Indian ancient history

As the founder of a global movement of spiritually-oriented and socially-minded intellectuals, artists and writers called Renaissance Universal, Prabhat Rainjan Sarkar (1922-1990), a spiritual teacher (also known as Shrii Shrii Anandamurti) and social philosopher, describes the interrelationship, clashes and inter-mixing between the indigenous people of early India with their Tantra-based civilization and the Aryans who migrated into India bringing their Vedic civilization. This spoken discourse was given in May 1959. It is one of a series of remarkable semi-annual Renaissance Universal discourses given by P. R. Sarkar after the founding of the Renaissance Universal movement. The discourse presents a strong challenge to traditional thinking about this important topic -- Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, 13 September, 2020.

In 1837, James Prinsep deciphered the Asokan edicts and in 1901, Vincent Smith published one of the earliest histories on the subject titled, Asoka: the Buddhist Emperor of India. Since then, the Mauryas, dated between 317 and 186 BC, 1 have maintained their central position in ancient Indian historiography. Nor has this attraction diminished with the passage of time. On the contrary, the legacy of Asoka has entered its latest and modern phase. This is in the context of the Navayana or Neo-Buddhist path forged by B.R. Ambedkar on the 2500 th anniversary of Buddha's parinirvana. 2 Ambedkar's primary focus seems to have been not so much to change the Brahmanical system, but to ―use a polemical critique of Brahmanical religio-social dominance as the foundation upon which to develop an Indic based alternative to the Brahmanical social order‖ (Blackburn 1993: 5). In the quest for social justice against caste hierarchy in modern India, a new meaning is being given to Asoka as a champion of the downtrodden and a protector against Brahamanical oppression, while at the same time drawing on the Theravada Buddhist tradition. 3 This paper does not aim to retrace the historiographical debates on the Mauryan Empire. Instead, I attempt to draw attention to two of its salient aspects, i.e., the polity and Asoka's dhamma. These are discussed primarily in terms of the archaeology of frontier regions such as the Deccan, with data from northwest and eastern India used for comparison. My objectives for undertaking this  I would like to express my grateful thanks to Carla Sinopoli for making the conference possible and for the support in the preparation of this paper. Needless to say, I alone am responsible for the views expressed in this paper. 1 Eggermont, 1956, based on the mahaparinirvana of the Buddha in 368 BC. 2 Ambedkar studied anthropology and law and was a prominent member of the committee that drafted the National Constitution of independent India. This committee also adopted the use of the Sarnath lion capital and its wheels as the symbol of the new Republic. These recommendations have to be viewed in the context of Ambedkar's personal convictions. On October 14, 1956, Ambedkar held a public conversion or diksa at which he and half a million of his followers left Hinduism and converted to the Neo-Buddhist faith (Tartakov, 1996: 120). 3 Like the village deity and national deity, there were family deities also who were worshipped through the Brahmins. The priests who used to go for worshipping these deities started influencing the affairs of the state through the queens. Asoka after embracing Buddhism discontinued this practice and removed the idols of such deities. Asoka said, ―As I venerate the Buddha, the Enlightened One, there is no need to worship any other deity‖. This action of Asoka disturbed the Brahmins very much as it ended their unfair means of livelihood and exploitation. They pledged to take revenge for this loss (Ambedkar, 1982: 113 as quoted in Ahir,

Coins without symbols are incomplete. Symbols play a very important role in defining a coin. The prominent ones that are seen on the obverse or the reverse of the coins are the dynastic emblems or symbols. Other than these symbols we see other motifs that are sometimes referred to as secondary or auxiliary symbols.

