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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)

$C:\Users\user\Desktop\ivc-logos-indus - 3\diamond-4.jpg$

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.

Fire stick symbol indicates the Arani sticks of Vedic Yajna.

July 28, 2020/in Symbols /by indus77

Firestick symbol indicates ‘Arani sticks’ of Vedic Yajna.

The above-given symbol indicates the ‘fire sticks’ (Arani sticks) used to ignite the fire in Vedic Yajna. This fire stick symbol always occurs in conjunction with the ‘Grihapathya Yajna’ symbol, and the ‘Smasana-cayana Yajna’symbol, which indicates that this combination yields some meaning, which is very specific and common in usage. This symbol is made of two sticks, one long stick and another short one. It gives the idea of ‘Arani sticks’ (fire sticks) used in ‘Vedic fire ritual’, which are used to ignite the first fire of a Vedic Yajna. The word ‘Yajna’ precisely suits this symbol. All these symbols in combination or on individual basis convey the idea of a Yajna.

Variants of Firesticks

The above-given picture shows the variants of fire stick symbol. These graphemes are taken from the ‘book of concordance’ by Iravatham Mahadevan. In addition to that, the quotation mark also stands for the word ‘Yajna’. The quotation mark is the most widely used variant of the yajna symbol; it occurs 649 times as per the data provided by Mahadevan (1) and Sundar. (2)

In addition to that single stroke also indicates the word ‘Yajna’ as shown in the above-given seal.

The above-given seal shows the word ‘Grihapathya’ sacrifice (Chakra-symbol) followed by Yajna symbol (Quotation mark).

The above-given seal shows the Smasana-cayana symbol (Diamond shape) followed by yajna symbol. This combination is the most prolific pair of symbols used in Indus seal inscription, 291 times, as per the database of Mahadevan and Sundar.

Frequency analysis of Indus symbols

Indus symbol

Frequency of

occurrence

649

193

The data shown above is from the research papers of Mahadevan and Sundar. This quotation mark is the second most prolifically used symbol, used 649 times. The logo, which had been used most prolifically is the ‘Kau’ symbol which had been used 1395 times. (1) (2)

Symbols pair	frequency	Reading of the inscription	Frequency of the pair in the initial position of inscription. All the pairs are occurring in the initial position, exceptions those pairs which are specifically mentioned below.
	291	Smasana -cayana Yajna	254
	83	Grihapatya Yajna	73
	54	Kedaga Yajna	54
	44	Yama Yajna	37
	24	Grihapatya yajna	22
	23	Karkida Yajna	19
	18	Sastha Yajna	18 – occurring in the middle position. This reading of ‘Sastha yajna’ is incomplete because some god’s name will precede this symbol pair.
	18	Ammit (crocodile) -Yajna	16 – occurring in the middle position
	16	Honeycomb Yajna	16 -occurring in the middle position
	14	Grihapatya Yajna	12 – occurring in the middle position
	13	Pithru Yajna	11 – occurring in the middle position
	10	Grihapatya Yajna	10 – all occurring in the initial position
	10	Samidha Yajna	10 – all occurring in the middle position

This above-given data is extracted out from the research work of Iravatham Mahadevan and Sundar (1) (2)

This above-given data shows that the Yajna symbol combines very well with various types of Yajna. Another important finding is that all these Yajna mentions are at the beginning of the seal inscription. It is a meaningful correlation.

Acknowledgements

1. All pictures of Indus seals are taken from the book of sue Sullivan (3)

2. All logos are taken from the research papers of Iravatham Mahadevan, Asko Parpola (4) 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. 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. Sullivan, Sue,. Indus script dictionary. 2011.

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

Comb_symbol_indicates_the_word offering.

July 28, 2020/in Symbols /by indus77

Tamil Nadu Graffiti – the comb symbol indicates the word “Offering.”

Reference to the above symbol: page 116 of the book by Gurumurthy. The reference “GMM” refers to the Government Museum, Madurai. The exact place where this artefact was found is not known. This comb-like symbol appears in IVC as well as in Tamil Nadu graffiti. Gurumurthy defines the symbol simply as “Comb”. But it is not as simple as that. There is a deeper meaning behind this symbol. I have already determined its value as “Offering” in my earlier book, the “Indus Symbols Dictionary”. The exact meaning is also applicable in ancient Tamil Nadu. This “comb” symbol had to be read with other accompanying symbols to understand its true sense.

