Mysterious Bull-Boat of Indus Valley Civilization
Myths and Secrets of Saraswati-Indus Valley Civilization
February 5, 2024The discovery of the 'Bull-boat' model challenges our understanding of ancient cultures in the upper Indus basin around 5000 years ago. This unique object, described by some as the strangest thing they've ever seen, raises intriguing questions about the use of anthropomorphic figurines during that time.
One key issue is the authenticity of the 'Bull-boat.' While the figurines on the model share similarities with those found in other sites, such as Merhrgarh and Nausharo, the boat itself is unlike anything seen before in this region. It also bears a resemblance to models from ancient Egypt, suggesting unexpected cultural connections.
This discovery is significant because it suggests that people in the early Harappan or Indus period may have used similar objects, a notion previously unknown. Additionally, the model hints at group ceremonies, which are rarely depicted in the iconography of the Indus civilization.
The 'Bull-boat' model features a rear 'cabin' or carriage with a vaulted roof. The exterior is decorated with a pattern of red and black ridges, resembling motifs found in pottery from the Zhob valley. This unique structure and decoration set it apart from other artifacts of its time.
The thick vertical 'handle' of the frame, which we've tentatively likened to a bull's tail, extends from the center. This type of roof structure is more commonly seen in depictions of land vehicles from 3rd millennium Mesopotamia than on boats. In clay tablets from the late 4th millennium BC, the sign GURUSH or KAL was used to represent a sledge with an upturned front and a square cabin at the rear. A similar sign with four wheels may have depicted a large four-wheeled wagon, but this particular sign did not continue to be used in later versions of cuneiform script.
The boat cabins depicted on the Mohenjo-Daro seal and seal impressions are centrally located and appear to be square. While some of the terracotta cart models considered by Kenoyer have high sides and occasionally a curved, upturned rear, the vault of our model remains unique. The only partially similar high-roofed carriage is represented on two rare cart models made of copper, one found at Chanhu-Daro and the other at Harappa. These carts have a low vault, likely formed by a wooden frame with textile roofing. However, similar vaults, often decorated with linear or zig-zag incised patterns to suggest a light vegetal frame or wickerwork, are quite common in terracotta miniatures of solidly built four-wheeled wagons from central-eastern Europe and the Near East from the 4th to the early 3rd-millennium cal BC.
The throne is a well-built chair, approximately 14.5 cm high, with a sitting plane of about 8x8.5 cm. The legs, which have a square section, are about 6 cm high. The chair back has five points or projections visible on the upper side, and two on the top of the lateral sides, just below the upper corners. In the top center of the chair-back, the central spike aligns with the position of the lady's nape.
One key issue is the authenticity of the 'Bull-boat.' While the figurines on the model share similarities with those found in other sites, such as Merhrgarh and Nausharo, the boat itself is unlike anything seen before in this region. It also bears a resemblance to models from ancient Egypt, suggesting unexpected cultural connections.
This discovery is significant because it suggests that people in the early Harappan or Indus period may have used similar objects, a notion previously unknown. Additionally, the model hints at group ceremonies, which are rarely depicted in the iconography of the Indus civilization.
The 'Bull-boat' model features a rear 'cabin' or carriage with a vaulted roof. The exterior is decorated with a pattern of red and black ridges, resembling motifs found in pottery from the Zhob valley. This unique structure and decoration set it apart from other artifacts of its time.
The thick vertical 'handle' of the frame, which we've tentatively likened to a bull's tail, extends from the center. This type of roof structure is more commonly seen in depictions of land vehicles from 3rd millennium Mesopotamia than on boats. In clay tablets from the late 4th millennium BC, the sign GURUSH or KAL was used to represent a sledge with an upturned front and a square cabin at the rear. A similar sign with four wheels may have depicted a large four-wheeled wagon, but this particular sign did not continue to be used in later versions of cuneiform script.
The boat cabins depicted on the Mohenjo-Daro seal and seal impressions are centrally located and appear to be square. While some of the terracotta cart models considered by Kenoyer have high sides and occasionally a curved, upturned rear, the vault of our model remains unique. The only partially similar high-roofed carriage is represented on two rare cart models made of copper, one found at Chanhu-Daro and the other at Harappa. These carts have a low vault, likely formed by a wooden frame with textile roofing. However, similar vaults, often decorated with linear or zig-zag incised patterns to suggest a light vegetal frame or wickerwork, are quite common in terracotta miniatures of solidly built four-wheeled wagons from central-eastern Europe and the Near East from the 4th to the early 3rd-millennium cal BC.
