Interpreting the Dholavira Sign Board of Indus Civilization

By Rekha Rao

Key words: yajna, soma yajna, Indus civilization, Harappan seals, Dholavira sign board, Indus symbols, fire altars,
ancient religious rites, ancient history, linguistics.

Introduction
Dholavira is a large archaeological site of the ancient Indus valley civilization, situated in the Kutch district of
Gujarat in Western India. One of the most interesting and significant discoveries at Dholavira was the sign board
found in the northern gateway of the city and is often called the Dholavira Signboard. The credit of finding this sign
board with 10 inscribed letters goes to ASI in 1991, by a team led by Prof. R. S. Bisht. The board originally was
arranged set pieces of the mineral gypsum to form ten large symbols on a big wooden board. At some point, the
board fell flat on its face. The wood decayed, but the arrangement of the symbols inscribed survived. The size of
symbols of the signboard are comparable to large bricks that were used in nearby walls. Each sign is about 37 cm
(15 in) high and the board on which letters were inscribed was about 3 m (9.8 ft) long. The size of letters being big
that could be viewed from a distance, and the width of the board matching with the width of northern gateway of the
Dholavira citadel, it is conjectured to be a sign board. The inscription is one of the longest in the Indus script, with
one circular symbol appearing four times. Its large size and public nature make it a key piece of evidence cited by
scholars arguing that the Indus symbols represents a different type of communication. Another four-sign inscription
with big size letters on a sand stone was also found at this site, considered first of such inscription on sand stone at
any of Harappan sites.
This paper is focused on what the 10 symbols of Dholavira sign board communicate. The significance of 262 Indus
symbol has been listed in the book “The Dictionary of Indus Symbols”. The analysis of the symbols of the board for
what they communicate is worked according to the symbol analysis of the dictionary. The symbols resemble the
objects that are still in use during yajna rituals and picture of such objects are provided as support pictures for
clarification.

The Intention Behind Erecting a Sign Board

It is interesting to see that sign boards were in vogue during Indus civilization, as far back as 3500 years even
though script of language did not exist. An insight into Vedas reveal that people performed yajnas to appease deities
and the recurrent request was for rains. They had faith in deity Indra who would cut the clouds with his weapon and
bring copious rain. Yajnas thus became the major activity of people for which recitation of Vedic chants by Vedic
priests was mandatory. All oblations were offered to Agni, the fire in the sacred fire altars who was revered as the
celestial priest and carry it to the Gods in the heaven. Thus, fire and fire altars became central to yajnas which
required elaborate preparations and many ingredients. Making of the wooden and earthen utensils in specific wood
and fetching special type of soil was tough for civilians and hence these were arranged to be disposed for purchase
in corporate departments through agents. The place where these were purchased was indicated through symbols in
very bold font so that people could notice it and approach them.
The study of the nature of symbols have been correlated by the author to be related to the yajna rituals. Indus
civilisation was an era of Yajñas and performance of yajnas by people was the social order of the day for the
maintenance and wellbeing of the society. The governing society had also insisted every Yajamāna of the house to
execute Yajña meticulously and non-performers were considered as beasts.
Fire was conceived as deity Agni in Vedic period, who resided in every house in altars. People had to make their
altars, maintain domestic fire as production of fire was not easy. Production of fire was like invoking deity Agni and
could be done only through elaborate rituals along with the recitation of Vedic hymns. Alternately, it could be
borrowed from a man who was wealthy and maintained fire perpetually by performing yajnas. Performing homa and
offering oblations and protecting altars with ghee and fuel contributed to health, increased happiness and added to
the wealth of the world (Ref. “The Yajur Veda”, Translated by Devi Chand Ch 28.12). The proof of the mandatory
rules of performing yajnas is in Yajurveda Ch 28.23:
“O learned person, knower of the significance of the Vedic hymns, has this sacrifice for supremacy, now cooks food
and special preparations for homa. Keeps a goat for the removal of diseases and honors a learned priest, expert in
performance of yajna just as the shining Sun protector of its rays”.
Yajurveda Ch 28.24 states:
“O seeker after knowledge, just as a charitably disposed learned person, performs Havan, and preserves the
Gayatri verse, brilliant like fire, splendidly graceful, venerable, highly glorious, bestower of beautiful life, bringer of
supremacy, expounder of true significance -, and retains freedom, wealth, three-fold protecting vedic speech, and
longevity, and enjoys the essence of knowledge, so shouldst thou perform yajna”.

Objects used in Yajna

The purchase of varieties of ingredients required for Yajña, such as, containers of earth and wood, wooden posts,
forest products, animals, Soma sticks, sacred wood sticks etc. had to be sponsored by the performer and they had to
arrange for priests much in advance. Some aspects of how the civilians could procure the required objects from the
supervising organizers are listed in Yajurveda. Chapter 30 of Yajurveda provides details about the country to run
smoothly, including activities involved in governing the country for the maintenance of law and order. Several
departments were governed by the King for the benefit of citizens from where the materials needed for performing
the Yajña could be procured. Yajurveda gives an account of the rights and duties of the king, of the citizens, and the
mutual understanding between the two. This is illustrated in Ch. 30.21 and 30.22 of Yajurveda:
“O God, create bulky substances for fire; serpents to crawl on earth 5 a pole-dancer for mid-air; a monkey-like
green-eyed man for the Sun; a whitish person for giving pleasure like the Moon; a white yellow- eyed man for day,
and drive away an impure person who emits foul air from his body; a bald prone to jest and joke; a spotty man who
is bent upon opposing the rulers; a black man with yellow eyes who prefers darkness”.
“O kings, just as a learned man comes in contact with the eight following variform men; one too tall, one too short,
one too stout, one too thin, one too white, one too black, one too bald, one too hairy, so should ye do”.
The slow moving or crippled people who moved slowly were also not neglected and given a suitable job.
Appointments were made according to the skills acquired and their family background.
The following is a list of a few special supervisors appointed by the king:
1. Yajurveda Ch 30.4 indicates that a supervisor should be appointed for the equal distribution of wealth of
the nation.
2. Yajurveda Ch 30.20 indicates that the King should appoint a head of the village Gramya Ganaka and he
should keep account of transactions of purchased objects of Yajña performed. He has to engage “anuchara”
who works for orders. Yajurveda Ch 30.11 also indicates that an officer “Anukshattaram” is required to
 safeguard the animals like horse, cattle, sheep goat, addressing them as Aswan, Gopalam, Ajapalam,
Avipalam, etc.
3. Yajurveda Ch 30.19 indicates that the Anyanyaya Devapanam, the supervisor, should be appointed to
protect the forest from forest fires and other destruction of forest wealth. Vanaya Vanapam -forest officer
should be appointed to safeguard the forest wealth. The use of different types of wood for fuel, wooden
containers and sacrificial posts were collected from forests.
4. To produce good rice strain, Erayai Kinasham, an agriculturalist for better production of grains should be
appointed by king, according to Yajurveda.
Every village had a chief and an accountant, also known as a “Gramanya ganaka”, who maintained an account of the
transactions involved because many objects were bought for yajnas right from grains to soma-the costliest product.
The Indus seals can be read as the standardized format for the types of Yajña to be performed and the requirements
of ingredients or demands made by the performer and priests. These ingredients may have been acquired from co-
operative houses, and the list of ingredients, the scale of Yajña, and the span to which it went had to be noted by the
village accountant.
Yajnas were mainly of two types: The Shrauta (big scale rituals performed in yajnashala observing rigid rules and
called for huge expenditure and participation of many priests) and Grihya rituals (less rigid, domestic rituals,
performed by the yajamana of the house). Both varieties were briefed in the relevant sutras and brahmana texts.
According to Yajurveda, the total numbers of Yajña types were over four-hundred, and the Indus (Aryan)
civilization had many tribes, offerings varied depending on the Iṣṭadevata they choose – Rudra, Indra, Varuna,
agricultural deities etc. It further depended on the four social orders (Brāhmaṇa, Kṣatṛya, Vaiṣya, Śūdra) - a
combination of which gave rise to the multiple number of Yajña. Performing Yajña was mandatory for all citizens.
The ones who did not perform Yajña were degraded as beasts (this is elaborated in the Ṛg and Yajurveda). Yajña
had to be ministered by priests who had undertaken the Dikṣā ceremony. Dikṣā - was the consecration of the
sacrifice at the beginning of sacrifices. It consisted of a series of attitudes and manipulations, adopted, and followed
by the sacrifice. It was only after the Dikṣā the sacrificer contacted the agent anuchara for procuring the materials
required to perform the Yajña.
The performance of a Yajña involved the purchase of many ingredients such as:
1. Samidh sticks (firewood of specific trees – this required approval of a supervisor who was responsible for
the maintenance of the forest – Vanaya or Vanapan). Yupa sacrificial posts were to be chiselled from trees
and varieties of containers of both mud and wood varieties were to be made afresh before yajnas.
2. Animals like goat, sheep, antelopes, etc. were required for immolation. Construction of the altar called for
acquisition land (permissions had to be acquired from governing bodies of the village) and making of
bricks in large numbers which took a time span of a whole year.
3. In addition to this, milk, curds, butter, ghee, were essentially to be purchased for the Yajña since not all
reared cows in their homes.
4. The Soma sticks, which were imported from the mountainous regions, were very expensive and equated to
the cost of gold. The import of Soma sticks was in bulk and it had to be bought by the sacrificer for
exchange of animal or gold.
5. All Yajña were kept in account by an accountant of the village affairs Grama Ganaka and all purchases had
to be accounted for.

