Egbert Richter-Ushana

THE FIFTH VEDA

The Indus seal
in comparison to the Ṛg Veda
A contribution to the decipherment of the Indus script

Page 4
For the cover picture see p. 16.
1st edition 1992
2nd revised edition 2011
3rd revised edition 2013
4th revised edition 2015
© 2011 by Verlag Traugott Bautz GmbH
99734 Nordhausen 2010
ISBN 978-3-88309-969-1
All rights reserved

Page 5
CONTENT
Hints for the reader
6
Foreword to the 2nd edition
7
Foreword to the 3rd and 4th edition
11
introduction
15
I. Seal in representative selection
39
II. Terracotta plates
59
III. copper sheets
71
IV. Seals and tablets with the signs, and
77
V. Sealants
79
VI. The unicorn stand
85
VII. Long inscriptions
89
VIII. Cosmogonic hymns
99
IX. Purūravas and Urvaśī (ṚV X.95)
103
X. The motifs on Harappa urns and the Kulli pottery
111
XI. numeral
117
XII. Seal 2317 and the Parable of the Elephant and the Blind 119
XIII. The ambiguity of motives and signs
129
XIV. A cylin- der seal from Seistan
135
XV. The Vrātya and the Bāul
139
XVI. Vāc - The goddess of language
147
XVII. Seal with the sign
152
XVIII. The cubes in the Indus script 153
XIX. Seal in Mohenjo Dharo HR A Area House I
156
XX. The origin of the Brāhmī scripture
159
XXI. Character list with further examples
167
seal directory
197
Passages of the Ṛg-Veda
204
references
209
Source reference of the pictures
212
Summary
213
The author and the book
214
Appendix 1 The soma and the soma plant
215
Appendix 2 The goddess Tārā
223
Appendix 3 The characters and
229

Page 6
NOTES FOR THE READER
The numbers of the seals and tablets and the graphic form of the font
signs were taken from A concordance to the te ts of the Indus
A concordance to the teats of the Indus
scriptions, ed. by S. Koskenniemi and A. Parpola, Helsinki 1973, 1982
(Finnish Concordance), in cases of doubt was that of I. Mahadevan
issued Indian concordance for comparison
Initial numbers 0,1,2 apply to the place of discovery Mohenjo Dharo, 3, 4 for
Harappa, 5 for Chanhu Dharo, 6 for Lothal, 7 for Kalibangan, 8 for small
nere places, 9 for the Middle East. Starred numbers became
added by me. Missing or damaged characters were mine
supplemented by the Vedic reading. The inscriptions of the seal
Presses are always read from right to left.
The illustrations are based on the scan playback of the source files
documentary evidence. In some cases, the originals are like that
destroys that one reading only with the help of the associated Vedic verse
possible, as far as an inscription is available. Also helpful are the ones from
U. Franke-Vogt in her dissertation (Mainz 1991).
motions in which the Ṛg-Veda is not taken into consideration.
Translations from the Ṛg Veda are by the author. They WUR-
the commented standard translation by KF Geldner.
equalized. On the cosmosophy of the Veda, see E. Richter-Ushana, Die Drei
form of being and the androgynous cosmic man, Nordhausen
3 2011 (first edition Bremen 1983). This is also the translation of
123 Veda anthems and a chapter on the cosmogonic hymns
and the Indus script, which has been revised here.

Page 7
PREFACE TO THE 2nd EDITION
When, almost 20 years ago, the first edition of this book was self-published
seemed to me that I am essentially doing my work with it.
tan, especially since this edition already has a complete list of characters
contained. I assumed that these were word signs
which makes up the Indus script, and that with the help of the
Ṛg Veda can be detected with sufficient accuracy. But then came
I doubt if this could be a syllabary
especially as in Sanskrit between syllable and word are not exactly different
becomes. So I tried the characters with the help of the Ṛg-Veda syllabic
to read, and even so I came to a conclusion, although this is mostly
did not go beyond a word. This result was 1997 in Delhi under
titled The Indus Script and the Ṛg Veda without a list of characters.
light and is available in many domestic and foreign scientific
However, there was no response. Only in London
living Czech religious scholar Karel Werner wrote
to my request a criticism in which he gave me every methodical
Procedure canceled.
This is also true of my deciphering of the Rongorongo scripture
Easter Island script claims, even though I'm at the University of Hamburg
was admitted to the doctorate, because the result that it is here
is also a word, is contrary to all earlier
Deciphering attempts, though it's on the reading of the Rongorongo tablets
is based on two Easter Islanders. Since in the opinion of a
Second opinion asked Eurocentric scientists, an ethno
loge and a linguist who is undetectable, was admitted to the
Revoke promotion.
The deciphering of the Easter Island script had shown that
a word may well lead to meaningful readings, and so on
I also returned to my original hypothesis in the Indus script
back. The 2nd edition of The Indus Script and the Ṛg Veda in 2001
started from this assumption, and therefore it included one again
Character list opposite to the character list in the first edition of Der
Fifth Veda had some improvements. Since I have the dissertation over
the tablets of Easter Island did not want to have written in vain
I self-paced it out, now it is also in use.
Traugott Bautz appeared.

