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Winged lions, winged bulls are Meluhha Indus Script hypertexts

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https://tinyurl.com/2r37pmxc

@orientalinst 25 July 2021

Winged lion is a common Achaemenid motif. On this plaque, we see registers of winged lions, winged lions devouring gazelles, and winged bulls in relief.

eraka 'wing': Ta. ciṟai, ciṟaku, ciṟakar wing; iṟai, iṟaku, iṟakar, iṟakkai wing, ... (DEDR 2591) rebus: eraka 'molten cast, copper'.

meha deren 'A crumpled, twisted horn' rebus: me 'iron' (Mu.Ho.) med 'copper' (Slavic) 
krammara 'look back' rebus: kamar 'blacksmith'
ciṅkaccuvaṇam 'lion' Rebus: siṁgiya, ciṅkaccuvaṇam 'superior gold'
panja 'feline paw' rebus:panja 'kiln or furnace'
ranku 'antelope' rebus: ranku 'tin ore'

Singhin 'spiny-horned' खोंड khōṇḍa 'young bull' rebus: singi 'ornament gold' कोंड kōṇḍa m C A circular hedge or field-fence. 2 A circle described around a person under adjuration. 3 The circle at marbles. 4 A circular hamlet; a division of a मौजा or village, composed generally of the huts of one caste OR GUILD.  koṇḍa 'sacred fire-trench'.





Indus Script HTTP शतपथ-ब्राह्मण evidence: शतातृण्णा कुम्भी

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https://tinyurl.com/az4t7jp2

-- शतातृण्णाकुम्भी perforated pot with a hundred holes of Sarasvati Civilization

-- To calcinate, decompose carbonate ores 




शता* तृण्णा f. a jar or vessel having a hundred holes (शतपथ-ब्राह्मण,वैतान-सूत्र(12.7.2.13) śatā́tṛṇṇā́ kumbhī́ bhavati 

refers to such a pot.

Sentence: a śatā́tṛṇṇā́ kumbhī́ bhavati Perforated pot with hundred holes 

Sentence: b bahudhèva hí sá vyásravad átho śatónmā́no vaí yajñó yajñám evā́varunddhe sátaṃ bhavati sádevā́varunddhe cápyaṃ bhavaty annā́dyasyaivā́varuddhyai pavitráṃ bhavati punánti hy ènaṃ vā́lo bhavati pā́pmanó vyā́vṛttyai suvárṇaṁ híraṇyaṃ bhavati rūpasyaivā́ruddhyai śatámā́naṃ bhavati śatā́yur vaí púruṣaḥ śaténdriya ā́yur evèndriyáṃ vīryàm ā́tmán dhatte //


13. There is a pot (kumbhî) perforated with a hundred holes 1, for in many ways did that (Soma) flow out of (Indra); and a hundred-sized also, indeed, is the sacrifice: it is the sacrifice he thereby secures. There is a bowl (rata 2): it is the real (or good) thing (sat) he thereby secures. There is a dish (kapya) for him to secure food. There is a filter, for they cleanse him, (the Sacrificer, by this offering). There is a tail (-whisk) for turning away evil. There is gold for him to secure form (or colour); it weighs a hundred (grains), for man has a life of a hundred (years) and a hundred energies: life, and energy, vital power, he thus lays into his own self.

Indus Script HTTP शतपथ-ब्राह्मण evidence: त्रैधातवी इष्टि Traidhātavī (iṣṭi)

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https://tinyurl.com/xrv64fy7 

---Yajurveda yajna investiture ceremony of R̥tvij पोतृ

--Potr̥, ‘purifier priest’ with trefoils on his uttarīyam (shawl)  clothing of Ancient India, an abiding Indus Script Hyper Text Transfer Protocol tradition from 3rd m BCE, Sarasvati-Sindhu Civilization, शतपथ-ब्राह्मण

--त्रैधातवी इष्टि provides for attainment of three minerals, copper, silver, gold through yajna. Trefoil on priest’s garment is an investiture ceremony after this yajna.

Investiture of पोतृ potṛ, ‘purifier priest’

स सद्म परिणीयते होता मन्द्रो दिविष्टिषु ।उत पोता निषीदति ॥ऋग्वेदः_सूक्तं_४.९. ३॥

आ यस्मिन्सप्त रश्मयस्तता यज्ञस्य नेतरि ।मनुष्वद्दैव्यमष्टमं पोता विश्वं तदिन्वति.,

पोतदार [pōtadāra, poddār ] one who assays all money paid into the treasury. पोतृ potṛ, ‘purifier priest’ R̥gveda; Material: white, low fired steatite Dimensions: 17.5 cm height, 11 cm width Mohenjo-daro, DK 1909 National Museum, Karachi, 50.852 Marshall 1931: 356-7, pl. XCVIII  




A collection of gold beads, three of which (UL, UR, LL) have copper-alloy in their interiors. The corroding copper often breaks the softer gold foil (Mound E, Trench 54)

Gold sequins found in the Kot Diji phase street suggest that some people were wearing clothing or paraphernalia decorated with rare and presumably costly materials

A button or sequin made of thin gold foil with a small interior loop for attachment to clothing. https://www.harappa.com/indus3/302.html

https://www.harappa.com/indus5/32.html

A button or sequin made of thin gold foil with a small interior loop for attachment to clothing. This piece was found crumpled into a small wad, possibly in preparation for remelting to make a new ornament. (H2000-4445/2212-01, Mound E, Trench 54)– HARP

https://www.harappa.com/indus3/301.html


कात्यायन-श्रौत-सूत्र; शाङ्खायन-श्रौत-सूत्र) इष्टि‘an oblation consisting of butter, fruits etc., opposed to the yajna of Soma (RV 1.166.14; 10.169.2; शतपथ-ब्राह्मणआश्वलायन-श्रौत-सूत्र)is explained:स्वसामर्थ्यैः संग्रामं जयन्तीत्यर्थः । 

‘The objective of the yajna is achieved’; “एभिर्यज्ञेभिः इदानींक्रियमाणैः स्तोत्रादिरूपैः पूजनैः (RV 1.166.14) ‘The investiture ceremony involves prayers prescribed’ for having attained the desired objects.

Three discs of metal -- copper, silver and gold-- create a trefoil decoration on the garment of Mohenjo-daro priest. The trefoil is called त्रि-धातु  'the aggregate of the 3 minerals; गणेश' (Monier-Williams)

Three metal discs fused together and embroidered/sewed into the garment -- like Kutch embroidery tradition of zardozi or Arri garment embellishment, artwork. 

“Fillet or ribbon headband with circular inlay ornament on the forehead and similar but smaller ornament on the right upper arm…The central ornament worn on the forehead of the famous 'priest-king' sculpture from Mohenjo-daro appears to represent an eye bead, possibly made of gold with steatite inlay in the center." -- J.M. Kenoyer

https://www.harappa.com/blog/beads-priest-king

https://www.harappa.com/slide/priest-king-mohenjo-daro

Traidhātavi needles of gold, silver and copper


त्रि tri -धातुः signifies ‘the aggregate of the 3 mineral’. त्रिधातुःधातु-त्रयेगणेशः  इति त्रिकाण्ड-शेषः  --शब्दकल्पद्रुमः

इष्टिः iṣṭiḥ ‘any desired object; yajna’ शबर seems to interpret the word especially in the sense of 'a दर्शपूर्णमास Rājasūya  Caturmāsya yajna’ इष्टिराजसूयचातुर्मास्येषु. This yajna is performed by सम्राज् samrāj a paramount sovereign; येनेष्टं राजसूयेन मण्डलस्येश्वरश्च यः  शास्ति यश्चाज्ञया राज्ञः  सम्राट् Ak.; R.2.5. Such a ruler has a revenue to the extent of one to ten crores of Karṣa; ततस्तु कोटिपर्यन्तः स्वराट् सम्राट् ततः परम् 

दशकोटिमितो यावद् विराट् तु तदनन्तरम् Śukra.1.185. (Apte) राजसूयis performed at the coronation of a king, e.g. inauguration of युधि-ष्ठिर described in MBh.ii (AV); relating &c to the राज-ceremony (e.g. °यो मन्त्रः , a मन्त्र recited at the राज's ceremony) (पाणिनि 4-3 , 66) 

Traidhātavi needles are needles of copper, silver and gold used to decorate the robe with single dotted circle, double dotted circles and trefoils (three dotted circles fused into a flower-like adornment).


Stitching sequins (on the robe) with three types of metal needles

13.2.10  TENTH BRÂHMAN
1. When they prepare the knife-paths, the Sacrificer makes for himself that passage across, a bridge, for the attainment of the heavenly world.
2. They prepare them by means of needles; the needles, doubtless, are the people (clans), and the Asvamedha is the royal power: they thus supply him with people and royal power combined. They are made of gold: the meaning of this has been explained.
3. Three kinds of needles are (used), copper ones, silver ones, and gold ones;--those of copper, doubtless, are the (principal) regions (of the compass), those of silver the intermediate ones, and those of gold the upper ones: it is by means of these (regions) they render it fit and proper. By way of horizontal and vertical (stitches 1) they are many-formed, whence the regions are many-formed; and they are of distinct form, whence the regions are of distinct form. Note: On people (clans): Viz. because of the large number and the small size (insignificance) of the needles, or wires, (and the common people). On 'stitches' (on the robe?):  It is doubtful what word, if any, has to be supplied here,--perhaps it means, by way of their being (in sewing) horizontal and vertical. The commentary is silent on this passage.
https://www.sacred-texts.com/hin/sbr/sbe44/sbe44092.htm

13.2.10  TENTH BRÂHMANत्रैधातवीइष्टिTraidhātavī (iṣṭi)

1. When they prepare the knife-paths, the Sacrificer makes for himself that passage across, a bridge, for the attainment of the heavenly world.
2. They prepare them by means of needles; the needles, doubtless, are the people (clans), and the Asvamedha is the royal power: they thus supply him with people and royal power combined. They are made of gold: the meaning of this has been explained.
3. Three kinds of needles are (used), copper ones, silver ones, and gold ones;--those of copper, doubtless, are the (principal) regions (of the compass), those of silver the intermediate ones, and those of gold the upper ones: it is by means of these (regions) they render it fit and proper. By way of horizontal and vertical (stitches 1) they are many-formed, whence the regions are many-formed; and they are of distinct form, whence the regions are of distinct form. Note: On people (clans): Viz. because of the large number and the small size (insignificance) of the needles, or wires, (and the common people). On 'stitches' (on the robe?):  It is doubtful what word, if any, has to be supplied here,--perhaps it means, by way of their being (in sewing) horizontal and vertical. The commentary is silent on this passage.

https://www.sacred-texts.com/hin/sbr/sbe44/sbe44092.htm

13.3.4 FOURTH BRÂHMANA

3. The first oblation (of blood) he offers 2 in the throat (gullet) of the Gomriga 1; for Gomrigas are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.
4. The second oblation 1 he offers on a horse-hoof; for the one-hoofed (animals) are cattle, and the Svishtakrit is Rudra: he thus shields the cattle from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha.
5. The third oblation he offers in an iron bowl; for the people (subjects) are of iron 2, and the Svishtakrit is Rudra: he thus shields the people from Rudra, whence Rudra does not prowl after the cattle where this oblation is offered at the Asvamedha. Note: That is, their value--as compared with that of the king or nobles, and the Brâhmanas--is that of iron, compared with that of gold and silver; cp. XIII, 2, 2, 19. 13.2.2.18, 19: 18. And as to why there are copper (knives) for the 'paryaṅgyas,'--even as the non-royal kingmakers, the heralds and headmen, are to the king, so those 'paryaṅgyas' are to the horse; and so, indeed, is this--to wit, copper--to gold: with their own form he thus endows them.

19. And as to why there are iron ones for the others,--the other animals, indeed, are the peasantry, and this--to wit, iron--is a form of the peasantry: he thus combines the peasantry with the peasantry. On a rattan mat (lying) north (of the Âhavanîya) they cut the portions of the horse(-flesh); for the horse is of anushtubh nature, and related to the Anushtubh is that (northern) quarter: he thus places that (horse) in its own quarter. And as to (his doing so) on a rattan mat,--the horse was produced from the womb of the waters 1, and the rattan springs from the water: he thus causes it to be possessed of its own (maternal) womb.

 Udavasânîyâ (closing offering) includes Traidhataviya ishti (Yajna involving three minearal ores): 

13.6.2.17. ...The Traidhâtavî is the final offering (Udavasânîyâ): the mystic import is the same (as before 1). (Note: The process is as set forth in  V, 5, 5, 6 seqq. As noted in V.5.5.7, the Traidhâtavî ends with presentation of gold coins. Such gold coins are either tied as gold-bead-fillets on the forehead and right shoulder of the priest or stitched on as embroidered adornments on the robe of the priest.

5:5:5:

6. And that which had been his (Vritra's) seat, his retreat, that he shattered, grasping it and tearing it out 1 Cf. III, 2, 1, 28.: it became this offering. And because the science (the Veda) that lay in that retreat was, as it were, a threefold (tridhâtu) one, therefore this is called the Traidhâtavî (ishti).

7. And as to why the oblation is one for Indra and Vishnu, it is because Indra raised the thunderbolt, and Vishnu stood by him.

8. And why it is (a cake) on twelve potsherds,--there are twelve months in the year, and the offering is of equal measure with the year: therefore it is one of twelve potsherds.

9. He prepares it of both rice and barley. He first puts on (the fire) a ball of rice, that being a form (symbol) of the Yagus-formulas; then one of barley, that being a form of the Rik-verses; then one of rice, that being a form of the Sâman-hymns. Thus this is made to be a form of the triple science: and this same (offering) becomes the Udavasânîyâ-ishti (completing oblation) for the performer of the Râgasûya.

...

Stitching three rukma, metal coins on to the robe

11. And, verily, he who performs the Râgasûya gains for himself all sacrificial rites, all offerings, even the spoonful-oblations; and this offering, the Traidhâtavî (ishti), is instituted by the gods: 'May this offering also be performed by me, may I be consecrated by this one also!' thus he thinks, and therefore this is the completing offering for him who performs the Râgasûya.

...

16. Three gold pieces of a hundred mânas 2 each are the sacrificial fee for this (offering). He presents them to the Brahman; for the Brahman neither performs (like the Adhvaryu), nor chants (like the Udgâtri), nor recites (like the Hotri), and yet he is an object of respect. And with gold they do nothing 3, and yet it is an object of respect: therefore he presents to the Brahman three gold pieces of a hundred mânas each.

Note: 

According to Sâyana, these 'satamânas' are similar to the round plate worn by the king during the Consecration-ceremony; see p. 104, note 2. These plates (as the 'rukmas' generally, VI, 7, 1, 2 seq.) were apparently used for ornament only, not as coins


RV 9.16 to RV 9.50 यज्ञ सुतिः sutiḥ Extraction of Soma juice by सोतार Sotāra, Soma pressers

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RV 9.16 to RV 9.50, With सायणभाष्यम् and Wilson translation prove that the texts cannot be explained in reference to the standard device of Indus Script Corpora.

RV 9.16 to RV 9.50 which detail soma extraction process are relatable to the expression used in Vasordhara mantra -- yajnena kalpantam 'produced in yajna' and the yajna process including the role of 8 Rtvij detailed in the Bactria Silver vase narrative (Miho Museum), dated to ca. 2nd m. BCE.

Source: 2015.382681.The-Soma.pdf (archive.org) (Bhawe interprets the dual ओण--इन् as two pressin boards. I. Mahadevan sees the word as a signifier of the strainer and sieve, two vessels in reference to the Indus Script standard device of the Corpora. Source: 14.pdf (rmrl.in) (p.174). The standard device is NOT a strainer or sieve combination but a combination of a lathe, gimlet, churning container and सांगड sāṅgaḍa m f (संघट्ट S) That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig. See item 6 in the line-drawing provided by I. Mahadevan.


Thus, the device is signifier of maritime trade in lapidary and metalworker artifacts from Meluhha. It is called सांगड sāṅgaḍa  A body formed of two or more (fruits, animals, men) linked or joined together.Rebus:    सांगड्या sāṅgaḍyā a sometimes सांगडी a That works a सांगड or canoe-float.(Marathi)ചങ്ങാടം caṅṅāṭam čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats. . കെട്ടുക; 'ത്തില്‍കേററി TR. തോണികള്‍'ങ്ങള്‍വഞ്ചികള്‍പടവുകള്‍ Bhr. also rafts.ചങ്ങാതം caṅṅātam čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. . പോരുക to accompany as such. . പോന്നവാരിയര്‍, എന്നെ'വുംകൂട്ടിഅയച്ചു TR.

The parts can be explained: 1. Hook to hold the lathe; kunda 'lathe' rebus: kundana 'fine gold'; 2, 3, 4: Zig-zag lines signify to-and-fro circular motion of the lathe; 5. gimlet बरमा baramā, बरम्हा baramhā m ( H) A kind of auger, gimlet, or drill worked with a string.Ta. purai tubular hollow, tube, pipe, windpipe. Tu. perevuni to be bored, perforated; perepini to bore, perforate; burma, burmu a gimlet; berpuri a borer. (DEDR 4297); 6. सांगड sāṅgaḍa  That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.; 8. churning container: कण्ठालः kaṇṭhālaḥ 1 A boat. -2 A spade, hoe. -3 War. -4 A camel... -6 A churning vessel. -7 A bag. -ला A churning vessel.कण्ठीलः kaṇṭhīlaḥ A camel. -लः, -ला A churning vessel. (Apte); 9. dotted circle 'gold bead':*pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, putipũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.10.. Pebbles:गोटी [ gōṭī ], gōṭā 'round pebble, stone' Rebus: goṭā ''laterite, ferrite ore''gold braid' ; 11, 12. Flagstaffdhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: 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. dhāūdhāv 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.  ʻ relic (CDIAL 6773)

Thus, the device is signifier of maritime trade in lapidary and metalworker artifacts from Meluhha. It is called सांगड sāṅgaḍa  A body formed of two or more (fruits, animals, men) linked or joined together.Rebus:    सांगड्या sāṅgaḍyā a sometimes सांगडी a That works a सांगड or canoe-float.(Marathi)ചങ്ങാടം caṅṅāṭam čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats. . കെട്ടുക; 'ത്തില്‍കേററി TR. തോണികള്‍'ങ്ങള്‍വഞ്ചികള്‍പടവുകള്‍ Bhr. also rafts.ചങ്ങാതം caṅṅātam čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. . പോരുക to accompany as such. . പോന്നവാരിയര്‍, എന്നെ'വുംകൂട്ടിഅയച്ചു TR.



ஓணி
 ōṇi
 , n. cf. தோணி. A boat-shaped wooden trough for baling water into fields; வயல் முதலியவற்றிற்கு நீரிறைக்குங் கருவிTinnओणि त्रि० ओण--इन् । १ अपनयनकारके २ द्यावापृथिव्योःस्त्री ङीप् द्विव० निरु० । “प्रते सोतार ओण्यो-रसम् मदय” ऋ० ९, १६, १ । “तं त्वा धर्त्तारमोण्योः”९, ६५, ११, “ओण्योः द्यावापृथिव्योः” भा० ।--वाचस्पत्यम्  ओणि oṇi 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) oṇi m. (or f. ?) protection (from misfortune), shelter [Sāy. ] RV. i, 61, 14 oṇi mf. du. ‘the two protectors’, the parents, RV. ix, 101, 14 du. (metaphorically) heaven and earth, RV. ix, 16, 1; 65, 11AV. vii, 14, 1 (Monier-Williams) (= [Vājasaneyi-saṃhitā iv, 25]). Oṇi Oṇi (m. or f.) [cp. Vedic oṇi charge, or a kind of Soma vessel] charge, only in cpd. oṇi-rakkha a keeper of entrusted wares, bailee Vin iii.47, 53 (= āhaṭaŋ bhaṇḍaŋ gopento).Onīta Onīta [in form = Sk. avanīta, but semantically = apanīta. Thus also BSk. apanīta, pp. of apa + nī, see apaneti] only found in one ster. phrase, viz. onīta-patta-pāṇi "having removed (or removing) his hand from the bowl", a phrase causing constructional difficulties & sometimes taken in glosses as "onitta˚" (fr. nij), i. e. having washed (bowl and hands after the meal). The Cs. expln. as onīto pattato pāṇi yeva, i. e. "the hand is taken away from the bowl". The spelling is frequently oṇīta, probably through BB sources. See on term also Trenckner, Notes 6624 & cp. apa-nīta-pātra at M Vastu iii.142. The expression is always combd. with bhuttāvin "having eaten" and occurs very frequently, e. g. at Vin ii.147: D i.109 (= DA i. 277, q. v. for the 2 explns. mentioned above M ii.50, 93; S v.384; A ii.63; Sn p. 111 (= pattato onītapāṇi, apanītahattha SnA 456); VvA 118; PvA 278.(Pali)

ऋग्वेदः - मण्डल
सूक्तं.१०१
. -अन्धीगुःश्यावाश्विः, .......
. -अन्धीगुःश्यावाश्विः, -ययातिर्नाहुषः, -नहुषोमानवः, १०-१२मनुःसांवरणः, १३-१६वैश्वामित्रोवाच्योवाप्रजापतिः।

दे. पवमानःसोमः।अनुष्टुप्, -गायत्री

जामिरत्केअव्यतभुजेपुत्रओण्योः
सरज्जारोयोषणांवरोयोनिमासदम्॥१४॥

"जामिःबन्धुभूतोदेवानांसोमः"अत्केआच्छादकेपवित्रेअव्यतआवृणोतिसंबद्धोभवतितत्रदृष्टान्तःभुजेयथाओण्योःरक्षकयोर्मात्रापित्रोःभुजेपुत्रःआवृणोतितद्वत्ततःसोऽयंसोमःयोनिंस्वस्थानभूतंकलशम्आसदम्आसत्तुं"सरत्सरतितत्रदृष्टान्तद्वयम्जारोयथाजारःयोषणाम्असतींस्त्रियंप्राप्तुंसरतियथावावरःकन्यांप्राप्तुंगच्छतितद्वत्

Wilson: 9.101.14 (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).

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-.


ऋग्वेदः - मण्डल ९
सूक्तं ९.६५
भृगुर्वारुणिर्जमदग्निर्भार्गवो वा।दे. पवमानः सोमः। गायत्री।

तं त्वा धर्तारमोण्योः पवमान स्वर्दृशम् ।
हिन्वे वाजेषु वाजिनम् ॥११॥

हे “पवमान पूयमान पुनान वा हे सोम “ओण्योः। द्यावापृथिवीनामैतत् । तयोः “धर्तारं धारकमत एव "स्वर्दृशं सर्वस्य सूर्यस्य वा द्रष्टारं सर्वैर्देवैर्द्रष्टव्यं वा “वाजिनं बलवन्तं तं पूर्वोक्तगुणप्रसिद्धं “त्वा त्वां “वाजेषु संग्रामेषु “हिन्वे प्रेरयामि । यद्वा । वाजेष्वन्नेषु विषयेषु हिनोमि । अन्नादिकं प्रयच्छेत्यर्थः ॥
Wilson: 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: 9.65.11 I send thee forth to battle from the press, O Pavamana, Strong,
Sustainer, looker on the light.
ऋग्वेदः - मण्डल १
सूक्तं १.६१
नोधा गौतमः
दे. इन्द्रः। त्रिष्टुप्।

अस्येदु भिया गिरयश्च दृळ्हा द्यावा च भूमा जनुषस्तुजेते ।
उपो वेनस्य जोगुवान ओणिं सद्यो भुवद्वीर्याय नोधाः ॥१४॥
अस्यैवेन्द्रस्य "भिया पक्षच्छेदभयेन "गिरयः पर्वता अपि “दृळ्हाः निश्चलाः स्वस्वदेशेऽवतिष्ठन्ते । "जनुषः प्रादुर्भूतादस्मादेवेन्द्रात् भीत्या "द्यावा "भूमा "च द्यावापृथिव्यावपि “तुजेते । तुजिर्हिँसार्थोsप्यत्र कम्पने द्रष्टव्यः । कम्पेते इत्यर्थः । किंच "वेनस्य कान्तस्यास्य "ओणिं दुःखस्यापनायकं रक्षणम् “उपो "जोगुवानः अनेकैः सूक्तैः पुनःपुनरुपशब्दयन् उपश्लोकयन्नित्यर्थः । एवंभूतः "नोधाः ऋषिः “सद्यः तदानीमेव "वीर्याय “भुवत् वीर्यवानभवत् ॥ द्यावा च भूमा । द्यावा भूमेत्यनयोर्मध्ये चशब्दस्य पाठश्छान्दसः। दिवो द्यावा'इति दिव् शब्दस्य द्यावादेशः ।‘सुपां सुलुक्'इति विभक्तेः डादेशः।‘देवताद्वन्द्वे च 'इति उभयपदप्रकृतिस्वरत्वम् । पदद्वयप्रसिद्धिरपि सांप्रदायिकी । जनुषः । ‘जनी प्रादुर्भावे'। ‘जनेरुसिः'(उ. सु. २. २७२) इति औणादिक उसिप्रत्ययः । जोगुवानः । गुङ् अव्यक्ते शब्दे । अस्मात् यङ्लुगन्तात् व्यत्ययेन शानच् । ‘अदादिवच्च'इति वचनात् शपो लुक् । उवङादेशः । ‘अभ्यस्तानामादिः'इस्याद्युदात्तत्वम् । ओणिम् । ओणृ अपनयने '। अस्मात् औणादिक इप्रत्ययः । भुवत् । भवतेर्लेटि अडागमः । ‘बहुलं छन्दसि 'इति शपो लुक् । ‘भूसुवोस्तिङि'इति गुणप्रतिषेधः । नोधाः । ‘नोधा ऋषिर्भवति नवनं दधाति ' ( निरु. ४. १६ ) इति यास्कः । तस्मात् धाञः असुन् नवशब्दस्य नोभावश्च ॥

Wilson: 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, tremblefor terror.
May Nodhas, ever praising the protection of that dear Friend, gain quickly strength heroic.


ऋग्वेदः - मण्डल ९
सूक्तं ९.१६

कश्यपोऽसितो देवलो वा। दे. पवमानः सोमः। गायत्री।

प्र ते सोतार ओण्यो रसं मदाय घृष्वये ।
सर्गो न तक्त्येतशः ॥१॥

हे सोम “ते तव रसं “सोतारः सोमाभिषवकर्तारः “ओण्योः “रसम् । लुप्तोपममेतत् । द्यावापृथिव्यो रसमुदकमिव । अथवौण्योर्द्यावापृथिव्योर्मध्ये तयोः संबन्धिनं वा रसस् । “प्र स्रावयन्तीति शेषः । किमर्थम् । “घृष्वये शत्रुघर्षणशीलाय’ “मदाय इन्द्रस्य मदाय । अभिषवजनितः सोमः “सर्गः सृष्टः “एतशः “न अश्व इव “तक्ति गच्छति पात्रं प्रति ।।

क्रत्वा दक्षस्य रथ्यमपो वसानमन्धसा ।
गोषामण्वेषु सश्चिम ॥२॥

वयमभिषोतारः “दक्षस्य बलस्य “रथ्यं नेतारम् “अपः उदकानि रसान् “वसानम् आच्छादयन्तम् “अन्धसा श्रयणान्नेन सहितं “गोषां गवां सोतारमेवमुक्तलक्षणं सोमं “क्रत्वा कर्मणा “अण्वेषु अङ्गुलीषु “सश्चिम संयोजयामः ॥

अनप्तमप्सु दुष्टरं सोमं पवित्र आ सृज ।
पुनीहीन्द्राय पातवे ॥३॥

"अनप्तं शत्रुभिरनाप्तम् “अप्सु आन्तरिक्ष्यासु । वर्तमानमिति शेषः। “दुष्टरम् अन्यैरनभिभाव्यम् । न हि सोमं कश्चिदप्यतितरति । ईदृशं “सोमं “पवित्रे दशापवित्रे “आ “सृज प्रक्षिप हे अध्वर्यो । तत्रोच्यते । “इन्द्राय इन्द्रस्य “पातवे पातुं “पुनीहि ।।

प्र पुनानस्य चेतसा सोमः पवित्रे अर्षति ।
क्रत्वा सधस्थमासदत् ॥४॥

"चेतसा स्तुत्या “पुनानस्य पूयमानस्यांशीभूतः “सोमः “पवित्रे दशापवित्रे “अर्षति गच्छति । अथ पश्चात् "क्रत्वा कर्मणा प्रज्ञानेन वा “सधस्थं सहस्थानं द्रोणकलशे “आसदत् आसीदति ॥

प्र त्वा नमोभिरिन्दव इन्द्र सोमा असृक्षत ।
महे भराय कारिणः ॥५॥

हे “इन्द्र “त्वा त्वां “नमोभिः नमस्कारोपलक्षितैः स्तोत्रैरथवान्नैः सह “इन्दवः “सोमाः “प्र “असृक्षत प्राप्नुवन्ति । किमर्थम् । “महे महते “भराय संग्रामाय । कीदृशाः । “कारिणः बलकरणशीलाः ॥

पुनानो रूपे अव्यये विश्वा अर्षन्नभि श्रियः ।
शूरो न गोषु तिष्ठति ॥६॥

“अव्यये अविमये "रूपे रूप्यमाणे वस्त्रे “पुनानः पूयमानः “विश्वाः सर्वाः “श्रियः शोभाः “अभि “अर्षन् अभिगच्छन् “गोषु निमित्तासु “शूरो “न शूर इव स यथा संग्रामे तिष्ठति तद्वदसौ "तिष्ठति पात्रे ॥

दिवो न सानु पिप्युषी धारा सुतस्य वेधसः ।
वृथा पवित्रे अर्षति ॥७॥

"दिवो “न द्युलोकादन्तरिक्षादिव "सानु समुच्छ्रितमुदकं तद्यथाधो निपतति तद्वत् "वेधसः विधातुर्बलस्य कर्तुः “सुतस्य अभिषुतस्य सोमस्य “पिप्युषी आप्याययन्ती “धारा “वृथा अनायासेनैव “पवित्रे दशापवित्रे “अर्षति गच्छति ॥

त्वं सोम विपश्चितं तना पुनान आयुषु ।

अव्यो वारं वि धावसि ॥८॥ 

हे "सोम “त्वं “विपश्चितं स्तोतारम् "आयुषु मनुष्येषु'मध्ये रक्षसि । अथवा। तृतीयार्थे द्वितीया । विपश्चिताध्वर्युणा । “तना वस्त्रेण "पुनानः पूयमानः। अथवा। विपश्चितमिन्द्रं प्रीणयितुं तना पुनानः सन् । “अव्यो “वारम् अवेर्वालं “वि “धावसि विविधं गच्छसि ॥

9.016.01 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.
9.016.02 In pious rite by our fingers we mix with the milk (the Soma), the bringer of strength, the sender of kine, who envelopes the water.
9.016.03 Cast into the filter the unassailable invincible (Soma), abiding in the waters (of the firmament) purify it for the drinking of Indra.
9.016.04 The Soma of him who is purified by worship flows upon the filter and settles in the place common with the ceremony. [Settles in the place: the vessel called dron.akalas'a].
9.016.05 The Soma juices flow to you, Indra, with praises, giving you vigour for the great conflict.
9.016.06 Purified in his woollen robe, and attaining all honours he stands as a hero amidst the kine. [Kine: Soma being mixed with milk, here called by metonymy, kine].
9.016.07 As the lofty rain from heaven, the nutritious strream of the invogorating Soma falls easily upon the straining cloth.
9.016.08 You, Soma, (process) the worshipper among men, and purified by the cloth you wander through the woollen filter.

ऋग्वेदः - मण्डल ९
सूक्तं ९.१७
कश्यपोऽसितो देवलो वा।दे. पवमानः सोमः। गायत्री।

प्र निम्नेनेव सिन्धवो घ्नन्तो वृत्राणि भूर्णयः ।
सोमा असृग्रमाशवः ॥१॥

“निम्नेन प्रवणेन देशेन “सिन्धवः नद्यः “इव तथा “वृत्राणि शत्रून् “घ्नन्तः "भूर्णयः क्षिप्रगमनाः “आशवः व्याप्ताः “सोमाः “प्र “असृग्रं प्रगच्छन्ति द्रोणकलशं प्रति ॥


अभि सुवानास इन्दवो वृष्टयः पृथिवीमिव ।
इन्द्रं सोमासो अक्षरन् ॥२॥

“सुवानासः सूयमानाः “इन्दवः द्रवरूपाः “सोमासः सोमाः “इन्द्रं प्रीणयितुम् “अभि “अक्षरन् । किमिव । “वृष्टयः “पृथिवीमिव ।।

अत्यूर्मिर्मत्सरो मदः सोमः पवित्रे अर्षति ।

विघ्नन्रक्षांसि देवयुः ॥३॥

“अत्यूर्मिः । अतिक्रान्ता ऊर्मयो यस्मात् सोऽत्यूर्मिः । अतिप्रवृद्ध इत्यर्थः। “मत्सरः मादनशील: “मदः मदात्मकः “सोमः “पवित्रे “अर्षति गच्छति । किं कुर्वन् । “रक्षांसि “विघ्नन् घातयन् “देवयुः देवान् कामयमानोऽर्षतीति संबन्धः ॥ पवित्रेष्ट्यां द्वितीयाज्यभागस्य ‘आ कलशेषु'इति याज्या। सूत्रितं च- आ कलशेषु धावति पवित्रे परिषिच्यत इत्येका' (आश्व. श्रौ. ५. १२) इति ।


आ कलशेषु धावति पवित्रे परि षिच्यते ।
उक्थैर्यज्ञेषु वर्धते ॥४॥

अयं सोमः कलशेषु “आ “धावति । तदर्थं “पवित्रे “परि “षिच्यते अध्वर्युभिः । “उक्थैः स्तोत्रैः "यज्ञेषु निमित्तेषु “वर्धते प्रवृद्धो भवति ।


अति त्री सोम रोचना रोहन्न भ्राजसे दिवम् ।
इष्णन्सूर्यं न चोदयः ॥५॥

हे सोम त्वं “त्री “रोचना त्रीणि रोचनानि त्रीँल्लोकान् “अति अतिक्रम्य “रोहन उपरिस्थं “दिवं द्युलोकं “भ्राजसे प्रकाशयसि । तथा “इष्णन् गच्छन् “सूर्यं “न सूर्यं च “चोदयः चोदयसि प्रेरयसि । नशब्दश्चार्थे ।


अभि विप्रा अनूषत मूर्धन्यज्ञस्य कारवः ।
दधानाश्चक्षसि प्रियम् ॥६॥

“अभि “अनूषत अभिष्टुवन्ति “विप्राः मेधाविनः स्तोतारः । कुत्र। "यज्ञस्य “मूर्धन् मूर्धनि । शिरोवदुत्तमेऽभिषवदिवस इत्यर्थः । कीदृशास्ते । “कारवः कर्तारः परिचर्याया यागानुष्ठातारो वा । “चक्षसि दृष्टरि सोमे “प्रियं “दधानाः अभ्यनूषतेति समन्वयः ॥


तमु त्वा वाजिनं नरो धीभिर्विप्रा अवस्यवः ।
मृजन्ति देवतातये ॥७॥

हे सोम “तमु तमेव “त्वा त्वां “वाजिनम् अन्नवन्तं गमनवन्तं वा “नरः नेतारः “विप्राः मेधाविनोऽध्वर्वा“वदयः “धीभिः कर्मभिः "मृजन्ति शोधयन्ति “देवतातये यज्ञार्थम् । किमिच्छवः । “अवस्यवः अन्नमिच्छवः॥


मधोर्धारामनु क्षर तीव्रः सधस्थमासदः ।
चारुरृताय पीतये ॥८॥

हे सोम त्वं “मधोः मधुररसस्य “धारामनु “क्षर प्रवहन्। "तीव्रः तीव्ररसः सन् “सधस्थं सहस्थानमभिषवस्थानं पवित्रं वा “आ “असदः सीद। “चारुः चरणशीलः सन् “ऋताय यज्ञार्थं “पीतये देवानां पानाय ॥


9.017.01 Like rivers falling down a steep place, so that rapid foe-destroying pervading Soma-streams hurry (to the pitcher).
9.017.02 The Soma-drops, as they are expressed, flow to Indra like the rains falling upon the earth.
9.017.03 Soma, with swelling waves, exhilarating, inebriating, flows to the straining-cloth, destroying the ra_ks.asas, and devoted to the gods.
9.017.04 It flows to the pitchers, it is poured out upon the straining-cloth, it is magnified at sacrifices by praises.
9.017.05 Soma, mounting beyond the three worlds, you illumine heaven, and moving, you urge on the sun.
9.017.06 The sage performers (of pious rites) glorify (the Soma) at the head of the sacrifice, entertaining affection for him the all-beholding. [At the head of the sacrifice: mu_rdhan yajn~asya = on the last day of expressing the Soma; all-beholding: caks.asi = dras.t.ari some; this is usually applied to the sun as the eye of the world].
9.017.07 Sages, leaders of rites, desirous of sustenance, purify you who are the giver of food, with pious rites for the offering.
9.017.08 Pour forth the stream of the sweet beverage; sit down, sharp-flavoured in the receptacle, alert for drinking at the sacrifice.

ऋग्वेदः - मण्डल ९
सूक्तं ९.१८
कश्यपोऽसितो देवलो वा।

दे. पवमानः सोमः। गायत्री।

परि सुवानो गिरिष्ठाः पवित्रे सोमो अक्षाः ।
मदेषु सर्वधा असि ॥१॥

अयं “सोमः “पवित्रे “परि “अक्षाः परिक्षरति । “सुवानः सूयमानः “गिरिष्ठाः गिरिस्थायी ।
ग्रावसु वर्तमान इत्यर्थः । स त्वं “मदेषु मादकेषु सोतृषु “सर्वधा “असि सर्वस्य धाता दाता वा भवसि ॥

त्वं विप्रस्त्वं कविर्मधु प्र जातमन्धसः ।
मदेषु सर्वधा असि ॥२॥
हे सोम “त्वं “विप्रः विविधं प्रीणयिता विप्रसदृशो वा “त्वं च “कविः मेधावी ।
अतस्त्वम् “अन्धसः अन्नात् "जातं “मधु मधुररसं “प्र यच्छसीति शेषः । ।


तव विश्वे सजोषसो देवासः पीतिमाशत ।
मदेषु सर्वधा असि ॥३॥

हे सोम “तव “पीतिं पानं “विश्वे “देवासः देवाः “सजोषसः समानप्रीतयः सन्तः “आशत प्राप्नुवन् ॥

आ यो विश्वानि वार्या वसूनि हस्तयोर्दधे ।
मदेषु सर्वधा असि ॥४॥

“यः सोमः “विश्वानि “वार्या वरणीयानि “वसूनि धनानि स्तोतुः “हस्तयोः “आ “दधे करोति । प्रयच्छतीत्यर्थः ।
“मदेषु “सर्वधा “असि इति । अथवा स शुष्मी इत्युत्तरत्र संबन्धः ॥

य इमे रोदसी मही सं मातरेव दोहते ।
मदेषु सर्वधा असि ॥५॥

“यः सोमः “इमे “मही महत्यौ “रोदसी द्यावापृथिव्यौ “सं “दोहते। उभयोः सारं परिगृह्णातीत्यर्थः ।
"मातरेव यथा द्वे मातरावेको वत्सो दोहते तद्वत् ॥

परि यो रोदसी उभे सद्यो वाजेभिरर्षति ।
मदेषु सर्वधा असि ॥६॥

“यः सोमः “उभे “रोदसी द्यावापृथिव्यौ “सद्यः तदानीमेव “वाजेभिः अन्नैः “परि “अर्षति परिगच्छति ।
सोमाहुत्या द्यावापृथिव्यावन्नवत्यौ करोतीत्यर्थः ॥

स शुष्मी कलशेष्वा पुनानो अचिक्रदत् ।
मदेषु सर्वधा असि ॥७॥

उक्तरीत्या महान् “सः सोमः “शुष्मी बलवान् “पुनानः पूयमानः सन् “आ “अचिक्रदत् शब्दं करोति ।
अत्र सर्वत्र यथोचितमुत्तरपादो नेयः ॥

9.018.01 Effused while pressed between the stones, the Soma flows upon the straining cloth; you are the giver of all things to those who praise you. 
9.018.02 You are wise, you are a seer; you bestow the sweet (beverage) produced from the Soma; you are the giver of all things to those who praise you.
9.018.03 All the gods together pleased enjoy your drinking; you are the giver of all things to those who praise you.
9.018.04 (You are he) who places in the hands (of the worshipper) all desirable riches, you are the giver of all things to those who praise you.
9.018.05 (You are he) who milks this great heaven and earth like two mothers; you are the giver of all things to those who praise you.
9.018.06 (You are he) who at once supplies both heaven and earth with viands; you are the giver of all things to those who praise you.
9.018.07 This vigorous Soma, while being purified, murmurs in the pitchers; you are the giver of all things to those who praise you.

ऋग्वेदः - मण्डल ९
सूक्तं ९.१९
कश्यपोऽसितो देवलो वा।

दे. पवमानः सोमः। गायत्री।


यत्सोम चित्रमुक्थ्यं दिव्यं पार्थिवं वसु ।
तन्नः पुनान आ भर ॥१॥

हे “सोम “यत् “चित्रं चायनीयम् “उक्थ्यं स्तुत्यं “दिव्यं दिवि भवं “पार्थिवं पृथिवीसंबद्धं च “वसु धनमस्ति “तत् “नः
अस्मभ्यं “पुनानः पूयमानः सन् “आ “भर आहर ॥

युवं हि स्थः स्वर्पती इन्द्रश्च सोम गोपती ।
ईशाना पिप्यतं धियः ॥२॥

हे “सोम “त्वम् “इन्द्रश्च "युवं “हि युवां खलु स्वर्पती सर्वस्य स्वामिनौ “स्थः भवथः ।
तथा “गोपती गवां पालकौ “ईशाना ईश्वरौ सन्तौ “धियः अस्मदीयानि कर्माणि “पिप्यतं प्याययतम् ॥


वृषा पुनान आयुषु स्तनयन्नधि बर्हिषि ।
हरिः सन्योनिमासदत् ॥३॥

“वृषा कामानां वर्षकः सोमः “आयुषु मनुष्येष्वध्वर्य्वादिषु “पुनानः पूयमानः सन् 'स्तनयन् शब्दं कुर्वन् “अधि “बर्हिषि ।
अधीति सप्तम्यर्थानुवादी । आस्तीर्णे दर्भे “हरिः हरितवर्णः “सन् “योनिं स्वकीयं स्थानम् “आसदत् आसीदति ॥


अवावशन्त धीतयो वृषभस्याधि रेतसि ।
सूनोर्वत्सस्य मातरः ॥४॥

“धीतयः धीयमानाः सोमाख्येन वत्सेन पीयमाना वसतीवर्यः । क्तिन् व्यत्ययेनान्तोदात्तः ।
“अधि “रेतसि स्वकीये सारे “वृषभस्य वर्षकस्य सोमस्य । सोममित्यर्थः ।
“अवावशन्त पुनः कामयन्ते । सोममाप्याययितुं कामयन्त इत्यर्थः । तदेवाह। "सूनोः स्वपुत्रस्थानीयस्य “वत्सस्य सोमस्य “मातरः
निर्मात्र्यः प्रवृद्धिकामा मातृस्थानीया अवावशन्तेति समन्वयः ॥


कुविद्वृषण्यन्तीभ्यः पुनानो गर्भमादधत् ।
याः शुक्रं दुहते पयः ॥५॥

“वृषण्यन्तीभ्यः वृषणं सोममात्मन इच्छन्तीभ्यो वसतीवरीभ्यः “पुनानः पूयमानो मिश्रयमाणः
“गर्भं स्वगर्भस्थानीयं रसं “कुवित् बहु प्रभूतम् "आदधत् करोति । “याः आपः “शुक्रं दीप्तं “पयः
“दुहते स्ववत्साय सोमाय ताभ्यो गर्भमादधत् ॥


उप शिक्षापतस्थुषो भियसमा धेहि शत्रुषु ।
पवमान विदा रयिम् ॥६॥

हे “पवमान सोम “उप “शिक्ष त्वं समीपे कुरु । कान् । “अपतस्थुषः अपक्रम्य स्थितान् । अस्मदभिमतानित्यर्थः।
 “शत्रुषु अस्मद्विरोधिषु “भियसं भयम् “आ “धेहि कुरु जनय । अस्माकं तेषां शत्रूणां “रयिं धनं “विदाः विन्दसि ।।


नि शत्रोः सोम वृष्ण्यं नि शुष्मं नि वयस्तिर ।
दूरे वा सतो अन्ति वा ॥७॥

हे अभिषूयमाण “सोम त्वं “शत्रोः “वृष्ण्यं वर्षकं बलं “नि “तिर । निपूर्वस्तिरतिर्नाशार्थः । नाशय ।
तथा शत्रोः “शुष्मं शोषकं तेजः “नि तिर । तस्यैव “वयः अन्नं च “नि तिर । कीदृशस्य शत्रोः ।
 “दूरे “वा "सतः अस्मत्तो दूरे वर्तमानस्य “अन्ति वा सतोऽन्तिके वर्तमानस्य वा ॥ 

9.019.01 Whatever wonderful glorious wealth there be in heaven or in earth, do you, Soma, being purified, bring it to us.
9.019.02 You, Soma and Indra, are the lords of all the lords of cattle, do you, the rulers, prosper our rites.
9.019.03 The showerer (of benefits) being purified among men (lies) murmuring upon the sacred grass, green-tinted he sits down in his proper place.
9.019.04 The mothers of the male calf, which are sucked by him, long to cherish the bull with their strength. [The mothers of the male calf: vasati_vari_ water which is mixed with the Soma; rendering: the sacred rites, the mothers of the male calf, long for the full-grown vigour of the bull].
9.019.05 The purified Soma has implanted many a germ in those (waters) desirous of conception, which yield bright milk. [Many: kuvit; this may ablso be a interrogative particle].
9.019.06 Bring near to us those who stand aloof, strike terror into our fores; pure-flowing one, you do transfer to us their riches.
9.019.07 Destroy, Soma, the vigour, the energy, the subsistence of our enemy, whether he be far off or nigh.

ऋग्वेदः - मण्डल ९
सूक्तं ९.२०
कश्यपोऽसितो देवलो वा। दे. पवमानः सोमः। गायत्री।

प्र कविर्देववीतयेऽव्यो वारेभिरर्षति ।
साह्वान्विश्वा अभि स्पृधः ॥१॥

“कविः मेधावी सोमः "देववीतये देवानां पानाय “अव्यः अवेः “वारेभिः वारैः दशापवित्रेण “प्र “अर्षति प्रकर्षेण गच्छति । “साह्वान् शत्रूणां सोढा सोमः “विश्वाः “स्पृधः सर्वान् संग्रामान हिंसकान् वा “अभि भवतीति शेषः ॥


स हि ष्मा जरितृभ्य आ वाजं गोमन्तमिन्वति ।
पवमानः सहस्रिणम् ॥२॥

“स “हि “ष्म स खलु “पवमानः सोमः "जरितृभ्यः स्तोतृभ्यः “गोमन्तं बहुभिगोंभिर्युक्तं “सहस्रिणं सहस्रसंख्याकं “वाजम् अन्नम् “आ अभिमुखम् “इन्वति व्याप्नोति । प्रयच्छतीत्यर्थः ॥


परि विश्वानि चेतसा मृशसे पवसे मती ।
स नः सोम श्रवो विदः ॥३॥

हे सोम त्वं “चेतसा स्वीयेनास्मदनुकूलेन चित्तेन “विश्वानि सर्वाणि धनानि “परि “मृशसे । प्रयच्छसीत्यर्थः । “मती मत्यास्मत्स्तुत्या "पवसे क्षरसि रसम्। “सः त्वं हे “सोम “नः अस्मभ्यं “श्रवः अन्नं “विदः देहि ॥


अभ्यर्ष बृहद्यशो मघवद्भ्यो ध्रुवं रयिम् ।
इषं स्तोतृभ्य आ भर ॥४॥

हे सोम "बृहद्यशः महतीं कीर्तिम् “अभ्यर्ष अभिगमय । "मघवद्भ्यः हविष्मद्भ्यः अस्मभ्यं "ध्रुवं “रयिं धनं चाभ्यर्ष । किंच “इषम् अन्नं “स्तोतृभ्यः अस्मभ्यम् “आ “भर आहर ॥


त्वं राजेव सुव्रतो गिरः सोमा विवेशिथ ।
पुनानो वह्ने अद्भुत ॥५॥

हे "सोम "सुव्रतः सुकर्मा “पुनानः “त्वं “राजेव “गिरः अस्मदीयाः स्तुतीः "आ "विवेशिथ आविशसि । हे "वह्ने वोढः “अद्भुत महन् सोम ॥


स वह्निरप्सु दुष्टरो मृज्यमानो गभस्त्योः ।
सोमश्चमूषु सीदति ॥६॥

“सः “सोमः "वह्निः वोढा यज्ञादेः “अप्सु अन्तरिक्षे वर्तमानः “दुष्टरः दुःखेनान्यैस्तरणीयः "मृज्यमानः शोध्यमानः “गभस्त्योः हस्तयोरेवंभूतः सन् सः "चमूषु पात्रेषु “सीदति ॥


क्रीळुर्मखो न मंहयुः पवित्रं सोम गच्छसि ।
दधत्स्तोत्रे सुवीर्यम् ॥७॥

हे “सोम “क्रीळुः क्रीडनशीलस्त्वं “मंहयुः । मंहतिर्दानकर्मा । दानेच्छुः “मखो “न दानमिव “पवित्रं “गच्छसि । किं कुर्वन् । “स्तोत्रे स्तुतिकर्त्रे “सुवीर्यं शोभनवीर्यं “दधत् प्रयच्छन् ॥


9.020.01 The seer passes through the woollen fleece for the beverage of the gods, triumphing over all adversaries.
9.020.02 Verily he, the pure-flowing, bestows upon his praisers thousands of victuals with cattle.
9.020.03 By the favour you give to us all kinds of wealth, you flow at our praise; grant us, O Soma, food.
9.020.04 Bestow upon us great renown, grant durable riches to those who profuse in their libations, bring food to your praisers.
9.020.05 Purified one, doer of good deeds, you, Soma, enter our praises like a king, O wonderful bearer (of our offerings).
9.020.06 Soma, the bearer (of oblations), abiding in the waters of the firmament, difficult to be surpassed, being cleansed by our hands reposes in the vessels.
9.020.07 Soma, you proceed to the straining-cloth, sportive and generous, like a gift, giving excellent vigour to him who praises you. [Like a gift: makhah = sacrifice; fr. root magh].

