Itihasa of Yajnayudhani Weapons For Yajn

Itih sa of yajñ yudh ni, 'weapons for yajñ ' in Rigveda,
made by ऋॐॲ , bhu 'skilled artificers'

Ten implements yajñāyudhāni -- weapons for yajña made byऋॐॲ, Ṛbhu are also
deified in rica-s.
See:
Itih sa of bhus in Rigveda 'smiths,skilled artists, artificers', adored as divinities & Sarasvati
civilization evidence
http://tinyurl.com/zba3k8h
Twelve objects/phenomena are deified pryas:1.agni, 2. tanUnapAt, 3. narAs'amsa,

4.iLA, 5. barhi, 6. devIdvAra, 7, ushAsAnaktA, 8. devyau hotAru pracetasau, 9.
tisrahdevyah sarasvatI, iLA, Bharatya, 10, tvaSTA, 11. vanaspati, 12. svAhAkRtayah
व् -ाा ा [p= 1284,3] f. an oblation (offered to अनि , इर &c ) or Oblation personified (as a daughter
of ॉष and wife of अनि ; she is thought to preside over burnt-offerings ; her body is said to
consist of the four ख़ॸॉs , and her limbs are the six अगs or members of the ख़ॸॉ ; she is represented
also as a wife of the ुरपग़ॲ -पनि) RV. &c &c
ारती N. of a deity (in RV. often invoked among the आरॱ deities and esp. together
with इला and ढ़॓विॱaccord. to Nir. viii , 13 a daughter of आनॉय ; later identified with ढ़॓विॱ ,
the goddess of speech) RV. &c
व्ट [p= 464,1] m. a carpenter , maker of carriages (= ि्/अ्टॴ ) AV. xii , 3 , 33; a form of the
sun MBh. iii , 146 Hariv. 13143 BhP. iii , 6 , 15
वन- ्-पतत a [p= 918,2] du. pestle and mortar RV. i , 28 , 6
॒ञ঄ yajñḥ -आ॒ॲॊ्॑ an implement of a sacrifice. These are said to be ten in number;
प॒च कपालानि च अनिफ़ॼरफ़ख़ॆॱ च ग़ॳपं च कॴणानििঃ च ग़या चॼलॳखलঃ च ॑ॲढ़लঃ च
ृड़਄ॼपला एिानि ख़ॹ ॉग़ ॒ञा॒ॲॊािॱनि (quoted in B. on MS.4.7.)(Apte) (Explanations
for the ten implements are embedded drawn from semantics of etyma from ancient
Bh ratiya languages).
From a description of the implements given in the etyma of Bh ratiya

sprachbund (language union) with dialectical, pronunciation variants, it is clear that
the implements are used to process pyrite ore consignments brought from the
1
mountains by, for e.g., Mujavats, bargained for a purchase price and taken in
carts. ॑ॳिख़ि् [p= 825,3] m. N. of a mountain VS.; pl. N. of a people AV. S3Br.
I submit that while the Haumavarga processed a herbal, the earlier Rigveda people
obtained ancu 'iron' (ore) from Mujavats and processed in Soma yajña the pyrites to
obtain purified molten electrum (gold-silver compound). The metaphor of 'flowing'
pavam na is used because the metal is molten,liquefied electrum, potable electrum
taken in the camasa, ladles or cups made by bhus (Ṛbhu, Vāja, Vibhvan are three skilled
artificers, specifically named in Rigveda RV 1.161.6).
The 'flow, drink' are only metaphors for potable metal, wealth obtained from the yajñ
and poured into camasa, ladles or cups.
Rigveda abounds in warfare metaphors. Many exploits and victories of ancient heroes
are reported in exquisite chandas narratives. These heroic deeds are narrated
as Itihāsa during Soma samsthā performed for 10 days. 36 such Soma samsthā are
held in a year. On the κth and λth day of the P riplava Itihāsa legends (ākhyāna-
s) from Veda and Purāṇa-s are recounted. (SBr. V.13.4.3.12,13 appended).
पार॓--लख़ [p= 621,1] N. of partic. legends recited at the अव-॑ॸॊ and repeated at certain intervals
throughout the year S3Br. S3rS. Ba1dar.
पार॓--लख़ा f. a small spoon used at sacrifices , A1ryav. (cf. पर॓-लख़ा Ka1tyS3r.)
The warfare metaphors extend to Soma processing which is the ātmā of yajña.
Implements used in the yajñā are called yajñāyudhāni, 'weapons for yajñā'.
mēdhḥ ॑ॸॊ঄ is yajña. ॑ॸॊॼ ॒ॲध॒ञ঄ । '॒ञॼ ख़ॹ ॑ॸॊ঄' इनि रॲिॸ঄ । mēdhḥ is yuddha,
warfare, yajña is mēdhḥ'. ॑ॸॊा = ॊि Naigh. ii , 10. Thus, ॑ॸॊा is acquisition of wealth.
It is the prayer of ॒ि॑ाि in incessant processing for 360 days of the year
performing Soma samsthā endeavours. ढ़ঃ-्ैा a complete liturgical course , the basis or
essential form of a sacrifice (the यॼनि঄-टॼ॑ , फ़नख़्॓ -॒ञ , and पाक-॒ञ consist of seven such
forms) S3rS.
“Kamboja probably included the Pamirs, Badakshan, and parts of Tajikistan

extending as far as the source of Zarafshan, to the north of Pamirs and separated from
them. On the east it was bounded roughly by Yarkand and/or
Kashgar, on the west by Bahlika (Uttaramadra), on the northwest by Sogdiana, on the
north by Uttarakuru, on the southeast by Darada, and on the south
by Gandhara. Further, Prof Tomaschek has stated that of all the dialects of Galcha, the
Munjani is most closely related to the language of Zend Avestan of the ancient
2
Iranians. Scholars connect name Munjan/Munjani to ancient 'Mujavat'
(people/region) which name has been referred to in Atharvaveda and Mahabharata.
Term shiya in Munjani/Munji dialect of Galcha, used in the sense 'to go' , still shows very
marked influence of ancient Kamboja verb shvati. According to other version, Munjan is
derived from root 'Murg' of Amyurgio Sacae (Haumavarga Saka of Persian inscriptions),
which according to scholars, translates into Soma-twisting Sakas (Dr Michael Witzel). This
again connects Munjan with Mujavat, the home of Haoma/Soma i.e. Pamirs/Hindukush.”
Notes:
1. Proceedings and Transactions of the All-India Oriental Conference, 1930, p 102-

119.
2. Ancient Kamboja, People and the Country, 1981, pp 49, 155, 237 Dr J. L. Kamboj
3. Centralasiatische Studien II. Die Pamir-Dialekte, Vienna, 1880, Wilhelm
Tomaschek; quoted by Dr J. C. Vidyalankar in his Bhartya Itihas ki Mimansa, p 471,
480-81, Dr J. C. Vidyalankar; Quoted in: Ancient Kamboja, People and the Country,
1981, p 217, Dr J. L. Kamboj
4. Early Eastern Iran and the Atharvaveda, Persica, 9, 1981, p 105, fn16
https://en.wikipedia.org/wiki/Komedes
http://hitchhikershandbook.com/2015/09/15/gbao-permit-dushanbe-tajikistan/
3
व् -पढ़् [p= 1281,1] mfn. doing good work , skilful , artistic (said of व्टॴ ,
the ऋॐॲs &c ) RV. VS.artificially fashioned (superl. -ि॑ , said of इर's thunderbolt) RV. i , 61 ,
6;m. a good artificer RV.
Griffith: RV 1.161.6 Indra hath yoked his Bays, the Asvins' car is horsed, Brhaspati hath brought
the Cow of every hue. Ye went as Rbhus, Vibhvan, Vaja to the Gods, and skilled in war,
obtained your share in sacrifice.
RV 1.61.6 For that Indra, verily Tvas.t.a_ sharpened the well-

acting, sure-aimed thunderbolt for the battle, with which fatal
(weapon) the foe-subduing and mighty sovereign severed the
limbs of Vr.tra.
Griffith: RV 1.61.6 Even for him hath Tvastar forged the thunderbolt, most deftly wrought, celestial, for the
battle,Wherewith he reached the vital parts of Vrtra, striking the- vast, the mighty with the striker.
See:
Inscriptions on metal implements validate decipherment of Indus Script
Corpora as metalwork catalogues http://tinyurl.com/okw7xly (Appended)
1. उलॳखल [p= 218,3] n. a wooden mortar RV. i , 28 ,6 AV. TS. S3Br. A1s3vS3r.
&c; N. of a particular kind of cup for holding the ढ़ॼ॑ (shaped like a mortar)
Comm. on Ka1tyS3r.; a staff of उॄॲ ब॓ wood (carried on certain
occasions) L. ulū khala n. a wooden mortar RV., aulūkhalḗ pestle and mortar
MaitrS. 2. *ulukkhala -- . 3. udūkhala -- n. Su r. 4. *udukkhala -- . [← Drav. EWA
111 with lit. Like músala -- , pop. derivative with -- ala -- J. Bloch BSOS v 742]1.
Pk. ulūhala -- n. a mortar .2. Pk. ulūkhala -- n. (or ← Sk.)ś N. urgal mortar for
pounding rice or parched rice ś G. uḷukhḷɔ m. a mortar .3. Pk. udūhala --
, uūh°, ōh° n.4. Pa. udukkhala -- n. a mortar , °likā -- f. part of a threshold (the
slot in which the door works?) ś Pk. ukkhala -- , °laga -- , uūkhala -- , okkhala -- m.n.
a mortar ś K. wŏ khul, °kholu m. a mortar , °khüjü f. small do. ś S. ukhirī f. a
mortar, the slip of wood on threshold in which the corner of a door works as a hinge ś
L. ukhlī f. wooden mortar , P. ukkhal, °khul m., ukkhalī, °khulī f. small do. ,
WPah. bhad. bhal. ukkhal n., Ku. ukhal, okh°, okhlā, gng. ukhaw,
4
N. okhal, ukhli, okh°, A. ukhali, B. ukhli, Or. ukhaḷa, Bi. okhar, ŏ kharā, °rī,
Mth. ūkhar, °ri, Bhoj. ōkhari, Aw. lakh. okharī,
H. ūkhal f., ukh° m., ūkhlī, ukh° f., okhlī, G. ukhaḷ, ukhḷũ n., °ḷɔ m., °ḷī, °ṛī f.,
M. ukhaḷ n.m., ukhḷī f. Poss. X músala -- in Pk. usuyāla -- n.Addenda: ulū khala -- . 1.
A. ural a mortar < *uḍū° AFD 234.4. *udukkhala -- : S.kcch. aukkhar f. a mortar
, WPah.kṭg. ukhḷi f. hole in barn floor for pounding corn, mortar , kc. ukhḷe f.,
J. ukhaḷ m.(CDIAL 2360)
2. ॑ॲढ़ल [p= 824,3] mn. (often spelt ॑ॲग़ल or ॑ॲड़ल ; cf. Un2. i , 108 Sch.) a pestle ,
(esp.) a wooden pestle used for cleaning rice AV. &c , &c; a mace ,
club Mn. MBh. &c (cf. चर-्॑°); the clapper of a bell Katha1s.; a partic. surgical
instrument Sus3r. músala m.n. pestle AV., club Mn., musra -- n. lex. 2.
*muṣala -- or *muśala -- . [s after u and in NIA. variation of ū with u point to non --
Aryan origin (J. Bloch BSOS v 741 ← Drav.Ś see also maṣati)]1. Pa. musala -- m.n.
pestle , °aka -- n. small do. , Pk. musala -- , mūsala -- m.; Kho. (Lor.) mvsul
pestle, stonethumper ś Sh. (Lor.) muzvl stone pestle ś S. muhurī f. large pestle ś
L. mō lā pestle , P. muhlā, mūhlā, mohlā m. (mūsal m. ← H.), WPah.bhad. bhal.
kha . musal n., Ku. N. musal, A. muhal, B. musal, Or. musaḷa; Bi. mūsar,
(Shahabad) musarā pestle of rice -- husking machine ś Mth. mūsar, musarā pestle
, Aw.lakh. mūsaru, H. musal, mūsal m., mūslī f. small pestle , G. musḷũ n.,
M. musaḷ n., Si. mohola, mōla, Md. mō. <-> Prob. P. mūslī f. taproot ,
N. musuro (← Bi. Mth.?), H. mūslā m.2. K. muhulu m. pestle , muhüjü f. small do.
ś WPah. Joshi) muśḷ m. pestle, club , muśḷī f. small do. , jaun. mūśṛī pestle
.AddendaŚ músala -- . 1. Md. mō (mōlek) pestle .2. *muṣala --
: WPah.kṭg. múəḷ, m&vacutemacr;ḷ m. pestle, club , J. muśḷ m., poet. muśḷe f.
small pestle, club .(CDIAL 10223)
3. कॴणा* निि [p= 308,1] m. " covered with a skin of the black antelope " , N. of a
man , and m. pl. his descendants g.उपका*नॉ and निकनकिख़ा*नॉ Ka1s3. on
Pa1n2. 5-3,82 and 6-2 , 165; n. the skin of the black antelope AV. TS. S3Br.
AitBr. &c kr̥ṣṇamr̥ga m. black antelope MBh. [kr̥ṣṇá -- , mr̥gá -- ]Si. kelmuva
deer with dissimilation < *kaṇam° or poss. < *k lamr̥ga -- ; less likely
< k lamukha -- .(CDIAL 3454) ajína n. skin of esp. the black antelope used by
ascetics AV. [ajá -- ] Pa. ajina -- n., Pk. ajiṇa -- , aïṇa -- n.,
Si. adun, an̆dun (Sikhavalanda v. 3). Addenda: ajína -- [Cf. ajinapatrā -- , °trī -- ,
°trikā f. bat lex.]WPah.kṭg. ēṇ flying fox Him.I 7. (CDIAL 158)
4. फ़ख़िॱ f. the sacrificial ladle S3Br. Ka1tyS3r.; a fire-receptacle (= f.) L.; f. a hole
made in the ground for the sacrificial fire which is to receive a burnt-
oblation L.फ़ख़ि m. (for 2. » [p= 1294,1]) fire or अनि the god of fire L.
5
5. कपाल [p= 250,2] mn. ( √कप् Un2. i , 117), a cup , jar , dish (used especially for
the पॲ॓ॼॄाग़ offering) TS. S3Br. Sus3r. &c (cf.नरकपाल , पच-कपाल , &c ); a fragment
of brick (on which the oblation is placed) S3Br. vi , xii Ka1tyS3r. Sus3r. &c; a cover ,
lid A1s3vGr2. iv , 5 , 8 Bha1sha1p. &c; the skull , cranium , skull-bone AV. ix , 8 , 22
; x , 2 , 8 S3Br. i Ya1jn5. &c; the shell of a tortoise S3Br. vii , 5 , 1 ,
2; n. ([Greek. ώπη'handle'ś Lat. capere ;Hib गॐॹ्॑ ; Goth. hafyan ; Angl.Sax. haban ,
haefene ,hafoc ; Eng. haven , hawk ; cf. Gk. εφα ή'head'ś Lat. caput ; Goth. haubith;
Angl.Sax. heafud.])
6. amy ग़या [ग़्॑-॒ि् टाप्] 1 A wooden stick or post. -2 A staff, a measure of length
(= 36 Aṅgulas). -3 The pin of a yoke. -4 A kind of cymbal; ख़ॱॆा िॹख़ाय ख़ायतॸ
ग़यािालविॹ ঄ ढ़फ़ Mb.7.72.12. -5 A sacrificial vessel. -6 A kind of medical
instrument. -Comp. -षॸप঄, -पाि঄ the distance that a staff can be thrown; the cast of a
staff; ग़यापािॸिायिॱ॒ावॸ ॉॱनॐनचर॒ि् ॑फ़ॱ्॑ Mb.12.29.95; Ms.8.237. -राफ़঄ one who
plays the cymbalś R m. 2.λ1.4λ. ámy f. stick, wedge, peg RV., yoke pin
Br.Pa. sammā -- f. yoke pin ś L. samm, (Ju.) sam f. horizontal stick of a yoke
which passes under bullock's neck ś WPah.bhal. śam, pl. śammã̄ f. yoke pin, handle
of blacksmith's bellows .* amiy kīla -- , * amy kīla -- , amy garta -- , * amy bhara
-- , * amy yuga -- , * amyēṣ -- .Addenda: ámy -- [† ama -- 2?]Ś †* amy k ṣṭha --
.†* amy k ṣṭha -- the wood for the yoke pins . [ ámy -- , k ṣṭhá --
]WPah.kṭg. śəme/ṇṭh m.pl. the pins which join the two bars of the yoke on either side
of the ox's neck Him.I 250.(CDIAL 12317) * amy kīla yoke -- pin . 2.
* amiy kīla -- . [ ámy -- , kīla -- 1]1. Bi. samailā inner pins joining the two bars of
the yoke of a plough ś Mth. samail pin of a yoke ś G. sāmel, sã̄bel f. iron nail
fixed at each end of a yoke (< -- kīlla -- ) J. Bloch BSOS viii 413.2. N. soilo yoke -
- pin, any wooden pin, door -- hinge made of withies ś Or. saïḷa, saüḷa, saaḷa pin at
end of yoke of plough ś Bi. sail, °lā outer pin joining the two bars of yoke, tiller of
rudder ś M. śivā̆ḷ, °vīḷ, °vūḷ f. peg connecting two members of yoke and confining it
to animal's neck , Ko. savīḷ f.; -- M. śelẽ n. thill -- yoke < -- kīlla -- ? -- The forms
of N. Or. Bi. H. have perh. collided with ákala -- .(CDIAL 12318)
7. d ṣad ृड़ॉ् f. [ॉॄ अनॉ ड़ॲ क् रवच; cf. Uṇ.1.12κ] 1 A rock, large stone, or stone in
general; िर यतঃ ृड़नॉ च॓ॆ ाढ़- ॑ॊे ्ॉॲ ॑ॽलॸ঄ Me.55; R.4.74; Bh.1.38. -2 A mill-
stone, a flat stone for grinding condiments upon; नॐवा ॑ॴड़ारॲ- ्द ड़ॉमिा ॓फ़঄
Bh g.1.λ.6. -Comp. -अमि् m., -पॲर঄ the upper and smaller mill-stone. -उपल঄ a grind-
stone for grinding condiments upon. (ृड़नॉ॑ाड़क঄ a tax raised from mill stones). -
ढ़ा्॓॑ iron; ृड़सा॓ुिवा॑ॴि॑नप ॐख़ाभॼ- निनॊगि঄ Mv.6.52. dr̥ṣád f. rock, millstone
(esp. the lower) RV., dr̥ṣada -- in cmpd. Hariv., °aka -- Pat. Pk. disaā -- f. stone ś
6
Wg. duṣómacrdotdot; handmill ś Kho. driẓ stone shoot on mountain -- side, shale
slope, handmill (= driẓ -- xora) . -- X ni d -- q.v. Addenda: dr̥ṣád -- [Prob. not
connected with Shgh. dïx̌n stone mortar EVSh 32](CDIAL 6517) ni d in ni d
-- putra -- m., -- śilā -- f. pestle lex. [Cf. śādā -- f. brick Gobh., niśātayati cuts
down M rkP.<-> √ ad?]Pa. nisadā -- f. grindstone, lower stone in handmill
(X dr̥ṣád -- ?), Pk. ṇisā -- f. pounding stone Ś G. niśā f. slab of stone on which
things are pounded or crushed .(CDIAL 7430)
8. औपल a. (-ला, -लॱ f.) [उपल-अॆ्] 1 Stony, of stone; ॒ैा लख़ॸिॽपलॸि नि॑जयॲॉकॸ
ि॓ि् Ms.4.194. v. l. -2 Raised from stones (as a tax). पानफ़ औपला॑बबका्॑ N i. P.
Up.3.1. úpala m. stone, rock MBh., °aka -- m. precious stone Su r., upper
millstone (?) in upala -- prakṣín<-> RV., úpalā -- f. upper and smaller millstone
Br. 2. *upalla -- . 3. *pala -- or *palla -- . [EWAi 106 l -- form of úpara -- ; but
more general meaning rock, stone suggests another origin. Then upalā -- f. might
be primarily the smaller of the two millstones, but influenced semant. by úpara -- ]1.
Pa. upala -- m. stone , Pk. uvala -- m.; -- semant. cf. a áni -- : P. olā m. hailstone ,
Ku. wālo; Bhoj. olā frost ś OAw. olā hailstone , H. olā m.: all these poss. <
*upalla -- below.2. G. olũ n. hailstone ś -- semant. cf. dantaśarkarā<-> f. tartar on
teeth Ś Pk. ullī -- f. tartar , Ku. ulo m., G. oli, uli f. dry saliva on tongue .3.
K. pal m. boulder, rock ś WPah. bhal. pal, pall m. slab of stone, upper millstone
, palṛi f. stone mortar for grinding salt . -- Paš. phal f. stone for pelletbow
? (CDIAL 2223) *upal man grindstone . [úpala -- , á man -- ]S. urso m., °sī f.
flagstone for grinding things on .(CDIAL 2233)
λ. sūrpa ढ़ॳपद See ग़ॳपद. aurpa ग़ॽपद a. (-पी f.) Measured by or belonging to a ग़ॳपद or
winnowing basket; P.V.1.26. ūˊrpa n. winnowing basket VS. (śūrpa -- grāhī --
AV.), śūrpī -- f. small do. lex.Pa. Pk. suppa -- m. (Pk. also n.) winnowing basket
, K. śū˘pu m., S. supu m., WPah.jaun. śūpō; Ku. supo winnowing fan , gng. śup
reed basket ś Or. supā winnowing fan ś Bi. Mth. Bhoj. sūp winnowing basket or
sieve ś H. sūp m. winnowing basket or fan, wooden water scoop , sūpā -- benā m.
swallow (see vayana -- ); G. supṛũ n. winnowing fan , °ṛī f. small do. ś M. sūp n.
winnowing basket .AddendaŚ ūˊrpa -- : WPah.kṭg. śúppɔ m. winnowing basket ś
Garh. suppu.(CDIAL 12573)
10. ्य [p= 1271,2] n. an implement used in sacrifices (described as a flat piece of

wood shaped like a sword for stirring the offerings of boiled rice , or accord. to some ,
for trimming the mound used as an altar) AV. TS. Br. Gr2S3rS. Mn. MBh.; a spar or
boom (of a ship's sails) S3Br.; n. a kind of oar R. [cf. accord. to some , Gk.
σφήν
'wedge'; Germ. spa7n , Span.]*sphiyá -- , sphyá -- *scapula . 2. m. flat piece of
wood for stirring offerings of boiled rice or for trimming mound used as altar AV.,
7
boom, spar Br., m.n. a kind of oar R. [Both meanings in Ir. *phiya -- :
Wkh. fiáh shoulderblade , Shgh. fyak, Kurd. pil, pāwl shoulder ~ Wkh. péi
shovel , Sar. Ishk. féi, Shgh. fe: cf. K. L. Janert KZ 79, 89 -- 111.1. Wg. pīwə
scapula ś Paš.ku . phīī scapula , ar. phī, pīi back of shoulder , pīo -- m upper
part of my back ś Gaw. phīo shoulderblade (→ Sv. phīeNOPhal 45); Kho. phiu
scapula ś Bshk. phī shoulderblade (pl. phiā r < sphiyap ṭa -- ); Mai. phīa
shoulder ś -- Sh.gil. jij. phižu, koh. phīǰŭ m., pales. phížo (< *sphiyya -- ?). <-> Ext. -
- kk -- : Gy. eur. phiko m. shoulder (DGW iv 2λ4 wrongly < pr̥ṣṭhá -- ); K. phyoku,
dat. phĕkis m. shoulderblade ś -- -- l -- : Sh. phyōlŭ m. shoulder , (Lor.) piolo
shoulderblade .2. Pa. phiya -- m. (in cmpds. usu. piya -- ) oar ś Kho. phī wooden
spade , (Lor.) phiyu dung spade ś K. phyohu, phyuhu (dat. phihis, phĕhis) m.
snow -- scoop . <-> Ext. -- kk -- : Shum. phyēk wooden shovel ,
Paš. pēkaṭī (enlarged fr. *phē → Par. phī IIFL iii 3, 140); -- -- l -- : Sh. (Lor.) piolo
wooden spade, oar . -- Connexion, though possible (sphya -- + ?), obscure:
Ku. phauṛo a kind of mattock, spade ś N. pharuwā mattock, hoe , phyāuri long -
- handled implement for levelling ricefield ś B. phāuṛā, phõṛ spade, hoe ś
Or. phāuṛā digging hoe ś Bi. phahurī, pharuhī, phaṛuā, °uhī scraper for making
banks of irrigation beds ś H. phāwṛā m., °ṛī f., phauṛā, pharuwā m. mattock, hoe
, pharūhā m. a kind of rake or hoe ś M. phāvḍā m. large hoe (esp. a wooden one)
, °ḍī f. wooden hoeshaped instrument for skimming molasses, large hoe , °ḍẽ n.
hoe or scraper .*sphiyap ṭa -- .Addenda: *sphiyá -- [Shgh. Ishk. fay wooden shovel
, Bj. fiy, Wj. fi; -- ext. -- kk -- in Shgh. Wj. fiyak wooden shovel, shoulderblade ś
Ishk. fayək shoulder , Wkh. fiak, Sogd. byk; Chvar. fyk rudder -- EVSh
34]S.kcch. pāvṛī f. small wooden shovel ?(CDIAL 13κ3λ)
ऋॐॲ, bhu 'artisans' make the implements for yajñ .

