Alternative: dalī ʻbundle of lighted sticks of pineʼ (WPah.) Rebus: ḍhāḷako ‘a large metal ingot’ (G.)
The narrative of the vase is that ingots of tin and iron are conveyed into the treasury (of minerals and metal ingots) from smithy/forge.
dhatu 'scarf' Rebus: dhatu 'mineral
m453B. Scarf as pigtail of seated person.Kneeling adorant and serpent on the field.
khaṇḍiyo [cf. khaṇḍaṇī a tribute] tributary; paying a tribute to a superior king (Gujarti) Rebus: khaṇḍaran, khaṇḍrun ‘pit furnace’ (Santali)
paṭa. 'serpent hood' Rebus: pata ‘sharpness (of knife), tempered (metal). padm‘tempered iron’ (Kota)
Seated person in penance. Wears a scarf as pigtail and curved horns with embedded stars and a twig.
mēḍha The polar star. (Marathi) Rebus: meḍ ‘iron’ (Ho.) dula ‘pair’ (Kashmiri); Rebus: dul ‘cast (metal)’(Santali) ḍabe, ḍabea ‘large horns, with a sweeping upward curve, applied to buffaloes’ (Santali) Rebus: ḍab, ḍhimba, ḍhompo ‘lump (ingot?)’, clot, make a lump or clot, coagulate, fuse, melt together (Santali) kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = (smelter) furnace (Santali) The narrative on this metalware catalog is thus: (smelter) furnace for iron and for fusing together cast metal. kamaḍha ‘penance’.Rebus 1: kaṇḍ ‘stone (ore) metal’.Rebus 2: kampaṭṭa‘mint’.
m0311 The composite hieroglyph shows a 'tiger + woman' ligatured to a scarf as a pigtail, ram's horns and a twig on the head.kola 'woman'; kol 'tiger' Rebus: kol 'working in iron'. dhatu 'scarf' Rebus: dhatu 'mineral' tagara 'ram' Rebus: tagara 'merchant'; tagara 'tin'. kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = (smelter) furnace (Santali) The narrative is that of a (smelter) furnace for iron, merchant tin mineral.
m1186A Scarves as pigtails on standing and kneeling persons. The kneeling adorant is shown in a posture comparable to that shown on the persons offering prayers to the rising sun on Sit shamshi bronze. ![]()
Sit Shamshi 12th century BCE Tell of the Acropolis, Susa http://www.louvre.fr/en/oeuvre-notices/sit-shamshi The eight blobs flanking the ziggurat are comparable to the eight 'knobs' on palm-tree on a cylinder seal presented in the following section. It appears that the Sit shamshi bronze is a narrative related to making the alloy of arsenical bronze using dhatu 'minerals' denoted by dagoba (syn. ziggurat).derived from dhatu + garbha 'tope of embedded minerals'. ḍaṭhā m. ʻstalkʼ (Hindi)(CDIAL 5527). Rebus: dhatu 'mineral'. kolmo 'three' Rebus: kolami 'smithy/forge'. dala 'petal' Rebus: tāḷa 'yellow arsenic'.
Alternatives: Aḍaru twig; aḍiri small and thin branch of a tree; aḍari small branches (Ka.); aḍaru twig (Tu.)(DEDR 67). Aḍar = splinter (Santali); rebus: aduru = native metal (Ka.) Vikalpa: kūtī = bunch of twigs (Skt.) Rebus: kuṭhi = furnace (Santali) ḍhaṁkhara— m.n. ʻbranch without leaves or fruitʼ (Prakrit) (CDIAL 5524) Rebus: ḍhangar‘blacksmith’ (H.) ḍāḷ= a branch of a tree (G.) Rebus: ḍhāḷako = a large ingot (G.) ḍhāḷakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (G.)
er-agu = a bow, an obeisance; er-aguha = bowing, coming down (Kannada) Rebus: eraka ‘copper’ (Kannada)dhatu 'scarf' Rebus: dhatu 'mineral. khaḍā ʻstanding' (Marathi) Rebus: khaḍḍā f. Hole, mine, cave (CDIAL 3790). khaṇḍiyo [cf. khaṇḍaṇī a tribute] tributary; paying a tribute to a superior king (Gujarti) Rebus: khaṇḍaran, khaṇḍrun ‘pit furnace’ (Santali) dhatu 'scarf' Rebus: dhatu 'mineral er-agu = a bow, an obeisance; er-aguha = bowing, coming down (Kannada) Rebus: eraka ‘copper’ (Kannada)The narrative points to a pit-furnace at a mine. The mineral taken out the mine is indicated by the ficus religiosa leaves stylized as a tree around the standing person. loa 'ficus' Rebus: loh 'copper'. The reference is to a copper mine. The kneeling adorant is in front of the tagara 'antelope' Rebus: tagara 'tin'. The narrative is thus a reference to a pit-furnace for copper and tin dhatu or tin 'mineral'.
Mohenjo-daro seal m1175. Composite animal with scarves on neck. 
m1179 Mohenjo-daro seal. Markhor or ram with human face in composite hieroglyph with neck-bands or scarves. mũhe ‘face’ (Santali) Rebus: mũh metal ingot (Santali) mũhã̄= the quantity of iron produced at one time in a native smelting furnace (Santali) mleccha-mukha (Skt.) = milakkhu ‘copper’ (Pali)
miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhet, meḍ ‘iron’ (Mu.Ho.) [‘scarf’ glyph is ligatured on the neck of markhor. Scarf [read rebus as dhaṭu m. (also dhaṭhu) m. ‘scarf’ (WPah.) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali); dhātu ‘mineral’ (Pali)].
Wavy(curved) lines glyph is relatable to: kuṭi— in cmpd. ‘curve’ (Skt.)(CDIAL 3231). kuṭhi‘smelting furnace‘ (Santali) koṭe ‘forged (metal) (Santali)
The narrative reds: tagara 'antelope' Rebus damgar 'merchant', ḍaṅgara ʻcattle ʼrebus: ḍhangar ‘blacksmith’ (Hindi) dealing with tam(b)ra 'copper'eruvai dhatu 'copper mineral' stone,
Thus, merchant/blacksmith dealing with copper mineral stone and copper (metal) are depicted on this segment of the narrative on Warka vase.
Bull hieroglyph:
dāmṛa, damrā ʻ young bull (Assamese)(cdial 6184). glyph: *ḍaṅgara1 ʻ cattle ʼrebus: ḍhangar ‘blacksmith’ (Hindi)ṭhākur ʻ blacksmith ʼ (Maithili)
Palm-tree hieroglyph:
tamar, ‘palm tree, date palm’ the rebus reading would be: tam(b)ra, ‘copper’ (Pkt.)
Reed+scarf hieroglyph: eruvai dhatu 'copper mineral'.
eruvai European bamboo reed (Tamil) straight sedge tuber. Ma. eruva a kind of grass. (DEDR 819). Rebus 1: eruvai ‘copper’. dhaṭu ‘scarf’ (WPah.). Rebus: dhatu ‘mineral’ (Santali).
The frames of buildings used in the glyphic composition are hieroglyphs: sã̄gāḍā m. ʻ frame of a building ʼ (M.)(CDIAL 12859) Rebus 1:jangaḍiyo ‘military guards who accompanies treasure into the treasury’’ (G.) Rebus 2: sanghāḍo (G.) cutting stone, gilding (G.); san:gatarāśū = stone cutter; san:gatarāśi = stone-cutting; san:gsāru karan.u = to stone (S.) san:ghāḍiyo, a worker on a lathe (G.)
tagara ‘ram’ (Ta.) Rebus: tamkāru, damgar‘merchant’ (Akk.)
The palm-tree hieroglyph on Warka vase compares with the palm-tree glyph of goat-fish ligatured hieroglyph on a ritual basin of Susa:
Susa. Ritual basin with goat-fish hieroglyphs flanking palm-tree hieroglyph. Jacques de Morgan excavations, 1904-05 Sb 19 Loure Museum. http://www.louvre.fr/en/oeuvre-notices/ritual-basin-decorated-goatfish-figures
tamar, ‘palm tree, date palm’ the rebus reading would be: tam(b)ra, ‘copper’ (Pkt.)
Tin and iron ingots delivered to the temple with ligatured ‘reed-scarf’ standard:
tagara 'antelope' Rebus: tagara 'tin' + kola 'tiger' Rebus: kol 'iron'.
Scarf is a ligature hieroglyph on Ishtar's (aka Inanna's?) pair of reeds (gi[reed]) of Warka vase. Warka was known as Uruk to the ancient Sumerians. The reeds are also described as two looped temple poles or "asherah," symbolising entrance to a temple.
kole.l was a temple, the same lexeme was used for a smithy (Kota language). A cognate was kwala.l in Toda language. The mudhif shown on other artifacts of Sumer has the reed atop the roof. The mudhif is comparable to a Toda mund. I suggest that Toda mund is a cognate of mudhif.
The vase was discovered as a collection of fragments by German Assyriologists in their sixth excavation season at Uruk in 1933/1934. The find was recorded as find number W14873 in the expedition's field book under an entry dated 2 January 1934, which read "Großes Gefäß aus Alabaster, ca. 96 cm hoch mit Flachrelief" ("large container of alabaster, circa 96 cm high with flat-reliefs"). The vase, which showed signs of being repaired in antiquity, stood 3 feet, ¼ inches (1 m) tall. The vase has three registers – or tiers – of carving.
- Kleiner, Fred S.; Mamiya, Christin J. (2006). Gardner's Art Through the Ages: The Western Perspective – Volume 1 (12th Edition ed.). Belmont, California, USA: Thomson Wadsworth. pp. 20–21. ISBN 0-495-00479-0.
- Ralf B. Wartke, "Eine Vermißtenliste (2): Die "Warka-Vase" aus Bagdad", Frankfurter Allgemeine Zeitung 26 April 2003, Nbr 97, page 39. English translation. (The author is a deputy director of the Berliner Vorderasiatischen Museums). http://en.wikipedia.org/wiki/Warka_Vase
height: ca. 105; upper diam.: 36• material: stone (alabaster)• date: (ca. 3000 BC)• description:
vase, relief decoration in four registers, showing (bottom to top) rows of plants, sheep (make and female), nude males carrying baskets or jars, and a cultic scene, in which the ruler of city of Uruk delivers provisions to the temple of the goddess Inanna, represented here by two reed bundle standarts--symbols of the goddess--and a woman, probably her priestess ); rim broken; repair piece inserted in antiquity (holes drilled for repair). http://oi.uchicago.edu/OI/IRAQ/dbfiles/objects/14_2.htm
dalī ʻbundle of lighted sticks of pineʼ (WPah.) Rebus: ḍhāḷako ‘a large metal ingot’ (G.)
1. Associated quadrupeds:
koḍiyum ‘heifer’ (G.) [ kōḍiya ] kōḍe, kōḍiya. [Tel.] n. A bullcalf.. k* దూడA young bull. Plumpness, prime.తరుణము. జోడుకోడయలుa pair of bullocks.kōḍe adj. Young. kōḍe-kāḍu. n. A young man.పడుచువాడు. [ kārukōḍe ]kāru-kōḍe. [Tel.] n. A bull in its prime. खोंड[ khōṇḍa ]mA young bull, a bullcalf. (Marathi)గోద[ gōda ] gōda. [Tel.] n. An ox. A beast. kine, cattle.(Telugu) koḍiyum (G.) Rebus: koḍ artisan’s workshop (Kuwi). tagara 'antelope' Rebus: tamkāru, damgar ‘merchant’ (Assyrian);
dala 'petal' Rebus: tāḷa 'yellow arsenic'.
Eight petals (daḷa) denote 8 parts of copper alloyed with one part arsenic, daḷa to create the brass alloy. are‘eight’ (Mu.). Sa. baha`flower, blossom, to flower'.Mu. tarai-ba(A) `a kind of marsh-flower'. ~ baa(H) ~ baha(N) `flower, blossom, to flower'.Ho ba `flower, blossom, to flower'.Bh. baha `flower, blossom, to flower'. KW baha|Cf. So. ba'a `to blossom'.@(V021,M111)
Rebus:``^make'':Sa. bai `to make'.Mu. bai `to make'.KW bai @(M100).
WPah.kṭg. dhàṭṭu m. ʻ woman's headgear, kerchief ʼ, kc. dhaṭu m. (also dhaṭhu m. ʻ scarf ʼ, J. dhāṭ(h)u m. Him.I 105). dhaṭu m. (also dhaṭhu) m. ‘scarf’ (WPah.) (CDIAL 6707) dhaṭu ‘scarf’ (WPah.). Rebus: dhatu ‘mineral’ (Santali). dhātu ‘mineral (Pali) dhātu ‘mineral’ (Vedic); a mineral, metal (Santali); dhāta id. (G.) H. dhāṛnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771).
There are two Mohenjo-daro tabletw which show a procession of standard bearers. A drawing of the four standard bearers is also presented. The second standard-bearer from the right carries a scarf on a pole. The scarf is comparable to the reed+scarf hieroglyph on Warka vase.
The first standard bearer from r. may be carrying the glyph 347
or maybe a bead.khōṭ ‘blob atop standard’ Rebus: khōṭ ‘alloyed ingots’ -- dhatu ‘mineral (ore)’.eruvai ‘copper’.
eruvai European bamboo reed (Tamil) straight sedge tuber. Ma. eruva a kind of grass. (DEDR 819). Rebus 1: eruvai‘copper’ (Tamil). Alternative: kã̄ḍ काण्डः m. the stalk or stem of a reed, grass, or the like, straw. In the compound with dan 5 (p. 221a, l. 13) the word is spelt kāḍ. kã̄ḍ m. ʻ stalk of a reed, straw ʼ (Kashmiri); kã̄ḍ n. ʻ trunk, stem ʼ (Marathi); Or.kāṇḍa, kã̄ṛ ʻ stalk (Oriya); kã̄ṛā ’stem of muñja grass (used for thatching) (Bihari); kānã̄ m. ʻ stalk of the reed Sara ʼ (Lahnda)(CDIAL 3023). Rebus: Tu. kandůka, kandaka ditch, trench. Te. kandakamu id. Konḍa kanda trench made as a fireplace during weddings. Pe. Kanda fire trench. Kui kanda small trench for fireplace. Malt. kandri a pit.(DEDR 1214).khaṇḍaran, khaṇḍrun ‘pit furnace’ (Santali) Rebus 2: khāṇḍā ‘metal tools, pots and pans’.
A pair (of reeds): dula‘pair’. Rebus: dul‘cast (metal)’.h097 Pict-95: Seven robed figures (with pigtails, twigs) dhatu ‘scarf’.(WPah.) Rebus: dhatu ‘mineral’.(Santali)
?ea ‘seven’ (Santali); rebus: ?eh-ku ‘steel’ (Telugu)
kola 'woman' Rebus: kol 'pancaloha, alloy of 5 metals' (Tamil) bahula_ = Pleiades (Skt.) Rebus: bagala = an Arab boat of a particular description (Kannada);
Sumerian mudhif facade, with uncut reed fonds and sheep entering, carved into a gypsum trough from Uruk, c. 3200 BCE (British Museum WA 120000). Photo source.![]()
See also: Expedition 40:2 (1998), p. 33, fig. 5b
Uruk trough. The carving on the side shows a procession of sheep (a goat and a ram) approaching a reed hut (of a type still found in southern Iraq) and two lambs emerging. The mudhif (Toda mund) is shown symbolised by a a prif of reeds with a hanging scarf atop either side of the roof.
Six circles decorated on the reed post are semantic determinants of hieroglyph: bhaṭa‘six’. Rebus: bhaṭa‘furnace’.The association of the reed (with a curved loop) and a scarf hanging from the pole is thus emphatically associated with a temple, a mudhif (Toda mund) . The procession of quadrupeds emerging out of the mudhif are seen to represent pasara 'cattle' rebus: pasra 'smithy, forge'.
Glyph: ‘petal’: దళము [daḷamu] daḷamu. [Skt.] n. A leaf. ఆకు. A petal. A part, భాగము. dala n. ʻ leaf, petal ʼ MBh. Pa. Pk. dala -- n. ʻ leaf, petal ʼ, G. M. daḷ n.(CDIAL 6214). <DaLO>(MP) {N} ``^branch, ^twig''. *Kh.<DaoRa>(D) `dry leaves when fallen', ~<daura>, ~<dauRa> `twig', Sa.<DAr>, Mu.<Dar>, ~<Dara> `big branch of a tree', ~<DauRa> `a twig or small branch with fresh leaves on it', So.<kOn-da:ra:-n> `branch', H.<DalA>, B.<DalO>, O.<DaLO>, Pk.<DAlA>. %7811. #7741.(Munda etyma) Rebus 1: தாளம் tāḷam Yellow orpiment (Tamil) తాళకము [ tāḷakamu ] tāḷakamu. [Skt.] n. Yellow orpiment. Yellow sulphuret of arsenic. హారిదళము, తొగరిమన్ను. Pa. haritāla -- m. ʻ yellow orpiment ʼ, Pk*. hariāla -- , haliāra -- m.n.,(CDIAL 13987). hartāl हर्ताल्।हरितालकम् f. (sg. dat. hartāli हर्तालि), orpiment, sulphuret of arsenic, yellow arsenic, ratsbane. హరిదళము [ haridaḷamu ] or అరిదళము hari-daḷamu. [from Skt. హరితాళమ్.] n. Yellow orpiment, Arsenicum flavum. వేషగాండ్రుమూతికిపూసుకొనేటిది. స్వర్ణతాళము gold coloured orpiment, auri-pigmentum.
Glyph: ḍāla1 m. ʻ branch ʼ Śīl. 2. *ṭhāla -- . 3. *ḍāḍha -- . [Poss. same as *dāla -- 1 and dāra -- 1: √dal, √d&rcirclemacr;. But variation of form supports PMWS 64 ← Mu.] 1. Pk. ḍāla -- n. ʻ branch ʼ; S. ḍ̠āru m. ʻ large branch ʼ, ḍ̠ārī f. ʻ branch ʼ; P. ḍāl m. ʻ branch ʼ, °lā m. ʻ large do. ʼ, °lī f. ʻ twig ʼ; WPah. bhal. ḍā m. ʻ branch ʼ; Ku. ḍālo m. ʻ tree ʼ; N. ḍālo ʻ branch ʼ, A. B. ḍāl, Or. ḍāḷa; Mth. ḍār ʻ branch ʼ, °ri ʻ twig ʼ; Aw. lakh. ḍār ʻ branch ʼ, H. ḍāl, °lā m., G.ḍāḷi, °ḷī f., °ḷũ n. 2. A. ṭhāl ʻ branch ʼ, °li ʻ twig ʼ; H. ṭhāl, °lā m. ʻ leafy branch (esp. one lopped off) ʼ. 3. Bhoj. ḍāṛhī ʻ branch ʼ; M. ḍāhaḷ m. ʻ loppings of trees ʼ, ḍāhḷā m. ʻ leafy branch ʼ, °ḷī f. ʻ twig ʼ, ḍhāḷā m. ʻ sprig ʼ, °ḷī f. ʻ branch ʼ. (CDIAL 5546).
Glyph: dálati intr. ʻ cracks, splits ʼ Suśr., dalayati tr. Dhātup. dala2 n. ʻ piece split off, fragment ʼ Suśr., ʻ a half ʼ VarBr̥S. [~ dara -- 2. -- Cf. dala -- 1. -- √dal1]Pk. dala -- n. ʻ piece ʼ; K. düjü f. ʻ small piece of cloth, small plot of ground (e.g. seed -- bed) ʼ; S. ḍ̠aru m. ʻ a breadth of cloth ʼ; WPah.jaun. dalī ʻbundle of lighted sticks of pineʼ; B. dal ʻ fragment, thickness (of a board, &c.) ʼ; M. daḷ n. ʻ half ʼ (CDIAL 6213, 6216). దళించు dalinṭsu. v. t. To cut, split, divide. ఖండించు, భేదించు. దళనము daḷanamu. n. Breaking, cutting, severing. ఖండించుట, భేదించుట. Rebus: ḍhāḷako ‘a large metal ingot’ (G.)
sangāḍo a lathe (G.); śaghaḍi = a pot for holding fire (G.)
sangāḍo a lathe (G.); on sãgaḍ part of a turner's apparatus (M.); sã̄gāḍī part of a turner's apparatus by which the piece to be turned is confined (Tu.)(CDIAL 12859). sāṅgaḍa That member and steadied. सांगडीस धरणें To take into linkedness or close connection with, lit. fig. (Marathi) सांगाडी [ sāṅgāḍī ] f The machine within which a turner confines and steadies the piece he has to turn. (Marathi)
sanghāḍo (G.) cutting stone, gilding (G.); san:gatarāśū = stone cutter; san:gatarāśi = stone-cutting; san:gsāru karan.u = to stone (S.) san:ghāḍiyo, a worker on a lathe (G.)
