#Abu Ama

[burlveneer-music]

Abu AMA - Intuitiv - the closest thing to vintage 23 Skidoo you'll hear this year

[trevlad-sounds]

Invisible Club 022

17.07.2024

Intro 00:00 Scott F. Hamrick-Of Ends and Means 01:27 Conny Frischauf-Ballooooon 05:47 Abu Ama-Blade Runner 08:21 Einseinseins-Gasetagenheizung 13:02 Volker Rapp-Mercerism 17:53 Saša Delimar-What is the Full Meaning of This 21:43 2muchachos-Vremja Tepla 28:29 Steve Cobby-Silent Windmills 32:27 Sababa 5, Yurika Hanashima-Empty Hands 38:11 Joakim Moesgaard-Eusement 41:27 silentwave-Hakaba Night 44:15 Gaussian Blur-Some Heavy Load 50:06 Karl Marx Stadt-You Know You Want To (Remix) 50:57 Dub Atomica (Ian Boddy & Nigel Mullaney)-Atomicity 54:54 Secret Circuit-Galleon In The Clouds – Froid Dub Rmx 1:04:13 Unknown Me-Retreat Beats 1:08:17 Outro 1:12:04

[jahbillah]

Sensational VS Abu Ama

#sensational Sensational If you don’t know by now step correct and re-frame Sensational of Crooklyn fame: subterranean lyrics over over lo fi dub noise beats, same as it ever was.Originally grazing with Wordsound label, post apocalyptic illbient stable, alongside Bill Laswell rocking blue light torch of avant-garde hip hop and bass music since 1999, here comes Sensational VS Abu Amu with 2…

[sbagliatos]

ask de @ratoderua : qual a sua opinião sobre os direitos dos macacos? você prefere papagaios falantes ajudantes de vilões ou macacos estilosos que gostam de adrenalina?

❝ São importantíssimos! Eu era bem porta-voz disso no twitter aliás, antes do reino dos perdidos. Macacos são muito maltratados no meu mundo, um completo absurdo. Papagaios falantes são divertidos, mas é claro que macacos estilosos são muito mais! Especialmente se for o Abu. Te adoro, Abu! Um beijo. ❞

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[kalisbaby]

“From the River to the Sea.” A Poem by Samer Abu Hawwash, translated by Huda Fakhreddine

every street, every house, every room, every window, every balcony, every wall, every stone, every sorrow, every word, every letter, every whisper, every touch, every glance, every kiss, every tree, every spear of grass, every tear, every scream, every air, every hope, every supplication, every secret, every well, every prayer, every song, every ballad, every book, every paper, every color, every ray, every cloud, every rain, every drop of rain, every drip of sweat, every lisp, every stutter, every yamma, mother, every yaba, father, every shadow, every light, every little hand that drew in a little notebook a tree or house or heart or a family of a father, a mother, siblings, and pets, every longing, every possibility, every letter between two lovers that arrived or didn’t arrive, every gasp of love dispersed in the distant clouds, every moment of despair at every turn, every suitcase on top of

every closet, every library, every shelf, every minaret, every rug, every bell toll in every church, every rosary, every holy praise, every arrival, every goodbye, every Good Morning, every Thank God, every ‘ala rasi, my pleasure, every hill ‘an sama’i, leave me alone, every rock, every wave, every grain of sand, every hair-do, every mirror, every glance in every mirror, every cat, every meow, every happy donkey, every sad donkey’s gaze, every pot, every vapor rising from every pot, every scent, every bowl, every school queue, every school shoes, every ring of the bell, every blackboard, every piece of chalk, every school costume, every mabruk ma ijakum, congratulations on the baby, every y ‘awid bi-salamtak, condolences, every ‘ayn al- ḥasud tibla bil-‘ama, may the envious be blinded, every photograph, every person in every photograph, every niyyalak, how lucky, every ishta’nalak, we’ve missed you, every grain of wheat in every bird’s gullet, every lock of hair, every hair knot, every hand, every foot, every football, every finger, every nail, every bicycle, every rider on every bicycle, every turn of air fanning from every bicycle, every bad joke, every mean joke, every laugh, every smile, every curse, every yearning, every fight, every sitti, grandma, every