The throne is a well-built chair, approximately 14.5 cm high, with a sitting plane of about 8x8.5 cm. The legs, which have a square section, are about 6 cm high. The chair back has five points or projections visible on the upper side, and two on the top of the lateral sides, just below the upper corners. In the top center of the chair-back, the central spike aligns with the position of the lady's nape.
Initially, the 'Bull-boat' model appears to suggest a large flatboat, possibly monumental in size and intended for use on rivers and lakes. However, upon closer examination, another hypothesis emerges: that the object represents a large ceremonial chariot. It's worth noting that while terracotta boat models are not common in early Indus settlements, there is evidence from the site of Sheri Khan Tarakai in Bannu, Pakistan, suggesting boat use dating back to the fourth or fifth millennia CAL BC.
Considering the likely origin of the object, one might wonder where such a large boat, if that is indeed what it represents, could have navigated. While the Indus River and its tributaries are navigable, especially in certain seasons, they might not have accommodated vessels as large as suggested by the model. This leads to the possibility that if the model does depict a ceremony on a large boat, it could be a depiction of a supernatural scene rather than a literal representation of a physical event.
In early Egypt, plank boats were symbols of political and military power, often buried alongside kings' graves to symbolize their transition to the afterlife. This context adds depth to the interpretation of the 'cow-boat' model, suggesting that large carts and monumental chariots were likely common and well-developed in the region by the early 3rd-millennium cal BC. Despite the lack of terracotta models, there's no reason to think that the Indian subcontinent would have been unaware of such technology.
Considering the likely origin of the object, one might wonder where such a large boat, if that is indeed what it represents, could have navigated. While the Indus River and its tributaries are navigable, especially in certain seasons, they might not have accommodated vessels as large as suggested by the model. This leads to the possibility that if the model does depict a ceremony on a large boat, it could be a depiction of a supernatural scene rather than a literal representation of a physical event.
In early Egypt, plank boats were symbols of political and military power, often buried alongside kings' graves to symbolize their transition to the afterlife. This context adds depth to the interpretation of the 'cow-boat' model, suggesting that large carts and monumental chariots were likely common and well-developed in the region by the early 3rd-millennium cal BC. Despite the lack of terracotta models, there's no reason to think that the Indian subcontinent would have been unaware of such technology.
If the model does indeed represent a large cart, it could be imagined as a supernatural hybrid of cart and animal, with the legs of the animal serving as the wheels. This concept aligns with the Hindu tradition of monumental chariots (ratha) used to move major deities during religious festivals.
In conclusion, while the interpretation of the 'cow-boat' model as either a boat or a chariot is still debated, both hypotheses have strong arguments. The object's ambiguous nature, lacking keels, oars, wheels, or clear indications of function, may suggest that its creators intended to convey an abstract idea of a vehicle rather than a specific means of transport.
In conclusion, while the interpretation of the 'cow-boat' model as either a boat or a chariot is still debated, both hypotheses have strong arguments. The object's ambiguous nature, lacking keels, oars, wheels, or clear indications of function, may suggest that its creators intended to convey an abstract idea of a vehicle rather than a specific means of transport.
The 'Bull-boat' model presents a fascinating enigma, inviting us to ponder whether it is a mere miniature or a representation of a grand ceremonial vehicle, perhaps akin to the elaborate chariots used in historical Hindu festivals. Was this vehicle meant for earthly transport, or was it envisioned as traversing supernatural realms? These questions linger unanswered, adding to the mystery.
Equally intriguing is the identity of the lady on the spiked throne—is she a priestess, a queen, or a divine figure? The size difference between her and the retinue suggests a prominent role, yet her exact nature remains elusive.
Historical biases and colonial perspectives have sometimes colored interpretations of ancient artifacts. Recent discoveries, such as the vividly painted figurines of Nausharo ID, suggest a continuity in the use of symbols from the early Bronze Age to contemporary Hindu traditions. However, these interpretations are subjective and open to debate.
