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Anatolian Seals and Deities of Kültepe

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Anatolian Seals and Deities of Kültepe Arnhem (nl) 2015 – 5 Anatolia in the bronze age. © Joost Blasweiler student Leiden University - [email protected] Anatolian seals and deities of Kültepe Part 4 of the royal clan of Kanesh and the power of the cult © Mogens Trolle Larsen, Going to the River, oi.uchicago.edu, 185. 1 1. The Anatolian seals of Kültepe. Many books and articles are written about the seals found in Cappadocia, in particular the seals from Kültepe and Acem Höyük. Most of them try to get some grip on the hundreds of seals to classify them in styles: Old Assyrian(OA1), Old Babylon, Old Syrian, Anatolian, and in mixed styles, like Assyro-Cappadocian (OA2) and in sub-styles. However a splendid array of sequels from the seals reveal in the first place sacral events and symbols in which deities, daemons, (sacral) animals, humans, trees and vegetation, spirits, sacral attributes are acting on this cylinder and stamp seals. I think that the owner or the users of the seals saw the narratives and the sacral meaning of the pictures. And apparently he accepted the narrative of the seal, that sacral meaning to use it in his business or in official acts and documents. The people of Kanesh worshipped their deities, probably one more intensively, than the other. I will not exclude that the seal users where much concerned by their business or administration: to gain profit, to get more power or that they feared the loss of their silver, their goods or their position. But these motivations and feelings occurred in their awareness, that they were depended of the acts and powers of their deities or the deities of the land in which they were founding themselves. They feared the daemons and the danger by deemed locations or by impure acts, but supposedly not all in so intensively or in the same way. An Old Assyrian incantation1 to the danger of the evil eye, found in Kültepe, may indicate the urgency to have a good relation with the Gods: “Oh, eye, eye! aluštu eye! Truly – malicious birru-disease!, Truly- carried away sleep! Trembling ! She dispersed the ingathered fire place of the man’s house. She brought about the ruin of the noisy household. She has seized. She has seized the cow from the shed. She has seized the sheep from the watering place. She has seized the young man form prayer. She has seized the maiden in dance. She has seized the child from the nurse’s embrace. You are the veil eye! The incantation is not mine, it is the incantation of Ea, lord of incantations. You are cursed by Anum and Antum, Lahmum and Dūrum, the Underworld, and those who lie in it, that you shall not return, and that you shall not seize her!”. The seals of Kanesh contain much information about the beliefs of inhabitants and merchants of Kanesh in the supernatural forces. But it appears very difficult to recognize these scenes. 1 Gojko Barjamovic- Mogens Trolle Larsen 2008, An Old Assyrian Incantation against the Evil Eyfe, AoF 35-I, 147. 2 The few scholars who tried to explain the meaning of the seals were often criticized by scholars, who argued that these explanations would have been too simple or can be doubted. One can see much observations about seals, which are very useful to know how they were made, by whom and when they were used etc. The research phase of the seals of Cappadocia is that one knows much how they are made, from which materials and in which time period. And it is often known by whom and why, however at the same moment it is very hard to explain what is told in the seal pictures. Seals printed in texts of tablets are sometimes ignored and often they are not described in the transliterations and translations. The narratives and meaning of the pictures of the seals can often not been explained. Nevertheless in an almost illiterate society seals are important and have not to be underestimated in the communication of the ancient communities. According to Tom van Bakel, who examines usually Mesopotamian seals, the narrative on cylinder seals image mostly sacral actions in a sequence. So he proposes to examine the cylinder imprint not as a static picture, but as a pictured narrative. He stated that the seals pictures say much about the constellations of stars and the seasons, the birth of goddess children, sacral marriages, the time that the king got his rule from his sacral father etc. He suggests to look more the texts of Sumer and Babylon, in which for example to sit on the throne not only means to rule, but also has a meaning of fate2:“When Mother Nintur (lady birth) sat upon the throne-dais on the holy seat of joy, the seat from which she has made everything numerous, it was then that the highest