About love scenes depicted on Ancient Oriental cylinder seals

Number A

In the Ancient Near East thousands of cylinder seals were produced and just a few

of them depict a man and a woman making love. In this paper I try to identify this

man and woman and I also try to understand what is happening on these seals.

Number B

This is an imprint of a very common cylinder seal. It doesn’t show a love scene but

here a goddess holds the owner of the seal by the wrist as she leads him before a

seated god who should determine a fate for him.

Then this god pronounces the inscription: “Lugal Kagiul, son of Urdingirra, (be)

scribe,” more or less similar to what we read in the next verses:

5-11. “Your mother, Nintur, held you by the right wrist as she led you before your

father in E-kur, the august shrine. Then she said: "Decide a great fate for the son who

is your avenger!"

12. Šagbatuku.

13-15. Enlil looked at him with joy and decided his fate: "Uta-ulu, may your name be

exalted throughout the extent of heaven and earth." Title poem: An adab to Ninurta for Lipit-Eštar (Lipit-Eštar D)

Published: http://etcsl.orinst.ox.ac.uk/cgi-bin/etcsl.cgi?text=t.2.5.5.4&charenc=j

Usually these kind of scenes are called: “presentation scenes.” Nevertheless, I

think that they depict a “highlight” from the lives of the seal owners as, they show

their inauguration as king, scribe or servant.

Number C

This imprint shows another very common inauguration scene: here a goddess

introduced the seal owner, clasping to his breast a white lamb, and made him stand

before the sun god Shamash.

Then the goddess saluted the sun god and told him: "Father determine the fate of

Ili-turram, call him by name!"

Shamash looked upon him and determined his fate and pronounced the inscription:

“Ili-turram, son of Ipqu-Adad, (be) servant of Adad.”, just like Enlil determined a

fate for king Icme-Dagan:

34-42. “You introduced prince Icme-Dagan, clasping to his breast a white lamb and a

sheep of auspicious omens, into the E-namtila, Enlil's temple, and made him stand at the

royal offering place of life. Then you saluted the Great Mountain Enlil and told him:

"Father Enlil, great lord of all the foreign countries, determine the fate of Icme-Dagan,

call him by name!" Enlil, the king of all the foreign countries, looked encouragingly upon

him, beaming radiantly; and determined a fate for Icme-Dagan.

43-60. "Prince Icme-Dagan, as your fate, you shall be given a throne which concentrates

all divine powers, an enduring legitimate crown and a sceptre which maintains the people

and keeps them united.” Name poem: An adab to Bau for Išme-Dagan (Išme-Dagan B)

Published: http://etcsl.orinst.ox.ac.uk/cgi-bin/etcsl.cgi?text=t.2.5.4.02&charenc=j#

So, both inscriptions tell us the names of the seal owners, their future professions

and the names of their fathers. Apparently, that was enough to identify them.

Number 1

This imprint may openly show another “highlight” from the life of the seal owner,

namely, his creation by his father, who makes love to his mother.

The seal owner himself may be standing on the right.

Number 2

And this imprint shows the birth of the seal owner: in Sumer the sitting goddess is

called “Ama-dug-bad”, which literally means “Mother spreading her knees”.

In the myth “Enlil and Sud” she is also called “Nintur.” This name can be

translated as: “Lady who gives birth,” and she is depicted on seals to symbolize

the birth of the seal owner.

“The lord whose statements are powerful also determined a fate for the Lady (Aruru), the

woman of his favour; he gave her the name Nintur, the 'Lady who gives birth', the 'Lady

who spreads her knees'. He made beautiful En-batibira's (perhaps a name of Aruru)

countenance, ……. “ Name myth: Enlil and Sud: c.1.2.2

Published: http://etcsl.orinst.ox.ac.uk/edition2/etcslbycat.php

Number 3

Ama-dug-bad is a goddess who gives birth to children, but, it’s needless to say, she

has to be fertilized first.

Both fertilization and childbirth are depicted on this drawing of a Jamdat Nasr

cylinder seal found in Ur: on the left a man makes love to a woman and fertilizes

her, and on the right this woman spreads her knees to give birth to the created

child.

Number 4

The same events were depicted on this drawing of a Syrian styled cylinder seal

found in Cyprus: on the left a dressed man makes love to a dressed woman and in

the middle this woman spread her knees to give birth to the created child.

Number 6

Once again, on this imprint of an Iranian cylinder seal (ca. 1200-900 B.C.) a man

makes love to a woman and fertilizes her. The children, playing on the right, may

be the result of this love affair.

Number 8

This imprint depicted three “highlights” from the life of the seal owner:

1. On the left a naked man with erect phallus symbolized his creation. This

happened between mid-June and mid-July, indicated by the small lions above

and below. They represented Leo: at that time this Zodiac sign indicated the

period from mid-June to mid-July.

2. On the right, a woman spread her knees to give birth to the seal owner. She

wore cow horns symbolizing that she gave birth to him in Taurus. This

Zodiac sign then indicated the period from mid-March to mid-April.

3. The scene in the middle shows his inauguration.

On the above imprint creation, birth and fate were also symbolized by

these three objects: a jar, a monkey and a bird looking backwards:

1. The jar on top symbolizes creation: the Old Babylonian word “mud” can be

translated as “jar” but it can also be translated as "to create." http://psd.museum.upenn.edu/epsd/nepsd-frame.htmlmud [JAR] wr.

2. The monkey below symbolizes childbirth: in Old Babylonian “ugu4” means:

"to give birth (to)" and “ugu4-bi” means "monkey." http://psd.museum.upenn.edu/epsd/nepsd-frame.html

Ugu4-bi can also be translated as: 'to give birth' + inanimate

demonstrative.” ["Inanimate are things and animals." Thomsen, p. 49]

3. The little bird looking backwards symbolizes that the seated deity decrees a

fate: The Old Babylonian words “nam tar” can be translated as “decree

fate,” whereas the word for “bird” is “NAMdar.” http://psd.museum.upenn.edu/epsd/nepsd-frame.html

Besides that, in the Ancient Near East as well as in Greece and Rome it was

current to tell fortune or fate by the flight of birds:

“The augur was a priest and official in the classical world, especially ancient

Rome and Etruria. His main role was to interpret the will of the gods by studying

the flight of birds: whether they are flying in groups or alone, what noises they

make as they fly, direction of flight and what kind of birds they are. This was

known as "taking the auspices."

http://en.wikipedia.org/wiki/Augury.

Number 1

Looking again at this imprint we may notice something more: As I said before, here

a man fertilizes a woman. But obviously this woman drinks beer or wine from a

crater.

This crater may represent the Zodiac sign: “The Crater.” At that time the sun

passed this sign in July. This means that this love affair took place in that very

month.

http://en.finaly.org/index.php/The_earliest_precursor_of_writing

The owner of the seal, standing on the right, may be the fruit of this love affair. His

legs form a cross. which is an old Sumerian token, meaning: “sheep.” It may

indicate Aries. At that time the sun passed this Zodiac sign in March.

So this imprint told us that the seal owner was created in July and that he was born

in March.

Number A

On this imprint a man and a woman make love and may create a child.

The sheep on the left may represent the Zodiac sign Aries.

At that time this sign indicated that a child was born in February/March.

This means that this child was created in June/July.

Number 10

This bronze coin depicts another “Mother spreading the knees” who gives birth to

a child. According to the inscription, reading: “of king Agathocles,” this coin

belonged to Agathocles, who was king of Bactria between 190-180 BC.

The feline on the front side represented the Zodiac sign Leo.

At that time it indicated that Agathocles was created in late June or early July.

This meant that his mother may have given birth to him in March or in April.

Number 5

On this imprint of an Early Dynasty cylinder seal a man and a woman make love

on an anthropomorphic couch. The two children, depicted on the left, may be

created during this love affair.

A dog is situated beneath this couch and it represents the Zodiac sign Canis Major.

