Deciphering Indus Script as Japanese （インダス文字は日本語）

作者：板堂研究所(Bando Research Corporation)

CONTENTS

Introduction

1.Sound Values and General Rules

(1)Vertical bars represent numbers

(2)Basic symbols (monosyllabic)

(3)Symbols in common with Minoan Script

(4)Composite symbols

2.Inscriptions match Cartoons

(1) Python and Bull

(2) Camel with Horse Ears

(3) Dancing Rabbit

3.Notable Examples

(1) Sarasvati River

(2) Man in Armor

(3) Tiger, Searching for Woman in a Tree

(4) Signboard from Dholavira

(5) Elderly Man, Surrounded by Animals

(6) Human Sacrifice Seal

(7) Northern Octopus Seal

(8) Odysseus and the Sirens

Tables (Mono-Syllabic Symbols, Combined Symbols)

　Introduction

　For the past six years, I have been involved in research into the ancient Minoan scripts, Linear A and Cretan Hieroglyphics, with a view to demonstrating that the background language must be Japanese.

　While exchanging views with scholars and researchers on the website Academia.edu, I received many frank comments to the effect that my idea seemed quite impossible, given the gap in time and geographical distance, but at the same time, they somehow drew my attention to the Indus script.

(Similarities with Minoan Civilization)

　Many researchers have pointed out similarities between the Harappan and Minoan civilizations, such as meticulous city planning with water and sewage systems. Costis Davaras, a Greek expert on Minoan civilization, has cited researchers such as Sir Arthur Evans, known for his excavation of Knossos, who made similar observations and, in “Bronze Age Crete and India (Indian Historical Review, Volume XXXII, No. 1, Jan. 2005),” he compared religions and myths, touching upon similarities between the Iliad and the Mahabharata, both of which are war epics that begin with the abduction of a queen.

　On the internet, Bibhu Dev Misra published “Indus Valley Cultural Elements in Minoan Crete: Was it Due to Migration?” (Ancient Inquiries, March 29, 2017), while S. Khan and others have published “Similarities of Minoan and Indus Valley Hydro-Technologies” (Sustainability, Dec. 2020, 4897).

　In the spring of 2021, I began to examine Indus seal inscriptions to see if my experience with Minoan scripts could provide help in analysis, and I am already achieving results that far surpass any initial expectations; indeed, Indus seal inscriptions seem to be written in an old, literary form of Japanese. However, Indus script is older than Minoan script and further verification and clarification will be needed for public understanding and general approval.

(Dravidian Hypothesis)

　The Harappan Civilization was in existence before the influx of Indo-European-speaking Aryans from the north of India around 1500 B.C. From computer analysis and DNA testing of ancient human bones, many researchers believe that the inscriptions on the Indus seals are in a Dravidian language.

　The Dravidian languages, spoken in the southern part of India, are characterized by SOV word order and agglutinative formation of words, and these characteristics are in common with Japanese. Thus, it may not be far-fetched to propose Japanese as a strong candidate for the background language of Indus script; one will simply need to expand and reconfigure the radius of human behavior and mobility expected in the Bronze Age.

　 In fact, the Japanese researcher, Susumu Ohno, pointed out that in grammar (SOV word order, agglutinative language, etc.) and in vocabulary, Tamil, a Dravidian language, closely resembles Japanese. He contended that immigrants from southern India must have passed on proto-Tamil to the Japanese isles, and this became the origin of the Japanese language. Perhaps this was the first attempt to link a south Indian language with Japanese.

(Syllabic System)

　There is a popular theory that claims Brahmi script must be derived from Indus script and, if so, given its syllabic nature, this may provide further grounds for claiming a similarly syllabic system with respect to Indus script as well. Brahmi script was employed in almost all parts of India from the 3rd-4th B.C. under the Maurya dynasty (e.g., the monument of King Ashoka, promoter of Buddhism) to the 5th century B.C. under the Gupta dynasty.

　At the outset, I decided to work on the premise that Indus script was basically syllabic in nature, one reason being that the names of major excavation sites, e.g., Harappa, Mohenjo-Daro, Rakhigarhi and Dholavira all seem to be composed of syllable units.

　If the language behind the Indus script is indeed Japanese, then the people who built the Harappan Civilization may have eventually immigrated to Japan. This may provide new foundation for Susumu Ohno’s contention that there are many customs and manners common to both south India and Japan, and that the Japanese and Tamil languages must be related.

　1. Sound Values and General Rules

　Indus script from the Harappan Civilization can be deciphered as Japanese, with the following general rules:

(1) Vertical Bars Represent Numbers

　In the Indus seals, symbols that look like matchstick-shaped vertical bars, lined in parallel, frequently appear. They are read by counting the number of bars, and with reference to the sound values of comparable symbols in Linear A script, as follows:

(The numbering of symbols is based on the classification table by Mahadevan.)

　I (86): I (イチ) / YA (矢) / SI (支/糸). Especially if bent, NO (ノ).

(If the horn of a unicorn or a cow protrudes conspicuously, as to reach the level of the symbols, it is also read as I / YA / SI / NO.)

　II (87): NI / RA (from RA of Linear A, *76).

　III (89): SAN / DI (from DI of Linear A, *07).

　IIII (104): SI / YO.

　12 vertical bars (121) of 4 bars in 3 columns: SISAN / MIYO / YOMI.

　In case there are extra line segments, attached to symbols, they are given sound values in accordance with the number of line segments, as described above.

(2) Basic symbols (monosyllabic)

(Number one, according to Mahadevan) The figure resembling "大" is interpreted as "男" (man), and read as O / TO / OTOKO.

(67) The symbol resembling a vertical "fish" with raised hands, must be a pictogram for "cotton flower" and read as WA / WATA. (The vertically elongated oval represents the white flower, and the 6 protruding lines, the sepals.)

(59) The symbol (67) for WA / WATA, but without the 2 short diagonal lines representing “2 hands,” is read as TA / DA. Alternatively, it is taken to be an "eye" with 4 extra line segments, and read as MESIYA, SIMESI, etc.

(65) If there is a triangular roof above symbol (59), it is read as LI, as it must represent the Linga.

(169 series) The "ear of grain" symbol has a basic form with 3 "feathers," and read as SE. If there are a different number of feathers, the sound value of that number is added. Thus, for 2 feathers, SE-NI; for 4 feathers, SE-YO, etc.

(307) The quarter moon symbol, pierced with a spear, is read as TU/ TUKI.

(225) The symbol representing crossed lines, extending from a triangle on one side, is read as SA.

(249,252) Cannister symbols with a vertical bar on top, or (204) triangular symbols, are basically read as NA / NE. The origin of NA must be the head of a cobra, NAGA, or pear, NASHI.

(342) Symbols resembling the head of a cow (often construed as a vase), in a "U" shape with ears on both sides at the top, are read as U.

(261) Vertically oriented eyes are read as ME / MA.

(211) The tree symbol, formed by a triangle standing on a vertical bar, is read as KI / KO, for tree.

(17) This symbol originates from a sail and read as HO. It likely depicts the tacking action of a yacht.

(327) This symbol must depict a moored boat that sways back and forth and is read as MOU.

(3) Symbols in Common with Minoan Script

　In Indus script, there are symbols that match symbols common to Linear A and Linear B and, in that case, they are assigned the same phonetic values.

　Cross symbol: RO (AB02)

　3109 (from 178 series): ZO (AB20)

　106 (336 series): TI (AB37)

　137: KE (AB44)

　193: DE (AB45)

　186: NU (AB55)

　 294: RA (AB76)

　 162: RE (AB27)

　 391: KA (AB77)

　1161(327 series): MA (AB80)

(4) Composite Symbols

　There are many composite symbols, that represent 2, 3, or more syllables.

　When reading them, the order of syllables is interchangeable. For example, for the symbol for WATA (cotton) can also be read as TAWA.

(a) Female eye (261 series, ME / MA)

　If SE (2542 from the 169 series) is written inside a vertically oriented eye, the symbol becomes MESE / MASE. The “germinating seed” symbol (267) is read as MASUME.

(b) Rake (171 series)

　For the rake symbol (171 series), the general rule is to read the "number of fingers," then to add TE as well as I/YA/SI/NO. Therefore, in many cases, it consists of three syllables. For example, if there are 4 fingers (1310), it could be YOTEI, etc.

　The "E," symbol, resembling a comb, is read as KU plus the number of “fingers." If there are 5 fingers (176), in addition to KU-GO, KU-TE becomes an option, as TE means, hand.

(d) Teeth (244 series)

　Symbols with short vertical bars, arranged vertically inside a square frame (depicting a mouth) represent "teeth." Count, then add HA, for teeth. For example, if there are 5 bars on the upper and lower sides, respectively, as in (1337), it could be read as TO-HA, etc.

(e) Door (245 series)

　The symbol of a "door" divided into multiple squares is an extension of the "teeth" symbol and read as, "number of squares" plus HA. Alternatively, it could be "number of squares" plus MASUME, for grid.

(5) Animal symbols

(a) Fox (48 series)

　This composite symbol resembles a fox, with tail raised vertically. From the bottom, it is read as NOSEYOME, and KITUNE (fox) is added.

(b) Octopus (180 series)

　This composite symbol is bent in the middle and can be divided into the upper and lower parts. The upper part is read as TUTU (筒), the bent part as ORE (折れ), and the lower part, as the number of "legs," with the option of adding TAKO (octopus). For example, if there are 4 legs, it can be read from the top as "TUTU ORE SI/YO TAKO."

　This composite symbol may look like a crab but interpreted as "spider." The antennae are read as NI, the body as ME, then the legs are counted and KUMO (spider) added, optionally. For example, if there are 3 legs on each side, it is read as NI+ ME+ MIMI/SANZAN+ KUMO.

(d) Inverted Heart (323)

　This symbol looks like the heart-shaped amulet, INOME, seen on Shinto shrines, and is given the same phonetic value, to be read as INOME or INOMA.

(6) Other Rules

(a) Striped Pattern

　If there are short, horizontal or vertical, parallel lines that fill in blank spaces in particular symbols to create a striped pattern, then the number of stripes is counted and read accordingly.

　In the case of NA/NE, if there are stripes inside the "can" or "triangle," they are counted and added on, to result in NA/NE- NI, for 2 stripes, and NA/NE-SAN, for 3, etc.

(b) Erosion, Scratches, and Damage

　Sometimes, part of a symbol or background may be intentionally scratched off or worn away. In such cases, the symbol is read with the addition of, KESI for erase, and NASI for not, etc. For example, if the "tree" symbol is half-scratched off, it could be read as KESI-KI, that means, scenery. Other options are, FU (不), HASON (破損), and HAJIKAKI (端欠き) .

　As a rule, Indus texts are read from right to left, but in most cases, they can be read bidirectionally, from right to left, then from left to right. This practice is also seen in the scripts of the Minoan civilization and ancient Cyprus.

　2. Inscriptions match Cartoons

　Since there are no bilingual texts such as the Rosetta Stone, that can show that the Japanese translations are correct, it will require ingenuity to develop convincing arguments. In this context, the cartoons that frequently appear on Indus seals provide valuable evidence, as they appeal to the eye and transcend language differences, much in the way traffic signboards can be understood by people of all nationalities.

