Fish and honeycomb symbol together in merged form

Fish and honeycomb symbol – combined form

C:\Users\user\Desktop\bee-hive seals\Indus script dictionary -F.BK_page610_image1994.jpg

Figure 1: Honeycomb symbol in association with ‘fish symbol’.

Seal Picture courtesy – (1)

The above-given seal inscription shows a strong linkage between the fish symbol and the honeycomb symbol. C:\Users\user\Desktop\ivc-logos-indus - 3\kedaga-8.jpgThe honeycomb symbol is drawn over the parenthesis sign itself, indicating the dead man’s soul has been transformed into ‘Bee’. The bee symbol is also present in the same inscription. Refer to my article,’ Fish symbolism’ and ‘Bee another form of resurrected man’s soul’ for more information. (2) (3)

Bibliography

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

2. 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.

3. Jeyakumar(Bee). Bee_was_another_form_of_dead_mans_resurrected_soul. academia.edu. [Online] 2016. https://www.academia.edu/23483592/Bee_was_another_form_of_dead_mans_resurrected_soul.

4. Jeyakumar(Smasana-cayana). Evidence_of_Smasana-cayana_Vedic_burial_ritual_in_Indus_Valley_Civilization. academia.edu. [Online] December 2015. https://www.academia.edu/19514513/Evidence_of_Smasana-cayana_Vedic_burial_ritual_in_Indus_Valley_Civilization.

Two bricks symbol indicates the Egyptian Goddess Meskhenet

Two bricks symbol indicates the Egyptian goddess Meskhenet

Abstract

In Egyptian civilization, there was one goddess associated with childbirth. She was identified with a brick symbol. A similar idea

appears in the Indus valley civilization also. As seen in other articles,

there is a close connection between IVC ideas and Egyptian ideas. The concept of Meshkhenet could be one. It looks like that she was very popular; her symbol appears a considerable number of times.

The above-given symbol appears many times in the Indus script. Analyzing various ancient symbols yields a result that ancient Egyptian goddess Meshkhenet was identified with bricks logo. The above given Indus symbol is also looking like two bricks within an oval-shaped circle.

Figure 1: Indus seals showing two bricks symbol. Picture courtesy – Sue Sullivan (1)

In Ancient Egyptian mythology, Meskhenet was the goddess

of childbirth, and the creator of each child’s Ka, a part of their

soul, which she breathed into them at the moment of birth. She was worshipped from the earliest of times by Egyptians.

Figure 2: Goddess Meshkhenet. Picture courtesy – Crystalinks. (2)

Meskhenet as a woman with a symbolic cow’s uterus on her head The symbol of the goddess is Cow’s uterus

In ancient Egypt, women delivered babies while squatting on

a pair of bricks, known as birth bricks, and Meskhenet was the goddess associated with this form of delivery. Consequently, in Egyptian art, she was sometimes depicted as a brick with a

woman’s head. At other times, she was depicted as a woman with a symbolic cow’s uterus on her headdress. (3)

Figure 3: Goddess head attached to a brick. Picture courtesy -Wikipedia.

Meskhenet was a goddess who presided at childbirth. In her

form of a brick terminating in a female head (called in the Book of

the Dead “cubit-with-head”). She represents one of the bricks upon which women in ancient Egypt took a squatting position to give birth. She is present near the scales in the hall of the Two Truths, where the dead person’s heart is examined and weighed.

Her job is there to assist at a symbolic rebirth in the Afterlife.

Her symbol of two loops at the top of a vertical stroke could be indicating the two branches of the uterus of a cow. (2)

This goddess ensures the safe delivery of a child from the womb. In addition to that, she also decides on its destiny at the time of birth. Similarly, she is the force of the future that assigns to a scribe promotion among the administrators of Egypt. (2)

A hymn in the temple of Esna refers to four “Meskhenets” at the side of the creator god Khnum, whose purpose is to repel evil by their incantations.

In ancient Egypt, where child mortality was high, Egyptians called upon the help of their gods through magical objects, like birth bricks and unique ritual practices during childbirth. (2)

All the above-given narration equally fits the Indus Valley civilization also. Indus people would likely have worshipped similar goddesses during childbirth. Infant mortality would have been very high during ancient times in Indus Valley also. We do not know that goddess’s name until a consensus is reached; let us call her in the Egyptian name itself ‘Meshkhenet’.

The above-given seal inscription shows a symbol (marked by arrow mark) which looks like two bags attached to a pole. Rekha Rao proposes that it could have indicated the offering made to Vedic god Rudra, which used to be hung in a pole. (4) However, my impression is that it could be indicating the two branches of the uterus symbol only.

The above-given seal inscriptions show a single stroke within the oval circle (Marked by the arrow). There is a possibility that it could be a modified version of two brick symbols. Here only one brick is shown within the uterus symbol. (or) it could be the growing embryo symbol.

The above-given seal inscription shows a new symbol with a single stroke that separates two oval-shaped circles. There is a possibility that this symbol could be a degraded version of the uterus symbol.

The above-given seal inscription shows a uterus symbol followed by Sastha symbol . This symbol pair reads ‘Uterus Sastha’ (or) It could be read as ‘Meshkhenet Sastha’. I have already explained; the growing embryo symbol could be indicating ‘mother goddesses.’ The mother goddess could be ‘Meshkhenet’.

(5) Read the article, ’Yoni symbol indicates mother goddess and concept of rebirth’ for more information.

The above-given seal inscription shows another type of two brick symbol. Rekha Rao states that it could be the Pinda offering made to Pithrus (Manes/ancestors). (4) I also held a similar view earlier. However, I think now the time has come to revise that idea. This symbol requires reconsideration. Pinda is always offered in three lumps, meant for three generations of Pithrus, not in two chunks. Hence, the possibility of this symbol being Pinda offering is less. Most probably, it is a variation of the Uterus symbol (or) two bricks symbol.

These two bricks symbol appears 57 times in Indus seal inscriptions as per the data analysis of Sundar et al. (6) This high frequency shows the significance attached to this symbol.

However, one surprising thing is that Sundar has not classified these two bricks symbol as a separate category. However, he has

counted this symbol as a variation of a single brick symbol because he could not realize the significance of the ‘two bricks’

symbol.

The above-given seal inscription shows the embryo symbol.

This symbol also should be counted as part of the two bricks symbol idea.

symbol Frequency remarks
26 Rekha Rao observes that it is a pole on which offerings are hung to God

Rudra. But such an interpretation is not supported by any Vedic literature. Verification by me shows that it could be the ‘cow’s uterus’ symbol which indicated goddess Meshkhenet.

The above-given data is obtained from the research papers of Mahadevan and Sundar et al. (15) (16). However, the above-given data of individual occurrence of the symbols does not give much information.

Therefore, let us consider the data of paired characters. The data of paired characters are as provided in the below-presented table.

Symbol pair

frequency remarks
17 The cow’s uterus symbol appears in combination with the fifth day. Thus, Meshkhenet may be the goddess of the fifth day. The fifth-day sacrifice was meant for her.
11 Sastha (God) of the fifth day, it could be Meshkhenet.
10 Kedaga (shield) sacrifice on the fifth day; the sacrifice could be for Meshkhenet for protection.
10

This triplet of symbols occurs ten times, quite significant.

This triplet reads as ‘fifth day -kedaga-kavu.’ Sacrifice

was made on the fifth day of the fortnight for protection.

The cow’s uterus symbol appears along with the fifth day seventeen times in Indus script data. The data in the above table shows that all the signs related to Goddess Meshkhenet appear along with the fifth-day sacrifice. It looks like that fifth day was associated with Meshkhenet. Refer to my article ‘Indus numerals represent various gods as per calendar days’ for more information. (7)

Acknowledgements:

  1. All seals pictures are taken out of the book of Sue Sullivan (1)
  2. All symbols logos are taken out of the book of Asko Parpola (8)
  3. All frequency data is from papers of Iravatham Mahadevan and Sundar et al.
  4. Sullivan, Sue. Indus Script Dictionary.
  5. www.crystalinks.com. meshkhenet. www.crystalinks.com. [Online] https://www.crystalinks.com/meskhenet.html.
  6. Wilkinson, Richard H. The complete gods and goddesses of ancient Egypt. London : Thames & Hudson. , 2003. ISBN 978-0-500-05120-7..
  7. Rekha. Symbolography in Indus seals. Symbolography in Indus seals(e-Book). s.l. : https://read.amazon.in/, 2015.
  8. Jeyakumar(Yoni). Yoni symbol indicates mother goddess and concept of rebirth. Academia.edu. [Online] 2018. https://www.academia.edu/22834660/Yoni_symbol_indicates_mother_goddess_and_concept_of_rebirth.
  9. 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.
  10. 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.
  11. Parpola, Asko. Deciphering the Indus Script. New Delhi : Cambridge University Press, 2000.

Astaka symbols indicate Mamsastaka ceremony

‘Astaka symbols’ indicates ‘Mamsastaka’ ritual

Abstract

The arrow symbol indicates the word ‘Astaka’. Astaka means the eighth day of the month. This eighth day belonged to ‘Rudra’. He was the most important god of the IVC people. The arrow of the rudra caused death and disease. Hence, it is logical the arrow symbol is associated with Astaka

This arrow symbol indicates the god Karkinos (Rudra). All of you will be aware that the arrow of the god Rudra causes disease as per revelations in Rig Veda. I have mentioned the name of Rudra only for reference shake. In Indus script, the name mentioned is ‘Karkida Sastha’. There is a possibility that there will be many names for a single god. The name ‘Rudra‘ is not specified, but the phrase ‘Karkida Sastha’ is mentioned. Read my article ‘bow and arrow indicates -Karkinos’ for more information on this god. (1)

The spear/arrow symbol is the most frequently used symbol for the word ‘Astaka’. It was the symbol of the god Karkinos/Rudra as well as this symbol indicates the 8th day of the month, which is the most favourite day of Karkinos/Rudra (2). These points clarify that this arrow/spear symbol is the most appropriate symbol for the word ‘Astaka’.

This word ‘mAMsASTakA’ means the ceremony held at the forenoon of the 8th day in the dark half of the month Magha, on which meat or flesh is offered to deceased ancestors. (3)

Figure 1

Picture courtesy Sue Sullivan (4)

See the above-given seal 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 means Pithru, the third generation of Pithrus

The second fish shows the second generation of Pithrus

Astaka

Table 1: Agni-stoma yajna and Astaka

The above-given inscription reads as: ‘Agni-stoma – Yajna – two generations of Pithrus (two fishes)-Astaka’. The meaning of the sentence is, ‘Agni-stoma –yajna was conducted in the name of Karkinos 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 8th day of the month (2).

There is a second possibility for the two fishes symbols. These two fishes could have indicated ‘Mams’ on the logosyllabic method giving the word ‘Mamsastaka’. ‘Mams’ means meat in Sanskrit. On mamsastaka day (Astaka day), meat offering is compulsory. There are three Mamastaka days per calendar year; every fourth month, there will be a mamasastaka day, and animal sacrifice was mandatory on those days.

mamasastaka-2.jpg

Figure 2: Astaka – mythical animal.

Picture courtesy Sue Sullivan (4)

The animal shown in the illustration is not simple; it is a complicated version of a mythical beast. Most probably, this animal would have been known as ‘Astaka’. A notable point in this ‘Astaka’ is that it is a composite form of eight animals. This ‘Astaka’ has a composite figure consisting of a human face, an elephant trunk. And one ribbed horn (indicating a buffalo), one smooth horn (maybe deer’s horn), goat’s neck, the middle body portion of a bull, hind leg of a tiger and an upright tail like a snake.

Indus priests probably would have sacrificed eight different animals on the day of ‘Mams – Astaka’ and claimed to the worshipper that he had offered a unique animal with eight other characters. (Or) The priests could have decorated the sacrifice bull in the way depicted in the seal and claimed it was a unique animal with eight different characters and sacrificed it.

https://sites.google.com/site/indusharappacivilization/_/rsrc/1377611639140/8-mystic-animals/dvm-laga/tab-dvim-laka.jpg?height=78&width=320

Picture courtesy – Asko Parpola (5)

The above-given seal also shows a unique animal with eight different characters. There are many such animals with various characteristics in copper seals presented in the book of Asko Parpola (5).

Bibliography

1. jeyakumar(bow). bow-and-arrow-symbol-indicates-god-rudra. google.com/view/indus-script-dictionary/home/. [Online] https://sites.google.com/view/indus-script-dictionary/home/h-bow-and-arrow-symbol-indicates-god-rudra.

2. Jeyakumar(Table-Thithi-Dates). A_correlation_table_of_different_Thithi_Dates_with_different_Hindu_gods. academia.edu. [Online] 2017. https://www.academia.edu/31708667/A_correlation_table_of_different_Thithi_Dates_with_different_Hindu_gods.

3. spokensanskrit.de. spokensanskrit.de. spokensanskrit.de. [Online] 2014. spokensanskrit.de.

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

5. Parpola, Asko. Deciphering the Indus script. NewYork : Cambridge University Press, 2000.

SA-symbol means protection

Sa – symbol means protection

Abstract

The ‘Sa’ symbol meant protection in ancient Egypt and was associated with the goddess Taweret; it was a protective symbol. Taweret was associated with childbirth as well as facilitating the rebirth of a soul. One Indus script symbol is very similar to this ‘Sa’ symbol in form and meaning. Details are as given below.

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

The above-given ideograms are ‘Sa’ symbols of Indus script adapted from the Egyptian idea.

Sa – symbol

The ‘Sa symbol’ was a protective symbol favoured by pregnant women and 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. (1)

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 hieroglyph was undivided, while in the Middle Kingdom, it was usually separated. (2)

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 often 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 deities such as Bes, Taweret and the lion when emphasizing their protective duties and natures. (2)

The above-given seal inscription shows the ‘Sa’ symbol occurs many times. This ‘Sa’ 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 given to this ‘Sa’ symbol and ritual.

Symbol

Frequency of occurrence

(total frequency)

54 times

(pair)

16 times

(Pair)

11 times

(symbols Triplet)

12 times

The above-given data shows that this ‘Sa’ symbol occurs in combination with the Taweret demon goddess symbol eleven times. This combination gives an idea, and this protection symbol was used to ward off evil forces. In addition to that, the ‘Sa’ symbol appears along with the ‘Kur’ symbol sixteen times. This combination gives the idea, the protection of the Taweret was necessary during the rebirth process of the soul in the ‘Kur’(the nether world). The above-given frequency analysis data is obtained from the work of Mahadevan (3) and Sundar. (4)

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’ symbols.

The above-given seal inscription shows the Sa- kur symbol combination. Mountain (Kur) means netherworld a dangerous place; hence use of ‘Sa’ 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. However, the frequency of this combination is very low.

Acknowledgements

1. All pictures of Indus seals are taken from the book of sue Sullivan (5)

2. All logos are taken from the research papers of Iravatham Mahadevan, Asko Parpola (6) and Sundar (4)

Bibliography

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

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

3. 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.

4. 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.

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

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

Hoof symbol indicates Vedic god Pushan (Pan)

‘Hoof’ symbol indicates the Vedic god ‘Pushan’ (Pan)

Abstract

The hoof symbol appears 59 times as per the database of Mahadevan and Sundar. (1) (2) In Greek mythology, the god with hoofed animal legs was ‘Pan’. The Vedic god ‘Pushan’ had similar qualities of a ‘psychopomp’. And the ‘hoof’ symbol shown in Indus scripts could have indicated ‘Pushan’.

The above-given seal shows the ‘hoof’ symbol in the Indus seal inscription. The seal inscription reads as given below: (Read from left to right). Smasana-Cayana Yajna- for Pushan God -Ka (soul) -Kavu (Sacrifice) – man sacrificed.

See the Greek god Pan having an animal hoof.

Picture courtesy -Wikipedia (3)

Pan

In ancient Greek religion and mythology, Pan was the god of the wild, shepherds and flocks, nature of mountain wilds, rustic music and impromptus, and companion of the nymphs. (4) He had a goat’s hindquarters, legs, and horns, in the same manner as a faun or satyr. he was also recognized as the god of fields, groves, wooded glens and often affiliated with sex; because of this, Pan was connected to fertility and the spring season. (3)

Origins

The Rigvedic god Pushan is believed to be a cognate of Pan. The connection between Pan and Pushan was first identified in 1924 by the German scholar Hermann Collitz. (5) (6)According to Edwin L. Brown, the name Pan is probably cognate with the Greek word for “companion”. (3)

Pushan

Pushan is a Vedic solar deity and one of the Adityas. He is the god of the meeting. Pushan was responsible for marriages, journeys, roads, and the feeding of cattle. He was a psychopomp (soul guide), conducting souls to the other world. He protected travellers from bandits and wild beasts and protected men from being exploited by other men. He was a supportive guide, a “good” god, leading his adherents towards rich pastures and wealth. He carried a golden lance, a symbol of activity. (7) The ideas expressed about ‘Pushan’ more or less tallies with later day god ‘Krishna’.

16

This pair of symbols indicating the word ‘Pushan Kavu’ appears 16 times as per the data available in the research paper of Iravatham Mahadevan and Sundar. (1) (2) However, the hoof symbol appears individually 59 times, as said earlier. This frequency is quite significant, which shows the importance of this god ‘Pushan’ in the Indus valley civilization.

In the above-given seal inscription, the ‘hoof’ symbol appears along with the ‘sastha’ symbol. This symbol pair read as ‘Pushan-sastha’. It is additional evidence to show that the ‘hoof’ symbol indicated a god.

Another notable point is that this hoof symbol appears along with the god symbol, who has projections on his shoulders. Earlier, I had explained that this god could be Ninguishzida, a Sumerian psychopomp. Anyhow, it tallies with ‘Pushan’ also, because both of them are ‘psychopomps’.

Acknowledgements

  1. The seal pictures are taken from the book of Sue Sullivan (8)
  2. The logos are made from the book of Asko Parpola (9)
  3. The data is extracted from the research papers of Iravatham Mahadevan and Sundar. (1) (2)

Bibliography

1. 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.

2. 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.

3. wikipedia(Pan_(god). Pan_(god). wikipedia. [Online] March 2016. https://en.wikipedia.org/wiki/Pan_(god).

4. “The Lycidas of Theocritus Idyll 7”, Harvard Studies in Classical Philology. Edwin L. Brown. s.l. : Harvard University, 1981.

5. “Wodan, Hermes und Pushan. Collitz., H. s.l. : Festskrift tillägnad Hugo Pipping pȧ hans sextioȧrsdag den, 1924, Vols. pp 574-587.

6. Beekes., R. S. P. Etymological Dictionary of Greek. 2009.

7. Wikipedia. Pushan. Wikipedia.org/wiki/Pushan. [Online] https://en.wikipedia.org/wiki/Pushan.

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

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

Bird symbol indicates the same idea as that of fish symbolism

Bird symbol indicates the same idea as that of ‘fish symbolism.’

Abstract

The bird symbol frequently appears in Indus seals. There are three possible explanations. The first is that the idea could be similar to the belief expressed in Sumerian civilization. The potential second idea is that of ancient Egyptian idea, which suggested the soul, the ‘ba’, could leave the dead body in the form of a bird. The third is that of later Rig Vedic ritual, where the firebird carries the dead man’s soul to heaven.

Figure 1: The above given Indus seal shows the bird logo.

The Sumerian belief says,” The dead persons “live in darkness, eat clay, and are clothed like birds with wings” (1). The Greeks and Celts thought that the dead could reappear as birds. The Sumerians of the ancient Near East believed that the dead existed as birds in the underworld. According to Islamic tradition, all dead souls remain in the form of birds until Judgment Day (2).

The Flight of the Soul numerous myths have linked birds to the journeys undertaken by human souls after death. Sometimes a bird acts as a guide in the afterlife. In Syria, figures of eagles on tombs represent the guides that lead souls to heaven.

Figure 2: Bird appears along with crocodile figure.

Picture courtesy — (3)

It looks like that the Indus civilization concept is more or less in conformity with the Sumerian civilization belief of the soul becoming a bird. It seems like that the above-given seal (middle scene) reflects such an idea, where the dead are transformed into birds and travel through the river Styx in a boat in the nether land. The third scene depicts the fish eaten by a crocodile. Fish represents the dead man’s soul eaten by the crocodile means everlasting punishment in hell. Refer to my earlier papers on ‘fish symbolism’ and ‘crocodile indicates Egyptian goddess Ammit’ for more information on this idea. (4) (5)

Fish Symbolism – By – S. H. HOOKE

The fish was shown as a divine symbol during the Hellenistic period of Egyptian civilization. The fish appears in a tomb painting from Gamboud, Egypt. The mummy is lying on a lion bed and is gazing at a fish above him. Here the sacred fish replaces the usual ‘Ba’ bird symbol, indicating the hope of immortality. (6) (7)

https://upload.wikimedia.org/wikipedia/commons/thumb/4/43/Ba_bird.svg/170px-Ba_bird.svg.png

Figure 3: figure showing ‘Ba’ in the form of a bird.

Picture courtesy – (8)

The possible second idea is that of ancient Egyptian belief. The ancient Egyptians believed that the soul, the ‘ba’, could leave the dead body in the form of a bird, often a hawk. They built their graves and tombs with narrow shafts leading to the open air so that these birds could fly in and out, keeping watch on the body.

C:\Users\user\Desktop\Sue sullivan book\2.sue sullivan book picture extract\Indus script dictionary -F.BK_page610_image2247.jpg

Figure 4: The bird symbol indicates the dead man’s soul.

Picture courtesy — (3)

The above given Indus seal shows a ceremony associated with the bird. One significant thing to be noted here is that both fish and bird are bracketed together, specifying that these symbols suggest the same meaning. The conclusion is that both these symbols could indicate the release of a dead man’s soul in the form of a bird or fish.

Figure 5: seal inscription indicates the Vedic idea of a firebird carrying the soul to heaven.

Picture courtesy (3)

Bird symbol in Rig Vedic rituals

The third possibility is that the bird symbol could be indicating the Vedic idea of ‘firebird’ carrying the dead man’s soul into heaven. See the above-given seal and its inscription. The inscription should be read from right to left (The side which the bull is facing). The ‘Great bird’ symbol indicates the Agnicayana Yajna, and the second symbol (inverted cleft) indicates the ‘karkida ritual’.

Figure 6 Picture courtesy — (9)

The entire ritual of Agnicayana takes twelve days to perform, in the course of which a big bird-shaped altar, the uttaravedi “northern altar”, is built out of 1005 bricks. The liturgical text is in chapters 20 to 25th of Krishna Yajurveda. The immediate purpose of the Agnicayana is to build up for the sacrificer an immortal body that is permanently beyond the reach of suffering and death. (9)

Hindu scriptures say that a man may become a Deva, beast, bird, vegetable, or stone according to his merit or demerit. The Upanishads also corroborate this statement. (10)

I have pointed out this similarity of bird symbol to that of Vedic Agnicayana ritual in my earlier article, “Evidence of Vedic Yajna in Indus seal Inscriptions” (11). The same idea has been expressed by Rekha Rao also in her book, “Symbolography in Indus seals” (12).

Acknowledgements:

All the Indus seals pictures are taken from the Book of Sue Sullivan.

1. Ancient-literature.com. Gilgamesh. Ancient-literature.com. [Online] March 2016. http://www.ancient-literature.com/other_gilgamesh.html.

2. mythencyclopedia.com. Birds-in-Mythology. mythencyclopedia.com. [Online] March 2016. http://www.mythencyclopedia.com/Be-Ca/Birds-in-Mythology.html.

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

4. 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.

5. jeyakumar(Crocodile). Crocodile_depiction_indicates_Egyptian_goddess_Ammit. academia.edu. [Online] March 2016. https://www.academia.edu/22868949/Crocodile_depiction_indicates_Egyptian_goddess_Ammit.

6. Hooke, S.H. http://www.luxlapis.co.za/astro/fish.htm. The Egyptian idea of a soul (9) (10). [Online] December 2015. http://www.luxlapis.co.za/astro/fish.htm.

7. Folklore– Fish Symbolism. Hooke, S.H. s.l. : Taylor and Francis Ltd., 1960, Vol. 72 no.3.

8. wikipedia(Egyptian-soul). Ancient_Egyptian_concept_of_the_soul. wikipedia. [Online] 2015. http://en.wikipedia.org/wiki/Ancient_Egyptian_concept_of_the_soul#Ka_.28vital_spark.29.

9. wikipedia(Agnicayana). Agnicayana. wikipedia. [Online] March 2016. https://en.wikipedia.org/wiki/Agnicayana.

10. www.dlshq.org. afterdeath.htm. www.dlshq.org. [Online] March 2016. http://www.dlshq.org/download/afterdeath.htm.

