Ancient Indian History

We have seen that several vedic seals are standards containing,vedic metrology,vedic geneology and proclamations by vedic kings.In this article we are identifying the Vedic King Divodasa and his relation to Varanasi/Kaasi and the Kumbha Mela of Prayaga.

Biswanath is identified as a part of the 'Soumarpeetha' of ancient Kamarupa kingdom. Present Biswanth area is a former part of Sonitpur district, well known for Da-Parbatia, Agnigarh, Bamuni Hills, Nagsankar temple. Biswanath is a centre of cultural development in Assam from the early times. The Bamgoan ruins dating back to c 800-900 CE provide evidence of brick fragments depicting birds, floral designs, human and animal figures, bricks used as corner pieces and other terracotta art objects to understand the cultural development of the area. Biswanath is very much important from historical point of view. The temple ruins and findings of the area itself describe the importance of the area. The history of Biswanath and its nearby area is well known after the expansion of Ahom kingdom to central Assam. In this paper an attempt is made to describe the iconographic features of the sculptures which are found in the area.

During more than four hundred years of Pala rule (8th-12th century AD), many centres of sculptural art flourished simultaneously in different regions of the extensive empire of Bengal and Bihar. The products of these centres were not only varied but also numerous. Thousands of sculptures of this period have been discovered and they now form part of the collections of a number of museums in Bangladesh and India. Many of them have also found their ways into a number of museums in Europe and America

Abstract: The clash between the Rig Vedic Indo-Aryans, the Pre-Rig Vedic Indo-Aryan tribes, and the Harappan civilization can be described as a world-historical dialectical conflict, in which the sovereign dominant culture subjugates the indigenous subcultures within its dominant caste system, through the ‘Sanskritization’ or ‘Aryanization’ of Ancient India. But the Pre-Rig Vedic and Harappan religions were not destroyed by the Rig Vedic Indo-Aryans, but were assimilated into Brahminic Hinduism, and reemerged, centuries later, in the Puranic bhakti cults of Vishnu, Shiva, and Devi. The conflict between the Rig Vedic Indo-Aryans, the Pre-Rig Vedic tribes, and the Harappan civilization, is depicted in the Shunashepa story of the Aitareya Brahmana, in which Shunashepa, a subaltern member of a Pre-Rig Vedic tribe, the Angirasas, is recruited as a sacrificial victim by the Brahminic priests, but escapes being sacrificed by reciting the Rig Vedic hymns to Varuna. The Shunashepa story then describes the master/slave dialectic through which a subaltern subject achieves upward mobility in the Brahminic caste system by sublimating and internalizing the sovereign sacrificial discourse, although that upward caste mobility requires that the subaltern subject abandon their indigenous subculture, as Shunashepa abandons his father to be adopted by the Vishvamitra. By contrast, the Rig Vedic Vrishakapi hymn describes the precisely opposite situation, in which a subaltern subject (Vrishakapi) is denied upward caste mobility and finally sacrificed by the Rig Vedic brahmins. But the Vrishakapi hymn, like the Shunashepa story, still testifies to the survival of Pre-Rig Vedic and Harappan cultures in Brahminic Hinduism.

