-- Tablets of destiny brought by Śyena are Indus Script Corpora Soma, amśu wealth accounting metalwork ledgers

-- Inthe prayers of R̥gveda IV.27.1-4 the devatā is Śyena; it is the rock from which the eagle brought Soma (RV 4.26, 27)

-- Śyena citi is a Veda altar shape which is caturaśra, 'quadrangular' to bring home and purify Soma, amśu

-- Soma purification is metallurgical process in Agni,'fire' in a citi, 'fire-altar'

-- Offspring of Viśvakarman are artisans working with Soma, amśu to create the shared wealth of a Rāṣṭrram

-- Saēna in Avestan, Simorg in Persian is cognate śyēna mr̥ga (Samskr̥tam)

-- Tablets of Destiny, vajra 'thunderbolt' are Indus Script hypertexts brought home by Śyena, amśu, Anzu to create the wealth of a Rāṣṭrram

--Śyena brings Soma from heaven (RV IV.38.5), parallel narratives of saena or simorg

--Metalwork using Agni, consecrated, sacred fire constituted a revolutionary phenomenon of the Bronze Age in a way men and women related to and worked with products of nature, mineral ores, in particular, which created a new meaning for Soma, ayas, 'alloy metal' or wealth or treasure of a nation

-- Zoomorphic means 'of or relating to a deity or other being conceived of as having the form of an animal'.

-- Tablets of destiny brought by Anzu (zoomorph of Veda amśu)= Śyena are

Indus Script Corpora tablets, seals and inscriptions documented by kāyastha, 'scribes' of Soma = amśu wealth accounting metalwork ledgers; this is exemplified by the anthropomorphs of Nandi or bull-man in Citragupta mandiram of Khajuraho.

-- Anzu (Sumer)(cognate amśu (RV), ancu 'iron' (Tocharian) or thunderbolt is biting into a bulll-man or bull-anthropomorph, a brilliant narrative of the desire of the artisan to attain heaven, to acquire wealth, Soma.

Bas relief of Anzud attacking a man-headed bull. For more information on Imdugud/Anzud, see Beijing World Art Museum for an article by Richard Zettler.(embedded).

See:

Venerated नन्दिन् < nandu 'increase, prosperity', Gaṇeśvara. पोळ poḷa 'zebu' is Indus Script hieroglyph signifies 'magnetite, ferrite ore' treasure https://tinyurl.com/y5wxnszv

Image result for nandi citragupta temple

Image result for chitragupta temple khajuraho bull-man

One of the Aṣṭa Vasus, holding triśūla, lotus stalk (stylus) and Kamaṇḍalu, with fire by his side, Chitragupta Temple, Khajuraho.

The monograph is organized in the following sections:

Section A. Śyena brings Soma from heaven

Section B. Anzu steals the Tablets of Destiny

Section C. Saēna, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand) are cognate with Śyena

Section D. Soma amśu, products; śyēna, Anzu metaphors; Indus Script hypertexts of metals foundries

Section E. Thunderbolt, vajra

Bhāratīya traditions of veneration, objective of Soma Yajña, is heaven; work as worship is kailāsa heaven

Soma is amśu, anzu of the jangama, the itinerant artisan, seafaring merchant. Soma is the product of the strong work, profession, trade of the Meluhha artisan who is also a seafaring merchant immersed in Veda, i.e., acquiring knowledge about properties of matter and enable creation of shared wealth of a nation.

Soma is quintessential sacred process of R̥gveda. Significance of the falcon-shape for the Citi, 'fire-altar' to process Soma, is emphatically declared in YV V.4.1.11.1: "He should pile in hawk shape who desires the sky; the hawk is the best flier among birds; verily becoming a hawk he flies to the world of heaven...by the offspring to Viśvakarman he was set free from evil; in that he offers a libation to Agni of the front, Agni of the front, delighted with his own portion, burns away his evil, and he is set free from his evil by the offering to Visvakarman." The hawk-shape or quadrangular-body shape of the falcon, in the expression Caturaśra Śyena Citi is elaborated in Veda texts. This shape yields sacred space. The bird will return the tablets of destiny, the Indus Script Corpora to the offspring of Viśvakarman, artisan par-excellence, the divinity. Artisans, maruts, Rudra, Vasu are divine and are venerated. The intensity of human endeavours to accomplish the desires gets enshrined in the famous dictum succinctly stated by Basava in the exhortaion: kāyakave kailāsa, 'work is worship'.

కాయకము or కులకాయకము kāyakamu. [Tel.] n. Profession, trade, art. జీవనము. See కాయికము. కాయకము (among the Jangams) signifies a prayer or vow. ప్రార్థన, వ్రతము.కాయికము kāyikamu. [Skt.] n. Daily interest నానాటివడ్డి. కాయికములమారి a rogue or cheat. adj. Lit. pertaining to the body. దేహసంబంధమైన. Slight, not strong, జబ్బు. కాయికపుపని not strong work. జింగమము jangamamu. [Skt.] adj. Moveable, not stationary. తిరుగునది.జంగమ కట్టుబడి a temporary bailiff. జంగమనగము, (Vasu. iii. 249.) జంగమగ్రావము, or జంగమాద్రి rolling rock, a moving hill. P. i. 202; iii. 62. n. A moveable or chattel; property, personalty. Cattle, cows, sheep, &c. జంగముడు jangamuḍu. n. Jangam, or worshipper of Basava. L. XIV. 210. జంగమత్వము jangamatvamu. n. Moveableness, locomotion. G. ix. 121జంగము ḍzangamu. [Tel.] n. (Lit. a sojourner) A Jangam. Name of a Saivite sect, the members of which wear the lingam.

Sign1 of Indus Script Corpora (ASI 1977 sign list of Mahadevan). This hieroglyph signifies kāyaka'body' rebus: kāyaka 'work, profession' PLUS meḍ 'body' rebus: meḍ, med 'iron, copper'.; thus, metal worker or metal artisan or metalsmith.

This is the highest tribute paid to the artisans of the civilization, the offspring of.Viśvakarman.

Three flying birds are abiding metaphors in R̥gveda.

The glosses are: śyēna, patanga, mākṣikā. The three glosses are rebus-metonymy renderings of sena 'thunderbolt'; patanga 'mercury'; mākṣikā 'pyrites' -- three references to metalwork catalogs of Bhāratam Janam, 'lit. metalcaster folk'. A variant phonetic form of mākṣikā is makha 'fly, bee, swarm of bees' (Sindhi). The rebus-metonymy for this gloss is: makha 'the sun'. Mahavira pot is a symbol of Makha, the Sun (S'Br. 14.1.1.10).

In Vedic texts, weapon of Divinity Indra is vajra, thunderbolt lightning. The name "thunderbolt" or "thunderstone" -- vajrāśani (Ramayana) --has also been traditionally applied to the fossilised rostra of belemnoids. The origin of these bullet-shaped stones was not understood, and thus a mythological explanation of stones created where a lightning struck has arisen. (Vendetti, Jan (2006). "The Cephalopoda: Squids, octopuses, nautilus, and ammonites", UC Berkeley) In Malay and Sumatra they are used to sharpen the kris, are considered very lucky objects, and are credited with being touchstones for gold.

Caturaśra Śyena Citi, the shape of the Vedic fire-altar becomes the recurrent hieroglyph used on Indus Script Corpora and in the architectural designs of sacred places of worship called mandiram or temples.

Shape of Caturaśra Śyena in Mānava Śulbasūtra, Harappa seal h166 narrative Caturaśra Śyena rebus آهن ګر āhan gar 'thunderbolt makersmith' https://tinyurl.com/y3s9tomm

It appears that the body of the syena is quadrangular Caturaśra Śyena, or "four-sided falcon." (Mānava Śulbasūtra):

After Patrick A. George

(pgeorge@ccat.sas.upenn.edu)

http://ccat.sas.upenn.edu/george/vedi.html

Śyena as sacred space is defined by the shape of the body of the falcon which is called Caturaśra Śyena. The expression is documented in ancient texts. शब्दकल्पद्रुमः and वाचस्पत्यम्

चतुरश्रः, त्रि, (चतस्रोऽश्रयोऽस्य । “सुप्रातसुश्व-सुदिवेति ।” ५ । ४ । १२० । इति अच्प्रत्ययेननिपातितः ।) चतुष्कोणः । यथा, --“चतुरश्रं त्रिकोणं वा वर्त्तुलं चार्द्धचन्द्रकम् ।कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्डलम् ॥”इत्याह्रिकतत्त्वे बौधायनः ॥लग्नाच्चतुर्थाष्टमलग्नम् । इति दीपिका ॥ https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

चतुरश्र त्रि० चतस्रोऽश्रयः कोणा अस्य नि० अच् । १चतुष्कोणे पा० तालव्यमध्यस्यैव निपातनम् ।

दन्तमध्यत्वेचतुरस्रिरित्येव स्यात् । अस्य दन्त्यमध्यत्वं शब्दकल्पद्रु-मोक्तं चिन्त्यम् सुप्रातसुश्वेति” पा० ५ । ४ ।

१ सू०तालमध्यस्यैव ग्रहणात् “चतुरश्रं त्रिकोणं वा वर्त्तुलंचार्द्धचन्द्रकम् । कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्ड-लम्” वौधा० । २ ब्रह्मसन्ताने केतुभेदे पु० “चतुरश्रा,ब्रह्मसन्तानाः” वृ० सं० ११ अ० । केतुशब्दे दृश्यम् । ३ अन्यूनानतिरिक्ते त्रि० ।“बभूव तस्याश्चतुरश्रशोभि” कुमा० ।“चतस्रोऽश्रयोऽस्य तच्चतुरश्रमन्यूनानतिरिक्तम्” मल्लि० । https://sa.wikisource.org/wiki/वाचस्पत्यम्

This Harappa seal h166 shows how a चतुरश्र citi or Caturaśra Śyena are comparable architectural forms.

Archiecture of Ellora Kailāsa mandiram is also Caturaśra, consistent with Veda tradition.

Objective of śyena citi is heaven. The Veda metaphor is that worshipper and his wife mount the caṣāla to attain heaven. Yajña, मेधा , intelligence , knowledge , understanding is also = धन Naigh. ii , 10 in the context of Indus Script metaphorical rebus renderings.

The evidence is emphatic that Indus Script is a Veda cultural continuum. Here are two seals which are representative; they seal the Veda foundations of Indus Script narratives in over 8000 inscriptions. The thunderbolt maker is آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto). Hence, gaṇḍabheruṇḍa idiom of the historical tradition continuum from Veda metaphors.

GonurTepe settlement layout architecture is Caturaśra 'quadrangular'.

Caturaśra Śyena Citi is a foundational framework for the processing of Soma to create the wealth of a nation by the shared wealth created by artisans and seafaring Meluhha merchants.

Section A. Śyena brings Soma from heaven

Śyena is associated with a bird of happy omen (RV II.42.3), the vigour of the falcon (RV I.118.11) brings Soma from heaven (RV IV.38.5).

A prayer for prosperity is a prayer to the heavenly falcon in Atharvaveda to be rich in food among our Fathers: Becoming a hawk he flies to the world of heaven (KYV V.4.11.1). The world of heaven is a world of prosperity and wealth; this is symbolised by Śyena 'falcon, hawk'. The worshipper and his consort climb the yupa with caṣāla 'ring of wheat chaff' which infuses carbon into the moltenmetal, and reach heaven.
RV I.32.14
14 Whom sawest thou to avenge the Dragon, Indra, that fear possessed thy heart when thou hadst slain him;
That, like a hawk affrighted through the regions, thou crossedst nineandninety— flowing rivers?

RV I.33.2

2 I fly to him invisible Wealthgiver- as flies the falcon to his cherished eyrie,
With fairest hymns of praise adoring Indra, whom those who laud him must invoke in battle.

RV I.118.11

11 Come unto us combined in love, Nasatyas come with the fresh swift vigour of the falcon.
Bearing oblations I invoke you, Asvins, at the first break of everlasting morning.

RV I.163.1
RV I.163.2

(AA Macdonell and AB Keith, 1912, Vedic index of names and subjects, Vol. 2,, Delhi,Motilal Banarsidass)

śyēnḥ श्येनः [श्यै-इनन् Uṇ.2.45] 1 The white colour. -2 Whiteness. -3 A hawk, falcon. -4 Violence. -5 Ved. A horse. -6 A kind of array in battle. -Comp. -अवपातः the swoop of a hawk; श्येनावपातचकितावनवर्ति- केव Māl.8.8. -कपोतीय a. (from Śibi story) sudden (calamity). -करणम्, -करणिका 1burning on a separate funeral pile. -2 a hawk-like, i. e. rash and desperate, act. -चित्, -जीविन् m. falconer; Ms.3.164. -पातः the swoop of a hawk or eagle; वडवेइवसंयुक्तेश्येनपातेदिवौकसाम्Mb.3.133.26. (Apte) श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle (शुल्ब-सूत्र); a kind of array (in battle) (MBh. कामन्दकीय-नीतिसार).; N. of a सामन् (आर्षेय-ब्राह्मण, लाट्यायन)(Monier-Williams).

YV V.4.1 to 11

PRAPATHAKA IV (4) Explanation of the Piling of the Fire Altar v. 4. 1 to 11

V.4.1

The gods and the Asuras were in conflict, they could not decide the issue; Indra saw these bodies, he put them down; with them he conferred upon himself power, strength, and body; then the gods prospered, the Asuras were defeated.
In that he puts down Indra s bodies, the sacrificer with them bestows on himself power, strength, and body; verily also he piles up the fire with Indra and with a body; be prospers himself, his foe is [1] defeated.
The sacrifice departed from the gods; they could not recover it; they saw these bodies of the sacrifice, they put them down, and by them they recovered the sacrifice.
In that he puts down the bodies of the sacrifice, the sacrificer by them wins the sacrifice.
Three and thirty he puts down; the gods are three and thirty; verily he wins the gods; verily also he piles up the fire with itself and with a body; he becomes with his body in yonder world [2], who knows thus.
He puts down the lighted (bricks); verily he confers light upon it; the fire blazes piled up with these (bricks); verily with them he kindles it; in both worlds is there light for him.
He puts down the constellation bricks; these are the lights of the sky; verily he wins them; the Naksatras are the lights of the doers of good deeds; verily he wins them; verily also he makes these lights into a reflection [3] to light up the world of heaven.
If he were to place them in contact, he would obstruct the world of rain, Parjanya would not rain; he puts them down without touching; v rily he produces the world of rain, Parjanya is likely to rain; on the east he puts down some pointing west, on the west some pointing east; therefore the constellations move both west and east.

v. 4. 2.

He puts down the seasonal (bricks), to arrange the seasons.
He puts down a pair; therefore the seasons are in pairs.
This middle layer is as it were unsupported; it is as it were the atmosphere; he puts down a pair on the other layers, but four in the middle one, for support.
The seasonal (bricks) are the internal cement of the layers; in that he puts down the seasonal (bricks), (it is) to keep apart the layers.
He puts down next an Avaka plant; this is the birthplace of Agni; verily he piles up the fire with its birthplace [1].
Visvamitra says, He shall eat food with holy power, for whom these shall be put down, and he who shall know them thus
It is the year which repels from support him who having piled up the fire does not find support; there are five layers preceding, and then he piles up the sixth; the year has six seasons; verily in the seasons the year finds support.
These are the bricks [2], called the over ladies; he for whom they are put down becomes the overlord of his equals; he should think of him whom he hates as he puts (them down); verily he cuts him off for those deities; swiftly he goes to ruin.
The Angirases, going to the world of heaven, made over to the seers the accomplishment of the sacrifice; it became gold; in that he anoints with fragments of gold, (it is) for the completion of the sacrifice; verily also he makes healing for it [3]; moreover he unites it with its form, and with golden light he goes to the world of heaven.
He anoints with that wh ch contains the word of a thousand Prajapati is of a thousand; (verily it serves) to win Prajapati.
May these bricks, O Agni, be for me milch cows he says; verily he makes them milch cows; they, milking desires, wait upon him yonder in yonder world.

v. 4. 3.

The fire is Rudra; he is born then when he is completely piled up; just as a calf on birth desires the teat, so he here seeks his portion; if he were not to offer a libation to him, he would suck the Adhvaryu and the sacrificer.
He offers the Satarudriya (oblation); verily he appeases him with his own portion; neither Adhvaryu nor sacrificer goes to ruin.
If he were to offer with the milk of domesticated animals [1], he would afflict domestic animals with pain; if (with that) of wild (animals), wild (animals); he should offer with groats of wild sesame or with groats of Gavidhuka grass; he harms neither domesticated nor wild animals.
Then they say, Wild sesame and Gavidhuka grass are not a proper offering he offers with goat s milk, the female goat is connected with Agni; verily he offers with a proper offering; he harms neither domesticated nor wild animals.
The Angirases going to the world of heaven [2] spilled the cauldron on the goat; she in pain dropped a feather (like hair), it became the Arka (plant); that is why the Arka has its name.
He offers with a leaf of the Arka, to unite it with its birthplace.
He offers standing facing north; this is the quarter of Rudra; verily he propitiates him in his own quarter.
He offers on the last brick; verily at the end he propitiates Rudra.
He offers dividing it into three; these worlds are three; verily he makes these worlds of even strength; at this height he offers [3], then at this, then at this; these worlds are three; ver ly he appeases him for these worlds.
Three further libations he offers; they make up six, the seasons are six; verily with the seasons he appeases him.
If he were to offer while wandering round, he would make Rudra come within (the sacrifice).
Or rather they say, In what quarter is Rudra or in what? He should offer them while wandering round; verily he appeases him completely [4].
The highest (bricks) are the heavenly deities; over them he makes the sacrificer speak; verily by them he makes him attain the world of heaven; he should throw (the leaf) down in the path of the cattle of him whom he hates; the first beast that steps upon it goes to ruin.

v. 4. 4.

The strength on the stone (with these words) he moistens (the fire), and so purifies it; verily also he delights it; it delighted attends him, causing him neither hunger nor pain in yonder world; he rejoices in offspring, in cattle who knows thus.
That food and strength, do ye, O Maruts, bounteously bestow on us he says; strength is food, the Maruts are food; verily he wins food.
In the stone is thy hunger; let thy pain reach N.N.[1], whom we hate he says; verily he afflicts him whom he hates with its hunger and pain.
He goes round thrice, moistening; the fire is threefold; verily he calms the pain of the whole extent of the fire.
Thrice again he goes round; they make up six, the seasons are six; verily with the seasons he calms its pain.
The reed is the flower of the waters, the Avaka is the cream of the waters [2]; he draws over (it) with a branch of reeds and with Avaka plants; the waters are appeased; verily with them appeased he calms his pain.
The beast that first steps over the fire when piled, it is liable to burn it up with its heat.
He draws over (it) with a frog; this of animals is the one on which one does not subsist, for neither among the domesticated nor the wild beasts has it a place; verily he afflicts it with pain.
With eight (verses) he draws across [3]; the Gayatri has eight syllables, the fire is connected with the Gayatri; verily he calms the pain of the whole extent of the fire.
(He draws) with (verses) containing (the word) purifying the purifying (one) is food; verily by food he calms its pain.
The fire is death; the black antelope skin is the form of holy power; he puts on a pair of black sandals; verily by the holy power he shuts himself away from death.
He shuts himself away from death, and away from eating food they say; one he puts on, the other not; verily he shuts himself away [4] from death and wins the eating of food.
Honour to thy heat, thy blaze he says, for paying honour they wait on a richer man; may thy bolts afflict another than us he says; verily him whom he hates he afflicts with its pain; be thou purifying and auspicious to us he says; the purifying (one) is food; verily he wins food.
With two (verses) he strides over (it), for support; (with two) containing (the word) water for soothing.

v. 4. 5.

To him that sits in man hail! (with these words) he pours butter on; verily with the Pankti and the offering he takes hold of the beginning of the sacrifice.
He pours on butter transversely; therefore animals move their limbs transversely, for support.
If he were to utter the Vasat cry, his Vasat cry would be exhausted; if he were not to utter the Vasat cry, the Raksases would destroy the sacrifice; Vat he says; verily, mysteriously he utters the Vasat cry; his Vasat, cry is not exhausted, the Raksases do not destroy the sacrifice.
Some of the gods eat the offerings [1], others do not; verily he delights both sets by piling up the fire.
Those gods among gods (with these words) he anoints (it) with curds mixed with honey; verily the sacrificer delights the gods who eat and those who do not eat the offerings; they delight the sacrificer.
He delights those who eat the offerings with curds, and those who do not with honey; curds is a food of the village, honey of the wild; in that he anoints with curds mixed with honey, (it serves) to win both.
He anoints with a large handful (of grass); the large handful is connected with Prajapati [2]; (verily it serves) to unite it with its birthplace; with two (verses) he anoints, for support.
He anoints going round in order; verily he delights them completely.
Now he is deprived of the breaths, of offspring, of cattle who piling the fire steps upon it.
Giver of expiration art thou, of inspiration he says; verily he bestows on himself the breaths; giver of splendour, giver of wide room he says; splendour is offspring; wide room is cattle; verily he bestows on himself offspring and cattle.
Indra slew Vrtra; him Vrtra [3] slain grasped with sixteen coils; he saw this libation to Agni of the front; he offered it, and Agni of the front, being delighted with his own portion, burnt in sixteen places the coils of Vrtra; by the offspring to Visvakarman he was set free from evil; in that he offers a libation to Agni of the front, Agni of the front, delighted with his own portion, burns away his evil, and he is set free from his evil by the offering to Visvakarman.
If he desire of a man, May he be set free slowly from evil [4], he should offer one by one for him; verily, slowly he is set free from evil; if he desire of a man, Swiftly may he be set free from evil he should run over all of them for him and make one offering; swiftly is he set free from evil.
Or rather he sacrifices separately with each hymn; verily severally he places strength in the two hymns; (verily they serve) for support.

v. 4. 6.

