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Set theory Venn diagram set-intersection explains Indus

Script cipher. Indus Script Corpora are chitrakāvya

sangara, proclamations of metalwork

Hieroglyphs signifying 'lathe' or 'joined animals -- (Gujarati) (Marathi) linked

together' are signifiers of sangara a proclamation by the artisans/traders of Sarasvati-Sindhu

civilization through Indus Scrip Corpora.

Such sangara 'proclamations' are demonstrated using three examples from Indus Script Corpora:

1. Procession tablets of Mohenjo-daro 2. Jasper Akkadian cylinder seal procession of standard

bearers 3. Dholavira Sign Board.

These three examples are proclamations of metalwork competence of Meluhha artisans presented

as SETS.

The processions of hieroglyph-multiplexes are announcements of SETS which is a foundational

theory of mathematics. What was achieved in mathematics by ancient Indians was also achieved

in the delineation of sets on Indus Script Corpora.

The SETS of Indus Script Corpora relate to ONLY one category: metalwork.

Venn diagram, in mathematics, illustrating the intersection of

two sets.

Indian mathematics emerged in the Indian subcontinent from 1200 BCE until the end of the 18th

century. In the classical period of Indian mathematics (400 CE to 1600 CE), important

contributions were made by scholars like Aryabhata, Brahmagupta, Mahāvīra, Bhaskara II,

Madhava of Sangamagrama and Nilakantha Somayaji....Since the 5th century BC, beginning

with Greek mathematician Zeno of Elea in the West and early Indian mathematicians in the East,

mathematicians had struggled with the concept of infinity. ...Set theory begins with a

fundamental binary relation between an object o and a set A.If all the members of set A are also

members of set B, then A is a subset of B, denoted A ⊆ B.

( https://en.wikipedia.org/wiki/Indian_mathematics

https://en.wikipedia.org/wiki/Set_theory)

Set Theory was propounded by Cantor. ( Cantor, Georg (1874), "Ueber eine Eigenschaft des

Inbegriffes aller reellen algebraischen Zahlen", J. Reine Angew. Math. 77: 258–262,

doi:10.1515/crll.1874.77.258.) Wittgenstein critiques Set Theory as 'fictitious symbolism' and

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notes that it is nonsense to talk about all numbers. (Wittgenstein, Ludwig (1975). Philosophical

Remarks, §129, §174. Oxford: Basil Blackwell).

Cantor's proof was that there are more real numbers than integers and the 'infinity of infinities'

which is explained as 'Cantor's paradise'. Cantor obtained a paradox by asking the question:

'What is the cardinal number of the set of all sets?' This was elaborated further in Russel's

paradox by Bertrand Russel which noted: 'the set of all sets that are not members of

themselves...leads to a paradox that it must be a member of itself, and not a member of itself.'

This paradox is resolved when a variable of language is used to describe the members of a set.

This description is achieved on Indus Script Corpora. Artisans who designed the writing system

chose hieroglyphs to signify 'tiger', 'elephant', 'zebu', 'crocodile' etcetera words which constituted

a set of animals (both wild and domesticated). Meluhha had similar sounding words (i.e. words

sounding similar to kola 'tiger'; karibha 'elephant', poLa 'zebu', karA 'crocodile'). These similar

sounding words of Meluhha (Proto-Prakritam) constituted a set: metalwork set during the

evolving Bronze Age: kol 'working in iron'; karba 'iron'; poLa 'magnetite'; khAr 'blacksmith'.

Thus a Venn Diagram evolves of the intersecting sets : set of animal hieroglyphs intersecting (A)

with a set of metalwork semantics (B).

This intersection creates the Indus Script Corpora.

Context-specific Set Theory of hieroglyphs of Indus Script Corpora

The symbolism apparent in Indus Script Corpora can be seen as 'meaningful' when the symbols

are made context-specific. The context is a major life-activity of the Bronze Age when many

ancestors were explorers of many minerals and experimenters of creating many alloys combining

many minerals and also getting involved in cire perdue (lost wax) technology of metal castings.

All these life-activities of a smith-forge defined their insights into cosmic and consciousness

phenomena: of infinity, of relationships of geometric forms such as hypoteneuse of a right-

angled triangle which signified a pythogorean relationship used to create fire-altars of various

shapes but with defined areas.