11. jeyakumar(Agnicayana). Evidence_of_Vedic_Yajna_in_Indus_seal_Inscriptions. www.academia.edu. [Online] March 2016. https://www.academia.edu/10973385/Evidence_of_Vedic_Yajna_in_Indus_seal_Inscriptions.

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

Brick Symbol

‘Brick symbol’ indicates ‘iSTIkRta’ ceremony:

Abstract

The ‘Brick symbol’ gives an excellent insight into the development of the ‘Indus script’. The symbol ‘iSTika’ does not merely mean brick alone; it stands for a whole concept and the word ‘Istikrta ceremony’.

ta.jpg Earlier, I was under the impression that this symbol could represent ‘Weighing stone’, indicating ‘weighing of the heart ceremony. But, this symbol occurs so frequently in the Kabul manuscript that there must be another meaning. The practice narrated for the Agnicayana ceremony by Jithesh et al. shows that the ‘Istika’ ceremony occurs five times during 12 days of the ritual. Considering the high frequency of this ceremony in the Kabul manuscript and in practice, it is concluded that this symbol indicates the ‘Istika’ ceremony.

C:\Users\IT\Desktop\Indus script dictionary -F.BK_page610_image340.jpg

This symbol looks like three bricks are stacked together, and the offering is made over it. (Or) It looks like a wooden frame used for brick making with a handle. There are two types of bricks; one is the modern type of brick, which is a standard size. The above-given seal picture gives the approximate size of the brick. Whereas the second type of brick is shown in the seal picture given below:

C:\Users\IT\Desktop\Indus script dictionary -F.BK_page610_image92.jpg

This wooden frame is different, and it indicates an oversized brick. The bricks used in Yajna are different; they are not of the size used in modern-day house construction. See the picture given below.

Bricks used in Vedic Yajna altar construction

Picture courtesy (1)

C:\Users\user\Desktop\vedic yajna ritual tools.png

Tools used in Vedic Yajna

Image courtesy (2)

The red arrow shows a box-like tool used as a ladle for offering sacrifice materials on the fire. This ladle also resembles the ‘istika’ symbol shown in the seal inscription. I do not know the specific Sanskrit name of this tool. The name of the device is yet to be ascertained. It is likely that during Istika ceremonies, such ladles could have been used (or) It may be a tool through which offerings are made to ‘Ishta Devatas’ in the Yajna ceremony. In fact, I have seen in one Vedic Yajna ceremony, the priest made a cloth bundle of the sacrifice materials and placed the package on this box ladle and offered into the fire. This sacrifice was made at the last concluding part of the ceremony. The offering materials are not simply thrown into the fire; it has to be reverently placed in such ladles before offering them to the fire.

Whatever this ladle’s name, the box ladle looks akin to the grapheme shown in the Indus seal inscription. Further verifications are required on this issue. Till then, it is assumed that this box ladle is somehow connected with the word ‘Istika’.

Istika in Yajur Veda (3)

The article written by Sulaiman Razvi gives a good idea about the ‘Ishtika’ ceremony. Yajur Veda 13.26 states that “You are Ashadha (Brick), Conquering One”. The word Ashadha or Ishtika is translated as brick, and earth or speech by some. (3)

The Satapatha Brahmana briefly mentions ‘Ashadha’:

Satapatha Brahmana 7.4.2.32-33. He then lays down the Ashadha (invincible brick)–the ‘invincible one’ being this earth; it is this earth he thus lays down. He puts it on the fore-part (of the altar-site), for this earth was created first. And as to its being called Ashadha. The gods and the Asuras, both of them sprung from Prajapati, strove together. The gods saw this invincible brick, even this earth; they put it on (the altar). And having put it on, they conquered (and drove) the Asuras, the enemies, the rivals, from this universe. And thereby they conquered (asahanta), it is called Ashadha. In like manner, the Sacrificer, after putting on that (brick), conquers (and drives) his spiteful rival from this universe (or, from everything here).

And there is one more verse from Brahmanas which a commentary of the Vedic verse is,

Satapatha Brahmana 7.4.2.39. ‘Thou art Ashadha, the conquering,’ for the gods thereby conquered the Asuras–’conquer the enemies! Conquer the hostile!’ as the text, so the meaning;–’ thou hast a thousand energies: do thou speed me!’ (3)

The above-given explanation of Razvi gives an excellent idea of the ‘Ishtika ceremony’. This statement explains the importance of the ‘brick ceremony’; basically, it provides the power to expel and defeat enemies.

image946.jpg

(Pictures courtesy and acknowledgements Book of Sue Sullivan) (4)

symbols

logo-brick.jpg

jar symbol-10.jpg

Ra- uronos -name plate.jpg

ivc-letters-number-three.jpg

logo-quotation mark.jpg

logo-indra-bagha.jpg

Identification of object

Brick

Kavu

shield

Number three

Quotation mark

wheel

Sanskrit name

Istika

Kavu –Tamil word

Kedaga

The full stop (or) Yajna

chakra

Meaning

Istika ritual

sacrifice

protection

Three generations of Pithrus

Yajna

Grihapathya

Now, the inscription can be read as “Istikrta – sacrifice –protection for three generations of Pithrus- Grihapathya fire and sacrifice“. As per Spoken Sanskrit dictionary (5), the word ‘Istikrta’ means ‘Particular Sacrifice’ or ‘Festive rite‘. There is a second possible meaning also. Before starting any sacrifice, the bricks are made fresh every time. At the date of initiation of ‘brick making’ itself, one bull is slaughtered. Such sacrifice animal is known as ‘Istikrta-pazu’. (5) However, both words indicate a single situation and could show a unique ceremony.

. image947.jpg

Picture courtesy – (4)

Symbols

logo-brick.jpg

jar symbol-10.jpg

ivc-logo-number-1.JPG.1379397206565.JPG

dhanush-2.jpg

jar symbol-10.jpg

Identification of object

Brick

Kavu – sacrifice

Full stop mark

bow

Kavu

Sanskrit name

Istika

Kavu is a Tamil word

(or) maybe the symbol indicating the word Yajna

Dhanush

Kavu is a Tamil word

Meaning

Istika ritual

Sacrifice

Yajna

Dhanudhar is the god Rudra/, but in the IVC context, he should be called God Karkinos.

sacrifice

The inscription in this seal could be read as “Istikaka -sacrifice – Dhanudhar (Rudra/Karkinos)-sacrifice”. The meaning of the words is “Istikrta ceremony for Dhanudhar”. Dhanudhar most probably indicates ‘God Rudra/Karkinos’. God Karkinos’s name appears in an ideographic way in the Indus inscriptions. (6) (7)

image948.jpg

Picture courtesy – (4)

Symbols

logo-brick.jpg

jar symbol-10.jpg

Identification of object

brick

Kavu

Sanskrit name

iSTikA

Kavu is a Tamil word

Meaning

Istika ritual

Kavu means sacrifice

The inscription on the seal can be read as ‘Istika’. The meaning of the word is “bull sacrificed on the occasion of istikrat ceremony“. However, the word is so highly condensed, the only symbol of brick appears. It could have made good sense to Indus Valley priests because their vocabulary was limited to sacrifice and rituals. In contrast, modern man gets confused as we attribute various meanings to a simple word used by an Indus priest. This is the typical problem associated with the decipherment of the Indus script.

In his book, Asko Parpola states, “Logo-syllabic scripts are open systems; their signs may have several values and represent larger linguistic units with interrelationships that are not nearly so defined” (Chapter -7; first paragraph). (8) This statement explains the problem with Indus scripts decipherment efforts. There are many meanings for a single logo. At the same time, a logo represents a more powerful word than what it looks like. Sometimes, a single logo accounts for a significant concept itself. This Indus script word ‘Istikrta’ is the best example in this regard.

1. Jithesh. photos/athirathram/. www.flickr.com. [Online] 2016. https://www.flickr.com/photos/athirathram/.

2. http://www.welcomekeralaonline.com. vedic-ritual-sagnikam-athirathram. http://www.welcomekeralaonline.com. [Online] http://www.welcomekeralaonline.com/article/vedic-ritual-sagnikam-athirathram.

3. Razvi, Sulaiman. response-to-women-in-hinduismvedas-part-i/. Truthabouthinduism.wordpress.com/. [Online] june 2016. https://truthabouthinduism.wordpress.com/2014/05/14/response-to-women-in-hinduismvedas-part-i/.

