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Rongorongo and the Indus Script
|by Anonymousfor Prajapati|
In the decades following the discovery of the Indus Valley Seals, researches noticed a correlation between the script on the Easter Island tablets and the Indus Script.
Current scholars have downplayed the significance of these similarities for two reasons. First, the Indus Script was written 2000 or more years before the Easter Island tablets and secondly, Easter Island is on the opposite side of the globe from the Indus Valley separated in a large part by two oceans.
However, distance and time are not insurmountable barriers for human beings. Look at the Egyptians who maintained a writing system for thousands of years. The modern world tends to lord over the ancients the ability to travel the globe, while forgetting the significant sea trade routes maintained in the ancient Indian and Pacific Oceans.
Perhaps a closer look at the similarities between the Indus and Rapa Nui writing systems are a topic for scholars to consider.
In the mythology, the offspring of Hermes, Asclepius (the healer), used the Caduceus to raise Hippolytus (un-leaser of horses) from the dead [iv]. This mythology intertwines with Hindu Mythology where the offspring of Sagara returns the stolen sacrificial horse from the Underworld and whose great-grandson, Bhagirathi, subsequently un-leased the Ganges upon the hair of Shiva, causing the 60 000 sons of Sagara to raise from the dead [v]. Interestingly, it is at the ancient Egyptian temple of Sakkara, where Orion is named Sahu. Sah/Sahu, in the constellation Orion, is the soul in the Sektet, boat of the setting Sun, which has been purified from earthly imperfections and can travel freely back and forth from sky to earth [vi]. Sahu is associated with the Sirius Constellation of the Cow following him in its own boat and the gate of the Great House where the souls of the City of the Sun bear offerings of bread, cake, sweet smelling flowers, and together with Sahu, the Great Cow [vii].
The Indus Seal contains as many as three glyphs remarkably similar to the Rapa Nui writing of Rongorongo. Notice the standing figure contains three upward strokes; the curved ‘river’ like glyph is identical with two lines and curve direction; and the ‘moon’ glyph contains a central swelling feature in both writing systems.
Remarkably, this moon feature appears to coincide in a near identical phrase of eight glyphs illustrated below:
Two more glyphs associated with the Sindus Ocean or River are illustrated below with Indus Seals on the left and Rapa Nui glyphs on the right:
The use of travel by merchant vessel enabled these seals to accompany their shipments near and far. For instance the following Indus seals were found in excavation of Ur, Mesopotamia (the first 4) and Southeast Asia (bottom) [viii].
These symbols appear on early India’s post Mauryan kingdom coins:
The coin is a gold dinar from the 2nd Century CE Kushan kingdom. The crowned king is holding a spear and small sacrificial altar. The Bactrian legend reads: þAONANOþAO KA NηþKI KOþANO, King of Kings Kanishka Kushan. The reverse side presents a tamga royal emblem on the left and an early four-armed Oesho (Shiva) holding a trident, water pot, deerskin, and damaru drum synonymous in sound and appearance with the thunderbolt symbol. The Bactrian legend right reads: OnþO or Oesho/Wesho, the Iranian Wind God.
The Nandipada symbol (possibly representing the AUM) also appears on the Indus seals in various forms:
Notice the peacock wings and their similarity to those of Ishtar from this reproduction of a 20th Century BC Sumerian seal [xii]. It shows the goddess Ishtar with crescent horns. The curled-feathered wings resemble the Indus valley symbol of the Nandipada. Ishtar was goddess of fertility, love and war. Her wings enable her to reign over the sky. Having the head of a bull she unleashes the Bull of Heaven on earth. Around her are fish reflecting the flood Epic of Gilgamesh. Present on the seal is the earth god Ea-enki, akin to Enkidu, friend of Gilgamesh who helps him to sacrifice the heavenly bull of Ishtar to the deity of the sun, Shamash. On the seal, Ea-enki is holding a branch after the flood representing the Tree of Life. The star on his head represents the separation of earth and sky, and power over the sky of Ishtar and the snakes intertwined at his feet. The pillar with star and snakes are reflective of Ashoka’s mundra on the Indus seals. On the seal are Ishtar’s attendants appearing much like those honoring Shiva on the Indus seals. Ishtar also has a snake charmer. In the mythology, Ishtar jumps upon the high wall of Uruk, the city of king Gilgamesh. She curses Gilgamesh, but is struck in the face by the leg of the bull thrown by Enkidu.
