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In this book, Mehmet-Ali Ataç argues that the palace reliefs of the Neo-Assyrian Empire hold a meaning deeper than simple imperial propaganda.
Far from being a Judeo-Christian invention, apocalyptic thought had its roots in the ancient Near East and was expressed in its art.
Maskim Hul is a complete grimoire of Tiamat-centered magick, pre-luciferian sorcery developed from authentic Mesopotamian clay tablets. Tiamat, Kingu and the 11 Chaos-Monsters created by Tiamat are explored, their functions, manifestations and how they survived and existed in the pantheon of Marduk, Ea and the other gods. The gods, demons and evil spirits of Mesopotamia are presented along with Cuneiform sigils and documentation of their use in sorcery. The extensive Invocations of the Gods, Hymns and the entire foundation of authentic Kassapu-practice of ancient Babylon is offered in a concise manner. The grimoire is founded and dedicated to the Seven Sebitti or Maskim, the "Seven Evil Gods" or rebels along with Lamashtu, Lilith are presented in a plethora of rituals and their names of calling. The Serpent Gods of fertility, Ishtar revealed as a form of Tiamat (from pantheon sources) and the rites of necromancy and the Black Flame (Melammu) is presented.
"Michael J. Chan argues, on a methodological level, for the deeper integration of iconographic materials into the task of tradition history-a method that has tended to focus on textual evidence alone. Following the work of O.H. Steck, however, 'tradition' is understood in more flexible terms, to refer to inherited concepts and constellations, which can exist across multiple media. The author undertakes a tradition-historical study of the 'Wealth of Nations Tradition' - a series of texts in which the foreign nations of the earth bring their wealth to Zion (1 Kgs 10:1-10, 13, 15//2 Chr 9:1-9, 12, 14; 1 Kgs 10:23-25//2 Chr 9:22-24; Pss 68:19, 29-32; 72:10-11; 76:12; 96:7-8//1 Chr 16:28-29; Isa 18:7; 45:14; 60:4-17; 61:5-6; 66:12; Zeph 3:10; 2 Chr 32:23). The Wealth of Nations tradition is found throughout the ancient Near East. Michael J. Chan shows that in some cases, the biblical texts reflect this tradition with little to no modification while in others the tradition is recast in creative and disruptive ways"--
This is a volume about the life and power of ritual objects in their religious ritual settings. In this Special Issue, we see a wide range of contributions on material culture and ritual practices across religions. By focusing on the dynamic interrelations between objects, ritual, and belief, it explores how religion happens through symbolic materiality. The ritual objects presented in this volume include: masks worn in the Dogon dance; antique ecclesiastical silver objects carried around in festive processions and shown in shrines in the southern Andes; funerary photographs and films functioning as mnemonic objects for grieving children; a dented rock surface perceived to be the god’s foo...
Step into the heart-wrenching world of "The Social Genocide Exhibition: A Journey of Remembrance and Human Rights Advocacy," orchestrated with deep compassion by a team of tireless volunteers and human rights champions of AST. This book is a vivid mosaic of human stories, echoing the cries for justice and the unyielding spirit of those who've suffered. Emerging from a poignant artistic tribute to the persecuted in Turkey, this exhibition, now a global endeavor, narrates the soul-stirring journey of relics and stories. These are not just artifacts; they are silent witnesses to tragedies, spanning from the historic lanes of Turkey to the bustling cities of the United States. Imagine a Kurdish ...
Experiencing Power, Generating Authority offers a cross-cultural comparison of the cosmic ideology and political structure of kingship in ancient Egypt and Mesopotamia.
During the fourteenth and thirteenth centuries BCE, the kings of Egypt, Babylonia, Assyria, and Hatti participated in a complex international community. These two hundred years also witnessed the production of luxurious artworks made of gold, ivory, alabaster, and faience--objects that helped to foster good relations among the kingdoms. In fact, as Marian H. Feldman makes clear here, art and international relations during the Late Bronze Age formed an unprecedented symbiosis, in concert with expanded travel and written communications across the Mediterranean. And thus diplomacy was invigorated through the exchange of lavish art objects and luxury goods, which shared a repertoire of imagery t...