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Kurunta (god)

Kurunta is a Luwian and Hittite tutelary deity, commonly represented by the logogram DLAMMA, revered as the stag god and protector of the countryside and wild nature in the ancient Anatolian pantheon.^[1] Often depicted in iconography as a male figure standing atop a stag, armed with a bow or sword, and holding a raptor bird in one hand and a hare in the other, he symbolizes mastery over hunting and the untamed wilderness.^[1] In Hittite religious practice, Kurunta functioned as a protective LAMMA deity integral to the state cult, invoked in festivals, oaths, and rituals to safeguard the king, the land, and its prosperity.^[1] His cult involved offerings such as bread, beer, libations, and animal sacrifices, particularly in provincial centers and during events like the KI.LAM festival and the Festival for All Tutelary Deities, where symbols like the hunting bag (kursa-) represented fertility and divine favor.^[1] Local variants of Kurunta or related LAMMA deities were tied to specific sites, such as Hatenzuwa, Zapatiskuwa, and the Marassanda River, reflecting his role in regional protection and natural features.^[1] Kurunta appears prominently in the Hurro-Hittite Kingship in Heaven cycle, particularly in a song dedicated to him, where he usurps heavenly rule from the storm god, initiating a golden age of effortless abundance that causes humans to neglect sacrifices and labor.^[2] This era of prosperity ends when the elder gods, led by Ea, intervene to restore order, deposing Kurunta and reestablishing the proper cosmic hierarchy.^[3] The myth underscores themes of divine kingship, the balance between nature's bounty and ritual obligation, and Kurunta's transitional role in the pantheon's power struggles during the empire period (c. 1400–1200 BCE).^[2]

Name and Etymology

Linguistic Origins

The name Kurunta derives from a Luwian form ultimately rooted in the Proto-Indo-European *ḱerh₁- ("horn"), reflecting the deity's strong association with wild, horned animals and links to broader Proto-Anatolian linguistic elements.^[4] This etymological foundation reflects the integration of Luwian vocabulary into the Hittite pantheon, where terms for horned beasts symbolized vitality and the untamed wilderness.^[4] In Hittite cuneiform inscriptions, Kurunta's name is frequently rendered using Sumerograms such as dKAL, signifying a protective deity, and dLAMMA, representing a tutelary god responsible for safeguarding individuals and locales. Kurunta is a proposed Luwian reading for certain instances of dLAMMA.^[1] These logograms highlight the deity's role as a guardian figure while masking the phonetic Luwian form beneath standardized Mesopotamian conventions. A proposed Hittite reading of dLAMMA as Kruntiya further illustrates phonetic adaptations in the language.^[5] Linguistic evolution appears in later attestations, such as the form Runtiya during the Hittite New Kingdom (c. 1400–1200 BC), potentially resulting from the apocope or loss of an initial syllable in Luwian-influenced speech.^[5] In Hieroglyphic Luwian script, the name is explicitly logographed as (DEUS)CERVUS ("God Stag"), reinforcing the core etymological tie to the deer motif and distinguishing it from purely phonetic renderings.^[1]

Variations and Attestations

The name of the deity Kurunta appears in various forms across Hittite and Luwian texts, reflecting linguistic and regional adaptations. In cuneiform sources from the Bronze Age, it is typically rendered as Kurunta or Kuruntiya, while Hieroglyphic Luwian inscriptions from the 1st millennium BC employ shortened variants such as Runti(ya) and Runta, often accompanied by a deer hieroglyph to denote the god's attributes.^[1]^[6]^[7] Earliest attestations of Kurunta occur in Old Hittite Kingdom texts from the 17th–16th centuries BC, such as a deity list (KUB 43.23, CTH 820).^[1] These sparse references indicate an early integration into the Hattic-influenced pantheon. By the New Hittite Kingdom (14th–13th centuries BC), Kurunta gains prominence in imperial records, appearing frequently in festival outlines like the AN.TAḪ.ŠUM (CTH 604, 615, 617) and cult inventories listing over 100 tutelary deities (KUB 44.2).^[1]^[6] The deity's name features in theophoric elements within personal names, evidencing its dissemination to western Anatolia during the Late Bronze Age. A notable example is Piyama-Kurunta, borne by an Arzawan prince mentioned in Hittite diplomatic correspondence and treaties, suggesting the god's adoption in Luwian-speaking regions like Arzawa.^[1]^[5] Specific textual evidence includes royal inscriptions and treaties from the reign of Tudhaliya IV (ca. 1237–1209 BC), such as the treaty with Kurunta of Tarhuntassa (CTH 106, KBo 4.14) and the Bronze Tablet treaty (KUB 2.1), where the god is invoked among oath deities alongside the Sun-god and Storm-god.^[1] In the Festival for All Tutelary Deities (CTH 682), Kurunta receives offerings in contexts like the Karahna festival (KUB 38.12, CTH 517), highlighting the deity's role in state-sponsored rituals.^[1] These examples underscore Kurunta's integration into the core of Hittite imperial administration and cult practices.

