the standard of ur illustrates the common mesopotamian representation of
Standard of Ur "War" is one of the earliest representations of a Sumerian army, engaged in what is believed to be a border skirmish and its aftermath. The "War" panel shows the king in the middle of the top register, standing taller than any other figure, with his head projecting out of the frame to emphasize his supreme status – a device also used on the other panel. He stands in front of his bodyguard and a four-wheeled chariot, drawn by a team of some sort of equids (possibly onagers or domestic asses;[7] horses were only introduced in the 2nd millennium BC after being imported from Central Asia[8]). He faces a row of prisoners, all of whom are portrayed as naked, bound and injured with large, bleeding gashes on their chests and thighs – a device indicating defeat and debasement.[3] In the middle register, eight virtually identically depicted soldiers give way to a battle scene, followed by a depiction of enemies being captured and led away. The soldiers are shown wearing leather cloaks and helmets; actual examples of the sort of helmet depicted in the mosaic were found in the same tomb.[5] The nudity of the captive and dead enemies was probably not meant to depict literally how they appeared in real life, but was more likely to have been symbolic and associated with a Mesopotamian belief that linked death with nakedness.[9]
Epic of Gilgamesh The Epic of Gilgamesh is an epic poem from ancient Mesopotamia that is often regarded as the earliest surviving great work of literature. The literary history of Gilgamesh begins with five Sumerian poems about Bilgamesh (Sumerian for "Gilgamesh"), king of Uruk, dating from the Third Dynasty of Ur (c. 2100 BC). These independent stories were later used as source material for a combined epic. The first surviving version of this combined epic, known as the "Old Babylonian" version, dates to the 18th century BC and is titled after its incipit, Shūtur eli sharrī ("Surpassing All Other Kings"). Only a few tablets of it have survived. The later "standard" version dates from the 13th to the 10th centuries BC and bears the incipit Sha naqba īmuru ("He who Saw the Deep", in modern terms: "He who Sees the Unknown"). Approximately two thirds of this longer, twelve-tablet version have been recovered. Some of the best copies were discovered in the library ruins of the 7th-century BC Assyrian king Ashurbanipal.