Water and Mythology: Water Deities and Creation

Damien Marie AtHope’s Art

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The being in the top middle is Nammu

“Nammu (also read Namma) was a Mesopotamian goddess regarded as a creator deity in the local theology of Eridu.” ref

“Eridu was a Sumerian city located at Tell Abu Shahrain, an archaeological site in southern Mesopotamia. It is located in Dhi Qar Governorate, Iraq near the modern city of Basra. Eridu is traditionally believed to be the earliest city in southern Mesopotamia based on the Sumerian King List. Located 12 kilometers southwest of the ancient site of Ur, Eridu was the southernmost of a conglomeration of Sumerian cities that grew around temples, almost in sight of one another. The city gods of Eridu were Enki and his consort Damkina. Enki, later known as Ea, was considered to have founded the city. His temple was called E-Abzu, as Enki was believed to live in Abzu, an aquifer from which all life was believed to stem. According to Sumerian temple hymns another name for the temple of Ea/Enki was called Esira (Esirra).” ref

“Eridu is one of the earliest settlements in the region, founded c. 5400 BCE during the Early Ubaid period, at that time close to the Persian Gulf near the mouth of the Euphrates River though in modern times about 90 miles inland. Excavation has shown that the city was founded on a virgin sand-dune site with no previous habitation. With possible breaks in occupation in the Early Dynastic III and Akkadian Empire periods the city was inhabited up to the Neo-Babylonian though in later times it was primarily a cultic site. According to the excavators, construction of the Ur III ziggurat and associated buildings was preceded by the destruction of preceding construction and its use as leveling fill so no remains from that time were found. At a small mound 1 kilometer north of Eridu two Early Dynastic III palaces were found, with an enclosure wall. The palaces measured 45 meters by 65 meters with 2.6 meter wide walls and were constructed in the standard Early Dynastic period method of plano-convex bricks laid in a herringbone fashion. At nearby Ur there was a temple of Ishtar of Eridu (built by Lagash ruler Ur-Baba) and a sanctuary of Inanna of Eridu (built by Ur III ruler Ur-Nammu). Ur-Nammu also recorded building a temple of Ishtar of Eridu at Ur which is assumed to have been a rebuild. One of the religious quarters of Babylon, containing the Esagil temple and the temple of Annunitum among others, was also named Eridu.” ref

“In some, but not all, versions of the Sumerian King List, Eridu is the first of five cities where kingship was received before a flood came over the land. The list mentions two rulers of Eridu from the Early Dynastic period, Alulim and Alalngar. In the flood myth tablet found in Ur, how Eridu and Alulim were chosen by gods as first city and first priest-king is described in more detail. In Sumerian mythology, Eridu was the home of the Abzu temple of the god Enki, the Sumerian counterpart of the Akkadian god Ea, god of deep waters, wisdom and magic. Like all the Sumerian and Babylonian gods, Enki/Ea began as a local god who, according to the later cosmology, came to share the rule of the cosmos with Anu and Enlil. His kingdom was the sweet waters that lay below earth (Sumerian ab=water; zu=far). The stories of Inanna, goddess of Uruk, describe how she had to go to Eridu in order to receive the gifts of civilization. At first Enki, the god of Eridu, attempted to retrieve these sources of his power but later willingly accepted that Uruk now was the centre of the land. The urban nucleus of Eridu was Enki‘s temple, called House of the Aquifer, which in later history was called House of the Waters. The name refers to Enki’s realm. His consort Ninhursag had a nearby temple at Ubaid.” ref

“It is assumed that Nammu was associated with water. She is also well attested in connection with incantations and apotropaic magic. She was regarded as the mother of Enki, and in a single inscription she appears as the wife of Anu, but it is assumed that she usually was not believed to have a spouse. From the Old Babylonian period onwards, she was considered to be the mother of An (Heaven) and Ki (Earth), as well as a representation of the primeval sea/ocean, an association that may have come from influence from the goddess Tiamat.” ref

“While Nammu is already attested in sources from the Early Dynastic period, such as the zame hymns and an inscription of Lugal-kisalsi, she was not commonly worshiped. A temple dedicated to her existed in Ur in the Old Babylonian period, she is also attested in texts from Nippur and Babylon. Theophoric names invoking her were rare, with that of king Ur-Nammu until recently being believed to be the only example. In the Old Babylonian myth Enki and Ninmah, Nammu is one of the deities involved in the creation of mankind alongside the eponymous pair and a group of seven minor goddesses. Her presence differentiates this narrative from other texts dealing with the same motif, such as Atra-Hasis.” ref

Tiamat seen in the long snake dragon-like being

“In Mesopotamian religion, Tiamat is the primordial sea, mating with Abzû (Apsu), the groundwater, to produce the gods in the Babylonian epic Enûma Elish, which translates as “When on High”. She is referred to as a woman, and has, at various points in the epic, both anthropomorphic and theriomorphic features including breasts and a tail. In the Enûma Elish, the Babylonian epic of creation, Tiamat bears the first generation of deities after mingling her waters with those of Apsu, her consort. The gods continue to reproduce, forming a noisy new mass of divine children. Apsu, driven to violence by the noise they make, seeks to destroy them and is killed. Enraged, she also wars upon those of her own and Apsu’s children who killed her consort, bringing forth a series of monsters as weapons.” ref

“She also takes a new consort, Qingu, and bestows on him the Tablet of Destinies, which represents legitimate divine rulership. She is ultimately defeated and slain by Enki‘s son, the storm-god Marduk, but not before she brings forth monsters whose bodies she fills with “poison instead of blood”. Marduk dismembers her and then constructs and structures elements of the cosmos from her body. Some sources have identified her (without real proof) with images of a sea serpent or dragon.” ref

“Thorkild Jacobsen and Walter Burkert both argue for a connection with the Akkadian word for sea, tâmtu, following an early form, ti’amtum. Burkert continues by making a linguistic connection to Tethys. The later form Θαλάττη, thaláttē, which appears in the Hellenistic Babylonian writer Berossus‘ first volume of universal history, is clearly related to Greek Θάλαττα, thálatta, an Eastern variant of Θάλασσα, thalassa, ‘sea’. It is thought that the proper name ti’amat, which is the vocative or construct form, was dropped in secondary translations of the original texts because some Akkadian copyists of Enuma Elish substituted the ordinary word tāmtu (‘sea’) for Tiamat, the two names having become essentially the same due to association. Tiamat also has been claimed to be cognate with the Northwest Semitic word tehom (תְּהוֹם; ‘the deeps, abyss’), in the Book of Genesis 1:2.” ref

“The Babylonian epic Enuma Elish is named for its incipit: “When on high [or: When above]” the heavens did not yet exist nor the earth below, Abzu the subterranean ocean was there, “the first, the begetter”, and Tiamat, the overground sea, “she who bore them all”; they were “mixing their waters”. It is thought that female deities are older than male ones in Mesopotamia and Tiamat may have begun as part of the cult of Nammu, a female principle of a watery creative force, with equally strong connections to the underworld, which predates the appearance of Ea-Enki.” ref

“Harriet Crawford finds this “mixing of the waters” to be a natural feature of the middle Persian Gulf, where fresh waters from the Arabian aquifer mix and mingle with the salt waters of the sea. This characteristic is especially true of the region of Bahrain, whose name in Arabic means “two seas”, and which is thought to be the site of Dilmun, the original site of the Sumerian creation beliefs. The difference in density of salt and fresh water drives a perceptible separation. In the Enuma Elish her physical description includes a tail, a thigh, “lower parts” (which shake together), a belly, an udder, ribs, a neck, a head, a skull, eyes, nostrils, a mouth, and lips. She has insides (possibly “entrails”), a heart, arteries, and blood.” ref

“Tiamat was once regarded as a sea serpent or dragon, although Assyriologist Alexander Heidel already recognized that “dragon form can not be imputed to Tiamat with certainty”. She is still often referred to as a monster, though this identification has been credibly challenged. In Enuma Elish, she is clearly portrayed as a mother of monsters but, before this, she is just as clearly portrayed as a mother to all the gods. Abzu (or Apsû) fathered with Tiamat the elder deities Lahmu and Lahamu (masc. the ‘hairy’), a title given to the gatekeepers at Enki’s Abzu/E’engurra-temple in Eridu. Lahmu and Lahamu, in turn, were the parents of the ‘ends’ of the heavens (Anshar, from an-šar, ‘heaven-totality/end’) and the earth (Kishar); Anshar and Kishar were considered to meet at the horizon, becoming, thereby, the parents of Anu (Heaven) and Ki (Earth). Tiamat was the “shining” personification of the sea who roared and smote in the chaos of original creation. She and Abzu filled the cosmic abyss with the primeval waters. She is “Ummu-Hubur who formed all things.” ref

“In the myth recorded on cuneiform tablets, the deity Enki (later Ea) believed correctly that Abzu was planning to murder the younger deities, upset with the noisy tumult they created, and so captured him and held him prisoner beneath his temple, the E-Abzu (‘temple of Abzu’). This angered Kingu, their son, who reported the event to Tiamat, whereupon she fashioned eleven monsters to battle the deities in order to avenge Abzu’s death. These were her own offspring: 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’), and Kusarikku (‘Bull-Man’).” ref

“Tiamat possessed the Tablet of Destinies and in the primordial battle she gave them to Kingu, the deity she had chosen as her lover and the leader of her host, and who was also one of her children. The terrified deities were rescued by Anu, who secured their promise to revere him as “king of the gods“. He fought Tiamat with the arrows of the winds, a net, a club, and an invincible spear. Anu was later replaced by Enlil and, in the late version that has survived after the First Dynasty of Babylon, by Marduk, the son of Ea. “And the lord stood upon Tiamat’s hinder parts, And with his merciless club he smashed her skull. He cut through the channels of her blood, And he made the North wind bear it away into secret places.” ref

