Vedisch árma

The Preface and Table of Contents of the book are appended to provide background information about the book. A companion book is titled Indus Script Primer (2020) with sub-titles: -- karṇika 'scribes' convey wealth account ledgers -- Meluhha words & meanings, use hieroglyphs. Thus, the books are about 8000+ Indus Script inscriptions which are simply wealth-accounting ledgers and daybooks maintained by guilds of artisans and Meluhha seafaring merchants from 4th millennium BCE. The contents of these 'national accounts' records provide glimpses of what made Ancient India a Super Economic Power of the times, a stunning fact recorded by the Cambridge Economic Historian, Angus Maddison who produced the bar-chart to trigger the formation of European Union. While this chart takes us back in time to 1CE, it does not track down the story of a civilization fully, way before 1CE, say from 4000 BCE. We have found a potsherd from Harappa dated stratigraphically by the HARP archaeology team to ca. 3300 BCE. This potsherd shows three Indus Script hieroglyphs which read: tagara kolimi 'tin smithy'. There is hope that the 8000+ deciphered Indus Script inscriptions will provide details to write an outline Civilization story, Cultural and Economic History of India from 4th millennium BCE. S.Kalyanaraman Sarasvati Research Centre Preface The excavations at Mohenjodaro and Harappa by a British-led team in the 1920s started the revelations about the Indus Valley Civilization. British-led historians and archaeologists theorized how such an advanced civilization flourished apparently 5000 years ago (between 3000 and 4000 years Before the Common Era), and what ended it. Those familiar with the scriptures of ancient India saw evidence of the Sarasvati civilization, discussed starting with the Rg Veda. A Euro-centric theory of civilization, however, insisted that the Indus Valley civilization had nothing to do with the Vedas: instead the Vedas had to be composed by the Tall, Fair and Martial Europeans (Aryans) who rode horses down the Khyber Pass, drove away the short, dark and meek cattle-herding Dravidians, and then, amazingly, decided to settle down and write the Vedas there. Much of the Indus Valley including Mohenjodaro and Harappa is in Pakistani Punjab. The author of this monograph was proudly informed by a PIA flight attendant, that the drink coasters in Business Class were replicas of seals from the Ancient Pakistani Civilization at Mohenjodaro and Harappa. Following the 1974 atomic explosions at Pokhran in the Rajasthan desert, US remote sensing assets such as the LandSat satellite, focused on the Rajasthan desert, looking for effects of the explosion. Other ground agents obtained samples of ground water to seek radioactive seepage. These provided irrefutable visual proof of three facts: 1. A large, dried riverbed ran from the Himalayas to the sea in Gujarat in northwest India, well east of the Indus. 2. The groundwater below this riverbed was from isolated pools, thousands of years old, not annual flows. 3. The large, shallow river would have joined the sea near Dholavira, in India’s Gujarat, close to the legendary location of the submerged port city of Dvaraka. The frequent occurrence of intense earthquakes and landlsides in the region all show why a large, snow-fed river from the Himalayas could get redirected, leaving its previous bed dry – and displacing the settlements that depended on the navigable fresh-water river. Indian archaeologists supplemented their ancient Scriptures with modern diagnostic techniques such as ground-penetrating radar in exploration. Over 2600 sites have been excavated along the Sarasvati valley, and the larger “SaptaSindhu” region, the 7th being the long-lost Sarasvati. The submerged city of Dvaraka has been rediscovered. The above developments have some undeniable effects: 1. The “center” of the so-called Indus Valley civilization has certainly shifted east of the Sapta Sindhu region. 2. This places much of the civilization east of several waterways, further debunking the invasion theories. 3. Maritime trade has been established as a feature of this region, explaining connections to a far larger region. 4. These developments have precisely followed, and now explained, the descriptions in the ancient Scriptures, starting with the earliest identified to-date: the Rg Veda. We now shift attention to other debates. Many artifacts found in these river valley sites have been described as “seals”. But what purpose did they serve? Why did the residents make so many of these? If they were precious, as the expertise and intricate detail suggest, why were they left lying around, absent any catastrophe befalling the residents? Naturally, the academic focus of most archaeologists and historians, has been on ‘decoding the Indus Script’, seeking the equivalent of the Rosetta Stone that gave the same law decree in 3 languages. Nothing of the sort has been found: the residents, and their leaders, appear to have been people of few words, but much effort to communicate those words. Without understanding the context, efforts to decode the ‘script’ have floundered. One solution (none else have come this far!) is a radically different way of looking at these seals. The evidence is in this book. Unsurprisingly, it took the mind of a retired officer of the Asian Development Bank credentialled in public administration as well as economics, and used to seeing accounting every day, to recognize the purpose of the seals. The seals are now seen as marks used in trade and wealth accounting. No wonder that, shorn of the consignments that they guaranteed, they have little value. The intricate seals signify a superlative level of skill in working metal and stone – for metal products were the main trade that they appear to signify. In other words, the translations do not yield Royal Edicts or historical descriptions: they were prosaic statements of the provenance of goods sold, and wealth accumulated from trade. The term “Dravidians” has long been used to signify the “short dark and meek” Indus Valley inhabitants who were supposedly driven away by the Tall, Fair and Martial, but Veda-authoring scholarly Aryans from Europe. It is now seen to denote: “those who lived near/on the water” (Dravya means water). Maritime traders and river-bank dwellers. No wonder some were dark-skinned and focused on their civilizational skills and trade, rather than on predatory and insular instincts: some came from the equatorial sunshine of south India, Sri Lanka and Indonesia. They were used to dealing with diverse peoples, at least from modern-day Vietnam, if not Japan, all the way to Israel if not Scandinavia, and from Indonesia to Central Asia. In short, they had better worries than that of killing the next person they saw to steal food and wealth. They were Civilized. Surely such a civilization did not survive on metals alone. But the signs of their diverse products must be gleaned from elsewhere: most of those articles would not have survived exposure or burial for 5000 years; those that survived would have been taken away and used by those who came later. The implications are stunning. The “Indus Valley” and larger Sapta Sindu region, were not a unique fount of civilization, but the trading edge, and junctions, of a massive hinterland that manufactured (and consumed) the goods traded. This extended at least through the rest of the Indian peninsula and the larger subcontinent, as well as most of South East Asia. How long had this civilization evolved, before it got to the advanced trading stage seen in the Sapta Sindhu? The extremely succinct (though massive!) distillation of knowledge in the Vedas begins to make sense, as the distillation of untold aeons of experience! To speculate on what this does to the Eurocentric narratives of the origins of civilization, is beyond the scope of this book. This two-volume set is written in a very succinct monograph style, originally intended for audiences from the community of present-day historians and archaeologists. It extensively refers to, and cites, the archaeology literature across continents Given the rigid 19th century/ 1920s textbook beliefs that appear to control “Indology” and “South Asian History”, however, many readers may be from outside these communities. Therefore, before one dives into the first chapter, a brief analogy may be useful. The key to the “code” such as it, is the term “Rebus”. An everyday example is the “Arm & Hammer” logo seen on packets of Baking Soda. These are from a corporation started by Mr. Armand Hammer. The words denoting an Arm and Hammer sound like ‘Armand Hammer’ only in English. But people who buy the products need not speak English: they just need to recognize the logo. Thus a common dialect spanning the trading region is not a pre-requisite; though evidence exists that “Meluhha” denotes such a spoken form that formed a “Sprachbund”: a union of speech, across the entire region. The elaborate and intricate seals would have been an extremely laborious and impractical system if used in everyday written communications. However, if they served as stamps to communicate a standard set of messages, they would have been convenient, secure and very efficient. The words sound familiar and intuitively evident, to native speakers of Indian languages. It takes someone steeped in native lore and scripture to make the connections, as done in this monograph. Of course any rebus could have multiple meanings, as laboriously documented in the monograph. There is much to be discovered, but a start has been made, to understand a civilization that spanned a period of at least a few thousand years, ending over 5000 years ago.