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

5. spokensanskrit. http://spokensanskrit.de/. [Online]

6. Jeyakumar(Rudra). Bow_and_arrow_symbol_indicates_God_Rudra. www.academia.edu. [Online] May 2016. https://www.academia.edu/25699863/Bow_and_arrow_symbol_indicates_God_Rudra.

7. Jeyakumar(Karkinos). Bow_and_arrow_symbol_indicates_God_Karkinos. www.academia.edu. [Online] https://www.academia.edu/25699863/Bow_and_arrow_symbol_indicates_God_Karkinos.

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

Dholavira signboard deciphered

Dholavira signboard deciphered

Abstract

Generally, Indus inscriptions are short, containing only four or less than four symbols. However, this signboard of Dholavira is different; it has ten characters and is quite lengthy compared to inscriptions on seals of IVC. The place of finding an object in the archaeological site is vital to interpret the nature of an object. archaelogist claim that it is the name board of the citadel, but my opinion is different. It is an epitaph over a grave.

My interpretation is that “Dholavira” is a “burial place” (1) . Further, a skeleton was found in a sitting position near this “Dholavira sign Board” (as per the information given by the guide, not yet verified). All these points discussed on the page under “Necropolis theory” show that Dholavira was a kind of burial place, not a place for living people. Further, excavation below this signboard will reveal the possibility of finding a skeleton below that signboard. The signboard is nothing but an “epitaph”. An epitaph is an inscription on a tombstone in memory of a dead person over his grave.

Defects in “Signboard” theory:

1) I have not seen any castle with a wooden signboard. If at all there was a signboard in that citadel, it would have been in stone engraving. Considering the need for durability and prestige attached to the signboard of a fortress.

2) If a shop occupied that site, the possibility of 10 feet long signboard is a difficult proposition.

3) It is doubtful if there was any kind of trace of wooden board available at the time of excavation, it looks like it was merely an assumption that there could have been a wooden board.

4) If the wooden signboard had fallen from a higher elevation, the board and inscriptions would likely shatter, and it will not remain intact. In this case, the letters have survived intact.

5) It is unlikely that any wooden engraving would have been studded with “gypsum”. Generally, wooden carvings are studded with elephant tusks or different coloured wood. Gemstones are typically embedded only on white marble, like the Pietra dura work in the Taj Mahal.

6) Gypsum stone is cheap, not a semi-precious stone; it is merely a variant of “Plaster of Paris”(Alabaster), which is a common material.

C:\Users\IT\Desktop\6c6c9174113f9ba3173a0d69f0c1bb63.jpg

Picture courtesy — (2)

7) See the above-given photo; the archaeologists claim that the Dholavira name board has fallen from a higher elevation to the ground. There is no evidence of a wooden plank rotting away (See the video, 32nd minute) (3). The video shows the spaces around letters are solidly filled with earth. No cavities are seen; any rotting wooden board would have left cavities in that place. The conclusion is that this epitaph has been written over a burial mound of a dead person. The gypsum stone inscription is merely embedded over the grave.

Picture courtesy – (3)

8) Further, the ground on which the inscriptions are written is protected by a surrounding wall, which gives an appearance of a mini water tank-like structure. (7’x3’ size)(See the above-given photo). Why the Dholavirans had built a wall around the fallen name board? What had fallen was not the name board, it was a Hero/King/priest who had fallen, and they had built a surrounding wall to protect his grave and the epitaph. If further excavation is carried out at this location, the dead man’s skeleton will appear below the inscription. The conclusion is that it is an “epitaph” over a grave, not a signboard.

The video gives the impression that the video was shot at the time of excavating the inscription. The video shows the presence of protective walls. Possibly, the protective barrier was built later after identifying the importance of inscription. This point needs further verification (3).

Considering all these above-said points, it can be concluded that the inscription indicates various ceremonies carried out to satisfy different gods and protect a dead person’s soul. The ‘name board theory’ is not sustainable.

Analysis table for the inscription:

1

2

3

4

5

6

https://sites.google.com/site/indusharappacivilization/_/rsrc/1386338557793/indus-dictionary/logo-indra-bagha.jpg

https://sites.google.com/site/indusharappacivilization/_/rsrc/1387017041266/indus-dictionary/logo-mallet.jpg

https://sites.google.com/site/indusharappacivilization/_/rsrc/1378015940783/indus-dictionary/logo-double-patthi.jpg

https://sites.google.com/site/indusharappacivilization/_/rsrc/1386338557793/indus-dictionary/logo-indra-bagha.jpg

https://sites.google.com/site/indusharappacivilization/_/rsrc/1386333844710/indus-dictionary/logo-hera-3.jpg

C:\Users\IT\Desktop\ivc-logos-indus - 3\y- logo-fire-stick-2.jpg

Wheel

Mallet

Betel Leaf

Wheel

Burial ritual

Firestick/ or Karkida symbol

Garhapatya fire

Weapon of Indra?

Messenger god

Garhapatya fire

Smasana-cayana ritual

Karkida Yajna

7

8

9

10

https://sites.google.com/site/indusharappacivilization/_/rsrc/1379397206870/indus-dictionary/ivc-logo-number-1.JPG.1379397206565.JPG

https://sites.google.com/site/indusharappacivilization/_/rsrc/1386338557793/indus-dictionary/logo-indra-bagha.jpg

https://sites.google.com/site/indusharappacivilization/_/rsrc/1386338557793/indus-dictionary/logo-indra-bagha.jpg

https://sites.google.com/site/indusharappacivilization/_/rsrc/1377947118708/indus-dictionary/logo-two%20wheels-2.jpg

Single stoke

Wheel

wheel

Two bangles

Yajna sign

Garhapatya fire

Garhapatya fire

Symbol of protection

(Read from right to left)

The reading of the inscription is that” Protection Yajna – two Garhapatya fires (That means the sacrifice was carried out for two gods) – (full stop) – Yajna – Smasana-cayana Yajna – Garhapatya sacrifice for messenger god and Garhapatya offer for God Indra (?).

The symbol ‘Mallet’ (Hammer) appears for the first time in Indus seal inscriptions. The hammer’s symbol could indicate the European god Thor (or) the Greek god Hephaestus‘. But considering the similarity between Thor and the Indian Vedic god Indra. Assigning the symbol of the hammer to the god Indra is more appropriate.

In Norse mythology, Thor is a hammer-wielding god associated with thunder, lightning, storms, oak trees, strength, humankind’s protection, healing, and fertility. (4) The same are the features of the god Indra in India. The presence of the symbol of ‘God Indra’ shows that this signboard was written in the last phase of IVC.

Two bangle symbol indicates the idea of seeking protection. Asko Parpola, in his book, ‘Deciphering the Indus script’ (5 p. 228), states that it suggests the idea of seeking protection. Most probably, protection was sought for the dead man’s soul.

The ‘Diamond shape’ symbol indicates the Smasana-cayana ritual. It is the final burial ritual carried out for a dead person. For more information, read my article titled ‘Evidence of ‘Smasana-cayana’ (Vedic burial) ritual in Indus Valley Civilization’. (6).

The leaflet of India’s Archaeology department about this site reveals seven different layers of settlement in this place. Indian archaeologists, lead by R.S.Bisht and others, are saying that it was under continuous habitation, whereas my opinion is that it was under continuous use as a “Grave Yard”. This fact further confirms that this site has been continuously used for over 5000 years.

1. Jeyakumar(Necropolis-theory). Necropolis_theory_–Revised_version-19. www.academia.edu. [Online] 2015. https://www.academia.edu/12673473/Necropolis_theory_–Revised_version-19.

2. ancientindia.co.uk. /indus/story/. www.ancientindia.co.uk. [Online] June 2016. http://www.ancientindia.co.uk/indus/story/page08b2.html.

3. youtube.com. Indus valley. www.youtube.com. [Online] June 2016. https://www.youtube.com/watch?v=LTGC7-xN_XA.

4. wikipedia(Thor). Thor. wikipedia. [Online] June 2016. https://en.wikipedia.org/wiki/Thor.

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

6. Jeyakumar(Smasana-cayana). Evidence_of_Smasana-cayana_Vedic_burial_ritual_in_Indus_Valley_Civilization. academia.edu. [Online] December 2015. https://www.academia.edu/19514513/Evidence_of_Smasana-cayana_Vedic_burial_ritual_in_Indus_Valley_Civilization.

Dholavira is a necropolis

Dholavira is a Necropolis

Abstract:

I have already stated that Mohenjo Daro and Harappa were necropolises, not metropolises as popularly imagined. Similar is the case of Dholavira; it is also a necropolis. One significant thing about Dholavira is the remnant of a pyramid can be seen here. The presence of the pyramid shows the influence of Egyptian civilization on the Indus Valley Civilization.

https://sites.google.com/site/induscivilizationsite/_/rsrc/1373963918808/home/dholovera---photos/rjk-pic-dholavira-wall-2.JPG

Figure : Slanting walls of the citadel, Dholavira.

Picture courtesy (1)

https://sites.google.com/site/induscivilizationsite/_/rsrc/1373962389934/home/dholovera---photos/220px-Mastaba_schematics.svg.png

Figure : Slanting walls of Mastaba.

Picture courtesy Wikipedia

Citadel or Mastaba

R.S. Bisht, the archaeologist who excavated this Dholavira site, says there is a citadel in the centre of the excavation site (Dholavira). The walls shown above in the picture (Left) are considered the remnants of a fortress. But, if you see the picture, it can be seen that it is a slanting wall and not a perpendicular wall. How will the fortification wall be slanting in nature? The walls of a fort are always vertical and perpendicular to the ground. If you have a sloping wall in the defence, the enemy will climb the walls very quickly, and the entire purpose of the fort will be defeated. But, the reality is that the walls of Dholavira are slanting, and it cannot be a citadel.

Consider the walls of Mastaba shown in the figure-2; the walls are slanting at a 30-degree angle and match the picture of the Dholavira citadel wall shown in the image. The fort will not have a slanting wall; the presence of slanting walls shows that it was a Mastaba and not a citadel. The only acceptable explanation for the structure in Dholavira is that it is a Mastaba. (Dholavira; Boot-Pradesh) (Note-3)

Other supporting evidence for Mastaba Theory:


●Entrances to this citadel are not straight lines; they are in different alignments, more like a labyrinth than a citadel.

●The enclosed area of this citadel is minimal; the fort requires a large area for people living within the fort.

●There are only water tanks, but no proper living quarters are identified within the fort.

●There are no citadel-like structures like a courtroom, living rooms, a dining rooms of royalty or nobles.

Figure : Tunnel of Dholavira.

 Picture courtesy –ASI website –link-4 (2)

Tunnel and water tanks of Dholavira:

Now, let us analyze the tunnel of Dholavira more professionally. A full-grown man can easily walk through this tunnel. What is the explanation for this tunnel given by the excavator? A tunnel for rainwater collecting, water passes through the tunnel to enter the massive water tanks located within the excavated site. Fortunately, the site’s excavator has given a new purpose to this tunnel instead of the old explanation that the tunnels were meant for a sewage drainage system, as in Mohenjo-Daro and Harappa. This contradictory opinion is a positive development, and this contradiction indirectly supports my theory that the description of the “Drainage system of IVC sites is wrong“. (3)

Six or seven large water tanks surround the core citadel area. A straightforward logic is enough to refute this theory; water will run by gravitational force to reach the big water tanks located at a lower elevation than the citadel. There is no need for extensive tunnels to harvest rainwater. My explanation is that it is an “underground passageway” to an “ancient burial chamber“. (3)

https://sites.google.com/site/induscivilizationsite/_/rsrc/1372058650007/home/dholovera---photos/Dholovera%20-%20unexplained%20chamber-3.JPG

Figure : Water tank of Dholavira.

The above-given photo shows a chamber, which the guide could not explain. The standard explanation is that it could be another water tank. It could not be a water tank because there is no water chute leading to this chamber, and other surrounding water tanks are lower than this chamber. Further, the walls of this chamber are porous and not watertight. In addition to this chamber, there exists another chamber side by side. If the chamber had been built for water collection, there would be no logic in building a separating wall into two water tanks. (3)

A possible explanation is that it could be a burial chamber or a shaft leading to a burial chamber. Dholavira is an exciting place from the archaeologist’s point of view because the site has been only partially explored. Further excavations could lead to burial chambers and possible new artefacts. (3)

Other supporting evidence for the “Necropolis theory” on the Dholavira excavation site:

There are many burial pits and chambers on the southern side of the supposed-to-be citadel.

Figure : ‘A burial’ as per narration of ASI
(Picture courtesy- ASI –website-link-1 (4)

Figure : A burial with limestone lining all-around along with burial pots.

ASI website –link-2 (5)

As explained above, six or seven water tanks surround the citadel, which could be large burial chambers instead of water tanks.

Figure : (ASI website, link-3)

Picture courtesy (6)

As shown above (Figure 3), the tunnels could be passageways leading to “Dungeons”. If there had been any ruling elite in this place in ancient times, they could have built dungeons to keep prisoners. But, the site’s excavators are afraid of proposing such an explanation. Hence, the assumption of an “underground passageway tunnel” to a burial chamber is a reasonable explanation. (ASI, Link-4)

There is a massive well in the centre of the citadel, which could be the “shaft grave“, similar to the shaft grave found in Greece. See notes Nos. 1&2 at the bottom of the article, describing shaft graves’ nature, character, and functions. If this shaft grave is further excavated, there is a chance of finding the ancient burial chamber.

Figure : Well in Dholavira.

Photo courtesy (7)

The idea behind this shaft tunnel in Dholavira could be similar to the shafts of the pyramids. Even if the burial chamber had been plundered in ancient times, there would still be evidence of the burial chamber at the bottom of this tunnel. In Egypt, it was standard practice that there would be a big tunnel, and at the bottom of the shaft, after reaching the rocky layers, the burial chambers would be cut into the rocky layers. Cutting the burial chambers into the rocky layer is the ultimate protection for the everlasting survival of burial chambers and mummies.

Arguments against “Well Theory”:

● Please note that a small cist grave exists next to the well; it is unusual to have a grave next to a drinking water well.

●The only supporting evidence for “well theory” is that a platform exists for the pulley and other structures to pull out water pails from the well. (Figure -22: photo of ASI)
● This “well theory” could be easily refuted. Any underground burial chambers could have required a pulley and lift mechanism for downloading construction materials, mummified bodies and movement of people to access “burial chambers” for worship, prayer rituals and maintenance.

●This method of “shaft graves” was developed to prevent easy accessibility to grave robbers and, at the same time, provide convenient entry to legal persons. In addition, mummified bodies could be accessed for prayers and periodical maintenance of burial chambers could be carried out. At the same time, ancient people could build additional rooms inside the shafts for the other dead family members of royal or noble families.

Figure : A pushkarini in the castle as per ASI.

(Photo courtesy (8)

There is a grave chamber located very near the well. The cist grave is the small square pit in the middle of the chamber. Most probably, the “capstone” of the “cist” has been removed. Because of that, it appears like a pit inside a giant cavity. (Figure -9) However, ASI calls it Pushkarini (Stepped Tank) (figure-9). Compare the figures given in 5&9; both are similar structures. However, archaeologists call the structure in figure 5 a burial chamber and the structure in picture -9 a pushkarini. What a contradiction!

Arguments against the “Stepped Tank” Theory:


●This pushkarini is just next to the deep well. If there is a deep well nearby, how will water be there in a shallow tank near a well?

●Is there any logic in building shallow pushkarini beside a deep well?

●Those seven are eight big water tanks located in the area surrounding the citadel area, where this pushkarini is situated. This pushkarini is very small compared to the massive water tanks.

●Those giant water tanks are located at a lower elevation than this pushkarini, so the outcome will be that no water will stay in this pushkarini even in the rainy season.

●The conclusion is that it is not a pushkarini but could be a cist grave or pit grave.

Existence of a peephole on a false door in Dholavira:

In Egyptian pyramids and Mastabas, there is a provision for a false door. The Ancient Egyptians believed that the false door was a threshold between the living and the dead worlds. And through which a deity or the deceased’s spirit could enter and exit. (Figure-10)

Figure : False door in a pyramid.

Picture courtesy Wikipedia (9)

The false door was usually the focus of a tomb’s offering chapel. Family members could place offerings for the deceased on a particular offering slab in front of the door. (9).

Figure : View of Pharaoh’s statue through a peephole.

Picture courtesy (10)

The serdab chamber has a small slit or hole to allow the deceased’s soul to move freely. These holes also let in the smells of the offerings presented to the statue. (10) Similar peephole-like structure exists in one of the walls of Dholavira. The guide could not explain the role of a peephole-like opening on the wall. We are not able to visualize the inner room because the roof of the room has caved in, and the room is filled with mud. It just gives the appearance of a small window-like structure, which could not be explained.

