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11

"BHARAT"
-

Brahmaji

There's a land

I know where the winds do softly blow; And skies are kind and the fields are green; There's a land I know where the rivers swiftly flow; And the heart is ravished by ganges falling,

From the fountains

Battle
-

of paradise

is

heard there.
land;

Replete with song and story

scarred and legend
i

is this

studded she;

Once peer
Ujjayini
I

of ancient

Madhura and Nalanda,

all

and Kanchi and

hills, I

lands free.

love her

love her winding streams,

My

love her glades and grass and fern; kin are there; and from afar my dreams,
of her glory
is

Are

once again.
all;

That land

Bharat, fairest peninsula of

Whose hills the clouds do hung and kiss; That land is Bharat at whose sacred call, Our hearts do stir with pride and bliss. There's a land I know where the winds do softly blow;

11

if

were

to look

over the whole world to find out the

all

country most

richly endowed with

in

nature can bestowto India.

If
I

power and beauty that some parts a very paradise on earth - should point
the wealths,
1

were asked under what sky the human mind has most fully some of the choicest developed gifts, has most deeply pondered on the greatest problems of life, and has found solutions of some of them which
well served the attention even of those
1

who have

studied Plato
p.

and Kant

should point INDIA".

"India must have been

MAXMUUJER
human RR- HALL

one of the

earliest centres of

:ivilisaHon".

Ill

"THE HIDDEN HERITAGE"

e>&> ef>&>p>e5

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Dr. R.C. ^os^ocpS, Dr. C. cr^b^farlb esdfocS^ P.R.S. CPQ ^^^".,

D.D

^oess

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CO

oJ

VI

Dr. D.N.

PARAMA SIVAM, M.A

Exl.

M.Phil.

Proiessor Philosophy

H.No. 18-3-54/B,

Anna Nagar

CO1MB ATTOOR.

crfib^oj

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IX

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33

ac5Sx>^&.

Dr. N.

SAMBA MURTHY
History,

Professor

Dept. of Ancient Indian

Culture

and Archeology University of Madras, MADRAS.

Sri

A.V. Brahmendra Rao,

My hearty congratulation to your successful work on "Sri Dakshina

Murthy Darsanam"
In first in

different vision*

part of your

book on
is

religion

is

very comprehensive and

your objective study of materials

is

really wonderful.
interesting

Your presentation

lucid

and

analytical. This

is

a very

and absorbing study of

Hindu Religion and Indian Culture from the

This

earliest times.

Darsanam is the only work of its kind published to-date in as

5

much as it treats of all religions prevalent

ancient India, both indigenous

as well as extraneous, as also their socio-economic background and

aftermath in an objective manner. 'Siddantam" stands

how
I

such an

ancientand broad. The book meets a long

will

felt

desideratum and

am sure,

be found highly enlightening and

useful both

by the students of the

cultural history of India

and general readers

interested in indias Culture

and heritage hidden.

In

the second part of your presentation, naration of 'Siva Idols"

in

various forms, purusha Suktham, Mahanyasabhishekam, Mantra

Pushpam and Saivagama dharma are very very clear to knowledge. Also
the providing of
I

Eswara existence

is

very logical.

have no doubt that this work will be widely welcomed by those

intrested in the early history

and

culture of India.

Thanking you,
-

Dr. N.

Samba Murthy

XI

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(Reality- Structure) "3o&r
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(Counterpart)

(Page No. 149. of Mysticism and the new physics by Michall Tolbot).

;5Cf CTO
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653

(Non-Euclidian)

(Concept of Curvature) S5^

Prof, H.

ZIMMER
<k

rra

C5{5^5
s

Myths and symbols in Indian Art

2;
**

and

Civilization ~^

3o. 1516

"Dance

is

an ancient form of magic. The dancer becomes

amplified into a being endowed with supra-normal powers. His

personality
is

transformed, like Yoga. The dance induces trance,

ecstasy, the experience of the divine, the realization of one's

own

secret nature

and finally merges

into the divine essence". In our^

country the dance has flourished side by side with the severe
austerities of the meditation grove, Siva therefore, the arch-yogi

became the master of the dance". Zimmer further

dance
is

holds,

"The

an

act of creation.

It

brings about a

new

situation
It

and

summons
then

into the dancer a

new and higher personality.

it

has a

cosmogonic function, in that

arouses dormant energies which

may shape the world on a universal scale.