Iconography and Attributes

Depictions in Art

Visual representations of Kurunta, the Luwian stag god and tutelary deity of the countryside, appear primarily in Late Bronze Age Anatolian art from the Hittite Empire period (ca. 14th–13th century BCE), often emphasizing his association with wildlife through the motif of a youthful male figure standing atop a stag. These depictions employ a range of media, including rock reliefs, metal vessels, seals, and stelae, portraying him as an armed protector with attributes like lances, bows, eagles, or hares to evoke his dominion over nature.^[1]^[8] One of the most prominent examples is found in the rock reliefs at the Yazılıkaya sanctuary near Hattusa, dated to the 13th century BCE, where a tutelary god (likely Kurunta, figure #32 in the divine procession of Chamber A) is identified by an antler hieroglyph symbolizing the stag, though the figure itself lacks the animal beneath its feet in this static representation. This carving, part of a larger procession of deities, shows the god in a horned cap and kilt, aligning with tutelary iconography of protection over rural domains.^[1] A notable metal artifact is the silver rhyton from the Schimmel collection (now in the Metropolitan Museum of Art), dated ca. 1400–1200 BCE, which features a frieze around its neck depicting an offering scene to two deities: a youthful male god standing on a stag, holding an eagle and a curved staff, interpreted as Kurunta or the tutelary stag god (DINGIR.LAMMA.LIL), alongside a seated deity possibly the Storm God, with worshippers presenting ritual objects like spears and a hunting bag. Hammered from sheet silver with intricate detailing, including a checkerboard join at the neck, the vessel's form as a stag forepart reinforces Kurunta's symbolic ties to cervine imagery.^[9]^[10] Seal impressions and related glyptic art further illustrate Kurunta as a dynamic protector, such as those from the reign of King Kurunta (Ulmi-Teshub) of Tarhuntassa in the late 13th century BCE, where a god figure stands on a stag wielding a lance, reflecting the deity's role in royal legitimacy and countryside guardianship. These impressions, found at Hattusa, show the god in a horned helmet, often with additional hunting attributes like a bow or bird of prey, portraying him as a vigorous youthful male armed against threats to the wild. Orthostats from Hittite sites, such as those at Alaca Höyük, occasionally depict similar youthful male figures with weapons (e.g., spears or axes) and accompanying animals like stags or hares, evoking Kurunta's protective and hunting persona amid broader narrative scenes of divine intervention.^[11]^[1] A freestanding stele from Altınyayla near Sivas, dated to the Hittite Empire period (ca. 14th–13th century BCE), provides another example, showing Kurunta standing on a stag in a libation scene, with the deity rendered in low relief holding ritual vessels, underscoring his static tutelary role in funerary or sanctuary contexts. Over the Late Bronze Age, Kurunta's iconography evolved from earlier static images—such as the stag-riding figure on Old Assyrian seals (ca. 19th–18th century BCE) emphasizing protection—to more dynamic hunting motifs in Empire-period art, incorporating active poses with weapons and prey to highlight his mastery over the wilderness.^[2]^[8]

