This note is a tenth sequel to the work: Philosophy of symbolic forms in Meluhha cipher.
See the first to ninth sequels at:
1.http://bharatkalyan97.blogspot.in/2014/04/meluhha-metallurgy-hieroglyphs-of.html Meluhha metallurgy: hieroglyphs of pomegranate, mangrove date-palm cone (raphia farinifera), an elephant's head terracotta Nausharo, Sarasvati civilization
2.http://bharatkalyan97.blogspot.in/2014/04/ant-twisted-rope-and-other-meluhha.html Twisted rope, ant and other Meluhha hieroglyphs on Ancient Near East and Indian seals3.http://bharatkalyan97.blogspot.in/2014/04/perforated-plaques-of-tello-lagash.html Perforated plaques of Tello, Lagash, Sumerian artifacts, and Meluhha hieroglyphs 4.http://bharatkalyan97.blogspot.in/2014/04/zimrilims-palace-mural-painting-and.html Zimrilim's palace mural painting and Meluhha hieroglyphs (Compliments to Jack M. Sasson) 5. http://bharatkalyan97.blogspot.in/2014/04/tin-road-assur-kanesh-trade.html Tin road -- Assur-Kanesh -- trade transactions and Meluhha hieroglyphs6. http://bharatkalyan97.blogspot.in/2014/04/revisiting-cire-perdue-in.html Revisiting cire perdue in archaeological context and Meluhh7. http://bharatkalyan97.blogspot.in/2014/04/revisiting-ayo-ayas-barbar-temple-seals.html Revisiting ayo, ayas, Barbar temple seals, dhokra kamar, 'cire perdue' specialists and Meluhha hieroglyphs8. http://bharatkalyan97.blogspot.in/2014/04/representations-of-metallurgical.html Representations of metallurgical processes in Meluhha hieroglyphs 9. http://bharatkalyan97.blogspot.in/2014/04/meluhha-hieroglyphs-on-cylinder-and.html Meluhha hieroglyphs on cylinder and other seals of Bronze Age Three hieroglyph motifs can be readily identified to demonstrate the continuity of representation of the motifs on seals from Meluhha to Ancient Near East. The three motifs are the following which are explained as rebus readings of Meluhha glosses:1. Overflowing water from a vase Hieroglyphs: lo'pot overflow' kāṇṭam'water' Rebus: lo 'copper' khāṇḍā 'tools, weapons'2. Six hair-curls Hieroglyphs: āra ‘six’, ‘rings of hair’ Rebus: āra 'brass'. 3. One-eyed person Hieroglyphs: kāṇa 'one-eyed' Rebus: kaṇṇahāra -- m. ʻhelmsman, sailor’. kannār 'coppersmiths'.Meluhha settlements in Mesopotamia of the Bronze Age are attested in cuneiform texts. There is a possibility that some of the hieroglyphs deployed on cylinder seals of Mesopotamia were based on Meluhha cipher: that is, Meluhha hieroglyphs rendering rebus as Meluhha glosses to denote stone-/metal-artefacts.A number of cylinder seals are presented from Ward, William Hayes,1910, The cylinder seals of western Asia, Carnegie Institute of Washington, Publication No. 100 Рипол Классик wich has 1315 illustrations.![]()
m1656 Mohenjodro Pectoral. kāṇṭam காண்டம் kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). <kanda> {N} ``large earthen water ^pot kept and filled at the house''. @1507. #14261.(Munda) Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi) http://bharatkalyan97.blogspot.in/2014/04/zimrilims-palace-mural-painting-and.html
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On this cylinder seal, the 'hero' is shown with six circles, curls (?) on his hair. Length: 4.120 cm. Diameter: 3.650 cm. Early dynastic period ca. 2700 BCE.
Source: http://www.britishmuseum.org/explore/highlights/highlight_objects/me/w/calcite_seal,_combat_scene.aspxhttp://bharatkalyan97.blogspot.in/2011/11/sit-shamshi-bronze-glyphics-compared.html
m1656 Mohenjodro Pectoral. kāṇṭam காண்டம் kāṇṭam, n. < kāṇḍa. 1. Water; sacred water; நீர். துருத்திவா யதுக்கிய குங்குமக் காண் டமும் (கல்லா. 49, 16). <kanda> {N} ``large earthen water ^pot kept and filled at the house''. @1507. #14261.(Munda) Rebus: khāṇḍā ‘metal tools, pots and pans’ (Marathi) http://bharatkalyan97.blogspot.in/2014/04/zimrilims-palace-mural-painting-and.html
Source: http://www.britishmuseum.org/explore/highlights/highlight_objects/me/w/calcite_seal,_combat_scene.aspxhttp://bharatkalyan97.blogspot.in/2011/11/sit-shamshi-bronze-glyphics-compared.html
m0308 Mohenjodaro seal. Person grappling with two flanking tigers standing and rearing on their hindlegs. Comparable to the Mesopotamian cylinder seal (BM 89538), this Indus seal depicts a person with six hair-knots. kaṇṇahāra -- m. ʻhelmsman, sailor’. ( काणkāṇa‘one-eyed’, āra‘six’, ‘rings of hair’ symbolic forms). kannār 'coppersmiths'; kan 'copper'. arye 'lion' Rebus: āra 'brass'.
One-Eyed Hero with Lions Flanked by Enclosures Iran (?) (ca. 3100 B.C.E) 50 x 40 mm Seal No. 4"Seal 4 presents as its central figure a cyclopic hero holding lions. The rest of the scene includes animals, pots, and other types of containers, as well as a human figure and two lion-headed eagles, all apparently meant to be within an inclosure indicated by two stockade-like frames. A related theme is found in a fragment of a vase from Khafajah.... The nude bearded hero seen in 4 remained a stock figure of the Mesopotamian repertory, aapearing for the most part in contst scenes. The cyclopic version of this figure in 4 is paralleled in only one other instance, an Early Dynastic seal impression from Fara (ancient Shuruppak). A plaque from Khafajah of some thousand years later shows a cyclopic demon whose head has the form of a sun. Because of the wide gap in time, however, there is no assurance that the hero in 4 is to be associated in any manner with this figure."--Porada, CANES, p. 3Center: nude one-eyed hero holding two reversed lions, two more lions forming pyramid above him -- Left: section of inclosure containing sheep, latter between two pots, with lion-headed eagle perched on head of sheep; basket, pouch(?), fish, and bird in upper field -- Right: sheep-headed demon grasping pole of second section of inclosure; within latter, human figure(?) with upturned curls holding in outstretched hands indefinable curved object marked by vertical incisions; lion-headed eagle above horns of sheep-demon; crib(?) in upper field.