“Slicing Tiamat in half, he made from her ribs the vault of heaven and earth. Her weeping eyes became the sources of the Tigris and the Euphrates, her tail became the Milky Way. With the approval of the elder deities, he took the Tablet of Destinies from Kingu, installing himself as the head of the Babylonian pantheon. Kingu was captured and later was slain: his red blood mixed with the red clay of the Earth would make the body of humankind, created to act as the servant of the younger Igigi deities.” ref

“The principal theme of the epic is the rightful elevation of Marduk to command over all the deities. “It has long been realized that the Marduk epic, for all its local coloring and probable elaboration by the Babylonian theologians, reflects in substance older Sumerian material”, American Assyriologist E. A. Speiser remarked in 1942, adding “The exact Sumerian prototype, however, has not turned up so far.” This surmise that the Babylonian version of the story is based upon a modified version of an older epic, in which Enlil, not Marduk, was the god who slew Tiamat, is more recently dismissed as “distinctly improbable”. It was once thought that the Tiamat myth was one of the earliest recorded versions of the Chaoskampf, the battle between a culture hero and a chthonic or aquatic monster, serpent or dragon. Chaoskampf motifs in other mythologies perhaps linked to the Tiamat myth include the Hittite Illuyanka myth, and in Greek tradition Apollo‘s killing of the Python as a necessary action to take over the Delphic Oracle, and to Genesis in the Hebrew Bible.” ref

“A number of writers have put forth ideas about Tiamat: Robert Graves, for example, considered Tiamat’s death by Marduk as evidence for his hypothesis of an ancient shift in power from a matriarchal society to a patriarchy. The theory suggested that Tiamat and other ancient monster figures were depictions of former supreme deities of peaceful, woman-centered religions. Their defeat at the hands of a male hero corresponded to the overthrow of these matristic religions and societies by male-dominated ones. One example of an icon was more so a motif of Tiamat which was within the Temple of Bêl which is located in Palmyra. The motif describes Nabu and Marduk defeating Tiamat. Tiamat in this picture is shown as a woman’s body with legs which are made of snakes.” ref

“Primordial Sea, Cosmic ocean, Primordial Waters, or Celestial River is a mythological motif that represents the world or cosmos enveloped by a vast primordial ocean. Found in many cultures and civilizations, the cosmic ocean exists before the creation of the Earth. From the primordial waters the Earth and the entire cosmos arose. The cosmic ocean represents or embodies chaos. The concept of a watery chaos also underlies the widespread motif of the worldwide flood that took place in early times. The emergence of earth from water and the curbing of the global flood or underground waters are usually presented as a factor in cosmic ordering. In creation myths, it is common for the primordial ocean to be separated into upper and lower bounds of water (i.e. cosmic bodies of water located above the sky or below the earth) by the creation of a solid structure known as a firmament. Some cosmologies depict the world plain as being surrounded by a circular ocean-river, such as Oceanus in Greek cosmology or Raŋhā in Zoroastrian cosmology. The cosmic ocean is also present in the mythology of Ancient Egyptians, Ancient Greeks, Jews, Ancient Indians, Ancient Persians, Sumerians, and Zoroastrians. It plays a prominent role in ancient near eastern, biblical, and other cosmologies.” ref

“In creation myths, the primordial waters are often represented as having filled the entire universe and are the first source of the gods. The act of creation is the establishment of an inhabitable space separate from the enveloping waters. The cosmic ocean is the shape of the universe before creation. The ocean is boundless, unordered, unorganized, amorphous, formless, dangerous, and terrible. In some myths, its cacophony is opposed to the ordered rhythm of the sea. Chaos can be personified as water or by the unorganized interaction of water and fire. The transformation of chaos into order is also the transition from water to land. In many ancient cosmogonic myths, the ocean and chaos are equivalent and inseparable. The ocean remains outside space even after the emergence of the land. At the same time, the ability of the ocean to generate is realized in the appearance of the Earth from it and in the presence of a mythological creature in the ocean that promotes generation or, on the contrary, zealously defends the “old order” and prevents the beginning of the chain of births from the ocean.” ref

Common Primordial Waters’ Themes

“Yu. E. Berezkin and E. N. Duvakin generalize the motif of primary waters as follows: “Waters are primary. The Earth is launched into the water, appears above the water, grows from a piece of solid substance placed on the surface of the water or liquid mud, from an island in the ocean, is exposed when the waters subsided, etc.” The idea of the primacy of the ocean as an element, from the bowels of which the Earth arises or is created, is universally prevalent. This representation is present in many mythologies of the world.” ref

“In North Asia and North America, the Earth diver myth is found. In this myth, a creator god dives into the cosmic ocean to bring up and form the Earth. A diving bird, catching a lump of earth from the primordial ocean, often appears in mythologies of the Indigenous peoples of the Americas and Samoyedic peoples. In totemic myths, bird people are often presented as phratrial ancestors. World eggs are a common theme in creation myths. A waterfowl extracts silt from the waters, from which land is gradually created. In Polynesian mythology, Maui fishes islands out of the ocean. In Scandinavian mythology, the gods raise the earth, and Thor catches the “serpent of middle earth“, which lives at the bottom of the ocean. In ancient Egyptian mythology, the Earth itself comes to the surface in the form of a mound. In the Brahmana it was said that Prajapati took the Earth out of the water, taking the form of a boar.” ref

“In the mythologies of many Asian countries, in which there is an image of an endless and eternal primordial ocean or sea, there is a motif of the creation of the Earth by a celestial being descending from the sky and interfering with the water of the ocean with an iron club, spear or other object. This results in condensation which gives rise to the Earth. In Japanese mythology, the islands of Japan arose from foam raised by mixing the waters of the ocean with the spear of the gods (Izanagi and Izanami). In the mythologies of the Mongolic peoples, the role of the compactor of the ocean waters is played by the wind, which creates a milky substance out of them, which then becomes the Earth’s firmament. According to the Kalmyks, plants, animals, people and gods were born from this milky liquid. Indian mythology has a similar myth about the churning of the Ocean of Milk.” ref

“Myths about the world’s oceans are universally accompanied by myths about its containment when the earth was already created, and myths about the attempts of the ocean to regain its undivided dominance. In Chinese mythology, there is the idea of a giant depression or pit that determines the direction of the ocean waters and takes away excess water. In many mythologies there are numerous narratives regarding the flood. The opposition of two types of myths is known (for example, in Oceania) – about the earth sinking in the ocean, and about the retreat of the ocean or sea. An example of the first type is the legend about the origin of Easter Island, recorded on this island. In the creation myth of the Nganasan people, at first, the Earth was completely covered with water, then the water subsided and exposed the top of the Shaitan ridge Koika-mou. The first two people fall to this peak – a man and a woman. In the myth of creation of the Tuamotus, the creator Tāne, “Spilling Water”, created the world in the waters of the lord of the waters, Pune, and invoked the light that initiated the creation of the Earth.” ref

“The motif of the cosmogonic struggle with the dragon or serpent is widespread in terms of suppressing water and chaos. The serpent in most mythologies is associated with water, often as its abductor. He threatens either with a flood or a drought, that is, a violation of the measure, the water “balance”. Since the cosmos is identified with order and measure, chaos is associated with the violation of measure.

• Ra-Atum fights the serpent Apep in ancient Egyptian religion
• Indra with Vritra the serpent in the historical Vedic religion
• Enlil or Marduk defeats the progenitor Tiamat, the wife of Apsû, the personification of the dark waters of chaos, who has taken the form of a dragon
• Enki, Ninurta, or Inanna contest the owner of the underworld, Kur in Mesopotamian religion
• Tishtrya (Sirius) with the antigod Apaosha in ancient Iranian religion
• The Bible describes the struggle of Yahweh with dragons and sea monsters that represent chaos (Rahab, Tehom, Leviathan)
• Yu the Great‘s heroic struggle with the cosmic flood ends with the murder of the insidious owner of the water Gungun and his “close associate”, –the nine-headed Xiangliu, in Chinese mythology.” ref

“The Genesis creation narrative has a much-reduced description of Yahweh and Tehom. The transition from the formless water element to land is the most important act necessary for the transformation of chaos into space. The next step in the same direction is the separation of the sky from the earth, which, perhaps, essentially coincides with the first act, given the initial identification of the sky with the oceans. But it was precisely the repetition of the act – first down, and then up – that led to the allocation of three spheres – earthly, heavenly and underground, which represents the transition from binary division to trinity. The middle sphere, the earth, opposes the watery world below and the heavenly world above. A trichotomous scheme of the cosmos arises, including the necessary space between earth and sky.” ref

“This space is often represented as a cosmic tree. Earth and sky are almost universally represented as feminine and masculine, a married couple standing at the beginning of a theogonic or theocosmogonic process. At the same time, the feminine principle is sometimes associated with the element of water and with chaos; usually it is conceived on the side of “nature” rather than “culture. Mythical creatures personifying chaos, defeated, shackled, and overthrown, often continue to exist on the outskirts of space, along the shores of the oceans, in the underground “lower” world, in some special parts of the sky. In Scandinavian mythology, the jǫtnar, primordial giants, precede time and are located on the outskirts of the earth’s circle in cold places near the oceans.” ref

Primordial Waters’ and Sumerian mythology

“In Sumerian mythology, there was an image of the original sea abyss – Abzu, on the site of which the most active of the gods Enki, representing the earth, fresh water and agriculture on irrigated lands, made his home. In the beginning, the entire space of the world was filled with an ocean that had neither beginning nor end. It was probably believed that he was eternal. In its bowels lurked the foremother Nammu. In her womb arose a cosmic mountain in the form of a hemisphere, which later became the earth. An arc of shiny tin, encircling the hemisphere vertically, later became the sky. In the Babylonian version, in the endless primordial Ocean there was nothing but two monsters – the forefather Apsu and foremother Tiamat.” ref

