This is a tribute to the brilliant ongoing work of documenting Veda textual tradition. See links in: https://sa.wikisource.org/wiki/ऋग्वेदः_सूक्तं_१.१ The very first r̥ca reads: ॐ अ॒ग्निमी॑ळे पु॒रोहि॑तं य॒ज्ञस्य॓ दे॒वमृ॒त्विज॑म् । होता॑रं रत्न॒धात॑मम् ॥१॥ I submit that there is abundant archaeological attestation of Veda tradition in many archaeological sites of Greater India. One site of Binjor (near Anupgarh) has yielded stunning evidence of a Yupa and an associated inscription on an Indus Script Seal which documents a metalwork catalogue. The earliest evidence of Veda archaeology (ca. 2500 BCE) comes from Binjo (near Anupgarh) --where an aṣṭāśri octoganal pillar was found in situ, on the banks of River Sarasvati. Almost all yupa inscriptions, all are aṣṭāśri octoganal pillars (19 including 5 of Mulavarman in Borneo) refer to performance of a Soma Samsthā yajña. One Mulavarman inscription cites from Rāmāyaṇa the expression bahusuvarṇaka..,.There is also archaeological evidence of śyena citi from Purola, Uttarakhand. Most emphatic veda continuum. Shapes of Yupa: A. Commemorative stone yupa, Isapur – from Vogel, 1910-11, plate 23; drawing based on Vedic texts – from Madeleine Biardeau, 1988, 108, fig. 1; cf. 1989, fig. 2); C. Miniature wooden yupa and caSAla from Vaidika Samsodana Mandala Museum of Vedic sacrificial utensils – from Dharmadhikari 1989, 70) (After Fig. 5 in Alf Hiltebeitel, 1988, The Cult of Draupadi, Vol. 2, Univ. of Chicago Press, p.22). See: Binjor Indus Script Seal & Mulavarman yupa inscription, relate to yajna for बहुसुवर्णक, bahusuvarṇaka, 'to possess many gold pieces' Mirror: http://tinyurl.com/z2q2rk6 http://bharatkalyan97.blogspot.com/2015/12/binjor-indus-script-seal-mulavarman.html बहुसुवर्णक, bahusuvarṇaka, is a metaphor for the creation of wealth using fire, fire-altars as furnaces/smelters and yupa as invocations to Cosmic pillar to the Cosmic Dancer, the Paramatman to transmute mere earth and stones into metal, a form of wealth. The entire Vedic corpus is in nuce (nutshell) in the processing of Soma, which is NOT a herbal but a mineral. A synonym for Soma is ams'u with the cognate ancu 'iron' (Tocharian). The key expressions on the Mulavarman Yupa inscription (D.175) are in Samskritam and one fragment reads: yaṣṭvā bahusuvarṇakam; tasya yajñasya yūpo ‘yam. This means "from yaṣṭi to possess many gold pieces; this Yupa is a commemoration of that yajna." The interpretation is comparable to the Indus Script seal found in Binjor in the context of a fire-altar with an octagonal brick, yaṣṭi. The seal can be seen as an inscription detailing metalwork catalogue of the bahusuvarṇnakam 'to possess many gold pieces' that was produced by the smelter/furnace operations using the fire-altar. Prof. Kern identified the expression with bahuhiraNya, a particular Soma yajna. Balakanda of Ramayana has this citation: nityam pramuditAh sarve yatha kRitayuge tathA as'vamedha s'atair ishTvA tathA bahusuvarNakaih (Balakanda I,95) The referene is to the as'vamedha sattra desirous of possessing many pieces of gold. In reference to Meghanada's yajna, the reference reads: agniSTomo 's'vamedha ca yajno bahusuvarNakah rAjasUyas tathA yajno gomedho vaishNavas tathA mahes'vare (UttrakANDa, XXV, 87-9) A rajasuya yajna with prayers to mahesvara is also linked to many pieces of gold. Another translation: "Thereupon that foremost of twice born ones Usanas of austere penances, wishing the prosperity of the sacrifice, said to Ravana the Rakshasa chief "Hear,I shall relate to thee everything, O king ;thy son hath met with the fruits of many a sacrifice Agnistoma, Asvamedha, Bahusuvarnaka." (vrm 7.30) (B.Ch. Chhabra, Yupa Inscriptions, in: Jean Ph. Vogel, 1947,India antiqua, Brill Archive, p.82). Generosity associated with the performance of yajna is referenced in a yupa inscription. “Let the foremost amongst the priests and whatsoever pious men (there be) hear of the generous deed of Mulavarman, let them hear of his great gift, his gift of cattle, his gift of a kalpavRkSam, his gift of land'.” Thus, Yupa inscriptions of Mulavarma are delineation of an economic institution. Vogel also notes: “Both the scholarship and the workmanship of our yupa inscriptions bear testimony of a considerable degree of Hindu culture in Eastern Borneo during the period to which they belong.” Mulavarman's grandfather KuNDungga had the cooperation of Hindu priests 'who had come here from different parts' (Vogel, 1918, pp. 167-232). The names of yajnas are clearly related to the 'fruits of the yajna' which is to yield बहुसुवर्णक, bahusuvarṇaka, 'many pieces of gold'. That this is recognized as a Soma yajna reaffirms Soma not as a herbal but a mineral smelted, furnaced through fire-altars, yajñakuṇḍa. Kalyanaraman Sarasvati Research Centre

This monograph is an account of Yupa inscriptions, most of which were found on sites on the banks of Vedic River Sarasvati mostly in Rajasthan. Yupa inscriptions were also found in Indonesia ascribed to the reign of King Mulavarman in Kutai kingdom. See: http://bharatkalyan97.blogspot.in/2015/12/yastifound-in-fire-altars-of-sarasvati.html yaṣṭi.found in fire-altars of Sarasvati-Sindhu civilization signifies a baton, skambha of divine authority impacting metalwork of Bharatam Janam See: http://bharatkalyan97.blogspot.in/2015/12/kalibangan-terracotta-cake-hieroglyphs.html Kalibangan terracotta cake hieroglyphs deciphered. Yupa-skambha, Vedic religion in Bronze Age of Sarasvati-Sindhu civilization Yupa inscriptions are a continuum of the Indus Script tradition of documenting metalwork catalogues with documentation of wealth distributed to the participants and performers of specific Yajna-s such as as'vamedha, agniSToma. This continuum lends credence to the possibility that Soma yajna did not involve a herbal but a mineral consistent with the synony of Soma, ams'u which has a Tocharian cognate, ancu, 'iron'. Knot in a Brahmi inscription, Gujarat with the same hieroglyph as shown on Indus Script Corpora metalwork catalogues. This hieroglyph of 'knot' signifies: dhāu 'rope' rebus: dhāu 'metal' PLUS मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’. Thus, metallic ore. Rebus: mēdhḥ मेधः 1 A sacrifice, as in नरमेध, अश्वमेध, एकविंशति- मेधान्ते Mb.14.29.18. (com. मेधो युद्धयज्ञः । 'यज्ञो वै मेधः' इति श्रुतेः ।). An offering, oblation. Mohenjo-daro. m1457 Copper plate with 'twist' hieroglyph. Mohejodaro, tablet in bas relief (M-478) The first hieroglyph-multiplex on the left (twisted rope): dhāu 'rope' rebus: dhāu 'metal' PLUS मेढा [ mēḍhā ] 'a curl or snarl; twist in thread' rebus: mẽṛhẽt, meḍ ‘iron’. Thus, metallic ore. Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali) meď 'copper' (Slovak) Santali glosses: Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream: Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M). Ma. <i>mErhE'd</i> `iron'. Mu. <i>mERE'd</i> `iron'. ~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M). Ho <i>meD</i> `iron'. Bj. <i>merhd</i>(Hunter) `iron'. KW <i>mENhEd</i> @(V168,M080) http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda — Slavic glosses for 'copper' Мед [Med]Bulgarian Bakar Bosnian Медзь [medz']Belarusian Měď Czech Bakar Croatian KòperKashubian Бакар [Bakar]Macedonian Miedź Polish Медь [Med']Russian Meď Slovak BakerSlovenian Бакар [Bakar]Serbian Мідь [mid'] Ukrainian[unquote] http://www.vanderkrogt.net/elements/element.php?sym=Cu Miedź, med' (Northern Slavic, Altaic) 'copper'. One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’. The remrkable feature of the Yupa inscriptions are that they are in Samskritam. Patanjali comments on the nature of mleccha mispronunciations in the context of evaluation of such inscriptions in Samskritam. Seals have also been found on the fire-altars associated with the Yupa inscriptions. This feature of the presence of seals in fire-altars and the use of inscribed Yupa is traceable to the inscribed Kaluban terracotta cake detailed at http://bharatkalyan97.blogspot.in/2015/12/kalibangan-terracotta-cake-hieroglyphs.html The Kalibangan terracotta cake recorded Indus Script hieroglyphs which signfied bhaTa 'warrior' rebus: bhaTa 'furnace' kolmo 'rice plant' rebus: kolimi 'smithy, forge' koD 'horn' rebus: koD 'workshop' kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron' Thus, the terracotta cake inscription signifies a iron workshop smelter/furnace and smithy. This Indus Script tradition of inscribed records as metalwork catalogues on seals and terracotta cakes continues in the historical periods as Yupa inscriptions of Rajasthan and Indonesia detailing the types of yajna-s performed commemorated by the Yupa inscriptions. The Yupa inscriptions are recorded on large-sized yaSTi of the type found in Binjor, Kalibangan, Lothal. Indus Script Corpora are catalogues of metalwork recorded in mleccha, the spoken version of later-day languages of Indian Sprachbund. Yupa Inscriptions are records of yajna-s performed in Samskritam, the litearary version of later-day languages of Indian Sprachbund. This continuum of fire-worship tradition evidenced by metalwork catalogues and fire-worship in Yajna-s points to the possibility that some of the yajna-s were metalwork processes involving fire-altars and producing varieties of metals such as soma (electrum) or gold (suvarNam); inscriptions indicate that wealth was distributed by yajamAna or rulers such as GajAyana SarvatAta or Pushyamitra, to the priests and participants of the yajna-s. One Yupa inscription of Mulavarman, Kutai kingdom, Indonesia refers to suvarNam, gold. Candi-Sukuh inscribed Sivalinga (6 ft. tall Yupa) may also be evaluated in this tradition of metalwork since the Candi-Sukuh linga has an inscription which refers to Gangga sudhi 'purification by portable furnace, kanga'. According to the Allahabad Yupainscription, in 2nd century CE, a village was assigned by the king to a minister who donated it to a priest. (Epigraphia Indica, (EI), XXVII, no. 43, lines 8-9, also see cf. EI, XXIV, no. 34, p. 252). “Patanjali deplores the barbarisms of his time, for example, the 'wrong' words for 'cow' (gAvI, goNI, gotA, gopotalikA), which he includes among the 'many debased' (apabhrams'a) forms of the 'few' correct words. Based on the evidence of the inscriptions, this describes the linguistic situation perfectly. Or, he complains about the wrong pronunciation of the three s-sounds of Sanskrit that had collapsed nearly everywhere in north India into one phoneme – a factor that, incidentally, again points to MathurA, where it is seen in inscriptions of brahmins. His advice therefore is not to talk like the barbarians (mleccha). The Sanskrit of his time

