Archive for the ‘Analysis: Artifact or Image’ Category
Chinese Oracle Bones of the Shang Dynasty
The Shang Dynasty flourished in the Yellow River valley during the second millennium BCE. It was a period that witnessed the introduction of two important technologies into China: bronze metallurgy and writing. We have no archaeological evidence for any predecessors or transitional forms of written language prior to the Shang era, suggesting that it was probably imported, along with bronze, from the Near East, where both technologies had been in use for over a thousand years.
The overwhelming majority of written material that has come down to us from the Shang Dynasty was preserved in fascinating artifacts called oracle bones, which are bone and shell fragments inscribed with an ancient Chinese script. They appear to have been known to peasants in the late nineteenth century, who were impressed by their evident mojo, and called them “dragon bones.” Unknown numbers of oracle bones were ground up and swallowed as medicine.
By the early twentieth century, they came to the attention of archaeologists, who have subsequently collected tens of thousands of the inscribed bone fragments and have deciphered their script.
Typically made from pieces of the scapulae of bulls or the plastrons of turtles, oracle bones were used some 3500 years ago to consult with the ancestors about matters of urgency. They were inscribed with questions inquiring about topics such as the likely success of the harvest, the need for military action, or fortunes of an expecting mother. In an elaborate ceremony attended by kings and courtiers, a burning-hot poker of some sort was thrust into the bones, and they would crack in characteristic patterns, signifying either a yes or a no answer.
Fortunately for historians, the Shang diviners carried out their art with a scientific spirit. The oracle bones were subsequently inscribed with reports detailing whether or not the predictions turned out to be accurate. Perhaps this was done in an attempt to determine which ancestors could be reliably addressed about which matters.
And so the earliest-known writing system in China is preserved in the form of tens of thousands of bones, used in magico-religious divination, inscribed with questions the practitioners regarded as of compelling interest, and with a record of how things turned out. Just a marvelous, fascinating phenomenon.
Sample Oracle Bone Translations
The divination on day chi-mao was performed by Kuo. The King after examining the crack forms commented that it would rain on day jen. On day jen-wu indeed it did rain. (1)
On day jen-in it was inquired: “There has been another chih of the Moon [an astronomical event of unclear meaning]. A sacrifice is to be made to Earth; should a burnt offering of cattle be made?” On day jen-yin it was inquired: “There has been another chih of the Moon.” The King did not want the disaster to befall on one person. yet again, there is a disaster. (1)
Crack making on gui-si day, Que divined: In the next ten days there will be no disaster. The king, reading the cracks, said, “There will be no harm; there will perhaps be the coming of alarming news.” When it came to the fifth day, ding-you, there really was the the coming of alarming news from the west. Zhi Guo, reporting, said, “The Du Fang [a border people] are besieging in our eastern borders and have harmed two settlements.” The Gong-fang also raided the fields of our western borders. (2)
Crack-making on jiashen (day 21), Que divined: “Lady Hao’s (a consort of Wu Ding) childbearing will be good.” The king read the cracks and said: “If it be on a ding-day that she give birth, there will be prolonged luck.” (After) thirty-one days, on jiayin (day 51), she gave birth; it was not good; it was a girl. (3)
References
1) Zhentao X. et al. “Astronomical Records on the Shang Dynasy Oracle Bones“. Archaeoastronomy. Supplement to Volume 20. No. 14. 1989. S61-S72
2) Keightley DN. Sources of Shang History. University of California Press. 1978. p. 44
3) de Bary WT, Bloom I. Sources of Chinese Tradition. Columbia University Press. 1999.
Images of oracle bone fragments from the Museum of the Art Institute of Chicago, (c) Barnaby Thieme.
The Lion, the Bull, and the Birth of Tragedy
Please click the thumbnail to see the full-sized image.
This remarkable statue group depicting a bull wracked by two lions is one of the most powerful works of art I have ever seen. Perhaps ten feet across, it once occupied the central pediment of the Hekatompedon temple, the predecessor of the Parthenon at the Acropolis of Athens.
This temple was built in the late sixth century BCE during the Archaic period of Greek history, which saw a great influx of political and cultural influences from the Near East. It was during this time that Greece adopted the polis city-state model of political organization from the Fertile Crescent, where it had been in use since the first cities were built around 3200 BCE.
Greek art, literature, and religion were transformed by the wave of ideas coming from the Near East. Archaic statues and vase paintings show a marked Mesopotamian influence. One of the earliest and most important literary sources for Greek religion, Hesiod’s Theogony, dates to this period, and shows the clear influence of the Babylonian epic Enuma elish, which we looked at in an earlier post on the Assyrian Tree of Life motif.
This pediment sculpture group is itself Oriental in subject and style. As with the Tree of Life, this group features an axial primary subject, a bull, flanked by a pair of heraldic figures, in this case lions, in a typically Mesopotamian style. Animal battles were a popular subject of art throughout the eastern Mediterranean.
Although it came to Greece through Mesopotamia, the lion-bull motif predates Sumerian civilization by tens of thousands of years. It is one of the oldest mythological symbols in the world, possibly as old as the Great Goddess motif of the Stone Age. It can be found in numerous cultures in a clear line of historical transmission. It passed from culture to culture during periods of contact, with each new group expressing the symbol with its own emphasis. It is a symbol of great complexity and range, and we can only begin to trace its history here.
The basic sense of the bull brought down by beasts of prey is an image of the fundamental forces of life and death in a terrible, intense struggle. As an image of the conflict that provides the sustenance of life, the lion and the bull are bound together as a single symbol.
In Ancient Greece, the bull is the sacrificial animal par excellence. The bull sacrifice played a prominent role in Hesiod’s Theogony, which was created in the same historical period as this statue group, and, as noted earlier, also shows a deep influence from the Near East.

Cyprus, 13th century BCE, British Museum
Image (C) Barnaby Thieme
Theogony contains the earliest-known version of the Prometheus myth. In Hesiod’s telling, the tragic god enraged Zeus by establishing the ritual of the bull sacrifice such that the humans receive the flesh of the animal, while the gods receive only the fat and the bones. When Zeus learns of this betrayal, he proscribes a terrible punishment: “[W]ith anger ever in his mind, he would not give to the ash-trees the power of untiring fire for mortal men who live on the earth.” (1) That is to say, the ash tree keeps the fires of heaven locked within itself, so that wood must be burned for its vital essence to be released.
Taken as a primitive scientific account, there is little merit to this hypothesis, but when interpreted symbolically, we immediately find several themes in common with the Tree of Life motif we considered earlier. In both groups, we have an image of the source of life, the “fire within the tree,” or the nourishing flesh, depicted on the central axis, flanked by fierce figures, and released by the action of the symmetrical pairs on either side.
If the bull is taken as the life-giving principle, the lion must be interpreted as the dynamic force that activates its release. On the cosmological plane, we have an image of the circle of life in its mystery and terror; life devouring itself and begetting life, like an Ouroboros, a serpent devouring its own tail. On the psychological or spiritual plane, we have an image of the axis mundi, the illuminated life-center of all things, and that is experienced by consciousness in terms of pairs of opposites. The central axis is outside of time, like the holy mountain in Black Elk’s vision. The lions are symbolic of the action of time, always eating away at the life principle.
It is simply astonishing to see how far this motif has spread in space and time. Note that Hesiod took the trouble in his brief work to specify that the tree of heavenly fire is an ash tree, reminding us at once of the ash tree Yggdrasil, the World-Tree of Norse mythology, which itself immediately evokes the motif of life-giving sacrifice. It was from the World-Tree that Odin hung for nine days and nights, pierced by his own spear, in search of the waters of wisdom at the tree’s roots, as the Prose Edda tells us:
I know that I hung on a high windy tree
for nine long nights;
pierced by a spear -Odin’s pledge-
given myself to myself.
No one can tell about that tree,
from what deep roots it rises. (2)
We can thus connect the Norse motif with the story of Prometheus, who was likewise bound in agony, and speculate that both motifs may share a common origin in an unknown Proto-Indo-European antecedent, a tale told before the Dorian Greeks and Germanic tribes differentiated. And can this passage be read without calling to mind the Buddha’s Tree of Enlightenment, or Christ upon the Cross?
If we follow the flowering tree of Indo-European culture deeper toward its roots, we will also find a clear link to the great god Shiva of Hinduism, who not only symbolizes devouring time, but is invariably paired with Nandi the bull, his yana, or vehicle. It will not surprise us, then, to learn that Shiva’s consort Parvati is paired with a lion. In their combined aspect, as the god Ardhanarishvara, Shiva and Parvati are united as a single image, flanked by a bull on one side and a lion on the other. In this nineteenth century painting from the British Museum, Ardhanarishvara is aligned with an axial tree, and the waters of immortality overflow from the god’s crown. And is it my imagination, or is this tree clearly a Ficus religiosa, or Bodhi Tree?