Two Indus Script incribed anthropomorphs of Ancient Bharatam copper complexes are deciphered as seafaring metalsmiths, merchants. One anthropomorph links Indus Script hieroglyph one-horned young bull to Varāha and reinforces Vedic roots of civilization of Bharatam Janam. Another anthropomorphic representation occurs of Varāha in the Vedic tradition. Late Uruk and Jemdet Nasr seal; ca. 3200-3000 BC; serpentine; cat.1; boar and bull in procession; terminal: plant; heavily pitted surface beyond plant Indus Script hieroglyphs read rebus: baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’ Hieroglyph: dhangar 'bull' Rebus: dhangar 'blacksmith' Rakhigarhi stone and metal sources and acquisition networks identified in this study. Potential, but as of yet unconfirmed, copper, gold and chert source areas are also indicated. http://bharatkalyan97.blogspot.in/2015/11/indus-script-dhatu-scarf-on-rhinoceros.html Gold sheet and silver, Late 3rd/early 2nd millennium B.C.E. L. 12.68 cm. Ceremonial Axe Baktria,Northern Afghanistan http://www.lessingimages.com/search.asp?a=L&lc=202020207EE6&ln=Collection+George+Ortiz%2C+Geneva%2C+Switzerland&p=1 Shaft-hole axe head with bird-headed demon, boar, and dragon.Bronze Age, ca. late 3rd–early 2nd millennium B.C.,Bactria-Margiana metmuseum.org See: http://bharatkalyan97.blogspot.in/2011/09/central-asian-seals-seal-impressions.html Cast axe-head; tin bronze inlaid with silver; shows a boar attacking a tiger which is attacking an ibex.ca. 2500 -2000 BCE Bactria-Margiana Archaeological Complex. Length: 17.8 cm (7 in). Weight: 675.5 g (23.82 oz). British Museum.ME 123268 (1913,0314.11913,0314.1) R. Maxwell-Hyslop, 'British Museum “axe” no. 123628: a Bactrian bronze', Bulletin of the Asia Institute, NS I (1987), pp. 17-26 Indus Script hieroglyphs चषालः caṣāla varaha's snout, bhūĩ 'earth' as bhudevi Rebus: bhũ 'wheat chaff' as annam in smelting to obtain अमृत, 'Soma juice', performing Vajapeya Soma Yaga. The metaphor is ascent to heaven to reach the moon planet as explained by Chandogya Upanishad (see embedded excerpts from text with translations). See: http://bharatkalyan97.blogspot.in/2016/01/and-hurling-casala-thunderbolt-from.html अमृत -इष्टका and hurling the चषाल caṣāla, 'thunderbolt' from the yupa after reaching heaven, gaining the अमृत, 'ambrosia' चषालः caṣāla 'varaha's snout' lifts up the earth and stone (minerals) to attain amṛta अमृत immortality, imperishable state; ambrosia, beverage of the gods. amRta is Soma juice, i.e., molten metal achieved through the smelting process. The Vajapeya yaga is thus a metaphor for processing Soma, the molten metal with the interventio of bhũ 'wheat chaff' as annam in smelting. This is the चषालः caṣāla, top-piece of the Yupa which signifies the Yaga. It is also signified by an octagonal hour-glass-shaped top-piece on the Yupa, 'pillar, post'. छान्दोग्य उपनिषद् (integral segment of Samaveda tradition of Soma Yaga): ॐ इत्येतदक्षरं उद्गीथमुपासीत ओमिति हृद्गायति तस्योपव्याख्यानम् (1.1) Worship ye OM, the eternal syllable, OMis the Udgitha, the chant of Samaveda; for with OM they begin the chant of Sama. And this is the exposition of OM. एषा भूतानाम् पृथिवी रसः पृथिव्या आपो रसः अपामोषधयो रस ओषधीनां पुरुषो रसः पुरुषस्य वाग्रसो वाच ऋग्रस ऋचः साम रसः साम्न उद्गीथ रसः (1.2) Earth is the substantial essence of all these creatures and the waters are the essence of earth; herbs of the field are the essence of the waters; man is the essence of the herbs.Speech is the essence of man, Rigveda the essence of Speech. Sama is the essence of Rik. Of Sama OM is the essence. स एष रसाना रसतमः परमः परार्ध्योष्टमा यदुद्गीत्थः (1.3) This is the eighth essence of the essences and the really essential, the highest and it belongeth to the upper hemisphere of things. कतमा कतमर्क कतमत् कतमत्साम कतमः कतम उद्गीथ इति विमृष्टम् भवति (1.4) Which among things & which again is Rik; which among things and which again is Sama; which among things and which again is OM of the Udgitha -- this is now pondered. ... "They who perform pious deeds in their village enter the smoke, . . . and then they go from the sky to the moon planet." Chandogya Upanishad (5.10.3-4) explains the ascent of the yajnika (Vajapeya soma yaga) to heaven. Here the metaphor is reaching the moon planet. The reaching of heaven is recognized by declaring Soma, the king and the way Soma is processed as food by the divinities. This metaphor signifies an archaeometallurgical process of attaining Soma using bhũ 'wheat chaff' as annam in smelting. In iconographic rendering this bhũ 'wheat chaff' is signified by the rebus hieroglyph: bhūĩ 'earth' as bhudevi 'mother earth'. The structure of the octagonal yupa signifying Vajapeya Soma yaga includes an octagonal चषालः caṣāla signified by the hour-glass-shaped vajra as shown in the iconography of Vajrapani and in the cylinder seal rendering in Jasper Cylinder seal showing flagstaff-carriers with six-locks of hair (baTa 'six' rebus: bhaTa 'furnace) and signifying the flagstaff with an hour-glass-shaped top vajra 'thunderbolt weapon' as चषालः caṣāla. The signified are metalworkers smelting working with furnaces to produce metallic weapons. See: http://bharatkalyan97.blogspot.in/2016/01/indus-script-hieroglyphs-yupa-bhui-to.html चषालः caṣāla is signified by the snout of a boar, varaha. चषालः caṣāla on Yupa, made of wheat straw, an Indus Script hieroglyph, signifies pyrolysis/carburization in smelting ores into steel/hard alloys Yupa is a kunda, a pillar of bricks. This kunda signifies a fire-alter or agnikunda in Vedic tradition. A signifier of the pillar is a चषालः caṣāla as its top piece. This चषालः