Rongorongo and the Indus Script

In the decades following the discovery of the Indus Valley Seals, researches noticed a correlation between the script on the Easter Island tablets and the Indus Script. Here is a sample from the History of Writing illustrating the similarity between the Indus Script and the Easter Island (Rapa Nui) tablet writing called Rongorongo. i Column I, III, V and VII belong to the Indus Script.

Current scholars have downplayed the significance of these similarities for two reasons. First, the Indus Script was written 2000 or more years before the Easter Island tablets and secondly, Easter Island is on the opposite side of the globe from the Indus Valley separated in a large part by two oceans. However, distance and time are not insurmountable barriers for human beings. Look at the Egyptians who maintained a writing system for thousands of years. The modern world tends to lord over the ancients the ability to travel the globe, while forgetting the significant sea trade routes maintained in the ancient Indian and Pacific Oceans.

Are the similarities between the Indus and Rapa Nui writing systems a topic for scholars to re-consider? The following preliminary comparison on these two scripts will further prove their common origin. Notice the following two Indus Seals with corresponding Rapa Nui Rongorongo glyphs. Not only do both writing systems use three circles stacked, but they also provide a variation of the glyph with a line through the center.

The second symbol is seen here on coins from the 3rd Century BC Ashoka dynasty of Northern India ii:

The symbol represents Ashoka's mudra or royal mark, which represents the Caduceus or two snake and staff symbol of peace. Caduceus is a word originating from the Greek for heralds staff. It was also called Aarons Rod and so became the universal sign for healing and medicine. Here on the Indus Seals and the Ashoka coin, it likely represents the sign to protect merchants and commerce. In this regard there is a link between Greco-Roman mythology and early India, where Hermes, in his aspect named Ningishzida, is the messenger of the Earth Mother. Hermes received the Caduceus symbol , as a peace offering from Apollo in exchange for the tortoise shell lyre. The symbols reflect the ancient celestial constellation of Orion, shaped with the three stars in a row called, Orions belt. Ashoka, then, a king devoted to peace, used the symbol for the double purpose of protecting commerce and negotiating peace. He was a king devoted to peace and he may have adopted the symbol from missionary activity of his Buddhist priests who travelled to the Mediterranean. Yet, his kingdom did include the Indus Valley region, which must have continued the traditional use of this symbol used on the Indus seals. The correlation suggests a remote sharing of cultures by way of merchant and religious activity, much more plausible than the colonial Aryan invasion propaganda. In the mythology, the offspring of Hermes, Asclepius (the healer), used the Caduceus to raise Hippolytus (un-leaser of horses) from the deadiii. This mythology intertwines with Hindu Mythology where the offspring of Sagara returns the stolen sacrificial horse from the Underworld and whose great-grandson, Bhagirathi, subsequently un-leased the Ganges upon the hair of Shiva, causing the 60 000 sons of Sagara to raise from the dead iv. Interestingly, it is at the ancient Egyptian temple of Sakkara, where Orion is named Sahu. Sah/Sahu, in the constellation Orion, is the soul in the Sektet, boat of the setting Sun, which has been purified from earthly imperfections and can travel freely back and forth from sky to earthv. Sahu is associated with the Sirius Constellation of the Cow following him in its own boat and the gate of the Great House where the souls of the City of the Sun bear offerings of bread, cake, sweet smelling flowers, and together with Sahu, the Great Cowvi. In Polynesia, Rigel of Orion is called, Poaka (the ball root), giving the three balls with the line through it as a sign of the genealogy of the founding fathers. Rapa Nui calls this genealogical belt of Orion the Beautiful Ones, referring to the founding father and two sons, perhaps a memory of Sagara and his offspring.

The Indus Seal below contains as many as three glyphs remarkably similar to the Rapa Nui writing of Rongorongo:

Notice the standing figure contains three upward strokes; the curved river like glyph is identical with two lines and curve direction; and the moon glyph contains a central swelling feature in both writing systems. Remarkably, this moon feature appears to coincide in a near identical phrase of eight glyphs illustrated below:

For these comparisons the Indus Script is in the lower grey and the Rapa Nui Script is given in the upper clear background. The Indus river, possibly represented in the center of the seal above is derived from the original name, Sindus, to flow, the ocean; sign of Varuna; water into which the soma drops. It is the name used while dropping the s for the people of India. Two more glyphs associated with the Sindus Ocean or River are illustrated below with Indus Seals on the left and Rapa Nui glyphs on the right:

a net

a boat

The use of travel by merchant vessel enabled these seals to accompany their shipments near and far. For instance the following Indus seals were found in excavation of Ur, Mesopotamia (the first 4) and Southeast Asia (bottom) vii.