The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight  and measure system of Harappa, The Harappan Symbol Of 
Man+ Trident And Its Relation To Kausika Visvamitra  And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of  Intersecting Circles And Its Relation  To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting  Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their  Relation    To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus  Script, Krishna’s Dvaraka  In The Indus Script, One Symbol  Of Indus Script Can Tell  A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money, A Solution To The Mystery Of  The Gundestrup  Cauldron, The Eternal Soma Of The Vedas,              Vedic Roots Of Ancient Egyptian Religion, A Veiled Visvamitra Soma Sacrifice  In The New Testament , The Script Of Indus Valley Civilisation-1:The Script Of Indus Valley Civilisation-2,
The Punny Plough,The Bearded Kings Of The Ancient,
Bharata -The Language Of The Indus Valley Civilisation,
The Script Of Indus Valley Civilisation -3,The Script Of Indus Valley Civilisation-4,Harappan Vedic Sacrificial Feasts In Mesopotamian Art And In The Bible,The Script of Indus valley Civilisation-6 :A Vrishni Silver Coin And Its Harappan Source,The Script of Indus valley Civilisation-7: The Conversion Of Makha(Sacrifice) To Tanka(Mint) In The Indus Script,Script Of Indus Valley Civilisation-8:Vedic Root Of Gudea’s Akshayapatra,Three Men In A Boat Seal Evidence Of Indus –Dilmun Trade,The Script Of Indus Valley Civilisation-9: The Goodluck Symbols Of The Indus Script, The script of Indus valley civilisation-10:Identification Of The True Vedic Soma From Harappan Seals  Confirms The Indus Valley Civilisation As Vedic, The Script Of Indus Valley Civilisation-11:
Daksha (Soma) Yaaga-The Vedic Eucharist -In The Indus Script , The Script Of Indus Valley Civilisation-12:
Dāśarājñá And Dasaratha In The Indus Script, The Script Of Indus Valley Civilisation-13:The Silver Palm Seals Are Rosetta Stones Of The Indus Script , Vedic And Sumerian Linguistic Evidences For The Language Of Harappa, The Script Of Indus Valley Civilisation-14:The Difference Of Meluhha And Mlecca,
The Script Of Indus Valley Civilisation-15:The Shift Of The Capital Of The Vrishnis From Mathura( Kalibangan) To Dvaraka( Mohenjodaro), 6000 Year Old Mehrgarh Wheel Amulet Employs Vedic Script, The Script Of Indus Valley Civilisation-16:Vedic Sarasvati-Ganga Civilisation, The Identity Of The RigVedic Rivers, Mohenjo-daro-The City Of Krishna -

I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people, places and gods etc. My perception is that only a comprehensive study of ancient vedic  metrology can decipher the script symbols satisfactorily. A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging  the common perception of its origin from the later  Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka/soma/agni.Signs of intersecting circles, fish , crab,bud,tower etc. also indicate pala.The six locks of hair indicate  the paNameTa weight of six barley grains.Roots  and nuts indicate viira bhadra/ Drupada/ varaha/pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts.
We have confirmed Mohenjodaro as the first Dvaraka
on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the
palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols  identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the
indications of the Harappan jar symbol with three forks on each edge.We have located  the Kasyapas in Hastinapura
trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located  the Asvins,Yama and Skanda  in the Indus script.In A Model For Indus Script Decipherment
we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script.
We have seen how  Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the  first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money.
We have looked for  and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form.
We have gone into the relation of the Druids to the Indus valley civilisation and the role of their  Gundestrup cauldron
in the evolution of Christianity.
We have explored the relation of the Anau seal to the Indus Valley Civilisation.
We have gone into the relationship of the Egyptian and Harappan deities.
We have looked into a beautiful story from the New Testament
invoving  the vedic soma sacrifice in A Veiled Visvamitra Soma Sacrifice In The New Testament.
We have studied  the indications of some of the Indus script symbols with particular reference to their use on ancient coins of India .
We have looked into symbolism of the overflowing vase on the Sumerian statue of Gudea and through it we identified the indications of several Indus symbols including the Harischandra vaajapeya sacrifice.
We have seen how the Harappan glyphs served as goodluck symbols .
The identification of the right vedic soma has two important
aspects:First, it ends the long quest for the mysterious soma. Second,it confirms the Indus valley civilisation as vedic ,beyond any doubt.
We have studied the vedic Daksha Yaaga  and its relation to the soma yaaga.Also we have located  Dāśarājñá and  Dasaratha in the Indus seals.
We have explored the application of the palm seals as further rosetta stones of the Indus script .
We have looked into the claim of mlecca as the language of the Indus valley civilation and concluded that Bharata,not mlecca, was the language of the Indus valley civilisation.
We have gone into the shift of the vedic Yadava clans from the Ghaggar-Hakra(Yamuna) to the Sarasvati(Sindhu) basin.
In another article we have confirmed the river Sindhu as the vedic river Sarasvati and Mohenjodaro as Krishna’s Dvaraka.
In this article we are going into a majestic bull seal.

