Sumerian cuneiform is one of the earliest
known forms of written expression. First
appearing in the 4th millennium BC in what
is now Iraq, it was dubbed cuneiform
(‘wedge-shaped’) because of the distinctive
wedge form of the letters, created by
pressing a reed stylus into wet clay. Early
Sumerian writings were essentially
pictograms, which became simplified in the
early and mid 3rd millennium BC to a series
of strokes, along with a commensurate
reduction in the number of discrete signs
used (from c.1500 to 600). The script
system had a very long life and was used by
the Sumerians as well as numerous later
groups – notably the Assyrians, Elamites,
Akkadians and Hittites – for around three
thousand years. Certain signs and phonetic
standards live on in modern languages of
the Middle and Far East, but the writing
system is essentially extinct. It was
therefore cause for great excitement when
the ‘code’ of ancient cuneiform was cracked
by a group of English, French and German
Assyriologists and philologists in the mid
19th century AD. This opened up a vital
source of information about these ancient
groups that could not have been obtained in
any other way.
Cuneiform was used on monuments
dedicated to heroic – and usually royal –
individuals, but perhaps its most important
function was that of record keeping. The
palace-based society at Ur and other large
urban centres was accompanied by a
remarkably complex and multifaceted
bureaucracy, which was run by professional
administrators and a priestly class, all of
whom were answerable to central court
control. Most of what we know about the
way the culture was run and administered
comes from cuneiform tablets, which record
the everyday running of the temple and
palace complexes in minute detail, as in the
present case. The Barakat Gallery has
secured the services of Professor Lambert
(University of Birmingham), a renowned
expert in the decipherment and translation
of cuneiform, to examine and process the
information on these tablets. His scanned
analysis is presented here. This document is
a list of rations paid out to official
messengers.
Professor Lambert’s translation is provided
below:
‘Clay tablet with 29 lines of Sumerian
cuneiform on the obverse and reverse,
joined from pieces with some loss of surface
but the majority is well-preserved. The
tablet is an administrative document from
the period of the Third Dynasty of Ur, dated
to the 8th year of Shu-Sin, fourth king of
the dynasty, c. 2030 BC. It is a list of bronze
objects owned by a temple or the state, so
weights are given and totalled at the end.
There were no sources of metal in Sumer: it
had to be imported, so it was valued and
government agencies kept a check on the
number of articles in use and their weight.
The tablet is difficult because it uses the
technical terms for bronze objects which we
cannot translate with certainty. For
example, habuda is well known as a tool
used in agriculture, but so far we cannot
translate it. Also, peculiarly to this tablet,
most entries end with the sign BE, which
seems purposeless to us, but it clearly had a
meaning to the ancients. It could mean
‘finished’ (worn out and so for use as scrap
only?), but it might mean a dozen other
things and we have no way of settling the
matter so far. Other tablets of this content
do not have it.
Translation:
[……] for the vegetable plot or bronze, 6….:
their weight: 25 shekels. 40…..of bronze…..
60 (musical instruments) of bronze, 7…….:
their weight: 33 minas, 20 shekels. 3
bronze axes, 8…….. 20 bronze……1 large
sickle of bronze: 8…..: their weight: 16
minas, 50 shekels. 134 (agricultural tools),
large ones of bronze…..3222 (agricultural
tools) of bronze. 2856 sickles of bronze…..20
bronze axes…..65 bronze….spades…..101
bronze…..(2 lines too broken for
translation) 2 bronze saws….6 bronze…..4
bronze….[….] bronze….., of Kesh,…..: their
weight: 9 talents, 44 minas, 19 shekels.
Weighing by Basmum. Ku-elak received
(these objects). Year: Shu-Sin, King of Ur,
made a magnificent barge for Enlil and Ninlil.
A shekel was a weight of about 8 grams, a
mina was composed of 60 shekels, and a
talent was made up of 60 minas.’