Itihāsa in Rigveda.अश्विना du. 'two Aśvins', metaphor for sensory categories, five dhātu 'elements of the earth'

February 1, 2017, 8:13 am

≫ Next: sarasvatI the devI and the sarasvatI the nadI -- Manasataramgini

≪ Previous: Teaching garbled version of history -- Bharat Ratna PV Kane (1953, Indian History Congress, 16th session, Waltair)

$

0

0

Mirror: tinyurl.com/gu4d5wj  

अश्विना aśvinā in the dual are signifiers of wealth and invoked as divinities in 473 ricas of Rigveda. Upamanyu's adoration of अश्विना describes the divinities as five elements of the Universe (See the narrative of Upamanyu's Trial embedded excerpt from Mahabharata.) 

One of the अश्विन् aśvin is: ना* सत्य a [p= 523,3] mfn. (prob. fr. √2. नस् , Caus.) helpful , kind , friendly (mostly m. du. as N. of the अश्विन्s RV. ; later m.sg. N. of one of the अश्विन्s , the other being then called दस्र) relating or belonging to the अश्विन्s MBh. नासत्या f. the constellation अश्विनी L. The word occurs on Mitanni treaty (1380 BCE).

The devanagari text may be seen at "prapUrvagau pUrvajau chitrabhAnU..." 

http://sanskritdocuments.org/mirrors/mahabharata/mbhK/mahabharata-k-01-itx.html (As Manasataramgini provides scintillating insights in the appended note of May 2006, the rica type of prayer offered to the अश्विना aśvinā by Upamanyu is an extraordinary evidence to unravel the import of the Aśvin metaphor in Rigveda  ādhyAtmikā tradition -- as a metaphor for the senses, sensory perceptions).

Aśvinā aśvinau Parents: Saranyu and Vivasvan Rigveda Divinities of Shining of Sunrise and Sunset Averting Misfortune and Sickness (Roman equivalent: Dioscuri) Saranyu is the daughter of the Divine Architect Vis'vakarman.

Sons of Saranyu, a goddess of the clouds and wife of Surya in his form as Vivasvant. Appear on a golden chariot shining of sunrise and sunset  bringing treasures to worshippers and averting misfortune and sickness. " They are the doctors of gods and are devas of Ayurvedic medicine. They are represented as humans with the heads of horses. In the epic Mahabharata,..They are also called Nasatya (dual nāsatyau "kind, helpful") in the Rigveda; later, Nasatya is the name of one twin, while the other is called Dasra ("enlightened giving")...Ashwini Kumar brothers, the twins, who were Raja-Vaidya (Royal Physicians) to Devas during Vedic times, first prepared the Chyawanprash 

formulation for Chyawan Rishi at his Ashram on Dhosi Hill near Narnaul, 

Haryana, India, hence the name Chyawanprash...The Ashvins can be compared with the Dioscuri (the twins Castor and Pollux) of Greek and Roman mythology, and especially to the divine twins Ašvieniai of the ancient Baltic religion...The Nasatya twins are invoked in a treaty between Suppiluliuma and Shattiwaza, kings of the Hittites and the Mitanni respectively " https://en.wikipedia.org/wiki/Ashvins

(KBo 1 1. Gary M. Beckman (Jan 1, 1999). Hittite Diplomatic Texts. Scholars Press. p. 53.. Excerpt http://www.heritageinstitute.com/zoroastrianism/ranghaya/suppiluliuma_shattiwaza_treaty.htm )

Nasatya in Mitanni treaty na-ša-ti-ya-an-na (Cuneiform transctiption) = Nasatya-nna = Nāsatya (Vedic)

"In a treaty between the Hittites and the Mitanni (between Suppiluliuma

 and Shattiwaza, c. 1380 BCE), the deities Mitra, Varuna, Indra, and Nasatya (Ashvins) are invoked. Kikkuli's horse training text (circa 1400 BC) includes technical terms such as aika (Vedic Sanskrit eka, one), tera (tri, three), panza (pañca, five), satta (sapta, seven), na (nava, nine), vartana (vartana, round). The numeral aika "one" is of particular importance because it places the superstrate in the vicinity of Indo-Aryan proper (Vedic Sanskrit eka, with regular contraction of /ai/ to [eː]) as opposed to Indo-Iranian or early Iranian (which has *aiva; compare Vedic eva "only") in general." 

https://en.wikipedia.org/wiki/Mitanni-Aryan

Ašvieniai, the divine twins who pulled the chariot of the Sun (the Vedic Ashwins or the Greek Dioskouri).Hamacher, Duane W. "The Sumerians and Gemini: Sumerian Astronomical Interpretations as Origins of the Divine Horse Twins and Solar Chariots in Indo-European Mythology (Unpublished manuscript)" (PDF). p. 7. 
http://www.webcitation.org/5tso8HIGS?url=http%3A%2F%2Fblacktaj.homestead.com%2Ffiles%2Fdocuments%2FThe_Sumerians_and_Gemini.pdf Both names derive from the same Proto-Indo-European root for the horse – *ek'w-."Old Lithuanian ašva and Sanskrit ashva mean "horse". Ašvieniai are represented as pulling a carriage

 of Saulė (the Sun) through the sky. https://en.wikipedia.org/wiki/Ašvieniai"

Ašviniai, commonly called the little horses, on the rooftop of a house in Nida, Lithuania.

https://en.wikipedia.org/wiki/Nida,_Lithuania 

I submit that as Upamanyu notes in his prayers, Aśvin are the five elements पञ्चन् -इन्द्रियम् an aggregate of the five organs (of sense or actions which constitute the Universe. In a unified field of unerstanding of the AtmA and paramAtman in the cosmic dance, the detailed metaphors of the 'horse-head' and Aśvin as divine 'healers' and restorers of anyone of five body parts (pancendriya), Aśvin metaphor is an elaboration of the ādhyAtmikā interpretation of phenomena which result in transmuttion of minerals and metals in the medium of fire and other cosmic elements (pancabhUta, five elements -- पृथ्वी, अप्, तेजस्,  वायु and आकाश.).

पञ्चन् pañcan -अग्निः 1 an aggregate of five sacred fires; i. e. (अन्वाहार्यपचन or दक्षिण, गार्हपत्य, आहवनीय, सभ्य, and आव- सथ्य). -2 a householder who maintains the five sacred fires; पञ्चाग्नयोधृतव्रताः Māl.1; Ms.3.185. -इन्द्रियम् an aggregate of the five organs (of sense or actions; -भूतम् the five elements; पृथ्वी, अप्, तेजस्,  वायु and आकाश.; -लोहकम् the five metals i. e. gold, silver, copper, tin and lead.पञ्चतात्वम् 1 Five-fold state. -2 A collection of five. -3 The five elements taken collectively. -4 the body; त्रित्वेहुत्वाथपञ्चत्वंतच्चैकत्वे$जुहोन्मुनिः Bhāg.1.15.42. -5 Death, dissolution; -पञ्चतां, -त्वम्गम्, -या &c. means 'to be resolved into the five elements of which the body consists', 'to die or perish'; -पञ्चतां, -त्वंनी 'to kill or destroy'; पञ्चभिर्निर्मितेदेहेपञ्चत्वंचपुनर्गते।स्वांस्वांयोनिमनु- प्राप्तेतत्रकापरिवेदना॥ Ratn.3.3; शब्दादिभिःपञ्चभिरेवपञ्चपञ्चत्वमापुःस्वगुणेनबद्धाःVivekachūdāmaṇi.

अश्विन् पु०द्विव०अश्वाःसन्तिययोःइनि, अश्विन्यांनक्षत्रेभवौ“सन्धिवेलाद्युतृनक्षत्रेभ्यःपा० अण्“नक्षत्रेभ्योबहुलम्” पा०वालुक्लुकिस्त्रीप्रत्ययस्य लुक्, अश्वाउत्पत्तिःस्थातत्वेनास्त्यस्यइनिवा।१स्वर्गवैद्ययोः।“किमश्विनौसोमरसंपिपासू” भट्टिः

“वासोदश्चन्द्रसालोक्यमश्विसालोक्यमश्वदः” मनुः।“त्वाष्ट्री तुसवितुर्भार्य्याबडवारूपधारिणी।असूयतमहाभागा सान्तरीक्षेऽश्विनाबुभौ” भा०आ०प०।“यावांकशा मधुमत्यश्विनासुनृतावती” यजु०७, २।अश्वस्तच्चिह्नावर्त्तः अस्त्यर्थेइनि।“कपोलयोस्तथावर्त्तौविद्येतेवाजि- नोर्यदि।तावाश्विनावितिप्रोक्तौराज्यवृद्धिकरौपरौ” इत्युक्तलक्षणयोः२हययोश्चद्वि०व०।३हययुक्तेत्रि०। स्त्रियांङीप्।“गोमाअग्नेऽविमाँअश्वी” ऋ०४, २, ५।

अश्विनी स्त्रीअश्वस्तदुत्तमाङ्गाकारोऽस्त्यस्यइनिङीप्। सप्तविंशतिधाविभक्तराशिचक्रस्यप्रथमेभागे।अस्या- स्तथाकारत्वमश्लेषाशब्देउक्तम्।“अश्निनीमघमूलानां गण्डाआद्यास्त्रिनाड़िकाः” ज्यो०नक्षत्रपरत्वेन०। “पुष्याश्विहस्तालघुः” ज्यो०अश्वायाआकारोऽस्त्यस्याःइनि ङीप्।हयरूपधारिण्यांत्वष्टृसुतायां३सवितुर्भा- र्य्यायामरुणात्मजशब्दे२६९पृ०विवृतिः।

अश्विनीकुमार पु०द्वि०व०।सूर्य्येणत्वष्टृसुतायांसंज्ञायां बड़वारूपायामुत्पादितयोःस्वर्वैद्ययोःतदुत्पत्तिकथाभा० आ०प०६६अध्यायेअश्विनीतनयपुत्रसुतादयोऽप्यत्र। अरुणात्मजशब्दे२६९पृ०विवरणम्।

https://sa.wikisource.org/wiki/वाचस्पत्यम्/

अश्विनी, स्त्री, (अश्वःअश्वरूपंविद्यतेयस्याः।अश्व + इन् + ङीप्।) सप्तविंशतिनक्षत्रान्तर्गतप्रथम- नक्षत्रं।अश्विन्यादयोरेवत्यन्ताःसप्तविंशति- तारादक्षस्यापत्यत्वात्दाक्षायण्यउच्यन्ते।तत्प- र्य्यायः।अश्वयुक्२दाक्षायणी३।इत्यमरः॥

साचन्द्रस्यभार्य्या।नवपादात्मकमेषराशेरादि- चतुष्पादरूपाच॥अस्यारूपं।घोटकमुखा-कृतितारात्रयात्मकं।अस्याअधिष्ठात्रीदेवताअश्वारूढपुरुषः।इतिज्योतिःशास्त्रं।तस्यांजातफलं।“सदैवदेवाभ्युदितोविनीतःसत्त्वा-न्वितःप्राप्तसमस्तसम्पत्।योषाविभूषात्मज-भूरितोषःस्यादश्विनीजन्मनिमानवस्य” ।इतिकोष्ठीप्रदीपः॥तस्यमस्तकोपरिउदयेकर्कट-लग्नस्य१।३०त्रिंशत्पलाधिकदण्डैकोगतोभ-वति।यथा।“तन्विघोटकमुखाकृतौत्रिभेमस्तकोर्द्ध्वपथभाजिवाजिनि।चारुचन्द्रमुखिकर्कटोदयात्निर्गतागगनरन्ध्रलिप्तिका” ॥इतिश्रीकालिदासकृतरात्रिलग्ननिर्णयः॥

अश्विनीकुमारौ, पुं, (अश्विन्याअश्वीभूतसंज्ञानाम-सूर्य्यपत्न्याःयमजौकुमारौ।) अश्विनीसुतौ।अश्वीभूतसंज्ञानामसूर्य्यपत्न्याःयमजपुत्त्रौ।तौदेवचिकित्सकौ। (यथाहरिवंशे,“विवस्वान्कश्यापाज्जज्ञेदाक्षायण्यामरिन्दम ! ।तस्यभार्य्याभवत्संज्ञात्वाष्ट्रीदेवीविवस्वतः” ॥“देवौतस्यामजायेतामश्विनौभिषजांवरौ” ।)नित्यद्विवचनान्तशब्दोऽयं।

अश्विनीपुत्त्रौ, पुं, (अश्विन्याःपुत्त्रौ।) स्वर्व्वैद्यौ।इतिहेमचन्द्रः॥

अश्विनीसुतौ, पुं, (अश्विन्याःसुतौ।) अश्विनीपुत्त्रौ।तयोःपर्य्यायः।स्वर्वैद्यौ२अश्विनौ३दस्रौ४नासत्यौ५आश्विनेयौ६।इत्यमरः।नासिक्यौ७ गदागदौ८।इतिजटाधरः॥पुष्करस्रजौ९। रतिशब्दरत्नावली॥

अश्विनौ, पुं, (प्रशस्ताअश्वाःसन्तिययोः।इनिः। यद्वा, अश्विन्याम्जातौ।सन्धिवेलेत्यणोनक्ष- त्रेम्योबहुलमितिलुकिलुक्तद्वितलुकीतिङीपो लुक्॥) अश्विनीकुमारौ।इत्यमरः॥ (“त्वाष्ट्रीतुसवितुर्भार्य्यावडवारूपधारिणी। असूयतमहाभागासान्तरीक्षेऽश्विनावुभौ” ॥ इतिमहाभारते। “किमश्विनौसोमरसंपिपासू” । इतिभट्टौ।) (“अश्विनौदेवभिषजौयज्ञवाहावितिस्मृतौ। दक्षस्यहिशिरश्छिन्नंपुनस्ताभ्यांसमाहितं॥ प्रशीर्णादशनाःपूष्णोनेत्रेनष्टेभगस्यच। वज्रिणश्चभुजस्तम्भस्ताभ्यामेवचिकित्सितः॥ चिकित्सितस्तुशीतांशुर्गृहीतोराजयक्ष्मणा। सोमान्निपतितश्चन्द्रःकृतस्ताभ्यांपुनःसुखी॥ भार्गवश्च्यवनःकामीवृद्धःसन्विकृतिंगतः। वीतवर्णस्वरोपेतःकृतस्ताभ्यांपुनर्युवा॥ एतैश्चान्यैश्चबहुभिःकम्मभिर्भिषगुत्तमौ। बभूवतुर्भृशंपूज्याविन्द्रादीनांमहात्मनां॥ ग्रहास्तोत्राणिमन्त्राणितथान्यानिहवींषिच। धूम्राश्चपशवस्ताभ्यांप्रकल्प्यन्तेद्विजातिभिः॥प्रातश्चसवनेसोमंशक्रोऽश्विभ्यांसहाश्नुते। सौत्रामण्याञ्चभगवानश्विभ्यांसहमोदते॥ इन्द्राग्नीचाश्विनौचैवस्तूयन्तेप्रायशोद्विजैः।स्तूयन्तेवेदवाक्येषुनतथान्याहिदेवताः॥ अमरैरजरैस्तावद्विबुधैःसाधिपैर्ध्रुवैः। पूज्येतेप्रयतैरेवमश्विनौभिषजाविति॥”इतिचरकः॥“श्रूयतेहियथारुद्रेणयज्ञस्यशिरश्छिन्नमितिततोदेवाअश्विनावभिगम्योचुः।भगवन्तौनःश्रेष्ठतमौयुवांभविष्यथः।भवद्भ्यांयज्ञस्यशिरःसन्धातव्यं।तावूचतुरेवमस्त्विति।अथतयोरर्थेदेवाइन्द्रंयज्ञभागेनप्रासादयन्।ताभ्यांज्ञम्यशिरःसंहितमिति” ॥इतिसुश्रुतः॥)

https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः/

1 YE Asvins, rich in treasure, Lords of splendour, having nimble hands, Accept the sacrificial food.
2 Ye Asvins, rich in wondrous deeds, ye heroes worthy of our praise, Accept our songs with mighty thought.
3 Nasatyas, wonderworkers-, yours are these libations with clipt grass: Come ye whose paths are red with flame.

Thus, अश्विना is a metaphor for five dhātu, 'five elements, ores'. धातु  [p= 513,3] 

element , primitive matter (= महा-भूत L. ) MBh. Hariv. &c; primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red colour) Mn. MBh. (usually reckoned as 5 , viz. ख or आकाश,अनिल, तेजस्, जल, भू 

अश्विना in the dual is used to mean 'horses' in Rigveda RV 1.53.4. In this rica, horses and cattle are desired to dispel poverty; thus, possession of cattle, and horses signify 'wealth'. 

The form अश्विनौ  is also used to signify 'two charioteers'..Thus, it is possible to explain the semantics of अश्विन्  -- in the context of Rigveda references -- as 1. horse; 2.charioteer; 3. horse tamer; possessed of horses , consisting of horses RV.

अश्विन् aśvin

अश्विन् a. अश्व-अस्त्यर्थे इनि] Possessed of horses, consisting of horses; Rv.4.2.5 m. A cavalier, a horse-tamer. -नौ (du.) 1 The two physicians of the gods who are represented as the twin sons of the Sun by a nymph in the form of a mare; cf. त्वाष्ट्री तु सवितुर्भार्या वडवारूपधारिणी । असूयत महाभागा सान्तरीक्षे$श्विनाबुभौ ॥ [According to Vedic conception they are the harbingers of Uṣas or the dawn; they are young, beautiful, bright, swift &c.; and, according to Yāska, they represent the transition from darkness of light, when the intermingling of both produces that insepa- rable duality expressed by the twin nature of these deities; according to different interpretations quoted in the Nirukta they were 'heaven and earth', 'day and night', 'two kings, performers of holy acts' which may be traced to their dual and luminous nature. Mythically they were the parents of Nakula and Sahadeva and the physicians of the gods and are called Gadāgadau, Svarvaidyau, Dasrau, Nāsatyau, Vādaveyau, Abdhijau &c. They were celebrated for their active benevolence and curative power which they showed in restoring the sage Chyavana, when grown old and decrepit. to youth, and prolonged his life.] -2 Two horses. -3 (In astr.) The twins of the zodiac.

अश्विनी aśvinī

अश्विनी [अश्वस्तदुत्तमाङ्गाकारो$स्त्यस्य इनि ङीप्] 1 The first of the 27 Nakṣatras or lunar mansions (con- sisting of three stars). -2 A nymph considered in later times as the mother of the Aśvins, the wife of the Sun, who concealed herself in the from of a mare. -Comp. -कुमारौ, -पुत्रौ, -सुतौ the twin sons of Aśvinī, the Sun's wife.

Upamanyu's Trial (as described in Mahabharata)

Dhaumya had forbidden his student Upamanyu from eating all edible things. Upamanyu disobeyed the Guru’s command and ate some arka leaves (Asclepias gigantea) and became blind. Upamanyu became blind and had fallen into a well.Dhaumya told him to worship Asvin. Here is the account rendered in translation by Kisari Mohan Ganguli of Paushya Parva in Mahabharata: 

Dhaumya, the precptor said: 'Glorify the twin Aswins, the joint physicians of the gods, and they will restore thee thy sight.' And Upamanyu thus directed by his preceptor began to glorify the twin Aswins, in the following words of the Rig Veda:

'Ye have existed before the creation! Ye first-born beings, ye are displayed in this wondrous universe of five elements! I desire to obtain you by the help of the knowledge derived from hearing, and of meditation, for ye are Infinite! Ye are the course itself of Nature and intelligent Soul that pervades that course! Ye are birds of beauteous feathers perched on the body that is like to a tree! Ye are without the three common attributes of every soul! Ye are incomparable! Ye, through your spirit in every created thing, pervade the Universe!

"Ye are golden Eagles! Ye are the essence into which all things disappear! Ye are free from error and know no deterioration! Ye are of beauteous beaks that would not unjustly strike and are victorious in every encounter! Ye certainly prevail over time! Having created the sun, ye weave the wondrous cloth of the year by means of the white thread of the day and the black thread of the night! And with the cloth so woven, ye have established two courses of action appertaining respectively to the Devas and the Pitris. The bird of Life seized by Time which represents the strength of the Infinite soul, ye set free for delivering her unto great happiness! They that are in deep ignorance, as long as they are under delusions of their senses, suppose you, who are independent of the attributes of matter, to be gifted with form! Three hundred and sixty cows represented by three hundred and sixty days produce one calf between them which is the year. That calf is the creator and destroyer of all. Seekers of truth following different routes, draw the milk of true knowledge with its help. Ye Aswins, ye are the creators of that calf!
"The year is but the nave of a wheel to which is attached seven hundred and twenty spokes representing as many days and nights. The circumference of this wheel represented by twelve months is without end. This wheel is full of delusions and knows no deterioration. It affects all creatures whether to this or of the other worlds. Ye Aswins, this wheel of time is set in motion by you!
"The wheel of Time as represented by the year has a nave represented by the six seasons. The number of spokes attached to that nave is twelve as represented by the twelve signs of the Zodiac. This wheel of Time manifests the fruits of the acts of all things. The presiding deities of Time abide in that wheel. Subject as I am to its distressful influence, ye Aswins, liberate me from that wheel of Time. Ye Aswins, ye are this universe of five elements! Ye are the objects that are enjoyed in this and in the other world! Make me independent of the five elements! And though ye are the Supreme Brahma, yet ye move over the Earth in forms enjoying the delights that the senses afford.
"In the beginning, ye created the ten points of the universe! Then have ye placed the Sun and the Sky above! The Rishis, according to the course of the same Sun, perform their sacrifices, and the gods and men, according to what hath been appointed for them, perform their sacrifices also enjoying the fruits of those acts!
p. 37
"Mixing the three colours, ye have produced all the objects of sight! It is from these objects that the Universe hath sprung whereon the gods and men are engaged in their respective occupations, and, indeed, all creatures endued with life!
"Ye Aswins, I adore you! I also adore the Sky which is your handiwork! Ye are the ordainers of the fruits of all acts from which even the gods are not free! Ye are yourselves free from the fruits of your acts!
"Ye are the parents of all! As males and females it is ye that swallow the food which subsequently develops into the life creating fluid and blood! The new-born infant sucks the teat of its mother. Indeed it is ye that take the shape of the infant! Ye Aswins, grant me my sight to protect my life!"
The twin Aswins, thus invoked, appeared and said, 'We are satisfied. Here is a cake for thee. Take and eat it.' And Upamanyu thus addressed, replied, 'Your words, O Aswins, have never proved untrue. But without first offering this cake to my preceptor I dare not take it.' And the Aswins thereupon told him, 'Formerly, thy preceptor had invoked us. We thereupon gave him a cake like this; and he took it without offering it to his master. Do thou do that which thy preceptor did.' Thus addressed, Upamanyu again said unto them, 'O Aswins, I crave your pardon. Without offering it to my preceptor I dare not apply this cake.' The Aswins then said, 'O, we are pleased with this devotion of thine to thy preceptor. Thy master's teeth are of black iron. Thine shall be of gold. Thou shall be restored to sight and shall have good fortune.'

"Thus spoken to by the Aswins he recovered his sight, and having gone to his preceptor's presence he saluted him and told him all. And his preceptor was well-pleased with him and said unto him, 'Thou shalt obtain prosperity even as the Aswins have said. All the Vedas shall shine in thee and all the Dharma-sastras.' And this was the trial of Upamanyu. (pp. 35 to 37)

http://www.sacred-texts.com/hin/m01/m01004.htm

The Mahabharata, Book 1: Adi Parva: Paushya Parva: Section III

1.053.04 Propitiated by these offerings, be these libations, dispel poverty with cattle and horses; may we subduing our adversary, and relived from enemies by Indra, (pleased) by our libations, enjoy together abundant food.

Griffith translation: Well pleased with these bright flames and with these Soma drops, take thou away our poverty with steeds and kine. With Indra scattering the Dasyu through these drops, freed from their hate may we obtain abundant food.

अश्विन् n. (= अश्व-वत् n. q.v.) richness in horses RV. i , 53 , 4. अश्विन् [p= 116,1] mfn. 
possessed of horses , consisting of horses RV.; m. horse-tamer RV.; m. du. (/इना or इनौ) " the two charioteers " , N. of two divinities (who appear in the sky before the dawn in a golden carriage drawn by horses or birds ; they bring treasures to men and avert misfortune and sickness ; they are considered as the physicians of heaven) RV. &c

अश्विनी  f. the head of Aries or the first of the 28 नक्षत्रs Jyot. VarBr2S. अश्विनी-पुत्रौ [p= 116,1] m. du. the twin sons of अश्विनी L. 

473 references in Rigveda: अश्विन्

rvs.1.22	1 WAKEN the Asvin Pair who yoke their car at early morn: may they
rvs.1.46	6 Vouchsafe to us, O Asvin Pair, such strength as, with attendant light,
rvs.1.112	Wherewith ye guarded Purukutsa, Prsnigu, Come hither unto us, O Asvin;, with those aids.
rvs.5.75	3 Come to us, O ye Asvin Pair, bringing your precious treasures, come
rvs.8.26	Be it your own, O Asvin Pair.
rvs.10.17	Saranyu brought to him the Asvin brothers, and then deserted both twinned pairs of children.
rvs.10.35	The Asvin Pair have harnessed their swiftmoving- car. We pray to kindled Agni for felicity.
rvs.10.85	The bridesmen were the Asvin Pair Agni was leader of the train.
rvs.1.3	HYMN III. Asvins 3
rvs.1.3	1 YE Asvins, rich in treasure, Lords of splendour, having nimble hands,
rvs.1.3	2 Ye Asvins, rich in wondrous deeds, ye heroes worthy of our praise,
rvs.1.15	11 Drink ye the meath, O Asvins bright with flames, whose acts are pure, who with
rvs.1.22	HYMN XXII. Asvins and Others 22
rvs.1.22	2 We call the Asvins Twain, the Gods borne in a noble car, the best
rvs.1.22	3 Dropping with honey is your whip, Asvins, and full of pleasantness
rvs.1.22	4 As ye go thither in your car, not far, O Asvins, is the home
rvs.1.30	17 Come, Asvins, with enduring strength wealthy in horses and in kine,
rvs.1.30	Travels, O Asvins, in the sea.
rvs.1.34	HYMN XXXIV. Asvins. 34
rvs.1.34	1 Ye who observe this day be with us even thrice: farstretching- is you bounty, Asvins and your
rvs.1.34	Three are the pillars set upon it for support: thrice journey ye by night, O Asvins, thrice by day.
rvs.1.34	And thrice vouchsafe us store of food with plenteous strength, at evening, O ye Asvins, and at
rvs.1.34	Thrice, O ye Asvins, bring us what shall make us glad; thrice send us store of food as nevermore
rvs.1.34	5 Thrice, O ye Asvins, bring to us abundant wealth: thrice in the Gods assembly, thrice assist
rvs.1.34	6 Thrice, Asvins, grant to us the heavenly medicines, thrice those of earth and thrice those that
rvs.1.34	7 Thrice are ye to be worshipped day by day by us: thrice, O ye Asvins, ye travel around the earth.
rvs.1.34	8 Thrice, O ye Asvins, with the Seven Mother Streams; three are the jars, the triple offering is
rvs.1.34	11 Come, O Nasatyas, with the thriceeleven- Gods; come, O ye Asvins, to the drinking of the meath.
rvs.1.34	12 Borne in your triple car, O Asvins, bring us present prosperity with noble offspring.
rvs.1.44	Accordant with the Asvins and with Dawn grant us heroic strength and lofty fame.
rvs.1.44	8 At dawn of day, at night, Usas and Savitar, the Asvins, Bhaga, Agnis' self:
rvs.1.44	May Lawsupporting- Varuna with the Asvins twain and Usas, drink the Soma juice.
rvs.1.46	HYMN XLVI. Asvins. 46
rvs.1.46	High, Asvins, I extol your praise,
rvs.1.46	O Asvins, harness ye the car.
rvs.1.46	12 The singer of their praise awaits whatever grace the Asvins give,
rvs.1.46	14 O circumambient Asvins, Dawn follows the brightness of your way:
rvs.1.46	15 Drink ye of our libations, grant protection, O ye Asvins Twain,
rvs.1.47	HYMN XLVII. Asvins. 47
rvs.1.47	2 Come, O ye Asvins, mounted on your triple car threeseated-, beautiful of form
rvs.1.47	3 O Asvins, ye who strengthen Law, drink ye this sweetest Soma juice.
rvs.1.47	4 Omniscient Asvins, on the thriceheaped- grass bedew with the sweet juice the sacrifice.
rvs.1.47	5 O Asvins, with those aids wherewith ye guarded Kanva carefully,
rvs.1.47	For ye have ever in the Kanvas' wellloved- house, O Asvins, drunk the Soma juice.
rvs.1.89	Aryaman, Varuna, Soma, the Asvins. May Sarasvati, auspicious, grant felicity.
rvs.1.89	And the joygiving- stones that press the Somas' juice. Asvins, may ye, for whom our spirits long,
rvs.1.92	16 O Asvins wonderful in act, do ye unanimous direct
rvs.1.92	Do ye, O Asvins, bring strength hither unto us.
rvs.1.109	With hands auspicious and fair arms, ye Asvins, haste, sprinkle it with sweetness in the waters.
rvs.1.111	Varuna, Mitra, both, yea, and the Asvins Twain: let them speed us to wealth, wisdom, and victory.
rvs.1.112	HYMN CXII. Asvins. 112
rvs.1.112	Come hither unto us, O Asvins, with those aids wherewith in fight ye speed the warcry- to the
rvs.1.112	Come hither unto us, O Asvins, with those aids wherewith ye help our thoughts to further holy acts.
rvs.1.112	Come hither unto us, O Asvins, with those aids wherewith ye, Heroes, made the barren cow give milk.
rvs.1.112	Wherewith the sapient one acquired his triple lore, Come hither unto us, O Asvins, with those aids.
rvs.1.112	Wherewith ye succoured Kanva as he strove to win, Come hither unto us, O Asvins, with those aids.
rvs.1.112	And comforted Karkandhu, Vayya, in their woe, Come hither unto us, O Asvins, with those aids.
rvs.1.112	Wherewith ye set at liberty the swallowed quail, Come hither unto us, O Asvins, with those aids.
rvs.1.112	And to Srutarya, Kutsa, Narya gave your help, Come hither unto us, O Asvins, with those aids.
rvs.1.112	Wherewith ye guarded friendly Vasa, Asvas' son, Come hither unto us, O Asvins, with those aids.
rvs.1.112	Wherewith ye helped Kaksivan, singer of your praise, Come hither unto us, O Asvins, with those
rvs.1.112	Wherewith Trisoka drove forth his recovered cows, Come hither unto us, O Asvins, with those aids.
rvs.1.112	And to sage Bharadvaja gave protecting help, Come hither unto us, O Asvins, with those aids.
rvs.1.112	And Trasadasyu when the forts were shattered down, Come hither unto us, O Asvins, with those aids.
rvs.1.112	And lent to Vyasva and to Prthi favouring help, Come hither unto us, O Asvins, with those aids.
rvs.1.112	Wherewith ye shot your shafts in Syumarasmis' cause. Come hither unto us, O Asvins, with those
rvs.1.112	Wherewith ye helped Saryata in the mighty fray, Come hither unto us, O Asvins, with those aids.
rvs.1.112	Wherewith ye helped the hero Manu with new strength, Come hither unto us, O Asvins, with those
rvs.1.112	Wherewith ye brought the host of kind Gods to Sudas, Come hither unto us, O Asvins, with those aids.
rvs.1.112	And good and gracious Subhara and Rtastup, Come hither unto us, O Asvins, with those aids.
rvs.1.112	Wherewith ye bring delicious honey to the bees, Come hither unto us, O Asvins, with those aids.
rvs.1.112	Wherewith ye safely guard his horses and his car, Come hither unto us, O Asvins with those aids.
rvs.1.112	Favoured Dhvasanti and lent Purusanti help, Come hither unto us, O Asvins, with those aids.
rvs.1.112	24 Make ye our speech effectual, O ye Asvins, and this our hymn, ye mighty WonderWorkers-.
rvs.1.112	25 With, undiminished blessings, O ye Asvins, for evermore both night and day protect us.
rvs.1.116	HYMN CXVI. Asvins. 116
rvs.1.116	3 Yea, Asvins, as a dead man leaves his riches, Tugra left Bhujyu in the cloud of waters.
rvs.1.116	What time ye carried Bhujyu to his dwelling, borne in a ship with hundred oars, O Asvins.
rvs.1.116	6 The white horse which of old ye gave Aghasva, Asvins, a gift to be his wealth for ever,
rvs.1.116	Atri, cast downward in the cavern, Asvins ye brought, with all his people, forth to comfort.
rvs.1.116	18 When to his house ye came, to Divodasa, hasting to Bharadvaja, O ye Asvins,
rvs.1.116	24 Asvins, ye raised, like Soma in a ladle Rebha, who for ten days and ten nights, fettered.
rvs.1.116	25 1 have declared your wondrous deeds, O Asvins: may this be mine, and many kine and heroes.
rvs.1.117	HYMN CXVII. Asvins. 117
rvs.1.117	2 That car of yours, swifter than thought, O Asvins, which drawn by brave steeds cometh to the
rvs.1.117	4 Rebha the sage, ye mighty Heroes, Asvins! whom, like a horse, vile men had sunk in water,
rvs.1.117	To Ghosa, living in her fathers' dwelling, stricken in years, ye gave a husband, Asvins.
rvs.1.117	8 Rusati, of the mighty people, Asvins, ye gave to Syava of the line of Kanva.
rvs.1.117	9 O Asvins, wearing many forms at pleasure, on Pedu ye bestowed a fleetfoot- courser,
rvs.1.117	O Asvins, when the sons of Pajra call you, send strength with nourishment to him who knoweth.
rvs.1.117	11 Hymned with the reverence of a son, O Asvins ye Swift Ones giving booty to the singer,
rvs.1.117	When, like a pitcher full of gold, O Asvins, on the tenth day ye lifted up the buried?
rvs.1.117	13 Ye with the aid of your great powers, O Asvins, restored to youth the ancient man Cyavana.
rvs.1.117	15 The son of Tugra had invoked you, Asvins; borne on he went uninjured through the ocean.
rvs.1.117	16 The quail had invocated you, O Asvins, when from the wolfs' devouring jaws ye freed her.
rvs.1.117	To him, Rjrasva, gave ye eyes, O Asvins; light to the blind ye sent for perfect vision.
rvs.1.117	18 To bring the blind man joy thus cried the shewolf-: O Asvins, O ye Mighty Ones, O Heroes,
rvs.1.117	19 Great and wealgiving- is your aid, O Asvins, ye, objects of all thought, made whole the cripple.
rvs.1.117	21 Ploughing and sowing barley, O ye Asvins, milking out food for men, ye WonderWorkers-,
rvs.1.117	22 Ye brought the horses' head, Asvins, and gave it unto Dadhyac the offspring of Atharvan.
rvs.1.117	23 O Sages, evermore I crave your favour: be gracious unto all my prayers, O Asvins.
rvs.1.117	And Syava, cut into three several pieces, ye brought to life again, O bounteous Asvins.
rvs.1.117	25 These your heroic exploits, O ye Asvins, done in the days. of old, have men related.
rvs.1.118	HYMN CXVIII. Asvins. 118
rvs.1.118	1. FLYING, with falcons, may your chariot, Asvins, most gracious, bringing friendly
rvs.1.118	Fill full our cows, give mettle to our horses, and make each hero son grow strong, O Asvins.
rvs.1.118	How then have ancient sages said, O Asvins, that ye most swiftly come to stay affliction?
rvs.1.118	4 O Asvins, let your falcons bear you hither, yoked to your chariot, swift, with flying pinions,
rvs.1.118	7 To Atri, cast down to the fire that scorched him, ye gave, O Asvins, strengthening food and
rvs.1.118	8 For ancient Sayu in his sore affliction ye caused his cow to swell with milk, O Asvins.
rvs.1.118	9 A white horse, Asvins, ye bestowed on Pedu, a serpentslaying- steed sent down by Indra,
rvs.1.118	Bearing oblations I invoke you, Asvins, at the first break of everlasting morning.
rvs.1.119	HYMN CXIX. Asvins. 119
rvs.1.119	I sweeten the oblations; now the helpers come. Urjani hath, O Asvins, mounted on your car.
rvs.1.119	Then verily your car is seen upon the slope when ye, O Asvins, bring some choice boon to the
rvs.1.119	5 Asvins, the car which you had yoked for glorious show your own two voices urged directed to its
rvs.1.119	10 A horse did ye provide for Pedu, excellent, white, O ye Asvins, conqueror of combatants,
rvs.1.120	HYMN CXX. Asvins. 120
rvs.1.120	6 Hear ye the song of him who hastens speedily. O Asvins, I am he who sang your praise.
rvs.1.120	10 I have obtained the horseless car of Asvins rich in sacrifice,
rvs.1.139	3 Asvins, the pious call you with their hymns of praise, sounding their loud song forth to you,
rvs.1.156	4 The Sovran Varuna and both the Asvins wait on this the will of him who guides the Marut host.
rvs.1.157	HYMN CLVII. Asvins. 157
rvs.1.157	The Asvins have equipped their chariot for the course. God Savitar hath moved the folk in sundry
rvs.1.157	2 When, Asvins, ye equip your very mighty car, bedew, ye Twain, our power with honey and with oil.
rvs.1.157	3 Nigh to us come the Asvins' lauded threewheeled- car, the car laden with meath and drawn by
rvs.1.157	4 Bring hither nourishment for us, ye Asvins Twain; sprinkle us with your whip that drops with
rvs.1.157	Ye have sent forth, O Asvins passing mighty, the fire, the sovrans of the wood, the waters,
rvs.1.158	HYMN CLVIII. Asvins. 158
rvs.1.161	6 Indra hath yoked his Bays, the Asvins' car is horsed, Brhaspati hath brought the Cow of every
rvs.1.164	May this cow yield her milk for both the Asvins, and may she prosper to our high advantage.
rvs.1.180	HYMN CLXXX. Asvins. 180
rvs.1.180	Fireoffering- thence is yours, O Asvins, Heroes: your carwheels- speed to us like springs of honey.
rvs.1.180	Now, even now do ye O blameless Asvins, ye Mighty, guard the man whose God is near him.
rvs.1.180	8 You of a truth day after day, O Asvins, that he might win the very plenteous torrent,
rvs.1.180	10 With songs of praise we call today-, O Asvins, that your new chariot, for our own wellbeing-,
rvs.1.181	HYMN CLXXXI. Asvins 181
rvs.1.181	Rapid as thought, with fair backs, full of vigour, resplendent in their native light, O Asvins.
rvs.1.181	Men shall feed full the bay steeds of the other, and, Asvins they with roars shall stir the
rvs.1.181	Asvins.
rvs.1.181	9 The prudent worshipper, like Pusan, Asvins! praises you as he praises Dawn and Agni,
rvs.1.182	HYMN CLXXXII. Asvins. 182
rvs.1.182	Bring your full chariot hither heaped with liquid sweet: thereon, ye Asvins, come to him who
rvs.1.182	4 Crunch up on. every side the dogs who bark at us: slay ye our foes, O Asvins this ye understand.
rvs.1.182	6 Four ships most welcome in the midst of ocean, urged by the Asvins, save the son of Tugra,
rvs.1.182	Like twigs, of which some winged creature may take hold, ye, Asvins, bore him off safely to your
rvs.1.183	HYMN CLXXXIII. Asvins. 183
rvs.1.183	6 We have passed over the limit of this darkness: our praise hath been bestowed on you, O Asvins.
rvs.1.184	HYMN CLXXXIV. Asvins. 184
rvs.1.184	5 This praise was made, O liberal Lords, O Asvins, for you with fair adornment by the Manas.
rvs.1.184	6 We have passed over the limit of this darkness: our praise hath been bestowed on you, O Asvins.
rvs.1.186	10 Incline the Asvins to show grace, and Pusan, for power and might have they, their own
rvs.2.31	Ila and Bhaga the celestial, Earth and Heaven, Pusan, Purandhi, and the Asvins, ruling Lords.
rvs.2.39	HYMN XXXIX. Asvins. 39
rvs.2.39	Asvins, these hymns that struggle to approach you, sharpen ye like an axe upon a whetstone.
rvs.2.39	8 These prayers of ours exalting you, O Asvins, have the Grtsamadas, for a laud, made ready.
rvs.2.41	7 With kine, Nasatyas, and with steeds, come, Asvins, Rudras, to the house
rvs.2.41	9 As such, O longedfar- Asvins, lead us on to wealth of varied sort,
rvs.3.20	1. WITH lauds at break of morn the priest invoketh Agni, Dawn, Dadhikras, and both the Asvins.
rvs.3.20	On Varuna and Mitra, on the Asvins, Bhaga, the Vasus, Rudras and Adityas.
rvs.3.29	Bright, checkless, as it were upon the Asvins' path, he passeth by the stones and burneth up the
rvs.3.54	16 My Sires are the Nasatyas, kind tokinsmen: the Asvins' kinship is a glorious title.
rvs.3.58	HYMN LVIII. Asvins. 58
rvs.3.58	She with the splendid chariot brings refulgence. The praise of Usas hath awoke the Asvins.
rvs.3.58	Have not the sages of old time, ye Asvins, called you most prompt to come and stay misfortune?
rvs.3.58	4 Remember us, and come to us, for ever men, as their wont is, invocate the Asvins.
rvs.3.58	5 Even through many regions, O ye Asvins high praise is yours among mankind, ye Mighty-
rvs.3.58	7 O Asvins, Very Mighty ones, with Vayu and with his steeds, oneminded-, everyouthful-,
rvs.3.58	8 Asvins, to you are brought abundant viands in rivalry with sacred songs, unceasing.
rvs.3.58	9 Asvins, your Soma sheds delicious sweetness: drink ye thereof and come unto our dwelling.
rvs.4.2	4 Aryaman, Mitra, Varuna, and Indra with Visnu, of the Gods, Maruts and Asvins-
rvs.4.13	Come, Asvins, to the dwelling of the pious: Surya the God is rising with his splendour.
rvs.4.14	4 May those most powerful steeds and chariot bring you, O Asvins, hither at the break of morning.
rvs.4.15	9 Long, O ye Asvins, may he live, your care, ye Gods, the princely son.
rvs.4.15	Long life, O Asvins, O ye Gods.
rvs.4.25	Of whose pressed stalk of Soma drink the Asvins, Indra, and Agni, wellinclined- in spirit?
rvs.4.34	9 Rbhus, who helped their Parents and the Asvins, who formed the Milchcow- and the pair of horses,
rvs.4.43	HYMN XLIII. Asvins. 43
rvs.4.43	4 What is the prayer that we should bring you, Asvins, whereby ye come to us when invocated?
rvs.4.44	HYMN XLIV. Asvins. 44
rvs.4.44	1. WE will invoke this day your car, farspreading-, O Asvins, even the gathering, of the sunlight,
rvs.4.44	2 Asvins, ye gained that glory by your Godhead, ye Sons of Heaven, by your own might and power.
rvs.4.44	Who, for the sacrifices' ancient lover, turneth you hither, Asvins, offering homage?
rvs.4.44	Because the men have sent you praise, O Asvins, and Ajamilhas come to the laudation.
rvs.4.45	HYMN XLV. Asvins 45
rvs.4.45	Refresh the way ye go, refresh the paths with meath: hither, O Asvins, bring the skin that holds
rvs.4.45	5 Well knowing solemn rites and rich in meath, the fires sing to the morning Asvins at the break
rvs.4.45	7 Devout in thought I have declared, O Asvins, your chariot with good steeds, which lasts for ever,
rvs.4.52	The Dawn became the Asvins' Friend.
rvs.4.52	3 Yea, and thou art the Asvins' Friend, the Mother of the Kine art thou:
rvs.5.26	9 So may the Maruts sit thereon, the Asvins, Mitra, Varuna:
rvs.5.41	3 You will I call to feed the carhorse-, Asvins, with the winds' flight swiftest of those who
rvs.5.42	18 May we obtain the Asvins' newest favour, and gain their healthbestowing- happy guidance.
rvs.5.43	8 Hither, as herald to invite the Asvins, come the great lofty song, most sweet and pleasant!
rvs.5.43	17 May we obtain the Asvins' newest favour, and gain their healthbestowing- happy guidance.
rvs.5.46	And may the Rbhus and the Asvins, Tvastar and Vibhvan remember us so that we may have wealth.
rvs.5.49	You, Asvins, Heroes rich in treasures, daily seeking your friendship fain would I turn hither.
rvs.5.51	8 Associate with all the Gods, come, with the Asvins and with Dawn,
rvs.5.51	11 May Bhaga and the Asvins grant us health and wealth, and Goddess Aditi and he whom none resist.
rvs.5.73	HYMN LXXIII. Asvins. 73
rvs.5.73	1. WHETHER, O Asvins, ye this day be far remote or near at hand,
rvs.5.73	When by your great deeds, Asvins, Chiefs, Atri is brought to us again.
rvs.5.73	9 Asvins, with truth they call you Twain bestowers of felicity;
rvs.5.73	10 Most pleasing to the Asvins be these prayers which magnify their might,
rvs.5.74	HYMN LXXIV. Asvins. 74
rvs.5.74	1. WHERE in the heavens are ye today-, Gods, Asvins, rich in constancy?
rvs.5.74	8 O Asvins, may your car approach, most excellent of cars for speed.
rvs.5.74	10 O Asvins, when at any time ye listen to this call of mine,
rvs.5.75	HYMN LXXV. Asvins. 75
rvs.5.75	Asvins, the Rsi is prepared, your raiser, with his song of praise. Lovers of sweetness, hear my
rvs.5.75	2 Pass, O ye Asvins, pass away beyond all tribes of selfish men,
rvs.5.75	Asvins, with winged steeds ye speed down to cyavana void of guile. Lovers of sweetness, hear my
rvs.5.75	Your flying steeds, O Asvins, bring you hitherward, with bliss, to drink. Lovers of sweetness,
rvs.5.75	7 O Asvins, hither come to us; Nasatyas, be not disinclined.
rvs.5.75	Beside the singer, Asvins, who longs for your grace and lauds you both. Lovers of sweetness, hear
rvs.5.76	HYMN LXXVI. Asvins 76
rvs.5.76	Borne on your chariot, Asvins, turn you hither and come unto our full and rich libation.
rvs.5.76	2 Most frequent guests, they scorn not what is ready: even now the lauded Asvins are beside us.
rvs.5.76	By day, by night, with favour most auspicious. Not only now the draught hath drawn the Asvins.
rvs.5.76	4 For this place, Asvins, was of old your dwelling, these were your houses, this your habitation.
rvs.5.76	5 May we obtain the Asvins' newest favour, and gain their healthbestowing- happy guidance.
rvs.5.77	HYMN LXXVII. Asvins. 77
rvs.5.77	The Asvins claim the sacrifice at daybreak: the sages yielding the first share extol them.
rvs.5.77	2 Worship at dawn and instigate the Asvins: nor is the worshipper at eve rejected.
rvs.5.77	Swift as thought, Asvins, rapid as the tempest, wherewith ye travel over all obstructions.
rvs.5.77	5 May we obtain the Asvins' newest favour, and gain their healthbestowing- happy guidance.
rvs.5.78	HYMN LXXVIII. Asvins. 78
rvs.5.78	1. YE Asvins, hither come to us: Nasatyas, be not disinclined.
rvs.5.78	2 O Asvins, like a pair of deer, like two wild cattle to the mead:
rvs.5.78	3 O Asvins rich in gifts, accept our sacrifice to prosper it:
rvs.5.78	Ye came to him, O Asvins, with the freshest and most auspicious fleetness of a falcon.
rvs.5.78	Ye Asvins, listen to my call: loose Saptavadhri from his bonds.
rvs.5.78	Ye, Asvins, with your magic powers rent up the tree and shattered it.
rvs.6.49	5 That chariot of the Asvins, fair to look on, pleaseth me well, yoked with a thought, refulgent,
rvs.6.62	HYMN LXII. Asvins. 62
rvs.6.62	Asvins,
rvs.6.63	HYMN LXIII. Asvins. 63
rvs.7.9	Bring all the Gods that they may give us riches, Sarasvati, the Maruts, Asvins, Waters.
rvs.7.35	4 Favour us Agni with his face of splendour, and Varuva and Mitra and the Asvins.
rvs.7.40	Hence Rudra gained his Rudrastrength-: O Asvins, ye sought the house that hath celestial viands.
rvs.7.41	1. AGNI at dawn, and Indra we invoke at dawn, and Varuna and Mitra, and the Asvins twain.
rvs.7.44	1. I CALL on Dadhikras, the first, to give you aid, the Asvins, Bhaga, Dawn, and Agni kindled well,
rvs.7.44	Seating on sacred grass the Goddess Ila. let us invoke the sage swifthearing- Asvins.
rvs.7.51	Indra, and Agni, and the Asvins, lauded. Preserve us evermore, ye Gods, with blessings.
rvs.7.67	HYMN LXVII. Asvins. 67
rvs.7.67	3 With hymns the deft priest is about you, Asvins, the eloquent priest attends you now, Nasatyas.
rvs.7.67	5 Bring forward, Asvins, Gods, to its fulfilment my neverwearied- prayer that asks for riches.
rvs.7.67	6 Favour us in these prayers of ours, O Asvins. May we have genial vigour, Never to fail us.
rvs.7.67	10 Now hear, O Youthful Twain, mine invocation: come, Asvins, to the home where food aboundeth.
rvs.7.68	HYMN LXVIII. Asvins. 68
rvs.7.68	1. COME, radiant Asvins, with your noble horses: accept your servants' hymns, ye WonderWorkers-:
rvs.7.68	3 Your chariot with a hundred aids, O Asvins, beareth you swift as thought across the regions,
rvs.7.68	7 What time his wicked friends abandoned Bhujyu, O Asvins, in the middle of the ocean,
rvs.7.68	Ye made the cow pour forth her milk like water, and, Asvins, strengthened with your strength the
rvs.7.69	HYMN LXIX. Asvins. 69
rvs.7.69	Whereon ye visit Godadoring- races, bending your course whither ye will, O Asvins.
rvs.7.69	Herewith, O Asvins, while the dawn is breaking, to this our sacrifice bring peace and blessing.
rvs.7.69	Uninjured, winged, flagging not, undaunted, with deeds of wonder saving him, O Asvins.
rvs.7.69	8 Now hear, O Youthful Twain, mine invocation: come, Asvins, to the home where food aboundeth.
rvs.7.70	HYMN LXX. Asvins. 70
rvs.7.70	1. RICH in all blessings, Asvins come ye hither: this place on earth is called your own possession,
rvs.7.70	3 Whatever dwellings ye possess, O Asvins, in fields of men or in the streams of heaven,
rvs.7.70	5 Asvins, though ye have heard them oft aforetime, regard the many prayers which Rsis offer.
rvs.7.70	7 This is the thought, this is the song, O Asvins: accept this hymn of ours, ye Steers, with
rvs.7.71	HYMN LXXI. Asvins. 71
rvs.7.71	2 Bearing rich treasure in your car, O Asvins, come to the mortal who presents oblation.
rvs.7.71	With coursers yoked by Law drive hither, Asvins, your car whose reins are light, laden with
rvs.7.71	6 This is the thought, this is the song, O Asvins: accept this hymn of ours, ye Steers, With
rvs.7.72	HYMN LXXII. Asvins. 72
rvs.7.72	3 Awakened are the songs that praise the Asvins, the kindred prayers and the Celestial Mornings.
rvs.7.72	4 What time the Dawns break forth in light, O Asvins, to you the poets offer their devotions.
rvs.7.72	5 Come from the west, come from the cast, Nasatyas, come, Asvins, from below and from above us.
rvs.7.73	HYMN LXXIII. Asvins. 73
rvs.7.73	The song invoketh both Immortal Asvins farreaching-, born of old, great WonderWorkers.
rvs.7.73	Be near and taste the pleasant juice, O Asvins: with food, I call you to the sacrifices.
rvs.7.73	5 Come from the west, come from the cast, Nasatyas, come, Asvins, from below and from above us.
rvs.7.74	HYMN IXXIV.. Asvins. 74
rvs.7.74	1. THESE morning sacrifices call you, Asvins, at the break of day.
rvs.7.74	3 Approach ye and be near to us. drink, O ye Asvins, of the meath.
rvs.7.74	With these your speedy coursers, Heroes, Asvins, come, ye Gods, come wellinclined- to us.
rvs.7.74	5 Yea, verily, our princes seek the Asvins in pursuit of food.
rvs.8.5	HYMN V. Asvins. 5
rvs.8.5	Attend, O Asvins, on the Dawn.
rvs.8.5	4 Kanvas must praise the Asvins dear to many, making many glad,
rvs.8.5	Come, Asvins, to our song of praise
rvs.8.5	10 O Asvins, bring us wealth in kine, in noble heroes, and in cars:
rvs.8.5	14 Ye Asvins whom our minds perceive, drink of this lovely gladdening draught,
rvs.8.5	Moved by the priests, O Asvins, conic.
rvs.8.5	O Asvins, are invoking you.
rvs.8.5	O Asvins, nearest to your hearts.
rvs.8.5	O Asvins, drink ye both therefrom.
rvs.8.5	Atri, Sinjara, Asvins Twain
rvs.8.5	27 For so much bliss, or even more, O Asvins, Wealthy Gods, than this,
rvs.8.5	28 Ascend your car with golden seat, O Asvins, and with reins of gold,
rvs.8.5	31 From far away ye come to us, Asvins, enjoying plenteous food
rvs.8.5	32 With splendour, riches, and renown, O Asvins, hither come to us,
rvs.8.5	37 As such, O Asvins, find for me my share of newpresented- gifts,
rvs.8.8	HYMN VIII. Asvins. 8
rvs.8.8	1. WITH all the succours that are yours, O Asvins, hither come to us:
rvs.8.8	2 Come now, ye Asvins, on your car decked with a sunbright- canopy,
rvs.8.8	O Asvins, drink the savoury juice shed in the Kanvas' sacrifice.
rvs.8.8	5 Come, Asvins, to give car to us, to drink the Soma, Asvins, come.
rvs.8.8	So now, O Asvins, come to us, come near to this mine eulogy.
rvs.8.8	8 Do others more than we adore the Asvins with their hymns of praise?
rvs.8.8	9 The holy singer with his hymns hath called you, Asvins, hitherward-;
rvs.8.8	Then, O ye Asvins, ye attained all wishes that your hearts desired.
rvs.8.8	11 Come thence, O Asvins, on your car that hath a thousand ornaments:
rvs.8.8	The Asvins, Riders through the sky, have welcomed this my song of praise.
rvs.8.8	13 O Asvins, grant us all rich gifts wherewith no man mav interfere.
rvs.8.8	Come thence, O Asvins, on your car that hath a thousand ornaments.
rvs.8.8	16 Bestow on him, O Asvins, food that strengthens, and that drops with oil,
rvs.8.8	You, Asvins, Lords of solemn rites, with calls entreating you to come.
rvs.8.8	19 Come to us, Asvins, ye Who bring felicity, auspicious Ones,
rvs.8.8	For these, O Asvins, graciously assist us in acquiring strength.
rvs.8.8	22 O Asvins, may pure hymns of ours, and songs and praises, honour you:
rvs.8.8	23 Three places of the Asvins, erst concealed, are made apparent now.
rvs.8.9	HYMN IX. Asvins. 9
rvs.8.9	1. To help and favour Vatsa now, O Asvins, come ye hitherward.
rvs.8.9	Bestow, ye Asvins, upon us.
rvs.8.9	3 Remember Kanva first of all among the singers, Asvins, who
rvs.8.9	4 Asvins, for you with song of praise this hot oblation is effused,
rvs.8.9	Therewith, O Asvins, succour me.
rvs.8.9	7 Now hath the Rsi splendidly thought out the Asvins' hymn of praise.
rvs.8.9	8 Ye Asvins, now ascend your car that lightly rolls upon its way.
rvs.8.9	Or, Asvins, with our songs of praise, remember Kanva specially.
rvs.8.9	Or, in the sacrificial chambers, Vainya Prthi, so be ye mindful of us here, O Asvins.
rvs.8.9	12 Whether with Indra ye be faring, Asvins, or resting in one dwellingplace- with Vayu,
rvs.8.9	13 When I, O Asvins, call on you today- that I may gather strength,
rvs.8.9	Or as allconquering- might in war, be that the Asvins' noblest grace.
rvs.8.9	14 Now come, ye Asvins, hitherward: here are oblations set for you;
rvs.8.9	16 Together with the Goddess, with the Asvins' Speech have I awoke.
rvs.8.9	17 Awake the Asvins, Goddess Dawn! Up Mighty Lady of sweet strains!
rvs.8.9	And to this manprotecting- home the chariot ofthe Asvins comes.
rvs.8.9	And voices sound the song of praise, the Asvins' worshippers show first.
rvs.8.9	21 When Asvins, worthy of our lauds, ye seat you in the fathers' house.
rvs.8.10	HYMN X. Asvins. 10
rvs.8.10	Or in a mansion that is built above the sea, come thence, ye Asvins, hitherward.
rvs.8.10	I call Brhaspati, Indra, Visnu, all the gods, the Asvins borne by rapid steeds.
rvs.8.10	3 Those Asvins I invoke who work marvels, brought hither to receive,
rvs.8.10	Or with your Godlike natures stand upon your cars, come thence, O Asvins, hitherward.
rvs.8.18	8 And may the Asvins, the divine Pair of Physicians, send us health:
rvs.8.18	20 The Maruts' high protecting aid, the Asvins, and the God who saves,
rvs.8.19	16 That, wherewith Mitra, Varuna, and Aryaman, the Asvins, Bhaga give us light,
rvs.8.22	HYMN XXII. Asvins. 22
rvs.8.22	Which ye ascended, Asvins, ye whose paths are red, swift to give Car, for Suryas' sake.
rvs.8.22	3 These Asvins with our homage, these Two Omnipresent Deities
rvs.8.22	The famous car that traverseth the heaven and earth, thereon Nasatyas, Asvins, come.
rvs.8.22	As such will we exalt you, Lords of splendour, now, O Asvins, with our prayer and praise.
rvs.8.22	9 O Asvins, mount the chariot, mount the golden seat, ye who are Lords of plenteous wealth,
rvs.8.22	With those, O Asvins, come hither with speed and soon, and heal whatever is diseased.
rvs.8.22	11 When we continually invoke the Asvins, the resistless, at this time of day,
rvs.8.22	13 I speak to both of these as such, these Asvins whom I reverence at this time of day:
rvs.8.22	15 For bliss I call. the blissful car, at morn the inseparable Asvins with their car
rvs.8.22	17 Come, WonderWorkers-, to our home, our home, O Asvins, rich in cattle, steeds, and gold,
rvs.8.26	HYMN XXVI. Asvins. 26
rvs.8.26	O Asvins, Heroes, let your car, famed, best to travel, come to us,
rvs.8.26	5 Asvins, who send us precious gifts, even when offended, think of him:
rvs.8.26	7 With allsustaining- opulence, Asvins, come hitherward to us,
rvs.8.26	10 O Rsi, laud the Asvins well. Will they not listen to thy call?
rvs.8.26	The Asvins help to glory honouring him well.
rvs.8.26	About his dwelling go, ye Asvins, loving us.
rvs.8.26	19 O Asvins, with that glorious fame come hither, through our brilliant song,
rvs.8.27	8 O Maruts, Visnu, Asvins, Pusan, haste away with minds turned hitherward to Me.
rvs.8.35	HYMN XXXV. Asvins. 35
rvs.8.35	Accordant, of one mind with Surya and with Dawn, O Asvins, drink the Soma juice.
rvs.8.35	Accordant. of one mind with Surya and with Dawn, O Asvins, drink the Soma juice.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, O Asvins, drink the Soma juice.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, O Asvins, bring us strengthening food.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, O Asvins, bring us strengthening food.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, O Asvins, bring us strengthening food.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, come thrice, O Asvins, to our home.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, come thrice, O Asvins, to our home.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, come thrice, O Asvins, to our home.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, O Asvins, grant us vigorous strength.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, O Asvins, grant us vigorous strength.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, O Asvins, grant us vigorous strength.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, and with the Adityas, Asvins! come.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, and with the Adityas, Asvins! come.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, and with the Adityas, Asvins! come.
rvs.8.35	Accordant, of One mind with Surya and with Dawn, the- pressers' Soma, Asvins drink.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, the pressers' Soma, Asvins drink.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, the pressers' Soma, Asvins drink.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, drink juice, O Asvins, three days old.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, drink juice, O Asvins, three days old.
rvs.8.35	Accordant, of one mind with Surya and with Dawn, drink juice, O Asvins, three days old.
rvs.8.35	Approach, ye Asvins, come to us: I call you, eager for your aid. Grant treasures to the worshipper.
rvs.8.35	Approach, ye Asvins, come to us: I call you, eager for your aid. Grant treasures to the worshipper.
rvs.8.35	Approach, ye Asvins, come to us: I call you, eager for your aid. Grant treasures to the worshipper.
rvs.8.42	4 Asvins, with songs the singer stones have made you hasten hitherward,
rvs.8.42	5 As the sage Atri with his hymns, O Asvins, called you eagerly,
rvs.8.62	HYMN LXII. Asvins. 62
rvs.8.62	1. ROUSE ye for him who keeps the Law, yoke your steeds, Asvins, to your car
rvs.8.62	2 Come, Asvins, with your car more swift than is the twinkling of an eye
rvs.8.62	3 Asvins, ye overlaid with cold the fiery pit for Atris' sake:
rvs.8.62	6 The Asvins, first to hear our prayer, for closest kinship I approach:
rvs.8.62	7 For Atri ye, O Asvins, made a dwellingplace- to shield him well,
rvs.8.62	12 One common brotherhood is yours, Asvins your kindred is the same:
rvs.8.62	13 This is your chariot, Asvins, which speeds through the regions, earth and heaven
rvs.8.62	17 He looked upon the Asvins, as an axearmed- man upon a tree:
rvs.8.72	7 Regard us, Indra, Visnu, here, ye Asvins and the Marut host,
rvs.8.74	HYMN LXXIV. Asvins. 74
rvs.8.74	1. To this mine invocation, O ye Asvins, ye Nasatyas, come,
rvs.8.74	2 This laud of mine, ye Asvins Twain, and this mine invitation hear,
rvs.8.74	3 Here Krsna is invoking you, O Asvins, Lords of ample wealth.
rvs.8.74	6 Come to the worshippers' abode, Asvins, who here is lauding you,
rvs.8.74	8 Come hither, Asvins, on your car of triple form with triple seat,
rvs.8.74	9 O Asvins, O Nasatyas, now accept with favouring grace my songs,
rvs.8.75	HYMN LXXV. Asvins. 75
rvs.8.76	HYMN LXXVI. Asvins. 76
rvs.8.76	1. SPLENDID, O Asvins, is your praise. Come fountainlike-, to pour the stream.
rvs.8.76	2 Drink the libation rich in sweets, O Asvins Twain: sit. Heroes, on the sacred grass.
rvs.8.76	4 Drink ye the Soma rich in meath, ye Asvins Twain: sit gladly on the sacred grass.
rvs.8.76	5 Come to us, O ye Asvins, now with steeds of many a varied hue,
rvs.8.76	So, wondrous, fair, and famed for great deeds come to us, through our hymn, Asvins, when ye hear.
rvs.8.83	Selfluminous- the Asvins drink.
rvs.8.101	HYMN IX. Asvins. 101
rvs.8.101	Accepting this our worship and libation, O Asvins bright with fire, drink ye the Soma.
rvs.8.101	3 Asvins, that work of yours deserves our wonder, the Bull of heaven and earth and airs' mid
rvs.9.7	7 He goes to Indra, Vayu, to the Asvins, as his custom is,
rvs.9.8	2 Laid in the bowl, pureflowing- on to Vayu and the Asvins, may
rvs.9.81	The Maruts, Asvins, Vayu, and Brhaspati, Savitar, Tvastar, tractable Sarasvati.
rvs.10.24	HYMN XXIV. Indra. Asvins. 24
rvs.10.35	Pusan, Brhaspati, Bhaga, both Asvins, and enkindled Agni we implore for happiness.
rvs.10.36	6 Ye Asvins, make our sacrifice ascend to heaven, and animate the rite that it may send us bliss,
rvs.10.39	HYMN XXXIX. Asvins. 39
rvs.10.39	Asvins, your swiftlyrolling- circumambient Car which he who worships must invoke at eve and dawn.
rvs.10.39	Asvins, bestow on us a glorious heritage, and give our princes treasure fair as Soma is.
rvs.10.39	You, you who must be lauded, will we bring for aid, so that this foe of ours, O Asvins, may
rvs.10.39	6 Listen to me, O Asvins; I have cried to you. Give meyour- aid as sire and mother aid their son.
rvs.10.39	9 Ye Asvins Twain, endowed with manly strength, brought forth Reblia when hidden in the cave and
rvs.10.39	10 On Pedu ye bestowed, Asvins, a courser white, mighty with nineandninety— varied gifts of
rvs.10.39	Whom, Asvins swift to hear, borne on your glowing path, ye with your Consort make the foremost in
rvs.10.39	12 Come on that Chariot which the Rbhus wrought for you, the Chariot, Asvins, that is speedier
rvs.10.39	13 Come, Conquerors of the sundered mountain, to our home, Asvins who made the cow stream milk for
rvs.10.39	14 We have prepared this laud for you, O Asvins, and, like the Bhrgus, as a car have framed it,
rvs.10.40	HYMN XL. Asvins. 40
rvs.10.40	2 Where are ye, Asvins, in the evening, where at morn? Where is your haltingplace, where rest ye
rvs.10.40	5 To you, O Asvins, came the daughter of a King, Ghosa, and said, O Heroes, this I beg of you:
rvs.10.40	6 O Asvins, ye are wise: as Kutsa comes to men, bring your car nigh the folk of him who sings your
rvs.10.40	The bee, O Asvins, bears your honey in her mouth, as the maid carries it purified in her hand.
rvs.10.40	7 To Bhujyu and to Vasa ye come near with help, O Asvins, to Sinjara and to Usana.
rvs.10.40	8 Krsa and Sayu ye protect, ye Asvins Twain: ye Two assist the widow and the worshipper;
rvs.10.40	And ye throw open, Asvins, unto those who win the cattlestall- that thunders with its serenfold
rvs.10.40	Fain would we reach the dwelling of the vigorous Steer who loves the kine, O Asvins: this is our
rvs.10.40	12 Your favouring grace hath come, ye Lords of ample wealth: Asvins, our longings are stored up
rvs.10.40	14 O Asvins, WonderWorkers-, Lords of lustre, where and with what folk do ye delight yourselves
rvs.10.41	HYMN XLI. Asvins. 41
rvs.10.41	Or to the sages' poured libations ye approach, come thence, O Asvins, now to drink the offered
rvs.10.52	Asvins, each day yours is the Adhvaryus' duty: Brahman and wood are here: itis yours to offer.
rvs.10.61	1. THE welcome speaker in the storm of battle uttered with might this prayer to win the Asvins,
rvs.10.61	4 I call on you the Sons of Dyaus, the Asvins, that a dark cow to my red kine be added.
rvs.10.65	12 O Asvins, ye delivered Bhujyu from distress, ye animated Syava, Vadhrmatis' son.
rvs.10.66	5 With Holy Thoughts Sarasvan, firmlawed- Varuna, great Vayu, Pusan, Visnu, and the Asvins Twain,
rvs.10.73	Thousand hyenas in thy mouth thou holdest. O Indra, mayst thou turn the Asvins hither.
rvs.10.73	Thou hadst a thousand treasures in possession. The Asvins, O thou Hero, gave thee riches.
rvs.10.85	9 Soma was he who wooed the maid: the groomsmen were both Asvins, when
rvs.10.85	14 When on your threewheeled- chariot, O Asvins, ye came as wooers unto Suryas' bridal,
rvs.10.85	26 Let Pusan take thy hand and hence conduct thee; may the two Asvins on their car transport thee.
rvs.10.92	Sing lauds for your great bliss to Wind, the breath of all: ye Asvins prompt to hear, hear this
rvs.10.93	6 And let the Asvins, Lords of splendour, set us free, both Gods, and, with their Laws, Mitra and
rvs.10.93	7 Yea, let the Asvins Twain he gracious unto us, even Rudras, and all Gods, Bhaga, Rathaspati;
rvs.10.106	HYMN CVI. Asvins. 106
rvs.10.106	7 Fierce Asvins(), like two powerful heroes(), you enable this moving, perishable mortal frame()
rvs.10.106	Filled be our kine with ripened meath like glory: Bhutamsa hath fulfilled the Asvins' longing.
rvs.10.125	I hold aloft both Varuna and Mitra, Indra and Agni, and the Pair of Asvins.
rvs.10.128	May Gods, Brhaspati, both Asvins shelter from ill this sacrifice and sacrificer.
rvs.10.131	4 Ye, Asvins, Lords of Splendour, drank full draughts of grateful Soma juice,
rvs.10.131	5 As parents aid a son, both Asvins, Indra, aided thee with their wondrous Powers and wisdom.
rvs.10.132	And may the Asvins, both the Gods, strengthen the worshipper with bliss.
rvs.10.143	HYMN CXLIII. Asvins. 143
rvs.10.143	4 This claims your notice, Bounteous Gods! - oblation, Asvins! and our love,
rvs.10.184	May the Twain Gods bestow the germ, the Asvins crowned with lotuses.
rvs.10.184	3 That which the Asvins Twain rub forth with the attritionsticks- of gold,

Excerpted from a blogpost of Manasataramgini (May 30, 2006):

ashvina stuti

The adi parvan of the mahAbhArata provides a remarkable “fossilized” sUktaM to the ashvins. It comes in the 3rd chapter of the adi parvan known as the pauShya section (1.3.60 in the critical Poona edition of the mahAbhArata). This section is a particularly interesting in terms of retaining some of the archaic structures of the epic, probably coming unadulterated from the original form of the jaya epic. Its frame narrates the tale of how janamejaya, the kuru emperor, and conqueror of takShashIla came to perform his infamous sarpa yaGYa to avenge the killing of his father parIkShit by the nAga chief. From this frame bud off many archaic tales, one of which is the tale of trial of the sage upamanyu of the clan of the vasiShThas. In this tale, upamanyu as a young student in the ashrama of his teacher Ayodo dhaumya was particularly well-fed in his appearance. dhaumya cuts off his means of food, namely from the alms received in the city or from the cows he took to graze, by instructing him not to eat or drink any of those things. In this state dhaumya asked upamanyu to go and graze his cows. upamanyu without any food eats the leaves of the arka plant and as a consequence goes blind and falls into a pit while crawling about. Upon seeing his absence at sunset that day, dhaumya and his students set out in search of upamanyu and call out to him in the pastures. They hear him crying out from a pit and mention his blindness. dhaumya asks him to invoke the ashvins. He immediately composes a series of R^ichas with which he praises the ashvins. As a result they are pleased and give him an apUpa cake. upamanyu states that he will eat the cake only after offering it to his teacher. They urge upamanyu to do so without offering him, but he refuses. Pleased with his devotion they relieve him of his blindness and the twin gods also give him a denture of gold, unlike the steel denture they had given his teacher dhaumya. As a result dhaumya states that upamanyu has passed his trial and blesses him to be a great scholar of the vedas and the dharmashAstras.

This ashvina sUktaM of upamanyu (UAS) is a rather remarkable hymn in many respects:

1) It is unlike most other material in the mahAbhArata actually very close to the vedic metaphors and style, using a triShTubh based meter that is typical of vedic. For example the use of the term dAsapatnI i.e one powered by the demonic dAsa or vala is clearly a vedic usage not encountered elsewhere in later Sanskrit.

2) However, in its language it shows late features closer to the epic Sanskrit, particularly in the dvandva forms ending in –au as against the vedic forms with –A (e.g. nAsatyA or ashvinA). Use of aruNa instead of uShA is also atypical with respect to the vedic formulations.

3) It alludes to several mythological motifs of astronomical provenance that are common in the veda but rarely found in those particular forms in the later Hindu mythologies. These include the important motif of the regeneration of the sun and dawns, which is strikingly expressed in multiple forms in this hymn as in the vedic hymns. These expressions include the ashvins leading forth the dawns, setting free the quail grabbed by the eagle, bursting of the mountain stronghold of vala to set free the days and waters and the swallowing of the embryo and its re-birth. Also present are the motifs of the wheel of time with 720 spokes (720 days and nights), with 12 spokes (12 months) and 6 seasons on the rim of the wheel. These are very similar to the metaphors used by dIrghatamA auchAthya of the clan of the a~Ngiras in hymn RV 1.165. Another metaphor used in the UAS is that of the 360 cows bearing one calf (the sun), which in turn equated with the gharma offering to the ashvins with the uktha chant in the pravargya rite.

The whole setting of the upamanyu tale involves a mythography that recapitulates the sun regeneration myth often seen in the R^igveda. upamanyu, like other R^igvedic characters saved by the ashvins, namely chyavAna (buried in a termite hill), parAvR^ija and dIrghatamA, had gone blind, and like antaka and atri, other protégés of the ashvins, had fallen in a pit. This is an allegory to sun being lost in winter and is made more direct by the mention that quest for upamanyu, who had fallen in the pit begins after the sun had set. Further his denture of gold given by the ashvins is also a cryptic allegory for the returning sunshine.

The UAS in not found in any surviving saMhitA of the veda and upamanyu is far removed in age from the hoary hymn composers of the R^ig and atharvaN. Instead, it appears that it represents an intermediate hymn, a late vedic composition in the epic period. This suggests that hymn composition in the R^igvedic style continued well into the epic period. It is thus a rare sample of the class of “Vedic” compositions that happened in the period of composition of the original jaya and is one of the survivals of the actual religious structures of the jaya period, which are hidden under the heavily pauranicized extant mahAbhArata. We will also reinforce this point with another short hymn, the indra stuti of utanka the bhArgava in the same section of the mahAbhArata.

The frame tale of UAS also has a structure resembling the mythological fragments of the bR^ihad-devata of shaunaka and brAhmaNa texts, especially like those in the jaiminIya brAhmaNa. This suggests that a similar core set of ancestral mythological frame tales were reused both in the generation of brAhmaNa texts and the itihAsa. These are likely to represent the original itihAsa-purANa. The frame of the UAS suggests that it is a case where an actual history has been adapted to fit an influential pre-existing mythological motif. The weakening or disappearance of the sun in winter and its regeneration, along with the dawns and the release of the frozen waters, was a striking motif acquired in the northern homeland of the Indo-Europeans. Given the strong impression it left on the Aryans, it was reused in various contexts of act regeneration by the ashvins and other gods. This ancient memory was well-preserved in the language of myth and found its way in the narrative of upamanyu’s trial and revival.

We provide below a translation and commentary on the UAS.

1.3
prapUrvagau pUrvajau chitrabhAnU girA vA sha.nsAmi tapanAvanantau .
divyau suparNau virAjau vimAnAvadhikShiyantau bhuvanAni vishvA .. 60..

You have existed before the emergence of the sun, the first-born beings, of beautiful luster. I desire your help with this chant, oh blazing ones who are infinite. You are the course of existence what pervades existence, the heavenly birds of beauteous feather and are in everything and pervade the universe.

hiraNmayau shakunI sAmparAyau nAsatyau dasrau sunasau vaijayantau .
shukra.n vayantau tarasA suvemAvabhi vyayantAvasita.n vivasvat .. 61..

You are golden birds, you are the future of existence, the truth, with good noses and victorious in battle. Having generated the sun, you weave the wondrous cloth of the year by means of the white thread [of the day] and the black thread [of the night].

grastA.n suparNasya balena vartikAm.h amu~nchatAm.h ashvinau saubhagAya .
tAvatsuvR^ittAvanamanta mAyayA sattamA gA aruNA udAvahan .. 62..

Oh ashvin twins, endowed with auspiciousness, you set free the quail seized by the the strong grip of the eagle. Oh leaders indeed you are of good [chariot] wheels and indeed un-deceivable, with your powers you go leading the dawns.

ShaShTishcha gAvastrishatAsh cha dhenava eka.n vatsam.h suvate ta.n duhanti .
nAnA goShThA vihitA ekadohanAs tAvashvinau duhato gharmamukthyam.h .. 63..

Sixty cows and three hundred cows suckle one calf between them (1). The various cowpens together yield one milking, indeed this is the hot milk offering [gharma in the pravargya pot] with the uktha chant milked by the ashvins.

ekAm.h nAbhi.n saptashatA arAH shritAH pradhiShvanyA viMshatirarpitA arAH .
anemi chakram.h parivartate .ajaram.h mAyAshvinau samanakti charShaNI .. 64..

There is one nave with 700 spokes fixed, also fixed to it are 20 more spokes (2). This spoked wheel, turns endlessly, you ashvins have set them together [spokes] in motion.

eka.n chakra.n vartate dvAdashAram.h pradhi ShaNNAbhimekAkShamamR^itasya dhAraNam.h.
yasmindevA adhi vishve viShaktAs tAvashvinau mu~nchato mA viShIdatam.h.. 65..

The one wheel with twelve spokes, and the circumference with the six [season] rotates around the one axle without an end (3). Upon this the gods are all stationed, Oh ashvins free me from the influence of the toxin.

ashvinAv-indram-amR^ita.n vR^ittabhUyau tirodhattAm-ashvinau dAsapatnI .
bhittvA girimashvinau gAmudAcharantau tadvR^iShTamahnA prathitA valasya .. 66..

Oh immortal ashvins and indra, you twins who generate the rotations, oh ashvins remove those powered by the demonic dasas. Oh ashvins, burst the mountain stronghold of the demon vala, and go fort to bring out the waters and spread out the day light.

yuvA.n disho janayatho dashAgre samAnam.h mUrdhni rathayA viyanti .
tAsA.n yAtamR^iShayo.anuprayAnti devA manuShyAH kShitimAcharanti .. 67..

In the beginning, you twin youths generated [space] with ten directions; then you set the chariot moving in the [sky] above (4). The R^iShis, according to the course of the same [sun], perform their sacrifices, and the gods and men, accordingly occupy their respective stations.

yuvA.n varNAnvikurutho vishvarUpA.ns te.adhikShiyanti bhuvanAni vishvA .
te bhAnavo. apyanusR^itAsh charanti devA manuShyAH kShitimAcharanti .. 68..

Youths! From the [basic] colors, you have produced all the various forms; it is from these objects that the entire universe is filled. Ordained by these rays of [color] the gods and men occupy their respective stations.

tau nAsatyAv-ashvinAv-Amahe vAm.h sraja.n cha yAm.h bibhR^ithaH puShkarasya .
tau nAsatyAv-amR^itAv-R^itAvR^idhAv R^ite devAs-tat-prapadena sUte .. 69..

You nAsatyas, ashvins I worship you two, who wear garlands and bear lotus flowers. You nasAtyas, the immortal ones, the upholders of the R^ita, you impel the R^ita through which the devas attain their [stations].

mukhena garbha.n labhatAm.h yuvAnau gatAsuretatprapadena sUte .
sadyo jAto mAtaramatti garbhastAvashvinau mu~nchatho jIvase gAH .. 70..

The embryo has been taken through the mouth, oh youths impel this one who has expired to obtain [his station]. The mother, eater of the embryo, has brought it out (5); Oh ashvins release me and bring to life.

Notes

(1) 360 cows are the days of the year giving birth to the calf, the sun. The allegory here is thus: At the end of 360 days, the year, the sun has declined or disappeared at the winter solstice. The sun is then born in the new year as the calf. In the same R^ik the pravargya gharma, which represent the sun is also mentioned.

(2) 720 days and nights of the year are allude to here.

(3) The twelve fold division of the year- the 12 vedic months, and the 6 seasons are allude to here.

(4) An allusion to the sun’s chariot.

(5) The metaphor suggests the embryo, implying the sun, is being eaten and born again at the year beginning.

https://manasataramgini.wordpress.com/2005/05/30/ashvina-stuti/

MBh 1.3.57 to 1.3.67 (Devanagari text transcribed in ASCII)

prapUrvagau pUrvajau chitrabhAnU girA vAM shaMsAmi tapasA hyanantau. divyau suparNau virajau vimAnA- vadhikShipantau bhuvanAni vishvA.. 1-3-57 (756)hiraNmayau shakunI sAMparAyau nAsatyadasrau sunasau vaijayantau. shuklaM vayantau tarasA suvemA- vadhivyayantAvasitaM vivasvataH.. 1-3-58 (757)grastAM suparNasya balena vartikA- mamu~nchatAmashvinau saubhagAya. tAvatsuvR^ittAvanamaM tamAya yA- vasattamA gA aruNA udAvahat.. 1-3-59 (758)ShaShTishcha gAvastrishatAshcha dhenava ekaM vatsaM suvate taM duhanti. nAnAgoShThA vihitA ekadohanA- stAvashvinau duhato gharmamukthyam.. 1-3-60 (759)ekAM nAbhiM sapta sathA arAH shritAH pradhiShvanyA viMshatirarpitA arAH. anemi chakraM parivartate.ajaraM mAyA.ashvinau samanakti charShaNI.. 1-3-61 (760)ekaM chakraM vartate dvAdashAraM ShaNNAbhimekAkShamamR^itasya dhAraNam. yasmindevA adhi vishve viShaktA- stAvashvinau mu~nchato mA viShIdatam.. 1-3-62 (761)ashvinAvindumamR^itaM vR^ittabhUyau tirodhattAmashvinau dAsapatnI. hitvA girimashvinau gAmudAcharantau tadvR^iShTimahnAtprasthitau balasya.. 1-3-63 (762)yuvAM disho janayatho dashAgre samAnaM mUrdhni rathayAnaM viyanti. tAsAM yAtamR^iShayo.anuprayAnti devA manuShyAH kShitimAcharanti.. 1-3-64 (763)yuvAM varNAnvikurutho vishvarUpAM- ste.adhikShiyante bhuvanAni vishvA. te bhAnavo.apyanusR^itAshcharanti devA manuShyAH kShitimAcharanti.. 1-3-65 (764)tau nAsatyAvashvinau vAM mahe.ahaM srajaM cha yAM bibhR^ithaH puShkarasya. tau nAsatvAvamR^itAvR^itAvR^idhA- vR^ite devAstatprapade na sUte.. 1-3-66 (765)mukhena garbhaM labhatAM yuvAnau gatAsuretatprapadena sUte. sadyo jAto mAtaramatti garbha- stAvashvinau mu~nchathau jIvase gAm.. 1-3-67 

http://sanskritdocuments.org/mirrors/mahabharata/mbhK/mahabharata-k-01-itx.html

ASWINS

Google translation:

"Two etymologies can be established for the word: 1) tha, in Sanskrit it means to remain, to stay; Ashva is horse. The name is attached to the sign of Mithuna (Gemini) in Vedic (Jyotish) astrology. The Gemini are named Ashwins (Dioscuros, in Greek mythology); Are divinities that make in heaven the transition from nighttime darkness to light, preceding the Sun (Surya), symbolizing as such the principle of conscious life, which is to move spiritually towards Brahman (The All). With the Ashwins comes Ushas, ​​the goddess of Aurora (Eos in Greek mythology). The Ashwins are knight gods and perform various functions, especially the doctor. They are healing deities in that they control the horses. The horse, as is well known in all traditions, is one of the great symbols of the unconscious psyche..."

http://cidmarcus.blogspot.in/2014/03/a-figueira.html

See: https://www.narach.com/philosophy/the_gods_of_the_vedas_two_asvins.htm

In the Vedas a dvandva-com- pound occurs, Indra-Nasatya; and in the Vendidad these two beings are repudiated together as Indram. . .Ndyhaithim. (Mary Boyce, 1989, A History of Zoroastrianism: The Early Period, BRILL., pp.205-206)

See: http://bharatkalyan97.blogspot.in/2017/01/itihasa-of-vritra-dadhyanc-in-rigveda.html 

Itihāsa of Vritra & Dadhyañc in Rigveda brahman madhu vidyā metalwork King Soma metaphors 

---

sarasvatI the devI and the sarasvatI the nadI -- Manasataramgini

February 1, 2017, 4:58 pm

≫ Next: The great faceless man -- Manasataramgini

≪ Previous: Itihāsa in Rigveda.अश्विना du. 'two Aśvins', metaphor for sensory categories, five dhātu 'elements of the earth'

$

0

0

sarasvatI the devI and the sarasvatI the nadI

June 3, 2012

masitãm dûrât frasrûtãm ýâ asti avavaiti masô ýatha vîspå imå âpô ýå zemâ paiti frataciñti
ýâ amavaiti fratacaiti hukairyât haca barezanghat aoi zrayô vouru-kashem ||

The large river, known afar, that is as large as the whole of the waters that run along the earth; that runs powerfully from the height hukairya down to the sea vouru-kasha.

ýaozeñti vîspe karanô zrayâi vouru-kashaya â-vîspô maidhyô ýaozaiti
ýat hîsh aoi fratacaiti ýat hîsh aoi frazhgaraiti aredvî sûra anâhitâ,
ýenghe hazangrem vairyanãm hazangrem apakhzhâranãm,
kascitca aêshãm vairyanãm kascitca aêshãm apakhzhâranãm
cathware-satem ayare-baranãm hvaspâi naire baremnâi ||

All the shores of the sea vouru-kasha are boiling over, all the middle of it is boiling over, when she runs down there, when she streams down there, she, aredvî sûra anâhitâ, who has a thousand cells and a thousand channels: the extent of each of those cells, of each of those channels is as much as a man can ride in forty days, riding on a good horse.

ainghåsca mê aêvanghå âpô apakhzhârô vî-jasâiti vîspâish aoi karshvãn ýâish hapta,
ainghåsca mê aêvanghå âpô hamatha ava-baraiti hãminemca zayanemca,
hâ-mê âpô ýaozhdadhâiti hâ arshnãm xshudrå hâ xshathrinãm garewãn hâ xshathrinãm paêma || yaShT 5.3-5

From this river of mine alone flow all the waters that spread all over the seven Karshvares; this river of mine alone goes on bringing waters, both in summer and in winter. This river of mine purifies the seed in males, the womb in females the milk in females’ breasts.

ambitame nadItame devitame sarasvati |
aprashastA iva smasi prashastim amba nas kR^idhi ||

Best mother, best of rivers, best of goddesses, sarasvati; We are,as though without praise, O mother, make us praised.

tve vishvA sarasvati shritAyUMShi devyAm |
shunahotreShu matsva prajAM devi didiDDhi naH ||

In you, O goddess sarasvati, all lives are situated; be, pleased with shunahotra-s; O goddess grant us progeny.

imA brahma sarasvati juShasva vAjinIvati |
yA te manma gR^itsamadA R^itAvari priyA deveShu juhvati || RV 2.41.16-18

Rich in vigor, O sarasvati, be pleased with these incantations of ours; the mental creations which the gR^itsamada-s dear to the gods bring to you the upholder of the R^ita.

The devI sarasvatI and her Iranian counterpart aredvI sUrA anAhitA are descendents of the ancestral proto-Indo-European trans-functional goddess. They retain practically all the features of this ancestral goddess, some of which might be muted or redistributed among the European branches of the Indo-European tree:
1) She is a regal or warrior goddess: This trait is very clear in the Vedic sarasvatI and the Iranian anAhitA, a trait, which in India, continues strongly in the later hypertrophy of the trans-functional goddess in the traditions of the purANa-s and the tantra-s. In the Greek world this trait is strongly preserved in their cognate Athena. In the Roman world she appears as seispes mAter regIna, and the last word in her triple title (like the Iranian triple title) corresponds to her role as the deity of the royal warrior, although far more muted than in the case of the former three. This regal link connection persists in the Celtic Eriu in the form of the tradition of the consecration of royal power in Ireland through Eriu and also is redistributed to the Celtic goddess Brigantia.

2) Most importantly she is a goddess of water and moisture: In the world of the Arya-s this is emphasized by her name sarasvatI – full of ponds (PIE seles->saras) and among the Iranians by the term aredvI meaning moisture. This is also preserved in Greece in the form of the epithets of Athena like Herse which means dew-giver. Likewise, her epithet Glaucopis is explained as being the one who pours water from the skies and then clears to be blue in color like her eyes. In the Slavic world her triple title is mAti syrA zemljA, in which the syrA indicates her moisture. Similarly, her other name mokoshi means moisture. In the roman world this function appears to have been redistributed to Ceres. In the Indic and Iranian texts in particular she may be described as having the form of a physical river flowing down from a great height, but at the same time she is also the heavenly water or river (including the Milky Way).

3) She is seen as bestowing various human wants like plants, ghee, oil, honey, progeny and being the cause of fertility of the land. She also importantly bestows good speech and intelligence – but this trait is prominently expressed only in the Indo-Aryan and Greek spheres in sarasvatI and Athena (though there are some allusions to this in the Iranian praise of anAhitA).

Now, the 10th maNDala of the R^igveda contains a famous sUkta that contains a list of rivers that every practicing Arya utters during his bathing rituals to this date:

imaM me ga~Nge yamune sarasvati shutudri stomaM sachatA paruShNy A |
asiknyA marudvR^idhe vitastayArjIkIye shR^iNuhy A suShomayA ||

Be pleased with my laud, O ga~NgA, yamunA, sarasvati, shutudri, and paruShNi;
with asikni, marudvR^idha, vitastA, ArjIkI and suShomA hear [me].

tR^iShTAmayA prathamaM yAtave sajUH susartvA rasayA shvetyA tyA |
tvaM sindho kubhayA gomatIM krumum mehatnvA sarathaM yAbhir Iyase || RV 10.75.5-6

First with tR^iShTAma you rapidly flow forth, with susartu and rasA with shvetI here,
You sindhu, with kubha, gomati, krumu and mehatnu, seek you course together.

The Indus system

The geographical concordance of these rivers to the hydrography of the north of the Indian subcontinent is strong. Most rivers can be identified and show some geographical ordering. In the first R^ik we have rivers largely going from east to northwest:

ga~NgA – yamunA – sarasvatI- shutudri (Sutlej)-paruShNi (Ravi) – asikni (Chenab) – marudvR^idha (maruvardhan) – vitastA (Jhelum) – ArjIkI (Haro) – suShomA (Sohan).

The first two are the primary rivers of the ga~NgA system. Then shutudri, paruShNi, asikni, vitastA, ArjIkI and suShomA represent 5 successive rivers forming the east bank tributary system of the Indus. Of these the first four form the pa~nchanadI system before joining the Indus. Only marudvR^idha which is apparently the minor stream called maruvardhan is obscure today. Geographically the description is largely regular in that the rivers are given in the order in which they would be encountered moving east to northwest till the Indus. Some have suggested that ArjIkI is actually Beas, but this would break the order. Further, Vedic tradition outside the nadi-sUkta does remember the vipAshA as a separate river; hence, ArjIki is more likely to be Haro.

In the second R^ik we have:
tR^iShTAma (Tochi?) – susartu (Kunar) – rasa (Panjkora?) – shvetI (Swat)– sindhu (Indus) – kubha (Kabul) – gomati (Gomal) – krumu (Kurrum) – mehatnu (Bara?).

Here Indus is named along with its west bank tributary system. In this case, the identity of some of the RV rivers with the modern streams is less certain to me, especially given that a clear direction pattern is not followed unlike the first R^ik. The general logic here appears to be to name the outer streams first followed by the main streams joining the Indus from the west. Nevertheless, given the abundance of extant tributary rivers in this region it is clear that all these streams can be “accounted for”. The main problem with the Indo-Iranian hydrography is that many of the hydronyms have been repeatedly used as the Indo-Iranians radiated out from their steppe homeland to occupy new territories. Thus, we have cognate names of sarasvati, sarayu, rasA, kubhA, sindhu both in the Indo-Aryan and Iranian spheres of activity, and appear in India proper, Afghanistan, and even the vicinity of the North Caucasus, where populations share a genetic signal with the Indo-Aryans that strongly stands out. Likewise, some cognate toponymns also appear in both in the Indic and Iranian worlds. However, in the case of the nadIsUkta the presence of multiple unique river names of the pa~nchanada as well as the unique ga~NgA and yamunA suggest that at least this sUkta was composed in northern India. This leaves us with only one major anomaly with respect to the rivers we see today – the river sarasvatI.

Indo-Aryan tradition has an internal answer for this anomaly, i.e. the vanishing of the sarasvatI. A persistent tradition first encountered in the brAhmaNa-s and reiterated by the mahAbhArata states that the sarasvatI river dried up or vanished. This is described best in the context of two major rituals, the sArasvata sattra and the aponaptrIya. While these rituals are described in several brAhmaNa-s, the best account vis-a-vis the disappearance of sarasvatI comes form the pa~nchaviMsha brAhmaNa (PVB) account of the first sArasvata sattra and the aitareya brAhmaNa account of the aponaptrIya ritual. The PVB 25.10 (and also the jaiminIya brAhmaNa 2.297) states that the sattra is performed to the south of the place where the sarasvatI river vanishes starting on a new moon day. Then they move up the course of the sarasvatI, along the east bank performing devayajana as per the new moon and fullmoon models, and depending on the parvan culminating in a goShToma or AyuShToma. The important points that emerge from this account are: 1) The explicit mention of a place where the sarasvatI vanishes. 2) The cryptic allusion to the end of the sarasvatI: the deva-s are supposed to have supported the sun in the sky with the sarasvatI but it collapsed and hence it is supposed to be full of curves (tasmAt sA kubjimatIva). This suggests that the river was taking a winding course by the time of the brAhmaNa probably suggestive of loss of velocity and sediment bulk. 3) At some point along the journey of the ritualists, the dR^iShadvatI is supposed to join the sarasvatI on the east bank. Here they offer a plate of boiled rice to apAm napAt with sUkta of gR^itsamada in RV maNDala 2. This indicates that the sarasvatI vanished to the south of the junction with the dR^ishadvatI, strongly supporting the identification of dR^ihadvatI with the chautang. 5) At a certain point from the point of the disappearance of sarasvatI they reach a place called prakSha prAshravaNa (plakSha prAsravana) where they terminate the rite with an iShTi to agnI kAma. 6) Here mention is made of a pool located to the north of a large ruined town where the ritualists like the videha king namin sApya are supposed to have had their avabhR^ita bath. The mention of a large ruin on the course of the sarasvatI/dR^ishadvatI is of great interest because there are two prominent abandoned Harappan sites on their courses namely Kalibangan close to the sarasvatI-dR^ishadvatI saMgaMa and Rakhigarhi further upstream on the dR^ishadvati.

The aponaptrIya rite described in 2.19 of the aitareya brAhmaNa mentions that the R^iShi kavaSha ailUSha was driven away from a sattra on the banks of the sarasvatI by the other ritualists who declared that he was a son of dAsa woman, not a brAhmaNa, and a fake. They drove him into the desert wishing that he would not drink the water of the sarasvatI and die there from thirst. As kavaSha was afflicted by thirst in the desert he invoked apAm napAt with a sUkta (RV 10.20) and the waters of the sarasvatI are said to welled out and run after him into the desert. The other ritualists realized that he was favored by the deva-s and called him back. From thence these mantra-s were used in the ritual for rains. What this account illustrates is that in the period of this brAhmaNa text Indo-Aryans were inhabiting the banks of the sarasvatI, which was proximal to a desert. Further the account cryptically describes the waters of the sarasvatI being drawn into the desert where they are lost as per the sAmavedic brAhmaNa-s. Thus, it is clear that the Indo-Aryans preserved a memory of the actual termination of the sarasvatI in the desert.

In the late 1800s and 1900s philology was joined by geomorphology and archaeology in the quest for the sarasvatI. It was realized that there was a potential river course that connected the seasonal Hakra-Ghaggar and Chautang channels all the way to the Indian ocean in Gujarat. This channel was taken to be the lost sarasvatI. A Hungarian acquaintance brought to our attention how the aged Aurel Stein had realized in the 1940s from investigation of this dried up river channel that it was probably the sarasvatI and had a bearing on the age of the ancient texts of the Indo-Aryans like the veda-s and itihAsa-s. Subsequently, archaeology of the Harappan sites brought up a curious observation. Rather than the Indus valley, the bulk of the sites from the Early and Mature Harappan period lay in an extremely arid area within in what is now the western Indian desert. Closer examination showed that these sites lay clustered along what was supposed to be the dried up course of the sarasvatI going all the way from the region of the Panjab to the sea in Gujarat. This suggested that during the period from the early to the mature Harappan the sarasvatI was probably flowing perennially through what is now desert terrain (~5200-3900 y BP).

Below are maps showing the geomorphology of the sindhu-sarasvatI-upper ga~NgA systems and the sites dating to the Early and Mature Harappan periods. The tracking of the sarasvatI channel by settlements is clear.

The big cities are R: Rakhigarhi; K: Kalibangan; H: Harappa; M: Mohenjo-daro; D: Dholavira (Giosan et al)

Temporal analysis of archaeological sites along the sarasvatI channels reveals that the peak of settlement was during the height of the Harappan civilization around 4500 y BP.

The decline of the Harappan urbanization and the rise of the regional settlements between 3900-3500 y BP show a dramatic decline in the settlements in the lower reaches of the sarasvatI channel along with a progressive withdrawal of settlements closer to the sarasvatI-dR^ishadvatI saMgama. Thus, in the period between 3900-3500 BP we see that sarasvatI was unlikely to perennially carry water into the Indian Ocean and the settlement were withdrawing north-eastwards consistent with its vanishing into the desert downstream of the dR^ishadvatI confluence. This, suggests that this period is likely to correspond to the accounts of aponaptrIya or sArasvata sattra ritual where the ritualist began from the point where it disappeared in the desert up to beyond the dR^iShadvatI confluence. Further, the occurrence of a large ruin (sthUlArma) beyond the dR^iShadvatI confluence noted in the PVB 25.10 is probably the ruin of the Harappan site of Kalibangan.

By around 3000 y BP, which marked the Painted-Greyware period, the settlements had nearly completely vanished downstream of the sarasvatI-dR^iShadvatI confluence and there remained only a few small sites along the upper reaches of the sarasvatI-dR^iShadvatI channels. This suggests that the brAhmaNa texts clearly predated the PGW period.

Until recently the causes for the drying up of the sarasvatI remained highly unclear. Geomorphology suggested that at some point the yamunA used to flow west and meet the sarasvatI system rather than the ga~NgA system. Similarly, it has been noted that there is an ancient channel of the shutudrI that meets the sarasvatI channel and causes a widening of its course, suggesting that it too might have flowed into the sarasvatI. However, recent studies have shown that the sarasvatI was an active glacier fed river only the Pleistocene and not the Holocene. The capture of the yamunA by the ga~NgA system might have happened as early as 49,000 y BP, which is well before human civilization in the region. Likewise the shutudrI’s capture by the Indus system was complete by at least 10,000 y BP (Clift et al). Thus, the capture of glacial sources probably had nothing direct to do with the final end of the sarasvatI in the late Harappan period though it indirectly contributed to it. Here, is where a recent combination of sedimentological and climatological studies comes in throw some light on what actually happened (Giosan et al). The results of this study are summarized in the below graphs: 1) Based on O18 isotopes they suggest a decline in the monsoons around 4000-5000 y BP. This decline contributed the relatively lower danger of massive flooding allowing the Harappan civilization to emerge as the flooding hit just the “right level” for agriculture by inundation. However, between 3000-4000 y BP the aridification went beyond the sustainability of agriculture by inundation. 2) Based on sediment dating it is clear that despite loss of the glacial sources the sarasvatI channel remained active with high sedimentation rate from 8000-4000 y BP both on the lower and upper courses. This suggests that it was sustained as a perennially flowing river by the monsoonal activity. However, as the monsoon decline reached a certain point around 3900 y BP the high sedimentation rate deposit vanish on the sarasvatI and low-sedimentation rate deposits are seen in the upper courses. This suggests that the immediate cause for end of the sarasvatI was the decline in monsoon activity rather than the loss of glacial sources, which had happened much earlier in the closing stages of the Pleistocene.

Here G-H is for Ghaggar-Hakra, i.e. sarasvatI; the black symbols are high sedimentation rates, the white symbols are low sedimentation rates and the grey symbols are sand dunes. In panel B, the grey line is westerly precipitation while the black line is monsoon precipitation (from legend to Fig. 4 of Giosan et al).

A study of the crop pattern shows that during the Early and Mature Harappan phases the most cultivated crop was barley (yava), whereas in the post-urban phase the most cultivated crop was rice (vR^ihi), with a clear decline of barley. Similarly, dAl (lentil) cultivation greatly increased in the post-urban period, suggesting that common Indian staple of dAl and rice became the mainstay around this period.This shift is marked by the increasing movement of settlements towards the ga~ngA system, where they were not affected by the aridification of the west. This shift is interesting because in the earlier Vedic texts like the R^igveda rice is very infrequently mentioned, but barley is frequently mentioned. In the later ritual formalization of the brAhmaNa period rice offerings become very important (odana). This again suggests that at least part of the brAhmaNa material corresponds to the time of the post-urban phase of the Harappan civilization.

This then leads to the question as to whether the early saMhitA texts correspond to the mature Harappan period and is there a knowledge of a full-flowing sarasvatI in them?

