Identity of Soma as āprī divinity in Rigveda. Baudhāyana-Śrautasūtra: Archaeometallurgy, Agnicayana and locus of Bhāratam Janam of Sarasvati-Sindhu civilization

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Identity of Soma as āprī divinity in Rigveda.

Baudhāyana-Śrautasūtra: Archaeometallurgy,

Agnicayana and locus of Bhāratam Janam of Sarasvati-

Sindhu civilization

Why is Soma an āprī divinity in the āprī sukta of Rishi Asita kAzyapa (RV 9.5)?

The reasons are found in RV 9.5.10, wherein the nature of Soma is explained: 'the green bright golden-hued Vanaspati with its thousand branches.'

In this rica, the gloss [p= 929,1] means m. (also written / ) a shoot , branch ,

twig RV. AV. BhP. (Monier-Williams). The word bhrAja is also significant in the context of

archaeometallurgy; the word denotes 'act of frying, roasting' and explains fully the AtirAtra

yajna for five days and nights continuously in a fire-altar achieving upto 1500 degrees centigrade

Agni, fire to purify the hiraNyam, soma, amzu, valzam: bharjana n. ʻ act of parching or roasting

ʼ KātyŚr., bhrajjana -- n. lex. [√bhrajj] Pk. bhajjaṇa -- , °aya -- n. ʻ id. ʼ; A. bhāzan ʻ act of

frying ʼ, B. bhājan, bhājnā; M. bhā aṇ, bhā ṇ n. ʻ act of parching, grain put to be parched ʼ;

Si. badina -- tel ʻ frying oil ʼ. <-> Kho. (Lor.) bediṅ ʻ wheat parched or ground ʼ < *bharjanikā --

? bharjita ʻ fried, parched ʼ Suśr. [√bhrajj] Pk. bhajjia -- ʻ fried ʼ, bhajjiā -- f. ʻ fried vegetables

ʼ; Pr. bázə, bāˊzə ʻ meat ʼ NTS xv 255; K. abozu ʻ cooked in water and not fried in oil ʼ;

S. bhā ī f. ʻ vegetables ʼ (ā?), Ku. bhājī; N. bhāji ʻ brinjal fried in oil ʼ; A. bhāzi ʻ fried

vegetables ʼ; B. Or. bhāji ʻ anything fried ʼ; H. bhājī f. ʻ fried greens, greens ʼ; G. M.bhājī f. ʻ

vegetables ʼ. <-> See *bhr jjita -- and bhājī -- Add. WPah.kṭg. bh i, kc. bha f. ʻ vegetables,

greens, mushrooms ʼ, J. bhāji f.(CDIAL 9400, 9401)

In 9.5.1 Sayana explains the āprī TanUnapAt 'a name of Soma, abhyo ams'avo jAyante tatah

somo jAyate, from the waters are born ams'u, from these is born Soma. If ams'u is rendered as

'shoot', the explanation points the the nature of Soma as endowed with ams'u, 'shoots'. [p=

1,1] m. a filament (especially of the plant); a ray , sunbeam; end of a thread , a minute

particle; a point , end (Monier-Williams).

When Soma is purchased from the seller who comes from Mt. Mujavat, how is Soma measured?

The details are provided in Baudhāyana-Śrautasūtra (the entire text with English translation is

embedded), with the following excerpts from Pages 355, 363, 365.

In these excerpts, Baudhāyana explains how Soma is measured.

The Adhvaryu touches King Soma with the hand equipped with gold with the formula, 'Let thy

shoot be mixed with shoot, joint with joint; may the fragrance evoke the desire; may the firm

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juice cause excitement. Thou art a house-holder; thy libation is bright.' He measures Soma with

one finger at a time. In respect of all (fingers) he applies the thumb. The golden-handed wise has

measured the heaven with his form. Five times with the formula, five times silently. Measuring

ten times, he measures half the quantity of king Soma. Thus, the Soma shoots are measured as

20-finger width. Adhvaryu then binds Soma with the turban (piece of cloth). Adhvaryu confirms

from the soma-seller: 'O Soma-seller, is thy Soma to be purchased (by us)?' 'It is for purchase,'

says the other. 'Is it from the Mujavat mountain?' 'Indeed from the Mujavat,' says the other. Then

he barters for a cow, 'I purchase it for a cow'. 'This Soma has been purchased. Speak out the

valuables'. 'This Soma-purchasing cow is thine. Gold is thine; the female goat is thine; piece of

cloth is thine.' Then he barters for gold. (p.365).

This measure of Soma shoots by scores of finger-widths determines the barter price for Soma.

What are these ams'u? Soma shoots measured by finger-widths. Such a method of measurement

yields the nature of Soma as electrum ore blocks with shoots -- ams'u or vals'a -- of electrum.

Some images of such ore complexes can be seen. What was the ore block called by the Soma-

seller from MUjavat?

Naturally occurring

electrum. Sample of gold, silver and copper in Andean South America

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While gold is often found mixed with iron, finding raw ore where gold, silver and copper are

mixed is not as common; Top Left: A sample of all three metals in one rock; Top Right: All

three metals bubbled up in a single rock; Bottom: A solid vein of gold, silver and copper,

estimated at 14,000 tons of ore containing about 385 tons of copper, 2,350 oz. of gold, 14,700 oz.

of silver in an area that is known as a gold, silver and copper producer in

Peru http://nephicode.blogspot.in/2015_04_01_archive.html

"Because atoms of gold and silver have the same atomic radius, gold nuggets commonly contain

some amount of silver. For example, gold from California commonly contains 10-15 % silver. If

silver is greater than 20%, the resultant alloy is electrum. In addition to silver, native gold may

contain small amounts of copper (Cu) and iron (Fe). Trace amounts of bismuth (Bi), lead (Pb),

tin (Sn) and zinc (Zn) as well as platinum group metals are also sometimes found in native gold."

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Vulture mine, Arizona.Primary dipping vein.

"Gold and silver were discovered in quartz veins and in silicified and altered host rock within

and adjacent to a prominent north—northeast-dipping quartz-porphyry dike that intrudes

Proterozoic basement rock and grades into a Late Cretaceous granite to granodiorite pluton to the

west. The precious metal occurs in the form of native gold and electrum and is associated with

sulfides including pyrite (fools gold), argentiferous galena (silver-bearing lead-sulfide) and

minor chalcopyrite (copper-iron-sulfide) and sphalerite (zinc-sulfide). White (1988) reported a

positive correlation of gold with abundance of secondary silica and sulfides. Pervasive wall rock

alteration adjacent to the vein resulted in replacement of feldspar and mafic minerals to produce

sericite, hematite and clay; thus the altered dike now consists of quartz ‘eyes’ in a fine-grained

altered matrix. Gold is concentrated in quartz veins and in silicified and altered rocks within and

adjacent to the dike." http://vultureaz.blogspot.in/

I suggest that an ore block was called ancu -- Tocharian (cognate ams'u -- Vedic). In Tocharian,

ancu meant 'iron' as noted by the lexicographer Georges Pinault.

S. Kalyanaraman

Sarasvati Research Center

A gold grains and cube with quartz. http://www.gg.uwyo.edu/content/laboratory/gold/geology/mineral/electrum.asp?callNumber=34981&SubcallNumber=0&color=6699CC

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May 24, 2015

The search is on to trace the movements from Andronovo or Afanasievo cultures, the way the

search is on for the Urheimat of PIE. Based on what Nicholas Kazanas has pointed out and

argued, the search for Urheimat for PIE may lie closer to the river basin where most of Rigveda

was composed and chanted: Sarasvati River Basin. This river basin attests a spoken,

administrative language: Mleccha (Meluhha) which may include many mispronunciations of

reconstructed IE glosses and expressions and closely associated with the Prakrits which may also

be termed Proto-Indo-Aryan. Tocharian speakers got isolated from the rest of the Indo-

Europeans but had apparent trade contacts with the Rigvedic people for exchanges of Soma

(ancu) from Mount Mujavant (Muztagh Ata) of the Tarim Basin as argued with the evidence of

cognates (Soma syonym) ams'u~~ancu pointed out by Georges

Pinault. http://bharatkalyan97.blogspot.in/2015/03/some-tarim-mummies-on-trade-caravans.html

French scholar, Prof. Pinault identifies amśu of Rigveda with anzu of Tocharian. In Tocharian it

means 'iron'. Tocharin language as an Indo-European language has revealed a word anzu in

Tocharian which meant 'iron'. It is likely that this is the word used for soma in Rigveda.

See also: Gerd Carling, Georges-Jean Pinault, Werner Winter, 2008, Dictionary and thesaurus of

Tocharian A,Volume 1, Otto Harrassowitz Verlag. Georges-Jean Pinault, 2006, Further links

between the Indo-Iranian substratum and the BMAC language in: Bertil Tikkanen & Heinrich

Hettrich, eds., 2006, Themes and tasks in old and middle Indo-Aryan linguistics, Delhi, Motilal

Banarsidass, pp. 167 to 196. "...we have Toch. A. *ancu 'iron', the basis of the derived adjective

ancwaashi 'made of iron', to which corresponds Toch. B encuwo, with the parallel derived

adjective encuwanne 'made of iron'...The two forms go back to CToch. oencuwoen- non.sg.