See:
Itih sa of bhus in Rigveda 'smiths,skilled artists, artificers', adored as divinities & Sarasvati
civilization evidence
http://tinyurl.com/zba3k8h
‫ څمڅ ِئي‬ṯ s̱amṯ s̱aʿī, s.f. (6th) A ladle made of wood, brass, or iron. Sing. and Pl.
(P ‫)چمچه‬.
‫ څونڅ ِئي‬ṯ s̱on-ṯ s̱aʿī, s.f. (6th) A spoon or ladle made of wood, iron, or brass. Sing. and
Pl. See ‫کړیڅئِي‬,‫ کاچوغه‬and ‫ څماستل‬ś ‫ څونڅئِي‬ṯ s̱am-lāstal, verb intrans. To lie down, to
recline, to repose, to be recumbent. Pres. ‫ څملي‬ṯ s̱amlī; past ‫ څماست‬ṯ s̱amlāst; fut. ‫ؤ به‬
‫ څملي‬wu bah ṯ s̱amlī; imp. ‫ څمله‬ṯ s̱amlah; act. part. ‫ څماستونکي‬ṯ s̱amlāstūnkaey,
or ‫ څماستوني‬ṯ s̱amlāstūnaey; past part. ‫ څماستلي‬ṯ s̱amlāstalaey; verb.
n. ‫ څماست ه‬ṯ s̱amlāstanaʿh. ‫څملول‬ṯ s̱amlawul, verb trans. To make recline, to put to rest,
to make lie down. Pres. ‫ څملوي‬ṯ s̱amlawī; past ‫ ؤ څماو‬wu-ṯ s̱amlāwuh, or ‫ ؤ څماوو‬wu-
ṯ s̱amlāwo; fut. ‫ ؤ به څملوي‬wu bah ṯ s̱amlawī; imp. ‫ ؤ څملو‬wu-ṯ s̱amlawah; act.
8
part. ‫ څملوونکي‬ṯ s̱amlawūnkaey, or ‫ څملووني‬ṯ s̱amlawūnaey; past
part. ‫ څملولي‬ṯ s̱amlawulaey; verb. n. ‫ څملونه‬ṯ s̱amlawunaʿh.(Pashto)
Camasa [Vedic camasa, a cup] a ladle or spoon for sacrificing into the sacred fire
J vi.52824=5294 (unite ca with masa, cp. 5299 and n. 4: aggijuhana -- kaṭacchu --
sankh timasañca [for camasañ ca] v. l. Bd). Cp. Kern, Toevoegselen s. v. ; Camu (f.)
[Both derivation and exact meaning uncertain. The Vedic camū is a peculiar vessel
into wh. the Soma flows from the press. In late Pali & Sk. it means a kind of small
army, perhaps a division drawn up more or less in the shape of the Vedic vessel] an
army J ii.22ś camūpati a general Mhvs 10, 65ś 23, 4ś D vs i.3.(Pali)
cõca or coc̃ ĕ चॼ ँच (= ) । ॉाुफ़तक঄ m. a ladle or spoon, made of wood when large and
of bell-metal, etc., when small (El. spells this word choṅchih). -- bazun -- ॏज़ॲि् ।
अनॊका॓ाबत঄ m.inf. to wield the spoon; to hold authority or possess the power of
superintendence, esp. in distributing another's food, money, etc. -m r -॑ा्॓ ।
ॐॼििॏाॊानख़ॊाि्॑ m. 'spoon-hitting', preventing another from completing a meal or
finishing a dish. -- sapanun -- ढ़पिॲ ि् or -- sapazun -- ढ़पज़ॲि् । ढ़ঃकॲनचिॱॐख़ि्॑ m.inf.
'to become a ladle'; hence, to become shrivelled or withered, as of the hand or other
limb owing to cold, of the face owing to grief or loss, or of a flower, herb, or the like
owing to the heat of the sun or to being broken. (Kashmiri)
च [p= 388,3] f. (Ved. loc. °्॑/ऊ RV. six times ; once °व्/इ , x , 91 ,
15 ; nom. du. °व्/आ , iii , 55 , 20 ; gen. loc. °व्/ओढ़् ; nom.pl. °व्/अढ़् , viii , 2 , 8
; loc. pl. °्॑/ऊड़ॲ ) a vessel or part (two or more in number) of the reservoir into which
the ढ़ॼ॑ is poured RV.; f. du. °व्/औ " the two great receptacles of all living beings " ,
heaven and earth Naigh. iii , 30 (cf. RV. iii , 55 , 20); an army or division of an army
(129 elephants , as many cars , 2187 horse , and 3645 foot MBh. i ,
292) MBh. R. Megh. BhP.
camasḥ sam च॑ढ़঄ ढ़्॑ [च॑यबिि् , च्॑-अढ़च् Tv.] 1 A vessel (can, ladle &c.) used at
sacrifices for drinking the Soma juice; Y.1.183 (also च॑ढ़ॱ); इॄॼॉ॓ॸ च॑ढ़ा঄ कॆद- ॓रॸ
Bh g.3.13.36. -2 A cake made of barley, rice &c. -Comp. -अवर्यः the priest who
manages the drinking vessels. -उभे दः, -दन ् N. of place of pilgri- mage where the
river Sarasvatī is said to have burst forth.
उद् - ेद [p= 190,2] m. the act of breaking through or out , becoming manifest or
visible , appearing , sprouting S3ak. 85 d Kum. Bhartr2. Sa1h. &c; a spring ,
fountain R. MBh.
9
च [p= 388,3] m. (n. g. अॊद चाद *नॉ ; f(ई). L. Sch. ; fr. √ च्॑) a vessel used at
sacrifices for drinking the ढ़ॼ॑ , kind of flat dish or cup or ladle (generally of a square
shape , made of wood and furnished with a handle) RV. AV. VS. &c; m. a cake (made
of barley , rice , or lentils , ground to meal) , sweetmeat ,
flour L. Sch.; m. = च॑ढ़ॼ*भॸ ॉ MBh. iii , 5053
च॑चा (p. 160) camac m ( H or च॑ढ़ S) A ladle or spoon. (Marathi) சம் ச camc
, n. < U. camca. Spoon; க ண்ி. ( ்ு க. 65.)
Implements and Vessels Used in Vedic Sacrifice
Raghu Vira The Journal of the Royal Asiatic Society of Great Britain and Ireland
No. 2 (Apr., 1934), pp. 283-305 http://www.jstor.org/stable/25200895
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11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
2x14x.4 in.
.8x14.5x.8 in
1x15.5x2.8 in.
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1x13.5x3 in.
.4x3x12.3 in.
http://www.exoticindiaart.com/book/details/vedic-sacrifices-outline-IDD013/
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35
36
http://www.exoticindiaart.com/book/details/yajnayudhani-album-of-implements-used-
in-vedic-rituals-with-descriptive-notes-NAB755/
Identity of Soma as prī divinity in Rigveda. Baudh yana- rautasūtraŚ Archaeometallurgy,

Agnicayana and locus of Bh ratam Janam of Sarasvati-Sindhu civilization
http://tinyurl.com/gme5r8r
Why is Soma an āprī divinity in the āprī sukta of Riita kAzyapa shi As(RV 9.5)?
The reasons are found in RV 9.5.10, wherein the nature of Soma is explained: ढ़फ़र्॑
ख़्ग़्॑ फ़र॓ि्॑ राि ॑ाि्॑ नफ़॓य्॑ 'the green bright golden-hued Vanaspati with its
thousand branches.'
37
In this rica, the gloss ख़्ग़ [p= 929,1] means m. (also written ॏ्/अ्ग़) a shoot , branch
, twig RV. AV. BhP. (Monier-Williams). The word bhrAja is also significant in the
context of archaeometallurgy; the word denotes 'act of frying, roasting' and explains
fully the AtirAtra yajna for five days and nights continuously in a fire-altar achieving
upto 1500 degrees centigrade Agni, fire to purify the hiraNyam, soma, amzu,
valzam: bharjana n. act of parching or roasting K ty r., bhrajjana -- n. lex.
[√bhrajj] Pk. bhajjaṇa -- , °aya -- n. id. ś A. bhāzan act of frying ,
B. bhājan, bhājnā; M. bhāj̈aṇ, bhāj̈ṇẽ n. act of parching, grain put to be parched ś
Si. badina -- tel frying oil . <-> Kho. (Lor.) bediṅ wheat parched or ground <
*bharjanikā -- ? bharjita fried, parched Su r. [√bhrajj] Pk. bhajjia -- fried
, bhajjiā -- f. fried vegetables ś Pr. bázə, bā zə meat NTS xv 255ś K. abozu
cooked in water and not fried in oil ś S. bhāj̄ī f. vegetables (ā?), Ku. bhājī;
N. bhāji brinjal fried in oil ś A. bhāzi fried vegetables ś B. Or. bhāji anything
fried ś H. bhājī f. fried greens, greens ś G. M.bhājī f. vegetables . <-> See
*bhr̥jjita -- and bh jī -- Add. WPah.kṭg. bhàj̈i, kc. bhaj̈e f. vegetables, greens,
mushrooms , J. bhāji f.(CDIAL 9400, 9401)
In 9.5.1 Sayana explains the prī TanUnapAt 'a name of Soma, abhyo ams'avo
jAyante tatah somo jAyate, from the waters are born ams'u, from these is born Soma.
If ams'u is rendered as 'shoot', the explanation points the the nature of Soma as
endowed with ams'u, 'shoots'. अঃग़ॲ [p= 1,1] m. a filament (especially of the ढ़ॼ॑ plant);
a ray , sunbeam; end of a thread , a minute particle; a point , end (Monier-Williams).
When Soma is purchased from the seller who comes from Mt. Mujavat, how is Soma
measured?
The details are provided in Baudh yana- rautasūtra (the entire text with English
translation is embedded), with the following excerpts from Pages 355, 363, 365.
In these excerpts, Baudh yana explains how Soma is measured.
38
The Adhvaryu touches King Soma with the hand equipped with gold with the
formula, 'Let thy shoot be mixed with shoot, joint with joint; may the fragrance evoke
the desire; may the firm juice cause excitement. Thou art a house-holder; thy libation
is bright.' He measures Soma with one finger at a time. In respect of all (fingers) he
applies the thumb. The golden-handed wise has measured the heaven with his form.
Five times with the formula, five times silently. Measuring ten times, he measures half
the quantity of king Soma. Thus, the Soma shoots are measured as 20-finger width.
Adhvaryu then binds Soma with the turban (piece of cloth). Adhvaryu confirms from
the soma-seller: 'O Soma-seller, is thy Soma to be purchased (by us)?' 'It is for
purchase,' says the other. 'Is it from the Mujavat mountain?' 'Indeed from the
Mujavat,' says the other. Then he barters for a cow, 'I purchase it for a cow'. 'This
Soma has been purchased. Speak out the valuables'. 'This Soma-purchasing cow is
thine. Gold is thine; the female goat is thine; piece of cloth is thine.' Then he barters
for gold. (p.365).
This measure of Soma shoots by scores of finger-widths determines the barter price
for Soma.
What are these ams'u? Soma shoots measured by finger-widths. Such a method of
measurement yields the nature of Soma as electrum ore blocks with shoots -- ams'u or
vals'a -- of electrum.
Some images of such ore complexes can be seen. What was the ore block called by
the Soma-seller from MUjavat?
39
Naturally occurring
electrum. Sample of gold, silver and copper in Andean South America
While gold is often found mixed with iron, finding raw ore where gold, silver and copper are mixed is not as
common; Top Left: A sample of all three metals in one rock; Top Right: All three metals bubbled up in a
single rock; Bottom: A solid vein of gold, silver and copper, estimated at 14,000 tons of ore containing about
40
385 tons of copper, 2,350 oz. of gold, 14,700 oz. of silver in an area that is known as a gold, silver and copper
producer in Peru http://nephicode.blogspot.in/2015_04_01_archive.html
"Because atoms of gold and silver have the same atomic radius, gold nuggets commonly contain some amount
of silver. For example, gold from California commonly contains 10-15 % silver. If silver is greater than 20%,
the resultant alloy is electrum. In addition to silver, native gold may contain small amounts of copper (Cu) and
iron (Fe). Trace amounts of bismuth (Bi), lead (Pb), tin (Sn) and zinc (Zn) as well as platinum group metals are
also sometimes found in native gold."
A gold grains and cube with quartz.

http://www.gg.uwyo.edu/content/laboratory/gold/geology/mineral/electrum.as
p?callNumber=34981&SubcallNumber=0&color=6699CC
Vulture mine, Arizona.Primary dipping vein. "Gold

and silver were discovered in quartz veins and in silicified and altered host rock within and adjacent to a
prominent north—northeast-dipping quartz-porphyry dike that intrudes Proterozoic basement rock and grades
into a Late Cretaceous granite to granodiorite pluton to the west. The precious metal occurs in the form of
native gold and electrum and is associated with sulfides including pyrite (fools gold), argentiferous galena
(silver-bearing lead-sulfide) and minor chalcopyrite (copper-iron-sulfide) and sphalerite (zinc-sulfide). White
(1988) reported a positive correlation of gold with abundance of secondary silica and sulfides. Pervasive wall
rock alteration adjacent to the vein resulted in replacement of feldspar and mafic minerals to produce sericite,
hematite and clayś thus the altered dike now consists of quartz ‘eyes’ in a fine-grained altered matrix. Gold is
concentrated in quartz veins and in silicified and altered rocks within and adjacent to the
dike." http://vultureaz.blogspot.in/
I suggest that an ore block was called ancu -- Tocharian (cognate ams'u -- Vedic). In Tocharian, ancu meant
'iron' as noted by the lexicographer Georges Pinault.
41
The search is on to trace the movements from Andronovo or Afanasievo cultures, the way the search is on for
the Urheimat of PIE. Based on what Nicholas Kazanas has pointed out and argued, the search for Urheimat for
PIE may lie closer to the river basin where most of Rigveda was composed and chanted: Sarasvati River Basin.
This river basin attests a spoken, administrative language: Mleccha (Meluhha) which may include many
mispronunciations of reconstructed IE glosses and expressions and closely associated with the Prakrits which
may also be termed Proto-Indo-Aryan. Tocharian speakers got isolated from the rest of the Indo-Europeans but
had apparent trade contacts with the Rigvedic people for exchanges of Soma (ancu) from Mount Mujavant
(Muztagh Ata) of the Tarim Basin as argued with the evidence of cognates (Soma syonym) ams'u~~ancu
pointed out by Georges Pinault.http://bharatkalyan97.blogspot.in/2015/03/some-tarim-mummies-on-trade-
caravans.html
French scholar, Prof. Pinault identifies am u of Rigveda with anzu of Tocharian. In Tocharian it means 'iron'.
Tocharin language as an Indo-European language has revealed a word anzu in Tocharian which meant 'iron'. It
is likely that this is the word used for soma in Rigveda.
See also: Gerd Carling, Georges-Jean Pinault, Werner Winter, 2008, Dictionary and thesaurus of Tocharian
A,Volume 1, Otto Harrassowitz Verlag. Georges-Jean Pinault, 2006, Further links between the Indo-Iranian
substratum and the BMAC language in: Bertil Tikkanen & Heinrich Hettrich, eds., 2006, Themes and tasks in
old and middle Indo-Aryan linguistics, Delhi, Motilal Banarsidass, pp. 167 to 196. "...we have Toch. A. *ancu
'iron', the basis of the derived adjective ancwaashi 'made of iron', to which corresponds Toch. B encuwo, with
the parallel derived adjective encuwanne 'made of iron'...The two forms go back to CToch. oencuwoen-
non.sg. *oencuwo, the final part of which is a regular product of IE *-on...This noun is deprived of any
convincing IE etymology...The term Ved. ams'u-, Av . asu- goes back to a noun borrowed from some donor
language of Central Asia, as confirmed by CToch. *oencuwoen-...the BMAC language would not belong to the
Indo-European family; it does not seem to be related to Dravidian either...New identifications and
reconstructions will certainly help to define more precisely the contours of the BMAC vocabulary in Indo-
Iranian, as well as in Tocharian."(p.192)]
http://bharatkalyan97.blogspot.com/2011/09/central-asian-seals-seal-impressions.html
Pinault parallels am u of Rigveda with añcu of Tocharian. In Tocharian it means 'iron'. Tocharin language as
an Indo-European language has revealed a word anzu in Tocharian which meant 'iron'. It is likely that this is
the word used for soma in Rigveda. I have posted about this in the context of identification (discussed in this
blog) of Muztagh Ata of Kyrgystan as Mt. Mujavat (mentioned as a source of soma in Rigveda). It is notable
that in Mesopotamian legend of Ninurta, god of war and agricultural fertility hunts on the mountains, Anzu
which is the lion-headed Eagle with the power of the stolen Tablet of Destinies. The 'eagle' is identified as
yena in Rigveda and Avesta (saena meregh) as the falcon which brought the nectar, Soma. It is likely that
soma as electrum (silver-gold ore) was bought from the traders who brought anzu from Mt. Mujavat.
http://bharatkalyan97.blogspot.com.tr/2011/10/itihasa-and-eagle-narratives.html
RV 9.5: r.s.i: asita ka_s'yapa or devala ka_s'yapa; devata_: a_pri_su_kta (1 idhma or samiddha agni, 2
tanu_napa_t, 3 il.a_, 4 barhi, 5 devi_ dva_ra, 6 us.a_sa_nakta_, 7 divya hota_gan.a pracetas, 8 sarasvati_, il.a_,
bha_rati_-- tisro devya, 9 tvas.t.a_, 10 vanaspati, 11 sva_ha_kr.ti
ढ़न॑धॼ नख़विपनि঄ पख़॑ािॼ नख़॓ािनि

