Lajjā Gaurī tāmarasa sã̄ca a sacred Indus Script & civilization metaphor for smelter, metalwork treasure cast in a mould, matrix

This is an addendum to:

pasār, pahārā, bazaar of Mohenjo-daro, kole.l 'smithy, forge, temple' of Harappa; Protective divinity Lajjā Gaurī is tāmarasa kóśa Indus Script hypertext, metalwork treasure https://tinyurl.com/yyktjqpp

This monograph presents scores of sculptural and hieroglyphic representations of Lajjā Gaurī.

Lajjā Gaurī in an iconographic variant is presented with T symbol as head on silver & bronze seals. This hieroglyph of T symbol replacing lotus flower signifies tāmarasa sã̄ca साँच, accu'copper (ingot from) mould, matrix' which is a trade category of wealth, treasure. Ta. accu mould, type. Ma. accu id. Ko. ac mould for casting iron. Ka. accu mould, impression, sign, type, stamp. Koḍ. acci cake of jaggery sugar with hollow in middle (formed in a mould). Tu. acci form, model. Te. accu stamp, impression, print, mould. / ? Cf. Turner, CDIAL, no. 13096, Skt. sañcaka-, Panj. sañcā, saccā mould; Burrow 1967.41. (DEDR 47)

Lajjā Gaurī whose head is replaced by a lotus flower and who holds a lotus bus on her left hand in the Padri slate plaque, signifies tāmarasa kóśa Indus Script hypertext, metalwork treasure. A winged woman on a Babylonian cylinder seal signifies a mint, coiner, coinage.

Babylonian cylinder seal. 2000 to 1600 BCE. Isin Larsa. ayo 'fish' rebus: aya 'iron' ayas 'alloy metal' PLUS melh 'goat' rebus: milakku, mleccha 'copper';mũha 'ingot' mũhã̄ 'face' rebus: mũha 'ingot' mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes; koli 'woman' rebus; kolhe 'smelter'; kola 'tiger' rebus: kol 'working in iron' PLUS kambha 'wing' rebus: kammaṭa 'mint, coiner, coinage'.;kuṭhi 'vulva' Rebus: kuṭhi 'smelter furnace'; The winged tiger holds a flag: dhayavaḍa -- m. ʻ flag ʼ,rebus: dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ.kassa 'turtle', kamaṭha, 'tortoise' rebus: kammaṭa 'mint, kassa 'turtle' rebus: kãsā 'bell-metal'

Silver seal Lajjā Gaurī with T symbol tāmarasa 'lotus flower' Rebus: tāmarasa 'gold, copper'

கொற்றவை koṟṟavai, n. < id. Durgā, as the Goddess of Victory; [வெற்றிக்கு உரியவள்] துர்க்கை. முற்றவை காட்டிக் கொற்றவை பழிச்சி (பெருங். இலாவாண. 2, 31). கொற்றியார் koṟṟiyār, n. < கொற்றி¹. 1. A sect of Vaiṣṇava female mendicants wearing basil garlands and other religious marks; துளசி மாலை முதலிய சின்னங்களை யணிந்து திருமாலடியராய்த் திரியும் பெண் துறவிகள். 2. One of the constituent themes of kalampakam; ஒரு கலம்பக வுறுப்பு. 3. Goddess of Parturition; பிள்ளைப் பேற்றின் அதிதேவதை. (J.) Rebus: கொற்றுறை koṟṟuṟai, n. < கொல்² + துறை. Blacksmith's workshop, smithy; கொல்லன் பட் டடை. கொற்றுறைக் குற்றில (புறநா. 95).

Indus Script hieroglyphs in the iconographic details are:

kola'woman' rebus: kolhe'smelter' kol 'working in iron'

kuṭhi 'vulva' Rebus: kuṭhi 'smelter furnace'; சூத்து cūttu, n. < cutī. [M. cūttu.] Vul. 1. Anus; மலவாயில். 2. Buttocks, rump; பிருட்டபாகம். சூத்திலடிக்கவே பல்லுப்போச்சு தென்றசொல் (இராமநா. உயுத். 2). 3. cf. cyuti. Private parts; ஆண்குறி பெண்குறி. Loc. 4. cf. cyuti. Pudendum muliebre; பெண்குறி. Brāh.

