Mirror: http://tinyurl.com/h24ueao
चषालः caṣāla on Yupa, made of wheat straw, an Indus Script hieroglyph, signifies pyrolysis/carburization in smelting ores into steel/hard alloys
Yupa is a kunda, a pillar of bricks. This kunda signifies a fire-alter or agnikunda in Vedic tradition. A signifier of the pillar is a चषालः caṣāla as its top piece. This चषालः caṣāla (Rigveda) is made of wheat straw for pyrolysis to convert firewood into coke to react with ore to create hard alloys, e.g. iron reacting with coke to create crucible steel or carburization of wrought iron in a crucible to produce steel. See: https://en.wikipedia.org/wiki/Crucible_steel
The sacredness associated with चषालः caṣāla is demonstrated by the architectural splendour of ancient varaha sculptures in the Hindu tradition. On the varaha monolith in Khajuraho, the चषालः caṣāla is signified by Devi Sarasvati. On many other sculptures of varaha, the चषालः caṣāla is associated with Mother Earth भूदेवी bhudevi. A gallery of varaha sculptural splendour is embedded together with explanatory notes on the dcipherment of metal work catalogue in a Rakhigarhi seal with a rhinoceros decorated with a scarf (dhatu 'scarf' rebus: dhatu 'ore').
The Indus Script hieroglyphic hypertexts get expanded into metaphors during the historical periods narrating Varaha as the third Avatara of Vishnu. In archaeometallurgical parlance, the चषालः caṣāla is the core pyrolysis process to create crucible steel and/or hard alloys in smelting processes.
See the yupa as a signifier on Kuwait gold disc with Indus Script hieroglyphs:
![]()
Hieroglyph: kunda = a pillar of bricks (Ka.); pillar, post (Tu.Te.); block, log (Malt.); kantu = pillar, post (Ta.)(DEDR 1723).
Rebus: kun.d. = a pit (Santali) kun.d.amu = a pit for receiving and preserving consecrated fire; a hole in the ground (Te.) kun.d.am, kun.d.a sacrificial fire
pit (Skt.) kun.d.a an altar on which sacrifices are made (G.)[i] gun.d.amu fire-pit; (Inscr.)
See: http://bharatkalyan97.blogspot.in/2016/01/octagonal-yupo-bhavati-satapatha.html चषालः caṣāla is made of wheat straw according to Satapatha Brāhmana.
http://www.sanskritdictionary.com/agnir/961/6#sthash.aDu8onbZ.dpuf
"Pyrolysis has been used since ancient times for turning wood into charcoal on an industrial scale...Pyrolysis is used on a massive scale to turn coal into
coke for metallurgy, especially steelmaking."
https://en.wikipedia.org/wiki/Pyrolysis In archaeometallurgical terms, the use of wheat straw to prepare the चषालः caṣāla fixed atop a Yupa may relate to such pyrolysis process to convert charcoal used in the fire-altar (furnace) into charcoal/coke to react with the dhAtu in the earth subjected to smelting/melting process (e.g. iron reacting with coke in a crucible to be transmuted as steel).
చషాలము [ caṣālamu ] chashālamu. [Skt.] n. A chalice, or cup used in sacrifice. A ring attached to the sacrificial post in a horse sacrifice.రాజ మాయము నందు యూపస్తంభమునకు అడుగున తగిలించే కడియము .څليَ ṯs̱alaey, s.m. (1st) A ring for the finger. 2. A pillar of mud or stones as a mark for land. 3. A butt or mark for arrows. 4. A mound or platform for watching a field. 5. A temporary building or shed. Pl. يِ ī. See منا (Pashto)
चषाल [p= 391,2]mn. (g. अर्धर्चा*दि) a wooden ring on the top of a sacrificial post RV. i , 162 , 6 TS. vi Ka1t2h.xxvi , 4 (चशाल) S3Br. &c चषालः caṣālḥचषालः 1 A wooden ring on the top of a sacrificial post; चषालं ये अश्वयूपाय तक्षति Rv.1.162.6; चषालयूपत- च्छन्नो हिरण्यरशनं विभुः Bhāg.4.19.19.-2 An iron ring at the base of the post.-3 A hive.
In lokokti, the yupa is associated with potaraju. The word pota signifies casting or smelting of metal.
పోతురాజు or పోతరాజు pōtu-rāḍsu. n. The name of a rustic god, like Pan, worshipped throughout the Telugu, Canarese and Mahratta countries. He represents the male principle associated with the village goddesses Gangamma, Peddamma, &c. A proverb says పాడుఊరికి మంచపుకోడుపోతురాజు in a ruined village the leg of a cot is a god. cf., 'a Triton of the minnows' (Shakespeare.) పోత [ pōta ] pōta. [Tel. from పోయు .] n. Pouring, పోయుట . Casting, as of melted metal. Bathing, washing. Eruption of the small pox. ఆకుపోత putting plants into the ground. పెట్టుపోతలు శాశ్వతములుకావు meat and drink (literally, feeding and bathing) are not matters of eternal consequence. పోత pōta. adj. Molten, cast in metal. పోతచెంబు a metal bottle or jug, which has been cast not hammered.
పోతము [ pōtamu ] pōtamu. [Skt.] n. A vessel, boat, ship.ఓడ . The young of any animal. పిల్ల. శిశువు . An elephant ten years old, పదేండ్ల యేనుగు . A cloth,వస్త్రము. శుకపోతము a young parrot. వాతపోతము a young breeze, i.e., a light wind. పోతపాత్రిక pōta-pātrika. n. A vessel, a ship, ఓడ . "సంసార సాగరమతుల ధైర్యపోత పాత్రికనిస్తరింపుముకు మార ." M. XII. vi. 222. పోతవణిక్కు or పోతవణిజుడు pōta-vaṇikku. n. A sea-faring merchant. ఓడను కేవుకు పుచ్చుకొన్నవాడు, ఓడ బేరగాడు . పోతవహుడు or పోతనాహుడు pōta-vahuḍu. n. A rower, a boatman, a steersman. ఓడనడుపువాడు, తండేలు .
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"Lord Vishnu appeared in the form of a Boar in order to defeat Hiranyaksha, a demon who had taken the Earth (Prithvi) and carried it to the bottom of what is described as the cosmic ocean in the story. The battle between Varaha and Hiranyaksha is believed to have lasted for a thousand years, which the former finally won. Varaha carried the Earth out of the ocean between his tusks and restored it to its place in the universe. Vishnu married Prithvi (Bhudevi) in this avatar.The Varaha Purana is a Purana in which the form of narration is a recitation by Varaha."
https://en.wikipedia.org/wiki/Varaha_Temple,_Khajuraho
वराह [p= 923,2]m. (derivation doubtful) a boar , hog , pig , wild boar RV. &c (ifc. it denotes , " superiority , pre-eminence " ; » g.व्याघ्रा*दि)N. of विष्णु in his third or boar-incarnation (cf. वराहा*वतार) TA1r. MBh. &c
वराह an array of troops in the form of a boar Mn. vii , 187 வராகம்² varākam
கட்டிவராகன் kaṭṭi-varākaṉ, n. < கெட்டி +. A gold coin, the varākaṉ. கட்டிலோ மெத் தையோ கட்டிவராகனோ. (குற்றா. குற.).கருக்குவராகன் karukku-varākaṉ, n. < id. +. New pagoda coin on which the figures are well defined; புதுநாணயம். (W .)தங்கவராகன் taṅka-varākaṉ, n. < தங்கம் +. Pagoda, a gold coin = 3½ rupees; 3½ ரூபாய் பெறுமான வராகன் என்னும் நாணயம்.வராகன்¹ varākaṉ, n. < Varāha. 1. Viṣṇu, in His boar-incarnation; வராகரூபியான திருமால். (பிங்.) 2. Pagoda, a gold coin = 3½ rupees, as bearing the image of a boar; மூன்றரை ரூபாய் மதிப்ள்ளதும் பன்றிமுத்திரை கொண்டதுமான ஒரு வகைப் பொன்நாணயம். (அரு. நி.)
See: http://bharatkalyan97.blogspot.in/2011/07/devi-sarasvati-in-hindu-civilization.html
The Varaha shrine, built on a lofty plinth, is essentially similar in design to the Lalguan Mahadeva Temple, but is simpler and more modest. It is an oblong pavilion with a pyramidal roof of receding tiers, resting on fourteen plain pillars and enshrines a colossal monolithic (2.6 m long and 1.7 high) image of Yajna Varaha (incarnation of Vishnu) which is exquisitely finished to a glossy luster and is carved all over with multiple figures of gods and goddesses. The flat ceiling of the shrine is carved with a lotus flower of exquisite design in relief. The shrine built entirely of sandstone is assignable to circa 900-925. http://asibhopal.nic.in/monument/chhatarpur_khajuraho_varahatemple.html#
Sarasvati with veena in her hands is shown on the चषाल 'snout (of boar).'
चषालः caṣāla on Yupa, made of wheat straw, an Indus Script hieroglyph, signifies pyrolysis/carburization in smelting ores into steel/hard alloys
Yupa is a kunda, a pillar of bricks. This kunda signifies a fire-alter or agnikunda in Vedic tradition. A signifier of the pillar is a चषालः caṣāla as its top piece. This चषालः caṣāla (Rigveda) is made of wheat straw for pyrolysis to convert firewood into coke to react with ore to create hard alloys, e.g. iron reacting with coke to create crucible steel or carburization of wrought iron in a crucible to produce steel. See: https://en.wikipedia.org/wiki/Crucible_steel
The sacredness associated with चषालः caṣāla is demonstrated by the architectural splendour of ancient varaha sculptures in the Hindu tradition. On the varaha monolith in Khajuraho, the चषालः caṣāla is signified by Devi Sarasvati. On many other sculptures of varaha, the चषालः caṣāla is associated with Mother Earth भूदेवी bhudevi. A gallery of varaha sculptural splendour is embedded together with explanatory notes on the dcipherment of metal work catalogue in a Rakhigarhi seal with a rhinoceros decorated with a scarf (dhatu 'scarf' rebus: dhatu 'ore').
The Indus Script hieroglyphic hypertexts get expanded into metaphors during the historical periods narrating Varaha as the third Avatara of Vishnu. In archaeometallurgical parlance, the चषालः caṣāla is the core pyrolysis process to create crucible steel and/or hard alloys in smelting processes.
See the yupa as a signifier on Kuwait gold disc with Indus Script hieroglyphs:
Hieroglyph: kunda = a pillar of bricks (Ka.); pillar, post (Tu.Te.); block, log (Malt.); kantu = pillar, post (Ta.)(DEDR 1723).
Rebus: kun.d. = a pit (Santali) kun.d.amu = a pit for receiving and preserving consecrated fire; a hole in the ground (Te.) kun.d.am, kun.d.a sacrificial fire
pit (Skt.) kun.d.a an altar on which sacrifices are made (G.)[i] gun.d.amu fire-pit; (Inscr.)
See: http://bharatkalyan97.blogspot.in/2016/01/octagonal-yupo-bhavati-satapatha.html चषालः caṣāla is made of wheat straw according to Satapatha Brāhmana.
caṣāla चषाल This is a Rigveda word which signifies the top-piece of the Yūpa. 1.162.01 Let neither Mitra nor Varun.a, Aryaman, A_yu, Indra, R.bhuks.in,nor the Maruts, censure us; when we proclaim in the sacrifice the virtus of the swift horse sprung from the gods. [a_yu = va_yu (a_yuh satataganta_ va_yuh, vaka_ralopo va_); r.bhuks.in = Indra; but,here Praja_pati, he in whom the r.bhus,or the devas, abide (ks.iyanti); sprung from the gods: devaja-tasya = born as the type of various divinities, who are identified with different parts (e.g. us.a_ va_ as'vasya medhyasya s'irah: Br.hada_ran.yaka Upanis.ad 1.1.1); legend: the horse's origin from the sun, either direct, or through the agency of the Vasus: sura_d as'vam vasavo niratas.t.a]. 1.162.02 When they, (the priests), bring the prepared offering to the presence (of the horse), who has been bathed and decorated with rich (trappings), the various-coloured goat going before him, bleating, becomes an acceptable offering to Indra and Pu_s.an. [The prepared offering: ra_tim-gr.bhi_ta_m = lit. the seized wealth; the offering to be made for the horse; pu_s.an = Agni; the goat is to be tied to the front of the horse at the sacrificial post, such a goat, black-necked, kr.s.nagri_va (a_gneyah kr.s.n.agri_vah: Taittiri_ya Sam.hita_ 5.5.22), being always regarded as an a_gneya pas'u, or victim sacred to Agni, and to be offered to him (Ka_tya_yana Su_tra 98). A black goat is also dedicated to pu_s.an, along with soma (Yajus. xxix.58; but, he is also to be attached to the na_bhi or middle of the horse (Yajus. xxiv.1)]. 1.162.03 This goat, the portion of Pu+s.an fit for all the gods, is brought first with the fleet courser, to that Tvas.t.a_ may prepare him along with the horse, as an acceptable preliminary offering for the (sacrificial) food. [The portion of Pu_s.an: he is to be offered in sacrifice to Pu_s.an or Agni; Tvas.t.a_ = sarvasyotpa_daka, the producer of all forms; tvas.t.a_ ru_pa_n.i vikaroti (Taittiri_ya Sam.hita_ 1.5.92); or, identified wiith Agni;preliminary offering purod.a_s'am = offering of cakes and butter; purasta_d-da_tavyam, that which is to be first offered]. 1.162.04 When the priests at the season (of the ceremony), lead forth the horse, the offering devoted to the gods, thrice round (the sacrificial fire); then the goat, the portion of Pu_s.an, goes first, announcing the sacrificer to the gods. [The goat is to be first immolated]. 1.162.05 The invoker of the gods, the minister of the rite, the offerer of the oblation, the kindler of the fire, the bruiser of the Soma, the director of the ceremony, the saage (superintendent of the whole); do you replenish the rivers by this well-ordered, well-conducted, sacrifice. [The invoker of the gods: designations applied to eight of the sixteen priests employed at a solemn rite: the two first are: hota_ and adhvaryu; avaya_j = pratiprastha_ta_, who brings and places the offering; agnimindha = agni_dh, the kindler of the fire; gra_vagra_bha = the praiser of the stones that bruise the Soma,or he who applies the stones to that purpose; s'am.sta_ = pras'a_sta_; suvipra = Brahma_ (brahmaiko ja_te ja_te vidya_m vadatibrahma_ sarvavidyah sarva veditumarhati: Nirukta 1.8); replenish the rivers: vaks.an.a_ apr.n.adhvam, nadi_h pu_rayata, fill the rivers; the consequence of sacrifice being rain and fertility; or, it may mean, offer rivers of butter, milk, curds, and the like]. 1.162.06 Whether they be those who cut the (sacrificial) post, or those who bear the post, or those who fasten the rings on the top of the post, to which the horse (is bound); or those who prepare the vessels in which the food of the horse is dressed; let the exertions of them all fulfil our expectation. [The post: twenty-one posts, of different kinds of wood, each twenty-one cubits long, are to be set up, to which the different animals are to be fastened, amounting to three hundred and forty-nine, besides two hundred and sixty wild animals, making a total of six hundred and nine (Ka_tya_yana); the text seems to refer to a single post: cas.a_lam ye as'vayu_pa_ya taks.ati: cas.a_la = a wooden ring, or bracelet, on the top of the sacrificial post; or, it was perhaps a metal ring at the foot of the post]. Satapatha Brāhmana describes this as made of wheaten dough (gaudhūma). गौधूम [p= 369,3] mf(ई g. बिल्वा*दि)n. made of wheat MaitrS. i Hcat. i , 7 (f(आ).) made of wheat straw S3Br. v , 2 , 1 , 6 Ka1tyS3r. xiv , 1 , 22 and 5 , 7. |
"Pyrolysis has been used since ancient times for turning wood into charcoal on an industrial scale...Pyrolysis is used on a massive scale to turn coal into
coke for metallurgy, especially steelmaking."
https://en.wikipedia.org/wiki/Pyrolysis In archaeometallurgical terms, the use of wheat straw to prepare the चषालः caṣāla fixed atop a Yupa may relate to such pyrolysis process to convert charcoal used in the fire-altar (furnace) into charcoal/coke to react with the dhAtu in the earth subjected to smelting/melting process (e.g. iron reacting with coke in a crucible to be transmuted as steel).
చషాలము [ caṣālamu ] chashālamu. [Skt.] n. A chalice, or cup used in sacrifice. A ring attached to the sacrificial post in a horse sacrifice.
चषाल [p= 391,2]mn. (g. अर्धर्चा*दि) a wooden ring on the top of a sacrificial post RV. i , 162 , 6 TS. vi Ka1t2h.xxvi , 4 (चशाल) S3Br. &c चषालः caṣālḥचषालः 1 A wooden ring on the top of a sacrificial post; चषालं ये अश्वयूपाय तक्षति Rv.1.162.6; चषालयूपत- च्छन्नो हिरण्यरशनं विभुः Bhāg.4.19.19.-2 An iron ring at the base of the post.-3 A hive.
In lokokti, the yupa is associated with potaraju. The word pota signifies casting or smelting of metal.
పోతము [ pōtamu ] pōtamu. [Skt.] n. A vessel, boat, ship.
Shapes of Yupa: A. Commemorative stone yupa, Isapur – from Vogel, 1910-11, plate 23; drawing based on Vedic texts – from Madeleine Biardeau, 1988, 108, fig. 1; cf. 1989, fig. 2); C. Miniature wooden yupa and caSAla from Vaidika Samsodana Mandala Museum of Vedic sacrificial utensils – from Dharmadhikari 1989, 70) (After Fig. 5 in Alf Hiltebeitel, 1988, The Cult of Draupadi, Vol. 2, Univ. of Chicago Press, p.22)
https://en.wikipedia.org/wiki/Varaha_Temple,_Khajuraho
वराह [p= 923,2]m. (derivation doubtful) a boar , hog , pig , wild boar RV. &c (ifc. it denotes , " superiority , pre-eminence " ; » g.व्याघ्रा*दि)N. of विष्णु in his third or boar-incarnation (cf. वराहा*वतार) TA1r. MBh. &c
वराह an array of troops in the form of a boar Mn. vii , 187 வராகம்² varākam
, n. < varāka. Battle; போர். (யாழ். அக.)
See: http://bharatkalyan97.blogspot.in/2011/07/devi-sarasvati-in-hindu-civilization.html
The Varaha shrine, built on a lofty plinth, is essentially similar in design to the Lalguan Mahadeva Temple, but is simpler and more modest. It is an oblong pavilion with a pyramidal roof of receding tiers, resting on fourteen plain pillars and enshrines a colossal monolithic (2.6 m long and 1.7 high) image of Yajna Varaha (incarnation of Vishnu) which is exquisitely finished to a glossy luster and is carved all over with multiple figures of gods and goddesses. The flat ceiling of the shrine is carved with a lotus flower of exquisite design in relief. The shrine built entirely of sandstone is assignable to circa 900-925. http://asibhopal.nic.in/monument/chhatarpur_khajuraho_varahatemple.html#
Sarasvati with veena in her hands is shown on the चषाल 'snout (of boar).'
Devi Sarasvati: in Hindu civilization. Sarasvati on the lip (snout) of a Varaha monolithic sculpture.
Devi Sarasvati
Why is Sarasvati shown on the upper lip (snout) of Varaha? Varaha is the 3rd avatar of Vishnu, rescuing the earth and the Vedas from the pralayam. Sarasvati on the lip of Varaha is a metaphor for Vaak and Vedas (Knowledge).
Varaha is Veda purusha, the avatar who ensured the continued prevalence of the Knowledge embodied in the Vedas.
Shaft-hole axe head with bird-headed demon, boar, and dragon.Bronze Age, ca. late 3rd–early 2nd millennium B.C.,Bactria-Margiana metmuseum.orgSee: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html
The pattern of double-heading in artistic representation and duplication of signs or glyphs (e.g. two bulls facing each other) in an inscription have been explained in decoded Indus script as connoting dula 'pair'; rebus: dul 'casting (metal)'. If the eagle is read rebus using a lexems of Indian linguistic area to connote pajhar 'eagle' (rebus: pasra 'smithy'), the double-headed eagle can be read as: dul pajhar = metal casting smithy. The body of a person ligatured to the double-headed eagle can denote the smith whose metalworking trade is related to casting of metals.
See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html
See: http://bharatkalyan97.blogspot.in/2015/06/tvastr-is-is-taksa-engrave-cire-perdue.html
Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E.
L. 12.68 cm. Ceremonial Axe Baktria,Northern Afghanistan http://www.lessingimages.com/search.asp?a=L&lc=202020207EE6&ln=Collection+George+Ortiz%2C+Geneva%2C+Switzerland&p=1 "The whole cast by the lost wax process. The boar covered with a sheet of gold annealed and hammered on, some 3/10-6/10 mm in thickness, almost all the joins covered up with silver. At the base of the mane between the shoulders an oval motif with irregular indents. The lion and the boar hammered, elaborately chased and polished. A shaft opening - 22 holes around its edge laced with gold wire some 7/10-8/10 mm in diameter - centred under the lion's shoulder; between these a hole (diam: some 6.5 mm) front and back for insertion of a dowel to hold the shaft in place, both now missing.Condition: a flattening blow to the boar's backside where the tail curled out and another to the hair between the front of his ears, his spine worn with traces of slight hatching still visible, a slight flattening and wear to his left tusk and lower left hind leg. A flattening and wear to the left side of the lion's face, ear, cheek, eye, nose and jaw and a flattening blow to the whole right forepaw and paw. Nicks to the lion's tail. The surface with traces of silver chloride under the lion's stomach and around the shaft opening." https://www.flickr.com/photos/antiquitiesproject/4616778973
Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7 in). Weight: 675.5 g (23.82 oz). British Museum.ME 123268 (1913,0314.11913,0314.1) R. Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia Institute, NS I (1987), pp. 17-26
Curator's comments: See RL file 6616 (29/6/1995); also Research Lab file 4992 of 12/09/1983 where XRF analysis of surface indicates composition as tin bronze with approx 10% tin and traces of arsenic, nickel, silver and lead. Dalton's inclusion in the 'Catalogue of the Oxus Treasure' among a small group of comparative items has unfortunately led to recurrent confusion over the date and provenance of this piece. It was first believed to be Achaemenid in date (Dalton, 'Catalogue of the Oxus Treasure', p. 48), labelled as such in 1975 in the former Iranian Room and thus suggested to be an Achaemenid scabbard chape (P R S Moorey CORRES 1975, based on an example said to have been excavated by P. Bernard at Ai Khanoum or seen by him in Kabul Bazaar, cf. P. Bernard CORRES 1976). It has also been assigned a 4th-5th century AD Sasanian date (P. Amiet, 1967, in 'Revue du Louvre' 17, pp. 281-82). However, its considerably earlier - late 3rd mill. BC Bronze Age - date has now been clearly demonstrated following the discovery of large numbers of objects of related form in south-east Iran and Bactria, and it has since been recognised and/or cited as such, for instance by H. Pittmann (hence archaeometallurgical analysis in 1983; R. Maxwell-Hyslop, 1988a, "British Museum axe no. 123628: a Bactrian bronze", 'Bulletin of the Asia Institute' 1 (NS), pp. 17-26; F. Hiebert & C.C. Lamberg-Karlovsky 1992a, "Central Asia and the Indo-Iranian Borderlands",' Iran' 30, p. 5; B. Brentjes, 1991a, "Ein tierkampfszene in bronze", 'Archäologische Mitteilungen aus Iran' 24 (NS), p. 1, taf. 1).
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=367862&partId=1
Site Name: KhajurahoMonument: Varaha Mandir
Subject of Photo: Varaha
Locator Info. of Photo: SE of Laksmana temple courtyard
Photo Orientation: overview from SW looking NE
Iconography: Varaha
Dynasty/Period: Candella
Date: ca. latter half of the tenth century CE, 950 CE - 1000 CE
Material: stone
Architecture: structural
Along with various divinities, shown on the body of Viṣṇu's Varāhāvatara, third among incarnations, Sarasvatī figures appropriately on the mouth of Varāha Boar's monolithic image at Khajurāho (10th cent.)
Contemplating on pan-Indian tendencies of making images of Sarasvatī in the Hindu, Buddhist and Jaina pantheons, Catherine Ludvik, with her extensive researches on the theme[*], suggests two possibilities of Sarasvatī's feminine form : 1. the Mahābhārata narrative details, 2. Or, the other way around 'the female figure of Sarasvatī in the epic (Mahābhārata) might conceivably have been inspired from already existing, but no longer extant or known to be extant, representations of her' [Ludvik 107]. Thus the origin of Sarasvatī's iconographic conceptualization goes back to the third century bce. From then on gradually her human-like representations developed in the three different religions of the Hindu, Buddhist and Jain.
Vedābnāṁ mātaraṁ paśya matsthāṁ.
'Behold goddess Sarasvatī, the mother of Vedas enshrined in me' says Nārāyaṇa to Nārada [Vyasa's Mahābhārata, 12 : 326 : 5.]
Sarasvatīha vāgbhūtā śarīram te pravekṣyati
Sarasvatī enters the body as speech - [supra 12 : 306 : 6.]
jihvāyām vāk Sarasvatī
Sarasvatī dwells in the tongue [- ibid 12 : 231 : 8.].
devī jihvā sarasvatī
'goddess Sarasvatī is (your) tongue' says Bhīṣma, in veneration of Viṣṇu - [supra 6 : 61 : 56.].
parama jinendra-vāṇiye Sarasvatī
the supreme Lord Jina's preaching is Sarasvatī - [Pampa, Ādipurāṇa, 1-16.].
The Mahābhārata has referred to Sarasvatī as vāc [12 : 306 : 6] and vaṇī [3 : 132 : 2].
Besides, her beautiful form and lovely celestial body is lauded [3 : 184 : 18].
rūpaṁ ca te divyam atyanta kāntam
http://www.herenow4u.net/index.php?id=68838
Srimad Bhagavatam Canto 3 Chapter 18
Canto 3: The Status Quo Chapter 18: The Battle Between Lord Boar and the Demon Hiranyaksha
Bhaktivedanta VedaBase: Srimad Bhagavatam
SB 3.18.1: Maitreya continued: The proud and falsely glorious Daitya paid little heed to the words of Varuna. O dear Vidura, he learned from Narada the whereabouts of the Supreme Personality of Godhead and hurriedly betook himself to the depths of the ocean.