*oencuwo, the final part of which is a regular product of IE *-on...This noun is deprived of any

convincing IE etymology...The term Ved. ams'u-, Av . asu- goes back to a noun borrowed from

some donor language of Central Asia, as confirmed by CToch. *oencuwoen-...the BMAC

language would not belong to the Indo-European family; it does not seem to be related to

Dravidian either...New identifications and reconstructions will certainly help to define more

precisely the contours of the BMAC vocabulary in Indo-Iranian, as well as in

Tocharian."(p.192)]

http://bharatkalyan97.blogspot.com/2011/09/central-asian-seals-seal-impressions.html

Pinault parallels amśu of Rigveda with añcu of Tocharian. In Tocharian it means 'iron'. Tocharin

language as an Indo-European language has revealed a word anzu in Tocharian which meant

'iron'. It is likely that this is the word used for soma in Rigveda. I have posted about this in the

context of identification (discussed in this blog) of Muztagh Ata of Kyrgystan as Mt. Mujavat

(mentioned as a source of soma in Rigveda). It is notable that in Mesopotamian legend of

Ninurta, god of war and agricultural fertility hunts on the mountains, Anzu which is the lion-

headed Eagle with the power of the stolen Tablet of Destinies. The 'eagle' is identified as śyena

in Rigveda and Avesta (saena meregh) as the falcon which brought the nectar, Soma. It is likely

that soma as electrum (silver-gold ore) was bought from the traders who brought anzu from Mt.

Mujavat.

http://bharatkalyan97.blogspot.com.tr/2011/10/itihasa-and-eagle-narratives.html

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RV 9.5: r.s.i: asita ka_s'yapa or devala ka_s'yapa; devata_: a_pri_su_kta (1 idhma or samiddha

agni, 2 tanu_napa_t, 3 il.a_, 4 barhi, 5 devi_ dva_ra, 6 us.a_sa_nakta_, 7 divya hota_gan.a

pracetas, 8 sarasvati_, il.a_, bha_rati_-- tisro devya, 9 tvas.t.a_, 10 vanaspati, 11 sva_ha_kr.ti

उ

उ

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9.005.01 The pure-flowing (Soma) shines forth in its brightness, the universal lord, the showerer

of blessings, the rejoicer, uttering a loud sound. [The deities, samidh and others are severally

invoked in the successive verses. Soma is praised in the form of the A_pris, and samiddhah is

explained as samyagdi_ptah].

9.005.02 The pure-flowing Tanu_napa_t, rushes sharpening its splendour on the height and

hastens through the sky. [Tanu_napa_t = a name of Soma, abhyo ams'avo ja_yante tatah somo

ja_yate, from the waters are born beams, from these is born Soma; hastens through the sky: that

is, to the dron.akalas'a, according to the text, 'he takes a_grayan.a libation with two streams'].

9.005.03 The pure-flowing bright (Soma), the bounteous giver, worthy of all praise, shines forth

in its might with the streams of water.

9.005.04 The bright golden-hued pure-flowing one rushes in its might, strewing the sacred grass

in the sacrifice with its points towards the cast.

9.005.05 The bright golden doors, praised by the priests together with the Soma, rise up from the

vast horizon.

9.005.06 The pure-flowing (Soma) longs for the fair-formed wide-reaching mighty Night and

Dawn not yet visible.

9.005.07 I invoke the two divine priests, the two deities who behold men-- the pure-flowing

(Soma) is radiant and the showerer (of benefits). [The pure-flowing Soma is radiant: perhaps, an

identification of Soma with Indra, just as in the next verse, Indu (i.e. Soma) is identified with

Indra.

9.005.08 May the three beautiful goddesses, Bha_rati_, Sarasvati_, and mighty Il.a_, come to this

our offering of the Soma.

9.005.09 I invoke Tvas.t.a_, the first-born, the protector, the leader; the golden-coloured pure-

flowing Indu is Indra, the showerer, the lord of all creatures.

9.005.10 Pure Soma, consecrate with your streaming ambrosia the green bright golden-hued

Vanaspati with its thousand branches.

9.005.11 O all ye gods, come together to the consecration of the Soma-- Va_yu, Br.haspati,

Su_rya, Agni and Indra.

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(p.355, p.363, p.365)

Baudhayana ca. 800 BCE. Baudhāyana-Śrautasūtra and Baudhāyana-

Śulbasūtra belong to Taittiriya recension of Krishna Yajurveda Samhita..

I suggest that the reference to woollen sieve or straining-cloth or filter in Rigveda is a clear

indication of the material resource of Soma as an āprī divinity. The avyo vAra is an evocation of

the golden fleece used to separate placer gold particles from the silica particles of river bed

sands.

The fleece was the skin of sheep and used to sieve gold from the mud where the Placer gold was

found. The woollen sieve may be a reference to such a golden fleece. Reducing agents include

alkaline as well as combustible materials --vegetable and animal products-- such as: herbs

(ks.a_ra), barley--grains and cooked pin.d.a, milk, curds, clarified butter, viands (animal fat),

bones (used in cupellation processes, and for making crucibles, during the bronze-age), sheep's

hair or wool (reminisced as golden fleece).

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For e.g., Soma is described as parvata_ vr.dhah in a verse, that the pyrites are from the mountain

slopes: 9.046.01 Begotten by the stones the flowing (Soma-juices) are effused for the banquet of

the gods' active horses. [Begotten by the stones: or, growing on the mountain slopes].

http://bharatkalyan97.blogspot.in/2015/05/objects-identified-as-apri-in-rigveda.html Objects

identified as āprī in Rigveda, life-activities of metalcasters of Sarasvati-Sindhu river basins.

The importance of the woollen straining-cloth as a sieve, as a fleece, is seen from repeated

reference to the metaphor of the fleece to create pavamaana, purified Soma, potable electrum to

flow into the pots.

9.6.1 Soma, flow on with pleasant stream, a Bull devoted to the Gods, Our fiend, unto the

woollen sieve. Alternative trans. 9.006.01 Soma, who is the showerer (of benefits), devoted to

the gods, favourable to us, flow with your exhilarating stream into the woollen sieve. [In

Sa_maveda, avyo va_rebhih replaces avyo va_res.vah].9.13.6 Like coursers by their drivers

urged ,they were poured forth, for victory, wift through the woollen straining cloth.9.28.1 Urged

by the men, this vigorous Steed, Lord of the mind, Omniscient, Runs to the woollen straining-

cloth.9.38.1 This Steer, this Chariot, rushes through the woollen filter, as he goes to war that

wins a thousand spoils.9.61.17 The gladdening and auspicious juice of thee, of Pavamana, King!

Flows o'er the woollen straining-cloth. Alternative trans. 9.061.17 Bright shining Soma, the juice

of you, when your flow enters the woollen filter, exhilarating free from evil.

Soma is meant for the gods; thus, gods in the Rigveda are an allegorical personification of the

purification processes (of Soma), just as Soma is an a_pri deity, together with other materials and

apparatus (ladles and vessels) employed in the yajn~a, accompanied by r.cas (or, agnis.t.oma).

If Soma is electrum and Indra is burning embers (such as charcoal, indha, used in a furnace),

the yajn~a can be interpreted, at the material level, as a process of reduction (or, pavitram,

purification), using ks.a_ra, of a metallic ore compound (ma_ks.ika_ or quartz or pyrites) to yield

the shining metals: potable (pavama_na, rasa-- raso varjrah, cf. RV 9.048.03, i.e. rasa, vigorous

as a thunderbolt) gold and silver (hiran.yam and rayi), after oxidising the baser metallic elements

(in the unrefined pyrite ores) such as lead (na_ga or ahi or vr.tra) and copper (s'ulba).

Rica 9.5.4 points to the pavamaana assuming golden ojas, 'light, splendour, lustre' like a cast

metal:

9.005.04 The bright golden-hued pure-flowing one rushes in its might, strewing the sacred grass

in the sacrifice with its points towards the cast.

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

The adhvaryu takes the skin (carma or tvac) and puts on it the filaments or shoots of the Soma

(am.s'u). He then takes two boards (adhis.avan.a), puts one on top of the Soma shoots, and beats

them with the stones (gra_va_n.a). Then the Soma is put between the two boards, and water is

poured on them from the vasati_vari_ pot. Soma is then shaken in the hota_ cup (camasa), wetted

again with vasati_vari_ water and put on a stone. Grass is laid on them, and they are beaten so

that the juice runs out. The juice is allowed to run into the trough (a_havani_ya), then strained

through the cloth (pavitra or das'a_pavitra) which is held by the udgata_. The filtered soma is

caught in another trough (pu_tabhr.t). Libations are poured from two kinds of vessels: grahas or

saucers, and camasas or cups.

The vedi (altar) is the earth and as the agni (fire) raises towards the heaven, the poetic

imagination of the r.s.is (priests) expands into realms of cosmological thoughts, unparalleled in

recorded history of early human civilizations. Thus, at a cosmic level, the Rigveda raises

profound philosophical questions which have been the fountain-head of Indian philosophical

traditions.

"Bronze tools, implements, and weapons and gold jewelry appear together in the Royal

Cemetery of Ur, the royal shaft graves of Alaca Huyuk, and the various treasures (really hoards)

of Troy II. The same is true for the bronze metallurgy and gold jewelry of Poliochni V (yellow).

All this begins in the twenty-sixth century BCE, the date of the Royal Cemetery, and continues

over the next few centuries down to about 2200 BCE. As indicated above, the possibility of tin,

gold, and lapis lazuli coming into Mesopotamia from Afghanistan is certainly an attractive one.

Of these three raw materials, however, we can be sure of the provenance of only one. Most, if

not all, of the lapis lazuli used by the Sumerians came from northeast Afghanistan, from the Sar-i

Sang mines in the region of Badakhshan. As for tin and gold, it can only be said that both

metals are present in significant quantities in Afghanistan and in alluvial form. The recovery of

fine gold particles from streams, making use of the woolly fleece of sheep (the famous Golden

Fleece of Greek legend), was still practiced in Afghanistan well into the twentieth century."

(James D. Muhly, 1995, Mining and Metalwork in Ancient Western Asia, in: Jack M. Sasson,

ed. 1995, Civilizations of the Ancient Near East, Vol. III, New York, Charles Scribner's Sons,

pp.1501-1521).

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The Pennsylvania University Museum for Archaeology and Anthropology in Philadelphia (Penn

Museum) has a large collection of metal artefacts made of copper, bronze, silver and gold, which

Sir Leonard Woolley had excavated in the royal tombs of Ur (middle of the 3rd millennium)

between 1922 and 1934. Of the finds, one quarter went to the University Museum for

Archaeology in Philadelphia, one quarter to the British Museum in London, and the remaining

half to the Baghdad Museum. Before the 1st Gulf War in 1991 these objects were moved to the

vault of the national bank, along with many other gold artefacts, and they have recently been

“rediscovered” there.

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Fig. 02: This bull’s head was attached to a lyre as decoration. It consists of gold and lapislazuli,

the eyes are inlaid with shells, and decorated with bitumen. The find comes from the “King’s

Grave”.

Analytical Examinations of the Metal Finds

The DBM’s first work on the artefacts began in 2009. The museum had agreed to a request to

carry out analytical examinations of the metal finds. To begin with, 31 of the best known and

most beautiful gold objects were analysed non-destructively with a portable x-ray fluorescence

spectrometer to determine their chemical composition.

Fig. 03: Numerous beads were recovered from the royal graves, many of them golden “butterfly

beads”. They were made of two pieces of gold foil welded together. This image was recorded in

the Penn Museum with a transportable digital microscope from Keyence.

Very Interesting Results

The measurements produced very interesting results. Of particular interest was evidence of

gilding using a tumbaga alloy: to “simulate” gold, i.e. to create a gold-rich surface layer, the

original copper-silver-gold alloy was treated with acids. This ingenious technique was therefore

not invented in South America in the 15th century AD, as previously assumed, but was already

known in the ancient world around 2500 BC. These preliminary studies gave rise to a DBM

research project with several partners. Following offers to extend the analyses to the finds in the

British Museum, a continuation of the current project phase is under

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consideration.http://www.ruhr-uni-

bochum.de/archaeologie/forschung/projekte/koenigsgraebervonur.html.enA legend of Vac

frequently referred to in the Brahmanas is that of Soma being brought back from the Gandharvas

at the price of Vac transformed into a woman. (AB 1-27).

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

like other beings, were created by Prajapati. In 3-9-4-10. It mentions gayatri as a mystical name

of Agni who carries off Soma. Gayatri, in the form of a bird, fetches the Soma from

heaven. http://www.speakingtree.in/spiritual-blogs/seekers/faith-and-rituals/advanced-grammar-

and-linguistics-in-vedic-india

Replica of the altar and utensils used during Athirathram

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śrauta utensils used in the yajña. Tretagni in Soma yajña.

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1. HAVIR YAJNA

Agnyadheya

Agnihotra

Darshapaurnamasya

Chaturmasya

Agrayaneshti

Niruudha pashubandha

Sautramani

2. SOMA YAJNA

Agnishtoma

Atyagnishtoma

Ukthya

Shodashi

Atirathra

Aptoryama

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Agnichayana

Vajapeya

https://www.youtube.com/watch?v=FISuF_kJS4A Panjal Athirathram 2011 Documentary

English.wmv

The oldest surviving Vedic ritual - ATHIRATHRAM will be performed at Panjal in

Trichur district of Kerala, India from 4 - 15 April, 2011.

ati-rātrá agní-cayana "the building up of the fireplace performed overnight" Reconstruction in

Panjal, Kerala, in 1975:

YAJAMANA: The Yajamana is the individual on whose behalf the Yaga is conducted.

Traditionally, the Yajamana is a male, and cannot perform the Yaga in the absence of his wife,

the yajamana-patni.

· ADHVARYU : The adhvaryu is usually learned in the Yajurveda and is therefore an expert

in ritual. The adhvaryu is the central official in the conduction of the Yaga.

· HOTA: The hota is a Rgvedin, and is necessary for the chanting of the invocatory hymns,

which are primarily from the RgVeda.

·

· UDGATA : The udgata is an expert Samavedin, who sings the saman chants that are part

of the soma sacrifices.

· BRAHMA : The brahman is the overseer of the sacrifice. Although supposed to be

affiliated to the Atharvaveda, the brahman is often an adherent of one of the three other Vedas.

This substitution is unavoidable given the few Atharva vedis remaining in India.

The more complex yagas require a complete battery of 12 more experts to assist the above 4.

These are listed below according to their vedic affiliation:

1. RG VEDA :

· maitravaruna

· acchavaka

· gravastut

2. YAJUR VEDA :

· pratiprasthata

· neshaa

· unneta

3. SAMA VEDA :

· prastota

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· pratiharta

· subrahmanya

4. ATHARVA VEDA :

· brahmanacchamsin

· Agnidhra

· Pota

First day

The Yajamana and his priests enter into the ritual enclosure carrying three sacred fires in pots.

The ‘Ukha pot’, the main ritual vessel is prepared from clay. An animal sacrifice (In 1975 it was

symbolically) is performed for Vayu. The five chief priests (adhvaryu, brahman, hota, udgata,

and sadasya) are officially selected. Fire is produced by friction. An isti is performed and is

followed by the consecration of (diksa) of the Yajamana (a turban is tied around his head, he is

protected by a golden breast plate, he is given a staff and he closes his fists and deprived of

speaking (except for recitations), from bathing etc. The Yajamana picks up the Ukha pot, which

is filled with fire, and takes three steps with it.

Second day

The mahavira pot, main ritual vessel of the pravargya, is prepared from clay.

Third day

A sacrificial pole is made. To the east of the old enclosure , in which the three altars have already

been made, the measurements of the mahavedi and of the bird-shaped offering altar are laid out.

Fourth day

The new domestic altar replaces the old offering altar one. The adhvaryu consecrates each brick.

The fire from Ukha pot is added to the installed fire An introductory isti is performed .The

‘purchased’ Soma stalks are measured , transport in Somacart on the bullock skin. King soma is

installed on a throne and an isti is performed in honor of him .Except Yajamana and chanters,

sprinkle Soma. The Indra , god’s etc is invited to attend the forth -coming Soma pressing . The

first pavargya and Upasad are performed. The seeds are sown in the plowed ground and buried

several items like tortoise, the Ukha pot, The hiranmaya Purusha etc...The construction of bird

shaped altar started with a stone at the center. All bricks are consecrated by adhvryu. The

Pravargya and Upsad performed.

...

Tenth to Twelfth day

The ceremonies from tenth day will continue throughout out the next two days and nights. The

tenth day is known as sutya. Pressing of soma begins after the hota’s morning recital and Soma

oblations are offered. Some priests including Yajamana crawl in snake like procession on to

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altar for offering. In the north of altar the three chant bahispavamana-stothra. Numerous rites are

performed simultaneously .Fires are installed in hearths in the recital hall also. Eleven animals

are sacrificed( 1975 ,only symbolic).Except Acchavaka Soma juice in the sadas. and hota recites

sastra recitation. .Like this four Soma sequence are performed. Soma offering is made into the

offering fire.

During the pressing on the mid day, gravastut recites Rgveda verses with blind folded cloth in

which Soma was wrapped. .The Yajamana is anointed .

The remaining 14 Soma sequences continue through eleventh day ,night upto the dawn of

twelfth day. On the twelfth day unnetha priest make two Soma offering for Indra Ancestral rites

are performed. The Yajamana and Yajamanapathni take avabhratha bath followed by a

concluding isti is performed and final goat is sacrificed(1975 ,only symbolic). The Yajamana

installs three fires on his home after returning to the home .He perform morning and evening

Agnihothra for the rest of his life!

http://www.allempires.com/forum/forum_posts.asp?TID=28550

http://en.wikipedia.org/wiki/Agnicayana

http://www.vedicsociety.org/an_introduction_to_somayagnyas_and_vedic_yagnyas_in_general.

pdf An introduction to Somayagnyas and Vedic Yagnyas in general by RS Alvar, Geetha Alvar,

MA Lakshmithathachar, MA Alwar, 2010: Ingredients in yajna offerings: rice, corn, specific

samithas, blades of grass, milk, other cereals, curd, barley, fruits, various powders, vegetables

and flowers. Ninth mandala 114 suktas of Rigveda relate to Soma pavamana (purified soma)

Soma is described as possessing a brown hue or a tawny (orange brown) shade. It is also green

and green hued or golden hued. The molten soma is bright red. Soma is bright and shining.

Soma is pressed by stones. Woollen straining cloth is used in filtration and purification. Use of a

sieve is mentioned which is a reference to removal of sediments and other impurities, perhaps by

oxidation. Soma was pressed in every temle, using the Lingam a heavy stone mill. (p.34)

Yajamana makes a donation of ten things including a one year old cow, gold, goats, bull, cart as

price for purchase of Soma. (p.44) Stone called upaanshusavan is used to strike once and make a

single dent on soma, extracting using the words 'Prajaapati Svaaha'. (p.45)

https://www.scribd.com/doc/266386836/An-introduction-to-Somayagnyas-and-Vedic-Yagnyas-

in-general-by-RS-Alvar-Geetha-Alvar-MA-Lakshmithathachar-MA-Alwar-2010

Phala or objective of Soma:

अपम [p= 50,2] mfn. (fr. / ) , the most distant , the last RV. x , 39 , 3 AV. x , 4 , 1

उ

27

8.048.03 We drink the Soma, may we become immortal; we have attained the light of (heaven),

we have known the gods; what now could the enemy do to us, or what, O immortal, should the

aggriever do to the mortal? [Taittiri_ya Sam.hita_ 3.2.5: the past tense is used in the sense of

wish, as'am.sadyotana_ya bhu_ta_rthanir des'ah].

