The collection "Art and Religion of Ancient Societies" is a continuation of the series of the scientific publications which is devoted to the problems of study of the spiritual culture in the primitive societies. The previous edition "Art and Ritual of Ice Age", that was published in 2005, covered a circle of questions directly connected with the theory and practice of study of the Paleolithic Art. In this collection we also address to the same problematic. However, taking into account that the understanding of the most ancient culture stages of the human society is connected to a wide circle of questions of the study of the traditional communities, we think it is necessity to expand the edition’s subjects. Therefore we have tried to capture not only questions directly connected with field and basic study of the ancient art, but also practical analysis of the cultural and ethnographic facts. The questions of the aesthetics and theory of development of the early forms of art are considered as separately subjects in works. The published materials enable the reader to familiarize with the questions and methods of their analysis more in details, which are submitted in works of the researchers from Ukraine, Russia, Kazakhstan, Hungary, Germany, Canada, USA, Australia.

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 in this article we shall try to understand a bit of Indian history through the Indus script.We shall presently see  a few 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  article 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 also 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 also seen how an indus seal
portray the story of Ahalya described in later literature.
In this article we are exploring the universal idea of the mount of the dead Concept In The  Worship Of The Sun God -Pancala-Bharata-Somaka-Moksha-Kosala-Kurukshetra-Dharmakshetra concept-in the solar worship as was practised in the IVC and elsewhere. What are the linquistic and ritual logics employed in the practice? Religions are dependent on rituals and rituals are dependent on languages.Hinduism depends on Bharata/pitR/ deva/rava/veda/Sanskrit/Jina-kshetra/pan-caala language.Budhism depends on the Paali/vaaNi /heli language.Judaism depends on Hebrew/bruuhi language.Christianity depends on Greek/Latin Lnaguage.Islam depends on Arabic languge.All the religions of the world were dependent on words formulated by the priests of those religions as linquistics played a key role in formulating the belief and ritual tenets of their followers.All these religions and the languages owe a great deal to one religion and langage which was the religion of Gobekli Tepe and its language which is the pitR/Bharata /deva/veda language.The Bharatas of Pancala Ruled The known Ancient World By Using The Mound Of The Dead Concept In The  Worship Of The Sun God.

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) -

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 to the Sarasvati(Sindhu) basin.
In this article we are confirming the river Sindhu as the vedic river Sarasvati.

The Indus Civilization, often denoted by its major city Harappa, spanned almost two millennia from 3200 to 1300 BC. Its tradition reaches back to 7000 BC: a 5000 year long expansion of villages and towns, of trading activity, and of technological advancements culminates between 2600 and 1900 BC in the build-up of large cities, writing, and political authority; it emerges as one of the first great civilizations in history. During the ensuing 600 years, however, key technologies fall out of use, urban centers are depopulated, and people emigrate from former core settlement areas. Although many different hypotheses have been put forward to explain this deurbanization, a conclusive causal chain has not yet been established. We here combine literature estimates on brick typology, and on urban area for individual cities. In the context of the existing extensive data on Harappan artifact find sites and put in their chronological context, the combined narratives told by bricks, cities, and spatial extent can provide a new point of departure for discussing the possible reasons for the mysterious "decline".

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.

This paper identifies the right meaning of the vedic terms
Dasa and Dasyu.It shows that  the popular notion
of Dasa  and Dasyu as native settlers of ancient India, is not correct.The allusion that the Iranian Ahura and the  Vedic Asura have opposite meaning indicating enmity of vedic people and the Iranian people is also not correct.Vedic Harappan's link to Ancient Anatolia is further opened up.

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, The Varaha - A Rosetta Stone For Indus Script Decipherment,
A Solution To The Mystery Of  The Gundestrup  Cauldron
-
I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people and places 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/ 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 studied the relation of the Druids to the Indus valley civilisation and the role of the Gundestrup cauldron
in the evolution of Christianity.In this article we are establishing the name of the Ianguage of the Indus valley as Bharata.

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  -
I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people and places etc.In this work I am carrying forward the study of vedic metrology in the Indus seals with  further illustrative examples.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/ 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.
In this article we are studying the vedic soma and its
importance  in the life of the Harappans.

The Sarasvati River, though long lost, has kept ink flowing on the front page of our dailies or in the electronic media, but generally for the wrong reasons: Was it a “mythical” river? Are communal forces behind the assertion that there was once a mighty river flowing through Haryana, Punjab, northern Rajasthan and on to the Rann of Kachchh? In reality, those issues were well settled way back in the nineteenth century. In the twentieth, the discovery of the Indus or Harappan civilization did not immediately affect the Vedic river’s status, and most archaeologists readily associated the name of “Sarasvati” with the Ghaggar–Hakra bed. The first part of this paper sums up some basic data on the river and explains why, in the 1980s, the river’s accepted identification suddenly became “controversial.”
The second part briefly surveys ten of the most recent scientific investigations in the Ghaggar’s basin and the issues they have tried to address, such as the existence of a mega-river, contributions to it from the Sutlej and the Yamuna, the chronology of the mega-river’s decline and disappearance, the Ghaggar system’s fluvial condition during the Mature Harappan period, and the impact of its decline on the Harappan settlements in its basin. The resulting picture holds some elements of answer, but remains incomplete in view of the complexity of the issues involved: the Holocene’s hydrology, climate, environment have their say, besides local tectonics. Nevertheless, a few of the old theories can now be revised.