This question and its answer are by no means trivial as some might think. Given that the sArasvata sattra was being performed even when the sarasvatI was drying and the center of the civilization was moving towards the ga~NgA system, it is likely that it had some historic sanctity about it. This is corroborated by its extensive memory preserved in the mahAbharata in terms of holy spots even when it was drying. The same is true of the manu smR^iti, which preserves a memory of the holiness of the region between the sarasvatI and the dR^iShadvatI (brahmavarta), even after the river had terminated in the desert. This sanctity of sarasvatI and memory of it being the core civilizational center (brahmavarta or the land of nahuSha) is unlikely to have been associated with it if the invading Indo-Aryans had merely encountered it after its diminution and desiccation. This is especially so because at this point it was the ga~NgA system, not the sarasvatI, which was the main civilizational center (this is supported by the fact that in the sArasvata sattra they finally terminate their journey with an avabhR^ita bath at kArapachava in the yamunA river). One could of course suggest the alternative that the knowledge of sarasvatI’s civilizational significance came from the pre-existing Harappans, who at that point had been Aryanized by the invading Indo-Aryans and were adopting the Arya system. Or one might suggest that the Aryanized Harappans managed to convince the Arya-s of the sanctity of a drying river, to the point that the Arya-s now referred to it after their own great transfunctional goddess of proto-Indo-European vintage. These alternatives seem less likely to us because they do not go well with the processes surrounding the extensive Indo-Aryanization of Northern India, where the memetic contribution of the substratum was relatively limited in the early days of the Indo-Aryan entry. This raises a possibility, which we have mentioned even in the past, that the entry of Indo-Aryan happened during the peak of the Harappan period or before that. Of course this proposal has its own formidable, though not insurmountable, problems.

The RV saMhitA material is generally considered to be older than most (though not all) parts of the brAhmaNa material. This appears plausible based on the observation that some of these rituals are likely to have required a complete R^ik saMhitA. Thus, it is conceivable that the few explicit references to sarasvatI as the physical river in north India in the RV (e.g. the nadI sUkta and RV 3.23, i.e. the bhAratAgni sUkta) might belong to a period anterior to that alluded to in the brAhmaNa-s. This supports at least those parts being composed at a time when the sarasvatI was more active and overlapping with the peak of the Harappan civilization. Here one may ask: What is the big deal ? Does the RV not abound in references to sarasvatI ? This, in our considered opinion, is the most common confusion with respect to the RV. Yes, the RV abounds in references to sarasvatI, but this is the devI saravatI, and not a particular physical river. As noted above being a goddess fundamentally associated with water, she is often described in riverine terms – this does not at all mean that they are talking about any particular physical river. Here is where the comparative method illuminates the issue. Just as aredvI surA anAhitA is described as a massive physical river, the devI sarasvatI is also similarly described by gR^itsamada, bharadvAja and vasiShTha. This does not mean that all their sUkta-s are referring to the physical river. As there are so many parallels with the yaShT of anAhitA and the sUkta-s of sarasvatI it is clear that much of these compositions are based on models that were already present in the Indo-Iranian period and actually referred to the divine or celestial river that fed all the rivers as per the old Indo-European cosmography. This said, it is nevertheless notable that the Indo-Aryans chose to call the river flowing in the Ghaggar-Hakra course as sarasvatI after their great trans-functional goddess. This suggests that after their entry into the subcontinent, their center of activity was likely to be associated with the Ghaggar-Hakra river that was still displaying notable through flow.

This leads us to a model, which we have articulated in the past, that the Indo-Aryan invasion probably led to a stimulation of civilizational development in the Harappan zone, rather than destroying it as proposed by some. In particular, we suspect that the Indo-Aryans of pastoralist origin in the Inner Eurasian steppes could actually connect the disparate civilizational centers in the Harappan zone by virtue of their inherent mobility. This allowed the development of the material uniformity which characterized the Harappan civilization at its peak. This uniformity was probably further stabilized by the introduction of the varNa system along with organization of the pre-Aryan Harappan people into formal guilds of jAti-s . That this happened is strongly suggested by the remarkable recitation that accompanies the puruShamedha (the Indo-Aryan human sacrifice: both real and symbolic), which is found in all the complete yajurveda saMhitA-s. As an example let us consider that from the mAdhyandina saMhitA, adhyAya 30. This recitation lists a large number of specialized occupations that are typical of more settled rather than pastoralist societies, some of which clearly match the Harappan society as suggested by archaeology:

Manufacturers
maNikAra: A beadmaker (beads are a major production item of Harappan sites); A peshaskArI: a garment-maker woman; rajayitrI: A dyer woman (specialized dying workshops are found in Harappan sites); palpUlI: A tanner woman; ajinasandha: a hide-preparer; hiraNyakAra: a goldsmith; vAnija with a balance: a baniya (balance weights are found in Indus sites); An ayastApa: a metal smelter; a~njanIkArI: a woman who makes cosmetics; kulAla: A potter; iShukAra/ dhanuShkAra/ jyAkAra: arrow smith; bow makers; rajjusarja: a rope-maker; kaNTakIkArI: a woman who makes needles; surAkAra: a beer brewer; rathakAra: a car-maker; A koshakArI: box-maker woman or a silk-maker woman.

Diverse professionals
bhiShak: physician; nakShatradarsha: astronomer; gaNaka: an accountant; prashna-vivAka: an consultant for questions; takSha: carpenter; mAnaskR^ita: an designer; adhikalpin: a casino manager; abhiShektR^i: a road sprinkler; dAsha: a ferryman; bhAgadugha: A pay distributer; kAri: mechanic; karmAra: an engineer or smith.

Policing activity
gR^ihapa: a house guard; kShattR^i: a door-keeper; abhikrosha: a policeman; vanapa: A forest guard; dAvapa: fireman.

Agriculture and animal husbandry
kInAsha: plowman; vapa: a seed sower; hastipa: elephant herder; ashvapa: horse herder; gopAla: cowherd; avipAla: shepherd; ajapAla: goatherd; shvanin: dog-breeder.

The rare instances of the horse have been gathered but it should be mentioned that their provenance is uncertain

It is interesting to note that while only two entries are provided for farmers, a highly diversified animal husbandry is presented. The word for the farmer seems to be of non-Aryan origin, being one of the early loan-words of the “ka/ki/ku” variety into Sanskrit. It could very well be a native Harappan word. Of these the horse, cow, sheep, goat and dog breeders are referred to by vintage Indo-European names that are shared across the Indo-European groups. The elephant- breeder, while having a name of purely Indo-European origin, was a purely Indic profession. Images or representations on seals of all these animals are known from the Harappan site, although representations of the horse are very rare. They are not seen on seals and to date no depiction of the horse-borne chariot is known from Harappan sites. This has been the strongest argument against any Indo-European presence in Harappa and remains the one important bit of evidence that stands against the other concordances.

Forest and animal products
dArvahAra: woodcutter; dhaivara: fisherman; shauShkala: a fish-drier; bainda: a stone-age tribesman; Anda: a fowler; parNaka: A betel leaf vendor; mR^igayu: hunter;

Entertainment and music
puMshchalI: A public woman; strIShaka: a female companion; vINavAda: vINa player; pAnighna: jAlra player; tUNavadhma: flute player; sha~Nkhadhma: a conch blower; sUta: story teller; shailUSha: an actor; mAgadha: a bard.

Although some of the above occupations are clearly those of pastoralists, this diversification of occupations more consonant with settled societies. In general we observe that the Indo-Aryan texts, both the shruti and the early parts of the itihAsa, tend to emphasize only a few specific aspects and professions of this diversified society – they rarely or nowhere else mention the rest. This is in contrast with the West Asian and north African urban texts. Further, many of the professions have continued unbroken till recent times in bhArata, and interestingly most of the specialized jAti-s corresponding to these are categorized among the avarNa-s or mishra-varNa-s, outside of the four varNa-s. Thus, we posit that the Arya-s gained control of the Harappan civilization and fostered its integration by virtue of their mobility. They also helped organize the labor of the sedentary native Harappans into jati guilds, which were in large part outside the four varNa-s, and controlled the flow of goods and specialized labor between the the major urban and rural centers. In a sense a parallel might be seen with the activities of the tAntrika states in later day India. However, the Indo-Aryan elite remained mobile and did not participate directly in most professions of the Harappans – they just controlled them and consumed their products – this is reflected in their texts not frequently mentioning the above described professional diversity. Their role as a mobile force in linking up the urban centers made the Old-Indo-Aryan language the dominant link language, while the native Harappan languages remained restricted to the urban centers. Thus, when urbanization collapsed after 3900 y BP, the native languages of the urban centers faded out while Indo-Aryan languages proliferated and expanded as they were less affected by the loss of urban centers. It has often been remarked that the Harappan uniformity does not appear to be comparable to the uniformity imposed by a powerful monarch in a top-down fashion. Indeed, for a urban society there are hardly any depictions of the symbols of monarchy. We see this as also being consistent with a part of the controlling military and administrative elite being of a different type in this civilization – they were the mobile kShatriya-s and brAhmaNa-s. In reality several kShatriya clans and alliances could have operated in different zones, all unified by a common culture with divergence inhibited by marriage ties. A third kind of entity occasionally alluded to are the rich paNi or the vittadha who might be some kind of urban elite.

Now certain white indologists and their imitators might chime in that these urban features alluded to above are related to the second Iron age urbanization closer to the time of the nirgrantha and the tathAgata which came after the “Vedic night” imposed by the Indo-Aryans. This is unlikely to be a correct view: First, we see that the lists of profession are seen in all the complete yajus saMhitA-s. That means it was likely to have been in the ancestral yajus saMhitA. While there are several temporal layers in the ancestral yajus saMhitA itself, its core can be dated based on the unambiguous astronomical marker of the kR^ittikA period ~4100-4400 y BP. So, there is no strong objection to placing the puruShamedha recitation to that period, which overlaps with the core Harappan period. The AV saMhitA-s also mention making shell bead or ornaments that vanish in late Harappan. On the other hand the RV and AV saMhitA-s do not mention glass, whereas the later brAhmaNa texts of the yajurveda mention glass – this in a sense parallels the rise of prominence of rice and tila and the sarasvatI ending in the desert. Glass, rice and tila all rise in importance in the late Harappan. Thus, we capture certain transitions in the Vedic tradition that are compatible with the first Bronze age urbanization and not the second Iron Age urbanization by which time the move to the ga~NgA system, which is captured in the late vedic texts and itihAsa-s was complete.

In conclusion, we now see the idea of the invasion of the Indo-Aryans as a key force in the rise of the mature Harappan as being plausible. However, it is confronted with the formidable “horse problem”, so we can hardly be certain about it. Unfortunately, central Asian archaeology is guided by the late dates for the Indo-Aryans, thus seeing the Sintashta-Petrovka and Andronovo cultures as the beginning of the movement of Indo-Iranians southwards – the flawed Kuzmina hypothesis. These dates are simply untenable because the yajurveda contains unambiguous astronomical date markers that predate them and overlap precisely with the Mature Harappan. We opine that the focus should rather be on the Sredny Stog and Yamna cultures, which should closer to the old layers of the RV, for the beginning of the Indo-Aryan movement into the subcontinent. Another important exercise should be the plotting of the frequency of horse remains in the subcontinent over time to see if there are any preservational anomalies.

………………….
References
1) Clift PD, et al. (2012) U-Pb zircon dating evidence for a Pleistocene Sarasvati River and
Capture of the Yamuna River. Geology 40:211–214.

2) Giosan L, et al. Fluvial landscapes of the Harappan civilization; http://www.pnas.org/cgi/doi/10.1073/pnas.1112743109
https://manasataramgini.wordpress.com/2012/06/03/sarasvati-the-devi-and-the-sarasvati-the-nadi/

The great faceless man -- Manasataramgini

February 1, 2017, 5:04 pm

≫ Next: Dholkal Ganeśa restored. Indus Script hieroglyph tradition restored.

≪ Previous: sarasvatI the devI and the sarasvatI the nadI -- Manasataramgini

$

0

0

The great faceless man

Jan. 29, 2017

In the late Yajurvaidika upaniṣat, the Śvetāśvatara, which is the foundational text of the śaiva-śāsana, the god Rudra is described thus:

na tasya pratimā asti yasya nāma mahad yaśaḥ।
There is no one who his equal, whose name [itself] is great fame.

This sentence has also been taken to organically imply something else among Hindus too: Statues are not made of the great people – their name itself is great fame. Keeping with this we mostly do not have statues of many of the great figures of Hindu tradition. For instance, we do not know how Bodhāyana or Āpastamba or Āśvalāyana or Paippalāda looked, though we take their names on a daily basis. So also with great men even closer to our times, like say Vācaspati Miśrā. Now, speaking of other heroes, like Rāma Aikṣvākava, whose name might be almost taken daily in some of our households, we have some kind of a description in the opening of the Rāmāyaṇa:

ikṣvāku-vaṃśa-prabhavo rāmo nāma janaiḥ śrutaḥ |
niyatātmā mahāvīryo dyutimān dhṛtimān vaśī ||

Born in the Ikṣvāku clan, he is known among men by the name of Rāma. He is self-controlled, of great manliness, radiant, resolute, and has his senses under control.

buddhimān nītimān vāgmī śrīmāñ śatru-nibarhaṇaḥ |
vipulāṃso mahābāhuḥ kambugrīvo mahāhanuḥ ||

He is intelligent, politically astute, eloquent, opulent, and an extirpator of foes. He is broad-shouldered, of mighty arms, with a conch-like neck, and strong-jawed.

mahorasko maheṣvāso gūḍhajatrur ariṃdamaḥ |
ājānubāhuḥ suśirāḥ sulalāṭaḥ suvikramaḥ ||

His chest is broad, he is a great archer, his collar-bones are well-concealed, and is a suppressor of foes. With arms reaching up to his knees, with a good head, shapely forehead and good gait.

samaḥ sama-vibhaktāṅgaḥ snigdha-varṇaḥ pratāpavān |
pīnavakṣā viśālākṣo lakṣmīvāñ śubha-lakṣaṇaḥ || 1.1.8-11

His body is well-proportioned, he is of smooth complexion and mighty. His chest is rounded, his eyes large, he is prosperous and with auspicious marks.

Similar accounts might be found elsewhere in the Rāmāyaṇa too. One thing which comes out of this account is that it is fairly generic for a mighty kṣatriya except for one specific, unusual feature namely “ājānubāhuḥ” – i.e. that his arms reached down to his knees, which might have been a peculiar characteristic of the man himself. Thus, while one can build a generic image of emperor Rāma as a mighty kṣatriya, we can still say we do not know how he *exactly* looked. Now, this is in part keeping with a the broader issue we have discussed earlier, namely the iconic depictions of deities among the early Hindus. As we argued before such existed but were not prominent and were perhaps “primitive” keeping with the archaeological evidence from several early Indian sites. In this sense the Indian iconography mirrored the primitivism of the early Greek iconography.

This is in stark contrast to Egypt where their great Pharaohs are known more from their portraits rather than epic narratives. When we see the images of the lordly Pharaohs, while stylized, there is clearly an element of individuality behind them. Over the ages of its heathen existence, in addition to statues, Egypt developed an even more realistic portraiture in other media. It is conceivable that this Egyptian tradition of portraiture spread through West Asia and then Europe influencing other cultures, first Semitic and then Indo-European. Thus, we see it emerge first among the Hittites to some extent and then eventually among the yavana-s (here collectively Greek and Macedonian) and romāka-s. Thus, by the time of the Macedonian invasion of India we we see a vigorous tradition of realistic royal portraiture on their coins, medallions and mosaic work that has moved far away from their ancestral primitivism. Early Indian coinage was abundant in symbolism and even primitive iconography of Hindu deities but not royal portraits. However, in the years following the Macedonian attack we see an emergent tradition of such portraiture both on coins and in the form of larger icons as seen in the case of Aśoka the mighty Maurya. This trend would suggest that the impulse for portraiture eventually reached the Indian world only via the Macedonians. Likewise, there have also been plausible suggestions that the movement of yavana-s eastwards along with contacts with the now fully portrait-using Hindus sparked the emergence realistic portraiture among the cīna-s along side the unification by the Chin. This manifest burst upon the scene on a truly cīna scale in the funerary statuary of the Chin conquerors.

But is this the whole story? The mysterious Harappan civilization of India produced rare but striking pieces of realistic human portraiture. The most iconic of these is the famous bearded man with a trefoil-patterned garment. There are also several terracottas but these generally retain the primitivism typical of the Indo-European productions. Thus, while portraiture existed in the Harappan world, it was certainly rare relative to the coeval linked civilizations of West Asia and Egypt. So in this sense the Harappan civilization was rather in line with the Indo-European world (though we do not know right now if they had any Indo-European component or influence at all). What about the Indo-Aryan literature? There is nothing indicating a tradition of realistic human iconography in śruti. The itithāsa-s too leave us with at best with slim pickings in this regard – e.g. we hear of the iron image of Bhīmasena used by Duryodhana for his mace-practice but this need not have been realistic. However, in the paurāṇika tradition as it has come down to us today we see that portraiture had a vigorous and full blown expression. In between we have Patañjali who explains a sūtra in the Aṣṭādhyāyi by stating that statues of the sage Kāśyapa were made. Keeping with this, the early surviving vāstu text, the Mānasāra describes how the statues of the the seven great brahminical sages were made. We have evidence from the Skanda-sadbhāva tantra that indeed such statues were made an installed in ancient Kaumāra temples. We even hear of a statue of Pānini that was there in home town, which has evidently been destroyed by the Mohammedans sometime after Xuan Zang recorded seeing it in the 600s of CE. Importantly, despite the potential role of a yavana impetus, the Hindu style remained conservative and distinct, even in places of closest proximity to the yavana in the Northwest of the subcontinent. Hence, on the whole we have some evidence that Hindus had an independent early tradition of portraiture though much of that has not survived and/or they did not emphasize it in any serious way.

However, it does remain a fact that the explosive spread of *extant* portraiture mostly post-dates the Macedonian invasion, which could imply a causal link between the two. Of this most traces have been erased outside the peninsular tip by the evil hand of the Army of Islam. In Nepal however some early specimens survive such as the image of king Jayavarma-deva from śaka 105= 185 CE. In a 3 century time window from that point we also see traces portraiture among the Śuṅga-s, Andhra-s, and Iranic rulers (Kuṣāṇa, Pahālava, Śaka) in India. In discovering and describing the image of king Jayavarman of Nepal, Tara-ananda Mishra has given an excellent account of the evolution of portraiture including several points we have independently arrived at. Other than royal portraiture there appears to have been a vigorous tradition of the imagery of persons endowing religious images and constructions. Moreover, śaiva teachers of both the mantra-mārga and atimārga, extraordinary śaiva and vaiṣṇava devotees, and siddha-s were also prominent objects of whole-body portraits. Statues of such were once common throughout India but have been mostly damaged or demolished in the north. Thus, in south India we can still see statues of emperor Kṛśṇadeva or Govinda Dīkṣita but we do not have the original image of the great Bhoja-deva or Lalitāditya.

Yet, despite all of this, on the whole the the majority of our great figures have not survived in portraiture, perhaps indicating a real Hindu tendency for the statement: na tasya pratimā asti yasya nāma mahad yaśaḥ। . We too seem to be resonant with this Hindu tendency and take it in a broad sense as was possibly understood by many of our greats of the past. In large part we believe that a man’s visual image or for that matter several details of his life should not matter at all. All that should matter are the words he leaves behind – do you find something in them or not – that’s all. Indeed, this is how it is for Āryabhaṭa-I or Bhāskara or Nīlakaṇṭha Somayājin. They are their words not their portraits or even biographies. Now one may ask: “Have you not said there is great value in studying the biographies of past intellectuals?” I still hold that view but have always held that not all of their biography really matters. Indeed most Hindu notables have left behind colophonic biographies that only stress the needful in the best case scenario. For instance, they are not shy of revealing their youthful genius, like bhaṭṭa Jayanta recording his advanced grammatical research as a kid or mathematician-astronomer Gaṇeśa recording his discoveries like the hyperbolic approximation of trigonometric functions in his teens or Vaṭeśvara his discovery of mathematical recipes for astronomy in his twenties.

This contrasts what we observed among the mleccha-s today and its back-flow to the Hindus. The person, his appearance and certain incidental aspects of his biography (e.g. ones sex, sexual escapades or sexual orientation) seem to matter a lot. Indeed, the appearance of a person has a serious correlation to his/her intellectual influence especially in a lokābhimukha sense. There is a drive to get people who look acceptable in a mleccha sense as the face of even an intellectual matter, like physics. I was amazed by how certain bhārata-s known to me converged to a similar style of appearance after hitting the talking circuit in the mleccha world. More than a person’s intellectual substance what matters is that they lie at one extreme of the bell-curve in terms of the mleccha-defined (partly universal) measure of appearance, appeal, etc. Almost as though out of guilt, the mleccha-s would then balance it with a few chosen tokens from the other extreme of the normal distribution (e.g. the diseased, the handicapped and the rare ethnicities) and pepper it with elements of what matters in the mleccha facade: e.g. aberrant sexuality. Finally, in the biographic sense, often what the person holds on matters well-beyond his/her expertise is of great importance in his/her projection as an icon: s/he better mouth liberal platitudes along the lines of how they are out to save the world, save the disadvantaged, and other feel-good messages quite removed from reality and sometimes even biology all while looking ‘cool’ at the same time. This would have even been half-understandable where it not for the concomitant insistence of the mleccha system being “equal opportunity”.

In face of this facade we think great father Manu had a point – the brāhmaṇa intellectuals are best off being low-key in such dimensions – the faceless intellectual whose biographic peculiarities matter little. In conclusion, perhaps keeping with the Hindu tepidity towards portraiture, we subscribe to the view that it is better for a man’s words than his portraits to linger on after Vaivasvata takes him away – indeed what use is it to be like the mysterious brāhmaṇa from what is today Afghanistan, the fragment of whose portrait is placed for auction in a mleccha market.
https://manasataramgini.wordpress.com/2017/01/29/the-great-faceless-man/

Dholkal Ganeśa restored. Indus Script hieroglyph tradition restored.

February 1, 2017, 7:49 pm

≫ Next: Itihāsa of Agni, Indra, Surya in Rigveda to process Soma, metal in pyrites

≪ Previous: The great faceless man -- Manasataramgini

$

0

0

Mirror: http://tinyurl.com/jmvqrtt
See: http://bharatkalyan97.blogspot.in/2017/01/indus-script-hieroglyphs-on-bastar.html 

Indus script hieroglyphs on Bastar Gaṇeśa sculpture and on a Mohenjo-daro seal signify adamantine glue, metal calcine

ANI ‏@ANI_news  2h2 hours ago

More

Chhattisgarh: 6-foot Ganesha idol located on a hill in Dantewada's Dholkal, found damaged last week, has been restored to its original place

 

Itihāsa of Agni, Indra, Surya in Rigveda to process Soma, metal in pyrites

February 1, 2017, 10:42 pm

≫ Next: Itihāsa of Maruts in Rigveda, gold, shining like kindled fires, नृतुः nṛtuḥ 'dancer'

≪ Previous: Dholkal Ganeśa restored. Indus Script hieroglyph tradition restored.

$

0

0

Mirror: http://tinyurl.com/zjw7mba

Materialistic interpretation of Agni, Indra, Surya in Rigveda are related to process Soma, metal in pyrites. 2857, 1858, 1483, 457 ri-cas of Rigveda adore Indra, Agni, Soma and Surya. Indra, Agni, Surya and key components in the processing of Soma.

I suggest that Indra is a pun on the expressions indhastha ʻ fuel -- place ʼ and angāra 'carbon' inflused into metal to harden it (carburization) in fire is realized by the godhuma'wheat chaff'caSAla on the Yupa, the signature tune of Soma Yāga. Asvinā as charioteers mediate with Surya to achieve the desired metalwork out of the dhātu 'minerals'. This central theme is signified by the chariot of the Sun drawn by aquatic birds.

"Duplijaja chariot" now in the museum in Belgrade. The swan is a Meluhha hieroglyph read rebus: 

The bird hieroglyph: karaḍa

करण्ड  m. a sort of duck L. కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. (Telugu) karaṭa1 m. ʻ crow ʼ BhP., °aka — m. lex. [Cf. karaṭu — , karkaṭu — m. ʻ Numidian crane ʼ, karēṭu — , °ēṭavya — , °ēḍuka — m. lex., karaṇḍa2 — m. ʻ duck ʼ lex: see kāraṇḍava — ]Pk. karaḍa — m. ʻ crow ʼ, °ḍā — f. ʻ a partic. kind of bird ʼ; S. karaṛa — ḍhī˜gu m. ʻ a very large aquatic bird ʼ; L. karṛā m., °ṛī f. ʻ the common teal ʼ.(CDIAL 2787) Rebus: karaḍā ‘hard alloy’.

Rebus: karandi 'fire-god' (Remo) kolmo 'three' rebus: kolimi 'smithy, forge' Thus, the three swans drawing the Sun chariot are an adoration of the fire-god.

Two chariots were discovered in Dupljaja city, signifying Bronze Age in the Serbian Danube and south Banat. The Indus Script hieroglyphs on the artifacts are: 1. aquatic bird (three); 2. dotted circles; 3. svastika hieroglyph; 4. twisted curles as torc.5. Nave of wheel The aquatic bird signifies karandi 'fire-god'. The dotted circles signify dhAu 'minerals'. The svastika signifies jasta 'zinc'. The twisted curls as torc on the Sun charioteer signify: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ  'iron' (Munda). Rebus: medha 'yajna'.मेध [p= 832,3] an animal-sacrifice , offering , oblation , any sacrifice (esp. ifc.) ib. MBh. &c मेधाa symbolical N. of the letter ध् Up.= धन Naigh. ii , 10. any valued object , (esp.) wealth , riches , (movable) property , money , treasure , gift RV. &c. eraka 'nave of wheel' rebus: erako 'moltencast, arka, 'copper'. arka'sun'. (Dotted circles adorn the shawl worn by the priest statue, Mohenjo-daro). Consistent with Naighantuka, the word medhA also means 'कविधानम्' according to s'abdakalpadruma: I assume that medhA = dhAnam means (in the context of the hieroglyph on Dhruva II inscription): धानम् dhānam नी nī धानम् नी [धा भावे-ल्युट्] 1 A receptacle, seat; as in मसीधानी, राजधानी, यमधानी; रविं दधाने$प्यरविन्दधाने Śi.4.12. -2 Nourishing, nourishment. -नी 1 The site of a habitation. See: 

http://bharatkalyan97.blogspot.in/2015/11/priest-of-dhavad-iron-smelters-with.html 

Priest of dhā̆vaḍ 'iron-smelters' with Indus script hieroglyphs signifies पोतृ,'purifier' of dhāū, dhāv 'red stone minerals' 

http://bharatkalyan97.blogspot.in/2016/07/endless-knot-hieroglyph-on-indus-script.html

.
 Two views of Dupljaja Chariot 1.

 Municipal Museum in Vrsac .Dupljaja chariot 2. National Museum.Belgrade. Bronze Age in the Serbian Danube and south Banat . https://at37.wordpress.com/2012/12/31/

See: https://www.academia.edu/1670618/_Queer_dress_of_the_sun_god_The_Dupljaja_cart_engendered_and_cross-dressed

https://www.academia.edu/1337535/From_Dupljaja_to_Delphi_the_ceremonial_use_of_the_wagon_in_later_prehistory

Matić, Uroš. 2010. Dupljajska kolica i tela koja nešto znače. Genero: časopis za feminističku teoriju i studije kulture 14 (2010): 129-159. https://www.academia.edu/1188804/Mati%C4%87_Uro%C5%A1._2010._Dupljajska_kolica_i_tela_koja_ne%C5%A1to_zna%C4%8De._Genero_%C4%8Dasopis_za_feministi%C4%8Dku_teoriju_i_studije_kulture_14_2010_129-159

Agni with characteristic symbol of the ram, wood carving; in the Guimet Museum.
Surya-Beeldje. dingen voor musea from Nederland  

"The Trimurti idea of Hinduism, states Jan Gonda, "seems to have developed from ancient cosmological and ritualistic speculations about the triple character of an individual god, in the first place of Agni, whose births are three or threefold, and who is threefold light, has three bodies and three stations".^[49] Other trinities, beyond the more common "Brahma, Vishnu, Shiva", mentioned in ancient and medieval Hindu texts include: "Indra, Vishnu, Brahmanaspati", "Agni, Indra, Surya", "Agni, Vayu, Aditya", "Mahalakshmi, Mahasarasvati, and Mahakali", and others." (Jan Gonda (1969), The Hindu Trinity, Anthropos, Bd 63/64, H 1/2, pages 212-226; David White (2006), Kiss of the Yogini, University of Chicago Press, pages 4, 29)

In deities that are similar to Indra in the Hittite and European mythologies, he is also heroic. (John Colarusso (2014). Nart Sagas from the Caucasus: Myths and Legends from the Circassians, Abazas, Abkhaz, and Ubykhs. Princeton University Press. p. 329.) https://en.wikipedia.org/wiki/Indra

(Indra) May the strong Heaven make thee the Strong wax stronger: Strong, for thou art borne by thy two strong Bay Horses. So, fair of cheek, with mighty chariot, mighty, uphold us, strong-willed, thunder armed, in battle.

— RigVeda, Book 5, Hymn XXXVI: Griffith

Indra appears in ancient artworks, and is known by many names. Top: 2nd century CE Kushan Empire Buddhist relief showing Indra as paying homage to the Buddha Bottom: Hindu gods Surya and Indra guarding the entrance of the 1st century BCE Buddhist Cave 19 at Bhaja Caves (Maharashtra)

Indra at Ajanta Caves

Indra on elephant.Ellora Caves.

Indra-Indrani. 9th-century Mirpur Jain Temple in Rajasthan (rebuilt 15th-century).

The Buddha (middle) is flanked by Brahma (left) and Indra, possibly the oldest surviving Buddhist artwork

Indra is typically featured as a guardian deity on the east side of a Hindu temple.

See: http://bharatkalyan97.blogspot.in/2017/01/itihasa-of-vritra-dadhyanc-in-rigveda.html 

Itihāsa of Vritra & Dadhyañc in Rigveda brahman madhu vidyā metalwork King Soma metaphors
http://bharatkalyan97.blogspot.in/2017/02/itihasa-in-rigveda-du-two-asvins.html 

Itihāsa in Rigveda.अश्विना du. 'two Aśvins', metaphor for sensory categories, five dhātu 'elements of the earth' 

agní1 m. ʻ fire ʼ. RV. Pa. aggi -- , aggini -- , gini -- m.; Pk. aggi -- , agiṇi -- , agaṇi -- m., Aś. agi -- , Gy. pal. ag ʻ fire, matches ʼ, agi also ʻ hell ʼ; eur. yag f. ʻ fire ʼ (y -- from f. article), Ḍ. ak, obl. agis f.; Wg. ã̄īˊ (Morgenstierne NTS xvii 226, perh. < agní -- with -- gn -- > *ṅg as dn > nd, see ánna -- ; but poss. < áṅgāra -- as in other Kaf. and Dard. lggs.); S. āgi, āgi f. ʻ fire ʼ, āgo m. ʻ goldsmith's furnace ʼ (ā and g point to borrowing from Rj. or G. areas); L. agg f., awāṇ. ag, obl. aggī; P. agg f., āg f. (← H.); WPah. all dialects agg f., Ku. āgu, āgo ( -- o to preserve orig. gender: -- i in agyūṇo ʻ to burn jungle for grazing, to provoke ʼ), N. āgo, OB. āgi, B. āg; Or. Bi. āgi, Mth. āgi, Bhoj. āgī, OAw. āgi, Aw. lakh. āgi, H. āg, āgī f. (agyānā ʻ to clean metal vessels by burning ʼ); OMarw. OG. āgi f., G. āgi f.; OM. āgi m. (Panse Jñān 213), M. Ko. āg f.; OSi. aga (replaced by ginna, stem gini -- ← Pa.).agnika -- ; agnikārya -- , agnidāha -- , agnidhāˊna -- , agnimantha -- , *agnirujā -- , agnírūpa -- , agniśikhāˊ -- , agniṣṭhá -- , *agnisthāna -- , agnyagārá -- ; kāgni -- , davāgni -- , mandāgni -- , *vajrāgni -- , vanāgni -- .Addenda: agní -- : WPah.kṭg. (kc.) āg f. (rarely m.) ʻ fire ʼ, Garh. āg f.(CDIAL 55)agniṣṭhá 65 agniṣṭhá m. ʻ fire -- pan ʼĀpŚr., °ṭhāˊ -- f. ʻ that corner of the Yūpa towards the fire ʼŚBr., °ṭhikā -- f. ʻ fire -- pan ʼ. [agní -- 1, stha -- ]Pa. aggiṭṭha -- n. (?) or °ṭhā -- f. (?) ʻ fireplace ʼ; Pk. aggiṭṭha -- ʻ being in the fire ʼ; Dm. aṅguṭí ʻ smoke -- hole ʼ; Phal. aṅgúṭ ʻ fireplace, chimney ʼ; S. āg̠īṭhīf. ʻ fireplace ʼ;  P. ãgīṭhā m. ʻ stove ʼ, °ṭhī f., gīṭṭhī f. ʻ small stove ʼ; WPah. bhal. ágṭhi f. ʻ hearth ʼ, sod. geṭhe; Ku. ageṭho ʻ portable fire -- vessel ʼ, N. ãgeṭhi; A. āṅgaṭhā ʻ burning coal ʼ; Or. ā̆ṅgaṭhā, aṅgeṭhā ʻ fire -- pan ʼ; Bi. ãgeṭhā, °ṭhī, (North of Ganges) ãgaiṭhā ʻ jeweller's fireplace ʼ; H. ãgīṭhā m. ʻ goldsmith's furnace ʼ, °ṭhī f., ãgeṭhī, °ṭī f. ʻ portable stove ʼ, G. ãgīṭhī, ãgeṭhī f., OM. āṁgīṭhā m. ʻ stove ʼ, M. āgṭhẽ, °ṭẽ n.; āgṭhī, ā̆gṭī, ā̆kṭī f. ʻ heap of kindled sticks ʼ; Ko. āgṭī, ʻ brazier ʼ. -- The nasal of the majority of mod. lggs. may be due to influence of áṅgāra -- or (with Morgenstierne NTS xii 155 for Dm. aṅguṭí) represent *angr̥ -- ṣṭha -- , cf. Pers. angišt ʻ charcoal ʼ (: ángāra -- , or perh. *aṅgriṣṭha -- < IE. *oṅgli -- in OPruss. anglis ʻ charcoal ʼ Pokorny IEW 779). Forms without nasal due to regular phonetic change as in WPah., or to a new compd. with agní -- 1 as in Sk., or to influence of agní -- and its descendants, as in S. with its ā fr. āgi. -- See also *agnisthāna -- .Addenda: agniṣṭhá -- : WPah.kṭg. géṭṭhɔ m. ʻ stone fireplace ʼ, kc. geṭṭho m. ʻ campfire ʼ, kṭg. géṭṭhi, kc. geṭṭhe f. ʻ fireplace, firepan ʼ, J. geṭhā m.; Garh. ageṭhī ʻ portable firepan ʼ.agnisthāna 66 *agnisthāna n. ʻ fireplace ʼ. [Cf. Pa. aggiṭṭhāna n. - agní -- 1, sthāˊna -- ]

Wg. ã̄ī˜te, gambīrī aṅatãdotdot;ř; Paš. eṅgatáĩ, Shum. ã̄than; -- perh. < *aṅgri -- sthānā -- , see agniṣṭhá -- ; -- less likely < *aṅgārasthāna -- .agnyagārá 67 agnyagārá m. ʻ a house for keeping the sacred fire ʼ ŚBr., agnyā° KātyŚr., *agniyā̆°. [agní -- 1, agāra -- ]
Pa. agyagāra -- , agyā° n. ʻ house in which fire is kept ʼ; G. agiyārī f. ʻ small fire -- temple ʼ, M. agyārī, agerī f. ʻ pit or house in which Fire -- worshippers keep their fire ʼ.

125 áṅgāra m. n. ʻ glowing charcoal ʼ RV., °aka -- lex. 2. *iṅgāra -- , iṅgāla -- m. Vāsav. com.
1. Pa. aṅgāra -- m. ʻ charcoal ʼ, Pk. aṁgāra -- , °aya -- , aṁgāla -- , °aya -- m., Gy. eur. angár ʻ charcoal ʼ, wel. vaṅār m. (v -- from m. article), germ. yangar (y -- from yag, s.v. agní -- 1); Ash. aṅāˊ ʻ fire ʼ, Kt. aṅǻ, Gmb. aṅāˊ, Pr. anéye, Dm. aṅgar (a < ā NTS xii 130), Tir. Chilis Gau. K. nār (n < ṅ -- , not ← Psht. nār ← Ar. AO xii 184), Paš. aṅgāˊr, Shum. ã̄r (← Paš. NOGaw 59), Gaw. Kal. Kho. aṅgāˊr, Bshk. äṅgāˊr, Tor. aṅā, Mai. agār, Phal. aṅgṓr, Sh. agāˊr, ha° m.; S. aṅaru m. ʻ charcoal ʼ (a < ā as in Dm.), L. aṅgār m., P. aṅgyār, °rā m., EP. ãgeār (y or e from MIA. aggi < agní -- 1?), WPah. bhid. aṅgāˊrõ n., pl. -- ã, Ku. aṅār (ḍaṅār id. X ḍājṇo < dahyátē), N. aṅār, A. āṅgār, eṅgār, B. āṅgār, āṅrā, Or. aṅgāra; Bi. ãgarwāh ʻ man who cuts sugar -- cane into lengths for the mill ʼ (= pakwāh); OMth. aṁgāra, Mth. ãgor, H. ãgār, °rā m., G. ãgār, °rɔ m., M. ãgār m., Si. an̆gura. -- Wg. ãdotdot;ř, ã̄īˊ ʻ fire ʼ (as opp. to aṅarīˊk ʻ charcoal ʼ, see aṅgāryāˊ-- ) poss.  < agní -- 1, Morgenstierne NTS xvii 226.2. Pa. iṅghāḷa -- ʻ glowing embers (?) ʼ, Pk. iṁgāra -- , iṁgāla, °aya -- ; K. yĕngur m. ʻ charcoal ʼ, yĕnguru m. ʻ charcoal -- burner ʼ; M. ĩgaḷ, ĩgḷā m., Ko. ĩgḷo.-- Deriv. M. ĩgḷā m. ʻ a kind of large ant ʼ, ĩgḷī f. ʻ a large black deadly scorpion ʼ.
aṅgāraka -- , aṅgāri -- , aṅgāryāˊ -- ; aṅgāradhānī -- , *aṅgāravarta -- , *aṅgārasthāna -- , *aṅgr̥ṣṭha -- .
Addenda: áṅgāra -- : Md. an̆guru ʻ charcoal ʼ.
aṅgāraka 126 aṅgāraka ʻ *red like embers ʼ, m. ʻ charcoal; name of various plants ʼ (aṅgārikā -- f. ʻ stalk of sugar -- cane, flower of Butea frondosa ʼ). 2. m. ʻ the planet Mars ʼ. [áṅgāra -- ]
1. Pa. aṅgāraka -- ʻ red like charcoal ʼ; S. aṅārī f. ʻ smut in wheat ʼ; WPah. bhal. aṅāˊri f. ʻ a plant with red flowers ʼ.
2. Pa. aṅgāraka -- m. ʻ Mars ʼ, Pk. aṁgāraya -- m.; S. aṅāro m. ʻ Tuesday ʼ.
127 aṅgāradhānī -- , °ikā -- f. ʻ portable stove ʼ lex. [áṅgāra -- , dhāˊna -- ]
Paš. aṅgarāˊn, aṅgaranīˊ ʻ fireplace ʼ.aṅgāravarta 128 *aṅgāravarta m. ʻ fire stone ʼ. [áṅgāra -- , *varta -- 3]
Ash. aṅalawaṭ (r -- r > l -- r).aṅgārasthāna 129 *aṅgārasthāna n. ʻ fireplace ʼ. [áṅgāra -- , sthāˊna -- ]
Dm. aṅgarthäĩ (perh. a Dm. cmpd.). -- See *agnisthāna -- .aṅgāri 130 aṅgāri f., aṅgāritā -- f. ʻ portable brazier ʼ lex. [áṅgāra -- ]
H. ãgārī f.
Addenda: aṅgāri -- : †*aṅgāriṣṭha -- .
130a †*aṅgāriṣṭha -- ʻ portable brazier ʼ. [aṅgāri -- , stha -- : cf. agniṣṭhá -- ]
WPah.kṭg. garṭhɔ m. ʻ charcoal ʼ; J. gārṭhā m. ʻ a small burning coal ʼ.
131 aṅgāryāˊ -- , *aṅgāriyā -- , f. ʻ heap of embers ʼ. [Cf. aṅgā- rīya -- ʻ fit for making charcoal ʼ, aṅgārikā -- f., angāritā -- f. ʻ portable fireplace ʼ lex.: áṅgāra -- ]
Wg. aṅarīˊk, aṅgríč ʻ charcoal ʼ; Paš. aṅgerík ʻ black charcoal ʼ, Shum. ãdotdot;gerík; Phal. aṅgerīˊ ʻ charcoal ʼ, aṅgerīˊṣi f. ʻ black charcoal ʼ; Ku. aṅāri ʻ sparks ʼ; G. ãgārī f. ʻ small hearth with embers in it ʼ.

 sūˊra m. ʻ sun ʼ RV. 2. sūˊrya -- m. 3. sūˊriya -- m. (metr.) RV. 4. sūrī -- f. ʻ a name of Kuntī as wife of the sun ʼ Pāṇ.vārtt. 5. saurīˊ -- (f. of saura -- ʻ relating to the sun ʼ MaitrUp.) f. ʻ wife of the sun ʼ W., ʻ a name of Tapatī daughter of the sun ʼ MBh. [svàr -- ]1. Pa. Pk. sūra -- m. ʻ sun ʼ. 2. Pa. surya -- m., Pk. sujja -- m., L.khet. suj; Si. sivi ʻ the sun's ray ʼ < *suye; -- with unexpl. -- i -- : S. sij̄u, siju m. ʻ sun ʼ, L. sijjh, (Ju.) sijh m., mult. sejj m.3. Pk. sūria -- m., Tir. sūˊri, Niṅg. surīˊ, Shum. súrī, Gaw. sūrīˊ, Kal.rumb. Kand. sūˊri, Sv. surya, Phal. sūri f.; Sh. (all dialects) sūri f. ʻ sun, sunshine ʼ; K. sṳ̄rĕ, sirī, siri m. ʻ sun ʼ, Si. (h)ira, st. °ri -- , °ru -- , °ra -- EGS 22, Md. iru.4. Paš. (all dialects) sur f. ʻ sun ʼ, Bshk. sīr f., Tor. sī f., Mai. swīr; -- Woṭ. sir m. (prob. despite gender: but Buddruss Woṭ 124 < sūˊriya -- ).5. Ash. sō, suo f. ʻ sun ʼ, Wg. sōi, s&omacrtodtod;, Kt. sū f., Dm. ser, Gmb. sā̤: NTS xv 250.(CDIAL 13574)

 índra m. ʻ the god Indra ʼ RV. Pa. inda -- m., Pk. iṁda -- m.; Kt. ī˜dr ʻ name of a god ʼ, Pr. indr, Kal. in, gen. indras; S. ĩḍra -- laṭhi f. ʻ rainbow ʼ; OMarw. ī˜da, Si. in̆du. indriyá -- , aindrá -- ; índragōpa -- , indrajālá -- , indradyōtya -- , indradhanúṣ -- , indradhvaja -- , indranīla -- , *indrāgāra -- , *indrēṣṭi -- ; *aparēndra -- , upēndra -- , gajēndra -- , *drumēndra -- , narēndra -- , phalēndrā -- , *phullēndra -- .Addenda: índra -- : WPah.poet. indra m. ʻ god of rain ʼ (← Sk.?).†indramaha -- . indrajālá m. ʻ Indra's net ʼ AV., ʻ jugglery, magic ʼ Kathās. [índra -- , jāˊla -- ]Pa. indajāla -- m. ʻ deception ʼ; Pk. iṁdajāla -- , °ayāla -- , iṁdiyāla -- n. ʻ sorcery ʼ; Si. iňdudäla ʻ jugglery ʼ. *indradyōtya ʻ lightning ʼ. [Cf. indratējas -- ʻ thunder- bolt ʼ BhP.: índra -- , dyōtya -- ]Dm. iṇḍṓči ʻ lightning ʼ, indṓči ʻ thunder ʼ; Kal. indṓčik ʻ lightning ʼ Morgenstierne NTS xii 155. indradhanúṣ n. ʻ rainbow ʼ AV. [índra -- , dhánuṣ -- ]Pa. indradhanu -- n., Pk. iṁdadhaṇu -- , iṁdahaṇu -- , Gy. of Lifland yinderdi Morgenstierne NTS ii 279, Kt. indrō̃, ĩdrō̃, idrótilde;, Wg. indrṳ̄ṅ, īdrəṅ, Bashg. indrōn, Dm. idraān, Kal. indrn/a, obl. indŕūna, Bshk. idrāˊn, Tor. inhān, Sh. (Lor.) nərōn, N. indreni (with r ← Sk.); <-> Phal. iždrāˊn, izrāˊṇ with unexpl. ž, zNOPhal 15. <->  Kho. drōnhānu: X drōn < drṓṇa -- or with BelvalkarVol 90 < *drōṇadhānuka -- .1579a †indramaha -- m. ʻ festival for Indra ʼ MBh. [índra -- , máhas2]WPah.kc. ino m. ʻ the month mid September to mid October ʼ? (cf. Kanauri indrŏmöṅ id. Him.I 11).*indrēṣṭi ʻ impulse from Indra ʼ. [índra -- , iṣṭí -- 1]Kt. indríc̣, (Kamdesh) indríṣṭ ʻ earthquake ʼ.INDH ʻ kindle ʼ: idhmávant -- , índha -- , indhana -- ; *indhastha -- ; sámiddha -- , sáminddhē.índha 1583 índha m. ʻ kindling ʼ ŚBr. [√indh]

*indhastha -- .  indhana n. ʻ lighting, kindling, fuel ʼ MBh. [√indh] Pa. indhana -- n. ʻ fuel ʼ, Pk. iṁdhaṇa -- n., P. innhaṇ m., B. indhan (← Sk.?), Aw. lakh. ī˜dhanu, H. ī˜dhan m., G. ĩdhaṇ, ĩdhṇũ n., (North Gujarat) e_dhṇã̄ n. pl. -- Kal. idhōn ʻ tripod to put over the fire ʼ semant. difficult, poss. < uddhāna -- 1. *indhanakuṭaka -- . *indhanakuṭaka ʻ fuel -- store ʼ [indhana -- , kuṭī -- ] H. ĩdhauṛā m. ʻ room for storing wood ʼ.  *indhastha ʻ fuel -- place ʼ. [índha -- , stha -- ]Wg. ;daté ʻ fire -- place ʼ or < idhmávant -- .(CDIAL 1572 to 1586)

.

Hero of Heroes, Agni! Thou art Indra, thou art Visnu of the Mighty Stride, adorable:

Thou, Brahmanaspati, the Brahman finding wealth: thou, O Sustainer, with thy wisdom tendest us.

"Over a quarter of the 1,208 hymns of the Rigveda mention Indra, making him the most referred to deity than any other. These hymns present a complex picture of Indra, but some aspects of Indra are oft repeated. Of these, the most common theme is where he as the god with thunderbolt kills the evil serpent Vritra that held back rains, and thus released rains and land nourishing rivers. For example, the Rigvedic hymn 1.32 dedicated to Indra reads:

इन्द्रस्य नु वीर्याणि प्र वोचं यानि चकार प्रथमानि वज्री । अहन्नहिमन्वपस्ततर्द प्र वक्षणा अभिनत्पर्वतानाम् ॥१।। अहन्नहिं पर्वते शिश्रियाणं त्वष्टास्मै वज्रं स्वर्यं ततक्ष । वाश्रा इव धेनवः स्यन्दमाना अञ्जः समुद्रमव जग्मुरापः ॥२।।
—Rigveda, 1.32.1–2

Let me tell you the manly deeds of Indra, which he first accomplished, bolt-weaponed,
He slew the serpent, opened up waters, cleft in twain the belly of mountains, ॥1।।
He slew the serpent on the mountain, with heavenly bolt made by Tvastar,

Like lowing cattle downward sped the waters, then flowed to the ocean. ॥2। (Hervey De Witt Griswold (1971). The Religion of the Ṛigveda. Motilal Banarsidass. p. 178.)...Indra is often presented as the twin brother of Agni (fire) – another major Vedic deity. Yet, he is also presented to be the same, states Max Muller, as in Rigvedic hymn 2.1.3, which states, "Thou Agni, art Indra, a bull among all beings; thou art the wide-ruling Vishnu, worthy of adoration. Thou art the Brahman, (...)." He is also part of one of many Vedic trinities as "Agni, Indra and Surya", representing the "creator-maintainer-destroyer" aspects of existence in Hindu thought." (Friedrich Max Müller (1897). Contributions to the Science of MythologyLongmans Green. p. 827, 828; Alain Daniélou (1991). The Myths and Gods of India: The Classic Work on Hindu Polytheism from the Princeton Bollingen SeriesInner Traditions. pp. 106–107.)
https://en.wikipedia.org/wiki/Indra

इन्द्र [p= 166,2] m. (for etym. as given by native authorities » Nir. x , 8 Sa1y. on RV. i , 3 , 4 Un2. ii , 28 ; according to BRD. fr. इन् = √इन्व् with suff. र preceded by inserted द् , meaning " to subdue , conquer " ; according to Muir , S. T. v , 119 , for सिन्द्र fr. √ स्यन्द् , " to drop " ; more probably from √ इन्द् , " to drop " q.v. , and connected with इन्दु above ) , the god of the atmosphere and sky the Indian Jupiter Pluvius or lord of rain (who in Vedic mythology reigns over the deities of the intermediate region or atmosphere ; he fights against and conquers with his thunder-bolt [वज्र] the demons of darkness , and is in general a symbol of generous heroism ; इन्द्र was not originally lord of the gods of the sky , but his deeds were most useful to mankind , and he was therefore addressed in prayers and hymns more than any other deity , and ultimately superseded the more lofty and spiritual वरुण ; in the later mythology इन्द्र is subordinated to the triad ब्रह्मन् , विष्णु , and शिव , but remained the chief of all other deities in the popular mind) RV. AV. S3Br. Mn. MBh. R. &c; (he is also regent of the east quarter , and considered one of the twelve आदित्यs) Mn. R. Sus3r. &c; in the वेदान्त he is identified with the supreme being.

इन्द्रः, पुं, (इन्दतोति।इदिपरमैश्वर्य्येतस्मात्रन्-प्रत्ययः।) देवराजः।सतुअदितिपुत्त्रः।पूर्ब्ब-दिक्पतिश्च।तस्यभार्य्याशची।पुत्त्राःजयन्तः१ऋषभः२मीढ्वांश्च३।अस्त्रंवज्रं।वाहनंऐरा-वतः।पुरीअमरावती।वनंनन्दनं।तत्पर्य्यायः।मरुत्वान्२मघवा३विडोजाः४पाकशासनः५वृद्धश्रवाः६सुनासीरः७पुरुहूतः८पुरन्दरः९जिष्णुः१०लेखर्षमः११शक्रः१२शतमन्युः१३दिवस्पतिः१४सुत्रामा१५गोत्रभित्१६वज्री१७वासवः१८वृत्रहा१९वृषा२०वास्तोस्पतिः२१सुरपतिः२२बलारातिः२३शचीपतिः२४जम्भ-भेदी२५हरिहयः२६स्वाराट्२७नमुचि-सूदनः२८संक्रन्दनः२९दुश्च्यवनः३०तुराषाट्

३१मेघवाहनः३२आखण्डलः३३सहस्राक्षः३४ऋभुक्षा३५।इत्यमरः।महेन्द्रः३६कौशिकः३७पूतक्रतुः३८विश्वम्भरः३९हरिः४०पुरदंशा४१शतधृतिः४२पृतनाषाड्४३अहिद्विषः४४।इतिजटाधरः॥वज्रपाणिः४५देवराजः४६पर्व्वतारिः४७पर्य्यण्यः४८देवताधिपः४९नाकनाथः५०पूर्ब्बदिक्पतिः५१पुलोमारिः५२अर्हः५३प्राचीनवर्हिः५४तपस्तक्षः५५।इतिशब्दरत्नावली।तस्यचतुर्द्दशनामभेदायथा।“इन्द्रश्चविश्वभुग्ज्ञेयोविपश्चित्तदन्तरम्।विभुःप्रभुःशिखिश्चैवतथैबचमनोजवः।तेजस्वीसाम्प्रतस्त्विन्द्रोवलिर्भाव्यस्त्वनन्तरम्॥अद्भुतस्त्रिदिवश्चैवदशमस्त्विन्द्रउच्यते।सुशान्तिश्चसुकीर्त्तिश्चऋतधातादिवस्पतिः।इतिभूताभविष्याश्चइन्द्राज्ञेयाश्चतुर्द्दश” ॥इतिदेवीपुराणेकालव्यवस्थध्यायः।विष्कुम्भादिसप्तविंशतियोगान्तर्गतषड्विंशयोगः।तत्रजातफलम्।“प्रतापशीलोबलवान्गुणज्ञःश्लेष्माधिकःश्रीकमलाभ्यपेतः।किलेन्द्रयोगोयदिजन्मकालेमहेन्द्रतुल्यःपुरुषःप्रसन्नः” ।इतिकोष्ठीप्रदीपः॥ * ॥अन्तरात्माआदित्य-

विशेषः।इतिमेदिनी (यथा, हरिवंशे।“तत्रशक्रश्चविष्णुश्चजज्ञातेपुनरेवह” ।)कुटजवृक्षः।रात्रिः।इतिधरणी॥उपह्वीप-

विशेषः।इतिशब्दमाला॥परमेश्वरः।इतिवेदान्तः॥ (“इन्द्रोमायाभिःपुरुरूपईयते”इतिश्रुतिः॥इन्द्रियं।श्रेष्ठः।प्रथमः।यथा,नरेन्द्रोराजा।पक्षीन्द्रोगरुडः।इत्यादिः।)

https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

इन्द्र पु०इदि--रन्।१परमेश्वरे।“इन्द्रोमायाभिःपुरुरूप ईयते” श्रुतिः।द्वादाशादित्यमध्ये२आदित्यभेदे।तेचअदित्यांकश्यपेनोत्पादिताः“धाताऽर्य्यमाचमित्रश्चवरुणोऽंशुर्भगस्तथा।इन्द्रोविवस्वान्पूषाचपर्ज्जन्योदशमःस्मृतः।ततस्त्वष्टाततोविष्णुरजघन्योजघन्यजः”विष्णुध०।भा०आ०६५अ०तुइन्द्रस्थानेशक्रनाम्नापठितःयथा“अदित्यांद्वादशादित्याःसम्भूताभुवनेश्वराः।येराजन्नामतस्तांस्तेकीर्त्तयिष्यामिभारत! ।धाता-मित्रोऽर्यभाशक्रोवरुणस्त्वंशुरेवच।भगोविवस्वान्

पूषाचसवितादशमःस्मृतः।एकादशस्तथात्वष्टाद्वादशोविष्णुरुच्यते।जघन्यजस्तुसर्व्वेषामादित्यानांगुणा-धिकः” ।कल्पभेदान्नामभेदइतिनविरोधः।३कुटजवृक्षे४रात्रौचधरणिः५भारतवर्षोप-द्वीपभेदेशब्दमा०इन्द्रदेवताके६ज्येष्टानक्षत्रेविष्कम्भा-दिषुयोगेषु७षड्विंशेयोगेछन्दोग्रन्थप्रसिद्धेषण्मात्राप्रस्तावेआद्यन्तगुरुद्वयेनलघुद्वयमध्येनयुते८तुर्थेभेदे।९देवराजेसचमन्वन्तरभेदात्चतुर्द्दशविधःयथा“मन्वन्तरंमनुर्देवामनुपुत्राःसुरेश्वरः।ऋषयोऽंशा-वतारश्चहरेःषड्विधमुच्यते” भाग०८स्क०१अ०।इत्थंमन्व-न्तरेषड़्बिधकीर्त्तनीयमुपक्रम्यमन्वन्तरभेदेनतत्तन्नामानिकथितानिअतोनामभेदात्तस्यचतुर्द्दशसंख्यातत्रोक्तायथा“तुषितानामतेदेवाःआसन्स्वायम्भुवेऽन्तरे।मरीचि-मिश्राऋषयोयज्ञःसुरगणेश्वरः” भाग०८स्क०१अ०।१मन्व-न्तरेयज्ञः।“स्वारोचिषोद्वितीयस्तुमनुरग्नेःसुतोऽभवत्”इत्युपक्रम्य“तत्रेन्द्रोरोचनस्त्वासीत्देवाश्चतुषितादयः”तत्रैव।२म०रोचनः।“तृतीयउत्तमोनामप्रियव्रतसुतोमनुः” इत्युपक्रम्य“सत्यावेदश्रुताभद्राःदेबाइन्द्रस्तुसत्यजित्” तत्रैव।३म०सत्यजित्” “चतुर्थ-उत्तमभ्रातामनुर्नाम्नाचतामसः” इत्यु०“सत्यका

हरयोवीरादेवास्त्रिशिखईश्वरः” तत्रैव।‘ईश्वरैन्द्रः’श्रीधरः।४म०त्रिशिखः।“पञ्चमोरैवतोनाममनुस्तामससोदरः” इत्यु०“विभुरिन्द्रःशुरगणाराजन्!भूतरयादयः” तत्रैव५अ०।५म०विभुर्नाम।“षष्ठश्चचक्षुषःपुत्रश्चाक्षुषोनामवैमनुः” इत्यु०“इन्द्रोमन्त्रद्रुमस्तत्रदेवाआस्यादयोमताः” तत्रैव५अ०।६म०मन्त्रद्रुमः।“मनुर्विवस्वतःपुत्रःश्राद्धदेवइतिश्रुतः।सप्तमोवर्त्तमानोऽयम्” इत्युप०“आदित्यावसवोरुद्राविश्वेदेवामरुद्गणाः।अश्विनावृभवोराजन्निन्द्रस्तेषांपुरन्दरः” ।तत्रैवअ०१३।७म०पुरन्दरः।“अष्टमेऽन्तरआयातेसावर्ण्णिर्भवितामनुः” इत्यु०“तत्रदेवाःसुतपसोविरजाअमृतप्रजाः।तेषांविरोचनसुतोबलिरिन्द्रोभविष्यति” १३अ०।८म०वलिः।“नवमोदक्षसावर्ण्णिर्मनुर्व-रुणसम्भवः” इत्युप०“परोमरीचिगर्भाद्यादेवाइन्द्रः

श्रुतःस्मृतः” तत्रैव१३अ०।९म०श्रुतः।“दशमोब्रह्मसावर्ण्णिरुपश्लोकसुतोमहान्” इत्यु०“सुवासनविरु-द्धाद्यादेवाःशग्भुःसुरेश्वरः” १३अ०।१०म०शम्भुः।“मनुर्वैधर्मसावर्ण्णिरेकादशमआत्मवान्” इत्यु०“विह-ङ्गमाःकामगमानिर्वाणरुचयःसुराः।इन्द्रस्तुवैधृतस्तेषामृषयश्चारुणादयः” १३अ०।११म०वैधृतः।“भवितारुद्रसा-वर्ण्णिर्नामद्वादशमीमनुः” इत्यु०“ऋतधामाचदेवेशोदेवाश्चहरितादयः” १३अ०।११म०ऋतधामा।“मनुस्त्र-योदशोभव्योवेदसावर्ण्णिरात्मवान्” इत्युप०“देवाःसुकर्म्मसूत्रामसंज्ञाइन्द्रोदिवस्पतिः” १३अ०।१३म०दिवस्पतिः।“मनुर्वाइन्द्रसावर्णिश्चतुर्दशमएष्यति” इत्यु०“पवित्राश्चाक्षुषादेवाःशुचिरिन्द्रोभविष्यति” १३अ०।१४म०शुचिः।पुराणन्तरादौनामान्तराणिचतुर्दशकल्पभेदादविरुद्धानि।विस्तरभयात्तनिनीक्तानि।एवंशक्र-नामसंख्यासाम्यात्१०चतुर्दशसंख्यायाम्।सचशचीपतिःवृत्रादिहन्ता, पूर्वदिग्पालः, वृष्टिदायकः,अमरेशःमेषवृषणःतस्यपुत्रोजयन्तः, वनंनन्दनंहयौच्चैःश्रवाःगजऐरावतः, पुरीअमरावतीनेत्राणिसहस्रंवज्रमस्त्रम्हरीवाहः।विवृतिस्तत्तच्छब्देदृश्या।तस्यानेकविधानिकार्य्याणिपुराणादौवर्णितानिविस्त-रभयान्नोक्तानिमनुकालपर्य्यन्तंतस्याधिकारकालस्तत्-समाप्तौतस्यप्रजापतेःसकाशात्ब्रह्मविद्याप्राप्तेरग्रेवक्ष्यमाणत्वात्कैवल्यप्राप्तिः“योयोदेवानांप्रत्यबुध्यत”इत्यादिश्रुतेः।इत्येतत्नानाशास्त्रश्रुतीतिहासेषुप्रसिद्धम्स्वकालमध्येऽपित्वष्टृपुत्रविश्वरूपबधजनितब्रह्महत्या-स्कन्दनभियातस्यस्वपदच्युतिः।तत्पापस्यविभज्यान्यत्रसंक्रामसेपुनःस्वपदप्राप्तिः।असुरादिभिरपिबलाधिक्य-वशात्तंयुधिनिर्जित्यकियत्कालपर्य्यन्तंतत्पदेऽधिकारिताप्राप्ताइत्यपिपुराणादौप्रसिद्धम्“जित्वाचसकलान्देवान्इन्द्रोऽभून्महिषासुरः” देवीमा०“शताश्वमेधकरणेअन्यस्यापिइन्द्रत्वप्राप्तियोग्यतेत्यत्रइन्द्रलोकशब्देप्रमाणंवक्ष्यते।इन्दश्चप्रजापतिसकाशात्एकशतवर्षंब्रह्मचर्य्याचरणेनब्रह्मविद्यांप्रापेतिछा०उ०वर्ण्णितंयथा“यदाहुरेकशतंहैकंवर्षाणिमघवान्प्रजापतौब्रह्मचर्य्यमुवासतस्मै

हीवाच।मघवन्! मर्त्यंवाइदंशरीरमात्तंमृत्थुनातदस्यामृतस्याशरीरस्यात्मनोऽधिष्ठानमात्मावैसशरीरःप्रिया-प्रियाभ्यामात्तोनवैसशरीरस्यसतःप्रियाप्रिययोरपह-तिरस्त्यशरीरंवावसन्तंनप्रियाप्रियेस्पृशतःइत्यादि।“मघवन्! मर्त्थंवैमरणधर्म्मिशरीरम्।यन्मन्यसेऽक्ष्या-धारादिलक्षणःसम्प्रसादलक्षणआत्मामयोक्तोविनाश-मेवापीतोभवतीति।शृणुतत्रकारणम्।यदिदंशरीरंवैपश्यसितदेतन्मर्त्यंविनाशि।तच्चात्तंमृत्युनाग्रस्तंसन्तत-मेव।कदाचिदेवम्रियतइतिमर्त्यमित्युक्तेनतथा

सन्त्रासोभवतियथाग्रस्तमेवसदाव्याप्तमेवमृत्युने-त्थुक्तेइतिवैरग्यार्थंविशेषइत्युच्यतेआत्तंमृत्यु-नेति।कथंनामदेहाभिमानतोविरक्तःसन्निवर्त्ततइति।शरीरमित्यत्रसहेन्द्रियमनोभिरुच्यते।तच्छ-रीरमस्यसम्प्रसादस्यत्रिस्थानतयागम्यमानस्यामृतस्यमरणादिदेहेन्द्रियमनोधर्म्मवर्जितस्येत्येतत्।अमृतस्येत्य-वेनैवाशरीरत्वेसिद्धेपुनरशरीरस्येतिवचनंवाय्वादिवत्सा-वयवत्वमूर्त्तिमत्त्वेमाभूतामिति।आत्मनोभोगाधिष्ठानम्आत्मनोवासतईक्षितुस्तेजोऽबन्नादिक्रमेणोत्पन्नमधि-

ष्ठानम्जीवरूपेणप्रविष्यसदेवाधितिष्ठत्यस्मिन्नितिवाघि-ष्ठानम्।यस्येदमीदृशंनित्यमेवमृत्युग्रस्तंधर्म्माधर्म्म-जनितत्वात्प्रियाप्रियवदधिष्ठानंतदधिष्ठितस्तद्बान्सशरीरोभवति।अशरीरस्वभावस्यात्मनस्तदेबाऽहंशरीरंशरीरमेव

चाहमित्यविवेकादात्मभावःसशरीरत्वम्।अतएवसशरीरःसन्नात्तोग्रस्तःप्रियाप्रियाभ्याम्।प्रसिद्धमेतत्तस्यचनवैसशरीरस्यसतःप्रियाप्रिययोर्बाह्यविषयसंयीग-वियोगयोर्निमित्तयोर्बाह्यसंयोगवियोगौममेतिमन्यमा-नस्यापहतिर्व्विनाशउच्छेदःसन्ततिरूपयोर्नास्तीति।तंपुनर्देहाभिमानादशरीरस्वरूपविज्ञानेननिर्वर्त्तितविवेक-ज्ञानमशरीरंसन्तंप्रियाऽप्रियेनस्पृशतः।स्पृशिःप्रत्येकंसम्बध्यतेप्रियंनस्पृशत्यप्रियंनस्पृशतीतिवाक्यद्वयंभवति।नम्लेच्छाशुच्यधार्म्मिकैःसहसम्भा-षेतेतियद्वत्।धर्म्माधर्म्मकार्य्येहिताहिते, यतोऽ-शरीरताएतत्स्वरूपमिति।तत्रधर्म्माधर्म्मयोरसम्भवात्त-त्कार्य्यभावोदूरतएवेत्यतोनप्रियाप्रियेस्पृशतः।ननुयदिप्रियमप्यशरीरंनस्पृशतीतियन्मघवतोक्तंसुषुप्तस्यविनाशमेवापीतोभवतीतितदेवेहाप्यापन्नम्।नैषदोषोधर्म्माधर्म्मकार्य्ययोःशरीरसम्बन्धिनोःप्रिया-प्रिययोःप्रतिषेधस्यविवक्षितत्वात्“अशरीरंनप्रिया-

प्रियेस्पृशतः” इत्यादिश्रुत्या।आगमापायिनोर्हिस्पर्श-शब्दोदृष्टोयथाशीतस्पर्शउष्णस्पर्शइति।नत्वग्ने-रुष्णप्रकाशयोःस्वभावभूतयोरग्निनास्पर्शएवभवति।तथाग्नेःसवितुर्वोष्णप्रकाशवत्स्वरूपभूतस्यनित्यस्यप्रियस्यापिनेहप्रतिषेधो“विज्ञानमानन्दम्” “आनन्दोब्रह्मेति”श्रुतिभ्यःइहापि“भूमैवसुखम्इत्युक्तत्वात्” भा०।इत्यु-पक्रम्यबहूपदेशःकृतः।प्रपञ्चस्तत्रदृश्यः।इन्द्रश्चदेवानांमध्येऽतिशयेनब्रह्मवित्तमःतथाहि।केनोपनिषदिअसुरविजयेदेवानांमहिमाभिमानेजातेतदभिमानापनोदनार्थंयक्षभूतेनाविर्भूतेनपरब्रह्मणाअग्निवाष्वोरभिमाननिरसनेतयीर्निवृत्तौदृढ़भक्तिमिन्द्रंप्रत्येवहैमवत्युपदेशेनतस्यातिशयमहिमासूचितःततोदिग्मात्रंतद्भाष्यञ्चदर्श्यते।“ब्रह्महदेवेभ्योविजिग्येतस्यहब्रह्मणोविजयेदेवाअमहीयम्ततऐक्षन्तास्माकमेवायंविजयोऽस्माकमेवायंमहिमेतितद्धैषांविजज्ञौतेभ्योहप्रादुर्बभूवतन्नव्यजानन्तकिमिदंयक्षमिति।तेऽग्निमब्रुवन्जातवेदः! एतद्विजानीहिकिमेतद्यक्षमितितथेतितदभ्यद्रवत्तमभ्यवदत्कोऽसीतिअग्निर्व्वाऽहमस्मीत्यब्र-वीज्जातवेदावाअहमस्मीति।तस्मिंस्त्वयिकिंवीर्य्य-मित्यपीदंसर्व्वंदहेयंयदिदंपृथिव्यामिति।तस्मैतृणंनिदधावेतद्दहेतितदुपप्रेयायसर्व्वजवेनतन्नशशाकदग्धुंसततएवनिववृतेनैतदशकंविज्ञातुंयदेतद्यक्षमिति”के०उ०।एवंवायोरप्यभिमाननिरसनमुपवर्ण्य“अथेन्द्रमब्रुवन्मघवन्नेतद्विजानीहिकिमेतद्यक्षमितितथेतितदभ्यद्रवत्तत्तस्मात्तिरोदधे।सतस्मिन्नेवाकाशेस्त्रियमाज-गामबहुशोभमानामुमांहैववतींतांहोवाचकिमेतद्यक्ष-मिति।साब्रह्मेतिहोवाचब्रह्मणोवाएतद्विजयेमहीयध्वमितिततोहैवविदाञ्चकारब्रह्मेति।यस्माद्वाएतेदेवाअतितरामिवान्यान्देवान्यदग्निर्वायुरिन्द्रस्तेह्येनन्नेदिष्ठंपस्पर्शुस्तेह्येनत्प्रथमोविदाञ्चकारब्रह्मेतितस्माद्वाइन्द्रोऽतितरामिवान्यान्सह्येनन्नेदिष्ठंपस्पर्शसह्येनत्प्रथमोविदाञ्चकारब्रह्मेति” के०उ०।“तथेन्द्र-मब्रुवन्मघवन्नेतद्विजानीहिइत्यादिपूर्व्ववदिन्द्रःपरमेश्वरो-मघवान्बलवत्त्वात्तथेनितदभ्यद्रवत्तस्मादिन्द्रादात्मसमीपग-तात्तद्ब्रह्मतिरोदघेतिरोभूतमिन्द्रत्वाभिमानोऽतितरांनिराकर्त्तव्यइत्यतःसंवादमात्रमपिनादात्ब्रह्मेन्द्राय।तद्यत्रयस्मिन्नाकाशेआकाशप्रदेशेआत्मानंदर्शयित्वातिरो-मूतमिन्द्रश्चब्रह्मणस्तिरोधानकालेयस्मिन्नाकाशेआसीत्सइन्द्रस्तस्मिन्नेवाकाशेतस्थौ।किंतद्यक्षभितिध्या-यन्ननिववृतेऽग्न्यादिवत्तस्येतियक्षेभक्तिंबुद्धाविद्याउमारूपिणीप्रादुर्भूतास्त्रीरूपा।सइन्द्र-स्तामुमांसर्वेषांहिशोभमानानांशोमनतमांविद्यांतदाबहुशोभमानेतिविशेषणमुपपन्नम्भवति।हैववतीहेमकृताभरणवतीमिवबहुशोभामानामित्यर्थः।अथवाउमैवहिमवतोदुहिताहैमवतीनित्यमेवसर्व्वज्ञेनईश्वरेणसावर्त्ततइतिज्ञातुंसमर्थाइतिकृत्वातामुपजगामइन्द्रस्तांहउमांकिलोवाचपप्रच्छब्रूहिकिमेतद्दर्शयित्वातिरोभूतंयक्षमिति।साब्रह्मेतिहोवाचहकिलब्रह्मणईश्वरस्यैवविजयेईश्वरे-णैवजिताअसुरायूयंतत्रनिमित्तमात्रंतस्यैवविजयेयूयंमहीयध्वंमहिमानंप्राप्नुथ।एतदितिक्रियाविशेषणार्थम्।मिथ्यामिमानश्चयुष्माकमेवमहिमेति।ततस्तस्मादुमावाक्याद्धएवविदाञ्चकारव्रक्तेतीन्द्रोऽवधारणात्ततोहैवेतिनस्वातन्त्र्येण।यस्मादग्नि-वाय्विन्द्राएतेदेवाब्रह्मणःसंवाददर्शनादिनासमीपमुपगतास्तस्मादैश्वर्य्यगुणैरतितरामिवशक्तिगुणादि-भिर्महाभ्याग्यैरन्यान्देवानतितरामतिशयेनशेरतेइवैतेदेवाः।इवशब्दोऽनर्थकोऽवधारणार्थोवा।यदग्निर्वा-युरिन्द्रस्तेहिदेवायस्मादेतद्ब्रह्मनेदिष्ठमन्तिकंसमीपं

प्रियतमंपस्पर्शुःस्पृष्टवन्तोयथोक्तैर्ब्रह्मणःसंवादादि-प्रकारैस्तेहियस्माच्चहेतोरेनद्ब्रह्मप्रथमःप्रथमाःप्रधानाःसन्तइत्येतद्विदाञ्चकारविदाञ्चक्रुरित्येतद्ब्र-ह्मेति।यस्मादग्निवायूअपीन्द्रवाक्यादेवविदाञ्चक्रतुःइन्द्रेणह्युमावाक्यात्प्रथमंश्रुतंब्रह्मेत्यतस्तस्माद्वैइन्द्रो-ऽतितरामतिशयेनशेतेइवान्यान्देवान्, सह्येतन्नेदिष्ठंपस्पर्शयस्मात्सह्येनत्प्रथमोविदाञ्चकारब्रह्मेति” भा०११अन्तरात्मनि“इन्दियमिन्द्रलिङ्गमित्यादि” पा०१२ऐश्वर्य्यान्वितेत्रि०।भावेरन्।१३ऐश्वर्य्ये।१४इन्द्रवारुण्यांस्त्रीटाप्।राजनि०।“इन्द्रायेन्दो! पवस्वते”ऋ०९, ६४, २२।“तदिन्द्रसन्दिष्टमुपेन्द्र! यद्वचः” माघः! ।“हरीइन्द्रस्य” निरु०।१५नृपमात्रे“महीमहेन्द्रस्तमवेक्ष्यसक्षणम्” नैष०।“राष्ट्रस्यैतत्कृत्यतमंराज्ञांचैवाभिषेचनम्।अनिन्द्रमबलंराष्ट्रंदस्यवोऽभिभवन्त्युत” भा०शा०६७अ०“देवताद्वन्द्वेउत्तरपदस्थस्यनेन्द्रस्यपरस्यनवृद्धिःआग्ने-न्द्रम्कर्मसि०कौ०लिङ्गाद्यर्थेघ।इन्द्रियम्।इन्द्रियशब्देविवृतिः।इन्द्रोजीविकास्यदेपपथा०कन्तस्यलुप्।इन्द्रस्तन्मूर्त्तिजीविकावतिलुपिव्यक्तिवचन-त्वात्पु०।इन्द्रोदेवताऽस्यअण्।इन्द्रदेवताकेहविरादौ“ऐन्द्रंदध्यमावस्यायाम्” श्रुतिः।स्त्रियांङीप्।“ऐन्द्र्यागार्हपत्यमुपतिष्ठते” श्रुतिः।“ऐन्द्रीतमसुरेश्वरम्”

देवीमा०ऐन्द्रीदिक्“उपमितसमासेउत्तरपददस्थःश्रेष्ठंत्वद्योतकःमनुजेन्द्रःवारणेन्द्रइत्यादि।

https://sa.wikisource.org/wiki/वाचस्पत्यम्

Itihāsa of Maruts in Rigveda, gold, shining like kindled fires, नृतुः nṛtuḥ 'dancer'

February 2, 2017, 4:39 am

≫ Next: Itihāsa of Mitrotsavam, Uttarāyaṇa day, samrājā 'sovereign' Mitrā-Varuṇau from Vedic times

≪ Previous: Itihāsa of Agni, Indra, Surya in Rigveda to process Soma, metal in pyrites

$

0

0

Mirror: inyurl.com/hcqfl2q

Maruts are adored in 514 rica-s in Rigveda. Maruts are the shine of the kindled fires,metaphors of storm divinities engaged in the process of producing golden weapons like thunderbolts. Maruts are metaphors of 'dancing' fires in Soma Yāga.

Maruts. Linteau. Provenance: Cambodge, province de Kompong Thom, Sambor Prei Kuk S7. Style de Sambor Prei Kuk. 1ère moitié du 7ème siècle.Détail montrant le bord du linteau et un Marut, dieu de la tempête et du vent. Musée Guimet, Paris.

See: http://swamiindology.blogspot.in/2015/04/more-about-bharatanatya-in-vedas.html
http://swamiindology.blogspot.in/2015/04/dance-in-vedas.html
Rudra, in a dance pose. Maruts, Rudra.
http://earthbeforeflood.com/maruts_rudras.html

नृतु m. (nom. /ऊस्) a dancer , an actor RV. &c

RV8.20.22 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the mortal (who worships you) attains your brotherhood; speak favourably to us, for your affinity is ever (made known) at the regulated (sacrifice).
[quote]'In Hinduism, the Marutas (/məˈrʊts/; Sanskrit: मरुत), also known as the Marutagana and sometimes identified with Rudras, are storm deities and sons of Rudra and Prisni and attendants of Indra. The number of Marutas varies from 27 to sixty (three times sixty in RV 8.96.8). They are very violent and aggressive, described as armed with golden weapons i.e. lightning and thunderbolts, as having iron teeth and roaring like lions, as residing in the north, as riding in golden chariots drawn by ruddy horses.

Hymn 66 of Mandala VI of the Rig Veda is an eloquent account of how a natural phenomenon of a rain-storm metamorphose into storm deities.

In the Vedic mythology, the Marutas, a troop of young warriors, are Indra's companions. According to French comparative mythologist Georges Dumézil, they are cognate to the Einherjar and the Wild hunt.

According to the Rig Veda, the ancient collection of sacred hymns, they wore golden helmets and breastplates, and used their axes to split the clouds so that rain could fall. They were widely regarded as clouds, capable to shaking mountains and destroying forests.

According to later tradition, such as Puranas, the Marutas were born from the broken womb of the goddess Diti, after Indra hurled a thunderbolt at her to prevent her from giving birth to too powerful a son. The goddess had intended to remain pregnant for a century before giving birth to a son who would threaten Indra.'[unquote]
https://en.wikipedia.org/wiki/Maruts

मारुति [p= 812,1]m. (fr. मरुत् or मारुत) patr. of द्युतान RAnukr.; of भीम MBh; of हनुमत् Ka1v.

मरुत् [p= 790,2] m. pl. (prob. the " flashing or shining ones " ; cf. मरीचि and Gk. Î¼Î±ÏÎ¼Î±Î¯ÏÏ‰) the storm-gods (इन्द्र's companions and sometimes e.g. Ragh. xii , 101 = देवाः , the gods or deities in general ; said in the वेद to be the sons of रुद्र and पृश्नि q.v. , or the children of heaven or of ocean ; and described as armed with golden weapons i.e. lightnings and thunderbolts , as having iron teeth and roaring like lions , as residing in the north , as riding in golden cars drawn by ruddy horses sometimes called पृषतीः q.v. ; they are reckoned in Naigh. v , 5 among the gods of the middle sphere , and in RV. viii , 96 , 8 are held to be three times sixty in number ; in the later literature they are the children of दिति , either seven or seven times seven in number , and are sometimes said to be led by मातरिश्वन्) RV. &c; the god of the wind (father of हनुमत् and regent of the north-west quarter of the sky) Kir. Ra1jat. (cf. comp.); = ऋत्विज् Naigh. iii , 18; gold ib. i , 2

RV 6.66

6.066.01 May the like-formed, benevolent, all-pervading, all humiliating troop (of the Maruts) be promptly with the prudent man; the troop that ever cherishes all that among mortals is designed to yield (them) advantage; and (at whose wil) Pr.s'ni gives milk from (her) bright udder once (in the year). [That ever cherishes: marttes.u anyad dohase pi_pa_ya = tad ru_pam (maruta_m), martyaloke anyad os.adhi vanaspatya_dikam ka_ma_n dogdhum a_ya_yagoti, that form of the Maruts cause one or other thing in the world, herbaceous plants, forest trees, and the like, of flourish, so as to milk or yield wht is desired; Pr.s'ni: implies the firmament, which, by the influence of the winds, sends down its milk, i.e. rain, once, i.e. at the rainy season].
6.066.02 Unsoiled by dust the golden chariots of those Maruts, who are shining like kindled fires, enlarging themselves (at will) twofold and threefold, and (charged) with riches and virile energies, are manifest.
6.066.03 They (who are) the sons of the showerer Rudra, whom the nursing (firmamen is able) to sustain, and of whom, the mighty ones, it is known that the great Pr.s'ni has received the germ for the benefit (of man).
6.066.04 They who approach not to men any conveyance, being already in their hearts, purifying their defects; when brilliant they supply their milk (the rain) for the gratification (of their worshippers); they are watering the earth (manifesting their collective); from with splendour. [Being already in their hearts: the Maruts are regarded as identical wit the Pra_n.a_h, vital airs].
6.066.05 Approaching nigh to whom, and repeating the mighty name of the Maruts, (the worshipper is able) quickly to obtain (his wishes); the liberal donor pacifies the angry Maruts, who are otherwise in their might the resistless plunderers (of their wealth). [He pacifies those na ye stauna_ aya_so mahna_ nu cid, who now are thieves going with greatness verily ever].
6.066.06 THose fierce and powerfully arrayed (Maruts) unite by their strength the two beautiful (regions) heaven and earth; in them, the self-radiant, heaven and earth abide; the obstruction (of light) dwells not in those mighty ones. [Unite by their strength: by the rain, which may be said to form a bond of union between heaven and earth].
6.066.07 May your chariot, Maruts, be devoid of wickedness; that which (the worshipper) impels, and which without driver, without horses, without provender, without traces, scattering water and accomplishing (desires), traverses heaven and earth and the paths (of the firmament).
6.066.08 There is no propeller, no obstructer, of him, whom, Maruts, you protect in battle; he whom (you prosper) with sons, grandsons, cattle, and water, is in war the despoiler of the herds of his ardent (foes). [Despoiler of the herds: sa vrajam darta_ pa_rye adha dyoh = sa gava_m san:gham da_rayita_ san:gra_me dyoh; dyoh = vijigis.or va_ s'atroh, of one desirous to overcome, or an enemy].
6.066.09 Offer to the loud-sounding, quick-moving, self-invigorating company of the Maruts, excellent (sacrificial) food; (to them) who overcome strength by strength; the earth trembles, Agni, at the adorable (Maruts).
6.066.10 The Maruts are resplendent as if iluminators of the sacrifice, (bright) as he flames of Agni; entitled are they to donation, and like heroes making (adversaries) tremble; brilliant are they from birth, and invincible.
6.066.11 I worship with oblations that exalted company of the Maruts, the progeny of Rudra, armed with shining lances; the pure and earnest praises of the devout (adorer) are emulous in the invigoration (of the Maruts), as the clouds (vie in the emission of the rain). [The pure and earnest praises: divah s'ardha_ya s'ucayo manis.a_ girayo na_pa ugra_ aspr.dhran = of heaven of the strength pure praises mountains like waters fierce have vied; divah = stotuh, of the praiser or worshipper; s'ardha_ya = ma_ruta_ya, for the strength of the Maruts; giri = megha, a cloud].

मरुत्तः, पुं, (मरुदस्त्यस्येति । मरुत् + “तप् पर्व्वमरुद्भ्याम् ।” ५ । २ । १२२ । इत्यत्र काशि-कोक्त्या तप् ।) चन्द्रवंशीयराजविशेषः । स चअवीक्षिद्राजपुत्त्रः । यथा --क्रोष्टुकिरुवाच ।“अवीक्षितस्य नृपतेर्मरुत्तस्य महात्मनः ।श्रोतुमिच्छामि चरितं श्रूयते सोऽतिचेष्टितः ॥चक्रवर्त्ती महाभागः शूरः क्षान्तो महामतिः ।धर्म्मविद्धर्म्मकृच्चैव सम्यक् पालयिता भुवः ॥मार्कण्डेय उवाच स पित्रा समनुज्ञातो राज्यं प्राप्य पितामहात् ।धर्म्मतः पालयामास प्रजाः पुत्त्रानिवौरसान् ॥इयाज सुमहायज्ञान् यथावत् प्राज्यदक्षिणान् ।ऋत्विक्पुरोहितादेशादनिर्विण्णो महीपतिः ॥तस्याप्रतिहतं चक्रमासीद्द्वीपेषु सप्तसु ।गतयश्चाप्यविच्छिन्नाः स्वःपातालजलादिषु ॥”इति मार्कण्डेयपुराणे १०३ अध्यायः ॥(यदुवंशीयः करन्धमपुत्त्रः । यथा, श्रीमद्भाग-वते । ९ । २३ । १७ ।https://sa.wikisource.org/wiki/शब्दकल्पद्रु

मःमरुत् पु० मृ उति । १ वायौ अमरः २ मरुवके भावप्र० ३ देवे ४ ग्रन्धिपर्णे न० मेदि० । ५ पृक्कायां स्त्री शब्दर० ।स्वार्थे प्रज्ञाद्यण् । मारुतोऽप्यत्र । पृषो० ह्रस्वः ।मरुतोऽपि देवे च वायौ च व्याडिः ।

https://sa.wikisource.org/wiki/वाचस्पत्यम्

Itihāsa of Mitrotsavam, Uttarāyaṇa day, samrājā 'sovereign' Mitrā-Varuṇau from Vedic times

February 2, 2017, 9:20 pm

≫ Next: Itihāsa of Ṛbhus in Rigveda 'smiths,skilled artists, artificers', adored as divinities & Sarasvati civilization evidence

≪ Previous: Itihāsa of Maruts in Rigveda, gold, shining like kindled fires, नृतुः nṛtuḥ 'dancer'

$

0

0

http://tinyurl.com/zndrpdx

Adoration of Aryaman divinity, Indra mahotsavam and Mitrotsavam are celebrations of cosmic sovereignty,samrājyam.  Worship of sun on Uttarāyaṇa, the winter solstice day is Mitra Utsavam. On this day, the Sun starts on its course towards the northern hemisphere. Six months of Uttarāyaṇa are a single day of the divinities. 

"The SuryaSiddhanta defines Uttarāyaṇa or Uttarayan as the period between the Makara Sankranti (which currently occurs around January 14) and Karka Sankranti (which currently occurs around July 16). The term Uttarayana is derived from two different Sanskrit words "uttara" (North) and "ayana" (movement) thus indicating a semantic of the northward movement of the Earth on the celestial sphere. This movement begins to occur a day after the winter solstice in December which occurs around 22 December and continues for a six-month period through to the summer solstice around June 21 (dates vary ). This difference is because the solstices are continually precessing at a rate of 50 arcseconds / year due to the precession of the equinoxes, i.e. this difference is the difference between the sidereal and tropical zodiacs. The Surya Siddhanta bridges this difference by juxtaposing the four solstitial and equinotial points with four of the twelve boundaries of the rashis." (Burgess, Ebenezer (1858). The Surya Siddhantha - A Textbook of Hindu Astronomy. American Oriental Society. Chapter 14, Verse 7-9.)

“...tradition of the Kumbha Mela is connected with the entry of Jupiter into Kumbha Rasi, or Aquarius – a tradition that originates from the time of the winter solstice was in that constellation, roughly around 3000 BCE., very much in the Indus period. Let us take a closer look at this aspect. Kumbha Mela, according to legend, commemorates the battle between the devas and the asuras or the churning of the ocean (samudra manthana) for the nectar of immortality or amrta. Such an encounter takes place at the end of a yuga and at the beginning of a new yuga, which again takes place in the winter solstice. In this instance, as the nectar came out in a pot (kumbha) – the pot of Aquarius the Water Bearer – it was whisked away by the gods and drops fell (or the pot was placed) at Haridwar, Ujjain, Prayag (Allahabad) and Nasik. The Kumbha festival itelf is still celebrated every twelve years when the planet Jupiter enters the constellation Kumbha, or Aquarius. Indeed the winter solstice was in Kumbha Rasi.” (B. G. Sidharth , 1999, The Celestial Key to the Vedas: Discovering the Origins of the World's Oldest Civilization, Bear and Co., pp.132-133). Kaushitaki Brahmana (Kau. Br. xix.2.3) cites the winter solstice at the new moon of the sidereal month of Magha (i.e. the Mahashivaratri festival), which indicates a date close to first half of the 3rd millennium BCE. Hermann Jacobi fixes the date of the Rg-Veda to the middle of 5th millennium BCE, allowing for the processional movement of the twelve months of the Hindu calendar tied to constellations. (Hermann G.Jacobi, "On the Date of the Rigveda" (1894), réédité parK.C. Verma et al. eds : Rtambhara - Studies in Indology, Society for Indic Studies - Ghaziabad 1986, pg 91- 99.) Christmas celebrations are in the Vedic tradition of Mitrotsavam which pre-date the Common Era by at least four millennia.

Makara and seafaring merchants. Borobudur.

Bakong, Roluos, Cambodia. Vāhana of Varuṇa is makara. मकर [p= 771,2] m. a kind of sea-monster (sometimes confounded with the crocodile , shark , dolphin &c ; regarded as the emblem of काम-देव [cf. मोकर-केतन] or as a symbol of the 9th अर्हत् of the present अवसर्पिणी ; represented as an ornament on gates or on head-dresses) VS. &c; one of the 9 treasures of कुबेर L.; one of the 8 magical treasures called पद्मिनी Ma1rkP. makarḥ मकरः [मं विषं किरति कॄ-अच् Tv.] 1 A kind of sea- animal, a crocodile, shark; झषाणां मकरश्चास्मि Bg.1.31; मकरवक्त्र Bh.2.4. (Makara is regarded as an emblem of Cupid; cf. comps. below). -2 The sign Capricornus of the zodiac. -वाहनः N. of Varuṇa. -संक्रमणम् the passage of the sun into the sign Capri- cornus. -सप्तमी the seventh day in the bright half of Māgha.  झष [p= 429,1] m. a large fish S3Br. i , 8 , 14; a fish MBh. R. VarBr2S. BhP.

मकरःवाहनः Varuṇa is the protector of blacksmith-mint. The weapon of Varuna is पाश [p= 623,3] m. (once n. ifc. f(आ). ; fr. √3. पश्) a snare , trap , noose , tie , bond , cord , chain , fetter (lit. and fig.) RV. &c; (esp.) the noose as attribute of शिव or यम RTL. 81 ; 290; also of Varuna. vāruṇa वारुण-पाशकः a sea-monster.  varuṇḥ वरुणः  -पाशः 1 a shark. -2 the noose of Varuṇa.

-kara in the expression -- makara is an Indus Script hieroglyph signified by a crocodile. makara hypertext is a combination of crocodile PLUS fish-fin. 

khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coiner, coinage'. Thus, the hypertext is khAr kammaTa 'blacksmith mint'.

m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile. Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali) kāru a wild crocodile or alligator (Telugu) aya 'fish' (Munda) The method of ligaturing enables creation of compound messages through Indus writing inscriptions. kārua wild crocodile or alligator (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi).

Pali: ayakāra ‘iron-smith’. ] Both ayaskāma and ayaskāra are attested in Panini (Pan. viii.3.46; ii.4.10). WPah. bhal. kamīṇ m.f.  labourer (man or woman) ; MB. kāmiṇā  labourer (CDIAL 2902) N. kāmi  blacksmith (CDIAL 2900). 

Kashmiri glosses:

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.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji or -güjü - लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü लोहकारकन्या f. a blacksmith's daughter. -koṭu - लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 - लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu  लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wānवान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.

Makara is sometimes shown with a fin and a mollusc twist: sippi 'mollusc' rebus: sippi 'artificer'.

Fragment of a Makara Capital Allahabad Museum, Allahabad Kaushambi, Uttar Pradesh. C.2nd Century BCE Shunga 

Vedic karmāra Kashmiri khār खार् Pali ayakāra Kannada kammaṭa, kambāRa -- terms used in smithy and, mintwork are etyma which explain the formation and evolution of some expressions in the lingua franca, of Indian sprachbund (language union) during the Bronze Age Revolution. kammaṭa 'mint' (Kannada) is కమటము (p. 246) kamaṭamu kammaṭamu [Telugu.] n. A portable furnace for melting the precious metals. This is a hieroglyph, the bottom portion of the ligatured standard device sãghāṛɔ (Gujarati) generally signified in front of a young bull on scores of Indus Script inscriptions. Another hieroglyph signifier is khambhaṛā 'fish fin'. Kannada words kammaṭa, kambāRa signify 'coiner (mint)/blacksmith'. The Telugu word కమ్మటీడు kammaṭīḍu signifies 'goldsmith'.

That the signified term is a 'blacksmith' is also seen on the anthropomorphic ligatured fish-man, fish-woman on an Assyrian seal.

The Sukta RV 2.23 is a prayer to Brahmanaspati. At RV 2.23.17 Brahmanaspati is called RNacit, 'giving heed to worship' (paid as a debt by men to gods). The Rica notes Tvastar brought Brahmanaspati to life. RV 10.72.1-2 had noted how Brahmanaspati, like a Smith, produced (metals, dhanam, wealth) with blast and smelting. The Kavi (like Kayanides) are the smiths who declare in chandas the documentation in 10,800 ricas, comparable to the Indus Script Corpora of over 7000 inscriptions generated by the smiths and artisans of the Bronze Age Revolution. [cf.Les Kayanides (Historisk-filologiske Meddelelser) Reliure inconnue – 1931de Arthur E. Christensen (Auteur)].

Translation RV 2.23.17 (Griffith):

For Tvastar, he who knows each sacred song, brought thee to life, preeminent o’er all the things that be. Guilt scourger, guilt-avenger is Brhaspati, who slays the spoiler and upholds the mighty Law.

2.023.17 Tvas.t.a_ engendered you (chief) amongst all beings, (whence) you are the reciter of many a holy hymn: Brahman.aspati acknowledges a debt to the performer of a sacred rite; he is the acquitter (of the debt), and the destoyer of the oppressor. [When you are the reciter: sa_mnah sa_mnah kavih, the reicter or another of every sa_ma, sarvasya sa_mnah ucca_rayita_ karta_si; or kavi refers to tvas.t.a_, further explained as the sage who created Brahman.aspati by the efficacy of the sa_ma: sa_mnah sa_ren.a tvam aji_janat; acknowledges a debt: r.n.acit stotr.ka_mam r.n.am iva cinoti, he takes the intention of the praiser as if it was a debt, or obligation; acquitter of the debt: r.n.aya is explained as the discharger or remover of the debt which is of the nature of sin: pa_paru_pasya r.n.asya pr.thak karta_].

ब्र(व्र)ह्मणस्पति पु० ६ त० अकुकस० निघण्टौ तस्य पदणपत्पौक्तेः एतपदत्वमं । १ ब्राह्मणजातिखामिनि यजु०

१४-२८ (२)मन्त्रस्वामिनि च "पवित्रं ब्रह्मणस्पते" ताण्ड्य० १ । २ । ८ । “हे ब्रह्मणस्पते! मन्त्रस्वामिन्” भा०  https://sa.wikisource.org/wiki/वाचस्पत्यम्/

The following excerpts demonstrate the Proto-Indo-European references of Mitanni cuneiform texts and direct cognates from Samskrtam terms, semantics:

See: Paul Thieme, The 'Aryan Gods' of the Mitanni Treaties, Journal of the American Oriental Society 80, 301-317 (1960)

Map of the Near East ca. 1400 BC showing the Kingdom of Mitanni at its greatest extent

"The Mitanni controlled trade routes down the Khabur to Mari and up the Euphrates from there to Charchamesh. For a time they also controlled the Assyrian territories of the upper Tigris and its headwaters at Nineveh, Arbil, Assur and Nuzi. Their allies included Kizuwatna in southeastern Anatolia, Mukish which stretched between Ugarit and Quatna west of the Orontes to the sea, and the Niya which controlled the east bank of the Orontes from Alalah down through Aleppo, Ebla and Hama to Qatna and Kadesh. To the east, they had good relations with the Kassites.The land of Mitanni in northern Syria extended from the Taurus mountains to its west and as far east as Nuzi (modern Kirkuk) and the river Tigris in the east. In the south, it extended from Aleppo across (Nuhashshe) to Mari on the Euphrates in the east. Its centre was in the Khabur River valley, with two capitals: Taite and 

Washshukanni called Taidu and Ushshukana respectively in Assyrian sources. The whole area allows agriculture without artificial irrigation; cattle, sheep and goats were raised. It is very similar to Assyria in climate, and was settled by both indigenous Hurrian and Amoritic-speaking (Amurru) populations." https://en.wikipedia.org/wiki/Mitanni

Names of people

Transcription of cuneiform	Interpretation	Vedic equivalent	Comments
bi-ir-ya-ma-aš-da	Priyamazdha	Priyamedha	"whose wisdom is dear"; /azd(ʰ)/ to [eːd(ʰ)] is a regular development in Vedic and its descendants (Indo-Aryan in the narrow sense)
bi-ir-ya-aš-šu-wa, bi-ir-da-aš-šu-wa	Priya-aśva ~ Prītāśva	Prītāśva	"whose horse is dear"
ar-ta-aš-šu-ma-ra	Artasmara	Artasmara	"who thinks of Arta/Ṛta"
ar-ta-ta-a-ma	Artadhāma(n?)	Artadhāman	"his abode is Ṛta"
tu-uš-rat-ta, tu-iš-e-rat-ta, tu-uš-e-rat-ta	Tvaiša(?)ratha	Tveṣáratha	"whose chariot is vehement"
in-tar-ú-da, en-dar-ú-ta	Indrauta	Indrota	"helped by Indra"; /au/ to [oː] is a regular development in Vedic; úspecifically indicates [u] as opposed to [o]

Names of gods

From treaties of Mitanni.

Transcription of cuneiform	Interpretation	Vedic equivalent	Comments
a-ru-na, ú-ru-wa-na	Varuna	Varuṇa
mi-it-ra	Mitra	Mitra
in-tar, in-da-ra	Indra	Indra
na-ša-ti-ya-an-na	Nasatya-nna	Nāsatya	Hurrian grammatical ending -nna
a-ak-ni-iš	Āgnis	Agni	only attested in Hittite, which retains nominative -/s/ and lengthens stressed syllables

Horse training

From Kikkuli.

Transcription of cuneiform	Interpretation	Vedic equivalent	Comments
a-aš-šu-uš-ša-an-ni	āśv-san-ni?	aśva-sana-	"master horse trainer" (Kikkuli himself)
-aš-šu-wa	-aśva	aśva	"horse"; in personal names
a-i-ka-	aika-	eka	"1"
ti-e-ra-	tera- ?	tri	"3"
pa-an-za-	pańća- ?	pañca	"5"; Vedic c is not an affricate,[citation needed] but apparently its Mitanni equivalent was
ša-at-ta	satta	sapta	"7"; /pt/ to /tː/ is either an innovation in Mitanni or a misinterpretation by a scribe who had Hurrian šinti "7" in mind
na-a-[w]a-	nāva-	nava	"9"
wa-ar-ta-an-na	vartanna?	vartana	round, turn

https://en.wikipedia.org/wiki/Mitanni-Aryan

Aryaman (path), Mitra (contract) and Varuṇa (sovereignty) are guardian deities of seafaring merchants, regulating their paths, contracts and sovereign acts.

"Aryaman (Sanskrit: अर्यमन्‌, pronounced as "aryaman"; nominative singular is aryama) is one of the early Vedic Hindu deities. His name signifies "close friend", "play-fellow" or "companion".^[1] He is the third son of Aditi, the mother of the Adityas and is depicted as the mid-morning sun disk.In the Rig Veda Aryaman is described as the protector of mares, and the Milky Way (aryamṇáḥ pánthāḥ) is said to be his path. Aryaman is commonly invoked together with Varuna-Mitra, Bhaga, Bṛhaspati, and other Adityas and Asuras.^[1]According to Griffith, the Rig Veda also suggests that Aryaman is a supreme deity alongside Mitra and Varuna. According to the Rig Veda, Indra who is traditionally considered the most important deity in the Rig Veda is asked to obtain boons and gifts from Aryaman.^[3]The Hindu marriage oaths are administered with an invocation to Aryaman being the witness to the event" 

https://en.wikipedia.org/wiki/Aryaman

aryaman अर्यमन् m. [अर्यं श्रेष्ठं मिमीते; मा-कनिन् निपातोयम् Uṇ.1. 156] 1 The Sun. अहं हि पृष्टो$र्यमणो भवद्भिः Bhāg.1.18. 23; प्रोषितार्यमणं मेरोरन्धकारस्तटीमिव Śi.2.39; तिमिरमिवार्य- मरश्मिमभिः समग्रम् Śiva. B.3.5. -2 The head of the Pitṛis or Manes; पितृणामर्यमा चास्मि Bg.1.2. -3 The constellation उत्तराफल्गुनी. -4 N. of the arkaplant. -5 One of the Ādityas; शं नो भवत्वर्यमा T. UP.1.1.1. -6 A bosom-friend, play-fellow. -Comp. -देवा N. of the 12th lunar mansion. अर्यमन् [p= 93,1] m. a bosom friend , play-fellow , companion , (especially) a friend who asks a woman in marriage for another RV. AV. S3Br. TBr.; N. of an आदित्य (who is commonly invoked together with वरुण and मित्र , also with भग , बृहस्पति , and others ; he is supposed to be the chief of the Manes Bhag. &c , the milky way is called his path [अर्यम्ण्/अः प्/अन्थाः TBr. ] ; he presides over the नक्षत्र उत्तरफल्गुनी VarBr2S. ; his name is used to form different male names Pa1n2. 5-3 , 84) RV. &c; the sun S3is3. ii , 39.

