3 0 0 0 IR バビロンのマルドゥク像を巡って―偶像崇拝とそれに関わる問題点―
- 著者
- 松島 英子
- 出版者
- 法政大学キャリアデザイン学部
- 雑誌
- 法政大学キャリアデザイン学部紀要 = 法政大学キャリアデザイン学部紀要 (ISSN:13493043)
- 巻号頁・発行日
- vol.2, pp.225-241, 2005-03
This paper discusses several aspects of idolatry in Ancient Mesopotamia,especially in the first millennium. In each city of Mesopotamia,there was at least one temple where the city god and his consort were enshrined. As a matter of fact,gods were represented by statues generally made of wood and covered by gold. People identified the statue with the god himself(or the goddess herself)and treated it as if it were a living being. Every day they delicated food and drink to the god('s statue)and changed the clothes,jewelry and articles belonging to it in spring and in autumn. People thus took care of the gods(in fact their statues). As long as the god,being treated carefully,is satisfied and atayed in his own temple,the city as well as its citizens were protected. But if he was not satisfied and angry with his people,he could abandon them and leave the city. In the history of Mesopotamia,such accidents often occurred. In the 8th century B.C.,the Assyrian king Sennacherib attacked Babylonia and its capital Babylon,the most eminent and holy city in Mesopotamia. He destroyed many temples,including Esagila,the temple of the city god Marduk. We do not know whether his statue was completely destroyed or simply captured by the Assyrians. Anyway,Marduk's stantue disappeared from Babylon in 689 B.C. for certain political reasons Esarhaddon, who succeeded Sennacherib,wanted to restore the Marduk's statue and the cult of this god in Babylon by himself. However,the stantue returned home not in his reign but in the first year of his successor,i.e.,668 B.C. We have several written documents concerning this event. Most of them are letters written by high officials in the court of Esarhaddon. They informed the king the details of restorative work. Some of them speak of a clothing ceremony for Marduk in Babylon. This is embarrassing because the statue of this god had not been completed during the reign of this king. After several examinations and dicussions,this paper concludes that both the statue and the cult of Marduk were under restoration under the direction of Esarhaddon. It can be supposed that this very fact is most important because the cult is availabe only with the statue. If the statue disappears,so does the religious cult. This is one of the characteristic aspects of idolatry in Mesopotamia,and certainly of idolatry in general.
3 0 0 0 OA マルドゥクの「50の名前」の意味について
- 著者
- 松島 英子
- 出版者
- 一般社団法人 日本オリエント学会
- 雑誌
- オリエント (ISSN:00305219)
- 巻号頁・発行日
- vol.51, no.1, pp.165-180, 2008-09-30 (Released:2014-03-30)
Though the “Fifty Names” of Marduk in Enūma eliš (below called Ee) is famous in Babylonian literature, we have not intensively discussed the significance of “fifty” names. VI 123 to VII 136 of Ee contain in fact fifty-one names. However, the epic insists on “fifty”, the number generally attributed to Enlil, the head of the pantheon before Marduk. Ee mentions the number “fifty” for the first time at the birth of Marduk and uses it repeatedly whenever the story takes a new turn. Analyzing the epic, We suspect that the author(s) made use of this number, in order to emphasize that the kingship of the Babylonian pantheon was transfered from Enlil to Marduk. We have two related texts with Neo-Assyrian manuscrips. One, CT 25, 50+ Rm 52 contains the mystical numbers of the gods. Here, the fifty is attributed to Enlil and Ninurta, and ten to Marduk. The tablet was copied by the scribe at the reigns of Sargon and Sennacherib. Another text, CT 13, 32, a commentary on Ee, says on rev.12’ the following “fifty = hansā, fifty is dBE”. dBE generally indicates Enlil, but the texts giving the reading have recently been found. It is thus possible to interprete the rev.12’ as “fifty hansā, fifty is dBE(=Marduk)". This reading seems most probable since the first half of rev.12’ is the same as Ee VII 144. The use as dBE= dBēl dates the copy to the same period as CT 25, 50+ Rm 52. But at that time dBE may still have indicated Enlil as well. Perhaps, the author of CT 13, 32 made use of this double understanding to emphasize that the kingship of the gods had been transtered from Enlil to Marduk.
1 0 0 0 古代メソポタミアの神像とその素材
- 著者
- 松島 英子
- 出版者
- 学術雑誌目次速報データベース由来
- 雑誌
- オリエント (ISSN:00305219)
- 巻号頁・発行日
- vol.33, no.1, pp.96-112, 1990
A divine statue played a very important role in the religion of the ancient Mesopotamia. It was considered to be a vividly realistic sacred being, god of a very real sense. It was actually fed and clothed. In the first millenia B. C., the statue was made with wooden materials, I believe, according to some evidences. Then, what were the materials of the divine statues in both the second and the third millenium? Some certain year names of the period of the 3rd dynastie of Ur, Isin, Larsa and the Ist dynasty of Babylon suggest that small copper or bronze made divine statues were dedicated by the kings of those days in the temples there. Certain texts of economic concern of the Ur III period also tell us about the manufacture of the statues with copper or bronze materials. Though the numbers have still been few, lists of divine clothings and jewelries of the Ur III period, mainly of the old Babylonian period and thereafter, have also revealed to us. As I think that a large and wodden-made statue should also have required to wear clothings and jewelries, I am inclined to assume that wooden statues came to apear about this period.
1 0 0 0 IR マルドゥク神のキャリア形成 : 叙事詩『エヌーマ・エリシュ』から
- 著者
- 松島 英子
- 出版者
- 法政大学キャリアデザイン学部
- 雑誌
- 法政大学キャリアデザイン学部紀要 = 法政大学キャリアデザイン学部紀要 (ISSN:13493043)
- 巻号頁・発行日
- no.5, pp.265-278, 2008-03
This paper attempts to analyze the Babylonian epic "Enuma Elis" and clarify the process of the promotion of Marduk, in fact the city god of Babylon, from a simple young god to the top of the pantheon. Born the son of Ea, the young Marduk had already overwhelming power and ability. When the society of gods faced a crisis, with the revolt of Tiamat, be proposed himself to take on the role of savior in exchange for the throne. He skillfully realized his plan and succeeded Enlil, gives a clear explication of this success with a history very cleverly composed.
1 0 0 0 IR メソポタミアにおける文字と思考についての一考察
- 著者
- 松島 英子
- 出版者
- 法政大学キャリアデザイン学部
- 雑誌
- 法政大学キャリアデザイン学部紀要 = 法政大学キャリアデザイン学部紀要 (ISSN:13493043)
- 巻号頁・発行日
- no.3, pp.257-275, 2006-03
Today in Japan,we use three different types of script. First Kana(hiragana and Katakana),phonetic-syllabic scripts,second kanji,used as ideographs and logographs,and lastly the European alphabet which is phonemic in origin. In our daily life,we switch among these scripts according to circumstances,unconsciously discerning which is appropriate. In Ancient Mesopotamia,where the oldest script in the world was born,the situation was rather similar to that in Japn today. The Sumerian people who had invented an ideographic system in order to represent their language,moved to the second atage of script,namely the phonemic. They already used a kind of double system of writing. Speakers of the Akkadian language later became preponderant,and borrowed the Sumerian writing system for their own language. As a rule they used phonography,but eventually employed ideography. This is the main feature of their cuneiform writing systems. Thus,the scribes used phonograms and ideograms at the same time according to tradition and circumstances. Born as a pictogram,later an ideogram,one cuneiform character was identified with one object. Thus a character could have a kind of substance. The name of the object in question was also identified in the character,and thus could have a kind of substance. Some Mesopotamian scholars took advantage of this complication in order to well understand the object itself,represented by writings,as well as to develop Knowledge of it. We actually have a certain number of documents concerning this phenomenon,which convey to us the efforts of scholars. These are:―An episode of the Creation of Man in the "Atra-hasis"epic and the nomination of the phantom―The 50 names of Marduk in "Enuma Elis"epic ―Commentaries on these 50 names ―Some tricky devices in writings on these 50 names ―Several initial lines of the epic"Erra and Isum" ―Three episodes in Assyrian royal inscriptions(number symbolism) If we analyze these examples in detail,we will be able to follow the development of the thinking and wisdom in ancient Mesopotamia,which is a source of human civilization.
1 0 0 0 OA 古代メソポタミアの神像とその素材
- 著者
- 松島 英子
- 出版者
- 一般社団法人 日本オリエント学会
- 雑誌
- オリエント (ISSN:00305219)
- 巻号頁・発行日
- vol.33, no.1, pp.96-112, 1990-09-30 (Released:2010-03-12)
A divine statue played a very important role in the religion of the ancient Mesopotamia. It was considered to be a vividly realistic sacred being, god of a very real sense. It was actually fed and clothed. In the first millenia B. C., the statue was made with wooden materials, I believe, according to some evidences. Then, what were the materials of the divine statues in both the second and the third millenium? Some certain year names of the period of the 3rd dynastie of Ur, Isin, Larsa and the Ist dynasty of Babylon suggest that small copper or bronze made divine statues were dedicated by the kings of those days in the temples there. Certain texts of economic concern of the Ur III period also tell us about the manufacture of the statues with copper or bronze materials. Though the numbers have still been few, lists of divine clothings and jewelries of the Ur III period, mainly of the old Babylonian period and thereafter, have also revealed to us. As I think that a large and wodden-made statue should also have required to wear clothings and jewelries, I am inclined to assume that wooden statues came to apear about this period.