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    Ninĝirsu
    God of war and agriculture
    God wielding a mace and a battle net with captured men from Umma on the Stele of Vultures, likely Ninĝirsu. The composite Anzû-lion emblem can be seen closing his battle net. [1]Musée du Louvre.
    Major cult centerĜirsu
    Symbolslion, perhaps Anzû, composite Anzû-lion emblem, sevenfold mace, plow
    Genealogy
    ParentsEnlil and Ninhursag
    SiblingsNanshe
    ConsortBau
    OffspringIgalim, Shulshaga, seven daughters including Ḫegirnuna and Urnunta-ea

    Ninĝirsu was the tutelary deity of the city of Ĝirsu, and the chief god of the pantheon of the state of Lagash, in Sumer. (p90 A.Falkenstein 1966) His identity is closely intertwined with that of the Mesopotamian god Ninurta. They share many aspects, and Ninĝirsu was identified as a local form of Ninurta in a syncretism that is documented at least from the time of the ruler Gudea in the late third millennium BC. (p127 narrative strategies in lugale note6)There is much debate over the question of whether they were originally two manifestations of the same god, or two separate local deities, with different genealogy and perhaps attributes. (reallexikon p512) (p124 zame hymns)

    Ninĝirsu was characterized as a warlike god in the earliest sources.(selz p250)He was also a deity connected with agricultural fertility.(p107 suter)In Lagash, Ninĝirsu was particularly associated with a composite emblem depicting the Anzû bird over two lions. It could sometimes represent him in cultic contexts. (wiggermann ref p160 )

    He was an important local god from the Early Dynastic Period until the old Babylonian period. (p 138 black and green ningirsu) He was regarded as the son of Enlil and Ninhursag; several scholars have proposed that in an older tradition he might have been regarded as a son of Enki. (p514 reallex ningirsu) Ninĝirsu’s sister was Nanshe; she was the second main deity in the local pantheon of Lagash. (p154 Nanshe reallexikon) His wife was Bau; it has been argued that from the time of Gudea she replaced Nanshe as the highest ranking goddess, and was elevated to equal rank with her husband. (p189 goddesses in context )

    The decline of the region of origin of Ninĝirsu participated in the decline of his cult, (p22 goddesses in context) and his identity was subsumed by Ninurta.This is notably attested by the presence of Ninĝirsu as the protagonist of Old Babylonian versions of the myths Lugale and the Epic of Anzû, while the Standard Babylonian version features Ninurta instead. (lugale p127) The influence of local Lagashite mythology on Lugale has been interpreted either as evidence of the syncretism between Ninurta and Ninĝirsu at the time of its composition, or as evidence that Ninĝirsu was the protagonist of the myth in an older tradition. (p514 reallexikon)

    Ninĝirsu and Ninurta

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    The name of the god, commonly written in cuneiform as 𒀭𒎏𒄈𒋢 dnin-ĝír-su(-k) , means ‘’Lord of Ĝirsu.’’ Ĝirsu was the capital of the state of Lagash in historical times, and the principal cult center of Ninĝirsu.[2]

    Whether Ninĝirsu and Ninurta were originally two separate deities or two aspects of the same god is a subject of debate in Assyriology. Michael P. Streck points out that they appear separately in the early god lists.[3] Ninurta appears in a higher position in the Fāra god list and Ninĝirsu appears in a higher position in the Abu Salabikh god list.[4]He suggests that this could indicate two originally separate deities that were syncretized at some point in the second half of the third millennium BC due to the similarities of their characters.[3]

    Thorkild Jacobsen sees Ninurta and Ninĝirsu as two names of the same god, and theorizes that he was originally identical to the Anzû bird that he is often associated with.[5]Jerrold S. Cooper argues that Ninĝirsu was a local manifestation of Ninurta by underlining his ties to Nippur, Ninurta’s cult center, in pre-Sargonic times.[6]Scholars holding the opposite opinion include Adam Falkenstein, who sees indications that Ninĝirsu and Ninurta initially had different genealogies. He argues that Ninĝirsu was a son of Enki in an older tradition.[2]J. Van Dijk argues that Ninĝirsu and Ninurta had partially different attributes before they were syncretized,[7] and Jeremy Black also considers they were initially two gods from different cult centers.[8]

