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In Vājapeya, चषाल is prepared out of godhuma, wheat chaff to accomplish bhasman, 'calcined metal'

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https://tinyurl.com/y4kfz77e

This monograph posits three distinct markers of historical analysis of metallurgical repertoire of Tin-Bronze Revolution in Ancient India, from 5th millennium BCE.:
1.Evolution of Ujjain symbol on ancient coins is from Indus Script tradition

Siddham symbol. On Samudragupta, Gold Dinar, 7.70g, Ashvamedha typeRead as sidhato.'accomplished'.

2.sidhato mardana (Text of inscription on Ujjain coin, ca.2nd cent. BCE) signiies accomplishment of calcination of metal -- in the Ujjain mint. A synonym for mardana is māraka signified by the 'peacock' hieroglyph.maraka'peacock' Rebus: (cf. लोहमारक) 'calcining' on Samarra bowl ca. 4000 BCE (i.e. 5th millennium BCE).
3.Yupa found in 4MSR Binjor archaeological site (dated ca. 2500 BCE) establishes the Veda continuum of calcination of metal and continues in 19 Yupa inscriptions of historical periods.
See: 

 http://bharatkalyan97.blogspot.com/2013/11/pine-cone-vatican-and-peacocks-samarra.html
The Samarra bowl (ca. 4000 BC) an exhibit at the Pergamonmuseum, Berlin.
The bowl was excavated as Samarra by Ernst Herzfeld in the 1911-1914 campaign, and described in a 1930 publication. The design consists of a rim, a circle of eight fish, and four fish swimming towards the center being caught by four birds. As is typical of cultures from this region, the use of a base six numerical system can be seen in the lines surrounding the bowl, so that there are a total of 120 lines, or four quarters with 30 lines each. At the center is a swastika symbol.
The bowl was broken, part of the rim is missing, and one crack ran right across the central symbol, so that the swastika symbol should be considered a reconstruction.
Literature:
  • Ernst Herzfeld, Die vorgeschichtlichen Töpfereien von Samarra, Die Ausgrabungen von Samarra 5, Berlin 1930.
  • Stanley A. Freed, Research Pitfalls as a Result of the Restoration of Museum Specimens, Annals of the New York Academy of Sciences, Volume 376, The Research Potential of Anthropological Museum Collections pages 229–245, December 1981 https://commons.wikimedia.org/wiki/File:Samarra_bowl.jpg

Hieroglyphs on Samarra bowl: Eight fish, four peacocks holding four fish, slanting strokes surround

ayo ‘fish’; rebus: ayas ‘metal’

mora peacock; morā ‘peafowl’ (Hindi); rebus: morakkhaka loha, a kind of copper, grouped with pisācaloha (Pali). [Perhaps an intimation of the color of the metal produced which shines like a peacock blue feather.] moraka "a kind of steel" (Sanskrit) smāraka 'memorial' (Sanskrit)

Image result for ujjain symbolCopper कार्षा* पण, Ujjain.  https://www.icollector.com/Copper-Karshapana-Coin-of-Ujjain-Region_i25390710 I suggest that the nandipaada symbol on this coin is read rebus:  khambhaṛā'fish-fin' rebus: Ta. kampaṭṭam coinage, coin, mint' PLUS aya'fish' rebus: ayas'alloy metal' PLUS dula 'pair' rebus: dul 'metal casting'.Thus,mint for copper alloy metal casting..

कार्षा* पण(अर्धर्चा*दि ; cf. कर्ष्) " weighing a कर्ष " , a coin or weight of different values (if of gold , = 16 माष» कर्ष ; if of silver , = 16 पणs or 1280 Kowries , commonly termed a Kahan ; if of copper , = 80 रक्तिकाs or about 176 grains ; but accord. to some = only 1 पण of Kowries or 80 Kowries) Mn. viii , 136 ; 336 ; ix , 282

vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1]1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊkwaḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069)  வட்டம்¹ vaṭṭam , < Pkt. vaṭṭa < vṛtta. n. 1. Circle, circular form, ring-like shape; மண்ட லம். (தொல். சொல். 402, உரை.) 2. Halo round the sun or moon, a karantuṟai-kōḷபரிவேடம். (சிலப். 10, 102, உரை.) (சினேந். 164.) 3. Potter's wheel; குயவன் திரிகை. (பிங்.) 4. Wheel of a cart; வண்டிச்சக்கரம். (யாழ். அக.)



वृत्त  -- transformation or pulverized calcination , change into (ऋग्-वेद-प्रातिशाख्य). This term is signified by the vaṭṭa 'circle' on Ujjain symbol. There are four circles joined to a + symbol. The + signifies fire-altar kaNDa. The four circles signify four mineral ores. These are transformed into or calcined as bhasman, gaining the essence of the metal or alloy metal in a smelting operation in the fire-altar. Rebus:  वृत्त a matter , affair , business.Ujjain, inscribed AE 1/2 karshapana, 'tank between trees' type
Weight: 5.62 gm., Diameter: 14x14 mm.
Fishtank from which a water channel is branching flanked by two railed
     trees; Brahmi legend part below reading 'sidhatho(madana)'
Ujjain symbol
Reference: Pieper 409 (plate specimen)
Until now the legend on this coin type had been read as 'rathimadana'. This is the first specimen to show at least the first three letters of the legend clear beyond doubt. Credit goes to Harry Falk to have read the legend as 'sidhato'. The second part of the name appears to have been correctly identified from the available specimens except for the last letter which still is somewhat doubtful but '...madana' is well possible. In that case the complete name would be 'Sidhathomadana'. [unquote]


-- Wilfried Pieper

http://coinindia.com/galleries-ujjain1.html 

Obverse of the coin has Indus Script hieroglyphs: Tank has fishes: aya 'fish' rebus: ayas 'alloy metal' 
PLUS kuTi 'tree' rebus: kuThi 'smelter' PLUS dula 'pair' rebus: dul 'metal casting'.

मर्द्दनं, क्ली, (मृद् + भावे ल्युट् ।) चूर्णनम् । इति मृदधात्वर्थदर्श-नात् ॥ https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः

I suggest that the text on the coin should read 
sidhato ma(r)dana 'accomplished crushing, grinding, rubbing, anointing alloy metals). 
This is an extraordinary accomplishment in metallurgy: to achieve powdered metal referred to
as bhasmam, 'metallic ash'.

mardana मर्दन a. (-नी f.) [मृद्-ल्यु ल्युट् वा] Crushing, grinding, destroying, tormenting, rubbing, &c.; सलक्ष्मणं राघवमाजि- मर्दनम् Rām.5.37.67. -नम् 1 Crushing, grinding. -2 Rubbing, shampooing; मदर्नं गुणवर्धनम्. -3 Anointing (with unguents &c.). -4 Pressing, kneading. -5 Paining, tormenting, afflicting. -6 Destroying. -7 Devastating, laying waste. -8 Opposition of planets. -9 Breaking up (as of ice &c.).(Apte) मृद् = iron.

This is a synonym for भस्मन् chewing , devouring , consuming , pulverizing RV. v , 19 , 5 ; x , 115 , 2; (also pl.) " what is pulverized a or calcined by fire " , ashes AV. &c (युष्माभिर् भस्म भक्षयितव्यम् , " you shall have ashes to eat " i.e. " you shall get nothing " Hit. ; °मनि-हुत. mfn. " sacrificed in ashes " i.e. " useless " Pa1n2. 2-1 , 47 Sch.).
Thus I submit that sidhato mardana signifies accomplishment of calcined metal, bhasman.

सिद्ध   siddha Adept or accomplished (in alchemy &c.) (Marathi). This acomplishment of crushed alloy metal is symbolised by the four arms of the Ujjain symbol.

मण्डन adorning , ornament , decoration MBh. Ka1v. &c. Thus, Siddhato madana means decorting or adorning with siddha symbol of accomplishment. The Siddham symbol is a dot with semicircle below it, orthographically stylized.सिद्ध one who has attained the highest object , thoroughly skilled or versed in (dat. or comp.MBh. R. &c (Monier-Williams) siddha सिद्ध p. p. 1 Accomplished, effected, performed, achieved, completed. -2 Gained, obtained, acquired. -3 Succeeded, successful; one who has attained his object; याताबला व्रजं सिद्धा मयेमा रंस्थथ क्षपाः Bhāg.1.22.27. (Apte)

Siddha2 [pp. of sijjhati] ended, accomplished Mhvs 23, 45, 78; successful Miln 247. -- (m.) a kind of semi -- divine beings possessed of supernatural faculties, a magician Miln 120, 267 [cp. Sk. siddha Halāyudha 1, 87; Yogasūtra 3, 33; Aufrecht remarks: "This is a post -- vedic mythological fiction formed on the analogy of sādhya"].
   -- attha one who has completed his task Miln 214. (Pali)
Siddham or Siddhato symbol
si (brahmi syllable) = siddha. siddhi f. ʻ accomplishment, success ʼ MBh., ʻ supernatural powers ʼ Sāṁkhyak. [√sidh2Pa. siddhi -- f. ʻ accomplishment ʼ, KharI. sidhi; Pk. siddhi -- f. ʻ completion, magic power ʼ; K. sĕd f. ʻ success, superhuman power ʼ; S. sidhī f. ʻ miracle ʼ; P. siddh f. ʻ straight course ʼ; Ku.gng. śidi ʻ success ʼ, Mth. sidhi; H. sīdhsīdhī f. ʻ straightness, direct line, aim ʼ; Si. idi ʻ completion, work, superhuman power ʼ. (CDIAL 13405)
Wilson translation: RV 1.162.06 Whether they be those who cut the (sacrificial) post, or those who bear the post, or those who fasten the rings on the top of the post, to which the horse (is bound); or those who prepare the vessels in which the food of the horse is dressed; let the exertions of them all fulfil our expectation. [The post: twenty-one posts, of different kinds of wood, each twenty-one cubits long, are to be set up, to which the different animals are to be fastened, amounting to three hundred and forty-nine, besides two hundred and sixty wild animals, making a total of six hundred and nine (Ka_tya_yana); the text seems to refer to a single post: cas.a_lam ye as'vayu_pa_ya taks.ati: cas.a_la = a wooden ring, or bracelet, on the top of the sacrificial post; or, it was perhaps a metal ring at the foot of the post].

This is a tribute to the brilliant ongoing work of documenting Veda textual tradition. See links in:
https://sa.wikisource.org/wiki/ऋग्वेदः_सूक्तं_१.१ The very first ca reads:

ॐ अ॒ग्निमी॑ळे पु॒रोहि॑तं य॒ज्ञस्य॓ दे॒वमृ॒त्विज॑म् ।
होता॑रं रत्न॒धात॑मम् ॥१॥

I submit that there is abundant archaeological attestation of Veda tradition in many archaeological sites of Greater India. One site of Binjor (near Anupgarh) has yielded stunning evidence of a Yupa and an associated inscription on an Indus Script Seal which documents a metalwork catalogue.

The earliest evidence of Veda archaeology (ca. 2500 BCE) comes from Binjor (near Anupgarh) --where an aṣṭāśri octoganal pillar was found in situ, on the banks of River Sarasvati.
Shapes of Yupa: A. Commemorative stone yupa, Isapur – from Vogel, 1910-11, plate 23; drawing based on Vedic texts – from Madeleine Biardeau, 1988, 108, fig. 1; cf. 1989, fig. 2); C. Miniature wooden yupa and caSAla from Vaidika Samsodana Mandala Museum of Vedic sacrificial utensils – from Dharmadhikari 1989, 70) (After Fig. 5 in Alf Hiltebeitel, 1988, The Cult of Draupadi, Vol. 2, Univ. of Chicago Press, p.22). 


Almost all yupa inscriptions, all are aṣṭāśri octoganal pillars (19 including 5 of Mulavarman in Borneo) refer to performance of a Soma Samsthā yajña. One Mulavarman inscription cites from Rāmāyaṇa the expression bahusuvarṇaka..,.There is also archaeological evidence of śyena citi from Purola, Uttarakhand. Most emphatic veda continuum.
See: Binjor Indus Script Seal & Mulavarman yupa inscription, relate to yajna for बहुसुवर्णक, bahusuvarṇaka, 'to possess many gold pieces' Mirror: http://tinyurl.com/z2q2rk6 http://bharatkalyan97.blogspot.com/2015/12/binjor-indus-script-seal-mulavarman.html
बहुसुवर्णकbahusuvarṇaka, is a metaphor for the creation of wealth using fire, fire-altars as furnaces/smelters and yupa as invocations to Cosmic pillar to the Cosmic Dancer, the Paramatman to transmute mere earth and stones into metal, a form of wealth. The entire Vedic corpus is in nuce (nutshell) in the processing of Soma, which is NOT a herbal but a mineral. A synonym for Soma is ams'u with the cognate ancu 'iron' (Tocharian).

The key expressions on the Mulavarman Yupa inscription (D.175) are in Samskritam and one fragment reads: yaṣṭvā bahusuvarṇakam; tasya yajñasya yūpo ‘yam. This means "from yaṣṭi to possess many gold pieces; this Yupa is a commemoration of that yajna." The interpretation is comparable to the Indus Script seal found in Binjor in the context of a fire-altar with an octagonal brick, yaṣṭi. The seal can be seen as an inscription detailing metalwork catalogue of the bahusuvarṇnakam 'to possess many gold pieces' that was produced by the smelter/furnace operations using the fire-altar.

Prof. Kern identified the expression with bahuhiraNya, a particular Soma yajna. Balakanda of Ramayana has this citation: nityam pramuditAh sarve yatha kRitayuge tathA as'vamedha s'atair ishTvA tathA bahusuvarNakaih (Balakanda I,95) The referene is to the as'vamedha sattra desirous of possessing many pieces of gold. In reference to Meghanada's yajna, the reference reads:
agniSTomo 's'vamedha ca yajno bahusuvarNakah
rAjasUyas tathA yajno gomedho vaishNavas tathA mahes'vare

(UttrakANDa, XXV, 87-9) A rajasuya yajna with prayers to mahesvara is also linked to many pieces of gold. 

Another translation: "Thereupon that foremost of twice born ones Usanas of austere penances, wishing the prosperity of the sacrifice, said to Ravana the Rakshasa chief "Hear,I shall relate to thee everything, O king ;thy son hath met with the fruits of many a sacrifice AgnistomaAsvamedha
Bahusuvarnaka." (vrm 7.30)

(B.Ch. Chhabra, Yupa Inscriptions, in: Jean Ph. Vogel, 1947,India antiqua, Brill Archive, p.82).

Generosity associated with the performance of yajna is referenced in a yupa inscription. “Let the foremost amongst the priests and whatsoever pious men (there be) hear of the generous deed of Mulavarman, let them hear of his great gift, his gift of cattle, his gift of a kalpavRkSam, his gift of land'.”

Thus, Yupa inscriptions of Mulavarma are delineation of an economic institution. Vogel also notes: “Both the scholarship and the workmanship of our yupa inscriptions bear testimony of a considerable degree of Hindu culture in Eastern Borneo during the period to which they belong.” Mulavarman's grandfather KuNDungga had the cooperation of Hindu priests 'who had come here from different parts' (Vogel, 1918, pp. 167-232).

The names of yajnas are clearly related to the 'fruits of the yajna' which is to yield बहुसुवर्णक, bahusuvarṇaka, 'many pieces of gold'. That this is recognized as a Soma yajna reaffirms Soma not as a herbal but a mineral smelted, furnaced through fire-altars, yajñakuṇḍa.

See: New light on Vedic Sarasvati River as navigable waterway, Binjor discoveries of Indus Script hypertexts https://tinyurl.com/y87y2hdv

An octagonal yupa has been found at the site Binjor 4MSR on the banks of Vedic River Sarasvati, near Anupgarh, Rajasthan. 

The OSL investigations demonstrate that the palaeo-channels seen on this satellite (LANDSAT) image which shows a wide (approx 6 km. wide) channel constituted a navigable waterway during periods between 13th and 3rd millennium BCE.

These two findings complement the earlier stunning discovery of a yajña kuṇḍda with an octagonal brick pillar. Such an octagonal pillar is referred to as aṣṭāśri yupa in ancient Vedic texts. Binjor Yupa of  Sarasvati Vaidika civilization is yajñasya ketu (RV 3.8.8), a proclamation emblem of performance of a Soma Samsthā yajña. Such a yajña yields bahusuvarṇakam; 'many gold pieces' and thus, a wealth-producing metallurgical enterprise performed with śraddhā, 'dedication, devotion' and prayers.

caṣāla is a unique metallurgical technique documented in the Veda texts to infuse carbon into metal in furnaces to harden the metal or to produced hardened alloys. caṣāla is godhūma, fumes of wheat chaff which infuse angāra, 'carbon'. The expression caṣāla 'wheat chaff fume' is signified by the sacred hieroglyph of caṣāla 'snout of varāha.'

The yupa is a conclusive evidence of Veda culture in the Binjor (4MSR) site on the banks of Vedic River Sarasvati. This is specially described in Śatapatha Brāhmaṇa & Rigveda.

An exposition by Sadhashiv A Dange: “the yūpa is described as being the emblem of the sacrifice (RV III.8.8 yajñasya ketu). Though it is fixed on the terrestrial plane at the sacrifice, it is expected to reach the path of the gods. Thus, about the many sacrificial poles (fixed in the Paśubandha, or at the Horse-sacrifice) it is said that they actually provide the path for reaching the gods (ib., 9 devānām api yanti pāthah). They are invoked to carry the oferings to the gods (ib., 7 te no vyantu vāryam devatrā), which is the prerogative of the fire-god who is acclaiemd as ‘messenger’ (dūta); cf. RV I.12.1 agrim dūtam vṛṇimahe). In what way is the yūpa expected to carry the chosen offering to the gods? It is when the victim is tied to the sacrificial pole. The prallelism between the sacrificial fire and the yūpa is clear. The fire carries it through the smoke and flames; the yūpa is believed to carry it before that, when the victim is tied to it, as its upper end is believed to touch heaven. A more vivid picture obtains at the yajapeya. Here the yūpa is eight-angled, corresponding to the eight qurters. (śat. Br. V.2.1.5 aṣṭāśrir yūpo bhavati; the reason given is that the metre Gayatri has eight letters in one foot; not applicable here, as it is just hackneyed. At Taitt.Sam. I.7.9.1, in this context a four-angled yūpa is prescribed.) The one yūpa is conceived as touching three worlds: Heaven, Earth and the nether subterranean. The portion that is above the caṣāla (ring) made of wheat-dough (cf.śat. Br. V.2.1.6 gaudhūmam caṣālam bhavati) represents Heaven. This is clear from the rite of ascending to the caṣāla, made of wheat-dough, in the Vajapeya sacrifice. The sarificer ascends to it with the help of a ladder (niśrayaṇī); and, while doing so, calls upon his wife, ‘Wife, come; let us ascend to Heaven’. As soon as he ascends and touches the caṣāla, he utters, ‘We have reached Heavven, O gods’ (ib., 12). According to Sāyaṇa on the Taiit.Sam. I.7.9.1, the sacrificer stretches his hands upwards when he reaches the caṣāla and says, ‘We have reached the gods that stay in heaven’ (udgṛhītābhyām bāhubhyām). Even out of the context of the Vajapeya, when the yūpa is erected (say in the Paśubandha), it is addressed, ‘For the earth you, for the mid-region you, for heaven you (do we hoist you)’ (Taitt. Sam. I.3.6.1-3; cf. śat. Br. III.7.1.5-6). The chiselled portion of the yūpa is above the earth. So, from the earth to heaven, through the mid-region the yūpa represents the three-regions. The un-chiselled portion of the yūpa is fixed in the pit (avaṭa) and the avaṭa, which represents the subterranean regions, is the region of the ancestors (ib.4).The yūpa, thus, is the axis mundi…Then, it gave rise to various myths, one of them being that of the stūpa of Varuṇa, developing further into Aśvattha tree, which is nothing but a symbol of a tree standing with roots in the sun conceived as the horse (aśva-stha = aśvattha), a symbol obtaining at varius places in the Hindu tradition. It further developed into the myth of the churning staff of the mountain (Amṛta-manthana); and yet further, into the myth of Vasu Uparicara, whom Indra is said to have given his yaṣṭi (Mb.Adi. 6y3.12-19). This myth of the yaṣṭi was perpetuated in the ritual of the Indra-dhvaja in the secular practice (Brhatsamhita, Chapter XLII), while in the s’rauta practice the original concept of the axis mundi was transformed into the yūpa that reached all regions, including the under-earth. There is another important angle to the yūpa. As the axis mundi it stands erect to the east of the Uttaravedi and indicates the upward move to heaven. This position is unique. If one takes into account the position of the Gārhapatya and the āhavaniya fireplaces, it gets clear that the march is from the earth to heaven; because, the Gārhapatya is associated with this earth and it is the household fire (cf. gṛhā vai gārhapatyah, a very common saying in the ritual texts), and the seat of the sacrificer’s wife is just near it, along with the wives of the gods, conceptually. From this fire a portion is led to the east, in the quarter of the rising sun (which is in tune with such expressions as prāñcam yajñam pra nayatā sahāyah, RV X.101.2); where the Ahavaniya fireplace is structured. As the offerings for the gods are cast in the Ahavaniya, this fire is the very gate of heaven. And, here stands, the yūpa to its east taking a rise heavenwards. This is, by far, the upward rise. But, on the horizontal plane, the yūpa is posted half-inside, half-outside the altar. The reason is, that thereby it controls the sacred region and also the secular, i.e. both heaven and earth, a belief attested by the ritual texts. (Tait. Sam. VI.6.4.1; Mait. Sam. III.9.4).”(Dange, SA, 2002, Gleanings from Vedic to Puranic age, New Delhi, Aryan Books International, pp. 20-24).
The Sukta RV X.101 reads, explaining the entire yajña as a metaphor of golden-tinted soma poured into a wooden bowl, a smelting process yielding weapons of war and transport and implements of daily life (Translation of RV X.101):
10.101.01 Awake, friends, being all agreed; many in number, abiding in one dwelling, kindle Agni. I invoke you, Dadhikra, Agni, and the divine Us.as, who are associated with Indra, for our protection. [In one dwelling: lit., in one nest; in one hall].
10.101.02 Construct exhilarating (hymns), spread forth praises, construct the ship which is propelled by oars, prepare your weapons, make ready, lead forth, O friends, the herald, the adorable (Agni).
10.101.03 Harness the ploughs, fit on the yokes, now that the womb of earth is ready, sow the seed therein, and through our praise may there be abundant food; may (the grain) fall ripe towards the sickle. [Through our praise: sow the seed with praise, with a prayer of the Veda; s’rus.t.i = rice and other different kinds of food].
10.101.04 The wise (priests) harness the ploughs, they lay the yokes apart, firmly devoted through the desire of happiness. [Happiness: sumnaya_ = to give pleasure to the gods].
10.101.05 Set up the cattle-troughs, bind the straps to it; let us pour out (the water of) the well, which is full of water, fit to be poured out, and not easily exhausted.
10.101.06 I pour out (the water of) the well, whose cattle troughs are prepared, well fitted with straps, fit to be poured out, full of water, inexhaustible.
10.101.07 Satisfy the horses, accomplish the good work (of ploughing), equip a car laden with good fortune, pour out (the water of) the well, having wooden cattle-troughs having a stone rim, having a receptable like armour, fit for the drinking of men.
10.101.08 Construct the cow-stall, for that is the drinking place of your leaders (the gods), fabricate armour, manifold and ample; make cities of metal and impregnable; let not the ladle leak, make it strong.
10.101.09 I attract, O gods, for my protection, your adorable, divine mine, which is deserving of sacrifice and worship here; may it milk forth for us, like a large cow with milk, giving a thousand strreams, (having eaten) fodder and returned.
10.101.10 Pour out the golden-tinted Soma into the bowl of the wooden cup, fabricate it with the stone axes, gird it with ten bands, harness the beast of burden to the two poles (of the cart).
10.101.11 The beast of burden pressed with the two cart-poles, moves as if on the womb of sacrifice having two wives. Place the chariot in the wood, without digging store up the Soma.
10.101.12 Indra, you leaders, is the giver of happiness; excite the giver of happiness, stimulate him, sport with him for the acquisition of food, bring down here, O priests, Indra, the son of Nis.t.igri_, to drink the Soma. [Nis.t.igri_ = a name of Aditi: nis.t.im ditim svasapatni_m girati_ti nis.t.igri_raditih].
Thus, what has been discovered in Binjor is in Rigveda tradition of a yupa topped by caṣāla (godhuma, wheat chaff smoke) to carburize metal in furnace, fire-altar. The yupa is RV III.8.8 yajñasya ketu, the signature tune of the prayer, the signifier. Hieroglyph for caṣāla is the snout of varāha, the Veda Purusha. caṣāla and yupa are the vajra, which yield the adamantine glue, sanghgāta which is signified by the hieroglyphs: sangaDa, 'chain, lathe-portable furnace' in Indus Script tradition of data archiving. The Binjor seal with inscription is a data archive of metalwork by the artisans of Binjor (4MSR) who are engaged in a Cosmic process of creating wealth out of mere stone and rock mediated by fire and yaj, 'prayer'.

aṣṭāśri octagonal yupa found in Binjor 4MSR. Śivalinga found in Vizhinjam 1st cent. CE? 

The octagonal shape of Rudra bhāga of Vizhinjam Śivalinga compares with the aṣṭāśri octagonal yupa found in Binjor Yajna kunda (ca. 2500 BCE). 
After Plate 8 in Kumar et al opcit. Ajit Kumar* Rajesh S.V.* Abhayan G.S.*Vinod V.* and Sujana Stephen**, 2013, Indian Ocean Maritime Trade: Evidences fromVizhinjam, South Kerala, Indiain:  Journal of Indian Ocean Archaeology No. 9, 2013 | 195-201 and 31-33 (Plates).

A s'ivalinga is meḍhā -- with a unique octagonal/quadrangular shape as prescribed in Vedic texts -- rebus medha 'yajña'. Scores of s'ivalingas are found in India, Nepal, Laos, Vietnam, Indonesia, Thailand with such s'ivalinga and ekamukha s'ivalinga of octagonal shape in rudra bhAga (middle). Images of such lingas of octagonal shape in rudra bhAga are presented for ready reference.
On some linga-s mukha 'face' is ligatured in the middle of the linga -- the rebus Meluhha reading is: mũh 'face' rebus: mũhe 'ingot' rebus: muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS meḍhā 'stake, yupa' rebus: medha 'yajña'.
चषालः caṣāla on Yupa, is an Indus Script hieroglyph like a crucible to carburize ores into steel/hard alloys (vajra), i.e. calcine metals.
From Binjor (4MSR) on the banks of Vedic River Sarasvati, a yajña kuNDa with an अष्टाश्रि 'having eight corners' (Vedic) yupa (brick pillar) was discovered in April 2015 by a young team of students from Institute of Arcaheology, National Museum, New Delhi led by Dr. Sanjay Manjul.
The yupa is a conclusive evidence of Veda culture in the Binjor (4MSR) site on the banks of Vedic River Sarasvati. This is specially described in Śatapatha Brāhmaṇa & Rigveda.
The key expressions on the Mulavarman Yupa inscription (D.175) are in Samskritam and one fragment reads: yaṣṭvā bahusuvarṇakam; tasya yajñasya yūpo ‘yam. This means "from yaṣṭi to possess many gold pieces; this Yupa is a commemoration of that yajna."

A remarkable discovery is the octoganal brick which is a yaṣṭi.in a fire-altar of Bijnor site on the banks of Vedic River Sarasvati. Thi yaṣṭi attests to the continuum of the Vedic tradition of fire-altars venerating the yaṣṭi as a baton, skambha of divine authority which transforms mere stone and earth into metal ingots, a manifestation of the cosmic dance enacted in the furnace/smelter of a smith.

Vajapeya is one of 7 samstha (profession) for processing/smelting soma (a mineral, NOT a herbal): सोमः [सू-मन् Uṇ.1.139]-संस्था a form of the Soma-sacrifice; (these are seven:- अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय). The Vajapeya performed in Binjor and Balibangan should have been related to the Soma-samstha: सोमः संस्था specified as वाजपेय with the shape of the yupa with eight- or four-angles.

सं-√ स्था a [p=1121,2]A1. -तिष्ठते ( Pa1n2. 1-3 , 22 ; ep. and mc. also P. -तिष्ठति ; Ved. inf. -स्थातोस् A1pS3r. ) , to stand together , hold together (pf. p. du. -तस्थान्/ए , said of heaven and earth) RV.  ; to build (a town) Hariv.  ; to heap , store up (goods) VarBr2S. 
occupation , business , profession W.

At the Vājapeya, the yūpa is eight-angled (as in Binjor), corresponding to the eight quarers (Sat.Br. V.2.1.5 aSTās'rir yūpo bhavatiअश्रि [p= 114,2] f. the sharp side of anything , corner , angle (of a room or house) , edge (of a sword) S3Br. Ka1tyS3r.often ifc. e.g. अष्टा*श्रि , त्रिर्-/अश्रि , च्/अतुर्-श्रि , शता*श्रि q.v. (cf. अश्र) ;([cf. Lat. acies , acer ; Lith. assmu3]).

The shape seen commonly in all the shapes of yupa of Isapur is that they are octagonal (eight angles). The shape matches with the drawing based on Vedic texts by Madeleine Biardeau (See slide image given below).

The vedic text which specifies the octagonal shape of the yupa is Satapatha Brahmana.

Sbr. V.2.1.9: While setting up the ladder, the yajñika says to his wife, 'Come, let us go up to Heaven'. She answers, 'Let us go up'. (Sbr V.2.1.9) and they begin to mount the ladder. At the top, while touching the head of the post, the yajñika says: 'We have reached Heaven' (Taittiriya Samhita, SBr. Etc.) 'I have attained to heaven, to the gods, I have become immortal' (Taittiriya samhita 1.7.9) 'In truth, the yajñika makes himself a ladder and a bridge to reach the celestial world' (Taittiriya Samhita VI.6.4.2)

Eggeling' translation of Sbr. Pt III, Vol. XLI, Oxford, 1894, p.31 says:
“The post is either wrapped up or bound up in 17 cloths for Prajapati is 17-fold.' The top of the Yupa carries a wheel called cas'Ala in a horizontal position. The indrakila too is adorned with a wheel-ike object made of white cloth, but it is placed in a vertical position.

The metalwork evidences reported from Binjor by Sanjay Manjul and his team of students from the Institute of Archaeology, New Delhi, attest to the wealth-producing activities at this industrial site of Binjor of the Bronze Age on the Sarasvati River Basin.

Considering that the Vedic River Sarasvati together with River Sindhu were navigable water-ways, the links and interactions with Mesopotamia and Ancient Near East can be explained as trade transactions by seafaring Meluhha merchants and artisans. The five seals which document the metalwork and trade transactions are as follows:

Binjor. Seal.

Binjor seal.

Decipherment:

Field symbol: kõda 'young bull, bull-calf' rebus: kõdā 'to turn in a lathe'; kōnda 'engraver, lapidary'; kundār 'turner'kundana 'fine gold'. Ta. kuntaṉam interspace for setting gems in a jewel; fine gold (< Te.). Ka. kundaṇa setting a precious stone in fine gold; fine gold; kundana fine gold. Tu.kundaṇa pure gold. Te. kundanamu fine gold used in very thin foils in setting precious stones; setting precious stones with fine gold. (DEDR 1725) Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara'proclamation' sangara 'trade' Rebus: 

jangaḍ 'wealth in treasury' See:


Explanatory significance of a rebus rendering: 

 https://tinyurl.com/yaanmbpa

Text of inscription

Fish + scales, aya ã̄s (amśu) cognate ancu 'iron' (Tocharian) ‘metallic stalks of stone ore’. ayo 'fish' rebus: aya 'iron' (Gujarati) ayas 'metal alloy (Rgveda) Vikalpa 1: khambhaṛā 'fish fin' rebus: Ta. kampaṭṭam coinage, coin. Ma. kammaṭṭam, kammiṭṭam coinage, mintKa. kammaṭa id.; kammaṭi a coiner. (DEDR 1236) Vikalpa 2: badho ‘a species of fish with many bones’ (Santali) Rebus: bahoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali)


gaṇḍa 'four' Rebus: khaṇḍa 'metal implements' Together with cognate ancu 'iron' the message is: native metal implements. 
Thus, the hieroglyph multiplex reads: aya ancu khaṇḍa 'metallic iron alloy implements'.

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

pōlaḍu 'black drongo' rebus: polad 'steel. See painted Nausharo pot with zebu + black drongo. (Note: It is possible that the octagonal brick pillar discovered in Binjor might have been used with a caṣāla on top to carburize iron to realize steel -- metallurgical transformation process of producing steel from magnetite ore, i.e., from 1. Hieroglyph: poḷa 'bos indicus, zebu' rebus: poḷa 'magnetite, ferrite ore' to 2. Hieroglyph: pōlaḍu 'black drongo' rebus: polad 'steel.
A seal-cum-pendant, made out of steatite. The hieroglyphs are: Squirrel, wild ass, goat.
 *śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1]Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ?(CDIAL 12723) Rebus: guild master khāra, 'squirrel', rebus: khār खार् 'blacksmith' (Kashmiri)*śrēṣṭrī1 ʻ clinger ʼ. [√śriṣ1] Phal. šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? (CDIAL 12723) Rebus: śrēṣṭhin m. ʻ distinguished man ʼ AitBr., ʻ foreman of a guild ʼ, °nī -- f. ʻ his wife ʼ Hariv. [śrḗṣṭha -- ] Pa. seṭṭhin -- m. ʻ guild -- master ʼ, Dhp. śeṭhi, Pk. seṭṭhi -- , siṭṭhi -- m., °iṇī -- f.; S. seṭhi m. ʻ wholesale merchant ʼ; P. seṭh m. ʻ head of a guild, banker ʼ,seṭhaṇ°ṇī f.; Ku.gng. śēṭh ʻ rich man ʼ; N. seṭh ʻ banker ʼ; B. seṭh ʻ head of a guild, merchant ʼ; Or. seṭhi ʻ caste of washermen ʼ; Bhoj. Aw.lakh. sēṭhi ʻ merchant, banker ʼ, H. seṭh m., °ṭhan f.; G. śeṭhśeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ.
A seal-cum-pendant, made out of steatite.
A seal-cum-pendant, made out of steatite, found in the "key trench" at 4MSR. One one side are engravings of figures of a dog, a mongoose and, perhaps, a goat. On the other are the figures of a frog and a deer. The pendant belongs to the Early Harappan period (3000-2600 BCE). The pendant, with a knob-like projection at the top, had a hole too for a cord to pass through so that it could be worn around the neck [Credit: V. Vedachalam]
Hieroglyph: Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mū̃h 'ingot'. muhã 'quantity of metal produced at one time in a native smelting furnace.'.
miṇḍā́l 'markhor' (CDIAL 10310) Rebus: meḍ (Ho.); mẽṛhet 'iron' (Munda.Ho.). med ‘copper’ (Slavic)
Santali glosses.

Binjor. Potsherd with painted saffloweer. karaḍā 'safflower'.करडी [ karaḍī ] id. rebus: kaaraḍā 'hard alloy' (Marathi) Allograph: The bird hieroglyph: karaḍa  करण्ड  m. a sort of duck L. కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. (Telugu) karaṭa1 m. ʻ crow ʼ BhP., °aka -- m. lex. [Cf. karaṭu -- , karkaṭu -- m. ʻ Numidian crane ʼ, karēṭu -- , °ēṭavya -- , °ēḍuka -- m. lex., karaṇḍa2 -- m. ʻ duck ʼ lex: see kāraṇḍava -- ]Pk. karaḍa -- m. ʻ crow ʼ, °ḍā -- f. ʻ a partic. kind of bird ʼ; S. karaṛa -- ḍhī˜gu m. ʻ a very large aquatic bird ʼ; L. karṛā m., °ṛī f. ʻ the common teal ʼ.(CDIAL 2787) Rebus: karaḍā 'hard alloy'
dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' PLUS koḍa 'one' Rebus: ko 'workshop'. Thus, mineral (metal) casting workshop.
khara Equus hemionus, 'Indian wild ass' Rebus: khā‘blacksmith’ (Kashmiri)
mlekh 'goat' rebus: milakkhu 'copper' mlecha ‘copper’



Yajnayudhani, an album of implements used in vedic rituals, with descriptive notes (2013)by TN Dharmadhikari, Pune, Vaidik Samsodhana Mandal


(From A dictionary of the vedic rituals based on the Srauta and Grhya Sutras by Chitra Bhanu Sen, 1978, Delhi, Concept Publishing Co.)

चषाल (g. अर्धर्चा*दि) a wooden ring on the top of a sacrificial post RV. i , 162 , 6 TS. vi काठक xxvi , 4 (चशालS3Br. &c (Monier-Williams)

caṣālḥ चषालः 1 A wooden ring on the top of a sacrificial post; चषालं ये अश्वयूपाय तक्षति Rv.1.162.6; चषालयूपत- च्छन्नो हिरण्यरशनं विभुः Bhāg.4.19.19. -2 An iron ring at the base of the post. -3 A hive. (Apte)

चषाल the snout of a hog MaitrS. i , 6 , 3.

चषाल -- कल्पद्रुमः 

चषालः, पुं, (चष्यते वध्यतेऽस्मिन् । चष + “सानसि- वर्णसीति ।” उणां । ४ । १०७ । इति आल प्रत्ययेन निपातनात् साधुः ।) यूपकटकः । इत्य- मरः । २ । ७ । १८ ॥ यज्ञसमाप्तिसूचकं पशु- बन्धनाद्यर्थं यज्ञभूमौ यत् काष्ठमारोप्यते स यूपः तस्य शिरसि वलयाकृतिर्डमरुकाकृतिर्व्वा यः काष्ठविकारः सः । यूपमूलेविहितलोहवलयश्च । इति केचित् । इति भरतः ॥ मधुस्थानम् । इति संक्षिप्तसारे उणादिवृत्तिः ॥

चषाल -- अमरकोशः 

चषाल पुं।यूपकटकः समानार्थक:चषाल,यूपकटक वेदिः परिष्कृता भुमिः समे स्थण्डिलचत्वरे। चषालो यूपकटकः कुम्बा सुगहना वृतिः॥ सम्बन्धि1 : यज्ञः पदार्थ-विभागः : , द्रव्यम्, पृथ्वी, अचलनिर्जीवः, अचलनिर्जीववस्तु


चषाल --वाचस्पत्यम्  (cf. Apte: suṣira सुषिर a. 1 Full of holes, hollow, perforated; चेतनावान्नरो हन्याद्यस्य नासुषिरं शिरः Mb.12.266.33. -2 Slow in articulation. -रम् 1 A hole, an aperture, a cavity; सुषिराणि प्रवक्रिरे Śiva B.13.92. -2 Any wind- instrument (flutes and similar instruments); अवापुरुच्चैः सुषिराणि राणिताम् N.15.16.)

चषाल¦ पु॰ न॰ चष--आलच् अर्द्धर्च्चादि। यूपकटके यज्ञिय-पशुबन्धनार्थे यूपमध्येदेये बलयाकारे काष्ठमये लौह-मये वा पदार्थे अमरः। तल्लक्षणादिकमुक्तं का॰ श्रौ॰६ ।१ ।२८ । सूत्रादौ “अग्राच्चषालं पृथमात्रमष्टाश्रि मध्यसंगृहीतम्” २८ सू॰ “यूप परिवासनानन्तरं यदवशिष्टं पृथक्कृतमग्रम् ततश्चषा-लं कर्त्तव्यम् प्रसारिताङ्गुलिः पाणिरामणिवन्धनान् पृथक्इत्युच्यते चषालमिति संज्ञा सं व्यवहारार्था “आ चषाले-क्षणात्” इत्यादौ। अष्टाश्रि अष्टकोणम् तदपि तक्षणेनाष्ट-कोणं कुर्य्यात् तक्षैव। उलूखलवन्मध्ये संकुचितम्” कर्कः। “ऊर्द्धमग्रे प्रतिमुञ्चति” २९ सू॰ “तच्चषालं यूपस्याग्रे ऊर्द्ध्वंप्रतिमुञ्चति अतएवोर्द्धप्रतिमोकविधानाच्चषालस्य तथाबेधः कार्यः। प्रतिमुञ्चतीति वचनाच्च चूडाग्रो यूपःचषालं च ससुषिरमिति गम्यत इति हरिस्वामिनःतथा चाहापस्तम्बः “मूलतोऽतष्टमुपरम् अष्टाश्रिरनुपूर्वोऽग्रतोऽणीयान् प्रज्ञाताष्टाश्रिरिति” कर्क॰“द्व्यङ्गुलं त्र्यङ्गुलं वां तर्द्मातिक्रान्तं यूपस्य”३० सू॰ “यूपस्य यूपाग्रस्य द्व्यङ्गुलं त्र्यङ्गुलं वा चषालं तर्द्माति-क्रान्तं चषालच्छिद्राग्रवेधादतिक्रान्तं भवति अतिक्रम्योर्द्ध्वंनिःसृतं भवति तथा चषालस्योर्द्धं प्रवयणं कर्त्तव्यम्यथा चषालो यूपाग्रादधो द्व्यङ्गुले त्र्यङ्गुले वा तिष्ठ-तीत्यर्थः” कर्कः “भूश्चषालतुलिताङ्गुलीयकम्” माघः

चषाल -- शब्दसागरः 

चषाल¦ m. (-लः) 1. A wooden ring on the top of a sacrificial post. 2. An iron ring at the base of the post. 3. A hive. E. चष् to eat, &c. आलच् Unadi aff.


चषाल -- Vedic Index of Names and Subjects 

Caṣāla, the mortar-shaped top-piece of the sacrificial post (Yūpa), is mentioned from the Rigveda onwards.[१] In one passage of the Śatapatha Brāhmaṇa[२] it is directed to be made of wheaten dough (gaudhūma).

.  Rv. i. 162, 6; Taittirīya Saṃhitā, vi. 3, 4, 2, 7; Kāṭhaka Saṃhitā, xxvi. 4, etc.; Maitrāyaṇī Saṃhitā, i. 11, 8, etc.

.v. 2, 1, 6. Cf. Eggeling, Sacred Books of the East, 26, 168, n. 1;41, 31, n. 1.