caṣāla (Rigveda) is made of wheat straw for pyrolysis to convert firewood into coke to react with ore to create hard alloys, e.g. iron reacting with coke to create crucible steel or carburization of wrought iron in a crucible to produce steel. See: https://en.wikipedia.org/wiki/Crucible_steel The sacredness associated with चषालः caṣāla is demonstrated by the architectural splendour of ancient varaha sculptures in the Hindu tradition. On the varaha monolith in Khajuraho, the चषालः caṣāla is signified by Devi Sarasvati. On many other sculptures of varaha, the चषालः caṣāla is associated with Mother Earth भूदेवी bhudevi. A gallery of varaha sculptural splendour is embedded together with explanatory notes on the dcipherment of metal work catalogue in a Rakhigarhi seal with a rhinoceros decorated with a scarf (dhatu 'scarf' rebus: dhatu 'ore'). The Indus Script hieroglyphic hypertexts get expanded into metaphors during the historical periods narrating Varaha as the third Avatara of Vishnu. In archaeometallurgical parlance, the चषालः caṣāla is the core pyrolysis process to create crucible steel and/or hard alloys in smelting processes. http://bharatkalyan97.blogspot.in/2016/01/casala-on-yupa-indus-script-hieroglyph_6.html Thus, Varaha signifies a yajna in the Vedic tradition. The continuum of this Vedic tradition is also evidenced in gthe Varaha ligature to the copper/bronze anthropomorph with an Indus Script inscription of a one-horned young bull which has been read in the context of metalwork catalogues of the Sarasvati civilization. Varaha Purana has a narrative about Gudakesha who prayed to Vishnu for 14 years. He wanted a boon to make new metal material, tamba 'copper' using his body parts, flesh, tendon etc. Purana records that his blood created gold, flesh and tendon copper, bones silver, and other parts created other material. Because of this boon, Vishnu said that tamba was his favourite metal. Varaha anthropomorphic sculpture in Khajuraho (c. 900-925) is of sandstone, 2.6 metres (8 ft 6 in) long and 1.7 metres (5 ft 7 in) high (ASI, Varaha temple). The flat ceiling of the shrine is car. ved with a lotus flower of exquisite design in relief. tAmarasa 'lotus' rebus: tAmra 'copper'. This Yajna varaha of Khajuraho signifies 674 Vedic divinities in 12 rows as an embodiment of Vedic knowledge and yajna performance. Anthropomorphs as sculptural metaphors is an Indus Script Cipher tradition. The continuum of the Indus Script tradition is exemplified by the Varaha ligature to the copper/bronze anthropomorph of copper complexes together with the inscription of a dominant pictorial motif of the writing system: One-horned young bull. The anthropomorph has been read rebus as a metalwork catalogue, a calling card of the metalsmith-smelter of the Bronze Age. The same metaphor is seen in the Varaha sculpture of Khajuraho as an embodiment of Vedic knowledge systems with particular reference to the performance of the yajna-s. The skambha (rebus: kammaTa 'mint') held in the left hand and a skhambha with caSAla or Sudarshana cakra held in the right hand of Varaha murti in Somnathpur is a descriptive account of a Soma Yaga celebrated and documented in 19 Yupa inscriptions of Rajasthan, Mathura, Allahabad and East Borneo during the historical periods. varaha, somnathpur. Bronze Caturanana. Vishnu, Vasudeva, Varaha, Narasimha. See: http://bharatkalyan97.blogspot.in/2016/01/casala-on-yupa-indus-script-hieroglyph_6.html Coin with Varaha (Vishnu Avatar) on a Gurjara-Pratihara coin 850-900 CE,British Museum. Udayagiri cave, near Vidisha. Varaha. depicted on the upper lip (snout) of Varaha. Varaha temple. Khajuraho. Site Name: Khajuraho Monument: Varaha Mandir Subject of Photo: Varaha Locator Info. of Photo: SE of Laksmana temple courtyard Photo Orientation: overview from SW looking NE Iconography: Varaha Dynasty/Period: Candella Date: ca. latter half of the tenth century CE, 950 CE - 1000 CE Material: stone Architecture: structural Zoom into Sarasvati image on the upper lip (snout) of Varaha

The memory of Samudramanthanam episode in collective social memory of Hindu Itihāsa, with a tortoise as the fulcrum of the churning stick to churn the ocean evokes an Indus Script hypertext which shows a turtle as a signifier for a wealth-accounting ledger, metalwork catalogue. Connotations in the names of first five avatāra of the ten incarnations in Hindu narratives, and related associations of names with metalwork are significant in the context of Indus Script Corpora of 8000+ inscriptions which are wealth-accounting ledgers: क्षीरसागरसु ता, स्त्री, (क्षीरसागरस्य क्षीरोदसर्ु-द्रस्य सु ता ।) लक्ष्ीीः । इतत कतवकल्पलता ॥ https://sa.wikisource.org/wiki/शब्दकल्पद्रु र्ीः This expression in शब्दकल्पद्रु र्ीः links the enterprise of Samudramanthanam with Lakṣmī, divine metaphor for wealth. The Samudra manthan sculpture depicting the churning of the ocean at Suvarnabhumi airport in Bangkok, Thailand. 1.Matsya = aya 'fish' rebus: aya 'iron' ayas 'alloy metal' (Matsya), 2.Kamsa (Kr̥ṣṇa) rebus: kamsa कंस 'a metal , tutanag or white copper , brass , bell-metal', 3.Hiraṇyākṣa (Varāha), [baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala).] 4.Hiraṇyakaśipu (Narasimha), [arya 'lion' Rebus: āra 'brass'] 5.Vāmana = काण्ड 'arrow' (Vāmana)(Treta Yuga) vāmaná ʻ dwarfish ʼ VS., ˚naka -- m. ʻ dwarf ʼ VarBr̥S., ˚nikā -- f. Nalac. 2. *vāmara -- .1. Pa. vāmana -- m. ʻ dwarf ʼ, ˚naka -- ʻ dwarfish, crippled ʼ; Pk. vāmaṇa -- m., ˚ṇī -- f. ʻ dwarf ʼ, K. wāmun m., P. vauṇā, bau˚ m., ludh. bāunā m., WPah.bhal. bāmaṇū m., (Joshi) bāoṇā m., A. bāonā, B. bã̄on, Mth. bāon, OAw. bāvana m., H. bāwan, bāunā, baunā m., ˚nī f., G. vāmṇũ adj.; -- Ku. bauṇyā, N. bāunne, B. bã̄uniyā. 