Siva is the cosmic

dancer; in his 'Dancing manifestations' he embodies in himself and

simultaneously gives manifestation to Eternal Energy. The forces

gathered and projected in his frantic, ever

enduring gyration as

the powers of the evolution, the maintenance and dissolution of the

world. Nature and
dance."
all its

creatures are the effects of his eternal

Pantomimic dance

is

intended to transform the dancer into

into

the warriors what he impersonates. The war-dance turns

fearless heroes.

of hunting. Hunting dance assures the success and rain. Dancers mimic the gods of vegitetion, sexuality

The 'Dance
upper right
left

meaning- The drum in the hand connotes sound, the vehicle nf speech. The upper
of Siva' is full of
its

palm a tongue of of the world The flame. Fire is the element of the destruction hand in Abhaya-mudra bestows peace and protection. second

hand in Ardhachandra mudra, bears on

right

The uplifted left foot signifies release and salvation of the devotee. remines us of Ganesa, the remover of obstacles.
Gajahasta-mudra

The dwarfish demon

is

symbolic of man's ignorance.

The

ring of

flames and light signify the energy of wisdom. It is the transcenof the knowledge of truth Sum's destruction is finally dental
light
.

identical with release

and there lie*.

tornal p^ace

and happi-

ness.

Siva as the cosmic Dancer

is

the manifestation of eternal

.energy in

its five activities, creation,

maintenance, destruction,

concealment, and favour. These five activities are symbolized in

the positions of Lord's hands and feet.

The upper three hands indicate, creation, maintenance and destruction. The planted foot
is

concealment and the upper

lifted foot indicates favour.

The

flying

arms and

legs

and the swaying of Siva's torso indicate the

continuous creation and destruction of the universe.

s*KS;5>.

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(The Hidden Heritage by K. C. Pand van ofi

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21
CO
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"Sources of Indian Tradition

Vol.

6*

"Brahmanism"

W.M. Theodore De Bary ^<SP

As seen
today, the earliest religious thought in India is

konwn

or deduced from Archaeological evidence, such as seals,

Figuries, Tablets
Civilization

and other

artifacts,

belonging to a pre-Aryan

which existed in the valley of the Indus River during

the later part of the Third Millennium B.C. The only conclusions

which

may be drawn with any certainty, however, from

(e.g.

materials

associated with the culture uncovend at the site of Harappa, are a

pre-occuaption with fertility symbols

terra-Cotta figurines of
like)

prequant females, stone phallic symbols and the

worship of a divinity similar to the

and the

God

Shiva, the ascetic par

22
excellence of historic Hinduism.

Who is frequently assoeiat eel with

symbol Besides

a Bull and

is also

often represented by a phallic

which imply the existence of representations of fertility symbols,

the divinity reminiscent of a Mother or Earth Goddes Cult, and The Indus Civilization also seemed to attach religious
Shiva.
significance to certain animals,
dile,

such as the tiger, buffalo, < Voen*

monsters and hybried creaelephant and even multiheaded

tures, as well as trees

tika.

and auspicious symbols, such as the swasfound

in

Some

seals point to religious motifs

Mesopotomia,

suchastheGilgameshlegend,theIBEX(Wi!dgoaf),tnfoild(sign8
and others and suggest a possible origin of religious ideas even
earlier

than the datable artifacts of the Indus Valley

it is difficult

('ivili'/ation.

Though

to establish

a definite continuity in the

development of religious ideas in India dating from the Indus

civilization to

modern times,

it is

however, possible* to distinguish

s<

a clearly non-Aryan-which may or may not be pre- Aryan

mrce for
is

many of the concepts which characterize known as "Hinduism" in India today.

that religion which

g&JFS

no. 64, Cultural

Heritage of India~By Haridas Bhattacharya),

SDK

"

dSofiS&)

(Hindu daily 18-4-1986)

23
CO
CO

CX

.$.

1961

^oo& 1969
B.B. lSn ^*

238^^5

^db

o^^

B. K.

2)

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ss

^a^e& dic^a^a? ^^
6
,

<2

^c^od^ ^^a^oSD z

S. R.

tX$5rr&

B.C. Ibarra "Hinduism and symbol worship"

t>8Si3o.

