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The Origin of Documentation: Cuneiform Clay Tablets 📜 Clay tablets with cuneiform script, developed by the Sumerians in Mesopotamia (present-day Southern Iraq) and surviving to the present day, are the most important reference sources for our understanding of the political, social, economic, and religious life of the Sumerian, Akkadian,... show more

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Ever wonder how cuneiform tablets were formed from clay? Produced in the field at one of ISAC’s current excavations in Málaga, Spain, PhD candidate Marta Díaz Herrera shows how an ancient Babylonian student would have formed a lenticular clay tablet,

Ever wonder how cuneiform tablets were formed from clay? Produced in the field at one of ISAC’s current excavations in Málaga, Spain, PhD candidate Marta Díaz Herrera shows how an ancient Babylonian student would have formed a lenticular clay tablet,

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Here's my conversation with Irving Finkel, a scholar of ancient languages and Mesopotamian history. He specializes in deciphering cuneiform tablets from Sumerian, Akkadian, Babylonian, and Assyrian contexts. He became widely known for studying a tablet with a Mesopotamian flood story that predates the biblical Noah narrative. We talk about ancient writing & language, controversial theories about ancient civilizations, Noah's Ark, flood myths, Göbekli Tepe, and much more. It's here on X in full and is up everywhere else (see comment). Timestamps: 0:00 - Introduction 0:58 - Origins of human language 7:04 - Cuneiform 14:17 - Controversial theory about Göbekli Tepe 25:29 - How to write and speak Cuneiform 30:48 - Primitive human language 32:31 - Development of writing systems 33:25 - Decipherment of Cuneiform 45:57 - Limits of language 50:56 - Art of translation 56:06 - Gods 1:01:31 - Ghosts 1:11:19 - Ancient flood stories 1:21:26 - Noah's Ark 1:32:49 - The Royal Game of Ur 1:45:48 - British Museum 1:53:13 - Evolution of human civilization

Here's my conversation with Irving Finkel, a scholar of ancient languages and Mesopotamian history. He specializes in deciphering cuneiform tablets from Sumerian, Akkadian, Babylonian, and Assyrian contexts. He became widely known for studying a tablet with a Mesopotamian flood story that predates the biblical Noah narrative. We talk about ancient writing & language, controversial theories about ancient civilizations, Noah's Ark, flood myths, Göbekli Tepe, and much more. It's here on X in full and is up everywhere else (see comment). Timestamps: 0:00 - Introduction 0:58 - Origins of human language 7:04 - Cuneiform 14:17 - Controversial theory about Göbekli Tepe 25:29 - How to write and speak Cuneiform 30:48 - Primitive human language 32:31 - Development of writing systems 33:25 - Decipherment of Cuneiform 45:57 - Limits of language 50:56 - Art of translation 56:06 - Gods 1:01:31 - Ghosts 1:11:19 - Ancient flood stories 1:21:26 - Noah's Ark 1:32:49 - The Royal Game of Ur 1:45:48 - British Museum 1:53:13 - Evolution of human civilization

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Experience the timeless melody of 'Hurrian Hymn No. 6,' the world's oldest known song, connecting us to ancient history through music. The Hurrian Hymn No. 6 is written in the Hurrian language, an ancient language spoken by the Hurrian people of the Near East around 1400 BCE. The text was discovered on a clay tablet inscribed in cuneiform script.

Experience the timeless melody of 'Hurrian Hymn No. 6,' the world's oldest known song, connecting us to ancient history through music. The Hurrian Hymn No. 6 is written in the Hurrian language, an ancient language spoken by the Hurrian people of the Near East around 1400 BCE. The text was discovered on a clay tablet inscribed in cuneiform script.

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The World’s Oldest Song — Performed by Peter Pringle This haunting hymn to the Hurrian goddess Nikkal is the oldest known piece of music with both lyrics and musical notation — inscribed over 3,500 years ago on clay tablets from the ancient city of Ugarit (modern-day Syria). Written in the Hurrian language using Sumerian cuneiform, the piece has been studied by scholars for decades. The version you hear follows the interpretation of archaeomusicologist Dr. Richard J. Dumbrill, considered one of the most thorough and musical reconstructions. Performed live by Peter Pringle: – On a long-necked lute of his own design, inspired by the Turkish bağlama and Persian setar, tuned F–C–F. – With sampled reed pipes based on 5,000-year-old silver pipes from the Sumerian city of Ur, played using a foot-controlled pedalboard. No overdubs. No edits. Just one live take — bringing the sound of the ancient world back to life.

The World’s Oldest Song — Performed by Peter Pringle This haunting hymn to the Hurrian goddess Nikkal is the oldest known piece of music with both lyrics and musical notation — inscribed over 3,500 years ago on clay tablets from the ancient city of Ugarit (modern-day Syria). Written in the Hurrian language using Sumerian cuneiform, the piece has been studied by scholars for decades. The version you hear follows the interpretation of archaeomusicologist Dr. Richard J. Dumbrill, considered one of the most thorough and musical reconstructions. Performed live by Peter Pringle: – On a long-necked lute of his own design, inspired by the Turkish bağlama and Persian setar, tuned F–C–F. – With sampled reed pipes based on 5,000-year-old silver pipes from the Sumerian city of Ur, played using a foot-controlled pedalboard. No overdubs. No edits. Just one live take — bringing the sound of the ancient world back to life.

