Ku-Baba

 

A little too much eye makeup! (Source)

A long while ago, I wanted to write about Ku-Baba, the only woman on the Sumerian King List. I went first to my go-to source on anything Sumerian, Sumerian Shakespeare, and found that Jerald Starr, the brain behind the site, had not mentioned Ku-Baba at all. It was as if I was just imagining this rather intriguing figure.

Nonetheless, I wrote to Starr with the hope he would have some information about Ku-Baba, or at least a good source he could point me toward. His response, which was basically doubt that she existed at all, left me feeling like I was at a dead end at the time, so I abandoned the idea of writing about her.

Fast forward to today, and Starr has changed his mind. “I had to revise my opinion,” he wrote to me in a surprise email. He also included a link to a new post on his website, in which he explains in detail how he arrived at the conclusion that Ku-Baba might have existed after all.

“For a long time I doubted that Ku-Baba even existed,” he writes in the post. “I believed the reference was a sly mean-spirited joke by the scribe who wrote the King List.”

What changed Starr’s mind was an alabaster statue at the Louvre from Girsu, with a little too much eye makeup to be just your run-of-the-mill Sumerian priestess, as he had initially believed. “When I first saw the statue, I believed it was a Sumerian priestess because she seems to be wearing a circular headband,” he writes, “. . .although for a priestess I thought she was a bit heavy-handed with the makeup.”

From the eyes, Starr traveled back up to the head, where it became clear to him that it was no headband this statue was wearing–that it was a hat he’d never seen on a Sumerian woman before. “The hat on the statue most closely resembles a shepherd hat, the crown of a Sumerian king,” he writes.

That’s no headband! (Source)

And from there, Starr writes as only he can about the minutest details to put Ku-Baba, the first woman ruler in history, back into the realm of possibility, giving me a chance to write about Ku-Baba like I had originally wanted.

The First Woman Ruler

Ku-Baba. (Source)

Ku-Baba, Kug-Bau in Sumerian, is the only female monarch on the Sumerian King List. She ruled between 2500 BC and 2330 BC. On the list itself, she is identified as:

… the woman tavern-keeper, who made firm the foundations of Kish, became king; she ruled for 100 years.

Every source I came across in my research, including Starr, questioned how a woman who was a tavern-keeper became king. They then went on to explain that tavern keeping was one of many occupations Mesopotamian women could hold. Now, aside from Starr, said sources all described tavern keeping as a well-respected occupation, even while some mentioned that taverns in Sumer were pretty much brothels. This complicates further the rationale of a woman tavern-keeper becoming king, but in her About.com article titled, “Kubaba, A Queen Among Kings,” Carly Silver writes, “Regardless of what kind of show they were running, women often ran taverns, holding perhaps one of the only independent female positions of power in ancient Sumer.”

Silver drives home the rather high status of the tavern-keeper profession by mentioning Siduri, the female tavern-keeper Gilgamesh meets in the Underworld in his quest for immortality in the epic of his namesake. In it, the tavern-keeper gives Gilgamesh, a powerful god-king, sage advice about the nature of human life, how short it is, and how one ought to enjoy it.

“So, in what was probably a very important epic even in antiquity,” she writes, “a female tavern-keeper was seen as a guide along perilous paths and a figure worthy of veneration.”

Conversely, Starr’s description of the status of a tavern-keeper, or barmaid, is one that is very different from Silver’s. He writes, “Throughout history, a barmaid was typically considered to be a woman of loose morals, freely available to the patrons of the tavern, and little better than a common prostitute.”

So, how can this be? Several sources commend tavern keeping as a respectable occupation, almost making it sound like it was a foot in the door for Ku-Baba to become queen in her own right, while one all but ascribes it to prostitutes.

It helps that Starr does mention a distinction between a mere barmaid who slings drinks and provides patrons with her company, and someone who owns the establishment where this business takes place, a distinction other sources do not mention. Starr also classifies an owner of a tavern as “middle class,” while iterating that the employee slinging the drinks is “a commoner, and a lowly commoner at that.”

Furthermore, in order to see more clearly how tavern keeping relates to Ku-Baba’s rise to royalty, it helps to look at the picture in a different way.