ऋग्वेदः - मण्डल ९
सूक्तं ९.२१
कश्यपोऽसितो देवलो वा।

दे. पवमानः सोमः। गायत्री।

एते धावन्तीन्दवः सोमा इन्द्राय घृष्वयः ।
मत्सरासः स्वर्विदः ॥१॥

"एते “सोमाः “इन्द्राय “धावन्ति गच्छन्ति । कीदृशा एते । “इन्दवः क्लेदयितारो दीप्ता वा “घृष्वयः घर्षणशीलाः
“मत्सरासः मादयितारः “स्वर्विदः स्वर्लोकस्य लम्भयितारः ।।

प्रवृण्वन्तो अभियुजः सुष्वये वरिवोविदः ।
स्वयं स्तोत्रे वयस्कृतः ॥२॥

“प्रवृण्वन्तः सुवानं प्रकर्षेण संभजन्तः तथा “अभियुजः अभियोजयितारः "सुष्वये सुष्ठु अभिषवकर्त्रे “वरिवोविदः ।
 ‘ वरिवः'इति धननाम । तस्य लम्भयितारः “स्वयं “स्तोत्रे “वयस्कृतः अन्नस्य कर्तारः । एते धावन्तीति संबन्धः ॥


वृथा क्रीळन्त इन्दवः सधस्थमभ्येकमित् ।
सिन्धोरूर्मा व्यक्षरन् ॥३॥

“वृथा अनायासेन “क्रीळन्तः “इन्दवः सोमाः “एकमित् एकमेव “सधस्थं सहस्थानं द्रोणकलशं वा “अभि अक्षरन्निति शेषः ।
“सिन्धोरूर्मा वसतीवरीषु “व्यक्षरन् ।।

एते विश्वानि वार्या पवमानास आशत ।
हिता न सप्तयो रथे ॥४॥

“एते सोमाः “पवमानासः पूयमानाः “विश्वानि “वार्या “वार्याणि वरणीयानि धनानि “आशत व्याप्नुवन् ।
“रथे “हिताः स्थापिताः “नः “सप्तयः अश्वा इव ।
 ते यथा रथमभिमतं देशं प्राप्नुवन्ति तद्वद्धनमस्माकं प्रायच्छन्नित्यर्थः ॥

आस्मिन्पिशङ्गमिन्दवो दधाता वेनमादिशे ।
यो अस्मभ्यमरावा ॥५॥

हे 'इन्दवः सोमाः “अस्मिन् यजमाने “पिशङ्गं बहुरूपं मणिमुक्ताहिरण्यादिभेदेन नानारूपं “वेनं 
कामयन्तं बहुविधं कामम् “आदिशे अस्मभ्यमादेशनाय “आ “दधात आयच्छतः ।
 “यः यजमानः “अस्मभ्यम् "अरावा ----- प्रयच्छति प्राप्तकाम एव खलु ऋत्विग्भ्यः प्रयच्छति ॥


ऋभुर्न रथ्यं नवं दधाता केतमादिशे ।
शुक्राः पवध्वमर्णसा ॥६॥


“ऋभुर्न उरु भासमानो रथस्वामीव स यथा “रथ्यं रथस्य नेतारं “नवं स्तुत्यं कुशलं सारथिनमग्र
आधत्ते तद्वदस्मदीयेऽस्मिन् “आदिशे स्वामिनि "केतं प्रज्ञानं “दधात स्थापयत । हे सोमाः योऽस्मभ्यं प्रयच्छति तस्मिन्नित्यर्थः।
हे सोमाः "अर्णसा उदकेन “शुक्राः दीप्ताः सन्तः “पवध्वं क्षरध्वम्॥

एत उ त्ये अवीवशन्काष्ठां वाजिनो अक्रत ।
सतः प्रासाविषुर्मतिम् ॥७॥

“त्ये ते “एत “उ एत एव सोमाः “अवीवशन् कामयन्ते यज्ञम् ।
कान्त्वा च “वाजिनः बलवन्तोऽन्नवन्तो वा सोमाः “काष्ठाम् “अक्रत निवासस्थानमकुर्वन् ।
द्रोणकलशादुद्गता ग्रहानित्यर्थः। “सतः यजमानस्य-स्तोतुर्वा “मतिं बुद्धिं स्तुतिं वा “प्रासाविषुः प्रैरयन् ॥

9.021.01 These flowing Soma-juices, foe-destroying, exhilarating, heaven-conferring, have gone to Indra.
9.021.02 Showing favour, assailing foes, giving wealth to him who rightly effuses them, and bestowing food spontaneously on their praiser.
9.021.03 The effused juices come sporting lightly to the common receptacle, they drop into the wave of the river. [i.e. the vasati_vari_ water].
9.021.04 Like horses harnessed to a car these pure juices bring (to us) all desirable blessings.
9.021.05 Effused Soma-juices, at our indication, bestow manifold blessings on this (institutor of the sacrifice), who (at present) has given us nothing. [At our indication: asmabhyam a_des'ana_ya = alternative meanign: with a view to us; the sacrificer only bestows gifts on his officiating priests when he has obtained his desire].
9.021.06 As a great man sets before him a commendable charioteer, so do you grant knowledge to our lord, and flow glistening with water.
9.021.07 These effused juices have desired (the sacrifice); powerful they have made for themselves an abiding-place; they have animated the intellect of the pious institutor of the rite.

ऋग्वेदः - मण्डल ९
सूक्तं ९.२२
कश्यपोऽसितो देवलो वा।

दे. पवमानः सोमः। गायत्री।

एते सोमास आशवो रथा इव प्र वाजिनः ।

सर्गाः सृष्टा अहेषत ॥१॥

"एते पूयमानाः “सोमासः सोमाः “सृष्टाः अध्वर्युणा आशवः दशापवित्रादधोगमने शीघ्राः “प्र “अहेषत प्रहेषन्ते ।
शीघ्रगमने दृष्टान्तद्वयम् ।
आजौ सृष्टाः शीघ्राः “रथाइव तथोक्तलक्षणाः “वाजिनः इव वेजनवन्तोऽश्वा इव।।


एते वाता इवोरवः पर्जन्यस्येव वृष्टयः ।
अग्नेरिव भ्रमा वृथा ॥२॥

“एते सोमाः “उरवः महान्तः “वाताइव वायव इव “वृथा अनायासेन व्यानशुः इत्युत्तरत्र संबन्धनीयम् ।
अथवाध्याहारेण निःसरन्तीति योज्यम् । तथा “पर्जन्यस्य “वृष्टयः “इव वर्षा यथा तथैव ।
किंच “अग्नेः “भ्रमाः भ्रमणा ज्वालासंचाराः “इव ॥

एते पूता विपश्चितः सोमासो दध्याशिरः ।
विपा व्यानशुर्धियः ॥३॥

"एते “सोमासः सोमाः “पूताः शुद्धाः “विपश्चितः प्राज्ञाः “दध्याशिरः दध्याश्रयणाः “विपा प्रज्ञानेन
 “धियः अस्मदीयानि कर्माणि “व्यानशुः व्याप्नुवन्ति ।।

एते मृष्टा अमर्त्याः ससृवांसो न शश्रमुः ।
इयक्षन्तः पथो रजः ॥४॥


“एते सोमाः “मृष्टाः दशापवित्रेण शोधिताः “अमर्त्याः अमरणधर्माणः “ससृवांसः हविर्धानात् सरन्तः
“पथः मार्गान् “रजः लोकांश्च “इयक्षन्तः गन्तुमिच्छन्तः “न “शश्रमुः न श्राम्यन्ति ॥

एते पृष्ठानि रोदसोर्विप्रयन्तो व्यानशुः ।
उतेदमुत्तमं रजः ॥५॥


“एते सोमाः “रोदसो: द्यावापृथिव्योः “पृष्ठानि “विप्रयन्तः विविधं गच्छन्तः “व्यानशुः व्याप्नुवन्ति ।
"उत अपि च “इदमुत्तमं “रजः द्युलोकं व्यानशुः । आहुतिद्वारेणेति भावः । रोदसोरित्यत्रान्तरिक्षोऽभिप्रेतः ।।

तन्तुं तन्वानमुत्तममनु प्रवत आशत ।
उतेदमुत्तमाय्यम् ॥६॥

“तन्तुं यज्ञं “तन्वानम् “उत्तमम् उत्कृष्टं सोमम् “अनु “आशत “प्रवतः नद्यः ।
 “उत अपि च “इदं कर्म अनेन सोमेन “उत्तमाय्यम् उत्तमीकृतम्।
अथवा तन्तुं तन्वानं सोमं प्रवतोऽधःस्थिताः सर्वा अन्वाशत । उतेदमुत्तमाख्यं रजः । द्युलोक इत्यर्थः । सोऽप्यन्वश्नुते पृथिव्या चान्तरिक्षेण च । उत्तमीकृतमुत्तमाय्यम् ॥

त्वं सोम पणिभ्य आ वसु गव्यानि धारयः ।
ततं तन्तुमचिक्रदः ॥७॥

हे "सोम “त्वं “पणिभ्यः असुरेभ्यो लुब्धकेभ्यो वा सकाशात् “गव्यानि गोहितानि
 “वसु वसूनि गोयूथानि वसूनि चेति वा “आ आहृत्य “धारयः धारयसि ।
तथा “तन्तुं यज्ञं प्रति “ततं विस्तृतं यथा भवति तथा “अचिक्रदः शब्दमकार्षीः ॥ 

9.022.01 These Soma-jices, when let out, neigh as they leap swiftly forth like chariots or rapid steeds let loose.
9.022.02 Like strong winds, like the rains of Parjanya, like the swift-whiring (flames) of fire.
9.022.03 These pure Soma-juices, sagacious, mixed with curds, easily pervade our cermonies with their intelligence. [With their intellignece: vipa_ = prajn~a_nena; vip = twigs which form the bottom of the funnel and suppor the filtering-cloth].
9.022.04 Purified, immortal, issuing from the vessels, eager to traverse their (assigned) paths and the universe, they are never wearied.
9.022.05 Spreading in various directions, they pervade the surface of earth and sky, you and this highest heaven.
9.022.06 Descending rivers follow this excellent (Soma) as it spreads out the sacrifice; this rits is glorified thereby. [As it spreads out the sacrifice: tantum = yajn~am; or, alternatively, straining-cloth; 'descending river fills out the outspread threads'].
9.022.07 You, Soma, hold the wealth of kine which you have won from the Pan.is, you have called aloud at the outspread sacrifice.

ऋग्वेदः - मण्डल ९
सूक्तं ९.२३
कश्यपोऽसितो देवलो वा।दे. पवमानः सोमः। गायत्री।

सोमा असृग्रमाशवो मधोर्मदस्य धारया ।
अभि विश्वानि काव्या ॥१॥


“आशवः शीघ्राः “सोमाः “असृग्रम् असृग्रन् सृज्यन्ते । “मधोः मधुरस्य “मदस्य मदकरस्य “धारया असृग्रमिति संबन्धः । किं प्रति उच्यते । “अभि लक्षीकृत्य “विश्वानि सर्वाणि “काव्या काव्यानि स्तोत्राणि प्रति । स्तोत्रसमय इत्यर्थः ।


अनु प्रत्नास आयवः पदं नवीयो अक्रमुः ।
रुचे जनन्त सूर्यम् ॥२॥


“प्रत्नासः पुराणाः केचित् “आयवः शीघ्रगमना अश्वाः "नवीयः नवतरं “पदम् “अनु “अक्रमुः अनुक्रमन्ते । रूपकव्याहारेण सोमाः स्तूयन्ते । “रुचे दीप्त्यै “सूर्यं “जनन्त कुर्वन्ति । दीप्तं कुर्वन्तीत्यर्थः । सोमप्यायनेन हि चन्द्रो रोचते ।



आ पवमान नो भरार्यो अदाशुषो गयम् ।
कृधि प्रजावतीरिषः ॥३॥

हे “पवमान सोम त्वं “नः अस्मभ्यम् “अर्यः अरेः “अदाशुषः अप्रयच्छतः “गयं गृहं गृहोपलक्षितं धनम् “आ “भर आहर । तथास्मभ्यं “प्रजावतीरिषः च “कृधि कुरु ।।


अभि सोमास आयवः पवन्ते मद्यं मदम् ।
अभि कोशं मधुश्चुतम् ॥४॥

“आयवः गन्तारः “सोमासः सोमाः “मद्यं मदकरं रसम् “अभि “पवन्ते क्षरन्ति । तथा “मधुश्चुतं मधुस्राविणं "कोशम् । रसाधारेण कोशशब्देन तत्रामिश्रितो रसो लक्ष्यते। तम् “अभि पवन्त इति शेषः ।।


सोमो अर्षति धर्णसिर्दधान इन्द्रियं रसम् ।
सुवीरो अभिशस्तिपाः ॥५॥

“सोमः “अर्षति गच्छति । कीदृशः सः। “धर्णसिः धारको जगतां तथा “इन्द्रियम् इन्द्रियवर्धकं “रसं “दधानः धारयन् “सुवीरः सुवीर्यः “अभिशस्तिपाः अभिशस्तेः पाता। अभितो हिंसा ततो रक्षक इत्यर्थः। सोमपानं ब्रह्महत्यादिनिन्दामनुमार्ष्टीति प्रसिद्धम् ॥


इन्द्राय सोम पवसे देवेभ्यः सधमाद्यः ।
इन्दो वाजं सिषाससि ॥६॥


हे सोम “सधमाद्यः । सधमादो यज्ञः । तदर्हस्त्वम् “इन्द्राय “देवेभ्यः चान्येभ्यः “पवसे क्षरसि । हे तादृश "इन्दो सोम अस्मभ्यं “वाजम् अन्नं “सिषाससि दातुमिच्छसि ।।


अस्य पीत्वा मदानामिन्द्रो वृत्राण्यप्रति ।
जघान जघनच्च नु ॥७॥

“मदानां मदकराणां मध्येऽतिशयेन मदकरम् “अस्य अमुं सोमं “पीत्वा “वृत्राणि शत्रून् अप्रतिगतः सन् “इन्द्रः "जघान हतवान् । “नु क्षिप्रं “जघनत् “च । हन्तु चेदानीमपि ॥ 


9.023.01 The swift-flowing Soma-juices have issued in a stream of the sweet exhilarating (beverage), at (the recital of) all the praise (of the sages).
9.023.02 Ancient swift-going (horses), they (the juices) have traversed anew field-- they have a generated a sun to give light. [pratna_sa a_yavah may also mean, the arranged place of sacrifice].
9.023.03 Bring to us, purifier, the house of our enemy who presents no libations-- bestow upon us progeny-abounding food. [The house of our enemy: a metonym for 'wealth'].
9.023.04 The swift-flowing Soma-juices diffuse exhilarating wine-- they flow to the honey-shedding receptacle. [Honey-shedding receptacle: 'the unmixed portion of the juice'].
9.023.05 The Soma flows, the sustainer (of the world), bearing a sense-invigorating essence-- heroic-- a protector against calumny.
9.023.06 Soma, who are worthy of the sacrifice, you flow to Indra and to the gods; you, Indu, vouchsafe to give us food. [Worhty of the sacrifice: sadhama_dya = yajn~a_rha].
9.023.07 Having drunk of this chief of exhilarating draughts, Indra irresistible has slain his foes, and may he ever slay them.

ऋग्वेदः - मण्डल ९
सूक्तं ९.२४
कश्यपोऽसितो देवलो वा।

दे. पवमानः सोमः। गायत्री।

प्र सोमासो अधन्विषुः पवमानास इन्दवः ।
श्रीणाना अप्सु मृञ्जत ॥१॥

“सोमासः सोमाः “पवमानासः पूयमानाः “इन्दवः दीप्ताः “प्र “अधन्विषुः । धन्वतिर्गतिकर्मा। प्रगच्छन्ति ।
किंच “श्रीणानाः गोभिः श्रयमाणाः "अप्सु वसतीवरीषु च “मृञ्जत मृज्यन्ते ।

अभि गावो अधन्विषुरापो न प्रवता यतीः ।
पुनाना इन्द्रमाशत ॥२॥

“गावः गमनशीला इन्दवः “अभि “अधन्विषुः अभिगच्छन्ति दशापवित्रम् ।
किमिव । “प्रवता प्रवणवता देशेन “यतीः गच्छन्त्यः "आपो “न आप इव ।
पश्चात् “पुनानाः “इन्द्रं प्रीणयितुम् “आशत व्याप्नुवन् । आहुतिप्रणाड्येन्द्रमेव वा व्याप्नुवन् ॥

प्र पवमान धन्वसि सोमेन्द्राय पातवे ।
नृभिर्यतो वि नीयसे ॥३॥

हे पवमान “सोम “इन्द्राय इन्द्रस्य “पातवे पानाय “प्र “धन्वसि प्रगच्छस्याहवनीयं प्रति हविर्धानात् ।
तदेवाह। "नृभिः नेतृभिर्ऋत्विग्भिः “यतः विनीतः “वि “नीयसे हविर्धानात् । अथवा । पवमान प्र धन्वसि पात्रं प्रतीन्द्रपानाय तदर्थं हविर्धानाद्वि नीयसे ।


त्वं सोम नृमादनः पवस्व चर्षणीसहे ।
सस्निर्यो अनुमाद्यः ॥४॥


हे “सोम “त्वं नृमादनः नृणां मादयिता त्वं “चर्षणीसहे । चर्षणयो मनुष्या द्वेष्टारः ।
तेषां समभिभवित्र इन्द्राय “पवस्व क्षर "यः त्वं “सस्निः शुद्धः “अनुमाद्यः स्तुत्यः स पवस्वेति समन्वयः ॥

इन्दो यदद्रिभिः सुतः पवित्रं परिधावसि ।
अरमिन्द्रस्य धाम्ने ॥५॥

हे “इन्दो त्वं “यत् यदा “अद्रिभिः ग्रावभिः “सुतः अभिषुतः “पवित्रं दशापवित्रं “परिधावसि परिगच्छसि ।
तदा “इन्द्रस्य “धाम्ने स्थानायाधारकायोदराय वा “अरं पर्याप्तो भवसि ।।

पवस्व वृत्रहन्तमोक्थेभिरनुमाद्यः ।
शुचिः पावको अद्भुतः ॥६॥

हे “वृत्रहन्तम शत्रूणामतिशयेन हन्तरिन्दो त्वं “पवस्व क्षर । कीदृशस्त्वम् । “उक्थेभिः शस्त्रैः “अनुमाद्यः स्तुत्यः
“शुचिः शुद्धः “पावकः अन्यस्य शोधकः “अद्भुतः महान् । एवंमहानुभावः पवस्व ॥

शुचिः पावक उच्यते सोमः सुतस्य मध्वः ।
देवावीरघशंसहा ॥७॥

“सुतस्य अभिषुतस्य “मध्वः मदकरस्य वल्ल्यात्मकः “सोमः रसरूपः
“शुचिः स्वयं शुद्धः “पावकः शोधकश्च “उच्यते । तथा “देवावीः देवानामविता तर्पयिता “अघशंसहा । अघं पापं शंसन्तीत्यघशंसा असुराः। तेषां हन्तेति चोच्यते ॥ 

9.024.01 The purified effused Soma-juices have flowed forth-- mixing (with curds and milk) they are cleansed in the waters.
9.024.02 The flowing juices rush (to the filter), like waters flowing down a declivity; purified they gratify Indra.
9.024.03 Purifier, Soma, you proceed to Indra for his drinking-- thence are you brought by the priests. [You proceed: added, 'from the wagon whence they are taken by the priests to the a_havani_ya fire' or 'to the vessel'].
9.024.04 You, Soma, who are the exhilarator of men, flow to (Indra), the conqueror of enemies, you who are pure and to be worshipped. [The conqueror of enemies: Sa_maveda replaces cars.an.i_dhr.tih for cars.an.i_sahe, i.e. an epithet of Soma, 'laid hold of by men', or 'the protection of men'].
9.024.05 When, Indu, effused by the stones, you have flowed to the filtering-cloth, you are an ample portion for Indra's belly. [You are an ample portion for Indra's belly: indrasya udara_ya parya_pto bhavasi].
9.024.06 Utter destroyer of enemies, flow forth, to be propitiated by praises, pure, purifying, wonderful.
9.024.07 Soma, (the yielder) of the exhilarating effusion, is called the pure, the purifier, the gratifier of the gods, the slayer of the wicked. [Sa_maveda has sutah sa madhuma_n, for sutasya madhvah].

ऋग्वेदः - मण्डल ९
सूक्तं ९.२५
दृळ्हच्युत आगस्त्यः।

दे. पवमानः सोमः। गायत्री।

पवस्व दक्षसाधनो देवेभ्यः पीतये हरे ।
मरुद्भ्यो वायवे मदः ॥१॥

हे “हरे हरितवर्ण पापहर्तर्वा सोम “दक्षसाधनः । दक्षो बलम् । तस्य साधकः “मदः मदकरश्च त्वं “पवस्व क्षर।
 “देवेभ्यः इन्द्रादिभ्यः “पीतये पानाय । तथा “मरुद्यःस “वायवे च पीतये पवस्व ॥

पवमान धिया हितोऽभि योनिं कनिक्रदत् ।
धर्मणा वायुमा विश ॥२॥

हे “पवमान सोम “धिया कर्मणास्मद्व्यापारेण अङ्गुल्या वा “हितः धृतः सन् “कनिक्रदत्
शब्दं कुर्वन् “योनिं स्थानं ग्रहं वा “अभि विशेति शेषः । तदेवाह। “धर्मणाः “वायुम् ।
वायुसंबन्धि पात्रमित्यर्थः । तत् “आ “विश प्रविश ॥

सं देवैः शोभते वृषा कविर्योनावधि प्रियः ।
वृत्रहा देववीतमः ॥३॥

अयं सोमः "सं "शोभते "देवैः सह "योनौ स्थाने स्वीयेऽधिष्ठितः "वृषा कामानां वर्षकः
“कविः क्रान्तप्रज्ञः "प्रियः प्रियभूतः सर्वेषां यद्वा प्रीणयिता “वृत्रहा वृत्रस्य हन्ता “देववीतमः
अतिशयेन देवान् कामयमानः एवंमहानुभावः सोमः संशोभते ।।

विश्वा रूपाण्याविशन्पुनानो याति हर्यतः ।
यत्रामृतास आसते ॥४॥

“विश्वा सर्वाणि रूपाण्याविशन् "पुनानः पूयमानः "हर्यतः कमनीयः । ‘हर्य गतिकान्त्योः ।
ईदृशः "याति गच्छति । "यत्र "अमृतासः अमृता देवाः "आसते तिष्ठन्ति तं देशं याति ॥

अरुषो जनयन्गिरः सोमः पवत आयुषक् ।
इन्द्रं गच्छन्कविक्रतुः ॥५॥

“अरुषः आरोचमानः "सोमः "गिरः शब्दान् "जनयन् पवते क्षरति । किं कुर्वन् ।
 "आयुषक् अनुषक्तम् "इन्द्रं "गच्छन् व्याप्नुवन् "कविक्रतुः क्रान्तप्रज्ञः ॥

आ पवस्व मदिन्तम पवित्रं धारया कवे ।
अर्कस्य योनिमासदम् ॥६॥


हे “मदिन्तम मादयितृतम "कवे क्रान्तप्रज्ञ सोम त्वं "पवित्रम् अतिक्रम्य “धारया “आ “पवस्व ।
 किमर्थम् । "अर्कस्य अर्चनीयस्येन्द्रस्य "योनिं स्थानम् "आसदं प्राप्तुम् ॥

9.025.01 Green-tinted (Soma), do you who are the bestower of strength, the exhilarating, flow as a beverage for the gods, for the Maruts and for Va_yu.
9.025.02 Purifying (Soma), placed suitably by the sacred rite, (enter) uttering a cry the (appointed) place, enter by the sacred function into Va_yu. [i.e. the vessel associated with, or set apart for Va_yu, va_yu sambandhi pa_tram].
9.025.03 This Soma, the showerer (of benefits), the seer, the beloved, the destroyer of foes,t he most devout, shines in its appointed place along with the gods.
9.025.04 Pervading all forms, the pure, the desirable goes to the place where the immortals abide.
9.025.05 Endowed with wisdom of the past, the brilliant Soma, generating sounds, flows forth continually proceeding to Indra.
9.025.06 Most exhilarating and sage (Soma), flow through the filter in a stream, to attain the station of the adorable Indra.


ऋग्वेदः - मण्डल ९
सूक्तं ९.२६
इध्मवाहो दार्ढच्युतः।

दे. पवमानः सोमः। गायत्री।

तममृक्षन्त वाजिनमुपस्थे अदितेरधि ।
विप्रासो अण्व्या धिया ॥१॥

“तं "वाजिनम् अश्वमश्ववदाशुम्। व्याप्तमित्यर्थः। “अदितेः पृथिव्याः “उपस्थे उत्सङ्गे।
“अधि इति सप्तम्यर्थानुवादी । "अमृक्षन्त शोधितवन्तः । के। "विप्रासः मेधाविनोऽध्वर्य्वादयः ।
 केन साधनेन । "अण्व्या अङ्गुल्या "धिया प्रज्ञया स्तुत्या वा अमृक्षन्त । अथवाण्व्या सूक्ष्मया धियाङ्गुल्येति विशेष्यविशेषणभावः ॥

तं गावो अभ्यनूषत सहस्रधारमक्षितम् ।
इन्दुं धर्तारमा दिवः ॥२॥

“तं सोमं "गावः गन्त्र्यः स्तुतयः “अभ्यनूषत अस्तुवन् । कीदृशं तम् । "सहस्रधार बहुधारम् “अक्षितम्
अक्षीणम् "इन्दुं दीप्तं "दिवः द्युलोकस्य “आ “धर्तारं सर्वतो धारकम् ।
सोमाधारत्वात् द्युलोकवासिनां संस्थानस्य ॥

तं वेधां मेधयाह्यन्पवमानमधि द्यवि ।
धर्णसिं भूरिधायसम् ॥३॥

“वेधां विधातारं "पवमानं "तं "मेधया प्रज्ञया "अह्यन् प्रहिण्वन्ति ।
 किं प्रति । "अधि “द्यवि द्युलोकं प्रति ।
पुनः कीदृशम् । “धर्णसिं सर्वस्य धारकं "भूरिधायसं बहूनां कर्तारम् ।।

तमह्यन्भुरिजोर्धिया संवसानं विवस्वतः ।
पतिं वाचो अदाभ्यम् ॥४॥

“तं सोमं "विवस्वतः परिचरत ऋत्विजः "भुरिजोः बाह्वोः “धिया अङ्गुल्या "अह्यन् प्राहिण्वन् ।
 कीदृशं तम् । "संवसानं वसन्तं पात्रे “वाचः स्तुतेः "पतिं स्वामिनम् "अदाभ्यम् अदम्भनीयम् ॥



तं सानावधि जामयो हरिं हिन्वन्त्यद्रिभिः ।
हर्यतं भूरिचक्षसम् ॥५॥

“तं सोमं "हरिं हरितवर्णं "सानावधि समुच्छ्रिते देशे। अधीति सप्तम्यर्थानुवादी। "जामयः अङ्गुलयः “हिन्वन्ति प्रेरयन्ति ।
अधिषुण्वन्ति "अद्रिभिः ग्रावभिः । कीदृशम् ।
 "हर्यतं कमनीयं "भूरिचक्षसं बहुद्रष्टारम् ॥

तं त्वा हिन्वन्ति वेधसः पवमान गिरावृधम् ।
इन्दविन्द्राय मत्सरम् ॥६॥


हे "पवमान सोम “तम् उक्तगुणविशिष्टं "त्वा त्वां “हिन्वन्ति प्रेरयन्ति । कस्मै । "इन्द्राय । के।
 "वेधसः विधातार ऋत्विजः ।
 कीदृशं त्वाम् । “गिरावृधं स्तुत्या वर्धमानम् “इन्दुं दीप्तं सरूपं वा "मत्सरं मदकरम् ॥

9.026.01 The priests have cleansed that Soma (swift as) horse, on the lap of Aditi with fingers and with hymns. [On thelap of Aditi: i.e., the earth; with hymns: or, 'with delicate fingers'].
9.026.02 The chants celebrate that Indu flowing in a thousand streams, inexhaustible, the supporter of heaven. [The chants: ga_vah = gantryah stutayah; the reference may be to the cows as contributing their milk].
9.026.03 They have elevated to heaven by their praise that creative purifying (Soma), the sustainer, the maker of many. [bhu_ridha_yasam = bahu_na_m karta_ram; it perhaps means, 'the nourisher of many'].
9.026.04 The worshippers have elevated by the fingers of their arms that unconquerable lord of praise abiding (in the vessels).
9.026.05 The sister-fingers in a raised place press out by the grinding stones that green-tinted (Soma), desirable and far-beholding.
9.026.06 The worshippers offer you to Indra, purifier, Indu, filled with praise and bestowing exhilaration.

ऋग्वेदः - मण्डल ९
सूक्तं ९.२७
नृमेध आङ्गिरसः

दे. पवमानः सोमः। गायत्री।

एष कविरभिष्टुतः पवित्रे अधि तोशते ।
पुनानो घ्नन्नप स्रिधः ॥१॥

“एषः सोमः "कविः मेधावी “अभिष्टुतः अभितः स्तुतः "पवित्रे "अधि दशापवित्रमतीत्य “तोशते ।
यद्यपि तोशतिर्वधकर्मा तथापि हनने गतिसद्भावादत्र गतिमात्रे वर्तते । गच्छतीत्यर्थः । अथवा ।
पवित्रेऽधि कृष्णाजिने तोशते हन्यते । पीड्यत इत्यर्थः । किं कुर्वन् । “पुनानः पूयमानः “स्रिधः शत्रून् "अप “घ्नन् अपगमयन् ।

एष इन्द्राय वायवे स्वर्जित्परि षिच्यते ।
पवित्रे दक्षसाधनः ॥२॥

“एषः सोमः "स्वर्जित् स्वर्गस्य सर्वस्य वा जेता'“इन्द्राय "वायवे च "पवित्रे "परि “षिच्यते ।
कीदृश एषः । "दक्षसाधनः बलकारी ।।


एष नृभिर्वि नीयते दिवो मूर्धा वृषा सुतः ।
सोमो वनेषु विश्ववित् ॥३॥

“एषः "सोमः "नृभिः कर्मनेतृभिर्ऋत्विग्भिः "वि "नीयते विविधं नीयते ।
एष कीदृशः । "दिवः द्युलोकस्य "मूर्धा शिरोवत्प्रधानभूतः "वृषा अभिमतवर्षकः "सुतः अभिषुतः ।
कुत्र नीयते । “वनेषु वननीयेषु वनसंभूतद्रुमविकारेषु वा पात्रेषु । "विश्ववित् सर्वज्ञ एष इति समन्वयः ॥

एष गव्युरचिक्रदत्पवमानो हिरण्ययुः ।
इन्दुः सत्राजिदस्तृतः ॥४॥

“एषः सोमः "पवमानः पूयमानः "अचिक्रदत् शब्दं करोति । कथंभूतः सन् ।
 "गव्युः अस्माकं गा इच्छन् 'हिरण्ययुः धनमिच्छन्
 "इन्दुः दीप्तः सन् "सत्राजित् महतः शत्रोरसुरादेर्जेता “अस्तृतः स्वयमन्यैरहिंस्यश्च सन् ॥


एष सूर्येण हासते पवमानो अधि द्यवि ।
पवित्रे मत्सरो मदः ॥५॥

“एषः "पवमानः पूयमानः सोमः "सूर्येण देवेन “अधि “द्यवि द्युलोकेऽन्तरिक्षे "पवित्रे “हासते परित्यज्यते ।
 "मत्सरः मदकरः “मदः सोमः । यद्यप्यध्वर्युहस्तादृशापवित्रे परित्यज्यते सोमस्तथाप्यन्तरिक्षे सूर्येण पवित्रे
त्यज्यत इति भावना वीर्यवत्त्वाय । सत्स्वप्यन्यदेवेषु सोमस्रावणे सूर्यस्य कः प्रसङ्ग इति न वाच्यं सूर्यरश्मिभिरेव सोमस्याप्यायनात् ॥

एष शुष्म्यसिष्यददन्तरिक्षे वृषा हरिः ।
पुनान इन्दुरिन्द्रमा ॥६॥

“एष "शुष्मी बलवान् सोमः "अन्तरिक्षे दशापवित्रे “असिष्यदत् स्यन्दते । कीदृश एषः ।
"वृषा वर्षकः "हरिः हरितवर्णः "पुनानः पूयमानः
“इन्दुः दीप्तश्चैव "इन्द्रमा इन्द्रं च अभिगच्छतीति शेषः । आ इति चार्थे ॥

9.027.01 This seer, the purifying (Soma), lauded by us, passes through the filter, driving away foes.
9.027.02 This invigorating heaven-conquering Soma is poured upon the filter for Indra and Va_yu.
9.027.03 This Soma, the showerer (of benefits), the summit of heaven, the all-knowing, being expressed is brought by the priests into the wooden vessels. [Into the wooden vessels: vanes.u = desirable; or, 'wooden' vessels, vanani_yes.u vanasam.bhu_ta druma vika_res.u va_ pa_tres.u].
9.027.04 This Indu resounds as it drops, yearning to give us cattle and gold, the conqueror of foes, the irresistible. 
9.027.05 This pure-flowing exhilarating Soma is abandoned by the sun in the filter, the sky. [The implication is that the sun seems to perform on a grand scale the same office of the diffusing Soma which the priests performed on a small scale in the filter, which is metaphorically called the sky. ha_sate = parityajyate; a rendering: this exhilarating Soma, as it drops on the filter, rises with the sun into the heavens].
9.027.06 This powerful and purifying showerer (of benefits), the green-tinted Indu, flows through the firmament to Indra. [antariks.e = the filter, i.e. the firmament].

ऋग्वेदः - मण्डल ९
सूक्तं ९.२८
प्रियमेध आङ्गिरसः।दे. पवमानः सोमः। गायत्री।


एष वाजी हितो नृभिर्विश्वविन्मनसस्पतिः ।
अव्यो वारं वि धावति ॥१॥


“एषः सोमः “वाजी गमनशीलः “हितः अध्वर्युणा पात्रे निहितः "विश्ववित् सर्वज्ञः "मनसः स्तोत्रस्य “पतिः स्वामी । अथवा सोमस्य मनोभिमानित्वात् मनसः स्वामित्वं चन्द्रमा मनो भूत्वा हृदयं प्राविशत्' ( ऐ. आ. २.४.२) इति श्रुतेः । तादृशोऽसौ “अव्यो “वारम् अवेर्वालं दशापवित्रं “वि “धावति विविधं गच्छति ॥


एष पवित्रे अक्षरत्सोमो देवेभ्यः सुतः ।
विश्वा धामान्याविशन् ॥२॥


“एषः “सोमः "देवेभ्यः देवार्थं "सुतः अभिषुतः सन् "पवित्रे “अक्षरत् स्रवति । “विश्वा सर्वाणि “धामानि देवशरीराणि "आविशन् प्रविशन् । प्रवेष्टुमित्यर्थः ।।



एष देवः शुभायतेऽधि योनावमर्त्यः ।
वृत्रहा देववीतमः ॥३॥


“एषः सोमः “देवः “शुभायते शोभते । कुन्न । “अधि “योनौ स्वीये स्थाने । कीदृश एषः । “अमर्त्यः अमरणधर्मा “वृत्रहा शत्रुहन्ता "देववीतमः अतिशयेन देवानां कामयिता ॥


एष वृषा कनिक्रदद्दशभिर्जामिभिर्यतः ।
अभि द्रोणानि धावति ॥४॥

“एष “वृषा वर्षिता कामानां “कनिक्रदत् शब्दं कुर्वन् "दशभिर्जामिभिः अङ्गुलीभिः “यतः धृतः “द्रोणानि द्रुममयाणि पात्राणि “अभि “धावति अभिगच्छति ॥



एष सूर्यमरोचयत्पवमानो विचर्षणिः ।
विश्वा धामानि विश्ववित् ॥५॥


“एषः सोमः “सूर्यमरोचयत् रोचयति स्वरसेन । "पवमानः पूयमानः “विचर्षणिः सर्वस्य द्रष्टा “विश्ववित् सर्ववित् । न केवलं सूर्यं किंतु "विश्वा सर्वाणि “धामानि तेजःस्थानानि रोचयति ॥


एष शुष्म्यदाभ्यः सोमः पुनानो अर्षति ।
देवावीरघशंसहा ॥६॥


“एषः “सोमः “शुष्मी बलवान् “अदाभ्यः अदम्भनीयः “पुनानः पूयमानः “अर्षति गच्छति । “देवावीः देवानामविता “अघशंसहा । अघान् शंसन्तीत्यघशंसाः । तेषां हन्ता ॥ 

9.028.01 This swift-flowing (Soma) placed (in the vessels) by the priests, all-knowing, the lord of praise, has to the woollen (filter).
9.028.02 This (Soma), effused for the gods, flows into the filter, penetrating all the (divine) forms.
9.028.03 This divine immortal (Soma) is brilliant in his own place, the slayer of enemies, the most devoted to the gods.
9.028.04 This showerer (of desire), expressed by the ten fingers, has uttered a sound ot the pitchers.
9.028.05 This purified, all-contemplating, all-knowing (Soma) gives radiance to the sun and all the spheres (of light).
9.028.06 This powerful invincible purifying Soma proceeds the protector of the gods, the destroyer of the wicked.

ऋग्वेदः - मण्डल ९
सूक्तं ९.२९
नृमेध आङ्गिरसः।दे. पवमानः सोमः। गायत्री।

प्रास्य धारा अक्षरन्वृष्णः सुतस्यौजसा ।
देवाँ अनु प्रभूषतः ॥१॥

“अस्य सोमस्य "वृष्णः वर्षकस्य "सुतस्य अभिषुतस्य "देवाननु प्रभूषतः प्रभवितुमिच्छतः “ओजसा स्ववीर्येण “धाराः “प्र “अक्षरन् प्रकर्षेण क्षरन्ति ।


सप्तिं मृजन्ति वेधसो गृणन्तः कारवो गिरा ।
ज्योतिर्जज्ञानमुक्थ्यम् ॥२॥

“सप्तिम् अश्वस्थानीयं सर्पणस्वभावं वा सोमं “मृजन्ति शोधयन्ति । के। “गृणन्तः स्तुवन्तः “वेधसः विधातारः “कारवः कर्मकतारोऽध्वर्य्वादयः “गिरा स्तुत्या साधनेन । कीदृशं सप्तिम् । “ज्योतिः दीप्यमानं सोमं "जज्ञानं जायमानम् । प्रवृद्धमित्यर्थः । अथवा ज्योतिर्जायमानम् ‘अयं वै ज्योतिर्यत् सोमः'इति श्रुतेः । “उक्थ्यं स्तुत्यम् ॥


सुषहा सोम तानि ते पुनानाय प्रभूवसो ।
वर्धा समुद्रमुक्थ्यम् ॥३॥


हे “सोम “प्रभूवसो प्रभूतधन “पुनानाय पूयमानस्य “ते तव “तानि तेजांसि “सुषहा शोभनाभिभावुकानि । यस्मादेवं तस्मात् “समुद्रं समुद्रसदृशं द्रोणकलशम् “उक्थ्यं स्तुत्यं तं "वर्ध वर्धय । पूरय रसेन ॥


विश्वा वसूनि संजयन्पवस्व सोम धारया ।
इनु द्वेषांसि सध्र्यक् ॥४॥


हे “सोम "विश्वा सर्वाणि “वसूनि अस्मदर्थं “संजयन् “पवस्व क्षर “धारया । “द्वेषांसि द्वेष्याणि सर्वाणि “सध्र्यक् सहैव “इनु प्रेरय दूरदेशं प्रति ॥


रक्षा सु नो अररुषः स्वनात्समस्य कस्य चित् ।
निदो यत्र मुमुच्महे ॥५॥

हे सोम “नः अस्मान् “सु सुष्ठु “रक्ष पालय । कस्मात् । “अररुषः अदातुः “स्वनात् शब्दात् निन्दारूपात्। किमेकस्यादानशीलस्य । न । “समस्य सर्वस्य योऽस्ति तस्य सर्वस्य कस्यचित् । कंचनामुञ्चन्नित्यर्थः । न केवलमदातुः स्वनात् । किं तर्हि । “कस्य “चित् कस्यापि “निदः निन्दकाद्रक्ष । “यत्र “मुमुच्महे यस्मिन्रक्षणे सति वयं मुक्ता भवेम तेन रक्षणेन रक्षेति ॥


एन्दो पार्थिवं रयिं दिव्यं पवस्व धारया ।
द्युमन्तं शुष्ममा भर ॥६॥

हे “इन्दो क्लिद्यमान सोम त्वं “धारया “आ “पवस्व सर्वतः क्षर । “पार्थिवं दिव्यं च “रयिं धनं “द्युमन्तं दीप्तिमन्तं “शुष्मं बलं च “आ “भर आहरास्मभ्यम् ॥ 

9.029.01 The streams of this effused (Soma), the showerer (of benefits), flow forth, as it seeks to surpass the gods in strength. [Seeks to surpass: anuprabhu_s.atah, considered an irregular desiderative particle].
9.029.02 The pious performers (of holy rites), the utterers of praise, purify by their laudation the radiant courser (the Soma) as soon as generated and meriting to be hymned.
9.029.03 Soma, distributor of abundant wealth, those radiances of yours when you are purified are over-powering; fill therefore the praiseworthy ocean-like (pitcher).
9.029.04 Flow, Soma, in a full stream, conquering for us all treasures-- drive our enemies away together.
9.029.05 Preserve us from the reproach of every one who makes offerings, who utters a blame-- that we may be free.
9.029.06 Indu, pour to us in a stream terrestrial and celestial riches, bring brilliant vigour.

ऋग्वेदः - मण्डल ९
सूक्तं ९.३०
बिन्दुराङ्गिरसः

दे. पवमानः सोमः। गायत्री

प्र धारा अस्य शुष्मिणो वृथा पवित्रे अक्षरन् ।
पुनानो वाचमिष्यति ॥१॥

“शुष्मिणः बलवतः “अस्य सोमस्य “धाराः “पवित्रे दशापवित्रे “वृथा अप्रयत्नेन “अक्षरन् स्रवन्ति ।
 तदानीं "पुनानः पूयमानः सोमः “वाचं स्तुतिं स्वीयं ध्वनिं वा “इष्यति प्रेरयति ।

इन्दुर्हियानः सोतृभिर्मृज्यमानः कनिक्रदत् ।
इयर्ति वग्नुमिन्द्रियम् ॥२॥

अयम् “इन्दुः दीप्तः सोमः “हियानः प्रेर्यमाणः व्याप्रियमाणः । कैः ।
“सोतृभिः ऋत्विग्भिः । पश्चाद्दशापवित्रे "मृज्यमानः शोध्यमानः “कनिक्रदत् शब्दं कुर्वन् “इन्द्रियम् इन्द्रस्य संबन्धिनमिन्द्रियमपि ----- करं “वग्नुं शब्दम् “इयर्ति प्रेरयति ग्रहणसमये ॥


आ नः शुष्मं नृषाह्यं वीरवन्तं पुरुस्पृहम् ।
पवस्व सोम धारया ॥३॥

हे “सोम त्वं “धारया “आ “पवस्व । किम्। “शुष्मं बलम् । कीदृशम् ।
“नृषाह्यं नृणामस्मद्विरोधिनामभिभावुकं “वीरवन्तं पुत्रोपेतं “पुरुस्पृहं बहुभिः स्पृहणीयं शुष्ममा पवस्व । एतस्य लाभाय पवस्वेत्यर्थः । रसस्रावे सति होमद्वारा तत्सिद्धे शुष्मं पवस्वेत्युपचर्यते ॥


प्र सोमो अति धारया पवमानो असिष्यदत् ।
अभि द्रोणान्यासदम् ॥४॥

अयं “पवमानः “सोमः “धारया “अति अतिक्रम्य देशापवित्रं “प्र “असिष्यदत् प्रस्यन्दते ।
 किमर्थम् । “द्रोणानि द्रोणकलशादीनि “आसदम् आसादनाय ॥


अप्सु त्वा मधुमत्तमं हरिं हिन्वन्त्यद्रिभिः ।
इन्दविन्द्राय पीतये ॥५॥

हे “इन्दो सोम “अप्सु वसतीवरीषूदकेषु “मधुमत्तमम् अतिशयेन मधुमन्तं “हरिं हरितवर्णं
 “त्वा त्वाम् “अद्रिभिः अभिषवग्रावभिः “हिन्वन्ति प्रेरयन्ति ।
 किमर्थम् । “इन्द्राय इन्द्रस्य “पीतये पानाय ॥


सुनोता मधुमत्तमं सोममिन्द्राय वज्रिणे ।
चारुं शर्धाय मत्सरम् ॥६॥

हे ऋत्विजः यूयं “मधुमत्तमं मधुररसोपेतं “सोममिन्द्राय “वज्रिणे वज्रयुक्ताय “सुनोत सुनुत । पुनः कीदृशम् ।
 “चारुं चरणीयं “मत्सरं मदकरं "शर्धाय अस्माकं बलायेन्द्रस्य पानाथ च सोमं सुनुतेति बूते यजमानः स्वीयान् ॥

9.030.01 The streams of this strong Soma flow without effort into the filter; purified, he excites praise. [or, he utters a sound].
9.030.02 This Indu, urged by the priests, and purified with a sound in the filter, utters loud voice (in the oblation). 
9.030.03 Pour upon us in a stream, Soma, foe-subduing strength, associated with male offspring and desired by many.
9.030.04 This purified Soma flows out in a stream to take its place in the pitchers.
9.030.05 Indu, they press you forth by the stories, most sweet-flavoured and green-tinted, into the waters for Indra to drink.
9.030.06 (Priests) express the most sweet-flavoured beautiful exhilarating Soma for Indra the thunderer, and for our invigoration.

ऋग्वेदः - मण्डल ९
सूक्तं ९.३१
गोतमो राहूगणः

दे. पवमानः सोमः। गायत्री

प्र सोमासः स्वाध्यः पवमानासो अक्रमुः ।
रयिं कृण्वन्ति चेतनम् ॥१॥

“प्र “अक्रमुः प्रगच्छन्ति कलशं प्रति । के। “सोमासः सोमाः । कीदृशाः।
“स्वाध्यः सुध्यानाः सुकर्माणो वा "पवमानासः पूयमानाः ।
ते च ”चेतनं प्रज्ञापनं “रयिं धनं “कृण्वन्ति कुर्वन्त्यस्माकम् ॥

दिवस्पृथिव्या अधि भवेन्दो द्युम्नवर्धनः ।
भवा वाजानां पतिः ॥२॥

हे "इन्दो "वाजानाम् अन्नानां “पतिः स्वामी त्वं “दिवः द्युलोकस्य “पृथिव्याः
भूलोकस्य “द्युम्नवर्धनः द्योतमानस्य हिरण्यादिलक्षणधनस्य वर्धयिता “भव ।
अस्माकं लोकद्वये यत् द्युम्नमस्ति तस्य वर्धयिता भवास्मभ्यमित्यर्थः ॥


तुभ्यं वाता अभिप्रियस्तुभ्यमर्षन्ति सिन्धवः ।
सोम वर्धन्ति ते महः ॥३॥

हे “सोम “तुभ्यं त्वदर्थं “वाताः वायवः “अभिप्रियः अभितर्पयितारो भवन्ति ।
 तथा “सिन्धवः स्यन्दमाना नद्यः “तुभ्यमर्षन्ति गच्छन्ति । अभिषूयमाणस्य तवाप्यायनायैवं कुर्वन्तीत्यर्थः ।
त उभयेऽमी “ते तव "महः महत्त्वं “वर्धन्ति वर्धयन्ति ।।


आ प्यायस्व समेतु ते विश्वतः सोम वृष्ण्यम् ।
भवा वाजस्य संगथे ॥४॥

हे “सोम त्वं वायुभिरद्भिश्च “आ “प्यायस्व प्रवृद्धो भव ।
 “ते त्वां “विश्वतः “वृष्ण्यं वर्षयोग्यं , बलं “समेतु संगच्छताम् ।
 “संगथे संग्रामे “वाजस्य अन्नस्य प्रापकः “भव ॥


तुभ्यं गावो घृतं पयो बभ्रो दुदुह्रे अक्षितम् ।
वर्षिष्ठे अधि सानवि ॥५॥

हे “बभ्रो बभ्रुवर्ण सोम "तुभ्यं त्वदर्थं “गावो “घृतं “पयः च “अक्षितम् अक्षीणं “दुदुहे दुहते ।
“वर्षिष्ठे प्रवृद्धे “अधि “सानवि समुच्छ्रिते प्रदेशे स्थिताय तुभ्यम् ॥


स्वायुधस्य ते सतो भुवनस्य पते वयम् ।
इन्दो सखित्वमुश्मसि ॥६॥

हे “भुवनस्य भूतजातस्य “पते स्वामिन् पालक सोम। सोमस्य जगदाप्यायिकत्वेन तत्स्वामित्वम् ।
 हे "इन्दो सोम “वयम् अनुष्ठातारः “स्वायुधस्य “ते तव “सतः “सखित्वमुश्मसि कामयामहे ॥

9.031.01 The benevolent juices being purified flow forth, they confer intellectual wealth.
9.031.02 Indu, be (to us) the augmenter of the riches of heaven and earth, be the lord of food. [Augmenter: cetanam = prajn~a_panam].
9.031.03 For you, Soma, the winds are gracious, for you the rivers flow, they magnify your greatness.
9.031.04 Be well nourished, Soma; may vigour come to you from all sides, be (the giver) of strength in battle.
9.031.05 Tawny-tinted (Soma), the cows yield butter and milk inexhaustible for you (set) on the highest summit.
9.031.06 Indu, lord of beings, we desire the friendship of you, the well-armed.

ऋग्वेदः - मण्डल ९
सूक्तं ९.३२
श्यावाश्व आत्रेयः। दे. पवमानः सोमः। गायत्री।

प्र सोमासो मदच्युतः श्रवसे नो मघोनः ।
सुता विदथे अक्रमुः ॥१॥

“सोमासः सोमाः “मदच्युतः मदस्राविणः “सुताः अभिषुताः सन्तः “विदथे यज्ञे “मघोनः हविष्मतो मम “श्रवसे अन्नाय कीर्तये वा “प्र “अक्रमुः प्रगच्छन्ति ।।


आदीं त्रितस्य योषणो हरिं हिन्वन्त्यद्रिभिः ।
इन्दुमिन्द्राय पीतये ॥२॥

“आत् अपि च “ईम् एनं “हरिं हरितवर्णं सोमं “त्रितस्य ऋषेः “योषणः अङ्गुलयः “अद्रिभिः ग्रावभिः “हिन्वन्ति प्रेरयन्ति । किमर्थम् । “इन्दुं दीप्तं सोमम् “इन्द्राय इन्द्रस्य “पीतये पानाय ॥


आदीं हंसो यथा गणं विश्वस्यावीवशन्मतिम् ।
अत्यो न गोभिरज्यते ॥३॥

“आत् अपि च “ईम् अयं सोमः “हंसो “यथा “गणं जनसंघं स्वगतिविशेषेण स्वनेन वा प्रविशति तद्वत् “विश्वस्य सर्वस्य स्तोतृजनस्य “मतिं स्तुतिं बुद्धिं वा “अवीवशत् वशं नयति । स च सोमः “अत्यो “न अश्व इव “गोभिः गव्यैरुदकैर्वा “अज्यते सिच्यते स्निग्धीक्रियते ॥


उभे सोमावचाकशन्मृगो न तक्तो अर्षसि ।
सीदन्नृतस्य योनिमा ॥४॥

हे “सोम “उभे द्यावापृथिव्यौ “अवचाकशत् । पश्यतिकर्मेदम् । पश्यन् “मृगो “न मृग इव “तक्तः गव्यैः पयअदिभिर्मिश्रितः सन् । दध्ना तनक्ति ' (तै. सं. २.५.३.५) इत्यादौ तथा दृष्टत्वात् । “अर्षसि गच्छसि च। किं कुर्वन् । “ऋतस्य यज्ञस्य “योनिं स्थानम् “आ “सीदन् आश्रयन्। यज्ञसाधनाय गच्छसीत्यर्थः ॥


अभि गावो अनूषत योषा जारमिव प्रियम् ।
अगन्नाजिं यथा हितम् ॥५॥

हे सोम त्वा “गावः शब्दाः “अभि “अनूषत अभिष्टुवन्ति । “योषा “प्रिय “जारमिव । सा यथा तं स्तौति तद्वत् । स सोमः "आजिं गन्तव्यं “हितं मित्रमिव तं “यथा अन्यः “अगन् स्वहिताय गच्छति तद्वत् । अथवा हितं धनप्रापकत्वेन हितकरम् आजिं शूर इव । अयमागच्छति पात्रम् ॥



अस्मे धेहि द्युमद्यशो मघवद्भ्यश्च मह्यं च ।
सनिं मेधामुत श्रवः ॥६॥

हे सोम “अस्मे अस्मभ्यं “द्युमत् दीप्तिमत् “यशः अन्नं “धेहि देहि । कीदृशेभ्योऽस्मभ्यम् । “मघवद्भ्यश्च हविर्लक्षणान्नवद्भ्यश्च “मह्यं “च स्तुतिकर्त्रे च । अथवा मह्यमस्मभ्यमित्यर्थः । अस्मे मघवद्भ्यश्च मह्यं चेति तेषामेवाशंसनाभेदादुभयत्र चशब्दो युक्तः । किंच "सनिं धनं “मेधां प्रज्ञाम् “उत अपि च “श्रवः कीर्तिं च धेहि ॥

9.032.01 The Soma juices, diffusing exhilaration, rush forth effused at the sacrifice for the sustenance of us abounding in oblations.
9.032.02 And the fingers of Trita express this green-tinted Soma with the stones for Indra's drinking.
9.032.03 And like a swan entering its own flock, the Soma excites the praise of all, like a horse, it is bathed with milk. [As a swan, by its peculiar gait or voice excites the admiration of its flock as it enters it].
9.032.04 Beholding both worlds, Soma, you hurry, swift as a deer, taking your seat on the place of sacrifice. [Swift: taktah; i.e. mixed with milk; in RV 9.069.15, this is explained as swift].
9.032.05 Praises commend you (Soma) as a woman praises a dear lover; (you hasten to the vessel) as a hero hastens to the welcome contest.
9.032.06 Give to us who are affluent (in oblations), and also to me, brilliant fame, wealth, intelligence, and glory. [Glory: s'ravas = ki_rti, glory; it may also mean, anna, food].

