Video wird geladen...

Video konnte nicht geladen werden

Beim Laden dieses Videos ist ein Problem aufgetreten. Dies könnte an einem vorübergehenden Netzwerkproblem liegen oder das Video ist möglicherweise nicht verfügbar.

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

MENA Visuals

164,654 subscribers

22,428 Aufrufe • vor 8 Monaten •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

Earliest writing we know of dates back to around 3000 BC and was probably invented by Sumerians, living in major cities with centralized economies in what is now southern Iraq. Earliest tablets with written inscriptions represent the work of administrators, perhaps of large temple institutions, recording the allocation of rations or movement and storage of goods. Temple officials needed to keep records of the grain, sheep and cattle entering or leaving their stores and farms and it became impossible to rely on memory. So, an alternative method was required and very earliest texts were pictures of items scribes needed to record (pictographs). During its 3000 year history, cuneiform was used to write around 15 different languages including Sumerian, Akkadian, Babylonian, Assyrian, Elamite, Hittite, Urartian and Old Persian. Writing, recording of a spoken language, emerged from earlier recording systems, 4th Millennium BC. First written language in Mesopotamia is called Sumerian. Most of early tablets come from Uruk, in southern Mesopotamia, and it may have been here that this form of writing was invented. These texts were drawn on damp clay tablets using a pointed tool. It seems scribes realized it was quicker and easier to produce representations of such things as animals, rather than naturalistic impressions of them. They began to draw marks in the clay to make up signs, which were standardized so they could be recognized by many people. From these beginnings, cuneiform signs were put together and developed to represent sounds, so they could be used to record spoken language. Once this was achieved, ideas and concepts could be expressed and communicated in writing. Cuneiform is one of oldest forms of writing known. It means “wedge-shaped,” because people wrote it using a reed stylus cut to make a wedge-shaped mark on a clay tablet. Letters enclosed in clay envelopes, as well as works of literature, such as Epic of Gilgamesh have been found. Historical accounts have also come to light, as have huge libraries such as that belonging to Assyrian king, Ashurbanipal. Department’s collection of cuneiform tablets is among the most important in the world. It contains approx. 130,000 texts and fragments and is perhaps largest collection outside of Iraq. Centerpiece of collection is the Library of Ashurbanipal, comprising many thousands of most important tablets ever found. Significance of these tablets was immediately realized by Library’s excavator, Austin Henry Layard, who wrote : "They furnish us with materials for the complete decipherment of the cuneiform character, for restoring the language and history of Assyria, and for inquiring into the customs, sciences, and . . . literature, of its people." Decipherment of cuneiform began in 18th Century as European scholars searched for proof of the places and events recorded in Bible. Travelers, antiquaries, and some of the earliest archaeologists visited the ancient Near East where they uncovered great cities such as Nineveh. They brought back a range of artifacts, including thousands of clay tablets covered in cuneiform. Scholars began the incredibly difficult job of trying to decipher these strange signs representing languages no-one had heard for thousands of years. Gradually, cuneiform signs representing these different languages were deciphered thanks to work of a number of dedicated people. Confirmation that they had succeeded came in 1857. Royal Asiatic Society sent copies of a newly found clay record of military and hunting achievements of King Tiglath-pileser I to four scholars: Henry Creswicke Rawlinson, Edward Hincks, Julius Oppert, and William H. Fox Talbot. They each worked independently and returned translations that broadly agreed with each other. This was accepted as proof that cuneiform had been successfully deciphered, but there are still elements that we don’t completely understand and study continues. © Trustees of the British Museum #archaeohistories