Indus Script Corpora and archaeological excavations of 'fir-altars' provide evidence for continuity of Vedic religion of fire-worship in many sites of Sarasvati-Sindhu civilization. The metalwork catalogues of deciphered Indus Script Corpora are consistent with the fire-altars found in almost every single site of the civilization consistent with the documentation of yajna, fire-worship, in ancient texts of the Veda. The continuity of Vedic religion, veneration of Ruda-Siva among Bronze Age Bhāratam Janam, 'metalcaster folk' is firmly anchored. kole.l signified 'smithy'. The same word kole.l also signified ' temple' (Kota) In Hindu civilization tradition, yupa associated with smelter/furnace operations in fire-altars as evidenced in Bijnor, Kalibangan, Lothal and in many yupa pillars of Rajasthan of the historical periods, assume the aniconic form of linga venerated as Jyotirlinga, fierly pillars of light. A 10th-century four-headed stone lingam (Mukhalinga) from Nepal. The 'mukha' or face on the linga is a hieroglyph read rebus muh 'ingot'. Hieroglyph: mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali) muhA 'the quantity of iron produced at one time in a native smelting furnace' (Santali. Campbell) "The worship of the lingam originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Skambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma , and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in the Shiva Purana." https://en.wikipedia.org/wiki/Shiva Sources: Harding, Elizabeth U. (1998). "God, the Father". Kali: The Black Goddess of Dakshineswar. Motilal Banarsidass. pp. 156–157 Vivekananda, Swami. "The Paris Congress of the History of Religions" The Complete Works of Swami Vivekananda 4. Chaturvedi, B. K. (2006), Shiv Purana (First ed.), New Delhi: Diamond Pocket Books (P) Ltd, Pl. XXII B. Terracotta cake with incised figures on obverse and reverse, Harappan. On one side is a human figure wearing a head-dress having two horns and a plant in the centre; on the other side is an animal-headed human figure with another animal figure, the latter being dragged by the former. Decipherment of hieroglyphs on the Kalibangan terracotta cake: bhaTa 'warrior' rebus: bhaTa 'furnace' kolmo 'rice plant' rebus: kolimi 'smithy, forge' koD 'horn' rebus: koD 'workshop' kola 'tiger' rebus: kolle 'blacksmith', kolhe 'smelter' kol 'working in iron' Thus, the terracotta cake inscription signifies a iron workshop smelter/furnace and smithy. http://www.asi.nic.in/nmma_reviews/Indian%20Archaeology%201963-64%20A%20Review.pdf The recording of an inscription on a terracotta cake used in a fire-altar continues as a tradition with inscriptions recorded on Yupa, 'pillars' of Rajasthan indicating the type of yajna's performed using those Yupa. See: http://bharatkalyan97.blogspot.in/2015/12/binjor-seal-with-indus-script.html Binjor seal with Indus Script deciphered. Binjor attests Vedic River Sarasvati as a Himalayan navigable channel en route to Persian Gulf The fire altar, with a yasti made of an octagonal brick. Photo:Subhash Chandel, ASI Binjor seal Binjor (4MSR) seal. Binjor Seal Text. Fish + scales, aya ã̄s (amśu) ‘metallic stalks of stone ore’. Vikalpa: badhoṛ ‘a species of fish with many bones’ (Santali) Rebus: baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) gaNDa 'four' Rebus: khaNDa 'metal implements' Together with cognate ancu 'iron' the message is: native metal implements. Thus, the hieroglyph multiplex reads: aya ancu khaNDa 'metallic iron alloy implements'. koḍi ‘flag’ (Ta.)(DEDR 2049). Rebus 1: koḍ ‘workshop’ (Kuwi) Rebus 2: khŏḍ m. ‘pit’, khö̆ḍü f. ‘small pit’ (Kashmiri. CDIAL 3947) The bird hieroglyph: karaḍa करण्ड m. a sort of duck L. కారండవము (p. 0274) [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. (Telugu) karaṭa1 m. ʻ crow ʼ BhP., °aka -- m. lex. [Cf. karaṭu -- , karkaṭu -- m. ʻ Numidian crane ʼ, karēṭu -- , °ēṭavya -- , °ēḍuka -- m. lex., karaṇḍa2 -- m. ʻ duck ʼ lex: see kāraṇḍava -- ]Pk. karaḍa -- m. ʻ crow ʼ, °ḍā -- f. ʻ a partic. kind of bird ʼ; S. karaṛa -- ḍhī˜gu m. ʻ a very large aquatic bird ʼ; L. karṛā m., °ṛī f. ʻ the common teal ʼ.(CDIAL 2787) Rebus: karaḍā 'hard alloy' Thus, the text of Indus Script inscription on the Binjor Seal reads: 'metallic iron alloy implements, hard alloy workshop' PLUS the hieroglyphs of one-horned young bull PLUS standard device in front read rebus: kõda 'young bull, bull-calf' rebus: kõdā 'to turn in a lathe'; kōnda 'engraver, lapidary'; kundār 'turner'. Hieroglyph: sãghāṛɔ 'lathe'.(Gujarati) Rebus: sangara 'proclamation. Together, the message of the Binjor Seal with inscribed text is a proclamation, a metalwork catalogue (of) 'metallic iron alloy implements, hard alloy workshop' Naga worshippers of fiery pillar, Amaravati stup Smithy is the temple of Bronze Age: stambha, thãbharā fiery pillar of light, Sivalinga. Rebus-metonymy layered Indus script cipher signifies: tamba, tã̄bṛā, tambira 'copper' http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html Railing crossbar with monks worshiping a fiery pillar, a symbol of the Buddha, Yupa. Yupa from 4th century. Kutai Kingdom. Inscription in Samskritam. Badwa Yupa. "It is one of the four places in Rajasthan where such inscribed stone pillars were erected during the third century CE. which signifies the revival of the Vedic religion. The Badva stone pillar inscription informs that the Maukharis performed a triratra sacrifice in CE. 239. It is probable that these Maukharis owed allegiance to the Malava Republic. Four pillars have been shifted to the State Archaeology Museum at Kota and only one remains at the site." http://asijaipurcircle.com/badva_baran.php# " praśasti प्रशस्ति Yūpa यूप Indonesia: kuṇḍuṅgasya mahātmanaḥ; putro śvavarmmo vikhyātah; vaṅśakarttā yathāṅśumān; tasya putrā mahātmānaḥ; trayas traya ivāgnayaḥ; teṣān trayāṇām pravaraḥ; tapo-bala-damānvitaḥ; śrī mūlavarmmā rājendro; yaṣṭvā bahusuvarṇnakam; tasya yajñasya yūpo ‘yam; dvijendrais samprakalpitaḥ. http://pustaka-pusaka.blogspot.in/2011/09/prasasti-yupa-bagian-i.html Yupa Inscriptions The Kutei Stone Yupa posts in Pallava script from Kutai Publisher: Lontar Foundation Place of Publication: Jakarta Publisher URL: http://www.lontar.org Created: 2013 Source Rights: National Museum, Indonesia Medium: Stone Yupa inscription in Pallava script YUPA PILLARS IN BICHPURIA TEMPLE "The inscribed stone is a sacrificial pillar, commemorating revival of the rituals during third century A.D. by the Malava Republic. The inscription records the erection of the pillar by Ahisarman, son of Dharaka who was Agnihotri. Ahisarman seems to be a Malava chief.."

मेधा = धन Naigh. ii , 10. pl. products of intelligence , thoughts , opinions) RV mēdhḥ मेधः An offering, oblation. Thus, mēḍhā 'stake' is central to the process of yajna and creation of धन dhana, 'wealth'. (See depiction of dwarfs on Bhutesvar sculptural friezes to signify kharva, karba). Hieroglyph: खर्व (-र्ब) a. [खर्व्-अच्] 1 Mutilated, crippled, imperfect; Yv. Ts.2.5.1.7.-2 Dwarfish, low, short in stature. Rebus: karba 'iron' = kharva 'a treasure, nidhi of Kubera'. The yupa hieroglyph on railed platform on scultptures and coins of ancient mints is a significant semantic indicator of smelting processes in metalwork. The skambha described in Atharvaveda (X.7) and in Rigveda ricas signyfying a vedic yajna process is mirrored as yupa in fire-altars of Sarasvati-Sindhu civilization. A variant orthographic form of octagonal vajra hints at the purpose signified by the Skambha as vajrasanghAta, 'an adamantine glue' in the transmutation processes converting dhAtu 'mineral ores' into 'metal, hard alloys'. This purpose is demonstrated on sculptural friezes of Mathura and Bhutesvar. वज्र--संघात [p= 914,1] m. N. of a kind of hard cement (Varahamihira's Brihatsamhita) mfn. having the hardness or compactness of adamant (said of भीम) MBh. i , 4775 Figures 1 to 10 are examples of the continuity of use of Indus Script hieroglyphs to signify metalwork by Bharatam Janam, 'metalcaster folk'. Fig. 4 Ujjain coin hieroglyphs are deciphered. kanda 'fire-altar' for poLa 'magnetite ore' and mẽṛhẽt, meḍ 'iron' सं-घट [p= 1130,1] mf(आ)n. heaped , piled up AgP. The coin hieroglyphs signify iron ore smelting in a mint. Pa. kandi (pl. -l) necklace, beads. Ga. (P.) kandi (pl. -l) bead, (pl.) necklace; (S.2) kandiṭ bead. (DEDR 1215) Rebus: Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. kandafire trench. Kui kanda small trench for fireplace. Malt. kandri a pit. (DEDR 1214) Dotted circle is a cross-section of a strand of rope: S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. Rebus: dhāˊtu n. ʻsubstance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour)ʼ; dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ(Marathi) धवड (p. 436) [ dhavaḍa ] m (Or धावड) A class or an individual of it. They are smelters of iron (Marathi) gaNDa 'four' (DEDR 1215) Rebus: kanda 'fire-altar'. Thus, the Ujjain hieroglyph of four joined dotted circles signifies a fire-altar for mineral ore. poLa 'zebu' Rebus: poLa 'magnetite ore' sangaDa 'lathe, portabe furnace' Rebus: sanghAta 'adamantine glue', sangara 'proclamation'; mēḍhā m A stake, esp. as forked. Rebus: mẽṛhẽt, meḍ 'iron' (Munda.Ho.) med 'copper' (Slavic languages) Octagonal yupa brick found in the fire-altar, Binjor. Discovered together with an Indus Script seal which signified metalwork. http://bharatkalyan97.blogspot.in/2015/12/binjor-fire-altar-with-octagonal-yasti.html See: http://bharatkalyan97.blogspot.in/2015/05/rigveda-soma-not-herb-not-drink-but.html A tree associated with smelter and linga from Bhuteshwar, Mathura Museum. Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE. Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). See: http://bharatkalyan97.blogspot.in/2015/05/worship-of-siva-linga-is-cultural-bond.html Worship of linga, of fire by Gandharva, Shunga period (ca. 2nd cent. BCE), ACCN 3625, Mathura Museum. Worship signified by dwarfs, Gaṇa (hence Gaṇeśa = Gaṇa + īśa). Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi) मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda) The association of dwarfs, gaNa is consistent with the interpretation of Ganesa iconography with elephant trunk: karibha 'elephant trunk' (Pali) rebua: karba 'iron' (Tulu); ib 'iron' (Santali) kara 'trunk' khAr 'blacksmith'. Siva's gaNa are Bharatam Janam, metalcaster folk engaged with पोतृ pōtṟ 'purifier priest' to signify dhā̆vaḍ, dhamaga 'smelter, blacksmith' working in alloy of three mineral ores. The garland depicted on Bhutesvar sculptural friezes signifies: dhAman 'garland, rope' rebus: dhamaga 'blacksmith', dhmAtr 'smelter'. Candi Sukuh and Candi Ceto narratives are a cultural continuum of the veneration of Skambha, the fiery pillar of light as a metaphor for the cosmic dance of dissolution and regeneration. The message of the narratives of Indus Script hieroglyphs and of Candi Sukuh/Candi Ceto are the same: liberation of the Atman as the Cosmic Dancer renders in rhythm and dance the Cosmic phenomena finding expression in kole.l 'smithy' i.e. kole.l 'temple'. This skambha, fiery pillar of light, seems to be of an infinite size with roots and end indeterminate, a concept represented in sculptural frieze of Darasuram, Airavatesvara temple. Both Brahma and Vishnu are signified as searching for the the beginning and end of the skambha as īśvará, now presented in an iconic form with multiple hands, hence multiple attributes.

