Worship of the four directions (Loka-palakas) in Egypt and ancient Tamil Nadu.

There is a strange symbol with four legs in IVC as well as in Tamil Nadu pottery graffiti. This symbol has long puzzled me, and I have finally found an answer. This answer came from TN graffiti, not from IVC symbols. Please note that TN graffiti is associated with funeral graffiti, whereas IVC archaeologists live in an imaginary world of metropolises like Mohenjo Daro and Harappa.

This illusion is the reason the Indus script has remained undeciphered for the past century. The second point is the relevance of context. Any archaeological object should be associated with the location of its discovery. Those excavators found those seals in the cemetery but refused to accept them as a cemetery. That is the reason for a wide range of interpretations over the century. This fundamental flaw has to be rectified. Only then will there be a breakthrough in deciphering the Indus script.

At this juncture, it is relevant to introduce the cone symbol. The cone symbol indicates the mountain on which heaven is perched. The table-like structure at the top has four legs. Read the article “The Cone Ladder Combination Indicates the Pathway to Heaven” for more information. (1). This four-legged symbol is associated with the tabletop heaven located at the summit of the mountain. This four-legged symbol represents the four directions that support the iron plate at the top, symbolising heaven.

The above-given symbols are variants from the book of Iravatham Mahadevan. (2) All these symbols could indicate the four-legged heaven. Earlier, I had suggested that it could be the chair of the god of death. This idea had to be revisited and reconsidered. The pot graffiti symbols from Tamil Nadu further clarify this idea.

This H – symbol needs extra attention. Earlier, I had explained that it was the symbol of Marduk, thereby, a weapon of Indra. Now, that idea had to be revised. The H- symbol indicates the four cardinal directions that protect the dead body.

Consider these three symbols. There are more than four legs to this symbol. It indicates something other than a chair; the chair has only four legs, but directions could be more than four. For example, the direction is sometimes divided into eight segments. So, the possibility of this symbol being in four directions is more likely.

Now, consider the pot graffiti from Kodumanal, Tamil Nadu. The four-legged symbol represents the concept of the four directions and heaven; the intention behind the graffiti is that the dead man has risen to heaven. This reference is from the book of Gurumurthy, page no. 138.

The first two symbols are from later-day Tamizhi script letters, indicating the word “Kavu,” which means sacrifice. The conclusion is that a sacrifice has been made to help the dead man reach heaven. One important point to note here is that both Tamizhi and Indus symbols are written in a mixed manner.

All these variants could indicate heaven. This extract is from the book by Gurumurthy, page number 270. One important point to remember is that the number of pot graffiti symbols in Tamil Nadu is minimal. The main ideas to be conveyed by the priest are that of heaven, a ladder to climb to heaven, and sacrifice to aid the climbing process. Hence, the number of symbols used is minimal.

The idea of four directions from Egypt

In ancient Egyptian religion, the concept of four-directional gods, primarily represented by the Four Sons of Horus, was prominent, with each deity associated with a cardinal direction and a specific organ to protect. These deities were often depicted on canopic jars or the sides of coffins. (3)

Egyptologists suggest that the sons of Horus were associated with the four cardinal points of the Egyptian cosmos. Their orientation may be related to the positions of each organ: the lungs and liver sit higher in the body, thus fitting the northerly position of Imsety and Hapi, while the stomach and intestines are lower down, matching the southerly position of Duamutef and Qebehsenuef. (4)

In other cases, each of the sons of Horus appeared on a side wall of the coffin or canopic chest: Imsety in the south, Hapi in the north, Duamutef in the east, and Qebehsenuef in the west. The latter placement, with the sons of Horus on four sides rather than four corners, links the four deities with the cardinal directions rather than the corners of the cosmos. The coexistence of the two systems of orientation suggests that the Egyptians did not sharply distinguish the four corners from the four directions. (4)

The above extract from the paper of Raven Maarten (2005) (4) The article provides an explanation of the four directions and the four gods who protect the dead body. Those gods were protectors of the four cardinal directions of the cosmos, simultaneously serving as the four pillars of heaven. In conclusion, the four legs of heaven indicate the four gods of heaven who protect the deceased.

Figure 1Variants of four directions. Figure courtesy Rajan. (5)

The figure above shows the variants of four directions from the book by Rajan. (5)

Page no 126, Pot graffiti symbols from Kodumanal. (5) Note that the number of lines varies from three to four and even seven, yet all these symbols represent the four directional gods of Egypt. The seven lines may be the corrupted form of the eight directions. Note the symbolism in reference 8.1; the four directions are associated with the cone symbol, which indicates the idea of climbing to heaven. The gods of the four directions protect the soul as it ascends to heaven.

Note the target symbol, which is associated with the ladder symbol “”, indicating that the dead person’s soul is in the process of climbing to heaven through the ladder, and the target is either heaven or the four gods of four directions. Whatever the ultimate goal of the priest may be, it is to convey the idea of reaching heaven with the protection of the four gods of direction.

Note this symbol, a square with cross lines. This symbol could also indicate the heavens or the gods of the four directions.

This figure is again from Rajan’s book, page 127. These pot graffiti symbols are from Kodumanal, which again indicate the process of the soul climbing to heaven. The table-like symbol with four legs is either four gods or the four legs of heaven. Either way, it means the same. The river-like symbol (Water symbol) may not be a literal river, as I mentioned in an earlier article; it may instead indicate the process of the soul ascending to heaven.

The graffiti above also indicates the gods of the four directions. The above figure illustrates variants of the four-direction symbol of gods from the book of Gurumurthy, page number. 269.

Four cardinal directions from Vedic civilisation

The above-mentioned four gods of Egypt were transformed into four Vedic gods in the later-day Vedic period. The Tamil Nadu graffiti marks likely indicate the four Egyptian gods rather than the Vedic gods. Because the influence of Vedic gods is meagre in Tamil Nadu graffiti. One remarkable aspect is that the IVC inscriptions incorporate both Egyptian and Vedic symbols. On the other hand, in the pot graffiti of Tamil Nadu, Vedic ritual symbols such as yajna and kedaga (shield) are absent. That shows the minimal influence of Vedic culture in South India for a long time.

In Vedic cosmology, the four cardinal direction guardians, also known as Lokapalas, are Indra (East), Yama (South), Kubera (North), and Varuna (West). Indra is associated with the eastern direction; Indra is the god of rain, thunder, and storms and is the leader of the gods (devas). He is often depicted riding a white elephant and wielding a vajra, a symbol of lightning. (6)

Yama is the god of death and the underworld, representing the southern direction. He is considered the first mortal to die and became the ruler of the underworld. Kubera is the god of wealth and prosperity, associated with the northern direction. Varuna is the god of the seas, oceans, and rain, representing the western direction. (3)

References

1. Jeyakumar(Cone-ladder). The cone ladder combination indicates the pathway to heaven. [Online] 2025. https://www.academia.edu/127743360/The_cone_ladder_combination_indicates_the_pathway_to_heaven.