    The majority of scholars agree that syncretism between Ninĝirsu and Ninurta is attested at least from the time of Gudea, when local mythology began to be reinterpreted as national mythology.[9][10][6]This is suggested by the parallels between the weapons and trophies of Ninĝirsu in the Gudea Cylinders and the ones of Ninurta in the myths Angim and Lugale. A syncretism dating to the late Akkadian period has also been proposed.[11] With the decline of his region of origin, Ninĝirsu‘s identity came to be subsumed by Ninurta.[12]

    Attributes

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    As tutelary god of Ĝirsu and its region, Ninĝirsu was believed to be the owner of the land, and the mortal ruler was believed to act as his takecarer.[13]

    In the earliest sources, the most characteristic attribute of Ninĝirsu was that of a warlike god.[14] A common epithet of his was ‘’warrior of Enlil’’. It is first attested in the Early Dynastic Period inscriptions of the rulers of Lagash in the context of their multigenerational border war with the rival state of Umma.[15]Ninĝirsu was believed to appoint the rulers of Lagash to defend his territory against claims of the ruler of Umma.[16]He could be described as intervening personally on the battlefield in their favour.[17] In the inscriptions of Gudea ,Ninĝirsu is described as having a fierce glare which the enemy cannot bear. His destructive aspect was frequently compared to forces of nature such as storms and floods.[18]Gudea envisioned the god as a figure of massive size, with wings like those of the Anzu bird and his lower body like a flood storm.[19]

    Because of the textual association with storms and floods Thorkild Jacobsen interpreted Ninurta/Ninĝirsu as a god of thunderstorms. He theorized that the Anzû bird that this god was often associated with was originally a divine representation of a stormcloud and that they were initially identical.[20] However, Michael P. Streck points out that metaphors relating to forces of nature are attested for other warlike deities,[21]and Frans Wiggermann instead theorizes that the Anzû bird was originally the symbol of the god Enlil, and that it could be associated with Ninĝirsu and other deities because they acted under the supervision of his authority. [22]

    In the inscriptions of Gudea Sharur is identified as the main weapon of Ninĝirsu; it was also the main weapon of Ninurta.[23] Claudia E. Suter proposes that Sharur might have been depicted as a giant mace on the fragment of a monument from the time of Gudea. [24]In the myth Lugale, it acts as a helpful servant and companion of Ninurta/Ninĝirsu. [23]

    Ninĝirsu was also a god associated with agricultural fertility. The Sumerian literary text ‘’The Lagash King List’’ ,dated to the Old Babylonian period,[25]seemingly credits him for the creation of the tools of agriculture, the irrigation system ,and for the ensued prosperity for the region of Lagash. [26]In the later version of the Epic of Anzû, known from Middle Assyrian, Late Assyrian and Neo Babylonian fragments, it is stated that Ninurta’s name in the furrows is Ninĝirsu, [27]and the god is depicted as a source of abundance who resettles devastated agricultural lands in the syncretistic Hymn to Gula,[28]a literary text perhaps originally composed in the Kassite period. [29] Some researchers presume that this attribute of Ninĝirsu was acquired in the syncretism with Ninurta.[3][30](van dijk p 4 lugal 1983 )

    Ninĝirsu received offerings in the context of the cult of the dead; Gebhard J. Selz interprets this as evidence of his role as an underworld deity.[16]Michael P. Streck considers instead that his presence in the offering lists is more likely tied to his role as a city god.[31]

