2017 - Divine Names in the Tell Hadidi/Azu Texts
2017, KASKAL 14
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Abstract
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The paper investigates the divine names mentioned in the tell Hadidi/Azu texts, specifically focusing on the prominent deity Dagān and its representations in the cuneiform tablets discovered at the site. It examines the patterns of naming conventions, the use of logographic versus syllabic spellings, and the relationships between Dagān and other deities such as Ba‛al and Aštar within the context of ancient Near Eastern religions, particularly in the Middle Euphrates area during the Late Bronze Age.
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Nouvelles Assyriologiques Brèves et Utilitaires [N.A.B.U.], 2023
texts, seems to be more of an epithet than a divine name; the god's actual name does not appear in these texts, nor in any other legal or administrative text from the late Achaemenid period. However, a compilation of esoterica, commonly referred to as the Nippur Compendium (GEORGE 1992: 143-162), will shed some light on the matter. The Nippur Compendium (nibru ki ní.bi.ta dù.a) is known primarily from two late Babylonian manuscripts (IM 44150; IM 76975) with the same structure and content, and three additional, smaller tablets, two of which come from Nineveh (K 2892+ K 8397; K 10062) and the third one is a late Babylonian excerpt tablet (BM 38413, GEORGE 1992: 145-146). 2) The text begins with a listing of the names and titles for the city of Nippur and its main temple, Ekur, followed by a list of deities. This list, in which each deity is represented as 'lord of (my) city + of place name', occurs only in the two late Babylonian manuscripts, and is of particular interest to our case as it contains a series of 'dieux topiques' and their localities. Among the legible place names in the list, we find the lords of Borsippa and Dēr, but also deities of smaller settlements in the region between Uruk and Nippur, such as the lords of Šalammu and Kār-Ninurta (GEORGE 1992: 150: 19'; 21'; 24'). 3) Interestingly, the list happens to mention a deity by the name of Erimabinutuku, who is designated as the 'dieu topique' (bēl-āliya) of a place named uru sá.sá.érim (GEORGE 1992: §7, 22'). We suggest to slightly emend the reading of the toponym to sá.di.érim (sá=di), because this spelling (sá.di.érim) stands for the city of Šāṭir, as demonstrated by the late 5 th century BCE text TÉBR 32 (ll. 11 and 14). As noted earlier, the 'dieux topiques' section in the Nippur Compendium, refers not only to Šāṭir, but also to several other sites in the region between Nippur and Uruk, such as Šalammu and Kār-Ninurta, which, like Šāṭir, were still inhabited in the 5 th century BCE. Thus, our suggestion matches the evidence in the section on 'dieux topiques' in the Nippur Compendium in more than one way: they share the same spelling for Šāṭir (sá.di.érim), the same geographical horizon, and the same chronological framework. If we come back to the question of the identity of Lord-of-Šāṭir, it is now clear that according to the Nippur Compendium the deity Erimabinutuku is the Lord-of-Šāṭir. Despite the scarcity in textual sources regarding Erimabinutuku, the Sumerian composition Angim, allows us a better understanding of his nature. According to Angim, Erimabinutuku, the worshipped entity of Šāṭir, is named after one of Ninurta's divine weapons known 'to have established the people in heaven and earth' (COOPER 1978: 82, 146; GEORGE 1992: 447). Notes 1. See, for example, the case of 'Bēl-ālīya-ša-Šarrabānu'('lord-of-my-city-of-Šarrabānu', Baker 2004: 127:128). The city was also located in Bīt-Amukānu.
The Amarna Letters, discovered more than a century ago, are still our main source for the history and culture of Canaan in the Late Bronze Age. Many details concerning the land and its inhabitants have been extracted from these letters and the overall picture is to a certain extent based on the analysis of this source material. Due to its central position in scientific research, the archive still deserves special attention and progress in the understanding of difficult passages and terms could contribute to a better understanding of the historical and cultural situation. On the other hand, mistaken interpretations may lead scholars to stray far from ancient reality, since in certain cases there are no other sources against which these conclusions and inferences may be checked.
History of Religions 54 3 (2015): 346-370.
In the younger layers of the Avesta and the subsequent Iranian religious and literary traditions, the daēvas are noxious supernatural beings. But this is not the case in the Gāthās, the metric compositions traditionally attributed to Zarathuštra and dating perhaps to late second millennium B.C. The poet of the Gāthās condemns the daēvas, but as deities worshipped by the members of his community. There are references, sometimes enigmatic, in these texts to the ritual devoted to these ancient Iranian gods. The ‘men’ who take part in the cult are said to pursue ‘immortality’ and engage in ritual rage, cruel treatment of the sacrificial victim, and consumption of drugs. The cult survived, and possibly thrived in some regions, in the face of the expanding Zoroastrianism to at least the Achaemenid period. There may have been accommodations on both sides. It is thus almost certain that there were reflexes of the cult in historical evidence. This article examines two such reflexes: nocturnal celebration and wolf sacrifice. These two features are anomalous in the perspective of normal Indo-European festivals and sacrifices. There is no reason to dismiss the authenticity of the reports that convey our evidence. What do they tell us about the daēva cult and the daēvas? I consider the evidence and try to answer this question.
Trends in Classics, 2013
The author of the Derveni papyrus makes wide use of etymologies of divine names to interpret an Orphic theogony. With the help of these etymologies, he links episodes of the Orphic theogony with a philosophical model of the evolu- tion of the cosmos. In this article, I argue that the techniques used by the Derveni author for the analysis of divine names are related to Mesopotamian hermeneuti- cal and theological traditions that go back to the end of the second millennium BCE, but were still alive in the fourth century BCE when the text of the papyrus was presumably composed. I compare the interpretative strategies of the Derveni author with those of Assyrian and Babylonian scholars as found in Tablets VI and VII of Enūma eliš, in certain Akkadian commentaries, and cuneiform god-lists to show that there is a similar system of beliefs in the text compared.
A Dilmun seal found in Ur depicts Mesopotamian and Hindu constellations: a palm-tree, a scorpion, snakes, a recumbent human, a zebu and a bristle, 2018
In the first part of this paper I claimed that these constellations were related to the sky gods Anu (Heaven) and Ashur (Whole Heaven). In the second part I demonstrated that the people from the Indus Valley Culture where able to read this seal and that they also recognized the myth of Shiva and Daksha in two constellations.
Thanks to Yigal Bloch and Laura A. Peri who have rendered a lucid account of the inscription of Tukulti Ninurta I in Israel Museum Studies in Archaeology, Vol. 8, 2016-2017, Jerusalem, pp. 2-56. Mirror: https://tinyurl.com/yam92gaa Fig. 10 Sumerian stone tablet and copper peg figurine bearing dedicatory inscriptions; such objects have been found together as foundation deposits Fig. 11 (above, right) King Assurbanipal of Assyria portrayed as a temple builder carrying a basket, carved on an inscribed stele commemorating him as rebuilder of Esagila, the god Marduk’s temple in Babylon. Image result for anzu sumerian archaic cylinderBrj. dã̄wrī f. ʻ rope ʼ rebus: dhāvḍī ʻ composed of or relating to iron ʼ panja 'feline paw' rebus: panja 'kiln, furnace' kambha 'wings' rebus: kammaṭa 'mint, coiner, coinage' I suggest that the metaphor of the peg in Ancient Near East is relatable to received memories of ancestors evidenced by Indus Script hypertext documented by Meluhha metalworkers and seafaring merchants: A. dāmā ʻ peg to tie a buffalo -- calf to ʼ; Ku. dauṇo m., °ṇī f. ʻ peg for tying cattle to ʼ,Brj. dã̄wrī f. ʻ rope ʼ(CDIAL 6283) Rebus: dhāˊtu n. ʻ substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (whence dhā̆vaḍ m. ʻ a caste of iron -- smelters ʼ, dhāvḍī ʻ composed of or relating to iron ʼ); -- Si. dā ʻ relic ʼ; -- (CDIAL 6773) I suggest that the memories of Asur, Meluhha metaoworkers of the