Unfinished boundary stone (kudurru) with Two-horned Snake
Date
12th Century B.C.
Artist
n/a
Origin
The Ancient World : The Middle East : Kassite Period : Babylonia
Description
This unfinished and uninscribed boundary stone (kudurru) is a symbol
of the cosmos as conceived by the Kassites: a giant, two-homed snake
(symbolizing the river of the underworld) encircles the foundations
of an earthly palace, the towers and battlements of which rise upon
its back; above them, a procession of minor deities play instruments
and are accompanied by wild beasts; the next tier, marked by the emblems
of the supreme deities, is heaven; and, finally, crowning the monument,
is a second serpent (the celestial ocean) which coils protectively around
the recumbent Bull of Heaven.
Unfinished boundary stone (kudurru) divided into three registers. Bottom
register encircled at its base by horned serpent from whose back rises
a fortified citadel or palace consisting of plain columns with crenellated
capitals and horizontal crenellated battlements; above battlements,
three divine emblems: the lamp of the god Nusku; a composite creature
with a male head, scorpion's body, wings, and two lion's feet, symbol
of an as-yet-unidentified god; and the strutting bird of the god Papsukkal.
Central register: a divine procession consisting of seven males (two
visible in image) wearing short skirts, horned crowns, carrying quivers
containing bows and arrows, and playing long-necked lutes, each leading
an animal (visible are, from left, a spotted feline, an ostrich, and
the rear part of a horned caprid; not visible are another horned caprid,
a deer, and a lion); procession, marching toward a symbol resembling
a large tub containing three club-shaped blossoms, ends with one female
figure, also with a quiver and horned crown, but wearing a long garment
and playing a drum. Top register, symbols of the supreme gods (visible
are a reclining lion dragon of uncertain symbolism, an altar-shaped
"seat" or throne supporting a female bust (symbol of the goddess
Gula); two recumbent horned composite creatures, each supporting a throne,
one surmounted by a rectangular object (symbol of the god Nabu), and
the other by a triangular spade (marru, symbol of the god Marduk); not
visible are symbols of Ninhursag, Ea, Anu, Enlil, Sin, Shamash, Ishtar,
Nergal, Zababa, Harba(?), and Ninurta(?); all surmounted by a second
coiled serpent encircling the figure of a recumbent bull (now largely
effaced).
Cultural Context
A. When completed, this kudurru would have been erected to publicize
the granting of a piece of land by a king or high official to a particular
person or a temple. The representations of the divinities of the Kassite
pantheon and the structure of the cosmos that decorate its surface placed
that grant under the protection of all the gods--anyone damaging or
altering the text, or failing to adhere to its dictates, would incur
the wrath of the entire cosmos.
B. This kudurru is a fairly literal depiction of the hierarchical structure
of the cosmos as conceived by the Kassites and of the attributes of
the gods and goddesses that occupy its various tiers.
The large horned serpent encircling the base of the monument symbolizes
the gods of the underworld, the land of death, but also the source of
the underground waters which nourish all life. The palace, rising from
the serpent's back, represents earth--the abode of the king; its fortified
walls would have carried the text of his decree in the carefully prepared
boxes visible on the right-hand portion of the image.
Above the palace is the realm of the gods, arranged in three tiers.