"According to

Swamy Sivanandaji, LINGA is

certainly not

the sex mark. Toquatehim." The popular belief among foreigners

is

that the Siva Linga represents the phallus or the virile organ the

emblem of the generative power or principle in nature. This is not

only a serious mistake, but a grave blunder.
In the post vedic
period, the Linga became symbolical of the generative power of

Lord Siva - Linga

is

the differentiating mark. (Page No. 355

All

About Hindiusm).

Sort

(The foremost Linga which is primary and is devoid of smell,

colour, taste, hearing, touch etc., is

spoken of as Prakrit!)

"This vast world of countless forms

is

Linga of the omnipotent Lord.

no form of his own and

LORD SIVA is really formless. He has

forms are His forms. All forms are

yet, all

pervaded by Lord Siva. Every form is the form of Linga of LORD SIVA.

24
the According to swamiji

power to induce
pointedness

SIVA LINGA has a mystenous The mind attains oneconcentration of the mind.

is the reason why t he when it looks at the Linga. That

ancient seers of India have prescribed

LINGA

for

being installed
"

SIVA. in the temples of LORD

ony the outword syroble

To quote Swamiji again Linga is Siva who is the of the formless being. Lord
ever-pure, immorin

eternal, auspicious, indivisible, all pervading,

tal essence' of this vast universe,

who
is

is

the undying soul seated

the chamber of your heart,

or

who

your indweller, inner most self

l

ATMAN and who is identical with the supreme Brahman

-

P.P.

No. 355-356

All about

Hinduism and

P. P. :J56-r>7- Ibid).

e
0-045

&5306

3)

33

(Cosmopolitanism)

r,j)cfT,;Co w

K.N.

9i?o

n8 eO(r tiko<S
>

'So^oo'

,^>o i. r^. 500

500

O
^coctf^}

"***

t^tfo tScbS^

ur-li

25

(Page No. 154 of Tamilal Sainaya Varalaru'

By Velu

Filial)

"All
(^A

About Hinduism" 5
-

t)fi

So. 355-356

6s

Siva Icons

jep

D^6o0^5 Siva is the most powerful God of the trinity.

As such
is

His worshippers invoke him by a hundred names.

represented in icons in all possible forms ranging from benevolence to male volence.
his help they lend

When in distress, the other two Gods need

of their

him some

own powers and

Siva

is

then

known

as

MAHAADEO.
is

Siva

generally seen with a tiger skin covering his loins,

left

serpents encircling his body and an antelope held in

Siva's special

hand.

emblems are a batttle axe, a trident and often a bowl

of human skull or a garland of skulls.

He has

JATA-MUKUTA

and wears the crecent moon as a part of his headdress. He has special armlets and bracelets to decorate his body. In his dances
he

may have more than four hands and is seen stamping with his
on the body of a demon.

foot

The Siva murties

Murtis and are in

Yoga-mudraa are known as Daksina a sitting posture. In Vyakhyana - Daksina

in

Murtis he is seated in restful pose carrying a Mala in the right and

lotus in the left hand.

The position of the legs varies in three different varieties of this image. Siva has been depitcted as a great

teacher of music in Vinadhara Daksina Murti,

o-

2)

26

!.
V

So. 44 "The cultural

Heritage of India"

By>acy5

(t>e9.

3o. 68

The cultural Heritage

of India

By Haridas Bhattacharya).

7.A.D.

(SAD.)

3p3fy3%tf
(7S8 A.D.)

(7th

A D ^ S^p
-

(7th or 9th A.D.)

s)

D.

(Page. No. 182 of "The Riddles

a^S* a>o8

of three Oceans

By Alexander Kondrator) o^/r5 qo^

"Hinduism and Symbol Worship"

By. B.C., Sinha

Gurukul Kangri University - Hardwar,

Saivism

Siva the supreme God of the sai vas trace* hi* ancestry to the
,

pregnant womb of the ancient culture. To quote Sir John Marshall (Mohenjo-daro and the Indus civilization - Preface P - Vii )
the many revalations that

"Among

Mohenjodaro and f larappa have had in

tity&o
store for us,

27
is

none perhaps,

more remarkable than the discovery

takes
is

that Saivism has a history going back to the chalcolithic age or

perhaps even farther

still

and that

it

its

place as the most

is

ancient living faith in the world". There

.

a view that Siva

the

God of the Dravidians The specian feature of Saivism from its very inception was the worship and, meditation of the creative cosmic
principle.

