An Artwork by Philhelm
Artist Statement: In continuation of Mesopotamian mythology, this is free love of anthropomorphic gods, free because there were still nothing, not even men. The first god was worshiped the bull or his alter ego, well before the lion will not appear until a few centuries (or
An Artwork by Philhelm
Artist Statement: In continuation of Mesopotamian mythology, this is free love of anthropomorphic gods, free because there were still nothing, not even men. The first god was worshiped the bull or his alter ego, well before the lion will not appear until a few centuries (or millennia) later? But that is another story. The story is obviously false, since we are contemporary interpretations of old myths of more than 6000 years. If they still persist, thanks to the hundreds of thousands of clay tablets (more than half a million), found under the sands of Mesopotamia and who tell their story in cuneiform. On a more anecdotal history is also on the shelf we found the famous cuneiform signs expressing amagi word (or amarga), that is to say freedom which would be the oldest representation writing of this concept in the history of mankind. The American Assyriologist Samuel Noah Kramer (1897-1990) explains the context in this very interesting paragraph in one of his books: The Sumerians: Their History, Culture and Character (University of Chicago Press, 1963, p. 79):
As can be gathered from what has already been said about social and economic organization, written law played a large role in the Sumerian city. Beginning about 2700 B.C., we find actual deeds of sales, including sales of fields, houses, and slaves. From about 2350 B.C., during the reign of Urukagina of Lagash, we have one of the most precious and revealing documents in the history of man and his perennial and unrelenting struggle for freedom from tyranny and oppression. This document records a sweeping reform of a whole series of prevalent abuses, most of which could be traced to a ubiquitous and obnoxious bureaucracy consisting of the ruler and his palace coterie; at the same time it provides a grim and ominous picture of man