| Cylinder unperforated; in both top and bottom shallow central cavity and outer circle of small depressions."Seal 4 presents as its central figure a cyclopic hero holding lions. The rest of the scene includes animals, pots, and other types of containers, as well as a human figure and two lion-headed eagles, all apparently meant to be within an inclosure indicated by two stockade-like frames. A related theme is found in a fragment of a vase from Khafajah.... The nude bearded hero seen in 4 remained a stock figure of the Mesopotamian repertory, aapearing for the most part in contst scenes. The cyclopic version of this figure in 4 is paralleled in only one other instance, an Early Dynastic seal impression from Fara (ancient Shuruppak). A plaque from Khafajah of some thousand years later shows a cyclopic demon whose head has the form of a sun. Because of the wide gap in time, however, there is no assurance that the hero in 4 is to be associated in any manner with this figure."--Porada, CANES, p. 3 http://www.themorgan.org/collections/collections.asp?id=789 Some hieroglyphs which recur on Ancient Near seals and their Meluhha rebus readings are: bull-man, bullḍangar 'bull' read rebus ḍhangar 'blacksmith'; ṭagara 'ram' Rebus: damgar 'merchant' (Akkadian) ṭhakkura, ‘idol’, ṭhākur ʻ blacksmith ʼ, ṭhākur m. ʻmaster’.ḍhangar ‘blacksmith’. tiger kol 'tiger' Rebus: kol 'working in iron' lion arye 'lion'āra 'brass' aquatic bird karaḍa ‘aquatic bird, duck’ Rebus: karaḍa 'hard alloy' eagle eraka 'eagle' Rebus: erako 'moltencast copper buffalo கண்டி kaṇṭi , n. 1. Buffalo bull Rebus: Pk. gaḍa -- n. ʻlarge stoneʼ? (CDIAL 3969) six hair-curlsāra 'six curls' Rebus: āra 'brass' face mũh ‘face’ Rebus: mũh ‘ingot’. stag karuman 'stag' karmara 'artisan' antelope melh 'goat' Rebus: milakkhu 'copper' calf khoṇḍ 'young bull-calf' Rebus khuṇḍ '(metal) turner'. scorpion bica ‘scorpion’ (Assamese) Rebus: bica ‘stone ore’ stalk daṭhi, daṭi 'stalks of certain plants' Rebus: dhatu ‘mineral.kāṇḍa काण्डः m. the stalk or stem of a reed. Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’. twig kūdī ‘twig’ Rebus: kuṭhi ‘smelter’ fish ayo 'fish' Rebus: ayo, ayas 'metal'. overflowing pot lo ‘pot to overflow’ kāṇḍa ‘water’. Rebus: लोखंड lokhaṇḍ Iron tools, vessels, or articles in general. spear మేడెము [ mēḍemu ] or మేడియము mēḍemu. [Tel.] n. A spear or dagger. Rebus: meḍ ‘iron’. ring, bracelet kaḍum a bracelet, a ring (G.) Rebus: kaḍiyo [Hem. Des. kaḍaio = Skt. sthapati a mason] a bricklayer; a mason; star मेढ [ mēḍha ] The polar star (Marathi). [cf.The eight-pointed star Rebus: meḍ 'iron' (Mundari. Remo.) safflower karaḍa -- m. ʻsafflowerʼ Rebus: करडा [karaḍā] Hard from alloy--iron, silver &c. (Marathi) twig kūdī ‘twig’ Rebus: kuṭhi ‘smelter’ frond (of palm), palm tamar, ‘palm tree, date palm’ Rebus: tam(b)ra, ‘copper’ (Prakrit) tree kuṭhāru 'tree' Rebus: kuṭhāru ‘armourer or weapons maker’(metal-worker) ram, ibex, markhor 1.ram मेंढा [ mēṇḍhā ] m (मेष S through H) A male sheep, a ram or tup.(Marathi) meḍ 'iron' (Mundari. Remo.) goat melh 'goat' Rebus: milakkhu 'copper' knot (twist) meḍ, ‘knot, Rebus: 'iron’ reed, scarf dhaṭu m. (also dhaṭhu) m. ‘scarf’ (WPah.) (CDIAL 6707) Rebus: dhatu ‘minerals’ (Santali); dhātu ‘mineral’ (Pali) kāṇḍa काण्डः m. stem of a reed. Rebus: kāṇḍa ‘tools, pots and pans and metal-ware’ mountain डोंगर [ ḍōṅgara ] m A hill. डोंगरकणगर or डोंगरकंगर [ ḍōṅgarakaṇagara or ḍōṅgarakaṅgara ] m (डोंगर & कणगर form of redup.) Hill and mountain; hills comprehensively or indefinitely. डोंगरकोळी [ ḍōṅgarakōḷī ] m A caste of hill people or an individual of it. (Marathi) ḍāngā = hill, dry upland (B.); ḍã̄g mountain-ridge (H.)(CDIAL 5476). Rebus: dhangar ‘blacksmith’ (Maithili) dhokra 'cire perdue metallurgist' wing eraka 'wing' eṟaka, ṟekka, rekka, neṟaka, neṟi ‘wing’ (Telugu)(DEDR 2591). Rebus: erako 'moltencast copper'. snake nāga 'snake' nāga 'lead' frame of building sã̄gāḍā m. ʻ frame of a building ʼ (M.)(CDIAL 12859) Rebus: sangāṭh संगाठ् । सामग्री m. (sg. dat. sangāṭas संगाटस्), a collection (of implements, tools, materials, for any object), apparatus, furniture, a collection of the things wanted on a journey, luggage (Kashmiri) jangaḍ 'entrustment note' (Gujarati) monkey kuṭhāru = a monkey (Sanskrit) Rebus: kuṭhāru ‘armourer or weapons maker’(metal-worker), also an inscriber or writer. kick kolsa 'to kick' Rebus: kol working in iron, blacksmith foot . khuṭo ʻ leg, foot ʼ Rebus: khũṭ ‘community, guild’ (Santali) copulation (mating) kamḍa, khamḍa 'copulation' (Santali) Rebus: kampaṭṭa ‘mint, coiner’ adulteryṛanku, ranku = fornication, adultery (Telugu) ranku 'tin' |
William Hayes Ward Seal No. 26.
Cylinder Seal of Ibni-Sharrum Agade period, reign of Sharkali-Sharri (c. 2217-2193 BCE)Mesopotamia Serpentine H. 3.9 cm; Diam. 2.6 cm Formerly in the De Clercq collection; gift of H. de Boisgelin, 1967 AO 22303 "A scene testifying to relations with distant lands Buffaloes are emblematic animals in glyptic art in the Agade period. They first appear in the reign of Sargon, indicating sustained relations between the Akkadian Empire and the distant country of Meluhha, that is, the present Indus Valley, where these animals come from. These exotic creatures were probably kept in zoos and do not seem to have been acclimatized in Iraq at the end of the 3rd millennium BC. Indeed, it was not until the Sassanid Empire that they reappeared. The engraver has carefully accentuated the animals' powerful muscles and spectacular horns, which are shown as if seen from above, as they appear on the seals of the Indus."
AN AKKADIAN BLACK STONE CYLINDER SEAL CIRCA 2300-2200 B.C. With contest scene, the nude hero Lahmu, with long beard and three large curls either side of head, wearing triple-stranded belt, holding a sword in his raised hand, and holding a bull inverted by its tail in the other, resting his foot on its neck, and a human-headed bull holding a sword in one hand and a lion inverted by its tail in his other hand, stylised plant between the pairs 1 3/8 in. (3.5 cm.) high http://www.pinterest.com/pin/403353710347940947/
Seal Nos. 23, 26, 27, 29 (Ward, p. 9, p.20)
Goddess Pleading Before Enki c.2330-2150 B.C.E Akkad period. Marble. Cylinder seal. MesopotamiaA supplicating goddess of lower rank, indicated by her single-horned miter, approaches the enthroned Enki flanked by his two-faced minister Isimud and his acolyte, the nude hero. With her arm uplifted and her hand held before her mouth, she appears as a supplicant to Enki.
Attacking DemonsA kneeling figure with upraised arm is attacked by demonic creatures with leonine heads and bird feet, and by a male figure with multiple mace and scimitar.