SB 3.18.2: He saw there the all-powerful Personality of Godhead in His boar incarnation, bearing the earth upward on the ends of His tusks and robbing him of his splendor with His reddish eyes. The demon laughed: Oh, an amphibious beast!
SB 3.18.3: The demon addressed the Lord: O best of the demigods, dressed in the form of a boar, just hear me. This earth is entrusted to us, the inhabitants of the lower regions, and You cannot take it from my presence and not be hurt by me.
SB 3.18.4: You rascal, You have been nourished by our enemies to kill us, and You have killed some demons by remaining invisible. O fool, Your power is only mystic, so today I shall enliven my kinsmen by killing You.
SB 3.18.5: The demon continued: When You fall dead with Your skull smashed by the mace hurled by my arms, the demigods and sages who offer You oblations and sacrifice in devotional service will also automatically cease to exist, like trees without roots.
SB 3.18.6: Although the Lord was pained by the shaftlike abusive words of the demon, He bore the pain. But seeing that the earth on the ends of His tusks was frightened, He rose out of the water just as an elephant emerges with its female companion when assailed by an alligator.
SB 3.18.7: The demon, who had golden hair on his head and fearful tusks, gave chase to the Lord while He was rising from the water, even as an alligator would chase an elephant. Roaring like thunder, he said: Are You not ashamed of running away before a challenging adversary? There is nothing reproachable for shameless creatures!
SB 3.18.8: The Lord placed the earth within His sight on the surface of the water and transferred to her His own energy in the form of the ability to float on the water. While the enemy stood looking on, Brahma, the creator of the universe, extolled the Lord, and the other demigods rained flowers on Him.
SB 3.18.9: The demon, who had a wealth of ornaments, bangles and beautiful golden armor on his body, chased the Lord from behind with a great mace. The Lord tolerated his piercing ill words, but in order to reply to him, He expressed His terrible anger.
SB 3.18.10: The Personality of Godhead said: Indeed, We are creatures of the jungle, and We are searching after hunting dogs like you. One who is freed from the entanglement of death has no fear from the loose talk in which you are indulging, for you are bound up by the laws of death.
SB 3.18.11: Certainly We have stolen the charge of the inhabitants of Rasatala and have lost all shame. Although bitten by your powerful mace, I shall stay here in the water for some time because, having created enmity with a powerful enemy, I now have no place to go.
SB 3.18.12: You are supposed to be the commander of many foot soldiers, and now you may take prompt steps to overthrow Us. Give up all your foolish talk and wipe out the cares of your kith and kin by slaying Us. One may be proud, yet he does not deserve a seat in an assembly if he fails to fulfill his promised word.
SB 3.18.13: Sri Maitreya said: The demon, being thus challenged by the Personality of Godhead, became angry and agitated, and he trembled in anger like a challenged cobra.
SB 3.18.14: Hissing indignantly, all his senses shaken by wrath, the demon quickly sprang upon the Lord and dealt Him a blow with his powerful mace.
SB 3.18.15: The Lord, however, by moving slightly aside, dodged the violent mace-blow aimed at His breast by the enemy, just as an accomplished yogi would elude death.
SB 3.18.16: The Personality of Godhead now exhibited His anger and rushed to meet the demon, who bit his lip in rage, took up his mace again and began to repeatedly brandish it about.
SB 3.18.17: Then with His mace the Lord struck the enemy on the right of his brow, but since the demon was expert in fighting, O gentle Vidura, he protected himself by a maneuver of his own mace.
SB 3.18.18: In this way, the demon Haryaksha and the Lord, the Personality of Godhead, struck each other with their huge maces, each enraged and seeking his own victory.
SB 3.18.19: There was keen rivalry between the two combatants; both had sustained injuries on their bodies from the blows of each other's pointed maces, and each grew more and more enraged at the smell of blood on his person. In their eagerness to win, they performed maneuvers of various kinds, and their contest looked like an encounter between two forceful bulls for the sake of a cow.
SB 3.18.20: O descendant of Kuru, Brahma, the most independent demigod of the universe, accompanied by his followers, came to see the terrible fight for the sake of the world between the demon and the Personality of Godhead, who appeared in the form of a boar.
SB 3.18.21: After arriving at the place of combat, Brahma, the leader of thousands of sages and transcendentalists, saw the demon, who had attained such unprecedented power that no one could fight with him. Brahma then addressed Narayana, who was assuming the form of a boar for the first time.
SB 3.18.22-23: Lord Brahma said: My dear Lord, this demon has proved to be a constant pinprick to the demigods, the brahmanas, the cows and innocent persons who are spotless and always dependent upon worshiping Your lotus feet. He has become a source of fear by unnecessarily harassing them. Since he has attained a boon from me, he has become a demon, always searching for a proper combatant, wandering all over the universe for this infamous purpose.
SB 3.18.24: Lord Brahma continued: My dear Lord, there is no need to play with this serpentine demon, who is always very skilled in conjuring tricks and is arrogant, self-sufficient and most wicked.
SB 3.18.25: Brahma continued: My dear Lord, You are infallible. Please kill this sinful demon before the demoniac hour arrives and he presents another formidable approach favorable to him. You can kill him by Your internal potency without doubt.
SB 3.18.26: My Lord, the darkest evening, which covers the world, is fast approaching. Since You are the Soul of all souls, kindly kill him and win victory for the demigods.
SB 3.18.27: The auspicious period known as abhijit, which is most opportune for victory, commenced at midday and has all but passed; therefore, in the interest of Your friends, please dispose of this formidable foe quickly.
SB 3.18.28: This demon, luckily for us, has come of his own accord to You, his death ordained by You; therefore, exhibiting Your ways, kill him in the duel and establish the worlds in peace.
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Varaha, rock carving from the early 5th century, in Udayagiri, Orissa, India. (Encyclopaedia Britannica).
Canto 3: The Status Quo Chapter 18: The Battle Between Lord Boar and the Demon Hiranyaksha
Bhaktivedanta VedaBase: Srimad Bhagavatam
SB 3.18.1: Maitreya continued: The proud and falsely glorious Daitya paid little heed to the words of Varuna. O dear Vidura, he learned from Narada the whereabouts of the Supreme Personality of Godhead and hurriedly betook himself to the depths of the ocean.
SB 3.18.2: He saw there the all-powerful Personality of Godhead in His boar incarnation, bearing the earth upward on the ends of His tusks and robbing him of his splendor with His reddish eyes. The demon laughed: Oh, an amphibious beast!
SB 3.18.3: The demon addressed the Lord: O best of the demigods, dressed in the form of a boar, just hear me. This earth is entrusted to us, the inhabitants of the lower regions, and You cannot take it from my presence and not be hurt by me.
SB 3.18.4: You rascal, You have been nourished by our enemies to kill us, and You have killed some demons by remaining invisible. O fool, Your power is only mystic, so today I shall enliven my kinsmen by killing You.
SB 3.18.5: The demon continued: When You fall dead with Your skull smashed by the mace hurled by my arms, the demigods and sages who offer You oblations and sacrifice in devotional service will also automatically cease to exist, like trees without roots.
SB 3.18.6: Although the Lord was pained by the shaftlike abusive words of the demon, He bore the pain. But seeing that the earth on the ends of His tusks was frightened, He rose out of the water just as an elephant emerges with its female companion when assailed by an alligator.
SB 3.18.7: The demon, who had golden hair on his head and fearful tusks, gave chase to the Lord while He was rising from the water, even as an alligator would chase an elephant. Roaring like thunder, he said: Are You not ashamed of running away before a challenging adversary? There is nothing reproachable for shameless creatures!
SB 3.18.8: The Lord placed the earth within His sight on the surface of the water and transferred to her His own energy in the form of the ability to float on the water. While the enemy stood looking on, Brahma, the creator of the universe, extolled the Lord, and the other demigods rained flowers on Him.
SB 3.18.9: The demon, who had a wealth of ornaments, bangles and beautiful golden armor on his body, chased the Lord from behind with a great mace. The Lord tolerated his piercing ill words, but in order to reply to him, He expressed His terrible anger.
SB 3.18.10: The Personality of Godhead said: Indeed, We are creatures of the jungle, and We are searching after hunting dogs like you. One who is freed from the entanglement of death has no fear from the loose talk in which you are indulging, for you are bound up by the laws of death.
SB 3.18.11: Certainly We have stolen the charge of the inhabitants of Rasatala and have lost all shame. Although bitten by your powerful mace, I shall stay here in the water for some time because, having created enmity with a powerful enemy, I now have no place to go.
SB 3.18.12: You are supposed to be the commander of many foot soldiers, and now you may take prompt steps to overthrow Us. Give up all your foolish talk and wipe out the cares of your kith and kin by slaying Us. One may be proud, yet he does not deserve a seat in an assembly if he fails to fulfill his promised word.
SB 3.18.13: Sri Maitreya said: The demon, being thus challenged by the Personality of Godhead, became angry and agitated, and he trembled in anger like a challenged cobra.
SB 3.18.14: Hissing indignantly, all his senses shaken by wrath, the demon quickly sprang upon the Lord and dealt Him a blow with his powerful mace.
SB 3.18.15: The Lord, however, by moving slightly aside, dodged the violent mace-blow aimed at His breast by the enemy, just as an accomplished yogi would elude death.
SB 3.18.16: The Personality of Godhead now exhibited His anger and rushed to meet the demon, who bit his lip in rage, took up his mace again and began to repeatedly brandish it about.
SB 3.18.17: Then with His mace the Lord struck the enemy on the right of his brow, but since the demon was expert in fighting, O gentle Vidura, he protected himself by a maneuver of his own mace.
SB 3.18.18: In this way, the demon Haryaksha and the Lord, the Personality of Godhead, struck each other with their huge maces, each enraged and seeking his own victory.
SB 3.18.19: There was keen rivalry between the two combatants; both had sustained injuries on their bodies from the blows of each other's pointed maces, and each grew more and more enraged at the smell of blood on his person. In their eagerness to win, they performed maneuvers of various kinds, and their contest looked like an encounter between two forceful bulls for the sake of a cow.
SB 3.18.20: O descendant of Kuru, Brahma, the most independent demigod of the universe, accompanied by his followers, came to see the terrible fight for the sake of the world between the demon and the Personality of Godhead, who appeared in the form of a boar.
SB 3.18.21: After arriving at the place of combat, Brahma, the leader of thousands of sages and transcendentalists, saw the demon, who had attained such unprecedented power that no one could fight with him. Brahma then addressed Narayana, who was assuming the form of a boar for the first time.
SB 3.18.22-23: Lord Brahma said: My dear Lord, this demon has proved to be a constant pinprick to the demigods, the brahmanas, the cows and innocent persons who are spotless and always dependent upon worshiping Your lotus feet. He has become a source of fear by unnecessarily harassing them. Since he has attained a boon from me, he has become a demon, always searching for a proper combatant, wandering all over the universe for this infamous purpose.
SB 3.18.24: Lord Brahma continued: My dear Lord, there is no need to play with this serpentine demon, who is always very skilled in conjuring tricks and is arrogant, self-sufficient and most wicked.
SB 3.18.25: Brahma continued: My dear Lord, You are infallible. Please kill this sinful demon before the demoniac hour arrives and he presents another formidable approach favorable to him. You can kill him by Your internal potency without doubt.
SB 3.18.26: My Lord, the darkest evening, which covers the world, is fast approaching. Since You are the Soul of all souls, kindly kill him and win victory for the demigods.
SB 3.18.27: The auspicious period known as abhijit, which is most opportune for victory, commenced at midday and has all but passed; therefore, in the interest of Your friends, please dispose of this formidable foe quickly.
SB 3.18.28: This demon, luckily for us, has come of his own accord to You, his death ordained by You; therefore, exhibiting Your ways, kill him in the duel and establish the worlds in peace.
On the Rakhigarhi seal, a fine distinction is made between two orthographic options for signifying an arrow with fine pronunciation variants, to distinguish between an arrowhead and an arrow: kaNDa, kANDa. The word kANDa is used by Panini in an expression ayaskANDa to denote a quantity of iron, excellent iron (Pāṇ.gaṇ) i.e., metal (iron/copper alloy). This expression ayas+ kāṇḍa अयस्--काण्ड is signified by hieroglyphs: aya 'fish' PLUS kāṇḍa, 'arrow' as shown on Kalibangan Seal 032. An allograph for this hieroglyph 'arrowhead' is gaNDa 'four' (short strokes) as seen on Mohenjo-daro seal M1118.
Rebus: ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.)
Thus, the arrowhead is signified by the hieroglyph which distinguishes the arrowhead as a triangle attached to a reedpost or handle of tool/weapon.
As distinct from this orthographic representation of 'arrowhead' with a triangle PLUS attached linear stroke, an arrow is signified by an angle ^ (Caret; Circumflex accent; Up arrow) with a linear stroke ligatured, as in the Rakhigarhi seal. To reinforce the distinction between 'arrow' and 'arrowhead' in Indus Script orthography, a notch is added atop the tip of the circumflex accent. Both the hieroglyph-components are attested in Indian sprachbund with a variant pronunciation: khANDA. खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon) (Marathi)
It is thus clear that the morpheme kANDa denotes an arrowhead, while the ^ circumflex accent hieroglyph is intended to signify rebus: kāṇḍā 'edge of tool or weapon' or a sharp edged implement, like a sword. In Indian sprachbund, the word which denotes a sword is khaṁḍa -- m. ʻswordʼ(Prakritam).
In the hieroglyph-multiplex of Rakhigarhi seal inscription, the left and right parentheses are used as circumscript to provide phonetic determination of the gloss: khaṁḍa -- m. ʻswordʼ (Prakritam), while the ligaturing element of 'notch' is intended to signify खााडा [ kāṇḍā ] 'A jag, notch, or indentation (as upon the edge of a tool or weapon)' Rebus: kaNDa 'implements' (Santali). Thus, the hieroglyph-multiplex is read rebus as kaNDa 'implements' PLUS khaṁḍa ʻswordʼ. The supercargo is thus catalogued on the seal as: 1. arrowheads; 2. metal implements and ingots; 3. swords.
The hieroglyph 'rhinoceros is: kANDA rebus: kaNDa 'implements/weapons'.The entire inscription or metalwork catalogue message on Rakhigarhi seal can be deciphered:kaNDa 'implements/weapons' (Rhinoceros) PLUS खााडा [ kāṇḍā ] 'weapons' PLUS mūhā 'cast ingots'(Left and Right parentheses as split rhombus or ellipse).
Thus, the supercargo consignment documented by this metalwork catalogue on Rakhigarhi seal is: metal (alloy) swords, metal (alloy) implements, metal cast ingots.
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Rakhigarhi seal ![]()
Hieroglyph-multiplex on Rakhigarhi seal.![]()
M1118
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Kalibangan032 See: http://bharatkalyan97.blogspot.in/2015/08/supercaro-ingots-1-of-cast-metal-2-for.html
This monograph deciphers m1429 Prism tablet with Indus inscriptions on 3 sides. Three Sided Moulded Tablet with a boat and crocodile+fish Indus inscription Fired clay L.4.6 cm W. 1.2 cm Indus valley, Mohenjo-daro,MD 602, Harappan,ca 2600 -1900 BCE Islamabad Museum, Islamabad NMP 1384, Pakistan.![Image result for mohenjodaro boat seal]()
One side of a Mohenjo-daro tablet. ![]()
baTa 'quail' Rebus: bhaTa 'furnace' (i.e., supercargo out of furnace)
What was the cargo carried on the boat? I suggest that the cargo was Meluhha metalwork.
The shape of the pair of ingots on the boat (shown on the tablet) is comparable to following figures: 1. the ingot on which stands the Ingot-god (Enkomi); 2. Copper ingot from Zakros, Crete, displayed at the Heraklion Archaeological Museum But the script used on the tablet is NOT Cypro-Minoan or Cretan or Minoan but Meluhha:
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The shape of the pair of ingots on the boat (shown on the tablet) is comparable to following figures: 1. the ingot on which stands the Ingot-god (Enkomi); 2. Copper ingot from Zakros, Crete, displayed at the Heraklion Archaeological Museum But the script used on the tablet is NOT Cypro-Minoan or Cretan or Minoan but Meluhha: One side of a Mohenjo-daro prism tablet (Full decipherment of the three sided inscription is embedded). What was the cargo carried on the boat? I suggest that the cargo was Meluhha metalwork -- castings and hard copper alloy ingots. Together with the pair of aquatic birds, the metalwork is with hard alloys (of copper).
bagalo = an Arabian merchant vessel (Gujarati) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Kannada) Rebus: bangala = kumpaṭi = angāra śakaṭī = a chafing dish a portable stove a goldsmith’s portable furnace (Telugu) cf. bangaru bangaramu = gold (Telugu)![]()
karaṇḍa ‘duck’ (Sanskrit) karaṛa ‘a very large aquatic bird’ (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)
Side A: kāru a wild crocodile or alligator (Telugu) ghariyal id. (Hindi)kāru 'crocodile' (Telugu) கராம் karām, n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) కారుమొసలి a wild crocodile or alligator. (Telugu) Rebus: kāru ‘artisan’ (Marathi) kāruvu 'artisan' (Telugu) khār 'blacksmith' (Kashmiri)[fish = aya (G.); crocodile = kāru (Telugu)] Rebus: ayakāra ‘ironsmith’ (Pali)
khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.)
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Text 3246 (l., to r.)
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mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) karNika 'rim of jar' Rebus: karNI 'supercaro'
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dula 'pair' Rebus: dul 'cast metal' Thus the the pair of ellipses with an inscripted 'notch' hieroglyph component: dul mūhā 'cast ingot.
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karNika 'rim of jar' Rebus: karNI 'supercargo'kárṇa— m. ‘ear, handle of a vessel’ RV., ‘end, tip (?)’ RV. ii 34, 3. [Cf. *kāra—6] Pa. kaṇṇa— m. ‘ear, angle, tip’; Pk. kaṇṇa—, °aḍaya- m. ‘ear’, Gy. as. pal. eur. kan m., Ash. (Trumpp) karna NTS ii 261, Niṅg. kõmacr;, Woṭ. kanƏ, Tir. kana; Paš. kan, kaṇ(ḍ)— ‘orifice of ear’ IIFL iii 3, 93; Shum. kõmacr;ṛ ‘ear’, Woṭ. kan m., Kal. (LSI) kuṛõmacr;, rumb. kuŕũ, urt. kŕä̃ (< *kaṇ), Bshk. kan, Tor. k *l ṇ, Kand. kōṇi, Mai. kaṇa, ky. kān, Phal. kāṇ, Sh. gil. ko̯n pl. ko̯ṇí m. (→ Ḍ kon pl. k *l ṇa), koh. kuṇ, pales. kuāṇƏ, K. kan m., kash. pog. ḍoḍ. kann, S. kanu m., L. kann m., awāṇ. khet. kan, P. WPah. bhad. bhal. cam. kann m., Ku. gng. N. kān; A. kāṇ ‘ear, rim of vessel, edge of river’; B. kāṇ ‘ear’, Or. kāna, Mth. Bhoj. Aw. lakh. H. kān m., OMarw. kāna m., G. M. kān m., Ko. kānu m., Si. kaṇa, kana. — As adverb and postposition (ápi kárṇē ‘from behind’ RV., karṇē ‘aside’ Kālid.): Pa. kaṇṇē ‘at one's ear, in a whisper’; Wg. ken ‘to’ NTS ii 279; Tir. kõ; ‘on’ AO xii 181 with (?); Paš. kan ‘to’; K. kȧni with abl. ‘at, near, through’, kani with abl. or dat. ‘on’, kun with dat. ‘toward’; S. kani ‘near’, kanā̃ ‘from’; L. kan ‘toward’, kannũ ‘from’, kanne ‘with’, khet. kan, P. ḍog. kanē ‘with, near’; WPah. bhal. k *l ṇ, °ṇi, k e ṇ, °ṇi with obl. ‘with, near’, kiṇ, °ṇiā̃, k *l ṇiā̃, k e ṇ° with obl. ‘from’; Ku. kan ‘to, for’; N. kana ‘for, to, with’; H. kane, °ni, kan with ke ‘near’; OMarw. kanai ‘near’, kanā̃ sā ‘from near’, kā̃nı̄̃ ‘towards’; G. kan e ‘beside’. Addenda: kárṇa—: S.kcch. kann m. ‘ear’, WPah.kṭg. (kc.) kān, poet. kanṛu m. ‘ear’, kṭg. kanni f. ‘pounding—hole in barn floor’; J. kā'n m. ‘ear’, Garh. kān; Md. kan— in kan—fat ‘ear’ (CDIAL 2830)
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aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda)
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kolom 'thre' Rebus: kolami 'smithy, forge'
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kolami mūhā 'ingot (for)smithy,forge ingot'
Thus, the message of the text on the Mohenjo-daro prism tablet of a boat + crocodile + fish is: supercargo of kolami mūhā 'smithy,forge ingots' dul mūhā 'cast metal ingots'. The metal is sinified as ayas.
mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)![]()
Maysar c.2200 BCE Packed copper ingots. The shape of the ingots is an 'equilateral lump a little pointed at each of four ends' -- like an ellipse or rhombus. See:
See: http://nautarch.tamu.edu/pdf-files/JonesM-MA2007.pdf Michael Rice Jones' thesis of 2007 on the importance of Maysar for copper production.
An ingot may be signified by an ellipse or parenthesis of a rhombus. It may also be signified by an allograph: human face.
Hieroglyph: mũhe ‘face’ (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron(Santali) Rebus: mūhā 'ingot'; Compound formation: mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali)
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Santali glossesWilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
— Slavic glosses for 'copper'
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
A lexicon suggests the semantics of Panini's compound अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)( Pa1n2. 8-3 , 48)(Monier-Williams).
From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in Samskritam should have referred to 'implements'. Indus Script hieroglyphs as hypertext components to signify kANDa 'implements' are: kANTa, 'overflowing water' kANDa, 'arrow' gaNDa, 'four short circumscript strokes''rhonoceros'.
On the Rakhigarhi seal, a fine distinction is made between two orthographic options for signifying an arrow with fine pronunciation variants, to distinguish between an arrowhead and an arrow: kaNDa, kANDa. The word kANDa is used by Panini in an expression ayaskANDa to denote a quantity of iron, excellent iron (Pāṇ.gaṇ) i.e., metal (iron/copper alloy). This expression ayas+ kāṇḍa अयस्--काण्ड is signified by hieroglyphs: aya 'fish' PLUS kāṇḍa, 'arrow' as shown on Kalibangan Seal 032. An allograph for this hieroglyph 'arrowhead' is gaNDa 'four' (short strokes) as seen on Mohenjo-daro seal M1118.
Rebus: ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ) aya = iron (G.); ayah, ayas = metal (Skt.)
Thus, the arrowhead is signified by the hieroglyph which distinguishes the arrowhead as a triangle attached to a reedpost or handle of tool/weapon.
As distinct from this orthographic representation of 'arrowhead' with a triangle PLUS attached linear stroke, an arrow is signified by an angle ^ (Caret; Circumflex accent; Up arrow) with a linear stroke ligatured, as in the Rakhigarhi seal. To reinforce the distinction between 'arrow' and 'arrowhead' in Indus Script orthography, a notch is added atop the tip of the circumflex accent. Both the hieroglyph-components are attested in Indian sprachbund with a variant pronunciation: khANDA. खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon) (Marathi)
It is thus clear that the morpheme kANDa denotes an arrowhead, while the ^ circumflex accent hieroglyph is intended to signify rebus: kāṇḍā 'edge of tool or weapon' or a sharp edged implement, like a sword. In Indian sprachbund, the word which denotes a sword is khaṁḍa -- m. ʻswordʼ(Prakritam).
In the hieroglyph-multiplex of Rakhigarhi seal inscription, the left and right parentheses are used as circumscript to provide phonetic determination of the gloss: khaṁḍa -- m. ʻswordʼ (Prakritam), while the ligaturing element of 'notch' is intended to signify खााडा [ kāṇḍā ] 'A jag, notch, or indentation (as upon the edge of a tool or weapon)' Rebus: kaNDa 'implements' (Santali).
Thus, the hieroglyph-multiplex is read rebus as kaNDa 'implements' PLUS khaṁḍa ʻswordʼ. The supercargo is thus catalogued on the seal as: 1. arrowheads; 2. metal implements and ingots; 3. swords.
The hieroglyph 'rhinoceros is: kANDA rebus: kaNDa 'implements/weapons'.
The entire inscription or metalwork catalogue message on Rakhigarhi seal can be deciphered:
kaNDa 'implements/weapons' (Rhinoceros) PLUS खााडा [ kāṇḍā ] 'weapons' PLUS mūhā 'cast ingots'(Left and Right parentheses as split rhombus or ellipse).
Thus, the supercargo consignment documented by this metalwork catalogue on Rakhigarhi seal is: metal (alloy) swords, metal (alloy) implements, metal cast ingots.
Rakhigarhi seal 
Hieroglyph-multiplex on Rakhigarhi seal.
Kalibangan032 See: http://bharatkalyan97.blogspot.in/2015/08/supercaro-ingots-1-of-cast-metal-2-for.html
This monograph deciphers m1429 Prism tablet with Indus inscriptions on 3 sides. Three Sided Moulded Tablet with a boat and crocodile+fish Indus inscription Fired clay L.4.6 cm W. 1.2 cm Indus valley, Mohenjo-daro,MD 602, Harappan,ca 2600 -1900 BCE Islamabad Museum, Islamabad NMP 1384, Pakistan.
One side of a Mohenjo-daro tablet. 
baTa 'quail' Rebus: bhaTa 'furnace' (i.e., supercargo out of furnace)What was the cargo carried on the boat? I suggest that the cargo was Meluhha metalwork.
