as distant as Rakhigarhi.

That appears to mean non-different on Day One.

Consistent everywhere for centuries.

That's easy to do if it delivers on the appeal of collective labor versus hunting and gathering. That it offered a good value. There is no need for any type of conquest if what you are spreading did not exist before.

From how it appears to me, I would say this notion bears out visibly in script development in Lothal.

Parpola's interest with M-450 ended by saying Conjoined Enclosures were relevant to gharials. The same is true for Bird-face Goddess, who makes substantial use of it.


Upon examination, Citra does not seem to have an ancient Indian version of "Ear of grain". It is simply a pearl or bright gem, suggestive of Visvakarman, and of this Chanhu daro industry.

The IVC glyph seems important to the Gaur and Gamma. I'm not sure it's indicated by Naksatras.

[shaberon]

Bird-face Goddess and Kalibangan Unicorn



I am pursuing the unknown script as a matter of intellectual history. I don't think it works like known writings, and its environment does not resemble known history. I do not think we are talking about the rising of an Empire, as in the work from J McIntosh 2008 (https://books.google.com/books?id=1AJO2A-CbccC&q=kunal):



...the roots of Indus civilization in farming culture, as well as its far-flung trading network, sophisticated crafts and architecture, and surprisingly war-free way of life.


We're no longer surprised because there is no longer a reason to say it was not voluntary.

Despite having tools, it was still a hardscrabble struggle against the environment for survival. You can take nothing for granted like we do these days. If it was me, then, yes, I absolutely would want to jump in to the productivity rather than facing the wilds. I don't believe I would be a very good survivalist in raw nature unless it was literally a paradise. Again this makes it seem like a drift of Irano-Indic language would be readily feasible if not necessary.

I would almost say India is a repetition of development originated in Iran, and thus incoming via Mehrgarh.


So the map near the end of the last post makes it pretty easy to see Chanhu daro as a kind of southern elbow, most closely connected to:



Amri (3600–3300 BCE), also has non-Harappan phases during 6000 BC to 4000 BC, and later Harappan Phases till 1300 BCE.


Before most of the other settlements were made, the other part of India is as ancient as anything else:



Kunal, Bhirrana and Rakhigarhi were contemporary habitation sites. The hoard containing gold beads and copper rings at Kunal are evidence of developed village farming communities with trade links to far-flung countries for the import of metal and precious stones which are not found in this area.


Kalibangan is the "radiation point" of Kunal culture.


This means quite far to the north:


...the site's culture is an older ancestry of the Pre-Harappan site of Rehman Dheri which was dated to 3300 BC. A button seal was discovered at Kunal during 1998-99 excavations by Archaeological Survey of India. The seal is similar to the Rehman Dheri examples. It contained a picture of two deer on one side, and geometrical pattern on other side.


and south:


Kot Diji (3300 BCE)


In other words, rather than "the Harrapans" and "Kot Diji" as archetypes each requiring a "pre-" phase, IVC as a material culture comes from the Kunal region of Haryana.

Kunal has steatite seals in its oldest layer, ones with geometrical patterns. I am not sure if it is correct to say this is a specifically Indic technology invented here. But it may be. It is from here that a large, early triangle manifests, connected to notable development locally.


Kalibangan is similar to these two distant points, i. e. around 3,300 it becomes noticeable.


The Plough Revolution is in Kalibangan around 2,800.


The time of development of IVC script begins around 2,600, when Mehrgarh and Kalibangan were both abandoned. The difference is Kalibangan was re-built or re-settled relatively quickly. Most of the greatness from Afghanistan or Iran turned into a desert. This branch of influence truly "collapsed" in a way that remains almost entirely desolate to this day.


Oppositely, there is a bit more continuity of IVC than often suggested. It doesn't use the same architecture and script, but it has the sun-and-a-half claimed to be Supernova HB-9 near Capella that we have already argued. Burzahom near Srinagar persisted through the Kushan Empire:



The unearthed Antiquities (of art, architecture, customs and rituals) indicate that the prehistoric people of the Burzahom established contact with Central Asia and South West Asia and also had links to the Gangetic plains and peninsular India. The interaction of local and foreign influences is demonstrated by the art, architecture, customs, rituals and language demonstrated by some engravings on pottery and other artifacts.

Some Megalithic Period Menhirs are next to Neolithic pits, suggesting a gradual transition between the two phases.


It perhaps is Dardic, but must have shared some awareness with IVC.

Probably most important for any of us is Jognakhera in Kurukshetra (https://en.wikipedia.org/wiki/Jognakhera) which lasted through "Painted Grey Ware" or "the Vedic era". Its antiquity is probably not greater than 2,300, or about the age of the Naksatra stamp. That's made as an IVC site which lasts through an "era" which is younger than the Vedic events. That means it may be referred to by the Veda.


There probably was a Dark Age and the beginning of petty kingdoms, so that not just horses but armor (Varma) are Vedic presences.

Jognakhera refutes total annihilation:



Saraswati valley has the earlier phase of the PGW culture, such as excavation at Hat (Hathira) in Kurukshetra. Hathira was protected by a V-shaped moat. Similar moats were found Jognakhera and Kunal on the Saraswati river. The presence of moat shows these were chiefdom-based cultures. These cultures reach a peak in Ganga-Yamuna Doab before the rise of Mahajanapadas in the Northern Black Polished Ware period.



The "Vedic period" is notably "Gangetic". India is going to partially lose some of its territory to desert. Kalibangan would become less connected to anything, and then there are bad and unpredictable conditions, and floods in important places. It appears to be massively important to the life cycle of IVC and that's it.




Conceivably, these are a lot like anchor points. Chanhu daro faces everything going seaward, whereas Kalibangan connects various land routes to the "Crown of India". Again it is noticeable that as soon as there is evidence of anything, there is Badakhshan Lapis Lazuli transported to Bhirrana.

The two sites are similar in age, not early agriculture, but early wave of urbanization. Neither one grows tremendously, though both are loaded with goods. The physical and population growth appears to be restrained, portioned out elsewhere, like by a planning center. They rather are like "two Wheels" in this way. Then from studying the script statistically somewhat extensively, I can assure you that the pseudo-pair of Winged Man on C-1 is lofty, even extreme. And it turns out to be on one of the crudest Unicorns you can find.

The Kalibangan library is slightly larger, and it is notably filled with a lot of crude work. It grows to have some top class work and pure mastery of Tiger Centaur on an Akkadian-style cylinder. Although I am, of course, a fan of artistic technique, the point is that the most inferior scrawls follow the same rules.


It has an even worse Unicorn with nothing, so bad it is barely a smudge, and a Tiger or other felid equally atrocious. Let's just say it makes the idea look really old.


So, following the same logic as in the last post, is there something to a Unicorn and this Goddess going on at Kalibangan. What would it look like. Well, we can take a "probably old" Unicorn that has a bit of text:

https://projectavalon.net/forum4/attachment.php?attachmentid=55935&thumb=1&d=1756958941


Flat Crab.

We see at Chanhu daro a predilection for the Elliptical one, and here it is flat.


Here is a "newer" looking one yet very simple:

https://projectavalon.net/forum4/attachment.php?attachmentid=55929&thumb=1&d=1756958868



Here is another simple, yet rarely seen idea, One and Two:

https://projectavalon.net/forum4/attachment.php?attachmentid=55924&thumb=1&d=1756958785



UII:

https://projectavalon.net/forum4/attachment.php?attachmentid=55936&thumb=1&d=1756958941



Okay. We have been through it with these to show that, iconically, the Unicorn is Chimera-like in the way it accrues Tigrine characteristics, and Kalibangan may have the Most Unicorn at this with a peculiar text as well. But if we come here thinking, this is sort of a "sister city" to Chanhu daro. What is a Wheel. It gets "fortified" in a glyph that some call "The City".

It would not be remiss to think at least part of the script identifies a city, and it may deal with addresses based on the similarity of design. Such as maybe "North Street" anywhere was called "Varuna", and there might be marks and links along it. It may have to do with this and brickwork as pixels.

I'm just trying to be mentally flexible, going from where we can be sure it is not a spoked wheel of any kind of chariot, so it is probably not a wheel. It may pertain to "city", or "six months of the year", maybe both, possibly more or something else, but not a wheel. Six Directions might be possible.


At Kalibangan we notice Round-headed Person and a round Wheel:

https://projectavalon.net/forum4/attachment.php?attachmentid=55928&thumb=1&d=1756958841



Does Wheel say something else here? It does. Gharial with Fish:

https://projectavalon.net/forum4/attachment.php?attachmentid=55937&thumb=1&d=1756958952



In turn, it gets loaded as core information and look what happens:

https://projectavalon.net/forum4/attachment.php?attachmentid=55925&thumb=1&d=1756958817



Kalibangan has a distinct flair on the Hoof-like symbol:

https://projectavalon.net/forum4/attachment.php?attachmentid=55934&thumb=1&d=1756958916



Bird-face Goddess was unusually provocative at Chanhu daro. Here, she imitates the sloping text in order to do something to Branch-tipped U:

https://projectavalon.net/forum4/attachment.php?attachmentid=55930&thumb=1&d=1756958868



The concordance takes this as pair of Three:

https://projectavalon.net/forum4/attachment.php?attachmentid=55923&thumb=1&d=1756958785



It's beguiling. She is scarcely found on two seals and not a featured item and therefor obscure. But then her final one *is* a central planning unit, where she uses Triple Triangles and then Fat Flat Crab 229, shared by Procession and "Pashupati" seals:

https://projectavalon.net/forum4/attachment.php?attachmentid=55926&thumb=1&d=1756958817



It appears to me that Person wearing Comb goes to meet Bird-face Goddess in the Unicorn Parade with the Most Middle Comb, and then that glyph fades away. We are left with a "character" who persists through a variety of texts, until this one is like a transit to Yoga. My guess is the three triangles are the center junction of Three Tigers.

If so you are left with two themes:


Chanhu daro with Triple Gharial and pair of Winged Man

Kalibangan with Triple Tigers and ticket to Assembly



We also found the Zebu is triple, this might be one of them:

https://projectavalon.net/forum4/attachment.php?attachmentid=55932&thumb=1&d=1756958893



Gaur is two Twelves, this is one of them:

https://projectavalon.net/forum4/attachment.php?attachmentid=55931&thumb=1&d=1756958893




Buffalo:

https://projectavalon.net/forum4/attachment.php?attachmentid=55933&thumb=1&d=1756958916




And just for thoroughness, this famous text with things that look like atoms:

https://projectavalon.net/forum4/attachment.php?attachmentid=55927&thumb=1&d=1756958841




So for the idea of "comparing versions", by the time we go through it, Kalibangan hasn't got any Winged Man.

It's "mythic", it has Bearer, Twins, Person with Bow, Person with Buffalo Horns, and a few quite powerful-seeming images, but I don't notice Winged Man in any text. You scroll through these pages of absence and then you hit C-1. Night and day.

I'm not sure that K-7 is a final word so much as an important key. In particular, if it ports to Long-haired Yogini, then Kalibangan is probably showcasing Tiger Centaur. She is comparable to mistress of Ivory Rods because of Branch and Four. The Kalibangan texts similarly appear to be mostly external references whose full story is elsewhere, and then it has a type of cumulative or synthetic lesson at a moderately high level for a purely Indian figure.

[shaberon]

Modified Bearer



The IVC glyph "Bearer" translates to Sanskrit Naksatra "Bharani".

That is, if the glyph really is a bearer. It may be. It may be multi-faceted such that at times, it is a mechanical balance, or, some bird-like activity, but it has forms that look humanoid with a yoke of jugs.


There are ideas about Bharani in the Taittiriya (https://www.wisdomlib.org/hinduism/essay/atharvaveda-ancillary-literature-study/d/doc1527422.html) school:


three stars forming an equilateral triangle

It is also called Apabharani; Kathaka Samhita XXXIX. 13; Taittiriya Samhita IV.4.10.


They just called it "water carrier" like Aquarius. This is new or not present in the older lore. A few things possibly are:




The two dogs of Yama Syama (dark) and Sabala (variegated) are said to guard the path of the manes and keep separate the sinners and the saints . Yama together with the Bharanis is implored for protection (1.41.8).

At Taittiriya Brahmana III.1.2.11-12 Yama is described as being coronated by the gods under the Bharani. He is the lord of the world and is greater than the great. He is prayed to for making the path easy and safe. Cf. Atharvaveda, Saunakiya recension VIII.1.9.



Conversely, it has a navigational meaning in the Glossary (https://www.wisdomlib.org/hinduism/book/indian-astronomy-a-source-book/d/doc1621566.html):



Yamya (1) The south direction which is presided over by Yama. (2) The southern hemisphere (yamyagola). (3) The naksatra Bharani, which is presided over by Yama Yamyottara The local meridian


In India, you can't see any South Pole star. It can only be defined opposite north.


The "protection" role is found where India does not have the Grim Reaper, it has:

pathirákṣī śvā́nau |


Let not the black dog and the brindled seize thee, two warders
of the way sent forth by Yama.
Come hither; do not hesitate: with mind averted stay not there.


Atharva Veda has Dogs of Yama as protectors along the path after death. This is from a prayer commanding a person not to die. It's not that the dogs are killers or to be avoided, the soul is being told not to go in that direction. Several other styles of command are given, but, this one is most directly linked to death itself. You are in a situation where Dogs come automatically, and you *hope* Pusan will be there due to merit. As far as I can tell, it's a very respectful title for these dogs, Raksa or Protector. Evidently, when going to hell, Yama will insure you arrive promptly and safely. This same Atharva Veda also has Prahlada, that hellish devotee of Vishnu, which is a considerably more intricate theology than I believe I have seen in the Rg Veda. Or, Rg Veda is Victorious and really does not mention hell or any other lasting evil circumstances, it has personal parables about overcoming it all.

That, to me, explains the significance of Vrtrahan or Indra keeping a name asserting Victory -- not because he permanently cured the world so none of us have to bother, but because he demonstrates an ability that will have to be renewed by everybody.


Yama has dogs and rules a triangular Naksatra at the end of the year; but Yama is the Veda, whereas Bharani is generic and could have been used by anyone in the dawn of Sanskrit.


The constellation however is plural:


bháraṇya

Revati and the Asvayujas bring me luck, and the Bharanis
abundant riches!


What is unusual is that "bearer" is hardly found in the Veda. The verb, "to bear", is done by nearly everyone in their own appropriate contexts.


Attempts on X.13 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838622.html):


prá vām bharan mā́nuṣā devayántaḥ

religious-hearted votaries brought you forward

devout worshipper brought you forward


This hymn has peculiar information:


Ṛṣi (sage/seer): vivasvānādityaḥ

Devatā (deity/subject-matter): havirdhāne


The "Yama twins" are a pair of wagons used in Yajna, Havirdhana.

This just says "bring the wagons", not "the wagons are bearers".


Most of the usages have more of a connotation "to bring" as in these attempts on X.63 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839219.html):


vṛṣabharān

bringers of rain

the Bull upholds


Again as we found recently in X.181 (https://www.meluhha.com/rv/verse.pl?v=%3Cb%3E10.181.03d%3C/b%3E&acc=no&q=10.&lang=ved):


te | 'vindan mánasā dī́dhyānā yáju ṣkannám prathamáṃ devayā́nam
dhātúr dyútānāt savitúš ca víṣṇor ā́ sū́ryād abharan gharmám eté

They found with mental eyes the earliest Yajus, a pathway to the Gods, that had descended.
From radiant Dhatar, Savitar, and Visnu, from Surya did these sages bring the Gharma.



The Naksatra is plural because:

Apabharaṇīs, Bharaṇī (अश्विनी), or Bharaṇyas (‘the bearers’) is the name of the small triangle in the northern part of the Ram known as Musca or 35, 39, and 41 Arietis.


Nothing apparent in the Veda says Yama uses water to wash away or "bear off" (bharani) sin.

It may have relevance in the moment "bring across the bridge of death".

It *was* the end of the year in that system.

That would be moderately inconvenient when it suddenly becomes the beginning.

Many Indian astronomers denied precession, believing it to be oscillatory. That if the equinox was "swinging" into Bharani, it would peak out and swing back the other way, with an 1,800-year arc of motion, as in Surya Siddhanta. Therefor making an Aswins-first system would clear up this misunderstanding, in the next epoch. Obviously there is no transmitted memory of an age of Rohini when the equinox transited to Krttika. Belief in permanency of this system is perhaps why mantras remain intact in Vedanga Jyotish and the Brahmanas. Perhaps they even tried to keep Bharani equinox a secret. One can find the North Pole allowed to be changed, perhaps because it is harder to conceal, and has nothing to do with ritual timing. But so far we only know of two kinds of equinox observations, Krttika and Asvayuja with nothing in between.

They called it a Roman idea, evidently lacking sufficient detail to credit Hipparchus.


Bharani as end-of-year would have been relevant for the life cycle of IVC script.

More appropriately, the three stars of this are Three Bearers.

Yama with two wagons would presumably only be meaningful in the Vedic system, whereas Yama with two dogs is harder to place a limit on. That Yama has an Avestan cognate makes it less specific. Perhaps it is a title.

Avestan also has *bar- of similar meaning, without using it as any name. In later works they give this star a different name, which is cognate to Upa Purvya, which is unrelated to this Naksatra or re-names it entirely.


41 Aa Arietis is now designated "Bharani", and the triangle asterism is up and to the right of it:

https://upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Aries_constellation_map.svg/757px-Aries_constellation_map.svg.png




Some other Naksatras have three stars, but nothing seems to say triangle or triplicity the way this does.

Problematically, the Dog is not used in the Veda or IVC. There is only Sarama and the Sarameyas. I've seen no kind of graphics anywhere in IVC that would remotely suggest they are talking about dogs. Toys are different, there are toy dogs and pigs that remain unfound in the script. A few toys are not enough leverage to say the Bharanis are Yama's Dogs.


Although IVC has multiple Bearers, they are not easy to categorize.

The one with U-shaped symbol for head is sign 15, and, it has more texts (125) than Bird-face Goddess, but, they are highly repetitive, mostly basic pairs and trigrams stuck to this being. It is said to have an odd visual on a Gaur image where a person is pointing at it. The concordance considers this a "solo" Modified Bearer glyph on M-1405:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-r6IFS_7w-N0UQFyToUCdBODx7k3E0Z1c172zEGWViOiL69OG01gmI09LctTFfqXbLuBog02FXY3ClTvEskoVTGgvjF05TEeD0HlxPIg43Lekn b7rfA76pTRxxc4t_Jqk5JPlTLizWW9/s1600/M1405AB.jpg



It has low complexity and a noticeable friendliness with One.

And so it looks a bit triumphal, however, the headgear may be along the lines of "thinking cap" more than "hard-won ceremonial headdress". Something more like "student of U-shaped symbol". I wish I had a better name for it. All I can be sure of is I don't think anyone else besides Bearer gets this for a head.

It has a few discrete uses of other humanoids. It likes Person holding One, there is a plain Person, Bird-face Goddess and Winged Man, Person with Bangles, there is even a Chevron-headed Bearer 11, but no plain Stick Figure Bearer.

Plain Bearer 12 has fewer texts (79), but is much more versatile and eloquent, and is The Legend of Triple U in the way the previous has Four Branches.

These two main kinds of Bearer are having almost completely different conversations. Neither one seems more than an adjunct to the overall Unicorn Speech or Soma Culture. They are never found together.




So far the closest rendering of "Bharani" in the Rg Veda appears to be from X.31 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc838854.html):


asyá sánīḷā ásurasya yónau samāná ā́ bháraṇe bíbhramāṇāḥ

By his support they are maintained in common who in the Asura's mansion dwell together.

or:

(may the universal gods), collected together, bearing (future rewards, come) to the commonplace (of sacrifice) of this one who is mighty, which nourishes (them)



It is entirely linguistically feasible for "the Bharanis" to mean "the Bearers" as those three stars in IVC.

Beyond that, it is quite hard to give it a specific meaning. The Bearer glyphs could correspond, to the word anyway, but it could just as easily be "Yuga" or something else.

It may be the clearest aggregate of the Nakshatras. It's "Krttika" not "the Krttikas". There are four feet, of one bull. However it is not "a Bearer" but "the Bearers" and they happen to be in the last spot.



Modified Bearer has only one peculiar solo arising as a human-sized glyph. It has exactly one instance of coming first.

Text 1303:

https://projectavalon.net/forum4/attachment.php?attachmentid=55986&thumb=1&d=1757301863


Human Markhor M-1180:

https://projectavalon.net/forum4/attachment.php?attachmentid=55985&thumb=1&d=1757301849



These seals are the same ones we already noticed for other reasons, but we did not know this about them.

This glyph interfaces with a normal human being who is feeding their gaur, the most common animal. It then has a strong association with One. This seems about as basic as could be asked for.

It has a lot of Comb texts and then it breaks its own rule to appear on something that we discovered as part of the odd assimilation of Five.


We are looking at 125 examples and there is a lot of Enumeration and it is heavily biased to odd numbers, one, three, and five. It has a frightfully limited use of even numbers in three levels:



City Two Modified Bearer

Conjoined Enclosures between Two Modified Bearer

https://projectavalon.net/forum4/attachment.php?attachmentid=55945&thumb=1&d=1757100565

https://projectavalon.net/forum4/attachment.php?attachmentid=55944&thumb=1&d=1757100552



Two Branch Quote Four ) Modified Bearer

Two City Quote U-shaped symbol A India Modified Bearer

https://projectavalon.net/forum4/attachment.php?attachmentid=55943&thumb=1&d=1757100552

https://projectavalon.net/forum4/attachment.php?attachmentid=55941&thumb=1&d=1757100527



A India Modified Bearer Two Pipal Leaf Person Holding One Pair of Checkerboards

https://projectavalon.net/forum4/attachment.php?attachmentid=55942&thumb=1&d=1757100527



There is a reliable partnership with what I am calling "A" and "India".

The first is rather a class of ligatures which probably take customized steps in each geographical region. The second is arguably a solo glyph meaningful in pre- and post- IVC "graffiti" or rock art, etc., extending into south India.


It gives me the impression that Modified Bearer functions as an entry-level collector of Five. Its Human Markhor is like a hood over an engine consisting of many steps to produce Tau with Enclosures. I am not sure this is geographical, but it takes things like Mirrored Three Mountains, to lead to this creature that is required by the Yoginis.

Plain Bearer is almost a subsidiary function of getting further details to the broader topics of Modified Bearer.

Neither concordance seems to have a conclusion such as Compound Bearer and Two Bearers of Striped Mountain appear to be.

Humanoids with big noses or ears do not seem fundamental, but tangential. Having things at your feet may be more significant. The class of mutated Bearers and the gathering of yoke-like parts appears, to me, at least, of great relevance to the script as a whole.


It seems strange to me that most standing reviews impute Modified Bearer with prime qualities, such as a god of Crocodile Sacrifices, Time, or Death, etc., or that it must be a horned headdress or mask or something, all of which portrays this glyph as a major figure.

I would say no, it is actually quite tame, in fact probably closer to an archivist because it *does* seem to have coherence in the realm of Enumeration, and then it does not do much else. Head being a jar might just mean learning the symbols off pottery.


I'm not sure it's a jar. Maybe it is. If U is a "cup" then three kinds of U would be rather like the Rbhus. Although at least one type of U-shaped symbol is at the feet of Bird-face Goddess, there are certain situations where the U glyph becomes a held object.

I posted the minor amount of even Enumerations for Modified Bearer 15 on purpose, and, what that is yet, I don't know. Compared to the rest of its concordance, under this subject you get certain unique statements. These would be more likely to be external references.


On the receiving side of Enumeration, the even series U II and U IIII share the Kneeling Person holding U with the other "even" number, Zero, which is where this figure evokes Winged Man and the Cobra:

https://projectavalon.net/forum4/attachment.php?attachmentid=55984&thumb=1&d=1757301849



In total, there are a lot of U texts, most of which are two-sided tablets in plain script. This is numerically the most common kind of IVC seal, the kind where the largest collection was found in the garbage. Mostly rote texts which is why I consider them sort of permitted statements. Lots of people were repeating copies of them and most of these are common basic glyphs.

The example above is subtractive, that is, a typical association of the kneeling figure with U Enumeration is not seen. My instinct is that implies zero. Conversely, when we look for the other even numbers with U, the same Person is involved.



There is no U Five, but there is Six.

The difference between the Ivory Rods and these visual tablets is the Rods' use of plain Bearer where the latter has Comb in the U IIII Endless Knot. That they make a primordial statement using plain and Modified Bearer each one time attests to their categorical roles.

Subsequently, there is no kind of third Bearer that would make an easy match to a triangular asterism.

You'd be relegated to hypothetical areas of whether they imply the presence of Yama or some third member, "Person holding anything".


Modified Bearer does, however, have a certain use of Three. They make trigrams with:


City, Comb, and Hourglass


and then it does an action to:


subjugate Winged Man and Bird-faced Goddess together.


It's not a terminal glyph or common ending pair, but, part of the prefix. That's the only time it does so.

It leads one statement and works as one prefix.


It has a City of Two, City of Three, and you wind up here:


https://projectavalon.net/forum4/attachment.php?attachmentid=55946&thumb=1&d=1757114329



That seems precise according to its own internal scheme.

The only thing it "does".

My analysis is that Bearers are "you, the reader", whereas those other two are "they, them, the characters".

Statistically, Modified Bearer has a preference for One and, in a general way, all of the low numbers. Most of its basic pairs are with any of them. It says far less about the even series and it has emphatic stamps on Three and Five.

There is not such a catharsis with One. There is an uncommon U I on a Harappa Unicorn. This is more like a liberal application of something constituted elsewhere. So far it still looks like stage one of Soma.


I would say it's a remarkable use of Three. That this "Bharani" is "you, the reader" acquiring two complete sub-genres, one of which is Winged Man and Cobra. The other alludes to Tiger and Gharial.

https://projectavalon.net/forum4/attachment.php?attachmentid=55947&thumb=1&d=1756606752




On several of these "minor" two-sided seals, "quadruped rudiment" has six legs, making it indistinguishable from the identical designs on older pottery.

There are traits that have slipped by un-noticed due to not heeding the multi-faceted nature of these things. Such as they use Asterisk under Sky to induce "rainy" numbers. That almost says "Ardra". But one of the biggest misses is by not showing a common trigram with A and India is a Tree Tablet:

https://projectavalon.net/forum4/attachment.php?attachmentid=55979&thumb=1&d=1757296494



Modified Bearer is how it is recorded. It's distorted. It has the "looped arms" of Bird-Face Goddess rather than any kind of jugs. There are other ambiguous examples:

https://projectavalon.net/forum4/attachment.php?attachmentid=55977&thumb=1&d=1757296525



Of course, all studies are based on "is this 15 or 17" or whatever concordance was used, and it becomes arbitrary. We think the Bearer has several modifications, and the one on the head is the most common.

I wrote "there is such a thing as U Six" as just a note with no idea where it came from. That's because I don't recall it being discussed and never noticed it. Well, being the type of thing that stands out, it is easy to spot, and the first reaction would be yes, for some reason this responds to what we are posting:

https://projectavalon.net/forum4/attachment.php?attachmentid=55976&thumb=1&d=1757296554



Now, Modified Bearer 15 is at least many times perfectly plain; here it is at UIII:

https://projectavalon.net/forum4/attachment.php?attachmentid=55978&thumb=1&d=1757296525



It makes its own glyph, a shaded Bow shape. This common ending pair fuses into a new thing, which goes nowhere and does not have any more text of its own. This is a stopping point and so it seems would be something personally definitive to the meaning of Modified Bearer, only.

At Lothal, this is so very plain he's reminiscent of Tau:

https://projectavalon.net/forum4/attachment.php?attachmentid=55982&thumb=1&d=1757296463


Looking nearby, is there any other crisp, definitive use of Enumeration, yes:

https://projectavalon.net/forum4/attachment.php?attachmentid=55981&thumb=1&d=1757296463




To press this idea one step forward, here are a couple more instructive types of U texts. This first is an instructive authority because it has very unusually prefixed the thing by Fish:

https://projectavalon.net/forum4/attachment.php?attachmentid=55974&thumb=1&d=1757296570


There you again have Fish with two other kinds of U.

This is another UIIII where you find one of the clearest Branch Crown and Yoga Hands to be found. Then in the text you get the ligaturing of a Bent Branch onto a Flat Crab:

https://projectavalon.net/forum4/attachment.php?attachmentid=55980&thumb=1&d=1757296494



I don't get how people who have handled this material for a large number of years have been relatively oblivious to some fairly central elements, particularly the Tree and the Gharial. They both have an unusually ubiquitous role throughout these sets of things that go on to prisms or five or six engraved surfaces.


I still can't connect Modified Bearer to Bharani, a star at the end of the year, but it is hard to avoid Five and Tau with Enclosures,



I get the Naksatra as something that would only be applicable in the "take-away" meaning of a Yama of death because it was the end of the year, because you never knew any other sign had done it.

The antiquity of the Naksatra system precludes knowledge of any other way of timing it.

It says nothing before 2,900. The most generous we could be to it is to suggest it came in with the Plough Revolution. So to speak, it is those who follow Usas who are going to observe the rising star. She is physically meaningful without deification at any point in Irano-Indic heritage, or even towards Greek as Eos in that regard.

That the star map loses its validity before the Vedic events is notable.

It is still honored in writings where the author could have easily proved it wrong.

The Naksatras could not have come in prior to the script, and they must have become important during it.

We found the script has a Triple Triple, and if you triple that again you get twenty-seven or the indicated number.


It's understandable if the Triple Bharani stars could have been associated with death and ending, but, linguistic possibilities of the word will not connect it to these glyphs in that meaning.


The most direct reply would be Nausharo Funeral Jars which seem to take the soul as a Bird or helped by one.

Even so, Bird is versatile and found on one of the finest preserved specimens of Indus painting on a jar for purposes of the living from Chanhu daro:

https://www.harappa.com/sites/default/files/1969318_10152331365249846_1176574894_n.jpg





The Rg Veda ascribes Birds (i. e., Syena) as custodians of Soma in the north (Hindu Kush), and Serpents in the south (Aravalli). This would seem to remain likely as "outliers" or "trading partners" for the IVC.


Well, this is really "Harappa", the "site type", which is one of the later establishments. There, you relatively rapidly find Cemetery H (https://en.wikipedia.org/wiki/Cemetery_H_culture) ca. 1,900:


...peacocks with hollow bodies and a small human form inside, which has been interpreted as the souls of the dead, and a hound that can be seen as the hound of Yama, the god of death.

https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Cemetery_H_Pottery.png/800px-Cemetery_H_Pottery.png




It is regarded as a regional form of the late phase of the Harappan (Indus Valley) civilisation...Painted pottery urns from Harappa (Cemetery H period) might correspond to a period of shift towards Vedic culture.

This may indicate the introduction of new religious beliefs during this period, but the archaeological evidence does not support the hypothesis that the Cemetery H people were the destroyers of the Harappan cities.


No, they were "the Harappans". There is no sign of calamity, displacement, or interruption of continuity and no genetic drift. There's just a timed precedent for the Vedic practice of cremation. It also matches a voluntary surrender of writing. It was inhabited and had Trident and Branch markings around 3,300, becomes a major city only during the intense period of urbanization, and is not abandoned until some undetermined point after its "new culture".



Comparable to D D Kausambi (https://www.arvindguptatoys.com/arvindgupta/mythandreality.pdf) on Cemetery H:


https://projectavalon.net/forum4/attachment.php?attachmentid=55948&thumb=1&d=1757122951



Decarnation is a technological change that does not speak to metaphysical beliefs. Instead, this is more like Veda emerging in a pre-standing Soma culture. The detectable change is perhaps the sign of Mandhata. Or, representative of those he will come to defend.


Nausharo ID (https://auction.apolloauctions.com/lots/view/5-1OWRWT/indus-valley-jar-with-a-peacock) has a circular design we find used as a seal shape:

https://images5-cdn.auctionmobility.com/is3/auctionmobility-static5/PVgV-5-ANGDP/5-1OWRWT/970-1.jpg%20?%20maxwidth=1600&maxheight=1600



According to Sindhishaan Gallery with two more Cemetery H Peacocks (https://sindhishaan.com/gallery/pottery.html) and other examples, continuity reads more like this:



The motif of intersecting circles (shown in an early somewhat disjointed form) on the left pot was refined and continued as a popular motif in the pottery of the Indus Civilization.

Dating to c. 3100 BC, this hand-built pot with polychrome decoration is one of the earliest examples of intersecting circle motif in the Indus valley region. This motif along with others, such as the fish scale and pipal leaf designs, continue to be employed into the later Kot Diji and Harappa Phases.

The transitional phase at Harappa has begun to yield richly diverse material remains suggesting a period of considerable dynamism as socio-cultural traditions became realigned.


They didn't use peacocks on funeral jars because they didn't have funeral jars; the Death Peacock emblem may represent standing ideas.

So far I would guess the IVC script is pretty similar to the Veda, in the sense it may believe in Three Worlds and have an aspiration for Heaven, but any emphasis on the time of death or funeral discussion is very minor.


There seems to me good reason to consider Ardra -- Betelgeuse as possibly "Ploughman" or Ksetrapati, and Rohini -- Aldebaran as Prajapati or Pasupati "Shepherd" or "Gopa" as meaningful in the pre-Vedic context. The Veda perhaps assigns its own Rudra to the very obvious Betelgeuse, that could never have been "new" to anyone's sight, and may have been held as a leader of rains or agriculture, which certainly must have had a "revolution". If you've never tried it, see how much more a hitched plough can do than you with a hand tool.

Deer Head ruled by Soma sits between them.

And so I think there is plenty of reason to consider this early group at least, as having some representation in the IVC script. Upon reflection, this seems fairly explanatory overall. The system of Naksatras must have been critically important. You'd be hard pressed to continue as actual Vedic Rishis if people really started seeing it was the age of Yama. There was ignorance leading to denial. And then I think upon the proof, India went nuts about newer Greek mathematics or Spherical Trigonometry in particular. Hence you get discussions in terms of millions of years. Nothing like that is apparent in any older books.

The time of Krttika should have technically ended around 2,000, so, you could perhaps get away for a while because no star has yet taken the position. I'm not sure when it would get awkward or the season would seem particularly different. And of course our estimate on when the system was "fixed" is only an estimate. However there were probably cruder, older versions based on the varying size of asterisms. It remains true that opposite this "agricultural group" is Scorpio.


Anurādhā (अनुराधा):—[=anu-rādhā] [from anu-rādha > anu-rādh] ([Atharva-veda] etc.) f. the seventeenth of the twenty-eight Nakṣatras or lunar mansions (a constellation described as a line of oblations).

Taittiriya Brahmana 1.8.4.2 mentions that ploughing should be started under this constellation.


This curious batch of synonyms comes from mixed sources:


All the texts generally agree as regards the names of the constellations, except for a few changes or alternatives which perhaps indicate certain characteristics of the constellation. The Mrgasiras is known as Invaka the Ardra is called Bahu, the Pusya is called Tisya the Aslesa is called Asersa the Magha is known as Agha, the Phalguni is known as Arjuni the Svati is called Mistya, the Visakha is called Radha, the Jyestha is known as Jyesthaghni or Rohini the Mula is called Mulabarhani or Vierta and the Sravana is called Srona or Asvatha. The Taittiriya Brahmana gives some sort of mythological explanation for the names of the Yama-Naksatras. from the Anuradha to the Apabharani...


The explanation seems contrived. "Apa" was not present with original Bharani. It simply narrates killing the eldest (jyestha) of the demons and things like this. But this is a common term in the Rg Veda which does not have this context. This one it possibly does:


The Magha is mentioned as Anagha even in the Taittiriya Brahmana (III.1.4.8) and Arjuni is said to be the secret name of the Phalguni in the Satapatha Brahmana (II.1.2.11: yad asya guhyam nama arjunyah).


We find both translations use the Naksatra reference in Surya Savitri X.85 (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839474.html):


aghāsu hanyante gāvo 'rjunyoḥ pary uhyate ||

the oxen are whipped along in the Magha (constellations); she is borne (to her husband's house) in the Arjunī (constellations).

In Magha days are oxen slain, in Arjunis they wed the bride.



Jyestha is just Antares, whereas Mula is seven stars corresponding to the "tail of the scorpion". However I was unable to find any reference to what the asterism "Root" is, and the TB sticks on something which fits its own ideas. Not sure that term exists anywhere else.

Asadha is very vague, as a word it is used by Grtsamada (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831290.html) as "invincible", and yet this occupies two Naksatras.

We don't know what that even is. A "root" as a long stringy thing in the "southern" part of the belt, is, well, something that sounds like a normal root growing downwards. When a group was called a Deer Head, we didn't presume that might mean Turtle Shell, and since a "root" tangibly names something, I suppose that could be naming the shape here.


The meaning of ‘Moola’ is the root and its symbol is a group of a bunch of roots that are tied together.


Indra is usually counted as the first-born of the Adityas. However, most of the Vedic usage is not "first in order, eldest", but "first in importance, best, strongest, supreme". The main exception is possibly Varuna (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc832218.html):


jyeṣṭhaṃ yajñavanasam


or Agni (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc830418.html):


jyeṣṭham aṅgirasāṃ


It's tricky, you could argue it either way, but it looks like Varuna is the first ritualist and Agni is the first Angiras.

Lines about Indra have a different tone such as Grtsamada (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc831520.html):


indrajyeṣṭhā marudgaṇā devāsaḥ pūṣarātayaḥ |


is copied by Medhatithi (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc829124.html).


Indra is the chief of the Marut Gana, of whom Pusan is a benefactor, donor, or something; Sayana actually admits he does not understand this, or does not understand how Pusan is invoked here.

Also used by Rjisvan (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc834277.html):

indrajyeṣṭhā


We notice in other applications, it is a normal word, but for some reason, Indra compounds with Jyestha.

Here it is wickedly applied to That by Brhaddiva (https://www.wisdomlib.org/hinduism/book/rig-veda-english-translation/d/doc839993.html):


tad id āsa bhuvaneṣu jyeṣṭhaṃ yato jajña ugras tveṣanṛmṇaḥ |


It's just literally the pronoun, that, was first or supreme in all the worlds, the fierce Indra was born from it, and as in other expressions, as soon as he is born, he destroys foes.

That does sound a bit like Gharma.


If that was the explanation, the star is named for Gharma.

Calling Antares "first" would be make-believe, calling it "most powerful" might be a matter of taste or opinion, but would at least make sense.

The Greek name only refers to the color. It is not the brightest star (15th), but it is in the environment of Scorpio and Centaurus. The proximal neighbors certainly have a use of it:


...the name of this star in Mesopotamian astronomy has always been "heart of Scorpion" and it was associated with the goddess Lisin...initially regarded as a goddess and addressed as ama, "mother," who later came to be regarded as a god and developed an association with fire. The name was also applied to a star associated with Nabu, presumed to correspond to Antares. Lisin's spouse was Ninsikila, whose gender also changed between periods.


Heart of Scorpion was Mother Goddess and they erased it? Not too surprising. The Scorpion is the most important thing in Jiroft. But I think that is going to be its own story. Ancient India seems unlikely to support this, since the Scorpion's head would be Anuradha, and the previous sign Vishakha may be called Radha, so that is its own dynamic with parts of Libra.

I'm not quite sure I would say IVC Scorpion is a Mother Goddess who becomes spontaneously usurped by Indra. It probably is as important as the Jiroft one, in a different function.

Another one with a good chance of pre-Vedic context is Svati -- Arcturus ruled by Vayu, who is very much the same in Avestan. The star's name is a close variant on "swastika" or su asti, and certainly this would be one of the most pressing questions for IVC about Sanskrit. Is that what they called it? Why wouldn't it be? It's impossible to translate because we are still using the same word today.

Mula is still "roots", and swastika is still the same.

These current facts could easily be valid in 2,300 or before.

[shaberon]

Six six six



No, that's not the number of any of these beasts. If it was, we're not sure this is a base ten system. It might be twelve. The above would be six gross, six dozen, and six. The strong hint is that the system primarily goes to Twelve. However, I have the sense it may be using multiplication and exponents, for which six and twelve are the main results from low numbers. The more pressing question is why Quotes and Posts. Why are the Quotes sometimes stacked. The consensus seems to be that "numerals" are as much version markers as they might be quantities. They are like a musical D. C. or a computerized Gosub.

That idea came flying off the page the other day.


Something stood out and I caught it, which was Six.

This value is almost always expressed as Stacked Three.

In the Concordance, Six 108 is six Quotes:


Wells states that it is a singleton, appearing only at Mojenjo daro (M-678). I think it may also be the number of dim quotes on the bas-relief tablet M-493A.


That's possible, the latter is similar to the former, but very heavily worn and impossible to get much detail. These are obviously the smaller quote-sized stroke, and it is only found additionally on a few tools, such as Six Quotes Seven Roofs.

The best example connects it to Flange-tipped U, that is, something especially relevant at Mohenjo daro.

So when I fish up U Six and can't find any reference:


This one does not occur in the Koskenniemi and Parpola symbol list, but it does appear as W212 and Fs O-8.

If we look at the seals M-20 and H-646, we see six long strokes all right, but they are grouped in three, a space, then three more: III III. Is this one symbol or two, then? It seems to me that a similar grouping of three strokes, a space, and three more strokes also occurs on M-734, K-22, and H-922, the last a broken bangle. Six long strokes appear without such a space in the center only twice: on the tablet H-801B and on the seal K-4. There are also two less clear instances from Lothal, L-260 and L-263. On the first, the apparent group of six verticals may be part of a very faint grid and thus only apparent, not a real instance of SIX POSTS. The second shows two long strokes, a space, two long strokes lower than the first, another space, and two more strokes high up again. Besides the peculiar spatial arrangement and the internal spaces, this instance is characterized by lines that do not lean the same way. The first two strokes may also be interpreted as slashes, the last two as backslashes. Thus, this also may not be a true instance of SIX POSTS.


The Lothal examples are, at best, pottery marks with no context, one of which is three Twos anyway.

Therefor, the only clear Enumeration by Six is what we posted a few posts back, Unicorn K-4 which is a Bird-face Goddess text. Mahadevan put it as Pair of Three. In other areas this is likely correct, but K-4 is rather dense, seems unmistakably Six to me.

Again, when posting those, I knew they were rare, but there is only one instance of the number also found on a single U Text, which associates it to Five and its strange companion. That's the only place we see this standard counting order, Five, Six. In other places we can find Four, Five, and I think I have a type of One, Two, but any close grouping of sequential numbers is extremely limited.

To refresh, these are truly exceptional, especially after the fact there is no U Five:

https://projectavalon.net/forum4/attachment.php?attachmentid=55923&thumb=1&d=1756958785



https://projectavalon.net/forum4/attachment.php?attachmentid=55976&thumb=1&d=1757296554



How can that not bug you completely?

It's a stone-cold cutoff with an explicit series of related texts. It's "greater than" the UIIII on the enticing visual tablets. That should have obvious organizational capacity since there is nothing else like it. Some of these relics are in too poor a condition to even be worth printing a guess what it might be, but here, this is perfectly plain.


This is a better look at one of the sub-divisions of Five:

https://projectavalon.net/forum4/attachment.php?attachmentid=55996&thumb=1&d=1757473468



With something like that, we can say, there are several major Sanskrit subjects, such as Five Peoples, Five Rivers, and Five Years, and so this instance of Person holding One might mean it is one of those categories. This is the main thing that persuaded me IVC might be related to Sanskrit; others have independent reasons for it. I'm not sure it is the Pancha Tattva of Samkhya, but I'm not sure it's not, either. That would qualify as an exponent; 5 x 5 or 5 ^ 2.

There is no U Five, the actual Five has this modified Tau which is probably constructed, and, it may go on to attach to Bearer. It's not so much they said "Five Rivers", even the Afghanis do that, but this number is separate from and superior to the others. Its behavior is outright drastic.


With higher numbers, there would be questions about groupings and things like the rainy or wavy appearance. Or, in particular, seven, eight, nine, and twelve are regularly used, in mixed styles, as it were. There is not much, but there is enough to make you say these are inconsistent or erratic compared to the avalanche of predictable U texts.



Among lower numbers, there is a somewhat limited form of Three, composed by Two over One. This is said to be on K-43 "Clock". That one is somewhat visual or geometric, but, all of its other texts are also consistently with Conjoined Enclosures; the one exception is from somewhere in west Asia.

Its basic trigram is on a Mohenjo daro Elephant and a "Shield" shape.

The "solo" arising is heavily questionable. There are a *few* shaped seals besides "Shield"; some look like different kinds of choppers, there are leaves, a heart-like shape, and some others. Not many. And so on Fish, it might not have truly been solo, but "numerals" here are certainly in the place of gills.

https://projectavalon.net/forum4/attachment.php?attachmentid=55991&thumb=1&d=1757473404



So, no, it doesn't seem like a solo glyph, and there is no real answer.

Its behavior is very simple. It has around a dozen copies of this middle trigram, then it adds Comb a few times, and finally Whiskered Fish on Ivory Rods Text 5:

https://projectavalon.net/forum4/attachment.php?attachmentid=56000&thumb=1&d=1757473513


It could be said that in this case, a five character text has three layers of meaning.


What's more frustrating are a few shapes of Rabbit with UI and Branch and Four.

I tried to chase this all through the script, and, it's not, because it contains the script.

https://projectavalon.net/forum4/attachment.php?attachmentid=55992&thumb=1&d=1757473404


https://projectavalon.net/forum4/attachment.php?attachmentid=55993&thumb=1&d=1757473442



Sasa (https://www.wisdomlib.org/definition/shasha) is inseparably Hare or Moon in linguistic origin. There is an absent example at H-1329 (https://www.harappa.com/sites/default/files/pdf/Vidale%20%26%20Frenez%20_%20Konar%20Sandal%20seal.pdf) but again we do not have open access to Volume Three of the Corpus because too new. Its 3.3 (https://bharatkalyan97.blogspot.com/2023/04/corpus-of-indus-seals-and-inscriptions.html) is over two thousand specimens from outside India, the "West Asia" of the Concordance. It is hard to know when we might ever get the "final word", but, there is such a thing as "diminishing returns" meaning that by the time we can post Pathani Damb and Rakhigarhi, we won't know of anywhere else to look, and the pace of discoveries will dwindle.


It is very curious that one of the primordial meditation scenes includes a Goat and a Hare.

That, of course, matches our general surmise for Sun and Moon.

The only real difference I would guess between the two kinds of goat is that Ibex is the Irano-Indic antecedent, and Markhor is an interiorized, Dravidic-sprachbund continuation. He also has a basic arising of the "SS" type of glyph, which are the things that go on to bracket Winged Man.


There is no contradiction with Ibex getting a Soma Filter and Markhor entering the rite.

I'm not sure how a solar association reconciles with the Goat's fondness for Tree.

The concept of Rabbit as Moon -- Soma has possibilities with respect to the Soma-less Copper Tablets.

Re-considered, he is the "author" of a particular subject in the Tablets:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjbL_d_sMBKxDkqDFSPMENb9YjC25xve0bMfYYOzGgLlrzVG-az1oVfi2xjwAKB2enqHyVov_GjpTt0qKo8ZYPLql_a7Uo_3G_4fNSF6K4So6rjxR_9WvenQJjWl9kldvNFjxipyWS5Xo/s1600/b7.JPG


It's the Comb-like glyph. It's the aerial background design from Kulli ware. Nothing else uses it here. The beginning of the statement he got from two or three outside sources.

That is to say, he has a variation on the dominant tri-gram from the pan-script. Then he takes a bit from the subject Conjoined Enclosures with Slashes special to the Copper Tablets:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY9C0fTks1tSDhwUyD9Sh85MP8OQjytta22_U0nCByR3y_VVMnrlb2vtFD3VqxfxDmvcPFWgLP3lOSw-TuqRYdDhDHYgn4xg_msE9dxuraYvB3I_zmg-izdRNabCc5YlrIG-jQws-lPXM/s1600/a3a.JPG


So then he adds his personal glyph which has an "on a Post" ligature 183. Outside of the Copper Tablets, this has one existence. In fact, you find his personal statement turning into a prefix that "subjugates" the base glyph "Quadruped Rudiment" 182:

https://projectavalon.net/forum4/attachment.php?attachmentid=56007&thumb=1&d=1757555158


So, I probably won't keep describing it as a "quadruped" because it has explained itself as a design from zoomorphic art. I don't have a better name for it. The archeologist just kept calling it "temple" meaning an architectural facade, but no examples are given. Some designs used as borders do seem like they may have been inspired by Mundigak, but to me at least, this looks like it has more to do with animals, maybe an animal comb or something. Perhaps a type of loom or shuttle for making filters. Could be harsher, like pelts on a tanning rack. Or the actual filters.


In the life of the base glyph, one can see how Rabbit does something in particular to it, but it is also versatile and powerful. In terms of statistics, it makes probably fifteen or twenty unique statements, starting from a basic pair with X, but there is a single statement copied more than enough times to fill the scrollable frame:

https://projectavalon.net/forum4/attachment.php?attachmentid=56008&thumb=1&d=1757556471


You get a hexagram, or, the dominant tetragram expanded from within, attached to a five-glyph statement using the "comb-like" thing.

I don't think that's spelling or sentence construction. Although to the eye it is only a longer string of relatively basic and common glyphs, each addition is probably a subject or set of directions like a warren of rabbit holes.


That does sound like how glyph behavior works. An individual glyph found as part of the instructions in a local archive has a single definition or frame of reference from a city hundreds of miles away. In turn, its object of focus is of considerable magnitude.


Unlike the Ivory Rods, the Copper Tablets have only a single Comb text:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5F3IjROk2J_NFBjciccNhkVT1EIfGUp86WfAY04B3e6XZfTevHY8f3QBGHFz9B2n2dClfzDV4DOZ3bjxy0-ssu0UdfNW82OBt4RMhDqGuZbm1oT-s-xJGoZVPtuG06OLj7uNnROVfXJs/s1600/c9.JPG


From the absence of Soma here, we see it is Person wearing Comb who marches towards Soma in the Unicorn Parade.

Conceptually, I could see that as the inhaling of an old international Soma symbol from the visual field and transiting it to the primarily vertical and more standardized IVC Comb in the script.

It may have a lot of texts, but no, it comes nowhere near the scale of the Comb glyph. I simply think it would be a dual cultural wave, i. e. Soma as known within an Iranic language, being fitted and established in new areas. It is like the Rabbit says "International old school Soma. Stage One. Mash." And then all the scenes are run by other characters.

Comb-like 182 makes three Comb statements:

https://projectavalon.net/forum4/attachment.php?attachmentid=56009&thumb=1&d=1757563141

https://projectavalon.net/forum4/attachment.php?attachmentid=56010&thumb=1&d=1757563141

https://projectavalon.net/forum4/attachment.php?attachmentid=56011&thumb=1&d=1757563153


I don't know if that truly represents fusion.

I do think it represents something that was vivid on pottery from at least 2,800 or the early dawn of any pre-script glyphs, Branch, W, and a few others.

Is Comb a rotation of it?

Is this the thing a Person actually holds?


I'm not sure. I adjust and fine-tune the way I had posted on it before with the "skeletal" hypothesis. The answer to their relationship is Elliptical Crab and two kinds of Fish.


By not having any pre-determined answer, I am only trying to organize things according to what they look like. In that sense, what I am calling "Clock" and "Calendar" can never un-look like a clock and a calendar, even if it were proven to the nth degree it says something very different. These texts can't be unmade to look like they're not using an old artistic background.


This again is immersion in a moderately large-ish forty or sixty glyphs to try to understand their structure which I would say is primarily tied to the graphics.


Here are some neglected two-sided items with visual reverses.

Pipal Leaf shape backed by Dotted Circles:

https://projectavalon.net/forum4/attachment.php?attachmentid=55994&thumb=1&d=1757473442



Gaur and Swastika:

https://projectavalon.net/forum4/attachment.php?attachmentid=55997&thumb=1&d=1757473495


Bird-face Goddess and Tree:

https://projectavalon.net/forum4/attachment.php?attachmentid=55995&thumb=1&d=1757473468



The substantial backbone of iconography is the Tree Tablets. Then there is the Big Tree with two Twelves and Clashing Gaur, who are the top of the Illusion whether as Scorpion Pincers or Gharial Jaws.

The radical violence is directed at tree theft. I say that because it is possible the other violent scenes are stunts. You never see a weapon being used, or a fallen animal at all. We could insinuate the chick has fingernails, and when you uproot a tree, she scratches a tiger-claw-like scar across your face. Not sure what is really happening, but it looks like real tree defense, whereas other scenes are debatable.


For the time being, I may be working on narrow and framed selections like the above. Trapezoid and Seven would be an obvious suggestion. Accurate organization of IVC script is relatively new and I would say represents the type of mindset I wish I had found more of when I was in school. More academics have learned to start asking the right questions about what they are studying. This shift in perspective is rather evident in Bonta 2015 (https://bharatkalyan97.blogspot.com/2020/02/decipherment-of-indus-script-steve.html).


These are some large images when opened in a new tab. It is a decent starting example of Branch Enumeration:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHzqlsfmLEUcxej1rjtRGWDSHjZcjKXQw0UEEonHekgENZQfI-KelESZJpF490-xY6OuZbEuq3T-HqdJc8-7E-n3Trmfwy0-BkVQc9oL4mVEy4chFWD99H8PeU0aCueeyJYvS-giOkh6c/s1600/10.jpg


He makes some fine points about how this doesn't seem to work like any known system of writing, and then reverts to the tacit assumption it is about taxes or transactions, that although it may be written differently, it still works like known languages.

Well, this is India. It could be more creative than that. Or, you could say, that a tag attached to a bag of tools, which may identify its owner, destination, or guarantee of quality, may be doing so with a text that says a mantra. Everything found in a mundane setting is still equivalent to that which appears amuletic in nature. It's as likely to be a charm to ward off robbers or lightning. Everything impressive about trade at this time faces the fact that travel could be really dangerous.

I don't think I can really refute anyone's statistical arguments. We occasionally find details that were missed, typos, and so forth, but generally speaking, anyone who looks at volumes of the script is going to start seeing the same patterns.

One of those is the "grammatical prefix" which is optional.

Bonta has a further insight into Enumeration, which he calls "Metrology" meaning the science of measurements. I would expect that subject is in the script, but I'm not sure that's what Enumeration is.

So this is looking at "numerals" in contexts other than Branch. The pattern he gives is that interior use of something like "Three" can be substituted by Oval shapes, which is any Fish and Enclosures, and Elliptical Crab:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMnaJSewpHISMehMEcRq2mYQHM2TnbWnTAGYEWuGzGCDe506-kmgJ1Qj6XJtqUutWSSeIqiIhH2zJ3xGwS4uHovwNmzSeqxwImTJIghfWMH4LYu5ANx3ToA5CJUBK3ZAV_X1DrvmRGudY/s1600/11.jpg



Right there, you can see three kinds of Fish did something to affix themselves to the dominant tetragram in a particular way.

I don't think you can ever read it straight off the surface. I think the notation more closely resembles chemistry equations. For example you have the Noble Gases that don't really bond with anything; such as two kinds of Bearer are mutually exclusive. Most everything else is susceptible to partial or preferred reactions. Oxygen will go to almost anything. When we write an equation for example that has Carbon Dioxide, that would then be similar to these texts, since it implies you know what a carbon is and what a di-oxide is and how to put them together. That would be what basic pairs and trigrams are for.

Only certain chemical equations are actually true. I can't just write "carbon dioxide plus carbon monoxide equals sodium chloride" because that's not the case. Glyphs exhibit traits similar to the families of ordinary Elements.

That makes it more satisfactory than describing it as a musical language, because that can say anything I want. A musical subject would be a shaping or limitation on such a thing. It could be written in a chemical format to say something about music. It may be that very intricate singletons involving small notches are individualized. It appears to be based on the science or throughput of attaching Branches to Flat Crab.

This crab seems to have gestated in a "Mallet" when it had Ears.

One might be able to say "Comb-like symbol" goes into the Copper Tablets and Elliptical Crab comes out. There is finesse between these two similar "crab" glyphs; this one hasn't got any ligatures from what I recall.


On the other hand, much older scholarship dwelt on untenables such as claiming Niska and Prastara (https://www.jstor.org/stable/41693356?seq=1) are Vedic Sanskrit for "lapis lazuli". This linked paper is a good example at recognizing the massive importance of lapis in early times, but lacks sound support; niska are coins or weights of precious metal, as found in Dholavira, we have the pictures. And of course around the 1960s were still rife with projecting pre-determined ideas or "facts" into the works. Not that we have a good rebuttal or more specific idea on this, just that this one does not bear out either. That is unusual, because Lapis ought to be important and a likely synonym for "blue" both in Veda and IVC and yet remains elusive. Notice that even when not agreeing with the professorial assertion, it leaves the lacuna about why he would have to seek possibilities in the first place. That's because it is not apparent.

[shaberon]

X X X




IVC script has that, sort of, in a stretched version, which we already posted. Focusing on iconography and people caused us to post most of the powerful text immediately. So we are constantly refreshing while trying to scrutinize specific orthography.


Over the course of a few months, I have become rather vapid about the analyses returned from several professional circles. I have the benefit of working off their work, but this is because I don't think they did much of it.

We found that Mohenjo daro Rabbit clandestinely does something with a semi-mythical material from the past. This uses a group of glyphs similar to the one that causes attachment to the dominant tetragram of the IVC script. Or, it increases this in the process of so doing. I learned about this text considered paramount by others, none of whom suggested it goes on or really does anything. It does.

There are of course longer texts, but there are hardly any other core statements of this size. I can't swear it's the Absolute Final Word of the whole language, but, from our current vantage point, this is much like Omega. That's why I posted about half the copies of the thing.


Statistics show something interesting about that block of texts having the "expanded tetragram".

It can be verified in the concordance of X 149 or Scorpion 51.

The long statement is its longest one, but, more particularly, in the aspect it is a strand of "core information". It appears to have many texts that are almost as long, but, they all do so by using "grammatical prefixes". To get to the next-largest "core", you have to scroll back to a sequence of seven glyphs.

Because this shows us any uses of the tetragram or variations, we are able to say that this is by far its largest form. The set of glyphs that are in the tetragram expand in the sizes four, five, six, seven, eleven.

Again this is a diploma-like completion, of some kind of process described by the most numerically-significant text. So far, that makes this what the Corpus is about.



To compare what we are dealing with, it is hard to see what statistics mean by pointing in the direction of Armenian (https://www.reddit.com/r/UnresolvedMysteries/comments/9asjox/where_did_the_armenian_language_come_from/) as central between "Indo-Iranian" and "Indo-European". There's no regional picture on how anything interacted; such as Hittite is considered "very different" so you have to speculate for some additional common ancestor. Problematically the Armenians are of unknown origin:



Precisely how and when the first Armenians arrived in eastern Anatolia and the areas surrounding Lakes Van, Sevan, and Urmia is not known.


They clearly displaced the prior Urartians or inhabitants of Ararat.

And so I don't know or can't answer for a distant western or Caucasus node for a whole language family that drifted to India.

In terms of settlements, Jeitun and Ulug Depe are the region with the oldest and largest continuity known in Central Asia, until it dissipates roughly before the historical epoch. Subsequently, Iran appears to have the next major development, including "art-as-writing", as well as meaning western Iran around Isfahan, influential to ancient Elam. Starting around 4,000. Who knows how this works in relation to non-Semitic languages of west Asia. I am not sure. Through art and construction, it appears to have been voluntarily adopted in India, particularly via Mehrgarh, which then dissipates with the origin of script.

I tend to think music is the easiest way to spread language; writing is supplemental. When we are talking about "brand new" things, agriculture, fortification, and maybe entertainment, maybe it was entertaining to pick up a language as well.



What is X?

The concordance will give us the text U III X ' III, but not by telling us it is a line two or backed by a Tree, nor that the round shape causes the number to slope up like Three Mountains. That arrangement places X in a vivid way under Caged Mallet. So we posted this round coin-like tablet because this is obvious.


The concordance implies it is a solo glyph on Tiger's Kiss, which is also not correct but it is "prominently forced down" to the animal's back, similar to Round Wheel in another example.

That is a text with Bearer and Tree. It counts as a solitary X on one line, and there is such a thing as a plain X stamp seal. You are left with the fact that its main basic use is on the most cumulative, synoptic image we know of, the Omega of its line.



Among its basic pairs:

https://projectavalon.net/forum4/attachment.php?attachmentid=56042&thumb=1&d=1757803641


It uses the Comb-like glyph that will rejoin in the humongous statement many times. These glyphs are close to start with, and undergo a sort of prodigal romance where they go through other things before reunion.

It has only a single pair with Bearer, which is on Tiger Chimera M-1176. We posted the picture which is not very good and the original is not any better, but is enough to verify these glyphs and that creature. Of course, Tiger's Kiss had probably the most realistic Bearer glyph, but the concordance does not consider this a pair because different lines. You have to know it.

X is abstractly supplying the Tiger into the Kulli visual ethos.


It has a few different kinds of pairs, such as Bow or Stacked Bangles; these are statistically significant:

https://projectavalon.net/forum4/attachment.php?attachmentid=56041&thumb=1&d=1757803653


One of those should be obvious; the other with Asterisk under Sky attracts Comb and "rainy" numbers:

https://projectavalon.net/forum4/attachment.php?attachmentid=56045&thumb=1&d=1757803597




It pairs with Bow on the edge of H-363. Again this is something explanatory we just posted because it was overlooked by others. Though not as common, it is written with a very iconic image, so we would think this is a very meticulous arrangement like that of Caged Two.


It pretty much leaves its basic partners behind and does something else.

The main part of that is to build and use the dominant tetragram.

What can be observed here is not the passage through a trigram with Scorpion or Z, but, evidently, the conjunction of two pairs.

The role of X is to bring along U-shaped symbol:

https://projectavalon.net/forum4/attachment.php?attachmentid=56048&thumb=1&d=1757807912


There, it just directly interfaces a prefix. Most of the texts consist of using various prefixes in order to combine a multiplicity of glyphs. This is where we counted down from the colossal eleven, to seven and other numbers, to see the "cores".

From the "building" side, this is a four-glyph core:

https://projectavalon.net/forum4/attachment.php?attachmentid=56049&thumb=1&d=1757807912


That's a tetragram that it says repeatedly, just not as much as by using Scorpion Z.

That pair, X U-shaped symbol, lost its initial gathering, went through some other motions, and then Scorpion Z moves in. Seems to be abrupt changes, rather than transitions. So the sequence of related glyphs does not have three; two plus two is four, then five, six, seven, eleven.

The concordance only gives two statements where this common tetragram may be extended by a single glyph to Five. One of them is the Baby Elephant M-1156:

https://projectavalon.net/forum4/attachment.php?attachmentid=55859&thumb=1&d=1756606969


Here is the other directly from the specially unique Copper Tablet:

https://projectavalon.net/forum4/attachment.php?attachmentid=56053&thumb=1&d=1757808771


While most of those are nearly ruined, this one has carefully preserved the detail that the Fish contains a Quote. Therefor two kinds of Fish have been used this way, who have rotations at right angles with each other.

Here again, we find an indirect growth, since in the next step to Six, either can be replaced by two kinds of Fish:

https://projectavalon.net/forum4/attachment.php?attachmentid=56051&thumb=1&d=1757807943



This is Five to Six done more coherently:

https://projectavalon.net/forum4/attachment.php?attachmentid=56050&thumb=1&d=1757807943

https://projectavalon.net/forum4/attachment.php?attachmentid=56052&thumb=1&d=1757807958



It hasn't really got any larger cores, in the sense that the ones with seven glyphs are doing so with version markers.

The tetragram per se demonstrates a variety of version markers and prefixes, rather than any kind of obvious Fish or Scorpion story. The main modulations of this, we have already posted, with a few kinds of Fish used for extensions. It has a "story" in that limited selection, but this does not form the bulk of its random texts.


So far, it hones in on the significance of Baby Elephant and Mohenjo daro glyph, themselves again suggestive of Alpha and Omega.

We are taking this as something like a level one diploma, that is, fluency in about forty to sixty basic glyphs. I don't think you can read those five symbols in linear order. You probably have to compose it out of three (or more) layers of meaning.

The X glyph was very reticent about the use of Comb, like the Copper Tablets.

It is also used on "incised", that is, "shaped" seals, such as heart-like and Harappan Fish.


I cannot find the Fish example, but this one is a rare Enumeration of X and Four backed by Fish with Chevron:

https://projectavalon.net/forum4/attachment.php?attachmentid=56056&thumb=1&d=1757816518


The divergence is somewhat apparent in an area we find Modified Bearer posed with Caged Glyphs and plain Bearer with Whiskered Fish:

https://projectavalon.net/forum4/attachment.php?attachmentid=56060&thumb=1&d=1757816597



In this area, we see that X has its personal tetragram, and it is used on shaped seals:

https://projectavalon.net/forum4/attachment.php?attachmentid=56055&thumb=1&d=1757816518



UIIII version:

https://projectavalon.net/forum4/attachment.php?attachmentid=56057&thumb=1&d=1757816557



Plain Fish tablet:

https://projectavalon.net/forum4/attachment.php?attachmentid=56058&thumb=1&d=1757816557



A further step for X and Whiskered Fish:

https://projectavalon.net/forum4/attachment.php?attachmentid=56059&thumb=1&d=1757816597


This is curious because Enclosed X is making the same trigram X does with Bow and Stacked Bangles.



Scanning through there, it becomes apparent that Backgammon Board is a different genre or topic than Three Mountains. It has more to do with X and Whiskered Fish. Both of these appear to be modular sub-lessons for the dominant tetragram. This in turn has multiple applications, until its final destination is to be expanded from within by Mallet and Branch. Studies have already demonstrated this pair alters the behavior of glyphs from their expected positions. In the case of the main tetragram, it actually does seem to progress from instructional steps:

https://projectavalon.net/forum4/attachment.php?attachmentid=56062&thumb=1&d=1757819362

https://projectavalon.net/forum4/attachment.php?attachmentid=56063&thumb=1&d=1757819362


That gives the basic behavior of one and two Quotes or the simplest kind of "grammar or conjugation" according to the compilers. You go through this process, and Mortar-and-Pestle and Three, so to speak, evaporates, and the grammar falls off, leaving half of the "superior name". You don't actually see that half floating around independently. Again that is like a chemical reaction, that the entities permeating the glyphs can only be replaced by a large entity attached to the beginning.

The Scorpion at the very least has undergone a certain manifestation via the Copper Tablets, The operator, Elliptical Crab 53 finds its way equally around different kinds of Fish, Comb, and most kinds of subjects and grammar.

Flat Crab looks like it will probably also become its own genre. Pressed to their conclusion, UIIII texts use ligatures on Flat Crab and Stacks of Bangles:

https://projectavalon.net/forum4/attachment.php?attachmentid=56061&thumb=1&d=1757816709


This is a very curious suggestion that seems to say "Sky Modifier and Branch Ligature":

https://projectavalon.net/forum4/attachment.php?attachmentid=56046&thumb=1&d=1756784454



But so far we have been discussing an "open" X shape. The concordance begins with stick or line X 137; to this, what looks like an "open post" is ligatured, which is why it is thought to be a six-rayed Asterisk. Then there is a Fat X whose ends are open like those posts. Then there is Fat X 150 with closed ends. It appears subsidiary, used mostly in brief grammatical conjunctions, without developing coherence in its texts. Stick X is directed towards Person with Chevron at their foot. These three similar shapes are used differently.

There is however a stick X under Sky.

X under Chevron 138 has two pairings with Comb before it is used in the Copper Tablets as a terminal glyph.

X under Sky 139 is perfectly clean because it makes fourteen unique statements of increasing complexity, only one of which it begins. It uses Seven and "Battery" and has no Trapezoid.



Lucky Seven


Plain Seven 110 is perfectly simple.

So is Seven in Parentheses 111.

Taking Stacked Seven 112 as its most distributed form, it appears that Striped Mountain, Battery, and Trapezoid are completely different subjects, because no text has any two of these glyphs.

If there is a way in which they are associated, it is not in the hands of Seven.

There is a Stacked Seven in Parentheses, which does little but evoke Square Q.

The Trapezoid has no Enumeration other than Seven, although it rubs shoulders with Mortar-and-Pestle and Three. Some of the texts are Enumerated, but the glyph is not, this is not a step that has come between Trapezoid Six and Trapezoid Eight. Consequently, it also does not make any "large core" information without grammar or numerals. It has Three Mountains, but it does not have Striped Mountain or Battery.

It comes in nothing smaller than a trigram.

That's why I have always been suspicious because it does nothing in the visual environment and I don't remember it in a "basic arising" like the Sky Branch I just posted.

The glyph is intricate enough to suggest some kind of intentionality, which has been suggested as a Mahavedi fire altar, but it doesn't really match this glyph. The pits at Kalibangan may be Agni Kundas, but they are not specific to the known designs. It resembles capturing One and Chevron from other IVC texts and covering them with something that only otherwise resembles a weirdly-ligatured Sky or "Sloped Hat". The many potential reasons for this design are obscured by the fact its meaning arises from text only.


It has a relation with Whiskered Fish in the Ivory Rods, which is outwardly copied on seals:

https://projectavalon.net/forum4/attachment.php?attachmentid=56069&thumb=1&d=1757884772


while it is introduced as the secret of Five in the Copper Tablets:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhgmQnfxYVh8WNLzeg2BiTED99f9cMAdRTe5A07zyhGXOOcaLgzdT8A6Huzl0rsBYSQQfaz0vpzknbTGxkMzrIRBwcUBlR MvRfAvcbqcCzD2w4CNd7yRtTATSQOhZVNUPp2wrzmsZPIXM/s1600/a9.JPG


The Trapezoid is relied upon in those works, where its other simple form comes with the least-intuitive glyph I know of:

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC52PZE0bvk3tQ83kWIWSTtst3l6RkunXQr-9WfI6MvwkDBbpY3Ai7m4Kp_rkZnI_tl81fwEKv_HPSLuQgq1bMnd7HrYxMX-kbVdWSA9bpqPS6BjGwHsyLPq3LIqwkRABtzHf5chhyphenhyphenRfw/s1600/b18.JPG


In well-made specimens, it is a very natural Pipal Leaf with the aberrant annexation of one round and one rectangular ear.

We have already reviewed how this is used to build two sets of palindromes each having a third or central thesis.

This set obviously makes particular use of a glyph which may not resemble that found elsewhere.

That there are two kinds is implied here:

https://projectavalon.net/forum4/attachment.php?attachmentid=56074&thumb=1&d=1757891714



It gives "version markers" for Kalibangan and Mohenjo daro:

https://projectavalon.net/forum4/attachment.php?attachmentid=56070&thumb=1&d=1757884772


And it turns out to be on two Kalibangan Unicorns, which, due to the low numbers, is curious.

In their case I would almost again say they look like diploma from scribal school. In the way that nearby Banawali uses an unusual number of very simple or basic seals in which glyphs or pairs can be readily associated to their explanation, the Kalibangan Unicorns are a small but intense library of "stepped up" works that incorporate slightly more powerful glyphs into bold and distinct texts. They don't quite develop a plot or story, but they do seem to administer details that shape the text of all regions; or they have authoritative things to say on each subject.

The first one had a glyph taken as "damaged or broken", but this is published in such a way that K-1 -- Backgammon Board and K-2 -- Trapezoid are the important things here:

https://projectavalon.net/forum4/attachment.php?attachmentid=56071&thumb=1&d=1757886728


The "version marker" brings these two advanced glyphs together:

https://projectavalon.net/forum4/attachment.php?attachmentid=56072&thumb=1&d=1757886728


And we can tell these are the examples where the Soma Filter is "activated", it has a tassled appearance that has been called ceremonial regalia, fruit, the effervescence of Soma, and perhaps a few other things. The presence of "active decoration" is found with Backgammon Board, Trapezoid, Bird-face Goddess, and Wheel.

The Trapezoid has markedly interfaced with the dominant trigram but not with the dominant tetragram.

My suggestion is there is a bottleneck saying Three Mountains have to raise Striped Mountain. The activity of Trapezoid is within that bound.

Seven has another major partner which is similarly confined.


Battery 197 makes fifty-six nearly unique statements, small to large, without Striped Mountain but it does have Striped Horn one time. Unlike Trapezoid, it also directly joins One and Two. It has an affinity for X under Sky and Stacked Bangles (from a basic pair with X).

It is said to arise on a broken Mohenjo daro Tiger, which I am unable to find.

Instead, we may note Triple Tigers has script with Round-headed Person and U-shaped symbol. It has two broken corners, so the full association is probably forever missing. But the two obvious glyphs are repeated here in the Blank Hydra:

https://projectavalon.net/forum4/attachment.php?attachmentid=56073&thumb=1&d=1757891714



with Battery and Whiskered Fish.

So we can get some resolve from that; these go here.

Comparatively, "Asherah Pole" takes A-symmetrical Three from Triple Tigers and uses Plain Fish.


Stacked Seven is in fact not even used apart from its preferred subjects, to which could be added )) and Winged Man. It also has Branch Enumeration which moves towards Fat Flat Crab 229 on a Gaur seal, which is probably the most common or mundane signal of the "Great Procession".

https://projectavalon.net/forum4/attachment.php?attachmentid=56077&thumb=1&d=1757908886





All of its developed statements are consumed by Striped Mountain, Trapezoid, Battery, )), or Branch, in mutually-exclusive format.

Otherwise, we have seen it Inverted in Tiger's Roar.

But in the series of frame narratives this amounts to a beckoning gesture whose result would be Tiger's Kiss, which is really more like simultaneous Alpha and Omega. His story might make more sense backwards.