Rebus:

Leon Legrain. Ur Excavations III. Archaic seal impressions, OUP, 1936,Plate 47

Leon Legrain. Ur Excavations III. Archaic seal impressions, OUP, 1936, Pl. 14

The hieroglyphs are: scorpions, Lajjā Gaurī comparable to the hieroglyphs of the clinder seal shown below. These are read rebus as Indus Script hieroglyphs.

Syrian seal. 2900 to 2700 BCE.Macropolis collection. Svastika, scorpions in the bottom register.Top register: Squatting woman. X symbol. The decipherment of Indus Script hieroglyphs on this cylinder seal are: Lajjā Gaurī is tāmarasa 'lotus' rebus: copper/gold. X gueriglyph is:dāṭu 'cross' rebus: dhātu 'element, mineral'. Svastika hieroglyph is sattva rebus: sattva 'zinc, pewter' bichā 'scorpion' vŕ̊ścika m. (vr̥ścana -- m. lex.) ʻ scorpion ʼ RV.(CDIAL 12081) rebus:; bica 'haematite, ferrite ore' ; bica 'stone ore' (Mu.Santali).

While in most cases, the head is replaced by a lotus flower, there are two seals, where the head is replaced by a T symbol.This T symbol is an Indus Script hieroglyph which has been deciphered. This monograph demonstrates that the T symbol used on the two seals are consistent with the purposes served by Indus Script inscriptions to document wealth-accounting ledgers and descriptions of metalwork processes. Since hieroglyph tāmarasa is read rebus: tāmarasa 'gold, copper', the orthographic variants of Lajjā Gaurī's head replaced by T symbol is read as: copper mould/matrix which is tāmarasa sã̄ca साँच 'copper mould, matrix' .THe ingots she carries on her hands are: mũha 'ingot' mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes

Cylinder seal impression. Private collection. tāmarasa 'Lajjā Gaurī'rebus: tāmarasa 'gold.copper' PLUS miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep; mē̃ḍh 'ram' Rebus: Медь [Med'] (Russian, Slavic) 'copper'. meḍ 'iron' (Mu.Ho.) rebus: med 'copper' meḍho 'merchant's helper'.

Fragment of a vase in dark steatite.Jemdet Nasr Period. Sir Leonald Woolley. Ur Excavation. Vol. IV. tāmarasa 'Lajjā Gaurī' rebus: tāmarasa 'gold.copper' PLUS kola'tiger' rebus: kol'working in iron'. Thus, the tiger is a semantic determinative of metalwork.

T-glyph may denote a fire altar or moulds like the two fire-altars or moulds shown on Warrka vase below two animals: antelope and tiger. kand ‘fire-altar’ (Santali) Two T symbols shown below the hieroglyphs of markhor and tiger on Warka vase. The T symbol on the vase also shows possibly fire on the altars or moulds, superimposed by bun-ingots.kand ‘fire-altar’ (Santali). The animals are: kola 'tiger' rebus: kol 'working in iron' Hieroglyph: mẽḍhā 'curved horn', miṇḍāl 'markhor' (Tōrwālī) meḍho a ram, a sheep; mē̃ḍh 'ram' Rebus: Медь [Med'] (Russian, Slavic) 'copper'. meḍ 'iron' (Mu.Ho.)

मृदु, मृदा--कर 'iron, thunderbolt' मृदु mṛdu 'a kind of iron' मृदु-कार्ष्णायसम्,-कृष्णायसम् soft-iron, lead.

Santali glosses.

Sa. mE~R~hE~'d `iron'. ! mE~RhE~d(M).

Ma. mErhE'd `iron'.

Mu. mERE'd `iron'.

~ mE~R~E~'d `iron'. ! mENhEd(M).

Ho meD `iron'.

Bj. merhd(Hunter) `iron'.

KW mENhEd

@(V168,M080)

http://www.ling.hawaii.edu/austroasiatic/AA/Munda/ETYM/Pinnow&Munda

— Slavic glosses for 'copper'

Мед [Med]Bulgarian

Bakar Bosnian

Медзь [medz']Belarusian

Měď Czech

Bakar Croatian

KòperKashubian

Бакар [Bakar]Macedonian

Miedź Polish

Медь [Med']Russian

Meď Slovak

BakerSlovenian

Бакар [Bakar]Serbian

Мідь [mid'] Ukrainian[unquote]

http://www.vanderkrogt.net/elements/element.php?sym=Cu

Miedź, med' (Northern Slavic, Altaic) 'copper'.

One suggestion is that corruptions from the German "Schmied", "Geschmeide" = jewelry. Schmied, a smith (of tin, gold, silver, or other metal)(German) result in med ‘copper’.

The head of Lajja Gauri is often replaced by lotus flower. But, on two seals, the head is replaced by T symbol which also occurs on a Rehman Dheri seal and on some ox-hide ingots of Cape Gelidonya and Uruburun shipwrecks. The T symbol is clearly an Indus Script hieroglyph since the symbol is emphatically used in the context of Indus Script hieroglyphs which have been deciphered.

T symbol on ox-hide ingot (in the middle) from Cape Gelidonya shipwreck. Copper ox-hide ingots (Talents) After Fig. 5 on http://ina.tamu.edu/capegelidonya.htm

T symbol on an ox-hide ingot http://narnia-itn.eu/projects/the-production-and-trade-of-cypriot-copper-in-the-late-bronze-age-and-early-iron-age/

Silver seal.Kashmir Smat. 2nd cent.Private Collection. The face is replaced by T symbol. A triśūla.Inscription. She carries on her hands ingots. M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake' (CDIAL 10317) rebus: meḍ 'iron, metal' (Ho. Munda).Thus, iron ingots are signified.

Impression of Bronze seal.2nd cent.. The face is replaced by T symbol. A triśūla. Inscription. She carries on her hands ingots. M. meḍ(h), meḍhī f., meḍhā m. ʻ post, forked stake' (CDIAL 10317) rebus: meḍ 'iron, metal' (Ho. Munda). Thus, iron ingots are signified.

T symbol replaces the face and the rebus readings of Indus Script of the symbols on Rehman Dheri seal of T symbol PLUS frog are: sã̄ca साँच 'mould, matrix' PLUS mūxā 'frog'.rebus: mũha 'ingot' mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes. The message is thus, the expression sã̄ca mũha, 'ingot from a mould'. The other hieroglyphs on the seal are: dul bica 'cast haematite, ferrite ore' On the obverse, two markhors rebus: miṇḍāl ‘markhor’ rebus: mẽṛhẽt, meḍ 'iron';med 'copper. Thus, copper and iron metal castings, ingots are deciphered on the Rehman Dehri inscription.

T symbol appears on both sides of the Rehman Dehri ivory pendant and also on some ox-hide ingots of Cape Gelidonya and Uruburun shipwrecks..

Rehman Dehri pendant seal 1A, B. The rebus reading is: dul bica 'cast haematite, ferrite ore' PLUS sã̄ca साँच 'mould, matrix' PLUS mūxā 'frog'.rebus: mũha 'ingot' mũhã̄ = the quantity of iron produced at one time in a native smelting furnace of the Kolhes. On the obverse, two markhors rebus: miṇḍāl ‘markhor’ rebus: mẽṛhẽt, meḍ 'iron';med 'copper. Thus, copper and iron ingots are accounted for by the Rehman Dehri inscription.

Hieroglyph/Rebus of symbol:

T: sã̄ca साँच 'mould, matrix'. This symbol occurs on oxhide ingots of shipwrecks.

Thus, T symbol is a signifier of the ingots produced out of a sã̄ca साँच mould,matrix

Compared to the T symbol is the symbol of 'harrow' shown on some oxhide ingots.

I submit that this symbol signifies::maĩd m. ʻrude harrow or clod breakerʼrebus:mẽṛhẽt, meḍ 'iron' (Santali.Mu.Ho.) 'med 'copper' (Slavic). This may signify some sort of alloying of some minerals with copper.

dula 'two' rebus: dul 'metal casting'

miṇḍāl ‘markhor’ (Tōrwālī) meḍho a ram, a sheep (G.)(CDIAL 10120); rebus: mẽṛhẽt, meḍ ‘iron’ (Mu.Ho.) Thus, iron metal casting.

bichā 'scorpion' vŕ̊ścika m. (vr̥ścana -- m. lex.) ʻ scorpion ʼ RV., ʻ cater- pillar covered with bristles ʼ lex. [Variety of form for ʻ scorpion ʼ in MIA. and NIA. due to taboo? <-> √vraśc?]

Pa. vicchika -- m. ʻ scorpion ʼ, Pk. vicchia -- , viṁchia -- m., Sh.koh. bičh m. (< *vr̥ści -- ?), Ku. bichī, A. bisā (also ʻ hairy caterpillar ʼ: -- ī replaced by m. ending -- ā), B. Or. bichā, Mth. bīch, Bhoj. Aw.lakh. bīchī, H. poet. bīchī f., bīchā m., G. vīchī, vĩchī m.; -- *vicchuma -- : Paš.lauṛ. uċúm, dar. učum, S. vichū̃m., (with greater deformation) L.mult. vaṭhũhã, khet. vaṭṭhũha; -- Pk. vicchua -- , viṁchua -- m., L. vichū m., awāṇ. vicchū, P. bicchū m., Or. (Sambhalpur) bichu, Mth. bīchu, H. bicchū, bīchū m., G. vīchu m.; -- Pk. viccu -- , ˚ua -- , viṁcua -- m., K. byucu m. (← Ind.), P.bhaṭ. biccū, WPah.bhal. biċċū m., cur. biccū, bhiḍ. biċċoṭū n. ʻ young scorpion ʼ, M. vīċũ, vĩċū m. (vĩċḍā m. ʻ large scorpion ʼ), vĩċvī, ˚ċvīṇ, ˚ċīṇ f., Ko. viccu, viṁcu, iṁcu. -- N. bacchiũ ʻ large hornet ʼ? (Scarcely < *vapsi -- ~ *vaspi -- ).vr̥ścikapattrikā -- .Addenda: vŕ̊ścika -- : Garh. bicchū, ˚chī ʻ scorpion ʼ, A. also bichā (phonet. -- s -- )(CDIAL 12081) rebus:; bica 'haematite, ferrite ore' ; bica 'stone ore' (Mu.Santali).

Kur. mūxā frog. Malt. múqe id. / Cf. Skt. mūkaka- id.(DEDR 5023) Rebus: मूका f. a crucible L. (= or w.r. for मूषा)(Monier-Williams) Rebus: mũh 'face' (Santali). Rebus: 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 end; kolhe tehen mẽṛhẽtko mūhā akata = the Kolhes have to-day produced pig iron (Santali)

The appearance of T symbol (orthography of a stool) on ox-hide ingots is thus significant signify an Indus Script hieroglyph which is read rebus as a fire-altar: Hieroglyph: Malt. kanḍo stool, seat. (DEDR 1179) Rebus: kaṇḍ 'fire-altar' (Santali)kand ‘fire-altar’ (Santali)

This indicates the possibility that many of the ox-hide tin ingots which were found in many locations of Ancient Near east and had the T symbol incised may have been produced by artisans familiar with the meanings of Indus Script hieroglyphs.

I suggest that the oxhide ingots with specific shape and signified by Indian sprachbund words were the products popularised by Sarasvati civilization artisanjs, based on the evidence of the Mohenjo-daro prism tablet which shows a shipment of oxhide ingots on a boat.

The ox-hide ingot was called ḍhāla 'large ingot'. Artisans who use this word belong to the Prakrtam Indiansprachbund (linguistic area).Whether these Prakrtam speakers had colonies in Cyprus calls for further researches becauee a large number of ox-hide ingots have been discovered in Cyprus and other parts of Ancient Near East.