Symbolic Associations

Kurunta's most prominent symbol is the stag, revered as his sacred animal and emblematic of the untamed countryside and wild nature in Anatolian religious traditions. Often depicted with the god standing triumphantly upon its back or positioned nearby, the stag underscores Kurunta's dominion over wilderness domains and his role as a tutelary protector of rural landscapes.^[8]^[1] This association highlights the animal's cultural significance as a marker of fertility and natural abundance, distinguishing Kurunta from urban deities whose icons typically evoke fortified settlements or civic order.^[8] Complementing the stag are additional attributes that reinforce Kurunta's hunting and authoritative aspects. The eagle, frequently shown clutched in the god's hand, symbolizes mastery over the skies and divine oversight, while the hare represents swiftness and agility essential to the pursuit of game.^[8]^[1] The crook, a staff-like implement of pastoral guidance, conveys protective authority, as evidenced in rock reliefs where a nature-oriented tutelary figure—identified by the accompanying antler sign—holds it prominently.^[11] Similarly, the bow and arrows emphasize his prowess as a hunter, tools integral to rituals invoking success in the wild.^[1] Representations of Kurunta also incorporate deer antlers as a hieroglyphic sign (often rendered as DLAMMA with antlers) to denote his spheres of fertility and wilderness, evoking the regenerative cycles of nature. Hides, particularly those from game animals, appear in cultic objects like the kursa- hunting bag, symbolizing the bounty of the hunt and reinforcing his ties to untamed environments.^[8]^[1] These elements collectively portray Kurunta as a deity embodying the vitality and perils of the rural expanse, in stark contrast to the structured emblems of city-bound gods.

Divine Role and Character

Tutelary Functions

Kurunta functioned as a LAMMA-type tutelary deity in Hittite and Luwian religious traditions, embodying protective oversight over the land and its communities, akin to other dLAMMA figures who safeguarded specific locales and natural features.^[1] Scholars have proposed that Kurunta represents a Luwian reading or late form of dLAMMA, based on textual references where dLAMMA-aš appears in contexts linked to the god's cult, distinguishing him as a localized guardian rather than a universal pantheon member.^[1] This role emphasized territorial stability, with Kurunta invoked to maintain order in rural domains against threats of disorder or invasion.^[6] In Hittite belief, Kurunta guarded rural areas, villages, and natural landscapes, serving as the "Protector God of the Countryside" who ensured the integrity of agrarian settlements and topographic elements such as mountains, rivers, and springs.^[6] Texts describe dLAMMA deities, including those equated with Kurunta, as protectors of countryside locales like Mahhuta or Tatašuna, marked by stelae and integrated into local festivals to avert calamity.^[1] His domain extended to balancing wildlife within these landscapes, promoting ecological harmony essential for sustained habitation, as reflected in cult practices honoring such guardians.^[1] Kurunta's association with the prosperity of the countryside encompassed agricultural fertility and resource abundance, with invocations in rituals seeking bountiful harvests and water flow to support rural economies.^[1] Evidence from festival texts, such as those involving offerings to dLAMMA figures, highlights appeals for land fertility, linking Kurunta to the renewal of natural cycles and prevention of famine or drought.^[1] In terms of defense against chaos, he was called upon to shield villages from external perils, evidenced in border rituals where tutelary deities repelled enemies like the Kaskeans.^[1] Within royal ideology, Kurunta acted as a protector during provincial governance, particularly in regions like Tarhuntašša, where he symbolized divine endorsement of viceregal authority and territorial control.^[6] Hittite kings invoked him in treaties and oaths to secure borders, portraying Kurunta as a bulwark for imperial stability and the extension of royal dominion over peripheral lands.^[1] This integration into state cults underscored his role in legitimizing governance, with texts from the empire period detailing his presence in ceremonies reinforcing loyalty and defense.^[1]