The image of Sivalinga, found

is

alost in all

he Saiva
J

temples throughout India,

existent truth.

only a plastic representation of self-

The origin of Saivism is lost in obscurity. But it is clear that

the historical Saivism
.

is

a blend of two lines of development, the

Aryan and Pre-Aryan In the words of K. A. Nilakantha Sastri (The

culture Heritage of India
-

P. No. 63). "It is not a single cult, but

a federation of allied cults.

Whose

practices range from the

serenest form of personal life in faith to the most repulsive excesses

that alienate one's sympathy for the cult.

The hold

of Saivism

extends not only over the whole of India, from the Indus Valley to
Bengal, but stretches out across the sea to Grater India and the
Archipelago, and beyond the northern mountains to central Asia".

"The characteristics of Saivism are the exaltation of Siva

above
all

other Gods, the highly concrete conception of the deity

and the intensely Personal nature of the relation between him and
his devotees" These traits are most clearly found in Swetaswatara
.

Upanisad. Just as the Gita Voices the intense theism ofVaisnavism,

so does the Swetaswatara

expend the supermacy of Siva.

On the

one hand, Siva

is

here identified with the eternal Absolute on the

other hand he is the

God of all Gods, potent for good and evil. Soon

he come

to be regarded as the creator of the world, its instructor

and redeemer. To quote Mulk Raj Anand (The Hindu view of Art.
P. 48). "The human soul attains pure bliss by uniting with him

and

through gradual renunciation of the world, exercising Bhakti and

by seeing every thing

in Him."

Saivism

is

more deeply rooted

is

in vedic literature

than
in

vaisnavism. In fact Siva

the heir of Rudra,

whom we

found

Rudra is celebrated in a hymn connection with the Maruts. This as a being who lives on the in Yejurveda. Here he appears
mountains with his followers, and whose protection
house and farm and for
all sorts
is

sought

for

of business, lie

is

not the God of

a sacerdtal religion, but a lord

who

reveals

him

self to

herdsmen

marked. Hi is and water-bearers. His two sides are here clearly sorrow. He Ls a a saviour, who gives pleasure and turns away
destroyer,

who is justly feard. Rudra in Rigveda is a terrible God, and much supplication was needed to humour him in to a good

No. 77 ). There is none temper. (Macdonnel Vedic Mythology Page more powerful than the Rudra. The Rigvedic Rudra exhibits more of the traits of the Rudra-Siva of later tines. In the Yajurveda, we

meet with stories concerning Rudra'"

phits, such as killing the

is

Asuras and destroying their cities. Bui *t

the Satarudriya which

draws together

all

the floating conceptions regarding Rudra-Siva

of the early vedic times

and provides a bresh starting point for new

development.

The form of Siva is terrible. He dwells on the Kailaasa with

his wife parvati and numerous ganas. His

power threatens people

round his body

with various dangers.

He has three

eyes, serpent

and

skulls round his neck.

He represents the

annihilating power

of nature, lard Krishna himself figures as the chief devotee of Siva.

The dance

of Siva

which

is

the highest ideal of the art of dancing

represents, "a dramatisation of the five activities evolution, continuation, destruction, illusion

and enlightenment-which

consti-

tute the world process.

(Kumaraswami-Dance of Siva P.P.

56, 57)

Savism found

its

way

in the islands of the

Eastern Archi-

pelago and in the Hinduized states of grater India at a very early

date.

Fa-Kin found the PAASUPATAS established

in

JAVA early

in the fifth century A. D.

The early Hindu kingdoms of Champaa,

29

was ruled by Saiva

kings. The dominant cult in Kambuja was saivism. In the western. India preacher who became famous as

LAKULISA. He is the founder of PAASUPATA SECT of saivism.

2.
2)

3.

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N

33
2

1)

^>

2)

3)

4)

10

24

I.

CT

'S

^T- 33 SsrgS

8>n
(The Develop-

ment

of erly Saiva Art and architecture

-

Published by Sundeep
of "Essays on
s

Prakasan

Delhi

1982)

&8c&o Page No. 32

Southlndia" by Burton Stein

*

S3

crtfo/v t>9. 3o.

555

I.

K.