Prähistorische Astronomie und Ethnoastronomie
Der Arbeitskreis Astronomiegeschichte hat im Zusammenhang mit der Tagung der Astronomischen Gesellschaft in Würzburg ein Kolloquium veranstaltet, das am Montag, den 24. September 2007, stattfand. Aus aktuellem Anlaß – im Jahr 2007 jährte sich der Geburtstag von Heinrich Hertz (1857–1894), dem Entdecker der elektromagnetischen Wellen, zum 150. Mal – wurde für diese Herbsttagung das Thema „Astronomie in neuen Wellenlängen“ gewählt. Als weiteres Thema wurde „Prähistorische Astronomie und Ethnoastronomie“ angeboten, das bisher beim Arbeitskreis Astronomiegeschichte noch überhaupt nicht berücksichtigt wurde und großen Zuspruch fand. Die Prähistorische Astronomie betrifft die astronomischen Aktivitäten in der Zeit vor der schriftlichen Aufzeichnung. Viele vor- und frühgeschichtliche Völker beschäftigten sich mit den Geheimnissen des Kosmos und überlieferten ihre Vorstellungen in eindrucksvollen Bauwerken. Grundlagen der prähistorischen Astronomie sind archäologische Ausgrabungen oder geodätische Vermessungen von Baudenkmälern (Gräber, Kultanlagen), um deren eventuelle astronomische Ausrichtung festzustellen und mit Hilfe astronomischen Fachwissens zu deuten und in einen historischen Kontext einzuordnen. Archäoastronomie ist ein sehr interdisziplinäres Thema; Archäologie, Kulturgeschichte, Geschichte der Naturwissenschaft und Technik, besonders Astronomiegeschichte spielen eine Rolle, aber auch Ethnographie, Anthropologie, Literatur- und Religionsgeschichte, um nur einige wichtige Wissengebiete zu nennen.

Das Spektrum der Vorträge – und der Artikel in diesem Buch – reicht von Astronomie der Steinzeit (Megalithkultur des Neolithikums) und Bronzezeit zur Astronomie bei den Germanen oder Kelten.
http://www.hs.uni-hamburg.de/DE/GNT/events/wbg-archaeo07.htm
Am bekanntesten in der Steinzeit ist natürlich Stonehenge, dessen astronomische Bedeutung erstmals ausführlich von Gerald Hawkins 1963 in seinem Buch Stonehenge decoded diskutiert wurde. Es gibt aber viele weitere Kreisgraben-Anlagen und einzelne Menhire oder Alignements (z.B. Carnac und Locmariaquer, Bretagne). Ferner ist das Ganggrab in Newgrange, Irland, zu erwähnen; tief in den Hügel hinein strahlt die Sonne am am 21. Dezember, am Tag der Wintersonnenwende, symbolisch die Wiedergeburt des Jahres. Diese prähistorischen Anlagen finden sich nicht nur in England, Deutschland und Frankreich, sondern in ganz Europa bis Nordafrika (Steinkreis von Nabta, Südägypten). Nicht vergessen sollte man die Tempel-Anlagen auf Malta und Gozo. Im Pazifischen Ozean gibt es neben den Steinkolossen auf der Osterinsel die Ruinenstadt Nan Madol auf der Insel Ponape in Mikronesien.

In der Bronzezeit sind besonders die Goldhüte oder die Scheibe von Nebra zu nennen, die im Zentrum des Interesses stehen, aber man könnte auch die Kreisgrabenanlagen in Goseck und Kyhna anführen und den Sonnenwagen von Trundholm (1500 v.Chr). Es wurde auch die Ethnoastronomie mit einbezogen, ein Artikel befaßt sich mit dem Himmel bei den australischen Aboriginals, ein anderer diskutiert astronomische Beobachtungstechniken im alten Indien, ein bisher zu wenig berücksichtigster Kulturkreis.
Gudrun Wolfschmidt

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.

The term Ragavarnika is derived from two different categories, i.e. Raga from Ragamala paintings that depict Indian classical musical modes, and Varnika from Varnika Bhanga, which is one of the six canons of the principle of Indian paintings that focuses on the applications of the colours based on the emotions represented by the subject. "Raga" derives from the Sanskrit word "Ranj", meaning something that is coloured, dyed, or glowing, or can make one feel or be passionate; hence Raga in music means the colour of mind i.e. emotions (Rasa). The combination of elements corresponding with that of music and colour sequences developed the art of Ragavarnika. Among numerous themes and various stylization adapted by the miniature painting