　In the absence of a bilingual text such as the Rosetta Stone, there may be controversy on whether the background language of the Indus language is indeed Japanese. However, if it is Japanese, then this phonetic system must be fundamentally correct, because, with this system, Indus seals can be read in both directions, and the deciphered content always matches the cartoons and illustrations.

　The following examples are taken from Asko PARPOLA's "Corpus of Indus Seals and Inscriptions."

(1) Python and Bull (From Volume 2: Pakistan, page 118, M-1108A.)

　This square seal features a bovine animal with two long horns, facing left. It also appears on the website, "Cattle and the Harappan Chiefdoms of the Indus Valley" (Penn Museum), as photo (6a).

(a) Simple Reading

　A simple interpretation gives rise to the following translation:

(From right to left) U WAO HO MI WA

　　　　　　　　　ウワバミは、

　The python,

(From left to right) USI SAN HO TOWA U

　牛さんを捕らえる。

　Captures the bull.

　A close look at the bull's head shows that it is being swallowed by a python, with its huge mouth open 　from the left side. In fact, the top end of the bovine symbol on the right end is missing, to show that the bull’s head is already inside the python’s mouth.

(b) Precise Reading

　The following are interpreted as combined symbols that represent a plural number of syllables:

　Far right: UWA/UWATI or NISEU.

　2nd from the right: (OTO/TO) - WA/TI/(NI-I/YA/SI/NO).

　3rd from the right: HO or HO-TU.

(From right to left):

　UWATI/ NISEU (OTO)-(WA/SINI) HO SAN WA

　浮気　夫は/ お父さんは　

　Cheating, the husband/ father is,

(From left to right):

　WA/SI DI TUHO TITO USENI

　真実/話術を　ちと　失せに/偽る

　And the truth is slightly compromised/ the art of speech is used to deceive.

(In combination)

　The husband/ father is cheating, and the truth is slightly compromised/ the art of speech is used to deceive.

　In this case, the python turns into a veil that hides the bovine animal’s face, for evasion.

　In Japanese, UWABAMI (python) is a metaphor for a heavy drinker. The bovine animal must represent, husband/ father, and the following story emerges:

　"The husband/father, a heavy drinker, is being swallowed by alcohol. This is the reason for, or the result of, his infidelity. So, the art of speech is used to mask the truth, as he feigns ignorance."

(2) Camel with Horse Ears (From Volume 2: Pakistan, page 222, M-1534A shows the inscription and M-1534B depicts a two-headed mammal.)

　On the upper side is depicted a quadruped with heads on both sides. The ears are represented as crooked lines raised upwards, and it appears as if two camels are connected at the torso. Close to both heads, there seems to be exposed skin around the shoulders and chest, with the fur shaved off (except for the saddle and abdomen).

　On the back side, there are 4 symbols that can be read from both left to right and vice versa. This inscription, transcribed into the alphabet, then translated into Japanese and English, reads as follows:

(a) Simple Reading

(from left to right)

　U MA RAKU-(NI/RA)-(U) SI-SAN

　馬/羽毛で、楽に/鞍に資産。

　With the horse/fur on the saddle, wealth is made easily. (or)　

　U MA RAKU-(NI/RA)-(U) MI-YO

　羽毛のラクダを見よ。

　See the camel covered with fur.

(from right to left)

　SI-SAN RAKU-NI MA U/SENI

　資産、楽に舞う。　

　With wealth, one dances easily. (or)

　SI-SAN RAKU-NI MINI-MA (TO) U

　資産、楽に見にまとう。　

　Wealth made easy to wear.

(b) More Precise Reading

(from left to right)

　U MA-MIMI RAKU-RA SAN-YO

　馬耳の、ラクダさんよ。

　Oh, camel with horse ears,

(from left to right)

　U MA U- NI-SAN-TI-WA

　羽毛、兄さんの家は

　With this fur, brother’s household is,

　All put together, this comes to:

　“Behold the camel with horse ears, covered with fur. With fur on the saddle, the wealth, easy to wear, is made easily. With this fur, brother’s household is wealthy.

　"Camel with horse ears" matches the animal's characteristics; mention of "fur on the saddle," points to the image of the shaved animal, with the saddle part left covered with fur, and so the cartoon is very much in line with the inscription.

(3) Dancing Rabbit

　 (From Volume 1: India, page 388, copper rectangular seal M-534A, with the inscription and M-534B depicting a rabbit, looking into a nest/beehive on lower right).

　The inscription, transcribed into the alphabet, then translated into Japanese and English, reads as follows:

(from right to left)

　OTO-RI　SITA ITI-NI MEMAIYA/ NIMEYA YOSE SU-HASI-NI　(SE/SEYO)-NO

　踊りたし。下に位置。二目や寄せ、端巣に、乗せよ。

　I want to start dancing. Lower the position, bring the two eyes close to the nest at the corner.

(from left to right)

　SE-NO SU-HASI-(NI/RA) YOSE MENI-MI-NOYA MI-NO SITA/WA OTO-RI

　その巣に柱を寄せ、寄せ目に見るのや。身の下は、踊り。

　Bring the nose close to the nest and observe with crossed eyes. Then, the lower body will start to dance."

　For an experiment, one should print M-534B on paper and bring the nose close to the nest/beehive, then gradually move the face away. From about 20cm away from the paper, an optical illusion will occur, so that the rabbit will appear to dance on all fours.

　3. Notable Examples

　Here are some notable Indus seals, with the inscriptions deciphered as Japanese and translated into English. The seal numbers are those assigned in the Corpus of Indus Seals and Inscriptions, compiled by A. PARPOLA.