For more information, read my article, “The Comb Symbol Means the Word ‘Offering’ in the Indus Valley Civilisation” (in the Indus Symbols Dictionary book).

Gurumurthy defines all these four symbols as the number “Four”, a straightforward solution from Gurumurthy. All four symbols are distinct from one another. The comb symbol is depicted as pottery graffiti from Kodumanal, as shown on page 120 of the book by Gurumurthy.

A similar comb symbol appears with three fangs in the Uraiyur pot graffiti. Gurumurthy defines it as number three (Page no. 120). I disagree with this interpretation; it is a variant of the same ‘offering’ symbol.

The above picture shows variants of the offering symbol in Tamil Nadu graffiti. Reference page no 274, book by Gurumurthy.

This graffiti appears in Thirukampuliyur, near Karur, Tamil Nadu. The first symbol resembles a comb, which may suggest an offering. The second symbol defines the god to whom the offering was made. The second symbol indicates the mountain god. The mountain god of Tamil Nadu was either Geb of Egypt, Enlil of Sumeria or Varuna of the IVC. It could be any one of the three gods. One crucial point is that these symbols should be interpreted with their adjoining symbols. Here, it clearly says that some offering was made to the mountain god. Hence, the idea that the comb symbol means offering is confirmed.

Fish and honeycomb symbol together in merged form.

July 28, 2020/in Home /by indus77

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. $C:\Users\user\Desktop\ivc-logos-indus - 3\kedaga-8.jpg$ The 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.

Vedic Yajna- evidence in Indus seal inscriptions – ver -5 -feb -2020.edited

July 28, 2020/in Home /by indus77

Evidence of ‘Vedic Yajna’ in Indus seal inscriptions.

These two symbols indicate the type of Yajna performed. The first symbol is the ‘Grihapathya Yajna’, and the second symbol is the ‘Smasana-cayana Yajna’. These two symbols always occur in combination with the logo. Which indicates that this combination yields some meaning, which is very specific and common in usage. This symbol is made of two sticks, one long stick and another short one. It gives the idea of ‘Arani sticks’ (fire sticks) used in ‘Vedic fire ritual’, which are used to ignite the first fire of a Vedic Yajna. The word ‘Yajna’ precisely suits this symbol. All these symbols in combination or on individual basis convey the idea of a Yajna.

Two seals are produced here down below as examples to show that the majority of Indus seals starts with the combination of these graphemes. There is a possibility that these two graphemes could be indicating two different gods. My experience so far shows that names of gods do not fit well to the other graphemes in inscriptions, but the idea of ‘Yajna’ is fitting very well.

Figure 1: Seal inscription with ‘Grihapathya’ symbol. Picture courtesy (1)

Figure 2: Seal inscription showing Smasana cayana Yajna. Picture courtesy (1)

This word ‘Grihapathya’ indicates the domestic fire maintained by a householder. There is supportive evidence for this idea in the ground plan map of a Yajna Sala (given at the end of this article). In this ground plan map, it is depicted that a ‘circle symbol’ indicates a ‘Grihapathya Yajna’. This idea of ‘Grihapathya Yajna’ is also supported by Mrs Rekha Rao (2). H.Tull also says that the ‘Grihapathya fire’ will be in a circular shape (3). (Detailed reference is narrated in a paragraph down below in this article).

Smasana-cayana Yajna

Similarly, the embryo shape symbol also does not have a proper explanation so far. The below-given picture shows the corroborative evidence for ‘Indus script symbol’ and practical structure at ‘excavation site’. See the ‘Vedic ritual structure; it exactly looks like the ’embryo shape’ indicated in Indus inscriptions. This idea of embryo shape symbol is also supported by Ms Rekha Rao (2).

Figure 3: Evidence of ‘Smasana-cayana’ ritual pit. Picture courtesy (5)

The above-shown picture shows the remnant of ‘Vedic Yajna ‘ritual as per the 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 civilization and their relationship to the painted grey ware culture that followed. A.K. Pandey, Deputy Director of A.S.I., is in charge of the excavation at the Harappan site of 4MSR. (5)

Fortunately, the Indian Archaeologists have identified the structure as a Vedic ritual pit. Generally, they are fond of calling all structures as grain storage pit (or) toilet. 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 ‘What kind of worship?’ that had taken place in this archaeological excavation site.

