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

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

http://www.frontline.in/multimedia/dynamic/02358/FL17_Binjor__fire__2358944g.jpg

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

Tilak symbol indicates the word “Pithru-Karma”

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

Symbol of the firepot

Many of the Indus seals inscriptions show the ‘fire pot’ like symbol. This symbol is looking like a firepot yet the word expressed is not ‘Agni’, the intended word is ‘Pitru Karma’. The word ‘Pitru Karma’ fits very well while reading the sentence in conjunction with nearby symbols. It should be noted here that these IVC seals coincide with ‘Rig Veda” period and during that time Agni was not a significant god, he was a mere facilitator. Only, In the later Vedic period, God Agni becomes an important god.

The above-given seal expresses the idea of ‘fire’ very well, and the fire symbol is further explained by the fuelwood marks at the bottom of the fire. But this fire symbol with firewood rarely occurs. This kind of fire symbol occurs only two or three times. The frequency of occurrence is not significant. Hence, it cannot be said that this symbol indicates fire god ‘Agni’. However, there is a possibility that this fire symbol could have indicated the word ‘Yajna’ here in the above-given seal inscription. (or) It could have indicated the fire created for cremation, that again gives the suitable word as ‘pithru-karma’.

Picture courtesy – Sanathan.org

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

Tilak mark on the forehead

Figure 1Indus seal inscription showing modern-day Hindu Tilak symbol.

Picture courtesy -Wikipedia (1).

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

The above-given statement on the website shows that the red colour of the tilak mark could be because of using blood. In modern days blood has been replaced by red colour mineral soil called vermillion in case of men. In the case of women, the turmeric powder mixed with lime powder gives the red colour ‘Kumkum’.

https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Gaze_of_a_priest.JPG/178px-Gaze_of_a_priest.JPG

Man with vaishnavite tilak symbol in his forehead.

Picture courtesy – (2)

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

Figure 2: Picture of Shaiva mendicant with rudra tilak symbol in his forehead.

Picture courtesy – Wikipedia (3)

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

The above-said remark made in Wikipedia article that the ‘Rudra Pundra Tilak’ may be ancient than the ‘Vaishnavite Tilak’ may not be correct. Because the mere existence of Vaishnavite tilak symbol among IVC symbols indicates that the Vaishnavite symbol is more ancient than the Shaivite symbol. It is to be noted that the author of this Wikipedia article has also acknowledged the similarity between the modern-day ‘Urdva Pundra tilak’ and ancient symbol of IVC.

The above said description given in the Wikipedia article shows that ‘ash from fire sacrifice’ was used as a tilak mark. This statement demonstrates that in ancient days blood from sacrificed animals could have been used as a red tilak mark to show the gods and men that a blood sacrifice has been made to honour gods or Pithrus.

Figure 3: Variations of tilak symbols.

Picture courtesy — (4)

The third possibility is that this symbol could be standing for the word “Kavu” itself. The above-given figures are extracted from the book of Asko Parpola, “Deciphering the Indus script”. (4)Out of all the variants, only one variant gives a clue about the sound of the symbol. Note the variant marked as “V”, which is obtained from seal number M-1281. The “U” shape has been formed out of two upraised hands. Already, I have explained the upraised hands; it stands for the word” Ka” meaning thereby” Soul”. Refer to the article,” Upraised hands symbol indicates “Ka” (soul) of the dead person” (5). The ‘ka’ symbol read with vertical line in the middle could have specified the word ‘Kavu’.

Frequency analysis of ‘Tilak symbol’:

Position of the ‘Tilak symbol’ in the Indus seal inscriptions
Solus Initial Medial Final
Pair freq Pair freq Pair freq pair freq
12 22 104 3
9 13 18
12 9
3 8
3 8
2
1

Table 1:Frequency analysis table of Tilak symbol.

Courtesy – data provided by Sundar et al. (6)

The data given in the above table is extracted out of the analysis table provided in the research paper of Sundar et al. Analysis of the data given in the above-given table reveals certain information. The first obvious point is that -this symbol pair is occurring maximum times, that is 104 times. Yet these two symbols pair is not yielding any single meaning. Both symbols have to be read as separate entities. Number three indicates the ‘third day’ after death. whereas the tilak symbol indicates the word ‘karma’. It looks like that the intention of the priest, who made this inscription is not this combination. It is likely that the focal point of the priest was the word ‘Pithru Karma’ not ‘Karma-third day’.

But the fish -karma symbol makes sense. The fish symbol stands for Pithru. Three different kinds of fishes indicate the three generations of Pithrus.

 

—This fish symbol with chevron cap indicates the third generation Pithru, which had reached heaven.

— Fish with two horns projection indicates the second generation of Pithru, which is in Yama Loka under the custody of Yama. This second-generation Pithru has not yet washed off its sins to reach heaven.

– Variation of second-generation Pithru.

– Another variation of second-generation Pithru.

–The fish without any appendages could be the first generation Pithru. It is the Parvan of the recently died person. This Parvan had to undergo various trials and tribulations to reach the god in heaven. Now, all these three variants of fish symbols (Pithrus) should be treated in the same way and simply read as ‘Pithru’, when these two symbols appear in combination, it should be read as ‘Pithru Karma’. Then the frequency of this combination of symbols increases. Total frequency of this combination stands at 75. This frequency is definitely significant for sample size under consideration.

Urduva Pundaram

The fourth possibility is that this symbol’’ ’’ could be indicating the goddess Laxmi. The Urdhva Pundra is the tilak used by followers of Vaishnava sect. According to Vaishnavite belief, the ‘’U’’ symbol represents the feet of Narayana, whereas the red middle line represents Goddess Lakshmi (3). This fourth possibility is a later day interpretation, which had come out during the period of “Bhakti movement”. However, it should be taken into cognisance because the Bhakti cult priests were trying to explain a significant religious symbol, which had been in use for generations of Hindus.

The above-given narration gives four possibilities for the symbol ‘’ ”, however, all these possibilities indicate only one ritual, that is the sacrifice of a bull and applying its blood on the forehead of the sacrificer and other participants in the sacrifice.

Assigning the word ‘’Tilak’’ for the ‘’ ‘’ symbol does not give coherent meaning in conjunction with symbols adjacent to the inscription. But, the word ‘’Pithru-Karma” gives a consistent meaning with contiguous symbols. Hence this symbol ‘’ ’’ could be read as ‘’Karma’; till an appropriate explanation is obtained.

– this ‘Karma’ symbol consists of two components, one is the ‘u’ sign and second is the vertical line in the middle. This ‘u’ symbol indicates the word ’ka’. The word ‘ka’ stands for the soul of a dead person as per Egyptian hieroglyphics. As discussed earlier, vaishnavites explain that the vertical line (Urdva Pundram) indicates goddess Laxmi. What is the word for mother goddess? it is ‘Ma’.

This / — ‘Ka’ symbol along with ‘Ma’ symbol read together perfectly gives the sound ‘Karma’. It should be noted here that at the beginning of early writing systems, all languages used only consonants to express the sound. The vowels were developed and introduced later only. The IVC inscriptions were in a very primitive stage, the letter ‘r’ is missing in this symbol ‘karma’, however, we should assume and read the word as ‘karma’.

Pundarika Yajna

At this stage, it is necessary to introduce another ritual, which may be relevant here. There is one specific yajna named ‘Pundarika Yajna’. There is a possibility that the tilak symbol could have indicated this pundarika yajna. The details available about this yajna is sparse, however, the details available are collected and produced below, to get some idea about this yajna.

The website Hans India describes the ‘pundarika yajna’ as seven-day yajna, in the name of ‘Lakshmi pundarika yajna’. This yajna was conducted for seven days in the city of Vijayawada from January 23rd onwards in the year 2017. The name of yajna itself gives the detail that the god worshipped in this yajna was ‘goddess Lakshmi’.

In his book, Shri. Chattambi Swamigal says that in the ‘pundarika yajna’ the coitus between a widow and Brahmachari is permitted by Vedas. (7) It looks like that the situation was similar to the birth of Dhritarashtra and Pandu in the epic of Mahabharata. In the Hindu epic Mahabharata, Dhritarashtra is the King of Kuru Kingdom with its capital Hastinapur. He was born to Vichitravirya’s first wife Ambika and was fathered by Veda Vyasa. Veda Vyas impregnated Ambika, even though she was a widow. It looks like that such coitus was allowed after conducting the ‘pundarika yajna’.

