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Gaṇeśa is 1. Marut, kharva, 'dwarf', dancer, kavi, Brahmaṇaspati, Br̥haspati, 2. त्रिधातु, 'aggregate of 3 minerals', 3. R̥bhu founder of yajña, artist, rayi, 'wealth'. Gaṇeśa is a कवि kavi, m. a singer , bard , poet (but in this sense without any technical application in the वेद) RV. VS. TS. AV. S3Br. i , 4 , 2 , 8Kat2hUp. iii , 14 MBh. Bhag. Bha1gP. Mn. vii , 49 R. Ragh. Gaṇeśa is a scribe, a R̥bhu, 'artist' In the tradition of Indus Script, a scribe is also an artist because the writing system is composed with hypertextss incorporating hieroglyphs -- both pictorial motifs and 'signs or symbols', say, syllabic representations in Brāhmī or 'signs' of the Indus Script Corpora. Since Mahābhārata is the fifth Veda itihāsa with ākhyāna-s and upākhyāna-s, the scribe of the sacred kāvya, by the kavi, -- is Gaṇeśa who is kavīnām kavi, he is the suprme kavi among kavi-s. The scribal narratiave is an affirmation of divine sanction for the documented narratives. Hence, Gaṇeśa utters the praṇava, says 'om' accepting the terms stipulated by Vyāsa. This tradition is exemplified by many manuscripts of Mahābhārata which are profusely illustrated to communicate the narrative effectivey. Battle Between Ghatotkacha And Karna, Illustrated Folio Battle of Kurukshetra. Page from a Manuscript of the Mahabharata: Kichaka and Draupadi Disguised as the Maidservant Shairandhri 1670. Indian, India, Deccan, Southern Karnataka 17th century opaque watercolor, ink, gold on paper 8 x 19⅜ in 20.32 x 49.21 cm Friends of Indian Art in memory of Dr. Meena Hazra 95.6 Read more at https://vmfa.museum/collections/art/page-manuscript-mahabharata-kichaka-draupadi-disguised-maidservant-shairandhri/#OpbYhP0yIZ7h6MRW.99 Illustrated palmleaf manuscripts in the collection of Orissa State Museum. Read more at: http://www.harekrsna.com/sun/features/02-07/features555.htm H: 11.8 W: 16.6 cm. Probably Seringapatam, South India, India Newari Mahabharata, 14th-15th c. Philadelphia Museum of Art Gaṇeśa is 1. scribe of Mahābhārata, 2. kavi; Brahmaṇaspati, Br̥haspati, 3. त्रिधातु, 'aggregate of 3 minerals', 4. R̥bhu founder of yajña, artist, rayi, 'wealth' Gaṇeśa is a Marut, R̥bhukṣa, who wields a thunderbolt. This is a metaphor for his tusk used as a writing instrument. That Gaṇeśa is a member of Marut Gaṇa is signified on a sculptural frieze of Kanchipuram Kailāsanātha temple. See: Bhāratīya ādhyātmikā itihāsa of tridhātu Gaṇeśa, śarva Śiva, Rāma, Kr̥ṣṇa https://tinyurl.com/yc95usjo Tridhātu as Gaṇeśa, Tridhātu on Indus Script metalwork for crucible steel, ādhyātmikā metaphor pr̥thvyaptejorūpadhātu (R̥gveda) http://tinyurl.com/kptlbz3 Gaṇeśa is Brāhmī scribe of Mahābhārata in the tradition of Indus Script cipher of Bronze Age https://tinyurl.com/y79j8rxp http://sanskritdocuments.org/mirrors/mahabharata/mahabharata-sarit.html Gaṇeśa -- the leader of Marut Gaṇa, a scribe with dāt, an ivory stylus -- and Kṣṇadwaipāyana Vyāsa -- the black narrator, a Ganga-island dweller -- unite together after Gaṇeśa consents to be a scribe utteringom and together start with an invocation for success to Nara and Nārāyaṇa (nārāyaṇaṃ namaskṛtya naraṃ caiva narottamam; 1.1.0) and to goddess Sarasvatī (devīṃ sarasvatīṃ caiva tato jayam udīrayet; 1.1.0). Om is part of the iconography, pratimā, 'ādhyātmikā symbol' which refers to ātman (soul, self within) and Brahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). So, they start with ओम् Om pratimā which is प्रणव, praṇava. Om is the last sound a Yogi hears before entering the state of Turīya level of language, script and reality. The mystic syllable is affirmation of something divine in the narration and scripted text of Mahābhārata. Why does Gaṇeśa uttar Om assenting to be a scribe of Vyasa's oral narrative? Om (ॐ) is the pratigara (agreement) with a hymn. Likewise is tatha (so be it) with a song. But Om is something divine, and tatha is something human. — Aitareya Aranyaka 23.6 तस्य वाचकः प्रणवः ॥२७॥ His word is Om. — Yogasutra 1.27 ओं नमः (Oṃ namaḥ) Siddhanam (6 syllables), Om Nhi (2 syllables) and just Om (1 syllable) are the short forms of the Paramesthi-Mantra, also called Namokar Mantra or Navkar Mantra in Jainism "Om Mani Padmi Hum" to be AUM, the totality of sound, existence and consciousness in Bauddham Oankar ('the Primal Sound') created Brahma, Oankar fashioned the consciousness, From Oankar came mountains and ages, Oankar produced the Vedas, By the grace of Oankar, people were saved through the divine word, By the grace of Oankar, they were liberated through the teachings of the Guru. — Ramakali Dakkhani, Adi Granth 929-930, Translated by Pashaura Singh. Tamil version of the great epic venerates Gaṇeśa as scribe of the epic: The information is given in the very first verse of Villi Bharatham and is quite famous as the "Kadavul Vaazhththu" (Prayer to the Divine). A rough/prosaic but literal translation would be: "To make it firm as the fifth along with the four Vedas On this sea-girt earth, When the Mahabharata was spoken by the King of sages Who possess unfading askesis and Truth, Vinayaka wrote with the Mount Meru As the cadjan leaf, And His own tusk as the sharp stylus. I salute Him with shoreless love." (fifth along with the four Vedas -- Bharatah Panchamao Vedah; Vyasa is described as the king of sages; the sages are described as possessing unfading askesis and Truth (vaadaa thavam meymmai muni raajan); Mount Meru is described as "edu" which is palm or cadjan leaf). Some copies of the work tack this and the following verse which is also a prayer to Vinayaka to the verses of praise by Villi's son Varantharuvaar that are always printed as a preface to the work. http://mahabharata-resources.org/variations/prema-villi1.html Two anient manuscripts announce Gaṇeśa as scribe of the epic: Arrival of Heramba Gaṇeśa to write Mahābhārata announced in ādiparva: सौतिरुवाच । एवमाभाष्य तं ब्रह्मा जगाम स्वं निवेशनम् । भगवान्स जगत्स्रष्टा ऋषिदेवगणैः सह ॥ ततः सस्मार हेरम्बं व्यासः सत्यवतीसुतः ॥ स्मृतमात्रो गणेशानो भक्तचिन्तितपूरकः । तत्राजगाम विघ्नेशो वेदव्यासो यतः स्थितः ॥ पूजितश्चोपविष्टश्च व्यासेनोक्तस्तदानघ । लेखको भारतस्यास्य भव त्वं गणनायक ॥ मयैव प्रोच्यमानस्य मनसा कल्पितस्य च ॥ श्रुत्वैतत्प्राह विघ्नेशो यदि मे लेखनी क्षणम् । लिखतो नावतिष्ठेत तदा स्यां लेखको ह्यहम् ॥ व्यासोऽप्युवाच तं देवमबुद्ध्वा मा लिख क्वचित् । ओमित्युक्त्वा गणेशोपि बभूव किल लेखकः ॥ ग्रन्थग्रन्थिं तदा चक्रे मुनिर्गूढं कुतूहलात् । यस्मिन्प्रतिज्ञया प्राह मुनिर्द्वैपायनस्त्विदम् ॥ अष्टौ श्लोकसहस्राणि अष्टौ श्लोकशतानि च । अहं वेद्मि शुको वेत्ति संजयो वेत्ति वा न वा ॥ तच्छ्लोककूटमद्यापि ग्रथितं सुदृढं मुने । भेत्तुं न शक्यतेऽर्थस्यं गूढत्वात्प्रश्रितस्य च ॥ सर्वज्ञोपि गणेशो यत्क्षणमास्ते विचारयन् । तावच्चकार व्यासोपि श्लोकानन्यान्बहूनपि ॥ तस्य वृक्षस्य वक्ष्यामि शाखापुष्पफलोदयम् । स्वादुमेध्यरसोपेतमच्छेद्यममरैरपि ॥ अनुक्रमणिकाध्यायं वृत्तान्तं सर्वपर्वणाम् । इदं द्वैपायनः पूर्वं पुत्रमध्यापयच्छुकम् ॥ ततोऽन्येभ्योऽनुरूपेभ्यः शिष्येभ्यः प्रददौ प्रभुषष्टिं शतसहस्राणि चकारान्यां स संहिताम् । त्रिंशच्छतसहस्रं च देवलोके प्रतिष्ठितम् ॥ पित्र्ये पञ्चदश प्रोक्तं रक्षोयक्षे चतुर्दश । एकं शतसहस्रं तु मानुषेषु प्रतिष्ठितम् ॥ http://sarit.indology.info/exist/apps/sarit/works/%C4%81diparva.html http://asi.nic.in/asi_books/9002.pdf Gaṇeśa with Gaṇa-s in Kailasanatha temple, Kanchipuram (685 to 705 CE, Rajasimha, Pallava dynasty) Source: http://swamisblog.blogspot.in/2009/12/ These Marut Gaṇa are associated with the smelter work as seen on Bhuteshwar sculptural friezes. Smelter. Kharva, dwarfs venerate linga atop smelter and tree (kuṭi 'tree' rebus: kuṭhi 'smelter'). Ekamukha Sivalinga atop smelter. Gaṇeśa with Saptamatrikas, Aihole, Karnataka, 8th century CE. The Devi Matrikas (flanked by Shiva and Ganesha), representing various Shakti aspects, from 9th-century Madhya Pradesh Saptamātr̥kā-s with Gaṇeśa, at Panchalingeshvara temple in Karnataka. Gaṇeśa. Entrance to Ellora caves. Ellora Caves - Kailasa Temple - Group Of mātr̥kā-s with Gaṇeśa Stone sculpture in National Museum, New Delhi, India. Śiva and Saptamātr̥kā-s. Nataraja–Shiva (left) with Virabhadra and the first three mātr̥kā-s depicted with children – Ellora
-- Meluhha Indus Script hypertexts, wealth accounting ledgers of artisan & seafaring merchant guilds, signified by Varāha & Gaṇeśa Predating the anthropomorph with a boar's head found in the context of Copperhoard culture of Ancient Bharat, to signify a metalworker and metals merchant is a tradition traceable to Indus Script Hypertexts which signify Varāha and Gaṇeśa shown in pratimā as dancers together with other members of gaṇa -- artisan & seafaring merchant guilds. Varāha and Gaṇeśa signified as dancers relates to the dancing halls --नाचण्याचा फड A nachhouse -- which is a component of structures used as metals manufactories called फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons'. R̥gveda describes Marut gaṇa as dancers through the air; this metaphor leads to the sculptural frescos showing Marutgaṇa as dancers; the sculptural tradition is traceable to the pratimā created by craftsmen who created rock-cut sculptures of Badami caves (see the sculptural fresco of Naṭarāja with Gaṇeśa's dance-step: RV 8.020.22 Maruts, dancing (through the air), decorated with golden breast-plates, the mortal (who worships you) attains your brotherhood; speak favourably to us, for your affinity is ever (made known) at the regulated (sacrifice). Marut-gaṇa including Gaṇeśa (third from left) & Varāha (fourth from left) on a sculptural panel. Kailasanatha Temple,Kanchipuram. R̥gveda gaṇa are Vrātam Vrātam gaṇam gaṇam, guilds of artisans, seafaring