RV 4.30. 24 Destroyer of foes, may the divine Aryaman distribute your precious wealth; (may) Pu_s.a (bestow it), (may), Bhaga (bestow it); may the toothless deity bestow the desired wealth. [The text has: va_mam pu_s.a_ va_mam bhago va_mam devah karu_l.ati_: the triple repetition of va_ma, vanani_yam, dhanam would seem to separate not only Bhaga, but Karu.lati_ from Pu_s.an; karu_l.ati_ = kr.ttadanta or adantaka, the broken-toothed, or toothless, this term seems to apply to Pu_s.an; the legend: pu_s.a_ prapis.t.abha_go adantako hitya_di s'rutis.u (Taittiri_ya Sam.hita_ 2.6.8.5); Vis.n.u Pura_n.a, 67 has Pu_s.an whose teeth were knocked out by Vi_rabhadra's followers at Daks.a's sacrifice].

Griffith translation: O Watchful One, may Aryaman the God give thee all goodly things.
May Pusan, Bhaga, and the God Karulati give all things fair.

Indra mahotsava and Mitrotsavam (Sun festival adoring Mitrā-Varuṇau, guardians of the cosmic orde ) are celebrated from Vedic times. 574 rica-s adore Varuna, 412 rica-s adore Mitra, 114 rica-s adore Aryaman. All three are associated with Surya, the Sun, Aditya.

Brhatsamhita’s account of this festival records that the festival for 7 days started from the eighth day of the bright fortnight of Bhadra month and lasted till the full-moon day of the month. Starting day, the king accompanied by citizens, astronomers, ministers, Brahmanas, musicians (s’ankha and turya) entered the town carrying the Indra yashti covered with white cloth. On the last day, the king offers the yashti in water. King Bhoja describes the festival in Rajamartanda. Kalhana reports that Kashmir kings distributed prizes to winners in the duel contests. The festival was also called Banner Festival of Indra. The word ‘maha’ used in the expressions, Indra-maha or Dhvaja-maha is a Prakrit form and may be a pronunciation variant of the word makha‘yajña’.

"Indra Jātrā as it is most commonly known or Yenyā (Nepal Bhasa: येँयाः) is the biggest religious street festival in Kathmandu, Nepal. Yenya means "Kathmandu festival" in Nepal Bhasa. The celebrations consist of two events. Indra Jātrā is marked by masked dances of deities and demons, displays of sacred images and tableaus in honor of the deity Indra, the king of heaven." https://en.wikipedia.org/wiki/Yenya

"Bamboo festival of Chedi.Uparichara Vasu was a king of Chedi belonging to the Puru Dynasty. He was known as the friend of Indra. During his reign, Chedi kingdom contained much mineral wealth. It was abundant in animals and corn. There were many towns and cities in the kingdom. He possessed a very special chariot. He introduced 'Shakrotsava' festival in his kingdom in the honor of Indra. The festival involved planting of a bamboo pole every year, in honor of Indra. The king will then pray for the expansion of his cities and kingdom. After erecting the pole, people decked it with golden cloth and scents and garlands and various ornaments. (1,63)." https://en.wikipedia.org/wiki/Ancient_Indian_festivals

Mitrā-Varuṇau in du. refers to divinities, generally and to cosmic forces, the Sun, the Sky, in particular. Both relate to Aditya, the Sun. 

In a treaty between the Hittites and the Mitanni (between Suppiluliuma and Shattiwaza, c. 1380 BCE), the deities Mitra, Varuna, Indra, and Nasatya (Ashvins) are invoked. 

See: http://tinyurl.com/gu4d5wj 

Itihāsa in Rigveda.अश्विना du. 'two Aśvins', metaphor for sensory categories, five dhātu 'elements of the earth' 

See: http://tinyurl.com/hcqfl2q 

Itihāsa of Maruts in Rigveda, gold, shining like kindled fires, नृतुः nṛtuḥ 'dancer' 

See: http://tinyurl.com/zjw7mba  

Itihāsa of Agni, Indra, Surya in Rigveda to process Soma, metal in pyrites

"Mitra is the reconstructed Proto-Indo-Iranian name of an Indo-Iranian divinity from which the names and some characteristics of Rigvedic Mitrá and Avestan 

Mithra derive...Via Greek and some Anatolian intermediate, the Avestan theonym also gave rise to Latin Mithras, the principal figure of the first century Roman Mysteries of Mithras (also known as 'Mithraism').In Middle Iranian, the Avestan theonym evolved (among other Middle Iranian forms) into Sogdian Miši, Middle Persian and Parthian Mihr, and Bactrian Miuro (/mihru/).^{[citation needed]} Aside from Avestan Mithra, these derivative names were also used for:

• Greco-Bactrian Mithro, Miiro, Mioro and Miuro,
• by the Manichaeans for one of their own deities.""The Iranian Manicheans adopted the name of the Zoroastrian god Mithra (Av. Miθra; Mid. Pers. Mihr) and used it to designate one of their own deities. [...] The name appears in Middle Persian as Mihr (myhr, which does not stem from the genuine Old Persian form *miça-), in Parthian as Mihr (myhr) and in Sogdian as Miši (myšyy; Sundermann, 1979a, p. 10, sub 3/11.2). The spellings mytr, mytrg, however, are not variants of the name Mithra, they rather denote Maitreya." Werner Sundermann, Mithra; iii. In Manichaeism", Encyclopedia Iranica (2002).

Varuṇa is an Asura, 'powerful' and adored over weapons.

वरुण a [p= 921,2] m. (once in the TA1r. वरुण्/अ) " All-enveloping Sky " , N. of an आदित्य (in the वेद commonly associated with मित्र[q.v.] and presiding over the night as मित्र over the day , but often celebrated separately , whereas मित्र is rarely invoked alone ; वरुण is one of the oldest of the Vedic gods , and is commonly thought to correspond to  Οὐρανός, Ouranos of the Greeks , although of a more spiritual conception ; he is often regarded as the supreme deity , being then styled " king of the gods " or " king of both gods and men " or " king of the universe " ; no other deity has such grand attributes and functions assigned to him ; he is described as fashioning and upholding heaven and earth , as possessing extraordinary power and wisdom called माया , as sending his spies or messengers throughout both worlds , as numbering the very winkings of men's eyes , as hating falsehood , as seizing transgressors with his पाश or noose , as inflicting diseases , especially dropsy , as pardoning sin , as the guardian of immortality ; he is also invoked in the वेद together with इन्द्र , and in later Vedic literature together with अग्नि , with यम , and with विष्णु ; in RV. iv , 1 , 2, he is even called the brother of अग्नि ; though not generally regarded in the वेद as a god of the ocean , yet he is often connected with the waters , especially the waters of the atmosphere or firmament , and in one place [ RV. vii , 64 , 2] is called with मित्र , सिन्धु-पति , " lord of the sea or of rivers " ; hence in the later mythology he became a kind of Neptune , and is there best known in his character of god of the ocean ; in the MBh. वरुण is said to be a son of कर्दम and father of पुष्कर , and is also variously represented as one of the देव-गन्धर्वs , as a नाग , as a king of the नागs , and as an असुर ; he is the regent of the western quarter [cf. लोक-पाल] and of the नक्षत्र शतभिषज् [ VarBr2S. ] ; the जैनs consider वरुण as a servant of the twentieth अर्हत् of the present अवसर्पिणी) RV. &c &c (cf. IW. 10 ; 12 &c ); awarder off or dispeller Sa1y. on RV. v , 48 , 5; N. of a partic. magical formula recited over weapons R. (v.l. वरण); pl. (prob.) the gods generally AV. iii , 4 , 6 

RV 7.64

7.064.01 Ruling over the water that are in heaven and earth, impelled by you, (the clouds) assume the form of rain may the auspiciously manifested Mitra, the royal Aryaman, the powerul Varun.a, accept our oblation. [Impelled by you the clouds: pra va_m ghr.tasya nirn.ijo dadi_ran = yuva_bhya_m prerita_ megha_ udakasya ru_pa_n.i prayacchanti, impelled by you the clouds give the forms of water; or, ghr.ta keeps its ordinary sense, the forms of butter, i.e., oblations, are given to you].
7.064.02 Sovereigns, mighty preservers of water, powerful lords of rivers, come to our presence; send down to us munificent Mitra and Varun.a, from the firmament, sustenance and rain.
7.064.03 May Mitra, Varun.a, the divine Aryaman, conduct us by the most practicable paths, then, (when we desire their guidance), accordingly as Aryaman promises to the liberal donor (of oblations), may we, enjoying the protection of the gods, rejoice in abundance, together with posterity. [Rejoice: is'a madema saha, with food rejoice, together with posterity, putra_dibhih].
7.064.04 Mitra and Varun.a, bedew with water him who fabricates your chariot in his mind, offering high praise, the people well affected towards him.

7.064.05 Varun.a and Mitra, this praise, pure as the Soma libation, has been offered to you, and also, Aryaman, (to you); protect our rites; be awake to our praises; and do you ever cherish us with blessings. [To Aryaman: va_yave = Aryaman].

मित्र 1 [p= 816,1] u. = मित्र्/अ-वरुण RV. ; n. friendship RV.; m. (orig. मित्-त्र , fr. √ मिथ् or मिद् ; cf. मेदिन्) a friend , companion , associate RV. AV. (in later language mostly n.); N. of an आदित्य (generally invoked together with वरुण cf. मित्रा-व्° , and often associated with अर्यमन् q.v. ; मित्र is extolled alone in RV. iii , 59, and there described as calling men to activity , sustaining earth and sky and beholding all creatures with unwinking eye ; in later times he is considered as the deity of the constellation अनुराधा , and father of उत्सर्ग) RV. &c

[quote]Mitrotsavam (Mitrolsavam, Mitra Ulsavam) is a Hindu festival worshipping the Sun god Surya, whose orderly traversal of the sky is ensured by Mitra-Varuna, the guardians of cosmic order (ṛtá) in Rig Veda 8.25.8 and elsewhere.

On Mitrotsavam, devotees worship the Sun for prosperity, health and courage. Surya is glorified in Vedic mantras as the expeller of darkness and evil. The most sacred Gayatri mantra, composed by Sage Vishvamitra, worships the Sun as Savita. Additionally, the Sun is honored by recitation of the Aditya Hridayam— according to a legend in the Ramayana, Lord Rama was initiated into the worship of Surya with that hymn, which then gave him strength and the power to vanquish evil. Devotees also perform the Surya Namaskara, recite 108 names of Surya, and pray for help to ward off evil, infirmity and disease. At the same time, devotees extoll Mitra (Vedic Mitra-Varuna) as the Pratyaksha devata, the māyā́-minded, far-sighted, thousand-eyed light and fire of the Sun, worship of whom is considered especially beneficial for ailments of the eye and mind.[unquote]

RV 8.25

8.025.01 You two are the protectors of the universe, divine and to be adored among the gods; therefore, (Vis'vamanas), you sacrifice to the pair who are observant of truth and endowed with real power.
8.025.02 Mitra and Varun.a, doers of good deeds, (diffusers of) riches, who are the charioteers (of men), well-born of old, the sons, (of Aditi), observant of vows, (you are worshipped by me). [Charioteers: or, bringers of riches, tana_ rathya_; you are worshiped: you sacrifice to them, ta_ yajase (from the previous r.ca)].
8.025.03 The great and truthful Aditi, the mother (of the gods), gave birth to those two who are possessed of all affluence, and shining with great splendour, for the (destruction of the) asuras.
8.025.04 The great Mitra and Varun.a, the two sovereign and powerful deities, the observers of truth, illumine our solemn rite. [Sovereign: samra_ja_ = perfectly resplendent, samyag di_pyama_nau; powerrful: asura = impelling by being the indwelling principle, antarya_mitaya_ prerakam; illumine: ghos.atah = svadi_ya_ praka_s'ayatah. Comment: repeated references to battles with asuras can, therefore, be interpreted as an allegory: removing the baser metals from a pyrite ore or quartz, to yield the pure silver and gold-- electrum, Soma, the resplendent, the ra_ja_ (cf. Cha_ndogya Upanis.ad: es.a somo ra_ja_, tad deva_na_m annam, tam deva_ bhaks.yanti].
8.025.05 Grandson sof mighty strength, son sof energy, doers of good deeds, liberal benefactors, they preside over the habitation of food.
8.025.06 Bestow (upon us) good gifts, viands, whether of heaven or earth; may the water-shedding rains attend upon you.
8.025.07 (These are they) who look upon the great deities as (a bull contemplates) the herd, sovereigns observant of truth and propitious to adoration.
8.025.08 Observers of truth, doers of good deeds, they sit down for the office of sovereignty; observant of obligations, endowed with strength, they acquire vigour. [Vigour: ks.atriya_ ks.atram a_s'atuh = balavantau balam vya_pnutah].
8.025.09 Through knowers of the path, even before the eye (can see), causing (alll beings) to open their eyelids, existing from of old, and shining with a mild radiance, verily they have been worshipped. [The r.ca is a reference to Mitra and Varun.a as respectively presiding over day and night, ahora_trayor vya_ptena tejasa_].
8.025.10 May the divine Aditi, may the Na_satya_s also protect us; may the rapid Maruts defend us.
8.025.11 Munificent and irresistible (Maruts), guard our vessel by day and night, so that we may be secure through your protection. [Guard our vessel: no na_vam urus.yata: na_vam yajn~iya_m (occurs in 10.044.06) and seems to mean, the sacrifice].
8.025.12 We, injured (through his protection, offer praise) to the liberal Vis.n.u, who harms not (his adorers); do you who goes by thyself alone (to combat), and cause wealth to flow (to the worshipper), hear (our prayer) in behalf of him who has commenced the sacrifice. [sindho = stotr.n prati dhana_na_m syandanas'i_la vis.n.o; pu_rvacittaye = pra_rabdhakarman.e yajama_na_ya].
8.025.13 We solicit that ample, all-desired, all-guarding (wealth) which Mitra, Varun.a and Aryaman hold under their protection.
8.025.14 Yes, may he who causes the waters to flow (Parjanya), the Maruts, the As'vins, Indra, Vis.n.u, may all (these deities) together, the showerers (of benefits, protect) that wealth for us.
8.025.15 Those desirable leaders (of men), rapid in movement, break down the haughtiness of any (foe) whatever, as an impetuous current (sweeps away all obstacles).
8.025.16 This one, the lord of man (Mitra), contemplates many vast things; we follow his rites for you.
8.025.17 We observe the ancient rites of the imperial Varun.a and the renowned Mitra, (rites) that are good for (our) dwelling. [Dwelling: okya_ = oko gr.ham tasmai hita_ni karma_n.i].
8.025.18 (Mitra is he) who has measured with his rays the limits of both heaven and earth; who has filled both heaven and earth with his greatness.
8.025.19 He, Su_rya, has uplifted his radiance in the region of the heaven; kindled and invoked with burnt-offerings, he is bright, like Agni. [Su_rya = Mitra and Varun.a; cf. r.ca 21].
8.025.20 Raise your voice in the spacious hall of sacrifice (to him) who is lord over food derived from cattle, who is able to grant nutritious sustenance. [Spacious hall: di_rghaprasadmani: an epithet of yajn~e; vistr.tam sadanam yasmin yajn~e].
8.025.21 I glorify by night and day that sun (Mitra and Varun.a) and both the heaven and earth; do you (Varun.a) ever bring us to the presence of the bountiful. [That sun, Mitra and Varun.a: tat su_ryam = the brightness of Mitra and Varun.a; su_ryam suvi_ryam tat varun.am maitram ca tejas].
8.025.22 We have received from the son of Sus.a_man, the descendant of Uks.an, the overcomer (of foes), a well-going chariot of silver, yoked (with a pair of horses).
8.025.23 Among bay horses these two are pre-eminently the destroyers (of foes), and of those eager in combat; the two strong bearers of men.
8.025.24 Through this new praise (of Mitra and Varun.a) I have obtained at the same moment of the mighty prince, two fast-going sagacious steeds, with whip and reins. [Steeds: viprau = medha_vinam ucitau, worthy of the praisers of a deity].

Varuna

https://tamilandvedas.com/tag/varuna/

http://modrodnovery.com/page/4/

RV 1.164.46 They have styled (him, the Sun), Indra, Mitra, Varun.a, Agni, and he is the celestial, well-winged Garutmat, for learned priests call one by many names as they speak of Agni, Yama, Ma_taris'van. [Hi, the Sun: Sun is assumed; Nirukta assumes the Agni: agni is all the divinities (Aitareya Bra_hman.a 2.3)].

http://www.associazioneletarot.it/cgi-bin/pages/saggi/saggi%20iconologici/saggi%20iconologici%20i/19%20-%20%20sole/12.jpg

MITHRA

i. MITRA IN OLD INDIAN AND MITHRA IN OLD IRANIAN

The name of the Indo-Iranian god Mitra (Vedic Mitra, Avestan Miθra, Old Persian Mitra, Miθra instead of the genuine OP form *Miça) is based on the common noun mitrá “contract” with the connotations of “covenant, agreement, treaty, alliance, promise.” This meaning of the common noun was recognized in the 19th century and codified by C. Bartholomae (AirWb., col. 1183), who, however, took the god Miθra as an Aryan sun deity without clarifying the relation between the common noun and the name. A. Meillet (1907) rectified earlier interpretations, such as the idea that Mitra represents light or the sun considered as a moral being, which would make the common noun derive from a function of the god (for a discussion of these views, see Schmidt, 1978, pp. 344 ff.). Meillet showed that the abstract meaning of the common noun largely agrees with the character and functions of the god. Mitra is thus the personification and deification of the concept “contract.”

Meillet used an etymology (derivation from an Indo-European root, *mei “to exchange”) which is only one of several possibilities, none of which can be proved. L. Gray (1929, pp. 96 ff.) argued for a derivation from the root *mē “to measure,” assuming that Mitra was the designation of the sun as the “measurer” of the day and that the ethical aspects accrued to him secondarily (quoted with approval by Gh. Gnoli, 1979, p. 727). Though Miθra is closely associated with the sun in the Avesta, he is not the sun (cf. Boyce, 1975a, p. 69), and the Vedic Mitra is not either (cf. Gonda, 1972, pp. 54-61). The identification with the sun occurs in both, Iran and India, only later. The virtual identity of the Avestan Miθra with the sun was, however, argued for by H. Lommel (1962), but refuted by I. Gershevitch (1975, pp. 75 ff.). A completely different interpretation is offered by G. von Simson (1997, pp. 22 ff.) who deduces from Yašt 10.13 and 95 that Miθra is both the morning and the evening star (Venus), while in the Veda Miθra is supposed to be the morning star and Varuṇa the evening star (pp. 8 ff.).

The range of meaning of the common noun is best exemplified by two Avestan passages, viz. Vendidad 4 and Yašt 10.116-17. In Vd. 4.2 we find a scale of miθra and the punishments for breaking them. The first two in the list, a miθra concluded by word and one by handshake do not tally with the other four, viz. miθra of the size of a sheep, an ox, a slave, and a land. As Lüders (1917) has shown, the list of the last four closely agrees with Indian ones which refer to the punishment of a king who breaks his promise to reward a person: relatives of the king will be killed. Also in Vd. 4.5 a broken miθra does away with relatives. It has been long recognized that in this context miθra means “contract” or “promise,” which is the narrowest connotation of the term. Yt. 10.116-17 gives a list of the degrees of sanctity of different miθra: between friends it is 20-fold, 30-fold between fellow-citizens, 40-fold between partners, 50-fold between husband and wife, 60-fold between fellow students, 70-fold between disciple and teacher, 80-fold between son-in-law and father-in-law, 90-fold between brothers, 100-fold between father and son, 1,000-fold between two countries; 10,000-fold is the miθra of the religion (because the breach would amount to apostasy). The inclusion of natural relationships in this list makes it impossible to take miθra here in the sense of “contract.” The sense of “alliance” is more appropriate since an alliance can include an involuntary relationship which is binding (cf. Brereton, 1981, pp. 27 f., contra Thieme, 1975, pp. 24 f.). “Alliance” is the more encompassing sense, and it is the sense which is predominant in the Mihr Yašt and frequent also in the Veda. In particular, the fact that in later Sanskrit mitra means “friend” and in New Persian mehr means “love, friendship” has led some scholars to reject Meillet’s thesis. E. Herzfeld (1947, p. 467) assumed the virtual identity of miθra with the later Sanskrit and New Persian meanings. Though admitting the connotation “contract, promise” in certain contexts, he defined miθra as “the moral obligation on which the society was founded.” Yt. 10.116-17 can support this definition, but the claim that Mitra was not a pale personification of the abstract “contract,” but “the friend,” is hardly convincing, since “contract, alliance” is very well suited to be the moral foundation of society whose welfare depends on peace, on people getting along with each other. A view similar to Herzfeld’s was expressed by W. Lentz (1964, 1970), who argued that a more general definition like “piety” would also do justice to the religious aspect. J. Gonda (1972, 1973) insisted on Vedic mitrá “friend, friendship,” not “contract, contract-partner,” and stressed the god’s benevolence and helpfulness (for more detailed discussion of these views, see Kuiper, 1973, pp. 227 ff.; Thieme, 1975, pp. 24 f.; Boyce, 1975a, p. 26; Schmidt, 1978, pp. 351 ff.).

The expression for concluding a contract in Avestan is miθrəm kar (Vd. 4.3), in Vedic mitráṃ dhā (Ṛgveda [RV] 10.108.3). In Avestan there is also the expression miθrəm fras “to mutually ask a promise from each other” (Yt. 10.2), which has a parallel in Vedic sám praś “to come to an agreement” (RV 1.165.3; 4.18.2; see Thieme, 1975, p. 27). To break a contract is in Avestan miθrəm druj “to deceive a contract” (Yt. 10.45) or miθrəm jan “to smash a contract” (Yt. 10.2; cf. 10.82, miθrō.zyā “violating the contract”); both expressions are known in Old Indian, though not in the RV (cf., however, dróghamitra “whose contract, promise is a lie, deception,” RV 10.89.12). The demon Namuci addresses Indra, by whom he has been tricked, as mitradruh and mitrahan (Maitrāyaṇīya saṃhitā 4.3.4). Although in later Sanskrit mitra is generally only “friend,” the older meaning may have survived in the Mahābhārata (Mehendale, 1988). Also in Middle and New Persian Zoroastrian sources mihr is still understood as “contract, promise” (see Schmidt, 1978, pp. 351, 377).

There are quite a number of close agreements in the vocabulary used in connection with the Avestan Miθra and the Vedic Mitra. This shows that, not only the name, but also many of his characteristics are inherited from Indo-Iranian. The vocabulary listed here is not exclusive to Mitra, but is shared with other gods, in particular with Varuṇa and the Ādityas, to whom Mitra belongs. It is legitimate to include them here because the Ādityas are a close-knit group (cf. Thieme, 1975, p. 29). The Avestan references are to the Mihr Yašt (Yt. 10), the Vedic ones to the Ṛgveda (RV).

Miθra/Mitra is worthy of worship (yesnya, 10.5; yajñiyá,RV 9.77.5). He is characterized by riches (raēvant, 10.78; revánt, RV 8.47.9). Mitra is of the breadth of the earth (zəm.fraqå,10.95) and goes around the edges of earth and surveys every thing between heaven and earth, Mitra has breadth (sapráthas, RV 3.59.7) and reaches around heaven and earth. Miθra/Mitra is honored with obeisance (nəmah, 10.6; namasyà, RV 3.59.4). He rescues his worshippers from anxiety (ązah, 10.22-23; áṃhas, RV 3.59.2). He is wakeful (jagauruuah, 10.7; jāgṛvás, RV 1.136.3), without sleep (axvafna, 10.7), as the Ādityas are (ásvapnaj, RV 2.27.9). The dwellings of the deceivers of the treaty are destroyed (frazinte, 10.38), while the person who exerts himself in his obligation to Mitra is not destroyed (ná jiyate, RV 3.59.2, cf. 10.152.1). Miθra is called upon for mercy (marždikā, 10.5) and is very merciful (huuāmarždika, 10.140), Mitra and Varuṇa are called forgiving (mṛḍáyant, RV 1.136.1), but more often Varuṇa alone is asked for mercy. Miθra can be angry (zarəmna, 10.47), and so can Mitra (jujurāṇá, RV 10.12.5). Miθra is the punisher (acaētar) of the deceivers of the alliance (10.26), Mitra, Varuṇa and Aryaman are the punishers (cetár) of untruth (RV 7.60.5). Miθra protects the country which takes a firm position in the good care (of him and the contract) (yātayeiti, 10.78); inversely, Mitra lets the people take a firm position (yātayati, RV 3.59.1) in keeping their contracts. He cannot be tricked (aδaoyəmna, 10.24); the Ādityas are frequently called so (ádabdha, e.g., RV 1.24.13, 2.27.3 and 9, 7.60.5). Miθra has watchers and is himself a watcher (spas, 10.45, 46); Varuṇa has watchers (spaś, RV 7.87.3; 9.73.4).

The Avestan hymn to Miθra starts with the statement of Ahura Mazdā that he created Miθra and made him as worthy of worship and prayer as himself (10.1). Then it is stated that a knave who deceives a treaty destroys the whole country, killing the truthful as much as a hundred sorcerers would. This is immediately followed by the injunction not to break a contract, whether concluded with a deceitful person or a truthful follower of the good Religion, for the contract is valid for both (10.2). Miθra, when deceived by the lord of the house, or the clan, or the tribe, or the country, smashes their respective domains (10.18; cf. 83-87). The treaty between countries is dominant in the hymn. Miθra aids those who are true to the treaty and punishes those who break it. He grants swiftness of horses and progeny to those do not deceive him (10.3). He robs the treaty-breakers of the vigor of their arms, the strength of their feet, the light of their eyes, the hearing of their ears (10.23; cf. 49). The arrows, spears, sling-stones, knives, and maces of those who enrage Miθra become ineffectual (10.39-40). He is a warrior driving a chariot. His main weapon is the mace (10.96, 132), but he also uses arrows, spears, hatchets and knives (10.102, 129-30). The really bloody work is done by Vərəθraγna, Miθra’s companion, who in his manifestation as a boar kills at one blow, knocks the opponent down, smashes his vertebrae, the pillars of life and the springs of life, cuts everything to pieces, mingles bones, hair and blood (10.72; cf. 127 and Gershevitch, 1959, pp. 166 ff.). To those who are faithful to the treaty Miθra brings rain and makes plants grow (10.61); this refers to the ruler, since the welfare of a country depends on his moral behavior (cf. Thieme, 1975, p. 32). Miθra provides (to the lords) great houses with busy women and fast chariots, with rugs and cushions, cattle-herds and slaves to the truthful one who worships him, regularly mentioning his name (10.29, 31). But also the pauper following the doctrine of truth, but deprived of his rights, and even the maltreated cow invoke him, and he comes to their assistance (10.84-87). Miθra is ever wakeful, without sleep (10.7) and as such the enemy of sloth (10.97, 134); he has a thousand ears and ten thousand eyes and watchers on every height and every outlook (10.45). He is watching also in the dark (10.141). Miθra catches also the person who thinks that the god does not see all the evil and deceitful deeds (10.105). He is the first god to approach across the mountain-range Harā in front of the sun; from there he surveys the whole land of the Āryans (10.13). Haoma worshipped him on the highest peak of the mountain range Harā (10.88). The Aməša Spəntas consider Miθra as the overlord (ahu) and judge (ratu) of the living beings (10.92). Miθra is the beneficent protector and guardian of all creatures (10.54; cf. 103). He is the lord of the country (10.78, 99) and the lord of the country of all countries (10.145). As such he is wicked and very good to countries and men and rules over peace and war (10.29). He grants peaceful and good dwellings (10.4). He is the one who draws the borderlines (10.61) to prevent conflict between neighbors. He smashes the heads of the demons (daēuua, 10.26), who are afraid of him (10.97, 99), and is the foe of the supernatural witches (pairikā, 10.26). Miθra and Ahura strike down the evil sons of those who offer heavy libations (10.113), possibly bloody ones like the daēvic Viiāmburas (Yt. 14.57). On the other hand, Miθra seems to have been worshipped with sacrifices of small and large cattle, birds and fowls (10.110). According to Gershevitch (1959, p. 271), however, Miθra is worshipped together with the animals (rejected by Zaehner, 1961, p. 117; Boyce, 1975a, p. 151, n. 23). Miθra’s most frequent epithet “characterized by wide cattle-pastures” (vouru.gaoiioiiti) reflects his concern with peaceful conditions: cattle can only graze freely when there are no raids by neighbors with whom no treaty exists.

In stanzas 53-55 Miθra complains to Ahura Mazdā that, though he is the beneficent protector of all creatures, men do not worship him with worship mentioning his name (aoxtō.nāmana yasna) as other gods are worshipped. If men would worship him in this way, he would come to them. The same is said of the star Tištriia (Sirius; Yt. 8.10-11), who is defeated by the demon Apaoša “Dearth” because he was not properly worshipped until Ahura Mazdā himself worshipped him (8.23-25). Miθra shares the epithet aoxtō.nāman “whose name is mentioned” with Tištriia “Sirius” (Yt. 8.11), Sraoša “Obedience” (Yasna 3.20), Ātar “Fire” (Vispered 9.5), Vanant “Vega” (Yt. 21.1), and a god who is not identified (Y 22.27). The complaints of Miθra and Tištriia indicate that they were ignored in earlier worship which followed the practice in the Gāθās of Zaraθuštra, where none of the traditional pagan gods is mentioned. J. Kellens (1976, pp. 128 ff.) assumes that the gods addressed by name were the Aməša Spəntas, the Waters, and the Frauuašis (see FRAVAŠI); and according to him (1976, p. 130, n. 22) the epithet aoxtō.nāman properly belongs to Ātar and Sraoša, who are deities in the Gāθās. He surmises that the name of the old Persian month Anāmaka “nameless,” December-January) refers to Miθra. If, however, Mitra was connected with the middle of the year already in Indo-Iranian (see Schmidt, 1978, p. 378), this conflicting claim is improbable. It is more likely that the month of the winter solstice was considered as inauspicious, and accordingly the nameless month may be connected with the late Sanskrit anāmaka, a designation of the intercalary month which was added at the winter solstice and in which no religious ceremonies were performed.

The Ṛgveda has only one hymn to Mitra, which originally must have consisted of two (3.59.1-5 and 6-9). It was for a long time considered pale and insignificant, but P. Thieme (1957, pp. 38 ff.) has shown that it quite clearly reflects the main characteristics of the god. Mitra makes peoples take a firm position (yātayati) in their relationship to each other, viz. stick to their agreements (1, 5); cf. 5.65.6, where Mitra and Varuṇa make people take a firm position and lead them together, from which it appears that they prevent a conflict. Mitra supports heaven and earth, observes the settlements without blinking (3.59.1). Whoever exerts himself in the commitment to Mitra shall enjoy refreshments, is not killed; no anxiety reaches him (3.59.2); the worshippers who abide by the commitment to Mitra want to be without illness, rejoice in invigoration (through rain, cf. 7.64.2), stand with firm knees (without fear, cf. 7.82.4, where Indra and Varuṇa are firm-kneed in the promotion of peace) on the earth and will be in the favor and receive the benevolence of Mitra (3.59.3). Mitra, worthy of worship and friendly, has been born just now as a king, leader of good rulership, i.e., he manifests himself in Agni, the fire (3.59.4; cf. 5.3.1, Thieme, 1957, pp. 49 f.) into which the oblation for Mitra is poured (3.59.5). Mitra keeps and supports the settlements; his help has winning power (3.59.6); he reaches around heaven and earth with his fame (3.59.7); for him the five peoples have put reins on themselves (by avoiding conflict and keeping the peace), and he supports the gods (3.59.8). Among gods and men Mitra has just now created refreshments (rain, cf. 3.59.3) for the worshippers (3.59.9).

To supplement the statements of this hymn, some significant traits may be quoted from other hymns. The relationship between gods and men is viewed under the aspect of contract (e.g., 10.100.4, 1.120.8-9; cf. Schmidt, 1958, pp. 37 f.). The connection of Mitra and mitrá “ally or mediator” with peace is rather frequent (2.4.3; 11.14; 4.33.10; 7.82.5-6; 8.31.14). As guest and ally among men Agni mediates between them and the gods (2.4.1). Agni makes husband and wife unanimous like a well-established ally or mediator (5.3.2). Agni has taken seven steps for truth, generating Mitra an alliance for himself (10.8.4). Alliances were concluded by taking seven steps in front of the fire, a practice continued in the marriage ritual to the present day (cf. Lüders, 1959, p. 38; Thieme, 1957, pp. 49 f.). The bridegroom is called mitrá (5.52.14, 10.27.12). Identified with Mitra, Agni fixed the two worlds apart and made the darkness pregnant with light (6.8.3). Savitar, the god Impeller, dwells together with the rays of the sun, encompasses the night from both sides, and becomes Mitra (5.81.4). Agni, the embryo of the waters, was placed among the human clans, making the contracts (between gods and men?) successful by the truth (3.5.3; cf. Thieme, 1975, p. 38); when he is kindled he becomes Mitra (3.5.4). In the Avesta Miθra is not attested as a mediator, but he occurs as one in Pahlavi sources (cf. Schmidt, 1978, p. 377) and in Plutarch’s De Iside et Osiride 46 where he is the mediator (mesítēs) between Horomazes and Areimanius (see Belardi, 1977, pp. 32 ff.).

The main difference between the Vedic Mitra and the Avestan Miθra is that the former lacks the martial qualities almost completely. These are in the Veda taken over by the warrior god Indra. It is Indra who has the power over the alliances he is the foremost lord over the alliances (1.170.5). He is the avenger who crushes those who deceive the institutions of Mitra and Varuṇa by deceiving an ally, who is asked to sharpen his weapon against those without amítra “without contract, treaty” (10.89.8-9). Indra is the god who most frequently takes action against those who are amítra, i.e., have either refused to make peace or do not recognize the god Mitra. Indra purifies the two worlds by the truth (ṛtá), burning the deceivers (drúh), who do not recognize Indra (aníndra), and the amítra lie caught, slain and smashed (1.133.1). The opposition between Mitra and Indra is defined in 7.82.5: Mitra befriends Varuṇa through peace Indra makes martial ostentation with the Maruts (7.82.5). There are, however, a few cases in which Mitra and Varuṇa do use weapons. They use snares (7.63.3) and arrows (e.g., 8.100.3, 5), which are magical ones supposed to punish the violators of truth and contract. Martial characteristics, however, can be seen in their mounting a chariot (5.63.1) and when their chariot harms the person who is acting falsely (Atharvaveda 4.29.7). It is uncertain whether these isolated instances are a survival of an original Indo-Iranian trait or whether they are coincidental. At any rate, additionally, the weapons of both Miθra and Indra are actually magical, because they work through those of their protégés. Miθra is a spiritual, supernatural (mainiiauua) god, and so also are his horses, chariot, and weapons.

The Avestan Miθra is accompanied by Verəθraγna, the god Victory, who slays the enemies (Yt. 10.70-72; cf. 127), doing what Miθra does himself throughout the hymn. In Yt. 14.47 Vərəθraγna brings disease and death to the person who deceives Miθra and abandons (the judgment of) Rašnu. Since Verəθraγna corresponds to Indra it may be asked whether it was originally he who did the fighting for Miθra, and Miθra then usurped his role, or whether in India Indra usurped Mitra’s role. Given the general character of each god, the former solution seems more likely (for the opposite opinion, cf. Thieme, 1975, p. 31). R. C. Zaehner (1961, pp. 109 f.) believed that Miθra’s aggressiveness must be borrowed from a daēvic source: Indra and Sarva, relegated to status of demon, “take their revenge by insinuating their unlovable characteristics into the personality of Mithra, while Indra transforms himself into Verethraghna.” This turns the more likely development on its head. It is rather Indra Vṛtrahan who replaced the Indo-Iranian *Vṛtraghna in India.

Sraoša “Obedience” assists Miθra in battle together with Rašnu “Judge”: Miθra chases the enemy armies hither, Rašnu chases them thither, and Sraoša chases them everywhere, i.e., he scatters them (Yt. 10.41). He participates in Miθra’s fight against the evildoer along with Nairiiō.saŋha, the messenger of the gods (10.52). He drives on Miθra’s right and Rašnu “Judge” on his left (10.100). Later Rašnu drives on Miθra’s right and Razištā Cistā on his left (10.126, for an interpretation of this change of position, see Gershevitch, 1959, p. 39). Sraoša has many traits in common with Miθra, and the Srōš Yašt (Y. 57) is probably largely dependent on the Mihr Yašt (see Kreyenbroek, 1985, p. 166 and p. 93 contra Kellens, 1979, pp. 714 f.).

Once, Miθra is virtually identified with Rašnu (Yt. 10.79-81; see Gershevitch, 1959, p. 223). In his own Yašt, Rašnu is present at the oath ceremony or ordeal (varah), which takes place before the fire and with other ritual requisites (Yt. 12.3). He comes to help the innocent, but destroys the thief who has perjured himself (12.5-8). In Vendidad 4.54-55 a suspect is made to drink the golden oath-water, which brings out the truth by causing jaundice (cf. Schwartz, 1989) if he knowingly perjures himself by contradicting Rašnu, the judge, and deceiving Miθra, the contract or promise. In that case, he is severely punished. Here we find Miθra connected with the oath, a feature which is also known from foreign sources. According to Xenophon (Cyropaedia 7.5.53), Cyrus the Great swore by Miθra, and so did Artaxerxes II (Plutarch, Artaxerxes 4) and his brother Cyrus (Xenophon, Oeconomicus 4.24).

Aši “Reward” guides the chariot of Miθra (10.68), and she is a constant companion of Sraoša, as appears from his epithet ašiia “accompanied by Aši” (see Gershevitch, 1959, p. 194).

Ātar, the god Fire, also belongs to the companions of Miθra. He grants the straightest path (of truth) to those who do not deceive the contract (Yt. 10.3). The blazing Fire which is the Kavyan Fortune (xvarənah) flies in front of Miθra (10.127; see Gershevitch, 1959, p. 278) and probably brings the Fortune to the ruler who keeps his promises, as Miθra himself bestows riches and fortune (10.108). The association of Miθra with fire can be deduced from later Iranian and foreign sources, in particular from the fire ordeal which is to verify the truth of sworn depositions (see Boyce, 1975b; 1975a, pp. 35 f.). According to M. Boyce, in the Avesta this connection extends to the celestial fire, the sun (1975a, pp. 28 f.). In India Varuṇa’s abode is in the water (Lüders, 1951, pp. 12 f.), and he is present in the oath and ordeal water (ibid., pp. 28 ff.). Alliances (mitra) were concluded in front of the fire (ibid. pp. 38 f.). In Iran Miθra has taken over the administration of oaths and verifies them by the fire ordeal.

Miθra’s association with the sun is clearly defined in Yt 10.13: He is the first of the spiritual gods to rise over the mountain range Harā before the swift-horsed, immortal sun. In the Avesta there is no identification of the two; the Xoršēd Niyāyeš is recited in daily prayer together with the Mihr Niyāyeš, only in late Pahlavi texts is the sun called God Mihr (Boyce, 1975a, p. 69). The long arms of Miθra, with which he catches the liar whether he is in the east or west, at the source of the mythic river Raŋhā or the middle of the earth (10.104), have been compared with the arms of the Vedic Savitar, who instigates sunrise and sunset (Kellens, 1979), but from this it does not follow that Miθra is the sun. The identification of Miθra with the sun is first explicitly attested in a Greek source: Strabo (first century B.C.) states that in their worship the Persians call the sun Miθra (Geographica 15.13.732). Such an identification may also be reflected in the sacrifice of bulls to Zeus and horses to the Sun reported by Xenophon (Cyropaedia 8.3.11-12), Zeus standing for Auramazdā and the Sun for Miθra. However, Curtius Rufus (Historia Alexandri 4.13.12) has Darius III invoke the Sun, Miθra, and the Fire before the battle. It appears that in Achaemenid times there was no consistent identification of Miθra with the sun. The Mesopotamian sun-god Šamaš, who was venerated as judge and lord of justice and righteousness, may have influenced the identification, although it is doubtful whether Miθra borrowed his position as divinity of the seventh month from Šamaš, as Gnoli (1979, pp. 733 ff.) suggests, since the Vedic Mitra holds the same position.

Daēnā Māzdayasniš “Mazdayasnian Religion” paves the paths of Miθra’s chariot for good travel (Yt 10.66). The paving of paths is actually the task of Razištā Cistā, the goddess of the ways (Yt 16), who in the Mihr Yašt is called the likeness or alter ego of the Mazdayasnian Religion (10.126). Kellens (1994) has pointed out similarities of Daēnā and Razištā Cistā with the Ṛgvedic Uṣas “Dawn,” who also paves the ways. In Yt 13.94-95 the spreading of the Religion is synchronized with Miθra’s pacifying the countries. In Miθra’s soul there is a pledge to the Religion, according to which pledge the seed of the religion is distributed over all the seven climes (Yt. 10.64). This reminds one of the covenent of the Mazdayasnian Religion (10.117, cf. Gershevitch, 1959, pp. 212 ff.).

There are other minor deities in Miθra’s entourage: Pārəndi “Plenitude” (10.66), Hąm.varəiti “Valor” (10.66), θβāša “Firmament” (10.66), the Frauuašis (10.66,100), Arštāt “Justice” (10.139). Also the waters and the plants (10.100) fly all around him, which indicates that he has power over them, granting them or taking them away. Rāman Xvāstra “Peace providing good pasture” does not occur in the Mihr Yašt, but is elsewhere consistently mentioned after Miθra Vouru.gaoiiaoiti “Contract providing wide pasture,” obviously because of their identical function; the former seems to be a double or aspect of the latter.

The dual compound miθra ahura (Yt 10.113, 145) or ahura miθra (Yasna 1.11, 2.11) is generally understood as referring to Miθra and Ahura Mazdā. Boyce (1975a, pp. 41 ff. and 1975c), however, has argued that here the Ahura is rather Apąm Napāt “the child of the waters,” who in the Avesta is the only divinity to share the title Ahura with Mithra and Ahura Mazdā and whom she takes as the counterpart of the Vedic Varuáṇa. Since her arguments are summarized supra (see APĄM NAPĀT), they need not be discussed here. They remain controversial (cf. Wright, 1977, p. 633; Findly, 1979, p. 167; Kellens, 1994b, p. 31). Boyce later also interpreted pāyū(cā) θwōrəštārā “the protector and the creator” (Y. 42.2, 57.2), which had previously been taken as Miθra and Ahura Mazdā or as Miθra and Spənta Mainyu (Gershevitch, 1959, pp.54 ff.), as Miθra and (*Vouruna) Apąm Napāt (apud Kreyenbroek, 1985, p. 78).

Zaraθuštra does not mention the god Miθra nor any other god of the “pagan” religion. It has been generally assumed that he repudiated them altogether. Lommel (1944-49; 1962; 1964, pp. 161 ff.) believed he had found the reason for Zaraθuštra’s hate of Miθra in his bull-slaying, which we know only from the later Roman Mithras mysteries, but which Lommel tried to prove to be Indo-Iranian by adducing the Brāhmaṇa legend in which Soma (Avestan Haoma) in the form of a bull is killed by the gods, including the at first reluctant Mitra. His hypothesis was accepted by several specialists in the Mithraic mysteries (e.g., Vermaseren, 1963, p. 17; Merkelbach, 1984, pp. 13 ff.), but rejected by the Iranist Gershevitch (1957, pp. 64 f.; 1975). More recently it was supported by B. Schlerath (1987, 1988) with rather strong arguments which are, however, valid only for the Indian evidence.

That Zaraθuštra had a particular dislike for Miθra is, however, unlikely, because he once used the common noun (Y. 46.5), which he could have avoided by using a quasi-synonym.

Zaehner (1961, pp. 84 ff.) J. Duchesne-Guillemin (1962, pp. 99 ff.), and Boyce (1975a, pp. 214 f.) have argued that Zaraθuštra did not condemn blood sacrifices as a whole, but only particularly violent ones. Possibly these were of the type the Viiāmburas practiced (Yt. 14.57).

G. Dumézil (1945) tried to interpret Zaraθuštra’s divine entities, the later Aməša Spəntas, as substitutions for the pagan gods: Vohu Manah “Good Thinking” = Mitra, Aša “Truth” = Varuna, Xšaθra “Rule” = Indra, Ārmaiti “Devotion” = Sarasvatī, Hauruuatāt and Amərətatāt “Health and Immortality” = Aśvins (Nāsatyas). This is fitted into Dumézil’s trifunctional ideology: Varuṇa and Mitra represent mystical sovereignty, Indra combative power, Sarasvatī and the Aśvins fecundity. Dumézil’s interpretation has been accepted by several Iranists, in particular Duchesne-Guillemin (1962, p. 201) and G. Widengren (1965, pp. 200f.), but rejected or ignored by others.

Boyce (1969, pp. 17 ff.) argues that in the Indo-Iranian tradition a priest could address in his hymn a single deity, mentioning in it only those other gods closely associated with him, which did not imply the rejection of the other gods. Similarly Zaraθuštra addressed his hymns to the great god Ahura Mazdā, mentioning, besides him, only the entities closely associated with him. He did not repudiate the other gods. Later Boyce (1992, p. 56 with n.15) interpreted the Gāθic mazdåscā ahuråŋhō “Mazdā and the (other) Ahuras” (Y. 30.9, 31.4) as referring to Ahura Mazdā, Miθra, and Apąm Napāt, while generally it has been taken as Ahura Mazdā and the Aməša Spəntas. It is true that the Aməša Spəntas are never called Ahuras, but, if Boyce were right, a dual and not a plural would be expected.

Kellens offers a novel interpretation. According to him, in the Gāθās of Zaraθuštra all the supernatural entities who vie for the worship of men are subsumed under the term hant “being” (attested only in the gen. pl. hātąm) and the relative phrase yōi hənti “who are” (1989; further developed, 1994, pp. 97 ff., esp. 107 and 117). They are the Aməša Spəntas, the gods (baga, a word not attested in the Gāθās), and the false gods (daēuua). Miθra would then be one of the gods who does not receive individual worship, but who is not repudiated.

Cyrus, the founder of the Achaemenid empire, was presumably a follower of the Zaraθuštrian religion; at least circumstantial evidence shows that his actions were in agreement with it (see Boyce, 1988, pp. 26 ff.). Duchesne-Guillemin (1974, pp. 17 f.) suggested that Cyrus adopted the great god of the Medes, Miθra. However we do not know that Miθra was the great god of the Medes. And the interpretation of the rosette on Cyrus’s tomb at Pasargadae as a symbol of Miθra on the basis of the comparison with the lotus on which Miθra stands on the Sasanian rock relief at Ṭāq-e Bostān (see MITHRA. ICONOGRAPHY) is hardly convincing. Boyce (1982, p. 57) takes the rosette as a symbol for the Aməša Spənta Amərətatāt “Immortality” and the immortality of the king’s soul. She also argues that there were no cults which exalted Miθra as supreme god (Boyce and Grenet, pp. 471-73, 482; 2001, p. 243).

Darius worshipped Auramazdā together with all the other gods (baga), but did not name any of them. Miθra was apparently not individually worshipped, since he is absent in the Persepolis fortification tablets which know of local sacrifices to minor Iranian gods (see Koch, 1991, pp. 91 ff.). With Artaxerxes II, Miθra and Anāhitā replace all the gods as companions of Auramazdā. It can be argued that Darius’s devotion was still close to that of the followers of the Gāθās of Zaraθuštra, while Artaxerxes II followed the more popular trend, represented in the Yašts, which dedicated individual worship to the gods by addressing them by name. Artaxerxes III has, beside Auramazdā, Miθra Baga, generally translated “Miθra, the Baga,” but Boyce has “Miθra and the Baga = Apąm Napāt” (1981, with further arguments, 1990; 1992, passim; 1993; 2001).

Bibliography:

Ch. Bartholomae, Altiranisches Wörterbuch, Strassburg, 1904. W. Belardi, Mithraici e Mazdei, Rome, 1977.

M. Boyce, “On Mithra’s part in Zoroastrianism,” BSOAS 32, 1969, pp. 10-34.

Eadem, A History of Zoroastrianism I-II, Leiden, 1975a, 1982.

Eadem, “Mithra, Lord of Fire,” in Monumentum H.S. Nyberg I, Acta Iranica 4, Leiden, 1975b, pp. 69-76.

Eadem, “On Varuna’s Part in Zoroastrianism,” in M. Dj. Moinfar , ed., Mélanges linguistiques offerts à Emile Benveniste, Collection Linguistique, Société de Linguistique de Paris, LXX, Louvain, 1975c, pp. 55-64.

Eadem, “Varuna the Baga,” in Monumentum Georg Morgenstierne I, Acta Iranica 21, Leiden, 1981, pp. 59-73.

Eadem, “The Religion of Cyrus the Great,” in Achaemenid History III, Leiden, 1988, pp. 15-31.

Eadem, “Mithra Khšathrapati and His Brother Ahura,” BAI [Bulletin of the Asia Institute], N.S. 4, 1990, pp. 3-9.

Eadem, Zoroastrianism, Its Antiquity and Constant Vigour, Costa Mesa, Calif., 1992.

Eadem, “Great Vayu and Greater Varuna,” BAI, N.S. 7, 1993, pp. 35-40.

Eadem, “Mithra the King and Varuna the Master,” in M. G. Schmidt and W. Bisang , eds., Philologica et Linguistica, Festschrift für H. Humbach. Trier, 2001, pp. 239-57.

M. Boyce and Fr. Grenet, A History of Zoroastrianism III, Leiden, 1991.

J. P. Brereton, The Ṛgvedic Ādityas, New Haven, 1981.

J. Duchesne-Guillemin, La Religion de l’Iran Ancien. Paris, 1962.

Idem, “Le dieu de Cyrus,” in Commémoration Cyrus. Hommage universel III, Acta Iranica 3. Leiden, 1974, pp. 11-21.

G. Dumézil, Naissance d’archanges, Paris, 1945.

E. B. Findly, “The ‘Child of the Waters’: A Revaluation of the Vedic Apām Napāt,” Numen 26, 1979, pp. 164-84.

I. Gershevitch, The Avestan Hymn to Mithra. Cambridge, 1959.

Idem, “Die Sonne das Beste,” in J. R. Hinnells , ed., Mithraic Studies. Manchester, 1975, I, pp. 68-89.

Gh. Gnoli, “Sol Persice Mithra,” in U. Bianchi, ed., Mysteria Mithrae, Leiden, 1979, pp. 725-40.

J. Gonda, The Vedic God Mitra, Leiden,, 1972.

Idem, “Mitra and Mitra, the Idea of ‘Friendship’ in Ancient India,” Indologica Taurinensia 1, 1973, pp. 71-107.

L. H. Gray, The Foundations of the Iranian Religions, Bombay, 1929.

E. Herzfeld, Zoroaster and his World, 2 vols., Princeton, 1947.

E. Imoto, “Mithra the Mediator,” in Monumentum Georg Morgenstierne, Acta Iranica 21, pp. 299-307.

J. Kellens, “Trois réflections sur la religion des Achémenides,” Studien zur Indologie und Iranistik 2, 1976, pp. 113-32.

Idem, “Charactères differentielles du Mihr Yašt,” in Études Mithriaques, Acta Iranica 17, Leiden, 1978, pp. 261-70.

Idem, “Les bras de Miθra,” In U. Bianchi , ed., Misteria Mithrae. Leiden, 1979, pp. 703-16.

Idem, “Le sens de vieil-avestique hātąm,” MSS 50, 1989. pp. 51-64.

Idem, “La fonction aurorale de Miθra et de la Daēnā,” in J. R. Hinnells, ed., Studies in Mithraism. Rome, 1994a, pp. 165-71.

Idem, Le Pantheon de l’Avesta Ancien. Wiesbaden, 1994b. G. Kreyenbroek, Sraoša in the Zoroastrian Tradition, Leiden, 1985.

F. B. J. Kuiper, “Remarks on the Avestan Hymn to Mithra,” IIJ 5, 1961, pp. 36-60.

Idem, review of Gonda, 1972. IIJ 15, 1973, pp. 223-32.

W. Lentz, “Mithras Verfügung über die Herschegewalt (Yasht 10. 109 und 111),” in Indo-Iranica. Mélanges Georg Morgenstierne, Wiesbaden, 1964, pp. 108-23.

Idem, “The ‘Social Functions’ of the Old Iranian Mithra,” in W.B. Henning Memorial Volume. London, 1970, pp. 245-55.

H. Lommel, Die Yäšt’s des Avesta. Gõttingen, 1927.

Idem, “Mithra und das Stieropfer,” Paideuma 3, 1944-49, pp. 207-18.

Idem, “Die Sonne das Schlechteste?” Oriens 15, 1962, pp. 360-73.

Idem, “Kopfdämonen im alten Indien,” Symbolon. Jahrbuch für Symbolforschung 4, 1964, pp. 149-75.

H. Lüders, “Eine arische Anschauung über den Vertragsbruch,” Sitzungsberichte der Preussischen Akademie der Wissenschaften. Philosophisch-historische Klasse, 1917, pp. 347-74.

Idem, Varuṇa I. Varuṇa und die Wasser. Göttingen, 1951.

M. A. Mehendale, “On mitradrúh and mitradroha,” Annals of the Bhandarkar Oriental Research Institute 69, 1988, pp. 249-54.

A. Meillet, “Le dieu Indo-Iranien Mitra,” JA sér. 10, 10, 1907, pp. 143-59.

R. Merkelbach, Mithras. Königstein im Taunus, 1984.

H. S. Nyberg, Die Religion en des alten Iran. Leipzig, 1938.

B. Schlerath, “ráksate śiraḥ RV 9.68,4,” Studien zur Indologie und Iranistik 13-14, 1987, pp. 195-201.

Idem, “The Slaying of the god Soma,” Annals of the Bhandarkar Oriental Research Institute 68, 1988, pp. 345-48.

H-P. Schmidt, “Indo-Iranian Mitra Studies: The State of the Central Problem,” in Études Mithriaques,Acta Iranica 17, Leiden, 1978, pp. 345-93.

M. Schwartz, “Pers. saugand xurdan, etc. ‘To take an oath’ (not *’to drink sulphur’),” in C.-H. de Fouchécour and Ph. Gignoux, eds., Études Irano-Aryennes offertes à Gilbertt Lazard. Paris, 1989, pp. 293-95.

P. Thieme, Mitra and Aryaman, Transactions of the Connecticut Academy of Arts and Sciences 41, New Haven, 1957.

Idem, “Remarks on the Avestan Hymn to Mithra,” BSOAS 23, 1960, pp. 265-74.

Idem, “The ‘Aryan’ Gods of the Mitanni Treaties,” JAOS 80. 1960, pp. 301-17.

Idem, “King Varuna,” in German Scholars on India I, Varanasi, 1973, pp. 333-49.

Idem, “The concept of Mitra in Aryan belief,” in J. R. Hinnells , ed., Mithraic Studies, Manchester, 1975, I, pp. 21-39.

Idem, “Mithra in the Avesta,” Études Mithriaques (Acta Iranica 17), Leiden, 1978, 501-510.

M. J. Vermaseren, Mithras, the Secret God. London, 1963. J. C. Wright, review of Boyce, 1975, BSOAS 40, 1977, pp. 632-23.

G. Widengren, Die Religionen Irans. Stuttgart, 1963. R. C. Zaehner, The Dawn and Twilight of Zoroastrianism. London, 1961.

(Hanns-Peter Schmidt)

http://www.iranicaonline.org/articles/mithra-i

ii. ICONOGRAPHY IN IRAN AND CENTRAL ASIA

There is no known iconography of Mithra in the Achaemenid period. On coins of the Arsacids the seated archer dressed as a Parthian horseman, which is often depicted on the reverse, has been interpreted as Mithra holding Apollo’s favorite attribute, a bow, but the figure is also taken, perhaps more plausibly, as a reminder of Arsaces I, the dynastic ancestor. A coin issue from Susa dating probably from Artabanus II’s reign (ca. 128-124 BCE) presents a more convincing example of Mithra in the guise of Apollo, as the Parthian king is shown kneeling in front of a statue of the Greek god (here naked and holding his quiver), a scene which can be compared with Tiridates of Armenia’s address to Nero: “I am the descendant of Arsaces ... and have come to thee, my god, to kneel before you as I do before Mithra” (Dio Cassius, 62.5.2). On the reliefs at Tang-e Sarvak in Elymais (2nd century CE), the rayed deity previously misinterpreted as Helios-Mithra is now held to be Artemis-Nanaia.

The youthful, beardless Apollonian type is prominent in images from other countries of Iranian culture contemporary with the Parthian empire. In the kingdom of Commagene on the upper Euphrates, royal steles carved under Antiochus I between 62 and 37 BCE show the king clasping hands with “Mithra-Helios-Apollo-Hermes,” who is named in the accompanying Greek inscriptions; the god is dressed in Iranian costume, with rays radiating from a high curved Iranian tiara (which was later on to be adapted as a Phrygian cap in the iconography of the Greco-Roman Mithras). In the Kushan empire Mithra is among the deities most frequently depicted on the coinage, always as a young solar god. This type appears first on the obverse of coins of Soter Megas (ca. 80-100 CE), where his head in profile replaces that of the king, a choice which perhaps echoes the king’s (Mithraic?) title Soter Megas “the Savior, the Great” always used instead of his personal name. Here the bare, diademed head with rays is obviously copied from a Hellenistic statue of Apollo holding an arrow (FIGURE 1). After an eclipse under Vima Kadphises, who promoted a Shivaite cult, Mithra reappears prominently under Kanishka I (127- ca. 153), when he is labeled first in Greek as Helios, then in Bactrian as Mihr (written Miuro, Miiro, Mirro, etc.); he keeps a similar position on the coinage of Huviška (ca. 153-91). On these coins he is never shown in a chariot, but standing, always with a rayed nimbus, an Iranian dress (tunic, cloak, boots) and warrior’s attributes (a sword, often a spear). He is most often brandishing a torque (FIGURE 2) or a ribboned wreath, both of which can be interpreted as symbolizing the royal investiture or perhaps more specifically the royal xvarənah. In some variants he instead executes an auspicious gesture with two fingers raised (in one case, to the moon-god Māh, written Mao).

Another Greek source for the iconography of Mithra in eastern Iran is Zeus. In fact the very first attempts to embody the concept of Mithra are an adaptation of the type of Zeus which is displayed on coins of late Greek rulers of Bactria and Kapisa (the Kabul region). This series starts with coins of Heliocles I (ca. 145-130 BCE), where Zeus has his head fitted with rays, an attribute which is not customary for him, and which in the rare cases when it is accorded him indicates assimilation to a local solar god. Under later kings the god more and more takes on an Iranian look: the tiara appears on the head of the enthroned god, and eventually, on bronze coins of Amyntas and Hermaeus (kings in Kapisa, ca. 95-70 BCE), it displays such characteristic details as tip bent forward, back edge covering the nape, and side-flaps (FIGURE 3). It has been argued that the assimilation of Zeus with Mithra (instead of Ahurā Mazdā, as in Commagene) hinted at Mithra occupying the supreme position in the eastern variant of the Iranian religion, but one might perhaps explain it rather by a reluctance to provide Ahurā Mazdā with human features (cf. Dādestān ī dēnīg 18.1-5, where he is said to be visible only through the powers of wisdom). Moreover, some specific attributes of Zeus were liable to find parallels in the Mihr Yašt: the mace-thunderbolt, the “Victorious superiority” (vanaintī uparatāt) hailed as a boon of Mithra (Yt. 10.33) and which could be recognized in the figure of Nike raised in Zeus’s hand on some of the coin types discussed above. The auspicious gesture executed by the god on some of the coins provides a link with the Apollonian type in favor under the Kushans.

After a long eclipse, the bearded Jovian type of Mithra reappears on coins issued by the first rulers of the new Kushano-Sasanian dynasty in the late 3rd and early 4th century. On a gold coin of Ardašir, first of this line, the god identified by the Bactrian legend Bago Miuro is seated on a throne of the Greek type and displays a ribboned wreath. But on later issues the same god, sometimes enthroned with the added attribute of a spear, sometimes emerging in this guise from a fire altar, is always labeled burzˊawand yazad “the god who possesses the heights” (in Middle Persian or in Bactrian transcription; FIGURE 4). This can be interpreted as a deliberate attempt to bridge the gap with the Irano-Indian god who figures prominently on the coinage of the 3rd-century Kushans: Wēš (Oēšo), whose name and concept come from the Avesta (Vayuš [uparō.kairȳo-] "Vayu who acts in the heights”) but whose appearance and attributes had hitherto been borrowed from Shiva. Instead, the new syncretic god retained some ancient characteristics of Mithra, like the rays or flames around the head and even a residual tiara topped with a crescent (a detail discernible on some excellent specimens issued in Marv and Herat). At the same time the naked chest, the position of the legs, and the shape of the throne betray the lingering influence of a Greek statue, and it seems possible to suggest that such statues, provided with added attributes, were still visible in Bactrian temples at that time; cf., on another Kushano-Sasanian coin from the same period, the image of the “Anāhid the Lady” which is clearly an enthroned statue of Artemis (Cribb, 1990, pp. 183-84, coin 5).

The only image of Mithra known in Sasanian monumental art, that on Šāpūr II’s relief at Tāq-e Bostān commemorating the victory over Julian the Apostate in 363 (FIGURE 5), is consistent with the Jovian type. Here the god is standing on a lotus flower, which recently has been convincingly interpreted as a symbol of the xvarənah (see FARR[AH]) abiding in the waters (Soudavar, 2003, pp. 53-54). He is placed behind the king, who receives the ribboned ring from Ohrmazd and holds the barsom in hand (which explains what the Parsis mistook this image for Zoroaster and still use it as the model for his conventional portrait). Apart from this, the only official depiction of Mithra under the Sasanians is on coins of Hormizd I (272-73): the god, recognizable from his rays, holds the ring of investiture out to the king across the fire altar.

A third iconographic type, inherited from the Greeks like the two other ones, is that of the charioteer, derived from Apollo-Helios in his quadriga. In the Iranian world it is not documented before the Sasanian period and is never found on coins, although its “frontal” compositional scheme with the horses separating symmetrically appears first with the image of the Greek god on coins of the Greco-Bactrian king Plato (ca. 145 BCE). This type, with various degrees of simplification, underlies the five private seals which constitute the bulk of the Sasanian iconography of Mithra (list with references in Grenet, 2003). The head is always radiated and the face beardless, except in one case. On two seals the horses are reduced to two (in one case the inscription reads hu-mihrīh ī pahlom “perfect friendship,” an indirect reference to Mithra’s name; FIGURE 6); on another one only the chariot remains (with the mask of a horned lion, on which see below), and in one case only the radiated bust (with the explicit inscription Mihr yazad). The fifth specimen will be discussed below.

A schematized rendering of Mithra seating on the solar chariot is also to be recognized on several images from the Sogdian sites of Panjikent (FIGURE 7) and Šahrestān (Ustrušana), as late as the 8th century. On some of these depictions the chariot, which at that time had fallen into disuse in Central Asia as well as in Iran, is replaced by a throne resting on the foreparts of two horses. This is not the case, however, with the most elaborate document of Iranian Mithraic iconography which have come down to us. This is the painted composition which once decorated the soffit of the niche of the 38-meter Buddha at Bāmīan (it was destroyed by the Taliban in 1999, before the Buddhas themselves, but it survives through excellent photographic and graphic records; FIGURE 8). Probably executed in the second half of the 6th century, it includes no recognizable Buddhist element but, taken as a whole, appears to illustrate the daily epiphany of Mithra as described in the Mihr Yašt. The “gold-painted mountain tops” of Mount Harā, in reddish color, frame the composition. The juvenile god is standing on his chariot drawn by four white steers and driven by a winged figure that is most probably Aši. On both sides of the chariot stand two winged female figures: the one to the left is clearly inspired by Athena holding the gorgoneion (the head of Medusa), the one to the right is an archer. They can probably be interpreted as the moon and sunlight respectively (although Athena is also known to have provided her image to Arštāt, herself a companion of Mithra). Vāta, the Wind, also mentioned in the Mihr Yašt, is symbolized by two figures in the upper part. The two half-bird, half-human figures with priestly attributes (padām, i.e., a covering for the mouth and nose, torch, libation spoon at the belt), flying at Mithra’s level, are more difficult to interpret; their belonging to Sogdian Zoroastrian iconography has been proved by recent discoveries (ossuaries from Samarqand, funerary monuments of expatriate Sogdians in northern China), and they have been recently explained (Grenet, 2003) as Srōš’s cock manifesting this god’s presence in the Yasna liturgy (P. O. Skjærvø apud Grenet, Riboud, and Yang Junkai, 2004, pp. 278-79). The presence of this purely Mithraic iconography in such a setting reflects the local importance of this cult, no doubt related to the fact that the Bāmīan region was the focal point of the Mihr Yašt (a concept still present in Pahlavi literature; see G.Bd. 21A.11.17).

Although executed at a relatively late period, the Bāmīan composition preserves some archaic features which betray an older iconographic tradition, an assumption confirmed by the existence of its abbreviated version on an eastern Sasanian seal from the late 4th or 5th centuries in the British Museum (first published in Callieri, 1990; FIGURE 9): the figure of the god entirely surrounded by an indented halo is almost similar, but here he is shown emerging directly from Mount Harā, rendered as a triangle of globular rocks (an image which, in its turn, calls to mind some figures of Mithra petrogenus in western Mithraism; cf. the mithrea at Dura Europus and at San Clemente in Rome). Echoes of the Bāmīan composition are perceptible in Buddhist cave paintings at Kiriš-Simsin near Kucha (the chariot, the winds, the frame of mountains) and at Cave 285 (Pelliot 120) in Dunhuang (the chariot, the moonlight going back to the type of Athena).

The above-mentioned paintings at Šahrestān in Ustrušana offer the only surviving example of the Iranian Mithra taking part in a battle against demons. There are no recognizable analogies in detail with the eschatological battle against Aēšma, demon of Wrath, in which Mithra leads several divine or heroic companions according to Zand ī Wahman Yasn (7.34); on the contrary, at Šahrestān Mithra appears subordinated to Nana, the high goddess of the Sogdian pantheon.

There is no certain depiction of Mithra on Sogdian ossuaries, despite his role as a judge of the dead, and the deity next to Nana in the lamentation scene at the Panjikent Temple II is not him (pace Azarpay, 1981, p. 141), but probably Žimat, i.e., Demeter (Grenet and Marshak, 1998, pp. 8-9). On the reliefs of the stone sarcophagus of Yu Hong, an Iranian or Central Asian from an unidentified country who died in China in 593, Mithra is, however, likely to be the riding god who meets a sacrificial horse (Marshak, 2001, pp. 254-56; FIGURE 10).

The Central Asian type of Mithra as charioteer deeply influenced the iconography of the Indian Sūrya, including the costume. On the other hand, syncretic developments with Hindu or local cults, already attested at the official level with the Kushano-Sasanian burzˊawand yazad, continued in Bactria and in the neighboring regions. The main witness is the cave painting at Doḵtar-e Nošervān, to the north of Bāmīan, probably dating from the 7th century (FIGURE 11): the god seated on a throne resting on the foreparts of two horses, with his sword between his legs, conforms to the type of Mithra. This filiation is confirmed by the mask of a horned lion above the wings of his crown, a cluster of animal symbols also found on some Sasanian seals and which appears to allude to the coming of the Sun into Aries, when a festival to the Sun was celebrated (Biruni, Āṯār al-Bākiya, tr. M. A. Sal’e, Abureĭkhan Biruni. Izbrannye proizvedeniya I, Tashkent, 1957, pp. 236-38; this passage is mutilated in Sachau’s edition). The eight animal heads protruding from his halo can be viewed as symbols of the directions of space (rather than planets, as in Grenet, 1995). The Bactrian archives from this valley, however, indicate that the local high god was Žun (< Zurw@an?), whose regional importance all along the Indo-Iranian border is also attested by the Chinese traveler Xuanzang, so it appears plausible that at Dokòtar-e Noæerv@an attributes once proper to Mithra have been reused for an even more encompassing religious figure.

Bibliography:

G. Azarpay, Sogdian Painting. The Pictorial Epic in Oriental Art, Berkeley, Los Angeles, and London, 1981.

A. D. H. Bivar, “Mithraic Images of Bactria: Are They Related to Roman Mithraism?” in U. Bianchi, ed., Mysteria Mithrae, Études Préliminaires aux Religions Orientales dans l’Empire Romain (EPRO) 80, Leiden, 1979, pp. 741-50.

Idem, The Personalities of Mithra in Archaeology and Literature, New York, 1998.

M. Boyce and F. Grenet, A History of Zoroastrianism, vol. III: Zoroastrianism under Macedonian and Roman rule, Leiden, 1991, esp. pp. 38-39, 162-63, 331, 337-38, 346.

P. Callieri, “On the Diffusion of the Mithra Images in Sasanian Iran. New evidence from a Seal in the British Museum,” East and West 40, 1990, pp. 79-98.

M. Carter, “A Numismatic Reconstruction of Kushano-Sasanian History,” American Numismatic Society Monographs and Notes 30, 1985, pp. 215-81, pl. 47-52, esp. pp. 227-29, 242-44.

J. Cribb, “Numismatic Evidence for Kushano-Sasanian Chronology,” Studia Iranica 19, 1990, pp. 151-193, pl. I-VIII.

R. Göbl, System und Chronologie der Münzprägung des Kušānreiches, Wien, 1984 (esp. pp. 42, 166-67, 172).

F. Grenet, “Mithra au temple principal d’Aï Khanoum?” in P. Bernard and F. Grenet, ed., Histoire et cultes de l’Asie centrale préislamique, Paris, 1991, pp. 147-51, pl. LVIII-LX.

Idem, “Bāmiyān and the Mihr Yašt,” Bulletin of the Asia Institute 7, 1993 [1994], pp. 87-94.

Idem, “Mithra et les planètes dans l’Hindukush central: essai d’interprétation de la peinture de Dokhtar-i Nôshirvân,” in R. Gyselen, ed., Au carrefour des religions. Mélanges offerts à Philippe Gignoux (Res Orientales, 7), Bures-sur-Yvette, 1995, pp. 105-19.

Idem, “Mithra, dieu iranien: nouvelles données,” Topoi 11, 2003, pp. 35-58.

F. Grenet and B. Marshak, “Le mythe de Nana dans l’art de la Sogdiane,” Arts Asiatiques 53, 1998, pp. 5-18.

F. Grenet, P. Riboud, and Yang Junkai, “Zoroastrian Scenes on a Newly Discovered Sogdian Tomb in Xi’an, Northern China,” Studia Iranica 33, 2004, pp. 273-84.

A. von Le Coq, Bilderatlas zur Kunst und Kulturgeschichte Mittel-Asiens, Berlin, 1925 (repr., Graz, 1977), figs. 220-25.

B. Marshak, “La thématique sogdienne dans l’art de la Chine de la seconde moitié du VIe siècle,” Comptes Rendus de l’Académie des Inscriptions & Belles-lettres, 2001, pp. 227-64.

R. Merkelbach, Mithras, Königstein, 1984.

N. N. Negmatov, “Bozhestvennyĭ i demonicheskiĭ panteony Ustrushany i ikh indo-iranskie parallely” (The divine and demoniac pantheons of Ustrushana and their Indo-Iranian parallels), in V. M. Masson, ed., Drevnie kul’tury Sredneĭ Azii i Indii, Leningrad, 1984, pp. 146-64.

V. Shkoda, “K voprosu o kul’tovykh stsenakh v sogdiĭskoĭ zhivopisi” (On the question of cult scenes in Sogdian painting), Soobshcheniya Gosudarstvennogo Ermitazha 45, 1980, pp. 60-63.

A. Soudavar, The Aura of Kings, Costa Mesa, 2003.

January 13, 2006

(Franz Grenet)

Close

Figure 1. Head of Mithra on a Bactrian coin of Sōter Megas (Grenet, 2003, fig. 13). With the permission of E. Rtveladze.

Close

Figure 2. Figure of Mithra on a Bactrian coin of Huviška (Grenet, 2003, fig. 6). With the permission of the author.

Close

Figure 3. Head of Mithra on a Greco-Bactrian coin of Hermaeus (Grenet, 2003, fig. 5). With the permission of O. Bopearachchi.

Close

Figure 4. Figure of Mithra enthroned, on a coin of the Kušānšāh Ardašir (Grenet, 2003, fig. 4). With the permission of the British Museum and J. Cribb.

Close

Figure 5. Figure of Mithra on Šāpūr II’s relief at Ṭāq-e Bostān (Grenet, 2003, fig. 3). With the permission of W. Ball.

Close

Figure 6. Sasanian seal, formerly in the Berlin State Museum, depicting Mithra (Grenet, 2003, fig. 1).

Close

Figure 7. Sogdian wood relief depicting Mithra, Panjikent, Tajikistan. (Grenet, 2003, fig. 7). With the permission of V. Shkoda.

Close

Figure 8. Drawing of the painting of Mithra formerly in the niche of the 38-meter Buddha at Bāmiān. (Grenet, 2003, fig. 9). With the permission of the author.

Close

Figure 9. Eastern Sasanian seal depicting Mithra, late 4th or 5th centuries. (British Museum, no. OA 1932.5-17.1; Callieri, 1990. fig. 3). With the permission of P. Callieri. © The Trustees of the British Museum. With the permision of J. Cribb. Available at www.britishmuseum.org.

Expand

nextprevious

Close

Figure 10. Relief on a stone sarcophagus possibly depicting Mithra, China, 598 CE (Marshak, 2001, fig. 22a). With the permission of B. Marshak.

Close

Figure 11. Cave painting depicting Mithra enthroned, Doḵtar-e Nošervān, Afghanistan, ca. 7th century CE (Grenet, 2003). With the permission of the author.

http://www.iranicaonline.org/articles/mithra-2-iconography-in-iran-and-central-asia

iii. IN MANICHEISM

The Iranian Manicheans adopted the name of the Zoroastrian god Mithra (Av. Miθra; Mid. Pers. Mihr) and used it to designate one of their own deities. Unfortunately, the representation of Mithra as a different god in languages has, for a long time, obscured the relation between the Zoroastrian and the Manichean concepts of the deity.

The name appears in Middle Persian as Mihr(myhr, which does not stem from the genuine Old Persian form *miça-),in Parthian as Mihr(myhr) and in Sogdian as Miši(myšyy; Sundermann, 1979a, p. 10, sub 3/11.2). The spellings mytr, mytrg, however, are not variants of the name Mithra, they rather denote Maitreya.

The divine title of Mithra in Middle Persian and Parthian Manichean texts is invariably yazad (divinity), which differs from the Old Persian convention that regarded Mithra as a baga-, if a title was given to him at all. But it is in perfect agreement with the Avestan way ofaddressing Mithra as yazata- (only once called baγa).In Manichean Sogdian, however, the name and title of Mithra are regularly Miši βaγi, conforming to the Old Persian convention.

In Mani’s Šābuhragān and in all later Middle Persian texts Mihrdenotes the Living Spirit,the subjugator of the demons who had attacked the World of Light and captured the First Man and his sons. He is also the builder of this world, and, when the world comes to an end, the powerful vanquisher of the demonic concupiscentia Āz, the Hyle(Sundermann, 1978, pp. 489-93).

In Parthian and Sogdian (Sundermann, 1979a, pp. 104, 109), however, Mihr/Mišiwas taken as the sun and consequently identified with the Third Messenger. Asthe sun god he is praised for his illuminative, light-giving deeds, for his expulsion of darkness, for his regular and reliable revolution in the sky, etc. As the Third Messenger he is a helper and redeemer of mankind, very much like Jesus the Splendor. His cosmogonical work remains in the background, as far as the hymns to Mihrare concerned.

The identification of the Zoroastrian Mithra with different Manichean gods in Middle Persian and Parthian has become the shibboleththat distinguishes between the two terminological systems. The Sogdians developed a terminological system of their pantheon that combined Middle Persian and Parthian components, but, in the identification of Mithra, they followed the Parthian model (Sundermann, 1979a, p. 104); thus it was probably in the texts in other East Manichean languages that the divine names were drawn on the Sogdian pattern or at least used in Sogdian form (for Old Turkish, cf. Tongerloo, pp. 175-6, 177-78; for Chinese, cf. Bryder, pp. 101, 106-9, 121).

In Middle Persian the name Mihr isused for the Third Messenger without exception. In Parthian, however, as in Sogdian, there is a second identification of the Third Messenger with the Zoroastrian god Nairiyōsaŋha (Av. nairiiō-saŋha-),called in Parthian Narisaf Yazad(nrysfyzd), adopted in Sogdian as nrʾy-sβ yzδ, and rendered by the genuine Sogdian form nryšnx βγy (Sundermann, 1979a, p. 101, sub 3/11.1, pp. 105-6). The Third Messenger’s name appears also in Parthian translation as hrdyg fryštg, in Sogdian as ʾštykw prʾy-štʾk (Sundermann, 1979a, p. 100, sub 2/11.1; see Table 1).

The difference of the terminology between the Middle Persian and the Parthian Manichean theology has been explained in different ways. Walter Bruno Henning, who for the first time correctly solved the problem (as far as Mithra is concerned), maintained that the Zoroastrian Mithra in 3rd-century Persia had so few elements in common with the contemporary Parthian or Sogdian Mithra that identifications with different Manichean deities seemed inevitable (Henning, 1934, cols. 6-8, with col. 7, n. 3). Mary Boyce’s more precise explanation leads to the same conclusion: It was among the Parthian Manicheans that Mithra as a sun god surpassed the importance of Narisaf as the common Iranian image of the Third Messenger; “among the Parthians the dominance of Mithra was such that his identification with the Third Messenger led to cultic emphasis on the Mithraic traits in the Manichaean god” (Boyce, p. 49). The Manichean missionaries to Parthia consequently “abandoned” the earlier identification of the Living Spirit with Mithra (Boyce, p. 48).

The theory that Parthian and Sogdian Manicheans, in contrast to the Persians, called the Third Messenger Mithra, simply because their Mithra was already a solar deity, was decidedly disputed by Ilya Gershevitch, who justly pointed out that in Sogdian the sun god is called Mithra only and exclusively in Manichean texts. Therefore, the different identification of Mithra in Middle Persian on the one hand and in Parthian and Sogdian on the other was simply the result of a different interpretation of the nature of the Manichean gods, that is of the Living Spirit and the Third Messenger, by Mani on the one hand and by his missionaries to Parthia on the other (Gershevitch, pp. 69-74).The explanation of the present author (Sundermann, 1979, pp. 107-9) is that Mani, the creator of the Middle Persian terminological system, developed and completed his system in the course of his missionary career. The creator of the Parthian system, however, was most likely Mār Ammō, Mani’s apostle among the Parthians. He adopted Mani’s system at a very early and still imperfect state and completed it on his own. Since Ammō’s missionary field was far away from Mani’s, and since both were active in different linguistic areas, such a supposition seems to be justified.

An outcome of this diverging development was Ammō’s identification of the Third Messenger with the sun godMihr, which was in agreement with the common popular Zoroastrian belief of his time, while Mani’s own identification of the Living Spirit with Mihrwas based on a better knowledge of Zoroastrian theology which, in agreement with the Avesta, distinguished between the god Mithra and the sun (Sundermann, 1978, p. 499; idem, 1979a, p. 115).

Did the identification of two Manichean deities with the Zoroastrian god Mithra entail a certain influence from the Zoroastrian on the Manichean side, at least in the Iranian branch of Manicheism? A few characteristics of the Manichean gods that point to borrowings form the Avestan Mihr Yašt have been singled out by Mary Boyce forMithra as the Parthian Third Messenger (pp. 49, 52-54), and by the present author for the Middle Persian Living Spirit (Sundermann, 1979b, pp. 777-87).

Bibliography:

Peter Bryder, The Chinese Transformation of Manichaeism: A Study of Chinese Manichaean Terminology, [Löberöd,] Sweden, 1985.

Mary Boyce, “On Mithra in the Manichaean Pantheon,” in Walter B. Henning and Ehsan Yarshater, eds., A Locust’s Leg:Studies in Honour of S. H. Taqizadeh, London, 1962, pp. 44-54.

Ilya Gershevitch, “Die Sonne das Beste,” in John R. Hinnells, ed., Mithraic Studies:Proceedings of the First International Congress of Mithraic Studies, 2 vols., Manchester, 1975, I, pp. 69-89.

Walter Bruno Henning, “Zum zentralasiatischen Manichäismus,” OLZ 37, 1934, coll. 1-11.

Werner Sundermann, “Some more Remarks on Mithra in the Manichaean Pantheon,” in Jacques Duchesne-Guillemin, ed., Études Mithriaques, Actes du 2e Congrès International Téhéran, du 1er au 8 septembre 1975, Acta Iranica 17, Leiden, 1978, pp. 485-99.

Idem, “Namen von Göttern, Dämonen and Menschen in iranischen Versionen des manichäischen Mythos,” AoF 6, 1979a, pp. 95-133.

Idem, “The Five Sons of the Manichaean God Mithra,” in Ugo Bianchi, ed., Mysteria Mithrae: Proceedings of the International Seminar on the Religio-Historical Character of Roman Mithraism, Leiden, 1979b, pp. 777-87.

Alois van Tongerloo, “Middle Iranian in Old Uygur: Remarks on Selected Specimens in the Buddhist and Manichaean Texts,” in Wojciech Skalmowski and Alois Van Tongerloo, eds., Medioiranica: Proceedings of the International Colloqium on Middle Iranian Studies, Orientalia Lovaniensia 48, Leuven, 1993.

(Werner Sundermann)

http://www.iranicaonline.org/articles/mithra-in-manicheism-1

Itihāsa of Ṛbhus in Rigveda 'smiths,skilled artists, artificers', adored as divinities & Sarasvati civilization evidence

February 3, 2017, 2:13 am

≫ Next: Itihāsa of yajñāyudhāni, 'weapons for yajñā' in Rigveda, made by ऋभु, ṛbhu 'skilled artificers'

≪ Previous: Itihāsa of Mitrotsavam, Uttarāyaṇa day, samrājā 'sovereign' Mitrā-Varuṇau from Vedic times

$

0

0

Mirror: http://tinyurl.com/zba3k8h

I submit that the 8000+ Indus Script inscriptions are metalwork catalogues of Sarasvati Civilization and constitute a data-mine of messages documenting metalwork by Ṛbhus of the civilization in the Rigveda tradition detailed in this monograph.

Chanhu-daro.Bronze cart with canopy. 36.2237 Museum of Fine Arts, Boston

Illustrated London News 1936 - November 21st.Metal implements.Chanhu-daro.

Metal objects excavated at Harappa, reported by MS Vats.

In Hindu tradition, Ṛbhus are born in human form, who then bring their innovation to earth, remain humble and kind. Thus, Ṛbhus are artificers, inventive artisans. (Charles Russell Coulter; Patricia Turner (2013). "Ribhus". Encyclopedia of Ancient Deities. Routledge. p. 918).

"Ṛbhus are depicted in some legends of the Vedic literature as three sons of the goddess of morning light named Saranyu and Hindu god Indra.In other legends, such as in the Atharvaveda, they are sons of Sudhanvan, which means good archer.In either legends, they are famous for their creative abilities, innovation and they design chariots, the magic cow of plenty, channels for rivers, and tools for Indra and other gods, which makes many envious...They are revered in ancient Hindu texts as sages, as stars or rays of the sun" https://en.wikipedia.org/wiki/Ribhus

Ṛbhus bring the wealth -- rayim dad̃ātu; rayim vāje

RV 8.93.34 May Indra bring to us the bounteous R.bhu R.bhuks.an.a to partake of our sacrificial viands; may he, the mighty, bring the mighty (Va_ja). [R.bhuks.an.a: was the eldest and Va_ja the youngest of three brothers. The R.bhus have a share in the evening libation between Praja_pati and Savita_ (Aitareya Bra_hman.a 3.30); the r.ca is addressed to the R.bhus in the evening libation on the ninth day of the dva_das'a_ha ceremony (Aitareya Bra_hman.a 5.21)].

Griffith RV 4.37.5 Rbhuksans! him, for handy wealth, the mightiest comrade in the fight,
Him, Indras' equal, we invoke, most bounteous ever, rich in steeds.
RV 4.37.5 We invoke you, R.bhuks.ans, for splendid wealth, mutually co-operating, most invigorating in war, affecting the senses, ever munificent, and comprehending horses. [Splendid wealth: the epithets apply to rayim, wealth: r.bhu yujam, va_jintamam, indrasvantam, sada_sa_tamam as'vinam].

There are 84 rica-s in adoration of Rbhus in Rigveda (Annexed in the index).

According to Yaska, Ṛbhus are the founders of the yajña. (Dates and Eras in Ancient Indian History Vol.1, p.76, Note 72). "When the Devas (gods) heard of their skill, they sent Agni to them, bidding them, to construct four cups from the one cup of Tvashtar, the artificer of the devas. When the Ribhus successfully had executed this task, the devas received them among themselves, gave them immortality and allowed them to partake of their sacrifices." https://en.wikipedia.org/wiki/Ribhus
Ṛbhus remain idle for 12 days in the abode of Agohya (the Sun, as the one who cannot be concealed). The 12 days is a reference to intercalary days "to fix the difference between the lunar year of 354 days and the solar year of 366 days."(Tilak, ibid., p. 168).


Ṛbhus are skilful. They are weapon-makers. They make the thunderbolt of śiva. They are artists. They are smiths. They are coach-builders (rathakāra). They formed (trained) the hores for Indra, the carriage of the Aśvins and the miraculous cow of Brhaspati. They are inventive and could make four cups out of one cup of Tvashtar, the artificer of the divinities. They shine forth. They are divinities. आ नो यज्ञाय तक्षत ऋभुमद्वयः Rv.1.111.2. They are the artificers of the yajña. तक्ष 1 [p= 431,3] mfn. " cutting through " » तपस्-; m. ifc. = °क्षन् VarBr2S. lxxxvii , 20 and 24 (cf. कौट- , ग्राम-). They are key actors in the process of yajña.

Ṛbhus are artists, they work in iron , they are smiths, they are builders of chariots (radhakāra). 

ṛbhu ऋभु a. Ved. 1 Skilful, clever, prudent (as an epithet of Indra, Agni, Ādityas, property and wealth) ऋभुमृभुक्षणो रयिम् Rv.4.37.5. -2 Handly (as a weapon). -3 Shining far. -भुः 1 A deity, divinity; a god (dwelling in heaven). -2 The god who is worshipped by the gods; ऋभवो नाम तत्रान्ये देवानामपि देवताः Mb.3.261.19. -3 A class of the attendants of gods. -4 An artist, smith, especially a coach-builder (रथकार). -5 N. of three semi-divine beings called Ṛibhu, Vibhvan and Vāja, sons of Sudhanvan, a descendant of Aṅgiras, who were so called from the name of the eldest son. [Through their performance of good works they obtained divinity, exercised superhuman powers, and became entitled to worship. They are supposed to dwell in the Solar sphere, and are the artists who formed the horses of Indra, the carriage of the Aśvins, and the miraculous cow of Bṛihaspati. They made their aged parents young, and constructed four cups at a sacrifice from the one cup of Tvaṣṭṛi, who as the proper artificer of the gods, was in this respect their rival. They appear generally as accompanying Indra at the evening sacrifices. M. W.].
ṛbhukṣḥ ऋभुक्षः 1 N. of Indra. -2 Heaven (of Indra) or paradise. -3 The thunderbolt of Śiva.
ṛbhukṣin ऋभुक्षिन् m. [ऋभुक्षः वज्रं स्वर्गो वा अस्यास्ति इनि] (Nom. ऋभुक्षाः, acc. pl. ऋभुक्षः) 1 N. of Indra. -2 N. of the Maruts; इमां मे मरुतो गिरमिमं स्तोममृभुक्षणः Rv.8.7.9. -3 A Ṛibhu in general. -4 Governing far; reigning over Ṛibhus.
ṛbhumat ऋभुमत् a. Skilful, prudent; आ नो यज्ञाय तक्षत ऋभुमद्वयः Rv.1.111.2.
ṛbhva ṛbhvan ऋभ्व ऋभ्वन् a. Ved. 1 Attacking. -2 Courageous, determined. -3 Spreading far. -4 Clever, skilful; स्तुष्व वर्ष्मन् पुरुवर्त्मानं समृभ्वाणम् Av.5.2.7.
ṛbhvan ऋभ्वन् a. Shining far.

ऋभु [p= 226,2] mfn. ( √रभ्) , clever , skilful , inventive , prudent (said of इन्द्र , अग्नि , and the आदित्यs RV. ; also of property or wealth RV. iv , 37 , 5 ; viii , 93 , 34 ; of an arrow AV. i , 2 , 3); m. an artist , one who works in iron , a smith , builder (of carriages &c ) , N. of three semi-divine beings (ऋभु , वाज , and विभ्वन् , the name of the first being applied to all of them ; thought by some to represent the three seasons of the year [Ludwig RV. vol.iii , p.187] , and celebrated for their skill as artists ; they are supposed to dwell in the solar sphere , and are the artists who formed the horses of इन्द्र , the carriage of the अश्विन्s , and the miraculous cow of बृहस्पति ; they made their parents young , and performed other wonderful works [Sv-apas] ; they are supposed to take their ease and remain idle for twelve days [the twelve intercalary days of the winter solstice] every year in the house of the Sun [Agohya] ; after which they recommence working ; when the gods heard of their skill , they sent अग्नि to them with the one cup of their rival त्वष्टृ , the artificer of the gods , bidding the ऋभुs construct four cups from it ; when they had successfully executed this task , the gods received the ऋभुs amongst themselves and allowed them to partake of their sacrifices &c ; cf. Kaegi RV. p.53 f.) RV. AV. &c; m. they appear generally as accompanying इन्द्र , especially at the evening sacrifice; ( Lat. labor ; Goth. arb-aiths ; Angl.Sax. $ ; Slav. rab-u8. Greek: ἀλφάνω 'bring in, yield, fetch')

[quote]Ribhus (Sanskrit: ऋभु, ṛbhu, also Arbhu, Rbhus, Ribhuksan) is an ancient word whose meaning evolved over time. In early layers of the Vedic literature, it referred to a sun deity. It evolved to being a wind deity, thereafter referred to three artisan elf men whose abilities and austerities make them into divinities in later Vedic texts.Their individual names were Ribhu (or Rhibhu), Vaja and Vibhvan (also called Vibhu), but they were collectively called Rhibhus or Ribhus (ṛbhú-, pl. ṛbhava, also called Ribhuksan). Their name's meaning is "clever, skillful, inventive, prudent", cognate to Latin labor and Gothic arb-aiþs "labour, toil", and perhaps to English elf.Ribhus are depicted in some legends of the Vedic literature as three sons of the goddess of morning light named Saranyu and Hindu god Indra. In other legends, such as in the Atharvaveda, they are sons of Sudhanvan, which means good archer.In either legends, they are famous for their creative abilities, innovation and they design chariots, the magic cow of plenty, channels for rivers, and tools for Indra and other gods, which makes many envious.In later Hindu mythology, the Ribhus are born in human form, who then bring their innovation to earth, remain humble and kind.^[1] This makes some gods angry, and the Ribhus are refused entry back to heaven.Other gods intervene, and make the inventive Ribhus immortal. They are revered in ancient Hindu texts as sages, as stars or rays of the sun [unquote]

https://en.wikipedia.org/wiki/Ribhus

Eleven Suktas are devoted to Rbhus.

They are sons of Sudhanvan, a descendant of Angiras.

Aitareya Brahmana III, 30 describes them as "sun's neighbours or pupils". (Bal Gangadhar Tilak The Orion, Or, Researches Into The Antiquity Of The Vedas, Reprinted from 1893 Edition Delhi 2008, p.167.)

 Ṛbhus are skilled artisans who constituted "the horses of Indra, the carriage of the Ashvins, and the miraculous cow of Brihaspati...and performed other wonderful works which according to RV 4.51.6 were 'done by the dawn'." (ibid., p.167) https://en.wikipedia.org/wiki/Ribhus

RV 4.51.6 Where is that ancient one of those (Dawns), through whom the works of the R.bhus were accomplished? For as the bright Dawns happily proceed, they are not distinguished, being alike and undecaying. (The metaphor: Ṛbhus are the dawns). The rica is an adoration of the wonderful work done by the Ṛbhus, artisans, artificers).

Suktas of adoration of Ṛbhus (RV 1.20, 110, 111, 161, RV 3.60, RV 4.33-37, RV 7.48)

RV 4.033.01 I send my prayer as a messenger to the r.bhus; I solicit (of them) the cow, the yielder of the white milk, for the dilution (of the Soma libation); for they, as swift as the wind, the doers of good works, were borne quickly across the firmament by rapid steeds. [WSere borne quickly: as applicable to the deified mortals, the allusion is to their being transported to the sphere of the gods; if the reference is to the rays of the sun, it implies merely their dispersal through the sky].
4.033.02 When the r.bhus, by honouring their parents with renovated (youth), and by other works, had achieved enough, they thereupon proceeded to the society of the gods, and, considerate, they bring nourishment to the devout (worshipper).
4.033.03 May they who rendered their decrepid and dropsy parents, when, like two dry posts, again perpetually young, Va_ja, Vibhavan, and R.bhu associated with Indra, drinkers of the Soma juice, protect our sacrifice.
4.033.04 Inasmuch as for a year the R.bhus preserved the (dead) cow, inasmuch as for a year they invested it with flesh, inasmuch as for a year they continued its beauty they obtained by their acts of immortality.
4.033.05 The eldest said, let us make two ladles; the younger said, let us make three: Tvas.t.a_, R.bhus, has applauded your proposal.
4.033.06 The men, (the R.bhus), spoke the truth, for such (ladles) they made, and thereupon the R.bhus partook of that libation; Tvas.t.a_, beholding the four ladles, brilliant as day, was content.
4.033.07 When the R.bhus, reposing for twelve days, remained in the hospitality of the uncealable (sun) they rendered the fields fertile, they led forth the rivers, plants sprung upon the waste, and waters (spread over) the low (places).
4.033.08 May those R.bhus who constructed the firm-abiding wheel-conducting car; who formed the all-impelling multiform cow; they who are the bestowers of food, the doers of great deeds, and dexterous of hand, fabricate our riches.
4.033.09 The gods were pleased by their works, illustrious in act and in thought; Va_ja was the artificer of the gods, R.bhuks.in of Indra, Vibhavan of Varun.a.
4.033.10 May those R.bhus who gratified the horses (of Indra) by pious praise, who constructed for Indra his two docile steeds, bestow upon us satiety of riches, and wealth (of cattle), like those who devise prosperity for a friend.
4.033.11 The gods verily have given you the beverage at the (third sacrifice of the) day, and its exhilarqation, not through regard, but (as the gift of one) wearied out (by penance); R.bhus, who are so (eminent), grant us, verily, wealth at this third (diurnal) sacrifice. [Wearied out by penance: r.te s'ra_ntasya sakhya_ya = na sakhitva_ya bhavanti deva_h, the gods are not through friendship, s'ra_nta_t tapo yukta_t r.te except one wearied by penance; ete s'ra_nta ato saduh, they, wearied out, therefore gave].

Griffith RV Rbhus. 33
1. I SEND my voice as herald to the Rbhus; I crave the white cow for the overspreading.
Windsped-, the Skillful Ones in rapid motion have in an instant compassed round the heaven.
2 What time the Rbus had with care and marvels done proper service to assist their Parents,
They won the friendship of the Gods; the Sages carried away the fruit of their devotion.
3 May they who made their Parents, who were lying like posts that moulder, young again for ever,
May Vaja, Vibhvan, Rbhu, joined with Indra , protect our sacrifice, the Somalovers-.
4 As for a year the Rbhus kept the Milchcow-, throughout a year fashioned and formed her body,
And through a years' space still sustained her brightness, through these their labours they were
made immortal.
5 Two beakers let us make, thus said the eldest. Let us make three, this was the youngers'
sentence.
Four beakers let us make, thus spoke the youngest. Tvastar approved this rede of yours, O Rbhus.
6 The men spake truth and even so they acted: this Godlike way of theirs the Rbhus followed.
And Tvastar, when he looked on the four beakers resplendent as the day, was moved with envy.
7 When for twelve days the Rbhus joyed reposing as guests of him who never may be hidden,
They made fair fertile fields, they brought the rivers. Plants spread over deserts, waters filled
the hollows.
8 May they who formed the swift car, bearing Heroes, and the Cow omniform and allimpelling-,
Even may they form wealth for us, the Rbhus, dexteroushanded-, deft in work and gracious.
9 So in their work the Gods had satisfaction, pondering it with thought and mental insight.
The Gods expert artificer was Vaja, Indras' Rbhuksan, Varunas' was Vibhvan.
10 They who made glad with sacrifice and praises, wrought the two Bays, his docile Steeds, for
Indra,
Rbhus, as those who wish a friend to prosper, bestow upon us gear and growth of riches.
11 This day have they set gladdening drink before you. Not without toil are Gods inclined to
friendship.
Therefore do ye who are so great, O Rbhus, vouchsafe us treasures at this third libation.

RV4.034.01 R.bhu, Vibhvan, Va_ja and Indra, do you come to this our sacrifice, to distribute the precious things, for the divine work has indeed now desired the drinking (of the Soma) on the (appointed hours of the) days; therefore the exhilarating draughts are collected for you. [The divine work has desired the drinking: dhis.an.a_ devi: Aitareya Bra_hman.a states: Praja_pati said to Savitri, these are your fellow-students, do you drink with them].

4.034.02 Resplendent with (sacrificial) food, prescient of your (celestial) birth, be exhilarated, R.bhus along with the R.tus; the inebriating draughts are collected for you as well as pious praise; do you confer upon us riches with excellent posterity. [Prescient of your celestial birth: vida_na_sojanmanah = jananasya devatva laks.an.asya devatva pra_ptim ja_nantah, knowing the attainment of deification].
4.034.03 This sacrifice, R.bhus, has been instituted for you, who are eminently resplendent, which you have accepted after the manner of men; before you have the propitiatory (libations) been placed, for Va_jas, you are all entitled to precedence.
4.034.04 Now, leaders (of rites), the treasure that ought to be presented is to be given to the mortqal performing (the sacred rite), the offerer (of the libation); drink, Va_jas (drink), R.bhus; I present it to you at the third solemn (diurnal) ceremony for your exhilaration.
4.034.05 Va_jas, R.bhuks.ans, leaders (of rites), come to us eulogizing exceeding wealth; these draughts (of Soma) proceed to you at the decline of day, like newly-delivered cows to their stalls.
4.034.06 Sons of strength, come to this sacrifice, invoked with veneration; givers of precious things, associated with Indra, with whom you are intelligent, participate in being gratified (by the libation), drink ofthe sweet Soma juice.
4.034.07 Sympathizing in satisfaction with Varun.a, drink, Indra, the Soma juice; drink it, you who are entitled to praise, sympathizing with the Maruts; drink, sympathizing with the first drinkers, with the drinkers (at the sacriices) of the R.tus; sympathizing with the protectresses of the wives (of the gods), the giver of wealth. [Sympathizing: sajos.ah; sajos.a indra varun.ena somam pa_hi = lit., Indra, who are co-pleased with Varun.a, drink the libation; the implication is that they both derive like satisfaction from the beverage which they imbibe together; R.tus: r.tupa_bhih = r.tuyajadevaih, the deities to whom the r.tu sacrifice is dedicated; wives of the gods: gna_spatni_bhih = wives of the gods, stri_n.a_m pa_layitryah, the female protectors of women, implying the goddesses].
4.034.08 R.bhus, be exhilarated, sympathizing with the A_dityas, sympathizing with the Parvatas, sympathizing with the divine Savita_, sympathizing with the wealth-bestowing (deities of the) rivers. [With the parvatas: parvatebhih; parvavadbhih parvan.yarcyama_nair devavis'es.aih, deities to be worshipped at the parvas, certain periods of the month, such as the new and full moon].
4.034.09 R.bhus, who by your assistance (gratiied) the As'vins, who (renovated your) parents, who (restored) the cow, who fabricated the horses, who made armour (for the gods), who separated earth and heaven, and who, the all-pervading leaders (of rites), accomplished (acts productive of) good results. [svapatya_ni cakruh = svapatana sa_dhana_ni karma_n.i, acts, the means of accomplishing their good offspring or consequences; ye in the next verse may refer to te agrepat, they the first drikers, the Soma being first offered at the evening sacrifice to the R.bhus].
4.034.10 R.bhus, who posses wealth, comprising cattle, food, progeny, dwellings, and abundant sustenance, do you, who are the first drinkers (of the Soma), bestow upon us, when exhilarated, (that wealth and upon those) who laud your liberality.
4.034.11 R.bhus, go not away; let us not leave you (thirsting); (be present) unreproached at this sacrifice; be exhilarated, deities, along with Indra, with the Maruts, and with (other) brilliant (divinities), for the distribution of wealth.

Griffith: RVHYMN XXXIV. Rbhus. 341. To this our sacrifice come Rbhu, Vibhvan, Vaja, and Indra with the gift of riches,
Because this day hath Dhisana the Goddess set drink for you: the gladdening draughts have reached
you.
2 Knowing your birth and rich in gathered treasure, Rbhus, rejoice together with the Rtus.
The gladdening draughts and wisdom have approached you: send ye us riches with good store of
heroes.
3 For you was made this sacrifice, O Rbhus, which ye, like men, won for yourselves aforetime.
To you come all who find in you their pleasure: ye all were, even the two elder, Vajas.
4 Now for the mortal worshipper, O Heroes, for him who served you, was the gift of riches.
Drink, Vajas, Rbhus! unto you is offered, to gladden you, the third and great libation.
5 Come to us, Heroes, Vajas and Rbhuksans, glorified for the sake of mighty treasure.
These draughts approach you as the day is closing, as cows, whose calves are newlyborn-, their
stable.
6 Come to this sacrifice of ours, ye Children of Strength, invoked with humble adoration.
Drink of this meath, Wealthgivers-, joined with Indra with whom ye are in full accord, ye Princes.
7 Close knit with Varuna drink the Soma, Indra; closeknit-, Hymnlover-! with the Maruts drink it:
Closeknit- with drinkers first, who drink in season; closeknit- with heavenly Dames who give us
treasures.
8 Rejoice in full accord with the Adityas, in concord with the Parvatas, O Rbhus;
In full accord with Savitar, Divine One; in full accord with floods that pour forth riches.
9 Rbhus, who helped their Parents and the Asvins, who formed the Milchcow- and the pair of horses,
Made armour, set the heaven and earth asunder, far- reaching Heroes, they have made good offspring.
10 Ye who have wealth in cattle and in booty, in heroes, in rich sustenance and treasure,
Such, O ye Rbhus, first to drink, rejoicing, give unto us and those who laud our present.
11 Ye were not far: we have not left you thirsting, blameless in this our sacrifice, O Rbhus.
Rejoice you with the Maruts and with Indra, with the Kings, Gods! that ye may give us riches.

RV4.035.01 Come hither, sons of strength, sons of Sudhanvan; R.bhus, keep not away; may the exhilarating juices proceed to you at this sacrifice, after the munificent Indra. [indram anu = indram anusritya or anugamantu, having followed, or may they come after Indra; or, may they come after (you) to Indra].

4.035.02 The munificene of the R.bhus come to me on this occasion, (since) there has been the drinking of the effused Soma, in consequence of one ladle having been made fourfold by their dexterous and excellent work.
4.035.03 You have made the ladle fourfold, and have said (to Agni), assent (to the division); therefore have you gone, Va_jas, the path of the immortals; dexterous-handed R.bhus (you have joined) the company of the gods.
4.035.04 What sort of ladle was that which by skill you have made four? now pour forth the Soma for their exhilaration; drink, R.bhus, of the sweet Soma libation.
4.035.05 By your (marvellous) deeds you have made your parents youg; by your deeds you have made the ladle (fit) for the drinking of the gods; by your deeds you have made the two horses, the bearers of Indra, swifter than (an arrow from) a bow, R.bhus, who are rich in (sacrificial) food.
4.035.06 Distributors of food, R.bhus, showerers (of benefits), exhilarated (by the Soma draught), fabricated wealth, comprising all posterity for him who pours out for your exhilaration, the acrid libation at the deline of day.
4.035.07 Drink, lord of horses, Indra, the libation offered at dawn; the noon-day libation is alone for you; but (in the evening) drink with the munificent R.bhus, whom, Indra, you have made your friends by good deeds.
4.035.08 Do you, sons of strength, who have become gods by (your) good deeds, soaring aloft in the sky like falcons, bestow upon us riches; sons of Sudhanvan, you have become immortals.
4.035.09 Dexterous-handed, since you have instituted, through desire of good works, the third sacrifice, which is the bestower of wealth, therefore, R.bhus, drink this effused Soma with exhilarated senses. 

Griffith: RVHYMN XXXV. Rbhus. 351. Come hither, O ye Sons of Strength, ye Rbhus; stay not afar, ye Children of Sudhanvan.
At this libation is your gift of treasure. Let gladdening draughts approach you after Indras'.
2 Hither is come the Rbhus' gift of riches; here was the drinking of the wellpressed- Soma,
Since by dexterity and skill as craftsmen ye made the single chalice to be fourfold
3 Ye made fourfold the chalice that wag single: ye spake these words and said, O Friend, assist us;
Then, Vajas! gained the path of life eternal, defthanded- Rbhus, to the Gods assembly.
4 Out of what substance was that chalice fashioned which ye made fourfold by your art and wisdom?
Now for the gladdening draught press out the liquor, and drink, O Rbhus, of die meath of Soma.
5 Ye with your cunning made your Parents youthful; the cup, for Gods to drink, ye formed with
cunning;
With cunning, Rbhus, rich in treasure, fashioned the two swift Tawny Steeds who carry Indra.
6 Whoso pours out for you, when days are closing, the sharp libation for your joy, O Vajas,
For him, O mighty Rbhus, ye, rejoicing, have fashioned wealth with plenteous store of heroes.
7 Lord of Bay Steeds, at dawn the juice thou drankest: thine, only thine, is the noonday libation.
Now drink thou with the wealthbestowing- Rbhus, whom for their skill thou madest friends, O Indra.
8 Ye, whom your artist skill hath raised to Godhead have set you down above in heaven like falcons.
So give us riches, Children of Sudhanvan, O Sons of Strength; ye have become immortal.
9 The third libation, that bestoweth treasure, which ye have won by skill, ye dexteroushanded-,
This drink hath been effused for you, O Rbhus . drink it with high delight, with joy like Indras'.

4.036.01 The glorious three-wheeled car (of the As'vins made, R.bhus by you) traverses the firmament without horses, without reins; great was that proclamation of your divine (power), by which, R.bhus, you cherish heaven and earth.
4.036.02 We invoke you respectfully, Va_jas and R.bhus, to drink of this libation, for you are the wise sages, who, by mental meditation, made the well-constructed undeviating car (of the As'vins).
4.036.03 Therefore, Va_ja, R.bhu, Vibhvan, was your greatness proclaimed among the gods, that you made your aged and inform parents young (and able) to go (withere they would).
4.036.04 You have made the single ladle fourfold; by your (marvellous) acts you have clothed the cow with a (new) hide; therefore you have obtained immortality among the gods; such acts, Va_jas and R.bhus, are to be eagerly glorified.
4.036.05 From the R.bhus may wealth, the best and most productive of food, (come to me); that which the leaders of rites renowned together with the Va_jas, have engendered; that which has been fabricated by Vibhvan and is to be celebrated at sacrifice; that which, deities you protect, that is to be beheld.
4.036.06 He is vigorous and skilled in war, he is a r.s.i worthy of homage, he is a hero, the discomfiter of foes, invincible in battles, he is possessed of ample wealth, and (is blessed) with excellent posterity, whom Va_ja and Vibhvan, whom the R.bhus protect.
4.036.07 An excellent and agreeable form has been assumed by you; (this is our own) praise; Va_jas and R.bhus be gratified (thereby), for you are wise, experienced, and intelligent; such we make you known (to be) by this (our) prayer.
4.036.08 Do you who are wise, (bestow) upon us, in requital of our praises, all enjoyments that are good for man and fabricate for us, R.bhus, riches and food, resplendent invigorating, overpowering (foes), and most excellent.
4.036.09 Gratified (by your worship), fabricate for us, on this occasion, progeny and wealth, and reputation, with numerous adherents; grant to us, R.bhus, abundant sustenance wherewith we may greatly excel others.

Griffith: RVHYMN XXXVI. Rbhus. 36

1. THE car that was not made for horses or for reins, threewheeled-, worthy of lauds, rolls round
the firmament.
That is the great announcement of your Deity, that, O ye Rbhus, ye sustain the earth and heaven.
2 Ye Sapient Ones who made the lightlyrolling- car out of your mind, by thought, the car that
never errs,
You, being such, to drink of this drinkoffering-, you, O ye Vajas, and ye Rbhus, we invoke.
3 O Vajas, Rbhus, reaching far, among the Gods this was your exaltation gloriously declared,
In that your aged Parents, worn with length of days, ye wrought again to youth so that they moved
at will.
4 The chalice that wag single ye have made fourfold, and by your wisdom brought the Cow forth from
the hide.
So quickly, mid the Gods, ye gained immortal life. Vajas and Rbhus, your great work must be
extolled.
5 Wealth from the Rbhus is most glorious in renown, that which the Heroes, famed for vigour, have
produced.
In synods must be sung the car which Vibhvan wrought: that which ye favour, Gods! is famed among
mankind.
6 Strong is the steed, the man a sage in eloquence, the bowman is a hero hard to beat in fight,
Great store of wealth and manly power hath he obtained whom Vaja, Vibhvan, Rbhus have looked
kindly on.
7 To you hath been assigned the fairest ornament, the hymn of praise: Vajas and Rbhus, joy therein;
For ye have lore and wisdom and poetic skill: as such, with this our prayer we call on you to come.
8 According to the wishes of our hearts may ye, who have full knowledge of all the delights of men,
Fashion for us, O Rbhus, power and splendid wealth, rich in high courage, excellent, and vital
strength.
9 Bestowing on us here riches and offspring, here fashion fame for us befitting heroes.
Vouchsafe us wealth of splendid sort, O Rbhus, that we may make us more renowned than others.

 4.037.01 Divine Va_jas, R.bhus, come to our sacrifice by the path travelled by the gods, inasmuch as you, gracious (R.bhus), have maintained sacrifice among the people, (the progeny) of Manu, for (the sake of) securing the prosperous course of days. [R.bhus: the text has r.bhuks.ah, nom. sing. of r.bhuks.in, a name of Indra; here, it is equated with r.bhavah, pl. nom. of r.bhu; in the following verses r.bhuks.a_n.ah is used, the nom. or voc. pl. of r.bhuks.in].
4.037.02 May these sacrifices be (acceptable) to you in heart and mind; may today the sufficient (juices) mixed with butter to you; the full libations are prepared for you; may they, when drunk, animate you for glorious deeds.
4.037.03 As the offering suited to the gods at the third (daily) sacrifice supports, you, Va_jas, R.bhuks.ans; as the praise (then recited supports you); therefore, like Manu, I offer you the Soma juice, along with the very radiant (deities) among the people assembled at the solemnity. [I offer you: juhve manus.vat uparasu viks.u yus.me saca_ br.had dives.u somam: upara = those who are pleased or sport near the worship of the gods, devayajana sami_pe ramantah; ta_su viks.u-praja_su = in or among such people; br.haddives.u is an epithet of deves.u implied].
4.037.04 Va_jins, you are borne by stout horses mounted on a brilliant car, have jaws of metal and are possessed of treasures; sons of Indra, grandsons of strength, this last sacrifice is for your exhilaration. [Possessed of treasures: va_jinah = possessors either of horses or food; ayahs'ipra_ = as hard or strong as metal, ayovat sa_rabhu_ta s'ipra_h; sunis.ka_h = having good nis.kas, a certain weight of gold; sons of Indra, grandsons of strength: the text has singular nouns, son of Indra, son or grandson of strength; this is followed by vah-vos, you in the plural; last sacrifice: ityagriyam = agre bhavam, the first, the preceding; explained as tr.ti_yam savanam].
4.037.05 We invoke you, R.bhuks.ans, for splendid wealth, mutually co-operating, most invigorating in war, affecting the senses, ever munificent, and comprehending horses. [Splendid wealth: the epithets apply to rayim, wealth: r.bhu yujam, va_jintamam, indrasvantam, sada_sa_tamam as'vinam].
4.037.06 May the man whom you, R.bhus and Indra, favour, be ever liberal by his acts, and possessed of a horse at the sacrifice. [A horse at the sacrifice: medhasa_ta_ so arvata_, perhaps a horse fit for the as'vamedha is implied].
4.037.07 Va_jas, R.bhuks.an.s, direct us in the way to sacrifice; for you, who are intelligent, being glorified (by us), are able to traverse all the quarters (of space).
4.037.08 Va_jas, R.bhuks.an.s, Indra, Na_satyas, command that ample wealth with horses be sent to men for their enrichment

Griffith: RV 4 HYMN XXXVII. Rbhus. 37
1. COME to our sacrifice, Vajas, Rbhuksans, Gods, by the paths which Gods are wont to travel,
As ye, gay Gods, accept in splendid weather the sacrifice among these folk of Manus.
2 May these rites please you in your heart and spirit; may the drops clothed in oil this day
approach you.
May the abundant juices bear you onward to power and strength, and, when imbibed, delight you.
3 Your threefold going near is Godappointed-, so praise is given you, Vajas and Rbhuksans.
So, Manuslike-, mid younger folk I offer, to you who are aloft in heaven, the Soma.
4 Strong, with fair chains of gold and jaws of iron, ye have a splendid car and wellfed- horses.
Ye Sons of Strength, ye progeny of Indra, to you the best is offered to delight you.
5 Rbhuksans! him, for handy wealth, the mightiest comrade in the fight,
Him, Indras' equal, we invoke, most bounteous ever, rich in steeds.
6 The mortal man whom, Rbhus, ye and Indra favour with your help,
Must be successful, by his thoughts, at sacrifice and with the steed.
7 O Vajas and Rbhuksans, free for us the paths to sacrifice,
Ye Princes, lauded, that we may press forward to each point of heaven.
8 O Vajas and Rbhuksans, ye Nasatyas, Indra, bless this wealth,
And, before other mens', the steed, that ample riches may be won.

RV 7.048.01 R.bhu, (Vibhu), and Va_ja, leaders of rites, possessors of opulence, be exhilarated by our effused (libation); may your active and powerful (horses) bring to our presence your chariot, beneficial to mankind. [r.bhuks.an.o va_jah, the use of the plural implies that the three brothers are intended].
7.048.02 Mighty with the R.bhus, opulent with the Vibhus, may we overcome by strength, the strength (of our foes); may Va_ja defend us in battle; with Indra, our ally, may we destroy the enemy. [R.bhus: r.bhur r.bhubhih vibhvo vibhubhih: r.bhu and uru = great; vibhu vibhvah = rich or powerful].
7.048.03 They verily, (Indra and R.bhus), overcome multitudes by their prowess; they overcome all enemies in the missile conflict; may Indra, Vibhvan, R.bhuks.in and Va_ja, the subduers of foes, annihilate by their wrath the strength of the enemy. [Missile: uparata_ti: upara = upala, a stone; upalaih pa_s.a_n.asadr.s'air a_yudhai ta_yate yuddham, war that is waged with weapons like stones, is uparatati].
7.048.04 Grant us, deities, this day opulence; may you all, may you all, well-pleased alike, be (ready) for our protection; may the exalted (R.bhus) bestow upon us food; and do you (all) ever cherish us with blessings. [R.bhus: vasavah = Vasus; pras'asyah, an epithet of R.bhavah].

Griffith RV 7 HYMN XLVIII. Rbhus. 481. YE liberal Heroes, Vajas and Rbhuksans, come and delight you with our flowing Soma.
May your strength, Vibhus, as ye come to meet us, turn hitherward your car that brings men profit.
2 May we as Rbhu with your Rbhus conquer strength with our strength, as Vibhus with the Vibhus.
May Vaja aid us in the fight for booty, and helped by Indra may we quell the foeman.
3 For they rule many tribes with high dominion, and conquer all their foes in close encounter.
May Indra, Vibhvan, Vaja, and Rbhuksan destroy by turns the wicked foemans' valour.
4 Now, Deities, give us ample room and freedom: be all of you, oneminded-, our protection.
So let the Vasus grant us strength and vigour. Preserve us evermore, ye Gods, with blessings.

rvs.1.20	HYMN XX. Rbhus. 20
rvs.1.20	4 The Rbhus with effectual prayers, honest, with constant labour, made
rvs.1.51	2 As aids the skilful Rbhus yearned to Indra strong to save, who fills midair-, encompassed round
rvs.1.63	3 Faithful art thou, these thou defiest, Indra; thou art the Rbhus' Lord, heroic, victor.
rvs.1.110	HYMN CX. Rbhus. 110
rvs.1.110	Here, O ye Rbhus, is this sea for all the Gods: sate you with Soma offered with the hallowing word.
rvs.1.110	The Rbhus, children of Sudhanvan, bright as suns, were in a years' course made associate with
rvs.1.110	5 The Rbhus, with a rod measured, as it were a field, the single sacrificial chalice. wide of mouth,
rvs.1.110	The Rbhus who came near with this great Fathers' speed, and rose to heavens' high sphere to eat
rvs.1.110	8 Out of a skin, O Rbhus, once ye formed a cow, and brought the mother close unto her calf again.
rvs.1.110	9 Help us with strength where spoil is won, O Indra: joined with the Rbhus give us varied bounty.
rvs.1.111	HYMN CXI. Rbhus. 111
rvs.1.111	The Rbhus for their Parents made life young again; and fashioned for the calf a mother by its side.
rvs.1.111	3 Do ye, O Rbhus, make prosperity for us, prosperity for car, ye Heroes, and for steed.
rvs.1.111	4 Indra, the Rbhus' Lord, I invocate for aid, the Rbhus, Vajas, Maruts to the Soma draught.
rvs.1.161	HYMN CLXI. Rbhus. 161
rvs.1.161	4 When thus, O Rbhus, ye had done ye questioned thus, Whither went he who came to us a messenger?
rvs.1.161	Ye went as Rbhus, Vibhvan, Vaja to the Gods, and skilled in war, obtained your share in sacrifice.
rvs.1.161	Rbhus, ye iterate not today- that act of yours, your sleeping in the house of him whom naught can
rvs.1.161	13 When ye had slept your fill, ye Rbhus, thus ye asked, O thou whom naught may hide, who now hath
rvs.3.52	With offered viands and with songs may we assist thee, Sage, whom Vaja and the Rbhus wait upon.
rvs.3.54	Take your delight, Ye Rbhus joined with Pusan: ye have prepared the rite with stones adjusted.
rvs.3.54	Friend, Muchinvoked-! art thou with thy dear Rbhus: fashion ye this our hymn for our advantage.
rvs.3.60	HYMN LX. Rbhus. 60
rvs.3.60	The intellect wherewith ye wrought the two Bay Steeds, through these, O Rbhus, ye attained
rvs.3.60	3 Friendship with Indra have the Rbhus, fully gained: grandsons of Manu, they skilfully urged the
rvs.3.60	Not to be paragoned, ye Priests, are your good deeds, nor your heroic acts, Rbhus, Sudhanvans'
rvs.3.60	5 O Indra, with the Rbhus, Mighty Ones, pour down the Soma juice effused, wellblent-, from both
rvs.3.60	7 Come with the mighty Rbhus, Indra, come to us, strengthening with thy help the singers' holy
rvs.4.33	HYMN XXXIII. Rbhus. 33
rvs.4.33	1. I SEND my voice as herald to the Rbhus; I crave the white cow for the overspreading.
rvs.4.33	4 As for a year the Rbhus kept the Milchcow-, throughout a year fashioned and formed her body,
rvs.4.33	Four beakers let us make, thus spoke the youngest. Tvastar approved this rede of yours, O Rbhus.
rvs.4.33	6 The men spake truth and even so they acted: this Godlike way of theirs the Rbhus followed.
rvs.4.33	7 When for twelve days the Rbhus joyed reposing as guests of him who never may be hidden,
rvs.4.33	Even may they form wealth for us, the Rbhus, dexteroushanded-, deft in work and gracious.
rvs.4.33	Rbhus, as those who wish a friend to prosper, bestow upon us gear and growth of riches.
rvs.4.33	Therefore do ye who are so great, O Rbhus, vouchsafe us treasures at this third libation.
rvs.4.34	HYMN XXXIV. Rbhus. 34
rvs.4.34	2 Knowing your birth and rich in gathered treasure, Rbhus, rejoice together with the Rtus.
rvs.4.34	3 For you was made this sacrifice, O Rbhus, which ye, like men, won for yourselves aforetime.
rvs.4.34	Drink, Vajas, Rbhus! unto you is offered, to gladden you, the third and great libation.
rvs.4.34	8 Rejoice in full accord with the Adityas, in concord with the Parvatas, O Rbhus;
rvs.4.34	9 Rbhus, who helped their Parents and the Asvins, who formed the Milchcow- and the pair of horses,
rvs.4.34	Such, O ye Rbhus, first to drink, rejoicing, give unto us and those who laud our present.
rvs.4.34	11 Ye were not far: we have not left you thirsting, blameless in this our sacrifice, O Rbhus.
rvs.4.35	HYMN XXXV. Rbhus. 35
rvs.4.35	1. Come hither, O ye Sons of Strength, ye Rbhus; stay not afar, ye Children of Sudhanvan.
rvs.4.35	2 Hither is come the Rbhus' gift of riches; here was the drinking of the wellpressed- Soma,
rvs.4.35	Then, Vajas! gained the path of life eternal, defthanded- Rbhus, to the Gods assembly.
rvs.4.35	Now for the gladdening draught press out the liquor, and drink, O Rbhus, of die meath of Soma.
rvs.4.35	With cunning, Rbhus, rich in treasure, fashioned the two swift Tawny Steeds who carry Indra.
rvs.4.35	For him, O mighty Rbhus, ye, rejoicing, have fashioned wealth with plenteous store of heroes.
rvs.4.35	Now drink thou with the wealthbestowing- Rbhus, whom for their skill thou madest friends, O Indra.
rvs.4.35	This drink hath been effused for you, O Rbhus . drink it with high delight, with joy like Indras'.
rvs.4.36	HYMN XXXVI. Rbhus. 36
rvs.4.36	That is the great announcement of your Deity, that, O ye Rbhus, ye sustain the earth and heaven.
rvs.4.36	You, being such, to drink of this drinkoffering-, you, O ye Vajas, and ye Rbhus, we invoke.
rvs.4.36	3 O Vajas, Rbhus, reaching far, among the Gods this was your exaltation gloriously declared,
rvs.4.36	So quickly, mid the Gods, ye gained immortal life. Vajas and Rbhus, your great work must be
rvs.4.36	5 Wealth from the Rbhus is most glorious in renown, that which the Heroes, famed for vigour, have
rvs.4.36	Great store of wealth and manly power hath he obtained whom Vaja, Vibhvan, Rbhus have looked
rvs.4.36	7 To you hath been assigned the fairest ornament, the hymn of praise: Vajas and Rbhus, joy therein;
rvs.4.36	Fashion for us, O Rbhus, power and splendid wealth, rich in high courage, excellent, and vital
rvs.4.36	Vouchsafe us wealth of splendid sort, O Rbhus, that we may make us more renowned than others.
rvs.4.37	HYMN XXXVII. Rbhus. 37
rvs.4.37	6 The mortal man whom, Rbhus, ye and Indra favour with your help,
rvs.4.51	6 Which among these is eldest, and where is she through whom they fixed the Rbhus' regulations?
rvs.5.46	And may the Rbhus and the Asvins, Tvastar and Vibhvan remember us so that we may have wealth.
rvs.5.51	Help us the Rbhus, the Divine Ones, for our good. May Rudra bless and keep us from calamity.
rvs.7.35	Kind be the pious skilfulhanded- Rbhus, kind be the Fathers at our invocations.
rvs.7.48	HYMN XLVIII. Rbhus. 48
rvs.7.48	2 May we as Rbhu with your Rbhus conquer strength with our strength, as Vibhus with the Vibhus.
rvs.7.51	3 All Universal Deities, the Maruts, all the Adityas, yea, and all the Rbhus,
rvs.8.3	The Rbhus in accord have lifted up their voice, and Rudras sung thee as the first.
rvs.8.9	In concord with the Rbhus or Adityas, or standing still in Visnus' stridingplaces-.
rvs.8.35	15 With Rbhus and With Vajas. O ye Mighty Ones, leagued with the Maruts come ye to your praisers'
rvs.8.66	8 Strong as the Rbhus at thy birth, therewith to those who praise thee, men,
rvs.10.39	12 Come on that Chariot which the Rbhus wrought for you, the Chariot, Asvins, that is speedier
rvs.10.65	10 Tvastar and Vayu, those who count as Rbhus, both celestial Hotarpriests-, and Dawn for
rvs.10.66	10 May they who bear up heaven, the Rbhus deft of hand, and Vata and Parjanya of the thundering
rvs.10.80	7 The Rbhus fabricated prayer for Agni, and we with mighty hymns have called on Agni.
rvs.10.106	to cross over to the objects of( its destination) as over water; extremely strong, like the Rbhus,
rvs.10.176	1. WITH hymns of praise their sons have told aloud the Rbhus' mighty deeds.

http://ancientvoice.wikidot.com/rvs:rbhus

---

Itihāsa of yajñāyudhāni, 'weapons for yajñā' in Rigveda, made by ऋभु, ṛbhu 'skilled artificers'

February 4, 2017, 5:40 am

≫ Next: Āryabhaṭa -- Subhash Kak's note in Encyclopedia of India

≪ Previous: Itihāsa of Ṛbhus in Rigveda 'smiths,skilled artists, artificers', adored as divinities & Sarasvati civilization evidence

$

0

0

Mirror: http://tinyurl.com/h32vgpp

Ten implements yajñāyudhāni -- weapons for yajña made byऋभु, Ṛbhu are also deified in rica-s. 

See: 

Itihāsa of Ṛbhus in Rigveda 'smiths,skilled artists, artificers', adored as divinities & Sarasvati civilization evidence 

http://tinyurl.com/zba3k8h
Twelve objects/phenomena are deified āpryas:1.agni, 2. tanUnapAt, 3. narAs'amsa, 4.iLA, 5. barhi, 6. devIdvAra, 7, ushAsAnaktA, 8. devyau hotAru pracetasau, 9. tisrahdevyah sarasvatI, iLA, Bharatya, 10, tvaSTA, 11. vanaspati, 12. svAhAkRtayah

स्व्-ाहा [p= 1284,3] f. an oblation (offered to अग्नि , इन्द्र &c ) or Oblation personified (as a daughter of दक्ष and wife of अग्नि ; she is thought to preside over burnt-offerings ; her body is said to consist of the four वेदs , and her limbs are the six अङ्गs or members of the वेद ; she is represented also as a wife of the रुद्रपशु-पति) RV. &c &c

भारती N. of a deity (in RV. often invoked among the आप्री deities and esp. together with इला and सरस्वतीaccord. to Nir. viii , 13 a daughter of आदित्य ; later identified with सरस्वती , the goddess of speech) RV. &c

त्वष्टृ [p= 464,1] m. a carpenter , maker of carriages (= त्/अष्टृ) AV. xii , 3 , 33; a form of the sun MBh. iii , 146 Hariv. 13143 BhP. iii , 6 , 15

वन-स्-पति a [p= 918,2] du. pestle and mortar RV. i , 28 , 6

यज्ञः yajñḥ -आयुधम् an implement of a sacrifice. These are said to be ten in number; स्पयश्च कपालानि च अग्निहोत्रहवणी च शूर्पं च कृष्णाजिनं च शम्या चोलूखलं च मुसलं च दृषच्चोपला एतानि वै दश यज्ञायुधानीति (quoted in ŚB. on MS.4.7.)(Apte) (Explanations for the ten implements are embedded drawn from semantics of etyma from ancient Bhāratiya languages).

From a description of the implements given in the etyma of Bhāratiya 
sprachbund (language union) with dialectical, pronunciation variants, it is clear that the implements are used to process pyrite ore consignments brought from the mountains by, for e.g., Mujavats, bargained for a purchase price and taken in carts. मूजवत् [p= 825,3] m. N. of a mountain VS.; pl. N. of a people AV. S3Br.

I submit that while the Haumavarga processed a herbal, the earlier Rigveda people obtained ancu 'iron' (ore) from Mujavats and processed in Soma yajña the pyrites to obtain purified molten electrum (gold-silver compound). The metaphor of 'flowing' pavamāna is used because the metal is molten,liquefied electrum, potable electrum taken in the camasa, ladles or cups made by Ṛbhus (Ṛbhu, Vāja, Vibhvan are three skilled artificers, specifically named in Rigveda RV 1.161.6).

The 'flow, drink' are only metaphors for potable metal, wealth obtained from the yajñā and poured into camasa, ladles or cups.

Rigveda abounds in warfare metaphors. Many exploits and victories of ancient heroes are reported in exquisite chandas narratives. These heroic deeds are narrated as Itihāsa during Soma samsthā performed for 10 days. 36 such Soma samsthā are held in a year. On the 8th and 9th day of the Pāriplava Itihāsa legends (ākhyāna-s) from Veda and Purāṇa-s are recounted. (SBr. V.13.4.3.12,13 appended).

पारि--प्लव [p= 621,1] N. of partic. legends recited at the अश्व-मेध and repeated at certain intervals throughout the year S3Br. S3rS. Ba1dar.

पारि--प्लवा f. a small spoon used at sacrifices , A1ryav. (cf. परि-प्लवा  Ka1tyS3r.)

The warfare metaphors extend to Soma processing which is the ātmā of yajña.

Implements used in the yajñā are called yajñāyudhāni, 'weapons for yajñā'.

mēdhḥ मेधः is yajña. मेधो युद्धयज्ञः । 'यज्ञो वै मेधः'इति श्रुतेः । mēdhḥ is yuddha, warfare, yajña is mēdhḥ'.  मेधा = धन Naigh. ii , 10. Thus,  मेधा is acquisition of wealth. It is the prayer of यजमान in incessant processing for 360 days of the year performing Soma samsthā endeavours. सं-स्था a complete liturgical course , the basis or essential form of a sacrifice (the ज्योतिः-ष्टोम , हविर्-यज्ञ , and पाक-यज्ञ consist of seven such forms) S3rS.

“Kamboja probably included the Pamirs, Badakshan, and parts of Tajikistan

extending as far as the source of Zarafshan, to the north of Pamirs and separated from them. On the east it was bounded roughly by Yarkand and/or 

Kashgar, on the west by Bahlika (Uttaramadra), on the northwest by Sogdiana, on the north by Uttarakuru, on the southeast by Darada, and on the south by Gandhara. Further, Prof Tomaschek has stated that of all the dialects of Galcha, the Munjani is most closely related to the language of Zend Avestan of the ancient Iranians. Scholars connect name Munjan/Munjani to ancient 'Mujavat' (people/region) which name has been referred to in Atharvaveda and Mahabharata. Term shiya in Munjani/Munji dialect of Galcha, used in the sense 'to go' , still shows very marked influence of ancient Kamboja verb shvati. According to other version, Munjan is derived from root 'Murg' of Amyurgio Sacae (Haumavarga Saka of Persian inscriptions), which according to scholars, translates into Soma-twisting Sakas (Dr Michael Witzel). This again connects Munjan with Mujavat, the home of Haoma/Soma i.e. Pamirs/Hindukush.”

Notes:

1. Proceedings and Transactions of the All-India Oriental Conference, 1930, p 102-119.

2. Ancient Kamboja, People and the Country, 1981, pp 49, 155, 237 Dr J. L. Kamboj

3. Centralasiatische Studien II. Die Pamir-Dialekte, Vienna, 1880, Wilhelm Tomaschek; quoted by Dr J. C. Vidyalankar in his Bhartya Itihas ki Mimansa, p 471, 480-81, Dr J. C. Vidyalankar; Quoted in: Ancient Kamboja, People and the Country, 1981, p 217, Dr J. L. Kamboj

4. Early Eastern Iran and the Atharvaveda, Persica, 9, 1981, p 105, fn16

https://en.wikipedia.org/wiki/Komedes

http://hitchhikershandbook.com/2015/09/15/gbao-permit-dushanbe-tajikistan/

स्व्-पस् [p= 1281,1] mfn. doing good work , skilful , artistic (said of त्वष्टृ , the ऋभुs &c ) RV. VS.artificially fashioned (superl. -तम , said of इन्द्र's thunderbolt) RV. i , 61 , 6;m. a good artificer RV.

Griffith: RV 1.161.6 Indra hath yoked his Bays, the Asvins' car is horsed, Brhaspati hath brought the Cow of every hue. Ye went as Rbhus, Vibhvan, Vaja to the Gods, and skilled in war, obtained your share in sacrifice.

RV 1.61.6 For that Indra, verily Tvas.t.a_ sharpened the well-acting, sure-aimed thunderbolt for the battle, with which fatal (weapon) the foe-subduing and mighty sovereign severed the limbs of Vr.tra.

Griffith: RV 1.61.6 Even for him hath Tvastar forged the thunderbolt, most deftly wrought, celestial, for the battle,Wherewith he reached the vital parts of Vrtra, striking the- vast, the mighty with the striker.

See: 

Inscriptions on metal implements validate decipherment of Indus Script Corpora as metalwork catalogues http://tinyurl.com/okw7xly (Appended)

1. उलूखल [p= 218,3] n. a wooden mortar RV. i , 28 ,6 AV. TS. S3Br. A1s3vS3r. 
&c; N. of a particular kind of cup for holding the सोम (shaped like a mortar) 
Comm. on Ka1tyS3r.; a staff of उडुम्बर wood (carried on certain occasions) L.  ulūˊkhala n. ʻ a wooden mortar ʼ RV., aulūkhalḗ ʻ pestle and mortar ʼ MaitrS. 2. *ulukkhala -- . 3. udūkhala -- n. Suśr. 4. *udukkhala -- . [← Drav. EWA 111 with lit. Like músala -- , pop. derivative with -- ala -- J. Bloch BSOS v 742]1. Pk. ulūhala -- n. ʻ a mortar ʼ.2. Pk. ulūkhala -- n. (or ← Sk.); N. urgal ʻ mortar for pounding rice or parched rice ʼ; G. uḷukhḷɔ m. ʻ a mortar ʼ.3. Pk. udūhala -- , uūh°, ōh° n.4. Pa. udukkhala -- n. ʻ a mortar ʼ, °likā -- f. ʻ part of a  threshold (the slot in which the door works?) ʼ; Pk. ukkhala -- , °laga -- , uūkhala -- , okkhala -- m.n. ʻ a mortar ʼ; K. wŏkhul, °kholu m. ʻ a mortar ʼ, °khüjü f. ʻ small do. ʼ; S. ukhirī f. ʻ a mortar, the slip of wood on threshold in which the corner of a door works as a hinge ʼ; L. ukhlī f. ʻ wooden mortar ʼ, P. ukkhal, °khul m., ukkhalī, °khulī f. ʻ small do. ʼ, WPah. bhad. bhal. ukkhal n., Ku. ukhal, okh°, okhlā, gng. ukhaw, N. okhal, ukhli, okh°, A. ukhali, B. ukhli, Or. ukhaḷa, Bi. okhar, ŏkharā, °rī, Mth. ūkhar, °ri, Bhoj. ōkhari, Aw. lakh. okharī, H. ūkhal f., ukh° m., ūkhlī, ukh° f., okhlī, G. ukhaḷ, ukhḷũ n., °ḷɔ m., °ḷī, °ṛī f., M. ukhaḷ n.m., ukhḷī f. Poss. X músala -- in Pk. usuyāla -- n.Addenda: ulūˊkhala -- . 1. A. ural ʻ a mortar ʼ < *uḍū° AFD 234.4. *udukkhala -- : S.kcch. aukkhar f. ʻ a mortar ʼ, WPah.kṭg. ukhḷi f. ʻ hole in barn floor for pounding corn, mortar ʼ, kc. ukhḷe f., J. ukhaḷ m.(CDIAL 2360)

2. मुसल [p= 824,3]  mn. (often spelt मुशल or मुषल ; cf. Un2. i , 108 Sch.) a pestle , (esp.) a wooden pestle used for cleaning rice AV. &c , &c; a mace , club Mn. MBh. &c (cf. चक्र-म्°); the clapper of a bell Katha1s.; a partic. surgical instrument Sus3r.  músala m.n. ʻ pestle ʼ AV., ʻ club ʼ Mn., musra -- n. lex. 2. *muṣala -- or *muśala -- . [s after u and in NIA. variation of ū with u point to non -- Aryan origin (J. Bloch BSOS v 741 ← Drav.: see also maṣati)]1. Pa. musala -- m.n. ʻ pestle ʼ, °aka -- n. ʻ small do. ʼ, Pk. musala -- , mūsala -- m.; Kho. (Lor.) mvsul ʻ pestle, stonethumper ʼ; Sh. (Lor.) muzvl ʻ stone pestle ʼ; S. muhurī f. ʻ large pestle ʼ; L. mōˋlā ʻ pestle ʼ, P. muhlā, mūhlā, mohlā m. (mūsal m. ← H.), WPah.bhad. bhal. khaś. musal n., Ku. N. musal, A. muhal, B. musal, Or. musaḷa; Bi. mūsar, (Shahabad) musarā ʻ pestle of rice -- husking machine ʼ; Mth. mūsar, musarā ʻ pestle ʼ, Aw.lakh. mūsaru, H. musal, mūsal m., mūslī f. ʻ small pestle ʼ, G. musḷũ n., M. musaḷ n., Si. mohola, mōla, Md. mō. <-> Prob. P. mūslī f. ʻ taproot ʼ, N. musuro (← Bi. Mth.?), H. mūslā m.2. K. muhulu m. ʻ pestle ʼ, muhüjü f. ʻ small do. ʼ; WPah. Joshi) muśḷ m. ʻ pestle, club ʼ, muśḷī f. ʻ small do. ʼ, jaun. mūśṛī ʻ pestle ʼ.Addenda: músala -- . 1. Md. mō (mōlek) ʻ pestle ʼ.2. *muṣala -- : WPah.kṭg. múəḷ, m&vacutemacr;ḷ m. ʻ pestle, club ʼ, J. muśḷ m., poet. muśḷe f. ʻ small pestle, club ʼ.(CDIAL 10223)

3. कृष्णा* जिन [p= 308,1] m. " covered with a skin of the black antelope " , N. of a man , and m. pl. his descendants g.उपका*दि and तिककितवा*दि Ka1s3. on 
Pa1n2. 5-3,82 and 6-2 , 165; n. the skin of the black antelope AV. TS. S3Br. 
AitBr. &c  kr̥ṣṇamr̥ga m. ʻ black antelope ʼ MBh. [kr̥ṣṇá -- , mr̥gá -- ]Si. kelmuva ʻ deer ʼ with dissimilation < *kaṇam° or poss. < *kālamr̥ga -- ; less likely < kālamukha -- .(CDIAL 3454)  ajína n. ʻ skin of esp. the black antelope used by ascetics ʼ AV. [ajá -- ] Pa. ajina -- n., Pk. ajiṇa -- , aïṇa -- n., Si. adun, an̆dun (Sikhavalanda v. 3). Addenda: ajína -- [Cf. ajinapatrā -- , °trī -- , °trikā f. ʻ bat ʼ lex.]WPah.kṭg. ēṇ ʻ flying fox ʼ Him.I 7. (CDIAL 158)

4. हवनी f. the sacrificial ladle S3Br. Ka1tyS3r.; a fire-receptacle (= f.) L.; f. a hole made in the ground for the sacrificial fire which is to receive a burnt-oblation L.हवन m. (for 2. » [p= 1294,1]) fire or अग्नि the god of fire L.

5. कपाल [p= 250,2] mn. ( √कम्प् Un2. i , 117), a cup , jar , dish (used especially for the पुरोडाश offering) TS. S3Br. Sus3r. &c (cf.त्रिकपाल , पञ्च-कपाल , &c ); a fragment of brick (on which the oblation is placed) S3Br. vi , xii Ka1tyS3r. Sus3r. &c; a cover , lid A1s3vGr2. iv , 5 , 8 Bha1sha1p. &c; the skull , cranium , skull-bone AV. ix , 8 , 22 ; x , 2 , 8 S3Br. i Ya1jn5. &c; the shell of a tortoise S3Br. vii , 5 , 1 , 2;  n. ([Greek. κώπη'handle'; Lat. capere ;Hib गभैम् ; Goth. hafyan ; Angl.Sax. haban , haefene ,hafoc ; Eng. haven , hawk ; cf. Gk. κεφαλή'head'; Lat. caput ; Goth. haubith; Angl.Sax. heafud.])

6. śamyā शम्या [शम्-यत् टाप्] 1 A wooden stick or post. -2 A staff, a measure of length (= 36 Aṅgulas). -3 The pin of a yoke. -4 A kind of cymbal; वीणा नैवाद्य वाद्यन्ते शम्यातालस्वनैः सह Mb.7.72.12. -5 A sacrificial vessel. -6 A kind of medical instrument. -Comp. -क्षेपः, -पातः the distance that a staff can be thrown; the cast of a staff; शम्यापातेनाभ्यतीयाद्वेदीभिश्चित्रयन् महीम् Mb.12.29.95; Ms.8.237. -ग्राहः one who plays the cymbal; Rām. 2.91.49.  śámyā f. ʻ stick, wedge, peg ʼ RV., ʻ yoke pin ʼ ŚBr.Pa. sammā -- f. ʻ yoke pin ʼ; L. samm, (Ju.) sam f. ʻ horizontal stick of a yoke which passes under bullock's neck ʼ; WPah.bhal. śam, pl. śammã̄ f. ʻ yoke pin, handle of blacksmith's bellows ʼ.*śamiyākīla -- , *śamyākīla -- , śamyāgarta -- , *śamyābhara -- , *śamyāyuga -- , *śamyēṣā -- .Addenda: śámyā -- [†śama -- 2?]: †*śamyākāṣṭha -- .†*śamyākāṣṭha -- ʻ the wood for the yoke pins ʼ. [śámyā -- , kāṣṭhá -- ]WPah.kṭg. śəme/ṇṭh m.pl. ʻ the pins which join the two bars of the yoke on either side of the ox's neck ʼ Him.I 250.(CDIAL 12317) *śamyākīla ʻ yoke -- pin ʼ. 2. *śamiyākīla -- . [śámyā -- , kīla -- 1]1. Bi. samailā ʻ inner pins joining the two bars of the yoke of a plough ʼ; Mth. samail ʻ pin of a yoke ʼ; G. sāmel, sã̄bel f. ʻ iron nail fixed at each end of a yoke ʼ (< -- kīlla -- ) J. Bloch BSOS viii 413.2. N. soilo ʻ yoke -- pin, any wooden pin, door -- hinge made of withies ʼ; Or. saïḷa, saüḷa, saaḷa ʻ pin at end of yoke of plough ʼ; Bi. sail, °lā ʻ outer pin joining the two bars of yoke, tiller of rudder ʼ; M. śivā̆ḷ, °vīḷ, °vūḷ f. ʻ peg connecting two members of yoke and confining it to animal's neck ʼ, Ko. savīḷ f.; -- M. śelẽ n. ʻ thill -- yoke ʼ < -- kīlla -- ? -- The forms of N. Or. Bi. H. have perh. collided with śákala -- .(CDIAL 12318)

7. dṛṣad दृषद् f. [दॄ अदि षुक् ह्रस्वश्च; cf. Uṇ.1.128] 1 A rock, large stone, or stone in general; तत्र व्यक्तं दृषदि चरणन्यास- मर्धेन्दुमौलेः Me.55; R.4.74; Bh.1.38. -2 A mill-stone, a flat stone for grinding condiments upon; भित्वा मृषाश्रु- र्द्दषदश्मना रहः Bhāg.1.9.6. -Comp. -अश्मन् m., -पुत्रः the upper and smaller mill-stone. -उपलः a grind-stone for grinding condiments upon. (दृषदिमाषकः a tax raised from mill stones). -सारम् iron; दृषत्साररुतत्त्वामृतमपि भवाम्भो- निधिगतः Mv.6.52. dr̥ṣád f. ʻ rock, millstone (esp. the lower) ʼ RV., dr̥ṣada -- in cmpd. Hariv., °aka -- Pat. Pk. disaā -- f. ʻ stone ʼ; Wg. duṣómacrdotdot; ʻ handmill ʼ; Kho. driẓ ʻ stone shoot on mountain -- side, shale slope, handmill (= driẓ -- xora) ʼ. -- X niśādā -- q.v. Addenda: dr̥ṣád -- [Prob. not connected with Shgh. dïx̌n ʻ stone mortar ʼ EVSh 32](CDIAL 6517) niśādā in niśādā -- putra -- m., -- śilā -- f. ʻ pestle ʼ lex. [Cf. śādā -- f. ʻ brick ʼ Gobh., niśātayati ʻ cuts down ʼ MārkP.<-> √śad?]Pa. nisadā -- f. ʻ grindstone, lower stone in handmill ʼ (X dr̥ṣád -- ?), Pk. ṇisā -- f. ʻ pounding stone ʼ: G. niśā f. ʻ slab of stone on which things are pounded or crushed ʼ.(CDIAL 7430)

8. औपल a. (-ला, -ली f.) [उपल-अण्] 1 Stony, of stone; यथा प्लवेनौपलेन निमज्जत्युदके तरन् Ms.4.194. v. l. -2 Raised from stones (as a tax). पाहि औपलामम्बिकाम् Nṛi. P. Up.3.1. úpala m. ʻ stone, rock ʼ MBh., °aka -- m. ʻ precious stone ʼ Suśr., ʻ upper millstone (?) ʼ in upala -- prakṣín<-> RV., úpalā -- f. ʻ upper and smaller millstone ʼ ŚBr. 2. *upalla -- . 3. *pala -- or *palla -- . [EWAi 106 l -- form of úpara -- ; but more general meaning ʻ rock, stone ʼ suggests another origin. Then upalā -- f. might be primarily the smaller of the two millstones, but influenced semant. by úpara -- ]1. Pa. upala -- m. ʻ stone ʼ, Pk. uvala -- m.; -- semant. cf. aśáni -- : P. olā m. ʻ hailstone ʼ, Ku. wālo; Bhoj. olā ʻ frost ʼ; OAw. olā ʻ hailstone ʼ, H. olā m.: all these poss. < *upalla -- below.2. G. olũ n. ʻ hailstone ʼ; -- semant. cf. dantaśarkarā<-> f. ʻ tartar on teeth ʼ: Pk. ullī -- f. ʻ tartar ʼ, Ku. ulo m., G. oli, uli f. ʻ dry saliva on tongue ʼ.3. K. pal m. ʻ boulder, rock ʼ; WPah. bhal. pal, pall m. ʻ slab of stone, upper millstone ʼ, palṛi f. ʻ stone mortar for grinding salt ʼ. -- Paš. phal f. ʻ stone for pelletbow ʼ? (CDIAL 2223) *upalāśman ʻ grindstone ʼ. [úpala -- , áśman -- ]S. urso m., °sī f. ʻ flagstone for grinding things on ʼ.(CDIAL 2233)

9. sūrpa सूर्प See शूर्प. śaurpa शौर्प a. (-र्पी f.) Measured by or belonging to a शूर्प or winnowing basket; P.V.1.26.  śūˊrpa n. ʻ winnowing basket ʼ VS. (śūrpa -- grāhīˊ -- AV.), śūrpī -- f. ʻ small do. ʼ lex.Pa. Pk. suppa -- m. (Pk. also n.) ʻ winnowing basket ʼ, K. śū˘pu m., S. supu m., WPah.jaun. śūpō; Ku. supo ʻ winnowing fan ʼ, gng. śup ʻ reed basket ʼ; Or. supā ʻ winnowing fan ʼ; Bi. Mth. Bhoj. sūp ʻ winnowing basket or sieve ʼ; H. sūp m. ʻ winnowing basket or fan, wooden water scoop ʼ, sūpā -- benā m. ʻ swallow ʼ (see vayana -- ); G. supṛũ n. ʻ winnowing fan ʼ, °ṛī f. ʻ small do. ʼ; M. sūp n. ʻ winnowing basket ʼ.Addenda: śūˊrpa -- : WPah.kṭg. śúppɔ m. ʻ winnowing basket ʼ; Garh. suppu.(CDIAL 12573)

10. स्फ्य [p= 1271,2] n. an implement used in sacrifices (described as a flat piece of wood shaped like a sword for stirring the offerings of boiled rice , or accord. to some , for trimming the mound used as an altar) AV. TS. Br. Gr2S3rS. Mn. MBh.; a spar or boom (of a ship's sails) S3Br.; n. a kind of oar R. [cf. accord. to some , Gk. 

σφήν

 'wedge'; Germ. spa7n , Span.]*sphiyá -- , sphyá -- ʻ *scapula ʼ. 2. m. ʻ flat piece of wood for stirring offerings of boiled rice or for trimming mound used as altar ʼ AV., ʻ boom, spar ʼ ŚBr., m.n. ʻ a kind of oar ʼ R. [Both meanings in Ir. *phiya -- : Wkh. fiáh ʻ shoulderblade ʼ, Shgh. fyak, Kurd. pil, pāwl ʻ shoulder ʼ ~ Wkh. péi ʻ shovel ʼ, Sar. Ishk. féi, Shgh. fe: cf. K. L. Janert KZ 79, 89 -- 111.1. Wg. pīwə ʻ scapula ʼ; Paš.kuṛ. phīī ʻ scapula ʼ, ar. phī, pīi ʻ back of shoulder ʼ, pīo -- m ʻ upper part of my back ʼ; Gaw. phīo ʻ shoulderblade ʼ (→ Sv. phīeNOPhal 45);  Kho. phiu ʻ scapula ʼ; Bshk. phī ʻ shoulderblade ʼ (pl. phiāˊr < sphiyapāṭa -- ); Mai. phīa ʻ shoulder ʼ; -- Sh.gil. jij. phižu, koh. phīǰŭ m., pales. phížo (< *sphiyya -- ?). <-> Ext. -- kk -- : Gy. eur. phiko m. ʻ shoulder ʼ (DGW iv 294 wrongly < pr̥ṣṭhá -- ); K. phyoku, dat. phĕkis m. ʻ shoulderblade ʼ; -- -- l -- : Sh. phyōlŭ m. ʻ shoulder ʼ, (Lor.) piolo ʻ shoulderblade ʼ.2. Pa. phiya -- m. (in cmpds. usu. piya -- ) ʻ oar ʼ; Kho. phī ʻ wooden spade ʼ, (Lor.) phiyu ʻ dung spade ʼ; K. phyohu, phyuhu (dat. phihis, phĕhis) m. ʻ snow -- scoop ʼ. <-> Ext. -- kk -- : Shum. phyēk ʻ wooden shovel ʼ, Paš. pēkaṭīˊ (enlarged fr. *phē → Par. phī IIFL iii 3, 140); -- -- l -- : Sh. (Lor.) piolo ʻ wooden spade, oar ʼ. -- Connexion, though possible (sphya -- + ?), obscure: Ku. phauṛo ʻ a kind of mattock, spade ʼ; N. pharuwā ʻ mattock, hoe ʼ, phyāuri ʻ long -- handled implement for levelling ricefield ʼ; B. phāuṛā, phõṛ ʻ spade, hoe ʼ; Or. phāuṛā ʻ digging hoe ʼ; Bi. phahurī, pharuhī, phaṛuā, °uhī ʻ scraper for making banks of irrigation beds ʼ; H. phāwṛā m., °ṛī f., phauṛā, pharuwā m. ʻ mattock, hoe ʼ, pharūhā m. ʻ a kind of rake or hoe ʼ; M. phāvḍā m. ʻ large hoe (esp. a wooden one) ʼ, °ḍī f. ʻ wooden hoeshaped instrument for skimming molasses, large hoe ʼ, °ḍẽ n. ʻ hoe or scraper ʼ.*sphiyapāṭa -- .Addenda: *sphiyá -- [Shgh. Ishk. fay ʻ wooden shovel ʼ, Bj. fiy, Wj. fi; -- ext. -- kk -- in Shgh. Wj. fiyak ʻ wooden shovel, shoulderblade ʼ; Ishk. fayək ʻ shoulder ʼ, Wkh. fiak, Sogd. byk; Chvar. fyk ʻ rudder ʼ -- EVSh 34]S.kcch. pāvṛī f. ʻ small wooden shovel ʼ?(CDIAL 13839)

ऋभु, ṛbhu 'artisans' make the implements for yajñā. 
See:

Itihāsa of Ṛbhus in Rigveda 'smiths,skilled artists, artificers', adored as divinities & Sarasvati civilization evidence 

http://tinyurl.com/zba3k8h

څمڅئِي ṯs̱amṯs̱aʿī, s.f. (6th) A ladle made of wood, brass, or iron. Sing. and Pl. (P چمچه). 
څونڅئِي ṯs̱on-ṯs̱aʿī, s.f. (6th) A spoon or ladle made of wood, iron, or brass. Sing. and Pl. See کاچوغه,کړیڅئِي and څونڅئِي ; څملاستل ṯs̱am-lāstal, verb intrans. To lie down, to recline, to repose, to be recumbent. Pres. څملي ṯs̱amlī; past څملاست ṯs̱amlāst; fut. ؤ به څملي wu bah ṯs̱amlī; imp. څمله ṯs̱amlah; act. part. څملاستونکيَ ṯs̱amlāstūnkaey, or څملاستوني ṯs̱amlāstūnaey; past part. څملاستليَ ṯs̱amlāstalaey; verb. n. څملاستنه ṯs̱amlāstanaʿh. څملولṯs̱amlawul, verb trans. To make recline, to put to rest, to make lie down. Pres. څملوي ṯs̱amlawī; past ؤ څملاوه wu-ṯs̱amlāwuh, or ؤ څملاوو wu-ṯs̱amlāwo; fut. ؤ به څملوي wu bah ṯs̱amlawī; imp. ؤ څملوه wu-ṯs̱amlawah; act. part. څملوونکيَ ṯs̱amlawūnkaey, or څملوونيَ ṯs̱amlawūnaey; past part. څملوليَ ṯs̱amlawulaey; verb. n. څملونه ṯs̱amlawunaʿh.(Pashto)

Camasa [Vedic camasa, a cup] a ladle or spoon for sacrificing into the sacred fire J vi.52824=5294 (unite ca with masa, cp. 5299 and n. 4: aggijuhana -- kaṭacchu -- sankhātimasañca [for camasañ ca] v. l. Bd). Cp. Kern, Toevoegselen s. v. ; Camu (f.) [Both derivation and exact meaning uncertain. The Vedic camū is a peculiar vessel into wh. the Soma flows from the press. In late Pali & Sk. it means a kind of small army, perhaps a division drawn up more or less in the shape of the Vedic vessel] an army J ii.22; camūpati a general Mhvs 10, 65; 23, 4; Dāvs i.3.(Pali)

cō̃ca or cō̃cĕ चोँच (= ) । दारुहस्तकः m. a ladle or spoon, made of wood when large and of bell-metal, etc., when small (El. spells this word choṅchih). -- bazun -- बज़ुन् । अधिकाराप्तिः m.inf. to wield the spoon; to hold authority or possess the power of superintendence, esp. in distributing another's food, money, etc. -mār -मार् । भोजनबाधाविधानम् m. 'spoon-hitting', preventing another from completing a meal or finishing a dish. -- sapanun -- सपनुन् or -- sapazun -- सपज़ुन् । संकुचितीभवनम् m.inf. 'to become a ladle'; hence, to become shrivelled or withered, as of the hand or other limb owing to cold, of the face owing to grief or loss, or of a flower, herb, or the like owing to the heat of the sun or to being broken. (Kashmiri)

चमू [p= 388,3] f. (Ved. loc. °म्/ऊ RV. six times ; once °म्व्/इ , x , 91 , 15 ; nom. du. °म्व्/आ , iii , 55 , 20 ; gen. loc. °म्व्/ओस् ; nom.pl. °म्व्/अस् , viii , 2 , 8 ; loc. pl. °म्/ऊषु) a vessel or part (two or more in number) of the reservoir into which the सोम is poured RV.; f. du. °म्व्/औ " the two great receptacles of all living beings " , heaven and earth Naigh. iii , 30 (cf. RV. iii , 55 , 20); an army or division of an army (129 elephants , as many cars , 2187 horse , and 3645 foot MBh. i , 292) MBh. R. Megh. BhP.

camasḥ sam चमसः सम् [चमत्यस्मिन्, चम्-असच् Tv.] 1 A vessel (can, ladle &c.) used at sacrifices for drinking the Soma juice; Y.1.183 (also चमसी); इडोदरे चमसाः कर्ण- रन्ध्रे Bhāg.3.13.36. -2 A cake made of barley, rice &c. -Comp. -अध्वर्युः the priest who manages the drinking vessels. -उद्भेदः, -दनम् N. of place of pilgri- mage where the river Sarasvatī is said to have burst forth.

उद्-भेद [p= 190,2] m. the act of breaking through or out , becoming manifest or visible , appearing , sprouting S3ak. 85 d Kum. Bhartr2. Sa1h. &c; a spring , fountain R. MBh.

चमस [p= 388,3] m. (n. g. अर्धर्चा*दि ; f(ई). L. Sch. ; fr. √ चम्) a vessel used at sacrifices for drinking the सोम , kind of flat dish or cup or ladle (generally of a square shape , made of wood and furnished with a handle) RV. AV. VS. &c; m. a cake (made of barley , rice , or lentils , ground to meal) , sweetmeat , flour L. Sch.; m. = चमसो*द्भेद MBh. iii , 5053

चमचा (p. 160) camacā m ( H or चमस S) A ladle or spoon. (Marathi) சம்சா camcā

, n. < U. camca. Spoon; கரண்டி. (இந்துபாக. 65.)

Implements and Vessels Used in Vedic Sacrifice

Raghu Vira The Journal of the Royal Asiatic Society of Great Britain and Ireland

No. 2 (Apr., 1934), pp. 283-305 http://www.jstor.org/stable/25200895

 2x14x.4 in.

.8x14.5x.8 in

                                                                         1x15.5x2.8 in.

1x13.5x3 in.

.4x3x12.3 in.

http://www.exoticindiaart.com/book/details/vedic-sacrifices-outline-IDD013/

http://www.exoticindiaart.com/book/details/yajnayudhani-album-of-implements-used-in-vedic-rituals-with-descriptive-notes-NAB755/

Identity of Soma as āprī divinity in Rigveda. Baudhāyana-Śrautasūtra: Archaeometallurgy, Agnicayana and locus of Bhāratam Janam of Sarasvati-Sindhu civilization

http://tinyurl.com/gme5r8r

Why is Soma an āprī divinity in the āprī sukta of Riita kAzyapa shi As(RV 9.5)?

The reasons are found in RV 9.5.10, wherein the nature of Soma is explained: सहस्रम् वल्शम् हरितम् भ्राज मानम् हिरण्यम् 'the green bright golden-hued Vanaspati with its thousand branches.' 

In this rica, the gloss वल्श [p= 929,1] means m. (also written ब्/अल्श) a shoot , branch , twig RV. AV. BhP. (Monier-Williams). The word bhrAja is also significant in the context of archaeometallurgy; the word denotes 'act of frying, roasting' and explains fully the AtirAtra yajna for five days and nights continuously in a fire-altar achieving upto 1500 degrees centigrade Agni, fire to purify the hiraNyam, soma, amzu, valzam: bharjana n. ʻ act of parching or roasting ʼ KātyŚr., bhrajjana -- n. lex. [√bhrajj] Pk. bhajjaṇa -- , °aya -- n. ʻ id. ʼ; A. bhāzan ʻ act of frying ʼ, B. bhājan, bhājnā; M. bhāj̈aṇ, bhāj̈ṇẽ n. ʻ act of parching, grain put to be parched ʼ; Si. badina -- tel ʻ frying oil ʼ. <-> Kho. (Lor.) bediṅ ʻ wheat parched or ground ʼ < *bharjanikā -- ? bharjita ʻ fried, parched ʼ Suśr. [√bhrajj] Pk. bhajjia -- ʻ fried ʼ, bhajjiā -- f. ʻ fried vegetables ʼ; Pr. bázə, bāˊzə ʻ meat ʼ NTS xv 255; K. abozu ʻ cooked in water and not fried in oil ʼ; S. bhāj̄ī f. ʻ vegetables ʼ (ā?), Ku. bhājī; N. bhāji ʻ brinjal fried in oil ʼ; A. bhāzi ʻ fried vegetables ʼ; B. Or. bhāji ʻ anything fried ʼ; H. bhājī f. ʻ fried greens, greens ʼ; G. M.bhājī f. ʻ vegetables ʼ. <-> See *bhr̥jjita -- and bhājī -- Add. WPah.kṭg. bhàj̈i, kc. bhaj̈e f. ʻ vegetables, greens, mushrooms ʼ, J. bhāji f.(CDIAL 9400, 9401)

In 9.5.1 Sayana explains the āprī TanUnapAt 'a name of Soma, abhyo ams'avo jAyante tatah somo jAyate, from the waters are born ams'u, from these is born Soma. If ams'u is rendered as 'shoot', the explanation points the the nature of Soma as endowed with ams'u, 'shoots'. अंशु [p= 1,1] m. a filament (especially of the सोम plant); a ray , sunbeam; end of a thread , a minute particle; a point , end (Monier-Williams). 

When Soma is purchased from the seller who comes from Mt. Mujavat, how is Soma measured?

The details are provided in Baudhāyana-Śrautasūtra (the entire text with English translation is embedded), with the following excerpts from Pages 355, 363, 365.

In these excerpts, Baudhāyana explains how Soma is measured. 

The Adhvaryu touches King Soma with the hand equipped with gold with the formula, 'Let thy shoot be mixed with shoot, joint with joint; may the fragrance evoke the desire; may the firm juice cause excitement. Thou art a house-holder; thy libation is bright.' He measures Soma with one finger at a time. In respect of all (fingers) he applies the thumb. The golden-handed wise has measured the heaven with his form. Five times with the formula, five times silently. Measuring ten times, he measures half the quantity of king Soma. Thus, the Soma shoots are measured as 20-finger width. Adhvaryu then binds Soma with the turban (piece of cloth). Adhvaryu confirms from the soma-seller: 'O Soma-seller, is thy Soma to be purchased (by us)?''It is for purchase,' says the other. 'Is it from the Mujavat mountain?''Indeed from the Mujavat,' says the other. Then he barters for a cow, 'I purchase it for a cow'. 'This Soma has been purchased. Speak out the valuables'. 'This Soma-purchasing cow is thine. Gold is thine; the female goat is thine; piece of cloth is thine.' Then he barters for gold. (p.365).

This measure of Soma shoots by scores of finger-widths determines the barter price for Soma.

What are these ams'u? Soma shoots measured by finger-widths. Such a method of measurement yields the nature of Soma as electrum ore blocks with shoots -- ams'u or vals'a -- of electrum.

Some images of such ore complexes can be seen. What was the ore block called by the Soma-seller from MUjavat? 

Naturally occurring electrum.  Sample of gold, silver and copper in Andean South America

While gold is often found mixed with iron, finding raw ore where gold, silver and copper are mixed is not as common; Top Left: A sample of all three metals in one rock; Top Right: All three metals bubbled up in a single rock; Bottom: A solid vein of gold, silver and copper, estimated at 14,000 tons of ore containing about 385 tons of copper, 2,350 oz. of gold, 14,700 oz. of silver in an area that is known as a gold, silver and copper producer in Peru http://nephicode.blogspot.in/2015_04_01_archive.html

"Because atoms of gold and silver have the same atomic radius, gold nuggets commonly contain some amount of silver. For example, gold from California commonly contains 10-15 % silver. If silver is greater than 20%, the resultant alloy is electrum. In addition to silver, native gold may contain small amounts of copper (Cu) and iron (Fe). Trace amounts of bismuth (Bi), lead (Pb), tin (Sn) and zinc (Zn) as well as platinum group metals are also sometimes found in native gold."

	A gold grains and cube with quartz. http://www.gg.uwyo.edu/content/laboratory/gold/geology/mineral/electrum.asp?callNumber=34981&SubcallNumber=0&color=6699CC

Vulture mine, Arizona.Primary dipping vein.  "Gold and silver were discovered in quartz veins and in silicified and altered host rock within and adjacent to a prominent north—northeast-dipping quartz-porphyry dike that intrudes Proterozoic basement rock and grades into a Late Cretaceous granite to granodiorite pluton to the west. The precious metal occurs in the form of native gold and electrum and is associated with sulfides including pyrite (fools gold), argentiferous galena (silver-bearing lead-sulfide) and minor chalcopyrite (copper-iron-sulfide) and sphalerite (zinc-sulfide). White (1988) reported a positive correlation of gold with abundance of secondary silica and sulfides. Pervasive wall rock alteration adjacent to the vein resulted in replacement of feldspar and mafic minerals to produce sericite, hematite and clay; thus the altered dike now consists of quartz ‘eyes’ in a fine-grained altered matrix. Gold is concentrated in quartz veins and in silicified and altered rocks within and adjacent to the dike." http://vultureaz.blogspot.in/

I suggest that an ore block was called ancu -- Tocharian (cognate ams'u -- Vedic). In Tocharian, ancu meant 'iron' as noted by the lexicographer Georges Pinault.

The search is on to trace the movements from Andronovo or Afanasievo cultures, the way the search is on for the Urheimat of PIE. Based on what Nicholas Kazanas has pointed out and argued, the search for Urheimat for PIE may lie closer to the river basin where most of Rigveda was composed and chanted: Sarasvati River Basin. This river basin attests a spoken, administrative language: Mleccha (Meluhha) which may include many mispronunciations of reconstructed IE glosses and expressions and closely associated with the Prakrits which may also be termed Proto-Indo-Aryan. Tocharian speakers got isolated from the rest of the Indo-Europeans but had apparent trade contacts with the Rigvedic people for exchanges of Soma (ancu) from Mount Mujavant (Muztagh Ata) of the Tarim Basin as argued with the evidence of cognates (Soma syonym) ams'u~~ancu pointed out by Georges Pinault.http://bharatkalyan97.blogspot.in/2015/03/some-tarim-mummies-on-trade-caravans.html

French scholar, Prof. Pinault identifies amśu of Rigveda with anzu of Tocharian. In Tocharian it means 'iron'. Tocharin language as an Indo-European language has revealed a word anzu in Tocharian which meant 'iron'. It is likely that this is the word used for soma in Rigveda.

See also: Gerd Carling, Georges-Jean Pinault, Werner Winter, 2008, Dictionary and thesaurus of Tocharian A,Volume 1, Otto Harrassowitz Verlag. Georges-Jean Pinault, 2006, Further links between the Indo-Iranian substratum and the BMAC language in: Bertil Tikkanen & Heinrich Hettrich, eds., 2006, Themes and tasks in old and middle Indo-Aryan linguistics, Delhi, Motilal Banarsidass, pp. 167 to 196. "...we have Toch. A. *ancu 'iron', the basis of the derived adjective ancwaashi 'made of iron', to which corresponds Toch. B encuwo, with the parallel derived adjective encuwanne 'made of iron'...The two forms go back to CToch. oencuwoen- non.sg. *oencuwo, the final part of which is a regular product of IE *-on...This noun is deprived of any convincing IE etymology...The term Ved. ams'u-, Av . asu- goes back to a noun borrowed from some donor language of Central Asia, as confirmed by CToch. *oencuwoen-...the BMAC language would not belong to the Indo-European family; it does not seem to be related to Dravidian either...New identifications and reconstructions will certainly help to define more precisely the contours of the BMAC vocabulary in Indo-Iranian, as well as in Tocharian."(p.192)] 

http://bharatkalyan97.blogspot.com/2011/09/central-asian-seals-seal-impressions.html

Pinault parallels amśu of Rigveda with añcu of Tocharian. In Tocharian it means 'iron'. Tocharin language as an Indo-European language has revealed a word anzu in Tocharian which meant 'iron'. It is likely that this is the word used for soma in Rigveda. I have posted about this in the context of identification (discussed in this blog) of Muztagh Ata of Kyrgystan as Mt. Mujavat (mentioned as a source of soma in Rigveda). It is notable that in Mesopotamian legend of Ninurta, god of war and agricultural fertility hunts on the mountains, Anzu which is the lion-headed Eagle with the power of the stolen Tablet of Destinies. The 'eagle' is identified as śyena in Rigveda and Avesta (saena meregh) as the falcon which brought the nectar, Soma. It is likely that soma as electrum (silver-gold ore) was bought from the traders who brought anzu from Mt. Mujavat.

http://bharatkalyan97.blogspot.com.tr/2011/10/itihasa-and-eagle-narratives.html

RV 9.5: r.s.i: asita ka_s'yapa or devala ka_s'yapa; devata_: a_pri_su_kta (1 idhma or samiddha agni, 2 tanu_napa_t, 3 il.a_, 4 barhi, 5 devi_ dva_ra, 6 us.a_sa_nakta_, 7 divya hota_gan.a pracetas, 8 sarasvati_, il.a_, bha_rati_-- tisro devya, 9 tvas.t.a_, 10 vanaspati, 11 sva_ha_kr.ti

समिद्धो विश्वतस्पतिः पवमानो विराजति 

प्रीणन् वृषा कनि क्रदत् 

तनूनपात् पवमानः शृङ्गे शिशा नो अर्षति 

अन्तरिक्षेण रारजत् 

ईळे न्यः पवमानो रयिरविराजति द्युमान् 

मधोरधारा भिर ओजसा 

बर्हिः प्राचीनम् ओजसा पवमान स्त्रुणन् हरिः 

देवेषु देव ईयते 

उद आतौ रजिहते बृहद द्वारो देवीर हिरण्ययीः 

पवमानो न सुष्टुताः 

सुशिल्पे बृहती मही पवमानो वृषन्यति 

ना षासा न दर्शते 

उभादे वानृ चक्ष सा होतारा दैव्या हुवे 

पवमान इन्द्रो वृषा 

भारती पवमानस्य सरस्वतीळामही 

इमं नो यज्ञम् आगमन् तिस्रो देवीः सुपेशसः 

त्वष्टारम् अग्रजाम् गोपाम् पुरो यावानम् आहुवे 

इन्दुर इन्द्रो वृषा हरिः पवमानः प्रजापतिः  

वनस्पतिम् पवमान मध्वासम् अङ्ग ग्धि धारया 

सहस्रम् वल्शम् हरितम् भ्राज मानम् हिरण्यम् 

विश्वेदेवाः स्वाहा कृतिम् पवमान स्यागत 

वायुर बृहस्पतिः सूर्याग्निर इन्द्रः सजोषसः 

9.005.01 The pure-flowing (Soma) shines forth in its brightness, the universal lord, the showerer of blessings, the rejoicer, uttering a loud sound. [The deities, samidh and others are severally invoked in the successive verses. Soma is praised in the form of the A_pris, and samiddhah is explained as samyagdi_ptah].
9.005.02 The pure-flowing Tanu_napa_t, rushes sharpening its splendour on the height and hastens through the sky. [Tanu_napa_t = a name of Soma, abhyo ams'avo ja_yante tatah somo ja_yate, from the waters are born beams, from these is born Soma; hastens through the sky: that is, to the dron.akalas'a, according to the text, 'he takes a_grayan.a libation with two streams'].
9.005.03 The pure-flowing bright (Soma), the bounteous giver, worthy of all praise, shines forth in its might with the streams of water.
9.005.04 The bright golden-hued pure-flowing one rushes in its might, strewing the sacred grass in the sacrifice with its points towards the cast.
9.005.05 The bright golden doors, praised by the priests together with the Soma, rise up from the vast horizon.
9.005.06 The pure-flowing (Soma) longs for the fair-formed wide-reaching mighty Night and Dawn not yet visible.
9.005.07 I  invoke the two divine priests, the two deities who behold men-- the pure-flowing (Soma) is radiant and the showerer (of benefits). [The pure-flowing Soma is radiant: perhaps, an identification of Soma with Indra, just as in the next verse, Indu (i.e. Soma) is identified with Indra.
9.005.08 May the three beautiful goddesses, Bha_rati_, Sarasvati_, and mighty Il.a_, come to this our offering of the Soma.
9.005.09 I invoke Tvas.t.a_, the first-born, the protector, the leader; the golden-coloured pure-flowing Indu is Indra, the showerer, the lord of all creatures.
9.005.10 Pure Soma, consecrate with your streaming ambrosia the green bright golden-hued Vanaspati with its thousand branches.
9.005.11 O all ye gods, come together to the consecration of the Soma-- Va_yu, Br.haspati, Su_rya, Agni and Indra.

(p.355, p.363, p.365)

Baudhayana ca. 800 BCE. Baudhāyana-Śrautasūtra and Baudhāyana-Śulbasūtra belong to Taittiriya recension of Krishna Yajurveda Samhita.. 

I suggest that the reference to woollen sieve or straining-cloth or filter in Rigveda is a clear indication of the material resource of Soma as an āprī divinity.  The avyo vAra is an evocation of the golden fleece used to separate placer gold particles from the silica particles of river bed sands. 

The fleece was the skin of sheep and used to sieve gold from the mud where the Placer gold was found. The woollen sieve may be a reference to such a golden fleece. Reducing agents include alkaline as well as combustible materials --vegetable and animal products-- such as: herbs (ks.a_ra), barley--grains and cooked pin.d.a, milk, curds, clarified butter, viands (animal fat), bones (used in cupellation processes, and for making crucibles, during the bronze-age), sheep's hair or wool (reminisced as golden fleece). 

For e.g., Soma is described as parvata_ vr.dhah in a verse, that the pyrites are from the mountain slopes: 9.046.01 Begotten by the stones the flowing (Soma-juices) are effused for the banquet of the gods' active horses. [Begotten by the stones: or, growing on the mountain slopes]. 

http://bharatkalyan97.blogspot.in/2015/05/objects-identified-as-apri-in-rigveda.html Objects identified as āprī in Rigveda, life-activities of metalcasters of Sarasvati-Sindhu river basins. 

The importance of the woollen straining-cloth as a sieve, as a fleece, is seen from repeated reference to the metaphor of the fleece to create pavamaana, purified Soma, potable electrum to flow into the pots.

Soma is meant for the gods; thus, gods in the Rigveda are an allegorical personification of the purification processes (of Soma), just as Soma is an a_pri deity, together with other materials and apparatus (ladles and vessels) employed in the yajn~a, accompanied by r.cas (or, agnis.t.oma).

If Soma is electrum and Indra is burning embers (such as charcoal, indha, used in a furnace), the yajn~a can be interpreted, at the material level, as a process of reduction (or, pavitram, purification), using ks.a_ra, of a metallic ore compound (ma_ks.ika_ or quartz or pyrites) to yield the shining metals: potable (pavama_na, rasa-- raso varjrah, cf. RV 9.048.03, i.e. rasa, vigorous as a thunderbolt) gold and silver (hiran.yam and rayi), after oxidising the baser metallic elements (in the unrefined pyrite ores) such as lead (na_ga or ahi or vr.tra) and copper (s'ulba).

Rica 9.5.4 points to the pavamaana assuming हरिः golden ojas, 'light, splendour, lustre' like a cast metal:

बर्हिः प्राचीनम् ओजसा पवमान स्तृणन् हरिः 

देवेषु देव ईयते 

9.005.04 The bright golden-hued pure-flowing one rushes in its might, strewing the sacred grass in the sacrifice with its points towards the cast. 

Adapted from Haug's notes from Sa_yan.a's commentary on Aitareya Bra_hman.a:
  

The adhvaryu takes the skin (carma or tvac) and puts on it the filaments or shoots of the Soma (am.s'u). He then takes two boards (adhis.avan.a), puts one on top of the Soma shoots, and beats them with the stones (gra_va_n.a). Then the Soma is put between the two boards, and water is poured on them from the vasati_vari_ pot. Soma is then shaken in the hota_ cup (camasa), wetted again with vasati_vari_ water and put on a stone. Grass is laid on them, and they are beaten so that the juice runs out. The juice is allowed to run into the trough (a_havani_ya), then strained through the cloth (pavitra or das'a_pavitra) which is held by the udgata_. The filtered soma is caught in another trough (pu_tabhr.t). Libations are poured from two kinds of vessels: grahas or saucers, and camasas or cups.

The vedi (altar) is the earth and as the agni (fire) raises towards the heaven, the poetic imagination of the r.s.is (priests) expands into realms of cosmological thoughts, unparalleled in recorded history of early human civilizations. Thus, at a cosmic level, the Rigveda raises profound philosophical questions which have been the fountain-head of Indian philosophical traditions. 

"Bronze tools, implements, and weapons and gold jewelry appear together in the Royal Cemetery of Ur, the royal shaft graves of Alaca Huyuk, and the various treasures (really hoards) of Troy II.   The same is true for the bronze metallurgy and gold jewelry of Poliochni V (yellow). All this begins in the twenty-sixth century BCE, the date of the Royal Cemetery, and continues over the next few centuries down to about 2200 BCE. As indicated above, the possibility of tin, gold, and lapis lazuli coming into Mesopotamia from Afghanistan is certainly an attractive one. Of these three raw materials, however, we can be sure of the provenance of only one. Most, if not all, of the lapis lazuli used by the Sumerians came from northeast Afghanistan, from the Sar-i Sang mines in the region of Badakhshan.   As for tin and gold, it can only be said that both metals are present in significant quantities in Afghanistan and in alluvial form. The recovery of fine gold particles from streams, making use of the woolly fleece of sheep (the famous Golden Fleece of Greek legend), was still practiced in Afghanistan well into the twentieth century." (James D. Muhly, 1995, Mining and Metalwork in Ancient Western Asia, in: Jack M. Sasson, ed. 1995, Civilizations of the Ancient Near East, Vol. III, New York, Charles Scribner's Sons, pp.1501-1521).

The Pennsylvania University Museum for Archaeology and Anthropology in Philadelphia (Penn Museum) has a large collection of metal artefacts made of copper, bronze, silver and gold, which Sir Leonard Woolley had excavated in the royal tombs of Ur (middle of the 3rd millennium) between 1922 and 1934. Of the finds, one quarter went to the University Museum for Archaeology in Philadelphia, one quarter to the British Museum in London, and the remaining half to the Baghdad Museum. Before the 1st Gulf War in 1991 these objects were moved to the vault of the national bank, along with many other gold artefacts, and they have recently been “rediscovered” there.

Fig. 02: This bull’s head was attached to a lyre as decoration. It consists of gold and the eyes are inlaid with shells, and decorated with bitumen. The find comes from the “King’s Grave”. 

Analytical Examinations of the Metal Finds

The DBM’s first work on the artefacts began in 2009. The museum had agreed to a request to carry out analytical examinations of the metal finds. To begin with, 31 of the best known and most beautiful gold objects were analysed non-destructively with a portable x-ray fluorescence spectrometer to determine their chemical composition.

Fig. 03: Numerous beads were recovered from the royal graves, many of them golden “butterfly beads”. They were made of two pieces of gold foil welded together. This image was recorded in the Penn Museum with a transportable digital microscope from Keyence. Very Interesting Results

The measurements produced very interesting results. Of particular interest was evidence of gilding using a tumbaga alloy: to “simulate” gold, i.e. to create a gold-rich surface layer, the original copper-silver-gold alloy was treated with acids. This ingenious technique was therefore not invented in South America in the 15th century AD, as previously assumed, but was already known in the ancient world around 2500 BC. These preliminary studies gave rise to a DBM research project with several partners. Following offers to extend the analyses to the finds in the British Museum, a continuation of the current project phase is under consideration.http://www.ruhr-uni-bochum.de/archaeologie/forschung/projekte/koenigsgraebervonur.html.enA legend of Vac frequently referred to in the Brahmanas is that of Soma being brought back from the Gandharvas at the price of Vac transformed into a woman. (AB 1-27).

Satapata Brahmana (8-1-1-2) tells us that metres, like other beings,  were created by Prajapati. In 3-9-4-10. It mentions gayatri as a mystical name of Agni who carries off Soma. Gayatri, in the form of a bird, fetches the Soma from heaven. http://www.speakingtree.in/spiritual-blogs/seekers/faith-and-rituals/advanced-grammar-and-linguistics-in-vedic-india

Replica of the altar and utensils used during Athirathram

śrauta utensils used in the yajña. Tretagni in Soma  yajña.

1.  HAVIR YAJNA

    Agnyadheya 

Agnihotra

Darshapaurnamasya

Chaturmasya

Agrayaneshti

Niruudha pashubandha

Sautramani

   2. SOMA YAJNA

    Agnishtoma

Atyagnishtoma

Ukthya

Shodashi

Atirathra

Aptoryama

Agnichayana

Vajapeya

https://www.youtube.com/watch?v=FISuF_kJS4A Panjal Athirathram 2011 Documentary English.wmv
The oldest surviving Vedic ritual - ATHIRATHRAM will be performed at Panjal in Trichur district of Kerala, India from 4 - 15 April, 2011.

ati-rātrá agní-cayana "the building up of the fireplace performed overnight" Reconstruction in Panjal, Kerala, in 1975:

 YAJAMANA: The Yajamana is the individual on whose behalf the Yaga is conducted. Traditionally, the Yajamana is a male, and cannot perform the Yaga in the absence of his wife, the yajamana-patni.

·        ADHVARYU : The adhvaryu is usually learned in the Yajurveda and is therefore an expert in ritual. The adhvaryu is the central official in the conduction of the Yaga.

·        HOTA: The hota is a Rgvedin, and is necessary for the chanting of the invocatory hymns, which are primarily from the RgVeda.

·         

·        UDGATA : The udgata is an expert Samavedin, who sings the saman chants that are part of the soma sacrifices.

·        BRAHMA : The brahman is the overseer of the sacrifice. Although supposed to be affiliated to the Atharvaveda, the brahman is often an adherent of one of the three other Vedas. This substitution is unavoidable given the few Atharva vedis remaining in India.

The more complex yagas require a complete battery of 12 more experts to assist the above 4. These are listed below according to their vedic affiliation:

1.       RG VEDA :

·        maitravaruna

·        acchavaka

·        gravastut

2.       YAJUR VEDA :

·        pratiprasthata

·        neshaa

·        unneta

3.       SAMA VEDA :

·        prastota

·        pratiharta

·        subrahmanya

4.       ATHARVA VEDA :

·        brahmanacchamsin

·        Agnidhra

·        Pota

 First day

The Yajamana and his priests enter into the ritual enclosure carrying three sacred fires in pots. The ‘Ukha pot’, the main ritual vessel is prepared from clay. An animal sacrifice (In 1975 it was symbolically) is performed for Vayu. The five chief priests (adhvaryu, brahman, hota, udgata, and sadasya) are officially selected. Fire is produced by friction. An isti is performed and is followed by the consecration of (diksa) of the Yajamana (a turban is tied around his head, he is protected by a golden breast plate, he is given a staff and he closes his fists and deprived of speaking (except for recitations), from bathing etc. The Yajamana picks up the Ukha pot, which is filled with fire, and takes three steps with it.

Second day

The mahavira pot, main ritual vessel of the pravargya, is prepared from clay.

Third day

A sacrificial pole is made. To the east of the old enclosure , in which the three altars have already been made, the measurements of the mahavedi and of the bird-shaped offering altar are laid out.

Fourth day

The new domestic altar replaces the old offering altar one. The adhvaryu consecrates each brick. The fire from Ukha pot is added to the installed fire An introductory isti is performed .The ‘purchased’ Soma  stalks are measured , transport in Somacart on the bullock skin. King soma is installed on a throne and an isti is performed in honor of him .Except Yajamana and chanters, sprinkle Soma. The Indra , god’s etc is invited to attend the forth -coming Soma pressing . The first pavargya and Upasad are performed. The seeds are sown in the plowed ground and  buried several items like tortoise, the Ukha pot, The hiranmaya Purusha etc...The construction of bird shaped altar started with a stone at the center. All bricks  are consecrated by adhvryu. The Pravargya and Upsad  performed.

...

Tenth to Twelfth day

The ceremonies from tenth day will continue throughout out the next two days and nights. The tenth day is known as sutya. Pressing of soma begins after the hota’s morning recital and Soma oblations are offered. Some priests including Yajamana crawl in snake like procession  on to altar for offering. In the north of altar the three chant bahispavamana-stothra. Numerous rites are performed simultaneously .Fires are installed in hearths in the recital hall also. Eleven animals are sacrificed( 1975 ,only symbolic).Except Acchavaka Soma juice in the sadas. and  hota recites sastra recitation. .Like this four Soma sequence are performed. Soma offering is made into the offering fire.

During the pressing on  the mid day, gravastut recites Rgveda verses with blind folded cloth in which Soma was wrapped. .The Yajamana is anointed .

The remaining 14 Soma sequences continue through eleventh day ,night  upto the dawn of twelfth day. On the twelfth day unnetha priest make two Soma offering for Indra Ancestral rites are performed. The Yajamana and Yajamanapathni take avabhratha bath followed by a concluding isti is performed and final goat is sacrificed(1975 ,only symbolic). The Yajamana installs three fires on his home after returning to the home .He perform morning and evening Agnihothra for the rest of his life!

http://www.allempires.com/forum/forum_posts.asp?TID=28550

http://en.wikipedia.org/wiki/Agnicayana

http://www.vedicsociety.org/an_introduction_to_somayagnyas_and_vedic_yagnyas_in_general.pdf  An introduction to Somayagnyas and Vedic Yagnyas in general by RS Alvar, Geetha Alvar, MA Lakshmithathachar, MA Alwar, 2010: Ingredients in yajna offerings: rice, corn, specific samithas, blades of grass, milk, other cereals, curd, barley, fruits, various powders, vegetables and flowers. Ninth mandala 114 suktas of Rigveda relate to Soma pavamana (purified soma)

Soma is described as possessing a brown hue or a tawny (orange brown) shade. It is also green and green hued or golden hued. The molten soma is bright red. Soma is bright and shining.

Soma is pressed by stones. Woollen straining cloth is used in filtration and purification. Use of a sieve is mentioned which is a reference to removal of sediments and other impurities, perhaps by oxidation. Soma was pressed in every temle, using the Lingam a heavy stone mill. (p.34)

Yajamana makes a donation of ten things including a one year old cow, gold, goats, bull, cart as price for purchase of Soma. (p.44) Stone called upaanshusavan is used to strike once and make a single dent on soma, extracting using the words 'Prajaapati Svaaha'. (p.45)

https://www.scribd.com/doc/266386836/An-introduction-to-Somayagnyas-and-Vedic-Yagnyas-in-general-by-RS-Alvar-Geetha-Alvar-MA-Lakshmithathachar-MA-Alwar-2010

Phala or objective of Soma:

अपम [p= 50,2] mfn. (fr. /अप) , the most distant , the last RV. x , 39 , 3 AV. x , 4 , 1

अपाम सोमम् अमृता अभ्म ऋगन्म ज्योतिर अविदाम देवान् 

किम् नूनम् अस्मान् कृणवद अरातीः किम् उधूर्तिर अमृत मर्त्यस्य 

8.048.03 We drink the Soma, may we become immortal; we have attained the light of (heaven), we have known the gods; what now could the enemy do to us, or what, O immortal, should the aggriever do to the mortal? [Taittiri_ya Sam.hita_ 3.2.5: the past tense is used in the sense of wish, as'am.sadyotana_ya bhu_ta_rthanir des'ah].

We have drunk soma and attained immortality; we have ourselves seen that light which was discovered by the Gods. Now then what harm can the evil intentions of our enemies do to us? Of what avail is the deception of mortals, O immortal one!

Soma confers wealth, treasures:

O Indra, O Soma, send us now great opulence from every side, pour on us treasures a thousand fold (RV 9.90.3)

Since you are purified, give us the strength of a hero and riches to those who worship you. (RV 9.40.5)

Soma possessor of weapons. Pour on us streams of riches doubly great; and make us better than what we are. (RV 9.4.7)

Allegorical rreferences to Soma to many forms of life and things: Soma is a strong bull (RV 9.2.1; 9.5.7), splendid specimen of cattle (RV 9.2.2), a war horse (RV 3.3; RV 9.28.1); a bird upon the wings (RV 9.3.1); a tree whose praise never fails to yield heavenly milk amidst our hymns (RV 9.12.7)

Soma is the food of the Gods, flows to the banquet of the gods; feast and service for the Gods (RV 9.1.4; RV 9.6.6); Soma goes to Indra, Vayu and Ashvins gives them joy (RV 9.7.7).

László Fórizs, 2007, Apāṃ Napāt, Dīrghatamas and the Construction of the Brick Altar Analysis of RV 1.143  http://www.forizslaszlo.com/tudomany/forizs_dirghatamas.pdf

(KMS No 35-38) Edited & Translated by: C. G. KASHIKAR  2003, 4 vols., xlv+1844pp

Baudhāyana-Śrauta-sutra 

The Baudhāyana-Śrauta-sutra together with an English translation is in four volumes. The Baudhāyana-Śrauta-sutra belongs to the Kṛṣṇa Yajurveda Taittirīya recension. It represents the oral lectures delivered by the teacher Baudhāyana, hence is the oldest Śrauta­text. The text is revised here in the light of the variant readings recorded by W. Caland in his first edition (Calcutta 1906), and is presented in a readable form. The mantras forming part of the Siitras have been fully rendered into English. The translation is supplied with notes giving reference to the mantras and explanations of the rituals. The work is expected to serve as an advancement of Taittirīya ritualistic studies.

Volume	View Book
I
II
III
IV	http://ignca.nic.in/km_35_38.htm

rvs.10.34

Dearer to me the die that never slumbers than the deep draught of Mujavan s own Soma.

प्रावेपा मा बृहतो मादयन्ति प्रवातेजा हरिणे व अर्वृतानाः  

सोमस्येव मौजतस्य भक्षो विभीदको जागृविर मह्यम् अच्छान् 

10.034.01 The large rattling dice exhilarate me as torrents borne on a precipice flowing in a desert; the exciting dice animate me as the taste of the Soma of Maujavat (delights the gods). [Flowing in a desert: irin.e varvr.ta_nah: a reference to the dice; rolling on the dice-board; exciting dice: vibhi_taka, the seed of the myrobalan, used as a die; Maujavat: a mountain, where is said the best Soma is found]. 

avs.5.22	[0502205] His mansions are the Mujavans, and the Mahavrishas his home, Thou, Fever, ever since thy birth hast lived among the Bahlikas.
avs.5.22	[0502207] Go, Fever, to the Mujavans, or, farther, to the Bahlikas.
avs.5.22	[0502208] Go hence and eat thy kinsmen the Mahavrishas and Mujavans.
avs.5.22	[0502214] We to Gandharis, Mujavans, to Angas and to Magadhas.

yvk.1.8

k This is thy portion, O Rudra; rejoice in it; with it for food, do thou go away beyond the Mujavants. l With unstrung bow, thy club in thy hand, clad in skins.

From N.N. Bhattacharyya, "The Geographical Dictionary -- Ancient and Early Medieval India" 1991, Munshiram:

Mujavant, Mujavat >A people that took their name from Mujavant, a mountain in the Himalayas.

They are mentioned along with the Mahavrsas, Gandhaaris and Baalhikas in AV V.22.5-14. They are also mentioned in Taitt. Sam. I.8.62; Kaathaka Sam.IX.7, XXXVI.14; Mait. Sam. I.4.10.20; Vaaj. Sam. III.61; Sat. Br.>II.6.2.17; Baudh. D.S. II.5

I found the following references in Macdonell and Keith, Vedic Index, 1958, Motilal:

MUjavant is the name of a people who, along with the mahAvRshas, the gandhAris, and the balhikas, are mentioned in the Atharvaveda (v.22,5.7.9.14 cf. baudhAyana Srauta sUtra, ii.5) as dwelling far away, and to whom fever is to be banished. Similarly in the yajurveda saMhitAs (TaittirIya S, i.8,6,2;Kathaka S, ix.7; xxxvi.14; maitrAyaNI s, i.4,10.20; vAjasneyi s, iii.61; Satapatha b, ii.6,2,17) the mUjavants are chosen as a type of distant folk, beyond which rudra with his bow is entreated to depart. In the Rgveda (x.34,1) soma is described as maujavata, 'coming from the mUjavants,' or, as yAska (Nirukta, ix.8) takes it, 'from mount mUjavant.' The Indian commentators (mahIdhara on vAjasneyi s, loc.cit.; sAyaNa on RV. i.161,8; baudhAyana Srauta sUtra and prayoga, cited by Hillebrandt, vedische mythologie, 1,63) agree with yAska in taking mUjavant as the name of a mountain, and though Hillebrandt (op.cit., 1,65) is justified in saying that the identification of mUjavant by Zimmer (Altindisches leben, 29) with one of the lower hills on the south-west of kashmIr lacks evidence, it is not reasonable to deny that mUjavant was a hill from which the people took their name. yAska (loc. cit. cf. siddhAnta kaumudI on pANini, iv.4,110, where instead of 
maujavata in RV x.34, maunjavata is read) suggests that mUjavant is equivalent to munjavant, which actually occurs later, in the epic (mahAbhArata, x.785; xiv,180) as the name of a mountain in the himAlaya.

Georges Pinault pointed to the concordance between Vedic and Tocharian: amśu ~~ ancu, 'iron' (Tocharian). Amśu is a synonym for Soma (as Louis Renou noted that Rigveda is present in nuce, 'nutshell' in the themes related to Soma). The direction of borrowing amśu ~~ ancu is a matter to be studied further in historical linguistic studies, but is relatable to a date prior to 1800 BCE, the date of the Tarim mummies in Tushara (Tocharian). Tushara are mleccha (meluhha).
 The Tarim mummies are a series of mummies discovered in the Tarim Basin in present-day Xinjiang, China, which date from 1800 BCE to the first centuries BCE. Many centuries separate these mummies from the first attestation of the Tocharian languages in writing. A 2008 study by Jilin University that the Yuansha population has relatively close relationships with the modern populations of South Central Asia and Indus Valley, as well as with the ancient population of Chawuhu. (Mitochondrial DNA analysis of human remains from the Yuansha site in Xinjiang Science in China Series C: Life Sciences Volume 51, Number 3 / March, 2008).  The scientists extracted enough material to suggest the Tarim Basin was continually inhabited from 2000 BCE to 300 BCE and preliminary results indicate the people, rather than having a single origin, originated from Europe, Mesopotamia, Indus Valley and other regions yet to be determined.(Amanda Huang https://archive.today/bK4h).
 The Samskritam expression túṣāra, 'frost, snow' is consistent with the Tushara ~~Tocharian cognates since Muztagh Ata is a high Himalayan mountain (24,758 ft.) cognate Mujavant was the mountain from which Soma was traded. Frits Staal has indicated possible routes for such trade. (Staal, Frits, 2004, in: Three mountains and seven rivers in: Hino, Shoun and Toshihiro Wada, 2004, Three mountains and seven rivers: Prof. Musashi Tachikawa's Felicitation Volume, Delhi, Motilal Banarsidass, pp.3-24). This trade in Soma (or, amśu ~~ ancu) might have occurred anytime after 7th millennium BCE, or 4th millennium BCE, the dates indicated for Rigveda, respectively, by astronomical/ archaeological or language evidence contained in the text. 

http://bharatkalyan97.blogspot.in/2015/03/a-new-start-for-vedic-and-ie-studies.html

http://wp.chs.harvard.edu/chs-fellows/2014/10/03/hellenistic-information-in-china/

http://balkhandshambhala.blogspot.in/2013/08/shambhala-roman-republic-500-20-bc.html

Sulbasutras: Indian Texts on Sacred Geometry


BY: PARAMESWARAN MURTHIYEDATH (2005)










Nov 26, CANADA (SUN) — Vedic instruction on geometric design of sacred structures, spaces.


The Sulbasutras deal with geometrical constructions, a large majority of them for the purpose of carrying out Vedic rituals at precisely constructed altars and similar such ends, that are popularly believed to date to the millennium before Christ or the end of the Vedic age. Of these, Baudhayana’s Sulbasutra is believed to date to the 8th century B.C. Later, other authors including Apastamba, Manava, Katyayana,Satyasadha Hiranyakesin, Vadhula, Varaha and Kathaka composed sulbasutras as well, although the chronological order in which these texts were composed remains unknown as yet.




The first five of the sulbasutras is found available in text form while the manuscripts of the others are known to exist. Still later, the commentaries of Kapardi, Karavinda, Sundararaja and Dwarkanath aappeared. In more recent times there have been commentaries written by Thibault and Van Geldner in the second half of the 19th century A.D., followed by S. N. Sen and the last by A.K. Bag in 1983.


Baudhayana’s work and his successors


The Baudhayana Sulbasutram (BSS) is possibly the most important sulbasutra text since it contains the principles of prescribed geometry for the Vedic altar space. Baudhayana, after dwelling upon the basic geometrical construction concepts prevalent during his and earlier times in the first set of sutra, described the Vedic altar space in general and then the 14uttaravedi forms. His descriptions of the uttaravedis reveal a remarkable approach to geometry and the text serves as a model for technical accuracy and brevity. The order present in the geometrical analysis as well as in the flow of the text, its subject matter, reveal great clarity of thinking in the author’s mind and set the text apart from its later counterparts.


The later sulbasutras either dealt with matters mentioned in Baudhayana’s work and developed it further, or discussed issues that were omitted from this earlier work. Some of these works may be considered supplementary material. Katyayana’s text described how the construction of the uttaravedis may range from a size of 7.5to 101 purusam square in a clear narrative style. Similarly, Manava documented the examples of 8.5 square purusam uttaravedis, something that neither Baudhayana nor Katyayana had done. Manava further stated a new approach to the use of the purusam measure and a new unit of measure called pancangi. While a continuity of subject-matter may be observed in Katyayanaand Manava’s work, Apastamba’s output did not conform to the trend set by Baudhayana. No clear enhancement or elucidation of former works on geometry was discernible in his work. He described two forms of brick layout for the pithan syenaciti and new kanka and alaja citis, and his work on this proved to be very popular.


Recent Interest in the Sulbasutras


The cryptic style of the sulbasutra texts was essentially suited to the Vedic ritualists and in the wake of a break with traditional rituals and practices after the Vedic period, the texts could have lost their popular relevance. In some cases, this seems to be exactly what happened- a disconnect between the content of the text and the purposes to which it no longer was applicable. This made it very difficult to retrieve the sulbasutras completely at a later date when scholastic interest in them was reawakened. Therefore, it is doubtful how far the earlier mentioned commentaries are capable of revealing the real geometrical contents of the sulbasutra in all their glory.


The work done on the sulbasutras since the 19th century A.D. has, however, been followed with interest in recent times. It is clear that the major concern of the sulbasutra is geometry alone, although some observations of the srauta nature and certain mathematical operations connected with geometry also find mention in these texts. It is worth noting that the geometry of the sulbasutra has more affinity to modern engineering practice than to theoretical mathematics of the present times. This is natural given that the Vedic geometers were more concerned with accurate constructions of ritual altars and the altar space than with proving a theorem.


The essence of the sulbasutras lies more in the concepts discussed therein than in the authors’ use of grammatical accentuation. The latter was incidental Baudhayana employed the then prevalent style of the sutra and the other authors followed in a similar fashion. One of the reasons for the perhaps inaccurate reproduction of the geometry of the sulbasutra may be the approach adopted by later commentators, an approach that was affected by strongly pre-conceived grammatical notions. Instead, the sulbasutras ought to be approached with an inquiring mind regarding the meanings of the words in association exclusively with the subject under discussion. The modern Indian commentators further tend to find arithmetical and mathematical references in the sulbasutra, references that are unlikely to have been intended as such by the authors. One of the acid tests for the accuracy of presentation of a particular meaning is whether it may result in constructions of the Vedic style. Thus, while?2 is of great concern to the sulbavid (author of a sulbasutra) the same may not be said of?3 which is irrelevant to Vedic constructions, although more recent commentators have interpreted the sulbasutras to ascribe relevance to this numerical value.


The sulbasutra on the other hand reveal a great degree of development of geometry not only as applied to techniques of constructions, but also extending to conceptual symmetries and an unknown methodology of evolution of the conceptual approach to such geometry. While this is the very approach to basic geometry, it then becomes a passionate progress to various shapes of the uttaravedis. In fact, the very geometry of the mahavedi, in which the uttaravedi is an element, is of unique conceptual beauty. The 30-36-24 regular trapezium of the mahavedi contained several triples in their construction format such as 3-4-5, 12-5-13,15-9-17, 35-12-37 which could be employed to attain the accuracy of layout. The area of the mahavedi thus being 972 square of 18 prakramam, the uttaravedis were initially of 1/3rd of 972 and at the same time the square of 18. Then 1.3rd of 324 is 108, an important number since ancient times for obvious reasons. A trapezium shape of 10-12-8 amounting to an area of 108 thus became the smallest size of the uttaravedi in prakramam measures.