Primordial Waters’ and Ancient Egyptian mythology

“In Ancient Egyptian mythology, in the beginning, the universe only consisted of a great, chaotic cosmic ocean, and the ocean itself was referred to as Nu. In some versions of this myth, at the beginning of time Mehet-Weret, portrayed as a cow with a sun disk between her horns, gives birth to the sun, said to have risen from the waters of creation and to have given birth to the sun god Ra in some myths. The universe was enrapt by a vast mass of primordial waters, and the Benben, a pyramid mound, emerged amid this primal chaos. There was a lotus flower with Benben, and this when it blossomed emerged Ra. There were many versions of the sun’s emergence, and it was said to have emerged directly from the mound or from a lotus flower that grew from the mound, in the form of a heron, falcon, scarab beetle, or human child. In Heliopolis, the creation was attributed to Atum, a deity closely associated with Ra, who was said to have existed in the waters of Nu as an inert potential being.” ref

“Some strands of Egyptian cosmology appear to have also had the idea of a river-ocean encircling the earth, as one of the words used for sea, shen-wer, means “great encircler”. The concept of chaos is etymologically associated with darkness (kek), but primarily, chaos in the form of the primary ocean (Nu) or, in the Germanic version, five divine pairs representing its different aspects. The primary hill is identified with the sun god Ra. Water chaos is opposed by the first earthly mound protruding from it, with which Atum is associated in Heliopolis (as Ra-Atum), and in Memphis, Ptah. Initially, the existing ocean is personified in the image of the “father of the gods” Nu. In the historical era, the ocean, which was placed underground, gave rise to the river Nile. In the Heracleopolis version of the myth, an internal connection between the ocean and chaos is noted. ” ref

Primordial Waters’ and Ancient Greek mythology

“The ideas of early Greek cosmology about the ocean demonstrate a typologically more advanced stage, when the image of Oceanus becomes the object of “pre-scientific” research and natural philosophy. Oceanus is presented first of all as the greatest world river (Hom. Il. XIV 245), surrounding the earth and the sea, giving rise to rivers, springs, sea currents (XXI 196), shelter of the sun, moon and stars, which they rise from the ocean and enter it (VII 422; VIII 485). The Ocean River touches the sea, but does not mix with it. In the extreme west, the ocean washes the boundaries between the world of life and death.” ref

“In Homer, Oceanus is without beginning. In Theogony 282, Hesiod presents a folk etymology of the name Pegasus as derived from πηγή pēgē ‘spring, well’, referring to “the pegai of Okeanos, where he was born”. In Homer and Hesiod, the Ocean is a living being, the progenitor of all gods and titans (Hom. Il. XIV 201, 246), but Oceanus also had parents. According to Hesiod, Oceanus is the son of the oldest of the titans Uranus and Gaia (Theogony 133). Oceanus is the brother and husband of Tethys, from whom he gave birth to all the rivers and sources – three thousand daughters – oceanids (Theogony 346–364) and the same number of sons – river flows (Theogony 367–370).” ref 

“The gods revere Oceanus as an aged parent, take care of him, although he lives in solitude. Oceanus did not participate in the battle of the titans against Zeus and retained its power and the trust of the Olympians. Oceanus is the father of Metis, the wise wife of Zeus (Apollod. I 2, 1). Known for his peacefulness and kindness (Euripides tried unsuccessfully to reconcile Prometheus with Zeus; Prometheus Bound 284–396). Herodotus contains criticism of the mythological concept of Oceanus as a poetic invention (Herodot. II, 23, cf. also IV 8, 36, etc.). Euripides called the ocean the sea (Orestes 1376). Since that time, a tendency has been established to distinguish between a large outer sea – ocean – and inland seas. Later, Euripides begins to divide the ocean into parts: the Ethiopian Ocean, Eritrean ocean, Gallic ocean, Germanic Ocean, Hyperborean Ocean, etc.” ref

Primordial Waters’ and Ancient Indian mythology

“In Indian cosmology, there is an idea of darkness and the abyss, but also of the primary waters generated by night or chaos. Ancient Indian myths about the oceans contain both typical and original motifs. In Mandala 10 of the Rigveda, the original state of the universe is presented as the absence of existing and non-existent, airspace and sky above it, death and immortality, day and night, but the presence of water and disorderly movement. In the waters of the eternal ocean, there was a life-giving principle generated by the power of heat and giving birth to everything else. Another mandala of the Rigveda contains a different version: “Law and truths were born from the kindled heat…”, hence the surging ocean. Out of the tumultuous ocean a year was born, distributing days and nights.” ref

“The Rigveda repeatedly mentions the generative power of the ocean (“multiple,” it roars at its first spread, giving rise to creations, the bearer of wealth), its thousands of streams flowing from the depths, it is said that the ocean is the spouse of rivers. The cosmic ocean forms the frame of the cosmos, separating it from chaos. The ocean is personified by the Varuna, who is associated both with the destructive and uncontrolled power of the waters of the oceans and with fruitful waters that bring wealth to people.” ref

“The churning of the ocean of milk myth contains the motif of the confrontation between the elements of water and fire. As a result of the rapid rotation, a whorl lights up – Mount Mandara, but trees and grasses emit their juices into the drying ocean. This motif echoes the Tungus myths about the creation of the earth by a celestial being, which, with the help of fire, dries up part of the primordial ocean, thus reclaiming a place for the earth. The motif of the struggle of water and fire in connection with the theme of the world ocean is also present in other traditions. Indian mythology is characterized by the image of the creator god (Brahma or Vishnu), floating on the primary waters in a lotus flower, on the nāga Shesha. Kurma, also known as “Tortoise”, is an avatar of Vishnu who is depicted as churning the cosmic ocean. Vishnu adopts the form of a tortoise to help hold the stick used to churn the cosmic ocean.” ref

Primordial Waters’ and Ancient Iranian mythology

“Vourukasha is the name of a heavenly sea in Zoroastrian mythology. It was created by Ahura Mazda and in its middle stood the Harvisptokhm or the “tree of all seeds”. Another cosmic ocean from Persian mythology is Fraxkard (Middle Persian: plʾhwklt, Avestan: Vourukaša; also called Warkaš in Middle Persian). According to the Vendidad, Ahura Mazda sent the clean waters of Vourukasha down to the earth in order to cleanse the world and sent the water back to the heavenly sea Puitika. This phenomenon was later interpreted as the coming and going of the tide. At the centre of Vourukasha was located the Harvisptokhm or “tree of all seeds”, which contains the seeds of all plants in the world. There is a bird Sinamru on the tree which causes the bough to break and seeds to sprinkle all around when it alights. At the center of the Vourukasha also grows the Gaokerena or “White Haoma“, considered to be the “king of healing plants”. It is surrounded by ten thousand other healing plants. In later times, Vourukasha was connected with the Persian Sea and the Puitika with the Gulf of Oman.” ref

Primordial Waters’ and Ancient Biblical mythology

“In the first creation story in the Bible the world is created as a space inside of the water or Tehom, and is hence surrounded by it. “God said, “Let there be an expanse in the midst of the water, that it may separate water from water.” God made the expanse, and it separated the water which was below the expanse from the water which was above the expanse. And it was so.” (Genesis 1:6). It is not clear as to if this upper water refers to the clouds or a “sky ocean” beyond the stars. There are hints though that indicate the cosmic ocean was enveloped in thick clouds. In the Book of Exodus, the cosmic ocean is the Yam Suph and is mentioned in Exodus 15:4, the Song of the Sea. The army of Pharaoh was thrown into the “Sea of Extinction.” Yahweh rises Egypt up from this sea. Sargon II, ruler of the Neo-Assyrian Empire, is said to have washed his weapons in the cosmic ocean. The cosmic ocean is mentioned again in Joshua 1:4 and signified as a boundary of the universe. In the myth of Noah’s Ark, after forty days and nights of rain, the cosmic ocean floods the earth.” ref

The two fish beings on top and the one on the bottom left are Apkallu figures

“Their Handled items are possibly depicting a Pail of Holy/Ritual Water.” ref

“Apkallu or and Abgal (Akkadian and Sumerian, respectively) are terms found in cuneiform inscriptions that in general mean either “wise” or “sage”. In several contexts the Apkallu are seven demigods, sometimes described as part man and part fish or bird, associated with human wisdom; these creatures are often referred to in scholarly literature as the Seven Sages. Sometimes the sages are associated with a specific primeval king. After the Great Flood (see Epic of Gilgamesh), further sages and kings are listed. Post-deluge, the sages are considered human, and in some texts are distinguished by being referred to as Ummanu, not Apkallu.” ref

“The term Apkallu-Abgal is also used as an epithet for kings and gods as a mark of wisdom or knowledge. A further use of the term Apkallu is when referring to figurines used in apotropaic rituals; these figurines include fish-man hybrids representing the seven sages, but also include bird-headed and other figures. In a later work by Berossus describing Babylonia, the Apkallu appear again, also described as fish-men who are sent by the gods to impart knowledge to humans. In Berossus, the first one, Oannes (a variant of Uanna), is said to have taught humans the creation myth, the Enūma Eliš.” ref

“The term apkallu has multiple uses, but usually refers to some form of wisdom; translations of the term generally equate to English language uses of the terms “the wise”, “sage” or “expert”.

