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 11

"BHARAT"
-
Brahmaji

There's a landI 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 of paradise is heard there.

Replete with song and story is this land;

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Battle - scarred and legend - studded she;

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Once peer of ancient Madhura and Nalanda,

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and Kanchi and lands free.

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Ujjayini all

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Are of her glory once again.

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That land is Bharat, fairest peninsula of all;

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Whose hills the clouds do hung and kiss;

That land is Bharat at whose sacred call,
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Our hearts do stir with pride and bliss.

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There's a land I know where the winds do

softly blow;
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were to look over the whole world to find out the

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if I

country most richly endowed with all

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

to India. were asked under what sky the human mind has most
If I

fully
developed some of the choicest
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 who have studied Plato and Kant
-
should point INDIA".
1
p. MAXMUUJER
"India must have been one of the earliest centres of human
:ivilisaHon".
RR- HALL
 Ill

"THE HIDDEN HERITAGE" e>&> ef>&>p>e5

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 VI

Dr. D.N. PARAMA SIVAM, M.A , M.Phil.

Proiessor Philosophy
H.No. 18-3-54/B,
Anna Nagar Exl. CO1MB ATTOOR.

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 X

Dr. N. SAMBA MURTHY

Professor

Dept. of Ancient Indian History,

Culture and Archeology

University of Madras, MADRAS.

Sri A.V. Brahmendra Rao,

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My hearty congratulation to your successful work on "Sri Dakshina

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Murthy Darsanam" in a different vision*

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very comprehensive and

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In first part of your book on religion is

your objective study of materials is

really wonderful. Your presentation
is lucid and analytical. This is a very
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interesting and absorbing study of
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Hindu Religion and Indian Culture from the earliest times.
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This Darsanam is the only work of its kind published to-date in as

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much as it treats of all religions prevalent ancient India, both indigenous

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

an

aftermath in an objective manner. 'Siddantam" stands how such an

ancientand broad. The book meets a long felt desideratum and am sure,
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will be found highly enlightening and useful both by the students of the
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cultural history of India and general readers interested in indias Culture

and heritage hidden.

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In the second part of your

presentation, naration of 'Siva Idols"
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in various forms, purusha Suktham,

Mahanyasabhishekam, Mantra
Pushpam and Saivagama dharma are very very clear to knowledge. Also
the providing of Eswara existence is
very logical.

have no doubt that this work will be

widely welcomed by those
I

intrested in the
early history and culture of India.

Thanking you,

-
Dr. N. Samba Murthy
 XI

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(Page No. 149. of Mysticism and the new physics by Michall Tolbot).
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"Dance is an ancient form of magic. The dancer becomes

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personality is transformed, like Yoga. The dance induces trance,

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

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secret nature and finally merges into the divine essence". In our^
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country the dance has flourished side by side with the severe
austerities of the meditation grove, Siva therefore, the arch-yogi
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became the master of the dance". Zimmer further holds, "The

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dance is an act of creation. It brings about a new situation and

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summons into the dancer a new and higher personality. It has a

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cosmogonic function, in that it arouses dormant energies which

then 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 all its creatures are the effects of his eternal

dance."
 Pantomimic dance is intended to transform the dancer into
the warriors into
what he impersonates. The war-dance turns
of hunting.
Hunting dance assures the success
fearless heroes.
and rain.
Dancers mimic the gods of vegitetion, sexuality

The 'Dance meaning- The drum in the

of Siva' is full of

upper right hand connotes sound, the vehicle nf speech. The upper
left hand in Ardhachandra mudra, bears on palm a tongue of
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dental of the knowledge of truth Sum's destruction is finally

light
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ness.

Siva as the cosmic Dancer is the manifestation of eternal

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.energy in its five activities, creation, maintenance, destruction,

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concealment, and favour. These five activities are symbolized in

the positions of Lord's hands and feet. The upper three hands
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indicate, creation, maintenance and destruction. The planted foot

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is concealment and the upper lifted foot indicates favour. The

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flying arms and legs and the swaying of Siva's torso indicate the
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continuous creation and destruction of the universe.

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"Sources of Indian Tradition -

Vol. I 6* "Brahmanism"
W.M. Theodore De Bary ^<SP
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As seen today, the earliest religious thought in India is

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konwn or deduced from Archaeological evidence, such as seals,

Figuries, Tablets and other artifacts, belonging to a pre-Aryan

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

pre-occuaption with fertility symbols (e.g. terra-Cotta figurines of

prequant females, stone phallic symbols and the like) and the
worship of a divinity similar to the God Shiva, the ascetic par
22

excellence of historic Hinduism.