Figure 1: Mahavedi





The taper of this trapezium narrowing down to the east is impressed upon by all the sulba texts. The eastward striving nature of the uttaravedi (for, gods reside at the east) is of paramount importance to the vedic rituals and one could not possibly say for what long period of time it took, to later develop into highly complex and realistic geometrical shapes in the form of three later uttaravedis, meant as kamyaciti. In the further development of the uttaravedis, the concept of “saptavidha: sampadyate”, meaning that the area of the uttaravedi should follow a certain pattern became a great spirit of enquiry. The eastward striving nature and this new concept put together developed into highly complex and yet beautifully conceived geometrical shapes of symmetry perhaps unparalleled in the history of geometry and mathematics. It is at an unknown point of time after that Baudhayana stood and decided to document it for posterity. And it is this very thing that the modern commentators, in a way, failed to redeem and realise.




At the very first, the term “saptavidha:” was insufficiently interpreted to mean as 7.5 times the purusam measure, whereas it was really referred to as the 7 stages of development from the 7.5 to the 101 as area and corresponding sizes. Later, Katyayana described this in good detail, which also went properly not delineated. While Manava updated to the mathematical order of his time and described several types of equalities and arithmetical series, it was ironically Apastamba who was accredited with several modern mathematical interpretations. As a whole, it would be fair to state that the magnificent total geometry of the sulbasutra remains undiscovered as on date. The BSS contains 21 major sutra sets, of which the first two describe basic geometrical constructs. They contain basic units of measurements, conversions from one shape to another of equal area, notions of right angles and the value of ?2 etc. Sutra 3 and 4 describe the geometry and general concepts of the total altar space. Sutra 5 and 6 are general in nature as well, but in sutra 7 an initiation of the geometrical complexities to follow is indicated by the description of the new garhapatyaciti of 21 bricks.




The general layout of the pracinasala and mahavedi, with a detailed definition of the position of the uttaravedi, is already clear at this point, since it uses the rathacakraciti with its well-defined centre for the purpose. The next 14 sutras are devoted to the various formats of the uttaravedi.




After describing 2 brick-laying orders of the pithan syenaciti, syenaciti of pancapatri, sadpatri, kanka and alaja forms are described. These distinct bird shaped altars used different methods to fulfill the “saptavidha:” concept with the7.5 purusam square as the basis. All of them are based on clear symmetries and on basic formative squares and rectangles. Next, two simple triangular praugaciti are described. Then the geometrical content is intensified to describe the rathacakraciti, 3 dronociti, the smasanaciti, and the kurmaciti. Esoteric compositions are displayed in the final sutra which goes beyond the bounds set by basic, definitive principles. It is possible that this process of creative design and constructions was already declining before the time of Baudhayana and this motivated him to create the BSS text.




While going through the BSS text, one may doubt that all of the citi formats described by him were in practice during his time since the descriptions contain varying levels of details, though each of the descriptions could be termed as sufficient in itself. It is here and in the unknown nature of the time line that the strength of the sruti is revealed in its capacity to travel intact wide expanses of time. Indeed there are very specific examples of such demonstration of strength of the system in its further travel to our present times. What is more demonstrative in the second period of about 2800 years since Baudhayana is that the text travelled intact almost without its meanings really taken in. And yet there are words in the BSS which could have easily got transformed into something else but did not. Then there are such instances where certain versions of the manuscripts tried to inject words into the body text which were found to be stoically resisted by the extant contents.




In comparison, the later sulbasutra texts are explanatory in nature with some additional altar designs and some mathematical updates by the authors. These have definitely added strength to the information system on the one hand and then silently declared that they have stepped out of the sruti circuit to certain extent. The very sruti system might indeed have had several parallel flows where the sulbasutra and that of the rituallistic practices could have existed even without mixing. Where some amount of cross references only existed without one being part and parcel of the other is a distinct possibility. And possibilities for further studies are plentiful, as the present attempt of delineation of the sulbasutra could open up a better historical perspective and the timeline of the progress of not only geometry and mathematics of the period of first millenium BC but a host of other related subjects. It provides a better clarity to matters beyond the second millennium BC as well. For the geometrician of today and such enthusiasts, a large volume of exercise is provided by Katyayana, as his formulae for taking the citi forms from 7.5 to 101 purusam squares remain untested and untried.





A Few Sutras


An extract from the book


with Commentary by Parameswaran Murthiyedath



Sutra 12 (Kankaciti)


Sutra 12.1 Kankacita etenatma Puccam ca vyakhyatam




(The Kankacita defined here will have a body and a tail)




The Kankacita is known to have the shape of a heron.






Sutra 12.2


sirasi pancopadadhyat 


tasyakrtirvyakhyata 


sirasi pancopadadhya


ttasyakrtirvyakhyata





(the head will be obtained as 5 by definition of its shape)




As per the definition the head will be obtained as 5.




This states that the length of the head along the east west is 5 aratni from the body. With the same words a meaning that the area of the head is 5 sq. aratni could also be derived. Both meanings are true and so meant.






Sutra 12.3


Saptapancasaddaksine paksa upadadhyat


tathottare 


Saptapancasaddaksinepaksa upadadhya


ttathottare





(5 and 7 to south the wing will be obtained next the north)




The wing at south will be obtained as 5 and 7and likewise the north. Again, The wing tips are at a distance of 12aratni’s to south (5+7) and at the same time it means that the area of the wings are 57 sq. aratni.




Sutra 12.4


Vyayamena sapradesna paksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat adhyardhavasisyate vyayamena sapradesnapaksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat adhyardhavasisyate




(by vyayama measure with the pradesa the wings bent with the pancami and adhyardha six and six wing cuts as stated an adhyardha will be balanced)







Figure 2: Karika city layout (BSS-12.2-6)





(The wings will be set out at a measure of 1 vyayama added with 1 pradesa at an angle and the wings tips will have six notches of a measurement of 1 pancami by 1 pancami and a half. An adhyardha will be balanced)




The configuration of the wings are made by the diagonal of a square of 108A first taken forward and then retraced to give a mirrored bent. The sutra further categorically states that the wing tips configuration is with 6 nos of 1aratni by 1 adhyardha cuts. This adds to the area of 54 sq. aratni and additional 3aratni and the statement of 57 sq. aratni are now established. The statement ‘adhyardhavasisyate’ is about the excess area resulted amounting to 1½ aratni in the configuration which will be later adjusted by the leg trimming of the tail.




Fig. 12.1 given here shows the citi geometry. First a basic square 1-2-3-4 will be established with side as 144A, deriving from the statement of ‘saratnipradesa’. The south end of the wings from which the wing tips take off is line 9-10, parallel to1-4 and at a distance of 12 aratni (288A). Line 4-8 is the diagonal of a square of 108A as side. Line 8-9 is mirrored from line 4-8. Thus the wing formation of 4-8-9-10-13-1 is established. The six wing tips are formed by the diagonals of boxes of an aratni by an adhyardha (1½ aratni) as sides, as shown within9-10-11-12.




Sutra 12.5


taya pucchasyavastat  padavaratnimatravaratnyantaralau pradesavyasau bhavatah  tayoravastadabhito dvaudvavastamabhagau pragbhedavupadadhyat  taya pucchasyavastat padavaratnimatravaratnyantaralau pradesavyasau bhavatah tayoravastadabhito dvaudvavastamabhagau pragbhedavupadadhyat




(At the backside of the tail feet of an aratni length in an aratni gap with 1 pradesa as width at the back and near as 2 and 2, and 8 sided with a forward cut will be obtained)




The tail is having a forward cut of 1 aratni length and 1 pradesa as width of sides, in a gap of 1 aratni, and thus having 8 sides split into two as forward cut.




The tail portion of 15-14-16-17 contains the details mentioned above. Thus the tail have two cuts of 1 aratni square which is modified to form the root and two such feet are placed touching each other as stated forming an 8 sided cut in total.




A statement like ‘pancadasa pucche’ is judiciously left out for the reason of the cut in the tail, though the overall outline agreed to such a statement. Further in sutra 12.8 the placement of two astamsi bricks at the tail to obtain this configuration are mentioned, to which the presentation here corresponds.







Figure 2: Karika city layer 1



Sutra 12.6


evam saratnipradesah saptavidhah sampadyate  evam saratnipradesah saptavidhah sampadyate




(With only the aratni and pradesa the saptavidhah concept will be achieved)




Thus with the aratni and pradesa measures alone, the saptavidhah concept will be achieved. Indeed, the altar shape graphically feeds back an area report of exactly 7.5 times the purusam square, as could also be seen from the calculation of area given here.







Table 1: Area of Kankacit



Sutra 12.7


athestakanam vikarah  pancamabhagiyah savayavah  padestakam caturbhih parigrhniyadardhapradesenadhyardhapradesena







Figure 4: Karika city, Layer 2



pradesena pradesasavises eneti  adhyardhestakam caturbhih parigrhniyadardhavyayamena dvabhyamaratnibhyamaratnisavises eneti  tah sat







Figure 5: Karika city, Bricks


Athestakanam Vikarah pancamabhagiyah savayavah padestakam caturbhih parigrhniyadardhapradesenadhyardhapradesena pradesena pradesasavises eneti adhyardhestakam caturbhih parigrhniyadardhavyayamena dvabhyamaratnibhyamaratnisavises eneti tah sat



Now the bricks configuration with the pancami all over with the pada square brick with surrounded (sliced) ardha and pradesa and the adhyardha and pradesa and the adhyardha and pradesa with pradesa and a modified pradesa with the adhyardha brick from a square brick with the surrounded (sliced) half vyayama by two and by aratni and aratni modified like that six.




With pancami as the basic brick allover with the pada of a square brick, and the ardha, the adhyardhardha and pradesa sliced, the vyayama and the aratni sliced, the modified aratni consisting 6 bricks will be used.




However, some more bricks are found required and the lists of bricks are as given below:


Sutra 12.8


tasam  caturasrapadyah sastamabhagah padayorupadhaya  sesam yathayogam yathasamkhyam yathaadharmam copadadhyat




with these the caturasrapadyah and 8 divided part at the wings having placed balance as required in as many numbers as per rules be placed




The caturasrapadyah and the astamsi bricks having placed as the feet, the balance will be filled with the required numbers as per rules.







Table 2: Kanchita Bricks



Parameswaran Murthiyedath is a scholar of Vedic Mathematics. From "Kriti Rakshana", National Mission for Manuscripta.




The following table shows the various kingdoms, provinces and tribes mentioned in the epicMahabharata. As kingdoms they represent a geographical region that existed in ancient India which was then known as the Bharatavarsha and as the Jamvudvipa (the continent of the Jamvu tree). As tribes they existed at some geographical region at some point of time and moved to other regions or spread into multiple regions at different points of time.





















Gandhara
Kamboja
Kekaya
Madra
Kuru-Bahlika
Dwaraka
Anarta
Sindhu
Sauvira
Sivi
Sudra
Abhira
Nishada
Nishadha
Matsya
Kasmira
Prakjyotisha
Trigarta
Kuru
Salwa
Karusha
Dasarna
Chedi
Panchala
Surasena
Avanti Kunti
Vatsa
Kasi
Kosala
Malla
Hehaya
Saurashtra
Nasikya
Anupa
Surparaka
Vidarbha
Dandaka
Asmaka
Kishkindha
Karanataka
Konkana
Gomanta
Mahishaka
Mushika
Kerala
Lanka
Vanavasika
Kanchi
Chola
Pandya
Sinhala
Vanga
Kalinga
Telinga
Dravida
Mekala
Utkala
Odra
Andhra
Dakshina Kosala
Suhma
Pundra
Anga
Magadha
Kikata
Lauhitya
Prakjyotisha
Videha
Kirata
Yaksha
Deva
Asura
Pisacha
Kinnara
Gandharva
Uttarakuru
Suparna
Naga
Kimpurusha
Rakshasa
Uraga
Aratta
Loha
Rishika
China
Tushara
Strirajya
Aswaka
Romana
Huna
Parasika
Yavana
Mleccha
Darada
Saka


An important passage in the Mahabharata useful for anybody studying about the ancient kingdoms and tribes of Bharatavarsha is found at MBh 6.9 (Mahabharata, Bhishma Parva (volume 6), chapter 9).


Sanjaya told to Dhritarashtra:- Listen to the names of the provinces as I mention them. They are the Kuru-Panchalas, the Salwas, the Madreyas, the Jangalas, the Surasena, the Kalingas, the Vodhas, the Malas, the Matsyas, the Sauvalyas, the Kuntalas, the Kasi-kosalas, the Chedis, the Karushas, theBhojas, the Sindhus, the Pulindakas, the Uttamas, the Dasarnas, the Mekalas, the Utkalas; thePanchalas, the Kausijas, the Nikarprishthas, Dhurandharas; the Sodhas, the Madrabhujingas, theKasis, and the further-Kasis; the Jatharas, the Kukuras, O Bharata; the Kuntis, the Avantis, and the further-Kuntis; the Gomantas, the Mandakas, the Shandas, the Vidarbhas, the Rupavahikas; theAswakas, the Pansurashtras, the Goparashtras, and the Karityas; the Adhirjayas, the Kuladyas, theMallarashtras, the Keralas, the Varatrasyas, the Apavahas, the Chakras, the Vakratapas, the Sakas; the Videhas, the Magadhas, the Swakshas, the Malayas, the Vijayas, the Angas, the Vangas, theKalingas, the Yakrillomans; the Mallas, the Suddellas, the Pranradas, the Mahikas, the Sasikas; theValhikas, the Vatadhanas, the Abhiras, the Kalajoshakas; the Aparantas, the Parantas, the Pahnabhas, the Charmamandalas; the Atavisikharas, the Mahabhutas, O sire; the Upavrittas, the Anupavrittas, theSurashatras, Kekayas; the Kutas, the Maheyas, the Kakshas, the Samudranishkutas; the Andhras, and, O king, many hilly tribes, and many tribes residing on lands laying at the foot of the hills, and the Angamalajas, and the Manavanjakas; the Pravisheyas, and the Bhargavas, O king; the Pundras, the Bhargas, the Kiratas, the Sudeshnas, and the Yamunas, the Sakas, the Nishadhas, the Anartas, the Nairitas, the Durgalas, the Pratimasyas, the Kuntalas, and the Kusalas; the Tiragrahas, the Ijakas, the Kanyakagunas, the Tilabharas, the Samiras, the Madhumattas, the Sukandakas; the Kasmiras, theSindhusauviras, the Gandharvas, and the Darsakas; the Abhisaras, the Utulas, the Saivalas, and theValhikas; the Darvis, the Vanavadarvas, the Vatagas, the Amarathas, and the Uragas; theVahuvadhas, the Kauravyas, the Sudamanas, the Sumalikas; the Vadhras, the Karishakas, theKalindas, and the Upatyakas; the Vatayanas, the Romanas, and the Kusavindas; the Kacchas, theGopalkacchas, the Kuruvarnakas; the Kiratas, the Varvasas, the Siddhas, the Vaidehas, and theTamraliptas; the Aundras, the Paundras, the Saisikatas, and the Parvatiyas, O sire.


There are other kingdoms, O bull of Bharata's race, in the south. They are the Dravidas, the Keralas, the Prachyas, the Mushikas, and the Vanavashikas; the Karanatakas, the Mahishakas, the Vikalpas, and also the Mushakas; the Jhillikas, the Kuntalas, the Saunridas, and the Nalakananas; theKankutakas, the Cholas, and the Malavayakas; the Samangas, the Kanakas, the Kukkuras, and theAngara-marishas; the Samangas, the Karakas, the Kukuras, the Angaras, the Marishas: the Dhwajinis, the Utsavas, the Sanketas, the Trigartas, and the Salwasena; the Vakas, the Kokarakas, the Pashtris, and the Lamavegavasas; the Vindhyachulakas, the Pulindas, and the Valkalas; the Malavas, theVallavas, the further-Vallavas, the Kulindas, the Kalavas, the Kuntaukas, and the Karatas; theMrishakas, the Tanavalas, the Saniyas; the Alidas, the Pasivatas, the Tanayas, and the Sulanyas; theRishikas, the Vidarbhas, the Kakas, the Tanganas, and the further-Tanganas. Among the tribes of the north are the Mlecchas, and the Kruras, O best of the Bharatas; the Yavanas, the Chinas, theKamvojas, the Darunas, and many Mleccha tribes; the Sukritvahas, the Kulatthas, the Hunas, and theParasikas; the Ramanas, and the Dasamalikas. These countries are, besides, the abodes of manyKshatriya, Vaisya, and Sudra tribes. Then again there are the Sudra-abhiras, the Dardas, theKasmiras, and the Pattis; the Khasiras; the Atreyas, the Bharadwajas, the Stanaposhikas, thePoshakas, the Kalingas, and diverse tribes of Kiratas; the Tomaras, the Hansamargas, and theKaramanjakas. These and other kingdoms are on the east and on the north.


All the western Indian kingdoms were known by the general name Bahlika (Vahika, Vahlika and Valhika are variations of the name) meaning outsider. Thus these people were considered as outsidersof the Vedic culture. However, the name Bahlika is sometimes used to denote a kingdom within the present Punjab, different from Madra, Sindhu, Kekeya, Gandhara or Kamboja. As per the epicMahabharata, the Kuru king Santanu, a forefather of Kauravas and Pandavas, had a brother who ruled the Bahlika kingdom and a Bahlika king took part in the war aiding Duryodhana. He was killed by thePandava Bhima.


References in Mahabharata


Bahlika mentioned as a kingdom of Ancient India (Bharata Varsha)


Mbh (6,9)



…the Angas, the Vangas, the Kalingas, the Yakrillomans; the Mallas, the Suddellas, the Pranradas, the Mahikas, the Sasikas; the Valhikas, the Vatadhanas, the Abhiras, the Kalajoshakas; the Aparantas, the Parantas, the Pahnabhas, the Charmamandalas; the Atavisikharas, the Mahabhutas, the Upavrittas, the Anupavrittas, the Surashatras, Kekayas; the Kutas, the Maheyas, the Kakshas, the Samudranishkutas; the Andhras…


Words of Narada


The Valhika race is the stain of the Earth (12,328). This mentione is found in the midst of a passage that describes how Krishna Dwaipayana Vyasa studied Vedas, classified it and spread it through his four disciples into the whole world. Narada is telling these words to Vyasa:- The stain of the Vedas is the suspension of their recitation. The stain of the Brahmanas is their non-observance of vows. TheValhika race is the stain of the Earth. Curiosity is the stain of women.


Words of Vidura


The scum of the Vedas is want of study; of Brahmanas, absence of vows; of the Earth, the Vahlikas; of man, untruth; of the chaste woman, curiosity; of women, exile from home. The scum of gold is silver; of silver, tin; of tin, lead; and of lead, useless dross. (5,39)


Dispute between Karna and Shalya in the midst of Kurukshetra War


Karna and Shalya were two generals in the Kaurava army during the Kurukshetra War. They engaged in a verbal dispute, owing to their deslike of each other. Both of them hailed from a different culture. Shalya was from the west, being the king of Madra Kingdom in the Bahlika region. Karna was from the east, being the king of Anga Kingdom. Both these kingdom existed at the fringes of Vedic culture, practiced in its normal form, mainly in Kuru - Panchala kingdoms in the middle.


The actual location of the Bahlika culture


Karna said, Listen with devoted attention to this, O ruler of the Madras (Shalya), that was heard by me while it was recited in the presence of Dhritarashtra. In Dhritarashtra’s abode the Brahmanas used to narrate the accounts of diverse delightful regions and many kings of ancient times. An old Brahmana while reciting old histories, said these words, blaming the Vahikas and Madrakas, "One should always avoid the Vahikas, those impure people that are out of the pale of virtue, and that live away from theHimavat and the Ganga and Saraswati and Yamuna and Kurukshetra and the Sindhu and its five tributary rivers. (8,44)


The food habbits of Bahlikas in the town of Sakala


I remember from the days of my youth that a slaughter-ground for kine and a space for storing intoxicating spirits always distinguish the entrances of the abodes of the (Vahika) kings. On some very secret mission I had to live among the Vahikas. In consequence of such residence the conduct of these people is well known to me. There is a town of the name of Sakala (modern day Sialkote), a river of the name of Apaga, and a clan of the Vahikas known by the name of the Jarttikas. The practices of these people are very censurable. They drink the liquor called Gauda, and eat fried barley with it. They also eat beef with garlic. They also eat cakes of flour mixed with meat, and boiled rice that is bought from others. Of righteous practices they have none. (8,44)


Bahlika horses


Bahlika region was famous for its horses. They were used by kings in wars.


Vasudeva Krishna also gave unto Arjuna hundreds of thousands of draft horses from the country of the Valhikas as his sister, Subhadra’s excellent dower. (1,223)



Sikhandin's son Kshatradeva used steeds from Valhika in the Kurukshetra War. (7,23)



Bahlika breed of horses were one among the type of horses employed in Kurukshetra War:- Many steeds of the Vanayu, the hilly, the Kamvoja, and the Valhika breeds, with tails and ears and eyes motionless and fixed, possessed of great speed, well-trained, and ridden by accomplished warriors armed with swords and lances, were seen (7,34)



Bhagiratha gave away a hundred thousand horses of the Valhika breed, all white of complexion, adorned with garlands of gold. (13,103)

Dhritarashtra wished to give sixteen cars made of gold, each drawn by four excellent and well-adorned steeds of uniform colour and of the Vahlika breed to Vasudeva Krishna who came to talk to him on behalf of the Pandavas (5,86)



Kings of Bahlika


Bahlika the son of Pratipa


Bahlika the son of Pratipa is mentioned in the following passages in Mahabharata:-


Kuru king Dritarashtra's words to his son Duryodhana:- Even the eldest son may be passed over and deprived of the kingdom, and younger sons may, in consequence of their respectful behaviour to the aged, obtain the kingdom. So also, conversant with every virtue there was my father’s grandfather, king Pratipa, who was celebrated over the three worlds. Unto him, were born three sons, Of them,Devapi was the eldest, Vahlika// the next and **Santanu of great intelligence, who was my grandfather, was the youngest. Devapi, endued with great energy, was virtuous, truthful in speech, and ever engaged in waiting upon his father. But that best of kings had a skin-disease. Popular with both the citizens and the subjects of the provinces, respected by the good, and dearly loved by the young and the old, Devapi was liberal firmly adhering to truth, engaged in the good of all creatures, and obedient to the instructions of his father as also of the Brahmanas. He was dearly loved by his brother Vahlika as also the high-souled Santanu. Great, indeed, was the brotherly love that prevailed between him and his high-souled brothers. In course of time, the old and best of kings, Pratipa, caused all preparations to be made according to the scriptures for the installation of Devapi (on the throne). Indeed, the lord Pratipa caused every auspicious preparation. The installation of Devapi, however, was forbidden by the Brahmanas and all aged persons amongst the citizens and the inhabitants of the provinces. Hearing that the installation of his son was forbidden, the voice of the old king became choked with tears and he began to grieve for his son. Thus, though Devapi was liberal, virtuous, devoted to truth, and loved by the subjects, yet in consequence of his skin-disease, he was excluded from his inheritance. The gods do not approve of a king that is defective of a limb. Thinking of this, those bulls among Brahmanas forbade king Pratipa to install his eldest son. Devapi then, who was defective of one limb, beholding the king (his father) prevented (from installing him on the throne) and filled with sorrow on his account, retired into the woods. As regards Vahlika, abandoning his (paternal) kingdom he dwelt with his maternal uncle. Abandoning his father and brother, he obtained the highly wealthy kingdom of his maternal grandfather. With Vahlika’s permission, Santanu of world-wide fame, on the death of his father (Pratipa), became king of Kuru Kingdom. (5,149)


Kuru King Pratipa had three sons, viz Devapi, Valhika and Santanu. (1,95)

Bhishma consulted his uncle Valhika to clear doubts about giving in marriage, the tree maidens that he brought from Kasi Kingdom to his step-brother Vichitravirya (13,44).

Yudhisthira addressed Bahlika as son of Pratipa, in a message sent to Kauravas.(5,23)

Yudhisthira also addressed the Kurus of the Pratipa dynasty viz the Vahlikas(5,57)



Bahlika the father of Somadatta


The lineage that links Bahlika with the Pandavas and Kauravas, as per Mahabharata is as follows:-


Pratipa -> Devapi (became a sage)

Pratipa -> Bahlika -> Somadatta -> Bhurisravas, Sala

Pratipa -> Santanu -> Bhishma

Pratipa -> Santanu -> Vichitravirya -> Dhritarashtra -> Kauravas

Pratipa -> Santanu -> Vichitravirya -> Pandu -> Pandavas



A Bahlika king took part in the Kurukshetra War. He was related to the Kauravas and the Pandavas, and was a king in the Kuru dynasty. This make Bahlika older than Bhishma, making him the oldest among, the warriors who fought the Kurukshetra War. But there is references in Mahabharata thatBhishma was the oldest warrior in the Kurukshetra War. So there could be some missing king in this lineage of Bahlikas. It could be that Somadatta's father who took part in the war was the son of the Bahlika mentioned at (Mbh 1,95) as Pratipa's son.


Pratipa -> Devapi (became a sage)

Pratipa -> Bahlika -> Bahlika -> Somadatta -> Bhurisravas, Sala

Pratipa -> Santanu -> Bhishma

Pratipa -> Santanu -> Vichitravirya -> Dhritarashtra -> Kauravas

Pratipa -> Santanu -> Vichitravirya -> Pandu -> Pandavas



This makes the warrior Bahlika, contemporary to Bhishma and his son Somadatta, contemporary to Dhritarashtra. Somadatta's sons Bhurisravas and Sala also took part in the Kurukshetra War. Thus four Bahlika war-heroes, spanning three generations, fought the Kurukshetra war. King Bahlika was present in the self choice event of Draupadi the princess of Panchala Kingdom. (1,188). He also came to the Rajasuya sacrifice of Pandava king Yudhisthira, brought there by Nakula (2-33,34). King Bahlika was present with the Kurus of Hastinapura, on almost all the important events that happened in Hastinapura:- on the arrival of Kunti with the young Pandavas (1,126), on the occasion of a tournament of war-craft by the Kuru princes (1,136), When the Pandavas left Hastinapura to the town of Varanavata (1,145), during the play of dice (2-62,72,76,79)(3,13), during the planning ofKurukshetra War (5-62,63) etc


Bahlika king and his sons and grandsons disliked Duryodhana, but was allied to his fatherDhritarshtra and grandfather Bhishma (5-58,65,80,83,89,90,124,128,129,131



Bhishma's rating of Vahlika as a car-warrior:-Vahlika is in my judgment, an Atiratha.(5,168)



Bhurisravas and Somadatta (denoted as Vahlika) were two among the eleven generals of Kaurava army, leading an Akshouhini of troops (5,156)


Bhalika fught as a warrior in Kurukshetra War under the generalissimos viz Bhishma (6-17,45,48,59,60,76,82,93,97,103,105,118) and Drona (7-20,30,37,72,83,92,93,118,152



Bahlika was slain by Bhima (7,154). Somadatta (7,159) and Bhurisravas (7,140) were slain bySatyaki in the Kurukshetra War. The death of all these three in the war is mentioned together at (8,1), (9-2,24,32,63), (10,9), (15-29,32) At (8,5), the slain Bahlika is describeds as grandfather of Dhritarashtra. At (11,22) he is described as Pratipa's son. This is the only two places where both the Bahlikas, the son of Pratipa and the father of Somadatta were described as same. King Bahlika's funeral rites were performed by Dhritarashtra (15-11,14)



Pandava general Satyaki's father Sini, and Somadatta were of the same generation. They were enemies. When Sini lived at Surasena Kingdom, he battled with Somadatta and defeated him due to a dispute on a maiden (Vasudeva Krishna's mother Devaki). Satyaki and Somadatta's son Bhurisravas, were of the same generation and were enemies too. (7,141)



Under the generalissimo Bhishma stood Warrior Sala who was a countryman of the Valhikas (6,20) .His battles are described at (6-61,86) (7-35,101,153,161). He is slain in battle, by some unknown hero, as his death is mentioned at (9,2), (18,5)



Other Bahlika kings


A Bahlika king is mentioned as one among the 24 great kings (1,1)

A Bahlika king is mentioned along with the kings present in Yama's court (2,8)



Madra king Shalya is described as a Bahlika king (1-67,113) .Shalya's sister Madri also is described as princess of Valhika (Bahlika) (1,125)



King of Darada Kingdom is described as the ruler of Valhika (2,43)



One among the eight kings who were the sons of a Janamejaya who himself was the son of Kuru, the founder of the dynasty was named Valhika (Bahlika). (Kuru -> Janamejaya -> Dhritarashtra, Pandu, Valhika, Nishadha, Jamvunada, Kundodara, Padati and Vasati the eighth.) (1,94)



Conquests of Karna


The Utpalas, the Mekalas, the Paundras, the Kalingas, the Andhras, the Nishadas, the Trigartas, and the Valhikas were all defeated by Karna in battle (7,4)


Conquests of Arjuna


The following passage from Mahabharara, gives glimpses of the contemporary kingdoms and tribes in the Bahlika area, ie the areas north west to the Kuru Kingdom.


Arjuna defeated the brave Kshatriyas of Kashmira and also king Lohita along with ten minor chiefs. Then the Trigartas, the Daravas, the Kokonadas, and various other Kshatriyas advanced against him.Arjuna then took the delightful town of Avisari, and then brought under his sway Rochamana ruling in Uraga (Urug ?). Then Arjuna, pressed the delightful town of Singhapura that was well-protected with various weapons. Then he fiercely attacked the regions called Suhma and Sumala. After pressing them with great force, brought the Valhikas always difficult of being vanquished, under his sway. Then Arjuna, taking with him a select force, defeated the Daradas along with the Kambojas. (2,26)


Tribute from Bahlika to Pandava king Yudhisthira


The people of Valhika gave unto Yudhisthira as tribute ten thousand asses, of goodly size and black necks and daily running two hundred miles, And those asses were of many shapes. And they were well-trained and celebrated all over the world. And possessed of symmetrical proportion and excellent colour, their skins were pleasant to the touch. And the Valhikas also presented numerous blankets ofwoollen texture manufactured in Chin and numerous skins of the Ranku deer, and clothes manufactured from jute, and others woven with the threads spun by insects. And they also gave thousands of other clothes not made of cotton, possessing the colour of the lotus. And these were all of smooth texture. And they also gave soft sheep-skins by thousands. And they also gave many sharp and long swords and scimitars, and hatchets and fine-edged battle-axes manufactured in thewestern countries and perfumes and jewels and gems of various kinds by thousands. (2,50)


Yudhisthira also got a car (chariot) from Bahlika king:- Yudhisthira riding upon the car that had been given him by the king of Valhika, and attired also in royal robes, set out with his brothers, (to play dice in Hastinapura). (2,52), (2,57)


Bahlika army in Kurukshetra War


The heroes from Bhalika were, king Bahlika, his son Somadatta and his grandsons Bhurisravas and Sala. Apart from them we find mention of Bahlika army along with the armies of other neighbouring kingdoms taking part in the Kurukshetra War.


the Kamvojas and with the Valhikas (6,75)

king Vahlika with Vahlikas (6,82), (6,103)

the Nishadas, the Sauviras, the Valhikas, the Daradas, the Westerners, the Northerners, the Malavas, the Abhighatas, the Surasenas, the Sivis, the Vasatis, the Salwas, the Sakas, the Trigartas, the Amvashthas, and the Kekayas (6,118)

Yavanas and Paradas and Sakas and Valhikas, and Mlecchas (7,90)

Valhikas with Karna (7,110)

Sakas and Kamvojas and Valhikas and Yavanas and Paradas, and Kalingas and Tanganas and Amvashtas and Pisachas and Barbaras and mountaineers(7,118)

the Amvashthas, the Malavas, the brave Trigartas and the Sivis, the Abhishahas, the Surasenas, the Valhikas, and the Vasatis, the Yaudheyas, the Malavas, the Madrakas (7,154)

the Saindhavas and Valhikas(7,177)

the Vasatis, the Sivis, the Valhikas and the Kurus (7,190)

the Pulindas, the Khasas, the Bahlikas, the Nishadas, the Andhakas, the Tanganas, the Southerners, and the Bhojas (8,20)

the Bahlikas, and the Kaikayas, the Matsyas, the Vasatas, the Madras, and Saindhavas (8,56)

the Kurus and the Bahlikas(8,74)



Rise of Bahlika Power in Ancient India


The words of sage Markandeya to Yudhisthira, in the form of a prediction, hints at the rise of power of western kingdoms in Ancient India.


The Andhhas, the Sakas, the Pulindas, the Yavanas, the Kamvojas, the Valhikas and the Abhiras, then become possessed of bravery and the sovereignty of the earth. (3,187)



http://ancientvoice.wikidot.com/kuru-bahlika
https://www.scribd.com/doc/266346253/Baudhayana-Srauta-Sutra-Ed-Trans-CG-Kashikar-2003

Baudhayana Srauta Sutra (Ed. &amp; Trans. CG Kashikar, 2003)

Addendum

Baudhāyana-Śrautasūtra Chapter XVIII.44 contains an important reference attesting to the migrations of two groups of people away from Kurukshetra region (Sarasvati River basin).

"Translation of BSS XIII.44: Ayu migrated eastwards. His (people) are the Kuru-Pancalas and the Kasi-Videhas. This is the Ayava (migration). Amavasu migrated westwards. His (people) are the Ghandhari, Parsu and Aratta. This is the Amavasu (migration).

"According to the correct translation, there was no movement of the Aryan people from anywhere in the north-west. On the other hand, the evidence indicates that it was from an intermediary point that some of the Aryan tribes went eastwards and other westwards. 

This would be clear from the map that follows, noted BB Lal (2009).

http://archaeologyonline.net/artifacts/19th-century-paradigms.html

S'adaupas'ada are also known as PaurUravasau.

Appendix

Inscriptions on metal implements validate decipherment of Indus Script Corpora as metalwork catalogues http://tinyurl.com/okw7xly 

'Rosetta stones' which validate Indus Script decipherment have been detailed. 
The validity of this Proto-Prakritam decipherment is further reinforced by inscriptions on metal implements. Thus, Indus Script Corpora get recognized as catalogus catalogorum -- metalwork catalogues. 

Two evidences are discussed which are conclusive proofs of Proto-Prakritam decipherment: 1. evidence from anthropomorphs as hieroglyph-multiplex; and 2. evidence from inscriptions engraved on metal implements and identical inscriptions on a zebu seal.

Evidence Cluster No. 1 from an anthropomorph as hieroglyph-multiplex of Indus Script Corpora

Each inscription is a sangara, 'proclamation'. For example, a copper anthropomorph of the civilization is a hieroglyph multiplex: sãghāṛɔ  (Gujarati) 
sãgaḍ (Marathi) 'animal parts linked together' rebus: sangara 'proclamation'. The 'animal parts' on the anthropomorph are identified as follows: The object is shaped like a body of a person. The arms are shaped like the bent, curved horns of a ram. On some anthropomorphs, a fish hieroglyph is also inscribed. Thus, the hieroglyph-multiplex of the anthropomorph is composed of: 1. body; 2. ram; 3. fish. The hieroglyph components and rebus readings are: Hieroglyph components: meD 'body' meNDha 'ram'; aya 'fish' Rebus: meD 'iron''copper' aya 'iron' ayas 'metal'. Thus, together, the anthropomorph signifies metalwork as a professional card of an artisan. The sãgaḍ  'joined body parts of animals' is thus rebus: sangara 'proclamation'. The anthropomorph as a hieroglyph-multiplex is a catalogue entry, a proclamation of metalwork.

Anthropomorph. Saipal, Uttar Pradesh width 26.2cm height 18.2 cm

Anthropomorph had fish hieroglyph incised on the chest of  the copper object, Sheorajpur, upper Ganges valley,   ca. 2nd millennium BCE,   4 kg; 47.7 X 39 X 2.1 cm. State Museum,   Lucknow (O.37) Typical find of Gangetic Copper Hoards. meD 'body' (Munda). miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’  http://bharatkalyan97.blogspot.in/2015/05/composite-copper-alloy-anthropomorphic.html

Evidence Cluster No. 2 of inscriptions engraved on metal implements and on a zebu seal from the Indus Script Corpora

The Dholavira signboard inscriptions have been deciphered in three segments, Segments 1 to 3 from l. to r.

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

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

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

It is no surprise that many hieroglyph components on the three segments of the Dholavira signboard also occur as inscriptions on metal implements, since an inscription of Indus Script is also a sangara, 'proclamation', a professional calling card describing the technical specifications of metalwork executed and presented as a product.

The first line of inscription on the two implements DK7856 and DK7535 are identical to the Segment 2 of Dholavira Signboard with the only difference being the duplication of 'spoked wheel' hieroglyph and the relative sequencing of the 'linear stroke' hieroglyph.

Duplication of 'spoked wheel' hieroglyph: dula 'pair' Rebus: dul 'cast metal' Thus, the duplicated 'spoked wheel' signifies dul 'cast'eraka 'moltencast copper'.

'linear stroke' hieroglyph:  khāṇḍā m A jag, notch Rebus: khāṇḍa, khaṇḍa 

'implements'

'lid' hieroglyph signifies aḍaren 'lid' Rebus: aduru 'unsmelted metal ore' ayas 'metal' 

'corner' hieroglyph: kōnṭa corner (Nk.)(DEDR 2054b) Rebus: kõdā 'to turn in a lathe'(B.) कोंद kōnda 'engraver, lapidary setting or infixing gems'.

Thus, together, the entire line 1 of the inscription on the metal implement signifies engraving lapidary work,  worked in a forge, production of implement from moltencast copper. 

The technical description of the metalwork is thus precisely described by this line of the inscription.

DK7856 Text 2923

DK7535 Text 2925

The same line also occurs on a zebu seal.

Text 2119 on zebu seal

Hieroglyph: poLa 'zebu' Rebus: poLa 'magnetite'. Thus, read with the zebu hieroglyph, the decipherment of a segment of inscription on line 1 of the seal  is that the metalimplements produced are from magnetite metal ore, using metalcasting together with moltencast copper.

It is debatable if the anthropomorphs are  metal 'implements'. 

The form of anthropomorph is sãgaḍ 'joined parts of animals' and the function rebus is sangara 'proclamation'.

The form and function of the anthropomorphs are emphatically intended to be sangara 'proclamation' as signature calling cards of the metalworkers and metal-merchants and hence, identified as integral parts of Indus Script Corpora -- catalogus catalogorum of metalwork.

Two evidence clusters have been discussed and both prove the Proto-Prakritam decipherment of metalwork catalogues signified by Indus Script writing system.

QED.

See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-bronze-age-inscriptions-on.html

In the following image composition, on the left are shown two texts from Mohenjo-daro inscribed on metal implements: 2925, 2923 (DK 7535, DK 7856) Inscribed bronze implements (MIC Plate CXXVI-5 (1910g), CXXVI-2 (165.343g)

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

Seven script signs recurring  on two inscribed copper axes and on a seal and a seal impression,   Mohenjodaro; obverse (a,c) and reverse (b.d) of two axe blades (2798=DK7856 and 2796=DK7535) in room 15, house I, block 12A,G section, DK area together with a copper hoard; e is a fragmentary seal (2119) from room 5, house I, block 26,G section, DK area;   

f is an impression of a seal (c. 4.5cm sq.) on a clay tag found in the drain 124, house X, block 8, HR-B area. Drawn after Mackay 1938: II, pl. 126:t and pl. 131:35-6; Photo archive of the ASI, Sind Vol. 17, p. 79: 400 (=a,b); Mackay 1938: II, pl. 126:2; pl. 131:31; Sind vol. 17, p. 80: 403-4 (=c,d); Mackay 1938: II, pl. 85: 119 (=e); CISI 2: 183, M-1384 (=f); cf. Parpola, 1994, p. 108.

Illustrated London News 1936 - November 21st

Harappa Pottery, 5000 years old, Unique in Ancient India, Contrasted with Later Ware: Chanhu-Daro Dicoveries includes 16 x pictures .

Lipstick 5000 Years Old- and Other "Modern" Relics of Ancient India includes 10 x photos

A "Sheffield of Ancient India: Chanhu-Daro's Metal Working Industry 10 x photos of copper knives, spears , razors, axes and dishe s Great New Discoveries of Ancient Indian Culture on a Virgin Prehistoric Site in Sind - further results of pioneer research at Chanu-Daro, in the Indus Valley: relics of craftsmanship, domestic life, and personal adornment in the third millennium B.C. by Ernest Mackay D. Litt, FSA, in 5 x photos of seals and seal amulets with animal designs ...http://www.iln.org.uk/iln_years/year/1936a.htm

Mohenjo-daro. Metal implements. http://www.ancient-wisdom.com/Pakistanmohenjo.htm

https://www.emaze.com/@AOWIOCZT/conors-emaze-

Fig. 2.4-6. From Sohr Damb. 2.7-8 from Mohenjo daro. - 2.4 Palstaves A 9782.- 2.5 NM 2614.- 2.6 NM 2616.- 2.7 & 2.8 Mohenjo daro Museum, no inv. nos. "...the copper palstaves (Fig. 2.4-6) are similar to each other in form, all derived from the loci A3 and A5, and clearly are contemporary with each other. They are smaller, simpler in their form and proportionaly thicker in cross section than those from Harappa sites (cf. Fig. 2.7-8) which are also generally fashioned from copper. Fig. 1.7 = DK 3468, 1.8 = VS 1450 g. Both are from Mohenjo daro. With regard to the identification of the metal see P. Yule, Figuren, Schmuckformen und Tafelchen der Harappa-Kultur. Prahistorische Bronzefunde (=PBF) 1.6 (Munich 1985)5; idem Metalwork of the Bronze Age in India. PBF XX.8 (Munich 1985).99."

http://www.zaw.uni-heidelberg.de/hps/ufg/forschung/yule3/yule3.htm Yule, P., Silver grave goods from Sohr Damb near Nal, Pakistan, Institut fur Ur-und Fruhgeschichte und Vorderasiatische Archaologie, Universitat Heidelberg, Marstallhof 4, D-69117 Heidelberg

See: https://www.academia.edu/730314/The_Copper_Hoards_of_the_Indian_Subcontinent._Preliminaries_for_an_Interpretation  Yule, Paul, 1992, The copper hoards of the Indian subcontinent preliminaries for an interpretation, Published in the Jahrbuch de Romisch-Germanischen Zentralmuseums Mainz.36, 1989 (1992), pp.193-275. Most of the shapes of the palstaves of Mohenjo-daro compare with artifacts found all over India, many of which are recorded with pictures, in this article.

http://www.penn.museum/documents/publications/expedition/PDFs/39-1/Yule.pdf Yule, Paul, 1997, Copper hoards of northern India, Expedition, Vol. 39, No. 1, pp. 22-32  "After Fig. 4. Metal hoard implements from Haryana, including harpoons, so-called bars, and flat axes. Chemical analyses prove these implements are made of copper, not bronze. Recent discoveries at sites in the doab are shedding light on the people who made these objects and aspects of their culture.

मेढ a stake (Marathi) is also signified by a pillar.

Santali glosses.

Dholavira on the Rann of Kutch (as a Gateway into the Persian Gulf) in reference to the locus of maritime sites of Sarasvati-Sindhu civilization

Dholavira location in the Gulf of Kutch and Interaction networks (After Kenoyer, harappa.com)

A 10-lettered signboard (?) found in the western chamber of North Gate of castle. c. 2500-1900 BCE (ASI)

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

The signboard deciphered in three segments from r.

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

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

eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu). sangaḍa 'pair' Rebus: sangaḍa‘lathe’ (Gujarati) 

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

खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon). (Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’.

aḍaren, ḍaren lid, cover (Santali) Rebus: aduru ‘native metal’ (Ka.) aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada) (Siddhānti Subrahmaṇya’ śāstri’s new interpretation of the Amarakośa, Bangalore, Vicaradarpana Press, 1872, p. 330) 

 

koṇḍa bend (Ko.); Tu. Kōḍi  corner; kōṇṭu angle, corner, crook. Nk. kōnṭa corner (DEDR 2054b)  G. khū̃ṭṛī  f. ʻangleʼ Rebus:kõdā ‘to turn in a lathe’(B.) कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ  = place where artisans work (G.) ācāri koṭṭya ‘smithy’ (Tu.) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõdā ‘to turn in a lathe’; Or.kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. Kū̃d ’ lathe’) (CDIAL 3295)  A. kundār, B. kũdār, ri, Or.Kundāru; H. kũderā m. ‘one who works a lathe, one who scrapes’, rī f., kũdernā ‘to scrape, plane, round on a lathe’; kundakara— m. ‘turner’ (Skt.)(CDIAL 3297). कोंदण [ kōndaṇa ] n (कोंदणें) Setting or infixing of gems.(Marathi) খোদকার [ khōdakāra ] n an engraver; a carver. খোদকারি n. engraving; carving; interference in other’s work. খোদাই [ khōdāi ] n engraving; carving. খোদাই করা v. to engrave; to carve. খোদানো v. & n. en graving; carving. খোদিত [ khōdita ] a engraved. (Bengali) खोदकाम [ khōdakāma ] n Sculpture; carved work or work for the carver. खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving: also sculptured or carved work. खोदणावळ [ khōdaṇāvaḷa ] f (खोदणें) The price or cost of sculpture or carving. खोदणी [ khōdaṇī ] f (Verbal of खोदणें) Digging, engraving &c. 2 fig. An exacting of money by importunity. V लाव, मांड. 3 An instrument to scoop out and cut flowers and figures from paper. 4 A goldsmith’s die. खोदणें [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. खोद खोदून विचारणें or –पुसणें To question minutely and searchingly, to probe. खोदाई [ khōdāī ] f (H.) Price or cost of digging or of sculpture or carving. खोदींव [ khōdīṃva ] p of खोदणें Dug. 2 Engraved, carved, sculptured. (Marathi)

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

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

 

loa ’fig leaf; Rebus: loh ‘(copper) metal’ kamaḍha 'ficus religiosa' (Skt.); kamaṭa = portable furnace for melting precious metals (Te.); kampaṭṭam = mint (Ta.) The unique ligatures on the 'leaf' hieroglyph may be explained as a professional designation: loha-kāra 'metalsmith'; kāruvu  [Skt.] n. 'An artist, artificer. An agent'.(Telugu). 

khuṇṭa 'peg’; khũṭi = pin (M.) rebus: kuṭi= furnace (Santali) kūṭa ‘workshop’ kuṇḍamu ‘a pit for receiving and preserving consecrated fire’ (Te.) kundār turner (A.); kũdār, kũdāri (B.)

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

Dholavira Signboard inscription of gypsum inlays on wood measures 3 m. long. Each of the 10 signs is 37 cm. high and 25 to 27 cm. wide and made of pieces of white gypsum inlays; the signs were apparently inlaid in a wooden plank. The conjecture is that this wooden plank was mounted on the Northern Gateway as a Signboard. 

Dholavira Signboard

The Signboard which adorned the Northern Gateway of the citadel of Dholavira was an announcement of the metalwork repertoire of dhokra kamar, cire perdue metalcasters and other smiths working with metal alloys. The entire Indus Script Corpora are veritable metalwork catalogs. The phrase dhokra kamar is rendered on a tablet discovered at Dholavira presented in this monograph (earlier discussed at 
http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-1-dhokra-lost-wax.html ). The 10-hieroglyph inscription of Dholavira Signboard has been read rebus and presented at 
http://bharatkalyan97.blogspot.in/2013/08/dholavira-gateway-to-meluhha-gateway-to.html

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

"8.1 Inscriptions. Literacy of the Harappans is best exemplified in their inscriptions written in a script that is unparalleled in its characters hitherto unknown and undeciphered so far. These inscriptions are best represented on their seals and seals-impressions in addition to those engraved or painted on the objects of metal, terracotta, pottery, faience, ivory, bone and stone, albeit sometimes appearing in a single sign inscription or scratching particularly on pottery or terracotta objects. 8.1.1 Signboard. One of the most prominent discoveries from the excavations at Dholavira is the find of a 10 large sized signboard presently lying in the western chamber of North Gate. This inscription was found lying in the western chamber of north gate, and the nature of find indicates that it could have been fitted on a wooden signboard, most probably fitted above the lintel of the central passageway of the gate. The central passageway of north gate itself measures 3.5 m in width and the length of the inscription along with the wooden frame impression is also more or less same thereby indicating the probable location. The inscription consists of 10 large-sized letters of the typical Harappan script, and is actually gypsum inlays cut into various sizes and shapes, which were utilized to create each size as, indicated above. The exact meaning of the inscription is not known in the absence of decipherment of script." (pp.227-229, Section 8.1.1 Signboard)

"The central passageway of north gate itself measures 3.5 m in width and the length of the inscription along with the wooden frame impression is also more or less same thereby indicating the probable location. The inscription consists of 10 large-sized letters of the typical Harappan script, and is actually gypsum inlays cut into various sizes and shapes, which were utilized to create each size as, indicated above. The exact meaning of the inscription is not known in the absence of decipherment of the script. (p.231)

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

Fig. 8.3: Close-up of inscription

Fig. 8.4: Drawing showing the ten letters of inscription

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

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

Fig. 8.7: Gypsum inlays used for the inscription

Hieroglyph: eraka 'nave of wheel' āra 'spoke' Rebus: eraka 'molten cast' (Tulu); arka 'copper' (Samskritam) ara 'brass'.ārakUTa id. (Samskritam)

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

Dholavira (Kotda) on Kadir island, Kutch, Gujarat; 10 signs inscription found near the western chamber of the northern gate of the citadel high mound (Bisht, 1991: 81, Pl. IX); each sign is 37 cm. high and 25 to 27 cm. wide and made of pieces of white crystalline rock; the signs were apparently inlaid in a wooden plank ca. 3 m. long; maybe, the plank was mounted on the facade of the gate to command the view of the entire cityscape. Ten signs are read from left to right. The 'spoked circle' sign seems to be the divider of the three-part message. (Bisht, R.S., 1991, Dholavira: a new horizon of the Indus Civilization. Puratattva, Bulletin of Indian Archaeological Society, 20: 81; now also Parpola 1994: 113). 

This first sign board of the world verily constitutes the Bronze Age Standard of Eurasia -- not merely a Meluhha Standard.Ancient Near East Bronze Age Meluhha, smithy/lapidary documents, takṣat vāk, incised speech [Evidence from sites surrounding Bhuj in Kutch: Kanmer, Dholavira, Gola Dhoro (Bagasra), Shikarpur, Khirsara, Surkotada, Desalpur, Konda Bhadli, Juni Kuran, Narapa]

The Northern Gateway signboard has invited visiting seafaring merchants into a Bronze Age smithy-forge complex. The centre-piece is the ceremonial stadium which displays the artifacts of metallurgical competence of Dholavira or Kotda artisans. The two skambhas and the entry into the pedestal with the kole.l 'temple' which is also a 'smithy-forge' is a celebration of the production of alloys of metal and castings of metalwork.
http://bharatkalyan97.blogspot.in/2015/09/skambha-sivalinga-temple-in-dholavira.html

https://www.academia.edu/7313636/Harappan_Metallurgy_published_by_Vivekanand_International_Foundation 

Harappan Metallurgy published by Vivekanand International Foundation, in: Protohistoric foundations, II.4.5 Metallurgy, Ravindra Singh, pp.212-234 See Table 1 with percentage compositions on metal objects of civilization: Cu, Sn, As, Fe, Ph, Ni (Analyses by Muhammad Sana Ullah (After Marshall 1931: 484)

అయస్కాంతము [ ayaskāntamu ] ayas-kāntamu. [Skt.] n. The load-stone, a magnet. సూదంటురాయి అయస్కారుడుayaskāruḍu. n. A black smith, one who works in iron. కమ్మరి. అయస్సు ayassu. n. Iron. ఇనుము.,అయోమయము (p. 0077) [ ayōmayamu ] ayō-mayamu. [Skt.] adj. Made of iron; abstruse, hard, difficult. 

ఇనప (p. 0136) [ inapa ] inapa. [Tel. for ఇనుప] Made of iron. See ఇనుము.ఇనుము (p. 0137) [ inumu ] inumu [Tel.] n. Iron. ఇనుప made of iron. ఇనుపగొలుసు an iron chain. ఇనుపకచ్చ an iron girdle, i.e., continence, chastity.

இரும்பு irumpu, n. < இரு-மை. cf. செம்பு for செம்மை. [T. inumu, M. irumbu.] 1. Iron, literally, the black metal; கரும்பொன். (தேவா. 209, 3.) 2. Instrument, weapon: ஆயுதம். இரும்பு மேல் விடாது நிற்பார் (சீவக. 782).

లోహము [ lōhamu ] lōhamu. [Skt.] n. Metal in general, అష్టలోహసామాన్యము. Iron. ఇనుము, పంచలోహములు the five metals, viz., gold, silver, brass, bronze and iron. అష్టలోహములు include lead, tin and another metal called ధీవరము. లోహకారకుడు lōha-kārakuḍu. n. A blacksmith. కరమల
వాడు, కమ్మరి. లోహజిత్తు lōha-jittu. n. A diamond (as "surpassing all metals" in hardness.),వజ్రము. లోహితము [ lōhitamu ] lōhitamu. [Skt.] n. Ruby colour, redness, రక్తవర్ణము, గుధిరము. Blood, నెత్తురు. adj. Red. ఎర్రని.లోహితకము
కెంపుor లోహితుడు lōhit-ānguḍu. n. The planet Mars. అంగారకుడు.లోహితాశ్వుడు lōhit-āṣvuḍu. n. Fire. అగ్ని
హోత్రుడు. లౌహిత్యము lauhityamu. n. A blush, redness. ఎరుపు."

The Śatapatha Brāhmaṇa, Part V

XIII, 4, 3. Third Brāhmaṇa

12. And on the eighth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotṛ) says.--'Havai hotar!' replies the

Adhvaryu.--'King Matsya Sāmmada[28],' he says; 'his people are the water-dwellers, and they are staying here;'--both fish and fishermen[29] have come thither: it is these he instructs;--'the Itihāsa 3 is the Veda: this it is;' thus saying, let him tell some Itihāsa. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.

13. And on the ninth day, after those (three) offerings have been performed in the same way, there is the same course of procedure. 'Adhvaryu!' he (the Hotṛ) says.--'Havai hotar!' replies the Adhvaryu.--'King Tārkṣya Vaipaśyata[31],' he says; 'his people are the Birds, and they are staying here;'--both birds and bird-catchers[32] have come thither: it is these he instructs;--'the Purāṇa[30] is the Veda: this it is;' thus saying, let him tell some Purāṇa[33]. The Adhvaryu calls in the same way (on the masters of lute-players), but does not perform the Prakrama oblations.

http://www.wisdomlib.org/hinduism/book/the-%C5%9Batapatha-br%C4%81hma%E1%B9%87a-part-v/d/doc63518.html

Objects used in  yajña, for e.g., agni ( Narāśaṁsa Tanūnapāt manifestations) Soma, fuel, the sacred grass, the enclosure, are deified as āprī 'conciliated divinities'. 

Characteristics of some of these objects are explained:

सोम [p= 1249,3] the stalks [अंशु] of which were pressed between stones [अद्रि] by the priests , then sprinkled with water , and purified in a strainer [पवित्र]; cognate ancu 'iron' (Tocharian) 

Soma is adored in 1484 rica-s of Rigveda. 

The entire Samhitā is devoted to the processing of Soma (Indu, 'drop'). 

इन्दु is said to mean in the Veda a drop of Soma juice, a bright drop or spark; सुतास इन्दवः Rv.1.16.6 इन्दु [p= 166,1] a bright drop , a spark TS.

RV 9.2.10 Indu, you are the giver of kine, of children, of horses, and of food; you are the primeval soul of the sacrifice.
Another translation:(To Soma) bright droplets ! you are the bringer of cattle,bringer of men, of horses, and of strength, the first ātmā of the yajña.

Agni = नरा* शंस  (rarely) of पूषन् e.g. RV. i , 164 , 3 ; x. 64 , 3;  तनू--नपात् [p= 435,3] m. (त्/अनू-) " son of himself , self-generated (as in lightning or by the attrition of the अरणिs cf. Nir. viii , 5) ", a sacred N. of Fire (chiefly used in some verses of the आप्री hymns) RV. 

बर्हिस् [p= 722,2] n. (rarely m.) " that which is plucked up " , sacrificial grass , a bed or layer of कुश grass (usually strewed over the sacrificial ground and esp. over the वेदि , to serve as a sacred surface on which to present the oblations , and as a seat for the gods and for the sacrificers) RV. &c; n. Sacrificial Grass personified (and enumerated among the प्रयाज and अनुयाज deities) RV. Br.

इळा [p= 164,2] f. इडा or (in ऋग्-वेद) /इळा , (not to be confounded with the inst. case of इड् above ) , refreshing draught , refreshment , animation , recreation , comfort , vital spirit RV. AV. AitBr.

घृत [p= 378,2] mfn. sprinkled L.n. (g. अर्धर्चा*दि) ghee i.e. clarified butter or butter which has been boiled gently and allowed to cool (it is used for culinary and religious purposes and is highly esteemed by the Hindus) , fat (as an emblem of fertility) , fluid grease , cream RV. VS. AV. &c

आ- √ प्री  [p= 144,2] P. (-प्रीणाति AitBr. ii , 4 ; aor. Subj. 2. sg. -पिप्र्/अयस् RV. ii , 6 , 8) to satisfy , conciliate , propitiate , please RV. TS.S3Br.  ; to address or invoke with the आप्री (» below) verses AitBr. S3Br. : A1. (impf. आ*प्रीणीत) to amuse one's self , be delighted or pleased TS. La1t2y.; f. gaining one's favour , conciliation , propitiation; f. pl. (-प्र्/इयस् [ AV. xi , 7 , 19] and -प्र्यस् [नारायण]) N. of particular invocations spoken previous to the offering of oblations (according to A1s3vS3r. iii , 2 , 5 seqq. they are different in different schools ; e.g. स्/अमिद्धोअग्न्/इर् RV. v , 28 , 1, in the school of शुनक ; जुष्/अस्वनः RV. vii , 2 , 1, in that of वसिष्ठ ; स्/अमिद्धोअद्य्/अ RV. x , 110 , 1, in that of others ; नारायण on this passage gives ten hymns belonging to different schools ; » also Sa1y. on RV. i , 13 [स्/उसमिद्धोन /आवह , the आप्री-hymn of the school of कण्व] , who enumerates twelve आप्रीs and explains that twelve deities are propitiated ; those deities are personified objects belonging to the fire-sacrifice , viz. the fuel , the sacred grass , the enclosure , &c , all regarded as different forms of अग्नि ; hence the objects are also called आप्रीs , or , according to others , the objects are the real आप्रीs , whence the hymns received their names) AV. TS. A1s3vS3r. &c

“Silpa texts such as Mahaviswakarmeeyam, Rathalakshanam and Aparajitapruccha describe the making of the ratha. Sthapathy Umapathy Acharya says, “The Apri Sukta and Pavamana Sukta from Rig Veda are recited when the tree is cut.”

http://www.thehindu.com/features/friday-review/watching-temple-chariot-is-an-aweinspiring-experience/article6245119.ece

There are 11 आ- √ प्री Suktas: 1.142, 1.13, 5.28, 5.5, 10.110, 9.5, 3.4, 7.2, 2.3, 1.188, 10.170.

9.5 is an adoration of Soma as āprī  (object in the yajña).

Gargya Narayana's commentary excludes 5.28, notes that 10 āprī suktas are adorations of Agni (as an object in the yajña). The commentary further details that  I.13 and I.142 both invoke the Narāśaṁsa and Tanūnapāt manifestations of Agni, I.188, III.4, IX.5 and X.110 invoke only the Tanūnapāt manifestation and II.3, V.5, VII.2 and X.70 invoke only the Narāśaṁsa manifestation.

Āprīsūkta	Ṛṣi	Gotra
1.13	Medhātithi Kāṇva	Kāṇva
1.142	Dīrghatamā Aucathya	Āngirasa
1.188	Agastya MaitrāvaruṇI	Agastya
2.3	Gṛtsamada Śaunahotra	Śaunaka
3.4	Viśvāmitra Gāthina	Kauśika
5.5	Vasuśruta Ātreya	Ātreya
7.2	Vasiṣṭha MaitrāvaruṇI	Vāsiṣṭha
9.5	Asita or Devala Kāśypa	Kāśypa
10.70	Sumitra Vādhryaśva	Bharata
10.110	Rāma Jāmadagnya or Jamadagni	Bhārgava

 5.28                   Sunaka

See: Talageri, Shrikant: The Rigveda: A Historical Analysis, 2000, p.33

स्/उसमिद्धो न /आ वह RV I.13, in the school of कण्व

Twelve objects/phenomena are deified āpryas:1.agni, 2. tanUnapAt, 3. narAs'amsa, 4.iLA, 5. barhi, 6. devIdvAra, 7, ushAsAnaktA, 8. devyau hotAru pracetasau, 9. tisrahdevyah sarasvatI, iLA, Bharatya, 10, tvaSTA, 11. vanaspati, 12. svAhAkRtayah

 

1.013.01 Agni, who are Susamiddha, invoker, purifier, bring hither the gods to the offerers of our oblation, and do your sacrifice. [The A_pris are twelve including a name of fire, naras'ansa. Su = well; sam = completely; iddha = kindled; hence, Susamiddha = the thoroughly kindled].

1.013.02 Wise (Agni) who are Tanu_napa_t (= devourer of clarified butter), present this day our well-favoured sacrifice to the gods for their food. [Tanu_napa_t, deourer of clarified butter (tanu_napa); alternatively, tanu = own substance, or fuel, i.e. consumer of its own substance; napa_t = tanaya, son or offspring; alternatively, napa_t = who does not preserve, who destroys].

1.013.03 I invoke the beloved Nara_s'ams'a, the sweet-tongued, the offere of oblations, to this sacrifice. [Nara_s'am.s'a, him whom men praise: nara s'am.santi].

1.013.04 Agni, (who are) I_l.ita (= worshipped), bring hither the gods in an easy-moving chariot, for you are the invoker instituted by men. [I_l.ita, stutah, the worshipped; fr. i_l.a, to adore, to praise].

1.013.05 Strew, learned priests, the sacred grass, well bound together (in bundles), and sprinkled with clarified butter, the semblance of ambrosia. [Barhis is an appellative of Agni; amr.ta-sama_nasya ghr.tasya or maran.a-rahitasya barhirna_makasya, agneh:amr.ta (clarified butter sprinkled on grass) has the appearance of ambrosia; or agni is immortal].

1.013.06 Let the bright doors, the augmenters of sacrifice, (hitherto) unentered, be set open, for certainly today is the sacrifice to be made. [Doors: agnivis'es.amu_rtayah, personifications of agni].

1.013.07 I invoke the lovely night and dawn to sit upon the sacred grass, at this our sacrifice. [naktam = night; us.as = dawn; they denote two forms of fire, presiding over these seasons: tat-ka_la_bhima_nivahnimu_rtidvaye].

1.013.08 I call the two eloquent divine and sage invokers (of the gods), that they may celebrate this our sacrifice. [Two agnis: daivyau hota_rau pracetasau, two divine invokers (pracetasas), who are sages (kavi)].

1.013.09 May the three undecaying goddesses, givers of delight, Il.a_, Sarasvati_, and Mahi_ (= Bha_rati_), sit down upon the sacred grass. [Mahi = Bha_rati; Il.a_, Sarasvati_, Bha_rati_ are personifications of agni: agnimu_rtayah; they are also three personified flames of fire. As goddesses, Il.a_ = earth (bride of Vis.n.u); Sarasvati_ = goddess of eloquence (wife of Brahma_); Bharati_ = speech (wife of Bharata, an A_ditya)]

1.0113.10 I invoke the chief and multiform Tvas.t.r. (= Vis'vakarma_); may he be solely ours. [Tvas.t.a_ = Vis'vakarma_, artificer of the gods, the fabricator of the original sacrificial vase or ladle. tvas.t.a_ vai pas'u_na_m mithuna_na_m ru_kakr.t---iti s'ruteh (Taittiri_ya.Sam.hita_ 6.1.8.5): Tvas.t.a_ forms in animals in pairs; he is also an A_ditya; here he is an Agni: Tvas.tr.-na_makam agnim].

1.013.11 Present, divine Vanaspati (= lord of the woods), our oblation to the gods, and may true knowledge be (the reward) of the giver.

1.013.12 Perform the sacrifice conveyed through Sva_ha_ (= an exclamation used in pouring the oblation on the fire) to Indra, in the house of the worshipper; therefore I call the gods hither. [sva_ha_ = an exclamation used in pouring the oblation on the fire, also identified with Agni. Sva_ha_ is called the daughter of Br.haspati, son of An:giras (Maha_bha_rata); she is also the daughter of Daks.a and wife of Agni].

स्/अमिद्धो अग्न्/इर् RV. v , 28 , 1, in the school of शुनक 

5.028.01 Agni, when kindled, spreads lustre through the firmament, and shines widely in the presence of the dawn; Vis'vava_ra_, facing the east, glorifying the gods with praises, and bearing the ladle with the oblation, proceeds (to the sacred fire). [Bearing the ladle with the oblation: havis.a_ ghr.ta_ci_ = puroda_s'a_dilaks.an.ena yuktaya_ ghr.ta_cya_ sruca_ sahita_, with the ladle of ghi_ connected with the cakes and other articles of the oblation; vis'vava_ra_ = feminine; the repeller of all enemies of the nature of sin, sarvam api pa_paru_pam s'atrum varayitri_].

5.028.02 When about to be kindled, Agni, you rule over ambrosial (water); you are present with the offerer of the oblation for his welfare; he to whom you repair acquires universal wealth; he places you, Agni the dues of hospitality.

5.028.03 Repress, Agni, (our foes to ensure our) exceeding prosperity; may your riches ever be excellent; preserve in concord the relation of man and wife, and overpower the energies of the hostile. [Yajus. 33.12; preserve in concord: sam ja_spatyam suyamam kr.n.us.va, make perfect the well-connected duty of wife and husband].

5.028.04 I praise the glory, Agni, of you when kindled and blazing fiercely; you are the affluent showerer (of benefits), you are fitly lighted at sacrifices.

5.028.05 Agni, who are kindled and invoked, worship the gods at the holy rite, for you are the bearer of the oblation.

5.028.06 Offer worship and adoration to Agni when the sacrifice is solemnized; select the bearer of the oblation to the gods. [Three kinds of sacrificial fires, according to the Taittiri_ya are: havyava_hana, which receives the oblation intended for the gods; the kavyava_hana, that intendended for the pitara; and the saharaks.as, that intended for the asuras; the worshipper is directed to select the first, on this occasion].

स्/उसमिद्धो न /आ वह RV I.13, in the school of Angiras

1.142.01 Agni, who are samiddha, bring the gods today (to the worshipper), whose ladle is uplifted; extent (the merit of) former sacrificer to the giver (of the offering), by whom the Soma is poured forth. [A_pri's of Agni: cf. RV. 1.4.2].
1.142.02 Tanu_napa_t, be present at this well-flavoured and cutter-fed sacrifice, (the offering) of a pious offerer (of oblations); glorifying you.
1.142.03 The pure, purifying, wonderful Nara_s'am.sa, an adorable god among gods, (having come) from heaven, thrice mixes the sacrifice with the sweet (Soma). [Nara_s'am.sa is the deity presiding over the sacrifice: yajn~a_bhima_ni devah; thrice mixes: he comes thrice, or he thrice bestows rewards, perhaps an allusion to the three daily sacrifices].
1.142.04 Agni, who are Il.ita, bring hither Indra, the wonderful, the beloved; this my praise is recited, bright-tongued, before you.
1.142.05 The priests, bearing ladles, are strewing the sacred grass in this holy sacrifice, to prepare a god-frequented and well-spread abode for Indra.
1.142.06 Let the bright, separable doors, the augmenters of sacrifice, the purifiers of rites, the desired of many, be set open for the gods to enter. [The hymn is addressed to the divinities presiding over th e doors of the chamber of sacrifice; asas'cata = not adhering together, mutually separable; asajyama_na-paraspara viprakr.s.t.a, perhaps folding-doors of wide or open doors].
1.142.07 Beautiful night and morning, ever hymned, ever associated, progeny (yahuh sunuh--Nirukta 2.2.11) (of time), parents of sacrifice, sit down of your own good will on the sacred grass.
1.142.08 May the two pleasing-tongued receivers of praise, the divine and sage invokers (of the gods), officiate today at this our sacrifice, which confers (rewards) and attains heaven. [Attains heaven: mandra-jihva_ is an apithet applied to Agni, the two flames that give delight to the gods].
1.142.09 May the pure hota_, placed among the gods, and Bha_rati_, among the Maruts, and may the adorable Il.a_, Sarasvati_, Mahi_, sit down upon the sacred grass. [hota_ = homa-nis.pa_dika_, the presenter of the oblation; deves.u arpita_ = delivered amongst the gods, the praisers of priests (Marutsu); or, marutsu-bha_rati_ = va_c, situated in heaven, dyustha_na_ and connected with bharata, an A_ditya, or name of the sun; il.a_, sarasvati_, mahi_ = sound (va_c); or the goddesses presiding over sound in the three regions, severally of earth, firmament, and heaven].
1.142.10 May Tvas.t.a_, favourably disposed towards us, send to us, for our nourishment and prosperity, the quick (falling), wonderful, abundant (water), in the centre (of the cloud, effecting), of itself much (good). [Qucik (falling), wonderful: the hymn has epithets only related to udakam, water: turi_pam adbhutam puru va_ram puru tmana_; in the centre: na_bha_ na_bhau meghasya avasthitam udakam, i.e. rain; Tvas.t.a_ = personified fire or lightning, in which capacity he is the sender of rain, vr.s.t.ya_deh karta_].
1.142.11 Vanaspati, here present of your own accord, convey our offerings to the gods; the divine and intelligent Agni accepts (the oblations) for the deities. [vanaspati: the fire,or Agni of the sacrificial post, or yupa, from its being of timber].
1.142.12 (Priests), present the oblation with sva_ha_ to Indra, in the form of Ga_yatra, along with Pu_s.an and the Maruts; also to the assembled gods, and the Va_yu. [In the form of Ga_yatra: Ga_yatra-vepase--ga_yatra is substituted for itara-sa_ma: vepas = ru_pa; ga_yatram- ru_pam yasya; ga_yatravepas = a name or form of Indra; along with Pu_s.an and the Maruts: lit., having or possessed of Pu_s.an or the Maruts: pus.anvate marutvate; vis'vadeva_ya (singular)  = vis'vadeva- san:gha_ya, the assemblage of all the gods; or, an epithet to identify Indra with all the deities; the personification of Agni is sva_ha_, as one of the A_pris].

1.142.13 Approach, Indra, to partake of the oblations consecrated with sva_ha_; approach and hear the invocation, as they invoke you to the sacrifice.

5.005.01 Offer abundant butter to the replendent Susamiddha, to Agni, to Ja_tavedas. [Susamiddha, an epithet of Agni].
5.005.02 Nara_s'am.sa animates this sacrifice he who is uninjurable, who verily is wise and sweet-handed.
5.005.03 Agno, who are I_l.ita, bring hither the wonderful and friendly Indra, with his easy going chariots for our protection.
5.005.04 (Grass), soft as wool, be spread; the worshippers praise you; be to us radiant (grass the source of) liberality. [(Grass): the barhis].
5.005.05 Open divine doors, our passages to preservation; fill full the sacrifice (with its rewards).
5.005.06 We glorify the evening and the morning lovely, food-bestowing, mighty, the mothers of sacrifice.
5.005.07 Praised (by us), divine invokers of the gods, come moving on the path of the wind, to this sacrifice of our patron. [On the path of the wind: va_tasya patman = with the swiftness of the wind, or through the firmament; to this sacrifice of our patron: manus.o no yajn~am = lit., to the sacrifice of our man, i.e. of the yajama_na].
5.005.08 May Il.a_, Sarasvati_, Mahi_, the three goddesses who are the sources of happiness, sit down, benevolent, upon the sacred grass.
5.005.09 Tvas.t.a_, being propitious, you who are diffusive in kindness, come to your own accord protect us in repeated sacrifices.
5.005.10 Wherever you know, Vanaspati, the secret forms of the gods to be, thither convey the oblations. [yatra vettha deva_na_m guhya_ na_ma_ni: na_ma_ni = ru_pa_n.i, forms; it is not soecufued as a faculty of vanaspati in any preceding hymn to the a_pris, although vanaspati, in the preceding hymns and also here represents Agni, as identified with the sacrificial post, or yu_pa, or the deity presiding over the post: yu_pa_bhima_ni_ deva].
5.005.11 The oblation is offered with reverence to Agni, to Varun.a; with reverence to Indra, to the Maruts; with reverence to the gods. [To Agni: the term is sva_ha_, who is an a_pri, or personification of Agni].

स्/अमिद्धो अद्य्/अ RV. x , 110 , 1,in the school of other Rishis

10.110.01 Kindled today, Ja_tavedas, in the dwelling of the worshipper, you who are divine, sacrifice to the gods. Bear (the oblation), you who respect your friends, who are intelligent; you are the wise, far-seeing messenger (of the gods).
10.110.02 Pure-tongued Tanu_napa_t, flavour the paths of the sacrifice which lead (to success), moistening them with the sweet (Soma); elevating our praises and our rite by understanding, convey our sacrifice to the gods. [Tanu_napa_t: Agni; tanu = a cow that has calved and yields milk, whence comes butter, and from butter fire-- Agni is thus the grandson of the cow; or, grandson of the waters, because from rain come the trees and trees supplying fuel propagate Agni].
10.110.03 Agni, who are the invoker (of the gods), and are to be solicited and praised, come, being propitiated, along with the Vasus; you, O mighty (Agni), are the invoker of the gods; do you, who are most entitled to worship, solicited by us, offer them adoration.
10.110.04 In the beginning of the day the sacred grass, pointing eastwards, is strewn with the prescribed (text) as a covering for the earth (of the altar); they spread it out far and wide as a pleasant (seat) for the gods and Aditi.
10.110.05 Expanding wide, let the doors give access as gracefully decorated wives give access to their husbands, divine doors, spacious and admitting all, be easy of entry for the gods.
10.110.06 May the adorable Day and Night, the givers of sound repose, having approached, sit down in the place (of sacrifice), two divine females, majestic and richly ornamented, bearing beauty of a bright form.
10.110.07 Divine ministers, prior (to those of earth), repeaters of pious praise, instituting the sacrifice at which men are to worship, (sit down) stimulating (the priests) at the sacrifices, makers (of praises), indicating the eastern fire with the prescribed (text). [Eastern fire: A_havani_ya. The two divine ministers, of Hota_ are Agni and A_ditya].
10.110.08 May Bha_rati_ come quickly to our sacrifice, and Il.a_ thinking (of what she has to do), like a human being; may Sarasvati_ also-- the three gracious goddesses, sit down upon this pleasant sacred grass.
10.110.09 To the divine Tvas.t.a_, who decked the parental heaven and earth and all the worlds with living forms, to him, O priest, who are venerable and wise, being solicited byu us, offer oblation here today.
10.110.10 Offer of your own will in due season the food (and other) oblations of the gods besmearing it. Let Vanaspati, S'amita_, the divine Agni, sweeten the oblation with honey and butter. [Vanaspati_ = the deified yu_pa, or sacrificial post; or, the r.ca may be addressed to the priest; S'amita_: immolator of the victim. The post, the immolator and the fire are here deified as the chief instruments or agents of the sacrifice].
10.110.11 As soon as he was  born, Agni constructed a sacrifice, he was the preceder of the gods; may the gods partake of the oblation presented with the sva_ha_ through the voice of him the hota_ of the sacrifice at the eastern station.

9.005.01 The pure-flowing (Soma) shines forth in its brightness, the universal lord, the showerer of blessings, the rejoicer, uttering a loud sound. [The deities, samidh and others are severally invoked in the successive verses. Soma is praised in the form of the A_pris, and samiddhah is explained as samyagdi_ptah].
9.005.02 The pure-flowing Tanu_napa_t, rushes sharpening its splendour on the height and hastens through the sky. [Tanu_napa_t = a name of Soma, abhyo ams'avo ja_yante tatah somo ja_yate, from the waters are born beams, from these is born Soma; hastens through the sky: that is, to the dron.akalas'a, according to the text, 'he takes a_grayan.a libation with two streams'].
9.005.03 The pure-flowing bright (Soma), the bounteous giver, worthy of all praise, shines forth in its might with the streams of water.
9.005.04 The bright golden-hued pure-flowing one rushes in its might, strewing the sacred grass in the sacrifice with its points towards the cast.
9.005.05 The bright golden doors, praised by the priests together with the Soma, rise up from the vast horizon.
9.005.06 The pure-flowing (Soma) longs for the fair-formed wide-reaching mighty Night and Dawn not yet visible.
9.005.07 I  invoke the two divine priests, the two deities who behold men-- the pure-flowing (Soma) is radiant and the showerer (of benefits). [The pure-flowing Soma is radiant: perhaps, an identification of Soma with Indra, just as in the next verse, Indu (i.e. Soma) is identified with Indra.
9.005.08 May the three beautiful goddesses, Bha_rati_, Sarasvati_, and mighty Il.a_, come to this our offering of the Soma.
9.005.09 I invoke Tvas.t.a_, the first-born, the protector, the leader; the golden-coloured pure-flowing Indu is Indra, the showerer, the lord of all creatures.
9.005.10 Pure Soma, consecrate with your streaming ambrosia the green bright golden-hued Vanaspati with its thousand branches.
9.005.11 O all ye gods, come together to the consecration of the Soma-- Va_yu, Br.haspati, Su_rya, Agni and Indra.

जुष्/अस्व नः RV. vii , 2 , 1, in the school of वसिष्ठ

7.002.01 Be gratified, Agni, by the (sacred fire) kindled by us today, emitting abundant adorable smoke; touch with your scorching flames the celestial summit; combine with the rays of the sun. [Kindled: samiddham; implies one of the A_pris, or forms of fire, although used as an epithet].
7.002.02 We celebrate with sacrifices the greatness of the adorable Nara_s'am.sa among those who are divinities, the performers of good works, the bright-shining, the upholders of rites, who partake of both kinds of oblations. [Oblations of ghi_ and libations of Soma, or other offerings: Nirukta viii.6].
7.002.03 Let us ever worship the Agni who is to be adored by us; the mighty, the dextrous, the messenger passing between heaven and earth, the speaker of truth, kindled (of old) by Manu, as now by men, that (he may come) to the solemnity. [Tanu_napa_t, is omitted; the su_kta is called an A_pri_ su_kta, apra s'abdoktatva_n idam tanu_napa_d rahitam; Agni who is to be adored by us: i_l.enyam agnim is the i_l.ita of the other a_pri_ su_ktas; mahema = to you (priests) worship].
7.002.04The worshippers bearing the sacred grass offer it with reverence, upon their knees, to Agni; worship him, priests, with oblations, invoking him to (sit down) on the spotted (grass), smeared with clarified butter.
7.002.05 The devout performers of holy rites, desirous of chariots, have had recourse to the doors (of the sacrificial chamber); (the ladles), placed to the east, are plying the fire with ghee at sacrifices, as the mother cows lick the calf, or as rivers (water the fields). [The doors: among the A_pris; pu_rvi_ s'is'um na ma_tara riha_n.e samagruvo na samanes.u an~jan = the prio (or eastern) calf like two mothers licking rivers, like in sacrifices tey anoint = pu_rvi_ pra_gagre juhu_pabhr.tau, the two ladles -- the juhu and upabhr.t-- placed at sacrifices with their ends to the east].
7.002.06 May the two youthful females, the divine and mighty day and night, the invoked of many, the possessed of wealth, seated on the sacred grass, enitled to adoration, be with us like an easily-milked cow for our welfare.
7.002.07 I am minded to adore you two sages, the ministrants at sacrifices of men, from celebrated, convey our offspring aloft, and acquire (for our use) the precious (treasures preserved) among the gods.
7.002.08 May Bharati, associated with the Bharatis; Il.a_ with gods and men; and Agni and Sarasvati_ with the Sa_rasvatas; may the three goddesses sit down before us upon this sacred grass. [Il.a_ with gods and man: il.a_ devabhir manus.yebhir agnih; Il.a_ is associated with men; Agni is associated with the goddesses. This and the three following verses are repeated from the second as.t.aka].
7.002.09 Divine Tvas.t.a_, being well-pleased, give issue to our procreative vigour, whence (a son) manly, devout, vigorous, wielder of the Soma-bruising stone, and reverencing the gods, may be born.
7.002.10 Vanaspati, bring the gods night; may Agni, the immolator, prepare the victim; let him who is truth officiate as the ministering priest, for verily he knows the birth of the gods.
7.002.11 Agni, kindled (into flame), come to our presence in the same chariot with Indra, and with the swift moving gods; may Aditi, the mother of excellent sons, sit down on the sacred grass, and may the immortal gods be satisfied with the reverentially-offered oblation.

3.004.01 Repeatedly, kindled, (Agni), wake up favourably disposed; (endowed) with reiterated lustre, entertain the kind purpose of (granting us) wealth; bring, divine Agni, the gods to the sacrifice; do you, the friend (of the gods), minister, well-affected, to (your) parents. [Repeatedly kindled: samit sama = samiddha; or, susamiddha, an appellative of Agni in the preceding su_ktas].
3.004.02 Tanu_napa_t, whom the deities, Mitra, Varun.a and Agni, worship daily thrice a day, render this our sacred rain-engendering sacrifice productive of water.
3.004.03 May the all-approved praise reach the invoker of the gods; may Il.a_ first proceed to worship and to praise with prostrations the showerer (of benefits) in his presence; may the adorable (Agni), instigated (by us), worship the gods. [Il.a_ = the il.ita of preceding su_ktas].
3.004.04 An upward path has been prepared for you both in the sacrifice; the blazing oblations soar aloft; the invoker of the gods has sat down in the centre of the radiant (hall); let us strew the sacred grass for the seats of the gods. [You both: Agni and the Barhis, or sacred grass, to which, as in the parallel pages, the hymn is addressed].
3.004.05 The gods who gratify the universe with rain are present at the seven offerings (of the ministering priests), when solicited with (sincerity of) mind; may the many deities who are engendered in sensible shapes at sacrifices come to this our rite. [Deities in sensible shapes: in preceding su_ktas, the doors of the hall of sacrifice, are the personifications specified; here, the divinities presiding over the doors are implied].
3.004.06 May the adored Day and Night, combined or separate, be manifest in bodily form, so that Mitra, Varun.a, Indra, or (the latter), attended by the Maruts, may rejoice us by their glories.
3.004.07 I propitiate the two chief divine invokers of the gods; the seven offerers of (sacrificial) food, expectant of water, gratify (Agni) with oblations; the illustrious observers of sacred rites have saluted him in every ceremony as (identifiable), verily, with water. [As identifiable with water: r.tam it ta a_huh = agnim eva r.tabhu_tam a_huh, they have called Agni, verily, r.ta; r.ta is usually rendered water but  it may mean truth; in the preceding phrase, r.tam s'ansanta = udakam, desirous or expectant of water].
3.004.08 May Bha_rati_, associated with the Bha_rati_s; Il.a_ with the gods and men; and Agni, and Sarasvati_ with the Sa_rasvatas; may the three goddesses sit down upon the sacred grass (strewn) before them. [bha_rati_bhih, with the connections of Bharata, or the Sun: bharatasya su_ryasya sambandhini_bhih, perhaps intending the solar rays; Bha_rati_ = va_k, speech; Il.a_ = bhu_mi, the earth; sarasvati_ = ma_dhyamika_ va_k; the sa_rasvatas are the madhyamastha_nas, the middle regions, or the firmament; Agni whose name is rather unconnectedly inserted, is thus identified through their several personifications as goddesses, with heaven, mid-heaven, and earth, or with speech or sound in the three regions].
3.004.09 Divine Tvas.t.a_, being well pleased, give issue to our procreative vigour, whence (a son), manly, devout, vigorous, wielder of the (Soma-bruising) stone, and reverencing the gods, may be born.
3.004.10 Vanaspati, bring the gods nigh; may Agni, the immolator, prepare the victim; let him who is truth officiate as the ministering priest, for, verily, he knows the birth of the gods. [May Agni the immolator: agnir havih s'amita_ su_daya_ti: cf. RV 2.3].
3.004.11 Agni, kindled into flame, come to our presence in the same chariot with Indra and with the swift-moving gods; may Aditi, the mother of excellent sons, sit down on the sacred grass, and may the immortal gods be satisfied with the reverentially-offered oblation. [May the immortal gods: sva_ha_ deva_ amr.ta_ ma_dayanta_m: sva_ha_ = sva_ha_ka_ren.a yuktah, joined with or addressed by the exclamation, sva_ha_].3.004.01 Repeatedly, kindled, (Agni), wake up favourably disposed; (endowed) with reiterated lustre, entertain the kind purpose of (granting us) wealth; bring, divine Agni, the gods to the sacrifice; do you, the friend (of the gods), minister, well-affected, to (your) parents. [Repeatedly kindled: samit sama = samiddha; or, susamiddha, an appellative of Agni in the preceding su_ktas].

3.004.02 Tanu_napa_t, whom the deities, Mitra, Varun.a and Agni, worship daily thrice a day, render this our sacred rain-engendering sacrifice productive of water.
3.004.03 May the all-approved praise reach the invoker of the gods; may Il.a_ first proceed to worship and to praise with prostrations the showerer (of benefits) in his presence; may the adorable (Agni), instigated (by us), worship the gods. [Il.a_ = the il.ita of preceding su_ktas].
3.004.04 An upward path has been prepared for you both in the sacrifice; the blazing oblations soar aloft; the invoker of the gods has sat down in the centre of the radiant (hall); let us strew the sacred grass for the seats of the gods. [You both: Agni and the Barhis, or sacred grass, to which, as in the parallel pages, the hymn is addressed].
3.004.05 The gods who gratify the universe with rain are present at the seven offerings (of the ministering priests), when solicited with (sincerity of) mind; may the many deities who are engendered in sensible shapes at sacrifices come to this our rite. [Deities in sensible shapes: in preceding su_ktas, the doors of the hall of sacrifice, are the personifications specified; here, the divinities presiding over the doors are implied].
3.004.06 May the adored Day and Night, combined or separate, be manifest in bodily form, so that Mitra, Varun.a, Indra, or (the latter), attended by the Maruts, may rejoice us by their glories.
3.004.07 I propitiate the two chief divine invokers of the gods; the seven offerers of (sacrificial) food, expectant of water, gratify (Agni) with oblations; the illustrious observers of sacred rites have saluted him in every ceremony as (identifiable), verily, with water. [As identifiable with water: r.tam it ta a_huh = agnim eva r.tabhu_tam a_huh, they have called Agni, verily, r.ta; r.ta is usually rendered water but  it may mean truth; in the preceding phrase, r.tam s'ansanta = udakam, desirous or expectant of water].
3.004.08 May Bha_rati_, associated with the Bha_rati_s; Il.a_ with the gods and men; and Agni, and Sarasvati_ with the Sa_rasvatas; may the three goddesses sit down upon the sacred grass (strewn) before them. [bha_rati_bhih, with the connections of Bharata, or the Sun: bharatasya su_ryasya sambandhini_bhih, perhaps intending the solar rays; Bha_rati_ = va_k, speech; Il.a_ = bhu_mi, the earth; sarasvati_ = ma_dhyamika_ va_k; the sa_rasvatas are the madhyamastha_nas, the middle regions, or the firmament; Agni whose name is rather unconnectedly inserted, is thus identified through their several personifications as goddesses, with heaven, mid-heaven, and earth, or with speech or sound in the three regions].
3.004.09 Divine Tvas.t.a_, being well pleased, give issue to our procreative vigour, whence (a son), manly, devout, vigorous, wielder of the (Soma-bruising) stone, and reverencing the gods, may be born.
3.004.10 Vanaspati, bring the gods nigh; may Agni, the immolator, prepare the victim; let him who is truth officiate as the ministering priest, for, verily, he knows the birth of the gods. [May Agni the immolator: agnir havih s'amita_ su_daya_ti: cf. RV 2.3].
3.004.11 Agni, kindled into flame, come to our presence in the same chariot with Indra and with the swift-moving gods; may Aditi, the mother of excellent sons, sit down on the sacred grass, and may the immortal gods be satisfied with the reverentially-offered oblation. [May the immortal gods: sva_ha_ deva_ amr.ta_ ma_dayanta_m: sva_ha_ = sva_ha_ka_ren.a yuktah, joined with or addressed by the exclamation, sva_ha_].

2.003.01 Agni, the well-kindled, placed upon (the altar of) the earth, stands in the presence of all beings; the invoker (of the gods), the purifier, the ancient, the intelligent, the divine; let the venerable Agni minister to the gods. [A_pris: cf. 1.142; 1.188].
2.003.02 May the bright Nara_s'am.sa, illuminating the receptacles (of the offering) making manifest by his greatness the three radiant (regions) and diffusing the oblation at the season of sacrifice with butter-dispensing purpose, satisfy the gods. [Nara_s'am.sa: in the preceding su_ktas, tanu_napa_t is the second personification of Agni addressed; in this su_kta, he is omitted].
2.003.03 Agni, who are the venerable i_l.ita, do you, with mind favourably disposed towards us, offer today sacrifice to the gods, before the human (ministrant priest) as such, bring hither the company of the Maruts, the undecaying Indra, to whom, seated on the sacred grass, do you priests offer worship.
2.003.04 Divine grass, let the Vasus, the VIs'vedevas, the adorable A_ditya, sit upon this flourishing, invigrating, well-grown, sacred grass, strewn for the sakeof wealth upon this altar, and sprinkled with butter. [Divine grass: the barhis, or a personification of Agni].
2.003.05 Let the divine doors, spacious and easily accessible, and to be saluted with prostrations, be set open; let them be celebrated as expansive, uninjurable, and conferring sanctity upon the illustrious class (of worshippers), possessed of virtuous progeny.
2.003.06 In regard of our good deeds, Day and Night, perpetually reverenced, are interweaving in concert, like two famous female weavers, the extended thread, (to complete) the web of the sacrifice, liberal yielders (of rewards), containers of water. [Like two famous female weavers: vayyeva ran.vite = vayya iva va_nakus'ale iva s'abdite, stute].
2.003.07 Let the two divine invokers of the gods, the first (to be reverenced), most wise, sincerely worshipping with sacred texts, most excellent in form, offering homage to the gods in due season, present oblations in the three high places upon the navel of the earth. [Two divine invokers of the gods: the personified fires of earth and the firmament, under the character of, two ministeringpriests; the navel of the earth: this is the usual altar; the three high places: sa_nus.u tris.u, are the three sacred fires: ga_rhapatya, a_havani_ya and daks.in.a_].
2.003.08 May the three goddesses, Sarasvati_, perfecting our understanding, the divine il.a_, and all-impressive Bha_rati_, having come to our dwelling, protect this faultless rite, (offered) for our welfare.
2.003.09 May a tawny-hued, well-grown (son), the bestower of food, active, manly, a worshipper of the gods, be born; may Tvas.t.a_ prolong for us a continuous (line of) progeny, and may the food of the gods come also to us.
2.003.10 May Agni, who is Vanaspati, approving (of our rite), approach; and by his especial acts fully dress the victim; may the divine immolator convey the burnt-offering to the gods, knowing it to have been thrice consecrated. [By his especial acts: agnir-havih su_daya_ti pra dhi_bhih =Agni, who is the supporter, or the instrument of cooking or maturing fitly, cooks the oblation of the nature of the victim with various acts, which are the means of cooking; he dresses the oblation, not under-dressing nor over-dressing it: agnih pa_kadharo havih pas'uru_pam karmavis.es'aih pa_kasa_dhanaih prakars.en.a su_daya_ti ks.a_rayati apa_ka_dhikapa_dira_hityena havih pacati; the divine immolator: daivyah s'amita_: s'amita_ = the person who kills the victim; Agni is the immolator of the gods: deva_na_m s'amita_; thice consecrated: tridha_ samaktam = thrice anointed or sprinkled; the three rites or ceremonies are termed: upastaran.a, avada_na, abhigha_ran.a].
2.003.11 I sprinkle the butter, for butter is his birth-place; he is nourished by butter; butter is his radiance; Agni, showerer (of benefits), bring the gods to the offered oblation; exhilarate them; convey to them the offering that has been reverently sanctified. [cf. Yajurveda 17.88; dha_ma - dwelling, or radiance; alternative reading: Adhvaryu, or priest, bring hither Agni to the oblation; exhilarate him; (and say to him). Showerer (of blessings), convey the consecrated oblation (to the gods).

1.188.01 You shine today, divine conqueror of thousands, kindled by the priests; do you, who are the sapient messenger (of the gods), convey (to them) our oblation. [The A_pris are also praya_jas; kim. devata_ = what sort of divinities are these; praya_ja, that which is an especial object of worship; such as divinities presiding over the seasons, over the metres of the Veda, over animals, over life, over the spirit, which are forms of Agni: praya_ja ritudevata_s'chandodevata_h pas'udevata_h pra_n.adevata_ a_tmadevata_ itya_dina_ bahu_n paks.a_n upnyasyu bra_hman.a_ni ca pradars'ya a_gneya_ eveti siddha_ntitam. samiddha is a particple, an epithet of deva; susamiddha = well-kindled, a name of Agni].
1.188.02 The adorable Tanu_napa_t proceeds to the rite and combine with the oblation, bearing (for the sacrificer) infinite (abundance of) food.
1.188.03 Agni, who are to be glorified, bring hither, being invoked by us, the adorable gods, for you are the donor of thousands. [Who are to be glorified: id.ya = i_l.ita; nara_s'amsa, a term which normally precedes i_l.ita, is here omitted].
1.188.04 By the power (of their prayers) they have strewn the sacred grass, the seat of numerous heroes, pointing to the east; on which, A_dityas, you are manifest.
1.188.05 They have sprinkled water on the doors (of the hall of sacrifice), which are variously and perfectly radiant, manifold, excellent, many, and numerous. [The doors: vira_t samra_t. vibhvi_h prabhvi_h bahvi_s'ca bhu_yasi_s'ca ya_h: the last two epithets are epithets of number, and the rest are names].
1.188.06 Let the brilliant and beautiful Day and Night, who shine with surpassing lustre, sit down here (upon the sacred grass).
1.188.07 Let these two chief, well-spoken, divine sages, the invokers (of the gods), perform this our sacrifice.
1.188.08 Bha_rati_, Il.a_, Sarasvati_, I invoke you all, that you may direct us to prosperity. [Bha_rati_, the goddess presiding over the heaven; Il.a_, the goddess presiding over the earth; Sarasvati_, the goddess presiding over the firmament; they are all three considered to be special manifestations of the majesty of the sun: etis tisra a_dityaprabha_va vis'es.aru_pa itya_huh].
1.188.09 Tvas.t.a_, who is the master (in fashioning) the forms (of beings), has made all animals distinct; grant us, (Tvas.t.a), their increase. [Tvas.t.a ru_pa_n.i hi prabhuh: kartum = to make, is understood; Tvas.t.a_ is the divinity presiding over the implements of sacrifice;he also fashions beings in the womb as soon as begotten: retasah siktasya tvas.t.a_ ru_Pa_n.i vikaroti; or, yonau sr.s.t.a_ni ru_pa_n.i kartumprabhuh].
1.188.10 Vanaspati, deliver of yourself the victim to the gods, so that Agni may taste the oblation.
1.188.11 Agni, the preceder of the gods [puroga_ puroga_mi_; agnih kasma_dagran.i_rbhavati (Nirukta 7.14), is characterized by the Ga_yatri_ measure; he blazes when the oblations are offered.

10.070.01 Graciously accept, Agni, this my fuel (placed) on the place of libation (the altar); delight in the butter-laden (spoon); most wise, rise up upon the lofty place of the earth for the propitiousness of the days through the worship of the gods.
10.070.02 May Nara_s'am.sa, the preceder of the gods, come here with his horses of various forms; deserving of adoration, chief of the gods, may he effuse (oblations) to the gods by the path of the sacrifice with praise.
10.070.03 Men offering oblations adore the eternal Agni to (induce him to perform) the duty of messenger (to the gods); do you with your stalwart draught horses and your well-turning chariots bear (our offering) to the gods, and sit down here as the ministrant priest.
10.070.04 May our (sacred grass) acceptable to the gods, twining crookedly be stretched out, may it be long, lengthy, and fragrant; with mind free from wrath, divine Barhis, offer worship to the gods desiring (the sacrifice), of whom Indra is the chief.
10.070.05 Be in contact, doors, with the lofty height of heaven, or expand according to the measure of the earth; desiring the gods, desiring a chariot, sustain without might the shining chariot (that is mounted) by the mighty gods. 
10.070.06 Radiant daughters of heaven, Dawn and Night, sit down on the place of sacrifice; O you, who are desirous and possessed of affluence, may the gods desirous (of oblations) sit down on your spacious lap.
10.070.07 (When) the grinding-stone is uplifted, the mighty Agni kindled, the acceptable vessels (ready) on the lap of earth; (then), most learned priests, who take the foremost place, bestow wealth upon us at this sacrifice.
10.070.08 Sit down, you three goddesses, upon this broad barhis, we have spread it out for you; Il.a_, radiant (Sarasvati_) and bright-footed (bha_rati_) accept our sacrifice and well-presented oblations as if they were Manu's.
10.070.09 Divine Tvas.t.a_, since you have attained to beauty (through  our oblations), and have become the associate of the An:girasas, do you, the bestower of wealth, possessed of precious treasure, and knowing (to whom each portion belongs), offer the food of the gods (to them).
10.070.10 Vanaspati, who are intelligent, having fastened it with a rope, convey the food of the gods; may the divine (Vanaspati) taste it, may he take the oblations (to the gods); may heaven and earth protect my invocation. [Vanaspati: the sacrificial post or stake (yu_pa)].
10.070.11 Bring, Agni, to our sacrifice Varun.a and Indra from heaven, and the Maruts from the firmament, may the adorable universal gods sit down on the sacred grass, and may the immortal deities rejoice in (the oblation presented with) the sva_ha_.

Āryabhaṭa -- Subhash Kak's note in Encyclopedia of India

February 12, 2017, 3:23 pm

≫ Next: Itihāsa of sādhya, virāj, वालखिल्या, gaṇa, kubera, kharva 'dwarfs''wealth' in Ṛgveda Soma yāga and Indus Script traditions

≪ Previous: Itihāsa of yajñāyudhāni, 'weapons for yajñā' in Rigveda, made by ऋभु, ṛbhu 'skilled artificers'

$

0

0

Āryabhaṭa argued that the earth spun about its axis and he also advanced a principle of relativity.

Encyclopedia of India (ed Stanley Wolpert)
COPYRIGHT 2006 Thomson Gale

ĀRYABHATA

ĀRYABHATA (476–c. 550), the first of the great astronomers of the classical age of India Āryabhata was born in a.d. 476 in Ashmaka but later lived in Kusumapura, which his commentator Bhāskara I (a.d. 629) identifies with Pātaliputra (modern Patna). It appears that he was the kulapati (head) of the University at Nalanda in Magadha.

There is no agreement about the location of Ashmaka, but since the Āryabhatian school has remained most strong in Kerala in South India, many believe that he may have belonged to that region. In addition, Āryabhata employed the Kali era (3102 b.c.), which was most popular in South India.

He wrote at least two books: the Āryabhatiya and the Āryabhata-siddhānta, of which the latter is known only through references in other works. Bhāskara I (seventh century), who wrote a commentary on Āryabhata's work, tells us that Āryabhata's disciples included the astronomers Pānduranga-svāmi, Lātadeva, and Nishanku.

Āryabhata's main contributions to mathematics included the good approximation of 3.1416 for π, a table of sine-differences, and a method to solve indeterminate equations of a certain type that are important in astronomy. He used a novel representation of numbers as words. His figure for the sidereal rotation of the earth was extremely accurate. Āryabhata made important innovations in planetary computations by using simplifying hypotheses, and he presented a method of finding the celestial latitudes of the planets. The Āryabhatīya presented Āryabhata's astronomical and mathematical theories, in which the earth was taken to be spinning on its axis and the periods of the planets were given with respect to the sun. In this book, the day was reckoned from one sunrise to the next, whereas in his Āryabhata-siddhānta, he took the day from one midnight to another. There was also difference in some astronomical parameters.

It appears that the Āryabhatīya used the earlier Paitāmaha Siddhānta as a model, whereas the Āryabhatasiddhānta used the conventions of the Sūrya-siddhānta. The Āryabhata-siddhānta was incorporated with some emendations into the Khanda-khādyaka by the celebrated seventh-century astronomer Brahmagupta (born 598).

The later Kerala school of astronomy and mathematics followed Āryabhata. Nīlakantha Somayāji (1444–1545) made significant contributions to the Āryabhata system of astronomy.

The Āryabhatīya was translated into Arabic as Arajbahara, and in turn it influenced Western astronomers. The Khanda-khādyaka was translated into Arabic under the title Zij-al-Arkand and Az-Zij Kandakatik al-Arabi. From the Arab world, this book reached Europe.

Subhash Kak

See alsoĀryabhatīya ; Astronomy

BIBLIOGRAPHY

Sharma, S. D. "Post-Vedic Astronomy." Indian Journal of History of Science 20 (1985): 131–145.

