Statue of Gudea
Period: Neo-Sumerian
Date: ca. 2090 B.C.
Geography: Mesopotamia, probably from Girsu (modern Tello)
Culture: Neo-Sumerian
Medium: Diorite
Dimensions: 17 3/8 x 8 1/2 x 11 5/8 in. (44 x 21.5 x 29.5 cm)
Classification: Stone-Sculpture-Inscribed
Credit Line: Harris Brisbane Dick Fund, 1959
Accession Number: 59.2
The Akkadian Empire collapsed after two centuries of rule, and
during the succeeding fifty years, local kings ruled independent
city-states in southern Mesopotamia. The city-state of Lagash produced a
remarkable number of statues of its kings as well as Sumerian literary
hymns and prayers under the rule of Gudea (ca. 2150–2125 B.C.) and his
son Ur-Ningirsu (ca. 2125–2100 B.C.). Unlike the art of the Akkadian
period, which was characterized by dynamic naturalism, the works
produced by this Neo-Sumerian culture are pervaded by a sense of pious
reserve and serenity.Date: ca. 2090 B.C.
Geography: Mesopotamia, probably from Girsu (modern Tello)
Culture: Neo-Sumerian
Medium: Diorite
Dimensions: 17 3/8 x 8 1/2 x 11 5/8 in. (44 x 21.5 x 29.5 cm)
Classification: Stone-Sculpture-Inscribed
Credit Line: Harris Brisbane Dick Fund, 1959
Accession Number: 59.2
This sculpture belongs to a series of diorite statues commissioned by Gudea, who devoted his energies to rebuilding the great temples of Lagash and installing statues of himself in them. Many inscribed with his name and divine dedications survive. Here, Gudea is depicted in the seated pose of a ruler before his subjects, his hands folded in a traditional gesture of greeting and prayer.
The Sumerian inscription on his robe reads as follows:
When Ningirsu, the mighty warrior of Enlil, had established a courtyard in the city for Ningišzida, son of Ninazu, the beloved one among the gods; when he had established for him irrigated plots(?) on the agricultural land; (and) when Gudea, ruler of Lagaš, the straightforward one, beloved by his (personal) god, had built the Eninnu, the White Thunderbird, and the..., his 'heptagon,' for Ningirsu, his lord, (then) for Nanše, the powerful lady, his lady, did he build the Sirara House, her mountain rising out of the waters. He (also) built the individual houses of (other) great gods of Lagaš. For Ningišzida, his (personal) god, he built his House of Girsu. Someone (in the future) whom Ningirsu, his god - as my god (addressed me) has (directly) addressed within the crowd, let him not, thereafter, be envious(?) with regard to the house of my (personal) god. Let him invoke its (the house's) name; let such a person be my friend, and let him (also) invoke my (own) name. (Gudea) fashioned a statue of himself. "Let the life of Gudea, who built the house, be long." - (this is how) he named (the statue) for his sake, and he brought it to him into (his) house.
This translation is derived from Edzard, Dietz-Otto. 1997. Gudea and his Dynasty. The Royal Inscriptions of Mesopotamia, Early Periods Volume 3/1. Toronto: University of Toronto Press, pp. 57-58.
Metropolitan Museum of Art
Standing female worshiper
- Period:
- Early Dynastic IIIa
- Date:
- ca. 2600–2500 B.C.
- Geography:
- Mesopotamia, Nippur
- Culture:
- Sumerian
- Medium:
- Limestone, inlaid with shell and lapis lazuli
- Dimensions:
- H. 9 13/16 x W. 3 3/8 x D. 2 1/8 in. (24.9 x 8.5 x 5.4 cm)
- Classification:
- Stone-Sculpture
- Credit Line:
- Rogers Fund, 1962
- Accession Number:
- 62.70.2
- On view at The Met Fifth Avenue in Gallery 403
This statue of a standing woman with her hands clasped in front
of her chest was found in the plasterings of a mud-brick bench located
in one of the cellars of the Nippur temple of Inanna (Level VIIB), the
Sumerian goddess of abundance. Her garment is draped over her left
shoulder and falls in folds indicated by two incised lines along the
border of the otherwise smooth fabric. The feet are carved in high
relief against the back support and the toes and ankles are clearly
indicated. The wavy hair is held in place by two plain bands, and curly
locks hang down on either side of the face. Inlay of shell and lapis
lazuli survives in her left eye. The best-preserved statues at Nippur
are those that were buried within the temple furniture, like this
example. Such deliberate burials suggest that temple offerings and
equipment remained sacred even when no longer in use.
1960–61, excavated on behalf of the Joint Expedition
to Nippur (Baghdad School of the American Schools of Oriental Research
and The Oriental Institute of the University of Chicago); acquired by
the Museum in 1962, as a result of its financial contribution to the
excavations.
Timelines
Mesopotamia, 8000-2000 B.C.
Mesopotamia, 8000-2000 B.C.
Stamp and cylinder seals