चषाल -- Vedic Rituals Hindi

चषाल न.
मूंठ, ऋ.वे. 3.8.1० (चषालवन्तः स्वरवः पृथिव्याम्); मा.श्रौ.सू. 5.2.12.4, यज्ञीय यूप पर एक काष्ठीय वलय लगा देना चाहिए, कुछ के मतानुसार, ऊपर से दो या तीन आंगुल की दूरी पर। उसे यज्ञीय यूप के शिखर को ‘चषाल’ के ऊपर ही रहने देना चाहिए (ताकि यह) लम्बाई में उपरी अंगुलास्थि के बराबर (होवे)। ‘चषाल’ का निर्माण चरव्य चषाल 229 भी उसी वृक्ष से किया जाता है, जिससे यज्ञिय यूप (स्तम्भ) तैयार किया जाता है। यदि अध्यर्वु यह चाहता हो कि यजमान के धन का उपयोग दूसरा कोई करे, तो उसे ‘स्वरु’ एवं ‘चषाल’ का निर्माण ‘यूप’ की लकड़ी से भिन्न काष्ठ से करना चाहिए। उसे ‘चषाल’ पर ‘ऐन्द्रमसि’ से सभी तरफ लेप करना चाहिए, ओर इसे यूप पर ‘सुपिप्पलाभ्यस्त्वा’ इस मन्त्र से स्थिर कर दे (लगा दे), श्रौ.को. (अं) I.796। उसे यूप के लेपन के लिए चषाल को हटा लेना चाहि और इसका शोधन करना चाहिए, श्रौ.को. (अं.) 1.799. इसे लगाने के पहले वह इसे यूप के उत्तर की ओर रखे, (श्रौ.को (अं.) I.8०1), (का.श्रौ.सू.) (6.2.2-3.15)। यदि यज्ञ की पूर्णता के पहले कोई पक्षी चषाल पर बैठ जाय, तो ‘सर्वप्रायश्चित्त’- संज्ञक कृत्य का अनुष्ठान करना पड़ता है, श्रौ.को. (अं.) I.86०. यदि ‘उपर’ के ऊपर दो शाखाओं वाला ‘यूप’ अनुमत हो, तो उन्हें दो तनों पर दो चषाल लगाने चाहिए, श्रौ.को. (अं) I.885. चषालवलय एक बीता (दश अंगुल) ऊँचा, बीच में संकीर्ण (उलूखलवत्) एवं आकृत में अष्टकोणीय (आठ कोणों वाला, अष्टाश्रि) होता है, श्रौ.को. (अं.) I.ii 781 (भा.श्रौ.सू. 7.1.1-4.4)। चि.भा.से. के मतानुसार यह यूप का एक काष्ठीय शिरःखण्ड है। यह आठ कोनों वाला, बीच में संकुचित, किसी के हाथ की कलाई से अंगुलियों के अग्रभाग के बराबर एवं खोखली निर्मित होती है। इसे ‘यूप’ के शिखर पर पगड़ी के समान इस तरह लगाया जाता है कि यूप का दो अथवा तीन अंगुल (भाग) चषाल के ऊपर उभरा रहे, का.श्रौ.सू. 6.1.28.3० (पशुबन्ध)। यदि यजमान ज्ञानेन्द्रियों की शक्ति की कामना वाला है, तो ‘यूपों’ को खड़ा करना चाहिए ताकि ‘चषाल’ एक समान रहें (तै.सं. 6.6.4.1). कहने का अभिप्राय है कि ‘यूपों’ के भागों की परिधि, जिसपर चषालों को लगाना है, समान रहें, बौ.श्रौ.सू. 17.11-13. ‘पात्नीवत यूप’ पर कोई भी चषाल नहीं लगाया जाता है, श्रौ.को. (अं) II.85०.


 


Functions of 19 Yūpas from ca. 100 CE are a continuum of the bahusuvárṇaka functions archaeologically attested in Binjor octagonal yupa + Indus Script seal + fire-altar, ca 2500 BCE (?)

This monograph argues for the continuum of functions attested in Binjor (Rajasthan) fire-altar (+ an octagonal Yūpa+Indus Script seal) with the functions revealed on yupa inscriptions of historical periods starting from 102 CE, mostly in sites of Rajasthan and in East Borneo (Mulawarman yupa inscriptions).

Yupa inscriptions and ancient texts refer to yajna-s (sattras) as bahusuvárṇaka, producers of gold, of wealth. This is matched by the archaeological evidence of inscription on an Indus Script seal discovered at Binjor (Anupgarh, Rajasthan) site related to Sarasvati-Sindhu civilization, ca. 2500 BCE (?)

The Binjor fire-altar with an embedded octagonal yupa of brick accompanied by an Indus Script seal also produces evidence of  BahusuvarNaka, great wealth produced by artisans of the civilization working with smelters/furnaces and in smithy/forge.

The name of the sattra performed by Mulawarman (400 CE) is of significance; it was called bahuhiraNya, a kind of Soma sacrifice. BahusuvarNaka is an expression which occurs in Valmiki Ramayana in reference to Rama's yajna and Meghanada's sattra or yajna.

 हिरण्य [p= 1299,3] n. (ifc. f(). ; prob. connected with हरि , हरित् , हिरि) gold (orig. " uncoined gold or other precious metal " ; in later language " coined gold " -or " money ") RV. &c any vessel or ornament made of gold (as " a golden spoon " Mn. ii , 29RV. AV. VS. Kaus3.a gold piece or coin (generally with सुव्/अर्ण as opp. to base metal) Br.

सु--वर्ण a [p= 1233,1]mf()n. of a good or beautiful colour , brilliant in hue , bright , golden , yellow RV. &cgold , made of gold TBr. ChUp. R.n. money , wealth , property , riches L.n. gold (of which 57 synonyms are given) AV. &c

The dakshiNas which accompany the sattras detailed in Yupa inscriptions may also reasonably be related to the production and sharing of wealth produced by working with fire-altars. If Soma was NOT a herbal but a mineral, such as electrum or gold-silver compound in mAkshika, 'pyrites', if ams'u is cognate with ancu (Tocharian) signifying 'iron', it is also reasonably inferred that the products worked on with fire-altars might have included dhAtu, minerals and metals.

Isapur Yupa inscription (102 CE, dated in year 24 in Kushana king Vasishka's reign) indicates performance of a sattra (yajna) of dvadasarAtra, 'twelve nights'. (Vogel, JP, The sacrificial posts of Isapur, Annual Report of the Archaeological Survey of India, 1910-11: 40-8).


Chhabra provides a succinct account of the 19 yupa inscriptions known in 1947. (B.CH. CHHABRA, Yupa Inscriptions, in: Jean Ph. Vogel, 1947,India antiqua, Brill Archive, pp.77-82).

Of the 19 yupa inscriptions, nine are from Rajasthan, five are from East Borneo (Indonesia) and the rest from regions such as Mathura and Allahabad. The list of 19 yupa inscriptions is as follows:

1 Isapur Mathura, 102 CE
2 Kosam-Allahabad 125 CE
3-4 Nandasa Udaipur 225 CE
5 Barnala Jaipur 227 CE
6-8 Badva Kotah 238 CE
9 Badva Kotah 238 CE
10 Nagar Jaipur 264 CE
11 Barnala Jaipur 278 CE
12 Bijayagarh Bharatpur 371 CE
13-16 Koetei Borneo 400 CE
17-19 Koetei Borneo 400 CE


A significant fact to be underscored is that most of the Yupa inscriptions are from Rajasthan point to the geographical locus of over 80% of sites Sarasvati-Sindhu civilization, which are on the basin of Vedic River Sarasvati.
Octagonal yupa brick found in the fire-altar, Binjor. Discovered together with an Indus Script seal which signified metalwork.  http://bharatkalyan97.blogspot.in/2015/12/binjor-fire-altar-with-octagonal-yasti.html

At the Binjor site, an inscription in Indus Script was found on a seal.

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

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

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

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

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

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

The bird hieroglyph: karaḍa 

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

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

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

Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara 'proclamation.
Together, the message of the Binjor Seal with inscribed text is a proclamation, a metalwork catalogue (of)  'metallic iron alloy implements, hard alloy workshop' .

The second significant fact is that almost all the yupas are square below and octagonal above (with the exception of Nandsa Yupa which is round throughout). 

The octagonal nature of the top of the yupa is consistent with the octagonal yupa of Sarasvati-Sindhu civilization ca 2500 BCE (subject to validation by carbon 14 dating) site of Binjor discovered in March 2015. This is an emphatic indicator of the Vedic cultural continuum from the days of Sarasvati-Sindhu civilization to the historical periods reported by the 19 yupa inscriptions which celebrate the Vedic tradition of yajna-s.

Based on the decipherment of the seal with Indus Script inscription, the fire-altar of Binjor is relatable to the functions of a furnace to produce the metalwork detailed in the inscription on the seal.

The first hieroglyph-multiplex on the Binjor seal is comparable to an identical hieroglyph-multiplex on another seal of the civilization m305 Mohenjodaro:

m 305 Seal. Mohenjo-daro. 

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

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

Hieroglyph: aya 'fish' Rebus: aya, ayas 'iron, metal'

Pictorial hieroglyph-multiplex: kuThi 'twig' Rebus: kuThi 'smelter' thattAr 'buffalo horn' Rebus: taTThAr 'brass worker' meḍha 'polar star' (Marathi). meḍ 'iron' (Ho.Mu.) karA~ 'arms with bracelets' Rebus: khAr 'blacksmith' (Kashmiri) Thus, blacksmith working with iron smelter and metal implements of native metal.

Thus the octagonal yupa of Binjor together with the seal containing a metalwork catalogue is a precursor to the yupa vedic yajna tradition recorded in 9 yupa inscriptions of Rajasthan.

The form and function of a Yupa is recognized from ancient texts, for exampe, the Brahmana adhyaya of the BhumikANDa of YadavaprakAza's Vaijayanti, a Samskritam lexicon:


“While a yupa is a consecrated sacrificial post, a homayupa is one that is set up at sacrifices only for the sake of decoration. The two yupas that flank every fire at sacrifices are known by the name Upastha. Whatever, yupa and the like, stands in front of the fire, is called Agnishtha. The middle and the top of a yupa are called SamAdAn and Tarman respectively. The quoit or the ring near the top is kown as ChashAla. The rough unhewn bottom part of a yupa is called Tupara. Its girdle is known as ParivyANa, and wrappings KumbA. If a yupa is seventeen cubit long, these seventeen cubits, from bottom upwards, are designated Methika, UttrAsa, Svarurmochana, Anjana, Vaijathita, KshAlana, Savas'Irshaka, Sudhanva, Rathagaruta, S'aikhAlika, Karanjaka Vasava, VaishNava, TvAShTra, Saumya, Madhura, and Vejana respectively.”

Chhabra cites a description from Valmiki Ramayana of an As'vamedha and explains that 21 yupas ( 3 groups of seven each) were decorated in front of as many fire-altars during the great yajna, likened to the seven rishis (constellation of Ursa Major consisting of seven stars). They were in the nature of decorative, beautifying, commemorative pillars.

The yajna-s recorded are: dvAdas'arAtra, Saptasomasamstha, ekashashtirAtra, trirAtra, aptoryAman, puNDarIka and so forth. On inscriptions of Yupas Nos. 5 and 10, the reference is to a sattra. Yupa Nos. 6-9 and 11 reord gifts of cows and dakShiNA which is s'raddha vittam, earnings for discplined work. Mulawarman's Yupa inscriptions of East Borneo record gifts to brahmanas of cows, bulls, land, lamps, ghree, sesame seeds and so on as mahAdAnas mentioned in the PurANas. 


This monograph is an account of Yupa inscriptions, most of which were found on sites on the banks of Vedic River Sarasvati mostly in Rajasthan. Yupa inscriptions were also found in Indonesia ascribed to the reign of King Mulavarman in Kutai kingdom. 


See: http://bharatkalyan97.blogspot.in/2015/12/yastifound-in-fire-altars-of-sarasvati.html yaṣṭi.found in fire-altars of Sarasvati-Sindhu civilization signifies a baton, skambha of divine authority impacting metalwork of Bharatam Janam

See: http://bharatkalyan97.blogspot.in/2015/12/kalibangan-terracotta-cake-hieroglyphs.html  Kalibangan terracotta cake hieroglyphs deciphered. Yupa-skambha, Vedic religion in Bronze Age of Sarasvati-Sindhu civilization

Yupa inscriptions are a continuum of the Indus Script tradition of documenting metalwork catalogues with documentation of wealth distributed to the participants and performers of specific Yajna-s such as as'vamedha, agniSToma. This continuum lends credence to the possibility that Soma yajna did not involve a herbal but a mineral consistent with the synony of Soma, ams'u which has a Tocharian cognate, ancu, 'iron'.

Knot in a Brahmi inscription, Gujarat with the same hieroglyph as shown on Indus Script Corpora metalwork catalogues. This hieroglyph of 'knot' signifies:  dhāu 'rope' rebus: dhāu 'metal' PLUS  मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’. Thus, metallic ore. mēdhḥ
मेधः 1 A sacrifice, as in नरमेध, अश्वमेध, एकविंशति- मेधान्ते Mb.14.29.18. (com. मेधो युद्धयज्ञः । 'यज्ञो वै मेधः'इति श्रुतेः ।).An offering, oblation

Mohenjo-daro. m1457 Copper plate with 'twist' hieroglyph. Mohejodaro, tablet in bas relief (M-478) The first hieroglyph-multiplex on the left (twisted rope): dhāu 'rope' rebus: dhāu 'metal' PLUS  मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’. Thus, metallic ore. 

Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽhẽt, meD 'iron' (Mu.Ho.Santali)
meď 'copper' (Slovak)

Santali glosses:
Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream:

Sa. <i>mE~R~hE~'d</i> `iron'.  ! <i>mE~RhE~d</i>(M).
Ma. <i>mErhE'd</i> `iron'.
Mu. <i>mERE'd</i> `iron'.
  ~ <i>mE~R~E~'d</i> `iron'.  ! <i>mENhEd</i>(M).
Ho <i>meD</i> `iron'.
Bj. <i>merhd</i>(Hunter) `iron'.
KW <i>mENhEd</i>
@(V168,M080)

— Slavic glosses for 'copper'
Мед [Med]Bulgarian
Bakar Bosnian
Медзь [medz']Belarusian
Měď Czech
Bakar Croatian
KòperKashubian
Бакар [Bakar]Macedonian
Miedź Polish
Медь [Med']Russian
Meď Slovak
BakerSlovenian
Бакар [Bakar]Serbian
Мідь [mid'] Ukrainian[unquote]
Miedź, med' (Northern Slavic, Altaic) 'copper'.  

One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.

The remrkable feature of the Yupa inscriptions are that they are in Samskritam. Patanjali comments on the nature of mleccha mispronunciations in the context of evaluation of such inscriptions in Samskritam.

Seals have also been found on the fire-altars associated with the Yupa inscriptions.

This feature of the presence of seals in fire-altars and the use of inscribed Yupa is traceable to the inscribed Kaluban terracotta cake detailed at http://bharatkalyan97.blogspot.in/2015/12/kalibangan-terracotta-cake-hieroglyphs.html The Kalibangan terracotta cake recorded Indus Script hieroglyphs which signfied 

bhaTa 'warrior' rebus: bhaTa 'furnace'
kolmo 'rice plant' rebus: kolimi 'smithy, forge'
koD 'horn' rebus: koD 'workshop'

kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron'

Thus, the terracotta cake inscription signifies a iron workshop smelter/furnace and smithy.

This Indus Script tradition of inscribed records as metalwork catalogues on seals and terracotta cakes continues in the historical periods as Yupa inscriptions of Rajasthan and Indonesia detailing the types of yajna-s performed commemorated by the Yupa inscriptions.

The Yupa inscriptions are recorded on large-sized yaSTi of the type found in Binjor, Kalibangan, Lothal. 

Indus Script Corpora are catalogues of metalwork recorded in mleccha, the spoken version of later-day languages of Indian Sprachbund. Yupa Inscriptions are records of yajna-s performed in Samskritam, the litearary version of later-day languages of Indian Sprachbund.

This continuum of fire-worship tradition evidenced by metalwork catalogues and fire-worship in Yajna-s points to the possibility that some of the yajna-s were metalwork processes involving fire-altars and producing varieties of metals such as soma (electrum) or gold (suvarNam); inscriptions indicate that wealth was distributed by yajamAna or rulers such as GajAyana SarvatAta or Pushyamitra, to the priests and participants of the yajna-s. 

One Yupa inscription of Mulavarman, Kutai kingdom, Indonesia refers to suvarNam, gold. Candi-Sukuh inscribed Sivalinga (6 ft. tall Yupa) may also be evaluated in this tradition of metalwork since the Candi-Sukuh linga has an inscription which refers to Gangga sudhi 'purification by portable furnace, kanga'.



According to the Allahabad Yupainscription, in 2nd century CE, a village was assigned by the king to a minister who donated it to a priest. (Epigraphia Indica, (EI), XXVII, no. 43, lines 8-9, also see cf. EI, XXIV, no. 34, p. 252).










“Patanjali deplores the barbarisms of his time, for example, the 'wrong' words for 'cow' (gAvI, goNI, gotA, gopotalikA), which he includes among the 'many debased' (apabhrams'a) forms of the 'few' correct words. Based on the evidence of the
inscriptions, this describes the linguistic situation perfectly. Or, he complains about the wrong pronunciation of the three s-sounds of Sanskrit that had collapsed nearly everywhere in north India into one phoneme – a factor that, incidentally, again points to MathurA, where it is seen in inscriptions of brahmins. His advice therefore is not to talk like the barbarians (mleccha). The Sanskrit of his time
is exemplified by the first known Sanskrit inscription, the Ayodhya stone inscription (Sircar 1965: 94 no. 9), which is a ittleFrom the beginning of our era (S'o(m)DAsa, circa 1 to 25 CE, Sircar 1965: 114 sqq, Luders, 1961), the Mathura stone inscription (Sircar no 26) or the Kushana time Isapur Yupa inscription (Sircar 1965: 149 no. 47A).”(Austin Patrick Olivelle, 2006, Between the empires: society
in India 300 BCE to 400 CE, OUP, USA).










“In the Mahabhashya, Patanjali refers to sacrifices performed for...iha Pushyamitram YajayAmah: 'here we perform the sacrifices for Pushyamitra'. This is supported by the Ayodhya inscription of Dhanadeva (JBORS, X, p. 203 I,2), which
records the performance of two As'vamedha sacrifices by Pushyamitra
and the MalavikAgnimitra of Kalidasa. The Mahabhashya also refers to
different types of sacrifices – AgnishToma, RajasUya, Vajapeya, and
the domestic ones – Pakayajna or Panchayajna, accessories needed in
such sacrifices, their duration, the benefits that accrued from their
performances, and lastly, the priests required for them, who received
handsome dakshiNAs. Patanjali also mensions the Yupas, which were
associated with Vedic sacrifices. The S'unga-SAtavAhana-S'aka
Period.
During this period, sacrifices were performed, and the
yupas (sacrificial posts) were erected at important places...In the
second or first century BCE, GajAyana SarvatAta performed an
As'vamedha sacrifice at MadhyamikA (EI, XVI, p.27; EI, XXIII, p.198).
From the NandsA yupa inscription of VS 282 (226 CE)(EI, XXVII, pp.252
ff; IHQ, XXIX, p.80), it is known that the Malava leader Nandisoma of
the Sogin clan, performed the EkashashTirAtra sacrifice to proclaim
the independence of his republic. From the BarNAla inscription f 228
CE, it is known that a king, whose name ended in Varddhana, erected
seven yupas (EI, XXVI, pp. 118ff.) The reference to the group of
seven yupas may show that the king had performed seven sacrifices.
Another yupa inscription foud here, commemorates a sacrifice
performed fifty-one years later. This inscription, of 279 CE,
commemorates the performance of five TrirAtra, or perhaps
GargatrirAtra, sacrifices by a BrAhmaNa. The Maukharis of BaDvA also
championed the Vedic religion. In 293 CE, MahAsenApati Bala and his
three sons performed a TrirAtra sacrifice (EI, XXIII, pp. 42-52).
From the inscription of VakATaka copper plates, it is known that the
BhAras'ivas under BhavanAga performed as many as ten as'vamedhas and
won the Ganges water by their prowess. KP Jayaswal rightly concluded
that they must have flourished from about the beginning of the third
century CE, and celebrated their As'vamedhas to commemorate their
conquest of the Gangetic valley, after the expulsion of the KushANas.
(History of India, 150-350 CE). At Vidis'A, the remains of some olf
YajnakuNDas or sacrificial pits of the second or third century CE
have been discovered, and they prove that Vidis'a was a great centre
of the Vedic religion. (ASI, 1914-15, p.75). These are of exceptional
interest because nowhere else have such remains been found. Near
them, two drains were found, connected with the sacrificial pits. On
the levels of the KuNDas and the brick pavement, the walls of two
structures were discovered, which were intended to be spacious halls
constructed for accommodating a large number of people gathered for
sacrifice. These sacrifices instituted by kings or wealthy YajamAnas
of the ancient times lasted for months, and some for years, and for
their adequate performance, halls of permanent structure were as much
a necessity as the kuNDas themselves. A sacrificial site was always a
meeting place for Rishis, Yajnikas and distinguished guests of the
sacrificer. The hall excavated in the south of the KuNDas served the
purpose of a dining hall or for feasting, and the other huge and
extensive hall was meant for the carrying on of philosophical
debates. Some seals connected with the sacrificial site have been
discovered. On some of them, the words hotA, potA and mantra, which
are technical to sacrificial literature, have been carved. The
sealings have been classified under four heads, viz., – 1) rulers,
2) officials, 3) private individuals, and 4) passport. Only two seals
of the first class were found. One of these gives the name of
Vis'vAmitra as the name of a ruler not so far known from any
epigraphic or literary source. Of the three sealings of the second
class, two belong to two different daNDanAyakas or police officers,
and one to an officer haya-hasty-adhikArI (in charge of elephants and
horses). There are also seals of private individuals. All these
persons were followers of the Vedic religion. The seals of passport
were meant for admitting persons to the sacrificial hall.”(Kailash
chand Jain, 1972, Malwa through the ages, from the earliest times
to 1305 AD
', Dehi, Motilal Banarsidass, pp 192-194).