According to Starr, even though there is no question Ku-Baba was a commoner, she might not have been a tavern-keeper. Starr states in his post that it was her parents who were tavern-keepers, a nugget he says her enemies distorted and used against her to tarnish her reputation and legacy. “I believe Ku-Baba was unfairly characterized as a bawd (the usual description of a female barkeeper) for propaganda reasons,” Starr writes. “I believe it was a deliberate attempt to sully her reputation. It is the kind of thing her enemies would say about her.”

Bottom line, we must let go of the idea that Ku-Baba was a tavern-keeper to get to the bottom of how she became a queen in her own right, because everything is questionable when you have an enemy, which she did, according to Starr.

And who was that enemy, you ask? Sargon of Akkad, our favorite baby in a basket here at AllMesopotamia.

Again, I point you toward Starr’s article for a more comprehensive telling of this story and presentation of the case involving Ku-Baba’s previous profession, but Sargon of Akkad usurped the throne of Kish from Ur-Zababa, Ku-Baba’s grandson, 31 years after her death, serving as background for Starr’s conclusion.

But how did Ku-Baba take the throne?

In her article titled “Ku-Bau, the First Woman Ruler,” Darci Clark writes, “In general, other women in Mesopotamian society would only be able to exert any political influence through their relationships to the king.”

Starr echoes Clark’s statement: “Sumerian queens were always the wives of kings. They never governed on their own.”

Okay, but would a king marry a commoner?

“Although it is highly unlikely that a king would marry a commoner,” Starr explains, “it is certainly within the realm of possibility.”

It’s possible Ku-Baba married a king, but there is no mention of such a thing happening in ancient texts. Nevertheless, a king was involved. According to Clark, Ku-Baba became lugal of Kish after performing an act of kindness. It seems that a king–Puzur-Nirah, king of Akshak, namely–awarded Ku-Baba her kingship for a “pious deed.”

Researching this further, I came across an article on the website History Hustle, titled “Kubaba, the Bartender Who Became the First Woman Ruler in History,” which pointed me toward the Weidner Chronicle, an interesting ancient Babylonian religious text, where the deed and its reward are described:

In the reign of Puzur-Nirah, king of Akšak . . . Kubaba gave bread to the fisherman and gave water, she made him offer the fish to Esagila. Marduk the king, the prince of Apsu, favored her and said: “Let it be so!” He entrusted to Kubaba the tavernkeeper, sovereignty over the whole world. (Lines 43-45, Weidner Chronicle)

The city of Kish. (Source)

A Feminine Legacy

Very little is known about Ku-Baba’s reign. We do know that she made Kish strong, and that she reigned for 100 years. It is easy to conclude then that she was a successful monarch. Really, there’s no way she could have not been.

Starr writes, “Any female pretender to the throne who didn’t do an excellent job would quickly find herself in the middle of a coup d’état. She was capable enough, and respected enough, to stay in power and establish a dynasty.”

That dynasty, the 4th Dynasty of Kish, lasted for two generations, ending with the above-mentioned Ur-Zababa, son of Puzur-Suen, son of Ku-Baba. Not bad for a woman living in a man’s world, and a man’s world it was.

Carly Silver writes that Ku-Baba’s was remembered by later generations as an improper usurper. They would also refer to Ku-Baba when describing things that are not as they should be–women taking on men’s roles has never been popular. “By taking on the duties of a man – a king – Kubaba was seen to have crossed a boundary and transcended gender divisions in an improper fashion,” Silver writes.

Ku-Baba was also referenced when a lung didn’t look so good, or a child was born with both male and female genitalia. “Combining male and female genitalia in an individual would echo her reign as lugal, or king, which the ancients saw as violating the natural order of things,” Silver writes.

Nonetheless, Ku-Baba lived in people’s memories until Babylonian times, becoming a goddess. “But she was still a barmaid,” Starr explains. “She is portrayed as a kindly woman in all of the stories about her . . . Ku-Baba never lost the ‘common touch’. Queen Ku-Baba was always ‘the people’s queen’.”

Whether her legacy when she was an actual memory was a positive or negative one, today, in 2017, Ku-Baba’s legacy is that of (written) history’s first woman ruler, one who could only be slandered by a past that might have been falsified by her enemy, and one whose ascendancy to the throne was built upon kindness.

How feminine. How fitting.

P.S. Make sure you read Starr’s Ku-Baba post, as there are things and photos I did not include here that are sure to pique your interest further in this interesting lady. And while you’re at it, if you haven’t already, read our Q&A interview with Sumerian Shakespeare himself!