रॱॆि् ख़ॴड़ा कनि रॉि्
ििॳ िपाि् पख़॑ाि঄ ृगॸ नग़ग़ा िॼ अड़द नि
अतर॓षॸॆ ॓ा॓िि्
ईळॸ ঄ पख़॑ािॼ ॓न॒॓नख़॓ािनि ॉ् ॒ॲ॑ाि्
42
॑ॊॼ॓ॊा॓ा नॐ॓ ओिढ़ा
ॏनफ़द ঄ राचॱि्॑ ओिढ़ा पख़॑ाि रॲॆि् फ़र॓঄
ॉॸ ख़ॸड़ॲ ॉॸ ख़ ई॒िॸ
उॉ आिॽ ॓निफ़िॸ ॏॴफ़ॉ वा॓ॼ ॉॸ ख़ॱ॓ नफ़॓य॒ॱ঄
पख़॑ािॼ ि ढ़ॲ्टॲ िा঄
ढ़ॲनग़पॸ ॏॴफ़िॱ ॑फ़ॱ पख़॑ािॼ ख़ॴड़ नि
िा ड़ाढ़ा ि ॉग़दिॸ
उॐाॉॸ ख़ािॴ चष ढ़ा फ़ॼिा॓ा ॉॹ या ुख़ॸ
पख़॑ाि इरॼ ख़ॴड़ा
ॐा॓िॱ पख़॑ािय ढ़॓विॱळा॑फ़ॱ
इ॑ঃ िॼ ॒ञ्॑ आग॑ि् निरॼ ॉॸ ख़ॱ঄ ढ़ॲपॸग़ढ़঄
वटा्॓॑ अरिा्॑ गॼपा्॑ पॲ॓ॼ ॒ाख़ाि्॑ आुख़ॸ
इ्ॉॲ ॓ इरॼ ख़ॴड़ा फ़र॓঄ पख़॑ाि঄ रिापनि঄
ख़िपनि्॑ पख़॑ाि ॑वाढ़्॑ अग बि ॊा॒॓ा
ढ़फ़र्॑ ख़्ग़्॑ फ़र॓ि्॑ राि ॑ाि्॑ नफ़॓य्॑
नख़वॸॉॸख़ा঄ वाफ़ा कॴनि्॑ पख़॑ाि यागि
ख़ा॒ॲ॓ ॏॴफ़पनि঄ ढ़ॳ॒ाद नि॓ इर঄ ढ़िॼड़ढ़঄
9.005.01 The pure-flowing (Soma) shines forth in its brightness, the universal lord, the showerer of blessings,
the rejoicer, uttering a loud sound. [The deities, samidh and others are severally invoked in the successive
verses. Soma is praised in the form of the A_pris, and samiddhah is explained as samyagdi_ptah].
9.005.02 The pure-flowing Tanu_napa_t, rushes sharpening its splendour on the height and hastens through the
sky. [Tanu_napa_t = a name of Soma, abhyo ams'avo ja_yante tatah somo ja_yate, from the waters are born
beams, from these is born Soma; hastens through the sky: that is, to the dron.akalas'a, according to the text, 'he
takes a_grayan.a libation with two streams'].
9.005.03 The pure-flowing bright (Soma), the bounteous giver, worthy of all praise, shines forth in its might
with the streams of water.
9.005.04 The bright golden-hued pure-flowing one rushes in its might, strewing the sacred grass in the
sacrifice with its points towards the cast.
9.005.05 The bright golden doors, praised by the priests together with the Soma, rise up from the vast horizon.
9.005.06 The pure-flowing (Soma) longs for the fair-formed wide-reaching mighty Night and Dawn not yet
visible.
9.005.07 I invoke the two divine priests, the two deities who behold men-- the pure-flowing (Soma) is radiant
and the showerer (of benefits). [The pure-flowing Soma is radiant: perhaps, an identification of Soma with
43
Indra, just as in the next verse, Indu (i.e. Soma) is identified with Indra.
9.005.08 May the three beautiful goddesses, Bha_rati_, Sarasvati_, and mighty Il.a_, come to this our offering
of the Soma.
9.005.09 I invoke Tvas.t.a_, the first-born, the protector, the leader; the golden-coloured pure-flowing Indu is
Indra, the showerer, the lord of all creatures.
9.005.10 Pure Soma, consecrate with your streaming ambrosia the green bright golden-hued Vanaspati with its
thousand branches.
9.005.11 O all ye gods, come together to the consecration of the Soma-- Va_yu, Br.haspati, Su_rya, Agni and
Indra.
44
(p.355, p.363, p.365)
Baudhayana ca. κ00 BCE. Baudh yana- rautasūtra and Baudh yana- ulbasūtra belong to
Taittiriya recension of Krishna Yajurveda Samhita..
I suggest that the reference to woollen sieve or straining-cloth or filter in Rigveda is a clear
indication of the material resource of Soma as an prī divinity. The avyo vAra is an evocation of
the golden fleece used to separate placer gold particles from the silica particles of river bed
sands.
The fleece was the skin of sheep and used to sieve gold from the mud where the Placer gold was
found. The woollen sieve may be a reference to such a golden fleece. Reducing agents include
alkaline as well as combustible materials --vegetable and animal products-- such as: herbs
45
(ks.a_ra), barley--grains and cooked pin.d.a, milk, curds, clarified butter, viands (animal fat),
bones (used in cupellation processes, and for making crucibles, during the bronze-age), sheep's
hair or wool (reminisced as golden fleece).
For e.g., Soma is described as parvata_ vr.dhah in a verse, that the pyrites are from the mountain
slopes: 9.046.01 Begotten by the stones the flowing (Soma-juices) are effused for the banquet of
the gods' active horses. [Begotten by the stones: or, growing on the mountain slopes].
http://bharatkalyan97.blogspot.in/2015/05/objects-identified-as-apri-in-rigveda.html Objects
identified as prī in Rigveda, life-activities of metalcasters of Sarasvati-Sindhu river basins.
The importance of the woollen straining-cloth as a sieve, as a fleece, is seen from repeated
reference to the metaphor of the fleece to create pavamaana, purified Soma, potable electrum to
flow into the pots.
Soma is meant for the gods; thus, gods in the Rigveda are an allegorical personification of the purification
processes (of Soma), just as Soma is an a_pri deity, together with other materials and apparatus (ladles and
vessels) employed in the yajn~a, accompanied by r.cas (or, agnis.t.oma).
If Soma is electrum and Indra is burning embers (such as charcoal, indha, used in a furnace), the yajn~a can be
interpreted, at the material level, as a process of reduction (or, pavitram, purification), using ks.a_ra, of a
metallic ore compound (ma_ks.ika_ or quartz or pyrites) to yield the shining metals: potable (pavama_na, rasa-
- raso varjrah, cf. RV 9.048.03, i.e. rasa, vigorous as a thunderbolt) gold and silver (hiran.yam and rayi), after
oxidising the baser metallic elements (in the unrefined pyrite ores) such as lead (na_ga or ahi or vr.tra) and
copper (s'ulba).
Rica 9.5.4 points to the pavamaana assuming फ़र॓঄ golden ojas, 'light, splendour, lustre' like a cast metal:
ॏनफ़द ঄ राचॱि्॑ ओिढ़ा पख़॑ाि तॴ ॆि् फ़र॓঄
ॉॸ ख़ॸड़ॲ ॉॸ ख़ ई॒िॸ
9.005.04 The bright golden-hued pure-flowing one rushes in its might, strewing the sacred grass in the
sacrifice with its points towards the cast.
Adapted from Haug's notes from Sa_yan.a's commentary on Aitareya Bra_hman.a:
The adhvaryu takes the skin (carma or tvac) and puts on it the filaments or shoots of the Soma (am.s'u). He
then takes two boards (adhis.avan.a), puts one on top of the Soma shoots, and beats them with the stones
(gra_va_n.a). Then the Soma is put between the two boards, and water is poured on them from the vasati_vari_
pot. Soma is then shaken in the hota_ cup (camasa), wetted again with vasati_vari_ water and put on a stone.
Grass is laid on them, and they are beaten so that the juice runs out. The juice is allowed to run into the trough
(a_havani_ya), then strained through the cloth (pavitra or das'a_pavitra) which is held by the udgata_. The
filtered soma is caught in another trough (pu_tabhr.t). Libations are poured from two kinds of vessels: grahas
or saucers, and camasas or cups.
The vedi (altar) is the earth and as the agni (fire) raises towards the heaven, the poetic imagination of the r.s.is
(priests) expands into realms of cosmological thoughts, unparalleled in recorded history of early human
civilizations. Thus, at a cosmic level, the Rigveda raises profound philosophical questions which have been the
fountain-head of Indian philosophical traditions.
"Bronze tools, implements, and weapons and gold jewelry appear together in the Royal Cemetery of Ur, the
royal shaft graves of Alaca Huyuk, and the various treasures (really hoards) of Troy II. The same is true for
46
the bronze metallurgy and gold jewelry of Poliochni V (yellow). All this begins in the twenty-sixth century
BCE, the date of the Royal Cemetery, and continues over the next few centuries down to about 2200 BCE. As
indicated above, the possibility of tin, gold, and lapis lazuli coming into Mesopotamia from Afghanistan is
certainly an attractive one. Of these three raw materials, however, we can be sure of the provenance of only
one. Most, if not all, of the lapis lazuli used by the Sumerians came from northeast Afghanistan, from the Sar-i
Sang mines in the region of Badakhshan. As for tin and gold, it can only be said that both metals are present
in significant quantities in Afghanistan and in alluvial form. The recovery of fine gold particles from streams,
making use of the woolly fleece of sheep (the famous Golden Fleece of Greek legend), was still practiced in
Afghanistan well into the twentieth century." (James D. Muhly, 1995, Mining and Metalwork in Ancient
Western Asia, in: Jack M. Sasson, ed. 1995, Civilizations of the Ancient Near East, Vol. III, New York,
Charles Scribner's Sons, pp.1501-1521).
The Pennsylvania University Museum for Archaeology and Anthropology in Philadelphia (Penn Museum) has
a large collection of metal artefacts made of copper, bronze, silver and gold, which Sir Leonard Woolley had
excavated in the royal tombs of Ur (middle of the 3rd millennium) between 1922 and 1934. Of the finds, one
quarter went to the University Museum for Archaeology in Philadelphia, one quarter to the British Museum in
London, and the remaining half to the Baghdad Museum. Before the 1st Gulf War in 1991 these objects were
moved to the vault of the national bank, along with many other gold artefacts, and they have recently been
“rediscovered” there.
47
Fig. 02Ś This bull’s head was attached to a lyre as decoration. It consists of gold and the eyes are inlaid with
shells, and decorated with bitumen. The find comes from the “King’s Grave”.
Analytical Examinations of the Metal Finds

The DBM’s first work on the artefacts began in 200λ. The museum had agreed to a request to carry out
analytical examinations of the metal finds. To begin with, 31 of the best known and most beautiful gold objects
were analysed non-destructively with a portable x-ray fluorescence spectrometer to determine their chemical
composition.
48
Fig. 03: Numerous beads were recovered from the royal graves, many of them golden “butterfly beads”. They
were made of two pieces of gold foil welded together. This image was recorded in the Penn Museum with a
transportable digital microscope from Keyence. Very Interesting Results
The measurements produced very interesting results. Of particular interest was evidence of gilding using a
tumbaga alloyŚ to “simulate” gold, i.e. to create a gold-rich surface layer, the original copper-silver-gold alloy
was treated with acids. This ingenious technique was therefore not invented in South America in the 15th
century AD, as previously assumed, but was already known in the ancient world around 2500 BC. These
preliminary studies gave rise to a DBM research project with several partners. Following offers to extend the
analyses to the finds in the British Museum, a continuation of the current project phase is under
consideration.http://www.ruhr-uni-bochum.de/archaeologie/forschung/projekte/koenigsgraebervonur.html.enA
legend of Vac frequently referred to in the Brahmanas is that of Soma being brought back from the
Gandharvas at the price of Vac transformed into a woman. (AB 1-27).
Satapata Brahmana (8-1-1-2) tells us that metres, like

other beings, were created by Prajapati. In 3-9-4-10. It mentions gayatri as a mystical name of Agni who
carries off Soma. Gayatri, in the form of a bird, fetches the Soma from
heaven. http://www.speakingtree.in/spiritual-blogs/seekers/faith-and-rituals/advanced-grammar-and-
linguistics-in-vedic-india
Replica of the altar and utensils used during Athirathram
49
50
51
52
53
54
rauta utensils used in the yajña. Tretagni in
Soma yajña.
55
56
1. HAVIR YAJNA
Agnyadheya
Agnihotra
Darshapaurnamasya
Chaturmasya
Agrayaneshti
Niruudha pashubandha
Sautramani
2. SOMA YAJNA
Agnishtoma
Atyagnishtoma
Ukthya
Shodashi
Atirathra
Aptoryama
Agnichayana
Vajapeya
57
https://www.youtube.com/watch?v=FISuF_kJS4A Panjal Athirathram 2011 Documentary English.wmv
The oldest surviving Vedic ritual - ATHIRATHRAM will be performed at Panjal in Trichur district of Kerala, India
from 4 - 15 April, 2011.
ati-rātrá agní-cayana "the building up of the fireplace performed overnight" Reconstruction in Panjal, Kerala,
in 1975:
YAJAMANA: The Yajamana is the individual on whose behalf the Yaga is conducted. Traditionally, the
Yajamana is a male, and cannot perform the Yaga in the absence of his wife, the yajamana-patni.
· ADHVARYU : The adhvaryu is usually learned in the Yajurveda and is therefore an expert in ritual. The
adhvaryu is the central official in the conduction of the Yaga.
· HOTA: The hota is a Rgvedin, and is necessary for the chanting of the invocatory hymns, which are
primarily from the RgVeda.
·
· UDGATA : The udgata is an expert Samavedin, who sings the saman chants that are part of the soma
sacrifices.
· BRAHMA : The brahman is the overseer of the sacrifice. Although supposed to be affiliated to the
Atharvaveda, the brahman is often an adherent of one of the three other Vedas. This substitution is unavoidable
given the few Atharva vedis remaining in India.
The more complex yagas require a complete battery of 12 more experts to assist the above 4. These are listed
below according to their vedic affiliation:
1. RG VEDA :
· maitravaruna
· acchavaka
· gravastut
2. YAJUR VEDA :
· pratiprasthata
· neshaa
· unneta
3. SAMA VEDA :
· prastota
· pratiharta
· subrahmanya
4. ATHARVA VEDA :
· brahmanacchamsin
· Agnidhra
· Pota
First day
The Yajamana and his priests enter into the ritual enclosure carrying three sacred fires in pots. The ‘Ukha pot’,
the main ritual vessel is prepared from clay. An animal sacrifice (In 1975 it was symbolically) is performed for
Vayu. The five chief priests (adhvaryu, brahman, hota, udgata, and sadasya) are officially selected. Fire is
produced by friction. An isti is performed and is followed by the consecration of (diksa) of the Yajamana (a
turban is tied around his head, he is protected by a golden breast plate, he is given a staff and he closes his fists
58
and deprived of speaking (except for recitations), from bathing etc. The Yajamana picks up the Ukha pot,
which is filled with fire, and takes three steps with it.
Second day
The mahavira pot, main ritual vessel of the pravargya, is prepared from clay.
Third day
A sacrificial pole is made. To the east of the old enclosure , in which the three altars have already been made,
the measurements of the mahavedi and of the bird-shaped offering altar are laid out.
Fourth day
The new domestic altar replaces the old offering altar one. The adhvaryu consecrates each brick. The fire from
Ukha pot is added to the installed fire An introductory isti is performed .The ‘purchased’ Soma stalks are
measured , transport in Somacart on the bullock skin. King soma is installed on a throne and an isti is
performed in honor of him .Except Yajamana and chanters, sprinkle Soma. The Indra , god’s etc is invited to
attend the forth -coming Soma pressing . The first pavargya and Upasad are performed. The seeds are sown in
the plowed ground and buried several items like tortoise, the Ukha pot, The hiranmaya Purusha etc...The
construction of bird shaped altar started with a stone at the center. All bricks are consecrated by adhvryu. The
Pravargya and Upsad performed.
...
Tenth to Twelfth day
The ceremonies from tenth day will continue throughout out the next two days and nights. The tenth day is
known as sutya. Pressing of soma begins after the hota’s morning recital and Soma oblations are offered. Some
priests including Yajamana crawl in snake like procession on to altar for offering. In the north of altar the
three chant bahispavamana-stothra. Numerous rites are performed simultaneously .Fires are installed in hearths
in the recital hall also. Eleven animals are sacrificed( 1975 ,only symbolic).Except Acchavaka Soma juice in
the sadas. and hota recites sastra recitation. .Like this four Soma sequence are performed. Soma offering is
made into the offering fire.
During the pressing on the mid day, gravastut recites Rgveda verses with blind folded cloth in which Soma
was wrapped. .The Yajamana is anointed .
The remaining 14 Soma sequences continue through eleventh day ,night upto the dawn of twelfth day. On the
twelfth day unnetha priest make two Soma offering for Indra Ancestral rites are performed. The Yajamana and
Yajamanapathni take avabhratha bath followed by a concluding isti is performed and final goat is
sacrificed(1975 ,only symbolic). The Yajamana installs three fires on his home after returning to the home .He
perform morning and evening Agnihothra for the rest of his life!
http://www.allempires.com/forum/forum_posts.asp?TID=28550
http://en.wikipedia.org/wiki/Agnicayana
http://www.vedicsociety.org/an_introduction_to_somayagnyas_and_vedic_yagnyas_in_general.pdf An
introduction to Somayagnyas and Vedic Yagnyas in general by RS Alvar, Geetha Alvar, MA
Lakshmithathachar, MA Alwar, 2010: Ingredients in yajna offerings: rice, corn, specific samithas, blades of
grass, milk, other cereals, curd, barley, fruits, various powders, vegetables and flowers. Ninth mandala 114
suktas of Rigveda relate to Soma pavamana (purified soma)
Soma is described as possessing a brown hue or a tawny (orange brown) shade. It is also green and green hued
or golden hued. The molten soma is bright red. Soma is bright and shining.
59
Soma is pressed by stones. Woollen straining cloth is used in filtration and purification. Use of a sieve is
mentioned which is a reference to removal of sediments and other impurities, perhaps by oxidation. Soma was
pressed in every temle, using the Lingam a heavy stone mill. (p.34)
Yajamana makes a donation of ten things including a one year old cow, gold, goats, bull, cart as price for
purchase of Soma. (p.44) Stone called upaanshusavan is used to strike once and make a single dent on soma,
extracting using the words 'Prajaapati Svaaha'. (p.45)
https://www.scribd.com/doc/266386836/An-introduction-to-Somayagnyas-and-Vedic-Yagnyas-in-general-by-
RS-Alvar-Geetha-Alvar-MA-Lakshmithathachar-MA-Alwar-2010
Phala or objective of Soma:
अप [p= 50,2] mfn. (fr. /अप) , the most distant , the last RV. x , 39 , 3 AV. x , 4 , 1
अपा॑ ढ़ॼ्॑॑ अ॑ॴिा अ्॑ ऋग यॼनि॓ अनख़ॉा॑ ॉॸ ख़ाि्

नक्॑ िॳि्॑ अिाि् कॴॆख़ॉ अ॓ािॱ঄ नक्॑ उॊॳनिद ॓ अ॑ॴि ॑यद य
8.048.03 We drink the Soma, may we become immortal; we have attained the light of
(heaven), we have known the gods; what now could the enemy do to us, or what, O
immortal, should the aggriever do to the mortal? [Taittiri_ya Sam.hita_ 3.2.5: the past
tense is used in the sense of wish, as'am.sadyotana_ya bhu_ta_rthanir des'ah].
We have drunk soma and attained immortality; we have ourselves seen that light which was discovered by the
Gods. Now then what harm can the evil intentions of our enemies do to us? Of what avail is the deception of
mortals, O immortal one!
Soma confers wealth, treasures:
O Indra, O Soma, send us now great opulence from every side, pour on us treasures a thousand fold (RV
9.90.3)
Since you are purified, give us the strength of a hero and riches to those who worship you. (RV 9.40.5)
Soma possessor of weapons. Pour on us streams of riches doubly great; and make us better than what we are.
(RV 9.4.7)
Allegorical rreferences to Soma to many forms of life and things: Soma is a strong bull (RV 9.2.1; 9.5.7),
splendid specimen of cattle (RV 9.2.2), a war horse (RV 3.3; RV 9.28.1); a bird upon the wings (RV 9.3.1); a
tree whose praise never fails to yield heavenly milk amidst our hymns (RV 9.12.7)
Soma is the food of the Gods, flows to the banquet of the gods; feast and service for the Gods (RV 9.1.4; RV
9.6.6); Soma goes to Indra, Vayu and Ashvins gives them joy (RV 9.7.7).
László Fórizs, 2007, Ap ṃ Nap t, Dīrghatamas and the Construction of the Brick Altar Analysis of RV
1.143 http://www.forizslaszlo.com/tudomany/forizs_dirghatamas.pdf
60
(KMS No 35-38) Edited & Translated by: C. G.
KASHIKAR 2003, 4 vols., xlv+1844pp
Baudh yana- rauta-sutra

The Baudh yana- rauta-sutra together with an English translation is in four volumes. The Baudh yana- rauta-
sutra belongs to the K ṣṇa Yajurveda Taittirīya recension. It represents the oral lectures delivered by the
teacher Baudh yana, hence is the oldest rautatext. The text is revised here in the light of the variant readings
recorded by W. Caland in his first edition (Calcutta 1906), and is presented in a readable form. The mantras
forming part of the Siitras have been fully rendered into English. The translation is supplied with notes giving
reference to the mantras and explanations of the rituals. The work is expected to serve as an advancement of
Taittirīya ritualistic studies.
Volume View Book
II
III
IV
http://ignca.nic.in/km_35_38.htm
Dearer to me the die that never slumbers than the deep draught of Mujavan s
rvs.10.34
own Soma.
राख़ॸ पा ॑ा ॏॴ फ़िॼ ॑ाॉ॒बत रख़ािॸ िा फ़र॓ॆॸ ख़ अख़ॴद िािा঄
61
ढ़ॼ॑यॸख़ ॑ॽििय ॐषॼ नख़ॐॱॉकॼ िागॴ नख़॓ ॑य्॑ अਅाि्
10.034.01 The large rattling dice exhilarate me as torrents borne on a precipice