sidi, grandpa, every meadow, every flower, every tree, every grove, every olive, every orange, every plastic rose covered with dust on an abandoned counter, every portrait of a martyr hanging on a wall since forever, every gravestone, every sura, every verse, every hymn, every ḥajj mabrur wa sa ‘yy mashkur, may your ḥajj and effort be rewarded, every yalla tnam yalla tnam, every lullaby, every red teddy bear on every Valentine’s, every clothesline, every hot skirt, every joyful dress, every torn trousers, every days-spun sweater, every button, every nail, every song, every ballad, every mirror, every peg, every bench, every shelf, every dream, every illusion, every hope, every disappointment, every hand holding another hand, every hand alone, every scattered thought, every beautiful thought, every terrifying thought, every whisper, every touch, every street, every house, every room, every balcony, every eye, every tear, every word, every letter, every name, every voice, every name, every house, every name, every face, every name, every cloud, every name, every rose, every name, every spear of grass, every name, every wave, every grain of sand, every street, every kiss, every image, every eye, every tear, every yamma, every yaba, every name, every name, every name, every name, every name, every name, every name, every name, all…

[luxthestrange]

G.I Incorrect Quotes#86 They were roommates...

Three roommates...trying to raise the next Dendro Archon...could this be an au?...

Baby Nahida: Mah...

Alhaitham*Looking at his child*No

Baby Nahida*Glares at Papa*abUA ama bu!

Alhaitham*Frowns at the baby deity*Dont you talk back to me

Baby Nahida*Starts pounding her tiny fists on his chest in a tantrum*ABU!BUH BUH!

Alhaitham: I said "NO" and I overrule you, young lady

Y/n*Knitting for Nahida a onesie* Would you please stop arguing with our child...and next Dedron Archon

Alhaitham:...I might as well, I think she's winning...

Kaveh*Coming in and picking her up happily, taking her to the board and giving her the chalk*Aww~Look at you Nahida~Wanna add the point yourself?~

Baby Nahida*Gleefully with her chubby hand draws her four rows and cross them to make it a five...compared to Alhaitham who only has one*!!!~

Alhaitham:...

[yamayuandadu]

Ninshubur(s), Ilabrat, Papsukkal and the gala: another inquiry into ambiguity and fluidity of gender of Mesopotamian deities

Yesterday I’ve mentioned in passing that despite recommending Dahlia Shehata’s Musiker und ihr vokales Repertoire: Untersuchungen zu Inhalt und Organisation von Musikerberufen und Liedgattungen in altbabylonischer Zeit overall, I have a minor issue with the coverage of Ninshubur in this monograph - specifically with the arguments about the gender of this deity. I figured my problem warrants a more in depth explanation, not just because I’m the self-proclaimed “biggest Ninshubur fan not counting Rim-Sin I of Larsa”. 

Note that while this is functionally a followup to my recent Inanna’s article, it is not the followup I’ve promised previously; that one will be released at a later date.

To begin with, in a cursory  survey of figures who speak in emesal in literary texts, Shehata introduces Ninshubur as a deity equally firmly masculine as Dumuzi (Musiker…, p. 83). This is in itself a problem - when Ninshubur’s gender is specified in sources from the third millennium BCE, the name clearly designates a goddess, not a god (can’t get more feminine than being called ama); and even later on she remains a goddess in a variety of sources - including many emesal texts, which is the context most relevant here (Frans Wiggermann, Nin-šubur, p. 491).

Occasionally arguments are made that a male Ninshubur - explicitly a separate deity from “Inanna’s Ninshubur” as Manfred Krebernik and Jan Lisman recently called her - already existed in the third millennium BCE (The Sumerian Zame Hymns from Tell Abū Ṣalābīḫ, p. 151), though this is ultimately conjectural.

It is true that the Abu Salabikh god list includes at least two Ninshuburs, but in contrast with later, more informative lists it provides no theological glosses, so we can’t be sure that gender is what differentiates them. For all we know it might be a geographic distinction instead - “Inanna’s Ninshubur” from Akkil and the Lagashite Ninshubur associated with Mesmaltaea, perhaps. The one case where we have a text involving two Ninshuburs which we can differentiate has the “great” (gula) Ninshubur from Uruk - “Inanna’s Ninshubur” - and the “small” (banda) Ninshubur from Enegi (Nin-šubur, p. 500; Ur III period) . The fact that there might be a third Ninshubur entry between the two certain ones in the Abu Salabikh list (The Sumerian…, p. 151) doesn’t help, either.