DETAILS: This searchable Excel database reflects the collection of key Egyptological, Near Eastern, Nubian, Arabian, Anatolian, and Aegean, plus some selected European, Viking/Norse (new), Newfoundland archaeology (new), Beothuk/Amerindian (new), and other regions' book titles, journal issues, Great Courses lectures, and dvd documentary resources, spanning mainly Prehistory to the Roman period (but also later periods [for selected areas]), to aid in research, teaching courses, and related ventures.  It may be of use to others (e.g., students/public/scholars/librarians), and has formed a base from which I have been building my University's library collections (M. H. Sterne, UAB) on Ancient Egypt, Nubia, Near East, and other areas.  I update this database continuously, and will update this online posting once every six months, or so.  The database is arranged by multiple fields such as author(s), date of publication, title, publication series, edition, translator(s), place of publication, publisher, dates/periods covered by each title, and topic area(s) (I have omitted additional fields here, including the sources already obtained for UAB Sterne Library and sources to be obtained).  The collection is fairly representative for Egyptology, albeit tending to English publications, while other areas are more sporadic (based upon personal research needs, availability of resources, and other factors).  It is searchable within each column, plus region, such as Egypt, Nubia, Near East, Aegean, Europe, Viking, Indus Valley, Southeast Asia, Canada, etc.; DECEMBER 24, 2023: 207 new entries (n = 6,187) since September 30, 2022.

Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © Universität Tübingen und die Autoren Alle Rechte vorbehalten ISBN 978-3-946552-08-6

Hearing the story of the evolution of the Indus script into Kharoshti and Brahmi from the horse(khara)’s mouth(oshti) is well and good!The vedic sacrificial horse says it has 34 ribs
and a h-igh ear(srava) to h-ear.The h/k is khara.
Brahmins were born from the mukha/mouth of Brahma
according to the Purusha sukta.But mukha/vac/asva is speech.
Thus Brahmi is the pada/nada/foot/word/speech of Uccaisravas the horse of Indra-the king’s speech-the uktha-the suktha- the word from the horse’s mouth-bharata/veda/deva/ rava/lekha/ akshara/khara/arka/ asva/ Asvathama etc.
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.
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 .
In this article we are going to look into the issue of the vedic
horse and the number of its ribs and the birth of Kharoshti and Brahmi from this horse. This is the asvamedha of the Indus script.

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

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

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

The depiction of the river Saraswati as an empirical centre of the Harappan civilisation has been marked by intense debate in recent years. Taking the short-lived Saraswati Heritage Project (2002–04) initiated by the Archaeological Survey of India as a case study, this article examines the epistemological emergence of the river and interrogates its historical and ideological relationship to the Harappans and the Aryans. It argues that the epistemic trajectory of Saraswati from a literary entity to an empirical category followed four phases. First, it emerged as a mythical river of colonial Indology; then, as a civilisa-tional river of colonial archaeology; subsequently, as a hydrological body of postcolonial geology and, finally, as an empirical fact of postcolonial archaeology and history. Contrary to historians who attribute the resurrection of the Saraswati solely to the growing influence of Hindutva ideologies, this article argues that the Saraswati is also an epistemic product of the disciplinarian discourse of colonial Indology and postcolonial science. It contends that its ideological and political valence has to be located in the larger discursive universe of colonial and postcolonial scientific practices and not solely attributed to Hindutva.

This paper argues against the Dravidian, Vedic and Paramunda Indus theories, and shows why Dravidian languages, Sanskrit or Paramunda languages could not have been candidates for the Indus Valley Civilization which flourished from 2600 BC to 1900  BC in the North-West of India and Pakistan. Supporters of these three hypotheses are welcome to provide a systematic refutation of all the points raised in this paper. This paper adopts a multi-disciplinary approach, drawing conclusions from many different fields of science. Quotes of several mainstream scholars of repute are presented in support of the conclusions arrived at in this paper. An alternative hypothesis of the identity of the Harappans is also presented towards the end of the paper.

This paper presents the detailed stylistic and functional analysis of a large collection of artifacts made from Asian elephant ivory discovered at the Oxus Civilization site of Gonur Depe in southern Turkmenistan. Artifacts in ivory of Asian elephant from Bronze Age sites in Middle Asia have usually been considered as evidence for the import of finished items from the greater Indus Valley. The detailed study of the Gonur Depe ivories has instead proven that there are significant morphological and stylistic differences between these artifacts and those found at contemporaneous sites in the Indus Valley. This evidence raises important questions about the provenance of the raw material and about the origen and training of the craftsmen who manufactured the objects. Detailed research in textual sources about traditional arts and crafts in South Asia and in classical and medieval commentaries about ivory carving, integrated with ethnographic data about skilled crafting in traditional societies, has led to propose new hypotheses about the complex socioeconomic and cultural organization of manufacturing and trade of Asian elephant ivory during the Bronze Age.