The answer to this above-said question is available in the book of Tull, H. W. (1990). The Vedic origins of karma: Cosmos as a man in ancient Indian myth and ritual. (3)

The extracts of the book of W.H.Tull are as given below

The Agnicayana ritual goes on for a whole year; the first phase is the construction of ‘Great bird altar’. Then the next step of the ceremony is the construction of a "Domestic hearth" (Grihapathya), which represents a reconstructed version of one of the hearths (Ahavaniya, Dakshin Agni, Grihapathya) used in all the Vedic Srauta rites. (3)

The construction of this hearth is again likened to a birth process. Here the womb is said to be the earth. 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. (3)

Figure 4: Indus symbol in the shape of ’embryo.’

Figure 5: The embryo symbol in Indus seal (first symbol). Picture courtesy – (1)

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

Figure 6: Modified embryo symbol in a diamond shape

Figure 7: Diamond-shaped embryo in Indus inscriptions

Picture courtesy – (1)

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

The Grihapathya thus represents the earthly foundation of man and fire altar, both of which will be (ritually) born during the Agni-cayana performance. The Grihapathya fire, 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. (3)

The above-said perception of ‘Yajna’ can very well be substantiated with inscriptions on another seal and different grapheme.

Figure 8: Bird symbol indicates Agni cayana Yajna.

See the above-given seal and its inscription. The inscription should be read from right to left (Read from the side, which the bull is facing). The ‘Great bird’ symbol indicates the Agnicayana Yajna, and the second symbol is showing the ‘inverted forked branch symbol’, which means God Karkinos (Or) Karkida month. (6) The overall conclusion is that the inscription in the above-given seal indicates the Agnicayana ceremony. The bird symbol specifically indicates the ‘bird-shaped altar’.

Yajna platform construction in Shulba Sutra

At this juncture, it is relevant to note the Syena citi found in Purola, Uttarkhand state. The ancient site at Purola is located on the left bank of river Kamal in District Uttarkashi. The excavation carried out by Hemwati Nandan Bahuguna University, Srinagar Garhwal. (11)

Figure 8: Huge Vedic altar in the shape of a Falcon. Picture courtesy (11)

The site yielded the remains of Painted Grey Ware (PGW) from the earliest level along with other associated materials include terracotta figurines, beads, potter-stamp and the dental and femur portions of a domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syena chitti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings having a square chamber in the middle. This chamber contained the remains of pottery assignable to circa first century B.C. to second century A.D. along with a copper coin, bone pieces and a thin gold leaf impressed with a human figure identified as Agni. (11)

The Shulba Sutras are part of the larger corpus of texts called the Shrauta Sutras, considered to be appendices to the Vedas. They are the only sources of knowledge of Indian mathematics from the Vedic period. Unique fire-altar shapes were associated with unique gifts from the Gods. For instance, "he who desires heaven is to construct a fire-altar in the form of a falcon". Those who desire the world of Brahman should construct "a fire-altar in the form of a tortoise. And "those who wish to destroy existing and future enemies should construct a fire-altar in the form of a rhombus". (12) (13) (14)

The rhomboidal shape of this Yajna pit may be indicating that the Yajna was performed for the destruction of enemies. Earlier, I said that this rhomboidal shape might be the modified form of Smasa-cayana yajna. But, this second possibility is also to be reconsidered before a conclusion is arrived at.

Based on the evidence provided by the massive structure built for syena citi, it can be assumed that there would have been a different type of altars for various purposes. It looks like that those circular platforms were some kind of Yajna platforms used by the Indus priests.

Figure 9: Tools used in Agni cayana ceremony. Picture courtesy (7)

The entire ritual of Agnicayana takes twelve days to perform, in the course of which a great bird-shaped altar, the uttaravedi "northern altar" is built out of 1005 bricks. The liturgical text is in chapter 20 to 25th of Krishna Yajurveda. The immediate purpose of the Agnicayana is to build up for the sacrificer an immortal body. An immortal body that is beyond the reach of the transitoriness, suffering, and death that, according to this rite, characterize man’s mortal existence. (7) One important thing to be noted here is that ‘Agnicayana Yajna’ is specifically related to death. The presence of Agni cayana symbols in these seal inscriptions supports my theory that ‘Indus excavation sites’ are necropolises and not megapolises as claimed so far. (8)

Basic terminologies of ‘Vedic Yagna’ rituals (9)

First of all, we should understand the various terminology used in the Vedic ritual ‘Yajna’. There are four commonly used words, and they are Yajna, Yaaga, Homa and Havis. These four terms generally refer to a sacrificial act, often in a sacrificial offering in a fire, but have various connotations. A Yajna may mean (appropriate to the context) a sacrifice, sacrificial rite, an act of worship, any pious or devotional act, or spiritual offering or endeavour.

