possible links between easter island and indus valley

Aruku Kurenga Tablet 2012-01-23

4. Possible Links between the Easter Island and the Indus Valley The biggest question about any possible links between the Easter Island and the Indus Valley would be whether the people who had been visiting the Easter Island were really from the Indus Valley. The text or script inscribed on the AK tablet strongly suggests that the visitors approached from the west in the sky. It also indicates that there was the airship called manu by which the visitors traveled and the islanders had been provided with some liquid type of fertilizers which was used to help grow fruits on the island. The discovery of Dholavira script suggests that both the Easter Island and the Indus Valley seems to have shared same writing system, which is characterized by crustography. If the people in the Indus Valley area really traveled by airships, then the distance that they could have traveled to the Easter Island was only a matter of flight time depending on the airship speed in the sky. Whether the Easter Island could be an offspring of the Indus Valley or not, the Indus Valley scripts found on seals will be reviewed in this Section based on the context of the AK tablet, not based on their shapes.

4.1 Context Matching Glyphs In 1999, a proposal for encoding the Indus script was submitted to JTC1/SC2/WG2 and UTC by Michael Everson[8]. The Indus Valley hieroglyphs illustrated in this Section are from that proposal.

4.1.1 manu and moa In the AK tablet, the airship called manu can be summarized as below.

• A bird – manu itself means a bird. • Ability to fly – mostly used word for manu is rere which means ‘to fly’. • Short multicolored feathers – meant by kura (Br2-1). • Side gill – meant by tapa mea (Br2-1). It indicates the place where the manu got

restrained to the ground or any structures on the ground. • Gill – meant by tapa ke (Br3-1). It indicates the place where the moa makes a junction

for liquid fertilizer transfer. • A fish – meant by ihe (Br3-1) • Mucous plug – meant by kovare (Br3-1). ‘topa te kovare’ indicates the release of

fertilizers from the mucous plug. In the AK tablet, the airship called moa can be summarized as below.

• A poultry – moa itself means a kind of bird or an extinct, gigantic bird of New Zealand. • Ability to fly – frequently used word for moa is also rere which means ‘to fly’ same as

manu.

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• Ability to hover – meant by hiri (Br2-1). • Root Tap – meant by kava which is located on the bottom of moa and through which the

water or fertilizer is transferred. The root tap is connected to the gill of the manu. • A fish – meant by ika (Br5-3).

In the AK tablet, both manu and moa are compared to not only birds, but also fishes. The primary role of manu is to deliver fertilizer to the island. The role of moa is to transport fertilizer from the manu to local container and provide the people with a commuter. The root tap (kava) on the bottom of the moa is connected to the opening (vaha) on the gill (mea) of the manu when the fertilizer was being transferred The Indus Valley glyphs that match the above descriptions are illustrated in the following figure.

Figure 1 Presumed manu and moa in the Indus Valley scripts

manu is illustrated as a bird in (a) and (b) with short feathers on the top. It also shows topa te kovare, which means a bent down mucous plug. moa is presented as a fish on the left of (a) which indicates the attached moa to transport fertilizer from manu. The AK tablet describes that manu have two junction points on its side. One is for the mooring and the other is for the liquid or fertilizer transportation. The glyph on (b) indicates the mooring of manu (Br2-2). The glyph on (c) indicates moored moa (Br8-1). Three Indus Valley glyphs illustrated above were picked up based on the interpretation of AK tablet. From the identification of three Indus Valley glyphs that closely fits the context of AK tablet, we are able to categorize the Indus Valley hieroglyphs into several groups.

4.1.2 Presumably matching Hieroglyph in Indus Valley Script In this section, some hieroglyphs from Indus Valley script will be presented with the best approximate glyphs from the AK tablet based on its shape.

haga: (Mangarevan) work, to work; (Paumotan) to do, a deed, an action. ha: four. In the AK tablet, haga is interpreted as ‘the servants who set lights on the sides of an airship, especially manu’. When haga is regarded as ha+ga, it can be interpreted as ‘four workers’. ga(가) indicates ‘家, which means a person’.

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viri: (Tahitian) to lash up, to roll some cloth round a corpse.

a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. ha: four; to breathe; (MP) breath, to hesitate in speaking, strong. rua: two, second, hole, grave, to vomit. aha is regarded as a+ha, which means four servants on the deity side like manu. In the Indus Valley script, there are hieroglyphs of a fish surronded by short line segments. Some have four and others have eights. Generally speaking, when an Indus Valley hieroglyph has some segmented lines around it, it indicates that a group of servants formed by the number of line segments are involved in something that the inside part of the hieroglyph is meant to be.

pure: (MP) a ceremony for removing the tapu from houses, to arrange in tufts or patches, a prayer; (Samoan) to command, to order, a shell fish, the party who carry out the decision. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to. pu: hole, opening, to dig out; (MP) to blow, to bubble up, a tribe, a bundle, a heap, to be in a heap, a skilled person, a ruler or king, a root, origin, foundation. pure is interpreted as ‘to command the servants on the opening, or the mucous plug’. purega indicates ‘the person who command the servants on the mucous plug’.

ki: to, towards, after, for, in order to; (MP) full, high (of the tide), to say, very, not yet. i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. henua: land, ground, country. ‘i te henua’ is interpreted as ‘on the ground.’ From the glyph in the middle on the bottom row, haga can be determined and it indicates ‘four servants on the ground.’

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rapue: <unknown>. {ra: the sun, a day, the east, a sail, daylight, by way of; (MP) the Solar-Deity, that, there; (Tahitian) the side toward the east. pue: (Tahitian) a heap or hillock of earth, denoting a plurality.} Among many Indus Valley scripts, the best matching one to the description of this crust is presented; the fish-shaped glyphs indicate moored airships, two airships are next to each other, and four servants (haga) was represented by four short lines around the airship on the right side. According to the interpretation of Br9-1 and Br9-2, the airship on the right side indicates moa and then it means that manu is the one on the left side. It also seems that the rightmost glyph depicts rapue, the hillock on the east of the island.

ura: (MP) to be red or brown, to glow, especially of dawn; (Hawaiian) a lobster, the redness of then flesh when rubbed off. The above Indus Valley corpus shows some matching description of Br9-5. The glyph #4 depicts a crayfish as ura. The glyph #3 depicts four extensions and the circle in the center indicates the circular part in the middle of crayfish glyph. The glyph #2 indicates rapue which was explained in Br9-1 and Br9-2. Finally, the glyph #1 depicts a deity as an airship restrained by four extensions to the crayfish trap on the ground.

raua: (MP) they, two (plural). {ra: (MP) the Solar-Deity, that, there; (Tahitian) the side toward the east. ua: (MP) the backbone, the back of the neck; (Tongan) two, to ward off, to raise by a lever; (Tahitian) the part joining the neck to the body.} hora: (MP) to spread out; (Tahitian) to stretch out the hand in liberality, to open what was closed or shut, to spread or lay out. The above Indus Valley corpus shows a matching description of Br10-1. The long vertical line is going through the middle of the glyph indicates raua, i.e. the backbone of the deity. On both sides of the glyph, there are two collar-bones (or wings) which look like being spread out.

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rei: walk through or over for a long distance; (Tahitian) the back part of the neck. miro: (MP) the name of a tree; (Tahitian) a hard and durable wood; (Paumotan) to rope, to fasten with a rope. The design of above Indus Valley glyphs can be found in L1-4 crust of reimiro script. Four different glyphs suggests that four different servants had been involved in the use of ure huki. The third glyph that depicts a fish from the left of L1-4 crust indicates an airship.

veveke: <unknown>. {ve (or we): (MP) thought, idea. veke: <wheke> (MP) the squid, the cuttle-fish; (Marquesan) to entangle, spoken of threads.} hetu (or whetu): (Marquesan) a star. {he: (MP) a, an, a word used as an indefinite article. tu: (MP) to stand, to be served, the part of a fishing-net which is first in the water.} The above Indus Valley glyphs show matching descriptions of Bv1-1. The short vertical line in the middle of Glyph A indicates the backbone of airship called ua. The short vertical line between legs in Glyph B also indicates ua and it means a servant at the backbone of airship. In the design of Glyph B, a servant with the raised hand has a fork with five legs, which matches the description of nohoga. Glyph C depicts a squid net called veveke which has five legs and one primary contact point called hetu.

The above picture illustrates an Indus Valley script which takes after the script of Bv1-1. When the Indus Valley script was flipped horizontally, five glyphs out of the Indus Valley script can be sequentially associated with five glyphs from Bv1-1. By reversing the association, the corresponding Indus Valley glyph can be assigned with the meaning of rongorongo glyph.

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hihoga: <unknown>. {hi: (MP) to catch with hook and line; (Samoan) to hoist. ho: (Hawaiian) to transfer, to carry away, to transport; (Mangarevan) to give. ga: (Samoan) <nga> to pant, to breathe hard.} The above Indus Valley glyphs show some possibly matching descriptions of Bv2-3. The partial glyph for tagata indicates hihoga with a hook and lines to hoist and carry away. Without the hook (triangle in the head) and lines on both hands which depict hiho, the Indus Valley glyph in an arrow indicates hihoga. The following picture illustrates additional matching Indus Valley glyphs.

The glyph on the leftmost side depicts the area of motu nui and nuku honu. The glyph c-1 is in a simplified form which indicates the promontory on the west. The glyph c-2 represents the ledge

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area on the cliff. The glyph c-3 has a hat on the glyph c-2 and it indicates the tutle head (honu). From the glyph c-4, the glyph c-5 depicts the airship at the rock of turtle head.

hakatu: <unknown>. {ha: four. ka: particle of the affirmative imperative. tu: (MP) to stand, to be served, the part of a fishing-net which is first in the water.} ika: (MP) a general name of all fish, a warrior. vaha: hollow; (Hawaiian) an opening. {va: (MP) local extension, a region. ha: four.} The above Indus Valley glyphs show some possibly matching passage of Bv3-1, which was ‘E tagata hakatu ki to ika e vaha te ika’. Four short vertical lines at the corners of the glyph indicate haga or four servants who were ordered to stand at four extensions (vaha) on the airship.

maharoga: <unknown>. {ma: (prep) for. haro: (Tahitian) to skim along in flying as a bird does; (Hawaiian) to spread out the hands as in the act of swimming.} hakaturou: <unknown>. {ha: four. ka: particle of the affirmative imperative. tu: (MP) to stand, to be served, the part of a fishing-net which is first in the water. rou: (MP) a long stick used to reach anything with.} The Indus Valley glyphs that match the descriptions in Bv4-1 can be identified. The glyph on the right illustrates a person who is holding a long stick (turou) and is surrounded by four short vertical lines that indicates ha. The glyph matches to the meaning of hakaturou. maharoga is the person who uses hands to catch the bolt-rope on a stretched-out stem. The glyph on the left seems to have the characteristics of ‘to maro’.

vere (or were): to cut (plants), hair, beard; (Tahitian) suspended, entangled.

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The Indus Valley glyphs that match the descriptions in Bv4-2 is illustrated above. The hands pointing upward in the script indicate vere and verega. The Indus Valley glyph on the right represents verega based on the design of its hand.

huaga: (Paumotan) lineage. {hua: to bear fruit, the egg of a bird. ga: (Samoan) <nga> to pant, to breathe hard.} o: (MP) your (the plural of to), of (belong to); (Tahitian) to dig the ground. poporo: (MP) the butt-end, a block (of wood), anything round. tupu: (MP) to spring up, to be firmly fixed, to be born. kotokotoga: <unknown>. {kotokoto: (MP) to squeak (short cry); (Mangarevan) the noise of the lips in sucking. ga: (Samoan) <nga> to pant, to breathe hard.} hahata: open, empty, hollow. {wha or ha: (MP) four. whata: (MP) a platform or raised storehouse in which food is kept, an altar; (Tahitian) a scaffold put up for any purpose.} hakahonui: <unknown>. {ha: four. ka: particle of the affirmative imperative. honu: (MP) the turtle. i: in, on, at.} toru: third; (MP) three. ui: (MP) to ask, to inquire; (Samoan) a call to come to visitors; (Marquesan) a demand. maitaki: handsome, clean, neat, pretty, beautiful; (Tahitian) the favorite wife of a polygamist. {mai: (Hawaiian) towards a person speaking, hither. taki: to spread a fishing net, bolt-rope (rope sewn into the edges of fishing net).} The Indus Valley glyphs that match the descriptions in Bv4-3 is illustrated above. In the glyph a, the pole with a round end indicates poporo. It makes the glyph a1 to be huaga and a3 to be ‘tupu te poporo’, which means ‘to spring up the poporo block of woods’. Many of Indus Valley glyphs with a human figure as its main character have one or more extended subglyph around its body such as hand, foot, waist, and head. The best guess for kotokotoga is the glyph b. The subglyph for kotokoto stays on its head like the whistling sound is made by the mouth. The glyph c indicates a scaffold with elevated platform as a ground structure to which a deity was restrained. The glyph d indicates hakahonui. The subglyph d1 on the top depicts honu (the rock of turtle head) and three spikes on the bottom of subglyph d2 indicates ‘toru kua ui ki te maitaki’, which mrans ‘three visitors (toru) were asked to throw over the bolt-ropes of a fishing net (maitaki)’.

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maro: (MP) stretched out; (Tahitian) a narrow piece of cloth. tupu: (MP) to spring up, to be firmly fixed. hanau: race, ethnic group; (Hawaiian) to come forth; (Mangarevan) to be born. {ha: four. na: (MP) belonging to. u: (MP) to be fixed, not to be easily shaken or moved; (Tahitian) milk, the breasts of anything that gives milk.} hakavari: <unknown>. {ha: four. ka: particle of the affirmative imperative. vari (or wari): to veer; (Tahitian) blood discharged from the body. va: (MP) local extension. ri: (Tahitian) to hang or suspend, to lodge as a tree or branch in the branches of another.} vaha: hollow, opening; (MP) the mouth; (Hawaiian) an opening, the mouth of a cave or pit. {va: (MP) local extension. ha: four.} The Indus Valley glyphs that match the descriptions in Bv5-1 are illustrated above. The sub-glyph a1 depicts maro attached to a supporting post (toga), which was used to drag an object onto the post and wrap around it. The Indus Valley glyph (b) used in the script b1 depicts toga and it suggests that the IV glyph b2 indicate kava. The glyph b3 depicts the local extension kava which was brought forth onto the supporting post toga. The IV glyph (c) indicates hakavari as ha+kava+ri, which means ‘the imperative for 4 servants to hang 4 local extensions’. 4 short vertical lines indicate 4 servants, i.e. haga. The glyph inside haga depicts 4 local extensions (ha+kava) which were overlapped into a composite glyph. The glyph c1 illustrates kava with a partial glyph inside which resembles an arrow head. Since it is enclosed in the glyph of haga, it indicates hakavari which means ‘the imperative for 4 servants to discharge tacky substance’. It suggets that the arrow head inside the kava glyph depicts vari. The glyph d1 from IV script (d) has the arrow head which is upside down. At the end, there is a kava glyph. At the upper right end, the glyph d1 has 2 rima glyphs. In the Bv5-1 passage which describes about hakavari, two glyphs have rima. The glyph d1 can be interpreted as ‘two servant heads (rima) take the responsibility of discharging tacky substance’. When those partial glyphs were ripped off from d1, a variation of remaining glyph can be given as d4, which depicts ‘tacky substance’.

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vai: water, liquid, juice. {va: (MP) local extension. i: in, on, at; (MP) at a distance from.} maú: (Samoan) to run off as water. hakapura: <unknown>. {ha: four. ka: particle of the affirmative imperative. pu: hole, opening; (MP) a heap, to be in a heap, a root, foundation. ra: (MP) the Solar-Deity; (Tahitian) the side toward the east.} The Indus Valley glyphs that match the descriptions in Bv5-2 are illustrated above. From the passage of the rongorongo glyph a1, the Indus Valley glyph for vai as liquid can be identified. When two concentric circles are displaced out of its center position, it gives another IV glyph a2. When the IV glyph a3 is applied to a2, it produces another IV glyph a4. It is regarded as mau and its meaning would be ‘to run off as liquid’. The servant depicted by a3 indicates a person who was responsible of discharging liquid from the deity. From the passage of the rongorongo glyph (b), the matching Indus Valley glyph can be identified as illustrated in b1. Four spikes on the top indicate haga (4 servants). Another Indus Valley glyph that depicts the fertilization with four servants is given by b2 based on its design. The partial glyph in the center of b2 takes b4 for tuki. The Indus Valley script (c) illustrates the process of ploughing the ground with liquid fertilizer. The first glyph c6 indicates a servant who carries liquid (from two circles on both hands) to fertilizer the ground for plants (from the partial glyph in the head). From the passage of the rongorongo glyph (d), the Indus Valley glyph for hakapura can be identified as in d1 which depicts four small square blocks piled up together. From d1, the glyph for ‘ia ki te henua’ can be identified as in d3. The vertical line depicting ia (the deity) on the top makes the square block on the bottom to be henua (the ground).