2. L. vã̄varā m.Addenda: vāmaná -- : WPah.kṭg. bauṇ, ˚ṇɔ, ˚ṇu m. ʻ dwarf ʼ, J. baoṇā m.(CDIAL 11538)bāṇá (bāˊṇa -- AV.) m. ʻ reed -- shaft, arrow ʼ RV. 2. vāṇá -- 1 m. ʻ arrow, pipe ʼ, vāṇīˊ -- f. ʻ reed ʼ RV. [Cf. *vāṇa -- 2. <-> Differing Austro -- as. sources suggested by J. Przyluski BSL xxv 56 and PMWS 34. -- → Par. &omacrtodtod; bânug ʻ arrow ʼ IIFL i 240]1. Pa. Pk. bāṇa -- m. ʻ arrow ʼ; Kal.rumb. buŕə̃ ʻ arrowhead ʼ; K. bān m. ʻ arrow ʼ, S. ḇāṇu m., L. P. bāṇ m., Ku.gng. &rtodtilde; A. B. bān, Or. bāṇa (whence bāṇuā ʻ hunter ʼ), Bi. bān, OAw. bāna m., H. bān, m., G. bāṇ n., M. bāṇ m., Si. baṇa.2. P. vāṇ m. ʻ arrow ʼ.bāṇāsana -- ; *antarabāṇa -- .Addenda: bāṇa -- : WPah.kṭg. bāṇ m. ʻ arrow ʼ. (CDIAL 9203) (Vāmana)(Treta Yuga) the dwarf. The fourth descendant of Hiraṇyakaśipu, Bali, with devotion and penance was able to defeat Indra, the god of firmament. This humbled the other deities and extended his authority over the three worlds. The gods appealed to Vishnu for protection and he descended as a boy Vāmana. During a yajña (यज्ञ) of the king, Vāmana approached him and Bali promised him for whatever he asked. Vāmana asked for three paces of land. Bali agreed, and the dwarf then changed his size to that of a giant Trivikrama form. With his first stride he covered the earthly realm, with the second he covered the heavenly realm thereby symbolically covering the abode of all living beings. He then took the third stride for the netherworld. Bali realized that Vamana was Viṣṇu incarnate. In deference, the king offered his head as the third place for Vāmana to place his foot. The avatar did so and thus granted Bali immortality and making him ruler of Pathala, the netherworld. This legend appears in hymn 1.154 of the Rigveda and other Vedic as well as Puranic texts Theosophist Helena Blavatsky in her 1877 opus Isis Unveiled, proposed the following ordering of the Dashavataras: • Matsya - fish (Paleozoic era) • Kurma - amphibious tortoise (Mesozoic era) • Varaha - boar (Cenozoic era)[34][35] • Narasimha - man-lion, the last animal and semi-human avatar (Cenozoic era)[34][35] • Vamana - growing dwarf and first step towards the human form (Brown, C. Mackenzie (June 2007). "The Western roots of Avataric Evolutionism in colonial India". Zygon. 42 (2): 423–448.) Monier Monier-Williams wrote "Indeed, the Hindus were ... Darwinians centuries before the birth of Darwin, and evolutionists centuries before the doctrine of evolution had been accepted by the Huxleys of our time, and before any word like evolution existed in any language of the world."J. B. S. Haldane suggested that Dashavatara gave a "rough idea" of vertebrate evolution: a fish, a tortoise, a boar, a man-lion, a dwarf and then four men (Kalki is not yet born).("Cover Story: Haldane: Life Of A Prodigious Mind". Science Reporter. Council of Scientific & Industrial Research. 29: 46. 1992.) I suggest that the narratives related to first five avatāra are an exposition, in addition to the doctrine of evolution, elucidate the evolution of metalwork competence which resulted in increating the Commonly shared wealth of a nation created by metalworker artisans, metalwork guilds, armourers (arrow-makers, Vāmana = काण्ड 'arrow'). Matsya 1 Satya Yuga Kurma 2 Varaha 3 Narasimha 4 (Vāmana) 5 Treta Yuga R̥k is 'praising' and R̥kvat gaṇa is 'prayer chant'. गण--पाठ [p= 343,2] m. a collection of the गणs or series of words following the same grammatical rule (ascribed to पाणिनि). This गण--पाठ begins with an invocatory prayer to Gaṇapati, 'lord of prayer' personified as Gaṇeśa, 'leader of troop'. Dance-step of Gaṇeśa, Emūṣa, Varāha, with Marut-gaṇa. Kailasanath Temple, Association with a metals manufactory: नाचा पाडा nācā pāḍā or -फाडा m See नचा फाडा under न. फड phaḍa m ( H) A place of public business or public resort; as a court of justice, an exchange, a mart, a counting-house, a custom-house, an auction-room: also, in an ill-sense, as खेळण्या- चा फड A gambling-house, नाचण्याचा फड A nachhouse, गाण्याचा or ख्यालीखुशालीचा फड A singingshop or merriment shop. The word expresses freely Gymnasium or arena, circus, club-room, debating-room, house or room or stand for idlers, newsmongers, gossips, scamps &c. 2 The spot to which field-produce is brought, that the crop may be ascertained and the tax fixed; the depot at which the Government-revenue in kind is delivered; a place in general where goods in quantity are exposed for inspection or sale. 3 Any office or place of extensive business or work,--as a factory, manufactory, arsenal, dock-yard, printing-office &c. नचा पाडा or फाडा The chapter of न or No. Ex. नचा फाडा वाचणें-सांगणें-घट करणें-घोकणें To refuse or deny everything; to be ever no-no-ing. ह्याला नचा फाडा पाठ आहे He says No to everything. [baḍhia 'a castrated boar, a hog'(Santali) বরাহ barāha 'boar' Rebus: baḍhi 'worker in wood and iron' (Santali) bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) vāḍhī, 'one who helps a merchant (Hemacandra Desinamamamala).] Kanchipuram. karabha 'elephant' rebus; karba 'iron' is ligatured to mē̃d, mēd 'body, womb, back' rebus: meḍ 'iron'; मृदु mṛdu, mẽṛhẽt, 'iron' (Samskrtam. Santali.Mu.Ho.) Dance-step: meḍ 'dance-step' signifies meḍ 'iron'med, 'copper' (Slavic)

