Mirror: http://tinyurl.com/pokc7kt
Archaeometallurgical investigations have presented an overview in space and time of the revolution brought about in Eurasia during the Bronze Age from 5th to 2nd millennium BCE. This revolution was dramatically catalysed by the invention of Indus Script writing which has now an evidence of about 7000 inscriptions constituting the Indus Script Corpora as veritable catalogus catalogorum of metalwork by Meluhha artisans and seafaring merchants. The decipherment of the script highlights the mediating role played by Meluhha artisans, merchants and scribes.
Nissim Amzallag presents an overview of the evolution of the Bronze Age in Eurasia from 5th millennium to 2nd millennium BCE. CP Thornton spans the horizon of brass and bronze in prehistoric Southwest Asia. Omid Oudbashi et al review the evolution of Bronze Age in Ancient Iran and India. These scintillating archaeometallurgical excursuses have to be presented in the context of an intervening invention: invention of writing exemplified by Indus Script Corpora which now has about 7000 inscriptions. How did the artisans catalogue their metalwork competence? Two exquisite figures are presented in Omid Oudbashi et al. (2012): See Fig. 4 and Fig. 6 in their monograph (embedded).
These are Indus Script hieroglyphs. The themes are: tiger, goat, antelope, 'Master of Animals'. The theme of an antelope and aquatic birds are evidenced in the 5th millennium artefacts of Nahal Mishmar. This theme is also signified by Indus Script hieroglyphs.
Nissim Amzallag's synthetic theory suggests two variables in archaeometallurgy: crucible metallurgy and furnace smelting. There are two other variables which are of equal importance. These are: 1) transition from arsenical bronze to tin-bronzes as naturally occurring arsenical copper was a scarce resource. The tin-bronze was a revolution which was mediated by Meluhha seafaring merchants using the world's large tin belt in Mekong river delta in the Far East. 2) cire perdue (lost-wax) technique of metalcasting which revolutionised the creation of bronze artefacts. Cire perdue metalcasting is exemplified by Dong Son bronze drums, dancing girl of Mohenjo-daro and Nahal Mishmar arsenical copper artefacts.
Two pure tin ingots were (and later a third one) discovered from a shipwreck in Haifa, Israel, now held in the Museum of Ancient Art of the Municipality of Haifa (#8252); the three ingots displayed hieroglyphs of Indus Script.
![]()
Tin ingots in the Museum of Ancient Art of the Municipality of Haifa, Israel (left #8251, right #8252). The ingots each bear two inscribed Cypro-Minoan markings. (Note: I have argued that the inscriptions were Meluhha hieroglyphs (Indus writing) denoting ranku 'tin' dhatu 'ore'. See: The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman in: Journal of Indo-Judaic Studies Volume 1: Number 11 (2010), pp. 47-74.)
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Inscribed tin ingot with a moulded head, from Haifa (Artzy, 1983: 53). (Michal Artzy, 1983, Arethusa of the Tin Ingot, Bulletin of the American Schools of Oriental Research, BASOR 250, pp. 51-55) An additional hieroglyph on this third tin ingot is : human face. Hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh ‘ingot’ (Santali). mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali).
I suggest that the intermediation by Indus Script Corpora was an effective documentation of the metalwork of the Bronze Age from 5th millennium to 2nd millennium BCE. The Nahal Mishmar hieroglyphs are also meaningful archaeometallurgically in relation to creation of hard alloys together with copper PLUS zinc, tin. The 'Master of Animals' citd by Omid Oudbashi is comparable to a Mohenjo-daro seal showing an orthographic composition which has been compared with hieroglyphs on the Gundestrup Cauldron.
I, therefore, suggest that the invention of the Indus Script writing system facilitated the network across Eurasia together with the seafaring merchants bringing in tin along the Maritime Tin Route from Hanoi to Haifa. This story of Bharatam Janam has to be told.
Rishi Visvamitra in Rigveda prays for the welfare of Bharatam Janam, lit. bharata folk, extraordinary metalworkers creating भरिताचें भांडें working with भरती (p. 603) [ bharatī ] a Composed of the metal भरत alloy of copper, pewter, tin. (Molesworth. Marathi). These were the Meluhha merchants celebrated in the Shu-ilishu cylinder seal.
![]()
Akkadian. Cylinder seal Impression. Inscription records that it belongs to ‘S’u-ilis’u, Meluhha interpreter’, i.e., translator of the Meluhhan language (EME.BAL.ME.LUH.HA.KI) The Meluhhan being introduced carries an goat on his arm. Musee du Louvre. Ao 22 310, Collection De Clercq 3rd millennium BCE. The Meluhhan is accompanied by a lady carrying a kamaṇḍalu.
