In the burial of Meskalamdug, a peculiar bull-headed horn with the soundbox depicting four scenes was unearthed. The burial was considered the King’s Grave and dates back to 2550 BCE (Gardner and Kleiner 36). The meaning of scenes on the soundbox is not properly understood up to this date, although, some theorize that they depict scenes from the land of the dead (Gardner and Kleiner 36). Nevertheless, the artwork demonstrates certain aesthetic qualities found across Mesopotamian historical art and seems to be an inspirational source for the art found much later in the history.
In the uppermost scene, it is possible to observe a certain figure holding two bulls. The composition of the scene is heraldic, with the bulls placed on each side of the man. In Mesopotamian culture bulls were the symbol of strength and fertility and various gods are associated with the animal (Van Dijk-Coombes 1). Perhaps, the overcoming of the bulls is akin to demonstrating divine power or a paradise of the gods.
In other scenes there are depictions of various human-like animals which play on instruments. Animals symbolized chthonic and magic powers during protohistorical period, and this vision is enhanced with attribution of human characteristics to them. In combination these depictions enhance the imagery of a paradise found in the poem about Enmerkar where at the dawn of life was peace among animals. Therefore, the connection with the underworld untouched by humans can be established. Some scholars attribute this reversal of all values to the celebration of the great festival of the Sacred Marriage. This ceremony was sacred in cultic myths and this fantasy feast filled with music and dancing of animals fits the description.
The artists have made all animals in profile. This approach is consistent with the one implemented 30,000 years ago (Gardner and Kleiner 36). At the same time, the demonstration of 4 scenes reminds me of the drawing found in a field near Tell Asmar. The drawing is a victory stele attributable to the Old Babylonian period (Schwartz 6). The drawing is younger in comparison to soundbox illustrations and has a clearer narrative to it. However, the structure it possesses, and the art style employed mirrors the four soundbox illustrations, as if the scenes on the box combined create a story. Thus, it may as well be an early attempt at narration.
The piece on bull-headed horn is mysterious and alluring. Its age involuntary pushes to believe it might be an inspirational source for the younger civilizations and respective artworks. In general, the piece has an art style and structure similar to other art attributable to the Mesopotamian culture and symbolizes the richness of protohistorical period.
Works Cited
Gardner, H., and Fred S. Kleiner. Gardner’s Art through the Ages: A Global History. Cengage Learning, 2020.
Van Dijk-Coombes, Renate Marian. “Mesopotamian Gods and the Bull.” Sociedades Precapitalistas, vol. 8, no. 1, 2018. Web.
Schwartz, Glenn M. “An Amorite Global Village: Syrian—Mesopotamian Relations in the Second Millenium B.C.” Cultures in Contact: From Mesopotamia to the Mediterranean in the Second Millennium BC, edited by Joan Aruz et al., The Metropolitan Museum of Art, 2013, pp. 2–11.