Ancient Near East Indus Script Bull-man

8/15/2019 Ancient Near East Indus Script Bull-man

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Ancient Near East Indus Script bull-man dhangra 'bull'with ḍã ̄ g 'mace' is ḍāṅro, ṭhākur ʻblacksmithʼ. 240 NahalMishmar maceheads signify guild of blacksmiths

Out of 442 artifacts discovered in Nahal Mishmar, 240 are maceheads. These should signify themajor preoccupation of the people who left the artifacts in Nahal Mishmar. This is suggested because, a mace held in a person's hand on ancient sculptural friezes signifies his or her profession -- smithy.

I posit that the maceheads are a signature tune of a guild of blacksmiths of the Bronze Age,giving meaning to the phrase:harosheth hagoyim 'smithy of nations'. ( Book of Judges 5:10).

In RV 3.53.12, Rishi Visvamitra states that this mantra (brahma) shall protect the people: visvamitrasya rakshati brahmedam Bhāratam Janam.

Translation: 3.053.12 I have made Indra glorified by these two, heaven and earth, and this prayerof Vis'va_mitra protects the people ( janam) of Bharata. [Made Indra glorified: indramatus.t.avam-- the verb is the third preterite of the casual, I have caused to be praised; it maymean: I praise Indra, abiding between heaven and earth, i.e. in the firmament].

See: http://bharatkalyan97.blogspot.in/2015/11/tracing-roots-of-bharatam-janam-from.html Rishi http://bharatkalyan97.blogspot.in/2015/08/bharatam-janam-of-rigveda-rv-353-mean.html

The word Bharata in the expression of identification by Visvamitra is derived from themetalwork lexis of Prakritam: ‘bhārata ‘a factitious alloy of copper, pewter, tin’; baran,bharat ‘mixed alloys (5 copper, 4 zinc and 1 tin)’. Thus, the expression Bhāratam Janam can bedescribed semantically as ‘metalcaster folk’, thus firmly establishing the identity of the people ofIndia, that is Bharat and the spoken form of their language ca. 3500 BCE.

This monograph tests the hypothesis to demonstrate that a person holding a mace in ancientBronze Age signifies a blacksmith, a metalworker.

http://bharatkalyan97.blogspot.in/2015/11/tracing-roots-of-bharatam-janam-from.htmlhttp://bharatkalyan97.blogspot.in/2015/11/tracing-roots-of-bharatam-janam-from.htmlhttp://bharatkalyan97.blogspot.in/2015/11/tracing-roots-of-bharatam-janam-from.htmlhttp://bharatkalyan97.blogspot.in/2015/08/bharatam-janam-of-rigveda-rv-353-mean.htmlhttp://bharatkalyan97.blogspot.in/2015/08/bharatam-janam-of-rigveda-rv-353-mean.htmlhttps://4.bp.blogspot.com/-bzPgBCByhxQ/Vw4b8BE2YXI/AAAAAAAA0a8/hw8SwBMRr8QxK27HQTwFwGzeUNF0_KnvgCLcB/s1600/35312.JPGhttp://bharatkalyan97.blogspot.in/2015/08/bharatam-janam-of-rigveda-rv-353-mean.htmlhttp://bharatkalyan97.blogspot.in/2015/08/bharatam-janam-of-rigveda-rv-353-mean.htmlhttp://bharatkalyan97.blogspot.in/2015/11/tracing-roots-of-bharatam-janam-from.htmlhttp://bharatkalyan97.blogspot.in/2015/11/tracing-roots-of-bharatam-janam-from.html


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British Museum number103225 Baked clay plaque showing a bull-man holding a post.

Old Babylonian 2000BC-1600BCE Length: 12.8 centimetres Width: 7 centimetres Barcelona2002 cat.181, p.212 BM Return 1911 p. 66

On this terracotta plaque, the mace is a phonetic determinant of the bovine (bull) ligatured to the body of the person holding the mace. The person signified is:dhangar ‘blacksmith’(Maithili) ḍhangra ‘ bull’. Rebus: ḍhangar ‘ blacksmith’. Mth. ṭhākur ʻ blacksmith ʼ (CDIAL 5488) N. ḍāṅro ʻ term of contempt fora blacksmith ʼ "... head and torso of a human but the horns, lower body and legs of a bull...Bakedclay plaques like this were mass-produced using moulds in southern Mesopotamia from the


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second millennium BCE. British Museum. WCO2652. Bull-manTerracotta plaque. Bull-manholding a post. Mesopotamia, ca. 2000-1600 BCE."Terracotta. This plaque depicts a creature with the head and torso of a human but the horns,lower body and legs of a bull. Though similar figures are depicted earlier in Iran, they are firstseen in Mesopotamian art around 2500 BC, most commonly on cylinder seals, and are associated

with the sun-god Shamash. The bull-man was usually shown in profile, with a single visible horn projecting forward. However, here he is depicted in a less common form; his whole body abovethe waist, shown in frontal view, shows that he was intended to be double-horned. He may besupporting a divine emblem and thus acting as a protective deity.