Bronze Age who documented their wealth-creating activities of metalwork in over 8000 Indus Script inscriptions, are enshrined in the Assur expressions on cuneiform texts and archaeological artifacts of Ancient Near East, discussed in this monograph. See: https://tinyurl.com/yc84k7k8 Vedic asūrta based on svàr/sūr ‘sun’ and Mlecchita vikalpa. Itihāsa of Asur/Bhāratiyo metalcasters, as Bhāratam Janam A remarkable excursus of Marcus Albino explains the semantics and purport of Vedic asurta-, surta-, asuryá-, asurá- in EJVS, Vol. 20, Issue 2, 2013 (http://www.ejvs.laurasianacademy.com/ejvs20/asurta.pdf). "(Trans.) In this essay I try to establish that Ved. asūrta- an extended exocentric composite of svrr-sun, no negated formation of a formation with one "Possessive" suffix -ta, and that sūrta- a decompomposition Education. I'm going to discuss that also ved. asūryá- is an extended exocenter. that ved. asūré is an "absent-mindedness" of the type arajjáu 'without a knot'." This brilliant philological excursus is validated by the itihāsa of Bhāratam Janam with three identifiable attributes: 1. attested sun-worship documented in ancient cuneiform texts, archaeological artifacts and ancient Indian texts; 2. emergence of Mlecchita vikalpa as a writing system with hieroglyphs to denote metalwork; 3. groups of people self-designated as Assur/Asur in Ancient Near East and in Bharatam respectively. yáyor ádhi prá yajñÁ asUré sánti sUráyaH tÁ yajñásyAdhvarásya prácetasA svadhÁbhir yÁ píbataH somyám mádhu (RV 8.10.4) Geldner's translation: Which the victim and the victim gentlemen in Asura proceed, they are connoisseurs of the victim, the ordinance, the drink soma sweet to taste. In this rca, the word Asūré is interpreted by Marcus Albino as 'absence' formation as in arajjau 'without a knot' -- as I understand the import, something like, 'worshippers rising without the Sun'. Thus, central to Marcus Albino's thesis is that the gloss 'asur' is related to worship of svàr/sūr ‘sun’. http://en.wikipedia.org/wiki/File:Kudurru_of_Nazi-Maruttash.jpg BOUNDARY STONE (KUDURRU), CA. 1125-1104 B.C., BABYLONIAN, SIPPAR (MODERN SOUTHERN IRAQ), STONE, 25 3/16 X 7 1/16 IN. © COPYRIGHT THE TRUSTEES OF THE BRITISH MUSEUM, ME 90858 "Approximately 160 kudurrus and fragments exist today and range from one foot to one yard in height. Their shapes vary only slightly, with a generally rectangular form and more or less rounded edges. Their surfaces are covered (but not completely) with inscriptions and images arranged in registers, the traditional layering used in the art and writing of the ancient Near East." http://www1.seattleartmuseum.org/eMuseum/code/emuseum.asp?style=browse¤trecord=1&page=search&profile=objects&searchdesc=celestial&quicksearch=celestial&newvalues=1&newstyle=single&newcurrentrecord=1 From Joseph Campbell’s book The Mythic Image we see the Kudurru, a Babylonian boundary stone shown above is dated to the Twelfth century B.C. and shows the manifestations of deity in the six stages. The Kudurru from top down it shows (left to right) the planet Venus of the goddess Ishtar, then the lunar crescent of the moon-god Sin, and the solar disk of Shamash (the sun god). There is a huge serpent (note Tiamat, is Akkadian for "sea," the female half of the primordial couple) winding up the left side of the sculptured stone where the head is above the cup of the crescent moon. This reptile is symbolic of the primal generative waters that surround the universe, support it from beneath, and rain down upon it from on high. As you go downward, stage by stage it is the elements of the watery abyss. The star, moon and solar disk represent the ultimate governing powers of the cosmos. On the first of the lower stages are three chapels, or thrones of deities such as Anu, the sky god (light or fire) which is associated with Nuska, the fire god, Enlil the storm god (of the air and atmosphere), akin to Ramman-Adad (Heb. Rimmon) and Ea (Enki, Oannes) the water god in his "sea house," associated with the tortoise of the watery elements. Next below are the seats and symbols of the special patron gods of Babylon: Marduk, son of Ea, patron god of the