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Indus Script hieroglyphs of seafaring narratives,

metalwork catalogues Dong Son bronze drums

unsurpassed brilliance of cire perdue castings

Dong Son bronze drum surfaces display cire perdue hieroglyphs of extraordinary artistry,

orthographic fidelity and brilliance. It is for archaeometallurgical researchers to unravel the

precise methods used to achieve such excellent embossed hieroglyphs.

An intimation of embossed hieroglyphic work is seen on Harappa copper tablets.

Copper tablet (H2000-

4498/9889-01) with raised script found in Trench 43

Source: http://www.harappa.com/indus4/351.html http://bharatkalyan97.blogspot.in/2015/08/ind

us-script-corpora-cipher-hypertexts.html

Daimabad seal. Hieroglyph: karava 'narrownecked

jar' Rim of narrownecked

jar shown in a two-part message of a prism tablet m1429, Mohenjodaro describing the

supercargo, karNI http://bharatkalyan97.blogspot.in/2015/08/indus-script-corpora-cipher-

hypertexts.html

This hieroglyph may signify karuv 'embossed' on karuvi 'metal

implements, weapons.' Ta. karuvi instrument, tool. Ma. kari, karivi, karuvi, karu tool, plough,

weapon.(DEDR 1290) karuvi , n. prob. ³. [M. karuvi.] 1. Instrument, tool, implement;

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. . . . ( . 16, 186). 2. Means, materials, as for a

sacrifice; . ( , 421). 3. Armour, coat of mail; .

( .) 4. Shield; . ( . 1606). 5. Saddle; . ( .)

6. Horse-whip; . ( .) 7. Assembly, collection, flock, group; .

( . . 354, .)(Tamil)

Rebus: karavi 'mould' karuv-iḍu to put bosses or raised figures, mould, model

Ta. karu mould, matrix; karukku engraving, carving, embossed work. Ma. karu figure,

mould; karukku-paṇi embossed work; karaṭu the original of a copy. Ka. karu embossed work,

bas-relief;karuv-iḍu to put bosses or raised figures, mould, model. Tu. karu, garu, karavi a

mould. Te. karugu, karuvu id. Kuwi (S.) garra form, mint; ḍālu- gara womb (for ḍālu, see

1123).(DEDR 1280) (p. 193) [ khaḍū ] f A kind of pipeclay. 2 A composition (of pulverized

millstone &c. with water) to rub over writing-boards. 3 f The protuberant portion of a piece of

wood or stone, as left after the shaving or chipping away of the parts adjoining (as of a yoke, of

the pannels of a door, the embossments, relief, or rising-work of a statue). G. ʻ to scoop,

carve, bore a hole ʼ; M. korṇẽ ʻ to scoop, engrave, cut gradually off ʼ; N. kornu ʻ to scratch, tear,

comb ʼ; A. koriba ʻ to hoe ʼ, korokiba ʻ to scoop out ʼ. <-> With expressive redup. H. a nā ʻ

to scrape ʼ.S.kcch. korṇū ʻ to bore (a hole) ʼ; WPah.kṭg. kornõ ʻ to bore, drill ʼ, kurnõ ʻ to be

bored ʼ.(CDIAL 3530)

Remarkable narratives comparable to the hieroglyph narratives on Dong Son bronze drums are

seen on some Indus Script epigraphs. Some examples:

Crocodile, tiger looking back, spy on tree

http://bharatkalyan97.blogspot.in/2015/06/meluhha-hieroglyphs-makara-torana-

rope.html h1973B h1974B Harappa Two tablets. One side shows a person seated on a

tree branch, a tiger looking up, a crocodile on the top register and other animals in procession in

the bottom register. Obverse side (comparable to h1970, h1971 and h1972) shows an elephant, a

person strangling two tigers (jackals or foxes) and a six-spoked wheel.

The following glyphics of m1431 prism tablet show the association between the tiger + person

on tree glyphic set and crocile + 3 animal glyphic set.

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Mohenjo-daro m1431 four-sided tablet. Row of animals in file (a one-horned bull, an elephant

and a rhinoceros from right); a gharial with a fish held in its jaw above the animals; a bird (?) at

right. Pict-116: From R.—a person holding a vessel; a woman with a platter (?); a kneeling

person with a staff in his hands facing the woman; a goat with its forelegs on a platform under a

tree. [Or, two antelopes flanking a tree on a platform, with one antelope looking backwards?]

One side (m1431B) of a four-sided tablet shows a procession of a tiger, an elephant and a

rhinoceros (with fishes (or perhaps, crocodile) on top?).

kāru ‘crocodile’ (Telugu). Rebus: artisan (Marathi) Rebus: khar ‘blacksmith’ (Kashmiri)

kola ‘tiger’ Rebus: kol ‘working in iron’. Heraka ‘spy’ Rebus: eraka ‘copper’. hōṇḍa ‘leafless

tree’ (Marathi). Rebus: õdā ’turner’ (Bengali) dhamkara 'leafless tree' Rebus: dhangar

'blacksmith'

Looking back: krammara ‘look back’ Rebus: kamar ‘smith, artisan’.

koḍe ‘young bull’ (Telugu) [ khōṇḍa ] m A young bull, a bullcalf. Rebus: kõdā ‘to turn in a

lathe’ (B.) कोंद ōnda ‘engraver, lapidary setting or infixing gems’ (Marathi) [kōṇḍaṇa] f A

fold or pen. (Marathi) ayakāra ‘ironsmith’ (Pali)[fish = aya (G.); crocodile = kāru (Te.)] baṭṭai

quail (N.Santali) Rebus: bhaṭa = an oven, kiln, furnace (Santali)

ayo 'fish' Rebus: ayas 'metal'. kaṇḍa 'arrow' Rebus: hāṇḍa ‘tools, pots and pans, and metal-

ware’. ayas āṇḍa is a compounde word attested in Panini. The compound or glyphs of fish +

arrow may denote metalware tools, pots and pans.kola 'tiger' Rebus: kol 'working in iron, alloy of

5 metals - pancaloha'. ibha 'elephant' Rebus ibbo 'merchant'; ib ‘iron'. Alternative: [ karaṭi

] karaṭi. [Skt.] n. An elephant. (Telugu) Rebus: ha ādī ‘ turner’

(Gujarati) āṇḍa 'rhimpceros' Rebus: hāṇḍa ‘tools, pots and pans, and metal-ware’. The text

on m0489 tablet: loa 'ficus religiosa' Rebus: loh 'copper'. kolmo 'rice plant' Rebus: kolami

'smithy, forge'. dula 'pair' Rebus: dul 'cast metal'. Thus the display of the metalware catalog

includes the technological competence to work with minerals, metals and alloys and produce

tools, pots and pans. The persons involved are krammara 'turn back' Rebus: kamar 'smiths,

artisans'. kola 'tiger' Rebus: kol 'working in iron, working in pancaloha

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alloys'. pancha-lōnamu. n. A mixed metal, composed of five ingredients, viz.,

copper, zinc, tin, lead, and iron (Telugu). Thus, when five svastika hieroglyphs are depicted, the

depiction is of satthiya 'svastika' Rebus: satthiya 'zinc' and the totality of 5 alloying metals of

copper, zinc, tin, lead and iron.

Glyph: Animals in procession: खाांडा [ hāṇḍā] A flock (of sheep or goats) (Marathi) ¹

kaṇṭi Flock, herd (Tamil) Rebus: hāṇḍā ‘tools, pots and pans, and metal-ware’.

Hieroglyph: heraka ‘spy’. Rebus: eraka, arka 'copper, gold'; eraka 'moltencast, metal

infusion'; era ‘copper’. ā a 'spokes' Rebus: ā a 'brass'.

See: http://bharatkalyan97.blogspot.in/2015/08/ancient-near-east-rosetta-stone-tell.html

Trunk of elephant hieoroglyph component on this combined animal signifies: karba 'elephant'

Rebus: karba 'iron'. Hieroglyph: karabha 'trunk of elephant' (Pali)

Phoneme karba has two hieroglyph components which are semantic

determinatives: kari 'elephant' ibha'elephant'

karin m. ʻ elephant ʼ. [See karabhá -- ]Pa. karin -- m., Pk. kari -- , °iṇa -- m., °iṇī -- , °iṇiyā -- f.;

<-> Si. i iyā ← Pa.(CDIAL 2803)

Hieroglyph: hand: kará ʻ doing, causing ʼ A ., m. ʻ hand ʼ R . [ kr 1]

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Pa. Pk. kara -- m. ʻ hand ʼ; S. karu m. ʻ arm ʼ; Mth. kar m. ʻ hand ʼ (prob. ← Sk.); Si. kara ʻ

hand, shoulder ʼ, inscr. karā ʻ to ʼ < a āya. -- Deriv. S. a āī f. ʻ wrist ʼ; G. a n. pl. ʻ

wristlets, bangles ʼ.(CDIAL 2779)

Rebus: karba 'very hard iron' (Tulu) Tu. kari soot, charcoal; kariya black; karṅka state of being

burnt or singed; karṅkāḍuni to burn (tr.); karñcuni to be burned to cinders; karñcāvuni to cause to

burn to cinders; kardů black; karba iron; karvāvuni to burn the down of a fowl by holding it over

the fire; karṇṭuni to be scorched; karguḍe a very black man; fem. karguḍi,

kargi. Kor. (T.) kardi black. kabbiṇa iron (Kannada) kabïn iron (Toda) karum poṉ iron

(Tamil)(DEDR 1278)

Allograph: pot with narrow neck: Koḍ. karava clay pot with narrow

neck. Go. (Ma.) karvi narrow-mouthed earthen vessel for oil or liquor (DEDR 1273A)

Hieroglyph: ibha 'elephant' Rebus: ib 'iron' (Santali). kāṇḍā 'rhinoceros' Rebus: khāṇḍa ‘tools,

pots and pans, and metal-ware’. karā 'crocodile' Rebus: khar 'blacksmith' (Kashmiri) Note: Ib is

the name of a station between Howrah and Nagpur. The Railway station is in the iron ore belt.

Hieroglyph: [ hēra ] m ( S through or H) A spy, scout, explorator, an emissary to gather

intelligence. 2 f Spying out or spying, surveying narrowly, exploring. (Marathi) *hērati ʻ looks

for or at ʼ. 2. hēraka -- , °rika -- m. ʻ spy ʼ lex., hairika -- m. ʻ spy ʼ Hcar., ʻ thief ʼ lex. [J. Bloch

FestschrWackernagel 49 ← Drav., Kuiē a ʻ to spy ʼ, Malt. ére ʻ to see ʼ, DED 765]

1. Pk. hē aï ʻ looks for or at ʼ ( ihī aï ʻ watches for ʼ); K.ḍoḍ. hē ūō ʻ was seen ʼ; WPah.bhad.

bhal. he_ nū ʻ to look at ʼ (bhal. hi āṇū ʻ to show ʼ), pāḍ. hē aṇ, paṅ. hēṇā, cur. hē nā,

Ku. herṇo, N. hernu, A. heriba, B. he ā, Or. he ibā (caus. he āibā), Mth. herab, OAw. heraï,

H. he nā; G. he ʻ to spy ʼ, M. herṇẽ. 2. Pk. hē ia -- m. ʻ spy ʼ; Kal. (Leitner) "hériu" ʻ spy ʼ;

G. herɔ m. ʻ spy ʼ, he n. ʻ spying ʼ. Addenda: *hērati: WPah.kṭg. (Wkc.) hèrnõ, kc. erno ʻ

observe ʼ; Garh. hernu ʻ to look' (CDIAL 14165) Ko. er uk- (uky-) to play 'peeping

tom'. Kui ēra (ēri-) to spy, scout; n. spying, scouting; pl action ērka (ērki-).

? Kuwi (S.) hēnai to scout; hēri kiyali to see; (Su. P.) hēnḍ- (hēṭ-) id. Kur. ērnā (īryas) to see,

look, look at, look after, look for, wait for, examine, try; ērta'ānā to let see,

show; ērānakhrnā to look at one another. Malt. ére to see, behold, observe; érye to peep, spy.

Cf. 892 Kur. ēthrnā. / Cf. Skt. heraka- spy, Pkt. her- to look at or for, and many NIA verbs;

Turner, CDIAL, no. 14165(DEDR 903)

Hieroglyph: Ta. ciṟai, ciṟaku, ciṟakar wing; iṟai, iṟaku, iṟakar, iṟakkai wing,

feather. Ma. iṟaku, ciṟaku wing. Ko. rek wing, feather. Ka. eṟake, eṟaṅke, ṟakke,

ṟekke wing; ṟaṭṭe, ṟeṭṭe wing, upper arm. Koḍ.rekke wing; raṭṭe upper arm. Tu. ediṅke,

reṅkè wing. Te. eṟaka, ṟekka, rekka, neṟaka, neṟi id. Kol. reḍapa, (SR.) reppā id.;

(P.) reṛapa id., feather. Nk. rekka, reppa wing. Pa. (S.) rekka id. Go. (S.)rekka wing-

feather; reka (M.) feather, (Ko.) wing (Voc. 3045). Konḍa ṟeka wing, upper

arm. Kuwi (Su.) rekka wing. Cf. 1983 Ko. kerŋgl and 3424 To. tergy.(DEDR 2591)

Assuming that metalworkers from Indian sprachbund had contacts with Dong Son culture from

ca. 3rd millennium BCE, some rebus renderings of hieroglyphs displayed on the Dong Son

bronze drums are suggested. These suggestions require further detailed investigations from the

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Khmer and Austro-Asiatic glosses of the times in the world's largest tin belt along the Mekong

River delta in the Far East. There are indications that Munda (Austro-Asiatic) speaking

metalworkers might have been in contact from ca. 3rd millennium BCE.

The depiction of frogs on the Dong Son drums is significant. I suggest that it is a hieroglyph signifying metal ingot: Kur. mūxā frog. Malt. múqe id. / Cf.

Skt. mūkaka- id. (DEDR

5023) Rebus: mu h ‘ingot’.

Muha. The quantity of iron produced at one time in a native smelting

furnace. (Santali)

It is possible that metalwork consignments accompanied the consignments

of bronze drums as they were carried to different locations in the Far East.

maṇḍa (Sanskrit) OMarw. mīḍako m. ʻ frog ʼ, mīṁḍakī f. ʻ small frog ʼ,

G. me_ḍak, meḍ°

m., me_ḍkī, meḍ° f.; M. mẽḍūk -- mukh n. ʻ frog -- like face ʼ. 1.

Pa. maṇḍūka -- m., °kī -- f. ʻ frog ʼ, Pk. maṁḍū˘ka -- , °ḍūa -- , °ḍuga -- m., (CDIAL

9746) Rebus: mẽṛhẽt, meḍ ‘iron’

(Mu.Ho.) miṇḍāl ‘markhor’ (Tōrwālī)meḍho a ram, a sheep (Gujarati)(CDIAL 10120) Rebus: mẽṛhẽt,

meḍ ‘iron’ (Mu.Ho.)

Hieroglyph: arka 'sun' Rebus: arka, eraka 'copper, gold, moltencast'

kaṅká m. ʻ heron ʼ S. [← Drav. T. Burrow TPS 945, 87; onomat. Mayrhofer EWA i 37.

Drav. influence certain in o of M. and Si.: Tam. Kan. Mal. kokku ʻ crane ʼ, Tu. korṅgu,

Tel. koṅga, Kuvi koṅgi, Kui kohko] Pa. kaṅka -- m. ʻ heron ʼ, Pk. kaṁka -- m., S. kaṅgu m. ʻ

crane, heron ʼ (→ Bal. kang); B. ʻ heron ʼ, Or. āṅka; G. ṛ n. ʻ a partic. ravenous bird ʼ; -

- with o from Drav.: M. õ ā m. ʻ heron ʼ; Si. ā, pl. kokku ʻ various kinds of crane or heron

ʼ, e ī ʻ female crane ʼ, ē i ʻ a species of crane, the paddy bird ʼ (ē?).(CDIAL

2595) Ta. kokku common crane, Grus cinerea; stork, paddy bird; kuruku heron, stork, crane,

bird, gallinaceous fowl, aṉṟil bird. Ma. kokku, kokkan, kocca, kuriyan paddy bird,

heron; kuru heron. To.košk heron.

Ka. kokku, kokkare crane; kukku heron, crane. Tu. korṅgu crane, stork. Te. koṅga, kokkera,

kokkarāyi crane; pegguru, begguru (< peru-kuru) adjutant crane. Kol. (Kin.) koŋga crane.

Pa.kokkal (pl. kokkacil) id. Ga. (S) kokkāle (pl. kokkāsil) heron; (S.2) koŋalin (pl. koŋasil),

(S.3) kokalin crane. Go. (L.) koruku id. (Voc. 921); (Mu.) kokoḍal heron, duck (Voc. 870);

(Ma. Ko.) koŋga crane (Voc. 874). Kui kohko paddy bird. Kuwi (S.) kongi,(Ṭ.) kokoṛa crane.

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Br. xāxūr demoiselle crane. / Cf. Skt. kaṅka- heron; Turner, CDIAL, no. 2595.(DEDR

2125) (p. 0313) [ koṅga ] konga. [Tel.] n. A bird of the heron or stork kind.

(Telugu)

Hieroglyph: ba ulā, 'crane': baka -- m. ʻ the bird Ardea nivea ʼ Mn. [Prob. onom. in origin:

hence retention of -- kk -- , -- k -- , -- g -- in MIA. and NIA. forms (as also in Drav. T. Burrow

BSOAS xii 387): see EWA ii 400 and W. Wüst IL Turner Jubilee Vol. i 336, 347]

Pa. baka -- m. ʻ crane ʼ, Pk. baka -- , bakka -- , baga -- , baya<-> m., bagī -- f.; K. brag m. ʻ the

blue heron Ardea cinerea ʼ; S. bagu, bago, bagulo m. ʻ crane ʼ, P. baglā, N. bakullo, A. bag,

B. bak, Or. baga, H. bag, ba ulā, bagulā, baglā m., G. M. bag m. (CDIAL 9115) (p.

0880) [ bākā ] , or bā ā. [H.] n. A long

trumpet, . (Telugu)

Allograph: bahulā, 'Pleiades' Rebus: bagala 'a cargo boat' Rebus: bāhulā 'armour for the arms'

(Samskritam)

Hieroglyph: maraka 'peacock' (Santali. Mu.) Rebus: loha 'a kind of calcining metal'

(Samskritam)

Rebus: Ka. eṟe to pour any liquids, cast (as metal); n. pouring; eṟacu, ercu to scoop, sprinkle,

scatter, strew, sow; eṟaka, eraka any metal infusion; molten state, fusion. Tu. eraka molten,

cast (as metal); eraguni to melt. Kur. ecchnā to dash a liquid out or over (by scooping,

splashing, besprinkling). Cf. 840 Kur. elkhnā (Pfeiffer). (DEDR 866) Kur. elkhnā to pour liquid

out (by tilting a vessel standing on the ground); elkhrnā to be poured out. Malt. eqe to pour out

from a vessel. Cf. 866 Ta. eṟṟu (Pfeiffer). (DEDR 840)

karuvu n. Melting: what is melted (Te.) [ kāru ] m (S) An artificer or artisan. 2 A common

term for the twelve q. v. Also m pl q. v. in . (Marathi) , ,

, , [ kārigara, kārigāra, kārāgīra, kārēgāra, kārāgāra ] m ( P) A good

workman, a clever artificer or artisan. 2 Affixed as an honorary designation to the names of

Barbers, and sometimes of , , & . 3 Used laxly as adj and in the sense of

Effectual, availing, effective of the end. [ balutēṃ ] n A share of the corn and garden-

produce assigned for the subsistence of the twelve public servants of a village, for whom see

below. 2 In some districts. A share of the dues of the hereditary officers of a village, such as

, &c. or [ balutēdāra or balutā ] or m ( &c.) A public

servant of a village entitled to . There are twelve distinct from the regular

Governmentofficers , &c.; viz. , , , (These four constitute

or or the first division. Of three of them each is entitled to ,

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twenty bundles of Holcus or the thrashed corn, and the to आठ ); , , ,

constitute or or , and are entitled, each, to ; , , ,

form or or , and have, each, . Likewise there are twelve

or supernumerary public claimants, viz. , , , , , , , ठ ,

, , , . Of these the allowance of corn is not settled. The learner must be

prepared to meet with other enumerations of the (e. g. , - , , ,

, , , , , , , ; also , , , as

constituting the first-class and claiming the largest division of ; next , , ,

as constituting the middle class and claiming a subdivision of ; lastly, , , ,

; and, in the Konkan , yet another list); and with other accounts of the assignments of corn;

for this and many similar matters, originally determined diversely, have undergone the usual

influence of time, place, and ignorance. Of the in the Indápúr pergunnah the list and

description stands thus:--First class, , , , ; Second, , , , ;

Third, , , , , , ; in all fourteen, but in no one village are the

whole fourteen to be found or traced. In the Panḍharpúr districts the order is:-- or

(1st class); , , , , or (2

nd class); , , , ,

or (3rd

class); , , , ; twelve and of there are

eighteen. According to Grant Duff, the are , , , , , , ,

, , , ; and the are , , , , or , ,

, , , , , . In many villages of orthern Dakhan the

receives the of the first, second, and third classes; and, consequently, besides the ,

there are but nine . The following are the only or now to be found;-- ,

, , , - , , , but of the & - there is much

confused intermixture, the of one district being the of another, and vice lls.

(The word used above, in , , requires explanation. It means

Udder; and, as the are, in the phraseology of endearment or fondling, termed

(calves), their allotments or divisions are figured by successive bodies of calves drawing at the

or under of the under the figure of a or cow.) (Marathi)kruciji ‘smith’ (Old Church

Slavic)

"Common bronze alloys have the unusual and desirable property of expanding slightly just

before they set, thus filling the finest details of a

mould." https://en.wikipedia.org/wiki/Bronze_sculpture

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Liquid bronze at 1200 °C is poured into the dried and empty casting mould

"Dating back to the Neolithic Age, the first bronze drums, called the Dong Son drums, have been

uncovered in and around the Red River Delta regions of Vietnam and Southern China. These

relate to the prehistoric Dong Son Culture of Vietnam. In Ban Chiang,Thailand, (Southeast Asia)

bronze artifacts have been discovered dating to 2100 BCE. However, according to the

radiocarbon dating on the human and pig bones in Ban Chiang, some scholars propose that the

initial Bronze Age in Ban Chiang was in late 2nd

millennium." https://en.wikipedia.org/wiki/Bronze_Age

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Nahal Mishmar cire perdue artifacts were

made of arsenitcal copper.

The surface of Dong Son drums embossed with cire perdue hieroglyphs were made of tin

bronzes.

Close-up view of design of a typical Đông Sơn drum

S. Kalyanaraman

Sarasvati Research Centre

August 24, 2015

Dong Son bronze drums picture gallery with intimations of Indus Script hieroglyphs: e.g.,

peacock, elephant, bull, frog, markhor?

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Patterns of cire perdue bronze casting achieved on Dong Son Bronze drums

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Hoàng Ha bronze drum's surface, Vietnam "It depicts four feathered men are depicted walking in

a line, brandishing spears, with two musicians in tow. A person is depicted standing under the

eaves of a house, beating a drum while the rice fields are unattended, allowing a bird to eat the

rice that was intended for threshing. The boats depicted on the mantle of the drum are very

similar, with an analogous cleft prow, archer standing on raised platform and a drum. However,

the drum is different from the Ngoc Lu drum in that the animal is absent." (Higham, Charles

(1996). The Bronze Age of Southeast Asia. Cambridge World Archaeology, p.126).

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Song Da drum surface

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Ngoc Lu Drum surface

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"...the drumhead bears three concentric panels depicting animals or humans interleaved with

bands of geometric or circular patterns. The innermost panel appears to be a self-referencing

depiction, as it is decorated with pictures of humans who appear to be performing a ceremony

involving the drums themselves. Other musical instruments and rice growing and harvesting

activities are also shown. The two outer panels are decorated with scenes ofdeer, hornbills and

crane egrets" (Higham opcit., p.124)

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Hoang Ha Bronze drum surface. "...an outer panel of crane egrets and an inner panel which

shows a procession similar to that described in the Ngọc Lũ drum, the most famous of the Đông

Sơn drums.It depicts four feathered men are depicted walking in a line, brandishing spears, with

two musicians in tow. A person is depicted standing under the eaves of a house, beating a drum

while the rice fields are unattended, allowing a bird to eat the rice that was intended for

threshing. The boats depicted on the mantle of the drum are very similar, with an analogous cleft

prow, archer standing on raised platform and a drum. However, the drum is different from the

Ngoc Lu drum in that the animal is absent." (Higham, opcit., p.126)

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Co Loa bronze drum surface. "The drum only has two warriors with spears, in contrast to that of

the Ngọc Lũ drum. Another difference is that the ensemble of percussionists consists of three

drummers, with one drum lying under the eaves of the house. Meanwhile, an extra person is

depicted in the rice threshing process. The person has long hair and is winnowing grain into a

bowl. The percussion ensemble is also depicted differently in that the drummers are not all

drumming in synchronisation. Two of the drummers are depicted making contact with the drum,

while the other two drummers have their batons in the raised position." (Higham, opcit., p.126)

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Hình thuyền trên thân trống đồng Ngọc L .

Image on Ngoc Lu bronze drum

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Source: http://tinyurl.com/ovqrtjl