Mulawarman Yupa inscriptions



“The first yupa inscription of Mulavarman was erected to commemorate a bahu-suvarnaka sacrifice,'that on which gold is spent in profusion'. If the inscription can be taken literally, it points up the value of gold in the Southeast Aian world fo the fifth century. Another records that Mulavarman 'had given a gift (dAnam) of a thousand kine and a score the twice-born (i.e. the brAhmaNas)....(consequently) for that deed of merit (puNyasya) thi sacrificial post (yupo) has been made...A third inscription is similar: 'Let the foremost amongst the priests and whatsoever other pious men (there be) hear of the meritorious deed (puNyam) of Mulavarman the king of illustrious and resplendent fame – (let them hear) of his gret gift (bahudAna), his gift of cattle (?)(jivadAna), his gift of a wonder-tree (kalpavRkSam), hs gift of land (bhUmidAna). For these multitudes of pious deeds (puNyaganam) this sacrificial post has been set up by the priests.' It is the duty of men of prowess to give liberally of their substance so as to acquire greater wealth and status, thereby initiating an endless cycle of giving at all levels of society. It is also imperative that these meritorious deeds be properly recorded. In the second and third inscriptions, there is an expressed linkage between the giving of gifts (dAna) and the acquisition of merit (puNya). To record these pious acts a sacrificial post (yupa) was erected. What we have, then, is action on the temporal plane that was meant to have eternal impact in the sense that Mulavarman was building his field of
merit.” (Robert S. Wicks, 1992, Money, markets and trade in early Southeast Asia: the development of indigenous monetary systems to AD 1400, SEAP Publications, Cornell, Ithaca, NY, p.245; loc. Cit. Mulavarman's First Yupa Inscription; FH van Naerssen, and RC longh, The economic and administrative history of early Indonesia, Leiden: Brill, 1977), p. 20; J. Ph. Vogel, 'The Yupa inscription of
Mulavarman from Koelei (East Borneo)', Bijdragen tot de Taal-, Land-en Volkenkunde 79, 1918: 213; Mulavarman's Second Yupa Inscription, Vogel, 'Yupa Inscriptions', p. 214; Mulavarman's Third Yupa Inscription; Vogel, 'Yupa Inscriptions', p. 215.)



 
Kutai Kingdom was the oldest Hindu Kingdom in Indonesia placed in Muara Karman, East Borneo. This inscription formed Yupa, a stone pillar that is used to bind the victim in the form of animals or humans to be sacrificed to the gods. There are seven Yupa which contains the inscription, but only 4 were successfully read and translated. This inscription use Pallawa Pre-Nagari letters and in Sanskrit, which is estimated from the shape and type dating from around 400 AD.

... Contents of Mulawarman Inscription


Fill Yupa first inscription mentions that the first king of the kingdom of Kutai is Kudungga. Kudungga which is the original name of Indonesia at that time showed that he was not the founder of the royal family. Additionally, Yupa mention also that during the reign of Asmawarman in Kutai Kingdom Aswamedha ceremony held. This ceremony is a ceremony of release of the horse to determine the boundaries of the empire Kutai.



Mulwarman Inscription I



The Maharaja Kundunga, very noble, has a son of the renowned, namely the Aswawarman, which like the Amshuman (sun god) grow very noble family. The Aswawarman have three sons, such as fire (holy) three. Leading off the third son is the Mulawarman, civilized king good, strong and powerful. The Mulawarman has held receptions (salvation called) gold very much. Create a memorial feast (salvation) that stone monument was established by the brahmins.
A Yupa with inscription in the National Museum of Indonesia in Jakarta

Overall, contents of Mulawarman Inscription tell about Mulawarman that contribute to the Brahmans form the many cows. Mulawarman mentioned as the grandson of Kudungga, and children from Aswawarman. This inscription is evidence of the oldest of the Hindu kingdoms in Indonesia. Kutai name is commonly used as the name of this kingdom though not mentioned in the inscription, because the inscriptions found in Kutai, precisely in the upper Mahakam River.
Mulawarman Inscription IV
The Mulawarman, the noble king and foremost, giving alms 20,000 cows to the the brahmins who such as fire, (located) in the holy land (named) Waprakeswara. Create (warning) will favor the king's goodness, this monument was created by the Brahmins who came to this place.
 
http://www.ocfinid.com/2015/04/the-oldest-inscription-in-indonesia.html
 

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Inscriptions; yupa; Sanskrit; Mulawarman.
https://beta.worldcat.org/archivegrid/collection/data/905876910

"Kutai Martadipura Kingdom is the first Hindu kingdom in Indonesia ( Nusantara ) which has the oldest historical evidence. It was established at around the 4th century. The kingdom is located in Muara Kaman, East Kalimantan, precisely in the Mahakam river. "
Kutai Martadipura Kingdom Area

See all 7 photos
Kutai Martadipura Kingdom Area
Another Kutai Yupa Inscription
Another Kutai Yupa inscription
http://hubpages.com/education/Kutai-Kingdom

Sources: From the third century CE, Samskritam inscriptions on Yupa have been found from Badva (SI I.91-2) and Barnala (EI 26, 118-23) in Rajasthan. The dating formula is in kRtehi, that is, kRta = Vikrama years.

Fourth Maukhari Yupa inscription from Badva, AS Altekar, EI 23, 1935-36, 42-52; Epigraphica Indica, Vol. 24, no. 34, 1937-38, pp. 251-53; SI I.91-2, 90, 182
Barnala (Jaipur Dist. Rajasthan) yupa inss., kRta (=Vikrama) 284 and 335 = CE 223 and 229; AS Altekar, EI 26, 1941-42, 118-23. 90.

Dange, Sadashiv A. "The yUpa - its nature and evolution."  BhAratI.
Vol.16(1985-1987) pp.1-10

Sahoo, P. C. "On the yUpa in the BrAhmaNa texts." Bulletin of the
Deccan College Research Institute. Vol. 54/55(1994/1995) pp.175-183.

Upadhyaya, Vibha. "Yupa Inscription" in R.K. Sharma & Devendra Handa
(eds). Revealing India's Past: Recent Trends in Art and Archaeology
(Prof. Ajay Mitra Shastri Commemoration Volume - 2 vols.) Aryan Books
International [2005] pp.233-247 ISBN 81-7305-289-1


EI XXIII: #7: 42-52: A.S.Atlekar, Three Mukhari Inscriptions on Yupas,kRta year 295. 
(Stone yuupas begin ca. 2nd CE, innovation over the wooden ones, from Buddhist pillars: 
Garga-triraatra ritual, an amalgam of agniSToma, ukhthya, and atiraatra.)
EI XXIV: #33: 245-251:  A.S.Atlekar, Allahabad Museum YupaInscription:Sivadatta's saptasomasaMstha
 
EI XXIV: #34: 251-253: A.S.Atlekar, Fourth Yupa Inscription from Badva,3rd CE: aaptoryaama ritual
 
EI  XXVII: #43: 252-267: A.S.Atlekar, Nanda Yupa Inscriptions, kRtayear 282: a 61-day sattra (!) ekazaSTiraatra

B. Ch. Chhabra, "Yuupa Inscriptions", in India Antiqua (Fel. Vol. J. Ph. Vogel, Leiden 1947).






























Association of yupa hieroglyph on coins from mints of Vidarbha or Ujjain is an indicator of the correlation which can be traced between a smelter/furnace in a smithy/forge and a sacred fire-altar of a yajna.








Badva yupa inscription





EI, v.XXIV, No. 34.-FOURTH MAUKHARI YUPA INSCRIPTION FROM BADVA.
A. S. ALTEKAR.


TEXT.

Mîkharår=Hastè-puttrasya Dhanuttràtasya dhèmataõ [|*]
Aptî[r]yy[a]mía[õ] kratîõ yópaõ sahasrî gava-dakshiíà [|*]
__________________________
From an ink impression.
L. 1. Read Hasti-; owing to the carelessness of the mason, the three letters in dhanuttrà have been all joined together.


L. 2. Read -tîr=yópaõ; read sahasra-gava-dakøiíaõ.





























That the Barnala Yupa inscription is hybrid Samskritam is demonstrated attesting to the continuity of Prakritam (spoken Meluhha) in the ancient writing traditions associated with yajna or metalwork.









Theo Damsteegt, 1978, Epigraphical Hybrid Sanskrit, Brill Archive, pp. 145-146









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


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

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











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







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





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





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


kuThi 'twig' rebus: kuThi 'smelter'







Samudragupta, Gold Dinar, 7.70g, Ashvamedha type

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

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

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





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





Svaru: Wood chips are used to make the Svaru; the chips are inserted in the Rashana or Darbha-rope wound around yupa (to burn as the fiery pillar is in flames yielding godhuma fumes of carbon to be infused into the molten metal).





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


mardana 'rubbing,anointing'; siddhato madana may be a pronunciation variant for siddhato mardana, i.e. accomplished rubbing (of metal alloys). This expression is used on an Ujjain coin.









-- There are three hieroglyphs/hypertexts on the Mohenjo-daro seal m0352: 1. Semi-circular stones; 2. + shape of fire-altar; and 3. Dotted circles.


m0352 with dotted circles repeated on 5 sides A to F








A solid copper bolt (24 ½” in length and a circumference of 14” at the center and 12” at the ends), was found in the Rampurva Asoka Pillar near Nepal border.



Indus Script hypertext, hieroglyphs on the two-and-a-half feet long Rampurva copper bolt which joinss the bull capital to the pillar:


Related image



Glyph: ‘piece’: kōḍ कोड् m. a kernel (Kashmiri) खोट [khōṭa] A lump or solid bit (as of phlegm, gore, curds, inspissated milk); any concretion or clot. (Marathi) guḍá—1. — In sense ‘fruit, kernel’ cert. ← Drav., cf. Tam. koṭṭai ‘nut, kernel’; A. goṭ ‘a fruit, whole piece’, °ṭā ‘globular, solid’, guṭi ‘small ball, seed, kernel’; B. goṭā ‘seed, bean, whole’; Or. goṭā ‘whole, undivided’, goṭi ‘small ball, cocoon’, goṭāli ‘small round piece of chalk’; Bi. goṭā ‘seed’; Mth. goṭa ‘numerative particle’ (CDIAL 4271) Rebus: koṭe ‘forging (metal)(Mu.) koḍ ‘workshop’ (G.).Sa. gOta? `to scrape, scratch'.Mu. gOta? `to scrape, scratch'.KW gOta?@(M087)  Rebus: खोट [ khōṭa ] f ‘A mass of metal (unwrought or of old metal melted down); an ingot or wedge’ (Kashmiri) L. khoṭ f. ʻalloy, impurityʼ, °ṭā  ʻalloyedʼ, awāṇ. khoṭā  ʻforgedʼ; P. khoṭ m. ʻbase, alloyʼ M.khoṭā  ʻalloyedʼ, (CDIAL 3931)



gaṇḍa 'four' rebus: kaṇḍa 'fire-altar' PLUS गोटी [ gōṭī ] 'round pebbles, stones' rebus: गोटी [ gōṭī ] 'A lump of silver'. goṭa 'laterite, ferrite ore'.


Semi-circular, oval shape of bun ingot: Malt. múqe id. / Cf. Skt. mūkaka- id. (DEDR 5023) Rebus: mū̃h 'ingot' mũhe 'ingot' mũhã̄ = the quantity of iron produced at one time in a native furnace. 














gaṇḍa ‘four’ (Santali) Rebus: kaṇḍ = fire-altar (Santali); kan = copper (Tamil)





 Image result for indus hieroglyphs lathe portable furnace


sãghāṛɔ 'lathe' (Gujarati. Desi) m0008 Mohenjo-daro seal. This shows the bottom bowl of the 'standard device' superimposed with dotted circles. Since the top portion of the 'device' is a drill-lathe, these dotted circles are orthographic representations of drilled beads which were the hallmark of lapidaries' work of the civilization. Rebus reading of the kandi 'beads' (Pa.) is: kaND, kandu 'fire altar, smelting furnace of a blacksmith' (Santali.Kashmiri)Glyphs of dotted circles on the bottom portion of the 'standard device': kandi (pl. -l) beads, necklace (Pa.); kanti (pl. -l) bead, (pl.) necklace; kandit. bead (Ga.)(DEDR 1215). Rebus: लोहकारकन्दुः f. a blacksmith's smelting furnace (Grierson Kashmiri)




Mohenjo-daro Seal m0352 shows dotted circles in the four corners of a fire-altar and at the centre of the altar together with four raised 'bun' ingot-type rounded features. Rebus readings of m0352 hieroglyphs:


dhātu 'layer, strand'; dhāv 'strand, string' dāya 'one in dice' Rebus: dhāu, dhātu 'ore' PLUS 'circle' hieroglyph: vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1]

1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊkwaḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192?(CDIAL 12069) வட்டம்¹ vaṭṭam , < Pkt. vaṭṭa < vṛtta. n. 1. Circle, circular form, ring-like shape; மண்ட லம். (தொல். சொல். 402, உரை.) 2. Halo round the sun or moon, a karantuṟai-kōḷபரிவேடம். (சிலப். 10, 102, உரை.) (சினேந். 164.) 3. Potter's wheel; குயவன் திரிகை. (பிங்.) 4. Wheel of a cart; வண்டிச்சக்கரம். (யாழ். அக.) Together, the dot PLUS circle are read rebus:  धवड (p. 436) [ dhavaa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi) धावड   dhāvaḍa m A class or an individual of it. They are smelters of iron. In these parts they are Muhammadans.धावडी   dhāvaḍī a Relating to the class धावड. Hence 2 Composed of or relating to iron. (Marathi)





Vikalpa 1. Round dot like a blob -- . Glyph: raised large-sized dot -- (ī ‘round pebble);goTa 'laterite (ferrite ore)A (गोटा) ā Spherical or spheroidal, pebble-form. (Marathi) goTa 'laterite ferrite ore'. Rebus: khoā ʻalloyedʼ (metal) (Marathi) खोट [khōṭa] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge (Marathi). P. kho  m. ʻalloyʼ 





dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)


gaṇḍa 'four' rebus: khaṇḍa 'implements' rebus: kaṇḍa 'fire-altar'.







Meaning, artha of inscription: Trade (and metalwork wealth production) of kōnda sangara 'metalwork engraver'... PLUS (wealth categories cited.)




koḍa 'one' rebus: koḍ 'workshop'


dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'; dhāvḍā 'smelter'




kolmo ‘rice plant’ rebus: kolilmi ‘smithy, forge’.






सिद्ध   siddha Adept or accomplished (in alchemy &c.) (Marathi). This acomplishment is symbolised by the four arms of the Ujjain symbol.













The hypertext of Ujjain symbol with four arms lf + ligatured to dotted circle is explained as: धवड dhavaḍa, 'smelter' PLUS gaṇḍa 'four' rebus: khaṇḍa 'implements' 





Ujjain (Four dotted circles ligatured to '+' sign)





image.pngm2094 





This monograph demonstrates that the + shapes shown onm2094 ad on Ujjain symbol signify Vedi, fire-altars.





The + shape of these fire altars is consistent with the description provided in Mānava Śulbasūtra for a Caturaśra Śyena, or "four-sided falcon." The procedure is described lucidly by Patrick A. George in the following post for UPenn at 


http://ccat.sas.upenn.edu/george/vedi.html (reproduced below for ready reference)


चतुर्--श्र mf(आ)n. four-cornered , quadrangular Ka1tyS3r. Kaus3. Pa1n2. 5-4 , 120 Hariv.12378 &c; quadrangular figure; a square (Monier-Williams). 





The text indicates how the body of the Śyena 'falcon' is constructed as a square with the two wings, head and tail added in proportionately to the sizes of wings, head and tail of the falcon; such a construction described in the text (shown in a figure below) is consistent with the shape of the fire-altar shown on Mohenjo-daro seal m2094. 







Ujjain Symbol with four arms is also a variant of the shape of the fire-altar shown on m2094 with each of the four arms ligatured with a dotted circle which has a unique Meluhha signifier expression: dhā̆vaḍ 'iron smelter’.





In order that the four limbs of the falcon do not break away from the body, structural integrity is maintained by overlapping layers with different arrangements of bricks. The bricks of the first, third, and fifth layers of the Caturasra Shyena altar are are constructed with three different bricks in the following quantities and sizes, where a = angula:




  • 110 30a x 30a

  • 85 12a x 12a

  • 5 12a x 6a


The second, and fourth layers of the Caturasra Shyena altar are constructed with four different bricks in the following quantities and sizes:






  • 110 30a x 30a

  • 75 12a x 12a

  • 10 12a x 6a

  • 5 18a x 12a


The square 'body' of the altar may thus also be described as an 8 x 8 grid, a pattern which is most apparent in the arrangement of bricks in layers 1, 3, and 5. This 8 x 8 grid is proportionally equivalent to the plans of Indian temples, and the areas enclosed by the representations of walls in tantric yantras and

mandalas.












Patrick A. George


(pgeorge@ccat.sas.upenn.edu)

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










Admin · April 8 




 No photo description available.


Ujjain symbol found in potsherd of Surkotada site from Harappan civilization.













Coins from Ujjain depicting the famous 'Ujjaini symbol' [a], which is a really frequent symbol from coins and seals of central-west India during early historic period (~200 BCE).Same symbol could be traced back to the Harappan period [b]. It is also seen in other Chalcolithic cultures like from Navdatoli [c]. It may have been a regional/tribal symbol from Harappan era which survived till early historic era. https://www.facebook.com/groups/416065382227600/permalink/585214385312698/








-- kanda 'fire-trench of four arms', अग्नि--कुण्ड 'enclosed space for consecrated fire', कोंद kōnda 'furnace' of dhā̆vaḍ 'iron smelter’.





Smelting or ore purification process occurs in a pot-kiln or in an enclosed space of a deep pit.


The Ujjain symbol of four dotted circles on four arms of a + hieroglyph, on early coins of Ancient India provide the leads to decipher the semantics in Meluhha of hieroglyphs/hypertexts as signifiers of smelting processes and smithy/forge processes to produce ingots or metalware,wealth of a nation. This Ujjain symbol on coins of ca. 3rd/4th cent. BCE are derived from a hieroglyph registered on a Rojdi potsherd of Sarasvati-Sindhu Civilization ca. 3rd millennium BCE. A modification of the + symbol is the svastika showing the unique processes of sublimation of zinc in retorts; the sign is read rebus: sattva 'svastika symbol' rebus: sattva 'zinc'.


Image result for svastika bharatkalyan97



Proving that Svastika is NOT a syllable, but hypertext of logo-semantic Indus Script. History of svastika and its use on metalwork wealth-accounting ledgers 




https://tinyurl.com/y69rudws Thus, svastika symbol signifies the unique process for sublimating zinc ore.




"Rojdi is an archaeological site belonging to the Indus valley civilization. It is located on the northern bank of the Bhadar River in Gondal taluka of Rajkot district in central Saurashtra peninsula of Gujarat state in India. It was continuously occupied from 2500 BCE to 1700 BCE...The pottery often has graffiti with signs from the Indus script, such as jar sign. There is also a short inscription in Harappan writing on the rim of a potshred. Five (four complete and one broken) copper or bronze flat axes were found, all belonged to Rojdi C period." .https://en.wikipedia.org/wiki/Rojdi






















Ujjain region, punchmarked AE,  'standing Shiva type'
Weight:  2.21 gm., Dimensions: 12x11 mm.
Standing Shiva; sun; six-armed symbol; three-arched hill with crescent on top;
     'bale-mark'.
'Bale-mark'.
Reference:  Pieper 166 (plate coin)


These coins are still close copies of the silver karshapana type listed above but they are no longer issued in silver. They still maintain the 'bale-mark' reverse symbol of their prototype.


Ujjain, punchmarked AE,  'standing Shiva type'
Weight:  3.88 gm., Dimensions: 14 mm.
Standing Shiva holding danda and kamandalu; sun; six-aarmed symbol; tree.
'Bale-mark' and Ujjain symbol.
Reference:  Pieper 164 (plate coin)





Typologically this type departs further from the Mauryan prototype towards the  typical local Ujjain 'Shiva type'. On that type Shiva will henceforth occupy the dominant position to which the associated symbols are subordinated. As can be seen below these associated symbols are frequently still the same as on the Mauryan prototype, particularly sun and six-armed symbol. This coin is still punchmarked in contrast to the subsequent types which are all die-struck, but the symbol arrangement on the coin flan is already more a composition than a randomly done application of punches. On the reverse the 'bale-mark' is still maintained but now it is accompanied by the Ujjain symbol. In the further development the 'bale-mark' will disappear and the Ujjain symbol alone will become the reverse emblem of the whole series.