2. Mahadevan. I. The Indus Script: Text, Concordance, and Tables. http://www.rmrl.in. [Online] http://www.rmrl.in/wp-content/uploads/2014/02/papers/5a.pdf.

3. wikipedia(four-directions). Four sons of Horus. [Online]

4. Egyptian concept on orientation of the human body. Raven, Maarten. s.l. : The Journal of Egyptian Archaeology. 91: 37–53., Raven, Maarten (2005). “Egyptian Concepts on the Orientation of the Human Body”. The Journal of Egyptian Archaeology. 91: 37–53. 2005.

5. Rajan., K. Thonmai Tamizh Iyal (in Tamil). Chennai: International Institute of Tamil Studies, 2018.

6. Wikipedia(Lokapala). Lokapala. [Online] https://en.wikipedia.org/wiki/Lokapala#:~:text=The%20four%20principal%20guardians%20are:%20*%20Kubera,(South)%20*%20Indra%20(East)%20*%20Varu%E1%B9%87a%20(West).

Crocodile symbol indicates the Egyptian demon Ammit and Goddess Tawaret.

Abstract:

Ammit was the Egyptian demoness, but she was also present in the Indus Valley civilization. That shows the influence of Egyptian civilization on Indus culture. There is a second possibility; this symbol could have also indicated the Egyptian goddess Tawaret.

The above-given symbols could be indicating the crocodile demon Ammit or demon goddess Tawaret.

The above-given picture shows variants as per Asko Parpola, where too many variants are shown, but Iravatham Mahadevan’s variants are minimal and precise. The above-given picture is taken from the book of Asko Parpola. (1) The logos presented in the last row gives a good idea about the nature of the creature intended by the priest. The beast had something like grasping hands. It was probably the jaws of a crocodile, which had been transformed and debased.

The above-given variants are taken out from the book of Iravatham Mahadevan. The first symbol in the last row shows the grasping claws like a crocodile mouth.

Statistical analysis of Ammit / Tawaret symbol

This symbol of Ammit/Tawaret occurs 44 times in the Indus script as per the data provided by Mahadevan and Sundar. The frequency of 44 is significant, implying that the demon Ammit/Tawaret was one of the crucial entities of the Indus civilization pantheon.

The above-given symbol pair can be read as Ammit/Tawaret-Yajna, which shows that specific Yajna was conducted to appease this demon. This pair of symbols occurs at a frequency of 18 as per the data of Mahadevan and Sundar. (2) (3) There is minimal possibility that a Yajna could have been conducted for a demon-like Ammit. But, there are all the probabilities the Yajna could have been performed to invoke the goddess Tawaret to protect the pregnant women.

Figure 1: Portrayal of Ammit

Picture courtesy Wikipedia- (4)

The crocodile image appears in many seals of Indus civilization. It is possible that the crocodile was worshipped as a god-like Sobek in ancient Egyptian culture. However, it looks like that the depiction indicates more of ‘Ammit’ than Sobek. Ammit was a female demon in ancient Egyptian religion with a body that was a part lion, hippopotamus and crocodile—the three largest “man-eating” animals known to ancient Egyptians. A funerary deity, her titles included “Devourer of the Dead”, “Eater of Hearts”, and “Great of Death”. (4)

The weighing of the heart, pictured on papyrus in the Book of the Dead typically, or in tomb scenes, shows Anubis overseeing the weighing and the crocodile Ammit seated awaiting the results so she could consume those who failed. The image would be the vertical heart on one flat surface of the balance scale and the vertical Shu-feather standing on the other balance scale surface. While the heart was weighed, the deceased recited the 42 Negative Confessions as the Assessors of Maat looked on. (5)

Figure 2: protection against crocodile

Picture courtesy -Book of Sue Sullivan– (6)

The inscription in the above-given seal read as,” Kedaga – Yajna – number three – Sastha” (Read from left to right). The inscription’s meaning is, ‘Protection Yajna’ in honour of many gods. Number three indicates many gods as per the Egyptian hieroglyphic way of writing. (or) Number three also indicates ‘Dangerous god. (7) (or) In addition, there is also a possibility that the number three could indicate the ‘third-day’ god, that is, mother goddess Kali. (8) The branch symbol indicates the word’ Sastha’, and this word ‘Sastha’ means ‘god’ as per Indus script usage. (9)

The crocodile image below the inscription does not clarify the situation. It could be the protection ceremony against the crocodile demon (Ammit). The second possibility is that the crocodile shown in the seal was sacrificed.

Figure 3: The judgement day and crocodile is waiting

Picture courtesy- book of Sue Sullivan – (6)

The above-given seal shows the idea in a better way. Out of the three scenes presented in the seal, the middle scene depicts the god of judgment (Osiris/Kalan/Yama/Varuna) in judgment position. The fish figures shown around him represent the souls of dead persons. (10) Two crocodiles are also shown on both sides. If the god condemns the dead man to hell, the soul (fish) will be eaten away by Ammit (the crocodile).

Ammit lived near the scales of justice in Duat, the Egyptian underworld. In the Hall of Two Truths, Anubis weighed a person’s heart against the feather of Ma’at, the goddess of truth, which was depicted as an ostrich feather (the feather was often pictured in Ma’at’s headdress). If the heart were judged to be not pure, Ammit would devour it, and the person undergoing judgement was not allowed to continue their voyage towards Osiris and immortality. Once Ammit swallowed the heart, the soul was believed to become restless forever; this was called “to die a second time”. (4)

Figure 4: Another scene of judgement

Picture courtesy — (6)

The above-given picture also indicates the judgement day. These seal inscriptions are significant because the swastika also forms part of the inscription. It is likely that the swastika symbol either shows the god of judgement or the day of judgement.

Figure 5: The crocodile eating a fish(soul)

The above-given seal shows the scene of a crocodile eating the fish, the symbolism explained earlier in this article.

Hooke, in his article, states that (11)”Mrs Van Buren has collected the Mesopotamian material relating to fish symbolism, and suggests that the fish, is connected with the underworld, and has chthonic associations. She also suggests, however, that in very early times they symbolized life, and that the later conception of re-birth caused them to be used in funerary rites”.

Figure 6: The last pictograph indicates crocodile god

The above-given seal is the only seal where the inscription made is very lengthy, consisting of 17 symbols. The demon goddess Tawaret is shown in the third position in the last row. The last logo in the inscription also looks like a crocodile, the demon Ammit. This seal inscription gives a clue; it seems like that both Ammit and Tawaret were present in the Indus valley civilization.

The god with Bow and arrow and branch (Sastha symbol) is seen. The symbol bow indicates God Rudra. The last but one logo Indicates the Smasana –cayana ceremony for the re-birth of the individual. The conclusion is that the crocodile symbol in the Indus seals indicates the Egyptian demon ‘Ammit’. And this symbol could be showing the demon goddess Tawaret.

Taweret holding Sa- symbol -picture courtesy -Wikipedia

There is a second possibility that the crocodile symbol could have indicated the Egyptian goddess Taweret:

The first possibility for this symbol is that it could have suggested Ammit the crocodile as discussed above. But the second possibility is that this symbol could have indicated the demon goddess Taweret. The demon Ammit was feared but not worshipped. But, this demon goddess Tawaret, was popular and worshipped in Egypt.