The first draft of this Research Study Paper examines a hypothesis that biblical words and phrases, discovery of Egyptian names of people, places and topographic features point towards "West Asian Origins" of the RgVeda, the Ramayana and the Mahabharata. The hypothesis calls for the metamorphosis of the geographical origins of the RgVeda into West Asian Egypt and Syria; promotes the English transliteration and translation of the Rgveda and appears as a tacit denial of the existence of the River Sarasvati and the indigenous origins of the Vedic Civilization, Samskrta and Samskriti. The proposed metamorphosis is rooted in a dogma that comprehends "a general consensus in the identification of certain names and recognition of a few terms by scholars other than linguists (italics added), could go a long way to penetrate the obscurity of its geographical contexts and historical significance". The underlying motivation for the recidivism of such a paper that is incidental on invasions and migrations, that reeks of colonialism, religion and geopolitics, will be briefly outlined also. We endorse the concept that pre-Old Indic and Old Indic (Vedic Samskrta) evolved in the area comprising the farming settlements from Mehrgarh (8th millennium BCE) and beyond (into Eastern Iran) and extended to the east beyond the river Saraswati to the river Ganges. Not in isolation; the speakers of Iranian and Indo-Aryan evolved amongst the inhabitants of this area in northern India that chiefly consisted of three tribal conglomerates, Druhyus, Anus and Purus along with some others to their south and east, the Yadus, Turvasus,etc. Two river civilizations, Indus and Sarasvati evolved into Iranian and Indic, Mohenjo-Daro and Harappa.

"According to recent archaeological research the disappearance of the Indus cities is determined at 1900 B.C.; on the other hand, the AV is the first text mentioning iron which was introduced in North India at c. 1100 BCE. The RV, which no longer knows of the Indus cities but only mentions ruins (armaka, [mahå]vailasthåna), thus could have been composed during the long period between 1990 and 1100 BCE."-S.W. Jamison and M. Witzel, 1992, Vedic Hinduism https://www.ms.uky.edu/~sohum/sanskrit/vedica.pdf This is based on a wrong reading of the word armaka in Rgveda (1.133.3). Armaka either refers to a narrow hole or a śmaśāna. ायण explains armaka with the expression र्हावै लस्थे वै गम न्िव्ये र्हाश्र्शाने i.e. great śmaśāna an elevated place for burning dead bodies, crematorium, cemetery or burialplace for the bones of cremated corpses, AV.

See: Metaphors of Rāṣṭrī Suktam R̥gveda 10.125, signify tribute to guilds of pāñcāla, pañca jātā, 'five artisans', seafaring merchants of Sarasvati Civilization https://tinyurl.com/yadqjo2d Listen to https://www.youtube.com/watch?v=-E5xPEsP1A4 (3:29) A rendering of RV 10.125, "Devī Suktam", also called Rāṣṭrī sūktam (RV 10.125). Metaphors of Rāṣṭrī sūktam (RV 10.125) signify navigable Sarasvatī river. The river moves & creates wealth of a nation. These metaphors are replicated as Meluhha hypertexts, recording metalwork catalogues on 8000+ Indus Script inscriptions. The Indus Script inscriptions are wealth-accounting ledgers. Rāṣṭrī if feminine form of Rāṣṭram, 'nation'. The sūktam (RV 10.125) is rendered as a soliloquy, an oration or proclamation by R̥ṣikā vāgāmbhr̥ṇī. The word vāgāmbhr̥ṇī is a metaphor which signifies: vāc, vāk 'speech, knowledge' वाच् f. (fr. √ वच्) speech , voice , talk , language (also of animals) , sound (also of inanimate objects as of the stones used for pressing , of a drum &c ) RV. &c(वाचम्- √ऋ , ईर् , or इष् , to raise the voice , utter a sound , cry , call); a word , saying , phrase , sentence , statement , asseveration Mn. MBh. &c (वाचं- √वद् , to speak words ; वाचं व्या- √हृ , to utter words ; वाचं- √दा with dat. , to address words to ; वाचा सत्यं- √कृ , to promise verbally in marriage , plight troth); Speech personified (in various manners or forms e.g. as वाच् आम्भृणी in RV. x , 125 ; as the voice of the middle sphere in Naigh. and Nir. ; in the वेद she is also represented as created by प्रजा-पति and married to him ; in other places she is called the mother of the वेदs and wife of इन्द्र ; in VP. she is the daughter of दक्ष and wife of कश्यप ; but most frequently she is identified with भारती or सरस्वती , the goddess of speech ; वाचः साम and वाचो व्रतम् N. of सामन्s A1rshBr. ; वाचः स्तोमः, a partic. एका*ह S3rS. ) ambhas 'water' अम्भस् n. (cf. अभ्र्/अ , /अम्बु) , water RV. &c , the celestial waters AitUp.; power , fruit fulness VS. and AV.; pl. (आंसि) collective N. for gods , men , Manes , and असुरs TBr. and VP. ;N. of a metre (consisting of 82 syllables) RPra1t. , (अस) , instr. in comp. for अम्भस् (e.g. अम्भसाकृत " done by water ") Pa1n2. 6-3 , 3; du. (असी) heaven and earth Naigh. r̥ṇī personification and feminine form of ऋण 'debt owed, fort': n. anything due , obligation , duty , debt (a Brahman owes three debts or obligations , viz. 1 . ब्रह्मचर्य or " study of the वेदs " , to the ऋषिs ; 2. sacrifice and worship , to the gods ; 3. procreation of a son , to the Manes TS. vi , 3 , 10 , 5 Mn. vi , 35 , &c ; in later times also , 4. benevolence to mankind and 5. hospitality to guests are added MBh. &c ) RV. AV. &c Mn. MBh. &c; n. a debt of money , money owed MBh. Mn. Ya1jn5.; n. (ऋणं √कृ , to get into debt Ya1jn5. ii , 45 ; °म्- √प्रा७प् , to become indebted Mn. viii , 107 ; °ं- √दा or √नी or प्र- √यम् , to pay a debt MBh. Mn.&c; °ं- √याच् , to ask for a loan Katha1s. ; °म् परी*प्स् , to call in a debt Mn. viii , 161); n. water; n. a fort , stronghold L. ; ([cf. Zd. arena.]) Thus, the expression vāgāmbhr̥ṇī signifies and is a metaphor for a knowledge/speech divinity who is a fortress of water and to whom debt is owed. The proclamation of R̥ṣikā vāgāmbhr̥ṇī in Rāṣṭrī sūktam (RV 10.125) is that debt is owed by all citizens of a nation, because the wealth of a nation is created by the fortress of water, a knowledge system, moving wealth cargo on the navigable waterway. The intimations of a navigable waterway are apparent from these expressions: अहं रुद्रेभिर्वसुभिश्र्चराम्यहमादित्यैरुत विश्र्वदेवैः । अहं मित्रावरुणोभा बिभर्म्यहमिन्द्राग्नी अहमश्र्विनोभा ॥ १ ॥ Griffith translation: RV 10.125.1. I TRAVEL with the Rudras and the Vasus, with the Adityas and AllGods- I wander. I hold aloft both Varuna and Mitra, Indra and Agni, and the Pair of Asvins. The metaphor of gathering and moving of wealth is seen in: अहं सोममाहनसं बिभर्म्यहं त्वष्टारमुत पूषणं भगम् । अहं दधामि द्रविणं हविष्मते सुप्राव्ये यजमानाय सुन्वते ॥ २ ॥ Griffith: RV 10.125.2 I cherish and sustain highswelling- Soma, and Tvastar I support, Pusan, and Bhaga. I load with wealth the zealous sdcrificer who pours the juice and offers his oblation The metaphor of a navigable waterway is seen in the proclamation अहं वसूनां संगमनी:राष्ट्री 'I am the gatherer and mover of wealth of a nation'; the verb is गम् Ved. cl.1 P. ग्/अमति ( Naigh. ; Subj. गमम् , ग्/अमत् [गमातस् , गमाथ AV. ] , गमाम , गमन् RV. ; with prepositions -गम्य or -गत्य Pa1n2. 6-4 , 38) to go , move , go away , set out , come RV. &c ; the semantic expansion of the metaphor is that cargo of metalwork wealth moves on the navigable waterway; that wealth is signified is indicated by the plural वसूनां संगमनी 'gatherer and mover of wealths'; वसु N. of the gods (as the " good or bright ones " , esp. of the आदित्यs , मरुत्s , अश्विन्s , इन्द्र , उषस् , रुद्र , वायु , विष्णु , शिव , and कुबेर) RV. AV. MBh. R.; n. (in वेद gen. व्/असोस् , व्/अस्वस् and व्/असुनस् ; also pl. , exceptionally m.) wealth , goods , riches , property RV. &c ( °सोष्-पति m. prob. " the god of wealth or property " AV. i , 12 [ Paipp. ?? असोष्-प्° , " the god of life "] ; °सोर्-ध्/आरा f. " stream of wealth " , N. of a partic. libation of घृत at the अग्नि-चयन AV. TS.Br. &c ; of the wife of अग्नि BhP. ; of the heavenly गङ्गा MBh. ; of sacred bathing-place ib. ; of a kind of vessel ib. ; °सोर्-ध्/आरा-प्रयोग m. N. of wk.); n. gold (» -वर्म-धर); n. a jewel , gem , pearl (» -मेखल); n. any valuable or precious object; a form of the sun MBh. iii , 146 Hariv. 13143 BhP. iii , 6 , 15. Thus, वसूनां संगमनी signifies, 'mover of wealthy cargo' (on the navigable waterway): अहं राष्ट्री संगमनी वसूनां चिकितुषी प्रथमा यज्ञियानाम् । तां मा देवा व्यदधुः पुरुत्रा भूरिस्थात्रां भूर्यावेशयन्तीम् ॥ ३ ॥ Griffith: RV 10.125.3 I am the Queen, the gathererup- of treasures, most thoughtful, first of those who merit worship. Thus Gods have stablished me in many places with many homes to enter and abide in. See 8000+ Indus Script Inscriptions deciphered: The expression सोममाहनसं combines two words: Soma and आहनस, which I submit is a pun on the words which means आहनस 'destroyer of the enemy' and also āhangar ‘blacksmith’ linked with and derived from aśani ‘thunderbolt’ cognate śyena ‘falcon’, sena ‘thunderbolt’. The semantics of aśani ‘thunderbolt’ leads to the expression āhangar ‘blacksmith’. (Pashto. Kashmiri)aśani ‘thunderbolt’ cognate śyena ‘falcon’, sena ‘thunderbolt’. The semantics of aśani ‘thunderbolt’ leads to the expression āhangar ‘blacksmith’. (Pashto. Kashmiri) P آهن āhan, s.m. (9th) Iron. Sing. and Pl. آهن ګر āhan gar, s.m. (5th) A smith, a blacksmith. Pl. آهن ګران āhan-garān. آهن ربا āhan-rubā, s.f. (6th) The magnet or loadstone. (E.) Sing. and Pl.); (W.) Pl. آهن رباوي āhan-rubāwī. (Pashto) In addition to रुद्रेभिर्वसुभि:सोम त्वष्टा पूषण भग are invoked; such an invocation is an adoration of the creators and promoters of artisans who create wealth: e.g., त्वष्टृ who is a metals/weapons-maker: m. a carpenter , maker of carriages (= त्/अष्टृ) AV. xii , 3 , 33; " creator of living beings " , the heavenly builder , N. of a god (called सु-क्/ऋत् , -पाण्/इ , -ग्/अभस्ति , -ज्/अनिमन् , स्व्-/अपस् , अप्/असाम् अप्/अस्तम , विश्व्/अ-रूप&c RV. ; maker of divine implements , esp. of इन्द्र's thunderbolt and teacher of the ऋभुs i , iv-vi , x Hariv. 12146 f. R. ii , 91 , 12 ; former of the bodies of men and animals , hence called " firstborn " and invoked for the sake of offspring , esp. in the आप्री hymns RV. AV. &c MBh. iv , 1178 Hariv. 587 ff. Ragh. vi , 32 ; associated with the similar deities धातृ , सवितृ , प्रजा-पति , पूषन् , and surrounded by divine females [ग्न्/आस् , जन्/अयस् , देव्/आनाम् प्/अत्नीस् ; cf. त्व्/अष्टा-व्/अरूत्री] recipients of his generative energy RV. S3Br. i Ka1tyS3r. iii ; supposed author of RV. x , 184 with the epithet गर्भ-पति RAnukr. ; father of सरण्यू [सु-रेणु Hariv. ; स्व-रेणु L. ] whose double twin-children by विवस्वत् [or वायु ? RV. viii , 26 , 21 f.] are यमयमी and the अश्विन्s x , 17 , 1 f. Nir. xii , 10 Br2ih. Hariv. 545 ff. VP. ; also father of त्रि-शिरस् or विश्वरूप ib. ; overpowered by इन्द्र who recovers the सोम [ RV. iii f. ] concealed by him because इन्द्र had killed his son विश्व-रूप TS. ii S3Br. i , v , xii ; regent of the नक्षत्र चित्रा TBr. S3a1n3khGr2. S3a1ntik.VarBr2S. iic , 4 ; of the 5th cycle of Jupiter viii , 23 ; of an eclipse iii , 6 ; त्वष्टुर् आतिथ्य N. of a सामन् A1rshBr. ) Manu-smṝti states, defines a Rāṣṭram, 'nation'. Manu VII,155, 156, 157 155. On the conduct of the middlemost (prince), on the doings of him who seeks conquest, on the behaviour of the neutral (king), and (on that) of the foe (let him) sedulously (meditate). 156. These (four) constituents (prakriti, form), briefly (speaking), the foundation of the circle (of neighbours); besides, eight others are enumerated (in the Institutes of Polity) and (thus) the (total) is declared to be twelve. 157. The minister, the kingdom, the fortress, the treasury, and the army are five other (constituent elements of the circle); for, these are mentioned in connexion with each (of the first twelve; thus the whole circle consists), briefly (speaking, of) seventy-two (constituent parts).https://www.sacred-texts.com/hin/manu/manu07.htm Manu ix.294 The king and his minister, his capital, his realm, his treasury, his army, and his ally are the seven constituent parts (of a kingdom); (hence) a kingdom is said to have seven limbs (anga).https://www.sacred-texts.com/hin/manu/manu09.htm

