The World's Oldest Swastikas - Swastikas from the Neolithic, Chalcolithic, and Early Bronze Age

The misconception that the so-called "Mezine swastika" is the oldest swastika in the world is repeated often on the internet. Simply looking at the artifact and looking at a swastika makes it clear the pattern on the artifact isn't a swastika, but non-connected bands of meanders! For a more in-depth analysis of this artifact and how its geometric pattern is definitively NOT swastika, refer to the article below:
https://aryan-anthropology.blogspot.com/2020/08/the-mezine-carving-is-not-swastika.html

So, where were the world's oldest swastikas located and how old are they? Due to the inherent uncertainty of trying to precisely date archaeological findings, it is difficult to pinpoint a single artifact as being the most ancient swastika. In addition, new archaeological digs are always uncovering new artifacts which deepen our understanding of ancient societies.

However, there is enough information available for us to present over 100 examples of swastikas from the Neolithic, Chalcolithic, and Early Bronze Age.

The oldest swastikas I have been able to find are from the Samarra culture in the Fertile Crescent, dating back to around ~6200 BC during the Neolithic era. Over the next few thousand years, it continues to be used in the Halaf, Ubaid, and Uruk cultures in the region.

Beginning around ~5300 BC, several very ancient swastikas are found in the Danube Basin. This corresponds to the expansion of the Neolithic cultures and initial spread of agriculture into this region. These agriculturalists migrated from Anatolia and the Fertile Crescent—bringing the swastika with them. So far, we have found evidence of the swastika among the Vinča, Turdaș, Petrești, Cucuteni–Trypillia, Linear Pottery Culture (LBK) or Stroked Pottery Culture (SBK), Karanovo, and Sopot cultures of Neolithic and Chalcolithic Europe.

At some point within the period ~5450-4250 BC we find the first definitive evidence of the swastika in Iran at Tall-e Bakun and Bakun-related sites in the region. Starting around 4200 BC, the swastika is used in the Susa I period of western Iran (Ubaid culture), and from ~3800-3100 BC in the Susa II period (Uruk culture). By ~3350-3000 BC, the swastika had reached eastern Iran, where it became a popular motif in the Helmand Civilization (which encompassed parts of eastern Iran, western Pakistan, and Afghanistan). On Wikipedia it is claimed that a swastika found on the Lakh Mazar Inscription from eastern Iran may date back to ~5000 BC. However, I have not found any archaeological reports conclusively dating it, and suspect this date is exaggerated.

In the Early Bronze Age, by ~2800 BC the swastika appears in the Indus Valley Civilization (which began around ~3300 BC, although agriculture in the region dates back much further). During this same period, the swastika appears in the Namazga culture of Turkmenistan (~2750-2350 BC) and the Chinese Majiayao culture (~3300-2000 BC). The swastika's appearance in these societies is plausibly the result of cultural diffusion and trade arising from Chalcolithic and subsequent Bronze Age trade networks. Indeed, archaeologists continuously unearth evidence that ancient trade networks in the Old World and New World are far larger than once believed.

Of course, the swastika may have also arose independently in some regions, as it seems to have done in ancient Egypt during the Bronze Age—despite Egypt's millennia of cultural and genetic exchange with Fertile Crescent cultures.

***

There may be claims for even older swastikas, but repeating claims found on the internet without evidence is how falsehoods like the "Mezine swastika" get spread. The information about the artifacts posted below are, to the best of my abilities, backed up with reputable archaeological evidence.

The artifacts below are grouped into four categories. Within each category, they are sorted more-or-less by the average date of their date range.

In the first category, I have been able to find museum records or archaeological sources confirming the existence of ancient swastikas. The second category lists artifacts where I have thus far been unable to find or access archaeological writings discussing the swastika-bearing artifacts. Without an actual archaeological report or museum record describing the artifact, it is impossible to be sure that the claims people repeat on the internet are accurate.

The third category contains swastikas which are claimed to be considerably ancient by Wikipedia, news articles, books, and blogs. However, examination of actual archaeological sources casts doubt on the spectacular age claims.

The fourth category briefly mentions some so-called "swastikas" which are not swastikas at all: the Mezine mammoth tusk carving and the Turgay Triradial Triskelion geoglyphs. I have covered these two topics in further depth on their own pages.

***

This article is, to my knowledge, the first time a truly in-depth survey of the world's oldest swastikas has ever been published on the internet. I have tried to be as exhaustive as possible in including and researching every claim and lead I've come across.

For comments and discussion, please see the discussion post linked below. If you have any additional information for any artifact listed in the "Unconfirmed" section, we highly encourage you to share.
https://aryan-anthropology.blogspot.com/2021/09/worlds-oldest-swastikas-discussion-post.html

To return to the index of swastika articles, click here.

Summary of Artifacts

1. Confirmed ancient swastikas
Date Artifact Location
6200-5800 BC Samarra culture ceramics Samarra, Iraq; Tell Baghouz, Syria
5600-5000 BC Halaf, Halaf/Ubaid, and Ubaid culture pendant, seals, and ceramic Tepe Gawra, Iraq; surrounding region
5450-4250 BC Tall-e Bakun culture figurines and ceramics Tall-e Bakun and Tol-e Nurabad, Fars Province, Iran
5300-4350 BC Vinča, Turdaș, and Petrești culture symbols Middle Danube River Basin
5100-4400 BC Linear Pottery Culture (LBK)/Stroked Pottery Culture (SBK) ceramic Hrbovice, Czechia
4600-3900 BC Cucuteni–Trypillia culture ceramics Dniester and Dnieper River Basins
4200-3100 BC Ubaid/Uruk culture ceramics and seals Susa and Tepe Giyan, Iran; surrounding region
3550-2600 BC Helmand Civilization ceramics and rock carvings Eastern Iran, western Pakistan, southern Afghanistan
3100-2050 BC Majiayao culture ceramics Upper Yellow River Basin
2800-2000 BC Indus Valley (Harappan) Civilization seals and ceramics Indus River Basin
2750-2350 BC Namazga culture seal Altyn-Depe, Turkmenistan
2500-2050 BC Egyptian rock carvings and seals Southwest Egyptian desert

2. Unconfirmed ancient swastikas
Date Artifact Location
6200-4900 BC Ceramic Devetashka cave, Bulgaria
6200-4900 BC Karanovo culture table Kazanlak, Bulgaria
~5000 BC Ceramic Riben, Bulgaria
5450-4250 BC Other Bakun-style ceramic Tol-e Siyah, Forg Valley, Iran
5000-4000 BC Sopot culture ceramic Bapska, Croatia
4000-3000 BC Ceramic Altimir, Bulgaria
4600-1750 BC Other Cucuteni–Trypillia or Usatovo culture ceramics Lower Dniester and Prut River Basins
7000-3000 BC Other European Neolithic artifacts Mediterranean, Danube Basin, or Elbe Basin?
7500-2200 BC Other Ancient Chinese cultures? China
3500-2000 BC Other Indus Valley Civilization artifacts Indus River Basin

3. Swastikas with doubtful date ranges
Date (claimed) Date (likely) Artifact Location
12,000 BC 2500-2050 BC Ancient Egyptian artifact? Ancient Egypt
~5000 BC 3550-2800 BC? Lakh Mazar stone carving Kooch, Iran, area
8000-5000 BC 3300-1200 BC Petroglyphs Gegham mountains, Armenia
18,000+ BC 200 BC - 1500s AD Rock paintings Telangana state, India
8000+ BC 2000 BC? - ? Petroglyphs Pedra Pintada, Roraima state, Brazil

4. Objects incorrectly claimed to be swastikas
Date (claimed) Date (accurate) Artifact Location Conclusion
~15,000 BC ~15,000 BC Epigravettian mammoth tusk carving Mezin, Ukraine Conjoined bands of meanders, not a swastika
6000-1000 BC 800 BC - 1500s AD? Turgay geoglyphs Urpek, Kazakhstan; Turgay Trough, Kazakhstan Triskelions, not swastikas

Map showing the locations of ancient artifacts with swastikas.
Figure 1.

Map of the major sites mentioned in the Confirmed (swastikas) and Unconfirmed (question marks) sections in this article.

Part 1. Confirmed Swastikas

Samarra culture

The most ancient swastika for which I could find reputable archaeological information belongs to the Samarra culture, which was centered around the city of Samarra in Iraq.

Ceramic bowl from Samarra, Iraq. Swastika in the center, surrounded by cranes eating fish, surrounded by swimming fish and geometric patterns.
Figure 2.

Ceramic bowl from Samarra, Iraq, in the collection of the Vorderasiatisches Museum, Berlin (Ident.Nr. VA 13400). According to the museum's description, it dates to ~6200-5800 BC.
https://id.smb.museum/object/1743373/bemalte-schale

According to Wikipedia[1] the artifact was found by archaeologist Ernst Herzfeld in the excavation campaign of 1911-1914 and described by him in a 1930 publication.[2] The publication is behind a paywall and I am unable to access it to find further information... Loewenstein (1941)[5] says it is found on "p. 13, fig. 13 (13)" in Herzfeld's work.[2] Wikipedia incorrectly gives the date as 4000 BC, without explanation.[1]

In addition, the Wikipedia page cites an article by Freed (1981),[3] going on to imply the swastika on the bowl is a reconstruction and not authentic. The bowl was found in fragments and glued together by archaeologists, with missing pieces reconstructed. The very center of the swastika is part of this reconstruction, but enough of the swastika was present on the original fragments to demonstrate it did indeed exist. In addition, many other examples of the swastika appear in the Samarra culture, making it clear the swastika on the bowl is accurate and not a forgery or an incorrect reconstruction.

Ceramic bowl from Samarra, Iraq. Swastika in the center, surrounded by four cranes eating fish, surrounded by eight swimming fish and geometric patterns.
Figure 3.

Image of the bowl without the reconstructed portions, showing that pieces of the swastika are still visible. Original image source unknown.

***

Numerous swastikas have been found in the Samarra culture and related Mesopotamian cultures.

Swastika from the Samarra culture. The ends of the swastika have an extra bend with a foot or hand attached.
Figure 4.

Figure 278 in Braidwood et al. (1944).[4] The following figures are described as Samarran, although more detailed information is not provided. Skimming the Braidwood publication, it does not seem that they mention the source from where these illustrations were taken. I assume most, if not all, of them came from Herzfeld's series of publications on Samarra.

Swastika from the Samarra culture. The corners of the swastika have a foot or hand attached.
Figure 5.

Figure 279 in Braidwood et al. (1944).[4]

Swastika from the Samarra culture. The corners of the swastika have a foot or hand attached.
Figure 6.

Plate C, Figure 4 from Loewenstein (1941).[5] Figure reproduced from Herzfeld (1930),[2] p. 16, fig. 12 (12). This looks very similar to Braidwood et al. (1944)[4] figure 279, but the breakage pattern is drawn slightly different, so it may be a different artifact.

Line drawing of a ceramic bowl with a swastika from the Samarra culture. Swastika in the center surrounded by five scorpions and wavy lines.
Figure 7.

Figure 291 in Braidwood et al. (1944).[4]

Ceramic bowl with a swastika from the Samarra culture. Swastika in the center surrounded by five scorpions, wavy lines, and geometric patterns.
Figure 8.

Another illustration of this artifact. Source unknown.

Ceramic fragment from the Samarra culture. Possibly with a swastika.
Figure 9.

Possible swastika on a fragment of pottery excavated by Ernst Herzfeld in Samarra, 1924. In the collection of the British Museum, registration number 1924,0416.442. The museum gives the date as 6500-6000 BC.
https://www.britishmuseum.org/collection/object/W_1924-0416-442

Ceramic fragment from the Samarra culture. The design may have been a swastika with a foot or hand attached at the bends.
Figure 10.

Plate C, Figure 3 from Loewenstein (1941).[5] Reconstruction of a ceramic fragment which was possibly a swastika. Figure reproduced from Herzfeld (1930),[2] p. 17, fig. 13 (13).

***

Swastika from the Samarra culture. The ends of the swastika have an extra bend with a foot or hand attached.
Figure 11.

Swastika fragment and reconstruction, published as Fig. 18 1a and 1b in Soudský and Pavlů (1966).[102]

Description: "1 a-b - Samarra (habitat, trouvaille de surface de l'un des auteurs)". Translation: "1 a-b - Samarra (habitat, surface find of one of the authors)."

Samarran culture motifs of rotating animals. One is a cross-like motif and two are swastika-like motifs.
Figure 12.

Fig. 18 3, 4, and 5 in Soudský and Pavlů (1966).[102]

Fourfold animal head motifs, showing a cross-like motif common in Samarran art (Fig. 18 3), a similar motif where the four animals have been abstracted into a swastika-like arrangement (Fig. 18 4), and a more complicated motif with swastika-like lines (Fig. 18 5). The second figure is labelled with "S.5" in the original source.[105]

Fig. 18 3: From Ernst Herzfeld, Die vorgeschichtlichen Töpfereien von Smarra, 1930, fig. 23.[2]
Fig. 18 4: Baghouz (R. Du Mesnil du Buisson, B., l'ancienne Corsôtê, Leiden 1948, pl. XXVII: 2).[105]
Fig. 18 5: Baghouz (R. Du Mesnil du Buisson, B., l'ancienne Corsôtê, Leiden 1948, pl. XXXI: 3).[105]

The latter two figures are from Tell Baghouz, which is another Samarra culture site in Syria.[106] Soudský and Pavlů (1966)'s[102] Figure 18 5 may be Figure 4 8b that was later published in Nieuwenhuyse (1999).[106] The paper[106] describes artifacts from the Louvre.

***

There are a few other swastikas and swastika-like motifs from Tell Baghouz, Syria, published by du Mesnil du Buisson:[105]

Swastika from the Samarra culture. The ends of the swastika have an extra bend with a foot or hand attached.
Figure 13.

Plate XXV, Figure 1, S.7, l.2.

Description: "Coupes ornées de membres humains coupés, avec ou sans filet (1-5)." Translation: "Cups decorated with cut human limbs, with or without netting."

Swastika-like design from the Samarra culture, comprised of four rotated animal heads.
Figure 14.

Plate XXVII, Figure 6. S5, l.2. 0.22.

Description: "Coupes à ornements dérivés du décor en bouquetins et filets, provenant du tell archaïque." Translaton: "Cups with ornaments derived from the decoration in ibex and nets, from the archaic tell."

Reconstruction of what was likely a swastika from the Samarra culture. Four rotated animal heads, with a horn or other design bending inwards.
Figure 15.

Plate XXVIII, Figure 1. S7, l3. masson sur jaune rosé.

Description: "Coupes à décors dérivés des bouquetins, des filets, des lignes d'eau et des palmes. Tell archaïque." Translation: "Cups with decorations derived from ibex, nets, water lines and palms. Archaic tell."

Reconstruction of what was likely a swastika from the Samarra culture. Lines have fringes, possibly indicating a plant, and each terminal hook of the swastika has five lines attached to it.
Figure 16.

Plate XXXI, Figure 1. S s,l.1. 0.22.

Description: "Décors de palmes combinées avec la croix tournante (1). Tell archaïque." Translation: "Palm decorations combined with the rotating cross (1). Archaic tell." Compare to the reconstructed ceramic fragment from Tall-i Bakun published by Langsdorff and McCown (1942),[164] plate 78, figure 25.

Swastika surrounded by geometric designs on a large bowl from the Samarra culture.
Figure 17.

Plate XXXII.

Description: "Grande coupe à pied, à ornement en croix gammée, d'après des fragments provenant du tell archaïque." Translation: "Large foot cup, with swastika-shaped ornament, after fragments from the archaic tell."


On page 28-29, du Mesnil du Buisson gives his opinion on the possible meaning of the swastika.[105]

"La belle coupe aux cinq bouquetins (pl. XXVI), qu'il faut mettre en pendant avec celle des cinq oiseaux, représente plus exactement le gibier de la Mésopotamie (pl. XXIV). La palissade ou plesse du pourtour, on l'a vu, nous parait indiquer la capture des animaux.

Mais ici une autre particularité du décor doit retenir l'attention: le sujet tournant, qui ajoute à la signification; pour la magie, ce qui est dans un cercle, ce qui est encerclé, et ce qui tourne indéfiniment en rond ne surait s'échapper. Le possesseur du cercle est maître de ce qu'il contient, oiseaux ou cervidés. Le mouvement circulaire passe de plus pour n'avoir pas de fin. C'est un point qui est bien mis en lumière par l'étude de la croix gammée, symbole d'éternité et d'immortalité[30]. Dans le cas du gibier, comme des troupeaux, le mouvement sans fin doit sans doute assurer la multiplication indéfinie de l'espèce. Dans le décor d'une coupe de Suse et dans celui de deux fusaïoles d'Hissarlik (Troie)[31], la même idée a été rendue clairement par la reunion d'images de troupeaux et de croix tournantes.

Le site de Baghouz a livré une croix tournante faite de palmes, et combinée avec d'autres palmes (pl. XXXI, 1). Le sens magique paraît se référer au retour des eaux. La belle coupe à pied ornée d'une croix gammée formant en même temps des lignes brisées (pl. XXXII) est d'une signification identique. Le signe doit assurer indéfiniment le renouvellement de l'eau.

Reste un série de figures generalement tournantes, garnies de membres plus ou moins contournés (pl. XXV). Quartre bras forment une croix tournante. Nous avons vu là les membres coupés d'ennemis vaincus. Le but de ces représentations, parfois combinées avec des filets, était de s'assurer la victoire sur l'ennemi. Le mouvement tournant doit donner à cette victoire une durée indéfinie. Les femmes cernées par un cercle de scorpions, qui, vers cette époque, ornent certain fond de coupe de Samarra, nous paraissent de même se rapporter aux chances de la geurre. Celle-ci, en effet, mettait en cause la possession des femmes qu'il s'agissait alors de capturer.[32]

[30] Cf. notre article de la Revue Historique de l'Armée, II, 1946, "La croix gammée", p. 11-22.

[31] Ibid., figures, p. 14 et 17.

[32] Juges, V, 30."

Google translate:

"The fine cup with the five ibexes (pl. XXVI), which must be placed as a pendant with that of the five birds, represents more exactly the game of Mesopotamia (pl. XXIV). The surrounding palisade or plesse, as we have seen, seems to us to indicate the capture of animals.

But here another peculiarity of the decor must hold the attention: the rotating subject, which adds to the meaning; for magic, what is in a circle, what is encircled, and what turns indefinitely in circles cannot escape. The owner of the circle is master of what it contains, birds or deer. The circular movement passes moreover to have no end. This is a point which is well brought to light by the study of the swastika, symbol of eternity and immortality[30]. In the case of game, like herds, the endless movement must undoubtedly ensure the indefinite multiplication of the species. In the decoration of a cup from Susa and in that of two spindle whorls from Hissarlik (Troy)[31], the same idea was made clear by the combination of images of herds and revolving crosses.

The Baghouz site yielded a revolving cross made of palm leaves, and combined with other palm leaves (pl. XXXI, 1). The magic meaning seems to refer to the return of the waters. The beautiful footed cup decorated with a swastika forming at the same time broken lines (pl. XXXII) has an identical meaning. The sign must ensure the renewal of water indefinitely.

There remains a series of generally rotating figures, adorned with more or less curved limbs (pl. XXV). Four arms form a rotating cross. We saw there the severed limbs of vanquished enemies. The purpose of these representations, sometimes combined with nets, was to ensure victory over the enemy. The turning movement must give this victory an indefinite duration. The women encircled by a circle of scorpions, which, around this time, adorn certain bottoms of the Samarra cup, seem to us likewise to relate to the chances of war. This, in fact, called into question the possession of the women whom it was then a question of capturing.[32]

[30] Cf. our article from the Revue Historique de l'Armée, II, 1946, "La croix gammée", p. 11-22.

[31] Ibid., figures, p. 14 and 17.

[32] Judges, V, 30."

***

Pay particular attention to the fact that both left-facing and right-facing swastikas were used by ancient Mesopotamian cultures! This should once and for all end the annoying modern revisionism alleging there has always been some special distinction based on a swastika's orientation! If you are reading this article, you now have a duty to call people out when they parrot this nonsense.

Halaf culture, Halaf/Ubaid transitional culture, and Ubaid culture

Illustration of a pendant with a swastika which has two additional bends on the end of each hook. Artifact from Tepe Gawra.
Figure 18.

Pendant from Tepe Gawra (stratum XX), in northern Iraq, published by Tobler (1950),[96] Plate CLXXIV, Figure 56. According to the archaeological report by Tobler (1950, page 4),[96] stratum XX dates to the same period as the Halaf culture.

I can't find much information regarding radiocarbon dating for this stratum. Lawn (1973)[98] dated level XIX to ~5,134-4,970 BC and reiterated that level XX was from the Halaf period. Radiocarbon dating by Akkermans (1991)[98] dates the beginning of the Early Halaf period to 5100-5000 BC. Akkermans (1991)[98] says the Halaf period was conventionally believed to begin by ~5600 BC, but he rejects this in light of his radiocarbon data. Without more precise information, it seems reasonable to give a broad date range of ~5600-5000 BC for this artifact. Wikipedia describes Tepe Gawra and this period as belonging to the "Halaf-Ubaid Transitional period".[107]

Basket-weave style swastika on a seal from Tepe Gawra.
Figure 19.

Swastika-like basketweave motif on a seal from Tepe Gawra. Illustration from Tobler (1950),[96] Plate CLIX, Figure 22. Stratum not specified.

Swastika-like motifs from Tepe Gawra.
Figure 20.

Swastika-like designs from Tepe Gawra illustrated in Tobler (1950),[96] Plate CXLIX, Figure 452. From strata XVI and XV.

Peasnall and Rothman (2003) describe strata XVI and XV as belonging to the beginning of the Ubaid period of the site.[180]

***

The book Amorai-Stark (1997)[108] is a catalog of ancient seals and stamps from the "Near East", dating from the late Aceramic Neolithic to early Bronze Age, in the collection of Lenny Wolfe and family.


Figure 138 in Amorai-Stark (1997)[108] is described as: "cruciform design. Cross with central square. Square lines extend to crude swastika with parallel radiating lines above." 5th millennium, Chalcolithic, Halaf or early Ubaid periods. North-West Syria/South-East Anatolia/North Iraq.

The image in the scan I found is very pixelated, and it's not clear enough to determine whether the design is a swastika.

The catalog[108] contains a brief discussion regarding artifacts similar to Amorai-Stark's figure 138:

"The swastika design (a version of "point group 4" layout) and the radiating cross design are features of early Ubaid period cf. Von Wickede 1990: No. 212 (Tepe Gawra, early Ubaid period); WFC No. 175. [...] Cf. also Amorai-Stark 1993: SBF No. 3 (carinated hemispheroid, swastika design)."

I was not able to find a copy of von Wickede (1990)[109] or Amorai-Stark (1993).[110] (Amorai-Stark (1993) is not included in the bibliography of the Amorai-Stark (1997)[108] catalog, but presumably it's the work I cite.) Figure 175 in Amorai-Stark (1997)[108] is a basketweave that is not particularly swastika-like, since it's diagonal and therefore does not truly have the terminal "hooks" that a swastika does.

Tall-e Bakun culture

Without doing an exhaustive search for swastikas in ancient Iran, I located some from the site of Tall-e Bakun (Tall-i Bakun), outside the village of Kenareh, near Marvdasht, Iran. According to Alizadeh (2006),[34] the Bakun A cultural phase dates to 4500-4100 BC. However, radiocarbon dates in Weeks et al. (2010)[183] suggest an older date. Dates for Tall-e Bakun B spanned ~5360-4700 BC and lower levels of Tall-i Bakun A corresponding to the Middle/Late Bakun transition period date to ~4500-4250 BC.[183] Radiocarbon dates for the Bakun period at the site of Tol-e Nurabad shows it may have spanned roughly from ~5450 BC[183] or ~4800-4600 BC[184] to 4250 BC.[183]

Fragment of a female figurine from Tall-e Bakun, Iran. Two swastikas.
Figure 21.

Figure 60A in Alizadeh (2006),[34] showing a clay human figurine. In the collection of the University of Chicago Oriental Institute. Registration Number: A19779; Accession Number: 2110; Field Number (Register Number) PPA 371.

Alizadeh (2006)[34] lists it as being from level III of the Tall-e Bakun A mound, Building VIII, Room 7. However, the original excavators of the figurine, Langsdorff and McCown (1942),[164] list it as coming from "level IV, surf."

Fragment of a female figurine from Tall-e Bakun, Iran. Multiple swastikas.
Figure 22.

Figure 60B in Alizadeh (2006),[34] showing a clay human figurine. Excavated from building V, room 1, level III of the Tall-e Bakun A mound. In the collection of the University of Chicago Oriental Institute. Field Number (Register Number) PPA 372.

The University of Chicago Oriental Institute has many other artifacts from Tall-i Bakun, a number of which have swastikas.

Fragment of a female figurine from Tall-e Bakun, Iran. Two swastikas.
Figure 23.

Photo of the figurine shown as an illustration in figure 60A in Alizadeh (2006).[34] In the collection of the University of Chicago Oriental Institute. Registration Number: A19779; Accession Number: 2110; Field Number: PPA 371.
https://oi-idb.uchicago.edu/id/56ec96a1-7956-4b1e-85f5-b9a7d78e790f

Additional photos:
https://en.wikipedia.org/wiki/File:UC_Oriental_Institute_early_Persian_03.JPG
https://en.wikipedia.org/wiki/File:UC_Oriental_Institute_early_Persian_02.JPG

Fragments of figurines from Tall-e Bakun, Iran. Figurines have different types of swastikas.
Figure 24.

Clay figurines from Tall-i Bakun with swastikas. It shows the two artifacts from 60A and 60B in Alizadeh (2006),[34] shown above, and another artifact with two "basket-weave" style swastikas. Photo Number 025116 in the collection of the University of Chicago Oriental Institute. Figurine with basket-weave swastikas is shown in a photograph in plate 6, figure 17 of Langsdorff and McCown (1942),[164] and listed as having Field Number 374.
https://oi-idb.uchicago.edu/id/dd6b6448-cc5e-4b34-83b0-5a2f8ec1b61d

Fragment of a female figurine from Tall-e Bakun, Iran. Two swastikas.
Figure 25.

Cropped from a photo showing figurines from Tall-i Bakun levels III and IV. One of the sides of the figurine shown in figure 60B in Alizadeh (2006).[34] Photo Number 025059 in the collection of the University of Chicago Oriental Institute. It is not clear what the registration numbers of the specific figurines are.
https://oi-idb.uchicago.edu/id/4ceb012e-fe82-495b-9541-39c8cf8c6139

Fragment of a ceramic from Tall-i Bakun, Iran, with a swastika.
Figure 26.

Ceramic fragment from Tall-i Bakun A with swastika. OIM # A49897 in the collection of the University of Chicago Oriental Institute. Registration Number: A49897; Accession Number: 2110; Field Number unknown (perhaps PPA 3305 shown in plate 74, figure 1, of Langsdorff and McCown (1942).[164])
https://oi-idb.uchicago.edu/id/9b507113-b88a-4357-9b5f-85c141f9aae9

Reconstruction of a ceramic fragment from Tall-i Bakun, Iran. Pattern of animals and swastikas.
Figure 27.

Langsdorff and McCown (1942),[164] plate 74, figure 1, field number 3305. I was unable to find this artifact in the University of Chicago Oriental Institute's collection. Their website lists PPA 3305 (Registration Number A20257) as a sling shot from Tall-i Bakun. It may be the artifact shown above in a photo (Registration Number: A49897; Accession Number: 2110).

Fragment of a ceramic from Tall-i Bakun, Iran, with a swastika.
Figure 28.

Ceramic fragment from Tall-i Bakun with swastika. OIM # A38008 in the collection of the University of Chicago Oriental Institute. Registration Number: A38008; Accession Number: 2110; Field Number: PPA 2962. Shown in plate 28, figure 6 of Langsdorff and McCown (1942).[164]
https://oi-idb.uchicago.edu/id/2e963cd9-049e-496c-b0db-212f4ba7d6fe

Fragment of a ceramic from Tall-i Bakun, Iran, with what may have been a swastika.
Figure 29.

Ceramic fragment from Tall-i Bakun, which may have had a swastika or motif with more than four "arms". OIM # A39275 in the collection of the University of Chicago Oriental Institute. Registration Number: A39275; Accession Number: 2110; Field Number: PPA 5220.
https://oi-idb.uchicago.edu/id/5e10dc85-1975-4f88-b860-149e9b3f488c

Reconstruction of a ceramic fragment from Tall-i Bakun, Iran. Possible spiral with 6 arms.
Figure 30.

Illustration of the ceramic fragment above (OIM # A39275), published in Langsdorff and McCown (1942),[164] plate 78, figure 28. Artifact is listed as having field number 5220; excavated from Trench I, 10-20 m., ±0 m.; level I.

Based on the geometry, the authors suggest it originally had six hooks.

Ceramic bowl from Tall-i Bakun, Iran, with basket-weave swastikas.
Figure 31.

Ceramic bowl from Tall-i Bakun A with "basket-weave" style swastikas. In the collection of the University of Chicago Oriental Institute. Registration Number: A20128; Accession Number: 2110; Field Number: PPA 2120.
https://oi-idb.uchicago.edu/id/5f6335a9-db2e-4f7f-98c6-b1a550bad9b1

Fragment of a ceramic from Tall-i Bakun, Iran, with a swastika with hooks that have an extra inward bend.
Figure 32.

Ceramic fragment from Tall-i Bakun with swastika-like symbol. OIM # A38427 in the collection of the University of Chicago Oriental Institute. Registration Number: A38427; Accession Number: 2110; Field Number: PPA 2418.
https://oi-idb.uchicago.edu/id/df1910a1-de65-42be-91b0-8bf3eb88c5da

Fragment of a ceramic from Tall-i Bakun, Iran, with a swastika with hooks that have an extra inward bend.
Figure 33.

Illustration of the ceramic fragment above (OIM # A38427), published in Langsdorff and McCown (1942),[164] plate 36, figure 11, field number 2418.

***

Jar with repeating band of swastikas with holes in the center, from Tall-i Bakun, Iran.
Figure 34.

Figure 39E in Alizadeh (2006).[34] Ceramic with a continuous band of swastikas. Register No. unknown. Excavated from Sq. BB 62. Level 3.

Jar with repeating band of swastikas with holes in the center, from Tall-i Bakun, Iran.
Figure 35.

Figure 41C in Alizadeh (2006).[34] Ceramic with a continuous band of swastikas. Register No. TBA 705. Excavated from Sq. BB 38, Rm. 5. Level 3.

Note that the breakage patterns are the exact same in both illustrations, and therefore it must be the same artifact. Thus, the information about where it was excavated is conflicting.

***

After Ernst Herzfeld's small-scale excavation at Tall-i Bakun A in 1928, Alexander Langsdorff and Donald McCown were the first to conduct extensive archaeological digs at the site, in 1932.[164] Their 1942 publication contains numerous illustrations and photos of artifacts recovered.[164]

Oblique swastika with a hole in the center, on a ceramic from from Tall-i Bakun, Iran.
Figure 167.

Langsdorff and McCown (1942),[164] plate 1, figure 9, field number 3564. In the collection of the University of Chicago Oriental Institute. Field Number: PPA 3564. The only record for this artifact in the online collections appears on a note card.
https://isac-idb.uchicago.edu/id/7d0be996-1bd0-478f-bdfe-f9862165f62f

Ceramic with swastika-like crosses and geometric designs, from Tall-i Bakun, Iran.
Figure 168.

Langsdorff and McCown (1942),[164] plate 1, figure 11, field number 3297. Ceramic with multiple swastika-like crosses. For example, see the left hook on the Susa I ceramic fragment (Numéro principal: AS 14773) for a similar brush stroke pattern. I was unable to find further information about this artifact in the University of Chicago Oriental Institute's collection.

Jar fragment with large swastika with a hole in the center, from Tall-i Bakun, Iran.
Figure 36.

Langsdorff and McCown (1942),[164] plate 31, figure 2, field number 3539. In the collection of the University of Chicago Oriental Institute. Registration Number: A20270; Accession Number: 2110; Field Number: PPA 3539.
https://isac-idb.uchicago.edu/id/8da0e7d6-99c7-4a99-a87d-1495ad415780

Jar fragment with large swastika with a hole in the center, from Tall-i Bakun, Iran.
Figure 37.

Photograph of the artifact above. (Registration Number: A20270; Accession Number: 2110; Field Number: PPA 3539.)

Jar fragment with large swastika, from Tall-i Bakun, Iran.
Figure 38.

Langsdorff and McCown (1942),[164] plate 44, figure 7, field number 2893. In the collection of the University of Chicago Oriental Institute. Registration Number: A39003; Accession Number: 2110; Field Number: PPA 2893. The design on the artifact cannot be clearly seen in the University of Chicago's photograph.
https://isac-idb.uchicago.edu/id/0080b83d-193e-4007-8567-e20069c612bf

Ceramic fragment with swastika, from Tall-i Bakun, Iran.
Figure 39.

Langsdorff and McCown (1942),[164] plate 72, figure 9, field number 2503. I was unable to find further information about this artifact in the University of Chicago Oriental Institute's collection.

Reconstructed ceramic fragment showing a possible swastika. From Tall-i Bakun, Iran.
Figure 40.

Langsdorff and McCown (1942),[164] plate 73, figure 4, field number 3715. Reconstructed pattern on a fragment of pottery that the authors suggest was a swastika. In the collection of the University of Chicago Oriental Institute. Registration Number: A38471; Accession Number: 2110; Field Number: PPA 3715.
https://isac-idb.uchicago.edu/id/267b5829-7caa-41f7-8b74-cd4b325927e9

Ceramic fragment showing a possible swastika. From Tall-i Bakun, Iran.
Figure 41.

Photograph of the artifact above. (Registration Number: A38471; Accession Number: 2110; Field Number: PPA 3715.)

Reconstructed pattern on a fragment of pottery, with swastika-like motif. From Tall-i Bakun, Iran.
Figure 42.

Langsdorff and McCown (1942),[164] plate 78, figure 25, field number 4606. Excavated from S. of Rm.s IV 1, V2, deepest level; level I. I was unable to find further information about this artifact in the University of Chicago Oriental Institute's collection.

Reconstructed pattern on a fragment of pottery. Somewhat swastika-like; compare to the reconstructed Samarra culture ceramic fragment from Tell Baghouz, Syria, published by du Mesnil du Buisson (1948)[105] in plate XXXI, figure 1.

Reconstructed basket-weave swastika pattern on a fragment of pottery. From Tall-i Bakun, Iran.
Figure 43.

Langsdorff and McCown (1942),[164] plate 78, figure 32, field number 5596. Reconstruction of a basket-weave swastika. In the collection of the University of Chicago Oriental Institute. Registration Number: A39438; Accession Number: 2110; Field Number: PPA 5596.
https://isac-idb.uchicago.edu/id/f08fef2f-4442-4b49-99c7-3e0803e7caa7

Basket-weave swastika pattern on a fragment of pottery. From Tall-i Bakun, Iran.
Figure 44.

Photograph of the artifact above. (Registration Number: A39438; Accession Number: 2110; Field Number: PPA 5596.)

Reconstruction of a swastika-like motif on a pottery fragment. From Tall-i Bakun, Iran.
Figure 45.

Langsdorff and McCown (1942),[164] plate 79, figure 21, field number 5369. Swastika-like motif. I was unable to find further information about this artifact in the University of Chicago Oriental Institute's collection.

Basket-weave swastika pattern on a fragment of pottery. From Tall-i Bakun, Iran.
Figure 46.

Langsdorff and McCown (1942),[164] plate 80, figure 21, field number 2984. Fragment of a basket-weave swastika. In the collection of the University of Chicago Oriental Institute. Registration Number: A38158; Accession Number: 2110; Field Number: PPA 2984.
https://isac-idb.uchicago.edu/id/c16047c7-b211-46ec-82af-e9af767fe49f

Basket-weave swastika pattern on a fragment of pottery. From Tall-i Bakun, Iran.
Figure 47.

Photograph of the artifact above. (Registration Number: A38158; Accession Number: 2110; Field Number: PPA 2984.)

Fragment of pottery from Tall-i Bakun, Iran. Swastika-like motif which was reconstructed as a non-swastika.
Figure 48.

Langsdorff and McCown (1942),[164] plate 80, figure 25, field number 2956. Swastika-like fragment that the authors reconstructed as a non-swastika for unclear reasons. In the collection of the University of Chicago Oriental Institute. Registration Number: A38153; Accession Number: 2110; Field Number: PPA 2956.
https://isac-idb.uchicago.edu/id/6bbc9729-a2f4-4f1f-a04b-9d92cfc22672

Fragment of pottery from Tall-i Bakun, Iran. Probable remains of a swastika.
Figure 49.

Photograph of the artifact above. (Registration Number: A38153; Accession Number: 2110; Field Number: PPA 2956.)

Seal or stamp from Tall-i Bakun, Iran, with branching swastika motif.
Figure 50.

Langsdorff and McCown (1942),[164] plate 81, figure 23, field numbers 259, 260b, 269, 7. This seal appears to be reconstructed from 4 fragments? In the collection of the University of Chicago Oriental Institute. Registration Number: A19729; Accession Number: 2110; Field Number: PPA 269. There is no photo of the artifact.
https://isac-idb.uchicago.edu/id/9e0273f4-efb5-4055-9ed2-900417c383a8


For the sake of thoroughness, here is a table for the artifacts illustrated above, containing a subset of the information provided by Langsdorff and McCown (1942).[164]

Table 5. Artifacts from Tall-e Bakun with swastikas or possible swastikas in Langsdorff and McCown (1942).
Field No. Registration No. Orientation Artifact Provenance Level See Page Plate Figure No.
PPA 3564 ? 1 left-facing ceramic Rm. III 4 III 25 1 9
PPA 3297 ? multiple, swastika-like, right-facing? ceramic Rm. XII 4, fill(?) III 34 f. 1 11
PPA 374 ? 2 left-facing human figurine O 28, +3.31 m. surf. 64 6 17
PPA 372 ? 1 left-facing, 1 right-facing human figurine Rm. V 1 III 17, 64 7 1a
PPA 372 ? 3 left-facing, 2 right-facing human figurine Rm. V 1 III 17, 64 7 1b
PPA 371 A19779 2 left-facing human figurine N. of Rm. VIII 7, +2.2m. IV, surf. 64 7 4a
PPA 3305? A49897 right-facing pottery K 28, level of Rm. IV 2 III 52 74 1
PPA 2962 A38008 right-facing pottery Rm. XVII 4 IV 38, 56 28 6
PPA 5220 A39275 right-facing, non-swastika? pottery Trench I, 10-20 m., ±0 m. I N/A 78 28
PPA 2120 A20128 2 left-facing pottery FSP -- A ? ? ? ?
PPA 2418 A38427 3 left-facing pottery N 29, +2.02m. base IV 40 36 11
? ? 4+ right-facing pottery Sq. BB 62 Level 3 ? ? ?
? ? 4+ right-facing pottery Sq. BB 38, Rm. 5. Level 3 ? ? ?
PPA 3539 A20270 left-facing pottery Rm. XVII 3 IV 39 31 2
PPA 2893 A39003 right-facing pottery Trench I, 10-20 m., ±0 m. I 43 44 7
PPA 2503 ? right-facing pottery Rm. VII 3 III N/A 72 9
PPA 3715 A38471 right-facing pottery Trench I, 10-20m., +.45 m. I 51 73 4
PPA 4606 ? left-facing, potential swastika? pottery S. of Rms. IV 1, V 2, deepest level I N/A 78 25
PPA 5596 A39438 right-facing pottery Rm. VIII 3 III N/A 78 32
PPA 5369 ? left-facing pottery unknown unknown N/A 79 21
PPA 2984 A38158 right-facing pottery M 26-27, +2.5 m. IV 53 80 21
PPA 2956 A38153 right-facing pottery Rm. XII 2 III 53 80 25
PPA 259, 260b, 269, 7 A19729 right-facing stamp/seal Rm. II 4 (259, 260b);
Rm. IV 3 (269);
Rm. XIII 1 (7)		 III (259, 260b);
III (269);
IV (7)		 17, 20, 67 f. 81 23

***

Weeks et al. (2010)[183] and Weeks et al. (2006)[184] published two illustrations of swastikas from the site of Tol-e Nurabad, Iran. These were excavated from the phases A18-A14 of the site, which correspond to immediately after the end of the Neolithic era and into the Late Bakun period.[183][184][185] Radiocarbon dating proved difficult, but based on comparisons with radiocarbon dates from Tall-i Bakun B, the Bakun period of Tol-e Nurabad may have spanned roughly from ~5450 BC[183] or ~4800-4600 BC[184] to 4250 BC.[183] More specifically, Phase A16 radiocarbon dated to ~4780-4490 BC.[183]

Ceramic fragment from Tol-e Nurabad, Iran. Swastika inside two circles.
Figure 51.

Artifact TNP 1101, excavated from Phase A16[184] of Tol-e Nurabad, Iran. Ceramic fragment with a swastika inside two circles. Published in figure 16.5 of Weeks et al. (2010)[183] and figures 3.82-3.97 of Weeks et al. (2006).[184]

Ceramic fragment from Tol-e Nurabad, Iran. Likely of a swastika.
Figure 52.

Artifact TNP 1006, excavated from Phase A15[184] of Tol-e Nurabad, Iran. Ceramic fragment likely of a swastika. Published in figure 16.5 of Weeks et al. (2010)[183] and figures 3.82-3.97 of Weeks et al. (2006).[184]

***

The swastika is described as one of the motifs found on pottery at Toll-e Rahmatabad, Iran. Azizi Kharanaghi et al. (2017)[192] describe this Middle Bakun Period site as the following:

"The prehistoric Bakun culture of Fars during the Chalcolithic period (i.e. the fifth millennium BCE), is unparalleled among the contemporaneous cultures of Iran with regard to the diversity of its pottery techniques and creating specific geometric, animal, and human motifs. In this period, very diverse forms of pottery were produced by full-time expert potters. Toll-e Rahmatabad, located in the Kamin Plain of Pasargadae district, is one of the prehistoric regions which acted as a pottery production center during the fifth millennium BC in the Middle Bakun Period. In archaeological excavations carried out in this site during three seasons, direct archeological evidence of production and thousands of pieces of pottery belonging to the mentioned cultural period were discovered. In the present study, the relationship between the form and design in these ceramics was examined by using statistical linear models and SPSS Software. The significance level in all the tests was set at 0.05. The results of data analyses indicated a significant relationship between the form and design of pottery during the Middle Bakun Period at Toll-e Rahmatabad"

A collection of symbols found on pottery from Bakun culture period of Toll-e Rahmatabad, Iran. These symbols include the swastika.
Figure 169.

Figure 6 in Azizi Kharanaghi et al. (2017).[192] Description: "All types of human, animal, geometric, and plant designs on the middle Bakun Period potteries of Rahmatabad (Fazeli and Azizi Kharanaghi 1999: Figs. 6 and 7)."

The "Fazeli and Azizi Kharanaghi 1999" citation seems to be a typo. In the references, there is only Fazeli and Azizi Kharanaghi (2008).[193] Furthermore, the first excavations at Toll-e Rahmatabad did not occur until 2005.[192] Fazeli and Azizi Kharanaghi (2008)[193] is noted as being in the Farsi language, and I have not been able to find a copy of it.

Vinča, Turdaș, and Petreşti cultures

Vinča culture

The Vinča culture existed in the middle part of the Danube River Basin. The habitation at Vinča itself is dated to around 5300-4500 BC.[6][7][8][9] The Vinča culture is descended from the Starčevo culture, which arrived in the region around 6200 BC and represents the initial Neolithic migration into the Danube Basin.[7]

Searching the internet, it is easy to find many images of "Vinča symbols" (which include the swastika), but it is very difficult to trace them back to the original publications to confirm their authenticity. Due to accurate archaeological information being inaccessible and hidden behind academic paywalls, this has allowed the spread of so much misinformation and so many outrageous pseudo-science blogs. But, since these are basically the only results that regular people come across while searching the internet, these are the sources people read and the ideas they come to believe in—demonstrating just how terrible the Western academic system is at disseminating knowledge. Anyway...

From what is written in Palavestra (2017),[6] it seems like many of the illustrations of Vinča artifacts originate from the papers Todorović and Cermanović (1961)[10] and Todorović (1969).[11] I am unable to find either of these papers online.

Swastika-like basket-weave motif from the Vinca culture in Banjica, Serbia.
Figure 53.

"Basket-weave" style swastika-like pattern from pottery from Banjica, Serbia. Cropped from Figure 4 in Palavestra (2017)[6], which is reproduced from Plate I in Todorović (1969).[11]

Ceramic fragment with a carved swastika, from the Vinca culture from Potporanj-Kremenjak, Serbia.
Figure 54.

Figure 21 in Haarmaan (2009).[32] Description: "Specimen of a one-sign inscription on an amphora fragment from Potporanj-Kremenjak, Serbia, Early Vinča culture (after Starović 2004: 44)".

I can't find a full pdf article of Haarmaan (2009)[32] and therefore can't see precisely what publication Starović (2004) is, but I presume it is the paper he presented at the Novi Sad symposium.[33]

This swastika ended up in one of the many catalogs of Vinča symbols. As Merlini (2009) describes:[20] "Fig. 4.26 – Joanović’s corpus of inscribed objects from At in Vršac and Kremenjak (Republic of Serbia). (After Joanović 1981: 134, 135)." The symbol in group I, row 4, column 5 appears to be the swastika on the artifact above. Further description from Merlini:

"In 1981 Šarlota Joanović published a list of 233 signs from objects in the national museum of Vršac. They derive mainly from the sites of At in Vršac and Kremenjak (near Potporani, Republic of Serbia), both belonging to the Vinča B2 and Vinča C phases (Joanović 1981: 134, 135).8

8 For the utilization of the script at Vršac At, see 9.C.b "The Vinča C as the culture of the greatest sign production"."

***

Turdaș culture

The Vinča culture is sometimes called the Vinča–Turdaș culture (or Turdaș–Vinča culture), to denote the possible cultural similarities of the core Vinča area and the core cultural area surrounding the Luncă archaeological site located in the commune of Turdaș, Romania.

However, in recent publications, the lead archaeologist studying the site says the Turdaș culture should be considered a distinct culture from the Vinča culture.[12][144] In the paper, it states the earliest inhabitation at the Turdaș site dates back to the same time period as Vinča,[12] and another paper suggests the oldest phases at Turdas could date to ~5200-5100 BC.[144] Prior work suggested the oldest part of the Turdaș site dates back to only 5000-4900 BC.[13][14] Most of the publications about Turdaș are published only in the Romanian language, and there are certain disputes raised about plagiarism, authorship, methodology, and the dating chronology of the site.[14] (Yes, even professional academics can be just as petty as random internet people on forums debating about their preferred hypotheses).

Drawing of a right-facing swastika within two circles. From the Turdas culture in Turdas, Romania.
Figure 55.

Cropped from figure 11 in Winn (2003).[15] Symbols found in Turdaș (Tordos), Romania, reproduced from the notebook of 19th century archaeologist Zsófia Torma, who excavated the site.

Illustration of a standard left-facing swastika, a swastika with small hooks, and a cross motif. Designs from the Turdas culture.
Figure 56.

Unlabelled figure in Winn (2003)[16] said to be from Turdaș. Source not specified.

Note 2 from Winn (2003):[15][17]

"This important site, situated on the south bank of the Maros (Mures) River, is known as Tordos in Hungarian and Turdas in Romanian. Many of the unusual artifacts from this site are known only from the unpublished but meticulously illustrated notebook of Zsófia Torma. The Tordos examples herein (not previously seen nor published by the author in his corpus of signs) are taken from this work, which was made available to me through the kindness of N.Vlassa of Muzeul de storie al Transilvaniei in Cluj."

This seems to suggest the illustration Winn included from Torma may have previously been unpublished. Winn's bibliography lists a 1941 publication which seems like it may contain other illustrations made by Torma.[18][15] Torma published at least one work on Turdaș.[26][145]

I can't find much information about Winn on the internet. He served as a professor of anthropology at the University of Southern Mississippi from 1975 to 1995.[19] According to Marco Merlini (the coordinator of the Prehistory Knowledge Project website on which Winn's 2003 and 2004 writings were published digitally), Winn received a PhD in 1973, had a career in archaeology (and at times collaborated with archaeologist Marija Gimbutas), and spent much of his career creating a catalog of different Vinča symbols.[20][21]

Illustration of a standard left-facing swastika and swastika with three small hooks.
Figure 57.

Two swastikas categorized as DS 149 and DS 151 in Winn's updated catalog from 2004.[22] The artifacts they were found on are not described. These two signs were Sign 70 and Sign 79, respectively, in Winn's 1981 inventory, which is reproduced as Fig. 4.18.b in Merlini (2009).[20]

Haarmann (1995)[29] also produced a catalog of symbols from the so-called "Old European script". Haarmann's OE 135 and OE 133, respectively, correspond to Winn's symbols above (republished in Merlini (2009)[20] as Fig. 4.20.f). Lazarovici (2004)'s catalog lists the left-facing swastika as symbol 84 (reproduced in Fig. 4.22 in Merlini (2009)[20]). This appears to be Lazarovici (2004b)[30] in Merlini's bibliography;[25] a paper presented at a symposium and published in a journal in 2008.[31]

Illustration of six types of swastikas and a basket-weave motif, from the Vinca and Turdas cultures.
Figure 58.

Lazarovici's 2005 catalog (reproduced as Fig. 4.23 in Merlini (2009)[20]) is much more extensive. Left-facing swastika is symbol 84, superimposed left-facing swastikas are symbol 84e, right-facing swastika is symbol 84a, right-facing swastika with two branches/arms on each part of the cross is symbol 84b, right-facing swastika with three branches/arms on each part of the cross is symbol 84c, and a left-facing rotated swastika with arms bent at an angle larger than 90 degrees is symbol 84a1. A swastika-like symbol appears as symbol Om 36. I think this may be how the symbols were cataloged in Lazarovici's Zeus program in 2005—there does not appear to be a particular paper cited.

***

Around 2008 Merlini announced he was making his own searchable database of symbols found in the ancient Danubian cultures. This database is called "DatDas (Databank of the Danube script)".[23][24] As far as I can tell, the database has not yet been made publicly available. Merlini said Gheorghe Lazarovici's database "Zeus" was the only other queryable database containing symbols and signs of the Danubian culture.[23] I haven't found this database online either—it might only be available to researchers at the Romanian university where it is maintained? Its origin is briefly described in Luca and Suciu (2008):[27]

"The archaeological material was studied quantitatively and qualitatively. Description of the ceramic material was carried out, considering the following: shapes, rim variants, bases and handles, decoration (technique and type); sort, blending (mixture), surface treatment or burned and colours of potsherds. The structure was designed in the Bazarh system, in the Department of Prehistory, Cluj University (since 1984). After 1988 the work with the database was carried out by means of a more comprehensive system, “ZEUS” (TARCEA and LAZAROVICI, 1996)."[28]

***

Petreşti culture

In the Chalcolithic era, the site of Turdaș-Luncă was subsequently used by the Petreşti culture.[26][144] Some radiocarbon dating of the Petreşti layer of the site dates to ~4600-4350 BC.[144][146]

Swastika with two hooks on a loom weight from the Petresti culture in Turdas, Romania.
Figure 59.

Petreşti culture loom weight excavated from Turdaş-Luncă. Published as figure 10 7a-b of Luca (2001)[26] and republished on page 389 in Merlini (2009).[23] Excavated from "Zona centrală (Planul 1, punctul A). Nivelul III". "Central area (Plan 1, point A). Level III."[26]

The following is the description in Merlini (2009).[23]

"I also did not insert a Petreşti loom weight from Turdaş, although it is inscribed with a swastika with double arm and a tri-line, because the marks are located on different faces. According to the discoverer, the swastika with double arm is a distinct mythological representation of the Neolithic communities from Near East to the Danube valley. Regarding a possible interpretation, he advanced a numeric significance or a beneficial symbolism (Luca 2001a: 55).[26]

Fig. 6.29 – A Petreşti loom weight from Turdaş was not introduced in the databank because the single marks are situated on different faces. (After Luca 2001a,[26] fig. 10/7a-7b)."

Swastika with two hooks on a loom weight from the Petresti culture in Turdas, Romania.
Figure 60.

Petreşti loom weight from Turdaş published as figure 11 (4) in Luca (2001).[26] Excavated from Turdaş-Luncă in the layer "Locuinţa L2/1994–1995, nivelul III, suprafaţa S II". "Dwelling L2/1994–1995, level III, surface S II".

***

In summary, reputable academic sources confirm the swastika and its variants were found in the Vinča, Turdaș, and Petreşti cultures. However, it has been difficult to find publications which give more detail on the specific artifacts bearing swastikas and the locations where they were found. The charts floating around the internet of Vinča symbols likely come from one of the catalogs referenced above. Another noteworthy finding is that, again, both left-facing and right-facing swastikas, as well as a rotated swastika, appear.

Linear Pottery Culture (LBK)/Stroked Pottery Culture (SBK) transitional culture, or SBK culture

During the Neolithic, present-day Czechia was a major center of the agriculturalist Linear Pottery Culture (Linearbandkeramische Kultur; abbreviated as LBK in English).[74] The Neolithic period in Czechia dates back to approximately ~5500-4200 BC.[74][75][115] Archaeologists have determined that the LBK, which covered a large geographic area, eventually gave rise to various regional cultures. This includes the Stroked Pottery Culture (Stichbandkeramik; SBK) in Saxony and Bohemia, which arose around 5100-4950 BC and lasted until approximately 4600-4400 BC.[115][116]

The site of Hrbovice was used during the transition from LBK to SBK and in later phases of the SBK.[115][117]

Reconstruction of a swastika from a ceramic fragment from the LBK or SBK culture, Hrbovice, Czechia.
Figure 61.

LBK/SBK swastika reconstruction published in figure 11 (10) of Soudský and Pavlů (1966).[102]

The illustration above is of a reconstructed fragment of what was likely a swastika, from pottery excavated at Hrbovice, Czechia. This illustration was published in Soudský and Pavlů (1966).[102] In the paper, the authors discuss broadly their interpretation of motifs in the LBK/SBK culture and Neolithic Anatolian culture. The artifact with the swastika is not discussed in depth nor does the paper contain any information about its date, catalog number, or archaeological paper where it was first published. Presumably it was discovered in an excavation by Soudský or Pavlů.

In 1974, an illustration of this swastika and other motifs which were seen in Soudský and Pavlů (1966)[102] was published in a book by Marija Gimbutas.[103] Her illustration does not make it clear that two of the hooks are reconstructions.

Motifs found on LBK or SBK pottery from Bylany and other sites in Bohemia and Czechia. From Marija Gimbutas (1974).
Figure 62.

LBK/SBK motifs illustrated in figure 46 of Gimbutas (1974).[103]


Around 2002, another version of Gimbutas's illustration was reposted on the website Archaeometry by Fernando Coimbra,[73] where he listed the artifact as being from Bylany, Czechia, with the following description:

"The oldest swastika I know of is depicted on a ceramic vessel from Bylany, Bohemia and belongs to the 6th millennium BC."[73]

Four motifs said to be from the LBK culture from Bylany, Czechia. Four cross designs and a swastika.
Figure 63.

It is unclear where Coimbra found this image, as it differs from the figure in Gimbutas's 1974[103] and updated 1982 editions.[104]

In any case, as evidenced from the swastika's presence in other Neolithic cultures such as the Sopot and Vinča and Turdaș, the swastika migrated up the Danube Basin. Therefore, the LBK/SBK swastika cannot be the oldest swastika, as Coimbra's source claimed.

Cucuteni–Trypillia culture

The Cucuteni–Trypillia culture was a Neolithic culture who went northward of the Carpathian mountains and into the Dniester and Dnieper River Basins, rather than up the Danube (like the Vinča and Turdaș cultures). In the millennium of the 3000s BC, the Trypillia branch of this culture, in particular, constructed what were likely the largest cities on Earth during this time period.[41] Swastikas have been found on ceramics from the site of Cucuteni, Romania.

Nine fragments of ceramics from the Cucuteni culture. Six have visible swastika and swastika-like designs.
Figure 64.

Fig. 122 published in Petrescu-Dîmbovița and Văleanu (2004),[42] from the Cucuteni A period. Description:

"Fig. 122. Ceramică pictată din faza Cucuteni A. Fragmente şi butoni de la capace (1-9). Din locuinţa 11/14 (2)."

Google translate:

"Fig. 122. Painted pottery from the Cucuteni phase A. Fragments and buttons on the lids (1-9). From house 11/14 (2)."

Radiocarbon dates in Lazarovici (2010)[43] date Cucuteni A1-A2 to ~4600-4000 BC and Cucuteni A3-A4 to ~4300-3900 BC. Petrescu-Dîmbovița and Văleanu (2004)[42] is written in the Romanian language; further examination of this work may more precisely indicate which layer of Cucuteni A the artifact was found in.

Ubaid culture, Ubaid/Uruk transitional culture, and Uruk culture

The Ubaid culture was a broad archaeological culture, trade network, or "period" in Mesopotamia and western Iran. The city of Susa became a major site in western Iran by the end of the 5th millennium BC.[181] The Susa I (or Susa A) period of the city corresponds to the Ubaid period,[181] beginning around ~4200 BC.[182] The Susa II period of the site corresponds to the Uruk period of Mesopotamia, lasting from ~3800-3100 BC.[182]

Ceramic bowl from Susa, Iran. A cross shape in the center flanked by two swastikas.
Figure 65.

Ceramic from the Susa I period, discovered in 1908-1909 at the necropolis on the acropolis mound, Susa, Iran. According to the Louvre museum, the Susa I period dates to 4000-3500 BC or 4200-3800 BC. In the collection of the Louvre, Paris, France. Numéro principal: SB 3153, Autre numéro d'inventaire: AS 11617.
https://collections.louvre.fr/en/ark:/53355/cl010122788

Loewenstein (1941)[5] says the ceramic above is described in Jacques de Morgan, Le Prehistoire Oriental, (Paris, 1925-27), vol. 2, p. 266.

Ceramic bowl from Susa, Iran. A cross shape in the center flanked by two swastikas.
Figure 66.

Ceramic from the Susa I period, discovered at the necropolis on the acropolis mound, Susa, Iran. In the collection of the Louvre, Paris, France. Numéro principal: SB 3203.
https://collections.louvre.fr/en/ark:/53355/cl010177180

Seal with animals and two swastikas, from Susa, Iran.
Figure 67.

Seal from Susa I with one right-facing and one left-facing swastika. In the collection of the Louvre Museum, Département des Antiquités orientales. Numéro principal: SB 5686. N° de fouille: N 803. Excavated in 1933.
https://collections.louvre.fr/en/ark:/53355/cl010179507

The Louvre entry and Encyclopædia Iranica[118] state the artifact is described in the work Amiet (1977),[119] although I have not found this work online. Encyclopædia Iranica[118] published an illustration of this seal in their Plate XXXVII, Figure 3, and indicates it comes from the Susa I period (late Chalcolithic).

Ceramic fragment from Susa, Iran, with an animal and swastika.
Figure 68.

Plate C, Figure 8 from Loewenstein (1941).[5] Loewenstein says the figure is reproduced from Jacques de Morgan, without further description.

Ceramic fragment from Susa, Iran, with an animal and swastika.
Figure 69.

The same ceramic fragment shown above. From the Susa I period, c. 4000-3500 BC. In the collection of the Louvre Museum. Numéro principal: AS 14773. Numéro catalogue: MDP XIII, 194.
https://collections.louvre.fr/en/ark:/53355/cl010244160

Swastika-like seal or stamp from Susa, Iran.
Figure 70.

Swastika-like stamp from the Susa II period (3800-3100 BC) in the collection of the Louvre. Numéro principal: SB 5466. N° de fouille: G 1.
https://collections.louvre.fr/en/ark:/53355/cl010179289

***

Blue stamp from Tepe Giyan, Iran, with five swastikas.
Figure 71.

Stamp or seal from Tepe Giyan (level V, period C), Iran. The museum page gives a date of 4000-3000 BC, and says the artifact is from excavations conducted by Roman Ghirshman in 1933, 1934, and 1937.

In the collection of the Louvre, Paris, France. Numéro principal: AO 16323.
https://collections.louvre.fr/en/ark:/53355/cl010141149

Judging by the following Flickr page, the Louvre may have been marketing this as the world's oldest swastika at some point?
https://www.flickr.com/photos/73553452@N00/4444150181/in/photostream/

Regarding the date of Tepe Giyan, it is difficult to find freely-available research papers on the internet. Mutin (2012)[39] suggests Tepe Giyan V dates back to "the late sixth to early fifth millennia BC"—i.e. ~5300-4700 BC. Table II in McCown (1942)[40] divided the Tepe Giyan V layer into VA-VD. He sas Tepe Giyan VC overlaps with the Susa I period. As we saw above, the Louvre Museum dates the Susa I period to ~4200-3500 BC. More recent papers would likely give us a more precise date for Tepe Giyan VC, but they are all behind paywalls. I will assume the date displayed on the Louvre's page is the most accurate estimate for this artifact.

***

The book Amorai-Stark (1997)[108] is a catalog of ancient seals and stamps from the "Near East", dating from the late Aceramic Neolithic to early Bronze Age, in the collection of Lenny Wolfe and family.


Figure 315 in Amorai-Stark (1997)[108] is described as: "cross with arched "hands" ending in triangles pointing to center and ending in small, curved line. Swastika formed from bull heads(?) First half or middle of 4th millennium, later Ubaid period or Gawra/early Uruk period, North Iraq, South-East Anatolia (or West Iran, Giyan horizon?)"

Stamp or seal of a swastika. Ubaid period, Gawra period, or early Uruk period.
Figure 72.

Figure 315 in Amorai-Stark (1997).[108]

The catalog[108] contains a brief discussion regarding artifacts similar to Amorai-Stark's figure 315:

"the above symmetrical rotating "point group 4mm" design is most typical of later Ubaid glyptic. The swastika motif occurs already in the early Ubaid period but then in a more angular, thinner linear drilling technique. Cf. Von Wickede 1990; 261, Nos, 212 (pendant, Tepe Gawra, early Ubaid period), 242 (round impression, same layout, Tepe Gawra, level XIII, later Ubaid period). [...] For the swastika motif cf. Delaporte 1920: Nos. S.94 (same shape and size, similar design, more angular, careless and without triangular finials, from Susa), G.3 (clay hemispheroid, swastika within circle with tadiating strokes, from Turkey, near Smyrna); Buchanan 1981: No. 24 (not the piece itself but bibliography: Giyan, pl. 38.31 from 11 m.60); Von Wickede 1990: No. 212 (seal-pendant, Tepe Gawra, early Ubaid period); Amorai-Stark 1993: SBF No. 3 (carinated hemispheroid). The exact design of the present hemispheroid is not found on excavated seals."

I was not able to find a copy of von Wickede (1990)[109] or Amorai-Stark (1993).[110] (Amorai-Stark (1993) is not included in the bibliography of the catalog, but presumably it's the work I cite.) Amorai-Stark (1997)[108] cites Buchanan (1981)[111] for his reference to Conteneau and Ghirshman (1935), "pl. 38.31 from 11 m.60".[112] I was unable to find this text online—only a preliminary report by the authors.[113]

Stamp or seal of a swastika, from Susa, Iran.
Figure 73.

Illustration in Delaporte (1920),[114] S.94. Page 33 (description); plate 17, figure 1.

There is a photo of this same artifact in the Louvre collections:

Stamp or seal of a swastika, from Susa, Iran.
Figure 74.

Swastika seal from Susa. In the collection of the Louvre Museum, Département des Antiquités orientales. Numéro principal: SB 2539. Numéro catalogue: CCO S. 94. N° de fouille: B 338. Date is not specified, but Delapore (1920)[114] attributes it to the "Époque archaïque".
https://collections.louvre.fr/en/ark:/53355/cl010176572


Under figure 379 Amorai-Stark (1997)[108] describes Delaporte (1920)'s[114] figure G.3 as "broken top, swastika within circle, Smyrna, South-West Anatolia". No date is given, so I have not included it here. It may be Bronze Age. In Delaporte (1920),[114] G.3 is on page 96 (description); plate 60, figure 3a, 3b. Delaporte describes the artifact as coming from Collection Gaudin in the Louvre, Inv.: CA 1386. I searched various keywords and was not able to find it in the Louvre's online collection.

Helmand Civilization and related cultures

Swastikas on ceramics have been found at the sites of Shahr-i Sokhta, Khurab, Fanuch (Sistan and Baluchestan province, Iran); Shahi-Tump, Miri Qalat (Balochistan province, Pakistan); and likely others in the Kech-Makran region encompassing parts of eastern Iran and western Pakistan, and southern Afghanistan. This culture is called the Helmand Civilization, which existed in the 3000s-2000s BC.[36] Similar style swastikas have also been found at the Proto-Elamite culture site of Tepe Yahya and possibly an Indus Valley Civilization site, both of which traded with the Helmand Civilization.

Shahr-i Sokhta was one of the most important sites of the Helmand Civilization.[36] Period I of Shahr-i Sokhta dates to ~3550-3000 BC[150] and Shahr-i Sokhta II dates to ~3000-2600 BC.[150]

Radiocarbon dating of an artifact from Period II of the Shahi-Tump site dated to ~3900-3800 BC.[37] However, the Bronze Age period begins a few hundred years later. Miri Qalat is located across a river from Shahi-Tump, and dates to approximately the same time period.[38] It was inhabited from around the 5th millennium BC to the late 3rd millennium (~2000s BC).[152]

Illustration of ceramics from Shahr-i Sokhta, Shahi-Tump, and Miri Qalat. Many of them have swastikas.
Figure 75.

Description from Shirazi (2016):[35]

"Fig. 17 – A) Swastika motifs on the Bronze Age pottery of Shahr-i Sokhta, periods I and II (from Sajjadi et al. 2003);[155] B) Swastika motifs on the Bronze Age pottery of Shahi-Tump and Miri Qalat (from Didier and Mutin 2013[154])."

Didier and Mutin (2013)[154] describe the artifacts shown above as belonging to period IIIa, second phase.

Illustration Shahi-Tump-style ceramics. Three of them have swastikas.
Figure 76.

Figure 4 in Didier and Mutin (2013),[154] which includes a smaller bowl not shown in the figure from Shirazi (2016).[35] This same figure is published as figure 14.15 in Mutin (2013).[156]

The following is from the abstract of Didier and Mutin (2013).[154] The work was conducted under the Centre National de la Recherche Scientifique [French National Centre for Scientific Research], Centre de Recherches Archéologiques Indus-Baluchistan, Asie centrale et orientale - Musée Guimet (UMR-9993). Presumably the artifacts are in the collection of the Musée Guimet, but they do not appear to have a full online collections search.

"This article presents an overview of ceramics found in Pakistani Makran (Southwest Pakistan) during the 4th and the 3rd millennia BC. It is based on recent research conducted by the French Archaeological Mission in Makran (MAFM, CNRS-UMR 9993, MAE), in particular, two PhD dissertations and post-doctoral research on ceramic production in this area."

Excerpt of the description of period IIIa, phase 2, in Didier and Mutin (2013):[154]

"L’assemblage de la deuxième phase de la période IIIa est moins bien connu. Il correspond à la majorité du mobilier funéraire mis au jour par Aurel Stein à Shahi-Tump (d’après ses descriptions et illustrations publiées : 1931, 100, pl. XV-XVI : vases décorés de svastikas), à plusieurs tessons issus de niveaux fortement érodés du chantier IX de Miri Qalat, et à une partie des collections de prospections. Les vases à pâte fine et peints de la deuxième phase sont issus de la même tradition que les céramiques de « Shahi-Tump », mais les formes connues présentent aussi de nouveaux profils et décors7 dont certains préfigurent déjà des composantes de la période IIIb (figure 41-17). Le mobilier de la seconde phase semble davantage distribué dans l’ensemble du Makran et ce, jusqu’à la plaine côtière. Des ratés de cuisson recueillis dans la plaine de Dasht sont les premiers indices de la présence de centres de production dans la région, même s’ils ont probablement existé auparavant. Des parallèles assez nets sont trouvés pour ces céramiques avec des vaisselles produites à partir de la fin du IVe millénaire dans le sud-est de l’Iran, et retrouvées, notamment en contexte funéraire comme à Shahi-Tump, à Shahr-i Sokhta qui est fondé à cette période dans le Séistan (période I : Bonora et al. 2000, p. 505, figure 7; Sajjadi 2003, p. 61, figure 26), ainsi qu’à Tépé Yahya, essentiellement lors de l’occupation proto-élamite (périodes IVC-IVB6: Lamberg-Karlovsky, Potts 2001, p. 76, figure 225B, D; p. 87, figure 37F-I; p. 89, figure 39A-B). Le montage au colombin est dorénavant mentionné sur ces deux sites à cette période (Courty, Roux 1995 ; Laneri, Di Pilato 2000, p. 528-529 ; Vandiver 1986, p. 99-100). Des équivalents sont aussi notés dans la vallée de Bampur à Katukan (Stein 1937, pl. XXXII8/Kat. 018) et Fanuch (collection du Peabody Museum), ainsi qu’au nord de la vallée de la Kech, dans l’oasis de Panjgur (Stein 1931, pl. IIIS.P.1-3, 6, J.D. 9 et 14). Ces comparaisons indiquent que le Makran prend alors part à un réseau de production et de distribution – plus étendu qu’auparavant – d’un même type de céramique vraisemblablement issu de la tradition locale. Les nuances stylistiques observées au Makran, à Tépé Yahya et Shahr-i Sokhta montrent l’existence de variantes sans doute liées à des productions régionales."

"The assemblage of the second phase of period IIIa is less well known. It corresponds to the majority of the funerary furniture unearthed by Aurel Stein at Shahi-Tump (according to his descriptions and illustrations published: 1931, 100, pl. XV-XVI: vases decorated with swastikas), with several shards from levels heavily eroded from Miri Qalat site IX, and part of the prospecting collections. The fine-paste and painted vases of the second phase come from the same tradition as the "Shahi-Tump" ceramics, but the known forms also present new profiles and decorations7, some of which already prefigure components of period IIIb (Figure 41-17). The artefacts from the second phase seem to be more distributed throughout the Makran, up to the coastal plain. Misfires collected from the Dasht Plain are the first clues to the presence of production centers in the region, although they probably existed before. Fairly clear parallels are found for these ceramics with vessels produced from the end of the 4th millennium onwards in southeastern Iran, and found, particularly in funerary contexts such as at Shahi-Tump, at Shahr-i Sokhta which was founded during this period in Seistan (period I: Bonora et al. 2000, p. 505, figure 7; Sajjadi 2003, p. 61, figure 26), as well as in Tépé Yahya, essentially during the Proto-Elamite (periods IVC-IVB6: Lamberg-Karlovsky, Potts 2001, p. 76, figure 225B, D; p. 87, figure 37F-I; p 89, Figure 39A-B). Coil mounting is now mentioned on these two sites during this period (Courty, Roux 1995; Laneri, Di Pilato 2000, p. 528-529; Vandiver 1986, p. 99-100). Equivalents are also noted in the Bampur valley at Katukan (Stein 1937, pl. XXXII8/Kat. 018) and Fanuch (collection of the Peabody Museum), as well as north of the Kech valley, in the oasis of Panjgur (Stein 1931, pl. IIIS.P.1-3, 6, J.D. 9 and 14). These comparisons indicate that the Makran then took part in a production and distribution network – more extensive than before – of the same type of ceramics, probably from the local tradition. The stylistic nuances observed in Makran, Tépé Yahya and Shahr-i Sokhta show the existence of variants undoubtedly linked to regional productions."

In Mutin et al. (2017),[151] the authors describe this style of pottery as being produced until the mid-3rd millennium, and state generally that the artifacts discussed date to "ca 3000 BC":

"It is now established that this ceramic, whose name was given more recently (Mutin 2013a:[156] 264-267), dates to ca 3300/3200-2900/2800 BC.

[...]

The types of fine ceramics considered in this article date more specifically to ca 3000 BC. They are termed in Kech-Makran Late Shahi-Tump ware and characterize Late Period IIIa in this region (Mutin 2013a:[156] 264-270 and 2013b:[157] 32-34). They include some of the vessels that Wright incorporated in EGW [Emir Grey Ware], particularly some of her Type 1, the only type chronologically consistent with LST [Late Shahi-Tump ware] (Wright 1984:[158] 125-131), and additional materials dating to ca 3000 BC we identified in the collections from Tepe Yahya, Shahr-i Sokhta, and Iranian Balochistan (Mutin 2013b:[157] 32-34, 88-90, 354: figs. 3.36-3.37, 355: fig. 3.38, 357: fig. 3.40 and 358: fig. 3.41)."

Mutin (2013)[156] describes period IIIa in more detail:

"Period IIIa in the Pakistani Makran is also called the "Shahi-Tump Graveyard Culture" after the funerary materials first excavated by Stein (1931: 88-103)[162] at Shahi-Tump. The chronological position of this period, posterior to Period II, has been set by Besenval (2005: 4-6).[175] Stratigraphic evidence and stylistic differences observed among the ceramic vessel types has then led us to envisage two main phases for Period IIIa: the first one starting around the middle of the fourth millennium BC, while the second ranging from the late fourth millennium BC to c. 2900/2800 BC.10

[...]

In Pakistani Makran, the ceramic vessels produced during the second phase of Period IIIa include a fine, painted ware linked to early Shahi-Tump ware, although several changes can be noted in terms of profiles and decoration (Fig. 14.15/1-14.15/17). The materials of this phase correspond to most of the funerary ceramics recovered by Stein (1931: 100)[162] in the south-eastern part of Shahi-Tump. Based on his descriptions and illustrations, it is clear that most of these vessels show significant differences compared to the ceramics found by the French mission at the same site farther to the north-west in Trench II. Stein's bowls are, for example, mostly decorated using the swastika motif (Stein 1931: pls. XV-XVI).[162] [...] Ceramics that relate to late Shahi-Tump ware were collected by Besenval on other sites in Makran (Mutin 2007),[160] and by Stein (1931:[162] pl. l.III, J.D.9, J.D.14, S.P.1, S.P.6) in the Panjgur Oasis, located north of the Kech Valley; in the Bampur Valley at Katukan; and at Fanuch (identified in the collection of the PMAE [Peabody Museum of Archaeology and Ethnology, Harvard University]; Fig. 14.16/6-14.16/9). Also located in the Bampur Valley, Khurab provided a few comparative examples, including two sherds collected on the surface (Fig. 14.16/11-14.16/12) and two vessels recovered in one burial (Lamberg-Karlovsky and Schmandt-Besserat 1977:[177] 125-30, fig. 6.14-6.15). The swastika painted on one of the Khurab funerary vessel is made using curved lines instead of curved bands usually observed among the Stein assemblage from Shahi-Tump (Fig. 14.16/10). The other materials associated with the collection from Khurab are more recent and this may indicate that the usage of curved lines instead of curved bands for the representation of the swastika corresponds to a later levolution of this type of decoration that is also observed in Makran in Period IIIB (c. 2800-1600 BC; Didier 2007,[178] vol. II: fig. 108).

10. Four calibrated radiocarbon dates from Period IIIa contexts at Miri Qalat are essentially situated within the second half of the fourth millennium BC, with limits at c. 3700 and 2900 BC (Besenval 1997b:[176] 35 n. 50). Recalibration of these dates using OxCal v4.1.7 has provided the same results: Gif-10055 (Period IIIa): 3505-3031 BC (95.4%); Gif-10058 (Period IIIa): 3692-3380 BC (95.4%); Gif-10062 (Period IIIa): 3336-2906 BC (95.4%); and Gif-10059 (originally assigned to Period IIIb): 3483-3031 BC (95.4%)."

The paper Didier and Mutin (2015)[152] gives another overview of Period IIIa of the Kech-Makran region and contains a number of photos of ceramics from the region.

"Period IIIa

Following Period II, Period IIIa is known mostly through graves excavated in the course of Excavations I, II and IV at Shahi-Tump and Excavation IX at Miri Qalat19 (Fig. 11.11), therefore this period is also called Shahi-Tump Cemetery Culture.

[...]

Approximately 20 sites bearing ceramics of Period IIIa were found in Kech-Makran, including sites located near the shoreline. The discovery of a few misfired fragments of Shahi-Tump Ware in the Dasht Plain, approximately 30 to 70 km south of the Kech Valley, points to this area as one of the potential production centres for this type of ceramics. This assumption is also supported by the fact that clay is abundant and pottery workshops from the following Period IIIb were observed in this plain. The presence of Shahi-Tump Ware reported across Kech-Makran, sea-shell objects in the tombs of the Kech Valley, and the presence of sites dating to Period IIIa close to the shoreline show that, likewise during Period II, a regional network of relationships including the coast of the Oman Sea existed in Kech-Makran during Period IIIa. Similarly as for Period II, sherds of Shahi-Tump Ware were found in the Bampur Valley, but a later variety of this style, characterised in particular by bowls with painted swastika motifs (cat. nos. 672–678), is noted as far as at Tepe Yahya and Shahr-i Sokhta at the time of the Proto-Elamite civilization in Iran, in the late 4th and early 3rd millennia BCE. Sherds of Shahi-Tump Ware were found in the Proto-Elamite complex of Tepe Yahya, Period IVC.

[...]

The following Period IIIc is mainly documented for the Miri Qalat Excavation I, in levels that immediately precede an occupation relating to the Indus Valley Civilization.45 Few architectural structures were excavated; the archaeological remains consist mainly of burnt layers filled with ceramic deposits dated by 14C to 2600 to 2500 BCE (Fig. 11.23). [...] The adapted variant of the swastika motif of Period IIIb was replaced by wavy bands associated with leaf motifs.

[...]

The ceramic tradition that emerged in the 4th millennium BCE in Kech-Makran and then became preeminent in the Indo-Iranian borderlands at the end of the 4th millennium and during the 3rd millennium continued to exist during the times of the Indus Civilization, but this period already witnessed its decline. Like in many other areas of Pakistan and Iran, many regions and sites of Baluchistan were abandoned after the Indus Civilization, from about 1900 BCE onwards and during most of the 2nd millennium BCE."

Below is a description of artifacts with swastikas shown in the work.[152]

"General Remarks on Cat. Nos. 672–678

Based on stratigraphic and typological analyses as well as stylistic comparisons with ceramics from Iran, it appears that two phases of Period IIIa can be distinguished, one early and one late. The main type of funerary pottery, produced during the second phase of Period IIIa (end of the 4th millennium / early 3rd millennium BCE), is Late Shahi-Tump Ware. It is a very fine-tempered, painted ceramic. It is essentially characterised by hemispherical bowls, decorated with a swastika motif painted on the inner surface. A frieze of geometric motifs such as loops, hatched triangles, and diagonal lines is painted along the rim on the periphery of the swastika motif (Mutin 2013a,[156] 264–267). Cat. nos. 672–678 have swastikas with four branches. However, the ceramic assemblages collected by Sir A. Stein at Shahi-Tump (Stein 1931,[162] 100 Pls. XV–XVI), by the French Archaeological Mission at Miri Qalat Trench IX (Levels VI–II), and on the surface of additional sites in Kech-Makran also include vessels decorated with swastikas with three to six branches (Mutin 2007,[160] 2013a[156]). [...] Bowls with painted swastikas are also attested in the Parom Basin, located north of the Kech Valley (Stein 1931,[162] Pl. III), and in southeastern Iran in assemblages collected in the Bampur Valley (sites of Katukan, Kanuch, Khurab), at Tepe Yahya Period IVC (Phases IVB6–IVC2), and at Shahr-i Sokhta I (for a detailed comparative study, see Mutin 2013a,[156] 264–267). These strong parallels show that Kech-Makran was part of a vast interaction system during this period. Later variations of the swastika motif design are observed in Kech-Makran Period IIIb (c. 2800–2600 BCE); it is made with curved lines instead of curved bands such as on cat. nos. 690–691 or using palm motifs such as on cat. nos. 680–681 (Mutin 2013a,[156] 266; see Didier 2013,[163] 103 Figs. 64; 68)."

(Note, the attribution of swastikas to Stein (1931),[162] pl. III must be a typo, as no swastikas seem to be present in that plate.)

The artifacts below were seized from an illegal collection in Pakistan in 2005. They are now in the collection of the National Museum of Pakistan.[179]

Photo of a Shahi-Tump-style ceramic with a swastika in the center.
Figure 77.

Photo of Helmand Civilization ceramic from Didier and Mutin (2015).[152] Globular bowl, possibly from southwestern Baluchistan, c. 3000 BC (Kech-Makran Late IIIa). In the collection of the National Museum of Pakistan, Catalog Number 672, Doc. No. 0444–112. "See: Mutin 2007,[160] Figs. II, 276; II, 279."

Photo of a Shahi-Tump-style ceramic with a swastika in the center.
Figure 78.

Photo of Helmand Civilization ceramic from Didier and Mutin (2015).[152] Conical bowl, possibly from southwestern Baluchistan, c. 3000 BC (Kech-Makran Late IIIa). In the collection of the National Museum of Pakistan, Catalog Number 673, Doc. No. 0445–107. "See: Mutin 2007,[160] Fig. II, 284."

Photo of a Shahi-Tump-style ceramic with a swastika in the center.
Figure 79.

Photo of Helmand Civilization ceramic from Didier and Mutin (2015).[152] S-shaped bowl, possibly from southwestern Baluchistan, c. 3000 BC (Kech-Makran Late IIIa). In the collection of the National Museum of Pakistan, Catalog Number 674, Doc. No. 0440–104. "See: Mutin 2013a,[156] Figs. 14; 15; Stein 1931,[162] Pl. XV."

Photo of a Shahi-Tump-style ceramic with a swastika in the center.
Figure 80.

Photo of Helmand Civilization ceramic from Didier and Mutin (2015).[152] Globular bowl, possibly from southwestern Baluchistan, c. 3000 BC (Kech-Makran Late IIIa). In the collection of the National Museum of Pakistan, Catalog Number 675, Doc. No. 0442–110. "See: Mutin 2013a,[156] Figs. 14; 15; Stein 1931,[162] Pl. XV."

Photo of a Shahi-Tump-style ceramic with a swastika in the center.
Figure 81.

Photo of Helmand Civilization ceramic from Didier and Mutin (2015).[152] Globular bowl, possibly from southwestern Baluchistan, c. 3000 BC (Kech-Makran Late IIIa). In the collection of the National Museum of Pakistan, Catalog Number 676, Doc. No. 0441–111. "See: Mutin 2013a,[156] Figs. 14; 15."

Photo of a Shahi-Tump-style ceramic with a swastika in the center.
Figure 82.

Photo of Helmand Civilization ceramic from Didier and Mutin (2015).[152] Conical bowl, possibly from southwestern Baluchistan, c. 3000 BC (Kech-Makran Late IIIa). In the collection of the National Museum of Pakistan, Catalog Number 677, Doc. No. 1250–545. "See: Mutin 2013a,[156] Figs. 14; 15."

Photo of a Shahi-Tump-style ceramic with a swastika in the center.
Figure 83.

Photo of Helmand Civilization ceramic from Didier and Mutin (2015).[152] Conical bowl, possibly from southwestern Baluchistan, c. 3000 BC (Kech-Makran Late IIIa). In the collection of the National Museum of Pakistan, Catalog Number 678, Doc. No. 0754–160. "See: Didier 2013,[163] Figs. 80; 83."

Illustration of a ceramic from Khurab, Makran, with a swastika in the center.
Figure 84.

Figure 14.16 (10) from Mutin (2013).[156] Ceramic from Khurab, Makran. Description: "Figure 14.16. Late Shahi-Tump ware-related vessels ... Vessel no. 10 is probably more recent."

Illustration of Helmand Civilization ceramics. Many of them have swastikas.
Figure 85.

Figure 2 in Mutin et al. (2017).[151] Description:

"Selection of shallow bowls of LST [Late Shahi-Tump ware]. 1-3) Kech-Makran, site 24, Dasht Plain (© French Archaeological Mission in Makran); 4) Shahr-i Sokhta (Piperno and Salvatori 2007:[159] Fig. 773); 5) Shahr-i Sokhta (Sajjadi 2003:[155] Fig. 26); 6) Shahr-i Sokhta (Piperno and Salvatori 2007:[159] Fig. 609); 7) Miri Qalat (Mutin 2007:[160] Fig. 2.224); 8-10) Shahi-Tump (Mutin 2007:[160] Fig. 2.212); 11) Tepe Yahya (Potts 2001:[161] Fig. 2.25 D); 12) Tepe Yahya (Potts 2001:[161] Fig. 1.6 K)."

***

Having catalog numbers specified in the texts would make it so much easier to cross-reference and determine how many unique artifacts are actually shown across all of these republished figures! Below are a few of the older excavations in the region, which contain more annotation of the artifacts.

Photo of Shahi-Tump-style ceramics, some of which have swastikas.
Figure 86.

Figure 4 in Mutin et al. (2017).[151] Description: "Selection of LST [Late Shahi-Tump ware] from Shahi-Tump (from Stein 1931:[162] Pls. XV and XVII, not to scale)."

Photo of a ceramic from Shahi-Tump. Large swastika in center.
Figure 87.

Plate XV, Sh.T.vii.13.d, as it appears in Stein (1931).[162] Description: "Funeral pottery from Shāhī-Tump mound, Kēj valley, Makrān."

Photo of a ceramic from Shahi-Tump. Large swastika in center.
Figure 88.

Stein (1931),[162] plate XVI, Sh.T.vi.13.f. The image quality is not high enough to tell if it's a four-armed swastika, or possibly a five-armed spiral. Description: "Funeral pottery from Shāhī-Tump mound, Kēj valley, Makrān."

Photo of a ceramic from Shahi-Tump. Large swastika in center.
Figure 89.

Stein (1931),[162] plate XVI, Sh.T.vii.34.d. Description: "Funeral pottery from Shāhī-Tump mound, Kēj valley, Makrān."

Photo of a ceramic from Shahi-Tump. Series of swastikas along the rim.
Figure 90.

Stein (1931),[162] plate XVII, Sh.T.vi.15.b. Description: "Funeral pottery from Shāhī-Tump mound, Kēj valley, Makrān."

On page 100, Stein (1931)[162] describes how "wheels" with five arms are the most common motif on funerary ceramics at Shahi-Tump, although clearly four-armed swastikas were not uncommon.

"Motifs on inside of bowls.—Within the bowls by far the most frequent motif is a Svastika-like wheel placed in the centre with five curving arms (vi.10.a, 13.a, 13.o; vii.12.b, 13.d, 28.b, 33.c, d, 34.d); in vi.13.f the same motif appears with four arms only. Above this on the sides of the bowls we find rows of double hooks, as above mentioned (vii,13.d, 34.d); triangles, vii.11.a, or miscellaneous small geometrical forms (vi.13.o; vii.33.c; ix.2.b.1). The rows of lozenges in vi.13.a found above the Svastika are reminiscent of the ornamentation on the fine grey jars Sh.T.iv.1, iii.6 (Pl. XIII) found in the lower strata of the mound. Large geometrical patterns, partly hachured, fill the whole of the interior in vi.2.b ; vii.f.1 ; ix.2.g.2; while the place of the ‘Svastika’ is taken by a kind of quatrefoil with hachured leaf shapes in ix.2.b.1, xiv.f.4, h 2. The plain lattice of the outside is in vii.13.b repeated also on the inside."

On page 103 of Stein (1931),[162] he gives his interpretation that the Shahi-Tump-style swastika is associated with funerary rites:

"Shapes and patterns reproduce earlier ware.—We have now reviewed the various types, comparatively limited in number, of the ceramic products found in the Shāhī-tump graves. We have seen that, as was to be expected in the case of funerary ware, they show for the most part shapes and decorative patterns which tradition had taken over from the pottery made for practical use in an earlier period of chalcolithic civilization and preserved with religious care in order to enable the dead to live their future life after the fashion of their ancestors. These shapes and patterns are, with one exception, all such as can be derived from the same prototypes as the ceramic ware intended in actual household use of which remains are preserved for us in the interior of the Shāhī-tump mound and at other early chalcolithic sites of Makrān. The exception referred to is the Svastika-like motif which has not been found in the ordinary decorated pottery of any of those sites. We may safely recognize in it an emblem specially connected with the sepulchral rites of a later phase of local chalcolithic civilization."

Similarly, on page 122 of Stein (1937):[165]

"Before touching upon such points of contact it will be convenient to describe the several types of vessels prevalent among the funerary furniture of Khurāb. Here, too, as at Shāhī-tump and among the vastly more abundant painted pottery from the burial deposits of Susa I, a close relation is observed between the shape of the vessel and the scheme of decoration used on it. The consequent limitation of motifs can obviously be best explained by the convention which tradition fostered by long-continued observance of religious rites is bound to establish and preserve. Thus in the type represented by the numerous shallow flatbottomed bowls the painted decoration of the inside consists in the middle either of a Svastika usually ‘fringed’ (see B. ii. 159; c. 232, 235; Pl. XII) or else of 'fringed' M shapes variously disposed and varying in number (B. ii. 151, 152, 155, 157; Pl. XIV). It is probable that these two motifs had a symbolic significance, but this has yet to be ascertained. There is much uniformity also in the painted designs running below the edges of these bowls which measure up to 8-9 inches in diameter."

Photo of a ceramic from Khurab. Large swastika in center.
Figure 91.

Stein (1937),[165] plate XII, Khur.C.232. Fragment of painted Chalcolithic pottery from Khurāb. Excavated from trench C of the burial site of Khurāb.

Stein (1937)[165] also describes finding a ceramic fragment with a swastika at the site of Fanuch, on page 102-103, although there is no photo:

"But our three days' halt at Fanūch was rewarded by some finds of much greater interest, affording a welcome auspice of what might be hoped for on the Bampūr side. On my return from Dambān, Sultān Āghā Ḥusain Anṣārī, ever interested in our work, produced to my pleasant surprise two pottery objects which had been presented to him by the local Qāḍī, a fine old man of some education, as having been found by villagers in the previous year when clearing a qanāt or kārēz. In the tall upright beaker, Fan. 014 (Pls. VI, XXXII), and in a small jar, Fan. 011, painted with a hachured black pattern over a grey body, I could at a glance recognize specimens of prehistoric ware closely resembling ceramic articles recovered by me from chalcolithic sites like Shāhī-tump in Makrān.5 The Qāḍī was ready enough to guide us to the spot where these finds were said to have been made.

On reaching the qanāt indicated, close to the northern edge of the cultivated area, a villager who had been present at the time at once showed the find-spot in the steep bank of the cutting close to where the canal issues into the open. Those two vessels and some others had been laid bare low down in a rift which rain had washed out in the high bank. The careful search I caused to be made along this bank failed to trace any other pottery. But before long a fragment of the same grey ware, with a hachured pattern painted in black, was discovered by one of the men within about 12 yards of the find-spot indicated in a hollow marking a shaft on a former alinement of the qanāt. Here were also recovered in quick succession three fragments, Fan. 015, of a large shallow bowl showing within, in the centre part of a hachured Svastika and on the inside of the rim, triangles exactly like the motifs common on bowls of funeral furniture at Shāhī-tump.6 Two more fragments of a small grey cup, decorated with triangles outside the rim, and part of a plain red jar with a very pronounced bulge, as common at Shāhī-tump and other chalcolithic sites, Fan. 1, 012, strikingly completed the evidence. Subsequently another tall beaker, Fan. 013 (Pl. VI), was found in the possession of one of the local cultivators, and purchased.

Owing to the depth of the alluvium under which these relics of a prehistoric culture had been originally found, systematic excavations would have claimed too much time, and a trench cut to the south of the hollow failed to reveal any potsherds. But the objects thus accidentally recovered at Fanūch sufficed to raise hopes that my expectation of coming upon remains of prehistoric occupation within the basin watered by the Bampūr river would prove justified, and supplied an additional reason to hasten northward."

5. See, e.g., Tour in Gedrosia,[162] Pl. XIII, Sh. T. iv. 1,4.

6. See ibid. specimens in Pls. XV-XVII.


In Sajjadi et al. (2003),[155] the artifacts appears to be labelled with the number of the grave they were found in. (These aren't unique catalog numbers, because in figure 26 multiple ceramics have the same numbers).

Photo of a Helmand Civilization ceramic. Large swastika in center.
Figure 92.

Sajjadi et al. (2003),[155] figure 22, b. 1410.4, "Painted buff ware plates."

Illustration of Helmand Civilization ceramics. Many of them have swastikas.
Figure 93.

Sajjadi et al. (2003),[155] figure 26, "Painted grey ware deep bowls." Artifacts labelled as 1713.7, 1613.2, 1716.1, 1718.2, 1613.6, and 1413.3 have swastikas.

Photo of a Helmand Civilization ceramic. Large swastika in center.
Figure 94.

Sajjadi et al. (2003),[155] figure 28, b. 2800.4. "Gray ware bowls."

Photo of a Helmand Civilization ceramic. Large swastika in center.
Figure 95.

Sajjadi et al. (2003),[155] figure 28, f. 1613.6. "Gray ware bowls." This is probably one of the bowls drawn in figure 26.

***

Helmand-style pottery in the Proto-Elamite culture

Contemporaneous with Sharh-i Sokhta, the same style of pottery is found at Tepe Yahya, in south-central Iran, which belonged to the Proto-Elamite culture.[151][153][156][157] Archaeologists suggest trade is a likely possibility for the presence of this style of artifact at Tepe Yahya.[151][153]

Didier and Mutin (2015)[152] specify that the Helmand culture-style swastikas found at Tepe Yahya date to Phases IVC2-IVB6 of the site. Mutin (2013)[156] describes this period as the following:

"Yahya VA is thought to have ended during the first half of the fourth millennium bc (calibrated) while the following, Proto-Elamite, occupation at Tepe Yahya (Phases IVC2-IVB6) started in the last quarter of the fourth millennium BC (c. 3100-2800 BC; Lamberg-Karlovsky 2001:270)."

Photo of a Helmand Civilization ceramic found at the Proto-Elamite culture site of Tepe Yahya. Large swastika in center.
Figure 96.

Figure 2 (12) in Mutin et al. (2017).[151] Fragment of a swastika from a ceramic. Description: "12) Tepe Yahya (Potts 2001:[161] Fig. 1.6 K)."

***

Helmand-style pottery in the Indus Valley Civilization(?)

A prior version of this page originally stated that the British Museum has bowl which is said to be from the Indus Valley Civilization with a swastika painted on it. After double-checking my notes, I do not believe the original British Museum description indicated it was from the Indus Valley Civilization.

Stylistically, this artifact is the same as those associated with the Helmand Civilization artifacts shown in this section. Maps frequently show that the Helmand Civilization and Indus Valley Civilization overlap in the southwestern corner of Pakistan. So, without more information, the cultural affiliation of the site where the artifact was found is unclear. It's possible the artifact ended up at an Indus Valley Civilization site from trade.

Photo of a Helmand Civilization ceramic, possibly excavated in an Indus Valley Civilization town. Large swastika in center.
Figure 97.

Painted bowl with a swastika in the center. Said to be from the Gwadar District of Pakistan. An archaeological site is not specified, but if this artifact is from the Indus Valley Civilization, the towns of Sutkagan Dor and Sokhta Koh existed in this region. Museum number 1992,0611.1 in the collection of the British Museum.
https://www.britishmuseum.org/collection/object/A_1992-0611-1

***

Rock carvings in Chalcolithic and Bronze Age Iran

Shirazi (2016)[35] also describes a number of different rock carvings in the Iranian cultural sphere, one of which has a swastika (the Deskigan assemblage, near Deskigan, in southeastern Iran). Although it doesn't seem like a date is given to the rock carvings, the author describes how swastikas were widespread in Iran and surrounding nations by the 3000s BC:

"The motif of swastika is depicted in the petroglyphic corpus of the Kajou Valley. Similar motifs have been found at another petroglyphic site called Gatig 1. Outside of Makran, comparable motifs have been found in some petroglyphic sites including Baltistan (Jettmar 1990:[167] Fig. 9) and Tor Derai in Northern Pakistan (Qamar 1974-1986),[168] the Wakhan corridor in Southeastern Afghanistan (Mock 2013:[169] 43), from Yaru in Central Ladakh (Bruneau and Bellezza 2013:[170] V.53) and Soungun in Azerbaijan (Rafifar 2005:[171] 64).

[...]

In Iran, this motif is frequently depicted on the Chalcolithic ceramics of Tal-i Bakun (McCown 1932:[164] Pl. 44). Two broken female figurines found in the Bakun A levels (5th millennium BC) are also decorated recto-verso with swastika motifs analogous to those of the Deskigan assemblage (Alizadeh 2006: Fig. 60).[34]

This motif is also frequent on the Indo-Iranian border-lands. The most important series of swastikas can be traced on the grey ceramics of Southeastern Iran dated back to the 3rd millennium BC (fig. 17 A-B). In Iran, the swastika has also been notified on the potteries found from the Bronze Age tombs of Khurab (Stein 1937:[165] 122) and Shahr-i Sokhta (Sajjadi et al. 2003:[155] 61). A. Stein had also reported a considerable amount of swastika motifs on the burial potteries found from the Bronze Age site of Shahi Tump, in Pakistani Makran (Stein 1931:[162] Pl. XV). Recently, the French Archaeological Expedition of Makran, conducted by R. Besenval also discovered large grey ware bowls decorated with swastika motifs from Shahi Tump (Besenval 1992:[166] Fig. 4.9) and Miri Qalat (Didier et Mutin 2013:[154] 469). Chronologically speaking, most of the archaeological materials bearing the motif of the swastika could be dated back from the end of the 4th millennium to the mid-3rd millennium BC (Mutin 2013:[156] 254-255)."

Majiayao culture

The Majiayao culture was situated in the upper section of the Yellow River in what is the today Gansu and Qinghai provinces of China, and subsisted primarily on millet farming. According to Hung (2011),[63] the Majiayao culture is typically divided into three phases: Majiayao phase (5300-4650 BP; ~3350-2700 BC), Banshan phase (4650-4300 BP; ~2700-2350 BC), and Machang phase (4300-4000 BP; ~2350-2050 BC).

It seems swastikas within the Majiayao culture became common in the Banshan and Machang phases, although I have found one example which may date to the Majiayao phase.

***

Majiayao culture (Machang Phase) ceramic with three swastikas.
Figure 98.

Majiayao culture (Machang Phase) ceramic shown as Figure 4.11 6. M645: 19 in Hung (2011),[63] page 321. Description: "Figure 4.11. Early MCP painted pottery vessels unearthed from Liuwan in Ledu County, Qinghai." In the Gansu-Qinghai region, the Machang Phase (MCP) of the Majiayao culture is dated to 4300-4000 BP (~2350-2050 BC.)[63]

Majiayao culture ceramic with large swastika.
Figure 99.

Description: "Majiayao culture, Machang type ceramic (Gansu or Qinghai province)." The date is given as the late 3rd millennium BC (~2300-2000 BC). Item No. 0002 in the collection of The Daghlian Collection of Chinese Art, City University of New York (CUNY), USA.
https://daghlian.qc.cuny.edu/portfolio-item/jar-with-swastika-design/

Majiayao culture (Machang Phase) ceramic showing two swastikas.
Figure 100.

Description: "Majiayao Culture: Machang type (c.2200-2000 BC), Neolithic Period." Catalog number C1979.0220 in the collection of the Hong Kong Museum of Art, China.
https://hkmasvr.lcsd.gov.hk/hkmacs_data/web/object_web.nsf/home?openform&lang=en
Photo by Flickr user brownpau.
https://www.flickr.com/photos/44124483743@N01/4966891828

***

The following ceramic is described by a museum as a "Yangshao-style Funerary Jar with Swastika Motif", with a date given as ca. 2300-2000 BC.

The Yangshao culture existed in Yellow River basin of ancient China, lasting from around 5000-2900 BC.[172][173] However, The Met art museum claims that "the Yangshao culture is divided into two branches: the nuclear Yangshao, located in Henan and Shaanxi provinces, and the subsequent Majiayao (or Gansu Yangshao)".[174] Therefore, the artifact below is more precisely part of the Majiayao culture.

Neolithic Chinese (Majiayao culture) ceramic with multiple swastikas.
Figure 101.

Funerary jar with swastikas, ca. 2300-2000 BC, Majiayao culture. Object Number 1974.84 in the collection of the Allen Memorial Art Museum, Oberlin College.
https://allenartcollection.oberlin.edu/objects/5484/yangshaostyle-funerary-jar-with-swastika-motif

***

Majiayao culture artifacts sold at auctions and by private dealers

Neolithic Chinese (Majiayao culture) ceramic with large swastika.
Figure 102.

Chinese Neolithic jar, listed on the auction website Invaluable, sold by Apollo Art Auctions on April 26, 2020. Lot 434.
https://www.invaluable.com/auction-lot/chinese-neolithic-terracotta-vessel-tl-tested-434-c-7cd4b5c939

The auction website indicates the artifact was thermoluminescence tested by Ralf Kotalla (a German laboratory), No. 04PX291019. It was dated to 4560 years old +/- 13%. Assuming it was tested in 2020, when it was auctioned, and is a calibrated date, it dates to ~3133-1947 BC, with an average date of 2540 BC.

Neolithic Chinese (Majiayao culture) ceramic with many swastikas.
Figure 103.

Chinese Neolithic jar, listed on the auction website liveauctioneers, sold by user Michaan's Auctions on October 13, 2018. Website indicates the item has "catalogId" 128741, "itemId" 65493765, "lotNumber" and 0285. The link to the artifact appears to be broken and redirect to a different artifact now.
https://www.liveauctioneers.com/item/65493765_neolithic-painted-pottery-jar-neolithic-period

Neolithic Chinese (Majiayao culture) ceramic with large swastikas.
Figure 104.

Chinese Neolithic jar, listed on the auction website liveauctioneers, sold by user TimeLine Auctions Ltd. on February 22, 2022. Said to be acquired from "West Country collection 1970s." Website indicates the item has "catalogId" 233938, "itemId" 121066402, "lotNumber" and 0267.
https://www.liveauctioneers.com/price-result/chinese-neolithic-painted-vessel-with-swastikas/

Neolithic Chinese (Majiayao culture) ceramic with swastikas.
Figure 105.

Chinese Neolithic jar, listed on the auction website liveauctioneers, sold by user TimeLine Auctions Ltd. on February 25, 2021. Said to be acquired "From the collection of a Japanese gentleman, deceased (1970-2010); collected in the 1990s." Website indicates the item has "catalogId" 192315, "itemId" 96956179, "lotNumber" and 1703.
https://www.liveauctioneers.com/item/96956179_chinese-neolithic-painted-jar-with-swastikas

Neolithic Chinese (Majiayao culture) ceramic with large swastikas.
Figure 106.

Chinese Neolithic jar, listed on the auction website liveauctioneers, sold by user Hilliard & Co. on March 14, 2020. Website indicates the item has "catalogId" 163707, "itemId" 82673770, "lotNumber" and 0285.
https://www.liveauctioneers.com/item/82673770_chinese-neolithic-style-2-handle-pottery-jar

Neolithic Chinese (Majiayao culture) ceramic with large swastikas.
Figure 107.

Chinese Neolithic jar, listed on the auction website liveauctioneers, sold by user Michaan's Auctions on October 13, 2018. Website indicates the item has "catalogId" 128741 and "itemId" 65493764.
https://www.liveauctioneers.com/item/65493764_neolithic-painted-pottery-jar-neolithic-period

Neolithic Chinese (Majiayao culture, Banshan Phase) bowl with swastika in center.
Figure 108.

Description: "Low-fired pottery bowl from the Banshan culture Majiawan Village, China Neolithic Period (2165-1965 BC)." Photo taken in 2000, by Clarke & Clarke Asian Antiques and Tribal Art, Santa Fe, New Mexico, USA, owned by by Jim Clarke. Hung (2011)[63] gives an older date to the Banshan phase of the Majiayao culture: ~2700-2350 BC. Internet search results don't seem to provide much information on the "Majiawan village", but it may be in the southeast of the Gansu province.
https://web.archive.org/web/20010628042209/https://www.collectorsguide.com/fa/fa086.shtml
https://proswastika.org/news.php?extend.27.5

Neolithic Chinese (Majiayao culture) ceramic with large swastika.
Figure 109.
Neolithic Chinese (Majiayao culture) ceramic with large swastikas.
Figure 110.

Description: "A LARGE CHINESE NEOLITHIC BANSHAN POTTERY JAR, possibly Majiayao Culture, painted with wan". Artifact was sold by the John Nicholson's auction company, November 14, 2016, listed as Lot 88.
https://www.the-saleroom.com/en-us/auction-catalogues/john-nicholson/catalogue-id-srjo10130/lot-2c3889cc-42ce-4c01-903c-a6b200c9106d#lotDetails

Indus Valley Civilization (Harappan Civilization)

Due to the word "swastika" originating from the Sanskrit language, this has for centuries created the unfortunate misconceptions that (1) the swastika originated from the Sanskrit-speaking Vedic invaders who destroyed the Indus Valley Civilization (Harappan Civilization), (2) the swastika first originated in, and then spread from, India, (3) the Vedics were "Aryans", and (4) all right-facing and left-facing swastikas in different cultures and time periods inherently have different meanings just because some modern Hindu traditions believe they do.

Misconception (1) is utterly false, since there is clear evidence of the swastika being used in the Indus Valley/Harappan Civilization over a thousand years before the Vedics invaded India.

Misconception (2) is false, because, as we have shown, the most ancient swastikas have been found in Mesopotamia over 3000 years prior to the swastika's presence in India. The simplest explanation for the swastika's rapid spread across a geographic range spanning from the Danube River Basin to China seems to be a cultural diffusion of this symbol. However, we won't argue against the possibility of the swastika being invented independently by the Indus Valley Civilization or other cultures. In any case, the idea that the swastika originated from India and then spread throughout the world is rooted in a deeply Vedic-centric worldview which has traditionally been connected with the disproven hypothesis that the Indo-European languages diffused from Vedic India. Furthermore, in the Sanskrit language, the etymology of the word "swastika" essentially translates to lucky charm or auspicious symbol—demonstrating that any deep symbolic meaning had been lost by the time the Vedics adopted it into their culture.

Misconception (3) is false because the Vedics were not Aryans. This misconception arises from the fact that "Aryan" is a Sanskrit word—i.e. the language which the Vedics spoke and introduced to India. Just because this word arose from their language does not mean that the meaning of the word accurately describes their characteristics. In Sanskrit, "arya" means "noble one". This certainly does not describe the Vedics, who created one of the most racist societies ever seen on Earth. Further, it appears that the only group to have historically used the term Aryan as an ethnic descriptor were the Iranians (Iran is a cognate of Aryan).[49] (Perhaps the steppe invaders believed themselves to have taken over the mantle of the noble civilizations which had previously existed in the Indus Valley and Iran (and hence were worthy of being called "Aryans"), but that doesn't necessarily make it so.)

The agricultural society of Iran was historically contrasted from the land of Turan, which comprised of nomadic tribes living in the Eurasian steppe.[50][52] The Avesta (the religious text of the Zoroastrianism religion) is said to have portrayed the Tuiryas/Tūrya as enemies.[50] Since at least 500 AD the Sasanian Empire and subsequent cultures continued to identify Turan as the land of steppe-dwelling enemies.[50] This distinction between Iran and Turan has continues to be utilized by anthropologists who recently conducted a large-scale genomic analysis confirming that the spread of the Indo-European languages (and Vedic culture) are linked to the dispersion of nomadic steppe herders who invaded agriculturalist societies present in both the Indus Valley and Danube Basin.[51] "Turanism" also continues on as a political ideology favorable to cultures who inhabit the Eurasian steppe or trace their mythological origins back to it. As a final piece of evidence, the linguist Max Müller connected the root ar- in the word Aryan to agricultural concepts sharing this root, once again connecting Aryans and agriculture.[52] Whether Müller's etymology is accurate or not, there is abundant evidence that the concept of Aryan is not an accurate character descriptor of the Vedics and other Turanian cultures.

Lastly, to address misconception (4)—it has become a long-standing belief repeated endlessly by many people on the internet that right-facing and left-facing swastikas have a different meaning. They bizarrely claim that this distinction exists in all cultures and all time periods where the swastika is used! Different orientations of the swastika may have different meanings to certain traditions of Hinduism, but the Indus Valley Civilization used right-facing and left-facing swastikas in near-equal amounts and in identical contexts (i.e. on seals). Nearly every other ancient culture similarly used both right-facing, left-facing, and rotated swastikas without any apparent difference in meaning. Even in historic Buddhism (which people online often point to), all orientations of the swastika were used.[186] This doesn't mean that historic cultures never gave specific meanings to different forms of the swastika, but claiming with absolute certainty that all global cultures followed the same beliefs as certain modern Hindu traditions is Vedic-centric beyond comprehension.

Now that you have read this page, you have a duty to correct these misconceptions.

***

To make a long story short, the swastika—the archetypal Aryan symbol—was found in the Indus Valley Civilization. Although the word "swastika" originates from the Sanskrit language (and hence from the Vedic invaders who destroyed the Indus Valley Civilization), the symbol did not originate with them nor was it spread across the globe by them. It contradicts 3500 years of Vedic propaganda, but the noble Aryans of India were in fact the Harappans. Furthermore, the frequently-repeated idea that there is a firm difference between right-facing and left-facing swastikas does not appear to be true in the Indus Valley Civilization or other ancient cultures we have encountered.


Among the most famous and well-studied sites of the Indus Valley Civilization are the cities of Harappa and Mohenjo-Daro in present-day Pakistan. These sites are relatively recent in the overall history of agriculture in the region—they were founded after 3000 BC. However, in the Indus Valley, agricultural cities such as Mehrgarh date back to 7000 BC.

Despite the importance of these sites, the archaeological excavations don't seem to have been conducted with the precision necessary to yield precise dating of artifacts. Museum collections with artifacts from Harappa and Mohenjo-Daro tend to date artifacts to an imprecise range of ~2700-1900 BC. It is sometimes said that the oldest swastika in the Indus Valley dates to the Ravi Phase (3500-2800 BC) of Harappa,[62][86] but this supposed swastika is merely a small fragment of a seal. I have put this artifact in the unconfirmed section.

***

The Corpus of Indus Seals and Inscriptions (CISI) is a three volume work cataloging all the symbols found on the seals of the Indus Valley civilization.[55][56] Volume 1 contains artifacts from India,[57] volume 2 contains artifacts from Pakistan,[58] and volume 3 contains updated information from artifacts not included in the first two volumes. Part 1 of volume 3 describes artifacts from Mohenjo-Daro and Harappa.[59] I don't know if subsequent parts of volume 3 have been published.

Stamp or seal in the shape of a swastika. From the Indus Valley Civilization site of Mehrgarh.
Figure 111.

Stamp or seal cataloged as "Mr-14 A" from the city of Mehrgarh. Published on page 403 in volume 2 of the Corpus of Indus Seals and Inscriptions.[58] Habitation at Mehrgarh spanned from around 7000 BC to 2000 BC.[58] The book lists the artifact as coming from the "Early Harappan: Period VII". There are a number of different dating and labelling conventions regarding the chronologies of different Indus Valley sites. Briefly reading about it, there appears to be a Mehrgarh VII period (~2800-2600 BC), corresponding to the "Early Harappan" period, but it does not appear that "Early Harappan VII" remains commonly used.[60] More broadly, the Early Harappan period spans from ~3200-2600 BC.[60][61]

This is how Mehrgarh is described in CISI volume 2:[58]

"Mehrgarh: This most important Pre- and Early Harappan site, situated at the foot of the Bolan pass to the highlands of Baluchistan in the Kachi Plain, was excavated by the French Archaeological Mission to the Indus under the direction of Dr Jean-François Jarrige in 1974-1986. Mehrgarh has for the first time provided an unbroken stratigraphic sequence from the 7th to the 3rd millennium B.C., and the nearby sites of Nausharo, Sibri and Pirak extend this to the first millennium, with just a small gap in the early second millennium B.C."

***

Throughout the Indus Valley Civilization, it seems swastikas were most commonly found on seals or stamps.

Stamp or seal in the shape of a swastika. From the Indus Valley Civilization site of Mohenjo-Daro.
Figure 112.

Seal with swastika from Mohenjo-Daro, 2700-2000 BC. In the collection of the National Museum, New Delhi, India. Accession Number SD3089/150.
https://www.museumsofindia.gov.in/repository/record/nat_del-SD3089-150-12280

Stamp or seal in the shape of a swastika. From the Indus Valley Civilization site of Mohenjo-Daro.
Figure 113.

Swastika seal from Mohenjo-Daro, 2600-1900 BC. In the collection of The British Museum, London, UK. Museum number 1947,0416.8.
https://www.britishmuseum.org/collection/object/A_1947-0416-8
https://commons.wikimedia.org/wiki/File:IndusValleySeals_swastikas.JPG

Stamp or seal in the shape of a swastika. From the Indus Valley Civilization site of Harappa.
Figure 114.

Swastika seal from Harappa, 2500-2000 BC or 2400-1900 BC. In the collection of the National Museum, New Delhi, India. Accession Number 12890/21 and 12890.21 (duplicate entry).
https://www.museumsofindia.gov.in/repository/record/nat_del-12890-21-4861
https://www.museumsofindia.gov.in/repository/record/nat_del-12890-21-38330

Stamp or seal in the shape of a swastika. From the Indus Valley Civilization site of Mohenjo-Daro.
Figure 115.

Figure 7 in Kenoyer (2009).[62] Description: Fig. 7: Stealite seal, with swastika motif on one side and a bison motif with script on the other face, Mohenjo-daro circa 2000-19000 BC."

Stamp or seal in the shape of a swastikas, from the Indus Valley Civilization.
Figure 116.

Swastika seals found at Mohenjo-Daro. Plate CXIV, figures 500-515 in Marshall (1931, Volume 3).[53] Text describing the excavation is described in Marshall (1931, Volume 1).[54] These seals seem to be from a number of locations in the site. Presumably a number of these are the images from the museums above.

***

Here is one example of a swastika seal at Harappa which actually has a good provenance.[194][195][196][62] Since it looks the same as all the other swastika seals, I won't post an image, but it can be seen in the link below.[196][195] It dates to relatively late in the Indus Valley Civilization, so we are no closer to knowing the civilization's earliest use of the swastika.

https://web.archive.org/web/20200809004616/https://www.harappa.com/indus4/45.html

Description: "Faience button seal (H99-3814/8756-01) with swastika motif found on the floor of Room 202 (Trench 43)." This artifact appears to have been excavated from the granary complex at Harappa,[194] and the title page on the website says this was excavated in 2000-2001.[195] Kenoyer (2009)[62] dates it to ~2000-1900 BC.

***

There are many other examples:

Swastika seal from Mohenjo-Daro, 2500-1900 BC. In the collection of the National Museum, New Delhi, India. Accession Number H.5571.22.
https://www.museumsofindia.gov.in/repository/record/nat_del-hr-5572-22-38369

Swastika seal from Harappa, 2500-1900 BC. In the collection of the National Museum, New Delhi, India. Accession Number 10382/A7251/Hr4869.
https://www.museumsofindia.gov.in/repository/record/im_kol-10382-A7251-Hr4869-26924

Swastika seal from Mohenjo-Daro, 2400-1900 BC. In the collection of the National Museum, New Delhi, India. Accession Number dk.11293.168.
https://www.museumsofindia.gov.in/repository/record/nat_del-dk-11293-168-38327

Seal with swastikas from Harappa, 2000s BC. In the collection of the National Museum, New Delhi, India. Accession Number 201/33.
https://www.museumsofindia.gov.in/repository/record/nat_del-201-33-11909

Swastika-like seal from Mohenjo-Daro, 2700-2000 BC. In the collection of the National Museum, New Delhi, India. Accession Number DK10511/169.
https://www.museumsofindia.gov.in/repository/record/nat_del-DK10511-169-11486

Swastika-like seal from Mohenjo-Daro, 2600-1900 BC. In the collection of the National Museum, New Delhi, India. Accession Number hr.6163.170.
https://www.museumsofindia.gov.in/repository/record/nat_del-hr-6163-170-38126

***

The following is a list of swastikas and swastika-like symbols in CISI volumes 1 and 2.[57][58] I did not exhaustively scrutinize every single inscription, as it appears swastikas typically appeared alone on their own seals. Note that in the CISI catalog, capital letters indicate the seal itself, while lower-case letters in the illustrations indicate the impression the stamp makes. Below, the orientation of the swastikas are classified based on how they would appear when stamped (i.e. opposite/mirrored from how it appears on the seal). Nearly all of the artifacts were unable to be dated to a precise chronological time period.

The table below lists 69 artifacts. Since some artifacts have multiple swastikas, in total there are 36 right-facing swastikas and 40 left-facing swastikas. Nearly an equal number!

Table 6. Swastikas listed in CISI volumes 1 and 2.
Catalog
number		 Orientation Type Site Artifact CISI
volume		 Page
number
M-332 A right-facing swastika Mohenjo-Daro seal 1 84, 381
M-333 A right-facing swastika Mohenjo-Daro seal 1 84
M-334 A right-facing swastika Mohenjo-Daro seal 1 84
M-335 A right-facing swastika Mohenjo-Daro seal 1 85
M-336 A right-facing swastika Mohenjo-Daro seal 1 85
M-337 A right-facing swastika Mohenjo-Daro seal 1 85
M-338 A right-facing swastika Mohenjo-Daro seal 1 85
M-342 A left-facing swastika Mohenjo-Daro seal 1 85
M-343 A left-facing swastika Mohenjo-Daro seal 1 85
M-344 A left-facing swastika Mohenjo-Daro seal 1 85
M-345 A left-facing swastika Mohenjo-Daro seal 1 86
M-346 A left-facing swastika Mohenjo-Daro seal 1 86
M-347 A left-facing swastika Mohenjo-Daro seal 1 86
M-443 A left-facing swastika Mohenjo-Daro tablet 1 109
M-482 A right-facing swastika Mohenjo-Daro tablet 1 116
M-488 A right-facing swastika Mohenjo-Daro tablet 1 119
H-104 A right-facing swastika Harappa seal 1 192
H-105 A right-facing swastika Harappa seal 1 193
H-106 A right-facing swastika Harappa seal 1 193
H-107 A right-facing swastika Harappa seal 1 193
H-108 A right-facing swastika Harappa seal 1 193
H-109 A left-facing swastika Harappa seal 1 193
H-110 A left-facing swastika Harappa seal 1 193
H-111 A left-facing swastika Harappa seal 1 193
H-112 A left-facing swastika Harappa seal 1 194
H-113 A left-facing swastika Harappa seal 1 194
H-114 A left-facing swastika Harappa seal 1 194
H-115 A left-facing swastika Harappa seal 1 194
H-116 A right-facing swastika Harappa seal 1 194
H-117 A left-facing swastika Harappa seal 1 194
H-165 A left-facing 4 swastikas Harappa seal 1 204
H-182 B 3 left-facing
2 right-facing		 5 swastikas Harappa tablet 1 209
L-69 A right-facing swastika Lothal seal 1 256
L-70 A right-facing swastika Lothal seal 1 256
L-72 A right-facing swastika Lothal seal 1 256
L-174 A left-facing swastika Lothal seal impression 1 279
M-435 A right-facing swastika Mohenjo-Daro seal 1 364
M-1225 B left-facing swastika Mohenjo-Daro seal 2 151
M-1238 A right-facing swastika Mohenjo-Daro seal 2 156
M-1239 A right-facing swastika Mohenjo-Daro seal 2 156
M-1240 A right-facing swastika Mohenjo-Daro seal 2 156
M-1241 A right-facing swastika Mohenjo-Daro seal 2 157
M-1242 A right-facing swastika Mohenjo-Daro seal 2 157
M-1243 A left-facing swastika Mohenjo-Daro seal 2 157
M-1244 A left-facing swastika Mohenjo-Daro seal 2 157
M-1245 A left-facing swastika Mohenjo-Daro seal 2 157
M-1246 A left-facing swastika Mohenjo-Daro seal 2 157
M-1247 A left-facing swastika Mohenjo-Daro seal 2 157
M-1248 A left-facing swastika Mohenjo-Daro seal 2 157
M-1249 A left-facing swastika Mohenjo-Daro seal 2 157
M-1356 A right-facing swastika Mohenjo-Daro seal 2 175
H-616 A right-facing swastika Harappa seal 2 302
H-617 A right-facing swastika Harappa seal 2 302
H-618 A right-facing swastika Harappa seal 2 302
H-619 A right-facing swastika Harappa seal 2 302
H-620 A right-facing swastika Harappa seal 2 303
H-621 A right-facing swastika Harappa seal 2 303
H-622 A right-facing swastika Harappa seal 2 303
H-623 A right-facing swastika Harappa seal 2 303
H-624 A left-facing swastika Harappa seal 2 303
H-625 A left-facing swastika Harappa seal 2 303
H-626 A left-facing swastika Harappa seal 2 303
H-627 A left-facing swastika Harappa seal 2 303
H-628 A left-facing swastika Harappa seal 2 303
H-629 A left-facing swastika Harappa seal 2 303
Rhd-150 A right-facing swastika Rahman-Dheri
(Early Harappan
period)		 ceramic 2 366
Mr-14 A left-facing swastika Mehrgarh
(Early Harappan:
Period VII)		 seal 2 403
?-1 A left-facing swastika Unknown seal 2 415
?-2 A left-facing swastika Unknown seal 2 415

This additional table lists swastika-like symbols from CISI volumes 1 and 2.[57][58]

Table 7. Swastika-like motifs listed in CISI volumes 1 and 2.
Catalog
number		 Orientation Type Site Artifact CISI
volume		 Page
number
M-419 F right-facing swastika? Mohenjo-Daro seal 1 102
M-339 A right-facing swastika-like Mohenjo-Daro seal 1 85
M-340 A right-facing swastika-like Mohenjo-Daro seal 1 85
M-341 A left-facing swastika-like Mohenjo-Daro seal 1 85
M-348 A left-facing swastika-like Mohenjo-Daro seal 1 86
H-118 A left-facing swastika-like Harappa seal 1 194
L-71 A right-facing swastika-like Lothal seal 1 256
L-72 A right-facing swastika-like Lothal seal 1 256
M-1250 A left-facing swastika-like Mohenjo-Daro seal 2 157
M-1251 A left-facing swastika-like Mohenjo-Daro seal 2 158
M-1389 A left-facing swastika-like Mohenjo-Daro seal 2 184
H-119 A left-facing "basket-weave" Harappa seal 1 194
C-47 A left-facing "basket-weave" Chanhujo-Daro
(Jhukar Period)		 seal 1 342

***

Indus Valley Civilization artifacts sold at auctions

A number of auction websites have sold artifacts said to be Indus Valley ceramics with swastikas on them. I have not yet seen an image of one in the same style in a museum collection, but this certainly doesn't mean they don't exist.