We have drunk soma and attained immortality; we have ourselves seen that light which was

discovered by the Gods. Now then what harm can the evil intentions of our enemies do to us? Of

what avail is the deception of mortals, O immortal one!

Soma confers wealth, treasures:

O Indra, O Soma, send us now great opulence from every side, pour on us treasures a thousand

fold (RV 9.90.3)

Since you are purified, give us the strength of a hero and riches to those who worship you. (RV

9.40.5)

Soma possessor of weapons. Pour on us streams of riches doubly great; and make us better than

what we are. (RV 9.4.7)

Allegorical rreferences to Soma to many forms of life and things: Soma is a strong bull (RV

9.2.1; 9.5.7), splendid specimen of cattle (RV 9.2.2), a war horse (RV 3.3; RV 9.28.1); a bird

upon the wings (RV 9.3.1); a tree whose praise never fails to yield heavenly milk amidst our

hymns (RV 9.12.7)

Soma is the food of the Gods, flows to the banquet of the gods; feast and service for the Gods

(RV 9.1.4; RV 9.6.6); Soma goes to Indra, Vayu and Ashvins gives them joy (RV 9.7.7).

László Fórizs, 2007, Apāṃ Napāt, Dīrghatamas and the Construction of the Brick Altar Analysis

of RV 1.143 http://www.forizslaszlo.com/tudomany/forizs_dirghatamas.pdf

28

29

(KMS No 35-38) Edited & Translated by: C. G.

KASHIKAR 2003, 4 vols., xlv+1844pp

Baudhāyana-Śrauta-sutra

The Baudhāyana-Śrauta-sutra together with an English translation is in four volumes. The

Baudhāyana-Śrauta-sutra belongs to the Kṛṣṇa Yajurveda Taittirīya recension. It represents the

oral lectures delivered by the teacher Baudhāyana, hence is the oldest Śrautatext. The text is

revised here in the light of the variant readings recorded by W. Caland in his first edition

(Calcutta 1906), and is presented in a readable form. The mantras forming part of the Siitras have

been fully rendered into English. The translation is supplied with notes giving reference to the

mantras and explanations of the rituals. The work is expected to serve as an advancement of

Taittirīya ritualistic studies.

Volume View Book

I

II

III

IV

30

http://ignca.nic.in/km_35_38.htm

rvs.10.34

Dearer to me the die that never slumbers than the deep draught of Mujavan s own

Soma.

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

desert; the exciting dice animate me as the taste of the Soma of Maujavat (delights the gods).

[Flowing in a desert: irin.e varvr.ta_nah: a reference to the dice; rolling on the dice-board;

exciting dice: vibhi_taka, the seed of the myrobalan, used as a die; Maujavat: a mountain, where

is said the best Soma is found].

avs.5.22

[0502205] His mansions are the Mujavans, and the Mahavrishas his home, Thou, Fever,

ever since thy birth hast lived among the Bahlikas.

avs.5.22 [0502207] Go, Fever, to the Mujavans, or, farther, to the Bahlikas.

avs.5.22 [0502208] Go hence and eat thy kinsmen the Mahavrishas and Mujavans.

avs.5.22 [0502214] We to Gandharis, Mujavans, to Angas and to Magadhas.

yvk.1.8

k This is thy portion, O Rudra; rejoice in it; with it for food, do thou go away beyond

the Mujavants.

l With unstrung bow, thy club in thy hand, clad in skins.

From N.N. Bhattacharyya, "The Geographical Dictionary -- Ancient and Early Medieval India"

1991, Munshiram:

Mujavant, Mujavat >A people that took their name from Mujavant, a mountain in the Himalayas.

They are mentioned along with the Mahavrsas, Gandhaaris and Baalhikas in AV V.22.5-14.

They are also mentioned in Taitt. Sam. I.8.62; Kaathaka Sam.IX.7, XXXVI.14; Mait. Sam.

I.4.10.20; Vaaj. Sam. III.61; Sat. Br.>II.6.2.17; Baudh. D.S. II.5

I found the following references in Macdonell and Keith, Vedic Index, 1958, Motilal:

MUjavant is the name of a people who, along with the mahAvRshas, the gandhAris, and the

balhikas, are mentioned in the Atharvaveda (v.22,5.7.9.14 cf. baudhAyana Srauta sUtra, ii.5) as

dwelling far away, and to whom fever is to be banished. Similarly in the yajurveda saMhitAs

(TaittirIya S, i.8,6,2;Kathaka S, ix.7; xxxvi.14; maitrAyaNI s, i.4,10.20; vAjasneyi s, iii.61;

Satapatha b, ii.6,2,17) the mUjavants are chosen as a type of distant folk, beyond which rudra

with his bow is entreated to depart. In the Rgveda (x.34,1) soma is described as maujavata,

'coming from the mUjavants,' or, as yAska (Nirukta, ix.8) takes it, 'from mount mUjavant.' The

Indian commentators (mahIdhara on vAjasneyi s, loc.cit.; sAyaNa on RV. i.161,8; baudhAyana

Srauta sUtra and prayoga, cited by Hillebrandt, vedische mythologie, 1,63) agree with yAska in

taking mUjavant as the name of a mountain, and though Hillebrandt (op.cit., 1,65) is justified in

31

saying that the identification of mUjavant by Zimmer (Altindisches leben, 29) with one of the

lower hills on the south-west of kashmIr lacks evidence, it is not reasonable to deny that

mUjavant was a hill from which the people took their name. yAska (loc. cit. cf. siddhAnta

kaumudI on pANini, iv.4,110, where instead of

maujavata in RV x.34, maunjavata is read) suggests that mUjavant is equivalent to munjavant,

which actually occurs later, in the epic (mahAbhArata, x.785; xiv,180) as the name of a

mountain in the himAlaya.

Georges Pinault pointed to the concordance between Vedic and Tocharian: amśu ~~ ancu, 'iron'

(Tocharian). Amśu is a synonym for Soma (as Louis Renou noted that Rigveda is present in nuce,

'nutshell' in the themes related to Soma). The direction of borrowing amśu ~~ ancu is a matter to

be studied further in historical linguistic studies, but is relatable to a date prior to 1800 BCE, the

date of the Tarim mummies in Tushara (Tocharian). Tushara are mleccha (meluhha).

The Tarim mummies are a series of mummies discovered in the Tarim Basin in present-day

Xinjiang, China, which date from 1800 BCE to the first centuries BCE. Many centuries separate

these mummies from the first attestation of the Tocharian languages in writing. A 2008 study by

Jilin University that the Yuansha population has relatively close relationships with the modern

populations of South Central Asia and Indus Valley, as well as with the ancient population of

Chawuhu. (Mitochondrial DNA analysis of human remains from the Yuansha site in Xinjiang

Science in China Series C: Life Sciences Volume 51, Number 3 / March, 2008). The scientists

extracted enough material to suggest the Tarim Basin was continually inhabited from 2000 BCE

to 300 BCE and preliminary results indicate the people, rather than having a single origin,

originated from Europe, Mesopotamia, Indus Valley and other regions yet to be

determined.(Amanda Huang https://archive.today/bK4h).

The Samskritam expression túṣāra, 'frost, snow' is consistent with the Tushara ~~Tocharian

cognates since Muztagh Ata is a high Himalayan mountain (24,758 ft.) cognate Mujavant was

the mountain from which Soma was traded. Frits Staal has indicated possible routes for such

trade. (Staal, Frits, 2004, in: Three mountains and seven rivers in: Hino, Shoun and Toshihiro

Wada, 2004, Three mountains and seven rivers: Prof. Musashi Tachikawa's Felicitation Volume,

Delhi, Motilal Banarsidass, pp.3-24). This trade in Soma (or, amśu ~~ ancu) might have

occurred anytime after 7th millennium BCE, or 4th millennium BCE, the dates indicated for

Rigveda, respectively, by astronomical/ archaeological or language evidence contained in the

text.

http://bharatkalyan97.blogspot.in/2015/03/a-new-start-for-vedic-and-ie-studies.html

Plate 1: The Hellenistic World and the Early Silk Road. This sketch is based on the other maps

about Hellenistic World and the Silk Road, especially the one in Hiebert, et al 2008: 43. The

countries, areas, cities, and towns along the early Silk Road in this sketch are oriented on the

ancient Chinese historical books about the Western Regions and the records from the Classical

authors as well as the archaeological sites discovered recent years. There are many unresolved

and disputable issues in it.

http://wp.chs.harvard.edu/chs-fellows/2014/10/03/hellenistic-information-in-china/

32

33

http://balkhandshambhala.blogspot.in/2013/08/shambhala-roman-republic-500-20-bc.html

Sulbasutras: Indian Texts on Sacred Geometry

BY: PARAMESWARAN MURTHIYEDATH (2005)

34

Nov 26, CANADA (SUN) — Vedic instruction on geometric design of sacred structures,

spaces.

The Sulbasutras deal with geometrical constructions, a large majority of them for the purpose of

carrying out Vedic rituals at precisely constructed altars and similar such ends, that are popularly

believed to date to the millennium before Christ or the end of the Vedic age. Of these,

Baudhayana’s Sulbasutra is believed to date to the 8th century B.C. Later, other authors

including Apastamba, Manava, Katyayana,Satyasadha Hiranyakesin, Vadhula, Varaha and

Kathaka composed sulbasutras as well, although the chronological order in which these texts

were composed remains unknown as yet.

The first five of the sulbasutras is found available in text form while the manuscripts of the

others are known to exist. Still later, the commentaries of Kapardi, Karavinda, Sundararaja and

Dwarkanath aappeared. In more recent times there have been commentaries written by Thibault

35

and Van Geldner in the second half of the 19th century A.D., followed by S. N. Sen and the last

by A.K. Bag in 1983.