According to the  prevalent history of Bharata varsha as told by western scholars the Indus valley civilisation belonged to the
Dravida/Munda people and the vedic people(Aryans) reached India around 1900 BCE only . But in reality the Indus civilisation is vedic and the vedic people were in the Indus Valley at least from 6000BCE as seen from the excavations.
If an unknown script can explain the known myth and known history of a nation,what more proof is required to show that the script belongs to the same people.The script of Egypt explains
their myth and history.The script of Sumer,Akkad or Elam does the same.So it is natural for the Indus script to denote the myth
and history of the Hindu/Sindhu / Sarasvati/ vindu/vipra/sura/ bhuusura/bhudeva/bharata/kuru/pancala/Somaka  people.Hence we shall try to understand a bit of Indian history through the Indus script.We shall presently see  evidences pointing to the existence of the Aryans in the Indus Valley several millennia prior to the so called Aryan
arrival in the Indus valley.

In the last  articles we have looked into the writing of the Harappans in the early Ravi/Kot Diji phases and concluded that they are the same vedic people of the mature Harappan phase;we have  compared an inscribed  Ravi sherd showing  presence of the Pancalas/ Bharatas in the Indus valley before 3300BCE and a Taxila coin showing their presence in Taxila around 200 BCE confirming the continuity of the vedic civilisation in the Indus Valley from the early Harappan days;we have seen how an indus seal
portray the story of Ahalya described in later literature;
we have explored the universal idea of the mount of the dead Concept In The  Worship Of The Sun God .
One of the reasons for the hesitation of scholars  to accept
the Indus valley civilisation as vedic is that the Rg veda has
several passages referring to Asva-the horse and the veda
itself states that its horse has 34 ribs whereas modern horse
usually has 36 ribs.
In the last article we have gone into the issue of the vedic
horse and the number of its ribs. Interestingly many of the Harappan Inscriptions refer to the Asvamedha itself as we will see in the present article.There was no horse,but they are speaking of asvamedhas!

Having faced the rage of various invasions and thereafter the nature, the Kangra fort stands proudly on a cliff in the lap of Dhauladhar mountain range (Figure 1 & 2). This fort has been the seat of Katoch Rajput dynasty which is claimed to be the oldest dynasty in India. The fort also has an ancient origin which has been verified by the ASI. It is also believed that this fort came to existence during the post Mahabharat period. From time immemorial this fort had been the target of attacks and invasions by many clans and races like Greeks, Kashmiris, Afghans, Tughlaques, Timurid, Mughal, Gorkha, Sikh and British, primarily due to its immense accumulated wealth and its strategic secure location. “He, who holds the Kangra fort, holds the hills” was the common belief among the locals.

The fort of Kangra is also famous for its unique art and architecture. In historical records this fort has been termed by different names as per their relevant context such as: Trigarth, Kaangarh, Kotochgarh, Bhimkot, Nagarkot and Susarmapura. The ancient history of Kangra fort, its ruler lineage, the fort’s unique strategic position, art and architecture along with some very curious unopened chapters which needs an attention encouraged me to write this paper. This paper will throw light on the interesting background of the ruling dynasty, the fort, conflicting theories about the name of the fort and its location, art and architecture and some spheres of information, over which new work and research is needed.

Erach (Erich) was an important city in northern India during the Early Historical Period, lying as it did on an important trade route due to its location on the river Betwa, 70 km from Jhansi.  This book brings together all the latest research on the coins and sealings of this ancient site, providing a detailed catalogue of its archaeology and historical material from the 6th century BCE to 5th century CE.