Who is frequently assoeiat eel with
a Bull and is also often represented by a phallic symbol Besides
which imply the existence of
representations of fertility symbols,
the divinity reminiscent of
a Mother or Earth Goddes Cult, and
Shiva. The Indus Civilization also seemed to attach religious
such as the tiger, buffalo, < Voen*
significance to certain animals,
monsters and hybried crea-
dile, elephant and even multiheaded

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tures, as well as trees and auspicious symbols, such as the swas-

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tika. Some seals point to religious motifs found in Mesopotomia,

suchastheGilgameshlegend,theIBEX(Wi!dgoaf),tnfoild(sign8

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and others and suggest a possible origin of religious ideas even
earlier
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than the datable artifacts of the Indus Valley ('ivili'/ation.
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Though it is difficult to establish a definite continuity in the
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development of religious ideas in India dating from the Indus

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civilization to modern times, it is however, possible* to distinguish

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a clearly non-Aryan-which may or may not be pre- Aryan s< mrce for

many of the concepts which characterize that religion which is

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known as "Hinduism" in India today.

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g&JFS
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no. 64, Cultural

Heritage of India~By Haridas Bhattacharya),

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"According to Swamy Sivanandaji, LINGA is certainly not

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

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

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

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only a serious mistake, but a grave blunder. In the post vedic

period, the Linga became symbolical of the generative power of

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Lord Siva - Linga is the differentiating mark. (Page No. 355 - All
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About Hindiusm). Sort

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(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 a

Linga of the omnipotent Lord. LORD SIVA is really formless. He has

no form of his own and yet, all forms are His forms. All forms are

pervaded by Lord Siva. Every form is the form of Linga of LORD SIVA.
24
the SIVA LINGA has a mystenous
According to swamiji
concentration of the mind.
The mind attains one-
power to induce
is the reason why t he
pointedness
when it looks at the Linga. That
LINGA for being installed
ancient seers of India have prescribed "
To quote Swamiji again Linga is
in the temples of LORD
SIVA.
of the formless being. Lord
Siva who is the
ony the outword syroble
eternal, auspicious, ever-pure, immor-
indivisible, all pervading,
who is the undying soul seated in
tal essence' of this vast universe,

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the chamber of your heart, who is your indweller, inner most self

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ATMAN and who is identical with the supreme Brahman P.P.
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- All about Hinduism and P. P. :J56-r>7- Ibid).
No. 355-356
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(Page No. 154 of Tamilal Sainaya Varalaru' By Velu Filial)

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"All About Hinduism" 5 t)fi So. 355-356 6s Siva Icons

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jep D^6o0^5 Siva is the most powerful God of the trinity.
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His worshippers invoke him by a hundred names. As such is

represented in icons in all possible forms ranging from benevo-

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lence to male volence. When in distress, the other two Gods need
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his help they lend him some of their own powers and Siva is then
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known as MAHAADEO.
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Siva is generally seen with a tiger skin covering his loins,

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serpents encircling his body and an antelope held in left hand.

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Siva's special emblems are a batttle axe, a trident and often a bowl
of human skull or a garland of skulls. He has a JATA-MUKUTA
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and wears the crecent moon as a part of his headdress. He has

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special armlets and bracelets to decorate his body. In his dances

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

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The Siva murties Yoga-mudraa are known as Daksina

in

Murtis and are in a sitting posture. In Vyakhyana - Daksina

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 o- 2) O
 26

!. So. 44 "The cultural

V J

Heritage of India" By>acy5

. (t>e9. 3o. 68 - The cultural Heritage

of India By Haridas Bhattacharya).

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of three Oceans By Alexander Kondrator) o^/r5 qo^ a^S* a>o8

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"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
)
"Among
the many revalations that
Mohenjodaro and f larappa have had in
 -
tity&o
27

store for us, none perhaps, is more remarkable than the discovery
that Saivism has a history going back to the chalcolithic age or

perhaps even farther still and that it takes its place as the most
ancient living faith in the world". There is a view that Siva is 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 alost in all he Saiva

J
temples throughout India, is only a plastic representation of self-

m
existent truth.