Do thou lead him forward (with these words) he puts on the kindling sticks; that is as when one provides hospitality for one who has come on a visit.
He puts down three; the fire is threefold; verily he provides his portion for the whole extent of the fire.
They are of Udumbara wood, the Udumbara is strength; verily he gives him strength.
May the All gods thee he says; the All gods are the breaths; verily with the breaths [1] he raises him up; I bear up with their thoughts, O Agni he says; verily he unites him with the thought for which he lifts him up.
May the five regions divine aid the sacrifice, the goddesses he says, for he moves forward along the quarters.
Driving away poverty and hostility he says, for smiting away the Raksases.
Giving to the lord of the sacrifice increase of wealth, he says; increase of wealth is cattle [2]; verily he wins cattle.
He takes (him) with six (verses); the seasons are six; verily with the seasons he takes him; two have (the word) embracing for the smiting away of the Raksases.
With the rays of the sun, with tawny hair, before us he says, for instigation.
Then let our pure invocations be accepted he says; the pure (one) is food; verily he wins food.
The gods and the Asuras were in conflict; the gods saw the unassailable (hymn) and with it they conquered the Asuras [3]; that is why the unassailable (hymn) has its name.
In that the second Hotr recites the unassailable (hymn) the sacrificer conquers his foes therewit unassailably; verily also he conquers what has not been conquered.
(The hymn) has ten verses; the Viraj has ten syllables, by the Viraj are kept apart these two worlds; (verily it serves) to keep apart these two worlds.
Again the Viraj has ten syllables, the Viraj is food; verily he finds support in the Viraj, in eating food.
The atmosphere is as it were unreal; the Agnidh s altar is as it were the atmosphere; on the Agnidh s altar [4] he puts down a stone, for reality; with two (verses), for support.
As measurer, he standeth in the midst of the sky he says; verily with this he measures; in the middle of the sky is the dappled stone set down he says; the dappled is food; verily he wins food.
With four (verses) he goes up to the tail; the metres are four; verily (he goes) with the metres.
All have caused Indra to wax he says; verily he attains increase.
True lord and lord of strength [5], he says; strength is food; verily he wins food.
Let the sacrifice invoke favour, and bring the gods he says; favour is offspring and cattle; verily be bestows on himself offspring and cattle.
Let the god, Agni, offer and bring to us the gods he says, to make the cry, Godspeed! He hath seized me with the impulse of strength, with elevation he says; elevation is yonder sun in rising; depression is it when setting; verily with holy power he elevates himself, with holy power he depresses his foe.

v. 4. 7.

Along the eastern quarter do thou advance, wise one he says; verily with this (verse) he moves to the world of heaven.
Mount ye, with Agni, to the vault he says; verily with this he mounts these worlds.
From earth have I mounted to the atmosphere, he says; verily with it he mounts these worlds.
Going to the heaven they look not away he says; verily he goes to the world of heaven.
O Agni, advance [1] first of worshippers he says; verily with it he bestows eyesight upon both gods and men.
He steps upon (the altar) with five (verses); the sacrifice is fivefold; verily he goes to the world of heaven with the full extent of the sacrifice.
Night and dawn he recites as the Puronuvakya, for preparation.
O Agni, of a thousand eyes he says; Prajapati is of a thousand; (verily it serves) to obtain Prajapati.
To thee as such let us pay honour; to strength hail! he says; strength is food; verily he wins food [2].
He offers on the naturally perforated brick (a ladle) of Udumbara wood filled with curds; curds are strength, the Udumbara is strength, the naturally perforated is yonder (sky); verily he places strength in yonder (sky); therefore we live on strength coming hitherward from yonder.
He puts (it) in place with three (verses); the fire is threefold; verily be makes the whole extent of the fire attain support.
Enkindled, O Agni, shine before us (with these words) he takes (the kindling stick) of Udumbara wood; this is a pipe with projections; by it [3] the go s made piercings of hundreds of the Asuras; in that he takes up the kindling stick with this (verse), the sacrificer hurls the hundred slaying (verse) as a bolt at his enemy, to lay him low without fail.
Let us pay homage to thee in thy highest birth, O Agni (with these words) he takes up (the kindling stick) of Vikankata wood; verily he wins radiance.
That various of Savitr, the adorable (with these words) be takes up (the kindling stick) of Sami wood, for soothing.
The fire milks the piler up of the fire; the piler up, milks the fire; that [4] various of Savitr, the adorable he says; this is the milking of the fire.
This of it Kanva Srayasa knew, and with it he was wont to milk it; in that be takes up the kindling stick with the verse, the piler up of the fire milks the fire.
Seven are thy kindling sticks, O Agni, seven tongues verily he delights seven sevens of his.
With a full (ladle) he offers, for Prajapati is as it were full, to obtain Prajapati [5].
He offers with a half filled (ladle), for from the half filled Prajapati created creatures, for the creation of offspring.
Agni departed from the gods; he entered the quarters; he who sacrifices should think in his mind of the quarters; verily from the quarters he wins him; with curds he offers at first, with butter afterwards; verily he bestows upon him brilliance and power in accord.
There is (an offering) to Vaisvanara on twelve potsherds; the year has twelve months, Agni Vaisvanara is the year; verily st aightway [6] he wins Vaisvanara.
If he were to offer the fore and after sacrifices, there would be a bursting of the sacrifice; he offers an oblation with a ladle, for the support of the sacrifice.
Vaisvanara is the kingly power, the Maruts the people; having offered the offering to Vaisvanara, he offers those to the Maruts; verily he attaches the people to the kingly power.
He utters aloud (the direction to the Agnidh) for Vaisvanara, he offers the offerings of the Maruts muttering; therefore the kingly power speaks above the people.
(The offerings) are for the Maruts; the people of the gods are the Maruts; verily he wins for him by the people of the gods the people among men.
There are seven; the Maruts are in seven troops; verily in troops he wins the people for him; running over troop by troop he offers; verily he makes the people obedient to him.

v. 4. 8.

He offers the stream of wealth; May a stream of wealth be mine (with this hope) is the offering made; this stream of ghee waits upon him in yonder world, swelling up.
He offers with butter; butter is brilliance, the stream of wealth is brilliance; verily by brilliance he wins brilliance for him.
Again the stream of wealth is desires; verily he wins desires.
If he desire of a man, May I separate his breaths and his eating of food [1], he should offer separately for him; verily he separates his breaths and his eating of food; if he desire of a man, May I continue his breaths and his eating of food he should offer for him in a continuous stream; verily he continues his breaths and his eating of food.
Twelve sets of twelve he offers; the year has twelve months; verily by the year he wins food for him.
May for me food, for me freedom from hunger he says; that [2] is the form of food; verily he wins food.
May for me fire, for me the waters be says; this is the birthplace of food; verily he wins food with its birthplace.
He offers those where Indra, is half; verily he wins the deities; since Indra is half of all and a match, therefore Indra is the most appropriating of gods; he says Indralater; verily he places strength in him at the top.
He offers the weapons of the sacrifice; the weapons of the sacrifice are the sacrifice [3]; verily he wins the sacrifice.
Again this is the form of the sacrifice; verily he wins the sacrifice by its form.
May for me the final bath and the cry of Godspeed! he says, to utter Godspeed! May the fire for me, the cauldron he says; that is the form of splendour; verily by the form he wins splendour.
May the Rc for me, the Saman he says [4]; that is the form of the metres; verily by the form he wins the metres.
May the embryo for me, the calves he says; that is the form of cattle; verily by the form he wins cattle.
He offers the orderers, to order the disordered.
He offers the even and the odd, for pairing; they are in ascending ratio, for ascent.
May one for me, three he says; one and three are the metres of the gods [51, four and eight the metres of men; verily he wins both the metres of gods and men.
Up to thirty three he offers; the gods are three and thirty; verily he wins the gods; up to forty eight he offers, the Jagati has forty eight syllables, cattle are connected with the Jagati: verily by the Jagati he wins cattle for him.
Strength, instigation (with these words) he offers a set of twelve; the year has twelve months; verily he finds support in the year.

v. 4. 9.

Agni departed from the gods, desiring a portion; the gods said to him, come back to us, carry the oblation for us.
He said, Let me choose a born; let them offer to me the Vajaprasaviya therefore to Agni they offer the Vajaprasaviya.
In that he offers the Vajaprasaviya, he unites Agni with his own portion; verily also this is his consecration.
He offers with fourteen (verses); there are seven domesticated, seven wild 1] animals; (verily it serves) to win both sets.
He offers of every kind of food, to win every kind of food.
He offers with an offering spoon of Udumbara wood; the Udumbara is strength, food is strength; verily by strength he wins for him strength and food.
Agni is the consecrated of gods, the piler of the fire of men; therefore when it rains a piler of the fire should not run, for he has thus obtained food; rain is as it were food; if he were to run he would be running from food.
He should go up to it; verily be goes up to food [2].
Night and dawn (with these words) he offers with the milk of a black cow with a white calf; verily by the day he bestows night upon him, by night day; verily day and night being bestowed upon him milk his desire and the eating of food.
He offers the supporters of the kingly power; verily he wins the kingdom.
He offers with six (verses); the seasons are six; verily he finds support in the seasons.
O lord of the world (with these words) he offers five libations at the chariot mouth; the chariot is a thunderbolt; verily w th the thunderbolt he conquers the quarters [3].
In yonder world the wind blows over the piler of the fire; he offers the names of the winds; verily over him in yonder world the wind blows; three he offers, these worlds are three; verily from these worlds he wins the wind.
Thou art the ocean, full of mist he says; that is the form of the wind; verily by the form he wins the wind.
He offers with his clasped hands, for not other wise can the oblation of these be accomplished.

v. 4. 10.

The chariot of the gods is yoked for the world of heaven, the chariot of man for wherever his intention is fixed; the fire is the chariot of the gods.
Agni I yoke with glory, with ghee he says; verily he yokes him; he, yoked, carries him to the world of heaven.
If he were to yoke with all five together, his fire yoked would fall away, the libations would be without support, the Stomas without support, the hymns without support.
He strokes (the fire) with three (verses) at the morning pressing; the fire is threefold [1]; verily he yokes the full extent of the fire; that is as when something is placed on a yoked cart; the oblations find support, the Stomas find support, the hymns find support.
He strokes with two (verses) in the Stotra of the Yajnayajniya; the sacrifice is as great as is the Agnistoma; a further extension is performed over and above it; verily he mounts at the end the whole extent of the sacrifice.
(He strokes) with two (verses), for support; when it is not completed by one (verse), then [2] does he stroke; the rest of the sacrifice resorts to him; (verily it serves) for continuity.
He who piles up the fire falls away from this world; his libation cannot be performed in a place without bricks; whatever libation he offers in a place without bricks, it runs away, and with its running away the sacrifice is ruined, with the sacrifice the sacrificer; in that he piles up a second piling, (it is) to support the libations; the libations find support [3], the sacri ice is not ruined, nor the sacrificer.
He puts down eight; the Gayatri has eight syllables; verily he piles it with the Gayatri metre; if eleven, with the Tristubh, if twelve with the Jagati verily he piles it with the metres.
The fire that is re piled is called the descendant; he who knowing thus re piles the fire eats food up to the third generation.
The re piling is like the re establishment of the fire; he who does not succeed through the establishment of the fire [4] re establishes it; he who does not succeed by the piling up of the fire re piles it.
In that he piles up the fire, (it is) for prosperity.
Or rather they say, one should not pile it up.
The fire is Rudra, and it is as if one stirs up a sleeping lion.
But again they say, One should pile it up.
It is as if one awakens a richer man with his due portion.
Manu piled the fire; with it he did not prosper; he saw this re piling, he piled it, with it he prospered; in that he piles the re piling, (it is) for prosperity.

v. 4. 11.

He who desires cattle should pile a piling with the metres; the metres are cattle; verily he becomes rich in cattle.
He should pile in hawk shape who desires the sky; the hawk is the best flier among birds; verily becoming a hawk he flies to the world of heaven.
He should pile in heron form who desires, May I be possessed of a head in yonder world verily he becomes possessed of a head in yonder world.
He should pile in the form of an Alaja bird, with four furrows, who desires support; there are four quarters; verily he finds support in the quarters.
He should pile in the form of a triangle, who has foes [1]; verily he repels his foes.
He should pile in triangle form on both sides, who desires, May I repel the foes I have and those I shall have verily he repels the foes he has and those he will have.
He should pile in the form of a chariot wheel, who has foes; the chariot is a thunderbolt; verily he hurls the thunderbolt at his foes.
He should pile in the form of a wooden trough who desires food; in a wooden trough food is kept; verily he wins food together with its place of birth.
He should pile one that has to be collected together, who desires cattle; verily he becomes rich in cattle [2].
He should pile one in a circle, who desires a village; verily he becomes possessed of a village.
He should pile in the form of a cemetery, who desires, May I be successful in the world of the fathers verily he is successful in the world of the fathers.
Visvamitra and Jamadagni h d a feud with Vasistha; Jamadagni saw these Vihavya (bricks); he put them down, and with them he appropriated the power and strength of Vasistha; in that he puts down the Vihavyas, the sacrificer with them appropriates the power and strength of his foe.
He puts down on the altar of the Hotr; the Hotr is the abode of the sacrificer [3]; verily in his abode he wins for him power and strength.
Twelve he puts down; the Jagati has twelve syllables, cattle are connected with the Jagati; verily with the Jagati he wins cattle for him.
Eight each he puts down in the other altars; cattle have eight half hooves; verily he wins cattle.
(He puts down) six on the Marjaliya; the seasons are six, the gods, the fathers, are the seasons; verily he delights the seasons, the gods, the fathers.

RV I.32.14

14 Whom sawest thou to avenge the Dragon, Indra, that fear possessed thy heart when thou hadst slain him;
That, like a hawk affrighted through the regions, thou crossedst nineandninety— flowing rivers?

RV I.33.2

RV I.33.2 I fly to him invisible Wealthgiver- as flies the falcon to his cherished eyrie,
With fairest hymns of praise adoring Indra, whom those who laud him must invoke in battle.

RV I.118.11

11 Come unto us combined in love, Nasatyas come with the fresh swift vigour of the falcon.

Bearing oblations I invoke you, Asvins, at the first break of everlasting morning.

RV I.163.1

RV I.163.2

1. WHAT time, first springing into life, thou neighedst, proceeding from the sea or upper waters,

Limbs of the deer hadst thou, and eagle pinions. O Steed, thy birth is nigh and must be lauded.
2 This Steed which Yama gave hath Trita harnessed, and him, the first of all, hath Indra mounted.
His bridle the Gandharva grasped. O Vasus, from out the Sun ye fashioned forth the Courser.
3 Yama art thou, O Horse; thou art Aditya; Trita art thou by secret operation.
Thou art divided thoroughly from Soma. They say thou hast three bonds in heaven that hold thee.

1. WHAT time, first springing into life, thou neighedst, proceeding from the sea or upper waters,
Limbs of the deer hadst thou, and eagle pinions. O Steed, thy birth is nigh and must be lauded.
2 This Steed which Yama gave hath Trita harnessed, and him, the first of all, hath Indra mounted.
His bridle the Gandharva grasped. O Vasus, from out the Sun ye fashioned forth the Courser.
3 Yama art thou, O Horse; thou art Aditya; Trita art thou by secret operation.
Thou art divided thoroughly from Soma. They say thou hast three bonds in heaven that hold thee.

RV II.42.2 Kapinjala कपिञ्जलः kapiñjalḥ कपिञ्जलः 1 The Chātaka bird; सोमपीथं तु यत्तस्य शिर आसीत्कपिञ्जलः Bhāg.6.9.5. -2 The Tittiri bird. (Apte) francoline partridge; N. of a sparrow: -nyâya, in. after the fashion of the Kapiñgala topic (in the Pûrvamîmâmsâ) according to which the plural (kapiñgalân) means only three.(Macdonell).
शकुन्त m. a bird MBh. Ka1v. &c; a particular bird of prey BhP.(Monier-Williams)

RV II.42.2 Kapinjala कपिञ्जलः kapiñjalḥ कपिञ्जलः 1 The Chātaka bird; सोमपीथं तु यत्तस्य शिर आसीत्कपिञ्जलः Bhāg.6.9.5. -2 The Tittiri bird. (Apte) francoline partridge; N. of a sparrow: -nyâya, in. after the fashion of the Kapiñgala topic (in the Pûrvamîmâmsâ) according to which the plural (kapiñgalân) means only three.(Macdonell).

RV II.42.1. TELLING his race aloud with cries repeated, he sends his voice out as his boat a steersman.
O Bird, be ominous of happy fortune from no side may calamity befall thee.
2 Let not the falcon kill thee, nor the eagle let not the arrowbearing- archer reach thee.
Still crying in the region of the Fathers, speak here auspicious, bearing joyful tidings.
3 Bringing good tidings, Bird of happy omen, call thou out loudly southward of our dwellings,
So that no thief, no sinner may oppress us. Loud may we speak, with heroes, in assembly.

Wilson: 2.042.01 Crying repeatedly, and foretelling what will come to pass, (the kapin~jala) gives (due) direction to its voice, as a helmsman (guides) a boat; be ominous, bird, of good fortune, and may no calamity whatever befall you from any quarter. [Kapin~jala: The Anukraman.ika_ has kanimataru_pindro devata_; kapin~jala = francoline partridge].
2.042.02 May no kite, no eagle, kill you; may no archer armed with arrows, reach you; crying repeatedly, in the region of the Pita_, be ominous of good fortune; proclaimer of good luck, speak to us on this occasion. [In the region of the pita_: the south; the cry of the birds on the south is a good omen, cf. next hymn].
2.042.03 Bird, who are ominous of good fortune, the proclaimer of good luck, cry from the south of our dwellings; may no thief, no evil-doer prevail agains tus; that blessed with excellent descendants we may worthily praise you at this sacrifice.
RV II.42.1. TELLING his race aloud with cries repeated, he sends his voice out as his boat a steersman.
O Bird, be ominous of happy fortune from no side may calamity befall thee.
2 Let not the falcon kill thee, nor the eagle let not the arrowbearing- archer reach thee.
Still crying in the region of the Fathers, speak here auspicious, bearing joyful tidings.
3 Bringing good tidings, Bird of happy omen, call thou out loudly southward of our dwellings,
So that no thief, no sinner may oppress us. Loud may we speak, with heroes, in assembly.

Wilson: 2.042.01 Crying repeatedly, and foretelling what will come to pass, (the kapin~jala) gives (due) direction to its voice, as a helmsman (guides) a boat; be ominous, bird, of good fortune, and may no calamity whatever befall you from any quarter. [Kapin~jala: The Anukraman.ika_ has kanimataru_pindro devata_; kapin~jala = francoline partridge].
2.042.02 May no kite, no eagle, kill you; may no archer armed with arrows, reach you; crying repeatedly, in the region of the Pita_, be ominous of good fortune; proclaimer of good luck, speak to us on this occasion. [In the region of the pita_: the south; the cry of the birds on the south is a good omen, cf. next hymn].
2.042.03 Bird, who are ominous of good fortune, the proclaimer of good luck, cry from the south of our dwellings; may no thief, no evil-doer prevail agains tus; that blessed with excellent descendants we may worthily praise you at this sacrifice.

RV IV.38.5

5 Loudly the folk cry after him in battles, as it were a thief who steals away a garment;
Speeding to glory, or a herd of cattle, even as a hungry falcon swooping downward.

RV IV.38.5 Wilson: Whom men call after in battles, as after a thief carrying off a garment, or as (after) a hungry hawk pouncing (upon his prey); they call after him, hastening to obtain food, or a herd of cattle. [They call after him: s'ravasca_ccha_ pas'umacca yu_tham = annam ki_rttim va_ pas'umad yu_tham ca accha_ abhilaks.ya gacchantam enam anukros'anti, they call after him, that is Dadhikra_, going, having in view either food or fame, or a herd consisting of cattle].

Atharva Veda

[0704101] Observing men, and viewing home, the Falcon hath cleft his swift way over wastes and waters.
May he, with Indra for a friend, auspicious, traversing all air s lower realms, come hither.
[0704102] The heavenly Falcon, viewing men, well pinioned, strength giver, hundred footed, hundred nested, Shall give us treasure which was taken from us.
May it be rich in food among our Fathers.(AV VII.41.1-2)

KRISHNA YAJUR VEDA KANDA 2 PRAPATHAKA IV (4)

II.4.7 a Thou I art connected with the Maruts, thou art the force of the Maruts, cleave the stream of the waters.
b Stay, O Maruts, the speeding falcon, Swift as mind, the strong, the glorious; That whereby the dread host goeth set loose, Do ye, O Asvins, put around; hail! c East wind, raining, quicken; Ravat! Hail! Storming, raining, dread; Ravat! Hail! Thundering, raining, formidable; Ravat! Hail! Thundering without lightning, lightning, raining, resplendent; Ravat! Hail! Raining over night, satisfying; Ravat! [1] Hail! Famed as having rained I much; Ravat! Hail! Raining while the sun shines, radiant; Ravat! Hail! Thundering, lightning, raining, waxing great; Ravat! Hail! d Gladdening, obedient, purifying, agile, Full of light, full of darkness, flooding, with fair foam, Supporting friends, supporting the warrior caste, With fair realms, do ye help me.
e Thou art the fetter of the strong steed; for rain I yoke thee.

KRISHNA YAJUR VEDA KANDA 2 PRAPATHAKA IV (4)

II.4.7 a Thou I art connected with the Maruts, thou art the force of the Maruts, cleave the stream of the waters.

b Stay, O Maruts, the speeding falcon, Swift as mind, the strong, the glorious; That whereby the dread host goeth set loose, Do ye, O Asvins, put around; hail! c East wind, raining, quicken; Ravat! Hail! Storming, raining, dread; Ravat! Hail! Thundering, raining, formidable; Ravat! Hail! Thundering without lightning, lightning, raining, resplendent; Ravat! Hail! Raining over night, satisfying; Ravat! [1] Hail! Famed as having rained I much; Ravat! Hail! Raining while the sun shines, radiant; Ravat! Hail! Thundering, lightning, raining, waxing great; Ravat! Hail! d Gladdening, obedient, purifying, agile, Full of light, full of darkness, flooding, with fair foam, Supporting friends, supporting the warrior caste, With fair realms, do ye help me.
e Thou art the fetter of the strong steed; for rain I yoke thee.

