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Abraham and Sarah have ten characteristics similar to Brahma and Sarasvita. Can the World Religions sit down and explore these commonalities to assist us in coming together to restore the earth?
Skambha Suktam ( Atharva Veda X-7,8 ). A pair of Yupa stambha of Dholavira. Signify div 'light' svar 'twilight' अष्टाश्रि yupa in Binjor and caturas'ri yupa in Kalibangan signify a Soma yaga as attested in Rigveda: He is the ‘Pillar supporting the kindreds, that is, gods and men’. (RV I.59.1-2). He is the standard (ketu) of the yajna (equivalent of the dawn), the standard which supports heaven in the East at daybreak. (RV I.113.19; III.8.8). The purport of the ketu in Taittiriya samhita 1.7.9: 'In truth, the yajñika makes himself a ladder and a bridge to reach the celestial world' (Taittiriya Samhita VI.6.4.2) and in SBr. V.2.1.9: While setting up the ladder, the yajñika says to his wife, 'Come, let us go up to Heaven'. She answers, 'Let us go up'. The pillar is a cultural artifact, it belongs to the Hindu tradition as a legacy of Vedic culture. What is the meaning of the ketu (standard) with interrelationships in prayer and doctrine? (Snodgrass, Adrian, 1992, The symbolism of the Stupa, Motilal Banarsidass Publishers, New Delhi). Atharva Veda (X.8.2) declares in an extraordinary metaphor: like the pillar, twilight and dusk split apart the originally fused Heaven and Earth. Heaven and Earth stand fast being pillared apart by the pillar. The objective of the ketu is to signify the desire to attain amRtam, immortality, to reach Heaven. Light of dawn ‘divorces the coterminous regions – Sky and Earth – and makes manifest the several worlds. (RV VII.80; cf. VI.32.2, SBr. IV 6.7.9). ‘Sun is space, for it is only when it rises that the world is seen’ (Jaiminiya Upanishad Brahmana I.25.1-2). When the sun sets, space returns into the void (JUB III.1.1-2). Indra supports heavn and earth by ‘opening the shadows with the dawn and the sun’. (RV I.62.5). He ‘extends heaven by the sun; and the sun is the prp whereby he struts it.’ (RV X.111.5). ‘He who knows the Brahman in man knows the Supreme Being and he who knows the Supreme Brahman knows the Skambha’. (AV X. 7.17). Linga-Purana (I.17.5-52; 19.8 ff.) provides a narrative. Siva appeared before Brahma and Vishnu as a fiery linga with thousands of flames. As a Goose, Brahma attempted to fly to the apex of the column; Vishnu as a Boar plunged through the earth to find the foot of the blazing column. Even after a thousand years, they couldn’t reach the destination, bow in homage to the Pillar of the Universe as the Paramaatman. He is the ‘Pillar supporting the kindreds, that is, gods and men’. (RV I.59.1-2). He is the standard (ketu) of the yajna (equivalent of the dawn), the standard which supports heaven in the East at daybreak. (RV I.113.19; III.8.8). The same spectra of meanings abound in Bauddham, as a symbolic continuum. So it is, the Buddha is a fiery pillar, comprising adorants at the feet marked with the Wheel of Dharma and the apex marked by a S’rivatsa (pair of fishes tied together by a thread, read as hieroglyph composition: ayira (metath. ariya) dhama, mandating norms of social, interpersonal conduct). Just as Agni awakens at dawn, the Buddha is the awakened. The Skambha is Yupa, it has a unique shape: अष्टाश्रि 'octagonal' as evidenced by the octagonal pillar in Binjor yajna kunda. Since the site has also yielded an Indus seal, the period to which the yajna kunda ralates may be ca. 2500 BCE since Indus script writing tradition is a signature-tune, a ketu (standard) of the mature phase of the civilization on the banks of Vedic River Sarasvati. The abiding Vedic culture continues to be evidenced by 19 octagonal yupa incriptions: in an extensive area from Binjor (Anupgarh) on the banks of Vedic River Sarasvati (ca. 2500 BCE) to Mulavarman octagonal yupa inscriptions of ca. 400 CE. The octagonal shape of the yupa finds its echo on the Skambha, the s'ivalingas all over the extended Hinduised states of the Far East, of Bharatavarsha from Rajasthan, India to My Son, Vietnam. 1 Isapur Mathura, 102 CE 2 Kosam-Allahabad 125 CE 3-4 Nandasa Udaipur 225 CE 5 Barnala Jaipur 227 CE 6-8 Badva Kotah 238 CE 9 Badva Kotah 238 CE 10 Nagar Jaipur 264 CE 11 Barnala Jaipur 278 CE 12 Bijayagarh Bharatpur 371 CE 13-16 Koetei Borneo c. 400 CE 17-19 Koetei Borneo c. 400 CE
I am thankful to TS subramanium for a remarkably detailed account of the recent excavations in binjor. I have combined the images which appeared both in Frontline and in Archaeoogy News Network in July 2016. Subramanium's report of July 2016 and the accompanying photographs make it an official account of the excavation and presents insightful inferences drawn from discoveries made at the remarkable site of Binjor 4MSR which he calls an export processing zone. This is consistent with the Indus Script Corpora which evidences seafaring merchants in trade exchanges across and beyond he Persian Gulf. To place the work of the export processing zone of Binjor 4MSR in context, I also refer to two articles which appeared in the Journal of Indian Ocean Archaeology, No. 9, 2013, together with earlier reports of TS Subramanium on Binjor (Harappan Surprise) and Kalibangan (An early metropolis). See: 1. Ajit Kumar* Rajesh S.V.* Abhayan G.S.*Vinod V.