Shukla, K. S., and K. V. Sarma. Āryabhatīya of Āryabhata. New Delhi: Indian National Science Academy, 1976.

Itihāsa of sādhya, virāj, वालखिल्या, gaṇa, kubera, kharva 'dwarfs''wealth' in Ṛgveda Soma yāga and Indus Script traditions

February 13, 2017, 7:18 pm

≫ Next: Caged parrot is dumb -- CBI on PC role in Aircel-Maxis kaalaadhan ghotala - J.Gopikrishnan

≪ Previous: Āryabhaṭa -- Subhash Kak's note in Encyclopedia of India

$

0

0

Mirror: http://tinyurl.com/hhod772

The purport of this narrative is to present ancient textual descriptions of Soma as a pleasure-giving material which is processed and realized in a Soma samsthā yāga. 

The objective of Soma samsthā yāga is to fulfill the desire  to be 'shining wealthy' -- athā no vasyasaskṛdhi -- to obtain purified, potable Soma. 

Soma is metaphored as an eatable, drink for the divinities adored and worshipped (NOT a drink for the mortals or the yajñika, 'worshipper'). 

The purport of this narrative is delineation of a causal order, outline wealth-creation activities by these ancient artisans, as evidenced from ancient texts such as Atharva-, Ṛg-veda and Mahābhārata. 

It is instructive that the word for the two semantics: dhanam, 'wealth' and yajña is medhā (synonym of Soma samsthā yāga). The Indus Script hieroglyph which signifies medhā  is meḍha 'twist, curl, knot'. The hieroglyph is highlighted on a copper plate inscription narrating a Soma samsthā yāga, and on another copper plate data archiving metalwork catalogues). There are other hieroglyphs/hypertexts in Indus Script Corpora of over 8000 inscriptions, rendering the same rebus renderings in Meluhha (mleccha) speech forms.

 


This is presented in the levels of Ādibhautika and Ādidaivika framework of Itihāsa of Bhāratam Janam. 

Ādhyātmikā and turīya (truth) levels of the Itihāsa framework are yet to be narrated.

Association and significance of वालखिल्या, gaṇa, kubera, kharva 'dwarfs''wealth' with sādhya, virāj are presented.  The refrain in RV 9.4.1 to 10 is: athā no vasyasaskṛdhi‘make us shining wealthy.' यशस् [p= 848,2]n. beautiful appearance , beauty , splendour , worth RV. AV. VS. S3Br. Gr2S3rS.; wealth. वस् [p= 930,1] 
(a Vedic root connected with √1. उष् q.v. ; not in Dha1tup. ) cl.6 P. , उच्छ्/अति (pf. उव्/आस , ऊष्उः  RV. &c ; aor. अवात् [?] AV. ;  अवस्रन् RV. ; Cond. अवत्स्यत् S3Br. ; Ved. inf. व्/अस्तवे, -/उषि) , to shine , grow bright (esp. applied to the dawn) RV.  ; to bestow by shining upon (dat.) ib. i , 113 , 7  ; (with दूर्/ए) to drive away by shining ib. vii , 77 , 4 : Caus. वास्/अयति , to cause to shine RV. [cf. वसर् in वसर्-हन् ; Lat. ve1r &c ] 

sādhya are a class of celestial beings,  pitṛs, ancestors (manes) who were the initiators of the first soma yāga and from which yāga the first dharma-s (duties, knowledge of cosmic order) were born तानि धर्माणि प्रथमानि आसन् 

virāj is an enunciation of cosmogonical, ritual, and metrical doctrine and a glorification of the mystical abstraction (AV 8.9, 10) Virāj is the aggregate of all human beings. वि-राज् [983,1] f. a particular Vedic metre consisting of four पादs of ten syllables each (and therefore also a symbolical N. of the number " ten " ; in RV. x , 130 , 5 this metre is represented as attaching itself to मित्र and वरुण , and in AitBr. i , 4 विराज् is mystically regarded as " food " , and invocations are directed to be made in this metre when food is the especial object of prayer ; in prosody विराज् is applied to any metre defective by two syllables RPra1t. )

virāj is thus comparable to mleccha (cognate meluhha) a speech-form which abounds in mis-pronunciations and ungrammatical utterances. mleccha is the semantic framework for the Indus Script corpora as hieroglyph/hypertext metalwork catalogues, a datamine of wealth-creation activities.

RV 10.90.1 notes that Purusha seed of the universe is 10” dia.

RV 10.090.01 Puruṣa, who has a thousand heads, a thousand eyes, a thousand feet, investing the earth in all directions, exceeds (it by a space) measuring ten fingers. [purus.a = embodied spirit; or, virāj, the aggregate of all living beings, spirit embodied in the egg of Brahmā, i.e., the universal spirit animating all creation. Thousand = an infinite number; the human soul, extending from the navel, takes upits abode in the heart or the human breast; the supreme soul, having animated the universe, is present in man, either in a minute form or of definite dimensions].

RV 10.90.1. A THOUSAND heads hath Puruṣa, a thousand eyes, a thousand feet.
On every side pervading earth he fills a space ten fingers wide.

Ṛgveda notes that ancient sādhya initiated the yajña, they are soma-sad, 'Soma-pressers', they are venerated as pitṛs, 'manes'. Their attribute is virāj, 'illumine, shine', deified as sovereign. virāj beget puruṣa, corporeal forms. In Atharvaveda (viii.10,28), virāj personified as mother, begets Vaisrāvaṇa Kubera. Kubera was her 'calf', Soma was her 'calf.' Kubera is a dwarf, the king of Yakṣa, the owner of treasures of the world. ऐलविल ailavilaऐलविल N. of Kubera. ऐलविल [p= 234,3] m. or ऐलविड (cf. ऐडविड) a descendant of इलविल, N. of दिलीप MBh. vii , 2263; a descendant of इलविला , N. of कुवेर MBh. 
Hariv. Ba1lar. kubē(vē)rḥ कुबे (वे) रः [कुत्सितं बे (वे) रं शरीरं यस्य सः] 1 The god of riches and treasure and the regent of the north- ern quarter; कुबेरगुप्तां दिशमुष्णरश्मौ गन्तुं प्रवृत्ते समयं विलङ्घ्य Ku.3.25 (vide Malli. thereon). [Kubera is the son of Viśravas by Iḍāviḍā, and thus the half brother of Rāvaṇa. Besides, being the lord of riches and regent of the north, he is the king of the Yakṣas and Kin- naras, and a friend of Rudra. His abode is Kailāsa. He is represented as being deformed in body-having three legs, only eight teeth, and a yellow mark in place of one eye.] -2 N. of a tree. -Comp. -अक्षी N. of a plant (Mar. सागरगोटी). -अद्रिः, -अचलः an epithet of mountain Kailāsa. -दिश् f. the north. -बान्धवः N. of Śiva. Kubera is  a friend of रुद्र [Hariv. 13131]

RV 10.090.16 By sacrifice the gods worshipped (him who is also) the sacrifice; those were the first duties. Those great ones became partakers of the heaven where the ancient deities the Sa_dhyas abide.

Griffith: RV 10.90.16 Gods, sacrificing, sacrificed the victim these were the earliest holy ordinances.

The Mighty Ones attained the height of heaven, there where the Sadhyas, Gods of old, are dwelling.

This rca is repeated in RV 1.164.50

RV 1.164.50 The gods sacrifice with sacrifice, for such are their first duties; those mighty ones assemble in heaven, where the divinities who are to be propitiated (by sacred rites) abide. [Where the divinities: yatra pu_rve sa_dhya_h santi deva_h: sa_dhya_h = karma-devah, divinities presiding over or giving effect to religious acts, yajn~a_di sa_dhanavantah; or, the term may mean those who have obtained the portion, or the condition of gods, by the former worship of Agni, or the sa_dhya_s = a_dityas, or the an:girasas, or deities presiding over the metres, chando abhima_ninah; sa_dhya_s are named among the minor divinities in Amarakos'a].

RV 1.164.50 By means of sacrifice the Gods accomplished their sacrifice: these were the earliest ordinances.

These Mighty Ones attained the height of heaven, there where the Sadhyas, Gods of old, are
dwelling.

Worship of linga by Gandharva, Shunga period (ca. 2nd cent. BCE), ACCN 3625, Mathura Museum. Worship signified by dwarfs, Gaṇa (hence Gaṇeśa =  Gaṇa +  īśa).

A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. 

Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava,  AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ  Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). 

Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2).This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi)

Relief with Ekamukha linga. Mathura. 1st cent. CE shows a gaNa, dwarf with tuft of hair in front, a unique tradition followed by Dikshitar in Chidambaram. The gaNa is next to the smelter kuTi 'tree' Rebus: kuThi 'smelter' which is identified by the ekamukha sivalinga. mũh 'face' (Hindi) rebus: mũhe 'ingot' (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; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends;kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali). kharva is a dwarf; kharva is a nidhi of Kubera. karba 'iron' (Tulu)  http://bharatkalyan97.blogspot.in/2015/09/indus-script-corpora-muha-metal-from.html खर्व(र्ब) पु० खर्व--गर्वे अच् । १ कुवेरनिविशेषि शब्दरत्ना० ।२ कुब्जक वृक्षे अन्त्यस्थमध्यः राजनि० तस्य गन्धस्योत-कटतया गर्वहेतुत्वात् तथात्वम् । खर्ब--गतौ अच् । वर्ग्य-मध्यः ३ ह्रस्वे ४ वामने त्रि० अमरः “खर्बे! गर्वसमूह-पूरिततनो!” तारास्तोत्रम् । ५ संख्याभेदे (सहस्रकोटौ)“अर्बुदमब्जं खर्बनिखर्ब” मिति लीलावती । ६ तत्संख्याते च https://sa.wikisource.org/wiki/वाचस्पत्यम् खर्ब्बः, पुं, (खर्ब्ब + अच् ।) कुवेरस्य निधि-विशेषः । इति शब्दरत्नावली ॥ दशवृन्दसंख्या । इति स्मृतिः ॥ कुब्जकवृक्षः । इति राजनिर्घण्टः ।(वामनः । इत्यमरः । २ । ६ । ४६ ॥ स्त्री ।गायत्त्रीस्वरूपा भगवती । यथा, देवीभाग-वते । १२ । ६ । ३८ ।“खड् गखेटकरा खर्ब्बा खेचरी खगवाहना”)  https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः खर्व [p= 338,1] mfn. (cf. /अ- , त्रि-) mutilated , crippled , injured , imperfect TS. ii , 5 , 1 , 7; low , dwarfish L.; mn. a large number (either 10 , 000 , 000 , 000 [ L. ],or 37 cyphers preceded by 1 R. vi , 4 , 59); m. N. of one of the nine निधिs or treasures of कुबेर L. (वालखिल्या are also dwarfs; (°ल्य्/अ) pl. N. of a class of ऋषिs of the size of a thumb (sixty thousand were produced from ब्रह्मा's body and surround the chariot of the sun) TA1r. MBh. Ka1v. &c. They are comparable to गण [p= 343,1] certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. -देवता) Mn. Ya1jn5. Lalit. &c; m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c. गणः gaṇḥ [गण् कर्मणि कर्तरि वा अच्] 1 A flock, multitude, group, troop, collection; गुणिगणगणना, भगणः -2 A series, a class. -3 A body of followers or attendants. -4 Particularly, a troop of demigods considered as Śiva's attendants and under the special superintendence of Gaṇeśa, a demigod of this troop; गणानां त्वा गणपतिं हवामहे कविं कवीनाम् &c.; गणानमेरुप्रसवावतंसाः Ku.1.55,7.4,71;  Me.35.57; Ki.5.13. -5 Any assemblage or society of men formed for the attainment of the same objects. -6 A company, association. -7 A tribe, class.  

In Atharva Veda stambha is a celestial scaffold, supporting the cosmos and material creation.

See: http://bharatkalyan97.blogspot.in/2014/12/skambha-sukta-atharva-veda-x-7-pair-of.html Full text of Atharva Veda ( X - 7,8) --- Stambha Suktam with translation (with variant pronunciation as skambha). See Annex A List of occurrences of gloss in Atharva Veda.

avs.8.6

[0800605] The black and hairy Asura, and Stambaja and Tundika, Arayas from this girl we drive, from bosom, waist, and parts below.

Archaeological finds: cylindrical stele in Kalibangan, a pair of polished stone pillars in Dholavira, s'ivalinga in Harappa, Kalibangan

http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html

यष्टि 1 [p=840,3] f. (for 2. » [p= 848,3]) sacrificing Pa1n2. 3-3 , 110 Sch. (prob. w.r. for इष्टि).यष्टि 2 [p=848,3]n. (only L. )or f. (also यष्टी cf. g. बह्व्-ादि ; prob. fr. √ यछ् = यम् ; for 1. यष्टि » [p=840,3]) " any support " , a staff , stick , wand , rod , mace , club , cudgel; pole , pillar , perch S3Br. &c; a flag-staff (» ध्वज-य्°; a stalk , stem , branch , twig Hariv. Ka1v.

ஈட்டி īṭṭi, n. cf. yaṣṭi. [T. īṭe, K. īṭi, M. īṭṭi.] 1. Lance, spear, pike; குந்தம். செறியிலை யீட்டியும் (பரிபா. 5, 66). 2. Black wood. See தோதகத்தி. (L.)

इष्टि 1 [p=169,1] f. impulse , acceleration , hurry; despatch RV.f. seeking , going after RV.f. sacrificing , sacrifice.

ఇటిక (p. 0134) [ iṭika ] or ఇటికె or ఇటుక iṭika. [Tel.] n. Brick. ఇటికెలు కోయు or ఇటుకచేయు to make bricks. వెయ్యి యిటుక కాల్చిరి they burnt 1000 bricks. ఇష్టక (p. 0141) [ iṣṭaka ] ishṭaka. [Skt. derived from ఇటుక.] n. A brick. ఇటుక రాయి.इष्टका [p= 169,3] f. a brick in general; a brick used in building the sacrificial altar VS. AitBr. S3Br. Ka1tyS3r.Mr2icch. &c (Monier-Williams); iṣṭakā इष्टका [इष्-तकन् टाप् Uṇ.3.148] 1 A brick; Mk.3. -2 A brick used in preparing the sacrificial altar &c. लोकादिमग्निं तमुवाच तस्मै या इष्टकी यावतार्वा यथा वा Kaṭh.1.15. -Comp. -गृहम् a brick-house. -चयनम् collecting fire by means of a brick. -चित a. made of bricks; Dk.84; also इष्टकचित; cf. P.VI.3.35. -न्यासः laying the founda- tion of a house. -पथः a road made of bricks. -मात्रा size of the bricks. -राशिः a pile of bricks.इष्टिका iṣṭikā इष्टिका A brick &c.; see इष्टका. (Apte. Samskritam) íṣṭakā f. ʻ brick ʼ VS., iṣṭikā -- f. MBh., iṣṭā -- f. BHSk. [Av. ištya -- n. Mayrhofer EWA i 94 and 557 with lit. <-> Pk. has disyllabic iṭṭā -- and no aspiration like most Ind. lggs.]
Pa. iṭṭhakā -- f. ʻ burnt brick ʼ, Pk. iṭṭagā -- , iṭṭā -- f.; Kho. uṣṭū ʻ sun -- dried brick, large clod of earth ʼ (→ Phal.iṣṭūˊ m. NOPhal 27); L. iṭṭ, pl. iṭṭã f. ʻ brick ʼ, P. iṭṭ f., N. ĩṭ, A. iṭā, B. iṭ, ĩṭ, Or. iṭā, Bi. ī˜ṭ, ī˜ṭā, Mth. ī˜ṭā, Bhoj.ī˜ṭi, H. ī˜ṭh, īṭ, ī˜ṭ, īṭā f., G. ĩṭi f., M. īṭ, vīṭ f., Ko. īṭ f. -- Deriv. Pk. iṭṭāla -- n. ʻ piece of brick ʼ; B. iṭāl, °al ʻ brick ʼ, M. iṭhāḷ f. ʻ a piece of brick heated red over which buttermilk is poured to be flavoured ʼ. -- Si. uḷu ʻ tile ʼ seeuṭa -- .
*iṣṭakālaya -- .Addenda: íṣṭakā -- : S.kcch. eṭṭ f. ʻ brick ʼ, Garh. ī˜ṭ; -- Md. īṭ ʻ tile ʼ ← Ind. (cf. H. M. īṭ).*iṣṭakālaya ʻ brick -- mould ʼ. [íṣṭakā -- , ālaya -- ]
M. iṭāḷẽ n. (CDIAL 1600, 1601)

shrI-sUktam of Rigveda explains the purport of the yaSTi to signify a baton of divine authority:

ArdrAm yaHkariNIm yaShTim suvarNAm padmamAlinIm |

sUryAm hiraNmayIm lakSmIm jAtavedo ma Avaha || 14

Trans. Oh, Ritual-fire, I pray you to invite shrI-devi to me, an alter-ego of everyone, who makes the environ holy let alone worship-environ, wielder of a baton symbolizing divine authority, brilliant in her hue, adorned with golden garlands, motivator of everybody to their respective duties like dawning sun, and who is manifestly self-resplendent in her mien.

http://sanskritdocuments.org/sites/giirvaani/giirvaani/ss/ss.htm

Indus Script Corpora and archaeological excavations of 'fir-altars' provide evidence for continuity of Vedic religion of fire-worship in many sites of Sarasvati-Sindhu civilization. 

The metalwork catalogues of deciphered Indus Script Corpora are consistent with the fire-altars found in almost every single site of the civilization consistent with the documentation of yajna, fire-worship, in ancient texts of the Veda. The continuity of Vedic religion, veneration of Ruda-Siva among Bronze Age Bhāratam Janam, 'metalcaster folk' is firmly anchored.

kole.l signified 'smithy'. The same word kole.l also signified ' temple' (Kota)

In Hindu civilization tradition, yupa associated with smelter/furnace operations in fire-altars as evidenced in Bijnor, Kalibangan, Lothal and in many yupa pillars of Rajasthan of the historical periods, assume the aniconic form of linga venerated as Jyotirlinga, fierly pillars of light.

A 10th-century four-headed stone lingam (Mukhalinga) from Nepal. The 'mukha' or face on the linga is a hieroglyph read rebus muh 'ingot'.  Hieroglyph: mũh 'face' (Hindi) rebus: mũhe 'ingot' (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; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) muhA 'the quantity of iron produced at one time in a native smelting furnace' (Santali. Campbell)

"The worship of the lingam originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Skambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma , and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in the Shiva Purana." https://en.wikipedia.org/wiki/Shiva

Sources: Harding, Elizabeth U. (1998). "God, the Father". Kali: The Black Goddess of Dakshineswar. Motilal Banarsidass. pp. 156–157

 Vivekananda, Swami. "The Paris Congress of the History of Religions" The Complete Works of Swami Vivekananda 4.

Chaturvedi, B. K. (2006), Shiv Purana (First ed.), New Delhi: Diamond Pocket Books (P) Ltd,

साध्यः, पुं, (साध्यमस्त्यस्येति । अर्शआदित्वादच् ।)गणदेवताविशेषः । इत्यमरः । १ । १ । १० ॥स तु द्वादशसंख्यकः । यथा, भरतः ।“साध्या द्वादशविख्याता रुद्राश्चैकादश स्मृताः ॥”तेषां नामानि यथा, --“मनो मन्ता तथा प्राणो नरोऽपानश्च वीर्य्यवान् ।

विनिर्भयो नयश्चैव दसो नारायणो वृषः ।प्रभुश्चेति समाख्याताः साध्या द्वादश पौर्व्विकाः ॥”इति वह्निपुराणे गणभेदनामाध्यायः ॥ * ॥देवः । विष्कम्भादिसप्तविंशतियोगान्तर्गतैकविंश-योगः । इति मेदिनी ॥ तत्र जातफलम् ।“असाध्यसाध्यः किल साध्यजातः

शूरोऽतिधीरो विजितारिपक्षः ।बुद्ध्या ह्युपायैः परिसाधितार्थःपरं कृतार्थः सुतरां विनीतः ॥”इति कोष्ठीप्रदीपः ॥

https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः/

साध्य पु० सिध--णिच्--यत् । “मनोमन्ता तथा प्राणोभरोऽपानश्च वीर्य्यवान् । निर्मयो नरकश्चैव दंशो नारायणोवृषः । प्रभुश्चेति समाख्याताः साध्या द्वादश देवताः”इत्युक्ते द्वादशसंख्यके १ गणदेवताभेदे ज्यो० उक्ते विष्क-म्भादिषु योगेषु २ एकविशे योगे च । ३ साधनीये त्रि०मेदि० । ३ अष्टादशविवादेषु प्रमाणादिना उद्भाव्येपदार्थे “प्रतिज्ञादोषनिर्मुक्तं साध्यं सत्कारणान्वितम् ।

निश्चितं लोकसिद्धञ्च पक्षं पक्षविदोविदुः” इत्युक्ते व्यव-हारे साधनार्हे प्रतिज्ञेये ४ पक्षे पु० “ऋणादिषु विवादेषुस्थिरप्रायेषु निश्चितम् । उने वाप्यधिके चार्थे प्रोक्तेसाध्यं न सिध्यति” कात्या० । ५ अनुमित्यासाधनीये वह्न्यादौ च यथा वह्निमान् धूमादित्यादौ सिषा-धयिषितो वह्निः साध्यः । साध्यमस्यास्ति अर्श आद्यच् ।६ साध्यवति पक्षे पु० “साध्यनिर्देशः प्रतिज्ञे” ति गौ०

सूत्रम् । साध्यवत्तया पक्षनिर्देश इति दीधितिकारःतन्त्रोक्ते ७ मन्त्रमात्रे ग्राह्यमन्त्रस्य स्वानुकूलताग्राहके३८ पृ० उक्ते अकथहचक्रस्थे द्वितीयपञ्चमादिकोष्ठस्थाद्यक्ष-रके “सिद्धः साध्यः सुसिद्धोऽरिः क्रमात् ज्ञेया मनीषिभिः”इत्युक्ते ८ मन्त्रभेदे । १० देवमात्रे मेदि० । व्याकरणोक्तेलिङ्गसंख्यानन्वयिक्रियाभेदे क्रियाशब्दे २३१७ पृ० दृश्यम् ।“साध्यरूपा क्रिया तत्र धातुरूपनिबन्धना” हरिः ।“साध्यस्य साधनाकाङ्क्षा” हरिः ।

https://sa.wikisource.org/wiki/वाचस्पत्यम्/

RV10.090.07 They immolated as the victim upon the sacred grass Purus.a, born before (creation); with him the deities who were Sa_dhyas and those who were R.s.is sacrificed. [Sa_dhya = competent to create, i.e., Praja_pati and the rest].

RV 10.90.7 They balmed as victim on the grass Purusa born in earliest time.
With him the Deities and all Sadhyas and Rsis sacrificed.

सोम--सद् [p= 1251,1] m. pl. N. of the पितृs of the साध्यs Mn. iii , 195. सोम sōma-सद् m. a particular class of Manes or Pitṛis; विराट्सुताः सोमसदः साध्यानां पितरः स्मृताः Ms.3.195. 

सद् [p= 1138,3] mfn. (mostly ifc. ; for 1. » [p= 1137,1]) sitting or dwelling in (cf. अद्म- , अन्तरिक्ष- , अप्सु-सद् &c ); thus,soma-sad may be interpreted as 'class of manes dealing with soma' or 'dwelling in सोम soma -- n. heaven , sky , ether L.)

साध्य a [p= 1202,1]m. (pl.) " they that are to be propitiated " , N. of a class of celestial beings (belonging to the गण-देवता q.v. , sometimes mentioned in the वेद [see RV. x , 90 , 16] ; in the S3Br. their world is said to be above the sphere of the gods ; according to यास्क [ Nir. xii , 41] their locality is the भुवर्लोक or middle region between the earth and sun ; in Mn. i , 22 , the साध्यs are described as created after the gods with natures exquisitely refined , and in iii , 195 , as children of the सोम-सद्s , sons of विराज् ; in the पुराणs they are sons of साध्या , and their number is variously twelve or seventeen ; in the later mythology they seem to be superseded by the सिद्धs » सिद्ध ; and their names are मनस् , मन्तृ , प्रा*ण , नर , पान , विनिर्भय , नय , दंश , नारायण , वृष , प्रभु) RV. &c

साध्य sādhya a. [साध्-णिच् यत्] 1 To be effected or accom- plished, to be brought about; साध्ये सिद्धिर्विधीयताम् H.2. 15. -2 Feasible, practicable, attainable. -3 To be proved or demonstrated; आप्तवागनुमानाभ्यां साध्यं त्वां प्रति का कथा R.1.28. -4 To be established or made good. -5 To be inferred or concluded; अनुमानं तदुक्तं यत् साध्य- साधनयोर्वचः K. P.1. -6 To be conquered or subdued, conquerable; स च त्वदेकेषुनिपातसाध्यः Ku.3.15; चतुर्योपाय- साध्ये तु रिपौ सान्त्वमपक्रिया Pt.3.27. -7 Curable. -8 To be killed or destroyed. -ध्यः 1 A particular class of celestial beings; साध्यानां च गणं सूक्ष्मम् Ms.1.22; विराट्- सुताः सोमसदः साध्यानां पितरः स्मृताः Ms.3.195; Mb.1.1. 35. -2 A deity in general. -3 N. of a Mantra. -ध्यम् 1 Accomplishment, perfection. -2 The thing to be proved or established, the matter at issue. -3 (In logic) The predicate of a proposition, the major term in a syllogism; साध्ये निश्चितमन्वयेन घाटेतं ... &c.; यत् साध्यं स्वयमेव तुल्यमुभयोः पक्षे विरुद्धं च यत् Mu.5.1. -4 Silver. -Comp. -अभावः the absence of the major term. -ऋषिः an epithet of Śiva. -पक्षः the plaint in a law-suit. -व्यापक a. (in logic) invariably inherent in that which is to be proved. -समः an assertion identical with the point to be proved. -साधनम् effecting what has to be done. -सिद्धिः f. 1 accomplishment. -2 conclusion. ˚पादः judgment, decision.

विराज् virāj  1 U. 1 To shine, glitter; शाखिनो$न्ये विराजन्ते खण्ड्यन्ते चन्दनद्रुमाः Bv.1.88. -2 To appear or look like; तदन्तरे सा विरराज धेनुः R 2.2. -3 To be eminent or illustrious. -Caus. To brighten, illuminate, irradiate.विराज् virāj  a. 1 Splendid, excellent; मृत्युर्भोजपतेर्विराडविदुषां तत्त्वं परं योगिनाम् Bhāg.1.43.17. -2 A ruler, chief. -m. 1 Beauty, splendour. -2 A man of the Kṣatriya or warrior tribe; विराडायुषो$र्घमथात्यगात् Bhāg.4.27.6. -3 The first progeny of Brahman; cf. Ms.1.32; तस्मात् विराडजायत Ṛv.1.9.5 (where विराज् is repre- sented as born from Puruṣa.) -4 The body. -5 (In Vedānta phil.) N. of 'intellect' considered as ruling over the aggregate of bodies. -6 The universe (ब्रह्माण्ड); नानावीर्याः पृथग्भूता विराजं जनयन्ति हि Bhāg.1.3.15. f. 1 N. of a Vedic metre. -2 Excellence, dignity. -Comp. -सुतः (विराट्सुतः)) a class of deceased ancestors; विराट्सुताः सोमसदः साध्यानां पितरः स्मृताः Ms. 3.195.

Viraj विराट् [p= 983,1] in comp. for 2. वि-राज्. वि--राज् 1 [p= 949,3]m. (for 2. » s.v.) king of birds BhP.; P. A1. -राजति , °ते , to reign , rule , govern , master (gen. or acc.) , excel (abl.) RV. AV. Br.  ; to be illustrious or eminent , shine forth , shine out (abl.) , glitter ChUp. Mn. MBh. &c  ; 

to appear as (nom.) MBh. : Caus. -राजयति , (rarely °ते) cause to shine forth , give radiance or lustre , brighten , illuminate MBh. R. &c; mfn. (for 1. » [p= 949,3]) ruling far and wide , sovereign , excellent , splendid RV.;mfn. a ruler , chief. king or queen (applied to अग्नि , सरस्वती , the Sun &c ) ib. AV. VS. Br. MBh.;f. excellence , pre-eminence , high rank , dignity , majesty TS. Br. S3rS.; mf. the first progeny of ब्रह्मा (according to Mn. i , 32 &c , ब्रह्मा having divided his own substance into male and female , produced from the female the male power विराज् , who then produced the first मनु or मनु स्वायम्भुव , who then created the ten प्रजा-पतिs ; the BhP. states that the male half of ब्रह्मा was मनु , and the other half शत-रूपा , and does not allude to the intervention of विराज् ; other पुराणs describe the union of शत-रूपा with विराज् or पुरुष in the first instance , and with मनु in the second ; विराज् as a sort of secondary creator , is sometimes identified with प्रजा-पति , ब्रह्मा , अग्नि , पुरुष , and later with विष्णु or कृष्ण , while in RV. x , 90 , he is represented as born from पुरुष , and पुरुष from him ; in the AV. viii , 10 , 24 ; xi , 8 , 30 , विराज् is spoken of as a female , and regarded as a cow ; being elsewhere , however , identified with प्रा*ण) IW. 22 &c;m. (in वेदान्त) N. of the Supreme Intellect located in a supposed aggregate of gross bodies (= वैश्वानर , q. v.) , वेदान्तs.;f. a particular Vedic metre consisting of four पादs of ten syllables each (and therefore also a symbolical N. of the number " ten " ; in RV. x , 130 , 5 this metre is represented as attaching itself to मित्र and वरुण , and in AitBr. i , 4 विराज् is mystically regarded as " food " , and invocations are directed to be made in this metre when food is the especial object of prayer ; in prosody विराज् is applied to any metre defective by two syllables RPra1t. ); f. pl. N. of partic. bricks (40 in number) VS. S3Br.

RV 10.130.5 Viraj adhered to Varuna and Mitra: here Tristup day by day was Indras' portion.

Jagati entered all the Gods together: so by this knowledge men were raised to Rsis.

RV 10.130.05 Vira_t. was the glory of Mitra and Varun.a; Tris.t.ubh was Indra's portion of the midday (oblation) at this (sacrifice), Jagati_ entered into the Visvedeva_s; by this (sacrifice) r.s.is and men were created. [Verses 4 and 5 answer the question, what was the metre? Two of the other questions- those relating to the butter (a_jya) and the enclosure (paridhi)-- have been answered, in the Purus.a su_kta, 10.90; cf. Taittiri_ya Bra_hman.a 3.12.9]. 

RV 10.90.5 From him Viraj was born; again Purusa from Viraj was born.

As soon as he was born he spread eastward and westward over the earth.

RV 10.090.05 From him was born Vira_t. and from Vira_t. Purus.a; he, as soon as born, became manifested, and afterwards (created) the earth (and) then corporeal forms. [From him: tasma_t = from that one-fourth; or, from the a_dipurus.a; vira_t. purus.a: the first man, a_dipurus.ah; or, purus.ah = presiding male or spirit, life; the supreme spirit who by his delusion created the body of Vira_t., i.e., the egg of Brahma and entered into it in the form of life].

RV 9.96.18 Lightwinner-, Rsiminded-, Rsimaker-, hymned in a thousand hymns, Leader of sages,
A Steer who strives to gain his third form, Soma is, like Viraj, resplendent as a Singer.

RV 9.096.18 Thinking as a r.s.i, acting as a r.s.i, gaining heaven, praised by thousands, the guide of the wise, the mighty Soma desiring to attain the third region (heaven), being praised adds lustre to the illustrious (Indra).

RV 9.96 A Steer who strives to gain his third form, Soma is, like Viraj, resplendent as a Singer.

RV 10.90 5 From him Viraj was born; again Purusa from Viraj was born.

RV 10.130 5 Viraj adhered to Varuna and Mitra: here Tristup day by day was Indras' portion.

ATHARVA VEDABOOK VIII (8) HYMN X (10)

A glorification of the mystical abstraction Viraj

[0801001] Viraj at first was This.
At birth all feared her; the thought, She will become this All, struck terror.
[0801002] She rose, the Garhapatya fire she entered.
He who knows this becomes lord of a household, performer of domestic sacri fices.
[0801003] She mounted up, the Eastward fire she entered.
He who knows this becomes the Gods beloved, and to his call they come when she invokes them.
[0801004] She mounted up, the Southward fire she entered.
He who knows this becomes a fit performer of sacrifice, meet for honour, shelter giver.
[0801005] She mounted up, she entered the Assembly.
He who knows this becomes polite and courtly, and people come as guests to his assembly.
[0801006] She mounted up, she passed within the meeting.
He who knows this becomes fit for the meeting, and to his hall of meeting come the people. [p. a351]
[0801007] She mounted up, she entered Consultation.
Whoso knows this is fit to be consulted, and to his consultation come the people.
[0801008] She mounted up, and, into four divided, she took her station in the air s mid region.
[0801009] Of her the Gods and men said, This she knoweth.
That we may both have life let us invoke her.
[0801010] Thus did they cry to her:
[0801011] Come, Strength! come, Food! come, Charmer! come, Free giver!
[0801012] Her calf, her well beloved calf, was Indra: Gayatri was her rope, the cloud her udder.
[0801013] Two teats she had, Rathantara and Brihat, two, Yajnayajniya and Vamadevya.
[0801014] With the Rathantara the Gods milked from her the Plants, and all the wide expanse with Brihat.
[0801015] They drew the Waters forth with Vamadevya, with Yajnayajniya they milked out worship.
[0801016] For him who knoweth this, Rathantara poureth out Plants, and Brihat yieldeth wide expansion.
[0801017] Waters from Vamadevya come, from Yajnayajniya sacrifice.
[0801018] She rose, she came unto the tress: they killed her.
A year went by and she again existed.
Hence in a year the wounds of trees heal over.
He who knows this sees his loathed rival wounded.
[0801019] She mounted up, she came unto the Fathers: they killed her: in a month she re existed.
Hence men give monthly offerings to the Fathers: who knows this, knows the path which they have trodden.
[0801020] She rose, she came unto the Gods: they killed her: but in a fortnight she again was living.
Fortnightly, hence, men serve the Gods with Vasat! Who knows this knows the way which Gods pass over.
[0801021] She mounted up, she came to men: they killed her Presently she regained her life and being.
Hence on both days to men they bring and offer who knows this near seated in the dwelling.
[0801022] She rose, approached the Asuras: they called her: their cry was, Come, O Maya, come thou hither. [p. a352] Her dear calf was Virochana Prahradi: her milking vessel was a.
pan of iron.
Dvimurdha Artvya milked her, yea, this Maya, The Asuras depend for life on Maya.
He who knows this becomes a fit supporter.
[0801023] She mounted up, she came unto the Fathers.
The Fathers called.
to her, O Food, come hither.
King Yama was her calf, her pail was silvern.
Antaka, Mrityu s.
son, milked her, this Svadha.
This Food the Fathers make their lives sustainer.
He who* knows this becomes a meet supporter.
[0801024] She mounted up, she came to men.
They called her, Come unto us, come hither thou Free giver! Earth was her milking pail, the calf beside her ManuVaivasvata, Vivasvan s offspring.
Prithi the son of Vena was her milker: he milked forth hus bandry and grain for sowing.
These men depend for life on corn and tillage.
He who knows this becomes a meet supporter, successful in the culture of his_ corn land.
[0801025] She rose, she came unto the Seven Rishis.
They called her,.
Come, Rich in Devotion! hither.
King Soma was her calf.
the Moon her milk pail.
Brihaspati.
Angirasa, her milker, Drew from her udder Prayer and Holy Fervour.
Fervour and Prayer maintain the Seven Rishis.
He who knows this becomes a meet supporter, a priest illustri ous for his sacred knowledge.
[0801026] She rose, she came unto the Gods.
They called her, crying, O Vigour, come to us, come hither! God Savitar milked her, he milked forth Vigour.
The Gods depend for life upon that Vigour.
He who knows this becomes a meet supporter.
[0801027] She rose approached the Apsarases and Gandharvas.
They called her, Come to us, O Fragrant scented! The son of Suryavarchas, Chitraratha, was her dear calf, her pail.
a lotus petal.
The son of Suryavarchas, Vasuruchi, milked and drew from her most delightful fragrance.
That scent supports Apsarases and Gandharvas. He who knows [p. a353] this becomes a meet supporter, and round him ever breathes delicious odour.
[0801028] She mounted up, she came to Other People.
They called her, crying, Come, Concealment! hither.
Her dear calf was Vaisravana Kubera, a vessel never tempered was her milk pail.
Rajatanabhi, offspring of Kubera, milked her, and from her udder drew concealment.
By that concealment live the Other People.
He who knows this becomes a meet supporter, and makes all evil disappear and vanish.
[0801029] She mounted up, she came unto the Serpents.
The Serpents called her, Venomous! come hither.
Her calf was Takshaka, Visala s offspring: a bottlegourd suppli ed a milking vessel.
Iravan s offspring, Dhritarashtra milked her, and from her udder drew forth only poison.
That poison quickens and supports the Serpents: He who knows this becomes a meet supporter.
[0801030] One would ward off, for him who hath this knowledge, if with a bottle gourd he sprinkled water.
[0801031] And did he not repel, if in his spirit he said, I drive thee back, he would repel it.
[0801032] The poison that it drives away, that poison verily repels.
[0801033] The man who hath this knowledge pours its venom on his hated foe.
[p. a354] [p. a355]
[p. a356]

Kubera is a dwarf, the king of yaksha, the owner of treasures of the world.

कुबे(वे)रः, पुं, (कुम्बतीति । कुब इ कि आच्छादने“कुम्बेर्नलोपश्च” । उणां १ । ६० । इति एरक् ।नलोपश्च । यद्वा कुत्सितं वेरं शरीरं यस्य । पिङ्गलनेत्रत्वात्तथात्वम् ।) यक्षराजः । इति सिद्धान्त-कौमुद्यामुणादिवृत्तिः ॥ (स च विश्रवस ऋषेरिलविलायां जातः । स तु त्रिपात् अष्टदन्तःकेकराक्षश्च । यथा, वायुपुराणे ।“कुत्सायां क्वितिशब्दोऽयं शरीरं वेरमुच्यते ।कुवेरः कुशरीरत्वात् नाम्ना तेनैव सोऽङ्कितः” ॥तथा काशीखण्डे देवीदत्तशापोक्तौ च ।“कुवेरो भव नाम्ना त्वं मम रूपेर्ष्यया सुत !” ॥)

https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः/

कुवे(बे)र पु० कुम्बति धनम् कुबि--एरक् नि० नलोपश्चकुत्सितं वेरमस्य इति वा । १ धनदे यक्षराजेअमरः “कुत्सायां क्वितिशब्दोऽयं शरीरं वेरमुच्यते ।कुवेरः कुशरीरत्वात् नाम्ना तेनैव सोऽङ्कितः” वायुपु० ।“कुवेरोभव नाम्ना त्वंमम रूपेर्व्यया सुत!” काशीख०देवीशापोक्तेस्तस्य तथात्वम् । “कुवेरस्य मनःशल्यंशंसतीव पराभवम्” कुमा० । तस्येदमण् । तत्सम्बन्धिनि त्रि०स्त्रियां ङीप् “कौवेरदिग्भगमपास्य मार्गम्” मावः ।क्षुभ्ना० पाठात् कुवेरवनमित्यादौ न णत्वम् वाकप् । कुवे-रकोऽप्यत्रार्थे कुगतिस० । २ निन्दितदेहे न० ।

https://sa.wikisource.org/wiki/वाचस्पत्यम्/

Avs 8.10 Her dear calf was Vaisravana Kubera, a vessel never tempered was her milk pail.

Avs 8.10 Rajatanabhi, offspring of Kubera, milked her, and from her udder drew concealment.

Kubera. Northern India. 10th century. Sandstone. San Antonio Museum of Art[quote] Kubera, in Hindu mythology, the king of the yakshas (nature spirits) and the god of wealth. He is associated with the earth, mountains, all treasures such as minerals and jewels that lie underground, and riches in general. According to most accounts, he first lived in Lanka (Sri Lanka), but his palace was taken away from him by his half brother, Ravana, and he now resides in a beautiful mountain residence near the god Shiva’s home on Mount Kailasa, where he is attended by all manner of demigods.

Kubera is the guardian of the north and is usually depicted as a dwarfish figure with a large paunch, holding a money bag or a pomegranate, sometimes riding on a man. Also known as Vaishravana and Jambhala, he is a popular figure in Buddhist and Jain mythology as well. In Buddhist sculptures he is often shown accompanied by a mongoose. [unquote] 

https://www.britannica.com/topic/Kubera 

Valakhilya

The hymns 8.49 to 8.59 are the apocryphal vālakhilya, the majority of them are devoted to Indra; these are accepted as a recent portion, properly already post-Rigvedic.

The hymns are dedicated to Indra, Agni, the Asvins, the Maruts, the Adityas, Varuna, Mitra-Varuna, the Vishvadevas, and Soma. 8.100 is dedicated to Indra and Vak (Speech). Of the Valakhilya, six hymns are dedicated to Indra, and one each to the Asvins, the Vishvadevas and Indra-Varuna. 8.55 and 8.56 praise "Praskanva's Gift", the reward given to the rishi by Dasyave-vrka "the wolf of the Dasyus", a hero who in alliance with the Kanvas has won a victory over the Dasyus.

वालखिल्य (p. 439) vālakhilya m (S) A divine personage of a particular class. They are enumerated at sixty thousand. They were produced from the hair of Brahmá's body, and they are of the size of the thumb. Ex. तोंसाठसहस्त्रबा0 धाविन्नले॥. 2 n pl (i. e. वालखिल्यें) An assembly or a multitude of little urchins; a group of tom-thumbs. (Marathi)

गण [p= 343,1] m. a flock , troop , multitude , number , tribe , series , class (of animate or inanimate beings) , body of followers or attendants RV. AV. &c; troops or classes of inferior deities (especially certain troops of demi-gods considered as शिव's attendants and under the special superintendence of the god गणे*श ; cf. -देवता) Mn. Ya1jn5. Lalit. &c (Monier-Wiliams) गणः gaṇḥ गणः [गण् कर्मणि कर्तरि वा अच्] 1 A flock, multitude, group, troop, collection; गुणिगणगणना, भगणः -2 A series, a class. -3 A body of followers or attendants. -4 Particularly, a troop of demigods considered as Śiva's attendants and under the special superintendence of Gaṇeśa, a demigod of this troop; गणानां त्वा गणपतिं हवामहे कविं कवीनाम् &c.; गणानमेरुप्रसवावतंसाः Ku.1.55,7.4,71;  Me.35.57; Ki.5.13. -5 Any assemblage or society of men formed for the attainment of the same objects. -6 A company, association. -7 A tribe, class.(Apte)

 खर्व [p= 338,1] mfn. (cf. /अ- , त्रि-) mutilated , crippled , injured , imperfect TS. ii , 5 , 1 , 7; low , dwarfish L.;mn. a large number (either 10 , 000 , 000 , 000 [ L. ],or 37 cyphers preceded by 1 R. vi , 4 , 59); m. N. of one of the nine निधिs or treasures of कुबेर L.(Monier-Williams) खर्व (-र्ब) a. [खर्व्-अच्] 1 Mutilated, crippled, imperfect; Yv. Ts.2.5.1.7. -2 Dwarfish, low, short in stature. -र्वः, -र्वम् A large number (1,,,). -3 N. of one of the treasures of Kubera. -Comp. -इतर a. not small, great; प्रमुदितहृदः सर्वे खर्वेतरस्मयसंगताः Śiva. B.22.71. -शाख a. dwarfish, small, short.खर्वित kharvita a. (anything) That has become dwarfish; निशुम्भभरनम्रोर्वीखर्विताः पर्वता अपि Ks.51.1.(Apte)

See: https://tamilandvedas.com/2011/12/31/223/

 

Garuda Saves the Valakhilya Rishis 
[ Painting courtesy Himalayan Academy ]Garuda and the Valakhilyas, Vishnu and Garuda S. RAJAM Garuda saves the Valakhilya Rishis from falling from the tree in which they are doing tapas. They give him the name Garuda, "Bearer of Heavy Weight." After completing his assignment of delivering the Amritam, without partaking himself, Garuda receives from Lord Vishnu the boon of being his Vahana. (Mahabharata)

https://www.himalayanacademy.com/view/b75_rajam

See: http://www.harekrsna.com/sun/features/09-14/features3300.htm

वालखिल्य [p= 946,2] n. (also written बाल्° , of doubtful derivation) N. of a collection of 11 (accord. to some only 6 or 8) hymns of the ऋग्-वेद (commonly inserted after viii , 48 , but numbered separately as a supplement by some editors ; they are also called वालखिल्याः , with or (silicit = that is to say; namely (introducing a word to be supplied or an explanation of an ambiguity).मन्त्राः , or ऋचः , and दशतीवालखिल्यका) Br. S3rS. &c; (°ल्य्/अ) pl. N. of a class of ऋषिs of the size of a thumb (sixty thousand were produced from ब्रह्मा's body and surround the chariot of the sun) TA1r. MBh. Ka1v. &c; वालखिल्या f. N. of a partic. kind of brick S3Br.

yvk.5.3

He puts down seven Valakhilya, (bricks) in the east, seven in the west; in the head there are seven breaths, two below; (verily they serve) to give the breaths strength.

MBh.

1.30.1744 Desiring as he did to save the Valakhilyas, he saw not a spot whereon to sit.

1.30.1749 The Valakhilyas, supporting themselves by drinking the rays of the sun, might, if angry, blast thee'

1.30.1750 Sauti continued, Kasyapa then propitiated, for the sake of his son, the Valakhilyas of exceeding good fortune and whose sins had been destroyed by ascetic penances'

1.30.1782 Vrihaspati answered, O chief of the gods, O thou of a thousand sacrifices, it is from thy fault and carelessness, and owing also to the ascetic penance of the high-souled great Rishis, the Valakhilyas, that the son of Kasyapa and Vinata, a ranger of the skies endued with great strength and possessing the capacity of assuming at will any form, is approaching to take away the Soma.

1.31.1799 How was Garuda born in consequence of the ascetic penances of the Valakhilyas?

1.31.1807 And Indra was appointed by Kasyapa to bring the sacrificial fuel; and with him those ascetics the Valakhilyas, and all the other deities.

1.31.1818 And the Prajapati Kasyapa, hearing everything from Indra, went to the Valakhilyas and asked them if their sacrifice had been successful.

1.31.1826 And the Valakhilyas, thus addressed by Kasyapa, after offering reverence to that first of the Munis, viz, the Prajapati Kasyapa, spake unto him: The Valakhilyas said, O Prajapati, this sacrifice of us all is for an Indra!

1.31.1834 By the penances of the Valakhilyas and by virtue of the desire with which I commenced my sacrifice, those sons shall be of exceedingly good fortune and worshipped in the three worlds'

1.70.3677 And he saw seated in it numerous Yotis, Valakhilyas and other Munis.

1.71.3781 At the thought of his prowess Yama, Soma, the great Rishis, the Saddhyas, the Viswas, Valakhilyas, are terrified!

1.212.10403 There were present that God of gods, viz, Mahadeva, and Agni, accompanied by Vayu, and Soma and Surya and Sakra, and Rishis devoted to the contemplation of Brahma, and the Vaikhanasas, the Valakhilyas, the Vanaprasthas, the Marichipas, the Ajas, the Avimudas, and other ascetics of great energy.

3.125.6372 And the saints are in attendance here on all sides round, they are the dwellers of the wood and the Valakhilyas, and the Pavakas, who subsist on air only.

3.141.7173 It is frequented and worshipped by high-souled Vaihayasas, Valakhilyas and Gandharvas of mighty souls.

9.43.3095 The diverse gods, Indra and Vishnu, both of great energy, and Surya and Candramas, and Dhatri, and Vidhatri, and Vayu, and Agni, and Pushan, and Bhaga, and Aryaman, and Ansa, and Vivaswat, and Rudra of great intelligence, and Mitra, and the eleven Rudras, the eight Vasus, the twelve Adityas, the twin Ashvinis, the Viswedevas, the Maruts, the Saddhyas, the Pitris, the Gandharvas, the Apsaras, the Yakshas, the Rakshasas, the Pannagas, innumerable celestial Rishis, the Vaikhanasas, the Valakhilyas, those others among Rishis that subsist only on air and those that subsist on the rays of the Sun, the descendants of Bhrigu and Angiras, many high-souled Yatis, all the Vidyadharas, all those that were crowned with ascetic success, the Grandsire, Pulastya, Pulaha of great ascetic merits, Angiras, Kasyapa, Atri, Marichi, Bhrigu, Kratu, Hara, Prachetas, Manu, Daksha, the Seasons, the Planets, and all the luminaries; O monarch, all the rivers in their embodied forms, the eternal Vedas, the Seas, the diverse tirthas, the Earth, the Sky, the Cardinal and Subsidiary points of the compass, and all the Trees, O king, Aditi the mother of the gods, Hri, Sri, Swaha, Sarasvati, Uma, Sachi, Sinivali, Anumati, Kuhu, the Day of the new moon, the Day of the full Moon, the wives of the denizens of heaven, Himavat, Vindhya, Meru of many summits, Airavat with all his followers, the Divisions of time called Kala, Kashtha, Fortnight, the Seasons, Night, and Day, O king, the prince of steeds, Ucchaisravas, Vasuki the king of the Snakes, Aruna, Garuda, the Trees, the deciduous herbs, and the adorable god Dharma, all came there together.

12.58.3229 The Valakhilyas became his counsellors, and the Saraswatas his companions.

13.10.585 Large numbers of Valakhilyas and many that were observant of the vow of Sanyasa also, used to dwell there.

13.85.7792 The diminutive Rishis called Valakhilyas sprang from the blades of Kusa grass spread out in that sacrifice.

13.94.8551 There were also the Rishi Galava, and Ashtaka and Bharadwaja and Arundhati and the Valakhilyas; and Sivi and Dilipa and Nahusha and Amvarisha and the royal Yayati and Dhundhumara and Puru.

13.94.8630 The Valakhilyas said, Let him who has stolen thy stalks stand on one foot at the entrance of a village for earning his subsistence!

13.115.10264 The seven celestial Rishis, the Valakhilyas, and those Rishis who drink the rays of the sun, endued with great wisdom, applaud abstention from meat.

1.30.1737Casting his eyes around in wonder he saw Valakhilya Rishis hanging therefrom with heads downwards and engaged in ascetic penances.

8.049.01 I would praise to you the bounteous Indra as is fit, the wealth-abounding Maghavan, who loves to help with thousandfold treasure those who praise him.
8.049.02 He rushes on boldly like a weapon with a hundred edges, he smites the enemies of his worshipper; the gifts of him who feeds many, swell like the streams of a mountain.
8.049.03 The expressed exhilarate Soma, O Indra, lover of hymns, fills you for bounty, O hero, O thunderer, as the waters flow to their accustomed lake.
8.049.04 Drink the incomparable, helpful, swelling Soma, the sweet of the Soma, that in your exultation you may pour out treasure for us, just as the mill-stone pours out meal. [dhr.s.ad = dr.s.ad].
8.049.05 Come quickly to our praise--urged on by the Soma-pressers like a horse-- which the kine make sweet, for you, O Indra, of independent mighty; there are gifts (for you) among the Kan.va's. [stomam = somam].
8.049.06 We have approached you with homage like a mighty hero, the pre-eminent one, of imperishable wealth; O Indra, thunderer, our prayers flow forth as an abundant fountain pours  out its streams.
8.049.07 Whether you are now present at a sacrifice, or whether you are abroad on the earth, come from thence with your swift steeds to our sacrifice, O you of lofty counsel, come, strong one, with the strong (steeds).
8.049.08 Agile and swift are your steeds, overpowering like the winds; with which you encircle the race of Manus, with which he whole heaven becomes visible. [Or, with which you encircle all...]
8.049.09 O Indra, we long for such a bounty of yours, rich in kine; (help us), Maghavan, as you did help Medhya_tithi with wealth, as you did help Ni_pa_tithi.
8.049.10 As you, Mahavan, did give abundant kine and gold to Kan.va and Trasadasyu, to Paktha and Das'avraja; as you did give them to Gos'arya and R.jis'van.

Griffith:

1. TO you will I sing Indras' praise who gives good gifts as well we know;
The praise of Maghavan who, rich in treasure, aids his singers with wealth thousandfold.
2 As with a hundred hosts, he rushes boldly on, and for the offerer slays his foes.
As from a mountain flow the waterbrooks-, thus flow his gifts who feedeth many a one.
3 The drops effused, the gladdening draughts, O Indra, Lover of the Son
As waters seek the lake where they are wont to rest, fill thee, for bounty, Thunderer.
4 The matchless draught that strengthens and gives eloquence, the sweetest of the meath drink thou,
That in thy joy thou maysi scatter thy gifts over us, plenteously, even as the dust.
5 Come quickly to our laud, urged on by Somapressers- like a horse-
Laud, Godlike Indra, which milchkine- make sweet for thee: with Kanvas' sons are gifts for thee.
6 With homage have we sought thee as a Hero, strong, preeminent, with unfailing wealth.
O Thunderer, as a plenteous spring pours forth its stream, so, Indra, flow our songs to thee.
7 If now thou art at sacrifice, or if thou art upon the earth,
Come thence, highthoughted-! to our sacrifice with the Swift, come, Mighty with the Mighty Ones.
8 The active, fleetfoot-, tawny Coursers that are thine are swift to victory, like the Wind,
Wherewith thou goest round to visit Manus' seed, wherewith all heaven is visible.
9 Indra, from thee so great we crave prosperity in wealth of kine,
As, Maghavan, thou favouredst Medhyatithi, and, in the fight, Nipatithi.
10 As, Maghavan, to Kanva, Trasadasyu, and to Paktha and Dasavraja;
As, Indra, to Gosarya and Rjisvan, thou vouchsafedst wealth in kine and gold.

8.050.01 I would praise the far-famed, the bounteous S'akra, for the sake of his protection, who gives desirable wealth by thousands to the presser of the Soma and the offerer of hymns.
8.050.02 Invincible are his hundred-edged weapons, he mighty arrows of Indra; he pours forth blessings on his liberal worshippers like a mountain rich in springs, when the effused Soma has exhilarated him.
8.050.03 When the effused Soma-drops have exhilarated the beloved one, my oblation is offered abundantly like the waters, O gracious Indra-- it is like the kine to the worshipper.
8.050.04 The prayers which consecrate the Soma flow forth to the incomparable one who calls you for his favour, the Soma-drops which invoke you, O gracious one, have set you in the midst of the hymns.
8.050.05 He rushes hurrying like a horse to the Soma offered in our festival, which the hymns make sweet to you, O you that love sweet viands, you approve the summons to the satisfying Soma. [Paura may be a proper name; you approve the summons to (the house of) Paura].
8.050.06 Praise the mighty hero, wide-grasping, spoil-harrying, who has control over vast treasure; you, O thunderer ever pour forth wealth to the worshipper like an abundan fountain.
8.050.07 Whether you are in the far distance or in the earth or in heaven, O Indra, god of lofty counsel, yoke your steeds, come here, lofty one, with the lofty.
8.050.08 Your harmless steeds which draw your chariot, which surpass the strength of the wind, with which you silence the enemy of man and with which you go round the sky. [Or, of Manus, dasyum manus.ah].
8.050.09 May we once more know you as such, O gracious hero, as when you did aid Etas'a in the decisive battle, or Vas'a against Das'avraja.
8.050.10 As you were willing to give, O Maghavan, to Kan.va in the sacrificial feast, or to Di_rghani_tha the friend of the house, as you were willing to give, O slinger, to Gos'arya, so give to me a herd of kine shining like gold.

Griffith:

1. SAKRA I praise, to win his aid, farfamed-, exceeding bountiful,
Who gives, as it were in thousands, precious wealth to him who sheds the juice and worships him.
2 Arrows with hundred points, unconquerable, are this Indras' ndghty- arms in war.
He streams on liberal worshippers like a hill with springs, when juices poured have gladdened him.
3 What time the flowing Somadrops- have gladdened with their taste the Friend,
Like water, gracious Lord! were my libations made, like milchkine- to the worshipper.
4 To him the peerless, who is calling you to give you aid, forth flow the drops of pleasant meath.
The Somadrops- which call on thee, O gracious Lord, have brought thee to our hymn of praise.
5 He rushes hurrying like a steed to Soma that adorns our rite,
Which hymns make sweet to thee, lover of pleasant food. The call to Paura thou dost love.
6 Praise the strong, grasping Hero, winner of the spoil, ruling supreme oer mighty wealth.
Like a full spring, O Thunderer, from thy store hast thou poured on the worshipper evermore.
7 Now whether thou be far away, or in the heavens, or on the earth,
O Indra, mighty- thoughted, harnessing thy Bays, come Lofty with the Lofty Ones.
8 The Bays who draw thy chariot, Steeds who injure none, surpass the winds' impetuous strength-
With whom thou silencest the enemy of man, with whon; thou goest round the sky.
9 O gracious Hero, may we learn anew to know thee as thou art:
As in decisive fight thou holpest Etasa, or Vasa gainst' Dasavraja,
10 As, Maghavan, to Kanva at the sacred feast, to Dirghanitha thine homefriend-,
As to Gosarya thou, Stonedarter-, gavest wealth, give me a goldbright- stall of kine.

8.051.01 As you did drink, O Indra, the effused Soma beside Manu, the descendant of Sam.varan.a, by Ni_pa_tithi and Medhya_tithi, by Pus.t.igu and S'rus.t.igu, O Maghavan (so do you drink it here).
8.051.02 The descendant of Pr.s.advana entertained the aged Praskan.va who lay rejected (by his kindred); aided by you the seer Dasyave-vr.ka desired to obtain thousands of cows.
8.051.03 Sing that Indra with the new hymn who has no lack of praises, who is wise and the inspirer of seers, who is as it were eager to enjoy.
8.051.04 He to whom they sang the seven-headed hymn with its three parts in the highest region, he has made all these worlds tremble, and has thus brought forth his power. [i.e. sun by seven divine singers in heaven].
8.051.05 We invoke that Indra who gives us wealth; for we know his new favour; may we obtain a stall rich in cows.
8.051.06 He whom you help, O gracious one, to give, obtains abundance of wealth; bringing the Soma we invoke you, Indra, Maghavan, you that love hymns.
8.051.07 Never are you niggardly, Indra, and give not to the worshipper; but your godlike gifts, O Maghavan, are poured forth more and more.
8.051.08 He who overpowered Krivi by his might and silences Sus.n.a with his weapons, when he spread abroad yonder sky and propped it up, then first the dweller on earth was born.
8.051.09 That wealth, which every A_rya here covets and every miserly Da_sa, is sent direct to yo, the pious Rus'ama Paviru.
8.051.10 The zealous seers have sung a hymn, sweet with Soma and dropping ghi_; wealth and manly strength hav espread themselves among us, and so too the expressed Soma drops.

Griffith:

1. As with Manu Samvarani, Indra, thou drankest Soma juice,
And, Maghavan, with Nipatithi, Medhyatithi, with Pustigu and Srustigu,
2 The' son of Prsadvana was Praskanivas' host, who lay decrepit and forlorn.
Aided by thee the Rsi Dasyavevrka- strove to obtain thousands of kine.
3 Call hither with thy newest song Indra who lacks not hymns of praise,
Him who observes and knows, inspirer of the sage, him who seems eager to enjoy.
4 He unto whom they sang the sevenheaded- hymn, threeparted-, in the loftiest place,
He sent his thunder down on all these living things, and so displayed heroic might.
5 We invocate that Indra who bestoweth precious things on us.
Now do we know his newest favour; may we gain a stable that is full of kine.
6 He whom thou aidest, gracious Lord, to give again, obtains great wealth to nourish him.
We with our Soma ready, Lover of the Song! call, Indra Maghavan, on thee.
7 Never art thou fruitless, Indra Never dost thou desert the worshipper
But now, O Maghavan, thy bounty as a God is poured forth ever more and more.
8 He who hath. overtaken Krvi with his might, and silenced Susna with deathbolts,
When he supported yonder heaven and spread it out, then first the son of earth was born.
9 Good Lord of wealth is he to whom all Aryas, Dasas here belong.
Directly unto thee, the pious Rusama Paviru, is that wealth brought nigh.
10 In zealous haste the singers have sung forth a song distilling oil and rich in sweets.
Riches have spread among us and heroic strength, with us are flowing Somadrops-.

8.052.01 As you, S'akra, did drink the effused Soma from Manu Vivasvat, as you did accept the hymn from Trita, so do you gladden yourself with A_yu.
8.052.02 You did enjoy, Indra, the effused drink with Pr.s.adhra, Medhya and Ma_taris'van, just as you did drink the Soma with Das'as'ipra, Das'on.ya, Syumaras'mi, and R.junas.
8.052.03 (It is Indra) who has appropriated the hymns for himself, who has bravely drunk the Soma, for whom Vis.n.u strode the three steps according to the ordinances of Mitra.
8.052.04 O S'atakratu, you who are bountiful to him whose praises and oblations you delight in, we, desiring wealth, invoke you, as the milkers call a cow which bears abundant milk.
8.052.05 He who gives to us is our father, the mighty, the strong, he who acts as the sovereign, may he, the strong rich Maghavan, give us kine and horses, even without our asking for it.
8.052.06 He to whom you give a present that he may obtain abundance of wealth; we, desiring wealth, invoke with our praises Indra S'atakratu, the lord of wealth.
8.052.07 Never are you heedless, you guard both races, (gods and men); O fourth A_ditya, to you belongs the Indra invocation, the ambrosia has risen to heaven. [i.e. with Varun.a, Mitra and Aryaman].
8.052.08 (As you hear) the worshipper who you favour, O Indra, Maghavan, liberal one, you that love hymns, so, gracious one, hear our hymns and our invocation of praise, like Kan.va's.
8.052.09 The old hymn has been sun, you have uttered the prayer to Indra; they have shouted many br.hati_ verses of the rite, many hymns of the worshipper have they poured forth.
8.052.10 Indra has heaped together vast stores of wealth, the two worlds and the sun; the bright pure Soma-drink mixed with milk, has exhilarated Indra.

Griffith:

1. As, Sakra, thou with Manu called Vivasvan drankest Soma juice,
As, Indra, thou didst love the hymn by Tritas' side, so dost thou joy with Ayu now.
2 As thou with Matarisvan, Medhya, Prsadhra, hast cheered thee Indra, with pressed juice,
Drunk Soma with Rjunas, Syumarasmi, by Dasonyas' Dasasipras' side.
3 it is he who made the lauds his own and boldly drank the Soma juice,
He to whom Visnu came striding his three wide steps, as Mitras' statutes ordered it.
4 In whose laud thou didst joy, Indra, at the great deed, O Satakratu, Mighty One!
Seeking renown we call thee as the milkers call the cow who yields abundant milk.
5 He is our Sire who gives to us, Great, Mighty, ruling as he wills.
Unsought, may he the Strong, Rich, Lord of ample wealth, give us of horses and of kine.
6 He to whom thou, Good Lord, givest that he may give increases wealth that nourishes.
Eager for wealth we call on Indra, Lord of wealth, on Satakratu with our lauds.
7 Never art thou neglectful: thou guardest both races with thy care.
The call on Indra, fourth Aditya! is thine own. Amrta is stablished in the heavens.
8 The offercr whom thou, Indra, Lover of the Song, liberal Maghavan, favourest,
As at the call of Kanva so, O gracious Lord, hear, thou our songs and eulogy.
9 Sung is the song of ancient time: to Indra have ye said the prayer.
They have sung many a Brhati of sacrifice, poured forth the worshippers' many thoughts.
10 Indra hath tossed together mighty stores of wealth, and both the worlds, yea, and the Sun.
Pure, brightlyshining-, mingled with the milk, the draughts of Soma have made Indra glad.

8.053.01 We come to you, O Maghavan Indra, the highest of Maghavans, the strong of bulls, the mightiest breakere of forts, the provider of kine, the lord of wealth.
8.053.02 You who, waxing in might day by day, did destroy A_yu, Kutsa, and Atithigva, we invoke you, S'atakratu, with your bay horses, rousing you by our offerings.
8.053.03 Let the stones our forth the Soma for us all, the Soma-drops which have been pressed by men afar or near.
8.053.04 Smite all our enemies and drive them away, may we all obtain their wealth; even amont the S'i_s.t.as are you exhilarating Soma-stalks, where you fill yourself with the Soma.
8.053.05 Indra, come very near with your firmly-wise protections; come, O most healthful, with your mos healthful aid, come, good kinsma, with your good kinsmen.
8.053.06 Make rich in children that chief of all me, who is victorious in battle and a strong protector; proper thoroughly with your powers your singers who cintinually purify their minds.
8.053.07 May we be in battle as one who is the sure to gain your protection; we worship you with invocations and prayers wen we obtain our desire.
8.053.08 With your help, O lord of bay steeds, I always go into prayer and into battle, seeking spoil; it is you whom I insist upon, when I go, longing for horses and kine, at the head of plunders. [mati_na_m = mathi_na_m, in the beginning of my prayers].

Griffith:

1. As highest of the Maghavans, preeminent among the Bulls,
Best breakerdown- of forts, kinewinner-, Lord of wealth, we seek thee, Indra Maghavan.
2 Thou who subduedst Ayu, Kutsa, Atithigva, waxing daily in thy might,
As such, rousing thy power, we invocate thee now, thee Satakratu, Lord of Bays.
3 The pressingstones- shall pour for us the essence of the meath of all,
Drops that have been pressed out afar among the folk, and those that have been pressed near us.
4 Repel all enmities and keep thern far away: let all win treasure for their own.
Even among Sistas are the stalks that make thee glad, where thou with Soma satest thee.
5 Come, Indra, very near to us with aids of firmlybased- resolve;
Come, most auspicious, with thy most auspicious help, good Kinsman, with good kinsmen, come!
6 Bless thou with progeny the chief of men, the lord of heroes, victor in the fray.
Aid with thy powers the men who sing thee lauds and keep their spirits ever pure and bright.
7 May we be such in battle as are surest to obtain thy grace:
With holy offerings and invocations of the Gods, we mean, that we may win the spoil.
8 Thine, Lord of Bays, am I. Prayer longeth for the spoil. Still with thy help I seek the fight.
So, at the raiders' head, I, craving steeds and kine, unite myself with thee alone.

8.054.01 The singers with their hymns, O Indra, this might of yours; singing loudly, they have brought you sacred viands dropping with Soma; the offerers have drawn near with their prayers. [Or, the Pauras].
8.054.02 They have drawn near Indra with holy rites for his protection, they in whose libations you rejoice; as you did rejoice in Samvara and Kr.s'a, so now, Indra, do you rejoice in us.
8.054.03 You gods, come all with one accord to us; let the Vasus and Rudras come for our protection, let the Maruts hear our call.
8.054.04 May Pu_s.an, Vis.n.u, Sarsvati_, and the seven rivers, favour my call; may the waters, the wind, the mountains, the trees, the earth, hear my call.
8.054.05 With yours own special gift, O Indra, best of Maghavans, be you our boon-companion for good, our liberal benefactor, O slayer of Vr.tra.
8.054.06 O lord of battle, lord of men, mighty in action, do you guide us in the conflict; far-famed are those who obtain their desires by sacrificial feasts, by invocations, and by entertaining the gods.
8.054.07 Our prayers abide in the true one, in Indra is the life of men; draw near to us, Maghavan, for our protection; milk for the streaming drink.
8.054.08 O Indra, we would worship you with hymns; O S'atakratu, you are ours; pour down upon Pras'kan.va great, solid, inexhaustible, exuberant abundance.

Griffith:

1. INDRA, the poets with. their hymns extol this hero might of thine:
They strengthened, loud in song, thy power that droppeth oil. With hymns the Pauras came to thee.
2 Through piety they came to Indra for his aid, they whose libations give theejoy.
As thou with, Krsa and Samvarta hast rejoiced, so, Indra, be thou glad with us.
3 Agreeing in your spirit, all ye Deities, come nigh to us.
Vasus and Rudras shall come near to give us aid, and Maruts listen to our call.
4 May Pusan, Visnu, and Sarasvati befriend, and the Seven Streams, this call of mine:
May Waters, Wind, the Mountains, and the ForestLord-, and Earth give ear unto my cry.
5 Indra, with thine own bounteous gift, most liberal of the Mighty Ones,
Be our boon benefactor, Vrtraslayer-, be our feastcompanion- for our weal.
6 Leader of heroes, Lord of battle, lead thou us to combat, thou Most Sapient One.
High fame is theirs who win by invocations, feasts and entertainment of the Gods.
7 Our hopes rest on the Faithful One: in Indra is the peoples' life.
O Maghavan, come nigh that thou mayst give us aid: make plenteous food stream forth for us.
8 Thee would we worship, Indra, with our songs of praise: O Satakratu, be thou ours.
Pour down upon PrasKanva bounty vast and firm, exuberant, that shall never fail.

8.055.01 Great indeed is Indra's might; I have beheld it; your gift approaches, O Dasyaave vr.ka [O foe to the Dasyu].
8.055.02 A hundred white oxen shine like stars in the heaven, by their size they have almost held up the heavens.
8.055.03 A hundred bamboos, a hundred dogs, a hundred dressed hides, a hundred bunches of balbaja grass, and four hundred red mares are mine.
8.055.04 May youu have the gods propitious to you, O descendants of Kan.va, living through youth on youth; step out vigorously like steed.
8.055.05 Let them praise the seven-yoked team, great is the strength of that which is not yet full-grown; the dark-brown mares have rushed along the paths so that no eye can follow them.

Griffith:

1. GREAT, verily, is Indras' might. I have beheld, and hither comes
Thy bounty, Dasyavevrka-!
2 A hundred oxen white of hue are shining like the stars in heaven,
So tall, they seem to prop the sky.
3 Bamboos a hundred, a hundred dogs, a hundred skins of beasts welltanned-,
A hundred tufts of Balbaja, four hundred redhued- mares are mine.
4 Blest by the Gods, Kinvayanas! be ye who spread through life on life:
Like horses have ye stridden forth.
5 Then men extolled the team of seven not yet fullgrown-, its fame is great.
The dark mares rushed along the paths, so that no eye could follow them.

8.056.01 Your inexhaustible gift has appeared, O Dasyave vr.ka, its fullness is in extent like the sky.
8.056.02 Dasyave-vr.ka, the son of Putakrata, has given to me ten thousand from his own store.
8.056.03 A hundred asses a hundred woolly sheep, a hundred slaves, beside garlands.
8.056.04 There too has been brought for Putakrata a well-adorned mare, which is not one of the common horses of the herd.
8.056.05 The shining Agni has appeared, the bearer of the oblation, with his chariot; Agni has gleamed forth brilliantly with his bright flame as Sura, he has gleamed forth in heaven as Su_rya.

Griffith:

VALAKHILYA - 10
1. HE whom the priests in sundry ways arranging the sacrifice, of one accord, bring hither,
Who was appointed as a learned Brahman, what- is the sacrificers' knowledge of him?
2 Kindled in many a spot, still One is Agni; Silrya is One though high over all he shineth.
Illumining this All, still One is usas. That which is One hath into All developed.
3 The chariot bright and radiant, treasureladen-, threewheeled-, with easy seat, and lightly
rolling,
Which She of Wondrous Wealth was born to harness, this car of yours I call. Drink what remaineth.

8.057.01 You have come quickly, you two gods, with your car, endowed with ancient might, O sacred As'vins, truthful ones, with your powers, drink this third libation.
8.057.02 The three-and-thirty truthful gods saw you before the truthful one; O As'vins, gleaming with fire, drink the Soma, enjoying our offering, our libation. [i.e. before the Sun; the dawns are compared to truthful active women; cf. RV. 1.79.1].
8.057.03 That work of yours, O As'vins, is worthy of wonder, the bull of the heavens, the firmament and the earth; and your thousand blessings in battle, for all these come here to drink. [i.e. the Sun, which they may be said to reveal, as they come with the earliest dawn].
8.057.04 O sacred ones, this your portion has been placed for you, O truthful ones, come to these your praises; drink among us the sweet Soma, succour your worshipper with your powers.

Griffith:

VALAKHILYA - 10
1. HE whom the priests in sundry ways arranging the sacrifice, of one accord, bring hither,
Who was appointed as a learned Brahman, what- is the sacrificers' knowledge of him?
2 Kindled in many a spot, still One is Agni; Silrya is One though high over all he shineth.
Illumining this All, still One is usas. That which is One hath into All developed.
3 The chariot bright and radiant, treasureladen-, threewheeled-, with easy seat, and lightly
rolling,
Which She of Wondrous Wealth was born to harness, this car of yours I call. Drink what remaineth.

8.058.01 He whom the wise priests bring, when they arrange the offering in many ways, who was employed as a learned bra_hman.a, what is the offerer's knowledge regarding him?
8.058.02 Agni is one, though kindled in various ways; one is the Sun, pre-eminent over all; one Dawn illumines this all; one is that which has become this all.
8.058.03 The brilliant chariot, diffusing splendour, rolling lightly on its three wheels, offering an easy seat, and full of many gifts, at whose yoking the Dawn was born, rich in marvellous treasures, I invoke that your chariot (O As'vins), come you here to drink.

Griffith:

VALAKHILYA - 10
1. HE whom the priests in sundry ways arranging the sacrifice, of one accord, bring hither,
Who was appointed as a learned Brahman, what- is the sacrificers' knowledge of him?
2 Kindled in many a spot, still One is Agni; Silrya is One though high over all he shineth.
Illumining this All, still One is usas. That which is One hath into All developed.
3 The chariot bright and radiant, treasureladen-, threewheeled-, with easy seat, and lightly
rolling,
Which She of Wondrous Wealth was born to harness, this car of yours I call. Drink what remaineth.

8.059.01 These your offered portions stream forth, O Indra and Varun.a, to your honour in the oblations; at every sacrifice you hasten to the oblations, when you help the offerer who presses out the Soma.
8.059.02 The plants and the waters were efficacious, they have attained their power, O indra and Varun.a, you who have gone beyond the path of the firmament, no godless man is worth being called your enemy.
8.059.03 True, O Indra and Varun.a, is that saying of Kr.sa's, 'the seven sacred voices distil a stream of honey', for their sake help the worshipper, O you lords of splendour, who reverence you devoutly in his thoughts. [RV. 9.103.3, 'the Soma streams through the sheep's wool round the honey-dropping vessel, the seven voices of the sacred bards shout to it'].
8.059.04 The seven sister-streams of the Soma, in the hot the offering, pour forth ghi_-dripping streams of yours, O Indra Varun.a, provide for and help the offerer.
8.059.05 To our great happiness we hae declared to these two brilliant ones the true might of Indra; O indra and Varun.a, lords of splendour, help us, the offerers of ghi_, with the company of thrice seven. [cf. use of the same phrase in: RV. 1.133.6: O irresistible one, you destroy not men with the warriors, with the thrice seven warriors].
8.059.06 O Indra and Varun.a, I have seen what you formerly gave to the seers, wisdom, power of song, and fame, and the places which the wise have prepared for themselves, as they spread the web of the sacrifice with holy austerities.
8.059.07 O Indra and Varun.a, give to the offerers cheerfulness without levity, and abundance of wealth; give to us offspring, food, prosperity; prolong our lives to length of days.
Griffith:

1.      IN offerings poured to you, O IndraVaruna-, these shares of yours stream forth to glorify your
state.
Ye haste to the libations at each sacrifice when ye assist the worshipper who sheds the juice.
2 The waters and the plants, O IndraVaruna-, had efficacious vigour, and attained to might:
Ye who have gone beyond the path of middle air, no godless man is worthy to be called your foe.
3 True is your Krsas' word, Indra and Varuna: The seven holy voices pour a wave of meath.
For their sake, Lords of splendour! aid the pious man who, unbewildered, keeps you ever in his
thoughts.
4 Dropping oil, sweet with Soma, pouring forth their stream, are the Seven Sisters in the seat of
sacrifice.
These, dropping oil, are yours, O IndraVaruna-: with these enrich with gifts and help the
worshipper.
5 To our great happiness have we ascribed to these Two Bright Ones truthfulness, great strength,
and majesty.
O Lords of splendour, aid us through the ThreetimesSeven—, as we pour holy oil, O IndraVaruna-.
6 What ye in time of old Indra and Varuna, gave Rsis revelation, thought, and power of song,
And places which the wise made, weaving sacrifice, these through my spirits' fervid glow have I
beheld.,
7 O IndraVaruna-, grant to the worshippers cheerfulness void of pride, and wealth to nourish them.

Section 31 Astika Parva. Mahābhārata

XXXI Astika Parva continued Saunaka said, O son of Suta, what was Indra's fault, what his act of carelessness? How was Garuda born in consequence of the ascetic penances of the Valakhilyas? Why also Kasyapa, a Brahman, had the king of birds for a son? Why, too, was he invincible of all creatures and unslayable of all?
Why also was that ranger of the skies capable of going into every place at will and of mustering at will any measure of energy? If these are described in the Purana, I should like to hear them' Sauti said, What thou askest me is, indeed, the subject of the Purana. O twice-born one, listen as I briefly recite it all. Once upon a time, when the lord of creation, Kasyapa, was engaged in a sacrifice from desire of offspring, the Rishis, the gods, and the Gandharvas, all gave him help. And Indra was appointed by Kasyapa to bring the sacrificial fuel; and with him those ascetics the Valakhilyas, and all the other deities. And the lord Indra, taking up according to his own strength, a weight that was mountain-like, brought it without any fatigue. And he saw on the way some Rishis, of bodies of the measure of the thumb, all together carrying one single stalk of a Palasa Butea frondosa leaf. And those Rishis were, from want of food, very lean and almost merged in their own bodies. And they were so weak that they were much afflicted when sunk in the water that collected in an indentation on the road produced by the hoof of a cow.
And Purandara, proud of his strength, beheld them with surprise, and laughing at them in derision soon left them behind insulting them, besides, by passing over their heads. And those Rishis being thus insulted were filled with rage and sorrow. And they made preparations for a great sacrifice at which Indra was terrified. Hear, O Saunaka, of the wish for accomplishment of which those vow-observing wise, and excellent ascetics poured clarified butter of the sacrificial fire with loudly uttered mantras, There shall be another Indra of all gods, capable of going everywhere at will, and of mustering at will any measure of energy, and striking tear into the present king of the gods. By the fruit of our ascetic penance, let one arise, fleet as the mind, and fierce withal' And the lord of the celestials of a hundred sacrifices, having come to know of this, became very much alarmed and sought the protection of the vow-observing Kasyapa. And the Prajapati Kasyapa, hearing everything from Indra, went to the Valakhilyas and asked them if their sacrifice had been successful. And those truth-speaking Rishis replied to him, saying, Let it be as thou sayest' And the PrajapatiKasyapa pacifying them, spake unto them as follows, By the word of Brahman, this one Indra hath been made the Lord of the three worlds. Ye ascetics, ye also are striving to create another Indra!
Ye excellent ones, it behoveth you not to falsify the word of Brahman. Let not also this purpose, for accomplishing which ye are striving, be rendered futile. Let there spring an Indra Lord of winged creatures, endued with excess of strength! Be gracious unto Indra who is a suppliant before you' And the Valakhilyas, thus addressed by Kasyapa, after offering reverence to that first of the Munis, viz, the Prajapati Kasyapa, spake unto him: The Valakhilyas said, O Prajapati, this sacrifice of us all is for an Indra! Indeed this hath also been meant for a son being born unto thee! Let this task be now left to thee. And in this matter do whatsoever thou seest to be good and proper' Sauti continued, Meanwhile, moved by the desire of offspring, the good daughter of Daksha, the vow-observing, amiable, and fortunate Vinata, her ascetic penances over, having purified herself with a bath in that season when connubial companionship might prove fruitful, approached her lord. And Kasyapa spake unto her, Respected one, the sacrifice commenced by me hath borne fruit.
What hath been desired by thee shall come to pass. Two heroic sons, shall be born unto thee, who shall be the lords of the three worlds. By the penances of the Valakhilyas and by virtue of the desire with which I commenced my sacrifice, those sons shall be of exceedingly good fortune and worshipped in the three worlds' And the illustrious Kasyapa spake unto her again, Bear thou these auspicious seeds with great care. These two will be the lords of all winged creatures. These heroic rangers of the skies will be respected in all the worlds, and capable of assuming any form at will. And the Prajapati, gratified with all that took place, then addressed Indra of a hundred sacrifices, saying, Thou shalt have two brothers of great energy and prowess, who shall be to thee even as the helpmates. From them no injury shall result unto thee. Let thy sorrow cease; thou shalt continue as the lord of all. Let not, however, the utterers of the name of Brahma be ever again slighted by thee.
Nor let the very wrathful ones, whose words are even the thunderbolt, be ever again insulted by thee. Indra, thus addressed, went to heaven, his fears dispelled. And Vinata also, her purpose fulfilled, was exceedingly glad. And she gave birth to two sons, Aruna and Garuda. And Aruna, of undeveloped body, became the fore-runner of the Sun. And Garuda was vested with the lordship over the birds. O thou of Bhrigu's race, hearken now to the mighty achievement of Garuda So ends the thirty-first section in the Astika Parva of the Adi Parva.

Comments:

Sir,

Sayana has included valakhilya hymns in his compilation but did not comment on it.In Kerala valakhilya hymns are not being recited.

The Hoshiarpur edition contains the padapatha.The satwalekar edition also contains these hymns.They are included in the 8th mandala

and are not being treated as parisisshtas.Obviously Kerala brahmins would have seprated before valakhilya was added to the main text.

Kindly contribute your valuable suggestions/information on the subject.

K.G.Poduval

Kunnath illam

PO.Mundalur 670622KannurKerala

Ph 09496423542

ear Poduvalji,

You have put an interesting question but the assumptions made therein may require reformulation. How are we to conclude that  'Sayana has included valakhilya hymns in his compilation'? They occur in the edition, true. But how to conclude that Saaya.na did not regard them as Pari;si.s.tas? As Sontakke reports a commentary was made in Revaanagara sometime and that was inserted in his edition by Sontakke.It is natural to conclude that this need of a commentary was felt after Saya.na's commentary came into being. 

That means their appendix status remained as such even at the time of Saaya.na. Even if they were read by Saaya.na and his sahaadhyaayins, the status had not changed. Inclusion in the main text is not so important as the secondary status.

This is corroborated by the khilas of the AV;S and other khilas of the RV. The other khilas, eg the kuntaapas have always been kept separate from the Rgveda. They got place in the 20th kaa.n.da of the AV. But this is immaterial as there is no commentary. They are strictly pari;si.s.tas. The vik.rtis of the AV;S as Professor Deshpande personally told me do not include the Kuntaapas. That means tradition has always excluded them from the main body of the canonical redaction, as with the AV so also with the RV.

As to your specific query about the Kerala Rgvedins -- that they do not recite the Vaalakhilyas means that they follow the authentic tradition. The new one of reading them in the main body is not an authentic one.

Best

DBhattacharya  (7/4/14)

वालखिल्याः - are referred to in तैत्तिरीयब्राह्मणम् (1-92) --

ततो’रुणाःकेतवोवातरशनाऋषयउदतिष्ठन्।(91)

येनखाः।तेवैखानसाः।येवालाः।तेवालखिल्याः।योरसः।सो’पाम्।

Sayanacarya  compares य़जुर्वेद with a wall and ऋग्वेद and सामवेद as pictures on it (तैत्तिरीयसंहिताभाष्यभूमिका) --

तथासतिभित्तिस्थानीयोयजुर्वेदः , चित्रस्थानीयावितरौ।

ब्राह्मणम् explains the विधि and उपयोग of मन्त्रs | So , when there is  ब्राह्मणम् it vouches to the fact that there is  मन्त्र and as such वालखिल्यमन्त्रs are authentic.

I am preparing Articles on all Vedas and during the course of this if I come across any material relevant I shall keep you posted.

धन्यो’स्मि

Dr.Korada Subrahmanyam
Professor of Sanskrit, CALTS,
University of Hyderabad,
Ph:09866110741(M),91-40-23010741(R),040-23133660(O)

Skype Id: Subrahmanyam Korada

Personal Website: www.korada.org(7/7/14)

Dear Scholars
Charana Vyuha related to Rigveda said to be a composition of Sage Sounaka has interestingly anecdote on Vaalakhilya Mantras.
While presenting the number of Mantras in Rigveda, it states that this portion is not includes to certain Gotra clans or recension. 
It also gives the regions each Veda Shakha Adhyayana. Now we can correlate this text with actual practice. It is clearly mentioned that those without Vaalakhilya will have lesser number of Mantras.
Refer to Rigveda Khanda of Charana Vyuha. 
Shubham.
Vamshi Krishna Ghanapathi (7/8/14)

 S. Kalyanaraman

Sarasvati Research Center

February 14, 2017

Caged parrot is dumb -- CBI on PC role in Aircel-Maxis kaalaadhan ghotala - J.Gopikrishnan

February 13, 2017, 8:00 pm

≫ Next: JJ DA case: Full text of SC Judgement (570 pages)

≪ Previous: Itihāsa of sādhya, virāj, वालखिल्या, gaṇa, kubera, kharva 'dwarfs''wealth' in Ṛgveda Soma yāga and Indus Script traditions

$

0

0

CAGED PARROT REFUSES TO SPEAK

Tuesday, 14 February 2017 | J Gopikrishnan

Rate : 1/5                Like : 1

Even after having damning evidence in hand, the CBI has not acted on the sham approval given in the Aircel-Maxis clearance by the FIPB. As the apex court is already dealing with Swamy’s petition since 2012, the probe agency should not wait any further

The Aircel-Maxis scam was the invention of the Central Bureau of Investigation in mid-April 2011, when the 2G scam case against former Minister for Telecommunications A Raja was rocking the country. Certain media houses began flashing the name of former Telecom Minister Dayanidhi Maran, who also fell into the CBI’s net. Details of complaints filed by Aircel founder C Sivasankaran, who accused Maran for “arm-twisting” him to sell his company to Malaysian conglomerate Maxis Group, also came in. Those days, on a daily basis, the Supreme Court’s 2G Bench was hearing the case, and the Congress-led UPA Government was at the receiving end.

On July 7, 2011, CBI counsel KK Venugopal declared in the apex court that the agency found “there was an element of coercion” from Maran’s side in the selling of Aircel to Maxis. And, Maran was forced to give his resignation from the Union Cabinet. In September 2011, the CBI filed a detailed FIR in the 2G court. The DMK was then in the dock.

But the tables turned against the Congress in the Aircel-Maxis scam, when in April 26, 2012, BJP leader Subramanian Swamy exposed the role of Finance Minister P Chidambaram, and Rs 26 lakh money trails to his son Karti’s companies. The Aircel-Maxis scam started from the dubious FIPB (Foreign Investment Promotion Board) approvals granted by Chidambaram in early 2006.

The revelations sent the CBI’s case against Maran into a deep freezer. At one point, CBI officers even wrote, “No case”, against Maran. The CBI officers’ opinion was overruled by Attorney General Mukul Rohatgi in mid-2014. After this, the CBI filed a chargesheet against Maran and his brother heading the family firm, Sun TV Group, and Maxis owners in August 2014.

During this period, a curious deal  happened. The Maran family sold its Spice Jet airlines to its earlier owner Ajay Singh. This deal was in violation of the Securities and Exchange Board of India guidelines, as there were no open offers. The dispute has reached the Delhi High Court. In the chargesheet against Maran, the CBI detailed the violations of Chidambaram in granting the FIPB approval to Maxis. The CBI declared it would soon file a supplementary chargesheet. It interrogated Chidambaram in December 2014. The main illegalities in the FIPB approval in Aircel-Maxis scam are:

1. Those days, the FIPB had the power to approve Rs 600 crore worth foreign investment. Above this limit, the proposal filed had to go to the Cabinet Committee on Economic Affairs (CCEA) for approval. Maxis, in its application to the FIPB, said its investment was $800 million (Rs 3,600 crore).

Chidambaram cleared the FIPB approval and did not send the proposal to the CCEA. This was perhaps the lone case not sent to CCEA by Chidambaram in his career as Finance Minister. He sent the Rs 675-crore FIPB-cleared file of Maxis Group’s investment in Maran family’s Sun TV Group to the CCEA in January 2007.

2. Maxis, in its application to the FIPB said it was acquiring 73.99 per cent shares of Aircel. Those days, the maximum foreign investment permitted in telecom sector was 74 per cent. But Maxis declared to the Malaysian Stock Exchange that it had acquired 99.93 per cent in Aircel. So, Maxis was actually cheating the Indian Government.

3. The 74 per cent of the Aircel shares were taken over for Rs 3,600 crore. Shockingly, the rest 26 per cent was sold at just Rs 28 crore!

4. Now, the Comptroller and Auditor-General found that, though illegal FIPB approval was for Rs 3,600 crore, but the actual money flow from Malaysia was more than Rs 4,900 crore! Where has this extra Rs 1,300 crore gone?

But, after declaring Chidambaram’s illegalities in the chargesheet against the Maran brothers in August 2014, nothing happened from the CBI side, and the agency never came back to the 2G court, leading to the Maran brothers’ discharge from the case this February. The Maran brothers were always contradicting the curious arm-twisting theory of the CBI, citing Chidambaram’s FIPB approval.

The 2G court judge OP Saini’s very lengthy discharge order relies on the CBI’s lack of evidences on the arm-twisting theory targeting the Marans. It’s another question as to why the judge went for the framing of charges procedure, although the CBI had not provided the promised evidence against Chidambaram. He should have asked the CBI to clarify this matter.

The CBI’s silence in alerting the judge about this aspect is also intriguing. There is another question: Why did the judge speed up the discharge order, when, based on advocate Prashant Bhushan’s petition, the Supreme Court had begun acting against the Maxis owners, when they were in the process of selling Aircel to Reliance Communications and spectrum-sharing arrangements with Airtel?

The CBI is the villain in these developments. All the corrupt forces in the country muzzled have CBI. Ashok Tiwari, then Joint Director of the CBI, who summoned Chidambaram in December 2014, was unceremoniously removed from the agency. CBI Director Anil Sinha prevented him from questioning Chidambaram, leaving the interrogation to junior officers.

Within days, Tiwari was shunted out to the redundant ‘Rajiv Gandhi assassination conspiracy’ case studying division; subsequently he was thrown out from the CBI and despatched to his parent cadre. Now, Tiwari is the Managing Director of Himachal Pradesh Road Transport Corporation. Enforcement Directorate’s (ED) Investigating Officer Rajeshwar Singh too was shunted out from the organisation for probing money trails to Karti Chidambaram’s firms. The Ministry of Finance even misled the court, that the probe in the Aircel-Maxis case was over and that there wasn’t any need of the services of Rajeshwar Singh, in July 2014!

After Swamy’s petition, the Supreme Court intervened to post him permanently in the ED. After raids, the ED found two lakh dollar money trails from three Maxis Group companies to Karti’s company, Chess Management Services Pvt Ltd. Karti has not yet appeared before the ED, even after he was issued three summon notices. Why was he not arrested for repeatedly evading summons? .

Now, the Supreme Court has asked petitioner Swamy to provide certain documents. What the court wants to know is, whether Chidambaram was aware that Rs 600 crore was the FIPB’s limit. The Ministry of Finance’s order dated February 18, 2003, clearly stated Rs 600 crore was the limit and that Minister had to sent the FIPB files above this limit to the CCEA.

With such evidence, why is the CBI not acting on the sham FIPB approval in the Aircel-Maxis scam. Why is it waiting for the court’s direction, which is sitting on Swamy’s petition since May 2012.

(The writer is Special Correspondent, The Pioneer) 
http://www.dailypioneer.com/columnists/oped/caged-parrot-refuses-to-speak.html

JJ DA case: Full text of SC Judgement (570 pages)

February 14, 2017, 4:59 am

≫ Next: Itihāsa of makara in Veda & Indus Script artisanal traditions of Bhāratam Janam

≪ Previous: Caged parrot is dumb -- CBI on PC role in Aircel-Maxis kaalaadhan ghotala - J.Gopikrishnan

$

0

0

The Supreme Court ordered Sasikala, Ilavarasi and Sudhakaran to surrender forthwith before the trial court concerned.

The Supreme Court on Tuesday set aside AIADMK general secretary V.K. Sasikala's acquittal by the Karnataka High Court in the Jayalalithaa disproportionate assets case and "restored in full" the trial court conviction of September 2014.

Click here for the full text

http://www.thehindu.com/news/national/tamil-nadu/article17300801.ece/BINARY/DAcase (570 pages)

http://www.thehindu.com/news/resources/Full-text-of-the-Supreme-Court-judgment-on-Disproportionate-Assets-Case/article17301199.ece

Itihāsa of makara in Veda & Indus Script artisanal traditions of Bhāratam Janam

February 14, 2017, 9:23 pm

≫ Next: The battle for Rama -- Announcing Meenakshi Jain's new book (2017)

≪ Previous: JJ DA case: Full text of SC Judgement (570 pages)

$

0

0

Mirror: http://tinyurl.com/j5up92t

I suggest that the Meluhha word for 'crocodile' in Indus Script Corpora is karā rebus: khār 
खार् 'blacksmith' (Kashmiri); కారువు (p. 275) kāruvu [Skt.] n. An artist, artificer. శిల్పి. An agent చేయువాడు. 

Makara resonates with intimations of sacredness and metalwork competence in the proclamation of Gitacharya, Sri Krishna: झषाणां मकरश्चास्मि Bg.1.31 'I am Makara among fishes'. Both 'fish' and 'crocodile' in Indus Script corpora relate to rebus renderings of Meluhha metawork catalogues.

The word attested in Ṛgveda is: grāhá (grābhá -- m. ʻ seizing ʼ RV) which is cognate with etyma for 'crocodile' in Bharatiya sprachbund presented below. A synonym in the expression खरचर्मा in Samskrtam confirms this reading of an early Meluhha word for 'crocodile': khara खर Hard, rough, solid. sharp-edged PLUS -चर्मा 'a crocodile' (Apte) Hieroglyph கரவு² karavu , n. < கரா 'crocodile'': In Sinhalese, there is an expression, Makara-kaṭa which is explained: (entrance) mouth of the hell called avici-maha-naraka. Hell is referred to as maha-naraka, ‘great hell’. Consistent with this appellation of maha- as a prefix, I suggest that the word kara was elaborated in the expression ma-kara to signify mahã-kara ‘great crocodile.’ Based on this possibility, it is suggested that the early word to signify a crocodile is kara as seen in the Telugu and Tamil words: kārumosali ‘crcodile’ (Telugu); கரா karā , n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) கராம் karām , n. prob. grāha. 1. A species of alligator; முதலைவகை. முதலையு மிடங்கருங் கராமும் (குறிஞ்சிப். 257). 2. Male alligator; ஆண் முதலை. (திவா.) கரவு² karavu , n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9).(Tamil)

An etymological trace provides the framework for the addition of a superlative prefix to -karā, presenting the signifier of a great aquatic animal as mahã-kara or short-phonetic-form, ma-kara.  Thus an Indus Script hypertext with combined hieroglyphs: fish + crocodile is read in Meluhha as ayakhār 'fish+crocodile' rebus: ayakāra‘iron+smith’ (Pali). A synonym in Samskrtam for makara is कण्टक kaṇṭaka'manufactory, worksho0p'. This expression कण्टक kaṇṭaka attested in Śatapatha Brāhmaṇa and the depiction of 'fish' hieroglyphs with 'fins' or sharp 'fish-bones' in Indus Script corpora are rebus readings of khār खार् as 'manufactory, workshop' and khambhaṛā'fish-fin' rebus: kammaṭa'mint, coiner, coinage'.  This etymological excursus provides a framework for art appreciation of many architectural, sculptural marvels created by Bhāratam Janam, decorating the entrances of monuments with makara-toraṇa. A makara-toraṇa is a proclamation that the decorative work is by kāruvu, 'artists, artificers'.

See: http://tinyurl.com/j34qv9r Itihāsa of Soma pavamāna in Ṛgveda & Indus Script

kambāṛa ‘blacksmith’ (Kannada) కమ్మటీడు kammaṭīḍu ‘goldsmith’ (Telugu), kampaṭṭam ‘coiner, coinage, mint’ (Malayalam. Tamil) (DEDR 1236). 

The semantics of kambāṛa may explain the name of the gulf in the Indian Ocean called Gulf of Khambat signified by Barygaza, a trading port of seafaring merchantsof yore—also called Bhrgukaccha.

कण्टक. कण्टकद्रुम. A work-shop, manufactory. (Monier-Williams, Apte)

कण्टकः kaṇṭakḥ कम् kam कण्टकः कम् 1 A thorn; N. of Makara or the marine monster, the symbol of the god of love. -द्रुमः 1 a tree with thorns, a thorny bush; भवन्ति नितरां स्फीताः सुक्षेत्रे कण्टकद्रुमाः Mk.9.7 कण्टक--द्रुम [p= 245,2] m. a tree with thorns , a thorn bush BhP. Mr2icch. 

कण्टक [p= 245,2] m. (n. L. ) a thorn S3Br. v MBh. Ya1jn5. &c; a fish-bone R. iii , 76 , 10 Mn. viii , 95; workshop , manufactory L.; N. of मकर (or the marine monster , the symbol of काम-देव) L.; anything pointed , the point of a pin or needle , a prickle , sting R.

Valmiki Rāmāyaṇa and Mahābhārata refer to Makara as large aquatic animals. Large water bodies like the Oceans and Ganga river are the abode of Makara. Hence, the choice of makara as the vāhana of both Varuṇa and Ganga.

मकरः makarḥ मकरः [मं विषं किरति कॄ-अच् Tv.] 1 A kind of sea- animal, a crocodile, shark; झषाणां मकरश्चास्मि Bg.1.31; मकरवक्त्र Bh.2.4. (Makara is regarded as an emblem of Cupid; cf. comps. below). -2 The sign Capricornus of the zodiac. -3 An array of troops in the form of a Makara; दण्डव्यूहेन तन्मार्गं यायात्तु शकटेन वा । वराहमकराभ्यां वा ... Ms.7.187; Śukra.4.11. -4 An ear-ring in the shape of a Makara. -5 The hands folded in the form of a Makara. -6 N. of one of the nine treasures of Kubera. -7 The tenth arc of thirty degrees in any circle. -Comp. -अङ्कः an epithet of 1 the god of love. -2 the ocean. -अश्वः an epithet of Varuṇa. -आकरः, -आवासः the ocean; प्रविश्य मकरावासं यादोगणनिषेवितम् Mb.7.11.19. -आलयः 1 the ocean. -2 a symbolical expression for the number 'four'. -आसनम् a kind of Āsana in yoga; मकरासनमावक्ष्ये वायूनां स्तम्भकारणात् । पृष्ठे पादद्वयं बद्ध्वा हस्ताभ्यां पृष्ठबन्धनम् ॥ Rudrayāmala. -कुण्डलम् an ear-ring in the shape of a Makara; हेमाङ्गदलसद्- बाहुः स्फुरन्मकरकुण्डलः (रराज) Bhāg.8.15.9. -केतनः, -केतुः, -केतुमत् m. epithets of the god of love. -ध्वजः 1 an epithet of the god of love; संप्राप्तं मकरध्वजेन मथनं त्वत्तो मदर्थे पुरा Ratn.1.3; तत्प्रेमवारि मकरध्वजतापहारि Ch. P. 41. -2 a particular array of troops. -3 the sea. -4 a particular medical preparation. -राशिः f. the sign Capricornus of the zodiac. -वाहनः N. of Varuṇa. -संक्रमणम् the passage of the sun into the sign Capri- cornus. -सप्तमी the seventh day in the bright half of Māgha.
मकरिन् makarin मकरिन् m. [मकराः सन्त्यत्र इनि] An epithet of the ocean. मकरिका makarikā मकरिका A particular head-dress; K.मकरी makarī मकरी The female of a crocodile. -Comp. -पत्रम्, -लेखा the mark of a Makarī on the face of Lakṣmī. -प्रस्थः N. of a town. माकर mākara

माकर a. (-री f.) Belonging to the sea-monster, Makara q. v. -री N. of the seventh day in the bright half of Māgha; तन्मे रोगं च शोकं च माकरी हन्तु सप्तमी Tithyādi. -Comp. -आकरः the sea. -आसनम् a particular posture in sitting. -व्यूहः a particular form of military array.

Valmiki Rāmāyaṇa 1.28 "Oh, Raghava, take these radiant missile children of Krishasva from me, namely Satyavanta, Satyakeerti, Dhristha, Rabhasa, Pratihaaratara, Paraanmuka, Avaanmukha, Lakshya, Alakshya, Dhridhanaabha, Sunaabha, Dashaaksha, Shatavaktra, Dashasheersha, Shatodara, Padmanabha, Mahaanaabha, Dundunaabha, Svanaabha, Jyotisha, Shakuna, Nairaashya, Vimala, Yungandhara, Vinidra, Daitya, Pramadhana, Suchibaahu, Mahaabaahu, Nishkali, Virucha, Saarchirmaali, Dhritimaali, Vrittiman, Ruchira, Pitrya, Saumansa, and also thus Vidhoota, Makara, are two of them.