Sources and Further Reading:

Queen Ku-Baba – Sumerian Shakespeare  http://sumerianshakespeare.com/748301/769001.html

Sumerian King List – http://www.livius.org/sources/content/anet/266-the-sumerian-king-list/

Ku-Bau: The First Woman Ruler – Darci Clark http://semiramis-speaks.com/ku-bau-the-first-woman-ruler/

Kubaba, A Queen Among Kings – Carly Silver  http://ancienthistory.about.com/od/sumer/fl/Kubaba-A-Queen-Among-Men.htm

Kubaba, the Bartender Who Became the First woman Ruler in History http://historyhustle.com/kubaba-bartender-became-worlds-first-woman-ruler/

Weidner Chronicle http://www.livius.org/sources/content/mesopotamian-chronicles-content/abc-19-weidner-chronicle/?

 

 

Q&A: Andy Lowings, a reincarnated Ancient Mesopotamian (I’m pretty sure)

The bull head of the Lyre of Ur peeks out of a beautiful cover sent to Andy Lowings by an Iraqi woman from Baghdad, who painted it by hand. `Iraqi bull just refused to be kept in!` Mr. Lowings said. (LPhoto courtesy of Andy Lowings)

A year ago, I discovered and wrote about the Golden Lyre of Ur Project, a multinational effort to recreate the 4,750-year-old instrument from scratch, just as the Ancient Mesopotamians did.

The project was spearheaded by Andy Lowings, a man who put his mind to doing something amazing and set out to do it. What he ended up with was a worldwide sensation (at times met and welcomed with a rose-petal-strewn stage, no less!) that brings to life an ancient world unknown to many.

Although the post mentioning the Golden Lyre of Ur Project has been on the blog since November of 2011, I wasn’t lucky enough to hear from Mr. Lowings until just a few months ago. It is an honor to now be in contact with such an amazing individual, who I’m sure is a reincarnated Ancient Mesopotamian!

So, without further delay, here is a Q&A I did with Mr. Lowings, through which I’m sure you will find him an inspiring individual that reminds us that no matter what we set out to do, passion drives us further than we can possibly imagine. He also makes it look easy, but rest assured that only he can carry it out so beautifully!

***

Can you tell us a little bit about your background, and how and when you became interested in Mesopotamian history?

Of course! It`s a nice thing to be asked about yourself from across the world, thank you for taking an interest!

I`m a Civil Engineer and I spent 9 years in Dubai and enjoyed building up the city there in the 70`s. I liked the Arab world and enjoyed the big mix of different people there in the Emirates.

At that time everyone was thinking big and changing the world with new airports and hotels and roads. Everyone mixed-in well there and got on with making it happen…no-one ever said anything was impossible. I came back to Britain and then worked on the Channel Tunnel..the longest 24-mile railway under the sea to France. I think they all taught me that you could do anything.

But I also played the harp, and after a while, through the new `Internet`, I looked at the first musical instruments of all … some found in Iraq in 1929. It seemed like a well-kept secret. No-one seemed to know of these great artifacts found in Ur. All so very, very, old!

I thought that it would be a nice thing to make one of the Lyres again and see how it sounded! I thought the Baghdad Gold Lyre was the nicest and so, one day, April 10^th, 2003, I said I`d make that one.

The very next day the Museum in Baghdad was looted and the original Lyre was vandalised! It was just fate. It was all over the world press and it was clear that it was a well-loved Iraqi icon. So I had to make a playable version of it.

Transporting the Lyre into Washington DC to the Smithsonian Theatre! (Photo and caption courtesy of Andy Lowings)

;

How is the Golden Lyre of Ur project doing now that it’s been around for a few years?

What started just as a hobby suddenly became of interest to lots of other people, and I managed to involve them into helping…though to be honest it was clear what existing sympathy there was, for ordinary Iraqis after the war. People were very kind and offered to help in what fields they could.

Since then, we have discovered lots about other aspects connected to the instruments of the Royal Graves at Ur. There are cuneiform texts and linguists busy interpreting them, there`s musicians and archaeologists, precious metal workers, artists and museums…all who have lots to give, in connection to these ancient times.