The exact nature of the demonic figures is difficult to determine, but the association of birdlike beings with the nether world is common in the Near East and the Aegean. The galla are described as those "who flutter over heaven and earth" in "Dumuzi¹s Dream", suggesting their birdlike nature. And as Henri Frankfort has shown, soul-birds in Egypt and harpies and sirens in the Aegean area all objectified certain aspects of terror inspired by death. The frightening, bird-clawed monsters with gaping mouths may represent similar underworld beings threatening the small cringing man with death.![]()
Goddess from the Other World 2000-1600 B.C.E Isin-Larsa-Old Babylonian period. Hematite. Cylinder seal. Mesopotamia
An enormous winged bird-footed goddess stands frontally with hands clasped. A double register scene appears alongside her. In the upper register a nude goddess and a bearded deity receive homage from human worshippers. A row of composite beings appear in the lower register. A fly, a hedgehog(?), and a human head appear above these creatures in the field.
Goddess from the Other World 2000-1600 B.C.E Isin-Larsa-Old Babylonian period. Hematite. Cylinder seal. MesopotamiaThis goddess with bird features has been identified with Lilith. She may represent the chthonic aspect of Inanna/Ishtar derived from her association with the demonic and frequently bird-like creatures and gods that inhabit the underworld. Here, the goddess¹s horned head appears alongside deities and their human worshippers while her bird-feet appear beside demonic creatures. The hierarchical arrangement of this scene may signify her dual nature, partially of "heaven and earth" and partially of the underworld.
Inanna on Her ThroneDuring the period of Akkadian control of Mesopotamia (c.2334-2154 B.C.), the early Sumerian "Lady of Heaven" and fertility goddess Inanna merged with the Semitic Ishtar, a warrior goddess. The goddess Inanna/Ishtar appears on this Akkadian seal, seated on a throne decorated with two crossed lions. Weapons, including a scimitar and a mace, rise from her shoulders as she gestures to two worshippers and looks full-face at the viewer. Her flounced garment covers only one shoulder, and her long hair falls in curls down to her elbows. To the left of Inanna/Ishtar stands an attendant goddess wearing a single-horned miter. To her right a female figure gestures in worship and pours a libation into a vessel.
Goddess in UnderworldFlanked by two forms shaped like mountains, perhaps symbolic of the kur (the underworld), stands a frontal-facing goddess. Undulating rays or flames rise from her shoulders and may indicate either her solar or infernal nature. A ring -- possibly similar to the ring that was taken from Inanna when she entered the fifth gate of the underworld -- is held in her hand.
To the right, within one mountain, a deity with rays or flames rising from his shoulders grasps the tail of a bull-man. To the left, a deity with a scourge stands grasping the horn of another deity who collapses within another flaming mountain. A small figure kneels beside the mountain to the left.
Scorpions and Rosette c.3300 B.C.E Gawra period. Steatite. Stamp seal. North Mesopotamia
Inanna¹s symbol, the eight-pointed star or rosette, appears between the pincers of two scorpions on the square face of this stamp seal.
King Feeding Rosette Flowers to Sheep c.3200-3000 B.C.E Late Uruk-Jemdet Nasr period. Marble. Cylinder seal. MesopotamiaA bearded male figure wears a round cap and a skirt with netlike pattern. This man appears on many artifacts excavated at Inanna¹s city, Uruk, and may represent the en, or priest-king, of the city, who assumes the role of divine consort of Inanna in the sacred marriage ceremony. Clasped to his chest are two curving branches ending in rosette-flowers. These rosette symbols of Inanna are nibbled by maned sheep, literally portraying the nourishment of the flocks ensured by the union of the goddess and her consort. The emblems of Inanna that flank the scene suggest that it is taking place within the sacred precinct of her temple.
http://wings.buffalo.edu/english/faculty/christian/syllabi/375/hhjw1/hhjw1.htm
Foundation Figure of a Kneeling God Holding a Peg "This well-preserved copper figurine is a god, identifiable as such by his headgear, topped by several pairs of bull's horns. He is symbolically "nailing" the foundation of the temple permanently to the earth. The sculptor vested a figure, fully realized in the round, with an inherent naturalism and delicate fluidity. Though immobilized by the act depicted, the muscular interaction of his body parts is well understood. By analogy with earlier inscribed foundation figures, the deity probably represents the personal god of Gudea, ruler of Lagash." Copper Foundation Figure with a Kneeling God Holding a Peg [sculpture]. God (probably the personal god of Gudea) wearing short kilt and long split skirt in semi-kneeling posture, supporting between its legs a large peg. Gudea was the leader of Lagash around 2150 B.C.
| Traces of fabric remain in the corrosion in the area around the beard on the god’s head. Foundation figures were often wrapped in cloth prior to burial. Inscription names "Gudea" and "Lagash", but because of the corrosion, it is impossible to read the remainder, which would have named the god and the temple http://www.themorgan.org/collections/collectionsPaging.asp?page=92&id=Seals |
Hero Grasping Lion Griffin; Monkey Perched on Tree Flanked by Ibex and Bird of Prey Cylinder seal and impression Mesopotamia, Middle Assyrian period (ca.thirteenth century B.C.E)
Chert 15 mm diameter Seal no. 596 Ward, Seal cylinders, no. 571 Lion-griffin in grasp of bearded hero brandishing ax -- Terminal: tree with volute below branches; monkey perched at top, eating fruit; ibex at left, bird of prey at right. "Palm trees marked with volutes are found in 596 and 597. This use of volutes recalls Mitannian designs, though in the latter the tree as a whole always conveys an impression of artificiality, whereas on the Middle Assyrian seals it has the appearance of a natural tree merely ornamented with metal bands." Porada, CANES, p. 69
Chert 15 mm diameter Seal no. 596 Ward, Seal cylinders, no. 571 Lion-griffin in grasp of bearded hero brandishing ax -- Terminal: tree with volute below branches; monkey perched at top, eating fruit; ibex at left, bird of prey at right. "Palm trees marked with volutes are found in 596 and 597. This use of volutes recalls Mitannian designs, though in the latter the tree as a whole always conveys an impression of artificiality, whereas on the Middle Assyrian seals it has the appearance of a natural tree merely ornamented with metal bands." Porada, CANES, p. 69
Bearded Hero with Daggers Between Two Ibexes Facing Tree Cylinder seal and impression
Mesopotamia, Middle Assyrian period (ca. thirteenth century B.C.E) Jasper 29 x 12 mm Seal no. 597 Bearded hero (full face), dagger in each hand, standing between two ibexes that jump away from him, each toward tree that is flanked by them as scene repeats. "Palm trees marked with volutes are found in 596 and 597. This use of volutes recalls Mitannian designs, though in the latter the tree as a whole always conveys an impression of artificiality, whereas on the Middle Assyrian seals it has the appearance of a natural tree merely ornamented with metal bands." Porada, CANES, p. 69
Mesopotamia, Middle Assyrian period (ca. thirteenth century B.C.E) Jasper 29 x 12 mm Seal no. 597 Bearded hero (full face), dagger in each hand, standing between two ibexes that jump away from him, each toward tree that is flanked by them as scene repeats. "Palm trees marked with volutes are found in 596 and 597. This use of volutes recalls Mitannian designs, though in the latter the tree as a whole always conveys an impression of artificiality, whereas on the Middle Assyrian seals it has the appearance of a natural tree merely ornamented with metal bands." Porada, CANES, p. 69
Hero Spearing Ibex, Second Ibex Jumping Toward Tree on Mountain Cylinder seal and impression Mesopotamia, Middle Assyrian period (ca. thirteenth century B.C.E) Chert 32 x 14.5 mm
Seal no. 600 Ward, Seal cylinders, no. 1130 Ibex, hero grasping second ibex and spearing it, both ibexes jumping toward tree on mountain, which they flank at either side as scene repeats -- Star, crescent, and sun in sky.
