LORD KRISHNA III

Indo Nordic Authors’ Collective, 2023

Does it shock you that Vedic culture existed outside India so long ago? Veda means knowledge, and true knowledge is everybody's birthright. Devotion to Krishna is the eternal function of the soul, it is said that it transcends cultural designations. Cambodia of those days was a genuine recipient of Lord Vishnu's mercy. Angkor was located in the "new place" of those days used to be called, of all things, Yasodapura. Yasoda is the name of Krishna's mother. It seems the temple was constructed in her honor. I had to know more. As we read on, we learned that south India's Sri Rangam is indeed considered the largest Vishnu temple in India-but Angkor Wat is bigger still. Vishnu is still worshiped in Sri Rangam, but Angkor Wat has long since become a Buddhist shrine.The massive Vishnu temple apparently was constructed by the Pallava dynasty of India, under King Suryavarman II's patronage. The Pallavas were mostly Vaisnavas, Krishna conscious devotees, and with their great missionary spirit brought Vedic culture from India to many lands. Angkor Wat, the crown jewel of Pallava masterworks, dominates the plain where the Khmer empire-heir to the kingdoms of Funan and Chenla-flourished from the ninth century A.D. 1. HARIHARA-Interpretational Issues of this strange Indic God figure in the Khemer Imperial Frame 2. HARIHARA and HARIHARLAYA-The Connect Between God and the City 3. TEMPLES NAMED AFTER HARIHARA IN CAMBODIA