Page 8
8th
The fifth Veda
In connection with this work I was also on the discus of
Phaistos carefully and tried to find out if it was here too
is about word. This assumption proved to be correct. My
Research results were obtained in 2005 in the first and in 2013 in the
2nd revised edition published in the same publisher. The Indus Script
and the Ṛg Veda was delivered in India and other countries, in
Germany, the book appeared a little later under the title The Cosmic
Man and the Tree of Language in small edition self-publishing. These
Issue published since 2005 under the title The Message of the Indus Seals
and Tablets , since 2012 as Books on Demand.
All these activities would not have been noticed if it were not for the internet
and I would not be invited to an Indologist Congress in Goa in 2007
where I first met a scientific audience
talked about deciphering the Indus script. A short
Message about it in an Indian press agency led to a dif-
famishing report in Wikipedia, referring to the now outdated
Criticism of Karel Werner was pointed out. Maybe this
contributed to the fact that the following year Deutsche Forschungs-
my participation in a Vedic congress in Orlando
financed me where the title prachya vidya parangata , E perte in
ancient Indian wisdom, was awarded. You can understand that, too
as the one who goes beyond this wisdom, as the Bhagavadgītā in
Verse 2.45 requires.
The Fifth Veda remained unchanged in all the years and in a Viennese
Bookshop he was still on the shelf when I arrived there in 2010
participated in an archeology congress. After many
I published a title in the Traugott Bautz publishing house, I decided to go there
now also to publish the Fifth Veda in 2nd edition.
Old languages and scriptures belong to the world cultural heritage and not to
Club of the dead languages , as if out of ignorance or condescension in the
Information supplement to the exhibition Festival of Languages (2010) the
University of Bremen is claimed. 1 This is especially true of Sanskrit,
but also for Greek and Latin and for others in their
threatened languages. Thus, of the Easter Island, although the National Park as
World Heritage recognized, but not the old language of the island today
Rapanui is called.
1 Comp. E. Richter-Ushanas, From monolingualism to multilingualism, Worpswede
2010a; P. 13).

Page 9
Foreword to the 2nd edition
9
With regard to the preservation of cultural heritage are greater efforts
required for deciphering unknown fonts. It is not enough
to confine itself to the explanation that decipherment is controversial
is. Science also involves dialogue between those who claim
to have deciphered a writing. It does not encourage dialogue when the
Deciphering that does not correspond to Western analytical thinking
science, are called pseudoscientific,
as it happens in Wikipedia. This is a recourse
into the ideological moth-crate, to the confrontation with mine
To prevent decipherment.
The mistakes made in the deciphering of the Egyptian script,
because you have seen logograms in the characters, you should not
lead to refuse wordings from the outset or as ornaments
to designate, as also from the Easter Islandschrift and even from the
Egyptian script was claimed before its deciphering.
So far, there are no pamphlets without the help of a book sta
have been deciphered. This also depends on the bias
of western thinking for alphabetic writing together. In the Bible
It is said that the letter kills. Word phrases, however, receive life
a culture, even if the language is extinct.
M. Pope says that deciphering is by far the most fascinating achievement
the research . 1 Therefore, the framework must also be created in order to preserve old ones
and unknown fonts, and the results of these research
presented to the public. It is not that the
who is the first to reveal her secret , (maybe someday) special
2 But it is the fact that someone who is looking for a meaningful

Deciphering endeavors, supported by society, even if

his work is not or only partially successful. This must be the same here
apply as for the natural sciences. A decipherer should not like
an artist will be recognized for his performance only after his death,
because it can then be better marketed.
The cultural heritage of living languages is translated into
made public. The profession of translator is already on
mentioned an Akkadian seal whose motive is an initiation or
Oiling (see p. 23). The term 'interpreter' goes to the
Mitanni language back, as the Etymology Duden states.
1 The riddle of the ancient writings, Bergisch Gladbach 1978, p. 9. 2 Ibid.