This is not to deny the existence of a male Ninshubur altogether. However, this is actually a fairly straightforward phenomenon, with no real ambiguity involved  - possibly as early as in the Old Akkadian period, Ninshubur came to be associated with a male messenger deity, Ilabrat, and later on with equally, if not more firmly masculine Papsukkal; at first her name was used as a logogram to write Ilabrat’s, and later Papsukkal’s, but eventually it became possible to essentially speak of full replacement (or absorption) of both Ninshubur and Ilabrat by Papsukkal (Nin-šubur, p. 491-493; Julia M. Asher-Greve, Joan Goodnick Westenholz, Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources, p. 93). Papsukkal even replaces Ninshubur up in the Neo-Assyrian derivative of Inanna’s Descent, written in Akkadian; but he is addressed as a servant of the divine assembly, not the eponymous protagonist of the myth, and the entire mourning and mediation sequence is cut (Wilfred G. Lambert, Introductory Considerations, p. 13). I feel it’s important to stress that in most cases where Ninshubur’s gender cannot be determined this is not due to intentional ambiguity, but rather due to lack of grammatical forms which would make it possible for us - in antiquity all the context needed was presumably available to the reader. Furthermore, in many such cases the ambiguity isn’t quite “what is Ninshubur’s gender?” but rather “does this theophoric name use Ninshubur as a logogram for Ilabrat or Papsukkal?” Thus, Ninshubur’s gender was not ambiguous innately and did not become ambiguous, but rather she was replaced by an originally distinct male deity - her case is thus more comparable to absorption of both male and female deities of specific professions by Enki in god lists form the first millennium BCE, if anything. Even if a separate male Ninshubur existed alongside feminine Ninshubur (or Ninshuburs) even before the entire Ilabrat/Papsukkal situation, we’d still be dealing with a similar phenomenon.

Back to Shehata’s monograph, later on she acknowledges that Ninshubur possessed “a male and female aspect” (“einen männlichen wie auch weiblichen Aspekt”) and on this basis suggests a parallel between Ninshubur and the gala (p. 85). The process of conflation of messenger deities is not discussed, instead this interpretation relies on Uri Gabbay’s The Akkadian Word for “Third Gender”: The kalû (gala) Once Again, which at the time was the most recent treatment of the matter. I won’t go into the details of that article here, since it’s for the most part not relevant (it focuses on the possible etymology of the term gala). What matters here is Gabbay’s novel proposal that Ninshubur was perceived as having the same gender identity as the gala, largely just based on her portrayal as a mourner in Inanna’s Descent and her ability to appease other deities, which was also the purpose of the performances of the gala (The Akkadian Word…, p. 53). The supporting evidence is that some of Ninshubur’s titles use the term lagar, and a single lexical list explains lagar as gala (The Akkadian Word…, p. 54) This is rather vague, and it needs to be pointed out that it has been since established with certainty that in Ninshubur’s case lagar/SAL.ḪUB2 seems to be a rare, old title with similar meaning to sukkal, and it also could be applied to other deities - ones whose gender never showed any ambiguity -  in a similar way (see full discussion in Antoine Cavigneaux, Frans Wiggermann, "Vizir, concubine, entonnoir... Comment lire et comprendre le signe SAL.ḪUB2? and a brief commentary in The Sumerian…, p. 130). Furthermore, earlier in the article Gabbay recognizes the supposed connection between the terms as an error himself (The Akkadian Word…, p. 49). 

I haven’t really seen any authors other than Shehata agreeing with Gabbay’s arguments about Ninshubur; in fact, while I try to keep up with relevant publications, I’ve only seen his points regarding this deity addressed at all otherwise, and quite critically at that. Joan Goodnick Westenholz disagreed with him and pointed out that in addition to Gabbay contradicting himself regarding the term lagar, a fundamental weakness of his proposal is that Ninshubur is never described as a gala (Goddesses in Context…, p. 93). As a matter of fact no deity is, though you can make a sound case for Lumha, who was a (sparsely attested) divine representation of this profession. 

A further problem with Gabbay’s argument is that while it’s true gala were first and foremost professional lamenters (and I think any paper which acknowledges this deserves some credit), lamenting was hardly an activity exclusive to them. Paul Delnero considers Ninshubur’s actions in Inanna’s Descent to be a standard over the top portrayal of grief common in Mesopotamian literary texts. In other myths, as well as in laments mourning the destruction of cities or death of deities Geshtinanna, Inanna, Ninisina and other goddesses engage in similar behaviors. He assumes the detailed descriptions of deities wailing, tearing out hair, lacerating and so on were meant to inspire a sense of discomfort and grief in the audience (How to Do Things with Tears, p. 210-214). If Delnero is right - and I see no reason to undermine his argument - Ninshubur’s mourning would have more to do with what sort of story Inanna’s Descent is, not with her character. I suppose Ninshubur’s mourning is unique in one regard, though. She acts about Inanna’s death in the way sisters, mothers or spouses do in the case of Damu, Dumuzi, Lulil etc., despite not actually being her relative. I think there are some interesting implications to explore here, but so far I’ve seen no publications pursuing this topic.

Gabbay is right that Ninshubur and the gala are described as capable of appeasing deities, and especially Inanna, though I also think Westenholz was right to argue that a single shared function is not enough to warrant identification  (Goddesses in Context…, p. 93-94). It’s also worth noting that similar abilities could be ascribed to multiple types of servant deities, and that Ninshubur was just the most popular member of this category - a veritable major minor deity, if you will - and as a result is much better represented in literary texts. But the likes of Ishum or Nuska appease their respective superiors too, and it’s hard to make a similar case for their gender.

It should also be noted that while Ninshubur ultimately is the main mourner in Inanna’s Descent, Lulal and Shara mourn too (whether equally intensely as Ninshubur is up for debate, but that’s beside the point); and Dumuzi is expected to, and dies precisely because he doesn’t. And the gender of none of these three is ever ambivalent. Furthermore, Gabbay’s argument about Ninshubur’s gender resembling the gala in part rests on treating a single unique source as perhaps more important than in reality - and it’s not necessarily a source relevant to the gala at all. There is only one source where Ninshubur's gender might be intentionally ambiguous. An Old Babylonian hymn describes Ninshubur as a figure dressed in masculine clothing on the right side and feminine on the left (Nin-šubur, p. 491). This does mirror the description of an unspecified type of cultic performer of unspecified gender mentioned in the famous Iddin-Dagan hymn (“Dressed with men's clothing on the right side (...) Adorned (?) with women's clothing on the left side”); however, there’s no indication that a gala is meant in this context. Gabbay doesn’t bring up this passage, and assumes that since Ninshubur’s clothing includes both masculine and feminine elements, it is automatically a situation analogous to the unclear gender identity of the gala (The Akkadian Word…, p. 54), though. It might be worth noting that the unique text still uses the feminine emesal form of Ninshubur’s name, Gashanshubur, with no masculine Umunshubur anywhere in sight (Åke W. Sjöberg, Miscellaneous Sumerian Texts, III, p. 72); as far as grammar is concerned, Ninshubur, even if dressed partially masculinely, remains feminine. Perhaps the context is just unclear for us, and the unusual outfit was tied to a specific performance as opposed to a specific gender identity, let alone specifically to ambiguity of gender? Perhaps it would make more sense to assume the text describes Ninshubur (partially) crossdressing (and we do have clear evidence for at least one festival which involved crossdressing from the Old Babylonian period), instead of dealing with gender identity? This is of course entirely speculative, though I think further inquiries are warranted.  It’s also important to stress that however we interpret the identity of the gala - gender nonconforming men, men with some specific uncommon physical feature, nonbinary people (all three have valid arguments behind them, and it’s also not impossible the exact meaning varied across time and space) - they pretty clearly did not alternate between a firmly feminine identity and a firmly masculine one. Even if we were to incorrectly treat Ninshubur as a single deity whose gender alternates between male and female, I don’t think there would be a strong reason to draw parallels - unless you want to lump together what might very well been a specific nonbinary identity, and an instance of genderfluidity involving two firmly binary genders. I don’t really think these are phenomena which can be lumped together; and neither necessarily has much to do with presentation. And all we ultimately have in Ninshubur’s case is an isolated case of unusual presentation - nothing more, nothing less.

Once again, this short article is not intended as a warning against using Shehata’s book - it’s very rigorous overall, and a treasure trove of interesting information. It’s also not supposed to discredit Gabbay’s studies of the gala - I don’t necessarily fully agree with his conclusions, but I’ve depended on his articles in the past myself, after all.

The article also isn’t intended as an argument against inquiries into the gender of deities, Ninshubur included, or the gala, or any other religious specialists whose gender is unclear. However, it is vital to approach the evidence rigorously and put it into a broader context.

This is particularly significant since the gender of deities is not necessarily fully identical with the gender of humans, and its changes could be brought by processes which hardly have real life parallels - this requires both additional caution, and a careful case by case approach. It would be difficult for a woman to be conflated into one being with two men in the same profession, which is essentially what happened to Ninshubur, just like it would be hard for someone’s gender to be defined by the fact they were viewed as the personification of a specific astral body, as in the case of Ninsianna and Pinikir, who I discussed previously. And, of course, these two cases have little in common with each other. In the final article in this mini-series, I will look into some yet more esoteric cases of shifts in gender of Mesopotamian deities, to hopefully strengthen my point.

[shellem15]

Learning from the beacon ama that both Noshir AND Abu's first pick for downfall was Asmodeus is so funny to me. Everyone wants to be him <3

Unfortunately for them, there can only be one Lord of the Hells, and his name is Brennan Lee Mulligan.

[trevlad-sounds]

Intro. 00:00 Wojciech Golczewski-Otherworld 00:41

Survey Channel-Moss Tilt 03:39

Subphotic-The Sitting Tree 05:12

Chapter 1 12:26 Drapizdat, Reather Weport-Pattern #5 14:59

Minimal Drone*GRL-Lady Of The Mountains 17:56

Hyperlink Dream Sync-Galaxy Structure 22:42

MiDi BiTCH-Unearthly 26:48

Panama Fleets-Zealandia 31:25

Abu Ama + BedouinDrone-Leptis Magna 35:41

Chapter 2 49:03 Lo Five-Unbecoming You 50:58

Time Rival-Redox 55:41

Eje Eje-Saved From The Jazz (Spring) 58:26

Hello Meteor-Waterproof Thoughts 1:01:57

S U R V I V E-Hourglass 1:05:28

Depeche Mode-Don't Say You Love Me 1:09:48

Chapter 3 1:13:19 Vic Mars-Holloways 1:14:59

Pabellón Sintético-Ludwing 1:19:32

Joel Grind-Fallen Metropolis 1:28:27

ATA Records-Pineapple Diode Daiquiri 1:32:18

Mary Lattimore, Roy Montgomery-Blender in a Blender 1:34:45

Off Land-Numbers Station 1:41:04

Chapter 4 1:47:42 Robohands-Palms 1:49:33

Conflux Coldwell-Earth Sea and Sky 1:52:17

Outro 5 1:57:20

Album of background soundscapes by me

[mamamoon92]

List of Mesopotamian deities✨

Mesopotamian legendary beasts ✨

☆Battle Bison beast - one of the creatures slain by Ninurta

☆The eleven mythical monsters created by Tiāmat in the Epic of Creation, Enûma Eliš:

☆Bašmu, “Venomous Snake”

☆Ušumgallu, “Great Dragon”

☆Mušmaḫḫū, “Exalted Serpent”

☆Mušḫuššu, “Furious Snake”

☆Laḫmu, the “Hairy One”

☆Ugallu, the “Big Weather-Beast”

☆Uridimmu, “Mad Lion”

☆Girtablullû, “Scorpion-Man”

☆Umū dabrūtu, “Violent Storms”

☆Kulullû, “Fish-Man”

☆Kusarikku, “Bull-Man”

Mesopotamian Spirits and demons ✨

☆Alû, demon of night

☆Asag - monstrous demon whose presence makes fish boil alive in the rivers

☆Asakku, evil demon(s)