Figure : The photo shows the peephole to the inner chamber. Dholavira.

Picture courtesy – Sameer Panchal, Mumbai.

Figure : Eye of the underworld. Picture courtesy (11)

The slit-like structure available in the net is reproduced here above for information’s sake. This picture shows the eye of the underworld found in Sumer (11). This narrow slit opening is for the ‘Ba’ (soul of the dead person) to move in and out of the burial chamber. That is what ancient Egyptians believed, and the ancient Indians also thought the same way.

Dholavira is a ‘Bhoot Pradesh’:

I want to present the last and parting remark made by the guide, “Dholavira is a – Bhoot Pradesh“. Our guide at Dholavira was more pragmatic than many dogmatic historians and archaeologists. During the guided tour, I introduced my theory of “Burial chambers” to him. His initial reaction to the idea of a graveyard was hostile, but he gradually mellowed. At the fag end of the field trip, which took around two hours, he gave me optimistic news. He stated that his mother and village elders used to warn him that the archaeological site was “Bhoot Pradesh” and that he should not play around in that place during his childhood. That is the correct explanation about this excavation site.

The guide was a practical man. He stated that “The fear of ghosts” had only kept this place intact for many centuries. Otherwise, the villagers nearby would have robbed this archaeological site for those “dressed and polished stones” to construct their houses. The same explanation applies to all Indus civilization sites excavated. These sites are surviving today because of the fear of “Ghosts”. Thanks to “Ghosts” for saving “historical sites” of India, providing evidence for our country’s historical antiquity.

Archaeologists should give importance to the local information about the excavation site before starting the excavation. The early archaeologists had committed the said mistake in the Mohenjo Daro excavation. In the local Sindhi language, ‘Mohenjo Daro’ means the ‘mound of the dead. But, archaeologists have gone to various lengths to give an attractive picture of a metropolis. This falsification has disastrous consequences in the Harappan civilization’s archaeological work.

The ‘Harappan people’ identity has not been established so far. Whether they were Aryans or Dravidians? No proper explanation has been given to various excavated artefacts and excavated structures. No progress has been made in the decipherment of ‘Indus scripts’ even after the passing of hundred years. Because the approach of archaeologists is fundamentally wrong, they have wrongly labelled ‘necropolises’ into ‘metropolises’. That has resulted in a waste of time and energy for the past so many years. It is fundamentally flawed and could not be corrected even after many years.

The same mistake is being committed in all archaeological sites connected to the Indus civilization. The same problem continues in analyzing the new archaeological sites under excavation. If archaeologists continue with such a narrow attitude, no progress will also be made in forthcoming years. What is needed is a fresh breeze of new ideas and interpretations to make a breakthrough in ‘Indus civilization studies’.

Note-1: Shaft graves, late Bronze Age

 (c. 1600–1450 BC)

 Shaft graves were burial sites from the era in which the Greek mainland came under the cultural influence of Crete. The graves were those of royal or leading Greek families and remained unplundered and undisturbed until found by modern archaeologists at Mycenae. The tombs, consisting of deep, rectangular shafts above stone-walled burial chambers, lie in two circles, one excavated in 1876 and the other not found until 1951. They were richly ornamented with gold and silver; carvings of chariots provided the earliest indication of chariots on the Greek mainland. (12)

https://sites.google.com/site/induscivilizationsite/_/rsrc/1370672226188/home/dholovera---photos/model%20of%20shaft%20grave.jpg

Figure 14: Model of shaft grave.

Note-2: Shaft grave:

Definition: At Mycenae, wealthy warrior chieftains and their families were buried in shaft graves, such as found in “Grave Circles A and B” (walled enclosures) from the Middle or Late Helladic period. A shaft grave is an enlarged cist grave (a box grave made from rectangular stone slabs on their edges) entered from a shaft through its roof. After the burial, the shaft will be filled in with dirt. On the top, some had sepulchral stones. J.B. Bury says women wearing gold diadems with household items beside them were also buried in these graves. (13)

Note-3: Below is the extract of the article on Mastaba at Wikipedia.
The word Mastaba comes from the Arabic word for a bench of mud, likely because it resembles a bench seen from a distance. It is also speculated that the Egyptians may have borrowed ideas from Mesopotamia since, at that time, both were building similar structures. (14)

The above-ground structure was rectangular, and it had sloping sides, a flat roof, was about four times as long as it was wide, and rose to at least 30 feet in height. The Mastaba was built with a north-south orientation which was essential for Egyptians to access the afterlife. This above-ground structure had space for a small offering chapel equipped with a false door to which priests and family members brought food and other offerings for the soul (Ba) of the deceased. Because Egyptians believed that the soul had to be maintained to continue to exist in the afterlife, these openings “were not meant for viewing the statue but rather for allowing the fragrance of burning incense, and possibly the spells in rituals, to reach the statue.” (14)
Inside the Mastaba, a grave chamber was dug into the ground and lined with stone or bricks. The exterior building materials were bricks made of sun-dried mud, readily available from the Nile River. Even as more durable stone materials came into use, the cheaper and readily available mud bricks were used for all but the most important monumental structures. The burial chambers were cut deeper until they passed the bedrock and were lined with wood. A second hidden chamber is called a “serdab”, from the Persian word for “cellar”. This chamber was used to store anything that may have been considered essential such as beer, cereal, grain, clothes and other precious items that would be needed in the afterlife. The Mastaba housed a statue of the deceased hidden within the masonry for its protection. High up the walls of the serdab were small openings because, according to the ancient Egyptians, the Ba could leave the body, but it had to return to its body, or it would die. (14)

1. Subramanian.T.S. The Harappan hub (Dholavira). Frontline. July 12, 2013.

2. ASI(link-4). images/exec_dholavira. http://asi.nic.in. [Online] 2014. http://asi.nic.in/images/exec_dholavira/pages/026.html.

3. Jeyakumar(Dholavira). dholovera—photos. sites.google.com/site/induscivilizationsite. [Online] 2014. https://sites.google.com/site/induscivilizationsite/home/dholovera—photos.

4. ASI(link1). /images/exec_dholavira. http://asi.nic.in/. [Online] 2014. http://asi.nic.in/images/exec_dholavira/pages/032.html.

5. ASI(Link-2). images/exec_dholavira. http://asi.nic.in. [Online] 2014. http://asi.nic.in/images/exec_dholavira/pages/031.html.

6. ASI(link-3). mages/exec_dholavira. http://asi.nic.in. [Online] 2014. http://asi.nic.in/images/exec_dholavira/pages/015.html.

7. ASI(link-6). images/exec_dholavira. http://asi.nic.in. [Online] 2014. http://asi.nic.in/images/exec_dholavira/pages/025.html.

8. ASI(link-5). http://asi.nic.in/images/exec_dholavira/pages/024.html. http://asi.nic.in/images/exec_dholavira/pages/024.html. [Online] 2014. http://asi.nic.in/images/exec_dholavira/pages/024.html.

9. wikipedia(False_door). False_door. http://en.wikipedia.org. [Online] 2015. http://en.wikipedia.org/wiki/False_door.

10. wikipedia(Serdab). Serdab. http://en.wikipedia.org. [Online] 2015. http://en.wikipedia.org/wiki/Serdab.

11. Inanna. Inanna’s shrine. http://inannashrine.blogspot.in. [Online] 2015. http://inannashrine.blogspot.in/2007_02_01_archive.html.

12. Encyclopedia Britannica. shaft-graves. http://www.britannica.com. [Online] 2015. http://www.britannica.com/EBchecked/topic/537605/shaft-graves.

13. ancienthistory.about.com. ShaftGraves. http://ancienthistory.about.com. [Online] 2014. http://ancienthistory.about.com/od/greekdeath/g/ShaftGraves.htm.

14. wikipedia(Mastaba). Mastaba. http://en.wikipedia.org. [Online] 2014. http://en.wikipedia.org/wiki/Mastaba.

Goat Symbol

Goat symbol indicates –Sumerian god ‘Ea’, who was equivalent to ‘Hermes.’

Abstract

The goat symbol frequently appears in the Indus seal; wherever it appears, some importance has been assigned to that goat figure. It looks like that the goat symbol could have indicated the Sumerian god ‘Ea’ or the equivalent of the Greek god ‘Hermes’.

