the vedic basis of indus culture

8/3/2019 The Vedic Basis of Indus Culture

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THE VEDIC BASIS OF INDUS CULTURE

(Key Note Address By Late Dr.Fatah Singh - Seminar held in JNU StudyCentre, New Delhi)

"There is one uniform and universal tradition of mankind” says late René Guenờn, the Frenchsavant, and that “it has been best preserved in the Sanskrit texts, like the Vedas and Upanishads”.This accords with the vedic concepts of viśvamãnuşa and viśvãyu, both meaning universal man. TheAtharva-Veda moots out the idea of Brihad Samveshyam Rãştram,1[1] that is, the broad-basedcomprehensive nationhood. Accordingly, there is a long hymn2[2] to the Motherland where themother Earth is described as nourishing the people speaking difference languages and followingdifferent faiths, but all living like the members of one and the same household. Thus the Veda isindeed the basis of the multi-racial, multilingual and multi religious Indian society that, in spite of somany onslaughts from within and without, continued to stay until now like rock of granite. This issomething which the modern world, torn as-under by racial, linguistic and religious differences,ought to have envied and investigated for its own good.

MODERN TREND - The modern world has, however, chosen to do the opposite, European scholarsand Indians trained in their modern sceptical and evolutionary mode of thought have looked theIndian tradition with their eyes tarnished by racialism, which Julian Huxly rightly condemned as "amyth and a dangerous myth." This is particularly germane to the controversy regarding therelationship between the Veda and Indus valley culture. Before this problem is discussed here, thelearned audience is requested to keep in mind the following few facts which speak for themselves : -

1. The so-called Indus valley culture is an All India culture. The greatest proof is the Indusscript which is also found on punch-marked coins, discovered almost in all parts of thecountry.

2. Late Dr. R. D. Bannerjee, who is credited with the discovery of Mohenjodaro was the first topoint out that is was a relic of the Vedic age. His boss, Sir John Marshall, however, took hisassertion as an offence and got him dismissed from the government service.

3. Prior to that, Bishop Coldwell had proposed the theory that Sanskrit words found in thesouthern languages were the reminiscence of the remote past when the Brahman of theNorth imposed his language and religion on the people of the south. "This started anti-Brahmin and anti-North movement in the South.

4. Also, Sir John Marshall and Reverend Father Heras passionately propagated that Indusvalley civilization was proto=Dravidian and non-Vedic, and that the cities of Mohenjodaroand Harappa were destroyed by Aryan invaders.

5. It was the period of twenties when Gandhiji published his 'Hind-Swarãjya' and said thatSwarãjya was a vedic word which means much more than home-rule. He also appreciatedSwami Dayanand who was the first to emphasize the need for Swarãjya and also for goingback to the Vedas.

1[1]अअअअअअअअअअ अअअअअ अअअअअअअअअअअअअअअअ अअअअअअअअ अअअअअअअअ अअअअअ (AV.3-8-1)

2 [2] अअअ अअअअअअअ अअअअअ अअअअअअअ अअअअ अअअअअअअ अअअअअअ अअअअअअअ ( Av. 12.1.45)



6. After our anti-British uprising in 1857, the alien rulers had made a vigorous effort to pushup the policy of 'divide and rule'. Missionaries and scholars were used to advocateseparatism on the basis of region, religion, race, language and caste or tribe. I do not mean toname them, as they are too many.

7. Most of this work was done at Government cost. A glaring example may be seen in the hugebook, written by Sir Chocklingam Pillai, who tried to prove that Aryans and Dravidians(formerly known as Velans and Surans) who had fought bloody battles, ultimately got mixedup with each other, but the people of Madras in India and those of British in Europe can stillclaim to be pure Dravidians.

8. Unfortunately, even in free India , this trend of separatist thinking continued to get moreand more impetuous, with the result that our people were never divided so much as they aretoday. Scholars of different disciplines seem to have vied with each other in trying to provethat India has throughout been a great museum of races and languages, religions and beliefs,without any common bond to make her a nation or a paramount power.

INDUS VALLEY CULTURE - This nefarious trend has particularly misguided our scholarswith regard to the so-called Indus valley civilization. Father Heras and John Marshall had saidthat the worship of Mother Goddess was unknown to Vedic people. This is totally falsified by thebooks of Gyana Sahney and Dr. S. M. Gulethi and the scholars of Pondichery including ShriAurobindo himself (2). The plea that the horse, so popular in vedic tradition, was unknown to

Indus people stands now contradicted by the discovery of horse-bones in the later excavation of Indus sites. Similarly, the statement that cow deified in the Vedas was conspicuously absent onthe relics of Indus valley is hardly tenable, when we find different kinds of bulls depicted onIndus seals. (3) Sacrificial altars, peculiar to Vedic tradition have been found at Kalibanga andseveral other later excavations of Indus sites. (4) The discovery of furrowed land at Kalibangadisproved the theory that Indus valley civilization was only urban and not rural like Vediccivilization. (5) The view that the Vedas have no worship of Shiva as known to Indus peoplestands exploded by following evidence :

(a) There is a Vedic Mantra addressing God as Shiva :

अअअअअअअअअअ अ अअअअअअअअअअअ अअअअ अ अअअअअअ अअअअअ। । (yaju. 3.63)

(b) Normally, the word shiva is used for the Supreme deity, called Agni.