Seal no. 600 Ward, Seal cylinders, no. 1130 Ibex, hero grasping second ibex and spearing it, both ibexes jumping toward tree on mountain, which they flank at either side as scene repeats -- Star, crescent, and sun in sky.
Leather Worker(?) in Rooms Framed by Serpo-Felines Cylinder seal Mesopotamia, Late Uruk period (ca. 3500–3100 B.C.E) Serpentine 29.5 x 25 mm Seal no. 1
Ewe and Ram Flanking Plant with a Gatepost Cylinder seal and impression Mesopotamia, Late Uruk period (ca.3500–3100 B.C.E) Serpentine 16 x 13 mm Seal no. 5
Pigtailed Figures with Vessels; Cows Lying On Mountains Cylinder seal and impression Mesopotamia, Late Uruk period/Jamdat Nasr period (ca. 3500–2900 B.C.E) Serpentine
21.5 x 20 mm Seal no. 7
21.5 x 20 mm Seal no. 7
Three Stags with a Plant Cylinder seal and impression Mesopotamia, Late Uruk period/Jamdat Nasr period (ca. 3500–2900 B.C.E) Serpentine 25 x 22 mm Seal no. 20
Scorpion with a Plant Cylinder seal and impression Mesopotamia, Late Uruk period/Jamdat Nasr period (ca. 3500–2900 B.C.E.) Marble 36.5 x 21 mm Seal no. 31 "... a pot of the Jamdat Nasr period shows a scorpion in a panel and the effect is much the same as that produced by the design of seal 31."--Porada, CANES, p. 6-7
Suppliant Goddess with Scorpions Before Winged Goddess with Weapons in Chamber Formed by Guilloches Cylinder seal and impression Syria (ca. 1720–1650 B.C.E) Hematite 21.5 x 11 mm Seal no. 960 Ward, Seal cylinders, no. 957 Two facing suppliant goddesses, between them, star disk in crescent, three scorpions, one above other -- Winged goddess with spear and scimitar in chamber formed by guilloches "A number of cylinders (958-960) picture a winged goddess holding a spear or some other weapon that indicates her martial character. That the figure represents a goddess and not a god is indicated by the headgear, a square horned miter seen only on female deities ... In 959 the goddess appears to be supervising a contest between two gods, one of whom is identified by the crescent on his helmet as associated with the moon. Seal 960 shows her in a chamber formed by guilloches, while outside of this inclosure suppliant goddess are worshiping scorpions, perhaps her symbol. ... The portrayeal of the suppliant goddesses in 960 does not deviate greatly from Old Babylonian examples; this may support a dating of the seal near the time of the First Dynasty of Babylon." . Porada, CANES, p. 128
Male Figure Before a Goddess Drawing Aside Her Mantle Cylinder seal and impression
Syria (ca. 1720–1650 B.C.E) Hematite 23 x 11 mm Seal no. 945 Ward, Seal cylinders, no. 924 Male figure before goddess drawing aside her mantle, bird perched on her finger -- Secondary motif: two sitting lions, facing, above guilloche -- Below it, ibex pawed by griffin."In 945 and 946, the nude female is partly clothed, but the mantle falling over one leg, far from covering her nudity, serves only to accentuate it. This is especially true in 945, where she is shown holding the mantle to one side. The male personage facing her in 946 is clad much like the worshiper in 910. in what has been judged to be royal attire (in 945 only his cap is like that in 910). The fact that the nude female usually appears with a mantle in scenes in which she is associated with such a personage, for example in Louvre A.934, may indicate that this rendering illustrates her specific aspect in relation to that figure, presumably a king."--Porada, CANES, p. 124-125
Syria (ca. 1720–1650 B.C.E) Hematite 23 x 11 mm Seal no. 945 Ward, Seal cylinders, no. 924 Male figure before goddess drawing aside her mantle, bird perched on her finger -- Secondary motif: two sitting lions, facing, above guilloche -- Below it, ibex pawed by griffin."In 945 and 946, the nude female is partly clothed, but the mantle falling over one leg, far from covering her nudity, serves only to accentuate it. This is especially true in 945, where she is shown holding the mantle to one side. The male personage facing her in 946 is clad much like the worshiper in 910. in what has been judged to be royal attire (in 945 only his cap is like that in 910). The fact that the nude female usually appears with a mantle in scenes in which she is associated with such a personage, for example in Louvre A.934, may indicate that this rendering illustrates her specific aspect in relation to that figure, presumably a king."--Porada, CANES, p. 124-125
God with Lightining Fork and Foot on Bull Facing Male Figure; Nude Femaile Above Antelope Head; Male Figure Approaching Enthroned Figure Cylinder seal and impression Northern Mesopotamia, Mitannian period (ca. 1600–1350 B.C.E.) Hematite 27 x 13 mm Seal no. 1020 God with lightning fork placing foot on bull and facing mace-bearing figure in ascending posture -- Small nude female beside vessel above antelope head -- Figure with scimitar facing enthroned figure, between them sun disk, lion, and ball staff -- Stand(?) composed of five globes behind head of enthroned figure -- Six scattered globes in field. "Seals 1020 and 1021 still recall Old Babylonian designs in the general arrangement of their principal figures and in the ascending posture of the gods with emblems. However, the Mitannian elements in these seals are more pronounced; they are manifested by the small designs in the field, and in 1021 by the secondary motif and by the standard held by the god."--Porada, CANES, p. 141
Female Worshiper Facing God Enthroned on Two Human-Headed Bulls Cylinder seal and impression Southern Mesopotamia, Kassite period (ca. 1430–1155 B.C.E) Jasper 32.5 x 16 mm Seal no. 575 Ward, Morgan, no. 125 Female worshiper facing god who holds vase(?) and is seated on throne supported by two kneeling human-headed bulls -- Terminal: Inscription, one line carried into field."Seals 568-585 represent the earlier stage. Most of the designs of this group show elongated figures and extensive inscriptions containing prayers. This style seems to have evolved at about the beginning of the Kassite period. The phase of transition from Old Babylonian designs to Kassite cylinders of this type is clearly marked by pieces like 568 and 569. The style is therefore referred to as Early Kassite, despite the fact that it appears to have survived into the later centuries of Kassite rule. This is indicated by the names of the Kassite kings found in some of the inscriptions..."--Porada, CANES, p. 63
Lion Griffins Attacking Bull; Palmette Tree Cylinder seal and impression Mesopotamia, Middle Assyrian period (ca. fourteenth century B.C.E) Chert 24 x 11.5 mm Seal no. 594 Ward, Seal cylinders, no. 698 Two lion-griffins attacking bull between them -- Terminal: palmette tree. "Dating of 594 in the fourteenth century is indicated by its similarity to a seal impression of that time (Weber 316a). In each instance a decorative motif is formed by using the wings of the lion-griffins to frame a palmette tree. In the scene of the impression the shoulder feathers of the lion-griffin’s wings are indicated by drillings. This distinctive detail (which appears to derive from Mitannian designs), though it is lacking in 594, does appear in 595." Porada, CANES, p. 68
Griffin Demon Grasping Bull Cylinder seal and impression Mesopotamia, Middle Assyrian period
(ca. fourteenth century B.C.E) Chalcedony 20 x 10 mm Seal no. 595 Ward, Seal cylinders, no. 636 Walking bull with its tail grasped by griffin-demon on one knee, whose other hand touches same bull, thus initiating repetition of scene -- In field, inscription. "Dating of 594 in the fourteenth century is indicated by its similarity to a seal impression of that time (Weber 316a). In each instance a decorative motif is formed by using thw ings of the lion-griffins to frame a palmette tree. In the scene of the impression the shoulder feathers of the lion-griffin’s wings are indicated by drillins. This distinctive detail (which appears to derive from Mitannian designs), though it is lacking in 594, does appear in 595. Furthermore, the delicate modeling of the latter seal indicates that it belongs to the fourteenth-century group of Middle Assyrian cylinders. It may be noted that in 595 the tip of the second horn of the bull is indicated; thus the bull’s head is shown in a quasi three-quarter view. While such three-quarter profiles remain unparalleled in Mesopotamian designs, they occur frequently in contemporary Aegean art." Porada, CANES, p. 68
(ca. fourteenth century B.C.E) Chalcedony 20 x 10 mm Seal no. 595 Ward, Seal cylinders, no. 636 Walking bull with its tail grasped by griffin-demon on one knee, whose other hand touches same bull, thus initiating repetition of scene -- In field, inscription. "Dating of 594 in the fourteenth century is indicated by its similarity to a seal impression of that time (Weber 316a). In each instance a decorative motif is formed by using thw ings of the lion-griffins to frame a palmette tree. In the scene of the impression the shoulder feathers of the lion-griffin’s wings are indicated by drillins. This distinctive detail (which appears to derive from Mitannian designs), though it is lacking in 594, does appear in 595. Furthermore, the delicate modeling of the latter seal indicates that it belongs to the fourteenth-century group of Middle Assyrian cylinders. It may be noted that in 595 the tip of the second horn of the bull is indicated; thus the bull’s head is shown in a quasi three-quarter view. While such three-quarter profiles remain unparalleled in Mesopotamian designs, they occur frequently in contemporary Aegean art." Porada, CANES, p. 68
Hero Grasping Bull and Mouflon Menaced by a Lion Attacked by a Second Hero Cylinder seal and impression Mesopotamia, Early Dynastic II period (ca. 2750–2600 B.C.E) Marble 28 x 24 mm Seal no. 52 "The heros in the contests often, as in 52, wear flat caps as well as skirts tucked up above the knee to provide freedom of movement. The fact that in a contemporaneous limestone inlay from Kish a king is similarly attired shows that such caps and skirts were characteristic of the Second Early Dynastic period." . Porada, CANES, p. 9-10
Marble 38.5 x 24 mm Seal no. 112 "Seals 105 and 106... and perhaps also 107 and 112, belong to the Second Early Dynastic period... In the lower register of 112, the monster whose tail ends in a scorpion recalls the composite monsters of the Second Early Dynastic period; a dating in this period is also indicated by the linear execution of the design." Porada, CANES, p. 16
Bull Man Protecting Horned Animals Attacked Felines; Scorpion Above Crossed Felines
Cylinder seal and impression Mesopotamia, Early Dynastic III period (ca. 2600–2334 B.C.E) Marble
41 x 25 mm Seal no. 75 "Seals 74-77, which show a treatment of the frieze similar to that in 73, may be assigned to the same time." Porada, CANES, p. 13
Cylinder seal and impression Mesopotamia, Early Dynastic III period (ca. 2600–2334 B.C.E) Marble
41 x 25 mm Seal no. 75 "Seals 74-77, which show a treatment of the frieze similar to that in 73, may be assigned to the same time." Porada, CANES, p. 13
Heroes Protecting Animals From Felines Cylinder seal Mesopotamia, Early Dynastic III period (ca.2600–2334B.C.E) Lapis lazuli 24 x 13 mm Seal no. 80 Nude hero with dagger and curved weapon attacking leopard that menaces stag -- Latter clasped by hero with upturned curls who also clasps mouflon assailed by lion -- In field: inscription. "Seals 80-84 probably originated in the same time [as Seal 78], since the small figures on these seals are in the same style as those on the impression of the seal of Barnamtarra, Lugalanda’s wife." Porada, CANES, p. 13
Kilted hero with dagger and stick attacking feline -- Latter attacking bull that is also assailed by lion crossed with bull whose lower parts are merged with reversed feline -- Terminal: horizontals with empty space above and head of human-headed bull below. Ward, Seal cylinders, no. 114 Kilted Hero Attacking Felines Menacing Horned Animals; Human-Headed Bull Below Empty Space Cylinder seal and impression Mesopotamia, Early Dynastic III period (ca. 2600–2334 B.C.E) Lapis lazuli 22 x 14 mm Seal no. 85
Crowned Hero Grasping Bull; Nude Bearded Hero Holding Human-Headed Bulls Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Carnelian 23.5 x 13 mm
Seal no. 149 Ward, Seal cylinders, no. 190 Feather-crowned hero grasping bull -- Two nude bearded heros each holding one of two human-headed bulls -- Small man between the human-headed bulls."In the seals deriving from the beginning of the Akkad period, the Early Dynastic frieze of closely interwoven figures gradually breaks up into two or three groups of contestants. Frequently a symetrical effect is obtained by a duplication of the human-headed bull (147-52, 154). These scenes... show the lack of cohesion in composition that is characteristic of Early Akkad seals. Equally characteristic is the more developed modeling of the figures. Lastly, a number of details serve to distinguish this class of seals: the attitudes of the heroes and of the bull-men, who often show a characteristic flexion of the elbow in reaching toward the top of the victim’s head; the lion’s head frequently seen from above, as in the representations of the Third Early Dynastic period; the attire of the heroes, most often plain or fringed kilts, with flat caps or feather crowns appearing in several instances."--Porada, CANES, p. 21
Seal no. 149 Ward, Seal cylinders, no. 190 Feather-crowned hero grasping bull -- Two nude bearded heros each holding one of two human-headed bulls -- Small man between the human-headed bulls."In the seals deriving from the beginning of the Akkad period, the Early Dynastic frieze of closely interwoven figures gradually breaks up into two or three groups of contestants. Frequently a symetrical effect is obtained by a duplication of the human-headed bull (147-52, 154). These scenes... show the lack of cohesion in composition that is characteristic of Early Akkad seals. Equally characteristic is the more developed modeling of the figures. Lastly, a number of details serve to distinguish this class of seals: the attitudes of the heroes and of the bull-men, who often show a characteristic flexion of the elbow in reaching toward the top of the victim’s head; the lion’s head frequently seen from above, as in the representations of the Third Early Dynastic period; the attire of the heroes, most often plain or fringed kilts, with flat caps or feather crowns appearing in several instances."--Porada, CANES, p. 21
Nude Bearded Hero Wrestling with Water Buffalo; Bull Man Fighting Lion Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Serpentine 36 x 25 mm Seal no. 159 Ward, Seal cylinders, no. 177 Water buffalo subdued by nude bearded hero --Bull-man fighting lion -- Between contestant pairs, tree on knoll."In the seals of mature Akkad style, the theme of contest between heroes and beasts is embodied in two pairs of fighting figures flanking a central design or the panel of an inscription. A characteristic detail of the resulting rather formal composition is the lozenge effect produced by the arms of the fighters and the legs of their victims. The nude bearded hero and the bull-man are the most common protagonists in these contests, but figures attired like human huntsmen often take the place of the nude bearded hero (165) or of both fighters (166, 169). In other instances two identical bull-men (167) or nude bearded heroes (168) are represented. Water buffaloes and lions are the most frequent opponents of the heros. In these seals of mature Akkad style, lions are almost always shown in profile. The scene of 170, showing a figure pouring a libation beside the two fighting pairs, is exceptional." Porada, CANES, p. 22
Foundation Figure of King Ur-Namma Mesopotamia, Third Dynasty of Ur (ca. 2112–2004 B.C.E) Copper Inscribed: Ur-Namma, king of Ur, king of Sumer and Akkad, the one who built the temple of Enlil. Height: 335 mm MLC no. 2628 Copper (metal) Probably the product of a royal workshop. Translation of inscription : "Ur-Namma, King of Ur, King of Sumer and Akkad, who rebuilt the temple of Enlil."
