See the decipherment of the Binjor Indus Script Seal inscription: 

Binjor octagonal brick as a skambha, pillar mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīr, mīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛha, mehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭā, mẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319)

The Binjor seal inscription has been dciphered as a metalwork catalogue -- a collection of implements from a smithy/smelter workshop:

http://bharatkalyan97.blogspot.in/2015/12/binjor-seal-with-indus-script.html

Binjor Seal Text.

Fish + scales, aya ã̄s (amśu) ‘metallic stalks of stone ore’. Vikalpa: badhoṛ ‘a species of fish with many bones’ (Santali) Rebus: baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali)

gaNDa 'four' Rebus: khaNDa 'metal implements' Together with cognate ancu 'iron' the message is: native metal implements. 

Thus, the hieroglyph multiplex reads: aya ancu khaNDa 'metallic iron alloy implements'.

koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus 1: koḍ ‘workshop’ (Kuwi) Rebus 2: khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947)

The bird hieroglyph: karaḍa 

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

Thus, the text of Indus Script inscription on the Binjor Seal reads: 'metallic iron alloy implements, hard alloy workshop' PLUS

the hieroglyphs of one-horned young bull PLUS standard device in front read rebus:

kõda 'young bull, bull-calf' rebus: kõdā 'to turn in a lathe'; kōnda 'engraver, lapidary'; kundār 'turner'.

Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara 'proclamation.

Together, the message of the Binjor Seal with inscribed text is a proclamation, a metalwork catalogue (of)  'metallic iron alloy implements, hard alloy workshop' .

Some ancient coins of ca. 100 BCE provide the link between the Binjor/Kalibangan Yupa to the Huna (Kushana) and Mulavarman yupas of early centuries of Common Era. "The Hephthalite Empire was another Central Asian nomadic group to invade. They are also linked to theYuezhi who had founded the Kushan Empire. From their capital in Bamyan (present-day Afghanistan) they extended their rule across the Indus and North India, thereby causing the collapse of the Gupta Empire. They were eventually defeated by the Sasanian Empire allied with Turkic peoples." https://en.wikipedia.org/wiki/Middle_kingdoms_of_India

Vidarbha, Sebaka, 100 BC, Copper, 1.70g, 12mm, Bull with Yupa (sacrificial post)

Obv: Standing bull to right facing yupa-in-railing; swastika below

Rev: Double-orbed Ujjain symbol with swastika and nandi-pad above

http://www.worldofcoins.eu/forum/index.php?topic=33313.0

Ujjain, anonymous AE 3/8 karshapana, elephant type
Weight: 3.75 gm., Diameter: 16x14 mm.
Obv.: Elephant with raised trunk to right with chakra on top left;
         (railed) tree on right.
Rev.: Ujjain symbol with a taurine in each angle.
Reference: Pieper 362 (plate specimen)

http://coinindia.com/galleries-ujjain3.html

Ujjain, 200 BC, Copper, 0.9g, 10mm, Horse (Bull?) type

mēḍhā ‘stake’ rebus: meD 'iron' poLa 'zebu' rebus: poLa 'magnetite ore' jasta 'svastika' rebus: sattva 'zinc, spelter' dhAv 'strand of rope' (dotted circle) rebus: dhA 'red ore, dhAtu 'ore' meDh 'twist' rebus: meD 'iron', med 'copper' (Slavic) gaNDa 'four' rebus: kanda 'fire-altar'

kariba 'elephant trunk' ibha 'elephant' rebus: karb 'iron' ib 'iron'

kuThi 'twig' rebus: kuThi 'smelter'

Samudragupta, Gold Dinar, 7.70g, Ashvamedha type




Obv: Sacrificial horse facing left tied to a Yupa or post, decorated with ribbons and banners fluttering above; letter ’Si’ (short for 'siddham' or success) in Brahmi between the horse’s leg and double pedestal stand;

Rev: Queen standing left on a lotus holding chauri (fly whisk) and vastra (towel); a suchi (ceremonial spear with ribbons) in left field; Brahmi legend to right: Asvamedha Parakramah (one who is capable of performing the horse-sacrifice)

Ref: BMC pl.V,-1, Altekar pl. IV-1; P. Kulkarni, Asvamedha the Yajna and the Coins, 1.

kulya 'fly whisk' rebus: kol 'working in iron' kolhe 'smelter' mēḍhā ‘stake, pillar’ rebus: meD 'iron'

Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kāṇḍa 'metalware' kaṇḍa 'fire-altar'.

si (brahmi syllable) = siddha. siddhi f. ʻ accomplishment, success ʼ MBh., ʻ supernatural powers ʼ Sāṁkhyak. [√sidh2] Pa. siddhi -- f. ʻ accomplishment ʼ, KharI. sidhi; Pk. siddhi -- f. ʻ completion, magic power ʼ; K. sĕd f. ʻ success, superhuman power ʼ; S. sidhī f. ʻ miracle ʼ; P. siddh f. ʻ straight course ʼ; Ku.gng. śidi ʻ success ʼ, Mth. sidhi; H. sīdh, sīdhī f. ʻ straightness, direct line, aim ʼ; Si. idi ʻ completion, work, superhuman power ʼ. (CDIAL 13405)

Mirror: http://tinyurl.com/hj7j52w

yūpa, yaṣṭi and axis mundi 

This monograph explains the archaeological finds of fire-altars in Kalibangan and Binjor, both sites on the banks of Vedic River Sarasvati in the context of the Vedic tradition as explained in Vedic texts.

Kalibangan yūpa, yaṣṭiKalibangan Indus Script inscription meDha 'post, stake' rebus: meD 'iron' kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' bhaTa 'warrior' rebus: bhaTa 'furnace' koD 'horn' rebus: koD 'workshop' kuThI 'twig' rebus: kuThi 'smelter'.

Binjor yūpa, yaṣṭi (octagonal) aṣṭāśrir yūpo bhavati (śat. Br. V.2.1.5)

Binjor seal with Indus Script inscription. http://tinyurl.com/z2q2rk6

Binjor octagonal brick as a skambha, pillar mēthí m. ʻ pillar in threshing floor to which oxen are fastened, prop for supporting carriage shafts ʼ AV., °thī -- f. KātyŚr.com., mēdhī -- f. Divyāv. 2. mēṭhī -- f. PañcavBr.com., mēḍhī -- , mēṭī -- f. BhP.1. Pa. mēdhi -- f. ʻ post to tie cattle to, pillar, part of a stūpa ʼ; Pk. mēhi -- m. ʻ post on threshing floor ʼ, N. meh(e), miho, miyo, B. mei, Or. maï -- dāṇḍi, Bi. mẽh, mẽhā ʻ the post ʼ, (SMunger) mehā ʻ the bullock next the post ʼ, Mth. meh, mehā ʻ the post ʼ, (SBhagalpur)mīhã̄ ʻ the bullock next the post ʼ, (SETirhut) mẽhi bāṭi ʻ vessel with a projecting base ʼ.2. Pk. mēḍhi -- m. ʻ post on threshing floor ʼ, mēḍhaka<-> ʻ small stick ʼ; K. mīr, mīrü f. ʻ larger hole in ground which serves as a mark in pitching walnuts ʼ (for semantic relation of ʻ post -- hole ʼ see kūpa -- 2); L. meṛh f. ʻ rope tying oxen to each other and to post on threshing floor ʼ; P. mehṛ f., mehaṛ m. ʻ oxen on threshing floor, crowd ʼ; OA meṛha, mehra ʻ a circular construction, mound ʼ; Or. meṛhī,meri ʻ post on threshing floor ʼ; Bi. mẽṛ ʻ raised bank between irrigated beds ʼ, (Camparam) mẽṛhā ʻ bullock next the post ʼ, Mth. (SETirhut) mẽṛhā ʻ id. ʼ; M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake ʼ.mēthika -- ; mēthiṣṭhá -- . mēthika m. ʻ 17th or lowest cubit from top of sacrificial post ʼ lex. [mēthí -- ]Bi. mẽhiyā ʻ the bullock next the post on threshing floor ʼ.mēthiṣṭhá ʻ standing at the post ʼ TS. [mēthí -- , stha -- ] Bi. (Patna) mĕhṭhā ʻ post on threshing floor ʼ, (Gaya) mehṭā, mẽhṭā ʻ the bullock next the post ʼ.(CDIAL 10317 to, 10319)

The Binjor seal inscription has been dciphered as a metalwork catalogue -- a collection of implements from a smithy/smelter workshop:

Binjor Seal Text.

