Dara Antik Kenti
Mardin’in 30 km. güneydoğusunda bulunan Oğuz köyünde yer almaktadır. Tarihte Yukarı Mezopotamya'nın en önemli yerleşim yerlerinden birisi olan Dara, İmparator Anastasius'un (491-518) girişimleriyle 505 yılında, Doğu Roma İmparatorluğunun doğu sınırını Sasanilere karşı korumak için askeri amaçlı bir garnizon kenti olarak kurulmuştur. Kaya içine oyulan yapılardan oluşan ve geniş bir alana yayılan Dara Antik Kentinin çevresi 4 kilometrelik bir surla korunmuştur. İç kale, kentin kuzeyinde ve 50 m. yüksekliğindeki tepenin üst düzlüğüne kurulmuştur. Kent içinde kilise, saray, çarşı, zindan, tophane ve su bendi kalıntıları halen görülebilmektedir. Ayrıca köyün etrafında tarihleri Geç Roma dönemine kadar giden mağara evlere rastlanmaktadır.
Gilgamesh, The Herbert Mason Translation
Let's begin at the beginning: this is the oldest extant story in the canon of Western Civilization: two thousand years older than any book of the Bible. Why this particular translation? My modesty prevents me from labeling a text a good or bad translation. Nor can I tell you what a good translation is or if such a thing is possible given the nuances of language, those subtleties of meaning, those shades of intention, etc. Is a good translation the most accurate? And accurate in what sense? How much room do we give the translator? This is called a sticky wicket.
(Do I love Kafka? Heck, yes. Do I know if I'm reading a good translation? Heck, no. I do know that if the translator calls Gregor a water bug, a huge insect, anything but cockroach, I will put the book down. He's a cockroach, and I don't care what they call a cockroach in German, even if it's a German cockroach a.k.a. a New York City cockroach.)
Now, imagine my knowledge of, say, Assyrian. Or my level of comfort with cuneiform. So, trust here is key.
Having belabored all of the above, I strongly recommend the Herbert Mason translation of Gilgamesh. To use another technical literary term, it's a home run.
The writing is clear and concise. Mason's choice of details makes for a story that is beautiful and accessible. If you believe in Jung's Theory of Archetypes, or are just a fan of Meaning presented in fresh, rich parables, read this story.
The characters and images will floor you: Gilgamesh, Enkidu, The Walls of Uruk, The River and every other Nature image, Utnapishtim, The Scorpion People, The Road of The Sun, Urshanabi, the amazing Siduri (temptress, savior, voice of reason?) .... And the lessons will stay with you. Ever hear of a guy named Noah? Well, he's a complete knock-off of Urshanabi, and the original is better.
Want to have your mind blown? Compare Gilgamesh to Alice in Wonderland. Tell me the Scorpion people aren’t Tweedledum and Tweedledee.
ÁRVORE DA VIDA: A Árvore da Vida é um símbolo sagrado da criação, fecundidade e imortalidade. Ela representa a ligação entre céu, terra esubmundo.
Sua folhas crescem em direção ao céu, enquanto o seu tronco relaciona-se com a terra. Suas raízes, por fim, encontram-se no submundo.
Esse símbolo está presente na maior parte das culturas. A Árvore da Vida dos assírios é a mais conhecida entre todas as árvores sagradas e está associada à Ishtar, deusa da fertilidade e da destruição (a divindade mais importante da Mesopotâmia). #Arvoredavida#lifetree#handmade#artesanato#diy#style#necklace#mesopotamia#tree#luzdaluabijus
THIS IS KURDISTAN | BAKÛR - Part 1
Kurdistan is a historic, geographic, and cultural region in the Middle-East wherein the Kurdish people are the majority. Kurdistan is not an independent country, but there are two autonomous Kurdish regions in Northern Iraq and Syria. However, most of Kurdistan is located in East- and South-Eastern Turkey and North-Western Iran. Especially these parts are of great historic importance; not just for the Kurds, but to the entire world: Kurdistan is ground-zero of history.
This video features some of the most important cities and sites in North-Kurdistan. Not all cities and historic sites are represented; that would be impossible. But this is, by far, the most comprehensive introduction to "Bakur" you will find. In time, Kurdish Heritage will publish Part II and Part III, featuring the cities and historic sites of the other parts of Kurdistan (East/Rojhilat, South/Basur, West/Rojava). The full length of this video is already available on YouTube. It is 12 minutes long. Instagram allows only one minute footage per post, so I will split the video into 12 or more parts.
PART 1 of 'BAKÛR' features the city of Amed (Diyarbakir), the to-be capital of a 'Greater Kurdistan', and one of the oldest cities in the world.
