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
FTAIMI TIFFANY: THE UNITED STORM GOD POSTURE ON THE NEO-HITTITE ARTWORKS 3.3. Storm God representation during the Neo-Assyrian and Neo- Babylonian Developments have altered the focus concerning the representation’s subject and technique during the Neo-Assyrian pantheon. The sculptures were finely carved and richly decorated. Other deities have replaced the Storm God Adad although he has remained one of the main deities. He appears sporadically on Neo-Assyrian sculptures. Only few depictions represent him in anthropomorphic form, standing on his attribute animal - the bull - and holding a thunderbolt. On the other hand, the symbolic appearance has continued, and the lighting fork has remained present on the king's stelae, beside to other main gods' symbols (fig-5). Fig. 6. Neo-Babylonian relief. (Istanbul Archaeology Museums 2015) Photo: Tiffany Ftaimi. Fig. 5. Neo-Assyrian Stela. (Istanbul Archaeology Museums 2015) Photo: Tiffany Ftaimi. Moreover, the Storm God has been carved on the Neo-Assyrian cylinder seals more frequently than on stelae. The identification of the Storm God on the seal’s impressions is difficult as he has been carved with both attribute creatures - the lion-dragon and the bull - among various other objects. The poorest cultural group with the Storm God representation, is the Neo-Babylonian one. Merely rare examples depict the anthropomorphic form of the deity (fig.6) as well as his symbol - the lightning fork. It has been depicted on both seals, the cylinder and stamp seals. Conclusions Nevertheless, the particular style of each aforementioned periods, of which every cultural group has been inspired from prior and contemporary traditions. Several groups have created their own style, as the Neo- Hittites, who have inherited entire prior styles. As mentioned above, the reason for the united posture of the Storm God on the Neo-Hittite stelae and other artworks could be the exchange of the craftsmen, because it is nearly impossible that his posture were united in most Aramaic principalities without this exchange. Moreover, there are similarities of features on some artworks which represent the Storm God in the smiting posture such as his depictions from Zincirli and Carchemish. These similarities could be a clear evidence of the communication and interchange of craftsmen and their artwork style. On the other hand, the Storm God was the main deity during the Hittite period comparing with unlike the other periods, in which he was one of the main deities in the pantheon. Therefore, the Neo-Hittites might give the priority to represent the Storm God in one posture owing to his relevance in their lives. Moreover, it is recognizable, that the Storm God remained in Mesopotamia as the weather God and the God of vegetation, though, in Syria and south Anatolian during the Neo-Hittite period has been mostly warlike represented. Taking into comparison, on the one side, the Neo-Hittite Storm God representation, on which the deity has been carved in one posture, with particular objects on each artwork. While, on the other side, his representation on the Neo-Assyrian sculptures varies largely as he has nonpermanent atributte animal nor lightning form or objects. The reason for this might be the transition of traditions from prior periods, which influenced the iconographical aspect and pantheon of the Neo-Assyrian artworks and led to a blend of traditions. The transition of traditions between eras has not taken place solely in the above noticed ancient civilizations but also in later periods as well. Each pantheon of deities has been inspired from the one prior to it just 125