I suggest that yupa inscriptions and yupa found in archaeological sites of Kalibangan and Binjor (in fact, in almost every single site of the civilization) are flags hoisted as proclamations of metalwork signified by Somayaga in the Vedic tradition. This Vedic tradition exemplified by flasposts is seen in an extensive civilizational contact area from Haifa, Israel to Hanoi, Vietnam which is, in effect, the Ancient Maritime Tin Road which preceded by 2 millennia, the Ancient Silk Road. The Tin Road linked the tin belt of the world with the regions which demanded tin to create tin-bronzes during the urban revolution unleashed by the Bronze Age. This is an addendum to http://bharatkalyan97.blogspot.in/2016/01/casala-on-octagonal-sivalinga-as-yupa.html चषालः caṣāla on octagonal Sivalinga -- as Yupa, fiery pillar of light in a smelting process A flagpost is proclamation. sangaDa 'lathe' 'portable furnace' as a device in front of the one-horned young bull is also sangara 'proclamation'. The significance of the yupa with caSAla in a somayaga gets replicated, as an abiding Indus Script hieroglyph-multiplex hypertext, on many artifacts from an extensive contact zone from the Ancient Near East to Ancient Far East. The tradition of processions of flagposts with hieroglyphs atop continued in Sumer/ Mesopotamia as may be seen from the following example: Cylinder seal with kneeling nude heroes, ca. 2220–2159B.C.; Akkadian Mesopotamia Red jasper; H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) (L.1992.23.5) "Four representations of a nude hero with six sidelocks of hair appear on this cylinder seal. Each wears a three-strand belt with a tassel. In all cases, the hero kneels on one knee and with both hands holds up a gatepost standard in front of his raised leg. Two vertical lines of inscription, one placed before a hero and another placed behind a second hero, give the name as Shatpum, son of Shallum, but do not provide an official title. Placed vertically in the field, a serpent appears behind one hero. In the spaces between the tops of the standards are four symbols: a sun disk, a lunar crescent, a fish, and a vase with flowing streams of water." http://www.metmuseum.org/toah/works-of-art/L.1992.23.5 The heroes carrying the standard are signified by six curls on hair. baTa 'six' rebus: bhaTa 'furnace' meDh 'curl' rebus: meD 'iron (metal)'. Cylinder seal with kneeling nude heroes, ca. 2220–2159 b.c.; Akkadian Mesopotamia Red jasper H. 1 1/8 in. (2.8 cm), Diam. 5/8 in. (1.6 cm) Metropolitan Museum of Art - USA Four flag-posts(reeds) with rings on top held by the kneeling persons define the four components of the iron smithy/forge. The key hieroglyph is the hood of a snake seen as the left-most hieroglyph on this rolled out cylinder seal impression. I suggest that this denotes the following Meluhha gloss: Hierogyph: A. kulā 'hood of serpent' Rebus: kolle 'blacksmith'; kolhe 'smelter' kol 'working in iron' Alternative: paṭam , n. < phaṭa. ‘cobra's hood’ phaṭa n. ʻ expanded hood of snake ʼ MBh. 2. *phēṭṭa -- 2. [Cf. phuṭa -- m., °ṭā -- f., sphuṭa -- m. lex., °ṭā -- f. Pañcat. (Pk. phuḍā -- f.), sphaṭa -- m., °ṭā-- f., sphōṭā -- f. lex. and phaṇa -- 1. Conn. words in Drav. T. Burrow BSOAS xii 386]1. Pk. phaḍa -- m.n. ʻ snake's hood ʼ, °ḍā -- f., M. phaḍā m., °ḍī f.2. A. pheṭ, phẽṭ. (CDIAL 9040). Rebus: ‘sharpness of iron’: padm (obl.padt-) temper of iron (Kota)(DEDR 3907); patam ‘sharpness, as of the edge of a knife’ (Tamil) Alternative complementary reading: <naG bubuD>(Z) {N} ``^cobra''. |<naG> `?'. ^snake. *IA<naG>. ??is IA form <naG> or <nag>? #23502. nāgá1 m. ʻ snake ʼ ŚBr. 2. ʻ elephant ʼ BhP. [As ʻ ele- phant ʼ shortened form of *nāga -- hasta -- EWA ii 150 with lit. or extracted from nāga -- danta -- ʻ elephant tusk, ivory ʼ < ʻ snake -- shaped tusk ʼ]. 1. Pa. nāga -- m. ʻ snake ʼ, NiDoc. nāǵa F. W. Thomas AO xii 40, Pk. ṇāya -- m., Gy. as. nâ JGLS new ser. ii 259; Or. naa ʻ euphem. term for snake ʼ; Si. nay, nā,nayā ʻ snake ʼ. -- With early nasalization *nāṅga -- : Bshk. nāṅg ʻ snake ʼ. -- Kt. Pr. noṅ, Kal. nhoṅ ʻ name of a god < nāˊga -- or ← Pers. nahang NTS xv 283. 2. Pa. nāga -- m. ʻ elephant ʼ, Pk. ṇāya -- m., Si. nā. śiśunāka -- . (CDIAL 7039) Rebus: nāga2 n. ʻ lead ʼ Bhpr. [Cf. raṅga -- 3] Sh. naṅ m. ʻ lead ʼ (< *nāṅga -- ?), K. nāg m. (< *nāgga -- ?).(CDIAL 7040) cf. annaku, anakku 'tin' (Akkadian) நாகம் nākam Black lead; காரீயம். (பிங்.) 9. Zinc; துத்தநாகம். (பிங்.) 10. A prepared arsenic; பாஷாணவகை (Tamil). There is a possibility that the hieroglyph was intended to convey the message of an alloying metal like lead or tin or zinc which had revolutionised the bronze age with tin-bronzes, zinc-copper brass and other alloys to substitute for arsenical copper to make hard weapons and tools. It is instructive that zinc was called tuthunāg which might have referred to the sublimate of zinc and calamine collected in the furnaces in Zawar. See: http://bharatkalyan97.blogspot.in/2014/02/metallurgists-of-mewad-meluhha.html The leftmost hieroglyph shows ingots in a conical-bottom storage jar (similar to the jar shown on Warka vase, delivering the ingots to the temple of Inanna). Third from left, the overflowing pot is similar to the hieroglyph shown on Gudea statues. Fourth from left, the fish hieroglyph is similar to the one shown on a Susa pot containing metal tools and weapons. (Picture credit for the Susa pot with 'fish' hieroglyph: Maurizio Tosi). The leftmost hieroglyph shows ingots in a conical-bottom storage jar (similar to the jar shown on Warka vase (See Annex: Warka vase), delivering the ingots to the temple of Inanna). Third from left, the overflowing pot is similar to the hieroglyph shown on Gudea statues. Fourth from left, the fish hieroglyph is similar to the one shown on a Susa pot containing metal tools and weapons. (See Susa pot hieroglyphs of bird and fish: Louvre Museum) Hieroglyph: meṇḍā ʻlump, clotʼ (Oriya) On mED 'copper' in Eurasian languages see Annex A: Warka vase). The leftmost hieroglyph shows ingots in a conical-bottom storage jar (similar to the jar shown on Warka vase (See Annex: Warka vase), delivering the ingots to the temple of Inanna). Third from left, the overflowing pot is similar to the hieroglyph shown on Gudea statues. Fourth from left, the fish hieroglyph is similar to the one shown on a Susa pot containing metal tools and weapons. (See Susa pot hieroglyphs of bird and fish: Louvre Museum) Hieroglyph: meṇḍā ʻlump, clotʼ (Oriya) On mED 'copper' in Eurasian languages: Wilhelm von Hevesy wrote about the Finno-Ugric-Munda kinship, like "Munda-Magyar-Maori, an Indian link between the antipodes new tracks of Hungarian origins" and "Finnisch-Ugrisches aus Indien". (DRIEM, George van: Languages of the Himalayas: an ethnolinguistic handbook. 1997. p.161-162.) Sumerian-Ural-Altaic language affinities have been noted. Given the presence of Meluhha settlements in Sumer, some Meluhha glosses might have been adapted in these languages. One etyma cluster refers to 'iron' exemplified by meD (Ho.). The alternative suggestion for the origin of the gloss med 'copper' in Uralic languages may be explained by the word meD (Ho.) of Munda family of Meluhha language stream: Sa. <i>mE~R~hE~'d</i> `iron'. ! <i>mE~RhE~d</i>(M). Ma. <i>mErhE'd</i> `iron'. Mu. <i>mERE'd</i> `iron'. ~ <i>mE~R~E~'d</i> `iron'. ! <i>mENhEd</i>(M). Ho <i>meD</i> `iron'. Bj. <i>merhd</i>(Hunter) `iron'. KW <i>mENhEd</i> @(V168,M080) http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda — Slavic glosses for 'copper' Мед [Med]Bulgarian Bakar Bosnian Медзь [medz']Belarusian Měď Czech Bakar Croatian KòperKashubian Бакар [Bakar]Macedonian Miedź Polish Медь [Med']Russian Meď Slovak BakerSlovenian Бакар [Bakar]Serbian Мідь [mid'] Ukrainian[unquote] http://www.vanderkrogt.net/elements/element.php?sym=Cu Miedź, med' (Northern Slavic, Altaic) 'copper'. One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’. Four flag-posts(reeds) with rings on top held by the kneeling persons define the four components of the iron smithy/forge. Hieroglyph: staff: మేడెము [ mēḍemu ] or మేడియము mēḍemu. [Tel.] n. A spear or dagger. ఈటె, బాకు. The rim of a bell-shaped earring, set with ems.రాళ్లుచెక్కిన౛మికీ అంచుయొక్క పనితరము. "క ఓడితినన్నన్ వారక మేడెముపొడుతురె." BD. vi. 116. Hieroglyph: meṇḍa 'bending on one knee': మండి [ maṇḍi ] or మండీ manḍi. [Tel.] n. Kneeling down with one leg, an attitude in archery, ఒక కాలితో నేలమీద మోకరించుట, ఆలీఢపాదము. मेट [ mēṭa ] n (मिटणें) The knee-joint or the bend of the knee. मेटेंखुंटीस बसणें To kneel down. Ta. maṇṭi kneeling, kneeling on one knee as an archer. Ma. maṇṭuka to be seated on the heels. Ka. maṇḍi what is bent, the knee. Tu. maṇḍi knee. Te. maṇḍĭ̄ kneeling on one knee. Pa. maḍtel knee; maḍi kuḍtel kneeling position. Go. (L.) meṇḍā, (G. Mu. Ma.) minḍa knee (Voc. 2827). Konḍa (BB) meḍa, meṇḍa id. Pe. menḍa id. Manḍ. menḍe id. Kui menḍa id. Kuwi (F.) menda, (S. Su. P.) menḍa, (Isr.) meṇḍa id. Cf. 4645 Ta. maṭaṅku (maṇi-forms). / ? Cf. Skt. maṇḍūkī- part of an elephant's hind leg; Mar. meṭ knee-joint. (DEDR 4677) Rebus: mẽṛhẽt, meḍ 'iron' (Mu.Ho.) Hieroglyph: எருவை eruvai European bamboo reed. See கொறுக்கச்சி. (குறிஞ்சிப்.) Rebus: 817 Ta. eruvai blood, (?) copper. Ka. ere a dark-red or dark-brown colour, a dark or dusky colour; (Badaga) erande sp. fruit, red in colour. Te. rēcu, rēcu-kukkaa sort of ounce or lynx said to climb trees and to destroy tigers; (B.) a hound or wild dog. Kol. resn a·te wild dog (i.e. *res na·te; see 3650). Pa. iric netta id. Ga.(S.3) rēs nete hunting dog, hound. Go. (Ma.) erm ney, (D.) erom nay, (Mu.) arm/aṛm nay wild dog (Voc. 353); (M.) rac nāī, (Ko.) rasi ney id. (Voc. 3010). For 'wild dog', cf. 1931 Ta. ce- red, esp. the items for 'red dog, wild dog'.