The website dharmawiki.org informs that a yajna that lasts between 2 to 12 days is called ‘Ahina’ or ‘Sutya’ (8). An example of this kind of sutyaka is poundarika yajna, which lasts for 12 days. Poundarika is another way of pronouncing pundarika yajna. The relevance of discussing ‘pundarika yajna’ is that the ‘tilak symbol’ could have indicated the ‘pundarika yajna’.

The word ‘Pudendum’ and ‘Pundrum’

The word pudendum (Latin) and Pundrum (Sanskrit) sounds similar. The meaning of the Latin word ‘pudendum’ is ‘shame’ however, the same word has been used to indicate ‘the female genitalia’ in English. The urban dictionary, explains that the Latin word ‘shame’ had been misapplied to the female genitalia. However, considering the very close similarity between the Latin word pudendum and Sanskrit word Pundrum, it looks like that the comment of the Urban dictionary may be wrong. It looks like that the original meaning of the word ‘pudendum’ is female genitalia, and later day derived meaning is ‘shame’.

The Wikipedia article on Kumkuma states on the significance of forehead ‘tilak’ mark is that the ‘colour’ of the womb is yellow and is symbolically represented by turmeric. The bloodstains on the womb are represented by kumkuma (1). However, this particular observation is without any citation.

The relevance of the above-given discussion is that the Sanskrit word ‘pundrum’ indicates the ‘goddess Lakshmi’ as well as ‘tilak sign’ in the forehead of Hindus. The conclusion is that the tilak symbol of IVC could have indicated the genitalia of the mother goddess. It is likely that the blood sacrifices could have been done to please the mother goddess. At this juncture, it is pertinent to note that generally Hindu Goddesses are bloodthirsty and Goddess Kali’s ultimate demand is blood, either animal blood or human blood. This tilak symbol could have indicated the ‘Pundarika Yajna’ as well as the ‘Mother Goddess’. However, the word ‘Pithru-karma’ is fitting more appropriately to this pair of symbols. Sometimes this tilak symbol ‘ ’ appearing alone also stands for the twin word ‘Pithru-karma’.

This word ‘Pithru-karma’ is appearing in many Indus seal inscriptions. Some of the seals are reproduced below for analytical study. Details are as given below:

(Read from right to left)

Kavu ( )

Grihapathya – Yajna

Full stop symbol ( )

-Pithru (fish-ancestor)-

-Karma (Tilak symbol)-

Three generations of Pithru

Astaka God (God Karkinos) (Arrow symbol)

(Read from right to left)

Karkida (Month/God)

Pithru-Karma symbol

Three generations of Pithrus

Bangles Protection symbol

Dvi ‘’ ‘’ (Sacrifice for two) (Gods as well as Pithrus)

Kavu (Sacrifice of Bull shown in the seal)

(Read from right to left)

The first symbol – honeycomb ritual

Messenger god – (God with a stick)

Kedaga (shield – Protection)

Dvi -Kavu ‘’ ’’ (Sacrifice for two) (Gods as well as Pithrus)

Astaka (Pipal leaf -symbol)

Karkida (month/god) (sacrifice in the month of Karkida)

Pithru-karma (Tilak-symbol)-

Kedaga – Protection to Pithrus

(read from left to right)

Grihapathya sacrifice

Yajna symbol

Two generations of Pithrus

Pithru-karma

Three generations of Pithrus (or) Third Astaka.

Arrow symbol Astaka

 

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

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

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

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

5. 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_.

6. 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.

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

Kur_symbol_indicates_Netherworld – ver-2 –nov-2019.edited

Kur symbol indicates ‘Netherworld’

Kur – symbol indicates the land of the dead

C:\Users\user\Desktop\ivc-logos-indus - 3\kur-1.jpg

Figure 1: Sumerian ‘Kur symbol’.

This tri-foliate pattern indicates the land of ‘Kur’ as per Wikipedia(commons). (1) It means “land, foreign land, mountain, and the underworld.” It is often used to refer to a distant land or the netherworld. In the story of ‘Inana’s Descent’, ‘Kur’ is the word frequently used to describe the land of the dead.

C:\Users\IT\Desktop\Indus script dictionary -F.BK_page610_image2270.jpg

Figure 2: Kur symbol (second symbol from the left)

Picture courtesy – (2)

The sign also represents a trio of mountains. (3) In such a situation, the triple mountain symbol used in Indus seals could be indicating the nether world C:\Users\user\Desktop\ivc-logos-indus - 3\mountain.jpg .

See the above-given seal inscription. Kur symbol, as well as triple cone symbols, are appearing. That means both symbols have a different meaning. Verification shows that this triple cone symbol is different from ‘Kur symbol’ and indicates the three pindas offered to three generations of Pithrus. There is a second possibility that this triple cone symbol could have indicated the triple mountain also. It looks like that this triple cone symbol originally indicated the triple mountain, which was the land of Pithrus. The same had been forgotten and three cones are treated as pindas and as food for Pithrus. This explanation needs further verification.

This word ‘Kur’ is further supported by the research work of Tom Kencis on Latvian mythology (4). Kencis states that there are various reconstructions of Latvian mythical space, but most researchers agree on the meaning of certain features related to the sky. The sky itself is identified as ‘Debeskalns’ (which means “Sky Mountain”). The sky is also referred to as Mountain of Pebbles, Silver Mountain or Ice Mountain, with the adjectives probably referring to stars or snow. (4) (5).

Figure 3: Anthropomorphic Bull figure with Pebble Mountain.

Picture courtesy – (6 p. 250)

The above-given observation of Kencis is supported by the above-given figure from Proto-Elamite seal. (6). It is not clear, what the pebble-like figures indicate, but correlating with the observation of Kencis, it is assumed that this Pebble Mountain could be indicating ‘Sky Mountain’. Thereby deriving the idea of ‘netherworld’ (Kur).

Note the similarity of the above-given figure with the modern-day depiction of ‘God Ganesha’. God Ganesha always carries ‘Modakam’ a pebble-shaped sweet, which looks very similar to the pebble mountain shown in the above-given figure.

1. commons.wikimedia(Sumerian_signs). Sumerian_signs. commons.wikimedia.org. [Online] 2016. https://commons.wikimedia.org/wiki/Category:Sumerian_signs.

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

3. allmesopotamia.tumblr.com. Sumerian-Kur-it-means. allmesopotamia.tumblr.com. [Online] 2016. http://allmesopotamia.tumblr.com/post/27778688368/rsbenedict-sunday-sumerian-kur-it-means.

4. “The Latvian Mythological space in scholarly Time” (PDF). Kencis, Tom. 2011, Ķencis, Toms (2011). “The Latvian Mythological Archaeologia Baltica (Klaipėda: Klaipėda University Press), p. 144.

5. Wikipedia(Latvian_mythology). Latvian_mythology. wikipedia.org. [Online] 2016. https://en.wikipedia.org/wiki/Latvian_mythology.

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

Fire stick symbol indicates the Arani sticks of Vedic Yajna.

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.

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.

Fish and honeycomb symbol – combined form

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

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

Seal Picture courtesy – (1)

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

Bibliography

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

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

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

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

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

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 symboldiamond-4 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).

http://www.frontline.in/multimedia/dynamic/02358/FL17_Binjor__fire__2358944g.jpg

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)

diamond-4

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.

Ya

ga

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

Necropolis theory on Indus Valley civilization

Abstract

Mohenjo Daro means, “It was the mound of the dead,” and the word itself is self-explanatory. The view that nearly 50,000 people lived at its demise is not an acceptable theory because such a crowded condition would have resulted in diseases. It is likely, Indus people built mortuary houses and temples on these sites, and these clustered mortuary houses give the impression of a city.

The structure identified as a granary is doubtful; the photographs on the website Harappa.com show that it looks more like a brick kiln than a granary. Storing grains on such a large scale is difficult; grains will rot, and insects and rats will attack. Based on these factors, I concluded that the structure was not granary but could be a brick kiln.