    Iconography

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    Visual depictions of Ninĝirsu usually reflect his function as a warrior deity. On the Stele of the Vultures, the god is depicted as a massive figure intervening on the battlefield in favour of the ruler. He is shown holding a mace and a battle net, in which defeated enemies of the rival state of Umma are imprisoned. On the lower register of the stele he stands on a war chariot pulled by lions.[32]

    Ninĝirsu was associated with the lion. He shared this symbol with various other warrior deities.[33][34]A type of iconography restricted to the region of Ĝirsu, from the ‘’Gudea’’ or ‘’Neo-sumerian’’ period, depicts a god with lion protomes rising from his shoulders who is identified as Ninĝirsu.[33]

    Another symbol of Ninĝirsu was a composite emblem representing the Anzû bird over lions.[35]It appears on objects dedicated to the god and is rarely seen outside of Lagash. It is represented in Ninĝirsu’s hand on the Stele of the vultures, closing his battle net, and on the lower register of the stele, where it is attached to his chariot, separated from the lions. It also appears on a fragment from a stele of Gudea. It could be sometimes used to represent the god in cultic contexts.[35]

    Ninĝirsu was often associated with the Anzû bird in both textual and visual sources from the Early Dynastic Period until the Neo Sumerian period, though the mythical creature could also be connected with other deities.[36]In the Old Babylonian Epic of Anzû, the Anzû is the defeated enemy of Ninĝirsu, and it appears as a trophy of the god in Sumerian literary texts.[37]The Anzû’s relationship to the god is unclear in the Cylinders of Gudea.[38]It is frequently mentioned, twice as his emblem.[39]Ninĝirsu is described as a figure resembling the Anzû in the dream of Gudea[36], and Ninĝirsu’s temple E-ninnu is frequently mentionned by its epithet ‘’the White Anzû bird’’. It could be compared to or equated with the mythical creature.[40] The Anzû is however absent from the list of Ninĝirsu’s trophies.[39]Frans Wiggerman has suggested that the Anzû was originally the symbol of Enlil, and that the symbol of Ninĝirsu was actually the lion, while his association with the Anzû was connected to his status as the warrior of Enlil.[22]

    The sevenfold mace was an attribute of Ninĝirsu in the Neo Sumerian Period.[41]It is mentioned in the Cylinder Inscriptions among the weapons gifted to his temple E-ninnu, and he is depicted wielding it on the seal of the priest Ur-Dun.[42]Eva Andrea Holzinger-Braun proposes that since representations of this type of weapon are only attested in Ĝirsu, images of warrior gods holding the sevenfold mace could be identified as representations Ninĝirsu.[43]

    A kudurru from the Kassite period names the plow as Ninĝirsu’s symbol.[44]

    Association with other deities

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    Worship

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    Early attestations

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    The ''Figure aux Plumes'' , the earliest known attestation of Ninĝirsu and his temple. The figure has been variously interpreted as a priest-king or as the god himself. Musée du Louvre.

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    First dynasty of Lagash

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    Neo Sumerian Period

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    Cult personnel, festivals, and personal worship

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    Late attestations

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    In Literature :

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    Enthroned Ninĝirsu wielding the sevenfold mace on the cylinder seal of the priest Ur-DUN. From Catalogue des cylindres, cachets et pierres gravées de style oriental : Musée du Louvre.(1920) Louis-Joseph Delaporte.


    [WIP]

