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The-Story-Of-Ancient-Indian-People
The Story Of The Ancient Indus People Mohenjo-daro - Harappa Yussouf Shaheen Culture and Tourism Department, Government of Sindh, Karachi All Rights Reserved Book’S name: The Story of the Ancient Indus People Mohenjo Daro-Harappa Writer: Yussouf Shaheen TitleL Danish Khan Layout: Imtiaz Ali Ansari Publisher: Culture and Tourism Department, Government of Sindh, Karachi Printer: New Indus Printing Press sukkur Price: Rs.700/- Can be had from Culture, Tourism, and Antiquities Department Book shop opposite MPA Hostel Sir Ghulam Hussain Hidaytullah Road Karachi-74400 Phone 021-99206073 Yussouf Shaheen The Story Of The Ancient Indus People Mohenjo-daro - Harappa Books authored by Yussouf Shaheen: Rise and Fall of Sanskrit Fall of Native Languages of the Americas Slave Nations Under British Monarchs Artificial Borders of the World Rise and Fall of gods – In Historical Perspective William the Bastard and his descendants World Confederation of the Peoples The World of Conquerors Truth Untold Seven other books in Sindhi and Urdu In the memory of my friend Abdul Karim Baloch A TV icon fully reflecting the greatness and wisdom of Mohenjo-daro and blessed with the enduring perception of a Weapon-Free Society created in the Indus Valley Civilization. © Yussouf Shaheen 2018 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical photocopying recording or otherwise , without the prior permission of the publisher. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. -
What Makes a Complex Society Complex?
What Makes a Complex Society Complex? The Dresden Codex. Public domain. Supporting Questions 1. How did the Maya use writing to represent activities in their culture? 2. What did the Aztecs do to master their watery environment? 3. Why were roads important to the Inca Empire? Supporting Question 1 Featured Source Source A: Mark Pitts, book exploring Maya writing, Book 1: Writing in Maya Glyphs: Names, Places & Simple Sentences—A Non-Technical Introduction to Maya Glyphs (excerpt), 2008 THE BASICS OF ANCIENT MAYA WRITING Maya writing is composed of various signs and symbol. These signs and symbols are often called ‘hieroglyphs,’ or more simply ‘glyphs.’ To most of us, these glyphs look like pictures, but it is often hard to say what they are pictures of…. Unlike European languages, like English and Spanish, the ancient Maya writing did not use letters to spell words. Instead, they used a combination of glyphs that stood either for syllables, or for whole words. We will call the glyphs that stood for syllables ‘syllable glyphs,’ and we’ll call the glyphs that stood for whole words ‘logos.’ (The technically correct terms are ‘syllabogram’ and ‘logogram.’) It may seem complicated to use a combination of sounds and signs to make words, but we do the very same thing all the time. For example, you have seen this sign: ©iStock/©jswinborne Everyone knows that this sign means “one way to the right.” The “one way” part is spelled out in letters, as usual. But the “to the right” part is given only by the arrow pointing to the right. -
Bibliography
Bibliography Many books were read and researched in the compilation of Binford, L. R, 1983, Working at Archaeology. Academic Press, The Encyclopedic Dictionary of Archaeology: New York. Binford, L. R, and Binford, S. R (eds.), 1968, New Perspectives in American Museum of Natural History, 1993, The First Humans. Archaeology. Aldine, Chicago. HarperSanFrancisco, San Francisco. Braidwood, R 1.,1960, Archaeologists and What They Do. Franklin American Museum of Natural History, 1993, People of the Stone Watts, New York. Age. HarperSanFrancisco, San Francisco. Branigan, Keith (ed.), 1982, The Atlas ofArchaeology. St. Martin's, American Museum of Natural History, 1994, New World and Pacific New York. Civilizations. HarperSanFrancisco, San Francisco. Bray, w., and Tump, D., 1972, Penguin Dictionary ofArchaeology. American Museum of Natural History, 1994, Old World Civiliza Penguin, New York. tions. HarperSanFrancisco, San Francisco. Brennan, L., 1973, Beginner's Guide to Archaeology. Stackpole Ashmore, w., and