The Sumerians were the first to fix our zodiac in the heavens, and they assigned to Leo the house that the sun must traverse during the summer solstice. The bull, representing the principle of the sacrifice that gives life, is associated with spring, and so Taurus rules the house which the sun traverses in the vernal equinox, when the world returns to life. (3)
In the symbolic language of Sumer, the lion is the great solar animal. Just as the light of the sun never varies, the lion exemplifies the clear light of awareness of eternity. The bull represents the lunar principle, which, waxing and waning in a constant cycle, exemplifies consciousness in the field of time. While the lion-consciousness is eternal and unchanging, the bull-consciousness, like the light of the moon, follows an eternal cycle of death and resurrection.
The bull god is closely associated with death and resurrection throughout its long career. In one of our earliest extant religious poems, the Sumerian lament “The Wild Bull Who Has Lain Down and Died,” we find the goddess Inanna, equivalent to the Babylonian goddess Ishtar, both of whom are paired with a lion, lamenting the death of her husband Dumuzi, represented in this poem as a bull:
The slain wild bull
lives no more!
The slain wild bull
lives no more!Dumuzi, the slain wild bull,
lives no more!
The slain wild bull
lives no more! (4)
As we can readily see by now, the scope of the lion-bull motif is so vast that one cannot quickly take its measure. However, by situating it within its field of transmission, and by looking at its direct points of contact with adjacent images, the symbol begins to speak for itself. It is no mere sign of death, but an image of sacrifice and release, and of the tragedy that waters the roots of the great heaven-tree. By contemplating this image, our perspective on the cosmic struggle can be elevated to a higher vantage point, in which the participants of the deadly conflict at the heart of life become participants of the cycle, integrated symbolically into a partless whole, and the scene is raised from brutal tragedy to holy mystery.
By virtue of this profound resonance, this sculpture group earned its stature as the primary image of the great temple of Athens that presided before the Parthenon was built. Its evocative power comes through directly by its force as a work of art, apart from its mythological implications. These pictures can only give a rough sense of its potency, and if you find yourself in Athens, I strongly encourage a trip to the Acropolis Museum, where it may be viewed. It is a most extraordinary museum.
The lion-bull symbol is far older than Sumer, and probably came to the Fertile Crescent through the Anatolian religious culture that existed in the early millennia of agriculture in the Taurus Mountains. The ancient urban center of Çatalhöyük, for example, is crowded with bull-horn altars, and is famous for its statue of an enthroned fertility-type goddess flanked by lions.
In its earlier, matriarchal inflection, we often find the Great Goddess in this aspect, at the heart of these triadic images, instead of the World Tree. As symbols of the life-giving power of nature, the tree and the Great Mother are roughly equivalent, and they have been used as synonymous motifs in religious art for tens of thousands of years.
In the earliest-known religious sanctuary that features representational art, the Chauvet caves of France, first utilized around 30,000 BCE in the Aurignacian period of the Paleolithic, we find a substantially comparable mythological motif presented as the central figure of the Salle du Fond, the deepest and most remote chamber in the complex. If the journey into the cave represents a shamanic journey of initiation, as many experts on Paleolithic art believe (5), then this image depicts the central mystery recognized by the earliest-known symbolic religious culture.
On a great stalactite descending from the center of the cave, we find a charcoal drawing depicting the pubic triangle of a classic stone age Venus-type goddess, flanked on either side by a lion and a bison.
Notes and References
(1) Hesiod. Trans. by M. L. West. Theogony; Works and Days. Oxford University Press. 1988. p. 20.
(2) Hávamál, fr. Terry P. Poems of the Elder Edda. University of Pennsylvania Press. 1990. p. 31.
(3) The vernal equinox and summer solstice are no longer marked by these houses, of course, because the axis of the earth’s rotation itself turns in a cycle, producing a shift in the alignment of the constellations known as the precession of the equinoxes.
(4) Jacobson T. The Harps That Once…; Sumerian Poetry in Translation. Yale University Press. 1987. p. 47.
(5) This hypothesis is represented, for example, by Jean Clottes, lead researcher of the Chauvet Cave. See, for example: Clottes J, and Lewis-Williams D. The Shamans of Prehistory. Harry N. Abrams Publishers. 1998.
The Assyrian Tree of Life
This is the first post in a new series on Mesocosm, presenting short commentaries on pictures of interesting artifacts or works of art. Over time I’ll draw links between recurring motifs or historical connections.
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This stele, displayed at the British Museum, depicts the Assyrian Tree of Life motif. These zigzaggy trees are typically flanked by a pair “winged genii,” often with animal heads and four wings, as in the vision of Ezekiel.
Comparative religions scholars generally interpret the Tree of Life as a version of the axis mundi, a symbol that depicts the center of the cosmos. In an impressively diverse range of cultures, the higher mysteries reveal an identification of the tree at the center of the cosmos with the tree at the center of the self. The Buddha, for example, achieved enlightenment seated beneath the Tree of Enlightenment, at the vajra seat, an immovable pivot at the very center of the world.
