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Download Free PDFArcane Art - Some thoughts on the Perception of the Magico-Religious Imagery of Lamaštu-AmuletsEva Götting-Martin

2017, Proceedings of the 10th International Congress on the Archaeology of the Ancient Near East, Luciani, M. et al. (eds))

https://doi.org/10.2307/J.CTVCM4F86.39visibility

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Abstract

Lamaštu is known as a baby-snatching demon that attacks especially children and pregnant women but also men and cattle. Rituals and apotropaic amulets were used in Mesopotamia, Anatolia and the Levant to protect persons and animals from this malevolent demon. These amulets were canonized in Assyria during the 1st millennium BCE. As a result, elaborated amulets depicting Lamaštu herself and several Zwischenwesen (urigallū, ugallu and lulal, apkallu and Pazuzu), as well as the afflicted patient and the āšipu-priest were created. This paper aims to examine the congruency between iconographic narrative and performed ritual. Furthermore, the visual perception of the magico-religious imagery of the amulets will be examined by identifying the agents and recipients of the pictorial message. By untangling the levels of visual communication and embedding them into ritual context, some light is to be shed on one of the most intriguing subjects in the ‘Arcane Arts’ of Mesopotamia.

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Key takeaways

AI

1. The paper explores the ritual significance and iconography of Lamaštu amulets in ancient Mesopotamia.
2. Lamaštu is depicted with a hybrid form, representing various malevolent traits and protective powers.
3. Canonization of Lamaštu imagery occurred during the 1st millennium BCE, influencing ritual practices across regions.
4. The amulets serve dual functions: protective talismans and ritualistic tools embodying exorcistic narratives.
5. The visual communication of the amulets engages both human and divine agents, influencing the ritual context.

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FAQs

AI

How did the iconographic portrayal of Lamaštu evolve over time?add

The study reveals that Lamaštu's iconography was canonized in the 1st millennium BCE, demonstrating a shift from variable representations in earlier amulets. By this period, she is consistently depicted with a lion's head, human chest, and bird-like feet, indicating a standardized iconographic form.

What role do the rituals play in the use of Lamaštu amulets?add

The research shows that Lamaštu amulets were integral to exorcistic rituals, acting as physical manifestations of the ritual context. Each amulet’s imagery corresponds directly with the incantations used during the exorcisms, ensuring their ritual effectiveness.

What explains the significance of the number seven in Lamaštu amulets?add

The presence of seven urigallū-demons on the amulets likely correlates with the seven names of Lamaštu mentioned in the incantations. This association highlights the number's commonality as a magical figure in Mesopotamian religious texts.

When was the first evidence of Lamaštu amulets discovered?add

The earliest Lamaštu amulets date to the late 2nd millennium BCE, likely originating from Babylonia. These initial amulets showcase a developing iconography that laid the groundwork for later, more codified representations.

What methodologies were employed to analyze the perception of Lamaštu imagery?add

The paper employs A. Gell's theory of Art and Agency to investigate the social dynamics between the amulets and their viewers. This approach facilitates an understanding of the multi-directional communication among the priest, afflicted, and transcendental agencies.

Eva Götting-MartinGerman Archaeological Institute, Faculty MemberaddFollowmailMessage

PhD cand. "Mesopotamian Amulets - Image and Ritual in Babylon and Assur in the 2nd- 1st mill. BC." Research assistent at the German Archaeological Institute (ArcHerNet)

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