Gulyás Katalin et al. (szerk.): Tisicum. A Jász-Nagykun-Szolnok megyei Múzeumok évkönyve 27. (Szolnok, 2019)
A Közel-Kelet régészete - Ftaimi Tiffany: Tho unitod Storm God posturo on tho Noo Hitito artworks
TISICUM XXVII. The form Addi appears at first in the texts of the first Dynasty of Babylon to express the weather god, but the origins of the name of Adad are not clear.10 There is no earlier evidence in the inscriptions for the existence of Adad,11 but he was worshipped during the Akkadian Period as a Storm God with the Sumerian name Iskur depending on the archaeological finds. Until the 2nd millennium BC Hadda dominated in Syria and upper Mesopotamia. During the Aramaic Period the old form Hadda/u was used, but it changed due to the Assyrian influence.12 In the time of Hammurapi (1792-1750 BC) - the sixth king of the First Babylonian Dynasty - Adad was quite popular and was worshipped through the Kassite and late Babylonian Periods. The worship of Adad appears during the Assyrian Period as well, as there are evidences regarding his veneration to prove it. Hammurapi often petitioned Adad for his grace. This is because humans could not live without rain, otherwise they will die of starvation. Interestingly, the Assyrians referred to Adad as the god of the war.13 The god Ramman is a weather god as well, but he was venerated by the Assyrians separately from Adad as an Aramaic god.14 His month is Sabat, which is February.15 The wife of Adad is Sala, his son is Mêsaru and his daughter could be Istarum.16 3. The representation of the Storm God The figure of the Storm God has undergone several changes associated to different civilizations through the course of time. Further, his attribute animal/creature and objects differ from era to era. However, it is possible to trace some features among these different representations, which were inspired by the myth of previous cultural groups. The Storm God representations can be found on several archaeological finds: seal impressions, stelae, statues, terracotta plaques, amulets and reliefs. These representations can be divided to symbolic and anthropomorphic depictions. 3.1 The representation of the Storm God in the 3rd and 2nd millennium BC The representation of the Storm God makes its first appearance on the Akkadian cylinder seals. Interestingly, it seems that the lion-dragon represents his attribute creature association, while the mace and the leash of the lion-dragon were among his symbols-objects. Further, on the Akkadian seal impressions, two goddesses appear additionally to 10 EBELING, Erich 1932.22. 11 Ibid. 22. 12 HERBORDT, Suzanne 2016.72. 13 EBELING, Erich 1932.24. 14 Ibid. 22. 15 EBELING, Erich 1932.26. 16 Ibid. 24. the Storm God. Hereby, they have a different function of the weather phenomena. One of the goddesses is the naked lightning goddess. According to Boehmer, the second deity could be the rain-giver goddess.17 In this case, there is a consideration, which states that there might have been three deities for the weather in the Akkadian pantheon. In my opinion, Iskur was the main Storm God and the other two goddesses were the minor ones or possibly helpers. Or only two deities, the Storm God and the naked lightning goddess. The rain-giver goddess could be the Storm God himself, though in different posture. Surprisingly, during the Old Babylonian period, the bull replaced the lion-dragon. This alteration has been adopted from the Gilgames epic. From the Old Babylonian period, both anthropomorphic and symbolic representations begin to occur. On the other side, the period in which the anthropomorphic depiction declines, is the Kassite one. Even though, his symbol - the lightning fork - appears on most of Kassite period, additionally to the bull. 3.2. The united posture of the Storm God on the Neo-Hittite artworks The forms and the motives of the Neo-Hittite art arise from the Anatolian- Hittite art. Many common features are recognizable between the two art forms. A certain number of deities' symbols, which are representing the Syrian and Mesopotamian traditions can be found on Anatolian-Hittite examples as well.18 E. Akurgal assumes that the Hittites have adopted the art elements from Syria during their control over the region in the 2nd Millennium BC. It might have been either handed down by the Hittites after the collapse of the Hittite empire.19 During the Neo-Hittite, the Storm God’s representation differs obviously from prior and later depictions. Whereas the sculptures were iconographically united. The Storm God has played a significant role in the Neo-Hittite pantheon, which can be stated with the fact that he was the main deity during this period. Thereafter, his representation has clearly increased, and he was mostly depicted in one posture: the smiting Storm God posture. In most depictions, he holds a triple lightning fork and brandishing with an axe. Both objects determine the figure and it enables to identify him as the Storm God. Further, his dress, hair style and objects are similar on all stelae and orthostats. Interestingly, he has been depicted on several stelae, especially from the site of Tell Ahmar/Til Barsip- Masuwari.20 In other words, the figure of the deity has been united and common features of his depiction are clearly 17 BOEHMER, Rainer Michael 1965.64. 18 AKURGAL, Ekrem 1949.131. 19 Ibid. 132. 20 Tell Ahmar located in north Syria 20 km south of Carchemish on the eastern bank of the Euphrates river. It was the capital of the Neo-Hittite-Aramaic Bit Adini. The site was called in the Luwian language Masuwari. It was later conquered by Assyrians and renamed to Kar-Shalmaneser. 122