अअअअअअ अअअअअअ अअअअअअ (Rv. 10.3.4 , 10.124.9)

(c) The Shiva is the “old home, the wealth, and the friendship having the potentiality to bemany” (Rv 3.5 & 6)

The adjective Shiva in superlative is used for the Godhead, called Indra (Rv. 8.96.10) :

अअ अअअअअअ अअअअ अअअअअअअअअ अअअअअअ अअअअअअअ अअअअअ अ।

अअअअअअअअअ अअअ अअअअअअअअ अअअअअअअअअअअअ अअअअअ अअअअअअअअ अअअअअ अअ।।

In fact, it is the flame of Agni that figures as Shivalinga, that is, the characteristic mark of Shivaconceived as the great red whitish organ of the brahmachari God. The invisible one is supposedto sprinkle retas that gives life to the four quarters of the earth. (R.V. 11-5-12)

(e) Likewise, the plea that the term Purandara used as an epithet of Indra signifies that anti-urban ethos of the Vedic people has no validity, because Indra is known as the Pura-eta, theleader of cities (RV. 6.47.7) and a paura (citizen). Moreover, all Vedic gods have a city namedAyodhya to live in. It is the city of nine doors and eight circles:-

अअअअअअअअअ अअअअअअअअ अअअअअअअ अअअअअअअअअ(aaAaaaaaaaaaaaaaaaaaajjjjjjllaaaasssaaaaaaaaaaaaavaaaaaklllbnmmaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa (Atharva Veda.10.2.30)



INDUS SEALS AND PUNCH-MARKED COINS - Now we can take up the evidence of punch-marked coins and Indus seals. For the time being I shall not however take the help of all the fourscripts which I discovered on Indus seals. I will only confine myself with the few characters of Armenian script which are found on Indus seals and punch marked coins alike. These are likeO, M, U, V and ^. Comparable to those of Roman script with which we are so familiar.

First of all, here is a monogram composed by O and M. This is found in two forms as OM andMO (picture not given here).

INCLUDEPICTURE "../../../vipin/My%20Webs/fatah/sindhu%20website/sindhu2/ahur.GIF" \* MERGEFORMAT

Plate 1

The first occur on punch-marked coins and rarely on the Indus seal with a peepal tree (plateNo.1). The second is available on a peculiar picture of Ahur Mazda of 500 B.C. (plate No. 2) whorepresents Iranian god, originally the Asura Mahat of the Veda. Accepting the phonetic value of O and M according to Roman script and proceeding from downward to upward, the firstmonogram would read as OM , and the second one as MO of the Vedas. OM is well known asthe name of God, though occuring only thrice in the Vedas. Mo, on the other hand, has beenused at least 23 times in the Rigveda alone. Also it is conspicuously present as a part of Ahuramazda (Plate 2).

The Vedic Mo is, in fact, an ante thesis of OM and figures as an indeclinable like OM. In the

majority of cases, MO is accompanied by another indeclinable, Su. and, at least in one mantra,MOSU is used as a contrast to O-Su.

अअअ अअअअअअअअअअअ अअअअअअअअअअअअ अअअअअ ।

अअअ अअ अअअअअ अअअअअ अअअ अअ अअ अअअअ अअअअअअअ अअअअअ ।।- RV. 7-59-5

OSU means the transcendental seat of OM within man. It is also described as a Svaraga,wrapped up in effulgence, where Brahman is united with Atman : -

अअअअअअ अअअअअअअअ अअअअ अअअअअअअ अअअअअअअअअअअअ अ अअअअअअअ अअअअअ अअअअअअअअअ।

अअअ अअ अअअअअअअअअअ अअअअअ ।।

This position is obtainable by the ascent of the lower consciousness to the supramental stage to bringthe Swarga down to the human body, and turn that 'house of clay' into MoSu of Lord Varuna :-

अअअअ अअअअ अअअअअअअ अअअअअ अअअअअ अअअ अअअअ (RV. 7.89.1)

In other words, MoSu corresponds to the heaven brought down on earth (body) which isotherwise called Moki3[4], the consciousness. The Mo is destroyed after death, or when one uses thespiritual Agni for selfish end. The ego (Aham) hurts Mo, otherwise it has a tendency to withdraw theconsciousness from without and to ascend upward. This withdrawal normally leads to Moki (night),

3[4] RV. 2.38.3



signifying the state of sleep, but can also lead to Oki, the divine brightness in the Veda. The Moki isthe utter darkness, represented by dark seventh series of U-shaped symbol in the Ahura mazdaimage, whereas the Oki rises upwards with the eighth series which is bright and closely touched bythe letter O, held by Ahura Mazda in his hand.