(1) Sarasvati River (M-631A, from Collections in Pakistan)

　 Search with, “Significance of the single horned bull in Indus seals.” This is a seal with a unicorn looking toward the left. The symbol on the far left is RAKUNI, depicted upside down; on the assumption that the surface corner was scraped off intentionally, NASI/SINA is added, where NASI means NOT. Similarly, for the KI symbol on the far right, KESI (ERASED) is added, because the right-hand side has been razed.

(a)If the 2nd symbol from the left, 3 vertical lines, is read as DI/YA-II, then,

(From right to left)

　KO-DI-TIMI-WA-TA-RA-SUNI-RAKUNI-SINA

　コート・ディジー見は、河を渡らすに、楽にしな

　For sightseeing in KOT DIJI, cross the river in comfort.

(From left to right)

　RAKURA-IISU-RA-TA-WA-TIMI-YA-II-KESIKI.

　楽だ、良い。スラタワチ河、見や、良い景色！

　Comfortable and enjoyable, see the Sarasvati River. Enjoy the scenic view!

　 KO-DI-TI must refer to KOT DIJI, an archaeological site across the Indus River from Mohenjo Daro, and relics of a civilization preceding the Harappan.

(b)If the 2nd symbol from the left is read as YASUI/ SU-II, then,

(From right to left)

　KI-YASUI-MITI-WATA-RASUNI-RAKUNI-SINA

　来やすい道、渡らすに、楽にしな

　This is an easy way, cross the river in comfort.

(From left to right)

　RAKURA-IISU-RA-TA-WA(TA)-TIMI-SU-II-KO.

　楽で、良い。スラタワチ河を立ち見する、良い子

　Comfortable and enjoyable. Standing up to see the Sarasvati River, good kid.

(c)If the 2nd symbol from the left is read as I-SU-NO, then,

(From right to left)

　KO-ISUNO-MITI/TIMI-WA-YOMEYA-NIZO-NIKURA-SINA

　恋する道。小椅子の君は、嫁にするぞ。憎らしいな。

　A way to fall in love. That’s you, sitting on the bench, you will be my bride. You are so annoying.

　The symbol on the far left, RAKUNI, depicts a child standing near the bow, hands raised in a joyful gesture. The seal must be an advertisement for river transport, and points to the fact that KOT DIJI is across the Sarasvati River, from Mohenjo Daro.

(2) Seated Man in Armor (M-1181Abis, from Collections in Pakistan)

　Search with, “Seal, Mohenjo-daro 33.” The seal depicts a man sitting on a low pedestal, yoga-style. He wears a helmet, and his head watches 3 directions simultaneously. He wears an extraordinary number of bracelets on the arms that give him a hairy, prickly appearance, and his shoulders seem covered with protective plates. Behind him, above his head, there is an elaborate decoration, bull’s horns hanging from a narrow tree trunk, radiating into 3 arrows that shoot upwards. Since this headdress aligns with the Indus symbols, the radiating arrows are read as ZOKU (for arrows) or MI (for three).

(a) If the symbol on the far left is read as KEN, then,

(From right to left)

　U-NI-TASI-NO-KEN

　ウニタ氏の県/圏

　Prefecture/sphere of U-NI-TA clan

(From left to right)

　KEN-NI-SITA-RA-U

　県/圏に従う

　With the prefecture/sphere, you must comply.

　 Joined together, this becomes “This is the Prefecture of U-NI-TA clan, and you must comply.

(b) If the top half of the headdress, with 3 radiating arrows, is read as SAN-ZOKU/ ZOKU-SAN, and the bottom half, as WANI (2 WA symbols) or IKARI (anchor), then,

(From right to left)

　U-NI-TASI-SAN-ZOKU-WANI/ IKARI-NO-KEN

　ウニタ氏三族ワニ/錨　の県/圏

　Prefecture/sphere of the 3 clans of U-NI-TA, order of the crocodile/ anchor

(From left to right)

　KEN-NI- ZOKU-SAN-SITA-RA-U

　県/圏に属さん、従う

　Let us join the prefecture/sphere and obey.

　Together, this becomes “This is the Prefecture of the 3 clans of U-NI-TA, order of the crocodile/ WA people/ anchor. Let us join in and obey.

(c)Assuming the top left corner has been razed intentionally, if the symbol on the far left is read as MAKE-NASI or ARASI-NI-MAKEN, then,

(From right to left)

　U-NI-TASI-SAN-ZOKU-WANI/IKARI-NO-KEN-MAKENASI/ARASI-NI-MAKEN

　ウニタ氏三族ワニ/錨　の県/圏。負けなし、嵐に負けん。

　Prefecture/sphere of the 3 clans of U-NI-TA, order of the crocodile/ anchor.

　Never at a loss, will never succumb to storms.

(d) If the symbol on the far left is read as MAYOKE, then,

(From right to left)

　U-NI-TASI-SAN-ZOKU-WANI/ IKARI-NO-MAYOKE

　ウニタ氏三族ワニ/ 怒り　の魔除け

　Charm against evil, of the crocodile/ our wrath

(From left to right)

　MAYOKE-NI-TAME-RA-U

　魔除けにためらう

　This good luck charm will deter.

(e)If the symbol on the far left is read as YOWAYOI/YOWASI, then,

(From right to left)

　U-NI-TASI-NO- YOWAYOI

　ウニタ氏の世は良い

　The world ruled by U-NI-TA is good.

(From left to right)

　YOWASI -KEN-NI-ZOKUSAN-MESIYA-NI-USI

　弱者は、県/圏に属さん。飯屋に牛

　The weak should join the Prefecture, for food stalls and cattle.

　Together, this becomes “The world ruled by U-NI-TA is good. The weak should join the Prefecture, for food stalls and cattle.

(f) If the symbol on the far left is read as MAKEYO, then,

(From right to left)

　U-RA-SITA/YOMEYA-NO-MAKEYO

　裏・下を読めば　負けよ/漫画よ

　Read back and below, cartoon of a loser.