By the time of the Y jurved ṃ it - (1200–900 BCE), numbers as high as 1012

were being

included in the texts. For example, the mantra (sacrificial formula) at the end of

the annahoma ("food-oblation rite") performed during the śv med , and uttered just before-,

during-, and just after sunrise, invokes powers of ten from a hundred to a trillion: "Hail

to ś t ("hundred," 102), hail to sahasra ("thousand," 10

3), hail to ayuta ("ten thousand," 10

4),

hail to niyuta("hundred thousand," 105), hail to prayuta ("million," 10

6), hail to arbuda ("ten

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million," 107), hail to nyarbuda ("hundred million," 10

8), hail to samudra ("billion," 10

9, literally

"ocean"), hail to madhya ("ten billion," 1010

, literally "middle"), hail to anta ("hundred

billion," 1011

,lit., "end"), hail to p r rd ("one trillion," 1012

lit., "beyond parts"), hail to the

dawn (us'as), hail to the twilight (vyuṣṭi), hail to the one which is going to rise (udeṣy t), hail to

the one which is rising (udyat), hail to the one which has just risen (udita), hail to svarga (the

heaven), hail to martya (the world), hail to all."(Hayashi, Takao,2003, "Indian Mathematics", in

Grattan-Guinness, Ivor, Companion Encyclopedia of the History and Philosophy of the

Mathematical Sciences, 1, pp. 118–130, Baltimore, MD: The Johns Hopkins University Press,

pp.360-361) Hayashi 2005, p. 363 notes that the Śulb Sūtr contain "the earliest extant verbal

expression of the Pythagorean Theorem in the world, although it had already been known to

the Old Babylonians." "The diagonal rope ( kṣṇ y -rajju) of an oblong (rectangle) produces

both which the flank (p rśv m ni) and the horizontal (tiry ṇm nī) <ropes> produce

separately."The Śulb Sūtr (literally, "Aphorisms of the Chords" in Vedic Samskritam) (c.

700–400 BCE) list rules for the construction of sacrificial fire altars. "The rope which is

stretched across the diagonal of a square produces an area double the size of the original

square."Sulbasutra contain examples of pythogorean triplets: (3, 4, 5), (5, 12, 13), (8, 15, 17), (7,

24, 25), and (12, 35, 37).

Part 1: Proclamation of procession tablets of Mohenjo-daro

A procession of iron, metalcasting workers is shown on the Mohenjo-daro tablets.

Hieroglyph:er-aka 'upraised

hand' (Tamil) erhali to hold out the hand;(Kui) erke, erkelů rising (Tulu)(DEDR

905) Rebus: eṟaka, eraka any metal infusion (Kannada); moltencast, cast (as metal)

(Tulu)(DEDR 86) ; molten state,

fusion. m0490At m0490Bt Tablet showing

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Meluhha combined standard of four standards carried in a procession, comparable to Tablet

m0491.

m0491 This is a report on the transition from

lapidary to bronze-age metalware in ancient Near East.

eraka 'nave of wheel' Rebus: moltencast copper

dhatu 'scarf' Rebus: mineral ore d ū, d v m.f. ʻa partic. soft red stoneʼ

(Marathi) (whence d v m. ʻa caste of iron -- smeltersʼ, d v ī ʻ composed of or relating to

iron ʼ)

kōnd 'young bull' Rebus: turner

'lathe' Rebus: sangara proclamation

kanga 'portable brazier' Rebus: fireplace, furnace

See: http://bharatkalyan97.blogspot.in/2013/11/tukulti-ninurta-worships-fire-god-at.html The

first standard in the procession may be a spoked-wheel as in Tukulti-Ninurta hieroglyph:

Altar, offered by Tukulti-Ninurta I, 1243-1208 BC, in prayer before

two deities carrying wooden standards, Assyria, Bronze

AgeSource: http://www.dijitalimaj.com/alamyDetail.aspx?img=%7BA5C441A3-C178-489B-

8989-887807B57344%7D The two standards (staffs) are topped by a spoked

wheel. r 'spokes' Rebus: r 'bronze'. cf. erka = ekke (Tbh. of arka) aka (Tbh. of arka)

copper (metal); crystal (Kannada) Glyph: eraka

Glyphic element: erako nave; era = knave of wheel. Glyphic element: āra ‘spokes’. Rebus: āra

‘brass’ as in ārakūṭa (Skt.) Rebus: Tu. eraka molten, cast (as metal); eraguni to melt (DEDR 866)

erka = ekke (Tbh. of arka) aka (Tbh. of arka) copper (metal); crystal (Kannada.) cf. eruvai =

copper (Ta.lex.) eraka, er-aka = any metal infusion (Ka.Tu.); erako molten cast (Tulu) The same

spoked-wheel hieroglyph adorns the Dholavira Sign-board.

