Mirror: http://tinyurl.com/z2xcphj
Vatican should return to Bharatam the two peacocks and a 11 ft. high pinecone since they were all made of hard bronze (moraka, steel) by Bharatam Janam, the Bronze Age artisans and represent the pinnacle of Bronze Age revolution. The artifacts of unsurpassed artistry, the pinnacle of metalwork artifice, are unparalleled in the history of civilizations. They were taken from the Temple of Isis/Serapis which were constructed with the participation of ancient Indian artisans, seafaring merchants.
Bronze peacocks, together with 11 ft. high pine-cone of bronze in the Vatican are made by Bharatam Janam and Indus Script hieroglyphs.
मोरकम् 1 A kind of steel. मोरक [p= 835,3] n. a kind of steel L. (Samskrtam) Mora [the contracted, regular P. form of *Sk. mayūra, viâ *ma -- ūra>mora. See also Geiger, P.Gr. § 27 & Pischel, Prk. Gr. § 166. -- Vedic only mayūrī f. pea -- hen] a peacock Jii. 275 Perhaps also as morakkha "a peacock's eye" at VbhA 63 (morakkhaka loha, a kind of copper, grouped with pisācaloha). It is more likely however that morakkha is distorted fr. *mauryaka, patronymic of mura, a local (tribal) designation (cp. murala), then by pop. etym. connected with mora peacock. With this cp. Sk. moraka "a kind of steel" BR. (Pali) mayūˊra m. ʻ peacock ʼ VS., in cmpds. RV., mayūrīˊ -- f. ʻ peahen ʼ RV. 2. *mōra -- . 3. *majjūra -- (< *mayyūra<-> with early eastern change -- yy -- > -- jj -- ?). [mayūka -- , marūka -- 1 m. lex. -- J. Bloch BSL 76, 16 ← Drav. (cf. DED 3793); J. Przyluski BSL 79, 100 ← Austro -- as. (cf. also Savara māˊrā ʻ peacock ʼ Morgenstierne); H. W. Bailey BSOAS xx 59, IL 21, 18 connects with Khot. murāsa -- as orig. an Indo -- ir. colour word. -- EWA ii 587 with lit.]1. Pa. mayūra -- m. ʻ peacock ʼ, Pk. maūra -- , maūla -- m.; Sh. (Lor.) maiyūr m. ʻ cock munāl pheasant ʼ; A. mairā ʻ peacock ʼ, B. maür, maur, Or. maïram., °rī f., Si. mayurā, miyurā.2. Pa. mōra -- m., mōrinī -- f., Aś.gir. mora -- , Pk. mōra<-> m., °rī -- f., K. mōr m., S. moru m., L. P. mōr m., Ku. Mth. Bhoj. mor, OAw. mora m., H. morm., °rī, °rin f., OMarw. moraḍī f., G. M. mor m., Si. mōrā; <-> H. (dial.) mhor, murhā m., Ko. mhōru.3. Aś.shah. man. majura -- , kāl. majula -- , jau. majūla -- , N. majur, mujur, Or. (Bastar) mañjura, OAw. maṁjūra m., Si. modara, monara.*mayūrapakṣala -- .Addenda: mayūˊra -- : WPah.kṭg. (kc.) mōr ʻ peacock ʼ.(CDIAL 9865)
See: http://bharatkalyan97.blogspot.in/2015/06/two-bronze-peacocks-11-ft-high-bronze.html
Two bronze peacocks, 11 ft. high bronze pine cone at Vatican are Meluhha hieroglyphs, metalwork catalogues. Archaeometallurgical analyses by Vatican suggested
Peacock. Patterns of cire perdue bronze casting achieved on Dong Son Bronze drums
Image 1. Eight fish, four peacocks holding four fish, slanting strokes surround
Image 2. Six women, curl in hair, six scorpions
https://www.harappa.com/slide/dish-or-lid
See: http://bharatkalyan97.blogspot.in/2015/04/painting-in-steel-authority-of-india.html
![Water installation with bronze pine-cone in the atrium of Old St Peter's, Rome. Drawing by Cronaca (1457-1505). Uffizi, Florence, 1572.]()
Vatican should return to Bharatam the two peacocks and a 11 ft. high pinecone since they were all made of hard bronze (moraka, steel) by Bharatam Janam, the Bronze Age artisans and represent the pinnacle of Bronze Age revolution. The artifacts of unsurpassed artistry, the pinnacle of metalwork artifice, are unparalleled in the history of civilizations. They were taken from the Temple of Isis/Serapis which were constructed with the participation of ancient Indian artisans, seafaring merchants.
