Gilgamesch: Ikonographie eines Helden,
OBO 245,
Fribourg: Vanderhoeck & Ruprecht Göttingen.
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This volume collects contributions (both in German and in English) from eleven scholars, all regarding the iconography and the widespread diffusion of the image of Gilgamesh in different areas.
The two opening chapters are written by the editor (H.U. Steymans): the first one is devoted to an introduction to the epic of Gilgamesh and to the iconography of the hero; the second, more theoretical chapter deals with the general concept of “iconography”, under a methodological perspective”, quoting mostly theories of Winckelmann, Goldschimdt, Brunn, Springer and Keel.
The third chapter (by R. Opificius) focuses on the representation of both Gilgamesh and Enkidu on different supports (monumental art, glyptic, sherds), from the Paleo-Akkadian to the Neo-Assyrian period.
The fourth chapter (by W.G. Lambert) analyses the figure of Gilgamesh in literature and art of the Second and First millennia BC, presenting the most important episodes of Gilgamesh’s saga in comparison with their representations, so crossing texts with iconography.
The fifth chapter (by D. Collon) deals instead with giants, starting from E. Porada studies on these figures on seals, and moving to a discussion about the different depictions of the giant Humbaba on seals, scarabs and metal objects.
The sixth chapter (by C. Mittermayer) presents a diachronic comparison of literary texts in different languages regarding the Cedar Forest episode, focusing on the transformation of the figures of Gilgamesh and Enkidu within the Sumerian and Akkadian literature.
The seventh chapter (by D. Frayne) summarises the many instances of the representation of Gilgamesh on the glyptics of the Old Akkadian period.
The eight chapter (by U. Seidl) offer an overview on a group of Old Babylonian terracotta plaques analysing different episodes of Gilgamesh’s saga, mainly focusing on the journey to the Cedar Forest.
The ninth chapter (by T. Ornan) presents a possible reconstruction of the diffusion of Gilgamesh’s tales to the area of North Syria and Israel/Palestine: extant the absence of any written record of First millennium West Semitic writing, and taking into account a possible oral transmission of the tales, the author tries to reconstruct the development of those stories through the analysis of the contemporary visual records of same specific scenes.
The tenth chapter (by M.-A. Ataç) analyses the representations and resonances of Gilgamesh in Neo-Assyrian art, comparing some scenes from the tales with Neo-Assyrian reliefs.
The eleventh chapter (by H. H. Steyman) retraces the paths of the diffusion of Gilgamesh’s saga on the Levantine coast, considering also the influence on the Iliad, the Odyssey and on Genesis, analysing both texts and visual depictions.