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Title
Abstract
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Background and Chronology
Conclusion
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Art
History of Art, Architecture, and Archaeology

The Master of Animals in Old World Iconography

Profile image of Derek CountsDerek Counts

2010

Abstract
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AI

The paper explores the significance of the Master of Animals motif within the iconographic traditions of the Indus Valley civilization. It details the evolution of human-animal interactions depicted in art from the Early Harappan phase through the later urban developments, highlighting the importance of these images in understanding the ideological constructs of the Indus people. The lack of deciphered text poses challenges for interpretation, but parallels with later South Asian iconography and adjacent regions offer insights into the complex narratives conveyed through these artistic expressions.

Figures (16)
Fig. 1. Map of Indus Tradition sites referred to in text (J. M. Kenoyer).
Fig. 1. Map of Indus Tradition sites referred to in text (J. M. Kenoyer).
Fig. 2. Early Harappan, horned-animal motif: a. buffalo-horned deity painted on Kot Dijian jars from Rehman Dheri, ca. 2800-2600 BC (after SHAH — PARPOLA 1991:color photographs 13, 14; see also DUuRRANI 1988:Fig. 56.); b. buffalo-horned deity painted on Kot Dijian jar, Burzahom; c. buffalo-horned deity, polychrome, painted on a jar from Kot Diji, 2800-2600 BC (after KHAN 1965:PI. 176).
Fig. 2. Early Harappan, horned-animal motif: a. buffalo-horned deity painted on Kot Dijian jars from Rehman Dheri, ca. 2800-2600 BC (after SHAH — PARPOLA 1991:color photographs 13, 14; see also DUuRRANI 1988:Fig. 56.); b. buffalo-horned deity painted on Kot Dijian jar, Burzahom; c. buffalo-horned deity, polychrome, painted on a jar from Kot Diji, 2800-2600 BC (after KHAN 1965:PI. 176).
Fig. 3. Harappan horned-animal motif: a. Padri, vessel with horn motifs and anthropomorphic images with horned headdress (after SHINDE 2004); b. Banawali, small globular vessel with buffalo-head motif in relief (after UMESAO 2000: 145, cat. no. 558).
Fig. 3. Harappan horned-animal motif: a. Padri, vessel with horn motifs and anthropomorphic images with horned headdress (after SHINDE 2004); b. Banawali, small globular vessel with buffalo-head motif in relief (after UMESAO 2000: 145, cat. no. 558).
Fig. 4. Harappan horned figurines (J. M. Kenoyer): a. male figurine with horned headdress, Harappa (H94-2265/3952-01); b. tiger with human face, Harappa (H94-2311/5063-01); c. female head on a catlike body, Harappa (HM 2082).
Fig. 4. Harappan horned figurines (J. M. Kenoyer): a. male figurine with horned headdress, Harappa (H94-2265/3952-01); b. tiger with human face, Harappa (H94-2311/5063-01); c. female head on a catlike body, Harappa (HM 2082).
A comparable image found in later Hindu iconography is referred to as kritimukha, or Face of Glory (KRAMRISCH 1996:322). The image represents a demon created by Shiva to destroy another demon, which eventually consumed its own body, leaving only the ferocious head behind. Today, this fierce Combined animal and human faces are also found on tiny terracotta pendants that have holes on both edges. This type of object was probably worn as an ornament or possibly used as a finger puppet (KENOYER 1998). An example from Mohenjo-daro has a human bearded face with short bull’s horns. The beard lies flat against the chin and the face has a peaceful countenance (Fig. 5a). A comparable object from Harappa shows a human face with bull’s horns, but the wide mouth is fanged like a tiger and the beard is spread out like the fur around a tiger’s chin (Fig. 5b). These peaceful and ferocious depictions of a horned figure may reflect various aspects of the same deity or regional interpretations of a horned human-tiger being.
