Seals

"At their best, it would be no exaggeration to describe them as little masterpieces of controlled realism, with a monumental strength in one sense out of all proportion to their size and in another entirely related to it," wrote Sir Mortimer Wheeler. Seal with Two-Horned Zebu Bull and Inscription, ca. 2000 BCE. As Mark Kenoyer writes "The majestic zebu bull, with its heavy dewlap and wide curving horns is perhaps the most impressive motif found on the Indus seals. Generally carved on large seals with relatively short inscriptions, the zebu motif is found almost exclusively at the largest c… >

Deity seal from Mohenjo-daro. E.J.H. Mackay writes of what he calls a "deity, seated in what may be a yogi attitude" where, in this case, "the stool is omitted, however, and the figure is apparently seated upon the ground. The headdress consists of two horn-like objects between which there appears to be a spike of flowers. A pigtail hangs down one side of the head which has one face only, in profile, facing to the right. Unfortunately this seal is badly broken, but enough remains to show that the figure was surrounded by pictographs arranged in a somewhat haphazard fashion." (Further Excavati… >

An article in The Verge discusses efforts by scientists at the Tata Institute of Fundamental Research and others to use algorithmic analysis to decipher the ancient Indus script. >

Complete fragment of seal with the trident hand, from Richard Meadow: H98-3505/8347-105 Steatite seal, intaglio. White fired steatite with a white core. Red speckling on interior below glaze level, slightly speckled on surface. Grinding marks visible on surface. Fragment of writing and top of animal motif remain - 2 or 3 signs are partially visible and 1 sign is complete (~”N”). The man with a double-bun hair style may be holding a trident or simply raising his hand. The animal motif is probably a tiger because of the multiple strokes. Anthropomorphic sign and animal direction facing to le… >

In color is a seal, in black and white two seals and corresponding sealings made from them (Joshi and Parpola, Corpus of Indus Seals and Inscriptions, Vol. 1, M 306-8). Mark Kenoyer writes that "discoveries of this motif on seals from Mohenjo-daro definitely show a male figure and most scholars have assumed some connection with the carved seals from Mesopotamia that illustrate episodes from the famous Gilgamesh epic. The Mesopotamian motifs show lions being strangled by a hero, whereas the Indus narratives render tigers being strangled by a figure, sometime clearly males, sometimes ambiguo… >

This beautiful three-sided terracotta sealing from 2000 BCE depicts a male cult figure seated in a yogic posture on a throne, a bull-like animal, and five characters in the Indus script. Today, the seal resides in the Ashmolean Museum at the University of Oxford. See also Long Indus Seals. >

"Following these criteria, at least one Harappan toponym can be isolated with a fair amount of confidence. Altogether 70 Indus insciptions have been recovered from Chanhujo-daro. Eleven of them contain the sign [shown], which is not known from any of the other thousands of Indus inscriptions found at other sites," writes Asko Parpola. >

Sealing from Mohenjo-daro depicting a collection of animals and some script symbols. This terra cotta sealing may have been used in specific rituals as a narrative token that tells the story of an important myth. See also Rare Three Animal Seal from Mohenjo-daro. >

J.M. Kenoyer describes it as a "square seal with animal whose multiple-heads include three important totemic animals: the bull, the unicorn, the antelope. All three animals appear individually on other seals along with script, but this seal has no script. The perforated boss on the back is plain, without the groove found on most seals." (Ancient Cities, p. 194). E.J.H. Mackay wrote that "a possible explanation of this unusual devices is that its owner may have sought the protection or assistance of three separate deities represented by the heads of these three animals" (Further Excavation… >

Asko Parpola writes: "Akinori Uesugi has shown that the spread of the Kot Diji culture all over the Indus Valley is connected with the spread of a new type of stamp seal, which continues to exist in the following Harappan period. The basic figure in these Kot Diji seals consists of “concentric circles,” usually four of them placed into the four corners of a square or cross-shaped seal." >