Ahura Mazda, from the Louvre Museum

Plate 2

http://www.historyforkids.org/learn/westasia/religion/ahuramazda.htm

MO AND OM -Thus, Ahura Mazda's Mo may be taken to indicate yogi's consciousness, ascendingto the supramental heights of brightness above the seven layers of consciousness as found in the ego,mind and five senses of an ordinary human being. As opposed to this, the OM of Indus seal (plateNo. 1) may be understood as the descent of divine power in the body of Yogi, energizing what areknown as nine padas (steps) of the consciousness, named Sahasřaksharã Vãk in the Vedas 4[1]. In the

Indus seal, the nine steps have been shown by the nine leaves of the Peepal tree, pointing out to theideal personality of the Vedic Yogi who was not satisfied only with his inner achievement, but hadbecome used to utilize his yogic power in accomplishing the best form of human behavior, calledYajna 5[2].

This ideal could be achieved only when the individual soul becomes used to be in communion withthe higher spirit. The two are then described as the two Suparņa friends, closely united andembracing the self-same tree :

अअअअ अअअअअअअ अअअअअ अअअअअ अअअअअ अअअअअअ अअअअअअअअअअअ । [Rv. 1.164.2.]

Out of this pair, one (i.e. human soul) is enjoying the tasty fruits of the pepal tree, while the other(higher spirit) simply looks on without tasting anything :-

अअअअअअअअ अअअअअअअ अअअअअअ अअअअअ अअअअअअ अअअअअ अअअअअअअअअअ । (RV. 1.164.20)

4[1] अअअअअअअअ अअअअअ अअअअअअअअ अअअअअअअअअअअ अअअअ अअअअअअअ (RV. 1.164.45 , kath. 30.10,TB. 3.2.1.4, ŚB. 1.7.1.5)

5[2] अअअअअ अअअअअअअअअअ अअअअ अ।





Although, here the higher spirit is depicted as quiet and calm, nevertheless his divine power isflowing together with that of individual soul. That is why the power of Yogi is called Sāhasrī orSahasrākşarā Vāk i.e. the joint flow of the two.

THE UNICORN - This joint flow of the power may be well compared with the flow of power,energizing the said nine steps of Vāk symbolized by the nine leaves of peepal tree in the Indus seal,(plate No. 1), if we accept the two unicorns of the seal to represent the two suparņa friends of theVeda. This is, however, not difficult. The word Suparņa literally means a beautiful leaf. Although inthe Vedic context, commentators have translated it as bird, in the context of the peepal tree of Indusseal, the two closely united with the tree like other nine leaves, can very well be conceived as twoleaves. They have been thus called beautiful (Su) leaves (parna) Moreover, here the two Suparņasbeing animal heads, with a horn, could not be conceived as birds.

Although, there is no horn associated with the Suparņa twins of the Vedas, never-the-less, theconcept of horn, found in the Veda, refers to the same context of spiritual union, This union of human soul with God results in a release of divine power called rajas which is described as a sun-likeeye and also as the highest horn, as if of rays :-

अअअअअअ अअअअअअअ अअअअअअअअअअअअअ अअअअअअ अ अअअअअ अअअअ अअअअअअअअ । (RV. 5-59-3)

In the unicorn of Indus seals (plate No.1), we, find this eye as well as the horn. In the spiritualunion of the individual spirit with the Supreme deity, the latter is Savita described as calm andquiet, and also as the horn of Řta, spreading widely and overpowering the hostile forces in man.What is most relevant is the fact that this description is comprised by a prayer that twins may neverseparate. The twins here are also united like the two unicorns of the Indus seal of peepal tree. TheVedic mantra reads as follows :-

अअअअ अअअ अअअअअ अअअअअ ।

अअअअअ अअअअअअअअअअअअअ अअ अअअअअअ ।

अअअ अअअअअ अअअ अअअअ अअअअअअअअ

अअ अअ अअ अअअअअअ अअअअअ अअअअअअअअ ।। [Rv. 8.86.5]

In the mantra preceeding to this, there is a call to the hero existing far away and having his tastywisdom (sumati). He is also conceived as a father. This clearly suggests the same spiritual union of human soul with his divine father (God), resulting in the release of the extraordinary powermentioned earlier.

A revealing fact in this respect is found in the sevenfold version of twins of this type. They areoriginally the inward and outward motion of consciousness, described as follows:-

अअअअअ अ अअअअअअअअ अ अअ अअअअअअअअअअ अअ अअअअअअअअअ अअ अअअअअअअअअअअअअ। । । ,अअअअअअ अअअअ ( अअअअअअअअअअअअअअ) अअअअअअअअअअअअअअ, अअ अअअअअअअअअअअ, अअअअअअअअअ, अअअअअअअअअ अअअअअअ अअअअअ अअअ अ अअअअअअअअ अअअअअअअअ (ज .ै 3-334]

Without going into the details of the each type of twins, it may be remarked that they allrepresent the stages of the consciousness, involving the ascent and descent, prior to the ultimateunion of soul and God in samadhi, as depicted in the union of two Suparņas of the Veda and the twounicorns of Indus seal with a peepal tree. This ultimate union causing the release of divine power, asdepicted in the Vedic mantras quoted above, and also as shown in the Indus seal of peepal tree, hasanother version in the Iranian image of Ahura-Mazda, emanating as eight series of U -shapedsymbols.



plate3

THE U – SHAPED SYMBOL -The U-shaped symbol (plate 3) in fact signifies a wave or rayof energy. This can be substantiated by a number of these symbols found not only on Indus seals, butalso in Vedic and Buddhist tradition.