divine powers, which are golden, the glory of the numerous people -- the en priesthood and the kingship -- were created for Enlil. When Nintur, Mother Nintur, sat upon the throne-dais on the seat of joy, the seat from which she has made everything numerous, it was then that the highest divine powers, which are golden, the glory of the numerous people -- the en priesthood and the kingship -- were created for Enlil.” The studies to the ancient Mesopotamian cosmology are probably very important to understand the narratives of the seals3. When it is of significance in the translation or in the explanation of cuneiform texts, I think it will be important in the (cylinder)seals, too. 2 Title poem: A tigi to Nintur (Nintur A): c.4.26.1 Published: The Electronic Text Corpus of Sumerian Literature. 3 For instance Francesca Rochberg described in 2010 the God-talk and Star-talk in cuneiform (Gazing on the Deep,190-191). She stated: “The relation between divine and the celestial, the gods and the stars, is one that seems to manifest itself in a variety of ways 3 Professor Klaas Veenhof described in 2008 the straitened situation of the research of the seals of Kültepe in his book Mesopotamia (OBO160/5-114) :”the seal impressions have to be studied in combination with the texts form the same archives, which will allow more identification. There are valuable publications and descriptions of large numbers of seals, but most of the inscribed envelopes on which they figure unfortunately are still unopened and unpublished, so that the owners of many seals remain unknown and in many cases we cannot date the seal impressions more accurately or connect the quality and iconography of a seal with the status and the role played by the person who owned it4”. Texts from Kanesh are not only a rich source of seal impressions, they contained a lot of data on seals and their use, and they informed us on the stones they were made of, how they were inherited and transferred. Seals were valuable and a seal in wrong hands was dangerous. The dissertation of Agnete Wisti Lassen (Glyptic Encounters 2012) gives much information about the seals of Kültepe and in particular the Anatolian styled seals. Some texts5 show that seals could indeed been used for acknowledgment in legal contexts: “Anupiya said: “Does the tablet not bear your seals ? “Galgaliya answered: “They are my sealings” . in cuneiform texts”. A connection between the heavens an divine has been continuous in the history of the Mesopotamian gods. Inanna, for example, seems to have had an astral aspect going back to Uruk IV cult offerings to the morning star (Inanna of the morning) and the evening star (Inanna of the evening. The divine name itself is furthermore etymologically suggestive of a astral deity ‘Lady of Heaven’ as is her temple é-an-na House of Heaven “. Despite the close association of the divine with heaven, the relationship seems to be one between certain deities and the heavenly region rather than a notion of a cosmic divine unity. Instead of a notion of heaven itself as divine, the evidence attest rather to an association or even identification of heavenly bodies with gods. Perhaps polytheism itself forestalled a unified view of ‘cosmos’ in favor of cosmic regions that were drafted into mythological stories. An early Dynastic mythological texts personifies heaven as ‘a youthful man’, a primordial divinity in existence before any other god but already with earth (or perhaps ‘underworld’). The personification of heaven and earth/underworld occurs in other compositions such as Lugale, which indentifies the parentage of the demon Azag as divine sky and earth/underworld themselves, i.e. An and Ki. The sky god had his own ancestry, given in the Enūma Eliš. The divine pair AN.ŠAR ‘totality of heaven’ and KI.ŠÁR ’totality of earth/underworld’ are the third pair produce in the divine genealogy, and the parents of the divine skygod Anu. It is perhaps worthy of mention that the meaning of ŠÁR as totality comes not from the idea of oneness but if many and, therefore, connotes a unity comprised of plurality, i.e. ’all things’ or ‘everything’. “The divine name Aššur is written with the logograms for a divinity whose identity is cosmic and heavenly, but who belongs to a cosmic pair that belongs to a cosmic disunity, above and below. Aššur was said to be one of the who dwells in the clear starry heavens, not that he was the starry heavens”. 4 Beatrice Teisier, Sealing and seal on texts from Kültepe Karum Level II 1994, 6 : “Kültepe continues to offer an unparalleled opportunity recording the storage and filling systems of a merchant community, but what is sadly lacking, or is simply unpublished, is precise data on what kind tablets were found in what locus and batch.
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