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)

掲載日：2021/05/15

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 eight 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 in “Bronze Age Crete and India (Indian Historical Review, Volume XXXII, No. 1, Jan. 2005).”

　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, 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.

　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 Iravatham 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 is 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) Reading Direction

　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 that accompany.

　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.

(27) Dancing Rabbit

　From A. Parpola’s “Volume 1: India,” on page 388, the copper rectangular seal M-534A, with the inscription and, M-534B, depicting a rabbit that looks into a nest-like cluster, on lower right.

(a) Sound values of the symbols (M-534A)

　If the symbols are numbered from left to right, the sound values are designated as follows:

　① Symbol on far left: The “ear tip” symbol, with an ambiguous number of “feathers.” Counting them as 2 to 4, it may be read as: NISE / SE / YOSE.

　② Loom symbol: If the vertical “pot lid” on the left is read as DA in Linear A script, then, DA-HATA.

　③ “Ear tip” symbol, with 4 “feathers” : YOSE.

　④ Overlapping “eye” symbol: if the 2 short diagonal lines within are read as 2 (I/YA /SI/NO)=2α, then, (ZURASIME / YOSEME)-2α.

　⑤ 3 vertical lines: SA/MI/KAWA. Also, because the rightmost line has a hook at the bottom end, it is also read as, NI-ITI.

　⑥ “Tongue” symbol: TI / SITA / (WA-α).

　⑦ Symbol on far right: a symbol combining the roofed “fish” sign (RI) and the “man” sign, to result in, OTO-RI.

(b) Decipherment

(Read from right to left)

　OTO-RI SITA ITI-NI (MEZURASI / YOSEME)-2α YOSE

　HATA-DA SE

　踊りたし、下に位置。珍しい。寄せ目にせよ。機だぜ。

　I want to dance, positioned below. This is a rare sight. Cross your eyes. It’s the woven cloth.”

(Read from left to right)

　NISE HATA-DA SEYO MESEYO-NIYA SA SITA/WASI OTO-RI

　偽（の）機だ。出せよ。寄せ目にや。察したわ。ワシ、踊り/囮。

　It is a fake loom. Bring me out. Cross your eyes. “Now I catch on.” I am dancing in captivity.”

　Thus, the cluster on the lower right is revealed to be a piece of woven cloth, and the following interpretation emerges:

　I want to dance, as positioned below. “This is a rare sight.” Cross your eyes and watch the woven cloth. It is a fake loom. Bring me out. Cross your eyes. “Now I catch on.” I am dancing in captivity.”

　Taking a hint from the phrase “Cross your eyes and watch the woven cloth,” one should print out the rabbit image (M-534B) on paper. Then, bring in the nose close, as to almost touch the “woven cloth” on the lower right;, then, gradually move away; when the eyes are about 20 cm from the paper, a small dancing human figure will appear, apparently caught in the woven pattern.

　This explains the phrase “I am dancing in captivity.” In addition, due to an optical illusion, the rabbit itself may also appear to be dancing on 4 legs.

　3. Further 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 RAKU, depicted upside down, with 2 diagonal stripes added, to result in, RAKU-NI/RA. The unicorn’s horn is read in, as SI/YA.

(a) If the 2nd symbol from the right, 3 vertical lines, is read as DI, then,

(From right to left)

　KO-DI-TIMI-WA-TA-RA-SUNI-RAKUNI-SIYA

(コート・ディジー見は、河を渡らすに、楽にしや)

　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 right is read as YASUI/ SU-II, then,

(From right to left)

　KI-YASUI-MITI-WATA-RASUNI-RAKUNI-SIYA

　来やすい道、渡らすに、楽にしや

　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.

(From right to left)

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

　 (恋する道。小椅子の君は、嫁にするぞ。憎らしいや)

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

(d) If the 2nd symbol from the right is read as (MI/SA)-(I/YA/SI/NO) or, (MI/SA)-α for short, then,

(From right to left)

　KI/KO (MI/SA)-α　 TIMI 　WA TA RA/HASI SUNI/ISUNI RAKU-NI/RA　SI/YA/TUNO

　〇この道、見渡らすに、楽にしや。

　Survey the view along this pathway, in comfort.

　〇この道、君、あたらしい（素晴らしい）わ、椅子に楽にしや。

　You know, this pathway is wonderful. Enjoy the comfortable seat!

(From left to right, without reading in the unicorn’s horn)

　RAKU-(NI/RA)　 (ZO/SU)- 2α RA/HASI TA WA TIMI (MI/SA)-α　 KI/KO

　〇楽に癒す、スラタワチ、立ち見、三呼！

　For soothing comfort, stand up and see the Sarasvati River! Three calls!

　Taking a hint from, three calls, SU-RA-TA-WA-TIMI（スラタワチ、立ち見）can be repeated 3 times, to result in, スラタワチ、立ち見！スラタワチだ、君！　スラタワチ、散った君, that means,“Sarasvati, see the river, standing up! It’s the Sarasvati River, you know! This is the Sarasvati River, my dear, in fond memory.”

　〇憎らしいぞ。明日は、君　（に）、さし（で）、聞こう。

　You are annoying. So, tomorrow, I will ask you directly, in person.

　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 A. Parpola, Collections in Pakistan)

　Search under, “Seal, Mohenjo-daro 33.” A man, presumably of high rank, is seated on a platform with legs spread apart. He wears a helmet and armor that covers the shoulders and chest. He has 3 faces, looking forward and to either side. The many shell bangles on his arms resemble bristling spikes. Above his head is an ornament that branches upwards into 3 arrow-like projections. At the upper-left edge of the seal, the surface has been chipped away, leaving the symbols intact.

I. Sound Values

　If the symbols are numbered from left to right, the sound values are proposed as follows.

　① Far-left: If interpreted as 3 tubes plus 2 subsidiary strokes that extend toward the lower left, it can be read as TUTU-MI-2α. Alternatively, if regarded as a combination of KE and the head of a cat (MA), it can be read as MAKE.

　② 2 vertical strokes that together, form the shape of a downward arrowhead: NO / ZO.

　Central Headdress: The 3 arrowheads that radiate from the upper part are read as 3 (ZOKU / ZO), and the 2 “fishhooks” in the lower part as, WANI.

　③ A vertical stroke inside the “fish” sign: TA / [(MA / ME / MI) - (SI / YO)] - α.

　④ 2 parallel vertical strokes arranged in an S-shaped pattern: NI / RA / HASI.

　⑤ An elongated vertical “bull” sign: U / USENI / TUBO.

　II. Reading

(From right to left)

　U / USENI / TUBO　　NI / RA / HASI　　TA / [(MA / ME / MI) - (SI / YO)] - α 3 (ZOKU / ZO) - WANI　　NO / ZO　　(TUTU-MI-2α) / MAKE

　The following are alternative Japanese readings, given homophones, and wordplay.

　〇ウニ太氏、３族/属さん、輪に望み/ワニの、堤にや。

　The 3 clans of UNITA. Join and seek hope in the ring, on the embankment of the crocodile.

　〇偽る氏は、締めや/闇よ。属さん、輪に。３族、ワニの堤にや。

　The impersonator should be bound up, he is in the dark. Join the ring. 3 clans, on the crocodile’s embankment.

　〇（右半分だけで）背にウツボ、睨んだや。

(Reading only the right half.) A moray eel on his back—he glares.

　〇（頭飾りを読まずに）裏、下/うらめしや、の負け。

(Without reading the headdress.) In reverse, below—the defeated, in hateful grudge.

(From left to right)

(TUTU-MI-2α) / MAKE　　NO / ZO　　3 (ZOKU / ZO) - WANI

　TA / [(MA / ME / MI) - (SI / YO)] - α　　NI / RA / HASI　　U / USENI / TUBO

　〇堤にや、臨み、輪に従う。

　At the embankment, seek aspiration and follow the ring.

　〇魔拳の輪に、属さん。魂のシワ、失せに。

　Join the ring of the magic fist. The wrinkles of the soul will disappear.

（Without reading the headdress)

　〇魔拳の御代や、乱、失せに。

　The era of the magic fist；turmoil will disappear.

　〇負けんぞ、従う。

　We shall not lose; we follow.

　III. Alternative Reading ( ① = MAYOKE, protective charm, or amulet.)

(From right to left)

　U / USENI / TUBO　　NI / RA / HASI　　TA / [(MA / ME / MI) - (SI / YO)] - α 3 (ZOKU / ZO) - WANI　　NO / ZO　　MAYOKE

　〇ウニタ氏、三族、ワニの魔除け。

　UNITA, the 3 clans, the crocodile’s protective charm.