Hunting Aspects

Kurunta, also attested as Runtiya in Luwian sources, functioned as the primary patron deity of hunters within the Hittite and Luwian religious traditions, exerting divine control over wild beasts and the act of the hunt itself.^[8] His patronage extended to ensuring the prosperity of hunting endeavors, as evidenced in rituals like the KI.LAM Festival, where invocations of sacred game animals underscored his authority over the wilderness.^[8] Stags and hares served as emblematic symbols of Kurunta's dominion over game, frequently appearing in textual and ritual contexts to represent his mastery of elusive prey.^[8] Stags, in particular, symbolized the fertility and vitality of open, uncultivated lands, while hares evoked the swift pursuit inherent to the hunt.^[8] These animals were integral to festivals such as EZEN AYALI, where their imagery reinforced Kurunta's role in balancing human needs with natural abundance.^[8] In depictions, Kurunta appeared as a hunter god equipped with bow and arrows, embodying motifs of pursuit and conquest that paralleled royal hunting practices.^[12] These elements linked his divine attributes to the legitimacy of Hittite kings, notably Tudhaliya IV, whose iconography adopted stag motifs to assert mastery over nature and thereby over the realm.^[8] Such royal hunts invoked Kurunta to symbolize the monarch's role in taming the wild, mirroring the god's own prowess.^[13] The god's hunting imagery, including scenes of animal-slaying, carried symbolic weight as an overthrow of chaos, portraying the hunt as a cosmic act of imposing order on the untamed wilderness.^[12] This aspect distinguished Kurunta from urban-oriented storm gods, confining his influence to forested and uncultivated terrains where wild forces prevailed. Through these motifs, Kurunta embodied the active dominion over wildlife, essential for both survival and divine harmony in the Anatolian landscape.^[8]

Associations with Other Deities

Syncretism in Hittite Pantheon

In the Hittite pantheon, Kurunta shared attributes with the goddess Innara, such as associations with hunting and wild animals, and depictions involving stags. This overlap is evident in ritual texts through common tutelary functions involving protective roles over natural landscapes.^[14] During the reign of Tudhaliya IV (c. 1237–1209 BCE), Kurunta's cult gained prominence in the state religion, with the logogram dLAMMA frequently employed to denote multiple tutelary deities, including Kurunta, in official inventories and festivals like CTH 682, which expanded the roles of these protective figures in royal ideology.^[1] Kurunta shared iconographic elements, such as stag motifs, with Karhuha, a deer-associated god revered in central Anatolian cults, particularly in contexts blending nature worship with local protective divinities. This overlap is reflected in ritual pairings that highlight their common attributes as guardians of wilderness areas.^[14] Within Hittite pantheon lists, Kurunta typically appears as a subordinate to major storm gods like Tarhunna, positioned in hierarchical sequences of oath deities and cult inventories that prioritize weather and kingship deities. However, in rural contexts, Kurunta's status was elevated as a primary tutelary god of the countryside, emphasizing his protective oversight of agricultural and wild terrains over urban-centric hierarchies. Kurunta was often invoked alongside Tarhunna in protective roles during oaths and rituals.^[14]^[1] Examples of this syncretism appear in treaties, where Kurunta serves as a divine witness alongside storm gods, substituting for localized tutelaries in oaths to ensure vassal loyalty, as seen in late New Hittite diplomatic texts. In festivals, such as spring and autumn processions documented in CTH 681 and related rituals, Kurunta accompanies major deities like the Storm-god in offerings of bread, libations, and animal sacrifices, often standing in for regional variants to unify the pantheon's invocation.^[1]^[14]

Links to Luwian and Other Traditions

Kurunta's Luwian origins are evident in his representation as (DEUS)CERVUS, the "Stag God," symbolized by deer antlers in Hieroglyphic Luwian inscriptions, reflecting his role as a hunting and protective deity in Luwian religious traditions.^[15] This form, known as Runtiya in Iron Age Luwian texts, underscores cultural continuity from the Late Bronze Age, where he appears in royal inscriptions like those of Tudhaliyas IV (c. 1239–1209 BC) at Emirgazi and Yalburt.^[15] The deity's cult spread westward to regions such as Arzawa and southward to Pisidia through theophoric personal names, such as K(u)runtiya, attested in western Anatolian inscriptions and as early as the 18th century BC at Kültepe, persisting in later Luwian onomastics.^[16] These names indicate localized worship and integration into non-Hittite Anatolian communities, facilitating the diffusion of Luwian religious elements beyond central Anatolia. In the post-Hittite period of the 1st millennium BC, Runtiya survived as a prominent Luwian guardian deity, particularly in southeastern Anatolia and western regions like Pisidia, where his stag symbolism and associations with wilderness and hunting maintained cultural relevance.^[17] Comparative analysis reveals broader Anatolian pantheon blending, including potential ties to Hurrian deer-associated figures through shared Indo-European motifs in hunting deities, though direct equivalences remain elusive.^[2]