(From left to right)

　MAKE-NO-MIZO-SITA-RAU

　負けの身なので、従う

　In defeat, I will comply.

　Taking a hint from “read back and below,” the seal should be turned upside down; a city wall appears at the top, with a skinny man below. If the tripodal feet are read as NE (roots), the line can be read from left to right as, U-RA-SITA-NE-RA-MAKE（裏切ったら、負け。裏・下で種を蒔け）meaning, “Traitors lose. Go sow seeds at the back.”

(g) Conclusion

　All joined together, we have,

　“Prefecture/sphere of the 3 clans of U-NI-TA, order of the crocodile/ WA people/ anchor. Let us join in and obey. Never at a loss, we will never succumb to storms. Charm against evil, of the crocodile/ our wrath; this good luck charm will deter. The world ruled by U-NI-TA is good. The weak should join the Prefecture, for food stalls and cattle.

　Read back and below, cartoon of a loser. In defeat, I will comply. Traitors lose, go sow seeds at the back.”

　 In this light, the extended arms of the seated man must depict the crocodile.

(h) Map

　 The top left corner of the seal has been razed off in a roughly trapezoid shape, and this is likely to be a map of the boundaries of the Harappan Civilization, as follows:

　〇 Vertical edge on left side of seal: Kirthar Range.

　〇 V shape, on upper side of X-shaped symbol: Triangle formed by 3 main tributaries that flow into Indus River.

　〇 Lower, left leg of X-shaped symbol: Indus River.

　〇 Boundary between rough and smooth surface, running close to the lower, left end of X-shaped symbol: coastline near the mouth of Indus River. A little toward the right, there is a small protrusion that must be Kathiawar Peninsula,

　〇 Area close to the top right end of X symbol: Kashmir region.

　〇 In the NO/NI symbol, diagonal line on the left side: Yamna River. Vertical line on the right side: Ganges River.

　〇 Line running to the left, from lowest point of NO/NI symbol: Narmada River.

(3) Tiger in Search of Woman in a Tree (M-309A, from Collections in India)

　"Seal -12, Harappan Civilization, C- 2700-2000 BC," by Mukul Banerjee. On this seal, there is a tiger with its head turned back toward a tree, eyes looking up. A woman is perched on one of the branches, apparently trying to blend in as part of the tree, to hide and escape from the tiger.

　 The eye (ME) symbol at the far left, modified with 4 small enclosures (MASU), is read as MASU-ME-YO/SI, with the syllables shuffled into different order, as convenient; the 2 short vertical lines to the above right are blended in as NI/RA. The 3rd symbol from right is read as ZO/SUMI/MESU.

(a)Tiger, as an Animal

(From right to left) The girl’s extended hand is read as WA.

　ITA-ZO-U-WA-SINO-MASUMESI-NI

　いたぞう。ワシの弁当に。

　There she is! That’s my lunchbox.

(From left to right) The girl’s extended hand, together with NO right above, is read as WO. The 2nd symbol from the right, TA is read as MESIYATA.

　MASUMESI-NI-WO-U-ZO-MESIYATA-I

　弁当が匂うぞ、飯の屋台。

　The smell of a lunchbox. There must be a street vendor.

(b)Tiger, as a Drunkard

(From right to left) I-TA-ZO-USI-NO-YOMESUMA-NI

　　　　　　　いたぞ。うちの嫁、妻に。

　There she is, my prospective bride, for a wife.

(From right to left) I-TA-ZO-U-NO-RA-MASUMEYO

　いたぞう、野良娘よ、夜娘。

　There she is, wild girl, daughter of the night.

(From left to right) YOMEMASU-NI-U-SUMI-TA-I

　夜目増すが、匂う。巣みたいだ

　The night grows dark, but there is a scent. It could be a nest.

　〇 The U symbol at the center is read as USENI.

(From right to left) I-TA-MESU-USENI-NO-RA-MASUMEYO

　いた。雌、失せに。背に野良娘よ。

　Right there！She disappeared, and now on my backside, the wild girl.

(From left to right) NI-SIMEMASU-NI-U-SUMI-TA-I

　西目増すので、嘘みたい

　No, with the setting sun, you are being deceived.

　The top right- hand corner of the seal seems to have a shining luster, perhaps to show the setting sun.

(d)Title

　The girl (MUSUME) in the tree (KI) is suggestive of KI-MUSUME, or young virgin. Together with the protruding symbols, the words, KI-MASUMENIYO-U or, “Tipsy over a tree girl/ young virgin” come to mind.

（4）Signboard from Dholavira　

　This is displayed at the top of the website, “Cracking the Indus Script: A Potential Breakthrough, Swarajya.” Discovered in 1991, the signboard must have adorned the northern gate of Dholavira, to be read by visitors to the city, located on an island. The inscription consists of 10 symbols, of which 4 are recognized as the symbol KA that looks like a wheel.

(a) Rough Translation

　The symbol on the far right is read as SA.

(From right to left)

　SA-KA-KA-SI-KE-WO-KA-MOU-NA-KA

　逆かし毛をかまう中、

　While we take care of renegade strands of hair,

(From left to right)

　KA-NE-MOU-KA-WO-KE-SI-KA-KA-SA

　金儲けをけしかかんさ

　We prod you on to make money/profit.

　 This may sound like an advertisement from a barber shop, as it hints at the exchange of lucrative information while having a haircut.