A comparable image found in later Hindu iconography is referred to as kritimukha, or Face of Glory (KRAMRISCH 1996:322). The image represents a demon created by Shiva to destroy another demon, which eventually consumed its own body, leaving only the ferocious head behind. Today, this fierce Combined animal and human faces are also found on tiny terracotta pendants that have holes on both edges. This type of object was probably worn as an ornament or possibly used as a finger puppet (KENOYER 1998). An example from Mohenjo-daro has a human bearded face with short bull’s horns. The beard lies flat against the chin and the face has a peaceful countenance (Fig. 5a). A comparable object from Harappa shows a human face with bull’s horns, but the wide mouth is fanged like a tiger and the beard is spread out like the fur around a tiger’s chin (Fig. 5b). These peaceful and ferocious depictions of a horned figure may reflect various aspects of the same deity or regional interpretations of a horned human-tiger being.
During the Harappan period the use of carved steatite seals with animal motifs and script became widespread in the cities and towns of the Indus Civilization. Seals were used to impress clay lumps that sealed containers, doors, and storerooms, or possibly to verify documents (FRENEZ — TOSI 2005; KENOYER 2001). At Harappa, seals dating to the earliest part of the Harappa phase, Period 3A (2600-2450 BC), were carved with a single animal motif and Indus script. The earliest examples of molded tablets with narrative scenes are found during Period 3B (2450-2200 BC), and most seals and molded tablets with more elaborate narrative scenes date to Period 3C (2200-1900 BC) (KENOYER 2006; MEADOW — KENOYER 1997).
During the Harappan period the use of carved steatite seals with animal motifs and script became widespread in the cities and towns of the Indus Civilization. Seals were used to impress clay lumps that sealed containers, doors, and storerooms, or possibly to verify documents (FRENEZ — TOSI 2005; KENOYER 2001). At Harappa, seals dating to the earliest part of the Harappa phase, Period 3A (2600-2450 BC), were carved with a single animal motif and Indus script. The earliest examples of molded tablets with narrative scenes are found during Period 3B (2450-2200 BC), and most seals and molded tablets with more elaborate narrative scenes date to Period 3C (2200-1900 BC) (KENOYER 2006; MEADOW — KENOYER 1997).
stool (Fig. 7). The standing figure is probably a d eity while the kneeling figure could be a shaman or devotee. In other narratives the image is depicted seated in the yogic position, usually on a wide throne or bed (Fig. 8a). Some seated figures with horned headdresses appear to have additional faces carved on the side of the head, suggesting that this deity had at least three aspects (Figs Sa, b and c). Only one terracotta figurine from Mohenjo-daro has a d ouble face, on front and back of the head (MACKAY 1938:Pl. LXXVI, 8), but no figurine with three or four faces has been found. Fig. 8. Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); reproduced with permission of the author and courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI — PARPOLA 1987:M-304); reproduced with permission of the authors and courtesy of the Archaeological Survey of India.
stool (Fig. 7). The standing figure is probably a d eity while the kneeling figure could be a shaman or devotee. In other narratives the image is depicted seated in the yogic position, usually on a wide throne or bed (Fig. 8a). Some seated figures with horned headdresses appear to have additional faces carved on the side of the head, suggesting that this deity had at least three aspects (Figs Sa, b and c). Only one terracotta figurine from Mohenjo-daro has a d ouble face, on front and back of the head (MACKAY 1938:Pl. LXXVI, 8), but no figurine with three or four faces has been found. Fig. 8. Horned deity seals, Mohenjo-daro: a. horned deity with pipal-leaf headdress, Mohenjo-daro (DK12050, NMP 50.296) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan); b. horned deity with star motifs, Mohenjo-daro (M-305) (PARPOLA 1994:Fig. 10.9); reproduced with permission of the author and courtesy of the Archaeological Survey of India; c. horned deity surrounded by animals, Mohenjo-daro (JOSHI — PARPOLA 1987:M-304); reproduced with permission of the authors and courtesy of the Archaeological Survey of India.