So we have tried to involve them too, in the story of these first musical instruments. We go to talk about different aspects to various groups. People are eager to find out what we have learned or just to hear the story of how we made the Gold Lyre again and how it connects us all today. We go to museums, universities, schools, conferences and festivals all over.

But we always try to make the connection to Iraq and its past, and so it`s always special when we meet Iraqi people who are interested. We met the Baghdad Museum staff one day in London and they were amazed at what everyone had made.

Even Kadim Al Sahir came and sat inside the van to see the Lyre with me after his concert at the Albert Hall in London…whilst hundreds of fans were outside shouting! He was a great guy.

We have just performed at the local college to drama students and later this month we will go to Cambridge University for archaeologists there. We will be providing the music! So there are lots of ideas for how to bring the Gold Lyre of Ur to people`s attention.

But of all the places, we would rather go to Iraq, and show people our Gold Lyre there and bring it to life right there in Baghdad and Basra.

After the “Githarra al someria” show. With Prof. Donny George, Dr Hadi Hind (Iraqi Cultural Attache), Jennifer Sturdy and Andy Lowings. (Photo and caption courtesy of Andy Lowings)

You said that the unfortunate looting of the Baghdad museum in April 2003 inspired you to recreate the Golden Lyre of Ur, which lay in pieces afterwards. You’ve also said that you’ve recently recreated some Sumerian jewelry. How did this latest project come about, and what did it entail?

The Gold Lyre was found with 68 women, and it`s likely that the last player who had her hand over it in death was a woman, so in many ways this is a project about women. The jewellery was so spectacular (most of it by the way is still behind the back of the museums in storage there is so much of it) that as part of a performance we could perhaps show a little of the style of the period too.

We went to the British Museum and asked to see the jewellery, and they were kind enough to give us free access. It was such a strange feeling to really hold such tremendous objects from so long ago. We had a little gold offcuts and so thought to make the “Gold choker” which we inspected there in London.

There are actually around 60 of them and thousands of beads and silver objects in the museum. Many of the items are amazingly detailed and as good as anything made today. Tiny details and scrolls and carvings were quite impossible for me to learn how to do. But a jewellery maker near here was giving lessons so I spent the winter making the simpler Gold Choker: alternating gold and lapis lazuli triangles in a neck band.

The finished Gold Sumerian necklace in its box. (Photo and caption courtesy of Andy Lowings)

Every lady we show it to wants to put it on herself! It immediately makes them look like Queen Pu’Abi herself, and so it`s an added side to our performances. I`m sure in Iraq it would be hugely interesting to the women there.

Are there any other projects related to Mesopotamia you’ve worked on or are working on?

The languages of Mesopotamia are largely unknown or too complicated for people to understand. But only this year the book “Teach Yourself Spoken Babylonian” has been published and so now gives anyone the possibility to actually pronounce the dialects of the old regions! A Cambridge University don has discovered this and so we are making some songs in the real dialects of the time. With the Lyre as an accompaniment of course, it will be a new CD of Mesopotamian hit numbers… from their Sumerian Top “Sixty” maybe?

Recording our new Gold Lyre of Ur song, in November. Its called “The Flood” and its sung in the original Akkadian language by Stef Conner. (Photo and caption courtesy of Andy Lowings)

Recently, we played the Gold Lyre of Ur in Germany at Lake Constance to a conference of 450 world Lyre players. We were given a huge stage and lights and even a special welcome of rose petals strewn over the stage for the Lyre`s arrival. It was most moving.

So we thought that we might, in future, invite some dancers to make a collaboration with the Gold Lyre. And even to invite an artist to create some backdrop stage images; paintings, to set the scene for what the Gold Lyre of Ur is all about. Scenes of old Iraq, old civilisations and reconstruction and new civilisations..

Positive images for the future, I hope. Yet the last chapter of our book has not yet been written..and that must be the visit to Iraq.

How has doing the amazing work you do in educating the world about Mesopotamia in a most unique way changed your life?

It`s been an honour to direct the course of a project. One which started just as a hobby and which now connects so many different people. One which can do some good.

Without doubt it has changed me and everyone who has been involved with it, though it`s not always been simple and easy, I have to say. We have met such great, great people. Brave people, and clever people, kind people who have not asked for anything in return for helping.

Last week a lovely hand-painted Lyre cover was sent to us from a lady in Baghdad (pictured at top of post)…”I wanted to help you,” she said.