The shape of the pair of ingots on the boat (shown on the tablet) is comparable to following figures: 1. the ingot on which stands the Ingot-god (Enkomi); 2. Copper ingot from Zakros, Crete, displayed at the Heraklion Archaeological Museum But the script used on the tablet is NOT Cypro-Minoan or Cretan or Minoan but Meluhha:
The shape of the pair of ingots on the boat (shown on the tablet) is comparable to following figures: 1. the ingot on which stands the Ingot-god (Enkomi); 2. Copper ingot from Zakros, Crete, displayed at the Heraklion Archaeological Museum But the script used on the tablet is NOT Cypro-Minoan or Cretan or Minoan but Meluhha: One side of a Mohenjo-daro prism tablet (Full decipherment of the three sided inscription is embedded). What was the cargo carried on the boat? I suggest that the cargo was Meluhha metalwork -- castings and hard copper alloy ingots. Together with the pair of aquatic birds, the metalwork is with hard alloys (of copper).
bagalo = an Arabian merchant vessel (Gujarati) bagala = an Arab boat of a particular description (Ka.); bagalā (M.); bagarige, bagarage = a kind of vessel (Kannada) Rebus: bangala = kumpaṭi = angāra śakaṭī = a chafing dish a portable stove a goldsmith’s portable furnace (Telugu) cf. bangaru bangaramu = gold (Telugu)![]()
karaṇḍa ‘duck’ (Sanskrit) karaṛa ‘a very large aquatic bird’ (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)
Side A: kāru a wild crocodile or alligator (Telugu) ghariyal id. (Hindi)
kāru 'crocodile' (Telugu) கராம் karām, n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) కారుమొసలి a wild crocodile or alligator. (Telugu) Rebus: kāru ‘artisan’ (Marathi) kāruvu 'artisan' (Telugu) khār 'blacksmith' (Kashmiri)
[fish = aya (G.); crocodile = kāru (Telugu)] Rebus: ayakāra ‘ironsmith’ (Pali)
khār 1 खार् । लोहकारः m. (sg. abl. khāra 1 खार; the pl. dat. of this word is khāran 1 खारन्, which is to be distinguished from khāran 2, q.v., s.v.), a blacksmith, an iron worker (cf. bandūka-khār, p. 111b, l. 46; K.Pr. 46; H. xi, 17); a farrier (El.)
Text 3246 (l., to r.) 
mēd ‘body’ (Kur.)(DEDR 5099); meḍ ‘iron’ (Ho.) karNika 'rim of jar' Rebus: karNI 'supercaro'
dula 'pair' Rebus: dul 'cast metal' Thus the the pair of ellipses with an inscripted 'notch' hieroglyph component: dul mūhā 'cast ingot. 
karNika 'rim of jar' Rebus: karNI 'supercargo'kárṇa— m. ‘ear, handle of a vessel’ RV., ‘end, tip (?)’ RV. ii 34, 3. [Cf. *kāra—6] Pa. kaṇṇa— m. ‘ear, angle, tip’; Pk. kaṇṇa—, °aḍaya- m. ‘ear’, Gy. as. pal. eur. kan m., Ash. (Trumpp) karna NTS ii 261, Niṅg. kõmacr;, Woṭ. kanƏ, Tir. kana; Paš. kan, kaṇ(ḍ)— ‘orifice of ear’ IIFL iii 3, 93; Shum. kõmacr;ṛ ‘ear’, Woṭ. kan m., Kal. (LSI) kuṛõmacr;, rumb. kuŕũ, urt. kŕä̃ (< *kaṇ), Bshk. kan, Tor. k *l ṇ, Kand. kōṇi, Mai. kaṇa, ky. kān, Phal. kāṇ, Sh. gil. ko̯n pl. ko̯ṇí m. (→ Ḍ kon pl. k *l ṇa), koh. kuṇ, pales. kuāṇƏ, K. kan m., kash. pog. ḍoḍ. kann, S. kanu m., L. kann m., awāṇ. khet. kan, P. WPah. bhad. bhal. cam. kann m., Ku. gng. N. kān; A. kāṇ ‘ear, rim of vessel, edge of river’; B. kāṇ ‘ear’, Or. kāna, Mth. Bhoj. Aw. lakh. H. kān m., OMarw. kāna m., G. M. kān m., Ko. kānu m., Si. kaṇa, kana. — As adverb and postposition (ápi kárṇē ‘from behind’ RV., karṇē ‘aside’ Kālid.): Pa. kaṇṇē ‘at one's ear, in a whisper’; Wg. ken ‘to’ NTS ii 279; Tir. kõ; ‘on’ AO xii 181 with (?); Paš. kan ‘to’; K. kȧni with abl. ‘at, near, through’, kani with abl. or dat. ‘on’, kun with dat. ‘toward’; S. kani ‘near’, kanā̃ ‘from’; L. kan ‘toward’, kannũ ‘from’, kanne ‘with’, khet. kan, P. ḍog. kanē ‘with, near’; WPah. bhal. k *l ṇ, °ṇi, k e ṇ, °ṇi with obl. ‘with, near’, kiṇ, °ṇiā̃, k *l ṇiā̃, k e ṇ° with obl. ‘from’; Ku. kan ‘to, for’; N. kana ‘for, to, with’; H. kane, °ni, kan with ke ‘near’; OMarw. kanai ‘near’, kanā̃ sā ‘from near’, kā̃nı̄̃ ‘towards’; G. kan e ‘beside’. Addenda: kárṇa—: S.kcch. kann m. ‘ear’, WPah.kṭg. (kc.) kān, poet. kanṛu m. ‘ear’, kṭg. kanni f. ‘pounding—hole in barn floor’; J. kā'n m. ‘ear’, Garh. kān; Md. kan— in kan—fat ‘ear’ (CDIAL 2830)
aya 'fish' Rebus: aya 'iron' (Gujarati); ayas 'metal' (Rigveda)
kolom 'thre' Rebus: kolami 'smithy, forge'
kolami mūhā 'ingot (for)smithy,forge ingot'Thus, the message of the text on the Mohenjo-daro prism tablet of a boat + crocodile + fish is: supercargo of kolami mūhā 'smithy,forge ingots' dul mūhā 'cast metal ingots'. The metal is sinified as ayas.
mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.)
mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends (Santali)
Maysar c.2200 BCE Packed copper ingots. The shape of the ingots is an 'equilateral lump a little pointed at each of four ends' -- like an ellipse or rhombus. See:
See: http://nautarch.tamu.edu/pdf-files/JonesM-MA2007.pdf Michael Rice Jones' thesis of 2007 on the importance of Maysar for copper production.
An ingot may be signified by an ellipse or parenthesis of a rhombus. It may also be signified by an allograph: human face.
Hieroglyph: mũhe ‘face’ (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron(Santali) Rebus: mūhā 'ingot'; Compound formation: mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali)
Santali glossesWilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)
— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
Miedź, med' (Northern Slavic, Altaic) 'copper'.
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
A lexicon suggests the semantics of Panini's compound अयस्--काण्ड [p= 85,1] m. n. " a quantity of iron " or " excellent iron " , (g. कस्का*दि q.v.)( Pa1n2. 8-3 , 48)(Monier-Williams).
From the example of a compound gloss in Santali, I suggest that the suffix -kANDa in Samskritam should have referred to 'implements'. Indus Script hieroglyphs as hypertext components to signify kANDa 'implements' are: kANTa, 'overflowing water' kANDa, 'arrow' gaNDa, 'four short circumscript strokes''rhonoceros'.
Hieroglyph: gaṇḍá4 m. ʻ rhinoceros ʼ lex., °aka -- m. lex. 2. *ga- yaṇḍa -- . [Prob. of same non -- Aryan origin as khaḍgá -- 1 : cf. gaṇōtsāha -- m. lex. as a Sanskritized form ← Mu. PMWS 138]1. Pa. gaṇḍaka -- m., Pk. gaṁḍaya -- m., A. gãr, Or. gaṇḍā.2. K. gö̃ḍ m.,S. geṇḍo m. (lw. with g -- ), P. gaĩḍā m., °ḍī f., N. gaĩṛo, H. gaĩṛā m., G. gẽḍɔ m., °ḍī f., M. gẽḍā m.Addenda: gaṇḍa -- 4 . 2. *gayaṇḍa -- : WPah.kṭg. ge ṇḍɔ mi rg m. ʻ rhinoceros ʼ, Md. genḍā ← (CDIAL 4000) காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros;
கல்யானை. খাঁড়া (p. 0277) [ khān̐ḍ়ā ] n a large falchion used in immolat ing beasts; a large falchion; a scimitar; the horny appendage on the nose of the rhinoceros.গণ্ডক (p. 0293) [ gaṇḍaka ] n the rhinoceros; an obstacle; a unit of counting in fours; a river of that name.গন্ডার (p. 0296) [ ganḍāra ] n the rhinoceros.(Bengali. Samsad-Bengali-English Dictionary) गेंडा [ gēṇḍā ] m (
Rebus: *gaṇḍāsi ʻ sugarcane knife ʼ. [gaṇḍa -- 2 , así -- ]Bi. gãṛās, °sā ʻ fodder cutter ʼ, °sī ʻ its blade ʼ; Bhoj. gãṛās ʻ a partic. iron instrument ʼ; H. gãṛāsī f., °sā m. ʻ knife for cutting fodder or sugarcane ʼ (→ P. gãḍāsā m. ʻ chopper for cutting fodder &c. ʼ).(CDIAL 4004) gaṇḍa2 m. ʻ joint of plant ʼ lex., gaṇḍi -- m. ʻ trunk of tree from root to branches ʼ lex. 2. *gēṇḍa -- . 3. *gēḍḍa -- 2 . 4. *gēḍa -- 1 . [Cf. kāˊṇḍa -- : prob. ← Drav. DED 1619]
1. Pa. gaṇḍa -- m. ʻ stalk ʼ, °ḍī -- f. ʻ sugarcane joint, shaft or stalk used as a bar ʼ, Pk. gaṁḍa -- m., °ḍiyā -- f.; Kt. gäṇa ʻ stem ʼ; Paš. lauṛ. gaṇḍīˊ ʻ stem, stump of a tree, large roof beam ʼ (→ Par. gaṇḍāˊ ʻ stem ʼ, Orm. goṇ ʻ stick ʼ IIFL i 253, 395), gul. geṇḍū, nir. gaṇīˊ, kuṛ. gã̄ṛo; Kal. urt. gəṇ ʻ log (in a wall) ʼ, rumb. goṇ (st.gōṇḍ -- ) ʻ handle ʼ, guṇḍík ʻ stick ʼ; Kho. (Lor.) gon, gonu, (Morgenstierne) gɔ̄ˋn ʻ haft of axe, spade or knife ʼ (or <ghaná -- 2 ?); K. gonḍu , grọ̆nḍu m. ʻ great untrimmed log ʼ; S. ganu m.ʻ oar, haft of a tool ʼ, °no m. ʻ sweet stalks of millet ʼ; P. gannā m. ʻ sugarcane ʼ (→ H. gannā m.), Bi. gaṇḍā, H. gã̄ṛā m., M. gã̄ḍā m. -- Deriv. Pk. gaṁḍīrī -- f. ʻ sugarcane joint ʼ; Bhoj. gãṛērī ʻ small pieces of sugarcane ʼ; H. gãḍerī f. ʻ knot of sugarcane ʼ; G. gãḍerī f. ʻ piece of peeled sugarcane ʼ; -- Pk. gaṁḍalī -- ʻ sugarcane joint ʼ; Kal. rumb. gaṇḍau (st. °ḍāl -- ) ʻ ancestor image ʼ; S. g̠anaru m. ʻ stock of a vegetable run to seed ʼ.2. Ku. gino ʻ block, log ʼ; N. gĩṛ ʻ log ʼ, gĩṛo ʻ piece of sugarcane ʼ (whence gẽṛnu, gĩṛ° ʻ to cut in pieces ʼ); B. gẽṛ ʻ tuber ʼ; Mth. gẽṛī ʻ piece of sugarcane chopped ready for the mill ʼ.3. Pk. geḍḍī -- , giḍḍiā -- f. ʻ stick ʼ; P. geḍī f. ʻ stick used in a game ʼ, H. geṛī f. (or < 4).4. N. gir, girrā ʻ stick, esp. one used in a game ʼ, H. gerī f., geṛī f. (or < 3), G. geṛī f.*gaṇḍāsi -- ; *agragaṇḍa -- , *prāgragaṇḍa -- .Addenda: gaṇḍa -- 2 : S.kcch. gann m. ʻ handle ʼ; -- WPah.kṭg. gannɔ m. ʻ sugar -- cane ʼ; Md. gan̆ḍu ʻ piece, page, playing -- card ʼ.(CDIAL 3998)
1. Pa. gaṇḍa -- m. ʻ stalk ʼ, °ḍī -- f. ʻ sugarcane joint, shaft or stalk used as a bar ʼ, Pk. gaṁḍa -- m., °ḍiyā -- f.; Kt. gäṇa ʻ stem ʼ; Paš. lauṛ. gaṇḍīˊ ʻ stem, stump of a tree, large roof beam ʼ (→ Par. gaṇḍāˊ ʻ stem ʼ, Orm. goṇ ʻ stick ʼ IIFL i 253, 395), gul. geṇḍū, nir. gaṇīˊ, kuṛ. gã̄ṛo; Kal. urt. gəṇ ʻ log (in a wall) ʼ, rumb. goṇ (st.gōṇḍ -- ) ʻ handle ʼ, guṇḍík ʻ stick ʼ; Kho. (Lor.) gon, gonu, (Morgenstierne) gɔ̄ˋn ʻ haft of axe, spade or knife ʼ (or <
Rebus: kāˊṇḍa (kāṇḍá -- TS.) m.n. ʻ single joint of a plant ʼ AV., ʻ arrow ʼ MBh., ʻ cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). Pa. kaṇḍa -- m.n. ʻ joint of stalk, stalk, arrow, lump ʼ; Pk. kaṁḍa -- , °aya -- m.n. ʻ knot of bough, bough, stick ʼ; Ash. kaṇ ʻ arrow ʼ, Kt. kåṇ, Wg. kāṇ,, Pr.kə̃, Dm. kā̆n; Paš. lauṛ. kāṇḍ, kāṇ, ar. kōṇ, kuṛ. kō̃, dar. kã̄ṛ ʻ arrow ʼ, kã̄ṛī ʻ torch ʼ; Shum. kō̃ṛ, kō̃ ʻ arrow ʼ, Gaw. kāṇḍ, kāṇ; Bshk. kāˋ'nʻ arrow ʼ, Tor. kan m., Sv. kã̄ṛa, Phal. kōṇ, Sh. gil. kōn f. (→ Ḍ. kōn, pl. kāna f.), pales. kōṇ; K. kã̄ḍ m. ʻ stalk of a reed, straw ʼ (kān m. ʻ arrow ʼ ← Sh.?); S. kānu m. ʻ arrow ʼ, °no m. ʻ reed ʼ, °nī f. ʻ topmost joint of the reed Sara, reed pen, stalk, straw, porcupine's quill ʼ; L. kānã̄ m. ʻ stalk of the reed Sara ʼ, °nī˜ f. ʻ pen, small spear ʼ; P. kānnā m. ʻ the reed Saccharum munja, reed in a weaver's warp ʼ, kānī f. ʻ arrow ʼ; WPah. bhal. kān n. ʻ arrow ʼ, jaun. kã̄ḍ; N. kã̄ṛ ʻ arrow ʼ, °ṛo ʻ rafter ʼ; A. kã̄r ʻ arrow ʼ; B. kã̄ṛ ʻ arrow ʼ, °ṛā ʻ oil vessel made of bamboo joint, needle of bamboo for netting ʼ, kẽṛiyā ʻ wooden or earthen vessel for oil &c. ʼ; Or. kāṇḍa, kã̄ṛ ʻ stalk, arrow ʼ; Bi. kã̄ṛā ʻ stem of muñja grass (used for thatching) ʼ; Mth. kã̄ṛ ʻ stack of stalks of large millet ʼ, kã̄ṛī ʻ wooden milkpail ʼ; Bhoj. kaṇḍā ʻ reeds ʼ; H. kã̄ṛī f. ʻ rafter, yoke ʼ, kaṇḍā m. ʻ reed, bush ʼ (← EP.?); G. kã̄ḍ m. ʻ joint, bough, arrow ʼ, °ḍũ n. ʻ wrist ʼ, °ḍī f. ʻ joint, bough, arrow, lucifer match ʼ; M. kã̄ḍ n. ʻ trunk, stem ʼ, °ḍẽ n. ʻ joint, knot, stem, straw ʼ, °ḍī f. ʻ joint of sugarcane, shoot of root (of ginger, &c.) ʼ; Si. kaḍaya ʻ arrow ʼ. -- Deriv. A. kāriyāiba ʻ to shoot with an arrow ʼ.kāˊṇḍīra -- ; *kāṇḍakara -- , *kāṇḍārā -- ; *dēhīkāṇḍa -- Add.Addenda: kāˊṇḍa -- [< IE. *kondo -- , Gk. kondu/los ʻ knuckle ʼ, ko/ndos ʻ ankle ʼ T. Burrow BSOAS xxxviii 55]S.kcch. kāṇḍī f. ʻ lucifer match ʼ?kāṇḍakara 3024 *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1]L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.*kāṇḍārā ʻ bamboo -- goad ʼ. [kāˊṇḍa -- , āˊrā -- ]Mth. (ETirhut) kanār ʻ bamboo -- goad for young elephants ʼ kāˊṇḍīra ʻ armed with arrows ʼ Pāṇ., m. ʻ archer ʼ lex. [kāˊṇḍa -]H. kanīrā m. ʻ a caste (usu. of arrow -- makers) ʼ.(CDIAL 3024-3026)
An insight in the orthography of Indus Script hieroglyphs is the matching of orthographic components with the semantics of the message in Meluhha (Prakritam).
A unique example is the deployment of an ellipse (also as a rhombus or parenthesis) to signify the semantics of mūhā '(metal) ingot'. An allograph also signifies the semantics: mũhe ‘face’.
Semantics: mūhā mẽṛhẽt 'iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends.' Matching orthography of a rhombus or ellipse:
A Rakhigarhi seal presents an alternative orthographic representation of the 'split ellipse':
((
That this innovation signifies rebus kaNDa 'arrow' is reinforced by the phonetic determinant of 'arrow' used in the hieroglyph-multiplex, resulting in the new 'sign' shown below:
On this hieroglyph-multiplex, one parenthesis is FLIPPED to create a new circumgraph of two orthographic components:
Right parenthesis( Left parenthesis
Note: The splitting of the ellipse 'ingot' into Right and Left parethesis and flipping the left parenthesis (as a mirror image) may be an intention to denote cire perdue casting method used to produce the metal swords and implements.
An alternative hieroglyph is a rhombus or ellipse (created by merging the two forms: parnthesis PLUS fipped parenthesis) to signify an 'ingot': mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end (Munda).
This circumgraph of right-curving and left-curving parentheses encloses an 'arrow' hieroglyph PLUS a 'notch'.
Hieroglyph: kANDa 'arrow' Rebus: kaṇḍ '
This gloss is consistent with the Santali glosses including the word khanDa:
Hieroglyph: खााडा [ kāṇḍā ] m A jag, notch, or indentation (as upon the edge of a tool or weapon) (Marathi) Rebus: kāṇḍa 'tools, pots and pans and metal-ware' (
What the hieroglyph-multiplex seeks to convey is that the seal as a metalwork catalogue documents the process of making kāṇḍa 'metal implements' from the fire-altar kaND signified by the arrow AND circumfix of split parentheses with one parenthesis presented as a unique flipped configuration. Thus the hieroglyph-multiplex is an orthographic reinforcement of the two other hieroglyphs signified on the Rakhigarhi seal; the two other hieroglyphs are: kANDa 'rhinoceros'; kANDa 'arrow'. Thus, all the three signifiers on the Indus Script inscription of Rakhigarhi seal are a proclamation of the production of metal implements (from ingots). There is also a Meluhha (Prakritam) gloss khaṁḍa which means 'a sword'. It is possible that the concluding sign on the inscription read from left to right signifies 'sword'.
Thus, the Rakhigarhi seal inscription can be read in Prkritam: khaṁḍa 'sword' PLUS खााडा [ kāṇḍā ] 'metal implements', more specifically, recorded as a Santali compound expression:
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*khaṇḍaka3 ʻ sword ʼ. [Perh. of same non -- Aryan origin as khaḍgá -- 2 ]
Pk. khaṁḍa -- m. ʻ sword ʼ (→ Tam. kaṇṭam), Gy. SEeur. xai̦o, eur. xanro, xarno, xanlo, wel. xenlī f., S. khano m., P. khaṇḍā m., Ku. gng. khã̄ṛ, N. khã̄ṛo, khũṛo (Xchuri <kṣurá -- ); A. khāṇḍā ʻ heavy knife ʼ; B. khã̄rā ʻ large sacrificial knife ʼ; Or. khaṇḍā ʻ sword ʼ, H. khã̄ṛā, G. khã̄ḍũ n., M. khã̄ḍā m., Si. kaḍuva.(CDIAL 3793).
Pk. khaṁḍa -- m. ʻ sword ʼ (→ Tam. kaṇṭam), Gy. SEeur. xai̦o, eur. xanro, xarno, xanlo, wel. xenlī f., S. khano m., P. khaṇḍā m., Ku. gng. khã̄ṛ, N. khã̄ṛo, khũṛo (Xchuri <
Figure 4: (A) Seal RGR 7230 from Rakhigarhi. (B) The side of the seal where surface has partially worn away revealing the black steatite beneath. (C) A swan black steatite debris fragment from Harappa.
An ingot may be signified by an ellipse or parenthesis of a rhombus. It may also be signified by an allograph: human face.
Hieroglyph: mũhe ‘face’ (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; kolhe tehen me~ṛhe~t mūhā akata = the Kolhes have to-day produced pig iron (Santali) Rebus: mūhā 'ingot'; Compound formation: mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali)
See:Previous report http://asi.nic.in/pdf_data/rakhigarhi_excavation_report_new.pdf Excavations at Rakhigarhi 1997 to 2000 (Dr. Amarendranath)
Rakhigarhi seal with the carving of a tiger is reported by Prof. Shinde of Deccan College.Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that
of Santals’ (Santali) kol ‘working in iron’ (Tamil)
(Mleccha), a spoken, vernacular version of Vedic chandas. This may also be
called Proto-Prakritam, not unlike Ardhamaadhi identified by Jules Bloch in
his work: Formation of Marathi Language.
Source: http://www.frontline.in/arts-and-culture/heritage/harappan-surprises/article6032206.ece
See:
http://bharatkalyan97.blogspot.in/2015/05/what-did-harappans-eat-how-did-they.html
http://asi.nic.in/pdf_data/rakhigarhi_excavation_report_new.pdf
kuṭire bica duljad.ko talkena, they were feeding the furnace with ore. In this Santali sentence bica denotes the hematite ore. For example, samṛobica, 'stones containing gold' (Mundari) meṛed-bica 'iron stone-ore' ; bali-bica, iron sand ore (Munda). mẽṛhẽt, meḍ ‘iron’(Munda. Ho.)
Meluhha rebus representations are: bica ‘scorpion’ bica ‘stone ore’ (hematite).
pola (magnetite), gota (laterite), bichi (hematite). kuṇṭha munda (loha) a type of hard native metal, ferrous oxide.
See: http://bharatkalyan97.blogspot.in/2013/06/asur-metallurgists.html
See: http://bharatkalyan97.blogspot.in/2014/09/catalogs-of-pola-kuntha-gota-bichi.html#! Hieroglyph: pōḷī, ‘dewlap' पोळ [ pōḷa ] m A bull dedicated to the gods, marked with a trident and discus, and set at large (Marathi) Rebus: pola (magnetite)
ḍaṅgra 'bull' Rebus: ḍāṅgar, ḍhaṅgar ‘blacksmith’ (Hindi).
. See:http://bharatkalyan97.blogspot.com/2013/06/asur-metallurgists.html Magnetite a type of iron ore is called POLA by the Asur (Meluhha).
Reading the Indus writing inscriptions on both sides of bun-shaped lead ingots of Rakhigarhi
The Indus writing inscriptions relate to cataloging of metalwork as elaborated by the following rebus-metonymy cipher and readings in Meluhha (Indian sprachbund):
Hieroglyphs (from l.): body, linear stroke, notch, corner, U plus notch, rim of jarmeD 'body' kATi 'body stature' Rebus: meD 'iron' kATi 'fireplace trench'. Thus, iron smelter.
koDa 'one' Rebus: koD 'workshop'
kanac 'corner' Rebus: kancu 'bronze'
baTa 'rimless pot' Rebus: baTa 'furance'
kanka, karNika 'rim of jar' Rebus: karNi 'supercargo'; karNika 'account'.
Hieroglyphs: rhombus (as circumgraph) + spoked wheel PLUS a pair of 'bodies' (twins)A spoked wheel is ligatured within a rhombus: kanac 'corner' Rebus: kancu 'bronze'; eraka 'nave of wheel' Rebus: eraka 'copper, moltencast'
See many variants of 'body' hieroglyph and ligatures at
https://www.academia.edu/8408578/Stature_of_body_Meluhha_hieroglyphs_48_in_Indus_writing_catalogs_of_metalwork_processes
Figure 14: Side (A) and top (B) views of a lead ingot inscribed with Harappan characters. Detailed images of the top (C) and bottom (D) inscriptions.
Figure 1: Steatite sources of the Greater Indus region and Harappan steatite trade networks.