The Panchala kingdom in northern India produced a long series of copper coinage for several centuries. Two new kings have now been discovered through their coins: Rajnyah Bhanumitra and Rajnyah Vijayamitra. The presence of these independent kings - with their royal titles and complex iconography - indicates that Panchala coinage continued well into the Kushan era and there was no long interlude during Kushan rule in northern India. This paper presents the coins of these two Panchala kings and discusses the importance of this discovery.

In Indian history, spying on citizens is as old as Rigveda. The system had developed as an intricate and sophisticated administrative science. Aphorisms like “spies are kings’ eyes” reflect an Indian tradition going back many centuries. In ancient India, spies were used in large number to ascertain the validity or lack of it in the statements of parties to litigation and witnesses and to collect correct and reliable information regarding any mass movement, rebellion or insurgency.

In this discourse, Prabhat Rainjan Sarkar (1922-1990), a spiritual teacher (also known as Shrii Shrii Anandamurti) and social philosopher, describes how the languages of India evolved from pre-historic times to the present. P.R. Sarkar had a vast knowledge of languages and their grammars and spoke many languages fluently. I was present in India in 1988 when he gave a demonstration of speaking in an Indian language the way it was spoken about 20,000 years ago. This spoken discourse was given in Kolkata on 25 September 1990. -- Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, 13 September, 2020.

Which is the earliest extant textual attestation of the word ‘dharmaśāstra’? Is the birth of the Dharmaśāstra genre causally linked, and incontrovertibly indebted, to the Buddha and emperor Aśoka? Patrick Olivelle’s 2016 book ‘A Dharma Reader - Classical Indian Law’ contains statements that appear to be pointed answers to the above questions, a pointedness that I find  pregnant with serious revisionist implications of profound consequence not just to the textual history of the term ‘dharmaśāstra’ and the origins of the Dharmaśāstra genre but also to the history of the idea of Dharma itself and perhaps to some people of those traditions in which Dharma is seen as Sanātana. In this paper, I foreground aforementioned statements of Olivelle (who has been hailed by Dominik Wujastyk as the world’s leading authority on the history of Indian dharma), delineate some of their revisionist implications and present a critical analysis of some of his reasoning and conclusions thereof. In doing so, a case is made for the need to pay attention to attempts at altering chronology, particularly those that enable tendentious attributions through imagined cause-and-effect hypotheses accompanied by sweeping consequences.

This essay argues for moving beyond the binary of ‘cosmopolitan’ and ‘vernacular’ in our understanding of language and expressions of space in early medieval South Asia. Drawing attention to a classic literary representation of regional space which is in the cosmopolitan Sanskrit and not in the vernacular, the paper examines Kalhan.a’s twelfth century Rājataraṅgiṇī for its depiction of Kashmir. It looks at some of the constituent elements of the spatial imaginary constructed in the text, and at the literary and discursive strategies employed in its construction, including the reworking of intertextual traditions from within Sanskrit literary culture. This essay suggests that more than an objectivist historical narrative which modern historians like to believe it is, the Rājataraṅgiṇī should be viewed as a whole as the traditional kāvya that it is, representing a specific language practice articulative of the poet’s vision.

The astronomical dating of the Rāmāyaṇa to 12209 BCE by Oak is based on his claim of the shifting of lunisolar months from the seasons due to precession. Oak has claimed that a shift of one month occurs relative to the seasons every 2,000 years. Accordingly, Oak claims that during the time of the Rāmāyaṇa, Caitra was part of Śarad season. In this article, it is shown that Oak has used his unproven hypothesis and analogies to claim that the Caitra month was in the Śarad season. Against this claim of his I have provided clear and direct evidence that the Caitra month was in the Vasanta season during the Rāmāyaṇa time.