　〇ウニ魂や。属さん、ワニの魔拳よ。

　The spirit of the sea urchin—join the crocodile’s magic fist!

(From left to right)

　MAYOKE　　NO / ZO　　3 (ZOKU / ZO) - WANI

　TA / [(MA / ME / MI) - (SI / YO)] - α　　NI / RA / HASI　　U / USENI / TUBO

　〇魔除けの輪に属さん。山賊、闇夜に失せに。魂のシワ、失せに。

　Join the circle of the protective charm. Bandits will vanish in the darkness of night. Wrinkles of the soul will disappear.

　IV. Alternative Reading (③ = SAKANA-α, “fish”)

(Reading from left to right, skipping the headdress)

(TUTU-MI-2α) / MAKE　　NO / ZO SAKANA-α　　NI / RA / HASI　　U / USENI / TUBO

　〇魔圏の仲さや、シワ/恥、失せに。

　Within the cordial magic domain, wrinkles/ shame will disappear.”

　〇研磨の最中や、端、失せに。

　During the polishing, the edge is lost.

　V. Summary

　1. Consolidation

　The 3 clans of UNITA. Join and seek hope in the ring, on the embankment of the crocodile.”

　Impersonators should be bound up, they are in the dark. Join the ring. 3 clans, on the crocodile’s embankment.

　A moray eel on his back—he glares.

　In reverse, below—the defeated, in hateful grudge.

　At the embankment, seek aspiration and follow the ring.

　Join the ring of the magic fist. The wrinkles of the soul will disappear.

　The era of the magic fist；turmoil will disappear.

　We shall not lose; we follow.

　UNITA, the 3 clans, the crocodile’s protective charm.

　The spirit of the sea urchin—join the crocodile’s magic fist!

　Join the circle of the protective charm. Bandits will vanish in the darkness of night. Wrinkles of the soul will disappear.

　Within the cordial magic domain, wrinkles/ shame will disappear.

　During the polishing, the edge is lost.

2. Comments

　The spiky figure seated on the central platform is identified as UNITA, while his 3 faces are taken to represent 3 clans. The phrase “the crocodile’s protective charm” suggests the arms on either side may be modeled on crocodiles.

　UNITA may have belonged to a local self-defense force responsible for guarding boats traveling along the Indus River, particularly around the port of Mohenjo-daro.

3. Turned Upside Down

　Inspired by “in reverse, below,” the seal can be turned upside down, and in this orientation, the upper portion becomes a city wall, and a thin figure sharing a head with the armored man appears, apparently sowing seeds. If the feet are interpreted as tree roots and assigned the sound value NE, the following reading becomes possible:

　Reading from right to left

　U　RA　SITA　NE　NO　MAKE

　Traitors are defeated.

4. Damaged Edge

　The reading “During the polishing, the edge is lost,” may refer to an accident in which the upper-left edge of the seal was damaged while being polished.

5. Territorial Symbol

　At the left edge of the seal, the area beneath the X-shaped symbol① has been cut away into an approximately trapezoidal shape. This may represent the territory controlled by the “magic fist”; the V-shape at the top may represent the multiple headwaters of the upper Indus River, while the diagonal line extending downward and to the left may represent the continuation of the Indus River, with Mohenjo-daro along the banks.

(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

　 (金儲けをけしかかさん)

　We prod you on to make money/profit.

　Put together, this reads as, “While we take care of renegade strands of hair, 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

　〇 The symbol on the far right is reread as SAMU, to account for the 2 “tentacles” at the left end.

(From right to left)

　SAMU KA KA SI KE WO KA MOU NA KA

　 (寒気や時化をかまう中)

　While we take care of the cold and the stormy weather,

　〇 As an option, the symbol on the far right is read as MASA, and the “wheel” symbol KA, read as TUKINI/TUKIAI, to describe 2 quarter moons, pierced with lances, and welded together.

(From right to left)

　MASA (KA-TUKINI)/(NI-TUKIAI) SI KE WO KA MOU NA KA

　 (まさか、ツキ/月に！/まさにつきあい、時化を　かまう中)

　This is unbelievable, now in good luck/ on the moon! In gregarious spirits, while we provide shelter from stormy weather,

　Put together, we now have, besides the barber shop option,

　“This is unbelievable, now in good luck/ on the moon! While we take care of the cold and the stormy weather, we prod you on to make money/profit in a gregarious spirit.”