Figure 6: (A) Unicorn seal fragment #6304. (B) Detail of the grayish-green steatite of the seal's interior
Figure 9: Agate-carnelian nodule fragments and flakes from Rakhigarhi
Figure 18: Lead and silver artifacts from Rakhigarhi compared to South Asian lead and lead-silver sources.
http://bharatkalyan97.blogspot.in/2015/11/indus-script-dhatu-scarf-on-rhinoceros.html
L. mirhõ, °hũ, pl. °hẽ m. ʻ boar ʼ (mirhõ ʻ ravine deer ʼ for *mirũ < *mr̥garūpa -- ?).mr̥gá -- usu. is ʻ markhor ʼ in Dard. AO viii 306.Wg. mre č ʻ ibex ʼ
مته matœh, s.m. (6th) A wild boar. Sing. and Pl.See سډر and سرکوزي(Pashto)
10271 *mr̥gasūkara ʻ wild boar ʼ. [mr̥gá -- , sūkará -- ]L. mirhõ, °hũ, pl. °hẽ m. ʻ boar ʼ (mirhõ ʻ ravine deer ʼ for *mirũ < *mr̥garūpa -- ?).10272 *mr̥gahana2 ʻ act of hunting ʼ. [mr̥gá -- , hana -- ]Kal.rumb. mrū̃*l n ʻ shooting, hunting ʼ.10273 *mr̥gahanaka, mr̥gahan(a) -- m. ʻ hunter ʼ MBh. [mr̥gá -- , hana -- ]Tor. mīṅg ʻ leopard ʼ (rather than < mr̥gá -- ); S. muhāṇo m. ʻ one of a class of fishermen and boatmen ʼ, L. mohāṇā m., °ṇī f.10274 *mr̥gākāra ʻ shaped like a deer ʼ. [mr̥gá -- , ākāra -- ]Sh.pales. mayāˊro m. ʻ oorial ʼ, koh. mãyāˊro m. ʻ deer ʼ, gil. (Lor.) maiāro ʻ wild animal of goat or sheep type (including markhor, ibex and oorial) ʼ. -- Or < *mr̥gatara -- ʻ animal like a deer ʼ, for formation cf. aśvatará -- ʻ mule ʼ.10270 *mr̥garūpa ʻ animal ʼ. [mr̥gá -- , rūˊpa -- ]S. mirū̃ m. ʻ wild animal ʼ.mr̥gáśiras -- n. ʻ 3rd or 5th lunar mansion ʼ AV. [mr̥gá -- , śíras -- ]10264 mr̥gá m. ʻ wild animal, deer ʼ RV. 2. mr̥gī -- f. ʻ doe ʼ R. 3. *mr̥gā -- .1. Pa. maga -- , miga -- m. ʻ deer ʼ, Aś.shah. mruga -- , man. mriga -- , kāl. miga -- , gir. maga -- , NiDoc. mr̥ga, Dhp. mruya -- , muya -- , Pk. mia -- , maya -- m.; Tor. mīṅg ʻ leopard ʼ (but mr̥gá -- usu. is ʻ markhor ʼ in Dard. AO viii 306. -- Poss. < *mr̥gahanaka -- ); Phal. mriṅga -- čhōl ʻ markhor kid ʼ; Sh. brĭṅ m. ʻ bird ʼ NTS ii 269; WPah. bhal. mig, pl. miggã̄ n. ʻ wild goat ʼ (< *mirga -- < mr̥gá -- ?); Si. muvā, obl. pl. muvan ʻ deer ʼ, miyulā EGS 134.2. Pa. migī -- f. ʻ doe ʼ, Pk. migī -- , maī -- f.; Paš.kch. lē f. ʻ mountain goat ʼ, ar. bleaṭo ʻ ibex or markhor ʼ.3. Kal.rumb. mū̃ru ʻ female ibex ʼ; Kho. múru f. ʻ mountain goat ʼ.10265 *mr̥gacī ʻ small animal, bird ʼ. [mr̥gá -- ]Ash. niṅasäˊ ʻ bird, sparrow ʼ NTS ii 269, Wg. nĩgaċá, Kt. mŕəṅéċ (→ Wkh. miṅgás IIFL ii 529), Pr. nĩj̈e; -- Wg. mre č ʻ ibex ʼ, Pr. murčū NTS xvii 278.10267 *mr̥gadr̥ti ʻ deer -- skin ʼ. [mr̥gá -- , dŕ̊ti -- ]Kho. muriri ʻ ibex skin ʼ.(CDIAL)
See: காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros;
கல்யானை. The suffix -mṛga is cognate with mirhhẽ ʻboarʼ rebus: merhd 'iron ore',metallic (red) ore.
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Chola dynasty, around AD 900. British Museum Asia OA 1955.10-18.1 Ht. 138 cm. "The iconography is explained by a narrative of competition for status among the gods. Brahma and Vishnu were arguing over who was the most powerful, when a huge shaft of fire appeared between them, that appeared to have no top or bottom. They went to investigate. Vishnu in his boar incarnation dug down into the earth, seen at the base of the sculpture. Meanwhile, Brahma flew into the sky on his vehicle, the Hamsa bird, seen at the top. When neither could find either top or bottom they realized that the column of fire was more powerful than either of them. Its identity was revealed to them when Siva appeared out of the shaft, and they bowed down to Siva as the most powerful deity. Siva stands in an oval of flames wearing a tall crown and holding his distinctive attributes, the deer and axe. This image combines the aniconic form of Siva as a linga with the human image of the god with multiple arms, such as Nataraja or Dakshinamurti. Images of Lingodbhava are popular in Tamil Nadu and Shaiva temples normally have an image of this deity on the exterior of the rear or west wall of the main sanctum."
Dallas Museum of Art
Varaha Upanishad of Krishna Yajur Veda
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Varaha, sandstone, Sanchi
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Varaha, Udayagiri
Varaha
Gupta, Early 5th century AD
Cave 5, Udayagiri, Madhya Pradesh, India.This large (4m, or 13 feet, high) relief sculpture is one of the icons of Indian art. It is carved into a shallow niche and protected by an overhang, but is otherwise open to the outside, where there was originally a water tank.
The relief depicts Varaha, the boar incarnation of Vishnu, rescuing the Earth Goddess (Bhu Devi, also called Prithvi) from the engulfing Ocean. Varaha lifts Bhu Devi on his massive shoulder, his foot subduing a naga who folds his hands in submission and adoration, while gods and sages surround Varaha in recognition of the miracle. A circular lotus flower appears above the god's head.
Technically this image is called a nara-varaha, or man-boar, since it has a man's body and a boar's head. The relief may have a political meaning in addition to the mythological one; it is said to be an allegory of the unification of India under Chandragupta II.
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Khajuraho, świątynia Varaha (trzecie wcielenie boga Vishnu jako dzika).
Varaha Temple (the 3rd incarnation of Vishnu as boar).
Varaha
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Gupta, Early 5th century AD
Cave 5, Udayagiri, Madhya Pradesh, India.
This large (4m, or 13 feet, high) relief sculpture is one of the icons of Indian art. It is carved into a shallow niche and protected by an overhang, but is otherwise open to the outside, where there was originally a water tank.
The relief depicts Varaha, the boar incarnation of Vishnu, rescuing the Earth Goddess (Bhu Devi, also called Prithvi) from the engulfing Ocean. Varaha lifts Bhu Devi on his massive shoulder, his foot subduing a naga who folds his hands in submission and adoration, while gods and sages surround Varaha in recognition of the miracle. A circular lotus flower appears above the god's head.
Technically this image is called a nara-varaha, or man-boar, since it has a man's body and a boar's head. The relief may have a political meaning in addition to the mythological one; it is said to be an allegory of the unification of India under Chandragupta II.
Varaha
Gupta, Early 5th century AD
Cave 5, Udayagiri, Madhya Pradesh, India.
One of the many excellences of this relief is its appealing combination of power and tenderness. Varaha's massive body subdues the naga without crushing it, and uplifts the Earth goddess who affectionately clings to his muzzle.
The figure on a lotus pedestal, at the left side of the photo beside Varaha's leg, holds the stem of the lotus that appears above Varaha's head. Bhu Devi also is supported by a lotus plant.
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Sculpture of Varaha from Khajuraho
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Varaha Mandapam Mahabalipuram, Tamilnadu, India
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VISHNU VARAHA SAVING THE GODDESS EARTH FROM THE FLOOD, MANDAPA OF VARAHA 7TH CENTURY, MAMALLAPURAM, TAMIL NADU, INDIA
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Lord Varaha and Bhu devi
Udaygiri Caves, Madhya Pradesh, Gupta period
The Sampradaya Sun - Independent Vaisnava News - Feature Stories - February 2009: "Feb 05, CANADA (SUN) — February 6th is the auspicious Appearance Day of Lord Varaha, the Boar incarnation.
O Kesava! O Lord of the universe! O Lord Hari,
who have assumed the form of a boar! All
glories to You! The earth, which had become
merged in the Garbhodaka Ocean at the
bottom of the universe, sits fixed upon the tip of Your tusk like a spot upon the moon."
Sri Dasavatara Stotra, 3rd Sloka
Varaha in the Vedic Literature Lord Varaha is glorified in virtually all of the major Puranas (the Vedic histories), which describe His different descents over the ages. In this kalpa (day of Brahma), Lord Varaha appeared twice. The first time He appeared from Brahma's nostril with a white (sveta) complexion, and He saved the Earth after the previous devastation. Hence, He is called Sveta-Varaha and this kalpa is named after Him -- the Sveta-Varaha-kalpa.
Later He appeared in a dark color from the ocean to save the Earth after she had been violated by the demon Hiranyaksha. During this incarnation, LordVaraha reinstated the Earth in her proper orbit and killed the demon. The Varaha of the popular dasavatara ("the ten incarnations") refers to this, Lord Varaha's second appearance.
In addition to the Puranas, references abound in the Vedic literature. The most elaborate glorification of the Varaha-avatara occurs in Srimad Bhagavatam, wherein Srila Vyasadeva specifically glorifies the Lord's transcendental activities during His numerous descents in this world. These narrations culminate in the description of God's original form as Sri Krishna.
Following are the chapter titles (13-19) from the Srimad Bhagavatam, Third Canto dealing with Varaha-katha:
13. The Appearance of Lord Varaha
14. Pregnancy of Diti in the Evening
15. Description of the Kingdom of God
16. The Two Doorkeepers of Vaikuntha, Jaya and Vijaya, Cursed by the Sages
17. Victory of Hiranyaksha Over All the Directions of the Universe
18. The Battle Between Lord Boar and the Demon Hiranyaksha
19. The Killing of Hiranyaksha
"O expert and thoughtful men, relish the Srimad Bhagavatam, the mature fruit of the desire tree of Vedic literatures. It emanated from the lips of Sri Sukadeva Gosvami. Therefore this fruit has become even more tasteful, although its nectarean juice, was already relishable for all, including liberated souls."
Verses in Praise of Sri Varaha
When Lord Varaha appeared He declared: For the benefit of all, I shall bring back to her former place the earth, who has the girdle of the oceans, whose limbs are overrun by all kinds of creatures and who has disappeared. I shall kill the naughty Hiranyaksha, an offspring of Diti. (Mahabharata 12.236.71-73)
The supreme enjoyer of all sacrifices accepted the incarnation of a boar for the welfare of the earth. He lifted the earth from the nether regions of the universe. (Srimad Bhagavatam 1.3.7)
When the unlimitedly powerful Lord assumed the form of a boar as a pastime, just to life the planet earth which was drowned in the great ocean of the universe called Garbhodaka, the first demon (Hiranyaksa) appeared and the Lord pierced him with the tusk. (Srimad Bhagavatam 2.7.1)
When her child falls in a well, the mother because of excessive parental affection (vatsalya) jumps in and saves it. Similarly when earth (prthivi) was sinking in the underworld, the Lord took the form of a boar and in the twinkling of an eye dived in and brought her out. (Sri Pillan's Tiruvaymoli 7.5.5)
To rescue the earth He appeared during the Svayambhuva-manvantara, from Brahma's nostril, and during the Caksusa-manvantara, He appeared from the water. Lord Varaha, the best of tusked beasts, appears to kill Hiranyaksa and rescue the earth. Sometimes Varaha is a wild animal of the forest and sometimes He is a domestic animal. Sometimes He is dark as a raincloud and sometimes He is as white as the moon. In this way, smrti-sastra describes two gigantic forms of Lord Varaha, the form of Vedic sacrifices. Maitreya Muni described Lord Varaha's pastimes at two different times as if they happened at the same time. (Srila Rupa Gosvami's Laghu-bhagavatamrta 1.3.10-12,17)
O Keshava! O Lord of the universe! O Lord Hari, who have assumed the form of a boar! All glories to You! The earth, which had become immersed in the Garbhodaka Ocean at the bottom of the universe, sits fixed upon the tip of Your tusk like a spot upon the moon. (Sri Jayadeva's Dasavatara-stotra 3)
O Boar-bodied, foe of the demon (Hiranyaksha), holder of the earth (on the tip of the tusk), possessor of excellent limbs (serving as means of sacrifice), I salute You. (Sri Madhvacharya's Dvadasha-Stotra 4.4)
yad roma-randhra-paripurti-vidhav adaksa
varaha-janmani babhvur amI samudrah
tam nama natham aravinda-drzam yazodaa
pani-dvayantara-jalaih snapayam babhuva
"Although in His Varaha incarnation, many oceans could hardly even fill the Lord's hair follicles, Yashodamayi bathed that same lotus-eyed Lord (i.e, Shri Krishna) with just the water contained in her two joined palms." -- Krishna-karnamritam, 2.27
Varaha-tirthas
There are many places where Lord Varaha performed His transcendental pastimes here on this earth, including:
The Mahabharata 3.81.15 mentions a Varaha-tirtha in Haryana State where Lord Vishnu appeared as Varaha.
At the place known as Soronksetra Lord Varaha picked up the earth on His tusk. This place is located 100 km northeast of Mathura in the Etah district and was visited by Lord Chaitanya Mahaprabhu.
After killing the demon Hiranyakasipu, He rested at Vishrama-ghat in Mathura and spoke the Varaha Purana to Mother Earth.
In Ramana-reti (Vrindavana, Mathura District) is Varaha-ghat where Lord Krishna revealed His Varaha form to the gopis. The Bhakti-ratnakara (Fifth Wave) mentions a similar event having occurred in a village known as Varahara in Vrindavan.
Once when Lord Chaitanya Mahaprabhu visited His devotee Murari Gupta, He revealed His form as Lord Varaha in Navadvipa, West Bengal. (See Caitanya-bhagavata Madhya-khanda 3)
By visiting these holy places and remembering the Lord, one receives the blessings of Lord Varaha.
Source: Avatara.org
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Varaha Upanishad
Translated by K. Narayanasvami Aiyar
Om! May He protect us both together; may He nourish us both together; May we work conjointly with great energy, May our study be vigorous and effective; May we not mutually dispute (or may we not hate any).
Om! Let there be Peace in me! Let there be Peace in my environment! Let there be Peace in the forces that act on me!
CHAPTER I
The great sage Ribhu performed penance for twelve Deva (divine) years. At the end of the time, the Lord appeared before him in the form of a boar. He said: “Rise, rise and choose your boon”. The sage got up and having prostrated himself before him said: “O Lord, I will not, in my dream, wish of thee those things that are desired by the worldly. All the Vedas, Shastras, Itihasas and all the hosts of other sciences, as well as Brahma and all the other Devas, speak of emancipation as resulting from a knowledge of thy nature. So impart to me that science of Brahman which treats of thy nature.”
Then the boar-shaped Bhagavan (Lord) said:
1. Some disputants hold that there are twenty-four Tattvas (principles) and some thirty-six, whilst others maintain that there are ninety-six.
2. I shall relate them in their order. Listen with an attentive mind. The organs of sense are five, viz., ear, skin, eye and others.
3. The organs of action are five, viz., mouth, hand, leg and others. Pranas (vital airs) are five; sound and other (viz., rudimentary principles) are five.
4. Manas, Buddhi, Chitta and Ahankara are four; thus those that know Brahman know these to be the twenty-four Tattvas.
5. Besides these, the wise hold the quintuplicated elements to be five, viz., earth, water, fire, Vayu and Akasa;
6. The bodies to be three, viz., the gross, the subtle and the Karana or causal; the states of consciousness to be three, viz., the waking, the dreaming and the dreamless sleeping.
7-8. The Munis know the total collection of Tattvas to be thirty-six (coupled with Jiva). With these Tattvas, there are six changes, viz., existence, birth, growth, transformation, decay and destruction.
9. Hunger, thirst, grief, delusion, old age and death are said to be the six infirmities.
10. Skin, blood, flesh, fat, marrow and bones are said to be the six sheaths. Passion, anger, avarice, delusion, pride and malice are the six kinds of foes.
11. Vishva, Taijasa and Prajna are the three aspects of the Jiva. Sattva, Rajas and Tamas are the three Gunas (qualities).
12. Prarabdha, Sanchita and Agamin are the three Karmas. Talking, lifting, walking, excreting and enjoying are the five actions (of the organs of action);
13. And there are also thought, certainty, egoism, compassion, memory (functions of Manas, etc.,), complacency, sympathy and indifference;
14. Dik (the quarters), Vayu, Sun, Varuna, Ashvini Devas, Agni, Indra, Upendra and Mrityu (death); and then the moon, the four-faced Brahma, Rudra, Kshetrajna and Ishvara.
15-16. Thus these are the ninety-six Tattvas. Those that worship, with devotion, me of the form of boar, who am other than the aggregate of these Tattvas and am without decay are released from Ajnana and its effects and become Jivanmuktas.
17. Those that know these ninety-six Tattvas will attain salvation in whatever order of life they may be, whether they have matted hair or are of shaven head or have (only) their tuft of hair on. There is no doubt of this.”
Thus ends the first Chapter of Varaha Upanishad.
CHAPTER II
1. The great Ribhu (again) addressed the Lord of Lakshmi of the form of boar thus: “O Lord, please initiate me into the supreme Brahma-Vidya (or science).”
2-3. Then the Lord who removes the miseries of his devotees being thus questioned, answered thus: “Through (the right observance of) the duties of one’s own caste and orders of life, through religious austerities and through the pleasing of the Guru (by serving him rightly), arise to persons the four, Vairagya, etc. They are the discrimination of the eternal from the non-eternal; indifference to the enjoyments of this and the other worlds;
4-5(a). The acquisition of the six virtues, Sama, etc., and the longing after liberation. These should be practised. Having subdued the sensual organs and having given up the conception of ‘mine’ in all objects, you should place your consciousness of ‘I’ in (or identify yourself with) me, who am the witness Chaitanya (consciousness).
5(b)-7(a). To be born as a human being is difficult - more difficult it is to be born as a male being - and more so is it to be born as a Brahmana. Even then, if the fool does not cognise through the hearing, etc., of Vedanta, the true nature of the Sachchidananda (of Brahman) that is all-pervading and that is beyond all caste and orders of life, when will he obtain Moksha?
7(b)-8. I alone am happiness. There is none other. If there is said to be another, then it is not happiness. There is no such things as love, except on my account. The love that is on account of me is not natural to me. As I am the seat of supreme love, that ‘I am not’ is not.
9. He who is sought after by all, saying “I should become such”, is myself, the all-pervading. How can non-light affect Atman, the self-shining which is no other than the light whence originates the words ‘I am not light’.
10-12(a). My firm conviction is whoever knows for certain that (Atman) which is self-shining and has itself no basis (to rest upon), is one of Vijnana. The universe, Jiva, Ishvara, Maya and others do not really exist, except my full Atman.
12(b)-13(a). I have not their characteristics, Karma which has Dharana and other attributes and is of the form of darkness and Ajnana is not fit to touch (or affect) me, who am Atman, the self-resplendent.
13(b)-14(a). That man who sees (his) Atman which is all-witness and is beyond all caste and orders of life as of the nature of Brahman, becomes himself Brahman.
14(b)-15(a). Whoever sees, through the evidence of Vedanta, this visible universe as the Supreme Seat which is of the form of light, attains Moksha at once.
15(b)-16(a). When that knowledge which dispels the idea that this body (alone) is Atman, arises firmly in one’s mind as was before the knowledge that this body (alone) is Atman, then that person, even though he does not desire Moksha, gets it.
16(b)-17(a). Therefore how will a person be bound by Karma, who always enjoys the bliss of Brahman which has the characteristics of Sachchidananda and which is other than Ajnana ?
17(b)-18. Persons with spiritual eyes see Brahman, that is the witness of the three states that has the characteristics of be-ness, wisdom and bliss, that is the underlying meaning of the words ‘Thou’ (Tvam) and ‘I’ (Aham) and that is untouched by all the stains.
19. As a blind man does not see the sun that is shining, so an ignorant person does not see (Brahman). Prajnana alone is Brahman. It has truth and Prajnana as its characteristics.
20. By thus cognising Brahman well, a person becomes immortal. One who knows his own Atman as Brahman, that is bliss and without duality and Gunas (qualities) and that is truth and absolute consciousness is not afraid of anything.
21. That which is consciousness alone which is all-pervading, which is eternal, which is all-full, which is of the form of bliss and which is indestructible, is the only true Brahman.
22-23(a). It is the settled determination of Brahma-Jnanis that there is naught else but that. As the world appears dark to the blind and bright to those having good eyes, so this world full of manifold miseries to the ignorant is full of happiness to the wise.
23(b)-24(a). In me, of the form of boar, who am infinite and the Bliss of absolute Consciousness, if there is the conception of non-dualism, where then is bondage? And who is the one to be emancipated?
24(b)-25(a). The real nature of all embodied objects is ever the absolute Consciousness. Like the pot seen by the eyes, the body and its aggregates are not (viz., do not really exist).
25(b)-26. Knowing, as Atman, all the locomotive and fixed worlds that appear as other than Atman, meditate upon them as ‘It I am’. Such a person then enjoys his real nature. There is no other to be enjoyed than one-Self.
27. If there is anything that is, then Brahman alone has that attribute. One who is perfect in Brahma-Jnana, though he always sees this established universe, does not see it other than his Atman.
28-30. By cognising clearly my form, one is not trammelled by Karma. He is an undaunted person who by his own experience cognises as his own real nature all (the universe and Brahman) that is without the body and the organs of sense - that is the all-witness - that is the one noumenal Vijnana, that is the blissful Atman (as contrasted with Jivatma or the lower self) and that is the self-resplendent. He is one that should be known as ‘I’ (myself). O Ribhu, may you become He.
31. After this, there will be never any experience of the world. Thereafter there will always be the experience of the wisdom of one’s own true nature. One who has this known fully Atman has neither emancipation nor bondage.
32. Whoever meditates, even for one Muhurta (48 minutes) through the cognition of one’s own real form, upon Him who is dancing as the all-witness, is released from all bondage.
33. Prostrations - prostrations to me who am in all the elements, who am the Chidatma (viz., Atman of the nature of wisdom) that is eternal and free and who am the Pratyagatman.
34-35. O Devata, you are I. I am you. Prostrations on account of myself and yourself who are infinite and who are Chidatma, myself being the supreme Isha (Lord) and yourself being Shiva (of a beneficent nature). What should I do? Where should I go? What should I reject?
36. (Nothing, because) the universe is filled by me as with the waters on the universal deluge. Whoever gives up (fondness) love of the external, love of the internal and love of the body and thus gives up all associations, is merged in me. There is no doubt about it.
37. That Paramahamsa (ascetic) who, though living in the world, keeps aloof from human congregation as from serpent, who regards a beautiful woman as a (living) corpse and the endless sensual objects as poison and who has abandoned all passion and is indifferent towards all objects is no other than Vasudeva, (viz.,) myself.
38. This is Satya (Truth). This is nothing but truth. It is truth alone that is now said. I am Brahman, the truth. There is naught else but I.
39. (The word) ‘Upavasa’ (lit., dwelling near) signifies the dwelling near (or union) of Jivatma and Paramatman and not (the religious observance as accepted by the worldly of) emaciating the body through fasts.
40. To the ignorant, what is the use of the mere drying up of the body? By beating about the hole of a snake, can we be said to have killed the big snake within.
41. A man is said to attain Paroksha (indirect) wisdom when he knows (theoretically) that there is Brahman; but he is said to attain Sakshatkara (direct cognition) when he knows (or realises) that he is himself Brahman.
42. When a Yogin knows his Atman to be the Absolute, then he becomes a Jivanmukta.
43. To Mahatmas, to be always in the state ‘I am Brahman’ conduces to their salvation. There are two words for bondage and Moksha. They are ‘mine’ and ‘not mine’.
44. Man is bound by ‘mine’, but he is released by ‘not mine’. He should abandon all the thoughts relating to externals and so also with references to internals. O Ribhu, having given up all thoughts, you should rest content (in your Atman) ever.”
45. The whole of the universe is caused through Sankalpa alone. It is only through Sankalpa that the universe manifests. Having abandoned the universe, which is of the form of Sankalpa and having fixed your mind upon the Nirvikalpa (one which is changeless), meditate upon my abode in your heart.
46. O most intelligent being, pass your time in meditating upon me, glorifying me in songs, talking about me to one another and thus devoting yourself entirely to me as the Supreme.
47. Whatever is Chit (consciousness) in the universe is only Chinmatra. This universe is Chinmaya only. You are Chit. I am Chit; contemplate upon the worlds also as Chit.
48-49(a). Make the desires nil. Always be without any stain. How then can the bright lamp of Atmic Vijnana arising through the Vedas be affected by the Karma arising from the ignorance of the actor and the agent?
49(b)-50(a). Having given up not-Atman and being in the world unaffected by it, delight only in the Chinmatra within, ever intent on the One.
50(b)-51(a). As the Akasa of the pot and that of the house are both located in the all-pervading Akasa, so the Jivas and Ishvara are only evolved out of me, the Chidakasa (the one Akasa of universal consciousness).
51(b)-52(a). So that which did not exist before the evolution of Atmas (Jiva) (and Ishvara) and that which is rejected at the end (viz., universal deluge) is called Maya by Brahma-Jnanis through their discrimination.
52(b)-53(a). Should Maya and its effects (the universe) be annihilated, there is no state of Ishvara, there is no state of Jiva. Therefore like the Akasa without its vehicle, I am the immaculate and Chit.
53(b)-54. The creation, sentient as well as non-sentient from Ikshana (thinking) to Pravesha (entry) of those having the forms of Jivas and Ishvara is due to the creation (or illusion) of Ishvara; while the Samsara (worldly existence) from the waking state to salvation is due to the creation of Jiva.
55. So the Karmas ordained in the sacrifice (called) Trinachaka (so called after Nachiketas of Katha Upanishad) to Yoga are dependent upon the illusion of Ishvara; while (the systems from) Lokayata (atheistical system) to Sankhya rest on the illusion of Jiva.
56. Therefore aspirants after salvation should never make their heads enter into the field of controversy regarding Jiva and Ishvara. But with an undisturbed mind, Tattvas of Brahman should be investigated.
57. Those who do not cognise the Tattva of the secondless Brahman are all deluded persons only. Whence (then) is salvation to them? Whence then is happiness (to them) in this universe?
58. What if they have the thoughts of the superiority and inferiority (of Ishvara and Jiva)? Will sovereignty and mendicancy (experienced by a person) in the dreaming state affect him in his waking state?
59. When Buddhi is absorbed in Ajnana, then it is termed, by the wise, sleep. Whence then is sleep to me who have not Ajnana and its effects?
60. When Buddhi is in full bloom, then it is said to be the Jagrat (waking state). As I have no changes, etc., there is no waking state to me.
61. The moving about of Buddhi in the subtle Nadis constitutes the dreaming state. In me without the act of moving about, there is no dreaming.
62. Then at the time of Sushupti when all things are absorbed, enveloped by Tamas, he then enjoys the highest bliss of his own nature in an invisible state.
63. If he sees everything as Chit without any difference, he alone is an actual Vijnani. He alone is Shiva. He alone is Hari. He alone is Brahma.