merchants. R̥gveda extols the contributions made by gaṇa to the creation and sharing of wealth created, using the vivid expression: Vrātam Vrātam gaṇam gaṇam. The semantics of this expression elaborate as guilds of artisans, seafaring merchants. The guild-master of such guilds is gaṇanāyaka also called gaṇapati, mahāvināyaka. A pratimā of mahāvināyaka is archaeologically attested in Gardez with precise semantic explanations using Indus Script hypertexts of cobrahood and feline paw, detailed in this monograph. The veneration of gaṇapati as guild-master, Marut gaṇa is traceable to the tradition of R̥gveda attested in RV 3.26.6, RV 6.66, RV 2.23, RV 10.112.9. This abiding veneration finds expression in sculptural frescos all over the world which adores R̥gveda tradition. RV 3.26.6 refers to Gaṇa in the context of Marut-s: व्रातं व्रातं गणम् गणम् Vrātam Vrātam gaṇam gaṇam In this expression, व्रात signifies a particular form of assembly, a guild. व्रात m. (connected with √1. वृ , or with व्रत्/अ and √2. वृ) a multitude , flock , assemblage , troop , swarm , group , host (व्र्/आतं व्रातम् , in companies or troops ; प्/अञ्च व्र्/आतास् , the five races of men) , association , guild RV. &c; n. manual or bodily labour , day-labour (Monier-Williams) namo gaṇebhyo gaṇapatibhyaś ca vo namo namo vrātebhyo vrātapatibhyaś ca vo namo namaḥ (MS 2.9.4) R̥gveda gaṇa are Marut gaṇa with two remarkable anthropomorphs: varāha, with the head of a boar and Gaṇeśa, with the head of an elepant. I suggest that varāha, with the head of a boar and Gaṇeśa, with the head of an elepant are Indus Script hypertexts. The hypertexts signify:1.baḍhia = a castrated boar, a hog; rebus: बढई baḍhī m ( H) A carpenter; barea 'merchant'; and 2. karibha, ibha 'elephant' rebus: karba, ib 'iron'. Gaṇeśa is shown with a) cobrahood and b) tiger vestment to further add the semantic identifiers of: a) फड, phaḍa, 'cobra hood' rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons' and b) panja 'claw of beast, feline paw' rebus: panja 'kiln', i.e. boar and elephant signify wood/iron worker and smelter guild. baḍhia = a castrated boar, a hog; rebus: बढई baḍhī m ( H) A carpenter. (Marathi) baḍhi 'a caste who work both in iron and wood' bari 'merchant' barea 'merchant' (Santali) వడ్రంగి, వడ్లంగి, వడ్లవాడు (p. 1126) vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.(CDIAL 11375)বরাহ barāha 'boar' Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) बारकश or बारकस [ bārakaśa or bārakasa ] n ( P) A trading vessel, a merchantman. బత్తుడు battuḍu báḍḍhi वर्धकि, vaḍlaṅgi, baṛhaï, baḍaga, baḍhi, bāṛaï, varāha, 'title of five artisans' बढई baḍhī m ( H) A carpenter. (Marathi) పట్టడ paṭṭaḍa paṭṭaḍu. [Tel.] n. A smithy, a shop. కుమ్మరి వడ్లంగి మొదలగువారు పనిచేయు చోటు. వడ్రంగి, వడ్లంగి,వడ్లవాడు vaḍraṅgi, vaḍlaṅgi, vaḍlavāḍu or వడ్లబత్తుడు vaḍrangi. [Tel.] n. A carpenter. వడ్రంగము, వడ్లపని, వడ్రము or వడ్లంగితనము vaḍrangamu. n. The trade of a carpenter. వడ్లవానివృత్తి. వడ్రంగిపని. వడ్రంగిపిట్ట or వడ్లంగిపిట్ట vaḍrangi-piṭṭa. n. A woodpecker. దార్వాఘాటము. వడ్లకంకణము vaḍla-kankaṇamu. n. A curlew. ఉల్లంకులలో భేదము. వడ్లత or వడ్లది vaḍlata. n. A woman of the carpenter caste. vardhaki m. ʻ carpenter ʼ MBh. [√vardh] Pa. vaḍḍhaki -- m. ʻ carpenter, building mason ʼ; Pk. vaḍḍhaï -- m. ʻ carpenter ʼ, °aïa -- m. ʻ shoemaker ʼ; WPah. jaun. bāḍhōī ʻ carpenter ʼ, (Joshi) bāḍhi m., N. baṛhaï, baṛahi, A. bārai, B. bāṛaï, °ṛui, Or. baṛhaï, °ṛhāi, (Gaṛjād) bāṛhoi, Bi. baṛahī, Bhoj. H. baṛhaī m., M. vāḍhāyā m., Si. vaḍu -- vā.*vārdhaka -- .Addenda: vardhaki -- : WPah.kṭg. báḍḍhi m. ʻ carpenter ʼ; kṭg. bəṛhe\i, báṛhi, kc. baṛhe ← H. beside genuine báḍḍhi Him.I 135), J. bāḍhi, Garh. baṛhai, A. also bāṛhai AFD 94; Md. vaḍīn, vaḍin pl.(CDIAL 11375) Nataraja with 18 arms. gaṇa play drums. Gaṇeśa in dance-step. Also in the cave are Karthikeya and Gaṇeśa Harihara with dancing gaṇa. Fused sculpture of a composite animal. Elephant. Zebu. Cave 2, Badami for Vishnu Varaha anthropomorph. Part human – part boar, holding Bhudevi (earth) in one hand, his discus (chakra) in the other. His left foot rests in the netherworld, as he rescues Bhudevi from the depths of the ocean. Svastika pattern. Wheel with 16 spokes on the ceiling of Cave 2. Each spoke is a fish surrounding the central lotus. Cave 3, Badami, Vishnu This is an Indus Script hypertext. Eraka ‘nave of wheel’ rebus: eraka ‘copper, moltencast’ PLUS ayo ‘fish’ rebus: aya ‘iron’ ayas ‘alloy metal’ PLUS t tāmarasa ‘lotus’ rebus: rebus: tamba ‘copper’. The Durga Temple, Aihole, and the Saṅgameśvara Temple, KūḐavelli: A Sculptural Review Carol Radcliffe Bolon Ars Orientalis Vol. 15 (1985), pp. 47-64 (18 pages) Published by: Freer Gallery of Art, The Smithsonian Institution and Department of the History of Art, University of Michigan Previous Item | Next Item https://www.jstor.org/stable/4543046 Aihole showing the dance poses of Gaṇeśa and Varaha. Gaṇa are shown as kharva, 'dwarfs' on sculptures to signifya nidhi or treasure of Kubera. खर्व mfn. (cf. /अ- , त्रि-) mutilated , crippled , injured , imperfect TS. ii , 5 , 1 , 7 Rebus: खर्व m. N. of one of the nine निधिs or treasures of कुबेर L See: A treatise on gaṇa who contribute wealth accounting ledgers of Indus Script Corpora of 8000 inscriptions, व्रातं व्रातं गणम् गणम् (RV 3.26.6) https://tinyurl.com/yc9lhmd5 Guild-master’s Indus Script Inscription (m304) deciphered. Hypertext khāra, šē̃ṣṭrĭ̄ 'squirrel’ is plaintext khār 'blacksmith' śrēṣṭhin 'guild-master' (Aitareya Brāhmaṇa) https://tinyurl.com/y9ug5h9y The guild-master signs off on the inscription by affixing his hieroglyph: palm squirrel,Sciurus palmarum' Hieroglyph: squirrel: *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. śeṭh, śeṭhiyɔ m. ʻ wholesale merchant, employer, master ʼ; M. śeṭh, °ṭhī, śeṭ, °ṭī m. ʻ respectful term for banker or merchant ʼ; Si. siṭu, hi° ʻ banker, nobleman ʼ H. Smith JA 1950, 208 (or < śiṣṭá -- 2?) (CDIAL 12726) I suggest that the šē̃ṣṭrĭ̄ ʻ flying squirrel ʼ? is read rebus: śeṭhī, śeṭī m. ʻ respectful term for banker or merchant ʼ (Marathi) or eṭṭhin -- m. ʻ guild -- master ʼ(Prakrtam)
Skambha Suktam ( Atharva Veda X-7,8 ). A pair of Yupa stambha of Dholavira. Signify div 'light' svar 'twilight' अष्टाश्रि yupa in Binjor and caturas'ri yupa in Kalibangan signify a Soma yaga as attested in Rigveda: He is the ‘Pillar supporting the kindreds, that is, gods and men’. (RV I.59.1-2). He is the standard (ketu) of the yajna (equivalent of the dawn), the standard which supports heaven in the East at daybreak. (RV I.113.19; III.8.8). The purport of the ketu in 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) and in 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'. The pillar is a cultural artifact, it belongs to the Hindu tradition as a legacy of Vedic culture. What is the meaning of the ketu (standard) with interrelationships in prayer and doctrine? (Snodgrass, Adrian, 1992, The symbolism of the Stupa, Motilal Banarsidass Publishers, New Delhi). Atharva Veda (X.8.2) declares in an extraordinary metaphor: like the pillar, twilight and dusk split apart the originally fused Heaven and Earth. Heaven and Earth stand fast being pillared apart by the pillar. The objective of the ketu is to signify the desire to attain amRtam, immortality, to reach Heaven. Light of dawn ‘divorces the coterminous regions – Sky and Earth – and makes manifest the several worlds. (RV VII.80; cf. VI.32.2, SBr. IV 6.7.9). ‘Sun is space, for it is only when it rises that the world is seen’ (Jaiminiya Upanishad Brahmana I.25.1-2). When the sun sets, space returns into the void (JUB III.1.1-2). Indra supports heavn and earth by ‘opening the shadows with the dawn and the sun’. (RV I.62.5). He ‘extends heaven by the sun; and the sun is the prp whereby he struts it.’ (RV X.111.5). ‘He who knows the Brahman in man knows the Supreme Being and he who knows the Supreme Brahman knows the Skambha’. (AV X. 7.17). Linga-Purana (I.17.5-52; 19.8 ff.) provides a narrative. Siva appeared before Brahma and Vishnu as a fiery linga with thousands of flames. As a Goose, Brahma attempted to fly to the apex of the column; Vishnu as a Boar plunged through the earth to find the foot of the blazing column. Even after a thousand years, they couldn’t reach the destination, bow in homage to the Pillar of the Universe as the Paramaatman. He is the ‘Pillar supporting the kindreds, that is, gods and men’. (RV I.59.1-2). He is the standard (ketu) of the yajna (equivalent of the dawn), the standard which supports heaven in the East at daybreak. (RV I.113.19; III.8.8). The same spectra of meanings abound in Bauddham, as a symbolic continuum. So it is, the Buddha is a fiery pillar, comprising adorants at the feet marked with the Wheel of Dharma and the apex marked by a S’rivatsa (pair of fishes tied together by a thread, read as hieroglyph composition: ayira (metath. ariya) dhama, mandating norms of social, interpersonal conduct). Just as Agni awakens at dawn, the Buddha is the awakened. The Skambha is Yupa, it has a unique shape: अष्टाश्रि 'octagonal' as evidenced by the octagonal pillar in Binjor yajna kunda. Since the site has also yielded an Indus seal, the period to which the yajna kunda ralates may be ca. 2500 BCE since Indus script writing tradition is a signature-tune, a ketu (standard) of the mature phase of the civilization on the banks of Vedic River Sarasvati. The abiding Vedic culture continues to be evidenced by 19 octagonal yupa incriptions: in an extensive area from Binjor (Anupgarh) on the banks of Vedic River Sarasvati (ca. 2500 BCE) to Mulavarman octagonal yupa inscriptions of ca. 400 CE. The octagonal shape of the yupa finds its echo on the Skambha, the s'ivalingas all over the extended Hinduised states of the Far East, of Bharatavarsha from Rajasthan, India to My Son, Vietnam. 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 c. 400 CE 17-19 Koetei Borneo c. 400 CE