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See: http://bharatkalyan97.blogspot.in/2013/08/dholavira-gateway-to-meluhha-gateway-

to.html?q=dholavira+sign

Such proclamations occur on combinations of hieroglyph-multiplexes and on processions of

hieroglyph components.

Note the doted circles on the bottom register of the hieroglyph-multiplex of the standard device.

These signify the semantics: 'full of holes'. The signifier is the word: Pk. k ṇ -- ʻ full of holes ʼ,

G. k ṇ ʻ full of holes ʼ, n. ʻ hole ʼ (< ʻ empty eyehole ʼ?(CDIAL 3019)kaṇa (pl. kaṇul) hole;

(Go.)(DEDR 1159) Pe. kaṇga (pl. -ŋ, kaṇku) eye. Rebus: kanga ' large portable brazier, fire-

place' (Kashmiri). Thus, the standard device is a combination of two hieroglyh components

signifying: lathe, portable brazier: sangaDa + kanga Rebus: proclamation (collected products out

of)+ fireplace.

'Eye' hieroglyph shown on Kuwait gold disk signifying kanga 'portable

brazier' Rebus: kanga 'fireplace, furnace'

See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-hieroglyph-multiplex.html

kõd ‘to turn in a lathe’(B.) क ोंद kōnda ‘engraver, lapidary setting or infixing gems’

(Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place where artisans work (G.) ācāri koṭṭya

‘smithy’ (Tu.) क ोंडण kōṇḍaṇa f A fold or pen. (Marathi) B. k dā ‘to turn in a lathe’ r.kū nda

‘lathe’, k dibā, kū d ‘to turn’ (→ Drav. Kur. Kū d ’ lathe’) (CDIAL 3295) A. kundār, B. k dār, ri,

r.Kundāru H. k derā m. ‘one who works a lathe, one who scrapes’, rī f., k dernā ‘to scrape,

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plane, round on a lathe’ kundakara—m. ‘turner’ (Skt.)(CDIAL 3297). क ोंदण kōndaṇa

] n (क ोंदणें) Setting or infixing of gems.(Marathi) খ োদকোর khōdakāra n an engraver a

carver. খ োদকোরি n. engraving carving interference in other’s work. খ োদোই khōdāi n

engraving; carving. খ োদোই কিো v. to engrave; to carve. খ োদোন ো v. & n. en graving;

carving. খ োদদত khōdita a engraved. (Bengali) ख दकाम khōdakāma n Sculpture carved

work or work for the carver. ख दगिरी khōdagirī f Sculpture, carving, engraving: also

sculptured or carved work. ख दणावळ khōdaṇāvaḷa f (ख दणें) The price or cost of sculpture or

carving. ख दणी khōdaṇī f (Verbal of ख दणें) Digging, engraving &c. 2 fig. An exacting of

money by importunity. V लाव, माोंड. 3 An instrument to scoop out and cut flowers and figures

from paper. 4 A goldsmith’s die. ख दणें khōdaṇēṃ v c & i ( H) To dig. 2 To engrave. ख द

ख दून गवचारणें or –पुसणें To question minutely and searchingly, to probe. ख दाई khōdāī f (H.)

Price or cost of digging or of sculpture or carving. ख दी ोंव khōdīṃva p of ख दणें Dug. 2

Engraved, carved, sculptured. (Marathi)

Hieroglyphs: G. m. ʻ lathe ʼ M. f. ʻ a body formed of two or more fruits or

animals or men &c. linked together, part of a turner's apparatus ʼ, m.f. ʻ float made of two canoes

joined together ʼ (LM 417 compares saggarai at Limurike in the Periplus, Tam.ś ṅ m,

Tu. j ṅ l ʻ double -- canoe ʼ), m. ʻ frame of a building ʼ, ° ī f. ʻ lathe ʼ Si. n ʻ

pair ʼ, n u , n ° ʻ double canoe, raft ʼ.(CDIAL 12859) Pa. ṅ t -- m. ʻ killing, knocking

together ʼ Pk. ṁ y -- m. ʻ closeness, collection ʼ r. ṅ , ṅ ʻ bamboo scaffolding

inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ -- adj. ʻ bulled

(of a cow) ʼ < * ṁ t -- or ṁ t -- ?(CDIAL 12862)