The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight and measure system of Harappa, The Harappan Symbol Of Man+ Trident And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of Intersecting Circles And Its Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their Relation To Kausika Visvamitra And The Kalinga Malla MeTas( Tower weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus Script, Krishna’s Dvaraka In The Indus Script, One Symbol Of Indus Script Can Tell A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money, A Solution To The Mystery Of The Gundestrup Cauldron, The Eternal Soma Of The Vedas, Vedic Roots Of Ancient Egyptian Religion, A Veiled Visvamitra Soma Sacrifice In The New Testament , The Script Of Indus Valley Civilisation-1:The Script Of Indus Valley Civilisation-2, The Punny Plough,The Bearded Kings Of The Ancient, Bharata -The Language Of The Indus Valley Civilisation, The Script Of Indus Valley Civilisation -3,The Script Of Indus Valley Civilisation-4,Harappan Vedic Sacrificial Feasts In Mesopotamian Art And In The Bible,The Script of Indus valley Civilisation-6 :A Vrishni Silver Coin And Its Harappan Source,The Script of Indus valley Civilisation-7: The Conversion Of Makha(Sacrifice) To Tanka(Mint) In The Indus Script,Script Of Indus Valley Civilisation-8:Vedic Root Of Gudea’s Akshayapatra,Three Men In A Boat Seal Evidence Of Indus –Dilmun Trade,The Script Of Indus Valley Civilisation-9: The Goodluck Symbols Of The Indus Script, The script of Indus valley civilisation-10:Identification Of The True Vedic Soma From Harappan Seals Confirms The Indus Valley Civilisation As Vedic, The Script Of Indus Valley Civilisation-11: Daksha (Soma) Yaaga-The Vedic Eucharist -In The Indus Script , The Script Of Indus Valley Civilisation-12: Dāśarājñá And Dasaratha In The Indus Script, The Script Of Indus Valley Civilisation-13:The Silver Palm Seals Are Rosetta Stones Of The Indus Script , Vedic And Sumerian Linguistic Evidences For The Language Of Harappa, The Script Of Indus Valley Civilisation-14:The Difference Of Meluhha And Mlecca, The Script Of Indus Valley Civilisation-15:The Shift Of The Capital Of The Vrishnis From Mathura( Kalibangan) To Dvaraka( Mohenjodaro) - I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people, places and gods etc. My perception is that only a comprehensive study of ancient vedic metrology can decipher the script symbols satisfactorily. A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging the common perception of its origin from the later Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka/soma/agni.Signs of intersecting circles, fish , crab,bud,tower etc. also indicate pala.The six locks of hair indicate the paNameTa weight of six barley grains.Roots and nuts indicate viira bhadra/ Drupada/ varaha/pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts. We have confirmed Mohenjodaro as the first Dvaraka on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the indications of the Harappan jar symbol with three forks on each edge.We have located the Kasyapas in Hastinapura trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located the Asvins,Yama and Skanda in the Indus script.In A Model For Indus Script Decipherment we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script. We have seen how Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money. We have looked for and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form. We have gone into the relation of the Druids to the Indus valley civilisation and the role of their Gundestrup cauldron in the evolution of Christianity. We have explored the relation of the Anau seal to the Indus Valley Civilisation. We have gone into the relationship of the Egyptian and Harappan deities. We have looked into a beautiful story from the New Testament invoving the vedic soma sacrifice in A Veiled Visvamitra Soma Sacrifice In The New Testament. We have studied the indications of some of the Indus script symbols with particular reference to their use on ancient coins of India . We have looked into symbolism of the overflowing vase on the Sumerian statue of Gudea and through it we identified the indications of several Indus symbols including the Harischandra vaajapeya sacrifice. We have seen how the Harappan glyphs served as goodluck symbols . The identification of the right vedic soma has two important aspects:First, it ends the long quest for the mysterious soma. Second,it confirms the Indus valley civilisation as vedic ,beyond any doubt. We have studied the vedic Daksha Yaaga and its relation to the soma yaaga.Also we have located Dāśarājñá and Dasaratha in the Indus seals. We have explored the application of the palm seals as further rosetta stones of the Indus script . We have looked into the claim of mlecca as the language of the Indus valley civilation and concluded that Bharata,not mlecca, was the language of the Indus valley civilisation. We have gone into the shift of the vedic Yadava clans from the Ghaggar-Hakra to the Sarasvati(Sindhu) basin. In this article we are confirming the river Sindhu as the vedic river Sarasvati.

