THE VEDIC BASIS OF INDUS CULTURE (Key Note Address By Late Dr.

Fatah Singh - Seminar held in JNU Study Centre, New Delhi)

"There is one uniform and universal tradition of mankind says late Ren Guenn, the French savant, and that it has been best preserved in the Sanskrit texts, like the Vedas and Upanishads. This accords with the vedic concepts of vivamnua and vivyu, both meaning universal man. The Atharva-Veda moots out the idea of Brihad Samveshyam Rtram,1[1] that is, the broad-based comprehensive nationhood. Accordingly, there is a long hymn2[2] to the Motherland where the mother Earth is described as nourishing the people speaking difference languages and following different faiths, but all living like the members of one and the same household. Thus the Veda is indeed the basis of the multi-racial, multilingual and multi religious Indian society that, in spite of so many onslaughts from within and without, continued to stay until now like rock of granite. This is something 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 scholars and Indians trained in their modern sceptical and evolutionary mode of thought have looked the Indian tradition with their eyes tarnished by racialism, which Julian Huxly rightly condemned as "a myth and a dangerous myth." This is particularly germane to the controversy regarding the relationship between the Veda and Indus valley culture. Before this problem is discussed here, the learned 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 Indus script which is also found on punch-marked coins, discovered almost in all parts of the country. Late Dr. R. D. Bannerjee, who is credited with the discovery of Mohenjodaro was the first to point out that is was a relic of the Vedic age. His boss, Sir John Marshall, however, took his assertion as an offence and got him dismissed from the government service. Prior to that, Bishop Coldwell had proposed the theory that Sanskrit words found in the southern languages were the reminiscence of the remote past when the Brahman of the North imposed his language and religion on the people of the south. "This started antiBrahmin and anti-North movement in the South. Also, Sir John Marshall and Reverend Father Heras passionately propagated that Indus valley civilization was proto=Dravidian and non-Vedic, and that the cities of Mohenjodaro and Harappa were destroyed by Aryan invaders. It was the period of twenties when Gandhiji published his 'Hind-Swarjya' and said that Swarjya was a vedic word which means much more than home-rule. He also appreciated Swami Dayanand who was the first to emphasize the need for Swarjya and also for going back to the Vedas.

2.

3.

4.

5.

1 2

[1] (AV.3-8-1)
[2] (

Av. 12.1.45)

6.

After our anti-British uprising in 1857, the alien rulers had made a vigorous effort to push up the policy of 'divide and rule'. Missionaries and scholars were used to advocate separatism on the basis of region, religion, race, language and caste or tribe. I do not mean to name them, as they are too many. Most of this work was done at Government cost. A glaring example may be seen in the huge book, 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 mixed up with each other, but the people of Madras in India and those of British in Europe can still claim to be pure Dravidians. Unfortunately, even in free India , this trend of separatist thinking continued to get more and more impetuous, with the result that our people were never divided so much as they are today. Scholars of different disciplines seem to have vied with each other in trying to prove that 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.

7.

8.

INDUS VALLEY CULTURE - This nefarious trend has particularly misguided our scholars with regard to the so-called Indus valley civilization. Father Heras and John Marshall had said that the worship of Mother Goddess was unknown to Vedic people. This is totally falsified by the books of Gyana Sahney and Dr. S. M. Gulethi and the scholars of Pondichery including Shri Aurobindo 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 on the relics of Indus valley is hardly tenable, when we find different kinds of bulls depicted on Indus seals. (3) Sacrificial altars, peculiar to Vedic tradition have been found at Kalibanga and several other later excavations of Indus sites. (4) The discovery of furrowed land at Kalibanga disproved the theory that Indus valley civilization was only urban and not rural like Vedic civilization. (5) The view that the Vedas have no worship of Shiva as known to Indus people stands exploded by following evidence : (a) There is a Vedic Mantra addressing God as Shiva : (yaju. 3.63)