I post indiscriminately whether an image is forward or reverse, from the concept that directionality doesn't matter, order does. Whoever produced the "writing" had to contend with the fact that whatever they wanted to say would have to be written in reverse. Therefor it is easy to speculate this basic principle found its way right into the script. I personally am Ambidextrous Dyslexic so this works rather easily.


It's counter-intuitive but at least this aspect of Seven mainly discusses Five subjects, of which, the Copper Tablets are in-depth about Trapezoid becoming able to work with Elliptical Crab as a palindrome. Whatever it "means" is something specifically delineated and arranged.

Trapezoid and Branch are arguably dual, which would get you to seven subjects.

That's not what I expected to find. I thought we would be dragged through a true chamber of horrors and flung mercilessly to the wind, but it's very succinct.

Its use of )) 294 is actually in a single statement, the largest made using that glyph; this one is nimble enough to also intercept the open X shape in another instance. Seven simply has another Winged Man in a Trapezoid text. He's not many if any more than two times.

That is to say, it has four running subjects and a high-level use of a fifth.

This is coming from its basic association with both kinds of Goat.

That of course means Branch is its primary, basic, or accessible subject. Battery and Trapezoid are intermediate. Striped Mountain is advanced.

These subjects are entirely concrete, while it doesn't seem to be showing any type of numerological ontology of the number seven. Itself is not directly a subject and almost everything that can be said about it is those four things. They don't seem to make it say seven anything. They have an existential bond.


Those are readily-discoverable behavior rules. Until further information comes along, there is exclusivity between the two kinds of Bearer and also between the four subjects of Seven. This is "vertical" information that goes along with horizontal information such as common pairs. Yes, Seven is commonly paired with Branch, etc., but this is beyond that. It has no form of existence other than four subjects, each of which has its own class of texts.

[shaberon]

Chimera concordance, Scorpion Z, X under Sky, Two



This is another touch-up from a pdf.


We have used information from Vidale 2012 (https://www.harappa.com/sites/default/files/201311/Frenez%20Vidale%202012%20-%20Harappan%20Chimaeras.pdf) on what he calls "Chimaeras" which might ought to be "Chimerae", and, if it was up to me, I would call it a Sphinx. A Chimera would typically have three heads. Because of this publication, I typically wind up calling it "Tiger Chimera".


This is the batch of texts he extracted from those creatures, broken up so we can point out a few things.

First group ends on the very basic X:

https://projectavalon.net/forum4/attachment.php?attachmentid=56094&thumb=1&d=1758080803


On the last of these, where Fat Flat Crab is shown, nothing is visible on H-593:

https://projectavalon.net/forum4/attachment.php?attachmentid=56095&thumb=1&d=1758080803


The other instance of it is arguable if it is correct (could be Three Triangles). Here also comes Scorpion Z:

https://projectavalon.net/forum4/attachment.php?attachmentid=56096&thumb=1&d=1758080818



It's the same pair of humanoids on M-488 and M-2033.

Not mentioned is the sloping text of H-595:

https://projectavalon.net/forum4/attachment.php?attachmentid=56103&thumb=1&d=1758123499


Again one sees the motif of a person sheltered by the tail (a Cobra), here with the Hoof-like symbol.

That's the only plain person in the series. You can see which kind of person is most influential here.





M-303 is really an Elephant Chimera that interfaces with the trigram.

The Tiger Chimera contains parts of the tetragram. We get the X, which has an independent and graphical genre, and then Scorpion Z appears on one of the most important iconic prisms.

The Scorpion is obviously somewhat independent and flexible; Z however is not. This is all it does without a Scorpion:

https://projectavalon.net/forum4/attachment.php?attachmentid=56104&thumb=1&d=1758126061



Because U-shaped symbol is common and flexible, it is moot to consider it a factor in making the tetragram. The curiosity would lean towards X and Z, the latter being little but a "Scorpion modifier" explained by those two trigrams.


So for one thing, this is what is "expanded" to make M-488:

https://projectavalon.net/forum4/attachment.php?attachmentid=56115&thumb=1&d=1758127027


Scorpion acts without any letter-looking glyphs, but it needs one of them to compose that prism.

It gets Z in one of its most basic uses. It pairs with Three, and it has a few trigrams for weird glyphs or singletons, but here we find Z along with one of its other affinities, being sandwiched between U-shaped symbol and Mortar-and-Pestle:

https://projectavalon.net/forum4/attachment.php?attachmentid=56105&thumb=1&d=1758126841


Incrementally advanced:

https://projectavalon.net/forum4/attachment.php?attachmentid=56106&thumb=1&d=1758126841


https://projectavalon.net/forum4/attachment.php?attachmentid=56107&thumb=1&d=1758126868

https://projectavalon.net/forum4/attachment.php?attachmentid=56108&thumb=1&d=1758126868



It is also a strong user of Comb in few texts:

https://projectavalon.net/forum4/attachment.php?attachmentid=56110&thumb=1&d=1758126901

https://projectavalon.net/forum4/attachment.php?attachmentid=56109&thumb=1&d=1758126901




The pair Scorpion Z has some basic uses:

https://projectavalon.net/forum4/attachment.php?attachmentid=56116&thumb=1&d=1758127027



And here it will answer the Copper Tablets. So far, the Mohenjo daro glyph with pair of Chevrons is not found outside these tablets. The similar "crab in fig tree" is, however, found at Harappa:

https://projectavalon.net/forum4/attachment.php?attachmentid=56113&thumb=1&d=1758126991


Lothal:

https://projectavalon.net/forum4/attachment.php?attachmentid=56114&thumb=1&d=1758126991



No, that's not "widely distributed", but it seems like it would be meaningless unless you had read the Copper Tablets.



What I am trying to do is get a good look at patterns or rules and their notable exceptions.

For example, the tetragram may be a thing that gets stretched out like an accordion, but we found that its main form reversed the Tiger text.

In the last post, it turned out that Seven is a pristine example of four subjects. There was one notable exception that might be called the Two of Seven:

https://projectavalon.net/forum4/attachment.php?attachmentid=56117&thumb=1&d=1758132655


What is that? Two Quotes are relegated as a "grammatical prefix", but this is number, number.


This has suddenly involved a different family of glyphs:


)) 294

) 287

( 299 is a singleton with a few ligatures (such as Bow with handle). It is not counted as opening a set of parentheses; so, for example, Bird in Parentheses is one glyph, similar to things between Posts. But Posts are identical. These shapes are really )(, that is, opposites. Rather than "in parentheses", things are going between two mirrored glyphs that have separate existences.




Here is something you could probably guess correctly. What is the main Enumeration of )). Two.

For )? Odd numbers, one, three, five, with a tiny handful of exceptions.

Both of these are very versatile and don't initially appear to have special affinities besides numbers. Both figure prominently in the Copper Tablets.

A parenthesis shape is also similar to a "Roof" or things called "fingernail marks" because in some cases they appear stray and crude. While items have up to seven of these, there are round designs with twelve:

https://projectavalon.net/forum4/attachment.php?attachmentid=56118&thumb=1&d=1757803641




Either the glyph is being used in extraneous locations of importance, or, it is a background object like Comb that has become englyphed.



As one of the most focused glyphs, X under Sky 139 is said to be solo on something I can't find. The texts of it mainly have Seven, but it ends on Two.

It is found on Unicorns; otherwise, Fish is on an Elephant; Lozenge is on Unicorn without Object:

https://projectavalon.net/forum4/attachment.php?attachmentid=56120&thumb=1&d=1758141901


Modified Bearer is on a Buffalo:

https://projectavalon.net/forum4/attachment.php?attachmentid=56119&thumb=1&d=1758141901



It never middles, and it only starts one thing.


What is that? The same "Battery" has rolled forward from low levels, and then it discards its usual Seven and picks up a Striped Mallet.

That's why I think Two is a little weird, that does not look like the quantity that comes after one. It looks like a phase that comes after a plain Mallet.

The Enumeration made of two Posts is not very helpful about this; it's not very self-explanatory. It is far more elaborate than Seven. Again, I don't think we will quickly see the meaning if we look at every possible prefix and additional churn that comes from such uses. That is almost its own subject of seven or so glyphs, what are these "operations". We want to get familiar with many pairs and trigrams and primarily basic or "core" texts. I guess I am keeping the "terminal glyphs" with this, and not so much the "version markers". The interest in the "terminals" is since they involve U-shaped symbol, Comb, and humanoids, which can enter the "cores" at times.

These are some Two examples, which is not to exhaustively scope out rules, but just to get used to a few aspects of what it does.

https://projectavalon.net/forum4/attachment.php?attachmentid=56122&thumb=1&d=1758157358

https://projectavalon.net/forum4/attachment.php?attachmentid=56123&thumb=1&d=1758157358

https://projectavalon.net/forum4/attachment.php?attachmentid=56125&thumb=1&d=1758157385

https://projectavalon.net/forum4/attachment.php?attachmentid=56124&thumb=1&d=1758157385

https://projectavalon.net/forum4/attachment.php?attachmentid=56126&thumb=1&d=1758157416

https://projectavalon.net/forum4/attachment.php?attachmentid=56127&thumb=1&d=1758157416

https://projectavalon.net/forum4/attachment.php?attachmentid=56111&thumb=1&d=1758126940

https://projectavalon.net/forum4/attachment.php?attachmentid=56112&thumb=1&d=1758126940

https://projectavalon.net/forum4/attachment.php?attachmentid=56128&thumb=1&d=1758157457



Near the top is a glyph that looks a bit like "assembling a Trapezoid"; here is a similar Modified Battery 199 which is interesting because it has pair of Broken Spears:

https://projectavalon.net/forum4/attachment.php?attachmentid=56129&thumb=1&d=1758157457


There is also a Striped Battery 198. It is also correct that "))" fuses together with closed ends, and then also becomes Striped. This behavior definitely impacts a class of glyphs, however I am not sure that Trapezoid takes any modifications. Also, X takes a different route by the use of Double Cage marks and most likely evolving to Asterisk.

Glyphs listed near Trapezoid might be considered re-arrangements of its parts, but I don't know anything that looks like the complete symbol with additions.

The Chimera paper didn't have a whole lot to contribute on the way of speculation besides mentioning previous unconvincing ideas. The contention is still generally the creature means a guild or clan of traders. My contention remains that even if it is a personal identifier, or associated with goods or supplies, that does not mean it is what the script actually says. The content is just as easily amuletic or a mantra. It may bridge both, something like Visvakarma as Five Arts could conform to the scope of it. It might qualify as pre-Indic and transported.

If it was primarily in mundane terms, you could hardly do that without anything calendrical. Metals and stones are also strong candidates for colors.

What would cause a need for multiple Wheel shapes to be displayed on a public thoroughfare.

Directions or a form of blessing?