Rebus: Sangara fr. saŋ+gṛ1 to sing, proclaim, cp. gāyati & gīta 1. a promise, agreement

J iv.105, 111, 473; v.25, 479

Rebus: saṁghāṭa m. ʻ fitting and joining of timber ʼ R. √ghaṭ](CDIAL 12859)

saṅgata Assembled, collected, convened, met together. saṅgatiḥ Company, society,

association, intercourse (Samskritam. Apte) Sangata [pp. of sangacchati] 1. come together, met

Sn 807, 1102 (=samāgata samohita sannipātita Nd2 621); nt. sangataŋ association Dh 207. -- 2.

compact, tightly fastened or closed, well -- joined Vv 642 (=nibbivara VvA 275).Sangati (f.) [fr.

sangacchati] 1. meeting, intercourse J iv.98; v.78, 483. In defn of yajati (=service?) at Dhtp 62 &

Dhtm 79. -- 2. union, combination M i.111; Sii.72; iv.32 sq., 68 sq.; Vbh 138 (=VbhA 188). <->

3. accidental occurrence D i.53; DA i.161. (Pali)

"Even from its early stages the Sanskrit poetics has recognized the close association between the

word and its sound, and between speech (vak) and meaning (artha). ..The elements that go into a

kavya are the words, meanings and the way in which the words have to be

compounded...Chitrak vya ... treats pictures evoked by the sound of the word and its meaning as

separate figures (sabda –chitra and artha-chitra); and it also in some other ways combines the

word and the meaning into a common figure or an image (ubhaya-chitra)...Through a Kuta verse

Vidura successfully cautions Yudhistira that the house built for them at Varnavata by

Duryodhana is actually a lac -house; and it is meant to burn them all into ashes. Vidura says

“Those who live in a hole like rats will not be harmed by fire. The blind man cannot find his

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way. So always be vigilant. Who takes a weapon not made of steel from their foes, can escape

from fire by making their abode with many escape routes. He who can keep their five under

control can never be oppressed by enemies".Its inner meaning was that the rogue Purochana

would set the house on fire; he is a dreadful foe; you can guard yourself only when you runaway

through the underground tunnel. Yudhistira replies “I understood what you said" and saved

himself, his brothers and their mother." http://creative.sulekha.com/chitrakavya-

chitrabandha_541896_blog

The reference to Vidura's statement occurs in the context of Jatugriha Parva of Mahabharata

when the emissary sent by Vidura, a miner named Khanaka explains the diabolical plan of

Duryodhana to eliminate the Pandavas. The conversation between Khanaka and Yudhistira takes

place in Meluhha dialect, notes the Great Epic. This dialect of Proto-Prakritam as related to

metalwork constitutes the lexis revealed by decipherment of Indus Script Corpora -- listing

minerals, metals, alloys, metal implements, metalworking resources such as smelters, furnaces,

portable braziers.

Part 2: Proclamation of procession on Jasper Akkadian cylinder seal

See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-hieroglyph-readings-on.html

Jasper Akkadian cylinder seal ca. 2220-2159 BCE

Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) cylinder Seal with four hieroglyphs and

four kneeling persons (with six curls on their hair) holding flagposts, c. 2220-2159 B.C.E.,

Akkadian (Metropolitan Museum of Art) Cylinder Seal (with modern impression). The four

hieroglyphs are: from l. to r. 1. crucible PLUS storage pot of ingots, 2. sun, 3. narrow-necked pot

with overflowing water, 4. fish A hooded snake is on the edge of the composition. (The dark red

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color of jasper reinforces the semantics: eruvai 'dark red, copper' Hieroglyph: eruvai 'reed'; see

four reedposts held. koThAri 'crucible' Rebus: koThAri 'treasurer, warehouse'

If the hieroglyph on the leftmost is moon, a possible rebus reading: ramaḳ مر ق

A مر پوږمي ḳ m r, s.m. (9th) The moon. Sing. and Pl. See ق س or :subeR (othsaP) مي پوګ س

kamar 'blacksmith'

Part 3: Proclamation on Dholavira Sign Board

See:

http://bharatkalyan97.blogspot.in/2015/04/dholavira-1-signboard-and-2-stone.html

Dholavira. gateway. A designer's impressions (reconstruction) of the world's first signboard on

the gateway of fortification or citadel.

