Plummet is a kind of amulet

August 31, 2020/in Symbols /by Jeyakumar Ramasami

Plummet is a kind of amulet

Abstract:

I have already said that many of the Indus symbols resemble Egyptian hieroglyphs, and there is a close connection between these two writing systems. It is likely, the Egyptian priests and scribes arrived first in Indus valley followed by Sumerian priests and Vedic priests. The Indus symbols show a composite culture of all these three great civilizations, and the Indus civilization was an amalgamated culture 3500 years back itself. The above-given plummet symbol is another example of Egyptian influence. This kind of plummet amulet was inserted in mummy wrappings. Egyptians believed that such plummet amulet will bring in ‘balance’ in their next life.

Variants of Plummet symbol

The above-given picture shows variants of Plummet symbol as per Mahadevan. (1)

The above-given picture shows variants of plummet symbol. These logos are taken from the book of Asko Parpola. (1)

The above-given Indus seal inscription shows the plummet symbol. The inscription read as ‘ Plummet Kavu’, that is a sacrifice on the occasion of insertion of plummet amulet in the body linen wrappings of a mummy.

Isabel Stunkel of the metropolitan museum, New York says an amulet is an object believed to have specific favourable properties that, as the amulet’s primary function, can magically be bestowed upon its owner. This magical power was obtained by a combination of several aspects, such as the amulet’s shape, decoration, inscription, colour, material, and words spoken over the piece or acts performed with it. Amulets were usually worn or placed on the body to transfer their powers directly to the owner. Often amulets were pierced or featured a loop, which allowed their use as pendants on a necklace, for example. (3)

When used for the dead, they were placed on the mummy or in between the mummy’s bandages. While amulets are often small, on average ranging from two to six centimetres (about 1/2 to 2 1/2 inches). (3)Ancient Egyptians manufactured amulets in the shape of a plumb bob or plummet. They included these plummet amulet in the mummification process because they believed it would bring balance to their next life. (4) (5)

Statistical analysis

s.no	symbol	Frequency of occurrence
1		35
2		20
3		15
4		14

The above-given table shows the frequency of occurrence of plummet symbol as per data available from the research papers of Mahadevan and Sundar. (1) (6) The frequency occurrence of these symbols are quite high; hence it can be assumed that it was one of the vital rituals during the mummification process. It might have indicated some god. But in Egyptologist have not yet identified any specific god for this symbol so far.

	23
	17

This symbol pair ‘ Plummet Kavu’ occurs 40 times. This frequency is quite high. The meaning of this symbol pair is that animal sacrifice was carried out at the time of inserting the plummets in the linen bandages of the mummy. Mummification was quite a long process, and it will take 40 days for the mummy to dry up after that the wrapping of mummies with cotton bandages will take places. It is logical to sacrifice a bull in such situation because everybody needs some sustenance and nourishment during this mourning period. The sacrifice of a bull could have sustained both mourners and the priests.

Acknowledgements

The seal picture is taken from the book of Sue Sullivan. (7)

The logos are made from the book of Asko Parpola and Iravatham Mahadevan. (2) (1)

The frequency data is extracted from the research paper of Mahadevan and Sundar. (6)

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

3. Skunkel, Isabel. Ancient Egyptian amulets. www.metmuseum.org. [Online] https://www.metmuseum.org/toah/hd/egam/hd_egam.htm.

4. Wikipedia(Plummet). Plummet_amulet. Wikipedia.org. [Online] https://en.wikipedia.org/wiki/Plummet_amulet.

5. Nefer, Djed. Ancient Egyptian Religion~~Egyptology Page: Book of Thoth.

6. Sundar, G, et al. -The-Indus-Script-Text-and-Context-A Statistical-Positional-positional Analysis of significant Text segments. 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.

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

Kavu 2 Symbol

August 31, 2020/in Symbols /by Jeyakumar Ramasami

Kavu-2 -The variant of Kavu symbol

Abstract:

Generally, the word kavu is represented by this ‘U’ symbol. It looks like that there is one additional symbol for this word Kavu. The above-given ‘wooden frame’ symbol expresses the same idea as the ‘kavu’ symbol. It is possible that different priests could have used different ideograms to express the same idea. Ideogram is not like an alphabet, and an ideogram is not a standardised one like an alphabet. Hence various ideograms for a single idea are logically possible.

Seal picture courtesy – Book of Sue Sullivan

I saw on a documentary film on Arunachal Pradesh, a northeastern state near Assam, India, entirely inhabited by tribal population only. A kind of reserved area for tribal people. People here are animist, still practising ancient rituals.

In that documentary, the religious ritual of slaughtering a buffalo was shown. I saw this documentary around the year 2000, and I do not have any reference for this documentary, most probably the documentary was made by the ‘Doordarshan’, the television channel of the government of India.

In that documentary, the buffalo’s head was not cut off. But the buffalo was choked to death by a wooden frame like the symbol shown above.

At this juncture, it is relevant to note that, before sacrificing the animal, all kinds of tricks are played by the priests before cutting the animals head. For, example, even today, before sacrifice, the goat is drenched with water to keep it silent. Finally, the priest will ask the goat, " are you willing to be sacrificed" till the goat becomes quiet, the goat is not sacrificed. What a great idea? To find a willing victim to be sacrificed.

It is pertinent to note that during Vedic ritual of slaughter of the bull, the sound of the animal is not to be heard. It seems that one or two persons will hold the muzzle also, to block the animal from making any sound (Satapatha Brahmana,3.8.1-2). (1) The wooden frame was likely used to choke the animal during the sacrifice ritual to avoid spilling of blood. (1)

Statistical analysis of the data available

The data is available from the research papers of Iravatham Mahadevan (1)and Sundar. (2) This ‘kavu’ symbol occurs 73 times as per the data of Mahadevan and Sundar.

	Symbol pair	Reading of the symbol	Frequency of occurrence
1		Karkida Kavu	29 times
2		Karkida kavu	22 times

The symbol pairs in serial numbers 1&2 virtually give the same meaning as ‘Karkida Kavu’. The ‘karkida symbol’ in the serial number two has a small tail-like appendage to show the ‘da’ sound. This symbol is one of the best examples to illustrate the phonetic usage of logos in the Indus scripts.

Another notable point is that this ‘kavu’ symbol is paired explicitly with ‘Karkida’ ritual. Further, where ever this second kavu symbol occurs, the general kavu symbol is absent. The absence of regular ‘kavu’ symbol shows that the priest who had used this second kavu symbol is not aware of the first kavu symbol. (or) preferred to use the second kavu symbol instead of the first one. Anyhow, this kavu symbol interpretation is giving a meaningful association with other symbols.

Acknowledgements:

All the Indus seals are taken from the book of Sue Sullivan (1)

All the symbols are taken from the books of Iravatham Mahadevan and Asko Parpola. (3) (2)

Bibliography

1. .K.Pennington, Brian. Teaching religion and violence. Oxford : Oxford University Press, 2012.

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

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

Upraised_hands_symbol_means_ka_soul.

August 30, 2020/in Symbols /by Jeyakumar Ramasami

‘Upraised Hand’ symbol indicates ‘Ka’ (Soul) of a dead person.

Abstract

The symbol of upraised hands is seen in many instances in Indus seal inscriptions. The same symbol appears in ancient Egyptian hieroglyphics also, which indicated the ‘Ka’ (soul) of a dead person.

Figure 1: Indus seal showing the word ‘pithru karma.’

Seal courtesy book of Sue Sullivan (1)

The majority of the seals are oriented towards the Pithru Karma ceremony. This finding substantiates my earlier theory that Indus excavation sites are burial grounds and not megapolises as popularly imagined so far.

Symbols / Indus logos
symbol Identified	Ancestors (This symbol looks like an older man walking with a bent back)	Upraised Hands –symbol with a fish symbol inside (composite symbol)	symbol full stop/ yajna	Mountain/ Kur symbol	Man with club
Sanskrit name	Pithru	Ka (soul) -with Matsya inside	Yajna	—	—
meaning	Pithru	Ka+ma = Karma	Yajna	Kur symbol means the nether world	Gatekeeper God with the club as his weapon

The outcome of the analysis is that the inscription reads as ‘Pithru-Karma-ceremony(Yajna) – netherworld -gatekeeper’. ‘Pithru –Karma’ (2) means the ceremony carried out for the benefit of dead ancestors. This ceremony is accompanied by ‘Yajna’ ritual. Modern days "Fire sacrifice" (Yajna) is with vegetarian sacrificial materials. But, it looks like that in olden days animal sacrifice was the main item of "Yajna" ceremony. It is relevant to note here that the upraised symbol indicates the ‘KA’ (soul) of the dead person. With fish symbol inside the KA symbol, it becomes a composite symbol with syllable sound of ‘Karma’.

KA (soul)

D28

ka
in hieroglyphs

Figure 2: ka-symbol

Picture courtesy Wikipedia.

The KA was the Egyptian concept of vital essence, that which distinguishes the difference between a living and a dead person, with death occurring when the KA left the body. Depending on the region, Egyptians believed that Heket or Meskhenet was the creator of each person’s KA, breathing it into them at the instant of their birth as the part of their soul that made them alive. This breathing ritual resembles the concept of spirit in other religions. (3)

The Egyptians also believed that the KA was sustained through food and drink. For this reason, food and drink offerings were presented to the dead, although it was the ‘Kau‘ within the offerings that was consumed, not the physical aspect. (Please note that ‘Kavu’ means sacrifice in Tamil, it is the same meaning as assigned by Egyptians as ‘Kau’) (4) The ‘KA’ was often represented in Egyptian iconography as a second image of the king. As seen in the below-given picture, the upraised hands’ symbol on the head of dead Pharaoh’s statue indicates that it is the ‘KA’ (Soul) of Pharaoh. (3)

Figure 3: Upraised hands means the person’s ka (soul)

Source: Wikimedia

For the KA to live forever, it needed a host to live. The perfect host was, of course, the original body, which was why the practice of mummification, preserving the body, came into the cult. Should something happen to the body, however, any surviving image of the person could, in theory, be a host for the ‘KA’. Thus to ensure the preservation of the ‘KA’ specific statues were made as alternative hosts to the mummified body. As the religion grew, however, the ‘KA’ demanded more than just a host. To sustain the ‘KA’ ritual offerings were needed to feed the spirit in the afterlife. From the earliest royal Egyptian tombs, human sacrifice was found as evidence of servants being presented for the ‘KA’ to serve for all eternity (later this practice was replaced with figurines of servants instead). Even in commoners tombs sometimes food or everyday objects can be found buried with the body to accompany the person into the afterlife. (5)

Bibliography

1. Sullivan, Sue. The Indus script dictionary. s.l. : Suzanne Redalia (Publisher), 2011.

2. spokensanskrit.de. spokensanskrit.de. [Online] 2014. spokensanskrit.de.

3. Wikipedia. Ancient_Egyptian_concept_of_the_soul. Wikipedia. [Online], 2015. http://en.wikipedia.org/wiki/Ancient_Egyptian_concept_of_the_soul#Ka_.28vital_spark.29.

4. Jeyakumar.R. Kavu_grapheme_indicates_sacrifice_in_Indus_inscriptions. academia.edu. [Online] 2014. https://www.academia.edu/8612715/Kavu_grapheme_indicates_sacrifice_in_Indus_inscriptions.

5. Red, Plaid. The-Role-of-the-Ka-in-Egyptian-Funerary-Practices. plaidred.hubpages.com. [Online], 2014. http://plaidred.hubpages.com/hub/The-Role-of-the-Ka-in-Egyptian-Funerary-Practices.

Kavu Symbol.

August 30, 2020/in Symbols /by Jeyakumar Ramasami

‘Kavu’ means ‘sacrifice’ in Indus inscriptions.

Figure 1

Abstract:

The above given ‘U’ symbol is the most frequently used in Indus inscriptions. It indicates the word ‘Sacrifice’. Asko Parpola has identified that this symbol looks like the head of a cow. My opinion is that this symbol looks like a modified form of ‘Upraised hand symbol’ of Egyptian Hieroglyphics. This upraised hands symbol stood for the word ‘Ka’(Soul) from which the word ‘Kau’ had been derieved.

I have given nine different explanations for this symbol, and finally, the 10^th explanation seems to fit this grapheme. (1) Earlier, I had attributed ‘Ka’ sound to this grapheme, and I was searching for different words starting with ‘ka’ sound. However, it turned out that Indus inscriptions are written in ‘ideogram’ (idea) way of writing, except for few words. Iravatham Mahadevan is also advocating that these Indus inscriptions are written in an ideogramic way. (2). However, the context in which Iravatham Mahadevan is explaining the ideograms is debatable.

In many inscriptions, the mere ’ka’ sound did not explain the meaning of inscriptions. In many places, this symbol stands alone without any additional syllables. Such a character of ‘standing alone’ means that this symbol of its own has a meaning. Finally, I got an explanation, which explains this symbol. This symbol stands for ‘Kavu’ (sacrifice). (3)Tamil word ‘Kavu’ means sacrifice; the same word in Malayalam means the ‘sacred grove’, where such sacrifices are carried out.

This word ‘kavu’ is supported by the word ‘Kau’ in ancient Egyptian terminologies. The Egyptians believed that the ‘ka’ (soul) was sustained through food and drink. For this reason, food and drink offerings were presented to the dead, although it was the ‘Kau‘ within the offerings that was consumed, not the physical aspect. (4) . It looks like that ‘Kau’ means ‘vital life force’. However, in Indus civilization terminology it indicates ‘sacrifice’.

Further, Asko Parpola in his book that this symbol looks like a cow’s head, the top two lines indicating cow’s horns and bottom two appendages representing ear lobes of a cow. (5) Most probably it suggests the head of a sacrificed bull rather than a cow. Even though Asko Parpola says that it looks like a cow’s head, we should visualize this grapheme as Bull’s head, because all Indus seals depiction show only sacrificed bulls, not cows. Nowhere, any depiction of a cow is shown in Indus seals.

At this juncture, I would like to add an eleventh explanation for this ‘Kau’ symbol. It is pertinent to note that ‘Upraised hands’ symbol indicated the word ‘KA’ in Egyptian Hieroglyphics. The ‘Kau’ symbol could be a modified form of ‘upraised hands’ instead of Bull’s head. Read my article,”Upraised hands symbol meant ‘KA’ “ for more information. (1)

The symbol of upraised hands is seen in many instances in Indus seal inscriptions. The same symbol appears in ancient Egyptian hieroglyphics also, which indicated the release of dead man’s ‘Ka’ (soul) from the corpse so that it can join ‘Ba’ (personality) of the deceased person.

There is also a twelfth possibility that this ‘U’ grapheme could stand for ‘Kapala‘ (skull bone). It looks like that in the Indus Valley civilization period the blood sacrifice would have been offered in cups made of skulls. The sacrifice cups would likely be made of human skulls. However, there is no clear cut evidence for that except for the word ‘dvi-kapala’. This word ‘dvi-kapala’ is available in the online Sanskrit dictionary from ‘Buddhist-door.com’ (6)

Figure 2

Figure-2 shows another allograph derived from the above-given grapheme ‘kavu’. This grapheme has been inserted with ‘dvi’ glyph giving a sound ‘dvika’. ‘Dvika’ means ‘two-fold’. It is not merely two folds; it also indicates ‘dvi-kapala’, i.e. the blood sacrifice offered in two pot shreds. (6) (Or) it could be dvi-kavu, meaning sacrifice meant for two entities, one for a god along with second for ancestors. This kind of ‘dvi-kavu’ ( sacrifice meant for two entities) is indicated in many seals. In Sanskrit dictionary, there is a specific word for such sort of sacrifice for two entities. It is known as ‘Havya-kavya’. (7) Many at times, it is not merely pot sheds are used; it is the real human skull used as the pots for sacrificial blood offering.

There are inscriptions were ‘three lines’ are inserted inside this ‘kavu’ symbol; such graphemes indicates that the sacrifice was carried out for three entities. Possibly the sacrifice was carried out to please two gods and one ancestor (Or) it could be for pleasing three gods (Or) it could be for satisfying three generations of pithrus. Finally, there is the last explanation; it could have meant ‘many gods’ as had been the practice in Egyptian Hieroglyphics way of writing. Read my article," Number three specifies many gods and also dangerous gods.” for more information. (8)

Figure 3: Blood sacrifice.

See the sacrifice articles before the tree god; there is something like a human head in the stool. Asko Parpola says it is a human head. (5 p. 260). Asko Parpola states that the two circles like objects seen near the stool could be the hair buns of the sacrificed man. there is a possibility that it could be two small pots. (6) There is a possibility that they are two skull cups in which sacrificed animal’s blood has been offered.

Figure 4

There is another similar grapheme, but with slight modification is to be analyzed. This symbol is without any appendages, as seen in figure-2. Most probably it is indicating the sacrificial pot in which the blood of the sacrificed animal is offered before the god. However, it stands for the same word ‘Kavu’.

The two-line within the pot indicates the word ‘Dvi-Kavu’. Dvi- Kavu means two sacrifices, one for pithru and second for gods.

—————————————————————————————————————————————-

References and acknowledgements:

1. Jeyakumar(up-raised-hands-symbol). Upraised_hands_symbol_means_ka_soul_. academia.edu. [Online] 2015. https://www.academia.edu/11419216/Upraised_hands_symbol_means_ka_soul_.

2. Mahadevan.I. indus-script-early-form-of-dravidian. thehindu.com. [Online] 2014. http://www.thehindu.com/news/national/tamil-nadu/indus-script-early-form-of-dravidian-iravatham-mahadevan/article6600394.ece.

3. Tamil dictionary. Tamil.Indian Dictionaries.com. [Online] 2014. http://tamil.indiandictionaries.com/meaning.php?id=4818&lang=Tamil.

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

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

6. dictionary. dictionary.buddhistdoor.com/. [Online] 2014. http://dictionary.buddhistdoor.com/word/219480/dvikapala.

7. Cologne University. sanskrit-lexicon. www.sanskrit-lexicon.uni-koeln.de. [Online] 2015. http://www.sanskrit-lexicon.uni-koeln.de/scans/MWScan/tamil/index.html.

8. 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..

Pitchfork symbol indicates offering table

August 28, 2020/in Symbols /by Jeyakumar Ramasami

‘Pitchfork’ symbol indicates ‘offering table.’

Abstract:

Earlier, I was under the impression that the ‘pitchfork’ like symbol could be a weapon. But it turned out that the ‘pitchfork’ like symbol indicates the ‘offering table’. A similar hieroglyphic symbol appears in Egyptian civilization with similar meaning. This correlation shows that Indus script writing was influenced by Hieroglyphic writing of ancient Egyptian culture.

The above-given ‘comb’ symbol indicates the offering table in a vertical position. I have written a separate article for this symbol. Read the following article for more information. ‘The comb symbol indicates the word offering.’ (1)

The above-given symbol shows a tail to the ‘offering table’. Generally, tails are characteristics of the gods. This tail creates confusion. It needs to be verified. But this offering table with tail appears in a small number of seal inscriptions. The frequency is less than ten. Hence, Sundar et al. has ignored this symbol in their listing. (1)That shows the frequency of occurrence of this symbol is less than ten. On further analysis, the idea gets clarified. It looks like that it is not a tail, but it is the ‘hand’ of ‘KA’ symbol, which had been merged. The following logo explains the idea very well.

The above-given logo explains better the idea. In this grapheme, two logos have been merged. KA symbol has been combined with ‘offering’ symbol. This composite logo stands for the meaning ‘offering to KA’. ‘KA’ is the dead man’s soul in the form of a bird, as per the Egyptian idea. The same thought had been followed by the Indus valley civilization people also.

Statistical analysis of this offering symbol

First of all, I have to acknowledge here that the statistical data discussed in this article is extracted from the research paper of Sundar et al. Details are as follows:

Logo	meaning	Frequency of occurrence of logo
	Single offering	132
	Double offering	38
	total	170

The above-given data shows that this offering table logo had appeared 170 times in the Indus inscription data as per Mahadevan and Sundar. (2) (3) This frequency is relatively high and significant. This high frequency is indicating it is a commonly used word, which is confirmed by the following analysis table.

Logo-pair	meaning	frequency
	Offering to Pithru	76
	Offering to Ninguishzida the gatekeeper	40
	Karkida -offering	22
	Offering to ‘KA’ -Kau (Sacrifice)	20
	Growing embryo / Mother goddess offering	15

All the above-given logo pairs yield meaningful interpretation, as explained in the analysis table.

The frequency of triplets with offering table combination

Triplet of logos	Reading	frequency
	Offering to Ningishzida (Gatekeeper) -Kavu	36
	Offering to Pithru on the Ashtami (eighth) day (Day of Rudra)	21
	Karkida month ceremony offering to Pithru	20
	Mother goddess offering to Pithru	15
	Offering to Pithru on the tenth day of the fortnight of a calendar month (Yama’s day)	13

The analysis of triplets yields meaningful results. Majority of the offerings were oriented towards Pithrus (Fish logo). This result confirms my theory that Indus Valley excavation sites were necropolises and ancestors (Pithru) worship were carried out in those places. Another finding is that the offering was also carried out to Ningishzida the gatekeeper and Yama. The chair symbol identifies Yama. The tenth day of the fortnight of a calendar month is allocated to Yama. Read my article under the heading,” Indus script numerals indicate various gods as per calendar days” for more information on gods assigned to various days of a calendar month. (4)

Bibliography

2. Sundar, G, et al. -The-Indus-Script-Text-and-Context-A Statistical-Positional-positional Analysis of significant Text segments. 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. 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. 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.

5. Wikipedia. Yama_(Hinduism). Wikipedia. [Online] Feb 2015. http://en.wikipedia.org/wiki/Yama_(Hinduism).

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

7. Wikipedia(Three-age-system). Three-age_system. wikipedia.org. [Online] https://en.wikipedia.org/wiki/Three-age_system.

Mat Symbol.

August 20, 2020/in Symbols /by Jeyakumar Ramasami

‘Mat’ symbol indicates the word ‘invitation’ to the Yajna ceremony.

Abstract

Some ideograms in Indus seal inscriptions indicate a mat. The mat logo indicates the seat offered to the gods in the Yajna. More Pithrus had been invited to the Yajna than the ‘devatas’ in Indus valley seal inscriptions. This act of importance given to pithrus confirms my main theory that Indus excavation sites Mohenjo Daro and Harappa were necropolises and not metropolises as popularly imagined so far.

This mat made of ‘Kusa’ grass is available in Amazon.in for sale, which shows the continuity and importance of Kusa mat from Indus valley times to present-day India.

Variants of mat logo

The above-given picture shows the variants of mat symbol, and these variants are as per the book of Iravatham Mahadevan. (1)

The above-given seal inscription shows the mat symbol preceded by the Pithru symbol (Fish). Majority of the seal inscriptions invite the Pithrus for Yajna, not gods.

invitation to gods in Vedic Yajna

Indologist Jan Gonda has identified 16 steps that are common in all varieties of puja: (2). The first step is ‘Avahana’ (“invocation”). The deity is invited to the ceremony. And the second step is the ‘Asana’ The god is offered a seat.

The website “Sanskrit magazine.com” further confirms that the Kusa grass (Darbha) is used as a seat for the priest as well as gods in Vedic Yajna. (3)

Statistical analysis

This mat symbol occurs 89 times Indus seal inscriptions as per the data compiled by Mahadevan and Sundar. (1) (4) This high frequency shows the importance of this logo in Indus seal inscriptions.

Indus symbol triplet	Frequency of occurrence
	24

The above-given triplet of symbols occurs 24 times as per the data of Mahadevan and Sundar. This is the only combination, which occurs in a significant number. Other combinations do occur with gods logo but in minuscule number. This data shows that ‘Pithrus’ (Manes/Ancestors) were the main invitees in Yajnas conducted in Mohenjo Daro and Harappa. This fact confirms my main theory that Indus excavation sites were necropolises and not metropolises as imagined so far. (5)

Acknowledgements

1. All pictures of Indus seals are taken from the book of Sue Sullivan (6)

2. All logos are taken from the research papers of Iravatham Mahadevan, Asko Parpola (7) and Sundar

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. Fuller, C. J. The Camphor Flame: Popular Hinduism and Society in India (PDF). Princeton, NJ: Fuller, C. J. (2004), The Camphor Flame: Popular Hinduism and Society in India (PDF), Princeton, NJ: Princeton University Press., 2004. ISBN 978-0-691-12048-5.

3. Sanskritimagazine.com. Significance-of-darbha-or-kusha-grass. Sanskritimagazine.com. [Online] https://www.sanskritimagazine.com/indian-religions/hinduism/significance-of-darbha-or-kusha-grass/.

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. Jeyakumar(Necropolis-theory). Necropolis_theory_on_Indus_Valley_Civilization. www.academia.edu. [Online] 2009. https://www.academia.edu/7773502/Necropolis_theory_on_Indus_Valley_Civilization.

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

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

Karuppa Swami was the gate keeper god.

August 12, 2020/in Symbols /by Jeyakumar Ramasami

‘Karuppa Swami’ was the ‘Gate Keeper God’

Figure 1: Gatekeeper god symbol. Symbol courtesy – Asko Parpola (1)

This symbol (Grapheme) intrigued me for a long time. I was trying to read each symbol separately. After many attempts, I got the idea that all these three symbols should be read together. Reading this grapheme was the first breakthrough in my efforts to decipher the Indus script. It gave the idea that the Indus script should be read in the ideograph way.

This ideogram conveys the meaning of ‘Gate Keeper’. He was the God guarding the gates to heaven. The son of the dead person has to appease this God by a bull sacrifice, then only he will allow the dead man’s soul to pass through into heaven. It is a good idea for any religious head; in fact, most of the religious leaders are controlling the keys to the sky. The best example is the case of "Saint Peter" holding the key to gates of heaven.

One crucial point to be noted here is that earlier I had assigned various sounds (syllables) to this grapheme. However, it turned out to be that Indus inscriptions are not written in ‘logo-syllabic’ way, but it is written in the ‘ideographic’ (idea) way of writing. Iravatham Mahadevan is alsotelling that these Indus inscriptions are written in an ideogramic way (2). However, the context in which the ideograms are being explained by him is debatable. Mahadevan interprets that all these Indus symbols were created by Dravidian society, in the context of their trade transactions with other traders. But my opinion is that these symbols are related to death ceremony and excavated Indus sites were necropolises and not metropolises as popularly imagined so far. (3)

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Figure 2: Another example of Gatekeeper god. Picture courtesy (3)

Many seals contain this figure of a person holding a stick, I was reading the man with stick grapheme as ‘Palaka’ and assigned many possible meanings for those two ‘chessboard’ squares. Finally, it looks like that this ideogram indicates a ‘GateKeeper God’.

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Figure 3: Inanimate object gate is holding the stick. Picture courtesy (3)

The above-given seal further confirms this word. Even though the craftsmanship is inferior in this seal, the idea conveyed is clear and loud. Earlier for a long time, I could not ascertain the meaning; only this seal depiction critically conveyed the meaning. See the grapheme; the gate is holding a stick. Is it possible for an inanimate object like a door to hold a stick? This grapheme conveyed the idea that these symbols together indicated a door and watchman.

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Figure 4: Gate is looking like a shield.

This seal also shows a similar scene but gives an impression as if the God is carrying a shield (Keda). So, the interpretation is doubtful.

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Figure 5: Gatekeeper god standing in between the open doors. Picture courtesy (3)

Finally, this seal clarifies the meaning of grapheme in a slightly better way; the God is standing in between the open gates. It can be safely assumed that he is a ‘Gatekeeper God’. The idea of ‘gatekeeper god’ still exists in rural areas of Tamil Nadu. These gods are earliest gods of Indian culture and still survives in small pockets, even though with reduced importance.

The 18- Aam padi Karuppu (Tamil God)

The Guardian god of Alagar Malai Temple, Madurai, Tamil Nadu is known as “18-Aam padi Karuppa swami", which means ‘18-steps’ – Karuppa Swami. The entrance door is kept closed, there are 18-steps behind this closed door, and the door itself is worshipped as God. When the priests open the door once in a year, it can be seen that only one big aruval (Sickle) is planted behind the doors and nothing else, no statues. This God wields an "Aruval" (Sickle) which is a very significant weapon in Tamil Nadu and is considered, in itself, as a symbol of Karuppana Swami himself.

Figure 6:Main door of Karuppa swami temple, Alagar Malai, Madurai, Tamil Nadu. Reference and Photo courtesy – (4)

The main doors of the Karuppa Swami temple remain closed most of the year. It is believed that Karuppa Swami resides within them looking over the kshetra and the neighbouring areas. During this time, people worship the door itself as the guardian deity. People smear sandal paste over the doors to reduce the heat of Karuppa swami’s Ugram (heat generated due to his power) and make offerings of long forged swords. Some of the swords are double a man’s height and offer a very frightening sight.

Figure 7: See those huge sickles 10-15 feet in height.

The door is, however, opened once in a year during the Brahmotsava. Special poojas are offered to the open doors before they are closed again at night, never to open for another 365 days. (4)

Karuppa Swami also takes part in the day to day running of the temple. At the end of the day, the accounts of the daily activities are laid before him, and finally, he is also entrusted with the keys of the temple treasury at night. Note that the key is given to this God. Most probably he was holding the ‘Key to Heavenly doors’, gradually that idea has been reduced to keeping the keys of a treasury.

The ‘18 – Aam padi Karuppu’ worship has been modified to ‘Vaikuntha Ekadasi’:

The name ‘Karuppa Swami’ itself is a nickname; this word means ‘The Black God’. God is considered to be so powerful that people do not say his original name out of fear; such a practice has hidden the original name entirely. No doubt, we are not able to trace out the real name of ‘Gatekeeper God’ of Indus Valley people. Till the time reveals his name, let us call him as ‘Karuppa Swami’ (The Black God). (Or) Most probably the black God’s name was ‘Muran’ as said in ‘Padma Purana’.