Anuchara / Sanaichara
Anuchara is the term used for agents, who worked for orders, whom the sacrificer after his Dikṣā engages to collect
materials for the sacrifice. Sanaichara in Sanskrit means one who moves slowly. Yajurveda Ch 30 also mentions
about how different types of people like tall, short, fat, black or white coloured ones should be employed for suitable
jobs. Agents called anuchara (the crippled and disabled ones or slow-moving persons were also called sanaichara)
were engaged to procure materials required for the proceeds of Yajna by a Yajamana or the sponsorer, from the
above-mentioned departments.
A sacrificer, after their Dikṣā initiation contacted the attendant of gramanya ganaka accountant who were probably
involved in the arrangement of rituals, fixing the different priests through Madhuparka ceremony, and supplied the
materials that were to be purchased by a sacrificer. The construction of altars involved long procedures and soma
yajnas demanded many objects. Similarly, many domestic rituals like full moon-new moon rituals were also
complicated, involving procedures. All arrangements and supply of ingredients could be done through agents. The
agents probably had to specify the jobs undertaken by them as death or post death rituals were different from fire
installation of fire altars or soma yajnas.
The symbols inscribed on seals are the archaeological proofs with the indication of the ingredients used in a Yajñic
ritual. Some of the same symbols are displayed in bigger form on the board means there existed similarities between
the symbols of the seals and the board. Since Indus seals are about Vedic civilization, the sign board has information
related to yajna activities. However, there is an astonishing amount of standardization in the representation of the
symbols.
The signboard is the display of a place where anuchara could be contacted for the arrangements and performance of
the above-mentioned rituals. It is for this reason the symbols were in bold font of 15 inches in size, displayed on a
wooden board to attract the attention of common people and could be seen from a distance. It probably read an
information like “contact us for the rituals” through inscribing symbols which was the mode of communication
during that period. The symbols on the sign board have been correlated with similar representation in the Indus seals
and studied for further information. Many symbol representations are miniature representation of the objects that are
still in use during Yajna rituals. The explanation of symbols is supplemented with the picture of seals where they
have appeared, picture of similar objects and conclusions drawn later.