Sharma

3&)JSto

3j

art&ro*5

eStff

^db

tjjf

CD

COl

35

oJ

Edward Moor

$^ "Hindu

Pantheon

1)83. "So.

505

e>cX5isi*Sabtf3

Dr. D. R.

Thapar

trb

lf

Icons in

Bronze"

t>a3

^o.

77^

"Indian Art"

1yJ

^3o.

6^

Siva has been depicted in Indian Art from the Indus Valley
to

our own times as an emblem or in

human form Both are deeply

.

rooted in the metaphysical thought of the religiotis tradition of

India.

The folk-elements have been

freely accepted but trans-

formed sublimation of forms as a vechicle of ideas gives delight

both to Indian seer and artist.

Siva

is

shown

as Pasupati,

Ardhanariswara.Nataraja, Kamantaka, Gangadhara, Nandiswara,

Yogeswara harihara, Umamaheswara, Chendro Sekhara, Mritunjaya and Jyotirling etc.

There
Valley.
is

a clear evidence of

SIVA worship

in

the Indus
It

He is represented there in the form of Pasupati.

appears

that the worship of

SIVA continued

as a wide spread cult

throughtout the whole country. Even in the Gandhara, Bactria,

Kapisa and the region of the oxus Siva worship was quite popular,
Mr. Fouoher has suggested that the Kusanas on their coming to
India were converted to Saivism.

The figure of Si va were shown on

the

Kusana

coins.

We know from the coins of Vema-Kadapfcises

36
that he gave himself the
or one of his
title

of Maheswara.

.0n all his coins Siva

emblems

is

the depicted. In
of the

Kusana period Mathura

of Chandra Gupta

became an important centre

inscription of the

Pasupata cult of Saivism. An

fourth century A. D. ofthe time

II refers to certain

PASUPATA

teachers

who were

tenth in

descendancefromtheoriginalfounderofthesect

who installed two

SivaLin^sbythenameofUPAMITESVARAandKAPILESVARA 8
atMathuraa.
t.

Prof. D. R.

3aS/vd

"Icons in Bronze" tizS

776

SCSSioSi> 3j*3>>

*^3s

etSSS

'Sort'

The worship of the Phallic emblem

in India

was started by Non-Aryans and was practised

*f

In

many

countries.

In ancient Egypt the phallus of Crisis was idolised. The

this

Greeks copied
Apis, the Bull

custom by venerating Priapus, derived from

1

God

of Egypt. 'Mylitta

was the Goddess of fertility

in ancient Babylon.

The Romans

called this Phallic

emblem

Mutinus which was taken out

.V

in a

processions with ground ^

dancing and singing. Such reverence was

eighth century A.D. and was current in

common

in

Prance

in

Germany

till

the twelfth
-

century ^ A.D. &6<bo Edward Moor A*5

345-346

^d^C^So^ tm/!0 aJ

SWA

in the

form of Linga,

is

a remnant of the Anti

Bralimanical religion of India.

For such an opinion there are

37
strong reasons. In fact the
f

LINGA has no natural

alliance with

elemental worship of the Vedas.

references from Rigveda.
1.

We can quote the following two

over hostile beings, let
cer-

"May the

glorious

INDRA triumph
is

not those whose

God

SISINA approach our sacred

emony".
2.

'Desiring to bestow strength in the struggle, that warrior

(INDRA)has besiezecl inaccessible places, at the time when,

irrestible, slaying

those whose God is the SISINA, he, by his

force,

conquered the riches of the city with a hundred gates".

The above passages bear a clear reference to the LINGA as

a deity worshipped

by the pre-Aryan people who

wre at war with

fhe Brahmanas.

But there are scholars who say that phallic

worship

among the pre- Aryan inhabitants of India is inconclusive

it

Sayana, the commenteror refers

simply to habitual unchastity.

