Nanshe in the context of "Adab (city)"

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⭐ Core Definition: Nanshe

Nanshe (Sumerian: 𒀭𒀏 NANŠE (AB×ḪA)) was a Mesopotamian goddess in various contexts associated with the sea, marshlands, the animals inhabiting these biomes, namely bird and fish, as well as divination, dream interpretation, justice, social welfare, and certain administrative tasks. She was regarded as a daughter of Enki and sister of Ningirsu, while her husband was Nindara, who is otherwise little known. Other deities who belonged to her circle included her daughter Nin-MAR.KI, as well as Hendursaga, Dumuzi-abzu and Shul-utula. In Ur she was incorporated into the circle of Ningal, while in incantations she appears alongside Ningirima or Nammu.

The oldest attestations of the worship of Nanshe come from the Uruk period. Her cult center was Tell Zurghul, known in antiquity as Nina. Another place associated with her, Sirara, was likely a sacred district in this city. She was also worshiped elsewhere in the state of Lagash. Sanctuaries dedicated to her existed in its eponymous capital, as well as in Girsu, Gu'abba and other settlements. She is also attested in a number of other cities in other parts of Mesopotamia, including Adab, Nippur, Umma, Ur and Uruk, but her importance in their local pantheons was comparatively smaller. Her cult declined after the Ur III period. She was later adopted as a dynastic tutelary deity by the kings of the Sealand, and also came to be worshiped in the Esagil temple complex in Babylon. She was still venerated in the sixth century BCE.

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Nanshe in the context of Enki

Enki (Sumerian: 𒀭𒂗𒆠 EN-KI), also known as Ea (Akkadian: 𒀭𒂍𒀀 E₂-A) was the Mesopotamian god of wisdom, crafts, fresh subterranean waters, magic, and incantations. He was believed to rule the Abzû. In Mesopotamian astronomy, he was associated with the stars of the southern band of the sky. Enki’s wife was Damgalnuna, and their children included Nanshe, Asalluhi, Marduk and Enbilulu. His sukkal (attendant deity) was Isimud. Servants of the god included lahmu, kulullû, and the Seven Sages.

Enki was first worshipped by the Sumerians of Southern Mesopotamia. The earliest sources associate him with the city of Eridu, which was his main cult center, and regarded as his home. His temple there was the E-Abzû. Enki was already a major deity in Sumer at the time of the earliest written sources, and the influence of his cult spread outside of Southern Mesopotamia early on. It is uncertain when Enki was assimilated to Ea, a god whose name is of unknown, but possibly semitic origin. Under the name Ea, Enki was worshipped by the Akkadians, Babylonians and Assyrians. His cult was particularly influential in the Ur III and Old Babylonian Periods, where he became part of a triad at the top of the pantheon consisting of Anu, Enlil and himself. He was incorporated into Hurrian religion as a major god, with identical character and functions as in Mesopotamia. His cult spread into Anatolia, possibly as early as the third millennium BCE, and he became part of the Hittite pantheon. With the rise of Babylon and its patron god Marduk, Ea’s cult gradually lost importance, though he still remained a major god in first millennium BCE Mesopotamia.

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Nanshe in the context of Damgalnuna

Damgalnuna, also known as Damkina, was a Mesopotamian goddess regarded as the wife of the god Enki. Her character is poorly defined in known sources, though it is known that like her husband she was associated with ritual purification and that she was believed to intercede with him on behalf of supplicants. Among the deities regarded as their children were Nanshe and Asalluhi. While the myth Enki and Ninhursag treats her as interchangeable with the goddess mentioned in its title, they were usually separate from each other. The cities of Eridu and Malgium were regarded as Damgalnuna's cult centers. She was also worshiped in other settlements, such as Nippur, Sippar and Kalhu, and possibly as early as in the third millennium BCE was incorporated into the Hurrian pantheon. She appears in a number of myths, including the Enūma Eliš, though only a single composition, Damkina's Bond, is focused on her.

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