These peacock/goddess wings and livestock Nandipada have a remarkable resemblance to the following Rapa Nui glyph:
Also, worthy of notice is the similarity between these Gupta coins’ peacock tail-feathers, the illustration of the Rapa Nui man’s forehead tattoo and this Sumerian seal [xiv]:
The bird for a headdress is a symbol used on this Kushan 2nd Century AD gold dinar:
The king has a spear and offering vessel. On the reverse the legend reads Orlagno who is Verethraghna, the personification of victory. The head-dress bird is Varagna, possessor of special powers or raja.
Also, the post Mauryan coin symbols illustrated above contain these animal glyphs similar to the Indus seal glyphs and the above Kushan gold dinar with deerskin: ..
Another 2nd Century CE Kushan coin shown here: has a reverse legend reading, CAKAMAN O BOYΔO, Sakyamuni Buddha, who holds a robe with reading: abhayamudra, "have no fear".
Notice the resemblance here to the wing of the peacock from the above Gupta coin: .
The Rapa Nui hotu glyph can be paired with the identical Indus seal glyph for the swelling crescent moon: .
Another 2nd Century CE Kushan coin shown here: contains both the king and the deity Shiva having tridents, which may also represent lightning in this eras mythology. The tamgha royal emblem is present on the right.
Tamghas appear in the following varieties: , much like a trident or the Indus seal glyph Pal likens to a tree. This Indus Script tree glyph also doubles as seen to the right below in grey, similar to the third symbol of five from a Sri Lanka, Ajatasatuu dynasty coin [xv]:
The following coins contain the tamgha tree used as a rail for the Hindu-swastika found on many Indian coins and merchant seals [xvi]:
Other symbols include the elephant with Bodhi tree, a three-arched hill (caitiya) and on the reverse a throne, and a nandipada (early Aum symbol as in the peacock wings) with three-arched hill in lower center [xvii].
The boat on the Sri Lanka coin reflects the Egyptian book of the dead seen below [xviii], where the Egyptian aank symbol of life, seen here on the knee of the Osiris (hawk-headed) deity, resembles the Indian royal standard and the throne. Notice the lower Egyptian throne symbol confirms the interchangeability of the throne with the standard on the Indian coins. Therefore, the boat of the underworld contains a throne or a standard which represents the perpetual life of the nation.
See how the Egyptian compares to the coins of India: Notice also the boat and the three-arched hill are intended synonyms on the coins just as the aank is synonymous with the standard and the throne as symbols of life. This boat-hill correlation confirms the intended symbolism of the ship of the dead represented in the Sun’s journey through the sky of the underworld in the constellations to rise again at dawn. This hill is actually represented as dawn in the Egyptian akhet symbol below [xix]:
The akhet contains the sun at dawn rising between two hills. On this fresco, a scarab beetle, a sign of rebirth, is present in the rising sun. All are contained inside the boat of the dead. Therefore, the Hindu three-arched hill may be synonymous with the dawn of the Egyptian akhet. The Babylonians also considered the Sun god as central between to hills [xx].
From these common mythological themes common symbols can be found, such as the bent arched pillars surrounding the sun deity. Such a bend-pillar surround is explored at the end of this research below. Whatever culture we find the use of these constellations and sky symbols more can be learned of the story of the passage of the dead to life beyond the grave.
The post Mauryan coins with symbols listed above contain representations of the tree and the fence below the tree as follows:
In ancient India, the tree is represented by the offering post that livestock would be tied to as part of the sacrificial ceremony of the animal. Such offering posts, seen here: , on the reverse of Nandipada coins confirm similar representation on the Indus and Rapa Nui scripts - These Indus symbols occur in the following forms:
Notice these ancient India Chandra Gupta coins with sacrificial horse.
Maha raja or Great King are often named on these seals and coins.
The following Indus seal is mimicked with Rapa Nui glyphs:
Various common glyphs and glyph elements: three bars; a lower left appendage; a three line vessel; an arrow. A line with a central circle a ‘U’ shape. Pictures of vessels appear to have two and three upper extensions in common.