Indus Valley Civilization ceramic with swastika.
Figure 117.

Indus Valley ceramic with swastika, said to be "From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1990s". Precise location and date of the artifact is unknown. Sold by user Pax Romana Auctions on the auction website LiveAuctioneers in 2021. Lot number 0090.
https://www.liveauctioneers.com/item/94367590_rare-indus-valley-plate-with-ibex-and-swastika-patterns

Indus Valley Civilization ceramic with swastika.
Figure 118.

Indus Valley ceramic with swastika, said to be "Obtained from an old British collection, property of a London collector, purchased between 1960-1990." Precise location and date of the artifact is unknown. Sold by user Pax-Romana on the auction website catawiki in 2017. Lot number 15323507.
https://www.catawiki.com/en/l/15323507-indus-valley-painted-terracotta-plate-and-cup-with-snake-deer-and-swastika-motifs-102-x-22-72-x-72-mm-2

Indus Valley Civilization ceramic with swastika.
Figure 119.

Indus Valley ceramic with swastika, said to be "Obtained from an old British collection, property of a London collector, purchased between 1960-1990." Precise location and date of the artifact is unknown. Sold by user Pax-Romana on the auction website catawiki in 2018. Lot number 15817291.
https://www.catawiki.com/en/l/15817291-indus-valley-painted-terracotta-bowl-depicting-deer-and-swastika-motifs-125x35mm

Indus Valley Civilization ceramic with swastika.
Figure 120.

Indus Valley ceramic with swastika, said to be "Obtained from an old British collection; Acquired at L.C.F. (London)." Precise location and date of the artifact is unknown. Sold by user Jasper52 on the auction website LiveAuctioneers in 2017. Lot number 0012.
https://www.liveauctioneers.com/en-gb/item/58071512_indus-valley-plate-depicting-deer-and-swastika-indus

Indus Valley Civilization ceramic with swastika.
Figure 121.

Indus Valley ceramic with swastika, said to be "From the property of a London gentleman; formerly in a UK collection, acquired in the 1990s." Precise location and date of the artifact is unknown. Sold by user TimeLine Auctions Ltd. on the auction website LiveAuctioneers in 2020. Lot number 2200.
https://www.liveauctioneers.com/item/84034300_indus-valley-snake-and-swastika-bowl

Indus Valley Civilization ceramic with swastika.
Figure 122.

Indus Valley ceramic with swastika, said to be "Obtained from an old Austrian Collection: purchased in Vienna." Precise location and date of the artifact is unknown. Sold by user Jasper52 on the auction website LiveAuctioneers in 2017. Lot number 0021.
https://www.liveauctioneers.com/en-gb/item/58578983_lot-of-3-ancient-indus-valley-swastika-plate-and-2-cups

Indus Valley Civilization ceramic with swastika.
Figure 123.

Indus Valley ceramic with swastika, said to be "Obtained from an old British collection, purchased from a gentleman in Kent." Precise location and date of the artifact is unknown. Sold by user Jasper52 on the auction website LiveAuctioneers in 2017. Website indicates the item has "catalogId" 112781 and "itemId" 57896359.
https://www.liveauctioneers.com/item/57896359_rare-ancient-indus-valleyplate-with-swastika-motif

***

Even in the ancient Indosphere we find both left-facing and right-facing swastikas. The idea that there is some sort of distinction between different types of swastikas is a tradition or superstition which by no means applied to every culture or time period. Please stop repeating this misconception, and inform others they are incorrect when they repeat it.

Namazga culture

The Namazga culture refers to a Chalcolithic to Late Bronze Age material culture spread throughout southern Turkmenistan. It was an urbanized culture which practiced agriculture, and later gave rise to the Bactria–Margiana Archaeological Complex (BMAC) in the Late Bronze Age.[197] Archaeologists have discovered that they engaged in trade with villages througout Iran and the Indus Valley Civilization.[198][197]

A swastika stamp seal[199][200] and swastika-like seal[198][201] have been found at Altyn Depe, an influential Namazga site. The swastika and swastika-like motifs are believed to have been traded from or influenced by the Indus Valley Civilization.[197][198][201] Swastika seals are also known from the BMAC, but we will leave them off of this page since they are later than the Early Bronze Age.

Stamp or seal from Altyn-Depe, Turkmenistan, in the shape of a swastika.
Figure 170.

Reconstruction of a swastika seal from Altyn-Depe, dating to the Namazga IV period (Early Bronze Age, c. 2750-2350 BC).[199] Figure 5(29) in Kirtcho (2019)[199]; figure after Kirčo (2009).[200]

Ancient Egypt

Although the swastika did not become prevalent in Egypt until Roman times and the spread of Christianity, archaeologists have dated few examples of swastikas back to the time of ancient Egypt.

Winkler (1939)[44] published a photo of a swastika near the Dakhla Oasis and dated it to Dynastic times. Polkowski (2015) defines the Dynastic Period at the Dakhla Oasis to be ~2500-332 BC.[45]

Ancient Egyptian rock carving of two feet with various symbols, including two swastikas.
Figure 124.

Plate IX, site 68, M 850. Published in Winkler (1939), volume 2.[44]

In the book, Winkler[44] suggested the swastika and other symbols are personal marks of the individual represented in the footprint.

Polkowski (2015),[45] who similarly found carvings of female pubic symbols and a (different) swastika near the Dakhla Oasis, dated the pubic symbol back to Dynastic times, but dated the swastika to the "Byzantine period" of the site (~395-641 AD). It is unclear to me if Winkler's dating of the inscriptions he uncovered are still considered accurate by archaeologists.

***

A more definitive dating of an ancient Egyptian swastika is presented in Förster (2007).[46]

Ancient Egyptian rock carvings, including a swastika.
Figure 125.

Swastika on the trail to Abu Ballas. Fig. 35 in Förster (2007).[46] Description: "Rock engravings at ‘Muhattah Harding King’ (site Jaqub 99/35, photo: R. Kuper). On the right, a swastika-like motif which probably developed from a combination of four antelopes’ foreparts as found on late Old Kingdom/First Intermediate Period button seals."

Förster (2007)'s[46] reference to the development of the swastika from connected antelopes comes from a hypothesis in Wiese (1996)[48] (see the section below). Based on radiocarbon dating of artifacts found in a similar context and similarity to motifs found on seals, Förster (2007)[46] suggests it dates to ~2220-2160 BC, corresponding with the end of the Old Kingdom period. More information about the Abu Ballas Trail can be found in Förster (2013),[47] although the swastika is not mentioned in this article.

***

Förster (2007)[46] references Wiese (1996)[48] as showing a number of Egyptian seals with swastika patterns: "(cf. Wiese, Die Anfänge der ägyptischen Stempelsiegel-Amulette, 84 (fig. 29), 133–5, pls. 24–7)".

Wiese's publication is a ground-breaking catalog of ancient Egyptian seals dating from the 6th-12th Dynasties (~2350-1800 BC). It cataloged, analyzed, and published illustrations of seals from numerous museum collections, as well as the large manuscript of Egyptian seals started by archaeologist Guy Brunton (1878-1948) in the 1930s and 1940s, but which was never published. Wiese's work is in the German language, and the following is a Google-translated excerpt from the introductory section:

"Systematic research into Egyptian seals in general has only begun in the past three decades.

[...]

The present work has set itself the task of examining this important type of object not only typologically, but also in terms of the history of religion. Connected to the investigation was the elaboration of a comprehensive catalog in which all tangible pieces were to be documented in drawings. In its present form, in addition to the archaeological finds, it contains the stamps of the British Museum (London), the University College (London), the Ashmolean Museum (Oxford), the Metropolitan Museum of Art (New York) and the Egyptian Museum (Cairo), to name only the largest collections. In addition, with the help of the "Brunton Folio of Button Seal-Amulet" 13, the large old private collections of Brunton himself, Blanchard, Rambova, Stout, Starkey and Freeth, some of which are now scattered in all directions and no longer tangible, are in the Catalog could be included. The relevant pieces from the former Matouk collection are now in the study collection of the Biblical Institute of the University of Friborg / Switzerland, as well as a large number of the specimens published by Herzer in an auction catalog of Ars Antiqua AG (Lucerne) in 1960. They were all published here for the first time as well. There are a total of 1426 stamp seal amulets, which could be documented graphically and partly also photographically. Material examinations were carried out on the specimens in the Freiburg study collection. The reason for creating such an extensive catalog was that it became clear early on that only looking at a large number of stamps and their decoration can give reliable information about the date, shape and, above all, the motifs. The present study can hopefully close the gap in seal amulet research that has long been felt so painfully.

[...]

After Brunton's death, the button seals were forgotten again. It wasn't until a decade later, in the early 1960s, that the discussion began again with Herzer, who was working on a dissertation on button seals in Munich. Although his doctoral thesis was never completed, an auction catalog he had written with 133 Egyptian stamps was published in 1960.

[...]

2.2. The Brunton Folio of Button Seal-Amulets

In the spring of 1990 I traveled to Oxford to look at the aforementioned "Manuscript" by Brunton on the "Button Seal Amulets" at the Griffith Institute. At that time I had no idea what an enormous treasure trove of button seals and related amulets from the ending Old Kingdom and the First Intermediate Period awaited me. The initial enthusiasm was quickly dampened when I looked through the more than 1000 drawings, because I realized that their scientific processing would be associated with a tedious and lengthy search work. When looking through the extensive correspondence that has accumulated over several decades, it seems important to me to go into the history of this portfolio of drawings (see below).

Already in the publication of the Mostagedda Cemeteries, which appeared in 1937, Brunton indicates that he intends to publish a corpus on "Button Seal-Amulets". His wife, Winifred Brunton (1880-1959), née Newberry, was a gifted draftswoman and had helped her husband for years. In 1937 she had already made several hundred drawings of seals, not only of those that came from their joint excavations, but also of specimens that were in museum and private collections: "My wife has drawn several hundreds, not only from our own excavations but from various public and private collections; and it is hoped that these will some day be published." From that time until shortly before his death, Brunton gradually collected material. He benefited from the fact that he knew all the great seal collectors and dealers of his time and was able to absorb the relevant material. In this context, mention should be made of the important collections of R. H. Blanchard and N. Rambova as well as M. Stout-Shaw, J. L. Starkey and F. Freeth. Incidentally, Brunton also had a sizable collection of his own. Brunton's documentation is all the more valuable today as the whereabouts of the pieces from the old collections are largely unknown today. For health reasons, he gave up his position as Assistant Curator at the Egyptian Museum in Cairo in the spring of 1948 and retired to South Africa with his wife Winifred, where he died on October 17th that same year. The work on the button seals does not seem to have progressed during this time.

The manuscript that Brunton left behind is basically a folio with 63 plates on which a total of 1027 original ink drawings are glued, which Brunton's wife made on a 2:1 scale. Usually there are two views of a stamp, namely the base with the decorative motif and a side view. Often, however, there is a third or even fourth view either from the top or from a second profile. A manuscript of a catalog or even an evaluation does not exist.

[...]

Thanks to Jaromir Malek, the Griffith Institute's committee has now given me permission to publish the drawings. I hope that this work is in the spirit of Guy Brunton and, above all, of his wife Winifred, who suffered badly from the aberrations of the sketchbook. For this reason, the work is dedicated to these two pioneers of seal amulet research.

[...]

Put simply, the present study deals with stamp seal amulets from the ending Old Kingdom (6th-8th dynasty), the First Intermediate Period (9th-early 11th dynasty) and the early Middle Kingdom (high 11-early 12th Dynasty), ie with the beginnings of the Egyptian seal amulets."


I assume Förster's first reference is figure 29 on page 84. In the version of Wiese (1996)[48] I found online, page 84 shows figures 11 and 16 as being swastika-like and does not have a figure 29. These two figures appear later as figure 554 and 549, respectively (see below). Page 133-135 give a description of the antelope symbol in Egypt, but does not mention swastikas.

Page 82 and 155 of Wiese (1996)[48] give his interpretation of how the swastika developed in from the antelope ancient Egypt:

"The antelope patterns of the high 6th dynasty are omamentalized in such a way that either two antelope fore parts are connected to one another in a tete-beche arrangement or four antelope protomes grow out of one body (Fig. 20, 1, 5). By connecting the legs with the horns, fusing the horns to form a bow (Fig. 20, 2, 6) or by breaking up the antelope heads into their components, skulls, horns and ears, the dissolved, abstract variants emerged, which actually make no sense give more (Fig. 20,3. 7.10.11). If you only had the abstracted forms in front of you and you couldn't follow the development piece by piece, you wouldn't be able to interpret them, they appear so alienated. It is clear that, of course, forms alienated in this way are further abstracted in a second phase of dissolution, the geometrization in the 9th dynasty. I would therefore like to assume that from the abstracted antelope patterns the crosses with angular fillings and their variants arose in the early First Intermediate Period (Fig. 20, 4, 8, 9). What is behind this dissolution of form eludes my ability to interpret. It is a logical consequence that, in addition to these "abstracted standard forms", an abundance of completely degenerate and incomprehensible representations have emerged (Fig. 20, 12-16). In this context, the swastika motif (Fig. 20, 16) should be mentioned, which was originally assumed to have been adopted from Anatolia or the Levant.

The development can be shown even better in the case of the lions in a tete-beche arrangement (Fig. 20, 17-23). In specimens from the late 6th dynasty, the tail separates from the body and connects to the dividing line (Figs. 20,18). In the 9th dynasty, part of the intertwined labyrinths emerged from this, some of which still clearly show figurative models (Fig. 20, 20f.). The late phase of this development ends on 10/11. Dynasty in the meander-like, purely geometric ornaments (Fig. 20,21f.)."

Förster (2007)[46] also cites plates 24-27. Plates 24 and 25 show seals with antelope symbols, but, quite frankly, I think the seals depicting humans walking (plate 3) or abstracted three-limbed seated humans (plates 16-17) show far greater similarity to the swastika-like seals than the complicated antelope ones.

On the other hand, in the Samarra culture the abstraction of antelope patterns may have been related to the development of the swastika, so perhaps it also occurred in Egypt?

Ancient Egyptian stamps or seals with swastika-like motifs.
Figure 126.

Swastika-like seals. Figures 543, 544, and 545 in plate 26 of Wiese (1996).[48]

Table of information related to Ancient Egyptian stamps or seals with swastika-like motifs.
Figure 127.

Descriptive text that accompanies the illustrations. Figures 543-545 date to the 6th Dynasty, ~2345-2181 BC.

Ancient Egyptian stamps or seals with swastikas and swastika-like motifs.
Figure 128.

Swastika-like seals. Figures 546-556 in plate 27 of Wiese (1996).[48] In figure 555 we can see a sloppy swastika, and in figure 556 we can see a "true" swastika.

Table of information related to Ancient Egyptian stamps or seals with swastikas and swastika-like motifs.
Figure 129.

Figure 555 dates to the 9th Dynasty (~2160-2130 BC) and Figure 556 dates to the First Intermediate Period IIB. (I don't know precisely what period that is, but the entire First Intermediate Period dates to ~2181-2055 BC). Figures 546-554 date from the 6th to 8th Dynasties (~2345-2160 BC).

Ancient Egyptian stamp or seal in the form of a swastika.
Figure 130.

Swastika-like seal. Figure 1024 in plate 49 of Wiese (1996).[48] In addition, figure 1022 is a spiral with four arms.

Table of information related to an Ancient Egyptian stamp or seal with a swastika.
Figure 131.

Figure 1024 dates to the 10th to 11th Dynasties (~2130-1991 BC).

Ancient Egyptian stamp or seal with a swastika inside a labyrinth.
Figure 132.

Seal with a swastika inside of a labyrinth. Figure 1260 in plate 61 of Wiese (1996).[48]

Table of information related to an Ancient Egyptian stamp or seal with a swastika.
Figure 133.

Figure 1260 dates to the First Intermediate Period stage IIIB(?). The entire First Intermediate Period dates from ~2181-2055 BC.

Ancient Egyptian stamp or seal with swastika-like motif.
Figure 134.

Swastika-like seal. (Two conjoined S-like shapes). Figure 1375 in plate 66 of Wiese (1996).[48]

Table of information related to an Ancient Egyptian stamp or seal with swastika-like motif.
Figure 135.

Figure 1375 dates to the First Intermediate Period, ~2181-2055 BC.

Part 2. Unconfirmed Swastikas.

This section contains artifacts that have not been definitively dated, have not been definitively linked to a specific culture, and artifacts for which I have not yet found a museum record or archaeological paper describing. These are worth including on this page since they keep popping up when doing an internet search for the world's oldest swastikas. If you have any further information for any one of these artifacts, please post it on the discussion page:
https://aryan-anthropology.blogspot.com/2021/09/worlds-oldest-swastikas-discussion-post.html

Devetashka cave ceramic

Wikipedia claims there is a swastika from 6000 BC found on a ceramic from Devetashka cave, Bulgaria.

Ceramic said to be from the Neolithic period, found at Devetashka cave, Bulgaria. White swastikas inside red circles.
Figure 136.
Ceramic said to be from the Neolithic period, found at Devetashka cave, Bulgaria. White swastikas inside red circles.
Figure 137.
Ceramic said to be from the Neolithic period, found at Devetashka cave, Bulgaria. White swastikas inside red circles.
Figure 138.

Wikipedia cites an article posted by Stefania Dimitrova.[64] The article is full of mysticism trying to apply 20th century Hindu traditions to the ancient Bulgarian swastika(!) and cites no sources. The article's webpage says it was originally published in the "Courrier of UNESCO", January 30, 1996. However, looking through both the January and February 1996 issues of The UNESCO Courier[65][66] I do not see any articles by Dimitrova or anything mentioning the artifact. Here is the relevant excerpt from Dimitrova's article:[64]

"...found in the Devetak cave near the city of Lovech. It has been dated to 6000 years B.C..

[...]

The artifact was found 35 years ago, but until now it has been known only to archeologists."

A Bulgarian-language pseudo-archaeology blog post from 2014 also references this artifact.[67] Google translate of the relevant section:

"Devetashka Cave, a fragment of a clay bowl again with both types of swastikas, early Neolithic (6th millennium BC); Sofia Archaeological Museum (NAIM). The valuable artifact was discovered by archaeologist Vasil Mikov in 1960."

The 6th millennium BC corresponds to 6000-5001 BC. The NAIM museum's website does not seem to have an online catalog to search through, but according to their website[68] archaeologist Vassil Mikov directed excavations at Devetashka cave in 1927 and 1950. Also according to the museum's website, they have Neolithic-era artifacts from 6200-4900 BC.[69] Presumably the artifact from Devetashka cave falls more toward 4900 BC, since they do not specify that the Devetashka cave artifacts were from the early Neolithic.

"The Neolithic covers 6,200 to 4,900 BC. Artifacts from the prehistoric settlement Chavdar, Pirdop region, represent the early Neolithic. Richly ornamented ceramics drow special attention among the artifacts in this section. Selected artifacts from the Devetashka cave, Lovetch region, Topolnitsa, Petrich region and Sapareva Bania, Kustendil region illustrate typical features of the ceramics during the Neolithic in the western regions of the country."

Karanovo culture

While searching for information on the alleged Devetashka cave ceramic, I stumbled across another ancient artifact from present-day Bulgaria. The artifact is said to be from the town of Kazanlak, from the Karanovo I-III culture. The Kazanlak Museum's website says the Neolithic period in Bulgaria spans from 6200-4900 BC, although they do not provide a breakdown of the periods of the Karanovo culture or the date of the site at Kazanlak.[70]

Illustration of a Neolithic cult table with swastikas from the Karanovo culture, Bulgaria.
Figure 139.
Illustration of a Neolithic cult table with swastikas from the Karanovo culture, Bulgaria.
Figure 140.

Description: "Table 27. Kazanlak. Cult tables: three sided with an inserted receptacle. Middle Neolithic - Karanovo I-III."

These images were posted on a Bulgarian nationalist archaeology blog[71] and the source of the images was not specified. The "cult tables" are a type of artifact associated with the Neolithic diffusion from Turkey into the Danube Basin.[72] Presumably the image above was published in a reputable archaeological journal, but until the source can be found, it will remain unconfirmed.

Riben, Bulgaria, ceramic

Fragment of a ceramic said to be from Riben, Bulgaria. Multiple motifs including one possible swastika fragment.
Figure 141.

This is an artifact said to be from an archaeological site at Gradishteto hill near Riben, Bulgaria. It is a ceramic with a fragment of a single swastika. It is claimed to be 7000 years old (~5000 BC).[99][100]

According to Torbatov (2018),[101] the site at Gradishteto hill near Riben, Bulgaria, dates back to the Early Chalcolithic. Torbatov (2018)[101] is published in the Bulgarian language and does not have an image of the artifact. Petar Banov, head of the regional museum in the city of Pleven, reported the site dated back 7000 years in an interview with an Argentinian news outlet.[100]

It doesn't seem like much was written about this artifact in English-language sources.

"A ceramic fragment dating back to 5,000 BC with what might be “the world’s oldest writing" has been discovered in a previously unknown Chalcolithic (Aeneolithic, Copper Age) settlement found underneath the Ancient Roman road station Ad Putea near the town of Riben, Dolma Mitropoliya Municipality, Pleven District, in Northern Bulgaria.

The archaeological excavations of the Ancient Roman road station Ad Putea have been led by archaeologist Assoc. Prof. Sergey Torbatov from the National Institute and Museum of Archaeology, who is, respectively, an expert in Roman archaeology.

However, during the 2016 digs in the Roman fortress near Riben the researchers have reached a settlement from the Chalcolithic, and have stumbled upon the ceramic item seemingly featuring pictographic or pre-alphabetic writing.

The writing on the artifact which is in fact a fragment from a clay vessel could turn out to be the world’s oldest, Volodya Popov, Director of the Pleven Regional Museum of History has stated when announcing the discovery, as cited by BTA.

According to Popov, who is a specialist in prehistoric archaeology, the potentially prehistoric writing found on the slab from Bulgaria’s Riben is 2,000 years older than the writing of Ancient Sumer in Mesopotamia and Ancient Egypt. It could prove that the first ever instance of written transfer of information occurred on the territory of today’s Bulgaria and the Balkan Peninsula.

For the time being, the newly found 7,000-year-old ceramic fragment has been seen by archaeologists only; it is to be shown to the media and the public only in early 2017, after a conference to be held at the National Institute and Museum of Archaeology in Sofia.

However, Popov has revealed that the artifact features two pictographic signs, a swastika, and a group of other written signs."

The website quoted above[99] says archaeologists were planning to reveal the artifact to the public in early 2017, yet an Argentinian news outlet[100] (see below) and others had already published a photo a week prior!

Google translate from the Argentinian news site:[100]

"Bulgarian archaeologists claim to have discovered one of the oldest pictograms in the world in a ceramic fragment of more than 5,000 years in which a line reminiscent of a swastika is observed.

Archaeologist Petar Banov, head of the regional history museum in the city of Pleven, about 160 kilometers from Sofia, reported this discovery to Efe.