Since he needed an interpreter, it is reasonably inferred that Meluhhan did not speak Akkadian.
Antelope carried by the Meluhhan is a hieroglyph: mlekh ‘goat’ (Br.); mr̤eka (Te.); mēṭam (Ta.); meṣam (Skt.) Thus, the goat conveys the message that the carrier is a Meluhha speaker. A phonetic determinant.mrr̤eka, mlekh ‘goat’; Rebus: melukkha Br. mēḻẖ ‘goat’. Te. mr̤eka (DEDR 5087) meluh.h.a
![]()
After Fig. 4 in Omid Oudbashi et al. 2012 opcit. Two bronze artefacts from Marlik gravs, Left: a spouted vessel decorated with lion reliefs, Right: fantastic statue of a deer (Negahban, 1999)
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After Fig. 6 in Omid Oudbashi et al. 2012 opcit. a) A 'Master of Animals' standard from Luristan, with detached man head held by 4 animals. b) The upper part of an Animal Headed Pin, Luristan that shows combination of two goats and a felidae. Falakolaflak Museum, Khorramabad, Iran. Photo: O. Oudbashi.
See: C.P. Thornton. 2007 “Of brass and bronze in prehistoric Southwest Asia.” In (S. La Niece, D. Hook, & P. Craddock, eds.) Metals and Mines: Studies in Archaeometallurgy. London: Archetype Publications, pp. 123-135. http://www.cpthornton.info/Thornton2007-BrassBronze.pdf?attredirects=0
See: http://www.ajaonline.org/sites/default/files/AJA1134Amzallag_0.pdf Nissim Amzallag, From metallurgy to bronze age civilizations: the synthetic theory, in: American Journal of Archaeology 113 (2009). 497-519. This article notes the status of smelter as civilizing hero in ancient mythologies and distinguishes betwen crucible metallurgy and furnace smelting. Amzallag proposes a synthetic theory based on spread of furnace metallurgy from the southern Levant which generated a wide network linking Bronze Age societies.
https://www.scribd.com/doc/282253832/Nissim-Amzallag-2009-From-metallurgy-to-bronze-age-civilizations-the-synthetic-theory-in-AJA-113-2009-497-519
![]()
[Furnace metallurgy in th fifth millennium BCE (drawing by P. Jean-Baptiste) After Fig. 2 in Amzallag opcit.]
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https://www.scribd.com/doc/155936341/Bronze-in-Archaeology-a-Review-of-the-Archaeometallurgy-of-Bronze-in-Ancient-Iran-1980-Omid-Oudbashi-S-Mohammadamin-Emami-and-Parviz-Davami
Omid Oudbashi, S. Mohammadamin Emami and Parviz Davami (2012). Bronze in Archaeology: A Review of the Archaeometallurgy of Bronze in Ancient Iran, Copper Alloys - Early Applications and Current Performance -Enhancing Processes, Dr. Luca Collini (Ed.), ISBN: 978-953-51-0160-4, InTech, Available from:
http://www.intechopen.com/books/copper-alloys-early-applications-and-current-performance-enhancingprocesses/bronze-in-archaeology-a-review-on-archaeometallurgy-of-bronze-in-ancient-iran
https://www.scribd.com/doc/282254827/Of-brass-and-bronze-in-prehistoric-Southwest-Asia-Christopher-P-Thornton-2007
Archaeometallurgical investigations have presented an overview in space and time of the revolution brought about in Eurasia during the Bronze Age from 5th to 2nd millennium BCE. This revolution was dramatically catalysed by the invention of Indus Script writing which has now an evidence of about 7000 inscriptions constituting the Indus Script Corpora as veritable catalogus catalogorum of metalwork by Meluhha artisans and seafaring merchants. The decipherment of the script highlights the mediating role played by Meluhha artisans, merchants and scribes.
Nissim Amzallag presents an overview of the evolution of the Bronze Age in Eurasia from 5th millennium to 2nd millennium BCE. CP Thornton spans the horizon of brass and bronze in prehistoric Southwest Asia. Omid Oudbashi et al review the evolution of Bronze Age in Ancient Iran and India. These scintillating archaeometallurgical excursuses have to be presented in the context of an intervening invention: invention of writing exemplified by Indus Script Corpora which now has about 7000 inscriptions. How did the artisans catalogue their metalwork competence? Two exquisite figures are presented in Omid Oudbashi et al. (2012): See Fig. 4 and Fig. 6 in their monograph (embedded).