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rave: <rawe, whaka-rawe> (MP) to close, to fasten up, a latch, a bolt. tere: (MP) to drift from moorings. mata: tribe. oona: his, hers, its. ihe: (MP) a small fish with a long beak; (Tahitian) a spear. akapava: <unknown>. {aka:(MP) the rays of the sun. pava: (MP) the entrance to a trap. motu: (MP) set free by severance. pito: (Tahitian) the navel-string. tona: (MP) his, hers, its. kona: (MP) the lower part of the abdomen. puhi: to light a fire. ahi: fire. harehare: (Tahitian) <farefare> to overhang as a rock. matagi: extremity of the net where the weaving ends. The Indus Valley glyphs that match the descriptions in Bv6-1 are illustrated above. The glyph (a) was read as ‘motu te pito’. The glyph a1 is found in the Indus Valley script, which depicts pito as a navel string. The vertical line in the middle of the glyph a2 indicates the deity and it depicts tona kona as ‘the lower part of the abdomen’. The glyph (b) was read as ‘erua toga’, which means ‘two supporting posts’. The glyph b2 is found in the Indus Valley script which seems to indicate four supporting posts built on a wide platform. The glyphs c1 and c2 were read as ‘ki haga o rave’ and ‘haga tere hia’, respectively. The U-shaped glyph is regarded as tere, which means ‘to drift from moorings’. The glyph c3 is found in the Indus Valley dcript for the matching counterpart of c3, which is from the composition of two other glyphs c4 and c5. As a member of the c5 glyph family, the wavy lines of c6 depicts tere as ‘the drifting from moorings’. When the deity was drifting from its moorings, there were four servants who worked on the local extensions and three tribal people who worked on the bolt-ropes of a squid net. That description gives c7 as the best matching Indus Valley glyph. The wavy line in the middle depicts tere, the four short lines on its left side depicts haga as four servants, and the three short lines on its right side depicts ‘toru mata oona’ as three tribal people. By dropping off the wavy line, the glyph c7 becomes c8 as seven workers. The glyph (d) was read as ‘kua rere i ruga o tona kona – e tagata puhi i te ahi’. The glyph d1 depicts ihe as ‘a small fish with a long beak’. The glyph d2 depicts ahi as ‘fire, or light’, which was extended from the abdomen of ihe (tona kona). The glyph d3 depicts vaha as ‘four local extensions’ and each small square at the corner indicates ‘a local extension’. The glyph d4 from Indus Valley script shows the composition of 4 different glyphs which depicts akapava as ‘the collar-bone of a deity cast the rays of light onto the trap to surround its local extensions’. The fork with d2 and d3 on the left side indicates ‘a light above local extension’, the glyph a1 in the center fork depicts pito as ‘a navel string’, and the fork on the right side depicts rave as ‘to close the bolt’.



The Indus Valley glyphs that match the descriptions in Bv6-2 are illustrated above. The glyph a1 depicts poporo as a round block of woods. The glyph a2 indicates ‘mau i te poporo’. Four spikes on the bottom of the glyph a3 indicates haga as four servants who were summoned to restrain the deity. The partial glyph of b1 in the circle depicts oho and b1 is regarded as ‘oho te tagata’. The partial glyph b2 indicates ahi as a light and the glyph b3 depicts ‘ia ra’ as the east side of the collar-bone of a deity where a light was put on. The glyph b4 depicts ‘hakanaganaga ia ra’ as ‘four servants who went to the collar-bone of the deity on the east side’. The glyph b5 is presumed to depicts ‘hakanohoga o te tahito’ as ‘four servants who stood by at their positions for hoisting the stern of the deity’.

mama: (MP) to ooze from small aperture; (Tahitian) open as the mouth. hakatepe: (MP) to do anything with regularity and without omission, to perform completely. {ha: four. ka: particle of the affirmative imperative. te: (MP) to snap; (Samoan) to burst open. pe: (MP) the roe of a fish, crushed.} raro: (MP) the bottom; (Samoan) underneath. punua: of hen, to peck at the eggs to help the chicks break free. {pu: hole, opening. nua: (Tahitian) above.} The Indus Valley glyphs that match the descriptions in Bv7-1 are illustrated above. The rongorongo glyph (a) contains the passage of ‘haga mama ia – ku hakatepe ia’. Glyph a1 is the matching Indus Valley glyph for the glyph (a).

maga: (Samoan) anything forked; (Tongan) spreading. hou: to bore; (Tahitian) to force downwards. The Indus Valley glyphs that match the descriptions in Bv7-2 are illustrated above. The two wings on the right indicates maga as forked ways. Small short lines under each wing indicates hou as ‘to force downward through bored holes’.



mata: the eye. hetuke: <unknown>. {he or whe: (MP) a caterpillar. tuke: stem, vein of dry banana leaf; (Mangarevan) the joints of the fingers. tukemata: (Mangarevan) the parts about the eyes, the whites of the eyes.} The Indus Valley glyphs that match the descriptions in Bv7-3 are illustrated above. The passage allocated to the rongorongo glyph (a) is ‘ko te mata o te hetuke’. The Indeus Valley glyph a1 depicts mata as ‘the eyes’. matahetu also means the whites of the eyes. The Indus Valley glyph a2 with a partial glyph which looks like a ladder depicts hetuke as ‘the caterpillar tube made of jointed venous stems’.

tuu: (Tahitian) to let go, to dismiss, to yield, to deliver, to set free; (Tongan) to stand, to rise, to get up, to finish. {tu: (MP) to stand, to be served, the girdle to which the maro was attached. u: (MP) to be fixed, not to be easily shaken or moved.} pa: to surround, enclosed field. vere (or were): (Tahitian) suspended, entangled. haati: <unknown>. {ha: four. a: (MP) the collar-bone, the Deity. ti: to bend down to allow someone to climb on one’s back to be carried.} hanau: race, ethnic group, to be born. {ha: four. na: (MP) belonging to. u: (MP) to be fixed, not to be easily shaken or moved; (Tahitian) the breasts of anything that gives milk.} The Indus Valley glyphs that match the descriptions in Bv8-1 are illustrated above. The inner space marked as X of the glyph a1 indicates pa as the enclosed place. The matching Indus Valley glyph would be a6 and a7. The Indus Valley glyph a8 matches the glyph a1 as the enclosed place with the stretched-out cloth, maro.



