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)