I hardly know her name. Who wouldn`t be moved by such generosity coming this way?

***

Be sure to check out the Lyre of Ur website at http://www.lyre-of-ur.com, where you can learn more about the project, and see if you can witness it where you are!

 

Dissecting Mesopotamian Jewelry

A female attendant found in the Great Death Pit at the Royal Tombs at Ur. Often mistaken for Queen Pu-abi, this attendant is one of 26 others found wearing such adornments. (Source)

There is something about ancient Mesopotamian jewelry that sets it apart from any other in antiquity. That something is more than just a distinct style or taste. Mesopotamian jewelry was a large artery in the anatomy of each civilization that rose in the land between the two rivers, and its story is one worth reading.

Jewelry wasn’t a new concept when Sumerians got their innovating hands on it around 2750 BC, but their innovations made their jewelry, produced from that point to the Assyrian period, around 1200 BC, seem like it was an entirely new invention.

In fact, scholars and jewelry makers today look to Sumerian work as the progenitor of modern jewelry.

“Sumerian jewellery fulfilled practically all the functions which were to occur during the course of history. In fact, there were more different types of jewellery than there are today.” – Guido Gregorietti, jewelry historian (Source)

Of course, jewelry served as a status symbol in Mesopotamia as it always has everywhere else, but it also played a significant role in how the Mesopotamian civilization functioned. Let’s begin the journey to understand ancient Mesopotamian jewelry.

What it was for

It goes without saying that jewelry served as a status symbol for noblemen and noblewomen, and royals, in Mesopotamia. Royals were buried with theirs, like Queen Pu-abi at the royal cemetery at Ur.

The lavish royal tombs of Ur, along with those at Nimrud, are considered the most significant finds in the study of ancient Mesopotamian jewelry, because they held a lot of it and have helped explain the types and their uses. The three tombs at Nimrud alone held some 1500 pieces of jewelry, weighing a total of 100 lbs. At Ur, some 17 tombs were excavated, and they were simply loaded with jewelry.

Now, royals weren’t the only ones acquiring jewelry in ancient Mesopotamia. For example, we know of a jewelry-loving high priestess through her own letter of complaint to a jeweler, who she had paid in advance for a necklace she never received.(Source)

Jewelry was also a fail-safe wedding gift, as well as a commodity used in dowries and inheritances of the upper classes.

It was used as a tool in diplomacy, but was also the subject of war under the heading of wealth. Some of the jewelry unearthed in Mesopotamia is loot from military campaigns, mostly during the Assyrian period.

A relief depicting the destruction of Susa. Assyrian soldiers can be seen carrying away the loot, which included silver and gold jewelry. (Source)

The most significant incident of jewelry looting was documented by the Assyrian king Ashurbanipal, who wrote of the state in which he left the Elamite city of Susa, including what booty he took home:

Susa, the great holy city, abode of their gods, seat of their mysteries, I conquered. I entered its palaces, I opened their treasuries where silver and gold, goods and wealth were amassed… I destroyed the ziggurat of Susa. I smashed its shining copper horns. I reduced the temples of Elam to naught; their gods and goddesses I scattered to the winds. The tombs of their ancient and recent kings I devastated, I exposed to the sun, and I carried away their bones toward the land of Ashur. I devastated the provinces of Elam and on their lands I sowed salt. (Source)

Jewelry was also offered to the gods at temples, and the practice of being buried with jewelry was a person’s attempt to go to the afterlife bearing gifts to the gods.

Mesopotamians adorned their statues and idols with jewelry to further clarify it as a spiritual and/or magical tool.

Bloodstone was worn by Babylonians for protection against their enemies and was also used in divination.

Mesopotamians pioneered astrology and astronomy, and they worshiped the planets, which they believed controlled their fates as individuals, as well as groups. They paired each planet with its own unique gemstone, therefore inspiring the idea of birthstone jewelry.(Source)

Wedding bands, as we know them today, in precious metal form, also got their start in Mesopotamia. They were only worn by women, and they communicated what is considered to be, well, a little less romantic message than ours, that tells of a woman’s status as someone’s property.