This is the huge hoarding on the northern gateway of Dholavira fortification. I call this the

Bronze Age Meluhha Standard. The Standard exemplified the gateway to Bronze Age

Sarasvati civilization. The Sheffield of the Ancient Near East, Chanhu-daro (River Sarasvati

right-bank), is about 150 kms. to the north if a seafaring-riverine merchant from Sumer,

Mesopotamia, Dilmun, or Magan moved on the navigable River Sarasvati beyond the port

town of Dholavira.

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The signboard deciphered in three segments from r.

Segment 1: Working in ore, molten cast copper, lathe (work)

to ‘claws or pincers of crab’ (Santali) rebus: dhatu ‘ore’ (Santali)

eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast

(metal)(Tulu). n 'pair' Rebus: n ‘lathe’ (Gujarati)

Segment 2: Native metal tools, pots and pans, metalware, engraving (molten

cast copper)

खाडा khāṇḍā m A jag, notch, or indentation (as upon the edge of a tool or weapon).

(Marathi) Rebus: k ṇ ‘tools, pots and pans, metal-ware’.

ren, ren lid, cover (Santali) Rebus: aduru ‘native metal’ (Ka.) aduru = gan.iyinda tegadu

karagade iruva aduru = ore taken from the mine and not subjected to melting in a

furnace (Kannada) (Siddhānti Subr m ṇy ’ ś tri’ new interpret tion of t e Am r koś ,

Bangalore, Vicaradarpana Press, 1872, p. 330)

koṇ bend (Ko.) Tu. Kōḍi corner kōṇṭu angle, corner, crook. Nk. kōnṭa corner (D DR

2054b) G. khū ṭṛī f. ʻangleʼ Rebus:kõd ‘to turn in a lathe’(B.) क ोंद kōnda ‘engraver,

lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place where

artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) क ोंडण kōṇḍaṇa f A fold or pen.

(Marathi) B. k dā ‘to turn in a lathe’ r.kū nda ‘lathe’, k dibā, kū d ‘to turn’ (→ Drav. Kur. Kū d

’ lathe’) (CDIAL 3295) A. kundār, B. k dār, ri, r.Kundāru H. k derā m. ‘one who works

a lathe, one who scrapes’, rī f., k dernā ‘to scrape, plane, round on a lathe’ kundakara— m.

‘turner’ (Skt.)(CDIAL 3297). क ोंदण kōndaṇa n (क ोंदणें) Setting or infixing of

gems.(Marathi) খ োদকোর khōdakāra n an engraver a carver. খ োদকোরি n. engraving;

carving interference in other’s work. খ োদোই khōdāi n engraving carving. খ োদোই কিো v. to

engrave; to carve. খ োদোন ো v. & n. en graving; carving. খ োদদত khōdita a

engraved. (Bengali) ख दकाम khōdakāma n Sculpture carved work or work for the

carver. ख दगिरी khōdagirī f Sculpture, carving, engraving: also sculptured or carved

work. ख दणावळ khōdaṇāvaḷa f (ख दणें) The price or cost of sculpture or carving. ख दणी [

khōdaṇī f (Verbal of ख दणें) Digging, engraving &c. 2 fig. An exacting of money by

importunity. V लाव, माोंड. 3 An instrument to scoop out and cut flowers and figures from paper. 4

A goldsmith’s die. ख दणें khōdaṇēṃ v c & i ( H) To dig. 2 To engrave. ख द ख दून गवचारणें or

–पुसणें To question minutely and searchingly, to probe. ख दाई khōdāī f (H.) Price or cost of

digging or of sculpture or carving. ख दी ोंव khōdīṃva p of ख दणें Dug. 2 Engraved, carved,

sculptured. (Marathi)

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eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu).

Segment 3: Coppersmith mint, furnace, workshop (molten cast copper)

loa ’fig leaf Rebus: loh ‘(copper) metal’ k m 'ficus religiosa' (Skt.); k m ṭ = portable

furnace for melting precious metals (Te.); k mp ṭṭ m = mint (Ta.) The unique ligatures on the

'leaf' hieroglyph may be explained as a professional designation: loha-

k r 'metalsmith'; k ruvu [Skt.] n. 'An artist, artificer. An agent'.(Telugu).

khuṇṭa 'peg’ kh ṭi = pin (M.) rebus: kuṭi= furnace (Santali) kūṭa ‘workshop’ kuṇḍamu ‘a pit for

receiving and preserving consecrated fire’ (Te.) kundār turner (A.) k dār, k dāri (B.)

eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu).