Deciphering the Dholavira board using the book “The Dictionary of Indus Symbols”.
The above-mentioned book has explanations of 262 symbols of Indus seals. They are numbered following the
categorized list. The serial numbers like 139, 80, 127, etc. mentioned below are drawn from the above-mentioned
book and same numbers are quoted here for the benefit of readers. The identification of symbols is named first,
followed by an explanation of its significance. An example of seal picture for how each symbol appears in the seal is
also provided.

Figure 1: Picture of the sign board as found in Dholavira.

Figure 2: A line drawing of the symbols inscribed in Figure 1.

Number of symbols on the sign board: 10 (Symbols 8 and 9 are read as one unit as they are twin representations)
Symbol reading from left to right:
1. Circular symbol with 6 spokes is Gārhapatya symbol, one of the 3 sacred altars.
2. The Praṇītāh Pātra – a kind of cup with a handle. (may be in relation to Cāturmāsya rituals)
3. Daśāpavitra- the filter used in soma yajna.
4. The symbols of Gārhapatya altar.
5. Āhavanīya, one of the three sacred fire altars.
6. The Catuṣpatha symbol where 4 roads meet, where oblation is offred to Rudra.
7. A single stroke Idhma, may indicate the supply of wood logs required for the sacred hearths and
maintenance of fire on daily basis.,
8. and 9. Two Gārhapatya symbols indicate about Punarādheya – the reinstallation of sacred fires.
10. The symbol of Pariśasa the tongs used in Pravargya, an independent fire ritual
The symbols say a lot about all the rituals that were in vogue during Vedic and post Vedic periods.
Reference number in the book “The Dictionary of Indus Symbols” that correspond with the 10 symbols of the board
are indicated below (in order):
137, 129, 80, 137, 139, 197, 49, 140, 85

1. Gārhapatya Symbol

The first symbol of the board

The symbol which is circular in shape with 6 spokes has been identified as one of the sacred altars “Gārhapatya”. It
is repeated 4 times in the board of symbols and hence the importance of it in Indus civilization can be understood. It
appears three times in the board – firstly a single representation, secondly, along with a square altar and thirdly as
twin representations. The significance of all three are discussed before the other symbols are discussed. The symbol
is also repeated extensively in the Indus seals.

Figure 3: The circular altar Garhapatya.

Figure 4: Garhapatya altar in Indus seals. (Refer Figure 137 from “The Dictionary of Indus Symbols”)

Gārhapatya altar is round in shape, one square Aratni in area. One Aratni = twenty-four inches. Gārhapatya is one of
the three sacred fires perpetually maintained by house holder which he receives from his father and transmits to his
descendants. It is the domestic fire, dignity of the householder, belonging to Gṛhapati – master of the house, and
maintained by the householder perpetually. Gārhapatya altar is one of the three sacred fires thus used in all types of
yajna. In the shed of yajna shala Gārhapatya is placed to the West of vedi (an elevated or excavated plot of ground)
round in structure. In homa, the fire from this is drawn to light the other two sacrificial fires called Āhavanīya and
Dakṣiṇāgni. Its symbolized form in seals and in the Dholavira board is circular form with six divisions
corresponding with six seasons of the year. The six spokes indicate the six seasons and a circle around the spokes
indicates that the Gārhapatya needs to be maintained all through 6 seasons of the year. Gārhapatya fire is used for
warming the Havis and utensils, and for cooking the oblatory material called Havis (see photo in fig.10) The
representation as a symbol may also indicate that fire is perpetually maintained by Logs of wood to maintain the
fire.
According to Śatapatha Brāhmaṇa, the construction of Gārhapatya represents the terrestrial world, is conceived as
the womb; hence, it is circular (since both earth and womb are circular in shape). After preparing the area (like
cleaning the area from weeds, stones, and insects), for the altar in the Yajñaśāla, the circular space is strewn with
saline soil. The saline soil represents amnion of cattle. On this layer of saline soil, a layer of sand is scattered, for
sand is viewed as the seed, (sand also does not burn away the amnion by sun’s heat). This area is then enclosed like
the womb on all sides by enclosing stones. Within the circular site – six stones are laid, which is depicted in the
symbol of Gārhapatya. These six stones represent the Agnipuruṣa lying on his back with head towards east, two
bricks running south to north as belly and head at the centre; four stones indicate the four appendages of arms and
legs of the body. Of those, two are connected from north to centre diagonally forming the arms, and the other two
are connected from south to centre diagonally forming the thighs. While laying the bricks, the priest follows the
movement of the sun.

