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IDEA CZŁOWIEKA I BÓSTWA W STAROŻYTNOŚCI CZĘŚĆ II: Mesopotamian Divination. Some Historical, Religious and Anthropological Remarks

100%
Ulanowski K.
Miscellanea Anthropologica et Sociologica
|
2014
|
vol. 15(4)
PL
Divination was a salient characteristic of Mesopotamian civilization. Divination was basedon the idea that to some extent the future is pre-determined; but that the gods, especiallyShamash and Adad (“Shamash, lord of the judgment, Adad, lord of the inspection”), havemade available to man certain indications of the future (omens and portents) in the worldaround him, which can be interpreted (divined) by experts with specialist knowledge. Ea,along with these two gods, was credited as one of the founders of divination. The future ascrystallized in the present was not considered by the Babylonians as solely a creation of thegods but as the result of a dialogue between man and god. The Mesopotamians believedthat the gods wrote the future into the universe, and that this is why the world could beread by those who were wise enough (certain priests and scholars). The organic body wasseen as a text. Specially prepared priests could explain the signs sent down by the gods(in Akkadian, the word pašāru means a multi-layered reading or decipherment of texts).Therefore, even if the gods founded divination, man played a vital role in the process andwas a vital link, a near equal and irreplaceable part of the process as a whole.
2
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THE IDEA OF MAN AND DIVINITY IN ANTIQUITY PART II: Mesopotamian Divination. Some Historical, Religious and Anthropological Remarks

100%
Ulanowski K.
Miscellanea Anthropologica et Sociologica
|
2014
|
vol. 15(4)
EN
Divination was a salient characteristic of Mesopotamian civilization. Divination was basedon the idea that to some extent the future is pre-determined; but that the gods, especiallyShamash and Adad (“Shamash, lord of the judgment, Adad, lord of the inspection”), havemade available to man certain indications of the future (omens and portents) in the worldaround him, which can be interpreted (divined) by experts with specialist knowledge. Ea,along with these two gods, was credited as one of the founders of divination. The future ascrystallized in the present was not considered by the Babylonians as solely a creation of thegods but as the result of a dialogue between man and god. The Mesopotamians believedthat the gods wrote the future into the universe, and that this is why the world could beread by those who were wise enough (certain priests and scholars). The organic body wasseen as a text. Specially prepared priests could explain the signs sent down by the gods(in Akkadian, the word pašāru means a multi-layered reading or decipherment of texts).Therefore, even if the gods founded divination, man played a vital role in the process andwas a vital link, a near equal and irreplaceable part of the process as a whole.
3
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Remarks on the Iconographic Motif of the Birdman in Mesopotamian Glyptic Art of the Third Millennium BC

84%
Majchrzak D.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
|
2018
|
vol. XXXI
219-234
EN
The iconographic motif of the birdman emerged in Mesopotamian glyptic art in the Early Dynastic period and disappeared at the end of the Akkadian period. Its meaning remains ambiguous, particularly due to the fact that the figure is represented in scenes of varying character and it cannot be identified with any character known from myths. Sometimes, the creature may be recognised as a deity based on a horned crown, yet this is not always the case. Among the deities attested in the scenes with birdman, one can easily identify Shamash and Enki. The examined material contains 62 published seals or seal impressions with the birdman motif, both from the Early Dynastic and the Akkadian period. The latest monographic studies of this subject were published in the 1950s. Interpretations presented by the authors of said works, though often quoted in the research on the motif, seem to lack proper argumentation and, to an large extent, are outdated due to a considerable progress of the research on Sumero-Akkadian iconography and an increase, although modest, in study material, among other things. In light of the above, it is worth analysing this motif one more time.
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