"Talcose stone was used primarily to make beads, seals and tokens, but also for inlay pieces, small figurines and sculptures. In contrast to faience, massive talc was not commonly used to produce either small vessels or bangles.
Articles on seals, cylinders, and their inscriptions from the ancient Harappan or Indus Valley Civilization.
A richly illustrated slide journey through seals and sealings, how and why they were used in other ancient civilizations, and primarily what we might know and deduce about their use in ancient Indus cities. Dennys Frenez has been studying a large group of accidentally fired Lothal sealings for many years, and is joined by other distinguished archaeologists in what was originally a symposium on bead and seal technologies at the University of Padua, Italy, in 2019.
This comprehensive look at the development of the Indus script makes a clear and cogent case that its origins likely can be traced to the pre and post-firing graffiti marks found on pottery throughout the region.
A learned and detailed look at seals and seal types from the central Asia just north of Afghanistan, Afghanistan and western Iran in relationship to the ancient Indus valley seal types, and how different kinds of seals seem to have predominated at different times and in different places.
"Illegal excavations and looting of archaeological sites in parts of the Indo-Iranian borderlands and regions of South- Eastern Iran and Central Asia have been rampant over several decades. Archaeologists have attempted to minimise the damage caused by the plundering of sites by studying and publishing artefacts abandoned by looters on-site, or those recovered by security forces," write the authors.
Although not directly concerned with the ancient Indus civilization, this eye-opening article challenges many assumptions one might have about ancient societies being ruled or dominated by men.
There are at least 18 examples of a "human and tiger" motif in Indus glyptic art. This short paper by one of the most prolific writers on ancient Indus themes, the late Dr. Gregory Possehl, wonders how we might read this visual artifact.
"The recognition of variation and diversity [in the ancient Indus civilization] has encouraged a gradual, though not universally accepted, shift toward the interpretation that certain categories of Indus material acted as ‘a veneer… overlying diverse local and regional cultural expressions'," write the authors.