Ta. karu mould, matrix; karukku engraving, carving, embossed work. Ma. karu figure, mould; karukku-paṇi embossed work; karaṭu the original of a copy. Ka. karu embossed work, bas-relief; karuv-iḍu to put bosses or raised figures, mould, model. Tu. karu, garu, karavi a mould. Te. karugu, karuvu id. Kuwi (S.) garra form, mint; ḍālugara womb (for ḍālu, see 1123).(DEDR1280) Ta. kaṭavu, kaṭā, kaṭāy male of sheep or goat, he-buffalo; kiṭā buffalo, bull, ram; kiṭāy male of sheep; kaṭāri, kiṭāri heifer, young cow that has not calved; (PPTI) kaṭamai female of the goat. Ma. kaṭā, kiṭā, kiṭāvu male of cattle, young and vigorous; child, young person; kaṭacci heifer, young cow, calf; kiṭāri a cow-calf, heifer; female buffalo. Ko. kaṛc na·g buffalo calf between two and three years; kaṛc kurl cow calf between two and three years; ? ke·v calf of buffalo or cow, under one year (? < *kṛe·v); ? ke·n im, ke·no·ṛ im buffalo with its calf; ke·n a·v, ke·no·ṛ a·v cow with its calf. ? To. kaṛ pen for calves from 6 months to 1-2 years. Ka. kaḍasu young cow or buffalo that has not yet halved. Koḍ. kaḍïci id. Tu. gaḍasů id. Te. krēpu calf (? or with 1594 Ta. ciṟu). Go. (Ph.) kāṛā young buffalo (Voc. 648). Konḍa (BB) gṛālu calf.

Kui (K.) grāḍu, (W.) ḍrāḍu (pl. ḍrāṭka) id.; (W.) gāṛo a bullock or buffalo not trained to the plough; kṛai young female buffalo or goat. Kuwi (Su.) ḍālu, (F. S.) dālu calf. Kur. kaṛā young male buffalo; kaṛī young female buffalo; kaṛrū, kaḍrūbuffalo calf (male or female). Br. xarās bull, bullock; xaṛ ram. Cf. 1114 Ta. kaṭamā. / Cf. Turner, CDIAL, no. 2645 *kaṭṭa- (also Skt. [lex.] kaṭāha- a young female buffalo whose horns are just appearing), and no. 2658 *kaḍḍa-. (DEDR 1123) Ta. kaṭamā, kaṭamāṉ bison; kaṭamai, kaṭampai elk. Ma. kaṭamān elk, fallow deer. Ka. kaḍave, kaḍava, kaḍaba, kaḍabe, kaḍavu, kaḍaha elk; Indian stag, Rusa aristotelis; kaḍiti, gaṇaje a kind of deer or elk; (Gowda) kaḍE stag. Koḍ. kaḍamë sambur. Tu. kaḍama

stag, elk. Te. kaḍãti, kaṇãti musk deer; kaḍãju, kaḍiti, kaṇãju, kaṇiti nilgao, a species of antelope; (B.) kaṇuju sambur deer. Kol. kaḍas id.Nk. kaṛas id. Kur. kã̄ṛsā, (Tiga, Bleses) kãṛsāmale of the bādō-deer. (DEDR 1114)

Hieroglyph:sã̄ chair, stool: sádana n. ʻ coming to rest, seat ʼ RV. 2. sāˊdana -- n. ʻ setting down (of vessels &c.) ʼ ŚBr., ʻ seat, dwelling ʼ MBh. [√sad]1. Gmb. sã̄ ʻ chair, stool ʼ.2. M. sāṇ f. ʻ appropriate spot for the palanquin of Hoḷī Devī on the day of burning the Hoḷī ʼ (LM 418 < chādana -- ), sāṇā m. ʻ the spot where a ferry boat plies ʼ.(CDIAL 13117)

Rebus: mould: sã̄ca साँच । आकृतिनिष्पत्त्युपकरणम् m. a mould, matrix (Kashmiri).Ta. accumould, type. Ma. accu id. Ko. ac mould for casting iron. Ka. accu mould, impression, sign, type, stamp. Koḍ. acci cake of jaggery sugar with hollow in middle (formed in a mould). Tu. acci form, model. Te. accu stamp, impression, print, mould. / ? Cf. Turner, CDIAL, no. 13096, Skt. sañcaka-, Panj. sañcā, saccā mould; Burrow 1967.41.sañcaka m.n. ʻ mould, figure ʼ Naiṣ. [Sanskritization of MIA. *saṁcaa -- < saṁcaya -- (moulds being made in mounds of earth LM 418) is unlikely in view of A. B. Or. < *sañca -- , P. < *saccaa -- , WPah. < *śacca -- ]P. sañcā, saccā m. ʻ mould ʼ, WPah.bhad. śeccu n., Ku. N. sã̄co, A. xã̄s, B. sã̄c, chã̄c, Or. chã̄ca, Bi. H. sã̄cā m. (→ P. sã̄cā m., S. sã̄co m., K. sã̄ca m.), G. sã̄cɔ m.; M. sã̄ċā m. ʻ mould, quantity cast in a mould ʼ. (CDIAL 13096)