Lembuswana, Candi-Sukuh linga are Indus Script hieroglyph-multiplexes, Harappa is Hariyupiya, 'with golden yupa' link with Sangam age; Indus Script Corpora signify metalwork. Yupa octagonal brick of Bijnor fire-altar, Kalibangan evokes the name Hariyupiya cited in Rigveda, or Harappa 'with golden yupa' and over a thousand Indus Script inscritptions of metalwork. See: http://bharatkalyan97.blogspot.in/2015/12/binjor-indus-script-seal-mulavarman.html Binjor Indus Script Seal & Mulavarman yupa inscription, relate to yajna for बहुसुवर्णक, bahusuvarṇaka, 'to possess many gold pieces'. Griffith notes translating Rig Veda (RV 6.27.5-6) ricas that Hariyupia (having golden sacrificial posts), is the name of a town. It is the scene of the defeat of the Vrivavants by Abhyavartin Caayamana. “In aid of Abhyavartin Cayamana, Indra destroyed the seed of Varasikha.At Hariyupia he smote the vanguard of the Vrcivans, and the rear fled freightened" Like the UJjain coin which shows hieroglyphs of yupa, Hariyupiya may denote a place with yupas, commemorating celebration of yaga-s in fire-altars. Thus, Griffith's interpretation of Hariyupiya as a reference to golden posts in front of fire-altars is valid. Yupa tradition together with the performance of yaga-s links Sangam age with Sarasvati-Sindhu civilization. Nettimaiyar, one of the oldest poets of Sangam period, wonders ,“Oh! Pandya! please tell me whether the number of Yupa posts you installed more? Or the number of enemies you defeated more? Or the praises by the poets more?” Verse 224 parised the greatest of the Chola kings Karikalan for installing the tall Yupa post. Other Sangam texts also refer to Karikalan, Perunarkilli and Mudukudumi Peruvazuthi who performed many yaga-s and used yupa: Purananuru verses 15 and 224; Maduraikanci line 27; Pathtrupathu 67-10. See: http://swamiindology.blogspot.in/2012/03/madagascar-india-link-via-indonesia.html Ujjain coin with yupa post http://www.speakingtree.in/blog/rig-vedic-hariyupia-and-indus-valley-harappa-rig-veda-mystery-7 Pallava trace their ancestry to As'vatthama, son of Drona, Brahmin-warrior of Mahabharata. Varman, like Mulavarman of Java (East Borneo) of Kutei kingdom are Brahmin royalty who belong to Bharadvaja gotra. Translation of a Mulavarman yupa inscription by Vogel बहु--सुवर्णक [p= 726,1] mfn. costing or possessing much gold R. “Both the scholarship and the workmanship of our yupa inscriptions ber testimony to a considerable degree of Hindu culture in Eastern Borneo during the period to which they belong.”(Vogel, J.Ph., 1918, The Yupa inscriptions of King Mula-Varman, from Kotei (East Borneo). JSTOR embedded p.218) The Kutai Prasasti (Yupa) of Mulavarman These days the former palace of the Sultan of Kutai (or Kutai Kertanagara as some call it) is a museum. From left: CDU Vice-Chancellor, Professor Barney Glover, Consulate of the Republic of Indonesia, MrBambang Daranindra, Administrator of the Northern Territory, Tom Pauling, Governor of East Kalimantan, Dr Awang Faroek Ishak and Territory Minister for Business and Employment, Trade, Asian Relations, Rob Knight Lembuswana, the symbol of Kalimantan, Borneo islands "The Lembuswana is a legendary creature appearing in Kutai mythology. It is described as being a lion-headed horse with an adorning crown, having an elephant-like trunk, a pair of Garuda wings, and fish-like scales. In legend of this creature is the guardian of the Mahakam River, and the vehicle of Mulawarman - king of the Kutai kingdom approximately 1500 years ago. It is also the vehicle of princess Karang Melenu. This creature is a symbol of Kutai Kartanegara city, its head and body symbolizing power of the king, and its trunk symbolizing Ganesha - the god of intelligence." http://cryptidz.wikia.com/wiki/Lembuswana http://adilkurnia.com/2011/10/21/ The word gangga associated with the lembuswana hieroglyph-multiplex is repeated as gangga sudhi 'kanga purification, i.e. smelting process in brazier' in Candi-Sukuh inscription on the 6 foot tall Sivalinga with hieroglyphs of four balls and sword signifying lokhaNDa 'metal implements' The word gangga is signified by kanga 'brazier', as a purifying instrument to create metals and alloys in crucibles. 'Paksi leman gangga yakso” 'Fattened bird Kanga yaksha' Hieroglyph: kaṅká m. ʻ heron ʼ VS. [← Drav. T. Burrow TPS 1945, 87; onomat. Mayrhofer EWA i 137. Drav. influence certain in o of M. and Si.: Tam. Kan. Mal. kokku ʻ crane ʼ, Tu. korṅgu, Tel. koṅga, Kuvi koṅgi, Kui kohko]Pa. kaṅka -- m. ʻ heron ʼ, Pk. kaṁka -- m., S. kaṅgu m. ʻ crane, heron ʼ (→ Bal. kang); B. kã̄k ʻ heron ʼ, Or. kāṅka; G. kã̄kṛũ n. ʻ a partic. ravenous bird ʼ; -- with o from Drav.: M. kõkā m. ʻ heron ʼ; Si. kokā, pl. kokku ʻ various kinds of crane or heron ʼ, kekī ʻ female crane ʼ, kēki ʻ a species of crane, the paddy bird ʼ (ē?).(CDIAL 2595) Rebus: kanga 'brazier' यक्ष [p=838,2] n. a living supernatural being , spiritual apparition , ghost , spirit RV. AV. VS. Br. Gr2S3rS. (accord. to some native Comms. = यज्ञ , पुजा , पूजित &c ) m. N. of a class of semi-divine beings (attendants of कुबेर , exceptionally also of विष्णु ; described as sons of पुलस्त्य , of पुलह , of कश्यप , of खसा or क्रोधा ; also as produced from the feet of ब्रह्मा ; though generally regarded as beings of a benevolent and inoffensive disposition , like the यक्ष in कालिदास's मेघ-दूत , they are occasionally classed with पिशाचs and other malignant spirits , and sometimes said to cause demoniacal possession ; as to their position in the Buddhist system » MWB. 206 , 218) Up. Gr2S. Mn. MBh. &c yakṣá m. ʻ a supernatural being ʼ MaitrUp. (n. ʻ mani- festation ʼ RV.), yakṣī -- , yakṣiṇī -- f. MBh.Pa. yakkha -- m. ʻ a supernatural being ʼ, yakkhī -- , yakkhiṇī -- f., Pk. jakkha -- m., jakkhiṇī -- f.; Ash. yuš, yüš ʻ ogre ʼ, yuštrīˊk ʻ ogress ʼ (+ strīˊ-- ); Kt. yuṣ ʻ female demon ʼ, Wg. yūṣ; Pr. yuṣ ʻ demon ʼ; Kal.rumb. J̣ac̣ ʻ female demon ʼ; Sh. (Lor.) yac̣ m. ʻ demon ʼ, yac̣ini f., y*lc̣(h)olo ʻ demon like a bear ʼ, (Grahame Bailey) yac̣hăl&lacutebrev;tu ʻ mad ʼ, yac̣hălyār f. ʻ madness ʼ; K. yĕch, yẹ̆ch m. ʻ a kind of fairy ʼ, yĕchiñ f.,yochu m. ʻ a spirit ʼ; P. jakkh m. ʻ demigod, devout worshipper ʼ, f. ʻ ogress ʼ; H. jāk m. ʻ demon ʼ, jakhnī f. ʻ female demon in the service of Durgā ʼ; OG. jākha, jākhala m. ʻ demon ʼ; M. j̈akhīṇ, j̈ãkīṇ (with ã after ḍãkīṇ s.v. ḍākinī -- ) f. ʻ ghost of a woman who died in childbirth or drowned herself ʼ, j̈ākhīṇ, j̈ã̄khīṇ f. ʻ old and ugly woman ʼ, j̈akhāī -- j̈ukhāī f. ʻ two female fiends, minor deities and demons in general ʼ (f. from m. *jākhā); Si. yak -- ā ʻ demon ʼ, yakin -- ī, yakinna f. (with a for ä after m. yak -- ā); -- Kho. ẓoc̣ ʻ unruly (of children), knotty, complicated ʼ BelvalkarVol 98 with (?); Ku. jākhaṛ ʻ idiot ʼ; N. jakkhu ʻ huge ʼ; -- Bi. jāk ʻ a cowdung cake called mahāde placed on a grain heap to ward off evil eye ʼ? YAJ ʻ sacrifice ʼ: iṣṭá -- 2, íṣṭi -- 3, yajuṣyà -- Add., yajñá -- , yajñíya -- , yājñiká -- .Addenda: yakṣá -- : S.kcch. jakh m. ʻ demi -- god ʼ.(CDIAL 10395) Mengintip Museum Mulawarman di Tenggarong, Kutai Kartanegara Selengkapnya : http://www.kompasiana.com/tonosumarsono/mengintip-museum-mulawarman-di-tenggarong-kutai-kartanegara_550053d0a33311e572510886 Lembuswana Ilustrasi Wahana (kendaraan) dewa Kalimantan (Indonesia) Lembuswana characterized as a lion-headed, wearing the crown (symbolizing the strength of a king who is considered the master of the crown and scepter mark is considered like a god), trunked elephant (symbolizing the god Ganesha deity as intelligence), winged eagle, flaky fish and there on all fours horn / spurs (like chicken feet). In the Museum located in Kutai Timur Regency there is a collection of sculptures Lembuswana made of brass. Lembuswana made in Burma in 1850 and arrived at the Palace of Kutai in 1900. Patung Asli Lembuswana Patung di Pulau Kumala Tenggarong Lembuswana evokes the memories of Mulavarman of Kertanagara Kutei kingdom. "It turned out that this fabulous beasty was the Lembuswana, which had a lion’s trunk, an elephant’s trunk, the wings of a Garuda– the mythological bird who was the mount of the Hindu God Vishnu- and the scales of a fish all over its body. Apparently this symbol had been linked to the Kutai royal family as far back as the days of Kutai Kertanagara in the late Hindu-Buddhist era and was also known to the Dayak tribes living in the jungle interior. The creature was said to symbolize the semi-divinity of the Sultan and his family, hence evoking the Hindu notion of the God-king which was associated with Hindu courts everywhere from India to Cambodia. We also learned that a giant statue of the Lembuswana had recently been built on one of the islands out in the Mahakam off Tenggarong. Apparently this creature was still a living symbol of the kingdom of Kutai in the modern era." https://southeastasiankingdoms.wordpress.com/tag/istana-mulavarman/ Lembuswana on Mahakam river in Indonesia is a hieroglyph-multiplex, a hypertext of the type noted by Dennys Frenez and Massimo Vidale: The hieroglyph components are: eagle, lion, elephant, crown. All are relatable rebus to metalwork.