    1. ^Wiggermann 1992, p. 160. sfn error: multiple targets (3×): CITEREFWiggermann1992 (help)
    2. ^ abFalkenstein, Adam (1966). Die Inschriften Gudeas von Lagaš : Einleitung. Analecta Orientalia, 30. Rome: Biblical Institute Press. p. 90. ISBN 9788876532306.
    3. ^ abcStreck, Michael P. "Ninurta/Ningirsu. A. I. In Mesopotamien". Reallexikon der Assyriologie (in German). p. 512. Retrieved 2025-04-21.
    4. ^Krebernik, Manfred; Lisman, Jan J. W. (2020). The Sumerian Zame Hymns from Tell Abū Ṣalābīḫ: with an appendix on the early dynastic colophons. Dubsar. Münster: Zaphon. p. 124. ISBN 978-3-96327-034-5.
    5. ^Jacobsen, Thorkild (1978). The Treasures of Darkness: A History of Mesopotamian Religion. New Haven, CT: Yale University Press. p. 133. ISBN 978-0-300-02291-9.
    6. ^ abCooper, Jerrold S. (1978). The return of Ninurta to Nippur: an-gim dim-ma. Analecta orientalia. Roma: Pontificium Inst. Biblicum. p. 11. ISBN 978-88-7653-252-8.
    7. ^Dijk, J. van (1983). Lugal ud me-lám-bi nir-Ğál: Le récit épique et didactique des Travaux de Ninurta, du Déluge et de la Nouvelle Création. Tome I. Introduction, texte composite, traduction. Biblical Studies, Ancient Near East and Early Christianity - Book Archive pre-2000. Leiden Boston: Brill. p. 4. ISBN 978-90-04-06872-8.
    8. ^Black, Jeremy (1988). "The Slain Heroes: some monsters of ancient Mesopotamia". Bulletin of the Canadian Society for Mesopotamian Studies. 15: 20. ISSN 0844-3416.
    9. ^Wiggermann, Franciscus Antonius Maria (1992). Mesopotamian protective spirits: the ritual texts. Cuneiform monographs. Groningen: STYX & PP Publications. p. 162. ISBN 978-90-72371-52-2.
    10. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 107. ISBN 978-90-5693-035-6.
    11. ^Hallo, William W. (1981). "Reviewed Work: The Return of Ninurta to Nippur by E. Bergmann, Jerrold S. Cooper". Journal of the American Oriental Society. 101 (2): 255 – via JSTOR.
    12. ^Black, Jeremy A.; Green, Anthony; Rickards, Tessa (2014). Gods, demons, and symbols of ancient Mesopotamia: an illustrated dictionary. Austin: Univ. of Texas Press. p. 138. ISBN 978-0-292-70794-8.
    13. ^Cooper, Jerrold S. (1983). Reconstructing history from ancient inscriptions: the Lagash-Umma border conflict(PDF). Sources from the ancient Near East. Malibu: Undena Publ. p. 11. ISBN 978-0-89003-059-2.
    14. ^Selz, Gebhard J. (1995). Untersuchungen zur Götterwelt des altsumerischen Stadtstaates von Lagaš. Occasional publications of the Samuel Noah Kramer Fund. Philadelphia, PA: The Univ. of Pennsylvania Museum. p. 250. ISBN 978-0-924171-00-0.
    15. ^Selz, Gebhard J. (1995). Untersuchungen zur Götterwelt des altsumerischen Stadtstaates von Lagaš. Occasional publications of the Samuel Noah Kramer Fund (in gersux). Philadelphia: University of Pennsylvania Museum. p. 221. ISBN 978-0-924171-00-0.{{cite book}}: CS1 maint: unrecognized language (link)
    16. ^ abSelz, Gebhard J. (1995). Untersuchungen zur Götterwelt des altsumerischen Stadtstaates von Lagaš. Occasional publications of the Samuel Noah Kramer Fund. Philadelphia, PA: The Univ. of Pennsylvania Museum. p. 251. ISBN 978-0-924171-00-0.
    17. ^Frayne, Douglas Ralph (2008). Presargonic period: 2700-2350 BC. Toronto [Ont.] Buffalo [N.Y.] London (GB): University of Toronto press. p. 274. ISBN 978-0-8020-3586-8.
    18. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. pp. 108–109. ISBN 978-90-5693-035-6.
    19. ^Black, Jeremy; Cunningham, Graham; Robson, Eleanor; Zólyomi, Gábor, eds. (2006). The Literature of Ancient Sumer. Oxford University Press. p. 47. ISBN 9780199296330.