These are Indus Script hieroglyphs. The themes are: tiger, goat, antelope, 'Master of Animals'. The theme of an antelope and aquatic birds are evidenced in the 5th millennium artefacts of Nahal Mishmar. This theme is also signified by Indus Script hieroglyphs.
Nissim Amzallag's synthetic theory suggests two variables in archaeometallurgy: crucible metallurgy and furnace smelting. There are two other variables which are of equal importance. These are: 1) transition from arsenical bronze to tin-bronzes as naturally occurring arsenical copper was a scarce resource. The tin-bronze was a revolution which was mediated by Meluhha seafaring merchants using the world's large tin belt in Mekong river delta in the Far East. 2) cire perdue (lost-wax) technique of metalcasting which revolutionised the creation of bronze artefacts. Cire perdue metalcasting is exemplified by Dong Son bronze drums, dancing girl of Mohenjo-daro and Nahal Mishmar arsenical copper artefacts.
Two pure tin ingots were (and later a third one) discovered from a shipwreck in Haifa, Israel, now held in the Museum of Ancient Art of the Municipality of Haifa (#8252); the three ingots displayed hieroglyphs of Indus Script.
Tin ingots in the Museum of Ancient Art of the Municipality of Haifa, Israel (left #8251, right #8252). The ingots each bear two inscribed Cypro-Minoan markings. (Note: I have argued that the inscriptions were Meluhha hieroglyphs (Indus writing) denoting ranku 'tin' dhatu 'ore'. See: The Bronze Age Writing System of Sarasvati Hieroglyphics as Evidenced by Two “Rosetta Stones” By S. Kalyanaraman in: Journal of Indo-Judaic Studies Volume 1: Number 11 (2010), pp. 47-74.)ranku 'liquid measure'; ranku 'antelope' Rebus: ranku 'tin' (Santali) dhatu 'cross' Rebus: dhatu 'mineral ore' (Santali).
• Hieroglyph: ran:ku = liquid measure (Santali) Rebus:
• Hieroglyph: ran:ku a species of deer; ran:kuka (Skt.)(CDIAL 10559).
• Hieroglyph: dāṭu = cross (Telugu) Rebus: dhatu = mineral (Santali)
• Hindi. dhāṭnā ‘to send out, pour out, cast (metal)’ (CDIAL 6771).
These two hieroglyphs were inscribed on two tin ingots discovered in port of Dor south of Haifa from an ancient shipwreck.
Inscribed tin ingot with a moulded head, from Haifa (Artzy, 1983: 53). (Michal Artzy, 1983, Arethusa of the Tin Ingot, Bulletin of the American Schools of Oriental Research, BASOR 250, pp. 51-55) An additional hieroglyph on this third tin ingot is : human face. Hieroglyph: mũhe ‘face’ (Santali) Rebus: mũh ‘ingot’ (Santali). mũh opening or hole (in a stove for stoking (Bi.); ingot (Santali) mũh metal ingot (Santali) mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; iron produced by the Kolhes and formed like a four-cornered piece a little pointed at each end; mūhā mẽṛhẽt = iron smelted by the Kolhes and formed into an equilateral lump a little pointed at each of four ends; kolhe tehen mẽṛhẽt ko mūhā akata = the Kolhes have to-day produced pig iron (Santali).I suggest that the intermediation by Indus Script Corpora was an effective documentation of the metalwork of the Bronze Age from 5th millennium to 2nd millennium BCE. The Nahal Mishmar hieroglyphs are also meaningful archaeometallurgically in relation to creation of hard alloys together with copper PLUS zinc, tin. The 'Master of Animals' citd by Omid Oudbashi is comparable to a Mohenjo-daro seal showing an orthographic composition which has been compared with hieroglyphs on the Gundestrup Cauldron.
I, therefore, suggest that the invention of the Indus Script writing system facilitated the network across Eurasia together with the seafaring merchants bringing in tin along the Maritime Tin Route from Hanoi to Haifa. This story of Bharatam Janam has to be told.
Rishi Visvamitra in Rigveda prays for the welfare of Bharatam Janam, lit. bharata folk, extraordinary metalworkers creating भरिताचें भांडें working with भरती (p. 603) [ bharatī ] a Composed of the metal भरत alloy of copper, pewter, tin. (Molesworth. Marathi). These were the Meluhha merchants celebrated in the Shu-ilishu cylinder seal.
