[2] Thought to be forgeries for some time,[4][5] excavations at Uruk redeemed them through revealing stylistic parallels in a basalt stele and the famous Warka Vase.

[6][7] Even though widely accepted today, some authors nonetheless maintain scrutiny on the Monuments’ status within Mesopotamian history.

The lower figure is a nude male who kneels with a pestle and mortar, which could suggest equally craftsmen or food preparation.

[11] In the upper register, a standing man with a beard, bordered net-skirt, and headband holds a four-legged animal in his hands (usually identified as either a sheep or a goat).

[11] Most texts identify the right figure as a woman on the basis of Gelb’s identification, but if so, then ‘she’ lacks the characteristic dress present on other women from the same period, such as on the Ushumgal Stele.

[2][11] Like the Stele of Ushumgal and other works from a similar time period, the text on the Blau Monuments is not fully comprehensible.

The obelisk’s inscription clearly refers to "5 bur" of land (roughly 30 hectares), as well as a temple household and the profession "engar".

[12] As a result of the yet-undeciphered text and certain oddities in the iconography, any attempt at definitively declaring a purpose for the Monuments is naturally tenuous.