Leprosy is strongly stigmatized in South Asia, being regarded as a manifestation of extreme levels of spiritual pollution going back through one or more incarnations of the self. Stigma has significant social consequences, including surveillance , exclusion, discipline, control, and punishment; biologically speaking, internalized stigma also compounds the disfigurement and disability resulting from this disease. Stigma results from an othering process whereby difference is recognized, meaning is constituted, and eventually, sufferers may be negatively signified and marked for exclusion. This paper traces the history of leprosy's stigmatization in South Asia, using archaeology and an exegesis of Vedic texts to examine the meaning of this disease from its apparent zero-point—when it first appears but before it was differentiated and signified—in the mature Indus Age. Results suggest that early in the second millennium BCE, leprosy was perceived as treatable and efforts were apparently made to mitigate its impact on the journey to the afterworld. Ignominy to the point of exclusion does not emerge until the first millennium BCE. This paper uses archaeology to create an effective history of stigma for leprosy, destabilizing what is true about this disease and its sufferers in South Asia today.

Synopsis 'Cryptogram in Buddhist Art-A Continuing Legacy' was presented in 2001 conference at New Delhi National Museum of India. It began on an investigative note to understand how the mysterious endless knot engraved on several of copper tablets in Mohenjo-Daro suddenly materialize on an unusual terracotta seal in Taxila Jandial Temple. A knot of eternity called antelope or 'Deer Hoof' drawn by Chokwe shaman of Angola is astonishingly identical to the endless knot on the terracotta seal and the copperplates of the Indus Valley. The Deer Hoof endless knot known also to Egyptians is freehand Sona sand drawing that gives ceremonial safe passage to the departed in funerary rituals. Then the shaman obliterates half of the interlaced endless maze right down the middle so that the spirit cannot retrace its way back to the land of the living. Similarly threshold drawing of endless-knot patterns called kolam meaning 'guise' in Tamil is 'put down' in white sandy lines to trap wandering spirits. Interlaced kolam drawn daily at dawn by South Indian housewives is then obliterated underfoot by passersby. Thus spirits entrapped in the endless maze composed on mathematical principles are destroyed so as to protect one's residence. The cryptogram and the kolam of Tamil Nadu similar to Celtic interlacement is drawn from programmed memory. The paper also explores the technology of etched copperplate and the Kabul MS written in Indus pictographic script using stylus and ink. Recent research conducted on the birch bark manuscript renowned as Kabul MS from a copy in the Vienna Western Himalaya Archive (SNO5 1000, 7081) questions the antiquity of Indus Valley culture MARVELS OF THE DEEP A curious endless-knot shaped like 8 is carved in relief on the circular base of a miniature conical seal made of brownish clay mixed with red sand. The terracotta seal was found five feet below the surface of Mound C in Jandial. A temple built in Greek style once stood on the manmade mound about half a mile from the north gate of the satellite Sirkap necropolis in Taxila. The same version of the 'Knot of Eternity' engraved on a number of copper plates from Mohenjo-Daro is indeed an extraordinary phenomenon in the Indus Valley. The unusual intertwined cryptograph occur earliest at the two remarkable cult centres, which point to conviction in its efficacy if not shared belief in life after death. A pierced amulet seal strung through a chord can be worn as talisman but the conical terracotta seal measuring 2.37 inches in length is unpierced. 1 The seal found among other votives in the Jandial temple was surely a religious object most likely used as a stamp for ritual purpose. In Egypt a great number of cone-shaped baked clay seals with identical or similar pattern as part of tomb architecture were made for each tomb owner and set as a frieze along the upper edge of the façade. Yet, the geometrical knot of eternity interlaced around symmetrically placed dots on the conical seal is one

Indus inscriptions hold the key to unlocking the history of pre-Iron Age India and all Indo-European peoples but remain undeciphered for over a century. All prior attempts have been partial, unsatisfactory and unfalsifiable. We decipher the Indus script by treating it as a large cryptogram as described by Claude Shannon. We decipher every sign sequentially using regular expressions and set-intersection. Indus script is discovered to be proto-abugida segmental with signs for consonants and vowels. Indus inscriptions are in grammatically correct post-Vedic Sanskrit. Variants of 76 allographs constitute most signs. Conjunct signs constitute the rest. Our decipherment can read every inscription and we translate 500+ inscriptions including the 50+ longest, 50+ shortest and 400+ medium-sized inscriptions including 100+ inscriptions with conjunct signs. We comfortably surpass Shannon’s criteria for a credible cryptogram decipherment. Brahmi glyphs are discovered to be standardized Indus signs. We find significant continuation of Indus linguistic features and cultural elements in post-bronze age India.