The three lowest deities occupy a space just above the palace battlements,
but below the tops of its columns, and thus seem t o be ranked just
slightly above the king himself. They are probably all figures who sometimes
intercede for man with the gods: Nusku, god of light and fire, and also
exorcist of hexes and spells, is symbolized by a lamp; Papsukkal, messenger
of the gods, is symbolized by a strutting bird; and an unknown deity
is represented by a composite creature with human head, scorpion body,
and lion's legs. The second tier is the abode of the gods and goddesses
of wild animals and of the hunt, identified by the beasts that accompany
them and by the quivers with bows and arrows on their backs. These deities,
whose names we do not know, are beneficial to man as the producers of
game and, also, as the controllers of the behavior of wild animals,
whom they charm with their music. Above them, in the uppermost register
of the kudurru, are the symbols of the great gods and goddesses of heaven,
who control the working of the cosmos, carefully arranged in descending
rank from right to left. Present, but not visible in the image, are;
the rayed sun disk of Shamash; the crescent moon of Sin; the star of
the great mother and warrior Ishtar; the horned crowns of Anu and Enlil,
powers in the sky, resting on throne-shaped bases; the composite goat-fish
and ram stave (on a throne-shaped base) of Ea, the god of the sweet
waters; and the symbols of Ninhusag, goddess of birth--a cow's uterus
and knife, again on a base. Visible are: two mushhush dragons guarding
bases supporting the spade of Marduk, city god of Babylon, and the tablet
and stylus(?) of his son, Nabu, god of scribes; a base supporting the
bust of Gula, goddess of healing; and a reclining lion demon that may
represent Ninurta, god of the thunderstorms and spring floods. After
them (not visible) are: the lion stave of Nergal, Lord of the Underworld;
a bird with head turned back, probably representing an enigmatic Kassite
god named Harba; the eagle stave of Zababa, city god of Kish; and a
reclining winged lion.
The monument is crowned by a second coiled serpent, representing the
celestial ocean that is the counterpart of the river of the underworld,
encircling the badly damaged recumbent figure of the Bull of Heaven.
C. The production of elaborately decorated and inscribed kudurrus, publicizing
grants of land by the king and other high officials, reached its height
during the Kassite period. (For a detailed discussion, see 2Bi.002.)
The object pictured here is an example of the form that such monuments
took during the twelfth century--an elongated rectangular block carved
in the form of a fortified palace protected by towers and battlements.
The prominence of the two serpents on this particular Kudurru is unusual,
but is in keeping with the importance of serpents in the symbolic imagery
of ancient Mesopotamia (see, for example, Star No.400, 520; 2Bb.517,
2Bc.024, 2Bd.077, 2Bf.007).
D. n/a
E. Moortgat (p.101) notes that the picture-language of the Kudurru reliefs
is fundamentally an attempt in iconographic form to crystallize the
theological speculation of the polytheistic pantheon of the second millennium
B.C. Symbols were chosen to indicate the complex character of the gods
they represented and attempts were made to explain their hierarchic
position in the theological system and their bearing upon thee various
spheres of the cosmos.
F. The sudden proliferation of kudurrus during the Kassite period is
indicative of a new pattern of social organization--a quasi-feudal system
of land grants to favored retainers of the king whereby more and more
productive acreage was withdrawn from taxation. (Hallo, p. 108) That
the kudurru was widely perceived as an expression of the concept of
kingship and its power is demonstrated by the fact that the Elamite
king, Shutruk-nahunte, who conquered the Kassites in the twelfth Century
B.C., took the trouble to remove a large number of them (including even
this unfinished example) to Susa as booty. (Moortgat, p. 100)
Special Qualities
This kudurru, although unfinished, is considered by many to be the finest
known example of Kassite relief in both subject matter and style. Its
representation of the structure of the cosmos is developed in particular
detail using the entire surface of the block, rather than one or two
faces, and is unusual in limiting the inscription (unfortunately never
completed) to the register representing the earthly palace. The presence
of two serpents, symbolizing the celestial ocean and the river of the
underworld, provides a unique visual and conceptual frame for the entire
composition, and the inclusion of the register containing gods and goddesses
of wild beasts and the hunt is unique.
Material or Technique
Relief: yellow limestone
Measurement
Height, 21 1/4 in. (54 cm.)
Provenance
Iran; Susa [originally from Iraq, probably Babylon)
Repository or Site
France: Paris, Musee Louvre, SB 25
References
Haussig, Hans Wilhelm, Götter und Mythen im Vodereren Orient (Stuttgart,
1965).
Jacobsen, Thorkild, The Treasures of Darkness (New Haven and London,
1976).
Moortgat, Anton, The Art of Ancient Mesopotamia (London and New York,
1969), pp. 100-103, pl. 231-232.
Seidel, Ursula, "Die babylonischen Kudurru-Reliefs," Baghdader
Mitteilungen 4 (1968), pp. 74, 169, 207; No. 40, pl. 18a, fig. 4
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