Baudhayana’s work and his successors

The Baudhayana Sulbasutram (BSS) is possibly the most important sulbasutra text since it

contains the principles of prescribed geometry for the Vedic altar space. Baudhayana, after

dwelling upon the basic geometrical construction concepts prevalent during his and earlier times

in the first set of sutra, described the Vedic altar space in general and then the

14uttaravedi forms. His descriptions of the uttaravedis reveal a remarkable approach to

geometry and the text serves as a model for technical accuracy and brevity. The order present in

the geometrical analysis as well as in the flow of the text, its subject matter, reveal great clarity

of thinking in the author’s mind and set the text apart from its later counterparts.

The later sulbasutras either dealt with matters mentioned in Baudhayana’s work and developed it

further, or discussed issues that were omitted from this earlier work. Some of these works may

be considered supplementary material. Katyayana’s text described how the construction of the

uttaravedis may range from a size of 7.5to 101 purusam square in a clear narrative style.

Similarly, Manava documented the examples of 8.5 square purusam uttaravedis, something that

neither Baudhayana nor Katyayana had done. Manava further stated a new approach to the use of

the purusam measure and a new unit of measure called pancangi. While a continuity of subject-

matter may be observed in Katyayanaand Manava’s work, Apastamba’s output did not conform

to the trend set by Baudhayana. No clear enhancement or elucidation of former works on

geometry was discernible in his work. He described two forms of brick layout for the pithan

syenaciti and new kanka and alaja citis, and his work on this proved to be very popular.

Recent Interest in the Sulbasutras

The cryptic style of the sulbasutra texts was essentially suited to the Vedic ritualists and in the

wake of a break with traditional rituals and practices after the Vedic period, the texts could have

lost their popular relevance. In some cases, this seems to be exactly what happened- a disconnect

between the content of the text and the purposes to which it no longer was applicable. This made

it very difficult to retrieve the sulbasutras completely at a later date when scholastic interest in

them was reawakened. Therefore, it is doubtful how far the earlier mentioned commentaries are

capable of revealing the real geometrical contents of the sulbasutra in all their glory.

The work done on the sulbasutras since the 19th century A.D. has, however, been followed with

interest in recent times. It is clear that the major concern of the sulbasutra is geometry alone,

although some observations of the srauta nature and certain mathematical operations connected

with geometry also find mention in these texts. It is worth noting that the geometry of the

sulbasutra has more affinity to modern engineering practice than to theoretical mathematics of

36

the present times. This is natural given that the Vedic geometers were more concerned with

accurate constructions of ritual altars and the altar space than with proving a theorem.

The essence of the sulbasutras lies more in the concepts discussed therein than in the authors’

use of grammatical accentuation. The latter was incidental Baudhayana employed the then

prevalent style of the sutra and the other authors followed in a similar fashion. One of the reasons

for the perhaps inaccurate reproduction of the geometry of the sulbasutra may be the approach

adopted by later commentators, an approach that was affected by strongly pre-conceived

grammatical notions. Instead, the sulbasutras ought to be approached with an inquiring mind

regarding the meanings of the words in association exclusively with the subject under discussion.

The modern Indian commentators further tend to find arithmetical and mathematical references

in the sulbasutra, references that are unlikely to have been intended as such by the authors. One

of the acid tests for the accuracy of presentation of a particular meaning is whether it may result

in constructions of the Vedic style. Thus, while?2 is of great concern to the sulbavid (author of a

sulbasutra) the same may not be said of?3 which is irrelevant to Vedic constructions, although

more recent commentators have interpreted the sulbasutras to ascribe relevance to this numerical

value.

The sulbasutra on the other hand reveal a great degree of development of geometry not only as

applied to techniques of constructions, but also extending to conceptual symmetries and an

unknown methodology of evolution of the conceptual approach to such geometry. While this is

the very approach to basic geometry, it then becomes a passionate progress to various shapes of

the uttaravedis. In fact, the very geometry of the mahavedi, in which the uttaravedi is an element,

is of unique conceptual beauty. The 30-36-24 regular trapezium of the mahavedi contained

several triples in their construction format such as 3-4-5, 12-5-13,15-9-17, 35-12-37 which could

be employed to attain the accuracy of layout. The area of the mahavedi thus being 972 square of

18 prakramam, the uttaravedis were initially of 1/3rd of 972 and at the same time the square of

18. Then 1.3rd of 324 is 108, an important number since ancient times for obvious reasons. A

trapezium shape of 10-12-8 amounting to an area of 108 thus became the smallest size of the

uttaravedi in prakramam measures.

37

Figure 1: Mahavedi

The taper of this trapezium narrowing down to the east is impressed upon by all the sulba texts.

The eastward striving nature of the uttaravedi (for, gods reside at the east) is of paramount

importance to the vedic rituals and one could not possibly say for what long period of time it

took, to later develop into highly complex and realistic geometrical shapes in the form of three

later uttaravedis, meant as kamyaciti. In the further development of the uttaravedis, the concept

of “saptavidha: sampadyate”, meaning that the area of the uttaravedi should follow a certain

pattern became a great spirit of enquiry. The eastward striving nature and this new concept put

together developed into highly complex and yet beautifully conceived geometrical shapes of

symmetry perhaps unparalleled in the history of geometry and mathematics. It is at an unknown

point of time after that Baudhayana stood and decided to document it for posterity. And it is this

very thing that the modern commentators, in a way, failed to redeem and realise.

At the very first, the term “saptavidha:” was insufficiently interpreted to mean as 7.5 times the

purusam measure, whereas it was really referred to as the 7 stages of development from the 7.5

to the 101 as area and corresponding sizes. Later, Katyayana described this in good detail, which

also went properly not delineated. While Manava updated to the mathematical order of his time

and described several types of equalities and arithmetical series, it was ironically Apastamba

who was accredited with several modern mathematical interpretations. As a whole, it would be

fair to state that the magnificent total geometry of the sulbasutra remains undiscovered as on

38

date. The BSS contains 21 major sutra sets, of which the first two describe basic geometrical

constructs. They contain basic units of measurements, conversions from one shape to another of

equal area, notions of right angles and the value of ?2 etc. Sutra 3 and 4 describe the geometry

and general concepts of the total altar space. Sutra 5 and 6 are general in nature as well, but in

sutra 7 an initiation of the geometrical complexities to follow is indicated by the description of

the new garhapatyaciti of 21 bricks.

The general layout of the pracinasala and mahavedi, with a detailed definition of the position of

the uttaravedi, is already clear at this point, since it uses the rathacakraciti with its well-defined

centre for the purpose. The next 14 sutras are devoted to the various formats of the uttaravedi.

After describing 2 brick-laying orders of the pithan syenaciti, syenaciti of pancapatri, sadpatri,

kanka and alaja forms are described. These distinct bird shaped altars used different methods to

fulfill the “saptavidha:” concept with the7.5 purusam square as the basis. All of them are based

on clear symmetries and on basic formative squares and rectangles. Next, two simple triangular

praugaciti are described. Then the geometrical content is intensified to describe the

rathacakraciti, 3 dronociti, the smasanaciti, and the kurmaciti. Esoteric compositions are

displayed in the final sutra which goes beyond the bounds set by basic, definitive principles. It is

possible that this process of creative design and constructions was already declining before the

time of Baudhayana and this motivated him to create the BSS text.

While going through the BSS text, one may doubt that all of the citi formats described by him

were in practice during his time since the descriptions contain varying levels of details, though

each of the descriptions could be termed as sufficient in itself. It is here and in the unknown

nature of the time line that the strength of the sruti is revealed in its capacity to travel intact wide

expanses of time. Indeed there are very specific examples of such demonstration of strength of

the system in its further travel to our present times. What is more demonstrative in the second

period of about 2800 years since Baudhayana is that the text travelled intact almost without its

meanings really taken in. And yet there are words in the BSS which could have easily got

transformed into something else but did not. Then there are such instances where certain versions

of the manuscripts tried to inject words into the body text which were found to be stoically

resisted by the extant contents.

In comparison, the later sulbasutra texts are explanatory in nature with some additional altar

designs and some mathematical updates by the authors. These have definitely added strength to

the information system on the one hand and then silently declared that they have stepped out of

the sruti circuit to certain extent. The very sruti system might indeed have had several parallel

flows where the sulbasutra and that of the rituallistic practices could have existed even without

mixing. Where some amount of cross references only existed without one being part and parcel

of the other is a distinct possibility. And possibilities for further studies are plentiful, as the

present attempt of delineation of the sulbasutra could open up a better historical perspective and

39

the timeline of the progress of not only geometry and mathematics of the period of first

millenium BC but a host of other related subjects. It provides a better clarity to matters beyond

the second millennium BC as well. For the geometrician of today and such enthusiasts, a large

volume of exercise is provided by Katyayana, as his formulae for taking the citi forms from 7.5

to 101 purusam squares remain untested and untried.

A Few Sutras

An extract from the book

with Commentary by Parameswaran Murthiyedath

Sutra 12 (Kankaciti)

Sutra 12.1 Kankacita etenatma Puccam ca vyakhyatam

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

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

Sutra 12.2

sirasi pancopadadhyat

tasyakrtirvyakhyata

sirasi pancopadadhya

ttasyakrtirvyakhyata

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

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

This states that the length of the head along the east west is 5 aratni from the body. With the

same words a meaning that the area of the head is 5 sq. aratni could also be derived. Both

meanings are true and so meant.

40

Sutra 12.3

Saptapancasaddaksine paksa upadadhyat

tathottare

Saptapancasaddaksinepaksa upadadhya

ttathottare

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

The wing at south will be obtained as 5 and 7and likewise the north. Again, The wing tips are at

a distance of 12aratni’s to south (5+7) and at the same time it means that the area of the wings

are 57 sq. aratni.

