Die Entwicklung der Glyptik während der Akkad-Zeit

Boehmer, Rainer Michael

doi:10.1515/9783110822564

Cited by 77 publications

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“…"These results are based on my analysis of original Akkadian cylinder seals found in Boehmer 1965. 12 Cf.…”

Section: Setting Sun Rising Moon and An Akkadian Zigguratmentioning

confidence: 99%

“…and Nanna's rise is described as "when he comes out of the "Contrary to this, Porada 1960: 123, identifies this god darkened mountains, he stood like Utu (stands) at noon" with the warrior god "Amal", while Boehmer 1965: 84, (Hall 1985. interprets both standing celestial deities as two aspects of 20 See also an Old Akkadian mythological composition the sun-god.…”

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Twilight of the Sun-God

Fischer¹

2002

Iraq

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In the middle of the third millennium, the ruling Akkadian elite introduced new traditions into Sumer which resulted, among other things, in a wide-ranging harmonization of their own gods with those of the Sumerian pantheon. A complete Sumerian-Akkadian syncretism, however, did not apply for all deities. During the reign of the Akkadian kings, a shift in influence between two important deities of the Sumerian pantheon occurred as the moon-god Nanna/Suen rose to prominence, displacing the sun-god Utu/Samas. Discovering when this shift took place is difficult to pinpoint because Sargonic Sumerian religion is poorly documented.' Also, convincing archival data are only available from the time of Naram-Suen. In the following I will argue, with examples taken from official art, that this shift most likely happened during the reign of Naram-Suen, when a new imperial ideology is discernible from visual imagery, showing the king assuming the role of the sun-god. Utilizing Ur III textual sources I will also demonstrate that the three gods shown on the seal drawn as Fig. 12 are depicted with their cult places: Enki/Ea in the Abzu, Utu/Samas in the fields, probably in an open-air shrine, and Nanna/Suen on the ziggurat, signifyingcontrary to mainstream scholarly opinionthat ziggurats already existed in Sumer prior to the Ur III period. The seal analysed below is from Ur and cut in mature Akkadian style, reflecting the status quo of religious awareness at the time when it was engraved. A highly interesting scene is depicted, showing the sun-god and the moon-god in attitudes of adoration in front of the enthroned Enki/Ea. The seal-cutter used a variety of components that were in vogue at this time, mixing them with antiquated elements in order to emphasize the moon-god's higher rank. He indicated the sun-god's reduced status, for example, by attiring him i "old-fashioned" headgear, while the moon-god and Enki/Ea wear "modern" headgear. The craftsperson chose specific iconological elements to transform these abstract ideas into visual images. Akkadian cylinder seals, such as that depicted in Fig. 1, are considered one of the high points of Mesopotamian craftsmanship. Their broad palette of motifs executed in an elaborate naturalistic and vivid style has long attracted the attention of researchers. Yet their importance for the analysis of material culture, as well as for our understanding of ancient social and religious concepts, has often been undervalued by scholars. In this paper I shall be taking a multi-layered approach, analysing the seal in its textual, historical and socio-political context. Since seals consist of complex networks of figurative and non-figurative images used as pictorial systems of communication for transmitting information through signs, they are excellent tools for research that can produce farreaching results, especially when contemporary written sources are silent. Three divine protagonists Over the years, seal Fig. 1 has intrigued various researchers. E. Porada, for instance, devoted an article to it...

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“…"These results are based on my analysis of original Akkadian cylinder seals found in Boehmer 1965. 12 Cf.…”

Section: Setting Sun Rising Moon and An Akkadian Zigguratmentioning

confidence: 99%

mentioning

confidence: 99%

Twilight of the Sun-God

Fischer¹

2002

Iraq

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“…Before discussing the specific evidence, a few remarks must be addressed to general issues of seal chronology. Boehmer (1965) has carried out a very detailed study of Akkadian and Post-Akkadian cylinder seals, including many from Ur. His study has been criticized by Buchanan (1966) for relying too heavily on variations in certain details of motifs rather than overall design composition, giving insufficient attention to distinctions among regional styles, and for not considering adequately the continuation of particular glyptic styles across historical boundaries.…”

Section: C) Cylinder Sealsmentioning

confidence: 99%

Chronology of the Royal Cemetery of Ur

Pollock¹

1985

Iraq

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“…XIX(6)) 28 and on all relevant cylinder seals which are detailed enough. 29 On the Rimush stele the archers are presumably members of the king's forces but other representations would seem to indicate that the bow was a prestige weapon: Naram-Sin holds a composite "double-concave" bow on his stele (but no quiver is shown) 30 and on the cylinder seals it is a weapon carried by gods (PI. XIX(c) and (e); PI.…”

Section: Shoo Ting 16mentioning

confidence: 99%

Hunting and Shooting

Collon¹

1983

Anatol. Stud.

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When I was still a student, Dr. Barnett gave me the part-time job of sorting the cylinder seal collection in the Western Asiatic Department of the British Museum, of which he was then Keeper. Now, some twenty years later, the catalogue of Akkadian to Ur III seals, which this led to, has just appeared, and this article is based on two “firsts” (as S. N. Kramer would put it) to which my attention was drawn while I was studying the seals. I have found seals a fascinating and continuous source of inspiration and information and the fact that I am still writing about them after twenty years is a measure of the debt I owe Dr. Barnett.Hunting: Cylinder seal BM 105159 (Pl. XVII(a)), is cut with a presentation scene: a deity leads a worshipper before a seated god. Behind the worshipper is a figure (Pl. XVll(b)), who wears a skirt, raises his left arm and holds, in his right hand, what I thought was a footed cup in which was a stirring rod or spoon. However, when I took this, and other seals, to the British Museum (Natural History) for identification of the animals, it was pointed out to me, by Mr. Colton, that the “cup” might be a falcon sitting on a falconer's wrist.

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Die Entwicklung der Glyptik während der Akkad-Zeit

Cited by 77 publications

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Twilight of the Sun-God

Twilight of the Sun-God

Chronology of the Royal Cemetery of Ur

Hunting and Shooting

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