LINK TO FULL VIDEO (12 MINUTES): https://www.youtube.com/watch?v=YP5zprRTS2o
Please share :). #Kurdish_Heritage#ThisIsKurdistan#BAKÛR#Bakur#Kurds#Kurdish#Kurdistan#History#Heritage#Amed#Diyarbakir#CityWalls#OldTown#MiddleEast#Discover#Anatolia#Mesopotamia#Merdin#Riha#Ardeshir#Kamkars#Architecture#Art#Orient#Music#YPG#Azadi#Referendum#Barzani#Kirkuk
كان سكان بلاد الرافدين يطحنون الاحجار الكريمة من اجل استخدامها كمساحيق تجميل للوجة والشفاه.
حتى المكياج اصله عراقي وكل شيء جميل اصله عراقي.
ما نعيشه اليوم ليس #العراق على الاطلاق.
The people of #Mesopotamia crushed the precious stones for use as facial cosmetics
Al Nukhailah Mosque in the town of Al Kifl is a brilliant example of ancient architecture, believed to be constructed by Abraham in the 7th century, it's also contains the tomb of Dhul-Kifl who is considered to be Ezekiel. Although most of the original mosque no longer exist, what stands out the most is this 25 meter long Minaret, which was built in 1304, the minaret contain a very unique writing in the Kufic calligraphy which translate to "My love is for Mohammed and Ali". As it's obvious from the picture, the Minaret is significantly tilted to one side, but constant renovation from the company supervising the site keeps it from falling, the entire site was renovated in 2014, and it's a really beautiful place to visit | Good Afternoon 💙
Michael Rakowitz’s colorful “The Invisible Enemy Should Not Exist” livens up drab Trafalgar Square. Constructed out of recycled Iraqi date syrup tin cans, the sculpture takes the form of an Assyrian ‘lamassu’, a winged half-man, half-bull that possesses protective powers; such monumental sculpted lamassu adorned many Assyrian palaces in Iraq in the 9th-7th centuries BC. The one replicated here was destroyed by ISIL soldiers. The meaning of Rakowitz’s work is more nuanced than the rather bland description given by the onsite plaque: it’s part of a project meant to draw attention to and admonish the rapid loss of Iraq’s cultural heritage (through looting and destruction) which began with the US/UK led invasion in 2003; the sculpture’s position here, gazing down at Whitehall, is thus significant. For more on the context of the sculpture, I recommend this article: https://hyperallergic.com/436134/michael-rakowitz-fourth-plinth-trafalgar-square-london/
#dude I just had a Clear Vision of what appeared to be #outerspace eccept You Could See Stars and the #black#pyramids of Egypt were being built and I asked who built them and I heard one word #Anunnaki and I Googled it and this is what I found. #mesopotamia#deities is not a #myth I saw them. The black stones they were building the pyramids with, were shimmering with rainbow light inside them.
تمثال بابلي مصنوع من المرمر لل إلهة عشتار ، 350 قبل الميلاد .
يصور هذا التمثال الجمال والإرهاب ل أكبر الآلهة السومرية إينانا / عشتار فهي جميلة وفظيعة في آن واحد ، وأغوت العديد من الرجال العظماء ثم قتلتهم . يحذر جلدها الأبيض والعيون الحمراء المتوهجة أولئك الذين قد يستجيبون لها عندما تدعوهم باشارة من يدها
Babylonian Alabaster Statue of the goddess Ishtar, 350 B.C.
The beauty and terror of the greatest of Sumerian goddesses comes through in this ancient statue. Inanna/Ishtar was at once lovely and terrible, seducing many great men and then killing them. Her unearthly white skin and glowing red eyes warn those who might answer her as she beckons with her hand.
A Greco-Oriental style / Louvre Museum Description
This gracefully modeled alabaster statuette depicts a naked woman, standing with her right arm against her body and her left arm bent, palm raised. She wears a stucco headdress topped with a gilded crescent. Her eyes are set with rubies. She has a small mouth and a rounded chin, and pierced ears decorated with gold pendants. She is wearing a gold necklace. Her high breasts are well shaped. The arms are articulated and attached with a thread, no doubt originally a gold wire. The woman has a slim waist and broad curving hips, and wears a ruby in her navel. Her thighs and legs are close together. Although the modeling is consistent with the canons of Greek art, the use of several materials such as gold, stucco, alabaster, and precious stones is a truly Mesopotamian tradition. Ishtar, the Babylonian goddess of sexuality and war, has taken on Greek attributes and metamorphosed into Aphrodite.