Another Indus seal found in Mesopotamian is shown here: viii

The point of such seals is to be used by merchants to transfer commercial goods. Finding them far beyond the Indus valley is no surprise. It confirms an open trade route existed there and should lead to a greater understanding of some shared symbolism and mythology as well. These symbols appear on early Indias post Mauryan kingdom coins:

Indus Script

Rapa Nui Script

The sun and Ashokas mark are present:

Also the fish, Shivas drum, the arrow and bow: What appears to be a fish, actually occurs on ancient Indo-scythian, Indo-parthian and Kushan coins in several forms listed hereix:

These emblems vary in name from the Nandipada on the left, the central malhar or ma symbols, and even the Mediterranean standard on the far right. Their appearance may help further understand the variations of vessel glyphs on the Indus seals. Shivas drum is shaped like an hour-glass as on this early Dancing Shiva statuette and ancient Indian coin.

The coin is a gold dinar from the 2nd Century CE Kushan kingdom. The crowned king is holding a spear and small sacrificial altar. The Bactrian legend reads: AONANOAO KA NKI KOANO, King of Kings Kanishka Kushan. The reverse side presents a tamga royal emblem on the left and an early four-armed Oesho (Shiva) holding a trident, water pot, deerskin, and damaru drum synonymous in sound and appearance with the thunderbolt symbol. The Bactrian legend right reads: OO or Oesho/Wesho, the Iranian Wind God. Shiva as the Wind God makes sense in terms of the water vessel and lightning drum he holds. The water of the Ganges falls upon his head, as in the above statue. The power of this wind, fire and water can destroy, which illustrates Shivas title as destroyer. But these elements also bring new life, which symbolize the creative aspect of the god. Perhaps the hourglass also represents a butterfly in this dying and restoring sense. Butterfly, drum or lightning bolt, the Shiva drum expands the potential meaning of the variations of hourglass Indus glyphs. The Nandipada symbol (possibly representing the AUM) also appears on the Indus seals in various forms:

Such as the Mesopotamian found Indus seal above and this Unicorns breastplate:

This stylized livestock and tree seal:

Or as Shivas crown on these Indus seals:

Shiva is given away by his drum on the left seals lower left. Notice the similarity of Shivas posture with the statue

of the fasting Buddha: And a more striking similarity is the meditation platform of the deity MHTPAO BOYO, Maitreya Buddha, on

this 2nd Century CE of AO KA NKI, King Kanishka:

Indian Gupta coins of the 5th Century CE contain the Nandipada symbol as a peacockx:

Notice the peacock wings and their similarity to those of Ishtar from this reproduction of a 20th Century BC Sumerian sealxi. It shows the goddess Ishtar with crescent horns. The curledfeathered wings resemble the Indus valley symbol of the Nandipada. Ishtar was goddess of fertility, love and war. Her wings enable her to reign over the sky. Having the head of a bull she unleashes the Bull of Heaven on earth. Around her are fish reflecting the flood Epic of Gilgamesh. Present on the seal is the earth god Ea-enki, akin to Enkidu, friend of Gilgamesh who helps him to sacrifice the heavenly bull of Ishtar to the deity of the sun, Shamash. On the seal, Ea-enki is holding a branch after the flood representing the Tree of Life. The star on his head represents the separation of earth and sky, and power over the sky of Ishtar and the snakes intertwined at his feet. The pillar with star and snakes are reflective of Ashokas mundra on the Indus seals. On the seal are Ishtars attendants appearing much like those honoring Shiva on the Indus seals. Ishtar also has a snake charmer. In the mythology, Ishtar jumps upon the high wall of Uruk, the city of king Gilgamesh. She curses Gilgamesh, but is struck in the face by the leg of the bull thrown by Enkidu. A memory of such an offering portion may be reflected in this Indus

Valley sign: . This will cost Enkidu his life. Ishtar demands the bull from the underworld in order to cause the dead to devour the living. A dance is held by Ishtar over her court to mourn the bull of heaven. Perhaps the mythology intertwines with the dancing Shiva and the offering horse of Sagara. As well, mystery of the one-horned ox high upon a wall may be unraveling in the defeat of Ishtar with the offering of Enkidu thrown upon the wall of the city. Shamash is pleased with the sacrifice of Gilgamesh and Enkidu resulting in enlightenment and justice restored to humanity and the poor being released from the serpent demons of Ishtar xii. The theme of sacred offerings after the great flood of Gilgamesh plays into the Indus civilization symbolism, which coincidentally was washed away by a flood.