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Enki Ancient Sumerian tablets don’t lie. They tell the story of the Anunnaki - an advanced race that descended from the heavens. At the center of it all was Enki, the master geneticist.Mainstream history claims he is just a myth. But the cuneiform texts tell a different story: Enki defied his own kind, altered our DNA, and saved humanity from a global deluge. Were the Anunnaki our creators, or our captors? Content created by Jason Abadi #anunnaki #Sumerian #Enki #Enlil #AncientAliens #UFOX #AncientHistory NASA #ShortFilm

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For 2,000 Years They Hunted Treasure. The Real Discovery Changed History For 2,000 years, locals believed these carvings on Mount Alvand were a coded map to buried treasure. They were mocked by history. They should not have been. The panels, carved for Darius the Great and his son Xerxes around 500 BC, became unreadable once cuneiform literacy died out after Alexander. Legends filled the vacuum, and the site was named Ganjnameh, the Treasure Book. Then in 1839, the French artist Eugène Flandin copied the texts, and Henry Rawlinson used them like a Rosetta stone in cracking the cuneiform script of the Persian kings. That crack helped swing open the whole vault. Behind cuneiform lay Gilgamesh, Hammurabi's laws, the libraries of Babylon and Nineveh, the oldest written civilization on Earth. The map led to treasure after all. The hunters just dug in the wrong dimension.

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The Royal Game of Ur : For 4600 years, a mysterious game slept in the dust of southern Iraq, largely forgotten. The passion of a museum curator and the hunger of young Iraqis for their cultural history may bring it back... The original name of this ancient game has been lost to time, but it was dubbed the Royal Game of Ur after a British archaeologist named Sir Leonard Woolley uncovered five worn playing boards in 1928 at the Royal Cemetery of the Sumerian city of Ur. Analysts estimated that the highly decorated boards, made of wood, inlaid shell and lapis lazuli, were made between 2600-2400 BC, making the Royal Game of Ur the oldest complete tabletop game ever discovered. Archaeological evidence suggests that the game (Game of 20 Squares) was immensely popular with people of all classes. The boards were carried all over the Middle East and sometimes scratched into clay or rock, if no board was available by soldiers, missionaries, explorers and traders, who introduced it to Iran, Syria, Egypt, Lebanon, Sri Lanka, Cyprus and Crete. Variations of the game have been found in King Tutankhamen’s tomb, and etched into pillars in the palace of the Assyrian king Sargon II. For at least 1000 years, the Royal Game of Ur was the national game of ancient Mesopotamia, but it waned in popularity as other games were developed, including those that most likely evolved from it, such as backgammon. Mentions of the game disappeared in the Middle Ages, but a variation, called Aasha, was played by the Jewish people of Kochi, in India. Jews of Kochi had migrated from ancient Babylonia and brought a version of the game with them. The 1928 discovery of the Royal Game of Ur gave scholars an important cultural glimpse into how the ancient Mesopotamians entertained themselves, but there was one problem: The boards did not come with an instruction manual, and that meant that modern-day scholars had no idea how the game worked. In 1980s, Dr. Irving Finkel (a curator and Assyriologist at British Museum), translated a cuneiform script on a crumbling clay tablet that had been brought to the museum by an antiquities dealer. The document sounded remarkably like the rules of an ancient game. The clay tablet written in 177-176 BC by a scribe named Itti-Marduk-balatu, tablet was discovered around 1880 in the ruins of Babylon, according to an academic paper written by Dr. Finkel. “The tablet included a grid on one side,” he wrote, “and two columns of closely written text on the other, adding his name and the date at the end of the inscription.” British Museum bought the relic shortly after it was found and cataloged it. Scholars tried to decipher the cuneiform over the years, but it was Dr. Finkel who was able to identify the text on the tablet as instructions on how to play the Royal Game of Ur after comparing it to the other game boards the museum had stored in its archives. Babylonian tablet revealed that the game is race between two players to get their markers around and off the board. Pyramid-shaped dice are used to indicate the number of squares a player can move, but strategy is involved as well: If a player lands on a square occupied by their opponent, they can knock that marker off, and the opponent must start over again with that piece. That can set a player back by quite a bit, and it is almost impossible to predict who will win, even near the end of the game. But there was another aspect of the game that attracted people: It was said to tell a player’s fortune. According to the cuneiform tablet, some of the marked squares on the board were assigned signs of the zodiac and, with them, predictions that a player would win a beer, make a friend, eat well, or perhaps become powerful and wealthy. 🎥© ancientstristan (IG) #archaeohistories

