The Hurrians – History of Ancient Torkey

The Hurrians enter the orbit of ancient Middle Eastern civilization toward the end of the 3rd millennium BC. They arrived in Mesopotamia from the north or the east, but it is not known how long they had lived in the peripheral regions.

Ruins of the Hittite capitol of Hattusa

There is a brief inscription in Hurrian language from the end of the period of Akkad, while that of King Arishen (or Atalshen) of Urkish and Nawar is written in Akkadian. The language of the Hurrians must have belonged to a widespread group of ancient Middle Eastern languages. The relationship between Hurrian and Subarean has already been mentioned, and the language of the Urartians, who played an important role from the end of the 2nd millennium to the 8th century BC, is likewise closely related to Hurrian. According to the Soviet scholars Igor M. Diakonov and Sergei A. Starostin, the Eastern Caucasian languages are an offshoot of the Hurrian-Urartian group.

It is not known whether the migrations of the Hurrians ever took the form of aggressive invasion; 18th-century-BC texts from Mari speak of battles with the Hurrian tribe of Turukku south of Lake Urmia (some 150 miles from the Caspian Sea’s southwest corner), but these were mountain campaigns, not the warding off of an offensive. Proper names in cuneiform texts, their frequency increasing in the period of Ur III, constitute the chief evidence for the presence of Hurrians. Nevertheless, there is no clear indication that the Hurrians had already advanced west of the Tigris at that time. An entirely different picture results from the 18th-century palace archives of Mari and from texts originating near the upper Khabur River. Northern Mesopotamia, west of the Tigris, and Syria appear settled by a population that is mainly Amorite and Hurrian; and the latter had already reached the Mediterranean littoral, as shown by texts from Alalakh on the Orontes. In Mari, literary texts in Hurrian also have been found, indicating that Hurrian had by then become a fully developed written language as well.

Another depiction of Hittite warriors

The high point of the Hurrian period was not reached until about the middle of the 2nd millennium. In the 15th century, Alalakh was heavily Hurrianized; and in the empire of Mitanni the Hurrians represented the leading and perhaps the most numerous population group.

The Hurrians were one of a people important in the history and culture of the Middle East during the 2nd millennium BC. The earliest recorded presence of Hurrian personal and place names is in Mesopotamian records of the late 3rd millennium; these point to the area east of the Tigris River and the mountain region of Zagros as the Hurrian habitat. From then on, and especially during the early 2nd millennium, there is scattered evidence of a westward spread of Hurrians. An even greater westward migration, probably set in motion by the intrusion of Indo-Iranians from the north, seems to have taken place after 1700 BC, apparently issuing from the area between Lake Van and the Zagros. Evidence indicates that the Hurrians overthrew the Assyrian rulers and subsequently dominated the area. East of the Tigris the flourishing commercial centre of Nuzu was a basically Hurrian community, and Hurrian influence prevailed in many communities of Syria. Hurrians likewise occupied large sections of eastern Anatolia, thereby becoming eastern neighbours and, later, partial dependents of the Hittites.

Yet the Hurrian heartland during this period was northern Mesopotamia, the country then known as Hurri, where the political units were dominated by dynasts of Indo-Iranian origin. In the 15th century BC the Hurrian area ranging from the Iranian mountains to Syria was united into a state called Mitanni. In the middle of the 14th century, the resurgent Hittite Empire under Suppiluliumas I defeated Mitanni and reduced its king, Mattiwaza, to vassalage, while Assyria seized the opportunity to reassert its independence.

Below: The lion gate at Hattusa, the Hittite capitol

Despite political subjection, the continued Hurrian ethnic and cultural presence in Syria and the Cilician region (Kizzuwadna) strongly influenced the Hittites. The carvings at Yazlkaya, for instance, suggest that the official pantheon of the Hittite Empire was thoroughly Hurrianized; Hittite queens had Hurrian names; and Hurrian mythology appears in Hittite epic poems.Except for the principality of Hayasha in the Armenian mountains, the Hurrians appear to have lost all ethnic identity by the last part of the 2nd millennium BC.

Summerian Art and Architecture

Art and Architecture

More than 4,000 years ago the valleys of the Tigris and Euphrates rivers began to teem with life–first the Sumerian, then the Babylonian, Assyrian, Chaldean, and Persian empires. Here too excavations have unearthed evidence of great skill and artistry.

From Sumeria have come examples of fine works in marble, diorite, hammered gold, and lapis lazuli. Of the many portraits produced in this area, some of the best are those of Gudea, ruler of Lagash.

Some of the portraits are in marble, others, such as the one in the Louvre in Paris, are cut in gray-black diorite.

Dating from about 2400 BC, they have the smooth perfection and idealized features of the classical period in Sumerian art.

Sumerian art and architecture was ornate and complex. Clay was the Sumerians’ most abundant material. Stone, wood, and metal had to be imported.

Art was primarily used for religious purposes. Painting and sculpture was the main median used.

Marble Statues

The famous votive stone/ marble sculptures from Tell Asmar represent tall, bearded figures with huge, staring eyes and long, pleated skirts.

Enlarged eyes were found on many statues

The tallest figure is about 30 inches in height. He represents the god of vegetation. The next tallest represents a mother goddess-mother goddesses were common in many ancient cultures. They were worshipped in the hope that they would bring fertility to women and to crops. (Another connection to African culture.)

The next largest figures are priests. The smallest figures are worshippers – a definite hierarchy of size. This is an example of artistic iconography. We learn to read picture symbols—bodies are cylindrical and scarcely differentiated by gender, with their uplifted heads and hands clasped. This is a pose of supplication-wanting or waiting for something.

Ur yielded much outstanding Sumerian work, e.g., a wooden harp with the head of a bull on top, showing mythological scenes in gold and mosaic inlay on the sound box (c.2650 B.C., Univ. of Penn., Philadelphia).

Sumerian techniques and motifs were widely available because of the invention of cuneiform writing before 3000 B.C.

This system of writing developed before the last centuries of the 4th millennium B.C. in the lower Tigris and Euphrates valley, most likely by the Sumerians. The characters consist of arrangements of wedge-like strokes, generally on clay tablets. The history of the script is strikingly like that of the Egyptian hieroglyphic.

Among other Sumerian arts forms were the clay cylinder seals used to mark documents or property. They were highly sophisticated.

Sumerian Art

The art of the Sumerian civilization, as revealed by excavations at Ur, Babylon, Uruk (Erech), Mari, Kish, and Lagash, among other cities, was one of enormous power and originality that influenced all of the major cultures of ancient western Asia. Their techniques and motifs were made widely available by means of cuneiform writing, which they invented before 3000 B.C. Poor in the raw materials of art, the Sumerians traded crops from their fertile soil for the metal, stone, and wood that they required. Clay was their most abundant native material, and its qualities determined their style of baked-mud building and the nature of their fine-textured pottery.

Sumerian craftsmanship was of marked excellence from very early times. A vase in alabaster from Erech (c.3500 B.C.; Iraq Mus., Baghdad) shows a detailed ceremonial procession of men and animals to the fertility goddess Inanna, carved in four bands on an elegant vase shape. A major peak of artistic achievement is represented by a female head, called Lady of Warka (Erech) from about 3200 B.C. (Iraq Mus.). It is carved in white marble with simplicity and subtlety.

The vast royal cemetery at Ur has yielded many masterpieces of Sumerian work. Outstanding among these are a wooden harp detailed with gold and mosaic inlay picturing mythological scenes on the soundbox, surmounted by a black-bearded golden head of a bull (c.2650 B.C.; Univ. of Pennsylvania, Philadelphia); a gaming board of wood inlaid with bone, lapis lazuli, shell, and stone, mounted in bitumen (c.2700 B.C.; British Mus.); a ritual offering stand in the shape of a ram, made of silver, lapis lazuli, and mussel shells, rearing on his hind legs to eat from a tree of gold; and a splendid gold helmet fashioned from a single sheet of metal and beaten into the form of a head of wavy hair with a chignon at the back (c.2500 B.C.; Baghdad).

At Lagash a strongly modeled head of stone (c.2500 B.C.) portrays a Sumerian man, clearly representing the structural type of these ancient people. Its large and widely spaced features set on a heavy round skull are revealed in bas-relief and inlay work of the period. Examples of the famous votive stone sculptures of Sumer discovered at Tell Asmar represent tall, long-haired, bearded figures with huge, staring eyes and long, pleated skirts, standing rigidly with hands folded above the waist. Some are portrayed kneeling.

The ziggurat temple form was the most striking architectural achievement of the Sumerians. One ziggurat at Erech extended over an area of half a million square feet (46,500 sq m). It was set upon a mound, and the platform built to support its crowning shrine was 40 feet (12 m) high.

