Lagaš – razlika između verzija

Ovaj brežuljak je najvjerojatnije sadržavao skladišne zgrade, gdje su bili uskladišteni ne samo žito, smokve i dr. nego i posude, oružje, skulpture kao i svaki drugi predmet koji se koristio u administraciji palače i hrama. U jednom manjem obližnjem brežuljku de Sarzec je otkrio arhivu hrama — oko 30.000 glinenih pločica koji su sadržavali poslovne knjige, te s neobičnom preciznošću otkrivali način upravljanja drevnim babilonskim hramom, karakter njegovog vlasništva, način obrade zemlje, uzgoja domaćih životinja, te proizvodne i trgovačke pothvate; to je važno jer je drevni babilonski hram bila važna industrijska, trgovačka i poljoprivredna institucija. Na žalost, prije nego što su se ove arhive mogle odnijeti, galerije su poharali pljačkaši i veliki broj ih je prodan trgovcima starinama, te tako raspršen širom Evrope i Amerike.

 

 

 

 

After the collapse of Sargon's Empire under pressure from the [[Guti (Mesopotamia)|Guti]] tribes, Lagash again thrived under the ''patesis'' Ur-baba (Ur-bau) and [[Gudea]], and had extensive commercial communications with distant realms. According to his own records, Gudea brought cedars from the Amanus and [[Lebanon]] mountains in [[Syria]], [[diorite]] from eastern Arabia, [[copper]] and [[gold]] from central and southern Arabia and from Sinai, while his armies were engaged in battles in Elam on the east. His was especially the era of artistic development. Gudea, following Sargon, was one of the first rulers to claim divinity for himself; and we have even a fairly good idea of what Gudea looked like, since he had his numerous statues or idols depicting himself with unprecedented, lifelike realism, placed in temples throughout Sumer. Gudea took advantage of artistic development because he evidently wanted posterity thousands of years later to know exactly what he looked like, and in that he has succeeded -- a feat that was available to him as royalty, but not to the common people who could not afford to have statues engraved of themselves.