city, whose animal is a dragon; was called the king of the gods. Nabu (Nebo), son of Marduk, a messenger, the god of writing and wisdom, shown as a goat; Ninhurshag-Ninlil, the goddess-queen herself, the Mountain Mother. The following two ranges are of this earthly plane, first of the atmosphere all about us and then of the earthly powers below ground. The first shows the standards of the guardians of the four world quarters. It has a bizarre hawk’s head at the left and double-lion column beside it are emblems of two monster-slayers, Zamama of Kish and Ninib of Nippur; the enshrined image of a horse’s head is an Aryan, warrior god; and the miserable eagle to the right is a war god. Below ground sits the goddess Gulu, (the earth-goddess; also Ninmah, goddess of the underworld), where the cosmic serpent begins to rise. She is the patroness of herbs, healing, life, as her flowered garment shows. Hands lifted in prayer, she sits with her dog, defender of homes, while before her a Scorpion Archer mounts guard at the uttermost bound of the earth (cosmic sea), to defend against demonic powers and protect the rising and setting sun. Beneath all, in the abyssal sea are the symbols of the four elements of which all things above are composed; at the right, the lamp of Nuska (Nunska), a god of fire; at the left, the bull and thunder-sign of Ramman-Adad (Heb. Rimmon), an air and storm god; below, the scorpion, earth-dwelling dealer of death; and above, the swimming tortoise, here supporting with his feet the entire cosmic mountain. The ones on the bottom have connections to those on the top. http://www.mazzaroth.com/ChapterFour/ScorpioAndBoundaryStones.htm Indus Script hypertexts on kudurru phaḍa 'cobra hood' rebus: phaḍa 'metals manufactory'. arka 'sun' rebus: arka 'gold' kamar'moon' (Pashto) rebus: kamar 'blacksmith' (Santali). bica 'scorpion' rebus: bica 'haematite, ferrite ore' kamāṭhiyo 'archer' rebus: kammaṭa 'mint, coiner, coinage' kamaṭha 'turtle' rebus: kammaṭa 'mint, coiner, coinage'
Much ink has been spilled on the examination of Mesopotamian conceptions of the divine in the past, and the topic has received renewed attention in the present. The following article offers yet another synthetic analysis of the Mesopotamian divine sphere, amassing in one place a vast array of data and the scholarly assessments of that data. More particularly, after examining what constitutes a god in ancient Mesopotamia and the essential and characteristic qualities of Mesopotamian deities, the article attempts to sort the divine sphere, focusing on the relationship between the various beings that populate the divine world and between a single deity and its various aspects. However, although synthetic, the present contribution offers several new insights. Most prominently, it posits the concept of divine constellations as a model for understanding Mesopotamian deities, in which the major Mesopotamian deities are presented as a constellation of aspects that may be treated as (semi-)independent beings or as a unity depending on the context.
2022
The aim of this paper is to survey the attestations of gods in the Middle Assyrian archival texts as a preliminary contribution to future, more indepth studies on religion during the MA period. In doing so, a series of problems regarding these attestations will be evidenced.
Journal of The Royal Asiatic Society, 2009
This article applies a synthetic approach of philological, religious, philosophical, and cultural studies to explore the original meaning of the terms dao and de , two primary concepts in traditional Chinese intellectual history. Through an etymological analysis of the characters dao and de, and supported by both received and discovered texts and materials, this article demonstrates that dao originally represented the spirit of the Pole Star/High God and the movement of Heaven, and de, in relation to dao, originally represented the impartial virtue and power of Heaven. In terms of this new interpretation, the article further discusses the signification of dao and de in the Laozi to uncover the mystic aspects of the text.
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