　 SAKA means hill, and hints at the word SAKASA, upside down. If the signboard is held in perpendicular fashion, so that the symbol SA on the far right comes to the top, one will find a cartoon halfway down, a face with a grimace. The symbol KE serves as the eyes and WO is the mouth. He/she must be having the hair unraveled and the treatment is causing pain. In this context, the symbol SA at the top should represent scissors or a similar tool for the hair, held toward neighboring symbols, KA-KA, that must be the hair, curled up. The face with the open mouth is just below.

　 Now, if the signboard is turned around 180 degrees, so that KA on the far left comes to the top, one will find a similar cartoon of a face, but this time, it looks relaxed and contented. The symbol KE serves as the eyes, but the mouth is SI. The hair treatment must now be over.

(b)More Precise Translation

　The symbol on the far right is read as SAMU.

(From right to left)

　SAMU-KA-KA-SI-KE-WO-KA-MOU-NA-KA

　まさかか、時化を/ 寒さや時化を　かまう中

　This is unbelievable! While we provide shelter from cold weather and storms,

(From left to right)

　KA-NE-MOU-KA-WO-KE-SI-KA-KA-SAMU

　金儲けをけしかけるさ

　We will prod you on to making money/profit.

(c)Comprehensive Translation

　If Indus symbols show striped patterns, then the number of stripes should be counted, and that number incorporated into the sound value for that symbol. In this case, the 3rd symbol from the left, MOU, has diagonal stripes on its head part, 2 in one direction, and 1 in another, and this will be reread as, MOU-SA.

　Furthermore, upon scrutiny, the second KA symbol, counted from the right, has its lower part fading away, and assuming this was intentional, the symbol is reread as KIERUKA (“disappearing KA”), or KADENAI (“not KA”). Accordingly, the reading is revised as follows:

(From right to left)

　SAMU/MUSA-KA-KIERUKA/KADENAI-SI-KE-WO-KA-MOUSA-NA-KA

　まさか、寒さが消えるか？　勝てない時化をかまう最中、

　This is unbelievable! Do you feel the chill go away? As we provide shelter from formidable storms,

(From left to right)

　KA-NE-MOU-KA-WO- KE-SI-KA-KA- SAMU

　金儲けをけしかけます。

　We will prod you on to make a profit.

　Thus, the signboard becomes a welcome message for refugees and prospective settlers to Dholavira. Because Dholavira was a small island located south of the Indus Valley, they must have found it necessary to maintain and increase the working population, to promote economic activity.

　 Seen in this light, the inscription may project the image of a wheelbarrow or carriage used by settlers to carry belongings, with the KA symbols, 4 in all, representing wheels.

　In this case, the faces that appear when the signboard is held perpendicular to the ground, take on a different meaning. The face with the troubled expression shows adversity due to bad weather and financial difficulty; the face that looks relieved must have received help in Dholavira.

(5) Seated Old Man, Surrounded by Animals (M-304A, from Collections in India)

　Search with, "Indus Seals and Glyptic Studies: An Overview, Harappa." An elderly man, seated in yoga style, seems to have 3 faces, looking toward the right and left, and toward the center. He wears bracelets around his arms and shoulders. Different animals surround him, including elephant, tiger, hare, bull, unicorn, and man. They may be looking for food and the tiger seems ready to jump on him; the beasts are closing in toward what must be their next meal.

　〇 Symbol on far left (man, with protrusion on right side): OTO/ TO + NO/SI/E

　〇 Next symbol, to the right: SAMA/ SAMU

　〇 Next symbol, to the right: MASA/SAMU + RYU

　〇 2 short vertical lines enclosed by U symbol, center: NI/RA

　From left to right:

　OTONO/OTOSI-SAMA-MASARYU/SARYUMA-NI-U-TA-U

　お殿様/お年様、優るに/去る間に　歌う

　To the lord/ the elderly one, in praise of his excellence/ as he leaves, we sing.

　From right to left:

　U-TA-U-RA-SAMURU-SAMA-TOE

　歌の裏の、寒い/迫る様を問え/と絵

　Behind the singing, a chilling situation, subject to question/ with an illustration.

　The animals surrounding the old man are in a configuration that resembles the winter constellations in the southern sky; if the old man is understood to be in Orion’s place, below him is Lepus the hare, to his upper left is Monoceros the unicorn, and just above him, Gemini, the twins.

　In the next scene, we can imagine the tiger having ousted the old man and taken his place in the center, in Orion’s position. In fact, the Minoans used to refer to Orion as tiger, and this must have been a used when referring to women, as Minoan women wore skirts with horizontal stripes.

　Thus, if the bull on the left side is moved into the tiger’s original position to the right, the constellations will be more faithfully reproduced, with Taurus the bull on the right side of Orion.

　The story in the Indus seal may now be retold as a myth; the old man must represent a male deity and the tiger, a female deity. The tiger is about to attack and replace the elderly man to become the new ruler. Then the bull will move into the tiger’s original position, and this is how the constellations around Orion came about. In fact, this tale is explained in more detail, in the seal below.

(6) Human Sacrifice Seal (M-1186A, from Collections in Pakistan)

　Search with, “Seal Mohenjo-daro 34.” This is a seal known to depict a human head, ostensibly being offered to a deity. On the top left hand corner, there is a deity with long hair, standing within a U shaped frame formed by a plant, perhaps a bodhi tree. On its right stands a large bull; in between the deity and the bull, there is a kneeling person, making an offering gesture with hands raised toward the deity. To its left, below the knees, is a human head. At the bottom, there are 7 spirits, standing in line with opened mouths, as if to throw their voices,

　 Careful observation reveals that the bull is depicted to show it in motion, lowering its head toward the goddess; the lowered head of the bull blends into the head of the kneeling person.

(a) Sound Values of Irregular Symbols

　Symbol, top center: MASAMA/ MESAME/ SAMENI

　Symbol to its right: MOU + NI+ SA+ MA/ME+ YA

　Fish-like symbol on bull’s back: TASI/ SITA + ME/ MA. Then, RI may be added to account for the bull’s horn, extended like a circumflex.