Sharer, R. J., 1988, Discovering Our Past: A Brief Books, Harrisburg, PA. Introduction to Archaeology. Mayfield, Mountain View, CA. Broderick, M., and Morton, A. A., 1924, A Concise Dictionary of Atkinson, R J. C., 1985, Field Archaeology, 2d ed. Hyperion, New Egyptian Archaeology. Ares Publishers, Chicago. York. Brothwell, D., 1963, Digging Up Bones: The Excavation, Treatment Bacon, E. (ed.), 1976, The Great Archaeologists. Bobbs-Merrill, and Study ofHuman Skeletal Remains. British Museum, London. New York. Brothwell, D., and Higgs, E. (eds.), 1969, Science in Archaeology, Bahn, P., 1993, Collins Dictionary of Archaeology. ABC-CLIO, 2d ed. Thames and Hudson, London. Santa Barbara, CA. Budge, E. A. Wallis, 1929, The Rosetta Stone. Dover, New York. Bahn, P. -
Bharati Volume 4
SARASVATI Bharati Volume 4 Gold bead; Early Dynastic necklace from the Royal Cemetery; now in the Leeds collection y #/me raed?sI %/-e A/hm! #N/m! Atu?vm! , iv/Èaim?Sy r]it/ e/dm! -ar?t jn?m! . (Vis'va_mitra Ga_thina) RV 3.053.12 I have made Indra glorified by these two, heaven and earth, and this prayer of Vis'va_mitra protects the race of Bharata. [Made Indra glorified: indram atus.t.avam-- the verb is the third preterite of the casual, I have caused to be praised; it may mean: I praise Indra, abiding between heaven and earth, i.e. in va_kdevi Sarasvati the firmament]. Dr. S. Kalyanaraman Babasaheb (Umakanta Keshav) Apte Smarak Samiti Bangalore 2003 PDF Created with deskPDF PDF Writer - Trial :: http://www.docudesk.com SARASVATI: Bharati by S. Kalyanaraman Copyright Dr. S. Kalyanaraman Publisher: Baba Saheb (Umakanta Keshav) Apte Smarak Samiti, Bangalore Price: (India) Rs. 500 ; (Other countries) US $50 . Copies can be obtained from: S. Kalyanaraman, 3 Temple Avenue, Srinagar Colony, Chennai, Tamilnadu 600015, India email: [email protected] Tel. + 91 44 22350557; Fax 24996380 Baba Saheb (Umakanta Keshav) Apte Smarak Samiti, Yadava Smriti, 55 First Main Road, Seshadripuram, Bangalore 560020, India Tel. + 91 80 6655238 Bharatiya Itihasa Sankalana Samiti, Annapurna, 528 C Saniwar Peth, Pune 411030 Tel. +91 020 4490939 Library of Congress cataloguing in publication data Kalyanaraman, Srinivasan. Sarasvati/ S. Kalyanaraman Includes bibliographical references and index 1.River Sarasvati. 2. Indian Civilization. 3. R.gveda Printed in India at K. Joshi and Co., 1745/2 Sadashivpeth, Near Bikardas Maruti Temple, Pune 411030, Bharat ISBN 81-901126-4-0 FIRST PUBLISHED: 2003 2 PDF Created with deskPDF PDF Writer - Trial :: http://www.docudesk.com About the Author Dr. -
ICONS and SIGNS from the ANCIENT HARAPPA Amelia Sparavigna ∗ Dipartimento Di Fisica, Politecnico Di Torino C.So Duca Degli Abruzzi 24, Torino, Italy
ICONS AND SIGNS FROM THE ANCIENT HARAPPA Amelia Sparavigna ∗ Dipartimento di Fisica, Politecnico di Torino C.so Duca degli Abruzzi 24, Torino, Italy Abstract Written words probably developed independently at least in three places: Egypt, Mesopotamia and Harappa. In these densely populated areas, signs, icons and symbols were eventually used to create a writing system. It is interesting to see how sometimes remote populations are using the same icons and symbols. Here, we discuss examples and some results obtained by researchers investigating the signs of Harappan civilization. 1. Introduction The debate about where and when the written words were originated is still open. Probably, writing systems developed independently in at least three places, Egypt, Mesopotamia and Harappa. In places where an agricultural civilization flourished, the passage from the use of symbols to a true writing system was early accomplished. It means that, at certain period in some densely populated area, signs and symbols were eventually used to create a writing system, the more complex society requiring an increase in recording and communication media. Signs, symbols and icons were always used by human beings, when they started carving wood or cutting stones and painting caves. We find signs on drums, textiles and pottery, and on the body itself, with tattooing. To figure what symbols used the human population when it was mainly composed by small groups of hunter-gatherers, we could analyse the signs of Native Americans. Our intuition is able to understand many of these old signs, because they immediately represent the shapes of objects and animals. It is then quite natural that signs and icons, born among people in a certain region, turn out to be used by other remote populations. -
A Gis Tool to Demonstrate Ancient Harappan
A GIS TOOL TO DEMONSTRATE ANCIENT HARAPPAN CIVILIZATION _______________ A Thesis Presented to the Faculty of San Diego State University _______________ In Partial Fulfillment of the Requirements for the Degree Master of Science in Computer Science _______________ by Kesav Srinath Surapaneni Summer 2011 iii Copyright © 2011 by Kesav Srinath Surapaneni All Rights Reserved iv DEDICATION To my father Vijaya Nageswara rao Surapaneni, my mother Padmaja Surapaneni, and my family and friends who have always given me endless support and love. v ABSTRACT OF THE THESIS A GIS Tool to Demonstrate Ancient Harappan Civilization by Kesav Srinath Surapaneni Master of Science in Computer Science San Diego State University, 2011 The thesis focuses on the Harappan civilization and provides a better way to visualize the corresponding data on the map using the hotlink tool. This tool is made with the help of MOJO (Map Objects Java Objects) provided by ESRI. The MOJO coding to read in the data from CSV file, make a layer out of it, and create a new shape file is done. A suitable special marker symbol is used to show the locations that were found on a base map of India. A dot represents Harappan civilization links from where a user can navigate to corresponding web pages in response to a standard mouse click event. This thesis also discusses topics related to Indus valley civilization like its importance, occupations, society, religion and decline. This approach presents an effective learning tool for students by providing an interactive environment through features such as menus, help, map and tools like zoom in, zoom out, etc. -
Harappan Geometry and Symmetry: a Study of Geometrical Patterns on Indus Objects
Indian Journal of History of Science, 45.3 (2010) 343-368 HARAPPAN GEOMETRY AND SYMMETRY: A STUDY OF GEOMETRICAL PATTERNS ON INDUS OBJECTS M N VAHIA AND NISHA YADAV (Received 29 October 2007; revised 25 June 2009) The geometrical patterns on various Indus objects catalogued by Joshi and Parpola (1987) and Shah and Parpola (1991) (CISI Volumes 1 and 2) are studied. These are generally found on small seals often having a boss at the back or two button-like holes at the centre. Most often these objects are rectangular or circular in shape, but objects of other shapes are also included in the present study. An overview of the various kinds of geometrical patterns seen on these objects have been given and then a detailed analysis of few patterns which stand out of the general lot in terms of the complexity involved in manufacturing them have been provided. It is suggested that some of these creations are not random scribbles but involve a certain understanding of geometry consistent with other aspects of the Indus culture itself. These objects often have preferred symmetries in their patterns. It is interesting to note that though the swastika symbol and its variants are often used on these objects, other script signs are conspicuous by their absence on the objects having geometric patterns. Key words: CISI volumes, Geometric pattern, Grid design, Swastika 1. INTRODUCTION Towns in the Indus valley have generally been recognised for their exquisite planning with orthogonal layout. This has been used to appreciate their understanding of geometry of rectangles and related shapes. -
1.2 Origin of the Indus Valley Civilization