Bronze peacocks, together with 11 ft. high pine-cone of bronze in the Vatican are made by Bharatam Janam and Indus Script hieroglyphs.
मोरकम् 1 A kind of steel. मोरक [p= 835,3] n. a kind of steel L. (Samskrtam) Mora [the contracted, regular P. form of *Sk. mayūra, viâ *ma -- ūra>mora. See also Geiger, P.Gr. § 27 & Pischel, Prk. Gr. § 166. -- Vedic only mayūrī f. pea -- hen] a peacock J
See: http://bharatkalyan97.blogspot.in/2015/06/two-bronze-peacocks-11-ft-high-bronze.html
Two bronze peacocks, 11 ft. high bronze pine cone at Vatican are Meluhha hieroglyphs, metalwork catalogues. Archaeometallurgical analyses by Vatican suggested
![]()
![]()
mora peacock; morā ‘peafowl’ (Hindi); rebus: morakkhaka loha, a kind of copper, grouped with pisācaloha (Pali). [Perhaps an intimation of the color of the metal produced which shines like a peacock blue feather.] moraka "a kind of steel" (Samskritam) The peacocks and pinecone bronze age monuments were taken from
Temple de Serapis. This temple was built for the Egyptian merchants. It was located on the Commercial Agora near the western gate. There is also another entrance into the temple from the south-west corner of the Agora through stairs. There are certain indications that suggest the temple was never finished fully. It is estimated that the construction of the temple was started in the 2nd century CE. Temple of Isis, Pompeii. "the original building built under Augustan was damaged in an earlier earthquake of 62 CE...The cult of Isis is thought to arrived in Pompeii around 100 BCE."

Hieroglyphs of two Samarra bowls
Image 1. Eight fish, four peacocks holding four fish, slanting strokes surround
Image 2. Six women, curl in hair, six scorpions
ayo ‘fish’; rebus: ayas ‘metal’
mora peacock; morā ‘peafowl’ (Hindi); rebus: morakkhaka loha, a kind of copper, grouped with pisācaloha (Pali). moraka "a kind of steel" (Sanskrit)
mora peacock; morā ‘peafowl’ (Hindi); rebus: morakkhaka loha, a kind of copper, grouped with pisācaloha (Pali). moraka "a kind of steel" (Sanskrit)
gaṇḍa set of four (Santali); rebus: kaṇḍ ‘fire-altar, furnace’ (Santali)
मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻbraid of hair on a girl's forehead ʼ (CDIAL 10312). मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock.मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl. Rebus: mē̃ḍ ‘iron’ (Mu.) meṛha M. meṛhi F.’twisted, crumpled, as a horn’; meṛha deren ‘a crumpled horn’ (Santali)
मेढा [mēḍhā] A twist or tangle arising in thread or cord, a curl or snarl (Marathi). S. mī˜ḍhī f., °ḍho m. ʻ braid in a woman's hair ʼ, L. mē̃ḍhī f.; G. mĩḍlɔ, miḍ° m. ʻbraid of hair on a girl's forehead ʼ (CDIAL 10312). मेंढा [ mēṇḍhā ] A crook or curved end (of a stick, horn &c.) and attrib. such a stick, horn, bullock.मेढा [ mēḍhā ] A twist or tangle arising in thread or cord, a curl or snarl. Rebus: mē̃ḍ ‘iron’ (Mu.) meṛha M. meṛhi F.’twisted, crumpled, as a horn’; meṛha deren ‘a crumpled horn’ (Santali)
bicha, bichā ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ (Mu.) sambr.o bica = gold ore (Mundarica) meṛed-bica = iron stone ore, in contrast to bali-bica, iron sand ore (Mu.lex.)