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

.
ns
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

.
io
culture Heritage of India - P. No. 63). "It is not a single cult, but
at
a federation of allied cults. Whose practices range from the
ic

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

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that alienate one's sympathy for the cult. The hold of Saivism
Pu

extends not only over the whole of India, from the Indus Valley to
an

Bengal, but stretches out across the sea to Grater India and the
Archipelago, and beyond the northern mountains to central Asia".
oh

"The characteristics of Saivism are the exaltation of Siva

.M

above all other Gods, the highly concrete conception of the deity
w

and the intensely Personal nature of the relation between him and
w

his devotees" These traits are most clearly found in Swetaswatara

.
w

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."
 more deeply rooted in vedic literature than
Saivism is

vaisnavism. In fact Siva is the heir of Rudra, whom we found in

connection with the Maruts. This

Rudra is celebrated in a hymn
as a being who lives on the
in Yejurveda. Here he appears

mountains with his followers, and whose protection

is sought for

all sorts of business, lie is not the God of

house and farm and for
a sacerdtal religion, but a lord who reveals him self to herdsmen
marked. Hi is
and water-bearers. His two sides are here clearly

m
sorrow. He Ls a
a saviour, who gives pleasure and turns away

co
who is justly feard. Rudra in Rigveda is a terrible God,
destroyer,

and much supplication was needed to humour him in to a good

.
ns
No. 77 ). There is none
temper. (Macdonnel Vedic Mythology Page
-

io
more powerful than the Rudra. The Rigvedic Rudra exhibits more
at
of the traits of the Rudra-Siva of later tines. In the Yajurveda, we
ic

meet with stories concerning Rudra'" phits, such as killing the

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Asuras and destroying their cities. Bui *t is the Satarudriya which

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draws together all the floating conceptions regarding Rudra-Siva

of the early vedic times and provides a bresh starting point for new
an

development.
oh

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

his wife parvati and numerous ganas. His power threatens people
.M

with various dangers. He has three eyes, serpent round his body
w

and skulls round his neck. He represents the annihilating power

w

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

w

The dance of Siva which is the highest ideal of the art of dancing

represents, "a dramatisation of the five activities evolution, con-

tinuation, 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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(The Develop-
- Published by Sundeep
ment of erly Saiva Art and architecture

Prakasan - Delhi - 1982) &8c&o Page No. 32 of "Essays on

s
S3 crtfo/v t>9. 3o. 555 I. K.
Southlndia" by Burton Stein
*
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Edward Moor $^ "Hindu Pantheon 1)83. "So. 505

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, Dr. D. R. Thapar trb Icons in

77^ 6^
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Bronze" t>a3 ^o. "Indian Art" 1yJ ^3o.

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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

.
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rooted in the metaphysical thought of the religiotis tradition of

The folk-elements have been
oh

India. freely accepted but trans-

formed sublimation of forms as a vechicle of ideas gives delight

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both to Indian seer and artist. Siva is shown as Pasupati,

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Ardhanariswara.Nataraja, Kamantaka, Gangadhara, Nandiswara,

w

Yogeswara harihara, Umamaheswara, Chendro Sekhara,

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Mritunjaya and Jyotirling etc.

There is a clear evidence of SIVA worship in the Indus

Valley. He is represented there in the form of Pasupati. It 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
of Maheswara. .0n all his coins Siva
that he gave himself the title

emblems is depicted. In
the Kusana period Mathura
or one of his

became an important centre of the Pasupata cult of Saivism. An

of Chandra Gupta
inscription of the
fourth century A. D. ofthe time

PASUPATA teachers who were tenth in

II refers to certain
who installed two
descendancefromtheoriginalfounderofthesect

SivaLin^sbythenameofUPAMITESVARAandKAPILESVARA8
atMathuraa. t.

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ns
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Prof. D. R. 3aS/vd "Icons in Bronze" tizS 776
at
ic

SCSSioSi> 3j*3>> *^3s etSSS 'Sort'

A
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The worship of the Phallic emblem

was started by Non-Aryans and was practised In many
.M

in India

countries. In ancient Egypt the phallus of Crisis was idolised. The

w

*f

Greeks copied this custom by venerating Priapus, derived from

w

Apis, the Bull God of Egypt. 'Mylitta was the Goddess of fertility
w

in ancient Babylon. The Romans called this Phallic emblem

Mutinus which was taken out in a ground processions with
^
.V
dancing and singing. Such reverence was common in Prance in

eighth century A.D. and was current in Germany till the twelfth

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

-
century ^d^C^So^ tm/!0
aJ
4

345-346

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 thef

LINGA has no natural alliance with

elemental worship of the Vedas. We can quote the following two

references from Rigveda.