    20. ^Jacobsen, Thorkild (1978). The Treasures of Darkness: A History of Mesopotamian Religion. New Haven, CT: Yale University Press. p. 128. ISBN 978-0-300-02291-9.
    21. ^Streck, Michael P. (1998). "Ninurta/Ninĝirsu . A. I. In Mesopotamien". Reallexikon der Assyriologie (in German). p. 517. Retrieved 2025-04-26.
    22. ^ abWiggermann, Franciscus Antonius Maria (1992). Mesopotamian protective spirits: the ritual texts. Cuneiform monographs. Groningen: STYX & PP Publications. p. 161. ISBN 978-90-72371-52-2.
    23. ^ abSuter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 291. ISBN 978-90-5693-035-6.
    24. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 290. ISBN 978-90-5693-035-6.
    25. ^Edzard, Dietz Otto (1997). Gudea and his dynasty. The Royal inscriptions of Mesopotamia. Early periods. Toronto Buffalo: University of Toronto Press. p. 7. ISBN 978-0-8020-4187-6.
    26. ^Streck, Michael P. (1998). "Ninurta/Ninĝirsu. A. I. In Mesopotamien". Reallexikon der Assyriologie (in German). p. 516. Retrieved 2025-04-26.
    27. ^Foster, Benjamin R., ed. (1993). Before the muses: an anthology of Akkadian literature. Bethesda, Md: CDL Press. p. 475. ISBN 978-0-9620013-4-5.
    28. ^Foster, Benjamin R., ed. (1993). Before the muses: an anthology of Akkadian literature. Bethesda, Md: CDL Press. pp. 487–488. ISBN 978-0-9620013-4-5.
    29. ^Földi, Zsombor J (2019). "Bullussa-rabi, Author of the Gula Hymn". KASKAL. Rivista di storia, ambienti e culture del Vicino Oriente Antico. 16: 83. ISBN 978-88-94926-33-0. ISSN 1971-8608.
    30. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 109. ISBN 978-90-5693-035-6.
    31. ^Streck, Michael P. (1998). "Ninurta/Ninĝirsu . A. I. In Mesopotamien". Reallexikon der Assyriologie (in German). p. 519. Retrieved 2025-04-26.
    32. ^Braun-Holzinger, Eva Andrea (1998). "Ninurta/Ninĝirsu. B. In In der Bildkunst". Reallexikon der Assyriologie (in German). p. 522. Retrieved 2025-04-26.
    33. ^ abBraun-Holzinger, Eva Andrea (1998). "Ninurta/Ninĝirsu. B. In In der Bildkunst". Reallexikon der Assyriologie (in German). p. 523. Retrieved 2025-04-26.
    34. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 189. ISBN 978-90-5693-035-6.
    35. ^ abWiggermann, F. A. M. (1992). Mesopotamian protective spirits: the ritual texts. Cuneiform monographs. Groningen: STYX & PP Publications. p. 160. ISBN 978-90-72371-52-2.
    36. ^ abSuter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 108. ISBN 978-90-5693-035-6.
    37. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 187. ISBN 978-90-5693-035-6.
    38. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. pp. 187–188. ISBN 978-90-5693-035-6.
    39. ^ abSuter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 188. ISBN 978-90-5693-035-6.
    40. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 113. ISBN 978-90-5693-035-6.
    41. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 258. ISBN 978-90-5693-035-6.
    42. ^Suter (2000). Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image. Brill Book Archive Part 1, ISBN: 9789004472495. Leiden Boston: BRILL. p. 190. ISBN 978-90-5693-035-6.
    43. ^Braun-Holzinger, Eva Andrea (1998). "Ninurta/Ninĝirsu. B. In In der Bildkunst". Reallexikon der Assyriologie (in German). p. 523. Retrieved 2025-04-26.
    44. ^Braun-Holzinger, Eva Andrea (1998). "Ninurta/Ninĝirsu. B. In In der Bildkunst". Reallexikon der Assyriologie (in German). p. 524. Retrieved 2025-04-26.
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