A note on Ziggurat and Dageba
Ziggurat evolves into dageba which should originally have been a square structure multiplied.
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As both construction technology and the importance of the stupa as a religious form developed, the single square base multiplied and the mound was raised even higher on several tiers. The stupa above, found in Pagan, Burma, is a good example of this. The three multiplied square bases are comparable to the ziggurat structure shown on Sit Shamshi bronze.
A note on Ziggurat and Dageba
Ziggurat evolves into dageba which should originally have been a square structure multiplied.
As both construction technology and the importance of the stupa as a religious form developed, the single square base multiplied and the mound was raised even higher on several tiers. The stupa above, found in Pagan, Burma, is a good example of this. The three multiplied square bases are comparable to the ziggurat structure shown on Sit Shamshi bronze.Related links:
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-jangad-accounting-for.html Ancient Near East jangaḍ accounting for mercatile transactions-- evidence of Indus writing presented.
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-bronze-age-legacy_6.html Ancient Near East bronze-age legacy: Processions depicted on Narmer palette, Indus writing denote artisan guilds
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-art-indus-writing.html Ancient near East lapidary guilds graduate into bronze-age metalware
http://bharatkalyan97.blogspot.in/2013/06/indus-writing-in-ancient-near-east-on.html An ancient Near East proto-cuneiform tablet with Indus writing
http://bharatkalyan97.blogspot.in/2013/06/indus-writing-on-dilmun-type-seals.html Indus writing in ancient Near East (Failaka seal readings)
http://bharatkalyan97.blogspot.in/2013/05/indus-writing-on-gold-disc-kuwait.html Indus writing on gold disc, Kuwait Museum al-Sabah collection: An Indus metalware catalog
http://bharatkalyan97.blogspot.in/2013/05/did-indus-writing-deal-with-numeration.html Did Indus writing deal with numeration? No. The writing dealt with metalware accounting as technical specs. in bills-of-lading.
http://bharatkalyan97.blogspot.in/2013/05/tokens-and-bullae-evolve-into-indus.html Tokens and bullae evolve into Indus writing, underlying language-sounds read rebus
http://bharatkalyan97.blogspot.in/2013/05/see-httpbharatkalyan97.html Indus writing in ancient Near East (Dilmun seal readings)
http://bharatkalyan97.blogspot.in/2013/05/bahrain-digs-unveil-one-of-oldest.html Bahrain digs unveil one of oldest civilisations -- BBC
http://bharatkalyan97.blogspot.in/2013/05/indus-writing-as-metalware-catalogs-and_21.html Indus writing in ancient Near East as metalware catalogs and not as agrarian accounting
http://bharatkalyan97.blogspot.in/2013/05/on-perceiving-aryan-migrations-by.html On perceiving aryan migrations by Witzel misquoting vedic ritual texts. Explaining mleccha vācas in Indian sprachbund.
http://bharatkalyan97.blogspot.in/2013/05/ancient-ivory-metal-traces-on.html Indus writing and ancient Ivory. Metal traces on Phoenician artifacts show long-gone paint and gold
http://bharatkalyan97.blogspot.in/2013/05/functions-served-by-terracotta-cakes-of.html Functions served by terracotta cakes of Indus civilization: Like ANE tokens for counting metal and alloy ingots
http://bharatkalyan97.blogspot.in/2013/04/bronze-age-writing-in-ancient-near-east.html Bronze-age writing in ancient Near East: Two Samarra bowls and Warka vase
http://bharatkalyan97.blogspot.in/2013/04/bronze-age-glyphs-and-writing-in.html Bronze-age glyphs and writing in ancient Near East: Two cylinder seals from Sumer
http://bharatkalyan97.blogspot.in/2013/04/indus-writing-in-ancient-near-east.html Indus Writing in ancient Near East: Corpora and a dictionary and Akkadian Rising Sun: two new books (April 2013)