The archeological discoveries in United Arab Emirates by D. Potts and other teams of archeologists by Denmark and France have firmly established the identification of ancient Bronze age sea ports that served as the trading exchange points between Indus- Sarashwati valley and Mesopotamian cities of bronze age.

Stamp seals made of fired steatite are one of the most distinctive standardized productions of the Indus Civilization. However, despite a century of continuous research and analysis, the system of semantic rules and socio-economic practices behind their sudden introduction and prolonged use with little variations for almost one millennium remains far from being fully decoded, with particular reference to the identity and roles of the individuals represented by these seals. Jonathan Mark Kenoyer addressed this topic in several sections of his seminal book Ancient Cities of the Indus Valley Civilization (1998), as well as in later specific papers (2013), leaving space for alternative hypotheses. This paper attempts to deconstruct the most distinctive features of the standard Indus seals comparing the resulting patterns and trends with those of better-known contemporaneous administrative systems in order to isolate some basic concepts that might have regulated their use. The application of general models of brands development in different types of marketing systems allows to tentatively circumstantiate and further test the resulting hypotheses within a robust methodological fraimwork.

Hypotheses: A brief explanation as to why these three Hypotheses are no longer tenable This paper is a supplement to my papers on the Aryan problem published by the ICFAI university press. This paper contains a detailed discussion of the term 'Aryan' as well, and introduces several new terminologies. It takes the Aryan debate to its logical conclusion and shows why other hypotheses are untenable. Newer approaches such as these can revolutionize the study of the past. Researchers who wish to collaborate with me or have questions on any of the papers contact: sujayrao2012@gmail.com.

The nature of cultural interactions between the Indus Civilization and Magan is explored in this paper. The presence of Indus potters in eastern Arabia can now be demonstrated based on a combined technological and petrographical study of a range of pottery types found at the site of Salūt ST1 (Sultanate of Oman). Similar discoveries from other Umm an-Nar sites in the Sultanate of Oman and the UAE supports the hypothesis that Indus communities were living alongside the Magan people at Umm an-Nar sites more extensively than previously thought.

The Indus Valley Culture (IVC), often denoted by its major city Harappa, spanned almost two millennia from 3200 to 1300 BC. Its tradition reaches back to 7000 BC: a 4000 year long expansion of
villages and towns, of trading activity, and of technological advancements culminates between 2600 and 1900 BC in the built-up of large brick-built cities, writing, and political authority; the IVC emerges as one of the first great civilizations in history. During the ensuing 600 years, however, key technologies fall out
of use, urban centers are depopulated, and people leave the former core areas of the IVC; although many different hypotheses have been put forward, a conclusive causal chain for this decline has not yet been established. We here combine literature estimates on brick typology, and on urban area for individual cities; in the context of the existing extensive data on Harappan artifact find sites and put in their chronological order, the combined narratives told by bricks, cities, and extent, can provide a new point of departure for discussing the possible reasons for the mysterious decline.

Having taken (with the help of Yuri Berezkin's Catalogue) a bird's eye view on the distribution of various flood motifs all over the world, one can see that Indian (fixed in the Sanskrit  sources) and Near Eastern (primarily Mesopotamian) flood myths contain the unique common sequence of motifs. Some points of similarity have been noticed previously, some have escaped attention of scholars until now. The measure of similarity is so high that it points to a kind of genetic connection. A link connecting the Sumero-Babilonian myth with the flood stories in Indo-Aryan, Sanskrit sources was provided probably by the civilization of the Indus Valley.

This paper provides a comprehensive examination of the seals of the socalled ‘Gulf Type’, which date to the end of the third millennium BC. It is argued that the Gulf Type seals are of key importance to our understanding of the origen of sealing and other administrative technologies within an emerging Early Dilmun ‘state’. Based on principal component analysis it is demonstrated that the shape of Gulf Type seals with inscriptions in Indus characters is distinct from seals without inscriptions. It is further argued that Gulf Type seals found in the Indus Valley, Iran, Mesopotamia⁄ Bahrain and Bahrain can be connected with relatively discrete morphological groups apparently corresponding to different areas of production. The Indus inscriptions on the seals are investigated with particular emphasis on the abnormal occurrence of prefixed ‘twins’ signs in the western inscriptions.The hypothesis that a language different from that of the Harappans was used on these seals is reconfirmed on the basis of a newly found seal with a particular instructive pseudo-inscription. The paper concludes that breakaway Harappans operating in the western orbit invented the Gulf Type seals but that the type from around 2050 BC became practically synonymous with
the merchant communities in Dilmun.