Dholavira Signboard inscription of gypsum inlays on wood measures 3 m. long. Each of the 10

signs is 37 cm. high and 25 to 27 cm. wide and made of pieces of white gypsum inlays; the signs

were apparently inlaid in a wooden plank. The conjecture is that this wooden plank was mounted

on the Northern Gateway as a Signboard.

Dholavira Signboard

The Signboard which adorned the Northern Gateway of the citadel of Dholavira was an

announcement of the metalwork repertoire of dhokra kamar, cire perdue metalcasters and other

smiths working with metal alloys. The entire Indus Script Corpora are veritable metalwork

catalogs. The phrase dhokra kamar is rendered on a tablet discovered at Dholavira presented in

this monograph (earlier discussed at

http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-1-dhokra-lost-wax.html ). The

10-hieroglyph inscription of Dholavira Signboard has been read rebus and presented at

http://bharatkalyan97.blogspot.in/2013/08/dholavira-gateway-to-meluhha-gateway-to.html

Excerpts from Excavation Report on Dholavira released by ASI in 2015:

"8.1 Inscriptions. Literacy of the Harappans is best exemplified in their inscriptions written in a

script that is unparalleled in its characters hitherto unknown and undeciphered so far. These

inscriptions are best represented on their seals and seals-impressions in addition to those

engraved or painted on the objects of metal, terracotta, pottery, faience, ivory, bone and stone,

albeit sometimes appearing in a single sign inscription or scratching particularly on pottery or

terracotta objects. 8.1.1 Signboard. One of the most prominent discoveries from the excavations

at Dholavira is the find of a 10 large sized signboard presently lying in the western chamber of

North Gate. This inscription was found lying in the western chamber of north gate, and the

nature of find indicates that it could have been fitted on a wooden signboard, most probably

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fitted above the lintel of the central passageway of the gate. The central passageway of north gate

itself measures 3.5 m in width and the length of the inscription along with the wooden frame

impression is also more or less same thereby indicating the probable location. The inscription

consists of 10 large-sized letters of the typical Harappan script, and is actually gypsum inlays cut

into various sizes and shapes, which were utilized to create each size as, indicated above. The

exact meaning of the inscription is not known in the absence of decipherment of script." (pp.227-

229, Section 8.1.1 Signboard)

"The central passageway of north gate itself measures 3.5 m in width and the length of the

inscription along with the wooden frame impression is also more or less same thereby indicating

the probable location. The inscription consists of 10 large-sized letters of the typical Harappan

script, and is actually gypsum inlays cut into various sizes and shapes, which were utilized to

create each size as, indicated above. The exact meaning of the inscription is not known in the

absence of decipherment of the script. (p.231)

Fig. 8.2: Location of ten large sized inscription in North Gate

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Fig. 8.3: Close-up of inscription

Fig. 8.4: Drawing showing the ten letters of inscription

Fig. 8.5: Photograph showing the details of inscription in situ.

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Fig. 8.6: Close-up of some of the letters from the inscription

Fig. 8.7: Gypsum inlays used for the inscription

Such proclamations may be noted on other examples from Indus Script Corpora:

See: http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-rosetta-stone-tell.html

Tell Asmar Cylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the

upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from

the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no.

642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. karA

'crocodile' Rebus: khAr 'blacksmith' (Kashmiri); karibha 'trunk of elephant' ibha 'elephant'

Rebus: karba 'iron' (Tulu); kANDa 'rhinoceros' Rebus: khaNDa 'metal implements'.

14

Dwaraka 1 seal of turbinella pyrum: Ligaturing to the body of an

ox: a head of one-horned young bull, and a head of antelope. Thus, there are three hieroglyphs

signifying: ox, young bull and antelope.

s gaḍ f. ʻ a body formed of two or more fruits or animals or men &c. linked together (Marathi)

Rebus: sangara 'proclamation'; barad, barat 'ox' Rebus: bharata 'alloy of copper, pewter, tin';

ranku 'antelope' Rebus: ranku 'tin'.

The Venn Diagram intersection of Indus Script cipher creates the Indus Script Corpora

as catalogus catalogorum, metalwork catalogues.

Since the epigraphs or inscriptions of Indus Script are sangara 'proclamations' they become

catalogues conveying to the receivers of the messages information on technical specifications of

innovative metalwork accomplishments.These accomplishments were a life-activity of Bhāratam

Janam, metalcaster people (RV 3.53.12: Visvamitra)

S. Kalyanaraman

Sarasvati Research Center

September 1, 2015