Cheraputhras (Kerala Dravidians) and INDUS valley scripts Part 1 Philological evidences

Where did all the Indus people disappear ? The answer is Nowhere.They are still here in India.The people of India are the Indus people. One important point for recognizing this is the continuity of Indus tradition by Indians over the ages. A journey into temples of Kerala showed relics and trails of Indus scripts developing into Brahmi/and other modern Indian scripts. The study was conducted with permission from Archeological survey of India,Malabar Devaswam Board and Cochin Devaswam board and Ooralars of different Devaswams and Zamorin of Calicut.

June 1

2013
Anthropomorphic practices,archeoastronomy and archeology , gene studies show existence of humans who used microliths in India more than 60000 years ago.It is these cave people who developed into Dravidians,Indus valley people and the most

modern human being in India. No one from outside was allowed to enter the Indian soil except for trade relations and that too with restricted entry ports. Until late in history, sea trade was controlled entirely by Indians themselves. Kerala having a wide coastal belt on west coast was the chief power controlling foreign trade and relations through sea route. The temple traditions are continuous with the traditions of Indua valley people suggesting the Dravidian origin of IVC as Asko Parpola suggested.

Where did all the Indus people disappear ? The answer is Nowhere.They are still here in India.The people of India are the Indus people. One important point for recognizing this is the continuity of Indus tradition by Indians over the ages. Geometric patterns of Thovari are much discussed. In the eighties , I saw these Thovary pictures from Sri M R Raghavawarriers collection, and noticed the astronomical,archeoastronomical and mathematical connections, the Mathematical law for construction of an Octagon and for ship and airplane discussed . A comparison of one of the scripts of Ahmas Papyrus was attempted. These papers saw light later , in Bhashaposhini (Malayalamanorama, Kottayam) and in Kottakkal Aryavaidyasala souvenir. But , unfortunately, were unnoticed by historians and archeologists alike, probably because the articles were written by a Doctor , a lay person , in their fields. Here I give some geometric patterns,scripts, sculptures seen in temples ,a treasurehouse for artists. The art forms made with lines,dots,cup markings, and sometimes with colours too are strikingly different from one another but so similar in their patterns. Several Indus valley, Harappan signs are repeated showing that people of Kerala were the original Indus valley Dravidians . (As Asko Parpola suggests a Dravidian ancestry for IVC Harappan people).These were the forerunners of the later temple architectures .So many human figurines carrying symbols and scripts as their various instruments ( for day to day use,war, for singing and dancing etc) in great processions do occur still in India annually in Temples. The hunting expeditions are mock activities enacting Pallivetta of the Lord Vattaikkaran (The Hunter /the first man/son of Siva as Kirathasoonu) and by all temples in India,Harvest festivals etc are all accompanied by such processions. Panels of Palaazhimathanam show the processions in entirety.So is Vasantholsava panels.Understanding the Anthropological subaltern patterns of Indian people is therefore essential for understanding Indus script.

Thovari script read by Sri Raghava Warrier as Sri Vazhumi and by Airavatham Mahadevan as I(thu) pazhamai is repeated in an ancient temple floor in Karikkad in a slightly different way, but probably more like sri Warriers reading. .The script in the temple , seems to be Sree Ko pazhama from more than 10 frames studied from my videograph.A human figure is shown nearby.

4 The fact that same themes are repeated in several temples , the repetition showing a pattern related to temple rites. Some of the temples which showed the scripts are Harikanyayur ,Thirunelli, Kulasekharapuram to mention just a few. Here ,I present a few frames, for history students and Archeologists,archeoastronomers for comparative study . The IVC scripts in Kerala temples show how scripts,Dance and Music traditions and different languages slowly evolved from the same root. This also indicates that the IVC and Kerala people were the Adivasis (original inhabitants) of India (Bharatha) and were not intruders from any other continent . The continuity of languages,arts and sciences in Anthropological practices and in archeological evidences are strong indicators of indigenous development of the culture. 1 All languages of the world are derived from Brahmi /Phoenician script 2.Phoenician is same as Brahmi 3.Brahmi originated from Indus Valley script 4 Indian languages are all directly derived from IVC/Brahmi scripts without any dependence on any other languages. With these preliminary ideas in mind we will go straight to the philological evidences from Kerala temples showing that IVC scripts were forerunner of Brahmi scripts and Phoenician scripts and is therefore the root of all languages. 1 Philological evidences: 2

6 Figures 1-6 are from Mathivannans book and shows villagers in Central India,Chota Nagpur, Bihar still writing Indus valley Harappan scripts on the walls of their homes, so that there is prosperity which is brought by their departed ancestors (who spoke the language and handed over the scripts to them).The chiefton of the tribals write them chanting hymns just as any Hindu/Budhist/Jaina purohiths do. This shows the antiquity of the custom and the antiquity of the veda also.The veda was derived from ancient forest dwellers (Aranyaks?vanavasi) and hilltribes of the Deccaan (Dakkinapatha/dakshinapatha).Let us read the scripts . 1.There are two peacocks (mayoora mithuna/Thokai in Tamil) drinking from the same cup.( http://www.scribd.com/doc/146424296/Kerala-History-and-IVC-Part-2-the-Thodas-PDF for comparison all over the world.Mayura or peacock is a bird of Indian subcontinent which reached far and wide through Indian sea trade.) The cup is fashioned as a half moon (Soma) denoting somapaana.It is placed over a tree which in turn is on a plane ground the Bhoomi/Earth.Worship of Oushadi /vanaspathi (trees and plants) as soma or nectar that brings life is indicated. Similar figures are there in IVC Harappan seals. Below are three hemispherical curved roofs or three doors of the three ancestors (pithruloka) or the Mooventhar who ruled India (The soorya,Chandra and agnikula).The Chera,chola,and Pandya later on. There are 4 letters above on the side of the tree and 3 signs below . The first letter from above is read Aiyya (Ai /aay) which is a symbol of octagon seen in Thovari caves and in Moscow papyrus problem which I had pointed out several years ago.The second letter means Uktham and also a name (Naama) on forehead of Indians. The third one is a Sikhara of Meru and 4th is KA in Brahmi script. So the line above reads : Ai(Ayy)ukttham sika