Worship and Cult Practices

Sites and Temples

The cult of Kurunta, as a Luwian tutelary deity associated with hunting and the wilderness, was predominantly provincial, extending beyond the Hittite capital of Hattusa into central and western Anatolia. Key sites include Karahna, a major cult center with temples dedicated to the local tutelary deity (D LAMMA URU Karahna), where daily offerings were made, reflecting Kurunta's role in regional protection.^[1] Archaeological and cuneiform records indicate these locations served as centers for offerings to nature-protecting gods, emphasizing Kurunta's role in rural and peripheral landscapes.^[1] Rock sanctuaries represent a prominent form of Kurunta's worship, with open-air features suited to his wild attributes. At Yazılıkaya near Hattusa, reliefs depict a tutelary god accompanied by an antler symbol, interpreted as Kurunta holding a crook, underscoring his presence in imperial rock art complexes.^[18] Further east, the Gölgediği (Suppitassu) sanctuary near Sarissa (Kuşaklı) includes a temple, sacred pond, and unworked stone blocks functioning as ḫuwasi platforms for offerings to Kurunta alongside the local Storm God, based on excavated votive texts.^[6] Potential open-air shrines in rural areas are suggested by scattered hieroglyphic inscriptions and peak cults, such as at Kızıldağ in central Anatolia, where mountain-top libations to the stag god Kurunta are recorded in Luwian reliefs.^[19] A limestone stele from Altınyayla near Sivas portrays Kurunta standing on a stag, receiving libations from a great king, evidencing his veneration in eastern Cappadocian rock settings.^[2] Under Tudhaliya IV (ca. 1237–1209 BCE), royal monuments in conquered territories reinforced Kurunta's cult as a symbol of territorial control. In western and southern Anatolia, stelae and boundary markers invoke tutelary deities including Kurunta to demarcate borders and legitimize expansion, often integrating Luwian iconography of the stag god.^[20] These structures, carved in rock faces, combined political propaganda with religious dedications, as seen in the king's hunting expeditions to Mount Sarissa documented in festival tablets.^[6]

Rituals and Royal Involvement

Rituals dedicated to Kurunta, the Hittite stag god and tutelary deity, often involved animal sacrifices such as billy-goats, sheep, goats, and oxen, with cattle hides used to fashion sacred hunting bags (kursa-) symbolizing the deity's hunting attributes.^[1] These offerings occurred during festivals like the Festival for All Tutelary Deities (CTH 682), featuring processions, bread and drink libations, and ceremonies renewing the hunting bags, which were sometimes sent to provincial centers with new ritual names.^[1] Although no texts explicitly record stag sacrifices to Kurunta, the deity's iconography and association with royal hunts emphasized the stag as a sacred emblem, linking rituals to the king's authority in pursuing game across hunting grounds.^[1] Kurunta's cult integrated into major state ceremonies, including the AN.TAH.ŠUM spring festival for land purification, where the god received sequenced offerings and invocations for protective blessings over the realm and royal person.^[1] During these events and provincial tours, the king performed worship at local sites such as Karahna, Hatenzuwa, and Taurisa, incorporating elements like singers and "dog-men" barking to evoke the hunt, thereby reinforcing the deity's role in safeguarding the monarch's travels and campaigns.^[1] The god's protective invocations extended to oaths, appearing as a standard oath-deity in Hittite treaties to ensure loyalty among vassals and officials.^[1] Theophoric names invoking Kurunta appeared in the royal family, notably the prince Kurunta (also Ulmi-Teššub), son of Muwatalli II and brother of Mursili III, reflecting the deity's integration into Hittite kingship ideology.^[2] Under Tudhaliya IV (c. 1237–1209 BC), the cult expanded significantly, with the king establishing new foundations and cult images during military campaigns, such as adding provincial deities like the Ala of Alatarma and recopying ritual texts to standardize worship across the empire.^[1] This royal patronage elevated Kurunta's status in the state cult, tying the god's hunting and protective aspects to imperial legitimacy and territorial control.^[1]