The recent surge in ancient scripts has resulted in huge image libraries of ancient texts. Data mining of the collected images enables the study of the evolution of these ancient scripts. In particular, the origen of the Indus Valley script is highly debated. We use convolu-tional neural networks to test which Phoenician alphabet letters and Brahmi symbols are closest to the Indus Valley script symbols. Surprisingly, our analysis shows that overall the Phoenician alphabet is much closer than the Brahmi script to the Indus Valley script symbols.

The Indus Valley Civilisation used thousands of seals with symbols which have not been properly understood so far.Most of these symbols were later used all over India and abroad on pottery,copper plates,rocks ,textiles,furniture , metalwork products etc. But the fundamental principle underlying these symbols escaped the attention of scholars and researchers so far.This led to many strange conclusions about their readings. In this paper we are explaining the basic principle of the symbols and their purpose. We are not surprised to find that vedic
“mangala/mangalatraya/ ashTamangala / agni/ kaala/raja/ laabha/varsha/sabha/siva/subha/srii” are the underlying words employed in most of the inscriptions. These symbols agree with the Rg vedic concept of agni/fire worship and the archeological evidence of presence of vedic fire altars in IVC sites.Worship of agni(sun,fire,king,priest) led to the use of these symbols by other contemporary civilisations also.
The Ashtamangala(asta-mangala>house of king ; cf.Heb.LMLK;Bethlehem/beth-melech;king’s sacrifice;bull’s sacrifice) is a set of Eight Auspicious Signs used in religions like  Hinduism,Jainism, and Buddhism. In the Hindu tradition, the Ashtamangala may be used during certain occasions like pujas,weddings,coronation of kings etc.  They have been depicted in decorative motifs on pottery ,temples,royal palaces, houses and cultural artifacts.This paper explores the Harappan ashTa mangala rationale in vedic literature,rituals and sacrifices,temple architecture etc.

ABSTRACT Loteshwar (23º 36ʹ 1.8ʺ N; 71º 50ʹ 11.8ʺ E) is situated in the Sami Taluka of Patan District in North Gujarat, Western India. First excavated in 1990’s the site was re-excavated by the North Gujarat Archaeological Project during November/December 2009. The 2009 excavation unearthed two cultural periods namely Mesolithic (dated between the end of the eighth millennium cal BC and the middle of sixth millennium cal BCE) and Chalcolithic (dated to around 3600-3000 BC). The comparative analysis of the lithic assemblages associated with these periods is the main objective of the current study. Other artefacts and ecofacts recovered during the excavations suggest a changing economy at the site from hunting and gathering to agro-pastoralisam. However, the analysis of the lithic assemblage, in particular the cores show continuity in term of a tool technology (quartering technique of stone tool manufacturing) for over five thousand years. This technological continuity is associated to continuity in settlement patterns, characterized by the occupation of dune tops and the uninterrupted transmission of technological knowledge from one generation to another.

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 land of the Pakistan has witnessed as the cradle of an ancient society of the ancient world, called Indus Valley Civilization or Harappan Civilization. This prodigious civilization is contemporary to the other ancient societies like Egyptian, Persian, Mesopotamian, and Chinese. The Harappa, Mohenjo-Daro, Ganweriwal, Kot Diji, and Mehargarh are its renowned archaeological sites, which illustrate the ancient agriculture and social lives of the Indus people. This civilization is also significantly known with its urbanization, town planning, bronze technology, seals, and trade networks. In Pakistan, earliest farming was started in the Neolithic at Mehargarh site (7000 B.C. to 2500 B.C.). In later stages, it progressed towards the Harappan culture. This paper will focus on collected archaeobotanical data from some important prehistoric sites that recommend the evidence of origens and dispersals of important ancient crops and agropastoralism of ancient Pakistan. In addition, the ancient cereals from these sites during the Neolithic will also be examined with the context of agricultural strategies, socioeconomic structure, farming system, domestication of animals, and ecology of ancient Pakistan. Moreover, the history of archaeological research and archaeobotanical evolution in Pakistan are pivotal theme of this research.

Indians had a highly rich heritage of culture, science and education. In order to colonise India, it was necessary for them to make Indians mentally broke and turn them against the glorious past of India and be the perpetrator of British strategy.

Since Painted Grey Ware (PGW) was identified in North-Western India, seven decades have lapsed and our knowledge base about this type of pottery and the communities that made use of it has grown only very slightly. Archaeology still struggle to fill the gap between the fall of the Indus Civilisation (Late Harappan, c. 1600 BCE) and the early appearance of the so-called PGW communities. This obscure period took the label of ‘Dark Age’, and a number of hypotheses have been pushed forward in order to better understand the spread of PGW culture in the Upper Ganges Valley: the myth of an Aryan invasion is just an example. [...]