* and Sujana Stephen**, 2013, Indian Ocean Maritime Trade: Evidences fromVizhinjam, South Kerala, Indiain: Journal of Indian Ocean Archaeology No. 9, 2013 | 195-201 and 31-33 (Plates). http://tinyurl.com/zldsszl After Plate 8 in Kumar et al opcit. Sivalinga found in Vizhinjam 1st cent. CE? The octagonal shape of RudrabhAga compareswith the aSTAs'ri octagonal yupa found in Binjor Yajna kunda (ca. 2500 BCE). https://www.scribd.com/document/260613722/Origin-of-Early-Harappan-Cultures-in-the-Sarasvati-Valley-Recent-Archaeological-Evidence-and-Radiometric-Dates 2. KN Dikshit, 2013, Origin of early Harappan cultures in the Sarasvati Valley: Recent archaeological evidence and radiometric dates, Journal of Indian Ocean Archaeology No. 9, 2013, pp. 88 to 142 (Plates) Addorsed zebu, Rakhigarhi. dula 'pair' rebus: dul 'metal casting' PLUS poLa 'zebu' rebus: poLa 'magenetite, ferrite ore'. Thus magnetite casting. (After Fig. 69 in KN DIkshit opcit) The work at Binjor 4MSR was not only related to Soma SamsthA but indicate the work of seafaring merchants of Sarasvati Civilization who exported the metalwork products into Ancient Near East. Revelations in History, Saturday, 13 June 2015 | Vaishnavi Singh A terracota figurine of a humped bull.poLa 'zebu' rebus: poLa 'magnetite, ferrite ore'. The recent excavation of a modern village at Binjor in Rajasthan has revealed many artefacts dating back to Early and Mature Harappan phases. Vaishnavi Singh reports A skeleton of a woman, aged 35-40 years, lying in a supine position facing north to south, terracotta spindles and whorls and weights made out of chert stone are few of the intriguing artefacts that were excavated from Binjor, an archeological site in the Ganganar district of Rajasthan, seven km east of the Indo-Pak border. What makes this site more interesting is the fact that it is one of the lesser known places of the ancient Harappan civilisation. Few mysteries of the new-found artefacts were brought to light by AK Pandey, superintending archaeologist at the Archaeological Survey of India (ASI), at a recent discussion. The artefacts are a result of the Phase II excavations at Binjor— 4MSR, which was carried out from January to April 2015 by the excavation branch (at Purana Qila) of the ASI. The question that arose was why was there a need to excavate this new site when already so many Harappan excavations had been carried out in its near vicinity, in the Ghaggar valley itself. Pandey, also the deputy director of the excavation, explained, “The sole objective of this excavation at 4MSR is to learn about the early Harappan deposits, the sites’ relationship with other contemporary sites and to draw a cultural sequence with the late Harappan phase. If the copious amount of artefacts recovered from Binjor are any indication, then the site belongs to the early Harappan (c. 3000 - 2700 BCE) and the mature Harappan period (c. 2600 - 2000 BCE), much like the Kalibangan site which is 120 km away. This will help in the formation of a sequence and will lead to continuity, and so it becomes imperative to take up explorations in this entire area.” A mound, known as Thed among the villagers, was found in the Ghaggar river basin, the modern name given to the Saraswati river. “We had earlier dug six trenches on the mound, but the number was increased to 12 trenches of 10 by 10 metres with four quadrants,” he added. In its glorious days, the Harappan civilisation flourished over two million sq km, from Sutkagendor on the Makran coast of Balochistan to Alamgirhpur in Uttar Pradesh, and from Manda in Jammu to Daimabad in Maharashtra. What interested Pandey was the discovery of a jar, a bowl with a hole at the bottom and a perforated pot. “These confirm that the excavations belong to the mature Harappan period,” he informed us. The unearthing of pots with handles is another thing which fascinated him. He added, “We also uncovered a steatite seal with a hole on the back depicting a mythical animal with a single horn, like a unicorn as found in other Harappan seals, and a short inscription of five letters in the Indus script.” The excavations also lead to the discovery of houses made of standardised size of mud bricks (7.5 by 15 by 30 cm) in a ratio of 1:2:4. Huge quantities of ash and molten metal were also found indicating to metallurgical industrial activities that may have been carried out when the civilisation flourished. A common feature of the mature Harappan phase of large scale structural activities is also suggested through the excavations. He also spoke about other artefacts which were unearthed at the site including beads made of carnelian, steatite, copper, terracotta bangles and cakes; copper rings and fish hooks; terracotta spindles and whorls; weights made out of chert stone, terracotta sling balls, toy cart frames, figurines of humped bulls, copper arrowheads and terracotta pipes. “Apart from all this we also found gold beads which are very rare to come across in these excavations. One trench also yielded the skeleton of a woman, aged 35-40 years lying in a supine position facing north to south. No burial woods were found on the site and we are still in the process of ascertaining the exact time period to which this body belongs to,” he added. What has come as a surprise in these excavations is the discovery of a yoni-pitha type fire altar with a stump of octagonal birch in the middle. “This is an indication that rituals were performed at the altar,” said Pandey. The thing that stands out in these excavations is the windfall of pre-Harappan hakra ware, early Harappan pottery and Mature Harappan ceramics. Early Harappan finds include pottery with beautifully painted figures of peacocks, a lion, birds, fish-net and floral designs. When the excavations initially began, it was found that a lot of waste material had been dumped on the mound by the local people and the Army, which had camped there soon after the partition. This turned out to be a good thing in the end as the dump had protected the mound. But agricultural and irrigation activities later led to the cutting of the mound on three sides which reduced its size considerably. The trenches have brought to the fore the remnants of saddle— querns, mullars, ovens, hearths and furnaces. Pandey postulated, “One trench has also revealed a deep silo, lined with mud, to store grains. We have also recovered cattle bones and soil and grain samples, and they are yet to be sent for further examination and carbon dating.” He also disclosed that a bead containing the swastika symbol was also found which greatly fascinated all the