lower face could indicate a beard or simply accentuated lips and nose (Fig. 9a) (MACKAY 1938:PI. CXIII,14; MARSHALL 1931:Pl. CXVH,16). While most horned figures are bearded and presumably male, others are beardless and have a prominent breast representing a female deity. One unique seal from Mohenjo-daro shows a bull-horned female deity with clawlike hands attacking a horned tiger (Fig. 9b) (MARSHALL 1931:PI. CXI, 357). This being has the hindquarters and tail of a bull, but the torso is human female, with a breast in profile. The deity’s female form indicates that the horned beings had both male and female aspects. Se spears at each other and holding onto a figure that is standing between them (Fig. 9c) (JOSHI— PARPOLA 1987:K-65). The middle figure is smaller and probably represents a female with long hair, bangles on each arm, and dressed in a long skirt. Looking over the scene is perhaps a female deity with the body of a tiger and the horns of a Markhor. The deity has long streaming hair, and both arms are covered with numerous bangles. In front of the deity is a tree without leaves; behind is a tree covered with leaves. A single sign of three strokes appears in front of the deity’s face. The motif of the female human-tiger- Markhor deity is also depicted on a square seal from Kalibangan (JOSHI — PARPOLA 1987:K-50) and on a seal from the site of Nausharo (JARRIGE 1989:PI. XIV, 9), but no example has been discovered at the larger urban centers.
lower face could indicate a beard or simply accentuated lips and nose (Fig. 9a) (MACKAY 1938:PI. CXIII,14; MARSHALL 1931:Pl. CXVH,16). While most horned figures are bearded and presumably male, others are beardless and have a prominent breast representing a female deity. One unique seal from Mohenjo-daro shows a bull-horned female deity with clawlike hands attacking a horned tiger (Fig. 9b) (MARSHALL 1931:PI. CXI, 357). This being has the hindquarters and tail of a bull, but the torso is human female, with a breast in profile. The deity’s female form indicates that the horned beings had both male and female aspects. Se spears at each other and holding onto a figure that is standing between them (Fig. 9c) (JOSHI— PARPOLA 1987:K-65). The middle figure is smaller and probably represents a female with long hair, bangles on each arm, and dressed in a long skirt. Looking over the scene is perhaps a female deity with the body of a tiger and the horns of a Markhor. The deity has long streaming hair, and both arms are covered with numerous bangles. In front of the deity is a tree without leaves; behind is a tree covered with leaves. A single sign of three strokes appears in front of the deity’s face. The motif of the female human-tiger- Markhor deity is also depicted on a square seal from Kalibangan (JOSHI — PARPOLA 1987:K-50) and on a seal from the site of Nausharo (JARRIGE 1989:PI. XIV, 9), but no example has been discovered at the larger urban centers.
but a single groove in the groin area has been interpreted as either a vagina or a stylized phallus. The most famous representation of the horned-deity motif is on a seal from Mohenjo-daro that shows a male deity with three faces seated on a throne in the yogic position with what appears to be an erec' phallus (Fig. 8c) (KENOYER 1998). This image is heavily adorned with a series of graduated necklaces reaching to his waist and bangles on both arms. The massive headdress is made up of water buffalc hors with deep ridges and a central fan-shaped element that could represent feathers or branches. A rhinoceros, a water buffalo, an elephant, and a tiger, all ferocious animals, surround the figure. The hrone has legs in the shape of flaring columns, and two gentle antelope are seen at the front of the dais. A single line of undeciphered Indus script (in reverse) is carved along the top of the seal. The hornec figure is clearly the focus of the image, but there are many ways to interpret the iconography (DURING-
but a single groove in the groin area has been interpreted as either a vagina or a stylized phallus. The most famous representation of the horned-deity motif is on a seal from Mohenjo-daro that shows a male deity with three faces seated on a throne in the yogic position with what appears to be an erec' phallus (Fig. 8c) (KENOYER 1998). This image is heavily adorned with a series of graduated necklaces reaching to his waist and bangles on both arms. The massive headdress is made up of water buffalc hors with deep ridges and a central fan-shaped element that could represent feathers or branches. A rhinoceros, a water buffalo, an elephant, and a tiger, all ferocious animals, surround the figure. The hrone has legs in the shape of flaring columns, and two gentle antelope are seen at the front of the dais. A single line of undeciphered Indus script (in reverse) is carved along the top of the seal. The hornec figure is clearly the focus of the image, but there are many ways to interpret the iconography (DURING-
Fig. 11. Horned deity and “temple,” Harappa (H95-2487/4466-01) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan). molded terracotta tablets throughout the Indus CASPERS 1985; PARPOLA 1994; SRINIVASAN 1984). The yogic posture and erect phallus have tantric overtones, representing the use of meditation and sexual powers to control or maintain balance in nature. Because of these features, many scholars have compared the image on this seal to the later Hindu deity Shiva who is often called Pasu pati nath, or Lord of the Beasts. However, such a connection cannot be reliably tested without the decipherment of the text, and there is no way to link the horned figure on any Indus seal with later iconographic images. Even though the images may look similar, the meaning relayed may have been significantly different.
Fig. 11. Horned deity and “temple,” Harappa (H95-2487/4466-01) (Courtesy of the Department of Archaeology and Museums, Government of Pakistan). molded terracotta tablets throughout the Indus CASPERS 1985; PARPOLA 1994; SRINIVASAN 1984). The yogic posture and erect phallus have tantric overtones, representing the use of meditation and sexual powers to control or maintain balance in nature. Because of these features, many scholars have compared the image on this seal to the later Hindu deity Shiva who is often called Pasu pati nath, or Lord of the Beasts. However, such a connection cannot be reliably tested without the decipherment of the text, and there is no way to link the horned figure on any Indus seal with later iconographic images. Even though the images may look similar, the meaning relayed may have been significantly different.
Fig. 12. Buffalo attack scenes: a. bull attack scene, circular button seal, Mehrgarh (after SHAH — PARPOLA 1991:MR-17); b. buffalo attack scene, Mohenjo-daro (after JOSHI — PARPOLA 1987:M-312); c. buffalo attack or bull-leaping scene, Banawali (after UMESAO 2000:88, cat. no. 335). There is a separate theme in Indus art depicting conflict between humans and horned animals. The animals are usually the water buffalo, humped zebu, and short-horned bull without a prominent hump. These conflict scenes are depicted on carved terracotta or stone seals dating from the Early Harappan and Harappan periods. Hunting wild cattle or water buffalo must have been dangerous, and it is likely that the scenes on the seals represent either actual or mythological hunting scenes. What is interesting is that the humans seem to be destroyed by the horned animal in the early versions of this motif, while in later motifs the tables are turned and the animal is being destroyed by humans (Fig. /5c) or used for acrobatic leaping rituals (Fig. /2c).
Fig. 12. Buffalo attack scenes: a. bull attack scene, circular button seal, Mehrgarh (after SHAH — PARPOLA 1991:MR-17); b. buffalo attack scene, Mohenjo-daro (after JOSHI — PARPOLA 1987:M-312); c. buffalo attack or bull-leaping scene, Banawali (after UMESAO 2000:88, cat. no. 335). There is a separate theme in Indus art depicting conflict between humans and horned animals. The animals are usually the water buffalo, humped zebu, and short-horned bull without a prominent hump. These conflict scenes are depicted on carved terracotta or stone seals dating from the Early Harappan and Harappan periods. Hunting wild cattle or water buffalo must have been dangerous, and it is likely that the scenes on the seals represent either actual or mythological hunting scenes. What is interesting is that the humans seem to be destroyed by the horned animal in the early versions of this motif, while in later motifs the tables are turned and the animal is being destroyed by humans (Fig. /5c) or used for acrobatic leaping rituals (Fig. /2c).
