inscription, and was of the view that the seal could be identified with Anil, the paramount chief of four clans represented by the animals. The Finnish Indologist, Asko Parpola has suggested that the yogic pose could be an imitation of the Proto-Elamite way of representing seated bulls. He attempted to translate the inscription which he considers to be an early form of Dravidian, and found that the figure represents a servant of an aquatic deity. He finds that the animals depicted on the seal best resemble those associated with the Hindu god Varuna who could be associated with the aquatic themes which are prominent in the Indus religion. Vedic Interpretations M.V.N. Krishna Rao identified the figure with the Hindu god Indra. He argued that the tiger could be ignored since it is much larger than the other animals, and the two deer could also be ignored since they were seated under the table. Then he combined the first phoneme of each of the animals, and the word 'nara' meaning man, and arrived at the term 'makhanasana' which is an epithet of Indra. Not determinable Some 21st-century scholars have urged caution in interpretation. The American Indologist Wendy Doniger wrote in 2011 that while "several generations of scholars" had taken up Marshall's suggestion, and while there was "a general resemblance" between the figure on the seal and later Hindu images of Shiva, and while the people of the Indus could have had "a symbolism of the divine phallus", all the same "we cannot know it, [and] it does not mean that the Indus images are the source of the Hindu images, or that they had the same meaning." The scholar of religious studies Geoffrey Samuel wrote that the multiple interpretations "certainly cannot all be right". Since, further, there was no obvious method for choosing between the interpretations, and little was known with certainty about Indus Valley religious practices, "the evidence for the yogic or 'Tantric' practices is so dependent on reading later practices into the material that it is of little or no use for constructing any kind of history of [such] practices". See also Gundestrup cauldron Cernunnos Gutasaga References Sources Kenoyer, J.M., entry by, in: Matthiae, P; Lamberg-Karlovsky, Carl Clifford, Art of the First Cities: The Third Millennium B.C. from the Mediterranean to the Indus, p. 403, 2003, Metropolitan Museum of Art (New York, N.Y.), google books Kosambi, Damodar Dharmanand, Myth