Page 10
10
The fifth Veda
There has always been a great need in multilingual Mesopotamia
in this profession. The translator, who is immersed in another culture
offset, resembles a yogi whose mind like a gem the color
the object on which he rests (Patañjalis Yoga Sūtra I.41).
However, this also includes aptitude and practice. Many translators are
Dilettantes. Even if they have grown up bilingual, falsify
they often use the meaning of the tea they translate. How dilettantes behave
Even analytically thinking scientists, if they try to be one
To explain the word. Nevertheless, associative thinking methods
fundamentally defamed as unmethodical. Word phrases, however, can
only be deciphered if analytical and associative thinking is
sammenkommen.
Worpswede, October 11, 2011

Page 11
PREFACE TO THE 3rd AND 4th EDITION
Faster than expected, after two years, a revised
ge needed because I discovered in Atharva Veda III.7.1-3 antelope anthem
by which it is proved that the unicorn is the one horn of the antelope
is, this hymn has the function of a bilingual. I have the Atharva
Veda has been considered less important for the decipherment of the Indus script.
but the antelope is a common motif on the Indus seals
and in the Ṛg Veda together with the Soma, I decided
to read the original Atharva Veda verses and to reference them
Exactly verify Whitney's translation. The original is with
1

Translation: 2
1Hariṇasya raghuṣyado_adhi śīrṣaṇi bheṣajam
sa kṣetriyaṃ viṣāṇayā viṣūcīnam anīnaśat
2 anu tvā hariṇo vṛṣā padbhiś caturbhir akramīt
viṣāṇe vi pya guṣpitam yad asya kṣetriyaṃ hṛdi
3 ado yad avarocate catuṣpakṣam iva chadih
tenā te sarvaṃ kṣetriyam aṅgebhyo nāśayāmasi
1 The fast-footed antelope carries a cure on its head
through her falling horn she lets the field sickness disappear,
which spreads over the whole body.
2 To you the cow antelope has jumped with four feet;
o Horn, let the field sickness decay,
which has knotted in his heart!
3 What looked like a square edition,
That leaves us the whole field disease
disappear from your limbs.
Whitney emphasizes in the notes to his translation that it
is undoubtedly a horn, although the anti-terrorism
lope (hariṇa) has two horns. The self-descending horn of the antelope
is the remedy for the Kṣetriya disease that affects the whole body
falls, field and body are equated here as in Bhagavadgītā 13.1.
Thus, the use of the one horn, which became the unicorn,
on behalf of pharmacies and as an emblem on the Indus seals on the
Indian medicine, and its origin is the Indus culture.
1 Atharva Veda Saṃhita, reprint Delhi 1993.
2 According to Devi Chand, The Atharva-Veda, Delhi 1990.

Page 12
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The fifth Veda
AV III.7.3 speaks of a quadrilateral chadis that is responsible for the
k seitetriya disease is also necessary. The meaning
this word is unknown, but it is probably about
the quadrangular upper part of the stand in front of the unicorn, resting on the indus-
Sealed and, according to my investigations, a Soma press
(see chapter VI). The healing effect of the horn is thus too
attributed to the Soma. With a leaf representing the soma plant
The antelope is depicted on numerous Indus seals. By
the mistaken belief in the healing power of the horn without the Soma will be up in
our time has killed countless rhinos and elephants.
The antelope did not have to be killed because of its horn, as it was from
even falls off and regrows again. In ṚV I.163.1, the feet of the anti-
lope a part of the sun horse. Again, the word hariṇa is used.
The soma is equated with the sun in ṚV IX.85.9-12 and often with
compared to a racehorse or a bull or buffalo. Like the unicorn
the soma has healing effects.
The inscription of the antelope seal 8523 agrees with the inscription of the
Water Buffalo Seal 8532, Rhino Seal 8522 and Seal
3441 and 3443 coincide with the motif of the unicorn stand. On the
Antilope seal 2554 we find a variant of the circle sign
with the same meaning. The two short dashes can be used as the
but they can also be son or daughter
mean, because they are similar to the father, or from pictographic
View the seed play (see list of characters). The inscription of
Antelope label shows: The antelope is like the sun. This relates
on the yellow color and the speed of the antelope. The rhino is
similar to the sun by its power, as also from seal 1342 shows.
The water buffalo is the symbol of the god of death Yama, the son of the sun
is. The inscription of the two seals with the motif of the unicorn stand,
which is a symbol of the Somapresse (see chapter VI), yields: The Soma is
like the sun . Multiple is instead of the two short lines an acacia
pictured as a soma plant (see Appendix 1).
As a seed, the double strokes are often connected to the beak
sign as in the inscription
of the unicorn seal 8546, the in
MitV VII.33.19 is: By Mitra and Varuṇa (1,2), which is the water
woman Urvaśī (3) to ejaculation (4,5) (aroused), the seers (Agastya
and Vasiṣṭha) (born) as sons of the gods (7,8).