See: http://www.iranicaonline.org/articles/simorg

See: http://en.wikipedia.org/wiki/Simurgh

Image result for Sassanid silk twill textile of a simurgh in a beaded surround, 6-7th c. CE

Sassanid silk twill textile of a simurgh in a beaded surround, 6-7th c. CE

"The simurgh was considered to purify the land and waters and hence bestow fertility. The creature represented the union between the earth and the sky, serving as mediator and messenger between the two. The simurgh roosted in Gaokerena, the Hōm (Avestan: Haoma) Tree of Life, which stands in the middle of the world sea Vourukhasa. The plant is potent medicine, is called all-healing, and the seeds of all plants are deposited on it. When the simurgh took flight, the leaves of the tree of life shook making all the seeds of every plant to fall out. These seeds floated around the world on the winds of Vayu-Vata and the rains of Tishtrya, in cosmology taking root to become every type of plant that ever lived, and curing all the illnesses of mankind. The relationship between the simurgh and Hōm is extremely close. Like the simurgh, Hōm is represented as a bird, a messenger and as the essence of purity that can heal any illness or wound. Hōm - appointed as the first priest - is the essence of divinity, a property it shares with the simurgh. The Hōm is in addition the vehicle of farr(ah) (MP: khwarrah, Avestan: khvarenah, kavaēm kharēno) "[divine] glory" or "fortune". Farrah in turn represents the divine mandate that was the foundation of a king's authority."Sogdian Samarqand in the 7th century AD Archaeology in the landscapes of ancient Sogd has furnished us with a great amount of works of art, mainly from the early Middle Ages. Of highest value are the wall paintings from a palace hall (object 23, room 1) of the Sogdian ruler Varxuman at Samarqand (Afrasiab site)... The western wall is the most important one in room 23/1 due to its position opposite the entrance. This feature seems to be common in Sogdian architectural layouts both of private main halls and palace throne rooms. Who is figure no. 4 of the western wall? (page II) The following proposal for an identification of figure 4 is certainly only an attempt. As we have seen, group A2 of delegates seems to belong to nations of the west. A second hint comes from the clothes of figure 4. The delicate ornamentation depicts fabulous beasts known as "Senmurvs". Look below:

Image result for The Senmurvs are set into an overall pattern of curved rhomboids.

Left: The Senmurvs are set into an overall pattern of curved rhomboids.

Right: Close-up of the garment of figure 4 Originally more than hundred human figures must have been depicted on the walls of our room. Many of these persons are dressed with richly ornamented and multicoloured clothes. But it seems noteworthy that the Senmurv is, in contrary to other patterns, only to meet with figure 4 on the western wall. The reason for that must be the symbolic nature of the Senmurv. Speaking of this creature we concentrate only on the "dog-peackock" as depicted on the Afrasiab murals. Doubtless it originates from Iranian symbolism. The most spectacular examples can be seen on the late Sasanian rock reliefs of Taq-e Bustan (Iran):

Image result for Senmurvs as pattern on the caftan of a Sasanian king, Taq-e Bustan, Great Ivan, left wall.

Left: Senmurvs as pattern on the caftan of a Sasanian king, Taq-e Bustan, Great Ivan, left wall.

Image result for Senmurv in medaillon on the clothes of the heavy-armoured rider, Taq-e Bustan, Geat

Right: Senmurv in medaillon on the clothes of the heavy-armoured rider, Taq-e Bustan, Geat Ivan. Comparing these images with the Senmurvs from Afrasiab we notice a striking similarity. Apparently the Senmurv in Sasanian iconography was a symbol with intimate connection to kingship. Images concentrate on representations of royal persons and on royal silverware. Only in post-Sasanian times, when dynastic restrictions were lost, the Senmurv spread wide as a merely ornamental motif on Near and Middle Eastern textiles, metalwork, and so on. Concerning the Afrasiab murals we have a general date within the limits of the Sasanian dynasty (i.e., before 652), as we have tried to explain on another page. Therefore, if the Senmurv (i.e., the "dog-peacock"!) was a Sasanian royal emblem, his appearance on the Afrasiab murals should point to the same symbolic value. In other words: The "owner" of the symbol should represent a Sasanian king. http://www.orientarch.uni-halle.de/ca/afras/text/w4b.htm

Image result for Chal Tarhan. 7th-8th c. Stucco.Inv. Nr. 6642.

Wall panel with a Senmurv. Iran, Chal Tarhan. 7th-8th c. Stucco.Inv. Nr. 6642. Image of a quite similar panel which is in better condition that came from the same site, see British Museum, inv. no. ME 1973.7-25.3.

Sassanid silver plate of a simurgh (Sēnmurw), 7-8th c. CE. An exquisite and beautifully gilded Sassanid silver plate. The central creature within it is usually identified as the senmurw of Zoroastrian mythology which features the head of a snarling dog, the paws of a lion and the tail of a peacock. This object is today displayed in the Persian Empire collection of the British Museum. Peacock-dragon or peacock-griffin?

British Museum. Department: Middle East Registration number: 1922,0308.1 BM/Big number: 124095. Date 7thC-8thC (?) Description Gilded silver plate with low foot-rim and centering mark on the underside; single line engraved around the outside of the rim, with a second engraved line defining the interior; hammered and lathe-turned, then decorated; interior shows a senmurw (a legendary dog-headed bird) facing left, a leaf hanging from its mouth; neck and lower portion of the wing are punched with an imbricated design; the breast is enriched with a foliated motif; the tail feathers are conventionally rendered by punching, the lowest portion concealed by a bold scroll in relief; below the tail, a branch of foliage projects into the field; the foliate border is composed of overlapping leaves, on each of which are punched three divergent stems surmounted by berries in groups of three. Old corrosion attack on part of the underside. Condition of gilding suggests that this is re-gilding. Dimensions : Diameter: 18.8 centimetres (rim)Diameter: 6.8 centimetres (interior, foot-ring)Diameter: 7.3 centimetres (exterior, foot-ring)Height: 3.8 centimetres Volume: 450 millilitresWeight: 541.5 grammes. Hammered gilt silver plate with a low circular foot ring measuring 7.3 cm. across at the base; centering mark and extensive traces of old corrosion attack on the underside; single line engraved around the outside of the rim, with a second engraved line defining the interior. The plate was made by hammering, and decorated through a combination of chasing and punching, with thick gilding over the background. Early published references to the raised portion being embossed separately and added with solder are incorrect, and only the foot ring is soldered on. XRF analysis indicates that the body has a composition of 92% silver, 6.9% copper and 0.45% gold, and the foot has a slightly different composition of 93.4% silver, 5.4% copper and 0.5% gold. The decoration is limited to the interior and shows a composite animal with a dog's head, short erect mane, vertical tufted ears and lion's paws, facing left with a foliate spray dangling from its open mouth like a lolling tongue; a ruff-like circle of hair or fur frames its face; the neck, muscular shoulders and lower tail feathers are punched with an imbricated or overlapping wave design resembling feathers or scales; the breast is enriched with a foliated motif; a pair of wings with forward curling tips rise vertically from behind the shoulders, with a broad rounded peacock-like tail behind decorated with a bold foliate scroll and conventionally rendered by punching; below the tail, a second branch of foliage projects into the field. The foliate border is composed of overlapping leaves, on which are punched three divergent stems surmounted by berries in groups of three. This plate is said to have been obtained in India prior to 1922 when it was purchased in London by the National Art Collections Fund on behalf of the British Museum. It is usually attributed to the 7th, 8th or early 9th century, thus is post-Sasanian, Umayyad or early Abbasid in political terms. Initially described as a hippocamp, peacock-dragon or peacock-griffin, most scholars follow Trever's (1938) identification of this as a senmurw (New Persian simurgh), or Avestan Saena bird (cf. also Schmidt 1980). The iconographic features of a senmurw include the head of a snarling dog, the paws of a lion and the tail of a peacock, with the addition of the plant motifs on the tail or hanging out of the mouth being allusions to its role in regenerating plants. This bird is described in Pahlavi literature as nesting "on the tree without evil and of many seeds" (Menog-i Xrad 61.37-42), and scattering them in the rainy season to encourage future growth (Bundahišn XVI.4). For this reason it was believed to bestow khwarnah (glory and good fortune), and particularly that of the Kayanids, the legendary ancestors of the Sasanians. This motif is first attested in a datable Sasanian context on the rock-cut grotto of Khusrau II (r. 591-628) at Taq-i Bustan, when it appears within embroidered roundels decorating the royal gown. The same motif recurs within a repeating pattern of conjoined pearl roundels depicted on silks from the reliquary of St Lupus and a tomb at Mochtchevaja Balka in the north Caucasus, a press-moulded glass inlay and vessel appliqué in the Corning Museum of Glass, metalwork, Sogdian murals, and the late Umayyad palace façade at Mshatta (e.g. Harper et al. 1978: 136, no. 60; Trever & Lukonin 1987: 115, pl. 73, no. 26; Overlaet ed. 1993: 270, 275-77, nos 119, 127-28). However, there are significant differences of detail between all of these, and a little caution is necessary before making definite attributions of iconography, date or provenance. Many of the features are also repeated on the depiction of a horned quadruped depicted on a 7th century plate in the Hermitage (Trever & Lukonin 1987: 117-18, pl. 106, no. 36); most recently, Jens Kröger has reiterated the possibility of an early Abbasid date for the present plate, and observed that the distinctive decoration on the tail resembles the split palmette motifs on early Abbasid and Fatimid rock crystal. Source: http://tinyurl.com/7wbzcxg The heroic theft: myths from Rgveda and the Ancient Near East - David M. Knipe (1967).

Section B. Anzu steals the Tablets of Destiny

"In the Sumerian poem Ninurta and the Turtle it is the god Enki, rather than Enlil, who holds the tablet. Both this poem and the Akkadian Anzû poem share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian)" (Black, J; Green, A (1992), "Tablet of Destinies", Gods, Demons and Symbols of Ancient Mesopotamia: An Illustrated Dictionary, London: British Museum Press.)

https://en.wikipedia.org/wiki/Tablet_of_Destinies_(mythic_ite)

Zu or Anzu (from An 'heaven' and Zu 'to know' in Sumerian language), as a lion-headed eagle, ca. 2550–2500 BCE, Louvre. Votive relief of Ur-Nanshe, king of Lagash, representing the bird-god Anzu (or Im-dugud) as a lion-headed eagle. Alabaster, Early Dynastic III (2550–2500 BCE). Found in Telloh, ancient city of Girsu. H. 21.6 cm (8 ½ in.), W. 15.1 cm (5 ¾ in.), D. 3.5 cm (1 ¼ in.)

Alabaster votive relief of Ur-Nanshe, king of Lagash, showing Anzû as a lion-headed eagle, ca. 2550–2500 BCE; found at Tell Telloh the ancient city of Girsu, (Louvre).

https://en.wikipedia.org/wiki/Anz%C3%BB

See: J. Aro, “Anzu and Sīmurgh,” in Barry L. Eichler , ed., Kramer Anniversary Volume: Cuneiform studies in honor of Samuel Noah Kramer, Kevelar, 1976, pp. 25-28.

"Anzû, also known as ^dZû and Imdugud Sumerian: 𒀭𒅎𒂂 AN.IM.

DUGUD^MUŠEN), is a lesser divinity or monster in several Mesopotamian religions. He was conceived by the pure waters of the Apsu and the wide Earth, or as son of Siris Anzû was depicted as a massive bird who can breathe fire and water, although Anzû is alternately depicted as a lion-headed eagle...The name of the mythological being usually called Anzû was actually written in the oldest Sumerian cuneiform texts as 𒀭𒉎𒈪𒄷 (AN.IM.MI^MUŠEN; the cuneiform sign 𒄷, or MUŠEN, in context is an ideogram for "bird"). In texts of the Old Babylonian period, the name is more often found as 𒀭𒉎𒂂𒄷 AN.IM.DUGUD^MUŠEN.In 1961, Landsberger argued that this name should be read as "Anzu", and most researchers have followed suit. In 1989, Thokild Jacobsen noted that the original reading of the cuneiform signs as written (giving the name "^dIM.dugud") is also valid, and was probably the original pronunciation of the name, with Anzu derived from an early phonetic variant. Similar phonetic changes happened to parallel terms, such as imdugud (meaning "heavy wind") becoming ansuk. Changes like these occurred by evolution of the im to an (a common phonetic change) and the blending of the new n with the following d, which was aspirated as dh, a sound which was borrowed into Akkadian as z or s....It has also been argued based on contextual evidence and transliterations on cuneiform learning tablets, that the earliest, Sumerian form of the name was at least sometimes also pronounced Zu, and that Anzu is primarily the Akkadian form of the name. However, there is evidence for both readings of the name in both languages, and the issue is confused further by the fact that the prefix 𒀭 (AN) was often used to distinguish deities or even simply high places. AN.ZU could therefore mean simply "heavenly eagle"" (Charles Penglase (4 October 2003). Greek Myths and Mesopotamia: Parallels and Influence in the Homeric Hymns and Hesiod. Taylor & Francis; Alster, B. (1991). Contributions to the Sumerian lexicon. Revue d'Assyriologie et d'archéologie orientale, 85(1): 1-11.).

https://en.wikipedia.org/wiki/Anz%C3%BB

See: J. Aro, “Anzu and Sīmurgh,” in Barry L. Eichler , ed., Kramer Anniversary Volume: Cuneiform studies in honor of Samuel Noah Kramer, Kevelar, 1976, pp. 25-28.

https://en.wikipedia.org/wiki/Anz%C3%BB

Section C. Saēna, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand) are cognate with Śyena

Avestan mərəγō saēnō ‘the bird Saēna’, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand), is a fabulous, mythical bird; etymologically cognate with Śyena of R̥gveda. "In the Avestan Yašt 14.41 Vərəθraγna, the deity of victory, wraps xᵛarnah, fortune, round the house of the worshipper, for wealth in cattle, like the great bird Saēna, and as the watery clouds cover the great mountains, which means that Saēna will bring rain...In the Ayādgār-ī Zarērān (Jamasp-Asa I, 12.3) Zarēr’s horse is called sēn-i murwag, possibly because of its strength and swiftness...In the chapter on the classification of animals of the Bundahišn the three-fingered Sēn is called the largest of the birds (13.10), and also the Sēnmurw is of the species of birds (13.22); they are obviously identical. The three-fingered Sēn was created first among the birds, but is not the chief, a position held by the Karšipt (according to the Indian Bundahišn 24.11 a carg, falcon or hawk), the bird that brought the religion to the enclosure (var) of Jamšēd (cf. Vd. 2.42) (17.11). In 13.34-35 the Sēnmurw has come to the sea Frāxkard (Vourukaša) before all the other birds...The three-fingered Sēn is the largest bird (Bundahišn 13.10) mentioned among the large birds, side by side with the eagle (āluh) and the lammergeier (dālman); this excludes the falcon, which is much smaller than either of them...In post-Sasanian times the Simorḡ occurs in the epic, folktales, and mystical literature (cf. PLATE I, a medieval representation...The Sēnmurw is very prominent on the coinage of the Hephthalites in the seventh and eighth centuries C.E. It is distinguished from the standard Sasanian form by having rather a cock’s than a peacock’s tail and also frequently showing reptilian features, which are rare in the Sasanian form...In Modern Armenian paskuč is the griffin vulture (Gyps fulvus). In Georgian sources a p’asgunǰi is described as having a body like that of a lion, head, beak, wings and feet like those of an eagle, and covered in down; some have four legs, some two; it carries off elephants and injures horses; others are like a very large eagle." (Hanns-Peter Schmidt, 2002, Simorg, Encyclopaedia Iranica)

PLATE I. "The Simorḡ,” Marāḡa, 697 or 699/ca. 1297-1300, illustration from the Manāfeʿ-e ḥayawān. Courtesy of The Pierpont Morgan Library, New York, Ms. M. 500, fol. 55r.

http://www.iranicaonline.org/articles/simorg

Senmurv on the tomb of Abbess Theodote, Pavia early 8th c. "Griffin-like .
Simurgh (Persian: سیمرغ), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا), is the modern Persian name for a fabulous, benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia, the Byzantine empire , and other regions that were within the sphere of Persian cultural influence. Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm, and further developed as the Rukh (the origin of the English word "Roc")." http://www.flickr.com/photos/27305838@N04/4830444236/

Legend of Anzu which stole the tablets of destiny and allegory of soma

Seventh century BCE cylinder seal found in Israel depicting the battle of Ninurta and Anzu. Nili Wazana, in a brilliant exposition on Anzu and Ziz asks and tentatively answers the question: "Were the Israelites acquainted with the Epic of Anzu?" She cites this rendering of a seventh century BCE cylinder seal portraying the battle of Ninurta and Anzu, discovered in Israel.

http://www.jtsa.edu/documents/pagedocs/janes/2009/wazana_janes31.pdf

Ancient Near east Anzu, falcon-shaped fire-altar Uttarakhand, turning aṁśú (Rigveda), ancu (Tocharian) in smithy.

http://bharatkalyan97.blogspot.in/2013/06/tablet-of-destinies.html

The seventh century BCE cylinder seal found in Israel, is paralleled in an Akkadian cylinder seal.

Ninurta with his thunderbolts pursues Anzû stealing the Tablet of Destinies from Enlil's sanctuary (Austen Henry Layard Monuments of Nineveh, 2nd Series, 1853)

“On the mountainside Anzu and Ninurta met … Clouds of death rained down, an arrow flashed lightning. Whizzed the battle force roared between them.“ Anzu Epic, tablet 2,in S. Dalley, Myths from Mesopotamia (Oxford - New York, 1989), p. 21. One narration reads: Marduk, sun god of Babylon, with his thunderbolts pursues Anzu after Anzu stole the Tablets of Destiny. Note: The tablets of destiny may be a reference to Indus writing corpora which were veritable stone-, mineral-, metal-ware catalogs.

As a researcher on ancient Hindu civilization a contribution was made by me in Journal of Indo-Judaic Studies, Vol. 1, Number 11 (2010) -- The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman. The 'rosetta stones' were two pure tin ingots discovered in a shipwreck in Haifa and with Indus writing. The Indus writing on these tin ingots have been read rebus as denoting 'tin' (mineral) which was in demand to be used to alloy with copper to create bronze, thus replacing the naturally-occurring but rare arsenic-copper minerals and heralding a true bronze age.

Marduk, sun god of Babylon, with his thunderbolts pursues Anzu after Anzu stole the Tablets of Destiny. (cf. Marut in Rigveda associated with storms and winds comparable to Anzu or Imdugud associated with storms). Battle between Marduk (Bel) and the Dragon. Drawn from a bas-relief from the Palace of Ashur-nasir-pal, King of Assyria, 885-860 B.C., at Nimrûd. [Nimrûd Gallery, Nos. 28 and 29.]

Marduk is a remembered memory of Indra. Anzu, the eagle is the remembered protector,śyena, the hawk, who brought amśu (anzu) from the heavens to the people working with fire-altars in yajña-s.

According to Louis Renou, the immense Rigvedic collection is present in nuce in the themes related toSoma. Rigveda mentions amśu as a synonym of soma. The possibility of a link with Indus writing corpora which is essentially a catalog of stone-, mineral-, metalware, cannot be ruled out.

George Pinault has found a cognate word in Tocharian, ancu which means 'iron'. I have argued in my book, Indian alchemy, soma in the Veda, that Soma was an allegory, 'electrum' (gold-silver compound). See: http://bharatkalyan97.blogspot.in/2011/10/itihasa-and-eagle-narratives.html for Pinault's views on ancu, amśu concordance.

The link with the Tocharian word is intriguing because Soma was supposed to come from Mt. Mujavant. A cognate of Mujavant is Mustagh Ata of the Himalayan ranges in Kyrgystan.

Is it possible that the ancu of Tocharian from this mountain was indeed Soma?

The referemces to Anzu in ancient Mesopotamian tradition parallels the legends of śyena 'falcon' which is used in Vedic tradition of Soma yajña attested archaeologically in Uttarakhand with a śyenaciti, 'falcon-shaped' fire-altar.

http://bharatkalyan97.blogspot.in/2011/11/syena-orthography.html śyena, orthography, Sasanian iconography. Continued use of Indus Script hieroglyphs.

Comparing the allegory of soma and the legend of Anzu, the bird which stole the tablets of destiny, I posit a hypothesis that the tablets of destiny are paralleled by the Indus writing corpora which constitute a veritable catalog of stone-, mineral- and metal-ware in the bronze age evolving from the chalcolithic phase of what constituted an 'industrial' revolution of ancient times creating ingots of metal alloys and weapons and tools using metal alloys which transformed the relation of communities with nature and resulted in the life-activities of lapidaries transforming into miners, smiths and traders of metal artefacts.

Section D.Soma amśu, products; śyēna, Anzu metaphors; Indus Script hypertexts of metals foundries

https://tinyurl.com/y96qfe36

Abstract. Soma is amśu, is a product deified. Ancu (Tocharian) signifies iron pyrite FeS2 purchased from a seller from Mūjavat. माक्षिक, the fly, betrays Soma. RV 1.119.9. Soma is described -- at an ādibhautika (material) level of analyses -- as a Bronze Age product. Indus Script hypertexts are deciphered as documentation of metal foundries. Mlecchita vikalpa, Indus Script cipher is an alternative representation of reality.

This monograph is organized in two sections:

Section 1. Soma is amśu > ancu, 'iron' (Tocharian)

Section 2. Pyrite, iron sulfide biochemistry and origin of life

Some scientists have proposed the role of pyrites in the origin of life suggesting early life formation on the surface of iron sulfide minerals (pyrites). No link is posited between these hypotheses and the allegory of Soma in ancient texts, starting with the R̥gveda which in a nutshell relates to Soma.

This monograph posits a hypothesis -- at an ādibhautika (material) level of analyses -- that these sacred texts which have survived over 7 millennia have profoundly impacted Bhāratīya Itihāsa.

The other three analyses levels of ādidaivika (divine), ādhyātmika (cosmic-life-consciousness

receptacle), and turīya (brahman) levels, (circumscribed by dharma-dhamma principles of righteousness), define the very raison d'etre of Bhāratam Janam identified by R̥ṣi Viśvāmitra in RV 3.53.12.

Section 1. Soma is amśu > ancu, 'iron' (Tocharian)

Soma is a deified pyrite purchased from a seller from Mūjavat.

Soma is amśu.