1. "May the glorious INDRA triumph over hostile beings, let

not those whose God is SISINA approach our sacred cer-

emony".
2. 'Desiring to bestow strength in the struggle, that warrior
(INDRA)has besiezecl inaccessible places, at the time when,

m
irrestible, slaying those whose God is the SISINA, he, by his

co
force, conquered the riches of the city with a hundred gates".

.
The above passages bear a clear reference to the LINGA as

ns
a deity worshipped by the pre-Aryan people who wre at war with
fhe Brahmanas.
io
But there are scholars who say that phallic
at
worship among the pre- Aryan inhabitants of India is inconclusive
ic

Sayana, the commenteror refers it simply to habitual unchastity.

bl

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

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worship >&> (?foc3&o6* "Worship of Linga and Yone"

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So. 133. 134

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(. ^p. 5000
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(9 -37) S^SSoO H N.N

The worship of male and IVniaK -

'an is closely connecced
with the mother-cult. It is 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

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

the backward countries all over the

world. Even in the middle ages

phallic worship
was practised in France and Belgium. At Romaa
to sit upon the image of the
marriages the bride was required
Phallic God. Phallic worship have been
found in the Aregean,

of Semites. Models of LINGA and YONI

Egypt, and in the land
have been found in the Indus Valley Culture. Thus the phallic cult

m
Hindu religion of third millinium B.C.

co
was deeply ingraind in the

of the later Tantras must be sought in

The origin of the Yoni-cult

.
ns
of Harappa. In fact the Tantrik Srichakra
titie pre-historic culture

nothing but the representation of female generative organ. The

io
is
1

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

Originally the male and female organs were wor-

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to multiply.

shipped as symbols of procreation and fruitfulness,

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Symbolic meaning of LINGA and YONI finds support in a

Pu

statement of MANU(EX -
37), In the words of N. N. Bhattacharyja
an

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

and her male
oh

mother of race, is essentially the life producer,

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

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two essential philosophically. But the agent about whose mater-

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nal functions there is no doubt is the woman". q<5 E. 0.

O^fecp^
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s
James &$ "Pre-historic Religion" 6* tsz3 3o. 1536
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& 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

identified
Linga

m
worship have been inherited by the Hindus from the Indus Valley

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people is perhaps reinforced by the prevalence of the bull (the
Vehicle of Siva) or of bull-like animals amongst the
seal-symbols.

.
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There was also the practice of Yona. The workship of the sacred
"incense-burners" was also prevalent. io
The cult of the Mother-Goddess
at
did not dominate the Indus
The male gods loomed large on the horizon of that age.
ic

religion.

god was the supreme

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Pipal deity and a large number of subordi-

nate male
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deities ruld over the destinies of the

poor mortals
inhabiting the Indus region.
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EAETH and WOMAN es.^ -!35S Fra/.cr 3 "INDIAN

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"WM. Theodore Dc^ Bary sf*6 "Sources of Indian Tradition"

eXtyfotf ofi* Ch - VIII ^o& The Vehicle of the thunderbolt and the
Decline of Buddhism in India <5*

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"Many authorities believe that early Christianity was in-

flamed, directly or indirectly, by Buddiat ideas. In the

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 50 4Q
home for a life of asceticism/' "The Great Going - forth', has
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word "Bodhisattavo' .

D. D. Vo) 7V>5 "Myth and Reality"

-
Emperor Harsha Silaaditya (Circa 600 -
640 A.D.) of

Kanauj found no difficulty in worshippping Gauri, Mahesvara -

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Siva and the Sun, while at the sametinu* he gave the
fullest
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was a synthesis of the two
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religious, actually practised by others

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(The Earth in Upheave!)

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Himalayan Region and in tho Alps and large
scale nftuig took
place in Eastern Africa.

"Our mobile earth" s

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228 -
229 6 "During
the bmldmg of the Alps gigantic slabs 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

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Italy".

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(Gamow) (p**^ Biography of the Earth"

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ago, all over tho world, the* level of the Ocean water suddenly
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dropped", "Modern research confirms that many of the Alphino

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glaciers- are fens than 4,000 years old .