$20ort esoc5>|> B. C. &p/rQb,

&

Hinduism and Symbol

worship

>&> (?foc3&o6*

"Worship of Linga and Yone"

So. 133. 134

(. ^p. 5000

a*

(9 -37)

S^SSoO

N.N

The worship of male and IVniaK

with the mother-cult.
It is

'an

is

closely connecced

a development of erotic- rites of fertility,

The LIXGA symbolises the act of cultivation and the Yoni, the fruit
bearing earth. According to ELLIS
I

EWE SPEAKING PEOPLES

-

spread among

wide the human generative organs Page No. 41) the worship are still relies found in the peoples and its
primitive

was

world. the backward countries all over the

phallic worship

Even in the middle ages

was practised in France and Belgium. At Romaa

to sit upon the image of the marriages the bride was required found in the Aregean, Phallic God. Phallic worship have been

of Semites. Models of LINGA and YONI Egypt, and in the land have been found in the Indus Valley Culture. Thus the phallic cult

was deeply ingraind

The
titie

in the

Hindu

religion of third

millinium B.C.
in

of the later origin of the Yoni-cult

Tantras must be sought

of Harappa. In fact the pre-historic culture

Tantrik Srichakra

is

nothing but the representation of female generative organ. The

1

word Tantra is derived from the root 'tan the meaning of which is
,

to multiply.

Originally the male and female organs

were wor-

shipped as symbols of procreation and fruitfulness,

Symbolic meaning of LINGA and

statement of MANU(EX
-

YONI

finds support in a

37), In

the words of N. N. Bhattacharyja

(Indian Mother Goddess-Page No. 34), "The

women, being the

and her male

mother of

race, is essentially the life producer,

partner the begether. In the matter of proceation the union of the

two essential philosophically. But the agent about whose maternal functions there
is

no doubt

is

the woman". q<5 E. 0. O^fecp^

s

James &$

"Pre-historic Religion" 6* tsz3 3o. 1536

& VJX &^Es5V&c&>

eotSq^ctfo

d(&

SO

History of India (From Beginning to 1526 A.D.)

So. 35)6* 3>z

SIVA A male deity is shown on a seal with three faces and

:

eyes and seated on a low Indian throne in the posture of a Yogi with

animals on each side. The deity is considered to be w the prototype of the historic The figure has a pair of horns over its head
jSiva".

39
and that indicates that
it is

the figure of a deity.

The presence

of

the animals justifies the

title of

Siva as Pasupati or Lord of

Animals.

The people of the Indus Valley also practised the worship of

Linga and Yoni symbols.

Some

of the polished stones have been

identified with the Linga and other pierced stones have been

with the Yoni. The likelihood that both Siva and Linga worship have been inherited by the Hindus from the Indus Valley
identified

people

is

perhaps reinforced by the prevalence of the bull (the

Vehicle of Siva) or of bull-like animals amongst the seal-symbols.

There was also the practice of Yona. The workship of the sacred
"incense-burners" was also prevalent.

The cult of the Mother-Goddess

religion.

did not

dominate the Indus

The male gods loomed

large on the horizon of that age.

Pipal

god was the supreme

deity and a large

number of subordi-

nate male

deities ruld over the destinies of the poor mortals

inhabiting the Indus region.

EAETH and WOMAN es.^ MOTHER GODDESS" 1^ 15<5*

-!35S Fra/.cr
:&

3 "INDIAN

55:,

^r"

^cx: ^roctj ocpdbo Ac?

40

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eXtyfotf ofi*

Dc^

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sf*6

"Sources of Indian Tradition"

Ch - VIII ^o& The Vehicle of the thunderbolt and the

in India
<5*

Decline of

Buddhism

187^
"Many
authorities believe that early Christianity

was

in-

flamed, directly or indirectly, by Buddiat ideas.

In the

Eastern Ohurehn the story of Budda'n abandonment of his

50

4Q
home for a life of asceticism/' "The Great Going been adapted as a Christian legend,
the*
forth',

has
its

name

of

protogenist, St. Josaphat, being evidently a corruption of the

word "Bodhisattavo'
D. D.

Vo)

7V>5

"Myth and Reality"

Emperor Harsha Silaaditya (Circa 600

difficulty in

640 A.D.)

of
-

Kanauj found no

worshippping Gauri, Mahesvara

6

Siva and the Sun, while at the sametinu* he gave the fullest
devotion to

Buddism (aJ

e^fe^S

afd

*
CD

2b

His enemy Narendra Gupta Sasanka, raided

Bengal, cut

Mugadha from

down the Bodhi

tree at Gaya,

foundations whereever he could.

and wrecked Buddist What was the difference? Why

by others

was a synthesis
besides

of the

two

religious, actually practised

?

Harsha not successful

20/28.