Among other Sumerian arts, one of the most sophisticated was the cylinder seal, a small carved cylinder of stone or metal that, when rolled over seals of moist clay, would leave the reverse image of its carving in relief as an identifying mark or signature. Used to mark documents and property, the cylinders were worn on a wristband or necklace during their owners’ lifetime and were buried with them. A great many examples survive, bearing primarily scenes of religious ritual, often portraying the legendary hero Gilgamesh.

With the ascent to power of Sargon of Akkad, Sumerian art reached new heights of expression, particularly in sculpture. The greatest known examples reflecting that splendor include a bronze head thought to be a portrait of Sargon himself (from Nineveh, c.2300 B.C.; Iraq Mus., Baghdad), from which the gemstone eyes have been stolen, and the stele of Naram-sin, a triumphal relief showing the deified grandson of Sargon in battle (2261–24 B.C.; Louvre). The Akkadians spread cuneiform writing throughout the Middle East, and even after the destruction of Sargon’s empire by invasions from the east in the latter part of the 3d millennium B.C., Sumerian artistic techniques and styles exerted profound influence on contemporary and later cultures. The city of Lagash survived the invasions and was beautified by its governor Gudea with numerous works of art. These were carved of dark, hard diorite; many represented the dignified and serene seated figure of Gudea himself. Although most are small in stature, they convey a sense of grandeur and monumentality. After the invasions the glory of Sumer was revived from 2200 to 2100 B.C. During this period the great ziggurat of the moon god at Ur was built.

Invasions of Semitic peoples from what are now Iran and Syria ended the last Sumerian golden age. The site of Mari has yielded the most complete archaeological evidence of Sumerian civilization during that transitional time. The great Mari royal palace with its labyrinthine corridors, frescoed walls, royal residential rooms, courts and temple buildings, and scribal school containing more than 25,000 cuneiform tablets, reveal the brilliance of a vanished world.

History of Akkadia

During the 3rd Millennium BC, the Sumerians and the Akkadians lived peacefully together and created conditions for a common high civilization.

A few centuries later the first Akkadian king, Sargon of Akkad, ruled over an empire that included a large part of Mesopotamia. The ancient name Akkadian is derived from the city-state of Akkad. It appears that Semitic speaking people had lived for centuries amidst the Sumerians and gradually became an integral part of the Sumerian culture. We don’t hear much about them in the first part of the 3rd millennium, because the scholarly language used in writing at that time was Sumerian.

Akkadia was founded by Sargon I when he conquered Sumeria. Sargon reigned from 2334 to 2279 BCE, and during those fifty-five years Akkadia became the world’s first empire. During his reign, the Akkadian language became the lingua franca of the region. Along with the language came the Semitic culture it represented. The Biblical Shinar, the home of the tribe of Terach, father of Abraham, about 2400 BCE, was ancient Akkadia. It later became Babylonia, and it is now (roughly) Iraq. The art of glassmaking was born in Akkadia. It was a Semitic, and then a Jewish, art for the next three millennia. Glassmaking was unique among the arts, for it was invented only once in all of human history. Its spread through the world was parallel to, and coincident with, the dispersal of the Jews.

Akkadian is one of the great cultural languages of world history. Akkadian (or Babylonian-Assyrian) is the collective name for the spoken languages of the culture in Mesopotamia, the area between the rivers Euphrates and Tigris. Deciphered in the 1850s, Akkadian is the medium of innumerable documents from daily life as well as a vast literature, including the famous Epic of Gilgamesh, the quest of a man for eternal life.

Akkadian, the oldest known member of the family of Semitic languages, succeeded Sumerian as the vernacular tongue of Mesopotamia and was spoken by the Babylonians and Assyrians over a period of nearly two thousand years. It was written in the cuneiform script invented by the Sumerians, and the surviving documentation covers the period from 2350 BC to the first century AD. The oldest known writing system employed by Semitic-speaking peoples is cuneiform. It was adopted by the Akkadians ca.2500 BC from the Sumerians, whose language was not a Semitic tongue.

The city of Babel is thought to have been Babylon and the word babel comes originally from the Akkadian Bab-ilu meaning “gate of God”.

The earliest surviving inscriptions in the language go back to about 2,500 BC and are the oldest known written records in a Semitic tongue. The Semitic languages are named after Shem or Sem, the oldest son of Noah, from whom most of the languages’ speakers were said to be descended.

By the first century AD Akkadian had become an extinct language replaced as a spoken language by Aramaic.