tuiga: (Samoan) astring of beads. {tui: (MP) to penetrate with a sharp instrument, to fasten by passing a cord through holes. ga: (Samoan) <nga> to breathe hard.} hoga: <unknown>. {ho: (MP) to carry away, to transport.} puhi: to light a fire. ahi: fire. korua: (MP) a hole; (Tahitian) <orua> you two. pipiri: (MP) to be close together. {pi: (MP) the young of birds, the corner of the eye or mouth, to begin to flow of the tide. piri: to join; (MP) to come close.} koti: (MP) to intercept; (Fiji) a pair of scissors or shears. The Indus Valley glyphs that match the descriptions in Bv8-2 are illustrated above. The inside glyph of a1 indicates turou, a servant who is holding a long stick. The glyph a2 depicts tuiga, a servant who fastens by passing a narrow piece of cloth attached to the pierced small stick through holes. The glyph a3 depicts tui, which can be obtained from a2 by dropping the human glyph and slanting the stick. From the glyphs a1 and a2, the glyph a4 can be understood as two servants with long stick and one servant who threads on a string. The glyph a6 depicts ‘puhi i te ahi’. The curve line indicates the abdomen of the deity, the ear on the top depicts a fire right above the opening in the middle. From (b), the Indus Valley glyph for liquid (vai) can be determined. From the meaning of kotia as ‘a pair of scissors on the collar-bone of the deity’, the glyph for kotia can be identified as b2. The glyph b3 depicts ‘koti ko te henua’ as ‘a pair of scissors with the ground’. From the passage of ‘ko korua ra ku pipiri’, the glyph for pipiri can be determined as c1.

hakamata: <unknown>. {ha: four. ka: particle of the affirmative imperative. mata: (Samoan) to look at; (Tahitian) to commence anything.} kupega: <kupenga> (MP) a net (for fishing or catching birds); (Mangarevan) a filam thread. pa: to surround, enclosed field. ua: (MP) the back of the neck. ai: (Tahitian) to copulate. hupee: <unknown>. {hu: (MP) to bubble up; (Tahitian) to be damp or wet. pee: (Mangarevan) to make soft by soaking in a liquid, to separate into constituents by soaking.} hi: (Tahitian) to gush out as water, a syringe. The Indus Valley glyphs that match the descriptions in Bv8-3 are illustrated above. The partial glyph marked in a square box of (b) depicts pa as an enclosed field. The picture (a) shows the physical location located on the island which resembles the shape. The Indus Valley glyphs in a1



show pa in a opened and closed forms, respectively. The glyph b2 depicts ‘a ika’ (the deity in an enclosed field as a bird and a fish) which was deduced from ‘ai ka’. The glyph b3 depicts kupega as ‘threads of a squid net for catching a deity used in an enclosed field’. The glyph b4 depicts ua as ‘the backbone of a deity in an enclosed field’. The vertical short line in the center indicates ua and it’s come from the glyph of b5. The glyph b6 depicts ‘ko te rima kua hakamata’. The glyph b7 depicts hupee as ‘to separate into constituents’. The glyph b8 depicts hi as ‘to gush out mucous’.

vage: <unknown>. {va: (MP) local extension. ge: to emit short repeated sounds.} rua: two, second, hole, to vomit. tagi: (Tongan) to call out, to cry for. vai: water, liquid. viri: to cause to shake; (Mangarevan) to twist two things together. The Indus Valley glyphs that match the descriptions in Bv9-1 are illustrated above. Glyph a5 consists of two separate rongorongo glyphs: vage rua as two holes and vai as water. The corresponding passage for the glyph a5 would be ‘te vai mai ai’ and ai means ‘copulate, or join’. In other words, ai indicates the join of two glyphs. Glyphs a6 and a7 are Indus Valley glyphs that contains the glyph for ‘vage rua’. Glyph a8 indicates ‘viri te vai’ which depicts the motion of shaken water.

metimeti: <unknown>. {me: (MP) a particle used as a future imperative (must or let). ti: to bend down.} haati: <unknown>. {ha: four. a: (MP) the collar-bone, the Deity. ti: to bend down to allow someone to climb on one’s back to be carried.} kava: (MP) bitter, sweat. {ka: to be lighted. va: (MP) local extension.} The Indus Valley glyphs that match the descriptions in Bv9-2 are illustrated above. In the Indus Valley script (a), there are two glyphs can be identified to describe ‘ko te metimeti – e kava kava’ as ‘two local extensions must be bent down’ and ‘haati ia’ as ‘pin down the collar-bone of the deity at four locations’.

hahaú: to tie, to fasten up. {hahau: (Mangarevan) to gather, to join with cords which interlace one at the end of another.}



The Indus Valley glyphs that match the descriptions in Bv9-3 are illustrated above. Glyph a1 depicts hahau as ‘to join with cords which interlace one at the end of another like a net’. Glyph b1 depicts ‘kua hua ko te poporo’ as ‘overhung with the round block of woods’.

hakaroa: <unknown>. {ha: four. ka: particle of the affirmative imperative. ro: (MP) in, into. a: (MP) the collar-bone, the Deity.} ravarava: (Samoan) the wrapper round the loins. eaha: (MP) what?, of what kind?, whatever, to do what?. {ea: (MP) to appear above water, to be brought to land. ha: four.} The Indus Valley glyphs that match the descriptions in Bv10-1 are illustrated above. Glyph a1 depicts hakaroa as ‘four servants to get in’. Each short line in the squares indicates a servant. Glyph a2 depicts ravarava as ‘the wrapper round the loins’. Glyph a3 depicts ‘ko te ravarava ku moe – eaha’ as ‘four servants who had been brought to land where the latched deity was moored to the ground’.