In Mahābhārata R̥gveda ākhyāna, Varāha gives a boon to R̥bhu, artisan. What do the texts narrate? What do the artisans convey in sculptural/script metaphors with ताण्डव [p= 441,3] mn.(g. अर्धर्चा*दि ; fr. तण्डु?) dancing (esp. with violent gesticulation) , frantic dance (of शिव and his votaries) Ma1lati1m. Katha1s. BhP. x MatsyaP. Ra1jat. &c (cf. RTL. p.84)? Tridhātu Gaṇeśa & Emūṣa Varāha are Maruts, a Rudra gaṇa (offspring of Rudra) -- disgorged by makara -- working with smelters, forge-blowers and iconographically depicted emerging out of the snout/breath of hypertext: (dh)makara 'makara' rebus: dhmakara, 'forge-blower', dhamaka 'blacksmith'. The breath of the makara is a metaphor for the winds blown from the bellows to increase the intensity of the blazing fires and ignite the mere earth, the mineral ores in the smelter. Maruts, sons of Rudra are the winds as R̥bhu-s, artisans, work to fashion the earth and minerals into wealth. This is a cosmic dance enacted in the kole.l 'smithy, forge' which is kole.l 'temple. dhmakara 'forge-blower' is makara, the hypertext iconograph. See: Indus Script hypertext makara rebus dhmakara ‘forge-blower, blacksmith’ is a divine signifier of wealth, nidhi https://tinyurl.com/yb2nabnf Arjuna, 'silver' is the forge-blower on the Candi-Sukuh sculptural frieze. Makara is an Indus Script hypertext: karabha, ibha 'elephant' rebus: karba, ib 'iron' PLUS khambhaṛā 'fish=fin' (on makara hypertext) rebus: kammaṭa 'mint, coiner, coinage' Plua karā 'crocodile' rebus: khār 'blacksmith'. Tridhātu Gaṇeśa & Emūṣa Varāha are Indus Script metaphors of the Bronze Age wealth-producing activities of metalworkers of artisan guilds in foundries, forges, smithies. kole.l 'smithy, forge' is kole.l 'temple'. I submit that (dh)makara is a hypertext to signify a forge-bellows, blown by a blacksmith, to smelt mineral ores. The term Emūṣa to signify Varāha is also a hypertext: मूष [p= 827,2] m. f(आ and ई). a rat , mouse Pan5cat. L. rebus: मूष, मूषिका [p= 827,2] a crucible Ma1rkP. Kull. L. Emūṣa signifies Varāha, mūṣa 'mouse' signifies Vāhana of Tridhātu Gaṇeśa. Thus, Rudra, Marut gaṇa, Tridhātu Gaṇeśa & Emūṣa Varāha are all hypertexts producing the wealth of the Bronze Age from smelters/forges/foundries. They are also ādidaivikā, ādhyātmikā and cosmological metaphors -- cosmic phenomena of storms, clouds, winds and meteors -- of unsurpassed excellence, insights, in Chandas and other ancient texts such as Mahābhārata with ākhyāna as itihāsa -- an abiding documentation of ancient traditions. Itihāsa 'ancient traditions' are celebrations of the contributions made by artisans. Why is Varāha shown lifting up the earth? The answer comes from makara, ‘composite animal’ signified as vāhana of Asura Varuṇa.
At the outset, I am grateful to the scholars of Mythic Society, Bengaluru—Prof. Adiga Sundara, Former Head of Department of Archaeology & Ancient History, Karnataka University, Dharwad, Dr. Ragotham Sundararajan, Dr. Jayasimha, Dr. Karthik -- for the insights provided by them on the significance of the expression Tridhātu in bhāratiya tradition, citing for my guidance, remarkable references from Kannada literature and ancient texts. This monograph presents the roots of the sacred association of Gaṇeśa with Tridhātu from the evidences provided by Sarasvati-Sindhu (Indus) Script Corpora and relates it to Sayaṇa's interpretation of Tridhātu in a R̥gveda R̥ca (RV 1.154.4). pr̥thvyaptejorūpadhātu (R̥gveda) makes the expression of Sayaṇa an ādhyātmikā metaphor. This monograph presents the roots of the sacred association of Gaṇeśa with Tridhātu from the evidences provided by Sarasvati-Sindhu (Indus) Script Corpora and relates it to Sayana's interpretation of Tridhātu in a R̥gveda R̥ca (RV 1.154.4) as pr̥thvyaptejorūpadhātu (R̥gveda) makes the expression an ādhyātmikā metaphor. The detailed evidences provided principally relate to metalwork resources of ferrite minerals, processing of crucible steel and creation of hypertext expression by combining body parts to expand hieroglyph compositions into a hypertext as shown on Dholkal Gaṇeśa, with clear intimations of metalwork: Gaṇeśa wears a steel chain and holds a kaṇḍe 'pinecone' rebus: kaṇḍa 'metal implements' on his hand. Dholkal Gaṇeśa of Chattisgarh with extraordinary hieroglyphs used in the pratimā. Association with the assur, 'smelter' tradition links this mūrti with the metalwork traditions traceable to Sarasvati-Sindhu civilization. Chattisgarh is the ironore and mineral part of Bhāratam. Bhāratiya Itihāsa traditions link Gaṇeśa to Śiva and Pārvati (daughter of Himavan, Himalayan mountain, hence associatd with mr̥t 'earth' used to form Gaṇeśa pratimā for worship). Just as Gaṇeśa is traced to Sarasvati-Sindhu script traditions of hieroglyph/hypertext cipher (Meluhha cipher of Mlecchita vikalpa), Śiva is traced to the presence of Śivalingas in Harappa and the find of an octagonal pillar in a yajna kunda in Binjor. The rudrabhāga of Śivalinga which is octagonal in shape is traceable to this octagonal pillar evidenced in Binjor which is in consonance with the R̥gveda tradition of installing a ketu, 'emblem' proclaiming the performance of a yajna, a Soma yajna in particular. The same tradition is seen in 19 Yupas which are octagonal and with Yupa inscriptions in Rajasthan historical sites, Allahabad, Mathura, East Borneo (Mulavarman). The trace to R̥gveda tradition is attested in greate detail in Satapatha Brahmana which describes the details of the yupa and caṣāla (which is godhuma, 'wheat chaff'. caṣāla infuses carbon into the metal processed in a yajna kunda making the metal hard by a process carburization in metallurgy. Thus, element carbon enters the elements of the mineral ores in specific metals or metal alloys. In 1940, archaeologist M.S. Vats discovered three Shiva Lingas at Harappa, dating more than 5,000 years old. This rare archival photo shows that ancient Shiva Linga as it was being excavated from the Harappa site. Lingam, grey sandstone in situ, Harappa, Trench Ai, Mound F, Pl. X (c) (After Vats). "In an earthenware jar, No. 12414, recovered from Mound F, Trench IV, Square I... in this jar, six lingams were found along with some tiny pieces of shell, a unicorn seal, an oblong grey sandstone block with polished surface, five stone pestles, a stone palette, and a block of chalcedony..." (Vats,MS, Excavations at Harappa, p. 370) Two decorated bases and a lingam, Mohenjodaro. After Fig. 8.305 RS Bisht. Dholavira. Details of free standing columns. Five-headed Mukhalinga embedded in a yoni;Budanilkantha, Nepal Photograph from Malleret, L., L'archaeologie du delta du Mekong, Paris, 1959; Ekamukhalinga from JaiyA, National Museum, Bangkok Ekamukhalinga from Vat Sak Sampou “The JaiyA ekamukhalinga is divided into three parts in accordance with the prescriptions in the Siva Agamas. The base, BrahmabhAga, is cubic in form and is 47.8 cms. High. The middle section, the ViSNubhAga, is octagonal in shape and is approximately 43 cm. High. The topmost section, the RudrabhAga, is cylindrical and is approximately 51 cms high, while the superimposed face measures 29.5 cms from the bottom of the chin to the top of the jaTA. The two lower sections of the linga would not normally be visible, since they would be enclosed in the pedestal (pIThikA)...One of the singular features of these pre-Angkorian mukhalingas is the fusing of the jaTA with the filet on the gland of the RudrabhAga (fig.2)...There is, however, an ekamukhalinga from Vat Sak Sampou (fig. 3) which displays a coiffure which is very muh like that worn on the JaiyA linga.” (O'Connor, SJ, 1961, An ekamukhalinga from Peninsular Siam, The Journal of the Siam Society. The Siam Society. pp. 43-49). http://www.siameseheritage.org/jsspdf/1961/JSS_054_1e_OConnor_EkamukhalingaFromPeninsularSiam.pdf Linga with One Face of Shiva (Ekamukhalinga), Mon–Dvaravati period, 7th–early 8th century. Thailand (Phetchabun Province, Si Thep) Stone; H. 55 1/8 in. Octagonal form of ViSNubhAga and the occurrence of pancamukhalinga is consistent with the tradition of pancaloha 'five dhAtu or five mineral alloy' images as utsavaberas. I suggest that the mukha on the linga is read rebus from the hieroglyph: mũh 'a face' Rebus: mũh,muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' This reaffirms the association of the octagonal brick of Binjor fire-altar with the Skambha as linga or vajra which participates in the process of smelting dhAtu, 'ores'. Face on Bhuteswar sivalinga & face with body of a hunter on Gudimallam sivalinga Worship of Shiva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625 This is worship by kharva 'dwarfs' gaNa of Siva, celebrating Kubera's nidhi also called kharva Rebus: karb 'iron' (Tulu) Relief with Ekamukha linga. Mathura. 1st cent. CE Worship of a fiery pillar,Amaravati Naga worshippers of fiery pillar, Amaravati stupa Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper' On top of the skambha are fish-fins linked together: Hieroglyph: khambhaṛā 'fish-fin' rebus: kammaTa 'mint, coiner, coinage' . Cobra hood: phaNi 'cobra hood' rebus; phaNi 'lead or zinc'; paNi 'merchant, marketplace'.meḍ 'step' rebus: meḍ 'iron'
