A fantastic shot of the Eanna Temple in Uruk (Iraq)
Information about the temple can be found here
Clay tablet with the birth of Sargon of Akkad and his argument with the king of Kish, late 3rd millennium BCE, now in the Louvre, Paris.
Facade of Inanna’s Temple at Uruk.
This is part of the facade of the temple of Inanna at Uruk. There are standing male and female deities in alternate niches. Each figure holds a vessel in his/her hands and pours life-giving water forth on to the earth. The cuneiform inscriptions on the bricks mention the name of the Kassite ruler Kara-indash as the person who ordered the building of this temple. Circa 1413 BCE. From Uruk, southern Mesopotamia, Iraq. (The Pergamon Museum, Berlin).
Sickle Sword, Bronze; 1307–1275 B.C.
Middle Assyrian period, reign of Adad–nirari I
A conservator at the British Museum, writes about her work in the Ur Project.
Old Akkadian Administrative Text on Gypsum
This beautifully preserved administrative text from Nippur is recorded in Old Akkadian on a gypsum tablet. As the official language of records during the reigns of Sargon (c. 2334-2279) and his successors, Old Akkadian was used in administrative records such as the one above. It was also used in letters, and a few examples of literature in this early form of Akkadian have survived.
Sargon of Akkad is well-known for later legends about his origins, which chronicle how, having been abandoned, he was found floating on the Euphrates River in a basket made of reeds. His name in Akkadian, Šarru-kīnu, is a throne name meaning “The true (kīnu) king (šarru)”. (Sources 1, 2)
Old Akkadian, c. 2340-2200 BCE.
University of Pennsylvania Museum of Archaeology and Anthropology. Photo from CDLI.
Architectural Model, terracotta, Nippur, Iraq, ca. 2000 BCE, Penn Museum Object B15396. Source.
Image Title: Birs Nimrud, the Tower of Babel
From Nippur, or Exploration and Adventure on the Euphrates, by J. P. Peters (Source)
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Scene from the Balawat Gates
This engraving on the bronze Balawat gates, now on display in the British Museum, depicts a six-wheeled battering-ram. Several bronze bands that bear inscriptions and engravings once covered the Balawat gates, three large gates from the ancient city of Imgur-Enlil (modern Balawat) whose wooden portions are mostly decayed. The bronze bands depict scenes from the lives of the Neo-Assyrian kings, including military exploits like the one depicted in the image above, which comes from Everyday Life in Babylonian and Assyria by notable Assyriologist H. W. G. Saggs (available online).
Relief on alabaster panel from the Northwest Palace of king Ashurnasirpal II at the Assyrian Imperial capital of Nimrud (883-859 BCE). Hood Museum of Art at Dartmouth College, Hanover, NH.
Photo by Babylon Chronicle
The ‘Queen of the Night’ Relief, also known as the Burney Relief [detail].
Old Babylonian, 1800-1750 BC. Courtesy & currently located at the British Museum, London.
The Pedestal of Tukulti-Ninurta I
Artifact: Stone monument
Period: Middle Assyrian period (ca. 1400-1000 BC)
Current location: Vorderasiatisches Museum, Berlin
Text genre, language: Royal inscription; Akkadian
Neo-Assyrian Head of Pazuzu, Circa 8th-7th Century BC
Pazuzu was an Assyrian and Babylonian demonic god of the 1st millennium BC. He normally has a dog-like face like here, and where his body is depicted he has a scaly torso, a snake-headed penis, the talons of a bird and usually wings.
Although Pazuzu was a malevolent force, his image was used on amulets to ward off his enemy Lamashtu, a female demon that preyed on newborn babies and their mothers. The amulet was either worn by the mother or child and larger ones were placed above their bed on a wall.
His legend was adapted and used in The Exorcist films.