Running down the street to find his brother Jean-François Champollion (1790-1832) yelled "Je tiens mon affaire!" (I've got it!) but collapsed from the excitement. This note is a tribute to this exclamation of Champollion. I call Bharatam Janam, Tvaṣṭr̥ dhokra kolhe sippi, the lost-wax smelters, sculptors, metasmiths, artificers who invented a writing system of remarkable fidelity and simplicity of the cipher based on rebus method. What language did they speak? A Prakritam gloss with phonetic variants provides the lead: kamad.ha, kamat.ha, kamad.haka, kamad.haga, kamad.haya= a type of penance is recognized in sets of hieroglyph-multiplexes on ten inscriptions of Indus Script Corpora. These inscriptions and decipherment are presented. (Haragovindadāsa Trikamacanda Seṭha, 1963,Prakrit-Sanskrit-Hindi dictionary, Motilal Banarsidass, Dehi,p.223) Proto-Elamite seal impressions, Susa. Seated bulls in penance posture. (After Amiet 1980: nos. 581, 582). Hieroglyph: kamaDha 'penance' (Prakritam) Rebus: kammaTTa 'coiner, mint' Hieroglyph: dhanga 'mountain range' Rebus: dhangar 'blacksmith' Hieroglyph: rango 'buffalo' Rebus: rango 'pewter' . Ganweriwala tablet. Ganeriwala or Ganweriwala (Urdu: گنےریوالا‎ Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan. gumat.a, gumut.a, gumuri, gummat.a, gummut.a a copula or dome (Ka.); ghumat.a (M.); gummat.a, gummad a dome; a paper lantern; a fire-baloon (H.Te.); kummat.t.a arch, vault, arched roof, pinnacle of a pagoda; globe, lantern made of paper (Ta.)(Ka.lex.); gummaṭ m. ‘dome’ (P.) CDIAL 4217 Other glyphs (glyphemes): gúlma— m. ‘clump of trees’ VS., gumba— m. ‘cluster, thicket’ (Pali); gumma— m.n. ‘thicket’ (Pkt.); S. gūmbaṭu m. ‘bullock’s hump’; gumbaṭ m., gummaṭ f. ‘bullock’s hump’ (L.) CDIAL 4217 rebus: kumpat.i = ban:gala = an:ga_ra s’akat.i_ = a chafing dish, a portable stove, a goldsmith’s portable furnace (Te.lex.) kumpiṭu-caṭṭichafing-dish, port- able furnace, potsherd in which fire is kept by goldsmiths; kumutam oven, stove; kummaṭṭi chafing-dish (Ta.).kuppaḍige, kuppaṭe, kum- paṭe, kummaṭa, kummaṭe id. (Ka.)kumpaṭi id. (Te.) DEDR 1751. kummu smouldering ashes (Te.); kumpōḍsmoke.(Go) DEDR 1752. Glyphs on a broken molded tablet, Ganweriwala. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Observe shows a person seated on a stool and a kneeling adorant below. Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'. Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner: 1. kuṭila ‘bent’; rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) [cf. āra-kūṭa, ‘brass’ (Skt.) (CDIAL 3230) 2. Glyph of ‘rim of jar’: kárṇaka m. ʻ projection on the side of a vessel, handle ʼ ŚBr. [kárṇa -- ]Pa. kaṇṇaka -- ʻ having ears or corners ʼ; (CDIAL 2831) kaṇḍa kanka; Rebus: furnace account (scribe). kaṇḍ = fire-altar (Santali); kan = copper (Tamil) khanaka m. one who digs , digger , excavator Rebus: karanikamu. Clerkship: the office of a Karanam or clerk. (Telugu) káraṇa n. ʻ act, deed ʼ RV. [√kr̥1] Pa. karaṇa -- n. ʻdoingʼ; NiDoc. karana, kaṁraṁna ʻworkʼ; Pk. karaṇa -- n. ʻinstrumentʼ(CDIAL 2790) 3. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.) See: http://bharatkalyan97.blogspot.in/2013/07/witzels-breath-taking-announcement-of.html Hieroglyph: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meD 'iron' (Mu.Ho.Santali) meď 'copper' (Slovak) http://bharatkalyan97.blogspot.in/2015/11/ornamental-endless-knot-svastika-other.html Mohenjo-daro. Sealing. Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. One side of a triangular terracotta amulet (Md 013); surface find at Mohenjo-daro in 1936, Dept. of Eastern Art, Ashmolean Museum, Oxford. [seated person penance, crocodile?] Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’; kaṇḍo ‘stool, seat’ Rebus: kāṇḍa ‘metalware’ kaṇḍa ‘fire-altar’. kAru 'crocodile' Rebus: kAru 'artisan'. Hieroglyphs (allographs): kamaḍha 'penance' (Prakriam) kamḍa, khamḍa 'copulation' (Santali) kamaṭha crab (Skt.) kamaṛkom = fig leaf (Santali.lex.) kamarmaṛā (Has.), kamaṛkom (Nag.); the petiole or stalk of a leaf (Mundari.lex.) kamat.ha = fig leaf, religiosa (Sanskrit) kamaḍha = ficus religiosa (Sanskrit) kamāṭhiyo = archer; kāmaṭhum = a bow; kāmaḍ, kāmaḍum = a chip of bamboo (G.) kāmaṭhiyo a bowman; an archer (Sanskrit) Rebus: kammaṭi a coiner (Ka.); kampaṭṭam coinage, coin, mint (Ta.) kammaṭa = mint, gold furnace (Te.) kamaṭa = portable furnace for melting precious metals (Telugu); kampaṭṭam = mint (Tamil) Glyph: meD 'to dance' (F.)[reduplicated from me-]; me id. (M.) in Remo (Munda)(Source: D. Stampe's Munda etyma) meṭṭu to tread, trample, crush under foot, tread or place the foot upon (Te.); meṭṭu step (Ga.); mettunga steps (Ga.). maḍye to trample, tread (Malt.)(DEDR 5057) మెట్టు (p. 1027) [ meṭṭu ] meṭṭu. [Tel.] v. a. &n. To step, walk, tread. అడుగుపెట్టు, నడుచు, త్రొక్కు. "మెల్ల మెల్లన మెట్టుచుదొలగి అల్లనల్లనతలుపులండకు జేరి." BD iv. 1523. To tread on, to trample on. To kick, to thrust with the foot.మెట్టిక meṭṭika. n. A step , మెట్టు, సోపానము (Telugu) Rebus: meD 'iron' (Mundari. Remo.) http://bharatkalyan97.blogspot.in/2015/11/dance-step-med-in-indus-script.html Slide 207 Tablet with inscription. Twisted terra cotta tablet (H2000-4441/2102-464) with a mold-made inscription and narrative motif from the Trench 54 area. In the center is the depiction of what is possibly a deity with a horned headdress in so-called yogic position seated on a stool under an arch. Harappa. Two tablets. Seated figure or deity with reed house or shrine at one side. Left: H95-2524; Right: H95-2487. Harappa. Planoconvex molded tablet found on Mound ET. A. Reverse. a female deity battling two tigers and standing above an elephant and below a six-spoked wheel; b. Obverse. A person spearing with a barbed spear a buffalo in front of a seated horned deity wearing bangles and with a plumed headdress. The person presses his foot down the buffalo’s head. An alligator with a narrow snout is on the top register. “We have found two other broken tablets at Harappa that appear to have been made from the same mold that was used to create the scene of a deity battling two tigers and standing above an elephant. One was found in a room located on the southern slope of Mount ET in 1996 and another example comes from excavations on Mound F in the 1930s. However, the flat obverse of both of these broken tablets does not show the spearing of a buffalo, rather it depicts the more well-known scene showing a tiger looking back over its shoulder at a person sitting on the branch of a tree. Several other flat or twisted rectangular terracotta tablets found at Harappa combine these two narrative scenes of a figure strangling two tigers on one side of a tablet, and the tiger looking back over its shoulder at a figure in a tree on the other side.” [JM Kenoyer, 1998, p. 115]. m1181A 2222 Pict-80: Three-faced, horned person (with a three-leaved pipal branch on the crown), wearing bangles and armlets and seated, in a yogic posture, on a hoofed platform Mohenjo-daro. Square seal depicting a nude male deity with three faces, seated in yogic position on a throne, wearing bangles on both arms and an elaborate headdress. Five symbols of the Indus script appear on either side of the headdress which is made of two outward projecting buffalo style curved horns, with two upward projecting points. A single branch with three pipal leaves rises from the middle of the headdress. Seven bangles are depicted on the left arm and six on the right, with the hands resting on the knees. The heels are pressed together under the groin and the feet project beyond the edge of the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and perforated boss is present on the back of the seal. Material: tan steatite Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050 Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222 kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi 'smelter furnace' (Santali) कूदी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट्/ई) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी, "Christ's thorn".(Monier-Williams) Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa ‘mint’ (Ma.) kamaṭa = portable furnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar' (Santali); kan ‘copper’ (Ta.) Hieroglyph: karã̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr 'blacksmith' (Kashmiri) The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts) occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf. Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98) denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned, standing person] Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI – PARPOLA 1987:M-304); courtesy of the Archaeological Survey of India.