Old Babylonian, about 2000-1600 BCE From Mesopotamia Length: 12.8 cm Width: 7cm ME103225 Room 56: Mesopotamia Briish Museum

Baked clay plaques like this were mass-produced using moulds in southern Mesopotamia fromthe second millennium BCE. While many show informal scenes and reflect the private face oflife, this example clearly has magical or religious significance.

Hieroglyph carried on a flagpost by the blacksmith (bull ligatured man: Dhangar 'bull' Rebus:

blacksmith')


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Ashurnasirpal II succeeded his father, Tukulti- Ninurta II, in 883 BCE carries a mace/

Shalmaneser III (859 – 824 BCE), son ofAshurbanipal II carries a mace


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BritishMuseum. Stele of Ashurnasirpal II. Neo-Assyrian, 883-859 BCE

Assyrian reliefs show persons with maces. Remarks about Some Assyrian Reliefs E.Porada Anatolian Studies


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Vol. 33, Special Number in Honour of the Seventy-Fifth Birthday of Dr. Richard Barnett (1983), pp. 15-18

Unprovenienced. Person with a mace.


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BactriaMargiana. Bronze macehead with snake hieroglyph


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Bronze knobbed mace - Balkan Peninsula, Macedonia. Near East Bronze age: 3,300 - 1,200 BC.

4 cm tall x 6.5 cm wide.


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laster cast of a Neo-Hittite relief; soldier or guardsman walking right with mace, long sword andspear; painted black in imitation of original basalt; mounted in wooden frame. Culture/period: Neo-Hittite - 10thC BCE


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British Museum.An Assyrian soldier waving a mace escorts four prisoners, who carry their possessions in sacksover their shoulders. Their clothes and their turbans, rising to a slight point which flops backwards, are typical of the area; people from the Biblical kingdom of Israel, shown on othersculptures, wear the same dress, gypsum wall panel relief, South West Palace, Nimrud, Kalhu

Iraq, neo-assyrian, 730BC-727BCE


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Maceheads. Votive?

Anzu depicted on a stone macehead from the mid-thirdmillennium BCE

Mace Ti kulti Ninurta Louvre AO 2152.


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The person accompanying Tukulti Ninurta I who kneels in front of the fire-altar carries a mace.The entire frame is flanked by two safflowers.

In the orthographic tradition of Ancient Near East, a professional is signified by the hieroglyphhe or she carries. Thus, a coppersmith, seafaring merchant carries a goat proclaiming that he

works with mlekh 'goat' rebus: milakkhu 'copper' (See cylinder seal with cuneiform Akkadian ofShu-ilishu)Shu-ilishu cylinder seal of eme-bal, interpreter. Akkadian. Cylinder seal Impression. Inscriptionrecords that it belongs to ‘S’u-ilis’u, Meluhha interpreter’, i.e., translator of the Meluhhanlanguage (EME.BAL.ME.LUH.HA.KI) The Meluhhan being introduced carries an goat on hisarm. Musee du Louvre. Ao 22 310, Collection De Clercq 3rd millennium BCE. The Meluhhan isaccompanied by a lady carrying a kamaṇḍalu. The goat on the trader's hand is a phoneticdeterminant -- that he is Meluhha. This is decrypted based on the word for the goat:mlekh 'goat'(Brahui); mr..eka 'goat' (Telugu) Rebus: mleccha'copper' (Samskritam); milakkhu 'copper' (Pali)Thus the sea-faring merchant carrying the goat is a copper (and tin) trader from Meluhha. The jarcarried by the accompanying person is a liquid measure:ranku 'liquid measure' Rebus: ranku 'tin'.