64. This mundane existence which is an ocean of sorrow, is nothing but a long-lived dream, or an illusion of the mind or a long-lived reign of the mind. From rising from sleep till going to bed, the one Brahman alone should be contemplated upon.
65. By causing to be absorbed this universe which is but a superimposition, the Chitta partakes of my nature. Having annihilated all the six powerful enemies, through their destruction become the non-dual One like the scent-elephant.
66. Whether the body perishes now or lasts the age of moon and stars, what matters it to me having Chit alone as my body? What matters it to the Akasa in the pot, whether it (the pot) is destroyed now or exists for a long time.
67. While the Slough of a serpent lies cast off lifeless in its hole, it (the serpent) does not evince any affection towards it.
68. Likewise the wise do not identify themselves with their gross and subtle bodies. If the delusive knowledge (that the universe is real) with its cause should be destroyed by the fire of Atma-Jnana, the wise man becomes bodiless, through the idea ‘It (Brahman) is not this; It is not this’.
69. Shastras, the knowledge of reality (of the universe) perishes. Through direct perception of truth, one’s fitness for action (in this universe) ceases. With the cessation of Prarabdha (the portion of the past Karma which is being enjoyed in this life), the destruction of the manifestation (of the universe) takes place. Maya is thus destroyed in a three-fold manner.
70. If within himself no identification (of Jiva) with Brahman takes place, the state (of the separateness) of Jiva does not perish. If the non-dual one is truly discerned, then all affinities (for objects) cease.
71. With the cessation of Prarabdha (arising from the cessation of affinities), there is that of the body. Therefore it is certain that Maya perishes thus entirely. If it is said that all the universe is, that Brahman alone is that is of the nature of Sat.
72. If it is said that the universe shines, then it is Brahman alone that shines. (The mirage of) all the water in an oasis is really no other than the oasis itself. Through inquiry of one’s Self, the three worlds (above, below and middle) are only of the nature of Chit.
73. In Brahman, which is one and alone, the essence of whose nature is absolute consciousness and which is remote from the differences of Jiva, Ishvara and Guru, there is no Ajnana. Such being the case, where then is the occasion for the universe there? I am that Brahman which is all full.
74. While the full moon of wisdom is robbed of its lustre by the Rahu (one of the two nodes of the moon) of delusion, all actions such as the rites of bathing, alms-giving and sacrifice performed during the time of eclipse are all fruitless.
75. As salt dissolved in water becomes one, so if Atman and Manas become identified, it is termed Samadhi.
76. Without the grace of a good (perfect) guru, the abandonment of sensual objects is very difficult of attainment; so also the perception of (divine) truth and the attainment of one’s true state.
77. Then the state of being in one’s own self shines of its own accord in a Yogin in whom Jnana-Sakti has dawned and who has abandoned all Karmas.
78. The (property of) fluctuation is natural to mercury and mind. If either mercury is bound (or consolidated) or mind is bound (or controlled), what then on this earth cannot be accomplished?
79. He who obtains Murchchha cures all diseases. The dead are brought to life again. He who has bound (his mind or mercury) is able to move in the air. Therefore mercury and mind confer upon one the state of Brahman.
80. The master of Indriyas (the organs) is Manas (mind). The master of Manas is Prana. The master of Prana is Laya (absorption Yoga). Therefore Laya-Yoga should be practised.
81. To the Yogins, Laya(-Yoga) is said to be without actions and changes. This Laya (absorption) of mind which is above speech and in which one has to abandon all Sankalpas and to give up completely all actions, should be known through one’s own (experience).
82. As an actress, though subject (or dancing in harmony) to music, cymbals and other musical instruments of time, has her mind intent upon he protection of the pot on her head, so the Yogin, though intent for the time being upon the hosts of objects, never leaves off the mind contemplating on Brahman.
83. The person who desires all the wealth of Yoga should, after having given up all thoughts, practise with a subdued mind concentration on Nada (spiritual sound) alone.” Thus ends the second Chapter of Varaha Upanishad.
CHAPTER III
1. “The One Principle cannot at any time become of manifold forms. As I am the partless, there is none else but myself.
2. Whatever is seen and whatever is heard is no other than Brahman. I am that Para-Brahman, which is the eternal, the immaculate, the free, the one, the undivided bliss, the non-dual, the truth, the wisdom and the endless.
3. I am of the nature of bliss; I am of undivided wisdom; I am the supreme of the supreme; I am the resplendent absolute Consciousness. As the clouds do not touch the Akasa, so the miseries attendant on mundane existence do not affect me.
4. Know all to be happiness through the annihilation of sorrow and all to be of the nature of Sat (be-ness) through the annihilation of Asat (not-be-ness). It is only the nature of Chit (Consciousness) that is associated with this visible universe. Therefore my form is partless.
5. To an exalted Yogin, there is neither birth nor death, nor going (to other spheres), nor returning (to earth); there is no stain or purity or knowledge but (the universe) shines to him as absolute Consciousness.
6. Practise always silence ‘I am (viz., that you yourself are) Para-Brahman’ which is truth and absolute Consciousness, which is undivided and non-dual, which is invisible, which is stainless, which is pure, which is second-less and which is beneficent.
7. It (Brahman) is not subject to birth and death, happiness and misery. It is not subject to caste, law, family and Gotra (clan). Practise silence - I am Chit, which is the Vivarta-Upadana (viz., the illusory cause) of the universe.
8. Always practise silence - I am (viz., you are) the Brahman, that is the full, the secondless, the undivided consciousness which has neither the relationship nor the differences existing in the universe and which partakes of the essence of the non-dual and the supreme Sat and Chit.
9. That which always is and that which preserves the same nature during the three periods of time, unaffected by anything, is my eternal form of Sat.
10. Even the state of happiness which is eternal without Upadhis (vehicles) and which is superior to all the happiness derivable from Sushupti is of my bliss only.
11. As by the rays of the sun, thick gloom is soon destroyed, so darkness, the cause of rebirth is destroyed by Hari (Vishnu) Viz., the sun’s lustre.
12. Through the contemplation and worship of my (Hari’s) feet, every person is delivered from his ignorance. The means of destroying deaths and births is only through the contemplation of my feet.
13. As a lover of wealth praises a wealthy man, so if with earnestness a person praises the Cause of the universe, who will not be delivered from bondage?
14. As in the presence of the sun the world of its-own accord begins to perform its actions, so in my presence all the worlds are animated to action.
15. As to the mother-of pearl, the illusory conception of silver is falsely attributed, so to me is falsely attributed through Maya this universe which is composed of Mahat, etc.
16. I am not with those differences that are (observable) in the body of low caste men, the body of cow, etc., the fixed one’s, the bodies of Brahmanas and others.
17. As to a person, even after being relieved from the misconception of the directions, the (same misconception of) direction continues (as before), just so is to me the universe though destroyed by Vijnana. Therefore the universe is not.
18. I am neither the body nor the organs of sense and action, nor Pranas, Nor Manas, nor Buddhi, nor Ahankara, nor Chitta, nor Maya, nor the universe including Akasa and others.
19. Neither am I the actor, the enjoyer, nor he who causes the enjoyment. I am Brahman that is Chit, Sat and Ananda alone and that is Janardana (Vishnu).
20. As, through the fluctuation of water, the sun (reflected therein) is moved, so Atman arises in this mundane existence through its mere connection with Ahankara.
21. This mundane existence has Chitta as its root. This (Chitta) should be cleansed by repeated effort. How is it you have your confidence in the greatness of Chitta?
22. Alas, where is all the wealth of the kings! Where are the Brahmanas? Where are all the worlds? All old ones are gone. Many fresh evolutions have occurred.
23. Many Crores of Brahmas have passed away. Many kings have flitted away like particles of dust. Even to a Jnani, the love of the body may arise through the Asura (demoniacal) nature. If the Asura nature should arise in a wise man, his knowledge of truth becomes fruitless.
24. Should Rajas and others generated in us be burnt by the fire of discriminative (divine) wisdom, how can they germinate again?
25. Just as a very intelligent person delights in the shortcomings of another, so if one finds out his own faults (and corrects them) who will not be relieved from bondage?
26. O Lord of Munis, only he who has not Atma-Jnana and who is not an emancipated person, longs after Siddhis. He attains such Siddhis through medicine, (or wealth), Mantras, religious works, time and skill.
27. In the eyes of an Atma-Jnani, these Siddhis are of no importance. One who has become an Atma-Jnani, one who has his sight solely on Atman, and one who is content with Atman (the higher Self) through (his) Atman (or the lower self), never follows (the dictates of) Avidya.
28. Whatever exists in this world, he knows to be of the nature of Avidya. How then will an Atma-Jnani who has relinquished Avidya be immersed in (or affected by) it.
29. Though medicine, Mantras, religious work, time and skill (or mystical expressions) lead to the development of Siddhis, yet they cannot in any way help one to attain the seat of Paramatman.
30. How then can one who is an Atma-Jnani and who is without his mind be said to long after Siddhis, while all the actions of his desires are controlled?”
Thus ends the third Chapter of Varaha Upanishad.
CHAPTER IV
On another occasion Nidagha asked Lord Ribhu to enlighten him as to the characteristics of Jivanmukti. To which Ribhu replied in the affirmative and said the following: “In the seven Bhumikas (or stages of development of wisdom) there are four kinds of Jivanmuktas. Of these the first stage is Subhechcha (good desire); the second is Vicharana (inquiry); the third is Tanumanasi (or pertaining to the thinned mind); the fourth is Sattvapatti (the attainment of Sattva); the fifth is Asamsakti (non-attachment); the sixth is the Padartha-Bhavana (analysis of objects) and the seventh is the Turya (fourth or final stage). The Bhumika which is of the form of Pranava (Om) is formed of (or is divided into) Akara - ‘A’, Ukara - ‘U’, Makara - ‘M’ and Ardha-Matra. Akara and others are of four kinds on account of the difference of Sthula (gross) Sukshma (subtle), Bija (seed or causal) and Sakshi (witness). Their Avasthas are four: waking, dreaming, dreamless sleeping and Turya (fourth). He who is in (or the entity that identifies itself with) the waking state in the gross Amsa (essence or part) of Akara is named Vishva; in the subtle essence, he is termed Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi essence, he is termed Turya.
He who is in the dreaming state (or the entity which identifies itself with the dreaming state) in the gross essence of Ukara is Vishva; in the subtle essence, he is termed Taijasa; in the Bija essence, is termed Prajna; and in the Sakshi essence, he is termed Turya.
He who is in the Sushupti state in the gross essence of Makara is termed Vishva; in the subtle essence, Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi essence, he is termed Turya.
He who is in Turya State in the gross essence of Ardha-Matra is termed Turya-Vishva. In the subtle, he is termed Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi essence, he is termed Turya-Turya.
The Turya essence of Akara is (or embraces) the first, second and third (Bhumikas or stages of the seven). The Turya essence of Ukara embraces the fourth Bhumika. The Turya essence of Makara embraces the fifth Bhumika. The Turya essence of Ardha-Matra is the sixth stage. Beyond this, is the seventh stage.
One who functions in the (first) three Bhumikas is called Mumukshu; one who functions in the fourth Bhumika is called a Brahmavit; one who functions in the fifth Bhumika is called a Brahmavidvara; one who functions in the sixth Bhumika is called a Brahmavidvariya; and one in the seventh Bhumika is called a Brahmavidvarishtha.
With reference to this, there are Slokas. They are:
1. Subhechcha is said to be the first Jnana-Bhumi (or stage of wisdom); Vicharana, the second; Tanumanasi, the third;
2. Sattvapatti, the fourth; then come Asamsakti as the fifth, Padartha-Bhavana as the sixth and Turya as the seventh.
3. The desire that arise in one through sheer Vairagya (after resolving) ‘Shall I be ignorant? I will be seen by the Shastras and the wise’ (or ‘I will study the books and be with the wise’) - is termed by the wise as Subhechcha.
4. The association with the wise and Shastras and the following of the right path preceding the practice of indifference is termed Vicharana.
5. That stage wherein the hankering after sensual objects is thinned through the first and second stages is said to be Tanumanasi.
6. That stage wherein having become indifferent to all sensual objects through the exercise in the (above) three stages, the purified Chitta rests on Atman which is of the nature of Sat is called Sattvapatti.
7. The light (or manifestation) of Sattva-Guna that is firmly rooted (in one) without any desire for the fruits of actions through the practice in the above four stages is termed Asamsakti.
8-9. That stage wherein through the practice in the (above) five stages one, having found delight in Atman, has no conception of the internals or externals (though before him) and engages in actions only when impelled to do so by others is termed Padartha-Bhavana, the sixth stage.
10. The stage wherein after exceedingly long practice in the (above) six stages one is (immovably) fixed in the contemplation of Atman alone without the difference (of the universe) is the seventh stage called Turya.
11. The three stages beginning with Subhechcha are said to be attained with (or amidst) differences and non-differences. (Because) the universe one sees in the waking state he thinks to be really existent.
12. When the mind is firmly fixed on the non-dual One and the conception of duality is put down, then he sees this universe as a dream through his union with the fourth stage.
13. As the autumnal cloud being dispersed vanishes, so this universe perishes. O Nidagha, be convinced that such a person has only Sattva remaining.
14. Then having ascended the fifth stage called Sushuptipada (dreamless sleeping seat), he remains simply in the non-dual state, being freed from all the various differences.
15-16(a). Having always introvision though ever participating in external actions, those that are engaged in the practice of this (sixth stage) are seen like one sleeping when fatigued (viz., being freed from all affinities).
16(b). (Lastly) the seventh stage which is the ancient and which is called Gudhasupti is generally attained.
17. Then one remains in that secondless state without fear and with his consciousness almost annihilated where there is neither Sat nor Asat, neither self nor not-self.
18. Like an empty pot in the Akasa, there is void both within and without; like a filled vessel in the midst of an ocean, he is full both within and without.
19. Do not become either the knower or the known. May you become the Reality which remains after all thoughts are given up.
20. Having discarded (all the distinctions of) the seer, the sight and the seen with their affinities, meditate solely upon Atman which shines as the supreme Light.
21. He is said to be a Jivanmukta (emancipated person) in whom, though participating in the material concerns of the world, the universe is not seen to exist like the invisible Akasa.
22. He is said to be a Jivanmukta, the light of whose mind never sets or rises in misery or happiness and who does not seek to change what happens to him (viz., either to diminish his misery or increase his happiness).
23. He is said to be a Jivanmukta who though in his Sushupti is awake and to whom the waking state is unknown and whose wisdom is free from the affinities (of objects).
24. He is said to be a Jivanmukta whose heart is pure like Akasa, though acting (as it) in consonance to love, hatred, fear and others.
25. He is said to be a Jivanmukta who has not the conception of his being the actor and whose Buddhi is not attached to material objects, whether he performs actions or not.
26. He is said to be a Jivanmukta, of whom people are not afraid, who is not afraid of people and who has given up joy, anger and fear.
27. He is said to be a Jivanmukta, who though participating in all the illusory objects, is cool amidst them and is a full Atman, (being) as if they belonged to others.
28. O Muni, he is said to be a Jivanmukta, who having eradicated all the desires of his Chitta, is (fully) content with me who am the Atman of all.
29. He is said to be a Jivanmukta, who rests with an unshaken mind in that all pure abode which is Chinmatra and free from all the modifications of Chitta.
30. He is said to be a Jivanmukta in whose Chitta do not dawn (the distinctions of) the universe, I, he, thou and others that are visible and unreal.
31. Through the path of the Guru and Shastras, enter soon sat - the Brahman that is immutable, great, full and without objects - and be firmly seated there.
32. Shiva alone is Guru; Shiva alone is Vedas; Shiva alone is Lord; Shiva alone is I; Shiva alone is all. There is none other than Shiva.
33. The undaunted Brahmana having known Him (Shiva) should attain wisdom. One need not utter many words as they but injure the organ of speech.
34. (The Rishi) Suka is a Mukta (emancipated person). (The Rishi) Vamadeva is a Mukta. There are no others (who have attained emancipation) than through these (viz., the two paths of these two Rishis). Those brave men who follow the path of Suka in this world become Sadyo-Muktas (viz., emancipated) immediately after (the body wear away);
35. While those who always follow the path of Vamadeva (i.e., Vedanta) in this world are subject again and again to rebirths and attain Krama (gradual) emancipation, through Yoga, Sankhya and Karmas associated with Sattva (Guna).
36. Thus there are two paths laid down by the Lord of Devas (viz.,) the Suka and Vamadeva paths. The Suka path is called the bird’s path; while the Vamadeva path is called the ant’s path.
37-38. Those persons that have cognised the true nature of their Atman through the mandatory and prohibitory injunctions (of the Vedas), the inquiry into (the true meaning of) Maha-Vakyas (the sacred sentences of the Vedas), the Samadhi of Sankhya Yoga or Asamprajnata Samadhi and that have thereby purified themselves, attain the supreme seat through the Suka path.
39-40. Having, through Hatha-Yoga practice with the pain caused by Yama, postures, etc., become liable to the ever recurring obstacles caused by Anima and other (Siddhis) and having not obtained good results, one is born again in a great family and practises Yoga through his previous (Karmic) affinities.
41. Then through the practice of Yoga during many lives, he attains salvation (viz.,) the supreme seat of Vishnu through the Vamadeva path.
42. Thus there are two paths that lead to the attainment of Brahman and that are beneficent. The one confers instantaneous salvation and the other confers gradual salvation. To one that sees (all) as the one (Brahman), where is delusion? Where is sorrow?
43. Those that are under the eyes of those whose Buddhi is solely occupied with the truth (of Brahman) that is the end of all experience are released from all heinous sins.
44. All beings inhabiting heaven and earth that fall under the vision of Brahmavits are at once emancipated from the sins committed during many Crores of births.” Thus ends the fourth Chapter of Varaha Upanishad.
CHAPTER V
Then Nidagha asked Lord Ribhu to enlighten him as to the rules (to be observed) in the practice of Yoga. Accordingly He (the Lord) said thus:
1. “The body is composed of the five elements. It is filled with five Mandalas (spheres). That which is hard is Prithvi (earth), one of them; that which is liquid is Apas;
2. That which is bright is Tejas (fire); motion is the property of Vayu; that which pervades everywhere is Akasa. All these should be known by an aspirant after Yoga.
3. Through the blowing of Vayu-Mandala in this body, (there are caused) 21,600 breaths every day and night.
4. If there is a diminution in the Prithvi-Mandala, there arise folds in the body; if there is diminution in the essence of Apas, there arises gradually greyness of hair;
5. If there is diminution in the essence of Tejas, there is loss of hunger and lustre; if there is diminution in the essence of Vayu, there is incessant tremor;
6. If there is diminution in the essence of Akasa, one dies. The Jivita (viz., Prana) which possesses these elements having no place to rest (in the body) owing to the diminution of the elements, rises up like birds flying up in the air.
7. It is for this reason that is called Udyana (lit., flying up). With reference to this, there is said to be a Bandha (binding, also meaning a posture called Udyana-Bandha, by which this flight can be arrested). This Udyana-Bandha is to (or does away with) death, as a lion to an elephant.
8. Its experience is in the body, as also the Bandha. Its binding (in the body) is hurtful. If there is agitation of Agni (fire) within the belly, then there will be caused much of pain.
9. Therefore this (Udyana-Bandha) should not be practised by one who is hungry or who has urgency to make water or void excrement. He should take many times in small quantities proper and moderate food.
10. He should practise Mantra-Yoga. Laya-Yoga and Hatha-Yoga, through mild, middling and transcendental methods (or periods) respectively. Laya, Mantra and Hatha-Yogas have each (the same) eight subservients.
11-12(a). They are Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana and Samadhi.
12(b)-13(a). (Of these), Yama is of ten kinds. They are non-injury, truth, non-coveting, continence, compassion, straightforwardness, patience, courage, moderate eating and purity (bodily and mental).
13(b)-14. Niyama is of ten kinds. They are Tapas (religious austerities), contentment, belief in the existence of God or Vedas, charity, worship of Ishvara (or God), listening to the expositions of religious doctrines, modesty, a (good) intellect, Japa (muttering of prayers) and Vrata (religious observances).
15-16. They are eleven postures beginning with Chakra. Chakra, Padma, Kurma, Mayura, Kukkuta, Vira, Svastika, Bhadra, Simha, Mukta and Gomukha are the postures enumerated by the knowers of Yoga.
17. Placing the left ankle on the right thigh and the right ankle on the left thigh and keeping the body erect (while sitting) is the posture “Chakra”.
18. Pranayama should be practised again and again in the following order, viz., inspiration, restraint of breath and expiration. The Pranayama is done through the Nadis (nerves). Hence it is called the Nadis themselves.
19. The body of every sentient being is ninety-six digits long. In the middle of the body, two digits above the anus and two digits below the sexual organ, is the centre of the body (called Muladhara or sacral plexus).
20-21. Nine digits above the genitals, there is Kanda of Nadis which revolves oval-shaped, four digits high and four digits broad. It is surrounded by fat, flesh, bone and blood.
22. In it, is situate a Nadi-Chakra (wheel of nerves) having twelve spokes. Kundali by which this body is supported is there. 23. It is covering by its face the Brahmarandhra (viz., Brahma’s hole) of Susumna. (By the side) of Susumna dwell the Nadis Alambusa and Kuhuh.
24. In the next two (spokes) are Varuna and Yasasvini. On the spoke south of Susumna is, in regular course, Pingala.
25. On the next two spokes, are Pusha and Payasvini. On the spoke west of Susumna is the Nadi called Sarasvati.
26. On the next two spokes are Sankhini and Gandhari. To the north of Susumna dwells Ida;
27-28. In the next is Hastijihva; in the next is Visvodara. In these spokes of the wheel, the twelve Nadis carry the twelve Vayus from left to right (to the different parts of the body). The Nadis are like (i.e. woven like the warp and woof of) cloth. They are said to have different colours.
29-30. The central portion of the cloth (here the collection of the Nadis) is called the Nabhi Chakra (navel plexus). Jvalanti, Nadarupini, Pararandhra and Susumna are called the (basic) supports of Nada (spiritual sound). These four Nadis are of ruby colour. The central portion of Brahmarandhra is again and again covered by Kundali.
31-33(a). Thus ten Vayus move in these Nadis. A wise man who has understood the course of Nadis and Vayus should, after keeping his neck and body erect with his mouth closed, contemplate immovably upon Turyaka (Atman) at the tip of his nose, in the centre of his heart and in the middle of Bindu and should see with a tranquil mind through the (mental) eyes, the nectar flowing from there.
33(b)-34. Having closed the anus and drawn up the Vayu and caused it to rise through (the repetition of) Pranava (Om), he should complete with Sri Bija. He should contemplate upon his Atman as Sri (or Parasakti) and as being bathed by nectar.
35. This is Kalavanchana (lit., time illusion). It is said to be the most important of all. Whatever is thought of by the mind is accomplished by the mind itself.
36. (Then) Agni (fire) will flame in Jala (water) and in the flame (of Agni) will arise the branches and blossoms. Then the words uttered and the actions done regarding the universe, are not in vain.
37. By checking the Bindu in the path, by making the fire flame up in the water and by causing the water to dry up, the body is made firm.
38. Having contracted simultaneously the anus and Yoni (the womb) united together, he should draw up Apana and unite with it Samana.
39. He should contemplate upon his Atman as Shiva and then as being bathed by nectar. In the central part of each spoke, the Yogin should commence to concentrate Bala (will or strength).
40. He should try to go up by the union of Prana and Apana. This most important Yoga brightens up in the body the path of Siddhis.
41. As dam across the water serves as an obstacle to the floods, so it should ever be known by the Yogins that the Chhaya of the body is to (Jiva).
42. This Bandha is said of all Nadis. Through the grace of this Bandha, the Devata (goddess) becomes visible.
43. This Bandha of four feet serves as a check to the three paths. This brightens up the path through which the Siddhas obtained (their Siddhis).
44. If with Prana is made to rise up soon Udana, this Bandha checking all Nadis goes up.
45. This is called Samputa-Yoga or Mula-Bandha. Through the Practising of this Yoga, the three Bandhas are mastered.
46. By practising day and night intermittingly or at any convenient time, the Vayu will come under his control.
47. With the control of Vayu, Agni (the gastric fire) in the body will increase daily. With the increase of Agni, food, etc., will be easily digested.
48. Should food be properly digested, there is increase of Rasa (essence of food). With the daily increase of Rasa, there is the increase of Dhatus (spiritual substances).
49. With the increase of Dhatus, there is the increase of wisdom in the body. Thus all the sins collected together during many Crores of births are burnt up.
50. In the centre of the anus and the genitals, there is the triangular Muladhara. It illumines the seat of Shiva of the form of Bindu.
51. There is located the Parasakti named Kundalini. From that seat, Vayu arises. From that seat, Agni becomes increased.
52. From that seat, Bindu originates and Nada becomes increased. From that seat, Hamsa is born. From that seat, Manas is born.
53. The six Chakras beginning with Muladhara are said to be the seat of Sakti (Goddess). From the neck to the top of the head is said to be the seat of Sambhu (Shiva).
54. To the Nadis, the body is the support (or vehicle); to Prana, the Nadis are the support; to Jiva, Prana is the dwelling place; to Hamsa, Jiva is the support;
55. To Sakti, Hamsa is the seat and the locomotive and fixed universe. Being without distraction and of a calm mind, one should practise Pranayama.
56. Even a person who is well-skilled in the practice of the three Bandhas should try always to cognise with a true heart that Principle which should be known and is the cause of all objects and their attributes.
57. Both expiration and inspiration should (be stopped and made to) rest in restraint of breath (alone). He should depend solely on Brahman which is the highest aim of all visibles.
58. (The giving out of) all external objects is said to be Rechaka (expiration). The (taking in of the) spiritual knowledge of the Shastras is said to be Puraka (inspiration) and (the keeping to oneself of) such knowledge is said to be Kumbhaka (or restraint of breath).
59. He is an emancipated person who practises thus such a Chitta. There is no doubt about it. Through Kumbhaka, it (the mind) should be always taken up and through Kumbhaka alone it should be filled up within.
60. It is only through Kumbhaka that Kumbhaka should be firmly mastered. Within it is Parama-Shiva. That (Vayu) which is non-motionless should be shaken again through Kantha-Mudra (throat-posture).
61-62. Having checked the course of Vayu, having become perfect in the practice of expiration and restraint of breath and having planted evenly on the ground the two hands and the two feet, one should pierce the four seats through Vayu through the three Yogas. He should shake Mahameru with the (aid of) Prakotis (forces) at the mouth of Vayu.