As an epithet, prefix, or adjective it can mean “the wise”; it has been used as an epithet for the gods Ea and Marduk, simply interpreted as “wise one amongst gods” or similar forms. It has also been applied to Enlil, Ninurta, and Adad. The term also refers to the “seven sages”, especially the sage Adapa, and also to apotropaic figures, which are often figurines of the ‘seven sages’ themselves.” ref

“A collation of the names and “titles” of theses seven sages in order can be given as:

Uanna, “who finished the plans for heaven and earth”,
Uannedugga, “who was endowed with comprehensive intelligence”,
Enmedugga, “who was allotted a good fate”,
Enmegalamma, “who was born in a house”,
Enmebulugga, “who grew up on pasture land”,
An-Enlilda, “the conjurer of the city of Eridu”,
Utuabzu, “who ascended to heaven.” ref

“Additionally, the term is used when referring to human “priests” (also “exorcists”, “diviners”). However, Mesopotamian human sages also used the term ummianu (ummânù) “expert”. The first of these legendary fish-man sages is known as Oan/Oannes, Sumerian Uanna/U-An; on a few cuneiform inscriptions this first sage has “adapa” appended to his name.  Borger notes, however, that it is difficult to believe that the half-man half-fish Adapa is the same as the fisherman of the Adapa myth, the son of the god Ea. A potential solution was given by W. G. Lambert—evidence that “adapa” was also used as an appellative meaning “wise.” ref

Uruk List of Kings and Sages

“These Sages are found in the “Uruk List of Kings and Sages” discovered in the Seleucid era temple of Anu in Bit Res; The text consisted of list of seven kings and their associated sages, followed by a note on the ‘Deluge’ (see Gilgamesh flood myth), followed by eight more king/sage pairs. Lenzi notes that the list is clearly intended to be taken in chronological order. It is an attempt to connect real (historic) kings directly to mythologic (divine) kingship and also does the same connecting those real king’s sages (ummanu) with the demi-godly mythic seven sages (apkallu). Though the list is taken to be chronological, the texts do not portray the Sages (nor the kings) as genealogically related to each other or their kings. There is some similarity between the sages’ and kings’ names in the list, but not enough to draw any solid conclusions. The seven sages are also mentioned in the Epic of Erra (aka ‘Song of Erra’, or ‘Erra and Ishum’); here again they are referenced as paradu-Fish. In this text is described how after the Flood, Marduk banished them back to Abzu. The seven sages were also associated with the founding of the seven cities of Eridu, Ur, Nippur, Kullab, Kesh, Lagash, and Shuruppak; and in the Epic of Gilgamesh (Gilg. I 9; XI 305) they are credited with laying the foundations of Uruk.” ref

“The ‘Enuma Elish’ epic of creation, describes the ‘Half fish God’ Eanna coming from the water following the ‘great deluge’ to bring knowledge to the Sumerians.” ref

They have bags/pails/buckets and cones

“Bucket and Cone refer to twin attributes that are frequently held in the hands of winged genies depicted in the art of Mesopotamia and within the context of Ancient Mesopotamian religion , particularly in art from the Neo-Assyrian Empire (911–605 BCE) and especially Assyrian palace reliefs from this period – sometimes, however, only the bucket is held, and the other hand is held up in what may be a blessing gesture. To a lesser degree such images were also depicted in images from the Neo-Sumerian Empire, Old Assyrian Empire, Babylonian Empire and Middle Assyrian Empire. As to the identity of the twin objects, the “cone” is generally recognised as a Turkish pine cone (Pinus brutia), common in Assyria, although other common identifications suggest the male inflorescence of the date palm (Phoenix dactylifera), or as a clay model imitating the form of one or the other. The bucket was presumably either of metal or basketry and is thought to have held either holy water or pollen, or perhaps both.” ref

“Although fully explanatory texts regarding these objects are exceedingly rare, from written record it does seem highly likely that they were together employed in rituals of purification, as revealed by their Akkadian (Aka Assyrian, Babylonian) names: banduddû (“bucket”) and mullilu (“purifier”). In this case the fir cone would be dipped in the bucket of water before being shaken in order to ritually purify a person or object. Alternatively the close association of the objects with depictions of stylised trees has led to the suggestion that it depicts fertilisation. In this case the pollen from the male flower of the date palm would be being shaken onto the tree. These objects are often displayed in association with a stylised tree, before floral decorations, guardian figures, the king and/or his attendants and open doorways or portals. The cone was apparently held up in the right hand, the bucket held hanging downwards in the left hand of the figure, which is almost always that of a winged genie or an animal-headed demon or monster (though not necessarily with the same negative connotations); only very occasionally might these attributes be borne by a fully human figure.” ref

The being in the center bottom is Prince Gudea

“Statue of Prince Gudea, City-Governor of Lagash, wearing the flat hat of a priest, and holding as vase of flowing water, associating him with irrigation works and the Sumerian water god Enki. Neo-Sumerian period, about 2120 BCE.” ref

“The flowing vase also may have been dedicated to goddess Geshtinanna.” ref

“Geshtinanna was a Mesopotamian goddess best known due to her role in myths about the death of Dumuzi, her brother. It is not certain what functions she fulfilled in the Mesopotamian pantheon, though her association with the scribal arts and dream interpretation is well attested. She could serve as a scribe in the underworld, where according to the myth Inanna‘s Descent she had to reside for a half of each year in place of her brother.” ref

“Evidence for the worship of Geshtinanna is mostly available from the Early Dynastic state of Lagash, where she had her own cult center, Sagub. She was also present in the pantheons of other cities, for example in Uruk and Tell al-Rimah. She ceased to be venerated after the Old Babylonian period, though even later on she was still mentioned in god lists and in literary texts, some of which were still copied during the period of Seleucid rule over Mesopotamia.” ref

“The oldest writing of Geshtinanna’s name was Amageshtin or Amageshtinanna, as attested in documents from Lagash from the Early Dynastic period. There is no agreement over whether Amageshtin was a shortened form of Amageshtinanna or if the suffix –anna was added to a pre-existing name, but Manfred Krebernik argues the latter is more likely, as Amageshtin is attested as an ordinary personal name in the Early Dynastic period.  In later sources, the form “Geshtinanna” was the most commonly used one.  It might have developed due to the prefix ama (Sumerian: “mother”) being considered an epithet. In Emesal, a dialect of Sumerian, the name was rendered as Mutinanna. The conventional translation of the standard form of the name is “grapevine of heaven,” though it is possible that the word geštin also had the metaphorical meaning “sweet” or “lovely.” ref

“A further variant of the name was Ningeshtinanna. The cuneiform sign NIN can be translated as “lady,” “queen” or “mistress” when used in the names of female deities, and it could sometimes be added as a prefix to names of established goddesses, in addition to Geshtinanna for example Aruru or Aya. This form of Geshtinanna’s is attested for example in the Canonical Temple List and in the name of a skin disease, hand of Ningeshtinanna. A shorter form also including the sign NIN, Ningeshtin (“lady of the vine”) is known from inscriptions on seals from the Kassite period. It has additionally been pointed out that Ninedina, a direct Sumerian equivalent of the Akkadian name Belet-Seri, which designated a goddess who corresponded to Geshtinanna, can be found in the early Fara god list already, but it is unknown if this goddess was one and the same as Geshtinanna.” ref

“Geshtinanna’s functions remain unclear. It is known that she was the dubsar-mah aralike, “chief scribe of the underworld.” This role is described in detail in one of the Udug-hul incantations. She was believed to be responsible for keeping track of the dead, and for permitting them to enter the underworld. However, it is possible her association with the underworld was only a secondary development. Her association with scribal arts and surveying is also attested in other contexts, where she is a heavenly, rather than underworld, deity. The myth Dumuzi’s Dream describes her as the “scribe proficient in tablets” and “singer expert in songs” and highlights her wisdom.  Similar associations are present in various poems from the reign of Shulgi.” ref

“She was also associated with dream interpretation, though this function could generally be assigned to female deities. Tonia Sharlach additionally argues that she was connected with vegetation, but it is not known if her name has any relation to her role. Her iconography is unknown, but it is possible that the depictions of a goddess accompanied by a mushussu known from Lagash can be identified as her, with the mythical beast serving as a representation of Ningishzida, her husband in the local tradition. The mushussu was portrayed looking at the goddess in such works of art.” ref

The worship of Geshtinanna is attested for the first time in the Early Dynastic period. However, she was a goddess of minor importance overall. An early center of her cult was Sagub, a settlement located near Lagash. At least two references to gudu priests connected to her cult in the state of Lagash are known. Under the name Amageshtin, she appears in an inscription of Urukagina. She had a temple in Girsu, built by Ur-Baba. It is possible that another temple dedicated to her, the Esagug, was located in Sagub. It was rebuilt by Enannatum I, and subsequently desecrated during a raid of Lugalzaggesi. He reportedly plundered the precious metals and lapis lazuli the statue of Geshtinanna was decorated with, and then threw it into a well. A later ruler of Lagash, Gudea, dedicated multiple statues to Geshtinanna. While he invoked many members of the Mesopotamian pantheon in his inscriptions, three of them – Geshtinanna, Nanshe and Ningirsu – were singled out as those who “turned their zi gaze” to him, a term apparently normally referring to the way they looked at other deities.” ref

“Geshtinanna was also worshiped around Uruk as one of the deities associated with Inanna and Dumuzi. However, her connection with this city was not as pronounced as that between her and the territory of Lagash. It is possible that the temple Esheshegarra in Bad-tibira was dedicated to her. It was built by Ur-gigir of Uruk, son of Ur-nigin. A temple dedicated jointly to her and Dumuzi, the Eniglulu, “house of teeming flocks,” is also attested, but its location is unknown. The Sumerian term niglulu often appears in compositions about Dumuzi and refers to his herds. Later sources show that Geshtinanna continued to be worshiped through the Ur III period, as attested in documents from Girsu, Puzrish-Dagan and Umma. Those from the last of these cities identify the center of her local cult as KI.AN_ki, a nearby town which was associated with Shara.” ref 

“The Puzrish-Dagan texts indicate she was worshiped in one of the royal palaces, though not necessarily in a fixed location, with Ur, Uruk and Nippur all being possibilities. One of the royal celebrations dedicated to her might have been related to the funerary cult and involved a visit of the goddess in the palace. A single document mentions offerings made to her alongside those to Ninisina, Dagan and Išḫara. A references to Geshtinanna being celebrated in the temple of Ninsun in Kuara is also known. An unusual phenomenon attested in this period was the apparent identification of Shulgi‘s mother SI.A-tum (reading uncertain) as a manifestation of Geshtinanna. No other queen from the Third Dynasty of Ur was deified in any way, nor was Ur-Nammu, its founder and Shulgi’s father.” ref