Soma is an allegory of metalwork with amśu, 'an iron pyrite'. The cognate word is ancu, 'iron' (Tocharian). amśu is linked to wealth in RV 8.5.26: यथोतकृत्व्येधनेंशुम्गोष्वगस्त्यम्यथावाजेषुसोभरिम् (RV 8.5.26) Trans. And in like manner as (you protected) Ams'u when wealth was to be bestowed, and Agastya when his cattle (were to be recovered), and Sobhari when food (was to be supplied to him).

Viewed as a Pilgrim's Progress, R̥gveda is studded with many allegories and narratives which can be interpreted at many levels of comprehension and 'meaning': ādibhautika(material), ādidaivika (divine),

ādhyātmika (cosmic-life-consciousness receptacle), and turīya (brahman).

This monogrpah is restricted to the ādibhautika (material) level.

The persons engaged in Soma processing are named in ancient texts. Vīvanhvant, Āthwya, and Thrita (Avesta) are identified -- as remembered ākhyāna narratives -- from the ancient days of R̥gveda tradition as Vivasvant and Trita Āptya.

Common synonym of Soma is Indu, 'bright drop'. Hieroglyph: इन्दु the point on a die AV. vii , 109 , 6 Rebus: इन्दु m. ( √ उन्द् Un2. i , 13 ; probably fr. इन्द् = √ उन्द् , " to drop " [cf. /इन्द्र] ; perhaps connected with बिन्दु , which last is unknown in the ऋग्-वेद BRD. ), Ved. a drop (especially of सोम) , सोमRV. AV. VS.; a bright drop , a spark TS.; the weight of a silver पल, L.; a coin (Monier-Williams) In Indus Script Corpora, 'drop' is orthographed as the dot-in-a-circle hypertext to signify a synonym: dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ (Sindhi); dhāˊtu ʻ *strand of rope ʼ (R̥gveda)(CDIAL 6773) rebus: dhāū, dhāv 'red stone minerals'; dhā̆vaḍ m. ʻa caste of iron-smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ. Alternative: dāya 'Number one in the game of dice' rebus: dhāū, dhāv, dhāˊtu 'red stone minerals'.

The drop comes from Soma pressed, pounded with adri, grāvan, 'stones' which lie on a skin. Avestan tradition uses mortar and pestle to press Haoma.

The drop is strained through a sieve which is a skin, hair, wool, filter. The flow of the drop becomes Pavamāna. R̥gveda prays to divinity Soma Pavamāna 'Purified Soma' in 120 hymns. An entire Yasht of Avesta is devoted to Haoma.

पवमान mfn. being purified or strained , flowing clear (as सोम) RV.; m. wind or the god of wind VS. TS. Ka1v. Ra1jat.; m. N. of a partic. अग्नि (associated with पावक and शुचि and also regarded as a son of अग्नि by स्वाहाor of अन्तर्-धान and by शिखण्डिनी) TS. Br. Pur.; m. N. of partic. स्तोत्रs sung by the साम-ग at the ज्योतिष्टोम sacrifice (they are called successively at the 3 सवनs बहिष्पवमा*न , माध्यंदिन and तृतीय or आर्भव)
TS. Br. S3rS. (cf. Religious Thought and Life in India, also called 'ब्राह्मन् ism and हिन्दू ism,' by Sir M. Monier-Williams, p.368).

आ-शिर् are milk, fresh or curdled, and barley mixed with Soma to purify it. (RV. AV. TS. Ka1tyS3r. &c) Waters are mixed with Soma. Soma is the sharp-horned bull. Soma gives immortality to both divinities and human beings. Soma inspires speech. Soma is the bolt for Indra. Soma rides in a chariot with Indra and is connected with the Maruts. The votary declares: RV 8.48.3 Griffith translation:

a ápāma sómam amŕtā abhūmâganma jyótir ávidāma devân

c kíṃ nūnám asmân kṛṇavad árātiḥ kím u dhūrtír amṛta mártyasya

We have drunk Soma and become immortal; we have attained the light, the Gods discovered.Now what may foemans' malice do to harm us? What, O Immortal, mortal man's deception?

This is clearly a metaphorical statement and DOES NOT identify Soma as a juice. For, the Chandogya Upanishad is emphatic.

I suggest that references in R̥gveda related to Soma are metaphorical expressions of 'drink' in Chandas (Vedic Samskrtam), while the product processed results in a molten state.

I submit that such references do NOT constitute a direct reference to a herbal fluid or juice or any edible material.

Louis Renous noted: R̥gveda is Soma in nuce (Soma in a nut). Identification of Soma as a product so vividly enunciated in Vedic texts is of fundamental importance so as not to mis-interpret the sacred texts.

The Chandogya in 8 chapters is Vedantic philosophy.

esha somo rājā devānam annam tam devā bhakṣayanti: "That soma is king; this is the devas' food. The devas eat it." [Chandogya.Upanishad (Ch.Up.)]

This is the clearest statement that references to or attributes of Soma in the Vedic tradition, right from the R̥gveda, should be viewed as metaphors. Even when Agni or ghee or Soma are viewed as products, the emphatic statement is that Soma is NOT for human digestion or consumption but associated with divinities, digested by the divinities (deva bhakshyanti) -- not by mortals or worshippers in the sacred yajna.

It will thus be an error to interpret Soma as an edible product. Such interpretations that Soma is a hallucinogen or an inebriant are not sanctioned by tradition. If at all there is a refrain metaphor, it relates to processing of Soma to generate or obtain wealth.

There may be some questions raised based on received wisdom that translations refer to expressions of 'drinking' soma.

Here for example are two references from R̥gveda: RV 8.48.3 nd RV 8.91.1-7

[08-048] HYMN XLVIII. Soma. 1. WISELY have I enjoyed the savoury viand, religious-thoughted, best to find out treasure, The food to which all Deities and mortals, calling it meath, gather themselves together. <337> 2 Tlou shalt be Aditi as thou hast entered within, appeaser of celestial anger. Indu, enjoying Indra's friendship, bring us - as a swift steed the car - forward to riches. 3 We have drunk Soma and become immortal; we have attained the light, the Gods discovered. Now what may foeman's malice do to harm us? What, O Immortal, mortal man's deception?

Griffith Translation RV 8.91.1-7

1. DOWN to the stream a maiden came, and found the Soma by the way. Bearing it to her home she said, For Indra will I press thee out, for Sakra will I press thee out. 2 Thou roaming yonder, little man, beholding every house in turn, Drink thou this Soma pressed with teeth, accompanied with grain and curds, with cake of meal and song of praise. 3 Fain would we learn to know thee well, nor yet can we attain to thee. Still slowly and in gradual drops, O Indu, unto Indra flow. 4 Will he not help and work for us? Will he not make us wealthier? Shall we not, hostile to our lord, unite ourselves to Indra now? 5 O Indra, cause to sprout again three places, these which I declare,- My father's head, his cultured field, and this the part below my waist. 6 Make all of these grow crops of hair, you cultivated field of ours, My body, and my father's head. 7 Cleansing Apala, Indra! thrice, thou gavest sunlike skin to her, Drawn, Satakratu! through the hole of car, of wagon, and of yoke.

apAma may also mean 'obtained'. Here:

आप 1 [p= 142,2] m. obtaining mfn. ifc. to be obtained (cf. दुर्°).n. (fr. 2. अप् Pa1n2. 4-2 , 37), a quantity of water , मल्लिनाथ on S3is3. iii , 72. Thus, the translation of apAma 'we drank' is of doubtful validity.

Apala episode is beautiful. What she found was a stone with traces of soma (electrum, gold/silver compound as assem (Egyptian), noted by Joseph Needham).

In RV 8.48.3 'We have drunk...'? Amrutam is a metaphor. It means, we have obtained the Soma, amrutam (wealth).

This is what Winslow's Tamil lexicon says: soma maNal 'sand containing silver ore'.

*சோமன் cōmaṉ (p. 212) s. The moon, சந்திரன். W. p. 945. SOMA. 2. The name of an ancient liberal king, ஓர்வள்ளல். 3. (c.) A cloth worn by men, sometimes by women, wrapped round the waist, வேஷ்டி. 4. Cloth in general, சீலை. 5. One of the eight demigods, அஷ்டவசுக்களிலொரு வன். 6. Camphor, கர்ப்பூரம். 7. Soap, சவக் காரம். 8. A kind of rank in Ceylon wear three cloths one over another; the வேட்டி; சோமன். and துப்பட்டி. சோமகதி, s. Moon's daily motion. சோமசுந்தரன், s. Siva, சிவன். 2. A name of one of the Pandyan kings, ஓர் பாண்டியன். சோமசூரியாக்கினி, s. The sun, moon and fire. See முச்சுடர். சோமசேகரன்--சோமநாதன், s. Siva, as worshipped at Somnauth, சிவன். சோமமணல், s. Sand containing silver, வெள்ளிமணல்.

Soma and Haoma derive from Proto-Indo-Iranian root *sav- (Sanskrit sav-) "to press".

RV 1.154.2 and 1.155.1 notes that Viṣṇu is girikṣit 'mountain-dwelling'. giriṣṭha 'mountain-abiding'. The link of Soma to the mountains is from the word: मौजवत [p= 836,2] mfn. coming from or produced on the mountain मूज-वत् RV. Nir.; m. (said to be) a patr. of अक्ष (author of RV. x , 34). मूजवत् [p= 825,3] m. N. of a mountain VS.; name of a people (AV. S3Br.)(Monier-Williams) Mūjavat-s are mentioned together with the

mahāvr̥ṣa-s, the gandhāri-s, and the bāhika-s, in the Atharvaveda (v.22,5.7.9.1). This is consistent with a statement that Soma is found in the upper Indus and Kashmir region (Susruta Samhita: 537-538, SS.CS. 29.28-31). Avesta declares that Haoma grows in the mountains. Clearly, Soma is a product from the mountains.

It is the rock from which the eagle brought Soma (RV 4.26, 27). श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to human beings on the terrestrial domain) RV. &c; firewood laid in the shape of an eagle S3ulbas. The eagle is like a lightning flash (thunderbolt) from the castle of iron. Yes, Soma from the castle of iron, embedded in the filament-filled pyrite or a bed of transparent quartz needles -- amśu.

The archer who shot at the falcon is कृशानु m. (fr. √कृश् for कृष्?) , " bending the bow " , N. applied to a good archer (connected with /अस्तृ , " an archer " , though sometimes used alone ; कृशानु , according to some , is a divine being , in character like रुद्र or identified with him ; armed with the lightning he defends the " heavenly " सोम from the hawk , who tries to steal and bear it from heaven to earth) RV. VS. iv , 27 AitBr. iii , 26; N. of अग्नि or fire VS. v , 32 S3a1n3khS3r. vi , 12 3; (hence) fire Sus3r. Ragh. Kum. Bhartr2.; N. of विष्णु VarBr2S. xliii , 54; of a गन्धर्व (Monier-Williams) कृशानुः kṛśānuḥ कृशानुः[कृश्आनुक्; Uṇ.4.2] Fire; गुरोःकृशानुप्रति- माद्बिभेषिR.2.49;7.24;1.74; Ku.1.51; Bh.2.17. -Comp. -यन्त्रम् (= अग्नियन्त्रम्) a cannon; अथसपदिकृशा- नुयन्त्रगोलैः......Śiva. B.28.85. -रेतस् m.an epithet of Śiva. (Apte)

A कृशानु is a conch-cutter who makes conch bangles.

Image result for bangle maker bengal bharatkalyan97

A bangle-maker from Bengal, cutting turbinella pyrum. The heavy bronze ‘shell-cutter’s saw’ is shaped like a bow of an archer. The cutter is śankha-kr̥śānu.

Soma seller is paid a price, a cow for the amśu (Soma in its rock form).

Pyrite from the Sweet Home Mine, with golden striated cubes intergrown with minor tetrahedrite, on a bed of transparent quartz needles

https://upload.wikimedia.org/wikipedia/commons/e/ea/Pyrite-Tetrahedrite-Quartz-184642.jpg

Remarkable radiating form of a pyrite which justifies the semantics of अंशु as a synonym of Soma .

https://en.wikipedia.org/wiki/Pyrite#/media/File:Pyrite-200582.jpg This image explains why अंशु is a synonym of Soma and why the rays emanating from the ore block become a hieroglyph on a gold pectoral of Mohenjo-daro, repeated on the body of a one-horned young bull (Unicorn)

अंशु [p= 1,1] m. a filament (especially of the सोम); thread; end of a thread , a minute particle; a point , end; a ray , sunbeam; cloth cf. சோமன் cōmaṉ 'cloth' (Tamil) (The most striking parallel comes from the archaeo-metallurgical description of a pyrite shown with transparent quartz needles which are in concordance with the semantics of अंशु as thread, filament, minute particle or ray.

RV 1.154.1. I WILL declare the mighty deeds of Visnu, of him who measured out the earthly regions, Who propped the highest place of congregation, thrice setting down his footstep, widely striding.
2 For this his mighty deed is Visnu lauded, like some wild beast, dread, prowling, mountainroaming-; He within whose three wideextended- paces all living creatures have their habitation.
3 Let the hymn lift itself as strength to Visnu, the Bull farstriding-, dwelling on the mountains, Him who alone with triple step hath measured this common dwellingplace-, long, far extended.

RV 1.155. 1. To the great Hero, him who sets his mind thereon, and Visnu, praise aloud in song your draught of juice, Gods Never beguiled, who borne as it were by noble steed, have stood upon the lofty ridges of the hills.

2 Your Somadrinker- keeps afar your furious rush, Indra and Visnu, when ye come with all your might. That which hath been directed well at mortal man, bowarmed- Krsanus' arrow, ye turn far aside.

RV 4.26, 4.27 Griffith translation

HYMN XXVI. Indra. 26

1. I WAS aforetime Manu, I was Surya: I am the sage Kaksivan, holy singer. Kutsa the son of Arjuni I master. I am the sapient Usana behold me.
2 I have bestowed the earth upon the Arya, and rain upon the man who brings oblation. I guided forth the loudlyroaring- waters, and the Gods moved according to my pleasure.
3 In the wild joy of Soma I demolished Sambaras' forts, ninetyandnine—, together; And, utterly, the hundredth habitation, when helping Divodasa Atithigva.
4 Before all birds be ranked this Bird, O Maruts; supreme of falcons be this fleetwinged- Falcon, Because, strong- pinioned, with no car to bear him, he brought to Manu the Godloved oblation.
5 When the Bird brought it, hence in rapid motion sent on the wide path fleet as thought he hurried. Swift he returned with sweetness of the Soma, and hence the Falcon hath acquired his glory.
6 Bearing the stalk, the Falcon speeding onward, Bird bringing from afar the draught that gladdens, Friend of the Gods, brought, grasping fast, the Soma which be bad taken from yon loftiest heaven.
7 The Falcon took and brought the Soma, bearing thousand libations with him, yea, ten thousand. The Bold One left Malignities behind him, wise, in wild joy of Soma, left the foolish.

HYMN XXVII. The Falcon. 27

1. I, As I lay within the womb, considered all generations of these Gods in order. A hundred iron fortresses confined me but forth I flew with rapid speed a Falcon.
2 Not at his own free pleasure did he bear me: he conquered with his strength and manly courage. Straightway the Bold One left the fiends behind him and passed the winds as he grew yet more mighty.
3 When with loud cry from heaven down sped the Falcon, thence hasting like the wind he bore the Bold One. Then, wildly raging in his mind, the archer Krsanu aimed and loosed the string to strike him.
4 The Falcon bore him from heavens' lofty summit as the swift car of Indras' Friend bore Bhujyu. Then downward hither fell a flying feather of the Bird hasting forward in his journey.
5 And now let Maghavan accept the beaker, white, filled with milk, filled with the shining liquid; The best of sweet meath which the priests have offered: that Indra to his joy may drink, the Hero, that he may take and drink it to his rapture.

Riddles in R̥gveda Sukta 1.164 as relatable to Pravargya by Jan EM Houben. (The ritual pragmatics of a Vedic hymn: The 'riddle hymn' and the Pravargya ritual by Jan EM Houben, 2000, Journal of the American Oriental Society, 120 (4), pp. 499-536.) Jan EM Houben indicates the possibility that the riddle in R̥gveda Sukta 1.164 is explained as a metaphor of three birds, one of which is Suparna (garumat); the second a bird eating a sweet fig in a tree. The third bird is Patanga. The author of RV 10.177 is Rishi Patanga Prajapati and RV 10.177 is the same as RV 1.164.31. I suggest that the three birds in the Sukta RV 1.164 referred to by Houben are: śyēna, patanga, mākṣikā:

· śyēna is suprana (garutmat), falcon

· mākṣikā is the pippalam sva_du atti: 'the flying bee which eats the sweet fig' (RV 1.164.20)

· patanga is the third bird, flying insect (RV 10.177) The three flying birds (insects) are rebus-metonymy renderings as hieroglyphs signifying metalwork catalogues in archaeometallurgical transactions of Bhāratam Janam, 'metalcaster folk'

patanga, mercury or quicksilver in transmuting metal (Soma, ams'u);

mākṣikā, pyrites (which are to be oxidised to attain purified pavamAna Soma, electrum as gold-silver compound). Hieroglyph: माक्षिक [p= 805,2] mfn. (fr. मक्षिका) coming from or belonging to a bee Ma1rkP.; n. (scil. मधु) honey Var. Sus3r.; Rebus: n. a kind of honey-like mineral substance or pyrites MBh.

śyēna, anzu, ams'u (electrum ore filaments in the pyrites).

Reinterpreting Mayabheda Sukta of R̥gveda (RV 10.177) The metaphor of the 'thunderbolt' is depicted as Anzu bird [cognate:asaṇi 'thunderbolt' (Prakritam)] carrying away the tablets of destiny in Mesopotamian legends. A phonemic variant śyēna, 'falcon' gets deified, immortalized as śyēnaciti 'falcon-shaped fire-altar' in Vedic tradition in Bharatam. This is mərəγō saēnō ‘the bird Saēna’ in Avestan. (See article on Simorg in Encyclopaedia Iranica. http://www.iranicaonline.org/articles/simorg The cognate expression in Samskr̥tam is śyēna mr̥ga).

http://tinyurl.com/hnlantg Soma in Rigveda, an allegory for metalwork, consistent with the tradition of Indus Script Corpora metalwork catalogues

Three intriguing references to Soma in the R̥gveda:

1. Mortals do not taste Soma. RV 10.85.3, 4 which suggest that Brahmana and those who dwell on earth do NOT partake of Soma. Similar refrain occurs in Atharva Veda. Hillebrandt and Oldenburg suggest that Soma is a metahpor for the sun or moon.

2. माक्षिक, the fly, betrays Soma. RV 1.119.9 There is a pun on the word माक्षिक which also signifies 'pyrites' (secondary ores). Rigveda citation:

To you, O Aswins, that fly betrayed the soma: RV 1.119.9 Line 1

3. Reference to Soma in the dual and plural RV 9.66.2,3,5 refer to Soma in dual, or plural (re-inforcing the allegorical nature of the descriptions.

The references to Saēna’ in Avestan cognate śyēna mr̥ga (Samskr̥tam) find many representations on Indus Script hypertexts, at times referring to the bird as Anzu (a memory-recall of amśu 'Soma' > ancu 'iron' (Tocharian).

Indus Script hypertexts and meanings in Meluhha speech, in reference to the following images:

pañja 'feline paw' rebus: pañja 'kiln, furnace'

kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter'

pajhar 'eagle' rebus: pasra 'smithy'

eraka 'wing' rebus: eraka 'moltencast, copper' arka 'gold'

dhangar 'bull' Rebus: dhangar 'blacksmith'

arye 'lion' rebus: āra 'brass'

Carved horn cup showing Anzud, the lion-headed eagle, attacking a bull/man

http://sumerianshakespeare.com/106901.html

पोळ pōḷa, 'Zebu, bos indicus' Rebus: पोळ pōḷa, 'magnetite, ferrite ore'; adar ḍangra ‘zebu': Rebus: aduru ḍhangar ‘native metal smith’. arye 'lion' āra 'brass'. min 'lightning''metal' = kol'metal'. The Pali semantics ayo, 'metals, metal alloy of gold' are consistent with the meaning provided in synonyms for the gloss, kol : மின் வெள்ளி பொன் கொல்லெனச் சொல்லும் (தக்கயாகப். 550).

Hieroglyphs which are synonyms: vajra & falcon:: śyēná श्येन [p= 1095,2] denotes a hawk , falcon , eagle and also sena, heṇa ʻ thunderbolt ʼ (Sinhala); aśáni f. ʻ thunderbolt ʼ (Rigveda).

Limestone

H. 14 cm; W. 14 cm

Tell al-Ubaid (Iraq)

Early Dynastic III

B15606 (T.O. 288)

dāmra, damrā ʻ young bull (a.)(CDIAL 6184). K. ḍangur m. ʻbullockʼ (CDIAL 5526).

Rebus: Ḍhangar ‘blacksmith’ (H.) kol ‘tiger’; rebus: kol ‘smithy’. eṟaka ‘wing’ (Telugu) Rebus: eraka ‘copper’. Thus, the ligatured glyph denotes: copper smithy -- pasra. cf. pajhar 'eagle' (Santali)

Limestone plaque with relief-carved depiction of a human-faced bison, with its front hooves on a plant sprouting from a rocky outcropping or mountain. A lion-headed (eagle-like) bird of prey on the bison’s back--the mythical anzû--bites its haunch.

[quote] The bison’s body is in profile, its face forward. The stylization of the animal’s shoulder as an undulating band and the inward-curving tufts of hair on the fetlocks are typical of the late Early Dynastic period. The three overlapping semi-circles that form the rocky outcropping or mountain are reminiscent of the cuneiform sign signifying both mountain and foreign land and suggestive of a natural setting for the action depicted in the distant highlands. The lion-headed bird of prey’s folded wings, neck and tail are rendered with a grid of incised lines.

The square plaque described here is from Woolley’s 1923-24 excavations in front of Tell al-Ubaid’s late Early Dynastic temple platform (see INTRODUCTION: Tell al-Ubaid). Woolley focused his efforts on the northwest side of the central stair ramp. The plaque was relatively high in the mudbrick debris from the collapse of the platform’s superstructure and in close proximity to an inlay panel depicting milking scenes and rows of cattle. In fact, B15606 was just under and against a section of the frieze with shell figures of five bulls facing right and may have originally been attached to it. With the plaque (but detached from it), were the remains of a copper border similar to that of the inlay panels. The background of the plaque had been painted black to match the dark color of the bituminous limestone background of the inlay panels.

The human-faced bison, Sumerian (gud) alim or Akkadian kusarikku, is associated with the sun-god Utu/Shamash, perhaps in part because it inhabited the eastern mountains from which the sun rose. An Akkadian cylinder seal from Susa in fact depicts the sun god rising above two addorsed recumbent human-faced bisons in place of the stylized mountains that normally mark his abode. And in a hymn the sun god is likened to a bison, “ Lord, bison, striding over the mountain, Utu, bison, striding over the mountain.”

The mythical anzû, who nests in the high mountains, is a seemingly benevolent creature, at least in early texts and imagery. For example, in the mythical narrative Lugalbanda and the Anzû -bird, composed in the late 3rd millennium BCE, when the anzû-bird returned from hunting to find his nest embellished like a god’s dwelling, with his chick adorned and fed, the anzû exulted in his own role as intermediary to Enlil

I am the prince who decides the destiny of rolling rivers. I keep on the straight and narrow path the righteous who follow Enlil's counsel. My father Enlil brought me here. He let me bar the entrance to the mountains as if with a great door. If I fix a fate, who shall alter it? If I but say the word, who shall change it? Whoever has done this to my nest, if you are a god, I will speak with you, indeed I will befriend you. If you are a man, I will fix your fate. I shall not let you have any opponents in the mountains. You shall be 'Hero-fortified-by-Anzû'.

Anzû was Enlil’s symbol, and depictions of the anzû with wings outstretched over antithetical animals symbolic of other deities probably reflects Enlil’s all-encompassing power. The anzû -relief from Tell al-Ubaid, then, would depict Enlil over the stags associated with Ninhursag. Anzû’s close association with Ningirsu, Enlil’s son and warrior and Lagash’s tutelary deity, is evident at Tello (Girsu), both in texts and imagery in Early Dynastic-Ur III periods. On Eannatum’s Stele of the Vultures, for example, Ningirsu’s battle net is held closed by the anzû and antithetical lions, Ningursu’s animals, while a macehead, currently in the British Museum (BM 23287), dedicated to Ningirsu for the life of Enannatum shows the anzû grasping lions. In Gudea’s Cylinders Ningirsu’s temple Eninnu had the epithet “white anzû,” perhaps a reference to some significant architectural embellishment such as Urnamma affixed to the gates of Enlil’s Ekur.

But the anzû was a complex creature and one portrayed as more troublesome in later literary compositions. The Epic of Anzû, which exists in copies dating to the early 2nd millennium BCE, tells the tale of a malevolent anzû who steals the “tablet of destinies” and is eventually slain by Ninurta. Though Akkadian seals, showing a bird-man brought before Enki, may depict excerpts from this story, suggesting that at least in certain traditions the anzû was thought of as a creature with a dual—benevolent and malevolent--character already at the end of the 3rd millennium BCE, their reading remains a matter of controversy.

Whatever the complexity of the mythology regarding the anzû, the imagery of B15606, on which the anzû is shown in overtly aggressive behavior toward an animal of the mountains, associated with the sun god, remains perplexing. Similar scenes occur on shell inlays from Tello and Ur, as well as Tell Mardikh (Ebla) in western Syria. For example, one end panel of the Royal Standard of Ur shows the anzû attacking recumbent human-faced bisons on each side of a mountain from which a plant grows. Such scenes may reflect the menacing behavior of the anzû to men and gods, but more likely depict the anzû’s normal behavior in its natural habitat. B15606’s juxtaposition with scenes of herding and milking cattle, then, could be read as contrasting the settled conditions of a “civilized” floodplain with life in the mountains, where, as Lugalanda and the Anzû describes, bulls ran wild and the anzû hunted to feed its offspring. [unquote]

Richard L. Zettler

http://www.worldartmuseum.cn/content/918/4095_1.shtml

Inscribed head of a mace with Imdugud (Anzu) and Enannatum, the British Museum, London.

Stone mace head, front and back: A votive offering to a temple; it is too large to have been used as a weapon. Anzud is also known as Imdugud.

http://sumerianshakespeare.com/106901.html

British Museum. Stone mace head Kingdom of Lagash, about BC Possibly from Tello (ancient Girsu), southern Iraq

Taken from the original plaque

Sumer.Anzud with two lions. I photographically repaired some of the damage done to the figures and remodeled the background.

http://sumerianshakespeare.com/106901.html

Copper friezeImdugud (also Zu or Anzu), the lion-headed eagle; Sumerian metalwork (sheets of copper), Temple of Ninhursag at Tell al-'Ubaid; ca. 2500 BCE http://commons.wikimedia.org/wiki/File:Imdugud.jpg.

From the temple of Ninhursag, Tell al-'Ubaid, southern Iraq

Pendant of gold and lapis lazuli.

About 2600-2400 BCE A rare metalwork survival

[quote] This relief was one of a group of objects found at the small site of Tell al-'Ubaid, close to the remains of the city of Ur. It was discovered at the base of a mud-brick platform on which had been built a temple dedicated to the goddess Ninhursag.

The frieze may have originally stood above the door of the temple, and if so, is the most striking element of what survives of the temple façade. The frieze was badly damaged when it was found. Only one stag's head was recovered intact and the head of the eagle had to be restored. This restoration, based on images of similar date, shows the lion-headed eagle Imdugud, the symbol of the god Ningirsu. The artist has allowed the lion head to break out of the confines of the framework, suggesting Imdugud's great power.

The relief is formed from sheets of copper alloy beaten into shape and fastened, with pins and twisted lengths of copper, to a wooden core coated with bitumen. The survival of such a large piece of metalwork from this period is exceptional. Though copper, probably from the regions of modern Oman and Iran, was the most widely-used metal at this time, most metal objects have either disintegrated or the metal was melted down and re-used. [unquote]

H.W.F. Saggs, Babylonians (London, The British Museum Press, 1995)

D. Collon, Ancient Near Eastern art (London, The British Museum Press, 1995)

M. Roaf, Cultural atlas of Mesopotamia (New York, 1990)

H.R. Hall and C.L. Woolley, Ur Excavations, vol. I: Al-Uba(London, Oxford University Press, 1927)

http://www.britishmuseum.org/explore/highlights/highlight_objects/me/c/copper_frieze.aspx

Fragment of an Iranian Chlorite Vase decorated with the lion headed eagle (Imdugud) found in the temple of Ishtar during the 1933 - 1934 fieldwork by Parrot. Dated 2500 - 2400 BC. Louvre Museum collection AO 17553.

Elamite bird (eagle?) with spread wings on an axe head from Tepe Yahya (Lamberg-Karlovsky and Potts 2001:

m1390Bt Text 2868 Pict-74: Bird in flight.

Harappa seal h166A, h166B. Vats, 1940, Excavations in Harappa, Vol. II, Calcutta: Pl. XCI. 255

फडा (p. 313) phaḍā f (फटा S) The hood of Coluber Nága &c. Ta. patam cobra's hood. Ma. paṭam id. Ka. peḍe id. Te. paḍaga id. Go. (S.) paṛge, (Mu.) baṛak, (Ma.) baṛki, (F-H.) biṛki hood of serpent (Voc. 2154). / Turner, CDIAL, no. 9040, Skt. (s)phaṭa-, sphaṭā- a serpent's expanded hood, Pkt. phaḍā- id. For IE etymology, see Burrow, The Problem of Shwa in Sanskrit, p. 45.(DEDR 47) Rebus: phaḍa फड ‘manufactory, company, guild, public office’, keeper of all accounts, registers.

dhanga 'mountain range' Rebus: dhangar 'blacksmith'

Ta. eruvai a kind of kite whose head is white and whose body is brown; eagle. Ma. eruva eagle, kite.(DEDR 818). Rebus: eruvai ‘copper’ (Tamil).

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. Pajhar ‘eagle’; rebus: pasra ‘smithy’.

kanda.’fire-altar’.khamba ‘wing’ rebus: kammaTa ‘mint’. gaṇḍa ‘four’ Rebus: khaṇḍa ‘metal implements. Together with cognate ancu ‘iron’ the message is: native metal implements mint.

श्येन [p= 1095,2] m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle Śulbas. (Monier-Williams) śyēná m. ʻ hawk, falcon, eagle ʼ RV. Pa. sēna -- , °aka -- m. ʻ hawk ʼ, Pk. sēṇa -- m.; WPah.bhad. śeṇ ʻ kite ʼ; A. xen ʻ falcon, hawk ʼ, Or. seṇā, H. sen, sẽ m., M. śen m., śenī f. (< MIA. *senna -- ); Si. sen ʻ falcon, eagle, kite ʼ.(CDIAL 12674) Rebus: sena 'thunderbolt' (Sinhala):

aśáni f. ʻ thunderbolt ʼ RV., °nī -- f. ŚBr. [Cf. áśan -- m. ʻ sling -- stone ʼ RV.] Pa. asanī -- f. ʻ thunderbolt, lightning ʼ, asana -- n. ʻ stone ʼ; Pk. asaṇi -- m.f. ʻ thunderbolt ʼ; Ash. ašĩˊ ʻ hail ʼ, Wg. ašē˜ˊ, Pr. īšĩ, Bashg. "azhir", Dm. ašin, Paš. ášen, Shum. äˊšin, Gaw. išín, Bshk. ašun, Savi išin, Phal. ã̄šun, L. (Jukes) ahin, awāṇ. &circmacrepsilon;n (both with n, not ṇ), P. āhiṇ, f., āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderbolt ʼ Geiger GS 34, but the expected form would be **ā̤n;* -- Sh. aĩyĕˊr f. ʻ hail ʼ (X ?). -- For ʻ stone ʼ > ʻ hailstone ʼ cf. upala -- and A. xil s.v.śilāˊ -- . (CDIAL 910) vajrāśani m. ʻ Indra's thunderbolt ʼ R. [vájra -- , aśáni -- ]Aw. bajāsani m. ʻ thunderbolt ʼ prob. ← Sk.(CDIAL 11207)**Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773)** Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: meḍ'iron'. mẽṛhet ‘iron’ (Mu.Ho.) Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'.
On the cylinder seal of Adda (c. 2300 BCE), scribe, the eagle flying down towards the water overflowing from the horned person's shoulders compose the key Indus Script hypertexts in Meluhha, which link to Sarasvati Civilization and to R̥gveda ākhyāna 'historical narrative' of श्येन m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c. The word also signifies: firewood laid in the shape of an eagle (शुल्ब-सूत्र). Etyma link श्येन with آهن āhan P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing.(Pashto) ahan-gār अहन्-गार् (= ) m. a blacksmith (H. xii, 16).(Kashmiri) āhaṇ, aihaṇ m.f., WPah. bhad. ã̄ṇ, hiṇi f., N. asino, pl. °nā; Si. sena, heṇa ʻ thunderboltʼ (CDIAL 910). The thunderbolt produced by han-gār अहन्-गार्, 'blacksmith' is the vajra, 'thunderbolt' eulogised as the powerful weapon of Indra in R̥gveda. This is iron metalwork, weapon in armoury par excellence of अहन्-गार् 'blacksmiths' of Sarasvati Civilization. Overflowing pot signifies: lōkhaṇḍa लोहोलोखंड 'copper tools, pots and pans' (Marathi) emanating from khamba 'shoulder' rebus: kammaṭa 'mint' and the eagle signifies: sena, heṇa ʻ thunderboltʼ PLUS khamba 'wings' rebus: kammaṭa 'mint', i.e. metallic weapon, vajra, from the mint. A leafless tree is signified on the mountain of Adda, scribe seal: khōṇḍa'leafless tree' (Marathi). Rebus: kõdār 'turner' (Bengali) Rebus: kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃daपयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri).A one-horned young bull frequently signified on Indus Script Corpora is signified below the feet of the horned person on Adda, scribe cylinder seal: the hypertext is: kō̃da 'young bull' rebus: kō̃da 'fire-altar' (Kashmiri) payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (Kashmiri). Thus, working with a smelter, The mountain-range is topped by a kuṭi 'tree' rebus: kuṭhi'smelter' worked by danga 'mountain range' rebus: dhangar 'blacksmith'. In another register on the Adda, scribe cylinder seal, an archer stands next to a roaring lion to signify a brass mint: arye 'lion' rebus: āra 'brass' PLUS kamaḍha 'archer' Rebus: kammaṭa 'mint, coiner, coinage'; The thunderbolt is made of ayaskāṇḍa, 'excellent iron': ayo 'fish' rebus: ayas 'metal alloy' aya 'iron' (Gujarati) PLUS kāṇḍā 'water', rebus: 'metalware, tools'. Thus, ayaskāṇḍa ‘a quantity of iron, excellent iron’ (Pāṇ.gaṇ). āhan is iron, ayas is iron, also alloy metal.

m0451A

m0451B

Text 3235

m0451A,B Text3235 h166A,B Harappa Seal; Vats 1940, II: Pl. XCI.255. http://www.metmuseum.org

eṟaka ‘wing’ (Telugu) Rebus: erako ‘molten cast’ (Tulu) loa ‘ficus’; rebus: loh ‘copper’. pajhar ‘eagle’; rebus: pasra ‘smithy’. पाजिकः A falcon (Skt.)

ḍato = claws of crab (Santali) ḍato ‘claws or pincers (chelae) of crabs’; ḍaṭom, ḍiṭom to seize with the claws or pincers, as crabs, scorpions; ḍaṭkop = to pinch, nip (only of crabs) (Santali) Rebus: dhātu = mineral (Skt.) kamaṭha crab (Skt.) Rebus: kammaṭa = portable furnace (Te.) kampaṭṭam coiner, mint (Ta.)

Peg ‘khuṇṭa’; rebus: kūṭa ‘workshop’ khũṭi = pin (M.) kuṭi= smelter furnace (Santali) konḍu मूलिकादिघर्षणवस्तु m. a washerman's dressing iron (El. kunḍh); a scraper or grater for grating radishes, or the like; usually ˚ -- , the second member being the article to be grated, as in the following: -- kȧnḍi-mujü घर्षिता मूलिका f. grated radish, but mujĕ-konḍu, a radish-grater (cf. mujü). (Kashmiri) *khuṭṭa1 ʻ peg, post ʼ. 2. *khuṇṭa -- 1. [Same as *khuṭṭa -- 2? -- See also kṣōḍa -- .]1. Ku. khuṭī ʻ peg ʼ; N. khuṭnu ʻ to stitch ʼ (der. *khuṭ ʻ pin ʼ as khilnu from khil s.v. khīˊla -- ); Mth. khuṭā ʻ peg, post ʼ; H. khūṭā m. ʻ peg, stump ʼ; Marw. khuṭī f. ʻ peg ʼ; M. khuṭā m. ʻ post ʼ.2. Pk. khuṁṭa -- , khoṁṭaya -- m. ʻ peg, post ʼ; Dm. kuṇḍa ʻ peg for fastening yoke to plough -- pole ʼ; L. khū̃ḍī f. ʻ drum -- stick ʼ; P. khuṇḍ, ḍā m. ʻ peg, stump ʼ; WPah. rudh. khuṇḍ ʻ tethering peg or post ʼ; A. khũṭā ʻ post ʼ, ṭi ʻ peg ʼ; B. khũṭā, ṭi ʻ wooden post, stake, pin, wedge ʼ; Or. khuṇṭa, ṭāʻ pillar, post ʼ; Bi. (with -- ḍa -- ) khũṭrā, rī ʻ posts about one foot high rising from body of cart ʼ; H. khū̃ṭā m. ʻ stump, log ʼ, ṭī f. ʻ small peg ʼ (→ P.khū̃ṭā m., ṭī f. ʻ stake, peg ʼ); G. khū̃ṭ f. ʻ landmark ʼ, khũṭɔ m., ṭī f. ʻ peg ʼ, ṭũ n. ʻ stump ʼ, ṭiyũ n. ʻ upright support in frame of wagon ʼ, khū̃ṭṛũn. ʻ half -- burnt piece of fuel ʼ; M. khũṭ m. ʻ stump of tree, pile in river, grume on teat ʼ (semant. cf. kīla -- 1 s.v. *khila -- 2), khũṭā m. ʻ stake ʼ, ṭī f. ʻ wooden pin ʼ, khũṭaḷṇẽ ʻ to dibble ʼ.Addenda: *khuṭṭa -- 1. 2. *khuṇṭa -- 1: WPah.kṭg. khv́ndɔ ʻ pole for fencing or piling grass round ʼ (Him.I 35 nd poss. wrong for ṇḍ); J. khuṇḍā m. ʻ peg to fasten cattle to ʼ. (CDIAL 3893) Vikalpa: pacar = a wedge driven ino a wooden pin, wedge etc. to tighten it (Santali.lex.) pasra = a smithy, place where a black-smith works, to work as a blacksmith; kamar pasra = a smithy; pasrao lagao akata se ban:? Has the blacksmith begun to work? pasraedae = the blacksmith is at his work (Santali.lex.)

khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.)

Alternative decipherment:

[alloy metal mint workshop]

Field symbol 1: पोळा [ pōḷā ] 'zebu, bos indicus taurus' rebus: पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4'

Field symbol 2: seṇa 'falcon' rebus: seṇa, aśani 'thunderbolt', āhan gar 'blacksmith' PLUS kambha 'wing' rebus: kammaṭa 'mint, coiner, coinage[Metwork catalogues: ferrite ore, blacksmith mint] Alternate titles: sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ]Pa. sēnāpati -- , °ika -- m. ʻ general ʼ, Pk. sēṇāvaï -- m.; M. śeṇvaī, °vī, śeṇai m. ʻ a class of Brahmans ʼ, Ko. śeṇvi; Si. senevi ʻgeneralʼ.(CDIAL 13589) Vikalpa: eruvai ‘eagle’ rebus: eruvai ‘copper’

Text 3235

loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karṇī ‘ears’ rebus: karṇī 'supercargo, scribe' [supercargo in charge of copper, iron ores]

kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings. [bronze castings]

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting' [metal implement castings]

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

ayo, aya 'fish' rebus: aya 'iron' ayas 'metal alloy' (Rigveda) PLUS khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'.PLUS sal ‘splinter’ rebus: sal ‘workshop’ [alloy metal mint workshop]

Thus, the Mohenjodaro tablet is a metalwork catalogue of: 1.ferrite ore; 2.blacksmith mint, army general.

Accounted sub-categories:

[supercargo in charge of copper, iron ores]

[bronze castings]

[metal implement castings]

[ingots, implements]

[alloy metal mint workshop]

216).Harappa seal. Eagle in flight.

Enmetena silver vase

Image result for Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

Tripod silver vase of Enmetena, dedicated to the war god Ningirsu. The legs are made of copper. The vase features an image of Anzud, the lion-headed eagle, grasping two lions with his talons.

The image of Anzud shows up better in this old photograph. Anzud (also known as Imdugud) was the symbolic animal of Ningirsu. The image of Anzud with the two lions seems to be symbolic of the city of Lagash.

Another view of the silver vase of Enmetena

The dedicatory inscriptions wrap around the neck of the vase:

Translation of the inscriptions from the CDLI (P222539):

For Ningirsu, the hero of Enlil,
Enmetena, ruler of Lagash,
chosen by the heart of Nanshe,
chief ruler of Ningirsu,
son of Enannatum, ruler of Lagash,
for the king who loved him, Ningirsu,
(this) gurgur-vessel of refined silver,
from which Ningirsu will consume the monthly oil (offering),
he had fashioned for him.
For his life, before Ningirsu of the Eninnu (temple)
he had it set up.
At that time Dudu
was the temple administrator of Ningirsu. http://sumerianshakespeare.com/70701/74901.html

Terracotta plaque showing a bull-man holding a post

Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.800 cm Width: 7.000 cm ME 103225 Room 56: Mesopotamia

This plaque depicts a creature with the head and torso of a human but the horns, lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are first seen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body above the waist, shown in frontal view, shows that he was intended to be double-horned. He may be supporting a divine emblem and thus acting as a protective deity.

Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia from the second millennium BC. While many show informal scenes and reflect the private face of life, this example clearly has magical or religious significance.