Akkadian. Cylinder seal Impression. Inscription records that it belongs to ‘S’u-ilis’u, Meluhha interpreter’, i.e., translator of the Meluhhan language (EME.BAL.ME.LUH.HA.KI) The Meluhhan being introduced carries an goat on his arm. Musee du Louvre. Ao 22 310, Collection De Clercq 3rd millennium BCE. The Meluhhan is accompanied by a lady carrying a kamaṇḍalu.
Since he needed an interpreter, it is reasonably inferred that Meluhhan did not speak Akkadian.
Antelope carried by the Meluhhan is a hieroglyph: mlekh ‘goat’ (Br.); mr̤eka (Te.); mēṭam (Ta.); meṣam (Skt.) Thus, the goat conveys the message that the carrier is a Meluhha speaker. A phonetic determinant.mrr̤eka, mlekh ‘goat’; Rebus: melukkha Br. mēḻẖ ‘goat’. Te. mr̤eka (DEDR 5087) meluh.h.a
After Fig. 4 in Omid Oudbashi et al. 2012 opcit. Two bronze artefacts from Marlik gravs, Left: a spouted vessel decorated with lion reliefs, Right: fantastic statue of a deer (Negahban, 1999)
After Fig. 6 in Omid Oudbashi et al. 2012 opcit. a) A 'Master of Animals' standard from Luristan, with detached man head held by 4 animals. b) The upper part of an Animal Headed Pin, Luristan that shows combination of two goats and a felidae. Falakolaflak Museum, Khorramabad, Iran. Photo: O. Oudbashi.
See: C.P. Thornton. 2007 “Of brass and bronze in prehistoric Southwest Asia.” In (S. La Niece, D. Hook, & P. Craddock, eds.) Metals and Mines: Studies in Archaeometallurgy. London: Archetype Publications, pp. 123-135. http://www.cpthornton.info/Thornton2007-BrassBronze.pdf?attredirects=0
See: http://www.ajaonline.org/sites/default/files/AJA1134Amzallag_0.pdf Nissim Amzallag, From metallurgy to bronze age civilizations: the synthetic theory, in: American Journal of Archaeology 113 (2009). 497-519. This article notes the status of smelter as civilizing hero in ancient mythologies and distinguishes betwen crucible metallurgy and furnace smelting. Amzallag proposes a synthetic theory based on spread of furnace metallurgy from the southern Levant which generated a wide network linking Bronze Age societies.
https://www.scribd.com/doc/282253832/Nissim-Amzallag-2009-From-metallurgy-to-bronze-age-civilizations-the-synthetic-theory-in-AJA-113-2009-497-519
[Furnace metallurgy in th fifth millennium BCE (drawing by P. Jean-Baptiste) After Fig. 2 in Amzallag opcit.]
[Furnace metallurgy in th fourth millennium BCE (drawing by P. Jean-Baptiste) After Fig. 3 in Amzallag opcit.]
[Furnace metallurgy in the third millennium BCE (drawing by P. Jean-Baptiste) After Fig. 4 in Amzallag opcit.]
[Furnace metallurgy in the second millennium BCE (drawing by P. Jean-Baptiste) After Fig. 5 in Amzallag opcit.]
https://www.scribd.com/doc/155936341/Bronze-in-Archaeology-a-Review-of-the-Archaeometallurgy-of-Bronze-in-Ancient-Iran-1980-Omid-Oudbashi-S-Mohammadamin-Emami-and-Parviz-Davami
Omid Oudbashi, S. Mohammadamin Emami and Parviz Davami (2012). Bronze in Archaeology: A Review of the Archaeometallurgy of Bronze in Ancient Iran, Copper Alloys - Early Applications and Current Performance -Enhancing Processes, Dr. Luca Collini (Ed.), ISBN: 978-953-51-0160-4, InTech, Available from:
http://www.intechopen.com/books/copper-alloys-early-applications-and-current-performance-enhancingprocesses/bronze-in-archaeology-a-review-on-archaeometallurgy-of-bronze-in-ancient-iran
https://www.scribd.com/doc/282254827/Of-brass-and-bronze-in-prehistoric-Southwest-Asia-Christopher-P-Thornton-2007
About a New Book:
Mekong Ganga Axis edited by Pankaj Mittal DK Printworld 2015
India has a fascinating history of cultural relationship with South-East Asia, spanning across more than the last two millennia, mainly with the spread of Buddhism and Hinduism, deeply impacting the cultural, religious and social lives of people in countries such as Cambodia, Indonesia, Laos, South Korea, Sri Lanka, Thailand and Vietnam. The Hindu-Buddhist monuments in South-East Asia stand testimony of this peaceful and mutually beneficial interaction. The contents of this book — Mekong-Ganga Axis — centre around India's association with most of the countries of the region, especially those on either side of the Mekong River.