This monograph establishes the Indus Script as a continuum of Mahabharata events which constitute the sheet-anchor of Bharatiya Itihaasa and demonstrates the continuum of wealth-production activities of artisans in ancient Indian mints and documented on sculptural epigraphs such as the inscription on Heliodorus pillar of Vidisha. I submit that since the Mohenjo-daro tablets of a date later than the Mahabharata events, seem to evoke the Krishna legend of Nalakubera and Manigriva episode; hence, evoke the memory of Sri Krishna legends which are memories of Mahabharata period events which date to 4th m. BCE. The tablets date to ca. 2500 BCE, the mature period of Sarasvati Civilization and contain both pictorial motifs and sign sequences as text message which clearly refer to a period when the Indus Script had stabilised as a writing system in the expansive civilization area which spreads from Sinauli (Yamuna river basi) to Susa in Ancient Near East.. A book by Dr. ML Raja, 2019, Astronomical Evidence of the Date of Mahabharata War, Kochi, Kurukshetra Prakashan, dates the event to 3143 BCE based on the Nirayana method of calendrical trigonometrical computation, which takes Mesha 0-degree as fixed. The wealth-accounting ledgers of Indus Script Corpora (from ca. 3300 BCE which is the archaeologically attested first potsherd with Indus Script hieroglyph) are continued in the Indus Script hieroglyphs of punch-marked coins of mints from Eurasia from Taxila to Karur; the recollected memories of MBh legends are also reflected on these hieroglyphs on coins. The memories and legends of Sri Krishna are the reality and the metaphors are as close to truth as can be gleaned from ancient evidences of Indus Script inscriptions, ancient sculptures and inscriptions on pillars as on Heliodorus pillar of Vidisha, ancient Indian coins and ancient texts such as MBh and Harivamsa. That Vrishnikula is a historical reality is proved by a remarkable coin with Indus Script hieroglyphs. See: http://bharatkalyan97.blogspot.in/2016/10/vrishni-janapada-coin-with-hieroglyphs.html वृष्णि is a term in Rigveda. A Vrishni silver coin from Alexander Cunningham's Coins of Ancient India: From the Earliest Times Down to the Seventh Century (1891) (loc.cit., Lahiri, Bela (1974). Indigenous States of Northern India (Circa 200 B.C.E to 320 C.E.), Calcutta: University of Calcutta, pp.242 3). वृष्णि [p= 1013,2] वृष्ण्/इ or व्/ऋष्णि, mfn. manly , strong , powerful , mighty RV.m. a ram VS. TS. S3Br.m. a bull L.m. a ray of light L.m. N. of शिव MBh.m. of विष्णु-कृष्ण L.m.of इन्द्र L.m. of अग्नि L.m. pl. N. of a tribe or family (from which कृष्ण is descended , = यादव or माधव ; often mentioned together with the अन्धकs) MBh. Hariv. &cn. N. of a सामन् A1rshBr. (Monier-Williams) An identical ancient silver coin (perhaps produced from the same ancient mint) of Vrishni janapada ca. 10 CE with kharoṣṭhī, Brahmi inscriptions and Harappa Script hieroglyphs was sold in an auction in Ahmedabad (August 2016) for Rs. 27 lakhs. In fact, the treasure is priceless and defines the heritage of Bhāratam Janam, 'metalcaster folk' dating back to the 7th millennium of Vedic culture. It signifies a spoked wheel which is the centre-piece of Bharat's national flag. सांगड sāṅgaḍa 'joined animal', rebus: sangaDa ‘lathe’ sanghaṭṭana ‘bracelet’ rebus 1: .sanghāṭa ‘raft’ sAngaDa ‘catamaran, double-canoe’rebusčaṇṇāḍam (Tu. ജംഗാല, Port. Jangada). Ferryboat, junction of 2 boats, also rafts. 2 jangaḍia 'military guard accompanying treasure into the treasury' ചങ്ങാതം čaṇṇāδam (Tdbh.; സംഘാതം) 1. Convoy, guard; responsible Nāyar guide through foreign territories. rebus 3: जाकड़ ja:kaṛ जांगड़ jāngāḍ‘entrustment note’ जखडणें tying up (as a beast to a stake) rebus 4: sanghāṭa ‘accumulation, collection’ rebus 5. sangaDa ‘portable furnace, brazier’ rebus 6: sanghAta ‘adamantine glue‘ rebus 7: sangara ‘fortification’ rebus 8: sangara ‘proclamation’ 9: samgraha, samgaha 'arranger, manager'. On the VRSNi coin, tiger and elephant are joined to create a composite hyperext. This is Harappa Script orthographic cipher. Hieroglyph: ढाल (p. 204) ḍhāla f (S through H) The grand flag of an army directing its march and encampments: also the standard or banner of a chieftain: also a flag flying on forts &c. v दे. ढाल्या (p. 204) ḍhālyā a ढाल That bears the ढाल or grand flag of an army. Rebus/Hieroglyph: ढाल (p. 204) ḍhāla f (S through H) A shield. ढालपट्टा (p. 204) ḍhālapaṭṭā m (Shield and sword.) A soldier's accoutrements comprehensively. ढाल्या (p. 204) ḍhālyā a ढाल Armed with a Shield.ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B. ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f.Addenda: ḍhāla -- . 2. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f.(CDIAL 5583) தளவாய் taḷa-vāy , n. prob. தளம்³ + வாய். [T. daḷavāyi, K. dalavāy.] Military commander, minister of war; படைத்தலைவன். ஒன்ன லரைவென்று வருகின்ற தளவாய் (திருவேங். சத. 89). Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati) ढाळ (p. 204) Cast, mould, form (as of metal vessels, trinkets &c.) This Indus Script cipher signifies that an ox-hide ingot of Ancient Near East was called ḍhāla 'a large metal ingot' -- a parole (speech) word from Indian sprachbund (language union or speech linguistic area) of the Bronze Age. kola 'tiger' rebus: kol 'blacksmith' kolhe 'smelter' The pellet border is composed of: goṭā 'seed', round pebble, stone' rebus: goṭā ''laterite, ferrite ore''gold braid' खोट [ khōṭa ] f A mass of metal (unwrought or of old metal melted down). The railing for the pillar is Vedi, sacred fire-altar for Soma samsthā Yāga. There is evidence dated to ca. 2500 BCE for the performance of such a yajna in Binjor (4MSR) on the banks of Vedic River Sarasvati. The fire-altar yielded an octagonal pillar, which is detailed in ancient Vedic texts as a proclamation of Soma samsthā Yāga. Three hour-glass shaped vajra-s are shown in a cartouche below the yupa on the coin. Normally Vajrapani is shown such a vajra which has octagonal edges. kolom'three' rebus: kolimi, kole.l 'smithy, forge' kole.l 'temple' It is a record of the performance of a Soma samsthā Yāga. It is Vrishni Janapada coin of ca. 10 CE.Cakra, pavi in Vedic tradition is also a vajra. Rudra is vajrabāhu 'vajra weapon wielder'; said also of Agni and Indra. वज्र [p=913,1] mn. " the hard or mighty one " , a thunderbolt (esp. that of इन्द्र , said to have been formed out of the bones of the ऋषि दधीच or दधीचि [q.v.] , and shaped like a circular discus , or in later times regarded as having the form of two transverse bolts crossing each other thus x ; sometimes also applied to similar weapons used by various gods or superhuman beings , or to any mythical weapon destructive of spells or charms , also to मन्यु , " wrath "RV. or [with अपाम्] to a jet of water AV. &c ; also applied to a thunderbolt in general or to the lightning evolved from the centrifugal energy of the circular thunderbolt of इन्द्र when launched at a foe ; in Northern Buddhist countries it is shaped like a dumb-bell and called Dorje ; » MWB. 201 ; 322 &c ) RV. &c; a diamond (thought to be as hard as the thunderbolt or of the same substance with it) , Shad2vBr. Mn. MBh. &c; m. a kind of column or pillar VarBr2S.; m. a kind of hard mortar or cement (कल्क) VarBr2S. (cf. -लेप); n. a kind of hard iron or steel L. On some sculptural friezes, three tigers or three elephants carry the wheel hypertext to signify iron working in smithy/forge: kolom 'three' rebus: kolimi 'smithy, forge' PLUS karabha, ibha 'elephant' rebus:karba, ib 'iron' ibbo 'merchant' PLUS kola 'tiger' rebus: kol 'working in iron'.