Figure 7: picture from the book of Asko Parpola.

The above-given picture is extracted from the book of Asko Parpola. The inscription in the seal reads as ‘Karkida -kavu- sacrifice for Tawaret’. This picture confirms that the symbol indicates the goddess Tawaret and she is chasing away demons, protecting the dead man’s soul in the netherworld. She was a benevolent demon.

The above given Sa- symbol is an ideogram conveying the idea of protection.

Sa symbol

The ‘Sa symbol’ was a protective symbol favoured by pregnant women and by mothers to shield their young children against evil. The ‘Sa symbol’ was often depicted with images of the Bes, the dwarf god, Shed the protector god and Taweret, the ancient Egyptian hippopotamus goddess and a favourite deity of the common folk in ancient Egypt. The Sa symbol meant “protection of young life” and was often used as an amulet or good luck charm. The Sa was also associated with the Ankh symbol of life, immortality and reincarnation, which appeared to be a modified version of the Sa. (12)

The appearance of the Sa symbol

Various ideas have been offered as to the origin and appearance of the ‘Sa’ sign. Some thought it represented a rolled-up herdsman’s shelter or perhaps the papyrus life-preserver used by the Nile’s boatmen. The hieroglyph appears in two forms. In the Old Kingdom, the lower section of the symbol was undivided, while in the Middle Kingdom, it was usually separated. (13) If the lower part of the glyph was not separated, then it becomes the ‘Ankh’ symbol.

Meaning of Sa symbol

The ‘Sa’ hieroglyph was a visual representation of the concept of “protection.” It was often used in amulets and jewellery in hopes of rendering its protective powers over the owner. The ‘sa’ was commonly used in compositions featuring other hieroglyphs such as the ankh and djed signs. It was also found used on magic wands or batons during the Middle Kingdom. The ‘Sa’ was also associated with various other deities such as Bes and Taweret when emphasizing their protective duties and natures. (13)

This ‘Sa’ symbol appears along with demon goddess Taweret only once in the Indus seal inscription. It may not be sufficient evidence to link the idea of protection with this Taweret god. However, it gives some essential links to these two symbols.

The above-given seal picture shows the god Ammit/Tawaret with a crocodile-like mouth. This symbol confirms the crocodile-like nature of Ammit/Tawaret.

Sa – protection symbol of the Indus valley civilization

The above-given symbol looks like the modified form of ancient Egypt’s ‘Sa’ symbol. Sa – symbol was associated with the goddess Tawaret. It is a protective symbol.

The above-given seal inscription shows the ‘Sa’ symbol occurs many times. This symbol occurs 54 times in Indus seal inscriptions as per data of Mahadevan and Sundar. This variant of the ‘Sa’ symbol occurs 11 times. The high frequency of 54 times shows the importance of this ‘Sa’ symbol and ritual.

Symbol pair	Frequency of occurrence
	11 times

The above-given data shows that this spike symbol occurs in combination with the Tawaret demon goddess symbol eleven times. This combination gives an idea, and this protection symbol is used to ward off evil forces.

Similarly, the idea of warding off evil force is further substantiated by other symbol pair combinations. This ‘Sa’ symbol occurs with the ‘God Rudra’ and ‘Kur’ symbol.

The above-given seal inscription shows the Sa- kur symbol combination. Mountain (Kur) means a dangerous place; hence the use of spike to ward off the evil forces of the underworld is logical here.

The above-given seal inscription shows the ‘Sa’ symbol followed by Rudra (God) symbol. Rudra is the god creating disease and death by his arrows. Naturally, Indus people tried to ward off Rudra using the ‘Sa’ protection symbol.

Acknowledgements

All the seal pictures are taken from the book of Sue Sullivan. (6)

All the logos are taken from the book of Mahadevan and Parpola. (2) (1)

All the statistical data is taken from the paper of Sundar. (3)

Bibliography

1. Parpola, Asko. Deciphering the Indus script. New York: Cambridge University Press, 2000.

2. Mahadevan.I. The Indus script -Text, Concordance and Tables. http://www.rmrl.in. [Online] http://www.rmrl.in/wp-content/uploads/2014/02/papers/5a.pdf.

3. Sundar. -The-Indus-Script-Text-and-Context.pdf. http://45.113.136.87/wp-content/uploads/. [Online] http://45.113.136.87/wp-content/uploads/43-The-Indus-Script-Text-and-Context.pdf.

4. Wikipedia(Ammit). Ammit. Wikipedia. [Online] March 2016. https://en.wikipedia.org/wiki/Ammit.

5. wikipedia(Maat). Maat. wikipedia.org. [Online] February 2016. https://en.wikipedia.org/wiki/Maat.

6. Sullivan, Sue. Indus Script Dictionary. s.l. : Suzanne Redalia, 2011.

7. jeyakumar(number-three). Number_three_specifies_Many_gods_and_also_Dangerous_gods. Academia.edu. [Online] https://www.academia.edu/41294661/Number_three_specifies_Many_gods_and_also_Dangerous_gods..

8. Jeyakumar(Indus-gods-calendar). Indus_script_Numerals_represent_various_gods_as_per_calendar_days. Academia.edu. [Online] https://www.academia.edu/31708667/Indus_script_Numerals_represent_various_gods_as_per_calendar_days.

9. Jeyakumar(Sastha). Branch_symbol_indicates_the_word_Sastha. academia.edu. [Online] 2016. https://www.academia.edu/31658123/Branch_symbol_indicates_the_word_Sastha..

10. Jeyakumar(Fish-symbolism). Fish_symbolism_in_Indus_Valley_Civilization. academia.edu. [Online] December 2015. https://www.academia.edu/19550772/Fish_symbolism_in_Indus_Valley_Civilization.

11. Hooke, S.H. http://www.luxlapis.co.za/astro/fish.htm. http://www.luxlapis.co.za/astro/fish.htm. [Online] December 2015. http://www.luxlapis.co.za/astro/fish.htm.

12. landofpyramids.org. sa-symbol. www.landofpyramids.org. [Online] http://www.landofpyramids.org/sa-symbol.htm.

13. Eegyptianmyths.net. Protect.htm. www.egyptianmyths.net. [Online] http://www.egyptianmyths.net/protect.htm.

14. Sullivan, Sue. Indus script dictionary. 2011.

15. Parpola, Asko. Deciphering the Indus Script. New Delhi: Cambridge University Press, 2000.

16. Sundar, G.,Chandrasekar,S.SureshBabu,G.C.,Mahadevan,I. The-Indus-Script-Text-and-Context. wordpress/wp-content/uploads. [Online] 2010. http://203.124.120.60/wordpress/wp-content/uploads/43-The-Indus-Script-Text-and-Context.pdf.

Indus seal inscriptions revolve around the ‘Funeral ceremonies’ of ancient Hindus.