The goddess Bau, a physician, is a goddess of this sign.

The star next to this dog represents Sirius, and Ninurta is one of its deities.

Ninurta and Bau are man and wife:

“Nintinugga was a Babylonian goddess of healing, the consort of Ninurta. She is

identical with the goddess of Akkadian mythology, known as Bau or Baba, though it

would seem that the two were originally independent. She was the daughter of An and

Ninurta's wife. She had seven daughters, including Hegir-Nuna (Gangir). She was known

as a patron deity of Lagash, where Gudea built her a temple.” https://en.wikipedia.org/wiki/Nintinugga

The anthropomorphic couch may represent Shamash, the god of the sun.

The star and the dog beneath the couch may symbolize that the sun, Sirius and

Canis Major conjunct. In the Ancient Near East it was believed that when they

conjunct with the sun Ninurta (the god of Sirius) and Bau (the goddess of Canis

Major) make love to each other.

The two children on the left may symbolize that about nine months later two

children were born in Gemini.

These two children may have been Ab-Bau and the owner of the seal.

Ab-Bau is the son of Bau: he is a deity and like many other deities he may have

born over and over again. So on the seal he may have been re-created and re-born

at the moment the owner of the seal was created and born:

“Bau has abandoned Iri-kug and has let the breezes haunt her sheepfold. She has

abandoned her flooded chamber and has let the breezes haunt her sheepfold. Her son Ab-

Bau has abandoned it and has let the breezes haunt his sheepfold. Ab-Bau has abandoned

Ma-gu-ena and has let the breezes haunt his sheepfold.” The lament for Urim: c.2.2.2

Published: The Electronic Text Corpus of Sumerian Literature

Number 11

This imprint also depicts a “Mother spreading the knees” giving birth to a child.

In the middle a lion-headed winged demon represented Leo. At that time this

Zodiac sign indicated that this child was created in June.

On the right a bull-headed demon represented Taurus. At that time this Zodiac sign

indicated that this child was born in March.

Being created in Leo and born in Taurus the seal owner may call himself “a lion

with wide-open jaws” or “a wild bull.” He is “born from a cow” and he is “the

calf of a thick-necked white cow”, just like king Šulgi:

“I am the king, a wild bull of acknowledged strength, a lion with wide-open jaws! I am

Šulgi, a wild bull of acknowledged strength, a lion with wide-open jaws! I am a great

storm let loose from heaven, sending its splendour far and wide! I am good stock, with

brindled body, engendered by a breed-bull! I am a king born from a cow, resting amid

butter and milk! I am the calf of a thick-necked white cow, reared in the cow-pen!” Name poem: A praise poem of Šulgi (Šulgi C): c.2.4.2.03

The Electronic Text Corpus of Sumerian Literature

Number 12

This photograph shows two imprints from a Jamdat Nasr seal from Ur. In the

middle of these imprints, two mothers, depicted between four scorpions, spread

their knees to give birth to their child.

To understand this seal, we just have to know a few things:

First, in the Ancient Orient it was believed that “live” came down from heaven,

and that the sun, the moon, the stars and the Zodiac signs, even Scorpion and

Cancer, could bring forth children.

Secondly: on Oriental seals scorpions always represent the Zodiac sign Cancer:

"The Crab, a variant of the Scorpion (Vide Vol. I. 60, 210), is frequently figured in a

somewhat similar manner. It appears in Lajard, M. PI. xxxv. 7 (Sup. p. 32), and liii. 4. In

PI. liii. 3 it is difficult to say whether two Crabs or Scorpions are intended. (As to the

Crab in art, vide Z. sec. iv.)" Researches into the origin of the primitive Zodiac signs of the Greeks, Phoenicians and Babylonians by Robert Brown, Jun.,

f.s.a.

Number 14

In the Ancient Near East, it was customary to practice a Sacred Marriage in June

or July.

This happened in the morning of the new moon.

