Ancient History of Bhāratam Janam: Journeys tossed on the waves of Indian Ocean, ēlō ! -- on the Tin Road from Hanoi to Haifa: Evidence of Gold disc studded with Meluhha metalwork hieroglyphs
Mirror: https://www.academia.edu/10583287/Ancient_History_of_Bh%C4%81ratam_Janam_Journeys_tossed_on_the_waves_of_Indian_Ocean_%C4%93l%C5%8D_--_on_the_Tin_Road_from_Hanoi_to_Haifa_Evidence_of_Gold_disc_studded_with_Meluhha_metalwork_hieroglyphs
Westward Ho! is a familiar American idiom to denote the journeys of people during the Gold Rush into California. A Meluhha synonym is a boatman's or navigators' song refrain: ēlō ! ēlēlō !! Meluhhan journeys are westward and eastward, southward and northward moving with the waves of perennial streams of Himalaya -- a majestic, dynamic range which spans the continent from Hanoi to Teheran forming a canpoy over the Indian Ocean. This āsetu-himācalam sets the space for Meluhha pilgrims' progress which started ca. 8th millennium BCE. As the dynamic mountain range -- देवतात्मा नगाधिराजः Dēvatātmā nagādhirājaḥ --continues to uplift the Eurasian plate, the water reservoir formed by snow and ice continues to grow about 1 cm. every year in size storing -- in glaciers -- all the monsoon waters which fall at heights of above 8000 ft. This inexorable plate tectonic uplift caused by unfathomable cosmic energy, defines the History of Bhāratam Janam in their relationship with material and environmental resources.
See: http://bharatkalyan97.blogspot.in/2015/02/ancient-history-of-bharatam-janam-along.html Ancient History of Bhāratam Janam along the Ancient Tin Road, which linked abundant stanniferous ores of the Far East (Hanoi) with Haifa (shipwreck tin ingots) of ancient Near East
The name Bhārata as a group identity of people, is traceable to bharat, alloy, metalcasters, philosophers of fire. bharatiyo 'metal casters' (Gujarati) भरत [ bharata ] n A factitious metal compounded of copper, pewter, tin &c. भरताचें भांडें [ bharatācē mbhāṇḍēṃ ] n A vessel made of the metal
[The Meluhha ēlō ! refrain is attested in the ancient text Śatapatha Brāhmaṇa (lit. a prayer text of hundred paths): te 'asura attavacasa he 'alava he''alava (ŚBr.3.2.1.22-24 as detailed below].
The gods reflected, 'Verily that Vâk is a woman: (it is to be feared) that she will [or, it is to be hoped that she will not] allure him [viz. so. that Yagña also would fall to the share of the Asuras]'--Say to her, "Come hither to me where I stand!" and report to us her having come.' She then went up to where he was standing. Hence a woman goes to a man who stays in a well-trimmed (house). He reported to them her having come, saying, 'She has indeed come.'
The gods then cut her off from the Asuras; and having gained possession of her and enveloped her completely in fire, they offered her up as a holocaust, it being an offering of the gods. And in that they offered her with an anushtubh verse, thereby they made her their own; and the Asuras, being deprived of speech, were undone, crying, 'He ’lavah! he ’lavah!'
Such was the unintelligible speech which they then uttered,--and he (who speaks thus) is a Mlekkha (barbarian). Hence let no Brahman speak barbarous language, since such is the speech of the Asuras. Thus alone he deprives his spiteful enemies of speech; and whosoever knows this, his enemies, being deprived of speech, are undone.
According to Sâyana, 'He ’lavo' stands for 'He ’rayo (i.e. ho, the spiteful (enemies))!' which the Asuras were unable to pronounce correctly. The Kânva text, however, reads, te hâttavâko ’surâ hailo haila ity etâm ha vâkam vadantah parâbabhûvuh; (? i, e. He ilâ, 'ho, speech.') A third version of this passage seems to be referred to in the Mahâbhâshya (Kielhorn, p.2.)
I submit that the early linguists were enthralled by the childlike, joyous ēlō ! refrain, but struggled to fathom the semantics of boatmen's carol or song refrain or seafaring Meluhhan celebrating their maritime, metallurgical adventures, explorations and experiments with production of alloys and casting tools, weapons, metalware and pots an pans which transformed their lives beyond imagination resulting in the Bronze Age Metals revolution and new social corporate formations in an extensive playground of trans-continental Eurasia.
Carol of Śr̥ṅgāra, fun, frolic, beauty, love, passion: ఏల [ ēla ] or ఏలా ēla. [Tel.] interrogative adv. Why, how, wherefore, to what end, for what reason.వేయేల (వేయి +వేల ) why say a thousand words? ఏల [ ēla ] ēla. [Tel.] n. A hurrah, or hoop. A carol or catch used by rowers of boats శృంగారపు పాట ."ఏటికట్టగుడిసెవేతాం ఏరువస్తే కూడాపోదాం ఓ, ఓ, గొల్లభామా !"(The books named గరుడాచలము, ఆటభాగవతము, పారిజాతము , &c. contain many specimens of these carols.) Also, a chorus of applause. ఏలపాటలు a kind of play, a game played by children బాలక్రీడావిశేషము . See P. ii. 132. ఏల [ ēla ] ēla. [Tel.] n. Name of a stream in the Godavery District ఏలేరు . (Telugu) ஏலப்பாட்டு ēla-p-pāṭṭu, n. < ஏலேலோ +. Boatmen's song in which the words ēlō, ēlēlō occur again and again; கப்பற்பாட்டு. (W .) ēla- is relatable semant. to 'sea waves' the song rhymes with the tossings of the boat on the waves and the 'splendour' of navigation: Kol. (Kin.) elava a wave. Go. (A.) helva id., flood (DEDR 830) Ta. el lustre, splendour, light, sun, daytime; elli, ellai sun, daytime; ilaku (ilaki-), ilaṅku (ilaṅki-) to shine, glisten, glitter. Ma. ilakuka to shine, twinkle; ilaṅkuka to shine; el lustre, splendour, light; ella light. Te. (K.) elamu to be shiny, splendid. (DEDR 829) See: lilām लिलाम् or nilām निलाम् m. (Hindī nīlām, Portuguese leilám), an auction, public sale (Gr.M.).(Kashmiri) ஏலம்³ ēlam , n. < Port. leilàoelamu, K. elām, M. ēlam.] Auction; போட்டி யிற் பலர்முன் ஏற்றும் விலை. The Portuguese gloss may relate to competitive rowing among a convoy of boats as they set out into the waters.
The Westward Elo! is a riverine navigation on the Himalayan rivers and mariime navigation along the Persian Gulf of the Indian Ocean (and the doab of Tigris-Euphrates) in a Maritime Tin Road from the Tin Belt (Vietnam region, hence designated by the capital Hanoi) to seaport of Haifa (Israel, not far from Nahal Mishmar) across the Mediterranean, with Cyprus (Enkomi) as the transit point.
See: http://bharatkalyan97.blogspot.in/2015/02/vedic-indians-in-iraq-in-5000-bce-and.html
Vedic Indians in Iraq in 5000 BCE and the rise of Sumerian Civilization -- P Priyadaarshi. History of Bharatam Janam has to cover space-time segment of this Bronze Age Tin Road -- Kalyan
Mirror: https://www.academia.edu/10583287/Ancient_History_of_Bh%C4%81ratam_Janam_Journeys_tossed_on_the_waves_of_Indian_Ocean_%C4%93l%C5%8D_--_on_the_Tin_Road_from_Hanoi_to_Haifa_Evidence_of_Gold_disc_studded_with_Meluhha_metalwork_hieroglyphs
Westward Ho! is a familiar American idiom to denote the journeys of people during the Gold Rush into California. A Meluhha synonym is a boatman's or navigators' song refrain: ēlō ! ēlēlō !! Meluhhan journeys are westward and eastward, southward and northward moving with the waves of perennial streams of Himalaya -- a majestic, dynamic range which spans the continent from Hanoi to Teheran forming a canpoy over the Indian Ocean. This āsetu-himācalam sets the space for Meluhha pilgrims' progress which started ca. 8th millennium BCE. As the dynamic mountain range -- देवतात्मा नगाधिराजः Dēvatātmā nagādhirājaḥ --continues to uplift the Eurasian plate, the water reservoir formed by snow and ice continues to grow about 1 cm. every year in size storing -- in glaciers -- all the monsoon waters which fall at heights of above 8000 ft. This inexorable plate tectonic uplift caused by unfathomable cosmic energy, defines the History of Bhāratam Janam in their relationship with material and environmental resources.
See: http://bharatkalyan97.blogspot.in/2015/02/ancient-history-of-bharatam-janam-along.html Ancient History of Bhāratam Janam along the Ancient Tin Road, which linked abundant stanniferous ores of the Far East (Hanoi) with Haifa (shipwreck tin ingots) of ancient Near East
The name Bhārata as a group identity of people, is traceable to bharat, alloy, metalcasters, philosophers of fire. bharatiyo 'metal casters' (Gujarati) भरत [ bharata ] n A factitious metal compounded of copper, pewter, tin &c. भरताचें भांडें [ bharatācē mbhāṇḍēṃ ] n A vessel made of the metal
'bhāratam janam', of the Chandas in Rigveda can be interpreted as 'bhārata folk' as in the ṛṣi's mantra:. viśvāmitrasya rakṣati brahmedam bhāratam janam RV 3.053.12. (Trans. This prayer, brahma, of viśvāmitra protects bhārata folk'.). I suggest that this phrase of self-designation, clear identity of the people as bhāratam janam is a reference to the artisans who had invented the new techniques of alloying metals and metal casting. Archaeological evidence from Nahal Mishmar is stunning. The artifacts found in a cave there were metal castings of exquisite artistry made using cire perdue (lost-wax casting) technique.
[The Meluhha ēlō ! refrain is attested in the ancient text Śatapatha Brāhmaṇa (lit. a prayer text of hundred paths): te 'asura attavacasa he 'alava he''alava (ŚBr.3.2.1.22-24 as detailed below].
The gods reflected, 'Verily that Vâk is a woman: (it is to be feared) that she will [or, it is to be hoped that she will not] allure him [viz. so. that Yagña also would fall to the share of the Asuras]'--Say to her, "Come hither to me where I stand!" and report to us her having come.' She then went up to where he was standing. Hence a woman goes to a man who stays in a well-trimmed (house). He reported to them her having come, saying, 'She has indeed come.'
The gods then cut her off from the Asuras; and having gained possession of her and enveloped her completely in fire, they offered her up as a holocaust, it being an offering of the gods. And in that they offered her with an anushtubh verse, thereby they made her their own; and the Asuras, being deprived of speech, were undone, crying, 'He ’lavah! he ’lavah!'
Such was the unintelligible speech which they then uttered,--and he (who speaks thus) is a Mlekkha (barbarian). Hence let no Brahman speak barbarous language, since such is the speech of the Asuras. Thus alone he deprives his spiteful enemies of speech; and whosoever knows this, his enemies, being deprived of speech, are undone.
According to Sâyana, 'He ’lavo' stands for 'He ’rayo (i.e. ho, the spiteful (enemies))!' which the Asuras were unable to pronounce correctly. The Kânva text, however, reads, te hâttavâko ’surâ hailo haila ity etâm ha vâkam vadantah parâbabhûvuh; (? i, e. He ilâ, 'ho, speech.') A third version of this passage seems to be referred to in the Mahâbhâshya (Kielhorn, p.2.)
I submit that the early linguists were enthralled by the childlike, joyous ēlō ! refrain, but struggled to fathom the semantics of boatmen's carol or song refrain or seafaring Meluhhan celebrating their maritime, metallurgical adventures, explorations and experiments with production of alloys and casting tools, weapons, metalware and pots an pans which transformed their lives beyond imagination resulting in the Bronze Age Metals revolution and new social corporate formations in an extensive playground of trans-continental Eurasia.
Carol of Śr̥ṅgāra, fun, frolic, beauty, love, passion: ఏల [ ēla ] or ఏలా ēla. [Tel.] interrogative adv. Why, how, wherefore, to what end, for what reason.
The Westward Elo! is a riverine navigation on the Himalayan rivers and mariime navigation along the Persian Gulf of the Indian Ocean (and the doab of Tigris-Euphrates) in a Maritime Tin Road from the Tin Belt (Vietnam region, hence designated by the capital Hanoi) to seaport of Haifa (Israel, not far from Nahal Mishmar) across the Mediterranean, with Cyprus (Enkomi) as the transit point.
See: http://bharatkalyan97.blogspot.in/2015/02/vedic-indians-in-iraq-in-5000-bce-and.html
Vedic Indians in Iraq in 5000 BCE and the rise of Sumerian Civilization -- P Priyadaarshi. History of Bharatam Janam has to cover space-time segment of this Bronze Age Tin Road -- Kalyan
Priyadarshi has provided insights into the presence of Bharatam Janam (identified in the Rigveda) in Sumer, ca. 5000 BCE. These insights provide the imperative for narrating Itihasa of Bharatam Janam.
Given the recurrence of Indus Script hieroglyphs in Sumer/Mesopotamian sites including Jemdet-Nasr mentioned by Priyadarshi in his article (February 5, 2015 -- See Annex), it is clear that there were Meluhha settlements in Sumer/Mesopotamia. Meluhha was the spoken idiom, the lingua franca of the civilization attested by Indus Script corpora.
Mapping the Tin Road which rivaled the later-day Silk Road
See: http://bharatkalyan97.
The challenge for archaeology researchers, archaeometallurgists and students of civilization studies is to map the Tin Road from Hanoi to Haifa, considering that the world's largest resource for tin is the Tin Belt of Malaysian Peninsula, extending northwards into Northeast Bharatam (India) and eastwards into Vietnam. Meluhha were metalworkers of yore whose legacy is celebrated by Asur, the smelters of Bharatam and were the pioneers of cire perdue metal castingand tin-bronzes which created the Bronze Age revolution across Eurasia.
Evidence of Gold disc (Kuwait National Museum) with Meluhha metalwork hieroglyphs is emphatic that Meluhha metalworkers were seafaring artisans and traders.
Evidence of Gold disc studded with Meluhha metalwork hieroglyphs
The evidence is evaluated in the contexts of archaeo-metallurgy and use of Meluhha hieroglyphs in Indus writing system:
1. Processes for producing hard alloys to effectively deploy the cire perdue (lost-wax) technique of metal casting -- a multi-national enterprise which started ca. 5th millennium BCE (pace Nahal Mishmar evidence)
2. Metalwork Meluhha hieroglyphs such as ligatured eagle (pace Mesopotamia reliefs and Candi Suku reliefs), duck, pine-cone, flowering creeper, pillar/post, bucket/wallet -- to document catalogs of hard alloys (karaḍa), metal casting (dhokra) and 'fire-altar' (kaṇḍ).
See: https://www.academia.edu/8795289/Ligatured_eagle_pine-cone_and_other_metalwork_Meluhha_hieroglyphs Ligatured eagle, pine-cone and other metalwork Meluhha hieroglyphs
They had navigated the Persian Gulf during the Bronze Age cataloging their competence in metalwork and metal castings (using cire perdue or lost wax method of casting metal alloys).
The gold disc is, in effect, a catalogus catalogorum of Meluhha metalwork hieroglyphs. It is a veritable mini-gallery of Meluhha hieroglyphs.
See: http://bharatkalyan97.blogspot.in/2013/05/indus-writing-on-gold-disc-kuwait.html https://www.facebook.com/BenoyKBehlArtCulture/photos/pb.369573056429568.-2207520000.1423199373./505466802840192/?
It will be interesting to obtain provenance information from the Museum and have experts evaluate the authenticity of the artifact.
Prima facie, the gold disk has hieroglyphs ALL of which occur on other Indus writing artifacts such as seals and tablets.
http://bharatkalyan97.blogspot.in/2015/01/stepped-socles-of-assur-meluhha.html
Stepped socles of Assur. Meluhha hieroglyphs of metalwork in Kar Tukulti Ninurta.
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Gold disc. al-Sabah Collection, Kuwait National Museum. 9.6 cm diameter, which was obviously from the Indus Valley period in India. Typical of that period, it depicts zebu, bulls, human attendants, ibex, fish, partridges, bees, pipal free an animal-headed standard.
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కారండవము [ kāraṇḍavamu ] n. A sort of duck. కారండవము [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. कारंडव [kāraṇḍava ] m S A drake or sort of duck. कारंडवी f S The female. karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii , 31 , 21 கரண்டம் karaṇṭam, n.
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Ht. 10 feet.Alabaster relief in the Louvre. Drawing by Saint-Elme Gautier. Illustration for A History of Art in Chaldaea and Assyria by Georges Perrot and Charles Chipiez (Chapman and Hall, 1884) The winged person, whose helmet has three sets of horns holds a raphia farinifera cone on his right palm. The person (perhaps a Meluhha) with antelope on his left arm appears to be holding a date cluster on his right hand; he is followed by a person holding a pomegrante cluster.
The relief presents a trade deal involving exchange of sharp metal tools with copper metal ingots from Meluhha.
mlekh 'goat' carried by him denotes the Meluhha merchant (dealing in) milakkhu 'copper'. The twig or sprig on his right hand: ḍhāḷā m. ʻsprig' meṛh 'mrchant's assistant' carries a cluster of pomegranates: ḍ̠āṛhū̃ 'pomegranate' (Sindhi) Rebus: ḍhālako 'a large metal ingot' (Gujarati)
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 , °ḷīf., °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). Rebus: ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B.ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f.. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f. (CDIAL 5583).
dalim 'the fruit of pomegranate, punica granatum, Linn.' (Santali) S. ḍ̠āṛhū̃ 'pomegranate'(CDIAL 6254). Gy. eur. darav ʻ pomegranate ʼ (GWZS 440).(CDIAL 14598). dāḍima m. ʻ pomegranate tree ʼ MBh., n. ʻ its fruit ʼ Suśr., dālima -- m. Amar., ḍālima -- lex. 1. Pa. dālima -- m., NiDoc. daḍ'ima, Pk. dāḍima -- , dālima -- n., dāḍimī -- f. ʻ the tree ʼ, Dm. dā̤ŕim, Shum. Gaw. dāˊṛim,Kal. dā̤ŕəm, Kho. dáḷum, Phal. dhe_ ṛum, S. ḍ̠āṛhū̃ m., P. dāṛū̃, °ṛū, °ṛam m., kgr. dariūṇ (= dariū̃?) m.; WPah.bhiḍ. de_ ṛũ n. ʻ sour pomegranate ʼ; (Joshi) dāṛū, OAw. dārivaṁ m., H. poet. dāriũ m., OG. dāḍimi f. ʻ the tree ʼ, G. dāṛam n., dāṛe m f. ʻ the tree ʼ, Si. deḷum.2. WPah.jaun. dāṛim, Ku. dā̆ṛim, dālim, dālimo, N. dārim, A. ḍālim, B. dāṛim, dālim, Or. dāḷimba, °ima, dāṛima,
ḍāḷimba,ḍarami ʻ tree and fruit ʼ; Mth. dāṛim ʻ pomegranate ʼ, daṛimī ʻ dried mango ʼ; H. dāṛimb, °im, dālim, ḍāṛim, ḍār°, ḍāl° m., M.dāḷĩb, °ḷīm, ḍāḷĩb n. ʻ the fruit ʼ, f. ʻ the tree ʼ.3. Sh.gil. daṇū m. ʻ pomegranate ʼ, daṇúi f. ʻ the tree ʼ, jij. ḍ*l ṇə́i, K. dönü m., P. dānū m.
dāḍima -- . 2. dāḍimba -- : Garh. dāḷimu ʻ pomegranate ʼ, A. ḍālim (phonet. d -- ).(CDIAL 6254).Ta. mātaḷai, mātuḷai, mātuḷam pomegranate. Ma. mātaḷam id. (DEDR 4809). தாதுமாதுளை tātu-mātuḷai , n. < id. +. Pomegranate, s. tr., Punica granatum; பூ மாதுளை. (யாழ். அக.)
Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)![]()
Composition of two horned animals, sitting human playing a four-string musical instrument, a star and a moon.
The rebus reading of hieroglyphs are: తంబుర [tambura] or తంబురా tambura. [Tel. తంతి +బుర్ర .] n. A kind of stringed instrument like the guitar. A tambourine. Rebus: tam(b)ra 'copper' tambabica, copper-ore stones; samṛobica, stones containing gold (Mundari.lex.) tagara 'antelope'. Rebus 1: tagara 'tin' (ore) tagromi 'tin, metal alloy' (Kuwi) Rebus 2: damgar 'merchant'.
Thus the seal connotes a merchant of tin and copper.
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Inventory No. 8480. A seal from Dilmun, A seal from Dilmun, made of soft stone, classified as the 3rd largest seal in Failaka Island, decorated with human and zoomorphic figures. 0.16 X 4.8 cm. Site: the Ruler's Palace. 2nd millennium BCE, Dilmun civilization [NOTE: Many such seals of Failaka and Dilmun have been read rebus as Indus writing on blogposts.]
Hieroglyphs on this Dilmun seal are: star, tabernae montana flower, cock, two divided squares, two bulls, antelope, sprout (paddy plant), drinking (straw), stool, twig or tree branch. A person with upraised arm in front of the antelope. All these hieroglyphs are read rebus using lexemes (Meluhha, Mleccha) of Indiansprachbund.
meḍha ‘polar star’ (Marathi). Rebus: meḍ ‘iron’ (Ho.Mu.)
ṭagara (tagara) fragrant wood (Pkt.Skt.).tagara 'antelope'. Rebus 1: tagara 'tin' (ore) tagromi 'tin, metal alloy' (Kuwi) Rebus 2: damgar 'merchant'
kuṭi (-pp-, -tt-) to drink, inhale. Rebus: kuṭhi ‘smelting furnace’ (Santali)
ḍangar ‘bull’; rebus: ḍangar ‘blacksmith’ (Hindi) dula 'pair' (Kashmiri). Rebus: dul 'cast metal' (Santali) Thus, a pair of bulls connote 'cast metal blacksmith'.
khaṇḍ ‘field, division’ (Skt.) Rebus 1: Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (ore). Rebus 2: kaṇḍ 'fire-altar' (Santali) Thus, the two divided squares connote furnace for stone (ore).
kolmo ‘paddy plant’ (Santali) Rebus: kolami ‘furnace, smithy’ (Telugu)
Kur. kaṇḍō a stool. Rebus: kaṇḍ 'fire-altar' (Santali)
Tu. aḍaru twig. Rebus: aduru 'native (unsmelted) metal' (Kannada) Alternative reading: కండె [kaṇḍe] kaṇḍe. [Tel.] n. A head or ear of millet or maize. Rebus 1: kaṇḍ 'fire-altar' (Santali) Rebus 2: khānḍa ‘tools, pots and pans, metal-ware’.
eraka ‘upraised arm’ (Te.); eraka ‘copper’ (Te.)
Thus, the Dilmun seal is a metalware catalog of damgar 'merchant' dealing with copper and tin.