The shapes of yūpa found in Kalibangan (4-angled) and Binjor (8-angled) are evidences for the performance of Vājapeya Soma-Samsthā. yajna. yūpa found in fire-altars of Kalibangan and Binjor (sites on the banks of Vedic River Sarasvati) attest to the vedic यज्ञ, yajña-s of ca. 2500 BCE. The yupa in both sites are comparable to the shapes and functions described in ancient Vedic texts. The Binjor yūpa is particularly striking, as it is an octagonal brick found in situ. Cylindrical clay steles of 10 to 15 cms height occur in ancient fire-altars (See report by BB Lal on Kalibangan excavations). A number of polished stone pillars were found in Dholavira. (See April 2015 published Dholavira excavation report: http://asi.nic.in/pdf_data/dholavira_excavation_report_new.pdf At the Vajapeya, the yupa is eight-angled (as in Binjor), corresponding to the eight quarers (Sat.Br. V.2.1.5 aSTAs'rir yupo bhavati) or, is four-angled (as in Kalibangan) as prescribed in Taitt. Sam. I.7.9.1. This leads to a reasonable inference that at Binjor and Kalibangan, Vajapeya yajna was performed according to the Sat.Br. and Taittiriya Samhita traditions, respectively. The related seal of Binjor and terracotta cake PLUS other Indus script inscriptions of Kalibangan attest to metalwork. The Vajapeya is related to Soma metalwork, Soma-SamsthA yajna. Valmiki Ramayana refers to the performance of Vajapeya: vrm.2.45 Look at these canopies obtained by us while observing Vajapeya sacrifice accompanying our backs like clouds at the end of the rainy season With these canopies of ours, we shall give shade to you, who have got no canopy and are being scored with rays of the sun. vrm.6.128 Rama propitiated the Gods by performing Paundarika, Ashvamedha, Vajapeya and other sacrifices many times. vrm.7.122 After the night had expired the highly illustious Rama having a spacious breast and eyes like lotus petals said to the priest: Let the brilliant umbrellas Agnihotra, and Vajapeya go with the Brahmanas before, which look well in the great road. yūpa mēḍhā 'stake' is an Indus Script hieroglyph rebus: mẽṛhẽt, meḍ 'iron' (Mu.), med 'copper' (Slavic) The vedic texts use the glosses yupa, skambha, yaṣṭi, vajra while the synonym in Prakritam is mēḍhā 'stake, pillar.' Both Kaibangan and Binjor yūpa are comparable to the yūpa mentioned in ancient Vedic texts for performance of Vajapeya यज्ञ, yajña. Semantics are: वाज--पेय[p= 938,1] mn. " the drink of strength or of battle " , N. of one of the seven forms of the सोम-sacrifice (offered by kings or Brahmans aspiring to the highest position , and preceding the राज-su1ya and the बृहस्पति-sava)AV. Br. S3rS. MBh. R. Pur.N. of the 6th book of the शतपथ-ब्राह्मण in the काण्व-शाखाm. = वाजपेये भवो मन्त्रः , or वाजपेयस्य व्याख्यानं कल्पः Pat. on Pa1n2. 4-3 , 66 Va1rtt. 5 &c Vajapeya is one of 7 samstha for processing/smelting soma (a minera, NOT a herbal): सोमः [सू-मन् Uṇ.1.139]-संस्था a form of the Soma-sacrifice; (these are seven:- अग्निष्टोम, अत्यग्निष्टोम, उक्थ, षोढशी, अतिरात्र, आप्तोर्याम and वाजपेय). The Vajapeya performed in Binjor and Balibangan should have been related to the Soma-samstha: सोमः संस्था specified as वाजपेय with the shape of the yupa with eight- or four-angles. सं-√ स्था a [p=1121,2]A1. -तिष्ठते ( Pa1n2. 1-3 , 22 ; ep. and mc. also P. -तिष्ठति ; Ved. inf. -स्थातोस् A1pS3r. ) , to stand together , hold together (pf. p. du. -तस्थान्/ए , said of heaven and earth) RV. ; to build (a town) Hariv. ; to heap , store up (goods) VarBr2S. Thus, वाजपेय as one of the seven सोमः संस्था can be explained as storing up (soma) in the यज्ञ, yajña Binjor: eight-angled yupa Kalibangan: four-angled yupa. See: http://bharatkalyan97.blogspot.in/2015/12/yastifound-in-fire-altars-of-sarasvati.html yaṣṭi.found in fire-altars of Sarasvati-Sindhu civilization signifies a baton, skambha of divine authority impacting metalwork of Bharatam Janam Octagonal yupa brick found in the fire-altar, Binjor. Discovered together with an Indus Script seal which signified metalwork. http://bharatkalyan97.blogspot.in/2015/12/binjor-fire-altar-with-octagonal-yasti.html Vedic culture continuum Yupa inscriptions of early centuries of the Common Era are divided into two categories, both related to vedic yajna-s: 1. Huna (Kushana) & Rajasthan yupa inscriptions from ca. 100 CE; 2. Pallava and Mulavarman yupa inscriptions found in Kutei, East Borneo ca. 400 CE. Of the 19 yupa inscriptions, nine are from Rajasthan, five are from East Borneo (Indonesia) and the rest from regions such as Mathura and Allahabad. The list of 19 yupa inscriptions is as follows: 1 Isapur Mathura, 102 CE 2 Kosam-Allahabad 125 CE 3-4 Nandasa Udaipur 225 CE 5 Barnala Jaipur 227 CE 6-8 Badva Kotah 238 CE 9 Badva Kotah 238 CE 10 Nagar Jaipur 264 CE 11 Barnala Jaipur 278 CE 12 Bijayagarh Bharatpur 371 CE 13-16 Koetei Borneo 400 CE 17-19 Koetei Borneo 400 CE http://dsal.uchicago.edu/reference/schwartzberg/fullscreen.html?object=063 बहुसुवर्णक, bahusuvarṇaka, is a metaphor for the creation of wealth using fire, fire-altars as furnaces/smelters and yupa as invocations to Cosmic pillar to the Cosmic Dancer, the Paramatman to transmute mere earth and stones into metal, a form of wealth. The entire Vedic corpus is in nuce (nutshell) in the processing of Soma, which is NOT a herbal but a mineral. A synonym for Soma is ams'u with the cognate ancu 'iron' (Tocharian). The key expressions on the Mulavarman Yupa inscription (D.175) are in Samskritam and one fragment reads: yaṣṭvā bahusuvarṇakam; tasya yajñasya yūpo ‘yam. This means "from yaṣṭi to possess many gold pieces; this Yupa is a commemoration of that yajna." The interpretation is comparable to the Indus Script seal found in Binjor in the context of a fire-altar with an octagonal brick, yaṣṭi. The seal can be seen as an inscription detailing metalwork catalogue of the bahusuvarṇnakam 'to possess many gold pieces' that was produced by the smelter/furnace operations using the fire-altar Prof. Kern identified the expression with bahuhiraNya, a particular Soma yajna. Balakanda of Ramayana has this citation: nityam pramuditAh sarve yatha kRitayuge tathA as'vamedha s'atair ishTvA tathA bahusuvarNakaih (Balakanda I,95) The referene is to the as'vamedha sattra desirous of possessing many pieces of gold. In reference to Meghanada's yajna, the reference reads: agniSTomo 's'vamedha ca yajno bahusuvarNakah rAjasUyas tathA yajno gomedho vaishNavas tathA mahes'vare (UttrakANDa, XXV, 87-9) A rajasuya yajna with prayers to mahesvara is also linked to many pieces of gold. Another translation: "Thereupon that foremost of twice born ones Usanas of austere penances, wishing the prosperity of the sacrifice, said to Ravana the Rakshasa chief "Hear,I shall relate to thee everything, O king ;thy son hath met with the fruits of many a sacrifice Agnistoma, Asvamedha, Bahusuvarnaka." (vrm 7.30) (B.Ch. Chhabra, Yupa Inscriptions, in: Jean Ph. Vogel, 1947,India antiqua, Brill Archive, p.82). Generosity associated with the performance of yajna is referenced in a yupa inscription. “Let the foremost amongst the priests and whatsoever pious men (there be) hear of the generous deed of Mulavarman, let them hear of his great gift, his gift of cattle, his gift of a kalpavRkSam, his gift of land'.” Thus, Yupa inscriptions of Mulavarma are delineation of an economic institution. Vogel also notes: “Both the scholarship and the workmanship of our yupa inscriptions bear testimony of a considerable degree of Hindu culture in Eastern Borneo during the period to which they belong.” Mulavarman's grandfather KuNDungga had the cooperation of Hindu priests 'who had come here from different parts' (Vogel, 1918, pp. 167-232).