Deciphering the meaning of the terracotta model and its complex scene proves challenging. While efforts to understand the significance of the seated anthropomorphic figurines in Mehrgarh VII continue, the 'cow-boat' offers clues that point to a collective ceremony or ritual. The vehicle, likely drawn by powerful bulls, carries a figure of absolute power, possibly a priestess or queen, surrounded by attendants. The spikes on the throne may symbolize supernatural rays, suggesting a divine presence.
The arrangement of figurines in the model reflects a clear hierarchy, with the female gender taking a leading role. The enthroned lady, surrounded by male attendants, commands attention and respect, showcasing a feminine display of power and authority that sheds light on the socio-political dynamics of Early Indus societies.
In conclusion, the 'cow-boat' model offers a glimpse into the complex world of ancient rituals and societal structures. Its symbolism and intricate details continue to spark debate and inspire new interpretations, reminding us of the rich tapestry of human history and culture.
The lady in the terracotta model seems intended to perform a symbolic act: she would rise from her throne, walk through the vehicle, and climb the staircase at the rear of the bull's head. The cavity in the hump of the bull might have been designed to amplify her voice, making it resonate powerfully, perhaps giving her the voice of the bull itself.
During the late Regionalization Era (2800-2600 cal BC), which was crucial for the genesis of the Indus Valley civilization, settlements competed for dominance, with some evolving into urban centers. These urban settlements were fortified and centralized important crafts and trade, such as steatite, gold, and agate ornament production. The rural economy relied heavily on cattle herding.
The elites in these settlements managed resources and manpower, supported by mysterious institutions and ideas that legitimized their leadership. This period also saw the invention of cubic weights, stamp seals, and early forms of the Indus writing system, indicative of a strong centralized administration.
The terracotta model, while lost to antiquity, provides valuable insights into the formative stages of the Indus Valley civilization. It highlights the centrality of the humped bull iconography, the prominent role of female figures in power representation, and the concept of prestigious vehicles. These elements align with our understanding of how elites played a pivotal role in creating the Indus urban world
Equally intriguing is the identity of the lady on the spiked throne—is she a priestess, a queen, or a divine figure? The size difference between her and the retinue suggests a prominent role, yet her exact nature remains elusive.
Historical biases and colonial perspectives have sometimes colored interpretations of ancient artifacts. Recent discoveries, such as the vividly painted figurines of Nausharo ID, suggest a continuity in the use of symbols from the early Bronze Age to contemporary Hindu traditions. However, these interpretations are subjective and open to debate.
Deciphering the meaning of the terracotta model and its complex scene proves challenging. While efforts to understand the significance of the seated anthropomorphic figurines in Mehrgarh VII continue, the 'cow-boat' offers clues that point to a collective ceremony or ritual. The vehicle, likely drawn by powerful bulls, carries a figure of absolute power, possibly a priestess or queen, surrounded by attendants. The spikes on the throne may symbolize supernatural rays, suggesting a divine presence.
The arrangement of figurines in the model reflects a clear hierarchy, with the female gender taking a leading role. The enthroned lady, surrounded by male attendants, commands attention and respect, showcasing a feminine display of power and authority that sheds light on the socio-political dynamics of Early Indus societies.
In conclusion, the 'cow-boat' model offers a glimpse into the complex world of ancient rituals and societal structures. Its symbolism and intricate details continue to spark debate and inspire new interpretations, reminding us of the rich tapestry of human history and culture.
The lady in the terracotta model seems intended to perform a symbolic act: she would rise from her throne, walk through the vehicle, and climb the staircase at the rear of the bull's head. The cavity in the hump of the bull might have been designed to amplify her voice, making it resonate powerfully, perhaps giving her the voice of the bull itself.
During the late Regionalization Era (2800-2600 cal BC), which was crucial for the genesis of the Indus Valley civilization, settlements competed for dominance, with some evolving into urban centers. These urban settlements were fortified and centralized important crafts and trade, such as steatite, gold, and agate ornament production. The rural economy relied heavily on cattle herding.
The elites in these settlements managed resources and manpower, supported by mysterious institutions and ideas that legitimized their leadership. This period also saw the invention of cubic weights, stamp seals, and early forms of the Indus writing system, indicative of a strong centralized administration.
The terracotta model, while lost to antiquity, provides valuable insights into the formative stages of the Indus Valley civilization. It highlights the centrality of the humped bull iconography, the prominent role of female figures in power representation, and the concept of prestigious vehicles. These elements align with our understanding of how elites played a pivotal role in creating the Indus urban world
