Although it is fairly obvious that this GD is composed from a stylized GD35 and a variant of GD51
it is so common as to deserve a separate GD. In Tahua the stylization of the left part in GD72 has gone further, as in Aa4-73, Aa4-77 and Ab7-15:
On 'the other hand' we can see more naturalistic hands in some of the complex glyphs, as in Ab7-12 (GD11) and Aa6-11 (GD15):
Although it is the thumb which is 'fruitful', there are a few exceptions. In Aa5-51 and Ab6-9 we see other pictures:
Dubious cases where I have classified the glyph as GD72 are the strange Aa3-76 and Aa6-27:
Hyperlinks lead to GD51 and GD64 which also seem to show 'fruits' hanging down:
Aruku Kurenga (B) In Ba1-44 and Ba9-49 the hanging down 'fruit' appears attatched directly on the 'arm':
Mamari (C) Cb1-16 has GD37 as a 'fruit':
In Cb5-17 the 'fruit' seems to be GD49, while in Cb14-14 the 'fruits' are two fishes:
Échancrée (D) Db3-103 is a complex glyph including GD72:
Keiti (E) Ea4-35 somewhat resembles Cb1-16:
The rest of the texts The texts above have been used as a kind of 'test ground' to see if the definitions could be used. For the rest of the texts the same principles have been used, although less stringently. The experiences gained have been relied upon rather than what is written above about what characterizes the glyph type. There may be a few extra glyph added, which would not have been so with a strict application of the written definitions. On the other hand there has been no attempt to ignore glyphs which according to the written definitions ought to belong to the glyph type. |