Indus Script hypertexts on iconographs signify marut-s (sons of Rudra) disgorged by makara ‘composite animal’, khambhaṛā ‘fish-fin’ rebus dhmakara 'forge-blower', kammaṭa 'mint, coiner' Meluhha plain text expressions 1. dhmakara, 'forge-blower', dhamaka 'blacksmith' 2. kammaṭa 'mint' are Indus Script hypertexts, signified by 1. makara, ‘composite animal’ vāhana of Asura Varuṇa, personified Ganga river 2. kamaṭha, 'turtle' vāhana of personified Yamuna river and khambhaṛā ‘fish-fin’. Hypertexts of Indus Script dhmakara, 'forge-blower', dhamaka 'blacksmith' 2. kammaṭa 'mint' signify wealth-producing activities of bronze-age artisans. Makara and kharva 'two of the 9 treasures of Kubera' are associated with makara 'composite animal' rebus: dhmakara 'forge-blower' Makara is a metaphor for one of the 9 treasures of कुबेर Kubera. Kharva is a metaphor for one of the 9 treasures of कुबेर Kubera. The orthographic, iconographic metaphor is signified by dwarfish, imperfect figures on sculptures, often shown in association with makara: खर्व [p= 338,1] low , dwarfish L.; mfn. (cf. /अ- , त्रि-) mutilated , crippled , injured , imperfect TS. ii , 5 , 1 , 7. Indus Script hieroglyph to signify kharva 'nidhi of Kubera' is karibha, ibha 'elephant' rebus: karba, ib 'iron' rebus: tridhātu gaṇeśa. This explains why gaṇeśa is shown atop a makara on a sculpture and why kharva, 'dwarfs or imperfect figures' are shown emerging out of the snout of a makara. kharva, 'dwarfs' are associated with ekamukha śivalinga (Rudra) atop a smelter on Bhutesvar sculptural friezes, to signify wealth-producing smelted products. mũh 'a face' in Indus Script Cipher signifies mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' kharva 'dwarf' rebus: kharva 'nidhi of Kubera' karba 'iron'. gaṇeśa on makara, Hindu temple, Java, Indonesia. (Reinforcing association of makara with working in iron). http://www.asiasworld.net/religion-in-asia/the-makara/index.cfm " In the Indian Iconography , Makara is a composite figure, generally, with a trunk as that of an elephant, ears like that of a cow, eyes as those of a fish, body as that of a boar, and the tail elaborate and bushy like that of a peacock ; and its legs resemble that of a lion . It could even be presented as fantastic marine monster structured with the body and tail of a fish and the forelegs, neck, and head of an antelope, an alligator, or a shark; or whatever...It is also called kantaka, Asita-dramstra (black teeth) and jala-rupa (water form). Makara may be shown either as carrying a rider on its back (vahaka yuktam) or it may not (svatantram). It may even be shown as if it is ready to pounce and attack (yuddha sannaddham) or just being playful (kridabhi-ramakam)." https://sreenivasaraos.com/tag/varuna-iconography/ Maruts are disgorged by makara on sculptures as iconographic metaphors of divinities, of warriors and wealth, 'flashing or shining ones'. One meaning of marut is gold (Samskrtam). मरुत्त [p= 790,3] wind, gale; m. (= मरुद्-दत्त accord. to Pat. on Pa1n2. 1-4 , 58. 59 Va1rtt. 4) N. of various kings Br. S3a1n3khS3r. &c[L=158345.1]wind , a gale (?) W. मरुद् marud = in comp. for मरुत्marut = m. pl. (prob. the " flashing or shining ones "; मरुद्--दत्त mfn. given by the Maruts Pa1n2. 1-4 , 58 ; 59 Va1rtt. 4 Pat. Thus, marut shown on sculptures together with makara are wealth-giving divinities. Marut means gold: marut मरुत् m. [मृ-उति Uṇ.1.94] 1 Wind, air, breeze; दिशः प्रसेदुर्मरुतो ववुः सुखाः R.3.14. -2 Vital air or breath, life-wind; (वशमनयत्) अपरः प्रणिधानयोग्यया मरुतः पञ्च शरीर- गोचरान् R.8.19; Ku.3.48. -3The god of wind; इति दर्शितविक्रियं सुतं मरुतः कोपपरीतमानसम् Ki.2.25. -4 A god, deity; वैमानिकानां मरुतामपश्यदाकृष्टलीलान्नरलोकपालान् R.6.1; 12.11. Gold. -गणः the host of the gods. मरुत् -गणः are Rudras, "are storm deities and sons of Rudra and Prisni and attendants of Indra. The number of Marutas varies from 27 to sixty (three times sixty in RV 8.96.8). They are very violent and aggressive, described as armed with golden weapons i.e. lightning and thunderbolts, as having iron teeth and roaring like lions, as residing in the north, as riding in golden chariots drawn by ruddy horses. Hymn 66 of Mandala VI of the Rig Veda is an eloquent account of how a natural phenomenon of a rain-storm metamorphose into storm deities" https://en.wikipedia.org/wiki/Maruts Marut-s are a troop of young warriors; the synonym is marya, 'young men' (Samskrtam), referred to as mari-an-ni in Mitanni treaties and in Susian versions of Darius' inscriptions as followers of Harriya (Aryans). मर्या [p= 791,3] f. (perhaps orig. something clear or shining ; cf. मरीचि and मरुत्) a mark , limit , boundary L. Hence, divinities shown on Kudurru stones are used to signify limits or boundaries of lands assigned as grants by rulers. R̥gveda (2.33) describes Rudra as the "Father of the Maruts", a group of storm gods. 2.033.01 Father of the Maruts [idam pitre maruta_m: RV 1.114.6], may the felicity extend to us; exclude us not from the sight of the sun; (grant that) our valiant (descendants) may overcome (these) foes, and that we may be multiplied, Rudra, by (our) progeny. 2.033.02 Nourished by the curative vegetables which are bestowed by you, may I live a hundred winters; extirpate mine enemies, my exceeding sin, and my manifold infirmities. 2.033.03 You, Rudra, are the chief of beings in glory; you, wielder of the thunderbolt, are the might of themighty; do you waft us in safety over (the ocean) of sin; repel all the assaults of iniquity. 2.033.04 Let us not provoke you, Rudra, to wrath by our (imperfect) adorations; nor, showerer (of benefits), by our unworthy praise, nor by our invocation (of other deities); invigorate our sons by your medicinal plants, for I hear that you are a chief physician amongst physicians. [bhis.aktamam tva_ bhis.aja_m s'r.n.omi: an emphatic attribution of qualities of a physician to Rudra]. 2.033.05 May I pacify by my praises that Rudra, who is worshipped with invocations and oblations; and never may he who is soft-bellied, of a tawny hue, and handsome chin; who is reverently invoked; subject us to that malevolent disposition (that purposes our destruction). [Soft-bellied: r.du_dara babhruvarn.a sus'ipra: r.du_dara = mr.du udara, having a soft belly (Nirukta 6.4); that malevolent disposition: ma_ no asyai ri_radhan mana_yai: mana_ = hanni_ti manyama_na_ buddhih, the mind meditating, I kill]. 2.033.06 May the showerer of benefits, the lord of the Maruts, gratify me his suppliant with invogorating food; may I, free from sin, so propitiate Rudra, that I may attain to his felicity, as a man, distressed by heat, (finds relief) in the shade. 2.033.07 Where, Rudra, is your joy-dispending hand, which is the healer and delighter (of all); showerer (of benefits), who are the dispeller of sins of the gods, quickly have compassion upon me. [The dispeller of the sins of the gods: apabharta_ rapaso daivyasya = devakr.tasya pa_pasya apaharta_, the taker-away of sin committed by a divinity; daivya may also connote sin against the gods]. 2.033.08 I address infinite and earnest praise to the showerer (of benefits), the cherisher (of all), the white-complexioned; adore the consumer (of sin), with prostrations; we glorify the illustrious name of Rudra. [White-complexioned: s'viti_ce = s'vaityam an~cate, he who goes to or obtains whiteness]. 2.033.09 (Firm) with strong limbs, assuming many forms fierce, and tawny-coloured, he shines with brilliant golden ornaments; vigour is inseparable from Rudra, the supreme ruler and lord of this world. [Vigour: asuryam = bala, strength; or, it may connect Rudra with the asuras]. 2.033.10 Worthy (of reverence), you bear arrows and a bow; worthy (of praise), you wear an adorable and omniform necklace; worthy (of adoration), you preseve all this vast universe; there is no one more powerful than you. [Worship of reverence: arhan = arha, yogya, fit for, or worthy of; necklace: nis.ka = ha_ra]. 2.033.11 Glorify the renowned Rudra, riding in his car, ever youthful, destructive, fierce like a formidable wild beast; Rudra, propitiated by praise, grant happiness to him who praises (you), and let your hosts destroy him who is our adversary. 2.033.12 I bow, Rudra, to you, approaching (our rite), as a boy to his father when pronouncing a blessing upon him; I glorify you, the giver of much (wealth), the protector of the virtuous; do you, thus glorified, bestow healing herbs upon me. 2.033.13 Maruts, I solicit of you those medicaments which are pure; those, showerers (of benefits), which give great pleasure; those which fonfer felicity; those which (our) sire, Manu, selected; and those (medicaments) of Rudra which are the alleviation (of disease), and defence (against danger). [Those which our sire Manu selected: ya_ni manur avr.n.i_ta_ pita_ nah: Maha_bha_rata legend: reference to the vegetable seeds which Manu was directed to take with him into the vessel in which he was preserved at the time of the deluge]. 2.033.14 May the javelin of Rudra avoid us; may the great displeasure of the radiant deity pass away (from us); showerer of benefits, turn away your strong (bow) from the wealthy (offerers of oblations), and bestow happiness upon (our) sons and grandsons. [Yajus. 16.50: the end of the first half of the hymn reads: durmatir-agha_yoh, the displeasure of the sinful or the malevolent; durmati-mahi_ ga_t = may the great displeasure pass away]. 2.033.15 Cherisher of the world, showerer (of benefits), omniscient and divine (Rudra), hearer of our invocation, so consider us on this occasion, that you may not be irate, nor slay us; but that, blessed with excellent descendants, we may worthily glorify you at this sacrifice.