The photo of the blocked drain presented on the same website shows that it could be merely an entrance to a tomb. A photograph of the well indicates that it could be a tunnel (Shaft Grave) to the inner burial chamber at a lower level, but it looks like a well. The “toilets” described by archaeologists seem to be “ordinary holes” meant for pouring sacrificial blood into underground burial chambers. The potteries also look like that, as if they have been tailor-made to the needs of funeral practices. Some show a protruding tube for funnelling the sacrificial blood into the ground.

Keywords:

Blocked drain, Blood sacrifice, Brick kiln, Burial chambers, Funeral practices, Granary, Harappa, Indus Valley Civilization, Mohenjo Daro, Necropolis, Tomb, and Toilets

Necropolis theory on Indus civilization

Mohenjo Daro means, “It was the mound of the dead,” and the word itself is self-explanatory. Even in Medieval times, it is likely that these sites could have been used as burial places; an Islamic tomb at Harappa and a Buddhist stupa at Mohenjo Daro substantiate this proposition. The name ‘Lothal’ also means mound of the dead in the Gujarati language. Indian archaeologists claim that there was a ship dockyard at Lothal. Whereas Lawrence argues that it was merely an irrigation tank, there is no supportive evidence for any shipyard. (1)

I visited many excavation sites in Gujarat; all are called ‘Timbo’ (mound). All sites are deserted and are located one or two kilometres away from nearby villages. This kind of isolation is a typical characteristic of a burial place. In a normal situation, no village will be deserted. The deserted nature of these sites shows that they were haunted places and dwelling places of ghosts.

Nevertheless, archaeologists are going to various lengths to prove otherwise. These excavated sites are necropolises and not metropolises as imagined by various archaeologists. For example, the standard view is that nearly 50,000 people lived in Mohenjo Daro at the prime of its existence. The idea of the metropolis is unacceptable because 50,000 dead bodies could be kept in such a congested condition, but not 50,000 living people. Many people living in unsanitary conditions would have resulted in an outbreak of epidemics and many deaths.
The standard view about Mohenjo-Daro is that it was most likely one of the administrative centres of the Indus Valley Civilization in ancient times. It was the most developed and advanced city in South Asia, perhaps in the world, during its peak existence. The planning and engineering showed the town’s importance to the people of the Indus valley. Now the time has come to reconsider this view.
No such big cities existed at that period in any part of the world. Many people living in big congested cities would have resulted in outbreaks of diseases and death in large numbers. In ancient times, villages did not grow beyond the population of a few thousand because of the threat of epidemics. At the maximum, a town could have withstood a population of 10,000, not more than that. However, the archaeologists estimate that nearly 50,000 to 1,00,000 people would have lived in Mohenjo Daro, and Harappa would have sustained an equal number of people. Such a high population density was impossible then; hence, a proper explanation is needed for the dense construction of houses on these sites. It is likely that only dead bodies were kept in those houses, and people were not living in those sites. This new hypothesis explains the high density of homes found in these sites. The new theory is that these sites were necropolises, not metropolises as popularly imagined so far.

The mystery of Bhirana mound, Haryana

Bhirrana or Birhana (In Google Maps, it is named Bhirdana) is a small village in Fatehabad District in the Indian state of Haryana. According to a December 2014 report by the Archaeological Survey of India, Bhirrana is the oldest Indus Valley Civilization site, dating back to 7570-6200 BCE. (2)

The site is situated about 220 km northwest of New Delhi on the New Delhi-Fazilka national highway and about 14 km northeast of the district headquarters on the Bhuna road in the Fatehabad district. The site is one of the many sites seen along the channels of the ancient Saraswati riverine systems, now represented by the seasonal Ghaggar River, which flows in modern Haryana from Nahan to Sirsa. (2). The mound measures 190 metres north-south and 240 metres east-west and rises to a height of 5.50 metres from the surrounding area of the flat alluvial plain.

Figure 1: Line map of Bhirhana. Picture courtesy -Narender Parmer (3)

Figure 2: Same area as per the Google map. Picture courtesy (4)

I downloaded the Google map of the excavation site and reproduced the same here as Figure 2. Compare this Google map with a line map (figure-1) by Narender Parmar. (3) See the area on the northern edge of the village (Marked with a red line), which had remained unoccupied for thousands of years, waiting for the archaeologist to excavate. Strange. Why was this area never occupied? People have not deserted the nearby village. Archaeologists claim that Mohenjo Daro was abandoned and Harappa was deserted for various reasons. However, this village is not deserted, but evidence about the period 7000 BC is still available. Why is it so?

Mystery Mounds of Indus Civilization

The mystery is why the mound area alone is not occupied for thousands of years. The same question applies to all excavation sites of the Indus civilization. Indian archaeologist visit some village, finds a mound, and immediately declares that he has found an ancient Indus Valley city. How is it possible? Evidence for any other civilization appears in small numbers, with few excavation sites. Whereas evidence for Indus Valley Civilization appears in thousands, why is it like that? What made all these sites preserved for so many thousands of years? I am not disputing that these sites are thousands of years old; I accept that as a fact. But, my question is, how and why were these sites never re-occupied and remained unoccupied for thousands of years?

Over two thousand sites of the Harappan culture have been discovered so far, of which only half a dozen are cities and slightly more than a dozen can be identified as towns. The rest of the settlements fall into different categories like small or big villages, processing centres, ports, and temporary camps to exploit local natural resources. This data has enabled the reconstruction of the urban life of the Harappan people, but it represents less than 3% of the Harappan population. We have, however, a minimal idea of their rural lifestyle, where more than 97% of Harappans lived. It looks like “Small village Archaeology” does not seem to be a priority of the Harappan archaeologists. (5)

All Indian archaeologists classify these sites in various categories, but none identify them as burial places or necropolises. In reality, all Indus excavated sites are either burial grounds or necropolises. This misidentification has resulted in absolute confusion about the nature of the Indus Valley Civilization.

I see for the first time the word ‘Necropolis’ used for an archaeological excavation site of Indus valley civilization in one article written by Shinde. The report of the Indian archaeological society contains the article named ‘Harappan Necropolis at Farmana in the Ghaggar basin. Special report no.4 of the Indian archaeological society (2009). In this report, the authors have stated that at least part of the excavated site is a ‘Necropolis’. Unfortunately, the said report is not available anywhere on the net. (7) This report confirms my doubt that all these Indus excavation sites are burial grounds.

Evidence of earliest Cremation in Indus valley civilization

Indian Archaeologists are casually explaining some structures as ‘Pit dwelling’. Any decent living human being will not like to live in a pit, so this interpretation of Indian archaeologists needs to be appropriately tested.

Farmana Khas, or Daksh Khera, is an archaeological site in the Meham block of Rohtak district in the northern Indian state of Haryana, spread over 18.5 hectares. It is located near the village of Farmana Khas, about 15 kilometres from the Rohtak-Hissar highway and 60 kilometres from Delhi. It is significant mainly for its burial site, with 70 burials of the Mature Harappan period (2500–2000 B.C.) and relatively recent addition (excavation started in 2006) to Indus Valley Civilization sites excavated in India. (6)

Figure 3: Location map of Farmana. Picture courtesy (7)

Narender Parmar reports that In Farmana-II, Haryana, the archaeologists have uncovered a ‘pit dwelling’ (7). Closure scrutiny of the photo shows that it is not the case of a ‘pit dwelling’.

Figure 4: Discoloured soil in a circle of 5 feet in diameter. Picture courtesy (7)

See the above-given figure -4; the circle is hardly 5 feet in diameter; nobody could have lived in such a small pit dwelling. Narender reports that a layer of ash, charcoal and bones was found in this pit. There is a possibility that it was a sacrificial pit, where one thigh of an animal (Leg piece of sacrificed Bull) would be burnt as a burnt offering to gods. The remains of the bone could be that of a sacrificed animal. Otherwise, the second possibility is that it could be a funeral pyre, and the bones could be the burnt remains of a dead body. Proper analysis of ash residue and bone remnants will yield a good result.

The picture shows circular discolouration, not clear-cut evidence of ‘Pit-Dwelling’. Only burning of the dead body requires 5 feet diameter fire circle. Since this fire circle has been found on a burial mound, it should be assumed that it is the fire of a funeral pyre. My conclusion is that it is the remnant of a funeral fire. It is the earliest recorded evidence of cremation in the Indus valley civilization.

https://sites.google.com/site/induscivilizationsite/_/rsrc/1391328431098/5-various-theories/revised-version---necropolis-theory/blockeddrainHRarea55.jpg?height=320&width=212

Figure 5: Entrance of a tomb. Picture courtesy Harappa.com

Drainage system 

Much is being said about the drainage system of the two cities. Experts dealing with these sites undoubtedly believed that sustaining such a vast population could be possible because it had such a proper drainage system. A closer look at the photographs presented in the website Harappa.com shows that the drainage is 6 feet high and it is elevated and broad enough to allow a person to walk through the passageway. (See also figure-18) Indian cities do not have more than four feet of drainage pipes, even today in modern times. What was the necessity to build such a passageway? No doubt, they were passageways, not for cleaning the blocked drains, but they were passageways to enter the tombs, inner burial chambers, or burial rooms. These passageways would have been closed after placing mummified bodies inside the burial chambers. The closed passages are visible in the photos presented on Harappa.com. These closed passageways give a false impression that later-day occupants have blocked the drainage and built new houses.
We cannot correlate this passageway to the tomb’s entry passage because the burial chamber’s roof had fallen. The burial chambers would have been constructed like a room. High-quality timbers would probably not have supported the ceilings like in a typical living house. Even if high-quality wood had been used as rafters, those rafters would not have survived the ravages of time over thousands of years. Naturally, the ceilings had fallen over time. Passageways have withstood the onslaught of time because there is no wood usage in those cobbled arch pathways, but burial rooms have not survived. In this scenario, we cannot visualize that it could have been a tomb. Two essential pieces of evidence of these excavation sites are burial chambers and passageways, but these two facts have not been linked together. Interpreting only the passages has resulted in wrong conclusions.

https://sites.google.com/site/induscivilizationsite/_/rsrc/1391329897193/5-various-theories/revised-version---necropolis-theory/roomVSarea53.jpg?height=212&width=320

Figure 6: Dyer’s platform. Picture courtesy Harappa.com.

This enclosed hall shown in the illustration has been named dyer’s workshop. From the depiction, we can assume that huge pots would have been kept on those circular platforms, which created a depression in the middle. Some utensils with round bottoms were held on those platforms. Generally, flat-bottom metal vessels called “vats” are used for dyeing. Earthen pots with narrow mouths will not fit into the role of dying vats. Earthen pots cannot withstand the rigour of dyeing activity. In addition, the dying of clothes would have required a heating system for warming up the dying solution for proper adhesion to clothes, but no such heating facility is seen. If the purpose of these platforms is considered in light of the new theory, then the utility of the above-said platforms will perfectly fall into place. These platforms could have been used for keeping “Burial pots” (Funeral pots with a dead body inside),

https://sites.google.com/site/induscivilizationsite/_/rsrc/1391580547815/5-various-theories/revised-version---necropolis-theory/platform-harappa.jpg

Figure 7: Grinding mill platforms.Picture courtesy (8)

Platforms for grinding mills or burial pots?

Five to six round platforms are clustered in a narrow space near the granary. At present, these platforms are being described as platforms for grinding grains. The usage of the platform is still not explicit. If the above-said view that the rooms were burial chambers, then the use of the platform will also fall into place. The picture of the platform on Images of Asia.com shows three or four platforms in a single room. It looks like those platforms were built to keep the funeral burial pots over them; such a huge pot containing a mummified body would have required a stable platform.

What happened to the grinding millstones? If so many platforms are available, why are the grinding stones missing? The grinding stones are made of granite, and chances are more that the grinding stone should have survived than the brick platform. Bricks are fragile and should have been destroyed much before the grinding stones. Suppose so many platforms were used for grinding grains. In that case, Mohenjo Daro should have been an industrial centre with many grain-milling factories beating all other civilizations of that time. The new interpretation is that these platforms were used to keep funeral burial pots, not grinding mills.
The second possibility is that those round platforms could have been used for Vedic Yajna. 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. Hemwati Nandan Bahuguna University, Srinagar Garhwal, carried out the excavation. (9)

Figure 8: Huge Vedic altar in the shape of a Falcon.Picture courtesy (9)

The site yielded the remains of Painted Grey Ware (PGW) from the earliest level. Other materials include terracotta figurines, beads, potter-stamp, and a domesticated horse’s dental and femur portions (Equas Cabalus Linn). The most important finding from the site is a brick altar identified as Syena chitti by the excavator. The structure is shaped like a flying eagle Garuda, head facing east with outstretched wings and a square chamber in the middle. This chamber contained pottery remains assignable to circa the first century B.C. to the second century A.D. The findings also include a copper coin, bone pieces and a thin gold leaf impressed with a human figure identified as Agni. (9)

The Shulba Sutras are part of the larger corpus of texts called the Shrauta Sutras, considered 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 special 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. “those who wish to destroy existing and future enemies should construct a fire-altar in the form of a rhombus”. (10) (11) (12)

Papers presented at the 12th world Sanskrit conference indicate the ‘Ratha wheel’ type altars were built. (13 p. 44). It was called ‘ratha-chakra-citi’. This kind of ratha chakra citi confirms a possibility of yajna conducted in a ‘wheel type’ Vedic altar. In addition, the picture shows (figure-7) four wheels in an adjacent area, like the four wheels of a ratha.

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

https://sites.google.com/site/induscivilizationsite/_/rsrc/1391331805938/5-various-theories/revised-version---necropolis-theory/Granary%20or%20Brick%20kiln-2.jpg

Figure 9: Granary. Picture courtesy Harappa.com.

Granary or Brick -kiln?

The structure identified as a granary is doubtful, as American history professor Kenoyer; suggests it could be merely a big hall. (14) Scrutiny of the photographs available onHarappa.com shows that it looks more like a brick kiln than a big hall. (15) Another possibility is that it could have been the kiln used for firing the massive number of funeral potteries used in those sites. Note that the bricks extracted from these two places were used as ballast for the considerable length of the railway line during the British period. Note that large numbers of bricks were used to construct these burial tombs. For such a large-scale consumption of bricks, they should have been manufactured on an industrial scale.
Mohenjo Daro and Harappa were important places of those times, and mortuary business was likely carried out on an industrial scale in these places in ancient times. The industry, which survived at these sites, was the funeral industry, and the business was mummification. Further, Kenoyer says that some ventilation pipe-like structure exists, leading to the conclusion that it was a granary. The ventilation arrangement is an essential module in a brick kiln for properly burning bricks. The granary depiction in various simulated models feels like a brick kiln rather than a granary. (14).

The second possibility is that these remnants could be that of a row of burial chambers built uniformly. Kenoyer says all these rooms were built in a single stroke, and this building has been rebuilt twice. That shows the importance attached to this building. Most probably, they were burial vaults of a noble family. It is a common practice in the Middle East and Egypt that burial vaults will be built in advance, even before the death of a person in a royal family. Additional chambers will be built along with that of Pharaoh for the female members and other family members. This structure could be that of serial burial chambers built uniformly.
The claim of the granary is doubtful. Storing grains on such a large scale is difficult. The grains had to be adequately dried, or they would rot within days of storage. Large-scale insect attacks will also occur in granaries. The control of rats will be next to the impossible task in such large-scale storage of grains. Based on all these factors, it can be safely concluded that the structure was not granary. In addition, there is another valid question, “Whether Indus people had any such huge surplus production of grains to store in such big granaries?” It is unlikely that the Indus people would have had enormous surplus production to store in such granaries.
This new theory of “necropolises” may give rise to doubt that there is no evidence for dead bodies being kept in burial pots. Even though burial in urns was standard practice in ancient times, that practice disappeared a long time back. Large numbers of medium-sized pots were excavated from these sites, which can be seen in the museums. Such medium pots will not accommodate an entire dead body. But, those medium-sized burial pots could accommodate the bones exhumed from low burial pits and re-interned, another standard practice for disposing of dead bodies in ancient times.
There is no evidence of preserved bodies at Indus sites because such preserved bodies would have crumbled on exposure to light. The grave robbers played a significant role in robbing these mortuary temples and destroying mummies. While extracting valuables from preserved bodies, the robbers would have exposed the mummies to the elements, which naturally destroyed those mummies within a few days or months. George Wunderlich gives a detailed account of this issue, why no such mummies have been found in the palace structure at Crete. (16) Arthur Evans had wrongly concluded the Minoan funeral complex was a “palace” because of the same reason that no mummies were found at the time of excavations. In this regard, the explanations given by George Wunderlich are informative and enlightening and apply to the situation in Indus excavation sites also. (16)

At this juncture, it is relevant to note that Vedas frequently mention that Indra burnt the ‘puras’ of dark-skinned people. Most probably, ‘Pura’ could have meant ‘necropolises’ of the Indus people. The Aryan god Indra could have burnt those necropolises because the fire was easy to destroy places like necropolises.

https://sites.google.com/site/induscivilizationsite/_/rsrc/1391332476426/5-various-theories/revised-version---necropolis-theory/wellinhouseDKG80.jpg?height=320&width=213

Figure 10: Well or shaft of a grave?