　Symbol on far right: Man symbol, without the head, O/ E/ TO.

　Symbol to its left: Bovine head symbol, without ears, WA/ U.

(b) Decipherment

　〇 From left to right

　MASAMA/MESAME MOUNI-SAMAYA TAI/ SITA WA E/ O

　魔様が目覚め、牛様になられた。祝おう/ 下はその絵。

　When the demon woke up, it was transformed into a bull. Let us celebrate/ See picture below.

　〇 From right to left

　O WA RIMASITA MOU-SAMA-NIYA MESAME

　全てが終わり、牛になられて、お目覚めに。

　At the end, the one who was turned into a bull comes back to life.

　If the symbol, 2nd from right, is read as U, then,

　O U TA-MASIRI MOU-SAMA-NI-YA MESAME

　お歌混じりで、牛様として目覚める。

　With the singing, the one who was turned into a bull awakens.

　If the symbol at the right end is read as TO, then,

　TO U RI-MA-SI-TA　MOU-SAMA-NI-YA　 SAMENI

　通りました/通り、真下。牛様になられた方のお目覚めに。

　A procession below, for the one turned into a bull, as it awakens.

（OR）

　TO U TA-SI-RI-ME MOU-SAMA-NIYA SAMENI

　討たれて亡くなり、牛様になられた方のお覚めに。

　For the slain one turned into a bull, as it awakens.

　All taken together, one reads,

　“When the demon woke up, it was transformed into a bull, so let us celebrate. See the picture below. At the end, the one, turned into a bull, comes back to life. A procession below, singing for the slain one, now a bull, as it awakens.”

　The 2 symbols on the far right, i.e. the man symbol and the bovine head symbol, are both depicted without the top parts, to illustrate the exchange of heads or, a man’s transformation into a bull, at the essence of the story.

　Thus, the scene on this seal may be a sequel to the scenery depicted on the above seal from the National Museum of India, recounting the same mythical story revived in the winter sky. The kneeling personality has been defeated by the deity on the left, and must be the elderly personage assaulted by the tiger.

　Asko Parpola, the Finnish researcher, has pointed out that the 7 figures at the bottom must correspond to the stars in Pleiades, within the constellation Taurus. In that case, the bull must be Taurus, and the head of the kneeling person doubles as the lowered head of the bull because it is being transformed into Taurus, upon losing its human head.

　Then the kneeling personality must be the constellations Orion and Lepus. Betelgeux (αOrionis) represents the eye; the 3 stars on Orion’s belt form the offering arms; Rigel (βOrionis) points to the waist. As for Lepus, the right half represents the bent knees; the left half, the head on the pedestal.

　The U shaped plant at the top left section is formed by stars from Gemini; Pollux and Castor represent the shoulders of the deity within; at the bottom of Gemini, the intermittent stars from left to right,γ,μ, ηform the branch extending from the lower right hand side of the U. There is a leaf at the end of this branch that bends the crown of the kneeling person toward the right, and this crown must be Orion’s raised arm.

(7) Northern Octopus Seal (M-296A, from Collections in India)

　Search with, ”Lost Artifacts: Indus Valley Civilisations –Script and Seals.” The design of this seal is roughly symmetrical, with 7 large leaves shown at the top. In the middle, on the left and right sides, are the heads of unicorns. The heads and curved necks of these 2 creatures are connected at the center of the seal, where there is a small circle with numerous dots (like a ladybug) and, together, they form a rounded “W.”

(a) The inscription is at the bottom. If the two symbols on the very ends are left out in the first instance, the remaining symbols can be read from right to left as, KITA-NO (of the North).

　In reverse and avoiding repetition, this becomes KITA-NO-TAKO, or Octopus of the North, where TAKO means Octopus. (The tree symbol on the right is read as KI or KO, in the way the kanji for tree 木 is normally read.)

(b) On the right end is a combined symbol, read as SU-WA or ZU-WA. On the left end there is a symbol in the shape of a diamond, with circles at the four corners, and a wheel inside. It is read as YO-ME-MASU-KA but may also suggest rotation. Together, the inscription is read as "KITA-NO-TAKO ZU-WA YO-ME-MASU-KA" or, “Octopus of the North, can you figure out the drawing?”

　The head of the octopus is formed by the W shape of the 2 connected unicorns seen in reverse, and the eyes are inside their folded necks. The legs of the octopus are depicted as 7 large leaves.

(d) Due to precession, North Star was αDraconis or Thuban, during the height of the Indus civilization, circa 2600 B.C. to 1900 B.C. With the aid of a star chart showing the northern sky around June, the following inferences can be made on the components of the diagram on the seal:

(W-shape, formed by necks of unicorns) W formation, from Cassiopeia.

(Unicorn on left side) Big Dipper.

(Unicorn on right side) Head of Draco.

(Diamond shape attracting gaze of unicorns) Little Dipper, or the cupped end of Ursa Minor.

(7 large leaves at the top) Draco; leaf in the middle is Thuban, or North Star.

(Ladybug) Symbol for asterisms and constellations, or the Milky Way.

(Mushroom-shaped arrow, stuck into W) At the very bottom, this corresponds to γ in Andromeda.

　If the vertical line in the center, from the ladybug to the leaf in the middle, is transposed to the night sky, it should cut across the tail of Draco, close to its α star, Thuban. Therefore, this seal must have served as a guide to finding North Star.

　 (e) Thus, the words TAKO and KITA are inscribed, with graphic display of an Octopus and summer constellations of the Northern sky. Since other Indus seals that bear the word TAKO also display octopi, TAKO must point to Octopus, as in Japanese. This suggests that KITA denotes North, again as in Japanese, and so the background language of the Indus seal must be Japanese.