heu: (MP) the eaves (overhanging edges) of a roof. {hi: (MP) to catch with hook and line; (Samoan) to hoist; (Tahitian) to gush out as water. a: (MP) the collar-bone, the Deity} {ha: four. tu: (MP) to stand, to be served, the part of a fishing-net which is first in the water.} ihe: (MP) a small fish with a long beak or snout; (Tahitian) a spear. The Indus Valley glyphs that match the descriptions in Bv10-2 are illustrated above. Glyph a1 depicts ‘hatu – ihe’ as ‘4 servants in position for the spear’. Indus Valley script a2 contains the glyphs that depict the process described in Bv10-2.



hakareva: <unknown>. {ha: four. ka: particle of the affirmative imperative. reva: (MP) to float, to move upwards.} hakaruoi: <unknown>. {ru: (MP) to shake; (Moriori) two. oi: (Tahitian) to mingle different substances by working with the hand in a dish; (Mangarevan) to stir.} The Indus Valley glyphs that match the descriptions in Bv11-1 are illustrated above. The upper diagram shows Indus Valley glyphs which describes the process of ruoi. Four short vertical lines around the glyph in the middle depicts haga or haka. The lower diagrams shows the glyph of hakareva. When four surrounding vertical lines are removed, the remaining glyph depicts reva. If a partial glyph is added or subtracted, the glyph transits into next one which means a new meaning.

The Indus Valley scripts that match the descriptions in Bv11-2 are illustrated above. Glyphs a1 and a2 indicate two servants and local extension (kava). Glyph a3 depicts ‘two spears (ihe)’. Finally, glyph a4 depicts ‘liquid fertilizer (kava)’.



The Indus Valley glyphs that match the descriptions in Bv11-3 are illustrated above. In the glyph a1, the vertical short line indicates one servant and the speck on the fish glyph depicts tea as an arrow. As a whole, a1 is the Indus Valley glyph that depicts ‘hau tea’. In the glyphs of (b), 4 specks indicates 4 servants and it depicts ‘tara huki’.

The Indus Valley glyphs that match the descriptions in Bv12-1 are illustrated above.

The Indus Valley glyphs that match the descriptions in Bv12-2 are illustrated above.

4.1.3 Relational Diagram of Indus Valley Hieroglyphs The key to understanding Indus Valley corpus, or InVa corpus in short, would be to find out the meaning of individual InVa glyphs. As explained and illustrated above, the interpretation results of AK Tablet suggest that InVa glyphs can be categorized into groups based on their shapes or the context of the interpreted crusts.

4.1.3.1 Geographical Class



When InVa glyph is considered to be rendered from geographical shapes, they are categorized into Geographical Class, or G-Class in short.

Figure 2 Motu Nui rock in the sea located off the west promontory of Easter island and its presumed hieroglyph found in Indus Valley script (27°12'2.77"S, 109°27'9.88"W)

Figure 3 InVa glyph derived from a Chinese letter for turtle which indicates the location fix of nuku honu (the land of turtle)



Figure 4 InVa glyph indicates the location of rapue (the hillocks on the east)

Following are the collection of InVa glyphs which can be classified into G-Class.

Figure 5 InVa glyphs in G-Class

Each G-Class InVa glyph can be used as the base of other InVa glyphs which can be grouped into.

Figure 6 Relational diagram with G-Class InVa glyph which indicates the arrival of visitors

The relational diagram is a method to associate two or more InVa glyphs which show a strong resemblance in its design. The most important benefit of the definition of relational diagram is



that if the meanings of two glyphs separated from each other in two steps are known, then the intermediate glyph between those two glyphs can be guessed. For example, the InVa glyph of muto nui (the one which has a small circle on the top of arrow) is two steps apart from the InVa glyph which indicates the west promontory. The intermediate InVa glyph inbetween them can be regarded as ‘to arrive at the island’ since it represents the movement from motu nui to nuku honu.

Figure 7 Relational diagram with G-Class InVa glyph which indicates restraining the deity, i.e. visitor’s airship

Figure 8 Relational diagram with G-Class InVa glyph which indicates the location of the hillocks called rapue on the east side of the island

4.1.3.2 Four (haga), five (rima), and eight (hahaga) servants haga is regarded as ha+ga and it is interpreted as ‘four servants’. hahaga is regarded as ha+ha+ga and it means ‘eight servants’. rima means ‘five, fifth’ and it is interpreted as ‘four servants and their leader, or five servants’. Following are those InVa glyphs which includes haga, hahaga, and rima.



Figure 9 InVa glyphs represents a group of servants

Short vertical lines around a glyph is generally interpreted as ‘four servants who stood arround some object and conducted a specific work indicated by the central glyph’. For example, the InVa glyph with a deity in the center and four vertical lines at four corners indicates that four servants who took each corner of the deity.

4.1.3.3 Categorizing Indus Valley Hieroglyphs The vertical line on the left side of the glyph of moored-manu indicates the pole on the ground where the airship is being moored to and the diagonal line from the pole to manu indicates the rope called maro. The upside-down glyph of manu is represented in a bird-shape, which also indicates that the airship is seized down on to the ground. Based on the composition of moored-manu glyph, other various type of airships can be identified from the Indus Valley glyphs.

Figure 10 Various type of airships

There are five glyphs that have same composition as the moored-manu glyph. Each symbol represents a different type of airship. Among them, (a) and (e) might be regarded as same type,



but it was considered to be different. When one more step is taken from here, each airship symbol has many different, but very similar glyphs that can be categorized into same class.

Figure 11 Various attributes of each airship class

The first glyph on each row represent an airship of different class. The remaining glyphs on each row represents the attributes of each class of airship. An airship in the context of AK tablet is described as a fish when it was moored to the ground and as a bird when it was airborne. The above five classes of airship seems to not apply to that kind of interpretation. It’s hard to tell which one represents the moored airship and which one in the sky. However each glyph should mean something to each airship. From the glyph of moa-on-manu, some of the Indus Valley glyphs can be categorized under moa class.