Well, or shaft of a grave?

The photograph of the well shows that the parapet wall starts from ground level and goes up to a two-storey level of the nearby building. See the figure-10 and compare the level of the well and adjacent wall (15). The well is not going down into the earth. And instead of that, it is growing up towards the sky. It was probably a shaft (passageway) to the inner burial chamber at a lower level, but it looks like a well.
https://sites.google.com/site/induscivilizationsite/_/rsrc/1391334251325/5-various-theories/revised-version---necropolis-theory/heartwell81.jpg?height=212&width=320

Figure 11: Heart-shaped well?

Some wells are oval-shaped; some are heart-shaped (Photos of (15)). I am yet to see an oval-shaped parapet wall of well construction in any existing wells in India. See, the heart-shaped parapet wall has been built over a brick platform. The wall is hardly one foot in height, and there is no well below. Then, what is the purpose of this construction? It is merely a grave. A mourning man probably could have built this grave for his young dead wife, showing his love and affection by the heart shape.

https://sites.google.com/site/induscivilizationsite/_/rsrc/1391334742001/5-various-theories/revised-version---necropolis-theory/latrineHRarea47.jpg?height=320&width=213

Figure 12: Toilet?

Toilet or simply a hole in the grave? 

The photo of the blocked drain presented on Harappa.com shows that it was merely an entrance to the tomb. It was unnecessary to build such massive sewers of man’s height during those ancient times. Even today, Indian metro cities only have two to four feet in diameter drainage pipes. In such a situation, building six feet high drainage channel is ill-logical and without any requirement for such a facility. Most probably, Harappans would have used open toilets in the backyards of their houses, as is the practice in rural India even today, not sophisticated toilets as imagined by some archaeologists.

Most of the open toilets of India used to be short walls (of one-foot height, one-foot breadth and three feet long) on which a person would squat, not a platform with a hole. Platform with a hole means the body parts will be touching the surface of the seat, which could be in a highly soiled and contaminated condition. Such a scenario is unthinkable, even in ancient times. Even if some toilet-like structure had been found, such facilities would most likely have been used to clean dead bodies and flush out internal remains during the mummification process. George Wunderlich explained “Cretan Palace toilets” in this way, which is applicable here in Indus sites.
https://sites.google.com/site/induscivilizationsite/_/rsrc/1391580605317/5-various-theories/revised-version---necropolis-theory/three-goblets.jpg

Figure 13: Protruding pots.

Blood sacrifice pots 

The potteries are also tailor-made for funeral purposes. Some show a protruding tube for funnelling the sacrificial blood into the ground. These protruding pots would have been filled with blood and then placed on the ground. The protrusion would have helped to keep the container straight on the funeral mound. Breaking the protruded portion would have allowed the blood to flow. The priest would have allowed the blood to drain away slowly. It would have given the impression that the souls of ancestors were drinking blood.

See the small hole in the middle pot shown in the above-given photo. That little hole would have allowed the seepage of blood into the ground. The “toilets” described by archaeologists seem to be “ordinary holes” meant for pouring blood into underground chambers to nourish the dead body in the underground burial chambers. (Or) Such protruded pots would have been kept in these “toilet holes” to allow the blood to seep away slowly.

Mortuary temples and Oracles
This blood-offering practice can best be understood by verifying the passage in the Greek classic book Odyssey. (17) In chapter XI, Homer narrates how Odysseus entered the underworld and consulted the soul of his dead mother. In addition, he sees the souls of other dead friends and learns about the happenings at Ithaca. Odysseus wanted to know about the future to decide the course of action. Ancient Indus culture could have contained similar ideas. The Harappan mortuary temples would have been like the underworld mentioned in Odyssey. Some oracles would likely have lived in those mortuary temples and acted as a medium to consult the dead people. Ancient Harappan worshipers would probably have visited these places to consult their ancestors through oracles.

https://sites.google.com/site/induscivilizationsite/_/rsrc/1391580689999/5-various-theories/revised-version---necropolis-theory/mound%20of%20pottery-remnants.jpg?height=214&width=320

Figure 14: Mound of broken pots. Picture courtesy (8)

Burial place and cremation ground

One of the photographs on the website Images of Asia shows an enormous amount of broken pottery. The broken pieces have been heaped into small mounds, and such a scenario is impossible in an ordinary site. A traditional explanation would be that it would have been a potter’s yard. If a potter produced and broke all his pots or produced such poor quality pots that a large number of pots broke at the manufacturing stage itself, then such a potter would not have survived for long. The probable explanation is that these sites at Mohenjo Daro and Harappa were necropolises, and ancient Hindus could have carried out their funeral ceremonies here for centuries. During such funeral services, many pots will be deliberately broken. That explains the large number of broken potteries seen in the photograph.
Many theories about the decline of IVC are also doubtful because it never declined in the real sense. Many of the cultural ideas depicted in Indus seals are still practised today. It looks as if Indus culture had declined because of the deserted nature of excavation sites. The sites would have looked deserted during excavation by British archaeologists because they were burial grounds and not residential places. A burial place will naturally give an abandoned look because of the fear of ghosts, and no one will occupy such a place.

In contrast, a residential place is valuable real estate and will never be deserted; it will be rebuilt generation after generation. Even if new invaders had captured these residential places, they would have occupied them after expelling the inhabitants of those sites. Those Indus sites were not rebuilt because they were haunted places, and no one wanted to live in such areas. The culture of building elaborate tomb houses vanished with the arrival of Indo-Europeans, who were tomb raiders, not tomb makers.

Bones and skeletons Ignored by Archaeologists

During excavations, some bones and skeletons were found. In addition to that, some fields have been marked as graveyards. A large number of bones collected have been dumped together in kept in storage boxes in the Archaeological Survey of India office at Calcutta. Proper stratigraphic recordings of the place of find and strata of the finding of bones were not done because the archaeologists never visualized that these sites could have been burial yards. A relevant question will be raised: why were no human bones found in the excavated area if these places were cemeteries?
Many skeletons and bones were not found in these sites to fit this new graveyard theory. Mummies or dead bodies were not found because later day invaders and grave robbers had destroyed these tombs and their mummies. When dead bodies and bones were exposed to light and heat, bones would have pulverized within a few days. Similar is the explanation offered by Wunderlich in his book for this same question.

During my visit to Dholavira, one of the vital points said by the guide was the presence of a large number of bone fragments in the soil. He merely scooped out the dirt and showed the presence of bone fragments. The presence of bones indicates that many human burials would have taken place at these sites. There is also the possibility of the large-scale sacrifice of animals to satisfy the ‘Pithrus’ (dead ancestors).

There is sufficient evidence of skeletons in these sites to support the necropolis theory. In Possehl’s book, the map on page 160 (Figure 9.1) shows that skeletons are strewn all over the place, not restricted to any small location as normally expected. (18) The random spread of skeletons all around indicates that the entire area was used as a burial ground and not merely a tiny enclosure within site.