(b) Normally, the word shiva is used for the Supreme deity, called Agni. (Rv. 10.3.4 , 10.124.9) (c) The Shiva is the old home, the wealth, and the friendship having the potentiality to be many (Rv 3.5 & 6) The adjective Shiva in superlative is used for the Godhead, called Indra (Rv. 8.96.10) : In fact, it is the flame of Agni that figures as Shivalinga, that is, the characteristic mark of Shiva conceived as the great red whitish organ of the brahmachari God. The invisible one is supposed to 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 antiurban ethos of the Vedic people has no validity, because Indra is known as the Pura-eta, the leader of cities (RV. 6.47.7) and a paura (citizen). Moreover, all Vedic gods have a city named Ayodhya to live in. It is the city of nine doors and eight circles: (aaAaaaaaaaaaaaaaaaaaajjjjjjllaaaasssaaaaaaaaaaaaavaaaaaklllbnmmaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa( Atharva Veda.10.2.30)

INDUS SEALS AND PUNCH-MARKED COINS - Now we can take up the evidence of punchmarked coins and Indus seals. For the time being I shall not however take the help of all the four scripts 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 like O, 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 and MO (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 (plate No.1). The second is available on a peculiar picture of Ahur Mazda of 500 B.C. (plate No. 2) who represents 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 first monogram would read as OM , and the second one as MO of the Vedas. OM is well known as the name of God, though occuring only thrice in the Vedas. Mo, on the other hand, has been used at least 23 times in the Rigveda alone. Also it is conspicuously present as a part of Ahura mazda (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. - 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 : This position is obtainable by the ascent of the lower consciousness to the supramental stage to bring the Swarga down to the human body, and turn that 'house of clay' into MoSu of Lord Varuna : (RV. 7.89.1) In other words, MoSu corresponds to the heaven brought down on earth (body) which is otherwise called Moki3[4], the consciousness. The Mo is destroyed after death, or when one uses the spiritual Agni for selfish end. The ego (Aham) hurts Mo, otherwise it has a tendency to withdraw the consciousness 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 is the utter darkness, represented by dark seventh series of U-shaped symbol in the Ahura mazda image, whereas the Oki rises upwards with the eighth series which is bright and closely touched by the 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, ascending to 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 (plate No. 1) may be understood as the descent of divine power in the body of Yogi, energizing what are known as nine padas (steps) of the consciousness, named Sahasakshar Vk 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 the ideal personality of the Vedic Yogi who was not satisfied only with his inner achievement, but had become used to utilize his yogic power in accomplishing the best form of human behavior, called Yajna 5[2]. This ideal could be achieved only when the individual soul becomes used to be in communion with the higher spirit. The two are then described as the two Supara friends, closely united and embracing the self-same tree : [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 : (RV. 1.164.20)

4[1] (RV. 1.164.45 , kath. 30.10,

TB. 3.2.1.4, B. 1.7.1.5)

5[2]

Although, here the higher spirit is depicted as quiet and calm, nevertheless his divine power is flowing together with that of individual soul. That is why the power of Yogi is called Shasr or Sahasrkar Vk 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 Vk 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 supara friends of the Veda. This is, however, not difficult. The word Supara literally means a beautiful leaf. Although in the Vedic context, commentators have translated it as bird, in the context of the peepal tree of Indus seal, the two closely united with the tree like other nine leaves, can very well be conceived as two leaves. They have been thus called beautiful (Su) leaves (parna) Moreover, here the two Suparas being animal heads, with a horn, could not be conceived as birds. Although, there is no horn associated with the Supara twins of the Vedas, never-the-less, the concept 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-like eye and also as the highest horn, as if of rays : (RV. 5-59-3) In the unicorn of Indus seals (plate No.1), we, find this eye as well as the horn. In the spiritual union of the individual spirit with the Supreme deity, the latter is Savita described as calm and quiet, and also as the horn of ta, 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 never separate. The twins here are also united like the two unicorns of the Indus seal of peepal tree. The Vedic mantra reads as follows :

