A variety of religious cults existed in the pre-Indus Civilization societies in the Indus Valley. A common theme of the religious symbols and artifacts belonging to these early societies was procreation as is evident from the number of terracotta figurines of mother goddesses recovered from Kot Diji, Mehrgarh and other pre-Indus sites. Wide spread, curving horns were also used on a number of artifacts, including a goblet from Kot Diji and several sherds from Rehman Dheri. On one of these tablets from Kalibangan the complete deity with a headdress of buffalo horns is depicted. Animism and anthropomorphism is reflected in the designs on a number of artifacts found from Rehman Dheri, Kalibangan, Kot Diji and other pre-Indus sites.
In the integration process of multi-ethnic communities in the urban environment of early Indus Cities, consolidation was achieved of a number of these pre-Indus beliefs; and, based on these beliefs a number of pre-Indus rituals were adopted in the new religion.
The ancient concept of seeking divine assistance in matters related to procreation finds expression in a number of terracotta votive objects. In the rituals adopted in the Indus Civilization human and animal figurines were commonly used as votive objects in private religious ceremonies. Other votive objects used for similar rituals were in the form of phallic symbols of male and female organs. The ceremonies involving these votive objects were performed on altars built inside the houses or outdoors under the Pipal trees. The basic purpose of these rituals was to seek divine assistance for the birth or protection of a child, or for a bumper harvest of crops or for protection and multiplication of domestic animals. Once the ritual was over, the figurines used in these rituals were handed over to the children, who used them as toys.
The principal deity worshipped by the Indus people was a human being depicted as the master of the universe. All nature, including the wild animals and trees were subservient to him. The deity is shown on several seals and tablets recovered from Moenjodaro and Harappa. Basically the deity is portrayed in two different postures. One is in a seated position with legs folded in a yogic pose. In a common posture the deity is shown in a standing position with branches of Pipal tree providing him comfort and protection. In one terracotta tablet, the deity is shown grappling with two tigers to bring them into submission. In another scene depicted on a tablet from Harappa, the deity sitting in a yogic pose is shown witnessing a wild buffalo being gored with a spear. In yet another portrayal on a seal recovered from Moenjodaro, four wild animals, a tiger, an elephant, a buffalo and a rhinoceros are in attendance in a submissive pose, while two harmless antelopes feel secure under the throne on which the nude deity is sitting. The deity normally carries a thick and heavy ponytail dangling from the back of his head. Both his arms are fully covered from the wrist to the shoulder by bangles, which serve as symbols of protection and control. In addition to these adornments, which are common to almost all the portrayals of the deity, a very conspicuous attire in a lot of the portrayals of the deity is a magnificent headdress made from widespread buffalo horns. A branch of the Pipal tree, with three leaves projects from the head in the space between the two horns. The buffalo horns serve as symbols of power and glory, while the Pipal tree symbolizes security, protection and purity.
Fig trees of the Pipal and Banyan varieties have, since the earliest times, figured prominently in the lives of the people inhabiting the lower Indus Valley. These trees became public symbols of benevolence doled out by nature in the shape of fruits, and security and protection against the fierce heat of the sun and against rain through its strong, heavy and widespread branches. The convergence of droves of chirping birds, attracted by the fruits, brought a further element of liveliness into the lives of the people. What better place could there be for the home of the spirits and deities than the space between the thick foliage of these luxuriant trees!
Thus the Pipal tree becomes an object of veneration and a symbol of security, protection and purity in the religion of the Indus people. As a manifestation of this belief, the Pipal tree, its branches and leaves are widely represented in the scenes inscribed or painted in the artifacts belonging to the Indus Civilization. A steatite seal from Moenjodaro depicts the scene of an important religious ritual in which the horned deity is shown standing between two branches of the Pipal tree, while a worshipper with Pipal leaves projecting from his head, is kneeling in front of him. That the Pipal tree was the abode of the horned deity and other spirits is illustrated in another depiction on a molded terracotta tablet from Harappa. In this tablet the deity is shown standing inside an arch formed by Pipal tree leaves.
Purity was also the theme of another ritual related to bathing. One of the public rituals, in which there was participation of a large section of the population of Moenjodaro, consists of public bathing in a huge tank or pool specially constructed for this purpose. The magnificence of this bathing complex is an indication of the importance of this ritual in the Indus religion. Bathing not only served the purpose of cleansing of the body, it was believed, that through this ritual, the mind and soul of the person was purified. This widespread belief in attainment of spiritual cleanliness of the mind, body and soul through bathing and personal hygiene, is also indicated in the provision of special bathing places in every house, elaborate drainage and sewerage facilities, both private and public, and the existence of more than 700 deep wells for regular water supply in the city of Moenjodaro.