The two divided squares attached to the straws of two vases in the following seal can also be read as hieroglyphs:
khaṇḍ ‘field, division’ (Skt.) Rebus 1: Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (ore). Rebus 2: kaṇḍ 'fire-altar' (Santali) Thus, the two divided squares connote furnace for stone (ore).
kuṭi (-pp-, -tt-) to drink, inhale. Rebus: kuṭhi ‘smelting furnace’ (Santali)
ḍangā = small country boat, dug-out canoe (Or.); ḍõgā trough, canoe, ladle (H.)(CDIAL 5568). Rebus: ḍānro term of contempt for a blacksmith (N.); ḍangar (H.) (CDIAL 5524)
Thus, a smelting furnace for stone (ore) is connoted by the seal of a blacksmith, ḍangar
Ta. kara-tāḷam palmyra palm. Ka. kara-tāḷa fan-palm, Corypha umbraculifera Lin. Tu. karatāḷa cadjan. Te. (B.) kara-tāḷamu the small-leaved palm tree.(DEDR 1270). karukku teeth of a saw or sickle, jagged edge of palmyra leaf-stalk, sharpness (Ta.) Ka. garasu. / Cf. Skt. karaṭa- a low, unruly, difficult person; karkara- hard, firm; karkaśa- rough, harsh, hard; krakaca-, karapattra- saw; khara- hard, harsh, rough, sharp-edged; kharu- harsh, cruel; Pali kakaca- saw; khara- rough; saw; Pkt.karakaya- saw; Apabhraṃśa (Jasaharacariu) karaḍa- hard. Cf. esp. Turner, CDIAL, no. 2819. Cf. also Skt. karavāla- sword (for second element, cf. 5376 Ta. vāḷ). (DEDR 1265) Allograph: Ta. karaṭi, karuṭi, keruṭi fencing, school or gymnasium where wrestling and fencing are taught. Ka. garaḍi, garuḍi fencing school. Tu.garaḍi, garoḍi id. Te. gariḍi, gariḍī id., fencing.(DEDR 1262)
Allograph: eagle: garuḍá m. ʻ a mythical bird ʼ Mn. Pa. garuḷa -- m., Pk. garuḍa -- , °ula -- m.; P. garaṛ m. ʻ the bird Ardea argala ʼ; N. garul ʻ eagle ʼ, Bhoj. gaṛur; OAw. garura ʻ blue jay ʼ; H. garuṛ m. ʻ hornbill ʼ, garul ʻ a large vulture ʼ; Si. guruḷā ʻ bird ʼ (kurullā infl. by Tam.?). -- Kal. rumb. gōrvḗlik ʻ kite ʼ?? (CDIAL 4041). gāruḍa ʻ relating to Garuḍa ʼ MBh., n. ʻ spell against poison ʼ lex. 2. ʻ emerald (used as an antidote) ʼ Kālid. [garuḍá -- ]1. Pk. gāruḍa -- , °ula -- ʻ good as antidote to snakepoison ʼ, m. ʻ charm against snake -- poison ʼ, n. ʻ science of using such charms ʼ; H. gāṛrū, gārṛū m. ʻ charm against snake -- poison ʼ; M. gāruḍ n. ʻ juggling ʼ. 2. M. gāroḷā ʻ cat -- eyed, of the colour of cat's eyes ʼ.(CDIAL 4138). கருடக்கல் karuṭa-k-kal, n. < garuḍa. (Tamil)
Given the recurrence of Indus Script hieroglyphs in Sumer/Mesopotamian sites including Jemdet-Nasr mentioned by Priyadarshi in his article (February 5, 2015 -- See Annex), it is clear that there were Meluhha settlements in Sumer/Mesopotamia. Meluhha was the spoken idiom, the lingua franca of the civilization attested by Indus Script corpora.
The challenge for archaeology researchers, archaeometallurgists and students of civilization studies is to map the Tin Road from Hanoi to Haifa, considering that the world's largest resource for tin is the Tin Belt of Malaysian Peninsula, extending northwards into Northeast Bharatam (India) and eastwards into Vietnam. Meluhha were metalworkers of yore whose legacy is celebrated by Asur, the smelters of Bharatam and were the pioneers of cire perdue metal castingand tin-bronzes which created the Bronze Age revolution across Eurasia.
Evidence of Gold disc (Kuwait National Museum) with Meluhha metalwork hieroglyphs is
emphatic that Meluhha metalworkers were seafaring artisans and traders.
Evidence of Gold disc studded with Meluhha metalwork hieroglyphs
The evidence is evaluated in the contexts of archaeo-metallurgy and use of Meluhha hieroglyphs in Indus writing system:
1. Processes for producing hard alloys to effectively deploy the cire perdue (lost-wax) technique of metal casting -- a multi-national enterprise which started ca. 5th millennium BCE (pace Nahal Mishmar evidence)
2. Metalwork Meluhha hieroglyphs such as ligatured eagle (pace Mesopotamia reliefs and Candi Suku reliefs), duck, pine-cone, flowering creeper, pillar/post, bucket/wallet -- to document catalogs of hard alloys (karaḍa), metal casting (dhokra) and 'fire-altar' (kaṇḍ).
See: https://www.academia.edu/8795289/Ligatured_eagle_pine-cone_and_other_metalwork_Meluhha_hieroglyphs Ligatured eagle, pine-cone and other metalwork Meluhha hieroglyphs
The gold disc is, in effect, a catalogus catalogorum of Meluhha metalwork hieroglyphs. It is a veritable mini-gallery of Meluhha hieroglyphs.
See: http://bharatkalyan97.blogspot.in/2013/05/indus-writing-on-gold-disc-kuwait.html
Prima facie, the gold disk has hieroglyphs ALL of which occur on other Indus writing artifacts such as seals and tablets.
They had navigated the Persian Gulf during the Bronze Age cataloging their competence in
metalwork and metal castings (using cire perdue or lost wax method of casting metal alloys).
The gold disc is, in effect, a catalogus catalogorum of Meluhha metalwork hieroglyphs. It is a veritable mini-gallery of Meluhha hieroglyphs.
See: http://bharatkalyan97.blogspot.in/2013/05/indus-writing-on-gold-disc-kuwait.html
https://www.facebook.com/BenoyKBehlArtCulture/photos/pb.369573056429568.-2207520000.1423199373./505466802840192/?
It will be interesting to obtain provenance information from the Museum and have experts evaluate the authenticity of the artifact.
http://bharatkalyan97.blogspot.in/2015/01/stepped-socles-of-assur-meluhha.html
Stepped socles of Assur. Meluhha hieroglyphs of metalwork in Kar Tukulti Ninurta.
Stepped socles of Assur. Meluhha hieroglyphs of metalwork in Kar Tukulti Ninurta.
Gold disc. al-Sabah Collection, Kuwait National Museum. 9.6 cm diameter, which was obviously from the Indus Valley period in India. Typical of that period, it depicts zebu, bulls, human attendants, ibex, fish, partridges, bees, pipal free an animal-headed standard.
కారండవము [ kāraṇḍavamu ] n. A sort of duck. కారండవము [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. कारंडव [kāraṇḍava ] m S A drake or sort of duck. कारंडवी f S The female. karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii , 31 , 21 கரண்டம் karaṇṭam, n.
Ht. 10 feet.Alabaster relief in the Louvre. Drawing by Saint-Elme Gautier. Illustration for A History of Art in Chaldaea and Assyria by Georges Perrot and Charles Chipiez (Chapman and Hall, 1884) The winged person, whose helmet has three sets of horns holds a raphia farinifera cone on his right palm. The person (perhaps a Meluhha) with antelope on his left arm appears to be holding a date cluster on his right hand; he is followed by a person holding a pomegrante cluster.
The relief presents a trade deal involving exchange of sharp metal tools with copper metal ingots from Meluhha.
mlekh 'goat' carried by him denotes the Meluhha merchant (dealing in) milakkhu 'copper'. The twig or sprig on his right hand: ḍhāḷā m. ʻsprig' meṛh 'mrchant's assistant' carries a cluster of pomegranates: ḍ̠āṛhū̃ 'pomegranate' (Sindhi) Rebus: ḍhālako 'a large metal ingot' (Gujarati)
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 , °ḷīf., °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). Rebus: ḍhāla n. ʻ shield ʼ lex. 2. *ḍhāllā -- .1. Tir. (Leech) "dàl"ʻ shield ʼ, Bshk. ḍāl, Ku. ḍhāl, gng. ḍhāw, N. A. B.ḍhāl, Or. ḍhāḷa, Mth. H. ḍhāl m.2. Sh. ḍal (pl. °le̯) f., K. ḍāl f., S. ḍhāla, L. ḍhāl (pl. °lã) f., P. ḍhāl f., G. M. ḍhāl f.. *ḍhāllā -- : WPah.kṭg. (kc.) ḍhāˋl f. (obl. -- a) ʻ shield ʼ (a word used in salutation), J. ḍhāl f. (CDIAL 5583).
dalim 'the fruit of pomegranate, punica granatum, Linn.' (Santali)S. ḍ̠āṛhū̃ 'pomegranate'(CDIAL 6254). Gy. eur. darav ʻ pomegranate ʼ (GWZS 440).(CDIAL 14598). dāḍima m. ʻ pomegranate tree ʼ MBh., n. ʻ its fruit ʼ Suśr., dālima -- m. Amar., ḍālima -- lex. 1. Pa. dālima -- m., NiDoc. daḍ'ima, Pk. dāḍima -- , dālima -- n., dāḍimī -- f. ʻ the tree ʼ, Dm. dā̤ŕim, Shum. Gaw. dāˊṛim,Kal. dā̤ŕəm, Kho. dáḷum, Phal. dhe_ ṛum, S. ḍ̠āṛhū̃ m., P. dāṛū̃, °ṛū, °ṛam m., kgr. dariūṇ (= dariū̃?) m.; WPah.bhiḍ. de_ ṛũ n. ʻ sour pomegranate ʼ; (Joshi) dāṛū, OAw. dārivaṁ m., H. poet. dāriũ m., OG. dāḍimi f. ʻ the tree ʼ, G. dāṛam n., dāṛe m f. ʻ the tree ʼ, Si. deḷum.2. WPah.jaun. dāṛim, Ku. dā̆ṛim, dālim, dālimo, N. dārim, A. ḍālim, B. dāṛim, dālim, Or. dāḷimba, °ima, dāṛima,
mlekh 'goat' carried by him denotes the Meluhha merchant (dealing in) milakkhu 'copper'. The twig or sprig on his right hand: ḍhāḷā m. ʻsprig' meṛh 'mrchant's assistant' carries a cluster of pomegranates: ḍ̠āṛhū̃ 'pomegranate' (Sindhi) Rebus: ḍhālako 'a large metal ingot' (Gujarati)
ḍāla
dalim 'the fruit of pomegranate, punica granatum, Linn.' (Santali)
ḍāḷimba,ḍarami ʻ tree and fruit ʼ; Mth. dāṛim ʻ pomegranate ʼ, daṛimī ʻ dried mango ʼ; H. dāṛimb, °im, dālim, ḍāṛim, ḍār°, ḍāl° m., M.dāḷĩb, °ḷīm, ḍāḷĩb n. ʻ the fruit ʼ, f. ʻ the tree ʼ.3. Sh.gil. daṇū m. ʻ pomegranate ʼ, daṇúi f. ʻ the tree ʼ, jij. ḍ*l ṇə́i, K. dönü m., P. dānū m.
dāḍima -- . 2. dāḍimba -- : Garh. dāḷimu ʻ pomegranate ʼ, A. ḍālim (phonet. d -- ).(CDIAL 6254).Ta. mātaḷai, mātuḷai, mātuḷam pomegranate. Ma. mātaḷam id. (DEDR 4809). தாதுமாதுளை tātu-mātuḷai , n. < id. +. Pomegranate, s. tr., Punica granatum; பூ மாதுளை. (யாழ். அக.)
Rebus: ḍhālako = a large metal ingot (G.) ḍhālakī = a metal heated and poured into a mould; a solid piece of metal; an ingot (Gujarati)
Composition of two horned animals, sitting human playing a four-string musical instrument, a star and a moon.The rebus reading of hieroglyphs are: తంబుర [tambura] or
Thus the seal connotes a merchant of tin and copper.
Inventory No. 8480. A seal from Dilmun, A seal from Dilmun, made of soft stone, classified as the 3rd largest seal in Failaka Island, decorated with human and zoomorphic figures. 0.16 X 4.8 cm. Site: the Ruler's Palace. 2nd millennium BCE, Dilmun civilization [NOTE: Many such seals of Failaka and Dilmun have been read rebus as Indus writing on blogposts.]Hieroglyphs on this Dilmun seal are: star, tabernae montana flower, cock, two divided squares, two bulls, antelope, sprout (paddy plant), drinking (straw), stool, twig or tree branch. A person with upraised arm in front of the antelope. All these hieroglyphs are read rebus using lexemes (Meluhha, Mleccha) of Indiansprachbund.
meḍha ‘polar star’ (Marathi). Rebus: meḍ ‘iron’ (Ho.Mu.)
ṭagara (tagara) fragrant wood (Pkt.Skt.).tagara 'antelope'. Rebus 1: tagara 'tin' (ore) tagromi 'tin, metal alloy' (Kuwi) Rebus 2: damgar 'merchant'
kuṭi (-pp-, -tt-) to drink, inhale. Rebus: kuṭhi ‘smelting furnace’ (Santali)
ḍangar ‘bull’; rebus: ḍangar ‘blacksmith’ (Hindi) dula 'pair' (Kashmiri). Rebus: dul 'cast metal' (Santali) Thus, a pair of bulls connote 'cast metal blacksmith'.
khaṇḍ ‘field, division’ (Skt.) Rebus 1: Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (ore). Rebus 2: kaṇḍ 'fire-altar' (Santali) Thus, the two divided squares connote furnace for stone (ore).
kolmo ‘paddy plant’ (Santali) Rebus: kolami ‘furnace, smithy’ (Telugu)
Kur. kaṇḍō a stool. Rebus: kaṇḍ 'fire-altar' (Santali)
Tu. aḍaru twig. Rebus: aduru 'native (unsmelted) metal' (Kannada) Alternative reading: కండె [kaṇḍe] kaṇḍe. [Tel.] n. A head or ear of millet or maize. Rebus 1: kaṇḍ 'fire-altar' (Santali) Rebus 2: khānḍa ‘tools, pots and pans, metal-ware’.
eraka ‘upraised arm’ (Te.); eraka ‘copper’ (Te.)
Thus, the Dilmun seal is a metalware catalog of damgar 'merchant' dealing with copper and tin.
The two divided squares attached to the straws of two vases in the following seal can also be read as hieroglyphs:
khaṇḍ ‘field, division’ (Skt.) Rebus 1: Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (ore). Rebus 2: kaṇḍ 'fire-altar' (Santali) Thus, the two divided squares connote furnace for stone (ore).
kuṭi (-pp-, -tt-) to drink, inhale. Rebus: kuṭhi ‘smelting furnace’ (Santali)
ḍangā = small country boat, dug-out canoe (Or.); ḍõgā trough, canoe, ladle (H.)(CDIAL 5568). Rebus: ḍānro term of contempt for a blacksmith (N.); ḍangar (H.) (CDIAL 5524)
Thus, a smelting furnace for stone (ore) is connoted by the seal of a blacksmith, ḍangar
Ta. kara-tāḷam palmyra palm. Ka. kara-tāḷa fan-palm, Corypha umbraculifera Lin. Tu. karatāḷa cadjan. Te. (B.) kara-tāḷamu the small-leaved palm tree.(DEDR 1270). karukku teeth of a saw or sickle, jagged edge of palmyra leaf-stalk, sharpness (Ta.) Ka. garasu. / Cf. Skt. karaṭa- a low, unruly, difficult person; karkara- hard, firm; karkaśa- rough, harsh, hard; krakaca-, karapattra- saw; khara- hard, harsh, rough, sharp-edged; kharu- harsh, cruel; Pali kakaca- saw; khara- rough; saw; Pkt.karakaya- saw; Apabhraṃśa (Jasaharacariu) karaḍa- hard. Cf. esp. Turner, CDIAL, no. 2819. Cf. also Skt. karavāla- sword (for second element, cf. 5376 Ta. vāḷ). (DEDR 1265) Allograph: Ta. karaṭi, karuṭi, keruṭi fencing, school or gymnasium where wrestling and fencing are taught. Ka. garaḍi, garuḍi fencing school. Tu.garaḍi, garoḍi id. Te. gariḍi, gariḍī id., fencing.(DEDR 1262)
Allograph: eagle: garuḍá m. ʻ a mythical bird ʼ Mn. Pa. garuḷa -- m., Pk. garuḍa -- , °ula -- m.; P. garaṛ m. ʻ the bird Ardea argala ʼ; N. garul ʻ eagle ʼ, Bhoj. gaṛur; OAw. garura ʻ blue jay ʼ; H. garuṛ m. ʻ hornbill ʼ, garul ʻ a large vulture ʼ; Si. guruḷā ʻ bird ʼ (kurullā infl. by Tam.?). -- Kal. rumb. gōrvḗlik ʻ kite ʼ?? (CDIAL 4041). gāruḍa ʻ relating to Garuḍa ʼ MBh., n. ʻ spell against poison ʼ lex. 2. ʻ emerald (used as an antidote) ʼ Kālid. [garuḍá -- ]1. Pk. gāruḍa -- , °ula -- ʻ good as antidote to snakepoison ʼ, m. ʻ charm against snake -- poison ʼ, n. ʻ science of using such charms ʼ; H. gāṛrū, gārṛū m. ʻ charm against snake -- poison ʼ; M. gāruḍ n. ʻ juggling ʼ. 2. M. gāroḷā ʻ cat -- eyed, of the colour of cat's eyes ʼ.(CDIAL 4138). கருடக்கல் karuṭa-k-kal, n. < garuḍa. (Tamil)
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Depiction of an annunaki in the Pergamon Museum in Berlin. Hieroglyph composition of an eagle-faced winged person also carried a pine-cone in his right hand; a basket or wallet is held in the left hand. Assyrian) alabaster Height: 236.2 cm (93 in). Width: 135.9 cm (53.5 in). Depth: 15.2 cm (6 in). This relief decorated the interior wall of the northwest palace of King Ashurnasirpal II at Nimrud. http://www.cuttingedge.org/articles/RC125.htm
Hieroglyph: pine-cone: கண்டபலம் kaṇṭa-palam, n. < kaṇṭa கண்டம்¹ kaṇṭam
Hieroglyphs: kandə ʻpineʼ, ‘ear of maize’. Rebus: kaṇḍa ‘tools, pots and pans of metal’. Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298).
Some examples of Indus Script hieroglyphs in Jemde Nasr and other sites of Sumer/Mesopotamia are given below. Each of the hieroglyphs can also be read rebus as Meluhha metalwork catalogs.
Hieroglyphs: kandə ʻpineʼ, ‘ear of maize’. Rebus: kaṇḍa ‘tools, pots and pans of metal’. Rebus: kāḍ ‘stone’. Ga. (Oll.) kanḍ, (S.) kanḍu (pl. kanḍkil) stone (DEDR 1298).
Some examples of Indus Script hieroglyphs in Jemde Nasr and other sites of Sumer/Mesopotamia are given below. Each of the hieroglyphs can also be read rebus as Meluhha metalwork catalogs.
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Fragment of a bowl with a frieze of bulls in relief. Period: Late Uruk![]()
http://www.metmuseum.org/toah/works-of-art/1999.325.4 (Bos gaurus shown with greater clarity) Sumerian (Late Uruk/Jemdet Nasr Period) Black Stetatite Cylinder Seal http://art.thewalters.org/viewwoa.aspx?id=33263 In the two scenes on this cylinder seal, a heroic figure with heavy beard and long curls holds off two roaring lions, and another hero struggles with a water buffalo. The inscription in the panel identifies the owner of this seal as "Ur-Inanna, the farmer."![]()
Tailless lion or bear standing erect behind tree; two goats feeding at other side of tree; another tree, with bird in branches, behind monster; three-towered building with door at left side; watercourse along bottom of scene. Kafaje, Jemdet Nasr (ca. 3000 - 2800 BC) . Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 34.http://oi.uchicago.edu/OI/IRAQ/Images/oip72/oip72_0034l.jpg
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Girdled nude hero attacking water buffalo;Chlorite Bull Cup, Late Uruk-Jemdet Nasr, circa 3300-2900![]()
c.3200-3000 B.C. Late Uruk-Jemdet Nasr periodMagnesite. Cylinder seal![]()
Tell Asmar cylinder impression [elephant, rhinoceros and gharial (alligator) on the upper register] Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE.![]()
Cylinder seal impression of Ibni-Sharrum, a scribe of Shar Kalisharri, ca. 2183–2159 BCE The inscription reads “O divine Shar-kali-sharri, Ibni-sharrum the scribe is your servant.” Cylinder seal. Chlorite. AO 22303 H. 3.9 cm. Dia. 2.6 cm
S. Kalyanaraman February 7, 2015 Sarasvati Research Center![]()
The road between Assur and Kanesh is presented in http://bharatkalyan97.blogspot.com/2013/12/tin-road-between-ashur-kultepe-and.html
l![]()
Fragment of a bowl with a frieze of bulls in relief. Period: Late Uruk
Fragment of a bowl with a frieze of bulls in relief. Period: Late Uruk
http://www.metmuseum.org/toah/works-of-art/1999.325.4 (Bos gaurus shown with greater clarity) Sumerian (Late Uruk/Jemdet Nasr Period) Black Stetatite Cylinder Seal http://art.thewalters.org/viewwoa.aspx?id=33263 In the two scenes on this cylinder seal, a heroic figure with heavy beard and long curls holds off two roaring lions, and another hero struggles with a water buffalo. The inscription in the panel identifies the owner of this seal as "Ur-Inanna, the farmer."
Tailless lion or bear standing erect behind tree; two goats feeding at other side of tree; another tree, with bird in branches, behind monster; three-towered building with door at left side; watercourse along bottom of scene. Kafaje, Jemdet Nasr (ca. 3000 - 2800 BC) . Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 34.http://oi.uchicago.edu/OI/IRAQ/Images/oip72/oip72_0034l.jpg
Girdled nude hero attacking water buffalo;Chlorite Bull Cup, Late Uruk-Jemdet Nasr, circa 3300-2900Magnesite. Cylinder seal
Tell Asmar cylinder impression [elephant, rhinoceros and gharial (alligator) on the upper register] Frankfort, Henri: Stratified Cylinder Seals from the Diyala Region. Oriental Institute Publications 72. Chicago: University of Chicago Press, no. 642. Museum Number: IM14674 3.4 cm. high. Glazed steatite. ca. 2250 - 2200 BCE.S. Kalyanaraman
February 7, 2015 Sarasvati Research Center
The road between Assur and Kanesh is presented in http://bharatkalyan97.blogspot.com/2013/12/tin-road-between-ashur-kultepe-and.html
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Indian Civilization emerged in the 8th millennium BCE in Ghaggar-Hakra and Baluchistan area.
The roots of the Indian Civilization in 8th millennium BCE (and cultural continuum into historical periods) was suggested by BR Mani and KN Dikshit in an International Conference held in Chandigarh from 27th to 29th October, 2012. The suggestion was based on archaeological reports and chronological dating of sites such as Mehrgarh in Baluchistan, Rehman Dheri in Gomal plains, Jalilpur and Harappa in Punjab, Bhirrana, Baror, Sothi, Nohar, Siswal, Banawali, Kalibangan, Girawad and Rakhigarhi in India.
The cultural remains of Bhirrana (a site on the Sarasvati/Ghaggar-Hakra river valley) date from 7380 BC to 6201 BCE and represent Hakra Ware Culture. Hakra Ware was also attested in the Hakra river basin of Cholistan sites by excavation of sites such as Ganweriwala and Bahawalpur.
These dates of Bhirrana are contemporaneous with C14 dates of 8th-7th millennium BCE of Mehergarh. Continuity of cultural horizon in Bhirrana has been noted upto 1800 BCE suggesting that the ‘Lost’ Sarasvati/Ghaggar-Hakra was the cradle of Indian civilization .