These peacock/goddess wings and livestock Nandipada have a remarkable resemblance to the following Rapa Nui glyph:

or inverted here to highlight its likeness to the coins and seals: Also, worthy of notice is the similarity between these Gupta coins peacock tail-feathers, the illustration of the Rapa Nui mans forehead tattoo and this Sumerian seal xiii:

The bird for a headdress is a symbol used on this Kushan 2 nd Century AD gold dinar:

The king has a spear and offering vessel. On the reverse the legend reads Orlagno who is Verethraghna, the personification of victory. The head-dress bird is Varagna, possessor of special powers. or raja.

Also, the post Mauryan coin symbols illustrated above contain these animal glyphs

similar to

the Indus seal glyphs

and the above Kushan gold dinar with deerskin:

. Another 2nd

Century CE Kushan coin shown here: has a reverse legend reading, CAKAMAN O BOYO, Sakyamuni Buddha, who holds a robe with reading: abhayamudra, "have no fear". In Rapa Nui, there is a robe of feathers worn by the island lords or chiefs, called atua (meaning lord), shown in this

pair of Rapa Nui glyphs for the moon days atua and hotu:

. Notice the resemblance here to the wing of

the peacock from the above Gupta coin:

. The Rapa Nui hotu glyph can be paired with the identical

Indus seal glyph for the swelling crescent moon:

Another 2nd Century CE Kushan coin shown here: contains both the king and the deity Shiva having tridents, which may also represent lightning in this eras mythology. The tamgha royal emblem is present on the right. Tamghas appear in the following varieties: , much like a trident or the Indus seal

glyph Pal likens to a tree. This Indus Script tree glyph also doubles as seen to the right below in grey, similar to the third symbol of five from a Sri Lanka, Ajatasatuu dynasty coin xiv:

The following coins contain the tamgha tree used as a rail for the Hindu-swastika found on many Indian coins and merchant sealsxv:

Other symbols include the elephant with Bodhi tree, a three-arched hill (caitiya) and on the reverse a throne, and a nandipada (early Aum symbol as in the peacock wings) with three-arched hill in lower centerxvi.

Other symbols include the royal standard (Dhajaya) on either side with the steps of a temple upon a boat.

The Indus seal here represents the Hindu swastika

, also found on this Rapa Nui oar:

and this Kuninda coins:

The boat on the Sri Lanka coin reflects the Egyptian book of the dead seen below, xvii where the Egyptian aank symbol of life, seen here on the knee of the Osiris (hawk-headed) deity, resembles the Indian royal standard and the throne. Notice the lower Egyptian throne symbol confirms the interchangeability of the throne with the standard on the Indian coins. Therefore, the boat of the underworld contains a throne or a standard which represents the perpetual life of the nation.

See how the Egyptian compares to the coins of India: Notice also the boat and the three-arched hill are intended synonyms on the coins just as the aank is synonymous with the standard and the throne as symbols of life. This boat-hill correlation confirms the intended symbolism of the ship of the dead represented in the Suns journey through the sky of the underworld in the constellations to rise again at dawn. This hill is actually represented as dawn in the Egyptian akhet symbol belowxviii:

The akhet contains the sun at dawn rising between two hills. On this fresco, a scarab beetle, a sign of rebirth, is present in the rising sun. All are contained inside the boat of the dead. Therefore, the Hindu three-arched hill may be synonymous with the dawn of the Egyptian akhet also considered the Sun god as central between to hills xix. . The Babylonians

From these common mythological themes common symbols can be found, such as the bent arched pillars surrounding the sun deity. Such a bend-pillar surround is explored at the end of this research below. Whatever culture we find the use of these constellations and sky symbols more can be learned of the story of the passage of the dead to life beyond the grave. The post Mauryan coins with symbols listed above contain representations of the tree and the fence below the tree as

follows: . Notice how these Sri Lanka coins contain variations of the Bodhi tree railing just as the Indus Script in the grey belowxx:

In ancient India, the tree is represented by the offering post that livestock would be tied to as part of the sacrificial ceremony of the animal. Such offering posts, seen here: similar representation on the Indus and Rapa Nui scripts: Indus Script , on the reverse of Nandipada coins confirm

Rapa Nui Script

These Indus symbols occur in the following forms: Notice these ancient India Chandra Gupta coins with sacrificial horse.

or

The horse is tied to the sacrificial post resembling the box and arches of the Indus seals shown here:

and

the arch of the Rapa Nui tablets: Maha raja or Great King are often named on these seals and coins. The script on the Indus seals have similar patterns that may represent Maha raja or like adjectives together with the variations that represent separate names of the officials of the city the seal was located.

On the above Sri Lanka engraving these raja or emblems also include the boxed in staff, which confirms that the offering post with arched top is also present with a box at the base. Therefore, there is a possible relationship

between the two Indus seal glyphs shown here:

The following Indus seal is mimicked with Rapa Nui glyphs: Notice the arched poles tattooed on the torso of this Rapa Nui woman:

Various common glyphs and glyph elements: three bars; a lower left appendage; a three line vessel; an arrow.

A line with a central circle Pictures of vessels appear to have two and three upper extensions in common.

a U shape

Research by Rajot Pal has determined this vessel sign as the syllable ka xxi. The Indus seals place these vessels at the end of glyph sequences. Pals full seal interpretations has found these to be personal names, where ka, meaning who is, is placed as the common suffix for Indian names. Pals use of the Brahmi parallels and acrology presents a verifiable interpretation of the Indus Script. For instance, the Egyptian ka sign for the soul

appears similar to the Indus Script vessel Pal also interprets as ka. Pals use of the ka as who is reflects the same meaning of the Egyptian ka as the soul. Furthermore, the Egyptian ka means the souls perfected double

with arms raised in a gesture to make the perfect offering. Such offerings are illustrated with animal pictoglyphs on ancient Indian coins and seals.

Elaboration of Pals ka syllable is found on this Indus seal surrounding the circled goose: the Upanishads a description of this wheel and goose is given: Svetasvatara Upanishad Book I, verse 6: In this mighty wheel of brahman, life-giver to all, rest to all, Roves a goose.

Notice in

The goose represents the self as confirmed by Pals ka surround, Who is the true Brahman Hansa (full of grace as the goose) self who is. This Indus seals use of the Bhudda wheel as a pictoglyph surround is confirmed on the Kanishka/Milinda era coin with rings around the Buddhas head and bodyxxii:

Pals use of acrology to determine the syllables of the Indus Script is demonstrated on the following 2 nd Century CE Kushan gold dinar:

On the reverse, notice the deity holding left the diadem with the right Bactrian legend reading: AO, Athsho, god of metals. The shape of the diadem is the shape of the Greek letter in the deitys name. This is acrology at its finest.

On the following Indus seal and Rapa Nui glyph the wheel contains four sun like rays in both writing systems:

How does the Brahman Wheel enhance our understanding of the glyphs with circles below containing various appendages within on both the Indus seals and Rapa Nui tablets:

Coins of ancient Indias Vidarbha region contain symbols with figures inside a circle:

much like this Indus glyph

. Another copper from Vidarbha 300 BC reveals the three-

arched hill with crescent moon atop and circled opposite the circled hollow cross:

Are these three hills and moon not also represented on the Rapa Nui fullmoon glyph? Remarkably, the fourth image stamped onto a coin of Sri Lankas Ajatasattu dynasty contains the four mark surround common to the Indus Script as seen in the grey hand-in-circle glyph belowxxiii:

This oval with line inside resembles the use of similar use of markings:

The Indus Script below contains the hollow cross also seen on this Indian coin of 200 BC Western Mahaarashatraxxiv:

The above coins hollow cross contains the sacred srivasta symbol.

The above seal contains the hollow x with a hollow bar similar to the Rapa Nui tablets. Below is an attempt to use individual Indus seal glyphs (in grey) to match the Rapa Nui tablet phrases. The purpose of this matching is to illustrate enough common elements between the scripts to share not only individual letters and words, but potential common phrases as well.

The Indus seal ladder glyph does not appear exactly as the Rongorongo ladder, however, consider the glyphs on this ancient bench in Hambantota, Sri Lanka xxv and compare the framed ladder with the Rapa Nui glyph below:

The triangle appears on the nandipada symbol circled below as well as the Indus seal and Rapa Nui glyph occurring twice below:

The Sri Lanka bench contains a sacred enclosure with a sequence of glyphs illustrated in the following order:

sealsladder

; fish

; nandipada

; srivata

; nandipada

; fish

; ladder

or

or

or

inverted:

A significant aspect of the similarities above is the Rapa Nui glyphs appear to resemble the Sri Lanka bench even more than the Indus Valley glyphs. These Sri Lanka bench glyphs occur to some extent in phrases on the Rapa Nui tablets. For example, this similar Rapa Nui tablet phrase, , contains two of the four Sri Lanka bench glyphs and an inverted torch similar to the actual look of the Indus Valley srivata. Comparing the srivata to a torch may be what is intended by these ancient Indian coins where Angi is depicted with flaming hair:

Compare the coins flaming hair of Angi with this Rapa Nui phrase: . The Maoris Wharekura, wisdom school, teaching are emitted from the Upper Jaw, te Kauwae-runga, and the lower jaw, te

Kauwae-raro, speaking through the rising sun and the tides. These glyphs of Rapa Nui, , are not only flag glyphs representing the Upper and Lower Jaw of Maori cosmology, but they also appear to represent the Vedic deity Angi. The following sequence also containing the Indus type arrow: . And another Rapa Nui phrase containing the mirror like appearance of the bench including two fish and the ladder produced by a combination of a pillar and Ashokas mundra (Orions belt) also found on the Indus seals: . Even the phrase with the Rapa Nui srivata contains appendages of Indus valley glyphs, such as, the hollow cross, the ladder, the net, the fish and the

circle. This comparison reveals not only glyphs that appear alike between India and Rapa Nui, but also a correlation in combinations of these glyphs.

The Sri Lanka bench is a mirror phrase, much like the following Indus seal: mirror phrase from Rapa Nui:

. Notice the this

containing another similar fish appendage found on the Indus seal

shown here: . Consider the following Rapa Nui mirror phrase (Individual Indus Script glyphs are added below with grey

background for comparison): The mirror concept is not only a common element, but the glyphs themselves occur for the most part in both scripts.

Notice the Sri Lanka bench-like srivata from Rapa Nui below: occur in both scripts with striking similarity.

Most nearby glyphs

The fish-arrow combination conveys a common offering theme in both Rapa Nui and Indus Valley cultures:

There are several Indus seals and Rapa Nui phrases that contain fish - arrow combinations with several other common elements. Examples are given below:

This arrow-fish phrase on the Rapa Nui tablets is approximately reproducible with the Indus Script:

Notice the line within the fish. The same fish with fins pointing

down is common to Indian coins such as the following from the Mauryan kingdom: Coins and seals of India contain various symbols and emblems (or raja) similar to the Indus seals. This coin shows an animal (elephant), much like on the Indus seals below. The following three Indus seals are mimicked using individual Rapa Nui glyphs to illustrate further that there are enough common elements to copy Indus seals with the Rapa Nui writing system.

Notice the roof above the fish.

Notice the four marks on the seated figure.

Each writing system also has a seated figure without marks. According to this Ancient Indian coin from 300-200 BCxxvi, the arrow is used on the fence of the royal standard and on the six spoke wheel seen just below the standard on this coin (with two spokes cut off):

Another usage of the arrow symbol occurs on this Sumerian seal with an arrow pointing to the crescent moon xxvii:

This arrow plays into a mysterious mythical story expressed in the making of a pick axe from

the tooth of the one-horned ox ascending a large wall. The unicorn is a common element on the Indus seals. This pick axe was used to dig up the earth in the creation of human beings. This Mesopotamian

boundary marker stone appears to combine the Indus Script arrow symbol

with the offering post

xxviii

The 3rd millennium BC Sumerian story of creation where Enlil separates earth from sky, this pick axe is supported by a basket. Together their power is stirred up in Enlils chant of the Pick axe, which is cut into the earth producing human beings. This creation story parallels with the story of Sagaras horse offering and the restorations of his 60,000 sons from the hold dug in the earth. Though, the unicorn is replaced by the horse.

On this stella from Carthage the pick axe symbol

is combined with a Mediterranean variation of

Ashoka's mudra

xxix

. As related above, this pick axe, Caduceus or heralds staff of Hermes given to the his offspring Asclepius, the healer, raised Hippolytus (un-leaser of horses) from the dead. Considering the variations of Ashokas mundra in the Indus Script, , an understanding can be made regarding the separation of the staff

from the snakes as in the Carthage stela. In this separated form, the Ashokas mundra is related to a variation of the

Shrivata symbol seen on this coin on the right xxx:

Another Carthage stella, shown above, with a Hebrew inscription contains a Hamesh or hand of protection between two birds. This is called the Hamsa or Hand of Fatima in Islamxxxi. Often these amulets contain a watchful eye. Perhaps a representation of this hand-eye symbol of protection is seen hear on the Indus and Rapa Nui Scripts:

. Ahokas mundra or heralds staff, the pick axe, the offering pillar and the hand symbolism sheds light on the creative power and protection expected of kings over the land. It also returns our research to the universal understanding of sacred indigenous symbolism. The following coins from the ancient Indian Gupta kingdom contain such a royal holding a staff or rod:

A similar coins was found by PE Pieris at Kantarodi in the North of Sri Lanka:

In ancient Maharaja these symbols are found on rock inscriptions and Royal Seals.

Indus seals contain similar images:

As do the Rapa Nui tablets: More human appendages include the following:

The extended leg:

The arm:

More arm and leg variations:

The following Kushan gold dinar has the goddess Nana standing right holding a bowl and an animal protome resembling the three-finger arm glyphs of the Indus and Rapa Nui Scripts. Compare this Sumerian seals central deity with scorpion hand and the Indus and Rapa Nui Scripts xxxii:

Figures are seen here holding a circle or a U shape:

Notice the Indus seals strong resemblance to the Egyptian seated man xxxiii:

This ancient Mauryan coin has similar standing figures holding a U shaped instrument: These brief Rapa Nui phrases with standing figures holding sun and moon can be reproduced with individual Indus seal glyphs:

More individual Indus glyphs (in grey) combined to mimic the Rongorongo phrases of Rapa Nui:

The similarities between the Indus and Rapa Nui Script are striking down to the minute details. Consider the following comparisons: The Indus Seal man and Rapa Nui bird each contain two dots on the back of their head shown below:

Both scripts have a two headed glyph:

Both scripts contain a rectangle with line angled down to the right:

Each script contains a pair of swelling moon glyphs:

Notice the spreading wings:

The fish with fours spikes:

The upside-down fish:

The fish with a covering:

And the covered plant with double arch rising up to the right:

Plants with three stems having buds on each side:

And similar three-budded plant:

A similar flowering plant and split arm figure:

Another similar budding plant and broom like glyph:

And the double dangling ovals:

Rapa Nui Script phrases below have Indus Script glyphs beneath for comparison:

Consider this Rapa Nui phrase which is considered to name Constellations:

Many of the Rapa Nui glyphs can be represented with the Indus Script down to minute details. An attempt is made to mimic this Indus seal with the Rapa Nui Script:

Consider the Polynesian tattoo designs in relation to the Indus seal below:

The kneeling moai of Rapa Nui presents a similar prayerful pose:

It was the kneeling supplications and offerings of the offspring of Sagara that brought down the Ganges upon Shivas head to sustain life upon the earth. This life is symbolized by a tree upon a mountain called the tree of life. The following Satavahana coin depicts this sacred Bodhi tree:

The tree is represented on this 20th Century BC Sumerian

sealxxxiv:

The goddess Inanna is picking the fruit of the sacred palm tree appearing to reproduce a young sprout. The imagery reflects the story of Eve in Eden, with the picking of the sacred fruit which brought on the toil of agriculture. Inanna is accompanied by her sacred birds. The purpose of the offering of the first fruit is to express gratitude to the Creator for its reproductive quality. This concept of sacrifice extends to the four corners of the earth. The Ujjain symbol representing these four earth corners appears on early Indian coins of the regions Ujjain, Eran, Vidarbha, Satavahana and others. The symbol appears as four balls with a central cross connecting them. Another early Indian Satavahanas coin is compared to the Indus and Rapa Nui Script glyphs of the Ujjain symbol below:

The following Indus seal contains the Ujjain symbol

as does this Rapa Nui Script phrase

with Indus Script in grey for comparison. More Rapa Nui Script phrases with Ujjain symbol are compared with the Indus Script below:

It should be clarified that the Indus Script does not contain these phrases, yet it is remarkable how several Rapa Nui glyphs in a row can be represented with Indus Script glyphs. An interesting comparison can be made with these curved wall or container glyphs below:

Rapa Nui Script:

Indus Seals: Notice the variation between the first seals empty curved bars and the second Indus seals curved bars containing a bird.