Mbh.3.275.13410 And crossing the Trikuta and the Kala mountains, he beheld the vast receptacle of deep waters, the abode of the Makaras.

Mbh.5.167.7550 Like huge Makaras, O king, agitating the stream of the Ganges crested with high waves, they will agitate the ranks of the Parthas in battle.

Mbh.6.16.834 Indeed, the two armies facing each other looked like two oceans at the end of the Yuga agitated by fierce Makaras, and abounding with huge crocodiles.

Mbh.7.54.2612 Beholding thousands of dwarfs and humpbacks and alligators and Makaras, and tortoises all made of gold, king Suhotra wondered much.

Mbh.7.75.3266 The seas, those habitation of Makaras, swelled O king, in agitation.

Mbh.7.98.4538 Having forded that wide lake, of which Drona constituted the alligator, darts formed the fierce snakes, shafts, the Makaras, and Kshatriyas, the deep waters, and having issued out of that cloud, constituted by Drona's weapons, whose thunders were the twang of bows and the sound of palms, and whose lightning flashes were constituted by maces and swords, Partha and Krishna looked like the sun and moon freed from darkness.

Mbh.7.143.7319 And jackals, forming its Makaras, made in terrible.

Mbh.8.41.2193 Hearing these words, the soaring swan flew westwards with great velocity to the ocean, that abode of Makaras.

Mbh.9.18.1119 Having taken their places around the king, the Pandavas, those bulls among men, began to agitate the hostile force like Makaras agitating the ocean.

Mbh.12.98.5497 Like Makaras agitating the ocean, they agitate the ranks of the foe.

Mbh 1.140.7459 And like a Makara entering the sea, the mighty-armed Bhima, resembling a second Yama, mace in hand, entered the Panchala ranks, fiercely roaring like the ocean in a tempest.

Mbh.3.17.854 And over it stood a standard bearing the figure of a Makara with gaping mouth and fierce as Yama.

Mbh.3.279.13668 And hearing these cruel words uttered by Sita, the foolish Ravana, although thus rejected, addressed Sita once more, saying, O lady, let the god having the Makara for his emblem burn me sorely.

Mbh.6.34.1608 I am the Makara among fishes, and I am JahnaviGanga among streams

Mbh.6.69.3735 And the array that Bhishma protected from all sides, O king, was of the shape of a Makara

Mbh.6.69.3749 Bhima, penetrating the Makara array of the Kauravas through its mouth, and approaching Bhishma, covered him with his shafts.

Mbh.6.75.3961 Then king Yudhishthira addressed Dhrishtadyumna and said, O mighty-armed one, dispose the troops in the array called Makara that scorcheth the foe'

Mbh.6.75.3962 Thus addressed by Pritha's son, that mighty car-warrior Dhrishtadyumna, that foremost of combatants on cars, issued the order, O great king, to the car-warriors, for forming the Makara array.

Mbh.6.75.3969 And that great bowman, the mighty Sikhandin, surrounded by the Somakas, and Iravat, were stationed in the tail of that Makara array.

Mbh.6.81.4232 Bhima again, having penetrated into our Makara array which was strong as the thunder-bolt, afflicted me with his terrible shafts each resembling the rod of Death.

Mbh.7.42.2035The invincible son of Arjuna, of sure aim and mighty energy, having penetrated in the Kaurava array agitated it like a Makara agitating the ocean.

A cylinder seal showing hieroglyphs of crocodile, elephant and rhinoceros was found in Tell Asmar (Eshnunna), Iraq. This is an example of Meluhha writing using hieroglyphs to denote the competence of kāru ‘artisan’ -- kāru 'crocodile' (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) He was also ibbo 'merchant' (Hieroglyph: ibha 'elephant' Rebus: ib 'iron') and maker of metal artifacts: kāṇḍā ‘metalware, tools, pots and pans’ (kāṇḍā mṛga 'rhinoceros' (Tamil).

Tell AsmarCylinder seal modern impression [elephant, rhinoceros and gharial (alligator) on the upper register] bibliography and image source: Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE. ibha 'elephant' Rebus: ib 'iron'.gaṇḍa, kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’.  karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri) Alternative: ghariyal 'crocodile' rebus: karb 'iron'.

Meluhha: spread of lost-wax casting in the Fertile Crescent. Smithy is the temple. Veneration of ancestors. 

Dholavira molded terracotta tablet with Meluhha hieroglyphs written on two sides. 

Hieroglyphs: karnaka ‘rim of jar’. eraka ‘upraised arm’. dhokra ‘decrepit woman with breasts hanging down’. kara ‘crocodile’. dhangar ‘bull’; dhagaram ‘buttock’. adaren ‘lid’. khanda ‘notch’. kot ‘curved’. sal ‘splinter’. dula ‘pair’.

Rebus readings:
Side 1: kole.l ‘smithy’; kot-sal ‘alloy furnace’; adaren khanda ‘native metal tools, pots and pans’; dul ‘metal casting’; kanka ‘scribe’.
Side 2: khar ‘blacksmith, artisan’; dhokra ‘cire perdue’ metal casting; dhangar ‘smith’; eraka ‘copper’ 

Hieroglyph: Ku. ḍokro, ḍokhro ʻ old man ʼ; B. ḍokrā ʻ old, decrepit ʼ, Or. ḍokarā; H. ḍokrā ʻ decrepit ʼ; G. ḍokɔ m. ʻ penis ʼ, ḍokrɔ m. ʻ old man ʼ, M. ḍokrā m. -- Kho. (Lor.) duk ʻ hunched up, hump of camel ʼ; K. ḍọ̆ku ʻ humpbacked ʼ perh. < *ḍōkka -- 2. Or. dhokaṛa ʻ decrepit, hanging down (of breasts) ʼ.(CDIAL 5567). M. ḍhẽg n. ʻ groin ʼ, ḍhẽgā m. ʻ buttock ʼ. M. dhõgā m. ʻ buttock ʼ. (CDIAL 5585). 

Rebus: dhokra  ‘cire perdue’ casting metalsmith.

Hieroglyph: krəm backʼ(Khotanese)(CDIAL 3145) Rebus: karmāra ‘smith, artisan’ (Skt.) kamar ‘smith’ (Santali)

*kamra ʻ the back ʼ. Kho. krəm ʻ the back ʼ (NTS ii 262 < *kūrma -- 2 with?).*kamra -- [Cf. Ir. *kamaka -- or *kamraka -- ʻ back ʼ in Shgh. čůmč ʻ back ʼ, Sar. čomǰ EVSh 26](CDIAL 2776)

 Rebus: dhokra kamar 'artisan caster using lost-wax technique'

Alternative reading: buttock:  dhokra kula 'dhokra caster caste or family'

Tu. kulligè the buttocks. Kol. (Kin.) kūla buttock; (SR.) kulā hip. Go. (A. Mu.) kūla, (Ma.) kulla, (G. Hislop) kula buttock (Voc. 835); (ASu.) kūlā id. / Turner,CDIAL, no. 3353, (DEDR30) *kulla1 ʻ neck, back, buttock ʼ. Pk. kulla -- , kōla -- m. ʻ neck ʼ, kulla -- m.n. ʻ buttock ʼ; L. kullhā m. ʻ that part of a bullock's hump on which yoke rests ʼ; P. kullā m. ʻ hip, buttock ʼ; H. kulā m. ʻ hip, buttock, waist ʼ; G. kulɔ m. ʻ hip, buttock ʼ; M. kulā, kullā, °āṇā, kulhā, °āṇā m. ʻ buttock ʼ, kolẽ n. ʻ hump of buffalo ʼ. -- B. kolā ʻ having an inflated throat ʼ? -- Si.kulala ʻ neck ʼ? (CDIAL 3353).

Rebus: 

3330 kúla n. ʻ herd, troop ʼ RV., ʻ race, family ʼ Pāṇ., ʻ noble family ʼ Mn., ʻ house ʼ MBh.
Pa. kula -- n. ʻ clan, household ʼ, Pk. kula -- n.m. ʻ family, house ʼ; Dm. kul ʻ house ʼ; Sh. (Lor.) d*lda -- kul ʻ grandfather's relations ʼ; K. kŏl m. ʻ family, race ʼ; S. kurum. ʻ tribe, family ʼ, L. kull m., P. kul f.; WPah. bhad. kul n. ʻ sub -- caste, family ʼ; N. A. B. kul ʻ clan, caste, family ʼ, Or. kuḷa, OMth. kula; H. kul m. ʻ herd, clan, caste, family ʼ, Marw. kul; G. kuḷ n. ʻ family, tribe ʼ, M. kūḷ n., °ḷī f.; OSi. -- kolaṭ dat. ʻ family ʼ; -- Si. kulaya ʻ family, caste ʼ ← Pa. or Sk. -- Deriv. Or. kuḷā ʻ of good family ʼ,akuḷā ʻ illegitimate (of birth) ʼ. (CDIAL 3330).

Rebus: dhokra kula

Glosses attesting to ayo 'fish' and rebus readings:

Indian mackerel Ta. ayirai, acarai, acalai loach, sandy colour, Cobitis thermalis; ayilai a kind of fish. Ma. ayala a fish, mackerel, scomber; aila, ayila a fish; ayira a kind of small fish, loach (DEDR 191) Munda: So. Ayo `fish'. Go. ayu `fish'. Go <ayu> (Z), <ayu?u> (Z),, <ayu?> (A) {N} ``^fish''. Kh. kaDOG `fish'. Sa. Hako `fish'. Mu. hai(H) ~ haku(N) ~ haikO(M) `fish'. Ho haku `fish'. Bj. hai `fish'. Bh.haku `fish'. KW haiku ~ hakO |Analyzed hai-kO, ha-kO (RDM). Ku. Kaku`fish'.@(V064,M106) Mu. ha-i, haku `fish' (HJP). @(V341) ayu>(Z), <ayu?u> (Z)  <ayu?>(A) {N} ``^fish''. #1370. <yO>\\<AyO>(L) {N} ``^fish''. #3612. <kukkulEyO>,,<kukkuli-yO>(LMD) {N} ``prawn''. !Serango dialect. #32612. <sArjAjyO>,,<sArjAj>(D) {N} ``prawn''. #32622. <magur-yO>(ZL) {N} ``a kind of ^fish''. *Or.<>. #32632. <ur+GOl-Da-yO>(LL) {N} ``a kind of ^fish''. #32642.<bal.bal-yO>(DL) {N} ``smoked fish''. #15163. Vikalpa: Munda: <aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''.#10171. So<aDara>(L) {N} ``^scales of a fish, sharp bark of a tree''.

aya = iron (G.); ayah, ayas = metal (Skt.) aduru native metal (Ka.); ayil iron (Ta.) ayir, ayiram any ore (Ma.); ajirda karba very hard iron (Tu.)(DEDR 192). Ta. ayil javelin, lance, surgical knife, lancet.Ma. ayil javelin, lance; ayiri surgical knife, lancet. (DEDR 193). aduru = gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330); adar = fine sand (Ta.); ayir – iron dust, any ore (Ma.) Kur. adar the waste of pounded rice, broken grains, etc. Malt. adru broken grain (DEDR 134).  Ma. aśu thin, slender;ayir, ayiram iron dust.Ta. ayir subtlety, fineness, fine sand, candied sugar; ? atar fine sand, dust. அய.ர³ ayir, n. 1. Subtlety, fineness; நணசம. (த_வ_.) 2. [M. ayir.] Fine sand; நணமணல. (மலசலப. 92.) ayiram, n.  Candied sugar; ayil, n. cf. ayas. 1. Iron; 2. Surgical knife, lancet; Javelin, lance; ayilavaṉ, Skanda, as bearing a javelin (DEDR 341).Tu. gadarů a lump (DEDR 1196)  kadara— m. ‘iron goad for guiding an elephant’ lex. (CDIAL 2711). অয়সঠন [ aẏaskaṭhina ] a as hard as iron; extremely hard (Bengali) अयोगूः A blacksmith; Vāj.3.5. अयस् a. [इ-गतौ-असुन्] Going, moving; nimble. n. (-यः) 1 Iron (एति चलति अयस्कान्तसंनिकर्षं इति तथात्वम्; नायसोल्लिख्यते रत्नम् Śukra 4.169.अभितप्तमयो$पि मार्दवं भजते कैव कथा शरीरिषु R.8.43. -2 Steel. -3 Gold. -4 A metal in general. ayaskāṇḍa 1 an iron-arrow. -2 excellent iron. -3 a large quantity of iron. -क_नत_(अयसक_नत_) 1 'beloved of iron', a magnet, load-stone; 2 a precious stone; ˚मजण_ a loadstone; ayaskāra 1 an iron-smith, blacksmith (Skt.Apte) ayas-kāntamu. [Skt.] n. The load-stone, a magnet. ayaskāruḍu. n. A black smith, one who works in iron. ayassu. n. ayō-mayamu. [Skt.] adj. made of iron (Te.) áyas— n. ‘metal, iron’ RV. Pa. ayō nom. sg. n. and m., aya— n. ‘iron’, Pk. aya— n., Si. ya. AYAŚCŪRṆA—, AYASKĀṆḌA—, *AYASKŪṬA—. Addenda: áyas—: Md. da ‘iron’, dafat ‘piece of iron’. ayaskāṇḍa— m.n. ‘a quantity of iron, excellent iron’ Pāṇ. gaṇ. viii.3.48 [ÁYAS—, KAA ́ṆḌA—]Si.yakaḍa ‘iron’.*ayaskūṭa— ‘iron hammer’. [ÁYAS—, KUU ́ṬA—1] Pa. ayōkūṭa—, ayak m.; Si. yakuḷa‘sledge —hammer’, yavuḷa (< ayōkūṭa) (CDIAL 590, 591, 592). cf. Lat. aes , aer-is for as-is ; Goth. ais , Thema aisa; Old Germ. e7r , iron ;Goth. eisarn ; Mod. Germ. Eisen.

Glyph: *ḍaṅgara1 ʻ cattle ʼ. 2. *daṅgara -- . [Same as ḍaṅ- gara -- 2 s.v. *ḍagga -- 2 as a pejorative term for cattle] 1. K. ḍangur m. ʻ bullock ʼ, L. ḍaṅgur, (Ju.) ḍ̠ãgar m. ʻ horned cattle ʼ; P. ḍaṅgar m. ʻ cattle ʼ, Or.ḍaṅgara; Bi. ḍã̄gar ʻ old worn -- out beast, dead cattle ʼ, dhūr ḍã̄gar ʻ cattle in general ʼ; Bhoj. ḍāṅgar ʻ cattle ʼ; H. ḍã̄gar, ḍã̄grā m. ʻ horned cattle ʼ.2. H. dã̄gar m. = prec. (CDIAL 5526)

See: http://tinyurl.com/z6e27b3  Three Susa inscriptions validate Indus metalwork & Script decipherment, Chanhu-daro snarling iron, metal alloy work of Bharatam Janam 

Crocodile hieroglyph in combination with other animal hieroglphs also appears on a Mohenjo-daro seal m0489 in the context of an erotic Meluhha hieroglyph: a tergo copulation hieroglyph

m0489a,b,c Mohenjo-daro prism tablet

A standing human couple mating (a tergo); one side of a prism tablet from Mohenjo-daro (m489b). Other motifs on the inscribed object are: two goats eating leaves on a platform; a cock or hen (?) and a three-headed animal (perhaps antelope, one-horned bull and a short-horned bull).  The leaf pictorial connotes on the goat composition connotes loa; hence, the reading is of this pictorial component is: lohar kamar = a blacksmith, worker in iron, superior to the ordinary kamar (Santali.)] 

kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.  pasaramu, pasalamu = an animal, a beast, a brute, quadruped (Telugu) Thus, the depiction of animals in epigraphs is related to, rebus: pasra = smithy (Santali)

pisera_ a small deer brown above and black below (H.)(CDIAL 8365).
ḍān:gra = wooden trough or manger sufficient to feed one animal (Mundari). iṭan:kārri = a capacity measure (Ma.) Rebus: ḍhan:gar ‘blacksmith’ (Bi.)

pattar ‘goldsmiths’ (Ta.) patra ‘leaf’ (Skt.) 

r-an:ku, ran:ku = fornication, adultery (Telugu); rebus: ranku ‘tin’ (Santali)

Rebus readings of Meluhha hieroglyphs:

Hieroglhyphs: elephant (ibha), boar/rhinoceros[kāṇḍā mṛga 'rhinoceros' (Tamil)], tiger (kol), tiger face turned (krammara), young bull calf (khōṇḍa) [खोंड m A young bull, a bullcalf. (Marathi)], antelope, ḍangur ʻbullockʼ, melh ‘goat’ (Brahui) 

Rebus mleccha glosses: Ib 'iron' ibbo 'merchant'; kāṇḍā, 'tools, pots and pans, metalware'; kol 'worker in iron, smithy'; krammara, kamar 'smith, artisan', kõdā 'lathe-turner' [B. kõdā ‘to turn in a lathe’; Or. kū̆nda ‘lathe’, kũdibā, kū̃d ‘to turn’ (→ Drav. Kur. kū̃d ‘lathe’) (CDIAL 3295)], khũṭ ‘guild, community’, ḍāṅro ’blacksmith’ (Nepalese) milakkhu ‘copper’ (Pali) [Meluhha!]
 

Iron (ib), carpenter (badhi), smithy (kol ‘pancaloha’), alloy-smith (kol kamar)

tam(b)ra copper, milakkhu copper, bali (iron sand ore), native metal (aduru), ḍhangar ‘smith’.

Smithy with an armourer

http://www.harappa.com/indus/32.html Seal. Mohenjo-daro. Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols. In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.

In these seals of Mohenjo-daro ‘horned crocodile’ hieroglyph is the center-piece surrounded by hieroglyphs of a pair of bullocks, elephant, rhinoceros, tiger looking back and a monkey-like creature. 

Obverse of m1395 and m0441 had the following images of a multi-headed tiger.

Ta. kōṭaram monkey. Ir. kōḍa (small) monkey;  kūḍag  monkey.  Ko. ko·ṛṇ small monkey. To. kwṛṇ  monkey.  Ka. kōḍaga monkey, ape. Koḍ. ko·ḍë monkey. Tu.  koḍañji, koḍañja, koḍaṅgů baboon. (DEDR 2196). kuṭhāru = a monkey (Sanskrit) Rebus: kuṭhāru ‘armourer or weapons maker’(metal-worker), also an inscriber or writer.

Pa. kōḍ (pl. kōḍul) horn; Ka. kōḍu horn, tusk, branch of a tree; kōr horn Tu. kōḍů, kōḍu horn Ko. kṛ (obl. kṭ-)( (DEDR 2200) Paš. kōṇḍā ‘bald’, Kal. rumb. kōṇḍa ‘hornless’.(CDIAL 3508). Kal. rumb. khōṇḍ a ‘half’ (CDIAL 3792).

Rebus: koḍ 'workshop' (Gujarati) Thus, a horned crocodile is read rebus: koḍ khar 'blacksmith workshop'. khar ‘blacksmith’ (Kashmiri) kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) Rebus: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger is read rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.

Rebus readings of Hieroglyphs on two Meluhha tablets: Crocodile, tiger looking back, spy on tree

h1973B h1974B Harappa Two tablets. One side shows a person seated on a tree branch, a tiger looking up, a crocodile on the top register and other animals in procession in the bottom register. Obverse side (comparable to h1970, h1971 and h1972) shows an elephant, a person strangling two tigers (jackals or foxes) and a six-spoked wheel.

The glyphic which is common to both set 1 (h1970B, h1971B and h1972B) and set 2: (h1973B and h1974B) is: crocodile on the top register. 

karā ‘crocodile’ (Telugu). Rebus: khara ‘blacksmith’ (Kashmiri)

Set 1: crocodile + person with foot on head of animal + spearing + bison + horned (with twig) seated person in penance

h1971B Harappa. Three tablets with identical glyphic compositions on both sides: h1970, h1971 and h1972. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487.

Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” (JM Kenoyer, 1998, Ancient cities of the Indus Valley, Oxford University Press, p. 115.)

Set 2: crocodile + person seated on branch of tree + tiger looking back and up + rhinoceros + tiger in procession. 

The following glyphics of m1431 prism tablet show the association between the tiger + person on tree glyphic set and crocile + 3 animal glyphic set.

Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an elephant and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]

One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a rhinoceros (with fishes (or perhaps, crocodile) on top?).

koḍe ‘young bull’ (Telugu) खोंड [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a lathe’ (B.)कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) कोंडण [kōṇḍaṇa] f A fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)

ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: khāṇḍa ‘tools, pots and pans, and metal-ware’. ayaskāṇḍa is a compounde word attested in Panini. The compound or glyphs of fish + arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of 5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'.  Alternative: కరటి [ karaṭi ] karaṭi. [Skt.] n. An elephant. ఏనుగు (Telugu) Rebus: kharādī ‘ turner’ (Gujarati) kāṇḍa  'rhimpceros'   Rebus:khāṇḍa ‘tools, pots and pans, and metal-ware’.  The text on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami 'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog includes the technological competence to work with minerals, metals and alloys and produce tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths, artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha alloys'. పంచలోహము pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz., copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of copper, zinc, tin, lead and iron.

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

m0489A One side of a prism tablet shows: crocodile + fish glyphic on the top register. Glyphs: crocodile + fish Rebus: ayakāra ‘blacksmith’ (Pali)

Glyph: Animals in procession: खांडा [khāṇḍā] A flock (of sheep or goats) (Marathi) கண்டி¹ kaṇṭi  Flock, herd (Tamil) Rebus: khāṇḍā ‘tools, pots and pans, and metal-ware’.

It is possible that the broken portions of set 2 (h1973B and h1974B) showed three animals in procession: tiger looking back and up + rhinoceros + tiger.

Reverse side glyphs:

eraka ‘nave of wheel’. Rebus: era ‘copper’. āra 'spokes' Rebus: āra  'brass'.

Animal glyph: elephant ‘ibha’. Rebus ibbo, ‘merchant’ (Gujarati).

Composition of glyphics: Woman with six locks of hair + one eye + thwarting + two pouncing tigers (jackals)+ nave with six spokes. Rebus: kola ‘woman’ + kaṇga ‘eye’ (Pego.), bhaṭa ‘six’+ dul‘casting (metal)’ + kũdā kol (tiger jumping) or lo ‘fox’ (WPah.) rebus: lōha ʻmetalʼ (Pali) + era āra (nave of wheel, six spokes), ibha (elephant). Rebus: era ‘copper’; kũdār dul kol ‘turner, casting, working in iron’;kan ‘brazier, bell-metal worker’; ibbo ‘merchant’.

The glyphic composition read rebus: copper, iron merchant with taṭu kanḍ kol bhaṭa ‘iron stone (ore) mineral ‘furnace’.

lōpāka m. ʻa kind of jackalʼ Suśr., lōpākikā -- f. lex. 1. H. lowā m. ʻfoxʼ.2.  Ash.  ẓōki, žōkī  ʻfoxʼ, Kt. ŕwēki, Bashg. wrikī, Kal.rumb. lawák: < *raupākya -- NTS ii 228; -- Dm. rɔ̈̄pak ← Ir.? lōpāśá m. ʻfox, jackalʼ RV., lōpāśikā -- f. lex. [Cf. lōpāka -- . -- *lōpi -- ] Wg. liwášä, laúša ʻfoxʼ, Paš.kch. lowóċ, ar. lṓeč ʻjackalʼ (→ Shum.  lṓeč NTS xiii 269), kuṛ. lwāinč; K. lośu, lōh, lohu, lôhu ʻporcupine, foxʼ.1. Kho.  lōw  ʻfoxʼ, Sh.gil. lótilde;i f., pales. lṓi f., lṓo m., WPah.bhal. lōī f.,  lo m.2. Pr. ẓūwī  ʻfoxʼ.(CDIAL 11140-2).Rebus:lōhá ʻred, copper -- colouredʼ ŚrS., ʻmade of copperʼ ŚBr., m.n. ʻcopperʼ VS., ʻironʼ MBh. [*rudh -- ] Pa. lōha -- m. ʻmetal, esp. copper or bronzeʼ; Pk. lōha -- m. ʻironʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻsteelʼ; Kho. loh ʻcopperʼ; S. lohu m. ʻironʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃u n., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper lōhá -- : WPah.kṭg. (kc.) lóɔ ʻironʼ, J. lohā m., Garh. loho; Md. lō ʻmetalʼ. (CDIAL 11158).

Glyph: ‘woman’: kola ‘woman’ (Nahali). Rebus kol ‘working in iron’ (Tamil)

Glyph: ‘impeding, hindering’: taṭu (Ta.) Rebus: dhatu ‘mineral’ (Santali) Ta. taṭu (-pp-, -tt) to hinder, stop, obstruct, forbid, prohibit, resist, dam, block up, partition off, curb, check, restrain, control, ward off, avert; n. hindering, checking, resisting; taṭuppu hindering, obstructing, resisting, restraint; Kur. ṭaṇḍnā to prevent, hinder, impede. Br. taḍ power to resist. (DEDR 3031)

Allograph: ‘notch’: Marathi: खांडा [ khāṇḍā ] m  A jag, notch, or indentation (as upon the edge of a tool or weapon).

Glyph: ‘full stretch of one’s arms’: kāḍ 2 काड् । पौरुषम् m. a man's length, the stature of a man (as a measure of length) (Rām. 632, zangan kaḍun kāḍ, to stretch oneself the whole length of one's body. So K. 119). Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298). mayponḍi kanḍ whetstone;  (Ga.)(DEDR 4628). (खडा) Pebbles or small stones: also stones broken up (as for a road), metal. खडा [ khaḍā ] m A small stone, a pebble. 2 A nodule (of lime &c.): a lump or bit (as of gum, assafœtida, catechu, sugar-candy): the gem or stone of a ring or trinket: a lump of hardened fæces or scybala: a nodule or lump gen. CDIAL 3018 kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.] Bshk. kōr ʻ large stone ʼ AO xviii 239. கண்டு³ kaṇṭu , n. < gaṇḍa. 1. Clod, lump; கட்டி. (தைலவ. தைல.99.) 2. Wen; கழலைக்கட்டி. 3. Bead or something like a pendant in an ornament for the neck; ஓர் ஆபரணவுரு. புல்லிகைக்கண்ட நாண் ஒன்றிற் கட்டின கண்டு ஒன்றும் (S.I.I. ii, 429). (CDIAL 3023) kāṇḍa cluster, heap ʼ (in tr̥ṇa -- kāṇḍa -- Pāṇ. Kāś.). [Poss. connexion with gaṇḍa -- 2 makes prob. non -- Aryan origin (not with P. Tedesco Language 22, 190 < kr̥ntáti). Pa. kaṇḍa -- m.n. joint of stalk, lump. काठः A rock, stone. kāṭha m. ʻ rock ʼ lex. [Cf. kānta -- 2 m. ʻ stone ʼ lex.]Bshk. kōr ʻ large stone ʼ AO xviii 239.(CDIAL 3018). অয়সঠন [ aẏaskaṭhina ] as hard as iron; extremely hard (Bengali)

Glyph: ‘one-eyed’: काण a. [कण् निमीलने कर्तरि घञ् Tv.] 1 One-eyed; अक्ष्णा काणः Sk; काणेन चक्षुषा किं वा H. Pr.12; Ms.3.155. -2 Perforated, broken (as a cowrie) <kaNa>(Z)  {ADJ} ``^one-^eyed, ^blind''. Ju<kaNa>(DP),,<kana>(K)  {ADJ} ``^blind, blind in one eye''.   (Munda) Go. (Ma.) kanḍ reppa eyebrow (Voc. 3047(a))(DEDR 5169). Ka. kāṇ (kaṇḍ-) to see; Ko. kaṇ-/ka·ṇ- (kaḍ-) to see; Koḍ. ka·ṇ- (ka·mb-, kaṇḍ-) to see; Ta. kāṇ (kāṇp-, kaṇṭ-) to see; Kol.kanḍt, kanḍakt seen, visible. (DEDR 1443). Ta. kaṇ eye, aperture, orifice, star of a peacock's tail. (DEDR 1159a) Rebus ‘brazier, bell-metal worker’: கன்னான் kaṉṉāṉ , n. < கன்¹. [M. kannān.] Brazier, bell-metal worker, one of the divisions of the Kammāḷa caste; செம்புகொட்டி. (திவா.)  Ta. kaṉ copper work, copper, workmanship;  kaṉṉāṉ brazier. Ma. kannān id.  (DEDR 1402).  கன்¹ kaṉ , n. perh. கன்மம். 1. Workmanship; வேலைப்பாடு. கன்னார் மதில்சூழ் குடந்தை (திவ். திருவாய். 5, 8, 3). 2. Copper work; கன்னார் தொழில். (W.) 3. Copper; செம்பு. (ஈடு, 5, 8, 3.) 4. See கன்னத்தட்டு. (நன். 217, விருத்.) கன்² kaṉ , n. < கல். 1. Stone; கல். (சூடா.) 2. Firmness; உறுதிப்பாடு. (ஈடு, 5, 8, 3.)

kã̄ḍ 2 काँड् m. a section, part in general; a cluster, bundle, multitude (Śiv. 32). kã̄ḍ 1 काँड् । काण्डः m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan 5 (p. 221a, l. 13) the word is spelt kāḍ.

kō̃da कोँद । कुलालादिकन्दुः f. a kiln; a potter's kiln (Rām. 1446; H. xi, 11); a brick-kiln (Śiv. 133); a lime-kiln. -bal -बल् । कुलालादिकन्दुस्थानम् m. the place where a kiln is erected, a brick or potter's kiln (Gr.Gr. 165). -- । कुलालादिकन्दुयथावद्भावः f.inf. a kiln to arise; met. to become like such a kiln (which contains no imperfectly baked articles, but only well-made perfectly baked ones), hence, a collection of good ('pucka') articles or qualities to exist.

kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri) kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. khōṇḍa ‘leafless tree’ (Marathi). Rebus: kõdār’turner’ (Bengali) 

Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

One side of a triangular terracotta tablet (Md 013); surface find at Mohenjo-daro in 1936. Dept. of Eastern Art, Ashmolean Museum, Oxford. 

Hieroglyph: kamaḍha 'penance' (Prakrit) kamaḍha, kamaṭha, kamaḍhaka, kamaḍhaga, kamaḍhaya = a type of penance (Prakrit)

Rebus: kamaṭamu, kammaṭamu = a portable furnace for melting precious metals; kammaṭīḍu = a goldsmith, a silversmith (Telugu) kãpṛauṭ  jeweller's crucible made of rags and clay (Bi.); kampaṭṭam coinage, coin, mint (Tamil)

kamaṭhāyo = a learned carpenter or mason, working on scientific principles; kamaṭhāṇa [cf. karma, kām, business + sthāna, thāṇam, a place fr. Skt. sthā to stand] arrangement of one’s business; putting into order or managing one’s business (Gujarati)  

The composition of two hieroglyphs: kāru 'crocodile' (Telugu) + kamaḍha 'a person seated in penance' (Prakrit) denote rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi) + kamaṭa 'portable furnace'; kampaṭṭam 'coinage, coin, mint'. Thus, what the tablet conveys is the mint of a blacksmith. A copulating crocodile hieroglyph -- kāru 'crocodile' (Telugu) + kamḍa, khamḍa 'copulation' (Santali) -- conveys the same message: mint of a blacksmith kāru kampaṭṭa 'mint artisan'.

m1429B and two other tablets showing the typical composite hieroglyph of fish + crocodile. Glyphs: crocodile + fish ayakāra ‘blacksmith’ (Pali) kāru a wild crocodile or alligator (Telugu) aya 'fish' (Munda) The method of ligaturing enables creation of compound messages through Indus writing inscriptions. kāru a wild crocodile or alligator (Telugu) Rebus: khar ‘blacksmith’ (Kashmiri); kāru ‘artisan’ (Marathi).

Pali: ayakāra ‘iron-smith’. ] Both ayaskāma and ayaskāra are attested in Panini (Pan. viii.3.46; ii.4.10). WPah. bhal. kamīṇ m.f.  labourer (man or woman) ; MB. kāmiṇā  labourer (CDIAL 2902) N. kāmi  blacksmith (CDIAL 2900). 

Kashmiri glosses:

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.). This word is often a part of a name, and in such case comes at the end (W. 118) as in Wahab khār, Wahab the smith (H. ii, 12; vi, 17). khāra-basta khāra-basta खार-बस््त । चर्मप्रसेविका f. the skin bellows of a blacksmith. -büṭhü -ब&above;ठू&below; । लोहकारभित्तिः f. the wall of a blacksmith's furnace or hearth. -bāy -बाय् । लोहकारपत्नी f. a blacksmith's wife (Gr.Gr. 34). -dŏkuru लोहकारायोघनः m. a blacksmith's hammer, a sledge-hammer. -gȧji or -güjü - लोहकारचुल्लिः f. a blacksmith's furnace or hearth. -hāl -हाल् । लोहकारकन्दुः f. (sg. dat. -höjü -हा&above;जू&below;), a blacksmith's smelting furnace; cf. hāl 5. -kūrü लोहकारकन्या f. a blacksmith's daughter. -koṭu - लोहकारपुत्रः m. the son of a blacksmith, esp. a skilful son, who can work at the same profession. -küṭü लोहकारकन्या f. a blacksmith's daughter, esp. one who has the virtues and qualities properly belonging to her father's profession or caste. -më˘ʦü 1 - लोहकारमृत्तिका f. (for 2, see [khāra 3] ), 'blacksmith's earth,' i.e. iron-ore. -nĕcyuwu  लोहकारात्मजः m. a blacksmith's son. -nay -नय् । लोहकारनालिका f. (for khāranay 2, see [khārun] ), the trough into which the blacksmith allows melted iron to flow after smelting. -ʦañĕ । लोहकारशान्ताङ्गाराः f.pl. charcoal used by blacksmiths in their furnaces. -wānवान् । लोहकारापणः m. a blacksmith's shop, a forge, smithy (K.Pr. 3). -waṭh -वठ् । आघाताधारशिला m. (sg. dat. -waṭas -वटि), the large stone used by a blacksmith as an anvil.

Thus, kharvaṭ may refer to an anvil. Meluhha kāru may refer to a crocodile; this rebus reading of the hieroglyph is.consistent with ayakāra ‘ironsmith’ (Pali) [fish = aya (G.); crocodile = kāru (Telugu)]

See: http://tinyurl.com/q66rshg 

Meluhha hieroglyph on Indus Script Corpora: IE grābhá = karabu 'gharial - Gavialis Gangeticus', rebus: karb 'iron'; khar 'blacksmith'; karibā 'builder, artificer' 

The early glosses signifying crocodile: grābhá m. seizer. (√grabh).(Rigveda) निग्राभ [ nigrābha ] [ ni-grābhá ] m. pressing down , letting sink (Samskritam) In long-a vocalism: grábha- 'action of seizing' vs. grābhá- 'handful, grasp'. ghabh-, 1. ghrebh-, gherbh-, root extension ghrebha- 'to take, grab, seize' (IE) ghreib- 'to grip, grab' (IE) The early forms ghrebha, grābhá have yielded கரவு² karavu, n. < கரா 'alligator' (Tamil). The Khmer word is cognate: krapeh 'crocodile'. Phnom Krapeh means 'Crocodile mountain'. The Vietnamese word is: con sấu. Malay word is: buaya, Javanese
'baya'. Austronesian word for crocodile is: uaea.

Pokorny's dictionary provides the form: grabh 'to capture' which is cognate with the early Tamil form:karavu, karā 'crocodile' and more significantly, the phonetically proximate Khmer form, krapeh 'crocodile'.

karabu is probably, early pronunciation of the Meluhha gloss; the hieroglyph signifying this morphme, which connoted the semantics 'crocodile' presents a rhebus-metonymy-layered gloss: karb 'iron' which can be consistently deciphered on Indus Script -- as demonstrated in this monograph.  karṓti ʻ does ʼ Br̥ĀrUp. [√kr̥1] Pk. karēi, karaï, A. kariba, B. karā, Or.karibā, Mth. karab, Bhoj. karal, OAw. karaï, H. karnā, OMarw. karaï, G. karvũ, M. karṇẽ, Ko. koruka, Si. karaṇavā, inscr. 3 pl. pres. karat  Pa. kārēti ʻ constructs, builds ʼ; Pk. kārēi ʻ causes to be made ʼ;Or. karāibā (CDIAL 2814). This set from Indian sprachbund relates the morpheme karab (and variants) to the semantics: 'constructs, builds'. This is as close as possible to the semantics of an artificer, a vis'vakarman.

See: http://bharatkalyan97.blogspot.in/2015/06/itihasa-of-bharatam-janam-makara-manda.html The hieroglyph components which create the hieroglyph multiplex of makara include: gavialis gangeticus, elephant, fish, fish-tail, tiger. The components signify: kariba (that is, kar + iba, 'crocodile + elephant), 'artificer, builder' PLUS aya 'fish' + kola 'tiger', xolA 'tail' rebus: aya, ayas 'iron, metal' + kole.l 'smithy'. Thus, the makara hieroglyph multiplex signifies as plain text: kariba aya kole.l 'artificer-builder, iron, metal smithy'.

Makara with fish-tails and emergence of a smith, ivory-carver, artificer. Plaque from Casket V. Begram. Site 2, Chamber 10. Ivory. Inv. no.: MG 1901. Makara, eagle panel. Begram. Site 2, Chamber 13. Ivory. Inv. nos.: MA 209, 210.Musee Guimet. 

கரவு² karavu, n. < கரா. cf. grāha. Alligator; முதலை. கரவார்தடம் (திவ். திருவாய். 8, 9, 9). கரா karā , n. prob. grāha. 1. A species of alligator; முதலை. கராவதன் காலினைக்கதுவ (திவ். பெரியதி. 2, 3, 9). 2. Male alligator; ஆண்முதலை. (பிங்.) 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) grāh ग्राह् । ग्राहः m. a crocodile.krum कृम्, (Gr.Gr. 21) krümü कृमू&below;, or (Śiv. 855), kṻrm कू&above;र्म् । कूर्मः m. (f. krumiñü कृमिञू&below;, q.v.), a tortoise (Śiv. 1755, 1817; Rām. 599); a crocodile (only El. krím).(Kashmiri) Gaha2 [Sk. graha, gaṇhāti, q. v. for etym.] "seizer," seizing, grasping, a demon, any being or object having a hold upon man. So at S i.208 where Sānu is "seized" by an epileptic fit (see note in K.S. i.267, 268). Used of dosa (anger) Dh 251 (exemplified at DhA iii.362 by ajagara˚ the grip of a boa, kumbhīla˚ of a crocodile, yakkha˚ of a demon). sagaha having crocodiles, full of e. (of the ocean) (+sarakkhasa) It 57. (Pali)  grāhá (grābhá -- m. ʻ seizing ʼ RV.) ʻ seizing ʼ Yājñ., m. ʻ handle of sword ʼ lex. 2. ʻ rapacious animal living in the water ʼ Mn. [√grah]1. Pa. gāha -- n. ʻ grip, eclipse ʼ; Pk. gāha -- m. ʻ seizing, obstinacy ʼ; Kho. grah ʻ eclipse ʼ, Sh. grã̄ m. or < gráha -- ; S. g̠āha f. ʻ hilt of sword ʼ; Bi. gāhī ʻ third smallest sheaf ʼ; OAw. gāhā ʻ one who takes ʼ; H. gāh m. ʻ seizure, plot ʼ; M. gāhī, gāvī f. ʻ smith's pincers ʼ; Si. inscr. gahe loc. ʻ with regard to the receipt ʼ.2. Pk. gāha -- m. ʻ rapacious animal such as a crocodile ʼ, Kho. grah ʻ water animal which seizes a man in the river, the animal which swallows moon or sun when eclipsed ʼ; Sh. grã̄ m. ʻ crocodile ʼ, K. grāh m., H. gāh m.(CDIAL 4382)

<maGgar>(AB),,<moGgor>(P)  {NA} ``^crocodile''.  *@.  ??VAR.  #21081.

<moGgo>(P)  {?} ``?''.  Cf. <kumirO>.  *Kh.<moGgor>(P) `crocodile, alligator', Sa.<maGgaR>, H.<mAgArA>, O.<mOgOrO>.  %22401.  #22231. (Munda etyma)

karuvu n. Melting: what is melted (Te.)कारु [ kāru ] m (S) An artificer or artisan. 2 A common term for the twelve बलुतेदार q. v. Also कारुनारु m pl q. v. in नारुकारु. (Marathi) कारिगर, कारिगार, कारागीर, कारेगार, कारागार [ kārigara, kārigāra, kārāgīra, kārēgāra, kārāgāra ] m ( P) A good workman, a clever artificer or artisan. 2 Affixed as an honorary designation to the names of Barbers, and sometimes of सुतार, गवंडी, & चितारी. 3 Used laxly as adj and in the sense of Effectual, availing, effective of the end. बलुतें [ balutēṃ ] n A share of the corn and garden-produce assigned for the subsistence of the twelve public servants of a village, for whom see below. 2 In some districts. A share of the dues of the hereditary officers of a village, such as पाटील, कुळकरणी &c. बलुतेदार or बलुता [ balutēdāra or balutā ] or त्या m (बलुतें &c.) A public servant of a village entitled to बलुतें. There are twelve distinct from the regular Governmentofficers पाटील, कुळकरणी &c.; viz. सुतार, लोहार, महार, मांग (These four constitute पहिली or थोरली कास or वळ the first division. Of three of them each is entitled to चार पाचुंदे, twenty bundles of Holcus or the thrashed corn, and the महार to आठ पाचुंदे); कुंभार, चाम्हार, परीट, न्हावी constitute दुसरी orमधली कास or वळ, and are entitled, each, to तीन पाचुंदे; भट, मुलाणा, गुरव, कोळी form तिसरी or धाकटी कास or वळ, and have, each, दोन पाचुंदे. Likewise there are twelve अलुते or supernumerary public claimants, viz. तेली, तांबोळी, साळी, माळी, जंगम, कळवांत, डवऱ्या, ठाकर, घडशी, तराळ, सोनार, चौगुला. Of these the allowance of corn is not settled. The learner must be prepared to meet with other enumerations of the बलुतेदार (e. g. पाटील, कुळ- करणी, चौधरी, पोतदार, देशपांड्या, न्हावी, परीट, गुरव, सुतार, कुंभार, वेसकर, जोशी; also सुतार, लोहार, चाम्हार, कुंभार as constituting the first-class and claiming the largest division of बलुतें; next न्हावी, परीट, कोळी, गुरव as constituting the middle class and claiming a subdivision of बलुतें; lastly, भट, मुलाणा, सोनार, मांग; and, in the Konkan̤, yet another list); and with other accounts of the assignments of corn; for this and many similar matters, originally determined diversely, have undergone the usual influence of time, place, and ignorance. Of the बलुतेदार in the Indápúr pergunnah the list and description stands thus:--First class, सुतार, लोहार, चाम्हार, महार; Second, परीट, कुंभार, न्हावी, मांग; Third, सोनार, मुलाणा, गुरव, जोशी, कोळी, रामोशी; in all fourteen, but in no one village are the whole fourteen to be found or traced. In the Panḍharpúr districts the order is:--पहिली or थोरली वळ (1^st class); महार, सुतार, लोहार, चाम्हार, दुसरी or मधली वळ(2^nd class); परीट, कुंभार, न्हावी, मांग, तिसरी or धाकटी वळ (3^rd class); कुळकरणी, जोशी, गुरव, पोतदार; twelve बलुते and of अलुते there are eighteen. According to Grant Duff, the बलतेदार are सुतार, लोहार, चाम्हार, मांग, कुंभार, न्हावी, परीट, गुरव, जोशी, भाट, मुलाणा; and the अलुते are सोनार, जंगम, शिंपी, कोळी, तराळ or वेसकर, माळी, डवऱ्यागोसावी, घडशी, रामोशी, तेली, तांबोळी, गोंधळी. In many villages of Northern Dakhan̤ the महार receives the बलुतें of the first, second, and third classes; and, consequently, besides the महार, there are but nine बलुतेदार. The following are the only अलुतेदार or नारू now to be found;--सोनार, मांग, शिंपी, भट गोंधळी, कोर- गू, कोतवाल, तराळ, but of the अलुतेदार & बलुते- दार there is much confused intermixture, the अलुतेदार of one district being the बलुतेदार of another, and vice lls. (The word कास used above, in पहिली कास, मध्यम कास, तिसरी कास requires explanation. It means Udder; and, as the बलुतेदार are, in the phraseology of endearment or fondling, termed वासरें (calves), their allotments or divisions are figured by successive bodies of calves drawing at the कास or under of the गांव under the figure of a गाय or cow.) (Marathi)kruciji ‘smith’ (Old Church Slavic) 

Pokorny's dictionary:

Number: 689

Root: ghrebh-1 , gherbh- ; Wurzelweiterung ghrebhā-

English meaning: to grave

German meaning: `take erraffen, rake '

General comments: See. also ghreibh- .

Material: . Ai grabh-, digging `take, take, acquire, capture ', Aor. agrabham , Perf. jagrābha , pass. gr̥hyáte , gr̥bháyant ; grábha- m. `Grasping ', gráha- `cupful '; grápsa- `bush, tuft ', gŕ̥bh-`Take, handle ', gr̥h- `poignant (as 2. Composition member) ', gr̥bhá- m. `Handle ', gŕ̥bhi- `in itself collectively containing ' grābhá- m. `Captors, handful ';    av. digging `grab 'in hǝ̄ngrabǝm ( časmainī ) `I sensed (by eye) ', Perf. jigaurva, gǝurvayeiti (see. ai. gr̥bháyant ) `grabs, holds, receives, perceives', Partiz. .. Perf pass gǝrǝpta- ,digging `version of words, sentence '; . Akk gǝrǝbąm `holding on '; . npers giriftan `take ', GIRAD `take ';
    anord. Grapa `grapsen, per se tear '( p based on Gripa ?), AGS. græppian `take ', Eng. grapple `hold firmly grasp '; next schwed. grabba `pack ', MND. grab, grabbelen `hold fast, gather '(from English. grave , grabble ), MHD. grappeln `keys', Norw. Dial. grafsa, grapsa `scratching, scraping ', German grapsen ; to Swed nasalized. Dial. gramma `grab ', Switzerland.grame `creeping ', Swed. gramsa `handfuls take ', Switzerland. Gramse ds .; . asächs Garva `sheaf ', ahd. Garba `Manipulus' mhd NHG.. Garbe ;
    lit. Grabus, grabnùs `nimble-fingered, turned in stealing ', grabinėti , grabalióti , grabóti `grope for something, grab ', grabstýti `take, pack ', dehnstuf. grėbiu, grėbti `rake, take, steal ';Iterative old. gróbiu , gróbti `take, seize, rob ', Grobis m. `Robbery, loot '; Lett. grebju, grebt also `grab ', Grabas f. . Pl `hoarded ' greblis `small rake ', grâbju, Dig `grab, grasp, Rakes'Grabat Iterative to `to sichgreifen, rake up ';
    . aksl grebǫ , greti `row '., russ Grebu , Gresti . `gather, rake, row ', bulg Greba `raking, scraping, combing, boating, (water) draw ', Greblo `rake, rake, rowing '; . Iterative aksl grabljǫ ,grabiti `steal ', skr. grȁbiti `grab, snatch ', Čech. hrabati `scratch, dig, rake ', etc.
    Root expansion ghrebhā-:
    . Ai gr̥bhnāti, gr̥bhāyáti `grabs, holds, acquires'; New features are: ágrabhīt `took 'Infin. gráhītum , Partiz. gr̥bhītá- `ruled, captured, detained ', grábhītr̥, grahītr̥ `captors'; av. gǝrǝwnāiti, gǝ̄urvāyeiti , Apers. garbāyaiti `take, conquered, receives, perceives, understands'.

References: WP. I 652 f., 95 f .; Trautmann otherwise Kuiper Nasalpräs. 232 interface.

Pages: 455

PIE database

http://starling.rinet.ru/cgi-bin/response.cgi?basename=%5Cdata%5Cie%5Cpokorny&first=681

Gavialis is a genus of crocodylians that includes the living gharial Gavialis gangeticus and several extinct species, including Gavialis bengawanicus, Gavialis breviceps, Gavialis browni, Gavialis curvirostris, Gavialis hysudricus, Gavialis leptodus, Gavialis lewisi, andGavialis pachyrhynchus. Most species, including G. gangeticus, come from the Indian Subcontinent.(Lull, R. S. (1944). "Fossil gavials from north India". American Journal of Science 242 (8): 417–430.) while G. bengawanicus is known from Java. Gavialis likely first appeared in the Indian Subcontinent in the early Miocene around 20 million years ago and dispersed into the Malay Archipelago through a path called the Siva–Malayan route in the Quaternary. Remains attributed to Gavialis have also been found on Sulawesi and Woodlark Island east of the Wallace Line, suggesting a prehistoric lineage of Gavialis was able to traverse marine environments and reach places possibly as far as western Oceania.(Delfino, M.; De Vos, J. (2010). "A revision of the Dubois crocodylians, Gavialis bengawanicus and Crocodylus ossifragus, from the Pleistocene Homo erectus beds of Java". Journal of Vertebrate Paleontology 30 (2): 427.) https://en.wikipedia.org/wiki/Gavialis

The Gharial (Gavialis gangeticus) is a unique species of crocodilian, characterized by its long, thin snout and the bulbous growth at the end of its snout. Though millions of years ago there were several similar species, today the Gharial is the last remaining species of this ancient line, the last surviving species of the family Gavialidae.

The gharial gets its name from the Hindi word “ghara” which means pot. The “ghara” is a bulbous blob begins growing on the nostrils at the tip of the snout as soon as the males reach maturity.  This strange form, called the ghara, turns the hissing noise commonly made by crocodilians into a buzzing noise, as air is forced through the nasal passage. It may also act as a sound amplifier, carrying the produced buzzing sound for great distances across water. The ghara may also help females identify mature males.

A skull of the extinct Gavialis species G. bengawanicus, which lived in the Pleistocene

Males are larger than females and only mature males have a bulbous growth at the end of their snouts.  

http://www.gharialconservationalliance.org/?page_id=216

కారుమొసలి a wild crocodile or alligator. మకరము (p. 938) makaramu makaramu. [Skt.] n. An alligator. మొసలి. The sign of the Zodiac called Capricorn, రాశిభేదము. మకరసంక్రమణము or మకరసంక్రాంతి the passing of the sun into Capricon. This is observed as the Pongul feast. పొంగలిపండుగ. మకరకంఠి makara-kanṭhi. n. A necklace shaped like an alligator. మొసలిమూతులుగల కంఠాభరణము. మకరకుండలము makara-kunḍalamu. n. An earring bearing the figure of a crocodile's head. మొసలిముఖము గల కర్ణభూషణము. మకరతోరణము makara-tōranamu. n. A festoon of cloth shaped like a crocodile, మొసలి మొదలైన రూపములను చిత్రవిచిత్రముగా కుట్టి వీధులలో కట్టే తోరణము. మకరాంకుడు, మకరకేతనుడు or మకరధ్వజుడు makarān-kuḍu. n. An epithet of Manmadha, whose banner is an alligator. మన్మథుడు. మకరాలయము ma-kar-ālayamu. n. The sea. సముద్రము. మకరి makari. n. A crocodile, or alligator. మొసలి. మకరిక or మకరికాపత్రము maka-rika. n. Figures of crocodiles drawn in gold dust on the cheeks or breasts of women, చెక్కిళ్లమీదను రొమ్ములమీదను వ్రాసే మొసలిఆకారము. "మకరీమయరేఖ లురస్థలంబునన్ భావజచిహ్న ముద్రలయిభాసిల." Vij. Vil. xi. 97. మకరివల makari-vala. n. A snare to catch crocodiles. 

కారుకోడె (p. 275) kārukōḍe kāru-kōḍe. [Tel.] n. A bull in its prime. కారుపోతు a wild he buffalo, or bison. Great, big.

मकर--केतन [p= 771,2] m. " having the मकर for an emblem " or " having a fish on his banner " , N. of काम-देव MBh. Ka1v. &c मकर [p= 771,2] m. a kind of sea-monster (sometimes confounded with the crocodile , shark , dolphin &c ; regarded as the emblem of काम-देव [cf. मकर-केतन &c below] or as a symbol of the 9th अर्हत् of the present अवसर्पिणी ; represented as an ornament on gates or on head-dresses) VS. &c; N. of the 10th sign of the zodiac(Capricornus) Su1ryas. Var. &c; one of the 9 treasures of कुबेर L.; one of the 8 magical treasures called पद्मिनी Ma1rkP. மகரம்¹ makaram, n. < makara. 1. See மகரமீன். மணிமகரம் வாய்போழ்ந்து (சீவக. 170). 2. Crocodile; முதலை. (சங். அக.) 3. One of the nine treasures of Kubēra; குபேரனது நவநிதியி லொன்று.

మకరిక or మకరికాపత్రము maka-rika. n. Figures of crocodiles drawn in gold dust on the cheeks or breasts of women, చెక్కిళ్లమీదను రొమ్ములమీదను వ్రాసే మొసలిఆకారము. "మకరీమయరేఖ లురస్థలంబునన్ భావజచిహ్న ముద్రలయిభాసిల." Vij. Vil. xi. 97

வீரமகரம் vīra-makaram, n. < vīra- makara. A fish-shaped emblem being part of the paraphernalia carried before deities or kings; கோயில்மூர்த்தி அல்லது வேந்தர் முன்னிலை யில் எடுக்கும் விருதுவகை. (யாழ். அக.)

মকর (p. 828) makara a mythological aquatic animal; (astrol.) the Capricorn. ̃কেতন ̃কেতু n. the Hindu God of love whose flag bears the symbol of the mythological makar (মকর). ̃ক্রান্তি n. the winter solstice. ক্রান্তিবৃত্ত n. the tropic of Capricorn. ̃ধ্বজ n. a medicinal sublimate of mercury, sulphur and gold. ̃বাহিনী a. fem. riding on the mythological makar (মকর). ☐ n. Goddess Ganga (গঙ্গা). ̃মন্ডল n. the tropic of Capricorn. ̃রাশি n. (astrol.) the Capricorn. ̃সংক্রান্তি n. (astr.) the transition of the sun from the Sagittarius to the Capricornus; (pop.) the winter solstice. (Bengali)


মকরীয় (p. 828) makarīẏa of the Capricorn; of the tropic of Capricorn. মকরীয় শান্তবলয় (geog.) the calms of Capricorn. (Bengali)

mákara1 m. ʻ crocodile ʼ VS.Pa. makara -- m. ʻ sea -- monster ʼ; Pk. magara -- , mayara<-> m. ʻ shark ʼ, Si. muvarā, mōrā, Md. miyaru. -- NIA. forms with -- g -- (e.g. H. G. magar m. ʻ crocodile ʼ) or -- ṅg<-> (S. maṅgar -- macho m. ʻ whale ʼ, maṅguro m. ʻ a kind of sea fish ʼ → Bal. (CDIAL 9692)

Mangura (adj.) [etym.? or=mangula? See J.R.A.S. 1903, 186 the corresponding passage to M i.246 in Lal. v. 320 has madgura.] golden; in cpd. ˚cchavi of golden colour, f. cchavī D i.193, 242; M i.246, 429; ii.33; Vism 184.

Makara [cp. Epic Sk. makara] a mythical fish or sea monster, Leviathan (cp. Zimmer, Altind. Leben 97) J ii.442; iii.188; Miln 131, 377; ThA 204. -- f. makarinī Miln 67. -- dantaka the tooth of a sword fish, used as a pin Vin ii.113, cp. p. 315. -- as a design in painting or carving Vin ii.117. 121, 152; iv.47. In these latter passages it occurs combd with latākamma & pañcapaṭṭhika (q. v.). The meaning is not quite clear.(Pali)

magar 2 मगर् in magar-maʦh मगर्-मछ्; सामुद्रिकमत्स्यविशेषः m. a crocodile (Gr.M.).makar 1 मकर् । कुम्भीरः m. an alligator, a crocodile. Cf. magar 2.makar 2 मकर् । मकरराशिः f. the sign Capricornus of the zodiac (Śiv. 477, Rām. 1276)(Kashmiri)  Some etyma which may be reflexes of mach, masaLe 'fish/crocodile': Ta. mutalai, mutaḷai, mucali crocodile. Ma. mutala. 
Ko. mocaḷ. Ka. mosaḷe, masaḷe. Koḍ. mosale. Tu. mosaḷè, mudalè, mudaḷè, mūdalè. Te. mosali. 
Kol. (Kin.) moseli. Pa. mōca. Konḍa (BB) mōdi, mūdi. Kur. (BB) bōca. Malt. boce. / Cf. Skt. (lex.) mācala- crocodile; (lex.) musali- house-lizard; alligator; Pkt. muduga- = grāhaviśesa-.(DEDR 4952) P نهنګ nahang, s.m. (5th) A crocodile, alligator, or shark. 2. A water-dragon or other such like monster. Pl. نهنګان nahangān.(Pashto)nāˊkra m. ʻ a kind of aquatic animal ʼ VS., nakra -- 1 m. ʻ crocodile, alligator ʼ Mn. [← Drav. and poss. conn. with makara -- J. Bloch BSOS v 739]Pa. nakka -- m. ʻ crocodile ʼ, Pk. ṇakka -- m., Ku. nāko m., H. nākā m., Si. naku. -- H. nākū m. ʻ crocodile ʼ associated by pop. etym. with nāk ʻ nose ʼ < *nakka -- , cf. Ku. nakku ʻ long -- nosed ʼ.(CDIAL 7038)Ka. negar̤,negar̤e alligator. Tu. negaḷů id.; negarů a sea-animal, the vehicle of Varuṇa. Te. (B.) negaḍu a polypus or marine animal supposed to entangle swimmers. / Cf. Skt. nakra- crocodile; nākra- a kind of aquatic animal; Turner, CDIAL, no. 7038. (DEDR 3732)

Santali

Sinhala

मगर (p. 364) magara f (मकर S) An alligator. Sometimes मगर- मासा m. मकर (p. 364) makara m (S) An aquatic monster understood usually of the alligator, crocodile, and shark, but, properly, a fabulous animal. It is the emblem of the god of love. 2 One of the signs of the zodiac. It corresponds with Capricorn. 

nidhāna ...treasure of kubēra the Indian Plutus. There are nine, padma, mahāpadma, śaṅkha, makara, kacchapa, mukunda, nanda, nīla, kharva. 

bārā rāśi f pl The twelve signs of the Zodiac; viz. मेष, वृषभ, मिथुन, कर्क, सिंह, कन्या, तुला, वृश्चिक, धनु, मकर, कुंभ, मीन, answering to Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricornus, Aquarius, Pisces. மகரசங்கிராந்தி makara-caṅkirānti , n. < id. + samkrānti. Entrance of the sun into Capricorn; தைமாதப்பிறப்பு. (I. M. P. Sm. 13.) the 12, as given at Abhp 61 are: mesa, usabha, methuna, kakkata, sīha, kaññā, tulā, vicchikā, dhanu, makara, kumbha, mīna; or the ram, bull, twins, crab, lion, virgin, balance, scorpion bow, capricorn, waterpot, fish) PvA 198. (Pali)

असिः asiḥ [अस्यते क्षिप्यते; अस्-इन् Uṇ.4.139] 1 A sword  -दंष्ट्रः, दंष्ट्रकः the marine monster makara or crocodile (painted on the banner of Kāmadeva).

आकोकेरः ākōkērḥआकोकेरः The sign Capricornus (मकर); (a word of Greek origin).

मरोलिः marōliḥ लिकः likḥमरोलिः लिकः The sea-monster Makara.

मीनरः mīnarḥमीनरः The sea-monster called Makara, q. v.

See: http://tinyurl.com/j37rzkt 

Haematite, magnetite ferrite ores processing, evidence from 19 Harappa Script Meluhha inscriptions

Jiroft artifacts with Meluhha hieroglhyphs referencing dhokra kamar working with metals.

The founder of Mesopotamia’s Akkadian dynasty, Sargon the Great, boasted that: The

ships from Meluhha / the ships from Magan / the ships from Dilmun / he made tie-up alongside / the quay of Akkad (translated by Samuel Noah Kramer). Magan and Dilmun are modern Oman and Bahrain, respectively. This inscription, other cuneiform documents, and recent archaeology in the Arabian Gulf tell us about the maritime activity between Akkad (modern Iraq) and Meluhha (modern Pakistan and India) during the 3rd millennium BCE. A seal in British Museum (ca. 2250 BCE) lists enemies of King Naram-Sin, among them is a 'man of Meluhha' by the name of _ibra.” Meluhha was used as a personal name for some people. Urkal, Ur-dlam were called the ‘son of meluhha’. A person called nin-ana is identified with the village of meluhha. Meluhha was also identified with specific products: giS-ab-ba-me-lu-hha (abba wood); giS-ha-lu-ub (Haluppu wood). 

                               Mohenjodaro; limestone; Mackay, 1938, p. 344, Pl. LXXXIX:376.

Hieroglyph: wallet: *dhōkka1 ʻ sacking, matting ʼ. 2. *dhōkha -- . 3. *dhōṅga -- 2. 4. *ḍhōkka -- 1. [Cf. *ṭōkka -- 1]1. Ext. -- ḍ -- : N. dhokro ʻ large jute bag ʼ, B. dhokaṛ; Or. dhokaṛa ʻ cloth bag ʼ; Bi. dhŏkrā ʻ jute bag ʼ; Mth. dhokṛā ʻ bag, vessel, receptacle ʼ; H. dhukṛī f. ʻ small bag ʼ; G. dhokṛũ n. ʻ bale of cotton ʼ; -- with -- ṭṭ -- : M. dhokṭī f. ʻ wallet ʼ; -- with -- n -- : G. dhokṇũ n. ʻ bale of cotton ʼ; -- with -- s -- : N. (Tarai) dhokse ʻ place covered with a mat to store rice in ʼ.2. L. dhohẽ (pl. dhūhī˜) m. ʻ large thatched shed ʼ.3. M. dhõgḍā m. ʻ coarse cloth ʼ, dhõgṭī f. ʻ wallet ʼ.4. L. ḍhok f. ʻ hut in the fields ʼ; Ku. ḍhwākā m. pl. ʻ gates of a city or market ʼ; N. ḍhokā (pl. of *ḍhoko) ʻ door ʼ; -- OMarw. ḍhokaro m. ʻ basket ʼ; -- N. ḍhokse ʻ place covered with a mat to store rice in, large basket ʼ.(CDIAL 6880)

Rebus: dhokra 'cire perdue metalcasting artisan'

Meluhha vernacular of Indian sprachbund

kuṭire bica duljad.ko talkena, ‘they were feeding the furnace with ore’. (Santali) This use of bica in the context of feeding a smelter clearly defines bica as ‘stone ore, mineral’, in general.

kuṭhi  ‘vagina’; rebus: kuṭhi  ‘smelting furnace bichā 'scorpion' (Assamese). Rebus: bica 'stone ore' as in meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.) dul 'pair, likeness' Rebus: dul 'cast metal' (Santali) Thus the hieroglyphs connote a smelter for smelting and casting metal stone ore.

Glyph of a crocodile and a lying-in woman

This glyph is part of one side of h180 Harappa tablet. A sequence of signs is repeated on both sides of the tablet.

h705B, h172B Harappa tablets show variants of crocodile hieroglyph.

The object between the outspread legs of the woman lying upside down is comparable orthography of a crocodile holding fiish in its jaws shown on tablets h705B and h172B. The snout of the crocodile is shown in copulation with the lying-in woman (as seen from the enlarged portion of h180 Harappa tablet).

Hieroglyph: r-an:ku, ran:ku = fornication, adultery (Telugu) Rebus: ranku ‘tin’ (Santali)

Hieroglyph: kamḍa, khamḍa 'copulation' (Santali) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Glyph: kuṭhi = pubes. Hieroglyph: kuṭhi pubes (lower down than paṇḍe) (Santali), pudendum muliebre (Munda, Santali) Cognates: koṭṭha (m. nt.) [Sk. koṣṭha abdomen, any cavity for holding food, cp. kuṣṭa groin, and also Gr.ku/tos cavity, ku/sdos pudendum muliebre, ku/stis bladder = E. cyst, chest; Lat. cunnus pudendum. kuṭhi = the womb, the female sexual organ; sorrege kuṭhi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. koṭhī, the womb) (Santali.Bodding) kōṣṭha = anyone of the large viscera (MBh.); koṭṭha = stomach (Pali.Pkt.); kuṭṭha (Pkt.); koṭhī heart, breast (L.); koṭṭhā, koṭhābelly (P.); koṭho (G.); koṭhā (M.)(CDIAL 3545). kottha pertaining to the belly (Pkt.); kothā corpulent (Or.)(CDIAL 3510). koṭho [Skt. koṣṭha inner part] the stomach, the belly (Gujarat)  kūti = pudendum muliebre (Ta.); posteriors, membrum muliebre (Ma.); ku.0y anus, region of buttocks in general (To.); kūdi = anus, posteriors, membrum muliebre (Tu.)(DEDR 188). kūṭu = hip (Tu.); kuṭa = thigh (Pe.); kuṭe id. (Mand.); kūṭi hip (Kui)(DEDR 1885). gūde prolapsus of the anus (Ka.Tu.); gūda, gudda id. (Te.)(DEDR 1891). 

Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) 

Rebus: kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuṭhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (Santali. Bodding)  kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam  = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhābrick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati) 

See: http://bharatkalyan97.blogspot.in/2015/06/meluhha-hieroglyph-on-indus-script.html

A symbolism of a woman spreading her legs apart, which recurs on an SSVC inscribed object. Cylinder-seal impression from Ur showing a squatting female. L. Legrain, 1936, Ur excavations, Vol. 3, Archaic Seal Impressions.

[cf. Nausharo seal with two scorpions flanking a similar glyph with legs apart. This glyphic composition depicts a smelting furnace for stone ore as distinguished from a smelting furnace for sand ore. meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)

byucu बिचु; । वृश्चिकः m. (sg. dat. bicis बिचिस्), a scorpion (Kashmiri), WPah.bhal. biċċū m., cur. biccū, bhiḍ. biċċoṭū n. ʻ young scorpionʼ (CDIAL 12081). Rebus: bica, bica-diri (Sad. bicā; Or. bicī) stone ore; meṛeḍ bica, stones containing iron; tambabica, copper-ore stones; samṛobica, stones containing gold (Mundari.lex.) 

dula 'pair' rebus: dul 'cast (metal)' (Santali). Hence the scorpion pair are shown on either side of the female of the Ur seal impression reported by Legrain. Pair of tigers: kola 'tiger' rebus: kol 'working in iron' (Tamil) The pair of tigers connote dul 'cast (metal)', as on the glyphs of a pair of scorpions.

kut.hi, kut.i (Or.; Sad. kot.hi) (1) the smelting furnace of the blacksmith; kut.ire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of e_kut.i has been given to the fire which, in shellac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kut.hi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari.lex.)
kut.hi = pubes. kola ‘foetus’ [Glyph of a foetus emerging from pudendum muliebre on a Harappa tablet.] kut.hi = the pubes (lower down than pan.d.e) (Santali.lex.) kut.hi = the womb, the female sexual organ; sorrege kut.hi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. kot.hi_, the womb) (Santali.Bodding)

In Meluhha hieroglyphs (Indus writing of Asuras or Assur), some extraordinary glyphs show bizarre copulation scenes involving crocodile or intercourse a tergo, pudendum muliebre, scorpions...

Hieroglyphs (allographs): 

kamaḍha 'penance' (Prakrit) 

kamḍa, khamḍa 'copulation' (Santali)

kamaṭha crab (Skt.)

kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.)  kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit)

kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) 

Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.)  kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil)

Hieroglyph: kuṭhi pubes (lower down than paṇḍe) (Santali), pudendum muliebre (Munda, Santali) Cognates: koṭṭha (m. nt.) [Sk. koṣṭha abdomen, any cavity for holding food, cp. kuṣṭa groin, and also Gr.ku/tos cavity, ku/sdos 

pudendum muliebre, ku/stis bladder = E. cyst, chest; Lat. cunnus pudendum. kuṭhi = the womb, the female sexual organ; sorrege kuṭhi menaktaea, tale tale gidrakoa lit. her womb is near, she gets children continually (H. koṭhī, the womb) (Santali.Bodding) kōṣṭha = anyone of the large viscera (MBh.); koṭṭha = stomach (Pali.Pkt.); kuṭṭha (Pkt.); koṭhī heart, breast (L.); koṭṭhā, koṭhābelly (P.); koṭho (G.); koṭhā (M.)(CDIAL 3545). kottha pertaining to the belly (Pkt.); kothā corpulent (Or.)(CDIAL 3510). koṭho [Skt. koṣṭha inner part] the stomach, the belly (Gujarat)  kūti = pudendum muliebre (Ta.); posteriors, membrum muliebre (Ma.); ku.0y anus, region of buttocks in general (To.); kūdi = anus, posteriors, membrum muliebre (Tu.)(DEDR 188). kūṭu = hip (Tu.); kuṭa = thigh (Pe.); kuṭe id. (Mand.); kūṭi hip (Kui)(DEDR 1885). gūde prolapsus of the anus (Ka.Tu.); gūda, gudda id. (Te.)(DEDR 1891).

See: http://bharatkalyan97.blogspot.in/2014/01/4000-year-old-erotica-hieroglyphs-of.html

Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) 

Rebus: kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuṭhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (Santali. Bodding)  kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam  = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhābrick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati) 

The squatting woman on the Ur cylinder seal impression may be showing dishevelled hair providing for rebus reading: <rabca?>(D)  {ADJ} ``with ^dishevelled ^hair''.  Rebus: రాచ (adj.) Pertaining to a stone. bicha, bichā ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.) sambr.o bica = gold ore (Mundarica)  Thus, the reading of the Ur cylinder seal impression may depict: meṛed-bica ‘iron stone-ore’ kuṭhi‘smelter, furnace’.

Rahman-dheri seal. Obverse: Two scorpions. Two holes. One T glyph. One frog in the middle. Reverse: two rams.

1.mūxā  ‘frog’. Rebus: mũh ‘(copper) ingot’ (Santali) Allograph: mũhe ‘face’ (Santali)

2.bicha ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.)

3.tagaru ‘ram’ (Tulu) Rebus: tagarm ‘tin’ (Kota). damgar ‘merchant’ (Akk.)  miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt, meD 'iron' (Santali.Mu.Ho.)

4.T-glyph may denote a fire altar like the two fire-altars shown on Warrka vase below two animals: antelope and tiger. kand ‘fire-altar’ (Santali)

5.Two holes may denote ingots. dula ‘pair’ Rebus: dul ‘cast’ (Santali)

T-glyph may denote a fire altar like the two fire-altars shown on Warrka vase below two animals: antelope and tiger. kand ‘fire-altar’ (Santali) Two T symbols shown below the hieroglyphs of markhor and tiger on Warka vase. The T symbol on the vase also shows possibly fire on the altars superimposed by bun-ingots.kand ‘fire-altar’ (Santali)

Hieroglyph: mūxā  ‘frog’. Rebus: mũh ‘(copper) ingot’ (Santali) Allograph: mũhe ‘face’ (Santali)

kola ‘woman’ Rebus: kol ‘working in iron’

kuṛī f. ʻ girl’ Rebus: kuṭhi ‘smelter’ 

Brass-worker catalog of implements and repertoire:There are five hieroglyphs on the cylinder seal (Figure 270): ‘dishevelled hair’, ‘pudendum muliebre’, ‘lizard’, ‘scorpion’, ‘woman’. The accent is on the sting of the scorpion: koṭṭu (koṭṭi-) to sting (as a scorpion, wasp) (Tamil) Rebus: Pk. koṭṭaga -- m. ʻ carpenter ʼ, koṭṭila -- , °illa -- m. ʻ mallet ʼ. (DEDR 3236). koṭṭu-k-kaṉṉār  brass-workers. the woman is shown with disheveled hair. A lizard is also shown in the field together with a scorpion (bica). <raca>(D)  {ADJ} ``^dishevelled'' (Munda) rasāṇẽ n. ʻglowing embersʼ (Marathi). rabca ‘dishevelled’ Rebus: రాచ rāca (adj.) Pertaining to a stone (ore) (bica).

Kassite kudurru. http://www.arthistory.upenn.edu/spr03/422/January-March/422January-March.html

See: http://www.matrifocus.com/IMB06/spotlight.htm

On kudurru, boundary stones, the metaphorical, metonymy display of hieroglyphs including scorpion or ligatured scorpion-bird-man with bow and arrow may be explained in a number of ways. I suggest that the scorpion hieroglyph is central to the metalwork traditions. In kole.l 'smithy' these hieroglyphs become divine in kole.l 'temple'. The use of the same gloss to signify both smithy and temple should lead to a hypothesis that the early Bronze Age metalwork was a sacred activity by artisans struck with awe and wonder at the transmutation of mere earth or sand or stones into metal artifacts either as castings cire perdue or as weapons, tools by a kuThAru 'armourer' Hieroglyph: kuThAru 'monkey'.

The stone ore of dhatugarbha, dagoba, becomes sacred and a sacred symbol venerated as witness to dharma-dhamma, cosmic phenomena.

Hieroglyph: ti-dhAtu 'three strands' Rebus: ti-dhAtu 'three red stone ores: magnetite, hematite, laterite'. 

The three ores are: poLa 'magnetite', bica 'hematite', goTa 'laterite'. The hieroglyphs signifying these mineral ores are: poLa 'zebu', bica 'scorpion' goTa 'round object or seed'.

Some associated hieroglyphs on the 14 seals/artifacts are: 

 

Hieroglyph: poLa 'zebu' Rebus: poLa 'magnetite' (Fig.1)

Hieroglyph: bica 'scorpion' Rebus: bica 'hematite' (Fig.4)

Hieroglyph: karaNDava 'aquatic bird' Rebus: karaDa 'hard alloy'. (Fig.7)
Hieroglyph: kuThAru 'monkey' Rebus: kuThAru 'armourer'. (Fig.2)
Hieroglyph: arye 'lion' (Akkadian) Rebus: arA 'brass'. (Fig.2)
Hieroglyph: eruvai 'kite' Rebus: eruvai 'copper'. (Fig.13)
Hieroglyph: eraka 'wing' Rebus: eraka 'moltencast copper'. (Fig.14)
Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' (Fig.2)
Hieroglyph: ranku 'antelope' Rebus: ranku 'tin'. (Fig.4)

Hieroglyph: kolmo 'rice plant' Rebus: kolimi 'smithy/forge' (Fig.1)

Hieroglyph: dula 'pair' Rebus: dul 'cast metal'. (Fig.3)

The semantic elaboration of dhāv 'a red stone ore' is identified in the gloss: dhā̆vaḍ 'iron-smelters'. There is a place-name in Karnataka called dhā̆rvā̆ḍ 

The suffix  -vā̆ḍ in the place-name is also explained in the context of ‘rope’ hieroglyph: vaṭa2 ʻ string ʼ lex. [Prob. ← Drav. Tam. vaṭam, Kan. vaṭi, vaṭara, &c. DED 4268]  vaṭa- string, rope, tie; vaṭāraka-, vaṭākara-, varāṭaka- cord, string(DEDR 5220). 

Dhā̆rvā̆ḍ  is an ancient major trading down dealing -- even today -- with iron ore and mineral-belt of Sahyadri mountain ranges in western Karnataka. The word dhāv is derived from dhātu which has two meanings: 'strand of rope' (Rigveda)(hieroglyph) and 'mineral' (metalwork ciphertext of Indian sprachbund.)

A Proto-Dilmun seal? Source: https://www.academia.edu/7837834/From_rags_to_riches_three_crucial_steps_in_Dilmun_s_rise_to_fame_poster_-_HIGH_RESOLUTION_FIGS._1-4

kolmo 'rice-plant' Rebus: kolimi 'smithy, forge' melh 'goat' Rebus: milakkhu 

'copper' bica 'scorpion' Rebus: bica 'laterite' kulA 'hooded serpent' Rebus: kolhe 

'smelter'.

A tablet surface find from Rajanpur (site first reported by Muhammad Hassan during the Punjab Survey of 1986) 70 km. northeast of Harappa is a revelation of a Bronze Age knowledge system. It signifies the alloying and metalcasting by Meluhha artisans using zinc and iron ores (bichi 'hematite, stone ore') and a large portable furnace: kanga.

Rajanpur, 77 km. northeast of Harappa, on west bank of Ravi river.

Rajanpur surface find tablet. Rajanpur is 70 km. northeast of Harappa. (Courtesy: Kenoyer, JEM)

Rajanpur Tablet Side A sattva 'svastika' rebus: sattva, jasta 'zinc' baTa 'rimless pot' rebus: bhaTa 'furnace' baTa 'iron' gaNDa 'four' Rebus: khaNDa 'implements'. Alternative: kolmo 'three' rebus: kolimi 'smithy, forge'.Thus, zinc and iron implements (smithy)

Rajanpur Tablet Side B khareḍo = a currycomb (Gujarati) खरारा [ kharārā ] m ( H) A currycomb. 2 Currying a horse. (Marathi) Rebus: 1. करडा [karaḍā] Hard alloy.  kharādī ' turner' (Gujarati) karNaka, kanka 'rim of jar'; rebus: karNI 'Supercargo' karNika 'scribe, account' dATu 'cross' rebus: dhatu 'mineral' 

Crook  मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron' Scorpion bicha 'scorpion' Rebus: bica 'stone ore' bichi 'hematite (iron ore)' Thus, a turner working as Supercargo (responsible for shipment of) minerals, ferrite hematite ore. Thus, both sides of Rajanpur tablet show zinc and iron hematite ore metalwork implements.

Hieroglyphs and decipherment: 

Four Linear strokes gaNDa 'four' Rebus: khaNDa 'implements'
Rimless pot baTa 'rimless pot' Rebus: baTa 'iron' bhaTa 'furnace'
svastika sattva 'svastika glyph' Rebus: sattva, jasta 'zinc'

Scorpion bicha 'scorpion' Rebus: bica 'stone ore' bichi 'hematite (iron ore)'
Crook  मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron'
Crossing dATu 'cross' Rebus: dhatu 'mineral'
Rim of jar  karNIka 'rim of jar' Rebus: karNI 'supercargo' karNIka 'scribe'
Comb कंकवा (p. 123) [ kaṅkavā ] m A sort of comb. See कंगवा. कोंगें (p. 180) [ 
kōṅgēṃ ] n A long sort of honeycomb.Rebus: kanga 'portable furnace' Rebus: 
kangar 'large brazier': *kāṅgārikā ʻpoor or small brazierʼ.

The tablet is thus a metalwork catalog: alloy implements with zinc, hematite, 
iron ore, portable furnace supercargo. A documentation of the metallurgical competence of the artisan (guild) and an advancement in the knowledge systems conveyed by Indus Script inscriptions signifying knowledge of a mineral which was zinc iron sulfide. This mineral is called sphalerite ((Zn,Fe S) is a mineral -- zinc iron sulfide-- that is the chief ore of zinc. It consists largely of zinc sulfide in crystalline form but almost always contains variable iron. 

Sphalerite on dolomite from the Tri-State District, Jasper County, Missouri, US

Spelter is a solder or other alloy in which zinc is the mainconstituent.Spelter is impure zinc, usually 

containing about 3 per cent of lead and other impuritiesSpelter is generally in the form of ingots cast in slabs. 

பித்தளை pittaḷai , n. < pittalā. [K. hittaḷē.] Brass, Aurichalcum; செம்பும் நாகமுங் கலந்த உலோகவகை. ஈயம் செம்பிரும் பிரசித மென்பவும் புணர்ப்பாற் றோயும் பித்தளை (திருவிளை. இரசவாத. 23). spelter zinc XVII; zinc alloy XIX. corr. to OF. espeautre, MDu. speauter (Du.spiauter), LG. spialter; rel. to PEWTER. Thus, spelter may relate to either pewter or to pital. pittala2 n. ʻ brass ʼ lex. [pītala -- 2 n. ʻ brass ʼ lex. -- Cf. pītala -- Pk. pittala -- n. ʻ brass ʼ; P. pittal m. (→ S. pitalu m.), Ku. pĭ̄tal, N. A. B. pital, Or. pitaḷa, Bi. Bhoj. pītar, H. pītal m., G. pĭ̄taḷ n., M. pitaḷ n. -- Deriv.: P.pitlī, °līā ʻ brazen ʼ; A. pitalīyā ʻ made of brass ʼ; -- Ku. pitlaiṇo ʻ tasting of brass, rather bitter ʼ; H. pitrāī f. ʻ verdigris ʼ.paittala -- ; pittalagandha -- .Addenda: pittala -- 2: S.kcch. pittar m. ʻ brass ʼ, WPah.kṭg. pitəḷ m., J. pitḷ m.(CDIAL 8184) H. pitarāĩdh f. ʻ smell or taste of brass ʼ

Soldering at a red heat by means of spelter is calledbrazing.."Spelter, while sometimes used merely as a synonym for zinc, is often used to identify a zinc alloy. In this sense it might be an alloy of equal parts copper and zinc, i.e. a brass, used for hard soldering and brazing, or as an alloy, containing lead,..Zinc ingots formed by smelting might also be termed spelter"

https://en.wikipedia.org/wiki/SpelterHypertext formation in Harappa Script explained by Dennys Frenez & Massimo Vidale

Harappan chimaera and its hypertextual components. Harappan chimera and its hypertextual components. The 'expression' summarizes the syntax of Harappan chimeras within round brackets, creatures with body parts used in their correct  anatomic position (tiger, unicorn, markhor goat, elephant, zebu, and human); within square brackets, creatures with body parts used to symbolize other anatomic elements (cobra snake for tail and human arm for elephant proboscis); the elephant icon as exonent out of the square brackets symbolizes the overall elephantine contour of the chimeras; out of brackes, scorpion indicates the animal automatically perceived joining the lineate horns, the human face, and the arm-like trunk of Harappan chimeras. (After Fig. 6 in: Harappan chimaeras as 'symbolic hypertexts'. Some thoughts on Plato, Chimaera and the Indus Civilization (Dennys Frenez & Massimo Vidale, 2012).

Dennys Frenez and Massimo Vidale focus attention on pictorial motifs and on m0300 seal, identify a number of hieroglyph components constituting the hieroglyph-multiplex -- on the pictorial motif of 'composite animal', seen are hieroglyph components (which they call hypertextual components): serpent (tail), scorpion, tiger, one-horned young bull, markhor, elephant, zebu, standing man (human face), man seated in penance (yogi).  

The yogi seated in penance and other hieroglyphs are read rebus in archaeometallurgical terms: kamaDha 'penance' (Prakritam) rebus: kampaTTa 'mint'. Hieroglyph: kola 'tiger', xolA 'tail' rebus:kol 'working in iron'; kolle 'blacksmith'; kolhe 'smelter'; kole.l 'smithy'; kolimi 'smithy, forge'. खोड [khōṇḍa ] m A young bull, a bullcalf (Marathi) rebus: khond 'turner'. dhatu 'scarf' rebus: dhatu 'minerals'.bica 'scorpion' rebus: bica 'stone ore'. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (Gujarati) Rebus:meḍ (Ho.); mẽṛhet ‘iron’ (Mu.Ho.) mẽṛhet iron; ispat m. = steel; dul m. = cast iron (Munda) kara'elephant's trunk' Rebus: khar 'blacksmith'; ibha 'elephant' rebus: ib 'iron'. Together: karaibā 'maker, builder'.

Use of such glosses in Meluhha speech can be explained by the following examples of vAkyam or speech expressions as hieroglyph signifiers and rebus-metonymy-layered-cipher yielding signified metalwork:

Example 1: mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (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; mūhā mẽṛhẽt= iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends;kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) kaula mengro‘blacksmith’ (Gypsy) mleccha-mukha (Samskritam) = milakkhu ‘copper’ (Pali) The Samskritam glossmleccha-mukha should literally mean: copper-ingot absorbing the Santali gloss, mũh, as a suffix.


Example 2: samṛobica, stones containing gold (Mundari) samanom = an obsolete name for gold (Santali) [bica ‘stone ore’ (Munda): meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda)].

In addition to the use of hieroglyph-components to create hieroglyph-multiplexes of pictorial motifs such as 'composite animals', the same principle of multiplexing is used also on the so-called 'signs' of texts of inscriptions. 

Smithy with an armourer

http://www.harappa.com/indus/32.html Seal. Mohenjo-daro. Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols. In the centre is a horned crocodile (gharial) surrounded by other animals including a monkey.

In these seals of Mohenjo-daro ‘horned crocodile’ or scorpion hieroglyph is the center-piece surrounded by hieroglyphs of a pair of bullocks, elephant, rhinoceros, tiger looking back and a monkey-like creature. 

Obverse of m1395 and m0441 had the following images of a multi-headed tiger.

 

Ta. kōṭaram monkey. Ir. kōḍa (small) monkey;  kūḍag  monkey.  Ko. ko·ṛṇ small monkey. To. kwṛṇ  monkey.  Ka. kōḍaga monkey, ape. Koḍ. ko·ḍë monkey. Tu.  koḍañji, koḍañja, koḍaṅgů baboon. (DEDR 2196). kuṭhāru = a monkey (Sanskrit) Rebus: kuṭhāru ‘armourer or weapons maker’(metal-worker), also an inscriber or writer.

Pa. kōḍ (pl. kōḍul) horn; Ka. kōḍu horn, tusk, branch of a tree; kōr horn Tu. kōḍů, kōḍu horn Ko. kṛ (obl. kṭ-)( (DEDR 2200) Paš. kōṇḍā ‘bald’, Kal. rumb. kōṇḍa ‘hornless’.(CDIAL 3508). Kal. rumb. khōṇḍ a ‘half’ (CDIAL 3792).

Rebus: koḍ 'workshop' (Gujarati) Thus, a horned crocodile is read rebus: koḍ khar 'blacksmith workshop'. khar ‘blacksmith’ (Kashmiri) kāruvu ‘crocodile’ Rebus:  ‘artisan, blacksmith’.

Hieroglyph: Joined animals (tigers): sangaḍi = joined animals (M.) 

Rebus 1: sãgaṛh m. ʻ line of entrenchments, stone walls for defence ʼ (Lahnda)(CDIAL 12845) 

Rebus 2: sang संग् m. a stone  (Kashmiri) sanghāḍo (G.) = cutting stone, gilding; sangatarāśū = stone cutter; sangatarāśi = stone-cutting; sangsāru karan.u = to stone (S.), cankatam = to scrape (Ta.), sankaḍa (Tu.), sankaṭam = to scrape (Skt.) 

kol 'tiger' Rebus: kol 'working in iron'. Thus, the multi-headed tiger yields one reading: rebus: kol sangaḍi 'fortified place for metal (& ore stone) workers'.

Rebus 3: saMghAta 'caravan'

Thus, the three tigers together with wings reads: eraka kol saMghAta 'moltencast metal, iron worker caravan'.

सं-घात b [p= 1130,1] a company of fellow-travellers , caravan VP. close union or combination , collection , cluster , heap , mass , multitude TS. MBh. &c (Monier-Williams)

सं-गत [p= 1128,2] mfn. come together , met , encountered , joined , united AV. &cm. (scil. संधि) an alliance or peace based on mutual friendship Ka1m. Hit.n. frequent meeting , intercourse , alliance , association , friendship or intimacy with (instr. gen. , or comp.) Kat2hUp. Mn. MBh. &n.  agreement MBh.fitted together , apposite , proper , suitable , according with or fit for (comp.) Ka1v. Katha1s. (Monier-Williams)

Three entwined winged tigers (Sanchi)  kola ‘tiger, jackal’ (Konkani.) kul ‘tiger’ (Santali); kōlu id. (Telugu) kōlupuli = Bengal tiger (Te.) कोल्हा [ kōlhā ] कोल्हें [kōlhēṃ] A jackal (Marathi) Rebus: kol, kolhe, ‘the koles, iron smelters speaking a language akin to that of Santals’ (Santali) kol ‘working in iron’ (Tamil)

 Phonetic determinant glyph: kola, kōlu ‘jackal, jackal’ (Kon.Telugu) kul ‘the tiger, felis tigris’ (Santali) कोला [ kōlā ] m (Commonly कोल्हा) A jackal. कोल्हें [ kōlhēṃ ] n A jackal. Without reference to sex. Pr. अडलें कोल्हें मंगळ गाय Even the yelling jackal can sing pleasantly when he is in distress. कोल्हें लागलें Applied to a practical joke. केल्हेटेकणें or कोल्हेटेकण [ kēlhēṭēkaṇē or ṅkōlhēṭēkaṇa ] n Gen. in obl. cases with बस or ये, as कोल्हेटेकण्यास बसणें To sit cowering; to sit as a jackal.कोल्हेटेकण्यास येणें To be arrived at or to be approaching the infirmities of age. 2 To be approaching to setting;--used of the sun or the day, when the sun is conceived to be about that distance from the horizon as a jackal, when he rests on his hinder legs, is from the ground. कोल्हेभूंक [ kōlhēbhūṅka ] or -भोंक f (कोल्हा & भुंकणें To bark.) The yelling of jackals. 2 Early dawn; peep of day. कोल्हेहूक [ kōlhēhūka ] f The yelling of jackals. 2 fig. Assailing or setting upon with vehement vociferations. (Marathi) See: http://bharatkalyan97.blogspot.in/2011/10/itihasa-and-eagle-narratives.html

kul tiger; kul dander den of tiger; an.d.kul to become tiger; hudur. to growl as tiger; maran. d.at.kap kul a big-headed tiger (Santali.lex.) kolo, kolea_ jackal (Kon.lex.) ko_lhuya-, kulha- jackal (Pkt.)[cf. kul.l.a-nari jackal (Ta.)(DEDR 1839)]; kolha_, ko_ jackal; adj. crafty (H.); kohlu~, kolu~ jackal (G.); kolha_, kola_ (M.)(CDIAL 3615). karaj a jackal (Santali.lex.) kudke fox (Kor.); kudike jackal (Tu.); kudka id. (Ka.); kor-o naka jackal (small in size, opposed to peri naka)(Kond.a)(DEDR 1851). kulaippu barking, snarling (Ta.)(DEDR 1811). ko_lupuli = big tiger (Te.)

Allograph: kola ‘woman’ (Nahali); kolami ‘forge’ (Te.).kolhe ‘iron smelter’ (Santali) kol, kolhe ‘the koles, an aboriginal tribe of iron smelters akin to that of the Santals’ (Santali) kola bride, son's wife, younger brother's wife (Nk.); koral younger brother's wife; kommal (pl. kommasil) daughter (Nk.); kor.ol bride (Pa.); kor.al son's wife, younger brother's wife; kod.us-, kod.c- to sprout (Ga.); kor.iya ga_r. son's wife, younger brother's wife (Mand..); kur.a, kr.ua, kr.uha wife (Kui); kur.ia, ku_ria daughter-in-law; kur.va younger brother's wife (Kuwi); kor.gi young (of children); qro infant (Malt.); xarruni_ wife (Br.)(DEDR 2149). kur.i_ woman, wife (Phal.); ku_ru young girl; ko_r.i_, kur.hi_ (K.); kur.a_ bridegroom (L.); kur.i_ girl, virgin, bride; woman (L.); girl, daughter (P.); kur.i, kul.i_, kol.a_ boy; kur.i_ girl (WPah.); a~_t.-kur.a_ childless (a~_t.a tight)(B.); ko_ son; ku_i_ daughter (WPah.); ko son; koi daughter; kua_, ko_i_, koa_, ku_i_ (WPah.)(CDIAL 3245). kur.matt relationship by marriage (P.)(CDIAL 3234). kola ‘woman’ (Nahali. Assamese).

Furnace: kola_ burning charcoal (L.P.); ko_ila_ burning charcoal (L.P.N.); id. (Or.H.Mth.), kolla burning charcoal (Pkt.); koilo dead coal (S.); kwelo charcoal (Ku.); kayala_ charcoal (B.); koela_ id. (Bi.); koilo (Marw.); koyalo (G.)(CDIAL 3484). < Proto-Munda. ko(y)ila = kuila black (Santali): all NIA forms may rest on ko_illa.] koela, kuila charcoal; khaura to become charcoal; ker.e to prepare charcoal (Santali.lex.) kolime, mulime, kolume a fire-pit or furnace (Ka.); kolimi (Te.); pit (Te.); kolame a very deep pit (Tu.); kulume kanda_ya a tax on blacksmiths (Ka.); kol, kolla a furnace (Ta.); kolla a blacksmith (Ma.); kol metal (Ta.)(Ka.lex.) kol iron smelters (Santali.lex.) cf. kol working in iron, blacksmith (Ta.)(DEDR 2133). Temple; smithy: kol-l-ulai blacksmith's forge (kollulaik ku_t.attin-a_l : Kumara. Pira. Ni_tiner-i. 14)(Ta.lex.) kollu- to neutralize metallic properties by oxidation (Ta.lex.) kole.l smithy, temple in Kota village (Ko.); kwala.l Kota smithy (To.); kolmi smithy (Go.)(DEDR 2133). kollan--kamma_lai < + karmas'a_la_, kollan--pat.t.arai, kollan-ulai-k-ku_t.am blacksmith's workshop, smithy (Ta.lex.) lohsa_ri_ smithy (Bi.)(CDIAL 11162). cf. ulai smith's forge or furnace (Na_lat.i, 298); ulai-k-kal.am smith's forge; ulai-k-kur-at.u smith's tongs; ulai-t-turutti smith's bellows; ulai-y-a_n.i-k-ko_l smith's poker, beak-iron (Ta.lex.) Self-willed man: lo_hala made of iron (Skt.); lohar, lohariyo self-willed and unyielding man (G.)(CDIAL 11161). cf. goul.i, goul.ia_ herdsman (Kon.lex.) goil cowhouse, hut, pasture ground (P.); gol drove of cattle sent to another village (P.); go_uliya herdsman (Pkt.); goili_ (P.)(CDIAL 4259). kol brass or iron bar nailed across a door or gate; kollu-t-tat.i-y-a_n.i large nail for studding doors or gates to add to their strength (Ta.lex.) Tool-bag: lokhar bag in which a barber keeps his tools (N.); iron tools, pots and pans (H.); lokhar. iron tools (Ku.); lokhan.d. iron tools, pots and pans (H.); lokha~d. tools, iron, ironware (G.); iron (M.)(CDIAL 11171). lod.hu~ pl. carpenter's tools (G.)(CDIAL 11173). karuvi-p-pai instrument-case; barber's bag (Ta.lex.) cf. karuvu-kalam treasury, treasure-house (Ta.lex.) Cobbler's iron pounder: lohaga~ga_, lahau~ga_ cobbler's iron pounder (Bi.); leha~ga_ (Mth.); luha~_gi_ staff set with iron rings (P.); loha~_gi_ (H.M.); lavha~_gi_ (M.); laha~_gi_, loha~gi_ (M.)(CDIAL 11174). Image: frying pan: lohra_, lohri_ small iron pan (Bi.)(CDIAL 11160). lo_hi_ any object made of iron (Skt.); pot (Skt.); iron pot (Pkt.); lo_hika_ large shallow wooden bowl bound with iron (Skt.); lauha_ iron pot (Skt.); loh large baking iron (P.); luhiya_ iron pan (A.); lohiya_ iron or brass shallow pan with handles (Bi.); lohiyu~ frying pan (G.)(CDIAL 11170). lauhabha_n.d.a iron pot, iron mortar (Skt.); lo_habhan.d.a copper or brass ware (Pali); luha~_d.ir.i_ iron pot (S.); luha~_d.a_ (L.); frying pan (P.); lohn.d.a_, lo~_hd.a_ (P.); luhu~r.e iron cooking pot (N.); lohora_ iron pan (A.); loha~r.a_ iron vessel for drawing water for irrigation (Bi.); lohan.d.a_, luhan.d.a_ iron pot (H.); lod.hu~ iron, razor (G.)[cf. xolla_ razor (Kur.); qole id. (Malt.); hola'd razor (Santali)(DEDR 2141)]; lod.hi_ iron pan (G.)(CDIAL 11173).

Rebus: kolimi 'smithy-forge'; kola 'tiger' Rebus: kol 'working in iron' kolhe 'smelters' kole.l 'smithy, temple'; eraka 'wing' Rebus: eraka 'copper'.

The artistic entwining of three tigers is seen on a seal with Indus Script from Mohenjo-daro. 

This can be seen as a precursor model for the three tigers/lions shown on a Sanchi torana (gateway). Out of the seven friezes showing a hieroglyph-multiplex of three winged tigers, one frieze adds hieroglyphs 'leafless stalks' as horns of two tigers; two riders are also added to signify the artisans at work:

Thus, tigers with wings joined reads: eraka kol saMghAta 'moltencast metal, iron worker caravan'. With  karaṇḍā 'stalks' as koD 'horns' and artisans (carrying goads or weapons or काण्डी kANDI 'little stalk or stem') hieroglyph components added: karaḍā eraka kol saMghAta 'hard alloy moltencast copper working in iron caravan' PLUS kuThAru 'armourer', or kamar 'artisan' PLUS koD 'workshop'. [In Udipi and coastal Dakshina Kannada districts of Karnataka, there is a practice of ‘Pili Kola’ worshiping Tiger. The festival is conducted once in every two years in Muggerkala Temple in Kaup.  http://www.bellevision.com/belle/index.php?action=topnews&type=3842

http://www.mangalorean.com/specials/specialnews.php?newsid=481755&newstype=local] Rebus: खांड (p. 202) [ khāṇḍa as in lokhaṇḍa  'metal tools, pots and pans, metalware' (Marathi). Thus the two riders of the hieroglyph-multiplex of stalk-as-horn PLUS winged tigers can be read as: armourers working in a smithy-forge, kolimi and with hard alloy, karaDa; moltencast metal, eraka. The riders seem to be arrying: कुठार (p. 167) [ kuṭhāra ] m S An ax or a hatchet. Hence, they are kuThAru 'armourers'.

mAtri is a knower, one who has true knowledge; hence, mahAmAtra is an elephant trainer. A mahout is a person who rides an elephant. The word mahout comes from the Hindi words mahaut (महौत) and mahavat (महावत), which eventually goes back to Sanskrit mahamatra (महामात्र). Another term for mahout is cornac (as in French, from the Portuguese; kornak in Polish, also a rather current last name). This word comes form Sanskrit term karināyaka, the compound of Sanskrit words karin (elephant) and nayaka (leader). In Tamil, the word used is "pahan", which means elephant keeper, and in Sinhalese kurawanayaka ('stable master'). In Malayalam the word used is paappaan.In Burma, the profession is called oozie; in Thailand kwan-chang; and in Vietnam quản tượng. https://en.wikipedia.org/wiki/Mahout

The 'horns' are 'stalks', hieroglyphs: कारंडा [ kāraṇḍā ]करंडा [ karaṇḍā ]  m A chump or block. the stock or fixed portion of the staff of the large leaf-covered summerhead or umbrella. A clump, chump, or block of wood. करांडा [ karāṇḍā ] m C A cylindrical piece as sawn or chopped off the trunk or a bough of a tree; a clump, chump, or block. करोळा [ karōḷā ] m The half-burnt grass of a Potter's kiln: also a single stalk of it. Kalanda [cp. Sk. karaṇḍa piece of wood?] heap, stack (like a heap of wood? cp. kalingara) Miln 292 (sīsa˚) (Pali) करण्ड [L=44277] n. a piece of wood , block Bhpr.

Rebus: fire-god: @B27990.  #16671. Remo <karandi>E155  {N} ``^fire-^god''.(Munda)

Allograph: करडी [ karaḍī ] f (See करडई) Safflower: also its seed.

Rebus: karaḍa ‘hard alloy’ (Marathi) See: http://tinyurl.com/qcjhwl2

It is notable that the 'stalks' as 'horns' of tigers on Sanchi South stupa architrave pillar are comparable to the three leafless stalks displayed on Sit Shamshi Bronze:

Why three? kolmo 'three' rebus: kolimi 'smithy, forge'; kole.l 'smithy, temple'.

Figure 1. Map of Iran, with Jiroft, Konār Ṣandal, and sites of the 3rd millenium BCE with chlorite vessels.

Tepe Yahya/Jiroft frieze. Zebus and lions. A zebu gores a lion (the zebu seems to be then on the verge of domestication, Figure 7f.

c. 2900 BCE. Khafajah. The best known of the chlorite bowls is from Khafajah; it is of Mesopotamian manufacture. •A man kneels upon the hindquarters of one of a pair of standing zebu bulls facing away from each other. In each hand he holds a stream of water which flows over the head and finishes in front of each bull. Plants grow from the right stream, plants grow behind the left bull, and a plant grows in front of each bull. Above the man are a rosette, a crescent and (possibly) a snake. Above the left stream is some sort of carnivore, perhaps a panther. 

•An identical man stands behind or between two couchant panthers, rears together and tails raised but heads turned to face each other. In each hand he holds a snake; by his head is another rosette. 

•An eagle and a lion attack a bull which is lying on its back. Plants grow from behind the lion. To the left of this group is a scorpion. Below the lion’s hindquarters is a scene of two bears standing about a date palm licking their paws. 