A hieroglyph used to denote ranku may be seen on the two pure tin ingots found in a shipwreckin Haifa. That Pali uses the term ‘milakkhu’ is significant (cf. Uttarādhyayana Sūtra 10.16) andreinforces the concordance between ‘mleccha’ and ‘milakkhu’ (a pronunciation variant) andlinks the language with ‘meluhha’ as a reference to a language in Mesopotamian texts and in thecylinder seal of Shu-ilishu. [Possehl, Gregory, 2006, Shu-ilishu’s cylinder seal, Expedition,Vol. 48, No. 1http://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdf] This seal shows a sea-faring Meluhha merchant whoneeded a translator to translate meluhha speech into Akkadian. The translator’s name was Shu -ilishu as recorded in cuneiform script on the seal. This evidence rules out Akkadian as the Indusor Meluhha language and justifies the search for the proto-Indian speech from the region of theSarasvati river basin which accounts for 80% (about 2000) archaeological sites of thecivilization, including sites which have yielded inscribed objects such as Lothal, Dwaraka,Kanmer, Dholavira, Surkotada, Kalibangan, Farmana, Bhirrana, Kunal, Banawali, Chandigarh,Rupar, Rakhigarhi. The language-speakers in this basin are likely to have retained culturalmemories of Indus language which can be gleaned from the semantic clusters of glosses of theancient versions of their current lingua francaavailable in comparative lexicons and nighanṭu-s. http://bharatkalyan97.blogspot.in/2015/04/ox-hide-ingots-of-tin-and-one-third.html

http://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdfhttp://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdfhttp://bharatkalyan97.blogspot.in/2015/04/ox-hide-ingots-of-tin-and-one-third.htmlhttp://bharatkalyan97.blogspot.in/2015/04/ox-hide-ingots-of-tin-and-one-third.htmlhttp://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdfhttp://www.penn.museum/documents/publications/expedition/PDFs/48-1/What%20in%20the%20World.pdf


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Gods, caves, and scholars: Chalcolithic Cult and Metallurgy in the Judean Desert by YuvalGoren Near Eastern Archaeology Vol. 77, No. 4 (December 2014), pp. 260-266Published

by: The American Schools of OrientalResearch http://www.jstor.org/stable/10.5615/neareastarch.77.4.0260

240 maceheads of Nahal Mishmar are indicative of the widely prevalent name for a blacksmithof the Harosheth Hagoyim. If taken in a procession on flagposts, these would have recollectedthe memories of the metalsmiths of yore and paying respects to the memories of ancestors.Hieroglyph: ḍã ̄ g m. ʻ club, mace ʼ(Kashmiri) Rebus: K. ḍangur (dat. °garas) m. ʻ fool ʼ;P. ḍaṅgar m. ʻ stupid man ʼ; N. ḍāṅro ʻ term of contempt for a blacksmith ʼ, ḍāṅre ʻ large andlazy ʼ; A.ḍaṅurā ʻ living alone without wife or children ʼ; H. ḍã ̄ gar , ḍã ̄ grā m. ʻ starvelingʼ.N. ḍiṅgar ʻ contemptuous term for an inhabitant of the Tarai ʼ; B. ḍiṅgar ʻ vile ʼ; Or. ḍiṅgara ʻrogue ʼ, °rā ʻ wicked ʼ; H. ḍiṅgar m. ʻ rogue ʼ; M. ḍĩgar m. ʻ boy ʼ.(CDIAL 5524)

Iډانګ

ḏḏāng , s.m. (2nd) A club, a stick, a bludgeon. Pl. نوناډ ḏḏāngūnah. ډانګ ل ḏḏāng lakaʿī ,s.f. (6th) The name of a bird with a club-tail. Sing. and Pl. See توره

آن ډانور ḏḏāngoraʿī , s.f.(6th) A small walking- stick, a small club. Sing. and Pl. (The dimin. of the above). (Pashto)

ḍã ̄ g डाग ्। सथलूदणः m. a club, mace (Gr.Gr. 1); a blow with a stick or cudgel (Śiv. 13); awalking-stick. Cf. ḍã ̄ guvu. -- dini -- दि &below; । तिडम ्m. pl. inf. to give clubs; to give adrubbing, to flog a person as a punishment. (Kashmiri)ḍakka2 ʻ stick ʼ. 2. *ḍaṅga -- 1. [Cf.other variants for ʻ stick ʼ: ṭaṅka -- 3, *ṭiṅkara -- , *ṭhiṅga -- 1, *ḍikka -- 1 (*ḍiṅka -- )]1.S. ḍ ̠ aku m. ʻ stick put up to keep a door shut ʼ, ḍ ̠ akaru ʻ stick, straw ʼ; P. ḍakkā m. ʻ strawʼ, ḍakkrā m. ʻ bit (of anything) ʼ; N. ḍã ̄ klo ʻ stalk, stem ʼ.2. Pk. ḍaṅgā -- f. ʻ stick ʼ; A. ḍāṅ ʻ thickstick ʼ; B. ḍāṅ ʻ pole for hanging things on ʼ; Or. ḍāṅga ʻ stick ʼ; H. ḍã ̄ g f. ʻ club ʼ (→ P. ḍã ̄ g f. ʻstick ʼ; K. ḍã ̄ g m. ʻ club, mace ʼ); G. ḍã ̄ g f., °gɔ,ḍa ̃gorɔ m., °r u ̃ n. ʻ stick ʼ; M. ḍa ̃garṇẽ n. ʻ short

