Abstract:
An amalgamation of ancient mythological and linguistic features from Ghabrestan
Tepe, this article is disposed to introduce some of the oldest findings especially about
the then prevailing myths. It can possibly be said that the oldest motifs carved by men,
on bones, stones or on cave walls have been the depictions of myths related to Homo
sapiens; however, even after the lapse of thousands of years, it is still impossible to
find the main tenets they actually tried to narrate through those depictions.
Unfortunately, we have to admit that, even the use of modern methods, doesn’t help
us to reach to those stories that are much warped and deformed. This article, tries to
carry, what has remained from some later version of the myths, backwards in time
and, by focusing on a pottery design, uncover what once has been a mythological and
significant narrative. Perhaps this had been a well-known mythological story narrated
in religious and domestic circles
Machine summary:
Concerning mythological texts of Mesopotamia, one can possibly say that the most important state in which a man can dominate an animal is in some part of the Epic of Gilgamesh in which Enkidu; who in his own turn has previously been a savage or a semi-animal, brings about the death of the ‘Bull of Heaven’; the symbol of the power of the animals.
In this picture, we are dealing with the myth or the epic which is briefly hinted to; that is; the short excerpt of the part of the text in which Gilgamesh insultingly answers the famous and lusty goddess: Thou didst also love a shepherd of the flock who continually poured out for thee the libation, and daily slaughtered kids for thee; but thou didst smite him and didst change him into a leopard, So that his own sheep boy hunted him … The story of this shepherd has not so far been noticed in any of the tablets discovered in Mesopotamia.
7. Concerning the age of this pottery, that is at least one or two thousand years older than the other versions that are trying to convey the Epic of Gilgamesh, whether through visual or lingual expression, is it not possible to consider the wellspring of this myth to be the Chalcolithic Iran, specially the central plateau?