It looks like that this worship of ancient god ‘Karuppa Swami’ has been transformed into ‘Vaikuntha Ekadasi’ in Vaishnavism. Read the article on ‘Vaikuntha Ekadasi’ in Wikipedia. The paragraph is produced as such for ready reference:

“The significance of Vaikuntha Ekadashi is mentioned in the Padma Purana. The legend says that the Devas were unable to bear the tyranny of ‘Muran’, a demon, approached Shiva, who directed them to Vishnu. A battle ensued between Vishnu, and the demon and Vishnu realized that a new weapon was needed to slay Muran.

In order to take rest and create a new weapon, Vishnu retired to a cave named for the goddess Haimavati in Bhadrikashrama. When Muran tried to slay Vishnu, who was sleeping, the female power that emerged from Vishnu burned Muran to ashes with her glance.

Vishnu, who was pleased, named the goddess ‘Ekadashi’ and asked her to claim a boon. Ekadashi, instead, beseeched Vishnu that people who observed a fast on that day should be redeemed of their sins. Vishnu thus declared that people who kept a fast on that day and worshipped Ekadashi would attain Vaikuntha. Thus, came into being the first Ekadashi, which was a Dhanurmasa Shukla Paksha Ekadashi.” (5)

Heavenly gate (Paramapada Vassal – in Tamil)

The Tamil month of ‘Margazhi’ is the best of times. It is during this month that homes add to their decor; the air is filled with music; the cup of devotion overflows, and the gates of heaven open.

Vaishnavite shrines celebrate the ‘Ekadasi’ in the waxing phase of the moon in the month of Margazhi as Vaikunta Ekadasi. Margazhi is considered the ‘Brahma Muhurtham’ for heavenly beings, and this period is utilized by people to prepare themselves for union with God. The Ekadasi festival stretches for 21 days in Vaishnavite shrines, with Pagal Paththu and Era Paththu, with the opening of the Paramapada Vaasal in between on Ekadasi (eleventh day). (6) generally, this festival falls in December, near Christmas Day.

Tirumala Venkateswara Temple also has a similar concept. Thirumala has an exclusive entrance called Vaikuntha Dwaram that encircles the sanctum sanctorum. The dwaram (passage) is opened only on Vaikuntha Ekadashi, and it is believed that any person who passes through this `Vaikuntha Dwaram’ on this particular day attains salvation. The temple witnesses’ substantial inflow of pilgrims and dignitaries for Vaikuntha Ekadashi.

Demon ‘Bes’ was the gatekeeper in ancient Egypt.

Bes was a household protector in ancient Egypt. He was assigned with such varied tasks as killing snakes, fighting off evil spirits, watching after children, and aiding women in labour by fighting off evil spirits, and thus present with Taweret at births. (7)

Figure 8: Image of Egyptian demon ‘Bes’. Picture courtesy -Wikipedia (7)

Images of the deity, quite different from those of the other gods, were kept in homes. Usually, Egyptian gods were shown in profile, but instead ‘Bes’ appeared in full-face portrait, ithyphallic, and sometimes in a soldier’s tunic, to look ready to launch an attack on any approaching evil. He scared away demons from houses, so his statue was put up as a protector. (7) It is likely, ‘Bes’ had been introduced into Indus valley civilization and transformed into ‘gatekeeper’ god.

The God shown in the above-given seal is decorated with a feather, which is the characteristic symbol of ‘Bes’. The above-shown God is gatekeeper god. The inscription in the seal read as ‘Yajna – terrible God (number three) -Karkida (crab symbol) – gatekeeper god (Two doors symbol). It is a satisfaction to see that the name of God is mentioned in the inscription. It is a rare occurrence, where we can correlate God with the inscription. Earlier, I had given the name ‘Karuppa-swami’ because the name of God was not known. Now, we can call him ‘Bes’ with his Egyptian name.

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

3. Jeyakumar(Necropolis-theory). Necropolis_theory_on_Indus_Valley_Civilization. www.academia.edu. [Online] 2009. https://www.academia.edu/7773502/Necropolis_theory_on_Indus_Valley_Civilization.

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

5. Mahendravarman. the-guardian-lord-of-alagar-malai-. streetsmadurai360.blogspot.in. [Online] Feb 2015. http://streetsmadurai360.blogspot.in/2012/09/the-guardian-lord-of-alagar-malai-18am.html.

6. wikipedia. Vaikuntha_Ekadashi. wikipedia. [Online] February 2015. http://en.wikipedia.org/wiki/Vaikuntha_Ekadashi.

7. The Hindu. when-the-gates-of-heaven-are-thrown-open/. www.thehindu.com. [Online] January 2015. http://www.thehindu.com/news/cities/Madurai/when-the-gates-of-heaven-are-thrown-open/article6744620.ece.

8. Wikipedia(Bes). Wikipedia.org/wiki/Bes. Wikipedia. [Online]

Smasana-cayana altar (Vedic burial ritual) in Indus Valley Civilization

August 6, 2020/in Symbols /by Jeyakumar Ramasami

‘Smasana-cayana’altar (Vedic burial ritual) in Indus Valley Civilization.

Figure 1: Evidence of ‘Smasana-cayana’ ritual

Picture courtesy (Subramanian.T.S, 2015)

The above shown picture shows the remnant of ‘Vedic Yajna ‘ritual as per observation of T.S.Subramanian. The article is published in the front line magazine. The discovery and excavation of a new site, 4MSR, near Binjor, Rajasthan, has yielded vital clues about the evolution and continuity of the mature and late phases of the Harappan civilisation and their relationship to the painted grey ware culture that followed. A.K. Pandey, Deputy Director of ASI is in charge of the excavation at the Harappan site of 4MSR (Subramanian.T.S, 2015)

The site, which is a couple of kilometres from Binjor village, is in Anupgarh tehsil of Sri Ganganagar district, Rajasthan. It is just 7 km from the India-Pakistan border as the crow flies. The archaeologists and the students are excavating a big mound in the alluvial plains of the Ghaggar River. Ghaggar is the modern name given to the Saraswati River. The village residents call the mound Thed and it is about 400 metres from the camp.

