Miscellaneous - 1

Tomb of Agasthya 
It is plausible that "Akathiyan" (known as Agasthya in Sanskrit) does not refer to a single individual. The word "Akam" means the inner quarters (inside the citadel) of the Indus Valley cities, where the priestly elite governed. "Akathiyan" is derived from "Akam" (inside) and "An" (a male honorific suffix), indicating the chief figure or ruler within the fortified complex (or Mathilakam, as shown in figure 1). Agasthya is also believed to have been born from a jar (Kumbhayoni), and according to Mahadevan, the jar symbol in Indus scripts served as a male honorific suffix (figure 2). Even today, the term "Akaththan" in Malayalam refers to the primary male figure (husband) within a household or, in the case of a palace, the king. After the decline of the Indus Valley civilization, it is believed that the Velir clans migrated south and settled on the Malabar Coast, led by their leader, or Akathiyan.

There are various legends about Agasthya’s migration to the south. One story describes how he tricked the Vindhya mountains into bowing before him, never returning, causing the mountains to remain low. This was supposedly done at the gods' request to stop the mountain's growth. Another legend states that Lord Shiva sent Agasthya south to restore balance to the Earth, as the northern region dipped under the weight of crowds gathered to witness Shiva’s wedding with Parvati.

In addition, a myth claims that Agasthya’s Samadhi (tomb) is located beneath the feet of the Padmanabhaswamy idol in the Padmanabhaswamy Temple, Trivandrum. In a recent interview with Prince Adithya Varma of the royal family, he mentioned hearing of a tunnel in the B Nilavara (cellar) that leads to the base of the idol, where the Samadhi is said to be situated. Its no coincidence that, the temple is also called Mathilakam. These stories suggest a cultural continuity from the Indus Valley civilization to the southern tip of the Indian subcontinent. 

Figure 1 (Mathilakam)

Figure 2(jar- a male honorific suffix)

Pulayan/Pulluvan 

The partridge symbol (figure 3) in the Harappan script carries notable significance, particularly when viewed in the context of the Proto-Dravidian clans and their traditions of totemic worship. In a previous discussion, we examined the reverence for roosters among certain groups. In Malayalam, the partridge is called pullu, a bird traditionally associated with bad omens. This Indus symbol might represent communities that venerated the bird, potentially dating back to the Harappan era.

In Kerala, there still exists a sect known as the Pulluvan—literally "worshippers of the pullu." They visit homes and perform songs rooted in traditions of snake worship, ghost worship, and magical rituals. Another related possibility is the Scheduled Caste group known as the Pulayan. Sangam literature references a Chera king referred to as Pulayar Ko(n) (King of the Pulayar), suggesting a historical connection. It is plausible that the Pulayas were a martial group, serving as warriors or bodyguards for the Chera kings, as suggested by the term Pulayar Mey Marai.

This aligns with the theory of cultural connections between the Indus Valley civilization and Malanadu, hinting at possible migrations following the decline of the Indus cities. The choice of the partridge as a totem could symbolize enmity with snake-worshipping tribes (Cheras), given that partridges prey on snakes. The title Pulayar Ko might signify the ascendancy of the Chera rulers, who perhaps derived their authority from or over the partridge-worshipping communities.

On that note, let me bring your attention to the story of King Parikshit, who was attacked by the snake Takshaka. Takshaka is said to have disguised himself as a worm (referred to as puzhu in Malayalam or pulu in Tamil) and hidden inside a fruit that the king consumed. Despite the extensive security measures put in place to protect him, the king ultimately fell victim to this attack and was killed.

In response to this tragedy, Parikshit’s son, Janamejaya, initiated the Sarpayajna (snake sacrifice), during which numerous snakes were burned in a ritualistic fire. Interestingly, the Indo-Aryan Puru tribe, mentioned in both the Rigveda and the Mahabharata, is believed to have derived its name from the Dravidian term Pullu (partridge), as noted by Iravatham Mahadevan. It is plausible that this tribe had historical ties with the Pulayar tribe of Kerala and may have engaged in partridge worship. Parikshit, being Arjuna’s grandson, belonged to the lineage of Puru (and Kuru).

This story may stem from the historical enmity between snake worshippers and Pullu worshippers. Takshaka may have been disguised as a Puru or Pullu (partridge worshipper), rather than as a puzhu/pulu (worm). The homonymic confusion between Pullu (partridge) and puzhu/pulu (worm) might have led to the misinterpretation of the story. It is plausible that Takshaka, posing as one of the king's own men (a Puru or Pullu), infiltrated Parikshit’s inner circle and orchestrated the assassination.  This longstanding conflict might also explain the severe retaliation in the form of the Sarpayajna, where snake worshippers were ruthlessly targeted and killed.