In the picture of Ahura Mazda, the three series of U-shaped symbols are below the waist of Ahura Mazda, whereas the five above his waist. Although on Indus seals, we nowhere find theseseven series as such, but we do find U-shaped symbol with three or four lines as UIII and UIIII(plate 3). As these lines show numbers, the former may be taken to denote the three series below thewaist of Ahur mazda and the latter may be understood as those existing above the waist. Theremaining eighth having close contact with the O-shaped symbol, held by Ahura Mazda in his hand,may be seen in the union of the U-shaped curbs pertaining to the two unicorns of Indus seal. Thesame we find in the union of two Vedic Suparņas embracing the self-same tree.

As already stated, this union marks the ultimate union prior to which there are seven types of

duality in Vedic tradition, comparable to seven series of U-shaped symbol in the Ahurmazda picture.



It is significant that the Union of two unicorns of Indus seal may also be said to produce Om fromwhich the tree with nine leaves emanates. As the U-shaped symbol may also be taken to denote Usound of the Veda. we may compare it also with the short and long U occurring in what is Samhitā-patha of the Vedic mantras. The same is, however, rendered as OM (nasalised U) in pada-path. It isalso generally considered as the substitute of OM. The reason why it is retained as U without anynasal sound in the Samhitā patha may be seen in the meaning of the word Samhitā. Defined as closeproximity ( परः सिं नकषः संि हता ), the Samhitā is seen in the series of U-shaped symbol in the picture of Ahur mazda at the lower level, representing the energized human personality, before YogicSamadhi. The nasalized U of Veda may be, on the other hand, taken to signify the energy at thehigher levels, leading to OM of Samadhi. In the Veda, the former is called Asura, whereas the higherone is Mahat. The Ahura Mazda combines in Him the both and In this respect, he may be comparedwith Vedic Prajapati, creating gods from his side called SU and Asuras from the side, called Asu( सोदे वानसृजत् असोरसुरान् ).

THE UNION OF TWO U – SHAPED SYMBOLS–Thus Ahur mazda may be taken as the union of two U-shaped symbols, one representing the SU and the other the ASU of prajapati. Again, we findthe same union in the Lord Shiv combining both ghora (terrible) and aghora (terror-less). Also,there are several Vedic gods like Agni, Mitra, Varuna and even Indra who are called Asura, as wellas Deva. The form of supreme deity combining both the extremes is shown in an Indus seal (plate 4)where two human figures are presenting their U-shaped symbol to a third man seated on a thronewith a head-dress formed by the combination of the two U-shaped symbols. The same is also foundon the heads of three images of humans, found on three different Indus seals (plate No. 4). Each oneis sitting in an yogic posture, one of them has been wrongly declared by Father Heras as the image of the pasupati. All the three, in fact, represent the three stages of yogic practice.

Plate 4

The fourth stage of yogic meditation is, indeed, represented by the Indus seal (plate 5), wherea human figure backed by UIIII symbol, is presenting the U to a tree with triple series of foliage,

parallel to each other and comparable to the three series of U-shaped symbol, found below the waistofAhura Mazda. As a tree is Vedic symbol for human personality, the human figure, backed byUIIII may be taken to signify the higher eighth series of U-shaped symbol or the mahat level of human personality energizing the lower level signified by the tree with the triple series of foliage.After energization, the two warring aspects of human personality, represented here by two men,each with a branch of tree in his hand, find a third person to intervene between the two. After thisintervention, the person on the tree symbolizing the human soul in a body is able to challenge thetiger-demon proceeding towards a covered pot probably to take away some valuable treasure keptthere.

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1. Compare RV. 1.164.20; 10.27.22; SSU. 4.5.7

The covered pot is, in fact, a monogram formed by V-Shaped symbol, with a lid of somethinglike n-shaped symbol (plate No. 5). Thus it means Vana, figuring as synonym of Rashmi in theNighantu. Thus it is the vanam of the Upanishad which is said to be worshipped as Brahman. This isthe first flame of the spiritual fire heralding the state of Samadhi. Having the capacity to challengethe tiger-demon, it is, in a way, the state of readiness to overcome the hurdle to Samadhi. The sameis depicted in another Indus seal (plate No. 6), where a human figure is standing with an U-shapedsymbol in each hand with a bird ready to fly, appearing on his head. Besides him, there is a pole towhich he was probably formerly tied. The freedom from the pole means liberation, signified by the

winged bird ready to fly. A parallel symbolism is found in a Vedic story of Shunahshepa who wasultimately freed from the triple bonds with which he was tied to yūpa. (RV. 1-24-15).

plate 5



The attempt at the same spiritual readiness is depicted by an Indus seal (plate No. 6) which

has a cross on one side and a winged bird on the other. On the left wing of the bird is a snake,



whereas on the right is a peacock. In India , peacock, is proverbially the destroyer of snakes,representing the evil force that bind human soul. The bird on the seal is, however, seen to keep itsbeak on the side of snake, leaving the peacock free and peaceful. In other words, the bird symbolizesthe human soul, controlling the evil forces and allowing the forces of goodness (peacock) at the rightto have a free-play resulting in spiritual turn, symbolized by the swastika, with its four arms turningto the right. Quite opposite to this is another Swastik, symbolizing the turn of consciousness on thewrong side, inviting bondage. One of Indus seal depicts a cross, with two swastikas respectively onthe right and left.

plate 7

On the urn containing ashes of a dead person, a peacock is often painted (plate No. 7) obviously as a

symbol of the good power taking the dead to heaven. Elsewhere, we find a U-shaped symbolcontaining within itself the bits of a snake, with two peacock heads on either side at the top, eachhaving a crest resembling the flame of burning fire (plate No.7). This obviously means thatliberation is possible only by the spiritual energy symbolized by U-shaped symbol, but only when itis able to overpower the forces of evil and continue to guard its resurgence.