[Rv. 8.86.5] In the mantra preceeding to this, there is a call to the hero existing far away and having his tasty wisdom (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 power mentioned earlier. A revealing fact in this respect is found in the sevenfold version of twins of this type. They are originally the inward and outward motion of consciousness, described as follows: , ( ) , , , (. 3-334] Without going into the details of the each type of twins, it may be remarked that they all represent the stages of the consciousness, involving the ascent and descent, prior to the ultimate union of soul and God in samadhi, as depicted in the union of two Suparas of the Veda and the two unicorns of Indus seal with a peepal tree. This ultimate union causing the release of divine power, as depicted in the Vedic mantras quoted above, and also as shown in the Indus seal of peepal tree, has another version in the Iranian image of Ahura-Mazda, emanating as eight series of U -shaped symbols.

plate3 THE U SHAPED SYMBOL -The U-shaped symbol (plate 3) in fact signifies a wave or ray of energy. This can be substantiated by a number of these symbols found not only on Indus seals, but also 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 these seven 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 the waist of Ahur mazda and the latter may be understood as those existing above the waist. The remaining 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. The same we find in the union of two Vedic Suparas 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 from which the tree with nine leaves emanates. As the U-shaped symbol may also be taken to denote U sound of the Veda. we may compare it also with the short and long U occurring in what is Samhitpatha of the Vedic mantras. The same is, however, rendered as OM (nasalised U) in pada-path. It is also generally considered as the substitute of OM. The reason why it is retained as U without any nasal sound in the Samhit patha may be seen in the meaning of the word Samhit. Defined as close proximity ( ), the Samhit 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 Yogic Samadhi. The nasalized U of Veda may be, on the other hand, taken to signify the energy at the higher levels, leading to OM of Samadhi. In the Veda, the former is called Asura, whereas the higher one is Mahat. The Ahura Mazda combines in Him the both and In this respect, he may be compared with Vedic Prajapati, creating gods from his side called SU and Asuras from the side, called Asu ( ). THE UNION OF TWO U SHAPED SYMBOLSThus 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 find the 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 well as 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 throne with a head-dress formed by the combination of the two U-shaped symbols. The same is also found on the heads of three images of humans, found on three different Indus seals (plate No. 4). Each one is 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), where a 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 waist ofAhura Mazda. As a tree is Vedic symbol for human personality, the human figure, backed by UIIII 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 this intervention, the person on the tree symbolizing the human soul in a body is able to challenge the tiger-demon proceeding towards a covered pot probably to take away some valuable treasure kept there. -----------------------------------------------------------------------------------------------------------------------

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 something like n-shaped symbol (plate No. 5). Thus it means Vana, figuring as synonym of Rashmi in the Nighantu. Thus it is the vanam of the Upanishad which is said to be worshipped as Brahman. This is the first flame of the spiritual fire heralding the state of Samadhi. Having the capacity to challenge the tiger-demon, it is, in a way, the state of readiness to overcome the hurdle to Samadhi. The same is depicted in another Indus seal (plate No. 6), where a human figure is standing with an U-shaped symbol in each hand with a bird ready to fly, appearing on his head. Besides him, there is a pole to which 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 was ultimately freed from the triple bonds with which he was tied to ypa. (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 its beak on the side of snake, leaving the peacock free and peaceful. In other words, the bird symbolizes the human soul, controlling the evil forces and allowing the forces of goodness (peacock) at the right to have a free-play resulting in spiritual turn, symbolized by the swastika, with its four arms turning to the right. Quite opposite to this is another Swastik, symbolizing the turn of consciousness on the wrong side, inviting bondage. One of Indus seal depicts a cross, with two swastikas respectively on the 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 symbol containing within itself the bits of a snake, with two peacock heads on either side at the top, each having a crest resembling the flame of burning fire (plate No.7). This obviously means that liberation is possible only by the spiritual energy symbolized by U-shaped symbol, but only when it is 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 the tree of enlightenment. or Bodhi_Vriksha. Here we see at least four U-shaped symbols clearly. Two more may be seen in one of the hands of the two guards standing on either side of the tree. At the top of the tree, we find two U-shaped symbols joined together to the only flower of the tree. Without attempting 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 who think that Father Heras has said the last word on Indus Valley civilization. The Reverend Father believed 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 like to quote the following from the the Athrva-Veda : - - - - - -- - - - - - - - - - ( . . 10.5.1-6) Without attempting a detailed commentary, it may be pointed that five-fold Jinu yoga means the jina-yoga or the yoga of trthankara of Jainism. The practices in five other Yogas mentioned there as contributing to Jiu Yoga may be taken to correspond to the five parmeshthis of Jain tradition. 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 to practice of yoga and meditation. In fact the concept of Veda itself is inseparably connected with Yoga. In this connection, it will be sufficient to quote here the following two mantras :(1) , (Av. 19.72.1) (2)