Krishna is nationally accepted Hindu God whose myth have been added embroidered and chiselled that now we cannot figure the true history of this character. Additionally the politics of the historians also affect the historical study that each time there is a historical narrative we find a totally new Krishna. This paper goes through the historical studies of three different historians who wrote about Krishna in three different time periods- Bankim Chandra Chatterjee, D. D. Kosambi and Edwin F. Bryant.

who wer natives of India? who are Dravidian? ancient India how it got its name, which and what is the ancient culture of Indian continent

Indian History Congress, 2018

is often referred to as Krishna-Vasudeva. Worship of Vasudeva dates back to a distant past. The Buddhist Niddesa of the fourth century BCE mentions his worship, albeit disparagingly. In his comment on Panini IV, 3, 98, Patanjali distinctly states that the Vasudeva mentioned in the sutra of Panini is the name of God. In an inscription found at Ghosundi in Rajputana, is mentioned the construction of a wall around the hall of worship of Samkarsana and Vasudeva. This inscription dates back to the third century BCE. In another inscription discovered at Besnagar, Heliodorus is stated to have erected a Garudadhwaja or a column with the image of Garuda at the top in honour of Vasudeva, the god of gods. This belongs to the second century BCE. In the inscription No. 1 in the large cave at Nanaghat dating around the fi rst century BCE, the names of Samkarsana and Vasudeva occur along with other deities. All this goes on to show the popularity of the cult of Vasudeva well before the beginning of the Christian era. 1 In the course of time Vasudeva came to be identifi ed with Narayana and Vishnu. Narayana is fi rst mentioned in the Satapatha Brahmana and developed further in the period of later Aryanyakas and Brahmanas. R.G Bhandarkar states that the concept of Narayana was defi nitely prior to that of Vasudeva and in the epic times when the worship of Vasudeva became popular, the two were fused together. 2 Similar process was followed in the event of Vasudeva's identifi cation with Vishnu too. Vishnu did not enjoy a high profi le in the Rig Veda however his importance began to rise in the time of the Brahmanas while during the epic and puranic times he rose to the position of God par excellence. In epic times Vishnu was in every aspect the supreme spirit, and Vasudeva came to be identifi ed with Vishnu. In the Bhismaparvan, the Supreme Spirit is addressed as Narayana and Vishnu and is identifi ed with Narayana. It was much after this that Krishna too was fused with Narayana and Vishnu, and the name Vasudeva-Krishna received wide recognition. Krishna was not a God to begin with. In the Chandogya Upanishad he is referred to as the disciple of the sage Ghora Angirasa. He is also mentioned as a non-Aryan chief in the Rig Veda defeated by Indra. Thus we see that Krishna had no connection with divinity whatsoever, but it is particularly in the epics we see divinity being imposed upon him and the name

Archaeology is the specific study about ancient history based on fragments of human life activities under the scientific methods.This study compares the nature of these fragmental remains and explains the basis of past is the main task. These materials include human artifacts, tools like stone tools, iron tools, bone tools, other tools and equipments, the funeral burials, flora and fauna fragments etc… These sources gives the clear picture of prehistoric and historic age of social, political and cultural histories. When we compare our country with other countries, availability of the archaeological material and the documentations and explorations of the archaeological zones are plenty.The documentation of Mesolithic sites and Neolithic sites were also concentrated much in northern part of Tamil Nadu. With regarded to the Iron Age sites, there are considerable works of nearly 3000 archaeological sites nearly 75% of them are Megalithic sites. In case of early historical sites, the documentation is kept at minimum level. The sporadic archaeological explorations were undertaken in Krishnagiri region. In Tamil Nadu more than 160 sites were excavated by the various Departments like

Conference article – AAR Annual Meeting 2021; Mahabharata and Classical Hinduism Seminar; Thema: Multifarious Mahābhārata Methods (21-11-2021), 2021

The three geographies related to the MBh interact with each other. In the paper I define mundane geography as a map of India as it was imagined by the bards. Its starting point is the kingdom of Kuru seen as the epicenter of the world. Here I have reconstructed it on the basis of the number of mentions of the kingdoms and the importance of the heroes belonging to them. The analysis of mutual relations of the kingdoms formed six areas of the subcontinent within which the kingdoms were placed. Finally, using the archaeological evidence and the assumptions of historians, I mapped the capitals of kingdoms and marked areas of their possible extent. The reconstruction gives an overall orientation in the geography imagined by the bards. It is worth emphasizing that the purpose of the reconstruction is not to reflect any historical age. The text of the MBh was written over centuries during which the knowledge of the bards about geography was changing. The demarcation line between mundane and sacred geography is the distance from the Kuru kingdom to the farthest places that could be reached by travelers. Beyond the reach of travelers is the world of gods and divine beings. These are wondrous worlds accessible only to a select few. They can be reached by taking long journeys (2.25) or in dreams (7.57). When describing sacred geography, I pay special attention to the three cosmological versions which can be found in the MBh. I suppose that the oldest is the version of continents reflected on the surface of the Moon. The islands scattered on the ocean could be a further development of it and the ultimate version is the ring-islands surrounded by the oceans. The foremost continent known to bards was the land of Sudarśana. Right behind it to the north was the land of Śāka, what may suggest that this version appeared during the Scythian influence on the Indian subcontinent. It’s worth to notice the possible inclusion of astronomical content taken from the Babylonian tradition into Indian cosmology – the Viṣṇu Cart in the north may be a reference to the Little Dipper from Babylon. Mundane and sacred geography from the MBh influence the religious geography – pilgrimage sites related to the epic. It is a constant process, some mechanisms of which I tried to trace in the third part of the article. For the sake of clarity, we divided the pilgrimage sites into four groups, trying to capture their specificity. I pointed out slight influence of archeological finds in forming the MBh pilgrimage sites, the problem of pilgrimage places outside India, and attempts to dominate over Buddhists sanctuaries. On a few occasions I exemplify the mechanism behind the emergence of pilgrimage sites. Saints and ascetics, who are credited with spiritual vision of the past, play an important role in this process. They mainly shape the Indian pilgrimage map; however, they do not act capriciously, but rely on folk tales, adding subsequent chapters to the already existing story.

Agni, the god of fire is regarded as the guardian deity of the south-eastern quarters of the Universe. He is described to be existing in three worlds, as fire in the earth, as lightning in atmosphere and as the sun in the sky. He occupies a very prominent position during the Vedic period and forms the triad with Indra and Surya. He is described in the Rig-veda 6 to be purohita, God, priest and giver of wealth, lord of the house, remover of evils, He is the most prominent of the Vedic gods next to Indra. Rāmāyana and Mahābhārata are abounding with very many descriptions of Agni. In the Rāmāyana 7 Kārtikeya is stated to be the son of Agni and Gaṇgā. Mahābhārata 8 describes him as the son of Anila (wind God), having seven red tongues, seven faces, a huge mouth, red neck, tawny eyes, bright gleaming hair.

Journal of Heritage Management

The Krishnalila narratives have an indelible impact on the architectural imaginations and designs of artisans of Bengal from seventeenth to nineteenth century. The article attempts to identify such portrayals on the front facades of the Baranagar temples of eighteenth century in Murshidabad, West Bengal. It explores the specific reasons for their inclusion and the changing nature of narratives and iconography under the varying impact of Krishna cult. It relies on literary sources, on site interviews with the priest, temple caretaker and local people and visual data collected during field visits. While romance was the primary theme of the seventeenth century temples, the eighteenth century Baranagar temples saw a diversification of themes to include heroic exploits of Krishna; portrayal of other deities attracted the devotees of Vaishnava, Shaiva and Shakta sects. Such depictions while revealing the secular nature of the chief patron also acted as a tool for legitimization of her aut...