British Museum, A guide to the Babylonian and, 3rd ed. (London, British Museum, 1922)

J. Black and A. Green, Gods, demons and symbols of -1(London, The British Museum Press, 1992)

Neo-Sumerian Statuette of an Androcephalous Bull, C. 2350-2000 BC Made of Chlorite with inlays (now mostly missing)

Base for a ritual offering, carved with animals Elamite period, mid-3rd millennium BCE

Tell of the Acropolis, Susa, Iran Bituminous rock H. 19 cm; Diam. 11 cm Jacques de Morgan excavations, 1908 Lions and gazelles passant; eagles protecting their young Sb 2725
This base for a ritual offering is made of bitumen. This material was plentiful throughout the Middle East, but only in Susa was it used in sculpture. The object is carved with big cats, gazelles, and eagles. The theme of the eagle spreading its wings to protect its young was found only in Iran and also features on painted ceramics of the same period.
Bitumen: a plentiful material used in an unusual manner
This object in the form of a truncated cone is a base for a ritual offering. It is carved from bituminous rock, found throughout the region but used in sculpture only in Susa. It was used to make vases similar to this object (Louvre, Sb2726), and later, in the early years of the 2nd millennium BC, vases carved with bas-relief decorations and an animal's head in high relief (Louvre, Sb2740). The shape of this object - a truncated cone - is similar to other pieces made of chlorite and dating from the same period. The mortise at the top of the cone and the unfinished lip suggest that the object originally had a second part that fitted on top of the cone. However, the precise purpose of the object remains a mystery.
The animal carvings
The cone is carved with two registers separated by a narrow strip. The upper register is decorated with two gazelles calmly grazing on vegetation, represented by stalks between each animal. Alongside the two gazelles are two big cats, almost certainly lions, with their backs to each other. Their stylized manes are shown as vertical strips, reminiscent of those of the woolen Mesopotamian garments known as kaunakes. Their tails are raised horizontally over their backs, similar to depictions of lions on cylinders from Uruk or Susa. Their heads are depicted in geometrical form. All four animals are shown in profile. The artistic desire to create a scene and a landscape imbued with life is also evident in two cylinders from Uruk and Khafaje.
The lower register shows two highly stylized eagles, upright, as if resting on their tail feathers. Their wings and talons are spread to protect the chicks beneath them. These eagles differ somewhat from the usual representation of eagles as the attribute of the Sumerian god Ningirsu, where the birds are depicted with a lion's head, holding two lion cubs, which are shown face on.
Mythological creatures or carvings of local wildlife?
Eagles were a major theme in Susian and Mesopotamian art. This depiction of an eagle resting on its tail feathers is also found in ceramics, glyptics, and perforated plaques dating from the 3rd millennium BC. However, unlike Mesopotamian eagles, Susian eagles never resembled composite animals. Likewise, Mesopotamian eagles had a mythological dimension, which was absent from Susian portrayals of the bird. In Susa, eagles were simply considered ordinary birds of prey.
Bibliography
Amiet Pierre, Élam, Auvers-sur-Oise, Archée, 1966, p. 166, fig. 119.
Les quatre grandes civilisations mondiales. La Mésopotamie entre le Tigre
et l'Euphrate, cat. exp., Setagaya, musée d'Art, 5 août-3 décembre 2000, Fukuoka, musée d'Art asiatique, 16 décembre 2000-4 mars 2001, Tokyo, NHK, 2000, pp. 214-215.

http://www.louvre.fr/en/oeuvre-notices/base-ritual-offering-carved-animals

Sumer of Anzu, the eagle is compared with śyena-amśu (soma) of Rigveda. Similarities are striking indeed and should provide a pause to an understanding of the bronze-age recorded in the many metaphors and hieroglyphs (such as the overflowing vase of Gudea, discussed in

http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-indus-writing-lokhad.html

Ancient near East Gudea statue hieroglyph (Indus writing): lokhãḍ, 'copper tools, pots and pans' Rebus: lo 'overflow', kāṇḍa 'sacred water'.

The parallels of metaphors/imageries are so vivid that a relationships between the people who narrated the exploits of heroes of Sumer and the exploits of Indra narrated in the Rigveda have to be deep indeed and cannot be explained away as mere coincidences.

Anzu stole the tablet of destinies. Śyena of Rigveda brought the amśu (soma) from the heavens. Anzu is derived from An "heaven" and Zu "to know", in Sumerian language.

See: http://bharatkalyan97.blogspot.in/2011/09/decipherment-of-soma-and-ancient-indo.html Soma-haoma, *sauma ? somnakay ! samanom ! *haeusom-

French scholar, Prof. Pinault identifies amśu of Rigveda with anzu of Tocharian. In Tocharian it means 'iron'. Tocharin language as an Indo-European language has revealed a word anzu in Tocharian which meant 'iron'. It is likely that this is the word used for soma in Rigveda. The imagery of an eagle stealing soma also occurs in ancient Indian texts. There is a hymn to śyena in Atharvaveda (7.41).

A synonym of soma is amśu. śyena, the hawk has brought the soma from the heaven.

श्येन आसां अदितिः कक्ष्यो मदों विज्वारस्य याजतस्य मायिनः
सं अन्यं अन्यं अर्थयन्थ्येतवे विदुर्विष्आणं परिपानं RV 5.44.11

5.044.11 Swift is the excessive and girth-distending inebriation of Viśvavārā, Yajata and Māyin; (by partaking) of these (juices) they urge one another to drink; they find the copious draught the prompt giver of intoxication. [Swift is...inebriation: śyena āsām aditih kakṣyo madah: śyena = śīghra, quick; aditi = atisamṛddhah; āsām = of these, Soma juices; mada = intoxication, is the devata_ of the verse].

उत स्मास्य द्रवतस्तुरण्यतः पर्णं न वेरनु वाति प्रगर्धिनः श्येनस्येव ध्रजतो अङ्कसम्परि दधिक्राव्णः सहोर्जा तरित्रतः RV 4.40.3

4.40.03 And after him who is quick-going, hastening, eager (to arrive at his gold, men) follow (as other birds pursue) the flight of a swift (bird) striving together to keep up by the side of Dadhikrāvaṇ the transporter (of others) as swift as a hawk. [Yajus. 9.15; after him who is: asya dravatas turaṇyatah parṇam nādādhāram urah pradeśam vā of Dadhikrāvaṇ, together with strength, or for the sake of strength together, enabling to cross; an:kasam pari = a horse's trappings, the cloth, tail, vastracamarādikam, over all his body, which fly open as the horse gallops, like the wings of a bird, the horse has the speed of a hawk].

Vāmadevagautama sings the following rca-s for śyena:

प्र सु श विभ्यो मरुतो विरस्तु प्र श्येनः श्येनेभ्य आशुपत्वा अचक्रया यात स्वधया सुपर्णो हव्यं भरन्मनवे देवजुष्टं (RV 4.26.4)

4.26.4 May this bird, Maruts, be pre-eminent over (other) hawks, since with a wheelless car the swift-winged bore the Soma, accepted by the gods, to Manu. [With a wheelless car: acakrayā vadhayā = cakrarahitena rathena, with a car without wheels; the text has havyam, this is a metonymy for the Soma, which is said to have been brought from heaven by the gāyatrī, in the form of a hawk; by the hawk, we are to understand the supreme spirit, parabrahma].

Alternative: Before you measure this falcon, O Maruts, supreme is this swift-winged Shyena, strongly self-possessed with no one to bear him, That One brought to Manu the wholesome offerings.Explanation: It is impossible to measure the comprehensive energy existing in That One, who as swift-moving falcon envelops and pervades far distant places. In earlier days Manu, who was effulgent with Bliss, the essence of That One, was provided with wholesome offerings. Seer seems to suggest that even as Manu earlier, with whom he has established companionship, he too now should be the beneficiary of the choice offerings.

भरद्यदि विरतो वेविजानः पथोरुणा मनोजवा असर्जि तूयं ययौ मधुना सोम्येनोत श्रवो विविदे श्येनो RV 4.26.5

4.26.5 When the bird, intimidating (its guardians), carried off from hence (the Soma) it was at large; (flying) swift as thought along the vast path (of the firmament), it went rapidly with the sweet Soma, and the hawks thence acquired the celebrity in this world.

Alternative: When the bird brought in rapid movements and sent the swift thoughts on widespread Path, the same were returned with sweetness of Bliss, the Falcon in that process attaining brilliance. Explanation: Bird is the energy that elevates the thought fastest moving in universe, with swiftness of a falcon, unless it is with difficulty restrained. The thoughts imbibe the bliss of That One, the falcon, in that process shining with resplendence.

ऋजीपी श्येनो ददमानो अम्शुम्परावतः शकुनो मन्द्रं मदं सोमं भरद्दादृहाणो देवावान्दिवो अमुश्मा दुद्दरादआदाय RV 4.26.6

4.26.6 The straight-flying hawk, conveying the Soma from afar; the bird, attended by the gods, brought, resolute of purpose, the adorable exhilarating Soma, having taken it from that lofty heaven.

Alternative: Climbing above holding the thought and the bird bringing the draught that gladdens, the Falcon spreads upward. Comrade of the luminous beings clutching Soma which the birds had brought it rises to the loftiest heavens.
Explanation: Noble thoughts elevate the soul upward and ignoble ones relegate it downward. As the thoughts become energetic with bliss brought by birds from the heavens, the falcon takes elevates them thus enriched with the Bliss of Beatitude, the loftiest of heavens.

आदाय श्येनो अभारत्सोमं सहस्रं सवा अयुतं च साकं अत्रा पुरन्धिरजहाद अरातीर मदे सोमस्य मूरा अमूरः RV 4.26.7

4.26.7 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.

Alternative: Providing Soma bearing thousand libations, yes, ten thousand libations Shyena the falcon bringing it from above offers it down here on earth. Therein, the courageous ones leave all the malignant ones behind, the wise with wild ecstasy, leaving the unwise far behind.Explanation: That One, the falcon brings luminous libations from above and offers them here down below to those who deserve. The enlightened bold ones leave the malignant ones far behind, wise becomes wild with abundance and the timid sinking in scarcity. [Source for the alternative renderings of 4.26.4 to 7: http://nageshsonde.com/Rigveda_A_Study_on_Forty_Hymns.pdf]

Vāmadevagautama continues the prayer to śyena in the next Sūkta:

गर्भे नु सन्नन्वेषां अवेदं अहं देवानां जनिमानि विश्वा शतं मा पूर आयासीराराक्षन्नध श्येनो जवसा निरदीयं RV 4.27.1

4.27.1 Being still in the germ, I have known all the births of these divinities in their order; a hundred bodies of metal confined me, but as a hawk I came forth with speed. [i.e., until the sage comprehended the differences between the body and soul, and learned that soul was unconfined, he was subject to repeated births; but in this stage he acquired divine knowledge, and burst through the bonds with the force and celerity of a hawk from its nest; Vāmadevaśyena rūpam āsthāya garbhād yogena nihsṛtah = Vāmadeva, having assumed the form of a hawk, came forth from the womb by the power of Yoga (Nītimañjari)].

न घा स मां अप जोषं जभाराभीं आस त्वक्षसा वीर्येण ईर्मा पुरंधिरआजहादरातीरुत वाता अतरच्छू शुवानः RV 4.27.2

4.27.2 That embryo did not beguile me into satisfaction, but by the keen energy (of divine wisdom), I triumphed over it; the impeller of all, the sustainer of many, abandoned the foes (of knowledge), and, expanding, passed beyond the winds (of worldly troubles). [The impeller of all: the paramātmā, or supreme spirit; beyond the winds: the vital airs, or life, the cause of worldly existence, which is pain].

अव यच्छ्येनो अस्वनीदध द्योर्वि यद् यदि वात ऊहुः पुरन्धिं सुजद्यदस्मा अव हा क्षिपज्ज्यां कुशानुरस्ता मनसा भरण्यन् RV 4.27.3

4.27.3 When the hawk screamed (with exultation) on his descent from heaven, and (the guardians of the Soma) perceived that the Soma was (carried away) by it then, the archer of Kṛśānu, pursuing with the speed of thought, and stringing his bow, let fly an arrow against it. [Note: śankha Kṛśānu is a conch-shell cutter.]

ऋजिप्य ईं इन्द्रावतो न भुज्युम श्येनो जभार बृहतो अधि ष्णोः अन्तः पतत्पतत्र्यस्य पर्णं अध यामनि प्रसितस्य तद्वेः RV 4.27.4

4.27.4 The straight-flying hawk carried off the Soma from above the vast heaven, as (the Aśvins carried off) Bhujyu from the region of Indra, and a falling feather from the middle of the bird dropped from him wounded in the conflict. [antah parṇam tan madhye sthitam; one nail of the left foot and the shaft was broken by the collision, the fragments of the nail became the quills of the fretful porcupine, those of the arrow, water-snakes, flying foxes, and worms].

अध श्वेतं कलशं गोभिरं आपिप्यानं मघवा शुक्रमन्धः अध्वर्युभिः प्रयातं मध्वो अग्रम इन्द्रो मदाय प्रत्पिबध्यै शूरो मदाय प्रति धत्पिबध्यै RV 4.27.5

4.027.05 Now may Maghavan accept the pure nutritious (sacrificial) food in a white pitcher, mixed with milk and curds, offered by the priests; the upper part of the sweet (beverage) to drink for his exhilaration; may the hero accept (it) to drink for (his) exhilaration.

आवर्त्या शुन आन्त्राणि पेचे न देवेषु विविदे मर्डितारं अपश्यं जायां अमहॆयमानां अधा मे श्येनो मध्वाजभरि RV 4.18.13

4.18.13 In extreme destitution I have cooked the entrails of a dog; I have not found a comforter among the gods; I have beheld my wife disrsepected; then the falcon, (Indra), has brought to me sweet water. [In extreme destitutuin: So Manu has, Vāmadeva, who well knew right and wrong, was by no means rendered impure, though desirous when oppressed with hunger, of eating the flesh of dogs for the preservation of his life; icchan attum, wishing to eat; the text has śuno āntrāṇi pece, I cooked the entrails of a dog; the falcon: i.e., as swift as a hawk, śyena vat śīghragāmīndrah]. [Sūkta 18: Ṛṣi vāmadeva, while yet in the womb, was reluctant to be born and chose to come into the world through his mother's side; aware of his purpose, the mother prayed to Aditi, who thereupon came, with her son Indra, to expostulate with the Ṛṣi; this is the subject of the Sūkta].

The Sūkta's of Ṛṣi vāmadeva are brilliant evocations of the deeds of Indra, the thunder-bolt wielder and repeatedly evoke the memories enshrined in the Sumerian relief sculptures.

नवंनुस्तोमंअग्नयेदिवःश्येनायजीजनंवस्वःकविदवनातिनः RV 7.15.4
7.15.4 May Agni, to whom as to a (swift) hawk in heaven, I address this new hymn, bestow upon us ample wealth. Alternative: 1 have begotten this new hymn for Agni, falcon of the Sky: will he not give us of his wealth? (Griffith trans.)(Note: "As mediator between the realms of men and of the gods, the characteristics of flight are often Agni's. As divine eagle or falcon (śyena) he is depicted in the Agnicayana (Yajur Veda), the ritual construction of a 10,800 brick fire-altar in the form of a flying bird. The iron fort with a hundred walls in stanza 14 below perhaps recalls the eagle's soma-theft in Rig Veda, IV, 26 and 27."

[quote]Zu, also known as Anzu and Imdugud, in Sumerian, (from An "heaven" and Zu "to know", in the Sumerian language) is a lesser divinity of Akkadian mythology, and the son of the bird goddess Siris. He was conceived by the pure waters of the Apsu and the wide Earth.[1] Both Zu and Siris are seen as massive birds who can breathe fire and water, although Zu is alternately seen as a lion-headed eagle (cf: The Griffin). Zu as a lion-headed eagle, ca. 2550–2500 BC, Louvre Anzu was a servant of the chief sky god Enlil, guard of the throne in Enlil's sanctuary, (possibly previously a symbol of Anu), from whom Anzu stole the Tablet of Destinies, so hoping to determine the fate of all things. In one version of the legend, the gods sent Lugalbanda to retrieve the tablets, who in turn, killed Anzu. In another, Ea and Belet-Ili conceived Ninurta for the purpose of retrieving the tablets. In a third legend, found in The Hymn of Ashurbanipal, Marduk is said to have killed Anzu. [unquote] https://en.wikipedia.org/wiki/Zu_(mythology) See: http://www.sacred-texts.com/ane/blc/blc08.htm

[quote] In Mesopotamian mythology, the Tablet of Destinies - Dup Shimati in Sumerian - (not, as frequently misquoted in general works, the 'Tablets of Destinies') was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe. In the Sumerian poem 'Ninurta and the Turtle' it is the god Enki, rather than Enlil, who holds the tablet. Both this poem and the Akkadian Anzû poem share concern of the theft of the tablet by the bird Imdugud (Sumerian) or Anzû (Akkadian). Supposedly, whoever possessed the tablet ruled the universe.In the Babylonian Enuma Elish, Tiamat bestows this tablet on Qingu (in some instances spelled "Kingu") and gives him command of her army. Marduk, the chosen champion of the gods, then fights and destroys Tiamat and her army. Marduk reclaims the Tablet of Destinies for himself, thereby strengthening his rule among the gods.The tablet can be compared with the concept of the Me, divine decrees.
[unquote] https://en.wikipedia.org/wiki/Tablet_of_Destiny

Sennacherib and the Tablet of Destinies
Author(s): A. R. George
Source: Iraq, Vol. 48 (1986), pp. 133-146
Published by: British Institute for the Study of Iraq
Stable URL: http://www.jstor.org/stable/4200258 .
http://www.scribd.com/doc/149113821/Senna-Cherib-Tablet-of-Destinies-A-R-George-1986

Senna Cherib & Tablet of Destinies : A. R. George (1986)

Syena-citi: A Monument of Uttarkashi The first layer of one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area.

Distt.EXCAVATED SITE -PUROLA Geo-Coordinates-Lat. 30° 52’54” N Long. 77° 05’33” E Notification No& Date;2742/-/16-09/1996The ancient site at Purola is located on the left bank of river Kamal. The excavation yielded the remains of Painted Grey Ware (PGW) from the earliest level alongwith other associated materials include terracotta figurines, beads, potter-stamp, the dental and femur portions of domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syenachiti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings. In the center of the structure is the chiti is a square chamber yielded remains of pottery assignable to circa first century B.C. to second century AD. In addition copper coin of Kuninda and other material i.e. ash, bone pieces etc and a thin gold leaf impressed with a human figure tentatively identified as Agni have also been recovered from the central chamber. http://asidehraduncircle.in/uttarkashi.html

KV Sarma mentions:

“Pravara Sena I, who is placed around at 275 AD to 335 AD by the authors Ramesh Chandra Majumdar and Anant Sadashiv Altekar in this book, is said to have conducted all Yajnams successfully including the most difficult Vajapeya Yajnam, after which he was given the title “Samrat”, which can be loosely translated to Emperor in English.

Pravarasena I (275 - 335 AD) performed Athirathra Yajnam

While dates of Pravarasena I, Vakatakas and Gupta dynasty is a topic of huge controversy and discussion, one cannot disprove the argument that Pravarasena conducted Athirathram and other Yajnams.

See: https://vivekitam.wordpress.com/2011/04/19/athirathram-a-perspective-2/

Section 2. Pyrite, iron sulfidebiochemistry and origin of life

"The iron–sulfur world hypothesis is a set of proposals for the origin of life and the early evolution of life advanced in a series of articles between 1988 and 1992 by Günter Wächtershäuser, a Munich patent lawyer with a degree in chemistry, who had been encouraged and supported by philosopher Karl R. Popper to publish his ideas. The hypothesis proposes that early life may have formed on the surface of iron sulfide minerals, hence the name. Pioneer organism. Wächtershäuser proposes that the earliest form of life, termed "pioneer organism", originated in a volcanic hydrothermal flow at high pressure and high (100 °C) temperature. It had a composite structure of a mineral base with catalytic transition metal centers (predominantly iron and nickel, but also perhaps cobalt, manganese, tungsten and zinc). The catalytic centers catalyzed autotrophic carbon fixation pathways generating small molecule (non-polymer) organic compounds from inorganic gases (e.g. carbon monoxide, carbon dioxide, hydrogen cyanide and hydrogen sulfide). These organic compounds were retained on or in the mineral base as organic ligands of the transition metal centers with a flow retention time in correspondence with their mineral bonding strength thereby defining an autocatalytic "surface metabolism". The catalytic transition metal centers became autocatalytic by being accelerated by their organic products turned ligands. The carbon fixation metabolism became autocatalytic by forming a metabolic cycle in the form of a primitive sulfur-dependent version of the reductive citric acid cycle. Accelerated catalysts expanded the metabolism and new metabolic products further accelerated the catalysts. The idea is that once such a primitive autocatalytic metabolism was established, its intrinsically synthetic chemistry began to produce ever more complex organic compounds, ever more complex pathways and ever more complex catalytic centers..Nutrient conversions. The water gas shift reaction (CO + H₂O → CO₂ + H₂) occurs in volcanic fluids with diverse catalysts or without catalysts.The combination of ferrous sulfide and hydrogen sulfide as reducing agents in conjunction with pyrite formation – FeS + H₂S → FeS₂ + 2H⁺ + 2e⁻ (or H₂ instead of 2H⁺ + 2e⁻) – has been demonstrated under mild volcanic conditions.This key result has been disputed."

1. Drobner, E.; H. Huber; G. Wächtershäuser; D. Rose; K. O. Stetter (1990). "Pyrite formation linked with hydrogen evolution under anaerobic conditions". Nature. 346(6286): 742–744. Bibcode:1990Natur.346..742D. doi:10.1038/346742a0.

2. Jump upCahill, C. L.; L. G. Benning; H. L. Barnes; J. B. Parise (June 2000). "In situ time-resolved X-ray diffraction of iron sulfides during hydrothermal pyrite growth". Chemical Geology. 167 (1–2): 53–63. doi:10.1016/S0009-2541(99)00199-0. Retrieved 2009-05-02.

https://en.wikipedia.org/wiki/Iron%E2%80%93sulfur_world_hypothesis

Iron sulfide or Iron sulphide can refer to a range of chemical compounds composed of iron and sulfur.

"Pyrite's metallic luster and pale brass-yellow hue give it a superficial resemblance to gold, hence the well-known nickname of fool's gold. The color has also led to the nicknames brass, brazzle, and Brazil, primarily used to refer to pyrite found in coal. The name pyrite is derived from the Greek πυρίτης (pyritēs), "of fire" or "in fire",in turn from πύρ (pyr), "fire".^[In ancient Roman times, this name was applied to several types of stone that would create sparks when struck against steel; Pliny the Elder described one of them as being brassy, almost certainly a reference to what we now call pyrite... pyrite is sometimes found in association with small quantities of gold. Gold and arsenic occur as a coupled substitution in the pyrite structure. In the Carlin–type gold deposits, arsenian pyrite contains up to 0.37% gold by weight."

Natural minerals

By increasing order of stability:

· Iron(II) sulfide, FeS, the less stable amorphous form;

· Greigite, a form of iron(II,III) sulfide (Fe₃S₄), analog to magnetite, Fe₃O₄;

· Pyrrhotite, Fe_1−xS (where x = 0 to 0.2), or Fe₇S₈;

· Troilite, FeS, the endmember of pyrrhotite;

· Mackinawite, Fe_1+xS (where x = 0 to 0.1);

· Marcasite, or iron(II) disulfide, FeS₂ (orthorhombic);

· Pyrite, or iron(II) disulfide, FeS₂ (cubic), the more stable endmember, known as fool's gold.