Page 13
Foreword to the 3rd edition
13
The gazelle or antelope is not just the basic form of the unicorn, they
is also a symbol of the water women, the Apsaras, who are in the Indus culture
perform the function of sacral priestesses. This is also possible
Table 8545 (see Chapter II). In the later time they are called the
Seductresses became known by seers. The one from the indian sagas
known seer Ṛṣyaśṛṅga was the son of a seer and a gazelle.
Ṛṣyaśṛṅga means gazelle horn. On three- or four-sided panels, the
recently excavated in Harappa, sitting next to a man in the
Yoga seat a figure standing at her legs crossed
is recognizable as female. The inscription of the tablets reads
and can be assigned to ṚV X.95.15 (see chapter IX). The first
Sign is to be regarded as a Gazelle because of its short tail. in the
In general, the gazelles are on the Indus seals with horns
shown, without horns, they are female.
So the motive of the ascetic seduced by a gazelle was
known in the Indus culture. If he is called a hornbearer,
we get Ṛṣyaśṛṅga or Ekaśṛṅga, gazelle or unicorn. There is only
the Veda verse, X.95.8, where the king Purūravas the Apsaras with gazelles
compares. Geldner translates the verse: Since I Menschkind
wanted to make friends with superhuman women who
as they shied away from me like a fierce gazelle, like
Horses bumping into the car. And he notes: The Apsaras do
just so shy from coquetry . Coquettish behavior was also the seductress
Ṛṣyaśṛṅgas. Also, the Akkadian natural man Enkidu was from a
sacred whore seduced and was the son of a gazelle.
However, these women could also be dangerous for the man, as it is
Gilgameš blames the goddess Ishtar. Urvaśī therefore says in X.95.15:
With women - by which she means the Apsaras - there is no friendship,
they have the hearts of hyenas. Hyena is Geldner's translation of
sālāvṛka . Hyenas look pretty much like female gazelles;
formerly even confused with dogs (see seal 2488). The exact
Translation is a tree (sālā) -ressress (vṛkā) . Gazelles eat the shoots
and the seeds of the pods of acacia trees, from whose juice the bitter
Soma was made.
The priestly function of the water women brings the third side of the seals
H-2023 to H-2030. Here the Apsaras fights with one
Buffalo, the mount of the god of death, as 3000 years later the goddess Kali,
those created by the goddess Durgā without her spouse Śiva

Page 14
14
The fifth Veda
becomes. The Apsaras seduce the man so for his own good, and
he must be worthy of her affection by learning to keep the seed.
He overcomes death. Because Purūravas is not ready for this or in the
Urvaśī lets him die (see chapter IX). She saves him only in the
Satapatha-Brahmana version.
The dawn that Urvaśī compares to can be hetaera, virgin
and be a wife as she pleases. Determined by its rise and fall
the time, which is regarded as tissue (see Geldner to ṚV
I.92.2). The original version of ṚV X.95.15 must therefore read:
The gazelle-like women are goddesses for the man.
The unicorn goes on both as a mythical creature and remedy as well as a seer
the Indus culture back. The memory of it is in the Buddhist
Jātakas, the birth stories of the Buddha, preserved. The Buddhist
However, storytellers were not about continuing an older culture,
for the spread of Buddhism. The culture also has that
later Indian teacher not thought, despite the doctrine of rebirth.
Even the western archaeologists are not interested in the culture, the
they have dug up to revive. Some of them see one in it
Danger for the belief in progress. The revival of the Indus culture
failed already in the old Greece. Because of a woman, the tropical
January war and later the downfall of Cretan culture. Models,
Dream profession of fashionable young women, extoll with their beauty goods
like the dawn and the merchant Nodhas in Ṛg-Veda I.124.4. Top-
models occasionally collect donations for charity and man-
they also distribute it. The others present themselves and can be started
for a fee. To revive a high culture they wear
not at. If they tried, they would be fired.
It is not possible to address all the issues raised by the antelopes
Have given anthem. The skeptics are right, they say without bilingue
is a deciphering of the Indus script impossible. But without Veda study
you do not find bilingue. The Atharva Veda can sometimes help
richer than the Ṛg Veda, though he is considered the younger Veda.
In the 4th edition, there have been no significant changes. The
Translations of the seals could be continuously improved,
especially by the more precise consideration of the sentence structure.
Worpswede, January 11, 2015
 Page 15
INTRODUCTION
Already in my first investigation of the symbolism of the Indus script
It is true that for some strings in the Ṛg Veda, similar words and words are used
There are verses. In particular, this applies to the Gāyatrī mantra, a prayer to the
1