2. Praṇitā Pātra

The second symbol of the board

Figure 5: Praṇitā Pātra. (Refer Figure 129 from “The Dictionary of Indus Symbols)
Praṇitā Pātra is a wooden vessel, in which holy water is fetched. Usually it is square or rectangular in shape, 8
inches in length and 4 inches in height, with a handle, made of Nyagrodha or Rouhitaka wood, fit for sacrificial
purpose. Patra with two depressions is called Sakshira pranita patra, used in chaturmasya (four monthly) rituals. One
ditch carries milk or payasa and the other carries sacred water. It is used in Cāturmāsya rituals where a Caru of
Pāyasa cooked in milk is offered to Marut. One depression carries milk and the other carries Praṇītāh water (Purified
with Pavitra grass). The second symbol of Praṇītāh Pātra in the board hints about the undertaking various objects
made for Cāturmāsya rituals.

3. Daśāpavitra

The third symbol of the board

Figure 6: Daśāpavitra. (Refer Figure 80 from the Dictionary of Indus Symbols)

Daśāpavitra is the fringed woolen filter held over Drōnakalaśa (bucket shaped container) for purifying Soma. Its
central part called navel / Nābhi are made of white wool of a living ram, said to be one Aratni in length. Daśā is
cloth. The centre part is cut and re-woven with wool of a living ram. It has fringes; hence, the name Daśā. The filter
is one Prādeśa in length (twelve Aṅgula or one span) with a handle. The freshly crushed juice of soma is filtered in
this as purifying act. The third symbol of the board Daśāpavitra a filter used to filter soma juice indicates about the
undertaking of special objects required for soma Yajñas.

4. Gārhapatya symbol
See Section 1 for analysis.
5. Āhavanīya

The fifth symbol of the board

Figure 7: Āhavanīya altar.(Refer Figure 139a from “The Dictionary of Indus Symbols)

The fifth symbol of the board in square shape and seen in many Indus seals is called the Āhavanīya, the consecrated
fire, is one of the three principal sacrificial fires. The altar is an oblatory altar, used for offering havis to Devas in
Yajña. It is a square mound, situated on the eastern part of the Vedi. It is represented in two forms, either as a simple
square altar or in rhomboidal shape with a smaller square of Uttaravedika with in the big square. The hearth is
kindled in yajnashala by fire brought from Gārhapatya and the Homa is performed in it. In the Pasu (Animal
sacrifice) and Soma sacrifice, the fire of Āhavanīya is transferred from the original to the newly constructed
Uttaravedika, (a small square within the big square uttaravedi) and uttaravedi later becomes Āhavanīya. The
original Āhavanīya is then called Gārhapatya. The two symbols of altars inscribed together may hint the activity of
transferring fire from Gārhapatya to Ahavaniya is undertaken. Most of the Śrauta rituals, oblations are done on
Āhavanīya and not done on Gārhapatya Agni. Gārhapatya is more like a witness. The construction of altars is a
complicated procedure and many priests are called for this work and hence advertised on the board about it through
symbols. The symbols of both Gārhapatya and Ahavaniya presented together in the board indicates whom or where
to contact agents if one has to know about the constructional aspects as well as the arrangement of priests and the
various ingredients required for this
Construction of Āhavanīya fire altar has eight bricks that are compared to the eight syllables of Gāyatri metre. This
is because the Gāyatri metre for Agni has eight syllables, and it is in five layers. Āhavanīya is for the heavenly
world. First, the area of altar area is cleaned and sprinkled with Prokśani water. Then the sharp bricks are made. The
blocks are set in all four directions starting from the East to ward off the demons creeping in from four directions.
The priests in the world followed what Gods did when their altar was attacked by demons and made bricks with
sharp edges, and they spread it at the sacrificial altar in a place free form danger. The post dusk celebration includes
the poking of Āhavanīya in four directions with sacred grass and the central part being undisturbed to drive away
evil spirits. This is done so that the positive and auspicious powers flow and reach the performers / sacrificer from
all four directions. Therefore, Āhavanīya is a square and construction involves knowledge of geometry.