In recent years, sailing ships of the Indian Navy have been increasingly involved in diplomatic missions and cultural voyages across the world, in addition to their primary purpose of providing practical training in navigation techniques and seamanship. These three-masted barques built at the Goa Shipyard and used by the Indian Navy are very different from wooden sailing vessels that traversed the Indian Ocean in the premodern period prior to the development of steamship navigation in the nineteenth century. Nonetheless, these distinctions have often been blurred as these modern naval ships have been utilised to recreate historical 'expeditions' such as the much-celebrated Chola invasion of Srivijaya in the Indonesian archipelago. Nor is India the only country to be involved in promoting this 'popular history' for contemporary geopolitical interests, as is evident from China's efforts to rebuild ships used in the Voyages of Admiral Zheng He across the Indian Ocean. What gets short shrift in the process is investment in research in underwater archaeology and the discovery and preservation of shipwreck sites. This article highlights the urgent need for interdisciplinary research in premodern shipping and seafaring activity beyond the rhetoric of valorising national heroes.

Multitudes of theories have been put forward by many scholars to explain the core design of Ujjayani Symbol, attributing to the city of Ujjain. Dr. Bhaskar Chattopadhyay in his book ‘Coin and Icons, A Study of Myths and Symbols in Indian Numismatic Art’, gives nearly half a dozen theories with ample explanation on the origins of Ujjayani symbol, but one such unique theory given by him, attributes the symbol to Planetary Revolution, however the theory is devoid of Scholars’ name or reference. In this paper, omnipresence of Ujjayani Symbol on pottery, seals, coins etc., comes together with the evidence of Ancient Indian Astronomy (esp. Planetary Positions) & History, to give ample credit to the theory noted by Dr. Bhaskar Chattopadhyay, Shant Lal Katara and few others. Coherence of various aspects of History along with the Analogy of Ancient Astronomy given by Rev. Ebenezer Burgess, provides with the required scientific evidence.

В статье анализируются сведения источников, касающиеся ранней формы государства (общины–государства), прежде всего – в древнем Египте и Месопотамии. Выяснены причины раннего формирования общин–государств в долинах южных рек. Анализируется процесс формирования общин–государств в связи с синойкизмом общин, формирования простого и сложного вождеств, в которых, в связи с процессом политогенеза, возникает ранняя форма государства. Характеризуются способы формирования и развития органов государственного управления на раннем этапе государственности, а также система органов управления общин–государств в Египте и Месопотамии. На основе этого делается вывод о составных элементах формы государства (форме правления, политическом режиме и форме государственного устройства). Указывается, что в результате обширных исследований, учёные пришли к выводу, что общины–государства (“города-государства”) являются универсальной формой государства древности и средневековья на этапе становления ранней государственности в Азии, Европе, Америке и Африке (включая Древнюю Русь).

A word-by-word explanation of the translation of the so-called creation hymn of Rigveda. The translation is very different from traditional ones.

As I demonstrate, the hymn has been completely misunderstood by previous translators.

The hymn has nothing to do with the origin or creation of the Universe. It is in fact, simply a prayer to God.

Ancient India is a vast subject with an equally large number of published works available. The following is not a comprehensive bibliography of the subject, but an introduction to some of the general introductions to Ancient India, as well as other advanced introductions or specialised works available to undergraduate and graduate students interested in further research. In addition, candidates preparing for the UPSC examinations (in particular the History Optional) may find the starred general and advanced introductions to Ancient India helpful, as they provide a clear, concise overview to the period that is easily adaptable to a study plan or notebook. For the ease of the student, works on this bibliography have been limited to textbooks, book chapters, or monographs. Many of the works listed have detailed bibliographies containing article publications.