Yajna

There are fivefold Yajnas charged on householders, and they are as given below:

1. Bhoota Yajna is for the welfare of all beings- human and animal.

2. PitRu Yajna is the offering to the departed elders.

3. Deva Yajna is offerings made to all gods.

4. ManuShya Yajna is offerings made to people and hospitable reception of guests.

5. Brahma Yajna is for teaching and reciting Vedas.

Yaga is a public Yajna, on a vast scale, generally arranged by kings. Specialist priests for different specific duties (Advaryu as supervising priest, Hotra for reciting Rigveda, Udgaata for chanting hymns from Saamaveda, and up to 16 priests). Kratu is a Yaga in which animal sacrifice is prescribed.

Homa

A Homa is a Yajna on a smaller scale, domestic in nature, performed with oblations for deities. Part of Devayajna. Recitation of PuruShasookta and the Geeta, etc.

Havis

A Havis is offering into the fire. (9)

Procedures of Vedic Yajna ritual (10)

Initially, the ritual acts are performed in the Pracinavamsa or "hut with a top beam that is directed eastward". On the day immediately preceding the pressing day (minimally the fourth day) the centre of ritual action shifts to the Mahavedi, or ample offering space, that has been measured out with much precision. The fire is then brought in a solemn procession from the offering altar in the Pracinavamsa to the Uttaravedi, the altar in the east of the Mahavedi.

The pressing and offering of the Soma to the gods takes place in the Uttaravedi shed. The soma is offered to gods by putting it into the fire. The priests consume the remaining Soma beverage: this all takes place on the Mahavedi, on the soma pressing day. On the Mahavedi special grass has been spread which serve as the seat for the gods and the priests. Two sheds have been built on the Mahavedi, one mainly for the chants and recitations. And the second shed for the processing of the Soma. After the conclusion of the Yajna, a final ritual bath is taken by the Yajamana (the sponsor of Yajna). And afterwards, the grass and the sheds on the Mahavedi are burnt with the fire of the Uttaravedi.

Next, the fire of the three altars in the remaining old offering hut, the Pracinavamsa, is made to ascend again into the Aranis (fireboard and stick) of the sacrificer, and the sacrifice and his wife return home. Here fire is made from the Aranis. From then on, the sacrificer and his wife continue with their daily Agnihotra, evening and morning. (10)

Figure 10: Simplified plan of the sacrificial area. Reference and acknowledgements are due to (10)

Legends

Garh. = Grihapathya or Domestic Fire

Ahav. = Ahavaniya or Offering Fire

Dakshin. = Dakshin-Agni or Southern Fire

R. = Rajasandi, the King’s Throne for the Soma stalks

S. = Samrad-asandi, the Emperor’s Throne for the Pravargya vessels

m. = methi and mayukhas, the peg and pins for the cow, the calf, the she-goat and the lamb

kh. = khara or mound

Utt.v. = Uttaravedi

n. = nabhi

Bibliography

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

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

3. Tull, H.W. smasanacayana. books.google.co.in. [Online], 2015. https://books.google.co.in/books?id=auqGWz2l9pYC&pg=PA180&dq=smasanacayana&hl=en&sa=X&ved=0ahUKEwj24bW5lsTJAhWSGI4KHfy5Dr8Q6AEIHDAA#v=onepage&q=smasanacayana&f=false.

4. spokensanskrit.de. paricAyya. spokensanskrit.de/. [Online] Feb 2015. http://www.spokensanskrit.de/index.php?tinput=paricAyya&direction=SE&script=HK&link=yes&beginning=0.

5. Subramanian.T.S. Harappan-surprise. www.frontline.in. [Online] April 2015. http://www.frontline.in/arts-and-culture/heritage/harappan-surprise/article7053030.ece.

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

7. Wikipedia. Agnicayana. Wikipedia. [Online] Feb 2015. http://en.wikipedia.org/wiki/Agnicayana.

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

9. Anamika. yajna-yaaga-homa-havis-. aanobhadraah.blogspot.in. [Online] Feb 2015. http://aanobhadraah.blogspot.in/2007/07/yajna-yaaga-homa-havis-yajna-yaaga.html.