Sun, still spoken by the Brahmins today (see p. 32).

Finally it turned out that in the Ṛg-Veda paraphrases for a large
Number of seal inscriptions are available. Many of the symbolic
The assumed meanings of the signs were determined by the Ṛg-
Veda confirms, others, especially rare or only occurring once
Signs could be opened up with the help of the Veda. Confirmed
also the principles of the grammar of the Indus script, which
glutinating and isolating languages.
The greatest similarity exists with the Sumerian and the classical
Sanskrit, which through its Nominalkomposita the chain formations
close in Sumerian. 2 On the Word of the Indus Scripture, which is in the
Ṛg-Veda has received, especially the so-called Austro-Asian
Root. The term proto-dravidian especially used by Parpola,3

restricts the Indus script too much to the Dravidian languages that it
at that time did not exist.
It is likely that the founders of the Indus culture from Sumer and / or
Indonesia came to the Indus. Indonesia is the home of the Zuk
kerrohrs, which became indigenous to India during the Indus culture.
An upgrading of the inflecting languages is not justified. Rather
Conversely, because inflecting languages destroy the word
and their speakers tend to destroy nature and reduce others
Cultures and languages. This is how the Indus language is described by the Āryas mleccha,
called barbaric, as the Greeks called non-Greeks. The Fleet
xion also makes the symbolic approach more difficult because it
changed the basic word. This is especially true for the verb forms.
In the Indus script, any sign can be feminine or masculine
and every part of speech. The gender difference exists only in the
Signs that mean man or woman by nature. This is true with the
Grammar of Tamil and Bengali coincide.
1 The Symbolic Conception of the Indus Script, Bremen 1988.
2Vergl. A. Frankenstein, The Sumerian, Leiden 1959, p. 15, 35, 37, 51.
3 Decipherment of the Proto-Dravidian Inscriptions of the Indus Civilization,
Copenhagen 1969.

Page 16
16
The fifth Veda
The fish marks can be male and female, mostly
they are male as they are the priest, poet and seer
( kavi ) play. That the priests were male results
the pictured bust found in Mohenjo Dharo. words
1

and characters can be grouped into compounds

their basis as in Sanskrit a dvandva , a double word,
or a tatpuruṣa , a phrase that is a case,
mostly the genetic, replaced. At the end of the line is usually the object, a
Predicate nouns with the copula or a verb form. The sign that
most common sign of the Indus script, gives the name for god and goddess
in general, to rule as a verb, as an adjective immortal and divine. It
usually indicates the end of the sentence (in sentence combinations of the main clause).
Its meaning I could already at the beginning of my deciphering by
To make a comparison with the Brāhmī script. Also some more characters
could be tapped with the help of brāhmī, from the Indus script
was derived (see chapter XX). The meaning arises as in the Hebrew
Alphabetical alphabet from the first letter of a word that is used by the
corresponding character is displayed (acrophonic principle). The sign
ka (k) can be z. Eg for kṛ , stand like alpha for hebr. ‫ א‬aleph,
Bull because of the horns, beth ‫ב‬, for Hebrew house. 2

However, we do not know which root or which word

Was based on Brāhmī initials. The selection is but through
the image of the sign and the often small number of roots that come with it
start a certain letter, relieved. Kṛ for ka offers itself
because the cross is the basic meaning of acting and creating. Like in the
Cuneiform writing can have a number of meanings as well
there are different signs for the same term. That depends on the
Basic property of the Indus script together: it symbolizes gods
names or the names of a deity, because all names can be put on one
attributed androgynes original principle, as ṚV I.164.46 explained (see seal
3303). Names of gods can also be animals, plants, objects or
strakta as in the tenth song of the Bhagavadgītā, here referred to Viṣṇu.
1 Forgotten Cities on the Indus, Aachen 1987, C 148 (Marshall 1931, pl. XCIII).
The bust is referred to by Marshall as the Priest-King, but for these offices
There is no clue on the Indus seals and in the Veda. The
Salutation maharāj (great king) for the guru, however, is still common in India today.
2 Verg1. J. Naveh, The Origin of the Alphabet, Cologne 1919.