63. The two Putas (cavities) being drawn, Vayu throbs quickly. The union of moon, sun and Agni should be known on account of nectar.
64. Through the motion of Meru, the Devatas who stay in the centre of Meru move. At first in his Brahma-Granthi, there is produced soon a hole (or passage).
65. Then having pierced Brahma-Granthi, he pierces Vishnu-Granthi; then he pierces Rudra-Granthi.
66-67(a). Then to the Yogin comes Vedha (piercing) through his liberation from the impurities of delusion, through the religious ceremonies (performed) in various births, through the grace of Gurus and Devatas and through the practice of Yoga.
67(b)-68. In the Mandala (sphere or region) of Susumna (situated between Ida and Pingala), Vayu should be made to rise up through the feature known as Mudra-Bandha. The short pronunciation (of Pranava) frees (one) from sins; its long pronunciation confers (on one) Moksha.
69-70. So also its pronunciation in Apyayana or Pluta Svara (tone). He is a knower of Veda, who through the above-mentioned three ways of pronunciation knows the end of Pranava which is beyond the power of speech, like the never ceasing flow of oil or the long-drawn bell-sound. The short Svara goes to Bindu. The long Svara goes to Brahmarandhra; the Pluta to Dvadasanta (twelfth centre). The Mantras should be uttered on account of getting Mantra Siddhis.
71-72(a). This Pranava (OM) will remove all obstacles. It will remove all sins. Of this, are four Bhumikas (states) predicated, viz., Arambha, Ghata, Parichaya and Nishpatti.
72(b)-73(a). Arambha is that state in which one having abandoned external Karmas performed by the three organs (mind, speech and body), is always engaged in mental Karma only.
73(b)-74(a). It is said by the wise that the Ghata state is that in which Vayu having forced an opening on the western side and being full, is firmly fixed there.
74(b). Parichaya state is that in which Vayu is firmly fixed to Akasa, neither associated with Jiva nor not, while the body is immovable.
75. It is said that Nishpatti state is that in which there take place creation and dissolution through Atman or that state in which a Yogin having become a Jivanmukta performs Yoga without effort.
Whoever recites this Upanishad becomes immaculate like Agni. Like Vayu, he becomes pure. He becomes freed from the sin of drinking alcohol. He becomes freed from the sins of the theft of gold. He becomes a Jivanmukta. This is what is said by the Rig-Veda. Like the eye pervading the Akasa (seeing without effort everything above), a wise man sees (always) the supreme seat of Vishnu. The Brahmanas who have always their spiritual eyes wide open praise and illuminate in diverse ways the spiritual seat of Vishnu. OM, thus is the Upanishad.”
Thus ends the fifth Chapter of Varaha Upanishad.
Om! May He protect us both together; may He nourish us both together; May we work conjointly with great energy, May our study be vigorous and effective; May we not mutually dispute (or may we not hate any).
Om! Let there be Peace in me! Let there be Peace in my environment! Let there be Peace in the forces that act on me!
Here ends the Varaha Upanishad belonging to the Krishna-Yajur-Veda.
Varaha Dwadasi
Appearance day of Varaha
Transcendental Varaha gallery
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Lord Varaha, Bhopal Museum
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Temple carving, Java
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Varaha in Durga temple, Aihole
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Varaha in a temple carving, Belur
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Carved stela, Varaha, 18 c. Tibet
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Varaha, wood carving, Chennai Museum
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Varaha Rescuing Bhu Devi. Brooklyn museum. Northern India (Rajasthan), circa 1000. Schist, 33 x 17 1/4 x 6 in. (83.8 x 43.8 x 15.2 cm). Asian Art Museum, San Francisco, The Avery Brundage Collection, B62S15+
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Cosmic Varaha. Brooklyn Museum. Northern India (Rajasthan), 12th century. Black phyllite, 21 3/4 x 29 1/2 x 12 1/2 in. (55.3 x 75 x 31.8 cm). The James W. and Marilynn Alsdorf Collection
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Varaha Rescuing Bhu Devi. Southern India (Kerala), circa 14th–15th century. Bronze, 13 x 7 3/4 x 5 1/8 in. (33 x 19.7 x 13 cm). Brooklyn Museum, Gift of Paul E. Manheim, 78.259.1
Varaha paintings as saviour of the earth (Brooklyn Museum).
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Varaha murti, avatar of Vishnu
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Varaha in Khajuraho Vamana temple
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Varaha Narasimha cave Sri Varaha Narasimha Swamy Cave (Krodha Narasimha Swamy) is just few minutes away from the main temple, Sri Ahobileshwara Narasimha swamy in Upper Ahobilam. It houses 3 deities, one from them is Lord Varaha keeping Mother Earth on his noose with a lion tail on his back, representing the Narasimha lila to be part of the whole story.
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Coin with Varaha (Vishnu Avatar) on a Pratihara coin 850-900 CE (British Museum)
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Varaha temple, Mahabalipuram
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Mythologically, the third incarnation of Vishnu was in the form of Varaha, the Boar. There are a number of temples dedicated to Lord Vishnu in the aspect of this incarnation. One of such famous temples is at Tiruvadantai, 27 miles from Chennai towards south on the way to Mahabalipuram.
The main deity is 3m (9 ft) tall and is called "Sri Lakshmi Adi Varaha". He is also known as "Sri Nritya Kalyana Perumal'. The Lord holds a conch in his upraised right hand and the disc in his left. The name of the Goddess is "Akhilavalli Ammal". The Goddess is seated over the left thigh of Lord Vishnu in his Varaha aspect, His left hand encircling Her waist, while Her feet are held in His lower right hand palm. Only the right leg of Varahaswami is touching the floor.
The deity is decorated with a garland formed of 108 saligrams around the neck. The legend goes that one Hariseka Maharaj, the ruling chief of Mahabalipuram, possessed this garland originally. He was a great devotee of Adi Varahaswami and it was his daily routine to visit the temple and pay homage. When he became old and was physically unable to move, he presented the garland to the presiding deity.
There are four Utsavamurtis (processional deities), namely, Nitya - kalyanaswami, Kottukar, Palpo Perumal and Spathanaperam. On festive occasions the processional deities are taken around the temple.
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Once upon a time there lived a sage named Kalava at Tiruvadantai. He had 360 daughters. Tiruvadantai was a great city in those days and had 360 Agraharam (streets where Brahmins lived). As the sage was greatly honoured and respected, one daughter was taken up by each of the 360 streets to be respectfully maintained and looked after. Time rolled on. In due course, when the girls came of age it became a great anxiety for the sage how to get them married suitably. Praying fervently, the sage resigned himself to God.
Lord Vishnu elected to take the form of a 'Brahmachari' (bachelor) and appeared in the first Agraharam and broached the subject of marriage with the first daughter and then married her. It is customary with newly married Hindu couples to visit the village temple and pay their homage to the presiding deity and receive blessings for their future life. When the Brahmachari visited the local Varahaswami temple with his newly - wedded wife, he and his wife both mysteriously vanished in the sanctum sanctorum.
On the second day, Vishnu again took the form of another Brahmachari and proposed marriage with the second daughter in the second Agraharam and married her too. After marriage when the couple visited the local temple they too disappeared. Likewisely, mysteriously, a new Brahmachari used to be performed with one of Kalava Maehashi's 360 daughters. And when the newly married couples visited the Varahaswami temple, they just vanished.
When all the 360 girls vanished in this manner, the episode reached Maharshi Kalava. He was bewildered and agitated and wanted to know from God Himself the whereabouts of his daughters and sons-in-law.
When the Sage entered the, sanctum sanctorum of the temple with the object of knowing from the Lord's mouth the where abouts of his daughters, Lord Vishnu appeared before him as Varaha, the Boar, holding all the 360 daughters on lap. Lord Varahaswami embraced all the 360 daughters of Maharshi with his left hand and pressed all the 360 souls into single soul of Lakshmi, His consort, making her sit on his raised thigh. The merging of the souls of his daughters with that of Goddess Lakshmi enlightened the Sage.
The sage was greatly elated that Goddess Lakshmi considered him fit enough to be her father. As the marriage episode continued day after day for the 360 days of the year, the presiding deity was fondly named "Nityakalyanaswami" (Nitya means daily, Kalyana means marriage). Gradually the place gained in importance.
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Varaha, Jagannatha temple, Puri. Archaeological Survey of India Collections, taken by Poorno Chander Mukherji in the 1890s.
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Varaha, 6th cent. cave temple, Badami
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Varaha, Kailasanatha temple, Ellora
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Varaha
Mahakuta, Deccan
7th C.
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Cave Two Badami has Vishnu's varaha, or boar, avatar
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Bronze Varaha, Tamil Nadu 15th cent.
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Varaha, Halebidu
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Simhachalam - Sri Varaha Narasimhaswamy Temple,Near Visakhapatnam,Andhra Pradesh
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Varaha, Belur
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The Story of VARAHA Avatar
In VARAHA Avatar, Lord Vishnu incarnates himself as a boar in this world. A demon Hiranyaksha, had prayed for Lord Brahma and got awarded a boon that no beast nor man nor god could kill him. But somehow from the list of beasts the name of boar was missing. This proved to be his lacunae. He then started a campaign of plunder across the worlds. He pushed the world to the Pataal loka, or the under of the sea. He stole the Vedas, the holy scriptures from the Lord Brahma, while he was asleep and performed huge atrocities. To retrieve the Vedas and to save the world the Lord Vishnu assumed the role of a boar and brought out the earth from the under of the ocean, using its two tusks. It then killed Hiranyaksha and retrieved the Vedas from the asura and brought it back to the safe custody of the Lord Brahma.
Nava Torana Temple of Varaha at Khor in Neemach, Madhya Pradesh
ThirukKalvanoor - Sri Aadhi Varaha Perumal Temple, Kanchipuram
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Sri Lakshmi Varahaswamy, Nithyakalyanar kovil, Varaha Kshetram, Thiruvidandai, Chennai (One of 108 divyadesam).
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Sri Bhu Varaha Swamy, Sreemushnam temple, Chidambaram
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चषाल n. the snout of a hog MaitrS. i , 6 , 3.
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Ellora Cave XIV. चषालः caṣāla in front of the Mother Earth.
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Varaha cave temple, Mamallapuram, a photo from the 1860's चषालः caṣāla in front of the Mother Earth.
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Varaha, Deogarh. 6th cent. चषालः caṣāla in front of, holding up the Mother Earth.
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Varaha. Vikramasila wall carving. चषालः caṣāla in front of, holding up the Mother Earth. His foot controls a nAga as the Earth is lifted up from the Ocean.
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Varaha. Khajuraho.
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Badami Cave III. चषालः caṣāla in front of the Mother Earth.
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VarAha's चषालः caṣāla in front of the Mother Earth.
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Udayagiri Varaha. Close-up photograph of the snout.चषालः caṣāla in front of the Mother Earth.
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Udayagiri VarAha's चषालः caṣāla in front of the Mother Earth.
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Badami Cave II. VarAha's चषालः caṣāla in front of the Mother Earth.
![Image result for Date: 10th century Medium:Sandstone Geographic Location: India Dimensions: Height: 55 in. (139.7 cm) Credit Line: Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and the Alconda-Owsley Foundation, E.E. Fogelson and Greer Garson Fogelson Fund, General Acquisitions Fund, Wendover Fund, and gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen Object Number: 2002.25]()
![Image result for Date: 10th century Medium:Sandstone Geographic Location: India Dimensions: Height: 55 in. (139.7 cm) Credit Line: Dallas Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and the Alconda-Owsley Foundation, E.E. Fogelson and Greer Garson Fogelson Fund, General Acquisitions Fund, Wendover Fund, and gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen Object Number: 2002.25]()
Indus Script dhaṭu 'scarf' on rhinoceros mirhhẽ ʻboarʼ of Rakhigarhi seal signifies rebus merhd 'iron ore',metallic (red) ore
Mirror: http://tinyurl.com/q959btx
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Rakhigarhi seal. See for decipherment of hieroglyph-multiplexes : http://bharatkalyan97.blogspot.in/2015/11/rakhigarhi-seal-evidence-for.html This monograph discussed the decipherment of the inscription as a metalwork catalogue of swords, ingots and metal implements. This seal also shows a scarf on the neck of the rhinoceros or boar. This hieroglyph is read as: mirhhẽ ʻboarʼrebus: merhd 'iron ore'.
kāṇṭāmṛgam is a Malayalam gloss which reinforces the 'rhinoceros' as a -mṛgam 'wild animal'. It is possible that the hieroglyph shown on the Rakhigarhi was read as: kāṇṭāmṛga.
The hieroglyph-multiplexes on the seal are depicted with such orthographic precision to render the semantics describing the products: ingots, swords, metal implements.
Hence, the proclamation on the inscription may be seen as a description of swords, weapons, metal implements made of hard alloy metal.
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Santali glosses.
Rakhigarhi seal. See for decipherment of hieroglyph-multiplexes : http://bharatkalyan97.blogspot.in/2015/11/rakhigarhi-seal-evidence-for.html This monograph discussed the decipherment of the inscription as a metalwork catalogue of swords, ingots and metal implements. This seal also shows a scarf on the neck of the rhinoceros or boar. This hieroglyph is read as: mirhhẽ ʻboarʼrebus: merhd 'iron ore'.kāṇṭāmṛgam is a Malayalam gloss which reinforces the 'rhinoceros' as a -mṛgam 'wild animal'. It is possible that the hieroglyph shown on the Rakhigarhi was read as: kāṇṭāmṛga.
The hieroglyph-multiplexes on the seal are depicted with such orthographic precision to render the semantics describing the products: ingots, swords, metal implements.
Hence, the proclamation on the inscription may be seen as a description of swords, weapons, metal implements made of hard alloy metal.
Hieroglyph: dhaṭu 'scarf': *dhaṭa2 , dhaṭī -- f. ʻ old cloth, loincloth ʼ lex. [Drav., Kan. daṭṭi ʻ waistband ʼ etc., DED 2465]Ku. dhaṛo ʻ piece of cloth ʼ, N. dharo, B. dhaṛā; Or. dhaṛā ʻ rag, loincloth ʼ, dhaṛi ʻ rag ʼ; Mth. dhariā ʻ child's narrow loincloth ʼ.*dhaṭavastra -- .Addenda: *dhaṭa -- 2 . 2. †*dhaṭṭa -- : WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105).(CDIAL 6707)
Rebus: dhatu 'ore (esp. of red colour); dhatu = mineral (Santali): dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf.tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā ]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773)
In this decipherment, an important hieroglyph-component was missed out. It relates to the 'scarf' shown on the neck of the rhinoceros.
Santali glosses.Origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:
Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)
— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
Miedź, med' (Northern Slavic, Altaic) 'copper'.
One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.
See: காண்டாமிருகம் kāṇṭā-mirukam , n. [M. kāṇṭāmṛgam.] Rhinoceros;
கல்யானை. The suffix -mṛga is cognate with mirhhẽ ʻboarʼ rebus: merhd 'iron ore',metallic (red) ore.
Chola dynasty, around AD 900. British Museum Asia OA 1955.10-18.1 Ht. 138 cm. "The iconography is explained by a narrative of competition for status among the gods. Brahma and Vishnu were arguing over who was the most powerful, when a huge shaft of fire appeared between them, that appeared to have no top or bottom. They went to investigate. Vishnu in his boar incarnation dug down into the earth, seen at the base of the sculpture. Meanwhile, Brahma flew into the sky on his vehicle, the Hamsa bird, seen at the top. When neither could find either top or bottom they realized that the column of fire was more powerful than either of them. Its identity was revealed to them when Siva appeared out of the shaft, and they bowed down to Siva as the most powerful deity. Siva stands in an oval of flames wearing a tall crown and holding his distinctive attributes, the deer and axe. This image combines the aniconic form of Siva as a linga with the human image of the god with multiple arms, such as Nataraja or Dakshinamurti. Images of Lingodbhava are popular in Tamil Nadu and Shaiva temples normally have an image of this deity on the exterior of the rear or west wall of the main sanctum."Dallas Museum of Art
VISHNU AS VARAHADATE 10TH CENTURY DEPARTMENT Asian DIMENSIONS OVERALL: 56 X 26 X 10 1/4 IN. (142.24 X 66.04 X 26.04 CM) MEDIUM Sandstone HTTPS://WWW.DMA.ORG/COLLECTION/ARTWORK/ASIAN/VISHNU-VARAHA
See: http://bharatkalyan97.blogspot.in/2011/07/varaha.html Varaha Upanishad of Krishna Yajur Veda
See: http://bharatkalyan97.blogspot.in/2015/11/cosmic-dancer-indus-script-cipher-metal.html
http://bharatkalyan97.blogspot.com.ar/2015/09/indus-script-cipher-and.htmlThe chronology of Hindu tradition from the days of Atharva Veda is that iconic form of Mahesvara Siva emerges out of the aniconic Skambha (linga) or pillar of light and fire. What we find in the seven Sivalingas of Harappa is the aniconic form. Sivalinga appeared as a flame. Brahma, as hamsa, searches for the end in the heavens. Vishnu, as Varaha, searches for the beginning in the bowels of the earth. This Lingodbhava narrative is in many Puranas.
Appar, Shaiva saint of the 7th century, provides a similar narrative for this Lingodbhava. Tirugnana Sambandar refers to Brahma and Vishnu who set out on a search and comprehend Siva as the nature of light.
I submit that the most abiding form of worship is that which is displayed architecurally in Amaravati where Naga venerate the Skambha, the fiery pillar of light with the adornment of Srivatsa as the capital. The Srivatsa is a Indus Script hieroglyph of a pair of fish-tails: dula 'pair' Rebus: dul 'cast metal' Kur. xolā tail. Malt. qoli id. (DEDR 2135) The hooded snake which adorns as headgear is also read rebus: kula 'hooded snake' M. khoḷ f. ʻ hooded cloak ʼ(CDIAL 3942) A. kulā ʻ winnowing fan, hood of a snake ʼ(CDIAL 3350) Rebus: kol 'working in iron' kolle 'blacksmith' kolhe 'smelters'. ![]()
Naga worshippers of fiery pillar, Amaravati stup Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper'
![Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha, , Great Stupa of Amaravati]()
http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html
Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha,
Naga worshippers of fiery pillar, Amaravati stup Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper' 
http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html
Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha,
Varaha, sandstone, Sanchi
Varaha, Udayagiri
Varaha
Gupta, Early 5th century AD
Cave 5, Udayagiri, Madhya Pradesh, India.This large (4m, or 13 feet, high) relief sculpture is one of the icons of Indian art. It is carved into a shallow niche and protected by an overhang, but is otherwise open to the outside, where there was originally a water tank.
The relief depicts Varaha, the boar incarnation of Vishnu, rescuing the Earth Goddess (Bhu Devi, also called Prithvi) from the engulfing Ocean. Varaha lifts Bhu Devi on his massive shoulder, his foot subduing a naga who folds his hands in submission and adoration, while gods and sages surround Varaha in recognition of the miracle. A circular lotus flower appears above the god's head.
Technically this image is called a nara-varaha, or man-boar, since it has a man's body and a boar's head. The relief may have a political meaning in addition to the mythological one; it is said to be an allegory of the unification of India under Chandragupta II.
Khajuraho, świątynia Varaha (trzecie wcielenie boga Vishnu jako dzika).
Varaha Temple (the 3rd incarnation of Vishnu as boar).
Varaha
Gupta, Early 5th century AD
Cave 5, Udayagiri, Madhya Pradesh, India.
This large (4m, or 13 feet, high) relief sculpture is one of the icons of Indian art. It is carved into a shallow niche and protected by an overhang, but is otherwise open to the outside, where there was originally a water tank.
The relief depicts Varaha, the boar incarnation of Vishnu, rescuing the Earth Goddess (Bhu Devi, also called Prithvi) from the engulfing Ocean. Varaha lifts Bhu Devi on his massive shoulder, his foot subduing a naga who folds his hands in submission and adoration, while gods and sages surround Varaha in recognition of the miracle. A circular lotus flower appears above the god's head.
Technically this image is called a nara-varaha, or man-boar, since it has a man's body and a boar's head. The relief may have a political meaning in addition to the mythological one; it is said to be an allegory of the unification of India under Chandragupta II.
Varaha
Gupta, Early 5th century AD
Cave 5, Udayagiri, Madhya Pradesh, India.
One of the many excellences of this relief is its appealing combination of power and tenderness. Varaha's massive body subdues the naga without crushing it, and uplifts the Earth goddess who affectionately clings to his muzzle.
The figure on a lotus pedestal, at the left side of the photo beside Varaha's leg, holds the stem of the lotus that appears above Varaha's head. Bhu Devi also is supported by a lotus plant.
Varaha Mandapam Mahabalipuram, Tamilnadu, India
Lord Varaha and Bhu devi
Udaygiri Caves, Madhya Pradesh, Gupta period
The Sampradaya Sun - Independent Vaisnava News - Feature Stories - February 2009: "Feb 05, CANADA (SUN) — February 6th is the auspicious Appearance Day of Lord Varaha, the Boar incarnation.
O Kesava! O Lord of the universe! O Lord Hari,
who have assumed the form of a boar! All
glories to You! The earth, which had become
merged in the Garbhodaka Ocean at the
bottom of the universe, sits fixed upon the tip of Your tusk like a spot upon the moon."
Sri Dasavatara Stotra, 3rd Sloka
Varaha in the Vedic Literature Lord Varaha is glorified in virtually all of the major Puranas (the Vedic histories), which describe His different descents over the ages. In this kalpa (day of Brahma), Lord Varaha appeared twice. The first time He appeared from Brahma's nostril with a white (sveta) complexion, and He saved the Earth after the previous devastation. Hence, He is called Sveta-Varaha and this kalpa is named after Him -- the Sveta-Varaha-kalpa.
Later He appeared in a dark color from the ocean to save the Earth after she had been violated by the demon Hiranyaksha. During this incarnation, LordVaraha reinstated the Earth in her proper orbit and killed the demon. The Varaha of the popular dasavatara ("the ten incarnations") refers to this, Lord Varaha's second appearance.
In addition to the Puranas, references abound in the Vedic literature. The most elaborate glorification of the Varaha-avatara occurs in Srimad Bhagavatam, wherein Srila Vyasadeva specifically glorifies the Lord's transcendental activities during His numerous descents in this world. These narrations culminate in the description of God's original form as Sri Krishna.
Following are the chapter titles (13-19) from the Srimad Bhagavatam, Third Canto dealing with Varaha-katha:
13. The Appearance of Lord Varaha
14. Pregnancy of Diti in the Evening
15. Description of the Kingdom of God
16. The Two Doorkeepers of Vaikuntha, Jaya and Vijaya, Cursed by the Sages
17. Victory of Hiranyaksha Over All the Directions of the Universe
18. The Battle Between Lord Boar and the Demon Hiranyaksha
19. The Killing of Hiranyaksha
"O expert and thoughtful men, relish the Srimad Bhagavatam, the mature fruit of the desire tree of Vedic literatures. It emanated from the lips of Sri Sukadeva Gosvami. Therefore this fruit has become even more tasteful, although its nectarean juice, was already relishable for all, including liberated souls."
Verses in Praise of Sri Varaha
When Lord Varaha appeared He declared: For the benefit of all, I shall bring back to her former place the earth, who has the girdle of the oceans, whose limbs are overrun by all kinds of creatures and who has disappeared. I shall kill the naughty Hiranyaksha, an offspring of Diti. (Mahabharata 12.236.71-73)
The supreme enjoyer of all sacrifices accepted the incarnation of a boar for the welfare of the earth. He lifted the earth from the nether regions of the universe. (Srimad Bhagavatam 1.3.7)
When the unlimitedly powerful Lord assumed the form of a boar as a pastime, just to life the planet earth which was drowned in the great ocean of the universe called Garbhodaka, the first demon (Hiranyaksa) appeared and the Lord pierced him with the tusk. (Srimad Bhagavatam 2.7.1)
When her child falls in a well, the mother because of excessive parental affection (vatsalya) jumps in and saves it. Similarly when earth (prthivi) was sinking in the underworld, the Lord took the form of a boar and in the twinkling of an eye dived in and brought her out. (Sri Pillan's Tiruvaymoli 7.5.5)
To rescue the earth He appeared during the Svayambhuva-manvantara, from Brahma's nostril, and during the Caksusa-manvantara, He appeared from the water. Lord Varaha, the best of tusked beasts, appears to kill Hiranyaksa and rescue the earth. Sometimes Varaha is a wild animal of the forest and sometimes He is a domestic animal. Sometimes He is dark as a raincloud and sometimes He is as white as the moon. In this way, smrti-sastra describes two gigantic forms of Lord Varaha, the form of Vedic sacrifices. Maitreya Muni described Lord Varaha's pastimes at two different times as if they happened at the same time. (Srila Rupa Gosvami's Laghu-bhagavatamrta 1.3.10-12,17)
O Keshava! O Lord of the universe! O Lord Hari, who have assumed the form of a boar! All glories to You! The earth, which had become immersed in the Garbhodaka Ocean at the bottom of the universe, sits fixed upon the tip of Your tusk like a spot upon the moon. (Sri Jayadeva's Dasavatara-stotra 3)
O Boar-bodied, foe of the demon (Hiranyaksha), holder of the earth (on the tip of the tusk), possessor of excellent limbs (serving as means of sacrifice), I salute You. (Sri Madhvacharya's Dvadasha-Stotra 4.4)
yad roma-randhra-paripurti-vidhav adaksa
varaha-janmani babhvur amI samudrah
tam nama natham aravinda-drzam yazodaa
pani-dvayantara-jalaih snapayam babhuva
"Although in His Varaha incarnation, many oceans could hardly even fill the Lord's hair follicles, Yashodamayi bathed that same lotus-eyed Lord (i.e, Shri Krishna) with just the water contained in her two joined palms." -- Krishna-karnamritam, 2.27
Varaha-tirthas
There are many places where Lord Varaha performed His transcendental pastimes here on this earth, including:
The Mahabharata 3.81.15 mentions a Varaha-tirtha in Haryana State where Lord Vishnu appeared as Varaha.
At the place known as Soronksetra Lord Varaha picked up the earth on His tusk. This place is located 100 km northeast of Mathura in the Etah district and was visited by Lord Chaitanya Mahaprabhu.