flowing in a desert; the exciting dice animate me as the taste of the Soma of Maujavat
(delights the gods). [Flowing in a desert: irin.e varvr.ta_nah: a reference to the dice;
rolling on the dice-board; exciting dice: vibhi_taka, the seed of the myrobalan, used as
a die; Maujavat: a mountain, where is said the best Soma is found].
[0502205] His mansions are the Mujavans, and the Mahavrishas his home,
avs.5.22
Thou, Fever, ever since thy birth hast lived among the Bahlikas.
avs.5.22 [0502207] Go, Fever, to the Mujavans, or, farther, to the Bahlikas.
avs.5.22 [0502208] Go hence and eat thy kinsmen the Mahavrishas and Mujavans.
avs.5.22 [0502214] We to Gandharis, Mujavans, to Angas and to Magadhas.
k This is thy portion, O Rudra; rejoice in it; with it for food, do thou go away
yvk.1.8 beyond the Mujavants.
l With unstrung bow, thy club in thy hand, clad in skins.
From N.N. Bhattacharyya, "The Geographical Dictionary -- Ancient and Early Medieval India" 1991, Munshiram:
Mujavant, Mujavat >A people that took their name from Mujavant, a mountain in the Himalayas.
They are mentioned along with the Mahavrsas, Gandhaaris and Baalhikas in AV V.22.5-14. They are also
mentioned in Taitt. Sam. I.8.62; Kaathaka Sam.IX.7, XXXVI.14; Mait. Sam. I.4.10.20; Vaaj. Sam. III.61; Sat.
Br.>II.6.2.17; Baudh. D.S. II.5
I found the following references in Macdonell and Keith, Vedic Index, 1958, Motilal:
MUjavant is the name of a people who, along with the mahAvRshas, the gandhAris, and the balhikas, are mentioned
in the Atharvaveda (v.22,5.7.9.14 cf. baudhAyana Srauta sUtra, ii.5) as dwelling far away, and to whom fever is to
be banished. Similarly in the yajurveda saMhitAs (TaittirIya S, i.8,6,2;Kathaka S, ix.7; xxxvi.14; maitrAyaNI s,
i.4,10.20; vAjasneyi s, iii.61; Satapatha b, ii.6,2,17) the mUjavants are chosen as a type of distant folk, beyond
which rudra with his bow is entreated to depart. In the Rgveda (x.34,1) soma is described as maujavata, 'coming
from the mUjavants,' or, as yAska (Nirukta, ix.8) takes it, 'from mount mUjavant.' The Indian commentators
(mahIdhara on vAjasneyi s, loc.cit.; sAyaNa on RV. i.161,8; baudhAyana Srauta sUtra and prayoga, cited by
Hillebrandt, vedische mythologie, 1,63) agree with yAska in taking mUjavant as the name of a mountain, and
though Hillebrandt (op.cit., 1,65) is justified in saying that the identification of mUjavant by Zimmer (Altindisches
leben, 29) with one of the lower hills on the south-west of kashmIr lacks evidence, it is not reasonable to deny that
mUjavant was a hill from which the people took their name. yAska (loc. cit. cf. siddhAnta kaumudI on pANini,
iv.4,110, where instead of
maujavata in RV x.34, maunjavata is read) suggests that mUjavant is equivalent to munjavant, which actually occurs
later, in the epic (mahAbhArata, x.785; xiv,180) as the name of a mountain in the himAlaya.
Georges Pinault pointed to the concordance between Vedic and Tocharian: amśu ~~ ancu, 'iron'
(Tocharian). Amśu is a synonym for Soma (as Louis Renou noted that Rigveda is present in nuce, 'nutshell' in the
themes related to Soma). The direction of borrowing amśu ~~ ancu is a matter to be studied further in historical
linguistic studies, but is relatable to a date prior to 1800 BCE, the date of the Tarim mummies in Tushara
(Tocharian). Tushara are mleccha (meluhha).
62
The Tarim mummies are a series of mummies discovered in the Tarim Basin in present-day Xinjiang, China, which
date from 1800 BCE to the first centuries BCE. Many centuries separate these mummies from the first attestation of
the Tocharian languages in writing. A 2008 study by Jilin University that the Yuansha population has relatively
close relationships with the modern populations of South Central Asia and Indus Valley, as well as with the ancient
population of Chawuhu. (Mitochondrial DNA analysis of human remains from the Yuansha site in Xinjiang Science
in China Series C: Life Sciences Volume 51, Number 3 / March, 2008). The scientists extracted enough material to
suggest the Tarim Basin was continually inhabited from 2000 BCE to 300 BCE and preliminary results indicate the
people, rather than having a single origin, originated from Europe, Mesopotamia, Indus Valley and other regions yet
to be determined.(Amanda Huang https://archive.today/bK4h).
The Samskritam expression túṣāra, 'frost, snow' is consistent with the Tushara ~~Tocharian cognates since
Muztagh Ata is a high Himalayan mountain (24,758 ft.) cognate Mujavant was the mountain from which Soma was
traded. Frits Staal has indicated possible routes for such trade. (Staal, Frits, 2004, in: Three mountains and seven
rivers in: Hino, Shoun and Toshihiro Wada, 2004, Three mountains and seven rivers: Prof. Musashi Tachikawa's
Felicitation Volume, Delhi, Motilal Banarsidass, pp.3-24). This trade in Soma (or, amśu ~~ ancu) might have
occurred anytime after 7th millennium BCE, or 4th millennium BCE, the dates indicated for Rigveda, respectively,
by astronomical/ archaeological or language evidence contained in the text.
http://bharatkalyan97.blogspot.in/2015/03/a-new-start-for-vedic-and-ie-studies.html
http://wp.chs.harvard.edu/chs-fellows/2014/10/03/hellenistic-information-in-china/
63
http://balkhandshambhala.blogspot.in/2013/08/shambhala-roman-republic-500-20-bc.html
Sulbasutras: Indian Texts on Sacred Geometry
BY: PARAMESWARAN MURTHIYEDATH (2005)
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Nov 26, CANADA (SUN) — Vedic instruction on geometric design of sacred structures, spaces.
The Sulbasutras deal with geometrical constructions, a large majority of them for the purpose of carrying out Vedic
rituals at precisely constructed altars and similar such ends, that are popularly believed to date to the millennium
before Christ or the end of the Vedic age. Of these, Baudhayana’s Sulbasutra is believed to date to the 8th century
B.C. Later, other authors including Apastamba, Manava, Katyayana,Satyasadha Hiranyakesin, Vadhula, Varaha and
Kathaka composed sulbasutras as well, although the chronological order in which these texts were composed
remains unknown as yet.
The first five of the sulbasutras is found available in text form while the manuscripts of the others are known to
exist. Still later, the commentaries of Kapardi, Karavinda, Sundararaja and Dwarkanath aappeared. In more recent
times there have been commentaries written by Thibault and Van Geldner in the second half of the 19th century
A.D., followed by S. N. Sen and the last by A.K. Bag in 1983.
Baudhayana’s work and his successors
The Baudhayana Sulbasutram (BSS) is possibly the most important sulbasutra text since it contains the principles of
prescribed geometry for the Vedic altar space. Baudhayana, after dwelling upon the basic geometrical construction
concepts prevalent during his and earlier times in the first set of sutra, described the Vedic altar space in general and
then the 14uttaravedi forms. His descriptions of the uttaravedis reveal a remarkable approach to geometry and the
text serves as a model for technical accuracy and brevity. The order present in the geometrical analysis as well as in
the flow of the text, its subject matter, reveal great clarity of thinking in the author’s mind and set the text apart from
its later counterparts.
65
The later sulbasutras either dealt with matters mentioned in Baudhayana’s work and developed it further, or
discussed issues that were omitted from this earlier work. Some of these works may be considered supplementary
material. Katyayana’s text described how the construction of the uttaravedis may range from a size of 7.5to 101
purusam square in a clear narrative style. Similarly, Manava documented the examples of 8.5 square purusam
uttaravedis, something that neither Baudhayana nor Katyayana had done. Manava further stated a new approach to
the use of the purusam measure and a new unit of measure called pancangi. While a continuity of subject-matter
may be observed in Katyayanaand Manava’s work, Apastamba’s output did not conform to the trend set by
Baudhayana. No clear enhancement or elucidation of former works on geometry was discernible in his work. He
described two forms of brick layout for the pithan syenaciti and new kanka and alaja citis, and his work on this
proved to be very popular.
Recent Interest in the Sulbasutras
The cryptic style of the sulbasutra texts was essentially suited to the Vedic ritualists and in the wake of a break with
traditional rituals and practices after the Vedic period, the texts could have lost their popular relevance. In some
cases, this seems to be exactly what happened- a disconnect between the content of the text and the purposes to
which it no longer was applicable. This made it very difficult to retrieve the sulbasutras completely at a later date
when scholastic interest in them was reawakened. Therefore, it is doubtful how far the earlier mentioned
commentaries are capable of revealing the real geometrical contents of the sulbasutra in all their glory.
The work done on the sulbasutras since the 19th century A.D. has, however, been followed with interest in recent
times. It is clear that the major concern of the sulbasutra is geometry alone, although some observations of the srauta
nature and certain mathematical operations connected with geometry also find mention in these texts. It is worth
noting that the geometry of the sulbasutra has more affinity to modern engineering practice than to theoretical
mathematics of the present times. This is natural given that the Vedic geometers were more concerned with accurate
constructions of ritual altars and the altar space than with proving a theorem.
The essence of the sulbasutras lies more in the concepts discussed therein than in the authors’ use of grammatical
accentuation. The latter was incidental Baudhayana employed the then prevalent style of the sutra and the other
authors followed in a similar fashion. One of the reasons for the perhaps inaccurate reproduction of the geometry of
the sulbasutra may be the approach adopted by later commentators, an approach that was affected by strongly pre-
conceived grammatical notions. Instead, the sulbasutras ought to be approached with an inquiring mind regarding
the meanings of the words in association exclusively with the subject under discussion. The modern Indian
commentators further tend to find arithmetical and mathematical references in the sulbasutra, references that are
unlikely to have been intended as such by the authors. One of the acid tests for the accuracy of presentation of a
particular meaning is whether it may result in constructions of the Vedic style. Thus, while?2 is of great concern to
the sulbavid (author of a sulbasutra) the same may not be said of?3 which is irrelevant to Vedic constructions,
although more recent commentators have interpreted the sulbasutras to ascribe relevance to this numerical value.
The sulbasutra on the other hand reveal a great degree of development of geometry not only as applied to techniques
of constructions, but also extending to conceptual symmetries and an unknown methodology of evolution of the
conceptual approach to such geometry. While this is the very approach to basic geometry, it then becomes a
passionate progress to various shapes of the uttaravedis. In fact, the very geometry of the mahavedi, in which the
uttaravedi is an element, is of unique conceptual beauty. The 30-36-24 regular trapezium of the mahavedi contained
several triples in their construction format such as 3-4-5, 12-5-13,15-9-17, 35-12-37 which could be employed to
attain the accuracy of layout. The area of the mahavedi thus being 972 square of 18 prakramam, the uttaravedis were
initially of 1/3rd of 972 and at the same time the square of 18. Then 1.3rd of 324 is 108, an important number since
ancient times for obvious reasons. A trapezium shape of 10-12-8 amounting to an area of 108 thus became the
smallest size of the uttaravedi in prakramam measures.
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Figure 1: Mahavedi
The taper of this trapezium narrowing down to the east is impressed upon by all the sulba texts. The eastward
striving nature of the uttaravedi (for, gods reside at the east) is of paramount importance to the vedic rituals and one
could not possibly say for what long period of time it took, to later develop into highly complex and realistic
geometrical shapes in the form of three later uttaravedis, meant as kamyaciti. In the further development of the
uttaravedis, the concept of “saptavidhaŚ sampadyate”, meaning that the area of the uttaravedi should follow a certain
pattern became a great spirit of enquiry. The eastward striving nature and this new concept put together developed
into highly complex and yet beautifully conceived geometrical shapes of symmetry perhaps unparalleled in the
history of geometry and mathematics. It is at an unknown point of time after that Baudhayana stood and decided to
document it for posterity. And it is this very thing that the modern commentators, in a way, failed to redeem and
realise.
At the very first, the term “saptavidhaŚ” was insufficiently interpreted to mean as 7.5 times the purusam measure,
whereas it was really referred to as the 7 stages of development from the 7.5 to the 101 as area and corresponding
sizes. Later, Katyayana described this in good detail, which also went properly not delineated. While Manava
updated to the mathematical order of his time and described several types of equalities and arithmetical series, it was
ironically Apastamba who was accredited with several modern mathematical interpretations. As a whole, it would be
fair to state that the magnificent total geometry of the sulbasutra remains undiscovered as on date. The BSS contains
21 major sutra sets, of which the first two describe basic geometrical constructs. They contain basic units of
measurements, conversions from one shape to another of equal area, notions of right angles and the value of ?2 etc.
Sutra 3 and 4 describe the geometry and general concepts of the total altar space. Sutra 5 and 6 are general in nature
as well, but in sutra 7 an initiation of the geometrical complexities to follow is indicated by the description of the
new garhapatyaciti of 21 bricks.
67
The general layout of the pracinasala and mahavedi, with a detailed definition of the position of the uttaravedi, is
already clear at this point, since it uses the rathacakraciti with its well-defined centre for the purpose. The next 14
sutras are devoted to the various formats of the uttaravedi.
After describing 2 brick-laying orders of the pithan syenaciti, syenaciti of pancapatri, sadpatri, kanka and alaja forms
are described. These distinct bird shaped altars used different methods to fulfill the “saptavidhaŚ” concept with
the7.5 purusam square as the basis. All of them are based on clear symmetries and on basic formative squares and
rectangles. Next, two simple triangular praugaciti are described. Then the geometrical content is intensified to
describe the rathacakraciti, 3 dronociti, the smasanaciti, and the kurmaciti. Esoteric compositions are displayed in
the final sutra which goes beyond the bounds set by basic, definitive principles. It is possible that this process of
creative design and constructions was already declining before the time of Baudhayana and this motivated him to
create the BSS text.
While going through the BSS text, one may doubt that all of the citi formats described by him were in practice
during his time since the descriptions contain varying levels of details, though each of the descriptions could be
termed as sufficient in itself. It is here and in the unknown nature of the time line that the strength of the sruti is
revealed in its capacity to travel intact wide expanses of time. Indeed there are very specific examples of such
demonstration of strength of the system in its further travel to our present times. What is more demonstrative in the
second period of about 2800 years since Baudhayana is that the text travelled intact almost without its meanings
really taken in. And yet there are words in the BSS which could have easily got transformed into something else but
did not. Then there are such instances where certain versions of the manuscripts tried to inject words into the body
text which were found to be stoically resisted by the extant contents.
In comparison, the later sulbasutra texts are explanatory in nature with some additional altar designs and some
mathematical updates by the authors. These have definitely added strength to the information system on the one
hand and then silently declared that they have stepped out of the sruti circuit to certain extent. The very sruti system
might indeed have had several parallel flows where the sulbasutra and that of the rituallistic practices could have
existed even without mixing. Where some amount of cross references only existed without one being part and parcel
of the other is a distinct possibility. And possibilities for further studies are plentiful, as the present attempt of
delineation of the sulbasutra could open up a better historical perspective and the timeline of the progress of not only
geometry and mathematics of the period of first millenium BC but a host of other related subjects. It provides a
better clarity to matters beyond the second millennium BC as well. For the geometrician of today and such
enthusiasts, a large volume of exercise is provided by Katyayana, as his formulae for taking the citi forms from 7.5
to 101 purusam squares remain untested and untried.
A Few Sutras
An extract from the book
with Commentary by Parameswaran Murthiyedath
Sutra 12 (Kankaciti)
Sutra 12.1 Kankacita etenatma Puccam ca vyakhyatam
(The Kankacita defined here will have a body and a tail)
The Kankacita is known to have the shape of a heron.
Sutra 12.2
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sirasi pancopadadhyat
tasyakrtirvyakhyata
sirasi pancopadadhya
ttasyakrtirvyakhyata
(the head will be obtained as 5 by definition of its shape)
As per the definition the head will be obtained as 5.
This states that the length of the head along the east west is 5 aratni from the body. With the same words a meaning
that the area of the head is 5 sq. aratni could also be derived. Both meanings are true and so meant.
Sutra 12.3
Saptapancasaddaksine paksa upadadhyat
tathottare
Saptapancasaddaksinepaksa upadadhya
ttathottare
(5 and 7 to south the wing will be obtained next the north)
The wing at south will be obtained as 5 and 7and likewise the north. Again, The wing tips are at a distance of
12aratni’s to south (5+7) and at the same time it means that the area of the wings are 57 sq. aratni.
Sutra 12.4
Vyayamena sapradesna paksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat adhyardhavasisyate

vyayamena sapradesnapaksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat adhyardhavasisyate
(by vyayama measure with the pradesa the wings bent with the pancami and adhyardha six and six wing cuts as
stated an adhyardha will be balanced)
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Figure 2: Karika city layout (BSS-12.2-6)
(The wings will be set out at a measure of 1 vyayama added with 1 pradesa at an angle and the wings tips will have
six notches of a measurement of 1 pancami by 1 pancami and a half. An adhyardha will be balanced)
The configuration of the wings are made by the diagonal of a square of 108A first taken forward and then retraced to
give a mirrored bent. The sutra further categorically states that the wing tips configuration is with 6 nos of 1aratni by
1 adhyardha cuts. This adds to the area of 54 sq. aratni and additional 3aratni and the statement of 57 sq. aratni are
now established. The statement ‘adhyardhavasisyate’ is about the excess area resulted amounting to 1½ aratni in the
configuration which will be later adjusted by the leg trimming of the tail.
Fig. 12.1 given here shows the citi geometry. First a basic square 1-2-3-4 will be established with side as 144A,
deriving from the statement of ‘saratnipradesa’. The south end of the wings from which the wing tips take off is line
9-10, parallel to1-4 and at a distance of 12 aratni (288A). Line 4-8 is the diagonal of a square of 108A as side. Line
8-9 is mirrored from line 4-8. Thus the wing formation of 4-8-9-10-13-1 is established. The six wing tips are formed
by the diagonals of boxes of an aratni by an adhyardha (1½ aratni) as sides, as shown within9-10-11-12.
Sutra 12.5
taya pucchasyavastat padavaratnimatravaratnyantaralau pradesavyasau bhavatah tayoravastadabhito

dvaudvavastamabhagau pragbhedavupadadhyat taya pucchasyavastat padavaratnimatravaratnyantaralau
pradesavyasau bhavatah tayoravastadabhito dvaudvavastamabhagau pragbhedavupadadhyat
(At the backside of the tail feet of an aratni length in an aratni gap with 1 pradesa as width at the back and near as 2
and 2, and 8 sided with a forward cut will be obtained)
The tail is having a forward cut of 1 aratni length and 1 pradesa as width of sides, in a gap of 1 aratni, and thus
having 8 sides split into two as forward cut.
The tail portion of 15-14-16-17 contains the details mentioned above. Thus the tail have two cuts of 1 aratni square
which is modified to form the root and two such feet are placed touching each other as stated forming an 8 sided cut
in total.
70
A statement like ‘pancadasa pucche’ is judiciously left out for the reason of the cut in the tail, though the overall
outline agreed to such a statement. Further in sutra 12.8 the placement of two astamsi bricks at the tail to obtain this
configuration are mentioned, to which the presentation here corresponds.
Figure 2: Karika city layer 1
Sutra 12.6
evam saratnipradesah saptavidhah sampadyate evam saratnipradesah saptavidhah sampadyate
(With only the aratni and pradesa the saptavidhah concept will be achieved)
Thus with the aratni and pradesa measures alone, the saptavidhah concept will be achieved. Indeed, the altar shape
graphically feeds back an area report of exactly 7.5 times the purusam square, as could also be seen from the
calculation of area given here.
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Table 1: Area of Kankacit
Sutra 12.7
athestakanam vikarah pancamabhagiyah savayavah padestakam caturbhih

parigrhniyadardhapradesenadhyardhapradesena
Figure 4: Karika city, Layer 2
pradesena pradesasavises eneti adhyardhestakam caturbhih parigrhniyadardhavyayamena

dvabhyamaratnibhyamaratnisavises eneti tah sat
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Figure 5: Karika city, Bricks
Athestakanam Vikarah pancamabhagiyah savayavah padestakam caturbhih

parigrhniyadardhapradesenadhyardhapradesena pradesena pradesasavises eneti adhyardhestakam caturbhih
parigrhniyadardhavyayamena dvabhyamaratnibhyamaratnisavises eneti tah sat
Now the bricks configuration with the pancami all over with the pada square brick with surrounded (sliced) ardha
and pradesa and the adhyardha and pradesa and the adhyardha and pradesa with pradesa and a modified pradesa
with the adhyardha brick from a square brick with the surrounded (sliced) half vyayama by two and by aratni and
aratni modified like that six.
With pancami as the basic brick allover with the pada of a square brick, and the ardha, the adhyardhardha and
pradesa sliced, the vyayama and the aratni sliced, the modified aratni consisting 6 bricks will be used.
However, some more bricks are found required and the lists of bricks are as given below:
Sutra 12.8
tasam caturasrapadyah sastamabhagah padayorupadhaya sesam yathayogam yathasamkhyam yathaadharmam

copadadhyat
with these the caturasrapadyah and 8 divided part at the wings having placed balance as required in as many
numbers as per rules be placed
The caturasrapadyah and the astamsi bricks having placed as the feet, the balance will be filled with the required
numbers as per rules.
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Table 2: Kanchita Bricks
Parameswaran Murthiyedath is a scholar of Vedic Mathematics. From "Kriti Rakshana", National Mission for
Manuscripta.
The following table shows the various kingdoms, provinces and tribes mentioned in the epicMahabharata. As
kingdoms they represent a geographical region that existed in ancient India which was then known as
the Bharatavarsha and as the Jamvudvipa (the continent of the Jamvu tree). As tribes they existed at some
geographical region at some point of time and moved to other regions or spread into multiple regions at different
points of time.
Gandhara Kamboja Kekaya Madra Kuru-Bahlika

Dwaraka Anarta Sindhu Sauvira Sivi
Sudra Abhira Nishada Nishadha Matsya
Kasmira Prakjyotisha Trigarta Kuru Salwa
Karusha Dasarna Chedi Panchala Surasena
Avanti Kunti Vatsa Kasi Kosala Malla
Hehaya Saurashtra Nasikya Anupa Surparaka
Vidarbha Dandaka Asmaka Kishkindha Karanataka
Konkana Gomanta Mahishaka Mushika Kerala
Lanka Vanavasika Kanchi Chola Pandya
Sinhala Vanga Kalinga Telinga Dravida
74
Mekala Utkala Odra Andhra Dakshina Kosala
Suhma Pundra Anga Magadha Kikata
Lauhitya Prakjyotisha Videha Kirata Yaksha
Deva Asura Pisacha Kinnara Gandharva
Uttarakuru Suparna Naga Kimpurusha Rakshasa
Uraga Aratta Loha Rishika China
Tushara Strirajya Aswaka Romana Huna
Parasika Yavana Mleccha Darada Saka
An important passage in the Mahabharata useful for anybody studying about the ancient kingdoms and tribes of
Bharatavarsha is found at MBh 6.9 (Mahabharata, Bhishma Parva (volume 6), chapter 9).
Sanjaya told to Dhritarashtra:- Listen to the names of the provinces as I mention them. They are the Kuru-Panchalas,
the Salwas, the Madreyas, the Jangalas, the Surasena, the Kalingas, the Vodhas, the Malas, the Matsyas,
the Sauvalyas, the Kuntalas, the Kasi-kosalas, the Chedis, the Karushas, theBhojas, the Sindhus, the Pulindakas,
the Uttamas, the Dasarnas, the Mekalas, the Utkalas; thePanchalas, the Kausijas, the Nikarprishthas, Dhurandharas;
the Sodhas, the Madrabhujingas, theKasis, and the further-Kasis; the Jatharas, the Kukuras, O Bharata; the Kuntis,
the Avantis, and the further-Kuntis; the Gomantas, the Mandakas, the Shandas, the Vidarbhas, the Rupavahikas;
theAswakas, the Pansurashtras, the Goparashtras, and the Karityas; the Adhirjayas, the Kuladyas, theMallarashtras,
the Keralas, the Varatrasyas, the Apavahas, the Chakras, the Vakratapas, the Sakas; the Videhas, the Magadhas,
the Swakshas, the Malayas, the Vijayas, the Angas, the Vangas, theKalingas, the Yakrillomans; the Mallas,
the Suddellas, the Pranradas, the Mahikas, the Sasikas; theValhikas, the Vatadhanas, the Abhiras, the Kalajoshakas;
the Aparantas, the Parantas, the Pahnabhas, the Charmamandalas; the Atavisikharas, the Mahabhutas, O sire;
the Upavrittas, the Anupavrittas, theSurashatras, Kekayas; the Kutas, the Maheyas, the Kakshas,
the Samudranishkutas; the Andhras, and, O king, many hilly tribes, and many tribes residing on lands laying at the
foot of the hills, and the Angamalajas, and the Manavanjakas; the Pravisheyas, and the Bhargavas, O king;
the Pundras, the Bhargas, the Kiratas, the Sudeshnas, and the Yamunas, the Sakas, the Nishadhas, the Anartas,
the Nairitas, the Durgalas, the Pratimasyas, the Kuntalas, and the Kusalas; the Tiragrahas, the Ijakas,
the Kanyakagunas, the Tilabharas, the Samiras, the Madhumattas, the Sukandakas; the Kasmiras, theSindhusauviras,
the Gandharvas, and the Darsakas; the Abhisaras, the Utulas, the Saivalas, and theValhikas; the Darvis,
the Vanavadarvas, the Vatagas, the Amarathas, and the Uragas; theVahuvadhas, the Kauravyas, the Sudamanas,
the Sumalikas; the Vadhras, the Karishakas, theKalindas, and the Upatyakas; the Vatayanas, the Romanas, and
the Kusavindas; the Kacchas, theGopalkacchas, the Kuruvarnakas; the Kiratas, the Varvasas, the Siddhas,
the Vaidehas, and theTamraliptas; the Aundras, the Paundras, the Saisikatas, and the Parvatiyas, O sire.
There are other kingdoms, O bull of Bharata's race, in the south. They are the Dravidas, the Keralas, the Prachyas,
the Mushikas, and the Vanavashikas; the Karanatakas, the Mahishakas, the Vikalpas, and also the Mushakas;
the Jhillikas, the Kuntalas, the Saunridas, and the Nalakananas; theKankutakas, the Cholas, and the Malavayakas;
the Samangas, the Kanakas, the Kukkuras, and theAngara-marishas; the Samangas, the Karakas, the Kukuras,
the Angaras, the Marishas: the Dhwajinis, the Utsavas, the Sanketas, the Trigartas, and the Salwasena; the Vakas,
the Kokarakas, the Pashtris, and the Lamavegavasas; the Vindhyachulakas, the Pulindas, and the Valkalas;
the Malavas, theVallavas, the further-Vallavas, the Kulindas, the Kalavas, the Kuntaukas, and the Karatas;
theMrishakas, the Tanavalas, the Saniyas; the Alidas, the Pasivatas, the Tanayas, and the Sulanyas; theRishikas,
the Vidarbhas, the Kakas, the Tanganas, and the further-Tanganas. Among the tribes of the north are the Mlecchas,
and the Kruras, O best of the Bharatas; the Yavanas, the Chinas, theKamvojas, the Darunas, and
many Mleccha tribes; the Sukritvahas, the Kulatthas, the Hunas, and theParasikas; the Ramanas, and
the Dasamalikas. These countries are, besides, the abodes of manyKshatriya, Vaisya, and Sudra tribes. Then again
there are the Sudra-abhiras, the Dardas, theKasmiras, and the Pattis; the Khasiras; the Atreyas, the Bharadwajas,
75
the Stanaposhikas, thePoshakas, the Kalingas, and diverse tribes of Kiratas; the Tomaras, the Hansamargas, and
theKaramanjakas. These and other kingdoms are on the east and on the north.
All the western Indian kingdoms were known by the general name Bahlika (Vahika, Vahlika and Valhika are
variations of the name) meaning outsider. Thus these people were considered as outsidersof the Vedic culture.
However, the name Bahlika is sometimes used to denote a kingdom within the present Punjab, different
from Madra, Sindhu, Kekeya, Gandhara or Kamboja. As per the epicMahabharata, the Kuru king Santanu, a
forefather of Kauravas and Pandavas, had a brother who ruled the Bahlika kingdom and a Bahlika king took part in
the war aiding Duryodhana. He was killed by thePandava Bhima.
References in Mahabharata
Bahlika mentioned as a kingdom of Ancient India (Bharata
Varsha)
 Mbh (6,9)
…the Angas, the Vangas, the Kalingas, the Yakrillomansś the Mallas, the Suddellas, the Pranradas, the Mahikas, the
Sasikas; the Valhikas, the Vatadhanas, the Abhiras, the Kalajoshakas; the Aparantas, the Parantas, the Pahnabhas,
the Charmamandalas; the Atavisikharas, the Mahabhutas, the Upavrittas, the Anupavrittas, the Surashatras,
Kekayas; the Kutas, the Maheyas, the Kakshas, the Samudranishkutasś the Andhras…
Words of Narada
The Valhika race is the stain of the Earth (12,328). This mentione is found in the midst of a passage that describes
how Krishna Dwaipayana Vyasa studied Vedas, classified it and spread it through his four disciples into the whole
world. Narada is telling these words to Vyasa:- The stain of the Vedas is the suspension of their recitation. The stain
of the Brahmanas is their non-observance of vows. TheValhika race is the stain of the Earth. Curiosity is the stain
of women.
Words of Vidura
The scum of the Vedas is want of study; of Brahmanas, absence of vows; of the Earth, the Vahlikas; of man,
untruth; of the chaste woman, curiosity; of women, exile from home. The scum of gold is silver; of silver, tin; of tin,
lead; and of lead, useless dross. (5,39)
Dispute between Karna and Shalya in the midst of Kurukshetra

