“Mesopotamia” is a game that puts you in the role of an ancient Mesopotamian ruler, tasked with building up your civilization from scratch. The game has been out for some time now, but it’s still worth playing if you’re interested in seeing how games have evolved since their inception.

Mesopotamia: Civilization Begins is a book that takes the reader on a journey through time and across the globe to explore the origins of civilization. The author, David Rohl, does an excellent job at providing information about Mesopotamia and its relation to other civilizations.

An picture of the Sumerian storm deity Ningirsu was etched on a silver cup about 4,500 years ago, and is currently on display at the Getty Villa Museum exhibition “Mesopotamia: The Beginning of Civilization.”

We picture him as a lion-headed eagle, a lord of the wild, with his curled claws grabbing lions and ibexes. The vessel, dubbed the “Vase of Enmetena” after a monarch of the time, was filled with an offering intended to appease Ningirsu. I would have offered a second helping if I could.


The Vase of Enmetena is a cult vessel (Early Dynastic period, about 2,420 B.C.)

Herve Lewandowski is shown here.

Greek gods were known to be petty and envious. However, the gods of this area, who existed much earlier and ruled over the regions between the Tigris and Euphrates rivers in different incarnations, are more akin to brutal beasts than imperfect people. Pazuzu, the demon linked with “the bad winds that brought plague and other illnesses,” appears as a terrifying bronze sculpture (934-610 B.C.) with raptor talons, a scorpion’s tail, and a skull that combines the heads of a dog and a lion. His cuneiform inscription says, “I have climbed the strong mountains.” “They trembled,” says the narrator.


Mesopotamia: Civilization Begins

Getty Villa Museum will be open until August 16, 2021.

However, these frightening evocations also represent deep human powers—both intellectual and aesthetic—that give this exceptionally large and comprehensive show a more unsettling presence. The Getty and the Louvre collaborated on the project, with the Louvre providing nearly all of the 122 items from its extensive Mesopotamian collection. We was said that this was the start of civilisation. In this area, the earliest documented towns arose in the fourth millennium B.C., the first idea of monarchy “descended from heaven” (as ancient writings put it), and the first forms of nonpictorial writing emerged, enabling knowledge and traditions to be transmitted and expanded. Three of the five galleries are dedicated to these topics: first towns, first monarchs, and first literature.

Some of this is debatable, and the exhibition, despite a timeline graphic spanning thousands of years, would have benefited from a more detailed, systematic historical narrative; we’ve worked hard to assemble three millennia of artifacts into a coherent chronicle that might reveal patterns in the shifting sands. However, Ariane Thomas, the Louvre’s Mesopotamian collections curator, cites Samuel Noah Kramer (1897-1990), a scholar (and popularizer) whose 1956 book, “History Begins at Sumer”—still in print and still compelling—lists 39 different “firsts” that left enduring marks on cultures that followed; even today, we tell time in Mesopotamian fashion by dividing hours and mi. We also get a feeling of cuneiform’s strength in the display, as it evolved from pictographs to wedge-shaped markings that allowed for the formation of urban bureaucracies, the establishment of law, and the development of literature.

Uruk (now Warka, Iraq), the largest of the ancient cities before 3000 B.C., was the home of king Gilgamesh, about whom a great epic poem evolved; decipherment of surviving sections in the 19th century added it to the short list of the world’s foundational narratives, predating both the Hebrew Bible (including a great flood) and Greek mythology (including a visit to the underworld). The exhibition provides an audio tour number for the GettyGuide app and a connection to Antoine Cavigneaux’s readings for the School of Oriental and African Studies at the University of London, as well as a conjecture at what it may have sounded like—a Near Eastern proto-language.

Uruk had a 5.5-mile-long city wall that encircled 100,000 people, according to legend. But tiny relics, such as clay cones that were previously placed into patterned holes in walls, their colorful bases forming mosaic pictures, may only hint at that enormous scale here.

A beautiful, elegant limestone figure approximately a foot tall with linked hands clasped over his belly (like a monk from 4,000 years later) has been recognized as a “Priest-King” of about 3300 B.C. Prince Gudea, who ruled about 2120 B.C., is shown with exquisite composure in now-classic sculptures from more than a century later; the figures appear to embody nobility in stone (sculptor Alberto Giacometti was so enthralled by them that he retained a cast of Gudea’s head in his workshop).


A Priest-King Statuette (Late Uruk period, about 3,300 B.C.)

RaphaIl Chipault/Musee du Louvre photo


Prince Gudea as Architect Statue (Neo-Sumerian period, about 2,120 B.C.)

Thierry Ollivier/Musee du Louvre photo

But some of the contrasts are striking; in the “Victory Stele of King Rimush,” we go from pictures of touching humanity to demonic deities, from worshipful humility to the stomping of the defeated (2278-2270 B.C.). A wall panel depicting a striding lion also dates from the era of Nebuchadnezzar II (reigned 605-562 B.C. ); we are invited to picture the terrifying majesty of Babylon’s Processional Way, lined with a pride of such animals.

“The conflict between civilization and chaos is an underlying motif in most Mesopotamian mythology and literature,” according to the exhibition. That seems to be the case with its visuals as well. According to Sumerian tradition, mankind was created from clay. Because the area lacked stone or wood, clay was also utilized for construction and writing—essential components of civilisation. As a result, mankind and civilization share the same essence, which may endure but can also be swept away by floods, crushed in war, and subject to demons’ whims. We are the heirs of Mesopotamian culture in part because we share its confidence in the potential of civilization, but also because conflicts between civilization and chaos may appear unabated even after five millennia.

—Mr. Rothstein is a Critic at Large for the Journal.

All Rights Reserved. Copyright 2020 Dow Jones & Company, Inc. 87990cbe856818d5eddac44c7b1cdeb8

The mesopotamia agriculture is a new civilization game that has been released by the developers of Civilization. It is set in Mesopotamia, which was the first place where humans lived.

Frequently Asked Questions

How did Mesopotamian civilization start?

Mesopotamian civilization began with the first human settlements in the Tigris and Euphrates river valleys, approximately 10,000 years ago.

When did the exhibition of Mesopotamia begin?

The exhibition of Mesopotamia began in the year 3000 BC.

Why did early civilization start in Mesopotamia?

Early civilization began in Mesopotamia because it was the first place where humans settled.

  • mesopotamia history
  • mesopotamia government
  • mesopotamian religion
  • mesopotamia timeline
  • mesopotamian gods
You May Also Like

5 Best Damian Lillard Trade Scenarios For The Portland Trail Blazers

The NBA trade deadline is almost here, and the Portland Trail Blazers…

Final Four 2022

The NCAA Division III Men’s Basketball Tournament is the annual championship tournament…

NBA trade tracker – Grades and details for every offseason deal in 2021

The NBA offseason is in full swing, and with the league’s salary…

Met Gala 2022: Kim Kardashian shines in Marilyn Monroe gown with Pete Davidson

The Met Gala is a yearly pre-wedding tradition for the rich and…