The Rapa Nui Script has a variation of the container glyph with an arm and leg shown here:

Other Rapa Nui glyphs contain similar appendages: compares to the following Indus Seal with arm extending from the three pillars.

. This

The Indus seals below reveals the curved bar containing a fish and a bird:

Another seal had both animal glyphs shown here in grey:

In the Rapa Nui Script, as many as 14 glyphs are contained in these bent pillar glyphs. Below in one such Rapa Nui phrase with Indus glyphs in grey for comparison:

Perhaps this study of the curved pillar container or house, can develop a further understanding of the meaning of the following Indus seals:

On the reverse of the above bent pillar seal is the seated deity Shiva given homage by a person on either side contained by snakes similar in appearance to the bent pillars. Within the Indus Seal snake container below is the Shiva flanked by fish and alligators:

The Indus and Rapa Nui Scripts each contain fish in the bent pillar offering containers (or houses):

A sacred fish offering must be intended. Variations representing this offering appear on the Indus seals below:

The alligator itself is given the fish offering in the following Indus seal: . The Egyptian Alligator is the deity of the Nile, which was of central importance to the Egyptians. Here the Alligator must represent the Indus River and be of significant importance to the Indus Valley culture. Yet, Shiva is offered the fish and alligators in the seal above, presenting a hierarchy of deities similar to the pantheon of neighboring cultures. For example, the Egyptian hawk-headed Horis spears the Alligator Set of the Nile in the Egyptian Book of the Deadxxxv and Legends of the Godsxxxvi:

It is Horis and Isis who kill the Alligator, Set, who tore Osiris to pieces. They then restore Osiris to life. Isis uses her powerful incantations and is protected by seven scorpions. Another example occurs in the following Sumerian seal which contains a journey on the boat of the underworld with two crowned persons (deities) and one person (deity) with a lions body together with the offering for the dead xxxvii.

Finally, consider the following three-sided Indus seal:

Based on Egyptian mythology, it appears to be the end of the journey of the ka or soul of the deceased who appears twice on the seal. First, he appears at the beginning of the Indus Scripts mirror phrase with Pals ka vessels and sun glyphs. Secondly, the man appears on the outside of the underworld boat, which is an indication he is at the end of his journey. In the central portion of the seal, the alligator is offered the fish from the initial phrase. This seal combines with the Shiva offering seals above to mimic the Rapa Nui bent pillar phrase.