Figure 3 (Partridge sign)

Nilkantan/Nilgiri

The Indus symbols shown in Figure 4 are believed to represent Lord Shiva, as interpreted by Iravatham Mahadevan. He proposes that the first symbol, depicting a weapon with five teeth, signifies nil (or nila in Malayalam), meaning "great" or "high position." The second symbol, portraying a man with horned headgear similar to the figure on the Pashupati seal, is interpreted as a warrior or God, represented by the word kantan. Together, these symbols are read as "the great warrior" or "great god," which was later translated into Sanskrit as Maha-deva.

In Malayalam, the word kantan (as in kantan-poocha, meaning a male cat) is still used to denote a prominent male figure or even a warrior. Meanwhile, kaatan in Malayalam refers to "husband," perhaps conveying a similar sense of importance. This suggests that Nil-kantan originally signified "great man" or "great god."

However, at some point, this meaning appears to have been lost in translation, as suggested by the Palazhi Madan myth. It was likely misinterpreted as Neela-kaNTha (blue-necked) rather than Nila-kantan (great god). To justify this Sanskritization or reinterpretation of terms originally rooted in a Dravidian language, potentially Malayalam, a backstory was likely created. This backstory involves the mythological tale of Shiva swallowing the kalkut poison that emerged during the churning of the cosmic ocean (Palazhi), in which Parvati pressed Shiva's throat to prevent the poison from reaching his stomach, causing his throat to turn blue.

Furthermore, the name Nilgiri (in Kerala), traditionally interpreted as "blue mountain," might have originally meant "great mountain."

Additionally, the word kann(u) could be a form of kant(an) in Malayalam, meaning "buffalo," and may be linked to the proto-Shiva with buffalo horns, as depicted in the Pashupati seal.

All of this evidence provides further support for the hypothesis that the Indus language may have been closely related to Malayalam.

                                                             Figure 4 (Great god/Maha deva)

Andaav

The jar symbol in the Indus script is believed to represent a male figure and functions as an honorific suffix, an, according to Iravatham Mahadevan. Initially, I was uncertain about why this suffix might sound like that, but I realized that the Malayalam word andav, meaning "vessel," provides a compelling connection. Mahadevan has suggested similar terms from other Dravidian languages with comparable meanings, but andav appears to be a particularly fitting match. It is possible that ant/anr/an could have been derived from this term.

Legend describes the Indus priest-ruler, referred to as Akath-ian or Agasthya, as kumbha yoni (jar-born). This aligns with the use of the jar symbol (andav) as a marker of respect, signifying a male of royal lineage or high status. The combination of symbols shown in Figure 5—a male figure (aal or aan) followed by a jar (andav)—could thus be interpreted as "a man of royal lineage." This could be read as ant-aal or ant-aan.

As the royalty in the Indus cities were both priests and rulers, the Malayalam word anthanan, meaning "priest," offers a compelling parallel. It further supports the idea of a linguistic and cultural connection between the Indus civilization and Dravidian/Malayalam traditions.

Furthermore, the name Antiran, attributed to an Ay king praised by Tamil poets such as Mudamochiyar, Odakizhar, and Kiranar in the Purananuru, may also have origins in this framework. This connection highlights a possible link to the priest-ruler lineage of the Indus Valley civilization.

In this context, the term andavan, meaning "god" in Malayalam, holds particular significance, as it likely embodies the divine connotations of the jar symbol and its connection to royal lineage.

                                                               Figure 5 (Anthanan/Priest)

Ghandakarnan

Iravatham Mahadevan has proposed several linguistic parallels for the Figure 4 (Great god/Great warrior) suggesting a continuity of cultural and linguistic traditions from Indus Valley times:

1. Karnan: This name could be another form of Kandan. In Sanskrit, karna means "ear," and Karnan, a significant figure in the Mahabharata, was the son of the sun god, born with divine earrings. As a warrior prince and elder brother to the Pandavas, Karnan fought alongside the Kauravas in the Kurukshetra war. The narrative of being "born with earrings" may have arisen from a mistranslation of the term Kandan, which originally meant "warrior."

2. Kumbhakarnan: The term kumbha means "jar" in Sanskrit, while kandan/karnan signifies a warrior. Together, this (refer figure 4) could form Kumbha-karnan, the name of the warrior prince and brother of Ravana in the Ramayana. Kumbhakarnan fought in the epic war and was ultimately slain by Lord Rama.