(Av. 19.68.1) In the first mantra, there is a reference to descent and ascent of consciousness to dig out the Veda 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-vrya to do the desired deed. In the second mantra, the poet talks of uniting the unmanifested and the manifested levels of human personality by filling the gap between the two. Then, he says how by digging out the Veda 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 consciousness derived from the Non-corporeal agency, called Apurua. Hence Veda is called Aporuya, that is the Veda obtained from Apurua. This is possible only when all the extrovert human energies are withdrawn to the inner-most level where the supreme consciousness called Veda is obtainable. Here it is called Brahma-Veda. When it is drawn out to a little lower level for the first time, it is called Vedas, 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 sman which are supposed to exist as un-differentiated at the Atharvaveda level. The three, also known as Tray represent the creative power responsible for the creation of many thoughts, desires, emotions and actions etc., but as Atharvaveda, it is the undifferentiated trinity 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 with differentiated trinity, that the four Samhits of Vedic mantras have been designed and named. THE VEDIC LANGUAGE Thus it is obvious that the word Veda has so many nuances and shades of meaning. This could be possible due to a unique characteristic of Vedic language. In order to make 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 by the root vid of the term Veda. The root vid can be used in the following senses :1) Vid, to know, to understand (vid jne) 2) Vid, to be, to exist, to live, to be present (vid sattym) 3) Vid, to think, to contemplate (vid, vicharae) 4) Vid, to be conscious of, to narrate, to explain, to live, to reside (vid chetankhy ananivasesu) 5) vid, to obtain, to acquire, to achieve, to accomplish (vid lbha). It is with this and some other devices that Vedic people succeeded in making the common sanskrit a suitable medium for expressing the supramental and transcendental truths grasped by rishis in Samdhi, This tendency has affected not only the epics, puranas and some other great works of Sanskrit language, but also the literature of other Indian languages and even foreign traditions.