War
Karna and Shalya were two generals in the Kaurava army during the Kurukshetra War. They engaged in a verbal
dispute, owing to their deslike of each other. Both of them hailed from a different culture. Shalya was from the west,
being the king of Madra Kingdom in the Bahlika region. Karna was from the east, being the king of Anga Kingdom.
Both these kingdom existed at the fringes of Vedic culture, practiced in its normal form, mainly
in Kuru - Panchala kingdoms in the middle.
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The actual location of the Bahlika culture
Karna said, Listen with devoted attention to this, O ruler of the Madras (Shalya), that was heard by me while it was
recited in the presence of Dhritarashtra. In Dhritarashtra’s abode the Brahmanas used to narrate the accounts of
diverse delightful regions and many kings of ancient times. An old Brahmana while reciting old histories, said these
words, blaming the Vahikas and Madrakas, "One should always avoid the Vahikas, those impure people that are out
of the pale of virtue, and that live away from theHimavat and
the Ganga and Saraswati and Yamuna and Kurukshetra and the Sindhu and its five tributary rivers. (8,44)
The food habbits of Bahlikas in the town of Sakala
I remember from the days of my youth that a slaughter-ground for kine and a space for storing intoxicating spirits
always distinguish the entrances of the abodes of the (Vahika) kings. On some very secret mission I had to live
among the Vahikas. In consequence of such residence the conduct of these people is well known to me. There is a
town of the name of Sakala (modern day Sialkote), a river of the name of Apaga, and a clan of the Vahikas known
by the name of the Jarttikas. The practices of these people are very censurable. They drink the liquor called
Gauda, and eat fried barley with it. They also eat beef with garlic. They also eat cakes of flour mixed with meat,
and boiled rice that is bought from others. Of righteous practices they have none. (8,44)
Bahlika horses
Bahlika region was famous for its horses. They were used by kings in wars.
 Vasudeva Krishna also gave unto Arjuna hundreds of thousands of draft horses from the country of the Valhikas as
his sister, Subhadra’s excellent dower. (1,223)
 Sikhandin's son Kshatradeva used steeds from Valhika in the Kurukshetra War. (7,23)
 Bahlika breed of horses were one among the type of horses employed in Kurukshetra War:- Many steeds of the
Vanayu, the hilly, the Kamvoja, and the Valhika breeds, with tails and ears and eyes motionless and fixed,
possessed of great speed, well-trained, and ridden by accomplished warriors armed with swords and lances, were
seen (7,34)
 Bhagiratha gave away a hundred thousand horses of the Valhika breed, all white of complexion, adorned with

garlands of gold. (13,103)
Dhritarashtra wished to give sixteen cars made of gold, each drawn by four excellent and well-adorned steeds of
uniform colour and of the Vahlika breed to Vasudeva Krishna who came to talk to him on behalf of
the Pandavas (5,86)
Kings of Bahlika
Bahlika the son of Pratipa
Bahlika the son of Pratipa is mentioned in the following passages in Mahabharata:-
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Kuru king Dritarashtra's words to his son Duryodhana:- Even the eldest son may be passed over and deprived of the
kingdom, and younger sons may, in consequence of their respectful behaviour to the aged, obtain the kingdom. So
also, conversant with every virtue there was my father’s grandfather, king Pratipa, who was celebrated over the
three worlds. Unto him, were born three sons, Of them,Devapi was the eldest, Vahlika// the next and
**Santanu of great intelligence, who was my grandfather, was the youngest. Devapi, endued with great energy, was
virtuous, truthful in speech, and ever engaged in waiting upon his father. But that best of kings had a skin-disease.
Popular with both the citizens and the subjects of the provinces, respected by the good, and dearly loved by the
young and the old, Devapi was liberal firmly adhering to truth, engaged in the good of all creatures, and obedient to
the instructions of his father as also of the Brahmanas. He was dearly loved by his brother Vahlika as also the high-
souled Santanu. Great, indeed, was the brotherly love that prevailed between him and his high-souled brothers. In
course of time, the old and best of kings, Pratipa, caused all preparations to be made according to the scriptures for
the installation of Devapi (on the throne). Indeed, the lord Pratipa caused every auspicious preparation. The
installation of Devapi, however, was forbidden by the Brahmanas and all aged persons amongst the citizens and the
inhabitants of the provinces. Hearing that the installation of his son was forbidden, the voice of the old king became
choked with tears and he began to grieve for his son. Thus, though Devapi was liberal, virtuous, devoted to truth,
and loved by the subjects, yet in consequence of his skin-disease, he was excluded from his inheritance. The gods do
not approve of a king that is defective of a limb. Thinking of this, those bulls among Brahmanas forbade king
Pratipa to install his eldest son. Devapi then, who was defective of one limb, beholding the king (his father)
prevented (from installing him on the throne) and filled with sorrow on his account, retired into the woods. As
regards Vahlika, abandoning his (paternal) kingdom he dwelt with his maternal uncle. Abandoning his father and
brother, he obtained the highly wealthy kingdom of his maternal grandfather. With Vahlika’s permission,
Santanu of world-wide fame, on the death of his father (Pratipa), became king of Kuru Kingdom. (5,149)


Kuru King Pratipa had three sons, viz Devapi, Valhika and Santanu. (1,95)
Bhishma consulted his uncle Valhika to clear doubts about giving in marriage, the tree maidens that he brought

from Kasi Kingdom to his step-brother Vichitravirya (13,44).

Yudhisthira addressed Bahlika as son of Pratipa, in a message sent to Kauravas.(5,23)
Yudhisthira also addressed the Kurus of the Pratipa dynasty viz the Vahlikas(5,57)
Bahlika the father of Somadatta
The lineage that links Bahlika with the Pandavas and Kauravas, as per Mahabharata is as follows:-


Pratipa -> Devapi (became a sage)

Pratipa -> Bahlika -> Somadatta -> Bhurisravas, Sala

Pratipa -> Santanu -> Bhishma

Pratipa -> Santanu -> Vichitravirya -> Dhritarashtra -> Kauravas
Pratipa -> Santanu -> Vichitravirya -> Pandu -> Pandavas
A Bahlika king took part in the Kurukshetra War. He was related to the Kauravas and the Pandavas, and was a king
in the Kuru dynasty. This make Bahlika older than Bhishma, making him the oldest among, the warriors who fought
the Kurukshetra War. But there is references in Mahabharata thatBhishma was the oldest warrior in the Kurukshetra
War. So there could be some missing king in this lineage of Bahlikas. It could be that Somadatta's father who took
part in the war was the son of the Bahlika mentioned at (Mbh 1,95) as Pratipa's son.


Pratipa -> Devapi (became a sage)

Pratipa -> Bahlika -> Bahlika -> Somadatta -> Bhurisravas, Sala

Pratipa -> Santanu -> Bhishma

Pratipa -> Santanu -> Vichitravirya -> Dhritarashtra -> Kauravas
Pratipa -> Santanu -> Vichitravirya -> Pandu -> Pandavas
This makes the warrior Bahlika, contemporary to Bhishma and his son Somadatta, contemporary to Dhritarashtra.
Somadatta's sons Bhurisravas and Sala also took part in the Kurukshetra War. Thus four Bahlika war-heroes,
78
spanning three generations, fought the Kurukshetra war. King Bahlika was present in the self choice event
of Draupadi the princess of Panchala Kingdom. (1,188). He also came to the Rajasuya sacrifice
of Pandava king Yudhisthira, brought there by Nakula (2-33,34). King Bahlika was present with the Kurus
of Hastinapura, on almost all the important events that happened in Hastinapura:- on the arrival of Kunti with the
young Pandavas (1,126), on the occasion of a tournament of war-craft by the Kuru princes (1,136), When the
Pandavas left Hastinapura to the town of Varanavata (1,145), during the play of dice (2-62,72,76,79)(3,13), during
the planning ofKurukshetra War (5-62,63) etc
 Bahlika king and his sons and grandsons disliked Duryodhana, but was allied to his fatherDhritarshtra and
grandfather Bhishma (5-58,65,80,83,89,90,124,128,129,131
 Bhishma's rating of Vahlika as a car-warrior:-Vahlika is in my judgment, an Atiratha.(5,168)
Bhurisravas and Somadatta (denoted as Vahlika) were two among the eleven generals of Kaurava army, leading an
Akshouhini of troops (5,156)
 Bhalika fught as a warrior in Kurukshetra War under the generalissimos viz Bhishma (6-
17,45,48,59,60,76,82,93,97,103,105,118) and Drona (7-20,30,37,72,83,92,93,118,152
 Bahlika was slain by Bhima (7,154). Somadatta (7,159) and Bhurisravas (7,140) were slain bySatyaki in
the Kurukshetra War. The death of all these three in the war is mentioned together at (8,1), (9-2,24,32,63), (10,9),
(15-29,32) At (8,5), the slain Bahlika is describeds as grandfather of Dhritarashtra. At (11,22) he is described as
Pratipa's son. This is the only two places where both the Bahlikas, the son of Pratipa and the father of Somadatta
were described as same. King Bahlika's funeral rites were performed by Dhritarashtra (15-11,14)
 Pandava general Satyaki's father Sini, and Somadatta were of the same generation. They were enemies. When Sini
lived at Surasena Kingdom, he battled with Somadatta and defeated him due to a dispute on a maiden (Vasudeva
Krishna's mother Devaki). Satyaki and Somadatta's son Bhurisravas, were of the same generation and were enemies
too. (7,141)
 Under the generalissimo Bhishma stood Warrior Sala who was a countryman of the Valhikas (6,20) .His battles are
described at (6-61,86) (7-35,101,153,161). He is slain in battle, by some unknown hero, as his death is mentioned at
(9,2), (18,5)
Other Bahlika kings


A Bahlika king is mentioned as one among the 24 great kings (1,1)
A Bahlika king is mentioned along with the kings present in Yama's court (2,8)
 Madra king Shalya is described as a Bahlika king (1-67,113) .Shalya's sister Madri also is described as princess of
Valhika (Bahlika) (1,125)
 King of Darada Kingdom is described as the ruler of Valhika (2,43)
 One among the eight kings who were the sons of a Janamejaya who himself was the son of Kuru, the founder of the
dynasty was named Valhika (Bahlika). (Kuru -> Janamejaya -> Dhritarashtra, Pandu, Valhika, Nishadha,
Jamvunada, Kundodara, Padati and Vasati the eighth.) (1,94)
Conquests of Karna
79
The Utpalas, the Mekalas, the Paundras, the Kalingas, the Andhras, the Nishadas, the Trigartas, and
the Valhikas were all defeated by Karna in battle (7,4)
Conquests of Arjuna
The following passage from Mahabharara, gives glimpses of the contemporary kingdoms and tribes in the Bahlika
area, ie the areas north west to the Kuru Kingdom.
Arjuna defeated the brave Kshatriyas of Kashmira and also king Lohita along with ten minor chiefs. Then the
Trigartas, the Daravas, the Kokonadas, and various other Kshatriyas advanced against him.Arjuna then took the
delightful town of Avisari, and then brought under his sway Rochamana ruling in Uraga (Urug ?). Then Arjuna,
pressed the delightful town of Singhapura that was well-protected with various weapons. Then he fiercely attacked
the regions called Suhma and Sumala. After pressing them with great force, brought the Valhikas always difficult of
being vanquished, under his sway. Then Arjuna, taking with him a select force, defeated the Daradas along with
the Kambojas. (2,26)
Tribute from Bahlika to Pandava king Yudhisthira

The people of Valhika gave unto Yudhisthira as tribute ten thousand asses, of goodly size and black necks and daily
running two hundred miles, And those asses were of many shapes. And they were well-trained and celebrated all
over the world. And possessed of symmetrical proportion and excellent colour, their skins were pleasant to the
touch. And the Valhikas also presented numerous blankets ofwoollen texture manufactured in Chin and numerous
skins of the Ranku deer, and clothes manufactured from jute, and others woven with the threads spun by insects.
And they also gave thousands of other clothes not made of cotton, possessing the colour of the lotus. And these were
all of smooth texture. And they also gave soft sheep-skins by thousands. And they also gave many sharp and long
swords and scimitars, and hatchets and fine-edged battle-axes manufactured in thewestern countries and perfumes
and jewels and gems of various kinds by thousands. (2,50)
Yudhisthira also got a car (chariot) from Bahlika king:- Yudhisthira riding upon the car that had been given him by
the king of Valhika, and attired also in royal robes, set out with his brothers, (to play dice in Hastinapura). (2,52),
(2,57)
Bahlika army in Kurukshetra War

The heroes from Bhalika were, king Bahlika, his son Somadatta and his grandsons Bhurisravas and Sala. Apart from
them we find mention of Bahlika army along with the armies of other neighbouring kingdoms taking part in
the Kurukshetra War.


the Kamvojas and with the Valhikas (6,75)

king Vahlika with Vahlikas (6,82), (6,103)
the Nishadas, the Sauviras, the Valhikas, the Daradas, the Westerners, the Northerners, the Malavas, the Abhighatas,

the Surasenas, the Sivis, the Vasatis, the Salwas, the Sakas, the Trigartas, the Amvashthas, and the Kekayas (6,118)

Yavanas and Paradas and Sakas and Valhikas, and Mlecchas (7,90)

Valhikas with Karna (7,110)
Sakas and Kamvojas and Valhikas and Yavanas and Paradas, and Kalingas and Tanganas and Amvashtas and

Pisachas and Barbaras and mountaineers(7,118)
the Amvashthas, the Malavas, the brave Trigartas and the Sivis, the Abhishahas, the Surasenas, the Valhikas, and the
Vasatis, the Yaudheyas, the Malavas, the Madrakas (7,154)
80


the Saindhavas and Valhikas(7,177)

the Vasatis, the Sivis, the Valhikas and the Kurus (7,190)
the Pulindas, the Khasas, the Bahlikas, the Nishadas, the Andhakas, the Tanganas, the Southerners, and the Bhojas

(8,20)

the Bahlikas, and the Kaikayas, the Matsyas, the Vasatas, the Madras, and Saindhavas (8,56)
the Kurus and the Bahlikas(8,74)
Rise of Bahlika Power in Ancient India

The words of sage Markandeya to Yudhisthira, in the form of a prediction, hints at the rise of power of western
kingdoms in Ancient India.
The Andhhas, the Sakas, the Pulindas, the Yavanas, the Kamvojas, the Valhikas and the Abhiras, then become
possessed of bravery and the sovereignty of the earth. (3,187)
http://ancientvoice.wikidot.com/kuru-bahlika
https://www.scribd.com/doc/266346253/Baudhayana-Srauta-Sutra-Ed-Trans-CG-Kashikar-2003
Baudhayana Srauta Sutra (Ed. & Trans. CG Kashikar, 2003)
Addendum
Baudh yana- rautasūtra Chapter XVIII.44 contains an important reference attesting to the migrations of two
groups of people away from Kurukshetra region (Sarasvati River basin).
"Translation of BSS XIII.44: Ayu migrated eastwards. His (people) are the Kuru-Pancalas and the Kasi-
Videhas. This is the Ayava (migration). Amavasu migrated westwards. His (people) are the Ghandhari, Parsu
and Aratta. This is the Amavasu (migration).
"According to the correct translation, there was no movement of the Aryan people from anywhere in the north-
west. On the other hand, the evidence indicates that it was from an intermediary point that some of the Aryan
tribes went eastwards and other westwards.
This would be clear from the map that follows, noted BB Lal (2009).
81
http://archaeologyonline.net/artifacts/19th-century-paradigms.html
S'adaupas'ada are also known as PaurUravasau.
82
83
Appendix
Inscriptions on metal implements validate decipherment of Indus Script
Corpora as metalwork catalogues http://tinyurl.com/okw7xly
'Rosetta stones' which validate Indus Script decipherment have been detailed.
The validity of this Proto-Prakritam decipherment is further reinforced by inscriptions on metal implements.
Thus, Indus Script Corpora get recognized as catalogus catalogorum -- metalwork catalogues.
Two evidences are discussed which are conclusive proofs of Proto-Prakritam decipherment: 1. evidence from
anthropomorphs as hieroglyph-multiplex; and 2. evidence from inscriptions engraved on metal implements and
identical inscriptions on a zebu seal.
Evidence Cluster No. 1 from an anthropomorph as hieroglyph-multiplex of Indus Script Corpora
Each inscription is a sangara, 'proclamation'. For example, a copper anthropomorph of the civilization is a
hieroglyph multiplex: sãghāṛɔ (Gujarati)
sãgaḍ (Marathi) 'animal parts linked together' rebus: sangara 'proclamation'. The 'animal parts' on the
anthropomorph are identified as follows: The object is shaped like a body of a person. The arms are shaped
like the bent, curved horns of a ram. On some anthropomorphs, a fish hieroglyph is also inscribed. Thus, the
hieroglyph-multiplex of the anthropomorph is composed of: 1. body; 2. ram; 3. fish. The hieroglyph
components and rebus readings are: Hieroglyph components: meD 'body' meNDha 'ram'; aya 'fish' Rebus: meD
84
'iron' 'copper' aya 'iron' ayas 'metal'. Thus, together, the anthropomorph signifies metalwork as a professional
card of an artisan. The sãgaḍ 'joined body parts of animals' is thus rebus: sangara 'proclamation'. The
anthropomorph as a hieroglyph-multiplex is a catalogue entry, a proclamation of metalwork.
Anthropomorph. Saipal, Uttar Pradesh width 26.2cm height 18.2 cm
Anthropomorph had fish hieroglyph incised on the chest of the copper object, Sheorajpur, upper Ganges
valley, ca. 2nd millennium BCE, 4 kg; 47.7 X 39 X 2.1 cm. State Museum, Lucknow (O.37) Typical find
of Gangetic Copper Hoards. meD 'body' (Munda). miṇḍ l markhor (Tor.wali) meḍho a ram, a sheep
(G.)(CDIAL 10120) RebusŚ meḍh ‘helper of merchant’ (Gujarati) meḍ iron (Ho.) me ed-bica = iron stone ore,
in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ RebusŚ ayo, ayas ‘metal. Thus, together read
rebus: ayo meḍh ‘iron stone ore, metal merchant.’ http://bharatkalyan97.blogspot.in/2015/05/composite-
copper-alloy-anthropomorphic.html
Evidence Cluster No. 2 of inscriptions engraved on metal implements and on a zebu seal from the Indus
Script Corpora
The Dholavira signboard inscriptions have been deciphered in three segments, Segments 1 to 3 from l. to r.
Segment 1: Working in ore, molten cast copper, lathe (work)
Segment 2: Native metal tools, pots and pans, metalware, engraving (molten cast copper)
85
Segment 3: Coppersmith mint, furnace, workshop (molten cast copper)
It is no surprise that many hieroglyph components on the three segments of the Dholavira signboard also occur
as inscriptions on metal implements, since an inscription of Indus Script is also a sangara, 'proclamation', a
professional calling card describing the technical specifications of metalwork executed and presented as a
product.
The first line of inscription on the two implements DK7856 and DK7535 are identical to the Segment 2 of
Dholavira Signboard with the only difference being the duplication of 'spoked wheel' hieroglyph and the
relative sequencing of the 'linear stroke' hieroglyph.
Duplication of 'spoked wheel' hieroglyph: dula 'pair' Rebus: dul 'cast metal' Thus, the duplicated 'spoked
wheel' signifies dul 'cast'eraka 'moltencast copper'.
'linear stroke' hieroglyph: khāṇḍā m A jag, notch Rebus: khāṇḍa, khaṇḍa