bhaṭa ‘six ’; rebus: bhaṭa ‘furnace’.
satthiya ‘svastika glyph’; rebus: satthiya ‘zinc’, jasta ‘zinc’ (Kashmiri), satva, ‘zinc’ (Pkt.)
kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ)
bhaṭa ‘six ’; rebus: bhaṭa ‘furnace’.
satthiya ‘svastika glyph’; rebus: satthiya ‘zinc’, jasta ‘zinc’ (Kashmiri), satva, ‘zinc’ (Pkt.)
kola ‘woman’; rebus: kol ‘iron’. kola ‘blacksmith’ (Ka.); kollë ‘blacksmith’ (Koḍ)
Sources for the images:
Image 1. The Samarra bowl (ca. 4000 BC) at on exhibit at the Pergamon museum, Berlin. The bowl was excavated as Samarra by Ernst Herzfeld in the 1911-1914 campaign, and described in a 1930 publication. The design consists of a rim, a circle of eight fish, and four fish swimming towards the center being caught by four birds. At the center is a swastika symbol. (Ernst Herzfeld, Die vorgeschichtlichen Töpfereien von Samarra, Die Ausgrabungen von Samarra 5, Berlin 1930.)
Image 2. Women with flowing hair and scorpions, Samarra, Iraq. After Ernst Herzfeld, Die Ausgrabungen von Samarra V: Die vorgeschichtischenTopfereien, Univ. of Texas Press, pl. 30. Courtesy Dietrich Reimer. This image is discussed in Denise Schmandt-Besserat, When writing met art, p.19. “The design features six humans in he center of the bowl and six scorpions around the inner rim. The six identical anthropomorphic figures, shown frontally, are generally interpreted as females because of their wide hips, large thighs, and long, flowing hair…Six identical scorpions, one following after the other in a single line, circle menacingly around the women.”
Image 1. The Samarra bowl (ca. 4000 BC) at on exhibit at the Pergamon museum, Berlin. The bowl was excavated as Samarra by Ernst Herzfeld in the 1911-1914 campaign, and described in a 1930 publication. The design consists of a rim, a circle of eight fish, and four fish swimming towards the center being caught by four birds. At the center is a swastika symbol. (Ernst Herzfeld, Die vorgeschichtlichen Töpfereien von Samarra, Die Ausgrabungen von Samarra 5, Berlin 1930.)
Image 2. Women with flowing hair and scorpions, Samarra, Iraq. After Ernst Herzfeld, Die Ausgrabungen von Samarra V: Die vorgeschichtischenTopfereien, Univ. of Texas Press, pl. 30. Courtesy Dietrich Reimer. This image is discussed in Denise Schmandt-Besserat, When writing met art, p.19. “The design features six humans in he center of the bowl and six scorpions around the inner rim. The six identical anthropomorphic figures, shown frontally, are generally interpreted as females because of their wide hips, large thighs, and long, flowing hair…Six identical scorpions, one following after the other in a single line, circle menacingly around the women.”
http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-rosetta-stones-with.html
Large burial urn. Late Harappan Period large burial urn with ledged rim for holding a bowl-shaped lid. The painted panel around the shoulder of the vessel depicts flying peacocks with sun or star motifs and wavy lines that may represent water. Cemetery H period, after 1900 BC. These new pottery styles seem to have been introduced at the very end of the Harappan Period. The transitional phase (Period 4) at Harappa has begun to yield richly diverse material remains suggesting a period of considerable dynamism as socio-cultural traditions became realigned.
[quote]Late Harappan Period dish or lid with perforation at edge for hanging or attaching to large jar. It shows a Blackbuck antelope with trefoil design made of combined circle-and-dot motifs, possibly representing stars. It is associated with burial pottery of the Cemetery H period, dating after 1900 BCE.
The Late Harappan Period at Harappa is represented by the Cemetery H culture (1900-1300 BCE) which is named after the discovery of a large cemetery filled with painted burial urns and some extended inhumations. The earlier burials in this cemetery were laid out much like Harappan coffin burials, but in the later burials, adults were cremated and the bones placed in large urns (74). The change in burial customs represents a major shift in religion and can also be correlated to important changes in economic and political organization. Cemetery H pottery and related ceramics have been found throughout northern Pakistan, even as far north as Swat, where they mix with distinctive local traditions. In the east, numerous sites in the Ganga-Yamuna Doab provide evidence for the gradual expansion of settlements into this heavily forested region. One impetus for this expansion may have been the increasing use of rice and other summer (kharif) crops that could be grown using monsoon stimulated rains. Until late in the Harappan Period (after 2200 BC) the agricultural foundation of the Harappan cities was largely winter (rabi) crops that included wheat and barley.
Although the Cemetery H culture encompassed a relatively large area, the trade connections with the western highlands began to break down as did the trade with the coast. Lapis lazuli and turquoise beads are rarely found in the settlements, and marine shell for ornaments and ritual objects gradually disappeared. On the other hand the technology of faience manufacture becomes more refined, possibly in order to compensate for the lack of raw materials such as shell, faience and possibly even carnelian. [unquote]
See: http://bharatkalyan97.blogspot.in/2015/04/painting-in-steel-authority-of-india.html
Pine-cone as a Meluhha hieroglyph
Sgh. kaḍol mangrove. Ash. piċ -- kandə ʻ pine ʼ, Kt. pṳ̄ċi, piċi, Wg. puċ, püċ (pṳ̄ċ -- kəŕ ʻ pine -- cone ʼ), Pr. wyoċ, Shum. lyēwič (lyē -- ?).(CDIAL 8407). Cf. Gk. peu/kh f. ʻ pine ʼ, Lith. pušìs, OPruss. peuse NTS xiii 229. The suffix –kande in the lexeme: Ash. piċ-- kandə ʻ pine ʼ may be cognate with the bulbous glyphic related to a mangrove root: Koḍ. kaṇḍe root-stock from which small roots grow; ila·ti kaṇḍe sweet potato (ila·ti England). Tu. kaṇḍe, gaḍḍè a bulbous root; Ta. kaṇṭal mangrove, Rhizophora mucronata; dichotomous mangrove, Kandelia rheedii. Ma. kaṇṭa bulbous root as of lotus, plantain; point where branches and bunches grow out of the stem of a palm; kaṇṭal what is bulb-like, half-ripe jackfruit and other green fruits; R. candel. (DEDR 1171). Rebus: kaṇḍa ‘tools, pots and pans of metal’. kanda m. ʻ bulbous root ʼ MBh., n. ʻ garlic ʼ lex. [Prob. with gaṇḍa -- 1 ← Drav. T. Burrow BSOAS xii 369 and EWA i 152 with lit.] Pa. kanda -- m. ʻ bulb, bulbous root ʼ; Pk. kaṁda -- m. ʻ bulbous root ʼ, °dī -- f. ʻ radish ʼ; Or. kandā ʻ edible bulbous root; OMth. kã̄da ʻ bulb ʼ(CDIAL 2723).

Water installation with bronze pine-cone and peacocks on the top register in the atrium of Old St Peter’s Basilica, Rome. Drawing by Cronaca (1457-1505). Uffizi, Florence, 1572.
S. Kalyanaraman
Sarasvati Research Center
May 10, 2016