☆The edimmu - ghosts of those who were not buried properly

☆Gallû, underworld demon

☆Hanbi or Hanpa - father of Pazuzu

☆Humbaba - guardian of the Cedar Forest

☆Lamashtu - a malevolent being who menaced women during childbirth

☆Lilû, wandering demon

☆Mukīl rēš lemutti demon of headaches

☆Pazuzu - king of the demons of the wind; he also represented the southwestern wind, the bearer of storms and drought

☆Rabisu - an evil vampiric spirit

☆Šulak the bathroom demon, “lurker” in the bathroom

☆Zu - divine storm-bird and the personification of the southern wind and the thunder clouds

Mesopotamian Demigods and Heroes ✨

☆Adapa - a hero who unknowingly refused the gift of immortality

☆The Apkallu - seven demigods created by the god Enki to give civilization to mankind ☆Gilgamesh - hero and king of Uruk; central character in the Epic of Gilgamesh

☆Enkidu - hero and companion of Gilgamesh

☆Enmerkar - the legendary builder of the city of Uruk

☆Lugalbanda - second king of Uruk, who ruled for 1,200 years

☆Utnapishtim - hero who survived a great flood and was granted immortality; character in the Epic of Gilgamesh

Mesopotamian Primordial beings✨

☆Abzu - the Ocean Below, the name for fresh water from underground aquifers; depicted as a deity only in the Babylonian creation epic Enûma Eliš

☆Anshar - god of the sky and male principle

☆Kishar - goddess of the earth and female principle

☆Kur - the first dragon, born of Abzu and Ma. Also Kur-gal, or Ki-gal the underworld

☆Lahamu - first-born daughter of Abzu and Tiamat

☆Lahmu - first-born son of Abzu and Tiamat; a protective and beneficent deity

☆Ma -primordial goddess of the earth

☆Mummu - god of crafts and technical skill

☆Tiamat - primordial goddess of the ocean

Mesopotamian Minor deities✨

This is only some of them. There are thousands.

Abu - a minor god of vegetation

Ama-arhus - Akkadian fertility goddess; later merged into Ninhursag

Amasagnul - Akkadian fertility goddess

Amurru - god of the Amorite people

An - a goddess, possibly the female principle of Anu

Arah - the goddess of fate.

Asaruludu or Namshub - a protective deity

Ashnan - goddess of grain

Aya - a mother goddess and consort of Shamash

Azimua - a minor Sumerian goddess

Bau - dog-headed patron goddess of Lagash

Belet-Seri - recorder of the dead entering the underworld

Birdu - an underworld god; consort of Manungal and later syncretized with Nergal

Bunene - divine charioteer of Shamash

Damgalnuna - mother of Marduk

Damu - god of vegetation and rebirth; possibly a local offshoot of Dumuzi

Emesh - god of vegetation, created to take responsibility on earth for woods, fields, sheep folds, and stables

Enbilulu - god of rivers, canals, irrigation and farming

Endursaga - a herald god

Enkimdu - god of farming, canals and ditches

Enmesarra - an underworld god of the law, equated with Nergal

Ennugi - attendant and throne-bearer of Enlil

Enshag - a minor deity born to relieve the illness of Enki

Enten - god of vegetation, created to take responsibility on earth for the fertility of ewes, goats, cows, donkeys, birds

Erra - Akkadian god of mayhem and pestilence

Gaga - a minor deity featured in the Enûma Eliš

Gatumdag - a fertility goddess and tutelary mother goddess of Lagash

Geshtinanna - Sumerian goddess of wine and cold seasons, sister to Dumuzid

Geshtu-E - minor god of intelligence

Gibil or Gerra - god of fire

Gugalanna - the Great Bull of Heaven, the constellation Taurus and the first husband of Ereshkigal

Gunara - a minor god of uncertain status

Hahanu - a minor god of uncertain status

Hani - an attendant of the storm god Adad

Hayasum - a minor god of uncertain status

Hegir-Nuna - a daughter of the goddess Bau

Hendursaga - god of law

Ilabrat - attendant and minister of state to Anu

Ishum - brother of Shamash and attendant of Erra

Isimud - two-faced messenger of Enki

Ištaran - god of the city of Der (Sumer)

Kabta - obscure god “Lofty one of heaven”

Kakka - attendant and minister of state to both Anu and Anshar

Kingu - consort of Tiamat; killed by Marduk, who used his blood to create mankind

Kubaba - tutelary goddess of the city of Carchemish

Kulla - god of bricks and building

Kus (god) - god of herdsmen

Lahar - god of cattle

Lugal-Irra - possibly a minor variation of Erra

Lulal - the younger son of Inanna; patron god of Bad-tibira

Mamitu - Sumerian goddess of fate

Manungal - an underworld goddess; consort of Birdu

Mandanu -god of divine judgment

Muati - obscure Sumerian god who became syncretized with Nabu

Mushdamma - god of buildings and foundations

Nammu - a creation goddess

Nanaya - goddess personifying voluptuousness and sensuality

Nazi - a minor deity born to relieve the illness of Enki

Negun - a minor goddess of uncertain status

Neti - a minor underworld god; the chief gatekeeper of the netherworld and the servant of Ereshkigal

Nibhaz - god of the Avim

Nidaba - goddess of writing, learning and the harvest

Namtar - minister of Ereshkigal

Nin-Ildu - god of carpenters

Nin-imma - goddess of the female sex organs

Ninazu - god of the underworld and healing

Nindub - god associated with the city Lagash

Ningal - goddess of reeds and consort of Nanna (Sin)

Ningikuga - goddess of reeds and marshes

Ningirama - god of magic and protector against snakes

Ningishzida - god of the vegetation and underworld

Ninkarnunna - god of barbers

Ninkasi - goddess of beer

Ninkilim - "Lord Rodent" god of vermin

Ninkurra - minor mother goddess

Ninmena - Sumerian mother goddess who became syncretized with Ninhursag

Ninsar - goddess of plants

Ninshubur - Sumerian messenger goddess and second-in-command to Inanna, later adapted by the Akkadians as the male god Papsukkal

Ninsun - "Lady Wild Cow"; mother of Gilgamesh

Ninsutu - a minor deity born to relieve the illness of Enki

Nintinugga - Babylonian goddess of healing

Nintulla - a minor deity born to relieve the illness of Enki

Nu Mus Da - patron god of the lost city of Kazallu

Nunbarsegunu - goddess of barley

Nusku - god of light and fire

Pabilsaĝ - tutelary god of the city of Isin

Pap-nigin-gara - Akkadian and Babylonian god of war, syncretized with Ninurta

Pazuzu - son of Hanbi, and king of the demons of the wind

Sarpanit - mother goddess and consort of Marduk

The Sebitti - a group of minor war gods

Shakka - patron god of herdsmen

Shala - goddess of war and grain

Shara - minor god of war and a son of Inanna

Sharra Itu - Sumerian fertility goddess

Shul-pa-e - astral and fertility god associated with the planet Jupiter

Shul-utula - personal deity to Entemena, king of the city of Eninnu

Shullat - minor god and attendant of Shamash

Shulmanu - god of the underworld, fertility and war

Shulsaga - astral goddess

Sirara - goddess of the Persian Gulf

Siris - goddess of beer

Sirsir - god of mariners and boatmen

Sirtir - goddess of sheep

Sumugan - god of the river plains

Tashmetum - consort of Nabu

Tishpak - tutelary god of the city of Eshnunna

Tutu - tutelary god of the city of Borsippa

Ua-Ildak - goddess responsible for pastures and poplar trees

Ukur - a god of the underworld

Uttu - goddess of weaving and clothing

Wer - a storm god linked to Adad

Zaqar - messenger of Sin who relays communication through dreams and nightmares

Mesopotamian Major Deities✨

Hadad (or Adad) - storm and rain god

Enlil (or Ashur) - god of air, head of the Assyrian and Sumerian pantheon

Anu (or An) - god of heaven and the sky, lord of constellations, and father of the gods

Dagon (or Dagan) - god of fertility

Enki (or Ea) - god of the Abzu, crafts, water, intelligence, mischief and creation and divine ruler of the Earth and its humans

Ereshkigal - goddess of Irkalla, the Underworld

Inanna (later known as Ishtar) - goddess of fertility, love, and war

Marduk - patron deity of Babylon who eventually became regarded as the head of the Babylonian pantheon

Nabu - god of wisdom and writing

Nanshe - goddess of prophecy, fertility and fish

Nergal - god of plague, war, and the sun in its destructive capacity; later husband of Ereshkigal

Ninhursag (or Mami, Belet-Ili, Ki, Ninmah, Nintu, or Aruru) - earth and mother goddess

Ninlil - goddess of the air; consort of Enlil

Ninurta - champion of the gods, the epitome of youthful vigor, and god of agriculture

Shamash (or Utu) - god of the sun, arbiter of justice and patron of travelers

Sin (or Nanna) - god of the moon

Tammuz (or Dumuzid) - god of food and vegetation

[gryficowa]

Boycott!

Now that I have your attention:

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Maybe David's nose is still not perfect, but let's be honest, it looks better than before… (When I finish the third work, including him and the Halloween art with Ghost, I will add it to the art blog)

(No, this is not an advertisement, the main reason is because I can add additional tags, that's the reason)

Remember to collect!

[victusinveritas]

From the River to the Sea

every street, every house, every room, every window, every balcony, every wall, every stone, every sorrow, every word, every letter, every whisper, every touch, every glance, every kiss, every tree, every spear of grass, every tear, every scream, every air, every hope, every supplication, every secret, every well, every prayer, every song, every ballad, every book, every paper, every color, every ray, every cloud, every rain, every drop of rain, every drip of sweat, every lisp, every stutter, every yamma, mother, every yaba, father, every shadow, every light, every little hand that drew in a little notebook a tree or house or heart or a family of a father, a mother, siblings, and pets, every longing, every possibility, every letter between two lovers that arrived or didn’t arrive, every gasp of love dispersed in the distant clouds, every moment of despair at every turn, every suitcase on top of every closet, every library, every shelf, every minaret, every rug, every bell toll in every church, every rosary, every holy praise, every arrival, every goodbye, every Good Morning, every Thank God, every ‘ala rasi, my pleasure, every hill ‘an sama’i, leave me alone, every rock, every wave, every grain of sand, every hair-do, every mirror, every glance in every mirror, every cat, every meow, every happy donkey, every sad donkey’s gaze, every pot, every vapor rising from every pot, every scent, every bowl, every school queue, every school shoes, every ring of the bell, every blackboard, every piece of chalk, every school costume, every mabruk ma ijakum, congratulations on the baby, every y ‘awid bi-salamtak, condolences, every ‘ayn al- ḥasud tibla bil-‘ama, may the envious be blinded, every photograph, every person in every photograph, every niyyalak, how lucky, every ishta’nalak, we’ve missed you, every grain of wheat in every bird’s gullet, every lock of hair, every hair knot, every hand, every foot, every football, every finger, every nail, every bicycle, every rider on every bicycle, every turn of air fanning from every bicycle, every bad joke, every mean joke, every laugh, every smile, every curse, every yearning, every fight, every sitti, grandma, every sidi, grandpa, every meadow, every flower, every tree, every grove, every olive, every orange, every plastic rose covered with dust on an abandoned counter, every portrait of a martyr hanging on a wall since forever, every gravestone, every sura, every verse, every hymn, every ḥajj mabrur wa sa ‘yy mashkur, may your ḥajj and effort be rewarded, every yalla tnam yalla tnam, every lullaby, every red teddy bear on every Valentine’s, every clothesline, every hot skirt, every joyful dress, every torn trousers, every days-spun sweater, every button, every nail, every song, every ballad, every mirror, every peg, every bench, every shelf, every dream, every illusion, every hope, every disappointment, every hand holding another hand, every hand alone, every scattered thought, every beautiful thought, every terrifying thought, every whisper, every touch, every street, every house, every room, every balcony, every eye, every tear, every word, every letter, every name, every voice, every name, every house, every name, every face, every name, every cloud, every name, every rose, every name, every spear of grass, every name, every wave, every grain of sand, every street, every kiss, every image, every eye, every tear, every yamma, every yaba, every name, every name, every name, every name, every name, every name, every name, every name, all…

-“From the River to the Sea.” A Poem by Samer Abu Hawwash, translated by Huda Fakhreddine