I recollect an 18 year old monograph suggesting the name Sarasvati-Sindhu civilization, ca. 3000 BCE. (Annex A) Archaeological work done during the last two decades calls for a re-look at the present-state of knowledge about the civilization and the relationship between so-called Neolithic cultures and Ironworking regions of Ancient India, in the context of the phases of Sarasvati Civilization (generally restricted to the Sarasvati River basin in NW India, consistent with the names such as Indus Valley or Harappa Civilization). It has been shown that reference to Ganga Basin and Brahmaputra Basin occur in R ̥ gveda. Unfortunately, these have not received adequate attention. I submit that the Copper Hoard Culture normally identified with the Ganga-Yamuna doab relates to these Ganga and Brahmaputra River Basins which were inhabited by people of Sarasvati Civilization, contemporaneous with the 2000+ settlements identified on the Sarasvati River Basin, west of Rakhigarhi. I submit that further researches should focus on iron ore belts of India, considering the fact that over 8000 Indus Script Inscriptions are wealth accounting ledgers, metalwork catalogues. It is clear that iron smelting work was in progress not later than 1800 BCE in Ganga River Basin.

Dholavira is a site of Sarasvati-Sindhu (Hindu) civilization site in Rann of Kutch, south of the Great Thar desert, Marusthali. Ganweriwala is a site of the civilization in Bahawalpur Province of Cholistan desert.At both sites artifacts of of metalwork and lapidary crafts confirm the decipherment of Indus script inscriptions as metalwork catalogs rendered in rebus-metonymy layers of Meluhha (Proto-Prakriatam or Des'i) words, constituting the Indus script cipher. Both sites, Ganweriwala and Dholavira are on the Sarasvati River Basin --1. on tributary River Sutlej which migrated westwards from Ropar to join the River Sindhu and 2. on migrating channels of River Sarasvati in areas south of Jaisalmer to join the Rann of Kutch. These two forks of Vedic River Sarasvati -- one flowing into Cholistan and another flowing into Marusthali -- are datable and attested archaeologically to ca. 2000 BCE, confirming the drying sequence of the Himalayan glacier-fed river system due to river migrations caused by plate tectonics, while retaining the navigability of both forks of channels to explain the ongoing seafaring activities for trade across Persian Gulf with Mesopotamia. Perhaps a few centuries after the cessation of links with Himalayan glacier water sources, some of the channels dried up, snapping the maritime trade links which were earlier used by seafarins merchants. Thus, the evidence is mounting to determine the date of the drying up of River Sarasvati snapping navigable channels, which resulted in disruption of seafaring activities of metalworkers from Meluhha using the Persian Gulf route for Tin trade which stretched from Hanoi in Vietnam to Haifa in Israel.Significant findings of the isotope study on Vedic River Sarasvati by SM Rao of BARC are:1. the ground-water aquifers in Jaisalmer, Marusthali, Great Thar Desert (30 m. below ground) had waters comparable in composition to those found in Cholistan desert (e.g. Ganweriwala).2. the ground-water aquifers were getting recharged by himalayan river water-flows.These findings have to be read with the findings of Rafique Mughal of over 200 'industrial sites' in Bahawalpur province, Cholistan desert. Mughal notes the waters which had flowed into the area from the diverted River Sutlej. River Sutlej had taken a 90-degree turn at Ropar and moved away from feeding into Ghaggar-Hakra river basin and joined with River Sindhu in Bahawalpur province. While no archaeological sites have ben identified on the banks of River Sutlej in the region of west of Ropar, a large number of archaeological siteds have been found on the naiwals and on the banks of Ghaggar-Hakra south and south-west of Ropar. This is an indication that the River Sutlej waters were flowing southwards into the River Sarasvati (Ghaggar-Hakra) system.SM Rao finds that the ground-water of Jaisalmer samples compared with the ground-water samples of Cholistan. If Cholistan sites got River Sutlej waters, there is every reason to conjecture that the same River Sutlej waters had recharged the groundwaters of Jaisalmer in the earlier stages of the migratory paths of paleochannels of River Sarasvati. River Sutlej is a Himalayan river emanating from the Himalayan glacier of Manasarovar. It is thus deduced that the groundwaters of Jaisalmer could also have been recharged by th glacier waters of Sutlej.The stunning find is that the aquifer groundwaters of Jaisalmer are 6,000 to 20,000 years old, attesting to a hydrology of Himalayan river flows into Haryana, and Rajasthan.See: http://bharatkalyan97.blogspot.in/2015/04/a-note-on-isotope-study-on-vedic-river.htmlSee: Mani, BR, 2012, Indian Civilization Evolved in the 8th Millennium BC in the ‘Lost’ River Valley https://friendsofasi.wordpress.com/writings/the-8th-millennium-bc-in-the-lost-river-valley/