The Royal Game of Ur : For 4600 years, a mysterious game slept in the dust of southern Iraq, largely forgotten. The passion of a museum curator and the hunger of young Iraqis for their cultural history may bring it back... The original name of this ancient game has been lost to time, but it was dubbed the Royal Game of Ur after a British archaeologist named Sir Leonard Woolley uncovered five worn playing boards in 1928 at the Royal Cemetery of the Sumerian city of Ur. Analysts estimated that the highly decorated boards, made of wood, inlaid shell and lapis lazuli, were made between 2600-2400 BC, making the Royal Game of Ur the oldest complete tabletop game ever discovered. Archaeological evidence suggests that the game (Game of 20 Squares) was immensely popular with people of all classes. The boards were carried all over the Middle East and sometimes scratched into clay or rock, if no board was available by soldiers, missionaries, explorers and traders, who introduced it to Iran, Syria, Egypt, Lebanon, Sri Lanka, Cyprus and Crete. Variations of the game have been found in King Tutankhamen’s tomb, and etched into pillars in the palace of the Assyrian king Sargon II. For at least 1000 years, the Royal Game of Ur was the national game of ancient Mesopotamia, but it waned in popularity as other games were developed, including those that most likely evolved from it, such as backgammon. Mentions of the game disappeared in the Middle Ages, but a variation, called Aasha, was played by the Jewish people of Kochi, in India. Jews of Kochi had migrated from ancient Babylonia and brought a version of the game with them. The 1928 discovery of the Royal Game of Ur gave scholars an important cultural glimpse into how the ancient Mesopotamians entertained themselves, but there was one problem: The boards did not come with an instruction manual, and that meant that modern-day scholars had no idea how the game worked. In 1980s, Dr. Irving Finkel (a curator and Assyriologist at British Museum), translated a cuneiform script on a crumbling clay tablet that had been brought to the museum by an antiquities dealer. The document sounded remarkably like the rules of an ancient game. The clay tablet written in 177-176 BC by a scribe named Itti-Marduk-balatu, tablet was discovered around 1880 in the ruins of Babylon, according to an academic paper written by Dr. Finkel. “The tablet included a grid on one side,” he wrote, “and two columns of closely written text on the other, adding his name and the date at the end of the inscription.” British Museum bought the relic shortly after it was found and cataloged it. Scholars tried to decipher the cuneiform over the years, but it was Dr. Finkel who was able to identify the text on the tablet as instructions on how to play the Royal Game of Ur after comparing it to the other game boards the museum had stored in its archives. Babylonian tablet revealed that the game is race between two players to get their markers around and off the board. Pyramid-shaped dice are used to indicate the number of squares a player can move, but strategy is involved as well: If a player lands on a square occupied by their opponent, they can knock that marker off, and the opponent must start over again with that piece. That can set a player back by quite a bit, and it is almost impossible to predict who will win, even near the end of the game. But there was another aspect of the game that attracted people: It was said to tell a player’s fortune. According to the cuneiform tablet, some of the marked squares on the board were assigned signs of the zodiac and, with them, predictions that a player would win a beer, make a friend, eat well, or perhaps become powerful and wealthy. 🎥© ancientstristan (IG) #archaeohistories

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93,461 次观看 • 2 年前

Hurrian Hymn (part of collection of Hurrian songs), inscribed in Akkadian cuneiform on clay tablets (1550-1400 BC) excavated from ancient Amorite-Canaanite city of Ugarit, northern Syria... The clay tablet text, which was discovered alongside around 30 other tablet fragments, specifies 9 lyre strings and intervals between those strings – kind of like an ancient guitar tab. But this is only hymn that could be reconstructed – although the name of the composer is now lost. The complete song is one of about 36 such hymns was is dedicated Hurrians’ goddess of the orchards Nikkal. It was discovered in 1950s, considered as the oldest surviving melody and is over 3400 years old. An account of the group of shards was first published in 1955 and 1968 by Emmanuel Laroche, who identified as parts of a single clay tablet the three fragments catalogued by field archaeologists as RS 15.30, 15.49, and 17.387. In Laroche's catalogue the hymns are designated h. (for "Hurrian") 2–17, 19–23, 25–6, 28, 30, along with smaller fragments RS. 19.164 g, j, n, o, p, r, t, w, x, y, aa, and gg. The complete hymn is h.6 in this list. A revised text of h.6 was published in 1975. Following Laroche's work, Assyriologist Anne Draffkorn Kilmer and musicologist Marcelle Duchesne-Guillemin worked together in 1970s to understand the meaning of the tablets, concluding that one tablet presented tuning methods for a Babylonian lyre, another referred to musical intervals. Tablet h.6 contains, the lyrics for a hymn to Nikkal, a Ancient Near Eastern goddess of orchards, and instructions for a singer accompanied by a nine-stringed sammûm, a type of harp or, much more likely, a lyre. The hymn was given its first modern performance in 1974, a performance of which the New York Times wrote: “This has revolutionized the whole concept of the origin of western music.” While the Hurrian hymn pre-dates several other surviving early works of music (e.g. Seikilos epitaph and Delphic Hymns) by a millennium, its transcription remains controversial. Duchesne-Guillemin's reconstruction may be heard at Urkesh webpage, though this is only one of at least five "rival decipherments of the notation, each yielding entirely different results". Text of h.6 is difficult, in part because Hurrian language itself is imperfectly understood, and in part because of small lacunae due to missing flakes of the clay tablet. In addition, however, it appears that the language is a local Ugarit dialect, which differs significantly from the dialects known from other sources. It is also possible that the pronunciation of some words was altered from normal speech because of music. Despite the many difficulties, it is clearly a religious text concerning offerings to goddess Nikkal, wife of the moon god. Text is presented in four lines, with the peculiarity that the seven final syllables of each of the first three lines on the verso of the tablet are repeated at beginning of the next line on the recto. While Laroche saw in this a procedure similar to one employed by Babylonian scribes in longer texts to provide continuity at the transition from one tablet to another, Güterbock and Kilmer took the position that this device is never found within the text on a single tablet, and so these repeated syllables must constitute refrains dividing the text into regular sections. To this, Duchesne-Guillemin retorts that the recto-verso-recto spiral path of text, an arrangement unknown in Babylon is ample reason for the use of such guides. The first published attempt to interpret the text of h.6 was made in 1977 by Hans-Jochen Thiel and his work formed the basis for a new but still very provisional attempt made 24 years later by Theo J. H. Krispijn, after Hurritology had made significant progress thanks to archaeological discoveries made in the meantime at a site near Boğazkale. 🎥© Peter Pringle (YT) National Museum of Damascus #archaeohistories

Hurrian Hymn (part of collection of Hurrian songs), inscribed in Akkadian cuneiform on clay tablets (1550-1400 BC) excavated from ancient Amorite-Canaanite city of Ugarit, northern Syria... The clay tablet text, which was discovered alongside around 30 other tablet fragments, specifies 9 lyre strings and intervals between those strings – kind of like an ancient guitar tab. But this is only hymn that could be reconstructed – although the name of the composer is now lost. The complete song is one of about 36 such hymns was is dedicated Hurrians’ goddess of the orchards Nikkal. It was discovered in 1950s, considered as the oldest surviving melody and is over 3400 years old. An account of the group of shards was first published in 1955 and 1968 by Emmanuel Laroche, who identified as parts of a single clay tablet the three fragments catalogued by field archaeologists as RS 15.30, 15.49, and 17.387. In Laroche's catalogue the hymns are designated h. (for "Hurrian") 2–17, 19–23, 25–6, 28, 30, along with smaller fragments RS. 19.164 g, j, n, o, p, r, t, w, x, y, aa, and gg. The complete hymn is h.6 in this list. A revised text of h.6 was published in 1975. Following Laroche's work, Assyriologist Anne Draffkorn Kilmer and musicologist Marcelle Duchesne-Guillemin worked together in 1970s to understand the meaning of the tablets, concluding that one tablet presented tuning methods for a Babylonian lyre, another referred to musical intervals. Tablet h.6 contains, the lyrics for a hymn to Nikkal, a Ancient Near Eastern goddess of orchards, and instructions for a singer accompanied by a nine-stringed sammûm, a type of harp or, much more likely, a lyre. The hymn was given its first modern performance in 1974, a performance of which the New York Times wrote: “This has revolutionized the whole concept of the origin of western music.” While the Hurrian hymn pre-dates several other surviving early works of music (e.g. Seikilos epitaph and Delphic Hymns) by a millennium, its transcription remains controversial. Duchesne-Guillemin's reconstruction may be heard at Urkesh webpage, though this is only one of at least five "rival decipherments of the notation, each yielding entirely different results". Text of h.6 is difficult, in part because Hurrian language itself is imperfectly understood, and in part because of small lacunae due to missing flakes of the clay tablet. In addition, however, it appears that the language is a local Ugarit dialect, which differs significantly from the dialects known from other sources. It is also possible that the pronunciation of some words was altered from normal speech because of music. Despite the many difficulties, it is clearly a religious text concerning offerings to goddess Nikkal, wife of the moon god. Text is presented in four lines, with the peculiarity that the seven final syllables of each of the first three lines on the verso of the tablet are repeated at beginning of the next line on the recto. While Laroche saw in this a procedure similar to one employed by Babylonian scribes in longer texts to provide continuity at the transition from one tablet to another, Güterbock and Kilmer took the position that this device is never found within the text on a single tablet, and so these repeated syllables must constitute refrains dividing the text into regular sections. To this, Duchesne-Guillemin retorts that the recto-verso-recto spiral path of text, an arrangement unknown in Babylon is ample reason for the use of such guides. The first published attempt to interpret the text of h.6 was made in 1977 by Hans-Jochen Thiel and his work formed the basis for a new but still very provisional attempt made 24 years later by Theo J. H. Krispijn, after Hurritology had made significant progress thanks to archaeological discoveries made in the meantime at a site near Boğazkale. 🎥© Peter Pringle (YT) National Museum of Damascus #archaeohistories

Archaeo - Histories

13,000 次观看 • 8 个月前

Hurrian Hymn (part of collection of Hurrian songs), inscribed in Akkadian cuneiform on clay tablets (1550-1400 BC) excavated from ancient Amorite-Canaanite city of Ugarit, northern Syria. The clay tablet text, which was discovered alongside around 30 other tablet fragments, specifies 9 lyre strings and intervals between those strings – kind of like an ancient guitar tab. But this is only hymn that could be reconstructed – although the name of the composer is now lost. The complete song is one of about 36 such hymns was is dedicated Hurrians’ goddess of the orchards Nikkal. It was discovered in 1950s, considered as the oldest surviving melody and is over 3400 years old. An account of the group of shards was first published in 1955 and 1968 by Emmanuel Laroche, who identified as parts of a single clay tablet the three fragments catalogued by field archaeologists as RS 15.30, 15.49, and 17.387. In Laroche's catalogue the hymns are designated h. (for "Hurrian") 2–17, 19–23, 25–6, 28, 30, along with smaller fragments RS. 19.164 g, j, n, o, p, r, t, w, x, y, aa, and gg. The complete hymn is h.6 in this list. A revised text of h.6 was published in 1975. Following Laroche's work, Assyriologist Anne Draffkorn Kilmer and musicologist Marcelle Duchesne-Guillemin worked together in 1970s to understand the meaning of the tablets, concluding that one tablet presented tuning methods for a Babylonian lyre, another referred to musical intervals. Tablet h.6 contains, the lyrics for a hymn to Nikkal, a Ancient Near Eastern goddess of orchards, and instructions for a singer accompanied by a nine-stringed sammûm, a type of harp or, much more likely, a lyre. The hymn was given its first modern performance in 1974, a performance of which the New York Times wrote: “This has revolutionized the whole concept of the origin of western music.” While the Hurrian hymn pre-dates several other surviving early works of music (e.g. Seikilos epitaph and Delphic Hymns) by a millennium, its transcription remains controversial. Duchesne-Guillemin's reconstruction may be heard at Urkesh webpage, though this is only one of at least five "rival decipherments of the notation, each yielding entirely different results". Text of h.6 is difficult, in part because Hurrian language itself is imperfectly understood, and in part because of small lacunae due to missing flakes of the clay tablet. In addition, however, it appears that the language is a local Ugarit dialect, which differs significantly from the dialects known from other sources. It is also possible that the pronunciation of some words was altered from normal speech because of music. Despite the many difficulties, it is clearly a religious text concerning offerings to goddess Nikkal, wife of the moon god. Text is presented in four lines, with the peculiarity that the seven final syllables of each of the first three lines on the verso of the tablet are repeated at beginning of the next line on the recto. While Laroche saw in this a procedure similar to one employed by Babylonian scribes in longer texts to provide continuity at the transition from one tablet to another, Güterbock and Kilmer took the position that this device is never found within the text on a single tablet, and so these repeated syllables must constitute refrains dividing the text into regular sections. To this, Duchesne-Guillemin retorts that the recto-verso-recto spiral path of text, an arrangement unknown in Babylon is ample reason for the use of such guides. The first published attempt to interpret the text of h.6 was made in 1977 by Hans-Jochen Thiel and his work formed the basis for a new but still very provisional attempt made 24 years later by Theo J. H. Krispijn, after Hurritology had made significant progress thanks to archaeological discoveries made in the meantime at a site near Boğazkale. 🎥© Peter Pringle (YouTube) National Museum of Damascus #archaeohistories

Hurrian Hymn (part of collection of Hurrian songs), inscribed in Akkadian cuneiform on clay tablets (1550-1400 BC) excavated from ancient Amorite-Canaanite city of Ugarit, northern Syria. The clay tablet text, which was discovered alongside around 30 other tablet fragments, specifies 9 lyre strings and intervals between those strings – kind of like an ancient guitar tab. But this is only hymn that could be reconstructed – although the name of the composer is now lost. The complete song is one of about 36 such hymns was is dedicated Hurrians’ goddess of the orchards Nikkal. It was discovered in 1950s, considered as the oldest surviving melody and is over 3400 years old. An account of the group of shards was first published in 1955 and 1968 by Emmanuel Laroche, who identified as parts of a single clay tablet the three fragments catalogued by field archaeologists as RS 15.30, 15.49, and 17.387. In Laroche's catalogue the hymns are designated h. (for "Hurrian") 2–17, 19–23, 25–6, 28, 30, along with smaller fragments RS. 19.164 g, j, n, o, p, r, t, w, x, y, aa, and gg. The complete hymn is h.6 in this list. A revised text of h.6 was published in 1975. Following Laroche's work, Assyriologist Anne Draffkorn Kilmer and musicologist Marcelle Duchesne-Guillemin worked together in 1970s to understand the meaning of the tablets, concluding that one tablet presented tuning methods for a Babylonian lyre, another referred to musical intervals. Tablet h.6 contains, the lyrics for a hymn to Nikkal, a Ancient Near Eastern goddess of orchards, and instructions for a singer accompanied by a nine-stringed sammûm, a type of harp or, much more likely, a lyre. The hymn was given its first modern performance in 1974, a performance of which the New York Times wrote: “This has revolutionized the whole concept of the origin of western music.” While the Hurrian hymn pre-dates several other surviving early works of music (e.g. Seikilos epitaph and Delphic Hymns) by a millennium, its transcription remains controversial. Duchesne-Guillemin's reconstruction may be heard at Urkesh webpage, though this is only one of at least five "rival decipherments of the notation, each yielding entirely different results". Text of h.6 is difficult, in part because Hurrian language itself is imperfectly understood, and in part because of small lacunae due to missing flakes of the clay tablet. In addition, however, it appears that the language is a local Ugarit dialect, which differs significantly from the dialects known from other sources. It is also possible that the pronunciation of some words was altered from normal speech because of music. Despite the many difficulties, it is clearly a religious text concerning offerings to goddess Nikkal, wife of the moon god. Text is presented in four lines, with the peculiarity that the seven final syllables of each of the first three lines on the verso of the tablet are repeated at beginning of the next line on the recto. While Laroche saw in this a procedure similar to one employed by Babylonian scribes in longer texts to provide continuity at the transition from one tablet to another, Güterbock and Kilmer took the position that this device is never found within the text on a single tablet, and so these repeated syllables must constitute refrains dividing the text into regular sections. To this, Duchesne-Guillemin retorts that the recto-verso-recto spiral path of text, an arrangement unknown in Babylon is ample reason for the use of such guides. The first published attempt to interpret the text of h.6 was made in 1977 by Hans-Jochen Thiel and his work formed the basis for a new but still very provisional attempt made 24 years later by Theo J. H. Krispijn, after Hurritology had made significant progress thanks to archaeological discoveries made in the meantime at a site near Boğazkale. 🎥© Peter Pringle (YouTube) National Museum of Damascus #archaeohistories

Archaeo - Histories

60,607 次观看 • 2 年前

The Ziggurat one of last standing monuments of Sumarians. Built sometime in 21st Century BC by King Ur-Nammu and his son Shulgi. It stood in the center of the city and was center of all administration. It is located near the modern-day city of Nasiriyah in southern Iraq 🇮🇶, along the banks of the Euphrates River. It lies within the ancient city of Ur, which was one of most important urban centers of ancient Mesopotamia. The Ziggurat were massive stepped structures built in ancient Mesopotamia, primarily in Sumerian, Akkadian and Babylonian civilizations. These monumental temples served as sacred precincts dedicated to various deities, acting as focal points for religious and civic activities. It was built around 2100 BC, during reign of King Ur-Nammu of 3rd Dynasty of Ur. It was part of a larger complex that included administrative buildings, courtyards and residential areas, reflecting the city's status as a regional powerhouse. The Ziggurat was built by stacking a total of 64 stone and mud platforms that progressively shrunk until ziggurat was shape of a tower like pyramid, though with a flat top for a temple. It was built so that each corner faced a cardinal point and showed solidity by building the walls facing slightly inward so that it would appear eternal. The monument was then covered in a thick layer of burnt brick in order to protect it from the elements. The interior of the Ziggurat of Ur consisted of several chambers and corridors, serving various administrative and religious functions. These included storage rooms for offerings and temple treasures. The inside of the ziggurat has no chambers, just a thick core of mud and brick to form a ‘spine’ for the monument. The bricks were made of dried reed and mud and each weight about four and half kilograms. The Ziggurat of Ur is characterized by its massive stepped platform, constructed using mud bricks and baked bricks. It consists of three main levels, each diminishing in size as it ascends, with a temple dedicated to the patron deity located at the summit. The outer facade was adorned with glazed bricks, depicting intricate designs and motifs. The Ziggurat held immense religious and cultural significance for the people of ancient Mesopotamia. It served as a symbol of the city's prosperity and power. It represents the pinnacle of architectural achievement in ancient Mesopotamia. It reflects the ingenuity and technological prowess of Sumerian civilization, showcasing their ability to undertake massive construction projects using rudimentary tools and materials. Ziggurats were primarily built in the ancient cities of Mesopotamia, including Ur, Uruk, Babylon, and Eridu. These cities were centers of political, economic, and religious activity, with ziggurats serving as focal points of worship and civic life. Ziggurats were probably very common in ancient Sumaria, but the ziggurat at Ur is the last one standing and so gives us the most information about Sumaria. 🎥 : Credit to the Owner #archaeohistories

The Ziggurat one of last standing monuments of Sumarians. Built sometime in 21st Century BC by King Ur-Nammu and his son Shulgi. It stood in the center of the city and was center of all administration. It is located near the modern-day city of Nasiriyah in southern Iraq 🇮🇶, along the banks of the Euphrates River. It lies within the ancient city of Ur, which was one of most important urban centers of ancient Mesopotamia. The Ziggurat were massive stepped structures built in ancient Mesopotamia, primarily in Sumerian, Akkadian and Babylonian civilizations. These monumental temples served as sacred precincts dedicated to various deities, acting as focal points for religious and civic activities. It was built around 2100 BC, during reign of King Ur-Nammu of 3rd Dynasty of Ur. It was part of a larger complex that included administrative buildings, courtyards and residential areas, reflecting the city's status as a regional powerhouse. The Ziggurat was built by stacking a total of 64 stone and mud platforms that progressively shrunk until ziggurat was shape of a tower like pyramid, though with a flat top for a temple. It was built so that each corner faced a cardinal point and showed solidity by building the walls facing slightly inward so that it would appear eternal. The monument was then covered in a thick layer of burnt brick in order to protect it from the elements. The interior of the Ziggurat of Ur consisted of several chambers and corridors, serving various administrative and religious functions. These included storage rooms for offerings and temple treasures. The inside of the ziggurat has no chambers, just a thick core of mud and brick to form a ‘spine’ for the monument. The bricks were made of dried reed and mud and each weight about four and half kilograms. The Ziggurat of Ur is characterized by its massive stepped platform, constructed using mud bricks and baked bricks. It consists of three main levels, each diminishing in size as it ascends, with a temple dedicated to the patron deity located at the summit. The outer facade was adorned with glazed bricks, depicting intricate designs and motifs. The Ziggurat held immense religious and cultural significance for the people of ancient Mesopotamia. It served as a symbol of the city's prosperity and power. It represents the pinnacle of architectural achievement in ancient Mesopotamia. It reflects the ingenuity and technological prowess of Sumerian civilization, showcasing their ability to undertake massive construction projects using rudimentary tools and materials. Ziggurats were primarily built in the ancient cities of Mesopotamia, including Ur, Uruk, Babylon, and Eridu. These cities were centers of political, economic, and religious activity, with ziggurats serving as focal points of worship and civic life. Ziggurats were probably very common in ancient Sumaria, but the ziggurat at Ur is the last one standing and so gives us the most information about Sumaria. 🎥 : Credit to the Owner #archaeohistories

Archaeo - Histories

71,089 次观看 • 7 个月前

THE MAKING OF A WARRIOR — CLAY MARTIN Clay Martin sits down with David in Idaho for the full story — service, brotherhood, the 9/11 betrayal that sent 60% of recon Marines to the exit, and the one gift Clay says only combat can give you. Part 1 of our Idaho fireside series. Link below. Clay Martin ⚔️ David Rutherford

THE MAKING OF A WARRIOR — CLAY MARTIN Clay Martin sits down with David in Idaho for the full story — service, brotherhood, the 9/11 betrayal that sent 60% of recon Marines to the exit, and the one gift Clay says only combat can give you. Part 1 of our Idaho fireside series. Link below. Clay Martin ⚔️ David Rutherford

The David Rutherford Show

14,664 次观看 • 4 个月前

A 47-year-old Goodwood Prison warden has been arrested after drugs and other items were allegedly found in his vehicle. SAPS Anti-Gang Unit members stopped and searched the vehicle during a targeted roadblock. Police say they found 600 Mandrax tablets, 100 grams of tik and 300 grams of dagga, along with 23 cellphones. Condoms and libido tablets were also allegedly found in the vehicle. Tune in to #eNCA on #DStv403.

A 47-year-old Goodwood Prison warden has been arrested after drugs and other items were allegedly found in his vehicle. SAPS Anti-Gang Unit members stopped and searched the vehicle during a targeted roadblock. Police say they found 600 Mandrax tablets, 100 grams of tik and 300 grams of dagga, along with 23 cellphones. Condoms and libido tablets were also allegedly found in the vehicle. Tune in to #eNCA on #DStv403.

eNCA

111,527 次观看 • 9 天前

Many faces of Papua New Guinea. Among them are the Asaro people, often called the Mudmen, known for painting their faces white with clay and maintaining a deep cultural connection to pigs, one of the most important animals in their society. The white clay masks and face paint were historically used to intimidate enemies, creating ghost-like figures emerging from the mist. Over time, this striking appearance became a powerful symbol of identity, storytelling, and resilience. Pigs are more than livestock here — they represent wealth, social status, bride price, and ceremonial power. Together, the paint and the pigs reflect a culture where survival, symbolism, and tradition are tightly woven into everyday life.

Many faces of Papua New Guinea. Among them are the Asaro people, often called the Mudmen, known for painting their faces white with clay and maintaining a deep cultural connection to pigs, one of the most important animals in their society. The white clay masks and face paint were historically used to intimidate enemies, creating ghost-like figures emerging from the mist. Over time, this striking appearance became a powerful symbol of identity, storytelling, and resilience. Pigs are more than livestock here — they represent wealth, social status, bride price, and ceremonial power. Together, the paint and the pigs reflect a culture where survival, symbolism, and tradition are tightly woven into everyday life.

PTE Gahene

780,434 次观看 • 8 个月前

The tomb of the Umayyad Caliph Omar ibn Abd al-Aziz (Omar the second) in Deir Sharqi, Idlib, Syria. During the Assad regime, the site was burned and there was an attempt to desecrate the tomb. Today, the site has been restored to preserve this important historical landmark. And a mosque nearby, built to serve the local Muslim community. The site also contains the tomb of his wife, Fatimah bint Abd al-Malik ibn Marwan, and the tomb of one of his men, Abu Mansur. Caliph Omar ibn Abd al-Aziz ruled the Umayyad Caliphate from 717 to 720 (99–101 AH). He is widely regarded as the most just of the Umayyad caliphs, and was known for his asceticism and humility. During his reign, the Umayyad Caliphate stretched from the Iberian Peninsula in the west (most of present-day Spain and Portugal, except parts of the north) and North Africa (from Morocco to Egypt), across the Levant (present-day Syria, Lebanon, Jordan, Palestine), the Arabian Peninsula, Iraq, and Persia (present-day Iran), to the Indus River in the east (Sindh in present-day Pakistan and part of present-day India), and from Central Asia (Afghanistan, Uzbekistan, Turkmenistan, Tajikistan, and Kazakhstan) and the Caucasus (present-day Dagestan, Chechnya Armenia, Azerbaijan, and Georgia) in the north, to Yemen and the Sahara in the south.

The tomb of the Umayyad Caliph Omar ibn Abd al-Aziz (Omar the second) in Deir Sharqi, Idlib, Syria. During the Assad regime, the site was burned and there was an attempt to desecrate the tomb. Today, the site has been restored to preserve this important historical landmark. And a mosque nearby, built to serve the local Muslim community. The site also contains the tomb of his wife, Fatimah bint Abd al-Malik ibn Marwan, and the tomb of one of his men, Abu Mansur. Caliph Omar ibn Abd al-Aziz ruled the Umayyad Caliphate from 717 to 720 (99–101 AH). He is widely regarded as the most just of the Umayyad caliphs, and was known for his asceticism and humility. During his reign, the Umayyad Caliphate stretched from the Iberian Peninsula in the west (most of present-day Spain and Portugal, except parts of the north) and North Africa (from Morocco to Egypt), across the Levant (present-day Syria, Lebanon, Jordan, Palestine), the Arabian Peninsula, Iraq, and Persia (present-day Iran), to the Indus River in the east (Sindh in present-day Pakistan and part of present-day India), and from Central Asia (Afghanistan, Uzbekistan, Turkmenistan, Tajikistan, and Kazakhstan) and the Caucasus (present-day Dagestan, Chechnya Armenia, Azerbaijan, and Georgia) in the north, to Yemen and the Sahara in the south.

Warfare Analysis

28,950 次观看 • 15 天前

I'm the product of parents born in the Jim Crow South, who moved to Michigan for opportunity. By the Grace of God and a momma who wouldn't quit, I was able to go to West Point, serve in Iraq as a Ranger-qualified Apache pilot, help run and 10x my family company, and serve MI in Congress. I’m living the American Dream, and I’m fighting to keep hope alive for Michigan. 📺: Clay Travis The Clay Travis & Buck Sexton Show

I'm the product of parents born in the Jim Crow South, who moved to Michigan for opportunity. By the Grace of God and a momma who wouldn't quit, I was able to go to West Point, serve in Iraq as a Ranger-qualified Apache pilot, help run and 10x my family company, and serve MI in Congress. I’m living the American Dream, and I’m fighting to keep hope alive for Michigan. 📺: Clay Travis The Clay Travis & Buck Sexton Show

John James

22,710 次观看 • 10 个月前

The Living Script of Civilization English has been remarkably adaptive, absorbing words from nearly every language it has encountered. It evolves, reshapes, and expands with every new era of thought. That adaptability is not only linguistic, it is civilizational. Elon Musk once said that writing began around 5,500 years ago, and that moment marked the true beginning of civilization. Before writing, knowledge lived and died with memory. With those first carved symbols, humanity learned to preserve ideas, to store wisdom, to trade stories, and to build upon what came before. Writing was the original software update for the human mind. From the clay tablets of Sumer to the digital code of today, we have been refining the same miracle: turning thought into form, and form into progress. English, as a language, carries that legacy. Born from collisions of cultures, invasions, trade, and translation, it is a living archive of human contact. It does not merely borrow; it adapts. It breaks its own rules, redefines meaning, and absorbs innovation. It is an open-source system that humanity keeps rewriting. When Musk points to the first writing as the start of civilization, it feels fitting that English, the most adaptable of our modern tongues, became the lingua franca of the digital age. From clay tablets to keyboards, from quills to quantum computing, we are still doing what those first scribes did: recording our existence, connecting across distance, and writing the next chapter of who we are. Language is not only how we communicate. It is how we continue. Clip via Musk Innovations 🚀 #civilization #linguistics #History

The Living Script of Civilization English has been remarkably adaptive, absorbing words from nearly every language it has encountered. It evolves, reshapes, and expands with every new era of thought. That adaptability is not only linguistic, it is civilizational. Elon Musk once said that writing began around 5,500 years ago, and that moment marked the true beginning of civilization. Before writing, knowledge lived and died with memory. With those first carved symbols, humanity learned to preserve ideas, to store wisdom, to trade stories, and to build upon what came before. Writing was the original software update for the human mind. From the clay tablets of Sumer to the digital code of today, we have been refining the same miracle: turning thought into form, and form into progress. English, as a language, carries that legacy. Born from collisions of cultures, invasions, trade, and translation, it is a living archive of human contact. It does not merely borrow; it adapts. It breaks its own rules, redefines meaning, and absorbs innovation. It is an open-source system that humanity keeps rewriting. When Musk points to the first writing as the start of civilization, it feels fitting that English, the most adaptable of our modern tongues, became the lingua franca of the digital age. From clay tablets to keyboards, from quills to quantum computing, we are still doing what those first scribes did: recording our existence, connecting across distance, and writing the next chapter of who we are. Language is not only how we communicate. It is how we continue. Clip via Musk Innovations 🚀 #civilization #linguistics #History

Elena_ The HumanistPoet

13,090 次观看 • 9 个月前