Between 4320-2160 BC Cancer then was visible just before sunrise: apparently this

meant that Cancer was the “live-giving” Zodiac sign,

On the above imprint this was visualized by the stinger placed between two vulvas.

This symbolized that this Scorpion (representing Cancer) was an fertilizing Zodiac

sign.

Number 15

In March and April Cancer became visible in the evening right after sunset.

In these two months Cancer appeared to be a birth-giving Zodiac sign.

On the above imprint this was visualized by the two scissors (of the Scorpion

representing Cancer) giving birth to the child, depicted on the right.

So in the period between 4320 and 2160 BC.

• In March and April the Zodiac sign Cancer became visible in the evening,

right after sunset.

• In May the sun passed this sign, which meant that it was “hidden” behind

the sun,

• And in June it became visible again, but now in the morning, just before

sunrise.

Number 13

On this drawing from a seal from Ur, a mother spreads her knees to give birth to a

child. The scorpions indicate that this child was created in June when

Scorpion/Cancer became visible again in the morning, just before sunrise.

About nine months later the mother may have been birth to the created child in

March.

Number 16

• This drawing from a Latakia (Cyprus) cylinder seal depicted a "Sacred

Marriage" ceremony. The scorpion (representing Cancer) beneath the couch

indicated that this ceremony was practiced in June.

• On the right the created son, the result of this Sacred Marriage, approached

this couch. He was born in February/March indicated by the ram (Aries) and

the fish (Pisces.).

The scorpion may be related to the goddess Iskhara who is called "Scorpio

Iskhara” in "Reports of the Magicians:"

"The evidence that the scorpion is Iskhara is drawn from an astrological omen tablet. In

Thompson, "Reports of the Magicians", p. 76), we read: " Anu {D. P. muT) Akrahi {D. P.

ilu) Iskhara ina la'ah iirrisha," etc., "when in the flaming Ught of Scorpio Iskhara," etc.

Here Scorpio and Iskhara are identified. See also Jensen (" Kosmologie," pp. 72, 73) for "

{Mul) Girtah-Iskhara tamtim," where Girtab, Sumerian for Akrabu, scorpion, is equated

with Iskhara, a goddess resembling Venus. The scorpion is frequently depicted on the

stones and Iskhara is frequently mentioned. She is a goddess of the Kassite pantheon of

whom very little is known. She is related to Ishtar and is called "Goddess of the Holy

Mound," that is, of the sea (Sayce, "Religions of Ancient Egypt and Babylonia," p. 374)" Published: The Seal Cylinders of Western Asia by Hayes Ward

Number 17

• On this imprint of a cylinder seal from Tell Asmar a crescent symbolizes the

new moon.

• At new moon the sun and the moon conjunct.

• On this imprint the anthropomorphic couch below may represent the sun.

• The scorpion beneath this couch may represent the goddess Iskhara.

• Pictured together they symbolize that the moon, the sun and

Cancer/Scorpion conjunct.

• During this conjunction the moon god Nanna and the scorpion goddess

Iskhara may make love to each other.

• The barrel with drinking tubes may have indicated that this love affair

happened during a festival, when the sun passed the Zodiac sign Crater.

• The scorpion may have indicated that this love affair happened in June.

• This love affair was fruitful: the boy standing next to the couch may have

been its result.

Number 18

On this imprint of a Syrian seal made ca. 2900 - 2700 BC, a scorpion may have

represented the goddess Iskhara. At that time, she was “hidden” behind the sun in

May. A Sacred Marriage was celebrated when she became visible again on a June

morning. About nine months later she spread her knees to give birth to the created

child.

Number 9

The figures depicted in the lower register of this imprint indicated the same three

‘highlights” from the life of the seal owner:

1. In the middle, a woman spread her knees to give birth to the seal owner.

2. On the right a lion represented the Zodiac sign Leo. At that time, the sun

passed this Zodiac sign in June. And thus, depicted next to Ama-dug-bad, the

lion indicated that the seal owner was created in June.

This was customary: in the Ancient Near East marriages were usually

celebrated in June or July, like they were celebrates in June in Rome:

In Rome “June is known for the large number of marriages that occur over the

course of the month. According to one etymology, June is named after Juno. Juno

was the goddess of marriage and a married couple's household, so some consider

it good luck to be married in this month.” Published: http://en.wikipedia.org/wiki/June

3. On the left the seated deity determined a fate for the seal owner. Because of

a damage the owner unfortunately was not visible on the imprint.

Number 7

In the middle of this imprint a man makes love to a woman and fertilizes her.

On the left of this imprint stands this date-palm tree and a few things

can be said about it:

In the first place: it may represent the Zodiac sign “the Date-Palm Panicle of

d.Erua,” which is mentioned in “The 33 Stars on the Path of Enlil:”

10 The weaker stars of Leo's tail: the Date-Palm Panicle (sissinnu) of d.Erua,

d.Zarpanitum [Coma Berenices] {Denebola, in Leo} MUL.APIN Tablet No. 86378 British Museum

http://www.oocities.org/astrologymulapin/pathofenlil.htm

At that time this Zodiac sign indicated July.

Second, in Sumer the word for "tree" is "gis" or "gish," which also means penis:

"Because of the Sumerian writing the origin are picture symbols, we find, that gis or gish

is a penis as well as a tree. The Sumerian word Nin_gish_zi_ da means 'giving life from

the penis’ but also ‘giving life from a tree’. Nin_gish_zi_da is equal to ‘Du_mu_zi’, what

is known in Hebrew as Tammuz and means "son/man who is life". See: Beyond the slavery of religions: www.volker-doormann.org/slavery.htm

So, the tree can be associated with the word penis. And as a penis is related to

insemination the tree emphasizes the creation of a child.

On this imprint an ear of corn is depicted in-between the date-palm

and the fertilizing god. This ear of corn may indicate that barley is harvested in

March, during a spring festival called Akitu, which means: "cutting of barley,"

“The name is from the Sumerian for "barley", originally marking two festivals celebrating

the beginning of each of the two half-years of the Sumerian calendar, marking the sowing

of barley in autumn and the cutting of barley in spring.” http://en.wikipedia.org/w/index.php?title=Akitu&oldid=545171513

All in all this imprint demonstrated that in June, when the sun stood in “the Date-

Palm Panicle,” a child was created.

This child was born in March during the Akitu festival.

But the date-palm tree may also have indicated the two loving gods, as

the house of Ninisina and Pabilsag was created from a date-palm.

"Before the land of Dilmun ever existed, my house was created from a date palm.

Before the land of Dilmun ever existed, Isin was created from a date palm. Its dates are

like a great linen garment that hangs on a tree, heaped up into piles. The Anuna, the great

gods, eat together with me. My house is a place of healing, full of opulence, the place of

the formation of the Land. At night it shines to me like the moonlight; in the noonday heat

it shines to me like the sunlight. My husband, Lord Pabilsaĝ, the son of Enlil, lies inside

with me ……, enjoying his rest there” A šir-gida to Ninisina (Ninisina A): c.4.22.1

Published: The Electronic Text Corpus of Sumerian Literature

Apparently Pabilsaĝ, Ninurta and Ninĝirsu are one and the same:

“He is the sun of the Land; the discloser of great counsel in E-ama-lamma. Ninurta is

most precious. Pabilsaĝ is most precious. Ninĝirsu is most precious; his word is august.

He is the sun of the Land; the discloser of great counsel in E-ama-lamma.” A šir-namšub to Ninurta (Ninurta G): c.4.27.07

Published: The Electronic Text Corpus of Sumerian Literature

This ear of grain may also identify Ninurta, as he is a farmer god:

“Now, today, throughout the whole world, kings of the Land far and wide rejoice at Lord

Ninurta. He provided water for the speckled barley in the cultivated fields, he raised up

the harvest of fruits in garden and orchard. He heaped up the grain piles like mounds.

The lord caused trading colonies to go up from the Land of Sumer. He contented the

desires of the gods. They duly praised Ninurta'sfather.” Ninurta's exploits: a cir-sud (?) to Ninurta

Published: The Electronic Text Corpus of Sumerian Literature

And a palm-tree may also indicate a mother: Lu-diĝira writes about his

mother: “My mother is a palm-tree:”

"Let me give you a fifth description of my mother: My mother is a palm-tree, with the

sweetest fragrance. She is a chariot of juniper wood, a sedan chair of boxwood.” Name poem: The message of Lu-diĝira to his mother: c.5.5.1

Published: The Electronic Text Corpus of Sumerian Literature

Moreover. the palm tree may be associated with difficult births, because these

trees produce fruit at all times:

“We now have a ritual for a woman who has a difficult delivery (sinnistu la museserta).

Her body is first shaven, she is washed and the prescriptions intend to transmit her

problems to an oven, a palm tree, a pregnant ewe or donkey. She first clings to the oven,

extolling its capacity to be filled, to be burning and to become empty again after the

process. “Give me your capacity to finish without problems and take mine of not able to

do so. The palm tree that is able to bring forth fruits all the time, be they early or late in

the season, is asked to take care of her.” Published: Birth in Babylonia and the Bible: its Mediterranean setting

And thus a palm tree is related July and creation as well as to motherhood and

childbirth.

Tom van Bakel

Sint Pancras

Netherlands

Email: tom.vanbakel@xc4all.nl

Number A

796, Ag.36:119

Two figures reclining and goat.

Green translucent stone, 2.7 x 2 cm.

Style: ED I? Stratified cylinder seals from the Diyala Region by H. Frankfor

Number B

Another very interesting cylinder seal from the collection of the Walters Art Museum is

this one. The text says:

1. lugal KA-GI-UL

2. dub-sar

3. dumu ur-dingir-ra

which means: Lugal Kagiul, scribe, son of Urdingirra.

And the seal itself displays a scene where the Lugal is led to a sitting god by a goddess.

What confuses me here is the fact that he calls himself a scribe.

Was that usual? I never heard of that before... I call for experts help

The Lugal also looks more like a priest or a scribe then a king. http://enenuru.proboards.com/index.cgi?board=research&action=display&thread=194

Number C

Figure 7.11 Lama; king with offering; the sun god Shamash; lightning fork of the storm

god

Adad. Inscribed ‘Ili-turram, son of Ipqu-Adad, servant of Adad’. Haematite. 3.0 × 1.65.

BM ANE 89228 (1814-7-5, 1 – ex-Townley Collection) (Collon 1986, no. 344).

Number 1

Description: English: Cylinder seal with an erotic scene. Yellow marble, Achaemenid

period (6th-4th centuries BC). From Susa.

Français: Sceau-cylindre représentant tune scène érotique. Marbre jaune, période

achéménide (VI-IVe siècles av. J.-C.). Provenance : Suse.

Current location: Louvre Museum

Department of Oriental Antiquities, Sully, ground floor, room 14

Accession number: AOD 126

Credit line: Expedition of Marcel Dieulafoy, 1885–1886 https://commons.wikimedia.org/wiki/File:Cylinder_seal_erotic_Louvre_AOD126.jpg

Number 2

268. The woman and the scorpion. Curious squatting figure with widespread legs and

arms and apparently dishevelled hair.

U. 13884. SIS 4. Burnt stratum: P1. 47. Ur Excavations Volume III Archaic Seal-Impressions, by Dr. L. Legrain

Number 3

Abb. 370: An ithyphallic male seizes a nude woman by the shoulders. She leans forward, her two arms extended. A second woman squats on the ground with spread arms and legs

(cf. Nos. 268-70).

In the field, a nude man holds two hares by the hind legs. Branches and rosettes.

U. I5060. NE. corner of the Royal Cemetery area. P1. 50.

Number 4

Ein weiteres, in syrischem Stil gefertigtes Siegel aus Zypern enthält gleich drei der in

dieser Hinsicht einschlägigsten Motive (Abb. 365). Eine in der oberen Bildhälfte

hockende, nackte Frau ("Baubo"-Typ) bildet gleichsam die Verbindung zwischen einem

stehenden "coitus a posteriori" und einem horizontal dargestellten Paar, das als

"Bettszene" interpretiert werden kann.

Abb. 365: Rollsiegel, altruistic; PORADA, Iconography and Style Taf. 33,4.* V.IRAT, Veröffentlichungen der Ideagora für Religionsgeschichte, Altertumswissenschaften & Theologie. herausgegeben /

bereitgestellt von Florian Lippke

Corpus der Stempelsiegel-Amulette aus Palästina/Israel: von den Anfängen bis zu Perserzeit, by Othmar Keel

Number 5

340, Kh.II 41

Ritual marriage: two figures approaching couch with animal legs; two figures lying on

couch; two drill holes in field.

Limestone, 3.1x1.0 cm. Stratified cylinder seals from the Diyala Region by H. Frankfor

Number 6

A Western Iranian bitumen cylinder seal

Circa 1200-900 B.C.

With a figure in a knee-length garment to the right, standing with both hands raised, a

copulating couple on the ground before him, a third figure crawling behind, a standing

figure at the far left holding up a fan, a diminutive figure above with both hands raised

before a rhomb-shaped element on a stand, an inverted bird and two buds in the sky, line

borders above and below. http://www.christies.com/LotFinder/lot_details.aspx?pos=6&intObjectID=2067274&sid=

Number 7

Number: 2768

Material: bitumen aggregate*

Dimensions: 13 x 21mm

Site: Susa

Style: PEO (8)

Orig. Class.: SPE Published: The Elamite Cylinder Seal Corpus, c.3500 – 1000 BC, Volume II, the Catalogue, Part I by K. J. Roach

Number 8

Material: mottled lapis lazuli

Dimentions: 17,3 x 10,5 mm

Site: North Syria

Style: Early Old Assyrian Colony period

Date: 1900 – 1820 BC

The mark of ancient man: ancient Near Eastern stamp seals and cylinder seals: the

Gorelick collection, Madeline Noveck, Leonard Gorelick, Brooklyn Museum

Number 9

A. 931. Cylindre à quatre zones.— A. Près du bord supérieur, rangée de têtes humaines

imberbes, à cheveux courts. -B. Au-dessous, lièvres couchés.— C. Dans le troisième

registre, stries obliques. — D. Déesse vêtue seulementau dessus de la ceinture, accroupie

de face dansune niche en plein cintre dont elle touche le bord des deux mains; vers elle

s'approche un lion

derrière lequel est une tête humaine. Dans une autre scène, deux personnages, vêtus de

châles ornés, de profil à gauche; l'un est assis, l'autre debout et les mains à la ceinture; il

se tenait probablemententre deux divinités dont l'une a disparu dans une cassure.

Hématite.—23 x 12mm.—Inv. :AO1181(DonSorlin-Dorigny).

Planche97,fig.3.

Intailles Syro-Cappadociennes Catalogue des Cylindres Orientaux cachets et pierres gravées de style Oriental du Musée du Louvre par Louis Delaporte

Number 10

British Museum number: IOC.17

Description: Alloy coin.(obverse) Indian goddess Subhadra (Krishna's sister) walking to

left, with a flower in her right hand. Brahmi legend inscribed along left side.

(reverse) Panther standing to right. Greek inscription.

Authority: Ruler: Agathocles of Bactria

Culture/period: Greco-Bactrian

Date: 190 BC-180 BC (circa)

Minted in: Asia, ,Afghanistan, Bactria

Found/Acquired: Asia, Afghanistan, Kabul (province), Begram

Materials: alloy

Dimensions: Weight: 9.87 grammes, Height: 24 millimetres, Width: 21 millimetres

Inscription Script: Brahmi

Inscription Position: obverse to left

Inscription Language: Prakrit

Inscription Transliteration: Rajane Agathuklayasa

Inscription Translation: of king Agathocles

Inscription Script: Greek

Inscription Position: reverse, top and bottom

Inscription Content: ΒΑΣΙΛΕΩΣ ΑΓΑΘΟΚΛΕΟΥΣ

Inscription Transliteration: Basileos Agathokleous

Inscription Translation: of king Agathocles

Number 11

329. Hematite. Cylinder seal 25x11 mm.

A bull-headed demon wearing a tightly girded tunic and perhaps a necklace and carrying

a sickle-sword faces a lion-headed winged demon wearing a tunic, a richly decorated

short skirt, and a tight belt decorated with a tassel. Between them is a figure of Bes.

Behind Bes are two lotus flowers which bends to form a seat. Above him is a bird. Behind

the winged demon stands a goddess in front vieuw, her head turned toward the demon:

between them is a flowering plant. The goddess wears a “Phrygian” headdress and a

long skirt which is either diaphanous or raised; her hair is done in a pigtail. At one side

of her head is an eight-pointed star. Published: Ancient oriental seals in the collection of Mr. Edward T. Newell

Number 12

329. Hematite. Cylinder seal 25x11 mm.

A bull-headed demon wearing a tightly girded tunic and perhaps a necklace and carrying

a sickle-sword faces a lion-headed winged demon wearing a tunic, a richly decorated

short skirt, and a tight belt decorated with a tassel. Between them is a figure of Bes.

Behind Bes are two lotus flowers which bends to form a seat. Above him is a bird. Behind

the winged demon stands a goddess in front vieuw, her head turned toward the demon:

between them is a flowering plant. The goddess wears a “Phrygian” headdress and a

long skirt which is either diaphanous or raised; her hair is done in a pigtail. At one side

of her head is an eight-pointed star. Published: Ancient oriental seals in the collection of Mr. Edward T. Newell

Number 13

268. The woman and the scorpion. Curious squatting figure with widespread legs and

arms and

apparently dishevelled hair.

U. 13884. SIS 4. Burnt stratum: P1. 47. Ur Excavations Volume III Archaic Seal-Impressions, by Dr. L. Legrain

Number 14

Number

Catalogue Number: 589,

Material: dark pink sandstone,

Dimentions: 14x43mmSite: Susa,

Style JNRS (3)

Published: The Elamite Cylinder Seal Corpus, c.3500 – 1000 BC

Volume II, the Catalogue, Part I, K. J. Roach

Number 15

Number

British Museum number: 134837

Description: cylinder seal showing man and scorpion.

Culture: Jemdet Nas

Date: 1500BC (circa)

Materials: stone

Dimensions: Height: 1.35 centimetres, Diameter: 1.2 centimetres

Acquisition name: Purchased from: J C Cohn 610

Acquisition date: 1966

Department: Middle East

BM/Big number: 134837

Registration number: 1966,0418.3

Number 16

Abb. 366: Rollsiegel aus Latakia (Zypern), mittelsyrisch; SEYRIG, Scene

Taf. 4,3; ORTHMANN, Der Alte Orient Taf. 433f; DIGARD, Repertoire Nr. http://www.bibelwissenschaft.de/nc/wibilex/das-bibellexikon/details/quelle/WIBI/zeichen/h/referenz/20845/

Number 17

museum number: IM15630

excavation number: As. 32:934

provenience: Tell Asmar

dimension(s) (in cm): 2 x 1.2

material: limestone

date: Early Dynastic (ca. 2900 - 2400 BC)

description: "Sacred Marriage" scene: two figures lying on couch in process of sexual

intercourse; scorpion beneath couch, standing figure beside couch; vase with drinking

tubes, crescent, and five drill holes in field. Published: http://oi-archive.uchicago.edu/OI/IRAQ/dbfiles/objects/1106.htm

Number 18 Number 13

Number 334

Syria

Serpentine

27x10

ca. 2900 - 2700 B.C. Published: Ancient Near Eastern cylinder seals from the Marcopolic collection Door Beatrice Teissier