चतुर्श्रि, अष्टाश्रि quadrangular, octagonal yupa skambha or pillars are attested ca. 2500 BCE, archaeologically in Kalibangan and Binjor respectively, both on the banks of Vedic River Sarasvati. Hieroglyphs skambha, stambha signify tã̄bā 'copper', and hieroglyph garland signifies dhāu 'red ore'. (perhaps hematite, ferrite ore). A frieze fromBharhut with garlands on tree PLUS kulA 'hood of serpent' rebus: kol 'working in iron' kolle 'blacksmith' kolhe 'smelters'. Five hoods may signify páñcadhAtu 'five minerals'. *pañcakula ʻ consisting of five families ʼ. [páñca, kúla -- ]Pk. paṁcaüla -- n. ʻ panchayet ʼ; -- deriv.: Pk. paṁcaüliya -- m. ʻ one who deliberates in a panchayet ʼ; H. pacaur, pacaulī m. ʻ village headman ʼ.(CDIAL 7657) Pasenadi pillar of Bharhut with garlanded tree signifies: kuTi 'tree' rebus: kuThi 'smelter' PLUS dāma 'garland' rebus: dhāu 'red ore'. The ekamukha linga signified on such pillars atop a kiln or smelter on Bhuteswar sculptural friezes refer to mũh 'face' rebus: mũhe 'ingot', mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes, 'smelters'. (Santali) A garland is arried by a dwarf, to signify dāmā m. ʻ id., garland ʼ rebus: Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f. (Red ochre is Fe2O3, takes its reddish color from the mineral hematite, which is an anhydrous iron oxide.) Architectural fragment with relief showing winged dwarfs (or gaNa) worshipping with flower garlands, Siva Linga. Bhuteshwar, ca. 2nd cent BCE.Lingam is on a platform with wall under a pipal tree encircled by railing. (Srivastava, AK, 1999, Catalogue of Saiva sculptures in Government Museum, Mathura: 47, GMM 52.3625) The tree is a phonetic determinant of the smelter indicated by the railing around the linga: kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ Rebus: kuṭhi 'smelter'. kuṭa, °ṭi -- , °ṭha -- 3, °ṭhi -- m. ʻ tree ʼ lex., °ṭaka -- m. ʻ a kind of tree ʼ Kauś.Pk. kuḍa -- m. ʻ tree ʼ; Paš. lauṛ. kuṛāˊ ʻ tree ʼ, dar. kaṛék ʻ tree, oak ʼ ~ Par. kōṛ ʻ stick ʼ IIFL iii 3, 98. (CDIAL 3228). http://bharatkalyan97.blogspot.in/2015/05/smithy-is-temple-of-bronze-age-stambha_14.html H. dām m.f. ʻ rope, string, fetter ʼ, dāmā m. ʻ id., garland ʼ(CDIA Si. dama ʻ chain, rope ʼ, (SigGr) dam ʻ garland ʼ.L 6283) rebus: dhAu 'metal; (Prakrtam) dhAI 'wisp of fibres' (S.) dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., ʻ *strand of rope ʼ (cf. tridhāˊtu -- ʻ threefold ʼ RV., ayugdhātu -- ʻ having an uneven number of strands ʼ KātyŚr.). [√dhā] Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whenceḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- S. dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜ f.(CDIAL 6773) Worship of Shiva Linga by Gandharvas - Shunga Period - Bhuteshwar - ACCN 3625 - Government Museum - Mathura kuThi 'smelter' lokhaNDa 'metal implements' (lo 'penis' -- Munda) Relief with Ekamukha linga. Mathura. 1st cent. CE (Fig. 6.2). This is the most emphatic representation of linga as a pillar of fire. The pillar is embedded within a brick-kiln with an angular roof and is ligatured to a tree. Hieroglyph: kuTi 'tree' rebus: kuThi 'smelter'. In this composition, the artists is depicting the smelter used for smelting to create mũh 'face' (Hindi) rebus: mũhe 'ingot' (Santali) of mēḍha 'stake' rebus: meḍ 'iron, metal' (Ho. Munda). मेड (p. 662) [ mēḍa ] f (Usually मेढ q. v.) मेडका m A stake, esp. as bifurcated. मेढ (p. 662) [ mēḍha ] f A forked stake. Used as a post. Hence a short post generally whether forked or not. मेढा (p. 665) [ mēḍhā ] m A stake, esp. as forked. 2 A dense arrangement of stakes, a palisade, a paling. मेढी (p. 665) [ mēḍhī ] f (Dim. of मेढ) A small bifurcated stake: also a small stake, with or without furcation, used as a post to support a cross piece. मेढ्या (p. 665) [ mēḍhyā ] a (मेढ Stake or post.) A term for a person considered as the pillar, prop, or support (of a household, army, or other body), the staff or stay. मेढेजोशी (p. 665) [ mēḍhējōśī ] m A stake-जोशी; a जोशी who keeps account of the तिथि &c., by driving stakes into the ground: also a class, or an individual of it, of fortune-tellers, diviners, presagers, seasonannouncers, almanack-makers &c. They are Shúdras and followers of the मेढेमत q. v. 2 Jocosely. The hereditary or settled (quasi fixed as a stake) जोशी of a village.मेंधला (p. 665) [ mēndhalā ] m In architecture. A common term for the two upper arms of a double चौकठ (door-frame) connecting the two. Called also मेंढरी & घोडा. It answers to छिली the name of the two lower arms or connections. (Marathi) मेंढा [ mēṇḍhā ] A crook or curved end rebus: meḍ 'iron, metal' (Ho. Munda) Since Sivalinga as aniconic forms are also signified by चतुर्श्रि, अष्टाश्रि quadrangular, octagonal components and as iconic connotations appear with ekamukha linga (linga with one face ligatured), it is surmised that Sivalinga are Yupa skambha, as a multi-layered, metallurgical metaphor. One layer relates to the rebus reading of the ekamukha. The surmise of Sivalinga as Yupa Skambha is framed on the extraordinary metaphors of the philosophical tractus in Atharva veda called Skambha Sukta (AV X.7). Skambha, yupaskambha 'pillar' and kangar, 'brazier' respectively are attested as hieroglyphs on Indus Script inscriptions and on early punch-marked/cast coins of Ancient Bharatam. A variant pronunciation stambha is read rebus in Pali and Bihari: tã̄bā 'copper' (Bihari) Tamba (nt.) [Sk. tāmra, orig. adj.=dark coloured, leaden; cp. Sk. adj. taŋsra id., to tama] copper ("the dark metal"); usually in combinations, signifying colour of or made of (cp. loha bronze), e. g. lākhātamba (adj.) Th 2, 440 (colour of an ox); ˚akkhin Vv 323 (timira˚) Sdhp 286; ˚nakhin J vi.290; ˚nettā (f.)ibid.; ˚bhājana DhA i.395; ˚mattika DhA iv.106; ˚vammika DhAiii.208; ˚loha PvA 95 (=loha). tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. tamrá -- . -- √tam?]Pa. tamba -- ʻ red ʼ, n. ʻ copper ʼ, Pk. taṁba -- adj. and n.; Dm. trāmba -- ʻ red ʼ (in trāmba -- lac̣uk ʻ raspberry ʼ NTS xii 192); Bshk. lām ʻ copper, piece of bad pine -- wood (< ʻ *red wood ʼ?); Phal. tāmba ʻ copper ʼ (→ Sh.koh. tāmbā), K. trām m. (→ Sh.gil. gur. trām m.), S. ṭrāmo m., L. trāmā, (Ju.) tarāmã̄ m., P. tāmbā m., WPah. bhad. ṭḷām n., kiũth. cāmbā, sod. cambo, jaun. tã̄bō, Ku. N. tāmo (pl. ʻ young bamboo shoots ʼ), A. tām, B. tã̄bā, tāmā, Or. tambā, Bi tã̄bā, Mth. tām, tāmā, Bhoj. tāmā, H. tām in cmpds., tã̄bā, tāmā m., G. trã̄bũ, tã̄bũ n.;M. tã̄bẽ n. ʻ copper ʼ, tã̄b f. ʻ rust, redness of sky ʼ; Ko. tāmbe n. ʻ copper ʼ; Si. tam̆ba adj. ʻ reddish ʼ, sb. ʻ copper ʼ, (SigGr) tam, tama. -- Ext. -- ira -- : Pk. taṁbira -- ʻ coppercoloured, red ʼ, L. tāmrā ʻ copper -- coloured (of pigeons) ʼ; -- with -- ḍa -- : S. ṭrāmiṛo m. ʻ a kind of cooking pot ʼ, ṭrāmiṛī ʻ sunburnt, red with anger ʼ, f. ʻ copper pot ʼ; Bhoj. tāmrā ʻ copper vessel ʼ; H. tã̄bṛā, tāmṛāʻ coppercoloured, dark red ʼ, m. ʻ stone resembling a ruby ʼ; G. tã̄baṛ n., trã̄bṛī, tã̄bṛī f. ʻ copper pot ʼ; OM. tāṁbaḍā ʻ red ʼ. -- X trápu -- q.v.tāmrika -- ; tāmrakāra -- , tāmrakuṭṭa -- , *tāmraghaṭa -- , *tāmraghaṭaka -- , tāmracūḍa -- , *tāmradhāka -- , tāmrapaṭṭa -- , tāmrapattra -- , tāmrapātra -- , *tāmrabhāṇḍa -- , tāmravarṇa -- , tāmrākṣa -- .Addenda: tāmrá -- [< IE. *tomró -- T. Burrow BSOAS xxxviii 65]S.kcch. trāmo, tām(b)o m. ʻ copper ʼ, trāmbhyo m. ʻ an old copper coin ʼ; WPah.kc. cambo m. ʻ copper ʼ, J. cāmbā m., kṭg. (kc.) tambɔ m. (← P. or H. Him.I 89), Garh. tāmu, tã̄bu.(CDIAL 5779)