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e;5s

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ea o6A(fi3a g

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.

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P.

523

Late

Pleistoeom' mountain
in tho

uplift occered in the

Himalayan Region and

scale nftuig took place in Eastern Africa.

Alps and

large

the

"Our mobile earth" p

228

bmldmg of the Alps gigantic slabs

229 6 "During

of rocks,

thousands of feet

53
thick,

hundreds of miles long and tens of miles wide were thrust

and then over".

The direction of the relative over-thrashing movement was from Africa towards the main moss of Europeon on the North. The
visible rocks of

the Northern Alps of the Switzerland have thus

been shoved north words, distances of the order of 100 miles. In

essence the Alps used to be on the present site of the Northern
Italy".

F. K. 3otf"(F.K.

Mather)

(Gamow)

(p**^

Biography of the Earth"

(T.T.

p,i/vson)3

tfc|'

2x0^,^
"Prof. R.
ago, all

Daly of Hanvard University found that 8,500 years

the* level

over tho world,

of the

Ocean water suddenly

dropped",
glaciers-

"Modern research confirms that many of the Alphino

11
.

are fens than 4,000 years old

'

5"

15000 roo^^Swo l8<5o ^

54

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4,

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4
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3000

3^^ cpioS, 3o)dS65 sso^^cfeo ^, ty. 14,715 An article in The Hindu 4-6-1977).
.

5boS.-(Pagc No. 163, "The Third

eye" by
,

T.

Lobsang Rampa).

dS^/vo^o,

(Page No. 13 "Tamil India" by M. S. Purnalingam

Piflai)

(Page No. 124 of "The Riddles

three Oceans" by Alexander Kandrator).
3o>CS(53

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Militory
-

^ecS^ H.
-

S.

sp&fip
I

^8

"Political, legal

and

History of India

Vol.

!>* 3o. 173 Dr.

THE FLOOD

It is

stated that the Fl ood recorded in

the 'Satapatha

Brahmana' was "the greatest land mark in the Pre-dynastic history of India The Flood has heen proved to be a
historical fact

byDr. Woolley's excavations.

the continuous land from
is

The area

of the Flood
to

was

certainly

mosopotania

the

common

tradition

at.

Raja putana, and there both ends of the area, embodied in the

ancient literatures of the Semites

history in the

and Hindus.

Our dynestic
flood,

puranas almost begins from the

and the

Mohenjodaro

The purans are the most ancient documents or race-history, and the amongest
tradition

civilization is post-Flood event".

and data embodied therein. Go back

to the Flood

and

even earlier". gctf&ctb

para

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tf$ (epes&o&j &ro>

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6,05^

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By Ishwari

Prasad, Allahabad) ^8dl^ K. R.

S^P^D tSS Temples of South

India

g)

(India from the earliest Ages

By J, Tal boys wheeler

(Vol. Ill)
re-

z*X&3o$$
vival" VII

todoa The History of the Brohminical

8

"It may however, be remarked that the ecpjc&a^fi worship of the serpent was allmost universal in ancient times,

273$$Ctb rSOc&j^

&&j<&O

gg

Prof. V.S.

6 Agrawala 7^5 3e tfSo$ &PG'

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In India, the tree worship became

quite

common

in the third or fourth millinium B.C.

When

there

was -a-highly evolved Harappan culture.

Among

the seals of

Mohanjodaro one

is

depicting a stylised pipal tree with two heds of

its

unicorn emerging from

stem.

seal

from Harappa

is

engraved with the likeness of

weeping willow tree with hanging branches. Painted pottery of the

Indus Valley often includes palms ad pipal tree etc. In an environment full of clanger to life the trees were the best friends of

men. That

is

why the Indus people

it

regarded them as beneficient

devotes. In fact
seal from

was supposed

to be

a symble of fertility. "On a

Harappa a woman is represented with a plant coming out

of fertility".

of her

womb, a flamboyant (e3jdb;) gOo3&) symbol

^5"

S.K 0^x3o(C$cp^

The

folk origens of Indian

temples" S* -JyoeSS 3*Ktfgtf S*

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64

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.Od^^^db.

(P.

No.

The cultural Heritage of India, By Haridas Bhattacharya).

A
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*w

Moniotic Doctrine of co^mic*illusiow)

O
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(The

Sr^odtocfi*

^6

^rJ>3
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66

(P.