--Artha, ‘wealth’ creation activities of Vedic Sarasvati civilization explain Bharata-Nation’s wealth in 1 CE ca. 34% of Global Gross Domestic Product (GDP) A dramatic, historic example -- a Golden Page in the Story of Civilizations -- of Bharata-Nation’s wealth in 4th cent. BCE is seen in a painting in Steel Authority of India Institute in Ranchi. The painting narrates Purushottama presenting an ukku (ಉಕ್ಕುKannada ఉక్కు Telugu) sword to Alexander on the banks of River Jhelum, before the defeated warrior’s return to Mesopotamia. The steel sword made of crucible steel was the hallmark of Bharata’s excellence in metallurgical expertise. In the background of the painting are seen Bharata’s artificers, metalworkers at work in a smithy-forge. ఉక్కు ukku ukku. [Tel.] n. Steel. Strength, courage, pride, vigour, potency. అయస్సారము, బలము, శౌర్యము. Steadiness. స్థైర్యము. తెలగ ఉక్కు. A very tough sort of steel. R. v. 197. ఉక్కు తీగె ukku-tīge. n. Steel wire. ఉక్కుతునక or ఉక్కుముక్క ukku-tunaka. n. A bit of steel, a brave, sharp or active man. ఉక్కు ముఖి ukku-mukhi. n. The crimson crested barbet, or coppersmith bird, Xantholaema haemaxtocephala. (F.B.I.) ఉక్కుసున్నము ukku-sunnamu. n. Ashes of calcined iron, scoriæ calx. Sarasvati Civilization (also called Harappa or Indus Valley Civilization) evolved on the banks of Vedic River Sarasvati in the Sapta-Sindhu region. Material artifacts of the civilization are reported from archaeological explorations which have evidenced over 2000 archaeological sites (80% of the total 2600+ sites of Harappa or Indus Valley Civilization). These 2000+ sites of Sarasvati Valley account for the substantial artha ‘wealth’ of the civilization since artificers and seafaring merchants from these sites engaged in long-distance trade of Bronze Age resources and products. Hundreds of sites which have been excavated and scores of sites for which detailed excavation reports have been published evidence wealth-creation activities of the artisans and merchants of the civilization. Matching these artifacts (including over 8000 Harappa Script inscriptions which are metalwork catalogues) with the wealth-creation activities detaled in the ancient texts of the Veda dated to ca. 10,000 years Before Present, a vivid picture emerges about the contributions made by the artisans, artificers, workers and traders of the civilization to the wealth of nations along the Maritime Tin Route from Hanoi to Haifa. Artha, ‘wealth’ of Vedic Sarasvati civilization in 1 CE is directly and substantially related to the Bronze Age Tin Bronze Revolution in Bharata (India, Vedic rāṣṭram) and long-distance trade which stretched along the Maritime Tin Route from Hanoi (Vietnam) to Haifa (Israel). सोमःसंस्था reported by Valmiki as बहुसुवर्णक, bahusuvarṇaka is the economic institutional framework which explains the principal wealth-creation activities of brahma-somāraṇya documented by Kautilya in 4th cent. BCE. Cultural Itihāsa of Bhārata is narrated in exquisite detail and splendour on data archives of ancient sculptural and writing system traditions, starting from the days of Veda and Harappa Script. These data archives provide information on the wealth of rāṣṭram of Vedic times, ca. 8th millennium BCE which resulted in the status of Bharata as the richest nation on the globe accounting for 33.9% of Global Gross Domestic Product in 1 CE. Bronze Age Revolution alone of arts, crafts, technological excellence and work ethos of the people organized in corporate form of श्रेणि 'guild', explains the wealth of the nation (which according to Angus Maddison was close to 33.9% of world GDP in 1 CE). The full history of the processes leading to the creating the wealth of Bharatam has to be told. A first step has been taken, deciphering the 7000+ inscriptions of the civilization dated from ca. 4th millennium BCE [the early writing system is established by the discovery of a potsherd with Harappa script discovered by Harvard HARP archaeology team (signifying tin smithy) is dated to ca. 3300 BCE]. A synonym for pyrites is: madhu dhātu. A knowledge system of metallurgical processes or madhu-vidyā or pravargya vidyā related to such ores are narrated in the Veda. Data archives documenting these processes are found in Harappa Script hypertexts and in Yajñavarāha metaphors in Veda texts and sacred Yajñavarāha sculptures with iconographic details as hypertexts. The discovery of yajñakundas in many sites and the stellar evidence of Binjor yajñakunda with octagonal pillar and Seal with Harappa Script attesting to metalwork of the Bronze Age affirm the civilization as a continuum of Vedic cultura, Soma SamsthA. It is thus apposite to designate the civilization as Vedic Sarasvati Civilization with roots traceable to ca. 8th millennium (evidenced by the Bhirrana archaeological site with carbon-14 dates confirmed between ca. 7570 BCE to 6200 BCE). Executive summary of सोमःसंस्था, brahma-somāraṇya (reported by Kautilya, 4th cent. BCE) Work and striving result in creation of wealth from earth’s resources and endowed faculties of the अर्थिन् a. one who longs for or strives to get wealth or gain any object. अर्थार्थी जीवलोको$यम् । आर्तो जिज्ञासुरर्थार्थी Bg.7.16. यजस् n. Ved. Worship; इन्द्राग्नी यजसा गिरा Rv. 8.4.4. Hence, yajña is performance of worship. The governing principle, dharma is: work is worship, which is a prayer to the paramaatman who has endowed the people with competence to relate to environmental phenomena and earth’s resources. The ancient people of Bharata who participated in the processes of creation of wealth from Vedic times and during the Bronze Age Tin Bronze Revolution have left for us the legacy of yajña and a writing system called mlecchita vikalpa, ‘Meluhha cipher.’ These resources constitute a framework of ‘wealth’ as posited in the following sections in a pilgrim’s journey from Being to Becoming: 1. Ancient Veda tradition, cultural, economic history सोमःसंस्था, brahma-somāraṇya, yūpa, yajñasya ketu 2. Archaeological evidence of Binjor अष्टाश्रि यूप in yajñakuṇḍa, 2500 BCE 3. Metonymy -- hypertexts in Harappa Script of Bronze Age 4. Metonymy --Vedic Yajñavarāha metaphors in Veda texts, in sculptures/hypertexts of Veda/Harappa Script tradition Section 1. ancient Veda tradition, cultural, economic history सोमःसंस्था, brahma-somāraṇya, yūpa, yajñasya ketu As Narahari Achar has demonstrated, सोमःसंस्था to process soma, is the central yajña in all four Veda-s and that the 191 suktas of Mandala 1 and 10 of Rgveda lay out the plan for the performance of Somayajña. (BN Narahari Achar, Somayajña and the structure of Rgveda, 2016). sōmḥ सोमःसंस्था a form of the Soma-yAga; (these are seven अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय). agniSToma, atyagniSToma, ukthya, Soḍaśin, atirātra, aptoryāma and vājapeya. संस्था ‘occupation, business , profession.‘ Manasataramgini has shown that all the mandala-s of Rigveda are tightly networked and integrated with the central सोमःसंस्था and hence, the somayajña tradition described in the Rigveda is a definitive sacred text which dates to the time when Vedavyasa compiled the Samhita. It will thus be erroneous to interpret the Samhita text as a layered document, over an extended period of time. The dates of Rishis who are mantra-drashTa-s of specific sukta-s (sets of Rca-s) can be reckoned by astronomical evidences recorded in ancient texts. There are three groups of yajña s, depending on the type of offering made to fire in the sacred prayer: (a) haviryajña (b) pākayajña and (c) somayajña. Each of these in turn consists of seven subgroups of yajñas The haviryajña group offering consists of “havis”, such as milk, clarified butter, food- grains, etc. Pākayajña material offerings include cooked food-grains. somayajña s in which the offering is the juice of the crushed soma plant made to the deity soma, are further divided into (i) aikāha those that are completed in one single day (ii) ahīna, those that require from two to twelve days for completion (iii) satra, those that require more than twelve days. The somayāga ceremony is the holiest ritual, which symbolically transforms the earthly yajamāna into a celestial one.