archaeologists present at the site. “A lot of red ware and hakra pottery have also been discovered. Storage jars, goblets, stands, miniature pots, vases and paintings with horizontal bands, loops, floral designs and figures of birds and animals of the cat family have been discovered as well. Another intriguing aspect which was found in the handled pots was that there was incised decoration on them, at accurate intervals. Pots with textile and type imprint were also uncovered. These are usually painted with black, and at times, white colour,” he shared. Pandey concluded by saying, “This is the first site in this region where so much of cultural mixing or amalgamation is available. It has helped in determining the cultural process of the early and mature Harappan phases and the gradual transition from one phase to the other. Interestingly, we could not find any artefacts relating to the late Harappan period at the site.” http://www.dailypioneer.com/vivacity/revelations-in-history.html Addendum: The find of a zebu figurine is significant as a metalwork catalogue. poLa 'zebu' rebus: poLa 'magnetite, ferrite ore'. A momentous discovery is the yajna kunda with an octagonal yupa. This is a signature tune of a Soma SamsthA performed at the site on the banks of Vedic River Sarasvati. See: http://bharatkalyan97.blogspot.in/2016/07/a-defining-discovery-of-binjor.html A remarkable discovery is the octoganal brick which is a yaṣṭi.in a fire-altar of Bijnor site on the banks of Vedic River Sarasvati. Thi yaṣṭi attests to the continuum of the Vedic tradition of fire-altars venerating the yaṣṭi as a baton, skambha of divine authority which transforms mere stone and earth into metal ingots, a manifestation of the cosmic dance enacted in the furnace/smelter of a smith. Bhuteswar sculptural friezes provide evidence to reinforce this divine dispensation by describing the nature of the smelting process displaying a tree to signify kuTi rebus: kuThi 'smelter' with kharva 'dwarf' adorning the structure with a garland to signify kharva 'a nidhi or wealth' of Kubera. A Bhutesvar frieze also indicates the skambha with face signifying ekamukha
The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight and measure system of Harappa, The Harappan Symbol Of Man+ Trident And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of Intersecting Circles And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus Script, Krishna’s Dvaraka In The Indus Script, One Symbol Of Indus Script Can Tell A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money, A Solution To The Mystery Of The Gundestrup Cauldron - I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people and places etc.In this work I am carrying forward the study of vedic metrology in the Indus seals with further illustrative examples.My perception is that only a comprehensive study of ancient vedic metrology can decipher the script symbols satisfactorily. A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging the common perception of its origin from the later Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka.Intersecting circles, fish , crab,bud,tower signs also have the same indications.The six locks of hair indicate the paNameTa weight of six barley grains.Roots and nuts indicate viira bhadra/ Drupada/ pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts. We have confirmed Mohenjodaro as the first Dvaraka on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the indications of the Harappan jar symbol with three forks on each edge.We have located the Kasyapas in Hastinapura trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located the Asvins,Yama and Skanda in the Indus script.In A Model For Indus Script Decipherment we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script. We have seen how Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money. We have looked for and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form. We have gone into the relation of the Druids to the Indus valley civilisation and the role of their Gundestrup cauldron in the evolution of Christianity. We have explored the relation of the Anau seal to the Indus Valley Civilisation. In this article we are studying the vedic soma and its importance in the life of the Harappans.
Śiva in Bharata tradition is a narrative rooted in Rudra of Rigveda. Aniconic representation of Śiva includes an aṣṭāśri yūpa portion called Rudra bhāga. aṣṭāśri yūpa shape of Rudra bhāga is a continuum from Vedic culture. Śiva in Bharata tradition is a divine metaphor rooted in Skambha of Atharvaveda Skambha Sukta (AV X.7,8). This Sukta is the basis for aniconic representation of Rudra-Śiva as a fiery pillar of light and fire. In aniconic linga, Rudra bhāga is octagonal in shape (while viṣṇu bhāga is quadrangular in shape). The quadrangular base of linga is seen attested archaeologically in Kalibangan fire-altar. aṣṭāśri yūpa shape of Rudra bhāga is attested in Binjor fire-altar discovered in 2015 by students of Institute of Archaeology, Delhi. Kalibangan: four-angled viṣṇu bhāga of yupa. Kalibangan terracotta cake with inscription found in the fire-altar context. Indus Script inscription meḍha 'post, stake, rope' rebus: meḍ 'iron' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' bhaṭa 'warrior' rebus: bhaṭa 'furnace' koḍ 'horn' rebus: koḍ 'workshop' kuṭhī 'twig' rebus: kuṭhi 'smelter'. The shapes of yūpa found in Kalibangan (4-angled) and Binjor (8-angled) are evidences for the performance of Vājapeya Soma-Samsthā. yajna. yūpa found in fire-altars of Kalibangan and Binjor (sites on the banks of Vedic River Sarasvati) attest to the vedic यज्ञ, yajña-s of ca. 2500 BCE. The yūpa in both sites are comparable to the shapes and functions described in ancient Vedic texts. The Binjor yūpa is particularly striking, as it is an octagonal brick found in situ. Cylindrical clay steles of 10 to 15 cms height occur in ancient fire-altars (See report by BB Lal on Kalibangan excavations). A number of