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B108 - Tall munqaba 2 - 2009.
Acrylic on canvas 30 x 140 cm - 12 x 55 inchesMore about this painting
- 2011
- 155 - Antique Achaemenid hunting ...
- 2010
- 149 - When Ninurta hunted Anzu...
- 146 - FREEDOM, WHEN THE SUMERIANS ...
- 143 - Seal of Bel-Mushallim...
- 110-5 - DIPTYCH B109 – B110
- 110 - WHEN FISHES CAME OUT OF THE WATER
- 2009
- 132 - Fight between a horned man...
- 123 - Round légumenomorphe ...
- 115 - Two striking camels for a female
- 114 - Divorce babylonian style...
- 113 - Winged horned centaur sassanid
- 112 - Sassanid winged horse
- 111 - When a balinese embarks with Benu...
- 109 - When the gods were (still) men...
- 108 - Tall Munqaba 2
- 107 - Tall Munqaba 1
- 106 - When a naked queen solicits the intercession ...
- 105 - When Râ, Horus and Isis were in a boat
- 104 - Adda the scribe
- 103 - Seal of Tariba Ishtar ...
- 2008
- 102 - When a sumerian king meets his god
- 101 - The tree of life in its babylonian garden
- 100-5 - B99 & B100 Babylonian diptych
- 100 - Seal of Tariba-Teshub king of Karkemish ...
- 099 - Let him, he, who believes in you ...
More about this painting
B108 - TALL MUNBÂQA 2 – 2009
Acrylic on canvas 30 x 140 cm – 12 x 55 inches
BABYLONIAN / (Text translated by Google) / This painting is the result of a Tall Munbâqa, and this, from five different tablets which only parts were combined for this table.
From left to right: two characters who have a tree with a root, it could be a sacred tree of life common in the Syrian glyptics. The following seems to crash into the ground a symbol of the sun? Would follow a priest? A couple deer hunter follows in a pose glyptics redundant in Mesopotamia. The last character is obviously a hunter.
In another rural area six deer, two dancing around a sacred tree.
Above various vegetations, a snake, a bird and probably a whale, the latter existing only by the existence of an indefinite form, but close to the mammal most unexpected and in my opinion, never shown in glyptics Mesopotamian and this, particularly in relation to the origin of humanity that would leave the water in the form of fish and even whales. The tracery with or without focus are also part of the recurrent iconography throughout the East and the Middle East for several millennia.