Fact-checked by Grok 2 weeks ago

Ningal

Ningal was a major in , particularly within and traditions, revered as the of the moon god (also known as Suen or ) and the mother of the sun god Utu () and the of love and war (). Her name, derived from , translates to "Great Lady" or "Great Queen," underscoring her exalted status as a divine associated with , the lunar cycle, and occasionally solar aspects through her offspring. Ningal was sometimes regarded as the daughter of the reed goddess Ningikuga, a daughter of , linking her to the broader . The primary center of Ningal's worship was the southern Mesopotamian city of , where her was closely intertwined with that of ; her main , E-kiš-nú-gal ("House, Place of the Holy Measuring Boat"), formed part of the expansive temple complex including Nanna's , constructed during the Third Dynasty of Ur by King around 2100 BCE. This complex also featured the giparu, a residence for (entu) dedicated to Ningal, which included a for deceased entu priestesses and housed a personal to the . practices involved processions of her cult statue, offerings in both earthly and contexts—as seen in texts like "The Death of "—and dedications such as the "Eyes of Ningal," a pair of eyes offered by an early Babylonian king and later rededicated by rulers. Ningal's veneration extended beyond Ur to northern sites like , where she was honored alongside /, and to , where she evolved into the independent deity by the second millennium BCE, maintaining prominence into the first millennium CE. Notable revivals of her cult occurred under Babylonian king (r. 556–539 BCE), a devotee of who rebuilt her temple in Ur in 554 BCE after a and relocated it eastward as part of broader restorations; he also spent over a promoting the moon god's cult at in Arabia. Iconographically, Ningal was depicted wearing a horned , symbolizing , and linked to the crescent as well as the constellation through associations with the goddess . Artifacts like a diorite statue from the , dedicated by En-ana-tuma (daughter of Isin king Išme-Dagan) at Ur's giparu, highlight her enduring role in royal and priestly devotion.

Name and Etymology

Meaning and Origin

The name Ningal originates from Sumerian nin-gal, composed of nin ("lady" or "mistress") and gal ("great" or "big"), literally translating to "Great Lady" or "Great Queen." This etymological structure parallels other Sumerian titles like lugal ("great man" or "king"), emphasizing hierarchical status within the divine and human spheres. In Akkadian, the name adapts to Nikkal, preserving the core meaning while integrating into Semitic linguistic patterns, as seen in god lists and hymns from the second millennium BCE. Ningal's name first appears in texts dating to the third millennium BCE, with sparse early mentions evolving into more frequent attestations during the Ur III period (ca. 2112–2004 BCE), particularly in administrative and dedicatory inscriptions from southern . These Ur III records, such as temple offerings, mark her emergence as a prominent figure, often invoked alongside lunar deities. The name's cultural implications highlight Ningal's regal authority, portraying her as a sovereign protector whose "greatness" symbolizes benevolence and oversight over urban centers in cosmology. This linguistic emphasis on majesty underscores her role as a stabilizing consort to the moon god /, reinforcing themes of divine order and fertility in early Mesopotamian thought.

Variant Names

In texts, the name Ningal was largely retained from its Sumerian form but occasionally rendered as , reflecting phonetic adaptations in northern and western regions. This variant emerged as her cult spread beyond southern , particularly in by the second millennium BCE, where it persisted into the first millennium CE. In Hurrian and traditions, Ningal was fully syncretized as , the of the moon god Kušuh (a local equivalent of /), integrating her into the pantheons of northern Syria and Anatolia. This form appears prominently in Ugaritic mythological texts, such as the "Song of Nikkal," which depicts her marriage and underscores her role as a lunar . The adaptation highlights cultural exchange, with Hurrian influences facilitating her adoption in around the late second millennium BCE. Phoenician and adaptations further evolved as a moon-related of orchards and fertility, often invoked in inscriptions from the first millennium BCE, maintaining her Mesopotamian roots while aligning with local agrarian emphases. In these contexts, she is sometimes expanded to Nikkal-wa-Ib ("Nikkal of the Fruits"), emphasizing her benevolent aspects. Attestations in , bridging and Phoenician traditions, confirm this continuity. Rare variants, such as Nin-gal, occur in some Neo-Babylonian inscriptions, where the name is written with slight orthographic variations but retains its core meaning of "great lady." These appear in royal dedications, such as those by at , without altering her established identity.