After killing the demon Hiranyakasipu, He rested at Vishrama-ghat in Mathura and spoke the Varaha Purana to Mother Earth.
In Ramana-reti (Vrindavana, Mathura District) is Varaha-ghat where Lord Krishna revealed His Varaha form to the gopis. The Bhakti-ratnakara (Fifth Wave) mentions a similar event having occurred in a village known as Varahara in Vrindavan.
Once when Lord Chaitanya Mahaprabhu visited His devotee Murari Gupta, He revealed His form as Lord Varaha in Navadvipa, West Bengal. (See Caitanya-bhagavata Madhya-khanda 3)
By visiting these holy places and remembering the Lord, one receives the blessings of Lord Varaha.
Source: Avatara.org
Varaha Upanishad
Translated by K. Narayanasvami Aiyar
Om! May He protect us both together; may He nourish us both together; May we work conjointly with great energy, May our study be vigorous and effective; May we not mutually dispute (or may we not hate any).
Om! Let there be Peace in me! Let there be Peace in my environment! Let there be Peace in the forces that act on me!
CHAPTER I
The great sage Ribhu performed penance for twelve Deva (divine) years. At the end of the time, the Lord appeared before him in the form of a boar. He said: “Rise, rise and choose your boon”. The sage got up and having prostrated himself before him said: “O Lord, I will not, in my dream, wish of thee those things that are desired by the worldly. All the Vedas, Shastras, Itihasas and all the hosts of other sciences, as well as Brahma and all the other Devas, speak of emancipation as resulting from a knowledge of thy nature. So impart to me that science of Brahman which treats of thy nature.”
Then the boar-shaped Bhagavan (Lord) said:
1. Some disputants hold that there are twenty-four Tattvas (principles) and some thirty-six, whilst others maintain that there are ninety-six.
2. I shall relate them in their order. Listen with an attentive mind. The organs of sense are five, viz., ear, skin, eye and others.
3. The organs of action are five, viz., mouth, hand, leg and others. Pranas (vital airs) are five; sound and other (viz., rudimentary principles) are five.
4. Manas, Buddhi, Chitta and Ahankara are four; thus those that know Brahman know these to be the twenty-four Tattvas.
5. Besides these, the wise hold the quintuplicated elements to be five, viz., earth, water, fire, Vayu and Akasa;
6. The bodies to be three, viz., the gross, the subtle and the Karana or causal; the states of consciousness to be three, viz., the waking, the dreaming and the dreamless sleeping.
7-8. The Munis know the total collection of Tattvas to be thirty-six (coupled with Jiva). With these Tattvas, there are six changes, viz., existence, birth, growth, transformation, decay and destruction.
9. Hunger, thirst, grief, delusion, old age and death are said to be the six infirmities.
10. Skin, blood, flesh, fat, marrow and bones are said to be the six sheaths. Passion, anger, avarice, delusion, pride and malice are the six kinds of foes.
11. Vishva, Taijasa and Prajna are the three aspects of the Jiva. Sattva, Rajas and Tamas are the three Gunas (qualities).
12. Prarabdha, Sanchita and Agamin are the three Karmas. Talking, lifting, walking, excreting and enjoying are the five actions (of the organs of action);
13. And there are also thought, certainty, egoism, compassion, memory (functions of Manas, etc.,), complacency, sympathy and indifference;
14. Dik (the quarters), Vayu, Sun, Varuna, Ashvini Devas, Agni, Indra, Upendra and Mrityu (death); and then the moon, the four-faced Brahma, Rudra, Kshetrajna and Ishvara.
15-16. Thus these are the ninety-six Tattvas. Those that worship, with devotion, me of the form of boar, who am other than the aggregate of these Tattvas and am without decay are released from Ajnana and its effects and become Jivanmuktas.
17. Those that know these ninety-six Tattvas will attain salvation in whatever order of life they may be, whether they have matted hair or are of shaven head or have (only) their tuft of hair on. There is no doubt of this.”
Thus ends the first Chapter of Varaha Upanishad.
CHAPTER II
1. The great Ribhu (again) addressed the Lord of Lakshmi of the form of boar thus: “O Lord, please initiate me into the supreme Brahma-Vidya (or science).”
2-3. Then the Lord who removes the miseries of his devotees being thus questioned, answered thus: “Through (the right observance of) the duties of one’s own caste and orders of life, through religious austerities and through the pleasing of the Guru (by serving him rightly), arise to persons the four, Vairagya, etc. They are the discrimination of the eternal from the non-eternal; indifference to the enjoyments of this and the other worlds;
4-5(a). The acquisition of the six virtues, Sama, etc., and the longing after liberation. These should be practised. Having subdued the sensual organs and having given up the conception of ‘mine’ in all objects, you should place your consciousness of ‘I’ in (or identify yourself with) me, who am the witness Chaitanya (consciousness).
5(b)-7(a). To be born as a human being is difficult - more difficult it is to be born as a male being - and more so is it to be born as a Brahmana. Even then, if the fool does not cognise through the hearing, etc., of Vedanta, the true nature of the Sachchidananda (of Brahman) that is all-pervading and that is beyond all caste and orders of life, when will he obtain Moksha?
7(b)-8. I alone am happiness. There is none other. If there is said to be another, then it is not happiness. There is no such things as love, except on my account. The love that is on account of me is not natural to me. As I am the seat of supreme love, that ‘I am not’ is not.
9. He who is sought after by all, saying “I should become such”, is myself, the all-pervading. How can non-light affect Atman, the self-shining which is no other than the light whence originates the words ‘I am not light’.
10-12(a). My firm conviction is whoever knows for certain that (Atman) which is self-shining and has itself no basis (to rest upon), is one of Vijnana. The universe, Jiva, Ishvara, Maya and others do not really exist, except my full Atman.
12(b)-13(a). I have not their characteristics, Karma which has Dharana and other attributes and is of the form of darkness and Ajnana is not fit to touch (or affect) me, who am Atman, the self-resplendent.
13(b)-14(a). That man who sees (his) Atman which is all-witness and is beyond all caste and orders of life as of the nature of Brahman, becomes himself Brahman.
14(b)-15(a). Whoever sees, through the evidence of Vedanta, this visible universe as the Supreme Seat which is of the form of light, attains Moksha at once.
15(b)-16(a). When that knowledge which dispels the idea that this body (alone) is Atman, arises firmly in one’s mind as was before the knowledge that this body (alone) is Atman, then that person, even though he does not desire Moksha, gets it.
16(b)-17(a). Therefore how will a person be bound by Karma, who always enjoys the bliss of Brahman which has the characteristics of Sachchidananda and which is other than Ajnana ?
17(b)-18. Persons with spiritual eyes see Brahman, that is the witness of the three states that has the characteristics of be-ness, wisdom and bliss, that is the underlying meaning of the words ‘Thou’ (Tvam) and ‘I’ (Aham) and that is untouched by all the stains.
19. As a blind man does not see the sun that is shining, so an ignorant person does not see (Brahman). Prajnana alone is Brahman. It has truth and Prajnana as its characteristics.
20. By thus cognising Brahman well, a person becomes immortal. One who knows his own Atman as Brahman, that is bliss and without duality and Gunas (qualities) and that is truth and absolute consciousness is not afraid of anything.
21. That which is consciousness alone which is all-pervading, which is eternal, which is all-full, which is of the form of bliss and which is indestructible, is the only true Brahman.
22-23(a). It is the settled determination of Brahma-Jnanis that there is naught else but that. As the world appears dark to the blind and bright to those having good eyes, so this world full of manifold miseries to the ignorant is full of happiness to the wise.
23(b)-24(a). In me, of the form of boar, who am infinite and the Bliss of absolute Consciousness, if there is the conception of non-dualism, where then is bondage? And who is the one to be emancipated?
24(b)-25(a). The real nature of all embodied objects is ever the absolute Consciousness. Like the pot seen by the eyes, the body and its aggregates are not (viz., do not really exist).
25(b)-26. Knowing, as Atman, all the locomotive and fixed worlds that appear as other than Atman, meditate upon them as ‘It I am’. Such a person then enjoys his real nature. There is no other to be enjoyed than one-Self.
27. If there is anything that is, then Brahman alone has that attribute. One who is perfect in Brahma-Jnana, though he always sees this established universe, does not see it other than his Atman.
28-30. By cognising clearly my form, one is not trammelled by Karma. He is an undaunted person who by his own experience cognises as his own real nature all (the universe and Brahman) that is without the body and the organs of sense - that is the all-witness - that is the one noumenal Vijnana, that is the blissful Atman (as contrasted with Jivatma or the lower self) and that is the self-resplendent. He is one that should be known as ‘I’ (myself). O Ribhu, may you become He.
31. After this, there will be never any experience of the world. Thereafter there will always be the experience of the wisdom of one’s own true nature. One who has this known fully Atman has neither emancipation nor bondage.
32. Whoever meditates, even for one Muhurta (48 minutes) through the cognition of one’s own real form, upon Him who is dancing as the all-witness, is released from all bondage.
33. Prostrations - prostrations to me who am in all the elements, who am the Chidatma (viz., Atman of the nature of wisdom) that is eternal and free and who am the Pratyagatman.
34-35. O Devata, you are I. I am you. Prostrations on account of myself and yourself who are infinite and who are Chidatma, myself being the supreme Isha (Lord) and yourself being Shiva (of a beneficent nature). What should I do? Where should I go? What should I reject?
36. (Nothing, because) the universe is filled by me as with the waters on the universal deluge. Whoever gives up (fondness) love of the external, love of the internal and love of the body and thus gives up all associations, is merged in me. There is no doubt about it.
37. That Paramahamsa (ascetic) who, though living in the world, keeps aloof from human congregation as from serpent, who regards a beautiful woman as a (living) corpse and the endless sensual objects as poison and who has abandoned all passion and is indifferent towards all objects is no other than Vasudeva, (viz.,) myself.
38. This is Satya (Truth). This is nothing but truth. It is truth alone that is now said. I am Brahman, the truth. There is naught else but I.
39. (The word) ‘Upavasa’ (lit., dwelling near) signifies the dwelling near (or union) of Jivatma and Paramatman and not (the religious observance as accepted by the worldly of) emaciating the body through fasts.
40. To the ignorant, what is the use of the mere drying up of the body? By beating about the hole of a snake, can we be said to have killed the big snake within.
41. A man is said to attain Paroksha (indirect) wisdom when he knows (theoretically) that there is Brahman; but he is said to attain Sakshatkara (direct cognition) when he knows (or realises) that he is himself Brahman.
42. When a Yogin knows his Atman to be the Absolute, then he becomes a Jivanmukta.
43. To Mahatmas, to be always in the state ‘I am Brahman’ conduces to their salvation. There are two words for bondage and Moksha. They are ‘mine’ and ‘not mine’.
44. Man is bound by ‘mine’, but he is released by ‘not mine’. He should abandon all the thoughts relating to externals and so also with references to internals. O Ribhu, having given up all thoughts, you should rest content (in your Atman) ever.”
45. The whole of the universe is caused through Sankalpa alone. It is only through Sankalpa that the universe manifests. Having abandoned the universe, which is of the form of Sankalpa and having fixed your mind upon the Nirvikalpa (one which is changeless), meditate upon my abode in your heart.
46. O most intelligent being, pass your time in meditating upon me, glorifying me in songs, talking about me to one another and thus devoting yourself entirely to me as the Supreme.
47. Whatever is Chit (consciousness) in the universe is only Chinmatra. This universe is Chinmaya only. You are Chit. I am Chit; contemplate upon the worlds also as Chit.
48-49(a). Make the desires nil. Always be without any stain. How then can the bright lamp of Atmic Vijnana arising through the Vedas be affected by the Karma arising from the ignorance of the actor and the agent?
49(b)-50(a). Having given up not-Atman and being in the world unaffected by it, delight only in the Chinmatra within, ever intent on the One.
50(b)-51(a). As the Akasa of the pot and that of the house are both located in the all-pervading Akasa, so the Jivas and Ishvara are only evolved out of me, the Chidakasa (the one Akasa of universal consciousness).
51(b)-52(a). So that which did not exist before the evolution of Atmas (Jiva) (and Ishvara) and that which is rejected at the end (viz., universal deluge) is called Maya by Brahma-Jnanis through their discrimination.
52(b)-53(a). Should Maya and its effects (the universe) be annihilated, there is no state of Ishvara, there is no state of Jiva. Therefore like the Akasa without its vehicle, I am the immaculate and Chit.
53(b)-54. The creation, sentient as well as non-sentient from Ikshana (thinking) to Pravesha (entry) of those having the forms of Jivas and Ishvara is due to the creation (or illusion) of Ishvara; while the Samsara (worldly existence) from the waking state to salvation is due to the creation of Jiva.
55. So the Karmas ordained in the sacrifice (called) Trinachaka (so called after Nachiketas of Katha Upanishad) to Yoga are dependent upon the illusion of Ishvara; while (the systems from) Lokayata (atheistical system) to Sankhya rest on the illusion of Jiva.
56. Therefore aspirants after salvation should never make their heads enter into the field of controversy regarding Jiva and Ishvara. But with an undisturbed mind, Tattvas of Brahman should be investigated.
57. Those who do not cognise the Tattva of the secondless Brahman are all deluded persons only. Whence (then) is salvation to them? Whence then is happiness (to them) in this universe?
58. What if they have the thoughts of the superiority and inferiority (of Ishvara and Jiva)? Will sovereignty and mendicancy (experienced by a person) in the dreaming state affect him in his waking state?
59. When Buddhi is absorbed in Ajnana, then it is termed, by the wise, sleep. Whence then is sleep to me who have not Ajnana and its effects?
60. When Buddhi is in full bloom, then it is said to be the Jagrat (waking state). As I have no changes, etc., there is no waking state to me.
61. The moving about of Buddhi in the subtle Nadis constitutes the dreaming state. In me without the act of moving about, there is no dreaming.
62. Then at the time of Sushupti when all things are absorbed, enveloped by Tamas, he then enjoys the highest bliss of his own nature in an invisible state.
63. If he sees everything as Chit without any difference, he alone is an actual Vijnani. He alone is Shiva. He alone is Hari. He alone is Brahma.
64. This mundane existence which is an ocean of sorrow, is nothing but a long-lived dream, or an illusion of the mind or a long-lived reign of the mind. From rising from sleep till going to bed, the one Brahman alone should be contemplated upon.
65. By causing to be absorbed this universe which is but a superimposition, the Chitta partakes of my nature. Having annihilated all the six powerful enemies, through their destruction become the non-dual One like the scent-elephant.
66. Whether the body perishes now or lasts the age of moon and stars, what matters it to me having Chit alone as my body? What matters it to the Akasa in the pot, whether it (the pot) is destroyed now or exists for a long time.
67. While the Slough of a serpent lies cast off lifeless in its hole, it (the serpent) does not evince any affection towards it.
68. Likewise the wise do not identify themselves with their gross and subtle bodies. If the delusive knowledge (that the universe is real) with its cause should be destroyed by the fire of Atma-Jnana, the wise man becomes bodiless, through the idea ‘It (Brahman) is not this; It is not this’.
69. Shastras, the knowledge of reality (of the universe) perishes. Through direct perception of truth, one’s fitness for action (in this universe) ceases. With the cessation of Prarabdha (the portion of the past Karma which is being enjoyed in this life), the destruction of the manifestation (of the universe) takes place. Maya is thus destroyed in a three-fold manner.
70. If within himself no identification (of Jiva) with Brahman takes place, the state (of the separateness) of Jiva does not perish. If the non-dual one is truly discerned, then all affinities (for objects) cease.
71. With the cessation of Prarabdha (arising from the cessation of affinities), there is that of the body. Therefore it is certain that Maya perishes thus entirely. If it is said that all the universe is, that Brahman alone is that is of the nature of Sat.
72. If it is said that the universe shines, then it is Brahman alone that shines. (The mirage of) all the water in an oasis is really no other than the oasis itself. Through inquiry of one’s Self, the three worlds (above, below and middle) are only of the nature of Chit.
73. In Brahman, which is one and alone, the essence of whose nature is absolute consciousness and which is remote from the differences of Jiva, Ishvara and Guru, there is no Ajnana. Such being the case, where then is the occasion for the universe there? I am that Brahman which is all full.
74. While the full moon of wisdom is robbed of its lustre by the Rahu (one of the two nodes of the moon) of delusion, all actions such as the rites of bathing, alms-giving and sacrifice performed during the time of eclipse are all fruitless.
75. As salt dissolved in water becomes one, so if Atman and Manas become identified, it is termed Samadhi.
76. Without the grace of a good (perfect) guru, the abandonment of sensual objects is very difficult of attainment; so also the perception of (divine) truth and the attainment of one’s true state.
77. Then the state of being in one’s own self shines of its own accord in a Yogin in whom Jnana-Sakti has dawned and who has abandoned all Karmas.
78. The (property of) fluctuation is natural to mercury and mind. If either mercury is bound (or consolidated) or mind is bound (or controlled), what then on this earth cannot be accomplished?
79. He who obtains Murchchha cures all diseases. The dead are brought to life again. He who has bound (his mind or mercury) is able to move in the air. Therefore mercury and mind confer upon one the state of Brahman.
80. The master of Indriyas (the organs) is Manas (mind). The master of Manas is Prana. The master of Prana is Laya (absorption Yoga). Therefore Laya-Yoga should be practised.
81. To the Yogins, Laya(-Yoga) is said to be without actions and changes. This Laya (absorption) of mind which is above speech and in which one has to abandon all Sankalpas and to give up completely all actions, should be known through one’s own (experience).
82. As an actress, though subject (or dancing in harmony) to music, cymbals and other musical instruments of time, has her mind intent upon he protection of the pot on her head, so the Yogin, though intent for the time being upon the hosts of objects, never leaves off the mind contemplating on Brahman.
83. The person who desires all the wealth of Yoga should, after having given up all thoughts, practise with a subdued mind concentration on Nada (spiritual sound) alone.” Thus ends the second Chapter of Varaha Upanishad.
CHAPTER III
1. “The One Principle cannot at any time become of manifold forms. As I am the partless, there is none else but myself.
2. Whatever is seen and whatever is heard is no other than Brahman. I am that Para-Brahman, which is the eternal, the immaculate, the free, the one, the undivided bliss, the non-dual, the truth, the wisdom and the endless.
3. I am of the nature of bliss; I am of undivided wisdom; I am the supreme of the supreme; I am the resplendent absolute Consciousness. As the clouds do not touch the Akasa, so the miseries attendant on mundane existence do not affect me.
4. Know all to be happiness through the annihilation of sorrow and all to be of the nature of Sat (be-ness) through the annihilation of Asat (not-be-ness). It is only the nature of Chit (Consciousness) that is associated with this visible universe. Therefore my form is partless.
5. To an exalted Yogin, there is neither birth nor death, nor going (to other spheres), nor returning (to earth); there is no stain or purity or knowledge but (the universe) shines to him as absolute Consciousness.
6. Practise always silence ‘I am (viz., that you yourself are) Para-Brahman’ which is truth and absolute Consciousness, which is undivided and non-dual, which is invisible, which is stainless, which is pure, which is second-less and which is beneficent.
7. It (Brahman) is not subject to birth and death, happiness and misery. It is not subject to caste, law, family and Gotra (clan). Practise silence - I am Chit, which is the Vivarta-Upadana (viz., the illusory cause) of the universe.
8. Always practise silence - I am (viz., you are) the Brahman, that is the full, the secondless, the undivided consciousness which has neither the relationship nor the differences existing in the universe and which partakes of the essence of the non-dual and the supreme Sat and Chit.
9. That which always is and that which preserves the same nature during the three periods of time, unaffected by anything, is my eternal form of Sat.
10. Even the state of happiness which is eternal without Upadhis (vehicles) and which is superior to all the happiness derivable from Sushupti is of my bliss only.
11. As by the rays of the sun, thick gloom is soon destroyed, so darkness, the cause of rebirth is destroyed by Hari (Vishnu) Viz., the sun’s lustre.
12. Through the contemplation and worship of my (Hari’s) feet, every person is delivered from his ignorance. The means of destroying deaths and births is only through the contemplation of my feet.
13. As a lover of wealth praises a wealthy man, so if with earnestness a person praises the Cause of the universe, who will not be delivered from bondage?
14. As in the presence of the sun the world of its-own accord begins to perform its actions, so in my presence all the worlds are animated to action.
15. As to the mother-of pearl, the illusory conception of silver is falsely attributed, so to me is falsely attributed through Maya this universe which is composed of Mahat, etc.
16. I am not with those differences that are (observable) in the body of low caste men, the body of cow, etc., the fixed one’s, the bodies of Brahmanas and others.
17. As to a person, even after being relieved from the misconception of the directions, the (same misconception of) direction continues (as before), just so is to me the universe though destroyed by Vijnana. Therefore the universe is not.
18. I am neither the body nor the organs of sense and action, nor Pranas, Nor Manas, nor Buddhi, nor Ahankara, nor Chitta, nor Maya, nor the universe including Akasa and others.
19. Neither am I the actor, the enjoyer, nor he who causes the enjoyment. I am Brahman that is Chit, Sat and Ananda alone and that is Janardana (Vishnu).
20. As, through the fluctuation of water, the sun (reflected therein) is moved, so Atman arises in this mundane existence through its mere connection with Ahankara.
21. This mundane existence has Chitta as its root. This (Chitta) should be cleansed by repeated effort. How is it you have your confidence in the greatness of Chitta?
22. Alas, where is all the wealth of the kings! Where are the Brahmanas? Where are all the worlds? All old ones are gone. Many fresh evolutions have occurred.
23. Many Crores of Brahmas have passed away. Many kings have flitted away like particles of dust. Even to a Jnani, the love of the body may arise through the Asura (demoniacal) nature. If the Asura nature should arise in a wise man, his knowledge of truth becomes fruitless.
24. Should Rajas and others generated in us be burnt by the fire of discriminative (divine) wisdom, how can they germinate again?
25. Just as a very intelligent person delights in the shortcomings of another, so if one finds out his own faults (and corrects them) who will not be relieved from bondage?
26. O Lord of Munis, only he who has not Atma-Jnana and who is not an emancipated person, longs after Siddhis. He attains such Siddhis through medicine, (or wealth), Mantras, religious works, time and skill.
27. In the eyes of an Atma-Jnani, these Siddhis are of no importance. One who has become an Atma-Jnani, one who has his sight solely on Atman, and one who is content with Atman (the higher Self) through (his) Atman (or the lower self), never follows (the dictates of) Avidya.
28. Whatever exists in this world, he knows to be of the nature of Avidya. How then will an Atma-Jnani who has relinquished Avidya be immersed in (or affected by) it.
29. Though medicine, Mantras, religious work, time and skill (or mystical expressions) lead to the development of Siddhis, yet they cannot in any way help one to attain the seat of Paramatman.
30. How then can one who is an Atma-Jnani and who is without his mind be said to long after Siddhis, while all the actions of his desires are controlled?”
Thus ends the third Chapter of Varaha Upanishad.
CHAPTER IV
On another occasion Nidagha asked Lord Ribhu to enlighten him as to the characteristics of Jivanmukti. To which Ribhu replied in the affirmative and said the following: “In the seven Bhumikas (or stages of development of wisdom) there are four kinds of Jivanmuktas. Of these the first stage is Subhechcha (good desire); the second is Vicharana (inquiry); the third is Tanumanasi (or pertaining to the thinned mind); the fourth is Sattvapatti (the attainment of Sattva); the fifth is Asamsakti (non-attachment); the sixth is the Padartha-Bhavana (analysis of objects) and the seventh is the Turya (fourth or final stage). The Bhumika which is of the form of Pranava (Om) is formed of (or is divided into) Akara - ‘A’, Ukara - ‘U’, Makara - ‘M’ and Ardha-Matra. Akara and others are of four kinds on account of the difference of Sthula (gross) Sukshma (subtle), Bija (seed or causal) and Sakshi (witness). Their Avasthas are four: waking, dreaming, dreamless sleeping and Turya (fourth). He who is in (or the entity that identifies itself with) the waking state in the gross Amsa (essence or part) of Akara is named Vishva; in the subtle essence, he is termed Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi essence, he is termed Turya.
He who is in the dreaming state (or the entity which identifies itself with the dreaming state) in the gross essence of Ukara is Vishva; in the subtle essence, he is termed Taijasa; in the Bija essence, is termed Prajna; and in the Sakshi essence, he is termed Turya.
He who is in the Sushupti state in the gross essence of Makara is termed Vishva; in the subtle essence, Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi essence, he is termed Turya.
He who is in Turya State in the gross essence of Ardha-Matra is termed Turya-Vishva. In the subtle, he is termed Taijasa; in the Bija essence, he is termed Prajna; and in the Sakshi essence, he is termed Turya-Turya.
The Turya essence of Akara is (or embraces) the first, second and third (Bhumikas or stages of the seven). The Turya essence of Ukara embraces the fourth Bhumika. The Turya essence of Makara embraces the fifth Bhumika. The Turya essence of Ardha-Matra is the sixth stage. Beyond this, is the seventh stage.
One who functions in the (first) three Bhumikas is called Mumukshu; one who functions in the fourth Bhumika is called a Brahmavit; one who functions in the fifth Bhumika is called a Brahmavidvara; one who functions in the sixth Bhumika is called a Brahmavidvariya; and one in the seventh Bhumika is called a Brahmavidvarishtha.
With reference to this, there are Slokas. They are:
1. Subhechcha is said to be the first Jnana-Bhumi (or stage of wisdom); Vicharana, the second; Tanumanasi, the third;
2. Sattvapatti, the fourth; then come Asamsakti as the fifth, Padartha-Bhavana as the sixth and Turya as the seventh.
3. The desire that arise in one through sheer Vairagya (after resolving) ‘Shall I be ignorant? I will be seen by the Shastras and the wise’ (or ‘I will study the books and be with the wise’) - is termed by the wise as Subhechcha.
4. The association with the wise and Shastras and the following of the right path preceding the practice of indifference is termed Vicharana.
5. That stage wherein the hankering after sensual objects is thinned through the first and second stages is said to be Tanumanasi.
6. That stage wherein having become indifferent to all sensual objects through the exercise in the (above) three stages, the purified Chitta rests on Atman which is of the nature of Sat is called Sattvapatti.
7. The light (or manifestation) of Sattva-Guna that is firmly rooted (in one) without any desire for the fruits of actions through the practice in the above four stages is termed Asamsakti.