C:\Users\user\Desktop\Indus script dictionary -F.BK_page610_image1366.jpg

Figure 1: Seal with goat figure

Seal picture courtesy – (1)

The origins of the “Goat God” can be traced back to Ancient Egypt. Goats and Rams were worshipped in many cities throughout Egypt thousands of years ago. The goat symbolizes fertility, and the focus of religious rites dates back to Sumeria (2). Goats also symbolized fertility in many different cultures and times.

The Goat of Mendes

Ptah, the Egyptian god of knowledge and wisdom, became the goat and sometimes a ram in the city of Mendes, where he was worshipped as such. The Goat/Ram of Mendes represented the “Ba”, the Egyptian word for the “soul.” Ptah was considered to be a great magician and “Lord of the Serpents” (2).

The Horned Goat is also directly specified the Sumerian god Enki (Satan). The constellation of the Horned Goat (Capricorn) also indicates the importance given to the goat as one of the celestial gods.

“The Goat was known as the God ‘Ea’ (Enki/Satan) in early Babylonian times. Ea was known as ‘He of vast intellect and Lord of the Sacred Eye’ protector of his people and the bringer and giver of knowledge and civilization to humanity. Represented as a snake, he ended up in the ‘Garden of Eden as the Snake in the tree of life, encouraging learning and knowledge rather than blissful ignorance.’ Whenever Ea roamed the Earth, he took the form of a goat. Ea was considered the Father of Light,” and his celebrations dating back to 15,000 BC were carried out wearing goat skins (2).

Figure 2: ‘Goat god’ from Near East with up-curved shoes.

Picture courtesy – (3)

At this juncture, it is relevant to introduce the picture of a ‘Near Eastern God’ who has not been adequately identified (3). Now, we should make some effort to identify this god because this god has been imitated in few Indus seals. The above-given seal shows the god with curved shoes (Magic shoes), which gives the power of flying over long distances. Basically a ‘messenger god’. The important identification symbol for Hermes is the flying shoes. Because of the said reasons, it can be concluded that the above-shown god-figure point towards ‘God Ea/Hermes’.

Figure : God with up-curved shoes

Picture courtesy – (1)

See the above-given seal inscription, the god shown here has up-curved toes, which could be assumed to be up-curved boots. These up-curved shoes could be indicating the messenger god ‘Ea/Hermes’.

http://techintranslation.com/wp-content/uploads/2010/12/k11-11hermes.jpg

Figure : Hermes with flying shoes.

Picture courtesy- (4)

Hermes

Messenger of the gods, god of trade, thieves, travellers, sports, athletes, border crossings, a guide to the Underworld. Hermes is an Olympian god in Greek religion and mythology, the son of Zeus and the Pleiad Maia, and the second youngest of the Olympian gods. (5)

Hermes is considered a god of transitions and boundaries. He is described as quick and cunning, moving freely between the worlds of the mortal and divine. He is also portrayed as an emissary and messenger of the gods. He was an intercessor between mortals and the divine and a conductor of souls into the afterlife. He has been viewed as the protector and patron of herders, thieves, oratory and wit, literature and poetry, athletics and sports, invention and trade, roads, boundaries and travellers. (5)

In some myths, he is a trickster and outwits other gods for his own satisfaction or for the sake of humankind. His attributes and symbols include the herma, the rooster, the tortoise, purse or pouch, winged sandals, and winged cap. His main symbol is the caduceus, which appears in the form of two snakes wrapped around a winged staff. (5).

Figure 5: Caduceus symbol in Indus inscriptions.

Picture courtesy — (1)

The first symbol of the inscription is the caduceus(Read from right to left). This shows the Ea/Hermes was one of the important gods of the Indus people.

Greek god Pan

The idea of messenger god brings into mind another symbol with similar functionality. In the last phase of Indus civilization, the messenger god symbol has been replaced into simple ‘Pan Leaf’ C:\Users\user\Desktop\ivc-logos-indus - 3\leaf-messenger-ver-10.jpg (Note the similarity between ‘god Pan’ and ‘Pan leaf’ symbol). Read my article on leaf-messenger symbolism for more information (6).

Pan

Figure : Pan the god with goat characters. Picture courtesy – (7)

Pan is a figure from Greek mythology who was originally a pastoral god from Arcadia. He was believed to dwell in the mountains and forests of Greece and was considered the patron of shepherds. Hence one of his attributes is the lagobolon – a hare trap. He is not fully human in form; his legs are of a goat, and horns sprouting from his head. He is credited with inventing the syrinx musical instrument, better known as the panpipes, associated with music and its magical powers. (8)

PanandDaphnis.jpg

Figure : See the hooves of god PAN

Picture courtesy – (9)

Many myths surround Pan’s parentage, but Hermes is most often named as his father and a Nymph as his mother. Shepherds, in particular, sacrificed to the god, goats or sheep or offered small herdsmen statues made of clay as votive offerings. Other typical offerings to Pan included vases, lamps and grasshoppers made of gold. Along with Artemis, he was also held in high esteem by hunters. (8)

Pan appears in Greek art from around 500 BCE, and in his early representations of Greek pottery, he is all-goat, standing upright on his hind legs. In later red-figure pottery, he acquires a human upper body and head but with goat horns. (8)

‘Hoof symbol’ also might be Indicating ‘EA/Hermes’

C:\Users\user\Desktop\Sue sullivan book\2.sue sullivan book picture extract\Indus script dictionary -F.BK_page610_image2380.jpg

Figure 8: Indus seal showing ‘leg symbol’

Picture courtesy – (1)

The above-given seal inscription shows the ‘Hoof symbol’, which could be indicating the messenger god ‘Ea/Hermes. Next to the ‘leg symbol’ is the symbol of a god with projections on shoulders. Earlier, I have given an opinion that the god with projection on the shoulder could be Ningishzida. See my earlier article on ‘Ningishzida’ for more information. (10). This god ‘Ningishzida’ played some kind of mediator role in introducing the dead man’s soul to the god ‘Ea/Enki’. This role exactly tallies with the role defined for ‘Hermes’.

‘Leg symbol’ may be analogous to ‘Hoof symbol’

C:\Users\user\Desktop\Hoof-  symbol\Indus script dictionary -F.BK_page610_image1963.jpg

The above-given leg symbol with donkey figure(as said by Asko Parpola) was explained as ‘Palm Tree’ by Asko Parpola in the Tamil conference held in Coimbatore in the year 2010 (11). I beg to differ from his opinion. First of all, the animal shown is not a donkey because donkeys do not have an up-right tail; only a goat alone has such an upright tail. Secondly, the leg symbol might represent the god Ea/Pan as discussed in the above paragraphs.

The above-given narration shows the close relationship of the idea of psychopomp to the gods ‘Ea/Ningishzida/Hermes/Pan’, which correlates very well with my theory of burial ground and funeral ceremonies related to death.

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

2. angelfire.com. Goat. angelfire.com. [Online] March 2016. http://www.angelfire.com/empire/serpentis666/Goat.html.

3. wikipedia(Horned_deity). Horned_deity. wikipedia. [Online] March 2016. https://en.wikipedia.org/wiki/Horned_deity.

4. techintranslation.com. hermes. techintranslation.com. [Online] March 2016. http://techintranslation.com/hermes-for-the-holidays/.

5. wikipedia(Hermes). Hermes. wikipedia. [Online] March 2016. https://en.wikipedia.org/wiki/Hermes.

6. jeyakumar(Leaf-messenger). Leaf-messenger_symbolism. academia.edu. [Online] 2015. https://www.academia.edu/19742902/Leaf-messenger_symbolism.

7. greekmythology.com. Gods/Pan. greekmythology.com. [Online] March 2016. http://www.greekmythology.com/Other_Gods/Pan/pan.html.

8. Cartwright, Mark. http://www.ancient.eu/image/689/. http://www.ancient.eu/image/689/. [Online] June 2012. http://www.ancient.eu/image/689/.

9. wikipedia(Pan_(god). Pan_(god). wikipedia. [Online] March 2016. https://en.wikipedia.org/wiki/Pan_(god).

10. Jeyakumar(Ningishzida). Ningishzida. https://www.academia.edu. [Online] july 2015. https://www.academia.edu/13529416/Ningishzida_the_Sumerian_dragon_in_Indus_Valley_civilization.

11. Parpola, Asko. opinion/op-ed/article. thehindu.com. [Online] June 2010. http://www.thehindu.com/opinion/op-ed/article481104.ece.