Mythology and Texts

Role in Hittite Myths

In Hittite mythological texts, Kurunta is identified by scholars such as Volkert Haas with the deity denoted by the sumerogram dLAMMA in the "Song of LAMMA," a fragmentary composition belonging to the Kumarbi Cycle or Kingship in Heaven tradition. This narrative depicts dLAMMA, supported by Kumarbi, the Mesopotamian god Ea, and the primeval gods, overthrowing the reigning storm god Teššub to seize kingship over the divine assembly. His nine-year rule ushers in a golden age of effortless abundance, where food and resources appear spontaneously, causing humans and gods to neglect sacrifices and labor. This leads Ea and the primeval gods to orchestrate his deposition to restore the proper cosmic order and ritual obligations. The myth is highly fragmentary, and details of his overthrow, including possible dismemberment, remain uncertain but may symbolize renewal.^[2]^[3] Allusions to Kurunta also appear in hunting myths preserved among the Hittite textual corpus, portraying him as a wild, untamed deity who interacts dynamically with storm gods such as Tarhunna. In these stories, Kurunta embodies the feral essence of the wilderness, alternately aiding divine hunters in pursuing prey or challenging them through the unpredictable forces of nature, thereby underscoring themes of pursuit, protection, and the precarious balance between civilization and the wild. One such tale involves a deer seeking sanctuary from Kurunta's hunters under the protection of a mountain god, highlighting Kurunta's role as overseer of game and arbiter in conflicts over sacred animals. Numerous textual fragments from the Bogazköy archives, dating to the 14th–13th centuries BC, invoke Kurunta within cosmogonic contexts, integrating him into broader narratives of world formation and divine hierarchy. These cuneiform tablets, unearthed at the Hittite capital Hattusa, position Kurunta as a primordial force tied to the structuring of landscapes and the establishment of natural cycles, often alongside major deities in accounts of creation and cosmic stability. Such references underscore his enduring presence in the mythic framework that underpinned Hittite worldview.

Interpretations of Mythic Narratives

Scholars interpret the deposition of the deer-god Kurunta in the "Song of LAMMA," a narrative within the broader Hurrian-Hittite mythological tradition linked to the Kumarbi Cycle, as a symbolic representation of the hunter-prey dynamic central to ancient Anatolian cosmology. In this myth, Kurunta, depicted as a stag-riding deity, briefly usurps the storm god Teššub's kingship, ushering in a golden age of abundance before his overthrow by Ea and the primeval gods. Volkert Haas views this act not merely as divine punishment but as a metaphor for the dismemberment of hunted animals, reflecting the transformative violence inherent in hunting practices that sustained human communities.^[21] Furthermore, Haas interprets the myth as a calendrical allegory tied to agricultural cycles, where Kurunta's brief reign symbolizes seasonal fertility and effortless bounty, while his death restores the laborious rhythms of planting, harvesting, and sacrifice necessary for cosmic and earthly renewal.^[22] Debates among Indo-European comparativists position Kurunta as a potential precursor to Greek Apollo in his role as a hunting deity, emphasizing shared motifs of mastery over wild animals and liminal spaces between civilization and nature. Haas and others note Kurunta's iconographic parallels to Apollo as a "lord of animals," both embodying the archer's prowess and the stag's antlered form, suggesting an Anatolian substrate influencing Greek mythology through cultural exchanges in western Asia Minor.^[21] This syncretism underscores Kurunta's function as a proto-Indo-European hunting god, bridging Luwian traditions with later Hellenic archetypes, though some scholars caution against direct equivalence due to distinct theological emphases—Kurunta's wild, untamed aspects versus Apollo's oracular and solar dimensions.^[21] Contemporary scholarship explores Kurunta's mythic role through an eco-religious lens, connecting his stag symbolism and deposition to Anatolian shamanistic practices involving animal spirit journeys and fertility renewal. In these views, Kurunta's transformation and ritual death evoke shamanic ecstasy, where the hunter-god mediates between human society and the wilderness, ensuring ecological balance and agricultural vitality through symbolic rites that mimic natural cycles of predation and regeneration.^[23] Such interpretations highlight his integration into broader fertility frameworks, akin to Near Eastern dying-and-rising deities, fostering communal harmony with the landscape in pre-urban Anatolian contexts.^[21] Significant gaps persist in reconstructing Kurunta's mythic narratives, with direct textual evidence limited to fragmented Hittite-Luwian tablets like the "Song of LAMMA," necessitating heavy reliance on iconographic depictions—such as the stag-mounted hunter on seals and reliefs—for interpretive reconstruction.^[22] Moreover, potential Hurrian influences on Kurunta's portrayal remain underexplored, despite the cycle's Hurrian origins, leaving ambiguities in how non-Indo-European elements shaped his role as a liminal wilderness deity.^[23]

