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The evidence of सोमः संस्था, Vajapeya yajna attested by Indus Script Corpora and the agnikunda at the sites of Binjor and Kalibangan attest to the vedic culture continuum in Sarasvati-Sindhu civilization.
वाजपेय is a सोमः संस्था, i.e. a profession involving the processing of Soma, performance of soma yajna. A hieroglyph which signifies such a yajna is an octagonal shaped yupa. This octagonal shape of yupa is attested in ancient texts.
सोमः संस्था, Vajapeya yajna can be interpreted as a smelting process involving metalwork, thus producing bahusuvarNaka as noted in a Mulavarman yupa Pallava Devanagari script inscription in Samskritam of Kodei, East Borneo, dated ca. 4th century.
The earliest archaeological evidence (until April 2015) for such a yupa comes from Isapur, a suburb of Mathura, together with an inscription of Kushana priod ca. 1st cent. CE. Another site which evidences an agnikunda, a quadrangular yupa and a terracotta cake with Indus Script hieroglyphs points to the performance of a सोमः संस्था, Vajapeya yajna is Kalibangan. Both Binjor and Kalibangan sites evidence metalwork, based on the decipherment of Indus Script hieroglyphs dug in the artifacts of the sites.
A remarkable archaeological evidence comes in April 2015 from an archaeological site of Binjor, excavated by the students of Institute of Archaeology, Archaeological Survey of India. The agnikunda was excavated togther with an octagonal shaped yupa in situ. The site is dateable to ca. 2500 BCE based on the evidence of an Indus Script seal found at the site. The seal is a metalwork catalogue. See: http://bharatkalyan97.blogspot.in/2015/12/binjor-seal-with-indus-script.html
That the Vajapeya was performed in Binjor is a stunning evidence which is evidence of the continuum of Vedic culture in Sarasvati-Sindhu civilization because the Binjor archaeological site is on the banks of Vedic River Sarasvati, close to Anupgarh. Anupgarh is the site clearly recognized in a LANDSAT image which shows the River Sarasvati lost in the sands of the Great Marusthali desert due to plate tectonics which resulted in the 90-degree westward diversion of the tributary River Sutlej at Ropar joining the River Sindhu in Bahawalpur province abandoning the Vedic River Sarasvati. When Sutlej had joined River Sarasvati at Shatrana, the width of the combined river palaeo-channel is 20 km., wider than the width of 14 kms. of Brahmaputra river at Manas, Arunachalpradesh.
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Palaeo-drainage map of Thar desert region using IRS P3 WiFS satellite image Vedic River Sarasvati
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Synoptic view of Landsat images of NW India showing 6-8 km. wide palaeo-
channel of Sarasvati River (from Siwalik thru Kalibangan and Anupgarh to
Marot)
Ancient River Sarasvati forked at Anupgarh (Rajasthan) as seen from
the LANDSAT image.
Binjor is close to Anupgarh at the River fork.
One channel forked westwards to flow into Cholistan desert
![]()
This reconstruction of rivers, based on geological surveys, corroborates the
LANDSAT imagery showing that at one stage Sutlej flowed independently from
Himalayas into Sindhusagara.
Map showing sites Kalibangan, Ganweriwala (not far from Binjor)
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Clusters of archaeological sites on the banks of Vedic River Sarasvati (2500 BCE)
Clustering of the sites towards Ganga-Yamuna doab 3000 BP.
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Hieriglyph: meṛh rope tying to post, 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) Rebus: meD 'iron' (Ho.); med 'copper' (Slavic)
S. Kalyanaraman
Sarasvati Research Center
January 2, 2016
The evidence of सोमः संस्था, Vajapeya yajna attested by Indus Script Corpora and the agnikunda at the sites of Binjor and Kalibangan attest to the vedic culture continuum in Sarasvati-Sindhu civilization.
वाजपेय is a सोमः संस्था, i.e. a profession involving the processing of Soma, performance of soma yajna. A hieroglyph which signifies such a yajna is an octagonal shaped yupa. This octagonal shape of yupa is attested in ancient texts.
सोमः संस्था, Vajapeya yajna can be interpreted as a smelting process involving metalwork, thus producing bahusuvarNaka as noted in a Mulavarman yupa Pallava Devanagari script inscription in Samskritam of Kodei, East Borneo, dated ca. 4th century.
