|INTERNATIONAL JUDGEMENT MADE BEFORE INITESHSHUB, KING OF CARCHEMISH AND SHAUSHGAMUWA KING OF AMURRU WHICH WAS SENT TO AMISTAMRU II, KING OF UGARIT CONCERNInG PIDDU, THE FORMER QUEEN OF UGARIT, SISTER OF SHAUSHGAMUWA, AND FORMER WIFE OF AMISTAMRU.
Siria y las ciudades fenicias
PIDDU IS EXILED BUT PROTECTED FROM BEING PUT TO DEATH IN THAT AMISTAMRU CANNOT BRING HER BACK TO UGARIT FOR ANY REASON, AND SHAUSHGAMUWA IS FORBIDDEN TO ASSOCIATE WITH HER OR MAKE PLANS THAT WILL HAVE ANY IMPLICATIONS ON THE ROYAL LINE AT UGARIT
TRES REYES DEL ÁREA SIRIO-PALESTINA y EL REY DE HATTI, Tudkhaliash IV (ca. 1265-1220 )
JUICIO INTERNACIONAL ANTE INITESHSHUB, REY de KARKEMISH Y el REY de AMURRU SHAUSHGAMUWA ENVIADO a AMISTAMRU II, de REY de UGARIT, referente a PIDDU, la REINA ANTERIOR de UGARIT, HERMANA de SHAUSHGAMUWA de Amurru Y ex-ESPOSA de AMISTAMRU de Ugarit.
El yacimiento de Ugarit-Ras-Shamra, Siria
http://ancientneareast.tripod.com/IMAGES/ugarit1.jpgS e exilia a PIDDU pero protegida contra una eventual condena a muerte .
AMISTAMRU, su ex-esposo, no puede traerla de nuevo a Ugarit bajo ningún pretexto.
Y a su hermano SHAUSHGAMUWA de Amurru se le prohibe asociarse a ella o hacer planes que pudieran tener quier implicación en la sucesión y la línea real de Ugarit
Tablilla de arcilla en acadio.Karkemish,Siria, 1250-1240 a.C.
|MS in Akkadian on clay, Carchemish, Syria, 1250-1240 BC, 1 tablet, 8,2×10,2×3,2 cm, single column, 15+5 lines in cuneiform script, with seal impression rolled across the whole of the tablet, showing the deity Sharruma advancing left, holding a double axe and a sceptre.
Context: The present tablet is one out of 11 tablets concerning the divorce and judgement of Queen Piddu, involving 3 of the Kingdoms of the time, as well as the Hittite empire under King Tudkhaliash IV (ca. 1265-1220 BC).
Commentary: The kingdoms of Ugarit, Amurru and Carchemish at the North-east corner of the Mediterranean, were squeezed between the 3 great powers of the 13th c. BC, the Hittite empire, Assyria and Egypt.
The present tablet illustrates the tensions among the kingdoms that fills in a bit of the picture of the upheaval to come at the end of the Bronze Age and the beginning of the Iron Age, leading to the fall of the Hittite empire to Assyria and the following Trojan war as described by Homer.
|Published: Analecta Orientalia, 48, Roma, Pontificium Institutum Biblicum, 1971: Loren R. Fisher, editor, The Claremont Ras Shamra Tablets, pp. 11-21. The seal is published in Ugaritica III, p. 24.
The defensive walls surrounding Ugarit have all the hallmarks of Late Bronze Age military architecture. The walls are sloping which prevented siege engines being brought too close to the top of the wall as well as increasing the width of the wall to resist under-mining. Towers, one of which can be seen to the left, projected from the wall line to provide covering fire. The small gate, protected by this tower is a Postern Gate. These small gates could be opened and closed quickly to let troops in or out of the city without the danger of opening the larger city gate.
Some of Ugarit’s most remarkable finds were uncovered around this temple dedicated to the chief Caananite god, Baal. These finds came in the form of temple lists and prayer books which give us an unrivalled view of how the economy and ritual of temples operated at this time. In addition the ‘prayer books’, literally religious chants, are our best evidence of the belief system of the Caananites. These song cycles, recorded on clay tablets, opens a window into the world of the Caananites (the Semitic people of Syria, Lebanon, Palestine and Jordan) who were influential in the evolution of Hebrew, and hence, Christian religions
Exhibited: 1. The Claremont Ras Shamra Tablets, at the Institute for Antiquity and Christianity, Claremont, California, 1970-1994. 2. “Preservation for access: Originals and copies”. On the occasion of the 1st International Memory of the World Conference, organized by the Norwegian Commission for UNESCO and the National Library of Norway, at the Astrup Fearnley Museum of Modern Art, Oslo, 3 June – 14 July 1996.