The discovery took place at the beginning of the month near the town of Riben, in northwestern Bulgaria, where a team of archaeologists, including Banov, were examining a Roman military post and by digging underneath that stratum they found a town before the fortification Roman from the third century of our era.

"We were working in a Roman military barracks that was located on Via Trajana (also known as Via Militaris) and when we excavated more deeply we found that this facility was built on a town that we assume is from the Neolithic era, more than 7,000 years ago old, "said Banov, who is one of the leaders of the team of archaeologists. [...]"

[...]

The archaeologist could not answer what populations inhabited that region, arguing that the first data available are from sources from classical Greece, which relate the presence of Thracians in those lands."

The Neolithic predates the Thracians by thousands of years, so who knows if this interview is accurately dating it.

I am unable to find much more information on this artifact.

Other Bakun culture ceramic?

The website EX ORIENTE LUX, a project run by archaeologist François Desset,[187] posted a fragment of what appears to be a basket-weave motif on a ceramic from Tol-e Siyah, Forg Valley, Iran.[188][189] I presume his expedition found the artifact. I will leave it in the Unconfirmed section until I find further descriptions, such as an archaeological paper or museum catalog number.

I am unable to find much information about Tol-e Siyah. Desset describes the region as follows:[189]

"Archaeologically, this frontier area is little explored and poorly known. Indeed, it currently represents one of the major voids in the Iranian archaeological map. Following our initial investigations in Eastern Fars in June 2015, in the Forg valley, where 5th and 3rd millennium BC remains were recognized, this project will extend archaeological exploration in Eastern Fars through a program combining regional surveys and stratigraphic excavations in strategically located sites.

[...]

Following our preliminary reconnaissance of the valleys of Fasa, Darab and Forg in June 2015, the next step will be to expand our survey to other areas of Eastern Fars, such as the Kuydar (27°27’44” N; 55°25’24” E) or Shahnar (28°01’39” N; 55°05’40” E) valleys. If the necessary funds are obtained, a first survey campaign will take place during the winter of 2016-2017."

As discussed in the main section about Tall-e Bakun, radiocarbon dates suggest the Bakun period dates roughly from ~5450 BC to 4250 BC[183] or 4100 BC.[34]

Bakun-style ceramics from Tol-e Siyah, Forg Valley, Iran. The artifact in the bottom-left contains a fragment of what appears to be a basket-weave style swastika.
Figure 142.

Bakun-style ceramics. Surface finds from Tol-e Siyah, Forg Valley, Iran. The artifact in the bottom-left contains a fragment of what appears to be a basket-weave style swastika. The image is described as follows on the website:

"Late 5th millennium BC sherds found on the surface of Tol-e Siyah (Forg valley)".[188]

"Tessons de type Bakun trouvés à la surface de Tol-e Siyah".[189]

Sopot culture

The paper Burillo-Cuadrado and Burillo-Mozota (2014)[120] published an image of a Sopot culture ceramic with a swastika, photographed in the Archaeological Museum in Zagreb, Croatia.

The Sopot culture proceeded the Neolithic Starčevo culture, and Sopot sites in Croatia have been radiocarbon dated to a range of approximately 6000-3800 BC.[121][122][123][124] The site of Bapska itself is said to be one of the most important sites of the Sopot culture from the Late Neolithic era.[125]

Pottery fragment with swastika from the site of Bapska, Croatia, from the Sopot culture.
Figure 143.

Description: "Neolithic pottery from Bapska (Croatia) belonging to the “Sopot Culture” dated to the 5th millennium BC. Archaeological Museum, Zagreb. (Photograph F. Burillo)."

Pottery fragment with swastika from the site of Bapska, Croatia, from the Sopot culture.
Figure 144.

Image of the same pottery fragment. Photo from the University of Zagreb website, taken by the Archaeological Museum in Zagreb.
https://arheo.ffzg.unizg.hr/prap/finds_from_bapska.htm

The Archaeological Museum in Zagreb does not appear to have its catalog listed online, so I have been unable to find a catalog number or other information about this artifact.

Altimir, Bulgaria, ceramic

There is a lot of conflicting information regarding a swastika found near Altimir, Bulgaria. For example, some British tabloids reported the artifact is 2,500 years old (only 500 BC!),[76][77] yet somehow the world's oldest swastika. Most blogs and other websites say it is 7000 years old (~5000 BC).[78] And I'm sure there are probably people saying 7000 BC (9000 years old!)... It is said to have been displayed at the "Gods, Symbols, and Ancient Signs" exhibition at a museum in Vratsa, Bulgaria in 2010.[76][77][78][80]

I have put this artifact in the unconfirmed section because I have not been able to find an archaeological publication with more information, a museum page, etc. In fact, some of the top search results for this artifact are pseudo-archaeology blogs[78] and white supremacist forums... Nor have I been able to find information on the "Gods, Symbols and Ancient Signs" exhibition the artifact was supposedly shown at. I don't even know if Altimir is the proper name of the site. Luka (2009)[79] writes about a site in the Bresta locality near the village of Altimir, also referred to as the Bresta-Altimir site. This site was inhabited from late Neolithic times to at least the 7th century AD. Presumably this is the site.

Ceramic fragment with large swastika from Altimir, Bulgaria.
Figure 145.

I managed to find a photo of the artifact with a description presumably written by the museum:

"ДЪНО ОТ СЪД СЪС СВАСТИКА, ГЛИНА, НАЧАЛОТО НА КАМЕННО-МЕДНАТА ЕПОХА (IV ХИЛ. ПР. ХР.)"

Google translate:

"BOTTOM OF A SWALLOW WITH A SWASTICA, CLAY, THE BEGINNING OF THE STONE-COPPER AGE (IV MILLION BC)"

The 4th millennium BC corresponds to 4000-3000 BC (6000-5000 years old). How did the 4th millennium BC turn into 7000 and 2500 years? Who knows, but this is why you don't just repeat wild claims without actual evidence.

The photo above was posted on a Bulgarian pseudo-archaeology blog in 2014.[67] The original photo source is unknown, but one of the webpages with a photo of this image shows a copyright notice by Nartsis Torbov.[80] The webpage of the Regional Historical Museum of Vratsa says N. Torbov studies the "Thracian period (Bronze and Iron Ages)".[81] The museum's website looks pretty old and doesn't seem to have any info on this artifact or the exhibition where it was shown and photographed.

Other Cucuteni–Trypillia or Usatovo culture ceramic

This is allegedly from the Cucuteni–Trypillia culture. The following image appears on a Ukrainian website from 2006.[82][91] A few years ago a cropped version of this image was posted by a Quora user without additional information.[83] Wikipedia has an illustration of the artifact,[84] original source unknown.

Ceramic with swastikas and other motifs. Said to be from the Cucuteni-Trypillia or Usatovo culture.
Figure 146.
Ceramic with swastikas and other motifs. Said to be from the Cucuteni-Trypillia or Usatovo culture.
Figure 147.

Here is the description from the Ukrainian website (Google translate):[82]

"Such a plate was found in the Trypillia settlement (Usatove village, Odessa region). [(с.Усатове, Одеська область).]

[...]

The second scientific conference of the Ukrainian Charitable Foundation "Trypillya" was held in Kyiv on December 10-11, 2006. The conference was opened by the chairman of the fund, the People's Deputy of Ukraine Ivan Oleksandrovych Zayets, who immediately set the tone for the following reports. The main emphasis of the whole conference was on the issue of Trypillia culture as a civilization - the conference was called "Trypillia: the dimension of civilization."

[...]

IO Zayets once again mentioned the need to create a public organization to promote, and sometimes to "discover" the broad masses of Trypillia culture. The Association of Archaeologists of Ukraine has not been established yet, which, in addition to archaeologists, according to the forum participants, should include local historians, museum workers, Ukrainian scholars with educators, and teachers of educational institutions - all those who study Trypillia culture. A representative of the Kyiv League of Guides spoke at the conference, speaking about the expediency of joining the association as well as their specialists."

The Usatovo culture is a later variant of the Cucuteni–Trypillia culture or a subsequent culture. It has suggested to begin around 3500 BC and extends to ~1760 BC and perhaps even later.[85] It is unclear if the ceramic dates to the Cucuteni–Trypillia era, the Usatovo era, or even later.

***

A in 2015, a Twitter account[126] posted the following image, also claiming it is from the Trypillia culture in Ukraine.

Pottery fragment with a swastika, said to be from the Trypillia culture in Ukraine.
Figure 148.

"Фрагмент трипільського горщика із зобр. тисненої прямокутної сварги. Кін. IV тис. до н.е. Переяс-Хмельн археол музей"

Google translate didn't work particularly well, but we at least get an idea:

"A fragment of a Trypil pot with a picture. embossed rectangular swarf. Kin. IV millennium BC Pereyas-Khmeln archeological museum"

The comments in the Twitter thread claim that the Trypillia culture were part of the Indo-European cultural sphere, but genetically the Cucuteni–Trypillia are descended from Neolithic farmers from the south, with only some admixture from the steppe-dwelling Proto-Indo-Europeans.[127]

The artifact is said to be kept in a museum in the city of Pereiaslav, Ukraine (formerly Pereiaslav-Khmelnytskyi). It may be in the Pereiaslav Archaeology Museum or the Trypillian Culture Museum in Pereiaslav.

Other European Neolithic artifacts

Around 2002, on the website Archaeometry,[128] Fernando Coimbra posted the following two images said to be from the Neolithic period.

No sources were posted and I was not able to find any further information on these artifacts. I have run across the sources of a few of the other images Coimbra posted, and his information is generally accurate. I assume the images were pulled from some book and that the dates and location are more-or-less correct.

Idol with horns, swastikas, and other motifs. From the Neolithic period of the central Mediterranean.
Figure 149.

Description: "Idol with horns, central Mediterranean / Neolithic".

Illustration of a ceramic with a swastika in the center. Said to be from the Neolithic period of Europe.
Figure 150.

Description: "Pottery, Europe / Neolithic".

Other Ancient Chinese cultures?
Claims of Majiabang, Dawenkou, Xiaoheyan, Shixia, Pengtoushan, Gaomiao, Hemudu, Yangshao, and unsourced Majiayao ceramics

There have been many claims on the internet that other Neolithic Chinese cultures besides the Majiayao used the swastika. Thus far, I have not seen any solid evidence. In some cases, the claims seem to stem from strange mistranslations.

It is certainly within the realm of possibility that they used the swastika, but we await further evidence.

*****

Majiabang culture?

English-language Wikipedia[129] claims the swastika was found in the Majiabang culture (~5000-3350 BC), but the link it cites[130] only references the Majiayao:

"中国黄河上游的马家窑文化(公元前3300～前2050年)，为新石器时代晚期的文化，属马家窑文化的青海都乐县城东的柳湾基地，发现有130余种刻划符号，其中就有卐。学者们认为这些符号，是用来记事的。"

Google translate:

"The Majiayao culture in the upper reaches of the Yellow River in China (from 3300 BC to 2050 BC) is a culture of the late Neolithic period. It belongs to the Majiayao culture at the Liuwan base in the east of Dule County, Qinghai. More than 130 carved symbols have been found , Among them there is a swastika. Scholars believe that these symbols are used to record things."

*****

Dawenkou and Xiaoheyan cultures?

Older versions of English Wikipedia[88] say the "Dawenkou and Xiaoheyan cultures" (~4100-2600 BC and ~3000-2200 BC, respectively) in ancient China used the swastika, but this has been removed in more recent versions of the Swastika page. The website it cited for this claim[131] also translates to Majiayao and does not mention the "Dawenkou and Xiaoheyan cultures". Once again, this is why you don't repeat things you see on the internet without actually attempting to verify it...

"馬家窯彩陶上的卍字符"

Google translate:

"Swastika on Majiayao Painted Pottery"

*****

Shixia, Xiaoheyan, Pengtoushan, Gaomiao, Hemudu, and Dawenkou cultures? Other Machang (Majiayao) artifacts?

A Chinese-language website from 2016 published a number of images and descriptions of alleged ancient Chinese swastikas.[89] The information from this article was probably taken from Chinese-language Wikipedia or some other blog. For example, a similar post appears on a forum in 2007.[93] A Google translation of the relevant section is below:

"According to current archaeological discoveries, as early as 9,000 years ago in the Neolithic Age, there were patterns of "卍" character glyphs in China. Also, the "swastika" character appears very frequently in ancient relics and is found in many places in China, including Gansu, Qinghai (Majiayao culture), Guangdong (Shixia culture), Inner Mongolia (Xiaoheyan culture), Hunan (Pengtoushan Culture, Gaomiao Culture), Zhejiang (Hemudu Culture), Shandong (Dawenkou Culture), etc.

[...]

It is now known that the earliest "swastika" character appeared in the Pengtou Mountain culture about 9,000 years ago. About 7,400 years ago, on the pottery of the Gaomiao Culture in Hunan, and in the Hemudu Culture (6900 years ago), a pottery plate with four birds in the shape of a "swastika" was discovered with a bird's beak as a symbol. The swastika pattern unearthed in Gan and Qing areas mainly appeared on many potteries of the Machang type of Majiayao culture, dating back about 4000 years; in Guangdong Shixia culture about 4800 years ago, the swastika pattern pottery was discovered; A large-mouthed and deep-belly pot unearthed from the Xiaoheyan culture in Inner Mongolia is also painted with the character "卍", dating back about 4870. There are also many archaeological discoveries in other places: for example, seven carved and drawn "swastika"-shaped symbols were found on the Xiaoheyan cultural pottery unearthed from the Shipengshan Cemetery in Aohan Banner, Liaoning. "Swastika"-shaped symbols have also been found on the rock paintings of Buerhantu Mountain in Urad Houqi, Inner Mongolia, and the artificially etched flower stone beads of the Han and Wei era unearthed in Shaya, Xinjiang."

Without any sources, the website[89] posted the following images:

Illustration of a Chinese Neolithic ceramic with swastikas.
Figure 151.

Google translation of description: "Machang type clay pot, unearthed in Guanhutai of Minhe County in 1974, around 6,300 years ago." (Again, the Machang culture is considered a phase of the overall Majiayao culture.)

Illustration of a swastika from a Chinese Neolithic ceramic.
Figure 152.

Google translation of description: "Machang type clay pot was unearthed in the Liuwan Cemetery of Ledu County, Qinghai in 1975, about 4300 years ago."

Illustration of a Chinese Neolithic ceramic with swastikas (alleged to be from the Xiaoheyan culture).
Figure 153.

Google translation of description: "The swastika auspicious symbol on the pottery of Xiaoheyan Culture, about 4,500 years ago."

*****

Pengtoushan culture?

A forum user in 2010[90] said a discovery was made around 2008, where archaeologists found a swastika on a ceramic from the Pengtoushan culture (~7500-6100 BC). The forum user says there was no photo available of the artifact, and the museum/researchers told them to buy the paper for $80, instead of simply informing them about the artifact. ...This is why people distrust academia.

Hey, I am new here. I am a chinese and I just read a report from one of our archaeologists that there was a swastika found in a ceramic pot from a neolithic site in central China which is dated 7500BC, the site belong to the so called Pengtoushan Culture.

The discovery was made 2 years ago and picture has not yet been available.

[...]

I am trying to contact the archaeologist to obtain a picture of it. I do not how it will turn out yet. I will post it as soon as I got it.

[...]

The report of Pengtoushan culture demand a sizable sum of 80 USD. The museum refused to offer me a picture os the supposed 9000 years old swastika. They told me to buy this report instead which costs 80 USD. The report is published in limited quantity. In near future I would not pay 80 USD for the sheer proof of a swastika around 7000BC."

The forum user linked an archaeological report published in 2006. There may have been a museum exhibition or other article published in 2008 that they were originally referring to? I am unable to find the 2006 publication available freely online.

https://historum.com/threads/the-oldest-swastika-found-in-where.13062/post-251290
https://web.archive.org/web/20070223000055/http://product.dangdang.com:80/product.aspx?product_id=9257045

彭头山与八十垱（上下册）
作者：湖南省文物考古研究所 编著
出版社：科学出版社
出版日期：2006-8-1
ISBN：7030169948

Google translate:

Peng Toushan and Ba Shi Dang (Volume 1 and 2)
Author: Hunan Provincial Institute of Cultural Relics and Archaeology
Publisher: Science Press
Publication Date: 2006-8-1
ISBN: 7030169948

*****

Hemudu culture?

The forum user also claims to have found a video of the swastika-like symbol from the Hemudu culture (~5500-3300 BC), but the link to the video doesn't seem to load properly. Doing a brief internet search for the Hemudu culture, their famous double bird symbol doesn't look anything like a swastika, so I have no idea what artifact the user is referring to.
https://historum.com/threads/the-oldest-swastika-found-in-where.13062/post-250479

*****

Yangshao culture?

Chinese Neolithic pottery with swastika.
Figure 154.

Image uploaded to the website Proswastika in October 2013. Description: "Pot exhibited at the National Palace Museum, No.221, Sec. 2, Zhishan Rd., Shilin Dist., Taipei City 11143." I assume that is the precise street address of the museum, and not a catalog number for the artifact. I will put this in the unconfirmed section until we can find a museum record.
https://proswastika.org/news.php?extend.401.5

Trying to search through the National Palace Museum website, I don't seem to see it in the collections.
https://www.npm.gov.tw/index.aspx?l=2

There is also the Palace Museum in Beijing, which some internet users call the "National Palace Museum". This museum also has Neolithic pottery in its collection. However, there are no search results for "Majiayao" or "Yangshao" in its collection, and the pot above is not any of the artifacts tagged as "Neolithic".


The paper Klyosov and Mironova (2013),[91] which attempts to pseudo-scientifically link Y-DNA haplotypes to the diffusion of certain ceramic styles throughout both the Old and New World(!), claims this artifact is from the Yangshao culture (Fig. 14b). However, they simply cite a website by archaeologist Charles M. Nelson as the source for this image,[92] and his website does not specify this specific artifact is Yangshao! More sloppy scholarship.

A number of random blogs have claimed this is from the Yangshao culture (~5000-3000 BC) as well. The following blog says the artifact is "Kansu, cultura Yangshao, China".[95] The author attempts to connect the Yangshao pottery form and design to the influence from the Cucuteni–Trypillia culture. As far as I am aware, this hypothesis hasn't been picked up by mainstream archaeologists. It seems doubtful, but who knows, maybe there was some cultural exchange? However, it is impossible to even know if these artifacts are accurately labelled—the random website the blog cites as a "source" of the image does not even describe this specific artifact as Yangshao...

The Met art museum claims that "the Yangshao culture is divided into two branches: the nuclear Yangshao, located in Henan and Shaanxi provinces, and the subsequent Majiayao (or Gansu Yangshao)".[174] So perhaps the artifact is more precisely part of the Majiayao culture, but was called Yangshao by some museum, leading to this confusion?

*****

Yangshao, Majiayao, Liangzhu, Dawenkou, or Xiaoheyan culture oracle bone inscriptions?

Ancient Chinese symbols? From a blog,[94] without a source.

Chinese Neolithic oracle bone symbols, including swastikas.
Figure 155.

The following is the paragraph which appeared directly above the image, although it's unclear exactly which culture/artifact it's supposed to be referring to.

"16/1/6 甲骨文肯定不是中国最早的文字，中国最早的文字的产生当在殷商以前。60年代初，在西安半坡遗址中出土的仰韶文化彩陶器上刻画有较多的符号，这就使得寻找中国早期文字和文学起源的目光集中到新石器时代陶器刻画的符号上。接着又在马家窑文化、良渚文化、大汶口文化以及小河沿文化等文化的陶器上，也先后发现了不同的符号和图画符号。"

Google translate:

"16/1/6 Oracle bone inscriptions are definitely not the earliest Chinese characters. The earliest Chinese characters were produced before the Yin and Shang Dynasties. In the early 1960s, the Yangshao cultural colored pottery unearthed from the Banpo site in Xi'an contained many symbols, which made the search for the origin of early Chinese characters and literature focused on the symbols carved by Neolithic pottery. Then, on the pottery of Majiayao Culture, Liangzhu Culture, Dawenkou Culture and Xiaoheyan Culture, different symbols and pictorial symbols were successively discovered."

Briefly searching, the Wikipedia page showing various Neolithic Chinese symbols doesn't show any swastikas. Of course, that doesn't rule out their existence.
https://en.wikipedia.org/wiki/Neolithic_signs_in_China

*****

Other Majiayao artifacts?

Chinese Neolithic pottery with swastikas.
Figure 156.

This image was uploaded in 2012 to the Xinhuanet Gansu Channel News website:
https://web.archive.org/web/20150509234527/http://www.gs.xinhuanet.com/photo/2012-06/13/c_112202173.htm

Excerpt of the artifact's description from Google translate:

"The Majiayao culture of prehistoric culture in Northwest my country, especially in Gansu and Qinghai area, appears in Majiayao culture [...] This vessel is kept in the Painted Pottery Museum of Liuwan Village, Ledu County, Qinghai Province."

The Liuwan Museum of Ancient Painted Pottery is said to be the largest pottery museum in China. Briefly searching, I did not see a website for the museum.
https://en.wikipedia.org/wiki/Liuwan_Museum_of_Ancient_Painted_Pottery

**

Chinese Neolithic pottery with swastikas.
Figure 157.

Said to be a Majiayao culture ceramic. Photo uploaded to Flickr by user sabrinashu without a source.
https://www.flickr.com/photos/sabrinashu/418195358/

A Chinese-language website from 2016[89] also published a photo of this artifact. Google translate of the description of the artifact above:

"In 1980, a Neolithic painted pottery with a "swastika" pattern with a long neck was unearthed in Minhe County, Qinghai.

[...]

Neolithic Majiayao Culture "Swastika" Pattern Painted Pottery Long-Necked Pot."

**

Chinese Neolithic pottery with swastika.
Figure 158.

Said to be a Majiayao culture ceramic. Photo uploaded to Flickr by user ggejv without a source.
https://www.flickr.com/photos/76004000@N02/6974232617/

**

A blog claims this is from the Majiayao culture, without providing a source.[94] The blog looks like a big mish-mash of comments and also pushes the claim that there was Cucuteni–Trypillia culture influence in ancient China, so who knows if it is accurately ascribed to the Majiayao.

Chinese Neolithic pottery with swastika.
Figure 159.

*****

Unspecified ancient Chinese culture(s)

Chinese Neolithic pottery with swastikas.
Figure 160.

Unknown artifact uploaded by a Pinterest user, said to be ancient Chinese.
https://www.pinterest.com/pin/863846772258421777/

**

Chinese Neolithic pottery with swastika.
Figure 161.

With no source, a random blog says this is a Chinese ceramic from 2200-2000 BC.
https://web.archive.org/web/20201010050447/https://ghemulariadnei.wordpress.com/documentales-scrierea-samanica/scrierea-samanica-ii-svastica/

Other Indus Valley Civilization artifacts

In an encyclopedia article written by Jonathan Mark Kenoyer (an archaeologist specializing in the Indus Valley Civilization),[86] he says a seal resembling a swastika is found in the Ravi Phase (3500-2800 BC) of Harappa, but does not give a specific reference. He says this could be the earliest swastika found in the Indus Valley:

"The Ravi Phase (3500–2800 b.c.) is named after the earliest occupation levels at the site of Harappa, located on the Ravi River.

[...]

A bone button seal with a geometric pattern that resembles a swastika may be the earliest evidence for the use of this motif in the Indus Valley."

Figure 4 in Kenoyer (2009)[62] seems to describe and show an image of this alleged swastika. It is merely a small fragment of a seal. Given the vast range of geometric shapes on Harappan Civilization seals, there is the possibility that it may not have been a swastika. In the CISI catalog,[57][58] Indus Valley seals like L-71 A, L-77 A, Pk-2 A, and Lwn-1 A 1-2 are examples of non-swastika seals which could produce a similar fragment to the Kenoyer one.

"At the site of Harappa, the earliest button seal was found in the Ravi occupation levels and consists of a fragmentary bone seal that may represent a swastika design (Figure 4) (Kenoyer and Meadow 2000)."

Fragment of a Indus Valley Civilization seal from Harappa. Potentially a swastika.
Figure 162.

Description: "Fig. 4: Bone button seal, Harappa, H98-3503, Ravi Phase, circa 3300 BC."

