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"In The Meaning of Color in Ancient Mesopotamia, Shiyanthi Thavapalan offers the first in-depth study of the words and expressions for colors in the Akkadian language (c. 2500-500 BCE). By combining philological analysis with the technical investigation of materials, she debunks the misconception that people in Mesopotamia had a limited sense of color and convincingly positions the development of Akkadian color language as a corollary of the history of materials and techniques in the ancient Near East"--
Ancient Mesopotamia was a rich, varied and highly complex culture whose achievements included the invention of writing and the development of sophisticated urban society. This book offers an introductory guide to the beliefs and customs of the ancient Mesopotamians, as revealed in their art and their writings between about 3000 B.C. and the advent of the Christian era. Gods, goddesses, demons, monsters, magic, myths, religious symbolism, ritual, and the spiritual world are all discussed in alphabetical entries ranging from short accounts to extended essays. Names are given in both their Sumerian and Akkadian forms, and all entries are fully cross-referenced. A useful introduction provides historical and geographical background and describes the sources of our knowledge about the religion, mythology and magic of "the cradle of civilisation".
"This splendid work of scholarship . . . sums up with economy and power all that the written record so far deciphered has to tell about the ancient and complementary civilizations of Babylon and Assyria."—Edward B. Garside, New York Times Book Review Ancient Mesopotamia—the area now called Iraq—has received less attention than ancient Egypt and other long-extinct and more spectacular civilizations. But numerous small clay tablets buried in the desert soil for thousands of years make it possible for us to know more about the people of ancient Mesopotamia than any other land in the early Near East. Professor Oppenheim, who studied these tablets for more than thirty years, used his intimate knowledge of long-dead languages to put together a distinctively personal picture of the Mesopotamians of some three thousand years ago. Following Oppenheim's death, Erica Reiner used the author's outline to complete the revisions he had begun. "To any serious student of Mesopotamian civilization, this is one of the most valuable books ever written."—Leonard Cottrell, Book Week "Leo Oppenheim has made a bold, brave, pioneering attempt to present a synthesis of the vast mass of philological and archaeological data that have accumulated over the past hundred years in the field of Assyriological research."—Samuel Noah Kramer, Archaeology A. Leo Oppenheim, one of the most distinguished Assyriologists of our time, was editor in charge of the Assyrian Dictionary of the Oriental Institute and John A. Wilson Professor of Oriental Studies at the University of Chicago.
This book introduces the reader to the art of sculpture across five millennia up to the present, and from the Near East to the west. In each of the eleven chapters, a number of selected works are discussed to exemplify the circumstances and conditions for making pieces of sculpture – objects peculiar to place, time and context. Within each cultural framework, characteristics are observable that suggest various reasons for the use of colour in sculpture. These encompass local preferences, customs or cultural requirements; and others point to an impulse to enhance the expression of the phenomenal. Whether colour is really necessary or even essential to sculpted works of art is a question especially pertinent since the Renaissance. Surface finishes of sculptural representations may allude to the sensory world of colour without even having pigment applied to them. What makes polychromy so special is that it functions as an overlay of another dimension that sometimes carries further encoded meaning. In nature, the colour is integral to the given object. What the present survey suggests is that the relationship between colour and sculpture is a matter of intentional expression, even where the colour is intrinsic – as in the sculptor’s materials.
Babylonian medicine is the most important corpus of ancient medicine prior to the Greeks. This volume provides a comprehensive picture of how gasrtrointestinal illness, jaundice and related fevers, as well as diarrhea were treated in ancient Mesopotamia. The editions include transliterations, straightforward translations and essential commentary, and are divided into three main sections: the standard corpus for the treatment of gastrointestinal illness in Royal Library in Nineveh (otherwise known as the sualu subcorpus), the related group of texts that attribute intestinal disturbances to malevolent ghosts and a third group of texts focused on diarrhea. In addition to the standard compendia, isolated precursor texts, which were incorporated into these compendia, are included here in appendices. This volume provides an overarching picture of the entire field of gastrointestinal illnesses and related conditions in ancient Mesopotamia.
This volume presents a range of methodologically innovative treatments on ritual action in the Hebrew Bible. They treat a diverse range of ritual phenomena, including space, blessings and oath-taking, from the world of ancient Israel and Judah. The introduction engages with the dominant scholarly models drawn from ritual theory, and the volume explores their applicability to ancient textual material such as the Hebrew Bible. The chapters reflect high-level specialized engagement with specific ritual phenomena through the lens of appropriate theoretical and methodological approaches.
This book introduces aspects of polychromies at Persepolis in Iran and their context in a modern historiography of Achaemenid Persian Art.
The Code of Hammurabi is a well-preserved Babylonian law code of ancient Mesopotamia, dating back to about 1754 BC. It is one of the oldest deciphered writings of significant length in the world. The sixth Babylonian king, Hammurabi, enacted the code, and partial copies exist on a man-sized stone stele and various clay tablets. The Code consists of 282 laws, with scaled punishments, adjusting "an eye for an eye, a tooth for a tooth" (lex talionis) as graded depending on social status, of slave versus free man. Nearly one-half of the Code deals with matters of contract, establishing, for example, the wages to be paid to an ox driver or a surgeon. Other provisions set the terms of a transaction, establishing the liability of a builder for a house that collapses, for example, or property that is damaged while left in the care of another. A third of the code addresses issues concerning household and family relationships such as inheritance, divorce, paternity, and sexual behavior. Only one provision appears to impose obligations on an official; this provision establishes that a judge who reaches an incorrect decision is to be fined and removed from the bench permanently. A few provisions address issues related to military service. Hammurabi ruled for nearly 42 years, c. 1792 to 1750 BC according to the Middle chronology. In the preface to the law, he states, "Anu and Bel called by name me, Hammurabi, the exalted prince, who feared Marduk, the patron god of Babylon (The Human Record, Andrea & Overfield 2005), to bring about the rule in the land." On the stone slab there are 44 columns and 28 paragraphs that contained 282 laws. The laws follow along the rules of 'an eye for an eye'.
Juxtaposing and interlacing similarities and differences across and beyond the pre-modern Mediterranean world, Christian, Islamic and Jewish healing traditions, the collection highlights and nuances some of the recent critical advances in scholarship on death and disease.