T.L. Subash Chandira Bose and Jack Andrews.

In our mother earth millions of symbols were found in caves, rocks surfaces, clay tablets, temples, stone pillars, manuscripts, scrolls, and copper plates. These symbols were engraved/drawn by our ancient people of different cultures. These symbols were drew the attention of the researchers and scholars may be around 200 –300 years before. Due to unknown reason our knowledge to understand the hidden meaning of the symbols are inadequate due to lack of ancient records more over it appears the knowledge may be kept as secret by limited people for unknown reasons. The origin and its period also cannot be identified exactly due to lack of written script near or around the symbols. In order to decipher one has to imagine, assume the environment, life style of the ancient people, their culture and religion. The scholars and researchers are managed to assume the approximate periods to rounded figure of different ages of civilization of human beings. So it remains as a tough task for the researchers and scholars to decipher the ancient symbols.

There are some symbols with identical in shape and design, which were found at many places having different cultures and religions. Among those symbols, the symbol of three concentric oblongs found at Kalkalpen (01), and on rock surface and doorsteps of Holy of Holy in Tamil Nadu, India (02). The similar symbol was found on a clay sea during excavation work at Harappa. (03). A study on this particular symbol attracted the author, since a similar symbol (three concentric square) also found among the symbols in “Row or Morris Games” (04) it was also given title as a play board.

(1)Kalkalpen. (2) Tamil Nadu, India. (3) Harappa clay seal (4) Row or Mill Games – Morris

(2) Symbol found on doorsteps of Holy of Holy In Tamil Nadu.

These symbols can be easily observed on the doorstep of entry gates of towers and the doorstep of entry gates of the chambers of most holy of holy. In some cases these symbols were identified on the surface of rock or stone slabs in and around the temple complex. In Indian traditional culture the door step of entry gate, the most holy of holy considered to be most sacred place, even the door step of main entry door of the residential house considered to be most sacred one hence the entire door post and doors are decorated with sacred sign and symbols spotted red (and yellow color) Kumkum and Terminate paste. Since the doorsteps are considered to be most sacred place and the particular symbol mostly found on the doorsteps of holy of holy, the symbol must denote some sacred meaning.

Construction : The symbol with three concentric oblongs with vertical and horizontal lines appears to be certainly a geometrical pattern.

Period : Based on the clay seal found at Harappa we can conclude that the ancient people may know the knowledge of this symbol before 2000-2500 B.C.

Ancient ritual ceremony and Geometry.

A sacred ritual ceremony to find the cardinal direction indicated in ancient manuscripts. Among those ancient manuscripts the Vishvakarmiam and Maymata are the oldest manuscript. Vishvakarma (Vishvakarmiam) said to the chief architect for Gods and Mayan (Maymata) said to be the architect for human beings

The ancient geometry may be originated and developed for finding the cardinal points with reference with sun. In the beginning our ancestors would have been initially intend to know sun’s path to know the direction East and West. Later they found four directions East, South, West and North, then other sub directions Southeast, Southwest, Northwest and Northeast. In ancient time our ancestors considered this as a most sacred practice and strictly followed as ritual ceremony. Also a selected person called Sthapati (Architect) will perform this ancient practice. It appears the ancient geometry would have developed from this prime ritual practice. This ritual practice narrated in details in various ancient texts. Even though I am not intended to go in depth; the following few information is essential to understand the ancient geometry of finding the cardinal points.

Chapter 6 – Orientation, Maya Mata (05) describes the ancient geometrical method to find out the directions.

6.1-2a: Now I give the method of determining the cardinal points with the help of gnomon. (One should proceed) at sunrise during a month when the solar path is towards the north during a bright fortnight when sunrise is beautiful, when there are no spots in the solar disc and when the sun is in the asterism of the appropriate fortnight.

6.2b- 3a: First of all a piece of ground in the middle of the chosen site should be leveled by the water method; this must be square one square pole in the center in the center of which the gnomon should be set.

6.3b- 5: Herewith the dimensions of the gnomon (Sanku): the largest kind is one cubit long, its diameter at is one digit at the top and five at the bottom, it is perfectly circular and without irregularities; one of medium size (has a length of) eighteen digits and a small one a length of twelve or nine digits, their diameter at the top and bottom being (in all case) proportionate to their length.

6.6- 7a: The materials prescribed for the making the gnomon are as follows: Ivory, sandalwood, wood of khadira, kadara, sami, saka or tinduka or other hard wood; its tip should be perfectly circular.

6.7b- 8a: When the gnomon has been made it is set up in the chosen place at sunrise, then a circle is drawn of which the gnomon is the center and which the diameter is double the length of the gnomon.

6.8b-11a: The line which join the two points where the shadow (of gnomon) has touched the circle in morning (A) and in the evening (B), gives the east - west direction. The line which passes through the space between these two points and (which is like that which) connects the head and tail of a carp, is the north - south axis; the sage should draw these two lines, Then the circles which have their centers at the east and west points should be drawn.

(Please refer the pictures at top left and right)

Apacchaya

6.11b- 13: (When the sun) is in Taurus or Virgo there is apaccya; when it is in Aries, Gemini, Leo or Libra the (east-west axis) must be put back two digits; when it is in Cancer, Scorpio or Pisces it must be adjusted by four digits, when it is in Sagittarius or Aquarius (it must be adjusted) by six digits and when it is in Capricorn by eight digits. The east-west line is to be fixed after it has been moved to the right or to left of the shadow.

Apacchaya – Contd.

6.27: (The east=west line) should be established with adjustments of the following numbers of digits for each ten day period of each month: (Aries) two, one, zero, (Taurus) zero, one, two, (Gemini) two, three, four, (Cancer) four, three, two, (Leo) two, one, zero, (Virgo) zero, one, two, (Libra) two, three, four, (Scorpio) four, five, six, (Sagittarius) six, seven, eight, (Capricorn) eight, seven, six, (Aquarius) six, five, four, (Pisces) four, three, two.

6-28: When the course of the sun has been taken into consideration in relation to the constellations, the indicated adjustment should be made, when necessary; the correction once made, the line is drawn from the stake and the ground can be prepared.

The below diagram are the method to find cardinal points/directions.

The possibility of the origins of sacred symbols arrived based on ancient geometry of finding the cardinal points/directions. The first symbol with a vertical and horizontal lines forming a shape of a + (plus) cross was the first sacred symbol referring the four cardinal (E, S, W and N) directions, was the first sacred symbol. The symbols in Morris play game indicated in red. NB: In the group of symbols few symbols are repeated for reference purpose.

Conclusion: We request the readers, scholars and researchers to decide whether the symbols in Morris game are really meant for game or originated from ancient sacred ritual geometry?

References:01. “Morris on rock in the northern part of the Kalkalpen” by Franz Mandl,

02. The Author’s Collections of ancient sacred symbols,

03. Yantra –The tantric symbols of cosmic unity: Madhu Kanna, page-10,

04. Return to the Board Games Page

05. Mayamata: Chapter-6, Orientation; translated by Bruno Dagens