ऋग्वेदः - मण्डल ९
सूक्तं ९.३३
त्रित आप्त्यः 

दे. पवमानः सोमः। गायत्री

प्र सोमासो विपश्चितोऽपां न यन्त्यूर्मयः ।
वनानि महिषा इव ॥१॥

“विपश्चितः मेधाविनः “सोमासः सोमाः “प्र "यन्ति प्रगच्छन्ति पात्राणि प्रति । किमिव ।
“अपाम् “ऊर्मयः “न । ते यथा संततमुद्भवन्ति तद्वत् ।
बाहुल्येऽयं दृष्टान्तो दर्शितो गमने दृष्टान्तरमभिधीयते ।
“वनानि “महिषाः प्रवृद्धा मृगाः “इव ।
अथवा स्वाश्रयात् प्रपतने प्रथमो दृष्टान्तो द्वितीयस्तु दशापवित्रादधःप्रवेशे ॥

अभि द्रोणानि बभ्रवः शुक्रा ऋतस्य धारया ।
वाजं गोमन्तमक्षरन् ॥२॥

“अभि क्षरन्तीति शेषः । उपसर्गश्रुतेरुचितक्रियाध्याहारः। “द्रोणानि द्रोणकलशान् प्रति ।
यद्यपि द्रोणकलश एक एव तथापि तत्प्राधान्यादितरेऽपि पात्रा द्रोणा इत्युच्यन्ते ।
अथवैकस्मिन्नेव पूजार्थं बहुवचनम् । के। “बभ्रवः बभ्रुवर्णाः सोमाः “शुक्राः दीप्ताः।
केन प्रकारेण । “ऋतस्य अमृतस्य “धारया धाराकारेण। किंच “वाजम् अन्नं “गोमन्तं बहुगोयुक्तम् “अक्षरन् क्षरन्ति ।
 अथवैकमेव वाक्यम् । उक्तविधाः सोमा द्रोणान् प्रत्यक्षरन् धारया। किं कुर्वन्तः । गोमन्तं वाजं प्रयच्छन्त इत्यर्थः ॥

सुता इन्द्राय वायवे वरुणाय मरुद्भ्यः ।
सोमा अर्षन्ति विष्णवे ॥३॥

"सुताः अभिषुताः "सोमाः “इन्द्राय इन्द्रार्थं “वायवे च "वरुणाय च "मरुद्भ्यः च “विष्णवे चैषामर्थम् “अर्षन्ति गच्छन्ति ॥


तिस्रो वाच उदीरते गावो मिमन्ति धेनवः ।
हरिरेति कनिक्रदत् ॥४॥

“तिस्रो वाचः । ऋगादिभेदेन त्रिविधा स्तुतिः । उदीरते प्रोद्गमयन्त्यृत्विजः ।
“धेनवः आशिरेण प्रीणयित्र्यः “गावः “मिमन्ति शब्दयन्ति दोहार्थम् ।
 “हरिः हरितवर्णश्च सोमः "कनिक्रदत् शब्दं कुर्वन् “एति गच्छति कलशम् ॥


अभि ब्रह्मीरनूषत यह्वीरृतस्य मातरः ।
मर्मृज्यन्ते दिवः शिशुम् ॥५॥

“ब्रह्मीः ब्राह्मणप्रेरिताः "यह्वीः महत्यः । यह्वीरिति महन्नाम।
 "ऋतस्य यज्ञस्य “मातरः निर्मात्र्यः स्तुतयः "अभि "अनूषत स्तुवन्ति ।
किम् । “दिवः द्युदेवतायाः शिशुं शिशुस्थानीयं सोमम् । तमेव “मर्मृज्यन्ते मृजन्ति ।
‘तृतीयस्यामितो दिवि सोम आसीत् ' ( तै. सं. ३. ५. ७. १ ) इत्यादिश्रुतेर्द्युशिशुत्वं तस्य ॥


रायः समुद्राँश्चतुरोऽस्मभ्यं सोम विश्वतः ।
आ पवस्व सहस्रिणः ॥६॥

"रायः धनस्य संबन्धिनः “चतुरः “समुद्रान् । धनपूर्णानित्यर्थः । तादृशान् समुद्रान् "अस्मभ्यम् अर्थाय हे “सोम विश्वतः सर्वतः “आ "पवस्व । तथा “सहस्रिणः अपरिमितान् कामान् आ पवस्व आयच्छ। चतुःसमुद्रस्थधनविशेषप्राप्तेः तन्मध्यगतभूमिस्वामित्वमन्तरेणासंभवाच्चतुःसमुद्रमुद्रितभूमण्डलस्वामित्वमेवाशास्ते यजमानः ॥

9.033.01 The intelligent Soma juices rush along like waves of water, like buffaloes to the forests.

9.033.02 The tawny-coloured bright juices hasten to the pitchers with a stream of ambrosia, they pour forth sustenance accompanied with cattle.
9.033.03 The libations effused proceed to Indra, to Va_yu, to Varun.a, to the Maruts, to Vis.n.u
9.033.04 The priests utter the three sacred texts, the kine low (on being milked),, the green-tinted Soma goes sounding (to the vessels). [The three sacred texts: the three vedas].
9.033.05 The many sacred hymns, the mothers of the sacrifice, give praise, they purify (the Soma), the infant of heaven. [brahmi_h = uttered by the bra_hman.as].
9.033.06 From every side, Soma, pour upon us four oceans of riches, grant us thousands (of desires). [Sa_maveda has mis'vatah for vis'vatah].


ऋग्वेदः - मण्डल ९
सूक्तं ९.३४
त्रित आप्त्यः।दे. पवमानः सोमः। गायत्री।


प्र सुवानो धारया तनेन्दुर्हिन्वानो अर्षति ।
रुजद्दृळ्हा व्योजसा ॥१॥

इन्दुः सोमः "सुवानः सूयमानः “हिन्वानः अध्वर्युणा प्रेर्यमाणः “धारया “तना पवित्रं “प्र “अर्षति गच्छति । अथ प्रत्यक्षेणोच्यते । “दृळ्हा दृढान्यपि शत्रुपुराणि "ओजसा बलेन “वि रुजत् विरुजति विश्लथयति ॥


सुत इन्द्राय वायवे वरुणाय मरुद्भ्यः ।
सोमो अर्षति विष्णवे ॥२॥

अयं “सुतः अभिषुतः “सोमः इन्द्राद्यर्थम् अर्षति गच्छति ॥


वृषाणं वृषभिर्यतं सुन्वन्ति सोममद्रिभिः ।
दुहन्ति शक्मना पयः ॥३॥

“वृषाणं रससेक्तारं “यतं नियतं “सोमं “वृषभिः रसस्य वर्षकैः “अद्रिभिः ग्रावभिः "सुन्वन्ति। “शक्मना कर्मणा "दुहन्ति अध्वर्य्वादयः “पयः सोमरसम् । सोमं पयो दुहन्तीति द्विकर्मकोऽयम् ॥


भुवत्त्रितस्य मर्ज्यो भुवदिन्द्राय मत्सरः ।
सं रूपैरज्यते हरिः ॥४॥

“त्रितस्य अपां पुत्रस्य सूक्तद्रष्टुर्ऋषेः सोऽयं मत्सरः मदकरः सोमः "मर्ज्यो “भुवत् शुद्धो भवति । तस्य यागार्थं शेषपानार्थं च । तथा “इन्द्राय इन्द्रपानाय मर्ज्यः भुवत् । “रूपैः रूपकैश्च क्षीरादिभिः “हरिः हरितवर्णः सोमः “सम् "अज्यते ॥


अभीमृतस्य विष्टपं दुहते पृश्निमातरः ।
चारु प्रियतमं हविः ॥५॥

“ईम् एनं सोमम् “ऋतस्य “विष्टपं स्थानम् । यज्ञाश्रयमित्यर्थः । तादृशं “पृश्निमातरः मरुतः “अभि “दुहते। किम् । “प्रियतमम् इन्द्रादीनां “हविः होमसाधनं “चारु मनोहरम्। मरुत्प्रेरितवृष्ट्या सोमवृद्धेस्तद्दोग्धृत्वम् ।।


समेनमह्रुता इमा गिरो अर्षन्ति सस्रुतः ।
धेनूर्वाश्रो अवीवशत् ॥६॥

“सम् अर्षन्ति संगच्छन्ते “एनं सोमम् अह्रुताः अकुटिलाः “गिरः अस्मदीयाः स्तुतयः “सस्रुतः सरन्त्यः । ताश्च “धेनूः प्रीणयित्रीः स्तुतीः "वाश्रः शब्दयन् “अवीवशत् कामयते सोमः ॥

9.034.01 Indu, when effused and expressed (by the priests) flows in a stream to the filter, breaking down strong places by its strength. [To the filter: tana_ pavitram (cf. RV. 9.016.08); it may also mean, 'continuously'].
9.034.02 The Soma effused proceeds to Indra, to Va_yu, to Varun.a, to Maruts, to Vis.n.u.
9.034.03 They press the crushed Soma as it pours forth its juice between the effusing stones, they milk out its juice by their acts.
9.034.04 The exhilarating Soma is to be cleansed (for the sacrifice) of Trita, and for the drinking of Indra; the green-tinted (juice) is mixed with the ingredients. [i.e., mixed with curds and milk].
9.034.05 The son fof Pr.s'ni milk this Soma at the place of sacrifice, the most beautiful and grateful oblation (to the gods).
9.034.06 Our sincere smooth-flowing praises approach him, and he, uttering a sound, welcomes the kine. [i.e., 'our gratifying praises', pr.n.ayitrih stutih].

ऋग्वेदः - मण्डल ९
सूक्तं ९.३५
प्रभूवसुराङ्गिरसः।दे. पवमानः सोमः। गायत्री।

आ नः पवस्व धारया पवमान रयिं पृथुम् ।
यया ज्योतिर्विदासि नः ॥१॥

हे “पवमान सोम त्वं “धारया “नः अस्माकम् “आ “पवस्व सर्वतः क्षर। किम् । “रयिं धनं “पृथु विस्तीर्णम् । “यया धारया “ज्योतिः द्योतमानं यज्ञं स्वर्गं वा “विदासि लम्भयसि “नः अस्माकम् ॥


इन्दो समुद्रमीङ्खय पवस्व विश्वमेजय ।
रायो धर्ता न ओजसा ॥२॥

हे “इन्दो सोम हे “समुद्रमीङ्खय । समुद्रमित्युदकनाम । ईङ्खयतिर्गतिकर्मा । उदकप्रेरक तथा हे “विश्वमेजय विश्वस्य सर्वस्यास्मच्छत्रोः कम्पयितः सोम त्वम् “ओजसा त्वदीयेन बलेन “नः अस्मभ्यं “रायः धनस्य “धर्ता धारकः “पवस्व । भवेत्यर्थः । अत्र यद्यप्युदकप्रेरणसर्वशत्रुकम्पने संबोधनान्तर्गतत्वादुद्देश्यगते तथापि यजमानस्यापेक्षिते इति रायो धर्तृत्ववदाशास्ये अधिगन्तव्ये ॥


त्वया वीरेण वीरवोऽभि ष्याम पृतन्यतः ।
क्षरा णो अभि वार्यम् ॥३॥

हे “वीरवः वीरवन् सोम “वीरेण “त्वया साधनेन “पृतन्यतः संग्राममिच्छतः शत्रून् “अभि “ष्याम अभिभवेम । अतः “नः अस्माकं “वार्यं वरणीयं धनम् “अभि “क्षर । अभिगमयेत्यर्थः । अथवा वरणीयं सोमाख्यं धनं क्षर पवस्व ॥



प्र वाजमिन्दुरिष्यति सिषासन्वाजसा ऋषिः ।
व्रता विदान आयुधा ॥४॥

सोमः “वाजम् अन्नम् “इष्यति प्रेरयति यजमानेभ्यः । किं कुर्वन् । “सिषासन् यजमानान् संभक्तुमिच्छन् । ईदृशः “इन्दुः “वाजसाः अन्नस्य दाता “ऋषिः सर्वस्य द्रष्टा “व्रता कर्माणि आयुधानि च "विदानः जानन् ।


तं गीर्भिर्वाचमीङ्खयं पुनानं वासयामसि ।
सोमं जनस्य गोपतिम् ॥५॥

“तं सोमं “गीर्भिः स्तुतिवाग्भिः स्तौमीति शेषः । किंच “वाचमीङ्खयं वाचः प्रेरयितारं “पुनानं पूयमानं तं “सोमं “वासयामसि वासयामः श्रयणद्रव्यैः । कीदृशं सोमम् । “जनस्य “गोपतिं गवां पालकम् । यद्वा । एकमेव वाक्यम् । उक्तविशेषणविशिष्टं सोमं स्तुतिभिर्वासयाम इति । माधवस्तु वाचमिति पृथक्पदं तिङन्तं कृत्वा वाक्यद्वयं चकार ॥


विश्वो यस्य व्रते जनो दाधार धर्मणस्पतेः ।
पुनानस्य प्रभूवसोः ॥६॥

“विश्वः सर्वः “जनः मनुष्यो यजमानः “यस्य सोमस्य “व्रते कर्मणि “दाधार धारयति मन इति शेषः । कीदृशस्य । “धर्मणः कर्मणः “पतेः पालकस्य “पुनानस्य पूयमानस्य “प्रभूवसोः प्रभूतधनस्य ॥ 

9.035.01 Pour upon us, purifier, ample riches with that stream wherewith you bestow upon us light. [yaya_ jyotir vida_si nah: jyotis = sacrifice, or heaven].
9.035.02 Indu, impeller of the waters, confounder of all (our foes), flow forth by your power as the supporter of wealth to us.
9.035.03 With you, heroic (Soma), as our hero, may we overcome our enemies, pour upon the desirable (riches).
9.035.04 Indu, the bestower of food, the seer sends food to the worshipper, showing his favour, acquainted with sacred rites and arms.
9.035.05 We clothe with praise that Soma who is the inspirer of praise, the purified, the shepherd of men. ['Ma_dhava, however, takes va_cam as a separate word and as a verb, and divides the line into two sentences'. He would explain it, 'I address him with praises; we cover (with milk, etc.) Soma who is the purified inspirer, the cow-keeper of men'. The shepherd of men: lit., the herdsman of men, janasya gopatim].
9.035.06 On the worship of whom all men fix their thoughts-- the lord of pious acts, the purified, the possessor of abundant wealth.

ऋग्वेदः - मण्डल ९
सूक्तं ९.३६
प्रभूवसुराङ्गिरसः।

दे. पवमानः सोमः। गायत्री।

असर्जि रथ्यो यथा पवित्रे चम्वोः सुतः ।
कार्ष्मन्वाजी न्यक्रमीत् ॥१॥

“रथ्यो “यथा रथसंबन्ध्यश्व इव स यथा विसृज्यते तद्वत् “चम्वोः अधिषवणफलकयोः “सुतः अभिषुतः सोमः "असर्जि सृष्टोऽभूत् "पवित्रे ।
 तथाभूतः “वाजी वेजनवान् सोमाख्योऽश्वः “कार्ष्मन् ।
कार्ष्म युद्धमितरेतरकर्षणात् । अत्र देवानामाकर्षणवति यज्ञाख्ये संग्रामे “न्यक्रमीत् नितरां क्रामति ॥

स वह्निः सोम जागृविः पवस्व देववीरति ।
अभि कोशं मधुश्चुतम् ॥२॥

हे “सोम “स “वह्निः वाहकः "जागृविः जागरूकः “देववीः देवकामस्त्वं मधुश्चुतं मधुस्रावि “कोशं दशापवित्रमतिक्रम्य
“अभि “पवस्व द्रोणकलशं प्रति क्षर ॥

स नो ज्योतींषि पूर्व्य पवमान वि रोचय ।
क्रत्वे दक्षाय नो हिनु ॥३॥

हे “पूर्व्य पुराण “पवमान सोम “नः अस्माकं “ज्योतींषि दिव्यानि स्थानानि “वि “रोचय प्रकाशय ।
किंच “क्रत्वे कर्मणे यागाय “दक्षाय बलाय च बलप्रदाय यागाय वा “नः अस्मान् “हिनु प्रेरय ॥

शुम्भमान ऋतायुभिर्मृज्यमानो गभस्त्योः ।
पवते वारे अव्यये ॥४॥

“ऋतायुभिः यज्ञकामैर्ऋत्विग्भिः “शुम्भमानः अलंक्रियमाणस्तेषामेव “गभस्त्योः हस्तयोः
 “मृज्यमानः सोमः “अव्यये अविमये “वारे वाले देशापवित्रे “पवते पूयते ॥

स विश्वा दाशुषे वसु सोमो दिव्यानि पार्थिवा ।
पवतामान्तरिक्ष्या ॥५॥

“सः अभिषूयमाणः “सोमः “दाशुषे हविर्दात्रे “विश्वा सर्वाणि “वसु वसूनि धनानि “पवतां प्रयच्छतु ।
 विश्वानीयुक्तस्य विवरणं शिष्टम् । “दिव्यानि दिवि भवानि “पार्थिवा पृथिवीसंबद्धानि
“अन्तरिक्ष्या अन्तरिक्षे भवानि च पवताम् ॥


आ दिवस्पृष्ठमश्वयुर्गव्ययुः सोम रोहसि ।
वीरयुः शवसस्पते ॥६॥

हे “सोम त्वं स्तोतॄणाम् “अश्वयुः अश्वमिच्छन् “गव्ययुः गा इच्छन् “वीरयुः पुत्रानिच्छन्
“दिवस्पृष्ठं द्युलोकम् “आ “रोहसि आहुतिद्वारा हे “शवसस्पते अन्नस्य पालक ॥ 

9.036.01 Pressed between the boards, (the Soma) has been let loose, like a chariot-horse, upon the straining-cloth-- the courser steps out on the field. [ka_rs.man = the god-attracting battlefield called a sacrifice, deva_na_m a_kars.anavati yajn~a_khye san:gra_me; alternative, 'the furrow drawn as the goal of a race'; or a piece of wood serving for a goal (cf. RV. 1.116.17)].
9.036.02 Soma, bearer (of oblation), vigilant, devoted to the gods, flow past the honey-dropping filter (into the vessel).
9.036.03 Ancient purifier, illume for us the luminaries (of heaven), animate us for strength-bestowing sacrifice.
9.036.04 Beautified by the ministers of the rite, expressed by their hands, (the Soma) flows through the woollen filter.
9.036.05 May that Soma bestow upon the donor (of the libation) all treasures, whether of heaven or earth or the firmament.
9.036.06 Soma, lord of food, you ascend to the summit of the sky, desirous of horses, kine, and male progeny.

ऋग्वेदः - मण्डल ९
सूक्तं ९.३७
रहूगण आङ्गिरसःदे. पवमानः सोमः। गायत्री।

स सुतः पीतये वृषा सोमः पवित्रे अर्षति ।
विघ्नन्रक्षांसि देवयुः ॥१॥

“सः “सोमः “पीतये इन्द्रादिपानाय “सुतः अभिषुतः “वृषा वर्षणः सन् "पवित्रे .

"अर्षति गच्छति । किं कुर्वन्। “रक्षांसि “विघ्नन्’ “देवयुः देवकामः स इत्यन्वयः ॥


स पवित्रे विचक्षणो हरिरर्षति धर्णसिः ।
अभि योनिं कनिक्रदत् ॥२॥

“सः “सोमः "विचक्षणः । पश्यतिकर्मैतत् ।

 सर्वस्य द्रष्टा “हरिः हरितवर्णः सोमः “धर्णसिः सर्वस्य धारकः 

“पवित्रे “अर्षति गच्छति । पश्चात् "कनिक्रदत् शब्दं कुर्वन् “योनिं स्थानं द्रोणकलशम् “अभि गच्छति ॥


स वाजी रोचना दिवः पवमानो वि धावति ।
रक्षोहा वारमव्ययम् ॥३॥

“स “वाजी वेजनवानश्वस्थानीयः “दिवः स्वर्गस्य “रोचना रोचकः 

“पवमानः पूयमानः “वि “धावति । कीदृशः ।

 “रक्षोहा रक्षोहन्ता “अव्ययं “वारं दशापवित्रमतीत्य च धावति ।।


स त्रितस्याधि सानवि पवमानो अरोचयत् ।
जामिभिः सूर्यं सह ॥४॥

“सः सोमः “त्रितस्य महर्षेः “अधि “सानवि समुच्छ्रिते यज्ञे । अधीति सप्तम्यर्थानुवादी। “पवमानः पूयमानः "जामिभिः प्रवृद्धैर्बन्धुभूतैर्वा स्वतेजोभिः “सह सहितः सन् 'सूर्यम् “अरोचयत् प्रकाशितवान् ॥


स वृत्रहा वृषा सुतो वरिवोविददाभ्यः ।
सोमो वाजमिवासरत् ॥५॥

“स “वृत्रहा “वृषा वर्षकः “सुतः अभिषुतः “वरिवोवित् यष्टुर्धनस्य लम्भकः “अदाभ्यः अन्यैरदम्भनीयः “सोमः “वाजमिव संग्राममश्व इव "असरत् गच्छति कलशम् ॥


स देवः कविनेषितोऽभि द्रोणानि धावति ।
इन्दुरिन्द्राय मंहना ॥६॥

"सः सोमः “देवः “इन्दुः क्लिद्यमानः “कविना क्रान्तप्रज्ञेनाध्वर्युणा “इषितः प्रेरितः सन् “द्रोणानि द्रोणकलशान् “अभि “धावति अभिगच्छति । किमर्थम् । “इन्द्राय इन्द्रार्थम् । “मंहना महान् स इति समन्वयः ॥

9.037.01 Soma, the showerer (of benefits), when effused for the drinking (of the gods), rushes to the filter, destroying the ra_ks.as, devoted to the gods.
9.037.02 The all-beholding Soma, green-tinted, all-sustaining rush to the filter (and thence) crying aloud to the pitcher.
9.037.03 (Fleet as) a horse, the pure Soma, the illume of heaven, hastens, the destroyer of ra_ks.asas, past the woollen fleece. [The illume of heaven: rocana_ = rocakah; alternative rendering: (Fleet as) a horse, the pure Soma, the destroyer of ra_ks.asas, hastens towards the light of heaven through the woollen fleece].
9.037.04 The pure Soma upon the high place (of the sacrifice) of Trita, attended by its kindred rays, has lighted up the Sun.
9.037.05 The slayer of Vr.tra, the showerer of benefits, the giver of wealth, the invincible, the effused Soma proceeds (to the pitcher) as (a horse) to battle.
9.037.06 The divine Soma, when effused by the priest, hastens in his might to the pitchers for Indra. [In his might: Sa_maveda reads mamam.hayan for mam.hana_; interpreted as maha_n; as an adverb, prompt].


ऋग्वेदः - मण्डल ९
सूक्तं ९.३८
रहूगण आङ्गिरसः।

दे. पवमानः सोमः। गायत्री।

एष उ स्य वृषा रथोऽव्यो वारेभिरर्षति ।
गच्छन्वाजं सहस्रिणम् ॥१॥

“स्यः स प्रसिद्धः “एषः अभिषुतः सोमः “वृषा वर्षिता “रथः रंहणस्वभावः
“अव्यो “वारेभिः अवेर्वालैर्दशापवित्रेण “अर्षति गच्छति कलशम् । “वाजम् अन्नं
 “सहस्रिणं सहस्रसंख्याकं यजमानाय प्रदातुं “गच्छन् द्रोणकलशं प्रविशन्नर्षतीत्यर्थः । "उ पूरणः ॥

एतं त्रितस्य योषणो हरिं हिन्वन्त्यद्रिभिः ।
इन्दुमिन्द्राय पीतये ॥२॥

"एतम् “इन्दुं क्लिद्यमानं “हरिं हरितवर्णं सोमं "त्रितस्य ऋषेः "योषणः अङ्गुलयः
 "अद्रिभिः “हिन्वन्ति “इन्द्राय इन्द्रस्य “पीतये पानाय ॥

एतं त्यं हरितो दश मर्मृज्यन्ते अपस्युवः ।
याभिर्मदाय शुम्भते ॥३॥

"एतं “त्यं तं सोममध्वर्योः “दश “हरितः हरणस्वभावा अङ्गलयः “अपस्युवः कर्मेच्छवः सत्यः "मर्मृज्यन्ते शोधयन्ति ।
“याभिः इन्द्रस्य “मदाय “शुम्भते दीप्यते । शोध्यत इत्यर्थः । तमेतमिति संबन्धः ॥


एष स्य मानुषीष्वा श्येनो न विक्षु सीदति ।
गच्छञ्जारो न योषितम् ॥४॥

“स्यः सः “एषः सोमः “मानुषीषु “विक्षु प्रजासु यजमानरूपास्वनुग्रहेण
“आ “सीदति “श्येनो “न श्येन इव । पुनः क इव । “योषितं “गच्छन् अभिगच्छन्
“जारो “न जार इव । यथा संकेतितस्तस्याः कामपूरणाय गूढो गच्छति तद्वदित्यर्थः ॥


एष स्य मद्यो रसोऽव चष्टे दिवः शिशुः ।
य इन्दुर्वारमाविशत् ॥५॥

“स्यः सः “एषः “मद्यः मदनिमित्तः “रसः “अव “चष्टे सर्वमवपश्यति। "दिवः “शिशुः । द्युपुत्रः । तत्रोत्पत्तेः पुत्रत्वमस्य ।
 “य “इन्दुः दीप्तः सोमः “वारं दशापवित्रम् "आविशत् आविशति स एष इति ॥

एष स्य पीतये सुतो हरिरर्षति धर्णसिः ।
क्रन्दन्योनिमभि प्रियम् ॥६॥

“एष “स्यः स सोमः “पीतये पानाय "सुतः अभिषुतः “हरिः हरितवर्णः “धर्णसिः धारकः
“प्रियं स्वप्रियभूतं "योनिं स्थानं द्रोणकलशं “क्रन्दन् शब्दयन् "अभि "अर्षति गच्छति ॥

9.038.01 This Soma, the showerer of benefits, the chariot, dashes through the woollen fleece, bearing (to the worshipper) thousandfold food. [The chariot: rathah = ram.han.a svabha_vah, swift].
9.038.02 The fingers of Trita effuse by the stones this green-tinted juice for Indra's drinking.
9.038.03 The ten fingers, eager in the work, express that (Soma), and by them it is purified for the exhilaration (of Indra). [Ten fingers: harit = an:guli, a finger (Nirukta 2.5); harit = haran.a svabh_va, grasping].
9.038.04 That Soma sits down among human beings like a falcon, hastening as a gallant to his mistress.
9.038.05 That exhilarating juice beholds all, Indu, the child of heaven, that percolates through the fleece.
9.038.06 That green-tinted, all-sustaining (Soma), when effused for the drinking (of the gods), rushes crying aloud to its beloved place.


ऋग्वेदः - मण्डल ९
सूक्तं ९.३९
बृहस्पतिराङ्गिरसः।दे. पवमानः सोमः। गायत्री।


आशुरर्ष बृहन्मते परि प्रियेण धाम्ना ।
यत्र देवा इति ब्रवन् ॥१॥

हे "बृहन्मते महामते सोम “प्रियेण देवानां प्रियतमेन “धाम्ना शरीरेण धारया “आशुः शीघ्रः सन् "परि “अर्ष परिगच्छ । “यत्र “देवाः इन्द्रादयो वर्तन्ते “इति “ब्रवन ब्रुवन् उच्चारयन् । तां दिशं गच्छामीति ब्रुवन्नित्यर्थः ॥


परिष्कृण्वन्ननिष्कृतं जनाय यातयन्निषः ।
वृष्टिं दिवः परि स्रव ॥२॥

“अनिष्कृतम् असंस्कृतं यजमानं स्थानं वा “परिष्कृण्वन् संस्कुर्वन् “जनाय यागकर्त्रे “इषः अन्नानि “यातयन् निर्गमयन् “दिवः अन्तरिक्षात् “वृष्टिं “परि “स्रव ॥


सुत एति पवित्र आ त्विषिं दधान ओजसा ।
विचक्षाणो विरोचयन् ॥३॥

“सुतः अभिषुतः सोमः सन् "पवित्रे दशापवित्रे । “आ इत्यनर्थकः । "ओजसा बलेन शीघ्रम् “एति गच्छति । कीदृशः सन् । “त्विषिं दीप्तिं “दधानः धारयन् “विचक्षाणः सर्वं पश्यन् “विरोचयन् दीपयंश्च । किम् । देवानिति शेषः ।।


अयं स यो दिवस्परि रघुयामा पवित्र आ ।
सिन्धोरूर्मा व्यक्षरत् ॥४॥

“अयं “सः सोमः “पवित्रे “आ सिच्यमान इति शेषः । “सिन्धोः जलस्राविण्याः “ऊर्मा ऊर्मौ संघाते “व्यक्षरत् विविधं क्षरति । स इत्युक्तं क इत्याह । “यो “दिवस्परि द्युलोकस्योपरि “रघुयामा लघुगमनो देवप्राप्तौ सोऽयमिति संबन्धः ॥


आविवासन्परावतो अथो अर्वावतः सुतः ।
इन्द्राय सिच्यते मधु ॥५॥

"सुतः अभिषुतः सोमः “परावतः । दूरनामैतत् । दूरस्थान् “अथो अपि च “अर्वावतः अन्तिकस्थांश्च देवान् “आविवासन् । रसेन परिचरणायेत्यर्थः । “इन्द्राय इन्द्रार्थं "मधु मधुसदृशः सोमः “सिच्यते ॥


समीचीना अनूषत हरिं हिन्वन्त्यद्रिभिः ।
योनावृतस्य सीदत ॥६॥

“समीचीनाः सम्यगञ्चिताः संगताः स्तोतारः “अनूषत स्तुवन्ति । किंच सोमं “हरिं हरितवर्णं “हिन्वन्ति प्रेरयन्ति गमयन्ति “अद्रिभिः ग्रावभिः । यस्मादेवं तस्मात् “ऋतस्य यज्ञस्य “योनौ स्थाने “सीदत निषण्णा भवत हे देवाः ॥ 


9.039.01 Great-minded Soma, go swift with your body that is most dear (to the gods), saying, 'Where are the gods?' [Sa_maveda has bruvan for bravan].
9.039.02 Sanctifying the unconsecrated (worshipper) bringing food for the offerer, pour down rain from heaven. [(Worshipper): or,( place)].
9.039.03 (The Soma) when effused enters the filter with force, giving forth light, beholding and illuminating (all things).
9.039.04 This (Soma), who light of movement (mounts) toheaven, through the filter in a stream of water.
9.039.05 The effused (Soma) honouring (the gods) whether he is far off or nigh, is poured out (as) madhu for Indra.
9.039.06 The united (worshippers) praise (him), they squeeze (him) forth green-tinted with the stones; sit down (O gods) at the place of sacrifice.


ऋग्वेदः - मण्डल ९
सूक्तं ९.४०
बृहन्मतिराङ्गिरसः

दे. पवमानः सोमः। गायत्री

पुनानो अक्रमीदभि विश्वा मृधो विचर्षणिः ।
शुम्भन्ति विप्रं धीतिभिः ॥१॥


“पुनानः पूयमानः “विचर्षणिः द्रष्टा सोमः “विश्वाः सर्वान् “मृधः हिंसकान् शत्रून् “अभि “अक्रमीत् अतिक्रान्तवान् ।
 तं “विप्रं मेधाविनं “धीतिभिः कर्मभिरभिषवादिभिः स्तुतिभिर्वा “शुम्भन्ति दीपयन्ति अलंकुर्वन्ति ॥

आ योनिमरुणो रुहद्गमदिन्द्रं वृषा सुतः ।
ध्रुवे सदसि सीदति ॥२॥

अयम् “अरुणः अरुणवर्णः सोमः “योनिं स्थानं द्रोणकलशम्
“आ “रुहत् आरोहति । ततः “इन्द्रं “गमत् गच्छति । कुतः सन् ।
अयं “वृषा वर्षकः फलानां “सुतः अभिषुतः सन् गत्वा “ध्रुवे “सदसि स्थिरे स्थाने द्युलोकाख्ये “सीदति निवसति ॥

नू नो रयिं महामिन्दोऽस्मभ्यं सोम विश्वतः ।
आ पवस्व सहस्रिणम् ॥३॥

हे “सोम अभिषुतस्त्वं हे “इन्दो “नः
 “अस्मभ्यं “नु क्षिप्रं "महां महान्तं “सहस्रिणम् असंख्यातं “रयिं धनं “विश्वतः “आ “पवस्व सर्वतः परिस्रव ॥

विश्वा सोम पवमान द्युम्नानीन्दवा भर ।
विदाः सहस्रिणीरिषः ॥४॥

हे "सोम “पवमान पूयमान “इन्दो दीप्त त्वं “विश्वा सर्वाणि बहुविधानि “द्युम्नानि द्रविणानि “आ “भर आहर ।
 “विदाः लम्भय च “सहस्रिणीः सहस्रसंख्याकानि “इषः अन्नानि ॥

स नः पुनान आ भर रयिं स्तोत्रे सुवीर्यम् ।
जरितुर्वर्धया गिरः ॥५॥

हे सोम “सः त्वं “नः अस्मभ्यं “स्तोत्रे स्तोतृभ्यः “पुनानः पूयमानोऽभिषूयमाणः “आ “भर आहर । किम् ।
 “रयिं धनम् । कीदृशम् । “सुवीर्यं सुपुत्रम् । किंच “जरितुः स्तोतुः “गिरः स्तुतीः “वर्धय ॥

पुनान इन्दवा भर सोम द्विबर्हसं रयिम् ।
वृषन्निन्दो न उक्थ्यम् ॥६॥

हे “इन्दो “सोम “पुनानः पूयमानस्त्वम् “आ “भर आहर । किम् ।
 “रयिं धनम् । कीदृशं धनम् । “द्विबर्हसं द्वयोः द्युपृथिव्याख्ययोः स्थानयोः परिवृद्धम् ।
तदेवाह । हे “इन्दो’ “वृषन् वर्षक "नः अस्मभ्यम् “उक्थ्यं स्तुत्यं धनमा भर ॥

9.040.01 The pure all-seeing (Soma) has overcome all enemies; (the worshippers) grace the sage (Soma) with their praises.
9.040.02 The tawny-hued showerer (of benefits) when effused ascends to his place; he goes to Indra; he dwells in the fixed abode (of heaven). [Sa_maveda has sutam for sutah; si_datu for si_dati].
9.040.03 O Indu, O Soma, quickly pour upon us from all quarters vast and infinite riches.
9.040.04 O purified Soma, O Indu, bring all sorts of wealth bestow unlimited food.
9.040.05 O Soma, being purified, bring us your worshippers wealth with male offspring, recompense the praises of him who glorifies you.
9.040.06 Indu, Soma, being purified, bring us wealth from both worlds; Indu, showerer (of benefits), (bring us) glorious (wealth).


ऋग्वेदः - मण्डल ९
सूक्तं ९.४१
मेधातिथिः काण्वः

दे. पवमानः सोमः। गायत्री


प्र ये गावो न भूर्णयस्त्वेषा अयासो अक्रमुः ।
घ्नन्तः कृष्णामप त्वचम् ॥१॥

"ये अभिषुताः सोमाः “गावो “न उदकानीव तानि यथा तूर्णमधः पतन्ति तद्वत् । एवं वोपमीयन्ते ।
 यथा गावः स्वगोष्ठं प्रत्याशु गच्छन्ति तद्वत् । अथवा गावः स्तुतिवाचः ।
 ता यथा स्तुत्यं प्रति क्षिप्रं प्राप्नुवन्ति तद्वत् । “भूर्णयः क्षिप्राः “त्वेषाः दीप्ताः
 “अयासः अया गमनशीलाः "कृष्णां “त्वचम् । कृष्णा त्वग्रक्षाः ।
तम् “अप “घ्नन्तः निघ्नन्तः । त्वचिः संवरणकर्मा। ईदृग्भूताः सोमाः “प्र “अक्रमुः । तान् स्तुतेति शेषः ॥

सुवितस्य मनामहेऽति सेतुं दुराव्यम् ।
साह्वांसो दस्युमव्रतम् ॥२॥

“सुवितस्य । शोभनं प्राप्तः सुवितः । शोभनस्य सोमस्य 

“सेतुं रक्षोविषयं बन्धनं “दुराव्यं दुष्टमतिं च रक्षसां बन्धनं तेषां हननबुद्धिं च 

सोमकर्तृकाः “मनामहे स्तुमः । कथं स्तुम इति तदुच्यते ।

 “अव्रतम् अकर्माणं “दस्युं शत्रुं "साह्वांसः अभिभवन्तः ॥



शृण्वे वृष्टेरिव स्वनः पवमानस्य शुष्मिणः ।
चरन्ति विद्युतो दिवि ॥३॥

“शृण्वे श्रूयते । किम् । सोमस्वनः । किमिव ।
“वृष्टेः वर्षणस्य "स्वनः “इव । तस्य यथा महान् स्वनः श्रूयते तद्वत् प्रभूतरसापातसमये श्रूयते ।
कस्य स्वन इति तत्राह । “पवमानस्य पूयमानस्य “शुष्मिणः बलवतः । तस्यैव “विद्युतः दीप्तयः “दिवि अन्तरिक्षे "चरन्ति ।

आ पवस्व महीमिषं गोमदिन्दो हिरण्यवत् ।
अश्वावद्वाजवत्सुतः ॥४॥

हे “इन्दो सोम “सुतः अभिषुतस्त्वं “महीमिषम् महदन्नम् “आ “पवस्व ।
 कीदृशमन्नम् । “गोमत् बहुगोभिरुपेतमेवं “हिरण्यवत् हिरण्यैः “अश्ववत् अश्वैः “वाजवत् वाजैर्बलैश्चोपेतम् ।।

स पवस्व विचर्षण आ मही रोदसी पृण ।
उषाः सूर्यो न रश्मिभिः ॥५॥

हे “विचर्षणे विद्रष्टः सोम “सः त्वं “पवस्व क्षर रसम् ।
तथा कृत्वा तेन रसेन “मही महत्यौ “रोदसी द्यावापृथिव्यौ “आ “पृण आपूरय। “उषाः उषसः।
एकदेशवाचिनोषःशब्देन तदुपलक्षितमहरुच्यते तत्प्राधान्यात् । अहानि “रश्मिभिः “सूर्यो “न सूर्य इव ॥


परि णः शर्मयन्त्या धारया सोम विश्वतः ।
सरा रसेव विष्टपम् ॥६॥

हे “सोम “नः अस्मभ्यं “शर्मयन्त्या सुखयन्त्या “धारया “विश्वतः सर्वतः “परि “सर परिचर ।
 “रसेव रसेनेव “विष्टपं भूलोकम् । यद्वा । रसा नदी स्थानं सा प्रवणरूपमिव ॥

9.041.01 (Praise the Soma-juices) which descend like streams of water, swift, brilliant, rapid driving off the black skinned (ra_ks.asa). [Lit., the black skin, or the black cover (i.e. darkness); ra_ks.asas as the personification of darkness of the night].
9.041.02 We praise the auspicious Soma's imprisonment (of the ra_ks.asas) and hostile (intent against them), while we triumph over the enemy who performs no rites. 
9.041.03 The sound of the purified, powerful Soma is heard like that of rain; (his) lightning moves in the sky.
9.041.04 When effused, Indu, pour forth much food with cows, gold, horses, and strength.
9.041.05 Flow, all-seeing (Soma), fill the vast heaven and earth as the sun (fills) the days with his beams.
9.041.06 Flow round us, Soma, on all sides in a bliss-bestowing stream, like a river down a steep place. [Or, as the earth (is surrounded) with water].


ऋग्वेदः - मण्डल ९
सूक्तं ९.४२
मेध्यातिथिः काण्वः।

दे. पवमानः सोमः। गायत्री।

जनयन्रोचना दिवो जनयन्नप्सु सूर्यम् ।
वसानो गा अपो हरिः ॥१॥

अयं “हरिः सोमः “दिवः द्युसंबन्धीनि “रोचना रोचनानि नक्षत्रग्रहमण्डलानि “जनयन् तथा “अप्सु अन्तरिक्षे “सूर्यं च
 “जनयन् तथा “गाः अधोगन्त्रीः "अपः “वसानः भूमिमात्मानं वाच्छादयन् पवत इत्युत्तरत्र संबन्धः ॥

एष प्रत्नेन मन्मना देवो देवेभ्यस्परि ।
धारया पवते सुतः ॥२॥

“एषः सोमः “प्रत्नेन पुराणेन "मन्मना मननीयेन स्तोत्रेण युक्तः “सुतः अभिषुतश्च सन् “देवेभ्यः “परि परितः “धारया स्वीयया “पवते ॥

वावृधानाय तूर्वये पवन्ते वाजसातये ।
सोमाः सहस्रपाजसः ॥३॥

“वावृधानाय वर्धसानाय “तूर्वये क्षिप्राय “वाजसातये संग्रामायान्नलाभाय वा “पवन्ते पूयन्ते ।
 के । “सोमाः । कीदृशाः । “सहस्रपाजसः अपरिमितबलाः । असंख्यातवेगा इत्यर्थः ॥

दुहानः प्रत्नमित्पयः पवित्रे परि षिच्यते ।
क्रन्दन्देवाँ अजीजनत् ॥४॥

“प्रत्नमित् पुराणमेव “पयः रस “दुहानः दधानः सोमः “पवित्रे “परि “षिच्यते ।
 किंच “क्रन्दन् शब्दं कुर्वन् "देवानजीजनत् जनयति स्वसमीपे ।
 यत्र सोमोऽभिषूयते तत्र देवा नियतं प्रादुर्भवन्ति । अतो जनयतीत्युपचर्यते ॥

अभि विश्वानि वार्याभि देवाँ ऋतावृधः ।
सोमः पुनानो अर्षति ॥५॥

अयं “सोमः “पुनान: पूयमानः “विश्वानि “वार्या वरणीयानि धनानि “अभि “अर्षति ।
 तथा “ऋतावृधः यज्ञवर्धकान् "देवान् “अभि अर्षति ।।


गोमन्नः सोम वीरवदश्वावद्वाजवत्सुतः ।
पवस्व बृहतीरिषः ॥६॥

हे “सोम “सुतः त्वं “नः अस्मभ्यं “गोमत् गोभिर्युक्तं “वीरवत् बहुभिर्वीरैरुपेतम्
“अश्वावत् अश्वैर्युक्तं “वाजवत् वाजैर्बलैः संग्रामैर्वोपेतं धनं "बृहतीरिषः प्रभूतान्यन्नानि “पवस्व । प्रयच्छेत्यर्थः ॥

9.042.01 The green-tinted (Soma) generating the luminaries of heaven, generating the sun in the firmament, clothing himself with the descending water. [Clothing himself: or, the earth].
9.042.02 He with ancient praise when effused flows in a stream, a god for the gods.
9.042.03 The Soma juices of unbounded vigour flow for the increasing, rapid acquisition of food.
9.042.04 Milking forth the ancient fluid, the Soma is poured into the filter and crying out generates the gods. [i.e. where the Soma is poured forth, the gods are continually present].
9.042.05 Soma, being purified hastens towards all desirable (wealth), towards the gods who favour the sacrifice.
9.042.06 Soma, being effused pour down to us (wealth) consisting of kine, male offspring, horses, and strength, and abundant food.


ऋग्वेदः - मण्डल ९
सूक्तं ९.४३
मेध्यातिथिः काण्वः

दे. पवमानः सोमः। गायत्री

यो अत्य इव मृज्यते गोभिर्मदाय हर्यतः ।
तं गीर्भिर्वासयामसि ॥१॥

“यः सोमः “अत्यइव अतनशीलोऽश्व इव “गोभिः वसतीवरीभिरद्भिर्गोविकारैः
पय आदिभिर्वा मृज्यते मिश्र्यते । किमर्थम् । “मदाय देवानाम् । कीदृशः । यः “हर्यतः कान्तः ।
 “तं सोमं “गीर्भिः स्तुतिभिः “वासयामसि वासयामः ॥

तं नो विश्वा अवस्युवो गिरः शुम्भन्ति पूर्वथा ।
इन्दुमिन्द्राय पीतये ॥२॥

“तम् “इन्दुं सोमं “नः अस्माकं “विश्वाः सर्वाः “अवस्युवः । अवो रक्षणम् । तदिच्छन्त्यः “गिरः स्तुतयः
 “पूर्वथा पूर्वमिव पूर्वं यथा तथैवेदानीमपि “शुम्भन्ति दीपयन्ति । किमर्थम् । “इन्द्राय इन्द्रस्य “पीतये पानाय ।।

पुनानो याति हर्यतः सोमो गीर्भिः परिष्कृतः ।
विप्रस्य मेध्यातिथेः ॥३॥

“पुनानः पूयमानः “हर्यतः कमनीयः “सोमो “गीर्भिः “परिष्कृतः स्तुतिभिरलंकृतः “याति कलशं प्रति ।
 किमर्थम् । “विप्रस्य मेधाविनः “मेध्यातिथेः मम यागार्थम् । यद्वा । मम गीर्भिरिति संबन्धः॥

पवमान विदा रयिमस्मभ्यं सोम सुश्रियम् ।
इन्दो सहस्रवर्चसम् ॥४॥

हे “पवमान “इन्दो “सोम “अस्मभ्यं “सुश्रियं शोभनया श्रिया युक्तं “सहस्रवर्चसं बहुदीप्तिं “रयिं धनं “विदाः । देहीत्यर्थः ।।

इन्दुरत्यो न वाजसृत्कनिक्रन्ति पवित्र आ ।
यदक्षारति देवयुः ॥५॥

अयम् “इन्दुः “वाजसृत् संग्रामसरणः “अत्यो “न अश्व इव “पवित्र
“आ पवित्रे “कनिक्रन्ति शब्दं करोति । “यत् यदा “अक्षाः क्षरति ।
 क्षर संचलने'इत्यस्माच्छान्दसे लुङि तिपि सिच् । ‘ बहुलं छन्दसि'इतीडभावः । इडभावे च 'रात्सस्य 'इति सलोपः ।
 “देवयुः देवकामः सन् तदा शब्दं करोति ॥


पवस्व वाजसातये विप्रस्य गृणतो वृधे ।
सोम रास्व सुवीर्यम् ॥६॥

हे सोम “पवस्व क्षर । किमर्थम् । “वाजसातये अन्नलाभाय। तथा “गृणतः स्तुवतः “विप्रस्य मम मेध्यातिथेः
“वृधे वर्धनाय च । हे "सोम “सुवीर्यं शोभनवीर्योपेतं पुत्रं च “रास्व देहि ॥

वेदार्थस्य प्रकाशेन तमो हार्दं निवारयन् ।

पुमर्थांश्चतुरो देयाद्विद्यातीर्थमहेश्वरः ॥

इति श्रीमद्राजाधिराजपरमेश्वरवैदिकमार्गप्रवर्तकश्रीवीरबुक्कभूपालसाम्राज्यधुरंधरेण सायणाचार्येण विरचिते माधवीये वेदार्थप्रकाश ऋक्संहिताभाष्ये षष्ठाष्टकेऽष्टमोऽध्यायः ॥

समाप्तं च षष्ठाष्टकम् ॥

9.043.01 We invest with praises that Soma who, beloved, is cleansed like a horse with milk for the exhilaration (of the gods). [With milk: or, with the vasati_vari_ water].
9.043.02 This Indu all our praises desiring protection, beautify (new) as of old for Indra to drink.
9.043.03 Pure flows the beloved Soma, beautified by the praises of the sage Medhya_tithi.
9.043.04 Purified Soma, grant us auspicious wealth, with infinite splendour, O Indu.
9.043.05 Rushing into battle, sounds in the rough, beloved of the gods.
9.043.06 Flow for the acquisition of food, for the prosperity of the sage who praise you; O Soma, grant (me) excellent male offspring.


ऋग्वेदः - मण्डल ९
सूक्तं ९.४४
अयास्य आङ्गिरसः।

दे. पवमानः सोमः। गायत्री।

प्र ण इन्दो महे तन ऊर्मिं न बिभ्रदर्षसि ।
अभि देवाँ अयास्यः ॥१॥


हे “इन्दो सोम त्वं "नः अस्माकं “महे महते “तने धनाय “प्र “अर्षसि प्रगच्छसि । “न संप्रति “अयास्यः चायमृषिः तव “ऊर्मिं तरङ्गं “बिभ्रत् धारयन् “देवान् “अभि गच्छति यष्टुम् ॥


मती जुष्टो धिया हितः सोमो हिन्वे परावति ।
विप्रस्य धारया कविः ॥२॥

“कविः क्रान्तकर्मा “सोमः “विप्रस्य मेधाविनः स्तोतुः “मती मत्या स्तुत्या “जुष्टः सेवितः “धिया कर्मणा “हितः यज्ञे निहितः

 “परावति पवित्राद्दूरदेशे “धारया “हिन्वे प्रेर्यते ॥


अयं देवेषु जागृविः सुत एति पवित्र आ ।
सोमो याति विचर्षणिः ॥३॥


“जागृविः जागरणशीलः "अयं “सोमः "देवेषु देवार्थं "सुतः अभिषुतः “आ “एति समन्तात् गच्छति । अपि च “विचर्षणिः विद्रष्टा सोमः “पवित्रे “याति पावनाय गच्छति ॥


स नः पवस्व वाजयुश्चक्राणश्चारुमध्वरम् ।
बर्हिष्माँ आ विवासति ॥४॥

हे सोम यं त्वां “बर्हिष्मान् ऋत्विक् “आ “विवासति परिचरति “सः त्वं “नः अस्मदर्थं "वाजयुः अन्नमिच्छन् 'अध्वरं हिंसारहितं यागं “चारु कल्याणं "चक्राणः कुर्वन् "पवस्व क्षर ॥


स नो भगाय वायवे विप्रवीरः सदावृधः ।
सोमो देवेष्वा यमत् ॥५॥

“सः पवमानः “सोमः “वायवे वायुदेवार्थं “भगाय भगदेवार्थं च “विप्रवीरः विप्रैर्मेधाविभिः स्तुत्या प्रेरितः “सदावृधः नित्यवृद्धो भवन् “नः अस्मभ्यं “देवेषु स्थितं धनम् “आ "यमत् आ प्रयच्छतु ।।


स नो अद्य वसुत्तये क्रतुविद्गातुवित्तमः ।
वाजं जेषि श्रवो बृहत् ॥६॥


हे सोम “क्रतुवित् क्रतूनां कर्मणां लम्भकः “गातुवित्तमः पुण्यलोकानामतिशयेन मार्गस्य ज्ञाता त्वम् “अद्य अस्मिन्नहनि “नः अस्माकं “वसुत्तये धनलाभाय “बृहत् महत् “श्रवः अन्नं “वाजं बलं च “जेषि जय ॥


9.044.01 Indu, you advance to give us abundant wealth; Aya_sya bearing your waves (go) towards the gods (to sacrifice).
9.044.02 The sage Soma gratified by the praise of the pious (worshipper) prepared for the sacrifice is sent in a stream at a distance (from the filter).
9.044.03 This vigilant Soma effused for the gods, approaches, all-beholding he goes to the filter.
9.044.04 Flow for us food-desiring, making (our) sacrifice auspicious; (O Soma, whom) the priest with the sacred grass adores.
9.044.05 May Soma who is pressed forth by the seers for Bhaga and Va_yu, ever prosper in, grant us (wealth placed) among the gods.
9.044.06 Receiver of sacrifices, knower of (pious), give us this day abundant food and strength for the acquisition of wealth.


