Arya language, Indus or IVC seals and script

[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:









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:





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.





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:




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.








Sasa is inseparably Hare or Moon in linguistic origin. There is an absent example at H-1329 but again we do not have open access to Volume Three of the Corpus because too new. Its 3.3 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:




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:




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:




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:




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:




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:








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:





Gaur and Swastika:




Bird-face Goddess and Tree:





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.


These are some large images when opened in a new tab. It is a decent starting example of Branch Enumeration:




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:





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 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 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:




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:




One of those should be obvious; the other with Asterisk under Sky attracts Comb and "rainy" numbers:






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:




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:




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:




Here is the other directly from the specially unique Copper Tablet:




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:





This is Five to Six done more coherently:







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:




The divergence is somewhat apparent in an area we find Modified Bearer posed with Caged Glyphs and plain Bearer with Whiskered Fish:





In this area, we see that X has its personal tetragram, and it is used on shaped seals:





UIIII version:





Plain Fish tablet:





A further step for X and Whiskered Fish:




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:






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:




This is a very curious suggestion that seems to say "Sky Modifier and Branch Ligature":





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:




while it is introduced as the secret of Five in the Copper Tablets:




The Trapezoid is relied upon in those works, where its other simple form comes with the least-intuitive glyph I know of:




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:





It gives "version markers" for Kalibangan and Mohenjo daro:




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:




The "version marker" brings these two advanced glyphs together:




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:





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".







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 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:




On the last of these, where Fat Flat Crab is shown, nothing is visible on H-593:




The other instance of it is arguable if it is correct (could be Three Triangles). Here also comes Scorpion Z:





It's the same pair of humanoids on M-488 and M-2033.

Not mentioned is the sloping text of H-595:




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:





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:




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:




Incrementally advanced:










It is also a strong user of Comb in few texts:








The pair Scorpion Z has some basic uses:





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:




Lothal:





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:




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:






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:




Modified Bearer is on a Buffalo:





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.





















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:




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?