***

A random internet user of dubious credibility left a comment on a forum saying that Dr. Jean-François Jarrige (who excavated Mehrgarh from 1974-1986) found swastikas on ceramics during the excavations at Mehrgarh,[87] although I have been unable to confirm this. If it is true, it is probably illustrated in some publication by Jarrige. If the Harappan Civilization ceramics sold at auction (mentioned in a previous section) can be assumed to be authentic, then it would not be surprising for Jarrige or other archaeologists to have described such artifacts.

Part 3. Swastikas with doubtful date ranges

This section contains artifacts which have been claimed to be considerably old, but further research has indicated the date ranges are unlikely to be accurate.

Ancient Egyptian artifact?

In 2006, German sociologist and journalist Lorenz Jäger published a book titled "Das Hakenkreuz".[190] In the following book review,[191] it appears the book contains the claim that the oldest swastika is from Egypt in 12,000 BC. I have not found a copy of the book to examine the claim, but it seems unlikely to me. The oldest dated Ancient Egyptian swastikas come from around ~2500-2050 BC. The Early Dynastic Period of Egypt began only around 3150 BC, making 12,000 BC highly improbable.

"Das Hakenkreuz ist eines der ältesten Symbole der Menschheit. Es findet sich bereits auf 14.000 Jahre alten Darstellungen in Ägypten. Lorenz Jäger geht in seinem Buch „Das Hakenkreuz“ der Geschichte dieses Zeichens nach und klärt, wie aus einem Symbol für Lebenskraft und Fruchtbarkeit ein Symbol für Terror und Massenmord wurde.

[...]

Die Swastika ist eines der ältesten Symbole der Menschheit und findet sich schon vor 14.000 Jahren in einer ägyptischen Darstellung."

"The swastika is one of humanity's oldest symbols. It can already be found on depictions in Egypt that are 14,000 years old. In his book “The Swastika,” Lorenz Jäger explores the history of this symbol and explains how a symbol of vitality and fertility became a symbol of terror and mass murder.

[...]

The swastika is one of humanity's oldest symbols and was found in an Egyptian depiction 14,000 years ago."

Lakh Mazar, Iran, stone carving

Wikipedia mentions a swastika found at Lakh Mazar, near Kooch, eastern Iran, allegedly dating to around 5000 BC. I have not yet found a research paper dating this swastika. Shirazi (2016)[35] cites Labaf Khaniki (1994) as discussing the Lakh Mazar site, but notes that the article is in the Farsi language.

The swastikas at Tall-e Bakun in south-central Iran date from around ~5450-4100 BC, so the Lakh Mazar swastika could conceivably be quite old. However, given that Lakh Mazar is in eastern Iran, I suspect a more accurate date range for the oldest this petroglyph could possibly be is ~3550-2800 BC—the same date range of the swastikas from the Helmand Civilization, which overlapped this region. It could also be much more recent.

As Encyclopædia Iranica explains,[149] Lakh Mazar is not a single stone, but a series of rocky gorges with many petroglyphs. Moreover, there are numerous documented carvings from the 5th century AD to the 1700s.

"LĀḴ-MAZĀR “Rocky sacred place (?),” name applied to gorges not far from the settlement of Kuč, 29 km southeast of Birjand in Khorasan Province (ostān). For the name, compare Pers. sanglāḵ “stony place, gorge of stones,” dīwlāḵ “dwelling of div” (q.v.), rūd lāḵ “river bed.” In April 1992 Iranian scholar-archeologists, students of local lore, and linguists working in the Department of Cultural Heritage of Khorasan Province investigated rock inscriptions and petroglyphs there (the results were published in 1994; see Ḵāniki and Baššāš).

Through the gorges of Lāḵ-Mazār runs the road from Khorasan to Kerman. Travelers have left on the rocks numerous inscriptions: Arabic (Kufic and later, 35 inscriptions in all, some of them with dates of the lunar Hijra calendar, from the 9th to the 18th century); New Persian (8 inscriptions, all of them very brief; see Ḵāniki), containing personal names and Qurʾanic formulas (only in Arabic); and Parthian, more lengthy ones. Rajab ʿAlī Labbāf-e Ḵāniki (p. 22) mentions 80 Parthian and Middle Persian inscriptions, but on the photographs and tracings (Ḵāniki and Baššāš, pp. 40-43) one can find only one Middle Persian inscription and six Parthian. On the tracings there are about 40 Parthian inscriptions, but the tracings are very inaccurate, and in most cases it is difficult to set boundaries between the inscriptions.

The authors of the publication date the Parthian inscriptions to the fifth century."

Until I am able to find more conclusive dating on the specific site, and the swastika petroglyph itself, I will consider 5000 BC to be an exaggerated date.

Rock carving from Lakh Mazar, Iran, showing swastika.
Figure 163.
Rock carving from Lakh Mazar, Iran, showing swastika.
Figure 164.

Images of the Lakh Mazar swastika posted on Wikipedia.[147][148]

Gegham mountains, Armenia, petroglyphs

English-language Wikipedia claims swastika petroglyphs in the Gegham mountains of Armenia date to 8000-5000 BC. This claim was added on December 18, 2022.[132]

The paper cited on Wikipedia (Tokhatyan (2015))[133] admits none of the carvings have been precisely dated. The swastika petrogylph is not even discussed in the text (let alone dated). It appears on page 203 along with images of other swastikas and swastika-like motifs. The photographer of the swastika petrogylph is not specified in the paper, but it appears to be the author of the paper, who later uploaded the photo to Wikipedia in 2017.[134]

In the paper, dating was done using comparative analysis with symbols found in other contexts. Ancient rock carving in Armenia is said to have taken place from the 7th to 1st millennium BC (7000 BC - 1 BC).

"Dating.

Commonly scientists have used comparative biological, geological, archaeological methods and complex studies for age determination in general. In case of engraved images their precise dating is extremely difficult, since it is impossible to apply traditional well-known methods of natural sciences (radiocarbon dating, dendrochronology, pigment, spectral, palaeomagnetic, pollen, ultrasonic, collagen analyses, etc.). The achievements of contemporary Rock-art investigations have not managed to develop a precise dating of rock-carving yet.

Consequently, the only methods are relative-comparatives, based on the analysis of content, style and technique of drawing with other archaeological monuments: nearby structures (settlement, burial place) and artifacts found nearby (tools, weapons, ornaments, pattern, and painting on ceramics). These historical-cultural comparisons give too approximate evaluations and indicate the age with accuracy up to 1-2 thousand years, and then indirectly.

Thus, it is admitted that the era of our ancestors' rock-carving activity has lasted from VII up to the I millennium BC."[133]

Furthermore, the abstract specifies:

"Rock-art in Armenia began in the Neolithic period, reaching its peak during the Bronze Age."[133]

In fact, the Armenian-language Wikipedia page for the swastika[135] mentions that it is one of the major symbols of the Armenian Bronze Age period, and does not make the claim that Armenian swastikas date back to 8000-5000 BC:

"Հայկական բարձրավանդակում հանդիպում է հնագույն ժայռապատկերներում, այնուհետև, լինելով բրոնզե դարի հիմնական զարդանախշերից, պատկերվել է զանազան առարկաների (կավամաններ, բրոնզե գոտիներ, գնդասեղներ և այլ) վրա, հաճախ պատրաստվել է կախազարդի ձևով (բրոնզից, ծարիրից)՝ որպես առանձին զարդ (Լոռի և այլուր)։"

(Google translate version):

"It is found in ancient petroglyphs in the Armenian plateau, then, being one of the main ornaments of the Bronze Age, it was depicted on various objects (pots, bronze belts, pins, etc.), often made in the form of a pendant (from bronze, envelope) as a separate ornament (Lori and elsewhere)."

The Bronze Age (~3300 - 1200 BC) was a time of massive cultural exchange and migrations, and it seems probable that, at the earliest, the swastikas were carved during this time period.

Telangana state, India, rock paintings

In an interview, Dr. Satyanarayana Dyavanapalli claimed that swastikas in Telangana rock art dated back over 20,000 years.[136] He also made some other bizzare claims like the swastika in the Americas being adopted directly from India.

He admits the swastikas themselves have not been precisely dated using chemical analyses or other means, immediately casting doubt on the spectacular age claim.

"Dr Satyanarayana Dyavanapalli, Researcher and Curator of Nehru Centenary Tribal Museum, Hyderabad who is undertaking exploration of rock sites asserts Swastika symbols found in Telangana rock caves are much older than the normally believed the world over.

“It is so far believed Swastika was painted for the first time at Mezine in Ukraine between 10,000 and 13,000 years ago. But recent efforts of the Ministry of Human Resource Development called Sandhi revealed the symbol was adopted by the Americas from India,” he told Deccan Chronicle.

He added, “Contextually, the motif of swastika is found in several rock art sites in Telangana State.”

Swastika in Red Ochre was found in Pargaraigundu of Kanchanapalle village of Medak district, Gandhari Khilla, a monolithic rock located 5 kms from Mancherial, Chittaraiah Gundu in Amaragiri village limits near Kollapur in Jogulamba-Gadwal district, Aksharaala Loddi in Palvancha of Bhadradri district.

“Going by the preliminary studies and collaborative evidence of kind of tools, implements pre historic people used, it is clear that these Swastika symbol paintings are much older say 20,000 years and more than those found in Mezine in Ukraine and other parts of the world,” he explained.

Dr Sathyanarayana said it’s not a big task to ascertain correct age of the symbols if it’s undertaken by CCMB. “I cannot personally afford to spend Rs 2 lakh to get the DNA of these Swastika paintings. I wish the government takes action since it has huge historical value,” he said."[136]

While I don't doubt that the oldest human activity at such caves and archaeological sites may genuinely be that old, it's doubtful that the swastika is that old.

Throughout the world, cave and rock art sites were used for thousands of years, so dating the age of all the rock art to the oldest possible occupation of the site is unreasonable. Indeed, he mentions that people in the region to this very day make similar art!

In the second half of the interview, he says most of the paintings are from 3000 BC - 300 AD, which is a much more reasonable date range, considering that the swastika had entered the Indus Valley Civilization by approximately 2800 BC.

"Several rock paintings were recently unearthed in the hills of Daasarlapalli in Mulug mandal of Siddipet district, about 40 km from Hyderabad on the Rajiv Rahadari by Dr D. Satyanarayana, curator, Nehru Centenary Tribal Museum here.

He found 10 caves with rock paintings at Daa-sarlapalli which were in satisfactory condition. Most paintings were red ochre in colour. He found 10 prehistoric rock art sites in a cluster in a 4-sq km area in Yadaram of Medchal district.

“Looks like the cave man first whitewashed the place, crushed ochre pigment stone into powder, mixed it with water resulting in acidification and red,” he said.

“I found paintings of things the people saw, around like ox, cow, calves, birds, bow and arrow, horned buck, wild sheep, cheetah, nilgai, buffalo, elephant, deer, antelope, porcupine, monitor lizard, fish, tiger, lion, funeral rites, sexual activity, geometric designs, swastika and the likes. Most rock paintings are from the Neolithic (3000 to 1000 BCE) and Megalithic (1000 BCE to 300 AD) ages and some after 300 AD,” he said.

Koya tribals of North Telangana practice the white painting tradition “Chluiku” even today in their homes. All rock paintings found in the surroundings of Daasar-lapalli except one cave are painted on whitewashed surfaces.

Dr Satyanarayana has explored 23 sites till date in Rachakonda, Aksha-raala Doddi, Ramagiri Khilla, Dongalagutta, Mannemkonda, Amaragiri Kota, Kothha Chitthaarayya, Paatha Chitthaarayya, Laalgadi Malakpet, Narsugutta, Daasarlapalli, Devatala Doddi, Pedda Aadiraala, Koulas, Bhuvanagiri, De-varkonda, Jaafargadh, Gonthemma Kollu, and Pandavula gutta in Medchal, Bhuvanagiri, Ranga Reddy and Mahbubnagar districts."[137]

C R Gowri Shanker, the author of the above articles, included a picture of one of the "swastikas." I think it is questionable whether the symbol in this particular photo is even a swastika, although I will give the benefit of the doubt that at least one of the sites described by Dyavanapalli does indeed have a swastika.

Rock painting from Telangana, India, said to be a swastika.
Figure 165.


Dr. Navuluri Chandramouli, a specialist in south Indian rock art, wrote that swastikas in Telangana rock art appear after the end of the Iron Age, in the early historic and medieval periods.[138]

"This iron age art is almost exclusively petroglyphic in content. In the final phase of the rock paintings and engravings painted inscriptions, religious symbols,horse and elephant riding human with swords and shields, religious symbols such as swastika, eternal knot etc., narrative scenes of human processions indicate the historic period both early and medieval."

According to the periodization of Indian history on Wikipedia,[139] the Classic Period proceeding the Iron Age lasted from c. 200 BC - 650 AD. The Medieval period stretched from c. 650 AD to the early 1500s.

Pedra Pintada, Roraima state, Brazil, petroglyph

The blog SvastiCross posted the following image and description,[140] allegedly of the Pedra Pintada rock art in the state of Roraima, Brazil.

Swastika said to be from Pedra Pintada, Roraima, Brazil.
Figure 166.

"According to Prof. Marcel F. Homet this petroglyph is named by the native Brazilian people the ‘SONS OF THE SUN’.
These symbols are engraved in brazilian megalithic stone in Pedra Pintada, northern Amazon River basin of Brazil, discovered in 1963 by the french archaeologist Prof. Marcel F. Homet.
The petr0glyphs are estimated to be at least 10,000-years-old."[140]

Marcel Homet's work on Brazil appears to be largely pseudo-archaeology with wild claims, and I am unable to find much more information on this specific piece of rock art.

Wikipedia states the following about the Pedra Pintada site:[141]

"During a study and excavations taking place between 1985 and 1987, Brazilian archaeologists came to the conclusion that the site has been inhabited since 2000 BC.[2]

[2] Ribeiro, Pedro A. Mentz et al. "Projeto Arqueológico de Salvamento no Territorio Federal de Roraima" (1986, 1987 1989) Cepa (Santa Cruz do Sul) 13 (16): 5-48; 14 (17): 1-81; 16 (19): 5-48-"[142]

...And just because the oldest occupation at the site is 2000 BC doesn't mean the swastika is that old.

According to Wikipedia,[143] the Caverna da Pedra Pintada in the state of Pará, Brazil was used by humans dating back 11,200 years. Perhaps this is why the SvastiCross blog gave such an ancient date.


If you know anything about this swastika or the Pedra Pintada site in general, feel free to leave a comment on the discussion post for Native American swastikas:
https://aryan-anthropology.blogspot.com/2021/04/native-american-swastikas-discussion.html

Part 4. Objects incorrectly claimed to be swastikas

In this article, we have attempted to be exhaustive with our search for all artifacts and objects claimed to be among the world's oldest swastikas. A few of these artifacts were clearly not swastikas, and we must therefore address these misconceptions.

Mezine, Ukraine, mammoth tusk carving

The most pervasive claim of the world's oldest swastika is that the symbol was found on a carved mammoth tusk from Mezin, Ukraine (commonly spelled "Mezine" in online sources).

The artifact in question is a single bird effigy, which has a number of different motifs carved onto it. The motif which is claimed to be a "swastika" is actually adjacent bands of zig-zag meanders.

Our examination of the artifact shows that (1) illustrations in books claiming it is a swastika exaggerate the connectivity of the meanders; (2) these illustrations omit how the meander pattern continues beyond the section that is claimed to be a "swastika"; (3) the geometry of the meanders is not arranged in a swastika-like manner (i.e. it does not have four-fold rotational symmetry); and (4) dozens of other artifacts were found at the site with similar—more clearly drawn—meander patterns, yet no one ever claims these are "swastikas".

Read our analysis below, and please correct people when they repeat this misconception.

https://aryan-anthropology.blogspot.com/2020/08/the-mezine-carving-is-not-swastika.html

Turgay, Kazakhstan, geoglyphs

Some news articles have published the claim that there are geoglyphs or earthworks in the region of Turgay (Turgai/Torgay) in Kazakhstan that are in the shape of a swastika. The most notable of these earthworks is said to be the "Turgay Triradial Swastika". Peculiarly, all the images on these articles show a triskelion—a motif with only three "arms". Upon further research, this triskelion is the so-called "swastika"!

By definition, a swastika has four "arms". A tri-radial object has only three "arms" and hence can never be a swastika.

The main reason I put the geoglyphs on this page is because the person who first noticed the geoglyphs has been claiming they could date to 6000 BC. He discovered them by looking at aerial images and does not have a background in archaeology. The archaeologists who actually excavated and studied the geoglyphs explicitly said they cannot be that old, and that one of the mounds dates from the beginning of the Iron Age in Kazakhstan, around 800 BC. An older article by these archaeologists stated other geoglyphs could be as recent as the Middle Ages.

While the archaeologists provide a reasonable date to the earthworks, they also use the term "Turgay Triradial Swastika" and call another triskelion geoglyph a "swastika"! In this situation, I suspect sloppy scholarship and translation issues are not to blame, but rather Russian state propaganda which holds that the Russian steppe region is the nucleus of "Aryan" culture and the swastika.

Read our analysis of the Turgay Triskelion geoglyphs, and the rationale for suspecting that mislabelling it as a "swastika" is being done for propaganda purposes, below.

https://aryan-anthropology.blogspot.com/2023/07/turgay-triradial-swastka-is-a-triskelion-not-swastika.html

Summary and Conclusion

In conclusion, the oldest swastika for which we have been able to find reputable archaeological evidence belongs to the Samarra culture, dating to around ~6200-5800 BC. In the following millennia, the swastika followed the spread of Neolithic farming populations into the Danube Basin and surrounding regions. At the same time, the swastika appears western and central Iran. By the 3rd millennium BC (3000-2000 BC), the swastika becomes common throughout eastern Iran, the Indus Valley Civilization, the Namazga culture of Turkmenistan, and western China, perhaps as a result of cultural exchange between agricultural societies. In addition, by the mid-to-late 3rd millennium BC, the swastika's presence begins in ancient Egypt, perhaps developing independently despite millennia of cultural and genetic exchange with Fertile Crescent cultures.

Within these cultures, both left-facing, right-facing, and rotated swastikas were used. This demonstrates once and for all that the often-repeated claim that there is some innate difference depending on the swastika's orientation is a superstition with no basis. Specific customs, within specific cultures, during specific time periods may have assigned some distinct meaning to a swastika based on its orientation, but this absolutely cannot be generalized to other cultures or other time periods!

Through this research, we have once and for all shown that the swastika was a common symbol among numerous agricultural societies during the Neolithic, Chalcolithic, and Early Bronze Age. In other words, the swastika is a universal Aryan symbol to which Neo-Nazis, Vedic junkies, and other tribalists have no claim.

Right-facing black swastika on a white background, rotated 45 degrees.

References

[1] Dbachmann. (October 5, 2010). File:Samarra bowl.jpg. Wikipedia.
https://en.wikipedia.org/wiki/File:Samarra_bowl.jpg

[2] Ernst Herzfeld. (1930). Die Ausgrabungen von Samarra. Band (Volume) 5: Die vorgeschichtlichen Töpfereien von Samarra. Berlin: Dietrich Reimer.

[3] Stanley A. Freed. (1981). Research Pitfalls as a Result of the Restoration of Museum Specimens. Annals of the New York Academy of Sciences, 376: 229-245.

[4] Robert J. Braidwood, Linda S. Braidwood, Edna Tulane, and Ann L. Perkins. (1944). New Chalcolithic Material of Samarran Type and Its Implications: A Report on Chalcolithic Material of the Samarran Type Found at Baghouz on the Euphrates, and a Reconsideration of the Samarran Material in General (Especially the Painted Pottery) in the Light of This New Material. Journal of Near Eastern Studies, Vol. 3, No. 1 (Jan., 1944): 47-72.

[5] John Prince Loewenstein. (1941). The Swastika; Its History and Meaning. Man, Vol. 41 (May-Jun., 1941): 49-55.

[6] Aleksandar Palavestra. (2017). All Shades of Gray: The Case of "Vinca Script". Archaica, 5. pg. 145-165.
https://www.academia.edu/36456625/ALL_SHADES_OF_GRAY_THE_CASE_OF_VIN%C4%8CA_SCRIPT_Archaica_5_2017_143_165

[7] Nenad Tasić, Miroslav Marić, Christopher Bronk Ramsey, Bernd Kromer, Alistair Barclay, Alex Bayliss, Nancy Beavan, Bisserka Gaydarska, and Alasdair Whittle. (2016). Vinča-Belo Brdo, Serbia: The times of a tell. Germania, 93(1): 1-75.
https://journals.ub.uni-heidelberg.de/index.php/germania/article/view/32316
https://doi.org/10.11588/ger.2015.32316
https://www.researchgate.net/publication/310142648_Vinca-Belo_Brdo_Serbia_The_times_of_a_tell

[8] Nenad Tasić, Miroslav Marić, Dragana Filipović, Kristina Penezić, Elaine Dunbar, Paula Reimer, Alistair Barclay, Alex Bayliss, Bisserka Gaydarska, and Alasdair Whittle. (2016). Interwoven Strands for Refining the Chronology of the Neolithic Tell of Vinča-Belo Brdo, Serbia. Radiocarbon, 54(4): 1-37.
https://www.researchgate.net/publication/307528585_Interwoven_Strands_for_Refining_the_Chronology_of_the_Neolithic_Tell_of_Vinca-Belo_Brdo_Serbia

[9] Nenad Tasić, Miroslav Marić, Kristina Penezić, Dragana Filipović, Ksenija Borojević, Nicola Russell, Paula Reimer, Alistair Barclay, Alex Bayliss, Dušan Borić, Bisserka Gaydarska, and Alasdair Whittle. (2015). The end of the affair: Formal chronological modelling for the top of the Neolithic tell of Vinča-Belo Brdo. Antiquity, 89(347): 1064-1082.
https://www.researchgate.net/publication/282698752_The_end_of_the_affair_Formal_chronological_modelling_for_the_top_of_the_Neolithic_tell_of_Vinca-Belo_Brdo

[10] Jovan Todorović and Aleksandrina Cermanović. (1961). Banjica. Naselje vinčanske kulture. Beograd. Muzej grada Beograda. (Тодоровић, Јован и Александрина Цермановић, 1961. Бањица. Насеље винчанске културе. Београд: Музеј града Београда.)

[11] Jovan Todorović. (1969). Written signs in the Neolithic cultures of southeastern Europe. Archeologia Iugoslavica, 10: 77-84.

[12] Sabin Adrian Luca, Tiberiu Bogdan Sava, Maria Ilie, Andreea Dima, Daniela Pascal, Gabriela Sava, Cristian Mănăilescu, Florentin Perianu, Raluca Teodorescu, and Adrian Luca. (2020). Radiocarbon Data from the Turdaș-Luncă Archaeological Site (Preventive Research of the Year 2011) (V) Absolute Chronology of Turdaș Culture in its Eponym Site. Brukenthal. Acta Musei, XV. 1: 7-38.
https://www.researchgate.net/publication/345975077_Luca_et_al_Radiocarbon_Data_from_the_Turdas-Lunca_Archaeological_Site_Preventive_Research_of_the_Year_2011_V_Absolute_Chronology_of_Turdas_Culture_in_its_Eponym_Site

[13] Sabin Adrian Luca, Cosmin Ioan Suciu, and Adrian Luca. (2009). Incised amulet from Turdas-Lunca archaeological excavation. The Danube script: Neo-Eneolithic 'writing' in Southeastern Europe. Proceedings "Signs and symbols from Danube Neolithic and Eneolithic"; May 18-20, 2008: International Symposium, Sibiu, Romania. Biblioteca Brukenthal, XXXV: 67-76.
https://www.academia.edu/2514663/Sabin_Adrian_LUCA_Cosmin_Ioan_SUCIU_Adrian_LUCA_Incised_Amulet_from_Turda%C8%99_Lunc%C4%83_Archaeological_Excavation

[14] Cosmin Ioan Suciu. (2015). Metodologia analizei post-săpătură a sitului de la Turdaş (I). Câteva observaţii legate de modalitatea de publicare şi interpretare a sistemului de fortificare. Analele Banatului, S.N., Arheologie - Istorie, XXIII: 51-62.
https://www.researchgate.net/publication/323772921_Metodologia_analizei_post-sapatura_a_sitului_de_la_Turdas_I_Cateva_observatii_legate_de_modalitatea_de_publicare_si_interpretare_a_sistemului_de_fortificare

[15] Shan M. M. Winn. (2003). The Old European Script. Further evidence. Prehistory Knowledge Project. Page 11 of 11.
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Article version 3. Last updated 2023.
Originally published 2021.

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