Ujjain: Shiva types


Ujjain, anonymous, AE 1/2 karshapana,  'standing Shiva type'

Weight:  4.94 gm., Dimensions: 16 mm.
Standing Shiva holding danda in right and kamandalu in left; sun above railed tree
     on left and 6-armed symbol above taurines on right.
Double-orbed Ujjain symbol.



Reference:  Pieper 265 (plate coin)/ BMC pl.XXXVIII, nos.5-6


Devendra Handa in 'Divinities on Ujjain Coins', ICS-NL 51, p.5: "The commonest figure is that of a male bearing matted locks or a top-knot and holding a staff and water vessel in his two hands corresponding almost exactly to the description of Rudra-Shiva in the Skanda Purana." The importance of the Shiva cult at Ujjain and the combined depiction of the same figure with a bull, the vahana of Shiva, support its identification as Shiva.








Ujjain, anonymous AE 3/4 karshapana, 'standing Shiva type'
Weight:  7.25 gm., Dimensions: 17 mm.
Standing Shiva holding danda in right and kamandalu in left; sun above railed tree
     on left and six-armed symbol on right; taurine on top; river at bottom
Double orbed Ujjain symbol
Reference: Pieper 267 (plate coin)







Ujjain, anonymous AE 3/4 karshapana, 'standing Shiva type'
Weight:  7.22 gm., Dimensions: 17 mm.
Standing Shiva holding danda in right and kamandalu in left; sun above railed tree
     on left and 6-armed symbol on right; taurine and svastika on top.
Double-orbed Ujjain symbol
Reference: Pieper 268 (plate coin)






Ujjain, anonymous AE 1 1/2 karshapana, 'Shiva standing on lotus'
Weight:  11.99 gm., Dimensions: 18 mm.
Shiva standing on lotus holding danda in right and kamandalu in left;
     railed tree on left; six-armed symbol above taurine on right.
Double-orbed Ujjain symbol
Reference: Pieper 269 (plate coin)


The depiction of the deity with danda and kamandalu is like on the previous coins except that the god is standing on a lotus on this specimen.




Ujjain, anonymous AE 1 1/2 karshapana,  'standing Shiva type'
Weight:  12.10 gm., Dimensions: 18 mm.
Shiva-like figure standing with danda in right and kamandalu on left; railed tree on
     left with taurines below.
Double-orbed Ujjain symbol with an extra dot in center of each orb.
Reference: Pieper 270 (plate coin)


Ujjain, anonymous AE 1/2 karshapana, 'standing Shiva type'
Weight:  4.26 gm., Dimensions: 16 mm.
Standing Shiva holding danda and kamandalu; railed tree on left; six-armed
     symbol above unconnected Ujjain symbol on right; river line at bottom.
Ujjain symbol with a svastika inside each orb and circles in the angles.
Reference: Pieper 271 (plate coin)





Ujjain, anonymous AE 3/8 karshapana, 'standing Shiva type'
Weight:  3.58 gm., Dimensions: 14 mm.
Standing Shiva holding danda and kamandalu; cakra above Indradhvaja on left;
     railed tree on right; river at the botom.
Ujjain symbol
Reference:  Pieper 272 (plate coin)

















Ujjain, anonymous AE 3/8 karshapana, 'standing Shiva-like type'

Weight:  3.34g, Dimensions: 12 mm
Standing male deity both hands akimbo, danda in right; three-arched hill above
     river on left; cakra above railed tree on right.
Ujjain symbol with a svastika in each orb and footprints in angles.
Reference: Pieper 274 (plate coin) / Kothari 234 (who saw the footprints as taurines).


The depiction of the footprint (paduka) of a deity is a well known  symbol of worship but it allows no attribution to a specific deity, as this symbol was used
by followers of different deities, among them Buddha, Shiva and Vishnu.



Ujjain, anonymous AE 1/4 karshapana, 'dancing Shiva  type'
Weight:  2.35 gm., Dimensions: 13 mm.
Shiva in dancing pose with both knees slightly bent holding curved club-like
     danda  and kamandalu; river on left; leaves of a tree on right.
Double orbed Ujjain symbol with crescents in angles.
Reference:  Pieper 275 (plate coin)


Ujjain, anonymous AE  1/4karshapana, 'poly-cephalous Shiva type'

Weight:  2.65 gm., Dimensions: 12 mm.
Multi-headed Shiva holding danda and kamandalu; tree on left; (cakra above
     fish-tank on right)
Double orbed Ujjain symbol surrounded by river with fish.
Reference: Pieper 276 (plate coin) / BMC, pl. XXXVIII, no.19






Ujjain, anonymous AE 1/2 karshapana, 'poly-cephalous Shiva type'
Weight:  4.32 gm., Dimensions: 17 mm.
Multi-headed standing Shiva holding danda and kamandalu; railed tree on right;
     cakra above fish-tank on left.
Double orbed Ujjain symbol.
Reference: Pieper 280 (plate coin) / BMC, pl.XXXVIII, no.22




Ujjain, anonymous AE, 'crested standing Shiva type'
Weight:  1.82 gm., Dimensions: 12 mm.
Crested Shiva standing to right; railed tree on left; cakra above fish-tank on left;
     river at the bottom.
Double-orbed Ujjain symbol.
Reference:  Pieper 281 (plate coin) / BMC, pl.XXXVIII, no.14


In contrast to the above listed coins with depictions of Shiva with a top-knot hairdress, the hairstyle of the 'crested Shiva type' is depicted in a ponytail fashion thus reflection the 'matted locks' of Shiva as described in ancient texts.


Ujjain, anonymous AE, 'crested standing Shiva type'

Weight:  0.72 gm., Dimensions: 9 mm.
Crested Shiva standing to left holding danda and kamandalu; railed tree on left;
     taurine on top.
Ujjain symbol with alternating svastikas and taurines in its orbs.
Reference: Pieper 282 (plate coin) / BMC, pl.XXXVIII, nos. 11-12





Ujjain, anonymous AE, 'Shiva-like figure holding kamandalu before breast'
Weight:  1.10 gm., Dimensions: 10 mm.
Shiva-like standing figure holding danda and kamandalu; taurine above standard
     on left.
Ujjain symbol
Reference: Pieper 284 (plate coin)


The unusual feature of this coin is the position of the kamandalu which appears to be held by the standing deity just in front of its breast.


Ujjain, anonymous AE, 'Shiva-like figure holding kamandalu before breast'

Weight:  1.2 gm., Dimensions: 11 mm.
Shiva-like standing figure holding danda and kamandalu; taurine above standard on left,
     srivatsa above a lotus-like symbol at right
Double-orbed Ujjain symbol
Reference: Pieper 284


This beautifully preserved specimen clearly confirms that the deity is indeed holding a kamandalu in front of the breast. (Photo courtesy Prakash Jinjuvadiya.)


Ujjain, anonymous AE, 'standing Shiva type'

Weight:  1.72 gm., Dimensions: 12x11 mm
Standing Shiva holding danda and kamandalu; six-armed symbol on top.
Ujjain symbol.
Reference: Pieper 287 (plate coin)



Ujjain, anonymous AE 3/8 karshapana, 'standing Shiva type'

Weight:  3.16 gm., Dimensions: 18x14 mm.
Standing Shiva holding danda and kamandalu; cakra above svastika and standard
     on left; fish-tank above railed tree on right; river at the bottom.
Ujjain symbol with a svastika in each orb.
Reference: Pieper 289 (plate coin) / BMC, pl.XXXVII, nos.19-20






Ujjain, anonymous AE 3/8 karshapana, 'standing Shiva + nandi type'

Weight:  3.18 gm., Dimensions: 18x16 mm.
Standing Shiva holding danda and kamandalu, nandi facing from left towards the
     deity; cakra and standard on top left.
Double-orbed Ujjain symbol.
Reference: Pieper 319 (plate coin)






Ujjain, anonymous AE 1/2 karshapana, 'standing Shiva + nandi type'
Weight:  5.03 gm., Dimensions: 17x15 mm.
Standing Shiva holding danda and kamandalu, nandi on the left facing towards the
     viewer; cakra and Indradhvaja on top; parts of tree on right.
Ujjain symbol with a svastika in each orb.
Reference: Pieper 318 (plate coin)


Ujjain, anonymous AE 1/2 karshapana, 'standing Shiva + nandi type'

Weight:  5.31 gm., Dimensions: 17x17 mm.
Standing Shiva on right with nandi on left facing towards the deity; railed tree in
     center between Shiva and bull.
Ujjain symbol.
Reference: Pieper 321 (plate coin)


Ujjain, anonymous AE 2 karshapana, 'standing Shiva + nandi type'
Weight:  15.53 gm., Dimensions: 26x21 mm.
Standing Shiva on right with nandi on left facing towards the deity; railed tree in
     center between Shiva and bull; taurines on top and a svastika on right bottom;
     river with diverse aquatic creatures at the bottom.
Double-orbed Ujjain symbol with an extra arm topped by a taurine in each angle.
Reference: Pieper 322 (plate coin) 


An unusual heavy weight standard for the series. The heaviest recorded specimen offered at a public auction weighed 25.8 gm thus roughly representing a triple copper karshapana.




Ujjain, anonymous AE 1 1/2 karshapana, 'standing Shiva + nandi type'
Weight:  13.38 gm., Dimensions: 20 mm.
Standing Shiva in center; bull facing the deity from left, Indradhvaja above the bull;
    railed tree on right; river at the bottom.
Double-orbed Ujjain symbol with a taurine in each angle.
Reference: Pieper 313 (plate coin) 


Ujjain, anonymous AE 1/2 karshapana, 'standing Shiva+ nandi type'
Weight:  3.40 gm., Dimensions: 18 mm.
Standing Shiva holding danda and kamandalu; bull facing the deity from the right;
     Ujjain symbol on top; railed tree on left; river at the bottom.
Ujjain symbol with a svastika in each orb.
Reference: Pieper 311 (plate coin)




Ujjain, anonymous AE 3/8 karshapana, 'seated Shiva + nandi type'
Weight:  3.44 gm., Dimensions: 14x14 mm.
Seated Shiva holding danda and kamandalu; bull facing the deity from left; Ujjain symbol
     above the bull; railed tree on right; river at the bottom.
Double-orbed Ujjain symbol with a taurine in each angle.
Reference: Pieper 307 (plate coin) 


Ujjain, Bhumimitra AE, 'seated Lakulisha type'
Weight:  1.78 gm., Dimensions: 12 mm.
 Lakulisha seated on a lotus holding danda and kamandalu; cakra above tree on left;
     Brahmi legend 'bhumimitasa' in vertical placement on right.
Ujjain symbol with a small Ujjain symbol in each orb; nandipadas in angles.
Reference: Pieper 405 (plate coin)


The seated figure on this coin type has been identified as Lakulisha by several scholars, among them Wakankar, Kothari and Bhatt. Lakulisha is described as  the 28th and last incarnation of Shiva. He propagated and reformed Shaivism  with special emphasis on Yoga practices. According to Handa (ICS-NL 51, p.24)"the god depicted here predates the textual prescriptions and is one of the earliest examples of the depiction of Lakulisha. Alternatively it may be said to be the representation of Yogeshvara Shiva."


Ujjain, inscribed AE 1/3 karshapana, elephant type
Weight: 2.93 gm., Diameter: 13x13 mm
Obv.: In a square incuse elephant standing to right with raised trunk; Brahmi
         legend around reading anti-clockwise with outwards directed letters
         'bhumimitasa'.
Rev.: Double-orbed Ujjain symbol with a taurine in each angle.
Reference: Pieper 407 (plate specimen)


The 'seated Lakulisha type' inscribed in the name of Bhumimitra is a well known type among the rare inscribed coins of the local Ujjain series. This square elephant type inscribed in the same name Bhumimitra was completely unknown until the appearance of this unique specimen.






Human depictions on ancient Indian coins are of special interest, as they are among India's earliest representations of deities in anthropomorphic form and thus most important for the study of their iconographic development. The earliest such depictions on coins appear on some of the punchmarked silver karshapanas of the Mauryan kings during the 4th/3rd century BCE. The deities on these early silver coins have been identified as crested Shiva holding danda (stick) and kamandalu (water-pot), as ithyphallic Shiva on one rare type from the Jan Lingen collection, as chakra (discus-weapon) holding Vaishnavite deity Vasudeva-Krishna or as plough holding Balarama. A number of female figures on some of these silver karshapana types have been regarded as Matrikas. And a unique silver karshapana from the Pieper collection depicts a chakra holding Vaishnavite deity / Vishnu together with what appears to be the earliest depiction of a Garuda.



On the local Ujjain coins with human depictions on them, these are in most cases single human figures, standing, squatting, dancing or sitting, representing various Hindu gods and goddesses. Different researchers have tried to identify them and have frequently come to divergent conclusions. The matter is not simple as in this early stage of iconography the depiction of many deities together with their characteristic symbols and attributes was not yet fully developed and sometimes different deities were even associated with the same symbols. The latest approach to the subject is Devendra Handa's brilliant paper on 'Divinities on Ujjain Coins', ICS-NL 51, 2013' who clarified controversies on some deities and originally proposed the identification of others. The most prominent figure on these coins is ceratainly Shiva Mahakala whose cult was very important at Ujjain,  and Lakshmi who experienced a general adoration by believers of different cults who wouldn't have hesitated to beg assistance from the goddess of wealth, prosperity and fortune. 



But apart from Shiva and Lakshmi there are several other deities who are depicted on the coins of ancient Ujjain, such as Karttikeya, Shashthi, Vasudhara, Krishna, Brahma and others, according to the well-founded identifications of Devendra Handa. Further details will be given with the respective coin descriptions below.  Handa refers to some coins published by Sethi depicting a male human figure which either holds a bull or cow by its horn, or which drives a bull/ cow holding a stick in his hand, and proposes to identify this figure as Gopala Krishna (ICS-NL, no.51, pp.25-26). In the same context he proposes to regard another figure as a Krishna depiction as well: this figure appears on a coin published by Kothari which shows a dancing male figure with fan-shaped hairdress holding a flute-like object.  Kothari's coin type 252 is seen by Handa as a depiction of Karttikeya (ICS-NL, 51, p.31); the deity is holding shakti (lance) and kamandalu (water-pot) and shows five protrusions of the head-gear as a "representation of six-headed Karttikeya." In a similar way goddess Shashthi is identified by Handa on another Ujjain coin type depicted as a multi-headed female figure as indicated by the dotted marks around her head. The 'fish-holding deity' was already described by V.S. Agrawala as a representation of Vasudhara who is the consort of Jambhala- the Buddhist god of wealth.



A few early copper coins of the Ujjain region with three standing/ walking human figures on them are of special interest. Combining the evidence of the specimens at his disposal Devendra Handa identified this group of three figures, a female figure in the center with a bow-holding male figure on each side,  as the earliest numismatic depictions of Rama, Sita and Lakshmana datable to the 2nd/ 1st century BC (ICS-NL, no.51, pp.29-30).  "The dress of the female figure compares very well with the dress of numerous human figures which figure on Ujjain coins and leaves little doubt to its being an indigenous piece of the area. The three figures with two males holding the bows seem to represent Rama, Sita and Lakshmana going in the forest and recall to our mind the description given in the Valmiki Ramayana".



UJJAIN diverse deities



Ujjain, anonymous AE 3/8 karshapana, 'seated Lakshmi type'








Weight: 3.18 gm., Diameter: 16 mm.
Seated Lakshmi with feet parallel to each other, right hand on leg and
     left hand raised holding lotus flower.
Ujjain symbol.
Reference: Pieper 304 (plate coin) / BMC pl.XXXVIII, no.25


Lakshmi, the wife of Vishnu, is the goddess of fortune, wealth and prosperity and one of the most popular divinities from the Hindu pantheon. Incarnations of Vishnu are Rama and Krishna, as incarnations of Lakshmi are Sita (Rama's wife) and Radha (Krishna's lover). Lakshmi has a special association to the lotus flower which stands for growth and fertility- so much that even the world is said to be continually reborn from a lotus which comes out of the navel of Vishnu.


Ujjain, anonymous AE 3/8 karshapana, 'abisheka-Lakshmi txpe'

Weight: 3.10 gm., Diameter: 15x11 mm.
Lakshmi seated with feet parallel to each other, her right rests on her
      belly and her left on her leg; Lakshmi is flanked by two elephants
      which are sprinkling water on her head (abisheka Lakshmi).
Reference: Pieper 305 (plate coin) / BMC pl.XXXVI, nos.4-5


Abisheka is a late Vedic rite originally performed by anointing government officials at special occasions. In Hindu worship the abisheka ritual is particularly connected with Lakshmi, though it is also performed by other believers. 'Rudraabisheka' for example is peformed on Shiva lingams. As can be seen on this coin Lakshmi is frequently depicted with two elephants adoring her by pouring water over her head.


Ujjain, anonymous AE 1/8 karshapana, 'fish-holding Vasudhara'
Weight: 1.00 gm., Diameter: 8x8 mm.
Standing goddess Vasudhara holding a pair of fish with her outstretched
     right, left hand akimbo.; standard on right.
Ujjain symbol with extra circle in field.
Reference: Pieper 295 (plate coin) 


The fish-holding goddess is known on coins and sculptural objects from Malwa, Vidarbha, Mathura, Kausambi and elsewhere and has been identified as Vasudhara, a goddess of wealth and auspiciousness.  Like Lakshmi she was popular among traders and others who searched protection and promotion for their diverse activities. Handa emphasizes the symbolic importance of the pair of fish "as one of the eight mangalika-chihnas 'auspicious signs' in literature".


Central India, AE 1/8 karshapana,'fish-holding Vasudhara'
Weight: 1.01 gm., Diameter: 8x8 mm.
Standing goddess Vasudhara holding a pair of fish with her outstretched
     right, left hand akimbo; she wears large earrings and pinned up hair (as
     if wearing a vessel on her head); svastika on the top left.
Lion standing to right
Reference: Pieper 452 (plate coin)


The provenance of this and the next coin is uncertain but may be assumed to be in western Malwa or closely linked regions south of the Narmada.


Central India, AE 1/8 karshapana, 'fish-holding Vasudhara'
Weight: 1.17 gm., Diameter: 11x8 mm.
Standing goddess Vasudhara holding a pair of fish with her outstretched
     right, left hand akimbo; her hair is pinned up (as if wearing a vessel on
     her head; two crescent-like devices on the left.
Tree
Reference: Pieper 453 (plate coin)



Ujjain, AE 1/4 karshapanaa, 'snake holding deity'
Weight: 2.83 gm., Diameter: 11x11 mm.
Frontally facing female figure, her left arm akimbo, her right raised hand holding
     an uncertain object; on the left is a curved object like a snake
    coming from a large basket that is standing at the bottom.
Ujjain symbol.
Reference: Pieper 296 (plate coin)


It is possible that this is also a depiction of 'fish-holding' Vasudhara but there are some differences. The uplifted right is unusual and the fact that the deity would be holding one of the two fish directly in her hand seems to be unusual as well. Usually Vasudhara is holding the pair of fish with a string so that they are hanging below her outstretched hand. To me it looks more as if she was holding a snake in her hand and the curved object on left as well bears more resemblance to a snake. And the basket which is standing at the bottom reminds one of the baskets in which snake charmers keep their snakes. If this interpretation was true, the depicted figure might be a serpent goddess such as Manasa who is particularly worshipped in Bengal but also in other parts of northern and north-eastern India.


Ujjain, anonymous AE 3/8 karshapana, 'Annapurna type'

Weight: 3.17 gm., Diameter: 17x15 mm.
Frontally standing female figure holding a vase or pot in her upraised right
     hand, left akimbo; 6-armed symbol on top left; horizontally placed
     Indradhvaja and taurine on bottom left; railed tree on right.
Double-orbed Ujjain symbol.
Reference: Pieper 294 (plate coin) /BMC pl.XXXVII, no.21


Handa suggested that the female on this coin may represent Annapurna (ICS-NL, 51, p.35). Annapurna is the Hindu goddess of nourishment, food, harvest and agriculture and hence very popular in the villages and rural regions of India. She is regarded as another form of Parvati, the consort of Shiva. Annapurna is depicted holding a bowl or pot filled with grain or other food. Her main temple stands in Varanasi but others are known at many other places among them a very famous one at Indore in Madhya Pradesh.



Ujjain, anonymous AE 3/4 karshapana, 'taurine-holding deity'
Weight: 3.00gm., Diameter: 15x14 mm.
Frontally standing female figure holding taurine in raised left, right akimbo;
     chakra above Ujjain symbol on left; svastika above railed tree on right.
Ujjain symbol with a svastika in each orb.
Reference: Pieper 298 (plate coin)/ BMC pl.XXXVII, no.8


The identity of this taurine holding female remains uncertain at the moment


Ujjain, anonymous AE 1/4 karshapana, 'six-headed Shashthi type'

Weight: 1.95 gm., Diameter: 14x12 mm.
Simplified female figure frontally standing, both arms hanging down; railed
     tree on right; river line at the bottom.
Ujjain symbol with svastika in each angle.
Reference: Pieper 300 (plate coin)


Referring to depictions of six-headed Shashthi on some Yaudheya coins Devendra Handa takes the five dots around the main head of the female on this coin type as additional heads and identifies her  as Shashthi on this Ujjain type as well (ICS-NL, 51, p.34).