Page 17
introduction
17
But the original principle can also be embodied by another god. Many of the in the
Names called Gītā are identical to Indus signs, such as sun, moon,
Wind, the seers Kapila and Uśanas and the dice.
However, this does not say anything about the phonetic values. The first letters
also do not agree with the later Sanskrit alphabet. at
This is still the case with the Brāhmī scripture. This is especially evident
in the case of the already mentioned character, that on the pictogram
can be traced back. In the Brāhmī scripture there is that
Sign p pa. Related is the root pā drink, pātra is the
Cup. Even today in India, the mother goddess is worshiped in pot form
and the foot, which can also be seen in this sign, symbolizes
bol Viṣṇus, with which the V-sign is traditionally equated, which is the
Wearing Viṣṇu worshipers on the forehead.
No Indian teacher would explain this with the help of the Indus script, because
the Indus culture was completely forgotten. It will be on an internet page
declared as foot, because it corresponds to the foot of Buddha, and no one knows
who took over what from whom. For the Hindus is the foot of the teacher
the vessel of wisdom. This is where the preserving aspect of Viṣṇu comes to pass
Expression. In Christianity, the Grail is a significant symbol. There was that
Grail, however, even before the blood of Christ was caught in it. Ships
were loaded with pitchers, which often contained valuable things. As a treasure
The winner's cup is also valid. The Vedānta philosopher Gauḍapāda
applies the symbol of the pitcher for the human body.
Also, the brāhmī sign for la l is similar to the pictogram. It
can be interpreted as lingam, the symbol of Śiva. There is Harappa-
Tables on which a deity appears as a lingam. If la is vocalized
read, it becomes too il . This is the name of God in the Semitic languages.
In the Veda, Iḷā is a name of the Great Goddess used in the Indian flood.
history becomes the daughter Manus, iḷa with short a is the Soma potion
and reminiscent of the cup or lap ( yoni ) as a symbol of origin.
Lingam and yoni together make up the androgynous original principle. To the
speaks that in the later legend Iḷā male and female form
can accept.
If the pictogram is explained as a mug, the sidebars can
of the character can be considered as the edge of the mug. Speaks for it
also that the Sumerians called ships from Harappa magilum , and that
Sumerian sign for ship is very similar to the sign. Also in
Germans are called ships as pots.

Page 18
18
The fifth Veda
The cup shape of the ship can still be found on an Indian chess
Board from the 15th century AD, described by Raghunanda. Parpola pulls
1

from this the wrong conclusions, against it has BB Lal the connection
2

of the character with the cup shape correctly recognized. Another confirmation
3

obtained by the Harappa Seal 3305, where the sign is

sign three times next to a horned deity.
The mug sign also appears as the ligature for which it is in the
Brāhmī scripture the equivalent K kha, (a well) dig, gives. In
the Indus scripture stands for the mortar in which the soma is pressed
whose juice is rendered through the three long dashes that became
can also be interpreted as fingers. By the following character
the direction the Soma takes by squeezing is given. He
flows up to the gods. Parpola also sees the sign as a pestle
and mortar. If the cup sign is interpreted as a foot, the ligature results
4

Trusselfuss or Gewächhand or attributively read: The, whose hand

a proboscis is so elephant (Sanskrit hastin ).
Turned 90 ° out of the three long strokes in today's indi-
iconography a sign for Śiva. According to the teachings of Sāmkhya is
the lingam, the emblem of Śiva, the subtle body, the one with the soul
Connected enters or leaves a body. A name of Śiva is
Tryambaka, which has 'three mothers'. The fire god carries the same name
Agni, who is also called Trita, the threefold. In ṚV I.105 Trita is the
Name of a seer who was pushed into a well. From the Vedic
Seer Atri is told that he fell into a hot pit. That reminds
the Greek mathematician Thales, who is reported to be in
a pit has fallen because he is contemplating the starry sky
was busy. He was also an astrologer. Named after him geo-
tric law was already known in the Indus Valley Civilization (comp. Siegel 3006).
The fire was in the Indus Valley Civilization and in the Vedic period
produces the rubbing of two fire wood, which also by the character
are reproduced. The signs can connect as lingam
and yoni are explained, but are due to the frequency and
Basic meaning only the fire wood and Somapresse in question.
1 Comp. E. Richter Ushanas, message S. 215th
2 Comp. Decipherment 1969, p 20-21 ..
3 JRAS 1915, S. 176th
4 decipherment 1969 p. 37