ऋग्वेदः - मण्डल ९
सूक्तं ९.४५
अयास्य आङ्गिरसः।

दे. पवमानः सोमः। गायत्री।

स पवस्व मदाय कं नृचक्षा देववीतये ।
इन्दविन्द्राय पीतये ॥१॥

हे “इन्दो सोम “नृचक्षाः नॄणां नेतॄणां द्रष्टा “सः त्वं “देववीतये यज्ञाय
“इन्द्राय इन्द्रस्य “पीतये पानाय च “मदाय मदार्थं च "कं सुखं यथा भवति तथा “पवस्व क्षर ॥

स नो अर्षाभि दूत्यं त्वमिन्द्राय तोशसे ।
देवान्सखिभ्य आ वरम् ॥२॥

हे सोम “त्वं “नः अस्माकं “दूत्यं दूतस्य कर्म “अर्ष अभिगच्छ । अपि च यस्त्वं
“इन्द्राय इन्द्रार्थं “तोशसे पीयसे “सः त्वं “सखिभ्यः प्रियेभ्यः अस्मभ्यं “वरं श्रेष्ठं धनं “देवान् “आ याचस्वेत्यर्थः ॥

उत त्वामरुणं वयं गोभिरञ्ज्मो मदाय कम् ।
वि नो राये दुरो वृधि ॥३॥

“उत अपि च हे सोम यम् “अरुणम् अरुणवर्णं “त्वां
“मदाय मदार्थं “वयम् अङ्गिरसायास्याः “गोभिः गोविकारैः पयोभिः “अञ्ज्मः वासयामः संस्कुर्मः।
 “कम् इति पूरणम् । स त्वं “नः अस्माकं “राये धनाय “दुरः द्वाराणि “वि “वृधि विवृतानि कुरु ॥

अत्यू पवित्रमक्रमीद्वाजी धुरं न यामनि ।
इन्दुर्देवेषु पत्यते ॥४॥

“इन्दुः सोमः “वाजी अश्वः “यामनि गमने “धुरं “न रथस्य धुरं यथा तथा “पवित्रम्
“अति “अक्रमीत् अतिगच्छति । “देवेषु देवानां मध्ये “पत्यते गच्छति च ॥

समी सखायो अस्वरन्वने क्रीळन्तमत्यविम् ।
इन्दुं नावा अनूषत ॥५॥

“अत्यविम् अतिक्रान्तं दशापवित्रं “वने उदके “क्रीडन्तं संक्रीडमानम् “ईम् एनम् “इन्दुं सोमं “सखायः प्रियस्तोतारः
“सम् “अस्वरन् संस्तुवन्ति । "नावाः वाचोऽपि “अनूषत अस्तुवन् । ‘ नौरक्षरम्'इति वाङ्नामसु पाठात् ॥

तया पवस्व धारया यया पीतो विचक्षसे ।
इन्दो स्तोत्रे सुवीर्यम् ॥६॥

हे “इन्दो त्वं “यया “धारया “पीतः सन् “विचक्षसे विचक्षणाय
“स्तोत्रे स्तोत्राणां कर्त्रे पुरुषाय “सुवीर्यं शोभनवीर्यं प्रयच्छसीति शेषः। “तया धारया “पवस्व क्षर ॥

9.045.01 Indu, do you the beholder of men flow pleasantly for the banquet of the gods, for Indra's drinking and exhilaration. [Pleasantly: kam = sukham yatha_ bhavati tatha_; sometimes, kam is explained just a particle meaning nothing, inserted only to balance the metre of the verse].
9.045.02 Approach the office of the messenger for us; you who are drunk for Indra, (pour) on the gods wealth for (us their) friends.
9.045.03 And we adorn you, the purple-tinted with milk and curd for the purpose of exhilaration open the doors for our riches.
9.045.04 Indu passes the filter as a horse in going passes the shaft (of the chariot); he proceeds to the midst of the gods.
9.045.05 His friends praise Indu sporting in the water and passing through the fleece; their hymns glorify him.
9.045.06 Flow Indu, with that stream wherewith when drunk you bestow much vigour on your discerning worshipper.


ऋग्वेदः - मण्डल ९
सूक्तं ९.४६
अयास्य आङ्गिरसः।

दे. पवमानः सोमः। गायत्री।

असृग्रन्देववीतयेऽत्यासः कृत्व्या इव ।
क्षरन्तः पर्वतावृधः ॥१॥

"पर्वतावृधः पर्वतैरभिषवग्रावभिर्वृद्धाः पर्वतेषु जाता वा “क्षरन्तः सोमाः “देववीतये यज्ञाथ 

“अत्यासः अश्वाः “कृत्व्याइव यथा कर्मण्या अश्वाः तद्वत् "असृग्रन् सृज्यन्ते ।।


परिष्कृतास इन्दवो योषेव पित्र्यावती ।
वायुं सोमा असृक्षत ॥२॥


“इन्दवः यागेषु क्लिद्यमानाः “सोमाः "परिष्कृतासः परिष्कृता अलंकृताः सन्तः 

“पित्र्यावती पितृमती “योषेव अलंकृता कन्यका यथा वरं प्रति गच्छति तद्वत् “वायुं प्रति

 “असृक्षत गच्छन्ति ॥


एते सोमास इन्दवः प्रयस्वन्तश्चमू सुताः ।
इन्द्रं वर्धन्ति कर्मभिः ॥३॥


“इन्दवः दीप्ताः “प्रयस्वन्तः अन्नवन्तः “एते अस्मिन् कर्मणि वर्तमाना अमी 

“सोमासः सोमाः “चमू चम्वोरधिषवणफलकयोः “सुताः अभिषुताः सन्तः “कर्मभिः यागैः

 “इन्द्रं “वर्धयन्ति प्रीणयन्तीत्यर्थः ॥


शुक्रामन्थीग्रहप्रचारः

आ धावता सुहस्त्यः शुक्रा गृभ्णीत मन्थिना ।
गोभिः श्रीणीत मत्सरम् ॥४॥

हे “सुहस्त्यः शोभनहस्ता ऋत्विजः “आ “धावत । मां संप्रति आगच्छत । 

“मन्थिना सह “शुक्रा शुक्रं च “गृभ्णीत गृह्णीत सोमम् । 

“मत्सरं सोमं “गोभिः गोविकारैः पयोभिः “श्रीणीत संस्कुरुत च ॥


स पवस्व धनंजय प्रयन्ता राधसो महः ।
अस्मभ्यं सोम गातुवित् ॥५॥


हे “धनंजय शत्रुसंबन्धिनां जनानां जेतः “सोम “गातुवित् अभीष्टमार्गस्य लम्भकः 

“अस्मभ्यं “महः महतः “राधसः धनस्य “प्रयन्ता प्रदाता च यः “सः त्वं “पवस्व क्षर ॥


एतं मृजन्ति मर्ज्यं पवमानं दश क्षिपः ।
इन्द्राय मत्सरं मदम् ॥६॥

“मर्ज्यं मर्जनीयं शोध्यं “पवमानं क्षरन्तं “मत्सरं मदकरम् “एतम् इमं

 “मदं सोमं दशसंख्याकाः “क्षिपः अङ्गुलयः ।

 ‘ व्रिशः क्षिपः'इत्यङ्गुलिनामसु पाठात् । इन्द्रार्थं “मृजन्ति पवित्रे शोधयन्ति ॥ 


Source: 

शुक्रामन्थीग्रहप्रचारः Shukra-Manthi vessels - ऋग्वेदः सूक्तं ९.४६ - विकिस्रोतः (wikisource.org)

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].
9.046.02 The Soma-juices pressed (at the sacrifice), adorned like a bride who has a father, flow to Va_yu.
9.046.03 These brilliang Soma-juices, bestowing pleasant food, expressed into the vessel, gratify Indra with the ceremonies.
9.046.04 Dexterous (priests) have (to me), taken with the ladle the pure (Soma), mix the exhilarating (Soma) with milk and curds.
9.046.05 Soma, conqueror of wealth, who know the way (to fulfil my desires), flow forth the bestower of vast wealth upon us.
9.046.06 The ten fingers purify this purifiable pure-flowing exhilarating juice for Indra.


ऋग्वेदः - मण्डल ९
सूक्तं ९.४७
कविर्भार्गवः

दे. पवमानः सोमः। गायत्री।

अया सोमः सुकृत्यया महश्चिदभ्यवर्धत ।
मन्दान उद्वृषायते ॥१॥

“सोमः "अया अनया “सुकृत्यया शोभनयाभिषवादिलक्षणया क्रियया
“महश्चित् महतो देवान् प्रति अभ्यवर्धत प्रवृद्धोऽभूत् । “मन्दानः मोदमानः
 “उद्वृषायते वृषवदाचरति । यथा मोदमानो वृषभः शब्दं करोति तथाभिषववेलायामुपरवेषु शब्दं करोतीत्यर्थः ॥

कृतानीदस्य कर्त्वा चेतन्ते दस्युतर्हणा ।
ऋणा च धृष्णुश्चयते ॥२॥

“अस्य यस्य एतस्य सोमस्य “दस्युतर्हणा दस्यूनामसुराणां नाशकानि “कर्त्वा कर्माणि सः
“इत् अस्माभिरेव सोऽयं “धृष्णुः धृष्टः सोमो यजमानानाम् "ऋणा “च ऋणान्यपि “चयते कामप्रदानेन चातयति ॥


आत्सोम इन्द्रियो रसो वज्रः सहस्रसा भुवत् ।
उक्थं यदस्य जायते ॥३॥

“यत् यदा “अस्य इन्द्रस्य “उक्थं शस्त्रं “जायते प्रादुर्भवति तत् "आत् अनन्तरमेव “इन्द्रियः इन्द्रस्य प्रियकरः
रसः बलवान् “वज्रः वज्रसदृशः केनाप्यहिंस्यः “सोमः “सहस्रसाः अस्मभ्यमपरिमितस्य धनस्य दाता भवति ॥

स्वयं कविर्विधर्तरि विप्राय रत्नमिच्छति ।
यदी मर्मृज्यते धियः ॥४॥

“यदि “कविः क्रान्तकर्मा अयं सोमः “धियः धीभिः।
 विभक्तिव्यत्ययः। धीतिभिः । अङ्गुलीभिरित्यर्थः ।
 "मर्मृज्यते शोध्यते तर्हि “स्वयं स्वयमेव “विप्राय मेधाविने “विधर्तरि कामानां विधातरीन्द्रे “रत्नं रमणीयं धनम् “इच्छति ।
 इन्द्रेण धनं दापयितुमिच्छतीत्यर्थः ॥


सिषासतू रयीणां वाजेष्वर्वतामिव ।
भरेषु जिग्युषामसि ॥५॥

हे सोम त्वं “भरेषु संग्रामेषु “जिग्युषां शत्रून् जयतां “रयीणां धनानां “सिषासतुः संभक्तुमिच्छुः
 “असि भवसि । शत्रून् जयद्योत् धनानि प्रयच्छसीत्यर्थः । तत्र दृष्टान्तः।
 “वाजेषु संग्रामेषु “अर्वतामिव अश्वानामिव । यथा संग्रामं प्रविशद्भ्योऽश्वेभ्यो घासं प्रयच्छन्ति तद्वदित्यर्थः॥ 

9.047.01 By this sacred solemnity the Soma is magnified before the mighty (gods); exulting he moves like a bull. [Or, rorars like a bull, i.e., on the sounding holes: sa_maveda].
9.047.02 They publish his exploits, his acts of Dasyu-crushing; resolute he acquite the debts (of the worshipper). [cetanti may also mean, 'are conscious'].
9.047.03 When the praise of Indra is recited, then the juice dear to him, vigorous as a thunderbolt, give us unlimited wealth.
9.047.04 When the sage Soma is cleansed by the fingers, he of his own accord desires wealth for the pious worshipper in (Indra), the granter of wishes. [Indra, the granter of wishes: vidhartari = vidha_tarindre; adding, indren.a dhanam da_payitum icchati, he desires to cause Indra to give wealth].
9.047.05 You desire to give wealth to those who conquer in combat as (men offer fodder) to horses in battle. [You desire to give wealth: sis.a_satuh; another interpretation treats this term as 3rd dual, 'they two desire wealth'; bhares.u jigyus.a_masi = you are on the side of the successful in battle].


ऋग्वेदः - मण्डल ९
सूक्तं ९.४८
कविर्भार्गवः।दे. पवमानः सोमः। गायत्री।


तं त्वा नृम्णानि बिभ्रतं सधस्थेषु महो दिवः ।
चारुं सुकृत्ययेमहे ॥१॥


"महः “दिवः महतो द्युलोकस्य “सधस्थेषु सहस्थानेषु स्थितं “नृम्णानि धनानि “बिभ्रतम् अस्मदर्थं धारयन्तं “चारुं कल्याणं “तं पवमानं “त्वा त्वां “सुकृत्यया शोभनया क्रियया “ईमहे धनानि याचामहे ॥


संवृक्तधृष्णुमुक्थ्यं महामहिव्रतं मदम् ।
शतं पुरो रुरुक्षणिम् ॥२॥


हे सोम “संवृक्तधृष्णुम् । संवृक्ताः संछिन्ना धृष्णवो धर्षणशीलाः शत्रवो येनासौ संवृक्तधृष्णुः। तम् “उक्थ्यम् उक्थार्हं प्रशस्यं महामहिव्रतं महनीयबहुकर्माणं “मदं मदकरं “शतं बहूनि “पुरः शत्रूणां पुराणि “रुरुक्षणिं विनाशयन्तं त्वां धनानीमह इति संबन्धः ॥


अतस्त्वा रयिमभि राजानं सुक्रतो दिवः ।
सुपर्णो अव्यथिर्भरत् ॥३॥


हे सोम “रयिमभि धनं प्रति “राजानं “त्वा त्वाम् “अतः “दिवः अमुष्मात् द्युलोकात् “सुक्रतुः सुप्रज्ञः “अव्यथिः व्यथारहितः “सुपर्णः श्येनः “भरत् आहरत् । तथा च निगमान्तरम्-- ‘ आदाय श्येनो अभरत्सोमं सहस्रं सवाँ' (ऋ. सं. ४.२६.७ ) इति ॥


विश्वस्मा इत्स्वर्दृशे साधारणं रजस्तुरम् ।
गोपामृतस्य विर्भरत् ॥४॥


“रजस्तुरम् उदकस्य प्रेरकम् "ऋतस्य यज्ञस्य “गोपां गोपायितारं "विश्वस्मै सर्वस्मै “स्वदृशे सर्वदृशे देवाय “साधारणम् “इत् समानमेव सन्तं सोमं “विः पक्षी श्येनः “भरत् स्वर्गादाहरत् ॥


अधा हिन्वान इन्द्रियं ज्यायो महित्वमानशे ।
अभिष्टिकृद्विचर्षणिः ॥५॥


“अध अथ “विचर्षणिः कर्मणां विद्रष्टा “अभिष्टिकृत् यजमानानामभीष्टस्य फलस्य कर्ता सोमः “इन्द्रियं स्वकीयं बलं “हिन्वानः प्रेरयन् “ज्यायः प्रशस्यतरं “महित्वं महत्त्वम् “आनशे प्राप्नोति ॥


9.048.01 By sacred rites we solicit (wealth) of you, auspicious, bearing wealth, abiding in the regions of the vast heaven.
9.048.02 The overthrower of the resolute (foe), the praiseworthy, to whom many solemn observances are addressed, the exhilarator, the destroyer of a hundred cities (of the asuras).
9.048.03 O (Soma), doer of good deeds, the unwearied hawk brought you, king over riches, from this heaven. [Hawk: cf. RV 4. 026.07].
9.048.04 The bird brought you, the showerer of water, the protector of the sacrifice, the common property of every god.
9.048.05 The contemplator of all, the granter of desires, putting forth his energy obtains superior greatness.


Note on RV 4.26.7

ऋग्वेदः - मण्डल ४
सूक्तं ४.२६
वामदेवो गौतमः, १- ३ इन्द्रो वा।

दे. १ - ३ इन्द्रः, आत्मा वा, ४ - ७ श्येनः। त्रिष्टुप्

आदाय श्येनो अभरत्सोमं सहस्रं सवाँ अयुतं च साकम् ।
अत्रा पुरंधिरजहादरातीर्मदे सोमस्य मूरा अमूरः ॥७॥

"श्येनः शंसनीयगमनः पक्षी "सवान् सवानां यज्ञानां सहस्रं सहस्रसंख्याकम् अयुतं च अयुतसंख्याकम् । अपरिमितसंख्याकमित्यर्थः । साकं सह सोमं सोमलक्षणमन्नम् आदाय आदानं कृत्वा "अभरत् अहरत् । आजहार । अत्र अस्मिन् सोमे आहृते सति पुरंधिः पुरंधीर्बहुकर्मा अमूरः अमूढः प्राज्ञ इन्द्रः सोमस्य संबन्धिनि मदे हर्षे सति "मूराः मूढाः अरातीः शत्रून् अजहात् अत्यजत् । जघानेत्यर्थः । अत्रारातिशब्दः स्त्रीलिङ्गः ॥

Wilson: 4.026.07 Having taken it, the hawk brought the Soma with him to a thousand and ten thousand sacrifices, and this being provided, the performer of many (great) deeds, the unbewildered (Indra) destroyed, in the exhilaration of the Soma, (his) bewildered foes.


ऋग्वेदः - मण्डल ९
सूक्तं ९.४९
कविर्भार्गवः।

दे. पवमानः सोमः। गायत्री।

पवस्व वृष्टिमा सु नोऽपामूर्मिं दिवस्परि ।
अयक्ष्मा बृहतीरिषः ॥१॥

हे सोम त्वं “दिवः द्युलोकात् "वृष्टिं “नः अस्माकम् “आ “पवस्व समन्तात् क्षर । एतदेव दर्शयति ।
 “अपाम् उदकानाम् “ऊर्मिं तरङ्गं दिवः “परि आ पवस्व । अपि च "अयक्ष्माः यक्ष्मरहितानि अनामयानि
 “बृहतीः महान्ति “इषः अन्नानि आ पवस्व ॥

तया पवस्व धारया यया गाव इहागमन् ।
जन्यास उप नो गृहम् ॥२॥

हे सोम त्वं “तया तादृश्या “धारया “पवस्व क्षर। कीदृश्येत्यत्राह। “यया यादृश्या त्वदीयया धारया “जन्यासः जन्याः
शत्रुजनपदभवाः “गावः “इह अस्मिँल्लोके "नः अस्माकं संबन्धि “गृहम् “उप “आगमन् उपागच्छन्ति ॥


घृतं पवस्व धारया यज्ञेषु देववीतमः ।
अस्मभ्यं वृष्टिमा पव ॥३॥

हे सोम “यज्ञेषु “देववीतमः अत्यन्तं देवकामस्त्वम् “अस्मभ्यं भार्गवेभ्यः कविभ्यः “घृतम् उदकम् ।
वनं घृतम्'इत्युदकनामसु पाठात् ।
 “धारया संपातेन “पवस्व क्षर। “वृष्टिं वर्षं च "आ “पव पवस्व ॥


स न ऊर्जे व्यव्ययं पवित्रं धाव धारया ।
देवासः शृणवन्हि कम् ॥४॥

हे सोम सुतः अभिषुतस्त्वं “नः अस्माकम् “ऊर्जे अन्नाय “अव्ययम् अविमयं “पवित्रं “धारया संपातेन
 “वि “धाव प्राप्नुहि। “देवासः देवा अपि “हि “कं “शृणवन् गमनवेलायामुत्पन्नं तव शब्द शृण्वन्तु ॥


पवमानो असिष्यदद्रक्षांस्यपजङ्घनत् ।
प्रत्नवद्रोचयन्रुचः ॥५॥

“रक्षांसि राक्षसान् अपजङ्घनत् अपघ्नन् “रुचः आत्मीया दीप्तीः
 “प्रत्नवत् पुराणवत् “रोचयन् दीपयन् “पवमानः सोमः “असिष्यदत् स्यन्दते ॥ 

9.049.01 Pour down upon us a shower from heaven, a stream of waters, wholesome and abundant food.
9.049.02 Flow in such a stream that the cattle belonging to the (enemy's) nation may come here to our dwelling.
9.049.03 You who are most dear to the gods at sacrifice, shower down water in a stream, pour your rain upon us.
9.049.04 Do you for our sustenance hasten to the woollen filter with your stream; let the gods hear your sound.
9.049.05 The purifier (the Soma) flows forth destroying the ra_ks.asas, flashing out brilliance as of old.


ऋग्वेदः - मण्डल ९
सूक्तं ९.५०
उचथ्य आङ्गिरसः

दे. पवमानः सोमः। गायत्री

उत्ते शुष्मास ईरते सिन्धोरूर्मेरिव स्वनः ।
वाणस्य चोदया पविम् ॥१॥

हे सोम “ते तव “शुष्मासः शुष्मा वेगाः “उत् “ईरते उद्गच्छन्ति । तत्र दृष्टान्तः ।
 “सिन्धोः समुद्रस्य “ऊर्मेरिव यथा तरङ्गात् “स्वनः ध्वनिरुद्गच्छति तद्वदित्यर्थः ।
 सः त्वं “वाणस्य विसृष्टस्य बाणस्य नालस्य वा वादित्रविशेषस्य “पविं शब्दम् ।
“पविः भारती 'इति वाङ्नामसु पाठात् । “चोदय प्रेरय । वेगेन स्यन्दमानस्त्वं विसृष्टबाणशब्दसदृशं शब्दं कुर्वित्यर्थः ॥

प्रसवे त उदीरते तिस्रो वाचो मखस्युवः ।
यदव्य एषि सानवि ॥२॥

हे सोम “ते तव “प्रसवे सति “मखस्युवः यज्ञमिच्छतो यजमानस्य
 “तिस्रो “वाचः ऋग्यजुःसामात्मकानि त्रीणि वाक्यानि “उदीरते उद्गच्छन्ति । कदेत्यत आह ।
 “यत् यदा “सानवि व्युच्छ्रिते “अव्ये अविभये पवित्रे “एषि त्वं गच्छसि ।

अव्यो वारे परि प्रियं हरिं हिन्वन्त्यद्रिभिः ।
पवमानं मधुश्चुतम् ॥३॥

"प्रियं देवानां प्रीतिकरं “हरिं हरितवर्णम् “अद्रिभिः ग्रावभिरभिषुतं “मधुश्चुतं मधुनो रसस्य च्यावयितारं
 “पवमानं सोमम् “अव्यः अवेः “वारे वाले “परि “हिन्वन्ति ऋत्विजः परिप्रेरयन्ति ।

आ पवस्व मदिन्तम पवित्रं धारया कवे ।
अर्कस्य योनिमासदम् ॥४॥

हे "मदिन्तम मादयितृतम “कवे क्रान्तकर्मन् सोम
“अर्कस्य अर्चनीयस्येन्द्रस्य “योनिं स्थानम् “आसदं प्राप्तुं "पवित्रम् अतीत्य “धारया संपातेन
“आ “पवस्व आभिमुख्येन क्षर । यद्यप्येषा पूर्वस्मिन्नध्याये ( ऋ. सं. ९.२५.६ )
व्याकृता तथापि मन्दमतीनां विस्मरणशङ्कया पुनर्व्याख्याता ॥

स पवस्व मदिन्तम गोभिरञ्जानो अक्तुभिः ।
इन्दविन्द्राय पीतये ॥५॥

हे "मदिन्तम मादयितृतम “इन्दो सोम “अक्तुभिः अञ्जनसाधनभूतैः “गोभिः गोविकारैः पयोभिः
 “अञ्जानः अज्यमानः संस्क्रियमाणः “सः त्वम् “इन्द्राय इन्द्रस्य “पीतये पानाय “पवस्व

Note on ऋ. सं. ९.२५.६
ऋग्वेदः - मण्डल ९
सूक्तं ९.२५
दृळ्हच्युत आगस्त्यः।
दे. पवमानः सोमः। गायत्री।
आ पवस्व मदिन्तम पवित्रं धारया कवे ।
अर्कस्य योनिमासदम् ॥६॥

हे “मदिन्तम मादयितृतम "कवे क्रान्तप्रज्ञ सोम त्वं "पवित्रम् अतिक्रम्य “धारया “आ “पवस्व ।
 किमर्थम् । "अर्कस्य अर्चनीयस्येन्द्रस्य "योनिं स्थानम् "आसदं प्राप्तुम् ॥

Wilson: 9.025.06 Most exhilarating and sage (Soma), flow through the filter in a stream,
 to attain the station of the adorable Indra.

9.050.01 Forth flow your mystery (streams), like the roar (issuing) from the ocean wave; emit your sound like that of a (rushing) arrow. [A rushing arrow: Or, a reed (or other musical instrument)].
9.050.02 At your birth the three voices of the worshipper are uttered when you go to the summit of the fleece. [Three voices: the r.g, yajus. and sa_ma hymns].
9.050.03 (The priests) effuse with the stones into the fleece the beloved green-tinted purifying honey-dropping (Soma).
9.050.04 Most exhilarating sage (Soma), flow in a stream to the filter to sit on Indra'slap. [Repetition of RV 9.025.06].
9.050.05 Most exhilarating Indu, being anointed with the unguents of milk and curds flow forth for Indra's drinking.

Griffith translation RV 9.16 to 9.50

HYMN XVI. Soma Pavamana. 16

1. THE pressers from the Somapress- send forth thy juice for rapturous joy
The speckled sap runs like a flood.
2 With strength we follow through the sieve him who brings might and wins the kine,
Enrobed in water with his juice.
3 Pour on the sieve the Soma, Never subdued in waters, waterless,
And make it pure for Indras' drink.
4 Moved by the purifiers' thought, the Soma flows into the sieve:
By wisdom it hath gained its home.
5 With humble homage, Indra, have the Somadrops- flowed forth to thee,
Contending for the glorious prize.
6 Purified in his fleecy garb, attaining every beauty, he
Stands, herolike-, amid the kine.
7 Swelling, as it were, to heights of heaven, the stream of the creative juice
Falls lightly on the cleansing sieve.
8 Thus, Soma, purifying himwho knoweth song mid living men,
Thou wanderest through the cloth of wool.

HYMN XVII. Soma Pavamana. 17

1. LIKE rivers down a steep descent, slaying the Vrtras, full of zeal,
The rapid Somastreams- have flowed.
2 The drops of Soma juice effused fall like the rain upon the earth:
To Indra flow the Somastreams-.
3 With swelling wave the gladdening drink, the Soma, flows into the sieve,
Loving the Gods and slaying fiends.
4 It hastens to the pitchers, poured upon the sieve it waxes strong
At sacrifices through the lauds.
Soma, thou shinest mounting heaven as it were above lights' triple realm,
And moving secmst' to speed the Sun.
6 To him, the head of sacnfice, singers and bards have sung their songs,
Offering what he loves to see.
7 The men, the sages with their hymns, eager for help, deck thee strong teed&,
Deck thee for service of the Gods.
8 Flow onward to the stream of meath rest efficacious in thy home,
Fair, to be drunk at sacrifice.

HYMN XVIII. Soma Pavamana. 18

1. THOU, Soma, dweller on the hills, effused, hast flowed into the sieve,:
Allbounteous- art thou in carouse.
2 Thou art a sacred Bard, a Sage; the meath is Offspring of thy sap:
Allbountcous- art thou in carouse.
3 All Deities of one accord have come that they may drink of thee:
Allbounteous- art thou in carouse.
4 He who containeth in his hands all treasures much to be desired:
Allbounteous- art thou in carouse.
5 Who milketh out this mighty Pair, the Earth and Heaven, like mother kine
Allbounteous- art thou in carouse.
6 Who in a moment mightily floweth around these two worldhalvcs-:
Allbounteous- art thou in carouse.
7 The Strong One, being purified, hath in the pitchers cried aloud:
Allbounteous- art thou in carouse.

HYMN XIX. Soma Pavamana. 19

1. O SOMA, being purified bring us the wondrous treasure, meet
For lauds, that is in earth and heaven.
2 For ye Twain, IndraSoma, are Lords of the light, Lords of the kine:
Great Rulers, prosper ye our songs.
3 The tawny Steer, while cleansed among the living, bellowing on the grass,
Hath sunk and settled in his home.
4 Over the Steers' productive flow the sacred songs were resonant,
The mothers of the darling Son.
5 Hath he not, purified, impregned the kine whb long to meet their Lord,
The kine who yield the shining milk?
6 Bring near us those who stand aloof strike fear into our enemies:
Pavamana, find us wealth.
Soma, bring down the foemans' might, his vigorous strength and vital power',
Whether he be afar or near.

MANDALA 9

HYMN XX Soma Pavamana. 20

1. FORTH through the strainingcloth- the Sage flows to the banquet of the Gods,
Subduing all our enemies.
2 For he, as Pavamana, sends thousandfold treasure in the shape
Of cattle to the singingmen-.
3 Thou graspest all things with thy mind, and purifiest thee with thoughts
As such, O Soma, find us fame.
4 Pour lofty glory on us, send sure riches to our liberal lords,
Bring food to those who sing thy praise.
5 As thou art cleansed, O Wondrous Steed, O Soma, thou hast entered, like
A pious King, into the songs.
6 He, Soma, like a courser in the floods invincible, made clean
With hands, is resting in the jars.
7 Disporting, like a liberal chief, thou goest, Soma, to the sieve,
Lending the laud a Heros' strength.

HYMN XXI. Soma Pavamana. 21

1. To Indra flow these running drops, these Somas frolicsome in mood.
Exhilarating, finding light;
2 Driving off foes, bestowing room upon the presser, willingly
Bringing their praiser vitalforce.
3 Lightly disporting them, the drops flow to one common reservoir,
And fall into the rivers' wave.
4 These Pavamanas have obtained all blessings much to be desired,
Like coursers harnessed to a car.
5 With view to us, O Somadrops-, bestow his manifold desire
On him who yet hath given us naught.
6 Bring us our wish with this design, as a wright brings his newwrought- wheel:
Flow pure and shining with the stream.
7 These drops have cried with resonant voice: like swift steeds they have run the course,
And roused the good mans' hymn to life.

HYMN XXII. Soma Pavamana. 22

1. THESE rapid Somastreams- have stirred themselves to motion like strong steeds,
Like cars, like armies hurried forth.
2 Swift as wide winds they lightly move, like rainstorms- of Parjanya, like
The flickering flames of burning fire.
3 These Soma juices, blent with curds, purified, skilled in sacred hymns,
Have gained by song their heartsdesire'.
4 Immortal, cleansed, these drops, since first they flowed, have never wearied, fain
To reach the regions and their paths.
5 Advancing they have travelled over the ridges of the earth and heaven,
And this the highest realm of all.
6 Over the heights have they attained the highest thread that is spun out,
And this which must be deemed most high.
7 Thou, Soma, boldest wealth in kine which thou hast seized from niggard churls:
Thou calledst forth the outspun thread.

HYMN XXIII. Soma Pavamana. 23

1. SWIFT Soma drops have been effused in streams of meath, the gladdening drink,
For sacred lore of every kind.
2 Hither to newer. restingplace- the ancient Living Ones are come.
They made the Sun that he might shine.
3 O Pavamana, bring to us the unsacrificing foemans' wealth,
And give us food with progeny.
4 The living Somas being cleansed diffuse exhilarating drink,
Turned to the vat which drips with meath.
Soma gows on intelligent, possessing sap and mighty strength,
Brave Hero who repels the curse.
6 For IndraSoma! thou art cleansed, a feastcompanion- for the Gods:
1ndu, thou fain wilt win us strength
7 When he had drunken draughts of this, Indra smote down resistless foes:
Yea, smote them, and shall smite them still.

HYMN XXIV Soma Pavamana. 24

1. HITHERWARD have the Soma streamed,
the drops while they are purified:
When bIent, in waters they are rinsed.
2 The milk hath run to meet them like floods rushing down a precipice:
They come to Indra, being cleansed.
3 O Soma Pavamana, thou art flowing to be Indras' drink:
The men have seized and lead thee forth.
4 Victorious, to be hailed with joy, O Soma, flow, delighting men,
To him who ruleth over mankind.
5 Thou, Indu, when, effused by stones, thou runnest to the filter, art,
Ready for Indras' high decree.
6 Flow on, best Vrtraslayer-; flow meet to be hailed with joyful lauds.
Pure, purifying, wonderful.
7 Pure, purifying is he called the Soma of the meath eflused,
Slayer of sinners, dear to Gods.

HYMN XXV. Soma Pavamana. 25

1. GREENHUED-! as one who giveth strength flow on for Gods to drink, a draught
For Vayu and the Marut host.
2 O Pavamana, sent by song, roaring about thy dwellingplace-,
Pass into Vayu as Law bids.
3 The Steer shines with the Deities, dear Sage in his appointed home,
FoeSlayer-, most beloved by Gods.
4 Taking each beauteous form, he goes, desirable, while purified,
Thither where- the Immortals sit.
5 To Indra Soma flows, the Red, engendering song, exceeding wise,
The visitor of living men.
6 Flow, best exhilarator, Sage, flow to the filter in a stream
To seat thee in the place of song.

HYMN XXVI. Soma Pavamana. 26

1. THE sages with the fingers' art have dressed and decked that vigorous Steed
Upon the lap of Aditi,
2 The kine have called aloud to him exhaustless with a thousand streams,
To Indu who supporteth heaven.
3 Him, nourisher of many, Sage, creative Pavamana, they
Have sent, by wisdom, to the sky.
4 Him, dweller with Vivasvan, they with use of both arms have sent forth,
The Lord of Speech infallible.
5 Him, green, beloved, many eyed, the Sisters with prosing stones
Send down to ridges of the sieve.
6 O PavamanaIndu, priests hurry thee on to Indra, thee
Who aidest song and cheerest him.

HYMN XXVII. Soma Pavamana. 27

1. THIS Sage, exalted by our lauds, flows to the purifying cloth,
Scattering foes as he is cleansed.
2 As giving power and winning light, for Indra and for Vayu he
Is poured upon the filteringcloth-.
3 The men conduct him, Soma, Steer, Omniscient, and the Head of Heaven,
Effused into the vats of wood.
4 Longing for kine, longing for gold hath Indu Pavamana lowed,
Still Conqueror, never overcome.
5 This Pavamana, gladdening draught, drops on the filtering cloth, and then
Mounts up with Surya to the sky.
6 To Indra in the firmament this mighty tawny Steer hath flowed,
This Indu, being purified.

HYMN XXVIII. Soma Pavamana. 28

1. URGED by the men, this vigorous SteedLord of the mind, Omniscient,
Runs to the woollen strainingcloth-.
2 Within the filter hath he flowed, this Soma for the Gods effused,
Entering all their essences.
3 He shines in beauty there, this God Immortal in his dwellingplace-,
Foeslayer-, dearest to the Gods.
4 Directed by the Sisters ten, bellowing on his way this Steer
Runs onward to the wooden vats.
5 This Pavamana, swiftand strong, Omniscient, gave spleudour to
The Sun and all his forms of light.
6 This Soma being purified, flows mighty and infallible,
Slayer of sinners, dear toGods.

HYMN XXIX. Soma Pavamana. 29

1. FORWARD with mighty force have flowed the currents of this Steer effused,
Of him who sets him by the Gods.
2 The singers praise him with their song, and learned priests adorn the Steed,
Brought forth as light that merits laud.
3 These things thou winnest lightly while purified, SomaLord of wealth:
Fill full the sea that claims our praise.
4 Winning all precious things at once, flow on, O Soma, with thy stream
Drive to one place our enemies.
5 Preserve us from the godless, from illomened- voice of one and all,
That so we may be freed from blame.
6 O Indu, as thou flowest on bring us the wealth of earth and heaven,
And splendid vigour, in thy stream.

MANDALA 9

HYMN XXX. Soma Pavamana. 30

1. STREAMS of this Potent One have flowed easily to the strainingcloth-:
While he is cleansed he lifts his voice.
Indu, by pressers urged to speed, bellowing out while beautified.
Sends forth a very mighty sound.
3 Pour on us, Soma, with thy stream manconquering might which many crave,
Accompanied with hero sons.
4 Hither hath Pavamana flowed, Soma flowed hither in a stream,
To settle in the vats of wood.
5 To waters with the stones they drive thee tawnyhued-, most rich in sweets,
Indu, to be Indras' drink.
6 For Indra, for the Thunderer press the Soma very rich in sweets,
Lovely, inspiriting, for strength.

HYMN XXXI. Soma Pavamana. 31

1. THE, Somadrops-, benevolent, come forth as they are purified,
Bestowing wealth which all may see.
2 O Indu, high over heaven and earth be thou, increaser of our might:
The Master of all strength be thou.
3 The winds are gracious in their love to thee, the rivers flow to thee
Soma, they multiply thy power.
Soma, wax great. From every side may vigorous powers unite in thee:
Be in the gatheringPlace- of strength.
5 For thee, brownhued-! the kine have poured imperishable oil and milk.
Aloft on the sublimest height.
Friendship, O Indu, we desire with thee who bearest noble arms,
With thee, O Lord of all that is.

HYMN XXXII. Soma Pavamana. 32

1. THE raptureshedding- Somadrops-, effused in our assembly, have
Flowed forth to glorify our prince.
2 Then Tritas' Maidens onward urge the Tawnycoloured- with the stones,
Indu for Indra, for his drink.
3 Now like a swan he maketh all the company sing each his hymn:
He, like a steed, is bathed in milk.
4 O Soma, viewing heaven and earth, thou runncst like a darting deer
Set in the place of sacrifice.
5 The cows have sung with joy to him, even as a woman to her love
He came as to a settled race.
6 Bestow illustrious fame on us, both on our liberal lords and me,
Glory, intelligence, and wealth.

HYMN XXXIII. Soma Pavamana. 33

1. LIKE waves of waters, skilled in song the juices of the Soma speed
Onward, as buffaloes to woods.
2 With stream of sacrifice the brown bright drops have flowed with strength in store
Of kine into the wooden vats.
3 To IndraVayuVaruna, to Visnu, and the Maruts, flow
The drops of Soma juice effused.
4 Three several words are uttered: kine are owing], cows who give their milk:
The Tawnyhued- goes bellowing on.
5 The young and sacred mothers of the holy rite have uttered praise:
They decorate the Child of Heaven.
6 From every side, O Soma, for our profit, pour thou forth four seas
Filled full of riches thousandfold.

HYMN XXXIV. Some Pavamana. 34

1. THE drop of Soma juice effused flows onward with this stream impelled.
Rending strong places with its might.
2 Poured forth to IndraVaruna, to Vayu and the Marut hosts,
To Visnu, flows the Soma juice.
3 With stones they press the Soma forth, the Strong conducted by the strong:
They milk the liquor out with skill.
4 It is he whom Trita must refine, it is he who shall make Indra glad:
The Tawny One is decked with tints.
5 Him do the Sons of Prsni milk, the dwellingplace- of sacrifice,
Oblation lovely and most dear.
6 To him in one unitcd stream thse-, songs flow on straight forward. he,
Loud voiced, hath made the milchkine- low.

HYMN XXXV. Soma Pavamana. 35

1. Pour forth on us abundant wealth, O Pavamana, with thy stream.
Wherewith thou mayest find us light
2 O Indu, swayer of the sea, shaker of all things, flow thou on,
Bearer of wealth to us with might.
3 With thee for Hero, Valiant One! may we subdue our enemies:
Let what is precious flow to us.
Indu arouses strength the Sage who strives for victory, winning power,
Discovering holy works and means.
5 Mover of speech, we robe him with our songs as he is purified
Soma, the Guardian of the folk;
6 On whose way, Lord of Holy Law, most richi as he is purified.
The people all have set their hearts.

HYMN XXXVI. Soma Pavamana. 36

1. FORTH from the mortar is the juice sent, like a carhorse-, to the sieve:
The Steed steps forward to the goal.
2 Thus, Soma, watchful, bearing well, cheering the Gods, flow past the sieve,
Turned to the vat that drops with meath.
3 Excellent Pavamana, make the lights shine brightly out for us.
Speed us to mental power and skill.
4 He, beautified by pious men, and coming from their hands adorned,
Flows through the fleecy strainingcloth-.
5 May Soma pour all treasures of the heavens, the earth, the firmament
Upon the liberal worshipper.
6 Thou mountest to the height of heaven, O Soma, seeking steeds and kine,
And seeking heroes, Lord of Strength!

HYMN XXXVII. Soma Pavamana. 37

1. SOMA, the Steer, effused for draught, flows to the purifying sieve,
Slaying the fiends, loving the Gods.
2 Farsighted-, tawnycoloured-, he flows to the sieve, intelligent,
Bellowing, to his place of rest.
3 This vigorous Pavamana runs forth to the luminous realm of heaven,
Fiendslayer-, through the fleecy sieve.
4 This Payamana up above Tritas' high ridge hath made the Sun,
Together with the Sisters, shine.
5 This Vrtraslaying- Steer, effused, Soma roomgiver-, Never deceived,
Hath gone, as it were, to win the spoil.
6 Urged onward by the sage, the God speeds forward to the casks of wood,
Indu to Indra willingly.

HYMN XXXVIII. Soma Pavamana. 38

1. THIS Steer, this Chariot, rushes through the woollen filter, as he goes
To war that wins a thousand spoils.
2 The Dames of Trita with the stones onward impel this Tawny One
Indu to Indra for his drink.
3 Ten active fingers carefully adorn him here; they make him bright
And beauteous for the gladdening draught.
4 He like a falcon settles down amid the families of men.
Speeding like lover to his love.
5 This young exhilarating juice looks downward from its place in heaven,
This Somadrop- that pierced the sieve.
6 Poured for the draught, this tawny juice
flows forth, intelligent, crying out,
Unto the wellbeloved- place.

HYMN XXXIX Soma Pavamana. 39

1. FLOW On, O thou of lofty thought, flow swift in thy beloved form,
Saying, I go where dwell the Gods.
2 Preparing what is unprepared, and bringing store of food to man,
Make thou the rain descend from heaven.
3 With might, bestowing power, thejuice enters the purifying sieve,
Farseeing-, sending forth its light.
4 This is it which in rapid course hath with the rivers' wave flowed down
From heaven upon the straining cloth.
5 Inviting him frorh far away, and even from near at hand, the juice
For Indra is poured forth as meath.
6 In union they have sung the hymn: with stones they urge the Tawny One.
Sit in the place of sacrifice.

MANDALA 9

HYMN XL. Soma Pavamana. 40

1. THE Very Active hath assailed, while purified, all enemies:
They deck the Sage with holy songs.
2 The Red hath mounted to his place; to India, goes the mighty juice:
He settles in his firm abode.
3 O InduSoma, send us now great opulence from every side, Pour on us treasures thousandfold.
4 O Soma Pavamana, bring, Indu, all splcndours hitherward:
Find for us food in boundless store.
5 As thou art cleansed, bring hero strength and riches to thy worshipper,
And prosper thou the singers' hymns.
6 O InduSoma, being cleansed, bring hither riches doublypiled,
Wealth, mighty Indu, meet for lauds.

HYMN XLI. Soma Pavamana. 41

1. ACTIVE and bright have they come forth, impetuous in speed like bulls,
Driving the black skin far away.
2 Quelling the riteless Dasyu, may we think upon the bridge of bliss,
Leaving the bridge of woe behind.
3 The mighty Pavamanas' roar is heard as it were the rush of rain
Lightnings are flashing to the sky.
4 Pour out on us abundant food, when thou art pressed, O Indu wealth
In kine and gold and steeds and spoil.
5 Flow on thy way, Most Active, thou. fill full the mighty heavens and earth,
As Dawn, as Surya with his beams.
6 On every side, O Soma, flow round us with thy protecting stream,
As Rasa flows around the world.

HYMN XLII. Soma Pavamana. 42

1. ENGENDERING the Sun in floods, engendering heavens' lights, greenhued-,
Robed in the waters and the milk,
2 According to primeval plan this Soma, with his stream, effused
Flows purely on, a God for Gods.
3 For him victorious, waxen great, the juices with a thousand powers
Are purified for winning spoil.
4 Shedding the ancient fluid he is poured into the cleansing sieve:
He, thundering, hath produced the Gods.
Soma, while purifying, sends hither all things to be desired,
He sends the Gods who strengthen Law.
Soma, effused, pour on us wealth in kine, in heroes, steeds, and spoil,
Send us abundant store of food.

HYMN XLIII. Soma Pavamana. 43

1. WE will enrobe with sacred song the Lovely One who, as a Steed,
Is decked with milk for rapturous joy.
2 All songs of ours desiring grace adorn him in the ancient way,
Indu for Indra, for his drink.
Soma flows on when purified, beloved and adorned with songs,
Songs of the sage Medhyatithi.
4 O Soma Pavamana, find exceeding glorious wealth for us,
WealthIndu, fraught with boundless might.
5 Like courser racing to the prize Indu, the lover of the Gods,
Roars, as he passes, in the sieve.
6 Flow on thy way to win us strength, to speed the sage who praises thee:
Soma, bestow heroic power.

HYMN XLIV. Soma Pavamana. 44

1. INDU, to us for this great rite, bearing as it were thy wave to Gods,
Unwearied, thou art flowing forQh.
2 Pleased with the hymn, impelled by prayer, Soma is hurried far away,
The Wise One in the Singers' stream.,
3 Watchful among the. gods, this juice advances to the cleansing sieve
Soma, most active, travels on.
4 Flow onward, seeking strength for us, embellishing the sacrifice:
The priest with trimmed grass calleth thee.
5 May Soma, ever bringing power to Bhaga and to VayuSage
And Hero, lead us to the Gods.
6 So, to increase our wealth today-, Inspirer, best of Furtherers,
Win for us strength and high renown.

HYMN XLV. Soma Pavamana. 45

1. FLOW, thou who viewest men, to give delight, to entertain the Gods,
Indu, to Indra for his drink.
2 Stream to thine embassy for us: thou hastenest, for Indra, to
The Gods, O better than our friends.
3 We balm thee, red of hue, with milk to fit thee for the rapturous joy:
Unbar for us the doors of wealth.
4 He through the sieve hath passed, as comes a courser to the pole, to run
Indu belongs unto the Gods.
5 All friends have lauded him as he sports in the wood, beyond the fleece:
Singers have chanted Indus' praise.
6 Flow, Indu, with that stream wherein steeped thou announcest to the man
Who worships thee heroic strength.

HYMN XLVI. Soma Pavamana. 46

1. LIKE able coursers they have been sent forth to be the feast of Gods,
joying in mountains, flowing on.
2 To Vayu flow the Somastreams-, the drops of juice made beautiful
Like a bride dowered by her sire.
3 Pressed in the mortar, these, the drops of
juice, the Somas rich in food,
Give strength to Indra with their work.
4 Defthanded- men, run hither, seize the brilliant juices blent with meal,
And cook with milk the gladdening draught.
5 Thus, SomaConqueror of wealth! flow, finding furtherance for us,
Giver oF ample opulence.
6 This Pavamana, meet to be adorned, the fingers ten adorn,
The draught that shall make Indra glad.

HYMN XLVII. Soma Pavamana. 47

1. GREAT as he was, Soma hath gained strength by this high solemnity:
joyous he riseth like a bull.
2 His task is done: his crushings of the Dasyus are made manifest:
He sternly reckoneth their debts.
3 Soon as his song of praise is born, the Soma, Indras' juice, becomes
A thousandwinning- thunderbolt.
Seer and Sustainer, he himself desireth riches for the sage
When he embellisheth his songs.
5 Fain would they both win riches as in races of the steeds. In war
Thou art upon the conquerors' side.

HYMN XLVIII. Soma Pavamana. 48

1. WITH sacrifice we seek to thee kind Cherisher of manly might
In mansions of the lofty heavens;
2 Gladdening crusher of the bold, ruling with very mighty sway,
Destroyer of a hundred forts.
3 Hence, Sapient One! the Falcon, strong of wing, unwearied, brought thee down,
Lord over riches, from the sky.
4 That each may see the light, the Bird brought us the guard of Law, the Friend
Of all, the speeder through the air.
5 And now, sent forth, it hath attained to mighty power and majesty,
Most active, ready to assist.

HYMN XLIX. Soma Pavamana. 49

1. Poust down the rain upon us, pour a wave of waters from the sky,
And plenteous store of wholesome fbod.
2 Flow onward with that stream of thine, whereby the cows have come to us,
The kine of strangers to our home.
Chief Friend of Gods in sacred rites, pour on us fatness with thy stream,
Pour down on us a flood of rain.
4 To give us vigour, with thy stream run through the fleecy strainingcloth-
For verily the Gods will bear.
5 Onward hath Pavamana flowed and beaten off the Raksasas,
Flashing out splendour as of old.

MANDALA 9

HYMN L. Soma Pavamana. 50

1. LOUD as a rivers' roaring wave thy powers have lifted up themselves:
Urge on thine arrows' sharpened point.
2 At thine effusion upward rise three voices full of joy, when thou
Flowest upon the fleecy ridge.
3 On to the fleece they urge with stone the tawny wellbeloved- One,
Even Pavamana, dropping meath.
4 Flow with thy current to the sieve, O Sage most powerful to cheer,
To seat thee in the place of song.
5 Flow, Most Exhilarating! flow anointed with the milk for balm,
Indu, for Indra, for his drink.

Source: Rv09 H10 - AncientVoice (wikidot.com)

Standard device सांगड sāṅgaḍa Maritime canoe-float signifies कण्ठालः kaṇṭhālaḥ ചങ്ങാതം caṅṅātam, jangaḍiyo 'maritme military treasure guard'

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https://tinyurl.com/tzyy3e97

--Standard device on thousands of inscriptions of Indus Script Corpora is rebus 1: कण्ठालः kaṇṭhālaḥ सांगड sāṅgaḍa 'Maritime canoe-float'; rebus 2: कण्ठालः kaṇṭhālaḥ ചങ്ങാതം caṅṅātam, jangaḍiyo 'maritme military treasure guard' 

This is an addendum to: RV 9.16 to RV 9.50 यज्ञ सुतिः sutiḥ Extraction of Soma juice by सोतार Sotāra, Soma pressers https://tinyurl.com/55phan2k

jangaḍ Bhāratīya accounting, a well-settled system in jurisprudence, for mercantile transactions evidenced on Indus Script hypertexts https://tinyurl.com/ya8t7wyw

There is a remarkable statement in Tolkappiyam an ancient text of Sangam period:

பொய்யும் வழுவும் தோன்றியபின்னர் 
அய்யர் யாத்தனர் கரணம் என்ப  (தொல் காப்பியம் பொருள் அதிகாரம்)
When falsehood and deception came into vogue, the Brahmin scholars codified the accounting system.