Figure 12 Various attributes of the airship (moa)

All glyphs are based on the airship moa which looks like a fish. Each glyph on the row represents different attribute of moa, or in general an airship which is moored to the ground. As described in the AK tablet, moa can be moored to the ground structure. From the glyph of moored moa, some of the Indus Valley glyphs can be categorized under ground structure class.



Figure 13 Various attributes of ground structure

When the glyph of manu is compared to other Indus Valley glyphs and analyzed with the context of flying airship, the following relationship can be rendered.

Figure 14 Glyphs indicating flight control and navigation

The first glyph represents manu. The second glyph resembles the upper part of moored manu which is represented as a bird with upside down. The vertical line which looks like holding manu upward. It is interpreted as ‘manu in the sky’ or ‘flying airship’. When the upper part of manu-in-the-sky glyph is dropped off from the top, it becomes the third glyph which is interpreted as ‘navigating manu’, i.e. navigation. When the navigation glyph is combined with a man figure, it is interpreted as a navigator or a pilot as illustrated in (d). Since the navigator glyph is given by combining the navigation glyph and a man glyph, the Indus Valley glyphs which has a man glyph in it can be categorized into various classes of working men.

Figure 15 Persons who do the commanding works like a pilot

Those four glyphs have different glyph in its head, which indicates that they are in a commanding position in its task category.

Figure 16 Persons who do the hand works

The Indus Valley glyphs which have a glyph on its hand indicates that they can be categorized into a hand working class of men. The following glyphs are categorized into a class of men



between the commanding class and the hand working class. They have glyphs on the head and the hands.

Figure 17 Persons who take the responsibilities between the commanding and hand working classes

The following glyphs that have glyphs on its legs are categorized into a class of men who do the leg works.

Figure 18 Persons who do the leg works

The glyphs that have glyphs on its hands and legs are categorized into a class of men who do both hand and leg works. They are assumed to take the position between persons who do the hand works and who do the leg works.

Figure 19 Persons who do both the hand and leg works

Based on the above classifications, the people who lived in the Indus Valley can be categorized into five classes of men who do the commanding works, who take the responsibilities of the person who do the hand works, who do the hand works, who take the responsibilities of the person who do the leg works, and who do the leg works. The following three glyphs are interpreted based on the relationship with the navigation glyph.

Figure 20 Glyphs indicating lands and the sea

The triangle-shaped symbol is interpreted as land or ground. The first glyph indicates the navigation over the land. The third glyph is interpreted as ‘something in-between lands like the



sea’. So far, the Indus Valley glyphs have been categorized based on three glyphs that fit the context of AK tablet. They are moa-on-manu, moored manu, and moored moa glyphs. If there had been some links between the Indus valley and the Easter island, then there should be a glyph that possibly indicates the Easter island.

Figure 21 Glyphs indicating the Easter island

The fish glyph indicates an airship and the glyph that looks like smaller manu is regarded as moa. The curves surrounding those two glyphs is interpreted as ‘a place’. The place where the airship moa is located indicates the Easter island. Based on that interpretation, the surrounding curves is interpreted as ‘the Easter island, or an island’. Then, what the curves stand for? Those curves might indicate the shore lines of an island. Otherwise, each curve might stand for the shape of the moon. The curves face the opposite direction and it might indicate the change of moon.

4.1.4 Moon Phases and Counting Nights

Figure 22 Moon phases observed on northern (left) and southern (right) hemisphere on Apr. 2009

If the people at Indus Valley had traveled around even up to Easter island, there should have been the directional changes of moon phase. The moon phase changes abruptly to face the opposite direction when they across equator. Indus Valley is located in the northern hemisphere and Easter island in the southern hemisphere. The above picture shows how the moon looks like where the observer is located, specifically on April 2009.



Figure 23 Moon phase changes across equator before, after, and through new moon

For example, the above picture illustrates eight different cases of moon phase change according to when the equator crossing is taken place. MPC-1 (moon phase change one) indicates that the trip starts on the northern hemisphere and any equator crossing is not happened. In other words, the trip starts and ends on the northern hemisphere. MPC-2 indicates that the trip starts on the northern hemisphere and ends on the southern hemisphere. There was the equator crossing on Apr. 22, 2009 before new moon. MPC-5 shows the same equator crossing, but through new moon. MPC-8 shows a trip from southern to northern hemisphere after new moon. Now, let’s examine some Indus Valley hieroglyphs under the context of moon phase changes.

Figure 24 Indus Valley glyphs indicating moon phases

Actually, it is uncertain that the concave line represents the moon, but a fat concave shape in the rongorongo script indicates the moon. Glyphs under the group II consists of multiple concave lines and it is presumed to represent the number of moon, i.e. the number of nights. The glyph II-1 indicates two nights. The glyph II-2 also indicates two nights, but the second moon phase shows an extra shape on its shoulder. If the second partial glyph is something to indicate specific moon phase, then the glyph II-2 might be interpreted as ‘for two nights till a specific moon phase’. The glyph II-3 indicates six nights. The most interesting glyph in the group II is the fourth one. It consists of 12 vertical lines enclosed by two moon phase curves that faces same direction. Maybe it is supposed to indicate 14 nights, but it might be interpreted differently. It indicates the second moon phase which is 12 nights apart from the first moon phase faces same direction. The only way in which this scenario stands is when one comes across the equator from southern to northern hemisphere. The moon phase faces same direction even 12 night later if the trip started on Apr. 20, 2009. If the vertical lines in between two moon phases indicates the interval, then the glyph which has no vertical lines like glyph III-1 can be interpreted as ‘cross equator on same night’. MPC-3 before new moon and MPC-7 after new moon fall into this category. The only case for the glyph III-2 is MPC-4, which is the 8-night trip on the southern hemisphere. It does not apply to MPC-3 and MPC-7 since the moon gets out of its phase within 4 or 5 nights. In other words, the second moon phase of the glyph III-2 should face the opposite direction to the first moon phase.



