Seated figure of a high priestess, Enheduanna, Neo-Sumerian Culture

Descriptio Carved stone sculpture with a greenish hue and natural inclusions. Dimensions: 13.9 cm high. Weight: 1,163.1 g. An important Mesopotamian sculptural figure representing a religious dignitary seated on a throne, following the ceremonial representation models developed in the Sumerian world. The figure presents a frontal and compact composition, with her hands clasped at chest level in an attitude of prayer or contemplation, holding two small, rectangular objects that could be interpreted as tablets. She wears a long, richly pleated priestly robe, decorated with deep, parallel incisions that create an elaborate effect of texture and volume, leaving only her feet visible. The face, with a serene and solemn expression, features almond-shaped eyes, a straight nose, and full lips, framed by carefully styled hair and a characteristic flat headdress with a circular profile. The meticulousness of the sculptural work is remarkable, especially in the treatment of the garments, the symmetrical arrangement of the arms, and the definition of the facial features. On the back of the seat, ornamental reliefs have been interpreted as two facing water birds, possibly related to the religious symbolism of the period. The representation is iconographically linked to Enheduanna, daughter of the Akkadian king Sargon of Akkad (c. 2334–2279 BCE), who served as high priestess of the moon god Nanna in the city of Ur and is considered one of the earliest known female authors in history for her religious compositions dedicated to the goddess Inanna. Her figure acquired particular significance in Mesopotamian tradition as a symbol of spiritual authority and political legitimacy. The formal conception of the sculpture shows parallels with small seated female figures from the Akkadian and Neo-Sumerian periods, especially with examples held in the Vorderasiatisches Museum in Berlin (inventory VA 04854) and the Louvre Museum in Paris (inventory AO 23995). Likewise, the treatment of the headdress and the figure’s pose recall certain aspects of the representation of Enheduanna on the famous votive disk in the Penn Museum in Philadelphia, although these similarities do not allow for a definitive identification. The stone surface exhibits greenish and brownish tones, small calcareous concretions, earthy deposits, erosion and wear, as well as slight losses on the edges of the headdress, while retaining a remarkable definition of the ornamental details. Its proposed chronology and cultural attribution, including the possibility of later production following ancient models, require confirmation through specialized archaeological study. Provenance: collection of the Zelnik István Southeast Asian Gold Museum.Acquired in Paris during the 1990s. Lot in international warehouse (within the EU). Intra-EU shipment: no import duties apply within the EU. Export permission from the country of origin may be required.

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