Ujjain, anonymous AE 3/8 karshapana, 'shoulder decorated deity'
Weight: 3.30 gm., Diameter: 15x15 mm.
In square incuse standing human on left with rings (bracelets) around the
     shoulders; Ujjain symbol in center; hand or footprint symbol on right;
     horizontally placed railed tree at top; river at the bottom.
Reference: Pieper 297 (plate coin)


The identity of this peculiar human figure with the circles / rings/ ornaments at the shoulders is still open.




Ujjain, anonymous AE 3/8 karshapana,'Balarama & ass-demon'
Weight: 3.86 gm., Diameter: 15x14 mm.
Human figure on left holding stick and kamandalu standing towards a
     horse-like animal which faces him from right; palm tree on right; Ujjain
     symbol on top; a taurine above the animal and taurine and svastika at
     the bottom.
Ujjain symbol with a svastika in each orb and taurines in the angles.
Reference: Pieper 346



ghōṭa m. ʻ horse ʼ ĀpŚr., °ṭī -- f. Aśvad., °ṭaka -- m. Pañ- cat., °ṭikā -- f. lex. [Non -- Aryan, prob. Drav., origin EWA i 361 with lit.]Pa. ghōṭaka -- m. ʻ poor horse ʼ; Pk. ghōḍa -- , °ḍaya -- m., °ḍī -- f. ʻ horse ʼ, Gy. as (Baluči) gura, pers. gôrá, pal. gṓri f., arm. khori ʻ horse ʼ, eur. khuro m., °rī f. ʻ foal ʼ, boh. pol. khuro ʻ stallion ʼ; Ash.g&otodacutemacr;ṛu m. ʻ horse ʼ, gọ̈̄räˊ f., Wg. g&otodacutemacr;ṛa, Pr. irí, Dm. gọŕɔ m., guŕi f., Paš. gōṛāˊ, Niṅg. guṛə́, Shum. gṓṛo, Woṭ. gōṛ m., gēṛ f., Gaw. guṛɔ́ m., guṛīˊ f., Kal. urt. ghɔ́̄ŕ*l, Bshk. górm., gēr f., Tor. ghō m., ghəē f. (aspirate maintained to distinguish from  ʻ bull ʼ J. Bloch BSL xxx 82), Mai. ghå m., ghwī f., Chil. Gau. gho, Sv. ghuṛo m., g'uṛia f., Phal. ghūṛu m., °ṛi f., Sh. *gōu (→ Ḍ.gōwá), K. guru m., °rü f., (Islamābād) guḍü, rām. pog. ghōṛŭ, kash. ghuṛŭ, ḍoḍ. ghōṛō, S. ghoṛo m., °ṛī f., L. P. ghoṛā m., °ṛī f., in cmpds. ghoṛ -- , WPah. ghoṛo m., °ṛī f., °ṛu n. ʻ foal ʼ, Ku. ghoṛo, A. ghõrā, in cmpds. ghõr -- , B. ghõṛā m., ghũṛi f. (whence Chittagong ghunni ODBL 695), Or. ghoṛā°ṛī, Bi. ghor°rā, OAw. ghora, H. ghoṛghoṛā m., ṛī f. (→ N. Bhoj. ghoṛā, N. °ṛi, Bhoj. °ṛī), Marw. ghoṛo m., G.ghoṛɔ m., °ṛī f., °ṛũ n. ʻ poor horse ʼ, M. ghoḍā m., °ḍī f., Ko. ghoḍo.*ghōṭakarūpa -- , *ghōṭāgāra -- .Addenda: ghōṭa -- : S.kcch. ghoṛo m. ʻ horse ʼ, WPah.kṭg. (kc.) ghòṛɔ, m. ʻ horse ʼ, kṭg. ghòṛu m. ʻ small horse, colt ʼ, Garh. ghoṛū m. ʻ horse ʼ, Brj. ghoṛoghoro m., ghoṛīghorī f.(CDIAL 4516)



Rebus: खोट (p. 212) [ khōṭa ] f A mass of metal (unwrought or of old metal melted down); an ingot or wedge. (Marathi)







In a note to the SACG website Shailendra Bhandare suggested the scene on this coin representing the mythical story of 'Balarama killing the ass demon' and the depiction seems to reflect that story indeed quite well- even if the deity on this coin has no specific Vaishnavite attributes. We are told that there had been a large grove where there were palmyras bearing delicious fruits. But nobody dared to go there because the site was guarded by Dhenuka, a demon in the form of an ass. Finally Balarama, inseparable companion of Krishna, killed the demon by crashing him against one of the palm trees. In his contribution to 'Between the Empires' Bhandare discusses the story of 'Balarama killing the ass-demon' in the context of the coinage of Erikachha where the palm-tree and ass had been characteristic coin devices. Typologically this coin type may thus rather belong to Erikachha than to Ujjain.







Ujjain, anonymous AE, 'Brahma type'

Weight: 2.84 gm., Diameter: 14x14 mm.
Standing male figure holding long curved staff and kamandalu (water-pot)
     Ujjain symbol on top left and Brahmi legend 'bramha' on top right.
Six-arched chaitya (hill/ multiarched structure) with indistict object on top;
    indistinct Brahmi legend below the chaitya .
Reference: Pieper 410 (plate coin)


In ICS-NL, no.50, p.31-32, Devendra Handa identified the deity on this coin type as Brahma as it is clearly indicated by the Brahmi legend on the right top corner of the obverse. Handa discusses the possibility that the object on top of the chaitya on reverse might be a swan (vahana or vehicle of Brahma) on post. Taking the chaitya symbol representing a temple in this case, it thus might be a temple dedicated to god Brahma. Brahma, creator of the universe, is part of the Hindu trinity together with Vishnu and Shiva. Although usually Brahma is represented as a four-armed deity with certain specific attributes, one cannot expect these features here, as the iconography was not yet developed that far and nowhere on these early coins do we see multi-armed deities. Staff and kamandalu (water-pot) are unspecific attributes which Brahma shares with other deities.


Ujjain, anonymous AE 3/8 karshapana, 'Brahma type'

Weight: 3.28 gm., Diameter: 15x13 mm.
Like the previous specimen but reverse design blank or corroded.
Reference: Pieper 411 (plate coin)



Ujjain, anonymous AE 1/4 karshapana, 'standing couple type'

Weight: 2.81 gm., Diameter: 17x15 mm.
Standing male and female human figure side by side holding hands, female's
     right hand raised to her head, male's left akimbo, hair decorations
     on both sides of the male's head; river at the bottom.
Ujjain symbol with a taurine in each orb.
Reference: Pieper 302 (plate coin)/ BMC pl.XXXVI, nos.1-3


Several attempts have been made in the past to identify the two figures on this coin type. Amongst other explanations some researchers have tried to interpret the scene as representing the marriage of Shiva and Parvati but there is no clear evidence for any such definite attribution. In the abscence of any specific attributes one can only describe the scene as a depiction of a closely attached human couple.


Ujjain region, c/m anonymous AE 1/2 karshapana
Weight: 3.96 gm., Diameter: 17x17 mm.
Standing male figure holding kamandalu (water-pot) and danda (stick);
    wheel above six-armed symbol on left; three-arched hill with crescent
    on top right; countermark on top right depicting a bull with svastika and
    taurine.
Blank reverse.
Reference: Pieper 417 (plate coin) / see Kothari 267 for undertype




Ujjain region, c/m anonymous AE karshapana
Weight: 7.64 gm., Diameter: 21x21 mm.
Countermark (=standing human figure holding stick and kamandalu) on the
     blank reverse of an Ujjain region coin.
Worn traces of undertype: three-arched hill, Ujjain symbol, six-armed-
     symbol and river.
Reference: Pieper 418 (plate coin) / compare Kothari 325


Ujjain region, c/m anonymous AE 1/2 karshapana
Weight: 5.13 gm., Diameter: 16x15 mm.
Countermark (=standing human figure, his left akimbo, his right raised;
     Indradhvaja on left).
Faint traces of worn undertype of which Ujjain symbol and parts of a tree
     are visible.
Reference: Pieper 421 (plate coin) / see Kothari 286


Such human figure countermarks (the 'Shiva-like' depiction of the previous coin as also the 'man + Indradhvaja' of this coin) occur on a number of different coin types from western and from eastern Malwa.






UJJAIN, animal series















The most frequently seen animals on Ujjain coins are the bull, elephant, horse and lion, which occupied important places in the daily life and artwork of the people of India throughout the ages. The rich coinages of Ujjain present these animals sometimes in a simple form, in other cases in artistically high grade executions. Before opening the coin gallery a few words may be said on the symbolism and the extended meaning these animals carry.



BULL: The bull's domestication was an important step in the agricultural development of most ancient societies. In the case of India outstanding depictions of bulls had been engraved in prehistoric time on rocks and caves and later during the third and early second millenium BCE in outstanding form on many objects from Indus valley civilisation sites such as Mohenjo-Daro and Harappa. On early Indian coins, i.e. on some Mauryan karshapanas and certain local Deccan punchmarked types, we find the interesting depiction of yoked bulls drawing a ploughshare. The bull's vital role for human society, its strength, fertility and power soon raised it into a mythical and religious context. Best known and well documented is the bull's association with the Hindu god Shiva serving as this god's vahana (mount) in the form of the magnificent bull Nandi, the son of Surabhi and Kasyapa. Its inclusion into religious and divine spheres soon secured the bull and cattle in general special respect, adoration and inviolability in Hindu society. 



On the coins of ancient Ujjain the bull is mostly standing or walking to the right. Characteristically there are some associated symbols placed above the animal, among which the svastika, taurine, Indradhvaja, six-armed symbol, chakra or Ujjain symbol are the most frequently encountered, whereas other symbols such as vase or three-arched hill are rarely seen in association with the bull. In many instances the bull is facing a railed tree or very occasionally a railed yupa which is placed on the right. 



ELEPHANT: The elephant was adored by Buddhists, Hindus and Jains. Even if the white elephant Airavata is mentioned as having been ridden by thunderbolt-wielding Indra it cannot be taken as Indra's vahana in the same close association as the bull is linked to Shiva. Indra rides Airavata when defeating Vrta, who appears as a dragon or huge snake causing drought by blocking the course of the rivers. Airavata sucks up the waters of the underworld and sprays them  into the clouds, so that Indra can cause them to rain down thus ending the terrible drought on earth. This mythical story also emphasizes the elephant's close link to water and rain which is amply illustrated in abisheka depictions of elephants anointing the goddess Lakshmi. The elephant was used as a pack-animal and abused as a devastating weapon of war and in its power and matchless strength regarded as a symbol of royal authority. Its grandeur and noble character impressed people throughout the ages and diverse cults developed around it. One amongst many others is the famous story of Buddha entering the whomb of his mother Maya in his last incaarnation in the form of a white elephant.



LION: The outstanding position of the lion in Indian life, culture and art is vividly illustrated by the national Indian emblem, an adaptation of the lion capital of Ashoka at Sarnath (near Varanasi in UP) which is crowned by four lions standing on an abacus decorated with a frieze depicting an elephant, horse, lion and bull. In Buddhism lions are depicted as dharma protectors supporting the throne of lord Buddha and of bodhisattvas (followers of Buddha striving for enlightenment) - symbolizing consistency, strength and wisdom. In Hindu mythology the lion appears as one of the avatars (personifications) of the god Vishnu. There was no threat and no enemy the 'king of the animals' had to fear and hence the lion's majesty and royalty are easily understandable attributes. 



HORSE: The very important role the domesticated horse has always played in human society is self-evident. Horses, sometimes with wings and sometimes without, also had their parts in the myths of people all over the world. Uchchaihshravas, the legendary white, winged horse of Hindu mythology emerged from the ocean and was taken into heaven by Indra. Having removed its wings to prevent it from flying away Indra presented the horse to mankind. Speed, freedom, grace  and beauty are attributes that immediately come to mind when thinking of horses. Depictions of horses drawing a chariot are known but extremely rare on coins of ancient India. There are 'horse type' coinages like the Malayaman, the Hiranjaka or the Suktimati coins where the horse occupies the dominant and largest element of the coin design. On the coins of Ujjain, however, the horse is rather a coequal part of a multi-symbol design. 



Even a short comment on horses on Indian coins cannot conclude without mentioning the Vedic Ashvameda (horse-sacrifice) ritual. This unusual ceremony was the exclusive privilege of a king and was performed to celebrate a great victory or other very special event. The stallion, carefully chosen from the flock of the king, was set free to roam around for the time of one year during which it was followed by the king's army. Then the horse was brought back to the king's residence and the ceremony was performed. In its course the horse was tied to a sacrifical post and after a series of different rites, in which a great number of diverse animals were involved, the horse was slaughtered. Only very few ancient Indian kings such as Pushyamitra Sunga and Samudragupta are historically documented to have performed the Ashvameda ceremony and in the case of Samudragupta some famous gold coins bear witness to this event.  Other claims to Ashvameda depictions on ancient Indian coins are mostly unbased or at least too unspecific to be sure about the depicted scene.















Ujjain, anonymous AE 1/12 karshapana, bull type

Weight: 0.68 gm., Diameter: 8 mm.
Obv.: Bull to right, taurine above, railed tree on right.
 Rev.: Double-orbed Ujjain symbol.
Reference:  Pieper 324 (plate specimen)




Ujjain, anonymous AE 1/6 karshapana, bull type
Weight: 1.49 gm., Diameter: 11mm mm.
Obv.: Bull to right, chakra above, railed tree on right, river below.
Rev.: Ujjain symbol with a shrivatsa in each orb.
Reference: Pieper 323 (plate specimen)




Ujjain, anonymous AE 1/8 karshapana, bull type
Weight: 1.14  gm., Diameter: 10x8 mm.
Obv.: Bull to right.
Rev.: Ujjain symbol.
Reference: Pieper 327 (plate specimen)




Ujjain, anonymous AE 1/8 karshapana, bull type
Weight: 0.95 gm., Diameter: 10x9 mm.
Obv.: Bull to right, Ujjain symbol and svastika above.
Rev.: Multiple Ujjain symbols, svastika in field.
Reference: Pieper 328 (plate specimen)




Ujjain, anonymous AE 1/12 karshapana, bull type
Weight: 0.75 gm., Diameter: 10x9 mm.
Obv.: Bull to right, svastika flanked by two taurines on top; taurine
         on right.
Rev.: Ujjain symbol with a taurine in each angle.
Reference: Pieper 329 (plate specimen)




Ujjain, anonymous AE 1/16 karshapana, bull type
Weight: 0.62 gm., Diameter: 8x8 mm.
Obv.: Bull to right, svastika, Indradhvaja and taurine on top.
Rev.: Double-orbed Ujjain symbol.
Reference: Pieper 330 (plate specimen)




Ujjain, anonymous AE 1/8 karshapana, bull type
Weight: 0.85 gm., Diameter: 11x10 mm.
Obv.: Bull to right, svastika, taurine and Indradhvahja on top.
Rev.: Ujjain symbol with a taurine in each angle.
Reference: Pieper 331 (plate specimen)




Ujjain, anonymous AE 1/ 12 karshapana, bull type
Weight: 0.72 gm., Diameter: 9x8 mm.
Obv.: Bull to right, Ujjain symbol, vertical line and vase on top.
Rev.: Double-orbed Ujjain symbol.
Reference: Pieper 332 (plate specimen)







Ujjain, anonymous AE 1/ 12 karshapana, bull type
Weight: 0.69 gm., Diameter: 9x8 mm.
Obv.: Bull to right with two taurines above;  dotted circle on top.
Rev.: Double-orbed Ujjain symbol with a taurine in each angle.
Reference: Pieper 334 (plate specimen)




Ujjain, anonymous AE 1/8 karshapana, bull type
Weight: 0.83 gm., Diameter: 12x10 mm.
Obv.: Bull to right with three-arched hill above and taurine on right;
         railed tree on right.
Rev.: Ujjain symbol enclosed in 'hollow cross' with a taurine in each
         angle of the cross.
Reference: Pieper 336 (plate specimen)




Ujjain, anonymous AE 1/6 karshapana, bull type
Weight: 1.47g, Diameter: 11x8mm
Obv.: Bull to right with long horns bent forwards; railed tree on right.
Rev.: Ujjain symbol.
Reference: Pieper 337 (plate specimen)




Ujjain, anonymous AE 1/6 karshapana, bull type
Weight: 1.62 gm., Diameter: 11x8 mm.
Obv.: Bull to right with six-armed symbol above and railed tree on right.
Rev.: Ujjain symbol.
Reference: Pieper 335 (plate specimen)



Ujjain, anonymous AE 1/6 karshapana, bull type
Weight: 1.37 gm., Diameter: 11x10 mm.
Obv.: Bull to right with Indradhvaja above; railed yupa (sacrifical post)
          on right.
Rev.: Double-orbed Ujjain symbol.
Reference: Pieper 333




Ujjain, anonymous AE 1/ 16 karshapana, bull type
Weight: 0.52 gm., Diameter: 9x8 mm.
Obv.: Bull to left with Ujjain symbol above, railed tree on right.
Rev.: Ujjain symbol with thick dot inside each orb and a taurine in each
          angle.
Reference: Pieper 339 (plate specimen)


This is one of the few types of Ujjain on which the bull is standing to the left.




Ujjain, anonymous AE 3/8 karshapana, bull +tree type
Weight: 3.38 gm., Diameter: 15x15 mm.
Obv.: Bull to right facing railed tree on right; Indradhvaja and taurine
          above the bull.
Rev.: Ujjain symbol
Reference: Pieper collection (compare type 340)




Ujjain, anonymous AE 3/8 karshapana, bull + tree type
Weight: 3.52 gm., Diameter: 17x15 mm.
Obv.: Bull to right facing railed tree on right; Indradhvaja flanked by
         two taurines above the bull.
Rev.: Ujjain symbol with a dot in each orb.
Reference: Pieper 340 (plate specimen)




Ujjain, anonymous AE 1/2 karshapana, bull + tree type
Weight: 4.26 gm., Diameter: 17x15 mm.
Obv.: Bull to right facing a railed tree on right; Indradhvaja and taurine
          above the bull.
Rev.: Double-orbed Ujjain symbol.
Reference: Pieper 341 (plate specimen)




Ujjain, anonymous AE 1/2 karshapana, bull + tree type
Weight: 3.72 gm., Diameter: 17x15 mm.
Obv.: Bull to right facing a railed tree on right; Indradhvaja flanked by
          two taurines above the bull.
Rev.: Worn undertype of  Ujjain type 'vase-holding deity (Anapurna)
Reference: Pieper 342 (plate specimen)




Ujjain, anonymous AE 3/8 karshapanaa, bull + tree type
Weight: 3.32 gm., Diameter: 16x12 mm.
Obv.: Bull to right facing its head towards the viewer with taurine and
         svastika above and another svastika in front of the bull; railed tree
         on right; river at the bottom.
Reference: Pieper 343 (plate specimen)




Ujjain, anonymous AE 1/2 karshapana, bull + tree type
Weight: 4.98 gm., Diameter: 18x18 mm.
Obv.: Bull to right facing Indradhvaja above railing on right; river line
         with fishes above the bull.
Rev.: Ujjain symbol with a shrivatsa in each orb.
Reference: Pieper 344 (plate specimen)


UJJAIN, elephant types


Ujjain, anonymous AE 1/12 karshapana, elephant type

Weight: 0.72 gm., Diameter: 8 mm.
Obv.: Elephant to right, shrivatsa above.
Rev.: Ujjain symbol with a small Ujjain symbol in each orb.
Reference: Pieper 351 (plate specimen)



Ujjain, anonymous AE 1/ 16 karshapana, elephant type

Weight: 0.51 gm., Diameter: 9x8 mm.
Obv.: Elephant to left with Ujjain symbol above.
Rev.: Double-orbed Ujjain symbol.
Reference: Pieper 353 (plate specimen)


Ujjain, anonymous AE 1/ 12 karshapana, elephant type
Weight: 0.67 gm., Diameter: 9x7 mm.
Obv.: Elephant to right with taurine above.
Rev.: Ujjain symbol with dot in each orb, shrivatsa in field.
Reference: Pieper 355 (plate specimen)


Ujjain, anonymous AE 1/ 12 karshapana, elephant type
Weight: 0.69 gm., Diameter: 9x8 mm.
Obv.: Elephant to right.
Rev.: Ujjain symbol.
Reference: Pieper 357 (plate specimen)


Ujjain, anonymous AE 1/ 12 karshapana, elephant type
Weight: 0.75 gm., Diameter: 10x9 mm.
Obv.: Elephant to right.
Rev.: Ujjain symbol with a dot in each orb.
Reference: Pieper 358 (plate specimen)


Ujjain, anonymous AE 1/6 karshapana, elephant type
Weight: 1.38 gm., Diameter: 10x10 mm.
Obv.: Elephant to right with raised trunk, Ujjain symbol and taurine
         above the elephant; svastika on right bottom.
Rev.: Ujjain symbol with a dot in each orb and alternating taurines and
         svastikas in the angles.
Reference: Pieper 359 (plate specimen)




Ujjain, anonymous AE 1/6 karshapana, elephant type
Weight: 1.45 gm., Diameter: 10x9 mm.
Obv.: Elephant to right with svastika, taurine and Indradhvaja above.
Rev.: Ujjain symbol.
Reference: Pieper 360 (plate specimen)


Ujjain, anonymous AE 1/4 karshapana, elephant type
Weight: 2,54 gm., Diameter: 15x14 mm.
Obv.: Elephant to right with taurine on left and Indradhvaja on right;
          river at the bottom; fish-tank and Ujjain symbol on top.
Rev.: Ujjain symbol.
Reference: Pieper 361 (plate specimen)


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


A most dynamic depiction of outstanding artistic merit illustrating the unrivalled strength and power of the elephant.


Ujjain, anonymous AE 1/2 karshapana, elephant type.
Weight: 4.65 gm., Diameter: 14x14 mm.
Obv.: Elephant to right with chakra and Ujjain symbol above; railed tree
         on right; river at the bottom.
Rev.: Ujjain symbol with shrivatsa in each orb.
Reference: Pieper 364 (plate specimen)


Ujjain, inscribed civic AE 1/2 karshapana, civic issue
Weight: 4.97 gm., Diameter: 14 mm.
Obv.: Elephant to right; Ujjain symbol above.
Rev.: Brahmi legend 'ujeniya'; above the legend, chakra on left and footprint on
         right; river at the bottom
Reference: Pieper 402 (plate specimen)


A rare specimen of the civic type of the Ujjaini coinage with the name of the city inscribed in bold Brahmi letters. The type is one example among a number of other civic coins of the Narmada valley which are inscribed in the name of the respective city.


Ujjain, inscribed civic AE 3/8 karshapana, civic issue
Weight: 3.67 gm., Diameter: 13 mm.
As previous specimen with complete legend.
Reference: Pieper 403 (plate specimen)





UJJAIN, lion types āra 'lion' , arā 'spoke' rebus: āra 'brass' OR kola 'tiger' rebus: kol 'blacksmith, working in iron'.




Ujjain, anonymous AE 1/16 karshapana, lion type
Weight: 0.54 gm., Diameter: 8 mm.
Obv.: Lion satnding to right, Ujjain symbol on right.
 Rev.: Ujjain symbol.
Reference:  Pieper 367 (plate specimen)




Ujjain, anonymous AE 1/12 karshapana, lion type
Weight: 0.73 gm., Diameter: 9 mm.
Obv.: Lion to right, svastika above.
 Rev.: Double-orbed Ujjain symbol.
Reference:  Pieper 368 (plate specimen)


Ujjain, anonymous AE 1/12 karshapana, lion type
Weight: 0.81 gm., Diameter: 9x8 mm.
Obv.: Lion standing to right, Ujjain symbol on right.
 Rev.: Dotted Ujjain symbol with a triskeles in each angle.
Reference:  Pieper 370 (plate specimen)


Ujjain, anonymous AE 1/8 karshapana, lion type
Weight: 0.89 gm., Diameter: 11x9 mm.
Obv.: Lion resting to right.
 Rev.: Ujjain symbol.
Reference:  Pieper 371 (plate specimen)


Ujjain, anonymous AE 3/8 karshapana, lion type
Weight: 3.54 gm., Diameter: 13 mm.
Obv. Lion standing to right, Ujjain symbol above, railed tree on right,
         river at the bottom.
 Rev.: Double-orbed Ujjain symbol.
Reference:  Pieper 374 (plate specimen)


Ujjain, anonymous AE 1/2 karshapana, lion type
Weight: 4.93 gm., Diameter: 14 mm.
Obv.: Lion standing to left, Ujjain symbol above, railed tree on left,
          river at the bottom.
 Rev.: Ujjain symbol.
Reference:  Pieper 373 (plate specimen)


UJJAIN, other animal types  ghōṭa m. ʻ horse ʼ rebus: khōṭa m. ʻwedge, ingotʼ


Ujjain, anonymous AE 1/6 karshapana, horse type
Weight: 1.35 gm., Diameter: 9x9 mm.
Obv.: Horse to right, horizontally placed railed tree above, vase on right.
 Rev.: Ujjain symbol with svastika in each orb.
Reference:  Pieper 338 (plate specimen)


Ujjain, anonymous AE 1/2 karshapana, horse type
Weight: 5.00gm., Diameter: 20x15 mm.
Obv.: Horse to right between railed tree on left and chakra on right;
         on top from left to right Ujjain symbol, Indradhvaja (and shrivatsa);
         river at the bottom.
 Rev.: Double-orbed Ujjain symbol.
Reference:  Pieper 347


Ujjain, anonymous AE 1 karshapana, horse type
Weight: 9.04 gm., Diameter: 20x15 mm.
Obv.: Horse to right, horizontally placed railed tree above the animal and
          Ujjain symbol below; river on the left and svastika between two
          taurines on the right.
 Rev.: Ujjain symbol with alternating svastikas and taurines in its corners.
Reference:  Pieper 348 (plate specimen)


Ujjain, anonymous AE 1/12 karshapana, tortoise type
Weight: 0.79 gm., Diameter: 9x7 mm.
Obv.: Tortoise in square frame/tank with a crescent at each angle.
 Rev.: Dotted Ujjain symbol, one additional taurine in field.
Reference:  Pieper 375 (plate specimen) kAsa 'turtle, tortoise' rebus: kAsa 'bronze'


Ujjain, anonymous AE 1/8 karshapana, tortoise type
Weight: 0.94 gm., Diameter: 8x8 mm.
Obv.: Tortoise in square frame/ tank with a circle at each angle.
 Rev.: Ujjain symbol with additional taurine in field.
Reference:  Pieper 376 (plate specimen)


Ujjain, anonymous AE 1/8 karshapana, makara type
Weight: 1.17 gm., Diameter: 10x8 mm.
Obv.: Makara to right in form of an aquatic creature with fishtail and
          head of an elephant; Ujjain symbol at top.
 Rev.: Ujjain symbol with a dot in each angle.
Reference:  Pieper 366 (plate specimen)


The makara is the vahana (mount) of Ganga, the goddess of the river Ganges, and of the sea-god Varuna. Its frontal part is that of a terrestrial animal, its hind part that of a sea-creature. The depiction of a creature with fish-tail and elephant's head, like on this coin, is frequently used in depictions of a makara.







The multi-symbol obverse designs of Ujjain's local copper coins document close affinities to those of the Mauryan silver karshapanas. As Allan rightly observed (BMC:cxiii): "They are struck on the same principle as the punch-marked coins; that is to say, on the obverse we have several symbols - often, as on the silver punch-marked coins, five, some of which change more frequently than others." This multi-symbol fashion with the single design elements having nearly the same size may help to date such coin types earlier than coin types with one large dominant design element which is accompanied by one or more small symbols.






Human and animal depictions on local Ujjain coins have been discussed and illustrated on the previous Ujjain pages. Inanimate, symbolic depictions most frequently occurring on Ujjain copper coins are the railed tree, chakra, six-armed symbol, svastika, taurine, Indradhvaja, srivatsa, river and fish-tank. A few other symbols like sun, wheel, tree-on-hill and railed lingam have to be added to this list but they are rarely seen. One is astonished to observe that the three-arched hill symbol, which occupied a prominent place among the symbols on Mauryan karshapanas, is used on only a few Ujjain types.




The dominant symbol here is of course the cross symbol with an orb attached at each end, the so-called Ujjain symbol. In a large form and as a single symbol it is used as the reverse mark of the local Ujjain coppers but as one among other symbols it also appears on many obverse types of this and many other ancient Indian coin series. The influence and the acceptance of Ujjain's coins has been so decisive that other authorities sometimes even marked their coins with the same reverse emblem as Ujjain itself - examples are some Erich types or certain types from Vidarbha. In that case a clear distinction is only possible by knowledge of findspots or a specific typology of the respective obverse design. Much has been speculated about origin and meaning of the Ujjain symbol. The most probable interpretation sees the symbol as symbolizing  an important cultural, political and economical center where crossroads from all cardinal points met and emenated.


UJJAIN, symbol series


Ujjain, anonymous AE 1/2 karshapana, multi-symbol type

Weight: 4.22 gm., Diameter: 18 mm.
Centrally placed Ujjain symbol; svastika and Indradhvaja on right and
    railed tree on left; fish-tank above the Ujjain symbol and parts of
    chakra on top right; river at the bottom.
Double-orbed Ujjain symbol
Reference: Pieper 379 (plate specimen)





Ujjain, anonymous AE 1/2 karshapana, multi-symbol type
Weight: 4.97 gm., Diameter: 16 mm.
As previous coin but the railing has nine compartments and the svastika
has been exchanged for a taurine symbol.
Reference: Pieper 380 (plate specimen)


Ujjain, anonymous AE 1/2 karshapana, multi-symbol type
Weight: 4.64 gm., Diameter: 13 mm.
Railed tree in center; on the left shrivatsa above svastika; on the right
    chakra above fish-tank.
Double-orbed Ujjain symbol.
Reference: Pieper 381 (plate specimen)




Ujjain, anonymous AE 1/8 karshapana, multi-symbol type
Weight: 1.32 gm., Diameter: 10x10 mm.
Obv.: Indradhvaja , three-arched hill, six-armed symbol, sun , svastika
 Rev.: Ujjain symbol with a dot inside each orb.
Reference: Pieper 382


Ujjain, anonymous AE 1/8 karshapana, multi-symbol type
Weight: 1.30 gm., Diameter: 11x11 mm.
Railed tree on right; Ujjain symbol above horizontally placed Indradhvaja
    on left; taurine below and svastika above the Ujjain symbol.
Ujjain symbol with a dot inside each orb.
Reference: Pieper 383 (plate specimen)





Ujjain, anonymous AE 1/ 10 karshapana, tree type
Weight: 0.86 gm., Diameter: 10 mm.
Obv.: Railed tree with Ujjain symbol on right.
Rev.: Ujjain symbol.
Reference: Pieper 389 (plate specimen)


Ujjain, anonymous AE 1/ 10 karshapana, tree type
Weight: 0.82 gm., Diameter: 8x7 mm.,
Obv.: Railed tree.
Rev.: Ujjain symbol
Reference: Pieper 391 (plate specimen)


Ujjain, anonymous AE 1/ 10 karshapana, tree type
Weight: 0.82 gm., Diameter: 8x8 mm.
Obv:. Railed tree in square incuse.
Rev.: Ujjain symbol with a dot in each orb.
Reference: Pieper 392 (plate specimen)


Ujjain, anonymous AE 1/ 10 karshapana, tree type
Weight: 0.91 gm., Diameter: 10x10 mm.
Obv.: Railed tree with Indradhvaja on right.
Rev.: Ujjain symbol.
Reference: Pieper 394 (plate specimen)




Ujjain, anonymous AE 1/ 10 karshapana, tree type
Weight: 0.96 gm., Diameter: 10x7 mm.
Obv.: Tree in vase, dagger-like symbol on right.
Rev.: Ujjain symbol with thick dot in each orb and a dot in each angle.
Reference: Pieper 393 (plate specimen)




Ujjain, anonymous AE 1/ 8 karshapana, tree type
Weight: 1.11 gm., Diameter: 10x8 mm.
Obv.: Railed tree with large crescent above; svastika above taurine on r.
Rev.: Ujjain symbol
Reference: Pieper 395 (plate specimen)




Ujjain, anonymous AE 1/ 8 karshapana, tree type
Weight: 1.13 gm., Diameter: 9x8 mm.
Obv.: Railed tree with river on right; part of rectangular symbol on left;
          two taurines on top.
Rev.: Ujjain symbol.
Reference: Pieper 396 (plate specimen)




Ujjain, anonymous AE 1/ 8 karshapana, tree type
Weight: 1.23 gm., Diameter: 11x11 mm.
Obv.: Railed tree above river line.
Rev.: Ujjain symbol.
Reference: Pieper 397 (plate specimen)


Ujjain, anonymous AE 1/4 karshapana, tree type
Weight: 2.76 gm., Diameter: 12x11 mm.
Obv.: Railed tree in square incuse with taurine on left.
Rev.: Ujjain symbol with a thick dot in each orb.
Reference: Pieper 398 (plate specimen)


Ujjain, anonymous AE 1/4 karshapana, tree type
Weight: 1.90 gm., Diameter: 14x12 mm.
Obv.: Tree-on-hill.
Rev.: Four Ujjain symbols.
Reference: Pieper 399 (plate specimen)


Ujjain, anonymous AE 1/2 karshapana, tree type
Weight: 4.58 gm., Diameter: 14 mm.
Obv.: Railed tree.
Rev.: Double-orbed Ujjain symbol.
Reference: Pieper 388 (plate specimen)




Ujjain, anonymous AE 1/2 karshapana, tree type
Weight: 4.19 gm., Diameter: 15x14 mm.
Obv.: Tree-on-hill on right and six-armed symbol on left.
Rev.: Ujjain symbol with alternating taurines and svastikas in the orbs.
Reference: Pieper 400


Ujjain, anonymous lead 1/2 karshapana, tree type
Weight: 4.37 gm., Diameter: 16x16 mm.
Obv.: Railed tree on the right; on the left six-armed symbol above Indra-
     dhvaja; taurine left and svastika right of the Indradhvaja.
Rev.: Double-orbed Ujjain symbol with a taurine in each angle.
Reference: Pieper 401 (plate specimen)


Ujjain, inscribed AE 1/2 karshapana, 'tank between trees' type
Weight: 5.62 gm., Diameter: 14x14 mm.
Fishtank from which a water channel is branching flanked by two railed
     trees; Brahmi legend part below reading 'sidhatho(madana)'
Ujjain symbol
Reference: Pieper 409 (plate specimen)


Until now the legend on this coin type had been read as 'rathimadana'. This is the first specimen to show at least the first three letters of the legend clear beyond doubt. Credit goes to Harry Falk to have read the legend as 'sidhato'. The second part of the name appears to have been correctly identified from the available specimens except for the last letter which still is somewhat doubtful but '...madana' is well possible. In that case the complete name would be 'Sidhathomadana'. [unquote]





-- Wilfried Pieper







मण्डन adorning , ornament , decoration MBh. Ka1v. &c. Thus, Siddhato madana means decorting or adorning with siddha symbol of accomplishment. The Siddham symbol is a dot with semicircle below it, orthographically stylized.







सिद्ध one who has attained the highest object , thoroughly skilled or versed in (dat. or comp.MBh. R. &c (Monier-Williams) siddha सिद्ध p. p. 1 Accomplished, effected, performed, achieved, completed. -2 Gained, obtained, acquired. -3 Succeeded, successful; one who has attained his object; याताबला व्रजं सिद्धा मयेमा रंस्थथ क्षपाः Bhāg.1.22.27. (Apte)





Siddha2 [pp. of sijjhati] ended, accomplished Mhvs 23, 45, 78; successful Miln 247. -- (m.) a kind of semi -- divine beings possessed of supernatural faculties, a magician Miln 120, 267 [cp. Sk. siddha Halāyudha 1, 87; Yogasūtra 3, 33; Aufrecht remarks: "This is a post -- vedic mythological fiction formed on the analogy of sādhya"].

   -- attha one who has completed his task Miln 214. (Pali)









There are two hieroglyphs in the dotted circle: 1. Dot; 2. Circle. The dot is an orthographic style to signify a strand (like a strand of thread inserted through a perforated bead). The circle hieroglyph also a livelihood activity, duty, office; the word is vatta ‘circle’ rebus:-ʻduty, office’ (Pali).



 



Thus, together, the hypertext of dotted ciecle signifies:  dhã̄i 'strand' rebus: dhāū, dhāv m.f. ʻ a partic. soft red stoneʼ dhatu 'mineral ore' PLUS vaṭa'string' vaṭṭa 'circle' together rebus expression: dhāvaḍ 'smelter'. Thus, the Ujjaini symbol used as an Indus Script hypertext on Rojdi potsherd reads: dhāvaḍ kaṇḍa 'smelter implements'. cf.dāya 'roll of one in dice game' தாயம் tāyamn. < dāya. 1. Patrimony, inheritance, wealth of an ancestor capable of inheritance and partition (R. F.); பாகத்திற்குரிய பிதிரார்ச்சிதப்பொருள். 2. Share; பங்கு. (யாழ். அக.) 3. Paternal relationship; தந்தைவழிச் சுற்றம். (யாழ். அக.) 4. A fall of the dice; கவறுருட்ட விழும் விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண்Colloq



 



Hieroglyph, circle is: vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1]1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) vaṭ m. ʻ anything twisted ʼ; Si. vaṭa ʻ round ʼ, vaṭa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va'ʻ round ʼ GS 58; -- Paš.ar. waṭṭəwīˊkwaḍḍawik ʻ kidney ʼ ( -- wĭ̄k vr̥kká -- ) IIFL iii 3, 192? 2. Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ passed, gone away, completed, dead ʼ; Ash. weṭ -- intr. ʻ to pass (of time), pass, fall (of an avalanche) ʼ, weṭā -- tr. ʻ to pass (time) ʼ; Paš. wiṭīk ʻ passed ʼ; K.ḍoḍ. buto ʻ he was ʼ; P. batāuṇā ʻ to pass (time) ʼ; Ku. bītṇo ʻ to be spent, die ʼ, bitauṇo ʻ to pass, spend ʼ; N. bitāunu ʻ to pass (time), kill ʼ, butāunu ʻ to extinguish ʼ; Or. bitibā intr. ʻ to pass (of time), bitāibā tr.; Mth. butāb ʻ to extinguish ʼ; OAw. pret. bītā ʻ passed (of time) ʼ; H. bītnā intr. ʻ to pass (of time) ʼ, butnā ʻ to be extinguished ʼ, butānā ʻ to extinguish ʼ; G. vĭ̄tvũ intr. ʻ to pass (of time) ʼ, vatāvvũ tr. ʻ to stop ʼ(CDIAL 12069)



 




Rebus: Pa. vatta -- n. ʻ duty, office ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- n. ʻ livelihood ʼ; P. buttā m. ʻ means ʼ; Ku. buto ʻ daily labour, wages ʼ; N. butā ʻ means, ability ʼ; H. oūtā m. ʻ power ʼ; Si. vaṭa ʻ subsistence, wages ʼ.


vārttā -- ; *ardhavr̥tta -- , *kaṇavr̥tta -- , *dyūtavr̥tta -- ,  (CDIAL 12069)



 



Hieroglyph: 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., (CDIAL 6773)












Rebus: dhāˊtu*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. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic 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






Alishar Hüyük (in modern Yozgat Province, Turkey) was an ancient Near Eastern city. It is near the modern village of Alişar, Sorgun....Alishar Hüyük was occupied beginning in the Chalcolithic Period, through the Bronze Age and the Hittites, and into Phrygian times. A number of Hittite-era cuneiform tablets in Old Assyrian of the Cappadocia type were found there. Mention in those tablets of the town Amkuwa has caused speculation that the site is the Ankuwa mentioned in other Hittite texts...The site was excavated between 1927 and 1932 by a team from the Oriental Institute of Chicago. The work was led by Erich Schmidt...About 12km northwest of Alishar Huyuk, there's another important archaeological site named Cadir Hoyuk (Çadır Höyük in Turkish alphabet).Recent excavators of Cadir Hoyuk have identified this site tentatively with the Hittite city of Zippalanda.Evidence of the first known settlement at Cadir Hoyuk has been radio-carbon dated to the Early Chalcolithic (5300-4500 BC); nevertheless the occupation may well be even earlier than that, and go back to Neolithic (ca. 5500 BC)...Cadir Hoyuk appears to have flourished during the Middle and Late Bronze Age (2000-1100 BC), continuing into the Iron Age.(I. J. Gelb, Inscriptions from Alishar and Vicinity, Oriental Institute Publications 27, The University of Chicago Press, 1935) Hans Henning von der Osten and Erich F. Schmidt, Researches in Anatolia 2. The Alishar Hüyük Season of 1927, Part 1, Oriental Institute Publications 6, The University of Chicago Press, 1930; Hans Henning von der Osten. Researches in Anatolia 9. The Alishar Hüyük Seasons of 1930-1932, Part 3, Oriental Institute Publications 30, The University of Chicago Press, 1937 

https://en.wikipedia.org/wiki/Ali%C5%9Far_H%C3%BCy%C3%BCk






Vessel with a quatrefoil mouth, Alishar, Middle Bronze Age III, 1750-1650 BC, ceramic - Oriental Institute Museum, University of Chicago









"Phyrgian painted pot (A65608) from the site of Alishar Huyuk in Turkey. The circles in the background behind the deer on the pot are thought by some scholars to be snow." (Oriental Institute). I submit that the dotted circles are NOT snow but signifiers of dhā̆vaḍ 'iron smelters’. The markhor is also an Indus Script hieroglyph: miṇḍā́l 'markhor' rebus: meḍho a ram, a sheep rebus मृदु mṛdu, mẽṛhẽt, meḍ 'metal', iron'. Thus the Phyrgian pot Indus Script hypertext signifies Meluhha iron smelters at work.









Indus Script Cipher explains the sign zero (circle) as a hypertext in Meluhha (Bhāratiya sprachbund, speech union) to signify  vaṭṭa 'circle' rebus: ba'iron'.