8 MM VENKATESHWARA ASPECTS OF ANCIENT INDIAN OPEN UNIVERSITY ART AND ARCHITECTURE www.vou.ac.in ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE AND ART INDIAN ANCIENT OF ASPECTS ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE [M.A. HISTORY] VENKATESHWARA OPEN UNIVERSITYwww.vou.ac.in ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE MA History BOARD OF STUDIES Prof Lalit Kumar Sagar Vice Chancellor Dr. S. Raman Iyer Director Directorate of Distance Education SUBJECT EXPERT Dr. Pratyusha Dasgupta Assistant Professor Dr. Meenu Sharma Assistant Professor Sameer Assistant Professor CO-ORDINATOR Mr. Tauha Khan Registrar Author: Dr. Vedbrat Tiwari, Assistant Professor, Department of History, College of Vocational Studies, University of Delhi Copyright © Author, 2019 All rights reserved. No part of this publication which is material protected by this copyright notice may be reproduced or transmitted or utilized or stored in any form or by any means now known or hereinafter invented, electronic, digital or mechanical, including photocopying, scanning, recording or by any information storage or retrieval system, without prior written permission from the Publisher. Information contained in this book has been published by VIKAS® Publishing House Pvt. Ltd. and has been obtained by its Authors from sources believed to be reliable and are correct to the best of their knowledge. However, the Publisher and its Authors shall in no event be liable for any errors, omissions or damages arising out of use of this information and specifically disclaim any implied warranties or merchantability or fitness for any particular use. Vikas® is the registered trademark of Vikas® Publishing House Pvt. Ltd. VIKAS® PUBLISHING HOUSE PVT LTD E-28, Sector-8, Noida - 201301 (UP) Phone: 0120-4078900 Fax: 0120-4078999 Regd. -
Tracing the Tradition of Sartorial Art in Indo-Pak Sub-Continen
TRACING THE TRADITION OF SARTORIAL ART IN INDO-PAK SUB-CONTINEN ZUBAIDA YOUSAF Abstract The study of clothing in Pakistan as a cultural aspect of Archaeological findings was given the least attention in the previous decades. The present research is a preliminary work on tracing the tradition of sartorial art in the Indo-Pak Sub-Continent. Once the concept of the use of untailored and minimal drape, and unfamiliarity with the art of tailoring in the ancient Indus and Pre Indus societies firmly established on the bases of early evidences, no further investigation was undertaken to trace the history of tailored clothing in remote antiquity. Generally, the history of tailored clothing in Indo-Pak Sub-Continent is taken to have been with the arrival of Central Asian nations such as Scythians, Parthians and Kushans from 2nd century BC and onward. But the present work stretches this history back to the time of pre-Indus cultures and to the Indus Valley Civilization. Besides Mehrgarh, Mohenjo-Daro and Harappa, many newly exposed proto historic sites such as Mehi, Kulli, Nausharo, Kalibangan, Dholavira, Bhirrana, Banawali etc. have yielded a good corpus of researchable material, but unfortunately this data wasn’t exploited to throw light on the historical background of tailored clothing in the Indo-Pak Sub-Continent. Though we have scanty evidences from the Indus and Pre-Indus sites, but these are sufficient to reopen the discussion on the said topic. Keywords: Indus, Mehrgarh, Dholavira, Kulli, Mehi, Kalibangan, Harappa, Mohenjao- Daro, Clothing, Tailoring. 1 Introduction The traced history of clothing in India and Pakistan goes back to the 7th millennium BC. -
Program Wednesday Afternoon April 22, 2009 Wednesday Evening April
THURSDAY MORNING: April 23, 2009 23 Program Wednesday Afternoon April 22, 2009 [1A] Workshop NEW DEVELOPMENTS IN THE PRESERVATION OF DIGITAL DATA FOR ARCHAEOLOGY Room: L404 Time: 1:00 AM−4:30 PM Wednesday Evening April 22, 2009 [1] SYMPOSIUM ARCHAEOLOGY BEYOND ARCHAEOLOGY Room: Marquis Ballroom Time: 6:00 PM−9:00 PM Organizers: Michael Smith and Michael Barton Chairs: Michelle Hegmon and Michael Barton Participants: 6:00 Michael Smith—Just How Useful is Archaeology for Scientists and Scholars in Other Disciplines? 6:15 Tim Kohler—Model-Based Archaeology as a Foundation for Interdisciplinary and Comparative Research, and an Antidote to Agency/Practice Perspectives 6:30 Michael Barton—From Narratives to Algorithms: Extending Archaeological Explanation Beyond Archaeology 6:45 Margaret Nelson—Long-term vulnerability and resilience 7:00 Joseph Tainter—Energy Gain and Organization 7:15 Patrick Kirch—Archaeology and Biocomplexity 7:30 Rebecca Storey—Urban Health from Prehistoric times to a Highly Urbanized Contemporary World 7:45 Carla Sinopoli—Historicizing Prehistory: Archaeology and historical interpretation in Late Prehistoric Karnataka, India 8:00 Michelle Hegmon—Crossing Spatial-Temporal Scales, Expanding Social Theory 8:15 Robert Costanza—Sustainability or Collapse: What Can We Learn from Integrating the History of Humans and the Rest of Nature? 8:30 Robert Costanza—Discussant 8:45 James Brooks—Discussant Thursday Morning April 23, 2009 [2] GENERAL SESSION RECENT RESEARCH IN CENTRAL AMERICAN ARCHAEOLOGY Room: International C Time: 8:00 -