10. Houben, J.E.M. jyotistoma. jyotistoma.nl. [Online] Feb 2015. http://www.jyotistoma.nl/EN/default.html.

Necropolis_theory_on_Indus_Valley_Civilization – ver- 16- jan -2023

July 28, 2020/in Home /by indus77

Branch

July 27, 2020/in Symbols /by indus77

‘Branch symbol’ indicates the word ‘Sastha.’

$C:\Users\rjk\Desktop\ivc-logos-indus - 3\zakha-5.jpg$

The above given two symbols indicate branches of a tree. The Sanskrit word ‘Zakhastha’ means ‘branch-sitting’ that is the god sitting on a branch. Further, it is likely that this word got distorted and being pronounced as ‘Sastha’ in Tamil Nadu and Kerala as on today. There were three tree living gods in IVC as per my article, ‘Three different tree living gods of Indus civilization’ (1). It looks like that the referred three gods alone are not called as ‘Sasthas’, all the gods of Indus civilization were called as ‘Sasthas.’

Out of the two symbols presented above, the second symbol looks like a ‘Trishul symbol.’ However, verification so far, reveals the fact that this symbol is a modified form of the branch symbol and not a ‘Trishul’ symbol.

See the research paper of Sundar et al. (Sundar, 2010). This paper analyses the frequency distribution of various symbols and also a combination of symbols. (2) I have listed out combinations of symbol and symbol separately. Even though the second symbol looks like ‘Trishul’, it is only ‘branch symbol’. However, it looks like that over centuries this ‘zakha’ symbol got transformed into ‘Trishul symbol’. However, in the Indus seal inscriptions, evidence of Trishul as a weapon is not seen so far. Details about ‘Zakha’ [] (Branch) symbol are as following:

Symbol combinations	frequency	Symbol combinations	Frequency
	48		54
	47		40
	30		30
	26		21
	24		20
	18		10
	15		10
	11		10

Table 1: Frequency distribution analysis of ‘Branch Symbol’.

One significant observation that can be made is, “there is no difference between symbol and symbol; both symbols had been used in an interchangeable fashion". That means both these symbols are indicating the same meaning that these symbols indicate the word ‘’ God’’ (Sastha).

The second important point obtained out of this analysis is that this symbol ‘Sastha’ is not appearing with those other two gods, namely, Dwara Palaka (gatekeeper god) [] and Karkinos [ ]. The third important point is that the ‘The istika ceremony’ [] is associated with all gods( Sasthas). It means that the word ‘Sastha’ is a generic term meant for the word ‘God’.

$C:\Users\user\Desktop\pics- showing trishul symbol\Indus script dictionary -F.BK_page610_image1181.jpg$

In the above-given seal, a branch is placed on a pedestal, which stands for the word ‘Sastha’. The chakra symbol indicates the ‘Grihapathya fire’. It means that the sacrifice was carried out on a general basis, and the sacrifice was made for all gods, no particular god is mentioned.

In this inscription, the branch symbol is located in the last (read from right to left). The bangle symbol may be indicating ‘mother goddess’. It looks like that mother goddess was also called as ‘Sastha’. (or) The sacrifice was made only for gods (Sasthas), not Pithru.

$C:\Users\user\Desktop\2.sue sullivan book picture extract\Indus script dictionary -F.BK_page610_image279.jpg$

God is mentioned as the first symbol (Read from right to left). It is a new symbol, and god has not been identified so far. It looks like another symbol for God Astaka. The ‘Branch symbol’ merely stands for the word ‘Sastha’, which indicates that the sacrifice was made only for gods and not Pithrus. Number four may be indicating the fourth-day of Pithru ceremony (or) fourth-day Sastha. The fourth-day god is Yama/Ganapathi. (3) Yama/Ganapati is lord of the 4th lunar day as per modern Hindu religious ideas, which is suitable for the destruction of one’s enemies, the removal of obstacles, and acts of combat.

Karkinos was the god who lived in the Pipal tree during Indus valley civilization times. Now the gods residing under Pipal tree should be taken as continuity of the old god. Modern Hindu god Ganapathi fills that role very well. Equally important is the Tamil ancestral god Muneeswaran, he also fills the same spot.

Palm branch symbol – a measure of time

There is a second possibility that this Indus branch symbol could be the modified version of the Egyptian Palm branch hieroglyph.

Figure 2: Palm branch symbol as per Egyptian Hieroglyphics.

The Egyptians would put a notch in a palm branch to mark the passing of a year in the life of a pharaoh. It symbolized the ‘measure of time.’ (4)

Figure 1: Seal inscription showing number along with branch symbol.