Stone Foundation Tablet Inscribed With the Name and Titles of King Ur-Namma in Sumerian Mesopotamia, Third Dynasty of Ur, Reign of Ur-Namma (21st century B.C.E) Inscribed: Ur-Namma, king of Ur, king of Sumer and Akkad, the one who built the temple of Enlil. Limestone 8.3 x 12.4 cm MLC no. 2629| The tablet was part of the regular foundation deposit of Ur-Namma, together with a bronze figure of Ur-Namma. | |
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Nude Bearded Hero Subduing Bull; Bull Man Overpowering Lion Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Jasper 32 x 22 (20) mm Seal no. 162 Ward, Seal cylinders, no. 184 Bull subdued by nude bearded hero -- Bull-man overpowering lion -- Between contestant pairs, inscription -- Terminal: Kneeling mouflon."In the seals of mature Akkad style, the theme of contest between heroes and beasts is embodied in two pairs of fighting figures flanking a central design or the panel of an inscription. A characteristic detail of the resulting rather formal composition is the lozenge effect produced by the arms of the fighters and the legs of their victims. The nude bearded hero and the bull-man are the most common protagonists in these contests, but figures attired like human huntsmen often take the place of the nude bearded hero (165) or of both fighters (166, 169). In other instances two identical bull-men (167) or nude bearded heroes (168) are represented. Water buffaloes and lions are the most frequent opponents of the heroes. In these seals of mature Akkad style, lions are almost always shown in profile. The scene of 170, showing a figure pouring a libation beside the two fighting pairs, is exceptional." Porada, CANES, p. 22
Bull Men Contesting with Lions Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Marble 28 x 26 (25) mm Seal no. 167 Ward, Morgan, no. 44 Two contestant pairs, each consisting of bull-man fighting lion -- Between contestant pairs, inscription (erased) -- In field (later additions): Standing bird, seated lion, eagle with spread wings. "In the seals of mature Akkad style, the theme of contest between heroes and beasts is embodied in two pairs of fighting figures flanking a central design or the panel of an inscription. A characteristic detail of the resulting rather formal composition is the lozenge effect produced by the arms of the fighters and the legs of their victims. The nude bearded hero and the bull-man are the most common protagonists in these contests, but figures attired like human huntsmen often take the place of the nude bearded hero (165) or of both fighters (166, 169). In other instances two identical bull-men (167) or nude bearded heroes (168) are represented. Water buffaloes and lions are the most frequent opponents of the heroes. In these seals of mature Akkad style, lions are almost always shown in profile. The scene of 170, showing a figure pouring a libation beside the two fighting pairs, is exceptional." Porada, CANES, p. 22
Sun God Rising with Attendants Opening the Gates of Heaven Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Serpentine 40.5 x 28 (27) mm Seal no. 178 Ward, Morgan, no. 70 God carrying mace -- Sun god with rays, ascending between two mountains -- At either side, attendant opening wing of gate."Among the mythological figures on Akkad seals, the most frequent is the sun god, Shamash. One of the distinctive settings in which this god appears is found in 178-186. The god, identified by his saw and usually by rays emanating from his shoulders, is shown in ascending posture either between two mountains, placing his foot on one and resting his hand on the other, or beside a single mountain on which he steps while resting his hand on a mace. Before him attendants throw open the gates of heaven. The fullest elaboration of this motif is found in 178, 179, 181-183... The motif of a sun god with his attendants is sometimes enlarged by the addition of other deities. Examples are: 178, in which a god, at the left of the scene, seems to be hiding a mace behind his back." Porada, CANES, p. 24
Male and Female Worshipers Led Toward the Sun God Enthroned on a Mountain Cylinder seal
Mesopotamia, Akkadian period (ca.2334–2154B.C.E) Lapis lazuli 16.5 x 19.5 mm Seal no. 190 Ward, Seal cylinders, no. 271Female worshiper with pail following male worshiper who carries kid and is being led by minor deity toward sun god with rays enthroned on mountain -- Before sun god, vessel and ball staff. "Among the mythological figures on Akkad seals, the most frequent is the sun god, Shamash. One of the distinctive settings in which this god appears is found in 178-186. The god, identified by his saw and usually by rays emanating from his shoulders, is shown in ascending posture either between two mountains, placing his foot on one and resting his hand on the other, or beside a single mountain on which he steps while resting his hand on a mace. Before him attendants throw open the gates of heaven... Worshipers are sometimes found on seals featuring the ascending sun god, as in 184 ... Hovever, figures approaching the god appear more frequently when he is enthroned than when he is ascending a mountain. Such figures may be human or divine worshipers (189-194)." . Porada, CANES, p. 24
Enthorned Water God with Two-Faced Vizier Leading Gods Bringing Birdman for Judgement Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.) Serpentine 32.5 x 19.5 mm Seal no. 198 Ward, Morgan, no. 60 Enthroned water god holding flowing vase, crescent in sky before him -- Approaching, two-faced god preceding two minor gods, the first carrying plant hung from curved stick, the second carrying bird-man hanging from mace."Another deity often shown on Akkad seals is the water god, Ea, who bears a vase from which two streams flow over his shoulders; usually there are fishes swimming along these streams. Seals 195-197 embody a frequent theme involving this god--that of a bird-man led captive toward the god. Seal 198 shows the captive brought hanging from a mace, while a plant--presumably stolen by him--is carried pendant from a stick in a procession led by the water god’s two-faced minister." Porada, CANES, p. 25
Nude Bearded Hero with Flowing Streams Flanked by Winged Lion Demons; in the field: Human Head and Hand Cylinder seal and impression Syria (ca. 1720–1650 B.C.E) Hematite
18 x 13 mm Seal no. 979 Ward, Morgan, no. 265 Two winged lion-demons, one at either side of nude bearded hero with stream flowing over each shoulder, star at either side of his head -- In field: hand; human head -- Terminal: bird and hand before ibex above walking lion with animal head above its back.