Kumara Temple. Aihole. 7th cent. Chalukya of Vatapi. In the bottom register,a woman is pulling the two waist ropes of two men with their hand touching the head (decorated with lotus flower). Lajja Gauru duplicated in top register. The ropes are signified by मेढा [mēḍhā] A twist or tangle arising in thread or cord, rebus: medha 'yajna, dhanam';med 'iron' (Mu.Ho.Santali) med 'copper'.(Slavic)

[quote]MARBLE PLAQUE CARVED WITH THE GODDESS LAJJA GAURI

ca. seventh century probably Deccan, Eastern Calukya Dimensions: 35 x 30 x 13 cm 13 ¾ x 11 ¾ x 5 ⅛ in

Provenance: private collection Singapore

The nude figure is sculpted in deep relief from a block of burgundy-coloured marble with white veins, the edges incised with single groove, the sides with band of bead and reel design. She lies on her back with raised legs spread wide in the ‘birthing position’, her arms bent holding the stem of a constricted blossoming lotus in each hand pointing upwards, her head taking the form of a similar larger lotus, the pericarp with a grid of sead pods. She has large globular breasts and pudendum rendered as a narrow slit, necklace, bracelets, a girdle and beaded band binding the thighs.

The sculpture bears close resemblance to a complete example in the Bijapur Museum, which is illustrated by Bolon 1992, pls 48 & 49 in her study of the development of the Lajja Gauri cult. The two examples differ in scale since the Bijapur example is about three times the height of the other, and in the type of stone, a red sandstone as opposed to the veined marble. It has been suggested that the marble stone is what is known as Udaipur red. Finally, the ornamentation of the marble piece is slightly more lavish. The Bolon example was originally in the Naganatha temple, Bijapur district, but is now kept in the Badami Museum, no. B36. Now in a private collection, the red marble piece was allegedly found in the vicinity of Kashmir Smast. This is now known to be the Bhimasthana, the abode of the goddess Bhimadevi, visited by Xuan Zang in the seventh century, in ancient times one of the most important Hindu pilgrimage sites in India. Many seals of Lajja Gauri have been found there, some with the head in the form a rectangular block instead of a lotus. See Nasim Khan, no.7. The marble piece was probably produced in an atelier in the Deccan and presented to the shrine sometime in the seventh century. Its close resemblance to the Bijapur sculpture should not compromise its authenticity, since no fake Hindu sculpture has been reported from the Deccan, and none of the abundant corpus of fake Hindu sculpture inspired by Turk Shahi or Hindu Shahi being produced in Pakistan today is convincing. The usual giveaway is the use of incorrect iconography more often than not giving the wrong attributes to the wrong deity or the creation of a pastiche incorporating conjoined heads and personified attributes.[unquote]

http://johnsiudmak.com/wp-content/uploads/2017/03/catalogue-2017.pdf John Sudmak, Asian Art Cagalogue, 2017, London

Kushan terracotta. 1st cent. BCE. Allahabad Museum

Mansar. Pravarapur. 5th cent. Face replaced by lotus flower.

Naganatha Temple.Badami.650 CE. Face replaced by lotus flower.

Sangamesvara temple. Andhra Pradesh.650 CE Head replaced by lotus flower.

Mahakuta. 7th cent.Head replaced by lotus flower.

Met Museum. Madhya Pradesh, 6th cent.Head replaced by lotus flower.

Candraketugarh. ca. 100 BCE.

Shunga Period. Uttar Pradesh.Met Museum.

Indian Archaeology 1969-70. Head replaced by lotus flower, worn like a hat..

Kamakhya temple. Guwahati. Assam. India.

Terracotta. 3rd cent.British Museum.

Nuapada. Orissa.Limestone Head replaced by lotus flower.

“The vulva region is carefully carved. Probably the artist had shown the clitoris, which is, however, illegible at present… But sufficient care was taken to exhibit its genital prominently…the figurine does, not only reveals its fertility and vegetative feature but also demonstrates a stark sexuality about it.” Baba Mishra et al. (opciit)