In the context of using the sign zero in place value notation, the same pair of homonyms (similar sounding words) signify: vaṭṭ'circle' rebus: vartana 'interval or landing point in numeration'







Zero hieroglyph was chosen because it signifies  hieroglyph: vr̥ttá ʻroundedʼ ŚBr. rebus: vr̥ttá ʻturnedʼ RV. The cognates in Bhāratīya sprachbund with pronunciation variations are: வட்டம் vaṭṭam Circle, circular form, ring-like shape; கிழமைவட்டம் kiḻamai-vaṭṭamn. < id. +. Week, as the cycle of seven kiamai;baṭṭ'that is round' rebus: baṭṭ'barrenness'. Given these semantics, the choice of sign zero as a circle reads: vr̥ttá 'turned' to signify a landing point or 'interval, vartana' of ten in numeration count on base 10.





A good example of the circle to signify baṭṭa 'that is round' is on this cylinder seal read rebus in Meluhha:




Image result for cylinder seal bisons fish




Sign zero is shown flankedby two bisons in the bottom register.




Impression of an Indus-style cylinder seal of unknown Near Eastern origin (After Fig. 6 


http://www.akhabataku.com/IndusScript.htm) "One of the two anthropomorphic figures carved on this seal wears the horns of water buffalo while sitting on a throne with hoofed legs, surrounded by snakes, fishes and water buffaloes. Copyrighted photo by M. Chuzeville for the Departement des antiquites orientales, Musee du Louvre." (Christian Carpelan & Asko Parpola, 2001, On the emergence, contacts and dispersalof Proto-Indo-European, Proto-Uralic andProto-Aryan in an archaeological perspective, pp. 55-150 in: Carpelan, Parpola & Koskikallio 2001, Memoires de la Societe Finno-Ougrienne 242, Helsinki. Suomalais-Ugrilainen Seura). The Meluhha Indus Script readings are: 





dula 'two' rebus: dul 'metal casting'


ranga 'buffalo' rebus:  rango 'pewter'. rangarang pewter is an alloy of tin, lead, and antimony (anjana)  


baṭṭa 'rounded' rebus: baa 'iron' bhaa 'furnace' 


śyena 'eagle' aśani 'thunderbolt' rebus: āhangar 'blacksmith'


eraka 'wing' rebus: eraka 'molten cast, copper'


gaṇḍá4 m. ʻ rhinoceros ʼ lex., °aka -- m. lex. 2. *ga- yaṇḍa -- . [Prob. of same non -- Aryan origin as khaḍgá --1: cf. gaōtsāha -- m. lex. as a Sanskritized form ← Mu. PMWS 138]1. Pa. gaṇḍaka -- m., Pk. gaṁḍaya -- m., A. gãr, Or. gaṇḍā. 2. K. gö̃ m., S. geṇḍo m. (lw. with g -- ), P. gaĩā m., °ī f., N. gaĩo, H. gaĩā m., G. gẽḍɔ m., °ī f., M. gẽā m.Addenda: gaṇḍa -- 4. 2. *gayaṇḍa -- : WPah.kṭg. geṇḍɔ mirg m. ʻ rhinoceros ʼ, Md. genā ← H. (CDIAL 4000). காண்டாமிருகம் kāṇṭā-mirukam , n. [M. ṇṭāmgam.] Rhinoceros; கல்யானை. (Tamil) Rebus: ṇḍa ‘tools, pots and pans and metal-ware’ (Gujarati)  


ayo 'fish' rebus: aya 'iron' ayas 'alloy metal'


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


kuhi a sacred, divine tree, kui 'temple' rebus kuhi 'a furnace for smelting iron ore'.


kūdī 'twig' kuhi 'smelter' PLUS  hangra 'bull' rebus:  hangar 'blacksmith' PLUS ko 'horn' rebus:ko 'workshop'


kola 'tiger' rebus: kol 'working in iron' kolhe 'smelter' PLUS dula 'pair' rebus: dul 'metal casting'


फडा phaā f (फटा S) The hood of Coluber Nága Rebus: phaa फड 'manufactory, company, guild'







 Ivory rod, ivory plaque with dotted circles. Mohenjodaro. [Musee National De Arts Asiatiques Guimet, 1988-1989, Les cites oubliees de l’Indus Archeologie du Pakistan.]











m1654 Ivory cube with dotted circles Dotted circle hieroglyphs on each side of the cube (one dotted circle surrounded by 7 dotted circles): dhātu 'layer, strand'; dhāv 'strand, string' Rebus: dhāu, dhātu 'ore'.(smelter) PLUS vaṭṭa 'circle' rebus: ba'iron' . Together, dhā̆va 'iron-smelters'. 















m1654A ivory cubem1654B ivory cube m1654D ivory cube dhāˊtu 'strand' Rebus: mineral: 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. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic 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).








Ivory counters. Mohenjo-daro. The hypertexts signify creation of hard alloys from mineral ores. Hieroglyphs: karaṇḍa 'duck' (Sanskrit) karaṛa 'a very large aquatic bird' (Sindhi) Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi)  






dhāˊtu 'strand' Rebus: mineral: 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. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic 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).


 Ivory rod, ivory plaque with dotted circles. Mohenjodaro. [Musee National De Arts Asiatiques Guimet, 1988-1989, Les cites oubliees de l’Indus Archeologie du Pakistan.]



 m1951a Hieroglyph: dhāˊtu 'strand' Rebus: mineral: 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.dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic 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).









m2113ABD धातु ‘strand, element’ rebus: ‘primary element of the earth, mineral, metal’  dhātu 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.  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)






dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771). 




dula ‘duplicated’ rebus; dul ‘metal casting’ PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'.


kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'












m2089A m2089BC


dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)


kanac 'corner' rebus: kancu 'bell-metal' PLUS sal 'splinter' rebus: sal 'workshop'. Thus bronze/bell-metal workshop.


meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id‘earth, clay, loam’ (Samskrtam)



(Deśīnāmamālā)









m2090 dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)



kanac 'corner' rebus: kancu 'bell-metal' PLUS sal 'splinter' rebus: sal 'workshop'. Thus bronze/bell-metal workshop.


meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id‘earth, clay, loam’ (Samskrtam)
(Deśīnāmamālā)






















m2091m2092 मेंढा [ mēṇḍhā ] A crook or curved end (of a stick) Rebus: meḍ 'iron'


(lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'.


meḍ ‘body’ rebus: mẽṛhẽt ‘metal’, meḍ ‘iron, copper (red ores)’ (Mu. Ho. Slavic) < mr̥du ‘iron’ mr̥id‘earth, clay, loam’ (Samskrtam)



(Deśīnāmamālā)





kanac 'corner' rebus: kancu 'bell-metal'


kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman'


PLUS mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'


khareḍo = a currycomb (G.) Rebus: kharādī ' turner' (Gujarati) PLUS kāmsako, kāmsiyo = a large sized comb (G.) Rebus: kaṁsa'bronze' (Telugu) kharaḍa ‘account day-book’


dāṭu 'cross' rebus: dhatu = mineral (Santali) Hindi. dhāṭnā 'to send out, pour out, cast (metal)' (CDIAL 6771). 




m2093 kolmo ‘rice plant’ rebus: kolilmi ‘smithy, forge’. Thus, metal casting forge. 


dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)


धातु ‘strand, element’ rebus: ‘primary element of the earth, mineral, metal’  dhātu 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.  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)
















Kikkuli Hittite Text shows that Kikkuli was a Meluhha शहाणा śahāṇā 'expert' from Sarasvati Civilization





We have seen that Kikkuli uses the expression vattana from Indo-Aryan (Meluhha, Bhāratīya sprachbund) to signify, 'intervals, rounds' in the context of horses put through paces of specific number of rounds during training. Kikkuli uses terms such as:  Vedic eka-, tri-, pañca- sapta-, nava-vartana. The numeral compounds used from Indo-Aryan are: aiga-tera-panza-satta-nāwa-wartanna ("one, three, five, seven, nine intervals"). See: 




The Hindu–Arabic numeral systembase-10. An ancient landing point in numeration is a count of ten which forms a set. Digits 1 to 9 gain their multiples of tens by the way they are positioned in a number. for example 




10 signifies One Tens place 




11 signifies One Tens place + numeral 1; 




22 signifies Two tens place PLUS numeral 2; 




123 signifies One Hundreds place + two tens place + numeral 3




Positional notation or place-value notation is a method of representing or encoding numbers. Positional notation is distinguished from other notations (such as Roman numerals) for its use of the same symbol for the different orders of magnitude (for example, the "ones place", "tens place", "hundreds place").









The word used for such placement system of counted numbers in Bhāratīya sprachbud (speech union) isvartanavaṭṭa 









வட்டம்1 vaṭṭam, < Pkt. vaṭṭa < vtta. n. 1. Circle, circular form, ring-like shape; மண்ட லம். (தொல். சொல். 402, உரை.) 2. Halo round the sun or moon, a karantuai-kō; பரிவேடம். (சிலப். 10, 102, உரை.) (சினேந். 164.) 3. Potter's wheel; குயவன் திரிகை. (பிங்.) 4. Wheel of a cart; வண்டிச்சக்கரம். (யாழ். அக.). cf. āvtti. Turn, course, as of a mantra; தடவை. விநாயகர் நாமத்தை நூற்றெட்டு வட்டஞ் செய்து (விநாயகபு. 74, 214).









வட்டன்2 vaṭṭaṉ, part. < வட்டம்1. Each, every. See தோறும். ஆட்டைவட்டன் முக்குறுணி நெற் பொலிசையாக (S. I. I. ii, 69, 3).









வட்டம்1 vaṭṭam Boundary, limit எல்லை. தொழுவல்வினை யொல்லை வட்டங்கடந் தோடுத லுண்மை (தேவா. 5, 9).









வட்டம்1 vaṭṭam Curve, bend; வளைவு. வில்லை வட்டப் பட வாங்கி (தேவா. 5, 9). 




கிழமைவட்டம் kiḻamai-vaṭṭam, n. < id. +. Week, as the cycle of seven kiamai; மண்டலித்துவரும் வாரம். (W.)









The following words from Bhāratīya sprachbund indicate that vaṭṭsignifies 'circle, round'.




Ka. baṭā, baṭṭa, baṭṭu bareness, voidness. Tu. baṭā̆ open, wide. Te. vaṭṭi empty, vacant, void, blank, mere, simple, vain, useless, bare, naked, false, untrue, groundless. Pa. baṭṭi bare ground.(DEDR 5233)











vr̥ttá ʻ turned ʼ RV., ʻ rounded ʼ ŚBr. 2. ʻ completed ʼ MaitrUp., ʻ passed, elapsed (of time) ʼ KauṣUp. 3. n. ʻ conduct, matter ʼ ŚBr., ʻ livelihood ʼ Hariv. [√vr̥t1]1. Pa. vaṭṭa -- ʻ round ʼ, n. ʻ circle ʼ; Pk. vaṭṭa -- , vatta -- , vitta -- , vutta -- ʻ round ʼ; L. (Ju.) va m. ʻ anything twisted ʼ; Si. vaa ʻ round ʼ, vaa -- ya ʻ circle, girth (esp. of trees) ʼ; Md. va' ʻ round ʼ GS 58(CDIAL 12069)







varta1 m. ʻ *turning round ʼ, ʻ livelihood ʼ lex. [√vr̥t] S. vau m. ʻ twist ʼ; H. baṭṭā m. ʻ exchange ʼ; -- Si. vaa ʻ subsistence, livelihood ʼ or < vr̥ttá -- .(CDIAL 11346) *vartakara ʻ making turns (of the quail) ʼ. [Pop. etym. for vártikā -- (vartīra -- m. Suśr., ˚tira -- m. lex.)? -- varta -- 1, kará -- 1]Ku. B. baer ʻ quail ʼ; Or. baarabatara ʻ the grey quail ʼ; Mth. H. baer f. ʻ quail ʼ; -- → P. baer˚rā m., ˚rī f., L. baērā m., S. baero m.; K. uru m. ʻ a kind of quail ʼ, baēra m. ʻ quail ʼ.(CDIAL 11350) *vartakaraa ʻ twisting instrument ʼ. [varta -- 1, káraṇa -- ]N. baernu ʻ the stick on which a rope is twisted ʼ.(CDIAL 111351) vartana n. ʻ turning, rolling ʼ Nir., vartanī -- f. ʻ spindle ʼ Lalit. [√vr̥t1]Pa. vaṭṭana -- n. ʻ turning round ʼ, vaṭṭani -- f. ʻ ring, globe ʼ, vaṭṭanāvali -- f. ʻ line of spindles(?) ʼ; Pk. vaṭṭaā<-> f., vattaa -- n., ˚ā -- f. ʻ revolving ʼ; Ḍ. b*l*li f. ʻ disc fixed on large spindle ʼ (?); Kho. bartun ʻ wooden disc fixed on spindle ʼ (a?); K. watan f. ʻ small circular piece of leather or wood or metal for fastening chain of bolt ʼ, watüñü f. ʻ do. used as a toy ʼ; S. vaio m. ʻ spindle ʼ; L. vanā m. ʻ stick for twisting rope P. vaṭṭṇāvaṭṇū m., ˚ī f., baṭṇā˚ū m., ˚ī f.; Ku. baṭṇī ʻ twisting, twist (of a cord) ʼ; B. nā ʻ grinding ʼ; Bi. baanī ʻ fringemaker's wooden reel ʼ; H. banā m. ʻ stick for twisting rope ʼ; G. ṭṇɔ˚iɔ m. ʻ long round stone used in crushing or beating on a slab, muller ʼ.(CDIAL 11354) vartáyati ʻ causes to turn, whirls ʼ RV. [√vr̥t1] Pa. vaṭṭēti tr. ʻ turns, twists ʼ; Pk. vaṭṭēivattaï tr. ʻ turns, rolls into a ball, makes exist, covers ʼ; Dm. bayāy -- ʻ to wrap ʼ; Paš.lauṛ. waṭṭ -- tr. ʻ to pass or spend (time) ʼ; K. waun ʻ to fold up, roll up, close up, collect ʼ; S. vaau, srk. ˚iu ʻ to twist, plait, wring ʼ; L. vaṭṭa, (Ju.) vaa ʻ to twist ʼ, awāṇ. vaṭṭu ʻ to coil ʼ; P. vaṭṭṇā ʻ to twist ʼ; WPah.bhad. baṭṭnū ʻ to twist (rope or thread) ʼ, bhal. baṭṭnū ʻ to fold, roll up (cloth) ʼ, (Joshi) ṭṇu ʻ to knead ʼ; Ku. ṭṇo ʻ to twine, wreathe, fashion ʼ; N. nu ʻ to twist, plait, weave ʼ; A. iba ʻ to twist, grind ʼ; B. ā̄ṭā ʻ to pound, crush ʼ; Or. ibā ʻ to pound ʼ; Bi. banāi ʻ act of rope -- twisting ʼ; H. nā ʻ to twist, twine ʼ; G. vũ ʻ to pound by rolling ʼ; M. ṭṇ ʻ to grind finely by rolling with a muller ʼ, vaṭṇ ʻ to scutch cotton (by rolling) ʼ; Si. vaanavā tr. ʻ to turn round ʼ; Md. vařan ʻ to twist, braid ʼ; -- Pa. vaṭṭāpēti ʻ causes to be turned ʼ, S. vaāiu; P. baāuā ʻ to cause to be twisted, change ʼ (whence vaṭṇāba˚ ʻ to be exchanged ʼ = H. banā ʻ to be twisted ʼ); G. vaāvvũvatāvvũ ʻ to exchange, cash ʼ. Addenda: vartáyati: WPah.kṭg. baṭṇõ ʻ to knead ʼ, J. ṭṇu; A. baiba ʻ to pound ʼ AFD 333; Md. vařanī ʻ twists, surrounds ʼ (in sense ʻ rubs on ʼ < údvartatē?). (CDIAL 11356)vártman n. ʻ track of a wheel, path ʼ RV. [J. Bloch StudII 19 *vartmā nom. sg. m. after ádhvā m. (cf. pánthā -- ) became f. in MIA. -- √vr̥t1]Pa. vauma -- n. ʻ path, road ʼ, Pk. vaṭṭa -- n.m., vaṭṭā<-> f., vaṭṭamaya -- , vaū˘maga -- n., K. wath, dat. ˚ti f., pog. wat, S. a f., P.  f., ḍog. batta f., kgr. bat f., bhaṭ. batt, WPah.bhad. bhal. paṅ. cam. batt f., pāḍ. cur. bat; Ku.  ʻ path, pass ʼ, o m. ʻ path ʼ, N. o (obl. a postp. ʻ from ʼ), A. B. ; Or. a ʻ path, place ʼ; Mth.  ʻ path ʼ, Bhoj. bāt, OAw. OMarw. a f., H.  f., G. M. Ko.  f.; Si. vauma ʻ road ʼ (← Pa.?), devaa ʻ lane ʼ (de -- < dēśá -- ?); -- Sh. ṭṷ m. ʻ wheel ʼ; G. ṭɔ m. ʻ tire ʼ (semant. cf. vartaní -- f. ʻ felly of wheel, path ʼ RV., Pa. vattanī -- f. ʻ track, path ʼ, Pk. vaṭṭaī -- f. ʻ road ʼ). -- Deriv.: N. bauwā ʻ traveller ʼ; B. beo ʻ of the road ʼ < *uāODBL 491; Or. uā ʻ traveller ʼ, G. vɔ m. -- X mārga -- q.v. -- Si. vat ʻ road ʼ (LM 404, EGS 155) extracted from māvat < *mahāpanthā -- . -- See vartís -- from which some of above NIA. feminine words may phonet. equally well derive.Addenda: vártman -- : WPah.kṭg. bāt, kc.  f. (obl. -- a), J. ' f.; Garh. u ʻ way ʼ. (CDIAL 11366)




















Field Symbol 118 is ‘dotted circle’.Field Symbol figure 123 These hypertexts are also likely to be related to the orthography (and semantics) of ‘dotted circle + string’. Field Symbol figure 123 is associated with a ‘portable furnace’ indicating the possibility of production of ‘crucible steel’.





These signs (ASI 1977 Mahadevan corpus) may be semantic variants of the ‘dotted circle+ string’ orthography of Sign 397.













Sign 397 dhāī 'strand' PLUS vata, 'string'; together, the expression is:





a dotted circle + string which signifies dhā̆vaḍ ''iron-smelter' who performs the act of purification to win the wealth, the metal from mere earth and stone -- replicating the immeasurability of cosmic phenomena. This symbol is worn on the fillets of the Mohenjo-daro priest (on his forehead and on his right shoulder).






Cross-section view of a strand (say, through a bead), ‘dotted circle’: धातु ‘strand, element’ rebus: ‘primary element of the earth, mineral, metal’  dhātu 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. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si.  ʻ relic 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)





dula ‘duplicated’ rebus: dul ‘metal casting’PLUS kolmo ‘rice plant’ rebus: kolilmi ‘smithy, forge’. Thus, metal casting forge. 






 m1272





Or. kāṇḍa, kã̄ṛ ʻstalk, arrowʼ(CDIAL 3023) rebus: kaṇḍa 'implements'.




a




aren,'lid' Rebus: aduru 'native unsmelted metal’ PLUS ko




a 'one' rebus: ko




 'workshop'




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 kauṭilikḥ




कौटिलिकः 1 A hunter.-2 A blacksmith  PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings.




kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman' PLUS sal‘splinter’ rebus: sal ‘workshop’




khaṇḍa 'division'. rebus: kaṇḍa 'implements'




dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)





m1350 2599 ranku antelope’ rebus: ranku ‘tin’





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 kauṭilikḥ




कौटिलिकः 1 A hunter.-2 A blacksmith  PLUS dula ‘duplicated’ rebus: dul ‘metal casting’. Thus, bronze castings.









kanka, karṇika 'rim of jar' rebus: karṇī 'supercargo, scribe' कर्णिक 'steersman, helmsman' PLUSखांडा khāṇḍā A jag, notch, or indentation (as upon the edge of a tool or weapon) rebus: khaṇḍa 'implements'.




(lozenge) Split parenthesis: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' PLUS kolmo 'rice plant' rebus: kolimi 'smithy, forge'. Thus, ingot forge. 




adar ‘harrow’ rebus: aduru ‘native metal’




ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' (R̥gveda)




dhāi 'strand' (R̥gveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a guild of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)




kolmo ‘rice plant’ rebus: kolilmi ‘smithy, forge’




m1381A1m1381A2 1559 Seal Impression on a pot




dhāi 'strand' (R̥gveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)




sal ‘splinter’ rebus: sal ‘workshop’




kāru pincers, tongs. Rebus: khār खार् 'blacksmith' 




dula ‘duplicated’ rebus: dul ‘metal casting’ PLUS dhāḷ 'slanted stroke' rebus: dhāḷako 'ingot' PLUS kolom‘three’ rebus: kolimi ‘smithy, forge’





 m1648shell dhāi 'strand' (Rigveda) tri- dhāu 'three strands' rebus: dhāu 'red ore'. त्रिधातुः (magnetite, hematite, laterite) -- ferrite ores PLUS copper ore M. dhāūdhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron-- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ(CDIAL 6773)












m1684a Field symbol:  kõda ‘young bull-calf’. Rebus: kũdār ‘turner’. sangaḍa ‘lathe, furnace’. Rebus: samgara ‘living in the same house, guild’. sãgaḍa (double-canoe, catamaran) Hence, smith guild.






























































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