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

See: https://en.wikipedia.org/wiki/Pyrite_group

Section E. Thunderbolt, vajra

Harappa seal signifies फडाphaḍā 'metals manufactory' sēṇa 'eagle' rebus sena 'thunderbolt' https://tinyurl.com/yar94t7p

Bogazkoy Indus Script seal, sēṇa 'eagle' rebus: sena ʻvajra, thunderboltʼ PLUS dhAtu 'strands of rope' Rebus'mineral, metal, ore' (CDIAL 6773) Alternative: मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl.(Marathi)(CDIAL 10312).L. meṛh f. ʻrope tying oxen to each other and to post on threshing floorʼ(CDIAL 10317) Rebus: meḍ'iron'. mẽṛhet ‘iron’ (Mu.Ho.) Alternative: pajhar 'eagle' rebus: pasra 'smithy, forge' dul 'pair' rebus: dul 'metal casting'.

https://3.bp.blogspot.com/-WTGQqrIWA3Q/Wrh-wWz2ofI/AAAAAAABQs0/Qox6yMWOqWwc0Ouqz9gsmxp4_1JhZ3_GACLcBGAs/s320/vajra4.JPG

Molded plaque: the weather god Adad and a bull standing on a lion-dragon Period: Old Babylonian Date: ca. 2000–1600 B.C.E Geography: Southern Mesopotamia Culture: Babylonian Medium: Ceramic Dimensions: 5.25 x 3.86 in. (13.34 x 9.8 cm) Classification: Ceramics-Reliefs.

http://www.metmuseum.org/collections/search-the-collections/327545

dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)

eruvai 'kite' rebus: eruvai 'copper'

Hieroglyph: wings: *skambha2 ʻ shoulder -- blade, wing, plumage ʼ. [Cf. *skapa -- s.v. *khavaka -- ]S. khambhu, °bho m. ʻ plumage ʼ, khambhuṛi f. ʻ wing ʼ; L. khabbh m., mult. khambh m. ʻ shoulder -- blade, wing, feather ʼ, khet. khamb ʻ wing ʼ, mult. khambhaṛā m. ʻ fin ʼ; P. khambh m. ʻ wing, feather ʼ; G. khā̆m f., khabhɔ m. ʻ shoulder ʼ.(CDIAL 13640) Rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mint. Ka. kammaṭa id.; kammaṭi a coiner. (DEDR 1236).

पोळ pōḷa, 'Zebu, bos indicus' Rebus: पोळ pōḷa, 'magnetite, ferrite ore'; adar ḍangra ‘zebu': Rebus: aduru ḍhangar ‘native metal smith’. arye 'lion' āra 'brass'. min 'lightning''metal' = kol'metal'. The Pali semantics ayo, 'metals, metal alloy of gold' are consistent with the meaning provided in synonyms for the gloss, kol : மின்வெள்ளிபொன்கொல்லெனச்சொல்லும் (தக்கயாகப். 550).

Hieroglyphs which are synonyms: vajra & falcon:: śyēná श्येन [p= 1095,2] denotes a hawk , falcon , eagle and also sena, heṇa ʻ thunderbolt ʼ (Sinhala); aśáni f. ʻ thunderbolt ʼ (Rigveda).

The repeated reference to 'wealth' in RV VIII.5 while invoking and venerating Soma suggests that acquisition of Soma is acquisition of 'wealth'.

RV VIII.5.24 to 30

24 Come near with those most recent aids of yours which merit eulogy,

When I invoke you, Wealthy Gods.

25 As ye protected Kanva erst, Priyamedha and Upastuta,

Atri, Sinjara, Asvins Twain

26 And Amsu in decisive fight, Agastya in the fray for kine.

And, in his battles, Sobhari.

27 For so much bliss, or even more, O Asvins, Wealthy Gods, than this,

We pray white singing hymns to you.

28 Ascend your car with golden seat, O Asvins, and with reins of gold,

That reaches even to the sky.

29 Golden is its supporting shaft, the axle also is of gold,

And both the wheels are made of gold.

30 Thereon, ye Lords of ample wealth, come to us even from afar,

Come ye to this mine eulogy.

The reference is to battles of ancient R̥ṣi-s specified and how wealth was won with the protection of āśvinau, 'two āśvin'.) The ancient R̥ṣi-s specified include: ancient Kanva, Priyamedha, Upastuta, Atri, Sinjara, अंशु amśu, Sobhari. The two āśvin ride in a golden chariot whose axle and wheels are also of gold. काण्व 'descendant of कण्व ); प्रिय-मेध m. (प्रिय्/अ-) N. of a ऋषि (a descendant of अङ्गिरस् and author of the hymns RV. viii , 1-40 , 57 , 58 , 76 ; ix , 28) and (pl.) of his descendants RV. Nir.; a descendant of अज-मीढ; उप-स्तुत mfn. invoked , praised RV. AV. xix , 5 , 1; 'name of a R̥ṣi; अत्रि N. of a great ऋषि , author of a number of Vedic hymns; शिञ्जार 'name of a R̥ṣi; सो* भरि (or °री) m. N. of the author of the hymns RV. viii , 19-22 &c (having the patr. काण्व , or आङ्गिरस) RV. AV.

aṃśulaअंशुल a. Radiant, luminous. -लः [अंशुं प्रभां बुद्धिप्रतिभां लाति, or अंशुरस्य अस्तीति ला-क] N. of Chāṇakya; of any sage.aṃśumat

अंशुमत् a. [अंशु-अस्त्यर्थे मतुप्] 1 Luminous, radiant; ज्योतिषां रविरंशुमान् Bg.1.21. -2 Pointed. -3 Fibrous, abounding in filaments (Ved.) -m. (˚मान्) 1 The sun; वालखिल्यैरिवांशुमान् R.15.1; अंशुमानिव तन्वभ्रपटलच्छन्नविग्रहः Ki.11.6; जलाधारेष्विवांशुमान् Y.3.144; rarely the moon also; ततः स मध्यंगतमंशुमन्तं Rām.5.5.1. -2 N. of the grandson of Sagara, son of Asamañjasa and father of Dilīpa. -3 N. of a mountain; ˚मत्फला N. of a plant, कदली Musa sapientum or Paradisiaca. -ती 1 N. of a plant सालपर्णी (Mar. डवला, सालवण) Desmodium Gangeticum. -2 N. of the river Yamunā.aṃśuḥअंशुः [अंश्-मृग˚ कु.] 1 A ray, beam of light; चण्ड˚, घर्मं˚ hot-rayed the sun; सूर्यांशुभिर्भिन्नमिवारविन्दम् Ku.1.32; Iustre, brilliance चण्डांशुकिरणाभाश्च हाराः Rām.5.9.48; Śi.1.9. रत्न˚, नख˚ &c. -2 A point or end. -3 A small or minute particle. - 4 End of a thread. -5 A filament, especially of the Soma plant (Ved.) -6 Garment; decoration. -7 N. of a sage or of a prince. -8 Speed, velocity (वेग). -9 Fine thread -Comp. -उदकम् dew-water. -जालम् a collection of rays, a blaze or halo of light. -धरः -पतिः -भृत्-बाणः -भर्तृ-स्वामिन् the sun, (bearer or lord of rays). -पट्टम् a kind of silken cloth (अंशुना सूक्ष्मसूत्रेणयुक्तं पट्टम्); सश्रीफलैरंशुपट्टम् Y. 1.186; श्रीफलैरंशुपट्टानां Ms.5.12. -माला a garland of light, halo. -मालिन् m. [अंशवो मालेव, ततः अस्त्यर्थे इनि] 1 the sun (wreathed with, surrounded by, rays). -2 the number twelve. -हस्तः [अंशुः हस्त इव यस्य] the sun (who draws up water from the earth by means of his 1 hands in the form of rays).(Apte)

सोम-सुत्-वत् mfn. possessing offerers of सोम-juice (said of a hermitage , a sacrifice &c ) (Monier-Williams)

अंशु a kind of सोम libation (Śatapatha Brāhmaṇa); m. a filament (especially of the सोम plant); end of a thread , a minute particle; a ray , sunbeam; N. of a ऋषि RV. viii , 5 , 26 (Monier-Williams).

I suggest tht the descriptive expression ayojālāni 'nets of iron' in Rāmāyaṇa araṇya kāṇḍa 3.35.35 in reference to amṝtam is a semantic determinant of Soma as a divine metaphor for metal.

See: Homa bird, श्येन śyena, sēṇa brings down Soma. Sellers of Mujavata Soma. Indus Script evidences बहुसुवर्णक, bahusuvarṇaka Soma Samsthā yāga. https://tinyurl.com/yb72o7za

Field symbol 1: पोळा [ pōḷā ] 'zebu, bos indicus taurus' rebus: पोळा [ pōḷā ] 'magnetite, ferrite ore: Fe3O4'

Field symbol 2: seṇa 'falcon' rebus: seṇa, aśani 'thunderbolt', āhan gar 'blacksmith' PLUS kambha 'wing' rebus: kammaṭa 'mint, coiner, coinage[Metwork catalogues: ferrite ore, blacksmith mint] Alternate titles: sēnāpati m. ʻ leader of an army ʼ AitBr. [sḗnā -- , páti -- ]Pa. sēnāpati -- , °ika -- m. ʻ general ʼ, Pk. sēṇāvaï -- m.; M. śeṇvaī, °vī, śeṇai m. ʻ a class of Brahmans ʼ, Ko. śeṇvi; Si. senevi ʻgeneralʼ.(CDIAL 13589) Vikalpa: eruvai ‘eagle’ rebus: eruvai ‘copper’

Text 3235

loa 'ficus glomerata' Rebus: loha 'copper, iron'. PLUS karṇī ‘ears’ rebus: karṇī 'supercargo, scribe' [supercargo in charge of copper, iron ores]

kuṭila ‘bent’ CDIAL 3230 kuṭi— in cmpd. ‘curve’, kuṭika— ‘bent’ MBh. Rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) cf. āra-kūṭa, 'brass' Old English ār 'brass, copper, bronze' Old Norse eir 'brass, copper', German ehern 'brassy, bronzen'. kastīra n. ʻ tin ʼ lex. 2. *kastilla -- .1. H. kathīr m. ʻ tin, pewter ʼ; G. kathīr n. ʻ pewter ʼ.2. H. (Bhoj.?) kathīl, °lā m. ʻ tin, pewter ʼ; M. kathīl n. ʻ tin ʼ, kathlẽ n. ʻ large tin vessel ʼ(CDIAL 2984) कौटिलिकः kauṭilikḥकौटिलिकः 1 A hunter.-2 A blacksmith PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings. [bronze castings]

khaṇḍa 'division'. rebus: kaṇḍa 'implements' PLUS dula 'two' rebus: dul 'metal casting' [metal implement castings]

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

ayo, aya 'fish' rebus: aya 'iron' ayas 'metal alloy' (Rigveda) PLUS khambhaṛā 'fish-fin rebus: kammaṭa 'mint, coiner, coinage'.PLUS sal ‘splinter’ rebus: sal ‘workshop’ [alloy metal mint workshop]

Thus, the Mohenjodaro tablet is a metalwork catalogue of: 1.ferrite ore; 2.blacksmith mint, army general.

Accounted sub-categories:

[supercargo in charge of copper, iron ores]

[bronze castings]

[metal implement castings]

[ingots, implements]

Desinamamala of Hemacandra ed. R. Pischel (1938) meḍ 'iron'(Munda); मेढ meḍh'merchant's helper'(Prakrtam) meḍho 'one who helps a merchant' (Desi) meḍ iron (Ho.) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand (Santali.Munda)

Gonur Tepe Indus Script. karibha 'trunk of elephant' rebus: karba 'iron' ibha 'elephant' rebus: ib 'iron' Hieroglyph: ingot out of crucible: muh 'ingot' kuThAru 'crucible' rebus:kuThAru 'armourer' kolmo 'rice plant' rebus:kolimi 'smithy, forge'. Thus ingot for forge. sal 'splinter'rebus: sal 'workshop' aDaren 'lid' rebus: aduru 'native metal' aya, ayo 'fish' rebus: aya 'iron' ayas 'metal' Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaTa 'mint, coin, coiner' ranku 'liquid measure' rebus: ranku 'tin' kolmo 'rice plant' rebus: kolimi 'smithy, forge' karNaka, kanka 'rim of jar' rebus: karNI 'Supercargo' karnaka 'engraver, scribe'.

kamaṭha m. ʻ bamboo ʼ lex. 2. *kāmaṭha -- . 3. *kāmāṭṭha -- . 4. *kammaṭha -- . 5. *kammaṭṭha -- . 6. *kambāṭha -- . 7. *kambiṭṭha -- . [Cf. kambi -- ʻ shoot of bamboo ʼ, kārmuka --2 n. ʻ bow ʼ Mn., ʻ bamboo ʼ lex. which may therefore belong here rather than to kr̥múka -- . Certainly ← Austro -- as. PMWS 33 with lit. -- See kāca -- 3]1. Pk. kamaḍha -- , °aya -- m. ʻ bamboo ʼ; Bhoj. kōro ʻ bamboo poles ʼ.2. N. kāmro ʻ bamboo, lath, piece of wood ʼ, OAw. kāṁvari ʻ bamboo pole with slings at each end for carrying things ʼ, H. kã̄waṛ, °ar, kāwaṛ, °ar f., G. kāvaṛ f., M. kāvaḍ f.; -- deriv. Pk. kāvaḍia -- , kavvāḍia-- m. ʻ one who carries a yoke ʼ, H. kã̄waṛī, °ṛiyā m., G. kāvaṛiyɔ m.3. S. kāvāṭhī f. ʻ carrying pole ʼ, kāvāṭhyo m. ʻ the man who carries it ʼ.4. Or. kāmaṛā, °muṛā ʻ rafters of a thatched house ʼ;G. kāmṛũ n., °ṛī f. ʻ chip of bamboo ʼ, kāmaṛ -- koṭiyũ n. ʻ bamboo hut ʼ.5. B. kāmṭhā ʻ bow ʼ, G. kāmṭhũ n., °ṭhī f. ʻ bow ʼ; M. kamṭhā, °ṭā m. ʻ bow of bamboo or horn ʼ; -- deriv. G. kāmṭhiyɔ m. ʻarcherʼ.6. A. kabāri ʻ flat piece of bamboo used in smoothing an earthen image ʼ.7. M. kã̄bīṭ, °baṭ,

°bṭī, kāmīṭ, °maṭ, °mṭī, kāmṭhī, kāmāṭhī f. ʻ split piece of bamboo &c., lath ʼ.(CDIAL 2760)

Text on Indus seal impression found in Tell Umma. kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa 'bronze' (Te.) kāṅga 'comb' Rebus: kanga 'brazier, fireplace' sal 'splinter' rebus: sal 'workshop' kanka, karNaka 'rm of jar'rebus:karNI 'Supercargo' karNaka 'scribe, engraver' kāmṭhiyɔ m. ʻarcherʼ rebus:kammaTa 'mint, coiner, coinage'. Thus, a metalwork catalogue of bronze workshop,mintwork brought inby Supercargo, merchant's representative responsible for the shipment.

These objects document long-distance contact in the MAIS: (a) an impression of an Indus “unicorn” seal thought to come from Tell Umma; (b) an Indus “unicorn” seal from Mohenjo-daro; (c) one of the seals published by Gadd (now on display in the British Museum) showing an Indus script and animal device on a Persian Gulf–style seal; and (d) the Indus elephant seal from Gonur Depe (compiled from images supplied by Maurizio Tosi, Gregory L. Possehl, and Viktor Sarianidi).

Sites across Middle Asia have revealed BMAC, or BMAC-like, artifacts (adapted from figure 10.8 in Fredrik T. Hiebert. Origins of the Bronze Age Oasis Civilization in Central Asia. Cambridge, MA: Peabody Museum of Archaeology and Ethnology, Harvard University, 1994).

The word Meluhha used in cuneiform texts is called mleccha in Ancient Indian texts. The region of Meluhha speakers may include regions of Ancient India and also Straits of Malaka (Malacca) in the Indian Ocean. More than 2000 words of Meluhha speakers explain the readings of over 8000 Indus Script inscriptions. These inscriptions are in Meluhha hypertexts read rebus; for e.g. karibha, ibha 'elephant' rebus: karba, ib 'iron'. Such an elephant is shown on an Indus Script seal from Gonur Tepe. It is for linguists to figure out how Meluhha word for elephant travelled in Eurasia and got used in Gonur Tepe (spelled as Gonur Depe on the map) of Bactria-Mariana Cultural Complex. With the comments of Angela Marcangonio presented in the following excerpts, it is suggested that the linguists shold re-visit their theories about the roots of Indo-European language family.Let me cite a reference in Mahābhārata which refers to mleccha (cognate Meluhha, as a language used by Vidura and Yudhishthira): "Vaisampayana continued, 'Hearing these words, the illustrious Kunti was deeply grieved, and with her children, O bull of Bharata's race, stepped into the boat and went over the Ganges. Then leaving the boat according to the advice of Vidura, the Pandavas took with them the wealth that had been given to them (while at Varanavata) by their enemies and safely entered the deep woods. In the house of lac, however, that had been prepared for the destruction of the Pandavas, an innocent Nishada woman who had come there for some purpose, was, with her children burnt to death. And that worst of Mlechchhas, the wretched Purochana (who was the architect employed in building the house of lac) was also burnt in the conflagration. And thus were the sons of Dhirtarashtra with their counsellors deceived in their expectations. And thus also were the illustrious Pandavas, by the advice of Vidura, saved with their mother. But the people (of Varanavata) knew not of their safety. And the citizens of Varanavata, seeing the house of lac consumed (and believing the Pandavas to have been burnt to death) became exceedingly sorry. And they sent messengers unto king Dhritarashtra to represent everything that had happened. And they said to the monarch, 'Thy great end hath been achieved! Thou hast at last burnt the Pandavas to death! Thy desire fulfilled, enjoy with thy children. O king of the Kurus, the kingdom.' Hearing this, Dhritarashtra with his children, made a show of grief, and along with his relatives, including [paragraph continues] Kshattri (Vidura) and Bhishma the foremost of the Kurus, performed the last honours of the Pandavas.' (Mahābhārata, Section CXLIII,, Jatugriha Parva, pp. 302-303). The Great Epic is replete with hundreds of references to Mlecchas and mleccha speakers. Image result for gonur bharatkalyan97

https://tinyurl.com/ybhlynzk

"The merchants of Gonur and Central Asia could even have been the possible originators of the Silk Roads." -- K.E. Eduljee

I suggest that the settlement of Gonur Tepe was by people from Sarasvati-Sindhu civilization. Parallels between Sarasvati-Sindhu civilization settlements and Gonur settlements are vivid and emphatic, apart from the commonly shared writing system of Indus Script cipher.

The fortified settlements of Gonur Tepe with citadel compare with the layout of Dholavira fortified settlement and citadel with gateway suggesting that the Dholavira artisans migrated to Gonur in search of minerals and settled there for metalwork. The evidence for metalwork of Gonur Tepe is provided by a seal with Indus Script inscription including pictorial motif of an elephant and text message of 8 hieroglyphs/hypertexts deciphered in this monograph.
Image result for dholavira citadel

Dholavira. gateway. A designer's impressions (reconstruction) of the world's first signboard on the gateway of fortification or citadel.

Gonur south complex.
Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan

Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr

Decipherment of Gonur Tepe Indus Script inscription on seal

Gonur Tepe.Indus Script. Seal, Seal impression. t:

Pictorial motif: karabha, ibha 'elephant, trunk of elephant' rebus: karba, ib 'iron', ibbo 'merchant'

This is a unique hypertext composed of a crucible PLUS a sprig. The sprig compares with the sprig inscribed on the exquisite terracotta image found at Altyn Tepe.

Hypertext: ingot out of crucible: mũh, muhã 'ingot' Rebus: muhã 'quantity of metal produced at one time in a native smelting furnace.'.PLUS kuṭhāru 'crucible' rebus:kuṭhāru 'armourer' PLUS kolmo'rice plant' rebus: kolimi 'smithy, forge'. Thus ingot for forge. Alternative: xoli 'fish-tail' rebus: kolhe'smelter', kol 'working in iron' Thus, the hypertext is: muhã kuṭhāru kolhe 'ingot (-maker) armourer smelter'. Alternative: muhã kuṭhāru kuṭhi 'ingot, armourer, smelter' (Note: The twig ligatured may signify: कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. , Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi 'smelter'.)

sal 'splinter'rebus: sal 'workshop'

aḍaren 'lid' rebus: aduru 'native metal' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' khambhaṛā 'fish-fin' rebus: kammaṭa 'mint, coiner, coinage'.

खांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon). Rebus:khaṇḍa 'implements' PLUS aya, ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'. Thus, aya khaṇḍa 'excellent iron (metal) implements'.

Hieroglyph: kāmṭhiyɔ m. ʻ archer ʼ.rebus: kammaṭa 'mint, coin, coiner'

ranku 'liquid measure' rebus: ranku 'tin'

kolmo 'rice plant' rebus: kolimi 'smithy, forge'.

कर्णक karṇaka, kanka 'rim of jar' rebus: karṇī 'Supercargo' karṇaka 'engraver, scribe' कर्णिक, 'helmsman, steersman'; name of a people.

Votive figure from Altyn-Depe (the Golden Hill), Turkmenistan. Altyn-Depe is an ancient settlement of the Bronze Age (3,000 - 2,000 B.C.E.) on the territory of ancient Abiver. It's known locally as the "Turkmen Stonehenge". União Soviética.

I suggest that this figure has inscribed Indus Script hypertexts read rebus related to metal smelting of elements, aduru 'native metal' and metal implements work.

Hieroglyph: kola 'woman' (Nahali) rebus: kol 'working in iron'

Hieroglyph: Ka. (Hav.) aḍaru twig; (Bark.) aḍïrï small and thin branch of a tree; (Gowda) aḍəri small branches. Tu. aḍaru twig.(DEDR 67) Rebus: Ta. ayil iron. Ma. ayir, ayiram any ore. Ka. aduru native metal. Tu. ajirda karba very hard iron. (DEDR 192) Alternative 'twig': कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.accord. to Kaus3. , Sch. = बदरी, "Christ's thorn".Rebus: kuṭhi'smelter'.