Page 19
introduction
19
Since many Indus characters using the brahmi can be explained, it is
unnecessary to seek the origin of other languages. This is supported
the geometric shape of the Indus signs that are easier in letters
is transferable when the Egyptian pictograms to which the Phoenician
Scripture is returned.
When playing a title line the copula must always advertising supplements
the. Other verbs can be represented by its own character
or should be inferred from the context. Single sign
can be read as the name of the subject (see FIG. Seal 2704, p 42).
The comparison is included in the symbolic value of the sign, but can
also be represented by two short lines. As with other
Images Fonts is also available in the Indus script homonyms.
Since the translation of the inscriptions of the Indus seals not by the phonetic
dependent values of the language in which they were originally handed down,
the character can be understood as pictograms immediately. But
the interpretation presupposes that the signs comparable to the cultural environment
are connected to which they belong. This would be impossible if it were not in
the later Indian culture and literature is replete with references to the
Next effect of the Indus Valley Civilization. That this for the RG Veda in particular
largely true, is not too surprising, because it is the holy book
the immediate successor of that culture, the Aryans. The newest
Excavations have revealed that the cemetery at Harappa and 1300 v.
Was Chr. In use. The rejection of Indus Valley Civilization by the Arya goes
1

particularly clear from RG Veda I.133 out where Indra the army of
smashes sorceresses in the debris field and is asked to
to destroy man-eating demon Aṃbhṛṇa. 2

This is on the barely legible seal H-1144 ones shown,

provides. The motif is in the middle shows the head of a
Dog and an elephant with thorns on the feet. He
attacks a man with a big belly and skinny legs,
the bull horns and a branch on the head carries. about
the dog's head flies a hawk holding a branch in its talons. On the
right are a woodpecker-like bird, a snake and crescent moon
recognizable. Armored shoes mentioned in RV I.133.2. This is
secured the assignment of the subject to this anthem.
1 Kenoyer / Meadowlands, CISI 3.1, 2010; P li.
2 Comp. Judge Ushanas, The Three shape of being Nordhausen , 2012, p. 254
4

Page 20
20
The Fifth Veda
Thereafter, the figure is left of the ogre Aṃbhṛṇa comprised of Vedic
point of view is a form of Śiva. He's wearing horns and a Soma branch
between them as the yogis on the Indus seals. Dog and elephant
are attributes of Indra. He destroyed the demon and the sorceresses,
by he tees off their heads. The eagle, the Soma from raspberries
mel brings is known from RV IV.27.4. Soma is also supported by the
Crescent moon represented the right. The woodpecker-like bird corresponds
speaks the character that can also mean seer. After RV I.133.8
Indra granted the seer somapressenden a helpful Schatz (at
Sons). The cobra is emblem of sorceresses. It was with the
killed stone lying in front of her head. Indra is in I.133.2 as stone
slinger called.
The three-line inscription
is included in RV I.133.1-2:
In both worlds (1), Indra (4) the truth (RTA) (2) wiederherge-
is (3,4), after the heads (5) of the culprit (6) with the Nagelfuß
(7) has split, the striker hammer support (8,9). The reading nail-
foot emerges from the subject. The head corresponds to the cap of the home
dus-priest (comp. Siegel 2430), by their destruction the truth
is restored. On the other hand, the Arya accept the somatic
Cult and the fire worship of the Indus Valley Civilization (comp. Ch. XIX).
Although the Aryans immigrated to the area on the Indus, post-
the great Indus cities by earthquake and by off
dissolved great flood were destroyed, it would be very unlikely if
been doing the Indus culture and especially the writing completely forgotten
would. It is more likely that the authority of the Vedic seers also
it was based, that they interpret or vice symbols of the Indus script
could interpret what is particularly apparent in the fact that they have some characters
explain z. As the sign of the inscription of the seal 8328 by the *
enclosed by the rim spokes of a wheel (see FIG. 26).
The signs of the Indus script can use the Veda after
be explained Tag method as Barthel in Osterinsel-
magazine has tried. Then have to follow the rules of chain formation in
a set form are brought. can easily in the Legend
undermined mistakes, as deduced from the characters to the word
must be, but it comes through constant cross-checking and
the processing of a large number of inscriptions to growing meeting place
safety, through which a vicious circle is avoided.