Sutra 12.4

Vyayamena sapradesna paksayorapanamah pancamabhagiyardhyabhih sat sat patrani kuryat

adhyardhavasisyate vyayamena sapradesnapaksayorapanamah pancamabhagiyardhyabhih sat

sat patrani kuryat adhyardhavasisyate

(by vyayama measure with the pradesa the wings bent with the pancami and adhyardha six and

six wing cuts as stated an adhyardha will be balanced)

41

Figure 2: Karika city layout (BSS-12.2-6)

(The wings will be set out at a measure of 1 vyayama added with 1 pradesa at an angle and the

wings tips will have six notches of a measurement of 1 pancami by 1 pancami and a half. An

adhyardha will be balanced)

The configuration of the wings are made by the diagonal of a square of 108A first taken forward

and then retraced to give a mirrored bent. The sutra further categorically states that the wing tips

configuration is with 6 nos of 1aratni by 1 adhyardha cuts. This adds to the area of 54 sq. aratni

and additional 3aratni and the statement of 57 sq. aratni are now established. The statement

‘adhyardhavasisyate’ is about the excess area resulted amounting to 1½ aratni in the

configuration which will be later adjusted by the leg trimming of the tail.

Fig. 12.1 given here shows the citi geometry. First a basic square 1-2-3-4 will be established with

side as 144A, deriving from the statement of ‘saratnipradesa’. The south end of the wings from

which the wing tips take off is line 9-10, parallel to1-4 and at a distance of 12 aratni (288A).

Line 4-8 is the diagonal of a square of 108A as side. Line 8-9 is mirrored from line 4-8. Thus the

wing formation of 4-8-9-10-13-1 is established. The six wing tips are formed by the diagonals of

boxes of an aratni by an adhyardha (1½ aratni) as sides, as shown within9-10-11-12.

Sutra 12.5

taya pucchasyavastat padavaratnimatravaratnyantaralau pradesavyasau bhavatah

tayoravastadabhito dvaudvavastamabhagau pragbhedavupadadhyat taya pucchasyavastat

padavaratnimatravaratnyantaralau pradesavyasau bhavatah tayoravastadabhito

dvaudvavastamabhagau pragbhedavupadadhyat

(At the backside of the tail feet of an aratni length in an aratni gap with 1 pradesa as width at the

back and near as 2 and 2, and 8 sided with a forward cut will be obtained)

The tail is having a forward cut of 1 aratni length and 1 pradesa as width of sides, in a gap of 1

aratni, and thus having 8 sides split into two as forward cut.

The tail portion of 15-14-16-17 contains the details mentioned above. Thus the tail have two cuts

of 1 aratni square which is modified to form the root and two such feet are placed touching each

other as stated forming an 8 sided cut in total.

42

A statement like ‘pancadasa pucche’ is judiciously left out for the reason of the cut in the tail,

though the overall outline agreed to such a statement. Further in sutra 12.8 the placement of two

astamsi bricks at the tail to obtain this configuration are mentioned, to which the presentation

here corresponds.

Figure 2: Karika city layer 1

Sutra 12.6

evam saratnipradesah saptavidhah sampadyate evam saratnipradesah saptavidhah sampadyate

(With only the aratni and pradesa the saptavidhah concept will be achieved)

Thus with the aratni and pradesa measures alone, the saptavidhah concept will be achieved.

Indeed, the altar shape graphically feeds back an area report of exactly 7.5 times the purusam

square, as could also be seen from the calculation of area given here.

43

Table 1: Area of Kankacit

Sutra 12.7

athestakanam vikarah pancamabhagiyah savayavah padestakam caturbhih

parigrhniyadardhapradesenadhyardhapradesena

Figure 4: Karika city, Layer 2

pradesena pradesasavises eneti adhyardhestakam caturbhih parigrhniyadardhavyayamena

dvabhyamaratnibhyamaratnisavises eneti tah sat

44

Figure 5: Karika city, Bricks

Athestakanam Vikarah pancamabhagiyah savayavah padestakam caturbhih

parigrhniyadardhapradesenadhyardhapradesena pradesena pradesasavises eneti

adhyardhestakam caturbhih parigrhniyadardhavyayamena dvabhyamaratnibhyamaratnisavises

eneti tah sat

Now the bricks configuration with the pancami all over with the pada square brick with

surrounded (sliced) ardha and pradesa and the adhyardha and pradesa and the adhyardha and

pradesa with pradesa and a modified pradesa with the adhyardha brick from a square brick with

the surrounded (sliced) half vyayama by two and by aratni and aratni modified like that six.

With pancami as the basic brick allover with the pada of a square brick, and the ardha, the

adhyardhardha and pradesa sliced, the vyayama and the aratni sliced, the modified aratni

consisting 6 bricks will be used.

However, some more bricks are found required and the lists of bricks are as given below:

Sutra 12.8

tasam caturasrapadyah sastamabhagah padayorupadhaya sesam yathayogam yathasamkhyam

yathaadharmam copadadhyat

with these the caturasrapadyah and 8 divided part at the wings having placed balance as required

in as many numbers as per rules be placed

The caturasrapadyah and the astamsi bricks having placed as the feet, the balance will be filled

with the required numbers as per rules.

45

Table 2: Kanchita Bricks

Parameswaran Murthiyedath is a scholar of Vedic Mathematics. From "Kriti Rakshana",

National Mission for Manuscripta.

The following table shows the various kingdoms, provinces and tribes mentioned in the

epicMahabharata. As kingdoms they represent a geographical region that existed in ancient India

which was then known as the Bharatavarsha and as the Jamvudvipa (the continent of the Jamvu

tree). As tribes they existed at some geographical region at some point of time and moved to

other regions or spread into multiple regions at different points of time.

Gandhara Kamboja Kekaya Madra Kuru-Bahlika

Dwaraka Anarta Sindhu Sauvira Sivi

Sudra Abhira Nishada Nishadha Matsya

Kasmira Prakjyotisha Trigarta Kuru Salwa

Karusha Dasarna Chedi Panchala Surasena

Avanti Kunti Vatsa Kasi Kosala Malla

Hehaya Saurashtra Nasikya Anupa Surparaka

Vidarbha Dandaka Asmaka Kishkindha Karanataka

Konkana Gomanta Mahishaka Mushika Kerala

Lanka Vanavasika Kanchi Chola Pandya

Sinhala Vanga Kalinga Telinga Dravida

Mekala Utkala Odra Andhra Dakshina Kosala

Suhma Pundra Anga Magadha Kikata

Lauhitya Prakjyotisha Videha Kirata Yaksha

46

Deva Asura Pisacha Kinnara Gandharva

Uttarakuru Suparna Naga Kimpurusha Rakshasa

Uraga Aratta Loha Rishika China

Tushara Strirajya Aswaka Romana Huna

Parasika Yavana Mleccha Darada Saka

An important passage in the Mahabharata useful for anybody studying about the ancient

kingdoms and tribes of Bharatavarsha is found at MBh 6.9 (Mahabharata, Bhishma Parva

(volume 6), chapter 9).

Sanjaya told to Dhritarashtra:- Listen to the names of the provinces as I mention them. They are

the Kuru-Panchalas, the Salwas, the Madreyas, the Jangalas, the Surasena, the Kalingas,

the Vodhas, the Malas, the Matsyas, the Sauvalyas, the Kuntalas, the Kasi-kosalas, the Chedis,

the Karushas, theBhojas, the Sindhus, the Pulindakas, the Uttamas, the Dasarnas, the Mekalas,

the Utkalas; thePanchalas, the Kausijas, the Nikarprishthas, Dhurandharas; the Sodhas,

the Madrabhujingas, theKasis, and the further-Kasis; the Jatharas, the Kukuras, O Bharata;

the Kuntis, the Avantis, and the further-Kuntis; the Gomantas, the Mandakas, the Shandas,

the Vidarbhas, the Rupavahikas; theAswakas, the Pansurashtras, the Goparashtras, and

the Karityas; the Adhirjayas, the Kuladyas, theMallarashtras, the Keralas, the Varatrasyas,

the Apavahas, the Chakras, the Vakratapas, the Sakas; the Videhas, the Magadhas, the Swakshas,

the Malayas, the Vijayas, the Angas, the Vangas, theKalingas, the Yakrillomans; the Mallas,

the Suddellas, the Pranradas, the Mahikas, the Sasikas; theValhikas, the Vatadhanas, the Abhiras,

the Kalajoshakas; the Aparantas, the Parantas, the Pahnabhas, the Charmamandalas;

the Atavisikharas, the Mahabhutas, O sire; the Upavrittas, the Anupavrittas,

theSurashatras, Kekayas; the Kutas, the Maheyas, the Kakshas, the Samudranishkutas;

the Andhras, and, O king, many hilly tribes, and many tribes residing on lands laying at the foot

of the hills, and the Angamalajas, and the Manavanjakas; the Pravisheyas, and the Bhargavas, O

king; the Pundras, the Bhargas, the Kiratas, the Sudeshnas, and the Yamunas, the Sakas,

the Nishadhas, the Anartas, the Nairitas, the Durgalas, the Pratimasyas, the Kuntalas, and

the Kusalas; the Tiragrahas, the Ijakas, the Kanyakagunas, the Tilabharas, the Samiras,

the Madhumattas, the Sukandakas; the Kasmiras, theSindhusauviras, the Gandharvas, and

the Darsakas; the Abhisaras, the Utulas, the Saivalas, and theValhikas; the Darvis,

the Vanavadarvas, the Vatagas, the Amarathas, and the Uragas; theVahuvadhas, the Kauravyas,

the Sudamanas, the Sumalikas; the Vadhras, the Karishakas, theKalindas, and the Upatyakas;

the Vatayanas, the Romanas, and the Kusavindas; the Kacchas, theGopalkacchas,

the Kuruvarnakas; the Kiratas, the Varvasas, the Siddhas, the Vaidehas, and theTamraliptas;

the Aundras, the Paundras, the Saisikatas, and the Parvatiyas, O sire.

There are other kingdoms, O bull of Bharata's race, in the south. They are the Dravidas,

the Keralas, the Prachyas, the Mushikas, and the Vanavashikas; the Karanatakas,

the Mahishakas, the Vikalpas, and also the Mushakas; the Jhillikas, the Kuntalas, the Saunridas,

and the Nalakananas; theKankutakas, the Cholas, and the Malavayakas; the Samangas,

the Kanakas, the Kukkuras, and theAngara-marishas; the Samangas, the Karakas, the Kukuras,

the Angaras, the Marishas: the Dhwajinis, the Utsavas, the Sanketas, the Trigartas, and

the Salwasena; the Vakas, the Kokarakas, the Pashtris, and the Lamavegavasas;

47

the Vindhyachulakas, the Pulindas, and the Valkalas; the Malavas, theVallavas, the further-

Vallavas, the Kulindas, the Kalavas, the Kuntaukas, and the Karatas; theMrishakas,

the Tanavalas, the Saniyas; the Alidas, the Pasivatas, the Tanayas, and the Sulanyas; theRishikas,

the Vidarbhas, the Kakas, the Tanganas, and the further-Tanganas. Among the tribes of the north

are the Mlecchas, and the Kruras, O best of the Bharatas; the Yavanas, the Chinas, theKamvojas,

the Darunas, and many Mleccha tribes; the Sukritvahas, the Kulatthas, the Hunas, and

theParasikas; the Ramanas, and the Dasamalikas. These countries are, besides, the abodes of

manyKshatriya, Vaisya, and Sudra tribes. Then again there are the Sudra-abhiras, the Dardas,

theKasmiras, and the Pattis; the Khasiras; the Atreyas, the Bharadwajas, the Stanaposhikas,

thePoshakas, the Kalingas, and diverse tribes of Kiratas; the Tomaras, the Hansamargas, and

theKaramanjakas. These and other kingdoms are on the east and on the north.

All the western Indian kingdoms were known by the general name Bahlika (Vahika, Vahlika

and Valhika are variations of the name) meaning outsider. Thus these people were considered

as outsidersof the Vedic culture. However, the name Bahlika is sometimes used to denote a

kingdom within the present Punjab, different

from Madra, Sindhu, Kekeya, Gandhara or Kamboja. As per the epicMahabharata,

the Kuru king Santanu, a forefather of Kauravas and Pandavas, had a brother who ruled the

Bahlika kingdom and a Bahlika king took part in the war aiding Duryodhana. He was killed by

thePandava Bhima.

References in Mahabharata

Bahlika mentioned as a kingdom of Ancient India (Bharata Varsha)

Mbh (6,9)

…the Angas, the Vangas, the Kalingas, the Yakrillomans; the Mallas, the Suddellas, the

Pranradas, the Mahikas, the Sasikas; the Valhikas, the Vatadhanas, the Abhiras, the

Kalajoshakas; the Aparantas, the Parantas, the Pahnabhas, the Charmamandalas; the

Atavisikharas, the Mahabhutas, the Upavrittas, the Anupavrittas, the Surashatras, Kekayas; the

Kutas, the Maheyas, the Kakshas, the Samudranishkutas; the Andhras…

The non-Vedic natue of Bahlika culture

See the main artilce Bahlika Culture, to know more about Bahlika Culture, based on the

epicMahabharata.

Words of Narada

48

The Valhika race is the stain of the Earth (12,328). This mentione is found in the midst of a

passage that describes how Krishna Dwaipayana Vyasa studied Vedas, classified it and spread it

through his four disciples into the whole world. Narada is telling these words to Vyasa:- The

stain of the Vedas is the suspension of their recitation. The stain of the Brahmanas is their non-

observance of vows. TheValhika race is the stain of the Earth. Curiosity is the stain of women.

Words of Vidura

The scum of the Vedas is want of study; of Brahmanas, absence of vows; of the Earth, the

Vahlikas; of man, untruth; of the chaste woman, curiosity; of women, exile from home. The

scum of gold is silver; of silver, tin; of tin, lead; and of lead, useless dross. (5,39)

Dispute between Karna and Shalya in the midst of Kurukshetra War

Karna and Shalya were two generals in the Kaurava army during the Kurukshetra War. They

engaged in a verbal dispute, owing to their deslike of each other. Both of them hailed from a

different culture. Shalya was from the west, being the king of Madra Kingdom in the Bahlika

region. Karna was from the east, being the king of Anga Kingdom. Both these kingdom existed at

the fringes of Vedic culture, practiced in its normal form, mainly in Kuru - Panchala kingdoms in

the middle.

The actual location of the Bahlika culture

Karna said, Listen with devoted attention to this, O ruler of the Madras (Shalya), that was heard

by me while it was recited in the presence of Dhritarashtra. In Dhritarashtra’s abode

the Brahmanas used to narrate the accounts of diverse delightful regions and many kings of

ancient times. An old Brahmana while reciting old histories, said these words, blaming

the Vahikas and Madrakas, "One should always avoid the Vahikas, those impure people that are

out of the pale of virtue, and that live away from theHimavat and

the Ganga and Saraswati and Yamuna and Kurukshetra and the Sindhu and its five tributary

rivers. (8,44)

The food habbits of Bahlikas in the town of Sakala

I remember from the days of my youth that a slaughter-ground for kine and a space for storing

intoxicating spirits always distinguish the entrances of the abodes of the (Vahika) kings. On

49

some very secret mission I had to live among the Vahikas. In consequence of such residence the

conduct of these people is well known to me. There is a town of the name of Sakala (modern

day Sialkote), a river of the name of Apaga, and a clan of the Vahikas known by the name of

the Jarttikas. The practices of these people are very censurable. They drink the liquor called

Gauda, and eat fried barley with it. They also eat beef with garlic. They also eat cakes of flour

mixed with meat, and boiled rice that is bought from others. Of righteous practices they have

none. (8,44)

Bahlika horses

Bahlika region was famous for its horses. They were used by kings in wars.

Vasudeva Krishna also gave unto Arjuna hundreds of thousands of draft horses from

the country of the Valhikas as his sister, Subhadra’s excellent dower. (1,223)

Sikhandin's son Kshatradeva used steeds from Valhika in the Kurukshetra War. (7,23)

Bahlika breed of horses were one among the type of horses employed in Kurukshetra

War:- Many steeds of the Vanayu, the hilly, the Kamvoja, and the Valhika breeds, with

tails and ears and eyes motionless and fixed, possessed of great speed, well-trained, and

ridden by accomplished warriors armed with swords and lances, were seen (7,34)

Bhagiratha gave away a hundred thousand horses of the Valhika breed, all white of

complexion, adorned with garlands of gold. (13,103)

Dhritarashtra wished to give sixteen cars made of gold, each drawn by four excellent

and well-adorned steeds of uniform colour and of the Vahlika breed to Vasudeva

Krishna who came to talk to him on behalf of the Pandavas (5,86)

Kings of Bahlika

Bahlika the son of Pratipa

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

Kuru king Dritarashtra's words to his son Duryodhana:- Even the eldest son may be passed over

and deprived of the kingdom, and younger sons may, in consequence of their respectful

behaviour to the aged, obtain the kingdom. So also, conversant with every virtue there was my

father’s grandfather, king Pratipa, who was celebrated over the three worlds. Unto him, were

born three sons, Of them,Devapi was the eldest, Vahlika// the next and **Santanu of great

intelligence, who was my grandfather, was the youngest. Devapi, endued with great energy, was

virtuous, truthful in speech, and ever engaged in waiting upon his father. But that best of kings

50

had a skin-disease. Popular with both the citizens and the subjects of the provinces, respected by

the good, and dearly loved by the young and the old, Devapi was liberal firmly adhering to truth,

engaged in the good of all creatures, and obedient to the instructions of his father as also of the

Brahmanas. He was dearly loved by his brother Vahlika as also the high-souled Santanu. Great,

indeed, was the brotherly love that prevailed between him and his high-souled brothers. In course

of time, the old and best of kings, Pratipa, caused all preparations to be made according to the

scriptures for the installation of Devapi (on the throne). Indeed, the lord Pratipa caused every

auspicious preparation. The installation of Devapi, however, was forbidden by the Brahmanas

and all aged persons amongst the citizens and the inhabitants of the provinces. Hearing that the

installation of his son was forbidden, the voice of the old king became choked with tears and he

began to grieve for his son. Thus, though Devapi was liberal, virtuous, devoted to truth, and

loved by the subjects, yet in consequence of his skin-disease, he was excluded from his

inheritance. The gods do not approve of a king that is defective of a limb. Thinking of this, those

bulls among Brahmanas forbade king Pratipa to install his eldest son. Devapi then, who was

defective of one limb, beholding the king (his father) prevented (from installing him on the

throne) and filled with sorrow on his account, retired into the woods. As regards Vahlika,

abandoning his (paternal) kingdom he dwelt with his maternal uncle. Abandoning his father and

brother, he obtained the highly wealthy kingdom of his maternal grandfather. With Vahlika’s

permission, Santanu of world-wide fame, on the death of his father (Pratipa), became king

of Kuru Kingdom. (5,149)

Kuru King Pratipa had three sons, viz Devapi, Valhika and Santanu. (1,95)

Bhishma consulted his uncle Valhika to clear doubts about giving in marriage, the tree

maidens that he brought from Kasi Kingdom to his step-brother Vichitravirya (13,44).

Yudhisthira addressed Bahlika as son of Pratipa, in a message sent to Kauravas.(5,23)

Yudhisthira also addressed the Kurus of the Pratipa dynasty viz the Vahlikas(5,57)

Bahlika the father of Somadatta

The lineage that links Bahlika with the Pandavas and Kauravas, as per Mahabharata is as

follows:-

Pratipa -> Devapi (became a sage)

Pratipa -> Bahlika -> Somadatta -> Bhurisravas, Sala

Pratipa -> Santanu -> Bhishma

Pratipa -> Santanu -> Vichitravirya -> Dhritarashtra -> Kauravas

Pratipa -> Santanu -> Vichitravirya -> Pandu -> Pandavas

51

A Bahlika king took part in the Kurukshetra War. He was related to the Kauravas and

the Pandavas, and was a king in the Kuru dynasty. This make Bahlika older than Bhishma,

making him the oldest among, the warriors who fought the Kurukshetra War. But there is

references in Mahabharata thatBhishma was the oldest warrior in the Kurukshetra War. So there

could be some missing king in this lineage of Bahlikas. It could be that Somadatta's father who

took part in the war was the son of the Bahlika mentioned at (Mbh 1,95) as Pratipa's son.

Pratipa -> Devapi (became a sage)

Pratipa -> Bahlika -> Bahlika -> Somadatta -> Bhurisravas, Sala

Pratipa -> Santanu -> Bhishma

Pratipa -> Santanu -> Vichitravirya -> Dhritarashtra -> Kauravas

Pratipa -> Santanu -> Vichitravirya -> Pandu -> Pandavas

This makes the warrior Bahlika, contemporary to Bhishma and his son Somadatta, contemporary

to Dhritarashtra. Somadatta's sons Bhurisravas and Sala also took part in the Kurukshetra War.

Thus four Bahlika war-heroes, spanning three generations, fought the Kurukshetra war. King

Bahlika was present in the self choice event of Draupadi the princess of Panchala Kingdom.

(1,188). He also came to the Rajasuya sacrifice of Pandava king Yudhisthira, brought there

by Nakula (2-33,34). King Bahlika was present with the Kurus of Hastinapura, on almost all the

important events that happened in Hastinapura:- on the arrival of Kunti with the

young Pandavas (1,126), on the occasion of a tournament of war-craft by the Kuru princes

(1,136), When the Pandavas left Hastinapura to the town of Varanavata (1,145), during the play

of dice (2-62,72,76,79)(3,13), during the planning ofKurukshetra War (5-62,63) etc

Bahlika king and his sons and grandsons disliked Duryodhana, but was allied to his

fatherDhritarshtra and grandfather Bhishma (5-58,65,80,83,89,90,124,128,129,131

Bhishma's rating of Vahlika as a car-warrior:-Vahlika is in my judgment, an

Atiratha.(5,168)

Bhurisravas and Somadatta (denoted as Vahlika) were two among the eleven generals of

Kaurava army, leading an Akshouhini of troops (5,156)

Bhalika fught as a warrior in Kurukshetra War under the generalissimos

viz Bhishma (6-17,45,48,59,60,76,82,93,97,103,105,118) and Drona (7-

20,30,37,72,83,92,93,118,152

52

Bahlika was slain by Bhima (7,154). Somadatta (7,159) and Bhurisravas (7,140) were

slain bySatyaki in the Kurukshetra War. The death of all these three in the war is

mentioned together at (8,1), (9-2,24,32,63), (10,9), (15-29,32) At (8,5), the slain Bahlika

is describeds as grandfather of Dhritarashtra. At (11,22) he is described as Pratipa's son.

This is the only two places where both the Bahlikas, the son of Pratipa and the father of

Somadatta were described as same. King Bahlika's funeral rites were performed by

Dhritarashtra (15-11,14)

Pandava general Satyaki's father Sini, and Somadatta were of the same generation.

They were enemies. When Sini lived at Surasena Kingdom, he battled with Somadatta

and defeated him due to a dispute on a maiden (Vasudeva Krishna's mother Devaki).

Satyaki and Somadatta's son Bhurisravas, were of the same generation and were enemies

too. (7,141)

Under the generalissimo Bhishma stood Warrior Sala who was a countryman of the

Valhikas (6,20) .His battles are described at (6-61,86) (7-35,101,153,161). He is slain in

battle, by some unknown hero, as his death is mentioned at (9,2), (18,5)

Other Bahlika kings

A Bahlika king is mentioned as one among the 24 great kings (1,1)

A Bahlika king is mentioned along with the kings present in Yama's court (2,8)

Madra king Shalya is described as a Bahlika king (1-67,113) .Shalya's sister Madri also

is described as princess of Valhika (Bahlika) (1,125)

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

One among the eight kings who were the sons of a Janamejaya who himself was the

son of Kuru, the founder of the dynasty was named Valhika (Bahlika). (Kuru ->

53

Janamejaya -> Dhritarashtra, Pandu, Valhika, Nishadha, Jamvunada, Kundodara, Padati

and Vasati the eighth.) (1,94)

Conquests of Karna

The Utpalas, the Mekalas, the Paundras, the Kalingas, the Andhras, the Nishadas, the Trigartas,

and the Valhikas were all defeated by Karna in battle (7,4)

Conquests of Arjuna

The following passage from Mahabharara, gives glimpses of the contemporary kingdoms and

tribes in the Bahlika area, ie the areas north west to the Kuru Kingdom.

Arjuna defeated the brave Kshatriyas of Kashmira and also king Lohita along with ten minor

chiefs. Then the Trigartas, the Daravas, the Kokonadas, and various other Kshatriyas advanced

against him.Arjuna then took the delightful town of Avisari, and then brought under his sway

Rochamana ruling in Uraga (Urug ?). Then Arjuna, pressed the delightful town of Singhapura

that was well-protected with various weapons. Then he fiercely attacked the regions called

Suhma and Sumala. After pressing them with great force, brought the Valhikas always difficult

of being vanquished, under his sway. Then Arjuna, taking with him a select force, defeated

the Daradas along with the Kambojas. (2,26)

Tribute from Bahlika to Pandava king Yudhisthira

The people of Valhika gave unto Yudhisthira as tribute ten thousand asses, of goodly size and

black necks and daily running two hundred miles, And those asses were of many shapes. And

they were well-trained and celebrated all over the world. And possessed of symmetrical

proportion and excellent colour, their skins were pleasant to the touch. And the Valhikas also

presented numerous blankets ofwoollen texture manufactured in Chin and numerous skins of the

Ranku deer, and clothes manufactured from jute, and others woven with the threads spun by

insects. And they also gave thousands of other clothes not made of cotton, possessing the colour

of the lotus. And these were all of smooth texture. And they also gave soft sheep-skins by

thousands. And they also gave many sharp and long swords and scimitars, and hatchets and fine-

edged battle-axes manufactured in thewestern countries and perfumes and jewels and gems of

various kinds by thousands. (2,50)

Yudhisthira also got a car (chariot) from Bahlika king:- Yudhisthira riding upon the car that had

been given him by the king of Valhika, and attired also in royal robes, set out with his brothers,

(to play dice in Hastinapura). (2,52), (2,57)

54

Bahlika army in Kurukshetra War

The heroes from Bhalika were, king Bahlika, his son Somadatta and his grandsons Bhurisravas

and Sala. Apart from them we find mention of Bahlika army along with the armies of other

neighbouring kingdoms taking part in the Kurukshetra War.

the Kamvojas and with the Valhikas (6,75)

king Vahlika with Vahlikas (6,82), (6,103)

the Nishadas, the Sauviras, the Valhikas, the Daradas, the Westerners, the Northerners,

the Malavas, the Abhighatas, the Surasenas, the Sivis, the Vasatis, the Salwas, the Sakas,

the Trigartas, the Amvashthas, and the Kekayas (6,118)

Yavanas and Paradas and Sakas and Valhikas, and Mlecchas (7,90)

Valhikas with Karna (7,110)

Sakas and Kamvojas and Valhikas and Yavanas and Paradas, and Kalingas and

Tanganas and Amvashtas and Pisachas and Barbaras and mountaineers(7,118)

the Amvashthas, the Malavas, the brave Trigartas and the Sivis, the Abhishahas, the

Surasenas, the Valhikas, and the Vasatis, the Yaudheyas, the Malavas, the Madrakas

(7,154)

the Saindhavas and Valhikas(7,177)

the Vasatis, the Sivis, the Valhikas and the Kurus (7,190)

the Pulindas, the Khasas, the Bahlikas, the Nishadas, the Andhakas, the Tanganas, the

Southerners, and the Bhojas (8,20)

the Bahlikas, and the Kaikayas, the Matsyas, the Vasatas, the Madras, and Saindhavas

(8,56)

the Kurus and the Bahlikas(8,74)

Rise of Bahlika Power in Ancient India

The words of sage Markandeya to Yudhisthira, in the form of a prediction, hints at the rise of

power of western kingdoms in Ancient India.

The Andhhas, the Sakas, the Pulindas, the Yavanas, the Kamvojas, the Valhikas and

the Abhiras, then become possessed of bravery and the sovereignty of the earth. (3,187)

http://ancientvoice.wikidot.com/kuru-bahlika

https://www.scribd.com/doc/266346253/Baudhayana-Srauta-Sutra-Ed-Trans-CG-Kashikar-2003

Baudhayana Srauta Sutra (Ed. &amp; Trans. CG Kashikar, 2003)

An introduction to Somayagnyas and Vedic Yagnyas in general by RS Alvar, Geetha Alvar, MA

Lakshmithathachar...