'implements'
'lid' hieroglyph signifies aḍaren 'lid' RebusŚ aduru 'unsmelted metal ore' ayas 'metal'
'corner' hieroglyph: kōnṭa corner (Nk.)(DEDR 2054b) Rebus: kõdā 'to turn in a lathe'(B.) कॼঃॉ kōnda 'engraver,
lapidary setting or infixing gems'.
Thus, together, the entire line 1 of the inscription on the metal implement signifies engraving lapidary
work, worked in a forge, production of implement from moltencast copper.
The technical description of the metalwork is thus precisely described by this line of the inscription.
DK7856 Text 2923
DK7535 Text 2925
86
The same line also occurs on a zebu seal.
Text 2119 on zebu seal
Hieroglyph: poLa 'zebu' Rebus: poLa 'magnetite'. Thus, read with the zebu hieroglyph, the decipherment of a
segment of inscription on line 1 of the seal is that the metalimplements produced are from magnetite metal
ore, using metalcasting together with moltencast copper.
It is debatable if the anthropomorphs are metal 'implements'.
The form of anthropomorph is sãgaḍ 'joined parts of animals' and the function rebus is sangara 'proclamation'.
87
The form and function of the anthropomorphs are emphatically intended to be sangara 'proclamation' as
signature calling cards of the metalworkers and metal-merchants and hence, identified as integral parts of
Indus Script Corpora -- catalogus catalogorum of metalwork.
Two evidence clusters have been discussed and both prove the Proto-Prakritam decipherment of metalwork
catalogues signified by Indus Script writing system.
QED.
See: http://bharatkalyan97.blogspot.in/2015/08/indus-script-bronze-age-inscriptions-on.html
In the following image composition, on the left are shown two texts from Mohenjo-daro inscribed on metal
implements: 2925, 2923 (DK 7535, DK 7856) Inscribed bronze implements (MIC Plate CXXVI-5 (1910g),
CXXVI-2 (165.343g)
88
Chanhu-daro, Pl. LXXIV & Mohenjo-daro: copper and bronze tools and utensils (an inscription line mirrored
on a zebu seal)
Seven script signs recurring on two inscribed copper axes and

on a seal and a seal impression, Mohenjodaro; obverse (a,c) and reverse (b.d) of two axe
blades (2798=DK7856 and 2796=DK7535) in room 15, house I, block 12A,G section, DK area together with a
copper hoard; e is a fragmentary seal (2119) from room 5, house I, block 26,G section, DK area;
f is an impression of a seal (c. 4.5cm sq.) on a clay tag found in the drain 124, house X, block 8, HR-B
area. Drawn after Mackay 1938: II, pl. 126:t and pl. 131:35-6; Photo archive of the ASI, Sind Vol. 17, p.
79: 400 (=a,b); Mackay 1938: II, pl. 126:2; pl. 131:31; Sind vol. 17, p. 80: 403-4 (=c,d); Mackay 1938: II, pl.
85: 119 (=e); CISI 2: 183, M-1384 (=f); cf. Parpola, 1994, p. 108.
89
Illustrated London News 1936 - November 21st
90
Harappa Pottery, 5000 years old,
Unique in Ancient India, Contrasted with Later Ware: Chanhu-Daro Dicoveries includes 16 x pictures .
91
Lipstick 5000 Years Old- and Other
"Modern" Relics of Ancient India includes 10 x photos
92
A "Sheffield of Ancient India: Chanhu-
Daro's Metal Working Industry 10 x photos of copper knives, spears , razors, axes and dishe s Great New
Discoveries of Ancient Indian Culture on a Virgin Prehistoric Site in Sind - further results of pioneer research
at Chanu-Daro, in the Indus Valley: relics of craftsmanship, domestic life, and personal adornment in the third
millennium B.C. by Ernest Mackay D. Litt, FSA, in 5 x photos of seals and seal amulets with animal designs
...http://www.iln.org.uk/iln_years/year/1936a.htm
93
Mohenjo-daro. Metal implements. http://www.ancient-
wisdom.com/Pakistanmohenjo.htm
https://www.emaze.com/@AOWIOCZT/conors-emaze-
94
Fig. 2.4-6. From Sohr Damb. 2.7-8 from Mohenjo daro. - 2.4 Palstaves A 9782.- 2.5 NM 2614.- 2.6 NM
2616.- 2.7 & 2.8 Mohenjo daro Museum, no inv. nos. "...the copper palstaves (Fig. 2.4-6) are similar to each
other in form, all derived from the loci A3 and A5, and clearly are contemporary with each other. They are
smaller, simpler in their form and proportionaly thicker in cross section than those from Harappa sites (cf. Fig.
2.7-8) which are also generally fashioned from copper. Fig. 1.7 = DK 3468, 1.8 = VS 1450 g. Both are from
Mohenjo daro. With regard to the identification of the metal see P. Yule, Figuren, Schmuckformen und
Tafelchen der Harappa-Kultur. Prahistorische Bronzefunde (=PBF) 1.6 (Munich 1985)5; idem Metalwork of
the Bronze Age in India. PBF XX.8 (Munich 1985).99."
http://www.zaw.uni-heidelberg.de/hps/ufg/forschung/yule3/yule3.htm Yule, P., Silver grave goods from Sohr
Damb near Nal, Pakistan, Institut fur Ur-und Fruhgeschichte und Vorderasiatische Archaologie, Universitat
Heidelberg, Marstallhof 4, D-69117 Heidelberg
See: https://www.academia.edu/730314/The_Copper_Hoards_of_the_Indian_Subcontinent._Preliminaries_for
_an_Interpretation Yule, Paul, 1992, The copper hoards of the Indian subcontinent preliminaries for an
interpretation, Published in the Jahrbuch de Romisch-Germanischen Zentralmuseums Mainz.36, 1989 (1992),
pp.193-275. Most of the shapes of the palstaves of Mohenjo-daro compare with artifacts found all over India,
many of which are recorded with pictures, in this article.
95
http://www.penn.museum/documents/publications/expedition/PDFs/39-1/Yule.pdf Yule, Paul, 1997, Copper
hoards of northern India, Expedition, Vol. 39, No. 1, pp. 22-32 "After Fig. 4. Metal hoard implements from
Haryana, including harpoons, so-called bars, and flat axes. Chemical analyses prove these implements are
made of copper, not bronze. Recent discoveries at sites in the doab are shedding light on the people who made
these objects and aspects of their culture.
॑ॸॅ a stake (Marathi) is also signified by a pillar.
Santali glosses.
96
Dholavira on the Rann of Kutch (as a Gateway into the Persian Gulf) in reference to the locus of maritime sites
of Sarasvati-Sindhu civilization
97
Dholavira location in the Gulf of Kutch and Interaction networks (After Kenoyer, harappa.com)
A 10-lettered signboard (?) found in the western chamber of North Gate of castle. c. 2500-1900 BCE (ASI)
See: http://bharatkalyan97.blogspot.in/2015/04/dholavira-1-signboard-and-2-stone.html
The signboard deciphered in three segments from r.
Segment 1: Working in ore, molten cast copper, lathe (work)
ḍato ‘claws or pincers of crab’ (Santali) rebus: dhatu ‘ore’ (Santali)
eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu). sangaḍa 'pair'
Rebus: sangaḍa‘lathe’ (Gujarati)
98
Segment 2: Native metal tools, pots and pans, metalware, engraving (molten cast copper)
खां डा [ kh ṇḍ ] m A jag, notch, or indentation (as upon the edge of a tool or weapon).
(Marathi) Rebus: khāṇḍā ‘tools, pots and pans, metal-ware’.
aḍaren, ḍaren lid, cover (Santali) Rebus: aduru ‘native metal’ (Ka.) aduru = gan.iyinda tegadu karagade iruva
aduru = ore taken from the mine and not subjected to melting in a furnace (Kannada)
(Siddh nti Subrahmaṇya’ śāstri’s new interpretation of the Amarakośa, Bangalore, Vicaradarpana Press, 1872,
p. 330)
koṇḍa bend (Ko.); Tu. Kōḍi corner; kōṇṭu angle, corner, crook. Nk. kōnṭa corner (DEDR 2054b) G. khū̃ ṭ ī f.
angle Rebus:kõdā ‘to turn in a lathe’(B.) क द ं kōnda ‘engraver, lapidary setting or infixing gems’
(Marathi) koḍ ‘artisan’s workshop’ (Kuwi) koḍ = place where artisans work (G.) c ri koṭṭya ‘smithy’
(Tu.) क डं ण [kōṇḍaṇa] f A fold or pen. (Marathi) B. kõd ‘to turn in a lathe’ś Or.kū̆nda ‘lathe’, kũdib , kū̃ d ‘to
turn’ (→ Drav. Kur. Kū̃ d ’ lathe’) (CDIAL 3295) A. kund r, B. kũd r, ri, Or.Kund ruś H. kũder m. ‘one who
works a lathe, one who scrapes’, rī f., kũdern ‘to scrape, plane, round on a lathe’ś kundakara— m. ‘turner’
(Skt.)(CDIAL 3297). क द ं ण [ kōndaṇa ] n (क दं णं) Setting or infixing of gems.(Marathi) খ োদকোর [ khōdak ra
] n an engraver; a carver. খ োদকোরর n. engraving; carving; interference in other’s work. খ োদোই [ khōd i ] n
engraving; carving. খ োদোই করো v. to engrave; to carve. খ োদোন ো v. & n. en graving; carving. খ োরদত [ khōdita
] a engraved. (Bengali) ख दकाम [ khōdak ma ] n Sculptureś carved work or work for the carver. ख दगिर [
khōdagirī ] f Sculpture, carving, engravingŚ also sculptured or carved work. ख दणावळ [ khōdaṇ vaḷa ] f
(ख दणं) The price or cost of sculpture or carving. ख दण [ khōdaṇī ] f (Verbal of ख दणं) Digging, engraving
&c. 2 fig. An exacting of money by importunity. V लाव, मां ड. 3 An instrument to scoop out and cut flowers
and figures from paper. 4 A goldsmith’s die. ख दणं [ khōdaṇēṃ ] v c & i ( H) To dig. 2 To engrave. ख द ख दन
गवचारणं or –पसणं To question minutely and searchingly, to probe. ख दाई [ khōd ī ] f (H.) Price or cost of
digging or of sculpture or carving. ख द वं [ khōdīṃva ] p of ख दणं Dug. 2 Engraved, carved, sculptured.
(Marathi)
eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu).
Segment 3: Coppersmith mint, furnace, workshop (molten cast copper)
loa ’fig leafś RebusŚ loh ‘(copper) metal’ kamaḍha 'ficus religiosa' (Skt.); kamaṭa = portable furnace for
melting precious metals (Te.); kampaṭṭam = mint (Ta.) The unique ligatures on the 'leaf' hieroglyph may be
explained as a professional designation: loha-kāra 'metalsmith'; kāruvu [Skt.] n. 'An artist, artificer. An
agent'.(Telugu).
khuṇṭa 'peg’ś khũṭi = pin (M.) rebusŚ kuṭi= furnace (Santali) kūṭa ‘workshop’ kuṇḍamu ‘a pit for receiving and
preserving consecrated fire’ (Te.) kund r turner (A.)ś kũd r, kũd ri (B.)
eraka ‘knave of wheel’ Rebus: eraka ‘copper’ (Kannada) eraka ‘molten cast (metal)(Tulu).
99
Dholavira Signboard inscription of gypsum inlays on wood measures 3 m. long. Each of the 10 signs is 37 cm.
high and 25 to 27 cm. wide and made of pieces of white gypsum inlays; the signs were apparently inlaid in a
wooden plank. The conjecture is that this wooden plank was mounted on the Northern Gateway as a
Signboard.
Dholavira Signboard
The Signboard which adorned the Northern Gateway of the citadel of Dholavira was an announcement of the
metalwork repertoire of dhokra kamar, cire perdue metalcasters and other smiths working with metal alloys.
The entire Indus Script Corpora are veritable metalwork catalogs. The phrase dhokra kamar is rendered on a
tablet discovered at Dholavira presented in this monograph (earlier discussed at
http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-1-dhokra-lost-wax.html ). The 10-hieroglyph
inscription of Dholavira Signboard has been read rebus and presented at
http://bharatkalyan97.blogspot.in/2013/08/dholavira-gateway-to-meluhha-gateway-to.html
Excerpts from Excavation Report on Dholavira released by ASI in 2015:
"8.1 Inscriptions. Literacy of the Harappans is best exemplified in their inscriptions written in a script that is
unparalleled in its characters hitherto unknown and undeciphered so far. These inscriptions are best
represented on their seals and seals-impressions in addition to those engraved or painted on the objects of
metal, terracotta, pottery, faience, ivory, bone and stone, albeit sometimes appearing in a single sign inscription
or scratching particularly on pottery or terracotta objects. 8.1.1 Signboard. One of the most prominent
discoveries from the excavations at Dholavira is the find of a 10 large sized signboard presently lying in the
western chamber of North Gate. This inscription was found lying in the western chamber of north gate, and the
nature of find indicates that it could have been fitted on a wooden signboard, most probably fitted above the
lintel of the central passageway of the gate. The central passageway of north gate itself measures 3.5 m in
width and the length of the inscription along with the wooden frame impression is also more or less same
thereby indicating the probable location. The inscription consists of 10 large-sized letters of the typical
Harappan script, and is actually gypsum inlays cut into various sizes and shapes, which were utilized to create
each size as, indicated above. The exact meaning of the inscription is not known in the absence of
decipherment of script." (pp.227-229, Section 8.1.1 Signboard)
"The central passageway of north gate itself measures 3.5 m in width and the length of the inscription along
with the wooden frame impression is also more or less same thereby indicating the probable location. The
inscription consists of 10 large-sized letters of the typical Harappan script, and is actually gypsum inlays cut
into various sizes and shapes, which were utilized to create each size as, indicated above. The exact meaning of
the inscription is not known in the absence of decipherment of the script. (p.231)
100
Fig. 8.2: Location of ten large sized inscription in North Gate
Fig. 8.3: Close-up of inscription
Fig. 8.4: Drawing showing the ten letters of inscription
101
Fig. 8.5: Photograph showing the details of inscription in situ.
Fig. 8.6: Close-up of some of the letters from the inscription
102
Fig. 8.7: Gypsum inlays used for the inscription
Hieroglyph: eraka 'nave of wheel' ra 'spoke' Rebus: eraka 'molten cast' (Tulu); arka 'copper' (Samskritam) ara
'brass'. rakUTa id. (Samskritam)
103
Dholavira. gateway. A designer's impressions (reconstruction) of the world's first signboard on the gateway of
fortification or citadel.
Dholavira (Kotda) on Kadir island, Kutch, Gujarat; 10 signs inscription found near the western chamber of
the northern gate of the citadel high mound (Bisht, 1991: 81, Pl. IX); each sign is 37 cm. high and 25 to 27 cm.
wide and made of pieces of white crystalline rock; the signs were apparently inlaid in a wooden plank ca. 3 m.
long; maybe, the plank was mounted on the facade of the gate to command the view of the entire cityscape. Ten
signs are read from left to right. The 'spoked circle' sign seems to be the divider of the three-part message.
(Bisht, R.S., 1991, Dholavira: a new horizon of the Indus Civilization. Puratattva, Bulletin of Indian
Archaeological Society, 20: 81; now also Parpola 1994: 113).
This first sign board of the world verily constitutes the Bronze Age Standard of Eurasia -- not merely a
Meluhha Standard.Ancient Near East Bronze Age Meluhha, smithy/lapidary documents, takṣat vāk, incised
speech [Evidence from sites surrounding Bhuj in Kutch: Kanmer, Dholavira, Gola Dhoro (Bagasra),
Shikarpur, Khirsara, Surkotada, Desalpur, Konda Bhadli, Juni Kuran, Narapa]
The Northern Gateway signboard has invited visiting seafaring merchants into a Bronze Age smithy-forge
complex. The centre-piece is the ceremonial stadium which displays the artifacts of metallurgical competence
of Dholavira or Kotda artisans. The two skambhas and the entry into the pedestal with the kole.l 'temple'
which is also a 'smithy-forge' is a celebration of the production of alloys of metal and castings of metalwork.
http://bharatkalyan97.blogspot.in/2015/09/skambha-sivalinga-temple-in-dholavira.html
https://www.academia.edu/7313636/Harappan_Metallurgy_published_by_Vivekanand_International_Foundati
on
Harappan Metallurgy published by Vivekanand International Foundation, in: Protohistoric

foundations, II.4.5 Metallurgy, Ravindra Singh, pp.212-234 See Table 1 with percentage
compositions on metal objects of civilization: Cu, Sn, As, Fe, Ph, Ni (Analyses by Muhammad
Sana Ullah (After Marshall 1931: 484)
104
అయ్క ంతు [ ayask ntamu ] ayas-kāntamu. [Skt.] n. The load-stone, a magnet. ూదంు ి
అయ్క ుుayaskāruḍu. n. A black smith, one who works in iron. క్ . అయసు ayassu. n.
Iron. ఇుు.,అో్యు (p. 0077) [ ayōmayamu ] ayō-mayamu. [Skt.] adj. Made of iron; abstruse,
hard, difficult.
ఇనప (p. 0136) [ inapa ] inapa. [Tel. for ఇుప] Made of iron. See ఇుు.ఇుు (p. 0137) [ inumu
] inumu [Tel.] n. Iron. ఇుప made of iron. ఇుపొుస an iron chain. ఇుపక్చ an iron girdle, i.e.,
continence, chastity.
ும் ு irumpu, n. < ு-மம. cf. சசம் ு for சசம் மம. [T. inumu, M. irumbu.] 1. Iron, literally, the
black metal; கும் ச ் . (தேவ . 209, 3.) 2. Instrument, weapon: ுேம் . ும் ு தம ்
ிட ு ் ் (ீவக. 782).
హు [ lōhamu ] lōhamu. [Skt.] n. Metal in general, అ్ ట హ్ాన ు. Iron. ఇుు,

పం్ హుు the five metals, viz., gold, silver, brass, bronze and iron. అ్ ట హుు include lead, tin
and another metal called వరు. హారుు lōha-kārakuḍu. n. A blacksmith. కర్ల
ాు, క్ . హితు lōha-jittu. n. A diamond (as "surpassing all metals" in
hardness.),వ్రు. ితు [ lōhitamu ] lōhitamu. [Skt.] n. Ruby colour, redness, రకవ
ు ర ణు, ు రు.
Blood, ెతుు. adj. Red. ఎ్రి. ితకు
కంుor ితు lōhit-ānguḍu. n. The planet Mars. అంారుు. ిావు ు lōhit-āṣvuḍu. n.
Fire. అని
ో్తు. ిత ు lauhityamu. n. A blush, redness. ఎుు."
The atapatha Br hmaṇa, Part V

XIII, 4, 3. Third Br hmaṇa
12. And on the eighth day, after those (three) offerings have been performed in the same
way, there is the same course of procedure. 'Adhvaryu!' he (the Hot ) says.--'Havai hotar!'
replies the
Adhvaryu.--'King Matsya S mmada [28],' he says; 'his people are the water-dwellers, and they
are staying here;'--both fish and fishermen [29] have come thither: it is these he instructs;--'the
Itih sa 3 is the VedaŚ this it isś' thus saying, let him tell some Itih sa. The Adhvaryu calls in
the same way (on the masters of lute-players), but does not perform the Prakrama oblations.
13. And on the ninth day, after those (three) offerings have been performed in the same way,
there is the same course of procedure. 'Adhvaryu!' he (the Hot ) says.--'Havai hotar!' replies
the Adhvaryu.--'King T rkṣya Vaipa yata [31],' he says; 'his people are the Birds, and they are
staying here;'--both birds and bird-catchers[32] have come thither: it is these he instructs;--'the
Pur ṇa[30] is the VedaŚ this it isś' thus saying, let him tell some Pur ṇa [33]. The Adhvaryu
calls in the same way (on the masters of lute-players), but does not perform the Prakrama
oblations.
http://www.wisdomlib.org/hinduism/book/the-%C5%9Batapatha-
br%C4%81hma%E1%B9%87a-part-v/d/doc63518.html
105
Objects used in yajña, for e.g., agni ( Nar aṁsa Tanūnap t manifestations)
Soma, fuel, the sacred grass, the enclosure, are deified as āprī 'conciliated divinities'.
Characteristics of some of these objects are explained:
ढ़ॼ॑ [p= 1249,3] the stalks [अঃग़ॲ] of which were pressed between stones [अनर] by the priests ,
then sprinkled with water , and purified in a strainer [पनख़र]; cognate ancu 'iron'
(Tocharian)
Soma is adored in 1484 rica-s of Rigveda.
The entire Samhit is devoted to the processing of Soma (Indu, 'drop').
इ्ॉॲ is said to mean in the Veda a drop of Soma juice, a bright drop or spark; ढ़ॲिाढ़
इदख़঄ Rv.1.16.6 इ्ॉॲ [p= 166,1] a bright drop , a spark TS.
RV 9.2.10 Indu, you are the giver of kine, of children, of horses, and of food; you are
the primeval soul of the sacrifice.
Another translation:(To Soma) bright droplets ! you are the bringer of cattle,bringer of
men, of horses, and of strength, the first ātmā of the yajña.
Agni = ि॓ा* ग़ঃढ़ (rarely) of पॳड़ि् e.g. RV. i , 164 , 3 ; x. 64 , 3; ििॳ--