Two hair strands signify: dula 'pair' rebus: dul 'metal casting' PLUS Hieroglyph strand (of hair): dhāˊtu *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV.,ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā]S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (CDIAL 6773)

Rebus: dhāvḍī 'iron smelting': Shgh. ċīw, ċōw, ċū ʻ single hair ʼ ; Ash. dro ʻ woman's hair ʼ, Kt. drū, Wg.drū, drū̃; Pr. ḍui ʻ a hair ʼ; Kho. dro(h) ʻ hair ʼ, (Lor.) ʻ hair (of animal), body hair (human) ʼ: → Orm. dra, drī IIFL i 392 (semant. cf. Psht. pal ʻ fringe of hair over forehead ʼ < *pata -- (CDIAL 6623) drava द्रव [p= 500,3] flowing , fluid , dropping , dripping , trickling or overflowing with (comp.) Ka1t2h. Mn.MBh. Ka1v. fused , liquefied , melted W. m. distilling , trickling , fluidity Bha1sha1p. dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ)(CDIAL 6773)

Hieroglyph: *mēṇḍhī ʻ lock of hair, curl ʼ. [Cf. *mēṇḍha -- 1 s.v. *miḍḍa -- ]

S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻ braid of hair on a girl's forehead ʼ; M. meḍhā m. ʻ curl, snarl, twist or tangle in cord or thread ʼ.(CDIAL 10312) Ta. miṭai (-v-, -nt-) to weave as a mat, etc. Ma. miṭayuka to plait, braid, twist, wattle; miṭaccal plaiting, etc.; miṭappu tuft of hair; miṭalascreen or wicket, ōlas plaited together. Ka. meḍaṟu to plait as screens, etc. (Hav.) maḍe to knit, weave (as a basket); (Gowda) mEḍi plait. Ga.(S.3) miṭṭe a female hair-style. Go. (Mu.) mihc- to plait (hair) (Voc. 2850).(DEDR 4853) Rebus: mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.)

Three lines below the belly of the figure: kolom 'three' rebus: kolimi 'smithy, forge'

Hieroglyph: kuṭhi ‘vagina’ Rebus: kuṭhi ‘smelter furnace’ (Santali) kuṛī f. ‘fireplace’ (H.); krvṛi f. ‘granary (WPah.); kuṛī, kuṛo house, building’(Ku.)(CDIAL 3232) kuṭi ‘hut made of boughs’ (Skt.) guḍi temple (Telugu) kuṭhi ‘a furnace for smelting iron ore to smelt iron’; kolheko kuṭhieda koles smelt iron (Santali) kuṭhi, kuṭi (Or.; Sad. koṭhi) (1) the smelting furnace of the blacksmith; kuṭire bica duljad.ko talkena, they were feeding the furnace with ore; (2) the name of ēkuṭi has been given to the fire which, in lac factories, warms the water bath for softening the lac so that it can be spread into sheets; to make a smelting furnace; kuṭhi-o of a smelting furnace, to be made; the smelting furnace of the blacksmith is made of mud, cone-shaped, 2’ 6” dia. At the base and 1’ 6” at the top. The hole in the centre, into which the mixture of charcoal and iron ore is poured, is about 6” to 7” in dia. At the base it has two holes, a smaller one into which the nozzle of the bellow is inserted, as seen in fig. 1, and a larger one on the opposite side through which the molten iron flows out into a cavity (Mundari) kuṭhi = a factory; lil kuṭhi = an indigo factory (koṭhi - Hindi) (Santali.Bodding) kuṭhi = an earthen furnace for smelting iron; make do., smelt iron; kolheko do kuṭhi benaokate baliko dhukana, the Kolhes build an earthen furnace and smelt iron-ore, blowing the bellows; tehen:ko kuṭhi yet kana, they are working (or building) the furnace to-day (H. koṭhī ) (Santali. Bodding) kuṭṭhita = hot, sweltering; molten (of tamba, cp. uttatta)(Pali.lex.) uttatta (ut + tapta) = heated, of metals: molten, refined; shining, splendid, pure (Pali.lex.) kuṭṭakam, kuṭṭukam = cauldron (Ma.); kuṭṭuva = big copper pot for heating water (Kod.)(DEDR 1668). gudgā to blaze; gud.va flame (Man.d); gudva, gūdūvwa, guduwa id. (Kuwi)(DEDR 1715). dāntar-kuṭha = fireplace (Sv.); kōti wooden vessel for mixing yeast (Sh.); kōlhā house with mud roof and walls, granary (P.); kuṭhī factory (A.); koṭhābrick-built house (B.); kuṭhī bank, granary (B.); koṭho jar in which indigo is stored, warehouse (G.); koṭhīlare earthen jar, factory (G.); kuṭhī granary, factory (M.)(CDIAL 3546). koṭho = a warehouse; a revenue office, in which dues are paid and collected; koṭhī a store-room; a factory (Gujarat) koḍ = the place where artisans work (Gujarati)

Hieroglyph: sprig: ḍāla 5546 ḍāla1 m. ʻ branch ʼ Śīl. 2. *ṭhāla -- . 3. *ḍāḍha -- . [Poss. same as *dāla -- 1 and dāra -- 1: √dal, √d&rcirclemacr;. But variation of form supports PMWS 64 ← Mu.]1. Pk. ḍāla -- n. ʻ branch ʼ; S. ḍ̠āru m. ʻ large branch ʼ, ḍ̠ārī f. ʻ branch ʼ; P. ḍāl m. ʻ branch ʼ, °lā m. ʻ large do. ʼ, °lī f. ʻ twig ʼ; WPah. bhal. ḍām. ʻ branch ʼ; Ku. ḍālo m. ʻ tree ʼ; N. ḍālo ʻ branch ʼ, A. B. ḍāl, Or. ḍāḷa; Mth. ḍār ʻ branch ʼ, °ri ʻ twig ʼ; Aw. lakh. ḍār ʻ branch ʼ, H. ḍāl, °lām., G. ḍāḷi, °ḷī f., °ḷũ n.2. A. ṭhāl ʻ branch ʼ, °li ʻ twig ʼ; H. ṭhāl, °lā m. ʻ leafy branch (esp. one lopped off) ʼ.3. Bhoj. ḍāṛhī ʻ branch ʼ; M. ḍāhaḷ m. ʻ loppings of trees ʼ, ḍāhḷā m. ʻ leafy branch ʼ, °ḷī f. ʻ twig ʼ, ḍhāḷā m. ʻ sprig ʼ, °ḷī f. ʻ branch ʼ.*ḍāla -- 2 ʻ basket ʼ see *ḍalla -- 2.ḍālima -- see dāḍima -- .*ḍāva -- 1 ʻ box ʼ see *ḍabba -- .*ḍāva -- 2 ʻ left ʼ see *ḍavva -- .Addenda: ḍāla -- 1. 1. S.kcch. ḍār f. ʻ branch of a tree ʼ; WPah.kṭg. ḍāḷ m. ʻ tree ʼ, J. ḍā'l m.; kṭg. ḍaḷi f. ʻ branch, stalk ʼ, ḍaḷṭi f. ʻ shoot ʼ; A. ḍāl(phonet. d -- ) ʻ branch ʼ AFD 207.टाळा (p. 196) ṭāḷā ...2 Averting or preventing (of a trouble or an evil). 3 The roof of the mouth. 4 R (Usually टाहळा) A small leafy branch; a spray or sprig. टाळी (p. 196) ṭāḷī f R (Usually टाहळी) A small leafy branch, a sprig.ढगळा (p. 204) ḍhagaḷā m R A small leafy branch; a sprig or spray. डगळा or डघळा (p. 201) ḍagaḷā or ḍaghaḷā m A tender and leafy branch: also a sprig or spray. डांगशी (p. 202) ḍāṅgaśī f C A small branch, a sprig, a spray. डांगळी (p. 202) ḍāṅgaḷī f A small branch, a sprig or spray. डाहळा (p. 202) ḍāhaḷā लांख esp. the first. 2 (dim. डाहळी f A sprig or twig.) A leafy branch. Pr. धरायाला डाहळी न बसायाला सावली Used.

Rebus: ḍhāla 'large ingot' (Gujarati)

"This review of recent archaeological work in Central Asia and Eurasia attempts to trace and date the movements of the Indo-Iranians—speakers of languages of the eastern branch of Proto-Indo-European that later split into the Iranian and Vedic families. Russian and Central Asian scholars working on the contemporary but very different Andronovo and Bactrian Margiana archaeological complexes of the 2d millennium BCE have identified both as Indo-Iranian, and particular sites so identified are being used for nationalist purposes. There is, however, no compelling archaeological evidence that they had a common ancestor or that either is Indo-Iranian. Ethnicity and language are not easily linked with an archaeological signature, and the identity of the Indo-Iranians remains elusive." (C. C. Lamberg-Karlovsky,2002, 'Archaeology and Language, The Indoiranians', in Current Anthropology, Vol. 43, No. 1, Feb. 2002 http://www.journals.uchicago.edu/doi/abs/10.1086/324130)

This is an addendum to:

Shape of Caturaśra Śyena in Mānava Śulbasūtra, Harappa seal h166 narrative

Caturaśra Śyena rebus آهن ګر āhangar 'thunderbolt-maker-smith'
https://tinyu rl.com/y3s9tomm

The monograph is organized in the following sections to narrate

Śyena, anzu, Saēna narratives and intimations from Indus Script hypertexts

of metals foundries linked to amśu, a synonym of Soma and ancu, 'iron' (Tocharian).

A stellar evidence for the use of Caturaśra Śyena 'quadrangular body of falcon' comes from the architecture of the planning of Gonur Tepe settlement.

Caturaśra Śyena Citi is a foundational framework for the processing of Soma to create the wealth of a nation by the shared wealth created by artisans and seafaring Meluhha merchants..

Bronze Age Indo-Iranian Archaeological Complexes, west of Sarasvati-Sindhu civilization

Image credit: Wikipedia "In 1976, Viktor Sarianidi proposed that the Bronze Age archaeological sites dating from c. 2200 to 1700 BCE and located in present day Turkmenistan, northern Afghanistan, southern Uzbekistan and western Tajikistan, were the remains of a connected Bronze Age civilization centered on the upper Amu Darya (Oxus). He named the complex the Bactria-Margiana Archaeological Complex (BMAC) and the inhabitants of that period and region, the Oxus civilization. The name Andronovo complex comes from the village of Andronovo in Siberia where in 1914, several graves were discovered, with skeletons in crouched positions, buried with richly decorated pottery. The name has been used to refer to a set of contemporaneous Bronze Age cultures that flourished c. 2300–1000 BCE in western Siberia and the west Asiatic steppes of Kazakhstan. This culture is thought to have been a pastoral people who reared horses, cattle, sheep and goats."

South Turkmenistan Mugrab delta and oasis

Murgab delta and oasis (circled) in the south of Turkmenistan

The Murgab river spreads out and disappears into the Kara Kum desert to the north

Distribution of archaeological sites (in red)

in the Murgab Delta. "The northern delta settlements include those now known as the ruins at Kelleli, Adji Kui, Taip, Gonur, and Togolok (Togoluk)...It is presumed that as the northern delta area became more dry, large metropolises like Gonur were abandoned. Further to the south, the ancient city of Mervbecame an Achaemenid era (519-331 BCE) administrative centre and perhaps even the capital of the satrapy that included Mouru. Mouru was then known to the Achaemenians as Margu(sh) and to the Greeks as Μαργιανή. Margiana is the derived English-Latin name of Margu. The Sassanian name for the region was Marv. "

Photo credit: University of BolognaSource: http://www.heritageinstitute.com/zoroastrianism/merv/gonur.htm "The environs of Mouru, the third nation listed in the Zoroastrian scriptures, the Avesta's book of Vendidad, are generally thought to have included the Murgab river delta, that is, the region around Merv which today is a city in southern Turkmenistan. Ruins of over 150 ancient settlements dating back to the early Bronze Age (2500-1700 BCE) have been found in the Murgab delta region which covers an area of more than 3000 sq. km. and contains about 78 oases."

GAerial photo of Gonur showing both complexes

Aerial photo of Gonur showing two complexes of Gonur (looking almost directly north). Photo credit: Kenneth Garrett

Gonur south complex.
Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan

Reconstruction of the Gonur south fortifications at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr

Excavated Gonur north complex. Photo credit: Black Sands Film

Artist's reconstruction of the Gonur north complex. Note the successive protective walls with the outer-most surrounding what appear to be dwellings.

Reconstruction of the Gonur north citadel at National Museum of Turkmenistan

Reconstruction of the Gonur north citadel complex at National Museum of Turkmenistan. Photo credit: Kerri-Jo Stewart at Flickr

Another reconstruction of the Gonur north complex. "A large necropolis lies to the west of the site. In the centre of the northern complex is a fortified citadel-like structure. Both complexes have fortification walls. The fortification walls of the southern complex are wide, 8 to 10 metres tall and interspaced with round towers along its sides and corners. There are residential quarters walls within the fortifications."

Reference:
Excavations at Southern Gonur, by V. Sarianidi, 1993, British Institute of Persian Studies.
» Brief History of Researches in Margiana by Museo-on

Other web articles include Discover Magazine, Anahita Gallery, Kar Po's Travel Blog, Dan & Mary's Monastery, Archaeology Online, Turkmenistan June 2006 and Stantours. Generally, we find the quality of research and reports available of the web to be poorly researched, highly speculative and sensationalistic. (Note: All citations from KE Eduljee http://www.heritageinstitute.com/zoroastrianism/merv/gonur.htm)

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See: http://www.iranicaonline.org/articles/simorg

See: http://en.wikipedia.org/wiki/Simurgh

"Griffin-like Simurgh (Persian: سیمرغ), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا), is the modern Persian name for a fabulous, benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia, the Byzantine empire , and other regions that were within the sphere of Persian cultural influence. Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm, and further developed as the Rukh (the origin of the English word "Roc")." http://www.flickr.com/photos/27305838@N04/4830444236

"During the first half of the 2nd millennium BC, a civilization was established in the ancient delta of the Murghab River, on the southeastern edge of a territory famous than as Turkestan. This Bronze Age site is recognized as Gonur Tepe. A civilization that flourished before being buried by time and discovered later on in present-day Turkmenistan. In the seventh millennium BC, Murgab River became the place where first agricultural settlements started to appear. The site was called “Margush” in Old Iranian texts and “Margiana” in Greek. The Margiana region has an area of 3000 square kilometers, housing 70 oasis, and 150 settlements.Gonur Tepe (or Gonur Depe) became the capital, serving as the administrative and religious center, and also a trade hub of the Margiana region.Nothing much was recognized about the complex of Gonur Tepe until 1972. When the Margiana Archaeological Expedition directed by the Greek-Russian archaeologist Victor Sarianidi discovered the fortress town. In this expedition, it was revealed that Gonur Tepe was a rectangular fortress with defensive walls, semicircular bastions, and adobe buildings. A palace and temples with fire altars dedicated to the Zoroastrian religion were also discovered. Archeologist Sarianidi explained that Gonur Tepe is the 5th oldest civilization on Earth. And it was the birthplace of Zoroastrianism. Other discoveries included extensive irrigation systems. That was similar to the ones found in Egypt, models of two-wheeled carts, and silver and gold artifacts. The artifacts discovered on-site suggest that the town of Gonur Tepe had craftsmen who could mold metal and create materials for cult worship. Besides metal, the craftsmen also did bone and stone carvings. Sarianidi also found out what appears to be the boiler for the soma. A ritual drink is known to give immortality mentioned in the Rigveda and also known as haoma in the Avesta. Dishes with traces of cannabis, poppy, and ephedrine were also found. Which led to the theory that these were the ingredients of the immortality drink soma. Therefore; in 2009, a royal tomb was excavated in which remains of dogs, a cart with bronze-rimmed wheels, and a large bronze cauldron were discovered." (Mr Devotor, Gonur Tepe, the buried fortress gtown of Turkmenistan, April 16, 2019) Source: https://charismaticplanet.com/gonur-tepe/

See: Archaeological, Indus Script evidence for Meluhha smiths, traders moving into Indo-European speaker areas of BMAC and Anau, Turkmenistan, ca. 2300 BCE http://tinyurl.com/y4h4qu3

Thunderbolt, vajra

See:

Homa bird, श्येन śyena, sēṇa brings down Soma. Sellers of Mujavata Soma. Indus Script evidences बहुसुवर्णक, bahusuvarṇaka Soma Samsthā yāga. https://tinyurl.com/yb72o7za

Finds at Purola include Painted Gray Ware dated to ca. 1000 BCE.

24x18 m. vedika discovered in Purola, ca. 2nd cent. BC to 1st cent. CE. Laid out in the east-west direction. "Researchers also uncovered a square central chamber measuring 60 x 60 cm. in the middle of the altar. Excavation of this pit yielded five red-ware miniature bowls containing ash, charcoal, sandy clay and copper coins of the Kuninda period. But the most important discovery was an impressed gold-leaf showing a human figure in flowing apparel. Along with this was found a circular gold pendant and a small piece of a -chain. A lot of charcoal and charred bones were also recovered from the chamber." https://www.facebook.com/ouruki/posts/720924017918479

श्येन [p= 1095,2]m. a hawk , falcon , eagle , any bird of prey (esp. the eagle that brings down सोम to man) RV. &c; firewood laid in the shape of an eagle S3ulbas. (Samskritam)

Syena-citi: A Monument of Uttarkashi The first layer of one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area.
Syena Chiti, Garuda shaped Chiti Schematic as described by John F Price. Context: Panjal Atiratra yajnam (2011). cf.The paper of John Price: Applied geometry of śulbasūtras.
First layer of vakrapakṣa śyena altar. The wings are made from 60 bricks of type 'a', and the body, head and tail from 50 type 'b', 6 of type 'c' and 24 type 'd' bricks. Each subsequent layer was laid out using different patterns of bricks with the total number of bricks equalling 200.
"Sênmurw (Pahlavi), Sîna-Mrû (Pâzand), a fabulous, mythical bird. The name derives from Avestan mərəγô saênô 'the bird Saêna', originally a raptor, either eagle or falcon, as can be deduced from the etymologically identical Sanskrit śyena."

-- Tablets of Destiny, vajra 'thunderbolt' are Indus Script hypertexts brought home by Śyena, amśu, Anzu to create the wealth of a Rāṣṭrram

--Śyena brings Soma from heaven (RV IV.38.5), parallel narratives of saena or simorg

The monograph is organized in the following sections:

Section A. Śyena brings Soma from heaven

Section B. Anzu steals the Tablets of Destiny

Section C. Saēna, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand) are cognate with Śyena

Section D. Soma amśu, products; śyēna, Anzu metaphors; Indus Script hypertexts of metals foundries

Section E. Thunderbolt, vajra

Three flying birds are abiding metaphors in R̥gveda.

Caturaśra Śyena Citi, the shape of the Vedic fire-altar becomes the recurrent hieroglyph used on Indus Script Corpora and in the architectural designs of sacred places of worship called mandiram or temples.

This Harappa seal h166 shows how a चतुरश्र citi or Caturaśra Śyena are comparable architectural forms.

Caturaśra Śyena Citi is a foundational framework for the processing of Soma to create the wealth of a nation by the shared wealth created by artisans and seafaring Meluhha merchants.

PRAPATHAKA IV (4) Explanation of the Piling of the Fire Altar v. 4. 1 to 11

v. 4. 2.

v. 4. 3.

v. 4. 4.

v. 4. 5.

v. 4. 6.

v. 4. 7.

v. 4. 8.

v. 4. 9.

v. 4. 10.

v. 4. 11.

See: http://www.iranicaonline.org/articles/simorgSee: http://en.wikipedia.org/wiki/Simurgh

Left: The Senmurvs are set into an overall pattern of curved rhomboids.

Left: Senmurvs as pattern on the caftan of a Sasanian king, Taq-e Bustan, Great Ivan, left wall.

Wall panel with a Senmurv. Iran, Chal Tarhan. 7th-8th c. Stucco.Inv. Nr. 6642. Image of a quite similar panel which is in better condition that came from the same site, see British Museum, inv. no. ME 1973.7-25.3.

Legend of Anzu which stole the tablets of destiny and allegory of soma

Section D.Soma amśu, products; śyēna, Anzu metaphors; Indus Script hypertexts of metals foundries

We have drunk Soma and become immortal; we have attained the light, the Gods discovered.Now what may foemans' malice do to harm us? What, O Immortal, mortal man's deception?This is clearly a metaphorical statement and DOES NOT identify Soma as a juice. For, the Chandogya Upanishad is emphatic.

· śyēna is suprana (garutmat), falcon

· mākṣikā is the pippalam sva_du atti: 'the flying bee which eats the sweet fig' (RV 1.164.20)

· patanga is the third bird, flying insect (RV 10.177) The three flying birds (insects) are rebus-metonymy renderings as hieroglyphs signifying metalwork catalogues in archaeometallurgical transactions of Bhāratam Janam, 'metalcaster folk'

About 2600-2400 BCE A rare metalwork survival

Enmetena silver vase

Terracotta plaque showing a bull-man holding a post

Syena-citi: A Monument of Uttarkashi The first layer of one kind of śyenaciti or falcon altar described in the Śulbasūtras, made of 200 bricks of six shapes or sizes, all of them adding up to a specified total area.

Molded plaque: the weather god Adad and a bull standing on a lion-dragon Period: Old Babylonian Date: ca. 2000–1600 B.C.E Geography: Southern Mesopotamia Culture: Babylonian Medium: Ceramic Dimensions: 5.25 x 3.86 in. (13.34 x 9.8 cm) Classification: Ceramics-Reliefs.

A stellar evidence for the use of Caturaśra Śyena 'quadrangular body of falcon' comes from the architecture of the planning of Gonur Tepe settlement.

See: http://www.iranicaonline.org/articles/simorgSee: http://en.wikipedia.org/wiki/Simurgh

See: Archaeological, Indus Script evidence for Meluhha smiths, traders moving into Indo-European speaker areas of BMAC and Anau, Turkmenistan, ca. 2300 BCE http://tinyurl.com/y4h4qu3

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See: http://www.iranicaonline.org/articles/simorg

See: http://en.wikipedia.org/wiki/Simurgh

We have drunk Soma and become immortal; we have attained the light, the Gods discovered.Now what may foemans' malice do to harm us? What, O Immortal, mortal man's deception?

This is clearly a metaphorical statement and DOES NOT identify Soma as a juice. For, the Chandogya Upanishad is emphatic.

See: http://www.iranicaonline.org/articles/simorg

See: http://en.wikipedia.org/wiki/Simurgh