Mohenjo-Daro's Small Public Structures: Heterarchy, Collective Action, and a Re- Visitation of Old Interpretations with GIS and 3D Modelling
Accepted Manuscript Title: Mohenjo-daro's Small Public Structures: Heterarchy, Collective Action, and a Re- visitation of Old Interpretations with GIS and 3D Modelling Author: Adam S. Green Journal: Cambridge Archaeological Journal DOI:10.1017/S0959774317000774 Submitted: 15 December 2016 Accepted: 6 September 2017 Revised: 4 July 2017 1 MOHENJO-DARO’S SMALL PUBLIC STRUCTURES: HETERARCHY, COLLECTIVE 2 ACTION, AND A RE-VISITATION OF OLD INTERPRETATIONS WITH GIS AND 3D 3 MODELLING 4 5 Abstract 6 7 Together, the concepts of heterarchy and collective action offer potential explanations for how 8 early state societies may have established high degrees of civic coordination and sophisticated 9 craft industries in absence of exclusionary political strategies or dominant centralised political 10 hierarchies. The Indus civilisation (c.2600-1900 B.C.) appears to have been heterarchical, which 11 raises critical questions about how its infrastructure facilitated collective action. Digital re- 12 visitation of early excavation reports provides a powerful means of re-examining the nuances of 13 the resulting datasets and the old interpretations offered to explain them. In an early report on 14 excavations at Mohenjo-daro, the Indus civilisation’s largest city, Ernest Mackay described a 15 pair of small non-residential structures at a major street intersection as a “hostel” and “office” for 16 the “city fathers.” In this article, Mackay’s interpretation that these structures had a public 17 orientation is tested using a geographical information systems approach (GIS) and 3D models 18 derived from plans and descriptions in his report. In addition to supporting aspects of Mackay’s 19 interpretation, the resulting analysis indicates that Mohenjo-daro’s architecture changed through 20 time, increasingly favouring smaller houses and public structures. -
Museum Brochure
CENTRAL UNIVERSITY OF PUNJAB MUSEUM AN INTRODUCTION Subhash Parihar Central University of Punjab Mansa Road, Bathinda-151001. The Malwa region of Punjab—the plains lying between the rivers Sutlej and the Ghaggar—has a long and rich history. On the basis of archaeological excavations, the history of the region can be traced back to the Harappan period, i.e., more than four millenniums. But these traces of its history are fast falling prey to the unplanned development and avarice of the greedy people for land. Although life styles have always been in a flux, the speed of change has accelerated during recent times. Old life styles are vanishing faster and faster. The artefacts, tools, vessels, people used a few decades back are rarely seen now. Although the change cannot be halted, a record of these life styles and specimens of objects must be preserved for future generations. Keeping in view the significance of preserving the material remains of the past, Prof. (Dr.) Jai Rup Singh, the Vice-Chancellor of the Central University of Punjab decided to establish a museum in the university to preserve the rich history and culture of the region. The main purpose of this museum is to ‘acquire, conserve, research, communicate and exhibit, for purposes of study, education and enjoyment, material evidence of people and their environment.’ The CUPB Museum is housed in the Hall No. 1 of the Academic Block of the university, measuring 91 X 73.25 feet, covering a floor area of about 6600 square feet. The collection is organized in a number of sections, each dealing with a specific theme.