6 The second line first letter is a platform or earth divided into 5 topographical areas from below upwards snd on the top is a sthupa/a pillar .A thara of a community, or the Ainthinai of a race with their Totem pole . It could also represent a balipeeta for the panchabhootha the chathukka (Tamil) or chathushka (sanskrit) in which a central stupa stands .The second sign is a sikhara or a giri with vana (mountain with forests) the dwelling place of all the bhoothas (elements/adivasi population is the natural inhabitants of India who worshipped panchabhootha) It has 3 divisions , the suvar,bhuvar,bhooloka and the lands of the Mooventhar.Thus the figure indicates the cosmic world of ancient tribal Indians from which all their philosophy (including veda ) originated. Fig 2:-There is a square divided into 3 X3 =9 small squares which represents the Lopamudrasuthra (Loshu) and the smallest magic square of Ramanuja with panchadasi (15) as total. This is ancient Thanthric mathematics and is described in all thanthric and vedic texts. Then we find a rectangle with a surface slightly indented at the center or nabhi like the figure of a M in English letter which stands for the Kunda constructed over a ground/vedi and it represents the Mana or home of the tribals.Read in Sanskrit it is Navamana , the new home (of a new couple/mithuna). Below the first letter is Hru,second is again Aiyya or ocyagon formula,third is mana and 4th is Ha. Navamana: hrith (hearts) aikyam ( union) manaaha (let ).Let the hearts in this new home be united and bring bliss and peace . Figure 3.Shows a tribal chief writing the scripts to consecrate a home with sacred chants. Since the letters are not very clear I havent tried to read it.But the wheel(sidham) and other IVC signs are seen here clearly. Figure 4: 1 (Number 1 or Ekam)A couple one a Purusha and the other a woman (like the fish sign of IVC Harappan) stands followed by 3 letters KA, Gi,and Ha. Eka pumsthreekagiha (for Griha) The home or dwelling place of one man and woman is written over the wall as if it is a census by the Tribal chief which seems very practical way of administration of the community .Compare to the hut on the tree seen in a drawing at Harikanyakayur Kandanasseri . (Figures 35 and 36 ) Figure 5:Aiyya is followed by a zero (am is written ) so that aayyam or ashtam is to be read.Octagon is Ashtam. Second letter is Ka.Third and fifth are same letter showing a danda ( pillar) and read as Ettram ( a ladder) and between the 2 pillars stands a thrisoola symbol of Siva showing a enclosed wall and a siva idol inside. Then the symbol of the 8 dikpala (ashtadikpala) and directions are again depicted this time as a geometric figure.KA is also read as 4 in Brahmi .If we read this as a number 841318 .If we take the symbal Ka as a multiplication sign 8X3=24 ;8X8=64 are the numbers 24 hours and 64 small squares in a Vasthugriha are thus indicated in the Ashtadikpaalagriha .If we read it as script it reads AyyamkEttrhiyeshtam.ayyam or ayyans khethreeye (temple of) ashtam. In the temple of Ayyan , the ashta directions are included (ruled).God rules all the 8 directions.His thrika/thrisoola.Threthagni is worshipped.

7 Fig 6:The first four letters are the same as Fig 4 except that the female fish sign has two horns and in Indus script also such a modification happens.Asko Parpola had dealt with that in detail .The last 2 lettrs are different.The reverse A of Brahmi and a U .The reading is Ayyukthham aou A and U being the first 2 letters of OM (A U M) it represents pranava and a prominent Uma ( the horned female ) . Figures 7 to 12 are from Sri Raghava Warriers collection of Thovari in Wynad.

Fig 7 Thovari

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Fig 9 Thovari

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Fig 11 Thovari

Fig 12 Thovari

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A few examples from my collections selected from various temples. :

Graffitti,modern scripts,Brahmi and IVC are seen intermingled as well as isolated in many temples of Kerala. The techniques of writing vary from deepening with a sharp instrument, giving a different shade/colour to accentuate features , and making elevated scripts , and also putting dots on borders to suggest ideas and shapes more clearly . Whole texts written in pictographs and in Indus Valley Harappan type script are seen on the paved floor granite slabs as well as adhishtanam of many temples in Kerala.

1.Harikanyakayur, Cherukunnu, Kandanasseri in Thalappalli Taluk, Thrissoor District. Kandan Kotha (Kanthan = Muruka,Vaisaakha,Velava .Kotha=Goda means son given by mother earth/son of earth/human being . )is the surname of Thalappalli Mooshakavansa Branch of Brahmakshathras who owned the area Kandanasseri.They were belonging to the Kaadava or forest (vanavasi) dynasty and many of their important dwellings have names like Kaadavalloor (their ancient vedic center),Kaattakaampaal ( another center of great learning ) etc. The moolasthaana of Harikanyayur temple is on east of the present temple and it belonged to the oldest Kaadava tribes of Kerala and the

11 modern temple seen was renovated by Perumthachan in 3rd or 4th century and all around Kandanasseri one finds megalithic remnants of ancient people. The scripts of the granite blocks are shown here.

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27 Near Harikanyayur temple are several Muniyaras ,Kodakkals and ancient Neolithic prehistoric monuments .The area abound with caves, and burial chambers and has place names suggestive of the oldest Adivasi settlements in the pre-sangam period, and sangam period. Pictures from some of such sites:

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49 Kachamkurichi

50 kachamkurichi

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51 Nankulam compare with idol obtained by ASI

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52 Nankulam

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53 Nankulam

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54 Nankulam

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56Nankulam

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71A Bimbektha People dancing in circles and half circles , as in Bimbektha cave paintings are sculptured on a central pillar (see picture below) showing the continuity of culture of ancient Indians.

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77 Gomrigalike animal drinking from a Thotty

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81 Kulasekharapuram Murachipathanam

82 Kulasekharapuram Murachi

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83 Kulasekharapuram Murachi

84 Kulasekharapuram Murachi

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86 Kulasekharapuram

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93 Panniyur

94 Panniyur (The zha is accentuated and center show figurines.)

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95 (zha is comparable to script in Thovari described by M R Raghava varier)( 46-52 from Manuscript page) 96 and 97 pages from my Manuscript Reading

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102 Vattezhuth scripts

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108 IVC scripts and a wheel in Natuvath Harihara temple. The wheel comparable to the one in Dholavira may be an astronomical wheel /instrument as seen in Dholavira and described in ancient astronomical texts and seen in Thovary inscriptions

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109 Laloor Karthyayani 110

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113 Netumpurayur Thali

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114 Paanjaa l shows several IVC and Koduntharappilli system development of Mudra for samavedic chant on floors. It is given in next part of the paper in full.

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116 Paroli in Panchapandavatheertha. Magic square . Similar to that seen in Thrikkur Mahadeva temple (Cave temple) which is an astrolabe of ancients .For description see Youtube video in my playlist. )

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120 Stone with IVC scripts still used by Sabarimala pilgrims of kerala.Paroli Vishnu temple Rock .Continuity of the tradition and rites is important (Anthropological aspects of a culture)

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122 Rock art paara oli Vishnu Rock

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123 Rock art .A jar (akshayapathra) with Aja 9Mesha) or goat called Krishnamesha (Kaariyaad) as Brahman (Goat is vehicle of Brahman) with a black man (Krishna) in center.Rock art on Panchapandavatheertha rock Paroli Vishnu temple .Local people call this the place where Panchali used to take bath during her exile. They think this as the Handmirror (Vaalkkanaadi) she used to carry when she was in her menstruation 9associated with fertility of Earth) .

124 Lot of subaltern history of local people is intermingled with archeological evidence of existence of human beings for several millennia on our subcontinent .

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127 On a pool on the rock a zebralike figure with a head position as if to drink water is seen

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128 Peruvanam

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129 peruvanam

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130 peruvanam

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131 peruvanam

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132 peruvanam

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133 thiruvanchikkuzhi painkulam

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134 Thiruvanchikkulam

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135 Indus fish sign in Thiruvanchikkulam

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137 Thiruvanchikkulam Dharmachakra (wheel)

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138 Compare 135, 136 and 137 with wheel,fish, elephant signs of Pre Buddist Chera coin

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139 Thiruvanchikkulam

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140 Thiruvanchikkulam

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Thrikkulasekharapuram Thali Varavoor

142 Thrikkulasekharapuram Thali .Older shrine is that of Vishnu and on its floor figurines seen in plenty

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Thrikkulasekharapuram Thali Vishnu temple floor

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144 Thrikkur Mahadeva Rock Temple

145 Thrikkur

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146 Thrikkur

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128 Thrikkur

130 Thrikkur Rock temple

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132 Thrikkur

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136 Lower slab show development of Kodunthirappalli system .Upper show IVC scripts .Thriprayar temple.

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140 Vatakkunnathan Thrissur

141 Pictures from Manivannans book for comparison with Kerala and Tamil Nad readings .

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142 Meaning and phonetic value of Indus script is added here to already available information on the sign (From Asko Parpola 1988) 143 to 146 are pages from Asko Parpolas book for interested readers to compare the scripts and the signs with the figurines from the temples of Kerala.

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