This monograph indicates the possibility that metalworkers, Bharatam Janam had invoked Rudra-Siva – in the Vedic tradition -- for smelting processes. Indus Script hieroglyphs evidenced by priest statue of Mohenjo-daro with trefoil hieroglyphs and by many Sivalinga found in Harappa archeological site, are read rebus as पोतृ,'purifier', and ekamukha Skambha (Sivalinga, as fiery pillar of light) associated with muhã 'metal out of smelting furnace'. The process of purification which results in metal out of the smelter is associated with: *skabha ʻ post, peg ʼ. [√skambh] Kal. Kho. iskow ʻ peg ʼ BelvalkarVol 86 with (?). SKAMBH ʻmake firmʼ (CDIAL 13638). A kabha, 'peg' together with hieroglyphs of aquatic bird adorn the cire perdue crown found in Nahal Mishmar. See: http://bharatkalyan97.blogspot.in/2015/08/nihal-mishmar-hieroglyphs-on-crowns.html kole.l 'smithy' rebus: kole.l 'temple'; dula 'pair' rebus: dul 'cast metal'; karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii , 31 , 21 கரண்டம் karaṇṭam, n. Rebus: karaḍā ‘hard alloy’; skabha 'peg' rebus: skambh 'make firm'. Pa. makuṭa -- m. ʻ crest ʼ; Pk. maüḍa -- , maüla -- m.n. ʻ diadem; ʼH. mauṛ, mauṛā m., maulī, maulṛī f. ʻ crown ʼ; OG. maüḍa m. ʻ crown ʼ(CDIAL 10144) Ta. mukaṭu top, highest part, ridge of a roof, hump of a camel, platform; mōṭu height, hill, eminence, top of a house, etc.;mucci crown of the head, tuft of hair on the head, crest. Ma. mukaṭu the head-end of a cloth; mukaḷ top, summit, ridge, roof. Ko.moyḷ ridge of roof. To. muxuḷ id. Ka. mogaḍu, mogaḷu, magil id. Tu. mugili turret, top as of a temple; mōḍu hill. Te. mogaḍuridge of roof; mōḍu raised or high ground; (Inscr.) mōru peak. Go. (W. Ph.) mukur comb of cock (Voc. 2864). / Cf. Skt.mukuṭa-, mauli- crest, diadem; BHS, Pali makuṭa- id.; Pkt. maüla- id.; Turner, CDIAL, no. 10144.(DEDR 4888) Rebus: muhã 'quantity of metal produced out of smelter' (Santali) The Nahal Mishmar sceptre or crown is thus a rebus rendering in Indus Script cipher documenting the metalwork processes resulting in the products evidenced by the cire perdue metal hoard. The association of Sivalinga with 'purifiction' of धातु dhātu to produce metals is vividly evidenced by the inscription which accompanies the Candi-Sukuh, 6 feet tall Sivalinga. The key expression used in the inscription is: gangga sudhi 'purification by ganga'. The gloss 'gangga' is a rebus rendering of kanga 'brazier' (Kashmiri) and sudhi semantics signify 'knowledge, purity'. Thus, gangga sudhi means 'purification (using) brazier'. The process of smelting is a process of purifying elements to create metal, metal alloys, castings, implements, weapons in kole.l 'smithy' which is also kole.l 'temple' (Kota). This process of purification of mere earth and stone (dhātu, 'elements') and creating metal gets amplified in the iconic form of Siva as the Cosmic Dancer, Nataraja dancing cosmic dissolution and creation of all phenomena. 12520 śuddhá ʻ clean, bright, white ʼ RV., ʻ pure, true ʼ Mn. [Anal. replacement of *śūḍha -- 1. -- √śudh]Pa. suddha -- ʻ pure, clean, simple ʼ, °aka -- n. ʻ a minor offence ʼ; NiDoc. śudha ʻ cleared off (of debts ʼ); Pk. suddha -- ʻ bright, clear, pure, unmixed ʼ; Sh. (Lor.) šut ʻ luck ʼ; K. họ̆du ʻ plain, dry ʼ; S. sūdho ʻ honest ʼ (← H. or G.?); L.awāṇ. suddhuṇ ʻ to be clear ʼ (or < śúndhati); P. suddhā ʻ simple, true ʼ; Ku. sudo ʻ plain, artless, soft, without bone (of meat) ʼ; N. sudho ʻ honest, simple ʼ; A. xudha ʻ pure, unmixed ʼ, xudā ʻ simple ʼ; B. sudhu ʻ simply ʼ; Or. sudhāibā ʻ to cleanse, ʼ; OAw. sūdha ʻ straightforward ʼ; H. sudh, sūdhā ʻ clean, pure, true ʼ, sudhnā ʻ to clean ʼ; Marw. sūdho ʻ pure, bright, cheerful ʼ; OG. sūdha,° dhaü ʻ clean, pure ʼ, G. sūdhũ ʻ simple, true ʼ; M. sudhā, sudā ʻ right, proper, pure, simple ʼ; Si. sudu, hudu ʻ clean, holy, white ʼ; Md. hudu ʻ white ʼ.*śuddhakāra -- , *śuddhācāra -- .Addenda: śuddhá -- : B. śudhā ʻ to clear (debt) ʼ, sudhā, sudhana ʻ to ask ʼ < ʻ to find out ʼ12523 śúddhi f. ʻ cleansing, purity ʼ TBr., ʻ verification, truth ʼ Yājñ., ʻ certainty ʼ Mn., ʻ information, news ʼ Vet. [√śudh]Pa. Pk. suddhi -- f. ʻ purification, genuineness ʼ (Pk. also ʻ information, news ʼ); Wg. šüdī ʻ information, informed, aware ʼ; Woṭ.šid, šit ʻ information ʼ in šit kar -- ʻ to ask ʼ Buddruss Woṭ 126; Tor. šit ʻ aware ʼ NTS xvii 298 (AO viii 309 wrongly emends to *šiṭh); S. sudhi f. ʻ knowledge ʼ; L. (Ju.) sudh f. ʻ information, news ʼ; P. suddh f. ʻ purity, accuracy, straightness ʼ; WPah. (Joshi)śudhī f. ʻ purity, cleanliness ʼ; Ku. sudh, sud ʻ intellect, consciousness, memory, care, caution ʼ, gng. śudi ʻ appeasement ʼ; N.sudhi, suddhi ʻ care, caution ʼ; A. xudhi ʻ act of becoming ceremonially pure ʼ; B. sudh, °dhi ʻ knowledge ʼ; OAw. sudhi ʻ recollection ʼ; H. sudh, °dhī f. ʻ knowledge, consciousness, memory, care ʼ; G. sūdh f. ʻ sense ʼ; M. sudhī f. ʻ good understanding ʼ; Ko. suddi ʻ news ʼ; Si. sidu ʻpurityʼ. 12527 śúdhyati (sudhyatē ṢaḍvBr.) ʻ is purified ʼ VS., °ti, °tē ʻ becomes clear (of doubts) ʼ R. [√śudh]Pa. sujjhati ʻ becomes clear ʼ, sujjhana -- n., Pk. sujjhaï, sujjhaṇayā -- f.; Tor. čuǰ -- ʻ to learn ʼ (< *šuǰ -- ?); S. sujhaṇu ʻ to seem ʼ (sujhando m. ʻ light ʼ < śudhyant -- ); L. sujhaṇ ʻ to be seen, to seem ʼ, awāṇ. sujhuṇ ʻ to be thought of ʼ; P. sujjhṇā ʻ to be seen, be understood ʼ, ludh. sujjhanā ʻ to occur to the mind ʼ; WPah.bhal. śuj̈j̈hṇū ʻ (of the sky) to clear ʼ, (Joshi) śujhṇu ʻ to see, witness ʼ; Ku. sūjhṇo, sujṇo ʻ to be auspicious, be cleared of doubt, suit, fit, agree, think, remember ʼ; N. sujhnu ʻ to occur to the mind ʼ; A. xuziba ʻ to agree with one's constitution, repay a debt ʼ; B. sujhā ʻ to understand ʼ; Or. sujhibā ʻ to clear (a debt), repay, retaliate ʼ; Mth. sūjhab ʻ to see ʼ; OAw. sūjhaï ʻ appears, occurs to ʼ, lakh. sūjhab ʻ to be visible ʼ; H. sūjhnā ʻ to be perceptible, seem, occur to ʼ; OG. sūjhaï ʻ is clear, is enlightened ʼ, G. sujhvũ, sujvũ ʻ to be purified, appear, seem, see, understand ʼ; <-> caus. Pk. sujjhāvaï; L. sujhāvaṇ ʻ to explain ʼ, P. sujhāuṇā; Ku. sujhoṇo, sujoṇo ʻ to find out, foresee, provide for ʼ; A. xuzāiba ʻ to cause to be repaid ʼ, Or. sujhāibā; H. sujhānā ʻ to explain ʼ. -- Ext. -- ḍ -- : G. sujhāṛvũ ʻ to teach, point out ʼ; -- K. śọ̆zarun ʻto clean, purifyʼ(CDIAL) http://bharatkalyan97.blogspot.in/2015/11/ornamental-endless-knot-svastika-other.html Ornamental 'endless knot', svastika & other hieroglyphs on Indus Script corpora, on āyāgapaṭṭa अयागपट्ट signify dhmātṛ, dhamaga smelters of ores It was noted in this monograph that 1) the dotted-circle and trefoil hieroglyphs on the uttariyam (shawl) of the statue of the priest signified respectively, single strand of rope and three strands of rope; and 2) the priest was पोतृ,'purifier'. He was priest of dhā̆vaḍ 'iron-smelters' (root: dhāu 'ore') with Indus script hieroglyphs signifies पोतृ,'purifier' of dhātu, dhāū, dhāv 'red stone minerals';धातु dhātu 'layer , stratum' 'constituent part, ingredient' (esp. [ and in RV. only] ifc. , where often = " fold " e.g. त्रि-ध्/आतु , threefold &c ; cf. त्रिविष्टि- , सप्त- , सु-) RV. TS. S3Br. &c Rebus 1: element , primitive matter (= महा-भूत L. ) MBh. Hariv. &c (usually reckoned as 5 , viz. ख or आकाश ,अनिल , तेजस् , जल, भू ; to which is added ब्रह्म Ya1jn5. iii , 145 ; or विज्ञान Buddh.); primary element of the earth i.e. metal , mineral , are (esp. a mineral of a red colour) Mn. MBh. &c element of words i.e. grammatical or verbal root or stem Nir. Pra1t. MBh. &c (with the southern Buddhists धातु means either the 6 elements [see above] Dharmas. xxv ; or the 18 elementary spheres [धातु-लोक] ib. lviii ; or the ashes of the body , relics L. [cf. -गर्भ]). Orthographically, the single strand and three strands are signified as follows: The fillet worn on the forehead and on the right-shoulder signifies one strand; while the trefoil on the shawl signifies three strands. A hieroglyph for two strands is also signified. Single strand (one dotted-circle) Two strands (pair of dotted-circles) Three strands (three dotted-circles as a trefoil) These orthographic variants provide semantic elucidations for a single: dhātu, dhāū, dhāv 'red stone mineral' or two minerals: dul PLUS dhātu, dhāū, dhāv 'cast minerals' or tri- dhātu, -dhāū, -dhāv 'three minerals' to create metal alloys'. The artisans producing alloys are dhā̆vaḍ m. ʻa caste of iron -- smeltersʼ, dhāvḍī ʻcomposed of or relating to ironʼ)(CDIAL 6773).. dām 'rope, string' rebus: dhāu 'ore' rebus: मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). Rebus: meḍ 'iron, copper' (Munda. Slavic) mẽṛhẽt, meḍ 'iron' (Munda). Semantics of single strand of rope and three strands of rope are: 1. Sindhi dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, Lahnda dhāī˜ id.; 2. tridhāˊtu -- ʻ threefold ʼ (RigVeda). mũh 'a face' in Indus Script Cipher signifies mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.' See: http://bharatkalyan97.blogspot.in/2015/10/indus-script-corpora-face-hieroglyph-is.html An aniconic Sivalinga ligatured with a 'face' is thus a signifier associating Sivalinga with the smelting process in a smelter which results in an ingot or mmuhã 'quantity of metal produced at one time in a native smelting furnace.' This Indus Script evidence is the explanation for ekamukha linga and linga with multiple faces which are orthographic variants of the singe-strand, double-strand, three strands denoted on the priest statue of Mohenjodaro respectively as dotted circle, pair of dotted circles and three dotted circles joined together as a trefoil. Evidences for such sivalingas abound in Bharat that is India and many parts of South Asia.