Identity and Attributes

Role in the Pantheon

Ningal served as the primary of the moon god / (also known as Suen) within the Mesopotamian , embodying a central feminine counterpart to his celestial authority. As the of the city of , she symbolized , protective benevolence, and the rhythmic cycles of the , reflecting her integral role in maintaining cosmic and earthly . Her position underscored the paired divine structure common in Mesopotamian theology, where she complemented Nanna's oversight of time, tides, and agriculture through her nurturing influence. Associated with the crescent moon symbol prevalent in Mesopotamian from prehistoric periods to the Neo-Babylonian era, Ningal functioned as a linked to abundance and the generative forces of earth and water. She was revered as a "reed goddess," tied to marshlands and that represented and the watery origins of life in cosmology, often invoked in contexts of growth and renewal. Her attributes extended to mediation between divine and human realms, portraying her as a compassionate intercessor who ensured and safeguarded communities under Nanna's domain. Hymns describe her as a majestic lady determining destinies from sacred shrines, emphasizing her role in bestowing favorable omens and bountiful yields. Scholarship highlights ongoing debates regarding the extent of Ningal's independent versus her portrayal as subordinate to , with some evidence suggesting her worship developed distinctly in peripheral regions like , where she appeared as . This uncertainty stems from varying textual traditions, where her agency as a standalone remains less attested than her paired role, though her epithets in hymns affirm a prominent, self-sufficient divine .

Iconography

Ningal's iconography in Mesopotamian art is characterized by depictions of her as a seated , often enthroned and adorned with divine attributes that emphasize her status as the consort of the moon god /. She is frequently shown wearing a horned or a simple , sometimes incorporating a mitre-like ornament signifying divinity, and dressed in a long tunic with tiered, fringed folds that evoke or reeds. These representations highlight her regal poise, with clasped hands in her lap or one arm extended in , reflecting her role in divine audiences with rulers. A prominent example appears on the Ur-Nammu Stele from , dating to around 2100 BCE, where is portrayed seated on a or intimately leaning against 's with her arm around his , her long hairstyle featuring loose locks over the shoulders. She wears an ankle-length garment with overlapping tiers of wavy strands, a of thick bands, and a crown with four pairs of horns over a peaked , her left arm outstretched toward in a of reception. This rare intimate divine couplet underscores her close association with , though the stele's fragmented state led to initial misidentifications of the figure as a before new pieces confirmed her form. Another key artifact is the black votive statuette of Enanatumma, dedicated to Ningal from the precinct (giparu) at , dated to ca. 1950-1900 BCE. The priestess is depicted seated on a square throne with bulls' head armrests, her bare feet resting on the ground, hands clasped in her lap, and long floating hair with curls; she wears a five-strand necklace and a simple topped by a mitre-like secured with nails. Heavily restored after discovery in fragments, the statue measures about 24 cm in height and exemplifies early sculptural conventions for female figures, though the face was reconstructed based on parallels. Symbolic elements in Ningal's iconography often link her to lunar and natural motifs, including the shared with , though direct attributions are debated, and associations with reeds reflecting her as " of reeds," evoking marshy fertility landscapes. In cylinder seals and reliefs from and , she appears inconsistently as a seated figure sometimes accompanied by a or flowing streams, but identifications remain uncertain due to overlaps with other like . Archaeological evidence for her images is sparse, with most surviving examples from cult contexts at , and distinctions from similar deities relying on inscriptions or contextual pairing with .

Mythological Role

Family Relationships

In Mesopotamian mythology, Ningal is attested as the daughter of the goddess , known as the "lady of the pure ," in Old Babylonian balbale compositions dedicated to . Ningikuga, associated with reeds and marshes, is regarded as a consort of , the god of wisdom, fresh waters, and creation, thereby positioning Enki as Ningal's father in this genealogical tradition. This parentage links Ningal to the watery and fertile aspects of the Enki cult, reflecting her own attributes as a of abundance and consort to the . Ningal's primary consort was , also known as in , the moon god whose worship centered in and ; their marriage is depicted in hymns as a harmonious union embodying the celestial cycles of night and . This partnership is celebrated in texts such as the balbale to , where expresses affection for Ningal in the presence of her mother Ningikuga, underscoring themes of divine familial bonds and cosmic order. The children of and vary across sources, with early texts primarily identifying ( in ), the of and war, and Utu (), the sun god, as their offspring. Later god lists, such as the canonical from the Neo-Babylonian period, expand this progeny to include additional figures like the son Ningublaga (city god of Kiš-aba), the daughters Amarra-uzu and Amarra-he'ea, and in some traditions, Numushda (city god of Kazallu), ('s vizier), and the fate . These discrepancies highlight evolving structures, where early compositions focus on the core solar-lunar family, while Neo-Assyrian and later lists incorporate regional deities as subordinate kin to integrate local cults.

Appearances in Myths

Ningal features prominently in city laments as a protective yet powerless mourning the fall of . In the , she hears the desperate cries of her city's inhabitants and attempts to intercede with the high gods and , sprinkling water on the ground and prostrating herself in supplication, but her pleas go unheeded, leading to the city's destruction and her own exile. The poem portrays her grief vividly, as she laments, "I am Ningal on whose ewes the weapon has fallen, as in the case of an unworthy herdsman," emphasizing her role as a shepherding mother figure over her people. A similar depiction appears in the Lament for Sumer and Ur, where Ningal again embodies maternal sorrow, pleading for mercy before the gods decree devastation upon the land and its cities; she ultimately abandons in despair, clothing herself hastily for exile while the Anuna gods depart. These narratives highlight her emotional depth and futile efforts to safeguard her cult center, reinforcing her identity as Ur's chief patroness in times of catastrophe. Beyond the laments, Ningal appears in early tales of her courtship by the moon god , depicted as a joyful between the young deities that underscores themes of divine harmony and fertility. In the tradition, as the syncretized goddess , she is the central figure in the The Marriage of Nikkal and , where the moon god Yarikh seeks her hand, offering lavish bride-prices amid negotiations involving her father Ḫrḫb, who proposes alternative brides before agreeing to the match. Ningal is also invoked in the Early Dynastic Zame Hymns from Tell , where she is praised as "mother Ningal" in a dedicated to her nurturing qualities and divine residence. Overall, her mythological appearances are rare and lack extensive standalone narratives, typically occurring as a supporting character in stories tied to Nanna's journeys or as a lamenting figure in Ur's destruction accounts.

Cult Centers and Worship

In Ur

Ningal served as the tutelary goddess of Ur, where her worship formed the core of the city's religious life as the consort of the moon god . Her primary cult center was the giparu, a complex dedicated to her within Ur's sacred precinct, which included specialized shrines such as the Egarku, known as the "House of the Sacred ," a specifically for Ningal. Other associated names included Agrunku and Eidlurugukalamma, reflecting the intimate and sacred spaces devoted to her divine presence. The giparu was initially constructed during the Ur III period by King around 2112 BCE and later elaborated by his successor , with significant rebuilding in the Neo-Babylonian era under in the 6th century BCE to restore its grandeur. Rituals in Ur centered on Ningal's role in lunar and fertility cycles, with major festivals reenacting sacred journeys tied to her husband . An annual spring ritual commemorated 's mythological voyage from Ur to to visit his father , during which Ningal participated as his divine companion, symbolizing renewal and the moon's waxing phase; this procession involved boat processions along the and offerings to ensure agricultural fertility. These ceremonies, part of broader celebrations like the festival, emphasized Ningal's attributes as a protective , invoking her blessings for bountiful harvests and the city's prosperity through libations, hymns, and communal feasts aligned with lunar phases. Ningal's cult held profound historical significance in Ur, particularly during the Ur III dynasty (c. 2112–2004 BCE), where it underpinned royal piety and legitimacy; kings like positioned themselves as devotees, installing high priestesses (entu) of royal lineage, such as Enheduanna's descendants, to embody Ningal and reinforce the dynasty's divine mandate. The city's fall to Elamite invaders in 2004 BCE was mourned in the "Lamentation over the Destruction of Ur," a Sumerian composition portraying Ningal weeping bitterly and pleading with to spare her city, only to witness its devastation, highlighting her role as Ur's grieving protector and the gods' abandonment. Archaeological excavations at the giparu, led by in the 1920s, uncovered evidence of Ningal's enduring worship, including her residential quarters with bitumen-paved floors, corbeled tombs for deceased entu priestesses, and storage areas for cultic items. Votive offerings, such as model boats dedicated to Ningal for safe maritime voyages and precious artifacts like stelae from , were found in the complex, illustrating the temple's economic and devotional importance; intramural burials and ritual shafts further attest to ancestor cults integrated into her veneration, blending royal and divine spheres.

