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Bibil Identifier bibil:210060
Publication Type Book
Title (German, Long) Gilgamesch
Title (German, ) Ikonographie eines Helden
Title (German, Abbreviation) Gilgamesch
Title (English, Long) Gilgamesh
Title (English, ) Epic and Iconography
Title (English, Abbreviation) Gilgamesh
Editor Steymans, Hans Ulrich
Series Orbis Biblicus et Orientalis (Volume: 245)
Year (Publication) 2010
Year (Original (1st Edition)) 2010
Year (Copyright) 2010
Year (Reference) 2010
Library BCU/Dorigny, Lausanne
Signature SBA 75/245
Place 299.21
Publishing house Academic Press
Place Fribourg
ISBN 978-3-7278-1686-4
Publishing house Vandenhoeck & Ruprecht
Place Göttingen
ISBN 978-3-525-54366-5
Edition number 1
Language Multilingual
Pages xi Pages
452 Pages
height in cm 23
Genre Original
Abstract This collection of articles has two aims: The first is to create a comprehensive compendium of iconography on Gilgamesh, that includes three formerly published and several new papers on the visual representation of Gilgamesh. The second is to publish some objects of Near Eastern art from the Bible+Orient Collection in Fribourg, which relate to Gilgamesh. The terms ‘iconography’ and ‘iconology’ have often been used loosely. In order to understand which method the authors of this book apply, an introductory article connects them to the history of the academic disciplines of archaeology and of art history. Starting from masks representing Humbaba, R. Opificius in the first reprinted article, identifies the type of a three-figure-contest-scene with Gilgamesh and Enkidu vanquishing Humbaba. In addition to this she describes two other types of representation, namely the bellicose king standing on Humbaba’s head and that of two heroes fighting the bull of heaven. In his reprinted article, W. G. Lambert systematically compares different versions of the epic with imagery. D. Collon has reedited and updated her article, originally published in a Festschrift for David Oates, for the present reprint. Most of the iconography relating to the fight of Gilgamesh and Enkidu against the giant Humbaba was executed on cylinder seals, and adopts a composition frequently found on seals - namely the three-figure contest. The article examines the many ways in which the limited space was adapted over the centuries so that Humbaba looks like a giant but does not make the two heroes look less important. The same three-figure composition was also adopted for the depiction of the killing of the Bull of Heaven, where the Bull replaces the anthropomorphic victim. The next two contributions are by philologists. C. Mittermayer highlights the literary history of the Gilgamesh Epic. D. Frayne examines the question of whether some cuneiform texts and cylinder seals from the third Millennium BCE refer to Gilgamesh. U. Seidl offers a pre-iconographic description of several Old Babylonian terracotta reliefs, some of them from the Bible+Orient Collection, discussing the depicted objects and figures and their stylistic rendering. Then she presents an iconographic analysis of the theme, which she identifies as Gilgamesh’s journey to the cedar forest. The pictorial program, previously thought to represent a wagon or a temple entrance, shows in fact Gilgamesh as the warrior king above small figures of Enkidu as a servant flanked by lions and representations of Humbaba, the enemy, and Lugalbanda, Gilgamesh’s father who offered water at several places on the journey to the cedar forest. T. Ornan aims to juxtapose the written version of the epic and the pictorial scenes alluding to the narrative, suggesting that we may reconstruct both the early history of the narrative and other, now lost, versions through pictorial representations, which are older than the written ones. M.-A. Ataç looks for the deeper meaning of signs, symbols, and figural types related to Gilgamesh in Neo-Assyrian art. He compares relevant depictions on glyptic and Neo-Assyrian palace reliefs, arguing that the legendary king of Uruk served as a royal paradigm for the Neo-Assyrian kings especially in their priestly role of searching for spiritual initiation and ways of overcoming death, symbolized by heroic exploits and the royal hunt. H. U. Steymans collects all available data on Gilgamesh in the Levantine area. He lists the Epic’s cuneiform tablets discovered in this region and presents the parts of the story preserved on them in the sequential order of events. In the iconographic part of his article he links two cylinder seals to the story of Gilgamesh. The first, which comes from the Bible+Orient Collection, shows a wrestling scene. The second might depict Gilgamesh and Enkidu choosing the cedar tree. Finally he traces the epic’s impact on later literature from the Levantine area.
Keywords Thesaurus BiBIL : Ancient Near East : Mesopotamia (Elam, Mari, Sumer, Babylon, Assyria) : Mesopotamia (in general) : Literature : Myths and Narratives : Gilgamesh
Last modification 2017-10-27