Page 21
introduction
21
Except with the Veda, the Indus seals associated with the legends of the substances
Purāṇas related, going back to the same time as the Veda
even if They are consistent often only brought in Christian times in written form
the. Purāṇa means old, that on the conjunction pra returned, previously
is, but might be related linguistically pure, fill, which in the Veda
a castle is called, which was filled with goods and with palisades
was attached. This can be done in the old days and the word thus pre-
his Aryan origin and the original Indus cities with their
Citadel call. The Vedic castles and the Purāṇas put so
Both continued their tradition, albeit in a different form.
The philosophy of Purāṇas is a theistic Samkhya, in contrast
the atheistic Samkhya doctrine. Common to both is the dualism of
puruṣa and prakṛti , of the male and female principle. this Dua-
ism is also found in the Rg Veda, especially in sexual imagery
the two powers of creation. In the sacrificial ritual is their union, by
the creation is set in motion, constantly repeated. The victim
itself becomes the cause of creation in the form of Purusha, the
is both the androgynous primeval man as the Uropfer.
The Purusha hymn in RV X.90 was comparable with the seer Nārāyaṇa
summarizes, whose name was later transferred to Viṣṇu. In later times
the name was changed to Nāra + Ayana dismantled and as resting on the water
explains, but Nāra is from NR (cosmic), man / human derived.
Nārāyaṇa is the son of Nara, the cosmic man, the Purusha.
The Purusha is androgynous because of the female primordial Godhead he Aditi
or viraj apparent that it produces on the other hand.
It's not hard, a sign of puruṣa to corresponds in the Indus script
cover. For the prakṛti especially the character is concerned. The
Comb character can symbolically as vagina dentata be interpreted. Also
Parpola explains it in this sense. Further interpretations come rib
1

(Sanskrit Parsu ) and groove (Sanskrit Sita ) into consideration. Advertising in RV X.86.23
the Parsu and woman equated. The oblique shape can gedeu- as a spring
tet are used in the Egyptian writing a sign of wisdom goddess
is Ma'at. Both characters are united in the ligature, the androgynous the
Cosmic people back there.
For women, there is also the character ER and open legs
can be clarified. In RV X.72 is Uttānapad , those who spreads her legs,
a name of the Mother Goddess Aditi. Your name is on the root ad , eat,
1 Interpreting the Indus script, Helsinki 1974, p. 19

Page 22
22
The Fifth Veda
will swallow returned (lat. Edo ). The goddess, the legs, the
spreads, is not only child-bearer, but also devourer. in Stone Age
union Indian cave paintings, the mark Man, that the
Cup following it divine human. 1

The extension can be used as

Gripping hand with fingers or teeth, as a dog, be explained. On
is another sign of woman that when langmähnig and squat
can be explained and seduce. As an animal with mane may antelope
or mare mean, which is compared in the dawn RV I.30.21.
A feature of the Samkhya as the Veda is enumerating names and
Terms. List is also the literal meaning of Sankhya. On
many seals there are short and long lines representing numbers. Also
the string has enumerating character. enumerations similar
Art can also be found in later Indian writings, which already
Chapter 10 of the Bhagavad Gita said.
It is often assumed that the Indus seal as the seal roll Accadian
Own names. As has already noticed Meriggi, that's even
2

no explanation. Even proper names have in ancient cultures, a loading

3

interpretation. Falkenstein sees the logo of the Akkadian seal as a word

writing to, their order is arbitrary. I will therefore try
4

to explain a cylinder seal from Fara, which dates from about the same time
as the Harappan culture.5

The inscription resulting from top to bottom read: DINGIR (1), and SUD (2),
DINGIR (3), IMDUGUD (4). This corresponds to the sign 677.4 ( sud )
721.3 ( in ) and 791 ( dugud ) in Deimels lexicon. Dingir means God Sud
6

is the name of the city goddess of Fara. Imdugud is the name of my-
thischen bird, he has the head of a lion and the body of an eagle.
In the Akkadian mythology he is the adversary of the goddess Ishtar.
1 Brooks / Wakankar, Stone Age Painting in India, London 1976, p.13).
2 Comp. Parpola, Helsinki 1974, p. 5
3 For the Indus script, ZDMG 1934 S. 218th
4 Sumerian, HfO I.2, Leiden 1959 p 8.10.
5 Fig. A. Moortgat, the art of ancient Mesopotamia, Cologne 1967, Blackboard M 3.