6. Catuṣpatha

The sixth symbol of the board

The Dholavira board lacks clarity with the 6th symbol. The analysis is based on the line drawing which is
reconstructed to be two intersecting lines, which is identified as Catuṣpatha.

Figure 8: Catuṣpatha. (Refer Figure 197 from “The Dictionary of Indus Symbols”)

Catuṣpatha is a place where the four roads meet and represents the area of human settlement near rivers. The symbol
on board hints about the elaborate preparations of Darśa Pūrnamāsa rituals (related to the full moon, new moon
rituals. See last picture of Figure 9), where all four categories of priests were required.
At the cross road an oblation is offered to Rudra believed to be one of the dwelling places of Rudra. In Tṛyambaka
homa an offering is made to Rudra on a Palāśa leaf and is placed on cross roads. Crossroads is the dwelling place for
spirits, and usually Mantra / Bali are offered, or light is lit. In snake worship rituals of Shravani or sarpabali ,
offering of food to Rudra is offered in Catuṣpatha for taking care of cattle from snake bites. Samasta homa is another
ritual where Catuṣpatha is used. The condensed offering of milk was offered at the cross a road by the Ṛṣis. The
symbol on the board indicates about the availability of accessories related to the offerings on Catuṣpatha.

7. Long Stroke Indicating Idhma

The seventh symbol of the board

Figure. 9: Idhma. (Refer Figure 49 from “The Dictionary of Indus Symbols”)

Indus seals are with different types of strokes in varying numbers as symbols. One set of symbols are bold and short
strokes, while some are long ones. Each convey different information. The long stroke which is only one in number
on the sign board (There are also representation of 2,3,5,6 long strokes in seals) is identified to be the representation
of ‘Idhma’. Idhma means wood sticks used for kindling fire, offered along with Sāmidheni verses recited at the time
of kindling sacred fire. It is made of Palāśa or Khadira wood or twigs, which varies according to the rituals. The
symbol of a single stroke represents a single oblation of wood offered to deity Prajāpati. In this seal picture, fig.49,
as all other are symbols of deities of Vaiśvadeva, (Refer “The Dictionary of Indus Symbols” for details) the single
long stroke is read as a single Idhma offered to deity Prajāpati, who is the creator of all beings. Vaiśvadeva (means
all deities) indicates the offering of cooked food with ajya and offered to various preferred deities, observed by all
four-social class. This is clarified only by reading of the other symbols in the seal to decipher the theme of the seal.
In seals, usually one, three, or five sticks are indicated, each conveying different significance. A single stroke may
also represent one or two Soma sticks that are used for the morning pressing to produce enough liquid for one cup.
Soma sticks are also indicated as thin long strokes in Indus seals.
The symbol on the board communicates the availability of special wood sticks for various rituals or the availability
of one or two soma sticks as soma was expensive to buy and hard to get from the mountains.

8-9. Punarādheya

Symbols 8 and 9 of the board

Ahavaniya
Vedi

Dakshinagni

Garhapatya

Figure 10: Punarādheya. (Refer Figure 140 from “The Dictionary of Indus Symbols”)

Punarādheya is the reinstallation of fires that takes place under certain contingencies such as illness, death of the
Yajamāna, loss of wealth, and at a desire for prosperity. When Gārhapatya is abandoned or discontinued due to
calamities or accident, it is called Prājahita. Punarādheya is indicated by a set of two symbols of Gārhapatya. This
representation can be seen in the seal picture as well as in support picture where the 2 circular altars are side by side.
The empty one represents the abandoned altar while the other one shows ritual activity.