The specifics of who wore what

A close-up of a relief detailing Ashurbanipal, wearing hoop earrings and a royal headdress. Notice that he is wearing earrings, but the man next to him, who is wearing simple headbands, is not. Jewelry was definitely a recognizable and notable status symbol. (Source)

Mesopotamian men wore earrings, necklaces, armlets, bracelets, pectoral ornaments and headbands, while women wore the same and more, including headdresses with foliage and flowers made from sheet gold, large crescent shaped earrings, chokers, large necklaces, belts, dress pins and rings on their fingers.(Source)

Two of Queen Pu-abi’s gold rings. She was wearing ten rings when found. Her attendants also wore similar rings. (Source)

The jewelry of an attendant from the Royal Tombs of Ur. Notice the three rosettes at the top of her headdress with gold leaves at the bottom, large hoop earrings and various bead necklaces, all signature Sumerian designs. Carnelian, lapis lazuli and gold are dominant. (Source)

An illustration that clearly shows Sargon II wearing earrings, arm bands and bracelets. The woman behind him is  wearing the same. (Source)

Beaded headbands found at the Royal Tombs at Ur, the lower one was found in a male’s grave. (Source)

From Akkadian times of the early third millennium BC, men wore bead necklaces and bracelets. In the first millennium BC, Assyrian men and women wore earrings, bracelets, and amulets. Earrings, for example, were mostly designed into hoops, crescents, grape clusters, cones, and animal and human heads.(Source)

“Sumerian work is flavoured with amazing sophistication … delicacy of touch, fluency of line, a general elegance of conception,” wrote jewelry expert Graham Hughes. “All suggest that the goldsmiths’ craft emerged almost fully fledged in early Mesopotamia.” (Source)

What it was

The materials used in Mesopotamian jewelry were the basic copper, gold, silver, and electrum, along with the not-so-basic gemstones like agate, carnelian, chalcedony, crystal, jasper, lapis lazuli (which was valued higher than any other material, even gold), onyx and sardonyx. Also used were shells and pearls.

“Queen Pu-abi’s beaded cape, belt, and jewelry. The circle on the lower left is her garter; on the lower right is her wrist cuff (bracelet).” (Source)

These materials were used to make jewelry designs featuring stars, rosettes, leaves, grapes, cones, spirals and ribbons. Cylinder seals were also used, but were made by seal makers, separate from jewelers.

How it was made

Modern jewelry experts have dubbed Sumeria the cradle of the goldsmith’s art.

A headband with detailed gold foil leaves. Sumerian goldsmiths used the lost-wax technique to draw the veins on each gold foil leaf. (Source)

These craftsmen made most gold and silver items by cutting the precious metals into thin sheets, which they shaped with hammers and other tools.(Source) They also made gold chains with the basic loop-in-loop method, which is a testament to the firm grip Sumerian goldsmiths had on working with gold wire. They also engraved, and used techniques like cloisonne, filigree, and granulation.(Source)

A Sumerian gold bead with a filigree design. (Source)

Hair ornaments with granulation and cloisonne techniques.(Source)

Also, to make solid and hollow ornaments they used the cast cold technique. To trace details like veins on gold foil leaves, and grooves on beads, the lost-wax technique was employed.(Source)

An amulet like this one, found at the Royal Tombs at Ur, is an example of what was made using the cast cold technique. (Source)

No actual jewelry shops have been unearthed in Mesopotamia, but the tools of jeweler Ilsu-Ibnisu, one of two Sumerian jewelers whose names we know from the city of Larsa, put into perspective what Sumerian jewelry makers used. His tools were found inside a jar, and included a small anvil, and bronze tweezers.(Source)

The economics

It is important to understand that although the Mesopotamian civilization was beyond rich in food production, thanks to its location on the Fertile Crescent, it was still a land of few resources. Metals and stones to make precious jewelry were especially scarce, necessitating what eventually shaped up to be an entire economy, based on the import of raw precious materials and the export of finished jewelry pieces. This would help Mesopotamians keep up with the growing exotic tastes of the upper crust of society.

A typical Mesopotamian combination was of lapis lazuli, gold and carnelian.(Source)

Early Sumerian sources tell us that gold and silver were imported from Anatolia and northern Iran, while the highly-prized lapis lazuli came from Afghanistan (Source). Carnelian came all the way from India.(Source)

Now, because most jewelry craftsmen were of the lower classes in ancient Mesopotamia, and made very little money, they did not have the means to obtain the materials they needed from as far as 1,500 miles away. Such craftsmen belonged to government-controlled guilds that acted as liaisons between them and their local royal palace.

It is clear that after the rapid growth and development of cities like Ur of Sumer, Akkad, Babylon, and the Assyrian Assur and Nineveh, the wealth of aristocrats there and their demand for luxury goods increased, turning the business of jewelry into an entire trade network, a commercial enterprise that required the teaming up of the lower classes with the greatest powers in the land-the government.

Mark Schwartz, an expert featured on an Ancient Warfare Magazine podcast, “The Assyrians at War,” gives an example of how trade worked. He points to the old Assyrians living under the merchant system obtaining gold from Anatolia through the export of textiles (scrub to the 11:25 point in the podcast to hear this).

The Sumerians’ Legacy

Although when we talk about ancient Mesopotamian jewelry we are referring to jewelry produced by Sumerians, Akkadians, Babylonians and Assyrians alike, it was really the achievements of the Sumerians in jewelry making that we marvel at the most. It was they who who wrote the opening chapter for jewelry making, not only for other Mesopotamian civilizations, but also the ancient and modern worlds.

Sources and Further Reading:

http://sumerianshakespeare.com

http://www.sculpt.com/technotes/COLDCAST.htm

http://www.allaboutgemstones.com/jewelry_history_mesopotamia.html

http://www.langantiques.com/university/index.php/Sumerian_Jewelry

http://www.birthstones.org.uk/jewelry/ancient-mesopotamian-jewelry.htm

http://en.m.wikipedia.org/wiki/Jewellery

http://en.wikipedia.org/wiki/File:Susa-destruction.jpg

http://www.enchanted.co.uk/materials.html

http://www.lsg.sch.ae/departments/history/Hili/Hilli_Website_2008/5.%20Wealth%20&%20Trade/Meso_v2_final.htm

http://www.lifescript.com/life/relationships/marriage/the_evolution_of_the_wedding_ring.aspx

http://voices.yahoo.com/the-history-jewelry-part-iv-mesopotamia-4073775.html?cat=69

http://books.google.com/books?id=lbmXsaTGNKUC&q=earrings#v=snippet&q=earrings&f=false

http://ezinearticles.com/?The-Beginnings-Of-Jewelry&id=509212

http://www.alhakaya.net/product.php?id_product=100

http://www.transoxiana.org/0110/neva-jewelry.html

http://paul-barford.blogspot.com/2010/08/christies-nimrud-earrings-back-in-iraq.html

http://art.thewalters.org/detail/77427/pair-of-basket-shaped-hair-ornaments

http://info.goldavenue.com/info_site/in_arts/in_civ/in_civ_sumer.html

http://www.ehow.com/about_5044654_bloodstone-used-magic.html

http://www.penn.museum/blog/125th-anniversary-object-of-the-day/sumerian-copper-goat-head-object-of-the-day-18/

 

What archaeologists can do for Iraq

I believe it takes a certain kind of person with a certain kind of passion to be an archaeologist. Just the sheer amount of red tape one must cut through to be able to wield a mere shovel anywhere there’s a government is enough to make most people say “Forget this. I’ll just sate my appetite for archaeology and adventure by watching Indiana Jones movies in my cubicle. (I’ll definitely skip that last one, though.)”

Aside from being cool, archaeology is one of the most important fields for the understanding of ourselves, in the past, the present and the future. Even more than passion, archaeology requires patience from start to finish.

Nowhere do these requirements become more important, however, than when the place you want to dig in is a place ravaged by war and chaos, where the red tape you must cut through is one of impossibility that only time and a changing world can eliminate, and where an entire world of humanity’s beginnings lies under your feet in every direction.

Jane Moon, an archaeologist, and, I’m proud to say, All Mesopotamia fan, pointed me toward this enriching video that introduces the first international dig team to work in southern Iraq in more than 20 years.

As the last American troops were exiting Iraq late last year, international scholars were entering. Professor Elizabeth Stone of Stony Brook University in New York is one such scholar and is leading a team bent on finding a window into the everyday lives of ancient Mesopotamians near where the Great Ziggurrat of Ur stands.

Stone’s team comprises of archaeology students, including an Iraqi PhD student studying under Stone in the United States, and locals, all who are learning new techniques and using the latest technology in excavation. The team sleeps, eats and works just a few yards from the commanding structure of the Ziggurat, racing against time to find artifacts and cataloging them before the season is over. You can hear the passion in all their voices, and see it in their eyes as they talk about this opportunity they’ve been afforded as archaeologists.

More than documenting how the team does what it does, however, I felt the video shows how an interest in the past, combined with involving those whose past it is being explored, can build a brighter and more united future for a country searching for its identity in a sea of different religions and ethnicities, all sharing a pride in the rich past of their land.

I repeat, archaeology is one of the most important fields for the understanding of ourselves, and better yet, the betterment of ourselves, so that we may have better and brighter futures.

 

The face of humanity is Mesopotamian

One of the most heartwarming things to read about while I prepare posts for this blog is when I read about individuals and organizations that do amazing things (nothing short of mission impossible stuff, if you ask me), to preserve humanity. I come across such information after I choose an artifact to introduce, such as with my post about the Lyre of Ur, and it is quite wonderful.

Today, I would like to talk about an artifact as mesmerizing and beautiful as the Lyre of Ur, which was also tragically looted in April 2003. The Mask of Warka, or the Lady of Uruk, or the Sumerian Mona Lisa, as this artifact has been called, is considered to be one of the very earliest representations of the human face in the history of humanity.

The mysterious Mask of Warka, aka The Sumerian Mona Lisa. (Source)

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Possibly dating to as far back as 3300 BC and as late as 3000 BC, the 5,000-year-old mask is made of marble and was found in the temple precinct of Innana, Uruk, a city-state of Sumeria, where writing got its start around 3200 BC.

This is humanity galore, people.

According to Dr. Bahnam Abu Al-Soof’s website, http://www.abualsoof.com, the Mask of Warka was originally attached to a larger statue made of various materials. The mask was excavated in modern-day Warka in Iraq by German archaeologists who began their excavations in 1912. Uruk-Warka, is one of the earliest cities, once ruled by the legendary King Gilgamesh, and mentioned in the Genesis as the biblical city of Erech.

Ruins at Uruk-Warka, where the Sumerian Mona Lisa was unearthed. (Source)

You can see more great pictures of Uruk-Warka from the Oriental Institute of the University of Chicago here.

The Mask of Warka went missing in April 2003, and became one of thousands of irreplaceable pieces of humanity that were taken from the Iraq Museum.

Enter Marine Reserve Col. Mathew Bogdanos, and an individual who cares about humanity is in the picture. Bogdanos, who has a passion for classical history and holds a master’s in classical studies, headed an investigation to help find looted artifacts in and around Baghdad in 2003. Thanks to his implementation of a systematic investigative approach he might use even in an investigation in Manhattan, where he is an assistant district attorney, artifacts were recovered, including the Mask of Warka.

Very little is known about this mask, and I have to admit that I had some trouble finding much of anything about it beyond its bare description and the fact that it had been found after being looted. The bulk of the information available about the Mask of Warka is just the announcement that it was found in September 2003, just five months after its disappearance, buried in a farmer’s garden.

Bogdanos said in a PBS interview, which you can watch or read here, that as part of the effort to recover missing artifacts, he adopted a system of circulating wanted posters with pictures of the artifacts on them. Thanks to that approach, the recovery of the mask consisted of an Iraqi coming forward and pointing Bogdanos’s team to a farm where such items were hidden. Bodanos’s team found out from the farmer that the artifact had changed hands several times before it ended up on his farm, after its disappearance generated enough attention to make it difficult to take out of Baghdad.

Colonel Bogdanos was slated to return to civilian life in October 2003, so all of this is old news, I suppose, but what this man, and so many people have done to make right what so many did wrong in April 2003, is something we should never forget.

Sources:

http://www.world-archaeology.com/features/uruk-warqa-iraq/

http://oi.uchicago.edu/OI/IRAQ/sites/Uruk/Uruk_1.htm

http://ancientneareast.tripod.com/Uruk_Warka_Erech.html

http://www.abualsoof.com/album/displayimage.php?album=2&pid=645

http://www.bridgemanart.com/image/Sumerian/Head-of-a-woman-The-Lady-of-Warka-c-3200-BC-marble/f79fa251c0c648118f91493532f73ac3

http://www.pbs.org/newshour/bb/entertainment/july-dec03/iraq_10-01.html