The word ‘Shraddha’ means ”faith”. Shraddha is the ritual performed for the Pithrus with complete faith. Shraddhattva Pinda, Pitru Puja (ritualistic worship of deceased ancestors), and Pitru Yagna are sacrificial rituals performed for dead ancestors.

Symbol of the fire pot

Many of the Indus seals have a ‘fire pot’- like symbol. This symbol looks like a fire pot, yet the word expressed is not ‘Agni’; the intended word is ‘shraddha’. The word ‘shraddha’ fits very well while reading the sentence in conjunction with nearby symbols. It should be noted here that these IVC seals coincide with the ‘Rig Veda” period, and during that time, Agni was not a significant god but a mere facilitator. In the later Vedic period, God Agni became an important god.

Tilak mark on the forehead

The second possibility is that this symbol ‘’ ‘’ could indicate the tilak mark worn by Hindus on their forehead. Some scholars believe that the colour red is a symbol of blood. We are told that in ancient times, in Aryan society, a groom used to apply his blood on his bride’s forehead in recognition of wedlock. The practice of Indian women applying a round-shaped red Tilaka called Bindiya or Kumkum could be a survival of this practice. (1)

The website’s above-given statement shows that the red colour of the tilak mark could be due to using blood. In modern times, blood has been replaced by red mineral soil in the case of men and turmeric powder + lime powder in the case of women. Turmeric powder mixed with lime powder will give the red powder.

Picture courtesy – (2)

The ‘’tilaka’’ is a mark created by applying powder or paste on the forehead. The Vaishnava tilaka consists of a long vertical marking starting from just below the hairline to almost the end of one’s nose tip, and they are also known as Urdhva Pundra. It is intercepted in the middle by an elongated U.

Shiva’s followers often wear the other important tilaka variant, known as Rudra-tilaka and Tripundra. It consists of three horizontal bands across the forehead with a single vertical line or circle in the middle. This tilak mark is traditionally done with sacred ash from fire sacrifices. This ash tilak mark is the more ancient of the two and shares many common aspects with similar markings worn worldwide. (2)

The Wikipedia article describes ‘ash from fire sacrifice’ used as a tilak mark. This statement indicates that in ancient times, blood from sacrificed animals could have been used as a red tilak mark to show the gods and men that a blood sacrifice had been made in honour of God or Pithrus.

Urduva Pundaram

The third possibility is that this symbol’’’’ could indicate the goddess Laxmi. The Urdhva Pundra is the tilaka used by followers of the Vaishnava sect. The “U” symbol drawn represents Narayana’s feet, with the central line indicating the goddess Lakshmi in the middle. (3)

The above-given narration gives two other possibilities for the symbol ‘’”; however, all these possibilities indicate only one ritual: the sacrifice of a bull and applying its blood on the forehead of the sacrificer and other participants in the sacrifice. Applying the word ‘’Tilaka’’ or ‘’Goddess Laxmi’’ does not give coherent meaning in conjunction with symbols adjacent to the inscription. However, the word ‘’shraddha” gives a consistent meaning with contiguous symbols. Hence, this symbol could be read as ‘’Shraddha’ till an alternate explanation is proposed. The word shraddha appears in many Indus seals. Some of them are reproduced below for analytical study. Details are as given below:

	(Read from right to left) Kavu ( ) Grihapathya – Yajna Full stop symbol ( ) -Pithru (fish-ancestor)- Shraddha (fire symbol)- Three generations of Pithru – Astaka God (God Karkinos) (Arrow symbol)
	(Read from right to left) Karkida (Month/God) Shraddha symbol Three generations of Pithrus Bangles Protection Symbol Dvi ‘’ ‘’ (Sacrifice for two) (Gods as well as Pithrus) Kavu (Sacrifice of Bull shown in the seal)
	(Read from right to left) The first symbol – not yet identified Messenger god – (God with a stick) Kedaga (shield – Protection) Dvi -Kavu ‘’’’ (Sacrifice for two) (Gods as well as Pithrus) Astaka (Pipal leaf -symbol) Karkida (month/god) (sacrifice in the month of Karkida) Shraddha (fire symbol)- Kedaga – Protection to Pithrus
	(read from left to right) Grihapathya sacrifice Yajna symbol Two generations of Pithrus Shraddha Three generations of Pithrus Arrow symbol Astaka

The above-given seal expresses the idea of ‘fire’ very well, and the fuelwood marks at the bottom of the fire further explain the fire symbol.

Picture courtesy – Sanathan.org

The above-given figures show the Grihapathya fire being carried to the crematorium from the house, which could have been adopted as the ‘Shraddha symbol’.

Three established phases of Shraddha

Agnoukaran

During the Rigveda era, deceased ancestors were worshipped by offering Samidha (a kind of wooden stick) and Pinda (a rice ball) to the sacrificial fire. (4)

Seals picture courtesy – (5)

Earlier, I had explained that the stick symbol means ‘Danda’ (punishment) (6). It looks like that in the Rig Vedic period, the shraddha ritual involved offering a stick to dead ancestors. What could be the meaning of the ceremony of providing a stick to a dead person? It could be used a walking stick. Or the other possibility is that my earlier explanation stands valid still.

It is possible that some person could conduct the shraddha ceremony after a break or lapse of scheduled time, and such restarting of the shraddha ceremony could have been treated as ‘Danda Shraddha’ (Punishment shraddha). The second possibility is that if some misfortune occurs in the house, the priest will say that the householder has committed some mistake, which offended the Pithrus. Hence, special ceremonies will be conducted to appease the Pithrus. Such special Shraddha ceremonies could have been called‘’ Danda Shraddha”. It is likely that the later-day priests did not understand the meaning of the offering of a stick and could have merely assumed that the Pinda ceremony involved offering a stick.

See the details in the above-given seal. There is a stick symbol as well as a forked branch symbol. The forked branch symbol is followed by the Sastha symbol (meaning god). Hence, it is clear that the forked branch symbol is different from the simple ‘Danda symbol’. The inverted fork symbol indicates the god associated with death, that is, the god Karkinos. See my paper under the heading ‘’Inverted cleft branch symbol indicates God Karkinos’’ for more information. (7)

Pindadaan (offering of Pinda)

The ritual of Pindadaan was put into practice during the period of the Grihya sutra. In his Varaha(wild-Boar) incarnation, God Vishnu introduced Shraddha to the world. He created three Pindas from his molar tooth (Boar teeth) and placed them on a Darbha (dried grass twig) in the southern direction. Vishnu advised the priests, ‘Let the 3 Pindas be considered a representation of the father, grandfather and great-grandfather’. Thus, the worship of Pinda for deceased ancestors began as per the guidance of Vishnu. (4)

Seals picture courtesy – (5)

The above-given seals show the three Pindas as three small cones. Earlier, I explained that this could have indicated three mountains and, thereby, the god Shiva. (8) This second possibility should also be considered before a conclusion is reached. These three cones could suggest the three Pindas offered in sacrifice.

Presiding Deities and types of Shraddha

  Pururav-Aardrav and Dhurilochan are Deities of ancestors’ souls. They are referenced in the ritual of Shraddha.