Research work of Gwen Robbins
Gwen Robbins has done an excellent study on skeletons found at IVC sites and presented the paper without distortion. The research paper is a forensic examination of bones and skeletons found during Indus Valley excavations. The author presents the significant reasons for death among the skeletons found in IVC. A careful study of the research paper shows that death due to various diseases was also a significant cause of death other than violence.

If the Aryans had suddenly invaded those cities and killed those inhabitants, then the skeletons would have only been that of healthy individuals. Whereas the skeletons also include a high level of diseased people. Infectious diseases like leprosy and tuberculosis were the primary cause of death other than death due to trauma (due to violence). This shows that these IVC sites were burial yards, and all diseased people had been buried there. The only deficiency in this research paper is that the author is unaware that those IVC sites were burial yards. She has merely correlated her findings with already existing theories on IVC decline. (19)

Research work of Brad Chase

Brad Chase has worked on the excavation site at Gola Dhoro in Gujarat state, India and presented his paper on animal bones found at that site. The work reveals the presence of a large number of animal bones inside the citadel and outside the citadel. He concludes that the standard dietary patterns of the people of Gola Dhoro included beef, mutton and tortoises. The bones found at this site indicated the killing of many cattle. He concludes that the food preferences of people inside and outside the citadel differed. Further, he observes that earlier occupants’ food preferences changed from later ones.

All these interpretations are shallow. Finding a large number of animal bones shows that animal sacrifices were carried out inside the citadel as well as the outside castle. The tombs of notable people were likely located inside the fortification, and the graves of ordinary people were outside the fortress. The data shows no significant difference in finding bones of cattle and goats between outside areas of the citadel and inside of the citadel. Again the problem with this research paper is that even though the data is collected and presented meticulously. The conclusions are far from satisfactory. The deficiency is that the author is unaware of the nature of killing these animals. His conclusion would have been much more conclusive if he had been aware those animals were sacrificed in a cemetery. If the data provided by Brad chase is analyzed from this perspective of the graveyard and animal sacrifice, there would be much more fruitful conclusions on this subject. (20)
https://sites.google.com/site/induscivilizationsite/_/rsrc/1366965021801/5-various-theories/necropolis-theory---supporting-evidence/great_bath.jpg

Figure 15: Great Bath.

A new interpretation of “Great Bath”.

Close observation of the great bath shows that this structure is entirely made of bricks, and no stone is used. No stones are used in the footsteps also. This soft construction material indicates that this structure was not used daily. Please pay attention to any water tank in India; all of them have stone side walls and stone footsteps because when you use these steps daily, there will be a lot of wear and tear, and such kinds of brick steps will not suffice. Further, if the water tank is constructed with brick side walls, the bricks will allow the water to seep away, and the brick will turn into dust in a few years. These observations show that this Great Bath structure was not used for regular bathing and could have been used as a courtyard for other ceremonies.

This Great Bath could have been used for a ritual bath is doubtful because filling water in such a big water tank could have been a difficult task. The second point against the idea of filling the tank with water is that it will be almost impossible to fill it with manual labour. Whatever water you pour into this tank will disappear in a few hours. Only a modern, high-duty, high-volume centrifugal pump could fill such a tank.
This idea of the cemetery is supported by the finding of Hans George Wunderlich, described in his book, “Secret of Crete“. (16) While contemplating the mortuary palaces at Knossos at Crete, he concluded that the steps used in those mortuary palaces were made of “White Soft Calcite stones”(Alabaster) (Soft -Soap stones) which would not withstand the rigour of daily usage. Marble stones used in the Taj Mahal are harder stones that could resist the severity of regular usage. George Wunderlist was a geology professor. His knowledge about the quality of rocks was fundamental to his new theory that those Cretan palaces were “Mortuary Palaces” and not “regular palaces” meant for living. This concept is very much applicable to “Indus- Great Bath”.
Based on the conclusions of Wunderlich, his assumptions can be safely applied to this “great bath” of the Indus Valley civilization. It appears that this structure was a kind of inner courtyard of a building. Because later day construction over and above the level of this inner courtyard looks like a “water pool”. Remember that these sites have seven strata (layers) of construction. Probably the inner courtyard could have been used for the sacrifice of animals.

Later, that particular funeral hall would have fallen out of use after many generations. Then, an entirely new family set could have occupied and re-used that specific patch of the cemetery as their burial yard. In that process, they could have filled up the old structure and built a new layer of funeral and anti-chambers for animal sacrifice. The conclusion is that “The Great Bath” was simply an inner courtyard used for animal sacrifice ceremonies and not as a “bathing tank”.

The inner courtyard shows the stone pillars (stakes) in which sacrificial animals were tied. Picture courtesy (21)

Notably, the Dholavira has a similar courtyard with sacrificial stakes, which had been appropriately explained as a sacrificial yard. But the same sacrificial enclosure becomes a swimming pool in Mohejo Daro. What a pathetic explanation! And inadequate reconciliation of facts.

Mortuary temple and Mummification source of money
Mummification would likely have been carried out in these Indus sites. Mummification would have brought in a lot of revenue for those professional physicians and funeral priests. Further, as long as mummies existed, those mummies would have required regular poojas and animal sacrifices supposedly to sustain the souls of those dead persons. All these activities would have sustained the mortuary temples of these places. Even though there is no evidence of mummification in Hindu culture today, the remnants of that practice can be seen in present-day rituals for the dead.

After the body’s cremation, the final ceremony is held only on the 40th day; until then, the mourning period continues. How is this period of 40 days of mourning arrived at? It is merely because the mummification process required 40 days to preserve a body properly. Verifying the data available with Egyptian mummification techniques would show that it took 40 days to preserve the body. Further, it should be noted that IVC people had burial practices, but later, steppe people had cremation as a standard practice. Because of that, the burial customs have vanished in the long run.

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

Figure 16: Slanting walls of the citadel, Dholavira.Picture courtesy (22)

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

Figure 17: Slanting walls of Mastaba. Picture courtesy Wikipedia

Dholavira: Citadel or Mastaba

R.S. Bisht, the archaeologist who excavated this Dholavira site, states the presence of a citadel in the centre of the excavation site. The walls shown in the above picture are considered as remnants of a citadel. But, if you see the image of a citadel wall, it can be seen as a slanting wall, not a perpendicular one. How will the fortification wall be slanting in nature? The walls of a fort are always vertical and perpendicular to the ground. If you have a sloping wall in the fort, the enemy will climb the walls very quickly, and the entire purpose of the fort will be defeated. But, the reality is that the walls of Dholavira are slanting, and it cannot be a citadel. Consider the walls of Mastaba shown in the picture on the right side; the walls are sloping at a 30-degree angle and exactly match the photo of the Dholavira citadel wall shown in the figure. The only explanation for the structure in Dholavira is that it is a Mastaba. (23) (Note-3)

Other supporting evidence for Mastaba Theory:


●Entrances to this citadel are not aligned in a straight line and are in different alignments, more like a labyrinth than a citadel.

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

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

●There is no citadel-like structure –courtroom, living room, the dining room of royalty or nobles.

Figure 18: Tunnel of Dholavira. Picture courtesy –ASI website –link-4 (24)

Tunnel and water tanks of Dholavira:

Now, let us analyze the tunnel of Dholavira more professionally. A full-grown man can easily walk through this tunnel. What is the standard explanation for this tunnel? A tunnel for rainwater collecting, water passes through the tunnel to enter the massive water tanks located within the excavated site. Fortunately, the site’s excavator has given a new purpose to this tunnel instead of the old explanation that the tunnels were meant for a sewage drainage system. In that way, it is a positive development, and this explanation indirectly supports my theory that the description of the “Drainage system of IVC sites is wrong”. (23)

Six or seven large water tanks surround the core citadel area. The simple logic is enough to refute this theory; water will run by gravitational force to reach the big water tanks at a lower elevation than the citadel. There is no need for extensive tunnels to harvest rainwater. My explanation is that it is a “passage tunnel” to a “burial chamber“. (23)

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

Figure 19: Water tank of Dholavira.

