The Journey of a Water God: The Jichi By: Zaskia E. A. Antelo Mercado Yu is a little god who’s about to embark on an epic adventure to find his destiny. With the help of his companions Guara and Cusi, can Yu become a great god capable of fulfilling all his duties for his people?
When Soah's impoverished, desperate village decides to sacrifice her to the Water God Habaek to end a long drought, they believe that drowning one beautiful girl will save their entire community and bring much-needed rain. Not only is Soah surprised to be rescued by the Water God - instead of killed - she never imagined she'd be a welcomed guest in Habaek's magical kingdom, where an exciting new life awaits her! Most surprising, however, is the Water God himself... and how very different he is from the monster Soah imagined.
This ambitious and well-researched study brings together for the first time translations of the ancient literature concerning the Sumerian god Enki, one of four gods and goddesses who comprised the highest level of the Sumerian pantheon. The very existence of these writings, which date from the Third Millennium B.C., was unknown until about 100 years ago, when their cuneiform script was deciphered. Since then, it has become apparent that Sumerian literature had a profound and enduring influence on both Biblical and classical Greek literature, and so on the literature of the western world as a whole. Kramer, one of the world's leading sumerologists, has prepared these translations from among the scores of works he has published over the last fifty years; John Maier provides a full interpretive framework that places the translations in their broader comparative cultural context. This rare collection will be of interest to students and scholars in a wide range of disciplines from Near Eastern and Biblical Studies to Mythology and Comparative Literature.
Soah's impoverished village sacrifices her in order to appease the water God, Habaek, and end a drought. Much to Soah's surprise she is rescued by Habaek.
When Soah's impoverished, desperate village decides to sacrifice her to the Water God Habaek to end a long drought, they believe that drowning one beautiful girl will save their entire community and bring much-needed rain. Not only is Soah surprised to be rescued by the Water God - instead of killed - she never imagined she'd be a welcomed guest in Habaek's magical kingdom, where an exciting new life awaits her! Most surprising, however, is the Water God himself... and how very different he is from the monster Soah imagined.
An investigation of the myth, history, inscriptions, architecture, sculpture, painting, iconological program, festival, rituals and theater of the only known intact ancient dragon king temple in China
The Sumerians were a non-Semitic, non-Indo-European people who flourished in southern Babylonia from the beginning of the fourth to the end of the third millennium B. C. During this long stretch of time the Sumerians, whose racial and linguistic affiliations are still unclassifiable, represented the dominant cultural group of the entire Near East. This cultural dominance manifested itself in three directions: 1. It was the Sumerians who developed and probably invented the cuneiform system of writing which was adopted by nearly all the peoples of the Near East and without which the cultural progress of western Asia would have been largely impossible. 2. The Sumerians developed religious and spiritual concepts together with a remarkably well integrated pantheon which influenced profoundly all the peoples of the Near East, including the Hebrews and the Greeks. Moreover, by way of Judaism, Christianity, and Mohammedanism, not a few of these spiritual and religious concepts have permeated the modern civilized world. 3. The Sumerians produced a vast and highly developed literature, largely poetic in character, consisting of epics and myths, hymns and lamentations, proverbs and "words of wisdom." These compositions are inscribed in cuneiform script on clay tablets which date largely from approximately 1750 B. C. a In the course of the past hundred years, approximately five b thousand such literary pieces have been excavated in the mounds of ancient Sumer. Of this number, over two thousand, more than two-thirds of our source material, were excavated by the University of Pennsylvania in the mound covering ancient Nippur in the course of four grueling campaigns lasting from 1889 to 1900; these Nippur tablets and fragments represent, therefore, the major source for the reconstruction of the Sumerian compositions. As literary products, these Sumerian compositions rank high among the creations of civilized man. They compare not unfavorably with the ancient Greek and Hebrew masterpieces, and like them mirror the spiritual and intellectual life of an otherwise little known civilization. Their significance for a proper appraisal of the cultural and spiritual development of the Near East can hardly be overestimated. The Assyrians and Babylonians took them over almost in toto. The Hittites translated them into their own language and no doubt imitated them widely. The form and contents of the Hebrew literary creations and to a certain extent even those of the ancient Greeks were profoundly influenced by them. As practically the oldest written literature of any significant amount ever uncovered, it furnishes new, rich, and unexpected source material to the archaeologist and anthropologist, to the ethnologist and student of folklore, to the students of the history of religion and of the history of literature.
This book combines concepts from the history of religions with Byzantine studies in its assessments of kings, symbols, and cities in a diachronic and cross-cultural analysis. The work attests, firstly, that the symbolic art and architecture of ancient cities—commissioned by their monarchs expressing their relationship with their gods—show us that religiosity was inherent to such enterprises. It also demonstrates that what transpired from the first cities in history to Byzantine Christendom is the gradual replacement of the pagan ruler cult—which was inherent to city-building in antiquity—with the ruler becoming subordinate to Christ; exemplified by representations of the latter as the ‘Master of All’ (Pantokrator). Beginning in Mesopotamia, the book continues with an analysis of city-building by rulers in Egypt, Greece, and Rome, before addressing Judaism (specifically, the city of Jerusalem) and Christianity as shifting the emphasis away from pagan-gods and rulers to monotheistic perceptions of God as elevated above worldly kings. It concludes with an assessment of Christian Rome and Constantinople as typifying the evolution from the ancient and classical world to Christendom.
Tanus is the fair-haired young lion of a warrior whom the gods have decreed will lead Egypt's army in a bold attempt to reunite the Kingdom's shattered halves. But Tanus will have to defy the same gods to attain the reward they have forbidden him, an object more prized than battle's glory: possession of the Lady Lostris, a rare beauty with skin the color of oiled cedar--destined for the adoration of a nation, and the love of one extraordinary man. International bestselling author Wilbur Smith, creator of over two dozen highly acclaimed novels, draws readers into a magnificent, richly imagined Egyptian saga. Exploding with all the drama, mystery, and rage of ancient Egypt, River God is a masterpiece from a storyteller at the height of his powers.
When Soah's impoverished, desperate village decides to sacrifice her to the Water God Habaek to end a long drought, they believe that drowning one beautiful girl will save their entire community and bring much-needed rain. Not only is Soah surprised to be rescued by the Water God--instead of killed--she never imagined she'd be a welcomed guest in Habaek's magical kingdom, where an exciting new life awaits her! Most surprising, however, is the Water God himself... and how very different he is from the monster Soah imagined.