Fish + scales, aya ã̄s (amśu) ‘metallic stalks of stone ore’. Vikalpa: badhoṛ ‘a species of fish with many bones’ (Santali) Rebus: baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali)

gaNDa 'four' Rebus: khaNDa 'metal implements' Together with cognate ancu 'iron' the message is: native metal implements. 

Thus, the hieroglyph multiplex reads: aya ancu khaNDa 'metallic iron alloy implements'.

koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus 1: koḍ ‘workshop’ (Kuwi) Rebus 2: khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947)

The bird hieroglyph: karaḍa 

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

Thus, the text of Indus Script inscription on the Binjor Seal reads: 'metallic iron alloy implements, hard alloy workshop' PLUS the hieroglyphs of one-horned young bull PLUS standard device in front read rebus:

kõda 'young bull, bull-calf' rebus: kõdā 'to turn in a lathe'; kōnda 'engraver, lapidary'; kundār 'turner'.

Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara 'proclamation.

Together, the message of the Binjor Seal with inscribed text is a proclamation, a metalwork catalogue (of)  'metallic iron alloy implements, hard alloy workshop' .

An exposition by Sadhashiv A Dange: "the yūpa is described as being the emblem of the sacrifice (RV III.8.8 yajñasya ketu). Though it is fixed on the terrestrial plane at the sacrifice, it is expected to reach the path of the gods. Thus, about the many sacrificial poles (fixed in the Paśubandha, or at the Horse-sacrifice) it is said that they actually provide the path for reaching the gods (ib., 9 devānām api yanti pāthah). They are invoked to carry the oferings to the gods (ib., 7 te no vyantu vāryam devatrā), which is the prerogative of the fire-god who is acclaiemd as 'messenger' (dūta); cf. RV I.12.1 agrim dūtam vṛṇimahe). In what way is the yūpa expected to carry the chosen offering to the gods? It is when the victim is tied to the sacrificial pole. The prallelism between the sacrificial fire and the yūpa is clear. The fire carries it through the smoke and flames; the yūpa is believed to carry it before that, when the victim is tied to it, as its upper end is believed to touch heaven. A more vivid picture obtains at the vajapeya. Here the yūpa is eight-angled, corresponding to the eight quarters. (śat. Br. V.2.1.5 aṣṭāśrir yūpo bhavati; the reason given is that the metre Gayatri has eight letters in one foot; not applicable here, as it is just hackneyed. At Taitt.Sam. I.7.9.1, in this context a four-angled yūpa is prescribed.) The one yūpa is conceived as touching three worlds: Heaven, Earth and the nether subterranean. The portion that is above the caṣāla (ring) made of wheat-dough (cf.śat. Br. V.2.1.6 gaudhūmam caṣālam bhavati) represents Heaven. This is clear from the rite of ascending to the caṣāla, made of wheat-dough, in the Vajapeya sacrifice. The sarificer ascends to it with the help of a ladder (niśrayaṇī); and, while doing so, calls upon his wife, 'Wife, come; let us ascend to Heaven'.  As soon as he ascends and touches the caṣāla, he utters,  'We have reached Heaven, O gods' (ib., 12). According to Sāyaṇa on the Taiit.Sam. I.7.9.1, the sacrificer stretches his hands upwards when he reaches the  caṣāla and says, 'We have reached the gods that stay in heaven' (udgṛhītābhyām bāhubhyām). Even out of the context of the Vajapeya, when the yūpa is erected (say in the Paśubandha), it is addressed, 'For the earth you, for the mid-region you, for heaven you (do we hoist you)' (Taitt. Sam. I.3.6.1-3; cf. śat. Br. III.7.1.5-6). The chiselled portion of the  yūpa is above the earth. So, from the earth to heaven, through the mid-region the yūpa represents the three-regions. The un-chiselled portion of the yūpa is fixed in the pit (avaṭa) and the avaṭa, which represents the subterranean regions, is the region of the ancestors (ib.4).The yūpa, thus, is the axis mundi...Then, it gave rise to various myths, one of them being that of the stūpa of Varuṇa, developing further into Aśvattha tree, which is nothing but a symbol of a tree standing with roots in the sun conceived as the horse (aśva-stha = aśvattha), a symbol obtaining at varius places in the Hindu tradition. It further developed into the myth of the churning staff of the mountain (Amṛta-manthana); and yet further, into the myth of Vasu Uparicara, whom Indra is said to have given his yaṣṭi (Mb.Adi. 6y3.12-19). This myth of the yaṣṭi was perpetuated in the ritual of the Indra-dhvaja in the secular practice (Brhatsamhita, Chapter XLII), while in the s'rauta practice the original concept of the axis mundi was transformed into the yūpa that reached all regions, including the under-earth. There is another important angle to the yūpa. As the axis mundi it stands erect to the east of the Uttaravedi and indicates the upward move to heaven. This position is unique. If one takes into account the position of the Gārhapatya and the āhavaniya fireplaces, it gets clear that the march is from the earth to heaven; because, the Gārhapatya is associated with this earth and it is the household fire (cf. gṛhā vai gārhapatyah, a very common saying in the ritual texts), and the seat of the sacrificer's wife is just near it, along with the wives of the gods, conceptually. From this fire a portion is led to the east, in the quarter of the rising sun (which is in tune with such expressions as prāñcam yajñam pra nayatā sahāyah, RV X.101.2); where the Ahavaniya fireplace is structured. As the offerings for the gods are cast in the Ahavaniya, this fire is the very gate of heaven. And, here stands, the yūpa to its east taking a rise heavenwards. This is, by far, the upward rise. But, on the horizontal plane, the yūpa is posted half-inside, half-outside the altar. The reason is, that thereby it controls the sacred region and also the secular, i.e. both heaven and earth, a belief attested by the ritual texts. (Tait. Sam. VI.6.4.1; Mait. Sam. III.9.4)."(Dange, SA, 2002, Gleanings from Vedic to Puranic age, New Delhi, Aryan Books International, pp. 20-24).

The Sukta RV X.101 reads, explaining the entire yajña as a metaphor of golden-tinted soma poured into a wooden bowl, a smelting process yielding weapons of war and transport and implements of daily life:

10.101.01 Awake, friends, being all agreed; many in number, abiding in  one dwelling, kindle Agni. I invoke you, Dadhikra, Agni, and the divine Us.as, who are associated with Indra, for our protection. [In one dwelling: lit., in one nest; in one hall]. 
10.101.02 Construct exhilarating (hymns), spread forth praises, construct the ship which is propelled by oars, prepare your weapons, make ready, lead forth, O friends, the herald, the adorable (Agni). 
10.101.03 Harness the ploughs, fit on the yokes, now that the womb of earth is ready, sow the seed therein, and through our praise may there be abundant food; may (the grain) fall ripe towards the sickle. [Through our praise: sow the seed with praise, with a prayer of the Veda; s'rus.t.i = rice and other different kinds of food]. 
10.101.04 The wise (priests) harness the ploughs, they lay the yokes apart, firmly devoted through the desire of happiness. [Happiness: sumnaya_ =  to give pleasure to the gods]. 
10.101.05 Set up the cattle-troughs, bind the straps to it; let us pour out (the water of) the well, which is full of water, fit to be poured out, and not easily exhausted. 
10.101.06 I pour out (the water of) the well, whose cattle troughs are prepared, well fitted with straps, fit to be poured out, full of water, inexhaustible. 
10.101.07 Satisfy the horses, accomplish the good work (of ploughing), equip a car laden with good fortune, pour out (the water of) the well, having wooden cattle-troughs having a stone rim, having a receptable like armour, fit for the drinking of men. 
10.101.08 Construct the cow-stall, for that is the drinking place of your leaders (the gods), fabricate armour, manifold and ample; make cities of metal and impregnable; let not the ladle leak, make it strong. 
10.101.09 I attract, O gods, for my protection, your adorable, divine mine, which is deserving of sacrifice and worship here; may it milk forth for us, like a large cow with milk, giving a thousand strreams, (having eaten) fodder and returned. 
10.101.10 Pour out the golden-tinted Soma into the bowl of the wooden cup, fabricate it with the stone axes, gird it with ten bands, harness the beast of burden to the two poles (of the cart). 
10.101.11 The beast of burden pressed with the two cart-poles, moves as if on the womb of sacrifice having two wives. Place the chariot in the wood, without digging store up the Soma. 
10.101.12 Indra, you leaders, is the giver of happiness; excite the giver of happiness, stimulate him, sport with him for the acquisition of food, bring down here, O priests, Indra, the son of Nis.t.igri_, to drink the Soma. [Nis.t.igri_ = a name of Aditi: nis.t.im ditim svasapatni_m girati_ti nis.t.igri_raditih].

Cipher of Indus Script Corpora explains sivalinga as purifier of metals, skambha attested on Maritime Tin Route from Hanoi to Haifa 

Mirror: http://tinyurl.com/oe5sx3v
Naga worshippers of fiery pillar, Amaravati stup  Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper' 


http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html
Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha,

Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi)
मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda) 

A hieroglyph-multiplex, iconogrpahic enquiry of archaeometallurgy and Indus Script Corpora parallels the extraordinary adhyatmika enquiry in Atharvaveda Skambha Sukta unraveling the purification processes signified by the sivalinga. It is a metaphor for the axis mundi linking earth and heaven as the artisans are awestruck by the mere earth dhatugarbha, dagoba yielding metal implements. The veneration of a linga documented with a purificatory inscrition links the Dong Son Bronze drum hieroglyphs, Sarasvati-Sindhu artefacts of sivalinga and Eurasian evidences of veneration of pitr-s, ancestors. This is a celebration of dharma-dhamma continuum venerated in a Darasuram temple frieze of siva emerging out of the linga with Brahma as hamsa searching in the heavens and Vishnu digging into the earth to find the endless, beginningless form of the Skambha, the pillar of light, the pillar of fire, sivalinga embedded in every fire-altar of Sarasvati-Sindhu civilization by Bharatam Janam, the metalcasters of the Bronze Age.

A stunning explanation for the Bronze Age principal life-activity metaphor as sivalinga appears in Candi Sukuh temple. This temple has a sivalinga and an inscription. The inscription explains the raison d'etrefor the linga which is iconographically unique with four round balls on the tip of the skambha, pillar 6 feet tall. The inscribed hieroglyphs are: 4 round balls, a sword; and inscription in Javanese, referring to 'inauguration of the holy ganggasudhi...' The round balls are khāṇḍā. The pillar is lo 'loha, copper'; together, lokhāṇḍā 'metal implements'. The phonetic reinforcer is sword: khaṇḍa 'sword'. Ganggasudhi is a veneration of the ancestors.

This note sees an essential unity among the Sit Shamshi bronze, the Dong Son bronze drum tympanum with Indus Script hieroglyphs and the sivalingas found in Sarasvati-Sindhu civilization of ca. 3rd millennium BCE in the context of the sivalinga as a metaphor of metalwork life-activities of the Bronze Age.

With the iconographic reinforcement of Candi Sukuh, Swami Vivekananda's inspired explanation for Atharva Veda Skambha Sukta as a representation of Yupa-Skambha gets validated. The skambha, the cosmic dance of creation explains the processes of purification which result in the metalforms arsing out of earth impregnated in fire of the furnace or crucible. The demonstration of the cosmic dance of creation occurs in the temple, the smithy, kole.l

See: http://bharatkalyan97.blogspot.in/2015/09/worship-of-sivalingam-in-harappa.html Swami Vivekananda explains Yupa-skambha and AV skambha sukta.

See: http://bharatkalyan97.blogspot.in/2015/04/sivalinga-in-dholavira-depicted-as.html

See: http://bharatkalyan97.blogspot.in/2014/10/skambha-sukta-in-atharva-veda-and.html

Skambha Sukta ( Atharva Veda X-7 ) begins with this enquiry to unravel the implanted truth:

kásminn áṅge tápo asyā́dhi tiṣṭhati kásminn áṅga r̥tám asyā́dhy ā́hitam
kvà vratáṃ kvà śraddhā́sya tiṣṭhati kásminn áṅge satyám asya prátiṣṭhitam 1

1.Which of his members is the seat of fervour: Which is the base of Ceremonial Order? Where in him standeth Faith? Where Holy Duty? Where, in what part of him is truth implanted?

The sequences of questions posed in 44 sukta verses are an inquiry as profound as the Nasadiya Sukta of Rigveda. The wonder of the Rishi and the insights provided linking earth and heaven in an axis mundi the primordial pillar signified by the skambha (linga) metaphor is unsurpassed in any cosmic-consciousness enquiries of all time. 

This wonder, this enquiry gets embedded in some hieroglyph-multiplexes of Indus Script Corpora and on Bhuteswar friezes linking sivalinga to a smelter and processes of the smith working with minerals to produce metallic implements. This is one reason why the stella are implanted in almost every fire-altar of Sarasvati-Sindhu civilization.

Austro-asiatic languages. Pinnow's map.

See: http://www.jstor.org/stable/41466748 The Austroasiatic Munda Population from India and its Enigmatic Origin: A HLA Diversity Study

MARIA EUGENIA RICCIO, JOSÉ MANUEL NUNES, MELISSA RAHAL, BARBARA KERVAIRE, JEAN-MARIE TIERCY and ALICIA SANCHEZ-MAZAS

Human Biology

Vol. 83, No. 3 (June 2011), pp. 405-435

Geographic distribution of two linguistic subfamilies linked to Indian sprachbund.

After Charles Higham, 1996, The Bronze Age of Southeast Asia, p. 295Map of bronze age sites which correlate with the Austro-asiatic Indian sprachbund map.

This extension of Indian sprachbund and presence in Far East may explain the Indus Script hieroglyphs signifying metalwork on Dong Son Bronze Drums cire perdue on the surface tympanum of the drums
Hieroglyphs on Dong Son Bronze Drums explained by Indus Script Cipher
http://bharatkalyan97.blogspot.in/2015/02/hieroglyphs-on-dong-son-drums-relate-to.html
Frogs meNDaka 'frog' rebus: meD 'iron'
Herons, antelopes kanku 'heron' Rebus: kanga 'brazier' ranku 'antelope' rebus: ranku 'tin';
Sun.

Hieroglyph: arka 'sun' Rebus: eraka 'copper' 861 Ta. eṟi (-pp-, -tt-) to shine, glitter; eṟippu lustre, brightness, hot sun. Ma. eṟikka to shine (as sun); eṟippu sunshine. (DEDR 861) Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle, scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion. Tu. eraka molten, cast (as metal); eraguni to melt.(DEDR 866)

An abiding metaphor in Dharma-Dhamma traditions is the sivalinga. The metaphor relates to sacred metalwork producing:  lokhāṇḍā 'metal implements'. The expression finds iconographic Indus Script ciphertext, together with an inscription explaining Ganga Sudhi 'Ganga purification' -- veneration of ancestors, pitr-s, in Candi Sukuh temple dedicated to metalwork in Java, Indonesia.
http://bharatkalyan97.blogspot.in/2015/09/bronze-age-lokhanda-metal-tools-pots.html Ekhamukhalinga and linga with four or five faces are anthropomorphs imaging cosmos with human attributes. 