In Indus seals, the three ancestors are shown as three fishes, as shown in the seal above. The ancestors were called and offered seats made of ‘Kusa grass’. Three ancestors are called for the ritual, but the hill tribes call six generations of Pithrus by their name. (9)

Vasu-Rudra-Aditya

‘Shraddha is associated with the benevolent Deities Vasu, Rudra and Aditya of the ancestors’ souls. The mantras chanted during the Shraddha and the rites performed enable one to connect to these Deities.’

The above-given seal inscription reads (left to right)’ Ishta –Sastha- honeycomb ceremony- third-day god and dangerous god’. The first three indicate the third-day goddess, and the second three symbols represent the word “danger”. The third-day goddess is Gouri. This third line symbol also could have stood for three generations of Pithrus. There is another possibility that the symbol of the other three lines could indicate the third day of the ceremony.

 Types of Shraddha

Matsya Purana mentions three types of Shraddha: the first is performed daily, the second is performed periodically, and the third is performed with purpose (Kamya). Yamasmruti defines Nandi Shraddha and Parvan Shraddha as additional main types.

Daily Shraddha

The ritual of Shraddha, which is performed daily, is known as “Nithya Shraddha”. This Shraddha can be accomplished by offering water or sesame seeds to deceased ancestors.

Purpose-oriented (Kamya) Shraddha

Shraddha, performed to achieve a specific objective, is termed Kamya Shraddha. From the point of view of deriving a fruitful result, if the Shraddha is performed on a particular day or date (as per the Hindu calendar) and considering the position of stars (nakshatra), then the desired result is achieved.

Nandi Shraddha

The ritual of Shraddha, which is performed during the start of any joyous ceremony and performance of any of the 16 religious rites, and the recitation of specific mantras for the success of the function, is called Nandi Shraddha. Satyavasu (or kratudaksha) are the vishve deities in this ritual, and the ancestors are invoked. (10) The above-said statement of Athavale is supported by details recorded in the Kabul Manuscript. In the Kabul manuscript, the sacrifice starts with the Nandi-Mukam sacrifice(Bull-face-sacrifice). Read the article ‘’Kabul document is the manual for Agnicayana ritual and Jyotirstoma ritual’’ for more information. (11).

Parvan Shraddha

The Pindapitru Yagna (sacrificial fires related to deceased ancestors) mentioned in the Shrouta lineage is to be performed by a Sagnik (one who performs the ritual of Agnihotra). An alternative to this is the Parvan Shraddha mentioned in the Gruhya sutras. Once the deceased ancestors are listed as Parvans, this Shraddha is performed for them. Ekparvan (single Parvan), dviparvan (double Parvan), triparvan (triple Parvan) are the three varieties of this Shraddha (10).

The inscriptions in the above two seals show three fishes. As discussed in other places, the fish symbol indicates the soul of dead ancestors. The fish symbol with the cap (sky symbol) indicates the third generation pithu, which had reached heaven. The second fish with two horns indicates the second-generation Pithru in Yama Lok. The third fish without appendages could indicate the recently dead Pithru, which has attained the Parvan stage. The above given two seals could indicate the triparvan shraddha.

Mahalay Shraddha: It is a Parvan Shraddha performed from the eleventh day of the dark fortnight of Bhadrapad (Hindu calendar month) until the no-moon night.

Astaka Shraddha

Astaka Shraddha is performed on the 8th day of the bright fortnight of the Hindu calendar month. Astaka means the 8th day of the bright fortnight of any Hindu calendar month. During the era of Vedas, the Astaka Shraddha used to be performed precisely on the 8th day of the bright fortnight of Margashirsha, Poush, Magh and Falgun months. It was a practice to offer vegetables, bondas, sesame seeds, honey, rice kheer, fruits and underground vegetables to deceased ancestors. Vishvedev, Fire (Agni), Sun, Prajapati, Ratri, Stars (nakshatra), season (rutu), etc., were considered Deities of Shraddha. (10)

I have already given detailed information about the Astaka ceremony in my earlier article. Read the article,’’ Astaka symbols’ indicates the ‘Mams-Astaka’ ritual in Indus script’’ for more information. (12)

Picture courtesy Sue Sullivan (13)

See the above-given inscription (Read from left to right). The inscription read as,” Agni-stoma-Yajna –Two Pithrus-Astaka’.

Symbols
Identification of symbols	The symbol indicating Agni-stoma yajna	yajna	fish	fish	spear
Sanskrit word	Agni-stoma	yajna	Matsya	Matsya	Astaka
meaning	Agni-stoma	yajna	Fish suggests Pithru, the first generation of Pithrus	The second fish suggests the second generation of Pithrus	Astaka

The inscription above reads: ‘Agni-stoma – Yajna – two generations of Pithrus (two fishes)-Astaka’. The sentence means, ‘Agni-stoma –yajna was conducted for the departed soul so that the soul can reach heaven’. The spear symbol stands for the word ‘Astaka’. Astaka has two meanings; the first is God ‘Astaka’ (Karkinos/Rudra). The second meaning is the ‘eighth day’ of the month. The sacrifices for God ‘Karkinos/Rudra’ are held on the 8^th day of the month. (12)

Various types of Shraddha are conducted based on the calendar days. The Shraddhas are performed for a dead person from the first day to the eleventh day. After that, monthly shraddha, Sapindikaran Shraddha, Shraddha performed on one-year completion, Shraddha conducted every year from the second year, and Mahalay Shraddhas are the only ones that are commonly practised. (10)

Offering thread at the time of Shraddha

In his book “Sraddha”, R.C. Prasad states that the sacrificer should also offer a fresh thread of silk, jute, or cotton thread. Woven silk, a particular coloured cloth, should be avoided. Thread taken from freshly oven cloth should also be avoided. (14 pp. 14-15) What is the logic of offering the thread to Pithrus? R.C.Prasad is silent on this issue. The Pithrus in the netherworld are likely without clothes, and thread is provided so they can weave and wear some cloth. Instead of offering the thread, ready-made garments could have been provided. However, the practical reason is that the sacrificer ensures that the Pithrus spend time weaving and do not visit the house of the sacrificer and disturb him.

During the funeral procession, the puffed rice grains are also scattered all over the pathway through which the dead body is taken. The assumption is that the dead man’s soul does not follow the sacrificer and reach the home. Instead, the ghost is made to pick up the scattered grain one by one and eat it. In the meantime, the sacrificer reaches home without falling into the hands of the ghost.

Time and date for performing the Shraddhas

The time and date for performing the Shraddhas are usually a new moon night, 12 Sankranti in a year, solar-lunar eclipses, Yugadhi and Manvadi dates, Ardhodayadi Parva, and the date of death. The Shrotriya priests (Brahmins) are consulted to fix an appropriate date for performing Shraddha.

Pitru fortnight (Pitrupaksha) (Mahalaypaksha)

The dark fortnight in the Hindu calendar month of Bhadrapad is called ‘Pitrupaksha’. This fortnight is very dear to the deceased ancestors’ souls. If Mahalay Shraddha is performed for the deceased ancestors’ souls during this fortnight, they remain satisfied for the entire year.

