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El vaso sagrado de Warka, también llamado “Jarrón Sagrado de Warka“, datado del año 3200 a. C., fue elaborado en época de la civilización sumeria, que se considera la primera y mas antigua civilización de la historia, que se extendió por el sur de Mesopotamia, en la zona de los ríos Tigris y Eufrates, (actual Irak) concretamente forma parte del período de Uruk, un período arqueológico de la historia de Mesopotamia comprendido entre el 3800 a. C. y el 3200 a. C., en el último milenio del Calcolítico en la región mesopotámica.
La pieza fue hallada en 1940 durante la sexta campaña de excavaciones llevadas a cabo por arqueólogos alemanes, en el nivel IIIa-II del complejo de templos dedicados a la deidad sumeria Eanna, Inanna 
; diosa del amor y la fertilidad, que forman parte de las ruinas de la antigua ciudad de Uruk, ubicadas cerca de a ciudad de Samawa, 280 km al SSE de Bagdad en la provincia iraquí de Al Muthanna.
Sus características son:
- Forma cilíndrica
- Altura: 1,05 metros.
- Anchura: parte superior 36 cm.
- Material: alabastro.
- Consta de cuatro franjas horizontales, con relieves que representan ofrendas relacionadas con la agricultura dirigidas a la diosa Inanna en el Eanna de Uruk.
El vaso de Warka fue uno de los millares de objetos fueron saqueados del Museo Nacional de Iraq durante la Invasión de Iraq en 2003. Fue devuelto al mismo museo por tres iraquíes durante un alto el fuego, el 12 de junio de 2003.
The detailed drawing above was made from tracing a photograph (from Campbell, Shepsut) of the temple vase found at Uruk/Warka, dating from approximately 3100 BCE.
It is over one meter (nearly 4 feet) tall.
On the upper tier is a figure of a nude man that may possibly represent the sacrificial king. He approaches the robed queen Inanna. Inanna wears a horned headdress.
The Queen of Heaven stands in front of two looped temple poles or “asherah,” phallic posts, sacred to the goddess.
A group of nude priests bring gifts of baskets of gifts, including, fruits to pay her homage on the lower tier. This vase is now at the Iraq Museum in Bagdad.
“The Warka Vase, is the oldest ritual vase in carved stone discovered in ancient Sumer and can be dated to round about 3100 B.C. or probably 4th-3rd millennium B.C.
It shows men entering the presence of his gods, specifically a cult goddess Innin (Inanna), represented by two bundles of reeds placed side by side symbolizing the entrance to a temple.
http://www.crystalinks.com/sumerart.html
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Warka Vase as recovered (6/12/03)
- bibliography and image source: (unpublished; via McGuire Gibson).
- copyright for image: left side: Hirmer Verlag / right side: (via McGuire Gibson; source withheld upon request)
• date: (ca. 3000 BC)
• description:
vase, relief decoration in four registers, showing (bottom to top) rows of plants, sheep (make and female), nude males carrying baskets or jars, and a cultic scene, in which the ruler of city of Uruk delivers provisions to the temple of the goddess Inanna, represented here by two reed bundle standarts-symbols of the goddess-and a woman, probably her priestess ); rim broken; repair piece inserted in antiquity (holes drilled for repair)
• status: stolen in April 2003, returned to museum in June 2003.
http://oi.uchicago.edu/OI/IRAQ/dbfiles/Iraqdatabasehome.htm
Some 15,000 items are now confirmed to be have been stolen. Several famous pieces, such as the Warka Vase and the Warka Head, were retrieved or returned to the museum, but many other important pieces, including the museum’s collection of 4,800 cylinder seals, remains missing. Irrespective of numbers, these losses are tremendous not only to the world of archaeology but to mankind in general.
Since April 2003 scholars at the Oriental Institute have been compiling a comprehensive database of objects from the Iraq Museum. While the primary objective of this project is to help in the recovery of the missing objects, we also hope that this site will be found useful as an educational resource for schools and the general public. The objects are presented in
categories. We have tried to adopt a descriptive terminology, based on visually obvious characteristics, and to avoid scholarly, interpretive terms. Since different people will look for different characteristics, many objects will feature in multiple categories. The layout of the categories is hierachical, starting off with material (e.g.,
clay,
stone,
ivory), followed by prinicipal object types (e.g.,
sculpture,
relief,
seal).
The “status” of an object given on its page reflects its status as presently known to us at the Oriental Institute. It is quite possible that the whereabouts of some objects listed as being of “unknown” status are known to others. Corrections to our listings are appreciated.
Relative dates for objects (periods, archaeological phases) have been converted to absolute dates in years B.C., generally following the chronological layout presented in Robert Ehrich [Editor], Chronologies in Old World Archaeology. (Chicago: University of Chicago Press, 1992). With different chronological schemes still being used in Mesopotamian archaeology, our interpretations may well evoke criticism from other scholars, but we believe that the use of absolute dates makes it easier for non-specialists to use this site. More images from the Oriental Institute’s collections, as well as images sent to us by other scholars, will be added successively. Check back for additions and updates.
The database and the pages shown here were compiled and edited by
Clemens Reichel. Most of the object descriptions were entered by project volunteer Karen Terras, who also scanned hundreds of images. Her initiative and great enthusiasm are gratefully acknowledged here. Numerous scholars and publishers gave us permission to use their published data for this project.
Hirmer Verlag (Munich) generously allowed us to use images from Eva Strommenger,
Fünf Jahrtausende Mesopotamien. (1962). Georgina Herrmann (Institute of Archaeology, London / British School of Archaeology) not only allowed us to use images of Nimrud ivories from the Iraq Museum that are published in the Series
Ivories from Nimrud, but also made digital versions of these images available to us; CDs with these images were prepared and sent to us by Stuart Laidlaw (Photographic Department, Institute of Archaeology, London). Harriet Martin and Nicholas Postgate kindly supplied us with photographs and descriptions of the seals from Abu Salabikh. Numerous others have sent us their data, which we will continue to add. Their willingess to help our efforts is gratefully acknowledged here.
All images in this database for which we do not hold the copyright are used with permission; names of copyright holders are stated at the bottom of each page. This does NOT mean that we hold the copyright for these images; we therefore CANNOT grant permission for use to third parties. Anyone who copies images from our site bears the responsibility of obtaining permission for their use from the appropriate parties.
The objects shown here are known to have been in the Iraq Museum in Baghdad or in one of Iraq’s provincial museums before the war. Their appearance on this site does not necessarily imply that they have been stolen. If you encounter any of these items outside of Iraq, contact law enforcement authorities immediately!
For documentation on cuneiform tablets from the Iraq Museum see the website of the Cuneiform Digital Library Initiative Project (CDLI).
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