In the above-given seal inscription, the number seven symbol is appearing in association with ‘Sastha'(God) symbol. It could be indicating the seventh-day god, as per Hindu religious idea. (or) it could mean the number of years as a measurement of time.

Heh (god)

Ḥeḥ was the personification of infinity or eternity in the Ogdoad in Egyptian mythology. (1) His name originally meant "flood", referring to the watery chaos that the Egyptians believed existed before the creation of the world. (2) The Egyptians envisioned this chaos as infinite, in contrast with the finite created world, so Heh personified this aspect of the primordial waters. (3) (4)

Like the other concepts in the Ogdoad, his male form was often depicted as a frog, or a frog-headed human, and his female form as a snake or snake-headed human. The frog head symbolized fertility, creation, and regeneration.(4) The other common representation depicts him crouching, holding a palm stem in each hand (or just one),(5) sometimes with a palm stem in his hair, as palm stems represented long life to the Egyptians, the years being represented by notches on it. (4)

The representation of this god crouching (kneeling-One knee raised) brings to my mind similar depiction in

Indus seal image.

See the above-given representation of the god sitting in the tree. His sitting position is very similar to the Egyptian god ‘Heh’, who gives a million years afterlife. Hence, it can be concluded that the above-depicted god is a continuation of the Egyptian god ‘Heh’. We do not know, by what name the Indus valley people called him, but we can call him by his Egyptian name, till a consensus is arrived.

An aspect of Heh, holding a pair of notched palm branches

The god Ḥeḥ was usually depicted anthropomorphically, as in the hieroglyphic character, as a male figure with divine beard and lappet wig. Typically kneeling (one knee raised), sometimes in a basket—the sign for "all", the god typically holds in each hand a notched palm branch (palm rib). (These were employed in the temples for ceremonial time-keeping). (7) Occasionally, an additional palm branch is worn on the god’s head. (4)

The personified, somewhat abstract god of eternity. The god’s image and its iconographic elements reflected the wish for millions of years of life or rule. ‘Heh’ became associated with the King and his quest for longevity. The placement of ‘Heh’ in connection with a Pharoah’s corpse means that the god will be granting him these "millions of years" into the afterlife.^[9](4)

The specific identification mark for the god ‘Heh’ is the ‘palm branch on the head’ as shown in the logogram. The above-given seal also shows a god with a palm branch in his head. This god could be ‘Heh’. There are some other gods with similar feathers in their heads. The first one is the goddess of justice ‘Maat’, and the second god is ‘Bes’ the gatekeeper god. Till a finality is reached on this issue, let us assume that the god depicted in the above-given seal is ‘Heh’, the god of immortality.

Acknowledgements:

All the seal pictures are taken out of the book of Sue Sullivan (5)

All symbols are taken out of the book of Asko Parpola (6)

1. Jeyakumar(Three-tree-gods). https://www.academia.edu/25651400/Three_different_tree_gods_of_Indus_civilization. https://www.academia.edu. [Online], 2017. https://www.academia.edu/25651400/Three_different_tree_gods_of_Indus_civilization.

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. 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.

4. Egyptsymbols. www.crystalinks.com. [Online] https://www.crystalinks.com/egyptsymbols.html.

5. Wilkinson, Richard H. The complete gods and goddesses of ancient Egypt. London: Thames & Hudson. , 2003. ISBN 978-0-500-05120-7.

6. Genesis in Egypt, The Philosophy of Ancient Egyptian Creation Accounts. Yale Egyptological Seminar, 1988. Allen, James.P (1). Yale University: Yale Egyptological Seminar, 1988, 1988.

7. Allen, James P.(2). Middle Egyptian: An Introduction to the Language and Culture of Hieroglyphs. Cambridge: Allen, James P. Middle Egyptian: An Introduction to the Language and Culture of Hieroglyphs. Cambridge University Press, 2000, 2000.

8. Wikipedia(Heh_god). Heh_(god). Wikipedia.org. [Online] https://en.wikipedia.org/wiki/Heh_(god).

9. Rush, John. The Twelve Gates: A Spiritual Passage Through the Egyptian Books of the Dead. Berkely, CA: Frog, 2007.

10. Owusu, Heike. Egyptian Symbols. New York. : Sterling., 2008.

11. Remler, Pat. Egyptian Mythology, A to Z. New York. : Chelsea House., 2010.

12. Sullivan, Sue. Indus Script Dictionary. S .l. : Suzanne Redalia, 2011.

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