THE PARALLELS OF VEDIC SYMBOLISM - It will, therefore, be worthwhile to point out briefly some of the parallels of Vedic symbolism in other traditions. The most conspicuous is the symbolism involved in the concept of the first man. According to Vedic tradition, either the human soul or God is 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 to procreate" (Brh. Up 1.4.17) 2) In the beginning, Atman was all alone, like a male. After investigation, he found none except himself. ... He did not enjoy solitude. He desired a second one. He himself became like a male and a female hugging each other. He divided this very form of himself, with the result that there was one husband 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 the phonetic 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 a mate. 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 also found in Jewish, Christian and Islamic tradition as Noah or Nh, while in ancient Egypt it was known as Minos, the first man. Here again, the flood legend associated with Indian manu is also found with full details in other tradition also. Likewise, Yama, the first to find path for gods, along with his sister Yami is present in Iranian tradition. The yama is also the Japanese first man after whom an island was named. Shyena, the first man of china, credited with bringing the celestial fire for men from heaven is the same as the Vedic Shyena. Th mahat Asuratvam of Veda figures as Ahur Mazda 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 Brahm, associate with Sarasvati and Shri. However, these names as found in foreign countries can regain their original symbolic meaning only if they are compared with their Indian counterparts. According to Ren Guenn, 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 original symbolism and consequently they have become totally legendry figures. In certain cases, some symbolic figures of the Vedas have been closely associated with some historical personalities. For instance, there is Jivr, 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 yats of the Holy Koran to the great prophet of Islam. Likewise, the Rig-Veda mentions Indra's one famous exploit - the cross (Ks RV. 8.3.20. 32.3). This might have been unnoticed, had there been no mention of Kristih, that is, the killer of a Kristi (RV. 9.71.2). It seems that Kria is same as cross, and Kristih is same as the killer of Christ. In that case, the Kriti of the Veda must be taken as Indra who is known for his singular exploit at the cross (Kria) and then, the killing is only symbolic in the sense that the kriti loses his 'envelope' (Vavri) and goes to his father's close and refined place and thereby makes his progeny shining. The kriti 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 Kriti, comes roaring. Obviously, it has nothing to do with any historical personality. Therefore, if it got mixed up with the historical Christ's life, it must be taken to point out his transformation under the influence of the divine power which he got from his divine father. In this respect, very important evidence comes from Tamil literature. This is particularly valuable, as it is highly damaging to the theory that Dravidian cities of Indus valley were destroyed by the Vedic people who were aliens. Let us start with the word Dravid itself. According to Tamil lexicographers and philologists, originally the same was 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 from North to the South from where he never returned. If we analyze the symolic description of the birth of Agastya and Vasistha, as given in the Veda, we find that the jar into which Indra-Mitra put their seman is human body and Vasistha and Agastya respectively represent the inner and the outer man. The former is confined to Ayodhya, the symbol of the inner personality involved in spiritual development, whereas the latter is concerned with the efficient social behaviour. The first belongs to uttara (lit, higher) direction while the latter is totally devoted to Dakia (lit, efficient) direction. Vasistha rose from the inside of the Jar, but the Agastya came forth from the outer part of the Jar (human body). DRAVIDA AND INDRAMITRA - Among the Indian names Vasistha comes from the root vas, to reside with superlative suffix 'istha'. Hence it literally means one 'Most residing'. This derivation is in keeping with Vasistha's deep devotion to Ayodhya. He can therefore, also be called Aga, 'the notgoing 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 meeting place of two different things. Sangana is also the name of the ancient Tamil Literature, classified into Aham and Idam, that is, I and 'This', the inner and the outer world. This reminds us of the concluding hymn of the Rigveda exhorting the people not only to walk and talk together, but also to know each others 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, emotional integration as well as Sajyna, that mutual understanding. The total outcome of this sangama process may be seen in the Vedic concept of Rtr, that is, the goddess of nationalism, called sangamani Vasnm, the force uniting all the residents. The whole thing conforms to the concept of Brhad Samveshyam Rstram, mentioned earlier.