In Harran

Harran served as a prominent secondary cult center for Ningal, the of the Sîn, where her worship was integrated into the broader lunar traditions of the city. Unlike her primary associations in , Ningal's presence in Harran emphasized her role within the Eḫulḫul temple complex, dedicated to Sîn, which functioned as the hub of moon worship. A dedicated giparu for Ningal was located within this complex, mirroring architectural features from southern Mesopotamian sites but adapted to Harran's astral-oriented practices. and Babylonian inscriptions highlight her alongside Sîn, underscoring her status as a divine partner in the city's religious life. The Eḫulḫul temple, including Ningal's giparu, underwent significant restoration in the 6th century BCE under , the last Neo-Babylonian king, who claimed divine instruction from Sîn in a dream to rebuild it after earlier neglect. 's inscriptions explicitly mention escorting the deities Sîn, Ningal, Nusku, and Sadarnunna during the reconstruction, restoring the temple's ic functions and elevating Harran's importance as a hub. This revival aligned with 's personal devotion, influenced by his mother Addagopê's long-standing piety toward Sîn and Ningal, as recorded in her . The restorations ensured the continuity of offerings and processions honoring the lunar pair, with Ningal invoked in rituals that reinforced royal legitimacy and cosmic order. Rituals in centered on lunar worship, where Ningal participated as Sîn's consort in festivals like the on the 17th of Siwan, involving processions, sacrifices of oxen and bulls, and communal fasts to honor the moon's cycles. Dream incubation practices, tied to Sîn's role as an oracle-giver, extended to Ningal's attributes of and protection, allowing devotees to seek divine guidance through temple sleep rites. Additional ceremonies, such as monthly offerings on the 27th and weeping rituals for , linked Ningal to seasonal renewal and associations, blending her Mesopotamian identity with local astral devotions. These practices highlighted Harran's emphasis on celestial harmony over the traditions seen elsewhere. The cult's importance persisted into the , with maintaining its status as a regional moon worship center amid Seleucid and Parthian influences, where Sîn and Ningal's triad adapted to Greco-Roman . inscriptions from kings like and Babylonian texts under reveal syncretic elements, equating Ningal with local deities like Ishtar-Venus (Bēlet-ša-Uruk) and Nikkal, incorporating Western motifs such as the "daughter of " in later Harranian lore. This fusion, evident in invocations and planetary rituals, distinguished Harran's cult by integrating Mesopotamian roots with Hurrian- and Hellenistic , sustaining worship through .

In Other Mesopotamian Cities

Ningal's worship extended beyond her primary centers in and to various other Mesopotamian cities, where she typically held a subordinate role as the consort of the moon god /, integrated into local pantheons through shared temple complexes and occasional dedications. Evidence for her cult in these locations is often sparse, derived from temple hymns, royal inscriptions, votive offerings, and administrative texts, reflecting her broader association with Sin's worship rather than independent major sanctuaries. In , the religious hub of the cult, Ningal appears in temple hymns alongside other deities, indicating her invocation within the city's sacred repertoire during the Ur III and Old Babylonian periods. At , attestations of Ningal are limited to references in archival texts linking her to , suggesting minor ritual integration into the local divine hierarchy without dedicated temples. In , Old Babylonian documents record statues of Ningal and serving as witnesses in legal transactions, and she is invoked alongside Nannar in oaths, underscoring her supportive role in the Shamash-centered cult. Babylonian cities like , , and show Ningal's presence through shared shrines with , as noted in god-lists and royal dedications; for instance, kings transported thrones to temples of , Ningal, and Utu during the , highlighting her familial ties in ritual contexts. In , she receives brief mentions in Neo-Babylonian pantheon lists, tied to 's without distinct evidence. Assyrian capitals such as and feature Ningal in royal inscriptions of and his successors, where she is listed among favored deities and linked to a called Eangim ("House like "), attesting to her invocation in Neo-Assyrian votive and building texts. Further evidence comes from Kissig, where Nabonidus restored the Eamaškuga ("House, Pure Sheepfold"), a explicitly dedicated to Ningal, as recorded in his inscriptions emphasizing her as in a Neo-Babylonian context. Temples named Eangim and Eengimkuga, also associated with Ningal, appear in uncertain locations, possibly in territories, based on fragmentary royal attestations. In , a border region with Elamite influences, Ningal is evoked in Ur III-period votive inscriptions alongside , indicating limited but widespread integration into eastern Mesopotamian practices. Overall, these secondary sites demonstrate Ningal's cult through minor pantheonic roles, often via seals, votive texts, and shared shrines during the Neo-Assyrian and Neo-Babylonian periods, rather than prominent independent .