In the integration process of multi-ethnic communities in the urban environment of early Indus Cities, consolidation was achieved of a number of these pre-Indus beliefs; and, based on these beliefs a number of pre-Indus rituals were adopted in the new religion.
The ancient concept of seeking divine assistance in matters related to procreation finds expression in a number of terracotta votive objects. In the rituals adopted in the Indus Civilization human and animal figurines were commonly used as votive objects in private religious ceremonies. Other votive objects used for similar rituals were in the form of phallic symbols of male and female organs. The ceremonies involving these votive objects were performed on altars built inside the houses or outdoors under the Pipal trees. The basic purpose of these rituals was to seek divine assistance for the birth or protection of a child, or for a bumper harvest of crops or for protection and multiplication of domestic animals. Once the ritual was over, the figurines used in these rituals were handed over to the children, who used them as toys.
The principal deity worshipped by the Indus people was a human being depicted as the master of the universe. All nature, including the wild animals and trees were subservient to him. The deity is shown on several seals and tablets recovered from Moenjodaro and Harappa. Basically the deity is portrayed in two different postures. One is in a seated position with legs folded in a yogic pose. In a common posture the deity is shown in a standing position with branches of Pipal tree providing him comfort and protection. In one terracotta tablet, the deity is shown grappling with two tigers to bring them into submission. In another scene depicted on a tablet from Harappa, the deity sitting in a yogic pose is shown witnessing a wild buffalo being gored with a spear. In yet another portrayal on a seal recovered from Moenjodaro, four wild animals, a tiger, an elephant, a buffalo and a rhinoceros are in attendance in a submissive pose, while two harmless antelopes feel secure under the throne on which the nude deity is sitting. The deity normally carries a thick and heavy ponytail dangling from the back of his head. Both his arms are fully covered from the wrist to the shoulder by bangles, which serve as symbols of protection and control. In addition to these adornments, which are common to almost all the portrayals of the deity, a very conspicuous attire in a lot of the portrayals of the deity is a magnificent headdress made from widespread buffalo horns. A branch of the Pipal tree, with three leaves projects from the head in the space between the two horns. The buffalo horns serve as symbols of power and glory, while the Pipal tree symbolizes security, protection and purity.
Fig trees of the Pipal and Banyan varieties have, since the earliest times, figured prominently in the lives of the people inhabiting the lower Indus Valley. These trees became public symbols of benevolence doled out by nature in the shape of fruits, and security and protection against the fierce heat of the sun and against rain through its strong, heavy and widespread branches. The convergence of droves of chirping birds, attracted by the fruits, brought a further element of liveliness into the lives of the people. What better place could there be for the home of the spirits and deities than the space between the thick foliage of these luxuriant trees!
Thus the Pipal tree becomes an object of veneration and a symbol of security, protection and purity in the religion of the Indus people. As a manifestation of this belief, the Pipal tree, its branches and leaves are widely represented in the scenes inscribed or painted in the artifacts belonging to the Indus Civilization. A steatite seal from Moenjodaro depicts the scene of an important religious ritual in which the horned deity is shown standing between two branches of the Pipal tree, while a worshipper with Pipal leaves projecting from his head, is kneeling in front of him. That the Pipal tree was the abode of the horned deity and other spirits is illustrated in another depiction on a molded terracotta tablet from Harappa. In this tablet the deity is shown standing inside an arch formed by Pipal tree leaves.
Purity was also the theme of another ritual related to bathing. One of the public rituals, in which there was participation of a large section of the population of Moenjodaro, consists of public bathing in a huge tank or pool specially constructed for this purpose. The magnificence of this bathing complex is an indication of the importance of this ritual in the Indus religion. Bathing not only served the purpose of cleansing of the body, it was believed, that through this ritual, the mind and soul of the person was purified. This widespread belief in attainment of spiritual cleanliness of the mind, body and soul through bathing and personal hygiene, is also indicated in the provision of special bathing places in every house, elaborate drainage and sewerage facilities, both private and public, and the existence of more than 700 deep wells for regular water supply in the city of Moenjodaro.
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