Gudea cylinders
[1] The cylinders were made by Gudea, the ruler of Lagash, and were found in 1877 during excavations at Telloh (ancient Girsu), Iraq and are now displayed in the Louvre in Paris, France.
[2] The cylinders were found in a drain by Ernest de Sarzec under the Eninnu temple complex at Telloh, the ancient ruins of the Sumerian holy city of Girsu, during the first season of excavations in 1877.
[7] Further translations were made by M. Lambert and R. Tournay in 1948,[8] Adam Falkenstein in 1953,[9] Giorgio Castellino in 1977,[10] Thorkild Jacobsen in 1987,[1] and Dietz Otto Edzard in 1997.
[11][12] The latest translation by the Electronic Text Corpus of Sumerian Literature (ETCSL) project was provided by Joachim Krecher with legacy material from Hermann Behrens and Bram Jagersma.
[17] Interpretation of the text faces substantial limitations for modern scholars, who are not the intended recipients of the information and do not share a common knowledge of the ancient world and the background behind the literature.
Irene Winter points out that understanding the story demands "the viewer's prior knowledge and correct identification of the scene – a process of 'matching' rather than 'reading' of imagery itself qua narrative."
A large quantity of sculpted and inscribed artifacts have survived pertaining to his reconstruction and dedication of the Eninnu, the temple of Ningursu, the patron deity of Lagash.
[18] Thorkild Jacobsen suggested it may have explained why a relatively recent similar temple built by Ur-baba (or Ur-bau), Gudea's father-in-law "was deemed insufficient".
[19] Cylinder A opens on a day in the distant past when destinies were determined with Enlil, the highest god in the Sumerian pantheon, in session with the Divine Council and looking with admiration at his son Ningirsu (another name for Ninurta) and his city, Lagash.
[18] Upon the day for making of decisions in matters of the world, Lagash in great office raised the head, and Enlil looked at Lord Ningirsu truly, was moved to have the things appropriate appear in our city.
Nanse explains that the giant man is her brother Ningirsu, and the woman with the golden stylus is Nisaba goddess of writing, directing him to lay out the temple astronomically aligned with the "holy stars".
[14] Nanse instructs Gudea to build Ningirsu – a decorated chariot with emblem, weapons, and drums, which he does and takes into the temple with balaĝ-instrument, ušumgal- kalam-ma, "Dragon of the Land".
The construction of the structure is then detailed with the laying of the foundations, involving participation from the Anunnaki including Enki, Nanse, and Bau.
[14] Lines 738 to 758 describe the house being finished with "kohl" and a type of plaster from the "edin" canal: The fearsomeness of the E-ninnu covers all the lands like a garment!
These include a gatekeeper, bailiff, butler, chamberlain, coachman, goatherd, gamekeeper, grain and fisheries inspectors, musicians, armourers and a messenger.
[14] An example of the Cylinder B text: "When his (Gudea's) king (Ningirsu) had entered the house, for seven days the slave-girl was the equal of her mistress, the slave walked by the side of his master.
From evil speech the word was altered; wickedness was turned back into its house; the just laws of Nanshe and Ningirsu were strictly adhered etc.
Thorkild Jacobsen describes the temple as an intensely sacred place and a visual assurance of the presence of the god in the community, suggesting the structure was "in a mystical sense, one with him."
The style, traditions and format of the account has notable similarities to those in the Bible such as the building of the tabernacle of Moses in Exodus 25 and Numbers 7.