The U-shaped symbols are also found on the picture of Buddhist tradition symbolizing thetree of enlightenment. or Bodhi_Vriksha. Here we see at least four U-shaped symbols clearly. Twomore may be seen in one of the hands of the two guards standing on either side of the tree. At thetop of the tree, we find two U-shaped symbols joined together to the only flower of the tree. Withoutattempting to comment in detail, it is at least certain that here too the U-shaped symbol is associated

with the enlightenment of yoga-samadhi.



VEDIC YOGA - Now to speak of Yoga in the Vedas is to invite a strong objection from those whothink that Father Heras has said the last word on Indus Valley civilization. The Reverend Fatherbelieved that the evidence of Yoga found on Indus seals clearly shows that Yoga was a gift of Dravidians, and that Vedic people had no knowledge of Yoga. This is, however, absolutely wrong,firstly because the Vedas know a great variety of Yoga. To substantiate my view-point, I would liketo quote the following from the the Athrva-Veda :-

अअअअअअअअअअअ अअअ अअअअअअअअअ अअ अअअ अअअअअअअअअ अअअ अअअ अअअअअअअअअ अअअअअअअअअ अअअअअअअअ अअअअअअअ अअअअअ अअअअअअअअअअअअअअ अअअअअअअ - - - -अअअअअअअ अअअअअअअअअअअअअअअअअअअ - -- अअअअअअअ अअअअअ अअअअअअअअअअअअअअ अअअअअअअ - - - अअअअअअअ अअअअअअअअअअअअअअअअ अअअअअअअ - - - अअअअअअअ अअअअअ अअअअअअअअअअअअअ अअअअअअअ - - - अअअअअअअ

अअअअअ अअअअअअअअ अअ अअअअअअ अअ अअअअअअअअअ अअअअअअ अ अअ अअअ ( अ. अअ. 10.5.1-6)

Without attempting a detailed commentary, it may be pointed that five-fold Jişnu yoga meansthe jina-yoga or the yoga of tīrthankara of Jainism. The practices in five other Yogas mentionedthere as contributing to Jişņu Yoga may be taken to correspond to the five parmeshthis of Jaintradition. Besides these yogas, Veda also knows Hari Yoga(Rv. 1.56.1), Chandhas Yoga (RV.10.114.9) and gha-Yoga. In addition to these Yogas, the Vedas are full of indirect references topractice of yoga and meditation. In fact the concept of Veda itself is inseparably connected withYoga. In this connection, it will be sufficient to quote here the following two mantras :-

(1) अअअअअअअ अअअअअअअअअअअ अअअअअ, अअअअअअअअअअअअअ अअअअअअअअअ।

अअअअअअअअअ अअअअअअअअ अअअअअअअ अअअ अअ अअअअ अअअअअअअअ अअ।। (Av. 19.72.1)

(2) अअअअअअअअ अअअअअअअअ अअअअ अअअअअअअअ अअअअअ अ।

अअअअअअअअअअअअअअअ अअअअअ अअअअअअअ अअअअअअअअअ।। (Av. 19.68.1)

In the first mantra, there is a reference to descent and ascent of consciousness to dig out theVeda from the innermost sheath of human consciousness and to restore it to the same. This is

actually the yoga process by which one can gain what the mantra calls the Brahma-vīrya to do thedesired deed. In the second mantra, the poet talks of uniting the unmanifested and the manifestedlevels of human personality by filling the gap between the two. Then, he says how by digging out theVeda with the help of both the levels, the actions have to be performed.

Here, of course, the word Veda does not mean any book. It is the supreme consciousnessderived from the Non-corporeal agency, called Apuruşa. Hence Veda is called Aporuşēya, that is theVeda obtained from Apuruşa. This is possible only when all the extrovert human energies arewithdrawn to the inner-most level where the supreme consciousness called Veda is obtainable. Hereit is called Brahma-Veda. When it is drawn out to a little lower level for the first time, it is calledVedas, the wealth or achievement. Also it is known as Atharva- veda, meaning the Veda with a

downward trend. When it comes to mental level. it becomes threefold as Rik, Yaju and sāman whichare supposed to exist as un-differentiated at the Atharvaveda level.

The three, also known as Trayī represent the creative power responsible for the creation of many thoughts, desires, emotions and actions etc., but as Atharvaveda, it is the undifferentiatedtrinity working as the source of the three and their manifold creation.

It is on the analogy of the four Vedas, as the undifferentiated consciousness together withdifferentiated trinity, that the four Samhitās of Vedic mantras have been designed and named.

THE VEDIC LANGUAGE – Thus it is obvious that the word Veda has so many nuances and shadesof meaning. This could be possible due to a unique characteristic of Vedic language. In order tomake a particular word the composite symbol of more than one ideas or concepts, it is customary to



multiply the sense of root from which the word has originally come. This can be amply illustrated bythe root vid of the term Veda. The root vid can be used in the following senses :-

1) Vid, to know, to understand (vid jñāne)

2) Vid, to be, to exist, to live, to be present (vid sattāyām)

3) Vid, to think, to contemplate (vid, vicharaņe)

4) Vid, to be conscious of, to narrate, to explain, to live, to reside (vid chetanākhy ananivasesu)5) vid, to obtain, to acquire, to achieve, to accomplish (vid lābha).

It is with this and some other devices that Vedic people succeeded in making the commonsanskrit a suitable medium for expressing the supramental and transcendental truths grasped byrishis in Samādhi, This tendency has affected not only the epics, puranas and some other greatworks of Sanskrit language, but also the literature of other Indian languages and even foreigntraditions.

THE PARALLELS OF VEDIC SYMBOLISM - It will, therefore, be worthwhile to point out brieflysome of the parallels of Vedic symbolism in other traditions. The most conspicuous is the symbolisminvolved in the concept of the first man. According to Vedic tradition, either the human soul or Godis conceived as the first man. The same thing is meant in the following statements:-

1) "In the beginning, there was only Atman, all alone. He desired that he may have a wife, so as toprocreate" (Brh. Up 1.4.17)

2) In the beginning, Atman was all alone, like a male. After investigation, he found none excepthimself. ... He did not enjoy solitude. He desired a second one. He himself became like a male and afemale hugging each other. He divided this very form of himself, with the result that there was onehusband and one wife.... From this couple came the whole creation. (Brh. Up 1.4.1).

If we compare these statements with the Biblical account of Adam, we find that, besides thephonetic identity between the two names, Atman and Adam, there is also similarity in the details of the story associated with them. Like Atman, Adam also did not enjoy solitude and hence desired amate. This mate, however, was created by God. In Bible, nevertheless, it came out of Adam himself on the basis of his own rib that was taken out by God. Then the whole creation came into existence,as a result of their union, just as we find in Vedic tradition.

Another important name is Manu, the first man of Indian tradition. Like Atman, this is alsofound in Jewish, Christian and Islamic tradition as Noah or Nūh, while in ancient Egypt it wasknown as Minos, the first man. Here again, the flood legend associated with Indian manu is alsofound with full details in other tradition also. Likewise, Yama, the first to find path for gods, alongwith his sister Yami is present in Iranian tradition. The yama is also the Japanese first man afterwhom an island was named. Shyena, the first man of china, credited with bringing the celestial firefor men from heaven is the same as the Vedic Shyena. Th mahat Asuratvam of Veda figures as AhurMazda of Iran and Assur, the first man and God in Assyria, was also named after the same Asur.Similarly, the biblical Abraham, with Sara who is also called Sarai is comparable to Indian Brahmā,associate with Sarasvati and Shri.

However, these names as found in foreign countries can regain their original symbolic meaning onlyif they are compared with their Indian counterparts. According to René Guenón, the reason is that



these foreign traditions have long deviated from what he calls the universal and uniform tradition of mankind, preserved in Indian texts.

Because of this deviation, these names have lost all their threads binding them to the originalsymbolism and consequently they have become totally legendry figures.

In certain cases, some symbolic figures of the Vedas have been closely associated with somehistorical personalities. For instance, there is Jivrī, the father from whom the Vedas can be had (RV.1.70.5). The same may be compared with the angel Gibrael who brings the Āyats of the Holy Koranto the great prophet of Islam. Likewise, the Rig-Veda mentions Indra's one famous exploit - thecross (Kŗsē RV. 8.3.20. 32.3). This might have been unnoticed, had there been no mention of Kristi-hā, that is, the killer of a Kristi (RV. 9.71.2). It seems that Krişa is same as cross, and Kristihā issame as the killer of Christ. In that case, the Krişti of the Veda must be taken as Indra who is knownfor his singular exploit at the cross (Krişa) and then, the killing is only symbolic in the sense that thekrişti loses his 'envelope' (Vavri) and goes to his father's close and refined place and thereby makeshis progeny shining. The krişti Indra is the human soul who is relieved of his envelope of ignorance,when the power of Soma (divine bliss) who is conceived as the killer of Krişti, comes roaring.Obviously, it has nothing to do with any historical personality. Therefore, if it got mixed up with thehistorical Christ's life, it must be taken to point out his transformation under the influence of thedivine power which he got from his divine father. In this respect, very important evidence comesfrom Tamil literature. This is particularly valuable, as it is highly damaging to the theory thatDravidian cities of Indus valley were destroyed by the Vedic people who were aliens. Let us startwith the word Dravid itself. According to Tamil lexicographers and philologists, originally the samewas Dramitra from which came Dravid as well as Tamil. The word Dramitra is, in fact, Indramitra,the name of the twins (deities) In the Vedas. It has only dropped its initial 'In' to become Dramitra.This conclusion accords with the Vedic evidence ( R. V. 7. 33.10-14) which proves that Agastya of Tamil literature along with Vasistha was born of Indramitra. It is believed that Agastya went fromNorth to the South from where he never returned.

If we analyze the symolic description of the birth of Agastya and Vasistha, as given in theVeda, we find that the jar into which Indra-Mitra put their seman is human body and Vasistha andAgastya respectively represent the inner and the outer man. The former is confined to Ayodhya, thesymbol of the inner personality involved in spiritual development, whereas the latter is concernedwith the efficient social behaviour. The first belongs to uttara (lit, higher) direction while the latter istotally devoted to Dakşiņa (lit, efficient) direction. Vasistha rose from the inside of the Jar, but theAgastya came forth from the outer part of the Jar (human body).

DRAVIDA AND INDRAMITRA - Among the Indian names Vasistha comes from the root vas, toreside with superlative suffix 'istha'. Hence it literally means one 'Most residing'. This derivation isin keeping with Vasistha's deep devotion to Ayodhya. He can therefore, also be called Aga, 'the not-going one'. And Agastya means the one who expands the Aga. Representing the social behaviour of Man, Agastyva is really so.

Thus Indramitra may be taken to be at the root of what is called Sangama or the meetingplace of two different things. Sangana is also the name of the ancient Tamil Literature, classified intoAham and Idam, that is, ‘I’ and 'This', the inner and the outer world. This reminds us of theconcluding hymn of the Rigveda exhorting the people not only to walk and talk together, but also toknow each other’s mind and heart, so that there may be a beautiful co-existence.

The hymn here emphasizes the importance of what is called Samvananam, that is, emotionalintegration as well as Sañjyāna, that mutual understanding. The total outcome of this sangamaprocess may be seen in the Vedic concept of Rāştrī, that is, the goddess of nationalism, calledsangamani Vasūnām, the force uniting all the residents. The whole thing conforms to the concept of Brhad Samveshyam Rāstram, mentioned earlier.



VEDIC PEOPLE AND DRAVIDA : All this may sound ill to those who consider the Vedic andDravida people as hostile to each other. However, the Tamil tradition is totally against them. Here Iwould briefly mention a few facts. First of all, take the oldest Tamil book, named Tolakappiam,ascribed to the disciple of Agastya. According to this work, Vedic gods, Visnu, subrahmanyam,Varuņa and Indra were regarded as respectively controlling the forests, hills, waters and theagriculture land.6[1] On the evidence of Sangam literature of Tamil, Dr. Krishna Swami Iyengar7[2]points that the ancient Tamil tradition regarded the entire country from chera and pandya in thesouth upto the Himalyas in the North as one motherland. An ancient work, named Shilappadhi-kāram makes the mention of temples for Shiva, Subrahmanyam, Visnu and Indra, in the ancient cityof Kaveripattanam . Manimekhalā, a buddhist text, describes how this city was named after theriver Kaveri that came out of the Kamandalu of Agastya who was practicing penances at MalayaMountain of the South. The same ancient book also tells us how Agastya ordered a chola king tocelebrate a festival for Indra, lasting for twenty eight days. To see these great festivals, even the godsfrom Kailash in the north came to Kaveripattanam.

As the oldest Sangam literature dates back to 900 B.C., the facts mentioned above go to provethat at that time the whole of India was considered as one country, and that the south was, in noway, behind the worship of Vedic gods. There is reference to a Chola king8[3] who performedRajasūya Yajña. There is also the mention of a Chera-king9[4] whose empire extends up to theHimalayas in the North. Therefore, there is no wonder that, even in the pre-Ashokan and pre-buddhist times, the south was a strong centre of Vedic Culture. This is the reason why system of Tamil Grammar was named after Indra, the great Vedic god, or after Agasya, the Vedic Rishi.

In the face of this evidence, it seems rather odd to regard Dravid culture as non-Vedic. Thereis, however, God Murugan who is regarded as peculiarly Tamil and unknown to the northerntraditions. Dr. Karmarkar, the author of "The vratya System of Religions" regards it anuncontroversial evidence to prove that Dravidian culture is non-Vedic.10[5] On investigation, thisopinion has proved to be quite wrong. Murugan is same as the Vedic Marudgana. Besides thephonetic resemblance of Murugan and Marudgana, the detailed description of the two also tallies.The following details may be particularly noted :-

1) Murugan is red, having the colour of fire, Marudgana is also generally described as havingthe form (RV, 10.81.1). eyes (RV. 3.26.5). or the colour of Agni (R.V. 8.7.7.) or shining like the fire(RV. 10.78.3).

2) Murugan is said to be stationed on high hills, covered with trees. Marudgana resides onhills and their epithet giriştha, meaning stationed on hill (RV. 8.83.1-3) is well-known. The hillsassociated with them are called Vriksha-keshah, that is, the hills having trees as their hair (RV.5.41.11).

3) According to Tolakppiam, Murugan is the lord of a hill, named Kuranji, his dance is called'Kuravai', and the girls who dance with him are known as ‘Kurawa’. Here the particle ' Kura 'common to Kuranji, Kurvai and Kurava is the transformation of the Sanskrit word 'giri'. VedicMarudgana is also often associated with Vedic word 'anji' which, prefixed by giri, may be

6[1] The Vratya System of religious pp 131.

7[2] Some contributions of the South India to Indian Culture p.53

8[3] Some contributions of the South to Indian Culture, pp. 53

9[4] Ibid.

10[5] The Vratya Systems of religion, pp 131.



responsible for the Tamil term 'Kuranji’, know as the hill of Murugana. Marudgana is also famousfor dancing and playing like children (RV. 1.166.2; 10. 78.6; 5.57.5).

Like Tamil Murugan, Vedic Marudgana is also famous for their amorous as well as heroicbehaviour. Vedic Maruts decorate themselves like a bridegroom and, like Murugan, are associatedwith women (RV. 10.86.9; 7.96.2; 5.56.8; 6.66. 1.167.4-5). They are also called Bhadrajamagah,meaning those who possess noble wives (RV. 5.61.4). Like Tamil Murugan, they are also braveheroes (1.64.4, 122.15 5.54.10). When the word Senānī (lit. an armyman) or Raja is used for a groupof Maruts (R. 7.20.5; 9.96.1; 10.34.12; 8.4.), the beginning is made to treat Marudgana (lit. the groupof maruts) as the Murugan who is identified with Senani Katrtikeya (skand). The equation of VedicMarudgana or Murugan of Tamil with Senani Kartikeya Skand is quite natural, as Marudaganaalso, like Kartikeya Skand11[6] are the sons of Rudra (RV. 1.114.6-9, 2.33.1). Also like Skand, theyare born of Agni (RV. 1.71.8; 6.3.6). Peacock, associated with Tamil Murugan12[7] is not only thecarrier of Skand but is can also be seen in the 'Hansasah neelprişthāh (lit. the swans with blue back )of Marudgana13[8].

In the light of What has been said already, the identity of Dravidian culture with the Vedic isbeyond any doubt. Even if we do not accept Shri Aurobindo's view that Tamil is more distantlyrelated to Sanskrit than European languages, there is ample evidence to show that the two languageshave been originally very close with each other. Apart from many other similarities, the Tamilwords signifying family relations are peculiarly Vedic. The word appa meaning father has cognatesin the Vedic words like apyā, apna, apatya. āpyam. Āpi etc. all derived from root ap from whchcomes Tamil appā. Similarly, the Tamil ammā, meaning mother, is same as Vedic ambā, having mayother cognates like in amba, ambareesha, ambālikā, ambikā and Trayambaka.

Ignoring all these facts, it is really painful to learn that there has been a deliberate effort tocreate wedge between Dravidians and Vedic people whom they call Aryan invaders. Some eminenthistorians agree that "The use of Aryan and Dravidian as racial terms is unknown to scientificstudents of anthropology."14[9] There is no "Dravidian race and no Aryan race", says A.L.Basham.15[10] According to S.S. Sarkar, 'The terms Aryan and Dravidian refer to linguisticgroups."16[11] It is, therefore, high time that our scholars refrain from knowingly or unknowinglyplaying into the hands of imperialism to spread the virus of racialism which has been very muchavoided by our forefathers in the past. The fact that Vedic people gave us the concept of universalman and created professional groups and castes to wipe out racial distinction must be realized by ussooner than later. This is my humble submission to you and also through you to the Nation. MayGod lead us from darkness to light.

Note: The above paper was presented in a seminar as key note address by the eminent VedicScholar and Author, Late Dr.Fatah Singh, former College Principal, former Director, RajasthanOriental Research Institute and former Director Research, Ved Sansthan, New Delhi. The seminaron Vedic Basis of Indus Culture was held sometimes in Feb., 1993 in JNU Study Centre, New Delhi

11[6] For the birth of Sknad from Agni, See Ramayana 1.37; Mahabharat 3.228-229, Venkataramanayya' Rudra Shiva, pp. 72-

74

12[7] Dr. Karamarkar, the Vratya Systems of religion, pp. 131.

13[8] RV. 7.59.7

14[9] Nilakantha Shastri, cultural contacts between Aryana and Dravidians, P.2.

15[10] Bulletion of the Institute of Historial Rsearch II, Madras (1963).

16[11] S.S. Sarkar, Cultural Heritage of India Vol. 1 P. 17.



and presided over by Mr.Giri Lal Jain, former Editor of the Times of India. Among others,Mr.Jagatpati Joshi, former Director General of Archaelogical Survey of India and Dr.VivekanandaJha of ICHR also participated in the seminar. Dr.Fatah Singh in early sixties was able to decipher alarge number of seals of Indus Valley script and contributed several articles to ‘Svaha’ magazinepublished by Rajasthan Oriental Research Institute and published a book on the subject“SindhuLipi mey Brahmano aur Upanishdon key prateek”. Dr.Fatah Singh passed away in Feb., 2008 atthe age of 96 and after his death, a Ved Sangoshti on the books written by the eminent scholar wasorganized in Ved Sansthan, New Delhi.

( Y.K. Wadhwa )

the vedic basis of indus culture

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