The date 1800 BCE is significant in the context of the Ganga River valley of Indian civilization. In the sites of Dadupur, Lahuradewa, Malhar, Raja Nal-ka-tila, iron smelting activities have been attested with the remains of a smelter discovered, dated to ca. 1800 BCE. (Rakesh Tewari, 2003,The origins of iron-working in India: new evidence from the Central Ganga Plain and the Eastern Vindhyas
http://antiquity.ac.uk/ProjGall/tewari/tewari.pdf
Tewari, R., RK Srivastava & KK Singh, 2002, Excavation at Lahuradewa, Dist. Sant Kabir Nagar, Uttar Pradesh, Puratattva 32: 54-62).
http://antiquity.ac.uk/ProjGall/tewari/tewari.pdf
Tewari, R., RK Srivastava & KK Singh, 2002, Excavation at Lahuradewa, Dist. Sant Kabir Nagar, Uttar Pradesh, Puratattva 32: 54-62).
Dates for early iron use from Indian sites (After Table 1. Rakesh Sinha opcit.)
Technologies used in Mehergarh (5500 - 3500 BCE) included stone and copper drills, updraft kilns, large pit kilns and copper melting crucibles.
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Nageshwar: Fire altar (After Fig. 3 in Nagaraja Rao, MS, 1986).
Large updraft kiln of the Harappan period (ca. 2400 BCE) found during excavations on Mound E Harappa, 1989 (After Fig. 8.8, Kenoyer, 2000). See: Discussion on stone structures in Dholavira: http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.html
Lothal. Bead-making kiln. Rao,S.R. 1979. Lothal--A Harappan Port Town 1955-62, Vol. I. New Delhi: Archaeological Survey of India.; Rao, S.R. 1985. Lothal--A Harapan Port Town 1955-62. Vol. II. New Delhi: Archaeological Survey of India.
Harappa. Bead makers' kiln where the heat was distributed equally to all the holes. The 8-shaped stone structure indicates that this is a bead-maker's kiln. The 8-shaped stone structures with an altar or stone stool in the middle can thus be explained functionally as an anvil used by the bead makers to drill holes through beads and to forge material including metal artifacts.Vitrified kiln walls were discovered in Harappa.
Harappa. Kiln (furnace) 1999, Mound F, Trench 43: Period 5 kiln, plan and section views.
Damaged circular clay furnace, comprising iron slag and tuyeres and other waste materials stuck with its body, exposed at lohsanwa mound, Period II, Malhar, Dist. Chandauli. (After Rakesh Sinha opcit.)The Sindhu-Sarasvati river valley Indian civilization life-activities of metalwork thus continues into the Ganga river valley. The extension of the civilization into the third river valley of Brahmaputra (another perennial Himalayan river system) is as yet an open question subject to archaeological confirmation. The mapping of bronze age sites along the eastern and northeastern parts of India and extending into the Burma, Malay Peninsula and eastwards upto Vietnam (coterminus with the Austro-Asiatic language speaking communities along the Himalayan rivers of Irrawaddy, Salween and Mekong) point to the possibility that the transition of chalco-lithic cultures into the Bronze-iron age (or Metal Alloys age) was a continuum traceable from Mehergarh to Hanoi (Vietnam).
This continuum of metalwork as a principal life-activity (and trade) may also explain the remarkable discovery of the Bronze Age site of Ban Chiang in Thailand (dated to early 2nd millennium BCE). It should be noted that the site of Ban Chiang is proximate to the largest reserves of Tin (cassiterite) ore in the world which stretched along a massive mineral resource belt in Malay Peninsula into the Northeast India (Brahmaputra river valley). The chronological sequencing of metalworking with tin is an archaeometallurgical challenge which archaeologists and metallurgicals have to unravel in a multi-disciplinary endeavour.
The exploration metalwork in the in Northeastern India, in Brahmaputra river valley can relate to the remarkable fire-altar discovered in Uttarakashi:
Syena-citi: A Monument of Uttarkashi Distt. Fire-altar shaped like a falcon.
Excavated site (1996): Purola Geo-Coordinates-Lat. 30° 52’54” N Long. 77° 05’33” E "The ancient site at Purola is located on the left bank of river Kamal. The excavation yielded the remains of Painted Grey Ware (PGW) from the earliest level alongwith other associated materials include terracotta figurines, beads, potter-stamp, the dental and femur portions of domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syenachiti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings. In the center of the structure is the chiti is a square chamber yielded remains of pottery assignable to circa first century B.C. to second century AD. In addition copper coin of Kuninda and other material i.e. ash, bone pieces etc and a thin gold leaf impressed with a human figure tentatively identified as Agni have also been recovered from the central chamber.Note: Many ancient metallic coins (called Kuninda copper coins) were discovered at Purola. cf. Devendra Handa, 2007, Tribal coins of ancient India, ISBN: 8173053170, Aryan Books International."
Excavated site (1996): Purola Geo-Coordinates-Lat. 30° 52’54” N Long. 77° 05’33” E "The ancient site at Purola is located on the left bank of river Kamal. The excavation yielded the remains of Painted Grey Ware (PGW) from the earliest level alongwith other associated materials include terracotta figurines, beads, potter-stamp, the dental and femur portions of domesticated horse (Equas Cabalus Linn). The most important finding from the site is a brick alter identified as Syenachiti by the excavator. The structure is in the shape of a flying eagle Garuda, head facing east with outstretched wings. In the center of the structure is the chiti is a square chamber yielded remains of pottery assignable to circa first century B.C. to second century AD. In addition copper coin of Kuninda and other material i.e. ash, bone pieces etc and a thin gold leaf impressed with a human figure tentatively identified as Agni have also been recovered from the central chamber.Note: Many ancient metallic coins (called Kuninda copper coins) were discovered at Purola. cf. Devendra Handa, 2007, Tribal coins of ancient India, ISBN: 8173053170, Aryan Books International."
Cauldron Protome of Winged Ibexes. Bronze, Almaty Region, 5th - 3rd century B.C.E. CEntral State Museum, Almaty. Courtesy Central State Museum of the Republic of Kazakhstan, Almaty.
Cauldron Fragment Depicting Saiga Antelope in Relief. Copper Alloy, Almaty, 5th - 3rd century B.C.E. Central State Museum, Almaty. Courtesy Central State Museum of the Republic of Kazakhstan, Almaty.
Feline Face and Stylized Wood, and Tin and Gold Foil, H. 9.0; W. 6.0; D. 1.6 cm Berel, Kurgan 11, late 4th–early 3rd century bce Presidential Center of Culture, Astana: 5581. Almaty Museum, Kazakhstan.
http://mongolschinaandthesilkroad.blogspot.in/2012/02/nomads-and-networks-in-kazakhstan.html
![Splendors of the Ancient East]()
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Gold cylinder seal. Mid 3rdmillennium BCE. Height 2.21 cm. dia 2.74 cm. Gold shee with chased decoration. Inv. No. LNS 4517J. “…two scenes: the first depicts a bull-headed god with huge inward curving horns, large ears, massive biceps and a long beard facing forward with an eight-petal rosette between his horns. On either side is a human-headed bird, walking towards the god but its head facing away. Flanking both birds are undulating open-mouthed snakes and scorpions. The second scene is arranged around a vegetation goddess with long hair. Bare-chested but wearing a flounced skirt, she sits with her legs tucked under her skirt on the backs of two addorsed ibexes that turn back to look at each other. Between the rumps of the ibexes below the goddess is a pile of lozenges perhaps representing a mountain. Heavy foliage of branches and leaves springs from her sides and fills the upper register, and to her upper left is a crescent moon. The elements depicted reflect mythological figures seen on chlorite vessels from Bactria-Margiana in northern central Asia to Tepe Yahya, Jiroft and other sites in southeastern Iran and down to the Gulf.”
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Source: http://darmuseum.org.kw/dai/wp-content/uploads/2013/05/Splendour-Exhibition-Brochure.pdf
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-bronze-age-legacy_6.htmlAncient Near East bronze-age legacy: Processions depicted on Narmer palette, Indus writing denote artisan guilds
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-scarf-hieroglyph-on.html Ancient Near East 'scarf' hieroglyph on Warka vase, cyprus bronze stand and on Indus writing
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.htmlAncient Near East evidence for meluhha language and bronze-age metalware
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-indus-writing-lokhad.html Ancient near East Gudea statue hieroglyph (Indus writing): lokhãḍ, 'copper tools, pots and pans' Rebus: lo 'overflow', kāṇḍa 'sacred water'.
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-ziggurat-and-related.htmlAncient Near East ziggurat and related hieroglyphs in writing systems
http://bharatkalyan97.blogspot.in/2013/06/asur-metallurgists.htmlAncient Near East: Traditions of smelters, metallurgists validate the Bronze Age Linguistic Doctrine.
http://bharatkalyan97.blogspot.in/2013/07/ancient-near-east-transition-fro-bullae.htmlAncient Near East archaeological context: transition to Bronze Age. Indus writing is for trade in this transition.
http://bharatkalyan97.blogspot.in/2013/07/ancient-near-east-shahdad-bronze-age.htmlAncient Near East: Shahdad bronze-age inscriptional evidence, a tribute to Ali Hakemi
http://bharatkalyan97.blogspot.in/2013/07/bhirrana-8th-millennium-bce-on-river.htmlBhirrana & Rakhigarhi: From 8th millennium BCE. Archaeological sites linked by River Sarasvati.
http://bharatkalyan97.blogspot.in/2013/07/location-of-marhashi-and-cheetah-from.htmlLocation of Marhashi and cheetah from Meluhha: Shahdad & Tepe Yahya are in Marhashi
http://bharatkalyan97.blogspot.in/2013/07/shahdad-standard-meluhha-smithy-catalog.htmlShahdad standard: Meluhha smithy catalog of Shahdad, Marhashi
http://bharatkalyan97.blogspot.in/2013/08/ancient-near-east-bronze-age-heralded.htmlAncient Near East Bronze Age -- heralded by Meluhha writing
http://bharatkalyan97.blogspot.in/2013/08/bronze-age-kanmer-bagasra.htmlBronze Age Meluhha, smithy/lapidary documents, takṣat vāk, incised speech
http://bharatkalyan97.blogspot.in/2014/01/meluhha-overflowing-pot-hieroglyph.htmlMeluhha 'overflowing pot' hieroglyph. Meluhha-Susa-Marhashi interconnections
http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.htmlMeluhha: spread of lost-wax casting in the Fertile Crescent. Smithy is the temple. Veneration of ancestors.
http://bharatkalyan97.blogspot.in/2014/01/meluhha-dhokra-art-from-5th-millennium.htmlMeluhha dhokra art from 5th millennium BCE at Nahal (Nachal) Mishmar, transiting into Bronze Age
http://bharatkalyan97.blogspot.in/2014/01/meluhha-standard-compares-with-nahal.htmlMeluhha standard compares with Nahal Mishmar standard. Meluhha (Asur) guild processions.
http://bharatkalyan97.blogspot.in/2014/01/susa-pot-meluhha-hieroglyph-indian.htmlSusa pot, 'fish' Meluhha hieroglyph, metalware contents and the Tin Road reinforce Indian sprachbund of proto-Prākṛts
http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-snarling-iron-of.htmlSnarling iron, fish, crocodile and anthropomorph Meluhha hieroglyphs of Bronze Age
http://bharatkalyan97.blogspot.in/2014/01/assur-as-meluhha-speakers-asura-some.htmlAssur as Meluhha speakers, Asura, some divinities venerated in Rigveda.
http://bharatkalyan97.blogspot.in/2014/02/identity-of-ancient-meluhha-blacksmiths.htmlIdentity of Ancient Meluhha blacksmiths, using archaeometallurgy and cryptography in a socio-cultural context
http://bharatkalyan97.blogspot.in/2014/04/meluhha-metallurgy-hieroglyphs-of.htmlMeluhha metallurgy: hieroglyphs of pomegranate, mangrove date-palm cone (raphia farinifera), an elephant's head terracotta Nausharo, Sarasvati civilization
http://bharatkalyan97.blogspot.in/2014/04/tin-road-assur-kanesh-trade.htmlTin road -- Assur-Kanesh -- trade transactions and Meluhha hieroglyphs
http://bharatkalyan97.blogspot.in/2014/04/continuity-in-hieroglyph-motifs-from.htmlContinuity in hieroglyph motifs from Meluhha to Ancient Near East
- Martha L. Carter & Sidney Goldstein, 2013, Splendors of the Ancient East --Antiquities from The al-Sabah Collection (In association with The al-Sabah Collection Dar al-Athar al-Islamiyyah, Kuwait National Museum), Thames & Hudson.