The earliest archaeological evidence (until April 2015) for such a yupa comes from Isapur, a suburb of Mathura, together with an inscription of Kushana priod ca. 1st cent. CE. Another site which evidences an agnikunda, a quadrangular yupa and a terracotta cake with Indus Script hieroglyphs points to the performance of a सोमः संस्था, Vajapeya yajna is Kalibangan. Both Binjor and Kalibangan sites evidence metalwork, based on the decipherment of Indus Script hieroglyphs dug in the artifacts of the sites.
A remarkable archaeological evidence comes in April 2015 from an archaeological site of Binjor, excavated by the students of Institute of Archaeology, Archaeological Survey of India. The agnikunda was excavated togther with an octagonal shaped yupa in situ. The site is dateable to ca. 2500 BCE based on the evidence of an Indus Script seal found at the site. The seal is a metalwork catalogue. See: http://bharatkalyan97.blogspot.in/2015/12/binjor-seal-with-indus-script.html
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'
करण्ड m. a sort of duck L. కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. (Telugu) karaṭa
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'
That the Vajapeya was performed in Binjor is a stunning evidence which is evidence of the continuum of Vedic culture in Sarasvati-Sindhu civilization because the Binjor archaeological site is on the banks of Vedic River Sarasvati, close to Anupgarh. Anupgarh is the site clearly recognized in a LANDSAT image which shows the River Sarasvati lost in the sands of the Great Marusthali desert due to plate tectonics which resulted in the 90-degree westward diversion of the tributary River Sutlej at Ropar joining the River Sindhu in Bahawalpur province abandoning the Vedic River Sarasvati. When Sutlej had joined River Sarasvati at Shatrana, the width of the combined river palaeo-channel is 20 km., wider than the width of 14 kms. of Brahmaputra river at Manas, Arunachalpradesh.
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Palaeo-drainage map of Thar desert region using IRS P3 WiFS satellite image Vedic River Sarasvati
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Synoptic view of Landsat images of NW India showing 6-8 km. wide palaeo-
channel of Sarasvati River (from Siwalik thru Kalibangan and Anupgarh to
Marot)
Ancient River Sarasvati forked at Anupgarh (Rajasthan) as seen from
the LANDSAT image.
Binjor is close to Anupgarh at the River fork.
One channel forked westwards to flow into Cholistan desert

This reconstruction of rivers, based on geological surveys, corroborates the
LANDSAT imagery showing that at one stage Sutlej flowed independently from
Himalayas into Sindhusagara.

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Clusters of archaeological sites on the banks of Vedic River Sarasvati (2500 BCE)
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Binjor agnikunda with octagonal, अष्टाश्रि yūpa
Read in the context of the Vedic tradition of Vajapeya as a सोमः [सू-मन् Uṇ.1.139]-संस्था a form of the Soma-sacrifice, the Binjor agnikunda evidences the performance of a Vajapeya yajna.
Shapes of Yupa: A. Commemorative stone yupa, Isapur – from Vogel, 1910-11, plate 23; drawing based on Vedic texts – from Madeleine Biardeau, 1988, 108, fig. 1; cf. 1989, fig. 2); C. Miniature wooden yupa and caSAla from Vaidika Samsodana Mandala Museum of Vedic sacrificial utensils – from Dharmadhikari 1989, 70) (After Fig. 5 in Alf Hiltebeitel, 1988, The Cult of Draupadi, Vol. 2, Univ. of Chicago Press, p.22)
Isapur Yupa inscription (102 CE, dated in year 24 in Kushana king Vasishka's reign) indicates performance of a sattra (yajna) of dvadasarAtra, 'twelve nights'. (Vogel, JP, The sacrificial posts of Isapur, Annual Report of the Archaeological Survey of India, 1910-11: 40-8).
Vajapeya is one of 7 samstha (profession) for processing/smelting soma (a mineral, NOT a herbal): सोमः [सू-मन् Uṇ.1.139]-संस्था a form of the Soma-sacrifice; (these are seven:- अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय). The Vajapeya performed in Binjor and Balibangan should have been related to the Soma-samstha: सोमः संस्था specified as वाजपेय with the shape of the yupa with eight- or four-angles.
सं-√ स्था a [p=1121,2]A1. -तिष्ठते ( Pa1n2. 1-3 , 22 ; ep. and mc. also P. -तिष्ठति ; Ved. inf. -स्थातोस् A1pS3r. ) , to stand together , hold together (pf. p. du. -तस्थान्/ए , said of heaven and earth) RV. ; to build (a town) Hariv. ; to heap , store up (goods) VarBr2S. occupation , business , profession W.