Earliest writing we know of dates back to around 3000 BC and was probably invented by Sumerians, living in major cities with centralized economies in what is now southern Iraq. Earliest tablets with written inscriptions represent the work of administrators, perhaps of large temple institutions, recording the allocation of rations or movement and storage of goods. Temple officials needed to keep records of the grain, sheep and cattle entering or leaving their stores and farms and it became impossible to rely on memory. So, an alternative method was required and very earliest texts were pictures of items scribes needed to record (pictographs). During its 3000 year history, cuneiform was used to write around 15 different languages including Sumerian, Akkadian, Babylonian, Assyrian, Elamite, Hittite, Urartian and Old Persian. Writing, recording of a spoken language, emerged from earlier recording systems, 4th Millennium BC. First written language in Mesopotamia is called Sumerian. Most of early tablets come from Uruk, in southern Mesopotamia, and it may have been here that this form of writing was invented. These texts were drawn on damp clay tablets using a pointed tool. It seems scribes realized it was quicker and easier to produce representations of such things as animals, rather than naturalistic impressions of them. They began to draw marks in the clay to make up signs, which were standardized so they could be recognized by many people. From these beginnings, cuneiform signs were put together and developed to represent sounds, so they could be used to record spoken language. Once this was achieved, ideas and concepts could be expressed and communicated in writing. Cuneiform is one of oldest forms of writing known. It means “wedge-shaped,” because people wrote it using a reed stylus cut to make a wedge-shaped mark on a clay tablet. Letters enclosed in clay envelopes, as well as works of literature, such as Epic of Gilgamesh have been found. Historical accounts have also come to light, as have huge libraries such as that belonging to Assyrian king, Ashurbanipal. Department’s collection of cuneiform tablets is among the most important in the world. It contains approx. 130,000 texts and fragments and is perhaps largest collection outside of Iraq. Centerpiece of collection is the Library of Ashurbanipal, comprising many thousands of most important tablets ever found. Significance of these tablets was immediately realized by Library’s excavator, Austin Henry Layard, who wrote : "They furnish us with materials for the complete decipherment of the cuneiform character, for restoring the language and history of Assyria, and for inquiring into the customs, sciences, and . . . literature, of its people." Decipherment of cuneiform began in 18th Century as European scholars searched for proof of the places and events recorded in Bible. Travelers, antiquaries, and some of the earliest archaeologists visited the ancient Near East where they uncovered great cities such as Nineveh. They brought back a range of artifacts, including thousands of clay tablets covered in cuneiform. Scholars began the incredibly difficult job of trying to decipher these strange signs representing languages no-one had heard for thousands of years. Gradually, cuneiform signs representing these different languages were deciphered thanks to work of a number of dedicated people. Confirmation that they had succeeded came in 1857. Royal Asiatic Society sent copies of a newly found clay record of military and hunting achievements of King Tiglath-pileser I to four scholars: Henry Creswicke Rawlinson, Edward Hincks, Julius Oppert, and William H. Fox Talbot. They each worked independently and returned translations that broadly agreed with each other. This was accepted as proof that cuneiform had been successfully deciphered, but there are still elements that we don’t completely understand and study continues. © Trustees of the British Museum #archaeohistories

Archaeo - Histories

10,640 Aufrufe • vor 1 Jahr

Earliest writing we know of dates back to around 3000 BC and was probably invented by Sumerians, living in major cities with centralized economies in what is now southern Iraq. Earliest tablets with written inscriptions represent the work of administrators, perhaps of large temple institutions, recording the allocation of rations or movement and storage of goods. Temple officials needed to keep records of the grain, sheep and cattle entering or leaving their stores and farms and it became impossible to rely on memory. So, an alternative method was required and very earliest texts were pictures of items scribes needed to record (pictographs). During its 3000 year history, cuneiform was used to write around 15 different languages including Sumerian, Akkadian, Babylonian, Assyrian, Elamite, Hittite, Urartian and Old Persian. Writing, recording of a spoken language, emerged from earlier recording systems, 4th Millennium BC. First written language in Mesopotamia is called Sumerian. Most of early tablets come from Uruk, in southern Mesopotamia, and it may have been here that this form of writing was invented. These texts were drawn on damp clay tablets using a pointed tool. It seems scribes realized it was quicker and easier to produce representations of such things as animals, rather than naturalistic impressions of them. They began to draw marks in the clay to make up signs, which were standardized so they could be recognized by many people. From these beginnings, cuneiform signs were put together and developed to represent sounds, so they could be used to record spoken language. Once this was achieved, ideas and concepts could be expressed and communicated in writing. Cuneiform is one of oldest forms of writing known. It means “wedge-shaped,” because people wrote it using a reed stylus cut to make a wedge-shaped mark on a clay tablet. Letters enclosed in clay envelopes, as well as works of literature, such as Epic of Gilgamesh have been found. Historical accounts have also come to light, as have huge libraries such as that belonging to Assyrian king, Ashurbanipal. Department’s collection of cuneiform tablets is among the most important in the world. It contains approx. 130,000 texts and fragments and is perhaps largest collection outside of Iraq. Centerpiece of collection is the Library of Ashurbanipal, comprising many thousands of most important tablets ever found. Significance of these tablets was immediately realized by Library’s excavator, Austin Henry Layard, who wrote : "They furnish us with materials for the complete decipherment of the cuneiform character, for restoring the language and history of Assyria, and for inquiring into the customs, sciences, and . . . literature, of its people." Decipherment of cuneiform began in 18th Century as European scholars searched for proof of the places and events recorded in Bible. Travelers, antiquaries, and some of the earliest archaeologists visited the ancient Near East where they uncovered great cities such as Nineveh. They brought back a range of artifacts, including thousands of clay tablets covered in cuneiform. Scholars began the incredibly difficult job of trying to decipher these strange signs representing languages no-one had heard for thousands of years. Gradually, cuneiform signs representing these different languages were deciphered thanks to work of a number of dedicated people. Confirmation that they had succeeded came in 1857. Royal Asiatic Society sent copies of a newly found clay record of military and hunting achievements of King Tiglath-pileser I to four scholars: Henry Creswicke Rawlinson, Edward Hincks, Julius Oppert, and William H. Fox Talbot. They each worked independently and returned translations that broadly agreed with each other. This was accepted as proof that cuneiform had been successfully deciphered, but there are still elements that we don’t completely understand and study continues. © Trustees of the British Museum #archaeohistories

Earliest writing we know of dates back to around 3000 BC and was probably invented by Sumerians, living in major cities with centralized economies in what is now southern Iraq. Earliest tablets with written inscriptions represent the work of administrators, perhaps of large temple institutions, recording the allocation of rations or movement and storage of goods. Temple officials needed to keep records of the grain, sheep and cattle entering or leaving their stores and farms and it became impossible to rely on memory. So, an alternative method was required and very earliest texts were pictures of items scribes needed to record (pictographs). During its 3000 year history, cuneiform was used to write around 15 different languages including Sumerian, Akkadian, Babylonian, Assyrian, Elamite, Hittite, Urartian and Old Persian. Writing, recording of a spoken language, emerged from earlier recording systems, 4th Millennium BC. First written language in Mesopotamia is called Sumerian. Most of early tablets come from Uruk, in southern Mesopotamia, and it may have been here that this form of writing was invented. These texts were drawn on damp clay tablets using a pointed tool. It seems scribes realized it was quicker and easier to produce representations of such things as animals, rather than naturalistic impressions of them. They began to draw marks in the clay to make up signs, which were standardized so they could be recognized by many people. From these beginnings, cuneiform signs were put together and developed to represent sounds, so they could be used to record spoken language. Once this was achieved, ideas and concepts could be expressed and communicated in writing. Cuneiform is one of oldest forms of writing known. It means “wedge-shaped,” because people wrote it using a reed stylus cut to make a wedge-shaped mark on a clay tablet. Letters enclosed in clay envelopes, as well as works of literature, such as Epic of Gilgamesh have been found. Historical accounts have also come to light, as have huge libraries such as that belonging to Assyrian king, Ashurbanipal. Department’s collection of cuneiform tablets is among the most important in the world. It contains approx. 130,000 texts and fragments and is perhaps largest collection outside of Iraq. Centerpiece of collection is the Library of Ashurbanipal, comprising many thousands of most important tablets ever found. Significance of these tablets was immediately realized by Library’s excavator, Austin Henry Layard, who wrote : "They furnish us with materials for the complete decipherment of the cuneiform character, for restoring the language and history of Assyria, and for inquiring into the customs, sciences, and . . . literature, of its people." Decipherment of cuneiform began in 18th Century as European scholars searched for proof of the places and events recorded in Bible. Travelers, antiquaries, and some of the earliest archaeologists visited the ancient Near East where they uncovered great cities such as Nineveh. They brought back a range of artifacts, including thousands of clay tablets covered in cuneiform. Scholars began the incredibly difficult job of trying to decipher these strange signs representing languages no-one had heard for thousands of years. Gradually, cuneiform signs representing these different languages were deciphered thanks to work of a number of dedicated people. Confirmation that they had succeeded came in 1857. Royal Asiatic Society sent copies of a newly found clay record of military and hunting achievements of King Tiglath-pileser I to four scholars: Henry Creswicke Rawlinson, Edward Hincks, Julius Oppert, and William H. Fox Talbot. They each worked independently and returned translations that broadly agreed with each other. This was accepted as proof that cuneiform had been successfully deciphered, but there are still elements that we don’t completely understand and study continues. © Trustees of the British Museum #archaeohistories

Archaeo - Histories

119,328 Aufrufe • vor 2 Jahren

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,

Institute for the Study of Ancient Cultures

44,072 Aufrufe • vor 2 Jahren

Zack Williams brought one of the world's oldest writing systems to the ERNIE AI Developer Challenge: ancient cuneiform tablets. Using PaddleOCR, he built NabuOCR to help read cuneiform from tablet images. See the story behind Zack Williams's winning project 👇

Zack Williams brought one of the world's oldest writing systems to the ERNIE AI Developer Challenge: ancient cuneiform tablets. Using PaddleOCR, he built NabuOCR to help read cuneiform from tablet images. See the story behind Zack Williams's winning project 👇

Baidu Inc.

193,600 Aufrufe • vor 1 Monat

The Sumerian Kings List consists of several fragments of cuneiform-etched, clay tablets that paint a picture of a strange lineage of godlike and human monarchs. For years, the list has been considered an amalgam of mythology and actual historical record, but a recent discovery in human DNA may prove civilizations existed during the reign of ancient Sumer’s supposedly fabled kings. Billy Carson on The Joe Rogan Experience Clips Joe Rogan

The Sumerian Kings List consists of several fragments of cuneiform-etched, clay tablets that paint a picture of a strange lineage of godlike and human monarchs. For years, the list has been considered an amalgam of mythology and actual historical record, but a recent discovery in human DNA may prove civilizations existed during the reign of ancient Sumer’s supposedly fabled kings. Billy Carson on The Joe Rogan Experience Clips Joe Rogan

Billy Carson II

25,504 Aufrufe • vor 10 Monaten

In Mesopotamia maps were drawn on clay tablets. This is possibly the world's oldest known map of the world, from about 2500 BCE. [📹 British Museum]

In Mesopotamia maps were drawn on clay tablets. This is possibly the world's oldest known map of the world, from about 2500 BCE. [📹 British Museum]

Massimo

61,385 Aufrufe • vor 1 Jahr

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

Lex Fridman

495,701 Aufrufe • vor 6 Monaten

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.

Billy Carson II

23,736 Aufrufe • vor 1 Jahr

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.

History Content

8,096,185 Aufrufe • vor 1 Jahr

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

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

Nibiru

38,665 Aufrufe • vor 13 Tagen

The Sumerian Tablets Say the Kings Came From the Sky 👽📜

The Sumerian Tablets Say the Kings Came From the Sky 👽📜

Mysteries_X_

11,493 Aufrufe • vor 5 Monaten

Thousands of years of historical and cultural heritage belonging to the Assyrian Christians Medes, Sumerians and many other civilizations destroyed by Islamists in Iraq.

Thousands of years of historical and cultural heritage belonging to the Assyrian Christians Medes, Sumerians and many other civilizations destroyed by Islamists in Iraq.

Yossi BenYakar

253,133 Aufrufe • vor 6 Monaten

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

Archaeo - Histories

93,461 Aufrufe • vor 2 Jahren

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 Aufrufe • vor 2 Jahren

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 Aufrufe • vor 6 Monaten

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 Aufrufe • vor 5 Monaten

A FLAWLESS intro here on the Dave Rubin before discussing the most important and world-altering events of the day. Clay Travis and Arynne Wexler on Dave Rubin. Going LIVE in 10:

A FLAWLESS intro here on the Dave Rubin before discussing the most important and world-altering events of the day. Clay Travis and Arynne Wexler on Dave Rubin. Going LIVE in 10:

The Rubin Report

21,844 Aufrufe • vor 1 Jahr

You win up front 💪 Drill of the Day with Clay McGuire and our OL! #WreckEm | THSCA

You win up front 💪 Drill of the Day with Clay McGuire and our OL! #WreckEm | THSCA

Texas Tech Football

35,730 Aufrufe • vor 2 Jahren