- Silver pouring vessel with handle and double spout in the form of two bulls. Elamite, southern Iran, 7th to 6th century BCE or earlier. Ht. 28.4 cm to top of handle; depth 24.7 cm including spouts. Raised from silver sheet, hammered, engraved and chased. Long votive inscription in Elamite in the name of King Shutur-Nahhunte-Inshushinak (read by WG Lambert and R. Kovacs). Inv. No. LNS 1276 M
Copper alloy and silver standing nude male supporting openwork basket. Mesopotamia, Early Dynastic I, 2900 to 2700 BCE. Ht. 115 cm. width 33 cm. Figure of arsenical copper with silver head, lost-wax cast, with engraved details; with attached silver sidelocks; inlaid shell eye. Inv. No LNS 1654 M.
Gold cylinder seal. Mid 3rdmillennium BCE. Height 2.21 cm. dia 2.74 cm. Gold shee with chased decoration. Inv. No. LNS 4517J. “…two scenes: the first depicts a bull-headed god with huge inward curving horns, large ears, massive biceps and a long beard facing forward with an eight-petal rosette between his horns. On either side is a human-headed bird, walking towards the god but its head facing away. Flanking both birds are undulating open-mouthed snakes and scorpions. The second scene is arranged around a vegetation goddess with long hair. Bare-chested but wearing a flounced skirt, she sits with her legs tucked under her skirt on the backs of two addorsed ibexes that turn back to look at each other. Between the rumps of the ibexes below the goddess is a pile of lozenges perhaps representing a mountain. Heavy foliage of branches and leaves springs from her sides and fills the upper register, and to her upper left is a crescent moon. The elements depicted reflect mythological figures seen on chlorite vessels from Bactria-Margiana in northern central Asia to Tepe Yahya, Jiroft and other sites in southeastern Iran and down to the Gulf.”
Copper alloy stand in the form of a Markhor goat supporting an elaborate superstructure. Mesopotamia, Early Dynastic I, 2900 to 2700 BCE. Ht. 67 cm. l. 47 cm. width 33 cm. Body cast from speiss alloy (iron-arsenic-copper); all other parts separately lost-wax cast from arsenical copper and then joined by casting; left-eye retaining shell inlay; triangular forhead depression inlaid with shell and lapis lazuli (probably modern) Inv. No. LNS 1653 M. Splendour Exhibition Brochure. Kuwaiti Museum.
Source: http://darmuseum.org.kw/dai/wp-content/uploads/2013/05/Splendour-Exhibition-Brochure.pdf
See: http://bharatkalyan97.blogspot.in/2013/06/indus-writing-on-dilmun-type-seals.htmlIndus writing in ancient Near East (Failaka seal readings)
sal ‘bos gaurus’; rebus: sal ‘workshop’ (Santali) Vikalpa 1: ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku), lead (nāga) and antimony (añjana)’(Santali) Vikalpa 2: kaṭamā ‘bison’ (Ta.)(DEDR 1114) Rebus: kaḍiyo [Hem. Des. Kaḍa-i-o = (Skt. Sthapati, a mason) a bricklayer, mason (G.)]
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-bronze-age-legacy_6.htmlAncient Near East bronze-age legacy: Processions depicted on Narmer palette, Indus writing denote artisan guilds
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-scarf-hieroglyph-on.html Ancient Near East 'scarf' hieroglyph on Warka vase, cyprus bronze stand and on Indus writing
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-evidence-for-mleccha.htmlAncient Near East evidence for meluhha language and bronze-age metalware
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-indus-writing-lokhad.html Ancient near East Gudea statue hieroglyph (Indus writing): lokhãḍ, 'copper tools, pots and pans' Rebus: lo 'overflow', kāṇḍa 'sacred water'.
http://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-ziggurat-and-related.htmlAncient Near East ziggurat and related hieroglyphs in writing systems
http://bharatkalyan97.blogspot.in/2013/06/asur-metallurgists.htmlAncient Near East: Traditions of smelters, metallurgists validate the Bronze Age Linguistic Doctrine.
http://bharatkalyan97.blogspot.in/2013/07/ancient-near-east-transition-fro-bullae.htmlAncient Near East archaeological context: transition to Bronze Age. Indus writing is for trade in this transition.
http://bharatkalyan97.blogspot.in/2013/07/ancient-near-east-shahdad-bronze-age.htmlAncient Near East: Shahdad bronze-age inscriptional evidence, a tribute to Ali Hakemi
http://bharatkalyan97.blogspot.in/2013/07/bhirrana-8th-millennium-bce-on-river.htmlBhirrana & Rakhigarhi: From 8th millennium BCE. Archaeological sites linked by River Sarasvati.
http://bharatkalyan97.blogspot.in/2013/07/location-of-marhashi-and-cheetah-from.htmlLocation of Marhashi and cheetah from Meluhha: Shahdad & Tepe Yahya are in Marhashi
http://bharatkalyan97.blogspot.in/2013/07/shahdad-standard-meluhha-smithy-catalog.htmlShahdad standard: Meluhha smithy catalog of Shahdad, Marhashi
http://bharatkalyan97.blogspot.in/2013/08/ancient-near-east-bronze-age-heralded.htmlAncient Near East Bronze Age -- heralded by Meluhha writing
http://bharatkalyan97.blogspot.in/2013/08/bronze-age-kanmer-bagasra.htmlBronze Age Meluhha, smithy/lapidary documents, takṣat vāk, incised speech
http://bharatkalyan97.blogspot.in/2014/01/meluhha-overflowing-pot-hieroglyph.htmlMeluhha 'overflowing pot' hieroglyph. Meluhha-Susa-Marhashi interconnections
http://bharatkalyan97.blogspot.in/2014/01/meluhha-metallurgical-roots-and-spread.htmlMeluhha: spread of lost-wax casting in the Fertile Crescent. Smithy is the temple. Veneration of ancestors.
http://bharatkalyan97.blogspot.in/2014/01/meluhha-dhokra-art-from-5th-millennium.htmlMeluhha dhokra art from 5th millennium BCE at Nahal (Nachal) Mishmar, transiting into Bronze Age
http://bharatkalyan97.blogspot.in/2014/01/meluhha-standard-compares-with-nahal.htmlMeluhha standard compares with Nahal Mishmar standard. Meluhha (Asur) guild processions.
http://bharatkalyan97.blogspot.in/2014/01/susa-pot-meluhha-hieroglyph-indian.htmlSusa pot, 'fish' Meluhha hieroglyph, metalware contents and the Tin Road reinforce Indian sprachbund of proto-Prākṛts
http://bharatkalyan97.blogspot.in/2014/01/meluhha-hieroglyphs-snarling-iron-of.htmlSnarling iron, fish, crocodile and anthropomorph Meluhha hieroglyphs of Bronze Age
http://bharatkalyan97.blogspot.in/2014/01/assur-as-meluhha-speakers-asura-some.htmlAssur as Meluhha speakers, Asura, some divinities venerated in Rigveda.
http://bharatkalyan97.blogspot.in/2014/02/identity-of-ancient-meluhha-blacksmiths.htmlIdentity of Ancient Meluhha blacksmiths, using archaeometallurgy and cryptography in a socio-cultural context
http://bharatkalyan97.blogspot.in/2014/04/meluhha-metallurgy-hieroglyphs-of.htmlMeluhha metallurgy: hieroglyphs of pomegranate, mangrove date-palm cone (raphia farinifera), an elephant's head terracotta Nausharo, Sarasvati civilization
http://bharatkalyan97.blogspot.in/2014/04/tin-road-assur-kanesh-trade.htmlTin road -- Assur-Kanesh -- trade transactions and Meluhha hieroglyphs
http://bharatkalyan97.blogspot.in/2014/04/continuity-in-hieroglyph-motifs-from.htmlContinuity in hieroglyph motifs from Meluhha to Ancient Near East
Rebus readings of Meluhha metalwork hieroglyphs on Kuwait Museum gold disc
In the context of the bronze-age, the hieroglyphs are read rebus in Meluhha (mleccha) speech as metalware catalogs.
http://bharatkalyan97.blogspot.in/2013/05/indus-writing-as-metalware-catalogs-and_21.html
http://bharatkalyan97.blogspot.in/2013/05/tokens-and-bullae-evolve-into-indus.html
See examples of Dilmun seal readings at http://bharatkalyan97.blogspot.in/2013/05/see-httpbharatkalyan97.html
See examples of Sumer Samarra bowls: http://bharatkalyan97.blogspot.in/2013/04/bronze-age-writing-in-ancient-near-east.html
http://bharatkalyan97.blogspot.in/2013/05/indus-writing-as-metalware-catalogs-and_21.html
http://bharatkalyan97.blogspot.in/2013/05/tokens-and-bullae-evolve-into-indus.html
See examples of Dilmun seal readings at http://bharatkalyan97.blogspot.in/2013/05/see-httpbharatkalyan97.html
See examples of Sumer Samarra bowls: http://bharatkalyan97.blogspot.in/2013/04/bronze-age-writing-in-ancient-near-east.html
http://bharatkalyan97.blogspot.in/2013/05/indus-writing-on-gold-disc-kuwait.html
Failaka/Dilmun seals with Meluhha hieroglyphs
Failaka/Dilmun seals with Meluhha hieroglyphs
Inventory No. 8480 A seal from Dilmun, soft stone, Failaka Island. 0.16x4.8 cm. ca. 2nd millennium BCE, Dilmun civilization
http://bharatkalyan97.blogspot.in/2014/04/revisiting-ayo-ayas-barbar-temple-seals.htmlRevisiting ayo, ayas, Barbar temple seals, dhokra kamar, 'cire perdue' specialists and Meluhha hieroglyphs
http://bharatkalyan97.blogspot.in/2013/04/bronze-age-glyphs-and-writing-in.htmlBronze-age glyphs and writing in ancient Near East: Two cylinder seals from Sumer
kaṇḍ ‘buffalo’; rebus: kaṇḍ ‘stone (ore)’. Meluhha was the habitat for the water-buffalo.
Santali dictionary lexemes: ran(g) 'pewter'. ranga conga 'thorny, spikey, armed with spikes or thorns; ranga conga janumana 'it is armed with thorns'; ranga hari 'the name of a Santal godlet'. rangaini 'a common prickly plant, solanum xanthocarpum, schrad et Wendl.
http://bharatkalyan97.blogspot.in/2013/05/indus-writing-on-gold-disc-kuwait.htmlIndus writing on gold disc, Kuwait Museum al-Sabah collection: An Indus metalware catalog
The hieroglyphs on the Kuwait Museum gold disc can be read rebus:
1. A pair of tabernae montana flowers tagara 'tabernae montana' flower; rebus: tagara 'tin'
2. A pair of rams tagara 'ram'; rebus: damgar 'merchant' (Akkadian)
3. Ficus religiosa leaves on a tree branch (5) loa 'ficus leaf'; rebus: loh 'metal'. kol in Tamil meanspancaloha 'alloy of five metals'.