The above-given photo shows a chamber, which the guide could not explain. The standard explanation is that it could be another water tank. It could not be a water tank because there is no water chute leading to this chamber, and other surrounding water tanks are lower than this chamber. Further, the walls of this chamber are porous and not watertight. In addition to this chamber, there exists another chamber side by side of the same proportion. A division of two feet of thickness separates both chambers. If the chamber had been built for water collection, there would be no logic in building a separating wall into two water tanks. (23)
A possible explanation is that it could be a burial chamber. Dholavira is an exciting place from the archaeologist’s point of view because the site has been only partially explored. Further excavations could lead to burial chambers and possible new artefacts. (23)

Other supporting evidence for the “Necropolis theory” in the Dholavira excavation site
A)There are many burial pits and chambers on the southern side of the supposed to be the citadel.

Figure 20: ‘A burial’ as per narration of ASI (Picture courtesy- ASI –website-link-1 (25)

Figure 21: A burial with limestone lining all around, along with burial pots. ASI website –link-2 (26)

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

Figure 22(ASI website, link-3)Picture courtesy (27)

C) The tunnels, as shown above (Figure-18), could be passageways leading to “Dungeons” if there had been any ruling elite in this place in ancient times. But, the site’s excavators are afraid of proposing such an explanation. Hence, the assumption of an “entrance tunnel” to a burial chamber is a reasonable explanation. (ASI, Link-4)

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

Figure 23: Well, within the citadel, Dholavira. Photo courtesy (28)

Even if the burial chamber had been plundered in ancient times, there would be evidence of a burial chamber at the bottom of this well. It was standard practice in Egypt to have a big shaft tunnel, and burial chambers would be cut into the rock layers at the bottom of the pit. Cutting the burial chambers into the rocky layer is the ultimate protection for the everlasting survival of burial chambers. The same thing was done in Dholavira also. However, people are identifying such tunnels as wells.

Arguments against “Well Theory”:

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

●The only supporting evidence for “well theory” is the existence of a platform and a pulley, and other structures to pull out water from the well. (Figure -23: photo of ASI)
● This “well theory” could be easily refuted. Any underground burial chambers could have required a pulley and lift mechanism for downloading construction materials and mummified bodies.

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

E) There is a grave chamber located very near the well. The cist grave is the small square pit in the middle of the chamber. Most probably, the “capstone” of the “cist” has been removed. Because of that, it gives an appearance of a pit inside the larger crater. (Figure -24)

Figure 24: A pushkarini in the castle as per ASI. (Photo courtesy (29)

However, ASI calls it Pushkarini (Stepped Tank) (figure 24). Compare the figures given in 20&24; both are similar structures. However, archaeologists call the structure in figure 20 a burial chamber and the structure in figure -24 as pushkarini. What a contradiction!

Arguments against the “Stepped Tank” Theory:


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

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

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

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

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

F) Existence of a peephole on the false door in Dholavira: There will be a provision for a false door in Egyptian pyramids and Mastabas. The Ancient Egyptians believed that the false door was a threshold between the living and the dead worlds. Through the false door, a deity or the deceased’s spirit could enter and exit. (Figure-25)

Figure 25: False door in a pyramid.Picture courtesy Wikipedia (30)

The false door was usually the focus of a tomb’s offering chapel, where family members could place offerings for the deceased on a unique offering slab in front of the door. (30).

Figure 26: View of Pharaoh’s statue through the peephole. Picture courtesy (31)

The serdab chamber has a small slit or hole to allow the deceased’s soul to move freely. These holes also let in the smells of the offerings presented to the statue. (31)

Figure 27: The photo shows the peephole to the inner chamber. Dholavira. Picture courtesy – Sameer Panchal, Mumbai.

A similar slit-like structure exists in one of the chamber walls of Dholavira. The above-given picture shows the peeping hole, and the guide could not explain the role of a small window-like opening on the wall. We cannot visualize the inner room because the roof of the place had caved in and filled with mud. It just gives the appearance of a small window-like structure.

Figure 28: Eye of the underworld. Picture courtesy (32)

The slit-like structure available in the net is reproduced here above (Figure-28) for information’s sake. This picture shows the eye of the underworld found in Sumer (32). This narrow slit opening is for the ‘Ba’ (soul of the dead person) to move in and out of the burial chamber. That is what ancient Egyptians believed, and the ancient Indians also thought the same way.

Decipherment of Indus seals
The current explanation is that the seals were used as some token of the identity of ownership of goods exchanged in trade, and this explanation does not seem to be correct. Analysis of Indus inscriptions on seals reveals that these inscriptions describe the Pithru karma ceremony and specific gods to whom the sacrifice was made. Sometimes sacrifice was made to please the gatekeeper god. (33) Majority of the time, the slaughter was done to please the god ‘Rudra’. This issue is being separately discussed in another article under ‘Rudra was the most important god of IVC ‘. (34)

Decipherment of Indus inscriptions shows that animals were sacrificed in Indus Valley Civilization. This finding indicates a correlation between “Necropolis theory” and “Indus seals “. Thus, the “Inscriptions on Indus seals” substantially supports the “Necropolis theory”.
The decline of the Indus civilization
So many theories have been propounded to explain the decline of Indus culture, but none is satisfactory because it never declined in the real sense. Imagine that Indus people were using those places as necropolises, and later came the invaders with scant respect for those buried there. Those invaders could have destroyed those places because their main intention was to dig out valuable items like gold jewellery, utensils, or weapons buried with the deceased.

Later entirely new culture came; they were the people who burnt the body to outsmart the grave robbers. In the latter-day, Eurasian steppe people followed cremation practices. This cremation became a more prominent practice in India, and the old burial tradition declined, resulting in the burning of all funeral materials. It is not only that to avoid grave robbery but also to prevent magicians’ use of body parts. Black magic” requires the body parts of deceased persons. The magician will make a “magic potion” out of body parts, and the Magician will control the dead person’s soul. That is a recurring theme in all the paranormal stories of India. Practically also black magic is still being practised in India even today. The later entrants to Indus Valley would have preferred to burn the dead body to avoid such a fate to the soul, ending in the hands of magicians.

These above-said problems could have resulted in the shift in funeral practice in Indus Culture. The burning of bodies resulted in the absence of grave goods; this resulted in a scene where it gives an impression that cultureless people occupied these places. Cultured people were very much there, and Indus culture never declined in a proper sense, which explains the re-emergence of all cultural ideas of Indus people in the later period.
A similar situation existed in the Greek culture after the fall of Minoan palace culture. Ancient Greek history also contains a dark period in which no evidence of culture is seen. Later, it re-emerges after 500 years. Wunderlich correctly observes that it is wrong to conclude that no cultured people existed during that period. The only mistake of those people was that they were practising the burning of corpses instead of burial. The situation narrated by Wunderlich on Greek culture is very similar to the scenario presented in the Indus valley. (16)
At this stage, it is crucial to introduce the research work of David Reich, a Harvard professor. His genetic study has shown that the underlying substratum of the Indus population was of African origin mixed with Iranian farmers from Zagros mountain who reached India by 4000 BC. (35 p. 138) Later, Aryans arrived from southern Ukraine around 2000 B.C. (35) (36) This study is significant, and all books on the ancient history of the world and India had to be rewritten.

The above-given research work by David Reich conclusively proves the Aryan invasion theory and confirms the violent nature of Aryan tribes. It looks like the invading Aryans brought the practice of burning dead bodies and could have destroyed the burial chambers of the earlier civilization. Frequent mention of Indra burning ‘Puras’ also confirms the idea of destruction by invading Aryans.

Justification for cremation

The incoming of new people into the Indus valley changed the ancient ways of disposal of dead bodies. The newcomers did not respect old ways of living, especially Central Asian people, who used to cremate their dead. They followed cremation practices because they were nomads and could not protect their burial sites. Their enemies used to open graves and desecrate the bodies. So, the best way of disposal was to burn.

In contrast, IVC people were settled agriculturists; they were not moving anywhere and could protect their burial mounds for a long time. Once the nomads from the steppe entered India, they never had any respect for old burial sites. Ancient people used to bury the dead with their gold ornaments and other personal utensils. The latter-day nomads used to burn and destroy burial sites for gold.

These burial sites were considered entry points into the underworld of dead people. (17) Most probably, these entry points to underworlds were called ‘Purs‘ by the Indus valley people. ‘Pur’ means ‘hole’ in ancient Dravidian language, which means entry tunnel into the underworld. Hence these ‘Puras‘ (As mentioned in Vedas) became the target of all invaders and local grave robbers. Rig Veda frequently says that Indra destroyed the ‘Puras’. In Mesopotamia, such underworlds were called ‘Kur’; this word probably led to the formation of the name ‘Kurgan’ in central steppes. “Kurgan’ means the burial mound in the steppe language.

These Necropolises became unpopular because of the above-said reasons. Practically, the nomadic way of burning was cheap and practical. Further, the expenses on funeral ceremonies were reduced. Yearly rituals reduced. The latter-day Greek invaders also followed the cremation practice of burning the dead. Practically, the practice of burial of dead people disappeared from India.

Only graveyards and no towns or villages?

I doubt the existence of cities in IVC. But definitely, towns and villages would have existed. Many present-day towns and cities of India are developed over the old Harappan settlements. My observation is that the residential area of the villages would have been built many times over the millenniums. But, the nearby graveyards have been untouched for thousands of years. The villagers use the cemeteries but do not disturb them because they fear ghosts. We can retrieve part of our ancient history thanks to ghosts and spirits.

Indus towns would have been much more beautiful, elaborate and well planned

I am not saying there were no villages and towns in the Indus Valley civilization. My explanation of ‘Necropolis’ is restricted to the excavated sites at Mohenjo Daro and Harappa and other similar excavated sites. The ancient towns near Mohenjo Daro and Harappa necropolises would not have disappeared. They must still exist as bigger towns, as explained in the case of the village of Farmana. (37) You should think logically in a positive way. If the IVC people had given so much importance to the graveyard (burial place), what would have been the quality of their residential areas? The residential areas would have been much more elaborate and well-planned.

Mortuary temples-oracles -traders selling fancy items

The earliest archaeologists reported that the Brahmanabad (the old name of Mohenjo Daro) was an enormous ruin extending for many miles. Similar was the situation for Harappa also. These places would have been places of mortuary temples, professional embalmers and Oracle priests. Those embalmers and their assistants would have lived in nearby villages. Dead bodies would be brought from distant places for professional mummification and burial in the special chambers in Mohenjo Daro and Harappa for preservation. The religious idea of the Indus valley people was like the modern-day idea of ‘cryogenic preservation and possible resurrection on a later day.

Later, the relatives will visit the burial chambers to consult their dead relatives. The oracle priests would consult the dead ancestors and suggest a future course of action for the living people. That kind of religion, ancestor worship and consulting the dead, existed in ancient times. Such sort of faith was widespread all over the Mediterranean Sea littoral states. Please read the chapter in the book of Ulysses where he enters the underworld to consult his dead mother to get an excellent idea about this religious idea. (17)

A similar situation would have existed at Mohenjo Daro. People might not have lived in large numbers in such mummifying areas because such areas will be highly infectious. However, such places would have generated enough revenue to sustain Oracle priests, embalmers and traders selling trinkets, jewellery, bangles and other items. That is why archaeologists find hoards of gemstones, lapis lazuli and shells in the process of making them into bangles. Archaeologists immediately concluded that those sites were involved in the export of Lapis lazuli to other countries. The first possibility is that those semi-precious stones would be for local consumption. Traders selling Agarbathi (Incense Sticks), frankincense, and flowers would have had shops around these mortuary temples. In modern Hindu temples, shops selling pooja and fancy items still exist. This religious and cultural practice explains the presence of various factories around these excavation sites.

Note-1: Shaft graves, late Bronze Age (c. 1600–1450 BC)

Shaft graves were burial sites from the era in which the Greek mainland came under the cultural influence of Crete. The graves were those of royal or leading Greek families and remained unplundered and undisturbed until found by modern archaeologists at Mycenae. The graves, consisting of deep, rectangular shafts above stone-walled burial chambers, lie in two circles, one excavated in 1876 and the other not found until 1951. They were richly ornamented with gold and silver; carvings of chariots provided the earliest indication of chariots on the Greek mainland. (38)

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

Figure 29: Model of shaft grave.

Note-2: Shaft grave:

Definition: At Mycenae, wealthy warrior chieftains and their families were buried in shaft graves, such as in “Grave Circles A and B” (walled enclosures) from the Middle or Late Helladic period. A shaft grave is a large cistern-like structure entered through a roof’s opening. After the burial, the shaft is filled in with dirt. On the top, some had sepulchral stones. J.B. Bury says women wearing gold diadems with household items beside them were also buried in these graves. (39)

Note-3: This note is the extract of the article on Mastaba at Wikipedia
The word Mastaba comes from the Arabic word for a bench of mud, likely because it resembles a bench seen from a distance. It is also speculated that the Egyptians may have borrowed ideas from Mesopotamia because, at that time, both cultures were building similar structures. (40)
The above-ground structure was rectangular, and it had sloping sides, a flat roof, was about four times as long as it was wide, and rose to at least 30 feet in height. The Mastaba was built with a north-south orientation which was essential for Egyptians so that they may be able to access the afterlife. This above-ground structure had space for a small offering chapel equipped with a false door to which priests and family members brought food and other offerings for the soul (Ba) of the deceased. Because Egyptians believed that the soul had to be maintained to continue to exist in the afterlife, these openings “were not meant for viewing the statue but rather for allowing the fragrance of burning incense, and possibly the spells spoken in rituals, to reach the statue.” (40)

Inside the Mastaba, a deep chamber was dug into the ground and lined with stone or bricks. The burial chambers were cut deeper until they passed the bedrock and were lined with wood. The exterior building materials were bricks made of sun-dried mud, readily available from the Nile River. Even as more durable stone materials came into use, the cheaper and readily available mud bricks were used for all but the most important monumental structures.

A second hidden chamber called a “serdab”, from the Persian word for “cellar”. This chamber was used to store anything that may have been considered essential, such as beer, cereal, grain, clothes, and other precious items needed in the afterlife. The Mastaba housed a statue of the deceased hidden within the masonry for its protection. High up the walls of the serdab were small openings because, according to the ancient Egyptians, the Ba could leave the body, but it had to return to its body, or it would die. (40)

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3. Parmar, Narendar. Origin , developement and decline of first Urbanization in Upper Saraswati basin. academia.edu. [Online] 2015. https://www.academia.edu/s/e1b0330223#comment_57545.

4. google.co.in/maps. google.co.in/maps. https://www.google.co.in/maps. [Online] 2015. https://www.google.co.in/maps/@9.5946258,76.5205927,13z?hl=en.

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11. Sen, S.N. and Bag, A.K. The Śulba Sūtras of Baudhāyana, Āpastamba, Kātyāyana and Mānava with Text, English Translation and Commentary. . New Delhi : Indian national science academy, 1983.

12. Plofker, Kim. “Mathematics in India”. In Katz, Victor J (ed.). The Mathematics of Egypt, Mesopotamia, China, India, and Islam: A Sourcebook. . s.l. : Plofker, Kim (2007). “Mathematics in India”. In Katz, Victor J (ed.). The Mathematics of Princeton University Press. , 2007. ISBN 978-0-691-11485-9.

13. Wujastyk, Dominik. Mathematics and Medicine in Sanskrit. New Delhi : Motilal Banarasidas., 2008. Papers of the 12th world Sanskrit conference. Volume -7.

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16. Wunderlich, H.G. The secret of crete. . Glascow : Macmillon Publishing Co.Ltd, 1974.

17. Homer. odyssey. classics.mit.edu. [Online] 2014. http://classics.mit.edu/Homer/odyssey.11.xi.html.

18. Possehl.L. The Indus Civilization. A contemporary perspective. New Delhi: Vistaar Publications. New Delhi : Vistaar Publications, 2003.

19. Robbins, Gwen. Bioarchaeology of Harappa. anthro.appstate.edu. [Online] 2014. http://anthro.appstate.edu/node/289.

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21. youtube.com. Dholavira. www.youtube.com/. [Online] https://www.youtube.com/watch?v=OypRduqmLZE.

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Branch

‘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 [ karkida-3.JPG]. 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)

C11

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)

C11The 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.