The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight  and measure system of Harappa, The Harappan Symbol Of 
Man+ Trident And Its Relation To Kausika Visvamitra  And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of  Intersecting Circles And Its Relation  To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting  Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their  Relation    To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus  Script, Krishna’s Dvaraka  In The Indus Script, One Symbol  Of Indus Script Can Tell  A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money, A Solution To The Mystery Of  The Gundestrup  Cauldron, The Eternal Soma Of The Vedas,              Vedic Roots Of Ancient Egyptian Religion, A Veiled Visvamitra Soma Sacrifice  In The New Testament , The Script Of Indus Valley Civilisation-1:The Script Of Indus Valley Civilisation-2,
The Punny Plough,The Bearded Kings Of The Ancient,
Bharata -The Language Of The Indus Valley Civilisation,
The Script Of Indus Valley Civilisation -3,The Script Of Indus Valley Civilisation-4,Harappan Vedic Sacrificial Feasts In Mesopotamian Art And In The Bible,The Script of Indus valley Civilisation-6 :A Vrishni Silver Coin And Its Harappan Source,The Script of Indus valley Civilisation-7: The Conversion Of Makha(Sacrifice) To Tanka(Mint) In The Indus Script,Script Of Indus Valley Civilisation-8:Vedic Root Of Gudea’s Akshayapatra,Three Men In A Boat Seal Evidence Of Indus –Dilmun Trade,The Script Of Indus Valley Civilisation-9: The Goodluck Symbols Of The Indus Script, The script of Indus valley civilisation-10:Identification Of The True Vedic Soma From Harappan Seals  Confirms The Indus Valley Civilisation As Vedic, The Script Of Indus Valley Civilisation-11:
Daksha (Soma) Yaaga-The Vedic Eucharist -In The Indus Script , The Script Of Indus Valley Civilisation-12:
Dāśarājñá And Dasaratha In The Indus Script, The Script Of Indus Valley Civilisation-13:The Silver Palm Seals Are Rosetta Stones Of The Indus Script , Vedic And Sumerian Linguistic Evidences For The Language Of Harappa, The Script Of Indus Valley Civilisation-14:The Difference Of Meluhha And Mlecca,
The Script Of Indus Valley Civilisation-15:The Shift Of The Capital Of The Vrishnis From Mathura( Kalibangan) To Dvaraka( Mohenjodaro), 6000 Year Old Mehrgarh Wheel
Amulet Employs Vedic Script, The Script Of Indus Valley
Civilisation-16:Vedic Sarasvati-Ganga Civilisation, The Identity Of  The RigVedic Rivers, Mohenjo-daro-The City Of Krishna , Gods fighting Dragons,The Script Of Indus Valley Civilisation-17:A Harappan Seal With A Majestic Bull,The Sindhu Is The Vedic Sarasvati ,Suvarna Is Not The Vedic Soma,Govinda Garudadhvaja Vishtarasrava-The Supreme God Of The Harappans, The Continuity Of Vedic Bharata Varsha Civilisation From Harappa To The Present , The Etymology of Irinjalakuda A Rosetta Stone For The Indus Script, The Identification Of The Royal Throne In The Indus Script,
The Identification Of The Royal Throne Of Lord Krishna In The Indus Script, The Star Of Bethlehem And  Its Relation To The Indus Script, The ‘Sma’ In Metal Names Of The Indus Glyphs, The Significance Of The Madhya-Ma In The Indus script, A Harappan Spiked Throne Confirms Vedic Identity Of  Indus Valley Civilisation, Vedic Rajasuya-The Harappan Ritual Of Inaugurating Kings As Gods -