No. 176 of the religion of India A By Max

s

Vebar)

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70

_
(BIBLIO

GRAPHS
&
Seoto e

Dr.

K V. Raghavacharya.

3.

&&%tf~~ a&S&^S"-

Dr. C. Rajagopalachari

4.

$K&te
"Bp^crcS <fcn:, Oi
j)

5.
6.
*

s&3en^&3x>
2*

A.P.

**

Jhe New History cf India

-

Dr. Esv/ari Prasad.

-

7."lndia

The Land and People

K. R. Sfinivasan

(Temples of South India)

8.

National Book Trust.

Daily Life in Ancient India

By Jeannine Auboyer Tranby.

Simon Watson
9.

Taylor.

Introduction to oriental Civilization Source of Indian Tradition.

Edt
**** "
vtf*
"

WM. Theodore De Baiy.

Contants.

10.
*.>

Ancient India and Iran.

A Study of Their cultural

11. India

By Nalinee M. Chapekar.
from the earliest Ages

(Hindu, Buddhist

& Brauunanical

Revival)

Vol. III. of the history of India.

By

J.

Talboys Wheeler,

12. The. History

*

and Culture of the Indian people.

11

4lie Vedic Age

By
13.

R. G. Majumdar.
cultural Heritage of India.

The

(Itihasas, Puranas,

Dharma and other

sastras)

By
14.

Dr. C. P.

Rama Svvamy Aiyar.

Myth and

Reality.

(Studies in the formation of Indian Culture)

By

D. D, Kosambi.

15.

Mohenjo-daro and the Indus Civilisation.

By
16.

Sir

John Marshall.
*

The cultural Heritage of India.

P. No. 63,

By

K. A. Nilnkantha SastrL

17.

Origin

and Evolution of Religion.

P. No. 22,
IS.

By

E.

W. Hopkins.

Tree and serpent worship.

P.

No.

I,

By - James Forgussion,

19.

Hinduism and Symbol worship.

By
20.

B. C.

Sinha
11

(G. K. University

Ilardwar)

"Indian Art by V, S. Agrawala.

-

21. trtStStS'tf

SoS? r >3 jy
Sastri.

Scfctort o"
22. 23.
-

By B.N.

ra^t^tixeo The Folk Origins of Indian Temples

By
24.

Prof. 8. K.

Ramachamlra Rao

Ten Saints of India, By T.M.P. Mahadevan

History of Ancient India

25. A.

By Arun Bhattacharjee
26.

The Script of Harappa and Mohenjo-daro.

By 0.

R.

Hun tor
of the FnduK Valley.

27. prehistoric civilization

By K. Dikshk.
28.

Mohenj<>-dn> and Indus civilization

3 VaLs.

By
2$.

Sir

John Marshall,
Tought and
-

Religious

life

ialndia.

By Monier
30.

Williams.

Geographical Factors inlndian Hisotry

By
31.

K.

M. Panikkar,

The Arctic Home of the Aryans.

B. G, Tilak.

72
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32. Parallels

and opposites

in

Indian Iconogtapliy

By
33.

C. Sivaramamurti.

The wonder that was

India.

ByA.L Basham.
34. Incredible India:

By

P.

Thomas.

P. No. 15, Fig. XV., Fig.

XXXVII.
thought and culture.

35. India's contribution to world

By B.
Publi
:

B. Lai

36.

Vivekananda Rock Memorial Committee P. No. 193 Caste, Culture and Socialism - P. No, 66.

By Swamy Vivekananda.
37. Religion arid Society

Dr. S. Radhakrisnan.
38. History of India

(From beginning of 1526 A.D.)

^

By

V. D. Mahajan.

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brick^ and food for the wild elephant

AND THE

now

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upland valkys of BalQchlstSn Makran and the lower Indus*
1

and

i& the then fertile plain of the

These people belonged to several cultures, primarily distinguished Each culture hid distinctive by different types of painted pottery.
ifot

features of its

own, but all were of the same generic pattern as those of Middle East, Though their settlements were small, rarely more than a few acres in extent, their material standards wert comparatively

The villagers dwelt in comfortable houses of mud brick with high. lower courses of stone, and made good pottery, which they painted with pleasant patterns. They knew the ase of metal, for a few copper implements have been discovered Sn the

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