An ancient Near East accounting system was jangaḍ. The system of jangaḍ simply meant 'goods on approval' with the agent -- like the Meluhhan merchant-agents or brokers living in settlements in ancient near East -- merely responsible for showing the goods to the intended buyers.

H جاکڙ जाकड़ jākaṛ [fr. S. यतं+कृ; cf. jakaṛnā], s.m. A deposit or pledge left with a vendor for goods brought away for inspection or approval; goods taken from a shop for approval, a deposit or pledge being left; a conditional purchase; articles taken on commission sale;—adv. On inspection, for approval:—jākaṛ-bahī, s.f. Account book of sales subject to approval of goods, &c.:—jākaṛ bećnā, v.t. To sell conditionally, or subject to approval:—jākaṛ le jānā, v.t. To take away goods on inspection, or for approval, leaving a deposit or pledge with the vendor. (Urdu)

Goods were couriered and delivered by consignor on entrustment basis for the consignee to make the settlements AFTER the goods are finally sold to third parties. Such an accounting system was called jangaḍ

The couriers who effect the delivery of the goods are called jangaḍiyo. In old Gujarati, the term jangaḍiyo  ‘military guard who accompanies treasure into the treasury’. The term sanghāḍiyo 'a worker on a lathe' (Gujarati)

The standard device is NOT a strainer or sieve combination but a combination of a lathe, gimlet, churning container and सांगड sāṅgaḍa m f (संघट्ट S) That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig. See item 6 in the line-drawing provided by I. Mahadevan. Rebus reading is: jangaḍiyo  ‘military guard who accompanies treasure into the treasury’ (Gujarati); ചങ്ങാതം caṅṅātam 'guard' (Malayalam)


Thus, the device is signifier of maritime trade in lapidary and metalworker artifacts from Meluhha. It is called सांगड sāṅgaḍa  A body formed of two or more (fruits, animals, men) linked or joined together.Rebus:    सांगड्या sāṅgaḍyā a sometimes सांगडी a That works a सांगड or canoe-float.(Marathi)ചങ്ങാടം caṅṅāṭam čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats. കെ ട്ടുക'ത്തില്‍ കേററി TR. 
തോണികള്‍ ങ്ങള്‍ വഞ്ചികള്‍ പടവുകള്‍ Bhr. also rafts.ചങ്ങാതം caṅṅātam čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. പോരുക to accompany as such. പോന്ന വാരിയര്‍എന്നെ 'വും കൂട്ടി അയച്ചു TR. कण्ठालः kaṇṭhālaḥ 'maritime' PLUS jangaḍiyo 'maritme military treasure guard'  Rebus 2: sanghāḍiyo, a worker on a lathe (G.)

san:ghāḍo, saghaḍī (G.) = firepan; saghaḍī, śaghaḍi = a pot for holding fire (G.) sãghāṛɔ m. ‘lathe’ (G.) I submit that lapidaries were encasing precious stones in metal artifacts: 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)

The parts can be explained: 1. Hook to hold the lathe; kunda 'lathe' rebus: kundana 'fine gold'; 2, 3, 4: Zig-zag lines signify to-and-fro circular motion of the lathe; 5. gimlet बरमा baramā, बरम्हा baramhā m ( H) A kind of auger, gimlet, or drill worked with a string.Ta. purai tubular hollow, tube, pipe, windpipe. Tu. perevuni to be bored, perforated; perepini to bore, perforate; burma, burmu a gimlet; berpuri a borer. (DEDR 4297); 6. सांगड sāṅgaḍa  That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.; 8. churning container: कण्ठालः kaṇṭhālaḥ 1 A boat. -2 A spade, hoe. -3 War. -4 A camel... -6 A churning vessel. -7 A bag. -ला A churning vessel.कण्ठीलः kaṇṭhīlaḥ A camel. -लः, -ला A churning vessel. (Apte); 9. dotted circle 'gold bead':*pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, putipũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.10.. Pebbles:गोटी [ gōṭī ], gōṭā 'round pebble, stone' Rebus: goṭā ''laterite, ferrite ore''gold braid' ; 11, 12. Flagstaffdhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: 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. dhāūdhāv 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.  ʻ relic (CDIAL 6773)

Thus, the device is signifier of maritime trade in lapidary and metalworker artifacts from Meluhha. It is called सांगड sāṅgaḍa  A body formed of two or more (fruits, animals, men) linked or joined together.Rebus:    सांगड्या sāṅgaḍyā a sometimes सांगडी a That works a सांगड or canoe-float.(Marathi)ചങ്ങാടം caṅṅāṭam čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats. കെ ട്ടുക'ത്തില്‍ കേററി TR. തോണികള്‍ 

ങ്ങള്‍ വഞ്ചികള്‍ പടവുകള്‍ Bhr. also rafts.ചങ്ങാതം caṅṅātam čaṇṇāδam 

(Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. പോരുക to accompany as such. പോന്ന വാരിയര്‍എന്നെ

 'വും കൂട്ടി അയച്ചു TR.

h2006b कण्ठालः kaṇṭhālaḥ 'churning vessel' Rebus: कण्ठालः kaṇṭhālaḥ 'maritime' PLUS सांगड sāṅgaḍa 'lathe, joined parts' Rebus: ചങ്ങാതം caṅṅātam, jangaḍiyo 'maritme military treasure guard' PLUS కమ్మటము (p. 0247) [ kammaṭamu ] Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. కామాటము (p. 0272) [ kāmāṭamu ] kāmāṭamu. [Tel.] n. Rough work. మోటుపని. R. viii. కామాటి kāmāṭi. n. A labourer, a pioneer. adj. Rustic. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint.
Ka. kammaṭa id.; kammaṭi a coiner(DEDR 1236)
Rebus 2: కమటము (p. 0246) [ kamaṭamu ] kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి.
"చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii.
Rebus 3: కమతము (p. 0246) [ kamatamu ] or కమ్మతము kamatamu. [Tel. n. Partnership. అనేకులు చేరిచేయుసేద్యము. The cultivation which an owner carries on with his own farming stock. Labour, tillage. కృషి, వ్యవసాయము. కమతకాడు or కమతీడు or కమతగాడు a labourer, or slave employed in tillage.కమ్మతము (p. 0247) [ kammatamu ] Same as కమతము. కమ్మతీడు Same as కమతకాడు.

kunda 'lathe' rebus: kundan 'fine gold'
The bottom register may also signify as a semantic determinative: a vessel for coals (Ramayana); fire-bowl (for consecrated fire).kunḍa 'bowl for coals'. अग्निः [अङ्गति ऊर्ध्वं गच्छति अङ्ग्-नि,नलोपश्च Uṇ.4.5., or fr. अञ्च् 'to go.'] 1 Fire Sacrificial altar, अग्निकुण्ड cf. Rām. 1.14.28.    कुण्ड्   kuṇḍ कुण्ड् I. 1 Ā. 1 To burn. -2 To eat, -3 To heap. कुण्डः डी डम्   kuṇḍḥ ḍī ḍam कुण्डः डी डम् [cf. Uṇ.1.112] 1 A bowl-shaped vessel, a basin, bowl. -2 A round hole in the ground for receiving and preserving water. बलं नागसहस्रस्य यस्मि- न्कुण्डे प्रतिष्ठितम् Mb.1.128.68. -3 A hole in general; अग्निकुण्डम्. -4 A pool, well; especially one consecrated to some deity or holy purpose. -5 The bowl of a mendicant. -6 A water-jar (कमण्डलु). (Apte) *kāra5 ʻ live coal ʼ. [Cf. *skāra -- , kṣārá -- 1]Sh. gil. kã̄rṷ m. ʻ charcoal ʼ, (Lor.) kāre (m. pl.?).(CDIAL 3055)
I suggest that the rebus readings in Meluhha demonstrate that the 'standard device' signifies 'turner's lathe'.କୁନ୍ଦକର Kundakara ସଂ. ବି. (କୁନ୍ଦ+କୃ ଧାତୁ+କର୍ତ୍ତୃ. ଅ)— କୁନ୍ଦିବା ୟନ୍ତ୍ରରେ କାମ କଲାବାଲା କାରିଗର— A turner.କୁନ୍ଦକାରକ Kundakāraka ସଂ. ବି. (କୁନ୍ଦ+କୃ ଧାତୁ+କର୍ତ୍ତୃ. ଅକ)— କୁନ୍ଦକର (ଦେଖ) Kundakara (See)  କୁନ୍ଦଗର Kundagara [synonym(s): কুন্দকী कुंदमसाज] ଦେ. ବି. (ସଂ. କୁନ୍ଦକର)— 1। କୁନ୍ଦକରିବା କାରିଗର— 1. A turner. 2। କୁନ୍ଦନ କାମ କରିବା ବଣିଆ—2. A goldsmith adept in the art of setting precious stones on gold leaves.(Oriya) কুন্দ  kunda a (turner's) lathe. ̃কার n. a turner. ̃ Rebus: kunda 'fine gold'   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)

h2022b  kuṭi 'tree' Rebus: kuṭhi 'smelting furnace'


h2022c 

A pair of two linear strokes constitute the circumscript for the 'bead' hieroglyph: pot 'bead' rebus:  potr̥, 'purifier of metals', potadāra, poddār 'assayer of metals into the treasury'; pota 'metal infusion' PLUS dula 'pair' rebus: dul 'metal casting'. Thus, metal caster, assayer purifier of metal. 

Hypertext: A pair of standard devices: dula 'two' rebus: dul 'metal casting' PLUS 

कण्ठालः kaṇṭhālaḥ 'churning vessel' Rebus: कण्ठालः kaṇṭhālaḥ 'maritime' PLUS सांगड sāṅgaḍa 'lathe, joined parts' Rebus: ചങ്ങാതം caṅṅātam, jangaḍiyo 'maritme military treasure guard' PLUS కమ్మటము (p. 0247) [ kammaṭamu ] Same as కమటము. కమ్మటీడు kammaṭīḍu. [Tel.] A man of the goldsmith caste. కామాటము (p. 0272) [ kāmāṭamu ] kāmāṭamu. [Tel.] n. Rough work. మోటుపని. R. viii. కామాటి kāmāṭi. n. A labourer, a pioneer. adj. Rustic. Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint.
Ka. kammaṭa id.; kammaṭi a coiner(DEDR 1236)
Rebus 2: కమటము (p. 0246) [ kamaṭamu ] kamaṭamu. [Tel.] n. A portable furnace for melting the precious metals. అగసాలెవాని కుంపటి.
"చ కమటము కట్లెసంచియొరగల్లును గత్తెర సుత్తె చీర్ణముల్ ధమనియుస్రావణంబు మొలత్రాసును బట్టెడ నీరుకారు సా నము పటుకారు మూస బలునాణె పరీక్షల మచ్చులాదిగా నమరగభద్రకారక సమాహ్వయు డొక్కరుడుండు నప్పురిన్"హంస. ii.

Rebus 3: కమతము (p. 0246) [ kamatamu ] or కమ్మతము kamatamu. [Tel. n. Partnership. అనేకులు చేరిచేయుసేద్యము. The cultivation which an owner carries on with his own farming stock. Labour, tillage. కృషి, వ్యవసాయము. కమతకాడు or కమతీడు or కమతగాడు a labourer, or slave employed in tillage.కమ్మతము (p. 0247) [ kammatamu ] Same as కమతము. కమ్మతీడు Same as కమతకాడు.

kunda 'lathe' rebus: kundan 'fine gold'
The bottom register may also signify as a semantic determinative: a vessel for coals (Ramayana); fire-bowl (for consecrated fire).kunḍa 'bowl for coals'. अग्निः [अङ्गति ऊर्ध्वं गच्छति अङ्ग्-नि,नलोपश्च Uṇ.4.5., or fr. अञ्च् 'to go.'] 1 Fire Sacrificial altar, अग्निकुण्ड cf. Rām. 1.14.28.    कुण्ड्   kuṇḍ कुण्ड् I. 1 Ā. 1 To burn. -2 To eat, -3 To heap. कुण्डः डी डम्   kuṇḍḥ ḍī ḍam कुण्डः डी डम् [cf. Uṇ.1.112] 1 A bowl-shaped vessel, a basin, bowl. -2 A round hole in the ground for receiving and preserving water. बलं नागसहस्रस्य यस्मि- न्कुण्डे प्रतिष्ठितम् Mb.1.128.68. -3 A hole in general; अग्निकुण्डम्. -4 A pool, well; especially one consecrated to some deity or holy purpose. -5 The bowl of a mendicant. -6 A water-jar (कमण्डलु). (Apte) *kāra5 ʻ live coal ʼ. [Cf. *skāra -- , kṣārá -- 1]Sh. gil. kã̄rṷ m. ʻ charcoal ʼ, (Lor.) kāre (m. pl.?).(CDIAL 3055)
I suggest that the rebus readings in Meluhha demonstrate that the 'standard device' signifies 'turner's lathe'.କୁନ୍ଦକର Kundakara ସଂ. ବି. (କୁନ୍ଦ+କୃ ଧାତୁ+କର୍ତ୍ତୃ. ଅ)— କୁନ୍ଦିବା ୟନ୍ତ୍ରରେ କାମ କଲାବାଲା କାରିଗର— A turner.କୁନ୍ଦକାରକ Kundakāraka ସଂ. ବି. (କୁନ୍ଦ+କୃ ଧାତୁ+କର୍ତ୍ତୃ. ଅକ)— କୁନ୍ଦକର (ଦେଖ) Kundakara (See)  କୁନ୍ଦଗର Kundagara [synonym(s): কুন্দকী कुंदमसाज] ଦେ. ବି. (ସଂ. କୁନ୍ଦକର)— 1। କୁନ୍ଦକରିବା କାରିଗର— 1. A turner. 2। କୁନ୍ଦନ କାମ କରିବା ବଣିଆ—2. A goldsmith adept in the art of setting precious stones on gold leaves.(Oriya) কুন্দ  kunda a (turner's) lathe. ̃কার n. a turner. ̃ Rebus: kunda 'fine gold'   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)

(Line drawings after: Kenoyer, JM & RH Meadow, 1997, Excavations at Harappa 1994-1995: New perspectives on the Indus Script, Craft Activities and City Organization. In R & B Allchin, eds., South Asian Archaeology, 1995, Vol. I, pp. 139-72. Cambridge, p. 155).

 h2022a

h2005a  kuṭi 'tree' Rebus: kuṭhi 'smelting furnace'

 h2005b kanac 'corner' rebus: kancu 'bell-metal' PLUS sal 'splinter' rebus:sal 'workshop'. 

कणा kaṇā, काना kānā 'The spine or back-bone' Rebus: kāṇā 'wealth, goods, possessions' Alternative: baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

मुष्टिका 'wrist, fist' rebus: मुष्टिक 'goldsmith'

kanka, karṇika 'rim of jar'rebus: karṇī 'supercargo, scribe'.

h2021c  kuṭi 'tree' Rebus: kuṭhi 'smelting furnace'

h2021a maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'. 

ayo 'fish' rebus: aya 'ironayas 'alloy metal' (R̥gveda

mēṭu 'height, eminence, hillock' rebus:  meḍ 'iron' (Mu.Ho.) PLUS kolom 'three' rebus: kolimi 'smithy, forge'. 

dhanga 'mountain range' Rebus: dhangar 'blacksmith

मुष्टिका 'wrist, fist' rebus: मुष्टिक 'goldsmith'

kanka, karṇika 'rim of jar'rebus: karṇī 'supercargo, scribe'.

h2021b (lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS खांडा (p. 116) khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon).  khaṇḍa 'implements' Alternative: *pōttī ʻ glass bead ʼ.

Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, putipũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.(CDIAL 8403) Rebus: potr̥, 'purifier of metals', potadāra, poddār 'assayer of metals into the treasury'. 

'khāra, šē̃ṣṭrĭ̄''squirrel' Rebus: śrēṣṭhin khār guild-master of blacksmith artisans and merchants

dhakka 'lid' rebus: dhakka 'bright, blazing metal' PLUS  koa 'one' rebus: ko 'workshop'. 

मुष्टिका 'wrist, fist' rebus: मुष्टिक 'goldsmith'

kanka, karṇika 'rim of jar'rebus: karṇī 'supercargo, scribe'. 

 kanka, karṇika 'rim of jar'rebus: karṇī 'supercargo, scribe'.

PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS खांडा (p. 116) khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon).  khaṇḍa 'implements'. 

baraḍo 'spine, backbone' rebus: baran, bharat ‘mixed alloys’ (5 copper, 4 zinc and 1 tin) (Punjabi)

kolmo 'rice plant' rebus: kolimi 'smithy, forge' PLUS dula 'duplicated' rebus: dul 'metalcasting'

kanka, karṇika 'rim of jar'rebus: karṇī 'supercargo, scribe'.


Dholavira: World Heritage site, UNESCO

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Prasar Bharati News Services पी.बी.एन.एस.

Absolutely delighted by this news. Dholavira was an important urban centre and is one of our most important linkages with our past. It is a must-visit, especially for those interested in history, culture and archaeology: PM
@narendramodiAs CM of Gujarat, I had the opportunity to work on aspects relating to heritage conservation & restoration in Dholavira. Our team also worked to create tourism-friendly infrastructure there: PM







Description

The City of Dholavira located in Khadir island of the Rann of Kutchch belonged to matured Harappan phase. Today what is seen as a fortified quadrangular city set in harsh arid land, was once a thriving metropolis for 1200 years (3000 BCE-1800 BCE) and had an access to the sea prior to decrease in sea level.

This 47 ha quadrangular city lay between two seasonal streams, the Mansar in the north and Manhar in the south, and had three distinct zones-the Upper, Middle and Lower Towns and shows the use of a specific proportion, considering the basic unit of measurement as 1 dhanus equivalent to 1.9 meters. First, the citadel, consisting of enclosures identified as a castle and a bailey (by excavators), having massive mud-brick walls flanked by dressed stones. To the north of the citadel was the quadrangular middle town having an area identified as the ceremonial ground or stadia. The latter served as a transition from the citadel to the middle and was accessed from the citadel through a grand gateway on its northern wall. Measuring 283 meters in length and 47.5 meters in width, the stadia had four narrow terraces possibly as seating arrangement. The middle town was characterised by a network of streets with defined hierarchy, intersecting at perfect angles. Beyond the middle town and enclosing it and the citadel was the lower town where commoners or the working population lived.

Dholavira show large scale use of dressed stone in construction. Few rooms have been found to have been built of dressed stone and in some cases show segments of highly polished stone pillars of square or circular section having a central hole. To create a pillar, such segments were piled to attain requisite height and a wooden pole was inserted to ensure stability. This method of constructing a column was an ingenious alternative to a monolithic column.

Water conservation of Dholavira speaks volume of the ingenuity of the people who developed a system based on rainwater harvesting to support life in a parched landscape, with scanty sweet water. Relying partly on rain-water and little from the ground a complex water system comprising of large rock-cut reservoirs, located at the eastern and southern fortification and rock-cut wells were developed. Huge stone drains can be seen in the city the directed storm water to the western and northern section of the lower town separated by broad bunds, creating in-effect a series of reservoirs. The most imposing well was located in the castle and is possibly the earliest example of a rock cut well. The city also drew water from the seasonal streams flowing on the northern and southern faces of the fortification. The water from these streams was slowed by a series of dams and partly channelized water into the lower town. Every drop of water was conserved to ensure survival.

Among antiquities recovered during excavation, an inscription measuring 3 meters long had been recovered from the chamber near the northern gate of the castle. Though its content is yet to be deciphered but based on the size of the incised letters, its conspicuous location and visibility, it has been identified as a sign-board. This is an exceptional find unlike any other sites, also suggesting that common people were versed in letters.

No one theory can explain the eventual abandonment of Dholavira. The urban order gradually ruralised and the eastward shift of habitation at a period of time when geo-climatic conditions challenged life in Khadir Island. The site seen today is the partly excavated area of a settlement abandoned for more than four millennia.

Justification of Outstanding Universal Value

The City of Dholavira located in Khadir island of the Rann of Kutchch belonged to matured Harappan phase. Today what is seen as a fortified quadrangular city set in harsh arid land, was once a thriving metropolis for 1200 years (3000 BCE-1800 BCE) and had an access to the sea prior to decrease in sea level.

The excavated site of Dholavira demonstrates the ingenuity of Harappan people to evolve a highly organised system of town planning with perfected proportions, interrelation of functional areas, street-pattern and an efficient water conservation system that supported life for more than 1200 years (3000 BCE to 1800 BCE) against harsh hot arid climate. Its scale of enclosures, the hierarchical street pattern and defined spatial utilization i.e. land for industries, administration etc, as well as infrastructure like waste water disposal system, show the sophisticated urban life enjoyed between in this metropolis. With its acropolis or citadel within the fortified area Dholavira remains the most expansive example of the Harappan town-planning system where a three-tier zonation comprising of a distinct upper (citadel, bailey) and middle (having a distinct street-pattern, large scale enclosure and a ceremonial ground) towns enclosed by a lower town (with narrower streets, smaller enclosures and industrial area (suggested by articles recovered)) – distinguishes the city of Dholavira from other metropolises of the Indus Valley Civilisation.

The importance of Dholavira`s planning was furthered with the excavation of Kampilya (the capital of South Panchala of Mahabharata), Uttar Pradesh, a city considered of mythical origin in the Gangetic plains. Belonging to the Gangetic Civilization, which is considered the second phase of urbanization of the Indian, sub-continent, Kampilya adopted the town planning principles (in terms of scale, hierarchy of space and road network) established in Dholavira. Kampilya, transformed under continued habitation, the importance of Dholavira remains lie in its ability to illustrate planning and urban life in two distinct subsequent cultural phases of the Indian Subcontinent.

The expansive water management system designed to store every drop of water available shows the ingenuity of the people to survive against the rapid geo-climatic transformations. Water diverted from seasonal streams, scanty precipitation and available ground was sourced, stored, in large stone-cut reservoirs which are extant along the eastern and southern fortification. To further access water, few rock-cut wells, which date as one of the oldest examples, are evident in different parts of the city, the most impressive one being located in the citadel. Such elaborate water conservation methods of Dholavira is unique and measures as one of the most efficient systems of the ancient world.

The property after excavation has been stabilized ensuring protection of its physical integrity. The site excavated over a period of time has been retained as partly exposed to avert deterioration due to weathering.

The excavated remains retain the hierarchy and inter-relationship of spaces, street patterns, large cavities that were once the water-reservoirs and altogether illustrate the sophisticated life in metropolis of Dholavira. The archaeological remains of the city, together with the dried of rain-fed channels and moveable articles demonstrate life and geo-climatic condition between 3000 BCE-1800 BCE in Khadir Island.

The property comprising of the excavated remains and the Buffer including the dried channels are protected and managed by the Archaeological Survey of India where mandates are governed by the Ancient Monuments and Sites Remains Act’1958 (amended in 2010). The site is set in a barren landscape, devoid of habitation where negligible exogenous factors exist that could impact the property.

Criterion (v): The excavated site of Dholavira demonstrates the ingenuity of Harappan people to evolve a highly organised system of town planning with perfected proportions, interrelation of functional areas, street-pattern and an efficient water conservation system that supported life for more than 1200 years (3000 BCE to 1800 BCE) against harsh hot arid climate. Its scale of enclosures, the hierarchical street pattern and defined spatial utilization i.e. land for industries, administration etc, as well as infrastructure like waste water disposal system, show the sophisticated urban life enjoyed between in this metropolis. With its acropolis or citadel within the fortified area Dholavira remains the most expansive example of the Harappan town-planning system where a three-tier zonation comprising of a distinct upper (citadel, bailey) and middle (having a distinct street-pattern, large scale enclosure and a ceremonial ground) towns enclosed by a lower town (with narrower streets, smaller enclosures and industrial area (suggested by articles recovered)) – distinguishes the city of Dholavira from other metropolises of the Indus Valley Civilisation.

The importance of Dholavira`s planning was furthered with the excavation of Kampilya (the capital of South Panchala of Mahabharata), Uttar Pradesh, a city considered of mythical origin in the Gangetic plains. Belonging to the Gangetic Civilization, which is considered the second phase of urbanization of the Indian, sub-continent, Kampilya adopted the town planning principles (in terms of scale, hierarchy of space and road network) established in Dholavira. Kampilya, transformed under continued habitation, the importance of Dholavira remains lie in its ability to illustrate planning and urban life in two distinct subsequent cultural phases of the Indian Subcontinent.

The expansive water management system designed to store every drop of water available shows the ingenuity of the people to survive against the rapid geo-climatic transformations. Water diverted from seasonal streams, scanty precipitation and available ground was sourced, stored, in large stone-cut reservoirs which are extant along the eastern and southern fortification. To further access water, few rock-cut wells, which date as one of the oldest examples, are evident in different parts of the city, the most impressive one being located in the citadel. Such elaborate water conservation methods of Dholavira is unique and measures as one of the most efficient systems of the ancient world.

Statements of authenticity and/or integrity

Authenticity

The excavated remains retain the hierarchy and inter-relationship of spaces, street patterns, large cavities that were once the water-reservoirs and altogether illustrate the sophisticated life in metropolis of Dholavira. The archaeological remains of the city, together with the dried of rain-fed channels and moveable articles demonstrate life and geo-climatic condition between 3000 BCE-1800 BCE in Khadir Island.

Integrity

The property after excavation has been stabilized ensuring protection of its physical integrity. The site excavated over a period of time has been retained as partly exposed to avert deterioration due to weathering.

Comparison with other similar properties

Globally, Dholavira can be compared to the cities of Ancient River Valley Civilization the urban metropolises of Egyptian, Chinese and Mesopotamian.

In the region, Dholavira can be compared to the other major cities of Harappan culture like Mohenjodaro, Harappa, Kalibangan, Rakhigadi, Banavali and Lothal. The excavated remains of the complete water system distinguishes this site from others.

https://whc.unesco.org/en/tentativelists/5892

Silver punch marked coin found at Keezhadi, ca. 200 BCE; Indus Script hieroglyphs on the coin signify mint metalwork

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http://tinyurl.com/2re3d5yz

While awaiting a  sharp image and further write up from archaeologists, at least two symbols are comparable to Indus Script hieroglyphs: the sun's rays and tree.

Sun's rays: arka 'sun's rays' rebus: arka 'copper, gold'

Tree: kuṭi 'tree' rebus: kuṭhi 'smelter'. These are signifiers of metalwork resources of a mint.

See, for e.g. sun's rays hieroglyph on Dholavira seal impression


arka 'sun' Rebus: araka, eraka 'gold, copper, moltencast' PLUS करडूं karaḍū 'kid' Rebus: karaḍā 'hard alloy'. Thus, together, the rebus message: hard alloy of copper. 

 Kho. kār ʻear (CDIAL 3056) Rebus: khār 'blacksmith'. 

Kalyanaraman

@tskrishnan 28 July 2021

The Silver coin found in Keezhadi excavation yesterday belong to the category of Punch Marked Coins (முத்திரை காசுகள்) which were commonly used by Pandyas during Sangam age. The 200 BCE period coin has Sun, Moon, Tree with six branches and few animals. It must be noted that such coins were also used by other Indian kingdoms at that time like Magadha & Maurya. They were said be minted initially by Janapadas.

Pandya coins also have a Trident within a fence & it would be interesting to see if Keezhadi coin also has that feature.
Source: Dinamalar, 27 July 2021
Mauryan punchmark silver krshapana from Magadha (321BCE - 185BCE) It has sun, elephant, antelope ?, tree with branches and taurines.

Tour de force in astronomy. Astronomers see light bending around a black hole.

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Astronomers see back of a black hole for first time, proving Albert Einstein was right

Researchers prove theory through studying a supermassive black hole 800 million light years away


Portrait image of Emperor Akbar in Akbarnama...-- Dipanwita Donde How did Akbar look like? Like a Meluhha, Indian farmer.

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Sep 5, 2016

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The Portrait Image of Emperor Akbar in the Akbarnama and Beyond


Dipanwita Donde is a 2014–15 Sylff fellow from Jawaharlal Nehru University in India. Using an SRA award, she visited London and Dublin to see and study some of the original manuscripts of the Akbarnama, a beautiful illustrated book commissioned by a Mughal emperor. In this article, she explains how portraiture in the book is used to justify the sovereignty of the successors.

* * *

Abstract

In the closing years of the sixteenth century in India, there was an unexpected burst of portraits of medieval Indian men drawn from life that appeared in illustrated manuscripts, patronized by the third Mughal emperor1 Akbar (r. 1556–1605). The portraits included Turko-Mongol ancestors of Akbar who ruled in central Asia during the Timurid dynasty (1350–1507);2 Akbar’s immediate ancestors, Babur and Humayun;3 the men of Akbar’s court belonging to several different cultural and regional backgrounds;4 and Emperor Akbar himself. During Akbar’s reign, hundreds of thousands of folios were produced (for assembling into albums and manuscripts) in the imperial atelier by an estimated 100 artists working together as a team.5 The subjects explored in the manuscripts were primarily Persian texts authored by medieval poets such as Firdausi, Nizami, and Jami. Along with Persian epics, Akbar had the reigns of his ancestors written and compiled into histories, several copies of which he ordered to be produced into magnificent manuscripts. These illustrated manuscripts contained portrait images of Timurid and Mughal ancestors based on textual descriptions available in the writings of Timurid princes, including Babur,6 and made into stunning folios by the imperial artists. Akbar also ordered the history of his own reign to be chronicled, and Abul Fazl was chosen to write it. Abul Fazl took several years to complete it, finally presenting the Akbarnama (Book of Akbar) to the emperor in 1579.7 The text written by Abul Fazl was further produced into illustrated manuscripts, documenting pictorially the important episodes in the life and reign of Emperor Akbar.

In this paper, I raise three questions about the portrait of Akbar in the Akbarnama and attempt to answer them through my research.
1. What was the significance of portraiture during the reign of Emperor Akbar?
2. Which transcultural prototypes helped shape the portrait image of Emperor Akbar in the painted folios of the Akbarnama?
3. Were there any differences between the portrait of Akbar illustrated during his reign and posthumous images illustrated during the reign of his son and successor, Jahangir (r. 1605–1627)?

These questions are relevant to my research on the portrait of Akbar, which occupies a significant position in the genre of portraiture, explored extensively during the reign of Akbar and his successors. By raising these questions, I wish to trace how portraiture became a political tool for stating the ideology and sovereignty of Mughal emperors.

Significance of Portraiture in Mughal Manuscript Art

Portraiture—that is, images of persons drawn from life—was introduced into manuscript art8 in India during the reign of Emperor Akbar. The hundreds of portrait images of Akbar that were illustrated during his reign and during the reigns of his successors Jahangir (r. 1605–1627), Shah Jahan (r. 1628–58), and Aurangzeb (r. 1658–1707) signify a preoccupation with portraiture in manuscript art.

Akbar ascended the throne in 1556 at the age of 13, after the untimely death of his father, Humayun (r. 1530–40, 1555–56). Humayun had reconquered India in 1555 with the help of the Shia ruler of Iran, Shah Tahmasp (r. 1524–76). In addition to military support, Humayun had also requested the services of two painters from the Shah’s court to join him while he was in exile in Kabul. The two artists, Mir Sayyed Ali and Abd-ul Samad, joined Humayun’s camp at Kabul and accompanied him to India during his reconquest. Trained in Persian manuscript art, they were two of the finest artists in the court of the Shah, having displayed their brilliance in the several manuscripts produced during the reign of Shah Tahmasp. The artists brought with them a knowledge of Persian painting, which included portraiture learnt from the great master artist Bihzad (1450–1535) himself. Thus, the Persian iconographic canon that was in vogue in central Asia became the foundation of Mughal art, which originated during the reign of Emperor Akbar.

Soon after ascending the throne, Akbar launched a massive imperial manuscript art project, recruiting hundreds of artists from regional centers in the sub-continent. The two Persian artists who accompanied Akbar’s father to India became ustads (masters) under whom the Indian artists began illustrating episodes from Persian classics as well as the histories of the Timurid-Mughal dynasties. Under Akbar’s orders and his personal supervision, the histories of the reign of his ancestors as well as his own history were first documented textually and then illustrated into fabulous manuscripts, displaying the mature Akbari style.9 These illustrated histories carried portrait images of Akbar’s ancestors, some drawn posthumously, based on textual descriptions; some were copies of portraits of Babur and Humayun that had been drawn from life. Akbar also ordered portrait images of his courtiers to be drawn from life and assembled into an album for his perusal. He further showed keen interest in Sufis and Indian holy men living in his realm and ordered their portraits to be illustrated. These portraits of Timurid sultans, Mughal emperors, Rajput nobility, and other ordinary men displayed in the albums produced for Akbar, along with his own portraits represented in the Akbarnama, must have been the largest collection of portraits of medieval men in India in the sixteenth century.

My research, however, focuses on the portrait image of Akbar in the Akbarnama, tracing the different transcultural strains that were sourced and transferred from Persian, Indic, and European prototypes to shape the emperor’s portrait image.

Portraits of Akbar in the Akbarnama

During my research, I studied the portraits of Akbar in the Akbarnama published in art history books and read essays written by Mughal scholars about portraiture in Mughal art. I was deeply influenced by the writings of Dr. Susan Stronge, especially her essay in which she categorized the images of the emperor shown in one codex into different genres, which helped shape the personality of Emperor Akbar. Dr. Stronge further divided the illustrations into separate categories and placed groups of images under these subcategories. This exercise was very useful in that it enabled future scholars to study and compare the genres defined by Dr. Stronge.

The portrait of Akbar, indexing his particular characteristics, was used like a stencil in multiple compositions. Portraits of Akbar from the Victoria and Albert Museum’s Akbarnama Mughal c. 1586–89	 Victoria and Albert Museum, London (visited January 14–30, 2016)

The portrait of Akbar, indexing his particular characteristics, was used like a stencil in multiple compositions.
Portraits of Akbar from the Victoria and Albert Museum’s Akbarnama
Mughal c. 1586–89
©Victoria and Albert Museum, London (visited January 14–30, 2016)

Dr. Stronge argued that the paintings fell under five identifiable categories: the royal hunt, the depiction of treachery, scenes of prestige, battles, and the life of the king.10 This categorization, however, limits any further study of Akbar’s portrait, as the imperial image is repeatedly represented without much variation to his form, despite occupying a prime location within carefully composed narratives. If we were to expand the concept of portraiture by including the emperor’s personality and attempt to trace prototypes that could have served as models, we should be able to identify ideologies and identities absorbed from transcultural sources that defined the portrait image of the emperor.

After studying the portrait images of Akbar illustrated in the Akbarnama, I realized that these categories needed further research. I questioned where these ideas originated from. In other words, were there any textual sources that informed the construction of Akbar’s personality in the Akbarnama?

My research led me to medieval Persian texts, imbued with tales of epic heroes and kings that were used as models for Timurid rulers of central Asia. The sultans of central Asia fashioned their biographies upon the lives and reigns of ancient heroes and kings narrated in Persian literature. Painted codices with portraits of Timurid sultans often had ruling sultans emulate figures of protagonists from ancient and medieval Persian texts.11 The circulation of these ideas in the wider Persian-speaking world during the 1500s ensured that all kings who conquered and ruled over local or foreign territories were informed by ideas of kingship from ancient classical and epic tales written by great poets of Persian literature. Hence, I was able to connect several pieces of texts composed during medieval times with images painted during the Mughal dynasty, in which, like their Timurid ancestors, the Mughal emperors displayed themselves as heroes of ancient and medieval epics. The image of Akbar, categorized into different genres within one codex, was an amalgamation of several transcultural prototypes drawn from Persian, Indic, and European sources.12

Two manuscripts of the original illustrated Akbarnamas, one illustrated in 1590–95 and the second painted in 1600–05, are now preserved in institutions outside India; the main bulk of the folios are preserved in the UK. Hence, I was very keen to avail myself of the Sylff Research Abroad fellowship to travel to the UK and study the original manuscripts.

Summary of Major Findings

The Sylff Research Abroad award allowed me to realize a dream: to see and study sixteenth-century Persian manuscript illustrations produced during the reign of Akbar in India. The original manuscripts of the Akbarnama, of which 116 illustrations are preserved at the Victoria and Albert Museum in London and 66 illustrations at the Chester Beatty Library in Dublin, Ireland, contain several minute details that can only be gauged with the naked eye. The fellowship allowed me to travel to the UK and research primary material. In addition, I met several scholars of Mughal art, who shared their knowledge with me and discussed what is being currently researched on the subject.

Along with the original folios of the Akbarnama, I studied more than 400 illustrations painted during the Mughal period that are preserved in the archives of the Victoria and Albert Museum, the British Library, and the Chester Beatty Library. I also researched Persian manuscripts illustrated during the Timurid and the Safavid periods in central Asia, which were the precursor to Mughal painting, and studied stylistic commonalities and differences between the Persian and Mughal manuscripts.

Directly accessing primary material containing portrait images of Emperor Akbar helped me analyze how the portrait of Akbar functioned differently for each emperor. For Akbar, his own portrait imitated the model of Hero-King, Just-Ruler, Prophet-King, and God-King from Persian, Indic, and European sources. During the reign of Jahangir, however, Akbar’s portrait image underwent changes to suit the role of a divine Mughal ancestor on which Jahangir chose to shape his own portrait image.

Akbar wearing a halo. An Equestrian Portrait of Akbar The Late Shah Jahan Album  c. 1650, India In 07B.21b The Chester Beatty Library (visited February 1–11, 2016)

Akbar wearing a halo.
An Equestrian Portrait of Akbar
The Late Shah Jahan Album
c. 1650, India
In 07B.21b
The Chester Beatty Library (visited February 1–11, 2016)

Akbar without a halo. The Elderly Akbar Receives Murtaza Khan Shuja' al-Dawla Album  Manohar  c. 1600, India, In 34.2 The Chester Beatty Library (visited February 1–11, 2016)

Akbar without a halo.
The Elderly Akbar Receives Murtaza Khan
Shuja' al-Dawla Album
Manohar
c. 1600, India, In 34.2
The Chester Beatty Library (visited February 1–11, 2016)

According to my research of the primary material preserved at the Chester Beatty Library and the Victoria and Albert Museum, functions of portraiture differed between father and son, due to three factors.

Firstly, the portrait image of Akbar developed during the emperor’s rule was carefully constructed to address a polity that would recognize and be familiar with the symbols of kingship that was in circulation. Thus, the portrait of Akbar as depicted in illustrated folios addressed his audience with the visual lexicon developed by his ancestors, the Timurids of central Asia. They relied heavily on Persian literary sources, which were in circulation throughout the Persian-speaking world.

Secondly, in the Persian tradition, the king had to display certain characteristics to project himself as a suitable ruler for his subjects. These characteristics were:

i) a great hero-king based on the personality of Rustam, the hero of Shahnama (Book of Kings) written by Firdausi in the tenth century;
ii) a humanist king based on Sufi literature developed by great poets like Jami writing in the Timurid courts during the fifteenth century;
iii) a prophet-king emulating the character of Iskander, Alexander the Great, in the Iskandernama (Romance of Alexander) written by Nizami in the twelfth century; and
iv) in Akbar’s case, a god-king based on Sanskrit texts that discussed several avatars of Lord Vishnu and considered the king, including a Muslim emperor like Akbar, to be an avatar of the Hindu god Vishnu.

Akbar’s personality as depicted in the Akbarnama displayed all these characteristics of an ideal ruler, gathered from several literary and transcultural sources.

Akbar as a brave hero(left), and Akbar as a just ruler(right) Portraits of Akbar from the Victoria and Albert Museum’s Akbarnama Mughal c. 1586–89 Victoria and Albert Museum, London (visited January 14–30, 2016)

Akbar as a brave hero(left), and Akbar as a just ruler(right).
Portraits of Akbar from the Victoria and Albert Museum’s Akbarnama
Mughal c. 1586–89
©Victoria and Albert Museum, London (visited January 14–30, 2016)

Akbar as a Sufi(left), and Akbar in a spiritual trance(right).  Portraits of Akbar from the Victoria and Albert Museum’s Akbarnama Mughal c. 1586–89 Victoria and Albert Museum, London (visited January 14–30, 2016)

Akbar as a Sufi (left), and Akbar in a spiritual trance (right)
Portraits of Akbar from the Victoria and Albert Museum’s Akbarnama
Mughal c. 1586–89
©Victoria and Albert Museum, London (visited January 14–30, 2016)

Thirdly, when Akbar’s son and successor Jahangir ascended the throne, he needed to reimagine Akbar’s portrait to suit his own demand for an ancestral hero-king imbued with divine qualities. The reimagining of Akbar’s portrait was necessary to articulate an alternative politics that suited the newly announced emperor and help Jahangir project an image of himself as a world conqueror with divine attributes.

During my visit to the Chester Beatty Library in Dublin, I was able to match text with image, which helped me locate certain alterations in Akbar’s portraits13 that were illustrated during the reign of his son. This finding helps me prove my argument that the portrait image of Akbar was remapped by Jahangir to suit a dynastic-ancestral image to legitimize his own rule.

Transcultural Distinctiveness at Akbar’s Court

Illustrated manuscripts can tell us many aspects of human societies and how social relations were hinged upon a keen understanding between a ruler and his subjects. During the reign of Akbar in India, the emperor followed a structure of protocol that included systems taken from many cultural sources and applied universally at the royal court. This transcultural homogeneity was the most unique aspect of Akbar’s reign that transferred traditional courtly culture informed by Persianate tradition, as well as shaping a new courtly culture based upon systems absorbed from Hindu traditions.

The medium of portraiture, which formed the bulk of the images in Mughal art during the reigns of Akbar, Jahangir, and Shah Jahan, allows us a window by which we can not only study the physiognomic particularities of men belonging to a particular region, but also glimpse the popular models that were in vogue and which helped shape the portrait images of Mughal emperors, their coterie, and their subjects. Furthermore, by studying the changes in the visual lexicon between portraits of emperors depicted during their lifetimes and those re-created during the reigns of their successors, we can trace the politics and ideology articulated by the ruling emperor through the medium of manuscript art.

Bibliography

Beach, Milo C., B.N. Goswamy, et al, eds., Masters of Indian Painting, 1100–1900 (New York: Artibus Asiae Publishers, 2011)

Crill, Rosemary and Kapil Jariwala, eds., The Indian Portrait, 1560–1860 (Ahmedabad: Mapin Publishing, 2010)

Dimand, S. Maurice, “Mughal Painting under Akbar the Great,” Metropolitan Museum of Art Bulletin, New Series, vol. 10, no. 2 (1953), pp. 46–51

Eraly, Abraham, The Mughal World: Life in India’s Golden Age (New Delhi: Penguin Books India, 2007)

Koch, Ebba, Mughal Art and Imperial Ideology: Collected Essays (New Delhi: Oxford University Press, 2001)

Losty, J., The Art of the Book in India (London: The British Library Publishing Division, 1982)

Sims, Eleanor, Peerless Images: Persian Painting and Its Sources (Mapin Publishing in association with Yale University Press, 2002)

Soucek, Priscilla, “Persian Artists in Mughal India: Influences and Transformations,” Muqarnas, vol. 4 (1987), pp. 166–181


 

1The Mughals were the descendants of Turko-Mongol sultans of the Timurid dynasty who ruled in central Asia from the fourteenth to sixteenth centuries. The Mughals ruled in India from 1526, when Babur defeated the Lodhis and established the empire. The last emperor of the Mughal dynasty was Bahadur Shah II, who was exiled by the British empire in 1857.

2The Timurid dynasty began in 1370 under the reign of Shah Timur (r. 1370–1407) in central Asia. The Timurid princes were great patrons of Persian literature and patronized several brilliantly illustrated manuscripts during their reigns. Beatrice Forbes Manz notes that the cultural revival that began under Shahrukh (r. 1405–1447) reached its zenith under Sultan Husayn Bayqara (r. 1470–1506), who turned Herat into a “shining centre of cultural patronage” (Manz, “Temür and the Problem of a Conqueror's Legacy,” Journal of the Royal Asiatic Society, vol. 8, iss. 1 [1998], p. 39). Also see Thomas W. Lentz and Glenn D. Lowry, Timur and the Princely Vision: Persian Art and Culture in the Fifteenth Century (Los Angeles: Museum Associates, Los Angeles County Museum of Art, 1989) and Beatrice Forbes Manz, “Tamerlane’s Career and Its Uses,” Journal of World History, vol. 13, no. 1 (2002), pp. 1–25.

3Babur was the first Mughal emperor in India. He conquered India in 1526 and reigned there until his death in 1530. Humayun, Babur’s son and successor, ruled India in 1531–40 and again in 1555–56.

4The men of Akbar’s court were Persian, Uzbeks, Afghans, Jesuits, and Rajputs belonging to Shia, Sunni, Christian, and Hindu faiths.

5Milo Cleveland Beach, The Imperial Image: Paintings for the Mughal Court (Washington, DC: Freer Gallery of Art, Smithsonian Institution, 1981), p. 19.

6Babur was the author of Baburnama, the first autobiography written by a Timurid prince.

7The official history of Akbar’s reign was begun in 1589 and completed in 1598, in the fifth and final decade of Akbar’s rule.

8Manuscript art, also known as miniature painting, originated in Persia during the reign of Mongol conquerors in the fourteenth century. Illustrations made on paper were accompanied by Persian calligraphy written in text boxes within the composition. They were usually assembled into albums and bound with a leather cover, decorated with gold inscriptions and intricate designs.

9J. Losty, The Art of the Book in India (London: The British Library Publishing Division, 1982).

10Susan Stronge, Painting for the Mughal Emperor: The Art of the Book, 1560–1660 (London: Victoria and Albert Museum, 2002), pp. 68–84.

11See Eleanor Sims, “The Illustrated Manuscripts of Firdausī’s Shāhnamā Commissioned by Princes of the House of Tīmūr,” Ars Orientalis, vol. 22 (1992), pp. 43–68. Discussing three illustrated manuscripts of the Shahnama produced for the three Timurid princes—Ibrahim Sultan (1435), Baysangur (1433), and Mohammad Juki (1444)—Sims notes that each contains at least one illustration that could be interpreted as a “portrait” of the prince who commissioned it (p. 44); as cited in Linda T. Darling, “’Do Justice, Do Justice, For That is Paradise’: Middle Eastern Advice for Muslim Rulers in India,” Comparative Studies of South Asia, Africa and the Middle East, vol. 22, nos. 1 and 2 (2002).

12See Catherine Asher, “Ray from the Sun: Mughal Ideology and the Visual Construction of the Divine,” in The Presence of Light: Divine Radiance and Religious Experience, ed. Matthew T. Kapstein (Chicago: University of Chicago Press, 2004); Milo C. Beach, The Imperial Image: Paintings for the Mughal Court; and A. Azfar Moin, The Millennial Sovereign: Sacred Kingship and Sainthood in Islam (New York: Columbia University Press, 2012).

13The use of the halo, a heavily jeweled Emperor Akbar, an older monarch than seen imaged in the first Akbarnama with gray hair and a slightly stooped body—these were some of the alterations in Akbar’s image made during the reign of Jahangir.

Dipanwita Donde

Dipanwita Donde*

Jawaharlal Nehru University

SRA2015-1
FR: Jawaharlal Nehru Univ. (India)
TO: V&A Museum, British Library, the Courtauld Institute of Art, and Chester Beatty Library (UK,Ireland)
Dipanwita Donde is in the final semester of her PhD program, specializing in Mughal art at Jawaharlal Nehru University in India. Donde recently spent a total of three months (October–December 2015 and March–April 2016) as subject expert, art historical researcher, and co-curator of an exhibition of Indian miniature paintings at Staatliche Kunstsammlungen Dresden, Germany. She has delivered several lectures and participated in seminars and conferences, including at Kupferstich-Kabinett, Dresden; York University, Toronto (on Skype); the Indian Institute of Indo-Persian Studies, Mumbai; and the International Conference on Greek Studies at Jawaharlal Nehru University, New Delhi. She has contributed her writings as special writer and subject expert to “The Body Ideal: Heroic” in The Body in Indian Art and Thought, Ministry of Culture-ICCR, Europalia 2013, pp. 225–247.

https://www.sylff.org/news_voices/17830/

Mohenjo-daro stupa on citadel is a Ziggurat, 'Nārāśaṃsa śikharam moon temple'

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https://tinyurl.com/ymvrfw5f

-- Mohenjo-daro ziggurat compares with Ur discoveries of a ziggurat (temple of Moon God Nanna, patron deity of Ur) and other artifacts by  Sir Leonard Woolley in 1928-29 season of digings at Ur, Mesopotamia

--Mohenjopdaro Ziggurat may be the oldest mandiram of Ancient India for Nārāśaṃsa 'ancestors signified by moon divinity'

-- शिखरः śikharaḥ, शिखरम् śikharam [शिखा अस्त्यस्य-अरच् आलोपः The top, summit, or peak of a mountain; जगाम गौरी शिखरं शिखण्डिमत् Ku.5.7,4; Me.18. Top, peak, point in general.

--venerating पितृगणा, ca. 2500 BCE


ऋग्वेदः - मण्डल ५
सूक्तं ५.५
वसुश्रुत आत्रेयः दे. आप्रीसूक्तं (१ इध्मः समिद्धोऽग्निर्वा, २ नराशंसः,

नराशंसः सुषूदतीमं यज्ञमदाभ्यः ।
कविर्हि मधुहस्त्यः ॥२॥

Griffith: RV 5.5.2 He, Narasamsa, Never beguiled, inspiriteth this sacrifice:

For sage is he, with sweets in hand.

नाराशंस पु० नरैरांशस्यते आ + शन्स--कर्मणि घञ्

"नराशंसः नरैः शंसनीयोऽयमग्निः “इमं यज्ञम् इदं हविः वा 'सुषूदति सुष्ठु प्रेरयति । स देवः सुष्टु अदाभ्यः अहिंस्यः केनापि "कविः मेधावी "मधुहस्त्यः मधुरहस्त्यः ॥--सायणभाष्यम्

नराशंसाः पितरः तेषामयम् अण् । नाराशंसानांपितॄणां सोमपानसाधने १ चमसे “ते नाराशंसाआवैश्वदेवात्” कात्या० श्रौ० ९ । १२ । ८ “ते चमसा नारा-शंससंज्ञाभवन्ति” कर्कः “आप्यायितांश्चमसान् सादयन्तिते नाराशंसा भवन्ति” आश्व० श्रौ० ५ । ६ । ३० । नारा-शंसा भवन्ति इत्यर्थः अन्वर्थसंज्ञेयं नाराशंसा नाम त्रय!पितृगणा ऊमाः और्वाः काव्याश्चेति तेषामनुसवनंयथासङ्ख्येनाप्यायितानां चमसानां देवता भवन्तीतिनाराशंसाश्चमसा भवन्ति” नारायण० । २ तद्देवतासु पितृषु“अथ यदि नाराशंसेषु सन्नः किञ्चिदापद्यते पितृभ्यःनाराशंसेभ्यः इति जुहुयात् पितरोहि तर्हि नारा-शंसाः” शत० ब्रा० १२ । ६ । ३३ । ३ पित्र्यचमसस्थसोमे च “मनोन्वा हुवामहे नाराशंसेन सोमेन” ऋ० १० । ५७ । ३“नाराशंसेन चमसगतेन सोमेन । नरैः शस्यन्ते इतिनराशंसाः पितरः तेषां चमसानां कम्पनमेव होमः ।तथाविधेन सोमेन” भा० । ४ मन्त्रभेदे “येन नराः प्रश-स्यन्ते स नारांशसोमन्त्रः” निरु० ९ । ९ स च रुद्रदै-वत्यः यथाह “वाकोवाक्यं पुराणञ्च नाराशंसांश्चगाथिकाः” याज्ञ० व्याख्याने “नाराशंसान् रुद्रदैवत्या-मन्त्रान्” मिता० ।--वाचस्पत्यम्

नाराशंसा नाम त्रय!पितृगणा are: ūma a m. (Uṇ. i, 143 ) a helper, friend, companion, RV. ; AV. v, 2, 1; 3AitBr. ; ŚāṅkhŚr.; aurva m. pl. N. of a class of Pitṛs, TāṇḍyaBr. ; Lāṭy. kāvya m. a class of Manes, ŚāṅkhŚr. ; Lāṭy. ; Mn. iii, 199  Camasa is venerated in Apri Sukta as a metaphor for the three groups of ancestors, नाराशंसा नाम त्रय!पितृगणा, that is, ancestors named नाराशंसा  

8. And, verily, the precepts[5], the sciences[6], the dialogue[7], the traditional myths and legends[8], and the Nārāśaṃsī Gāthās[9] are honey-offerings to the gods; and whosoever, knowing this, studies day by day the precepts, the sciences, the dialogue, the traditional myths and legends, and the Nārāśaṃsī Gāthās, for his lesson, satisfies the gods with honey-offerings; and, being satisfied, they satisfy him by (granting him) security of possession, by life-breath, by seed, by his whole self, and by all auspicious blessings; and rivers of ghee and rivers of honey flow for his Fathers, as their accustomed draughts. 