　 (f) If we consider the Northern Octopus to be a myth, then we could imagine a colossal octopus that encompasses the universe with its 8 legs, and which makes the universe revolve around North Star. It makes its presence felt each evening by turning the night sky almost completely black, by spewing out its ink all over.

　This octopus, situated beyond the North Star, must stretch its 8 legs onto the sky as onto the bones of an umbrella. The 9th leg must be North Star, which is stationary. This means that the octopus may appear to be upside down, when seen from the earth, and this idea is consistent with the image on the seal.

　 If the above analysis on the stars along the contours of the Northern Octopus is correct, it should appear upside down from June to August (when observed around 7:00 p.m. in Kyushu, closer to Mohenjo Daro), and this is consistent with the large, vivacious leaves on the seal. (In winter, between December and March, the Northern Octopus should be visible with its right-side up.)

　 (g) People in the Harappan Civilization may have believed that when someone dies, their soul will ascend to heaven, to become part of the Northern Octopus.

(8) Odysseus and the Sirens (M-7A, from Collections in India)

　This square seal appears in, “14 Indus Seals, Stock Photos, Getty Images,” in the middle of the top row, with a unicorn facing left. It has a hairy horn, and the eyes glare. There are strong stripes from the snout to the neck. Approximately 11 symbols are inscribed at the top.

(a) Irregular Symbols

　〇 Unicorn's horn: I/YA/SI/NO. Alternatively, taking account of the hair, KE-(I/YA/SI/NO).

　〇 3rd symbol from the left (A pair of bow-shaped SI in parallel, connected at the top and bottom, to form the basic "tooth" symbol): SI-NI-HA.

　〇 In the center, the "man" symbol with lines extending upwards from both arms: TO-RE.

　〇 4th symbol from the right: U/SENI.

　〇 2nd symbol from the right: The "eye" symbol is overlapped and shifted, with 3 short diagonal lines in the middle. Analyzed as (Arrow + Eye) x 2, it should be read as YA-MIME-NI. Alternatively, recognizing the small "fish" symbol with sash in the center, SITA, this should be construed as, 2 x (MA/ME/MI/WO) + SITA.

　〇 Symbol on far right (variant of "ear of grain" symbol): With 4 "feathers," it should read as YOSE. Then add the lower vertical line, as I/YA/SI/NO, as appropriate.

(b) First Reading

(From left to right)

　SI-KE MIMASU NI WATA SINI-HA SI/I RETO SI/I USENI HO (WO-MI-TASI)/(ME-WO-SITA) SEYO

　In stormy weather, ignore me, silently escape, fill the sail, and look down.

(From right to left)

　YOSE-I (WO-MI-TASI)/(ME-WO-SITA) HO U I/SI TORE YA WO WATA RA/NI MASUME KE-(I/YA/SI/NO)

　I want to see the sirens. Keep looking down and take direction. At the end, the sirens will lose.

(Or)

　YOSE-YA YA-MIME-NI HO U I TORE YA SI-NI-HA TAWA RA/NI MASUME YA

　Give it up! Taking direction in the dark, will lead to death. He is acting like a clueless girl.

　This must describe a scene in Homer's epic "The Odyssey." In an episode on his return voyage from the Trojan War, Odysseus ordered his crew to tie him against the ship’s mast to hear the sirens, who were reputed to be beautiful, yet inevitably bring shipwreck and destruction. He tells his men to ignore anything he says and to sail quickly through the dangerous area. In this context, the lines could be interpreted as follows:

　"In stormy weather, ignore me, fill the sail, and look down. I want to see the sirens. Keep looking down and take direction. At the end, the sirens lose."

　"Give it up! Taking direction in the dark will lead to death. He is acting like a clueless girl."

　The strong stripes from the unicorn's snout to its neck must represent the ropes tying Odysseus to the mast. The unicorn's wide eyes and raised ears symbolize Odysseus' heightened tension, as he listens in for the Sirens.

(d) Second Reading

　According to Homer, Odysseus had his crew wear earplugs, but he refused to. Re-evaluation of the sound values leads to a revised interpretation, as follows:

　〇 2nd symbol from the right: (For the 3 "eye" symbols) MIMI + (for the 3 diagonal lines) SA- (YA/SI). Recognizing the small "fish" symbol (TA), hidden in the center, this becomes MITAME-YA.

　〇 In the center, the "man" symbol with lines extending upwards: with the hidden WA symbol in the upper part, this is read as WA-TORE.

(From right to left)

　SEYO MIMI/MIME + SAYA/SASI HO U/SENI I/SI WA-RETO I/YA HA-SINI WATA RA/NI MASUME YA

　“Plug your ears, fill the sail, and tie me up,” he says, but this will lead to death. He is acting like a clueless girl. (Or) 　Give it up, it looks easy. "Tie me up, with my back against the mast," he says, but this will lead to death. Now he looks like a girl, tied up, in a barrel.

(e) Summary

　All put together, the following conversation emerges:

　Odysseus: In the stormy weather, ignore me, fill the sail, and look down. I want to see the sirens. Look down and take direction. At the end, the sirens will lose.

　Crew: Give it up! Taking direction in the dark will lead to death. Captain is acting like a clueless girl.

　Odysseus: Plug your ears, fill the sail, and tie me up.

　Crew: Give it up, it looks easy. But Captain will die, like a girl tied up, in a barrel!

　When the seal is turned 90 degrees to the right (or to the left, for seal M-7a), an image of Odysseus tied to the mast will appear, with the unicorn’s horn transformed into the end of the rope. Such stories likely spread widely in ancient times through trade, so that they were recounted even in the Indus Valley.