VEDIC PEOPLE AND DRAVIDA : All this may sound ill to those who consider the Vedic and Dravida people as hostile to each other. However, the Tamil tradition is totally against them. Here I would 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, Varua and Indra were regarded as respectively controlling the forests, hills, waters and the agriculture 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 the south upto the Himalyas in the North as one motherland. An ancient work, named Shilappadhikram makes the mention of temples for Shiva, Subrahmanyam, Visnu and Indra, in the ancient city of Kaveripattanam . Manimekhal, a buddhist text, describes how this city was named after the river Kaveri that came out of the Kamandalu of Agastya who was practicing penances at Malaya Mountain of the South. The same ancient book also tells us how Agastya ordered a chola king to celebrate a festival for Indra, lasting for twenty eight days. To see these great festivals, even the gods from Kailash in the north came to Kaveripattanam. As the oldest Sangam literature dates back to 900 B.C., the facts mentioned above go to prove that at that time the whole of India was considered as one country, and that the south was, in no way, behind the worship of Vedic gods. There is reference to a Chola king8[3] who performed Rajasya Yaja. There is also the mention of a Chera-king9[4] whose empire extends up to the Himalayas in the North. Therefore, there is no wonder that, even in the pre-Ashokan and prebuddhist 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. There is, however, God Murugan who is regarded as peculiarly Tamil and unknown to the northern traditions. Dr. Karmarkar, the author of "The vratya System of Religions" regards it an uncontroversial evidence to prove that Dravidian culture is non-Vedic.10[5] On investigation, this opinion has proved to be quite wrong. Murugan is same as the Vedic Marudgana. Besides the phonetic 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 having the 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 on hills and their epithet giritha, meaning stationed on hill (RV. 8.83.1-3) is well-known. The hills associated 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'. Vedic Marudgana 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 famous for 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 heroic behaviour. Vedic Maruts decorate themselves like a bridegroom and, like Murugan, are associated with 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 brave heroes (1.64.4, 122.15 5.54.10). When the word Senn (lit. an armyman) or Raja is used for a group of Maruts (R. 7.20.5; 9.96.1; 10.34.12; 8.4.), the beginning is made to treat Marudgana (lit. the group of maruts) as the Murugan who is identified with Senani Katrtikeya (skand). The equation of Vedic Marudgana or Murugan of Tamil with Senani Kartikeya Skand is quite natural, as Marudagana also, like Kartikeya Skand11[6] are the sons of Rudra (RV. 1.114.6-9, 2.33.1). Also like Skand, they are born of Agni (RV. 1.71.8; 6.3.6). Peacock, associated with Tamil Murugan12[7] is not only the carrier of Skand but is can also be seen in the 'Hansasah neelprithh (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 is beyond any doubt. Even if we do not accept Shri Aurobindo's view that Tamil is more distantly related to Sanskrit than European languages, there is ample evidence to show that the two languages have been originally very close with each other. Apart from many other similarities, the Tamil words signifying family relations are peculiarly Vedic. The word appa meaning father has cognates in the Vedic words like apy, apna, apatya. pyam. pi etc. all derived from root ap from whch comes Tamil app. Similarly, the Tamil amm, meaning mother, is same as Vedic amb, having may other cognates like in amba, ambareesha, amblik, ambik and Trayambaka. Ignoring all these facts, it is really painful to learn that there has been a deliberate effort to create wedge between Dravidians and Vedic people whom they call Aryan invaders. Some eminent historians agree that "The use of Aryan and Dravidian as racial terms is unknown to scientific students 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 linguistic groups."16[11] It is, therefore, high time that our scholars refrain from knowingly or unknowingly playing into the hands of imperialism to spread the virus of racialism which has been very much avoided by our forefathers in the past. The fact that Vedic people gave us the concept of universal man and created professional groups and castes to wipe out racial distinction must be realized by us sooner than later. This is my humble submission to you and also through you to the Nation. May God lead us from darkness to light.

Note: The above paper was presented in a seminar as key note address by the eminent Vedic Scholar and Author, Late Dr.Fatah Singh, former College Principal, former Director, Rajasthan Oriental Research Institute and former Director Research, Ved Sansthan, New Delhi. The seminar on 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. 7274 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.Vivekananda Jha of ICHR also participated in the seminar. Dr.Fatah Singh in early sixties was able to decipher a large number of seals of Indus Valley script and contributed several articles to Svaha magazine published by Rajasthan Oriental Research Institute and published a book on the subjectSindhu Lipi mey Brahmano aur Upanishdon key prateek. Dr.Fatah Singh passed away in Feb., 2008 at the age of 96 and after his death, a Ved Sangoshti on the books written by the eminent scholar was organized in Ved Sansthan, New Delhi. ( Y.K. Wadhwa )