Salsette island off the west coast of India is one of the group of islands that have been merged into one landmass known as Bombay or the present city of Mumbai, as a result of several land reclamation projects. The Portuguese ceded seven of the islands as dowry of Catherine of Braganza on the occasion of her marriage to King Charles II of England in 1661. Charles II rented the islands to the British East India Company in 1668 and by 1774 the English had occupied Salsette as well. Though densely settled, Salsette is known for the 109 Buddhist caves located on the hill of Kanheri on the northern side of the island in a protected forest area termed the Borivali National Park. Richly sculpted and inscribed with donations from patrons, the rock-cut caves at Kanheri continued to be occupied well into the tenth-eleventh century. At present the Buddhist caves are nationally protected monuments preserved for their heritage value. 
Socotra is a small archipelago of four islands about 250 kilometres east of the Horn of Africa off the coasts of Yemen and Somalia in the western Indian Ocean. The largest island in the group is also called Socotra. The 132 kilometre long island is often described as the most isolated place on Earth, though this account does agree with its central location in the maritime networks of the early centuries of the Common Era. Explorations in the 2000 metre deep Hoq cave on the northern face of the island of Socotra in 2001 led to the discovery of 200 graffiti, drawings and small offerings dated to the late 2nd to 4th century CE. A majority of the graffiti is in the Brahmi script also known from the caves at Kanheri. Thus both islands have undergone changes over time and are best known at present for natural diversity and protected forests.
In keeping with the theme of connectivity and locating hubs across the Indian Ocean, my focus in this paper is on narratives relating to sailing between Salsette island and Socotra in the early centuries of the Common Era. A Greek text crucial to this understanding is the first century CE Periplus Maris Erythraei by an anonymous sailor, which provides graphic details of coastal centres in the western Indian Ocean. The Periplus (section 30) refers to Socotra as Dioscorida and describes inhabitants living on the coast toward the north as ‘foreigners’, a mixture of Arabs, Indians and Greeks. On the west coast of India, the Periplus designates Barygaza at the mouth of the river Narmada as a major centre along the coast that follows a north-south orientation (section 50-52), but has little to report regarding the islands south of Barygaza. Yet archaeological investigations have provided valuable insights relating to several early coastal centres.   
This paper contrasts the information provided in the Periplus with archaeological information obtained from explorations as also from inscriptions and monumental architecture both in Hoq cave at Socotra and at Kanheri on the island of Salsette. How do these contrasting views help understand cultural encounters in antiquity?

Himanshu Prabha Ray looks at the maritime orientation of communities of the Indian subcontinent prior to European expansion. She uses archaeological data to reveal the connections between the early history of peninsular South Asia and its Asian and Mediterranean partners in the Indian Ocean region. Differing from traditional works on the subject, the book discusses maritime history in the broader sense of ancient seafaring activity, religious travel and political economy rather than focusing specifically on maritime trade and shipping.

This paper catalogues and analyzes a group of 84 late Mauryan period coins which appeared on the market. Based on their consistent typology, patination, and state of preservation, these coins were likely discovered together as a hoard.

The coins are notable for demonstrating that standard punchmarked karshapanas circulated alongside fractional mashakas during this late period, as the group includes several examples where both types were encrusted together. This is important because the chronology of the fractional mashaka coinage is poorly understood.

Additionally, it is noted that the preservation and typology of these coins is very similar to coins from the Mir Zakah II Hoard, and so it is possible that they might be part of that hoard.

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.

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  -
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.Intersecting circles, fish , crab,bud,tower signs also have the same indications.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 studied  the vedic soma and its importance  in the life of the Harappans.
We have gone into the relationship of the Egyptian and Harappan deities.
In this article we are looking into a story from the New Testament which will help us understand the nature of the Indus symbols even better.

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!