Notes: [5]:The Anuśāsanāni, according to Sāyaṇa, are the six Vedāṅgas, or rules of grammar, etymology, &c.

[6]:

By vidyāḥ, according to Sāyaṇa, the philosophical systems, Nyāya, Mīmāṃsa, &c., are to be understood. More likely, however, such special sciences as the 'sarpavidyā' (science of snakes) are referred to; cf. XIII, 4, 3, 9 seqq.

[7]:

Vākovākyam, apparently some special theological discourse, or discourses, similar to (if not identical with) the numerous Brahmodya, or disputations on spiritual matters. As an example of such a dialogue, Sāyaṇa refers to the dialogue between Uddālaka Āruṇi and Svaidāyaṇa Gautama, XI, 4, 1, 4 seqq.

[8]:

Itihāsa-purāṇa: the Itihāsa, according to Sāyaṇa, are cosmological myths or accounts, such as 'In the beginning this universe was nothing but water,'&c.; whilst as an instance of the Purāṇa (stories of olden times, purātanapuruṣavṛttānta) he refers to the story of Purūravas and Urvaśī. Cf. Max Müller, History of Ancient Sanskrit Literature, p. 40.

[9]: Or, the Gāthās and Nārāśaṃsīs. Sāyaṇa, in the first place, takes the two as one, meaning 'stanzas (or verses) telling about men;' but he then refers to the interpretation by others, according to which the Gāthās are such verses as that about 'the great snake driven from the lake' (XI, 5, 5, 8); whilst the Nārāśaṃsīs would be (verses 'telling about men') such as that regarding Janamejaya and his horses (XI, 5, 5, 12). On Aitareyār. II, 3, 6, 8, Sāyaṇa quotes 'prātaḥ prātar anṛtaṃ to vadanti' as an instance of a Gāthā.(Satapatha Brahmana Tr. by Julius Eggeling | 1882 |Kanda XI, adhyaya 5, brahmana 6)

See: Buddhist Stupa or Indus Temple?

Science  06 Jun 2008 Vol. 320, Issue 5881, pp. 1280
https://science.sciencemag.org/content/320/5881/1280
Is it possible that the Ziggurat of Mohenjo-daro was also a Moon temple like the Ziggurat of Ur dedicated to Naramsit or Nanna? Further archaeological work is needed to confirm this possibility Prima facie, the Mohenjopdaro Ziggurat seems to an extension of the masive burnt-brick structures such as the nearby Great Bath.
Giovanni Verardi, retired archaeologist from the Univ. of Naples argues that the massive structure of burnt-bricks, the so-0called stupa may in fact be a construction during the Indus period. If so, this may be a Ziggurat constructed ca. 2500 BCE, a few centuries earlier than the Ziggurat of Ur.

Nārāśaṃsa 'moon divinity' is comparable to Namrasit, 'rising moon divinity' in Sumerian tradition.

nārāśaṃsa  'of a class of Pitṛs or Manes'; namrasit (nanna, moon divinity) also signifies veneration of ancestors. Namrasit at times assumed the character of a god of the dead , as he sank below the horizon during the course of the day. Namrasit thus had the power to enter the realm of the dead.

After the death of Enkidu , Namrasit received sacrificial gift from Gilgameš :

139  On [...] from [...] [...]. 140 he  submitted for Namrasit, the adviser of the gods, to the Šamaš : 141  May Namrasit, the adviser of the gods, receive this (gift). 142 In the  face of my friend he was so full of joy 143  that he was walking by his side. "

Eighth panel, Epic of Gilgamesh

There is another Sumerian moon god named Nanna .The Ziggurat of Ur is a temple of Nanna, moon divinity.

"The Great Ziggurat of Ur (Sumerian: 𒂍𒋼𒅎𒅍 or “Etemenniguru,” meaning “temple whose foundation creates aura”) is a Sumerian ziggurat – or step pyramid – built in the city of Ur in the 21st Century BCE – or about 4000 years ago.  Construction started circa 2050-2030 BC and was completed circa 2030-1980 BCE"

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Ziggurat. Ur. 2012 photo
https://allmesopotamia.wordpress.com/2012/09/24/marveling-at-the-great-ziggurat-of-ur/




godnanna2

 The god Nanna, god of the moon, who granted heavenly power to the king – and worshiped in the Great Ziggurat of Ur – is seen above in the form of a crescent moon.
Impression of the cylinder seal of Ḫašḫamer, a high priest of Sîn, ca. 2100 B.C.E. The seated figure is probably King Ur-Nammu, who dedicated the great ziggurat of Ur in honor of Nanna/Sîn, who is present in the form of the crescent.


Nanna's parents, Enlil and Ninlil
https://www.newworldencyclopedia.org/entry/Sin_(mythology)

"Nanna, also called Sîn (or Suen) was a Sumerian god who played a longstanding role in Mesopotamian religion and mythology. He was the god of the moon, the son of the sky god Enlil and the grain goddess Ninlil. His sacred city was Ur, and temples dedicated to him have been found throughout Mesopotamia. The daughters of Mesopotamian kings were often assigned to be his high priestess.The worship of Nanna was associated with the breeding of cattle, which was a key part of the economy of the lower Euphrates valley. Known as Nanna in Sumer, he was named Sîn (contracted from Su-en) in the later civilizations of Babylonia and Assyria, where he had a major temple in Harran. His wife was the reed goddess Ningal ("Great Lady"), who bore him Shamash (Sumerian: Utu, "Sun") and Ishtar (Inanna), the goddess of love and war. In later centuries, he became part of an astral triad consisting of himself and his two great children, representing the positions of sun and morning star (Venus). In art, his symbols are the crescent moon, the bull, and the tripod. In his anthropomorphized form, Sîn had a beard made of lapis lazuli and rode on a winged bull...In Mesopotamian mythology, Nanna was the son of the sky god Enlil and and the grain goddess Ninlil. Nanna's origin myth is a story of his father's passion and his mother's sacrificial love. The virgin Ninlil bathes in the sacred river, where she is seen by the "bright eye" of Enlil, who falls in love with her and seduces (or rapes) her. The assembly of the gods then banishes Enlil to the underworld for this transgression. Ninlil, knowing she is pregnant with the "bright seed of Sîn," follows Enlil to the world of the dead, determined that "my master's seed can go up to the heavens!" Once the moon god is born in the underworld, three additional deities are born to his parents, allowing Nanna/Suen to take his place in the skies to light up the night. Nanna's own best-known offspring were the sun god Shamash and the great goddess of love and war, Inanna, better known today as Ishtar. The moon played a key role in Mesopotamian religious culture. As it moved through its phases, people learned to keep their calendars based on the lunar month. Nanna (or Suen/Sîn) was sometimes pictured as riding his crescent moon-boat as it made its monthly journey through the skies. Some sources indicate that the moon god was called by different names according to various phases of the moon. Sîn was especially associated with the crescent moon, while the older Sumerian name Nanna was connected either to the full or the new moon. The horns of a bull were also sometimes equated with the moon's crescent...Sîn's status was very formidable, not only in terms of the temples dedicated to him, but also in terms of astrology, which became a prominent feature of later Mesopotamian religion, and even legal matters. For an entire millennium—from 1900 to 900 B.C.E.—Sîn's name is invoked as a witness to international treaties and covenants made by the Babylonian kings. His attribute of wisdom was particularly expressed in the science of astrology, in which the observation of the moon's phases was an important factor. The centralizing tendency in Mesopotamian religion led to his incorporation in the divine triad consisting of Sîn, Shamash, and Ishtar, respectively personifying the moon, the sun, and the planet Venus. In this trinity, the moon held the central position. However, it is likely that Ishtar came to play the more important cultural role as time went on, as she rose to the key position among the Mesopotamian goddesses, while younger deities like Marduk came to predominate on the male side of the pantheon." https://www.newworldencyclopedia.org/entry/Sin_(mythology)



Ishtar with her ight-pointed Star, with the Moon god Sin and the Sun god Shamash - from ancinet Mesopotamia culture


King Melishipak I (1186–1172 B.C.E.) presents his daughter to Shamash, The crescent moon represents Sîn, while the sun and star represent Shamash and Ishtar.
"In Mesopotamian religion Shamash was the Akkadian name of the sun god, corresponding to Sumerian Utu. In mythology, Shamash was the son of the moon god Sin (known as Nanna in Sumerian), and thus the brother of the goddess Ishtar (Sumerian: Inanna), who represented the great "star" of Venus. In early inscriptions, Shamash’s consort was the goddess Aya, whose role was gradually merged with that of Ishtar. In later Babylonian astral mythology, Sin, Shamash, and Ishtar formed a major triad of divinities, which still today plays an important role in astrological systems, though under different names.https://www.newworldencyclopedia.org/entry/Shamash

King Nabonidus (sixth century B.C.E.), worships NannaIshtar, and Shamash.
https://www.newworldencyclopedia.org/entry/Shamash

Measuring weight with the symbol of Nanna used by his priests at Ur and dedicated by King Shulgi in the twenty-first century B.C.E.
https://www.newworldencyclopedia.org/entry/Sin_(mythology)
https://openendedsocialstudies.org/2019/09/11/build-a-great-ziggurat/
आपस्तम्ब-श्रौतसूत्रम्/प्रश्नः १४
14.28
यदि नाराशंस उपदस्येद्यमध्वर्युः पूर्वं ग्रहं गृह्णीयात्तं वषट्कृतानुवषट्कृते हुत्वा चमसाध्वर्यवे प्रयच्छेत् । तेनैनं स आप्याययत्याप्यायस्व समेतु त
इति १
यदि प्रातःसवने सोमो हविर्वा स्कन्देन्माध्यंदिने तृतीयसवने नक्तं तिरोअह्न्येषु वा देवां जनमगन्यज्ञ इत्येतैर्यथापूर्वमभिमन्त्र्य मनो ज्योतिर्जुषतामित्याहुतिं जुहुयात् २
त्रयस्त्रिंशत् । द्रप्सश्चस्कन्द । यस्ते द्रप्सः । यो द्रप्सः । यस्ते द्रप्स इत्येतैः प्रतिमन्त्रमनुसवनं स्कन्ने पञ्चाहुतीर्जुहोतीत्येके ३
यदृतुग्रहैः प्रचरन्तौ मुह्येयातां विसृष्टधेनाः सरितो घृतश्चुतो वसन्तो ग्रीष्मो मधुमन्ति वर्षाः । शरद्धेमन्त ऋतवो मयोभुव उदप्रुतो मभसी संवसन्ताम् । आ नः प्रजां जनयतु प्रजापतिर्धाता ददातु सुमनस्यमानः । संवत्सर ऋतुभिश्चाकुपानो मयि पुष्टिं पुष्टिपतिर्दधातु । आ देवानाम् । त्वमग्ने व्रतपा असि । यद्वो वयं प्रमिनाम । मधुश्चेत्येतैः प्रतिमन्त्रं जुहोति ४
त इमं यज्ञमवन्तु ते मामवन्त्वनु व आरभेऽनु मारभध्वं स्वाहेत्यृतुनामस्वनुषजति ५
यदि सोमः स्कन्देद्ब्रह्मन्सोमोऽस्कानित्युक्त्वाभूद्देवः सविता वन्द्यो नु न इत्यभिमन्त्र्य भूपतये स्वाहेति पञ्च प्रादेशान्मिमीते यथा पुरस्तात् ६
यदि चमसमभक्षितं स्तोत्रेणाभ्युपाकुर्यादारमतेत्युक्त्वोत त्या नो दिवा मतिरदितिरूत्यागमत् । सा शन्ताची मयस्करदप स्रिधः । उत त्या दैव्या भिषजा शं नस्करतो अश्विना । यूयातामस्मद्रपो अप स्रिधः ।
9.9
यस्य कलश उपदस्यति कलशमेवास्योपदस्यन्तं प्राणोऽनूपदस्यति प्राणो हि सोमः
तदाहुः पयोऽवनयेदिति
अथो खल्वाहुरन्तर्हितमिव वा एतद्यत् पयो हिरण्यमेवापोऽभ्यवनयेद्धिरण्यमभ्युन्नयेदिति
प्राणा वा आपोऽमृतं हिरण्यममृत एवास्य प्राणान् दधाति स सर्वमायुरेति
यस्य नाराशंस उपवायति नाराशंसमेवास्योप+वायन्तं प्राणोऽनूपदस्यति प्राणो हि सोमः
यमध्वर्युरन्ततो ग्रहं गृह्णीयात् तस्याप्तुमवनयेत्
प्रायश्चित्यै वै ग्रहो गृह्यते प्रायश्चित्येवास्मै प्रायश्चित्तिं करोति
यदि पीतापीतौ सोमौ संगच्छेयातामन्तः परिध्यङ्गारान्निर्वर्त्य जुहुयात् हुतस्य चाहुतस्य चाहुतस्य हुतस्य च । पीतापीतस्य सोमस्येन्द्राग्नी पिबतं सुतं स्वाहेति सैव तस्य प्रायश्चित्तिः
प्रजापतये स्वाहेत्यभक्षणीयस्य जुहुयादुत्तरार्ध्यपूर्वार्ध्य उपरवः
इन्दुरिन्दुमवागादित्यववृष्टस्य भक्षयेत्
तस्य त इन्द्रविन्द्रपीतस्येन्द्रियावतस्सर्वगणस्य सर्वगण उपहूत उपहूतस्य भक्षयामि
हिरण्यगर्भः समवर्तताग्र इत्याज्येनाभ्युपाकृतस्य जुहुयादग्नीध्रं परेत्य भूतानां जातः पतिरेक आसीत् स दाधार पृथिवीं द्यामुतेमां तस्मै त इन्दो हविषा विधेम स्वाहेति सैव तस्य प्रायश्चित्तिः
यदि ग्रावापि शीर्यते पशुभिर्यजमानो व्यृध्यते पशवो वै ग्रावाणो द्युतानस्य मारुतस्य साम्ना स्तुयुः
मारुता वै ग्रावाणः स्वेनैवैनांस्तद्रूपेण समर्धयति
यदि सोममभिदहेद्ग्रहानध्वर्युः स्पाशयेत स्तोत्राण्युद्गाता शस्त्राणि होताथ यथापूर्वं यज्ञेन चरेयुः पञ्च दक्षिणा देयाः पाङ्क्तो यज्ञो यावान् यज्ञस्तमारभतेऽवभृथादुदेत्य पुनर्दीक्षते तत्र तद्दद्याद्यद्दास्यं स्यात् पुरा द्वादश्या दीक्षेत यद्द्वादशीमतिनयेदन्तर्धीयेत

Namrasit ("He is radiant when he rises ") is the Sumerian name of the deity of the rising moon (so he is referred to in a text by Warad-Sin , the Elamite ruler of Larsa ; Ira M. Price, Light out of Ur - The Devotion of Elamite Kings to Sumerian Deities. Journal of the American Oriental Society 51/22, 1931, 165)In the eighth panel of the Gilgamesh epic , Namrasit was nicknamed “Counselor of the Gods”. šu-ila text  from the library of Aššurbanipal  calls it "incomparable power, with inexplicable advice". Namrasit at times assumed the character of a god of the dead , as he sank below the horizon during the course of the day. Namrasit thus had the power to enter the realm of the dead.

After the death of Enkidu , Namrasit received sacrificial gift from Gilgameš :

139  On [...] from [...] [...]. 140 he  submitted for Namrasit, the adviser of the gods, to the Šamaš : 141  May Namrasit, the adviser of the gods, receive this (gift). 142 In the  face of my friend he was so full of joy 143  that he was walking by his side. "

Eighth panel, Epic of Gilgamesh

There is another Sumerian moon god named Nanna .

https://de.wikipedia.org/wiki/Namrasit 

  • Stefan M. Maul: The Gilgamesh Epic . Beck, Munich 2006, pp. 175 and 114-115.

As an 
आप्री āprī Narāśaṁsa is propitiated as the divine being bearing invocations to the  gods; such an आप्री āprī Narāśaṁsa  is a different form of Agni.

आप्री āprī f. [आप्रीणात्यनया आ-प्री-ड-गौरा˚ ङीष्] Ved. 1 Conciliation, propitiation, gaining one's favour. -2 (pl.) 'Propitiatory verses', a name given to certain invocations addressed to several deified objects in consecutive order, and said to be introductory to the animal sacrifice; some take the Apris to represent the objects themselves, the verses being consequently called Apri verses. The objects invoked are 12:--Susamiddha, Tanūnapāt, Narāśaṁsa, the divine being bearing invocations to the gods, Barhis, the doors of the sacrificial chamber, night and dawn the two divine beings protecting the sacrifice, the three goddesses Ilā, Sarasvatī, and Mahī, Tvaṣṭṛi, Vanaspati and Svāhā, (all these being regarded by Sāyaṇa to be different forms of Agni); स एता आप्रीरपश्यत्ताभिर्वै स मुखत आत्मानमाप्रीणीत; cf. also Max Muller's Hist. Anc. Lit. pp. 463-466.

--नराशंसः narāśaṃsaḥ 1 A sacrifice. -2 Agni. narāśaṃsa a m. (°rāś°?) ‘the desire or praise of men (?)’, a mystic. N. of Agni (esp. in the Āprī hymns, besides or instead of Tanū́-nápāt q.v.), RV. ; VS. ; TS. ; Br. (rarely) of Pūṣan e.g. RV. i, 164, 3; x. 64, 3(Monier-Williams) Nārāśaṃsa (नाराशंस).—[feminine] ī relating to the praise of a man or men, belonging or sacred to Agni Narāśaṃśa; [masculine] a sort of Soma vessels. Nārāśaṃsa (नाराशंस):—mf(ī)n. ([from] narā-śaṃsa) relating to the praise of a man or men, laudatory, eulogistic (as a hymn, tale etc.), [Taittirīya-saṃhitā; Brāhmaṇa; Yājñavalkya] etc.;relating or sacred to Agni Narā-śáṃsa (applied to the Soma, [Ṛg-veda]; to a Ṛc, [Taittirīya-brāhmaṇa] etc.); m. Name of [particular] Soma libations, [Vājasaneyi-saṃhitā; Taittirīya-brāhmaṇa] etc.;m. [plural] of a class of Pitṛs or Manes, [ib.]

[quote]Nanna (also known as Nannar, Nanna-Suen, Sin, Asimbabbar, Namrasit, Inbu) is the Mesopotamian god of the moon and wisdom. He is one of the oldest gods in the Mesopotamian pantheon and is first mentioned at the very dawn of writing in the region c. 3500 BCE. His cult center was the great temple at Ur, and he is frequently mentioned in hymns and inscriptions from the Ur III Period (2047-1750 BCE) as the chief god of the pantheon with the epithet Enzu, lord of wisdom. His importance is evident in the number of inscriptions which refer to or praise him and the stories in which he features.

He was the son of Enlil and Ninlil and is their first-born after Enlil seduces Ninlil by the riverbank in the myth Enlil and Ninlil. His wife was Ningal (also Nikkal, the 'Great Lady'), a fertility goddess, and their children were Utu-Shamash (the sun god) and, in some stories, his twin sister Inanna/Ishtar (goddess of love and sexuality), Ereshkigal (Queen of the Dead), and Ishkur (also known as Adad, god of storms). An interesting aspect of this family tree is that the moon (Nanna) is the father of the sun (Utu/Shamash). It is thought this belief originated in the early days of a hunter-gatherer social structure when the moon was more important to a community for traveling by night and telling the time of the month; the sun only became more important once the people settled down and began to practice agriculture. The religious belief, then, mirrored the cultural development. Scholar Stephen Bertman writes:

The Mesopotamians thus conceived of day, illuminated by the sun, as emanating from the darkness of night and the lesser light of the moon. As the time of lovemaking, the night and the moon were linked to the goddess of the erotic. As a source of light, the moon was also viewed as humanity's protector against acts of criminality undertaken under the cover of darkness even as the illuminating and all-seeing sun was looked upon as a guardian of justice. (122)

Nanna is represented as a recumbent moon and associated with the bull and lion-dragon. He is further depicted as a seated man with a long beard of lapis lazuli, a crescent moon above him, or riding on the back of a winged bull. In many inscriptions he is represented simply by the number 30, referring to the number of days in a lunar month, and the crescent moon was regarded as his barge in which he sailed through the night sky.

He was an immensely popular god, one of the original Sumerian pantheon. His cult center was at Ur and his most famous high priestess was Enheduanna (2285-2250 BCE), although he also had an important temple at Harran in modern-day Syria where his son was Nusku, god of fire and light. Nanna, Ningal, and Nusku were worshiped as a triad, though this veneration mainly focused on the father and son.

Under the reign of Nabonidus (c. 556-539 BCE) the king's mother served as high priestess at Harran while his daughter held the same position at Nanna's temple in Ur. This arrangement consolidated Nabonidus' power in the same way that Sargon of Akkad (2334-2279 BCE) had earlier placed his daughter Enheduanna in her position at Ur. Nanna is repeatedly seen in ancient texts as a god who provides and unifies, and some of the most successful Mesopotamian rulers capitalized on this belief.

Names & Significance

Nanna first appears under that name (whose meaning is unknown) c. 3500 BCE. He is already an important deity when he is mentioned as Sin/Suen during the reign of Sargon of Akkad and is referred to as "the illuminator." Even from this early period, he was associated with wisdom and was honored by Sargon's grandson, the great Naram-Sin (2261-2224 BCE), who took his name upon coming to the throne. Naram-Sin, considered the greatest of the Akkadian kings, was among those who understood how to use religious belief to rule most effectively.

NANNA IS REPEATEDLY SEEN IN ANCIENT TEXTS AS A GOD WHO PROVIDES & UNIFIES & SOME OF THE MOST SUCCESSFUL MESOPOTAMIAN RULERS CAPITALIZED ON THIS BELIEF.

The Akkadians also knew Nanna/Sin by a number of other names, which are actually epithets such as Asimbabbar/Ashgirbabbar (possibly meaning 'embellisher' or 'he who embellishes'), Namrasit ('who shines forth'), and Inbu ('The Fruit,' possibly referring to the moon's changing shape). To the Babylonians, Nanna was the son of Marduk who created him and placed him in the sky. Lunar eclipses were thought to be caused, in some eras, by gods or demons trying to steal the moon's light, and Nanna (or in some stories Marduk) had to fight against them to restore natural order. Bertman comments on how "during the new moon when Nanna/Sin's light was not visible, the god was said to be in the netherworld, where he judged the dead" (123). At one point or another throughout Mesopotamia's long history, Nanna was king of the gods, lord of wisdom, keeper of time, guardian of the future (diviner), holder of secrets, but is always seen as the devoted son of Enlil and a protector and guardian of humanity.

Nanna in Literature

Nanna/Sin is referred to at a number of points throughout The Epic of Gilgamesh where he is mentioned as the father of Shamash and Ishtar. Gilgamesh, at one point, even composes a song for Nanna, praising him for changes in life which inspire one to do great deeds. Nanna is similarly praised in other works and, in all, is closely associated with fertility and life. His role as a keeper of time (guardian of the future) is especially interesting as he understands the past as the future. In looking at the past, Nanna was able to clearly see human destiny, collectively and individually, and those who came to him for divination could alter their future for the better by accepting his counsel. In addition to his wisdom and foresight, the god also offered many other gifts to humanity.

Part of Tablet V, the Epic of Gilgamesh
Part of Tablet V, the Epic of Gilgamesh
Osama Shukir Muhammed Amin (CC BY-NC-SA)

In the poem The Journey of Nanna to Nippur, the god is seen loading his boat at Ur with all good things to present to his father Enlil at the city of Nippur. Nanna fills his ship with trees, plants, and animals, and then makes his way upriver, stopping at five cities along the way where he is greeted and honors each one's god. Arriving at Nippur, he is greeted by Enlil's gatekeeper with joy and brought into his father's presence. Nanna and Enlil feast together, and then Nanna makes a series of requests. He asks for the river to swell with sweet water, for the fields to yield abundant harvest, for success in cultivating honey and making wine, and for a long life to enjoy these gifts in. Enlil grants his requests, and Nanna returns happily to Ur.

The poem is thought to represent the moon's association with fertility. Enlil was the King of the Gods, keeper of the Tablets of Destiny which foretold the fates of gods and mortals, and his decisions were final. His act of generosity in giving these gifts to Nanna meant that, through Nanna, they would be passed on to humanity and could not be revoked.

Nanna is depicted in a similar light in the poem The Herds of Nanna, in which he is praised as the "god of living creatures, leader of the land" and the great father of humanity. Although Enki was the creator god of the Sumerians, Nanna seems to have sometimes taken on this role as his worship spread across Mesopotamia. In the poem, he is again seen as the god who gives great gifts to humanity in abundance.

The work begins with the image of Nanna taking the night sky and illuminating it as the sun does at noon. He is the close confidant of his father Enlil, who "speaks with him day and night," and confers with him on the fate of human beings. Nanna's herds are then tallied and their number written on divine tablets by Nisaba, goddess of writing and scribe of the gods, and Nanna is then praised as the god of abundance who provides, among other gifts, alcoholic drink. Ninkasi was the goddess of beer, but this role is attributed to Nanna in the poem to emphasize his importance, as beer was the most popular drink in Mesopotamia.

Ishtar's Descent into the Underworld Inscription
Ishtar's Descent into the Underworld Inscription
Osama Shukir Muhammed Amin (CC BY-NC-SA)

The god also appears in The Descent of Inanna, where he is listed as one of the deities Ninshubbur is to appeal to if Inanna does not return from the underworld, and in The Curse of Agade, the famous work of the Mesopotamian Naru Literature genre concerning Naram-Sin. In The Curse of Agade, after Naram-Sin has enraged Enlil through his ingratitude, Nanna is among the gods who try to act as mediators to spare humanity (and Naram-Sin specifically) from Enlil's wrath. His role as a protector and defender of humanity did not end with one's death, however, but continued on in the afterlife.

Nanna & Ningal

The Queen of the Dead in Mesopotamian mythology was Ereshkigal, older sister of Inanna, who ruled the underworld but, generally, passed no judgment on the dead. The dead, however great or modest their lives, all went to the same dark, dreary realm under the earth when their life was finished, and there they all shared the same fate as they ate dust and drank from puddles. This had been the standard belief among the people of Mesopotamia for millennia, but during the Ur III Period, Nanna was elevated to the role of judge of the dead. Scholar Samuel Noah Kramer writes:

The moon god Nanna decreed the fate of the dead. In the nether world...were to be found "bread-eating heroes" and "[beer] drinkers" who satisfy the thirst of the dead with fresh water. We learn, too, that the gods of the nether world can be called upon to utter prayers for the dead, that the personal god of the deceased and his city's god were invoked in his behalf, and that the welfare of the family of the deceased was by no means overlooked in the funerary prayers. (132)

This is quite a departure from the traditional view of the afterlife as "the land of no return" in which the dead were all made equal and lost their interest in the world of their former lives. Nanna became the bridge between the living and the dead through his judgment of their lives and intervention on the part of their families. Even so, as Kramer notes elsewhere, the Sumerians, for the most part, held to the belief that all were equal in the dreary world of the afterlife which was only a poor reflection of mortal existence.

Ningal may also have had a part in the judgment of the dead, or at least as a prompt to good behavior, as a number of artifacts have been found which are known as "eyes of Ningal." These are crafted eye models usually cut from precious or semi-precious stone but also formed from clay. Sometimes these are only eyes and sometimes a figure in which the eyes are enlarged and accentuated with what appears a lemniscate, symbol for infinity (a sideways figure 8). It is unclear what the significance of these eyes was for the ancient Mesopotamians, but it is possible they reminded an owner that the eyes of the gods were on them.

Among the most interesting are a pair carved from onyx and dedicated by the king Nabonidus to Ningal. Even though eye carvings have been found associated with many other deities, these are unique, and those which seem to resemble them are also thought to have been dedicated to Ningal. The eyes could have been protective talismans or, as noted, reminders that the eyes of the Great Lady and her divine husband were always upon the living. Many of these artifacts have been recovered from the ruins of Tell Brak (ancient Nagar) in modern-day Syria, not far to the east of Harran, and were most likely amuletic objects honoring Ningal or talismans reminding one of the protection - and eventual judgment - by Nanna. At Harran, Nushku was regularly invoked in the execution (by fire) of those convicted of practicing the dark arts after Nanna and Ningal had presided over the defendant's trial.

It is not surprising to find Nanna in a position of judgment since he is included in early Sumerian god lists as among the first who decree the fates of humanity. The earliest group consisted of seven deities: Anu, Enlil, Enki, Ninhursag, Nanna/Sin, Utu/Shamash, and Inanna. All seven of these would change and grow and assume different roles and responsibilities throughout Mesopotamian history, but Nanna remains more or less the same from his inception. As with many Mesopotamian gods, Nanna was incorporated into the Assyrian pantheon and, when the Neo-Assyrian Empire fell in 612 BCE, a great number of these deities lost favor. Nanna continued to be recognized, however, and was still worshiped in the region of Syria as late as the 3rd century CE.[unquote] --  published on 08 February 2017

https://www.worldhistory.org/Nanna/

12. In the second place he offers to Narāśaṃsa.

Now, Narāśaṃsa is the air. Man (nara), namely, means (human) being; and these same beings move about in the air speaking aloud. And when he (man) speaks, they say 'he chants (saṃs);' and therefore Narāśaṃsa is the air[7]. But the triṣṭubh also is the air[8], and for this reason they have placed the triṣṭubh second.

13. Then Agni is the last (to whom offering is made). Agni assuredly is the gāyatrī; and therefore they placed the gāyatrī last. In this way they established the metres in complete and proper order; and hence no confusion here takes place.

14. The Adhvaryu[9] says (to the Hotṛ), 'Pronounce the offering-prayer (yājyā) to the gods!' and the Hotṛ (begins his prayer) at all (the three offerings) with 'The divine . . . .' For the metres assuredly are the gods of the gods, since they are their cattle, and cattle means a home, and a home is a safe resting-place. The after-offerings, doubtless, are the metres: therefore the Adhvaryu says, 'Pronounce the offering-prayer to the gods!' and at all of them the Hotṛ begins with 'The divine . . .[10].'

15. ['The divine Barhis (or Narāśaṃsa) may accept (the offering)] for abundant obtainment of abundant gift! [Vauṣaṭ!]' For a deity only the vaṣaṭ-call is pronounced, to a deity only offering is made; but here at the after-offerings there is no (proper) deity[11]. When he says 'The divine Barhis,' in this there is neither Agni, nor Indra, nor Soma; when he says 'The divine Narāśaṃsa,' neither is there in this anything whatever (of the nature of a god); and what Agni there is (in the third offering-prayer), he indeed is virtually the gāyatrī.

16. The reason, then, why he offers with the formula 'for abundant obtainment of abundant gift[12],' is that Agni is the obtainer of wealth, and Indra is the recipient of wealth; and Indra and Agni are indeed the (joint) divinity of the metres: and in this way it is for a deity that the vaṣaṭ is pronounced, and to a deity that the offering is made.

Satapatha Brahmana

by Julius Eggeling | 1882 | Kanda XII, adhyaya 6, brahmana 1

33. And if (his Soma) were to meet with any miṣap when contained in the Nārāśaṃsa (cups), let him perform an oblation with, 'To the Nārāśaṃsa Fathers hail!' for the Nārāśaṃsa (man-praising) Fathers he then is: he repels evil, and the sacrifice inclines to him. 

Satapatha Brahmana

by Julius Eggeling | 1882 | 

Kanda I, adhyaya 8, brahmana 2

25. Now what he offers in the fire, that he offers unto the gods, thereby the gods exist; and what (Soma) is consumed in the Sadas, that he offers unto men, thereby men exist; and in that the Nārāśaṃsa[16] cups of Soma) stand with the Soma-carts, thereby he offers unto the Fathers, thereby the Fathers exist.

Footnote 16 Nārāśaṃsa, 'pertaining to Narāśaṃsa (man's praise, i.e. Agni, or Soma, or the Fathers),' is the name given to certain remains of Soma-libations (or potations) sacred to the Fathers, which, in the nine Soma-cups, are temporarily deposited under the axle of the southern Soma-cart, till they are drunk by the priests at the end of the libation.

Satapatha Brahmana

by Julius Eggeling | 1882 |

Kanda III, adhyaya 6, brahmana 2



ऋग्वेदः - मण्डल १०
सूक्तं १०.८५
सावित्री सूर्या ऋषिका 
दे. १-५ सोमः, ६-१६ सूर्याविवाहः
रैभ्यासीदनुदेयी नाराशंसी न्योचनी ।
सूर्याया भद्रमिद्वासो गाथयैति परिष्कृतम् ॥६॥
आभिः सूर्या स्वविवाहमस्तौदित्युक्तम् । सूर्या सावित्री ब्रूते । "रैभी। रैभ्यः काश्चनर्चः । ‘रैभीः शंसति रेभन्तो वै देवाश्चर्षयश्च स्वर्गं लोकमायन्' (ऐ. ब्रा. ६. ३२) इत्यादिब्राह्मणविहिता रैभ्यः । सा रैभी “अनुदेयी “आसीत् । दीयमानवधूविनोदनायानुदीयमाना वयस्यासीत् । तथा “नाराशंसी। प्राता रत्नम् ' (ऋ. सं. १. १२५. १ ) इत्यादिका मनुष्याणां स्तुतयो नाराशंस्यः । सा नाराशंसी “न्योचनी । उचतिः सेवाकर्मा । सा वधूशुश्रूषार्थं दीयमाना दास्यभवत् । “सूर्यायाः मम “भद्रं “वासः विचित्रं दुकूलादिकमाच्छादनयोग्यं वस्त्रं “गाथया “परिष्कृतम् अलंकृतम् “एति । 'गाथा गीयते'इत्यादिब्राह्मणोक्ता गाथा । तया गाथया यत्परिष्कृतमस्ति तद्वासोऽभवदिति ॥--सायणभाष्यम्
Griffith RV 10.85.Raibhi was her dear bridal friend, and Narasamsi led her home.
Lovely was Suryas' robe: she came to that which Gatha had adorned.

nārāśaṃsa mf(ī)n. (fr. narā-śaṃsa) relating to the praise of a man or men, laudatory, eulogistic (as a hymn, tale &c.), TS. ; Br. ; Yājñ.  &c.relating or sacred to Agni Narā-śáṉsa (applied to the Soma, RV. ; to a Ṛc, TBr.  &c.)nārāśaṃsa m. N. of partic. Soma libations, VS. ; TBr.  &c.nārāśaṃsa m. pl. of a class of Pitṛs or Manes,  ib.  nārāśaṃsī f. N. of partic. verses or formulas nārāśaṃsa n. a tale or legend in honour of liberal men,nārāśaṃsa m. (also) a Soma vessel. (Monier-Williams)

Soma in Vedic Mythology and Ritual (study)

by Anjana Chakraborty | 2017 |

Summary: This thesis is called: A study of the evolution of Soma in vedic mythology and ritual. It represents a thorough discussion on the characteristics of Vedic Gods, Soma and Vedic rituals.

As the ritual plays a very important role in Rigveda it is only natural that Soma, the plant, the juice of which is so much used in the ritual is deified as one of the most important of Vedic God Soma. Soma, the Vedic God or Soma ritual is the making of synchronization of myth and ritual.

...

Soma represents a multifaceted state in the whole extent of the Vedic literature. Soma is the name of a plant from which Soma juice is extracted and offered to the Gods. As the ritual plays a very important role in Rigveda it is only natural that Soma, the plant, the juice of which is so much used in the ritual is deified as one of the most important of Vedic God Soma. Soma, the Vedic God or Soma ritual is the making of synchronization of myth and ritual. Soma has been compared to and equated with many Vedic deities. Indra was the most popular of the Vedic deities and was known to be the ultimate consumer of large amounts of Soma[1]. In the post Vedic mythologySoma is identified with the Moon. Soma is the lord of all the plants. Soma is also called ‘Rajan’ and appears among the eight Vasus and the eight Lokapalas. Soma is a God of the flowing waters, a God of inspiration. There are a few myths that surround the origin of Soma as a God.

The word Soma comes from the root √su which means to extract or to make ready, prepare. These two meanings of the root give the two faces of Soma. On the side of esistence, extracting the finest quality of the foodstuffs in the process of metabolism and on the side of intelligence, preparing for all possible values of activity in the Soma is that thing which puts those two values together.

Soma played an extremely important role in Vedic rituals. Some of the most famous rituals are the Consecration of the King (Rajasuya), the drink of Power ritual (Vajapeya), varies Fire rituals (Agnishtoma). Soma juice is glorified as a drink of longevity. One of the important images of the Rigveda is Agni (the sacred fire) as the guide leading us to immortality (amrita) through the ritual of Soma. In the ritualistic process Soma ritual is one of the most important one which gradually assumed a cardinal and all important position in the Vedic religion.

Soma is described as a King and a Kshatriya. Soma’s rise to kingship also proves glorification of Soma cult. The Ninth Mandala of the Rigveda, it’s all the one hundred forty four hymns and six hymns from other books are dedicated to the God Soma. The entire Ninth Mandala of Rigveda is in praise of Soma which is pressed by stones and flows through the woollen strainer into the wooden vats.

The exhilarating power of Soma led to its being regarded as a divine drink bestowing immortal life. Hence it is called amrita, draught of immortality. Soma is immortal and the Gods drank him for immortality[2]. He places his worshipper in the everlasting and imperishable world where there is eternal light and glory, and makes him immortal where king Vaivasvata lives[3]. Soma has medicinal power also. In the Ayurveda, Soma is ‘Osadhiraja’, the king of all the medicineKatyayana in Anukramanika states ‘Pavanam Saumvam’. Soma, the divinity had its Indo-Iranian counter representative. In Avesta Yasna IX: 17-20 Hoama is invoked where it is mentioned that an eagle brought Hoama from heaven to a high mountain. The God Soma heals the sick, making the blind to see and the lame to walk.

He is the guardian of men’s bodies and occupies their every limb, bestowing life in this world. The Soma draught is even said to dispel sin from the heart, to destroy falsehood and to promote truth. Soma had a very influential role developing and sustaining the Vedic tradition.

...

Soma is the soul of ritual, a priest among the Gods and apportions to them their share of ritual. Soma is a great fighter. He is a victor, unconquered in fight, born for battle. He is the most heroic of heroes. Soma is a fighter against darkness. He can also afford protection from foes. He drives away goblins and like some other Deities but more frequently, receives the epithet of goblin slayer. Soma is the only God who is called a slayer of the wicked. Being a warrior, Soma is said to have weapons. He is described as armed with a thousand pointed shafts and his bow is swift. The conception of Soma comes to be extended to that of a being of universal dominion, who is lord of the quarters, who performs the great cosmic actions of generating the two worlds, of creating or establishing heaven and earth, of supporting heaven and of placing light in the Sun.

As the Moon, Soma became equated with the God Candra, who originally was the Moon Deity. The Moon was considered the cup which held the drink Soma for the Gods, and one reason that the Moon waxed and waned, it was because the Gods were drinking down all the Soma; as it waxed, the God was recreating himself, only to be consumed again once the cup was again full. As the Vedic age ended and the Brahmans asserted themselves, the power of the Gods no longer came from Soma but instead from rituals made by humans; Soma came more and more to be just a God of the Moon. In later times, the waxing and waning of the

Moon was due to a curse put on Soma. Soma had twenty seven wives (who correspond to the twenty seven stations of the Moon). They were all the daughters of the Daksha. Daksha felt that Soma was paying too much attention to one of his daughters, thereby neglecting the rest. He cursed Soma to die a withering death. But Soma’s wives intervened, and so the death became only periodic, during half of the month slowly dies away, but is reborn and comes around again to full vigour.

https://shodhganga.inflibnet.ac.in/handle/10603/300399

--The core of the Ur ziggurat is made of mud brick covered with baked bricks laid with bitumen, a naturally occurring tar. Each of the baked bricks measured about 11.5 x 11.5 x 2.75 inches and weighed as much as 33 pounds.

"What Woolley found was a massive rectangular pyramidal structure, oriented to true North, 210 by 150 feet, constructed with three levels of terraces, standing originally between 70 and 100 feet high. Three monumental staircases led up to a gate at the first terrace level. Next, a single staircase rose to a second terrace which supported a platform on which a temple and the final and highest terrace stood. The core of the ziggurat is made of mud brick covered with baked bricks laid with bitumen, a naturally occurring tar. Each of the baked bricks measured about 11.5 x 11.5 x 2.75 inches and weighed as much as 33 pounds. The lower portion of the ziggurat, which supported the first terrace, would have used some 720,000 baked bricks. The resources needed to build the Ziggurat at Ur are staggering.":


US soldiers descend the Ziggurat of Ur, Tell el-Mukayyar, Iraq (public domain)


Ziggurat at Ali Air Base Iraq, 2005, Ziggurat of Ur, partly restored, c. 2100 B.C.E. mudbrick and baked brick Tell el-Mukayyar, Iraq

https://www.khanacademy.org/humanities/ancient-art-civilizations/ancient-near-east1/x7e914f5b:neo-sumerian-ur-iii/a/ziggurat-of-ur

Woolley Photo of the Ziggurat of Ur with workers Ziggurat of Ur, c. 2100 B.C.E., Woolley excavation workers (Tell el-Mukayyar, Iraq)

The Ziggurat of Ur...

[quote]The Great Ziggurat of Ur was a temple of Nanna, the moon deity in Sumerian mythology, and has two stages constructed from brick: in the lower stage the bricks are joined together with bitumen, in the upper stage they are joined with mortar. The temple was built in 2,100 B.C. during the reign of Ur-Nammu and stands 70 feet (21 m) high)....

In addition to excavating the ziggurat completely, the expedition unearthed the entire temple area at Ur and parts of the residential and commercial quarters of the city. The most spectacular discovery was that of the Royal Cemetery, dating from about 2600BC and containing art treasures of gold, silver, bronze, and precious stones. The findings left little doubt that the deaths of the king and queen of Ur were followed by the voluntary death of their courtiers and personal attendants and of the court soldiers and musicians. Within the city itself were discovered thousands of cuneiform tablets comprising administrative and literary documents dating from about 2700 to the 4th century BC. The deepest levels of the city contained traces of a flood, alleged to be the deluge of Sumerian, Babylonian, and Hebrew legend.[unquote]

Goat is an Indus Script hieroglyph: mlekh ‘goat’ Rebus: milakkha, mleccha ‘copper’

Lotus flower and tree are Indus Script hieroglyphs: tāmarasa ‘lotus’ rebus: tāmra ‘copper’.

kuṭi 'tree' Rebus: kuṭhi 'smelting furnace'; koṭe 'forged metal' (Santali)

Ur. A pair of goat sculptures. Top images: British Museum (Gold, copper, shell, limestone & lapis lazuli 45.7 cm (18.0 in) high, 30.5 cm (12.0 in) wide 2600 to 2400 BCE). Bottom images: U Penn Museum ( 42.5 cm high; 2450 BCE. Gold, silver lapis lazuli). "The pair of rams would more correctly be described as goats, and were discovered lying close together in the 'Great Death Pit' (PG 1237), one of the graves in the Royal Cemetery at Ur, by archaeologist Leonard Woolley during the 1928–9 season. "

An early image of the Ziggurat from the 1920's.

An image of the building after restoration.



Artistic reconstruction of the original complete structure.

The ziggurat is believed to have been the precursor to the Egyptian pyramids, which began with the Djosers 1st Dynasty Step-pyramid at Saqqara.

http://www.ancient-wisdom.com/iraqur.htm 

https://www.penn.museum/collections/highlights/neareast/ram.php

 
http://bharatkalyan97.blogspot.com/2011/11/mohenjo-daro-stupa-great-bath-modeled.html


Executive Summary: Artisans of Susa and artisans of Mohenjo-daro were worshippers of the ancestors, offering morning prayers with water ablutions. The stupa of Mohenjo-daro should have been built over a ziggurat (memorial for ancestors) used for such water ablutions in the Great Bath situated which is located in front of the ziggurat.










See: Significance of linga and 4 spheres on Sit Shamshi bronze and Meluhha hieroglyphs on Candi Sukuh linga


Sit Shamshi bronze model evokes the Ur ziggurat tiers. A significant pointer of the metaphor of the temple are four spheres on either side of the ziggurat. The prayer being offered at sun rise is to Shamash. Shamash is the son of the moon god Sin (known as Nanna or Naramsit in Sumerian), and thus the brother of the goddess Ishtar (Sumerian: Inanna). It is suggested that the expression Shamash in ANE as a reference to Sun Divinity is derived from षष् + मास = Shamash 'Six months'. In this expression, षष् is relatable to the Suryasiddhanta reference षड्-शीति-मुख the passage of the sun into zodial signs to signify the six seasons.
तुलादे: षडशीत्यंशै: षडशीतिमुखं दिनं
भचतुष्टयमेवं स्याद द्विस्वभावेषु राशिषु
षडविंशे धनुषो भागे द्वाविंशेsतिमिनस्य च
मिथुनेs ष्टादशे भागे कन्यायां च चतुर्दशे
[सूर्य सिद्धांत – मनध्याय (Surya SiddhantaManadhyāya -Chapter 14:4-5)]  

gaṇḍa -- m. ʻ four' (Munda) गंडा[ gaṇḍā ] m An aggregate of four (cowries or pice). (Marathi) <ganDa>(P)  {NUM} ``^four''.  Syn. <cari>(LS4), <hunja-mi>(D).  *Sa., Mu.<ganDa> `id.', H.<gA~Da> `a group of four cowries'.  %10591.  #10511.<ganDa-mi>(KM)  {NUM} ``^four''.  |<-mi> `one'.  %10600.  #10520. Ju<ganDa>(P)  {NUM} ``^four''.  gaṇḍaka m. ʻ a coin worth four cowries ʼ lex., ʻ method of counting by fours ʼ W. [← Mu. Przyluski RoczOrj iv 234]S. g̠aṇḍho m. ʻ four in counting ʼ; P. gaṇḍā m. ʻ four cowries ʼ; B. Or. H. gaṇḍā m. ʻ a group of four, four cowries ʼ; M. gaṇḍā m. ʻ aggregate of four cowries or pice ʼ.(CDIAL 4001)

gaṇḍa -- m. ʻswelling, boil, abscessʼ(Pali)

Rebus: kaṇḍ 'fire-altar' (Santali) kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi) खंडा [ khaṇḍā ] m A sort of sword. It is straight and twoedged. खांडा [ khāṇḍā ] m A kind of sword, straight, broad-bladed, two-edged, and round-ended. खांडाईत [ khāṇḍāīta ] a Armed with the sword called खांडा. (Marathi)

लोखंड [ lōkhaṇḍa ] n (लोह S) Iron.लोखंडकाम [ lōkhaṇḍakāma ] n Iron work; that portion (of a building, machine &c.) which consists of iron. 2 The business of an ironsmith.
लोखंडी [ lōkhaṇḍī ] a (लोखंड) Composed of iron; relating to iron.

Contacts between the Cuneiform cultures and India -- Claus Ambos. Šu-ilīśu is translator of Meluhha language, India

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 Friends of ASOR  July 2021 Vol. IX, No. 7

Contacts Between the Cuneiform Cultures and India

By Claus Ambos

In two periods during their long history, the cuneiform cultures of the Near East had direct mutual contact with parts of the Indian subcontinent: in the last third of the third millennium BCE, and during the Achaemenid and Hellenistic period in the second half of the first millennium BCE. What did they export to, and learn from, each other?

By cuneiform cultures of the Near East I mean Mesopotamia and its residents, Sumerians, the Akkadians, and later the Assyrians and Babylonians, but also Elam in southwest Iran, the eastern neighbor for more than three millennia. And by “India,” I do not mean the territory of the modern republic, of course, but rather regions in the northwest of the Indian subcontinent, including areas that today are occupied by Pakistan and Afghanistan.

Map: The Ancient Near East and North-West India. By the author, based on the map by Виктор В - File: Outline map of Middle East.svg ETOPO1, CC BY-SA 2.0

Written and archaeological evidence points to direct and indirect contacts between Mesopotamian realms and the Indus or Harappa civilization. In cuneiform texts, the area of the Indus or Harappa civilization is designated with the toponym Meluḫḫa. This civilization existed in the third and second millennium BCE in the northwest of the Indian subcontinent.

Goods were traded via intermediate points in the Persian Gulf. An important trade center was the land of Dilmun, today Bahrain. Trade goods from the land of Meluḫḫa included luxury goods such as precious woods, stones, and metals, as well as ivory and exotic animals.

Indian etched bead found in Nippur. The Metropolitan Museum of Art, Accession Number: 59.41.42

In the last third of the third millennium, contacts between east and west were not only facilitated by middlemen in the Gulf region; persons from the land of Meluḫḫa traveled directly to Mesopotamia and also to the Elamite metropolis Susa. Communication between inhabitants of the Near East and travelers from Meluḫḫa was aided by translators—we know the seal of a certain Šu-ilīśu, who is identified as a translator of the Meluḫḫa-language.

Seal of Šu-ilīšu, translator of the Meluḫḫa language. Musée du Louvre, Département des Antiquités orientales (AO 22310)

The Indus civilization was situated at the furthest edge of the geographical horizon of the Mesopotamians. After the decline of the Indus civilization, the toponym Meluḫḫa was preserved in the cuneiform tradition as the designation for a distant exotic country. The knowledge of its location, however, was permanently lost. In the first half of the first millennium BCE, the kings of the Neo-Assyrian empire identified far-away Nubia, situated in Africa, as Meluḫḫa.

During the first millennium BCE, when the cuneiform cultures of the Near East and India finally came in contact again, the Mesopotamians were no longer aware of the fact that these regions in the far east had once been the land of Meluḫḫa.

Beyond some indications of long-distance trade between the cuneiform cultures and India during the first half of the first millennium BCE, there is no evidence for closer contact. In 539 BCE, Babylon was conquered by the Achaemenid Cyrus and thus became part of an empire that stretched from the Mediterranean to Central Asia. Elam, too, had become a province of the Persian empire. Under its first rulers, the empire kept expanding; Darius I enlarged it in the east by subjugating the Indus Valley. By order of the Persian ruler, the Carian navigator Scylax made a journey down the Indus, as we learn from Herodotus (IV.44). Thus, compared to earlier periods, the opportunities for contact between the Near East and northwest India had changed fundamentally: for the first time ever these distant regions were united under one Great King in one empire.