Mahalay Shraddha

The abode of deceased ancestors’ souls remains vacant till the Sun moves from the Virgo and Libra sign to the Scorpio sign. The abode for deceased ancestors’ souls remaining vacant during this period implies that the deceased ancestors’ souls come closer to their descendants to bless them. If Shraddha is not performed, Pithrus will curse their descendants and return. Due to this, it is crucial to conduct Shraddha during this period. (15)

Terminology of Shraddha

Pitru

When a human being dies, its subtle body is freed from the dead body after performing the ritual of Shraddha. It then assumes the designation of Pithru in the subtle plane meant for the souls of dead persons.

Parvan

After performing Sapindikaran Shraddha (Shraddha conducted on completion one year after the death of the person is called Sapindikaran Shraddha), the soul that has assumed the designation of Pitar now joins other Pitars and then gets further categorised as Parvan. Also, it gains authority to allow its descendants to perform Parvan Shraddha for it. (16)

The above-given concept of Parvan, explained by Athavale, is noticeable in the Indus seal inscriptions. A single fish indicates a single Parvan, two fish indicate two Parvans and three fish hint at three Parvans.

  Pitrutrayi (Trio in Pitars)

The soul of a dead person for whom the Shraddha is being performed is invoked as ‘pita’ (father of the sacrificer performing Shraddha). One generation before, i.e., the dead person’s father is referenced as ‘Pitamaha’ (grandfather of the son performing Shraddha). The dead person’s grandfather is called ‘Prapitamaha’ (great-grandfather of the son performing Shraddha). The earlier generations of pithrus are not counted in “trios” (Pitrutrayi) because they are assumed to be liberated.

Shraddha Sampat

If two shraddhas occur on the same date (as per the Hindu calendar), it is termed Shraddha Sampat.

The above-given seal picture shows such a situation. The inscription reads as follows (read from right to left): Two burial mounds—Karkida-god/month—tri-kavu (sacrifice for three/ probably three Pitrus)—four Sasthas (four gods). This seal inscription most likely indicates shraddha Sampat, which is two shraddhas on the same date.

Pinda offering to Crow and Fowl

R.C.Prasad says that those who seek enjoyment of worldly pleasures should consign the Pinda to the sacred fire. Those who seek progeny shall give the middle Pinda to his wife. Those who wish for intellect, honour, fame and renown offer it to cows. Those who seek long life give it to crows. One who is desirous of respectability offers to the fowl (14).

The above-said idea can be seen in Indus seals. Some of the seals contain the figures of fowls and crows. Those shraddhas were most probably done to fulfil particular desires.

In his book, R.C.Prasad says that by offering Pinda to specific fowl, specific benefits can be obtained. Even now, the crow is considered as the form of a dead ancestor. But, when it comes to the idea of cock and duck being an ancestor, the idea becomes difficult to digest because it amounts to eating ancestors instead of worshipping them. The Pinda was likely offered to them, as R.C. Prasad said.

Rituals to be performed after cremation till the 13th day after the death

To offer tilanjali (Sesame seeds [til] and water), the Karta should place some black sesame in a pot containing water. Then the Karta, the family members and other relatives & friends should offer this water containing black sesame thrice on the ashma(ash) along the pitru-tīrtha (18).

Immersion of asthi

The asthi (bones of the deceased) are collected either on the day of cremation or the 3^rd, 7^th or 9^th day and are immersed in flowing water before the 10^th day. However, nowadays, asthi (ashes) are collected the next day if it is a conventional wooden pier. If the body is burnt in the modern electric crematorium, the ashes are received on the same day. (18)

Pindadan

According to the shraddha rituals, rites such as tilanjali and pindadan (Ritual of offering rice balls) should be performed from 1^st day till the 10^th day. Visham shraddha should be performed on odd days. If that is not possible, Uttar-Kriya should start from the ninth day. Nowadays, however, pindadan, which should be performed from the 1^st day to the 10^th day, is performed as a combined ritual on the 10^th day. On the 10^th day, pindadan is conducted in a Shiva temple. After the pindadan on the 10^th day, the ash is disbursed in flowing river water. (18)

Acts to be performed on 11^th and 12^th day

        On the 11^th day, panchagavya homa (Fire sacrifice to appease Deities) should be performed in the house, and panchagavya (A mixture of cow’s milk, curd, ghee, cow’s urine and cow dung) should be sprinkled all over the house. The kartā should make a Sankalp (resolve) for the deceased’s benefit, donate food grains, and perform dasha-dhans (Ten types of donations or offerings). Shraddhas (Special rituals performed for the departed ancestors) such as Ekoddishta shraddha, Vasugan shraddha and Rudragan shraddha should be performed outside the house, in a cowshed or elsewhere.

Sapindikaran shraddha: Sixteen monthly shraddhas are performed on the 11^th or 12^th day so that one becomes authorised to perform sapindikaran shraddha. Sapindikaran shraddha is conducted on the 12^th day. With the performance of sapindikaran shraddha, the individual attains the title of ‘Pitru’ and gets a place in Pitrulok. Really speaking, it is appropriate to perform sixteen monthly shraddhas in the respective months and sapindikaran shraddha a day before the yearly shraddha; however, the present custom is to conduct all this on the 12^th day post-death itself. (18)

The ritual of Nidhanshanti

        On the 13^th day, Patheya Shraddha is performed, and the ritual of Nidhanshanti is performed. All the near and dear ones are invited and served a sweet meal. In today’s times, this ritual is performed on the 12^th day itself.

The 13^th-day ceremony

        Due to the rituals performed on the 13^th day, the linga-deha (subtle body) penetrates the atmospheric range of the earth and attains further momentum. Attaining momentum means cutting off all ties with his family members by the linga-deha and developing a relationship with God. This blissful process of the dead man’s soul casting away the attachment with the gross body and growing attraction towards God is celebrated. Everyone is invited for a meal comprising sweets as a symbolic gesture. (18)

Bharni shraddha

Athavale states that as per the scriptures, Bharni shraddha should be performed after the annual shraddha. Sapindikarana shraddha is performed before the yearly shraddha. If Bharni shraddha is conducted after that, it helps the deceased to get released from the Preta-yoni (Species of the dead) (19). The above-given narration of Athavale mentions Preta-yoni, which is also indicated in the Indus seal inscriptions. The below-given seals depict the preta-yoni.

Seal pictures courtesy – (13)

The above-given seal inscriptions show a grapheme that looks like a man tied down with a rope. This symbol indicates the dead man’s soul, which has not attained the Pithru stage. Only after one full year of shraddha ceremonies is the soul released from bondage and attains the Pithru stage, and then only the dead man will be able to join the other two generations of Pithru. (19).

Breaking of water pots

The Shraddha ceremony involves breaking a water pot at the end of the ritual. One participant in the discussion group on the Academia.edu website questioned why the pot symbol does not appear in the Indus seal inscription. I was thinking about the water pot and breaking the water pot at the end of the Shraddha ceremony. Generally, it is done at the end of the ceremony; the sacrificer will carry the pot on his shoulder, and a small hole will be made in the pot. The water will be steaming down continuously. This way, the sacrificer will go around the funeral pyre three times.