In an extraordinary testimony to the enduring power of this image to structure the insight of sensitive persons to this day, the Oglala Sioux holy man Black Elk beautifully described the apogee of a sacred vision he experienced at the age of 9, in the 1870s:
I looked ahead and saw the mountains there with rocks and forests on them, and from the mountains flashed all colors upward to the heavens. Then I was standing on the highest mountain of them all, and round about beneath me was the whole hoop of the world. And while I stood there I saw more than I can tell and I understood more than I saw; for I was seeing in a sacred manner the shapes of all things in the spirit, and the shape of all shapes as they must live together like one being. And I saw that the sacred hoop of my people was one of many hoops that made one circle, wide as daylight and as starlight, and in the center grew one mighty flowering tree to shelter all the children of one mother and one father. And I saw that it was holy.” (1)
[UPDATE 12/12/2012 – I regret to say that I have subsequently learned that this statement, attributed to Black Elk by John Neihardt, is spurious. For the full story, please see Black Elk and the Fabrication of Memory.]
Our stele comes from the palace of Nimrud, an early capital of the Neo-Assyrian empire of the first millennium BCE. Located in the Fertile Crescent in present-day Iraq, the Assyrians ruled the epicenter of urban development where Sumer and the Babylonian empire had stood long before. The stele depicts twin images of King Ashurnasirpal II (ca. 883 B.C.–859 B.C.), first great king of the Neo-Assyrians, on either side of the Tree, wearing ritual robes.
Exterior to the king, possibly acting as guardians, are two winged genii. Above the Tree hovers a winged sun disk representing the royal god Ashur, the Assyrian equivalent of the Babylonian god Marduk, hero of the creation saga Enuma elish. This great epic chronicles the creation of the world and the establishment of the order of heaven and earth. After slaying the monstrous Tiamat, the god-hero Marduk is rewarded with kingship of the gods. From the bones of his defeated foe, Marduk creates the world and establishes the forever-repeating cycles of the heavens:
[Marduk/Ashur] fashioned heavenly stations for the great gods,
And set up constellations, the patterns of the stars.
He appointed the year, marked off divisions,
And set up three stars each for the twelve months.
After he had organized the year,
He established the heavenly station of Ne-beru to fix the stars’ intervals. (3)
Both Ashur and Marduk are associated with the celestial order, marked by the immutable circuits of the heavenly bodies, and likewise associated with the divine mandate to rule. This stele proclaims the divine legitimacy of Ashurnasirpal II, who acts as custodian to the Tree of Life itself.
These myths reflect the belief that force of arms confers the ruling mandate. There is no doubt that Ashurnasirpal II ruled through strength of arms. He is remembered as a cruel king, having boasted in his annals “Three thousand captives I burned with fire. Their corpses I formed into pillars.” (2) One wonders if he was thinking of Marduk, building the world from the body of Tiamat.
Ashur’s predecessor Marduk was also prominently associated with an axis mundi image; specifically, the cosmic mountain, which is represented by the ziggurat temple structures of Babylon. The great ziggurat of Babylon itself, dedicated to Marduk, was called Etemenanki, meaning “Foundation of Heaven and Earth.” The cosmic mountain depicted by the ziggurat is roughly equivalent to the cosmic mountain described by Black Elk in his vision quoted above.
The great holiday of the Babylonian empire was the Akitu festival which began on New Year’s Day. In this festival the god of the earth ascends to the summit of the holy mountain to join with the sky, in a ceremonial recapitulation of the story of creation. The Enuma elish creation saga was read aloud. On the tenth day of the festival, the king climbed to the top of the ziggurat. In ceremonial identification with Marduk, the king of the world celebrated a mystical marriage by joining in sexual union with the high priestess, in her identification with the celestial goddess Ishtar. In this way the order of the heavens made contact with the order of the earth, and the energy released by their union drove the wheel of creation around its axis for another cycle.
This is the flowering of the rod,
this is the flowering of the burnt-out wood,
where, Zadkiel, we pause to give
thanks that we rise again from death and live. (4)
References
(1) Niehard John C. Black Elk Speaks. University of Nebraska Press. 1961. pp 42-3.
(2) Nardo, Don, et al. The Greenhaven Encyclopedia of Ancient Mesopotamia. Greenhaven Press. 2007. pg 39.
(3) Enuma Elish. V. 1-6. http://www.ancient.eu.com/article/225/. Retrieved Dec 08, 2011.
(4) H.D. Tribute to the Angels, 43. From Trilogy. New Directions. 1973.