िपाि् [p= 435,3] m. (ि्/अिॳ-) " son of himself , self-generated (as in lightning or by the
attrition of the अ॓नॆs cf. Nir. viii , 5) ", a sacred N. of Fire (chiefly used in some
verses of the आरॱ hymns) RV.
ॏनफ़द ढ़् [p= 722,2] n. (rarely m.) " that which is plucked up " , sacrificial grass , a bed or layer
of कॲग़ grass (usually strewed over the sacrificial ground and esp. over the ख़ॸनॉ , to serve as a
sacred surface on which to present the oblations , and as a seat for the gods and for the
sacrificers) RV. &c; n. Sacrificial Grass personified (and enumerated among
the र॒ाि and अिॲ॒ाि deities) RV. Br.
इळा [p= 164,2] f. इॄा or (in ऋग्-ख़ॸॉ) /इळा , (not to be confounded with the inst. case
of इॄ् above ) , refreshing draught , refreshment , animation , recreation , comfort ,
vital spirit RV. AV. AitBr.
106
घॴ ि [p= 378,2] mfn. sprinkled L.n. (g. अॊद चाद*नॉ) ghee i.e. clarified butter or butter
which has been boiled gently and allowed to cool (it is used for culinary and religious
purposes and is highly esteemed by the Hindus) , fat (as an emblem of fertility) , fluid
grease , cream RV. VS. AV. &c
आ- √ री [p= 144,2] P. (-रॱॆानि AitBr. ii , 4 ; aor. Subj. 2. sg. -नपर्/अ॒ढ़् RV. ii , 6 , 8) to satisfy ,
conciliate , propitiate , please RV. TS.S3Br. ; to address or invoke with the आरॱ (» below)
verses AitBr. S3Br. : A1. (impf. आ*रॱॆॱि) to amuse one's self , be delighted or
pleased TS. La1t2y.; f. gaining one's favour , conciliation , propitiation; f. pl. (-र्/इ॒ढ़् [ AV. xi , 7 ,
19] and -र् ॒ढ़् [िा॓ा॒ॆ]) N. of particular invocations spoken previous to the offering of
oblations (according to A1s3vS3r. iii , 2 , 5 seqq. they are different in different schools
; e.g. ढ़्/अन॑धॼ अि् /इ्॓ RV. v , 28 , 1, in the school of ग़ॲिक ; िॲड़्/अव ि঄ RV. vii , 2 , 1, in that
of ख़नढ़ठ ; ढ़्/अन॑धॼ अय्/अ RV. x , 110 , 1, in that of others ; िा॓ा॒ॆ on this passage gives
ten hymns belonging to different schools ; » also Sa1y. on RV. i , 13 [ढ़् /उढ़न॑धॼ ि /आ ख़फ़ ,
the आरॱ-hymn of the school of कव] , who enumerates twelve आरॱs and explains that
twelve deities are propitiated ; those deities are personified objects belonging to the
fire-sacrifice , viz. the fuel , the sacred grass , the enclosure , &c , all regarded as
different forms of अनि ; hence the objects are also called आरॱs , or , according to others ,
the objects are the real आरॱs , whence the hymns received their
names) AV. TS. A1s3vS3r. &c
“Silpa texts such as Mahaviswakarmeeyam, Rathalakshanam and Aparajitapruccha

describe the making of the ratha. Sthapathy Umapathy Acharya says, “The Apri Sukta
and Pavamana Sukta from Rig Veda are recited when the tree is cut.”
http://www.thehindu.com/features/friday-review/watching-temple-chariot-is-an-
aweinspiring-experience/article6245119.ece
There are 11 आ- √ रॱ Suktas: 1.142, 1.13, 5.28, 5.5, 10.110, 9.5, 3.4, 7.2, 2.3, 1.188,
10.170.
9.5 is an adoration of Soma as āprī (object in the yajña).
Gargya Narayana's commentary excludes 5.28, notes that 10 āprī suktas are
adorations of Agni (as an object in the yajña). The commentary further details
that I.13 and I.142 both invoke the Nar aṁsa and Tanūnap t manifestations of Agni,
107
I.188, III.4, IX.5 and X.110 invoke only the Tanūnap t manifestation and II.3, V.5,
VII.2 and X.70 invoke only the Nar aṁsa manifestation.
prīsūkta Ṛṣi Gotra

1.13 Medh tithi K ṇva K ṇva
1.142 Dīrghatam Aucathya ngirasa
1.188 Agastya Maitr varuṇI Agastya
2.3 G tsamada aunahotra aunaka
3.4 Vi v mitra G thina Kau ika
5.5 Vasu ruta treya treya
7.2 Vasiṣṭha Maitr varuṇI V siṣṭha
9.5 Asita or Devala K ypa K ypa
10.70 Sumitra V dhrya va Bharata
10.110 R ma J madagnya or Jamadagni Bh rgava
5.28 Sunaka
See: Talageri, Shrikant: The Rigveda: A Historical Analysis, 2000, p.33

ढ़् /उढ़न॑धॼ ि /आ ख़फ़ RV I.13, in the school of कव
Twelve objects/phenomena are deified āpryas:1.agni, 2. tanUnapAt, 3. narAs'amsa,

4.iLA, 5. barhi, 6. devIdvAra, 7, ushAsAnaktA, 8. devyau hotAru pracetasau, 9.
tisrahdevyah sarasvatI, iLA, Bharatya, 10, tvaSTA, 11. vanaspati, 12.
svAhAkRtayah
108
1.013.01 Agni, who are Susamiddha, invoker, purifier, bring hither the gods to the
offerers of our oblation, and do your sacrifice. [The A_pris are twelve including a
name of fire, naras'ansa. Su = well; sam = completely; iddha = kindled; hence,
Susamiddha = the thoroughly kindled].
1.013.02 Wise (Agni) who are Tanu_napa_t (= devourer of clarified butter), present
this day our well-favoured sacrifice to the gods for their food. [Tanu_napa_t, deourer
of clarified butter (tanu_napa); alternatively, tanu = own substance, or fuel, i.e.
consumer of its own substance; napa_t = tanaya, son or offspring; alternatively,
napa_t = who does not preserve, who destroys].
1.013.03 I invoke the beloved Nara_s'ams'a, the sweet-tongued, the offere of
oblations, to this sacrifice. [Nara_s'am.s'a, him whom men praise: nara s'am.santi].
109
1.013.04 Agni, (who are) I_l.ita (= worshipped), bring hither the gods in an easy-
moving chariot, for you are the invoker instituted by men. [I_l.ita, stutah, the
worshipped; fr. i_l.a, to adore, to praise].
1.013.05 Strew, learned priests, the sacred grass, well bound together (in bundles),
and sprinkled with clarified butter, the semblance of ambrosia. [Barhis is an
appellative of Agni; amr.ta-sama_nasya ghr.tasya or maran.a-rahitasya
barhirna_makasya, agneh:amr.ta (clarified butter sprinkled on grass) has the
appearance of ambrosia; or agni is immortal].
1.013.06 Let the bright doors, the augmenters of sacrifice, (hitherto) unentered, be set
open, for certainly today is the sacrifice to be made. [Doors: agnivis'es.amu_rtayah,
personifications of agni].
1.013.07 I invoke the lovely night and dawn to sit upon the sacred grass, at this our
sacrifice. [naktam = night; us.as = dawn; they denote two forms of fire, presiding over
these seasons: tat-ka_la_bhima_nivahnimu_rtidvaye].
1.013.08 I call the two eloquent divine and sage invokers (of the gods), that they may
celebrate this our sacrifice. [Two agnis: daivyau hota_rau pracetasau, two divine
invokers (pracetasas), who are sages (kavi)].
1.013.09 May the three undecaying goddesses, givers of delight, Il.a_, Sarasvati_, and
Mahi_ (= Bha_rati_), sit down upon the sacred grass. [Mahi = Bha_rati; Il.a_,
Sarasvati_, Bha_rati_ are personifications of agni: agnimu_rtayah; they are also three
personified flames of fire. As goddesses, Il.a_ = earth (bride of Vis.n.u); Sarasvati_ =
goddess of eloquence (wife of Brahma_); Bharati_ = speech (wife of Bharata, an
A_ditya)]
1.0113.10 I invoke the chief and multiform Tvas.t.r. (= Vis'vakarma_); may he be
solely ours. [Tvas.t.a_ = Vis'vakarma_, artificer of the gods, the fabricator of the
original sacrificial vase or ladle. tvas.t.a_ vai pas'u_na_m mithuna_na_m ru_kakr.t---
iti s'ruteh (Taittiri_ya.Sam.hita_ 6.1.8.5): Tvas.t.a_ forms in animals in pairs; he is
also an A_ditya; here he is an Agni: Tvas.tr.-na_makam agnim].
1.013.11 Present, divine Vanaspati (= lord of the woods), our oblation to the gods, and
may true knowledge be (the reward) of the giver.
1.013.12 Perform the sacrifice conveyed through Sva_ha_ (= an exclamation used in
pouring the oblation on the fire) to Indra, in the house of the worshipper; therefore I
call the gods hither. [sva_ha_ = an exclamation used in pouring the oblation on the
fire, also identified with Agni. Sva_ha_ is called the daughter of Br.haspati, son of
An:giras (Maha_bha_rata); she is also the daughter of Daks.a and wife of Agni].
ढ़् /अन॑धॼ अि्/इ्॓ RV. v , 28 , 1, in the school of ग़ॲिक
110
5.028.01 Agni, when kindled, spreads lustre through the firmament, and shines widely
in the presence of the dawn; Vis'vava_ra_, facing the east, glorifying the gods with
praises, and bearing the ladle with the oblation, proceeds (to the sacred fire). [Bearing
the ladle with the oblation: havis.a_ ghr.ta_ci_ = puroda_s'a_dilaks.an.ena yuktaya_
ghr.ta_cya_ sruca_ sahita_, with the ladle of ghi_ connected with the cakes and other
articles of the oblation; vis'vava_ra_ = feminine; the repeller of all enemies of the
nature of sin, sarvam api pa_paru_pam s'atrum varayitri_].
5.028.02 When about to be kindled, Agni, you rule over ambrosial (water); you are
present with the offerer of the oblation for his welfare; he to whom you repair
acquires universal wealth; he places you, Agni the dues of hospitality.
5.028.03 Repress, Agni, (our foes to ensure our) exceeding prosperity; may your
riches ever be excellent; preserve in concord the relation of man and wife, and
overpower the energies of the hostile. [Yajus. 33.12; preserve in concord: sam
ja_spatyam suyamam kr.n.us.va, make perfect the well-connected duty of wife and
husband].
5.028.04 I praise the glory, Agni, of you when kindled and blazing fiercely; you are
the affluent showerer (of benefits), you are fitly lighted at sacrifices.
5.028.05 Agni, who are kindled and invoked, worship the gods at the holy rite, for you
are the bearer of the oblation.
5.028.06 Offer worship and adoration to Agni when the sacrifice
is solemnized; select the bearer of the oblation to the gods.
[Three kinds of sacrificial fires, according to the Taittiri_ya are:
havyava_hana, which receives the oblation intended for the
111
gods; the kavyava_hana, that intendended for the pitara; and the
saharaks.as, that intended for the asuras; the worshipper is
directed to select the first, on this occasion].
ढ़् /उढ़न॑धॼ ि /आ ख़फ़ RV I.13, in the school of Angiras
1.142.01 Agni, who are samiddha, bring the gods today (to the worshipper), whose
ladle is uplifted; extent (the merit of) former sacrificer to the giver (of the offering),
112
by whom the Soma is poured forth. [A_pri's of Agni: cf. RV. 1.4.2].
1.142.02 Tanu_napa_t, be present at this well-flavoured and cutter-fed sacrifice, (the
offering) of a pious offerer (of oblations); glorifying you.
1.142.03 The pure, purifying, wonderful Nara_s'am.sa, an adorable god among gods,
(having come) from heaven, thrice mixes the sacrifice with the sweet (Soma).
[Nara_s'am.sa is the deity presiding over the sacrifice: yajn~a_bhima_ni devah; thrice
mixes: he comes thrice, or he thrice bestows rewards, perhaps an allusion to the three
daily sacrifices].
1.142.04 Agni, who are Il.ita, bring hither Indra, the wonderful, the beloved; this my
praise is recited, bright-tongued, before you.
1.142.05 The priests, bearing ladles, are strewing the sacred grass in this holy
sacrifice, to prepare a god-frequented and well-spread abode for Indra.
1.142.06 Let the bright, separable doors, the augmenters of sacrifice, the purifiers of
rites, the desired of many, be set open for the gods to enter. [The hymn is addressed to
the divinities presiding over th e doors of the chamber of sacrifice; asas'cata = not
adhering together, mutually separable; asajyama_na-paraspara viprakr.s.t.a, perhaps
folding-doors of wide or open doors].
1.142.07 Beautiful night and morning, ever hymned, ever associated, progeny (yahuh
sunuh--Nirukta 2.2.11) (of time), parents of sacrifice, sit down of your own good will
on the sacred grass.
1.142.08 May the two pleasing-tongued receivers of praise, the divine and sage
invokers (of the gods), officiate today at this our sacrifice, which confers (rewards)
and attains heaven. [Attains heaven: mandra-jihva_ is an apithet applied to Agni, the
two flames that give delight to the gods].
1.142.09 May the pure hota_, placed among the gods, and Bha_rati_, among the
Maruts, and may the adorable Il.a_, Sarasvati_, Mahi_, sit down upon the sacred
grass. [hota_ = homa-nis.pa_dika_, the presenter of the oblation; deves.u arpita_ =
delivered amongst the gods, the praisers of priests (Marutsu); or, marutsu-bha_rati_ =
va_c, situated in heaven, dyustha_na_ and connected with bharata, an A_ditya, or
name of the sun; il.a_, sarasvati_, mahi_ = sound (va_c); or the goddesses presiding
over sound in the three regions, severally of earth, firmament, and heaven].
1.142.10 May Tvas.t.a_, favourably disposed towards us, send to us, for our
nourishment and prosperity, the quick (falling), wonderful, abundant (water), in the
centre (of the cloud, effecting), of itself much (good). [Qucik (falling), wonderful: the
hymn has epithets only related to udakam, water: turi_pam adbhutam puru va_ram
puru tmana_; in the centre: na_bha_ na_bhau meghasya avasthitam udakam, i.e. rain;
Tvas.t.a_ = personified fire or lightning, in which capacity he is the sender of rain,
vr.s.t.ya_deh karta_].
1.142.11 Vanaspati, here present of your own accord, convey our offerings to the
gods; the divine and intelligent Agni accepts (the oblations) for the deities. [vanaspati:
the fire,or Agni of the sacrificial post, or yupa, from its being of timber].
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1.142.12 (Priests), present the oblation with sva_ha_ to Indra, in the form of Ga_yatra,
along with Pu_s.an and the Maruts; also to the assembled gods, and the Va_yu. [In the
form of Ga_yatra: Ga_yatra-vepase--ga_yatra is substituted for itara-sa_ma: vepas =
ru_pa; ga_yatram- ru_pam yasya; ga_yatravepas = a name or form of Indra; along
with Pu_s.an and the Maruts: lit., having or possessed of Pu_s.an or the Maruts:
pus.anvate marutvate; vis'vadeva_ya (singular) = vis'vadeva- san:gha_ya, the
assemblage of all the gods; or, an epithet to identify Indra with all the deities; the
personification of Agni is sva_ha_, as one of the A_pris].
1.142.13 Approach, Indra, to partake of the oblations
consecrated with sva_ha_; approach and hear the invocation, as
they invoke you to the sacrifice.
5.005.01 Offer abundant butter to the replendent Susamiddha, to Agni, to Ja_tavedas.