I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people, places and gods etc. My perception is that only a comprehensive study of ancient vedic literature, temple legends ,vedic rites and rituals, along with vedic  metrology alone can decipher the script symbols satisfactorily.A brief attempt in this direction is made here .A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging  the common perception of its origin from the later  Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka/soma/agni.Signs of intersecting circles, fish , crab,bud,tower etc. also indicate pala.The six locks of hair indicate  the paNameTa weight of six barley grains.Roots  and nuts indicate viira bhadra/ Drupada/ varaha/pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts.
We have confirmed Mohenjodaro as the first Dvaraka
on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols  identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the indications of the Harappan jar symbol with three forks on each edge.We have located  the Kasyapas in Hastinapura trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located  the Asvins,Yama and Skanda  in the Indus script.In A Model For Indus Script Decipherment we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script.
We have seen how  Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the  first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money.
We have looked for  and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form.
We have gone into the relation of the Druids to the Indus valley civilisation and the role of their  Gundestrup cauldron
in the evolution of Christianity.
We have explored the relation of the Anau seal to the Indus Valley Civilisation.
We have gone into the relationship of the Egyptian and Harappan deities.
We have looked into a beautiful story from the New Testament
invoving  the vedic soma sacrifice in A Veiled Visvamitra Soma Sacrifice In The New Testament.
We have studied  the indications of some of the Indus script symbols with particular reference to their use on ancient coins of India .
We have looked into symbolism of the overflowing vase on the Sumerian statue of Gudea and through it we identified the indications of several Indus symbols including the Harischandra vaajapeya sacrifice.
We have seen how the Harappan glyphs served as goodluck symbols .
The identification of the right vedic soma has two important
aspects:First, it ends the long quest for the mysterious soma. Second,it confirms the Indus valley civilisation as vedic ,beyond any doubt.
We have studied the vedic Daksha Yaaga  and its relation to the soma yaaga.Also we have located  Dāśarājñá and  Dasaratha in the Indus seals.
We have explored the application of the palm soma seals as further rosetta stones of the Indus script .
We have looked into the claim of mlecca as the language of the Indus valley civilation and concluded that Bharata,not mlecca, was the language of the Indus valley civilisation.
We have gone into the shift of the vedic Yadava clans from the Ghaggar-Hakra to the Sarasvati(Sindhu) basin.
We have confirmed the river Sindhu as the Rig vedic river Sarasvati and the Ghaggar/Hakra  as the Yamuna.
We have established that the unicorn standard
of Harappan civilisation is  Govinda/Vishnu the supreme
god of the Harappans .We have also identified vedic
genealogies in some of the Bharata varsha seals
establishing the continuity of vedic civilisation from
Harappan times to the present day.We have also
gone into a possible link of the names of
the Harappan Mathura and Mesopotamian Assur.
We  have identified some of the Harappan glyphs indicating kings,thrones and palaces.
W have identified some of the symbols of Lord Krishna in the Indus script.
We have looked into the sma in metal names of the Indus script and the significance of the madhya-ma /naama.
We have identified the Visvamitra-Sunasepha story in the lady of spiked throne of Harappa.
We have gone into the significance of the Rajasuya ritual of Harappa.
We have looked into some of the metal work symbols employed by the Kausika/Bharata/Visvakarma
metal workers of Bharata Varsha/Harappa.
We have gone into the royal seats of Visvamitra,
Rama,Bharata,Krishna etc.in the Sindhu-Yamuna basin.
In the last article we have looked into the influence of the Harappan Bharatas in Hattusa,Mitanni,Egypt etc.
In this article we are attempting to read a New Indus seal inscription from Ganweriwala,reported by Dr. Asko Parpola and
Sidra Gulzar.

Indians are known for spirituality, philosophy and mythology. But they were poor in chronicling their events, with almost all important events in their history having been converted into mythology or romanticised to large extent. This resulted in the hero of the tale turning into a demigod, while his opponent damned to be a demon, making reconstruction of the Indian history quite difficult. There are many events and accounts in the Hindu mythology which still elude logical explanation or historic validation. One of such accounts is the identity of asuras – evil characters in the Hindu mythology. While the names of cities and kingdoms ruled by asuras are mentioned in the Hindu scriptures, we cannot locate their geographies now. After it was found that Harappan cities were populated with people of dark complexion and that Ravana's kingdom Lanka existed in the south, some people began to identify asuras with Dravidians and deva-asura yuddhas with Aryan-Dravidian battles. This paper tries to demystify asuras and their identity while digging out the past of what we wrongly call the Hindu religion.