thick stick ʼ, ḍã ̄ gḷī f. ʻ small branch ʼ, ḍã ̄ gśī f.Addenda: *ḍakka -- 2. 2. *ḍaṅga -- 1: WPah.kṭg. ḍāṅg f. (obl. -- a) ʻ stick ʼ, ḍaṅgṛɔ m. ʻ stalk (of a plant) ʼ; -- poss. kṭg.(kc.) ḍaṅgrɔ m. ʻ axe ʼ, poet. ḍaṅgru m., °re f.; J. ḍã ̄ grā m. ʻ small weapon like axe ʼ,P. ḍaṅgorī f. ʻ small staff or club ʼ (Him.I 84).(CDIAL 6520) Allograph Hieroglyph: ḍhaṅgaru, ḍhiṅgaru m. ʻlean emaciated beastʼ(Sindhi)

Rebus: dhangar ‘blacksmith’ (Maithili) ḍhangra ‘ bull’. Rebus: ḍhangar ‘ blacksmith’.

http://www.jstor.org/publisher/asorhttp://www.jstor.org/publisher/asorhttp://www.jstor.org/stable/10.5615/neareastarch.77.4.0260http://www.jstor.org/stable/10.5615/neareastarch.77.4.0260http://www.jstor.org/stable/10.5615/neareastarch.77.4.0260http://www.jstor.org/publisher/asorhttp://www.jstor.org/publisher/asor


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lazy ʼ; A.ḍaṅurā ʻ living alone without wife or children ʼ; H. ḍã ̄ gar , ḍã ̄ grā m. ʻ starvelingʼ.N. ḍiṅgar ʻ contemptuous term for an inhabitant of the Tarai ʼ; B. ḍiṅgar ʻ vile ʼ; Or. ḍiṅgara ʻrogue ʼ, °rā ʻ wicked ʼ; H. ḍiṅgar m. ʻ rogue ʼ; M. ḍĩgar m. ʻ boy ʼ.(CDIAL 5524)

Three-faced person with

armlets, bracelets seated on a stool with bovine legs. Material: tan steatite Dimensions: 2.65 x2.7 cm, 0.83 to 0.86 thickness Mohenjo-daro, DK 12050

kūdī 'bunch of twigs' (Sanskrit) Rebus: kuṭhi 'smelter furnace' (Santali) कू दी [p= 300,1] f. a bunch of twigs , bunch (v.l. कूट/् ई ) AV. v , 19 , 12 Kaus3.ccord. to Kaus3. , Sch. = बदरी ,"Christ's thorn".(Monier-Williams)

Hieroglyph: kamaḍha ‘penance’ (Pkt.) Rebus 1: kampaṭṭa ‘mint’ (Ma.) kamaṭa = por tablefurnace for melting precious metals (Te.);Rebus 2: kaṇḍa ‘fire-altar'(Santali); kan ‘copper’ (Ta.)

Hieroglyph: kar ã ̄ n. pl. ʻwristlets, bangles ʼ (Gujarati); kara 'hand' (Rigveda) Rebus: khAr'blacksmith' (Kashmiri)

The bunch of twigs = ku_di_, ku_t.i_ (Skt.lex.) ku_di_ (also written as ku_t.i_ in manuscripts)occurs in the Atharvaveda (AV 5.19.12) and Kaus’ika Su_tra (Bloomsfield’s ed.n, xliv. cf.Bloomsfield, American Journal of Philology, 11, 355; 12,416; Roth, Festgruss an Bohtlingk,98)denotes it as a twig. This is identified as that of Badari_, the jujube tied to the body of the dead to

http://www.sanskrit-lexicon.uni-koeln.de/cgi-bin/monier/serveimg.pl?file=/scans/MWScan/MWScanjpg/mw0300-kUdara.jpghttps://www.blogger.com/nullhttps://www.blogger.com/nullhttps://www.blogger.com/nullhttps://www.blogger.com/nullhttps://www.blogger.com/nullhttps://www.blogger.com/nullhttp://www.sanskrit-lexicon.uni-koeln.de/cgi-bin/monier/serveimg.pl?file=/scans/MWScan/MWScanjpg/mw0300-kUdara.jpg