I suggest that the elephant-head of Gaṇeśa in sacred sculptures is modeled after the hypertext compositions signified as 'composite animals' on Indus Script epigraphs. m1177, m0300 Mohenjo-daro seals ligature a human face to the trunk of an elephant.This epigraphy model provides the framework of an artistic style in iconography of Gaṇeśa. (The meanings of the inscriptions m1177, m0300 are presented in Epigraphia Indus Script discussed in this monograph). Hypertext expressions of Indus Script inscriptions are also replicated on artifacts in the round, examples of which are presented in this monograph. A seal and octagonal brick pillar in a yajñakuṇḍa in Binjor (4MSR) archaeological site on the banks of River Sarasvati. The octagonal pillar of the Bronze Age civilization provides the framework of an artistic style in iconography of Rudrabhāga of Śivalinga. The rudrabhāga of Śivalinga which is octagonal in shape is traceable to this octagonal pillar evidenced in Binjor which is in consonance with the R̥gveda tradition of installing a ketu, 'emblem' proclaiming the performance of a yajña, a Soma yajña in particular. Ekamukhalinga from Vat Sak Sampou with Brahma-, Rudra- and Viṣṇu-bhāga in three segments from the bottom-up. On the top segment of Vat Sak Sampou Śivalinga, a human face is ligatured on the artistic style of the human face ligatured to the trunk of an elephant on Mohenjo-daro epigraphs m0300 and m1177. In Epigraphia Indus Script, an elephant signifies: hieroglyph: karibha, ibha 'elephant' rebus: karba, ib 'iron', ibbo 'merchant'. [In Epigraphia Indus Script, the human face signifies: hieroglyph mũh 'face' rebus: mũhe 'ingot' (Santali) mũhã̄ 'the quantity of metal taken out of a furnace')]. I suggest that the Rudra-bhāga of Śivalinga is modeled after the octagonal pillar of Binjor as a ketu proclaiming the performance of a Soma Yāga. Thus, the iconography of Śivalinga and Gaṇeśa in ancient Bhāratīya cultural tradition, in iconogaphy in particular, are rooted in hypertext expressions of Epigraphia Indus Script. This monograph presents a thesis that the Indus Script Corpora are also a repository of Hindu Art & Cultural History since the roots of Hindu iconography are traceable to the Indus Script writing system. “Iconography, as a branch of art history, studies the identification, description, and the interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. The word iconography comes from the Greek εἰκών ("image") and γράφειν ("to write"). A secondary meaning (based on a non-standard translation of the Greek and Russian equivalent terms) is the production of religious images, called "icons", in the Byzantine and Orthodox Christian tradition … In art history, "an iconography" may also mean a particular depiction of a subject in terms of the content of the image, such as the number of figures used, their placing and gestures.” https://en.wikipedia.org/wiki/Iconography Twenty sets of inscriptions of Indus Script Corpora have been presented in the monographs listed below. The sets cover over 5000 inscriptions from Mohenjo-daro, Harappa and 40+ other sites of Sarasvati-Sindhu civilization. The sets present readings of the Meluhha (Bhāratīya sprachbund) hypertext expressions and deciphered plain text meanings as metalwork wealth (artha) account ledgers. Thus, the inscriptions constitute the repository of Ancient India Economic History –wealth of nations of Eurasia created by artisans and seafaring merchants, during the Tin-Bronze Revolution from ca. 5th millennium BCE. Set 1 Logical connection, anvaya, of hieroglyphs/hypertexts of Harappa inscriptions to artha 'wealth, business, meaning' -- Set 1 http://tinyurl.com/lnrjja8 Set 2: Harappa inscriptions Set 2 Metalwork catalogues document wealth-creation by Meluhha artisans http://tinyurl.com/kuj6lxv Set 3 Harappa inscriptions, meanings Set 3 Metalwork trade & wealth catalogues data archives http://tinyurl.com/ltxjhoh Set 4 Harappa inscriptions, meanings Set 4 http://tinyurl.com/n6aldac Set 5 Harappa inscriptions, meanings Set 5 metalwork catalogueshttp://tinyurl.com/l535q3w Set 6 Indus Script wealth & metalwork trade account – Corpora of Harappa engravings, inscriptions Set 6 http://tinyurl.com/lmzcoge Set 7 ಕಾಯಕವೇ ಕೈಲಾಸ ‘Work is worship’-- ātmā of Meluhha artisans and seafaring merchants of Bronze Age (Set 7 Harappa inscriptions) http://tinyurl.com/m5y34k8 Set 8 Harappa inscriptions (1149) are data archives of foundry guild operations of Bronze Age http://tinyurl.com/kzy95qg Set 9 Mintmaster's karṇika sāḷ, 'school for scribes' of foundry operations and paṇi, ‘market street’ in Harappa http://tinyurl.com/lhceknk Set 10 Harappa Foundry operations data archives in Indus Script h1691 to h1899 http://tinyurl.com/n5w64g9 Set 11 Smelter, metalcasting operations of Harappa foundry -- Harappa inscriptions h1900 to h1999 http://tinyurl.com/ms99gdu Set 12 Wealth-creating metallurgical repertoire of Harappa foundry metalcasts, All 12 sets of 2590 Harappa Inscriptions http://tinyurl.com/y8djs5qs Set 13 Itihāsa of Tin-Bronze Revolution of Eurasia -- Indus Script engravers, wealth accountants along Ancient Maritime Route—Docu mented karaḍā ledger entries of kañcu,kaṁsá, kuṭila, āra and other metalwork trade http://tinyurl.com/yczk4wva (All inscriptions from all sites excuding Harappa and Mohenjo-daro) Set 14 Bronze Age Indus Script inscriptions of Mohenjo-daro on metal, are karaḍā ledger entries of metalwork wealth accounts http://tinyurl.com/yark28l7 Set 15 Mohenjo-daro inscriptions from Indus Script Corpora http://tinyurl.com/yadqeabb Set 16 Vākyapadīya of Mohenjo-daro Inscriptions --Indus Script Corpora are precursors of Kauṭilya’s Arthaśāstra,science of wealth of nations http://tinyurl.com/y86fjkfc Set 17 Mohenjo-daro Inscriptions-- Indus Script Corpora Hypertexts & meanings -- metalwork artha, ‘wealth creation’, kharaḍa ‘account day-books’ http://tinyurl.com/y796874m Set 18 Mohenjo-daro inscriptions Vākyapadīya m627 to m873 https://tinyurl.com/y996jmo6 Set 19 Mohenjo-daro inscriptions Vākyapadīya m874 to m1280 https://tinyurl.com/yaylr3cl Set 20 Mohenjo-daro inscriptions Vākyapadīya m1281 to m2131: https://tinyurl.com/y9fm8cuv Two dominant art compositions in Bhāratīya Itihāsa and cultural markers of the civilization are: Śiva linga and Gaṇeśa.
--Emūṣa's Mahāvīra pot, Māyābheda Sukta & celebration of ऋभु R̥bhu, 'wealth, artisans' --baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala). Together with Gaṇeśa, Varāha and Varāhi are shown as Marut-gaṇa: Dance-step of Gaṇeśa, Emūṣa, Varāha, with Marut-gaṇa. Kailasanath Temple, Kanchipuram. Association of Marut-gaṇa, kharva, 'dwarfs' (rebus: kharva 'a nidhi of Kubera) with Ekamukha śivalinga in Bhuteshwar sculptural friezes Association of Sivalinga, Lelei, Dist.Sundergarh. A full (Square base the (brahmabhaga), octagonal in the middle (vishnubhaga), cylindrical on top (rudrabhaga signifying eight angles: aṣṭāśriyupa with Rudrabhāga of śivalinga aṣṭmtr̥kā and aṣṭāśri, eight forms of wealth aṣṭmtr̥kā and Gaṇeśa in dance-step Binjor. Yajnakunda with aṣṭāśri yupa, a ketu or proclamation for Soma samsthā yajña. See: Gaṇeśa is scribe of Mahābhārata pañcamaṃ veda is itihāsa to protect dharma https://tinyurl.com/y9slvdfa Gaṇeśa is scribe of Mahābhārata https://tinyurl.com/ycpoch5w Varahi among Saptamātr̥kā-s and Śiva. Gaṇeśa is Brāhmī scribe of Mahābhārata in the tradition of Indus Script cipher of Bronze Age https://tinyurl.com/y79j8rxp http://tinyurl.com/j8hh4q See: Cet n'est pas un zébu. Contribution of Indus Script decipherment to semantics 'study of meaning' and semiotics, 'study of signs' https://tinyurl.com/yagonwbb In this monograph, the hypertexts of zebu and black drongo signified in Indus Script cipher: 1. पोळ pōḷa 'zebu' rebus: pōḷa 'manetite ore, ferrite ore'. 2. pōlaḍu 'black drongo' rebus: pōlaḍa 'steel' 3. meṛh 'rope tying to post, pillar' rebus: meḍ 'iron' (Ho.); med 'copper' (Slavic). Language (spoken or uttered words or parole) is a system of signs. Visual language (writing, script) is a system of signs. Both systems of signs use signifiers and signified to convey a message. Such a messaging system is the subject of semiotics 'study of signs'. Semiotics (from Greek: σημειωτικός, "simiotikos") is the study of meaning-making, i.e. to derive 'meaning' from 'signs'. Bhartṛhari's Vākyapadīya, on Sanskrit grammar and linguistic philosophy, is a foundational text in the Indian grammatical tradition. It explains numerous theories on the word and on the sentence, including theories which came to be known under the name of Sphoṭa for semantics, 'study of meaning'. [Semantics (from Ancient Greek: σημαντικός sēmantikos, "significant"]. Both signifiers and signified are references to spoken or uttered words or parole. This monograph demonstrates with additional examples, the Indus Script cipher to derive 'meanings' of the iconographic metaphors of Varāha in ancient traditions. The 'meanings' are seen at ādibhautika levels of metal products of the bronze age produced and traded by seafaring Meluhha merchants. The artisans who carried these dhamma samjñā, 'responsibility badges' in the Indus Script tradition, are proclaiming their artisanal competence, using the anthropomorphs as professional calling cards. 1. baḍhi, bāṛaï 'worker in wood and iron' PLUS कोंद kōnda 'young bul' rebus: kōnda 'engraver'. kõdār 'turner', kundana 'fine gold'; kunda, 'a treasure of Kubera'.. 2. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) mẽṛhẽt, meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, 'iron', ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’ PLUS hieroglyph: Spread legs: कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic determinant) Rebus: karṇa-dhāra 'helmsman', karṇī 'scribe, account' 'supercargo'. Alternative (vikalpa): tagara 'ram' (Kannada) Rebus: damgar 'merchant' (Akkadian) tagara 'tin' (Kannada) The anthropomorph 'ram' hieroglyph together with incised 'fish' hieroglyph reads: tagara ayo 'metal alloy (with tin)'. This was the stock-in-trade of the artisan/merchant damgar. यज्ञवराहः YajñaVarāha is described as follows: Diksha Samaapteeshtim damshtrtah kratu danto Juhuumukhah, Agni jihvo darbha romaa Brahma seersho Mahatapaah/ Veda skandho havirgandhirhavyakavyaadi vegavaan, Praagvamsha kaayo Dyutimaan naanaa Dikshaabhiranvitah/ Dakshinaa hridayo Yogi Shraddhaa satwa -mayo Vibhuh, Upaakarma ruchischaiva pravagyaavarta bhushanah/ Naanaachhandogati patho guhyopanishadaasanah, Maayaapatnisahaayo vai Giri shringamivocchrayah/ Aho raatrekshana dharo Vedanga shriti bhushanah, Aajya gandhah struvastundah Samaghosa swano Mahaan/ Satyadharma mayah Shrimaan Karma vikrama saskrutah, Prayaschitta nakho ghorah Pashujaanurmahaamakhah/ Udgaadaantro Homa Lingah Phala beeja mahoushadheeh, Vaadyantaraatmasatrasya naasmikaasomashonitah/ ( The Yagna Varaha took up the diksha or Initiation of the Kratu or the Sacifice with his ‘damshtras’ or curved fangs and teeth holding the ‘Juhu’or the crescent shaped wooden ladle with which to make the offerings of ghee; Agni was his tongue to lap up the Sacrifice; Darbha grasses were the Varaha’s hairs; Brahma one of the Chief of ‘Ritviks’ or the Brahmanas performing the Sacrifice was comparable to Varaha Murti’s Head; Vedaas were his shoulders; his body-aroma was his ‘havis’ or the Sacrificial Offering; the Havya and Kavya or the offerings to Devas and Pitru Devas respectively consituted his body-speedwith which the Sacrificial Offerings were made; the ‘Praagvamsha’ or the East-bound Chamber in which the guests at the Sacrifice were seated was Varaha’s kaaya or the spacious physique; He was highly radiant and capable of accepting several Dikshas like the one being performed; He was the Master of Yoga full of Shraddha and Satwa or Sincerity and Resolve; he had Upakarma or extra study of Vedas and an expert in ‘Pragvargya’ or the Introductory Ceremony to the long-duration Soma Sacrifice; his ‘Avarta Bhushana’ or the ornamental and circular curls of the boar chest; the representation of various ‘Chaandas’ or Poetic Meters as his pathway; Upanishads as his seat; his able asistance is Maya as his spouse; his height was that of a mountain peak; his eyes representing Sun and moon and day and night; Vedangas and Shritis were his ear-ornaments; his body smell was that of ‘Ajya’ or the Ghee offering; Sruva or the sacrificial ladle is like his snout or muzzle; his voice was like the high pitch of the chanting of Saama Veda hymns; ‘Udgata’ or the elongated Sama Veda hymn was like his entrail or intestines; homa was his Linga or Symbol; fruits and seeds are his testicles; the altar of sacrifice was his heart; He was an Epitome of Satya Dharma and Soma Rasa was his own blood.) Thus Yajna Varaha Deva, as Nasika Soma sonita, dived deep into waters and lifted up Earth, allocated waters into Oceans and Rivers on Earth, materialised Mountains to stabilise the waters thus allocated, broadly created Sapta Dwipas on Earth, materialised Bhurbhuva -ssuraadi Lokas and their inhabitants on the same pattern as in the previous Kalpas before the Great Pralaya. https://www.kamakoti.org/kamakoti/brahmandapurana/bookview.php?chapnum=3
I am thankful to TS subramanium for a remarkably detailed account of the recent excavations in binjor. I have combined the images which appeared both in Frontline and in Archaeoogy News Network in July 2016. Subramanium's report of July 2016 and the accompanying photographs make it an official account of the excavation and presents insightful inferences drawn from discoveries made at the remarkable site of Binjor 4MSR which he calls an export processing zone. This is consistent with the Indus Script Corpora which evidences seafaring merchants in trade exchanges across and beyond he Persian Gulf. To place the work of the export processing zone of Binjor 4MSR in context, I also refer to two articles which appeared in the Journal of Indian Ocean Archaeology, No. 9, 2013, together with earlier reports of TS Subramanium on Binjor (Harappan Surprise) and Kalibangan (An early metropolis). See: 1. 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). http://tinyurl.com/zldsszl After Plate 8 in Kumar et al opcit. Sivalinga found in Vizhinjam 1st cent. CE? The octagonal shape of RudrabhAga compareswith the aSTAs'ri octagonal yupa found in Binjor Yajna kunda (ca. 2500 BCE). https://www.scribd.com/document/260613722/Origin-of-Early-Harappan-Cultures-in-the-Sarasvati-Valley-Recent-Archaeological-Evidence-and-Radiometric-Dates 2. KN Dikshit, 2013, Origin of early Harappan cultures in the Sarasvati Valley: Recent archaeological evidence and radiometric dates, Journal of Indian Ocean Archaeology No. 9, 2013, pp. 88 to 142 (Plates) Addorsed zebu, Rakhigarhi. dula 'pair' rebus: dul 'metal casting' PLUS poLa 'zebu' rebus: poLa 'magenetite, ferrite ore'. Thus magnetite casting. (After Fig. 69 in KN DIkshit opcit) The work at Binjor 4MSR was not only related to Soma SamsthA but indicate the work of seafaring merchants of Sarasvati Civilization who exported the metalwork products into Ancient Near East. Revelations in History, Saturday, 13 June 2015 | Vaishnavi Singh A terracota figurine of a humped bull.poLa 'zebu' rebus: poLa 'magnetite, ferrite ore'. The recent excavation of a modern village at Binjor in Rajasthan has revealed many artefacts dating back to Early and Mature Harappan phases. Vaishnavi Singh reports A skeleton of a woman, aged 35-40 years, lying in a supine position facing north to south, terracotta spindles and whorls and weights made out of chert stone are few of the intriguing artefacts that were excavated from Binjor, an archeological site in the Ganganar district of Rajasthan, seven km east of the Indo-Pak border. What makes this site more interesting is the fact that it is one of the lesser known places of the ancient Harappan civilisation. Few mysteries of the new-found artefacts were brought to light by AK Pandey, superintending archaeologist at the Archaeological Survey of India (ASI), at a recent discussion. The artefacts are a result of the Phase II excavations at Binjor— 4MSR, which was carried out from January to April 2015 by the excavation branch (at Purana Qila) of the ASI. The question that arose was why was there a need to excavate this new site when already so many Harappan excavations had been carried out in its near vicinity, in the Ghaggar valley itself. Pandey, also the deputy director of the excavation, explained, “The sole objective of this excavation at 4MSR is to learn about the early Harappan deposits, the sites’ relationship with other contemporary sites and to draw a cultural sequence with the late Harappan phase. If the copious amount of artefacts recovered from Binjor are any indication, then the site belongs to the early Harappan (c. 3000 - 2700 BCE) and the mature Harappan period (c. 2600 - 2000 BCE), much like the Kalibangan site which is 120 km away. This will help in the formation of a sequence and will lead to continuity, and so it becomes imperative to take up explorations in this entire area.” A mound, known as Thed among the villagers, was found in the Ghaggar river basin, the modern name given to the Saraswati river. “We had earlier dug six trenches on the mound, but the number was increased to 12 trenches of 10 by 10 metres with four quadrants,” he added. In its glorious days, the Harappan civilisation flourished over two million sq km, from Sutkagendor on the Makran coast of Balochistan to Alamgirhpur in Uttar Pradesh, and from Manda in Jammu to Daimabad in Maharashtra. What interested Pandey was the discovery of a jar, a bowl with a hole at the bottom and a perforated pot. “These confirm that the excavations belong to the mature Harappan period,” he informed us. The unearthing of pots with handles is another thing which fascinated him. He added, “We also uncovered a steatite seal with a hole on the back depicting a mythical animal with a single horn, like a unicorn as found in other Harappan seals, and a short inscription of five letters in the Indus script.” The excavations also lead to the discovery of houses made of standardised size of mud bricks (7.5 by 15 by 30 cm) in a ratio of 1:2:4. Huge quantities of ash and molten metal were also found indicating to metallurgical industrial activities that may have been carried out when the civilisation flourished. A common feature of the mature Harappan phase of large scale structural activities is also suggested through the excavations. He also spoke about other artefacts which were unearthed at the site including beads made of carnelian, steatite, copper, terracotta bangles and cakes; copper rings and fish hooks; terracotta spindles and whorls; weights made out of chert stone, terracotta sling balls, toy cart frames, figurines of humped bulls, copper arrowheads and terracotta pipes. “Apart from all this we also found gold beads which are very rare to come across in these excavations. One trench also yielded the skeleton of a woman, aged 35-40 years lying in a supine position facing north to south. No burial woods were found on the site and we are still in the process of ascertaining the exact time period to which this body belongs to,” he added. What has come as a surprise in these excavations is the discovery of a yoni-pitha type fire altar with a stump of octagonal birch in the middle. “This is an indication that rituals were performed at the altar,” said Pandey. The thing that stands out in these excavations is the windfall of pre-Harappan hakra ware, early Harappan pottery and Mature Harappan ceramics. Early Harappan finds include pottery with beautifully painted figures of peacocks, a lion, birds, fish-net and floral designs. When the excavations initially began, it was found that a lot of waste material had been dumped on the mound by the local people and the Army, which had camped there soon after the partition. This turned out to be a good thing in the end as the dump had protected the mound. But agricultural and irrigation activities later led to the cutting of the mound on three sides which reduced its size considerably. The trenches have brought to the fore the remnants of saddle— querns, mullars, ovens, hearths and furnaces. Pandey postulated, “One trench has also revealed a deep silo, lined with mud, to store grains. We have also recovered cattle bones and soil and grain samples, and they are yet to be sent for further examination and carbon dating.” He also disclosed that a bead containing the swastika symbol was also found which greatly fascinated all the archaeologists present at the site. “A lot of red ware and hakra pottery have also been discovered. Storage jars, goblets, stands, miniature pots, vases and paintings with horizontal bands, loops, floral designs and figures of birds and animals of the cat family have been discovered as well. Another intriguing aspect which was found in the handled pots was that there was incised decoration on them, at accurate intervals. Pots with textile and type imprint were also uncovered. These are usually painted with black, and at times, white colour,” he shared. Pandey concluded by saying, “This is the first site in this region where so much of cultural mixing or amalgamation is available. It has helped in determining the cultural process of the early and mature Harappan phases and the gradual transition from one phase to the other. Interestingly, we could not find any artefacts relating to the late Harappan period at the site.” http://www.dailypioneer.com/vivacity/revelations-in-history.html Addendum: The find of a zebu figurine is significant as a metalwork catalogue. poLa 'zebu' rebus: poLa 'magnetite, ferrite ore'. A momentous discovery is the yajna kunda with an octagonal yupa. This is a signature tune of a Soma SamsthA performed at the site on the banks of Vedic River Sarasvati. See: http://bharatkalyan97.blogspot.in/2016/07/a-defining-discovery-of-binjor.html 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. Bhuteswar sculptural friezes provide evidence to reinforce this divine dispensation by describing the nature of the smelting process displaying a tree to signify kuTi rebus: kuThi 'smelter' with kharva 'dwarf' adorning the structure with a garland to signify kharva 'a nidhi or wealth' of Kubera. A Bhutesvar frieze also indicates the skambha with face signifying ekamukha