Fig. 13. Molded tablet with four narrative scenes, Harappa (H97-3349/8 102-41) (J. M. Kenoyer): a. bull and man fight scene; b. deity seated on bed with person seated on stool; c. horned deity standing with arms at side, (1) H97-3349, (2) H97-3301; d. Indus script.
Fig. 13. Molded tablet with four narrative scenes, Harappa (H97-3349/8 102-41) (J. M. Kenoyer): a. bull and man fight scene; b. deity seated on bed with person seated on stool; c. horned deity standing with arms at side, (1) H97-3349, (2) H97-3301; d. Indus script.
alaeolithic and may have been widespread throughout West and South Asia. Each region probably usec amiliar animals to represent specific concepts of nature and conflict between various spiritual forces. The Indus seals usually depict a powerful nude male figure, sometimes explicitly male, grasping twc igers by the throats with bare hands. On one Indus seal, where the figure is carved in greater detail, it is ossible to make out six locks of hair (Fig. /5a). It is unknown what these locks represent, but Parpolé laims the Indus iconography is identical to the six locks of hair depicted on some Mesopotamian herc igures in similar contest scenes (PARPOLA 1994:247). It is possible that such iconographic details were« hared between the two regions since this Indus seal may date to the final Harappa phase (ca. 2200- 900 BC), by which time we know there was considerable commerce between Mesopotamia and the ndus. However, it seems unlikely that the Indus artist would have borrowed the six locks of hair moti! nd not the symbol of lions and short-horned Mesopotamian bulls that are also associated with the Aesopotamian hero. In terms of one region influencing the other, we know that the zebu and wate uffalo images from the Indus region do spread to Mesopotamia during the Akkadian period (PARPOLA 994), but so far there is no evidence of Mesopotamian lion motifs or short-horned bull motifs being ised in Indus iconography. Thea Tadive epnantact matt ic alan caan an mrnldad tahlate urhars tha ovo cthranachnag the tus Hoare x1714b
alaeolithic and may have been widespread throughout West and South Asia. Each region probably usec amiliar animals to represent specific concepts of nature and conflict between various spiritual forces. The Indus seals usually depict a powerful nude male figure, sometimes explicitly male, grasping twc igers by the throats with bare hands. On one Indus seal, where the figure is carved in greater detail, it is ossible to make out six locks of hair (Fig. /5a). It is unknown what these locks represent, but Parpolé laims the Indus iconography is identical to the six locks of hair depicted on some Mesopotamian herc igures in similar contest scenes (PARPOLA 1994:247). It is possible that such iconographic details were« hared between the two regions since this Indus seal may date to the final Harappa phase (ca. 2200- 900 BC), by which time we know there was considerable commerce between Mesopotamia and the ndus. However, it seems unlikely that the Indus artist would have borrowed the six locks of hair moti! nd not the symbol of lions and short-horned Mesopotamian bulls that are also associated with the Aesopotamian hero. In terms of one region influencing the other, we know that the zebu and wate uffalo images from the Indus region do spread to Mesopotamia during the Akkadian period (PARPOLA 994), but so far there is no evidence of Mesopotamian lion motifs or short-horned bull motifs being ised in Indus iconography. Thea Tadive epnantact matt ic alan caan an mrnldad tahlate urhars tha ovo cthranachnag the tus Hoare x1714b
Fig. 15. Tiger contest scenes: a. hero and tigers contest scene, Mohenjo-daro (M308) (after JOSHI — PARPOLA 1987); b. hero or heroine and tigers contest scene, Harappa, obverse (H95-246/465 1-10) (J. M. Kenoyer); c. narrative tablet with deity and water buffalo sacrifice, Harappa, reverse (H95-2486/465 1-10) (J. M. Kenoyer); d. narrative tablet with man in tree and tiger, Harappa, obverse (H2001-5075/922-01) (J. M. Kenoyer).