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efface their traces. (See Vedic Index, I, p. 177).[Note the twig adoring the head-dress of a horned,standing person]

Islamabad Museum, NMP 50.296 Mackay 1938: 335, pl. LXXXVII, 222


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Procession of Elamite warriors, Susa, Iran, Elamit c. 1150 BCE Bronze relief, Louvre, Paris

Technical description Frise d'un panneau de mosaïque

Vers 2500 - 2400 avant J.-C.Mari, temple d'Ishtar

Coquille, schiste Fouilles Parrot, 1934 - 1936

AO 19820

Near Eastern Antiquities

http://www.louvre.fr/en/departments/near-eastern-antiquitieshttps://3.bp.blogspot.com/-UzTxvzmFvgg/Vw38xfuYwII/AAAAAAAA0Y8/vE4ZAg0TiHMAvUXFeIG3staJdkmFcyhKwCLcB/s1600/freize.JPGhttps://1.bp.blogspot.com/-z3PDub2kt-c/Vw3-36QLhgI/AAAAAAAA0ZI/LRUOFx1Flec4PrRO00si2GJVoVu8oQoegCLcB/s1600/elam.JPGhttp://www.louvre.fr/en/departments/near-eastern-antiquities


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Richelieu wingGround floorAncient MesopotamiaRoom 1 bVitrine 7 : Epoque des dynasties archaïques de Sumer, vers 2900 - 2340 avant J.-C. Antiquités

de Mari (Moyen-Euphrate)

Life of Mari, Frise d'un panneau de mosaïque.

A person is a standard bearer of a bannerholding aloft the one-horned young bull which is the signature glyph of Indus writing. The banner is comparable to the banner shown on two Mohenjo-daro tablets.

Frieze of a mosaic panel Circa 2500-2400 BCE Temple of Ishtar, Mari (Tell Hariri), SyriaShell and shale André Parrot excavations, 1934-36 AO 19820

These inlaid mosaics, composed of figures carved in mother-of-pearl, against a background ofsmall blocks of lapis lazuli or pink limestone, set in bitumen, are among the most original andattractive examples of Mesopotamian art. It was at Mari that a large number of these mosaic pieces were discovered. Here they depict a victory scene: soldiers lead defeated enemy captives,naked and in chains, before four dignitaries....The leader appears to be a shaven-headed figure:stripped to the waist and wearing kaunakes, he carries a standard showing a bull standing on a pedestal. The lower register, on the right, features traces of a chariot drawn by onagers, a type ofwild ass.

Bibliography


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Contenau G., Manuel d'archéologie orientale depuis les origines jusqu'à Alexandre : lesdécouvertes archéologiques de 1930 à 1939, IV, Paris : Picard, 1947, pp. 2049-2051, fig. 1138

Parrot A., Les fouilles de Mari, première campagne (hiver 1933-1934), Extr. de : Syria, 16, 1935, paris : P. Geuthner, pp. 132-137, pl. XXVIII

Parrot A., Mission archéologique de Mari : vol. I : le temple d'Ishtar, Bibliothèque archéologiqueet historique, LXV, Paris : Institut français d'archéologie du Proche-Orient, 1956, pp. 136-155, pls. LVI-LVII Author: Iselin Claire

http://www.louvre.fr/en/oeuvre-notices/frieze-mosaic-panel

See: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 denoteartisan guilds

21 plates of ḍaṅgorī 'mace, club' including maceheads of 9 millennia upto the 1st millennium.Images selected and compiled by Michael Serbane in his doctoral thesis under the supervision ofProf. Benjamin Sass of Tel Aviv University on ‘The Mace in Israel and the Ancient Near Eastfrom the Ninth millennium to the First – Typology and chronology, technology, military andceremonial use, regional interconnections’ (2009). Linked and excerpts circulated with blogpost: http://bharatkalyan97.blogspot.in/2016/04/processions-of-hieroglyphs-are_12.html

http://www.louvre.fr/en/oeuvre-notices/frieze-mosaic-panelhttp://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-bronze-age-legacy_6.htmlhttp://bharatkalyan97.blogspot.in/2016/04/processions-of-hieroglyphs-are_12.htmlhttp://bharatkalyan97.blogspot.in/2016/04/processions-of-hieroglyphs-are_12.htmlhttp://bharatkalyan97.blogspot.in/2013/06/ancient-near-east-bronze-age-legacy_6.htmlhttp://www.louvre.fr/en/oeuvre-notices/frieze-mosaic-panel


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This figure presented by Dr. Michael Serbane evokes the imagery of a Soma Yaga Yupa with acaSAla.