Extramesopotamian Worship

The cult of Ningal extended westward into the , where she was syncretized as and incorporated into Hurrian religious traditions. In , a prominent coastal , received devotion through the Hurrian to , inscribed on a around 1400 BCE and featuring the earliest known in . This , part of a collection of discovered at the site, invokes in a context, emphasizing offerings and libations to promote abundance. Her also appears in , a Hurrian kingdom in southeastern , where she maintained ties to lunar and consort roles derived from Mesopotamian origins. In the Hittite Empire, Nikkal's cult blended with indigenous Anatolian and Hurrian elements, often merging her attributes with local moon goddesses. Hittite texts record temples dedicated to her and rituals that integrated her into the , such as a performed by the Hittite Ažmu-Nikkal involving offerings to ensure prosperity. These practices highlight , with Nikkal invoked alongside deities like the Hurrian Kušuḫ, adapting her Mesopotamian identity to Hittite state ceremonies. Evidence of Nikkal's worship reaches Phoenician contexts, where she evolved into a more autonomous fertility figure associated with orchards and fruitfulness, reflecting influences from traditions. A solitary attestation occurs in , within a Demotic magical where Nikkal is called upon as an exotic to cure illness, underscoring limited but direct cultural exchange. Scholars such as Julia M. Asher-Greve and Joan Goodnick Westenholz trace this extramesopotamian diffusion through patterns of Hurrian mediation and trade routes, noting Nikkal's transformation from lunar consort to a broader emblem of agrarian vitality.