Fig. 15. Tiger contest scenes: a. hero and tigers contest scene, Mohenjo-daro (M308) (after JOSHI — PARPOLA 1987); b. hero or heroine and tigers contest scene, Harappa, obverse (H95-246/465 1-10) (J. M. Kenoyer); c. narrative tablet with deity and water buffalo sacrifice, Harappa, reverse (H95-2486/465 1-10) (J. M. Kenoyer); d. narrative tablet with man in tree and tiger, Harappa, obverse (H2001-5075/922-01) (J. M. Kenoyer).

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Indus Script Gonur Tepe seal, hypertexts on anthropomorphs deciphered, Sarasvati-Ganga Doab Bronze Age Revolution & spread of Copper Hoard Culture into Bactria
Srini Kalyanaraman

See: http://bharatkalyan97.blogspot.in/2016/07/pralaya-narrative-and-matsya-metaphor.html Pralaya narrative and Matsya metaphor of victory over शङ्खासुर, rescue from pralaya by Manu's boat & detritus archaeological-/palaeo-drainage evidences This monograph discusses the spread of Copper Hoard Culture from Sarasvati-Ganga doab to Bactria Margiana Cultural Complex (BMAC) in the context of deciphered Indus Script Corpora of metalwork catalogues. A remarkable Gonur Tepe seal with Indus Script hieroglyphs and the hypertexts on anthropomorphs of Sheorajpur and Haryana are deciphered to re-affirm the insight provided by Baudhāyana-Śrautasūtra of movements of Vedic people from Kurukshetra westward into Bactria. Whether the pralaya discussed in an earlier monograph intensified such movements is a major area of research in the context of the Bronze Age Revolution resulting from the creation of tin-bronzes along the Maritime Tin Route from Hanoi to Haifa. A unique feature of Indus Writing system is that even on sculptures in the round, hieroglyphs are deployed through stylized orthographic art forms. A good example is the bronze dancing girl statue signifying a dance step and wearing bangles, carrying a wicked earthen lamp on her left hand. This characteristic pose in the bronze sculpture finds expression as a hieroglyph on a potsherd. Thus, the dance step is intended to signify a hieroglyph: meD 'dance step' rebus: meD 'iron' (Ho.Mu.) med 'copper (Slavic languages). Similarly, a 'standard device'shown as a hieroglyph in front, generally, of a young bull is also signified on sculptural forms: Stndard device as hieroglyph The sculpture in the middle is made of ivory signifying a 'standard device' (lathe + portable furnace + dotted circles) sangaDa 'lathe, portable furnace' rebus: sAngaDa 'double-canoe, seafaring vessel'. dhAv 'strand' rebus: dhAv mineral, dhatu'. The hieroglyph 'sangaDa' also means' combined animals' This expression of 'combined animals' is achieved orthographically both in script and in sculpture. Combined animal as s'ankha seal, Dwraka. Combined animal as hieroglyph. Combined animal: elephant, buffalo, feline in sculptured form. The same technique of a writing system even in sculptural forms results in the unique anthropomorph of Sarasvati civilization discovered in 21 examples, in Sarasvati Basin and also in Ganga valley A ram with curved horns with spread legs results in an anthropomorphic form. This form is also ligatured with a hieroglyph script sign ayo, aya 'fish' rebus: aya 'iron' ayas 'metal'.In another form the ligature is with a crocodile or boar. This anthropomorphic form composed of hieroglyphic art forms is rendered as Indus Script rendered rebus to signify metalworker, metal merchant. miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt,meD 'iron' (Mu.Ho.) med 'copper' (Slavic) ; meDh 'merchant' PLUS karNaka 'spread legs' rebus: karNI 'supercargo' PLUS karA 'crocodile' rebus: khAr 'bloacksmith' OR baDhi, bari 'castrated boar' rebus: barea 'merchant', bArakasa 'dhow,s eavaring vessel' PLUS koDiya 'young bull' rebus: koTiya 'dhow, seafaring vessel'. Anthropomorph as a combined parts of animals is sanGada 'joined animals' rebus: sAngada 'double-canoe, seafaring vessel'. ayo, aya 'fish' is ligatured o signify rebus: aya, 'iron' ayas 'metal'. Another rebus rendering is: मेधा == धन Naigh. ii , 10. Thus, aya मेधा 'iron wealth' PLUS baDhi, bari 'boar' rebus: barea 'merchant'. Thus, iron merchant. One-horned young bull is inscribed on an anthropomorph to signify koDiya 'young bull' rebus: koTiya 'dhow, seafaring vessel'. A brilliant exposition on the etymology of the word Varāha is provided by वाचस्पत्यम् Vācaspatyam: वराय अभीष्ठाय मुस्तादिलाभाय आहन्ति खनति भूमिम् To represent a boon, (to obtain) wished, desired products (including species of grass) mined from the earth, by striking, hitting. Thus, Varāha is a hieroglyph metaphor to represent, signify mining for minerals. Sheorajpur anthropomorph. Enlargement signifying the ayo, aya 'fish'hieroglyph' incised on teh chest. A composite copper Anthropomorphic figure along with a copper sword was found by Dr. Sanjay Manjul, Director, Institute of Archaeology at the Central Antiquity Section, ASI, Purana Qila in 2005. This composite copper Anthropomorph is a solitary example in the copper hoard depicting aVarah head. The Anthropomorphic figure, its inscription and animal motif that it bears, illustrate the continuity between the Harappan and Early Historical period Both anthropomorphs are shaped like a standing person with spread legs and with the horns of a markhor or ram. Type 1 Anthropomorph: metalworker (mintworker), merchant On one type of anthropomorph, an additional hieroglyph is incised. That of 'fish with fins'. The reading of hieroglyphs in Indus Script cipher: ayo 'fish' rebus: aya 'iron' ayas 'metal' PLUS miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) mẽṛhẽt, meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) ayo ‘fish’ Rebus: ayo, 'iron', ayas ‘metal. Thus, together read rebus: ayo meḍh ‘iron stone ore, metal merchant.’ Hieroglyph: Spread legs: कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic determinant) Rebus: karNa 'helmsman', karNI 'scribe, account' 'supercargo'. Thus, the hieroglyphs on the anthropomorph Type 2 signify a helmsman, engraver who works with alloys of metals to produce supercargo of mined products. Type 2 Anthropomorph: miner (worker in wood and iron), merchant On the second type of anthropomorph, a Varāha head is ligatured to the top of the anthropomorph and an additional hieroglyph is incised on the chest: That of a 'one-horned young bull' which accounts for nearly 80% of pictorial motifs on Indus Script seals. miṇḍāl markhor (Tor.wali) meḍho a ram, a sheep (G.)(CDIAL 10120) Rebus: meḍh ‘helper of merchant’ (Gujarati) mẽṛhẽt, meḍ 'iron' (Mu.Ho.) med 'copper' (Slavic) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Munda) Hieorglyph of one-horned bull inscribed on chest: khoṇḍ, kõda 'young bull-calf' Rebus: kũdār ‘turner’. कोंद kōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) Hieorglyph: boar: baḍhia = a castrated boar, a hog; rebus: baḍhi ‘a caste who work both in iron and wood’; baḍhoe ‘a carpenter, worker in wood’; badhoria ‘expert in working in wood’(Santali) 'Rebus: bari 'merchant'.barea 'merchant' (Santali)বরাহ barāha 'boar'Rebus: bāṛaï 'carpenter' (Bengali) bari 'merchant' barea 'merchant' (Santali) Varāha is explained by वाचस्पत्यम् Vācaspatyam: वराय अभीष्ठाय मुस्तादिलाभाय आहन्ति खनति भूमिम् To represent a boon, (to obtain) wished, desired products (including species of grass) mined from the earth, by striking, hitting. Hieroglyph: Spread legs: कर्णक m. du. the two legs spread out AV. xx , 133 'spread legs'; (semantic determinant) Rebus: karNa 'helmsman', karNI 'scribe, account' 'supercargo'. Thus, the hieroglyphs on the anthropomorph Type 2 signify a helmsman, engraver who works with metals and mines to produce supercargo of mined