The ancient world is filled with captivating artifacts that offer glimpses into the rich tapestry of human civilizations. Among these treasures, the enigmatic “Queen of the Night” stands out as a true masterpiece of Mesopotamian art. This high-relief terracotta plaque, measuring 19.4 inches (49.5 cm) in height and 14.5 inches (37 cm) in width, has captured the imagination of scholars and art enthusiasts alike. Depicting a winged, naked goddess flanked by owls and standing on the backs of two lions, this captivating work of art holds the power to transport us back to the dawn of human history.
The Mysteries Surrounding the “Queen of the Night”
The origins and significance of the “Queen of the Night” have long been a subject of scholarly debate. Originating in southern Mesopotamia (modern-day Iraq), most likely during the reign of Hammurabi (1792-1750 BCE), the plaque shares striking similarities in craftsmanship and technique with the famous diorite stele of Hammurabi’s laws, as well as the piece known as “The God of Ur” from the same period.
The winged goddess depicted in the relief is widely acknowledged to be a deity, as she wears the distinctive horned headdress of a divine figure and holds the sacred rod-and-ring symbol in her raised hands. Her legs taper into bird talons, which seem to grip the backs of the two lions below. Along the base of the plaque, a motif representing mountains indicates the high ground upon which the goddess stands.
Theories Surrounding the Goddess’s Identity
The identity of the winged woman has been the subject of much scholarly discussion, with most experts believing her to be either Inanna (Ishtar), Lilith, or Ereshkigal. Inanna, the Sumerian goddess of love, fertility, and warfare, is a strong contender, as her iconography often includes winged creatures and the association with the underworld. Lilith, the mythical demonic figure, has also been proposed due to her connections with owls and the underworld. Ereshkigal, the Mesopotamian goddess of the underworld, is another possible candidate, given the plaque’s association with the dark, nighttime realm.
The Burney Relief’s Journey to the British Museum
The Burney Relief’s history is as intriguing as its imagery. In 1936, the plaque was featured in the Illustrated London News, having been purchased by Sydney Burney, a Captain in the English Army during World War I and the President of the Antique Dealers Association in London. The piece was not archaeologically excavated, but rather removed from Iraq sometime between the 1920s and 1930s, with its original context and provenance unknown.
After being analyzed and authenticated in 1933 and 1935, respectively, the Burney Relief changed hands a few times before finally being acquired by the British Museum in 2003 for the sum of 1,500,000 pounds. It was at this time that the piece became known as the “Queen of the Night” due to its dark, black pigment and the underworld associations of its iconography.
The Composition and Craftsmanship of the Plaque
The Burney Relief is a true testament to the skill and artistry of ancient Mesopotamian craftspeople. Made of clay with chaff added to bind the material and prevent cracking, the plaque was fired in an oven, a testament to its significance, as only the most important works of art and architecture were created in this manner. The figure of the goddess was molded into the plaque, rather than added later, and the details were carefully carved into the leather-hard clay before the surface was smoothed.
Once the piece was baked and cooled, it was painted with a black background, while the goddess, owls, and lions were rendered in red, white, and gold, respectively. The original color traces are still visible on the plaque, despite the passage of over 3,000 years.
The similarities between the “Queen of the Night” and the “God of Ur” have led scholars to speculate that the Sumerian city of Ur may have been the place of origin for this magnificent work of art. The close resemblance in quality, workmanship, and iconographical details suggests that the two pieces may have been created in the same workshop.
Theories on the Plaque’s Original Purpose and Placement
Scholars have proposed various theories regarding the original placement and significance of the Burney Relief. One historian, Thorkild Jacobsen, believed that the plaque formed part of a shrine in a brothel, as sacred prostitution was practiced throughout Mesopotamia. However, Dr. Dominique Collon of the British Museum has argued that if this were the case, it must have been a “very high-class establishment, as demonstrated by the exceptional quality of the piece.”
Collon’s own theory suggests that the plaque would have been hung on a wall of mud brick, likely in an enclosure, and that when the wall collapsed, the fired terracotta plaque remained relatively intact, allowing it to be preserved for over 3,000 years. The fact that the piece has survived to the present day is a testament to its importance and the care with which it was treated.
Conclusion
The “Queen of the Night” is a captivating and enigmatic masterpiece that continues to captivate scholars and art enthusiasts alike. Its origins, symbolism, and purpose may forever remain shrouded in mystery, but its enduring beauty and craftsmanship are a testament to the artistic genius of ancient Mesopotamia. As we gaze upon this remarkable artifact, we are transported to a time when the divine and the earthly coexisted, and the power of the natural world was celebrated and revered. The “Queen of the Night” stands as a timeless, awe-inspiring testament to the enduring spirit of human creativity and the enduring fascination with the mysteries of the past.