"In the first half of the 3rd millennium B.C.E., the Iranian plateau (Figure 1) was at the crossroads of trade with its neighboring regions...In the first half of the 3rd millennium, Fars appears as the development center of the first writing, called “proto-Elamite,” which was soon used throughout Iranian plateau. In its southern part of Kerman, tablets have been identified 75 km away to the west of Jiroft at the small site of Tepe Yahya (Yaḥyā), located at about 130 km north of the Strait of Hormuz and the Persian Gulf...The region of Jiroft, lying far away from the large centers of civilization, had not until now attracted the attention of researchers. It is located at a distance of 1000 km from the valley of the Euphrates in the west and from the Indus River in the east. Tepe Yahya and Shahdad (Šahdād), 200 km to the north-northeast of Kerman, were occupied at the end of the 3rd millennium and hint at a culture specific to the south of Iran."

Chlorite vessels. Plate IV. Various: miniature vessels a-b: tronconical vessels, single-horned zebu (h 8.2 cm);

Figure 6. Zebus: a: details of decoration on a tronconical vessel; b: line of zebus led by a man; c-d lying zebus.

120576 Stamp seal. 

• Excavated/Findspot: Ur, TTG [Trial Trench G], "loose soil"
• (Asia,Iraq,South Iraq,Ur (city - archaic)

Dark grey glazed steatite stamp seal; circular with domed top; Gulf-type; hole pierced through top; design engraved of scorpion and bull on face; complete.Dark grey glazed steatite stamp seal; circular with domed top; Gulf-type; hole pierced through top; design engraved of scorpion and bull on face; complete.

bicha 'scorpion' rebus: bica 'haemtite, ferrite ore'.

S. Kalyanaraman

Sarasvati Research Center

February 15, 2017

The battle for Rama -- Announcing Meenakshi Jain's new book (2017)

February 14, 2017, 10:24 pm

≫ Next: TTVD & Sasikala's vow (+ inaudible muttering) at Jayalalithaa's memorial before going to jail (0:44)

≪ Previous: Itihāsa of makara in Veda & Indus Script artisanal traditions of Bhāratam Janam

$

0

0

The Battle for Rama: Case of the Temple at Ayodhya Hardcover – 2017

by Meenakshi Jain (Author)

Hardcover 
   595.00

• ISBN-10: 8173055793
• ISBN-13: 978-8173055799
• 
  

http://www.amazon.in/Battle-Rama-Case-Temple-Ayodhya/dp/8173055793/ref=sr_1_fkmr0_2?s=books&ie=UTF8&qid=1487139191&sr=1-2-fkmr0&keywords=battlle+for+rama+meenakshi+jain

Background

The author of the path-breaking work Rama and Ayodhya presents new evidenceand presents new information which has recently come to light

Book Review: ‘Rama and Ayodhya’ by Meenakshi Jain- by Abhinav Agarwal

An indispensable, though brief, compendium to understand the past and present of Ayodhya. http://blog.abhinavagarwal.net/2016/05/rama-and-ayodhya-by-meenakshi-jain.html

Kalyanaraman.

---

TTVD & Sasikala's vow (+ inaudible muttering) at Jayalalithaa's memorial before going to jail (0:44)

February 15, 2017, 2:53 am

≫ Next: Rajan's sycophancy in a foreword to PC's book

≪ Previous: The battle for Rama -- Announcing Meenakshi Jain's new book (2017)

$

0

0

New AIADMK supremo: Dy. Secy. AIADMK TTV Dinakaran will exercise powers of Gen. Secy. in Sasikala's absence.

TAMIL NADU

Dinakaran’s appointment illegal, says Madhusudhanan

T.K. Rohit

CHENNAI FEBRUARY 15, 2017 13:39 IST

UPDATED: 

Sacked AIADMK presidium chairman, E. Madhusudhanan, has termed the appointment of V.K. Sasikala's nephew T.T.V. Dinakaran as deputy general secretary as "illegal."

In an interview to The Hindu, Mr. Madhusudhanan said as per the AIADMK's party bye-laws set down by MGR, "only a person who has been a member of the party for five continuous years can hold any post in the party.”

Mr. Madhusudhanan said Mr. Dinakaran was ousted from the party and stripped off the primary membership in 2011 along with Sasikala and other family members. "If he was given the primary membership back today morning, that itself makes it illegal for his appointment," he argued.

He also said that Sasikala did not have powers to appoint anyone as she herself was only an interim general secretary. He further said, “As Presidium Chairman, only I have the right to appoint to anyone else, as per the bye-laws."

"The bye-laws state that in the absence of the general secretary, the presidium chairman has the right to take decisions," he said.

When asked how he can appoint anyone to the AIADMK since Sasikala had removed him, he shot back: "Who is Sasikala? I only recommended her to the post of General Secretary, but she was only interim. She was not elected by the 1.5 crore members of the party. I already sacked her."

He also said he will call for elections to the General Secretary post soon, and it would be held as per the bye-laws where all the 1.5 crore members would vote.

"We think OPS (O. Panneerselvam) should be the general secretary, but that's my personal opinion", he said.

http://www.thehindu.com/news/national/tamil-nadu/Dinakaran%E2%80%99s-appointment-illegal-says-Madhusudhanan/article17306978.ece

Sasikala visits Jayalalithaa memorial, MGR house on way to Bengaluru

PTI
AIADMK General Seretary V. K. Sasikala paying tribute at former Tamil Nadu Chief Minister J. Jayalalithaa's memorial in Chennai, before leaving for Bengaluru to surrender at the Parappana Agraharam Court on Wednesday. -- K.V. Srinivasan

Chennai, Feb 15:  

AIADMK chief V. K. Sasikala today visited the memorial of J. Jayalalithaa and the Ramapuram residence of party founder M. G. Ramachandran before leaving for Bengaluru to surrender before a court.

The 62-year-old leader, who was locked in a bitter tussle with AIADMK’s O. Panneerselvam for Tamil Nadu’s chief ministership, took the inevitable journey to the Karnataka capital after the Supreme Court earlier today refused to give her further time to surrender.

At the Jayalalithaa memorial on the Marina Beach, Sasikala paid floral tributes and was seen muttering something which was not audible.

She had yesterday given a pep talk to MLAs and supporters to stay bold and remain united.

“Only I can be jailed, not the care or concern I have for this party. Wherever I will be, my thoughts will be here,” Sasikala had told both her MLAs at Koovathur resort as well as to her supporters later at Poes Garden late last night.

She said she would be thinking about the party round the clock and that “no force can wean away” the party from her.

Earlier today, the Apex Court had refused to entertain her plea, seeking more time to surrender to undergo jail term in the Rs. 66-crore disproportionate assets case, also involving Jayalalithaa.

“We do not intend to pass any order on this. We are not going to change anything in the judgement,” a bench headed by Justice P C Ghose had said. The Bench had yesterday convicted her and two others in the 19-year-old case.

Edappadi K Palaniswami was then elected as the AIADMK Legislature Party leader.

Before leaving the Poes Garden residence of Jayalalithaa, where Sasikala continued to stay after the former’s demise last December, she was greeted by slogan-shouting supporters.

At the Jayalalithaa memorial, Sasikala made her way through the crowd of supporters that included a sobbing former Minister Gokula Indira and Deputy General Secretary and her nephew T T V Dinakaran, and put up a brave face.

Later at the Ramapuram residence of M G Ramachandran, popularly known as MGR, she briefly meditated before his portrait.

She also paid homage to a life size statue of the former matinee idol at the residence, which she had unveiled recently.

Some women there also performed ‘aarti’ for Sasikala.

https://www.youtube.com/watch?v=FKWdBtJVW3w Watch: Sasikala's vow at Jayalalithaa's memorial before going to jail

Published on Feb 15, 2017

Before surrendering herself, Sasikala paid a visit to Jayalalithaa memorial at Chennai's Marina beach. Sasikakla was found guilty of conspiring with five-time Chief Minister Jayalalithaa, who she lived with, to acquire a nearly 60-crore fortune that did not match their disclosed sources of income.

Before surrendering herself, Sasikala paid a visit to Jayalalithaa memorial at Chennai's Marina beach. Sasikala was found guilty of conspiring with six-time Chief Minister Jayalalithaa, with whom she lived, to acquire a nearly Rs. 60-crore fortune that did not match her disclosed sources of income.

http://www.thehindu.com/news/national/tamil-nadu/article17307008.ece?homepage=true

Rajan's sycophancy in a foreword to PC's book

February 15, 2017, 4:41 am

≫ Next: Itihāsa of ओणि ōṇi 'soma sieve' (Ṛgveda), sangaḍa, standard device (Indus Script) in metalwork

≪ Previous: TTVD & Sasikala's vow (+ inaudible muttering) at Jayalalithaa's memorial before going to jail (0:44)

$

0

0

Rajan And Chidambaram – Story Of A Foreword

Suhas - Feb 15, 2017, 4:08 pm

SNAPSHOT

How did the candid and opinionated Rajan extol the hitherto unseen virtues of Chidambaram?

Chidabaram’s book and Rajan’s foreword is an intellectually dishonest and mutually appreciative account, rather than any serious debate from supposedly opposite side of the trenches.

P Chidambaram. Fearless In Opposition: Power and Accountability. Rupa Publications. 2017.

P Chidambaram’s latest book, Fearless In Opposition: Power And Accountability is out. The book is a collection of Chidambaram’s columns elaborating his views from the opposition trenches on politics, policy and everything that lies in between the two.

More interesting than the content of the book itself, is the foreword written by Raghuram Rajan, the celebrity economist and darling of Delhi circles. For a man who wasn’t afraid to be candid with statements like ‘Andhon mein kaana raaja’, the former Reserve Bank of India governor seems to be in a saccharine mood while deploying wordsmithery to set us up for Chidambaram’s collection of columns.

Rajan lauds Chidambaram for providing a consistent stream of constructive criticism, something which Rajan notes as lacking in the Indian press. Surely the zenith of this lack of any criticism, let alone constructive, was seen in the way the media ran a fawning, high-octane campaign to keep him in RBI. Contrary to his rather coolly outspoken demeanour, Rajan was silent throughout that phase, pretty content to ride the wave while it lasted. No wonder then that he feels, at least in hindsight, this way about the conduct of the media.

“If you want to test a man’s character, give him power” said Abraham Lincoln. While Rajan wrote that Chidambaram draws his suggestions and criticism of government policy from his ‘formidable intellect’ and ‘experience in governance’, many would say Chidambaram was the man whose talents to returns ratio was the most abysmal while in power. If one wanted to observe what Chidambaram’s ‘formidable intellect’ could do, one only has to look at his record in power as well as his government’s. Manning one of the key positions throughout the disastrous terms of the United Progressive Alliance (UPA) rule that India saw – scams, economic mess, social disorder, institutional decay, broken infrastructure and crony capitalism – was Chidambaram. The value of a critic must not only be analysed with what alternatives the critic offers but also with how many of these alternatives the critic himself may have brought to fruition. In this regard, Rajan’s analysis of Chidambaram as a critic – perhaps due to his ideological proclivities – fails to make the cut.

Rajan’s discovery of ‘empathy’ in Chidambaram for the object of his criticism is rather astonishing. Given that Chidambaram – in a show of condescending hatred - openly called Narendra Modi an ‘encounter Chief Minister’ and he is accused of changing affidavits of the Home Ministry just to get at Narendra Modi in the Ishrat Jahan encounter case, no reasonable observer of politics would expect any fairness in his criticism of the government, let alone empathy.

Rajan, in his analysis of Chidambaram’s positions on Kashmir and nationalism, calls him an anguished liberal patriot with a fundamentally liberal idea of India. Showing how one cannot analyse criticism without analysing the critic himself, one must remember that this was the same Chidambaram who let the police loose in the dead of night on peacefully sleeping protestors at Ramlila Maidan, injuring several of them and also killing a woman Rajbala, lending her a painful death due to spinal injury. Surely, Rajan may like to inform himself on whether letting the police loose on a sleeping protestor and killing her is the mark of a liberal patriot. But in this matter, Rajan’s earlier observation on the lack of constructive criticism in the Indian press was on the dot. Many media worthies were busier enjoying the sight of police roughing up people associated with Baba Ramdev than their unprovoked violence.

Rajan observes that Chidambaram’s commentary on legal matters on how justice shouldn’t be delayed and thus denied, comes from his experience as a lawyer. Maybe it does. However, Rajan may note that it is possible that Chidambaram’s expertise in this matter was on display in a case regarding his controversial and hotly contested election victory from Sivaganga in 2009, which wasn’t closed even when the next round of Lok Sabha polls came about. There is nothing that Chidambaram or his government can claim to have done to reduce the delay in justice while in face they seem to be beneficiaries of the same.

Chidambaram’s waxing eloquent on economic freedom in India having to start from maximum freedom and later putting only regulations that are absolutely necessary, finds a like-minded person in Rajan. That India needs more economic freedom to bloom and come into its own is a reasonable argument, which when made in a column, is hardly disagreeable. Again, the context goes completely missing. Rajan, being a celebrated economist, must surely know that under the leadership of Sonia Gandhi, Chidambaram and his colleagues ran a Socialist Raj 2.0 all over again – this is something even UPA’s most charitable commentators observe.

It is a tradition to keep the foreword largely a quasi-hagiographical endorsement of the writer or part of his writings. However, it may sound unusual in this case, given Rajan’s bold and opinionated nature, exemplified by his constant stream of opinions on topics such as tolerance, make-in-India policy and a 2015 speech invoking Hitler, despite possibly knowing what connotations the media would derive out of it.

For a man who prided himself on not acting as a cheerleader to the government he worked for, perhaps Chidambaram’s constant patronising statements like ‘Modi government does not deserve Rajan’ went a long way in making him unearth hitherto unseen virtues in Chidambaram. In which case, this is just an intellectually dishonest and mutually appreciative account rather than any serious debate from supposedly opposite side of the trenches.

Suhas

Reluctant techie. Bangalore lover. Man of eclectic passions with cricket and politics topping the chart. Wit, subtle humour, sarcasm aficionado. Keen on understanding Dharma.

https://swarajyamag.com/books/rajan-and-chidambaram-story-of-a-foreword

Itihāsa of ओणि ōṇi 'soma sieve' (Ṛgveda), sangaḍa, standard device (Indus Script) in metalwork

February 15, 2017, 8:16 pm

≫ Next: ōṇivvo attested in Hemachandra Deśināmamālā affirms Soma as metal containing gold

≪ Previous: Rajan's sycophancy in a foreword to PC's book

$

0

0

Mirror: http://tinyurl.com/j967fp6

Itihāsa of ओणि ōṇi 'soma sieve', sangaḍa, standard device in front of one-horned bull Indus Script Corpora & catalogues of work in process in foundry, smithy, forge are posited in this monograph. I submit that ओणि ōṇi and sangaḍa are two distinct processes in ancient metalwork: one relates to sieving using two press-stones to realise the mineral and the other to the work of a turner, using a lathe and a portabe furnace to engrave. infix, metal artifices with vajra sanghāta 'adamantine glue'.

Hieroglyph: sangada 'lathe', 'portable furnace' G. sãghāṛɔ m. ʻlathe’ ; sã̄gāḍā m. ʻ frame of a building ʼ, °ḍī f. ʻ lathe ʼ(CDIAL 12859) Rebus 1: sangara 'proclamation' Rebus 2:sangataras. संगतराश lit. ‘to collect stones, stone-cutter, mason.’ संगतराश संज्ञा पुं० [फ़ा०] पत्थर काटने या गढ़नेवाला मजदूर । पत्थरकट । २. एक औजार जो पत्थर काटने के काम में आता है । (Dasa, Syamasundara. Hindi sabdasagara. Navina samskarana. 2nd ed. Kasi : Nagari Pracarini Sabha, 1965-1975.) पत्थर या लकडी पर नकाशी करनेवाला, संगतराश, ‘mason’.

Rebus: वज्र--संघात [p= 914,1] m. N. of a kind of hard cement (Varahamihira's Brihatsamhita) mfn. having the hardness or compactness of adamant (said of भीम) MBh. i , 4775

The work of a  kũdār, °ri, turner (Bengali): saṁghaṭayati ʻ strikes (a musical instrument) ʼ R., ʻ joins together ʼ Kathās. [√ghaṭ] Pa. saṅghaṭita -- ʻ pegged together ʼ; Pk. saṁghaḍia<-> ʻ joined ʼ, caus. saṁghaḍāvēi; M. sã̄gaḍṇẽ ʻ to link togetherʼ. Addenda: saṁghaṭayati: 
A. sāṅoriba (phonet. x -- ) ʻ to yoke together ʼ AFD 333, sāṅor (phonet. x -- ) ʻ yoking together ʼ 223.(CDIAL 12855) saṁghātá m. ʻ close union, mass ʼ TS., ʻ closing (a door) ʼ VS., ʻ dashing together ʼ MBh. [Cf. saṁhata<-> with similar range of meanings. -- ghāta -- ] Pa. saṅghāta -- m. ʻ killing, knocking together ʼ; Pk. saṁghāya -- m. ʻ closeness, collection ʼ; Or. saṅghā, saṅgā ʻ bamboo scaffolding inside triangular thatch, crossbeam of thatched house, copulation (of animals) ʼ; -- adj. ʻ bulled (of a cow) ʼ < *saṁghātā -- or saṁhatā -- ?saṁghātayati ʻ strikes together, kills ʼ MW. [ghāta -- ] Pa. saṅghātanika -- in cmpd. ʻ binding together ʼ; Pk. saṁghāyaï ʻ strikes together, joins ʼ; S. saṅghāhaṇu ʻ to kill ʼ; Or. saṅghāibā ʻ to cause to meet or be joined, put a cow to bull ʼ (whence ʻ (of a bull) to copulate ʼ (CDIAL 12862, 12863)

I submit that it is an error to view and interpret the standard device shown in front of a one-horned bull on many seals of Indus Script Corpora as a pavitra 'filter' in Soma process. Mahadevan has provided an excellent compendium of Ṛgveda ṛcas and has erred, in my view, relating the texts to this standard device.

Attributes signified in the sacred texts are subject to various translations and interpretation. I suggest that धामन् is the seat of the sacred fire. Words from Indiansprachbund present the semantics of dhamana‘blowing with bellows’. One way to interpret the semantics of words in Rgveda is to relate cognate etyma from Indian sprachbund. 

For e.g., what are the semantics, in dual, of ओणि ? I suggest that this is a defining attribute of the 'Soma press' -- a metaphor for the protection/shelter provided by two pressing stones used to press Soma. Telugu has a remarkable gloss which explains the dual ओणि : ఓనికట్టు (p. 218) ōnikaṭṭu ōni-kaṭṭu. [Tel.] n. A narrow pass between hills కొండలనడిమి గొందిదారి. This semantics is reinforced by the explanation provided in Kannada language for the word ōṇa as a colliding particle in a compound expression: e.g. hogōṇa, 'we (together) shall go' (first person plural imperative). In Kannada, onali means a 'stainer, sieve' and one means, 'to shake corn or any seeds to and fro in a fan so that the chaff and other impurities come to the surface and can be removed.' Thus, the Rgveda expression, dual ओणि is explained as a sieve, stainer to remove -- in a 'Soma press using two stones' -- chaff and other impurities so as to retain the ore content of the Soma stones brought from the mountains. 

ओणि explained s a sieve or stainer has a synonym: pavitram 'sieve, stainer' (Ṛgveda) (See etyma given below). Thus, I submit that ओणि dual signifies a sieve composed of two grinding stones to press ancu 'iron ore' aka amśu, 'soma'. (Ṛgveda) ओणि ōṇi ओणि a. Removing. -णी (du.) 1 Heaven and earth. प्र ते सोतार ओण्यो रसं मदाय घृष्वये Rv.9.16.1. -2 Vessel used in the preparation of Soma. -3 Preserving power, protection. (Apte)

Griffith RV 9.16. 1. THE pressers from the Somapress- send forth thy juice for rapturous joy
The speckled sap runs like a flood.
RV9.016.01 They who express you, the juice of heaven and earth do it for the foe-destroying exhilaration (of Indra); your flow rushes as a swift horse.

Ka. onali, ondari, ondri, vandari, vandare, vandri a sieve, strainer; one, oṇe to winnow, sift; onasu, onisu to cause to shake to and fro; (Gowda) oñcu to sift. Koḍ. onali a sieve.(DEDR 980) See: उरोळी (p. 60) urōḷī f A bound-marking bank thrown up in a field by the Surveyor. 2 A sieve or strainer (metal or of basketwork) for washing rice, vegetables &c. (Marathi)

The semantics are also cognate with ஒளி¹ oḷi , n. < ஒண்-மை. [K. oḷa, M. oḷi.] 1. Light, brightness; splendour; brilliancy; காந்தி. (திவா.)
ओणि [p= 235,2] m. (or f. ?) protection (from misfortune) , shelter [ Sa1y. ] RV. i , 61 , 14; mf. du. " the two protectors " , the parents RV. ix , 101 , 14; mf. du. (metaphorically) heaven and earth RV. ix , 16 , 1 ; 65 , 11 AV. vii , 14 , 1 (= VS. iv , 25) .

RV 9.65.11 I send thee forth to battle from the press, O Pavamana, Strong,

Sustainer, looker on the light.

9.065.11 You, the supporter of heaven and earth, O purified (Soma), the beholder of heaven, the powerful one, I send forth to battle. [Or, I urge you to grant us food].

Griffith: RV 9.101. 14 The Friend hath wrapped him in his robe, as in his parents arms, a son.
He went, as lover to a dame, to take his station suitorlike-.
RV9.101.14 (Soma) the kinsman (of the gods) is enveloped in the investing filter like a child in the arms of its protecting parents; he hastens like a gallant to a mistress, like a bridegroom (to the bride) to sit upon his station (the pitcher). 

RV 1.061.14 Through fear of him, the stable mountains (are still), and through dread of his appearance, heaven and earth tremble; may, Nodhas, praising repeatedly the preserving power of that beloved Indra, be speedily (blessed) with vigour. 

Griffith RV 1.61.14 When he, yea, he, comes forth the firm. Set mountains and the whole heaven and earth, tremble for terror.

May Nodhas, ever praising the protection of that dear Friend, gain quickly strength heroic.

There is archaeological evidence from Mari of a standard of one-horned bull atop a base of horse-rein-rings and culm of millet as flagstaff, carried in a procession. This standard is comparable to the procession shown on Indus Script tablets wherein several standards are carried including the standard device and the one-horned bull.

I suggest that the hieroglyph components of this hypertext (Mari standard) are: karba, 'culm of millet'; danā, b'ridle'; khōṇḍa, 'one-horned young bull'. 

These are read rebus:
karba 'iron', dhāu 'soft red stone, element'(ferrite ore), kōnda'engraver' kundaṇa 'pure gold.' 

Thus, the Mari standard carried in a procession is a proclamation of engraved gold and mineral-, metal-work. 

See: http://tinyurl.com/gpsju8l 
See: http://tinyurl.com/zpojmat 
The 'rein rings' are read rebus: valgā, bāg-ḍora 'bridle' rebus (metath.) bagalā 'seafaring dhow'.  Alteranative: A. dan ʻ long cord on which a net or screen is stretched, thong ʼ, danā ʻ bridle ʼ;(CDIAL 6283) rebus: dhāu 'soft red stone, element'(ferrite ore)

kot.iyum = a wooden circle put round the neck of an animal;[cf. the orthography of rings on the neck of one-horned young bull].Ta. kuntāṇi large mortar, protective ring placed over a mortar to prevent the grain from scattering. Ma. kuntāṇi, kūntāṇi mortar for beating paddy. Ka. kundaṇige, kundaṇi, kundaḷige wooden rim of a mortar so placed as to keep in the contents while beating. Te. kundi, kundene rim of stone or other material placed upon a mortar to prevent spilling of rice (DEDR 1726)

Reinforcing Hieroglyphs:  

ko_d.iya, ko_d.e = young bull; ko_d.elu = plump young bull; ko_d.e = a. male as in: ko_d.e du_d.a = bull calf; young, youthful (Telugu)खोंड (p. 216) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) 

ko_t.u = horns (Ta.) ko_r (obl. ko_t-, pl. ko_hk) horn of cattle or wild animals (Go.); ko_r (pl. ko_hk), ko_r.u (pl. ko_hku) horn (Go.); kogoo a horn (Go.); ko_ju (pl. ko_ska) horn, antler (Kui)(DEDR 2200). Homonyms: kohk (Go.), gopka_ = branches (Kui), kob = branch (Ko.) gorka, gohka spear (Go.) gorka (Go)(DEDR 2126).

kot. = neck (G.lex.) 

खोंड (p. 216) [ khōṇḍa ] A variety of जोंधळा.खोंडरूं (p.216) [khōṇḍarūṃ ] n A contemptuous form of खोंडा in the sense of कांबळा-cowl. खोंडा (p. 216) [khōṇḍā] m 

A कांबळा of which one end is formed into a cowl or hood. 2 fig. A hollow amidst hills; a deep or a dark and retiring spot; a dell. 3 (also खोंडी & खोंडें) A variety of जोंधळा.खोंडी (p. 216) [ khōṇḍī ] f An outspread shovelform sack (as formed temporarily out of a कांबळा, to hold or fend off grain, chaff &c.) 

Rebus: कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi)  खोदगिरी [ khōdagirī ] f Sculpture, carving, engraving. 

Flagstaff (Allograph): kunta 'lance, spear' (Kannada)

Rebus: kunda1 m. ʻ a turner's lathe ʼ lex. [Cf. *cunda -- 1] N. kũdnu ʻ to shape smoothly, smoothe, carve, hew ʼ, kũduwā ʻ smoothly shaped ʼ; A. kund ʻ lathe ʼ, kundiba ʻ to turn and smooth in a lathe ʼ, kundowā ʻ smoothed and rounded ʼ; B. kũd ʻ lathe ʼ, kũdā, kõdā ʻ to turn in a lathe ʼ; Or. kū˘nda ʻ lathe ʼ, kũdibā, kū̃d° ʻ to turn ʼ (→ Drav. Kur. kū̃d ʻ lathe ʼ); Bi.kund ʻ brassfounder's lathe ʼ; H. kunnā ʻ to shape on a lathe ʼ, kuniyā m. ʻ turner ʼ, kunwā m. (CDIAL 3295). kundakara m. ʻ turner ʼ W. [Cf. *cundakāra -- : kunda -- 1, kará -- 1] A. kundār, B. kũdār, °ri, Or. kundāru; H. kũderā m. ʻ one who works a lathe, one who scrapes ʼ, °rī f., kũdernā ʻ to scrape, plane, round on a lathe ʼ.(CDIAL 3297). Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold.Tu. kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725).

Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post.(DEDR 1723). கற்கந்து kaṟ-kantu , n. < கல் +. Stone pillar; கற்றூண். கற்கந்தும் எய்ப்போத்தும் . . . அனை யார் (இறை. 2, உரை, 27).

The post holding the young bull banner is signified by a culm of plant, esp. of millet. This is karba 'culm of millet' rebus: karba 'iron' ajirda karba 'very hard iron' (Tulu) 

See: http://tinyurl.com/zy382ut  Sumer procession of a young-bull held aloft on a 
millet-culm. Harappa Script hieroglyphs deciphered as meluhha metalwork catalogues L’enseigne (M,458) (pl. LVII) est faite d’un petit taureau dresse, passant a gauche, monte sur un socle supporte par l’anneau double du type passe-guides. La hamper est ornementee d’une ligne chevronnee et on retrouve le meme theme en travers de l’anneau double.

M.458 H. 0.070 m. (totale); h. 0, 026 m. (taureau sur socle); l. 0,018m. Translation:The sign (M, 458) (pl. LVII) is made of a young bull stand, from left, mounted on a base supports the double ring-pass type guides. The hamper is decorated with a line and the same theme is found across the double ring.M.458 H. 0.070 m. (Total); h. 0, 026 m. (Bull on base); l. 0,018m.
Source: http://digital.library.stonybrook.edu/cdm/compoundobject/collection/amar/id/48366/rec/2 (Parrot, Andre, Mission archéologique de Mari. V. I: Le temple d'Ishtar, p.161)

In my view, the standard device shown on the entire Indus Script Corpora DOES NOT signify a 'filter' but signifies only a hypertext of 1. portable furnace with smoke emanating from the surface of the pot; 2. gimlet; 3. lathe superposed with dotted circles as hieroglyphs. [The dotted circles are NOT drops or indu but hieroglyphs which signify dhāī˜ 'strand' rebus: dhāu'soft red stone, element'(ferrite ore)]. See: http://tinyurl.com/z57vd89 Decipherment of Vrishni janapada coin.

See: http://tinyurl.com/jxkfh3h

 dāˊman ʻ rope ʼ (Rigveda), dhāī˜ (Lahnda) rebus: 1. dhmātŕ̊ -- n. ʻ implement for smelting ʼ RV. 2. 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) *dhmātra ʻ fireplace ʼ. [dhmātŕ̊ -- n. ʻ implement for smelting ʼ RV. -- √dham]Phal. dhatāˊr, dahatāˊr m. ʻ fireplace ʼ (→ Bshk. dātar), Sv. dāntar -- kuṭha. dhmāna -- n. ʻ puffing ʼ Suśr.: see dhamana -- . [√dham] *vātadhmāna -- .(CDIAL 6888) dhamá in cmpds. ʻ blowing ʼ Pāṇ., dhamaka -- m. ʻ blacksmith ʼ Uṇ.com. [√dham]Pa. dhama -- , °aka -- m. ʻ one who blows ʼ, Pk. dhamaga<-> m.; K. dam m. ʻ blast of furnace or oven, steam of stewing ʼ; -- Kho. Sh.(Lor.) dam ʻ breath, magical spell ʼ ← Pers. dam. dhámati ʻ blows ʼ RV. [√dham] Pa. dhamati ʻ blows, kindles ʼ, Pk. dhamaï, °mēi; K. damun ʻ to roar (of wind), blow up a fire ʼ; S. dhãvaṇu ʻ to blow (with bellows), beat (of pulse) ʼ; P. dhauṇā ʻ to blow (with bellows) ʼ, WPah.khaś. rudh. dhamṇū, G. dhamvũ. -- Kt. dəmō -- , Pr. -- lemo -- ʻ to winnow ʼ rather < dhmāyátē. -- Kho. (Lor.) damik ʻ to work a charm on ʼ deriv. dam ʻ charm ʼ ← Pers. rather than < *dhāmayati. -- Ext. -- kk -- or X MIA. phukk -- , phuṁk -- s.v. *phūtka -- : L. dhaũkaṇ ʻ to blow (with bellows) ʼ; P. dhauk(h)ṇā, dhaũk(h)ṇā ʻ to blow (with bellows), bellow, brawl ʼ; Ku. dhaũkṇo ʻ to blow, breathe ʼ, dhaũkalo ʻ bellows ʼ; H. dhaũknā ʻ to blow (with bellows), breathe on, pant ʼ.dhamana n. ʻ blowing with bellows ʼ lex. [√dham] K. damun m. ʻ bellows ʼ. -- Ash. domótilde; ʻ wind ʼ (→ Pr. dumūˊ), Kt. dyīmi, Wg. damútildemacr;, Bashg. damu; Paš.lauṛ. dāmāˊn, kuṛ. domón, uzb. damūn ʻ rain ʼ (< ʻ *storm ʼ → Par. dhamāˊn ʻ wind ʼ IIFL i 248): these Kaf. and Dard. forms altern. < dhmāna -- ?(CDIAL 6730 to 6732)
.

dāˊman, dāvani is thus a metonymy, a metallurgical metaphor which signifies metalwork with metal elements, metal ores. The root word dāˊman 'strand, rope' is rendered in Harappa Script inscriptions, Meluhha language and on many sculptural friezes in Bharata tradition to signify smelting of mineral ores.   

वृषन् [p= 1012,3] mfn. (acc. व्/ऋषाणम् nom. pl. °षाणस् ; prob. originally " raining , sprinkling , impregnating ") manly , vigorous , powerful , strong , mighty , great (applied to animate and inanimate objects) RV. AV. VS. Br. (superl. -तम);m. a man , male , any male animal , a bull , stallion &c (also N. of various gods , as implying strength , esp. of इन्द्र and the मरुत्s) ib.; m. (ifc.) chief , lord (e.g. क्षिति- , क्ष्मा-व्° , lord of the earth , prince) Ra1jat.; n. N. of a सामन् La1t2y. वृषन् vṛṣanवृषन् m. [वृष्-कनिन्] 1 A bull. -2 The sign Taurus of the zodiac. -3 The chief of a class; प्राचेतसो मुनिवृषा प्रथमः कवीनाम् Mv.1.7. -4 A stallion, horse. -5Pain,  sorrow. -6 Insensibility to pain. -7 N. of Indra; वृषेव सीतां तदवग्रहक्षताम् Ku.5.61,8; R.1.52;17.77; न ववर्ष वृषा तदा Śiva B.8.53. -8 N. of Karṇa. -9 Of Agni. -1 Of Soma. -11 A male, any male animal.वृषभः vṛṣabhḥ; वृषः vṛṣḥवृषः 1 A bull; असंपदस्तस्य वृषेण गच्छतः Ku.5.8; Me.54; R.2.35; Ms.9.123. -2 The sign Taurus of the zodiac. -3 The chief or best of a class, the best of its kind; (often at the end of comp.); मुनिवृषः, कपिवृषः &c. -4 The god of love. -5 A strong or athletic man. -6 A lust- ful man, a man of one of the four classes into which men are divided in erotic works; बहुगुणबहुबन्धः शीघ्रकामो नताङ्गः । सकलरुचिरदेहः सत्यवादी वृषो ना ॥ Ratimañjarī 37. -7 An enemy, adversary. -8 A rat. -9 The bull of Śiva. -1 Morality, justice; justice personified; वृषो हि भगवान् धर्मः Ms.8.16. -11 Virtue, a pious or meritorious act; न सद्गतिः स्याद् वृषवर्जितानां Kīr. K.9.62 (where वृष means a 'bull' also). -12 N. of Karṇa. -13 N. of Viṣṇu. -14 N. of a particular drug. -15 The prin- cipal die. -16 Water. -17 A particular form of a temple. -18 Ground suitable for the foundation of a house. -19 A male, any male animal. -षम् 1 A peacock's plumage. -2 A woman's apartment. -Comp. -अङ्कः 1 an epithet of Śiva; उमावृषाङ्कौ शरजन्मना यथा (ननन्दतुः) R.3.23. -2 a pious or virtuous man. -3 the marking-nut plant. -4 a eunuch. ˚जः a small drum. -अञ़्चनः an epithet of Śiva. -अन्तकः an epithet of Viṣṇu. -आहारः a cat. -इन्द्रः an excellent bull. -उत्सर्गः setting free a bull on the occasion of a funeral rite, or as a religious act generally; एकादशाहे प्रेतस्य यस्य चोत्सृज्यते वृषः । प्रेतलोकं परित्यज्य स्वर्गलोकं च गच्छति ॥ -दंशः, -दंशकः a cat; अन्तरिक्षे वराहस्य वृषदंशस्य चोभयोः (प्रणादम्) Mb.6.2.25. -दर्भ a. lowering the pride of Indra (इन्द्रदर्पहन्ता); वृषदर्भो वृषाकपिः Mb.12.43.1. -ध्वजः 1 an epithet of Śiva; येन बाणमसृजद्वृषध्वजः R.11.44. -2 an epithet of Gaṇeśa. -3 a pious or virtuous man. -नाशनःN. of Kṛiṣṇa. -पतिः 1 an epithet of Śiva. -2 a bull set at liberty. -पर्वन् m. 1 an epithet of Śiva. -2 N. of a demon who with the aid of Śukra, preceptor of the Asuras, maintained struggle with the gods for a long time. His daughter Śarmiṣṭhā was married by Yayāti; see Yayāti and Devayānī. -भासा the residence of Indra and the gods; i. e. Amarāvatī. -राजकेतनः N. of Śiva. -लक्षणा a masculine girl (unfit for mar- riage). -लोचनः a cat. -वाहनः an epithet of Śiva. -शत्रुः N. of Viṣṇu. -सानुः 1 man. -2 death. -सृक्किन् m. A wasp. -सेनः N. of Karṇa; Mb.12.27.2. -स्कन्ध a. having shoulders as lusty as those of a bull; वपुर्वष- स्कन्धसुबन्धुरांसकम् U.6.25; R.12.34.  vr̥ṣabhá ʻ powerful ʼ, m. ʻ lord, male, bull ʼ RV. [vŕ̊ṣan -- ]Pa. vasabha -- m. ʻ bull ʼ, Pk. vasaha -- , vis°, vus° m.; N. basāhā ʻ bull not used for ploughing ʼ; Bi. basahā ʻ bull bought by religious mendicants ʼ; Mth. basah ʻ bull ʼ, Bhoj. basahā, OAw. basaha, H. basahm.; M. vasū m. ʻ bull calf, bull branded and set at liberty ʼ, vaśẽ, ośẽ n. ʻ bullock's hump ʼ; -- Si. vähäp ʻ ox, steer ʼ (EGS 162) ← Pa. -- X ukṣán -- q.v.(CDIAL 12085)

यत a [p= 841,2]mfn. restrained , held in , held forth , kept down or limited , subdued , governed , controlled &c RV. &c (cf. comp. below);n. restraint (?) » यतं-कर्/अ; n. the spurring or guiding of an elephant by means of the rider's feet L. yatá ʻ restrained, proffered ʼ RV. [√yam] Pa. yata -- ʻ restrained ʼ, Pk. jaya -- ; OSi. yate ʻ was granted ʼ. -- Replaced in MIA. by *yakka -- : S. jaku m. ʻ dam ʼ, jakaṇu ʻ to dam ʼ; N. jāknu ʻ to confine ʼ; A. zāk ʻ crowd ʼ (or < *jhakk -- 5), B. jã̄k; Or. jāka ʻ crowd ʼ, adj. ʻ tight, narrow ʼ, jākibā ʻ to tighten ʼ; -- ext. -- ḍ -- : P. jakaṛnā ʻ to tighten ʼ; B. jã̄kaṛ ʻ pledge, deposit ʼ; Or. jakaṛibā ʻ to hold tightly, be tight ʼ; H. jakaṛnā ʻ to tighten, bind, put in the stocks ʼ (→ N. jakaṛnu ʻ to arrest ʼ); G. jakaṛvũ ʻ to tighten, bind ʼ, M. j̈ak(h)aḍṇẽ.(CDIAL 10400)  yáti2 f. ʻ restraint ʼ TS. [√yam]M. j̈aī f. ʻ space between top of wall and the roof which rests on the outer edge of it ʼ?(CDIAL 10403)

bhr̥ṣṭi1 f. ʻ act of frying or parching ʼ lex. [√bhrajj] N. bhāṭ -- bhuṭ ʻ frying ʼ, bhuṭi -- bhāṭi ʻ hasty frying ʼ.(CDIAL 9597)bhr̥ṣṭá1 ʻ fried, roasted ʼ Gr̥Śr. [√bhrajj] Ku. bhuṭṇo ʻ to parch ʼ, bhuṭaṇ, bhuṭṇo m. ʻ oil for frying ʼ, gng. bhuṭiɔ̃ ʻ fried ʼ; N. bhuṭnu ʻ to parch, fry in ghee ʼ; B. bhuṭā ʻ maize cob ʼ, H. bhuṭṭā m. (→ Ku. N. bhuṭṭā), G. bhuṭṭhɔ m., M. bhuṭā m. -(CDIAL 9594) भृष्टि 1 [p= 766,1]f. (cf. √ हृष् ; for 2. भृष्टि » under √ भ्रज्ज्) a spike , point , top , corner , edge RV. AV. Gr2S. (cf.सह्/अस्र- , क्षुर-भृ° &c ); j.  (for 1. » [p= 766,1]) the act of frying or boiling or roasting L. भ्राज् bhrāj भ्राज् 1 Ā. (भ्राजते) To shine, gleam, flash, glitter; रुरुजुर्भ्रेजिरे फेणुर्बहुधा हरिराक्षसाः Bk.14.78;15.24. -Caus. To illuminate, irradiate. -With वि to shine brilliantly or intensely; विभ्राजसे मकरकेतनमर्चयन्ती Ratn.1.21.भृज् bhṛjभृज् 1 Ā. (भर्जते) To roast, fry; भर्जिताः क्वथिता धानाः प्रायो बीजाय नेष्यते Bhāg.1.22.26; cf. भ्रस्ज्. भृष्ट bhṛṣṭa भृष्ट p. p. [भ्रस्ज्-क्त] Fried, roasted, parched. -Comp. -अन्नम् rice boiled and fried, -तण्डुलः parched rice; सुगन्धिः कफहा रूक्षः पित्तलो भृष्टतण्डुलः Rājanighaṇṭu. -यवाः (pl.) parched rice. भृष्टिः bhṛṣṭiḥ भृष्टिः f. 1 Frying, parching, roasting. -2 A deserted garden or orchard. -3 A spike, point; शरभृष्टीः Bṛi. Up.6.4.12.  bhr̥kta ʻ roasted, fried ʼ lex. [~ bhr̥ṣṭá -- 1. With anal. -- k -- or < IE. *bhr̥g -- ~ *bhr̥ĝ -- (EWA ii 520), cf. *bhr̥gṇa -- . -- √bhrajj]H. bhuttā m. ʻ spike of maize ʼ (semant. cf. bhr̥ṣṭá -- 1); -- Pk. bhattōsa -- n. ʻ parched grain ʼ (+? -- PSM s.v. < *bhaktōṣa -- ).(CDIAL 9576)

paruṣá1 ʻ spotted ʼ RV. P. pharūhā m. ʻ spotted cloth ʼ.(CDIAL 7909) paruṣá2 ʻ knotty ʼ AV., ʻ uneven, hard ʼ MBh., ʻ harsh, cruel ʼ Kathās. [párvan -- ] Pk. parusa -- ʻ rough ʼ, Si. parusa; -- Pa. pharusa<-> ʻ rough, hard, cruel ʼ, Pk. pharusa -- ; -- Si. paharas ʻ hard, solid ʼ ← Pa.?(CDIAL 7910) परुष a [p= 605,3] mf(आ)n. (older f. प्/अरुष्णी) knotty (as reed) AV.;spotted , variegated , dirty-coloured RV. &c;hard , stiff , rugged , rough , uneven , shaggy MBh. Ka1v. &c; intertwined with creepers (as a tree) Katha1s.; piercing , keen , sharp , violent , harsh , severe , unkind ib. ( अम् ind. );m. a reed AV.;m. an arrow S3a1n3khS3r. La1t2y.; mf(°ष्णी). N. of one of the rivers of the Panjab now called Ravi RV. परु [p= 605,3]m. ( √ पॄ ; cf. प्/अरुस् below) a limb , member (» यथा-प्°)a mountain L., the ocean, sky, paradise, L. परुष paruṣa परुष a. [पॄ-उषन्] 1 Hard, rough, rugged, stiff (opp. मृदु or श्लक्ष्ण); परुषं चर्म, परुषा माला &c. -2 Harsh, abusive, severe, unkind, cruel, stern (as words); (वाक्) अपरुषा परुषाक्षरमीरिता R.9.8; Pt.1.5; said also of a person; स्निग्धे यत् परुषासि Gīt.9; Y.1.31. -3 Harsh or disagreeable to the ear (as a sound &c.); तेन वज्रपरुषस्वनं धनुः R.11.46; Me.63. -4 Rough, coarse, rough to the touch, shaggy (as hair); शुद्धस्नानात् परुष- मलकम् Me.92. -5 Sharp, violent, strong, keen, piercing (wind &c.); निर्गच्छतस्तु शक्रस्य परुषः पवनो ववौ Rām.7.28. 28; परुषपवनवेगोत्क्षिप्तसंशुष्कपर्णः Rs.1.22;2.28. -6 Gross. -7 Dirty. -8 Spotted, variegated. -9 Ved. Knotted. -1 Similar; L. D. B. -षम् A harsh or abusive speech, abuse. -Comp. -अक्षर a. using harsh or abusive language; गीर्भिर्गुरूणां परुषाक्षराभिस्तिरस्कृता यान्ति नरा महत्त्वम् -आक्षेपः (In Rhet.) an objection or contradiction containing harsh words; इत्येष परुषाक्षेपः परुषाक्षरपूर्वकम् Kāv.2.144. -इतर a. other than rough, soft, mild; प्रस्पन्दमानपरुषेतरतारमन्तश्चक्षुः R.5.68. -उक्ति f., -वचनम् abusive or harsh language.

इन्दुः induḥ इन्दुः [उनत्ति क्लेदयति चन्द्रिकया भुवनं उन्द्-उ आदेरिच्च Uṇ.1.12] 1 The moon; दिलीप इति राजेन्दुरिन्दुः क्षीरनिधाविव R.1.12 (इन्दु is said to mean in the Veda a drop of Soma juice, a bright drop or spark; सुतास इन्दवः Rv.1.16.6). -2 The मृगशिरस् Nakṣatra. -3 (in Math.) The number 'one'. -4 Camphor. -5 The point on a die; तेभ्यो व इन्दवो हविषा विधेम Av.7.19.6. -6 Designation of the अनुस्वार. - (pl.) 1 The periodical changes of the moon. -2 The time of moon-light, night. -Comp. -कमलम् the white lotus. -कला 1 a digit of the moon. (These are 16, each of which is mythologically said to be devoured by 16 deities in succession). -2 N. of several plants; अमृता, गुडूची, सोम- लता. -कलिका 1 N. of a plant (केतकी). -2 a digit of the moon. -कान्तः the moon-stone. (-ता) 1night. -2 N. of a plant (केतकी). -क्षयः 1 waning or disappear- ance of the moon. -2 the new moon day. Ms.3.122. -जः, -पुत्रः the planet Mercury. (-जा) N. of the river Revā or Narmadā. -जनकः 1 the ocean (the moon being produced amongst other jewels at the churning of the ocean) -2 the sage अत्रि. -दलः a digit, crescent. -पुष्पिका N. of a plant (कलिकारी or जांगली). -भम् 1 the sign called Cancer. -2 the Nakṣatra called मृगशिरस्. -भा a kind of water-lily. -भृत्, -शेखरः, -मौलिः 'the moon-crested god, epithets of Śiva. -मणिः 1 the moon-stone. -2 a pearl. -मुखी A lotus-creeper. -मण्डलम् the orb or disc of the moon. -रत्नम् a pearl. -ले (रे) खा 1 a digit of the moon. -2 N. of several plants, especially, plant Flacourtia Sapida. Its seed is much used by women as a detergent to their oiled hair (Mar. बांवच्या). -3 Ligusticum Ajwaen (Mar. ओंवा). see इन्दुकला. -लोकः the world of the moon. -लोहकम्, लौहम् silver. -वदना A moon-faced lady. N. of a metre; see Appendix. -वल्ली The Soma plant. -वारः a kind of yoga in Astrology. -वासरः Monday. -व्रतम् a religious observance depending on the age of the moon. It consists in diminishing the quantity of food by a certain portion daily, for a fortnight or a month; cf. चान्द्रायण. इन्दुव्रतसहस्रं तु यश्चरेत्कायशोधनम् Mb.13.26.39. -शफरिन् A tree, Bauhinia tomentosa (Mar. आपटा) -सुतः or -सूनुः N. of the planet Mercury.इन्दुमत् m. An epithet of Agni.

वास्तोष्-पति [p= 949,1] m. (fr. वास्तोस् gen. of वास्तु + प्°) " house-protector " , N. of a deity who presides over the foundation of a house or homestead (addressed in RV. vii , 54) RV. AV. Pa1rGr2. Mn. BhP.; N. of रुद्र TS.of इन्द्र L.

indu m. ʻ drop (esp. of soma) ʼ RV., ʻ bright drop, spark ʼ TS., ʻ moon ʼ, pl. ʻ periodic changes of the moon ʼ RV. [Cf. bindú -- and poss. connexion with the group under vīṭā -- ] Pa. indu -- m. ʻ moon ʼ, Si. iňdu Geiger EGS 21, but prob. ← Pa.(CDIAL 1570) इन्दु [p= 166,1]m. ( √ उन्द् Un2. i , 13 ; probably fr. इन्द् = √ उन्द् , " to drop " [see [p= 165,3] , and cf. /इन्द्र] ; perhaps connected with बिन्दु , which last is unknown in the ऋग्-वेद BRD. ), Ved. a drop (especially of सोम) , सोम RV. AV. VS.; a bright drop , a spark TS.;the point on a die AV. vii , 109 , 6; N. of वास्तोष्पति RV. vii , 54 , 2a coin L. (In the ब्राह्मणs , इन्दु is used only for the moon ; but the connexion between the meanings " सोम juice " and " moon " in the word इन्दु has led to the same two ideas being transferred in classical Sanskrit to the word सोम , although the latter has properly only the sense " सोम juice. "); the weight of a silver पल, L. 

pavítra n. ʻ strainer ʼ RV., ʻ kuśa grass for straining ʼŚBr., ʻ sacred cord ʼ MBh. [√pū]

Pk. 

païtta -- , pavitta -- m. ʻ darbha grass ʼ, °aya -- n. ʻ ring ʼ; P. pavitrā m. ʻ ring made of darbha grass ʼ; B. paitā ʻ sacred thread, ceremony of investiture therewith ʼ; Or. païtā, paetā ʻ sacred thread ʼ; H. paĩtīf. ʻ ring of twisted kuśa grass worn on finger during śrāddha and other  ceremonies ʼ; G. pavitrũ n. ʻ sacred thread, gold ring worn on forefinger during rites ʼ, pavitrī f. ʻ ring of twisted darbha grass ʼ; M. pautẽ, povtẽ n. ʻ new sacred string taken in the month Śrāvaṇa, any sacred thread worn by a Brahman ʼ.(CDIAL 7983) पवित्र [p= 611,1] n. a means of purification , filter , strainer , straining-cloth &c (made of thread or hair or straw , for clarifying fruits , esp. the सोम) RV. &c;कुश grass (esp. two कुश leaves for holding offerings or for sprinkling and purifying ghee &c ) S3Br. Ka1tyS3r. Mn. &c (ifc. also को » स-पवित्रक) , a ring of कुश grass worn on the fourth finger on partic. occasions W.;a purifying prayer or मन्त्र Mn. Ya1jn5. MBh.;a means of purifying or clearing the mind RV. iii , 26 , 8 ; 31 , 6 &c;the vessel in which the अर्घ is presented L. (ifc. -क Ma1rkP. );m. N. of a partic. सोम-sacrifice belonging to the राजसूय Ta1n2d2Br. Sch. S3rS.; copper L.

पवित्र pavitra पवित्र a. [पू-करणे इत्र] 1 Sacred, holy, sinless, sanc- tified (persons or things); त्रीणि श्राद्धे पवित्राणि दौहित्रः कुतपस्तिलाः Ms.3.235; पवित्रो नरः, पवित्रं स्थानम् &c. -2 Pu- rified by the performance of ceremonial acts (such as sacrifices &c.). -4 Purifying, removing sin. -त्रम् 1 An instrument for cleansing or purifying, such as a sieve or strainer &c. -2 Two blades of Kuśa grass used at sacri- fices in purifying and sprinkling ghee; N.17.188. -3 A ring of Kuśa grass worn on the fourth finger on certain religious occasions; धौताङ्घ्रिपाणिराचम्य सपवित्र उदङ्मुखः Bhāg.6.8.4. -4 The sacred thread worn by members of the first three castes of the Hindus. -5 Copper. -6 Rain. -7 Water. -8 Rubbing, cleansing. -9 A vessel in which the arghya is presented. -1 Clarified butter. -11 Honey. -12 A purifying prayer. -13 A means of purifying the mind. -14 A cloth for straining Soma juice; वायुः पूतः पवित्रेण प्रत्यङ् सोमो$तिद्रुतः Ts.1. 8.21. -त्रा 1 The holy basil. -2 Turmeric (पवित्रीकृ 'to purify, sanctify'; पवित्रीभू 'to become pure or holy'). -Comp. -आरोपणम्, आरोहणम् investiture with the sacred thread. -धान्यम् barley. -पाणिa. holding Darbha grass in the hand.

पवमान [p= 610,3] mfn. being purified or strained , flowing clear (as सोम) RV.; m. wind or the god of wind VS. TS. Ka1v. Ra1jat.;m. N. of a partic. अग्नि (associated with पावक and शुचि and also regarded as a son of अग्नि by स्वाहा or of अन्तर्-धान and by शिखण्डिनी) TS. Br. Pur.;m. N. of partic. स्तोत्रs sung by the साम-ग at the ज्योतिष्टोम sacrifice (they are called successively at the 3 सवनs बहिष्पवमा*न , माध्यंदिन and तृतीय or आर्भव) TS. Br. S3rS. (cf. RTL. 368)

धरुण--ह्वर [p= 510,2](°र्/उण-) mfn. trembling in its foundations or receptacle RV. i , 54 , 10. धरुण dharuṇa paradise. -3 Water, (n. also) -4 Opinion. -5 A place where anything is preserved. -6 Fire. -7 A sucking calf. -णम् 1 Basis, prop, support. -2 Firm soil. -3A  reservoir.धरुण a. [धृ-उनन्] Ved. Holding, bearing, carrying, supporting. -णः 1 An epithet of Brahman. -2 Heaven, 

ह्वरस् [p= 1308,1]n. (pl.) crookedness , deceit , intrigue ib. VS.;a partic. contrivance attached to the सोम-sieve (perhaps the curved rods fixed round the rim) RV.; a trap , snare (?) RV. ii , 23 , 6.

dhiṣáṇā f. ʻ name of a goddess ʼ RV., dhiṣáṇa -- m. ʻ name of an evil being ʼ AV.

धिषण [p= 516,2] mfn. intelligent , wise Hcat.;f. a sort of सोम-vessel , a cup , goblet , bowl fig. the सोम juice itself and its effects RV. (du. the two bowls or worlds i.e. heaven and earth ; pl. heaven , earth and the intermediate atmosphere ib.)m. of बृहस्-पति (the regent of the planet Jupiter , also °णा*धिप MatsyaP. ) Hcar.;m. dwelling-place , abode , seat BhP.; m. N. of a deity presiding over wealth and gain (also in pl.) RV. MBh.

kukṣí m. ʻ belly ʼ RV. Pa. kucchi -- f., Pk. kukkhi -- , kucchi -- m.n.; Ash. kūċ ʻ middle ʼ, kuċúṭ ʻ calf of leg ʼ (semant. cf. Orm. nā̆s ʻ belly ʼ, nas ta pâī ʻ calf of leg ʼ IIFL i 402); Wg. kūċ ʻ belly ʼ; Pr. kəċē ʻ scrotum ʼ; Paš. lauṛ. kūč ʻ belly ʼ, ar. kūič, kuṛ. kuċ, lauṛ. kuča ʻ among ʼ, °čai ʻ out of ʼ, °či ʻ into ʼ; Kal. rumb. kuč ʻ belly ʼ; K. kŏch, dat. °chi f. ʻ lap, lower part of bosom where babies are carried or dandled ʼ; S. kukhi f. ʻ slender part of the body below the ribs ʼ, kuchiṛ f. ʻ hip ʼ; L. kukh f. ʻ side between hip and ribs ʼ, kucchiṛ f. ʻ carrying a child astride the hip ʼ, awāṇ. kuchuṛ ʻ lap ʼ; P. kukkh f. ʻ belly, side of belly, womb ʼ, kucch f. ʻ hiding place ʼ, kucchaṛ m. ʻ lap, bosom ʼ; H. kūkh, kū̃kh f. ʻ belly, womb ʼ, jāṭū kūkh f. ʻ hips ʼ; Marw. kūkh f. ʻ belly ʼ; G. kū˘kh f. ʻ belly, womb, side below ribs, armpit ʼ; OM. kuṁsi f. ʻ womb ʼ, M. kūs f. ʻ belly ʼ, kusā, °svā m. ʻ womb ʼ; Si. kusa, kisa ʻ belly, womb ʼ, (SigGr) kis ʻ interior ʼ. <-> X gárbha -- q.v.(CDIAL 3213)

कुक्षि [p= 287,2]m. ([f. L. ]) the belly , cavity of the abdomen (in the earlier language generally used in du. RV. VS. AV. ); the interior of anything W.; the womb R. Ragh. x , 60 &c; a cavity in general (e.g. अद्रि-कुक्षि , cavity of a mountain Ragh. ii , 38) MBh. iii , 1069

ulūˊkhala n. ʻ a wooden mortar ʼ RV., aulūkhalḗ ʻ pestle and mortar ʼ MaitrS. 2. *ulukkhala -- . 3. udūkhala -- n. Suśr. 4. *udukkhala -- . [← Drav. EWA 111 with lit. Like músala -- , pop. derivative with -- ala -- J. Bloch BSOS v 742]1. Pk. ulūhala -- n. ʻ a mortar ʼ.2. Pk. ulūkhala -- n. (or ← Sk.); N. urgal ʻ mortar for pounding rice or parched rice ʼ; G. uḷukhḷɔ m. ʻ a mortar ʼ. 3. Pk. udūhala -- , uūh°, ōh° n.4. Pa. udukkhala -- n. ʻ a mortar ʼ, °likā -- f. ʻ part of a threshold (the slot in which the door works?) ʼ; Pk. ukkhala -- , °laga -- , uūkhala -- , okkhala -- m.n. ʻ a mortar ʼ; K. wŏkhul, °kholu m. ʻ a mortar ʼ, °khüjü f. ʻ small do. ʼ; S. ukhirī f. ʻ a mortar, the slip of wood on threshold in which the corner of a door works as a hinge ʼ; L. ukhlī f. ʻ wooden mortar ʼ, P. ukkhal, °khul m., ukkhalī, °khulī f. ʻ small do. ʼ, WPah. bhad. bhal. ukkhal n., Ku. ukhal, okh°, okhlā, gng. ukhaw, N. okhal, ukhli, okh°, A. ukhali, B. ukhli, Or. ukhaḷa, Bi. okhar, ŏkharā, °rī, Mth. ūkhar, °ri, Bhoj. ōkhari, Aw. lakh. okharī, H. ūkhal f., ukh° m., ūkhlī, ukh° f., okhlī, G. ukhaḷ, ukhḷũ n., °ḷɔ m., °ḷī, °ṛī f., M. ukhaḷ n.m., ukhḷī f.Poss. X músala -- in Pk. usuyāla -- n.Addenda: ulūˊkhala -- . 1. A. ural ʻ a mortar ʼ < *uḍū° AFD 234.4. *udukkhala -- : S.kcch. aukkhar f. ʻ a mortar ʼ, WPah.kṭg. ukhḷi f. ʻ hole in barn floor for pounding corn, mortar ʼ, kc. ukhḷe f., J. ukhaḷ m.(CDIAL 2360)उलूखल [p= 218,3]n. a wooden mortar RV. i , 28 , 6 AV. TS. S3Br. A1s3vS3r. &c; N. of a particular kind of cup for holding the सोम (shaped like a mortar) Comm. on Ka1tyS3r.; a staff of उडुम्बर wood (carried on certain occasions) L.

cárman n. ʻ hide, skin ʼ RV.Pa. Pk. camma -- n. ʻ leather, shield ʼ; Gy. eur. arm. čam m. ʻ leather ʼ, pers. čamī ʻ skin ʼ; Ash. ċam ʻ skin, bark ʼ, Wg. čām; Kt. čom ʻ skin ʼ, Pr. čāmə, Bshk. Tor. čam, Gau. sām; Sh. čom m. ʻ skin, leather ʼ (→ Ḍ. čom m.); K. ċam f. ʻ leather ʼ, S. camu m.; L. P. camm m. ʻ hide ʼ; WPah. bhal. ċamm n. ʻ leather ʼ, Ku. N. cām; B. cām ʻ skin, leather, bark ʼ; Or. cama ʻ leather ʼ; Bi. Mth. Bhoj. cām ʻ tanned cowhide ʼ; H. cām m. ʻ hide, leather ʼ, G. cām n., M. ċām n., Si. sama, ha°; -- ext. -- ḍa -- : S. camiṛo m. ʻ piece of leather ʼ, L. P. camṛā m. ʻ dressed hide ʼ; B. cāmṛā ʻ leather ʼ, cāmṛī ʻ scurf ʼ; Or. camaṛā ʻ leather ʼ; Bi. camṛā ʻ raw hide ʼ; H. camṛā m. ʻ leather ʼ, G. cāmḍũ n., °ḍī f.; M. ċāmḍẽ n. ʻ a hide ʼ, °ḍī f. ʻ the skin ʼ; Ko. cāmḍẽ n. ʻ hide ʼ. -- Prob. A. sām ʻ crop of boils ʼ (cf. B. cāmṛī above), sāmnī ʻ scum, scale ʼ < *cammaṇa -- ? -- Kho. (Lor.) č*lrma ʻ hide from which shields are made ʼ ← Pers.*carmavatī -- , carmín -- , cārmá -- ; carmakarta -- , carmakāra -- , carmakāsthikā -- , carmacaṭaka -- , carmapaṭṭa -- , carmapattrā -- , carmapādukā -- , carmayaṣṭi -- , *carmāsa -- , *carmōtkuṇa -- .Addenda: cárman -- : S.kcch. camm m. ʻ leather ʼ, camṛī f. ʻ the skin ʼ; WPah.kṭg. ċamṛi f. ʻ human skin ʼ, Garh. cām, Md. ham.(CDIAL 4701) चमू [p= 388,3] f. (Ved. loc. °म्/ऊ RV. six times ; once °म्व्/इ , x , 91 , 15 ; nom. du. °म्व्/आ , iii , 55 , 20 ; gen. loc. °म्व्/ओस् ;nom. pl. °म्व्/अस् , viii , 2 , 8 ; loc. pl. °म्/ऊषु) a vessel or part (two or more in number) of the reservoir into which the सोम is poured RV.; f. du. °म्व्/औ " the two great receptacles of all living beings " , heaven and earth Naigh. iii , 30 (cf. RV. iii , 55 , 20); g. a coffin (?) S3Br. xiii , 8 , 2 , 1 S3a1n3khS3r. xiv , 22 , 19; an army or division of an army (129 elephants , as many cars , 2187 horse , and 3645 foot MBh. i , 292) MBh. R. Megh. BhP.

dhamanī f. ʻ bellows ʼ KātySm., ʻ sort of perfume ʼ Bhpr. [√dham]Pk. dhamaṇĭ̄ -- f. ʻ bellows ʼ, S. dhãvaṇi f., H. dhaunī f., G. dhamaṇi f. (whence dhamaṇvũ ʻ to blow with bellows ʼ); -- K. daman, dat. °müñü f. ʻ bad smell (esp. of stale curd or other bad food) ʼ.(CDIAL 6734) dhámati ʻ blows ʼ RV. [√dham] Pa. dhamati ʻ blows, kindles ʼ, Pk. dhamaï, °mēi; K. damun ʻ to roar (of wind), blow up a fire ʼ; S. dhãvaṇu ʻ to blow (with bellows), beat (of pulse) ʼ; P. dhauṇā ʻ to blow (with bellows) ʼ, WPah.khaś. rudh. dhamṇū, G. dhamvũ. -- Kt. dəmō -- , Pr. -- lemo -- ʻ to winnow ʼ rather < dhmāyátē. -- Kho. (Lor.) damik ʻ to work a charm on ʼ deriv. dam ʻ charm ʼ ← Pers. rather than < *dhāmayati. -- Ext. -- kk -- or X MIA. phukk -- , phuṁk -- s.v. *phūtka -- : L. dhaũkaṇ ʻ to blow (with bellows) ʼ; P. dhauk(h)ṇā, dhaũk(h)ṇā ʻ to blow (with bellows), bellow, brawl ʼ; Ku. dhaũkṇo ʻ to blow, breathe ʼ, dhaũkalo ʻ bellows ʼ; H. dhaũknā ʻ to blow (with bellows), breathe on, pant ʼ.dhamana n. ʻ blowing with bellows ʼ lex. [√dham] K. damun m. ʻ bellows ʼ. -- Ash. domótilde; ʻ wind ʼ (→ Pr. dumūˊ), Kt. dyīmi, Wg. damútildemacr;, Bashg. damu; Paš.lauṛ. dāmāˊn, kuṛ. domón, uzb. damūn ʻ rain ʼ (< ʻ *storm ʼ → Par. dhamāˊn ʻ wind ʼ IIFL i 248): these Kaf. and Dard. forms altern. < dhmāna -- ?(CDIAL 6731, 6732)

धामन् [p= 514,3] n. dwelling-place , house , abode , domain RV. &c &c (esp. seat of the gods cf. मध्यमं धाम विष्णोः S3ak. [ Pi. ?? iv , 5] ; site of the sacred fire and the सोम RV. &c ; with प्रियम् , favourite residence VS. Br. ); favourite thing or person , delight , pleasure VS. AV. Br.; the inmates of a house or members of a family , class , troop , band , host (also pl.) RV. &c; law , rule , established order (esp. of मित्र-वरुण) RV. AV.; effect , power , strength , majesty , glory , splendour , light RV. &c MBh. Ka1v. Pur

Figures from Mahadevan's monograph (Puratattva 13& 14, 1983-84) 

http://www.rmrl.in/wp-content/uploads/2014/02/papers/14.pdf

http://www.rmrl.in/wp-content/uploads/2014/02/papers/11.pdf 
Mirror: http://www.rmrl.in/wp-content/uploads/2014/02/papers/14.pdf

See: https://www.scribd.com/document/110867255/The-Archaeology-of-Hindu-Ritual-Michael-Willis

https://www.scribd.com/document/110847833/From-Material-to-Deity-Indian-Rituals-of-Consecration-Shingoo-Einoo-and-Jun-Takashima 

S. Kalyanaraman
Sarasvati Research Center
February 16, 2017

Addendum

Pipīlikā (f.) & pipillika [cp. Vedic pipīlikā, pipīlaka & pipīlika; BSk. pipīlaka AvŚ ii.130 (kunta˚). See also kipillikā] ant J iii.276 (BB kipillikā); Sdhp 23; as pipillikā at J i.202. (Pali)

ओण् 1 P. (ओणति, ओणितुम्) To remove, take or drag along.
ओणि ōṇi ओणि a. Removing. -णी (du.) 1 Heaven and earth. प्र ते सोतार ओण्यो रसं मदाय घृष्वये Rv.9.16.1. -2 Vessel used in the preparation of Soma. -3 Preserving power, protection. (Apte)

اوينه aoe-nah, s.m. (6th) The white ant. Sing. and Pl. وینه o-enaʿh, s.m. (6th) A white ant. Sing. and Pl. Also اوینه, which see. میږي mej̱ẕaey, s.m. (1st) An ant in general. Pl. يِ ī. ښانګور میږي ś̱ẖāngawar-mej̱ẕaey (W.), The large long-legged black ant. سور میږي sor-mej̱ẕaey, The small red ant. اوینه aoey-nah, The white ant. Sing. and Pl. (Pashto)

Mahavamsa records the House of Moriya (463–691 CE) in the chronicles of Sinhalese monarchy. Attempts have been made to trace the Maurya dynasty -- Candragupta Maurya, (321 – 297 BCE) from Moriya which predates this House of Moriya by a milennium.

There has been a dispute about the identification of Candragupta Maurya to the period 321-297 BCE. There was an earlier Maurya 1200 years earlier also called Candragupta Maurya: "Chandragupta Maurya, the son of Mahapadma or Dhana Nanda by his Sudra wife 'Mura', came to the throne of his father in the year 1604 of the Yudhistira Saka, corresponding to 1534 B.C." http://trueindianhistory-kvchelam.blogspot.in/2009/09/maurya-dynasty-fifth-dynasty-of-magadha.html Kota Venkatachalam contest the Greek account which link up Sandracottas, Sandrocyptus, Xandrames or Andramen with Nanda and thereafter making Candragupta a contemporary of Alexander.

So, who were the Moriya? मौर्य [p= 837,1] m. patr. fr. मुर and metron. fr. मुरा VP. HParis3. (cf. g. कण्वा*दि) pl. N. of a dynasty beginning with चन्द्र-गुप्त Pur.
This lexical entry shows that Mura were contemporaneous with Ṛgveda kaNVa and others. मुर  m. N. of a दैत्य slain by कृष्ण MBh. Hariv. BhP. (cf. मुरु); मुरा f. said to be the N. of the wife of नन्द and mother of चन्द्रगुप्त VP.

Thus, Mura is contemporaneous with Mahābhārata Kṛṣṇa, dated to 4th millennium BCe (pace Narahari Achar's dating of key Mahābhārata astronimical references precisely dating the historical events related to the war, pariyatra of Sri Balarama etc.)

One school links Moriya to Pippalivana (Kurukshetra) and another to pipīlika (Kashmir)

The possibility that pipīlika were a tribe of Mongols cannot be ruled out. See: http://tinyurl.com/jbzcxtu

It has been shown that oṇi (dual used in Soma press: Ṛgveda) = pipīlika (MBh.). The words are synonyms with semantics: 'gold, ant/anthill'.

Deliberations and disputes on the location of Pippalavana and roots of Maurya

The Buddhist text, the Mahavamsa, calls Chandragupta a member of a division of the (Kshatriya) clan called the Moriya.The Mahaparinibbana Sutta states that the Moriyas (Mauryas) belonged to the Kshatriya community of Pippalivana i.e. possibly Pipli on the outskirts of Kurukshetra. 
https://en.wikipedia.org/wiki/Chandragupta_Maurya

Chandragupta belonged to the Moriyas, a kshatriya (warrior) clan of the small, ancient republic of Pippalivana (located between Rummindei, in the Nepalese Tarai, and Kasia in the Gorakhpur district of Uttar Pradesh).

Connection between Chandragupta Maurya and the Moriya Ksatriya clan of Eastern India… [quote] Referring to the Buddhist tradition that Mauryan rulers of Magadha originally belonged to Pippalivana, Dr Seth remarks that this may be a correct historical tradition, but in Pali texts, this Pippalivana has been wrongly identified with Nyagrodha Forest which was the site of Char Coal Stupa (said to be associated with the Moriya clan of Eastern India), and the identification of Charcoal Stupa seem to be the result of the attempts of the Buddhist chroniclers to give king Asokas a highly distinguished lineage. Dr Seth observes that Fa-hien (399 – 411 AD) does not mention the name of Pippalivana (i.e the site of Char Coal Stupa). Further, in the Tibetan Chronicle Dulva the site of Charcoal Stupa is called the town of Nvagrodha or Baniya Forest (Asiatic Researches, Bengal xx). Chinese pilgraim, Hiuen Tsang who visited India (630- 644) had also visited this site but he also does not mention the site as Pippalivana but instead, speaks of site of Char Coal Stupa as Nvgarodha trees. It is very interesting that only Ceylonese and the Burmese chronicles, which are based on the Ceylonese chronicles, call the site of Char Coal Stupa as Pippalivano. Dr Seth says that since Hiuen Tsang had actually visited the site of Charcoal Stupa, we must accept his testimony in preference to distant chroniclers of Ceylon or those of Burma which followed the Ceylonese chronicles (Op. cit., 1937, p 160, Dr Seth). In this connection it is also added that General Alexander Cunnigham, author of famous "Ancient Geography of India" had also earlier rejected the identification of the site of Char Coal Stupa with the Pippalivana on similar grounds as Dr Seth has put elicited above (See: The Ancient Geography of India, Vol I, The Buddhist Period.., p 429, Col Alexander Cunningham): See Link:[6] . Other scholars also have rejected the identification of Char Coal Stupa site with Pippalivana of the Ceylonese chroniclers (Ref: Studies in Indian History and Civilization, 1962, p 85, Buddha Prakash - India). Dr H. C. Raychaudhury had identified the Nyagrodhavanna with the Pippalivana but Dr Buddha Praksh has criticized this identification and has also asked for evidence if the site of the tope ever abounded in peepul trees (The Indian Review, 1937,, p 85, Dr Buddha Prakash).

Thus there is a force in Dr Seth’s arguments.

In the above context, Dr Seth has brought out a interesting point here. The landscape extending to its north-east (the Daradistan territory) was anciently known for its Pipilika or Ant-gold (See Mahabharata 2.49.4). But since Swat, Kunar and Indus were also the ancient sources of Alluvial gold and the term Pipilika is believed by some scholars to refer to the size of the alluvial grains (in actuality, it also referred to river gold) and the scholars like Pickard think that this was perhaps the true origin of the name Pipilika (Ref: Science and Civilization in China, 1954, p 339, Joseph Needdam, Ling Wang). It is believed that Pipilka may also have been the local name of the regions lying between Indus and Hindukush due to the abundant availability of Pipilka gold. The Pippalivan of the Ceylonese texts is probably a corruption of this very name local parlance. It is also notable that the fifth century Sanskrit play of Raghuvamsa of Kalidasa refers to the Pipilka gold of the Kambojas (Ref: The Purana, Vol VI, No 1, Jan 1964, Kamboja Janapada by Dr V. S. Aggarwal) who were the ancient inhabitants of this very region.

Dr Seth observes: "As regards Pippalivana, we have already noted that it was wrongly identified by Buddhist chronicles of Ceylon with the site of Char Coal Stupa. It is likely that the region between Hindukush and Indus was known as Pippalivana. In the upper reaches of Indus and Swat lie Daradistan from which Pipilika (Ant gold or as Pickard believes, the Alluvail gold grains) was obtained and is still obtained. The fact that very large amount of gold was obtained from this area is testified by the heavy tribute it paid in gold to Persian empire during Achaemenid rule" (Op cit. 1937, p 164, Dr H. C. Seth).

In an attempt to attribute to Chandragupta and his descendants an illustrious lineage and to link them finally to the noble clan of the Sakyas, the distant Ceylonese Chroniclers appear to have transformed this Pipilika to Pippalivana and connected it erroneously to the site of Char coal Stupa of the Moriya clan of Eastern India.[unquote]

https://en.wikipedia.org/wiki/Talk%3AChandragupta_Maurya

ōṇivvo attested in Hemachandra Deśināmamālā affirms Soma as metal containing gold

February 15, 2017, 11:22 pm

≫ Next: Herodotus was not lying. Himalayas Offer Clue to Legend of Gold-Digging 'Ants'-- Marlise Simons

≪ Previous: Itihāsa of ओणि ōṇi 'soma sieve' (Ṛgveda), sangaḍa, standard device (Indus Script) in metalwork

$

0

0

Mirror: http://tinyurl.com/jbb3w56

See: http://tinyurl.com/j967fp6

पिपीलिक n. a kind of gold supposed to be collected by ants MBh. ii , 1860.; m. an ant AdbhBr. MBh. &c (Monier-Williams) पिपीलिकः pipīlikḥपिपीलिकः An ant . -कम् A kind of gold (said to be collected by ants); तद् वै पिपीलिकं नाम उद्धृतं यत् पिपीलकैः । जातरूपं द्रोणमेयमहार्षुः पुञ्जशो नृपाः ॥ Mb.2.52.4. -Comp. -पुटम् an ant-hill. (Apte)

Hemachandra Deśināmamālā, p. 18 glossary

See: http://bharatkalyan97.blogspot.in/2017/02/itihasa-of-oni-soma-sieve-rgveda.html 

Itihāsa of ओणि ōṇi 'soma sieve' (Ṛgveda), sangaḍa, standard device (Indus Script) in metalwork

ओणि ōṇi 'soma sieve' (Ṛgveda)is clearly assoiated with the ‘sieving’ stage of Soma processing, describing the word in the dual as ‘pressing stones’.

the word ōṇivvo attested in Hemachandra Deśināmamālā can also be seen to be seen in the context of the description of oNi in Rigveda as an affirmation of Soma as a metallic substance containing gold with the mākshikā 'pyrites ore'.

S. Kalyanaraman

Sarasvati Research Center February 2017

Herodotus was not lying. Himalayas Offer Clue to Legend of Gold-Digging 'Ants'-- Marlise Simons

February 16, 2017, 12:06 am

≫ Next: Itihāsa of Soma pavamāna, Meluhha oṇi 'gold dust' exports to Mesopotamia -- Cuneiform texts 3rd millennium BCE

≪ Previous: ōṇivvo attested in Hemachandra Deśināmamālā affirms Soma as metal containing gold

$

0

0

See the URLs: 
http://tinyurl.com/j967fp6 
Itihāsa of ओणि ōṇi 'soma sieve' (Ṛgveda), sangaḍa, standard device (Indus Script) in metalwork

http://tinyurl.com/jbb3w56 

ōṇivvo attested in Hemachandra Deśināmamālā affirms Soma as metal containing gold

Gold digging ant

Aug 22, 2016

Variations: Formica maior, Formica aurum

Herodotus originally placed the Gold-digging Ants in the sandy deserts in the land of the Dards, in India, within the Persian Empire. Some later sources, such as the Ortus Sanitatis, move them to Ethiopia. Their story is the same regardless of location.

Gold-digging ants are smaller than dogs, but larger than foxes. Pliny specifies that they are as large as an Ethiopian wolf, and the color of a cat. Skins of those ants brought before Alexander the Great were like panther skins. In the Ortus Sanitatis, the gold-digging ant is given a form unlike any ant – indeed, unlike any living animal, with a rounded, bird-like head and four legs with long talons. These ants are exceedingly fast, strong, and dangerous.

Most importantly, gold-digging ants excavate their nests in an area rich with gold dust. The sand they bring to the surface is full of the precious metal, making them an attractive target for treasure seekers, but they also fiercely defend their gold from anyone who would dare take it.

To steal the ants’ gold, camel caravans approach the nests on hot summer mornings, when the ants are safely underground. Gold sand can be quickly scooped up into bags, but the ants soon catch the scent of the intruders and hurry to the surface. Without a head start for the camels, the ants would easily catch up and dismember them.

Whatever the nature of the gold-digging ants, it is agreed that they definitely weren’t ants, and most likely were some sort of mammal. Suggestions include the hyena, whose Persian name resembled the Greek name for the ant; and the Siberian fox, whose digging and ferocity parallel those of the ant. The most compelling argument is elaborated by Peissel, who identifies the “ants” as Himalayan marmots whose tireless digging would have brought gold to the surface. Herodotus’ usage of murmex for ant may have muddled the distinction between ant and marmot.

References

Cuba, J. (1539) Le iardin de santé. Philippe le Noir, Paris.

Herodotus, Macaulay, G. C. trans. (1890) The History of Herodotus, translated into English. Macmillan and Company, London.

Peissel, M. (1984) The Ants’ Gold. Harvill Press, London.

Pliny; Bostock, J. and Riley, H. T. trans. (1857) The Natural History of Pliny, v. III. Henry G. Bohn, London.

de Xivrey, J. B. (1836) Traditions Tératologiques. L’Imprimerie Royale, Paris.

https://abookofcreatures.com/2016/08/22/gold-digging-ant/

Tuesday, August 2, 2016

Herodotus and the Gold Digging Ants

Herodotus Homo Fabulator

Herodotus who is considered as the father of history has mentioned that gold digging ants were in the northern stretches of ancient India. We need to be aware that Ancient India had covered most part of present day Pakistan, before the separation of 1947. Presently Pakistan tends to cover the original India, the region of the Indus Valley, the Sindhu Desh, Sindh country or the land of the Sindhus.

Due to his story of ants together with other strange tales which are not verified during that time, several researchers as well as writers since ancient times, have accused Herodotus of stupidity and lying. Voltaire like Cicero recognized him as the father of history during the Age of Enlightenment. He thought that history was a block containing fables and legends and that it is ok if the writer seems to be a liar.

He has been assessed by Aulus Gellius in Attic Nights III, 10, as `Herodotus homo fabulator’ and has been found guilty for reciting that plea to the fantastical, ethnographical elements which tends to induce superhuman races as well as for geographical description which at that time were inexplicable.

Species of Fox-Sized Furry Ants

Herodotus has reported that a species of fox sized furry ants seemed to be living in one of the far eastern Indian provinces of the Persian Empire which according to him was a sandy desert where the sand there comprised of a wealth of fine gold dust. Michel Peissel, a French ethnologist asserts thatthe Himalayan marmot on the Deosai Plateu in Gilgit-Balistan province of Pakistan could have been the giant `ants’ according to Herodotus.

Herodotus’s description of the province was that the ground of the Deosai Plateau was rich in gold dust. The Minaro tribal people living in the Doesai Plateau had been interviewed by Peissel who had confirmed that they had for generations collected the gold dust which the marmots had brought to the surface while digging burrows. The story had been well-known in the ancient world and later on authors such as Pliny the Elder had revealed it in his gold mining segment of the Naturalis Historia.

Discovery of the Greek El Dorado in Himalayas

Peissel speculates in his book, The Ants’ Gold – The Discovery of the Greek El Dorado in the Himalayas that Herodotus could have tangled the old Persian word for `marmot’ with `mountain ants’ since he possibly was unaware of any Persian and relied on local translator while travelling in the Persian Empire. Herodotus has not claimed of having seen the gold-digging `ant’ creatures but had stated that he was just reporting what the other travellers had informed him.

Whether Herodotus had made the mistake or it could have been one of his sources, will never be known states Alex Hollman, a scholar of Herodotus at Harvard University. He further adds that if the discovery seems to be true, it tends to show that though Herodotus could have misunderstood the story and was not certainly making it up. Herodotus known as the father of history would collect stories from sources around the world which is believed to be first recited and then published, around 425 BC and the gold-digging ants’ legend is said to be one of the most famous one due to its outrageousness.

http://www.elixirofknowledge.com/2016/08/herodotus-and-gold-digging-ants.html 

Himalayas Offer Clue to Legend of Gold-Digging 'Ants'

By MARLISE SIMONSNOV. 25, 1996

Continue reading the main storyShare This Page

• Share
• Tweet
• Email
• More
• Save

The fabulous tale of the giant ''ants'' that dug up gold in a far-off El Dorado and enriched the Persian Empire has circulated for some 2,500 years. Historians have variously recorded it as fact, mocked it as extravagant and passed it along the ancient grapevine.

It was popular in Athens and Rome, and Alexander the Great, on his way to India, is said to have known about the tale. Scholars and fortune hunters have tried to explain the enigma for centuries.

Now a team of explorers says it has solved the puzzle. The explorers believe they have pinpointed the land of the legendary gold-digging ants and the people who profited in one of the most inaccessible regions of the Himalayas along the upper Indus River.

They say the outsize furry ''ants,'' first described by Herodotus in the fifth century B.C., are in fact big marmots. These creatures -- Herodotus calls them ''bigger than a fox, though not so big as a dog'' -- are still throwing up gold-bearing soil from deep underground as they dig their burrows. Most important, the explorers say they have found indigenous people on the same high plateau who say that for generations they have collected gold dust from the marmots' work.

''I think this confirms the legend that has fascinated so many people,'' said Michel Peissel, a French ethnologist, who has just returned here from a monthlong journey in the western Himalayas of northern Pakistan. ''I think it vindicates Herodotus, who has often been called a liar.''

Other explorers have suggested that the furry ''ants'' of antiquity were marmots, but until now there were no known reports of the site where indigenous people actually collected and sifted sand to get the marmots' gold.

That place, Mr. Peissel said, is the Dansar plain, a high plateau overlooking the Indus River near the tense cease-fire line between India and Pakistan. It is an isolated region where the Indus comes roaring through deep gorges on its way south. On both sides of the river, Mr. Peissel said, are small settlements of Minaro tribal people, an ancient remnant who have remained so isolated in the high valleys that they still preserve some stone-age customs.

Up in those barren highlands, Mr. Peissel said, he first went to study the Minaro 14 years ago on the Indian side of the border, traveling in disguise because the military zone was off-limits to outsiders.

''That's where I first heard the startling news that the villagers used to collect the earth from the marmot burrows because it contained much gold dust,'' said Mr. Peissel, who speaks Tibetan, like the Minaro.

But the Dansar plain, where the old people used to get the gold dust, the locals said, was five miles away on the other side of the Indus, now the Pakistani side. It took 14 years for Mr. Peissel and a British photographer, Sebastian Guinness, to get permits to visit the Minaro on the Pakistani side, also a strategic zone.

In Pakistan, he said, the Minaro villagers told the same stories. ''We went out to the Dansar plain, overlooking the Indus, at an altitude of some 10,000 feet,'' he said. ''It was astonishing. There were the marmots and the burrows and the piles of sand they threw up.'' Moreover, he said, a landslide had exposed the darker, gold-bearing soil that was three feet below the surface. That was the same soil the marmots brought up from under the sand.

Mr. Peissel, author of a book called ''The Ants' Gold,'' says his favored explanation is that confusion set in because in Persian the word for marmot is equivalent to ''mountain ant.''Specialists have long argued about why Herodotus and other ancient writers described the furry gold-digging creatures as ants. Herodotus wrote in his ''Histories'' that some were even kept at the palace of the Persian king, who ruled the region at the time.

Marmots, a type of rodent, are unusually large in the Himalayas, wth bushy fur and a large fox-like tail, he said. They have razor-sharp teeth and claws. ''They can be ferocious if one tampers with their burrows, which is just what the gold-seekers did,'' he said.

Stephanie West, a Herodotus scholar at Oxford University in Britain, said that Herodotus was not known to speak Persian, although the Persians invaded Halicarnassus, the Greek city where he lived from around 480 B.C.

''He traveled to Egypt but not to India,'' Ms. West said. ''He could have got it wrong. His information came from talking to travelers and reading what there was to be read.''

Ms. West disagreed with the view of some scholars that Herodotus, who wrote the first major prose work of that time, fabricated tall stories or set out to deceive readers.

''He probably took the liberties a historical novelist takes, rather than writing strictly as a historian,'' she said.

''It's such a marvelous notion, but once you think of them as marmots, it's less bizarre,'' she said. She said she was familiar with Mr. Peissel's research.

The marmots digging on the Dansar plain may or may not settle the issue. Mr. Peissel said he would prefer to test his findings with further studies.

''Ideally we should make a full archeological and geological survey in the area,'' he said. ''But it's right in the line of fire of both sides. There was gunfire when we were there. The locals tell us that the marmots are dwindling. The Indian soldiers are constantly taking potshots at them.''

http://www.nytimes.com/1996/11/25/world/himalayas-offer-clue-to-legend-of-gold-digging-ants.html

One of the most fantastic stories by Herodotus is his account of the gold-digging ants in India, which has unexpectedly found confirmation.

The gold digging "ants"

[3.102] Besides these, there are Indians of another tribe, who border on the city of Caspatyrus, and the country of Pactyica; these people dwell northward of all the rest of the Indians, and follow nearly the same mode of life as the Bactrians. They are more warlike than any of the other tribes, and from them the men are sent forth who go to procure the gold. For it is in this part of India that the sandy desert lies. Here, in this desert, there live amid the sand great ants, in size somewhat less than dogs, but bigger than foxes. The Persian king has a number of them, which have been caught by the hunters in the land whereof we are speaking. Those ants make their dwellings under ground, and like the Greek ants, which they very much resemble in shape, throw up sand heaps as they burrow. Now the sand which they throw up is full of gold. The Indians, when they go into the desert to collect this sand, take three camels and harness them together, a female in the middle and a male on either side, in a leading rein. The rider sits on the female, and they are particular to choose for the purpose one that has but just dropped her young; for their female camels can run as fast as horses, while they bear burthens very much better. 

[3.104] When the Indians therefore have thus equipped themselves they set off in quest of the gold, calculating the time so that they may be engaged in seizing it during the most sultry part of the day, when the ants hide themselves to escape the heat. The sun in those parts shines fiercest in the morning, not, as elsewhere, at noonday; the greatest heat is from the time when he has reached a certain height, until the hour at which the market closes. During this space he burns much more furiously than at midday in Greece, so that the men there are said at that time to drench themselves with water. At noon his heat is much the same in India as in other countries, after which, as the day declines, the warmth is only equal to that of the morning sun elsewhere. Towards evening the coolness increases, till about sunset it becomes very cold. 

[3.105] When the Indians reach the place where the gold is, they fill their bags with the sand, and ride away at their best speed: the ants, however, scenting them, as the Persians say, rush forth in pursuit. Now these animals are, they declare, so swift, that there is nothing in the world like them: if it were not, therefore, that the Indians get a start while the ants are mustering, not a single gold-gatherer could escape. During the flight the male camels, which are not so fleet as the females, grow tired, and begin to drag, first one, and then the other; but the females recollect the young which they have left behind, and never give way or flag. Such, according to the Persians, is the manner in which the Indians get the greater part of their gold; some is dug out of the earth, but of this the supply is more scanty.

http://www.livius.org/sources/content/herodotus/the-gold-digging-ants/? 

See: https://www.academia.edu/12455298/Herodotus_and_the_gold_digging_ants_he_was_not_lying

Ancient Indian Metallurgy*

Vedic texts give us unique insights into the development of ancient Indian metallurgy

Man and metals have an age-old relationship.  Different periods of early human Civilization have been named after metals.  The attributes of gold influenced the mind and heart of Indians so much so that they conferred upon the supreme spirit the designation of hirnyagarbha.  It was so called, because he remains in a golden egg as an embryo.  The two important sources for the History of Indian metallurgy are archaeological excavations and literary evidence.  Although a considerable amount of information on this subject from the study of archaeological finds is available, literary evidence has not been studied to the extent it deserves. Unique information related to metals and metallurgy is available in different Sanskrit texts beginning with Vedic texts to medieval and pre-modern texts.  There are both direct and indirect types of references.  An attempt has been made here to give a glimpse of some such references.

The Rigveda has widely referred to hiranya, which is the oldest Sanskrit word for gold.  It has also mentioned products made from gold, such as water vessel, necklace and visor.  Chariots decorated with gold have also been mentioned.  The Rigveda (10.75.8) mentioned that the river Sindhu (Indus) contains gold.  The word hiranyayi was used for the river.  Another Rigveda hymn (8.26.18), states that the path of the river Sindhu contains gold, and the word used for it is hiranyavartanih.  It is interesting to note that Sayana translated this word as hiranmayobhayakula, i.e. both banks containing gold.  The above hymns are some of the earliest indirect references to the alluvial placer gold deposits in India.  The river Sindhu was an important source of gold in ancient times.  It is interesting to note the references for the availability of alluvial placer gold in the river Sindhu are also reported in modern times.  Tucci reported in 1977 that “there was near the Indus (Sindhu) source, as there are even now, great mines of gold in the region of the Manasarovar and in Thokjalyug”.  Further, in the itinerary in Khotanese Saka from Gilgit to Chilas (written between 958 – 972  A.D.) the Indus is called Ysarnijittaji --  the golden river, which is not a mere poetic attribute, but a reality.

Gold obtained from the river Jambu was called jambunanda and that from the river Ganga was called gangeya.  These were also, alluvial placer gold.  The Pali text Anguttara Nikaya narrated the process of the recovery of gold dust or particles from alluvial placer gold deposits in allegorical form.

The Mahabharata referred to pipilika gold (ants’ gold).  Heaps of this type of gold was presented to the king Yudhishthira  at the time of rajasuya yagna ceremony.  Pipilika gold was powdery in nature and of high purity.  It was obtained by panning the auriferous soil of ant hills formed by ants or termites as a part of their nature on the land containing placer gold deposits and hence the name ants’ gold.  Kautilya described a variety of gold called rasaviddha, which was naturally occurring dissolved gold in liquid form.  He stated that one pala (a measure) of this solution converts one hundred palas of silver or copper into gold, which refers to the  cementation of gold on the surface of metals like silver and copper.  A similar type of dissolved gold know as hatakaprabhasa was mentioned  in Gandavyuhasutra.  Kalidas also mentioned such gold solutions and termed it Kanaka rasa.  It is astonishing to note how people recognized such gold solutions in the past.

Native gold is invariably by no means a pure metal.  It contains upto 20 percent silver, copper, iron, lead, bismuth, platinum group metals and other metals, as impurities.  Thus, native gold would have different colours depending upon the nature and amount of impurities present.  It is logical to assume that the different colours of native gold were a major driving force for the development of gold refining process.  Although, evidence of gold refining is available in Vedic texts in an allegory form, it was the Arthashastra of Kautilya, which presented it in detail.

Gold refining was a two-stage process.  The first stage was the melting of impure gold alongwith lead, which removed base metal impurities, but not noble metals like silver.  The second stage was to heat impure gold sheets with the soil of Sindhu State, which contained salt.  The sodium chloride present in the soil reacted with silver and the resulting silver chloride absorbed in the surrounding soil.  This was a solid state process, which involved diffusion of silver in impure gold and the subsequent formation of silver chloride at the gold-soil interface.

It is important to note that Kautilya stated that the starting sheet of impure gold must be thin, as this would improve the kinetics of the solid state refining.  Usage of gold in granular form, as was the case at least in part in the Sardis refinery of the Lydian kingdom of Anatolia, would result in lower yield.

Another important metal referred to in Rigveda is ayas.  It has a shining appearance.  Ayas has different meanings in different periods.  In early Vedic period, it means either copper or copper alloys.  One of the important products made from ayas, as stated in the Rigveda, was the weapon of Indra called vajra.  It was made by the process of sinchan (casting).  In the later Vedic period ayas or karshnayas means iron.  In the Atharvaveda, rajata (silver), trapu (tin) and sisa (lead) have been mentioned.

Kautilya also described the method for refining silver, which was similar to the first stage process used in gold refining.  Further, Kautilya stated a very  interesting qualitative test for ensuring the purity of cast silver ingots. According to it, the surface of the cast pure silver ingots should exhibit an appearance of chulika, i.e., projections similar  to cock’s comb.  In other words,  the top surface of the pure silver ingot has a rising appearance at certain places.  In fact, this is a reference to the spitting and sprouting behaviour of silver.  Oxygen dissolves readily in molten silver.  Molten silver dissolves approximately 20 times its own volume of oxygen near the melting point at one atmosphere pressure of oxygen.  Just below the melting point, the solid silver can dissolve oxygen only upto half its own volume under similar conditions.

The large difference in solubility of oxygen in the liquid and solid state causes the evolution of oxygen during solidification of molten silver.  Bubbles of oxygen are then given off, resulting in “spitting” at the free surface.  As a result, liquid silver from the interior is ejected on the surface of the ingot and a shape similar to a cock’s comb is formed on the top surface after solidification.This author carried out the experimental replication of the formation of  chulika on a small size cast pure silver.  If silver contains base metals such as lead and copper, then the dissolved oxygen would combine with it to form respective oxides.  In such a situation, the phenomenon of spitting would not be observed and the surface would be smooth.

In this context, it is interesting to note that the law governing the solubility of gases in metals, known as Sievert’s law, came into existence only in the early 20^thCentury.  However, ancient Indians recognized the practical aspect of Sievert’s law in judging the purity of silver.

There is a rich Sanskrit terminology for metals, from which interesting information on history of metallurgy can be derived.  Only a few uncommon terms would be cited.  Silver has a tendency to tarnish.  It tarnishes readily when exposed to atmosphere containing sulphur, and looks blackish.  Due to this characteristic, an uncommon Sanskrit name of silver is durvarna.  The copper produced in Nepal was called naipalika or nepalaka, and  was of  high purity.  Tin recovered from lead-tin  alloy was called nagaja, i.e. “that obtained from naga (lead)”.  Similarly, tin recovered from the impure gold containing tin was called svarnaja.  India was not rich in tin metal.  Our ancestors were conscious of this problem and also exploited secondary sources for tin recovery.  The presence of lead adversely affects the characteristics of gold and hence, it was also called as hemaghna.

The Rasaratnasamuchchaya described three types of ferrous materials, viz, munda, tiksna and kanta.  When iron ore pieces are reduced by charcoal  in solid state, iron blocks containing  porosity results.  For this reason, the reduced iron blocks are also called sponge iron blocks.  Any useful products can only be obtained from this material after removing the residual porosity by hot forging.  The  hot forged sponge iron blocks are also termed as wrought iron.  Munda was wrought iron.  As the name suggests tiksna has superior hardness as compared to munda.  Tiksna represented crucible steel made by liquid metallurgy and also probably further carburised wrought iron.  Special  varieties of iron were called kanta.  An exciting example of wrought iron produced in ancient India is the World famous Delhi Iron Pillar.  It was erected in the present position in Delhi in the 5^th Century AD by king Chandra Varman.  However, the engraved Sanskrit inscription suggests that it was probably brought here from elsewhere in the Gupta period.  The average composition (wt%) of the  wrought iron of the pillar is – Fe – 0.15 C – 0.05 Si – 0.05 Mn – 0.25 P – 0.005 Ni – 0.03 Cu – 0.02 N.  The most significant aspect of the pillar is that there is no sign of any corrosion, in spite of the fact that it has been exposed to the atmosphere for about 1,600 years.

Another striking feature of the pillar is its manufacturing technology.  It was made by successive hot forging of directly reduced sponge iron blocks produced from the solid state reduction of iron ore by charcoal, in a die.  The joint lines that have not been completely removed by forging are clearly visible on the pillar.  This author discussed this aspect in detail and opined that this procedure is basically very similar to current metal powder forging techniques, with a difference that the latter is not usually used to make a long product by joining pieces together (Powder Metallurgy, 1990, 33 (2), 119).  In both the cases, hot forging in a die is done not only to give the required shape, but also to remove the residual porosity present in the starting material.

Indian crucible steel was a celebrated material worldwide.  It was usually produced by simultaneous carburisation and melting of wrought iron in closed crucibles.  Valmiki referred to it by the term “refined iron”.  Kautilya termed it vratta, because it was of circular shape.  Dr. Helenus Scott sent specimens of a variety of crucible steel, available in Mumbai area, to sir Joseph Banks, the then President of the Royal Society, London, for experimental investigation in 1794.  He referred to this steel as wootz in his letter.  Recent researches  by this author have revealed that the actual name of this steel was the Sanskrit utsa, which was erroneously transliterated in Roman Script as wootz by Scott.  James Stodart, fellow of the Royal Society, did extensive work on this steel and mastered its hot forging, Stodart was so overwhelmed with its quality that he mentioned this name utsa in Devanagari Script on his trade card, alongwith a note that it is to be preferred over the best steel in Europe.  It was named utsa because it had a characteristic of oozing out of low melting point liquid phase when heated to moderate temperatures.

Historically brass, an alloy of copper and zinc, was known to man much earlier than they were able to extract zinc from its ore on a large scale.  In early period, zinc was designated as sattva of zinc ore.  In medieval period, its was designated, as yashada in Sanskrit.  Zinc oxide,   known as pushpanjan, has been referred to in Charak Samhita.  Rasaratnakar (second Century AD) provides the earliest documentary evidence for the cementation process for brass making and reduction-distillation process for zinc extraction.  Rasarnava and Rasaratnasamuchchaya described a typical crucible, known as vrintak, having a shape similar to that of a long variety of brinjal, to be used for making the reduction-distillation chamber.  The basic principle of the process resembles that of the large scale 12 Century industrial process for zinc extraction uncovered at Zawar near Udaipur.  It is a unique discovery and the retorts used at Zawar are similar to the vrintak crucible. 

The Mahabharata and some Puranas have referred to ferrous arrowheads, which were subjected to ‘tailadhauta’ treatment.  Valmiki used this terminology in the context of battle axe.  Some of the commentaries of Ramayana have defined tailadhauta as the process used for hardening (of ferrous objects).  Clearly, this terminology was used in the sense of oil quench-hardening of ferrous materials.

Manasollas, written in 1131 AD gives detailed information on fine quality metal image casting by madhuchchhishta vidhan (lost wax process).  Both sushira (hollow) and ghana (solid) images were cast.  Although the documentary evidence is of a later period, it had been used since a very long time ago.  The famous bronze dancing girl from Mohanjodaro  was made by this process.  Shilparatna (later part of 16^th Century) has mentioned the process of making fine gold powder from thin gold leaves for painting applications.  The powder produced would have a flaky shape, which gives higher covering area per unit mass.

In the Indian tradition, people with expertise in technical disciplines were highly regarded.  This is reflected in a hymn of Atharvaveda, in which, karmar (ironsmith or metalsmith in general) has been called manishi, i.e., a wise  or learned person.  Further, it has been stated in the Kavyamimansa (10^th Century A. D.) that goldsmith, ironsmith and similar other people should also be invited by kings in the kavya-parik-sa sabha, i.e., literary meetings organised to judge the scholarship of poets.

ये धीवा॑नो रथका॒राः क॒र्मारा॒ ये म॑नी॒षिणः॑ ।

उ॒प॒स्तीन् प॑र्ण॒ मह्यं॒ त्वं सर्वा॑न् कृण्व॒भितो॒ जना॑न्॥६॥

[Atharvaveda, 3.5.6]

Metal technology, for that matter, all other technologies, are human creations shaped historically by context.  The examples discussed here illustrate how ancient Indians solved metallurgical challenges, which helped in the development of Indian metallurgy and also the scientific and technological temper in the people of those times.

It is understandable that most of the metal technologies of the past are not relevant in present times.  However, examples from the past can re-energise us towards encouraging local innovations and  enterprise at all levels.  Finally, it is clear that Vedic and classical Sanskrit texts are knowledge texts, and the study of Sanskrit has value because Sanskrit is not just a classical language, but a vehicle of discovering our knowledge inheritance and assessing its contemporary relevance.

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

* by Dr. R K Dube, retired Professor and Head, Department of Material Science IIT Kanpur. Paper published in Financial Chronicle, Tuesday, April 21, 2015

http://ignca.nic.in/vedic_heritage_present_metallurgy.htm