polished stone pillars were found in Dholavira. (See April 2015 published Dholavira excavation report: http://asi.nic.in/pdf_data/dholavira_excavation_report_new.pdf At the Vājapeya, the yūpa is eight-angled (as in Binjor), corresponding to the eight quarers (Sat.Br. V.2.1.5 aṣṭāśrir yūpo bhavati) or, is four-angled (as in Kalibangan) as prescribed in Taitt. Sam. I.7.9.1. This leads to a reasonable inference that at Binjor and Kalibangan, Vājapeya yajna was performed according to the Sat.Br. and Taittiriya Samhita traditions, respectively. The related seal of Binjor and terracotta cake PLUS other Indus script inscriptions of Kalibangan attest to metalwork. The Vājapeya is related to Soma metalwork, Soma-SamsthA yajna. Vālmiki Rāmāyana refers to the performance of Vājapeya: vrm.2.45 Look at these canopies obtained by us while observing Vājapeya sacrifice accompanying our backs like clouds at the end of the rainy season With these canopies of ours, we shall give shade to you, who have got no canopy and are being scored with rays of the sun. vrm.6.128 Rama propitiated the Gods by performing Paundarika, Ashvamedha, Vājapeya and other sacrifices many times. vrm.7.122 After the night had expired the highly illustious Rama having a spacious breast and eyes like lotus petals said to the priest: Let the brilliant umbrellas Agnihotra, and Vājapeya go with the Brahmanas before, which look well in the great road. yūpa mēḍhā 'stake' is an Indus Script hieroglyph rebus: mẽṛhẽt, meḍ 'iron' (Mu.), med 'copper' (Slavic) The vedic texts use the glosses yupa, skambha, yaṣṭi, vajra while the synonym in Prakritam is mēḍhā 'stake, pillar.' Both Kaibangan and Binjor yūpa are comparable to the yūpa mentioned in ancient Vedic texts for performance of Vajapeya यज्ञ, yajña. Semantics are: वाज--पेय[p= 938,1] mn. " the drink of strength or of battle " , N. of one of the seven forms of the सोम-sacrifice (offered by kings or Brahmans aspiring to the highest position , and preceding the राज-su1ya and the बृहस्पति-sava)AV. Br. S3rS. MBh. R. Pur.N. of the 6th book of the शतपथ-ब्राह्मण in the काण्व-शाखाm. = वाजपेये भवो मन्त्रः , or वाजपेयस्य व्याख्यानं कल्पः Pat. on Pa1n2. 4-3 , 66 Va1rtt. 5 &c Vajapeya is one of 7 samstha (profession) for processing/smelting soma (a mineral, NOT a herbal): सोमः [सू-मन् Uṇ.1.139]-संस्था a form of the Soma-sacrifice; (these are seven:- अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय). The Vajapeya performed in Binjor and Balibangan should have been related to the Soma-samstha: सोमः संस्था specified as वाजपेय with the shape of the yupa with eight- or four-angles. सं-√ स्था a [p=1121,2]A1. -तिष्ठते ( Pa1n2. 1-3 , 22 ; ep. and mc. also P. -तिष्ठति ; Ved. inf. -स्थातोस् A1pS3r. ) , to stand together , hold together (pf. p. du. -तस्थान्/ए , said of heaven and earth) RV. ; to build (a town) Hariv. ; to heap , store up (goods) VarBr2S. occupation , business , profession W. अश्रि [p= 114,2] f. the sharp side of anything , corner , angle (of a room or house) , edge (of a sword) S3Br. Ka1tyS3r.often ifc. e.g. अष्टा*श्रि , त्रिर्-/अश्रि , च्/अतुर्-श्रि , शता*श्रि q.v. (cf. अश्र) ; ([cf. Lat. acies , acer ; Lith. assmu3]). RV 1.152.01 Robust Mitra and Varun.a, you wear vestments (of light); your natures are to be regarded as without defect; you annihilate all untruths; you associate (us) with sacrifice. [Robust: pi_vasa_ = pi_nau, fat, stout, as an epithet of Mitra_varun.a; or, acchinna_ni, untorn; vastra_n.i, garments; or, in the 3rd case, singular, with great or intense radiance, tejasa_]. 1.152.02 He amongst those (who are your followers), who observes truth, who is considerate, who is commended by the wise, who is able to (inflict) harm, carefully weighs (the means whereby), fierce and well-armed, he slays (a foe) less efficiently accoutred, and (by which) the revilers of the gods, however mighty, may perish. [etaccana tva_ es.a_m = etayor madhye tvasvana ekah, one of you tow, the plural is honorific; Mitra or Varun.a,if one of you can do such things (etad), how much more irresistible must you be together; or, es.a_m = tad anucara, their followers of worshippers; triras'rim. hanti caturas'rih = lit. he who has a quadrangular weapon kills him who has a triangular one; i.e. implying one with most arms or weapons, adhika_yudhava_n is more than a match for one who has fewer or inferior arms or weapons]. वाजपेय as one of the seven सोमः संस्था can be explained as storing up (soma) in the यज्ञ, yajña Binjor: eight-angled yupa The shape is founded on the descriptions provided in Rigveda, Taittiriya Samhita and Śatpatha Brāhmaṇa of aṣṭāśri yūpa (eight-cornered sacred stake) topped by caṣāla 'wheat-chaff, godhuma' (which is signified by a ring or jaṭā 'locks of hair'). The locks of hair are signified on a linga of Champa. The ligaturing of a mukha 'face' to the linga is rooted in the tradition of Harappa Script which signifies rebus words in hieroglyphs; mukha 'face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' The association with smeltering metalwork processes is evidenced by the sculptural friezes of Bhuteśvar. A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava, AK, 1999, Catalogue of Śaiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). "Baba Bhusandeswar Temple, is one of the largest Shiva Lingams in the World is in Bhogarai village of Balasore district, Odisha. The 12 feet long and 14 feet width lingam is carved out on a black granite and only half of the lingam is visible. The other half has remained buried for years. The diameter of the lingam is 12 feet and has three parts. The middle portion of the lingam is octagonal in shape, about 12 feet in diameter and nearly four feet in height." https://en.wikipedia.org/wiki/Baba_Bhusandeswar_Temple A 7th Century Mukha Linga on Display in Vietnam - 1.46m. high. Brownish-gold sandstone. First Intact Mukha Linga Discovered In Southeast Asia. Cham temple in Quang Nam Province in central Vietnam . It is now on displayin My Son Champa.
