Rick Willis) on copper plates with Indus script inscriptions:"The copper plates described in this article are believed to date from the Mature Harappan period, 2600–1900 BC. Brief memoranda: kamaḍha ‘penance’ Rebus: kammaṭa ‘mint, coiner’ kaṇḍo ‘stool, seat’ Rebus: kāṇḍa ‘metalware’ kaṇḍa ‘fire-altar’. of Eastern Art, Ashmolean Museum, Oxford. One side of a triangular terracotta amulet (Md 013) surface find at Mohenjo-daro in 1936, Dept. Surrounded by fishes, lizard and snakes, a horned person sits in 'yoga' on a throne with hoofed legs. khareḍo = a currycomb (G.) Rebus: kharādī ‘ turner’ (G.) Mohenjo-daro. Clerkship: the office of a Karanam or clerk. one who digs, digger, excavator Rebus: karanikamu. kaṇḍ = fire-altar (Santali) kan = copper (Tamil) khanaka m. kaṇṇaka - ʻ having ears or corners ʼ (CDIAL 2831) kaṇḍa kanka Rebus: furnace account (scribe). kuṭila ‘bent’ rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) Pa. Reading rebus three glyphs of text on Ganweriwala tablet: brass-worker, scribe, turner: 1. Read with kuṭila ‘bent’ rebus: kuṭila ‘bronze', the hypertext signifies a bronze mint. Hieroglyph: kamadha 'penance' Rebus: kammata 'coiner, mint'. Observe shows a person seated on a stool and a kneeling adorant below. The reverse includes the 'rim-of-jar' glyph in a 3-glyph text. Glyphs on a broken molded tablet, Ganweriwala. Ganeriwala or Ganweriwala (Urdu: گنےریوالا Punjabi: گنیریوالا) is a Sarasvati-Sindhu civilization site in Cholistan, Punjab, Pakistan. Source: Haragovindadāsa Trikamacanda Seṭha, 1963, Prakrit-Sanskrit-Hindi dictionary, Delhi, Motilal Banarsidass. A rebus rendering of this hieroglyph is kammaTa 'mint, coiner, coinage'. Prakritam gloss kamaDha 'a form of penance' signifies a person seated in penance. This article is not concerned with the widespread and multifaceted phenomenon of coin forgery for economic reasons (one thinks here especially of plated fourrées, or of the good-silver copies of Athenian owls made in the ancient Near East), since this has been well discussed already, but with the extent and semiotics of image appropriation on Classical Greek coinage. The copying of well-known diagnostic types by other issuing authorities raises the question of intentionality, and this paper will explore two possible explanations for a close imitation of Athenian coin iconography. The Hellenistic centuries did indeed see a further standardization and limitation of what poleis put on their coins, but the process had its inception with the arrival of coined money in European Greece, circa 550 BC, not in the carnage of Chaeronea. The common perception of extreme type flux before Alexander is mistaken, probably because scholars hitherto gathered their data and impressions from museum collections, whose acquisitions naturally tend towards new varieties, the unusual, and the unique, at the expense of the run-of-the-mill that in fact made up the bulk of coins in antiquity and the majority of the material on the market today. Any notion that the Classical period was a Wild West free-for-all of largely interchangeable and meaningless types now seems improbable. Investigation reveals that there was a large degree of coherence in the sorts of types employed by dozens of the most important issuing authorities of the Classical world. Whereas it is not always possible to say definitively whether given coin types may have had economic significance, political significance, both, or something else entirely for their recipients, the study of large numbers of coins, whether on the market, in public collections, or in hoards yields useful results. The present article explores the use of diagnostic types in the interpretation of Classical Greek coin types.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |