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The latter, in setting down the products of Are's memory, wrote for the most part phonetically; but sometimes, finding that method too cumbersome, he had recourse to the ideographic language, with which he was familiar.
In contemplating them we are led to inquire into the nature of the forces concerned in the accomplishment of such results. The question arises as to exactly how much of the segregating and aggregating forces or tendencies belongs to the technique of the art and how much to the direct esthetic supervision of the human agent, questions as to ideographic influence being for the present omitted.
The Egyptians, in expressing their ideas in writing, used three different kinds of characters phonetic, ideographic and symbolic placed either in vertical columns or in horizontal lines, to be read from right to left, from left to right, as indicated by the position of the figures of men or animals.
While it seeks to explain the syllabic values of the signs on the general principle that they represent elements of Babylonian words, truncated in this fashion in order to answer to the growing need for phonetic writing of words for which no ideographs existed, it is difficult to imagine, as Halévy's theory demands, that the "ideographic" style, as found chiefly in religious texts, is the deliberate invention of priests in their desire to produce a method of conveying their ideas that would be regarded as a mystery by the laity, and be successfully concealed from the latter.
These and many other sculptures caused me to suspect that this monument had been the mausoleum raised to the memory of the warrior with the shield covered with the round dots. I took it for the totem of his wife, MOÓ, macaw; and so it proved to be when later I was able to interpret their ideographic writings.
I perceive that upon the sliding doors, or immediately above the principal entrance of nearly every house, are pasted oblong white papers bearing ideographic inscriptions; and overhanging every threshold I see the sacred emblem of Shinto, the little rice-straw rope with its long fringe of pendent stalks.
By a play upon his name, resting upon an arbitrary division of Anshar into An and Shar, the deity becomes the 'one that embraces all that is above. The element An is the same that we have in Anu, and is the 'ideographic' form for 'high' and 'heaven. Shar signifies 'totality' and has some connection with a well-known Babylonian word for 'king. The natural consort to an all-embracing upper power is a power that 'embraces all that is below'; and since Ki is the ideographic form for 'earth, it is evident that Ki-Shar is a creation of the theologians, introduced in order to supply Anshar with an appropriate associate.
So, also, the Mayas in their writings employed phonetic, symbolic and ideographic signs, combining these often, forming monograms as we do to-day, placing them in such a manner as best suited the arrangement of the ornamentation of the façade of the edifices.
The name of this deity has been the subject of much discussion. For a full discussion of the subject with an account of the recent literature, see an article by the writer in The American Journal of Semitic Languages and Literatures, xii. 159-162. Arising perhaps after Im came into use as the ideographic form. Proc. Soc. Bibl. Arch., xi. 173-174 and pl. 1, col. i. 7. See p. 145 and also p. 161.
The color is a dark gray-brown. The entire surface, with the exception of a narrow band about the base, has been covered with ornamentation. This is executed with considerable care, and shows a great deal of ingenuity and some taste. There is apparently no feature copied from nature or from ideographic art. Two or three distinct implements have been used.
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