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Indus Valley Pictograms -and Daksha - Sanat Kumara - in the Vedas

May 30, 2011 11:57 AM
by M. Sufilight

Dear friends

Here are a few views to consider:

Maybe the following would be of some interest to some readers concerned with the origins of Dzyan Stanzas...

Two Systems of Symbolic Writing - The Indus Script and the Rongorongo Script of Easter Island
"8. Two seals with cosmogonic inscriptions"
"On the presumption that the additional stroke of the man-sign represents a phallus, it can be read as the creator-god Daksha, whose name means potency literally. The inscriptions can then be affiliated to RV X.72.4cd,5cd:

>From Aditi (2) Daksha (1) was born, from Daksha (4) Aditi (3);
then the beneficial gods (5) were born,
the friends (7) of the drink of immortality (6)." 
(Try to find Seal 2420 about Daksha (Sanat-Kumara) and the Indus Pictograms)

Se also SD. Vol. II, p. 247 footnote:
"And the Rig-Veda says that "Daksha sprang from Aditi and Aditi from Daksha," a reference to the eternal cyclic re-birth of the same divine Essence."

The Indus script and the ág-Veda - by Egbert Richter-Ushanas (Seal on p. 92 - about Daksha or rather Daksa p. 85-88)

- - - - - - -
H. P. Blavatsky about Daksha, also known as Sukra or Lucifer-Venus, Sanat-Kumara...the Incarnating Kumara - the progenitor of the third race of humanity with males and females.

*** 1 ***
H. P. Blavatsky wrote in the Secret Doctrine vol. II, p. 31-32
"In one of the most ancient Catechisms of Southern India, Madras Presidency, the hermaphrodite goddess Adanari (see also "Indian Pantheon") has the ansated cross, the Svastica, the "male and female sign," right in the central part, to denote the pre-sexual state of the Third Race. Vishnu, who is now represented with a lotus growing out of his navel â or the Universe of Brahmà evolving out of the central point Nara â is shown in one of the oldest carvings as double-sexed (Vishnu and Lakshmi) standing on a lotus-leaf floating on the water; which water rises in a semicircle and pours through the Svastica, "the source of generation" or of the descent of man.

    Pythagoras calls Sukra-Venus the Sol alter, "the other Sun." Of the "seven palaces of the Sun," that of Lucifer Venus is the third one in Christian and Jewish Kabala, the Zohar making of it the abode of Samael. According to the Occult Doctrine, this planet is our Earth's primary, and its spiritual prototype. Hence, Sukra's car (Venus-Lucifer's) is said to be drawn by an ogdoad of "earth-born horses," while the steeds of the chariots of the other planets are different.

    "Every sin committed on Earth is felt by Usanas-Sukra. The Guru of the Daityas is the Guardian Spirit of the Earth and Men. Every change on Sukra is felt on, and reflected by, the Earth.""
"As Venus has no satellites, it is stated allegorically, that "Asphujit" (this "planet") adopted the Earth, the progeny of the Moon, "who overgrew its parent and gave much trouble," a reference to the occult connection between the two. The Regent (of the planet) Sukra* loved his adopted child so well that he incarnated as Usanas and gave it perfect laws, which were disregarded and rejected in later ages. "

H. P. Blavatsky wrote in the Secret Doctrine vol. II, p. 78
"The allegory says that Sanandana and other Vedhas, the Sons of BrahmÃ, his first progeny, "were without desire or passion, inspired with the holy wisdom, estranged from the Universe and undesirous of progeny" (Vishnu PurÃna, Book I. vii.). This also is what is meant in Sloka 11 by the words: "They would not create," and is explained as follows: â "The primordial Emanations from the creative Power are too near the absolute Cause. They are transitional and latent forces, which will develop only in the next and subsequent removes." This makes it plain. Hence Brahmà is said to have felt wrathful when he saw that those "embodied spirits, produced from his limbs (gatra), would not multiply themselves." After which, in the allegory, he creates other seven mind-born Sons (see "Moksha-Darma" and "MahabhÃrata"), namely, Marichi, Atri, Angiras, Pulastya, Pulaha, Kratu and Vasishta, the latter being often replaced by Daksha, the most prolific of the creators. In most of the texts these Seven Sons of Vasishta-Daksha are called the seven Rishis of the Third Manvantara; the latter referring both to the Third Round and also to the third Root-Race and its branch-Races in the Fourth Round. These are all the creators of the various beings on this Earth, the PrajÃpati, and at the same time they appear as divers reincarnations in the early Manvantaras or races."