“In the Old Babylonian period, Geshtinanna was worshiped in Isin, Nippur, Uruk and Tell al-Rimah (Qattara). References to her are known from personal letters from this period, though they are uncommon. The frequency of her appearances in them is lower than that of popular deities, such as Ishtar, Annunitum, Aya, Ninsianna or Gula, and comparable to Ninmug‘s, Ninkarrak‘s or Ninegal‘s. Only a few theophoric names invoking Geshtinanna are known. Examples include Gu-Geshtinannaka, Geme-Geshtinanna, Lu-Geshtinanna and Ur-Geshtinanna. Only a single attestation of one of them, specifically Ur-Geshtinanna, occurs in documents from Early Dynastic Lagash.” ref

“Active worship of Geshtinanna ceased after the Old Babylonian period, but she continued to appear in god lists and especially in literary texts about Dumuzi as late as in the Seleucid period. Geshtinanna’s brother was Dumuzi. It has been argued that she was imagined as older than him, since she could be referred to with epithets such as ama (“mother”) and umma (“old woman” or “wise woman”). Their mother was Duttur. An alternate tradition, attested in a hymn of Shulgi, refers to Anu and his wife Urash as Geshtinanna’s parents. Belili was regarded as a sister of Geshtinanna and Dumuzi. It has been suggested that she could be viewed as an equivalent of Geshtinanna. However, Manfred Krebernik discusses Belili and Gesthinanna as two independent goddesses each of whom could be described as Dumuzi’s sister. They also both appear in the myth Dumuzi’s Dream, each in a separate role.” ref

“Due to Dumuzi’s marriage to Inanna, Geshtinanna was the sister-in-law of this goddess. She is directly referred to as her “beloved sister-in-law” in the composition labeled as Inanna D in modern literature, though she is only listed after the members of her immediate family (Ningal, Suen, Utu, Dumuzi) and Ninshubur, addressed as the “beloved vizier.” A network of syncretic relations existed between Geshtinanna, Azimua, Belet-Seri and, by extension, with Ashratum (also known under the Sumerian name Gubarra).” ref 

“From the reign of Gudea of Lagash to the Ur III period, it was common for Geshtinanna to be identified with Azimua, who the wife of Ningishzida. In a tradition originating in Lagash, Geshtinanna came to be viewed as Ningishzida’s spouse herself. However, in Old Babylonian god list she is kept apart from Ningishzida. From the same period onward, Belet-Seri started to be recognized as the Akkadian counterpart of Geshtinanna. However, Belet-Seri also functioned as an epithet of Ashratum. In a handful of cases Geshtinanna is therefore listed as the wife of Amurru instead of her. Julia M. Asher-Greve cites two examples of cylinder seals from Old Babylonian Sippar where Geshtinanna is paired with ^dMAR.TU (Amurru).” ref

In the myth Dumuzi’s Dream, Geshtinanna is assisted by the goddess Geshtindudu, described as her “adviser and girlfriend.” The relationship between Geshtinanna and Geshtindudu is regarded as unique due to being based on friendship. It has been suggested that some works of art showing a pair of goddesses stands side by side might represent Geshtinanna and Geshtindudu. In the Weidner god list, Geshtinanna is placed near the circle of deities associated with Ishkur, after his wife Shala, their son Misharu, Išḫara and the deity ^dMAŠ-da-ad.” ref 

“Daniel Schwemer based on a later text assumes ^dMAŠ-da-ad was a form of the weather god himself worshiped in the city of Pada, but Manfred Krebernik argues it should be read as Pardat, “the dreadful,” the name of a sparsely attested goddess also known from the god list An = Anum. He proposes that she, Išḫara and Geshtinanna were placed one after another because of their shared association with the underworld. The association between Geshtinanna and Ishkur is not attested in any later god lists, but they are invoked together in some blessing formulas in letters from Tell al-Rimah. There is however no indication that they were regarded as a couple, and it is likely Geshtinanna appears in these texts due to being the personal deity of one of the writers.” ref

The being on the bottom right is water god Enki

“Enki is the Sumerian god of water, knowledge (gestú), crafts (gašam), and creation (nudimmud), and one of the Anunnaki. He was later known as Ea (Akkadian: 𒀭𒂍𒀀) or Ae in Akkadian (Assyrian–Babylonian) religion, and is identified by some scholars with Ia in Canaanite religion. The name was rendered Aos in Greek sources (e.g. Damascius).” ref

“He was originally the patron god of the city of Eridu, but later the influence of his cult spread throughout Mesopotamia and to the Canaanites, Hittites and Hurrians. He was associated with the southern band of constellations called stars of Ea, but also with the constellation AŠ-IKU, the Field (Square of Pegasus). Beginning around the second millennium BCE, he was sometimes referred to in writing by the numeric ideogram for “40”, occasionally referred to as his “sacred number”. The planet Mercury, associated with Babylonian Nabu (the son of Marduk) was, in Sumerian times, identified with Enki. Many myths about Enki have been collected from various sites, stretching from Southern Iraq to the Levantine coast. He is mentioned in the earliest extant cuneiform inscriptions throughout the region and was prominent from the third millennium down to the Hellenistic period.” ref

“The exact meaning of Enki’s name is uncertain: the common translation is “Lord of the Earth”. The Sumerian En is translated as a title equivalent to “lord” and was originally a title given to the High Priest. Ki means “earth”, but there are theories that ki in this name has another origin, possibly kig of unknown meaning, or kur meaning “mound”. The name Ea is allegedly Hurrian in origin while others claim that his name ‘Ea’ is possibly of Semitic origin and may be a derivation from the West-Semitic root *hyy meaning “life” in this case used for “spring”, “running water”. In Sumerian E-A means “the house of water”, and it has been suggested that this was originally the name for the shrine to the god at Eridu.” ref

“It has also been suggested that the original non-anthropomorphic divinity at Eridu was not Enki but Abzu. The emergence of Enki as the divine lover of Ninhursag, and the divine battle between the younger Igigi divinities and Abzu, saw the Abzu, the underground waters of the Aquifer, becoming the place in which the foundations of the temple were built.  With some Sumerian deity names as Enlil there are variations like Elil. En means “Lord” and E means “temple”. It is likely that E-A is the Sumerian short form for “Lord of Water”, as Enki is a god of water. Ab in Abzu also means water.” ref

“The main temple to Enki was called E-abzu, meaning “abzu temple” (also E-en-gur-a, meaning “house of the subterranean waters”), a ziggurat temple surrounded by Euphratean marshlands near the ancient Persian Gulf coastline at Eridu. It was the first temple known to have been built in Southern Iraq. Four separate excavations at the site of Eridu have demonstrated the existence of a shrine dating back to the earliest Ubaid period, more than 6,500 years ago. Over the following 4,500 years, the temple was expanded 18 times, until it was abandoned during the Persian period.” ref 

“On this basis Thorkild Jacobsen has hypothesized that the original deity of the temple was Abzu, with his attributes later being taken by Enki over time. P. Steinkeller believes that, during the earliest period, Enki had a subordinate position to a goddess (possibly Ninhursag), taking the role of divine consort or high priest, later taking priority. The Enki temple had at its entrance a pool of fresh water, and excavation has found numerous carp bones, suggesting collective feasts. Carp are shown in the twin water flows running into the later God Enki, suggesting continuity of these features over a very long period. These features were found at all subsequent Sumerian temples, suggesting that this temple established the pattern for all subsequent Sumerian temples. “All rules laid down at Eridu were faithfully observed.” ref

“Considered the master shaper of the world, god of wisdom and of all magic, Enki was characterized as the lord of the Abzu (Apsu in Akkadian), the freshwater sea or groundwater located within the earth. In the later Babylonian epic Enûma Eliš, Abzu, the “begetter of the gods”, is inert and sleepy but finds his peace disturbed by the younger gods, so sets out to destroy them. His grandson Enki, chosen to represent the younger gods, puts a spell on Abzu “casting him into a deep sleep”, thereby confining him deep underground. Enki subsequently sets up his home “in the depths of the Abzu.” Enki thus takes on all of the functions of the Abzu, including his fertilising powers as lord of the waters and lord of semen.” ref

“Early royal inscriptions from the third millennium BCE mention “the reeds of Enki”. Reeds were an important local building material, used for baskets and containers, and collected outside the city walls, where the dead or sick were often carried. This links Enki to the Kur or underworld of Sumerian mythology. In another even older tradition, Nammu, the goddess of the primeval creative matter and the mother-goddess portrayed as having “given birth to the great gods,” was the mother of Enki, and as the watery creative force, was said to preexist Ea-Enki. Benito states “With Enki it is an interesting change of gender symbolism, the fertilising agent is also water, Sumerian “a” or “Ab” which also means “semen”. In one evocative passage in a Sumerian hymn, Enki stands at the empty riverbeds and fills them with his ‘water’. The cosmogenic myth common in Sumer was that of the hieros gamos, a sacred marriage where divine principles in the form of dualistic opposites came together as male and female to give birth to the cosmos.” ref

“In the epic Enki and Ninhursag, Enki, as lord of Ab or fresh water, is living with his wife in the paradise of Dilmun where,

The land of Dilmun is a pure place, the land of Dilmun is a clean place,
The land of Dilmun is a clean place, the land of Dilmun is a bright place;
He who is alone laid himself down in Dilmun,
The place, after Enki is clean, that place is bright.

Despite being a place where “the raven uttered no cries” and “the lion killed not, the wolf snatched not the lamb, unknown was the kid-killing dog, unknown was the grain devouring boar”, Dilmun had no water and Enki heard the cries of its goddess, Ninsikil, and orders the sun-god Utu to bring fresh water from the Earth for Dilmun. As a result,

Her City Drinks the Water of Abundance,
Dilmun Drinks the Water of Abundance,
Her wells of bitter water, behold they are become wells of good water,
Her fields and farms produced crops and grain,
Her city, behold it has become the house of the banks and quays of the land.

Dilmun was identified with Bahrain, whose name in Arabic means “two seas”, where the fresh waters of the Arabian aquifer mingle with the salt waters of the Persian Gulf. This mingling of waters was known in Sumerian as Nammu, and was identified as the mother of Enki.” ref

“The subsequent tale, with similarities to the Biblical story of the forbidden fruit, repeats the story of how fresh water brings life to a barren land. Enki, the Water-Lord then “caused to flow the ‘water of the heart” and having fertilised his consort Ninhursag, also known as Ki or Earth, after “Nine days being her nine months, the months of ‘womanhood’… like good butter, Nintu, the mother of the land, …like good butter, gave birth to Ninsar, (Lady Greenery)”. When Ninhursag left him, as Water-Lord he came upon Ninsar (Lady Greenery). Not knowing her to be his daughter, and because she reminds him of his absent consort, Enki then seduces and has intercourse with her. Ninsar then gave birth to Ninkurra (Lady Fruitfulness or Lady Pasture), and leaves Enki alone again. A second time, Enki, in his loneliness finds and seduces Ninkurra, and from the union Ninkurra gave birth to Uttu (weaver or spider, the weaver of the web of life).” ref

“A third time Enki succumbs to temptation, and attempts seduction of Uttu. Upset about Enki’s reputation, Uttu consults Ninhursag, who, upset at the promiscuous wayward nature of her spouse, advises Uttu to avoid the riverbanks, the places likely to be affected by flooding, the home of Enki. In another version of this myth, Ninhursag takes Enki’s semen from Uttu’s womb and plants it in the earth where eight plants rapidly germinate. With his two-faced servant and steward Isimud, “Enki, in the swampland, in the swampland lies stretched out, ‘What is this (plant), what is this (plant).

“His messenger Isimud, answers him; ‘My king, this is the tree-plant’, he says to him. He cuts it off for him and he (Enki) eats it”. And so, despite warnings, Enki consumes the other seven fruit. Consuming his own semen, he falls pregnant (ill with swellings) in his jaw, his teeth, his mouth, his hip, his throat, his limbs, his side and his rib. The gods are at a loss to know what to do; chagrined they “sit in the dust”. As Enki lacks a birth canal through which to give birth, he seems to be dying with swellings. The fox then asks Enlil, King of the Gods, “If I bring Ninhursag before thee, what shall be my reward?” Ninhursag’s sacred fox then fetches the goddess.” ref

“Ninhursag relents and takes Enki’s Ab (water, or semen) into her body, and gives birth to gods of healing of each part of the body: Abu for the jaw, Nanshe for the throat, Nintul for the hip, Ninsutu for the tooth, Ninkasi for the mouth, Dazimua for the side, Enshagag for the limbs. The last one, Ninti (Lady Rib), is also a pun on Lady Life, a title of Ninhursag herself. The story thus symbolically reflects the way in which life is brought forth through the addition of water to the land, and once it grows, water is required to bring plants to fruit. It also counsels balance and responsibility, nothing to excess. Ninti, the title of Ninhursag, also means “the mother of all living”, and was a title later given to the Hurrian goddess Kheba. This is also the title given in the Bible to Eve, the Hebrew and Aramaic Ḥawwah (חוה), who was made from the rib of Adam, in a strange reflection of the Sumerian myth, in which Adam – not Enki – walks in the Garden of Paradise.” ref

Making of man

“After six generations of gods, in the Babylonian Enûma Eliš, in the seventh generation, (Akkadian “shapattu” or sabath), the younger Igigi gods, the sons and daughters of Enlil and Ninlil, go on strike and refuse their duties of keeping creation working. Abzu, god of fresh water, co-creator of the cosmos, threatens to destroy the world with his waters, and the gods gather in terror. Enki promises to help and puts Abzu to sleep, confining him in irrigation canals and places him in the Kur, beneath his city of Eridu. But the universe is still threatened, as Tiamat, angry at the imprisonment of Abzu and at the prompting of her son and vizier Kingu, decides to take back creation herself. The gods gather again in terror and turn to Enki for help, but Enki – who harnessed Abzu, Tiamat’s consort, for irrigation – refuses to get involved.” ref

“The gods then seek help elsewhere, and the patriarchal Enlil, their father, god of Nippur, promises to solve the problem if they make him King of the Gods. In the Babylonian tale, Enlil’s role is taken by Marduk, Enki’s son, and in the Assyrian version it is Ashur. After dispatching Tiamat with the “arrows of his winds” down her throat and constructing the heavens with the arch of her ribs, Enlil places her tail in the sky as the Milky Way, and her crying eyes become the source of the Tigris and Euphrates. But there is still the problem of “who will keep the cosmos working”. Enki, who might have otherwise come to their aid, is lying in a deep sleep and fails to hear their cries.” ref

“His mother Nammu (creatrix also of Abzu and Tiamat) “brings the tears of the gods” before Enki and says,

Oh my son, arise from thy bed, from thy (slumber), work what is wise, Fashion servants for the Gods, may they produce their (bread?). Enki then advises that they create a servant of the gods, humankind, out of clay and blood. Against Enki’s wish, the gods decide to slay Kingu, and Enki finally consents to use Kingu’s blood to make the first human, with whom Enki always later has a close relationship, the first of the seven sages, seven wise men or “Abgallu” (ab = water, gal = great, lu = man), also known as Adapa. Enki assembles a team of divinities to help him, creating a host of “good and princely fashioners.” ref

“He tells his mother:

Oh my mother, the creature whose name thou has uttered, it exists,
Bind upon it the (will?) of the Gods;
Mix the heart of clay that is over the Abyss,
The good and princely fashioners will thicken the clay
Thou, do thou bring the limbs into existence;
Ninmah (Ninhursag, his wife and consort) will work above thee
(Nintu?) (goddess of birth) will stand by thy fashioning;
Oh my mother, decree thou its (the new born’s) fate.” ref

“Adapa, the first man fashioned, later goes and acts as the advisor to the King of Eridu, when in the Sumerian King-List, the me of “kingship descends on Eridu”. Samuel Noah Kramer believes that behind this myth of Enki’s confinement of Abzu lies an older one of the struggle between Enki and the Dragon Kur (the underworld). The Atrahasis-Epos has it that Enlil requested from Nammu the creation of humans. And Nammu told him that with the help of Enki (her son) she can create humans in the image of gods.” ref

Uniter of languages

“In the Sumerian epic entitled Enmerkar and the Lord of Aratta, in a speech of Enmerkar, an introductory spell appears, recounting Enki having had mankind communicate in one language (following Jay Crisostomo 2019); or, in other accounts, it is a hymn imploring Enki to do so. In either case, Enki “facilitated the debates between [the two kings] by allowing the world to speak one language,” the presumed superior language of the tablet, i.e. Sumerian.” ref

“Jay Crisostomo’s 2019 translation, based on the recent work of C. Mittermayer is:

At that time, as there was no snake, as there was no scorpion,
as there was no hyena, as there was no lion,
as there was no dog or wolf, as there was no fear or trembling
 — as humans had no rival.

It was then that the lands of Subur [and] Hamazi,
the distinctly-tongued, Sumer, the great mountain, the essence of nobility,
Akkad, the land possessing the befitting,
and the land of Martu, lying in safety
— the totality of heaven and earth, the well-guarded people, [all] proclaimed Enlil in a single language.

Enki, the lord of abundance and true word,
the lord chosen in wisdom who watches over the land,
the expert of all the gods, the chosen in wisdom,
the lord of Eridu, [Enki] placed an alteration of the language in their mouths.
The speech of humanity is one. ” ref

“S.N. Kramer’s 1940 translation is as follows:

Once upon a time there was no snake, there was no scorpion,
There was no hyena, there was no lion,
There was no wild dog, no wolf,
There was no fear, no terror,
Man had no rival.

In those days, the lands of Subur (and) Hamazi,
Harmony-tongued Sumer, the great land of the decrees of princeship,
Uri, the land having all that is appropriate,
The land Martu, resting in security,
The whole universe, the people in unison
To Enlil in one tongue [spoke].

(Then) Enki, the lord of abundance (whose) commands are trustworthy,
The lord of wisdom, who understands the land,
The leader of the gods,
Endowed with wisdom, the lord of Eridu
Changed the speech in their mouths, [brought] contention into it,
Into the speech of man that (until then) had been one.” ref

The deluge: Eridu Genesis

“In the Sumerian version of the flood myth, the causes of the flood and the reasons for the hero’s survival are unknown due to the fact that the beginning of the tablet describing the story has been destroyed. Nonetheless, Kramer has stated that it can probably be reasonably inferred that the hero Ziusudra survives due to Enki’s aid because that is what happens in the later Akkadian and Babylonian versions of the story.” ref 

“In the later Legend of Atrahasis, Enlil, the King of the Gods, sets out to eliminate humanity, whose noise is disturbing his rest. He successively sends drought, famine and plague to eliminate humanity, but Enki thwarts his half-brother’s plans by teaching Atrahasis how to counter these threats. Each time, Atrahasis asks the population to abandon worship of all gods except the one responsible for the calamity, and this seems to shame them into relenting. Humans, however, proliferate a fourth time. Enraged, Enlil convenes a Council of Deities and gets them to promise not to tell humankind that he plans their total annihilation. Enki does not tell Atrahasis directly, but speaks to him in secret via a reed wall.” ref

“He instructs Atrahasis to build a boat in order to rescue his family and other living creatures from the coming deluge. After the seven-day deluge, the flood hero frees a swallow, a raven and a dove in an effort to find if the flood waters have receded. Upon landing, a sacrifice is made to the gods. Enlil is angry his will has been thwarted yet again, and Enki is named as the culprit. Enki explains that Enlil is unfair to punish the guiltless, and the gods institute measures to ensure that humanity does not become too populous in the future. This is one of the oldest of the surviving Middle Eastern deluge myths.” ref