3. Gandakarna: In my view, the ferocious deity of Malabar, Gandakarnan (as worshipped in Theyyam traditions), presents another possible parallel. According to a popular myth, he was born inside Shiva’s throat (Kanda) and emerged through his ear (Karna), hence his name. It is plausible that Kanda and Karna are variations of the same root word, Kandan, with their repetition likely stemming from confusion arising due to the presence of homophones. Myths of Gandakarna describe his origin from Shiva’s body to cure Bhadrakali of poxes caused by the demon Mahishasura’s wife, Manodari. After fulfilling his role, Gandakarna brought Manodari before Bhadrakali, who forgave her and named her Vasoorimala. Vasoorimala is now worshipped alongside Bhadrakali, particularly in the Kodungallur temple. 

4. Manikandan: The name Manikandan, associated with the warrior prince of the Pandalam dynasty (commonly identified as Ayyappa), may also stem from these linguistic and cultural traditions. In Sanskrit, Ghanda means "bell," while Mani in Malayalam carries the same meaning, suggesting a connection between the terms Ghanda-karna and Mani-kanda. The term Kanda(n) appears to have been lost in translation due to errors arising from the presence of homophones. Ayyappa is regarded as a Sastha, which suggests that he was likely a bodhisattva. The Malayalam word chatha, possibly derived from bodhisattva, points to this connection. Over time, chatha was Sanskritized to Sastha. The name Ayyappa could reflect a synthesis: Ayya (Buddha) and Appa (child), denoting "Buddhist child" or a young Bodhisattva. A bodhisattva is a Buddhist who is on the path to achieving Buddhahood or becoming a fully enlightened being.  This connection supports the theory that the Sabarimala temple may have originally been a Buddhist site later integrated into Hindu traditions. According to popular legend, Manikandan was born with a bell necklace gifted by Shiva and hence the name. He was discovered in the forest and adopted as a prince by the king of Pandalam (a region in South Kerala). As a warrior, he vanquished demons and eventually merged with the deity of Sabarimala. The myth portrays him as the son of Hari (Vishnu) and Haran (Shiva), symbolizing a unifying figure who brought together Vaishnavites and Shaivites to oppose their common rival—the Buddhists.

These examples suggest not only linguistic continuity but also cultural assimilation, with names, myths, and traditions adapting and evolving across time, regions, and religions.

Ays of Kerala

You might find it intriguing that the name Venad is, in fact, a combination of Vel and Nad, which could potentially mean "the land of the Velir." The Venad kings are believed to trace their ancestry back to the Ay dynasty, a Velir clan that is thought to have migrated to the southern part of the Indian subcontinent following the decline of the Indus Valley Civilization. Establishing their kingdom with Vizhinjam as their capital, the Ays remained in power until at least the 10th century and shared close ties with the early Cheras.

Historical records mention notable figures such as Veliyan Venmal Nallini, the wife of the Chera king Uthiyan, and Veliyan Venman Ay Eyinan, who led the Chera warriors against Nannan of Ezhimalai. The names Venman and Venmal, which respectively mean "son" and "daughter" of the Velir clan, further reinforce the notion that the Ays were indeed a part of the Velir lineage. According to legend, they were brought south by the sage Agastya following the fall of Dwaraka. This narrative aligns with the broader historical understanding of the events that followed the decline of the Harappan civilization. The ruler, known as Akath-iyan (meaning "one who resides within" later rendered as Agasthya in Sanskrit), could have led the Velir migration. Additionally, terms such as Dwar-aka and Mathil-akam (refer to Figure 1, with akam meaning "inside" in Malayalam) likely denote the inner sanctum of the fortified citadels inhabited by the priestly rulers of the Indus cities.

The Velir also claimed descent from the Vrishni or Yadava lineage (Yadu Vamsa of Krishna). In this context, Iravatham Mahadevan interpreted the symbol below (figure 6) as Ida, representing the torso with an emphasis on the waist (Ida/Iduppu). Based on this, he concluded that it signified the Idayas—pastoral communities engaged in animal husbandry. It is possible that the term Ya-da-va evolved from I-da-ya, a Dravidian/Malayalam word for cowherds. Additionally, the term Avi in Malayalam, meaning "goat," suggests a link between Avi-yar (those engaged in sheep farming) and Yadavas. This linguistic evolution might indicate that Ay is a derivative of Avi, reinforcing the connection between the Ay dynasty and pastoral traditions.

                                                                        Figure 5 (Idayan/Ay)

References

Mahadevan, I. (2011). The Indus Fish Swam in the Great Bath: A New Solution to an Old Riddle . Bulletin of the Indus Research Centre.

Mahadevan, I. (1970). Dravidian Parallels in Proto Indian Script. Journal of Tamil Studies.

Rajendran, A. (n.d.). Hindu Blog. Retrieved from https://www.hindu-blog.com/2022/02/story-of-kandakarnan-theyyam-kavu.html

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