What wonder is it that mere earth yields metal implements purified through fire? What wonder is it that explains the transmutations involving purificatory processes? What wonder is this cosmic dance in dagoba, dhatugarbha? What wondrous techniques have been handed down to us by our pitr-s, our ancestors creating ploughshares, implements which transform social living? Is he lukulisa - the divnity of the mace? Lakulisha (Sanskrit: Lakuliśa, Devnagari: लकुलिश) (Etymology: लगुड (staff) or लकुट (mace) + ईश (lord) = meaning, the lord with a staff or mace or club or stick) is venerated as a form of Siva by Pasupathas.

Lakulisha among his four disciples Kusika, Garga, Mitra, and Kaurushya, rock-cut stone relief, Cave Temple No. 2 at Badami, Karnataka, Early Chalukya dynasty, second half of the 6th century CE

Statue of Lakulisha, Pratihara, 9th century CE."According to a tradition stated in the Linga Purana, Lakulisha is considered as the 28th and the last avatar of Shiva and the propounder of Yoga system. According to the same tradition, Lakulisha had four disciples, viz., Kaurushya, Garga, Mitra and Kushika. According to another tradition mentioned in the Avanti Khanda of the Skanda Purana, Lakulisha and his four disciples while passing Mahakalavana, installed a linga at that place, which was then known as Kayavarohaneshvara.^[2] The Kurma Purana (Chap. 53), the Vayu Purana (Chap. 23), and the Linga Purana (Chap. 24) predicted that Shiva (Maheshvara) would appear in the form of a wandering monk called 'Lakulin' or 'Nakulisha', and that he would have four disciples named, Kushika, Garga, Mitra, and Kanrushya, who would re-establish the cult of Pashupati and would therefore be called Pashupata(s). Lakulisha was the fruition of these divine predictions. According to Vayu Purana V. 1.23.202-214, Lakulisha was a contemporary of Vyasa and Krishna, and was the 28th incarnation of Rudra (Shiva)."

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

Metallic box enclosing Ishtalinga worn on the body by Lingayata.

A Lingayat ritual locket which holds iṣṭaliṅga (Kannada: ಇಷ್ಟಲಿಂಗ) 19th century, Tamil Nadu. lingavanta is the "one who wears aiṣṭaliṅga'.

These are seafaring artisans from Indian sprachbund who took their culture and sivalinga metaphors to Hanoi, Vietnam evidenced by the exquisite cire perdue castings on Dong Son bronze drums with Indus Script hieroglyphs: heron, antelope, sun: kanka 'heron' Rebus: kanaga 'brazier'; eruvai 'kite' Rebus: eruva 'copper' mlekh 'goat' Rebus: milakkhu 'copper'; ranku 'antelope' Rebus: ranku 'tin' arka 'sun' Rebus: arka, eraka 'copper, moltencast'.

Swami Vivekananda has explained the metaphor of Yupa-Skambha explained in breath-taking theology of Atharva Veda Skambha Sukta (X.7). Yes, the yupa-skambha which is present as a stella in almost every fire-altar uncovered in Sarasvati-Sindhu civilization archaeological sites. The stalks -- three of them -- are also signified on the Sit Shamshi bronze which is sandhyavandanam for the sun, offering oblations to sun divinity. The background of Sit Shamshi bronze is dominated by a dagoba, dhatugarbha, venerating the mere earth which yields the minerals worked on by bronze-smiths of yore. The smithy becomes a temple.kole.l is smithy. kole.l is temple. (Kota) lokhāṇḍā 'metal implements' are divine manifestations of the cosmic dancer Mahadeva, Mahesvara and hence metaphors of veneration in awe at the phenomena which are the axis mundi linking earth and heaven. Hence, the Yupa skambha as expounded in Atharva Veda Skambha Sukta, a metaphor of briliance and the very pinnacle of theological enquiry explaining the processes of creation and the cosmic dance itself in every conscious being in the universe. This is the purifier, the PotR, the potti priest with the trefoil-decorated robe and wearing fillet on the forehead and on the shoulder. Hence, the veneration apparent in the trefoil-decorated base PLUS sivalinga discovered in Mohenjo-daro.
Sit Shamshi bronze model. Dagoba (dhatugarbha), veneration of the Sun. Three stalks in front of a water reservoir as the two worshippers offer sandhyavandanam. Source for the figure: http://www.louvre.fr/en/oeuvre-notices/sit-shamshi "This large piece of bronze shows a religious ceremony. In the center are two men in ritual nudity surrounded by religious furnishings - vases for libations, perhaps bread for offerings, steles - in a stylized urban landscape: a multi-tiered tower, a temple on a terrace, a sacred wood. In the Middle-Elamite period (15th-12th century BC), Elamite craftsmen acquired new metallurgical techniques for the execution of large monuments, statues and reliefs."
Tre-foil inlay decorated base (for linga icon?); smoothed, polished pedestal of dark red stone; National Museum of Pakistan, Karachi; After Mackay 1938: I, 411; II, pl. 107:35; Parpola, 1994, p. 218. Two decorated bases and a lingam, Mohenjo-daro. 
Cerveteri. Etrucian skambha and sivalinga.

Tomb Markers (cippi) from Cerveteri

 An assortment of tomb markers (cippus, plural cippi), from the Etruscan Banditaccia necropolis of Cerveteri (Caere). These are no longer in situ. Markers like these, usually without any inscriptions or figural decoration, were set up on small stands before the doorways of chamber tombs.
Stupa. Sarnath.

Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey sandstone block with polished surface, five stone pestles, a stone palette, and a block of chalcedony..." (Vats, EH, p. 370)

The iconography is explained in Bhuteshwar friezes and in the temple of Candi Sukuh on the Maritime Tin Route. The iconography is also vivid in the two skambhas of Dholavira.

What is described as a “pinecone” at the small museum at Arbeia (South Shields, near Newcastle-upon-Tyne, U.K.), which was found in Romano-British context.
https://aediculaantinoi.wordpress.com/2012/04/06/megalensia-the-third-day/

File:Worship of Shiva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625

See: http://bharatkalyan97.blogspot.in/2015/05/rigveda-soma-not-herb-not-drink-but.html A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava,  AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ  Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). See: 

http://bharatkalyan97.blogspot.in/2015/05/worship-of-siva-linga-is-cultural-bond.html

This museum artifact is comparable to the monumental 6 ft. tall inscribed stone linga discovered in Candi Sukuh as the sacred, venerated pillar of light, described in Atharva Veda Stambha Sukta.

Candi Cetho. Lingga shows a pair of balls at the top of the penis -- to be read rebus as Meluhha hieroglyph composition: lo-khaNDa, penis + 4 balls; Rebus: iron, metalware.

The four balls of the penis are also clearly shown on a 6 ft. tall linga inscribed with 1. a sword; and 2. inscription in Javanese, referring to 'inauguration of the holy ganggasudhi...'

See: http://bharatkalyan97.blogspot.in/2015/01/sekkizhar-periya-puranam-candi-sukuh.html Histoire ancienne des Etats hindouises along the Tin Road from Haifa to Hanoi. NaMo, Obama, announce United Indian Ocean States.

lo 'penis' Rebus: loh 'copper, metal'

Hieroglyphs: gaṇḍa 'swelling' gaṇḍa 'four' gaṇḍa 'sword'

Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ (Marathi)

Together, hieroglyphs: lo + gaṇḍa. Rebus: लोखंड [ lōkhaṇḍa ] 'metalwork'

Metaphor: Sh. K.ḍoḍ. lō m. ʻ light, dawn ʼ; L. awāṇ. lō ʻ light ʼ; P. lo f. ʻ light, dawn, power of seeing, consideration ʼ; WPah. bhal. lo f. ʻ light (e.g. of moon) ʼ.(CDIAL 11120). + kaṇṭa 'manliness'. Metaphorical rendering of the effulgence (sun and moon) associated with the pillar of light yielding the imagery of an representation of a fiery pillar with unfathomable beginning, unreachable end, thus of infniity of Mahadeva representing the paramaatman for the aatman in search of nihs'reyas (moksha), from Being to Becoming, the way earth and stones transmute into metal in the smelter and smithy, kole.l 'smithy, temple'.

Bharatiyo, 'metalcasters' (Gujarati) are awestruck by this parallel with the cosmic energy replicated in the energies of the smelter, fire-altar and smithy. Hence, the veneration of the linga + 4 spheres as the essence of every phenomenon on cosmos, on the globe, of the world. These hieroglyphs and related metaphors thus yield the gestalt of Bharatiyo, 'metalcasters' (Meluhha). This enduring metaphor finds expression in sculptures on many Hindu temples of Eurasia.

The gloss gaṇḍu 'manliness' (Kannada); 'bravery, strength' (Telugu) is a synonym of the expression on Candi Suku linga inscription: 'sign of masculinity is the essence of the world'. Thus, the gloss lokhaṇḍa which is a direct Meluhha speech form related to the hieroglyph composition on Candi Suku inscription is the sign of masculinity. The rebus renderings of khandoba or kandariya mahadeva are elucidations of the rebus gloss: kaṇḍa, 'mahadeva S'iva or mahes'vara.' The hieroglyphs deployed on the 1.82m. tall stone sculpture of linga with the inscription and hieroglyphs of sword, sun, moon and four balls deployed just below the tip of the phallus are thus explained as Meluhha speech: lokhaṇḍa. The rebus rendering of the phrase is: lo 'light' and kaṇṭa 'manliness'. These attributes constitute the effulgence of the linga as the fiery pillar, skhamba venerated in Atharva Veda Skhamba sukta as the cosmic effulgence as the cosmic essence.

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.

http://bharatkalyan97.blogspot.in/2015/01/significance-of-linga-and-4-spheres-on.html

``^penis'':So. laj(R)~ lij ~ la'a'j~ laJ/ laj~ kaD `penis'.

Sa. li'j `penis, esp. of small boys'.

Sa. lO'j `penis'.Mu. lOe'j ~ lOGgE'j `penis'.  ! lO'jHo loe `penis'Ku. la:j `penis'.

@(C289) ``^penis'':Sa. lOj `penis'.Mu. lOj `penis'.KW lOj@(M084) (Munda etyma)

Rebus: lo 'copper' lōhá ʻ red, copper -- coloured ʼ ŚrS., ʻ made of copper ʼ ŚBr., m.n. ʻ copper ʼ VS., MBh. [*rudh -- ] Pa. lōha -- m. ʻ metal, esp. copper or bronze ʼ; Pk. lōha -- m. ʻ iron ʼ, Gy. pal. li°, lihi, obl. elhás, as. loa JGLS new ser. ii 258; Wg. (Lumsden) "loa"ʻ steel ʼ; Kho. loh ʻ copper ʼ; S. lohu m. ʻ iron ʼ, L. lohā m., awāṇ. lōˋā, P. lohā m. (→ K.rām. ḍoḍ. lohā), WPah.bhad. lɔ̃un., bhal. lòtilde; n., pāḍ. jaun. lōh, paṅ. luhā, cur. cam. lohā, Ku. luwā, N. lohu, °hā, A. lo, B. lo, no, Or. lohā, luhā, Mth. loh, Bhoj. lohā, Aw.lakh. lōh, H. loh, lohā m., G. M. loh n.; Si. loho, lō ʻ metal, ore, iron ʼ; Md. ratu -- lō ʻ copper ʼ. WPah.kṭg. (kc.) lóɔ ʻ iron ʼ, J. lohā m., Garh. loho; Md. lō ʻ metal ʼ.(CDIAL 11158)

http://bharatkalyan97.blogspot.in/2015/01/meluhha-hieroglyphs-and-candi-sukuh.html

Hieroglyph: kanda m. bulbous root (Samskritam) Ash. piċ-- kandə ʻ pine ʼ Rebus:lo-khānḍa 'tools, pots and pans, metal-ware'. लोखंड [lōkhaṇḍa ] 'metalwork' Rebus: loh 'copper, iron, metal' (Indian sprachbund, Meluhha).

Thyrsus staff tied with taenia and topped with a pine cone

Sacred metalwork. See: http://bharatkalyan97.blogspot.in/2015/06/sacred-metalwork-bronze-age-hieroglyphs.html

Bali sivalinga
Mukhalinga. 10th cent. Asian Art Museum. https://en.wikipedia.org/wiki/Mukhalinga
Five-faced Mukhalinga,Himachal Pradesh; currently in LACMA
One-faced Mukhalinga,Maharashtra; currently inLACMA
Five-headed Mukhalinga Budanilkantha, Nepal

Four-headed metal cover as Mukhalinga, Nepal; currently inMuseum of Asian Art
Ekamukha sivalinga
Sivalinga. Kathmandu

Hanumanghat. Sivalingas. Kathmandu.
Sivalinga. Angkor Wat.
Cambodia. Kmer
Si Thep sivalinga, Thailand.
Sivalinga. Buddha temple. Bangkok
Sivalinga. Yot Kaeng. Thailand.
Cambodia Stone; H. 52 3/4 in. (134 cm) 

Reverse reclining Vishnu. Front Sivalinga.

Kabl Spean. A river flows over the toe of Anantas'ayana, reclining Vishnu.

Shiva and Parvati on Nandi. The lingas are carved underwater in front of them.Kabl Spean.

Brahma. Kabl Spean. Cambodia.
Siva carved in rock. 
Prasat Thom sivalinga, Koh Ker, Cambodia
Baneswar Sivalinga twins.
Sivalinga. Pashupatinath. Nepal.
Sivalinga. Pashupathinath. Nepal
Sivalinga. Elephanta caves. India.
Sivalinga. Gudimallam. India.
Sivalinga. Mamallapuram. Chennai.
Sivalinga. Thailand.
Sivalinga. Nagarkot. Nepal.
Sivalinga. Vietnam.
Sivalinga. My Son. Vietnam
Sivalinga. My Son. Vietnam.
Copper Sivalinga. Cat Tien. Vietnam.
Sivalinga. Cat Tien. Now in National Museum, Vietnam.

Reclining Vishnu with Sivalingas in front. 

Kabl Spean.

River of a thousand lingas. Kabl Spean.
Kabl Spean


Hieroglyph: Summit of hill: Ta. kuṉṟam, kuṉṟu hill, mountain; kuṉṟuvar mountaineers. Ma. kunnam mountain; kunnu hill, mountain; conical heap, hill-fort; kunnan mountaineer; kunnikka to pile up, heap up; kuṟu hill. To. küḏ-xas̱, küḏs̱ large rock standing by itself. Ka. koṇḍa hill, mountain (< Te.). Koḍ. kundï mountain. Te. koṇḍa, (inscr.) konṟa mountain, hill, rock; koṇḍavã̄ḍu a mountaineer; kuruva, (Inscr.) kuṟuva a raised ground, footpath on a hill. Nk. (Ch.) kod hill. Pa. kondi (pl. kondkul) mountain. Ga. (S.2) konḍekor the Gadbas near Salur; (S.3) koṇḍavān a hill-man. Go. (W.) kuṛu hill; (Ph.) kuṛo mountain, forest (Voc. 795). Konḍa goṟon (pl. goṟoku/ goṟonku) hill, mountain, forest on a hill.(DEDR 1864)

kōh कोह् । पर्वतः m. a mountain, i.q. kŏh, q.v. (Gr.M., K.Pr. 78, 114, 161, 262; W. 156; YZ. 89; Rām. 375, 439, 746, 1337), with Persian  iẓāfat,kōh-i (Śiv. 648, 823; Rām. 937). kōh-i-tōra, Mount Sinai (H. iv, 5).kŏh क्वह् (= ) । पर्वतः m. a mountain (Śiv. 63, 22, 26, 252, 422, 1392; Rām. 96, 25, 4, 443-4, etc.); a range of mountains (El. koh, i.e. kōh). kŏha-dāmān (Kashmiri)

<gOtO>(P)  {N} ``^hillock''.  *Mu.<guTu> `a small jungle, a small hillock', Ho<guTu> `hillock', Sad.<gUTU>.  %11861.  #11771.<kunDa>(B)F  {N} ``^forest, ^hill, ^mountain; ^deity presiding over the hill''.  @B06070,N469.  #19151.  <Dumaw = kuNDa>(F)  {N} ``^hill''.  !noun phrase cf. 1003.  @N475.  #9623.Go<koDki>(Z) [koDki],[koRki]  {N} ``^mountain''.  *LoanGo<kun>(Z),,<kunDa>(ZA),,<kunDan>(Z),<kunDa?>(Z)  {N} ``^hill, ^mountain, ^forest''.  ??(Z) orig. <kun=Dan>,<kun=Da?>,<kun=Da>.?.Re<kunDa>(B)F  {N} ``^forest, ^hill, ^mountain; ^deity presiding over the hill''.(Munda) غونډئِي g̠ẖūnḏḏaʿī, s.f. (6th) A mound or detached hill separated from the higher range. Sing. and Pl.(Pashto)

Gaw. khaṇḍa ʻ hill pasture ʼ (see ab.); Bshk. khan m. ʻ hill ʼ, Tor. khān, (Grierson) khaṇḍ, Mai. khān, Chil. Gau. kān, Phal. khã̄ṇ; Sh. koh. khŭṇ m., gur. khonn, pales. khōṇə, jij. khɔ̈̄ṇ ʻ mountain ʼ, gil. (Lor.) kh*ln m. ʻ mountain pass ʼ.(CDIAL 3792) Koṭi (f.) [cp. Sk. koṭi & kūṭa2] the end -- (a) of space: the extreme part, top, summit, point (cp. anta to which it is opposed at J vi.371)खोंडा (p. 216) [ khōṇḍā ] 2 fig. A hollow amidst hills; a deep or a dark and retiring spot; a dell.(Marathi) కొండ (p. 0314) [ koṇḍa ] konḍa. [Tel.] A hill, hillock, mountain, rock.కోదు (p. 0327) [ kōdu ] kōdu. [Tel. from కో a hill.] n. A Khond: a hill tribe in Ganjam.(Telugu) கோ³ kō cf. gōmanta. Mountain; மலை. கோக்க டோறு மின்வாள் வீசி (சிவப்பிர. வெங்கைக்கலம். 84).கோடு² kōṭu[K. kōḍu, M. kōṭu.] Summit of a hill, peak; மலைச்சிகரம். பொற்கோட் டிமயமும் (புறநா. 2, 24). Mountain; மலை. குமரிக் கோடும் (சிலப். 11, 20). High ground, elevation; மேட்டுநிலம். நறுங்காழ் கொன்று கோட் டின் வித்திய (மதுரைக். 286).(Tamil) Ta. koṭi banner, flag, streamer; kōṭu summit of a hill, peak, mountain; kōṭai mountain; kōṭar peak, summit of a tower; kuvaṭu mountain, hill, peak; kuṭumi summit of a mountain, top of a building, crown of the head, bird's crest, tuft of hair (esp. of men), crown, projecting corners on which a door swings. Ma. koṭi top, extremity, flag, banner, sprout; kōṭu end; kuvaṭu hill, mountain-top; kuṭuma, kuṭumma narrow point, bird's crest, pivot of door used as hinge, lock of hair worn as caste distinction; koṭṭu head of a bone. Ko. koṛy flag on temple; koṭ top tuft of hair (of Kota boy, brahman), crest of bird; kuṭ clitoris. To. kwïṭ tip, nipple, child's back lock of hair. Ka. kuḍi pointed end, point, extreme tip of a creeper, sprout, end, top, flag, banner; guḍipoint, flag, banner; kuḍilu sprout, shoot; kōḍu a point, the peak or top of a hill; koṭṭu a point, nipple, crest, gold ornament worn by women in their plaited hair; koṭṭa state of being extreme;koṭṭa-kone the extreme point; (Hav.) koḍi sprout; Koḍ. koḍi top (of mountain, tree, rock, table), rim of pit or tank, flag. Tu. koḍi point, end, extremity, sprout, flag; koḍipuni to bud, germinate; (B-K.) koḍipu, koḍipelů a sprout; koḍirè the top-leaf; koṭṭu cock's comb, peacock's tuft. Te. koḍi tip, top, end or point of a flame; koṭṭa-kona the very end or extremity. Kol. (Kin.) koṛi point.Pa. kūṭor cock's comb. Go. (Tr.) koḍḍī tender tip or shoot of a plant or tree; koḍḍi (S.) end, tip, (Mu.) tip of bow; (A.) koḍi point (Voc. 891). Malt. qoṛg̣o comb of a cock; ? qóru the end, the top (as of a tree).(DEDR 2049) 

S. Kalyanaraman
Sarasvati Research Center
September 23, 2015

Skambha sukta (AV X.7) meaning:

1)Which of his members is the seat of Fervour: Which is the base of Ceremonial Order? Where in him standeth Faith? Where Holy Duty? Where, in what part of him is truth implanted?

2)Out of which member glows the light of Agni? Form which proceeds the breath of Mātarisvan? From which doth Chandra measure out his journey, travelling over Skambha's mighty body?

3)Which of his members is the earth's upholder? Which gives the middle air a base to rest on? Where, in which member is the sky established? Where hath the space above the sky its dwelling?

4)Whitherward yearning blazeth Agni upward? Whitherward yearning bloweth Mātarisvan? Who out of many, tell me, is that Skambha to whom with long- ing go the turning pathways?

5)Whitheward go the half-months, and, accordant with the full year, the months in their procession? Who out of many, tell me, is that Skambha to whom go seasons and the groups of seasons?

6)Whitherward yearning speed the two young Damsels, accordant, Day and Night, of different colour? Who out of many, tell me, is that Skambha to whom the Waters take their way with longing?

7)Who out of many, tell me, is that Skambha, On whom Prajāpati set up and firmly stablished all the worlds?

8)That universe which Prajāpati created, wearing all forms,, the highest, midmost, lowest, How far did Skambha penetrate within it? What portion did he leave unpenetrated?

9)How far within the past hath Skambha entered? How much of him hath reached into the future? That one part which he set in thousand places,—how far did Skambha penetrate within it?

10)Who out of many, tell me, is that Skambha in whom men recognize the Waters, Brahma, In whom they know the worlds and their enclosures, in whom are non-existence and existence?

11)Declare that. Skambha, who is he of many, In whom, exerting every power, Fervour maintains her loftiest vow; In whom are comprehended Law, Waters, Devotion and Belief

12)Who out of many, tell me, is that Skambha On whom as their foundation earth and firmament and sky are set; In whom as their appointed place rest Fire and Moon and Sun and Wind?

13)Who out of many, tell me, is that Skambha He in whose body are contained all three-and-thirty Deities?

14)Who out of many, tell me, is that Skambha. In whom the Sages earliest born, the Richas, Sāman, Yajus, Earth, and the one highest Sage abide?

15)Who out of many, tell me, is the Skambha. Who comprehendeth, for mankind, both immortality and death, He who containeth for mankind the gathered waters as his veins?

16)Who out of many, tell me, is that Skambha, He whose chief arteries stand there, the sky's four regions, he irk whom Sacrifice putteth forth its might?

17)They who in Purusha understand Brahma know Him who is. Supreme. He who knows Him who is Supreme, and he who knows the Lord of Life, These know the loftiest Power Divine, and thence know Skam- bha thoroughly.