References

  1. [1]
    [PDF] Gods, Demons and Symbols of Ancient Mesopotamia
    statue to Ningal by. En-ana-tuma, daughter of King Isme-Dagan of. Isin. Ningal. The goddess Ningal was the wife of the god. Nanna/Sin and the mother of the sun ...
  2. [2]
    The Mesopotamian Pantheon - World History Encyclopedia
    Feb 25, 2011 · NINGAL - A Sumerian goddess of fertility associated with the sun, mother of Utu/Shamash, the sun itself, and wife/consort of Nanna, the moon-god ...<|control11|><|separator|>
  3. [3]
    [PDF] Cult of the Deceased entu: The Ur III giparu at Ur Victoria Wilson
    Ningal, and thus the entu, was the consort of Nanna, whose ziggurat was central to the sacred precinct. Sectioning the giparu. The excavators Woolley and ...
  4. [4]
    Meaning, origin and history of the name Ningal
    Means "great lady", from Sumerian 𒎏 (nin) meaning "lady" and 𒃲 (gal) meaning "big, great". This was the name of a goddess of reeds in Sumerian mythology.
  5. [5]
    Ancient Mesopotamian Gods and Goddesses - Nanna/Suen/Sin (god)
    The moon god's wife is the goddess Ningal (Akk. Nikkal) and their children ... Another child of the moon god known from Old Babylonian sources is Numušda (Hall ...
  6. [6]
    The Date of the Foundation Deposit in the Temple of Ningal at Ur
    identification of the building as the Temple of Ningal. First, in the Ur III and Isin-Larsa periods a temple dedicated to Ningal was situated in the giparu ...
  7. [7]
    Ningal - www.GatewaysToBabylon.com - Gateways To Babylon
    Sumerian goddess, whose name means Great Lady, the wife of the moon god Nanna. She is the daughter of Enki, the Lord of the Sweet Waters, Crafts and Magick ...
  8. [8]
    epsd2/sux/ningal[relation]N - Oracc
    ningal [RELATION] N (1x) Old Babylonian wr. nin₉-gal "a kinship term, relation". [1], 𒎐𒃲, nin₉-gal. PC, ED IIIa, ED IIIb, Ebla, OAkk, Lag II, Ur III, OB ...
  9. [9]
    (PDF) The West Hurrian Pantheon and Its Background - Academia.edu
    The paper examines the West Hurrian pantheon and its cultural background, revealing the significant influence of Babylonian culture on Hurrian literature.
  10. [10]
    Ningal (deity) | Research Starters - EBSCO
    Ningal is a significant figure in Sumerian mythology, recognized as the daughter of the goddess Ningikuga and the god Enki. Known as the consort of Nanna, ...Missing: scholarly | Show results with:scholarly
  11. [11]
    4.13.11 - Electronic Text Corpus of Sumerian Literature
    Apr 13, 2011 · Ningal ……. He has butter, ……. Iterda milk ……. Cheese …… like milk ... (Ningal speaks:) "The lord of the just word ……. The lord of the E ...<|control11|><|separator|>
  12. [12]
    [PDF] Resurrecting Inanna: lament, gender, transgression - ucf stars
    The goddess Ningal is often associated with marsh reeds in Sumerian mythology. She is a daughter of the trickster-god Enki and consort to Nanna, the moon god.<|control11|><|separator|>
  13. [13]
    The Museum Journal | Sumerian Sculptures
    It was discovered at the same time and place as the fragments of the Ningal statuette, and represents another familiar goddess.Missing: iconography | Show results with:iconography
  14. [14]
    [PDF] The 'Ur-nammu' Stela - Academic Commons - Stony Brook University
    god in Mesopotamian art. To place it over just one fig- ure in a pair seems still more strange, and may have political overtones.v' In any case, it further ...Missing: depictions | Show results with:depictions
  15. [15]
    For the Glory of the Gods (Part II) - From Ritual to God in the Ancient ...
    May 3, 2024 · It is clear that among ancient Near Eastern communities, the presence of the divine was initially validated through the anthropomorphic representation of ...
  16. [16]
    A balbale to Nanna (Nanna B): translation - ETCSL
    A balbale to Nanna (Nanna B): translation · (Ningal speaks:) "I ...... for the ....... · (Nanna addresses Ningal:) "My spouse, ......, Ningal who ......, ......
  17. [17]
    None
    No readable text found in the HTML.<|control11|><|separator|>
  18. [18]
    https://oracc.museum.upenn.edu/amgg/listofdeities/ningikuga/
  19. [19]
    https://oracc.museum.upenn.edu/amgg/listofdeities/nannasuen/index.html
  20. [20]
    The lament for Sumer and Urim: translation
    In order to go as an exile from her city to foreign territory, Ningal quickly clothed herself and left the city. The Anuna stepped outside of Urim.
  21. [21]
    [PDF] lamentation over the destruction of ur
    In the fourth "song" Ningal continues her lament before Nanna, describing her efforts in behalf of her city and bemoaning their futility: It was Anu and Enlil ...
  22. [22]
    Nanna and Ningal - www.GatewaysToBabylon.com
    Ningal, on the other hand, is the beloved daughter of Ningikuga, the Goddess of Reeds, and Enki, the God of Magic, Crafts and Wisdom. To fully understand ...
