human figure at the centre seated on a platform and facing forward. The legs of the figure are bent at the knees with the heels touching and the toes pointing downwards. The arms extend outwards and rest lightly on the knees, with the thumbs facing away from the body. Eight small and three large bangles cover the arms. The chest is covered with what appear to be necklaces, and a double band wraps around the waist. The figure wears a tall and elaborate headdress with a central fan-shaped structure flanked by two large striated horns. The human figure is surrounded by four wild animals: an elephant and a tiger to its one side, and a water buffalo (bubalus arnee) and an Indian rhinoceros on the other. Under the dais are two deer or ibexes looking backwards, so that their curved horns almost meet in the centre. At the top of the seal are seven Indus script symbols, with the last apparently displaced downwards for lack of horizontal space. Post-excavation history The finds from Mohenjo-daro were initially deposited in the Lahore Museum, but later moved to the ASI headquarters at New Delhi, where a new "Central Imperial Museum" was being planned for the new capital of the British Raj, in which at least a selection would be displayed. It became apparent that Indian independence was approaching, but the Partition of India was not anticipated until late in the process. The new Pakistani authorities requested the return of the Harappan pieces excavated on their territory, but the Indian authorities refused. Eventually an agreement was reached, whereby the finds, totalling some 12,000 objects (most sherds of pottery), were split equally between the countries; in some cases this was taken very literally, with some necklaces and girdles having their beads separated into two piles. In the case of the "two most celebrated sculpted figures", Pakistan asked for and received the so-called Priest-King figure, while India retained the much smaller Dancing Girl, and also the Pashupati seal. Interpretations Marshall's identification with proto-Shiva The first description and analysis of the seal's iconography was that of the archaeologist John Marshall who had served as the Director-General of the Archaeological Survey of India and led the excavations of the Indus Valley sites. In addition to the general features of the seal described above, he also saw the central figure as a male deity; as three-faced, with a possible