18)Who out of many, tell me, is that Skambha Of whom Vaisvānara became the head, the Angirases his eye, and Yātus his corporeal parts?

19)Who out of many, tell me, is that Skambha Whose mouth they say is Holy Lore, his tongue the Honey- sweetened Whip, his udder is Virāj, they say?

20)Who out of many, tell me, is that Skambha From whom they hewed the lichas off, from whom they chipped the Yajus, he Whose hairs are Sāma-verses and his mouth the Atharvāngi- rases?

21)Men count as 'twere a thing supreme nonentity's conspicuous branch; And lower man who serve thy branch regard it as an entity.

22)Who out of many, tell me, is that Skambha In whom Ādityas dwell, in whom Rudras and Vasus are contained, In whom the future and the past and all the worlds are firmly set;

23)Whose secret treasure evermore the three-and thirty Gods protect? Who knoweth now the treasure which, O Deities ye watch and guard?

24)Where the Gods, versed in Sacred Lore, worship the loftiest Power Divine The priest who knows them face to face may be a sage who knows the truth.

25)Great, verily, are those Gods who sprang from non-existence into life. Further, men say that that one part of Skambha is nonentity.

26)Where Skambha generating gave the Ancient World its shape and form, They recognized that single part of Skambha as the Ancient World,

27)The three-and-thirty Gods within his body were disposed as limbs: Some, deeply versed in Holy Lore, some know those three-and- thirty Gods.

28)Men know Hiranyagarbha as supreme and inexpressible: In the beginning, in the midst of the world, Skambha poured that gold.

29)On Skambha Fervour rests, the worlds and Holy Law repose on him. Skambha, I clearly know that all of thee on Indra is imposed.

30)On Indra Fervour rests, on him the worlds and Holy Law recline. Indra, I clearly know that all of thee on Skambha findeth rest.

31)Ere sun and dawn man calls and calls one Deity by the other's name. When the Unborn first sprang into existence he reached that independent sovran lordship; than which aught higher never hath arisen.

32)Be reverence paid to him, that highest Brahma, whose base is Earth, his belly Air, who made the sky to be his head.

33)Homage to highest Brahma, him whose eye is Sūrya and the Moon who groweth young and new again, him who made Agni for his mouth.

34)Homage to highest Brahma, him whose two life-breathings were the Wind, The Angirases his sight: who made the regions be his means of sense.

35)Skambha set fast these two, the earth and heaven, Skambha maintained the ample air between them. Skambha established the six spacious regions: this whole world Skambha entered and pervaded.

36)Homage to highest Brahma, him who, sprung from Fervour and from toil, Filled all the worlds completely, who made Soma for himself alone.

37)Why doth the Wind move ceaselessly? Why doth the spirit take no rest? Why do the Waters, seeking truth, never at any time repose?

38)Absorbed in Fervour, is the mighty Being, in the world's centre, on the waters' surface. To him the Deities, one and all betake them. So stand the tree- trunk with the branches round it.

39)Who out of many, tell me, is that Skambha. To whom the Deities with hands, with feet, and voice, and ear, and eye. Present unmeasured tribute in the measured hall of sacrifice?

40)Darkness is chased away from him: he is exempt from all dist- ress. In him are all the lights, the three abiding in Prajāpati.

41)He verily who knows the Reed of Gold that stands amid the flood, is the mysterious Lord of Life.

42)Singly the two young Maids of different colours approach the six-pegged warp in turns and weave it. The one draws out the threads, the other lays them: they break them not, they reach no end of labour.

43)Of these two, dancing round as 'twere, I cannot distinguish whether ranks before the other. A Male in weaves this web, a Male divides it: a Male hath stretched it to the cope of heaven

44)These pegs have buttressed up the sky. The Sāmans have turned them into shuttles for the weaving. 

Darasuram. Siva emerges out of the linga. Brahma searches for the ending of the pillar in heaven, Vishnu searches for the beginning of the pillar on the earth, underground. The medtaphor of a beginningless, endless pillar of light, pillar of fire, sivalinga as described in the Skambha Sukta. An unceasing enquiry of the cosmic dancer, Mahesvara.

http://bharatkalyan97.blogspot.in/2015/09/cipher-of-indus-script-corpora-explains.html

S. Kalyanaraman
Sarasvati Research Center
December 30, 2015

Taittiriya Samhita Vajapeya (Keith's translation):

The Vajapeya

i. 7. 7.

a O god Savitr, instigate the sacrifice, instigate the lord of the sacrifice for good luck; may the divine Gandharva who purifieth thoughts purify our thought; may the lord of speech to-day make sweet our utterance.
b Thou art the thunderbolt of Indra, slaying obstructions, with thee may this one smite Vrtra.
c On the instigation of strength, the mother, the mighty one,
We shall proclaim with our speech, Aditi, by name,
Into whom all this world hath entered;
In her may the god Savitr instigate right for us.
d In the waters [1] is ambrosia, in the waters is medicine;
Through the guidance of the waters
Be ye steeds, O ye that are strong.
e Or Vayu thee, or Manu thee,
The seven and twenty Gandharvas;
They first yoked the steed;
They placed swiftness in it.
f Child of the waters, swift one, the towering onrushing wave most fain to win the prize, with it may he win the prize.
g Thou art the stepping of Visnu, thou art the step of Visnu, thou art the stride of Visnu.
h May the two Ankas, the two Nyankas, which are on either side of the chariot,
Speeding on with the rushing wind,
The far-darting, powerful one, the winged one,
The fires which are furtherers, further us.

i. 7. 8.

a On the instigation of the god Savitr, through Brhaspati, winner of the prize, may I win the prize.
b On the instigation of the god Savitr, through Brhaspati, winner of the prize, may I mount the highest vault.
c To Indra utter your voices, make Indra win the prize, Indra hath won the prize.
d O whip, strong, having strength for the prizes,
Do thou in the contests strengthen the steeds.
e The swift art thou, the runner, the strong.
f O steeds, hasten for the prize; conquer on the instigation of the Maruts: measure ye the leagues; establish the ways [1]; attain the goal.
g For each prize aid us, O ye steeds,
For the rewards, O ye wise, immortal, righteous ones;
Drink of this mead, rejoice in it;
Delighted go by paths on which the gods go.
h May the swift coursers, who hear the call,
All hearken to our cry.
i Strong limbed, winning a thousand,
Eager to gain in the gaining of praise,
The steeds, which have won in the contests great prizes,
May they be propitious to us when we call.
k Among the gods, strong limbed, good praisers,
Destroying the serpent, the wolf, the Raksases,
For ever may they remove from us evil [2].
1 This steed speedeth his swift course,
Bound at the neck, the shoulder, and the mouth;
Displaying his strength Dadhikra
Springeth along the bends of the ways.
m After him as he hasteneth in triumphant speed
Bloweth the wind as after the wing of the bird,
Of the impetuous eagle, (after him) Dadhikravan,
As in his might he crosseth the winding ways.
n May there come to me the instigation of strength;
May there come sky and earth with all healing;
Come to me father [3] and mother;
May Soma come to me for immortality.
o O ye steeds, prize winning, about to run for the prize, about to win the prize, do ye touch Brhaspati's portion.
p O ye steeds, prize winning, that have run for the prize, that have won the prize, do ye be pure in Brhaspati's portion.
q True hath been the compact
That ye did make with Indra.
r Ye have made Indra win the prize, O trees; now be ye loosed.

i. 7. 9.

a Thou art the caul of the kingly class, thou art the womb of the kingly class.
b O wife, come hither to the heaven; let us two mount! Yes, let us two mount the heaven; I will mount the heaven for us both.
c Strength, instigation, the later born, inspiration, heaven, the head, the Vyaçniya, the offspring of the last, the last, the offspring of being, being, the overlord.
d May life accord with the sacrifice, may expiration accord with the sacrifice, may inspiration accord with the sacrifice [1], may cross-breathing accord with the sacrifice, may eye accord with the sacrifice, may ear accord with the sacrifice, may mind accord with the sacrifice, may the body accord with the sacrifice, may the sacrifice accord with the sacrifice.
e We have come to the heaven, to the gods; we have become immortal; we have become the offspring of Prajapati.
f May I be united with offspring, offspring with me; may I be united with increase of wealth, increase of wealth with me.
g For food thee! For proper food thee! For strength thee! For the conquering of strength thee!
h Thou art ambrosia, thou art prospering, thou art begetting.

i. 7. 10.

a The instigation of strength pressed in aforetime
This Soma, the lord in the plants, in the waters;
Be they full of sweetness for us;
May we as Purohitas watch over the kingship.
b The instigation of strength hath pervaded
This (world) and all these worlds on every side;
He goeth around knowing pre-eminence,
Increasing offspring and prosperity for us.
c The instigation of strength rested on this sky
And all these worlds as king;
May the wise one make the niggard to be generous,
And may he accord us wealth [1] with all heroes.
d O Agni, speak to us;
To us be thou kindly disposed;
Further us, O lord of the world
Thou art the giver of wealth to us.
e May Aryaman further us,
May Bhaga, may Brhaspati,
May the gods, and the bounteous one;
May the goddess speech be bountiful to us.
f Aryaman, Brhaspati, Indra,
Impel to give us gifts,
Speech, Visnu, Sarasvat!,
And Savitr the strong.
g Soma the king, Varuna,
Agni, we grasp,
The Adityas, Visnu, Surya
And Brhaspati, the Brahman (priest).
h On the instigation of the god Savitr with the arms of the Açvins, with the hands of Pusan, with the bond of Sarasvati, of speech, the binder, I anoint thee with the lordship of Agni, with the lordship of Indra of Brhaspati I anoint thee.

i. 7. 11.

Agni with one syllable won speech; the Açvins with two syllables won expiration and inspiration; Visnu with three syllables won the three worlds; Soma with four syllables won four-footed cattle; Pusan with five syllables won the Parkti; Dhatr with six syllables won the six seasons; the Maruts with seven syllables won the seven-footed Çakvari; Brhaspati with eight syllables won the Gayatri; Mitra with nine syllables won the threefold Stoma [1]; Varuna with ten syllables won the Viraj; Indra with eleven syllables won the Tristubh; the All-gods with twelve syllables won the Jagati; the Vasus with thirteen syllables won the thirteenfold Stoma; the Rudras with fourteen syllables won the fourteenfold Stoma; the Adityas with fifteen syllables won the fifteenfold Stoma; Aditi with sixteen syllables won the sixteen fold Stoma; Prajapati with seventeen syllables won the seventeenfold Stoma.

i. 7. 12.

a Thou art taken with a support; thee that sittest among men, that sittest in the wood, that sittest in the world, I take acceptable to Indra this is thy birthplace; to Indra thee!
b Thou art taken with a support; thee that sittest in the waters, that sittest in the ghee, that sittest in the sky, I take acceptable to Indra; this is thy birthplace; to Indra thee!
c Thou art taken with a support; thee that sittest on the earth, that sittest on the atmosphere, that sittest on the vault, I take acceptable to Indra; this is thy birthplace; to Indra thee!
d The cups of the five folk,
Of which three are of highest birth,
(And for which) the divine cask [1] has been forced out
Of these that have no handles
The food and strength have I seized;
This is thy birthplace; to Indra thee!
e The sap of the waters, the vigorous,
The ray of the sun that has been gathered,
The sap of the sap of the waters,
That of you I take which is the best;
This is thy birthplace; to Indra thee!
f By this shape producing mighty deeds,
He is dread, a broad way for gain,
He hath come to the top, bearing sweetness,
What time he moved a body in his own body.
g Thou art taken with a support; agreeable to Prajapati I take thee
this is thy birthplace; to Prajapati thee!

i. 7. 13.

a The months, the woods,
The plants, the mountains,
The earth and sky in longing,
The waters, followed Indra on his birth.
b To thee hath been assigned for mighty power,
For ever, in the slaying of Vrtra,
All lordship, and all strength, O thou that art worthy of sacrifice
In the overcoming of man by the gods, O Indra,
c Indrani beyond other women
I have heard to be favoured with a spouse,
For never at any time [1]
Shall her husband die of old age.
d I have not joyed, O Indrani,
Without my friend Vrsakapi,
Whose oblation rich in water
Goeth dear to the gods.
e He who first born in his wisdom
A god, surpassed the gods in insight,
From whose breath the sky and earth recoiled,
In the greatness of his manhood, he, O ye men, is Indra.
f Hitherward be thy might with aid, O dread Indra,
What time the armies meet in combat,
And the arrow flieth from the arms of the strong men;
Let not thine [2] anger spread on every side.
g Destroy us not; bring and give to us
That plenteous bounty which thou hast to give to the pious man,
For this new gift, this song we have sung to thee;
Let us speak forth in praise of Indra.
h Bring it to us, let none intercept it;
For we know thee as wealth lord of riches;
That mighty gift of thine, O Indra,
Vouchsafe it us, O lord of the bay steeds [3].
i With our oblation we summon
1ndra, the giver;
Fill both thy hands with bounty;
Give to us from the left and the right.
k The giver, the bolt-bearer, the bull, the overpowering,
The impetuous, the king, slayer of Vrtra, drinker of the Soma,
Seated at this sacrifice on the strew,
Be thou health and wealth to the sacrificer.
l Indra, the protector, the granter of aid with his aids;
All knowing, be kindly to us;
Let him restrain the enemy, let him make security,
May we be lords of strength [4].
m May we enjoy the favour of him the worshipful,
And also his loving kindness;
May the protector Indra, the granter of aid,
For ever fend far from us the enemy.
n Rich banquets be ours with Indra,
With mighty strength,
Wherewith fed we may be glad.
o To Indra, here sing strength
To place his chariot in the front;
Even in conflict in battle he maketh wide room;
Slayer of foes in the contests
Be thou our comforter;
Let the feeble bowstrings
Of the others break on their bows.

http://www.sacred-texts.com/hin/yv/yv01.htm

Baudhāyana Sulbasūtra

Pythagorean theorem

It is also referred to as Baudhayana theorem. The most notable of the rules (the Sulbasūtra-s do not contain any proofs for the rules which they describe, since they are sūtra-s, formulae, concise) in the Baudhāyana Sulba Sūtra says:

दीर्घचतुरश्रस्याक्ष्णया रज्जु: पार्श्र्वमानी तिर्यग् मानी च यत् पृथग् भूते कुरूतस्तदुभयं करोति ॥

dīrghachatursrasyākṣaṇayā rajjuḥ pārśvamānī, tiryagmānī,
cha yatpṛthagbhūte kurutastadubhayāṅ karoti.

A rope stretched along the length of the diagonal produces an area which the vertical and horizontal sides make together.^[6]

The lines are to be referring to a rectangle, although some interpretations consider this to refer to a square. In either case, it states that the square of the hypotenuse equals the sum of the squares of the sides. If restricted to right-angled isosceles triangles, however, it would constitute a less general claim, but the text seems to be quite open to unequal sides.

If this refers to a rectangle, it is the earliest recorded statement of the Pythagorean theorem.

Baudhāyana also provides a non-axiomatic demonstration using a rope measure of the reduced form of the Pythagorean theorem for an isosceles right triangle:

The cord which is stretched across a square produces an area double the size of the original square.

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

Plofker, Kim (2007). History of Mathemtics in India from 500 BCE, p. 387. In relative chronology, they predate Āpastamba, which is dated by Robert Lingat to the sutra period proper, between c. 500 to 200 BCE. Robert Lingat, The Classical Law of India, (Munshiram Manoharlal Publishers Pvt Ltd, 1993), p.20