There are successive floor levels made of mud bricks, especially in the industrial area of the site. Pandey says “It shows that whenever the original floor in which the Harappans were working got damaged, they built another floor over it. Between two floors, we have found a lot of ash, charcoal, bones, pottery and artefacts. There are katcha (temporary) drains in some trenches,” (Subramanian.T.S, 2015)

The trenches have thrown up remnants of ovens, hearths and furnaces, with white ash and soot embedded in the soil, testifying to the industrial activity of making beads at the site. Hearths were found both inside and outside the Harappan houses. Pandey offered an explanation: During winter, Harappans cooked inside their homes but in summer, they cooked outside. One trench revealed a deep silo, lined with mud, to store grains. (Subramanian.T.S, 2015)

I doubt the explanation of Pandey that industrial activity was carried out in this place. In my opinion, it is a site of funeral ceremony, where lot of sacrifices had been carried out, which are indicated by the bones and ash. The different cooking hearths mentioned by him indicates the different Vedic altars used in a single Vedic ceremony. Two successive floor levels mad of bricks indicates that there were two different Vedic Yajnas on the same spot. The first Yajna could be Agnicayana ritual followed by Smasana-cayana or vice versa.

What has come as a bonus is the discovery of a fire altar, with a yasti (a shaft) in the middle. “The yasti is an indication that rituals were performed at the altar,” said Manjul. The yasti here is an octagonal, burnt brick. Although bones were found in the upper level of the deposits in this trench, it could not be ascertained whether they were sacrificial bones. The ASI team traced mud and ash layers at the lower level in the trench and also found a bead inside the fire altar. Pandey said fire altars had been found in Kalibangan and Rakhigarhi, and the yastis were octagonal or cylindrical bricks. There were “signatures” indicating that worship of some kind had taken place at the fire altar here. (Subramanian.T.S, 2015)

Fortunately, the Indian Archaeologists have identified the structure in figure-1 as a Vedic ritual pit. Generally, they are fond of calling all structures as grain storage pit. T.S. Subramanian, special correspondent of Frontline magazine also states that “Worship of some kind had taken place at the fire altar here”. Now, we have to identify the kind of ‘worship’ that had taken place in this archaeological excavation site.

The answer for this above said question is available in the book of Tull, H. W. (1990). The Vedic origins of karma: Cosmos as man in ancient Indian myth and ritual. Delhi: Sri Sat guru. (Tull, 1990)

The extracts of the book are as given below:

The Agnicayana ritual goes on for a whole year, the first phase is the construction of ‘Great bird altar’. (wikipedia(Agnicayana), 2015). Then the next phase of the ritual is the construction of a “Domestic hearth” (Garhapatya), which represents a reconstructed version of one of the hearths (Ahavaniya, Dakshinagni, Garhapatya) used in all the Vedic Srauta rites. (Tull H. , 2015)

The construction of this hearth is again likened to a birth process. Here the womb is said to be the earth, and the embryo inside the womb is identified as having both the shape of a man and the shape of a bird, which is the shape of the completed fire altar. (Tull H. , 2015)

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Figure 2: Indus symbol in the shape of ’embryo’

Figure : The embryo symbol in Indus seal

Picture courtesy – (Sullivan, 2011)

Now, compare this above given Indus symbol with the ‘Vedic fire altar’ shown in figure – 1, it exactly tallies. This shows that the above given Indus symbol indicates ‘Smasana-cayana’ Vedic ritual conducted for a dead person. I have been telling for long time that all the Indus seals are related to death related rituals, which is being substantiated by these findings in this article. (Jeyakumar(Necropolis), 2009)

Figure : Modified embryo symbol in diamond shape

Figure : Diamond shaped embryo in Indus inscriptions

Picture courtesy – (Sullivan, 2011)

The above given figures 4&5 indicate the modified embryo symbol, this symbol is in ‘diamond’ shape instead of ‘embryo’ shape. Anyhow, it should be construed that both symbols are indicating a same Vedic ceremony.

The Garhapatya thus represents the earthly foundation of man and fire altar, both of which will be (ritually) born during the course of the Agnicayana performance. To express this connection the Garhapatya, which traditionally has a round shape, is made to the same measure as a man or the distance between a man’s outstretched arm (Vyamamatra), and its shape is said to symbolize the roundness both of the womb and the earth. (Tull H. , 2015)

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Figure 6: The Chakra symbol indicates ‘Garhapatya Yajna’

Figure 7: Gold man figure in Agnicayana ritual

Picture courtesy: e-book of Rekha Rao; Symbolography in Indus seals. (Rekha, 2015)

W.H.Tull state that the next step of this ritual is that the sacrificer emits his real semen, and the semen is placed next to the gold man. The above given statement of W.H.Tull is supported by the findings of Rekha. (Rekha, 2015) Rekha in her e-book has produced the above given figure-7, which shows an effigy made of gold is placed inside the Agnicayana Vedic altar. She had taken this figure from the website Athirathram.org. Please also note that the semen of the sacrificer is placed near the gold man, the statement is substantiated by the circle of gold dots near the ‘Gold Man’. (Athirathram.org, 2015)

Along with the offering spoon (Vedic ritual ladle) the priest places two bricks inside the altar, which are said to be the Sacrificer’s testicle. Please note that there are two bricks inside the yajna kund (figure -1), which are being called as Yastis by T.S.Subramanian. To whatever new existence the construction of the fire altar leads the sacrificer, with his offering spoon (ladle) and testicles, he will be able to continue his characteristic activities such as performing the Vedic rites and procreating. (Tull H. , 2015)

Figure 8: Perforated clay plates

Picture courtesy – (Subramanian.T.S, 2015)

W.H.Tull states that on top of the Gold man (effigy) the sacrificer places the ‘naturally perforated bricks’. (Svayamatrnna). (Tull H. , 2015) But, no such perforated bricks were seen in the excavated Vedic altar. Instead of the bricks, perforated clay plates were found. (Figure-8) The perforations in these three clay plates allow the sacrificer to pass through the otherwise solid altar in his symbolic ascent through the cosmos.

