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Clay plaque VI:81 from the Larsa-period Sîn temple in Khafaje.
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Contexts in source publication
Context 1
... millennium clay plaque from the Larsa-period Sîn temple in Khafaje (Khafajah), ancient Tutub on the Diyala river just east of Baghdad. The plaque is now in the Oriental Institute Museum in Chicago (Opificius 1961 no. 488, Delougaz andHolland 1990 pl. 62a). A cast or duplicate was formerly exhibited in the Iraq Museum in Baghdad (Basmachi 1975-76 fig. 109 bottom right). The scene moulded on the plaque depicts an execution (Fig. 1). On the right stands a monster, hands tied behind its back, and wearing a fleecy skirt but naked from the waist up. Its head is shaped like a twelve-pointed sun disk, though it is not clear that the flaring projections are solar rays. Most con- spicuous is the ...
Context 2
... ancient Tutub on the Diyala river just east of Baghdad. The plaque is now in the Oriental Institute Museum in Chicago (Opificius 1961 no. 488, Delougaz andHolland 1990 pl. 62a). A cast or duplicate was formerly exhibited in the Iraq Museum in Baghdad (Basmachi 1975-76 fig. 109 bottom right). The scene moulded on the plaque depicts an execution (Fig. 1). On the right stands a monster, hands tied behind its back, and wearing a fleecy skirt but naked from the waist up. Its head is shaped like a twelve-pointed sun disk, though it is not clear that the flaring projections are solar rays. Most con- spicuous is the single eye located centrally in its forehead. On the left a warrior god, bow ...
Context 3
... monster-slayers. Since he is the only deity known to have killed the monoculus, and so far no monoculus occurs in the company of any other deity, it is clear on present knowledge that the figures on the plaque from Khafaje are to be identified as Nergal and the monoculus. Given the lack of detail on Kaplan's third-mil- lennium seal (1976: 175 fig. 1), it is less certain that the similar execution scene there also depicts Nergal and the ...
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Citations
... Certain types of figures may occasionally be depicted frontally, as specific goddesses from the third millennium BCE (Asher-Greve 2003) and monsters (Sonik 2013c), a mode of representation that may have altered the nature of their interaction with or effects upon the viewer but that does not typically seem to have been exploited to communicate any great nuance in the specific emotional states of the individual figures so represented. It is worth considering an image such as that of Nergal slaying the (en face) Cyclops (George 2012), in which the physical pain of the Cyclops is communicated not by its facial expression but by the bowing of its body, a sort of hunching over its belly as Nergal's sword penetrates its midsection (Fig. 5). ...