'Textos de História da Índia Antiga' é a tentativa de produzir uma nova coletânea de textos sobre a história indiana, centrada em seus períodos mais antigos. Minha primeira iniciativa, mais extensa, redundou em 'Cem textos de história indiana' [2011], que pretendia dar um quadro mais amplo, tanto em termos temporais quanto temáticos, dessa civilização. Agora, proponho-me a fazer uma versão menos, reduzida, porém mais específica.
Como em outras produções do gênero, faço questão de frisar que esse não é um livro definitivo, mas antes de tudo, introdutório. Ele serve de livro fonte para aqueles que gostam de estudar Índia, ou, de ferramenta pedagógica para aqueles que precisam abordar esse tema em sala de aula, tanto na escola quanto na universidade.
Muitos textos aqui já foram apresentados anteriormente, mas tentei, o quanto pude apresentar textos originais. Igualmente, não se pode pretender que a literatura indiana dê um quadro preciso de como funcionava essa sociedade em sua antiguidade: no entanto, os fragmentos aqui apresentados podem nos auxiliar a construir um quadro sobre a mentalidade da civilização clássica da Índia, suas leis, idealizações, costumes e práticas.

Nature always attracted all of us. Artists and poets being especially sensitized and absorbed by it have created beautiful forms of designs inspired by nature since the antiquity.In this research, I have tried to find out the origin of vegetal motifs. What had been the situations which triggered early artists to " recreate " natural forms in various mediums, forms, and techniques? Since this is anabundantarea to be taken for research, I tried to focus upon art practices within the Indian subcontinent only;right from Harappan culture which is the oldest urban civilization of the world to the age of Vedas; from the rise of Buddhism and Jainism to the mighty Mauryans, Satvahanas to the great Stupa of Sanchi. This research proves that vegetal motifs developed from simple organic forms to stylized motifs in the early phase of Indian art. May be this analytical research prepares a prolific ground for further researches that can be undertaken consecutively.

This article bases itself on the premise that much can be learnt about the varied views around death and the afterlife from Indian visual culture—architecture, sculpture, paintings and prints, preserve evidence for beliefs and rituals from times past that continue to exert their influence today in many ways. The family/society that people leave behind shape their afterlives on earth: positioning them in heaven, performing rituals to assist them in their passage to heaven, and even feeding and watering their spirits out of a sense of duty and in turn, setting standards for exemplary behaviour for their descendants. A violent death gives heroes and martyrs a place in heaven, they are remembered through sculpted memorials across India. Oftentimes, the fear of Judgement provides social control and ethical/moral behaviour. In keeping with those moral values, the living sometimes make elaborate provisions for their memorialisation orchestrating attempts at posterity for themselves and legitimising their descendants’/followers’ devotion to them through sculptural stelae, or monuments. The horrors of the varied hells the damned can be banished to are vividly painted in karni-bharni pictures, instilling a sense of fear amongst the living. Painted depictions of moment of death of the ardent followers of different deities show that the attainment of mokṣa is guaranteed to those who exhibit a requisite degree of piety and devotion. And paintings of Bhīṣma remind us how he waited to die at the appropriate time so as to secure a better afterlife.

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Kanheri known as "Krishnagiri" or "Krishnasaila" in ancient inscriptions is located (19° 13` N. and 72° 59` E) 10 Km to south east of Borivali, a suburb of metropolitan Mumbai. It is a rock cut cave complex comprising of more than 110 Buddhist caves including chaityas, Viharas, Stupas, cells etc. This site culturally dates back from 2 nd century C.E to late 11 th Century C.E. Kanheri is distinctively known for its sustainability as well as certain peculiar features like site's multi-storied settlement pattern, satellite settlements, developed water conservation system, brick memorial gallery, connectivity through rock cut steps etc. Apart from this, Kanheri stands out to be unique due to its well-developed hydro resource system which was operational for more than a millennium. The water must have been an important commodity for the ancient monks so as today. Thus a system that regulates the resourceful conservation of water during scarcity periods can be noticed at site. The prominent elements comprising of this hydro resource system are cisterns, large tanks, a dam/ reservoir, water channels and its connectivity. There are some inscriptions found associated to donations of these cisterns and tanks suggests us a methodology for dating numerous caves and its cisterns respectively. A study of water management at the site considering the epigraphical, social and religious aspects has been attempted by various scholars till now. But this paper exclusively aims at investigating the significance of ancient hydraulic mechanisms that are evident at site, intends to prove the ancient administrative structure of monastery which regulated the advancement of engineering to sustain their livelihood. Thus an attempt will be made to study the mechanism behind this system considering the scientific and mechanical perspectives with the use of engineering principles.

The study of Indian art should begin with some question.
But how was this art made? What were its guidelines? What was its purpose? These answers emerge from the study of Indian philosophy at large and Indian aesthetics in particular. This paper aims to present an overview of aesthetics in the tradition of Indian art, as it has been understood right from the Vedic to this day. With a basis of art theories from ancient treatises this paper hopes to present a brief view of what is considered the best and beautiful in art.

Śulbasūtra-s form a part of Kalpasūtra-s. They deal with construction of sacrificial altars and fire places. The altars and fire places are of varying geometrical shapes. Their shape, area, the number of bricks to be used for their construction are ordained in the Vedic texts  called Brāhmaņa-s. The bricks used for piling the 'citi' also have various shapes. Their shapes and even the vedic mantra-s to be uttered in accompaniment of piling are ordained in the Brāhmaņa-s. Verily Sulbasutra-s can be called the  the source book of Vedic Geometry.

La presente dispensa è l'ideale continuazione a quella sulla datazione del Buddha storico, che contiene anche la bibliografia degli autori citati in questa sede. Se non diversamente specificato le traduzioni italiane degli editti sono tratte da quelle fornite a lezione nell'anno accademico 2002-2003 dal professor Paolo Daffinà, tuttora inedite.

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.

The article presents an analysis of the principles of the description of the structure of the ancient Indian society in Indika bу Megasthenes, one of the most important works of ancient literature devoted to the description of India. Оn the basis of the analysis of the tradition of the description of non-Greek societies and ideal states in ethnographic and philosophic-political literature preceding Megasthenes, identification of the stereotypes underlying such descriptions and comparison of fragments from Indika with Indian tradition the author has соme to the conclusion that Megasthenes followed in the steps of the existing literary tradition and structured his description in such а way as to answer questions, raised bу Greek political philosophy in its search for an ideally organized state оn the basis of Indian material.

In the context of Indian classical literature, the Upanishads (Upanisads) hold a particularly important place for both those within the Hindu tradition and for scholars of early Indian religious history and literature. For many Hindus, the Upanishads are viewed as the intellectual culmination of the Vedic sacrificial tradition that preceded them and become known as veda ̄nta (lit. “end of the Veda”), texts that serve as root texts for some of the classi-cal Indian philosophical schools (darshana [dars ́ana]) that developed several centuries later. From a historical perspective, the Upanishads mark a shift away from the ritual tradition of the Vedas when newly developed notions of karma, asceticism, mental training or yoga,and moksha (moksa, “liberation”) begin to coexist and then – along with devotional (bhakti)
trends – supplant the previously dominant sacrificial worldview. While many Hindus see a fundamental continuity in Vedic and Upanishadic thinking, religious and literary historians tend to see the Upanishads as having greater affinity with later Hinduism than with the earlier elite and technical ritual milieu. But even if we assume the position of the latter, it should always be remembered that the composers of the earliest Upanishads were of the same priestly families enacting and producing the Vedas; they assume its framework and validity. Along with an ideological shift, the emergence of the Upanishads also marks a significant material shift, reflecting the settling of formerly nomadic peoples in towns and cities along the Gangetic plain, where changes in material conditions can be seen in the texts themselves.

In the context of “world literature,” however, the Upanishads might – at least initially – seem to be something of an uncomfortable fit. Setting aside the fact that such designations often carry preconceived notions of ethnic origin and/or modern understandings of the nation-state, the Upanishads as literature – both individually and collectively as a genre – are an amalgam rather than a unity. This is not to say that there are not certain stylistic, linguistic, and especially thematic continuities across the Upanishads which give the broader contours of a genre. There are, as I will discuss below. But it is to say that there is no single style, character, author, theme, or narrative that any single text, let alone the genre, adheres to. Rather it is a series of overlapping concerns about the nature of the cosmos, the role of the human being both within and beyond that cosmos (i.e. transcendence or liberation), and especially various conceptual strategies through which to explore these concerns that can be seen as loosely constituting a genre. If we take “world literature” as primarily designating a type of literary production that is both novel in form and content and enduring in impact and importance (whether literary, social, or religious), then the Upanishads most certainly qualify as one of the most significant contributions from the ancient subcontinent.

Through several of my previous works I have shown
that the people who lived the Indus valley civilisation were the Vedic Aryans and their language was vedic
Bharata.Harappan seals contain several linguistic symbols
which have not been properly understood so far.Through my previous papers,especially Indus script decipherment
breakthrough,I have shown that several seals contain vedic metrological terms,names of ornaments etc.In this work I am carrying forward the idea of vedic metrology in the Indus seals.Several illustrative examples are also
shown.My perception is that only a comprehensive study
of ancient vedic metrology can decipher the script symbols
satisfactorily.

Özet
Harappa Uygarlığı olarak da bilinen İndus Vadisi Uygarlığı, Güney Asya’daki en eski kent uygarlığıdır. MÖ 3300-1300 yılları arasına tarihlenen İndus Uygarlığı, günümüz Pakistan, Kuzeybatı Hindistan’ın bazı bölümlerini ve Afganistan’ın çoğunu kapsamaktadır. Bu uygarlığa ait yaklaşık 400 sembolden oluşan İndus yazısı; sosyal, idari ve dini alanlarda görülen gelişmelere paralel olarak, yaklaşık MÖ 2600’de ortaya çıkmıştır. İndus Uygarlığı’ndaki kapsamlı ticari ve idari faaliyetler, kayıt tutmayı gerekli kılmış ve böylelikle İndus yazısı icat edilmiştir. Daha çok mühürlere kazınmış olan bu yazılar; bakır tablet, çanak/çömlek, fildişinden yapılmış aletler ve taş bilezikler gibi birçok farklı nesnelerin üzerinde de görülmektedir. İndus yazısı, bütün çabalara rağmen henüz tam anlamıyla çözülememiştir. Bu çalışmada, İndus yazısının çözülmesini zorlaştıran unsurlar ele alınacaktır. Ayrıca İndus yazısının dili ve kökeni hakkında öne sürülen hipotezlere de yer verilecektir.

Abstract
Indus Valley civilization, also known as the Harappan civilization, is the earliest civilization in South Asia, lasting from 3300 to 1300 BC. The sites of İndus Valley civilization spans an area stretching from northwestern India, through much of Afghanistan and Pakistan. The Indus script consisting of about 400 symbols of this civilization has been emerged at 2600 BC, in parallel to developments in the social, administrative and religious fields. Commercial activities and related administrative activities of the Indus Civilization made keep recording necessary, and thus the Indus script was invented. These scripts, which are mostly engraved on seals, can also be seen on different objects such as copper tablets, pottery, ivory tools, and stone bracelets. Despite all the efforts, the Indus script has not been fully resolved yet. In this study, we will be discussing the factors that complicate solving the writing system of the Indus Valley. In addition, we will also include hypotheses about the language and origin of the Indus script.
Keywords: Indus Valley Civilization, Harappan, India, the Indus Script.

Después de algunas consideraciones sobre la presencia de la violencia en la historia de la humanidad, el artículo estudia la justificación de la violencia en el Rig Veda (la conquista de la India por los indo-europeos alrededor de 1500 a.C.) y en la Bhagavad Gītā (la lucha de Arjuna contra los Kauravas en la gran epopeya india, el Mahābhārata). Enseguida el artículo señala la importancia que la norma de la ahimsā (no-violencia) tiene en la ética budista, citando textos antiguos y modernos que condenan el acto violento. El Budismo no puede justificar ni la conquista de la India ni la lucha de Arjuna contra sus parientes por muy justa que sea. El acto de violencia es para el Budismo siempre un acto malo y, como tal, produce en todo caso consecuencias malas en la retribución post-mortem.