The seal which indicates the structure if vak to be in Brihati metre in the structure of vedic recitation in front of the
bull figure suggests the yajna indicated through symbols is Somayajna. (Refer the book titled “The Depiction of
Vedic Priests in Indus Seals”)
Reinstallation of fire is performed in the same paradigm of Ādheya, the initial rite of installing sacrificial fire in
altars, with a few deviations. It is also a Prāyaścitta (seeking pardon) when the original Gārhapatya or Āhavanīya
fires are extinguished by accident or discontinued for some reason. The discarded or the original Gārhapatya in the
altar is called Prājahita. The fire is borrowed from Gārhapatya of a Vaiṣya house to relight the new Gārhapatya is
called Aharyāgni (Aharya means to borrow). The seal picture also depicts two Gārhapatya altars to communicate
how punaradheya must be performed before the commencement of Soma yajna if Gārhapatya is not maintained. The
support picture of Panjal atiratra yajna depicts the two circular Gārhapatya altars which hints the reinstallation of
new Gārhapatya altar before the commencement of yajna.

10. Pariśasa or Śapha

The tenth symbol of the board

Figure 11: Pariśasa. (Refer Figure 85 from The Dictionary of Indus Symbols)
Pariśasa or Śapha are a pair of tongs for raising the Gharma – the heated pot from the fire, used in the fire ritual
called Pravargya. The symbol is indicated in many seals may represent the performing Pravargya fire ritual was
mandatory and to be performed as a minor ritual before the commencement of big scale soma yajna.
Pariśasa is a pair of wooden tongs of two types, and one is used in raising Ukhā (container of fire) pot from fire,
while the other is used in raising the Gharma, the special pot called Mahavira. Pariśasa may also be used in death
ritual called Anustaraṇī where the animal flesh was used to cover the dead body so that human flesh of the dead one
is not charred. The representation of Pariśasa as the last symbol in the board indicated the availability of this tool.

Conclusion
This paper proposes a new interpretation for the previously unsolved puzzle of the Dholavira sign board. The
symbols used in this sign board are also utilized in many Harappan / Indus seals. Each symbol has a distinct data
about yajna and the order of symbols is not significant. The repetition of circular symbol of Garhapatya altar appears
to be the central theme because Agni / fire was of great importance in ancient times. The relationship of two
identical representation of circular symbols are also decoded. Offerings made in sacred fire altar was the distinctive
feature of Vedas. The square altar of Ahavaniya is indicated but interestingly the semi-circular altar called
Dakshinagni where oblations are made to the dead pitrus is not indicated. This may be an indication that accessories
of Sraddha related rituals are not part of this agent. The symbols have more relevance to socio religious aspects
rather than having a linguistic resemblance to Brahmi or Sanskrit script. The structure of symbols is an exact replica
of the objects used in rituals. The sign board of Dholavira gives knowledge about some aspects of the past Indus
civilization and about the organizers of yajna in a symbolographic presentation.

References
1. The Dictionary of Indus Symbols, available online on Amazon in both ebook and Print Format:
https://www.amazon.com/gp/product/1726820335/ref=dbs_a_def_rwt_bibl_vppi_i1
2. Symbolography in Indus seals, Available online on Amazon in both eBook and Print Format:
https://www.amazon.in/Symbolography-Indus-Seals-Rekha-Rao-ebook/dp/B016QQKBQE
3. The Depiction of Vedic Priests in Indus Seals, Available online on Amazon in both ebook and print book format:
https://www.amazon.com/Depiction-Vedic-Priests-Indus-Seals/dp/1717855202/ref=sr_1_9?ie=UTF8&qid=1537762482&sr=8-
9&keywords=Rekha+rao

About the Author

Rekha Rao, a master’s degree holder in Indology from University of Mysore, is also an
accomplished classical dancer. In the year 2000, she took up independent research work in
Indology under the guidance of Dr.S.R. Rao, Former Deputy Director General,
Archaeological survey of India, and since 2010, on her own. Her interests in the temple
sculptures have made her visit and study various temples in India focusing on the sculptures
of Apsaras, Buddhist architecture and Indus Seals.

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