Revisiting the ‘kriegerischer Gott’ of the Akkadian Period
Boehmer’s Die Entwicklung der Glyptik während der Akkad-Zeit (1965), although nearly 60 years old, is still the major work on the cylinder seals of the Akkadian Period (2334–2150 BCE). It examines different themes and motifs depicted on the cylinder seals during this period. One of the figures which...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2023
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| In: |
Religions
Year: 2023, Volume: 14, Issue: 9 |
| Further subjects: | B
Cylinder seals
B martial god B Iconography B Akkadian Period |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a Boehmer’s Die Entwicklung der Glyptik während der Akkad-Zeit (1965), although nearly 60 years old, is still the major work on the cylinder seals of the Akkadian Period (2334–2150 BCE). It examines different themes and motifs depicted on the cylinder seals during this period. One of the figures which Boehmer discusses is the ‘kriegerischer Gott’, or martial god. Boehmer records this ‘kriegerischer Gott’ as being depicted on only eight cylinder seals. Despite this limited number of examples, the figure exhibits a unique iconography, which suggests a unique, specific personage. Furthermore, he is depicted on the seal of the scribe Adda (BM 89115), one of the most well-known seals from Mesopotamia, in which he is depicted alongside Utu/Šamaš, Inana/Ištar, Enki/Ea and Isiumud/Usmu. Because the ‘kriegerischer Gott’ is depicted together with these great deities of the Akkadian pantheon, each with their own unique iconography, it suggests that he may likewise be a figure of some importance. Boehmer devotes only one page to his discussion on the ‘kriegerischer Gott’. A more detailed investigation into Boehmer’s ‘kriegerischer Gott’ is, therefore, required. This contribution will, therefore, re-examine this figure by analysing his iconography, the unique attributes which he has, the scenes in which he is depicted, and the figures with which he is associated. The possible identity of the ‘kriegerischer Gott’ will also be addressed. | ||
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