In ancient times, I think most of the animal’s blood would not have been carried around the pyre. But, the blood was offered in a trench. Therefore, the pots are missing from the Indus seal inscriptions. The idea could be that the ghost would be busy drinking the blood, and in the meantime, the sacrificer could return home safely without being followed by the spirit. (or) The breaking of the pot could have symbolically indicated the end of the dead person’s soul, whereas the pot could have hinted at the deceased person’s physical body.

Read the portion of Odyssey where Ulysses enters the underworld, sacrifices the animal, offers blood in a trench, and puts up a sword so that other ghosts are frightened away. In this way, he waits for the spirit of his mother. Then Ulysses hears from the ghost of his mother the various incidents that had happened in his home during his long absence at Ithaca and also about his future. Then, Ulysses allows other spirits to drink blood.

I think such consultation of the dead(Oracle) would have been the religious practice of ancient Indus Valley people, too. In India, the practice of consulting the dead is still practised. However, it is not widely prevalent but is secretly carried out because modern-day reformed Hinduism disapproves of such practices.

There is only one seal showing the pot symbol. The above-given seal shows the bull and pot insignia. The pot could have indicated the funeral pot in which the blood is collected or the funeral pot in which the fire is carried. Both of these pots could stand for the word “shraddha.”

The pot symbol is not shown in the Indus Valley seal inscriptions because it is likely that it is only part of the Shraddha ritual and not a separate ceremony. Hence, there is no need for an explicit depiction of the pot symbol.

conclusion

Thus, it can be seen that the majority of the Indus seal symbols are related to the shraddha ceremony, and most probably, those seals were prepared at the time of the shraddha ceremony and buried along with the dead body or burnt along with the dead body. This seal was an evidential token, so when the dead man entered the netherworld, he was treated sympathetically by the judgement god and a favourable judgement was delivered to him.

1. www.scribd.com. Bindi-or-Tilak-Mark-on-the-Forehead-Indian-or-Hindu. https://www.scribd.com/. [Online] February 2018. https://www.scribd.com/document/95050158/Bindi-or-Tilak-Mark-on-the-Forehead-Indian-or-Hindu.

2. (wikipedia)Tilaka. Tilaka. https://en.wikipedia.org. [Online] February 2018. https://en.wikipedia.org/wiki/Tilaka.

3. (wikipedia)Urdhva_Pundra. Srivaishnava_Urdhva_Pundra. wikipedia.org. [Online] February 2018. https://en.wikipedia.org/wiki/Srivaishnava_Urdhva_Pundra.

4. Athavale(1) and Gadgil, Anjali(1). What are three historically established phases of Shraddha? Sanathan Sanstha. [Online] February 2018. https://www.sanatan.org/en/a/91.html.

5. Sullivan, Sue. Indus Script Dictionary. s.l. : Suzanne Redalia, 2011.

6. jeyakumar(stick-symbol). Stick_symbol_means_penalty_and_Indus_civilization_seals_are_tokens_of_indulgence. https://www.academia.edu. [Online] 2016. https://www.academia.edu/23714250/Stick_symbol_means_penalty_and_Indus_civilization_seals_are_tokens_of_indulgence.

7. jeyakumar(inverted-fork). Inverted_cleft_branch_symbol_indicates_God_Karkinos. https://www.academia.edu. [Online] 2017. https://www.academia.edu/31629373/Inverted_cleft_branch_symbol_indicates_God_Karkinos.

8. jeyakumar(mountain-symbol). Mountain_symbol_indicates_Death_God. academia.edu. [Online] 2015. https://www.academia.edu/19142411/Mountain_symbol_indicates_Death_God.

9. Urquhart, David. The Shraddha. London: David Bryce, 1857.

10. Athavale(2) and Gadgil, Anjali. Presiding Deities and Types of Shraddha. Sanathan Sanstha. [Online] February 2018. https://www.sanatan.org/en/a/90.html.

11. jeyakumar(Kabul-Manuscript). Kabul document is the manual for the Agnicayana ritual and Jyotirstoma ritual. academia.edu. [Online] 2016. https://annamalai.academia.edu/JeyakumarRamasami.

12. Jeyakumar(Mamsastaka). Mams_means_Mamsastaka_ceremony. academia.edu. [Online] 2014. https://www.academia.edu/8319850/Mams_means_Mamsastaka_ceremony.

13. Sullivan, Sue. Indus Script Dictionary.

14. R.C.Prasad. The Sraddha -The Hindu book of the dead. New Delhi : Motilal Banarsidas, 1995.

15. Sanathan.org(3). When should the Shraddha be performed? Sanathan Sanstha. [Online] February 2018. https://www.sanatan.org/en/a/85.html.

16. Sanathan.org(5). Shraddha ritual and chanting the name of Deity Datta. Sanathan Sanstha. [Online] February 2018. https://www.sanatan.org/en/a/80.html.

17. Rekha. Symbolography in Indus seals. Symbolography in Indus seals(e-Book). s.l. : https://read.amazon.in/, 2015, p. 11736.

18. Sanathan.org(6). Rituals to be performed after cremation till the 13th day after death. Sanathan Sanstha. [Online] February 2018. https://www.hindujagruti.org/hinduism/rituals-to-be-performed-after-cremation-till-the-13th-day-after-death.

19. Sanathan.org(7). Pitru Paksha. Sanathan Sansthan. [Online] February 2018. https://www.sanatan.org/en/a/239.html.

Dakshinamurthi and ‘Proto-Shiva’ seal

Abstract

Who is the god depicted in the ‘proto-shiva; seal? There is a big difference of opinion on this issue. I believe that the god depicted in the Indus seal was ‘Brahma’; however, Shiva has replaced Brahma over time. Hence, there is nothing wrong with calling him ‘Proto-shiva’.

God Dakshinamurthi.

Picture courtesy – Wikipedia. (1)

Dakshinamurthi is generally shown with four arms and depicted as seated under a banyan tree facing the south. He is placed upon a deer throne and surrounded by sages who receive his instruction.  Sometimes even wild animals are depicted surrounding Dakshinamurthi. (1) Earlier, Dakshinamurthi was a separate god but later identified with the god Shiva.

Figure 1: Sky map showing the Orion constellation

Picture courtesy – Wikipedia

I think the Orion constellation is only being worshipped as the god Dakshinamurthi. This constellation is located south of the ecliptical pathway, the pathway of the Sun, Moon and all the planets. Further, the southern side position of Dakshinamurthi coincides with the Orion constellation’s place in the sky’s southern hemisphere. The name “Dakshina-Murthy” itself means “southern god”.The basic visualization of Hindu priests is that all the celestial gods (Planets) pass through a pathway (ecliptic pathway), which is the central axis of the Hindu temple. In this scheme, Dakshina-Murthy is a minor god on the southern sidewall of the temple.

The relevance of this discussion about Dakshinamurthi is that the ‘Proto-Shiva’ seal corresponds with this god Dakshinamurthi in all aspects. For ready reference, details about the proto-Shiva seal are produced below.

Indus seal showing ‘Proto-Shiva’/ Brahma/Dakshinamurthi/Sastha

Orion constellation and surrounding animals

Proto-Shiva seal

The god shown in the seal is “Proto-Shiva”, as per the observations of Harappan historians. He wears the buffalo horns as his headgear, the characteristic emblem of all Harappan gods. He is also known as Mrigashira (Pasupathi) (Orion), and the lunar constellation is named after him. If you take a close look at that constellation in the sky map, the position of the tiger tallies precisely the way it is represented in the seal.

Other animals depicted in the seal had to be visualized with difficulty, but all the animal constellations surround him, as illustrated in the seal. Even minute points of the constellations are also depicted naturally in the seal. For example, there is a sign of a man standing near the back of a tiger; there are a small constellation called puppies (modern name) (i.e. Little dog).

The puppies constellation gives the appearance of a little man standing over the tiger’s back, as depicted in the seal. This little man symbol brings to my mind the idea of “Lord Ayyappan“. It is a fantastic achievement that the constellations are so beautifully depicted; ordinary people cannot achieve this accuracy. It is the work of intelligent people.

Proto-Shiva had been depicted with four faces because he could see everything happening in this world because of his topmost position in the sky. He was the god of moral value and punisher of immoral people because he could watch all actions of people day and night on earth because of his position in a high observation point in heaven and all-seeing four/three heads. He can be identified with latter-day Shamash (Sumeria) and Brahma (of India). It is highly logical to correlate this four-headed god to Brahma because of the four heads. It is seen that in some temple statues, Dakshinamurthi is depicted with four heads.

Further, Brahma is considered a creator god who created all animals and human beings. Creative myth is associated with Brahma in India. All animals surround him, further consolidating this creative power of Brahma. Brahma is also considered an intellectual god, the author of the four Vedas. All these above said characteristics of Brahma tallies with attributes of Dakshinamurthi.

It looks like Shiva had effectively replaced Brahma (or), Dakshinamurthi in all spheres of life. It is relevant to note that there is a myth that Shiva pinched one head of Brahma to show his power over Brahma. The overriding replacement of power is attested by the fact that no temple for Brahma exists in India today, except for one at Pushkar in Rajasthan. These observations show that Brahma has been sidelined by Shiva and relegated to the inferior position at the southern sidewall of Garbha Graha of Shiva temples.

The conclusion is that the god depicted in the Indus seal could be Brahma (Dakshinamurthi). According to modern Hindu priests’ ideas, modern-day Dakshinamurthi is another aspect of Shiva. That means the original Brahma constellation has been transformed into the Shiva constellation. But, I think the god depicted in this seal should be considered Brahma, who exists as Dakshinamurthi in the modern Hindu pantheon.

Brahma is an old-time god and has been replaced by many other new upcoming gods. One important phenomenon to be remembered is that in Hindu mythology, one god is replaced by another god (because of conquest by a new invader or ruler). The new god is given all attributes of the old god, whom he had replaced.

From the above-given analysis, it can be presumed that ‘Brahma/Dakshinamurthi’ was one of the prime gods of the IVC people, replaced by ‘Shiva’. Shiva is a later-day god; I have identified him with the Sumerian god ‘Enlil.’ Read my article, ‘mountain symbol could be indicating land of the dead’, for more information. (2) Because of this replacement phenomenon, Brahma was relegated backstage, and Shiva took over those powers. Shiva reigns supreme today.

Sastha

In addition to the above gods, there is one more contender for this Orion constellation: Shasta. Sastha is the name of a Hindu deity in India. Shasta is a generic Sanskrit term for a teacher. In South India, Shasta is attested in Tamil Nadu from the 3rd century C.E. He is identified with various deities like Ayyanar, Ayyappa and Skanda. In Kerala, Dharmashastra refers to Ayyappa, whereas Brahma-Shasta is Skanda. Read my article,’ Ayyappan and Ayyanar -difference explained’, for more information. (2)

Even though the Wikipedia article on Ayyappan says that ‘Sastha’ means ‘teacher’, this idea is not attested by Sanskrit dictionaries. The word is likely derived from the word ‘Zakhastha’, which means ‘branch living god’. (3) This name ‘Zakhstha’ could have transformed into the word ‘Sastha’ today. Note the similarity between Sastha and Dakshinamurthi; both are intellectual gods and were known as teachers.

Figure 2: Picture of the new copper plate from Pakistan.

Picture courtesy — (4)

The above-given seal is one of the five new copper plates found recently in Pakistan. (4) See the god figure shown in the figure above. The god has a ‘Mani’ (gem) on his neck. That is the specific identification mark for the god Ayyapan (Kerala). Because of this identification, he is still called Manikanda (God with a gem on his neck). (2) Most probably, the word gem indicates the Dog Star (Sirius) (Canis Major). For more details, refer to pages 29 and 30 of my book, New Interpretations on IVC. (5)

Ayyappa is also called Dharma Sastha. Dharma Sastha is the god of judgment (Ayyappan). In contrast, the Brahma Sastha is Rudra or Muruga (skanda). Skanda is the gatekeeper god and messenger of the ‘god of death’ (Mahakala/Shiva/Yama/Varuna). Hence the differentiation between Dharma Sastha and Brahma Sastha is correct.

Another critical feature of these IVC gods is that they are depicted with a tree in the background. If you carefully observe the details in the copper plate from Pakistan, it can be seen that the tree is shown in the background with few leaves.

The conclusion is that all these gods, Brahma/ Mrighashira/ Dakshinamurthi, are all the same as far as the Orion constellation is concerned. The only difference is that different names are used for Orion in different periods. I have verified the Dakshinamurthi statues in many temples; he is always depicted with a tree in his background.

Bibliography

1. Wikipedia(Dakshinamurthi). Dakshinamurthi. wikipedia. [Online] https://en.wikipedia.org/wiki/Dakshinamurthy.

2. jeyakumar(mountain-symbol). Mountain_symbol_indicates_Death_God. academia.edu. [Online] 2015. https://www.academia.edu/19142411/Mountain_symbol_indicates_Death_God.

3. Jeyakumar(Ayyappan). Ayyappan_and_Ayyanar -difference explained. Academia.edu. [Online] 2018. https://www.academia.edu/31640471/Difference_between_Ayyappan_and_Ayyanar.

4. Jeyakumar(Sastha). Branch_symbol_indicates_the_word_Sastha. academia.edu. [Online] 2016. https://www.academia.edu/31658123/Branch_symbol_indicates_the_word_Sastha..

5. Shinde, V and Willis, R.J. Ancient-asia-journal.com/article/view. Ancient Asia journal.com. [Online] 8 October 2014. http://dx.doi.org/10.5334/aa.12317.

6. Jeyakumar(Book). New interpretations on Indus Valley civilization. Chennai : Alright Publications, 2009.