　Thus, the signboard may be read as 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 4 KA symbols to represent 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 stormy weather and financial difficulty; the face that looks relieved must have received help in Dholavira.

(5) Pashupati Seal (Seated Old Man, Surrounded by Animals) (M-304A, from Parpola’s Collections in India)

　Searchable under “Indus Seals and Glyptic Studies: An Overview, Harappa.” The lower right corner is heavily damaged in triangular shape.

(a) Illustration

　An elderly figure sits in a yogic posture on a central platform. Various animals surround him. He wears a mantle and wears a head decoration that resemble bovine horns; thorny armlets protrude from his shoulders, elbows, and wrists. His face appears to face 3 directions simultaneously.

　This seated posture, the mantle, the armlets, and the head ornament share common features with seal (336) in the catalog of the “Four Great World Civilizations: Indus Civilization Exhibition” (2000–2001), suggesting that he is a chieftain, a king, or possibly a deity.

　The chieftain may be inebriated. The tiger on his right side is about to leap at him, and the other animals are turning toward him.

(b) Inscription

　The 6 symbols along the top are numbered from left to right, as ① through ⑥, and the following sound values are given:

　① The “man” symbol: (OTO / OTOKO / TO) + NO / SI / E

　② “Helmet” on its side: SAMA / SAMU

　③ Large, ornate “helmet”: SAMARU / SAMURYU

　④ Symbol just above the seated figure’s head: U-(NI / RA)

　⑤ The “fish” symbol: TA / (ME-SIYA)

　⑥ Long, slender, V-shaped “cow” symbol : U-YASE

(Left to right)

　OTONOSAMAMASARYU / SARYUMAU-(NI / RA)TA / (ME-SIYA)U-YASE

　 (お殿様、優るゆえに／去る間に　歌うぜや)

　To our lord, the superior / upon your departure, we do sing.

　The central figure must be an elderly chieftain, and the surrounding animals are praising him in song.

(Right to left)

　U-YASETA / (ME-SIYA)U-(NI / RA)SAMURYUSAMATOE

　 (「失せや、飯や」。裏、寒い/迫る様　へと/と絵)

　“Begone, a meal!” From behind, a chilling cold / presses (toward the chieftain) and the picture.”

(d) Re-reading

　If the “man” symbol ① is read as E-TO, and the text is read from left to right, the result is as follows:

　ETOSAMASARYUMAU-(NI / RA)TA / (ME-SIYA)U-YASE

　 (干支様、去る間に　歌う瀬や)

　O Zodiac sign, as you leave, we sing, at the year’s end.

(e) Summary

　Taken together, the interpretation is:

　O chieftain, because you excel, we sing upon your departure. ‘Begone! A meal!’ From behind, a chilling cold presses (toward the chieftain), and this is the image. O Zodiac sign, as you leave, we sing, at the year’s end.

　At the end of the year, while the animals praise the chieftain, they are actually watching for a chance to attack and eat him. The ringleader is the tiger; given the head ornament, the chieftain must symbolize the year of the Ox (丑), and he is about to be replaced by the coming new year of the Tiger (寅).

　Incidentally, the symbol ② (sama) appears to depict an attempt to attack and stab the “man” symbol ①.

(f) Constellation Mythology

　This depicts a coup d’etat, in which the tiger topples the chieftain and replaces him at the center. The arrangement of animals around the chieftain closely resembles the constellations around Orion in the southern night sky in winter; the chieftain must be Orion, but after being attacked by the tiger, they exchange places, and he becomes Taurus; Lepus, the hair, lies directly below Orion and Monoceros, the unicorn, lies to the left; the “platform” to the left of Lepus must be Canis Major.

(g) The 12 Zodiac Animals

　Originally, the 12 Earthly Branches (zodiac animals) were probably devised from these constellations, and this seal shows how it happened. The symbol above the chieftain’s head is crafted to look like an inverted “northern octopus” that rotates the heavens around the North Star, corresponding to the year of the Rat.

　If the chieftain is taken to be the Ox, then the sequence of Ox (丑), Tiger (寅) and Rabbit (卯) is replicated in this seal that shows these zodiac animals.

　Incidentally, if Orion’s torso is regarded as a tiger’s head, it appears as a roaring figure with mouth wide open and, deep in its throat, the 3 belt stars are visible.

(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, whereTAKO 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 γin 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 keep the 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.