The three seasons of excavation at Kanmer revealed a large number of animal skeletal remains. This paper presents the results of the analysis carried on the excavated faunal material during the third season (2007-08) from Kanmer. More than 25,000 bone fragments were collected during this season at Kanmer; however, this report is based on a part of this collection mainly the material coming from two trenches Z29 and Z30 located in the central part of the mound. A total of 2984 fragments were analyzed from these two trenches belonging to different cultural periods. The bone identification revealed the presence of both domestic and wild mammals.

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 origen 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 origen 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!

This paper traces the Neolithic civilization unearthed at Mehrgarh, located in the Karachi Plain of Balochistan in Pakistan. Since its discovery by eminent French archaeologist Jean-François Jarrige in 1974, this site has offered important clues to life prior to the Indus Valley Civilization. Here, we make a note of the archaeological significance of the site and the lifestyle and technology of the Mehrgarh peoples through periods I to VIII.

شهد أواخر الألف الرابع وبداية الألف الثالث قبل الميلاد أنتشار واسع للمدن الزراعية على ضفاف الأنهار ومصباتها حيث كانت الحاضنة الحضارية والحضرية التي ظهرت في جنوب حوض الرافدين. مثلما انتشرت في حوض الإندوس، وامتدت حتى منطقة السان بين نهري يامونا – جانج. فقد أُنشئت المستوطنات الدائمية في المناطق التي زارها الرعاة بشكل موسمي سابقاً، كما استُغلت مناطق جديدة من السهول الغرينية عبر انتقال بعض المجاميع من الأراضي المرتفعة إليها

India and Pakistan have been the homes to one of the major civilisations of the ancient world— the Indus Valley civilisation. In spite of being the carriers of history, both countries were unaware of the treasure that was lying beneath their surface. It was since John Marshal’s pronouncement on the civilisation of the Indus Valley (now more commonly described as the ‘Indus’ or the ‘Harappan Civilisation’), this city culture has become an integral part of popular perceptions of undivided India’s ancient past. Although images of the burnt brick drain, ‘great bath’, ‘priest-king’ and a ‘dancing girl’ are now as familiar to the people as the names of the cities that housed them all— Harappa and Mohenjodaro, the fascinating and complex story of how the Indus cities came to be discovered is less well known, for it has never really been well pieced together from start to finish.1 With the help of a foreign mind, the asset was unearthed, leaving zero impact on the local residents, which has been relayed in today’s time to a large extent. The civilisation lacks local support and recognition as ‘Archaeology’ was never a known word in the region’s vocabulary.
This research is the initiation of a larger setting. The idea behind this research is to establish a starting point to regenerate the essence of this civilisation as one whole entity and not as individual cities, by mapping the overlapping networks of infrastructure present within the cities despite-of the political boundaries of the nation-state. There has been a serious lack in disseminating knowledge about this network to the general public, resulting in the condemned state of the sites. This research will end with a manifesto to re-imagine this infrastructure network with the missing links and re-establish a connection between the cities, within the civilisation. And for doing this, Dholavira will be the portal. The conclusion will be the beginning of a larger set that can be worked upon in future attempts.
The research is a result of the author’s urge to establish a connection between the archaeological sites and the social strata of the country. The fact that some of the cities of Indus Civilisation have UNESCO recognition, is a matter of disturbance for the author, being an Indian, that the country and her people have always seen these sites as a mere state of ruins.

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.

Indus Valley Civilisation is one of the largest of the four great civilizations of the old World. It is extent to approximately one million square kilometres. Dholavira is one of the most extensively excavated Indus Valley Sites in the Khadir Bet of Great Rann of Kachchh and remarkable in many ways. For the first time, it yielded a well-demarcated and fortified city where the locally available stone is profusely used unlike other prominent Harappan Sites like Harappa, Mohenjo-Daro, Kalibangan, Rakhigarhi, etc.
Dholavira also has the first evidence of rock-cut architecture in the World where a water reservoir has been cut out of the living rock during the Classic Harappan Phase. This paper tries to typologically distribute the architectural ensembles carved out of rock. This mainly includes, beautifully planned and imposing gates of Castle of the Fortified town, the remains of those are still standing tall.

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 origen of the Indus script.
Keywords: Indus Valley Civilization, Harappan, India, the Indus Script.

The Indus Valley Civilisation used hundreds of written symbols which have not been properly understood so far.Most of these symbols were later used all over India on pottery,copper plates,rocks ,textiles,furniture ,metallurgical products etc. But the fundamental nature of these symbols escaped the attention of thousands of scholars and researchers so far.This led to many strange conclusions about these symbols including their use as indicators of trade and wealth.In this paper we are trying to locate the fundamental nature of the symbols and their purpose.
We are not surprised to find that vedic “mangalatraya/ ashTamangala” plays the key role in these inscriptions.
In the year 2016 I had uploaded the paper
https://www.academia.edu/29623341/The_Script_Of_Indus_Valley_Civilisation_9_The_Goodluck_Symbols_Of_The_Indus_Script
In that paper we had a basic introduction to the good luck/ auspicious symbol nature of the IVC symbols.Comparative study of the Dholavira sign board with the Sravana Bel Gola images gave futher support and proof to this idea.
These symbols serve as tools to please agni(king-the buyer/ customer is the king) of the product, thereby generating price rise. A door/cloth/ equipment/ornament with mangala designs had a greater visual  appeal than a plain one so that the seller was able to bargain for a higher price. In the case of royal edicts these symbols contained praises of the king or  his blessing and auspicious words for the subjects.These symbols generally remained unchanged for very long periods of time for the same reason.
In this paper we are including a detailed  “decipherment” of most of the symbols to show that they belong to the “mangala” category.
We have included hundreds of IVC seals and inscriptions in this paper to illustrate the basic “mangala” nature of the symbols.The change of perception will show that the IVC civilisation was vedic
and the language of the symbols is also vedic.

Who is Veda Vyaasa?If Vedas describe the life of the Harappans,and the Vedas were compiled by Vyaasa,who also compiled the epic magnum opus of world literature,the Mahabharata,can the Mahabharata(maha-veda/deva) be much younger to the Vedas.Do we have any clue in the vedic texts to identify the real scribe of the Mahabharata?Why KRshna proclaimed the Bhagavad Giita in the Kuru(Giri/Guru/Puru/bruu /Hebrew/Rg)-kshetra(Gurukshetra/ Miina/nayana/suura) before the war?Why the Bible chose Mount(Giri/Guru/Gira/Rg)- Sinai(Miina , , ) to give the ten commandments ? How Kurukshetra and Mount Sinai are related? How the Maundy Thursday rites are related to these? In this paper we are trying to find the answers for these questions.

There is a new finding in the Indus script decipherment. The Indus script follows the Egyptian Hieroglyphic way of writing. Indus gods also show all characteristics of Egyptian gods. 'Heh' is one of the Egyptian god followed in India and is presently known as 'Ayyappan' and his temple is in Sabarimala, Kerala.

Stamp seals and their impressions on clay tags were first used at the end of the seventh millennium BCE to manage the collective storage and egalitarian redistribution of staple commodities within the Neolithic communities of northern Syria in their transition towards sedentarization. Following the socioeconomic transformation of the society during fifth and fourth millennia BCE, in the Near East administration became the main instrument used by the new centralized hierarchical structures of power to profit from the control of labour and resources. Despite our persistent inability to read the autochthonous writing system, it seems increasingly clear that administration played a fundamental role also in the process of cultural and socioeconomic integration at the base of the Indus Civilization during the third millennium BCE, sustaining its expansion over a vast and differentiated territory for almost one millennium. This paper presents the stylistic, technological and functional studies carried out by the author on the stamp seals and their impressions on clay found at different Indus Civilization sites in Gujarat, India, including the primate urban centre, smaller specialized settlements and commercial entrepôts. The detailed and comprehensive approach applied allowed to stress similarities and variances respect to the sealing procedures as reconstructed for the Near East, as well as to define particularities of the administrative system and the storage technology in the Indus Civilization.

In the history of archaeological research in Pakistan, there is hardly any concept of “Independent Researchers” who opt to devote their lives to explore and document vanishing heritage located in remote areas. Zubair Shafi Ghauri, a bureaucrat by profession, retired from the Pakistan Railways as Additional General Manager (Traffic), will be remembered among the very few unsung heroes who made true justice with his passion for archaeology. His love for the subject can easily be understood and ranked no less than higher by any means from any institutional work, particularly related to Indus Valley Civilization. From the archival record, both published and unpublished, he earned the position of a well-established author in the national and international community. As a result of an extensive survey of Hakra, Kot Dijian, Mature and late Harappan settlements in Punjab, he not only discovered and identified hundreds of sites but also documented these in a proper way for understanding and reconstructing settlements’ patterns of the period ranging from 3700 B.C.E to 1800 B.C.E.

The juice extract of the soma plant soma rasa and its offering to deity Indra was the most important part of somayajñas in Vedic period. The research article sheds light on how the soma was purchased, its juice extracted and offered as oblation to deity Indra during the performance of somayajñas. The literary source for understanding somayajñas is RigVeda and the archaeological proofs are seen in the various seals and figurines of Indus / Harappan civilization.

A lot of terracotta figurines were made in the Indus Valley between 3150 B.C. and 1080 B.C. In that period, heaven and earth were dominated by a limited number of deities: first by Kartikeya and his three spouses and later by Saraṇyū and her twins Yama and Yami. These seven deities provided prosperity: they produced corn, fish, poultry, cattle and the mind-expanding soma drink. Above all, their main activity was that they gave children to humanity. Because they were so important in the Indus Valley Civilization the seven deities were constantly symbolized on seals and they were also portrayed by terracotta figurines.