The Indus script came to light in 1922. In order to decipher the script, it was assumed that the language of the Indus people could have been related to one of the later Indian languages. Accordingly, Indo-European languages of northern India (Sanskrit, Prakrit), Dravidian languages of southern India, a still unknown language X and the language of the Munda tribe are considered. Finally, there is also the view that the Indus people were multilingual and illiterate. The Indus signs are not writing at all, but symbols, and were used for communication among the population. However, all these endeavours have not yet succeeded in solving the problem of what the Indus script means. The signs of the Indus script consist of pictures. The author tries to recognise whether the meaning of the Indus script can be understood on the basis of such images.
Table of Contents
Mythological scene
Offering vessel
Goddess of the fig tree
Priestess and priest
Load carrier
Grain
Indus script
Sacrifice of the heart
Tiger capture
Meaning of the Indus sings
Concluding remarks
Appendix A
Numeral system of the Indus culture
Appendix B
Unicorn complex of the Indus culture
Research Objectives and Themes
The primary aim of this work is to shed light on the meaning of the Indus script by analyzing the pictorial representations found on Indus culture artifacts, rather than attempting to decipher the script linguistically. The work challenges existing theories and proposes new interpretations based on visual evidence, specifically regarding the role of sacrificial acts, the identity of depicted deities, and the nature of the script's underlying numerical and symbolic system.
- Analysis of mythological scenes involving the tiger, tree goddess, and hybrid figures.
- Interpretation of the Indus script characters as logograms and phonograms derived from cultural imagery.
- Evaluation of the Indus culture numerical system and its connection to later Indian numeral systems.
- Investigation into the "Unicorn complex" and the biological/mythological significance of the unicorn in the Indus culture.
- Contextualization of the "cult object" and its recurring presence in sacred depictions.
Excerpt from the Book
Mythological scene
A scene is depicted on a find from Mohenjo-daro. It shows a female hybrid of “man and beast” attacking a tiger from behind, its head decorated with tree branches (Fig. 1). The tiger appears to have been surprised and turns its head towards the attacker. A tree can be seen behind the hybrid creature. It would appear that the message in the scenes depicted is that mythological content is to be reproduced, in which “tiger, tree and a hybrid creature” obviously play a role.
Unlike today, the area where the Indus civilisation spread was partly densely forested, and products from the forests could have been of economic importance to the population or played a role in daily life. It is conceivable, for example that a large amount of wood had to be brought from the forests as fuel in order to process metals and pottery. However, it is also possible that honey, forest fruits (e.g. figs) and other products were to be collected in forests.
The depictions of animals on Indus artefacts include elephants, rhinoceroses and, in particular, the tiger, which is dangerous to humans. It can be assumed that these were also to be found in the forests. This explains the need for the protection of a higher being. The significance of the tree goddess or goddess of the fig tree has already been recognised and she is often depicted on artefacts.
Summary of Chapters
Mythological scene: This chapter analyzes depictions of mythological encounters between humans, animals, and hybrid creatures to suggest their role in the religious narrative of the Indus culture.
Offering vessel: Examines bas-reliefs showing the worship of a tree goddess and the use of geometric signs to represent sacred offerings and places.
Goddess of the fig tree: Explores the iconography of the tree goddess, identifying her specific attributes and the symbolic meaning of U-shaped signs found in the Indus scripts.
Priestess and priest: Distinguishes between recurring male and female figures based on visual markers like plaits and attire, clarifying their roles in cultic activities.
Load carrier: Focuses on the "load carrier" figure and its association with the goddess, arguing that this figure represents a specific action of transport or transfer within the context of offerings.
Grain: Discusses the presence of grain as a foundational offering and its symbolic representation in combination with other characters.
Indus script: Offers a symbolic reading of a prism find as a hypothesis for interpreting the script through the categories of logograms and phonograms, analogous to Egyptian hieroglyphs.
Sacrifice of the heart: Investigates the motif of heart sacrifice, refuting alternative interpretations and establishing its connection to the goddess.
Tiger capture: Analyzes the depiction of tiger trapping as a ritual event rather than a practical hunting scene, linking the tiger to sacrificial rites.
Meaning of the Indus sings: Synthesizes previous interpretations to offer a hypothetical reading of a specific Indus script sequence found on a prism.
Concluding remarks: Reflects on the formation principles of the Indus script and addresses the question of why no longer texts have been preserved, suggesting a specialized purpose for the script.
Numeral system of the Indus culture: Provides a revised analysis of the Indus numeral system, proposing a transition from centesimal to decimal structures.
Unicorn complex of the Indus culture: Investigates the "unicorn" as a non-mythical, bi-horned bovine species and explores the associated "cult object" as a symbolic representation of a basket used for feeding.
Keywords
Indus culture, Indus script, Mohenjo-daro, Harappa, tree goddess, unicorn complex, cult object, sacrificial vessels, pictographic representation, logograms, phonograms, numeral system, Bos indicus, archaeological finds, symbolism
Frequently Asked Questions
What is the core focus of this work?
The publication focuses on interpreting the Indus script by examining the pictorial representations found on various artifacts from the Indus civilization, rather than relying solely on linguistic decipherment.
What are the central themes discussed in the book?
The central themes include the iconography of the Indus culture, the religious significance of symbols like the fig tree and the unicorn, the nature of sacrificial rituals, and the structure of the Indus numeral system.
What is the primary goal of the author?
The goal is to bring new perspectives and facts to light regarding the Indus script's content, suggesting that these characters often represent concrete concepts or actions related to rituals and offerings.
Which scientific methodology does the author employ?
The author uses a comparative iconographic approach, modeled on the principles of Egyptian hieroglyphs—specifically logograms and phonograms—to interpret the visual content of Indus seals and inscriptions.
What does the main body of the work cover?
The main body investigates specific motifs such as the priestess, the load carrier, the use of vessels, tiger capture, and the symbolic representation of hearts and grain as offerings to the tree goddess.
Which keywords best characterize this research?
Key terms include Indus culture, Indus script, iconographic interpretation, unicorn complex, cult object, and the analysis of decimal and centesimal numerical systems.
How does the author interpret the "Unicorn" of the Indus culture?
The author argues that the "unicorn" is not a mythical creature but a true-to-life representation of an extinct bovine species from the Bovidae family that originally possessed two horns.
What is the significance of the "cult object" depicted on many seals?
The author interprets the "cult object" as a symbolic representation of a basket made of organic materials, used for storing fig fruit as animal feed, which later evolved into a standalone religious symbol.
What is the connection between the Indus numeral system and later Indian history?
The author suggests that the construction principle of larger numbers in the Indus culture—using additive and multiplicative methods—may have influenced the development of later Indian numerical systems.
- Quote paper
- Dr. Tapan Kumar Das Gupta (Author), 2025, Pictorial representations and the Indus script, Munich, GRIN Verlag, https://www.grin.com/document/1581756