Clay tablet from the archives of the Murašû family mentioning Indians in the Nippur area.

Population groups from the Indian provinces of the Achaemenid empire were deported to Babylonia. Persons designated as Indians (Indūmaja or Indumāja) are attested in the fifth century BCE in the Nippur area. These Indians were, in the context of an elusive acculturation process, integrated into the local social, cultural, and economic environment. The Indians are mentioned in documents from the archive of a family of businessmen from Nippur, named Murašû. The pertinent texts are from the fifth century BCE. The Indians are attested as contract partners of the Murašû or as witnesses in business transactions. Many individuals designated as Indians, however, bear good Babylonian or West Semitic names. One had the Babylonian name Nidinti-Enlil, whereas his father (Bagaina) and grandfather (Zimakkaʾ) still bore Indo-Iranian names. This implies that Nidinti-Enlil himself was born in Babylonia and that the Indians had been resettled a generation earlier. The name of Nidinti-Enlil holds other information as well: it shows that the acculturation process included also the veneration of local Babylonian gods, as indicated by the name’s so-called theophoric element. Nidinti-Enlil means “Gift of the god Enlil.” Enlil is the god of Nippur. The parents of this man ascribed the fortunate birth of their son to the intervention of a Babylonian god, and expressed this fact in his name.

There is no indication of mutual influence involving Indians and native Babylonians. We cannot, however, make further reliable statements on Indians in Babylonia because of the skewed distribution of our sources. In fact, the attestations in the documents of the Babylonian “firm” Murašû are the only evidence of these Indians at all. They left no specifically Indian traces in Babylonia.

Babylon is mentioned only once in an Indian text, the Bāveru Jātaka. The jātakas form part of Buddhist literature; they are allegorical stories about episodes from previous lives of the Buddha.

The Bāveru Jātaka describes how some Indian merchants travel by sea to a place called Bāveru, where birds are unknown. The Indians use a pilot bird for navigation: they have a crow on their ship that they release from time to time to determine the way toward the shore. This crow creates a sensation in Bāveru and is sold by the Indians for much money to the locals. On their next voyage the Indian merchants bring a peacock. The crow had been admired by the indigenous people of Bāveru only because birds had been unknown to them. The magnificent peacock consequently puts the unprepossessing crow in the shade at once and is sold by the Indians for ten times the price of the crow.

The toponym Bāveru is in fact Babylon, whose name the Indians encountered in its Old Persian form, Bābiru-. The text reflects trade relations between India and Mesopotamia via the Persian Gulf in Achaemenid times. The aim of the jātaka, however, is religious: the peacock is a metaphor for the Buddha in one of his earlier existences. The message of the text is that people, as long as they do not know the truth, will follow bogus prophets and founders of religions. These false leaders are symbolized by the crow. But people will follow the truth when it is revealed to them, namely in the form of the Buddha, symbolized by the peacock.

Representations of the jātakas were very popular in Buddhist art, and in fact representations of the Bāveru Jātaka from South and Southeast Asia are extant. For example, two reliefs featuring scenes from the Bāveru Jātaka are known from medieval Burma. On one relief we see a woman offering food to the peacock, who stays under an umbrella that serves as a symbol of esteem; the crow, depicted beneath the peacock, has fallen into disregard. The veneration of the peacock is also shown on the other relief; an inscription associates this scene with the pāveru-jac, i.e., Bāveru Jātaka. This is presumably the only attestation of Babylon in any Burmese text. It is certainly remarkable that at least the name of Babylon was transmitted through a Buddhist source as far away as Burma, although the jātaka’s assertion that no birds were to be found in the exotic country of Bāveru hardly reflects any knowledge of the cultural achievements and the long history of Babylon.

Scene from the Bāveru Jātaka: The veneration of the peacock in Babylon (Shwezigon Pagoda, Pagan, Burma). From: Duroiselle, Chas. 1916. Pictorial Representations of Jātakas in Burma. Pp. 87–119 in: Archaeological Survey of India, Annual Report 1912–13, ed. John Marshall. Calcutta: Superintendent Government Printing, India: Fig. 21.
Scene from the Bāveru Jātaka: The veneration of the peacock in Babylon (Shwezigon Pagoda, Singaing, near Kyauksê, Burma). From: Duroiselle, Chas. 1916. Pictorial Representations of Jātakas in Burma. Pp. 87–119 in: Archaeological Survey of India, Annual Report 1912–13, ed. John Marshall. Calcutta: Superintendent Government Printing, India: Fig. 50.

Whereas the presence of Babylonians in western Iran is quite well attested, they are difficult to document in eastern Iran and northwest India. In Achaemenid times, Babylonian officials and businessmen stayed in several places in western Iran and formed organized communities there. Babylonian entrepreneurs, among them members of the famous “firm” Egibi, frequented several cities in western Iran, such as Ekbatana or Persepolis. This can be deduced from documents that were either issued at these places and kept there or drafted in western Iran but kept in Babylonia.

The cuneiform tablets excavated furthest east of Western Asia are from Kandahar in Afghanistan. This cuneiform evidence consists of two fragments of Elamite administrative tablets. The fragments were discovered in the area of the citadel. The existence of these texts makes clear that administrative structures that employed Elamite scribes writing in cuneiform stretched far to the east.

Living elephants certainly were the most impressive “export good” sent from India to the west. Around the turn from the fifth to the fourth century BCE, the Greek physician Ctesias stayed at the court of the Persian Great King. He reports that in Babylon he saw how Indian elephants were used as farm animals in agriculture and how they uprooted date palms under the guidance of their Indian masters.

One hundred years later, Indian elephants were put to work again in Babylon, this time to assist with the renovation of the time-honored temple of the god Marduk, Esaĝil. At that time, Mesopotamia was ruled by Seleucus I, a successor of Alexander the Great. The diadoch had, at the end of the fourth century BCE, ceded the eastern parts of his empire to the Indian ruler Candragupta Maurya, receiving in return five hundred elephants. Seleucus as well as his successors maintained the old cult centers of Babylonia. The crown prince, who later ruled as King Antiochus I, used several of the elephants of Candragupta to carry away the debris of the decayed temple of Marduk in Babylon during its renovation.

A considerable body of scholarship postulates a far-reaching and unilateral transfer of knowledge and ideas from Mesopotamia to India during the first millennium BCE. In this scholarly discourse, it is suggested that Babylonian astronomy and divination exerted a decisive influence on Indian astronomy and astrology. Furthermore, some researchers postulate Mesopotamian influences on India in the fields of literature and mythology. On the other hand, the assumption of a transfer of knowledge from Mesopotamia to India has also been vehemently denied. It is striking that, so far, most research has focused on the alleged influences of the cuneiform cultures of Mesopotamia on India. The Elamite culture and the evidence of Elamite cuneiform sources from present-day Iran have often remained unconsidered. This is surprising, because Elamite texts from Afghanistan are the cuneiform sources discovered nearest to the Indian subcontinent.

Despite the manifold contacts attested, it is difficult to trace any transfer of cultural goods and assets between the cuneiform cultures of the Near East and India. A clear example of the transfer of ideas and knowledge between the Near East and India remains elusive. Knowledge accumulated by the cuneiform cultures, for example in the field of astronomy, reached India indirectly via Greek transmission in the Hellenistic period. There is no evidence for any influence of Mesopotamian scholarship on India in Achaemenid or earlier times. The cuneiform tablets from Achaemenid-era Kandahar document the presence of Elamite scribes in the eastern extremities of the empire. If any of the cuneiform cultures exerted an influence on Indian culture, the most likely candidate is Elam. Nevertheless, it seems improbable that Achaemenid administrators exerted a profound intellectual influence on India.

Alexander and the Indian gymnosophists. From: Le livre et la vraye hystoire du bon roy Alixandre (ca. 1420-1425), f.60r: British Library Royal MS 20 B XX

Alexander the Great long ago experienced the difficulties of learning about the intellectual achievements of a foreign culture. After his arrival in India, he failed deplorably in his project to initiate a mutual exchange of philosophical concepts between Greeks and Indians. When his emissary Onesicritus tried to participate in a discussion with wise Indian men (labeled “sophists” by the Greeks), he encountered substantial difficulties in communication because he had to converse with them through a chain of three translators. When Onesicritus asked a question, it was translated by the first translator for the second translator, who then retranslated the question for the third translator, who finally translated the question to the Indian sages—whose reply was likewise distorted in transmission. Under these circumstances, a profound intellectual exchange could not be achieved. We may assume that Elamite scribes operating on the eastern edge of the Achaemenid empire encountered similar problems when communicating with Indian sages—if indeed they ever did so.

Claus Ambos is a member of the Institut für Altertumswissenschaften at the Universität Würzburg.

https://www.asor.org/anetoday/2021/07/contacts-cuneiform-cultures-india

Monkey business in Aegean and Indus Script hieroglyphs

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Friends of ASOR

November 2020

Vol. VIII, No. 11

Monkey Business: New Evidence for Aegean-Indus Exchange

By Marie N. Pareja

 

The Aegean is over 6000 kilometers from the Indus Valley. So how did these two centers of ancient civilization come into contact, and why were monkeys involved?

Archaeological evidence for long distance trade can sometimes be surprising. A recent reexamination of one of the wall paintings from the site of Akrotiri on the island of Thera shows possible connections between the Indus and the Aegean during the Bronze Age. The exchange between these regions, whether by land or by sea, was likely indirect and involved at least one—if not several—middlemen (Fig. 1). Evidence suggests that Mesopotamia is the likely intermediary, as the region’s trade with both the Indus and Aegean is well documented. It also serves as the most likely place in which Aegean artists may have observed Indian monkeys.

Fig. 1. Map of the Aegean, Egypt, Near East, Mesopotamia, and the Indus. Adapted from Google Earth by M.N. Pareja.

Bronze Age Aegean monkey and ape iconography first appears during the Early Bronze Age (ca. 3100-2100 BCE) in the form of figurines, many of which double as stamp seals. Nearly all of the creatures are shown in a crouching-squat position and are drilled with a hole for suspension, perhaps from a bracelet (Fig. 2). A unique figurine sits in an upright human-like position, as though on a stool, and the bottom of the base is inscribed with a cross-and-chevron motif (Fig. 3). These figurines are only found in at the very end of the third millennium BCE.

Fig. 2. Monkey figurine. Tholos Tomb A, Platanos. After Pareja 2017, 17, fig. 2.13.
Fig. 3. Monkey Figurine and Base. Trapeza. After Karetsou 2000, 173, fig. 154; Pareja 2017, 54, fig. 5.1.

From the Middle through Late Bronze Age (ca. 2100-1100 BCE), monkey iconography occurs in glyptic art. The animals appear in the familiar crouching-squat position, and they are usually found together with floral elements, baskets, and female figures (Fig. 4). Yet again we have an outlier: one seal preserves a monkey wearing a belt or halter together with a male figure among a field of plants (Fig. 5). Nevertheless, almost all seals combine elements that are readily visible in the much larger-scale wall paintings from Knossos on Crete and Akrotiri on Thera.

Fig. 4. Line drawing of a Female and Monkey with a Basket and Floral Elements on a lentoid seal from Sitia, Crete, Greece. Adapted from CMS III 358, drawn by M.N. Pareja.
Fig. 5. Line drawing of A Man and Monkey on an Amygdaloid Seal from Prassa, Crete, Greece. Adapted from CMS III 357, drawn by M.N. Pareja.

From the end of the Middle Bronze Age into the beginning of the Late Bronze Age, monkeys are freed from the crouching-squat, represented with mostly blue fur, and shown in a variety of poses and contexts. They pick crocus flowers from rocky outcrops and flower pots (Fig. 6), roam wildly through both verdant and rocky landscapes, reside outside of a temple or shrine, and they make offerings of saffron to a seated goddess (Fig. 7).  When the images from wall paintings and glyptic art are considered together, they clearly depict different possible phases of a crocus ceremony that may have been performed during the Bronze Age, in which women and monkeys engage in both collecting and offering crocuses and/or saffron to a nature deity.

Fig. 6. Line drawing reconstruction of the Saffron Gatherer. Lower keep, Knossos. Adapted from M.A.S. Cameron’s reconstruction in Evely 1999: 238, fig. 80, drawn by M.N. Pareja.
Fig. 7. Offering to the Seated Goddess Fresco from Room 3a, Xeste 3, Akrotiri, Thera, Greece. After Doumas 1992, 158-159, fig. 122.

Fig. 8A. Monkeys Fresco on the west wall of Room 6 of Building Complex Beta at Akrotiri, Thera. Image granted from the photo archive of Thera Akrotiri Excavations.

Scholars have traditionally attributed the appearance of monkeys in Aegean art to Egypt due to the prevalence of indigenous monkeys to Egypt and the clear and longstanding trade connections between the Aegean and Egypt since the EBA. Importantly, no monkeys or apes are indigenous to the Aegean or Near East, and so Occam’s Razor seemed to apply: the simplest solution is the most likely one, until proven otherwise. Enter an international team of primatologists specializing in Old World species, a renowned taxonomic primate illustrator, and an art historian/archaeologist.

Fig. 8B. Monkeys Fresco on the north wall of Room 6 of Building Complex Beta at Akrotiri, Thera. Image granted from the photo archive of Thera Akrotiri Excavations.

Primatologists Tracie McKinney, Jo Setchell, Jessica Mayhew, and Ray Heaton worked together with Stephen Nash, a taxonomic illustrator, and myself, a Bronze Age Aegean specialist. We examined Aegean and select Egyptian, Near Eastern, and Mesopotamian primate imagery. Although archaeologists and art historians have reviewed this corpus of primate iconography before, they lacked the experience of intensely studying and working with live animals. They also compared these depictions only with species found in Africa.

This collaborative project is the first in which primatologists reviewed the imagery to verify the previously proposed species of monkey. Consistent with previous publications, many of the animals in Egyptian art were vervets and varieties of baboons. Although highly fragmentary, most of the monkeys in Aegean art are likely baboons, too. The monkeys that play on rocky outcrops from Room 6 of Building Complex Beta at Akrotiri (Fig. 8), however, appear less like the Egyptian vervet and much more like the langur, a species native to parts of Bhutan, Nepal, and India.

The tail position, proportions, and eyes are the most immediate indicators that they are langurs rather than vervets. Although vervets tend to carry their tails outward, with the end of the tail slanting down at the end (Fig. 9), langurs more commonly arc their tails in a characteristic C- or S-shape (Fig. 10). The general physical proportions of the animals’ faces and limbs more closely resemble those of langurs than vervets, as well. Langurs are also considerably larger than cat-sized vervets.

Fig. 9A. Vervet monkey (Chlorocebus) leaping. (Arkive.org)
Fig. 9A. Vervet monkey (Chlorocebus) leaping. (Arkive.org)
Fig. 9B. Climbing Vervet monkey (Chlorocebus). (Arkive.org)
Fig. 9B. Climbing Vervet monkey (Chlorocebus). (Arkive.org)

Fig. 10A. Gray Langur monkey (Semnopithecus) with an S-shaped tail. (Wikipedia.org)

Fig. 10B. Gray Langur monkey (Semnopithecus) with a C-shaped tail. (Smithsonian.org)

This new identification is particularly exciting because it shows that the live monkeys were observed directly at some point, so that these physical nuances could be accurately recorded in order to create the wall painting. Notice the subtle detail of each face: even the dark facial markings are different for each preserved face! These monkeys are rendered as individuals, rather than as a copied and repeated motif that is meant to represent the idea of “monkey” (as is found in Egyptian artwork). It also means that these differences were important enough to warrant such precise rendering from life.

As no physical remains of monkeys have yet been discovered in the Aegean, it seems most likely that artists and/or travelers encountered langurs in Mesopotamia, with whom they traded by the early the Late Bronze Age. After all, langurs are identified on some Mesopotamian cylinder seals, and exchange between the Indus and Mesopotamia is well documented. Longstanding relationships and exchange routes may be traced through three primary means: the movement of certain raw materials (lapis lazuli, carnelian, chalcedony, and tin, among others), textual evidence (such as late third millennium BCE story The Curse of Agade), and the transmission and translation of iconography.

The two outlier objects mentioned above help to trace the connections between the Aegean and the Indus via Mesopotamia. Notably, Mesopotamian elites imported exotic animals and flaunted their resulting menageries as a testament to access to far-flung places, the raw materials from those places, and participation in an elite identity with those who reciprocated this exchange.

Fig. 11. Line Drawing of a Terracotta Plaque with a Robed Man and Monkeys. After British Museum Object no. 116513, Drawn by M.N. Pareja.

The seal that shows a male figure together with a monkey (Fig. 5) may be related to a series of terracotta plaques from Mesopotamia that also show a male figure together with one or two monkeys, who even wear a leash and collar (Fig. 11). The plaques may show a travelling entertainer and his pets and/or costars. This imagery is currently thought to be imported from even farther east, from a place where monkeys are indigenous.

Fig. 12. Cross and chevron motif from seal from Pirak. After Enault 1979, pl. XLV, C, Period IIIC, drawn by M.N. Pareja.

The lone monkey figurine that sits upright (Fig. 3), may be related to stamp seals from Bactria in Central Asia, on which monkeys, humans, and hybrid animals are shown sitting in such positions. Critically, the cross-and-chevron motif on the bottom of this stamp seal can be traced through both time and space to the Indus Valley. The motif appears incrementally earlier, the farther east it is found, from Anatolia and the Levant, to Mesopotamia, to Bactria, finally to the Indus Valley, where it appears at least as early as 3600 BCE. (Fig. 12)

Other items illustrate these connections as well, such as carnelian beads found in EBA II (ca. 27—2500 BCE) contexts at Aegina, a small island near Athens. Carnelian beads were shaped into elongated barrel forms in the Indus Valley. They then passed through Mesopotamia, where beads were cut to create several more, and some were incised with a concentric ring pattern. Some of these beads were recovered from Aigina, illustrating that the earliest of these exchange patterns date to at least the EBA, considerably earlier than the date of the langur wall painting.

Thanks in parts to monkeys and sharp-eyed artists, the Bronze Age world seems much larger and much more interconnected than we previously thought.

 

Marie N. Pareja is Consulting Scholar, Museum of Anthropology and Archaeology at the University of Pennsylvania.

https://www.asor.org/anetoday/2020/11/monkey-business

Minoan Art with Indus Script hieroglyphs

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Friends of ASOR June 2019

Vol. VII, No. 6

Trees and Power in Aegean Art

By Caroline Tully

 

Every society has symbols of leadership, and in a surprising number of Mediterranean and Near Eastern societies these are trees. Why?

Part of the answer regarding trees has to do with the use of symbols in daily life. The largest category of Aegean Bronze Age representational art consists of engraved metal signet rings and carved stone seals, known as glyptic art. Like the sealing system in the Near East, these objects were part of palatial administration systems and would have belonged to palatial emissaries. They were used to secure and identify property, to designate ownership, and as a symbol of office or authority. Usually under 3 centimetres in size, the primary purpose of signet rings and stone seals was identification of their owner; however, they also functioned as jewellery.

Minoan gold Ring, HM 1700. Photo by Jebulon.

Around 11,000 seals and sealings are known from the Aegean Bronze Age, but the number depicting human forms is comparatively small. The most complex and spectacular figurative scenes appear on metal signet rings and depict human and divine figures engaging in ritual activities. In the absence of deciphered texts from Minoan Crete, seal iconography is the richest and most diverse category of evidence relied upon in the interpretation of Minoan religion.

Minoan gold ring CMS VI. 278.

 

Almost forty examples of precious metal signet rings, stone seals and their impressions on clay sealings from Crete, mainland Greece and the Cyclades, dating to between around 1580–1430 BCE, depict human figures performing ritual in conjunction with sacred trees.

Minoan gold ring, HM 989.

 

This iconography also appears in three fresco paintings, two fragments of stone vases, on an ivory pyxis lid, and a bronze votive plaque.

The images can be divided into four different categories according to the absence, presence, and types of architectural structures associated with the tree. These are: trees in rocky ground or associated with large stones known as baetyls;

Minoan style gold ring from Mycenae. CMS I. 17.

 

trees with walls and gateways;

Minoan gold ring from Knossos. CMS VI. 2. 281.

 

trees with cult structures such as altars and platforms;

Clay sealing from Chania. CMS VS IA. 176.

 

and trees in boats.

Minoan gold ring from Mochlos. CMS II. 3. 252.

 

In images of tree cult, female figures performing ritual activity predominate, and often even substitute for the tree as the focus of cult.

That a tree cult featured in the visual repertoire of the Minoan sealing system, as well as in elite crafts such as wall painting, carved stone vases and ivory, and engraved bronze, suggests that the cult was of high status and embraced by palatial functionaries who were the representatives of rulers. Inextricably linked with a state-level society, such imagery therefore must reflect elite ideology.

Female symbolism has been associated with trees and vegetation in the Levant from as early as the Neolithic (7500–5200 BCE) into the Iron Age II (900–586 BCE) and features in sculpture; wall painting; metal pendants; metal, terracotta and stone figurines and plaques; seals; painted pottery; wooden objects; and texts.

Incised slab with abstract female figure and animals from Mari.

 

Stylised tree depicted on ceramic pithos from Kuntillet ‘Ajrud.

 

In the early twentieth century, Sir Arthur Evans, excavator of the palatial site of Knossos on Crete, sought to explain Aegean images of tree cult by proposing the existence within Minoan religion of a wooden cult object, cognate with the biblical asherah, a term mentioned forty times in the Hebrew Bible. In the biblical text the asherah is a wooden post or living tree that was often paired with a sacred stone or massebah, characteristic of early Israelite religion. In the Septuagint the term asherah is rendered as alsos, grove. According to the earlier Ugaritic texts, in addition to being a wooden object or tree, Asherah also designates a female deity, mother goddess of the Ugaritic pantheon and partner of the chief Ugaritic deity, El. She was associated in the human world with the role of queen mother.

Biblical prohibitions of a tree cult taking place “on every high hill and under every green tree” suggest that worship of a tree goddess was part of Israelite popular religion enacted at rural locations, while elites, such as members of the Judean royal family, participated in Asherah cult in urban places. This may have also been the case in Late Bronze Age Crete, as suggested by images of tree cult set in natural locations and in conjunction with architecture, as well as the presence within the landscape of religious sanctuaries at mountain, rural, cave, and urban locations.

A sacred female tree associated with royal ideology was also evident in Late Bronze Age Egypt; inscriptions name her Isis, Nut, Hathor and sometimes Neith.

Arms and breast emerging from a sycamore tree pouring water. Limestone stela dating to the 19th Dynasty.

 

Isis was the personification of the Pharaonic throne, Hathor personified the palace and was mother/consort to Horus, and Neith suckled pharaohs. Levantine Asherah was also worshipped in Egypt during the New Kingdom in the guise of Qudshu. Earlier, in the Middle Bronze Age, the goddess Ishtar was associated with both trees and royalty.

The Investiture Scene painting from the palace at Mari.

 

These goddesses symbolised effective rulership, fertility, nurturance, protection, regeneration, order and stability.

Sacred trees associated with female figures appeared earlier and lasted longer in the Levant than they did in Crete or Egypt. Like the Minoan examples, Levantine sacred trees were interchangeable with female figures, paired with sacred stones and altars, associated with open-air cult sites, as well as urban palatial locations. Crete was in contact through trade with the Levant from the Early Bronze Age with interaction intensifying in the early second millennium. Influence on Crete of aspects of Levantine religion was probably part of that relationship, particularly within the elite sphere.

While the tree may have associations with females and royalty, they are not the only components in Aegean images of tree cult. The examples in which trees are situated within rocky ground may be evocative of the mountainous Cretan landscape.

Clay sealing from Haghia Triadha. CMS II. 6. 5.

 

That trees in rocky ground allude to mountains is evident in Akkadian seals and may be the case in Minoan glyptic as well. If the tree represents a female deity that has associations of queenship/royalty and is, moreover, similar to known Levantine and Egyptian goddesses, the rocky ground may in turn possess associations with the male partner of such a deity. In Ugaritic and Israelite religion mountains were associated with male deities such as El, Baal and Yahweh. El’s mountain was a source of water and fertility, a meeting place of heaven and earth; it had connotations of royalty and governance and was the place where the divine council met.

Kings, queens or specific rulers are not identifiable in Minoan art, but elite figures certainly are. We know that gold rings and stone seals depicting images of tree cult were tools of, and perhaps indicators of positions within, Minoan administration. While we do not know if there actually was a single ruler or a royal dynasty in Late Bronze Age Crete, elite administrators may have sought to evoke associations of a wider Near Eastern visual and symbolic language in which a tree that was also a goddess had associations with royalty.

The association between Minoan elites and a sacred tree enhanced elite power by linking that power with the supernatural, consequently legitimising elites’ position within the hegemonic structure of Neopalatial Crete. Recording ritual performances depicting elite figures in conjunction with sacred trees on precious metal rings and stone seals advertised this connection to a wider audience. Through the Minoan administrative system these images were impressed onto clay sealings, thus enabling them to be multiplied and distributed – potentially in perpetuity. The circulation of these ideological visual messages through the reproduction and dispersal characteristic of the sealing process resulted in Minoan elites literally stamping their authority on to Cretan society.

 

Caroline Tully is an Honorary Fellow in the School of Historical and Philosophical Studies at the University of Melbourne, Australia. Her book, The Cultic Life of Trees in the Prehistoric Aegean, Levant, Egypt and Cyprus is published by Peeters.  

https://www.asor.org/anetoday/2019/06/Trees-and-Power-Aegean-Art

Vāra (वार) 'day of the week' in the calendrical systems of Bhāratam is an innovation of ca. 1 CE

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https://tinyurl.com/hp3r8mj6

Vāra (वार) 'day of the week'. When did the use of this word with this meaning come into vogue in Bhāratam? Was it in vogue for MBh calendar? The answer is: No, it was not in vogue in the Vedanga Jyotisa calendar of MBh times.

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Jayasree Saranathan
@jayasartn 31 July 2021
If Kali Yuga date is changed by a single day, today cannot be Saturday. It's a pity this knowledge known to common man until not long ago is not known to current generation. There are 2 India's- one that knows and the other out to destroy this knowledge. https://jayasreesaranathan.blogspot.com/2021/03/kali-y

Common parlance is वासरः vāsaraḥ ‘a day of the week’. Synonym is वारः used in Jyotistattvam as a signifier of the वारः vāraḥ --वेला , ‘a time or period of the day when no act is performed’.

It appears that the word वारः vāraḥ was not used in the calendrical systems of ancient times and may have been brought into vogue, perhaps in the historical periods, say, Gupta reign. I agree with PV Kane that the week as a time-reckoner is an innovation in Bhāratam in the Common Era, say from 1 CE.

A continuous seven day cycle that runs throughout history, paying no attention whatsoever to the phases of the moon and having a fixed day of rest, was most likely first practised in Judaism, dated to the 6th century BC at the latest.” (Eviatar Zerubavel (March 15, 1989). The Seven Day Circle: The History and Meaning of the Week. University of Chicago Press.)

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

Historically, the system of dominical letters (letters A to G identifying the weekday of the first day of a given year) has been used to facilitate calculation of the day of week. The day of the week can be easily calculated given a date's Julian day number (JD, i.e. the integer value at noon UT): Adding one to the remainder after dividing the Julian day number by seven (JD modulo 7 + 1) yields that date's ISO 8601 day of the week. For example, the Julian day number of 30 July 2021 is 2459426. Calculating 2459426 mod 7 + 1 yields 5, corresponding to Friday.” (Richards, E. G. (2013). "Calendars". In S. E. Urban & P. K. Seidelmann, eds. Explanatory Supplement to the Astronomical Almanac, 3rd ed. (pp. 585–624). Mill Valley, Calif.: University Science Books. 2013, pp. 592, 618. This is equivalent to saying that JD0, i.e. 1 January 4713 BC of the proleptic Julian calendar, was a Monday.)… The seven-day week seems to have been adopted, at different stages, by the Persian Empire, in Hellenistic astrology, and (via Greek transmission) in Gupta India and Tang China… The seven-day week was known in India by the 6th century, referenced in the Pañcasiddhāntikā.Shashi (Shashi, Shyam Singh (2000). Encyclopaedia Indica India, Pakistan, Bangladesh Vol. 76 Major dynasties of ancient Orissa: India, Pakistan, Bangladesh. Anmol Publications PVT. LTD. pp. 114–115.) mentions the Garga Samhita, which he places in the 1st century BC or AD, as a possible earlier reference to a seven-day week in India. He concludes "the above references furnish a terminus ad quem (viz. 1st century) The terminus a quo cannot be stated with certainty".( Pandurang Vaman Kane (1930–1962). History of Dharmaśāstra.)

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

वासरः vāsaraḥ, वासरम् vāsaram [सुखंवासयति जनान्वासरः Uṇ.3.133] A day (of the week). -रः Time, turn.वारः vāraḥ -वेला a time or period of the day when no act is performed; कृतमुनियमशरमङ्गल

रामर्तुषु भास्करादियामार्धे। प्रभवति हि वारवेला न शुभा शुभकार्यचरणाय ॥ Jyotistattvam (Apte)

वासरः, पुंक्ली, (वासयतीतिवस् + णिच् +“अर्त्तिकमिभ्रमिचमिदेविवासिभ्यश्चित्उणा०३१३२इतिअरः) दिवसःइत्यमरः(यथा, कथासरित्सागरे२३प्रवृत्तेचावयोर्वादेप्रयाताःसप्तवासराः”)नागप्रभेदे, पुंइतिमेदिनीरे, २१३

 

वारः, पुं, (वारयतिव्रियतेवेतिवृ + णिच् +अच्वृ + घञ्वा) समूहःअवसरः।इत्यमरः (यथा, महाभारते१६१एकैकश्चापिपुरुषस्तत्प्रयच्छतिभोजनम्।सवारोबहुभिर्वर्षैर्भवत्यसुतरोनरैः”)सूर्य्यादिवासरःद्बारःहरःकुब्जवृक्षः।क्षणःइतिमेदिनीरे, ६५ * अथवाराणांसंज्ञाचरःसौम्योगुरुःक्षिप्रोमृदुःशुक्रोरविर्ध्रुवः।शनिश्चदारुणोज्ञेयोभौमउग्रःशशीसमः॥चरक्षिप्रैःप्रयातव्यंप्रवेष्टव्यंमृदुध्रुवैः।दारुणोग्रैश्चयोद्धव्यंक्षत्त्रियैर्जयकाङ्क्षिभिः॥नृपाभिषेकोऽग्निकार्य्यंसूर्य्यवारेप्रशस्यते।सोमेतुलेपयानञ्चकुर्य्याच्चैवगृहादिकम्॥सैनापत्यंशौर्य्ययुद्धंशस्त्राभ्यासःकुजेतथा।सिद्धिकार्य्यञ्चमन्त्रश्चयात्राचैवबुधेस्मृता॥पठनंदेवपूजावस्त्राद्याभरणंगुरौ।कन्यादानंगजारोहःशुक्रेस्यात्समयःस्त्रियाः।स्थाप्यंगृहप्रवेशश्चगजबन्धःशनौशुभःइतिगारुडे६२अध्यायः॥सावनदिनवद्वारप्रवृत्तिःसूर्य्योदयावधिरेव।सूर्य्यसिद्धान्तेसूतकादिपरिच्छेदोदिनमासाब्दपास्तथा।मध्यमग्रहभुक्तिश्चसावनेनप्रकीर्त्तिताःअत्रदिनाधिपस्यरव्यादेर्भोग्यंदिनंवाररूपंसावनगणनोक्तंव्यवहारोऽपितादृगेवतिथि-विवेकेऽपिभवतुवारयोगेव्यस्ततिथेर्ग्रहणंतस्यदिनद्वयेऽसम्भवादित्युक्तम्सावनदिन-माहसूर्य्यसिद्धान्तःउदयादोदयंभानोर्भौमसावनवासराःभौमेतिपित्रादिदिनव्यावृत्त्यर्थम्यत्तुरेखा-पूर्ब्बपरयोरित्यादिनाज्योतिषेवारप्रवृत्तिरुक्ता तज्ज्योतिःशास्त्रोक्तकालहोरादि ज्ञापनार्थमितिज्योतिस्तत्त्वेबहुधाविवृतम्नैवास्तमनमर्कस्यनोदयःसर्व्वदासतः।उदयास्तमनाख्यंहिदर्शनादर्शनंरवेः॥यैर्यत्रदृश्यतेभास्वान्तेषामुदयःस्मृतःइतिविष्णुपुराणात्सूर्य्यदर्शनयोग्यकालादेववारघटककर्म्मसुएवकालःइतिज्योति-स्तत्त्वम् * अथशोभनवाराःरविःसोमोमङ्गलश्चबुधोजीवःसितःशनिः।एतेषांनामतोवाराविख्याताःसर्व्वकर्म्मसु॥सितेन्दुबुधजीवानांवाराःसर्व्वत्रशोभनाः।भानुभूसुतमन्दानांशुभकर्म्मसुकेष्वपिइतिज्योतिःसागरः॥अथवारवेलाकृतमुनियमशरमङ्गल-रामर्त्तुषुभास्करादियामार्द्धे।प्रभवतिहिवारवेलानशुभाशुभकार्य्यकरणायअथकालवेलाकालस्यवेलारवितःशराक्षि-कालानलागाम्बुधयोगजेन्दू।दिनेनिशायामृतुवेदनेत्र-नगेषुरामाविधुदन्तिनौइतिज्योतिस्तत्त्वम् * ॥तयोर्व्वर्ज्यत्वंयथा, --“रवौवर्ज्यंचतुःपञ्चसोमेसप्तद्वयंतथा।कुजेषष्ठद्वयञ्चैवबुधेबाणतृतीयकम्॥गुरौसप्ताष्टकंचैवत्रिचत्वारिभार्गवे।शनावाद्यञ्चषष्ठञ्चशेषञ्चपरिवर्ज्जयेत् * ॥रवौषष्ठंविधौवेदंकुजवारेद्वितीयकम्।बुधेसप्तगुरौपञ्चभृगुवारेतृतीयकम्।शनावाद्यंतथाचान्त्यंरात्रौकालंविवर्जयेत्इतिसारसंग्रहः * ॥अथस्त्रीणांप्रथमरजस्वलायांवारफलम्आदित्येविधवानारीसोमेचैवपतिव्रता।वेश्यामङ्गलवारेबुधेसौभाग्यमेव॥बृहस्पतौपतिःश्रीमान्शुक्रेपुत्त्रवतीभवेत्।शनौबन्ध्यातुविज्ञेयाप्रथमस्त्रीरजस्वलाइतिमथुरेशकृतसारसंग्रहः(बालःयथा, ऋग्वेदेवियोभरिभ्रदोषधीषुजिह्वामत्योरथ्योदोधवीतिवारान्”“रथ्योरथार्होऽत्योनवाजीयथावारान्दंश-वारणसाधनान्बालान्दोधवीतिकम्पयतिइतितद्भाष्येसायणःवरणीये, त्रि, यथा,ऋग्वेदे१२८विश्वस्माइत्सुकृतेवारमृण्वत्यग्निर्द्बारान्वृण्वति”“वारंसर्व्वैर्वरणीयम्इतितद्भाष्येसायणः-- शब्दकल्पद्रुमः

 

वार पु०वृ--घञ्सङ्घेअवसरेअमरःस्वयोग्यकाले(पाला) “वारोऽङ्गराजस्वसुःसा०प०द्वारेशिवे६कुब्जवृक्षेक्षणेमेदि०वार् + सघेअण्जलसघेन०सूर्य्यादिग्रहाधिकृतेदिनेपु०यथारविवारःरविस्यामिकंदिनम्तदानयनञ्चसू०सि०मन्दादधःक्रमेणस्यश्चतुर्थादिवसाधिपाःवर्षाधिपतयस्तद्वत्तृतीयाश्चप्रकीर्त्तिताःऊर्ध्वक्रमेणशशिनोमामानामधिपाःस्मृताःहोरेशाःसूर्य्यतनया-दधोऽधःक्रमतस्तथासू०शनेःमकाशादधःकक्षा-क्रमेणचतुर्थसङ्ख्याकाग्रहादिनाधिपतयावारेश्वराभवन्तियथाशनिरविचन्द्रभौमबुधगुरुशकाइति।वर्षस्वषष्ट्यधिकशतत्रयदिनात्मकस्यस्वामिनस्तद्वन्म-न्दादधःक्रमेणतृतीयसङ्ख्यकाग्रहाउक्ताःचःसमुच्चयार्थेतत्क्रमश्चयथाशनिभौमशुक्रचन्द्रगुरुसूर्य्यबुधाइतिचन्द्रात्सकाशादूर्द्धकक्षाक्रमेणग्रहामासानांत्रिंशद्दिनात्मकानांस्वामिनःजथिताः।तत्क्रमश्चचन्द्रबुधशुक्ररविभौमगुरुशनथइतिशनेःसकाशादधोथःक्रमतःअधःक्रमेणहोरेशाःहोरेतिलग्नंभगणस्वचार्धम्इत्युक्तलग्नार्द्धभागात्मकहो-राणांदिनेद्वादशरात्रौद्वादशेत्यहोरात्रेचतुर्विंशति-होराणामित्यर्थःहोरासार्धद्विनाडिकाइति

षष्टिघटिकात्मकेऽहोरात्रेचतुर्विंशतिहोराणामित्यन्येस्वामिनस्तथामासेश्वरवदव्यवहिताःकथिताः।यथातत्क्रमःशनिगुरुभौमरविशुक्रबुधचन्द्राइति।अत्रशनेःसर्वोर्द्धस्यत्वाच्चन्द्रस्यसर्बाधःस्थत्वात्ताभ्वा-मधऊर्ध्वक्रमःक्रमेणोक्तःअन्यग्रहस्यावधित्वाभ्युप-गमेविनिगमनाविरहापत्तेःतुशनेराणा-वधित्वेनसृष्ट्यादौदिनवर्षहोराणांस्वामित्वंनवाचन्द्रस्याद्यावधित्वेनसृष्ट्यादौमासेशत्वंपूर्व-खण्डोक्तानीततदीशैर्विरोधापत्तेःअत्रोपपत्तिः।होरारूपलग्नानांक्रान्तिवृत्तेऽधाक्रमेणमेषादीनांसम्भवा-दूर्ध्वकक्षातोऽधःक्रमेणहोरेशत्वंयुक्तम्एवमहो-रात्रेचतुर्विंशतिर्होराःसप्ततष्टास्त्रयोहोरेसागताःचतुर्थोहोरेशोद्वितीयदिनप्रारम्भेएवप्रथन-होरेशत्वाद्द्वितीयदिनेहोरेशःएवमुत्तरत्रापि

एवमेतद्वारक्रमेणसावनवर्षेत्रयोवाराअधिकाइतिपूर्व-वर्षेशादग्रिमवर्षेशाऽधःकक्षाक्रमेणतृतीयउत्तरोत्तरम्।एवंसावनमासेद्वौवारौवारक्रमेणमासेश्वरस्याधिका-वितिकक्षोर्ध्वक्रमेवारक्रमेणैकान्तरितत्वात्कक्षो-र्ध्वक्रमेणमासेश्वरउत्तरोत्तरमित्युपपस्रंमन्दादि-त्यादिश्लोकदृयम्रङ्गनाथः।वारप्रवृत्तिश्चदृशभेदात्भिन्नकालीनायथोक्तंसि०चि०अर्कोदयादूर्ध्वमधश्चताभिप्राच्यांप्रतीच्यांदिशितत्प्रवृत्तिःऊर्ध्वंतथाऽधश्चकलाभिराभीरयाषुदग्दक्षिण-गोलमात्रेमू०प्राच्याताभिर्घटीभिर्दनवारप्रवृत्ति-रर्कोदयादूध्वम्भवतिप्रतीच्यांतुतस्मादधःयतोलङ्कोदयेवारादिअतएववारादुत्तरगोचस्थेचरोर्ध्वघटिकामिरूर्ध्वम्यतस्तदाउन्मण्डलंक्षितिजा-दूर्ध्वम्दक्षिणेत्वधःअतस्तत्रीदयादधःवारप्रवृत्तिः

प्रमिता०जगतितमोभूतेऽस्मिन्मृष्ट्यादौभास्करादितिःसृष्टैःयस्माद्दिनपवृत्तिर्दिनवारोऽर्कोदयात्तस्मत्।श्रीपतिरपिसृष्टेर्मुखेध्वान्तमयेऽपिविश्वेग्रहेषुसृष्टेष्विनपूर्वकेषुदिनप्रवृत्तिस्तदधीश्वरस्यवारस्यतस्मादुदयप्रवृत्तिःलङ्कोदग्याम्यसूत्रात्प्रथममपरतःपूर्वदेशेपश्चात्अध्वोत्थाभिर्घटीभिःसवितुरुदयतोवासरेवाप्रवृत्तिःज्ञेयासूर्य्योदयात्प्राक्चरगकल-भवैश्चामुभिर्याम्यगोलेपश्चात्तैःसौस्यगोलेयुतिवियुति-वशाच्चोभयोःस्पष्टकालःअन्योऽप्याहकेचिद्वारंसवितुरुदयात्प्राहुरन्येदिनार्द्धात्भानोरर्द्धास्तमयसमयादूचिरेकेचिदेवम्वारस्यादिंयवननृपतिर्दिङ्मुह्रर्त्तेनिशायालाटाचार्य्यःकथयतिपुनश्चार्द्धरात्रेस्वतन्त्रेएवंमतभेदेव्यवस्थामलमा०उक्तायथाद्वोतिथ्यन्तावेकवारेयत्रस्यात्दिनक्षयःकूर्मपु०एकस्मिन्सावनेत्वह्नितिथीनांत्रितयंयदा।तदादिनक्षयःप्रोक्तस्तत्रसाहस्रिकंफलम्वसिष्ठः।कौर्मपुराणवासिष्ठवचनैकवाक्यतयासावनदिनवत्वारप्र-वृत्तिःसूर्य्योदयावधिरेवमूर्य्यसि०सूतकानांपरिच्छेदोदिनमासाव्दपास्तथामध्यमग्रहभुक्तिश्चसावनेनप्रकी-र्त्तिताअत्रदिनाधिपस्यरव्यादेर्भाग्यंदिनंवाररूपंसावनगणनयोक्तम्यत्तुरेखापूर्वापरयोःइत्या-दिनाज्यातिषेवारप्रवृत्तिरुक्तातत्ज्योतिषशास्त्रोकालहोराज्ञानार्थम्वाराणांकृत्यविशेषविधा-नार्थंसंज्ञाभेदायथाचरःसौम्योगुरुःक्षिप्रोमृदुःशुक्रोरविर्ध्रुवःशनिश्चदारुणोज्ञेयोभौमउग्रःशशीसमःचरक्षिप्रैःप्रयातव्यंप्रवेष्टव्यंमृदुध्रुवैःदारुणोग्रैश्चयोद्धव्यंक्षत्त्रियैर्बुद्धका-ङ्क्षिभिःइतिसामान्यतोऽभिधायनृपाभिषेको-ऽग्निकार्य्यञ्चसूर्य्यवारेप्रशस्पतेसोमेतुलेपयानंचकुर्य्याच्चैवगृहादिकम्सैमापत्यंशौर्य्ययुद्धंशस्त्राभ्यासःकुजेतथासिद्धिकार्य्यञ्चगन्त्रञ्चयात्रांचौबुधेतथापठनंदेवपूलावस्त्रद्याभरणंगुरौ।कन्यादानंगजारोहःशुक्रेस्यात्समयःस्त्रिया।स्थाप्यंगृहप्रवेशश्चगजबन्धशगौशुभःगरुड़पु०६२अ०-- वाचस्पत्यम्

Six identical Kalibangan seals and a cylinder seal with Indus Script hieroglyphs catalogue ironsmith, smelter, gold smithy work

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The field symbol on the six identical seals of Kalibangan is a one-horned young bull. This has been deciphered as an Indus Script Hypertext.

Rebus: śr̥ṅgín ʻ horned ʼ RV. [śŕ̊ṅga -- ]Pa. siṅgin -- , siṅgika -- ʻ horned ʼ, Pk. siṁgi -- , N. siṅe, G. sĩgī; -- ext. -- l -- : Pa. siṅgila -- m. ʻ a kind of horned bird ʼ; S. siṅiru ʻ horned ʼ. OMarw. (Vīsaḷa) sīṁgī f.adj. ʻ horned (of cow) ʼ.(CDIAL 12595) शृङ्गिन् śṛṅgin a. (-णी f.) [शृङ्गमस्त्यस्य इनिHorned (Apte)

Rebus:  शृङ्गी śṛṅgī  Gold used for ornaments. (In goldsmithy, this 18-carat gold is distinguished from 24-carat kundan 'fine gold').

खोंड khōṇḍa m A young bull, a bullcalf.

Thus, the rebus reading of hieroglyph खोंड khōṇḍa 'young bull' is: कोंड kōṇḍa 'a circular hamlet (of a guild) of singi 'ornament goldsmiths' .

The text message is read rebus in Meluhha:

dula 'pair' rebus: dul 'metalcasting' PLUS kāḍ 'stature', kāṭi 'body stature rebus: khad 'iron stone'
dula 'pair' rebus: dul 'metalcasting' PLUS arka 'twelve' rebus: arka 'copper, gold'
sal 'splinter' rebus: sal 'workshop'
dula 'pair' rebus: dul 'metalcasting; PLUS maĩd ʻrude harrow or clod breakerʼ (Marathi) rebus: mẽṛhẽt, meḍ 'iron'.
Pair of bows: dula 'pair' rebus: dul 'metal casting' PLUS  kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) Rebus: kammaṭa 'mint, coiner, coinage'. *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1]L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.(CDIAL 3024) rebus: kāṇḍa 'equipment'.

K69A


K70A

K71A

K72A

K73A

K74A

k75A

The following cylinder seal conveys a comparable message:

kola 'tiger' rebus: kol 'working in iron' PLUS panja 'feline paws' rebus: panja 'kiln, furnace' PLUS  śal 'leap' rebus: śāla, sal 'workshop' śālika ‘village of artificers’
 badhi 'castrated boar' rebus: badhi 'worker in wood and iron'
arka 'twelve' rebus: arka 'copper, gold'
Pair of bows: dula 'pair' rebus: dul 'metal casting' PLUS  kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) Rebus: kammaṭa 'mint, coiner, coinage'. *kāṇḍakara ʻ worker with reeds or arrows ʼ. [kāˊṇḍa -- , kará -- 1]L. kanērā m. ʻ mat -- maker ʼ; H. kãḍerā m. ʻ a caste of bow -- and arrow -- makers ʼ.(CDIAL 3024) rebus: kāṇḍa 'equipment'.

koda 'one' rebus: kod 'workshop' PLUS dhakka 'lid' rebus: dhakka 'blazing, bright metal'; kāṇḍa 'arrrow'.rebus: kāṇḍa 'equipment'.


Cylinder seal.Afghanistan. ca23rd cent BCE


Was it an eclipse season before MBh war? Three eclipses: Sept. 29, Oct. 14, Oct. 28, 3067 BCE

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https://tinyurl.com/47cntwzd

https://www.academia.edu/s/1af0d4aab8#comment_884050?from_navbar=true

A well-researched paper which should be published for wide dissemination. It seeks to offer an explanation for the statement made in the Great Epic Mahabharata.  The astronomical event alluded to in the statement is the unusual occurrence of a solar eclipse followed by a lunar eclipse following on the 13th tithi of the moon. Most scholars have searched for the dates of such a pair of eclipses occurring within 13 tithi-s.   Dr. Saranathan seeks to provide an explanation for this unusual event by Piora Oscillation caused by a cosmic impact. Derivation of the dates of this sequence of two eclipses within 13 tithi-s is an important signifier of the date of the Mahabharata war. The Epic text does not refer to any cosmic impact but simply records the sequence of a solar eclipse followed by a lunar eclipse. Such a sequence is also seen to occur in 3067 BCE.  Prof. Narahari Achar and Prof. Srinivasa Raghavan have indicated the dates to be lunar eclipse on Sept. 29, 3067 BCE; solar eclipse on October 14, 3067 BCE; followed by a lunar eclipse on October 28,3067 BCE https://www.researchgate.net/publication/237283001_Date_of_the_Mahbhrata_War_based_on_Simulations_using_Planetarium_Software


caturdaśīṁ pañcadaśīṁ bhūtapūrvāṁ ca ṣoḍaśīm

imāṁ tu nābhijānāmi amāvāsyāṁ trayodaśīm

candrasūryāv ubhau grastāv ekamāse trayodaśīm

aparvaṇi grahāv etau prajāḥ saṁkṣapayiṣyataḥ

(Mahabharata 6.3.28, 29)

Translation: Those two blazing planets, viz., Vrihaspati and Sani, having approached the constellation called Visakha, have become stationary there for a whole year. Three lunations twice meeting together in course of the same lunar fortnight, the duration of the latter is shortened by two days. On the thirteenth day therefore, from the first lunation, according as it is the day of the full moon or the new moon, the moon and the sun are afflicted by Rahu. Such strange eclipses, both lunar and solar, forebode a great slaughter. (Translator, Kisari Mohan Ganguly’s Footnote: This sloka is omitted in many editions, though it is certainly genuine. I have rendered it very freely, as otherwise it would be unintelligible. The fact is, three lunations twice meeting together in course of the same lunar fortnight is very rare. The lunar-fortnight (Paksha) being then reduced by two days, the day of full-moon or that of new moon, instead of being (as usual) the fifteenth day from the first lunation becomes the thirteenth day. Lunar-eclipses always occur on days of the full-moon, while solar-eclipses on those of the new moon. Such eclipses, therefore, occurring on days removed from the days of the first lunation by thirteen instead of (as usual) fifteen days, are very extraordinary occurrences.) Source: https://www.sacred-texts.com/hin/m06/m06003.htm

Battling for survival. Imperative of resurrecting Epigraphy Department of ASI -- Harsha Bhatt

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Battling for survival  – Harsha Bhatt

Apathy is driving epigraphists to protest for survival. It's time the government resurrects this department, a vital link to our past.

The birth anniversary of B L Rice — the man who pioneered epigraphic studies in the state of Mysuru — was celebrated last month. Rice was the first director of the Department of Archaeology and Museums in Karnataka. But if he were to be born again in this era, he would be shocked by the neglect and apathy epigraphy suffers from.

This is corroborated by the protests heldby a group of officials from the epigraphysection, outside the very department heheaded more than a century and a half agoin Mysuru, over the ‘step-motherly’ treatment meted out to them.

Epigraphy is the only study that candecipher writings that have been relegatedto the pages of history and buried in thewomb of human existence for centuriestogether, yet the attention epigraphy gets in India is dismal.As if to reiterate the disregard for thisfield of study, the recently concluded re-structuring exercise of the ArchaeologicalSurvey of India (ASI) ended up not allottinga single post for the department that holdsthe key to documentation of the past.Speaking to Swarajya, an officiallamented the state of affairs at the department which will soon meet the fateof inscriptions in this country — buriedbeneath the debris of ignorance.“We didn’t want to disrupt work, hencewe protested for an hour during our lunchtime; but we wonder if it made any difference to the authorities concerned,” said theofficial.“It is a field that requires great skill andtakes years of devoted pursuit to be able toeven acquire a basic mastery of the scriptsor languages one is familiar with. Already,there are very few people who take upepigraphy given the lack of incentives andcareer opportunities. To top that, a lot ofposts are getting abolished owing to non-appointment”.“In 2015, for instance, there was arevival of two epigraphy posts related toSanskrit — but both these posts were left unfilled, and that led to them being permanently abolished. The section is almostwound up”.To cover the north Indian region, thesection has hardly a handful of epigraphists, around six to seven, says the official, asking how they would suffice for theentire region.“There should have been six to sevenepigraphists for every state, given thewealth of inscription we have and keep dis-covering in this country. We have numerous pending tasks but no people.”But why are there no appointmentsbeing made? What impedes hiring for thisdepartment, which should ideally be handsomely staffed? “Who is answerable? Ourauthorities have been trying so hard to bring this to the attention of those concerned, but in vain. If they had made thoseappointments in 2016, would the posts havebeen lost?” he asks.

When there was a revival of posts in2016, all except those in the epigraphy section were filled, he says. In March, sevenposts pertaining to epigraphy (acrosslanguages) have seen a revival, yet no stepshave been taken so far for appointments,he adds.These need to be filled up within a year,failing which they too will be permanentlyabolished.Files remain stuck, approvals remainpending, and history repeats as no appointments are made. “There is no archaeologywithout epigraphy, yet we get the leastattention,” the official rues.As one can tell from a visit to any of thesites maintained by the ASI in the country, importance has been given to hiringhorticulturists and gardeners, but notspecialists who can decode inscriptionsthat excavations and accidental discoveries unearth.Even the recent 758 appointments to theASI across the country, the horticulture Section  has seen the highest number of appointments and so has conservation, while epigraphy remains ignored.As per reports, 70 posts have been created to recruit horticulturists including assistants.The history of ancient and medieval India is based on epigraphy. Any excavationor discovery requires the intervention ofan epigraphist. So, why this step-motherlytreatment? ask the officials.
Dejected after having made countlessrequests, they took to protesting to draw
attention to this issue.It is appalling to know that the entiredepartment across various languages hasa total of 31 sanctioned posts — of which 10are vacant.Though they take immense pride inworking for this department which, theysay is a “Saraswati bhandara”(a treasuretrove of wisdom) they are dejected as “thishouse of Saraswati doesn’t get the attention that it deserves”.“This is because it is solely a house ofSaraswati and not of Lakshmi, that it ismet with this level of disregard. Thosedepartments where ‘Lakshmi’ is generated are well taken care of — from appointmentto support to grants. But unfortunately wearen’t one such,” he quips.And it is not that the nation lacks talentto train experts in this realm.“This is a field where aspirants train fora minimum of three to four years beforethey go out to the field and join seniors,and train under the guru shiksha parampara — this is how the branch has takenshape over the decades. But with no ‘seniors’ appointed, this tradition is breaking,”the official says.


Each state should have an office manned by three to four epigraphists fromthose respective states, he suggests. “We get numerous inscriptionsin various north Indian languageslike Gujarati, Kashmiri, Assamese,in Kharoshti script — but we haveno people to read them. The situation in North East states is evenworse — as there are no readers.Even if we get the impressionsof those inscriptions, how do wedecipher them? We have no peopleto read them,” he says.“Without ancient scripts, thereis no archaeology at all. Withoutdecoding imprints of the past, there  is no way to know history. This is adepartment started by the British.After they started the departmentof Archaeology and a magazinecalled Indian Antiquary, it generated a great number of worksfocused on epigraphy. This is whenthey thought of starting a separatejournal exclusively for epigraphy,
given its importance in the schemeof things,” he reminisces, wishing the current system gave it the importance that our colonial rulersonce did.He recollects, moist-eyed, hisearly days in the department, whenhe heard the words of a retired epigraphist Dr S Swaminathan.

“Everyone reprimanded mevwhen I joined this department. ButI am proud and grateful for whatthis has given me. I have been ableto tour the entire state of TamilNadu, go on surveys and study thecultural heritage of my state onlydue to my training here. If there is another birth, I would seek to beborn again as an epigraphist andpursue Tamil epigraphy and discover the wealth of our past in thisdepartment itself,” he said.Such is the power of this branchand its significance in the realm ofthe cultural heritage of our country. Yet, it is forced to ‘protest’ forattention.


Harsha Bhat is Senior
Sub-Editor and Columnist,Swarajya.

Importance hasbeen given to hiringhorticulturists andgardeners, but notspecialists who candecode inscriptionsthat excavationsand accidentaldiscoveries unearth.

“There should havebeen six to sevenepigraphists forevery state, given thewealth of inscriptionwe have and keepdiscovering in thiscountry. We havenumerous pendingtasks but no people.”



Climate proxies or indicators of ancient climate conditions. Explaining navigable waterway of River Sarasvati, ca. 4th m. BCE

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https://tinyurl.com/4hkmp79s

This is an addendum to: Was it an eclipse season before MBh war? Three eclipses: Sept. 29, Oct. 14, Oct. 28, 3067 BCE https://tinyurl.com/47cntwzd 

Sarasvati Civilization was a dry climate from ca. 4th millennium BCE. But, thanks to the perennial resource of glacial sources of water, the glacial melts continued to provide for navigable waterways of River Sarasvati, Ganga, Yamuna, Brahmaputra, Sindhu rivers to continue to support maritime trade of wealth resources from Meluhha speaker region (Sarasvati Civilization).

 Yamuna tear in Siwaliks leading to diversion of Yamuna eastwards
Sutlej tear in Siwaliks leading to diversion of Sutlej westwards
Rivers of Sapta Sindhu region, ca. 7th m. BCE 

Sarasvati Sindhu rivers and ancient settlements of ca. 4th millennium BCE

Some researchers are working on the phenomenon called Piora Oscillation. This refers to 1) series of three successive episodes of higher lake-level in Lake Constance (Switzerland) between 5550 and 5300 cal yr BP coinciding with glacier advance and tree-limit decline in the Alps; and 2)corresponding to global cooling and contrasting hydrological change patterns. Theories being tested relate this Piora Oscillation  to factors such as orbital forcing, ocean circulation changes and variations in solar activity. Solar activity as a factor has also led astronomers to look for indicators in ancient observations of skymaps recorded in ancient texts and traditions of many civilizations of the 4th millennium BCE period. See the contributions made by our own astronomy scholar Dr. Jayasree Saranathan. See: https://www.academia.edu/50033927/Did_the_Cosmic_impact_described_in_the_Hindu_Epic_Mahabharata_cause_the_Piora_Oscillation?email_work_card=view-paper This is ongoing research work seeking possible explanations for specific skymaps provided in the Great Epic. One such skymap relates to the occurrence of three consecutive eclipses. See: 

Was it an eclipse season before MBh war? Three eclipses: Sept. 29, Oct. 14, Oct. 28, 3067 BCE https://tinyurl.com/47cntwzd Hopefully, the Piora cold period studies of 4th m. BCE and related astronomical proxies may help resolve the contentions related to dates of MBh events detailed in the Great Epic with extraordinary astronomical precision.

As Vinther et al conclude, climate proxies are only one of the indicators of a civilizational history narrative: "
And again, the climate is not the only factor involved: to explain the end of the Bronze Age, Cline (2014) adds earthquakes/volcanic activity, droughts/famines, internal mismanagement/rebellion/civil war, outside migrants/pandemics/invaders with new technologies, disruption of international trade with domino-effect on inter-dependent states. All of these factors may have co-operated in some way to generate the ‘Perfect Storm’ that put an end to the Bronze Age and to the Roman Empire …"

[quote] Palaeoenvironmental and archaeological data from Arbon Bleiche, Lake Constance (Switzerland) give evidence of a rapid rise in lake-level dated by tree-ring and radiocarbon to 5320 cal. yr BP. This rise event was the latest in a series of three successive episodes of higher lake-level between 5550 and 5300 cal. yr BP coinciding with glacier advance and tree-limit decline in the Alps. This west-central European climate change may have favoured the quick burial and the preservation of the Alpine Iceman recently found in the Tyrolean Alps. It has possible equivalents in many records from various regions in both hemispheres dating to 5600–5000 cal. yr BP and corresponds to global cooling and contrasting patterns of hydrological changes. This major mid-Holocene climate event marks the Hypsithermal/Neoglaciation transition possibly resulting from a combination of different factors including orbital forcing, changes in ocean circulation and variations in solar activity.[unquote]

See: A major widespread climatic change around 5300 cal. yr BP at the time of the Alpine Iceman 
  • July 2004 
  • Journal of Quaternary Science 19(5):423 - 430
  • https://www.researchgate.net/publication/227538423_A_major_widespread_climatic_change_around_5300_cal_yr_BP_at_the_time_of_the_Alpine_Iceman

    Civilisation changes and Climate changes based on Greenland reconstructed paleotemperatures from six ice cores, (Vinther, B. et al., 2009, “Holocene thinning of the Greenland ice sheet”, Nature, volume 461, (p 385-388). See: https://www.carbonbrief.org/factcheck-what-greenland-ice-cores-say-about-past-and-present-climate-change. According to Richard B ALLEY (2010), “ice cores are remarkably faithful recorders of past climate”. The temperature reconstruction produced using 18O isotope data from six ice cores is shown in the figure, and spans the period from 9690 BC to 1970 AD. It has a resolution of around 20 years, meaning that each data point represents the average temperature of the surrounding 20 years. So, the end of the record (1970) shows the average temperature between 1960 and 1980. The present author added a 200-year triangular filtering in order to smooth the signal without altering the main peaks.

    Source: http://www.ancientportsantiques.com/wp-content/uploads/2019/06/CCCC-Vinther.png

    I excerpt for ready reference the Vinther, B. et al, 2009 citation referred to above.

    So-called climate proxies or indicators of past meteorologicl measurements

    So-called ‘climate proxies’ (indicators) are preserved physical characteristics of the past that stand in for direct meteorological measurements and enable scientists to reconstruct the climatic conditions. They provide the only means for scientists to determine climatic patterns before record-keeping began (around 1880) (Wikipedia). The most common climate proxies are gas bubbles, pollens, dinocysts, isotopes, the quantities of which tell us something about past climate conditions. Proxies are found in lake sediment, marine sediment, peat bogs, ice, speleothems, tree rings and coral skeleton rings. Coring is often used to extract the proxies.

    Let’s look at the temperature variations of surface ice in Greenland (deduced from ice cores) which is assimilated with temperatures in the European area and possibly in the whole Mediterranean area, and let’s compare it with the initiation of the major civilisations.

    Civilisation changes and Climate changes
    based on Greenland reconstructed paleotemperatures from six ice cores,
    Vinther (2009)[1].

    The so-called ‘Holocene Climatic Optimum’ (7000-4000 BC) is clearly visible with a thermal maximum around 6000 BC. It can be noted that the drop of temperature between this maximum and the 20th c. temperature is around 3°C. The temperature variations between warm and cold peaks are in the order of 1°C, except for the ‘8200 BP event’ where it is around 2°C. A quick look at the intervals between the warm peaks shows that they are fairly equidistant with an average of ca. 400 years. This is perhaps showing some astronomical influence?[5]

    The main Holocene warm and cold periods are listed very schematically as follows[2]:

    • Around 6200 BC: cold peak: ‘8200 BP Cold Period’
    • Around 6000 BC: warm peak (‘Holocene Thermal Maximum’)
    • Around 4900 BC: warm peak
    • Around 4500 BC: warm peak
    • Around 3800 BC: warm peak
    • Around 3300 BC: warm peak (initiation of Harappa-Indus Valley civilisation)
    • Around 3000 BC: warm peak (initiation of Egyptian and Sumerian civilisations)
    • Around 2900 BC: cold peak (‘Piora Cold Period’)
    • Around 2300 BC: cold peak
    • Around 2200 BC: warm peak with severe drought (initiation of Minoan civilisation, start of First Intermediate Period in Egypt)
    • Around 1900 BC: cold peak (‘Early Neoglacial Anomaly’, ENA) (migration of the Harappa-Indus Valley civilisation)
    • Around 1800 BC: warm peak (start of ‘Second Intermediate Period’ in Egypt)
    • Around 1600 BC: warm peak (initiation of Mycenaean and Hittite civilisations, and of New Kingdom in Egypt)
    • Around 1200 BC: warm peak (Sea Peoples raiding the eastern Med, end of Bronze Age)[3]
    • Around 1000 BC: warm peak (start of ‘Third Intermediate Period’ in Egypt)
    • Around 700 BC: ‘Iron Age Cold Period’
    • Around 500 BC: warm peak (initiation of Greek civilisation during a period of rising temperatures starting in 700 BC)
    • Around 200 BC: cold peak
    • Around 0 AD: Roman Warm Period (initiation of Roman civilisation during a period of rising temperatures starting in 200 BC)
    • 100-200 AD: cold period: decline of Roman Empire
    • Around 400 AD: warm peak: Byzantine civilisation
    • 400-900 AD: ‘Late Antique Little Ice Age’ or ‘Late Neoglacial Anomaly’, LNA (Migration Period, Arab Conquest, European Dark Age)
    • 900 -1350 AD: ‘Medieval Warm Period’ (initiation of European Renaissance)
    • 1350-1850 AD: ‘Little Ice Age’.

    Eventhough such a comparison between temperatures and the initiation of civilisations leaves some room for wishful thinking, it is quite striking that the initiation of civilisations[4] occurred around the warm peaks. It might perhaps be suggested that civilisations were initiated during periods with rising temperature and collapsed with prolonged droughts of several decades combined with falling temperatures. This would make sense from a farming point of view, but obviously, exceptions exist, and endless discussion may arise around this analogy …

    And again, the climate is not the only factor involved: to explain the end of the Bronze Age, Cline (2014) adds earthquakes/volcanic activity, droughts/famines, internal mismanagement/rebellion/civil war, outside migrants/pandemics/invaders with new technologies, disruption of international trade with domino-effect on inter-dependent states. All of these factors may have co-operated in some way to generate the ‘Perfect Storm’ that put an end to the Bronze Age and to the Roman Empire …

    References

    [1] VINTHER, B., et al., 2009, “Holocene thinning of the Greenland ice sheet”, Nature, volume 461, (p 385-388). See: https://www.carbonbrief.org/factcheck-what-greenland-ice-cores-say-about-past-and-present-climate-change. According to Richard B ALLEY (2010), “ice cores are remarkably faithful recorders of past climate”. The temperature reconstruction produced using 18O isotope data from six ice cores is shown in the figure, and spans the period from 9690 BC to 1970 AD. It has a resolution of around 20 years, meaning that each data point represents the average temperature of the surrounding 20 years. So, the end of the record (1970) shows the average temperature between 1960 and 1980. The present author added a 200-year triangular filtering in order to smooth the signal without altering the main peaks.

    [2] See also: https://en.wikipedia.org/wiki/Holocene & http://www.dandebat.dk/eng-klima7.htm

    [3] CLINE, E., 2014, “1177 BC, The Year Civilisation Collapsed”, Princeton University Press, (264 p).

    [4] WIENER, M., 2018, “The Collapse of Civilizations”, Belfer Center Paper, Harvard, (22 p).
    GIOSAN, L., 2018, “Neoglacial Climate Anomalies and the Harappan Metamorphosis”, Climate of the Past, https://doi.org/10.5194/cp-2018-37

    [5] TURNER, T., et al., 2016, “Solar cycles or random processes? Evaluating solar variability in Holocene climate records”, Scientific Reports, 6, 23961, https://www.nature.com/articles/srep23961 .

    Further reading

    ALLEY, R., 2010, “Reliability of ice-core science: historical insights”,Journal of Glaciology, Vol. 56, No. 200, (p 1095-1103).

    CUFFEY, K., CLOW, G., 1997, “Temperature, accumulation, and ice sheet elevation in central Greenland through the last deglacial transition”, Journal of Geophysical Research, Vol. 102, No. C12, (p 26 383-26 396).

    KANIEWSKI, D., et al., 2010, “Late second–early first millennium BC abrupt climate changes in coastal Syria and their possible significance for the history of the Eastern Mediterranean”, Quaternary Research, 74, (p 207-215).

    KANIEWSKI, D., et al., 2019, “Cold and dry outbreaks in the eastern Mediterranean 3200 years ago”, Geological Society of America, Geology, Volume XX, Number XX, (5 p).

    O’BRIEN, S., et al., 1995, “Complexity of Holocene Climate as Reconstructed from a Greenland Ice Core”, Science, New Series, Vol. 270, Issue 5244, (p 1962-1964).

    PLUMKETT, G., SWINDLES, G., 2008 “Determining the Sun’s influence on Lateglacial and Holocene climates: a focus on climate response to centennial-scale solar forcing at 2800 cal. BP”, Quaternary Science Reviews, 27, (p 175-184).

    SHARIFI, A., et al., 2015, “Abrupt climate variability since the last deglaciation based on a high-resolution, multi-proxy peat record from NW Iran: The hand that rocked the Cradle of Civilization?”, Quaternary Science Reviews, 123, (p 215-230).

    VAN GEEL, B., BUURMAN, J., WATERBOLK, H., 1996, “Archaeological and palaeological indications of an abrupt climate change in The Netherlands, and evidence for climatological teleconnections around 2650 BP”, Journal of Quaternary Science Reviews, 11, (p 451-460).

    VAN GEEL, B., & ZIEGLER, P., 2013, “IPCC underestimates the sun’s role in Climate Change”, Energy & Environment, Vol. 24, No. 3/4, (p 431-453).

    https://www.ancientportsantiques.com/temperature/


    Mohenjo-daro seal next to a skeleton signifies jangaḍiyo ‘military guard artificer of ornament gold, alloy metal mint-worker of artisan village

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    https://tinyurl.com/55ud53rv 

    This Mohenjo-daro seal was found close to a skeleton found at the site, indicating that this seal may have been held as a personal possession of an artisan.

    Decipherment:

    A. Text message


    kanac 'corner' rebus: kancu 'bell metal' PLUS sal 'splinter' rebus: sal 'workshop'
    Sign 373 has the shape of oval or lozenge is the shape of a bun ingotmũhã̄ = the quantity of iron produced atone time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed likea four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes andformed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt komūhā akata = the Kolhes have to-day produced pig iron
     This is a hypertext, ligaturring 'fish-fin' to 'fish' Sign 59 hieroglyph:  khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner,coinage' PLUS  Sign 59 aya 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, Sign 67 signifies alloy metal mint.

    dula 'pair' rebus: dul 'metal casting' PLUS muh 'face' rebus: muhA 'ingot' PLUS pot 'gold bead' rebus: pota 'metal infusion' PLUS G.karã̄ n. pl. ‘wristlets, bangles’; S. karāī f. ’wrist’ (CDIAL 2779).  Rebus: khār खार् ‘blacksmith’ (Kashmiri)



    kolmo 'rice plant' rebus: kolimi 'smithy, forge' 
    Thus, the text message conveys the profession of an artificer -- blacksmit (working in a ) alloy metal  mint, (with) smithy/forge, working with metal infusion, production of ingots of alloy metal, bell-metal

    B. Field symbol of one-horned young bull PLUS standard device

    खोंड khōṇḍa 'A young bull, a bullcalf' was read rebus as:  kundana 'fine gold', kũdār 'lathe-worker'.कोंड kōṇḍa 'a circular hamlet (of a guild)'; thus, the expanded rebus rendering is: a hamlet of smiths working with fine gold and ornament gold.

    Rebus: śr̥ṅgín ʻ horned ʼ RV. [śŕ̊ṅga -- ]Pa. siṅgin -- , siṅgika -- ʻ horned ʼ, Pk. siṁgi -- , N. siṅe, G. sĩgī; -- ext. -- l -- : Pa. siṅgila -- m. ʻ a kind of horned bird ʼ; S. siṅiru ʻ horned ʼ. OMarw. (Vīsaḷa) sīṁgī f.adj. ʻ horned (of cow) ʼ.(CDIAL 12595) शृङ्गिन् śṛṅgin a. (-णी f.) [शृङ्गमस्त्यस्य इनिHorned (Apte)

    Rebus:  शृङ्गी śṛṅgī  Gold used for ornaments. (In goldsmithy, this 18-carat gold is distinguished from 24-carat kundan 'fine gold').

    खोंड khōṇḍa m A young bull, a bullcalf.  Thus, the rebus reading of hieroglyph खोंड khōṇḍa 'young bull' is: कोंड kōṇḍa 'a circular hamlet (of a guild) of singi 'ornament goldsmiths'.

    An ancient Near East accounting system was jangaḍ. The system of jangaḍ simply meant 'goods on approval' with the agent -- like the Meluhhan merchant-agents or brokers living in settlements in ancient near East -- merely responsible for showing the goods to the intended buyers.

    H جاکڙ जाकड़ jākaṛ [fr. S. यतं+कृ; cf. jakaṛnā], s.m. A deposit or pledge left with a vendor for goods brought away for inspection or approval; goods taken from a shop for approval, a deposit or pledge being left; a conditional purchase; articles taken on commission sale;—adv. On inspection, for approval:—jākaṛ-bahī, s.f. Account book of sales subject to approval of goods, &c.:—jākaṛ bećnā, v.t. To sell conditionally, or subject to approval:—jākaṛ le jānā, v.t. To take away goods on inspection, or for approval, leaving a deposit or pledge with the vendor. (Urdu)

    Goods were couriered and delivered by consignor on entrustment basis for the consignee to make the settlements AFTER the goods are finally sold to third parties. Such an accounting system was called jangaḍ

    The couriers who effect the delivery of the goods are called jangaḍiyo. In old Gujarati, the term jangaḍiyo  ‘military guard who accompanies treasure into the treasury’. The term sanghāḍiyo 'a worker on a lathe' (Gujarati)

    The standard device is NOT a strainer or sieve combination but a combination of a lathe, gimlet, churning container and सांगड sāṅgaḍa m f (संघट्ट S) That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig. See item 6 in the line-drawing provided by I. Mahadevan. Rebus reading is: jangaḍiyo  ‘military guard who accompanies treasure into the treasury’ (Gujarati); ചങ്ങാതം caṅṅātam 'guard' (Malayalam)


    Thus, the device is signifier of maritime trade in lapidary and metalworker artifacts from Meluhha. It is called सांगड sāṅgaḍa  A body formed of two or more (fruits, animals, men) linked or joined together.Rebus:    सांगड्या sāṅgaḍyā a sometimes सांगडी a That works a सांगड or canoe-float.(Marathi)ചങ്ങാടം caṅṅāṭam čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats. കെ ട്ടുക'ത്തില്‍ കേററി TR. 
    തോണികള്‍ ങ്ങള്‍ വഞ്ചികള്‍ പടവുകള്‍ Bhr. also rafts.ചങ്ങാതം caṅṅātam čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. പോരുക to accompany as such. പോന്ന വാരിയര്‍എന്നെ 'വും കൂട്ടി അയച്ചു TR. कण्ठालः kaṇṭhālaḥ 'maritime' PLUS jangaḍiyo 'maritme military treasure guard'  Rebus 2: sanghāḍiyo, a worker on a lathe (G.)

    san:ghāḍo, saghaḍī (G.) = firepan; saghaḍī, śaghaḍi = a pot for holding fire (G.) sãghāṛɔ m. ‘lathe’ (G.) I submit that lapidaries were encasing precious stones in metal artifacts: 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)

    The parts can be explained: 1. Hook to hold the lathe; kunda 'lathe' rebus: kundana 'fine gold'; 2, 3, 4: Zig-zag lines signify to-and-fro circular motion of the lathe; 5. gimlet बरमा baramā, बरम्हा baramhā m ( H) A kind of auger, gimlet, or drill worked with a string.Ta. purai tubular hollow, tube, pipe, windpipe. Tu. perevuni to be bored, perforated; perepini to bore, perforate; burma, burmu a gimlet; berpuri a borer. (DEDR 4297); 6. सांगड sāṅgaḍa  That member of a turner's apparatus by which the piece to be turned is confined and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig.; 8. churning container: कण्ठालः kaṇṭhālaḥ 1 A boat. -2 A spade, hoe. -3 War. -4 A camel... -6 A churning vessel. -7 A bag. -ला A churning vessel.कण्ठीलः kaṇṭhīlaḥ A camel. -लः, -ला A churning vessel. (Apte); 9. dotted circle 'gold bead':*pōttī ʻ glass bead ʼ.Pk. pottī -- f. ʻ glass ʼ; S. pūti f. ʻ glass bead ʼ, P. pot f.; N. pote ʻ long straight bar of jewelry ʼ; B. pot ʻ glass bead ʼ, putipũti ʻ small bead ʼ; Or. puti ʻ necklace of small glass beads ʼ; H. pot m. ʻ glass bead ʼ, G. M. pot f.; -- Bi. pot ʻ jeweller's polishing stone ʼ rather than < pōtrá -- 1.10.. Pebbles:गोटी [ gōṭī ], gōṭā 'round pebble, stone' Rebus: goṭā ''laterite, ferrite ore''gold braid' ; 11, 12. Flagstaffdhvajapaṭa m. ʻ flag ʼ Kāv. [dhvajá -- , paṭa -- ]Pk. dhayavaḍa -- m. ʻ flag ʼ, OG. dhayavaḍa m. Rebus: 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. dhāūdhāv 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.  ʻ relic (CDIAL 6773)

    Thus, the device is signifier of maritime trade in lapidary and metalworker artifacts from Meluhha. It is called सांगड sāṅgaḍa  A body formed of two or more (fruits, animals, men) linked or joined together.Rebus:    सांगड्या sāṅgaḍyā a sometimes सांगडी a That works a सांगड or canoe-float.(Marathi)ചങ്ങാടം caṅṅāṭam čaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats. കെ ട്ടുക'ത്തില്‍ കേററി TR. തോണികള്‍ 

    ങ്ങള്‍ വഞ്ചികള്‍ പടവുകള്‍ Bhr. also rafts.ചങ്ങാതം caṅṅātam čaṇṇāδam 

    (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. പോരുക to accompany as such. പോന്ന വാരിയര്‍എന്നെ

     'വും കൂട്ടി അയച്ചു TR.


    nābhijānāmi amāvāsyāṁ trayodaśīm candrasūryāv ubhau grastāv '13th tithi amāvāsyā + eclipses' -- Vyāsa

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    https://tinyurl.com/y3rbk57n

    --Unambiguous pair of '13-day' eclipses 3129 BCE, Aug 11, 25 -- S. Balakrishna. 

    --The determination of the dates of the sequential pair of two unusual eclipses, together with amāvāsyāṁ trayodaśīmwill be a major advance in the ongoing efforts to date the MBh events.

    amāvāsyā lit. means 'time when the Sun and the Moon dwell together'. 

    We are dealing with such a dwelling together with occurrence of an eclipse observed and reported by Vyāsa.

    So, the event to be analysed relates not only the advancement of amāvāsyā to thirteenth tithi, but also to the double-eclipse events related to such an advance. Piora oscillation -- by itself -- CANNOT be theorised to apply to both these unusual events on the skymaps. Something more than a climate oscillation event has to be searched for in the cosmic dance of graha-s (planets and comets) on the sky.

    Why did the Moon rush to dwell with the sun within 13 tithi-s, sometime in 3067 BCE?

    Using Lodestar software, Balakrishna notes:

    3129 BCE Solar Aug 11 13d20h20m (End/Start date)

    3129 BCE Lunar Aug 25

    According to Balakrishna, August 3129 BCE skymaps provides a pair of solar-lunar eclipses occurring within 13 days, 20 hours, 20 minutes duration separating them. 

    Thus, 13-tithi eclipses have, in fact, been recorded on skymaps, an event which is viewed with awe by Veda Vyāsa who says:

    caturdaśīṁ pañcadaśīṁ bhūtapūrvāṁ ca ṣoḍaśīm

    imāṁ tu nābhijānāmi amāvāsyāṁ trayodaśīm

    candrasūryāv ubhau grastāv ekamāse trayodaśīm

    aparvaṇi grahāv etau prajāḥ saṁkṣapayiṣyataḥ

    (Mahabharata 6.3.28, 29)

     "A lunar fortnight had hitherto consisted of fourteen days, or fifteen days (as usual), or sixteen days. This, however, I never knew that the day of new-moon would be on the thirteenth day from the first lunation, or the day of full-moon on the thirteenth day from the same. And yet in course of the same month both the Moon and the Sun have undergone eclipses on the thirteenth days from the day of the first lunation. 3 The Sun and the Moon therefore, by undergoing eclipses on unusual days, 4 will cause a great slaughter of the creatures of the earth. (Translator, Kisari Mohan Ganguly’s Footnote: This sloka is omitted in many editions, though it is certainly genuine. I have rendered it very freely, as otherwise it would be unintelligible. The fact is, three lunations twice meeting together in course of the same lunar fortnight is very rare. The lunar-fortnight (Paksha) being then reduced by two days, the day of full-moon or that of new moon, instead of being (as usual) the fifteenth day from the first lunation becomes the thirteenth day. Lunar-eclipses always occur on days of the full-moon, while solar-eclipses on those of the new moon. Such eclipses, therefore, occurring on days removed from the days of the first lunation by thirteen instead of (as usual) fifteen days, are very extraordinary occurrences.) Source: https://www.sacred-texts.com/hin/m06/m06003.htm

    Commentary by Bijan Kumar Gangopadhyay: "A  lunar fortnight had consisted of  fourteen days,   or   fifteen days (as usual), or sixteen days. This, however, I never knew that the day of new-moon would be on the thirteenth day from the first lunation,or the day of full-moon on the thirteenth day from the same. And yet in course of the same month boththe Moon and the Sun have undergone eclipses on the thirteenth days from the day of the first lunation. This, however, I never knew that the day of new-moon would be on the thirteenth day from the first lunation, or the day of full-moon on the thirteenth day from the day of the first lunation."

    https://www.researchgate.net/publication/339999721_The_most_probable_date_of_the_Kurukshetra_war_in_the_Mahabharata

    The text is unambiguous. It refers to an unsual amāvāsyāṁ trayodaśīm and also to two consecutive eclipses related to this unusual event of thirteenth-tithi amāvāsyā. (A lunar day is a tithi)..."There are approximately 29.5 lunar days in a lunar month. The first fifteen days begin with the first phase of the waxing moon (pratipat) and end with the full moon (pūrṇimā). [...] In accordance with the lunar day, one would utter, [for example, amāvasyā-tithau]."(Arcanadipika cited at https://www.wisdomlib.org/definition/amavasya)

    "Amāvasyā (अमावस्या) refers to the “new moon”.  Āpastamba-yajña-paribhāṣā-sūtras.—“let a man sacrifice with the Amāvāsyā sacrifice at the time of the Amāvāsyā, new moon. And let a man sacrifice with the Paurṇamāsyā sacrifice at the time of the Paurṇamāsī, full moon, thus it is said. [...] Let a man observe that new-moon day (amāvāsyā) as a day of abstinence, on which the moon is not seen”.Amāvāsyā is the dwelling together, i.e. the conjunction, of sun and moon...That which falls on the fourteenth day is called Pūrvā-amāvāsyā, or Sinīvālī, the ἕνη καὶ νέα; that which falls on the pratipad, the first day of the new phase, is called Kuhū, Uttarā-amāvāsyā. Śvoyuktā. See also Ait.-Brāhm. II, 4; Nir. XI, 31-32...Amāvāsyā (अमावास्या) refers to “new-moon” day. The next day marks the start of the counting of tithis (lunar day), which at fifteen days reaches purṇimā (full-moon), after which the counting of tithis starts again for another fifteen days where it ends with amāvāsya again. The term is used throughout Jyotiṣa literature. Amāvāsyā(literally the “dwelling together” of the Sun and Moon) is the period of new-moon, or that point of time when the longitudes of the Sun and Moon are equal...Amāvāsyā (अमावास्या).—The time when Pitṛs worship moon and when the sun, moon and constellations meet together in the same maṇḍala; Pitṛs drink the nectar of the moon (1/15) part of it remaining; there is no moon, middle sun—half night half day.1 yajñas with 21 saṃjñas.2 Only when two of its kalas remain, the moon enters the orbit of the sun and stays in the ray called amā and hence the period is amāvāsyā,3 fit for śrāddha.4"

    • 1) Brahmāṇḍa-purāṇa II. 10. 62. 65; 21. 153; 23. 70; 28. 6; 17. 19; Matsya-purāṇa 17. 2; 126. 66. 72; 141. 42-49; Vāyu-purāṇa 52. 64; 53. 92; 56. 1, 6, 42 and 49
    • 2) Brahmāṇḍa-purāṇa III. 11. 14. Vāyu-purāṇa 74. 13.
    • 3) Viṣṇu-purāṇa I. 20. 38; II. 8. 80; 12. 8; III. 14. 7-10.
    • 4) Viṣṇu-purāṇa III. 14. 7-10.
    • " The day of new moon, when the sun and moon dwell together or are in conjunction; the 15th day of the dark half of every lunar month; सूर्याजन्द्रमसोः यः परः सन्निकर्षः साऽमावस्या (sūryājandramasoḥ yaḥ paraḥ sannikarṣaḥ sā'māvasyā) Gobhila; अमावास्यायां दीक्षित्वा (amāvāsyāyāṃ dīkṣitvā) Ch. Up.5.2.4...Amāvāsyā (अमावास्या).—f.(-syā) Day of conjunction or new moon. E. amā with, (the sun and moon,) vasa to abide, ṇyat affix: or with the penult. vowel short, amāvasyā; also amāvasī, &c."

    https://www.wisdomlib.org/definition/amavasya

    The dates arrived at by Prof. Achar and Srinivasa Raghavan close to this date --and consistent tiwh the skymap observations of the war events recorded by Veda Vyāsa are: Sept. 29, Oct. 14 and Oct. 28, 3067 BCE.

    See:  https://tinyurl.com/47cntwzd

    Dating Mahabharata- Two Eclipses in Thirteen Days

    by Dr. S. Balakrishna

    Abstract

    Mahabharata war is considered by many to be a historical event. The epic states that a singularly ominous pair of eclipses occurred in  - Thirteen days - some time before the war. Using modern astronomical software, our article shows that a number of Thirteen day eclipse pairs were visible in Kurukshethra. Article suggests some candidate dates for Mahabharata war.

    Introduction

    Mahabharata WarMahabharata is a great epic, and is one of the pillars of present day Hinduism. The Mahabharata story and its moral ethos have had profound influence on millions over many generations. Mahabharata war is said to have occurred before the transition of Dwapara Yuga to Kali Yuga.  Dating the Mahabharata war and start of Kaliyuga has been elusive and going on for many centuries.

    Aryabhata, is a famous early astronomer with contributions to science, whose estimate of p, and the time of moon revolution around the earth are so accurate, that his works are being extensively researched. Aryabhata (476-550 AD) stated that Kaliyuga started 3600 years before, when he was 23 years old, making the start as 3102 BC [Aryabhateeya ref-1]). It would date Mahabharata war to around circa 3130-3140 BCJ.

    Surya Siddhanta [Ref 2], a document evolved from roughly same period, states that sun was 54 degrees away from vernal equinox when Kaliyuga started on a new moon day, corresponding to February 17/18, 3102 BCJ, at Ujjain (75deg47minE 23deg 15min N).

    Varaha Mihira (circa 560 AD), another famous astronomer, stated that 2526 years before start of Saka count (either Shalivahana saka starting in 79 AD or Vikrama Saka starting in 57 BC) [Brihat Samhita Ref-3].

    When Saptarishis (ursa major) was near Magha
     Yudhistira was king 2526 years before Saka time

    Presently, traditional Sanatana Dharma followers consider that Kaliyuga started at 3102 BCJ, when Sri Krishna passed away, and that Mahabharata war occurred in 3138 BCJ. Millennium year 2000 AD is Kali 5102.

    Like Homer's Iliad, another epic poetry from Greece, different scholars have expressed opinions varying between the story of Mahabharata being either total fiction or true record of historical facts. It took efforts by Schliemann and others to show physical archeological evidence of existence of Troy in present day Turkey, and Homer's poems having historical relevance.

    Bharata has been continuously and relatively densely lived in for thousands of years and in Northern Bharata the archeological evidence is difficult to come by because of many 100's of generations of people living in same area. Hence, it is usual to look for Puranic and Vedic

     (written and oral recitation) astronomical evidence to substantiate the time periods. As is true of all such documents like bible stories, Scandinavian, Chinese, Japanese, Egyptian and other documented local folklore, the historical truths are likely to be anywhere between absolute truth to vivid imagination. An objective analysis can help in determining the likelihood of folklore being a historical fact or not.

    Mahabharata

    Mahabharata epic story was written by, Vedavyaasa (or Krishna Dwaipaayana) after the Mahabharata war. Vyaasa is also credited with codifying the existing branches of Vedas. It is perhaps the longest poem of its kind of such antiquity. The presently known oldest version of Mahabharata, based on its style, grammar and other features was probably written down before the Gupta period. This Mahabharata text does not refer to any Zodiac's or Raashis (a western concept probably accommodated in to Jyotishya some time during 300BC to 200AD). The linguistic style of the oldest version of Mahabharata clearly cannot be the basis for determining if and when the events of Mahabharata occurred. It probably may have been rewritten/re-rendered many times as the mode of transference was by oral traditions as in the case of Vedic chandas prosody. The known oldest version has nearly 90,000 to 100,000 poems dominantly with 32 syllables Anushtup chandas, in 18 chapters called Parva's [ref-4 and 5].

    The Bhishma Parva and Udyoga Parva (specific chapters of Mahabharata) provide considerable astronomical/astrological descriptions and omens as the Mahabharata war was approaching. It describes a period of draught, with many planetary positions. Then there is this clear reference to pair of eclipses occurring on 13th day as shown below.

    Fourteenth day, Fifteenth day and in past sixteenth day, but I have never known the Amavasya (New Moon day) to occur on the thirteenth day. Lunar eclipse followed by solar eclipse on thirteenth day is in a single lunar month etc...

    This reference to Thirteen day eclipse pair appears to be a unique astronomical observation.


    Mahabharata
     text also refers to retrograde motions of planets prior to war and provides their location with reference to 27/28 Vedic star locations. Mahabharata Drona Parva also refers to Jayadhratha's killing during a dark episode on 13th day of the war, which some consider as another short solar eclipse.

    This document is basically concerned with analysis of all eclipses visible at Kurukshethra (Location where Mahabharata war took place, north of New Delhi, Longitude 76 deg 49 min East, Latitude 29 deg 59 Min North) from 3300 BC to about Buddha-Mahavira-Parshvanaatha time of about 700BC. Analysis of the time between successive eclipses, specifically time between end of one and beginning of other has been made, with a view to look at astronomical feasibility of back-to-back eclipses in 13 days, using modern astronomical computer software.

    Another major issue of how did observers of the period define and determine period between eclipses when no clocks existed, has been addressed.


    Eclipses

    Lunar eclipse occurs when Earth's shadow falls on the Moon. There are about 150 lunar eclipses per century. Lunar eclipses can occur only at full moon, and can be either total or partial. Further they can be umbral and or penumbral. Total lunar eclipses can last up to 2 hours, while partial lunar eclipses can last up to 4 hours. Any observer on dark face of earth can see when lunar eclipse when it occurs. During period 3500BC to 700 BC, nearly 4350 lunar eclipses have probably occurred. A good fraction of these would have been visible in Kurukshethra [ref-6]. 

    Solar Eclipse occurs when Moon's shadow falls on earth observer. About 240 solar eclipses occur every century. During period 3500BC to 700 BC, nearly 6960 Solar Eclipses have occurred. Solar can occur only at new moon. Solar eclipses may be total or annular. Total solar eclipses can last up to about 8 minutes, and partial solar eclipses can last up to 115minutes. The shadow of moon has a limited size of few thousand miles falling on nearly 8000-mile diameter earth. Hence, solar eclipses can be seen only in a limited range of longitude-latitude where the shadow falls. Elsewhere, even though sun is visible, eclipse will not be seen.

    Eclipse evaluating computational software and its validation in present context
    Astronomical calculations have been greatly improved since past 30 years, particularly with considerable amount of trajectory work conducted in Moon and other scientific projects. High accuracy computer models and software have been developed. These are validated against databases from US Naval Observatory's Interactive computer Ephemeris, and Jet Propulsion Laboratory in California. One such code is LodeStar Pro copy righted by Wayne C Annala in 1994 [Ref- 7]. The Lodestar Pro was checked for historical eclipses of 1000-2500 BC from clay tablet records of Mesopotamia area presently available with British Museum. Wayne Mitchell has analyzed this data [Ref-8]. Lodestar Pro provided excellent match with ref-8.


    Eclipses at Kurukshethra

    During the period of our interest, 3500BC to 700 BC, nearly 4350 Lunar Eclipses and 6960 solar eclipses have occurred on earth. Of these nearly 673 solar and lunar eclipses occurred in pairs of time gap of about nominal 15 days corresponding to roughly half lunar month. We need to search amongst these 673 for eclipse pairs visible in Kurukshethra, which occurred in 'Thirteen' days.

    A very detailed scan of all the visible lunar and solar eclipses for every year from 3300BC to 700 BC was made on the Lodestar software for Kurukshethra location. These are tabulated and plotted. Maximum eclipse time gap (end of one eclipse and beginning of next eclipse for naked eye observers) was found to be about 379 hours while the minimum was about 332 hours. A plot of time gap between back-to-back eclipses versus eclipse pair number is shown below. (This time corresponds to maximum to maximum - not end of one to beginning of next as in the future table).

    The plot shows that during the period 3300BC to 700 BC, (Julian year corresponds to zero at 4712 BC- an imaginary date- Our range corresponds to 1412 Julian year to 4012 Julian Year) nearly 672 pairs of eclipses occurred on earth, which in principle may have been visible at Kurukshethra. Amongst these, nearly 32 pairs would be occurring for period less than 14 days. Many of these were found to be weak penumbral eclipses of moon, and solar eclipses had such low obscurity as to raise the issue whether any body could see them. Six pairs of 'thirteen day' eclipses could be seen unambiguously. 

    Definition of Day and issue of timing determination

    It is easy for us, in present time, to precisely analyze the eclipse times based on a 24 hour per day time clock. However many thousand years ago, such a time evaluation would clearly be irrelevant. Hence the count of the day and time had to be based on clear, natural and unambiguous events such as sunset to sunset or sunrise to sun rise. Hence in all the analyses, presented below, the time of relevant sun rise or sun set is indicated such that the eclipse beginning and end can be evaluated with reference to the sun rise or sun set. In modern day definition, the period from sunrise to next sunrise is never 24 hours except on equinox day. On all other days, the time will be either less than 24 hours (when day light time is shrinking) and more than 24 hours (when day light time is increasing). For people of ancient times, sunset-to-sunset or sunrise-to-sunrise would be the logical definition of a day. Using this definition, it is possible to determine whether an eclipse pair occurred in 'Thirteen days'.

    Kurukshethra eclipses and some planetary retrograde motions

    The table below shows six pairs of eclipses, which can be analyzed further to determine whether Mahabharata war and events could occur then.

    Six eclipse pairs visible at Kurukshethra occurring in less than or near 14 days
    Events in red not visible due to sun rise (Lunar) or sun set (Solar)
    Year BC Eclipse Julian day Initial con Max End Sunrise Sunset end/start date

    Year BC

    EclipseJulian
    Day

    Initial
    Con

    Max

    End

    Sunrise

    Sunset

    End/Strt Dt

    3129SolarAug 1118:53:4819:48:0420:38:54 19:2213d20h20m
    3129LunarAug 2516:58:5018:21:3619:44:21 19:17 
    2529SolarJul 1103:50:5304:36:2705:24:3605:12 13d20h8m
    2529LunarJun 2703:29:5405:13:4506:57:3605:07  
    2056SolarNov 2516:50:1917:52:2418:48:02 17:3813d21h40m
    2056LunarDec 0916:27:4718:12:5519:58:05 17:32 
    1853SolarDec 3015:47:2817:00:0218:03:38 17:2913d22h14m
    1853LunarJan 1316:17:5617:24:1618:30:37 17:36 
    1708SolarMar 2704:55:1405:47:2806:44:1506:37 13d20h18m
    1708LunarApr 1003:02:3604:46:3606:30:5506:19  
    1397SolarJul 0419:00:3419:36:5420:11:34 19:2113d21h30m
    1397LunarJul 1817:41:3819:34:0021:26:30 19:23 

    Location of Kurukshethra 76 deg 49 min East, 29 deg 59 min North

    After serious analysis of all the eclipses, six eclipse pairs from 3129 BCJ, 2599 BCJ, 2056 BCJ, 1853 BCJ, 1708 BCJ and 1397 BCJ clearly are the best candidates for Mahabharata war year from 'thirteen day' eclipse pairs view point. There are others that have low obscurity for solar eclipse, or have dominant penumbral lunar eclipse content and hence do not constitute strong candidates for the Mahabharata war.

    One typical eclipse pair of the six is illustrated using Lodestar Pro views of the relevant sunset/sunrise periods. The light/day transition is clearly shown in all the eclipse, which would form the only method of determining that the eclipses occurred in less than fourteen days, which has to be called thirteen-day eclipses. Planets Sani (Saturn) and Brihaspati (Jupiter), Shukra (Venus) in retrograde motion are illustrated for period around the eclipse pairs.

    Solar-Lunar eclipse pair from Julian year 3129 BC

    Fourteen days later at same time

    Let us now look at how any observer can study these eclipses and conclude that the pair occurred in 'Thirteen days'. The figures above show the pictures of day/night sky for a pair of Solar-Lunar eclipses, end of lunar eclipse being only 13 days and 20 hours before start of a solar eclipse. On Julian August 11 afternoon, a solar eclipse begins 20 minuets before sunset and it is still on going at sunset. Fourteen days later (On Julian August 25) in the evening at sunset a lunar eclipse is already occurring. It clearly suggests that eclipse started on the 13th day after the previous eclipse! Obviously the end of lunar and start of solar eclipses were less than 14 days period, or occurred in 13 days. This could be concluded without the benefit of modern clocks.

    The dates of this eclipse pair are Julian 3129 and Julian month of August. In ancient Bharata, since the full moon occurred on Proshtapada, the month would be considered as Bhadrapada. Normally, this is the monsoon rainy season in North India. However, there are many occasions when monsoon fails. The epic states that draught like conditions existed. Even during normal monsoon the sky is occasionally clear for the eclipses to have been witnessed.

    The two planets Jupiter, and Saturn are in motion (vakri) and these do occur during 3129 JBC as illustrated below. Motion of Angaraka or Mars is normal.

    Items in red show retrograde or Vakri motion

    Graha (Planet)3129BCJMahabharata text
    Brihaspati (Jupiter)U.Ashada/ShravanaShravana-Vishakha
    Sani (Saturn)RevatiShravana-Vishakha
    Angaraka (Mars)U.Ashada/ShravanaMagha
    Shukra (Venus)U PhalguniPoorva Phalguni
    Ravi (Sun Solar)U PhalguniRohini
    The location of the planets at the time of eclipse pair is shown in table above. Clearly, only Brihaspati, and Shukra are the only planets near locations indicated in the Mahabharata text. This date of 3129 BCJ is a serious candidate date for consideration of Mahabharata war.

    Analysis of the Eclipse tables

    The first and oldest eclipse pair from 3129 BC is unique. Aryabhata estimated that Kaliyuga started in 3102 BC. So does Surya Siddhanta. These fit the Puranic description that Sri Krishna passed away in 3102 BCJ, which is 27 years after the war. Our study confirms that Kaliyuga could have started in 3102 BCJ.

    The second date 2559 BCJ is also unique in that Varaha Mihira stated that 2526 before start of SakaYudhishtira was the ruling king. If it Saka was Vikrama it would make Yudhistira as king in 2583 BCJ, which is before Mahabharata War. Yudhistira was also king for a short time before war, before he lost it in a game of dice to Sakuni/Duryodhana. This date is also an excellent candidate for Mahabharata war. There is another event that occurs in 2559 BC. While the eclipse pair occurred in lunar month Shravana, there is another short solar eclipse in Pushya. On 13th day of Mahabharata war, it is said that Jayadhratha was killed when Sri Krishna covered the sun for a short time just before the sunset. This event could be looked upon as a solar eclipse. A study of year 2559 shows that another solar eclipse did occur in Pushya lunar month (Julian Dec 06, 2559) some 40 days before the winter solstice (Uttara ayana).

    The third candidate is eclipse pair from 2056 BCJ. It occurs in Margashira/pushya months, the lunar eclipse occurring when moon is between Punarvasu/pushya nakshathra, and would be right in the middle of war. Hence is not a very serious candidate for Mahabharata war.

    The fourth candidate is eclipse pair from 1853 BCJ. It occurs in month of Magha very near the winter solstice or Uttara Ayana. It is not a very good candidate for Mahabharata War

    The fifth candidate of eclipse pairs occurred in 1708 BCJ. This eclipse pair occurs in month of Phalguna, just after Uttara Ayana and is a bad candidate.

    The last candidate of eclipse pair occurs in 1397 in the month of Bhadrapada. It is a reasonably good candidate for Mahabharata war. Again, there was no solar eclipse during the period prior to Uttara Ayana
    .

    Conclusions

    The aim of this work was to analyze the unique statement that Mahabharata war took place when an ominous pair of eclipses occurred in 'Thirteen days'. Initially, Mahabharata texts, contemporarily accepted as most authentic were reviewed and relevant data about Mahabharata and astronomical planetary observations have been presented.

    Firstly, a search of all eclipses during the period 3300 BCJ to 700 BCJ visible at Kurukshethra, where Mahabharata war took place was made. Amongst nearly 672 possible eclipse pairs, the time from end of one to beginning of next eclipse was found to vary between 13.8 days to 15.8 days. Eighteen naked eye visible eclipse pairs with less than 336 hours (14days) of time gap were found.

    The second issue was, what was the definition of a day, and how was the determination that eclipses occurred in 'thirteen days' made, has been addressed. Day was taken to be the time between either successive sunrise or successive sunset. This is particularly important when clocks did not exist. Using this method, it was easy to demonstrate that observers from 3000 to 5000 years ago could identify accurately a 'Thirteen-day' eclipse pair when they occurred.

    Six pairs amongst these, found to be good candidates for Mahabharata war, have been illustrated, showing how any observer could conclude that the eclipse pairs occurred in less than 14 days or in 'thirteen days'. The locations of Jupiter, Saturn, Mars, Venus, Sun and Moon, during the eclipses were identified with reference to 27 star locations. The positions of all these planets during the eclipse pair do not totally agree with Mahabharata text, but some do agree.

    Finally, it is found that two dates suggested by Indian astronomers Aryabhata, Varaha Mihira are credible dates for Mahabharata war. It would appear that 3129 BCJ is a first candidate for Mahabharata war followed by 2559 BCJ. Four other dates viz., 2056 BCJ, 1853 BCJ, 1708 BCJ and 1397 BCJ are other candidates which qualify as 'Thirteen day' eclipse pairs.

    In conclusion, this article has tried to address the basic issue, whether 'Thirteen day' eclipse pairs are astronomically possible. The conclusion is that such eclipse pairs have occurred and observers could easily identify the duration using sunset/sunrise transitions. 3129 BCJ and 2559 BCJ dates appear to be very viable dates for Mahabharata war as are a few others. This study provides modern scientific support one critical astronomical statement made in Mahabharata Bhishma Parva that 'Thirteen day' eclipse pair occurred in Kurukshethra before the Mahabharata war.


    References:
    1. Aryabhateeya by Brahmagupta, S.Shukla,New Delhi, INSA 1976
    2. Surya Siddhanta: Translation of an Ancient Indian Astronomical Text.
      Translation by Bapudeva, Varanasi, 1860.
    3. Varahamihira's Brihat Samhita- M Ramakrishna Bhat, Motilal Banarasidas Publications, 1981
    4. Ramashesha Shastry Bhagavata Mahapurana,
      10th skanda, Upodghata (in Kannada script), 1930
    5. John Smith web page - Mahabharata Text checked by Bhandarakar Oriental Research Institute
    6. Eric Weisstien, World Of Astronomy web page
    7. Wayne Annala, Lodestar Pro Manual, 1994
    8. Wayne Mitchell
         Ancient Astronomical Observations and Near Eastern Chronology
         Journal of Ancient Chronology Forum, Volume3
    23-Feb-2002

    https://www.boloji.com/articles/1052/dating-mahabharata--two-eclipses-in-thirteen-days

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