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An article in The Hindu 4-6-1977).
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Lobsang Rampa).
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(Page No. 13 "Tamil India" by M. S. Purnalingam

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(Page No. 124 of "The Riddles of

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

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SQjofl.
^ecS^ H. S. sp&fip ^8 "Political, legal and
s
Militory
-
History of India -
Vol. I 6 !>* 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 area of the Flood was certainly

m
the continuous land from mosopotania to
Raja putana, and there

co
is the common tradition at. both ends of the
area, embodied in the
ancient literatures of the Semites and Hindus. Our dynestic

.
ns
history in the puranas almost begins from the and the
flood,
Mohenjodaro civilization is post-Flood event".
The purans are io
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amongest the most ancient documents or race-history, and the
and data embodied therein. Go back
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tradition to the Flood and

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even earlier". gctf&ctb para $ocreo, tf$ (epes&o&j &ro>

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Riddles of three Oceans"
by Alexander Kondretor -

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(India from the earliest Ages -

By J, Tal boys wheeler (Vol. Ill)

z*X&3o$$ todoa The History of the Brohminical re-

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- In India, the tree
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weeping willow tree with hanging branches. Painted pottery of the
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(BIBLIO GRAPHS
& Seoto e
- Dr. K V. Raghavacharya.
Dr. C. Rajagopalachari
3.
&&%tf~~ a&S&^S"-
4. $K&te
- A.P.
5. "Bp^crcS <fcn:,
Oi j)
s&3en^&3x>
2* **

- Dr. Esv/ari Prasad.

*
6.
Jhe New History cf India
7."lndia - The Land and People - K. R. Sfinivasan

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National Book Trust.
(Temples of South India)

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8. Daily Life in Ancient India

.
-

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By Jeannine Auboyer Tranby.
Simon Watson Taylor.
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9. Introduction to oriental Civilization Source of Indian Tradi-
at

tion.
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Edt : WM. Theodore De Baiy.

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**** " "

vtf*

10. Ancient India and Iran.

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A Study of Their cultural Contants.

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By Nalinee M. Chapekar.
11. India from the earliest Ages
oh

(Hindu, Buddhist & Brauunanical Revival)

.M

Vol. III. of the history of India.

w

By J. Talboys Wheeler,
w

12. The. History and Culture of the Indian people.

w

11
*
4lie Vedic Age

By R. G. Majumdar.

13. The cultural Heritage of India.

(Itihasas, Puranas, Dharma and other sastras)

By Dr. C. P. Rama Svvamy Aiyar.

14. Myth and Reality.

(Studies in the formation of Indian Culture)

By D. D, Kosambi.
 15. Mohenjo-daro and the Indus Civilisation.
By Sir John Marshall.
*

16. The cultural Heritage of India.

P. No. 63, By - K. A. Nilnkantha SastrL

17. Origin and Evolution of Religion.

P. No. 22, By -
E. W. Hopkins.
IS. Tree and serpent worship.

m
P. No. I, 2 f By - James Forgussion,

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19. Hinduism and Symbol worship.

By B. C. Sinha (G. K. University -

Ilardwar)

.
20.
11

"Indian Art by V, S. Agrawala.

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21. trtStStS'tf
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SoS?jy
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Scfctort o" By B.N. Sastri.

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22. -
ra^t^tixeo
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23. The Folk Origins of Indian Temples

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By Prof. 8. K. Ramachamlra Rao

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

25. A. History of Ancient India

oh

By Arun Bhattacharjee
The Script of Harappa and Mohenjo-daro.
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26.

By 0. R. Hun tor
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27. prehistoric civilization of the FnduK Valley.

w

By K. Dikshk.
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28. Mohenj<>-dn> and Indus civilization -

3 VaLs.

By Sir John Marshall,

2$. Religious Tought and life ialndia.

By Monier -
Williams.
30. Geographical Factors inlndian Hisotry
By K. M. Panikkar,
31. The Arctic Home of the Aryans.
B. G, Tilak.
 72 .

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32. Parallels and opposites in Indian Iconogtapliy

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By C. Sivaramamurti.

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33. The wonder that was India.

ByA.L Basham.

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34. Incredible India: By P. Thomas.

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

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35. India's contribution to world ub thought and culture.
By B. B. Lai
*
nP
Publi Vivekananda Rock Memorial Committee P. No.
:
193
36. Caste, Culture and Socialism - P. No, 66.
a

By Swamy Vivekananda.
oh

37. Religion arid Society

.M

Dr. S. Radhakrisnan.
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38. History of India

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(From beginning of 1526 A.D.)

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By V. D. Mahajan.
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MIEHISTORY: THE HAEAPPA CULTURE AND THE

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and rhinoceros, and BalOchistin,
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now almost a waterless desert, was rich in rivers, Tim region

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high. The villagers dwelt in comfortable houses of mud brick with

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lower courses of stone, and made good pottery, which they painted
with pleasant patterns. They knew the ase of metal, for a few cop-
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mentioning tjie names of the Iranian form of the Sun-Cod,
and Siva, Nicolosca, c, 5th century A.D, (After pi*
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