8-9. That stage wherein through the practice in the (above) five stages one, having found delight in Atman, has no conception of the internals or externals (though before him) and engages in actions only when impelled to do so by others is termed Padartha-Bhavana, the sixth stage.
10. The stage wherein after exceedingly long practice in the (above) six stages one is (immovably) fixed in the contemplation of Atman alone without the difference (of the universe) is the seventh stage called Turya.
11. The three stages beginning with Subhechcha are said to be attained with (or amidst) differences and non-differences. (Because) the universe one sees in the waking state he thinks to be really existent.
12. When the mind is firmly fixed on the non-dual One and the conception of duality is put down, then he sees this universe as a dream through his union with the fourth stage.
13. As the autumnal cloud being dispersed vanishes, so this universe perishes. O Nidagha, be convinced that such a person has only Sattva remaining.
14. Then having ascended the fifth stage called Sushuptipada (dreamless sleeping seat), he remains simply in the non-dual state, being freed from all the various differences.
15-16(a). Having always introvision though ever participating in external actions, those that are engaged in the practice of this (sixth stage) are seen like one sleeping when fatigued (viz., being freed from all affinities).
16(b). (Lastly) the seventh stage which is the ancient and which is called Gudhasupti is generally attained.
17. Then one remains in that secondless state without fear and with his consciousness almost annihilated where there is neither Sat nor Asat, neither self nor not-self.
18. Like an empty pot in the Akasa, there is void both within and without; like a filled vessel in the midst of an ocean, he is full both within and without.
19. Do not become either the knower or the known. May you become the Reality which remains after all thoughts are given up.
20. Having discarded (all the distinctions of) the seer, the sight and the seen with their affinities, meditate solely upon Atman which shines as the supreme Light.
21. He is said to be a Jivanmukta (emancipated person) in whom, though participating in the material concerns of the world, the universe is not seen to exist like the invisible Akasa.
22. He is said to be a Jivanmukta, the light of whose mind never sets or rises in misery or happiness and who does not seek to change what happens to him (viz., either to diminish his misery or increase his happiness).
23. He is said to be a Jivanmukta who though in his Sushupti is awake and to whom the waking state is unknown and whose wisdom is free from the affinities (of objects).
24. He is said to be a Jivanmukta whose heart is pure like Akasa, though acting (as it) in consonance to love, hatred, fear and others.
25. He is said to be a Jivanmukta who has not the conception of his being the actor and whose Buddhi is not attached to material objects, whether he performs actions or not.
26. He is said to be a Jivanmukta, of whom people are not afraid, who is not afraid of people and who has given up joy, anger and fear.
27. He is said to be a Jivanmukta, who though participating in all the illusory objects, is cool amidst them and is a full Atman, (being) as if they belonged to others.
28. O Muni, he is said to be a Jivanmukta, who having eradicated all the desires of his Chitta, is (fully) content with me who am the Atman of all.
29. He is said to be a Jivanmukta, who rests with an unshaken mind in that all pure abode which is Chinmatra and free from all the modifications of Chitta.
30. He is said to be a Jivanmukta in whose Chitta do not dawn (the distinctions of) the universe, I, he, thou and others that are visible and unreal.
31. Through the path of the Guru and Shastras, enter soon sat - the Brahman that is immutable, great, full and without objects - and be firmly seated there.
32. Shiva alone is Guru; Shiva alone is Vedas; Shiva alone is Lord; Shiva alone is I; Shiva alone is all. There is none other than Shiva.
33. The undaunted Brahmana having known Him (Shiva) should attain wisdom. One need not utter many words as they but injure the organ of speech.
34. (The Rishi) Suka is a Mukta (emancipated person). (The Rishi) Vamadeva is a Mukta. There are no others (who have attained emancipation) than through these (viz., the two paths of these two Rishis). Those brave men who follow the path of Suka in this world become Sadyo-Muktas (viz., emancipated) immediately after (the body wear away);
35. While those who always follow the path of Vamadeva (i.e., Vedanta) in this world are subject again and again to rebirths and attain Krama (gradual) emancipation, through Yoga, Sankhya and Karmas associated with Sattva (Guna).
36. Thus there are two paths laid down by the Lord of Devas (viz.,) the Suka and Vamadeva paths. The Suka path is called the bird’s path; while the Vamadeva path is called the ant’s path.
37-38. Those persons that have cognised the true nature of their Atman through the mandatory and prohibitory injunctions (of the Vedas), the inquiry into (the true meaning of) Maha-Vakyas (the sacred sentences of the Vedas), the Samadhi of Sankhya Yoga or Asamprajnata Samadhi and that have thereby purified themselves, attain the supreme seat through the Suka path.
39-40. Having, through Hatha-Yoga practice with the pain caused by Yama, postures, etc., become liable to the ever recurring obstacles caused by Anima and other (Siddhis) and having not obtained good results, one is born again in a great family and practises Yoga through his previous (Karmic) affinities.
41. Then through the practice of Yoga during many lives, he attains salvation (viz.,) the supreme seat of Vishnu through the Vamadeva path.
42. Thus there are two paths that lead to the attainment of Brahman and that are beneficent. The one confers instantaneous salvation and the other confers gradual salvation. To one that sees (all) as the one (Brahman), where is delusion? Where is sorrow?
43. Those that are under the eyes of those whose Buddhi is solely occupied with the truth (of Brahman) that is the end of all experience are released from all heinous sins.
44. All beings inhabiting heaven and earth that fall under the vision of Brahmavits are at once emancipated from the sins committed during many Crores of births.” Thus ends the fourth Chapter of Varaha Upanishad.
CHAPTER V
Then Nidagha asked Lord Ribhu to enlighten him as to the rules (to be observed) in the practice of Yoga. Accordingly He (the Lord) said thus:
1. “The body is composed of the five elements. It is filled with five Mandalas (spheres). That which is hard is Prithvi (earth), one of them; that which is liquid is Apas;
2. That which is bright is Tejas (fire); motion is the property of Vayu; that which pervades everywhere is Akasa. All these should be known by an aspirant after Yoga.
3. Through the blowing of Vayu-Mandala in this body, (there are caused) 21,600 breaths every day and night.
4. If there is a diminution in the Prithvi-Mandala, there arise folds in the body; if there is diminution in the essence of Apas, there arises gradually greyness of hair;
5. If there is diminution in the essence of Tejas, there is loss of hunger and lustre; if there is diminution in the essence of Vayu, there is incessant tremor;
6. If there is diminution in the essence of Akasa, one dies. The Jivita (viz., Prana) which possesses these elements having no place to rest (in the body) owing to the diminution of the elements, rises up like birds flying up in the air.
7. It is for this reason that is called Udyana (lit., flying up). With reference to this, there is said to be a Bandha (binding, also meaning a posture called Udyana-Bandha, by which this flight can be arrested). This Udyana-Bandha is to (or does away with) death, as a lion to an elephant.
8. Its experience is in the body, as also the Bandha. Its binding (in the body) is hurtful. If there is agitation of Agni (fire) within the belly, then there will be caused much of pain.
9. Therefore this (Udyana-Bandha) should not be practised by one who is hungry or who has urgency to make water or void excrement. He should take many times in small quantities proper and moderate food.
10. He should practise Mantra-Yoga. Laya-Yoga and Hatha-Yoga, through mild, middling and transcendental methods (or periods) respectively. Laya, Mantra and Hatha-Yogas have each (the same) eight subservients.
11-12(a). They are Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana and Samadhi.
12(b)-13(a). (Of these), Yama is of ten kinds. They are non-injury, truth, non-coveting, continence, compassion, straightforwardness, patience, courage, moderate eating and purity (bodily and mental).
13(b)-14. Niyama is of ten kinds. They are Tapas (religious austerities), contentment, belief in the existence of God or Vedas, charity, worship of Ishvara (or God), listening to the expositions of religious doctrines, modesty, a (good) intellect, Japa (muttering of prayers) and Vrata (religious observances).
15-16. They are eleven postures beginning with Chakra. Chakra, Padma, Kurma, Mayura, Kukkuta, Vira, Svastika, Bhadra, Simha, Mukta and Gomukha are the postures enumerated by the knowers of Yoga.
17. Placing the left ankle on the right thigh and the right ankle on the left thigh and keeping the body erect (while sitting) is the posture “Chakra”.
18. Pranayama should be practised again and again in the following order, viz., inspiration, restraint of breath and expiration. The Pranayama is done through the Nadis (nerves). Hence it is called the Nadis themselves.
19. The body of every sentient being is ninety-six digits long. In the middle of the body, two digits above the anus and two digits below the sexual organ, is the centre of the body (called Muladhara or sacral plexus).
20-21. Nine digits above the genitals, there is Kanda of Nadis which revolves oval-shaped, four digits high and four digits broad. It is surrounded by fat, flesh, bone and blood.
22. In it, is situate a Nadi-Chakra (wheel of nerves) having twelve spokes. Kundali by which this body is supported is there. 23. It is covering by its face the Brahmarandhra (viz., Brahma’s hole) of Susumna. (By the side) of Susumna dwell the Nadis Alambusa and Kuhuh.
24. In the next two (spokes) are Varuna and Yasasvini. On the spoke south of Susumna is, in regular course, Pingala.
25. On the next two spokes, are Pusha and Payasvini. On the spoke west of Susumna is the Nadi called Sarasvati.
26. On the next two spokes are Sankhini and Gandhari. To the north of Susumna dwells Ida;
27-28. In the next is Hastijihva; in the next is Visvodara. In these spokes of the wheel, the twelve Nadis carry the twelve Vayus from left to right (to the different parts of the body). The Nadis are like (i.e. woven like the warp and woof of) cloth. They are said to have different colours.
29-30. The central portion of the cloth (here the collection of the Nadis) is called the Nabhi Chakra (navel plexus). Jvalanti, Nadarupini, Pararandhra and Susumna are called the (basic) supports of Nada (spiritual sound). These four Nadis are of ruby colour. The central portion of Brahmarandhra is again and again covered by Kundali.
31-33(a). Thus ten Vayus move in these Nadis. A wise man who has understood the course of Nadis and Vayus should, after keeping his neck and body erect with his mouth closed, contemplate immovably upon Turyaka (Atman) at the tip of his nose, in the centre of his heart and in the middle of Bindu and should see with a tranquil mind through the (mental) eyes, the nectar flowing from there.
33(b)-34. Having closed the anus and drawn up the Vayu and caused it to rise through (the repetition of) Pranava (Om), he should complete with Sri Bija. He should contemplate upon his Atman as Sri (or Parasakti) and as being bathed by nectar.
35. This is Kalavanchana (lit., time illusion). It is said to be the most important of all. Whatever is thought of by the mind is accomplished by the mind itself.
36. (Then) Agni (fire) will flame in Jala (water) and in the flame (of Agni) will arise the branches and blossoms. Then the words uttered and the actions done regarding the universe, are not in vain.
37. By checking the Bindu in the path, by making the fire flame up in the water and by causing the water to dry up, the body is made firm.
38. Having contracted simultaneously the anus and Yoni (the womb) united together, he should draw up Apana and unite with it Samana.
39. He should contemplate upon his Atman as Shiva and then as being bathed by nectar. In the central part of each spoke, the Yogin should commence to concentrate Bala (will or strength).
40. He should try to go up by the union of Prana and Apana. This most important Yoga brightens up in the body the path of Siddhis.
41. As dam across the water serves as an obstacle to the floods, so it should ever be known by the Yogins that the Chhaya of the body is to (Jiva).
42. This Bandha is said of all Nadis. Through the grace of this Bandha, the Devata (goddess) becomes visible.
43. This Bandha of four feet serves as a check to the three paths. This brightens up the path through which the Siddhas obtained (their Siddhis).
44. If with Prana is made to rise up soon Udana, this Bandha checking all Nadis goes up.
45. This is called Samputa-Yoga or Mula-Bandha. Through the Practising of this Yoga, the three Bandhas are mastered.
46. By practising day and night intermittingly or at any convenient time, the Vayu will come under his control.
47. With the control of Vayu, Agni (the gastric fire) in the body will increase daily. With the increase of Agni, food, etc., will be easily digested.
48. Should food be properly digested, there is increase of Rasa (essence of food). With the daily increase of Rasa, there is the increase of Dhatus (spiritual substances).
49. With the increase of Dhatus, there is the increase of wisdom in the body. Thus all the sins collected together during many Crores of births are burnt up.
50. In the centre of the anus and the genitals, there is the triangular Muladhara. It illumines the seat of Shiva of the form of Bindu.
51. There is located the Parasakti named Kundalini. From that seat, Vayu arises. From that seat, Agni becomes increased.
52. From that seat, Bindu originates and Nada becomes increased. From that seat, Hamsa is born. From that seat, Manas is born.
53. The six Chakras beginning with Muladhara are said to be the seat of Sakti (Goddess). From the neck to the top of the head is said to be the seat of Sambhu (Shiva).
54. To the Nadis, the body is the support (or vehicle); to Prana, the Nadis are the support; to Jiva, Prana is the dwelling place; to Hamsa, Jiva is the support;
55. To Sakti, Hamsa is the seat and the locomotive and fixed universe. Being without distraction and of a calm mind, one should practise Pranayama.
56. Even a person who is well-skilled in the practice of the three Bandhas should try always to cognise with a true heart that Principle which should be known and is the cause of all objects and their attributes.
57. Both expiration and inspiration should (be stopped and made to) rest in restraint of breath (alone). He should depend solely on Brahman which is the highest aim of all visibles.
58. (The giving out of) all external objects is said to be Rechaka (expiration). The (taking in of the) spiritual knowledge of the Shastras is said to be Puraka (inspiration) and (the keeping to oneself of) such knowledge is said to be Kumbhaka (or restraint of breath).
59. He is an emancipated person who practises thus such a Chitta. There is no doubt about it. Through Kumbhaka, it (the mind) should be always taken up and through Kumbhaka alone it should be filled up within.
60. It is only through Kumbhaka that Kumbhaka should be firmly mastered. Within it is Parama-Shiva. That (Vayu) which is non-motionless should be shaken again through Kantha-Mudra (throat-posture).
61-62. Having checked the course of Vayu, having become perfect in the practice of expiration and restraint of breath and having planted evenly on the ground the two hands and the two feet, one should pierce the four seats through Vayu through the three Yogas. He should shake Mahameru with the (aid of) Prakotis (forces) at the mouth of Vayu.
63. The two Putas (cavities) being drawn, Vayu throbs quickly. The union of moon, sun and Agni should be known on account of nectar.
64. Through the motion of Meru, the Devatas who stay in the centre of Meru move. At first in his Brahma-Granthi, there is produced soon a hole (or passage).
65. Then having pierced Brahma-Granthi, he pierces Vishnu-Granthi; then he pierces Rudra-Granthi.
66-67(a). Then to the Yogin comes Vedha (piercing) through his liberation from the impurities of delusion, through the religious ceremonies (performed) in various births, through the grace of Gurus and Devatas and through the practice of Yoga.
67(b)-68. In the Mandala (sphere or region) of Susumna (situated between Ida and Pingala), Vayu should be made to rise up through the feature known as Mudra-Bandha. The short pronunciation (of Pranava) frees (one) from sins; its long pronunciation confers (on one) Moksha.
69-70. So also its pronunciation in Apyayana or Pluta Svara (tone). He is a knower of Veda, who through the above-mentioned three ways of pronunciation knows the end of Pranava which is beyond the power of speech, like the never ceasing flow of oil or the long-drawn bell-sound. The short Svara goes to Bindu. The long Svara goes to Brahmarandhra; the Pluta to Dvadasanta (twelfth centre). The Mantras should be uttered on account of getting Mantra Siddhis.
71-72(a). This Pranava (OM) will remove all obstacles. It will remove all sins. Of this, are four Bhumikas (states) predicated, viz., Arambha, Ghata, Parichaya and Nishpatti.
72(b)-73(a). Arambha is that state in which one having abandoned external Karmas performed by the three organs (mind, speech and body), is always engaged in mental Karma only.
73(b)-74(a). It is said by the wise that the Ghata state is that in which Vayu having forced an opening on the western side and being full, is firmly fixed there.
74(b). Parichaya state is that in which Vayu is firmly fixed to Akasa, neither associated with Jiva nor not, while the body is immovable.
75. It is said that Nishpatti state is that in which there take place creation and dissolution through Atman or that state in which a Yogin having become a Jivanmukta performs Yoga without effort.
Whoever recites this Upanishad becomes immaculate like Agni. Like Vayu, he becomes pure. He becomes freed from the sin of drinking alcohol. He becomes freed from the sins of the theft of gold. He becomes a Jivanmukta. This is what is said by the Rig-Veda. Like the eye pervading the Akasa (seeing without effort everything above), a wise man sees (always) the supreme seat of Vishnu. The Brahmanas who have always their spiritual eyes wide open praise and illuminate in diverse ways the spiritual seat of Vishnu. OM, thus is the Upanishad.”
Thus ends the fifth Chapter of Varaha Upanishad.
Om! May He protect us both together; may He nourish us both together; May we work conjointly with great energy, May our study be vigorous and effective; May we not mutually dispute (or may we not hate any).
Om! Let there be Peace in me! Let there be Peace in my environment! Let there be Peace in the forces that act on me!
Here ends the Varaha Upanishad belonging to the Krishna-Yajur-Veda.
Varaha Dwadasi
Appearance day of Varaha
Transcendental Varaha gallery
Lord Varaha, Bhopal Museum
Temple carving, Java
Varaha in Durga temple, Aihole
Varaha in a temple carving, Belur
Carved stela, Varaha, 18 c. Tibet
Varaha, wood carving, Chennai Museum
Varaha Rescuing Bhu Devi. Brooklyn museum. Northern India (Rajasthan), circa 1000. Schist, 33 x 17 1/4 x 6 in. (83.8 x 43.8 x 15.2 cm). Asian Art Museum, San Francisco, The Avery Brundage Collection, B62S15+
Cosmic Varaha. Brooklyn Museum. Northern India (Rajasthan), 12th century. Black phyllite, 21 3/4 x 29 1/2 x 12 1/2 in. (55.3 x 75 x 31.8 cm). The James W. and Marilynn Alsdorf Collection
Varaha Rescuing Bhu Devi. Southern India (Kerala), circa 14th–15th century. Bronze, 13 x 7 3/4 x 5 1/8 in. (33 x 19.7 x 13 cm). Brooklyn Museum, Gift of Paul E. Manheim, 78.259.1
Varaha paintings as saviour of the earth (Brooklyn Museum).
Varaha murti, avatar of Vishnu
Varaha in Khajuraho Vamana temple
Varaha Narasimha cave Sri Varaha Narasimha Swamy Cave (Krodha Narasimha Swamy) is just few minutes away from the main temple, Sri Ahobileshwara Narasimha swamy in Upper Ahobilam. It houses 3 deities, one from them is Lord Varaha keeping Mother Earth on his noose with a lion tail on his back, representing the Narasimha lila to be part of the whole story.
Coin with Varaha (Vishnu Avatar) on a Pratihara coin 850-900 CE (British Museum)
Varaha temple, Mahabalipuram
Mythologically, the third incarnation of Vishnu was in the form of Varaha, the Boar. There are a number of temples dedicated to Lord Vishnu in the aspect of this incarnation. One of such famous temples is at Tiruvadantai, 27 miles from Chennai towards south on the way to Mahabalipuram.
The main deity is 3m (9 ft) tall and is called "Sri Lakshmi Adi Varaha". He is also known as "Sri Nritya Kalyana Perumal'. The Lord holds a conch in his upraised right hand and the disc in his left. The name of the Goddess is "Akhilavalli Ammal". The Goddess is seated over the left thigh of Lord Vishnu in his Varaha aspect, His left hand encircling Her waist, while Her feet are held in His lower right hand palm. Only the right leg of Varahaswami is touching the floor.
The deity is decorated with a garland formed of 108 saligrams around the neck. The legend goes that one Hariseka Maharaj, the ruling chief of Mahabalipuram, possessed this garland originally. He was a great devotee of Adi Varahaswami and it was his daily routine to visit the temple and pay homage. When he became old and was physically unable to move, he presented the garland to the presiding deity.
There are four Utsavamurtis (processional deities), namely, Nitya - kalyanaswami, Kottukar, Palpo Perumal and Spathanaperam. On festive occasions the processional deities are taken around the temple.
Once upon a time there lived a sage named Kalava at Tiruvadantai. He had 360 daughters. Tiruvadantai was a great city in those days and had 360 Agraharam (streets where Brahmins lived). As the sage was greatly honoured and respected, one daughter was taken up by each of the 360 streets to be respectfully maintained and looked after. Time rolled on. In due course, when the girls came of age it became a great anxiety for the sage how to get them married suitably. Praying fervently, the sage resigned himself to God.
Lord Vishnu elected to take the form of a 'Brahmachari' (bachelor) and appeared in the first Agraharam and broached the subject of marriage with the first daughter and then married her. It is customary with newly married Hindu couples to visit the village temple and pay their homage to the presiding deity and receive blessings for their future life. When the Brahmachari visited the local Varahaswami temple with his newly - wedded wife, he and his wife both mysteriously vanished in the sanctum sanctorum.
On the second day, Vishnu again took the form of another Brahmachari and proposed marriage with the second daughter in the second Agraharam and married her too. After marriage when the couple visited the local temple they too disappeared. Likewisely, mysteriously, a new Brahmachari used to be performed with one of Kalava Maehashi's 360 daughters. And when the newly married couples visited the Varahaswami temple, they just vanished.
When all the 360 girls vanished in this manner, the episode reached Maharshi Kalava. He was bewildered and agitated and wanted to know from God Himself the whereabouts of his daughters and sons-in-law.
When the Sage entered the, sanctum sanctorum of the temple with the object of knowing from the Lord's mouth the where abouts of his daughters, Lord Vishnu appeared before him as Varaha, the Boar, holding all the 360 daughters on lap. Lord Varahaswami embraced all the 360 daughters of Maharshi with his left hand and pressed all the 360 souls into single soul of Lakshmi, His consort, making her sit on his raised thigh. The merging of the souls of his daughters with that of Goddess Lakshmi enlightened the Sage.
The sage was greatly elated that Goddess Lakshmi considered him fit enough to be her father. As the marriage episode continued day after day for the 360 days of the year, the presiding deity was fondly named "Nityakalyanaswami" (Nitya means daily, Kalyana means marriage). Gradually the place gained in importance.
Varaha, Jagannatha temple, Puri. Archaeological Survey of India Collections, taken by Poorno Chander Mukherji in the 1890s.
Varaha, 6th cent. cave temple, Badami
Varaha, Kailasanatha temple, Ellora
Varaha
Mahakuta, Deccan
7th C.
Cave Two Badami has Vishnu's varaha, or boar, avatar
Bronze Varaha, Tamil Nadu 15th cent.
Varaha, Halebidu
Simhachalam - Sri Varaha Narasimhaswamy Temple,Near Visakhapatnam,Andhra Pradesh
Varaha, Belur
The Story of VARAHA Avatar
In VARAHA Avatar, Lord Vishnu incarnates himself as a boar in this world. A demon Hiranyaksha, had prayed for Lord Brahma and got awarded a boon that no beast nor man nor god could kill him. But somehow from the list of beasts the name of boar was missing. This proved to be his lacunae. He then started a campaign of plunder across the worlds. He pushed the world to the Pataal loka, or the under of the sea. He stole the Vedas, the holy scriptures from the Lord Brahma, while he was asleep and performed huge atrocities. To retrieve the Vedas and to save the world the Lord Vishnu assumed the role of a boar and brought out the earth from the under of the ocean, using its two tusks. It then killed Hiranyaksha and retrieved the Vedas from the asura and brought it back to the safe custody of the Lord Brahma.
Nava Torana Temple of Varaha at Khor in Neemach, Madhya Pradesh
ThirukKalvanoor - Sri Aadhi Varaha Perumal Temple, Kanchipuram
Sri Lakshmi Varahaswamy, Nithyakalyanar kovil, Varaha Kshetram, Thiruvidandai, Chennai (One of 108 divyadesam).
Sri Bhu Varaha Swamy, Sreemushnam temple, Chidambaram
Ellora Cave XIV. चषालः caṣāla in front of the Mother Earth.
Varaha cave temple, Mamallapuram, a photo from the 1860's चषालः caṣāla in front of the Mother Earth.
Varaha, Deogarh. 6th cent. चषालः caṣāla in front of, holding up the Mother Earth.
Varaha. Vikramasila wall carving. चषालः caṣāla in front of, holding up the Mother Earth. His foot controls a nAga as the Earth is lifted up from the Ocean.
Varaha. Khajuraho.
Badami Cave III. चषालः caṣāla in front of the Mother Earth.
VarAha's चषालः caṣāla in front of the Mother Earth.Udayagiri Varaha. Close-up photograph of the snout.चषालः caṣāla in front of the Mother Earth.
Udayagiri VarAha's चषालः caṣāla in front of the Mother Earth.
Badami Cave II. VarAha's चषालः caṣāla in front of the Mother Earth.
S. Kalyanaraman
Sarasvati Research Center
January 7, 2016
The coin hieroglyphs signify iron ore smelting in a mint. 
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On this cylinder seal, the flagposts with rings are shown together with hieroglyphs of: a person carrying an antelope (like the hioeroglyph shown on Shu-ilishu Meluhha translator cylinder seal), overflowing water, fishes, crucible, mountain range, sun (Source: 
Flagposts on boat. Dong Son bronze drum hieroglyphs.
Subramanian Swamy 
Fig. 9 cire perdue. bronze. Woman with a lamp.
Fig. 11 Copper tablets inscribed with Indus Script hieroglyphs signify kamaDha 'archer' rebus: kammaTa 'coiner, mint' loa 'ficus' rebus: loh 'copper' kamaTha 'crab' rebus: kammaTa 'coiner, mint' dato 'claws' rebus: dhatu 'mineral' dula 'pair' rebus: dul 'cast metal'
Fig. 12 One of six sivalingas found in Harappa. 
Fig. 13 Ekamukha linga atop a smelter with tree in background kuTi 'tree' rebus: kuThi 'smelter' 
mēda
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Nahal Mishmar hoard also had a copper alloy U-shaped vessel comparable in shape to the one shown on Meluhha standard as a crucible or portable furnace. The zig-zag shaped decoration on the copper vessel is comparable to the zig-zag shape shown on the 'gimlet' ligature on Meluhha standard (Mohenjo-dao seal m008). The zig-zag pattern shows the circular motion of the lathe --
Harappa. 
Buffalo. Mohenjo-daro.
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