H. P. Blavatsky wrote in the Secret Doctrine vol. II, p. 176
"The allegory, as said, shows the psychic element developing the physiological, before the birth of Daksha, the progenitor of real physical men, made to be born from MÃrishà and before whose time living beings and men were procreated "by the will, by sight, by touch and by Yoga," as will be shown.

    This, then, is the allegory built on the mode of procreation of the Second or the "Sweat-born." The same for the Third Race in its final development.

    MÃrishÃ, through the exertions of Soma, the Moon, is taken to wife by the Prachetasas, the production of the "Mind-born" sons of Brahmà also *, from whom they beget the Patriarch Daksha, a son of BrahmÃ"

H. P. Blavatsky wrote in the Secret Doctrine vol. II, p. 498 "The episode brings on a battle between the gods and the Asuras: King Soma, finds allies in Usanas (Venus), the leader of the Danavas; and the gods are led by Indra and Rudra, who side with Brihaspati. "

H. P. Blavatsky wrote in the Voice of Silence, (1889 edition):
"The work from which I here translate forms part of the same series as that from which the "Stanzas" of the Book of Dzyan were taken, on which the Secret Doctrine is based. Together with the great mystic work called ParamÃrtha, which, the legend of NÃgÃrjuna tells us, was delivered to the great Arhat by the Nagas or "Serpents" (in truth a name given to the ancient Initiates), the "Book of the Golden Precepts" claims the same origin. Yet its maxims and ideas, however noble and original, are often found under different forms in Sanskrit works, such as the Dnyaneshwari, that superb mystic treatise in which Krishna describes to Arjuna in glowing colours the condition of a fully illumined Yogi; and again in certain Upanishads. This is but natural, since most, if not all, of the greatest Arhats, the first followers of Gautama Buddha


were Hindus and Aryans, not Mongolians, especially those who emigrated into Tibet. The works left by Aryasanga alone are very numerous.

The original Precepts are engraved on thin oblong squares; copies very often on discs. These discs, or plates, are generally preserved on the altars of the temples attached to centres where the so-called "contemplative" or MahÃyÃna (YogachÃrya) schools are established. They are written variously, sometimes in Tibetan but mostly in ideographs. The sacerdotal language (Senzar), besides an alphabet of its own, may be rendered in several modes of writing in cypher characters, which partake more of the nature of ideographs than of syllables. Another method (lug, in Tibetan) is to use the numerals and colours, each of which corresponds to a letter of the Tibetan alphabet (thirty simple and seventy-four compound letters) thus forming a complete cryptographic alphabet.


When the ideographs are used there is a definite mode of reading the text; as in this case the symbols and signs used in astrology, namely the twelve zodiacal animals and the seven primary colours, each a triplet in shade, i.e. the light, the primary, and the darkâstand for the thirty-three letters of the simple alphabet, for words and sentences. For in this method, the twelve "animals" five times repeated and coupled with the five elements and the seven colours, furnish a whole alphabet composed of sixty sacred letters and twelve signs. A sign placed at the beginning of the text determines whether the reader has to spell it according to the Indian mode, when every word is simply a Sanskrit adaptation, or according to the Chinese principle of reading the ideographs. The easiest way however, is that which allows the reader to use no special, or any language he likes, as the signs and symbols were, like the Arabian numerals or figures,


common and international property among initiated mystics and their followers. The same peculiarity is characteristic of one of the Chinese modes of writing, which can be read with equal facility by any one acquainted with the character: for instance, a Japanese can read it in his own language as readily as a Chinaman in his.

The Book of the Golden Preceptsâsome of which are pre-Buddhistic while others belong to a later dateâcontains about ninety distinct little treatises. Of these I learnt thirty-nine by heart, years ago."

And Chinese is a later version of the age old Senzar language, as well as the Hieroglyphs of Egypt according to Blavatsky.

Are any of the readers ware of which temples in India or Sri Lanka Blavatsky was referring to when writing:
"The original Precepts are engraved on thin oblong squares; copies very often on discs. These discs, or plates, are generally preserved on the altars of the temples attached to centres where the so-called "contemplative" or MahÃyÃna (YogachÃrya) schools are established. " ?

Have no theosophist ever tried to find out?

M. Sufilight

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