The monograph is presented with evidences of Harappa Script hieroglyphs in the following sections to elucidate the functions of Skambha described in Atharva Veda and provide indicators to the significance of Lingodbhava (Somaskanda), as a fiery pillar of light and flames, an infinite cosmic pillar, without beginning and without end as the pillar reaches into the heavens, ethereal space. The functions of the Skambha are 1. to infuse carbon into the metals in the sacred fire-altar and 2.to render the furnaced/smelted alloy hard. Lingodbhava is a metaphor for the emergence of alloyed metal with exchange value, as wealth after purificatory processes are mediated by the paramātman transforming mere earth and stones into material wealth in medha, 'yajña'. Section 1. Fiery pillar of Amaravati and related hieroglyphs Section 2. Ear-rings of Satavahana era Cakravartin with khambhaṛā 'fish-fins' and other related hieroglyphs Section 3. Ox-hide ingot and spoked-wheel on pillars signify metalwork products Section 4. Hieroglyphs of horse and elephant flanking the Cakravartin signify gold-braid edgings and iron (cast) work Section 5. Semantic expansion of Skambha (fiery pillar) with ekamukha Section 6. Semantic expansion of Skambha (fiery pillar) with pratimā Section 7. Skambha Sukta AV (X.7,8) is an ādhyātmikā excursus into ātman and link with paramātman Section 1. Fiery pillar of Amaravati and related hieroglyphs Asian civilisations Museum, Singapore. Sculptural fragment, showing the adoration of a fiery pillar. India, 3rd century, limestone. On loan from the Archaeological Survey of India, New Delhi https://www.buddhistdoor.net/features/the-new-ancient-religions-gallery-at-the-asian-civilisations-museum-singapore The key to decipherment of Harappa Script hieroglyphs is the hypertext atop the pillar. The hypertext also occurs on many artifacts as detailed below. The orthographic composition of the hypertext is to join together two fish-fins, with the tails of fish (or, caudal fins) pointing upwards. The word for fish-fin and other expressions of the hypertext are: khambhaṛā 'fish-fin' rebus kammaTa 'mint, coiner, coinage'. ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' dula 'pair' rebus: dul 'metal casting'. These are orthographic, sculptural signifiers of the texts of Rigveda, Taittiriya Samhita and Satapatha Brahmana (relevant excerpts of texts are embedded) which describe in detail the functions performed by a fiery Skambha in the yajña(Soma Samsthā) for infusion of carbon and carburization of minerals in a fire-altar, producing bahusuvarṇaka 'gold and wealth'. Naga worshippers of fiery pillar, Amaravati stup Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. kulā 'hood of serpent' rebus: kolle 'blacksmith' kol 'working in iron' kole.l 'temple' rebus: kole.l 'smithy, forge'. Railing crossbar with monks worshiping a fiery pillar, an aniconic linga. Amaravati Another view of the Amaravati medallion British Museum. The Harappa Script hieroglyph atop the fiery pillar of Amaravati compares with similar hieroglyphs on Bharhut and Sanchi Torana (Gateways). There is an expression in Mahavamsa for such a hieroglyph: The expression in Pali is: ayo kammaTa dvAra, 'metal mint gateway'. cf. Mahavamsa, XXV, 28, ayo-kammata-dvara, "iron studded gate " The top medallion of Bharhut stupa shows nAga venerating a blazing pillar of light: yupa.. Bharhut. Torana. Northern Gateway Sanchi Stupa. Torana. The Harappa Script hieroglyph is a phonetic determinant for kammaTa 'mint'. The hieroglyph is orthographed with the fish-fins of a pair of fish, with the tail-fins pointing upwards. The expressions for the hieroglyph multiplex are: khambhaṛā 'fish-fin' rebus kammaTa 'mint, coiner, coinage'. ayo, aya 'fish' rebus: aya 'iron' ayas 'metal' dula 'pair' rebus: dul 'metal casting'. Thus, together the hypertext reads: dul ayo kammaTa 'metal casting, iron mint'. Thus, the veneration of the fiery pillar of light and flame in Amaravati sculptures signifies adoration of the Skambha which is associated with mintwork. meḍ(h) 'pillar' rebus: medha 'yajña' medhā 'dhanam' (Niruktam) It is a celebration of wealth produced by using alloy metal castings of copper (two goats) and zinc (two svastika-s) minerals, i.e. castings of brass. The narrative signifies a tāṇḍava nṛtyam 'cosmic dance' around Skambha, fiery pillar of light and flame. The hieroglyph (Harappa Script) atop the Skambha is: khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'. The hieroglyph is above tāmarasa 'lotus' rebus: tāmra 'copper'. caṣāla is composed of godhuma, 'wheat chaff'. The fumes of godhuma carburize -- infuse carbon into -- the minerals in the fire-altar creating hard alloys. At the baseof the Skambha are two round stones inscribed with svastika hieroglyph: Sathiya 'svastika' hieroglyph Rebus: જસતનો [jasatano] Gujarati जस्ता [jastā], 'zinc' (Hindi) sathiya, 'zinc' (Kannada) თუთია [t'ut'ia] Georgian The pillar is placed on a pedestal which is flanked by two antelopes. mr̤eka, melh 'goat' (Telugu. Brahui) Rebus: milakkhu 'copper' mleccha-mukha 'copper' (Pali. Samskrtam) dula 'two' rebus: dul 'metal casting'. Rebus readings of other hieroglyphs and the sculptural narrative are: sippi, 'bivalve shell, spathe of date palm' sippi 'craftsman' ayo medha kammata sippi 'iron metal mint artisan'. mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com.,mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā ʻ the post ʼ, (SBhagalpur) mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīr, mīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛf., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛha, mehra ʻ a circular construction, mound ʼ; Or. meṛhī, meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f.,meḍhā m. ʻ post, forked stake ʼ.(CDIAL 10317) Universal Ruler; Saptaratna; Rajakakuda;224 India 436989/Andhra/JAGGAYYAPETA STUPA,/RELIEF, SLAB, CHAKRAVARTIN/& SEVEN JEWELS, det, Chintamani./Stone (Ikshvaku, ca. 3rd c.)/Jaggayyapeta, Mus. http://library.clevelandart.org/node/201473 American Council for Southern Asian Art (ACSAA) 12452. Jaggayyapeta. Analogous Chakravartin and 7 jewels versions are found in Amaravati and Nagarjunakonda. Zimmer, 1955, p. 349 and pl. 37; Combas, 1935, pp. 89, fig. 35 and 89; Coomaraswamy, 1935, figs. 19 and 20.Square coins descend from the clouds? Or, is it stylized representationof a tree (branches), as a background ligature? Section 2. Ear-rings of Satavahana era Cakravartin with khambhaṛā 'fish-fins' and other related hieroglyphs Three hieroglyphs on the gold ear-rings: 1. A spathe flanked by a pair of molluscs emerges out of the purnaghaTa (sacred vase); 2. tiger; 3. elephant. दळ (p. 406)[ daḷa ] दल (p. 404) [ dala ] n (S) A leaf. 2 A petal of a flower. dula 'pair' Rebus: dul 'metalcast': ढाळ [ḍhāḷa] ḍhāḷako 'ingot' (Marathi) Hieroglyph: gāb(h)ā ʻ foetus, spathe of a plant,gābhā m. ʻ new leaf springing from centre of plaintain tree ʼ, gāb m. ʻ pulp, pith ʼgābbo ʻ inner core of plaintain stem ʼ; (CDIAL 4055) Rebus: Dhātughara "house for a relic," a dagoba SnA 194. (Pali) hangi 'molusc' Rebus: sanghi 'member of sangha, community. sippi 'bivalve shell' rebus: sippi 'artisan, sculptor'. Tiger (cat) Hieroglyph: kola 'tiger' Rebus:kol 'working in iron' kolhe 'smelter' Hieroglyph: karabha 'trunk of elephant' ibha 'elephant' rebus: karba 'iron' ib 'iron' ibbo 'merchant'.
The most prominent ancient spiritual wisdom, from which all spiritual systems and phylosophies are derived in Hinduism, are the four Vedas: Rig Veda, Yajur Veda, Sama Veda, Atharva Veda. All Yoga-systems, including Sahaja Yoga (Vishwa Nirmala Dharma), are tributary for their contents to the Vedas, Upanishads and Puranas. But only Shri Mataji Nirmala Davi succeeded in giving 'en masse'-realization.
The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight and measure system of Harappa, The Harappan Symbol Of Man+ Trident And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of Intersecting Circles And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus Script, Krishna’s Dvaraka In The Indus Script, One Symbol Of Indus Script Can Tell A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money, A Solution To The Mystery Of The Gundestrup Cauldron, The Eternal Soma Of The Vedas, Vedic Roots Of Ancient Egyptian Religion, A Veiled Visvamitra Soma Sacrifice In The New Testament , The Script Of Indus Valley Civilisation-1:The Script Of Indus Valley Civilisation-2, The Punny Plough,The Bearded Kings Of The Ancient, Bharata -The Language Of The Indus Valley Civilisation, The Script Of Indus Valley Civilisation -3,The Script Of Indus Valley Civilisation-4,Harappan Vedic Sacrificial Feasts In Mesopotamian Art And In The Bible,The Script of Indus valley Civilisation-6 :A Vrishni Silver Coin And Its Harappan Source,The Script of Indus valley Civilisation-7: The Conversion Of Makha(Sacrifice) To Tanka(Mint) In The Indus Script,Script Of Indus Valley Civilisation-8:Vedic Root Of Gudea’s Akshayapatra,Three Men In A Boat Seal Evidence Of Indus –Dilmun Trade,The Script Of Indus Valley Civilisation-9: The Goodluck Symbols Of The Indus Script, The script of Indus valley civilisation-10:Identification Of The True Vedic Soma From Harappan Seals Confirms The Indus Valley Civilisation As Vedic, The Script Of Indus Valley Civilisation-11: Daksha (Soma) Yaaga-The Vedic Eucharist -In The Indus Script , The Script Of Indus Valley Civilisation-12: Dāśarājñá And Dasaratha In The Indus Script, The Script Of Indus Valley Civilisation-13:The Silver Palm Seals Are Rosetta Stones Of The Indus Script , Vedic And Sumerian Linguistic Evidences For The Language Of Harappa, The Script Of Indus Valley Civilisation-14:The Difference Of Meluhha And Mlecca, The Script Of Indus Valley Civilisation-15:The Shift Of The Capital Of The Vrishnis From Mathura( Kalibangan) To Dvaraka( Mohenjodaro) - I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people, places and gods etc. My perception is that only a comprehensive study of ancient vedic metrology can decipher the script symbols satisfactorily. A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging the common perception of its origin from the later Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka/soma/agni.Signs of intersecting circles, fish , crab,bud,tower etc. also indicate pala.The six locks of hair indicate the paNameTa weight of six barley grains.Roots and nuts indicate viira bhadra/ Drupada/ varaha/pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts. We have confirmed Mohenjodaro as the first Dvaraka on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the indications of the Harappan jar symbol with three forks on each edge.We have located the Kasyapas in Hastinapura trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located the Asvins,Yama and Skanda in the Indus script.In A Model For Indus Script Decipherment we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script. We have seen how Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money. We have looked for and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form. We have gone into the relation of the Druids to the Indus valley civilisation and the role of their Gundestrup cauldron in the evolution of Christianity. We have explored the relation of the Anau seal to the Indus Valley Civilisation. We have gone into the relationship of the Egyptian and Harappan deities. We have looked into a beautiful story from the New Testament invoving the vedic soma sacrifice in A Veiled Visvamitra Soma Sacrifice In The New Testament. We have studied the indications of some of the Indus script symbols with particular reference to their use on ancient coins of India . We have looked into symbolism of the overflowing vase on the Sumerian statue of Gudea and through it we identified the indications of several Indus symbols including the Harischandra vaajapeya sacrifice. We have seen how the Harappan glyphs served as goodluck symbols . The identification of the right vedic soma has two important aspects:First, it ends the long quest for the mysterious soma. Second,it confirms the Indus valley civilisation as vedic ,beyond any doubt. We have studied the vedic Daksha Yaaga and its relation to the soma yaaga.Also we have located Dāśarājñá and Dasaratha in the Indus seals. We have explored the application of the palm seals as further rosetta stones of the Indus script . We have looked into the claim of mlecca as the language of the Indus valley civilation and concluded that Bharata,not mlecca, was the language of the Indus valley civilisation. We have gone into the shift of the vedic Yadava clans from the Ghaggar-Hakra to the Sarasvati(Sindhu) basin. In this article we are confirming the river Sindhu as the vedic river Sarasvati.
--Artha, ‘wealth’ creation activities of Vedic Sarasvati civilization explain Bharata-Nation’s wealth in 1 CE ca. 34% of Global Gross Domestic Product (GDP) A dramatic, historic example -- a Golden Page in the Story of Civilizations -- of Bharata-Nation’s wealth in 4th cent. BCE is seen in a painting in Steel Authority of India Institute in Ranchi. The painting narrates Purushottama presenting an ukku (ಉಕ್ಕುKannada ఉక్కు Telugu) sword to Alexander on the banks of River Jhelum, before the defeated warrior’s return to Mesopotamia. The steel sword made of crucible steel was the hallmark of Bharata’s excellence in metallurgical expertise. In the background of the painting are seen Bharata’s artificers, metalworkers at work in a smithy-forge. ఉక్కు ukku ukku. [Tel.] n. Steel. Strength, courage, pride, vigour, potency. అయస్సారము, బలము, శౌర్యము. Steadiness. స్థైర్యము. తెలగ ఉక్కు. A very tough sort of steel. R. v. 197. ఉక్కు తీగె ukku-tīge. n. Steel wire. ఉక్కుతునక or ఉక్కుముక్క ukku-tunaka. n. A bit of steel, a brave, sharp or active man. ఉక్కు ముఖి ukku-mukhi. n. The crimson crested barbet, or coppersmith bird, Xantholaema haemaxtocephala. (F.B.I.) ఉక్కుసున్నము ukku-sunnamu. n. Ashes of calcined iron, scoriæ calx. Sarasvati Civilization (also called Harappa or Indus Valley Civilization) evolved on the banks of Vedic River Sarasvati in the Sapta-Sindhu region. Material artifacts of the civilization are reported from archaeological explorations which have evidenced over 2000 archaeological sites (80% of the total 2600+ sites of Harappa or Indus Valley Civilization). These 2000+ sites of Sarasvati Valley account for the substantial artha ‘wealth’ of the civilization since artificers and seafaring merchants from these sites engaged in long-distance trade of Bronze Age resources and products. Hundreds of sites which have been excavated and scores of sites for which detailed excavation reports have been published evidence wealth-creation activities of the artisans and merchants of the civilization. Matching these artifacts (including over 8000 Harappa Script inscriptions which are metalwork catalogues) with the wealth-creation activities detaled in the ancient texts of the Veda dated to ca. 10,000 years Before Present, a vivid picture emerges about the contributions made by the artisans, artificers, workers and traders of the civilization to the wealth of nations along the Maritime Tin Route from Hanoi to Haifa. Artha, ‘wealth’ of Vedic Sarasvati civilization in 1 CE is directly and substantially related to the Bronze Age Tin Bronze Revolution in Bharata (India, Vedic rāṣṭram) and long-distance trade which stretched along the Maritime Tin Route from Hanoi (Vietnam) to Haifa (Israel). सोमःसंस्था reported by Valmiki as बहुसुवर्णक, bahusuvarṇaka is the economic institutional framework which explains the principal wealth-creation activities of brahma-somāraṇya documented by Kautilya in 4th cent. BCE. Cultural Itihāsa of Bhārata is narrated in exquisite detail and splendour on data archives of ancient sculptural and writing system traditions, starting from the days of Veda and Harappa Script. These data archives provide information on the wealth of rāṣṭram of Vedic times, ca. 8th millennium BCE which resulted in the status of Bharata as the richest nation on the globe accounting for 33.9% of Global Gross Domestic Product in 1 CE. Bronze Age Revolution alone of arts, crafts, technological excellence and work ethos of the people organized in corporate form of श्रेणि 'guild', explains the wealth of the nation (which according to Angus Maddison was close to 33.9% of world GDP in 1 CE). The full history of the processes leading to the creating the wealth of Bharatam has to be told. A first step has been taken, deciphering the 7000+ inscriptions of the civilization dated from ca. 4th millennium BCE [the early writing system is established by the discovery of a potsherd with Harappa script discovered by Harvard HARP archaeology team (signifying tin smithy) is dated to ca. 3300 BCE]. A synonym for pyrites is: madhu dhātu. A knowledge system of metallurgical processes or madhu-vidyā or pravargya vidyā related to such ores are narrated in the Veda. Data archives documenting these processes are found in Harappa Script hypertexts and in Yajñavarāha metaphors in Veda texts and sacred Yajñavarāha sculptures with iconographic details as hypertexts. The discovery of yajñakundas in many sites and the stellar evidence of Binjor yajñakunda with octagonal pillar and Seal with Harappa Script attesting to metalwork of the Bronze Age affirm the civilization as a continuum of Vedic cultura, Soma SamsthA. It is thus apposite to designate the civilization as Vedic Sarasvati Civilization with roots traceable to ca. 8th millennium (evidenced by the Bhirrana archaeological site with carbon-14 dates confirmed between ca. 7570 BCE to 6200 BCE). Executive summary of सोमःसंस्था, brahma-somāraṇya (reported by Kautilya, 4th cent. BCE) Work and striving result in creation of wealth from earth’s resources and endowed faculties of the अर्थिन् a. one who longs for or strives to get wealth or gain any object. अर्थार्थी जीवलोको$यम् । आर्तो जिज्ञासुरर्थार्थी Bg.7.16. यजस् n. Ved. Worship; इन्द्राग्नी यजसा गिरा Rv. 8.4.4. Hence, yajña is performance of worship. The governing principle, dharma is: work is worship, which is a prayer to the paramaatman who has endowed the people with competence to relate to environmental phenomena and earth’s resources. The ancient people of Bharata who participated in the processes of creation of wealth from Vedic times and during the Bronze Age Tin Bronze Revolution have left for us the legacy of yajña and a writing system called mlecchita vikalpa, ‘Meluhha cipher.’ These resources constitute a framework of ‘wealth’ as posited in the following sections in a pilgrim’s journey from Being to Becoming: 1. Ancient Veda tradition, cultural, economic history सोमःसंस्था, brahma-somāraṇya, yūpa, yajñasya ketu 2. Archaeological evidence of Binjor अष्टाश्रि यूप in yajñakuṇḍa, 2500 BCE 3. Metonymy -- hypertexts in Harappa Script of Bronze Age 4. Metonymy --Vedic Yajñavarāha metaphors in Veda texts, in sculptures/hypertexts of Veda/Harappa Script tradition Section 1. ancient Veda tradition, cultural, economic history सोमःसंस्था, brahma-somāraṇya, yūpa, yajñasya ketu As Narahari Achar has demonstrated, सोमःसंस्था to process soma, is the central yajña in all four Veda-s and that the 191 suktas of Mandala 1 and 10 of Rgveda lay out the plan for the performance of Somayajña. (BN Narahari Achar, Somayajña and the structure of Rgveda, 2016). sōmḥ सोमःसंस्था a form of the Soma-yAga; (these are seven अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय). agniSToma, atyagniSToma, ukthya, Soḍaśin, atirātra, aptoryāma and vājapeya. संस्था ‘occupation, business , profession.‘ Manasataramgini has shown that all the mandala-s of Rigveda are tightly networked and integrated with the central सोमःसंस्था and hence, the somayajña tradition described in the Rigveda is a definitive sacred text which dates to the time when Vedavyasa compiled the Samhita. It will thus be erroneous to interpret the Samhita text as a layered document, over an extended period of time. The dates of Rishis who are mantra-drashTa-s of specific sukta-s (sets of Rca-s) can be reckoned by astronomical evidences recorded in ancient texts. There are three groups of yajña s, depending on the type of offering made to fire in the sacred prayer: (a) haviryajña (b) pākayajña and (c) somayajña. Each of these in turn consists of seven subgroups of yajñas The haviryajña group offering consists of “havis”, such as milk, clarified butter, food- grains, etc. Pākayajña material offerings include cooked food-grains. somayajña s in which the offering is the juice of the crushed soma plant made to the deity soma, are further divided into (i) aikāha those that are completed in one single day (ii) ahīna, those that require from two to twelve days for completion (iii) satra, those that require more than twelve days. The somayāga ceremony is the holiest ritual, which symbolically transforms the earthly yajamāna into a celestial one.

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Walking the Worlds: A Biannual Journal of Polytheism and Spiritwork
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The culture and beliefs of Aryan peoples
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