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The figure on the top row with a safflower ligature is significant.I siggest that the safflower signified all over Ancient Near East and the

Levant, करडी [ karaḍī ] f (See करडई ) Safflower: also its seed. Rebus: karaḍa 'hard alloy' [ofarka 'copper']. Rebus: fire-god: @B27990. #16671. Remo E155 {N} ``̂ fire-^god''.(Munda).

https://1.bp.blogspot.com/-OEDtj4h8PKk/Vw0RrtanzUI/AAAAAAAA0YA/gDGuuSHFfsk1mbPdGBM78Z4nOyLhFxxogCLcB/s1600/mace2.JPG


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If carried on processions, these standards or flagposts are comparable to the procession shown ontwo Mohenjo-daro tablets as proclamations of metallurgical competence.

https://4.bp.blogspot.com/-PDQUN6GkkXs/Vw0S3a8MjOI/AAAAAAAA0YI/d54xKiyQ98MiMvzu3i9fiDNPQahxDWeHwCLcB/s1600/mace3.JPG


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https://2.bp.blogspot.com/-7qsbTgujAs0/Vw4FFE5c2sI/AAAAAAAA0aU/JbrYMq6ngHEu1M7jcaLPi2kfCRUNPIarQCLcB/s1600/mace4.JPG


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https://4.bp.blogspot.com/-rhZBJH0-Flk/Vw4FFWXi09I/AAAAAAAA0aY/Of6PG8yBOF8LNi6lAovTjrl2gyThRCauACLcB/s1600/mace5.JPG


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https://2.bp.blogspot.com/-Gbl4tj_WxjM/Vw4FFvLl7VI/AAAAAAAA0ac/iYChHJ2IUiA4VbUt3q-8_ySx7xQJP85TgCLcB/s1600/mace6.JPG


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https://4.bp.blogspot.com/-HXq_3YHeu7U/Vw4FFw7InEI/AAAAAAAA0ag/cUhHOiab3-Ic_jkBDSirtwjjog2rLH1RACLcB/s1600/mace7.JPG


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https://2.bp.blogspot.com/-AqiHdWo08QY/Vw4FGLr2pXI/AAAAAAAA0ak/EEEWiLaEIiQzF-Ps_pbFX_5qDmycF6qDACLcB/s1600/mace8.JPG


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https://2.bp.blogspot.com/-HHrKGedX-D0/Vw4FGcGXUNI/AAAAAAAA0ao/EqERa1_BIr4exP-FozJKLnlEFmyncqs8gCLcB/s1600/mace9.JPG


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https://1.bp.blogspot.com/-1QpwHgit4u4/Vw4FBd8kfyI/AAAAAAAA0ZY/CkwtQT0PwNwVzgoCcsw7TU0JCk6mc3CWACLcB/s1600/mace10.JPG


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https://2.bp.blogspot.com/-PiCYEYORIm0/Vw4FBbFSfoI/AAAAAAAA0Zc/BPx-y-FwiZ0V7KvCPgix2M8NRZ2fKII1QCLcB/s1600/mace11.JPG


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https://3.bp.blogspot.com/-0RoD4SIWiWo/Vw4FCLEHUwI/AAAAAAAA0Zk/W85zCcOG_RQs44uVMv0IxCo9pSCTlCa7QCLcB/s1600/mace12.JPG


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https://2.bp.blogspot.com/-AbXeKfeh1qg/Vw4FCTZn_0I/AAAAAAAA0Zo/3Gc1T3_oGc8ZvTplSeGBfl7mBhEwq2PSgCLcB/s1600/mace13.JPG


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https://2.bp.blogspot.com/-sNK50lWOJxY/Vw4FCRoysfI/AAAAAAAA0Zs/oqRd5kTxqoAkEYXbnVPjGEwTJ8NkSwz0gCLcB/s1600/mace14.JPG


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S.KalyanaramanSarasvati Research Center

April 13, 2016
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Documents

Ancient Near East Indus Script Bull-man