Enki and Inanna

“The myth Enki and Inanna tells the story of how the young goddess of the É-anna temple of Uruk feasts with her father Enki. The two deities participate in a drinking competition; then, Enki, thoroughly inebriated, gives Inanna all of the mes. The next morning, when Enki awakes with a hangover, he asks his servant Isimud for the mes, only to be informed that he has given them to Inanna. Upset, he sends Galla to recover them. Inanna sails away in the boat of heaven and arrives safely back at the quay of Uruk. Eventually, Enki admits his defeat and accepts a peace treaty with Uruk. Politically, this myth would seem to indicate events of an early period when political authority passed from Enki’s city of Eridu to Inanna’s city of Uruk.” ref

“In the myth of Inanna’s Descent, Inanna, in order to console her grieving sister Ereshkigal, who is mourning the death of her husband Gugalana (gu ‘bull’, gal ‘big’, ana ‘sky/heaven’), slain by Gilgamesh and Enkidu, sets out to visit her sister. Inanna tells her servant Ninshubur (‘Lady Evening’, a reference to Inanna’s role as the evening star) to get help from Anu, Enlil or Enki if she does not return in three days. After Inanna has not come back, Ninshubur approaches Anu, only to be told that he knows the goddess’s strength and her ability to take care of herself. While Enlil tells Ninshubur he is busy running the cosmos, Enki immediately expresses concern and dispatches his Galla (Galaturra or Kurgarra, sexless beings created from the dirt from beneath the god’s finger-nails) to recover the young goddess. These beings may be the origin of the Greco-Roman Galli, androgynous beings of the third sex who played an important part in early religious ritual.” ref

“In the story Inanna and Shukaletuda, Shukaletuda, the gardener, set by Enki to care for the date palm he had created, finds Inanna sleeping under the palm tree and rapes the goddess in her sleep. Awaking, she discovers that she has been violated and seeks to punish the miscreant. Shukaletuda seeks protection from Enki, whom Bottéro believes to be his father. In classic Enkian fashion, the father advises Shukaletuda to hide in the city where Inanna will not be able to find him. Enki, as the protector of whoever comes to seek his help, and as the empowerer of Inanna, here challenges the young impetuous goddess to control her anger so as to be better able to function as a great judge. Eventually, after cooling her anger, she too seeks the help of Enki, as spokesperson of the “assembly of the gods”, the Igigi and the Anunnaki. After she presents her case, Enki sees that justice needs to be done and promises help, delivering knowledge of where the miscreant is hiding.” ref

“Enki and later Ea were apparently depicted, sometimes, as a man covered with the skin of a fish, and this representation, as likewise the name of his temple E-apsu, “house of the watery deep”, points decidedly to his original character as a god of the waters (see Oannes). Around the excavation of the 18 shrines found on the spot, thousands of carp bones were found, consumed possibly in feasts to the god. Of his cult at Eridu, which goes back to the oldest period of Mesopotamian history, nothing definite is known except that his temple was also associated with Ninhursag’s temple which was called Esaggila, “the lofty head house” (E, house, sag, head, ila, high; or Akkadian goddess = Ila), a name shared with Marduk’s temple in Babylon, pointing to a staged tower or ziggurat (as with the temple of Enlil at Nippur, which was known as E-kur (kur, hill)), and that incantations, involving ceremonial rites in which water as a sacred element played a prominent part, formed a feature of his worship.” ref

“This seems also implicated in the epic of the hieros gamos or sacred marriage of Enki and Ninhursag (above), which seems an etiological myth of the fertilization of the dry ground by the coming of irrigation water (from Sumerian a, ab, water or semen). The early inscriptions of Urukagina in fact go so far as to suggest that the divine pair, Enki and Ninki, were the progenitors of seven pairs of gods, including Enki as god of Eridu, Enlil of Nippur, and Su’en (or Sin) of Ur, and were themselves the children of An (sky, heaven) and Ki (earth). The pool of the Abzu at the front of his temple was adopted also at the temple to Nanna (Akkadian Sin) the Moon, at Ur, and spread from there throughout the Middle East. It is believed to remain today as the sacred pool at Mosques, or as the holy water font in Catholic or Eastern Orthodox churches.” ref

“Whether Eridu at one time also played an important political role in Sumerian affairs is not certain, though not improbable. At all events the prominence of “Ea” led, as in the case of Nippur, to the survival of Eridu as a sacred city, long after it had ceased to have any significance as a political center. Myths in which Ea figures prominently have been found in Assurbanipal‘s library, and in the Hattusas archive in Hittite Anatolia. As Ea, Enki had a wide influence outside of Sumer, being equated with El (at Ugarit) and possibly Yah (at Ebla) in the Canaanite ‘ilhm pantheon. He is also found in Hurrian and Hittite mythology as a god of contracts, and is particularly favorable to humankind. It has been suggested that etymologically the name Ea comes from the term *hyy (life), referring to Enki’s waters as life-giving.” ref 

“Enki/Ea is essentially a god of civilization, wisdom, and culture. He was also the creator and protector of man, and of the world in general. Traces of this version of Ea appear in the Marduk epic celebrating the achievements of this god and the close connection between the Ea cult at Eridu and that of Marduk. The correlation between the two rises from two other important connections: (1) that the name of Marduk’s sanctuary at Babylon bears the same name, Esaggila, as that of a temple in Eridu, and (2) that Marduk is generally termed the son of Ea, who derives his powers from the voluntary abdication of the father in favour of his son. Accordingly, the incantations originally composed for the Ea cult were re-edited by the priests of Babylon and adapted to the worship of Marduk, and, similarly, the hymns to Marduk betray traces of the transfer to Marduk of attributes which originally belonged to Ea.” ref

“It is, however, as the third figure in the triad (the two other members of which were Anu and Enlil) that Ea acquires his permanent place in the pantheon. To him was assigned the control of the watery element, and in this capacity he becomes the shar apsi; i.e. king of the Apsu or “the abyss”. The Apsu was figured as the abyss of water beneath the earth, and since the gathering place of the dead, known as Aralu, was situated near the confines of the Apsu, he was also designated as En -Ki; i.e. “lord of that which is below”, in contrast to Anu, who was the lord of the “above” or the heavens.” ref

“The cult of Ea extended throughout Babylonia and Assyria. We find temples and shrines erected in his honor, e.g. at Nippur, Girsu, Ur, Babylon, Sippar, and Nineveh, and the numerous epithets given to him, as well as the various forms under which the god appears, alike bear witness to the popularity which he enjoyed from the earliest to the latest period of Babylonian-Assyrian history. The consort of Ea, known as Ninhursag, Ki, Uriash Damkina, “lady of that which is below”, or Damgalnunna, “big lady of the waters”, originally was fully equal with Ea, but in more patriarchal Assyrian and Neo-Babylonian times plays a part merely in association with her lord. Generally, however, Enki seems to be a reflection of pre-patriarchal times, in which relations between the sexes were characterized by a situation of greater gender equality. In his character, he prefers persuasion to conflict, which he seeks to avoid if possible.” ref

Ea and West Semitic deities?

“In 1964, a team of Italian archaeologists under the direction of Paolo Matthiae of the University of Rome La Sapienza performed a series of excavations of material from the third-millennium BCE city of Ebla. Much of the written material found in these digs was later translated by Giovanni Pettinato. Among other conclusions, he found a tendency among the inhabitants of Ebla, after the reign of Sargon of Akkad, to replace the name of El, king of the gods of the Canaanite pantheon (found in names such as Mikael and Ishmael), with Ia (Mikaia, Ishmaia).” ref

“Jean Bottéro (1952) and others suggested that Ia in this case is a West Semitic (Canaanite) way of pronouncing the Akkadian name Ea. Scholars largely reject the theory identifying this Ia with the Israelite theonym YHWH, while explaining how it might have been misinterpreted. Ia has also been compared by William Hallo with the Ugaritic god Yamm (“Sea”), (also called Judge Nahar, or Judge River) whose earlier name in at least one ancient source was Yaw or Ya’a. Ea was also known as Dagon and Uanna (Grecised Oannes), the first of the Seven Sages.” ref

“Each of the four cardinal elements – earth, air, fire, and water – can be incorporated into magical practice and ritual. Depending on your needs and intent, you may find yourself drawn to one of these elements more so that the others. Water is a feminine energy and highly connected with the aspects of the Goddess. Used for healing, cleansing, and purification, Water is related to the West and associated with passion and emotion. In many spiritual paths, including Catholicism, consecrated water can be found – holy water is just regular water with salt added to it, and usually a blessing or invocation is said above it. In Wiccan covens, such water is used to consecrate the circle and all the tools within it. As you may expect, water is associated with the color blue, and the Tarot suit of Cup cards. Water Magic and the Moon, the moon is tied to the ebb and flow of tides around the world. A phenomenon known as lunar tide occurs during the full and new moon phases – during these phases, the gravitational forces create a very high tide and a very low tide. Use water for divination by scrying during the full moon.” ref

“Water in its various forms–as salty ocean water, as sweet river water, or as rain–has played a major role in human myths, from the hypothetical, reconstructed stories of our ancestral “African Eve” to those recorded some five thousand years ago by the early civilizations to the myriad myths told by major and smaller religions today. With the advent of agriculture, the importance of access to water was incorporated into the preexisting myths of hunter-gatherers. This is evident in myths of the ancient riverine civilizations of Egypt, Mesopotamia, India, and China, as well as those of desert civilizations of the Pueblo or Arab populations.” ref