The most interesting glyph in the group III is the third one. There is a partial glyph in-between two moon phases which faces the opposite direction. If the glyph III-1 without any partial glyph in-between two moon phases is regarded as same-night equator crossing, then the glyph III-3 might be regarded as the trip on the southern hemisphere through new moon. In other words, the partial glyph in-between two moon phases is interpreted as ‘new moon’. Groups VI and V shows some variants of moon phase. Each glyph is based on single moon phase. It seems that each glyph indicates a specific moon phase, i.e. a particular night around the circle of moon phases. The glyph I-1 shows a person who holds moon phase glyph. It is interpreted as ‘someone who has the skill to tell the specific time on moon phases like a meteorologist’.

4.1.5 G1 + G2 G3

Figure 25 Combined hieroglyphs

The glyph G1 denotes a moored airship. The vertical line denotes the ground or a ground structure and therefore the glyph G2 which is separated from G1 denotes an airship. In the Indus Valley script, there are several glyphs that seem to be based on G2 as illustrated in the above figure. The glyph A1 is regarded as a combined glyph of G2 and two A3s. The glyph A3 or A4 denotes a person or worker who has a specific skill indicated by the symbol on the hand. A1 can be interpreted as ‘use an airship to transport two workers.’ Both B1 and C1 are similar to A1 except for the transportation of different persons. The glyph D1 has a different composition and it has the symbol of person (a mover) on the left side. D1 can be interpreted as ‘let the workers move loads to an airship.’ The glyphs E1 and F1 contain a moon phase symbol. E1 can be interpreted as ‘transport by an airship till a specific moon phase.’ F1 can be interpreted as ‘depart with an airship on a specific moon phase.’ F3 might denote some place or destination.

4.1.6 Levitation and Maneuvering The AK tablet describes that both moa and manu are capable of floating in the midair. Since they were susceptible to the wind, the airship should had been moored to the ground when it is not moving. The first night when manu arrived at the island, moa flew out to intercept manu in the sky, threw out a rope to bind, and hauled manu onto the ground in front of orongo ruin. It indicates that manu was less capable of holding steady in the midair or freely maneuvering in short distances. Maybe manu was built for a long distance flight, not for commuting. Next the Dholavira script is analyzed.



Figure 26 Crust definition of the Dholavira script (flipped horizontally from the original)

B1 is interpreted as the flight control and navigation, which also means the maneuvering. If both the levitation and maneuvering are the basic technologies which consisted of the airship, then B2 could be regarded as the glyph which indicates the levitation. By combining the meanings of B1 and B2, G2 can be interpreted as the airship or flying vehicle. It is obvious that A1 can be obtained from A2+A3+A4. In the AK tablet, A2 indicates the land and A4 means water. A1 can be regarded indicating the earth. From A- and B-sub crusts, the G glyph is interpreted as an airship which can fly around the world. The header, H1 glyph looks like a wrench. If it indicates a tool, then by definition of crustography both H1 and G1 tells us that the Dholavira site was a place where the airships had been built and repaired.

Figure 27 Various attributes of levitation glyph

When the B2 glyph is interpreted as the levitation, then the following glyphs are classified into that category.

4.2 How to Interpret Indus Valley Corpus The most common characteristics found in the InVa corpus is the pair of fish glyphs in the middle of it as illustrated below.

Figure 28 An Indus Valley script (from Lost Languages [4])

Determining how to handle such a composition is the first step to the interpretation of any InVa corpus. It is assumed that the pair of fish glyphs in the middle can be regarded as one of the following cases.

1. Two deities side-by-side. The glyphs on the left half belong to the deity glyph on the left side and the glyphs on the right side are for the right deity glyph. For example, the first 6



glyphs are for the deity glyph in a gray background. The last glyph is for the deity glyph in a white background.

2. Deity in the sky or moored to the ground. The left half indicates either activity on the deity or activity on the ground. In other words, when the left half indicates activity onboard, the righ half is for activity on the ground.

Such an assumption inevitably leads us to the conclusion that the reading direction for the left half will be left-to-right and the reading direction for the right half should be right-to-left.

Figure 29 Relational diagram of InVa corpus

In the script, the glyph (a) is replaced with G6 and the glyph (b) with G9. The assumption made here is that the original glyphs (a) and (b) can be replaced with their equivalents G6 and G9. In other words, (a) is the shorthand for G6 and (b) for G9. As described in the Section 4.1, (a) indicates a person who takes the responsibilities between the commanding works and the hand works and (b) indicates a person who do the hand workings. Based on the shape of glyph, the person represented by (a) indicates a person who moves some loads by hands. Let’s call him a mover. Likewise, the person represented by (b) indicates a person who handles a tool. Let’s call him a mechanic since it looks like a grabbing tool. The glyphs from G2 to G5 indicates a relationship between them. G2 indicates something like some raw material. By using a tool represented by G3, G4 is extracted from G2. Then G5 is produced by processing G2 after G4 was extracted. When aggregated, the above script is interpreted as ‘When a worker G1 brings in a



material G2. The essence G4 is extracted from G2 by using a tool G3. The remaining material is further processed to produce G5. Then a mover G6 carries G5 in to a mechanic G9 who is working at the location G8 inside the airship G7’. The script indicates a work flow in which a material represented by G2 is moved by G2, processed, and delivered to G9. The script is an instruction for someone who carries this script. The glyph G7 represent an airship in general and the glyph G8 indicates a location where the person who gets the material is located. A short vertical line indicates that the person is located in the inside of an airship.

Figure 30 Raw material processing

The mover A brings in raw material G2. By using a tool G3, the inner part of raw material G4 is separated from G2. The remaining part of raw material G5 is collected and processed (or mixed) by the person G6 and the resultant product G7 is obtained. In other words, G4 and G7 are obtained by processing G2.


possible links between easter island and indus valley

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