Most of the South-East Asian countries were influenced by more than two foreign cultures, though they have an indigenous culture. The Chinese and Indian cultures had impacted them the most, in addition to the European influence. However, only India’s impact was peaceful and, to a great extent, non-political. This paved the way for many developments in architecture, religious engagements, interculturality, syncretism of cultures, inter-literariness, composite literary cultures, religious arts, trade relations and so on.
This book thus critically engages one to all these topics and more, and recalls India's glorious relationship of the forgone era with these countries, showcasing somewhat a similar kind of cultural/religious affinity from South China to India. And two great rivers, Mekong and Ganga, are witness to it. It also reinstates the criticality of India to be engaged with these countries at present because of the compulsions of a globalized world.
Book Contents
Foreword — Asha Kadyan
Preface — Kapil Kapoor
Conference Rationale — Kapil Kapoor
Keynote Address — J.C. Sharma
Inaugural Address — Lord Diljit Rana
Acknowledgement — Editors
1. The Role of Classical Indian Theatre in Spreading the Cultural Influence of India to South-East Asia
– M. Krzysztof Byrski
2. Concepts for the Revival of Traditional Links between India and South-East-East Asia for Global Leadership
— Bal Ram Singh
3. Cultural Heritage of Champa Kingdom in Central Vietnam: Some Evidences of the Interaction of the Trade and the Religion between India and Vietnam in the Past
– Do Thu Ha
4. Colonial, Modern, or Traditional? How to Read the Indo-Saracenic Architecture of South and South-East Asia
– Hawon Ku
5. Cultural Relationship between India and South-East Asia
– Tran Phuoc Phuong Thao
6. Indian Trade Textiles for Thai Market
– Prapassorn Posrithong
7. Hindu–Buddhist Syncretism in the Trans-Himalaya and South-East Asia: An Attempt at a Comparative Study of Religious Literature of Tibet and Bali
– Alexander Zorin
8. Beyond the Horizon of Culture-Spectrum
– Kakali Ghoshal
9. Far from the Mother’s Womb
– Madhu Kapoor
10. Thailand and Karnataka
– G Kavyashree and P. Nagabhushanagoud
11. Global Ancient India and Suvarnabhumi (South-East Asia): A Historical Perspective
– Shiva G. Bajpai
12. The Interconnection between India and South-East Asia Especially Indonesia in Art, Culture and Architecture
– Komang Santhi Arsa
13. “Interculturality” in South Asia: With Special Reference to Dissemination of Ramakatha
– Avadhesh Kumar Singh
14. Syncretism of the Cultures of India with the Cultures of South and South-East Asia
– S. Ram Mohan
15. Understanding South Asia-South-East Asia Cultural Contacts: An Alternative Perspective
– T.S. Satyanath
16. Religious Art in Cambodia: Shaivism, Vaishnavism and Buddhism
– Rajnish Kumar Mishra
17. Buddhist Engagement in South-East Asia: A Case Study of Vietnam
– Anita Sharma
18. Shaivism in Ancient Cambodia as Revealed from Sdok Kak Thom Inscription
– Bachchan Kumar
19. Ramman Pattar Performance in the Central Himalaya and Its Parallels in the Balanese and Javanese Theatre
– D.R. Purohit
20. Reflection of Indian Culture in the Kambuja Empire of South-East Asia
– Swati Raikhy
21. Cultural Relationship between India and Thailand
– Shyam Sunder Sharma
22. Reinventing the Connectedness: Implications for India in Mainland South-East Asia
– Sarita Dash
23. Dakshini-Purvi Asia ke Deshon mein Ram ka Prabhava
– Pawan Kumar
24. Bharatiya Sanskriti Tatha Ramayana ka Thailand par Prabhava
– Manju Bala
Contributors
Index
Bronze in Archaeology a Review of the Archaeometallurgy of Bronze in Ancient Iran (1980) Omid Oudbashi, S.... by Srini Kalyanaraman
S. Kalyanaraman
Sarasvati Research Center
September 21, 2015
S. Kalyanaraman
Sarasvati Research Center
September 21, 2015