4. A pair of bulls tethered to the tree branch: ḍhangar 'bull'; rebus ḍhangar 'blacksmith'
Two persons touch the two bulls: meḍ ‘body’ (Mu.) Rebus: meḍ‘iron’ (Ho.) Thus, the hieroglyph composition denotes ironsmiths.
5. A pair of antelopes looking back: krammara 'look back'; rebus: kamar 'smith' (Santali); tagara 'antelope'; rebus: damgar 'merchant' (Akkadian)
6. A pair of antelopes mē̃ḍh 'antelope, ram'; rebus: mē̃ḍ 'iron' (Mu.)
7. A pair of combs kã̄gsī f. ʻcombʼ (Gujarati); rebus 1: kangar ‘portable furnace’ (Kashmiri); rebus 2: kamsa 'bronze'.
8. A pair of fishes ayo 'fish' (Mu.); rebus: ayo 'metal, iron' (Gujarati); ayas 'metal' (Sanskrit)
9.A pair of buffaloes tethered to a post-standard: ran:gā ‘buffalo’; ran:ga ‘pewter or alloy of tin (ran:ku), lead (nāga) and antimony (añjana)’(Santali) AN.NAKU 'tin' (Akkadian) Alternative: kāṛā ‘buffalo’ கண்டி kaṇṭi buffalo bull (Tamil); rebus: kaṇḍ 'stone ore'; kāṇḍa ‘tools, pots and pans and metal-ware’; kaṇḍ ‘furnace, fire-altar, consecrated fire’.
10. A pair of birds కారండవము [ kāraṇḍavamu ] n. A sort of duck. కారండవము [ kāraṇḍavamu ] kāraṇḍavamu. [Skt.] n. A sort of duck. कारंडव [kāraṇḍava ] m S A drake or sort of duck. कारंडवी f S The female. karandava [ kârandava ] m. kind of duck. कारण्ड a sort of duck R. vii , 31 , 21 கரண்டம் karaṇṭam, n. Alternative: कोळी kōḷī 'an aquatic bird' (Marathi) Rebus: kol 'working in iron' (Tamil) Hieroglyph 1: kōḍi. [Tel.] n. A fowl, a bird. (Telugu) Rebus: khōṭ ‘alloyed ingots’. Rebus 2: kol ‘the name of a bird, the Indian cuckoo’ (Santali) kol 'iron, smithy, forge'. Rebus 3: baṭa = quail (Santali) Rebus: baṭa = furnace, kiln (Santali) bhrāṣṭra = furnace (Skt.) baṭa = a kind of iron (G.) bhaṭa ‘furnace’ (G.)
11. A post-standard with curved horns on top of a stylized 'eye' with one-horn on either side of two faces
A segment from the bottom register of the gold disc which creates a stylized 'eye' atop a stand or flagstaff with two ligatured 'faces' back-to-back and adorned by curling horns (of a ram or markhor). The stand is flanked by two buffaloes and two birds.mũh‘face’; rebus: mũh‘ingot’ (Mu.)
ṭhaṭera ‘buffalo horns’. ṭhaṭerā ‘brass worker’ (Punjabi)
dol‘eye’; Rebus: dul‘to cast metal in a mould’ (Santali)
kandi‘hole, opening’ (Ka.)[Note the eye shown as a dotted circle on many Dilmun seals.]; kan‘eye’ (Ka.); rebus: kandi (pl. –l) necklace, beads (Pa.);kaṇḍ 'stone ore'
khuṇḍʻtethering peg or post' (Western Pahari) Rebus: kūṭa‘workshop’; kuṭi= smelter furnace (Santali); Rebus 2: kuṇḍ 'fire-altar'
Why are animals shown in pairs?
dula ‘pair’ (Kashmiri); rebus: dul ‘cast metal’ (Mu.)
Thus, all the hieroglyphs on the gold disc can be read as Indus writing related to one bronze-age artifact category: metalware catalog entries.
Pre-cuneiform tablet with seal impressions
Proto-Cuneiform tablet with seal impressions. Jemdet Nasr period, ca. 3100-2900 BCE. Mesopotamia. Clay H. 5.5 cm; W.7 cm.
The imagery of the cylinder seal records information. A male figure is guiding dogs (?Tigers) and herding boars in a reed marsh. Both tiger and boar are Indus writing hieroglyphs, together with the imagery of a grain stalk. All these hieroglyphs are read rebus in Meluhha (mleccha),of Indian sprachbund in the context of metalware catalogs of bronze age. kola 'tiger'; rebus: kol 'iron'; kāṇḍa 'rhino'; rebus: kāṇḍa 'metalware tools, pots and pans'. Ka. (Hav.) aḍaru twig; (Bark.) aḍïrï small and thin branch of a tree; (Gowda) aḍəri small branches. Tu. aḍaru twig.(DEDR 67) Rebus: aduru gan.iyinda tegadu karagade iruva aduru = ore taken from the mine and not subjected to melting in a furnace (Ka. Siddhānti Subrahmaṇya’ Śastri’s new interpretation of the AmarakoŚa, Bangalore, Vicaradarpana Press, 1872, p.330) Alternative rebus: If the imagery of stalk connoted a palm-frond, the rebus readings could have been:
Ku. N. tāmo (pl. ʻ young bamboo shoots ʼ), A. tām, B. tã̄bā, tāmā, Or. tambā, Bi tã̄bā, Mth. tām, tāmā, Bhoj. tāmā, H. tām in cmpds., tã̄bā, tāmā m. (CDIAL 5779) Rebus: tāmrá ʻ dark red, copper -- coloured ʼ VS., n. ʻ copper ʼ Kauś., tāmraka -- n. Yājñ. [Cf. tamrá -- . -- √tam?] Pa. tamba -- ʻ red ʼ, n. ʻ copper ʼ, Pk. taṁba -- adj. and n.; Dm. trāmba -- ʻ red ʼ (in trāmba -- lac̣uk ʻ raspberry ʼ NTS xii 192); Bshk. lām ʻ copper, piece of bad pine -- wood (< ʻ *red wood ʼ?); Phal. tāmba ʻ copper ʼ (→ Sh.koh. tāmbā), K. trām m. (→ Sh.gil. gur. trām m.), S. ṭrāmo m., L. trāmā, (Ju.) tarāmã̄ m., P. tāmbā m., WPah. bhad. ṭḷām n., kiũth. cāmbā, sod. cambo, jaun. tã̄bō (CDIAL 5779) tabāshīr तबाशीर् ।त्वक््क्षीरी f. the sugar of the bamboo, bamboo-manna (a siliceous deposit on the joints of the bamboo) (Kashmiri)
Source: Kim Benzel, Sarah B. Graff, Yelena Rakic and Edith W. Watts, 2010, Art of the Ancient Near East, a resource for educators, New York, Metropolitan Museum of Art
http://www.metmuseum.org/~/media/Files/Learn/For%20Educators/Publications%20for%20Educators/Art%20of%20the%20Ancient%20Near%20East.pdf
http://www.metmuseum.org/~/media/Files/Learn/For%20Educators/Publications%20for%20Educators/Art%20of%20the%20Ancient%20Near%20East.pdf
Annex
Vedic Indians in Iraq in 5000 BCE and the rise of Sumerian Civilization
by P Priyadaarshi 5 February 2015
Sumer was located in South Iraq where the rivers Tigris and Euphrates produce marshland in the region just before the delta. The region was dry and hot yet usually got flooded by the end of the harvesting season from the water coming down both the rivers. The catchment area of the Tigris and Euphrates rivers were fed by the winter monsoon, usually leaving snow on the mountains to melt at spring season. Hence the floods came just about the end of the winter or beginning of the summer, when barley was due to be harvested, and destroyed the crops. This had kept the region in perpetual the economic darkness, until some new technology appropriate to the climate arrived here.
Before 4000 BC, the people were hunter-gatherers in this fish, bird and small game rich region. Uruk was one of the oldest cities of Sumer, which suddenly emerged about 4000 BC (radiocarbon-14 date; Crawford 2004:23). There is evidence that the Sumerian Civilization at this time with the help of an agro-pastoral economy which relied heavily on the domestic water-buffaloes and Indian cattle for the cultivation of rice in the marshy lands and water logged areas. Aquatic breeds of rice grow well in the water-logged lands of the marshes, and they are harvested in autumn, i.e. much before the winter monsoon. Water-buffaloes are happy to live in the marshes and their bulls pull the ploughs and the carts well.
Indian Buffalo in Sumer
While the linguistic comparisons had not thrown any light on this Indo-Sumerian connection, recent DNA studies have clarified a lot. The three viz. the buffalo, the cattle and rice had migrated to Sumer from northwest India between 5000 BC and 4000 BC, giving rise to a new economy which led the region into the earliest phase of urbanization and subsequently larger state formation. Marshall identified the water-buffalo in many Sumerian pictographs and texts, and also the Indian wild bull Bos gaurus in a tablet (No. 312) excavated from Jemdet Nasr near Kish (Marshall 1996:453). These tablets also clarified that the Sumerians used horse at least since 2600 BC as has been depicted in the pictograms (anšu-kur, the mountain-ass, or ‘Iranian ass’; because mountain = Zagros of Iran in Sumer). Sir John Marshall mentions that the water-buffalo disappeared from Sumer at about 2300 BC, during the period of the King Sargon of Akkad (Marshall 1996:453). This can be expected because there had been a general trend of aridity in the third millennium reaching its peak at 2200 BC (4.2 Kilo Event). Water buffaloes cannot survive dry hot climates.
While the linguistic comparisons had not thrown any light on this Indo-Sumerian connection, recent DNA studies have clarified a lot. The three viz. the buffalo, the cattle and rice had migrated to Sumer from northwest India between 5000 BC and 4000 BC, giving rise to a new economy which led the region into the earliest phase of urbanization and subsequently larger state formation. Marshall identified the water-buffalo in many Sumerian pictographs and texts, and also the Indian wild bull Bos gaurus in a tablet (No. 312) excavated from Jemdet Nasr near Kish (Marshall 1996:453). These tablets also clarified that the Sumerians used horse at least since 2600 BC as has been depicted in the pictograms (anšu-kur, the mountain-ass, or ‘Iranian ass’; because mountain = Zagros of Iran in Sumer). Sir John Marshall mentions that the water-buffalo disappeared from Sumer at about 2300 BC, during the period of the King Sargon of Akkad (Marshall 1996:453). This can be expected because there had been a general trend of aridity in the third millennium reaching its peak at 2200 BC (4.2 Kilo Event). Water buffaloes cannot survive dry hot climates.
It is known by now that the water-buffalo was domesticated in India in the eastern part of the country which was kept wetter by the Bay of Bengal monsoon and the winter monsoon during the Early Holocene (Satish Kumar 2007; Pal 2008:275; Thomas 1995:31-2; Groves 2006). In fact there is “evidence that both river and swamp buffaloes decent from one domestication event, probably in the Indian subcontinent.” (Kierstein 2004). It is at the very earliest Neolithic period that the water-buffalo had reached Mehrgarh as domestic animal (Possehl 202:27; J.F. Jarrige 2008:143; Costantini 2008:168). In northwest India, Mehrgarh received most of its rains from northern monsoon called the winter monsoon, which was strong then and hence the buffaloes could thrive at Mehrgarh as evident from the archaeology. In fact the Mehrgarh region was wet enough to support not only the water-buffalo, but also elephant, rhinoceros, swamp-deer and wild pig which prefer to live in the wetlands (Costantini 2008:168).
However at the Early Holocene, areas to the south of Kachi plain in NW India, and southern Iran received only scarce rains from the extremely weak southwest monsoon, which was not good enough for the survival of this water-adapted animal in this area. However subsequent to 5500 BC, when the south-western or the Arabian Sea monsoon built up strong, the southern Indus-Sarasvati region and the western coast of India started getting good rains from the improved south-western monsoon, the buffalo-pastorals arrived in the southern Indus Valley region too. From 5500 calBC onwards we get bones of the hunted water-buffalo from Bagor in southern Rajasthan (Possehl 2002:32), and then the buffalo continues in the Harappan culture becoming very important in the Mature Harappa (Possehl 2002:63).