-- Tablets of destiny brought by Śyena are Indus Script Corpora Soma, amśu wealth accounting metalwork ledgers -- Inthe prayers of R̥gveda IV.27.1-4 the devatā is Śyena; it is the rock from which the eagle brought Soma (RV 4.26, 27) -- Śyena citi is a Veda altar shape which is caturaśra, 'quadrangular' to bring home and purify Soma, amśu -- Soma purification is metallurgical process in Agni,'fire' in a citi, 'fire-altar' -- Offspring of Viśvakarman are artisans working with Soma, amśu to create the shared wealth of a Rāṣṭrram -- Saēna in Avestan, Simorg in Persian is cognate śyēna mr̥ga (Samskr̥tam) -- Tablets of Destiny, vajra 'thunderbolt' are Indus Script hypertexts brought home by Śyena, amśu, Anzu to create the wealth of a Rāṣṭrram --Śyena brings Soma from heaven (RV IV.38.5), parallel narratives of saena or simorg --Metalwork using Agni, consecrated, sacred fire constituted a revolutionary phenomenon of the Bronze Age in a way men and women related to and worked with products of nature, mineral ores, in particular, which created a new meaning for Soma, ayas, 'alloy metal' or wealth or treasure of a nation -- Zoomorphic means 'of or relating to a deity or other being conceived of as having the form of an animal'. -- Tablets of destiny brought by Anzu (zoomorph of Veda amśu)= Śyena are Indus Script Corpora tablets, seals and inscriptions documented by kāyastha, 'scribes' of Soma = amśu wealth accounting metalwork ledgers; this is exemplified by the anthropomorphs of Nandi or bull-man in Citragupta mandiram of Khajuraho. -- Anzu (Sumer)(cognate amśu (RV), ancu 'iron' (Tocharian) or thunderbolt is biting into a bulll-man or bull-anthropomorph, a brilliant narrative of the desire of the artisan to attain heaven, to acquire wealth, Soma. Bas relief of Anzud attacking a man-headed bull. For more information on Imdugud/Anzud, see Beijing World Art Museum for an article by Richard Zettler.(embedded). See: Venerated नन्दिन् < nandu 'increase, prosperity', Gaṇeśvara. पोळ poḷa 'zebu' is Indus Script hieroglyph signifies 'magnetite, ferrite ore' treasure https://tinyurl.com/y5wxnszv One of the Aṣṭa Vasus, holding triśūla, lotus stalk (stylus) and Kamaṇḍalu, with fire by his side, Chitragupta Temple, Khajuraho. The monograph is organized in the following sections: Section A. Śyena brings Soma from heaven Section B. Anzu steals the Tablets of Destiny Section C. Saēna, simorg (Persian), Sēnmurw (Pahlavi), Sīna-Mrū (Pāzand) are cognate with Śyena Section D. Soma amśu, products; śyēna, Anzu metaphors; Indus Script hypertexts of metals foundries Section E. Thunderbolt, vajra Bhāratīya traditions of veneration, objective of Soma Yajña, is heaven; work as worship is kailāsa heaven Soma is amśu, anzu of the jangama, the itinerant artisan, seafaring merchant. Soma is the product of the strong work, profession, trade of the Meluhha artisan who is also a seafaring merchant immersed in Veda, i.e., acquiring knowledge about properties of matter and enable creation of shared wealth of a nation. Soma is quintessential sacred process of R̥gveda. Significance of the falcon-shape for the Citi, 'fire-altar' to process Soma, is emphatically declared in YV V.4.1.11.1: "He should pile in hawk shape who desires the sky; the hawk is the best flier among birds; verily becoming a hawk he flies to the world of heaven...by the offspring to Viśvakarman he was set free from evil; in that he offers a libation to Agni of the front, Agni of the front, delighted with his own portion, burns away his evil, and he is set free from his evil by the offering to Visvakarman." The hawk-shape or quadrangular-body shape of the falcon, in the expression Caturaśra Śyena Citi is elaborated in Veda texts. This shape yields sacred space. The bird will return the tablets of destiny, the Indus Script Corpora to the offspring of Viśvakarman, artisan par-excellence, the divinity. Artisans, maruts, Rudra, Vasu are divine and are venerated. The intensity of human endeavours to accomplish the desires gets enshrined in the famous dictum succinctly stated by Basava in the exhortaion: kāyakave kailāsa, 'work is worship'. కాయకము or కులకాయకము kāyakamu. [Tel.] n. Profession, trade, art. జీవనము. See కాయికము. కాయకము (among the Jangams) signifies a prayer or vow. ప్రార్థన, వ్రతము.కాయికము kāyikamu. [Skt.] n. Daily interest నానాటివడ్డి. కాయికములమారి a rogue or cheat. adj. Lit. pertaining to the body. దేహసంబంధమైన. Slight, not strong, జబ్బు. కాయికపుపని not strong work. జింగమము jangamamu. [Skt.] adj. Moveable, not stationary. తిరుగునది.జంగమ కట్టుబడి a temporary bailiff. జంగమనగము, (Vasu. iii. 249.) జంగమగ్రావము, or జంగమాద్రి rolling rock, a moving hill. P. i. 202; iii. 62. n. A moveable or chattel; property, personalty. Cattle, cows, sheep, &c. జంగముడు jangamuḍu. n. Jangam, or worshipper of Basava. L. XIV. 210. జంగమత్వము jangamatvamu. n. Moveableness, locomotion. G. ix. 121జంగము ḍzangamu. [Tel.] n. (Lit. a sojourner) A Jangam. Name of a Saivite sect, the members of which wear the lingam. Sign1 of Indus Script Corpora (ASI 1977 sign list of Mahadevan). This hieroglyph signifies kāyaka 'body' rebus: kāyaka 'work, profession' PLUS meḍ 'body' rebus: meḍ, med 'iron, copper'.; thus, metal worker or metal artisan or metalsmith. This is the highest tribute paid to the artisans of the civilization, the offspring of.Viśvakarman. Three flying birds are abiding metaphors in R̥gveda. The glosses are: śyēna, patanga, mākṣikā. The three glosses are rebus-metonymy renderings of sena 'thunderbolt'; patanga 'mercury'; mākṣikā 'pyrites' -- three references to metalwork catalogs of Bhāratam Janam, 'lit. metalcaster folk'. A variant phonetic form of mākṣikā is makha 'fly, bee, swarm of bees' (Sindhi). The rebus-metonymy for this gloss is: makha 'the sun'. Mahavira pot is a symbol of Makha, the Sun (S'Br. 14.1.1.10). In Vedic texts, weapon of Divinity Indra is vajra, thunderbolt lightning. The name "thunderbolt" or "thunderstone" -- vajrāśani (Ramayana) --has also been traditionally applied to the fossilised rostra of belemnoids. The origin of these bullet-shaped stones was not understood, and thus a mythological explanation of stones created where a lightning struck has arisen. (Vendetti, Jan (2006). "The Cephalopoda: Squids, octopuses, nautilus, and ammonites", UC Berkeley) In Malay and Sumatra they are used to sharpen the kris, are considered very lucky objects, and are credited with being touchstones for gold. Caturaśra Śyena Citi, the shape of the Vedic fire-altar becomes the recurrent hieroglyph used on Indus Script Corpora and in the architectural designs of sacred places of worship called mandiram or temples. Shape of Caturaśra Śyena in Mānava Śulbasūtra, Harappa seal h166 narrative Caturaśra Śyena rebus آهن ګر āhan gar 'thunderbolt makersmith' https://tinyurl.com/y3s9tomm It appears that the body of the syena is quadrangular Caturaśra Śyena, or "four-sided falcon." (Mānava Śulbasūtra): After Patrick A. George (pgeorge@ccat.sas.upenn.edu) http://ccat.sas.upenn.edu/george/vedi.html Śyena as sacred space is defined by the shape of the body of the falcon which is called Caturaśra Śyena. The expression is documented in ancient texts. शब्दकल्पद्रुमः and वाचस्पत्यम् चतुरश्रः, त्रि, (चतस्रोऽश्रयोऽस्य । “सुप्रातसुश्व-सुदिवेति ।” ५ । ४ । १२० । इति अच्प्रत्ययेननिपातितः ।) चतुष्कोणः । यथा, --“चतुरश्रं त्रिकोणं वा वर्त्तुलं चार्द्धचन्द्रकम् ।कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्डलम् ॥”इत्याह्रिकतत्त्वे बौधायनः ॥लग्नाच्चतुर्थाष्टमलग्नम् । इति दीपिका ॥ https://sa.wikisource.org/wiki/शब्दकल्पद्रुमः चतुरश्र त्रि० चतस्रोऽश्रयः कोणा अस्य नि० अच् । १चतुष्कोणे पा० तालव्यमध्यस्यैव निपातनम् । दन्तमध्यत्वेचतुरस्रिरित्येव स्यात् । अस्य दन्त्यमध्यत्वं शब्दकल्पद्रु-मोक्तं चिन्त्यम् सुप्रातसुश्वेति” पा० ५ । ४ । १ सू०तालमध्यस्यैव ग्रहणात् “चतुरश्रं त्रिकोणं वा वर्त्तुलंचार्द्धचन्द्रकम् । कर्त्तव्यमानुपूर्ब्बेण ब्राह्मणादिषु मण्ड-लम्” वौधा० । २ ब्रह्मसन्ताने केतुभेदे पु० “चतुरश्रा,ब्रह्मसन्तानाः” वृ० सं० ११ अ० । केतुशब्दे दृश्यम् । ३ अन्यूनानतिरिक्ते त्रि० ।“बभूव तस्याश्चतुरश्रशोभि” कुमा० ।“चतस्रोऽश्रयोऽस्य तच्चतुरश्रमन्यूनानतिरिक्तम्” मल्लि० । https://sa.wikisource.org/wiki/वाचस्पत्यम् This Harappa seal h166 shows how a चतुरश्र citi or Caturaśra Śyena are comparable architectural forms. Archiecture of Ellora Kailāsa mandiram is also Caturaśra, consistent with Veda tradition. Objective of śyena citi is heaven. The Veda metaphor is that worshipper and his wife mount the caṣāla to attain heaven. Yajña, मेधा , intelligence , knowledge , understanding is also = धन Naigh. ii , 10 in the context of Indus Script metaphorical rebus renderings. The evidence is emphatic that Indus Script is a Veda cultural continuum. Here are two seals which are representative; they seal the Veda foundations of Indus Script narratives in over 8000 inscriptions. The thunderbolt maker is آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith (Pashto). Hence, gaṇḍabheruṇḍa idiom of the historical tradition continuum from Veda metaphors. GonurTepe settlement layout architecture is Caturaśra 'quadrangular'. Caturaśra Śyena Citi is a foundational framework for the processing of Soma to create the wealth of a nation by the shared wealth created by artisans and seafaring Meluhha merchants.
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In Neera Misra and Rajesh Lal edited “Mahābhārata Manthana”, B. R. Publishing Corporation, Delhi 110052, 2019, ISBN 9789387587595
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