products. (Note: I had suggested that the head ligature on the anthropomorph signifies a crocodile, but Dr. Sanjay Manjul's suggestion that it signifies head of a boar is consistent with the Vedic metaphor and tradition of Varāha. Anthropomorphic figures of Type I (Left from Bisauli; right, unknown provenance; scale 1:3; drawn by Petra Thalmeier after Yule 1985, pl. 11, No. 239 and Yule 1989, Fig. 10, No. 1123 From Lothal was reported a fragmentary Type 1 anthropomorph (13.0 pres. X 12.8 pres. X c. 0.08 cm, Cu 97.27%, Pb 2.51% (Rao), surface patterning runs lengthwise, lower portion slightly thicker than the edge of the head, 'arms' and 'legs' broken off (Pl. 1, 22)-- ASI Ahmedabad (10918 -- Rao, SR, 1958, 13 pl. 21A). The extraordinary presence of a Lothal anthropomorph of the type found on the banks of River Ganga in Sheorajpur (Uttar Pradesh) makes it apposite to discuss the anthropomorph as a Meluhha hieroglyph, since Lothal is reportedly a mature site of the civilization. The anthropomorph from Lothal/Gujarat (fig. 2,11), from a layer which its excavator dates to the 19 th century BCE. Lothal, phase 4 of period A, type 1. Some anthropomorphs were found stratified together with Ochre-Coloured Pottery, dated to ca. 2nd millennium BCE. Anthropomorph of Ra's al-Jins (Fig. 1,9) clearly reinforces the fact that South Asians travelled to and stayed at the site of Ra's al-Jins. "The excavators date the context from which the Ra’s al-Jins copper artefact derived to their period III, i.e. 2300-2200 BCE (Cleuziou & Tosi 1997, 57), which falls within thesame time as at least some of the copper ingots which are represented at al-Aqir, and for example also in context from al-Maysar site M01...the Franco-Italian teamhas emphasized the presence of a settled Harappan-Peri-od population and lively trade with South Asia at Ra's al-Jins in coastal Arabia. (Cleuziou, S. & Tosi, M., 1997, Evidence for the use of aromatics in the early Bronze Age of Oman, in: A. Avanzini, ed., Profumi d'Arabia, Rome 57-81)."

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Indus Components in the Iconography of a White Marble Cylinder Seal from Konar Sandal South (Kerman, Iran)
Dennys Frenez

2015

This paper presents a detailed analysis of the iconography carved on a cylinder seal found in a metallurgical site within the archaeological complex of Konar Sandal South, near Jiroft, in the Halil river valley of the Kerman province, south-eastern Iran. This seal is made of a whitish marble and – even if heavily worn by use – it retains traces of different animal figures. These animals represent the translation into local style of a rare but characteristic iconography found in the seal production of the Indus Civilization. The merging into a single seal of different animals, some of which clearly belong to the standard animal series of the Indus seals, might have provided the owner with a special authority that allowed him/her to hold different administrative functions. Moreover, the discovery at Konar Sandal South of a cylinder seal bearing an Indus-related iconography might further testify to the direct interest of Indus merchants and probably craftsmen in trade exchanges with a major early urban site in south-eastern Iran.

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Symbolism; Indus Vedic Life Science
Dr. Chandra P Trivedi

The Inscribed Copper Plates from Indus Valley (Harappan)

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Potts, D.T. 2022. The Graffiti from Tepe Yahya and the Role of the Indo-Iranian Borderlands in the Formation of the Harappan Writing System. Pp. xxvii-xxxiii in Parpola, A. and Koskikallio, P., eds. Corpus of Indus Seals and Inscriptions, vol. 3/3. Helsinki: Finnish Academy of Science and Letters.
D.T. Potts
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