The common lines run from left to right on the Rapa Nui phrase as follows: Bent pillar (snake) offering surround Water Monster (Alligator) Seated deity with raised arm Vessel (or open mouth) Captured fish offering The success of the deceased (in fishing / in completing journey) Three (Orions belt, symbolic of the abode of the ancestors and succession of lineage) Double Sun Seated enlightened human paying homage Boat Bent pillar house (container) House on (next to) boat Double-bar pathway (for the underworld boat) The story of rediscovering the lost Indus Valley and Rapa Nui writing systems lead to a significant correlation of symbolism across India and surrounding cultures. This transmitting of symbolism occurred over many centuries. The Indus valley merchants and priests shared a unifying effect across the cultures by transmitting their cultural symbolism and mythology. The symbols represented on Indus Valley merchant seal are integrally connected to the spiritual, mystical and mythical ways of the Indigenous people. Given they are seals used in trade and commerce abroad, a universality of symbolism has developed and assisted greatly in carrying out the research. Egypt and Mesopotamia were explored in this research and several mythical elements that cross the cultures towards the Indus civilization were found. Some of the Indus Script glyphs were defined using this method and many more signs were better understood. To say that these signs used by the merchants and priests of the Indus Valley have universal appeal is an understatement when researching how they relate to the Rapa Nui Script used on the other side of the globe 2500 to 3500 years later. The symbolism has proven itself to span the test of time and geography by its presence confirmed to cross much of the world and much of human history in the above research. This research warrants an in depth study regarding the migration of Indus Valley peoples after the flooding of the Indus Valley 3500 years ago. The research confirms that this migration spread to Polynesia and its writing script moved with the migration that lasted 1500 years until it reached the shores of Rapa Nui. The writing system changed as to be expected, but it is proven above to have a common origin. This research also confirms the ka vessel syllable of the Indus Script found by Rajot Palxxxviii. The method of his research in use of comparative Brahmi has been proven effective in the initial stages of deciphering the Indus Valley Script. The above research relies heavily on his method of acrology or comparison with known symbols and their definitions.
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http://www.goldenageproject.org.uk/325oldbooks.php file:///C:/Users/jsmn/Desktop/coinwithpoaka.htm iii http://en.wikipedia.org/wiki/Caduceus iv http://en.wikipedia.org/wiki/Sagara_(Vedic_king) v http://en.wikipedia.org/wiki/Orion_(mythology); E. A. Wallis Budge, (2008). The Egyptian Book of the Dead. London: Penguin Books. vi Wallis. Ibid. Pp. 585-586. vii Robert Knox, 1994, A new Indus Valley Cylinder Seal, pp. 375-378 in: South Asian Archaeology 1993, Vol. I, Helsinki viii http://sambali.blogspot.ca/2004/12/water-buffalo.html
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http://www.grifterrec.com/coins/kushan/kushan_legends/nandipada/nandipada_table.html. http://caprariusaquacorn.blogspot.ca/2011_08_21_archive.html x http://en.wikipedia.org/wiki/Kumaragupta_I. The first Gupta coin is from king Kumaragupta I, the second coin is of Chandragupta II. One side with the king has the Greek legend OOIHU. The reverse with peacock reads in Brahmi: "Chandragupta Vikramaditya, King of Kings, a devotee of Vishnu". xi http://www.greatdreams.com/war/space/sun_phoenix_zu.htm xii http://en.wikipedia.org/wiki/Ishtar xiii rugreview.com or122a16.jpg Sumerian seal xiv http://sirimunasiha.wordpress.com/about/1640-2/kahapanas-of-successors-of-king-ajatasattu-dynasty/ xv http://sirimunasiha.wordpress.com/about/maya-devi-series-ii/;http://sirimunasiha.wordpress.com/about/mayadevi-series-ii/ xvi http://sirimunasiha.wordpress.com/about/standing-lady-on-a-boat-railed-swastika-series-iii-2/ xvii http://kglyphicsart.blogspot.ca/2011/04/ancient-egyptian-wormholes.html xviii http://en.wikipedia.org/wiki/Egyptian_mythology xix http://bafsudralam.blogspot.ca/2008/04/proto-sumerian-writing.html xx http://sirimunasiha.wordpress.com/author/sirimunasiha/page/26/ xxi http://www.boloji.com/index.cfm?md=Content&sd=Articles&ArticleID=11811 xxii http://www.as.miami.edu/phi/bio/Buddha/Milinda.htm xxiii http://sirimunasiha.wordpress.com/about/1640-2/kahapanas-of-successors-of-king-ajatasattu-dynasty/ xxiv http://www.mcsearch.info/record.html?id=58995 xxv http://www.tamilnet.com/art.html?catid=79&artid=32626 xxvi http://www.sixbid.com/nav.php?p=viewlot&sid=458&lot=1280 xxvii http://www.lessing-photo.com/search.asp?a=1&kc=2020202033EA&kw=SEAL&p=1&ipp= xxviii http://thingsinthree.blogspot.co.uk/2012/06/creation-of-mankind-pickaxe.html xxix http://www.lebtahor.com/Archaeology/inscriptions/khirbet%20el%20qom%20tomb%20inscription.htm xxx http://en.wikipedia.org/wiki/Rakhine_State xxxi http://www.lebtahor.com/Archaeology/inscriptions/khirbet%20el%20qom%20tomb%20inscription.htm xxxii http://www.mitchellteachers.net/WorldHistory/MrMEarlyHumansProject/MrMSumerianCivilizationAchi evements.html xxxiii http://www.jimloy.com/hiero/yourname.htm xxxiv http://www.antiquesatoz.com/golf/golfsumeriaseal.htm xxxv http://egyptianbookofthedead.book-lover.com/bookofthedead8.html xxxvi http://www.sacred-texts.com/egy/leg/index.htm xxxvii http://bafsudralam.blogspot.ca/2008/04/proto-sumerian-writing.html xxxviii http://www.boloji.com/index.cfm?md=Content&sd=Articles&ArticleID=10657