References

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The LAMMA deity who is the subject of one of the songs in the Kingship of Heaven Cycle is probably Kurunta (see Chapter 7). (b). There are a number of other ...
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(PDF) The Hunt Scenes Of The Irish High Crosses And The ...
Jan 2, 2019 · The article is dedicated to the iconographic depictions of the hunt found on the Irish High crosses, in particular, the Banagher cross-shaft (Co. Offaly) and ...
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... DLAMMA URUTa-a-u-ri-iš-ša [D…] 6' A-NA DÉ.A-ya I-NA GIŠKIRI6 ḫar-wa-ši-ya-aš ... Kurunta (Fig. 3; Müller-Karpe 2003). There might be a direct ...<|separator|>
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According to the dealer it was found with a silver bull rhyton and a gold statuette of the mother goddess with a child. There are good reasons to believe that ...Missing: Kurunta | Show results with:Kurunta
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The inscriptions in Hieroglyphic-Luwian, Aramaic, and Phoenician appear almost exclusively as monumental inscriptions, the content of which is not of a ...
[12]
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Another Hittite-period example is found on the frieze of the silver stag rhyton discussed above. The scene it carries depicts one deity, seated and holding ...
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Therefore I side with Emmanuel Anati in identifying the anthropomorphic stag-god of the Val Camonica rock carvings as. Cernunnos,12 from which it follows that ...
[17]
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[19]
(PDF) Gods and rulers in Neo-Hittite Tabal - Academia.edu
Runtiya of the Countryside is a manifestation of the Luwian Stag-God Runtiya ... gods Runtiya and Šarruma are almost mutually exclusive in the inscriptions.
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Mesopotamian, Nergal. Hurrian, Nupatik. Egyptian, Montu. Luwian, Runtiya. Arabian, Ruda. In the second millennium BCE, Resheph continued ...
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cults are Tarhu, Santa, Runta/Runtiya and Arma.4. The Hellenization of ... A special temple to Tarhu or any other Luwian god has not been discovered so far.
[22]
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[26]
(PDF) The Near Eastern Chaoskampf in the River Battle of Iliad 21
56 In the Song of LAMMA, Ea first appoints but then deposes the nemesis of the storm-god, when LAMMA's reign proves disastrous for the gods as well as for ...
[27]
(PDF) The Hittites and thier World - Academia.edu
This volume provides a comprehensive survey of the contributions of Hittite studies to biblical interpretation, a topic of increasing interest among scholars ...
[28]
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### Summary of Mentions of Kurunta
[29]
[PDF] AN INTERPRETATION OF KUB XXIII 79 ("THE SACRIFICE ... - SMEA
In this case, as in the myth of the LAMMA kingship, they are the same gods that put one of them on the throne - in this case the young son of the Sun god. - and ...
[30]
The Master or Lord (king) and Mistress (queen) of (the) Animals
Dec 23, 2016 · Kuruntiya and Runtiya are linguistical not a problem Volkert Haas reported that Kurunta-Runtiya, like Karhuhi-Karhuha are the 'paredros' of ...
[31]
Ancient Myths and Legends of the Black Sea: An Integrative Analysis
... Hittite State Cult of Tutelary Deities. (Chicago:University of Chicago Press ... the Kurunta myth in the context of hunting myths. The Kurunta myth ...