WATER AND PURIFICATION CULTS IN THE RELIGIONS OF THE WORLD

“Sacred purity and impurity are key concepts in the rituals of many religions around the world. In all religions that refer to sacred impurity, it is associated with contact with death. Death is the source of sacred impurity. Religions have not only a theoretical aspect (they state the state of sacred impurity), but also a practical one (they offer ways of purification). To get rid of sacred impurity, certain religious rites are required. By analogy with everyday body cleansing, which mostly uses water, sacred purification rites are usually associated with water. This article analyses the purification cults of several religions of the world, their mythologies, and their role in the lives of believers. The first of the analyzed religions is Japanese Shinto, in which sacred purity plays a special role. The doctrine of sacred impurity in Japanese Shinto is based on the story of Izanagi and Izanami, which tells that Izanagi became impure when he entered the realm of the dead to save his wife Izanami from there. To purify himself, he underwent a ritual of washing in water. This mark shows the connection of sacred impurity with contact with death and cults of purification with water. The article also analyses the doctrines of sacred impurity and purification cults of Taoism, Hinduism, and Zoroastrianism. Particular attention is paid to Christianity, the rite of entry into which is baptism. The consequence of the sin of the ancestors Adam and Eve is human mortality. Death has penetrated human nature, and therefore, every person is bound to come into contact with it. Growth in grace involves the Christian’s participation in liturgical rites, and the prerequisite for this is sacred purification. That is why baptism, which is the first step in the Christian life, is also a rite of purification and is performed with the use of water. The article contains texts of prayers and documents of the Church that explain the meaning of baptism. The article also analyses the significance of sacred impurity in Judaism and Mayday, as well as the rites of purification of these religions. For Judaism, such a rite is washing in the mikvah, which became the prototype of Christian baptism. The Mandeans also developed a rich ritualism related to sacred impurity and purification in water from Jewish purification rites.” ref

WATERY UNDERWORLD SYMBOLISM AND THE DEVELOPMENT OF POLITICAL AUTHORITY IN THE MOPAN VALLEY, BELIZE

“Shifts between the Preclassic and Classic periods involved transitions in many aspects of Maya society, including the role of ritual activities as sources of power for and markers of political authority. During the Classic period, royal individuals were often buried in crypts or tombs marked with water symbolism that symbolically placed the individual within the watery underworld. Layers of lithics overlying these important interments were part of this symbolism. Water symbolism of this nature has deep roots in Maya ideology, beginning as early as the Middle Preclassic, prior to institutionalized political authority. In this article, we explore the relationships between large lithic deposits and underworld and water symbolism at Las Ruinas de Arenal and Buenavista del Cayo to shed light on diachronic transformations of ritual practices involving lithics and other objects reflecting the watery underworld. The deposits at Arenal suggest that during the Preclassic period, watery underworld symbolism was part of communal ritual activities that occurred in public ritual locations. At Buenavista, large lithic deposits reflecting underworld symbolism are more restricted and individualized in nature. We believe this reflects elite incorporation of communal practices to legitimize their privileged position in society and reinforce their political authority.” ref

List of Water Deities

“A water deity is a deity in mythology associated with water or various bodies of water. Water deities are common in mythology and were usually more important among civilizations in which the sea or ocean, or a great river was more important. Another important focus of worship of water deities has been springs or holy wells. As a form of animal worship, whales and snakes (hence dragons) have been regarded as godly deities throughout the world (as are other animals such as turtles, fish, crabs, and sharks). In Asian lore, whales and dragons sometimes have connections. Serpents are also common as a symbol or as serpentine deities, sharing many similarities with dragons.” ref

Water spirits

“A water spirit is a kind of supernatural being found in the folklore of many cultures.” ref

African

“Some water spirits in traditional African religion include:

Damien Marie AtHope’s Art

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32,000-21,000 years ago Yana Culture, at the Yana Woolly Rhinoceros Horn Site in Siberia, with genetic proximity to Ancient North Eurasian populations (Mal’ta and Afontova Gora), but also Ust-Ishim, Sunghir, and to a lesser extent Tianyuan, as well as similarities with the Clovis culture

Damien Marie AtHope’s Art

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Sacred Snakes or Dragons and Rivers, Lakes, and Seas?

Damien Marie AtHope’s Art

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Earth diver, Axis Mundi, and World Turtle Mythology

Damien Marie AtHope’s Art

People don’t commonly teach religious history, even that of their own claimed religion. No, rather they teach a limited “pro their religion” history of their religion from a religious perspective favorable to the religion of choice. 

Damien Marie AtHope’s Art

Do you truly think “Religious Belief” is only a matter of some personal choice?

Do you not see how coercive one’s world of choice is limited to the obvious hereditary belief, in most religious choices available to the child of religious parents or caregivers? Religion is more commonly like a family, culture, society, etc. available belief that limits the belief choices of the child and that is when “Religious Belief” is not only a matter of some personal choice and when it becomes hereditary faith, not because of the quality of its alleged facts or proposed truths but because everyone else important to the child believes similarly so they do as well simply mimicking authority beliefs handed to them. Because children are raised in religion rather than being presented all possible choices but rather one limited dogmatic brand of “Religious Belief” where children only have a choice of following the belief as instructed, and then personally claim the faith hereditary belief seen in the confirming to the belief they have held themselves all their lives. This is obvious in statements asked and answered by children claiming a faith they barely understand but they do understand that their family believes “this or that” faith, so they feel obligated to believe it too. While I do agree that “Religious Belief” should only be a matter of some personal choice, it rarely is… End Hereditary Religion!

Opposition to Imposed Hereditary Religion

Damien Marie AtHope’s Art

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Animism: Respecting the Living World by Graham Harvey 

“How have human cultures engaged with and thought about animals, plants, rocks, clouds, and other elements in their natural surroundings? Do animals and other natural objects have a spirit or soul? What is their relationship to humans? In this new study, Graham Harvey explores current and past animistic beliefs and practices of Native Americans, Maori, Aboriginal Australians, and eco-pagans. He considers the varieties of animism found in these cultures as well as their shared desire to live respectfully within larger natural communities. Drawing on his extensive casework, Harvey also considers the linguistic, performative, ecological, and activist implications of these different animisms.” ref

Damien Marie AtHope’s Art

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Hinduism around 3,700 to 3,500 years old. ref

 Judaism around 3,450 or 3,250 years old. (The first writing in the bible was “Paleo-Hebrew” dated to around 3,000 years ago Khirbet Qeiyafa is the site of an ancient fortress city overlooking the Elah Valley. And many believe the religious Jewish texts were completed around 2,500) ref, ref

Judaism is around 3,450 or 3,250 years old. (“Paleo-Hebrew” 3,000 years ago and Torah 2,500 years ago)

“Judaism is an Abrahamic, its roots as an organized religion in the Middle East during the Bronze Age. Some scholars argue that modern Judaism evolved from Yahwism, the religion of ancient Israel and Judah, by the late 6th century BCE, and is thus considered to be one of the oldest monotheistic religions.” ref

“Yahwism is the name given by modern scholars to the religion of ancient Israel, essentially polytheistic, with a plethora of gods and goddesses. Heading the pantheon was Yahweh, the national god of the Israelite kingdoms of Israel and Judah, with his consort, the goddess Asherah; below them were second-tier gods and goddesses such as Baal, Shamash, Yarikh, Mot, and Astarte, all of whom had their own priests and prophets and numbered royalty among their devotees, and a third and fourth tier of minor divine beings, including the mal’ak, the messengers of the higher gods, who in later times became the angels of Judaism, Christianity and Islam. Yahweh, however, was not the ‘original’ god of Israel “Isra-El”; it is El, the head of the Canaanite pantheon, whose name forms the basis of the name “Israel”, and none of the Old Testament patriarchs, the tribes of Israel, the Judges, or the earliest monarchs, have a Yahwistic theophoric name (i.e., one incorporating the name of Yahweh).” ref

“El is a Northwest Semitic word meaning “god” or “deity“, or referring (as a proper name) to any one of multiple major ancient Near Eastern deities. A rarer form, ‘ila, represents the predicate form in Old Akkadian and in Amorite. The word is derived from the Proto-Semitic *ʔil-, meaning “god”. Specific deities known as ‘El or ‘Il include the supreme god of the ancient Canaanite religion and the supreme god of East Semitic speakers in Mesopotamia’s Early Dynastic Period. ʼĒl is listed at the head of many pantheons. In some Canaanite and Ugaritic sources, ʼĒl played a role as father of the gods, of creation, or both. For example, in the Ugaritic texts, ʾil mlk is understood to mean “ʼĒl the King” but ʾil hd as “the god Hadad“. The Semitic root ʾlh (Arabic ʾilāh, Aramaic ʾAlāh, ʾElāh, Hebrew ʾelōah) may be ʾl with a parasitic h, and ʾl may be an abbreviated form of ʾlh. In Ugaritic the plural form meaning “gods” is ʾilhm, equivalent to Hebrew ʾelōhîm “powers”. In the Hebrew texts this word is interpreted as being semantically singular for “god” by biblical commentators. However the documentary hypothesis for the Old Testament (corresponds to the Jewish Torah) developed originally in the 1870s, identifies these that different authors – the Jahwist, Elohist, Deuteronomist, and the Priestly source – were responsible for editing stories from a polytheistic religion into those of a monotheistic religion. Inconsistencies that arise between monotheism and polytheism in the texts are reflective of this hypothesis.” ref

Jainism around 2,599 – 2,527 years old. ref

Confucianism around 2,600 – 2,551 years old. ref

Buddhism around 2,563/2,480 – 2,483/2,400 years old. ref

Christianity around 2,o00 years old. ref

Shinto around 1,305 years old. ref

Islam around 1407–1385 years old. ref

Sikhism around 548–478 years old. ref

Bahá’í around 200–125 years old. ref

Damien Marie AtHope’s Art

Damien Marie AtHope’s Art

Damien Marie AtHope (Said as “At” “Hope”)/(Autodidact Polymath but not good at math):

Axiological Atheist, Anti-theist, Anti-religionist, Secular Humanist, Rationalist, Writer, Artist, Jeweler, Poet, “autodidact” Philosopher, schooled in Psychology, and “autodidact” Armchair Archaeology/Anthropology/Pre-Historian (Knowledgeable in the range of: 1 million to 5,000/4,000 years ago). I am an anarchist socialist politically. Reasons for or Types of Atheism

My Website, My Blog, & Short-writing or Quotes, My YouTube, Twitter: @AthopeMarie, and My Email: damien.marie.athope@gmail.com