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                <text>King Ashurbanipal Hunting</text>
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                <text>Neo-Assyrian relief of King Ashurbanipal hunting</text>
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                <text>This is part of a series of sculptures which decorated a private gate chamber in the palace of King Ashurbanipal (reigned 669-630 BC).&#13;
&#13;
The scenes are arranged in three registers, and are similar to those on other relief panels fallen from an upper storey, and the large-scale versions in the corridor leading to the gatehouse. They often centre on lion-hunting; there was a close association between royalty and lions in ancient Mesopotamia. Unlike many of the reliefs, which act like a comic strip with the action moving in one direction, this one appears as a snapshot. Some of the gazelle, alarmed by a beater on the right, flee towards Ashurbanipal, who is hidden in a pit armed with bow and arrows.&#13;
&#13;
Herds of gazelle were once widespread in the Near East. They represented one of the main sources of meat for the people of the region. Ancient recipes survive for gazelle stew. Indeed, gazelle are said to have been common in Assyria as late as the 1950s though now they are only found in the remotest corners of Arabia. Modern firearms and motorized transport have almost driven these animals to extinction in this part of the world.</text>
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                <text>The British Museum</text>
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                <text>ancientreplicas.com</text>
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                <text>ca. 650 BC</text>
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                <text>Limestone&#13;
w. 3 ft. 8 in. h. 1 ft. d. 8 3/4 in</text>
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                <text>Map of Trade between Assur and Kanesh</text>
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                <text>http://bharatkalyan97.blogspot.com/2014/04/tin-road-assur-kanesh-trade.html</text>
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                <text>Artist's concept of a Mesopotamian City</text>
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                <text>Inscribed Clay Nail of King Enmetena</text>
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                <text>Terracotta cone-shaped foundation nail with a cuneiform inscription, written in Sumerian, in the upper half of the object, just below the nail head. The inscription is written in two columns around the shaft of the nail; the first column is the one adjacent to the head of the nail. The nail was broken into two pieces just below the inscription and has been repaired. &#13;
&#13;
The inscription commemorates the building of the Emush ("Temple: Foundation [of the land]") for the goddess Inanna ("Lady of Heaven") and the god Lugalemush ("Lord of the Emush-temple"). The latter is probably another title of the god Dumuzi, whose temple, the Emush, was in Bad-Tibira (modern: Tell al-Mada'in). The final seven lines also record a pact between Enmetena and Lugal-kineš-dudu, and may be among the first written evidence for this kind of political accord.&#13;
&#13;
The text reads:&#13;
For Inanna and Lugalemush, Enmetena, ruler of Lagash, built the Emush, their beloved temple, and ordered (these) clay nails for them. Enmetena, who built the Emush--his personal god is Shulutul.&#13;
At the time Enmetena, ruler of Lagash, and Lugalkiginehdudu, ruler of Uruk, established brotherhood (between themselves).</text>
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                <text>http://www.harvardartmuseums.org/collections/object/182040?position=5</text>
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                <text>2400 BCE</text>
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                <text>Cuneiform</text>
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                <text>Early Dynastic III Sumer</text>
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                <text>Harvard Art Museum</text>
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                <text>Four-Faced God and Goddess</text>
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                <text>Old-Babylonian Period Sculpture</text>
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                <text>Illicit diggers found these four-faced statuettes, which may represent a god of the four winds and a goddess of rainstorms. The god wears a low cap with a pair of horns meeting above each face. He carries a scimitar in his right hand and places his left foot upon the back of a crouching ram. The goddess's tall crown, again with a pair of horns above each face, has the shape of a temple facade or altar. She grasps in her hands a vase from which flow streams of water; a rippled water pattern covers her garment.</text>
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                <text>https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia</text>
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                <text>The Oriental Institute at the University of Chicago</text>
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                <text>Old Babylonian Period, c. 18-19th century BCE</text>
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                <text>Provided for non-commercial use by the University of Chicago.</text>
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                <text>Height- 17.3 cm&#13;
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                <text>Sculpture</text>
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                <text>Duck Weights</text>
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                <text>The Mesopotamians used sets of standard weights in conducting business and set stiff penalities for those who used false weights. The weights themselves were usually made of a very hard stone like hematite. A simple barrel shape was the most common form, but weights such as these in the form of a duck, with its neck and head resting along its back, were also prevalent.</text>
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                <text>Carter, Adam, Carolyn</text>
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                <text>https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia</text>
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                <text>The Oriental Institute at The University of Chicago</text>
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                <text>Early second millennium BCE</text>
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                <text>Purchased in Baghdad, 1930</text>
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                <text>2.0 cm H, 3.0 cm L, 1.9 cm W</text>
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                <text>Hematite</text>
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                <text>Cylinder Seal </text>
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                <text>Art </text>
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                <text>This seal was created in honor of the goddess Ninishkun, who is shown in the seal with the goddess Ishtar. Ishtar is restraining a lion with a leash, and she is holding a scimitar in her left hand.</text>
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                <text>Madi Johnson, Lauren Mayer</text>
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                <text>https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia</text>
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                <text>c. 2254-2193 BCE</text>
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                <text>Purchased in 1947 in NY</text>
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                <text>Dimensions: 4.2 cm H, 2.5 cm W</text>
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                <text>Black stone </text>
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                <text>Art</text>
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                <text>This colorful striding lion, its mouth opened in a threatening roar, once decorated a side of the 'Processional Way' in ancient Babylon (the Biblical city of Babel). The 'Processional Way' led out of the city through a massive gate named for the Mesopotamian goddess of love and war, Ishtar, whose symbol was the lion. Each year, during the celebration of the great New Year Festival, the images of the city's deities were carried out through the Ishtar Gate and along the 'Processional Way' past some 120 lions such as this one to a special festival house north of the city.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Nebuchadenazzer II </text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>The Oriental Institute at The University of Chicago</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="27">
                <text>604-562 B.C.</text>
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                <text>Purchased in Berlin, 1931</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>90.3 cm H,  230.5 cm W</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Molded brick with polychrome glaze</text>
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        <src>https://s3.amazonaws.com/atg-prod-oaas-files/hist1039-17/original/86b023e827e9bfb304881d6a271ad52a.jpg</src>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Plaque Showing a Harpist</text>
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            <name>Subject</name>
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                <text>Harpist</text>
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                <text>Harps are known from the earliest period of written history, but the fringed robe and close-fitting cap of this harpist are typical for the early second millennium B.C. in Mesopotamia. Clay plaques from this period depict musicians playing a variety of stringed, percussion, and wind instruments. The casting of plaques was a simple and inexpensive way to produce relief images, since numerous plaques could be made from a single mold.</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="17">
                <text>https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia</text>
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          <element elementId="45">
            <name>Publisher</name>
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                <text>University of Chicago - The Oriental Institute</text>
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            <name>Date</name>
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                <text>ca. 2000 - 1600 BCE&#13;
Isin-Larsa / Old Babylonian Period</text>
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          <element elementId="42">
            <name>Format</name>
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                <text>Medium - baked clay&#13;
Technique - relief&#13;
Dimensions - 12.3 cm H, 7.7 cm W</text>
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            <name>Title</name>
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                <text>University of Chicago Mesopotamia Collection</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Link to collection: &lt;a href="https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia"&gt;https://oi.uchicago.edu/collections/highlights/highlights-collection-mesopotamia&lt;/a&gt;</text>
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