सं-√ स्था a [p=1121,2]A1. -तिष्ठते ( Pa1n2. 1-3 , 22 ; ep. and mc. also P. -तिष्ठति ; Ved. inf. -स्थातोस् A1pS3r. ) , to stand together , hold together (pf. p. du. -तस्थान्/ए , said of heaven and earth) RV. ; to build (a town) Hariv. ; to heap , store up (goods) VarBr2S. occupation , business , profession W.
At the Vājapeya, the yūpa is eight-angled (as in Binjor), corresponding to the eight quarers (Sat.Br. V.2.1.5 aSTās'rir yūpo bhavati) अश्रि [p= 114,2] f. the sharp side of anything , corner , angle (of a room or house) , edge (of a sword) S3Br. Ka1tyS3r.often ifc. e.g. अष्टा*श्रि , त्रिर्-/अश्रि , च्/अतुर्-श्रि , शता*श्रि q.v. (cf. अश्र) ;([cf. Lat. acies , acer ; Lith. assmu3]).
The shape seen commonly in all the shapes of yupa of Isapur is that they are octagonal (eight angles). The shape matches with the drawing based on Vedic texts by Madeleine Biardeau.
The vedic text which specifies the octagonal shape of the yupa is Satapatha Brahmana.
Sbr. V.2.1.9: While setting up the ladder, the yajñika says to his wife, 'Come, let us go up to Heaven'. She answers, 'Let us go up'. (Sbr V.2.1.9) and they begin to mount the ladder. At the top, while touching the head of the post, the yajñika says: 'We have reached Heaven' (Taittiriya Samhita, SBr. Etc.) 'I have attained to heaven, to the gods, I have become immortal' (Taittiriya samhita 1.7.9) 'In truth, the yajñika makes himself a ladder and a bridge to reach the celestial world' (Taittiriya Samhita VI.6.4.2)
Eggeling' translation of Sbr. Pt III, Vol. XLI, Oxford, 1894, p.31 says:
“The post is either wrapped up or bound up in 17 cloths for Prajapati is 17-fold.' The top of the Yupa carries a wheel called cas'Ala in a horizontal position. The indrakila too is adorned with a wheel-ike object made of white cloth, but it is placed in a vertical position.
Notes taken from 'The symbolism of the Indrakila' Senarat Paranavitana, Leelananda Prematilleka, Johanna Engelberta van Lohulzen-De Leeuw, 1978, Senarat Paranavitana Commemoration Volume, BRILL 1978, p.247)
Kalibangan also shows an agnikunda with a quadrangular yupa base and a terracotta cake with Indus Script hieroglyphs. The Kalibangan terracotta cake hieroglyphs constitute a catalogue of metalwork. Together with the agnikunda excavated at the site, the evidence points to a vajapeya yajna performed at Kalibangan.
Note that the Isapur post is square at the bottom, octagonal in the middle. Kalibangan yupa shown in the agnikuNDA is square in shape signifying the bottom portion of the yupa meant for Vajapeya Soma samsthA.
Kalibangan. Fire-altar with stele 'linga' and terracotta cakes. Plate XXA. "Within one of the rooms of amost each house was found the curious 'fire-altar', sometimes also in successive levels, indicating their recurrent function." (p.31)
Pl. XXII B. Terracotta cake with incised figures on obverse and reverse, Harappan. On one side is a human figure wearing a head-dress having two horns and a plant in the centre; on the other side is an animal-headed human figure with another animal figure, the latter being dragged by the former.
Decipherment of hieroglyphs on the Kalibangan terracotta cake:
bhaTa 'warrior' rebus: bhaTa 'furnace'
kolmo 'rice plant' rebus: kolimi 'smithy, forge'
koD 'horn' rebus: koD 'workshop'
kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron'
The tiger is being pulled to be tied to a post, pillar.
Hieroglyph: Ka. kunda a pillar of bricks, etc. Tu. kunda pillar, post. Te. kunda id. Malt. kunda block, log. ? Cf. Ta. kantu pillar, post. (DEDR 1723) Rebus: (agni)kuNDA 'fire-altar, vedi'.
Note the Isapur yupa which show ropes in the middle and on the top to tie an animal as shown on the Kaibangan terracotta cake. In the case of the Kalibangan terracotta cake, the hieroglyph shows a kola, 'tiger' tied to the rope. The rebus reading is kol 'working in iron'. The work in iron is signified by the post, yupa: meḍ(h), 'post, stake' rebus: meḍ 'iron', med 'copper' (Slavic).
Thus, the terracotta cake inscription signifies a iron workshop smelter/furnace and smithy.
S. Kalyanaraman
Sarasvati Research Center
January 2, 2016