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DDK HistoryF.p65 - CSIR

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4.2]<br />

CONTINUED FOREIGN CONTACTS 89<br />

body to the common gaze is precisely represented in seals of the<br />

same locality and period (Ward loc. tit. Chapter L) ; both are sometimes<br />

winged. Just what this signifies is not dear, perhaps recoil of some<br />

Aryans from India. The second wave seems also to be represented in<br />

the Rgveda, by an occasional Persian name, and perhaps Persian<br />

historical characters. The ‘ kinless’ chief Susravas of RV. 1.53.9-10,<br />

who fought and won against twenty opposing kings, is almost certainly<br />

the Iranian Kavi Husravas shown to us avenging a father’s death in the<br />

Avesta ; Turanyu and Turvayana (‘ swiftly advancing’) might indicate<br />

Turanians, whoever they really were. RV. 8.6.46 praises Tirindira,<br />

who is connected with a Parsu, hence might be a Persian. The land of<br />

the seven rivers is known to the Avesta as one of the Aryan regions. Of<br />

the original seven great rivers, two dried up ; the Drsadvati of the Rgveda<br />

is the dry bed of the Ghaggar, while the Sarasvati (which then met it<br />

and the Indus to flow to the sea) had, by the time of the exegetical<br />

works called the Brahmanas, begun to terminate in the desert. Today,<br />

it is a small river in the East Punjab ; its name might have been<br />

transferred from the Iranian Harahvaiti, the Ara-qattu of an inscription<br />

by Tiglath-Pileser III. In that case, the original Sarasvati is the Hilmand<br />

; a fact which archaeologists would do well to keep in mind for future<br />

use in spite of inconclusive finds as at Mundigag. The name IravatI<br />

shifted from the Ravi to the main Burmese river ; the little Candrabhaga<br />

which flows past Pandharpur was named after the Chenab.<br />

Such transfers of name are common.<br />

There are less marked but unmistakable traces of other contacts<br />

with older culture, whether within India or outside. For example RV.<br />

5.45.1-3 describes the Sun-god as he bursts the mountain, throws open<br />

the doors ; the scene is precisely depicted on Meso-potamian seals (fig.<br />

17). where two doors without any building are shown as being thrown<br />

Fig, 17. The Sun-god bursts<br />

the mountain, the gates<br />

are thrown open.

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