[Susamiddha, an epithet of Agni].
5.005.02 Nara_s'am.sa animates this sacrifice he who is uninjurable, who verily is
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wise and sweet-handed.
5.005.03 Agno, who are I_l.ita, bring hither the wonderful and friendly Indra, with his
easy going chariots for our protection.
5.005.04 (Grass), soft as wool, be spread; the worshippers praise you; be to us radiant
(grass the source of) liberality. [(Grass): the barhis].
5.005.05 Open divine doors, our passages to preservation; fill full the sacrifice (with
its rewards).
5.005.06 We glorify the evening and the morning lovely, food-bestowing, mighty, the
mothers of sacrifice.
5.005.07 Praised (by us), divine invokers of the gods, come moving on the path of the
wind, to this sacrifice of our patron. [On the path of the wind: va_tasya patman = with
the swiftness of the wind, or through the firmament; to this sacrifice of our patron:
manus.o no yajn~am = lit., to the sacrifice of our man, i.e. of the yajama_na].
5.005.08 May Il.a_, Sarasvati_, Mahi_, the three goddesses who are the sources of
happiness, sit down, benevolent, upon the sacred grass.
5.005.09 Tvas.t.a_, being propitious, you who are diffusive in kindness, come to your
own accord protect us in repeated sacrifices.
5.005.10 Wherever you know, Vanaspati, the secret forms of the gods to be, thither
convey the oblations. [yatra vettha deva_na_m guhya_ na_ma_ni: na_ma_ni =
ru_pa_n.i, forms; it is not soecufued as a faculty of vanaspati in any preceding hymn
to the a_pris, although vanaspati, in the preceding hymns and also here represents
Agni, as identified with the sacrificial post, or yu_pa, or the deity presiding over the
post: yu_pa_bhima_ni_ deva].
5.005.11 The oblation is offered with reverence to Agni, to Varun.a; with reverence to
Indra, to the Maruts; with reverence to the gods. [To Agni: the term is sva_ha_, who is
an a_pri, or personification of Agni].
ढ़् /अन॑धॼ अय्/अ RV. x , 110 , 1,in the school of other Rishis
115
10.110.01 Kindled today, Ja_tavedas, in the dwelling of the worshipper, you who are
divine, sacrifice to the gods. Bear (the oblation), you who respect your friends, who
are intelligent; you are the wise, far-seeing messenger (of the gods).
10.110.02 Pure-tongued Tanu_napa_t, flavour the paths of the sacrifice which lead (to
success), moistening them with the sweet (Soma); elevating our praises and our rite by
understanding, convey our sacrifice to the gods. [Tanu_napa_t: Agni; tanu = a cow
that has calved and yields milk, whence comes butter, and from butter fire-- Agni is
thus the grandson of the cow; or, grandson of the waters, because from rain come the
trees and trees supplying fuel propagate Agni].
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10.110.03 Agni, who are the invoker (of the gods), and are to be solicited and praised,
come, being propitiated, along with the Vasus; you, O mighty (Agni), are the invoker
of the gods; do you, who are most entitled to worship, solicited by us, offer them
adoration.
10.110.04 In the beginning of the day the sacred grass, pointing eastwards, is strewn
with the prescribed (text) as a covering for the earth (of the altar); they spread it out
far and wide as a pleasant (seat) for the gods and Aditi.
10.110.05 Expanding wide, let the doors give access as gracefully decorated wives
give access to their husbands, divine doors, spacious and admitting all, be easy of
entry for the gods.
10.110.06 May the adorable Day and Night, the givers of sound repose, having
approached, sit down in the place (of sacrifice), two divine females, majestic and
richly ornamented, bearing beauty of a bright form.
10.110.07 Divine ministers, prior (to those of earth), repeaters of pious praise,
instituting the sacrifice at which men are to worship, (sit down) stimulating (the
priests) at the sacrifices, makers (of praises), indicating the eastern fire with the
prescribed (text). [Eastern fire: A_havani_ya. The two divine ministers, of Hota_ are
Agni and A_ditya].
10.110.08 May Bha_rati_ come quickly to our sacrifice, and Il.a_ thinking (of what
she has to do), like a human being; may Sarasvati_ also-- the three gracious
goddesses, sit down upon this pleasant sacred grass.
10.110.09 To the divine Tvas.t.a_, who decked the parental heaven and earth and all
the worlds with living forms, to him, O priest, who are venerable and wise, being
solicited byu us, offer oblation here today.
10.110.10 Offer of your own will in due season the food (and other) oblations of the
gods besmearing it. Let Vanaspati, S'amita_, the divine Agni, sweeten the oblation
with honey and butter. [Vanaspati_ = the deified yu_pa, or sacrificial post; or, the r.ca
may be addressed to the priest; S'amita_: immolator of the victim. The post, the
immolator and the fire are here deified as the chief instruments or agents of the
sacrifice].
10.110.11 As soon as he was born, Agni constructed a sacrifice, he was the preceder
of the gods; may the gods partake of the oblation presented with the sva_ha_ through
the voice of him the hota_ of the sacrifice at the eastern station.
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9.005.01 The pure-flowing (Soma) shines forth in its brightness, the universal lord,
the showerer of blessings, the rejoicer, uttering a loud sound. [The deities, samidh and
others are severally invoked in the successive verses. Soma is praised in the form of
the A_pris, and samiddhah is explained as samyagdi_ptah].
9.005.02 The pure-flowing Tanu_napa_t, rushes sharpening its splendour on the
height and hastens through the sky. [Tanu_napa_t = a name of Soma, abhyo ams'avo
ja_yante tatah somo ja_yate, from the waters are born beams, from these is born
Soma; hastens through the sky: that is, to the dron.akalas'a, according to the text, 'he
takes a_grayan.a libation with two streams'].
9.005.03 The pure-flowing bright (Soma), the bounteous giver, worthy of all praise,
shines forth in its might with the streams of water.
9.005.04 The bright golden-hued pure-flowing one rushes in its might, strewing the
sacred grass in the sacrifice with its points towards the cast.
9.005.05 The bright golden doors, praised by the priests together with the Soma, rise
up from the vast horizon.
9.005.06 The pure-flowing (Soma) longs for the fair-formed wide-reaching mighty
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Night and Dawn not yet visible.
9.005.07 I invoke the two divine priests, the two deities who behold men-- the pure-
flowing (Soma) is radiant and the showerer (of benefits). [The pure-flowing Soma is
radiant: perhaps, an identification of Soma with Indra, just as in the next verse, Indu
(i.e. Soma) is identified with Indra.
9.005.08 May the three beautiful goddesses, Bha_rati_, Sarasvati_, and mighty Il.a_,
come to this our offering of the Soma.
9.005.09 I invoke Tvas.t.a_, the first-born, the protector, the leader; the golden-
coloured pure-flowing Indu is Indra, the showerer, the lord of all creatures.
9.005.10 Pure Soma, consecrate with your streaming ambrosia the green bright
golden-hued Vanaspati with its thousand branches.
9.005.11 O all ye gods, come together to the consecration of the Soma-- Va_yu,
Br.haspati, Su_rya, Agni and Indra.
िॲड़्/अव ि঄ RV. vii , 2 , 1, in the school of ख़नढ़ठ
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7.002.01 Be gratified, Agni, by the (sacred fire) kindled by us today, emitting
abundant adorable smoke; touch with your scorching flames the celestial summit;
combine with the rays of the sun. [Kindled: samiddham; implies one of the A_pris, or
forms of fire, although used as an epithet].
7.002.02 We celebrate with sacrifices the greatness of the adorable Nara_s'am.sa
among those who are divinities, the performers of good works, the bright-shining, the
upholders of rites, who partake of both kinds of oblations. [Oblations of ghi_ and
libations of Soma, or other offerings: Nirukta viii.6].
7.002.03 Let us ever worship the Agni who is to be adored by us; the mighty, the
dextrous, the messenger passing between heaven and earth, the speaker of truth,
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kindled (of old) by Manu, as now by men, that (he may come) to the solemnity.
[Tanu_napa_t, is omitted; the su_kta is called an A_pri_ su_kta, apra s'abdoktatva_n
idam tanu_napa_d rahitam; Agni who is to be adored by us: i_l.enyam agnim is the
i_l.ita of the other a_pri_ su_ktas; mahema = to you (priests) worship].
7.002.04The worshippers bearing the sacred grass offer it with reverence, upon their
knees, to Agni; worship him, priests, with oblations, invoking him to (sit down) on the
spotted (grass), smeared with clarified butter.
7.002.05 The devout performers of holy rites, desirous of chariots, have had recourse
to the doors (of the sacrificial chamber); (the ladles), placed to the east, are plying the
fire with ghee at sacrifices, as the mother cows lick the calf, or as rivers (water the
fields). [The doors: among the A_pris; pu_rvi_ s'is'um na ma_tara riha_n.e samagruvo
na samanes.u an~jan = the prio (or eastern) calf like two mothers licking rivers, like in
sacrifices tey anoint = pu_rvi_ pra_gagre juhu_pabhr.tau, the two ladles -- the juhu
and upabhr.t-- placed at sacrifices with their ends to the east].
7.002.06 May the two youthful females, the divine and mighty day and night, the
invoked of many, the possessed of wealth, seated on the sacred grass, enitled to
adoration, be with us like an easily-milked cow for our welfare.
7.002.07 I am minded to adore you two sages, the ministrants at sacrifices of men,
from celebrated, convey our offspring aloft, and acquire (for our use) the precious
(treasures preserved) among the gods.
7.002.08 May Bharati, associated with the Bharatis; Il.a_ with gods and men; and
Agni and Sarasvati_ with the Sa_rasvatas; may the three goddesses sit down before us
upon this sacred grass. [Il.a_ with gods and man: il.a_ devabhir manus.yebhir agnih;
Il.a_ is associated with men; Agni is associated with the goddesses. This and the three
following verses are repeated from the second as.t.aka].
7.002.09 Divine Tvas.t.a_, being well-pleased, give issue to our procreative vigour,
whence (a son) manly, devout, vigorous, wielder of the Soma-bruising stone, and
reverencing the gods, may be born.
7.002.10 Vanaspati, bring the gods night; may Agni, the immolator, prepare the
victim; let him who is truth officiate as the ministering priest, for verily he knows the
birth of the gods.
7.002.11 Agni, kindled (into flame), come to our presence in the same chariot with
Indra, and with the swift moving gods; may Aditi, the mother of excellent sons, sit
down on the sacred grass, and may the immortal gods be satisfied with the
reverentially-offered oblation.
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122
3.004.01 Repeatedly, kindled, (Agni), wake up favourably disposed; (endowed) with
reiterated lustre, entertain the kind purpose of (granting us) wealth; bring, divine
Agni, the gods to the sacrifice; do you, the friend (of the gods), minister, well-
affected, to (your) parents. [Repeatedly kindled: samit sama = samiddha; or,
susamiddha, an appellative of Agni in the preceding su_ktas].
3.004.02 Tanu_napa_t, whom the deities, Mitra, Varun.a and Agni, worship daily
thrice a day, render this our sacred rain-engendering sacrifice productive of water.
3.004.03 May the all-approved praise reach the invoker of the gods; may Il.a_ first
proceed to worship and to praise with prostrations the showerer (of benefits) in his
presence; may the adorable (Agni), instigated (by us), worship the gods. [Il.a_ = the
il.ita of preceding su_ktas].
3.004.04 An upward path has been prepared for you both in the sacrifice; the blazing
oblations soar aloft; the invoker of the gods has sat down in the centre of the radiant
(hall); let us strew the sacred grass for the seats of the gods. [You both: Agni and the
Barhis, or sacred grass, to which, as in the parallel pages, the hymn is addressed].
3.004.05 The gods who gratify the universe with rain are present at the seven
offerings (of the ministering priests), when solicited with (sincerity of) mind; may the
many deities who are engendered in sensible shapes at sacrifices come to this our rite.
[Deities in sensible shapes: in preceding su_ktas, the doors of the hall of sacrifice, are
the personifications specified; here, the divinities presiding over the doors are
implied].
3.004.06 May the adored Day and Night, combined or separate, be manifest in bodily
form, so that Mitra, Varun.a, Indra, or (the latter), attended by the Maruts, may rejoice
us by their glories.
3.004.07 I propitiate the two chief divine invokers of the gods; the seven offerers of
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(sacrificial) food, expectant of water, gratify (Agni) with oblations; the illustrious
observers of sacred rites have saluted him in every ceremony as (identifiable), verily,
with water. [As identifiable with water: r.tam it ta a_huh = agnim eva r.tabhu_tam
a_huh, they have called Agni, verily, r.ta; r.ta is usually rendered water but it may
mean truth; in the preceding phrase, r.tam s'ansanta = udakam, desirous or expectant
of water].
3.004.08 May Bha_rati_, associated with the Bha_rati_s; Il.a_ with the gods and men;
and Agni, and Sarasvati_ with the Sa_rasvatas; may the three goddesses sit down
upon the sacred grass (strewn) before them. [bha_rati_bhih, with the connections of
Bharata, or the Sun: bharatasya su_ryasya sambandhini_bhih, perhaps intending the
solar rays; Bha_rati_ = va_k, speech; Il.a_ = bhu_mi, the earth; sarasvati_ =
ma_dhyamika_ va_k; the sa_rasvatas are the madhyamastha_nas, the middle regions,
or the firmament; Agni whose name is rather unconnectedly inserted, is thus identified
through their several personifications as goddesses, with heaven, mid-heaven, and
earth, or with speech or sound in the three regions].
3.004.09 Divine Tvas.t.a_, being well pleased, give issue to our procreative vigour,
whence (a son), manly, devout, vigorous, wielder of the (Soma-bruising) stone, and
3.004.10 Vanaspati, bring the gods nigh; may Agni, the immolator, prepare the
victim; let him who is truth officiate as the ministering priest, for, verily, he knows the
birth of the gods. [May Agni the immolator: agnir havih s'amita_ su_daya_ti: cf. RV
2.3].
3.004.11 Agni, kindled into flame, come to our presence in the same chariot with
Indra and with the swift-moving gods; may Aditi, the mother of excellent sons, sit
reverentially-offered oblation. [May the immortal gods: sva_ha_ deva_ amr.ta_
ma_dayanta_m: sva_ha_ = sva_ha_ka_ren.a yuktah, joined with or addressed by the
exclamation, sva_ha_].3.004.01 Repeatedly, kindled, (Agni), wake up favourably
disposed; (endowed) with reiterated lustre, entertain the kind purpose of (granting us)
wealth; bring, divine Agni, the gods to the sacrifice; do you, the friend (of the gods),
minister, well-affected, to (your) parents. [Repeatedly kindled: samit sama =
samiddha; or, susamiddha, an appellative of Agni in the preceding su_ktas].
3.004.02 Tanu_napa_t, whom the deities, Mitra, Varun.a and Agni, worship daily
thrice a day, render this our sacred rain-engendering sacrifice productive of water.
3.004.03 May the all-approved praise reach the invoker of the gods; may Il.a_ first
proceed to worship and to praise with prostrations the showerer (of benefits) in his
presence; may the adorable (Agni), instigated (by us), worship the gods. [Il.a_ = the
il.ita of preceding su_ktas].
3.004.04 An upward path has been prepared for you both in the sacrifice; the blazing
oblations soar aloft; the invoker of the gods has sat down in the centre of the radiant
(hall); let us strew the sacred grass for the seats of the gods. [You both: Agni and the
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Barhis, or sacred grass, to which, as in the parallel pages, the hymn is addressed].
3.004.05 The gods who gratify the universe with rain are present at the seven
offerings (of the ministering priests), when solicited with (sincerity of) mind; may the
many deities who are engendered in sensible shapes at sacrifices come to this our rite.
[Deities in sensible shapes: in preceding su_ktas, the doors of the hall of sacrifice, are
the personifications specified; here, the divinities presiding over the doors are
implied].
3.004.06 May the adored Day and Night, combined or separate, be manifest in bodily
form, so that Mitra, Varun.a, Indra, or (the latter), attended by the Maruts, may rejoice
us by their glories.
3.004.07 I propitiate the two chief divine invokers of the gods; the seven offerers of
(sacrificial) food, expectant of water, gratify (Agni) with oblations; the illustrious
observers of sacred rites have saluted him in every ceremony as (identifiable), verily,
with water. [As identifiable with water: r.tam it ta a_huh = agnim eva r.tabhu_tam
a_huh, they have called Agni, verily, r.ta; r.ta is usually rendered water but it may
mean truth; in the preceding phrase, r.tam s'ansanta = udakam, desirous or expectant
of water].
3.004.08 May Bha_rati_, associated with the Bha_rati_s; Il.a_ with the gods and men;
and Agni, and Sarasvati_ with the Sa_rasvatas; may the three goddesses sit down
upon the sacred grass (strewn) before them. [bha_rati_bhih, with the connections of
Bharata, or the Sun: bharatasya su_ryasya sambandhini_bhih, perhaps intending the
solar rays; Bha_rati_ = va_k, speech; Il.a_ = bhu_mi, the earth; sarasvati_ =
ma_dhyamika_ va_k; the sa_rasvatas are the madhyamastha_nas, the middle regions,
or the firmament; Agni whose name is rather unconnectedly inserted, is thus identified
through their several personifications as goddesses, with heaven, mid-heaven, and
earth, or with speech or sound in the three regions].
3.004.09 Divine Tvas.t.a_, being well pleased, give issue to our procreative vigour,
whence (a son), manly, devout, vigorous, wielder of the (Soma-bruising) stone, and
3.004.10 Vanaspati, bring the gods nigh; may Agni, the immolator, prepare the
victim; let him who is truth officiate as the ministering priest, for, verily, he knows the
birth of the gods. [May Agni the immolator: agnir havih s'amita_ su_daya_ti: cf. RV
2.3].
3.004.11 Agni, kindled into flame, come to our presence in the same chariot with
Indra and with the swift-moving gods; may Aditi, the mother of excellent sons, sit
reverentially-offered oblation. [May the immortal gods: sva_ha_ deva_ amr.ta_
ma_dayanta_m: sva_ha_ = sva_ha_ka_ren.a yuktah, joined with or addressed by the
exclamation, sva_ha_].
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126
2.003.01 Agni, the well-kindled, placed upon (the altar of) the earth, stands in the
presence of all beings; the invoker (of the gods), the purifier, the ancient, the
intelligent, the divine; let the venerable Agni minister to the gods. [A_pris: cf. 1.142;
1.188].
2.003.02 May the bright Nara_s'am.sa, illuminating the receptacles (of the offering)
making manifest by his greatness the three radiant (regions) and diffusing the oblation
at the season of sacrifice with butter-dispensing purpose, satisfy the gods.
[Nara_s'am.sa: in the preceding su_ktas, tanu_napa_t is the second personification of
Agni addressed; in this su_kta, he is omitted].
2.003.03 Agni, who are the venerable i_l.ita, do you, with mind favourably disposed
towards us, offer today sacrifice to the gods, before the human (ministrant priest) as
such, bring hither the company of the Maruts, the undecaying Indra, to whom, seated
on the sacred grass, do you priests offer worship.
2.003.04 Divine grass, let the Vasus, the VIs'vedevas, the adorable A_ditya, sit upon
this flourishing, invigrating, well-grown, sacred grass, strewn for the sakeof wealth
upon this altar, and sprinkled with butter. [Divine grass: the barhis, or a
personification of Agni].
2.003.05 Let the divine doors, spacious and easily accessible, and to be saluted with
prostrations, be set open; let them be celebrated as expansive, uninjurable, and
conferring sanctity upon the illustrious class (of worshippers), possessed of virtuous
progeny.
2.003.06 In regard of our good deeds, Day and Night, perpetually reverenced, are
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interweaving in concert, like two famous female weavers, the extended thread, (to
complete) the web of the sacrifice, liberal yielders (of rewards), containers of water.
[Like two famous female weavers: vayyeva ran.vite = vayya iva va_nakus'ale iva
s'abdite, stute].
2.003.07 Let the two divine invokers of the gods, the first (to be reverenced), most
wise, sincerely worshipping with sacred texts, most excellent in form, offering
homage to the gods in due season, present oblations in the three high places upon the
navel of the earth. [Two divine invokers of the gods: the personified fires of earth and
the firmament, under the character of, two ministeringpriests; the navel of the earth:
this is the usual altar; the three high places: sa_nus.u tris.u, are the three sacred fires:
ga_rhapatya, a_havani_ya and daks.in.a_].
2.003.08 May the three goddesses, Sarasvati_, perfecting our understanding, the
divine il.a_, and all-impressive Bha_rati_, having come to our dwelling, protect this
faultless rite, (offered) for our welfare.
2.003.09 May a tawny-hued, well-grown (son), the bestower of food, active, manly, a
worshipper of the gods, be born; may Tvas.t.a_ prolong for us a continuous (line of)
progeny, and may the food of the gods come also to us.
2.003.10 May Agni, who is Vanaspati, approving (of our rite), approach; and by his
especial acts fully dress the victim; may the divine immolator convey the burnt-
offering to the gods, knowing it to have been thrice consecrated. [By his especial acts:
agnir-havih su_daya_ti pra dhi_bhih =Agni, who is the supporter, or the instrument of
cooking or maturing fitly, cooks the oblation of the nature of the victim with various
acts, which are the means of cooking; he dresses the oblation, not under-dressing nor
over-dressing it: agnih pa_kadharo havih pas'uru_pam karmavis.es'aih
pa_kasa_dhanaih prakars.en.a su_daya_ti ks.a_rayati apa_ka_dhikapa_dira_hityena
havih pacati; the divine immolator: daivyah s'amita_: s'amita_ = the person who kills
the victim; Agni is the immolator of the gods: deva_na_m s'amita_; thice consecrated:
tridha_ samaktam = thrice anointed or sprinkled; the three rites or ceremonies are
termed: upastaran.a, avada_na, abhigha_ran.a].
2.003.11 I sprinkle the butter, for butter is his birth-place; he is nourished by butter;
butter is his radiance; Agni, showerer (of benefits), bring the gods to the offered
oblation; exhilarate them; convey to them the offering that has been reverently
sanctified. [cf. Yajurveda 17.88; dha_ma - dwelling, or radiance; alternative reading:
Adhvaryu, or priest, bring hither Agni to the oblation; exhilarate him; (and say to
him). Showerer (of blessings), convey the consecrated oblation (to the gods).
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1.188.01 You shine today, divine conqueror of thousands, kindled by the priests; do
you, who are the sapient messenger (of the gods), convey (to them) our oblation. [The
A_pris are also praya_jas; kim. devata_ = what sort of divinities are these; praya_ja,
that which is an especial object of worship; such as divinities presiding over the
seasons, over the metres of the Veda, over animals, over life, over the spirit, which are
forms of Agni: praya_ja ritudevata_s'chandodevata_h pas'udevata_h pra_n.adevata_
a_tmadevata_ itya_dina_ bahu_n paks.a_n upnyasyu bra_hman.a_ni ca pradars'ya
a_gneya_ eveti siddha_ntitam. samiddha is a particple, an epithet of deva; susamiddha
= well-kindled, a name of Agni].
1.188.02 The adorable Tanu_napa_t proceeds to the rite and combine with the
oblation, bearing (for the sacrificer) infinite (abundance of) food.
1.188.03 Agni, who are to be glorified, bring hither, being invoked by us, the adorable
gods, for you are the donor of thousands. [Who are to be glorified: id.ya = i_l.ita;
nara_s'amsa, a term which normally precedes i_l.ita, is here omitted].
1.188.04 By the power (of their prayers) they have strewn the sacred grass, the seat of
numerous heroes, pointing to the east; on which, A_dityas, you are manifest.
1.188.05 They have sprinkled water on the doors (of the hall of sacrifice), which are
variously and perfectly radiant, manifold, excellent, many, and numerous. [The doors:
vira_t samra_t. vibhvi_h prabhvi_h bahvi_s'ca bhu_yasi_s'ca ya_h: the last two
epithets are epithets of number, and the rest are names].
1.188.06 Let the brilliant and beautiful Day and Night, who shine with surpassing
129
lustre, sit down here (upon the sacred grass).
1.188.07 Let these two chief, well-spoken, divine sages, the invokers (of the gods),
perform this our sacrifice.
1.188.08 Bha_rati_, Il.a_, Sarasvati_, I invoke you all, that you may direct us to
prosperity. [Bha_rati_, the goddess presiding over the heaven; Il.a_, the goddess
presiding over the earth; Sarasvati_, the goddess presiding over the firmament; they
are all three considered to be special manifestations of the majesty of the sun: etis tisra
a_dityaprabha_va vis'es.aru_pa itya_huh].
1.188.09 Tvas.t.a_, who is the master (in fashioning) the forms (of beings), has made
all animals distinct; grant us, (Tvas.t.a), their increase. [Tvas.t.a ru_pa_n.i hi prabhuh:
kartum = to make, is understood; Tvas.t.a_ is the divinity presiding over the
implements of sacrifice;he also fashions beings in the womb as soon as begotten:
retasah siktasya tvas.t.a_ ru_Pa_n.i vikaroti; or, yonau sr.s.t.a_ni ru_pa_n.i
kartumprabhuh].
1.188.10 Vanaspati, deliver of yourself the victim to the gods, so that Agni may taste
the oblation.
1.188.11 Agni, the preceder of the gods [puroga_ puroga_mi_; agnih
kasma_dagran.i_rbhavati (Nirukta 7.14), is characterized by the Ga_yatri_ measure;
he blazes when the oblations are offered.
130
131
10.070.01 Graciously accept, Agni, this my fuel (placed) on the place of libation (the
altar); delight in the butter-laden (spoon); most wise, rise up upon the lofty place of
the earth for the propitiousness of the days through the worship of the gods.
10.070.02 May Nara_s'am.sa, the preceder of the gods, come here with his horses of
various forms; deserving of adoration, chief of the gods, may he effuse (oblations) to
the gods by the path of the sacrifice with praise.
10.070.03 Men offering oblations adore the eternal Agni to (induce him to perform)
the duty of messenger (to the gods); do you with your stalwart draught horses and
your well-turning chariots bear (our offering) to the gods, and sit down here as the
ministrant priest.
10.070.04 May our (sacred grass) acceptable to the gods, twining crookedly be
stretched out, may it be long, lengthy, and fragrant; with mind free from wrath, divine
Barhis, offer worship to the gods desiring (the sacrifice), of whom Indra is the chief.
10.070.05 Be in contact, doors, with the lofty height of heaven, or expand according
to the measure of the earth; desiring the gods, desiring a chariot, sustain without might
the shining chariot (that is mounted) by the mighty gods.
10.070.06 Radiant daughters of heaven, Dawn and Night, sit down on the place of
132
sacrifice; O you, who are desirous and possessed of affluence, may the gods desirous
(of oblations) sit down on your spacious lap.
10.070.07 (When) the grinding-stone is uplifted, the mighty Agni kindled, the
acceptable vessels (ready) on the lap of earth; (then), most learned priests, who take
the foremost place, bestow wealth upon us at this sacrifice.
10.070.08 Sit down, you three goddesses, upon this broad barhis, we have spread it
out for you; Il.a_, radiant (Sarasvati_) and bright-footed (bha_rati_) accept our
sacrifice and well-presented oblations as if they were Manu's.
10.070.09 Divine Tvas.t.a_, since you have attained to beauty (through our
oblations), and have become the associate of the An:girasas, do you, the bestower of
wealth, possessed of precious treasure, and knowing (to whom each portion belongs),
offer the food of the gods (to them).
10.070.10 Vanaspati, who are intelligent, having fastened it with a rope, convey the
food of the gods; may the divine (Vanaspati) taste it, may he take the oblations (to the
gods); may heaven and earth protect my invocation. [Vanaspati: the sacrificial post or
stake (yu_pa)].
10.070.11 Bring, Agni, to our sacrifice Varun.a and Indra from heaven, and the
Maruts from the firmament, may the adorable universal gods sit down on the sacred
grass, and may the immortal deities rejoice in (the oblation presented with) the
sva_ha_.
133

Itihasa of Yajnayudhani Weapons For Yajn

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Itihasa of Yajnayudhani Weapons For Yajn

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Itih sa of yajñ yudh ni, 'weapons for yajñ ' in Rigveda,

made by ऋॐॲ , bhu 'skilled artificers'

Twelve objects/phenomena are deified pryas:1.agni, 2. tanUnapAt, 3. narAs'amsa,

वन- ्-पतत a [p= 918,2] du. pestle and mortar RV. i , 28 , 6

From a description of the implements given in the etyma of Bh ratiya

पार॓--लख़ा f. a small spoon used at sacrifices , A1ryav. (cf. पर॓-लख़ा Ka1tyS3r.)

“Kamboja probably included the Pamirs, Badakshan, and parts of Tajikistan

1. Proceedings and Transactions of the All-India Oriental Conference, 1930, p 102-

RV 1.61.6 For that Indra, verily Tvas.t.a_ sharpened the well-

10. ्य [p= 1271,2] n. an implement used in sacrifices (described as a flat piece of

ऋॐॲ, bhu 'artisans' make the implements for yajñ .

Implements and Vessels Used in Vedic Sacrifice

Identity of Soma as prī divinity in Rigveda. Baudh yana- rautasūtraŚ Archaeometallurgy,

In these excerpts, Baudh yana explains how Soma is measured.

A gold grains and cube with quartz.

Vulture mine, Arizona.Primary dipping vein. "Gold

ढ़न॑धॼ नख़विपनि঄ पख़॑ािॼ नख़॓ािनि

ॏनफ़द ঄ राचॱि्॑ ओिढ़ा पख़॑ाि तॴ ॆि् फ़र॓঄

Adapted from Haug's notes from Sa_yan.a's commentary on Aitareya Bra_hman.a:

Analytical Examinations of the Metal Finds

Satapata Brahmana (8-1-1-2) tells us that metres, like

Replica of the altar and utensils used during Athirathram

Tenth to Twelfth day

Phala or objective of Soma:

अपा॑ ढ़ॼ्॑॑ अ॑ॴिा अ्॑ ऋग यॼनि॓ अनख़ॉा॑ ॉॸ ख़ाि्

Soma confers wealth, treasures:

Baudh yana- rauta-sutra

Volume View Book

10.034.01 The large rattling dice exhilarate me as torrents borne on a precipice

BY: PARAMESWARAN MURTHIYEDATH (2005)

Baudhayana’s work and his successors

Recent Interest in the Sulbasutras

Sutra 12.1 Kankacita etenatma Puccam ca vyakhyatam

(The Kankacita defined here will have a body and a tail)

The Kankacita is known to have the shape of a heron.

(the head will be obtained as 5 by definition of its shape)

As per the definition the head will be obtained as 5.

Saptapancasaddaksine paksa upadadhyat

(5 and 7 to south the wing will be obtained next the north)

Vyayamena sapradesna paksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat adhyardhavasisyate

taya pucchasyavastat padavaratnimatravaratnyantaralau pradesavyasau bhavatah tayoravastadabhito

Figure 2: Karika city layer 1

evam saratnipradesah saptavidhah sampadyate evam saratnipradesah saptavidhah sampadyate

athestakanam vikarah pancamabhagiyah savayavah padestakam caturbhih

Figure 4: Karika city, Layer 2

pradesena pradesasavises eneti adhyardhestakam caturbhih parigrhniyadardhavyayamena

Athestakanam Vikarah pancamabhagiyah savayavah padestakam caturbhih

tasam caturasrapadyah sastamabhagah padayorupadhaya sesam yathayogam yathasamkhyam yathaadharmam

Gandhara Kamboja Kekaya Madra Kuru-Bahlika

Dispute between Karna and Shalya in the midst of Kurukshetra

The food habbits of Bahlikas in the town of Sakala

Bahlika the son of Pratipa

Bahlika the son of Pratipa is mentioned in the following passages in Mahabharata:-

Bahlika the father of Somadatta

 Bhishma's rating of Vahlika as a car-warrior:-Vahlika is in my judgment, an Atiratha.(5,168)

Other Bahlika kings

 King of Darada Kingdom is described as the ruler of Valhika (2,43)

Tribute from Bahlika to Pandava king Yudhisthira

Bahlika army in Kurukshetra War

Rise of Bahlika Power in Ancient India

S'adaupas'ada are also known as PaurUravasau.

Evidence Cluster No. 1 from an anthropomorph as hieroglyph-multiplex of Indus Script Corpora