| "The bull-man of the Old Babylonian repertory is rarely found in Syrian seals ... Syrian seals more frequently show the nude bearded hero as a water bearer with flowing vase (979), a representation for which Old Babylonian renderings like 517 ... probably served as examples. Both in 979 and in the Syrian seal Berlin 545, two stars appear above the hero’s shoulders, suggesting that he has some astral significance."--Porada, CANES, p. 133 "The representation of a nude bearded hero with two stars over his shoulder ... might be interpreted as the equivalent of the constellation we know as Aquarius"--In August Company, p. 60 | |
The temple of the god Enlil, at Nippur, where this figurine was found in 1905, is one of several erected or reconstructed by King Ur-Nammu, the first prince of the dynasty that ruled southern Babylonia for 108 years. Worshiper Approaching Enthroned Water God and Two-Faced Vizier in a Sanctuary Guarded by Nude Bearded Heroes Grasping Gateposts Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Serpentine with calcite vein 30 x 19 m Seal no. 202 Worshiper -- Nude bearded hero holding gatepost -- Two-faced god reaching into frame within which water god sits enthroned, holding vase with fishes along its streams -- Second nude bearded hero holding gatepost -- In field, inscription. "Another deity often shown on Akkad seals is the water god, Ea, who bears a vase from which two streams flow over his shoulders; usually there are fishes swimming along these streams ... Seal 202 shows the water god seated in his ocean chamber ... In 202, 203, 205, the god is shown approached by worshipers." Porada, CANES, p. 25
Water God Facing Deity; God with a Mace and Lion-Headed Eagles Attacking Fallen God Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Rock crystal
24.5 x 16 mm Seal no. 201 Ward, Seal cylinders, no. 454c Water god, holding flowing vase with fishes along its streams, standing with foot on mountain and facing minor god -- God fallen on one knee under attack of one large and one small lion-headed eagle, larger held by god brandishing mace -- Terminal: Empty panel over small man."Another deity often shown on Akkad seals is the water god, Ea, who bears a vase from which two streams flow over his shoulders; usually there are fishes swimming along these streams. Seals 195-197 embody a frequent theme involving this god--that of a bird-man led captive toward the god ... Seals 199-201 have been interpreted by Frankfort as depicting the victory over Zu, the bird-man, with the water god receiving the joyous news." Porada, CANES, p. 25
God with Grain Following a God with Plough and a Third God Toward a Vegetation Deity Enthroned on Grain Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Serpentine 35 x 25 (22.5) mm Seal no. 207 Ward, Seal cylinders, no. 374 God with stalks of grain growing from his skirt and three other stalks in his hand, following god with plow and third god toward deity enthroned on heap of grain, who holds three stalks, while other stalks sprout from his shoulders. "Male and female deities associated with the cultivation of grain are represented in 207-214. The fullest characterization of them is found in 207 and 212. In these latter seals the principal deities are seated on heaps of grain; stalks of grain sprout from their shoulders and rest in their hands. In 207 a plow is carried before the deity ... The gesture of the minor god standing with hands outstretched before the enthroned deity of grain in 207 and 210 is typical of scenes featuring this divinity." Porada, CANES, p. 26
Libation Before the Weather God and the Rain Goddess Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.) Shell 35.5 x 20 mm Seal no. 220 Ward, Seal cylinders, no. 127 Worshiper pouring libation over altar before goddess standing on lion-griffin that draws chariot in which weather god stands cracking whip. "Two deities who are obviously weather gods appear in 220--a goddess holding bundles of rain, and a god in a chariot, brandishing a whip, who brings to mind thunder and lightning. A parallel exists for the goddess standing on a lion-griffin that draws the god’s chariot; however, the more frequent Akkad representations of these deities show both figures standing on such monsters." Porada, CANES, p. 28
Etana's Flight to Heaven on the Back of an Eagle Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2334–2154 B.C.E) Serpentine 36.5 x 28 (26) mm Seal no. 236 Ward, Seal cylinders, no. 392 Man astride eagle in sky over two sitting sheep dogs, shepherd standing behind each dog; shepherd at left holding whip and pail, shepherd at right resting on stick and followed by ram and three sheep -- Above this group, crisscrossed rectangle and two men, each on one knee, with large vessel between them -- In sky, crescent, small vessel, and large vase (beside eagle). "Seal 236 probably illustrates the myth of Etana, the shepherd king who flew to heaven on the back of an eagle to obtain the plant of birth for his childless wife." Porada, CANES, p. 29
Eagle Above Hatched Undulating Line and Crosshatched Triangle Below Cylinder seal and impression Mesopotamia, Akkadian period (ca. 2154–2100 B.C.E) Serpentine 26 x 13 mm Seal no. 265 Ward, Morgan, no. 141 Undulating crosshatched line with eagle above and crosshatched triangle below. "Seals 264-266, each of which presents a frieze with an eagle in the center, are characterized as Post-Akkad stones by their deeply incised engraving. Moreover, the eagle in 264 and 265 corresponds with a similar figure in Berlin 247, a seal showing in its lower register the birds found to be distinctive of Post-Akkad cylinders (258, 260)." Porada, CANES, p. 32
A Lion-Headed Eagle Grasping Two Mountain Goats, inscribed Cylinder seal and impression Mesopotamia, Post-Akkadian period (ca. 2154–2100 B.C.E) Steatite 30 x 17 mm Seal no. 267 Ward, Morgan, no. 13 Lion-headed eagle clutching hindquarters of two ibexes -- Terminal: inscription. "Seals 264-266, each of which presents a frieze with an eagle in the center, are characterized as Post-Akkad stones by their deeply incised engraving. Moreover, the eagle in 264 and 265 corresponds with a similar figure in Berlin 247, a seal showing in its lower register the birds found to be distinctive of Post-Akkad cylinders (258, 260). Of this group, 267 is the only seal that shows a continuation of Akkad style. It is included here because of its Sumerian inscription, which is typically Post-Akkad. The subject of the seal, a lion-headed eagle clutching animals, is an Early Dynastic theme found especially on the monuments of Lagash, where it still persisted in Post-Akkad times. For example, the theme is treated in a manner similar to that of this seal, but with lions replacing the ibexes, on a stele of Gudea, a ruler of Lagash in the latter part of the Post-Akkad period. It seems possible, therefore, that 267 was made at Lagash in or about the time of Gudea." Porada, CANES, p. 32
Worshiper Led by Goddess Toward Enthroned God, inscribed Cylinder seal and impression
Mesopotamia, Third Dynasty of Ur (ca. 2112–2004 B.C.E) Jasper 32 x 20 mm Seal no. 277 Ward, Seal cylinders, no. 308
The religious sentiment of the period is profoundly visualized on this seal. The enthroned deity on the right receives a worshiper led by an interceding goddess. The deity is characterized by his erect posture, long flowing beard, and the steady gaze of his eye fully sculpted in profile. The scene is remarkable for the interaction of the figures expressed by their gestures, specifically through their delicately carved hands. Commerce was crucial to the success of the Third Dynasty of Ur; the inscription on the seal identifies its owner as a trader. "The type of scene most frequently found on cylinders of the Third Dynasty of Ur shows a minor goddess leading a worshiper by the hand toward an enthroned deity (277-287), who is more often female than male. Usually the throne resembles a shrine. This scheme is derived from such Akkad seals as 190, with the difference that now the enthroned deities are rarely identified by the objects they hold or by other distinctive features of their appearance. A crescent is usually placed in the sky before the enthroned deity; often a bird or some other animal appears near the knees of the figure."--Porada, CANES, p. 35
Suppliant goddess and worshiper before god with rod and ring on temple throne, his feet on kneeling bull -- Goddess (full face) -- God holding vase with three leaves protruding -- In field, nude male figure; bull (in sky); star disk in crescent above goat sitting on platform behind throne; nude female. Cylinder seal Mesopotamia, First Dynasty of Babylon (ca.1894–1595b B.C.E) Hematite 23.5 x 12.5 mm Seal no. 391 Ward, Seal cylinders, no. 327 "In 387 and 388, the god stepping on the dragon rests his hand on a scimitar. In 389 and 390 he is enthroned with his feet on the back of the dragon and appears to hold a rod. Such a rod, together with a ring, appears in the hands of a number of apparently different gods on Babylonian seals. For example, the two objects are held by the enthroned god in 391. This deity may be the sun god, since the latter appears without his saw but with a rod and ring in the relief on the stele bearing Hammurabi’s code. This suggestion is possibly confirmed by the appearance in 391 of a bull in the sky and of another under the feet of the deity, since this animal is frequently depicted in association with the sun god on Old Babylonian seals... The double pleats in the robes of the deities resemble corresponding details in impressions on tablets of the time of Hammurabi and of Samsu-iluna, his successor (Louvre A. 527 J, E; Louvre A. 553 A, E). A similar dating is therefore suggested for 391.". Porada, CANES, p. 48-49
Goddess, Suppliant Goddess, Priest, and Worshiper Carrying Kid Before Sun God with Goddess and Goat Behind; in the field: Star Demonic Mask, Bull, Human Head, Star and Crescent Cylinder seal and impression Mesopotamia, First Dynasty of Babylon (ca. 1894–1595 B.C.)