  23. [23]
    The Sumerian Zame Hymns from Tell Abu Salabih - dokumen.pub
    (there said) mother Ningal praise. 41. B 41 u3-gal-gal gi nim. Ugalgal with high reed, 42. B 42 dag lu2 kalag!-ga residence of the mighty one: 43. B 43 an za3 ...
  24. [24]
    Tallay Ornan 2010, Divine Love, in J. Westenholz Fest., BPOA 8 ...
    ... marriage of Nanna and Ningal, in which the goddess is often presented through the embodiment of a priestess.7 The loving relationships of the couple are ...
  25. [25]
    btto/qpn-x-temple/Egarku['House, Sacred Boudoir']TN - Oracc
    Egarku ['HOUSE, SACRED BOUDOIR'] (TN). 2 ... Normalized forms:Egannunku (é-gán-nun-kù); Egarku (é-gar₆-kù). 1. sanctuary of Ningal in Egipar at Ur (2x/100%)
  26. [26]
    Nanna-Suen's journey to Nibru: translation - ETCSL
    Nanna-Suen will cause six hundred ewes to give birth to lambs for the house of Enlil, for he will cause their rams to be let loose among them.
  27. [27]
    The Akitu Festival - www.GatewaysToBabylon.com
    The major theme of the festival was the coming of the Moon God Nanna, symbolized by the waxing of the Moon in the sky and reenacted by the entry of His statue ...
  28. [28]
    Nabonidus 47 - Oracc
    (iii 20b) I built Eḫulḫul, the temple of the god Sîn, anew (and) completed its construction. I took the deities Sîn, Ningal, Nusku, and Sadarnunna by the hand, ...Missing: restoration | Show results with:restoration
  29. [29]
    The Presence of the Goddess in Harran - Academia.edu
    The Doctrina Addai declares that the Harranians honored the goddess Bath Nikkal, or the daughter of Nikkal (Ningal). ... cult at Harran during this period, except ...
  30. [30]
    [PDF] LETTERS FROM MESOPOTAMIA
    This book contains the translations of one hundred and fifty let- ters written in Akkadian on clay tablets. The earliest date from the time of King Sargon of ...
  31. [31]
    [PDF] THE RULERS OF LARSA
    ... Nippur and) 3 thrones adorned with gold brought into the temples of Nanna, Ningal and Utu. 7 mu en-an-e-dufi en-∂nanna (úri˚) ba-hun-gá. Year Enanedu was ...
  32. [32]
    [PDF] The Pantheon of Uruk During the Neo-Babylonian Period
    The pantheon of Uruk duringthe neo-Babylonian period / Paul-Alain Beaulieu. p. cm. —(Cuneiform Monographs ; 23). Includes bibliographical references and index.<|separator|>
  33. [33]
    [PDF] the royal inscriptions of ashurbanipal (668–631 bc), aššur-etel-ilāni ...
    ... Myths. W.G. Lambert, Babylonian Creation Myths (=Mesopotamian Civilizations ... Ningal, the consort of Sîn (Nanna).54. Miscellaneous Clay Objects. Less ...
  34. [34]
    None
    Nothing is retrieved...<|control11|><|separator|>
  35. [35]
    (PDF) House Most High: The Temples of Ancient Mesopotamia
    Even though Kissig had earlier been a cult-center of ignored as a temple of ... Cult-statue a temple of Ninurta or a similar god, found in litanies ...<|control11|><|separator|>
  36. [36]
    The Nikkal Poem from Ras Shamra - jstor
    Nevertheless, it must be considered an independent composition which has nothing to do with the Nikkal poem. It falls outside the scope of the present paper.
  37. [37]
    The Oldest Song in the World - Amaranth Publishing
    One text contained a complete hymn, both words and music and is the oldest known preserved music notation in the world. Prof. Kilmer transcribed this piece of ...
  38. [38]
    6. Peripherals, Hybrids, Cognates - The Center for Hellenic Studies
    ... < Ningal), an originally Sumerian moon goddess associated especially with Ur. These complex musical artifacts were more than learned curiosities, since they ...Missing: etymology | Show results with:etymology
  39. [39]
    https://www.amaranthpublishing.com/hurrian.htm
  40. [40]
    The Moon Goddess Nikkal and Hurrian Attributes in Hittite ...
    Goddess Nikkal in Hittite's gods community is of Mesopotamia origin. It is understood that the aforementioned goddess is an important Hurri goddess from the ...Missing: Ningal syncretism Phoenician
  41. [41]
    Goddess Nikkal: Unveiling the Divine Power and Fertility of Ancient ...
    In the religious beliefs of the Hurrians, Nikkal held a prominent position. She was revered as the wife of the lunar god Kušuḫ, associated with fertility and ...
  42. [42]
    Ningal - Wikipedia
    Ningal's name has Sumerian origin and can be translated as "Great Queen". While she was a major deity in the Mesopotamian pantheon and the worship of her is ...Missing: scholarly | Show results with:scholarly
  43. [43]
    Book Review: Asher-Greve & Westenholz 2013 Goddesses in Context
    In "Goddesses in Context," Asher-Greve and Westenholz explore the social and religious roles of Mesopotamian goddesses with a focus on Babylonia.