Archaeological evidence of water buffalo from Harappa region comes in the form of buffalo-horn motif of deities and depiction of this animal in the seals. We get such motifs from a pot recovered from Kot Diji dating to Early Harappan-mature Harappan transition (Possehl 2002:73), and from a broken terracotta cake recovered from Kalibangan dating to mature Harappa period. A Period II pot from Lewan depicts the horns of the water-buffalo (Possehl 2002:142-145). Rojdi too had domesticated buffalo (Possehl 2002:83). Buffalo bones have been found from the Ahar-Banas site of Rajasthan (McIntosh 2008:124).
But when and why the Indian buffalo-farmers migrated to South Iraq’s province of Sumer is the real question. The time between 5000 BC and 4000 BC was full of torrential rains for West India region fed by the southwest monsoon. The sea level had reached higher than today’s at about 5000 BC leading to the sluggish drainage of the rivers (Kumaran:22pdf). This was causing massive flooding and death on annual basis forcing the people of the region to migrate to the further west in search of lesser flooded lands.
The dominant presence of the Indian water buffalo in the Sumerian culture is enough evidence to say that the Indian farmer-pastoralists had led the transformation of this society by elite-dominance. Yet there is no evidence of the language change having taken place by this elite-dominance.
Vedic Influence
However the Sumerian divinity is entirely Vedic, with the gods and goddesses even conserving the Vedic Indo-European names (Whittaker 2009:127-140). Even where the name has been changed the story has stayed the same. In the Sumerian, Kur is the ‘serpent’ and it also means the ‘mountain’, which has stolen all waters in its mouth. The same word kur also means the ‘land’. The serpent way killed by the warrior god to release the waters (Kramer 1961:76-80). This myth is clearly the Rig-Vedic myth of the demon Vṛtra who has stolen the waters within it lying over the mountain range, and is killed by the God Indra to release the trapped waters. This has been considered the metaphoric reminisce of the Himalayan glacial having stolen the nature’s waters and causing draught like conditions during the terminal part of the glacier period (Priyadarshi 2014b; RV 1.32.1-11; 4.28.1; 4.19.1-8; Bhagwan Singh 1987; also see Kazanas 2009). There have been also suggestions that the Sumerian script and astronomy too had been imported from India (Priyadarshi 2007).
https://books.google.co.in/books?id=VKS_C45BSOAC&pg=PA127&lpg=PA127&dq=”Milking+the+udder+of+heaven:”&source=bl&ots=uMom4-Y2nQ&sig=KhA8WZMOVY5q9-G9jk7KagHQqMk&hl=en&sa=X&ei=k5XTVIjrOoOXuATy4IHIAQ&ved=0CB8Q6AEwAA#v=onepage&q=%22Milking%20the%20udder%20of%20heaven%3A%22&f=false
However the Sumerian divinity is entirely Vedic, with the gods and goddesses even conserving the Vedic Indo-European names (Whittaker 2009:127-140). Even where the name has been changed the story has stayed the same. In the Sumerian, Kur is the ‘serpent’ and it also means the ‘mountain’, which has stolen all waters in its mouth. The same word kur also means the ‘land’. The serpent way killed by the warrior god to release the waters (Kramer 1961:76-80). This myth is clearly the Rig-Vedic myth of the demon Vṛtra who has stolen the waters within it lying over the mountain range, and is killed by the God Indra to release the trapped waters. This has been considered the metaphoric reminisce of the Himalayan glacial having stolen the nature’s waters and causing draught like conditions during the terminal part of the glacier period (Priyadarshi 2014b; RV 1.32.1-11; 4.28.1; 4.19.1-8; Bhagwan Singh 1987; also see Kazanas 2009). There have been also suggestions that the Sumerian script and astronomy too had been imported from India (Priyadarshi 2007).
https://books.google.co.in/books?id=VKS_C45BSOAC&pg=PA127&lpg=PA127&dq=”Milking+the+udder+of+heaven:”&source=bl&ots=uMom4-Y2nQ&sig=KhA8WZMOVY5q9-G9jk7KagHQqMk&hl=en&sa=X&ei=k5XTVIjrOoOXuATy4IHIAQ&ved=0CB8Q6AEwAA#v=onepage&q=%22Milking%20the%20udder%20of%20heaven%3A%22&f=false
Indian Rice in Sumer
The cultivation of rice in the marshes of southern Iraq, which revolutionized the whole region about 4000 BC has been generally bypassed by the modern historiographers. However more and more people are now becoming aware that the Marsh Arabs which inhabit these marshes have been cultivating rice in Iraq since the rise of Sumer (Vinding 2004:326).
“They traditionally constructed artificial islands, made of layers of reed and mud, on which they constructed their homes using woven reeds. They fed the sprouting reeds to their water buffalo and they used the dung of the water buffaloes for the fuel. They depended on fishing and hunting and they planted rice and tended date palms along the edges of the marshes.” (ibid). This same is true even today of many of the marsh-dwellers of Bihar and Bengal’s Gangetic marshes.
Although there has been linguistic identification of ‘rice’ from Assyrian cuneiform texts (Thompson 1939), the conclusive evidence of the presence of the Indian rice in Iraq comes from DNA studies. A recent DNA study of the Iraqi rice has clarified that there is exact match of some Iraqi rice DNAs with the Indian rice DNAs proving the migration of the Indian domestic rice to South Iraq. “Also, the SSR marker (RM1) results confirmed that Amber and Daawat were very closely related, which means that the origin of Amber might be come from Indian ancestors the same as Daawat variety.” (Younan 2012). Agrama found in a worldwide sampling that 68% of the Iraqi rice was of the eastern Indian sub-species of rice named Oryza sativa aus. The rest was mainly aromatic which too originated in northwest Indian Himalayas (Agrama 2010:252). The eastern Indian rice O. s. aus grows best in marshes and water-logged areas. xxxx
It has become clear from the DNA studies that India was home of two important sub-species of cultivated rice and one wild semi-cultivated wild breed of rice. These are Oriza sativa indica and O. s. aus and the Oriza sativa nivara respectively (q.v.). It is no more held now that the Indian rice has come from China and the earliest rice-cultivating Pottery Neolithic sites of the world have been found in the Ganga Valley. From the Ganga Valley its cultivation reached northwest India (Hakra-Ghagghar) by 5000 BC or 5500 BC when the weather of NW India became humid enough (Tewari 2008; Shinde; Priyadarshi 2014a, 2014b).
But the Arabian Sea monsoon was very strong up to at least 4000 BC and it is likely that the Indus Valley, particularly the western part of it, was full of perennial floods for about 1000 years or more between about 5000 BC and 4000 BC. It has been even known that the Indus Valley Civilization started growing faster only after the rains had decreased and somewhat safer and drier climate had arrived by 4000 BC in the region. “Harappan urbanism emerged on the face of a prolonged trend towards declining rainfall”, notes Madella and Fuller (2006:Abstract). Giosan also wrote: “adaptation to aridity contributed to social complexity and urbanization” (2012:E1693). Thus the early humid flooded phase was not conducive to high civilization formation, and thus it promoted westward migration of people in search of drier better places to keep their livestock and do farming.
It is during this flood time that many of the Indian farmers and pastoralists from the Indus-Sarasvati region migrated westward to the places like Sumer along with their caravans of buffaloes, cows, bulls, goats and rice to avoid being eliminated by the devastating floods. Sir John Marshall examined the Sumerian seals and tablets. He was able to identify the Indian bison (Bos gaurus) and the Indian water-buffalo depicted on the tablets at Jamdet Nasr (Marshall:453).
Recently a DNA study of the Marsh Arabs, that inhabit the Sumerian region today, was done for the purpose of identifying the Indian connection, if any, of this population of South Iraq. The Marsh Arabs are considered to have arrived there from somewhere else, and some legends suggest India. The DNA study of the Marsh Arabs residing today in the former Sumer region showed that majority of the ethnic group carries the Semitic specific male DNA, yet up to almost 8% can be traced to India. Indian lineages found in the Marsh Arabs included: L-M20xM76 (0.7%); Q-M242 (2.8%); R1-M269 (2.8%) and R2-M124 (1.4%): all together adding up to 7.7% (Al-Zahery 2011:13pdf; also p. 3pdf, Fig. 2). In an earlier study, Al-Zahery had demonstrated the presence of mtDNA U7 in Iraq, which is a marker of past Indian migration to Iraq (Al-Zahery 2003:10pdf)
It may be noted that the R1a-M17 is an Indian Y-DNA haplogroup (Underhill 2010), which is absent from the Marsh Arab DNAs, yet is present up to 8.4% in the Iraqi population (Al-Zahery 2011: Fig 2). In our examination it was inferred that the R1a migration had taken place out from Pakistan in response to the cold-dry weather of the 8.2 Kilo event (6.2 BC). This migration took place along the northern Iran which was wetter then due to good winter monsoon, and reached North Iraq, but did not reach South Iraq. Hence the R1a is absent from the Sumerian region (South Iraq) yet present in the northern Iraq.
In addition to these there is the presence of J2*-M172 at the frequency of 3.5% in the Marsh Arab population. This male DNA lineage originated in the Uttar Pradesh in North India (Sahoo 2006; Priyadarshi 2010). It was associated with the earliest Holocene migration of the Mesolithic/ Neolithic interface era (say about 10,000 BC) out of India which came out with the Mus musculus domesticus species of mouse along the Iranian coast, and on reaching South Iraq split into two, one going north to Iraq and Kurdistan and the other reaching the Levant went further into the Mediterranean islands, Italy and the Balkans (Priyadarshi 2012). The association of J2-M172 with the spread of Neolithic (farming-culture) in the regions with good rainfall in Iraq, and also in the southern Europe, is well attested. “While J2-M172 has been linked to the development and expansion of agriculture in the wetter northern zone and is also considered the Y-chromosome marker for the spread of farming into South East Europe” (Al-Zaheri 2011:10pdf).
Thus we can see that about 8% of the male Marsh Arab population consists of DNAs of Indian origin. When these Indians went there, they were rich with the wealth of cattle and buffalo. They had the bags of rice seeds and the art of cultivating rice. From the female lineage or the mitochondrial DNA side, we find a larger migration from India to Sumer having taken place. Today it is represented in the Marsh Arab population by the presence of the mtDNA U7, R2 and M (Al-Zaheri 2011:12). One particular sample was found to have mtDNA of the type M33a2a (GenBank accession number: JN540042), which is found in the Uttar Pradesh state of India (ibid). Thus the migrations from India were not male exclusive, but they consisted more of the females. This is understandable, because women play a greater role in paddy cultivation as well as buffalo keeping.
Once the Sumer civilization took off with the help of Indian water-buffaloes and rice cultivation in the South Iraq’s marshes, males of some Semitic tribes arrived to live in the area, and married in this community. They could outnumber the original population. This can be noted today by the 72.8% frequency of Hg J-Page08 in the Marsh Arab population in the male lineage side (Y-chromosomal DNA). The scientific examination reveals that this population (J-Page08) expanded in the region at 4.8 years ago, or about 2,800 BC (Al-Zawahri: Table 2 on page 11). They had arrived there from the northwest (Al-Zaheri 2011:Fig 6). We know from the history that a powerful wave of the Semitic speaking people known as the Akkadian arrived in the region and settled just to the north of the Sumerian marshland establishing an empire about the middle of the third millennium. The Hg J-Page08 male DNA could have been the dominant lineage of the Akkadians. Hence we can say that the Semitic arrival, although male alone, was later than the Indian arrival to the region and it outnumbered the original Sumerians genetically and wiped them out linguistically.
See also:
