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Larsa was an important city of ancient Sumer, the center of the cult of the sun god Utu. It lies some 25 km southeast of Uruk in Iraq's Dhi Qar Governorate, near the east bank of the Shatt-en-Nil canal at the site of the modern settlement Tell as-Senkereh or Sankarah.<br/><br/> The city became a political force during the Isin-Larsa period (3rd Century BCE).
The city-state of Lagash produced a remarkable number of statues of its kings as well as Sumerian literary hymns and prayers under the rule of Gudea (c. 2150–2125 BCE) and his son Ur-Ningirsu (c. 2125–2100 BCE).<br/><br/> This sculpture belongs to a series of diorite statues commissioned by Gudea, who devoted his energies to rebuilding the great temples of Lagash and installing statues of himself in them.<br/><br/> Many inscribed with his name and divine dedications survive. Here, Gudea is depicted in the seated pose of a ruler before his subjects, his hands folded in a traditional gesture of prayer. The Sumerian inscription on his robe lists the various temples that he built or renovated in Lagash and names the statue: 'Gudea, the man who built the temple; may his life be long'.
Mari (modern Tell Hariri, Syria) was an ancient Sumerian and Amorite city, located 11 km north-west of the modern town of Abu Kamal on the western bank of the Euphrates river, some 120 km southeast of Deir ez-Zor, Syria. It is thought to have been inhabited since the 5th millennium BCE, although it flourished with a series of superimposed palaces that span a thousand years, from 2900 BCE to 1759 BCE, when it was sacked by Hammurabi.<br/><br/> The citizens of Mari were well known for elaborate hair styles and dress, and are considered to be part of Mesopotamian culture, despite being 240 km (150 mi) upriver from Babylon. It is theorized by some that Mari functioned as a trading post for southern Mesopotamia.<br/><br/> The inhabitants of Mari worshipped a vast array of gods and goddesses. Dagan, the deity of storms, had an entire temple dedicated to him, as did Ishtar, the goddess of fertility, and Shamash, the Sun god. Shamash was believed to be all-knowing and all-seeing, and in many seals he is seen standing between two large doors. According to the Epic of Gilgamesh, these doors are between Mount Mashu, and are the eastern doors to heaven. Through Mari's extensive trade network, Sumerian gods and goddesses were taken to non-Sumerian cities such as Ebla and Ugarit and incorporated into their native religions.
The Standard of Ur survived in only a fragmentary condition, as the effects of time over the last several millennia had decayed the wooden frame and bitumen glue which had cemented the mosaic in place. The weight of the soil had crushed the object, fragmenting it and breaking the end panels. The present form of the artifact is a reconstruction, presenting a best guess of its original appearance.<br/><br/> It has been reconstructed as a hollow wooden box measuring 21.59 centimetres (8.50 in) wide by 49.53 centimetres (19.50 in) long, inlaid with a mosaic of shell, red limestone and lapis lazuli. The box has an irregular shape with end pieces in the shape of truncated triangles, making it wider at the bottom than at the top.<br/><br/> Inlaid mosaic panels cover each long side of the Standard. Each presents a series of scenes displayed in three registers, upper, middle and bottom. The two mosaics have been dubbed 'War' and 'Peace' for their subject matter, respectively a representation of a military campaign and scenes from a banquet. The panels at each end originally showed fantastical animals but they suffered significant damage while buried, though they have since been restored.
The Standard of Ur survived in only a fragmentary condition, as the effects of time over the last several millennia had decayed the wooden frame and bitumen glue which had cemented the mosaic in place. The weight of the soil had crushed the object, fragmenting it and breaking the end panels. The present form of the artifact is a reconstruction, presenting a best guess of its original appearance.<br/><br/> It has been reconstructed as a hollow wooden box measuring 21.59 centimetres (8.50 in) wide by 49.53 centimetres (19.50 in) long, inlaid with a mosaic of shell, red limestone and lapis lazuli. The box has an irregular shape with end pieces in the shape of truncated triangles, making it wider at the bottom than at the top.<br/><br/> Inlaid mosaic panels cover each long side of the Standard. Each presents a series of scenes displayed in three registers, upper, middle and bottom. The two mosaics have been dubbed 'War' and 'Peace' for their subject matter, respectively a representation of a military campaign and scenes from a banquet. The panels at each end originally showed fantastical animals but they suffered significant damage while buried, though they have since been restored.
The Standard of Ur survived in only a fragmentary condition, as the effects of time over the last several millennia had decayed the wooden frame and bitumen glue which had cemented the mosaic in place. The weight of the soil had crushed the object, fragmenting it and breaking the end panels. The present form of the artifact is a reconstruction, presenting a best guess of its original appearance.<br/><br/> It has been reconstructed as a hollow wooden box measuring 21.59 centimetres (8.50 in) wide by 49.53 centimetres (19.50 in) long, inlaid with a mosaic of shell, red limestone and lapis lazuli. The box has an irregular shape with end pieces in the shape of truncated triangles, making it wider at the bottom than at the top.<br/><br/> Inlaid mosaic panels cover each long side of the Standard. Each presents a series of scenes displayed in three registers, upper, middle and bottom. The two mosaics have been dubbed 'War' and 'Peace' for their subject matter, respectively a representation of a military campaign and scenes from a banquet. The panels at each end originally showed fantastical animals but they suffered significant damage while buried, though they have since been restored.
A cuneiform temple hymn from the 19th Century BCE; the hymn is addressed to the Lugal Iddin-Dagan of Larsa.<br/><br/> Cuneiform script is one of the earliest known forms of written expression. Emerging in Sumer around the 30th century BC, with predecessors reaching into the late 4th millennium (the Uruk IV period), cuneiform writing began as a system of pictographs. In the three millennia the script spanned, the pictorial representations became simplified and more abstract as the number of characters in use also grew gradually smaller, from about 1,000 unique characters in the Early Bronze Age to about 400 unique characters in Late Bronze Age (Hittite cuneiform).<br/><br/> The original Sumerian script was adapted for the writing of the Akkadian, Eblaite, Elamite, Hittite, Luwian, Hattic, Hurrian, and Urartian languages, and it inspired the Ugaritic and Old Persian alphabets. Cuneiform writing was gradually replaced by the Phoenician alphabet during the Neo-Assyrian Empire, and by the 2nd century AD, the script had become extinct.<br/><br/> Cuneiform documents were written on clay tablets, by means of a blunt reed for a stylus. The impressions left by the stylus were wedge shaped, thus giving rise to the name cuneiform ('wedge shaped', from the Latin cuneus, meaning 'wedge').
Mari (modern Tell Hariri, Syria) was an ancient Sumerian and Amorite city, located 11 km north-west of the modern town of Abu Kamal on the western bank of Euphrates river, some 120 km southeast of Deir ez-Zor, Syria. It is thought to have been inhabited since the 5th millennium BCE, although it flourished with a series of superimposed palaces that span a thousand years, from 2900 BCE to 1759 BCE, when it was sacked by Hammurabi.<br/><br/> The citizens of Mari were well known for elaborate hair styles and dress, and are considered to be part of Mesopotamian culture, despite being 240 km (150 mi) upriver from Babylon. It is theorized by some that Mari functioned as a trading post for southern Mesopotamia.<br/><br/> The inhabitants of Mari worshipped a vast array of gods and goddesses. Dagan, the deity of storms, had an entire temple dedicated to him, as did Ishtar, the goddess of fertility, and Shamash, the Sun god. Shamash was believed to be all-knowing and all-seeing, and in many seals he is seen standing between two large doors. According to the Epic of Gilgamesh, these doors are between Mount Mashu, and are the eastern doors to heaven. Through Mari's extensive trade network, Sumerian gods and goddesses were taken to non-Sumerian cities such as Ebla and Ugarit and incorporated into their native religions.