W.H.Tull states that in the completed altar there will be three bricks. One each placed on the first, third and fifth levels. Please note that one brick (Yasti) is visible in the altar (Figure-1) and the second brick is also visible in the second level (or) it may be third level as said by W.H.Tull. The bricks indicate the testicles of the sacrificer, and separate perforated clay plates were placed over the bricks, so that imaginary life of sacrificer in the ‘Garbha’ (embryo) can breathe within the ‘Vedic altar’. (Tull H. , 2015)

In this first layer of the altar the sacrificer also place a tortoise, which represents heaven (The upper shell) the earth (The lower shell). The fire pan, which represents the womb; and a mortar and pestle, which represents a penis in the womb. The author describes this shape (shape of the altar in figure-1) as that of an animal, with certain bricks representing is head, neck, breast, back and hips. Then finally the priests declare: “That animal, which is the fire altar, now has a form complete and whole”. (Tull H. , 2015)

The sacrificer next places in the fire pan the heads of the five sacrifice animals that of a goat, sheep, cow, horse and man, or if the sacrificer followed the alternative procedure, the head of a single goat that represents all the five animals mentioned above. The sacrificer then throws seven gold chips in each head. (Tull H. , 2015) These sacrificed animal heads are not reported by the archaeological excavation team, because those animal heads would have rotten away many centuries back. The excavation team has not reported the gold man as well as seven cold chips. However, they reported a valuable bead from the altar, which shows that a valuable bead could have been used instead of gold chips.

Perforated clay plates are placed inside the chamber, so that there will be breathing space for the life created in this chamber. After this point, the construction of the altar entails the continued placing of bricks until all five levels are completed. The bird shaped fire altar was seen as representation of the Vedic sun-bird, who was occasionally identified with Agni and would thus be capable of conveying the sacrificer to the heavenly realm in which it had its abode. (Tull H. , 2015) The Vedic sun-bird seems to be the equivalent of the Greek mythical bird ‘Phoenix’.

Though the Satapatha Brahmana mentions other shapes for this kind of Vedic sacrifice such as those of a bucket, chariot wheel, or a heron for the construction of the altar the Vedic priests disdain their use.

Figure : Materials prepared for Agnicayana ritual

Picture courtesy (Athirathram.org, 2015)

Agnicayana stood at the zenith of the Vedic ritual hierarchy, it is clear that the one who lives and sacrifices for 100 years would have performed this Agnicayana sacrifice as his penultimate sacrifice. (The final sacrifice was the funeral rite) The final sacrifice for the one who had in life completed the Agnicayana possessed its own distinctive nature. Such distinguished sacrificer deserved building of a burial place (Smasana-cayana). (Tull H. , 2015)

The Agnicayana ritual is considered as completed only after construction of the Smasana-cayana altar. This particular obligation indicates the continuity between Agnicayana ritual and final Smasana-cayana ritual. After the final Smasana-cayana ritual the dead man goes to the other world. Scholars have often noted the similarity between the construction of the Agnicayana altar and the construction of burial place (Smasana-cayana) for the sacrificer who had built the fire altar. Although the Smasana-cayana does exhibit an over helming concern with the father (Pithrus), it is important in view of its similarity to the Agnicayana, to question the precise nature of relationship between these two rites. The Satapatha Brahmana specifically states that the construction of the burial place completes the Agnicayana ritual. (Tull H. , 2015)

Figure 10: Bird symbol indicates Agnicayana ceremony

Picture courtesy – (Subramanian.T.S, 2015)

Note that the above given seal (figure-8) was the only seal found in this excavation site and inscriptions on this seal indicates the Agnicayana ceremony. The bird symbol in the seal indicates the Agnicayana ceremony. Further, one full skeleton was also found out in the same site. This shows that some important person of Indus Valley period had been buried here and a funeral mound has been raised over his body. The inscription on the seal is the conclusive proof that a burial ceremony was carried out in the excavated site, and not some kind of industrial activity as being claimed by the Indian archaeologists.

Athirathram.org. (2015, December). scenes.html. Retrieved from athirathram.org: http://www.athirathram.org/scenes.html

Jeyakumar(Necropolis). (2009). Necropolis_theory_on_Indus_Valley_Civilization. Retrieved from www.academia.edu: https://www.academia.edu/7773502/Necropolis_theory_on_Indus_Valley_Civilization

Rekha. (2015). Symbolography in Indus seals. In Symbolography in Indus seals(e-Book) (p. 11736). https://read.amazon.in/. Retrieved from https://read.amazon.in/

Subramanian.T.S. (2015, April). harappan-surprise. Retrieved from www.frontline.in: http://www.frontline.in/arts-and-culture/heritage/harappan-surprise/article7053030.ece

Sullivan, S. (2011). Indus Script Dictionary. Suzanne Redalia.

Tull, H. (2015). smasanacayana. Retrieved from books.google.co.in: https://books.google.co.in/books?id=auqGWz2l9pYC&pg=PA180&dq=smasanacayana&hl=en&sa=X&ved=0ahUKEwj24bW5lsTJAhWSGI4KHfy5Dr8Q6AEIHDAA#v=onepage&q=smasanacayana&f=false

Tull, H. W. (1990). The Vedic origins of karma: Cosmos as man in ancient Indian myth and ritual. Delhi: Sri Satguru. Delhi: Sri Satguru.

wikipedia(Agnicayana). (2015, December). Agnicayana. Retrieved from wikipedia.org: https://en.wikipedia.org/wiki/Agnicayana

Tilak Symbol

July 28, 2020/in Symbols /by indus77

Tilak symbol indicates the ‘Pithru Karma’ ceremony.

Kur_symbol_indicates_Netherworld – ver-2 –nov-2019.edited

July 28, 2020/in Symbols /by indus77

Kur symbol – indicates ‘Land of the Dead’. These is the only grapheme, which shows the Sumerian influence. The Sumerian symbol and Indus symbol looks very similar.