Hematite 25 x 13.5 mm Seal no. 399 Goddess with clasped hands, suppliant goddess, and worshiper carrying kid before sun god -- Goddess (full face) -- In field: star; demonic mask above priest with pail and sprinkler; bull, human head, inscription, one above other (before sun god); star disk in crescent above sitting goat. "There may be some significant relation between the sun god and the goddess standing with clasped hands at the left in 399... The double pleats in the robes of the deities on this seal and on 401 are similar to those seen in 391 above, for which a dating in the time of Hammurabi and Samsu-iluna has been suggested." Porada, CANES, p. 49-50
Bull Man Fighting Lion; Nude Bearded Hero Kneeling on a Lion and Holding a Lion Behind His Head; Kneeling Man Attacked by Lion Griffin Cylinder seal and impression Mesopotamia, First Dynasty of Babylon (ca. 1894–1595 B.C.E) Hematite 26 x 13.5 mm Seal no. 362 Ward, Morgan, no. 49 Bull-man fighting lion; nude bearded hero on one knee, poised on back of second lion and holding third lion behind his head; man on one knee on knoll, with lion-griffin attacking. "... while the arrangement of the Old Babylonian contests is similar to that used in the earlier period, the introduction of new figures, especially in 359-369, indicates that such ontests had acquire new significance. The new figures include a goat seated upright on a knoll and attacked by a lion or lion-griffin or both, and a man on one knee at the mercy of similar assailants." Porada, CANES, p. 44
Worshiper Offering Gazelle to Enthroned Deity Holding Ankh, Winged Sun Disk with Pendant Cobras Above; two registers behind throne, upper: Ibex Demon and Winged Bull Demon Shouldering Bar with Suspended Stag, lower:Two Attendants Carrying Bar with Suspended Antelope Cylinder seal and impression Syria (ca. 1850–1720 B.C.E) Hematite 29.5 x 15 mm Seal no. 910 Ward, Seal cylinders, no. 858 Worshiper offering gazelle, held by hind leg, to god enthroned on platform and grasping Egyptian life sign -- Between figures, sun disk with pendant uraeus-like snakes -- Behind throne, recumbent ibex with triple-ringed cup above it -- Secondary motif: above, ibex-demon holding hare by hind leg and winged bull-demon, both shouldering bar from which stag is suspended, with vulture perched on front tip of bar -- Below, two attendants carrying bar from which antelope is suspended, with ibex head impaled on rear end of bar. "Seals 910-913 show worshipers before a seated deity; ... The shape of the throne, which in 910-913 resembles that of a temple, is characteristic of scenes of the Third Dynasty of Ur and of early Old Babylonian designs ... Since 910 has been referred to the time of Hammurabi, 911-913, which present related subjects, may be similarly dated, though the deities are rendered not with horned miter as in 910 but with the more typically Syrian short curled hair. The worshiping scenes of 910-913 can be differentiated from their Mesopotamian parallels by the egyptianizing character of the objects held by the enthroned deities ... Of the small symbolic designs that appear in the field in Old Babylonian seals, only the ball staff and vessel recur with any frequency in these Syrian seals."--Porada, CANES, p. 118-119
Weather God with Helmet Standing on Mountains, Brandishing Mace and Holding Snake, Lotus Blossom, and Rein of Kneeling Bull Surmounted by Nude Goddess Opening Veil, Suppliant Goddess Behind Cylinder seal and impressionSyria (ca. 1720–1650 B.C.)Limonite
25 x 13 mm Seal no. 967 Ward, Morgan, no. 237 God with spiked helmet standing on two mountains, brandishing mace, and holding before him snake, lotus blossom and rein of kneeling bull on which nude goddess stands opening her veil -- Suppliant goddess -- Over shoulders of nude goddess, star, cross disk in crescent -- Above bull’s head, second cross disk in crescent -- Above bull’s tail, bird with Egyptian atef crown -- Below tail, animal head -- Terminal: two female figures, guilloche, sitting lion, one above other. "Indubitable renderings of the weather god are found in 967 and 968. In both these seals he is standing on mountains an dbrandishing a mace in one hand. In 967 he is shown holding a snake and a bull’s rein in the other hand, like the god in 964, though here the snake is clearly depicted, while the third object in the same hand is a lotus blossom, not an ax. This blossom invites comparison with a relief from Ras Shamra in which the weather god holds a spear topped with a plant element, probably a transformed lightning symbol. ... In 967 he faces a nude goddess standing on a bull, like the female deity in 942 and 943. This representation, and a similar one in Brett 90, where, however, the nude goddess appears in a winged inclosure, suggest a connection between these two figures like that predicated in regard to the nude female and the weather god in Old Babylonian seals. ... 966 and 97 show the fastidious engraving that marks the height of Syrian glyptic."--Porada, CANES, p. 129
Nude Goddess with Open Veil and Worshiper Holding Hare Before Enthroned Male Figure, Vultures Above Cylinder seal and impression Syria (ca. 1720–1650 B.C.E) Hematite 21 x 10 mm
Seal no. 937 Ward, Seal cylinders, no. 917 Nude goddess with opened veil -- Worshiper holding hare behind leg before enthroned deity(?) with cup -- In sky, star, sun disk in crescent -- Fish in field -- Terminal: sitting antelope above two small female figures -- Upper border, three vultures with spread wings."The figure of a woman lifting the ends of her veil and displaying her nudity, as found in 937-944, is differentiated from the earlier Syrian and Cappadocian representations of a nude female by a more rounded form and a more elaborate coiffure. The hair is bound up in the back, but otherwise it resembles the ornate coiffure of the goddess in an ivory relief from Ras Shamra that reflects the feminine fashion prevailing in the Levant and in the Aegean regions around the middle of the second millennium. A dating at about this time is likewise suggested by the vase held by the enthroned figure in 937, since it corresponds in shape with a Mycenean gold cup dated in the second half of the sixteenth centuy B.C. ... Sometimes she stands before an enthroned male figure who my, by the mere fact that he is seated, be characterized as a superior deity (937, 938)."--Porada, CANES, p. 124
http://www.themorgan.org/collections/collections.asp?id=635
A cylinder-seal impression of two Gods, one with a left hand in the shape of a scorpion and the other plowing behind a dragon and a lion. The impression was made by a seal found at Tell Asmar in Iraq.
http://www.mitchellteachers.org/WorldHistory/MrMEarlyHumansProject/MrMSumerianCivilizationAchievements.html
Seal Published: Stratified cylinder seals from the Diyala Region, by H. Frankfort Two persons on a couch. An animal below the couch.
MM 13730 :: Seal. Seal impression.
- Cylinder seal Animal combat: Lion standing facing right menaces a goat running to the right. The bodies of the animals are marked by lineal ridges emphasizing abdomens, necks and haunch of the goat. The horn of the animal is notched and curves round and back, the tale of the lion curves up curling at the end. In the field are a tree-like shrub with small plants at each side, before it the goat's head and above this a crescent. Above the haunch of the goat a star or sun, before the lion a rhombus and above its back a (?) winged bird in flight, beneath its abdomen an unidentified object. Border lines above and below. Helen Merrillees catalogue 1995.
https://www.academia.edu/6889335/A_cylinder_seal_shows_a_king_is_engendered_by_a_bull_he_is_born_from_a_cow_just_like_king_Culgi Source: https://independent.academia.edu/TomvanBakel