Research by Rajot Pal has determined this vessel sign as the syllable ‘ka’ [xxii]. The Indus seals place these vessels at the end of glyph sequences. Pal’s full seal interpretations has found these to be personal names, where ‘ka’, meaning ‘who is’, is placed as the common suffix for Indian names. Pal’s use of the Brahmi parallels and acrology presents a verifiable interpretation of the Indus Script.
For instance, the Egyptian ‘ka’ sign for the soul appears similar to the Indus Script vessel Pal also interprets as ‘ka’. Pal’s use of the ‘ka’ as ‘who is’ reflects the same meaning of the Egyptian ‘ka’ as the soul. Furthermore, the Egyptian ‘ka’ means the souls perfected double with arms raised in a gesture to make the perfect offering. Such offerings are illustrated with animal pictoglyphs on ancient Indian coins and seals.
Elaboration of Pal’s ‘ka’ syllable is found on this Indus seal surrounding the circled goose: Notice in the Upanishads a description of this wheel and goose is given:
This Indus seals use of the Bhudda wheel as a pictoglyph surround is confirmed on the Kanishka/Milinda era coin with rings around the Buddha’s head and body [xxiii]:
On the following Indus seal and Rapa Nui glyph the wheel contains four ‘sun’ like rays in both writing systems:
Coins of ancient India’s Vidarbha region contain symbols with figures inside a circle: much like this Indus glyph . Another copper from Vidarbha 300 BC reveals the three-arched hill with crescent moon atop and circled opposite the circled hollow cross: Are these three hills and moon not also represented on the Rapa Nui fullmoon glyph?
Remarkably, the fourth image stamped onto a coin of Sri Lanka’s Ajatasattu dynasty contains the four mark surround common to the Indus Script as seen in the grey ‘hand-in-circle’ glyph below [xxiv]:
The above seal contains the hollow ‘x’ with a hollow bar similar to the Rapa Nui tablets. Below is an attempt to use individual Indus seal glyphs (in grey) to match the Rapa Nui tablet phrases. The purpose of this matching is to illustrate enough common elements between the scripts to share not only individual letters and words, but potential common phrases as well.
The Indus seal ‘ladder’ glyph does not appear exactly as the Rongorongo ladder, however, consider the glyphs on this ancient bench in Hambantota, Sri Lanka [xxvi] and compare the ‘framed’ ladder with the Rapa Nui glyph below:
There are several Indus seals and Rapa Nui phrases that contain fish - arrow combinations with several other common elements. Examples are given below:
This arrow-fish phrase on the Rapa Nui tablets is approximately reproducible with the Indus Script:
The goddess Inanna is picking the fruit of the sacred palm tree appearing to reproduce a young sprout. The imagery reflects the story of Eve in Eden, with the picking of the sacred fruit which brought on the toil of agriculture. Inanna is accompanied by her sacred birds. The purpose of the offering of the first fruit is to express gratitude to the Creator for its reproductive quality. This concept of sacrifice extends to the four corners of the earth.
The alligator itself is given the fish offering in the following Indus seal. The Egyptian Alligator is the deity of the Nile, which was of central importance to the Egyptians. Here the Alligator must represent the Indus River and be of significant importance to the Indus Valley culture. Yet, Shiva is offered the fish and alligators in the seal above, presenting a hierarchy of deities similar to the pantheon of neighboring cultures. For example, the Egyptian hawk-headed Horis spears the Alligator Set of the Nile in the Egyptian Book of the Dead [xxxvi] and Legends of the Gods [xxxvii]:
It is Horis and Isis who kill the Alligator, Set, who tore Osiris to pieces. They then restore Osiris to life. Isis uses her powerful incantations and is protected by seven scorpions.
The common lines run from left to right on the Rapa Nui phrase as follows:
The story of rediscovering the lost Indus Valley and Rapa Nui writing systems lead to a significant correlation of symbolism across India and surrounding cultures. This transmitting of symbolism occurred over many centuries. The Indus valley merchants and priests shared a unifying effect across the cultures by transmitting their cultural symbolism and mythology. The symbols represented on Indus Valley merchant seal are integrally connected to the spiritual, mystical and mythical ways of the Indigenous people. Given they are seals used in trade and commerce abroad, a universality of symbolism has developed and assisted greatly in carrying out the research.
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